MIPTV 2019 NEWS 4

NEWS 4 Thursday 11 April 2019

The International Emmy Kids Awards winners

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Women’s Mentoring Breakfast

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In Development project winners revealed

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• 11 April 2019

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Beta Film’s Perfect Life wins Best Series — with the Special Performance Prize going to its stars Leticia Dolera, Celia Freijeiro and Aixa Villagran

Reshef Levi wins Best Performance for his starring role in Hot Telecommunication Systems’ Nehama

The Winners The Best Music Prize goes to Julian Maas and Christoph M Kaiser for their work on Bauhaus – A New Era

Federation Entertainment’s The Twelve wins Best Screenplay, created by Belgian writers Bert Van Dael and Sanne Nuyens

MIPTV News 4 •

Best Short Form Series goes to Midwinter Films’ Over And Out, the Australian comedy created by Adele Vuko and Christiaan Van Vuuren

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• 11 April 2019

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Twitch: switched-on to non-gaming content CONTENT owners seeking how future audiences might watch their shows could learn much from today’s experiences at Twitch, the global multiplayer streaming platform aimed at video gamers, said keynote speaker Michael Aragon yesterday.

As the senior vice-president, content at Twitch, Aragon is responsible for feeding relevant live and on-demand interactive content to millions of gaming enthusiasts, who are the mostly young Gen Z and Millennial digital-native viewers said to be shunning linear TV. However, he was at MIPTV to explain the burgeoning relationship with TV content owners

and creators and how the share of non-gaming content on the platform, including TV classics like Power Rangers, Pokemon and Doctor Who, is currently 10% and growing.

“We started the non-gaming element only 18 months ago and it is something we’re proud of because we’re learning more about the people tuning in,” Aragon said.

Since being acquired by techand-media behemoth Amazon for $970m in 2014, Twitch has become home to professional gaming and esports (the new-generation sports with gamers competing against each other on the big stage in stadi-

ums and arenas, and watched by thousands at the venues and millions on Twitch).

Twitch streamers (also known as broadcasters) host their own shows playing other gamers or provide commentary on streamed events.

Its on-screen chatrooms are packed with billions of fans’ comment. “Chats on Twitch are not just random statements, they’re meaningful two-way conversations,” Aragon said.

He disclosed Twitch has an average 15 million daily active users, three million streamers hosting content and the average viewing session lasts between 60 to 90 minutes a day.

Twitch can make TV re-runs feel live, he said, with Extensions, the virtual content that fans can superimpose on video content.

“Some TV media partners have anxiety about such overlays; they are afraid about what that might do to the expensive content they’ve produced,” he said.

But with such interaction comes the kind of viewing engagement not seen before, he added.

“We offer multiplayer experience, where viewers are integral to shaping the entertainment and that’s here to stay. For the younger audience, lean-back is not going to be as important as it was 20 years ago.”

Twitch’s Michael Aragon: “we’re learning more about the people tuning in”

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Five ways for women in media to improve their working potential CONFIDENCE, community, compassion, connection and creativity: five strategies for improving the lives of women working in the media, as defined by participants at Wednesday’s Women’s Mentoring Breakfast.

The breakfast — co-hosted

by Reed MIDEM and mediaClub’Elles — followed-up on one held at MIPCOM 2018. It was an

opportunity for around 60 women from all levels of the industry, and all countries, to share experiences and discuss ways to help women achieve their potential.

And the same concerns kept coming up: women getting hit on at work by senior male colleagues; women with years of experience who still doubt their legitimacy to do a job; women

judged for their looks rather than their expertise; men who feel threatened by women who question the status quo.

Strategies for responding were clear and simple: “Be yourself ”, “Be passionate about your subject”, “Don’t doubt your legitimacy”, “Use humour”, “Don’t try to be loved by everyone”, and “Don’t fear failure; learn

from it”. As one young producer with eight years’ experience said: “I just took the decision to stop doubting myself.”

According to research by mediaClub’Elles in France, women represent just 20% of people quoted in the media, 20% of morning news radio guests, 30% of experts quoted on TV, and 15% of the most-publicised media personalities.

“We believe that improving the gender balance and representation of women in media is in the interest of us all,” said mediaClub’Elles director of business development Laura Boy.

Women’s Mentoring Breakfast, co-hosted by Reed MIDEM and mediaClub’Elles

The known, new and now of BritBox TWO YEARS after its North American launch, “best of British TV” SVOD service BritBox has secured a respectable 500,000 subscribers. At MIPTV, Soumya Sriraman, president of the BBC/ ITV joint venture, told delegates it has won fans by staying “very focused on what we do. It’s important for us to have a British core. The audience comes to us because a British sensibility is at the heart of our promise.”

Sriraman described BritBox as a mix of “the known, the now and the new”.

“The known are the classics (for instance, The Office) and the new are originals and commissions, including Bletchley Circle. The now is centred on our promise to deliver as many new shows as possible simultaneously with the UK launch or a few hours after.”

While the majority of BritBox’s MIPTV News 4 •

shows are acquisitions (mainly drama, though around a third of the service is factual), the platform has a small origination budget which typically gets spent on co-commissions with its parent organisations.

An example, said Sriraman, was Click And Collect, a Christmas Special with Stephen Merchant, co-produced by BritBox and the BBC in the UK. The platform is also on board with another Mer8

• 11 April 2019

chant/BBC project, The Barking Murders, she added.

According to Sririman, the three big challenges for any SVOD platform are access, discovery and community. “Netflix showed everyone how to do access and Amazon cracked discovery. But I think we are better than both of them when it comes to community. The challenge for us now to get better at access and discovery,” she said.

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The future will put the viewer at the heart of the experience PUTTING the viewer at the centre of the action was the key message of the data-download session Future 100: Trends And Changes Disrupting Behaviour In 2019, led by Marie Stafford, European director of The Innovation Group at JWT Intelligence.

She identified emerging trends across different aspects of culture and business, and presented a “cheat sheet to the year ahead” for the TV and content industries.

Among other examples, she identified a new generation of museums upending the traditional experience and responding to consumer behaviour by becoming interactive and digital.

“The museum of the future is going to be an intermingling of state-of-the-art tech and interactivity, putting the viewer at the heart of experience,” she said.

Stafford also highlighted the products and services that are cropping up in unexpected formats. For its latest collection, fashion retailer H&M teamed up with ‘experience creator’ Magic

Leap to produce a mixed-reality fashion show in which people could wander round a virtual world and see the clothes.

“Again, we’re seeing the consumer becoming central to the

experience,” she said.

Another trend was personalised health, which tapped into younger generations’ focus on wellbeing and self-improvement. “There are many impli-

cations of personalisation and tailoring — it’s something consumers will expect in other categories too,” Stafford said.

And she cited the recent tie-in between online shop Misguided and Love Island as an example of ‘shoptainment’. “It’s really interesting how we’re seeing the worlds of content and commerce collide,” she added.

“Entertainment is a real vehicle helping brands to sell.”

JWT Intelligence’s Marie Stafford: “content and commerce collide”

‘We like to see ideas early in development’

Nickelodeon’s Layla Lewis: open to new ideas

NICKELODEON is always open to new ideas, Layla Lewis, senior vice-president of global acquisitions and content partnerships at Nickelodeon, told the audience in her 30 Minutes With… session yesterday.

“Our primary goal is to find shows that work for audiences all around the world,” she said.

And the right show could come from anywhere. “We have acquisitions teams in most of our offices and one single pitch e-mail, so everyone in the company sees the pitches we receive.”

She added: “Timing is key. We like to see ideas early in develMIPTV News 4 • 10 • 11 April 2019

opment, so we can see which path is best.”

Nickelodeon makes content as well as acquiring it. Sometimes — as with mystery drama House Of Anubis — it will create two versions of the same show, one local and one international.

“We’re looking forward to Pony, a new series that came through our shorts programme and is being developed by creator Ant Blades with Nina Hahn, our senior vice-president of international production and development,” Lewis said. Pony is a 2D animated buddy comedy about a nine-year-old girl and the excitable talking pony who comes to live in the family’s apartment.

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Streamers need to do more to protect children, says Kidoodle MAINSTREAM streaming services like YouTube are still not doing enough to protect children from harmful content on their platforms, despite well-publicised claims to be reducing the potential for exposure, Brenda Bisner, senior vice-president of content and business development at Kidoodle.TV, said at a special session at the MIPTV Kids Creative Room.

However, she said that Kidoodle, which is aimed at viewers of 12 years and under, was “changing the way that kids consume content” and providing a safe video platform to protect children and take the anxiety away from parents.

“Kidoodle is an ecosystem so parents don’t have to worry,” Bisner said. “As a platform it’s really shaking things ups. There

Kidoodle.TV’s Brenda Bisner

Swarm shows ambition of Beta at 60

Frank Doelger, creative director of Intaglio Films, at The Swarm session, part of MIPTV’s In Development strand

THE SWARM was featured as part of MIPTV’s In Development strand in the Monday session entitled Deep Dive Into The Swarm: The Making Of A Highly-Anticipated Drama Series. The Swarm, an Intaglio Films/NDF Production, will be directed by Emmy award-winning director Alan Taylor and distributed by Beta Film.

Beta Film has also announced a multi-year alliance deal with Telefonica’s Movistar+ for substantial production in a variety of genres which Beta will co-produce and distribute worldwide. The deal comes following the sales Beta has closed for Movistar+ original series, among them The Pier and La Zona.

“Given that Beta was involved in bringing Spanish productions

MIPTV News 4 • 11 • 11 April 2019

have been incidents recently like the Momo challenge [a hoax about children being enticed to do things] that have made people say that they want to take their content off YouTube. We are creating little addicts on YouTube, but there is a conversation about what is healthy.”

Kidoodle is in aggressive expansion and acquisition mode, and is in Cannes to find new content and content producers across a range of genres and formats to join the platform. As well as being an online OTT for the web, Kidoodle is also available as a downloadable app, providing a condensed version of the channel.

“We are coming in with a competitive CPM,” Bisner said, “we are adding new content every day.” (Cost per mille is the cost of a thousand views or clicks.)

The Canadian company was launched in 2014, and since then it has expanded into 140 countries worldwide. Based in Calgary, Alberta, the service is owned by A Parent Media Co.

to global recognition, it makes us extremely proud that a media giant like Telefonica would now want to entrust us with their shows on much more than a project-by-project basis,” Christian Gockel, executive vice-president international operations at Beta Film, said.

“We are optimistic, from the early days of our co-operation, we have come to value the Movistar+ approach to filmmaking as unique in its perfect blend of creativity and marketability.“ As part of its 60th anniversary showcase at this year’s MIPTV, Beta Film presented a number of outstanding Movistar+ originals, headed by the world premiere of writer-actress-director Leticia Dolera’s series Perfect Life, in competition at CANNESERIES. The Barcelona-based romantic spy drama What The Future Holds also premiered on Monday.

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Playmobil gets a makeover for the social media generation CLASSIC toy brand Playmobil is undergoing a renaissance thanks to a ground-breaking project to give the traditional format a TV, movie and social-media-ready presence.

Some of the key leaders of the team behind the upcoming Playmobil: The Movie, an associated TV animated series and various

Playmobil YouTube channels took part in a special MIPTV session on Tuesday to discuss the wider project and the evolution of the toy brand.

Speaking during the event, Aton Soumache, chief executive of ON Entertainment — parent company of ON Animation, which has produced the upcom-

ing movie — said that it had been essential to “understand the DNA of the [Playmobil] brand” right at the start of the project, and that to bring the toys to life required an imaginative approach throughout.

“We had to break the rules and create new rules all the way through,” he said. “You have to

Wildseed Studios’ Jesse Cleverly (left), with Lars Wagner of Playmobil, ON Entertainment’s Aton Soumache and Wil Film’s Erik Wilstrup

In Development sparks young ideas THE SECOND edition of the Kids Live-Action Pitch at MIPTV saw creators and producers from around the world present five new and original live-action scripted projects to an experienced jury as part of the In Development Kids programme.

Ideas ranged from an Irish surf school to a posh ladies’ academy, tackling issues such as fostering, political activism, gender and cultural diversity.

The session kicked off with Anarchy Anderson, produced

by Mosaic Entertainment (Canada), centred around 14-yearold Anarchy Anderson and her bid to become Lakeside High class president.

Canada’s Coconut Effect Productions pitched a show called Lady Ada’s Secret Society, ex-

ploring teenage rebellion and ingenuity in the face of gender expectations.

Next up, Australia’s Sublimate Entertainment presented Su-

per Huu, about a cello-playing Asian nerd who is also a born and bred Aussie boy blessed with super-powers and is caught between two worlds.

Coconut Effect brought their own props along to pitch Lady Ada’s Secret Society

MIPTV News 4 • 13 • 11 April 2019

bring the magic in. It’s important to keep the look and feel of the original toys.”

Playmobil: The Movie, which is due for release later this year, brings the classic toy to life through an exciting animated adventure which sees human kids turned into Playmobil figures.

An animated TV format is also in production, as is a range of new mobile device-ready content for tablet and smartphone devices.

Lars Wagner, executive board member at Playmobil, said that the modernisation of the brand had depended in a big way on bringing in new digital features to enable kids to “take Playmobil with them wherever they go”.

He said: “The portability of having the Playmobil brand on your mobile is essential. You can’t really take the whole Playmobil set wherever you go so having that mobile element is really important.”

Also appearing on stage at the session, which was chaired by Jesse Cleverly, creative director at Wildseed Studios, was Erik Wilstrup, founder and chief executive of animated film and TV-series producer Wil Film.

Produced by Ireland’s Magpie 6 Media Entertainment, The Strand was about a close-knit group of teens spending a special summer at an Irish seaside resort called The Strand.

Finally, Studio 100 from Belgium presented a comic series called Yalla! Yo!, about a streetcred obsessed Moroccan kid called Rachid living in Paris, with four white foster sisters.

The selection jury included Nina Hahn, senior vice-president international production & development at Nickelodeon; Nicole Keeb, head of international co-productions and acquisitions, children and youth, ZDF; David Levine, vice-president, programming, production and strategic development, Disney Channels EMEA; Luca Milano, executive director Rai Ragazzi; and Cheryl Taylor, head of content, BBC Children’s.

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International Emmy Kids Awards

THE INTERNATIONAL Academy of Television Arts & Sciences and Reed MIDEM once again showcased global excellence in children’s programming through the International Emmy Kids Awards held at the Carlton on Tuesday. The 28 nominees in seven categories came from 13 countries including Argentina, Brazil, Germany, the Netherlands, Singapore and Sweden. Presenting partners for this seventh edition of the event are TV Kids, E&Y and In Development KIDS. The evening was introduced by Bruce Paisner, president and CEO of the International Academy of Television Arts & Sciences, and Paul Zilk, president and CEO of Reed MIDEM.

Introducing the International Emmy Kids Awards ceremony: Reed MIDEM’s Paul Zilk (left) and The Emmy’s Bruce Paisner

Kop Op (Heads Together) by the Netherlands’ Viking Films/VPRO/Job, Joris & Marieke, won the Emmy in the Animation category. Pictured are: Joris Oprins (left), Marieke Blaauw and Job Roggeveen

The Berywam beatbox group wowed the crowd at the ceremony

MIPTV News 4 • 14 • 11 April 2019

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Hey Duggee from Studio AKA in the UK won in the Pre-School category. Pictured are: Studio AKA’s Sue Goffe (left) and Grant Orchard

The team from NRK/Bivrost Film & TV in Norway took the Digital award for Overgrep (Sexual Abuse Awareness Week). Pictured are: Marianne Mueller, Tonje Voreland, Stine Kuhle-Hansen, Ilze Burkovska Jacobsen and Trond Jacobsen

The Non-Scripted Entertainment category went to Fixa Brollopet (Marrying Mum And Dad) which was produced by Fremantle Sverige/Sveriges Television from Sweden

My Life: Born To Vlog, which features 12-year-old Nikki Lilly who has a rare, life-threatening condition, won the Factual award for the UK’s Blakeway North.

Pictured are: Miss Supranational, Valeria Vazquez (left), Nikki Lilly Christou, Launa Kennett, Alison Lewis and Sarah Murch

The award in the Series category was won by Globo Brazil’s Malhacao – Viva A Diferenca. Pictured are: Paulo Silvestrini (left) and Cao Hamburger and Berywam

The King Bert Productions team from the UK took the TV Movie/Mini-Series prize for Ratburger

MIPTV News 4 • 15 • 11 April 2019

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Epic swim highlights pollution

Ben Lecomte, environmental activist and ultra-endurance swimmer

“I’M JUST a regular guy,” long-distance swimmer and environmental activist Ben Lecomte said as he gave his MIPTV Keynote audience an exclusive first look at The Swim — a film in which this “regular guy” just happens to swim across the Pacific Ocean. “I swim where attention needs to be brought,” he said. “Right now, that needs to be our oceans.”

His mission is to raise awareness of ocean health, and in particular the amount of plastics humankind has dumped into the natural world. “We were all alarmed,” he said. “We found a lot of plastic near the Japanese coast, sure, but then 1,000 miles away, days and days out, we collected two or three pieces of microplastic every minute. It’s omnipresent.”

Lecomte started off swimming eight hours a day but then began to set distance goals when he wasn’t advancing as fast as he’d hoped. A team from NASA monitored his health, but aside from losing some weight, and some minor chafing from his wetsuit, physically he did not suffer. Nevertheless, he faced sharks, the prospect of typhoons and at one point cut his head on the boat’s propeller.

The challenge for the filming team was less epic, but still significant. It included uploading footage from the middle of the Pacific for the YouTube episodes, Facebook posts and web content, and protecting expensive equipment from corrosion, as well as living on a small boat for six months.

“We live in an era in which you

can tell stories in so many different ways. It’s happening in real time, how do we tell it from every possible angle and from social media to feature film?” said content company Group Nine Media’s Suzanne Kolb on the difficulties facing them and the producer, Nomadica Films.

AT THE Swim session, Reed MIDEM’s Lucy Smith announced the launch in 2020 of the first MIPTV Global Goals Media Compact Award to honour a media company, broadcaster or executive who has made a positive impact on the world.

In 2015 the UN launched its Sustainable Development Goals. Reed MIDEM has encouraged all media companies to sign up to the SDG Media Compact and commit to promoting these goals, Smith said.

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Seven Keys comes top of the class THE INAUGURAL MIPTV Student Pitch Challenge was won by Kateryna Kononenko, Delisa Hernandez, Catherine Marcy and Olga Kobzar from Regent’s University London for an ingenious reality/elimination game-show format that taps into one of the hottest social and entertainment trends of the day — the escape room.

An intriguing mix of unscripted and TV, Seven Keys sees seven contestants enter the mansion of an enigmatic, Great Gatsbyesque character called Frank. Frank is never seen, but his disembodied voice leads the contestants through a series of escape rooms, each thematically related to Frank’s mysterious backstory.

The new student-only pitching competition challenged media students from around the world to create a format, the best four of which were pitched to a jury 111_TAIPEI_N1_TV

of top entertainment executives.

The three other finalists were football talent-search League Of Dreams, created by Mateusz Mozak and Bartosz Bednarz of the Lodz Film School; intergenerational family game show Age On Stage, pitched by Andjela Zebic and Aleksandar Kalud-

jerovic of Belgrade’s Faculty of Dramatic Arts; and comedy animated scripted format Aperopolis, pitched by Clement Gournay and Eric Noto-Loubier from France’s Gobelins, l’Ecole de l’Image and CEEA. Kononenko said the team behind Seven Keys came from

MIPTV Student Pitch Challenge host, ‘Pitch Doctor’ Paul Boross (left), Regent’s University London’s Kateryna Kononenko and Delisa Hernandez, with jury chairman, Masterclass Cambridge’s John Gough

four countries with very different cultures. “We wanted to create something we could all be passionate about and that would unite us all,” she said. She added that the format was as much about storytelling as ‘escapology’: “Frank’s story can evolve over a series. His life is the arc of the actual format.”

The jury, chaired by John Gough, director of Masterclass Cambridge, was unanimous in its praise of the finalists’ creative and pitching skills, with Zig Zag Productions’ managing director Matt Graff saying the students had done “a better job” of selling their concepts than most professionals. League Of Dreams, he added, took the prize for best pitch, while Age On Stage would be the easiest show to distribute internationally. “And we thought Aperopolis was absolutely brilliant,” he said.

“But as the only scripted show in the final, it was hard to judge it against the other formats.”

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Perfect Monsters tops winning In Development drama projects

In Development Producer Pitch Finalists

IN FEBRUARY MIPTV and CANNESERIES unveiled 16 producer and writer-led projects that, together, represented the 2019 Official Selection of Cannes Drama Creative Forum, In Development.

This week at MIPTV, after a series of excellent pitches, three of the producer-led projects — Perfect Monsters, Black-Out and Ice Valley — were selected to be the recipients of financial awards from French investment

fund La Fabrique des Formats and independent European studio Federation Entertainment.

The three winners were revealed

by Federation Entertainment president Pascal Breton. Breton said his team had “read all the

‘The east European wave is coming’ EASTERN European TV makers and actors have an opportunity to shine in the global era, the producer of a ground-breaking new collaborative drama has said.

Speaking at a MIPTV event previewing upcoming drama The Pleasure Principle, the show’s producer, Apple Film Production chief executive Dariusz Jablonski, said eastern European TV-makers were in a superb position to “reap the benefits of the global era”.

“The new era gives us this possibility,” he said. “The Pleasure Principle is opening a wave where the talent we have in front of the camera and behind will have the opportunity to shine.

And the platform culture gives us endless possibilities.”

The Pleasure Principle is the re-

sult of an unprecedented international collaboration between TV-makers, scriptwriters, producers and actors in three different eastern European countries.

The show, set and filmed in Warsaw, Prague and Odessa, is a powerful psychological drama following a team of police officers and detectives from Poland, the

Apple Film Production chief executive Dariusz Jablonski

MIPTV News 4 • 19 • 11 April 2019

projects” and selected France/ Mexico collaboration Perfect Monsters as the one that they would like to co-develop, co-produce and distribute.

Set in Chihuahua, it focuses on a series of characters, including a schizophrenic boy who falls in with a dangerous arms dealer after his family is brutally murdered.

Breton named the winner of the second award, which will see La Fabrique des Formats support development, as Black-Out, the first high-end TV project from film director Nabil Ayouch.

An eight-hour series, BlackOut takes place on the border between Morocco and Spain’s North African enclave of Ceuta. It tells the story of a migrant crisis that occurs when a power outage disables the electrified barriers between the two territories.

The third award, offered jointly by Federation and La Fabrique des Formats, was granted to Nordic Noir drama Ice Valley. Set in a remote Norwegian Valley, it follows two students investigating the disappearance of their housemate. As they do, they uncover eerie mysteries and deaths connected to the area.

Czech Republic and Ukraine working together to solve a string of connected murders.

Speaking to delegates, Jablonski said: “This is a great time in TV especially in eastern Europe.

This is probably the first highend series to have been produced in these countries. Right from the beginning I was thinking about a project that would be able to be made by co-production.”

Written by Maciej Maciejewski, The Pleasure Principle is a joint production between Apple Film Production, Canal+ Poland, Czech Television and Star Media Ukraine.

Jablonski said: “In co-production you have to be open-minded and open to different cultural contexts. That helps you to create something that is understandable and universal.”

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Do research and have opinions but always ‘trust your writer’ RAN TELEM, head of international content development at Mediapro Group, believes that stories can travel, yet be locally specific.

Telem was speaking at a Creative Masterclass on international content strategies. As the former head of programming and content at Israel’s Keshet Broadcasting, he oversaw Prisoners Of War, the Israeli drama on which Showtime’s hit show Homeland was based, and has an exec producer credit — and a Primetime Emmy — on the US version.

Telem described his development process on Paradise, his forthcoming cop show for YLE: “Four of us went to Fuengirola, a small town near Malaga that has one of the highest ex-pat Finnish communities outside the US and Sweden. We interviewed the local chief of police and the publisher of the Finnish-language paper. Then we split up, wrote some material, came back together and told each other stories. Then we gave all the material to the

Mediapro Group’s Ran Telem

writer and off he went.”

He added: “No matter how many opinions there are, there can be only one pair of hands on the keyboard. Trust your writer.”

This is not, however, Telem’s typical MO: “We don’t always travel. We’re doing a series called The Head, set in the South Pole in winter. We spent two days in

a room, watched a lot of films and had a researcher tell us what it’s like to live there over winter.”

He said that Medipro is making 30-40 scripted productions this year. “It’s a big company, but it doesn’t feel like one,” he added.

“It moves fast and you don’t have to go through level upon level of approval.”

FIRST, PUT IT IN WRITING… IN A FAST-paced session on the legal rights and wrongs of development, entertainment lawyer Andrew Eborn of Octopus TV did card tricks, juggled toys and told jokes — all to show producers how and why they need to protect their copyright.

“The biggest mistake people make is not to put things in writing,” Eborn said. “While you’re all friends, it doesn’t matter. But when things go wrong, you’ll wish you had.”

Eborn took his listeners through the assignment of rights, chains of title and why the law firm you work for has no claim on that screenplay you wrote in your lunch hour that went on to become a hit show on Netflix.

“Put copyright notices on all the materials you send out and ‘submitted in confidence’ on every email,” Eborn said.

“And never forget that the only people who benefit from litigation are lawyers.”

Octopus TV’s Andrew Eborn

The race to be the ‘Netflix of podcasts’

Majelan’s Mathieu Gallet: working with TV producers

VIRGINIE Maire and Mathieu Gallet of, respectively, French podcast platform startups Sybel and Majelan issued a joint call for creative talent at yesterday’s Podcasts: El Dorado For The Scripted Scene?

“We make our own productions,” Gallet said, “but we’re also working with TV producers.

Most of the independent producers in France are now interested in the podcast ecosystem.”

Podcasts are exploding in popularity and are changing everything from investigative reporting to branded content to

car design, said Benoit Dunaigre of HRCLS in his overview of the sector. “Podcasts and audio are often cited as the most trustworthy medium of communication — it’s an intimate medium,” he said. “The podcast is specifically adapted to our modern lifestyle: connected, multi-tasking and constantly on the go.”

The creative and financial possibilities of the medium are now tempting companies such as Spotify to invest heavily in producing content in an attempt to become the “Netflix of podcasts”. Maire said her compa-

MIPTV News 4 • 21 • 11 April 2019

ny had recently raised €5m, of which €2m was earmarked for content, and 20% of that for original productions. It had chosen a subscription model for its mix of scripted fiction for both adults and kids, while Majelan was a freemium service.

All the panellists — including Universal Music’s Michael Grassi, who said that owning the IP was very important to his company — agreed that the best business model in this fledgling industry was still to be decided.

Both Sybel and Majelan offered comprehensive data that would allow producers to measure audiences and monetise content.

Now all they need is good scripts.

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news

YTV and Endemol Shine on a roll with Rolling Kitchen show YOMIURI Telecasting Corporation (YTV) has signed a deal giving Endemol Shine exclusive global distribution rights for a popular Japanese cookery format that sees couples collaborate to create dishes under pressure.

The show, The Rolling Kitchen, is a fresh twist on the cookery competition, in which pairs of contestants create dishes independent of each other, taking over the other’s recipe mid-way through when the kitchen spins round 180 degrees every 10 minutes.

The final results are then judged by a panel made up of a celebrity chef, a food writer and a comedian.

The Rolling Kitchen was first aired in Japan in September

last year and was an instant hit.

Now Endemol will embark on a global distribution drive, and is seeking producers to adapt the format for local audiences.

Kana Sasaki, general manager of YTV’s content business department, is in Cannes to celebrate the deal with Endemol, which has chosen this year’s MIPTV to launch the format.

Sasaki said: “There is a lot of interest from international companies for this format. It’s a unique concept within cookery shows. We had lots of interesting conversations at MIPCOM last year, and now we are excited to have signed a deal with Endemol to distribute it.”

YTV’s Kana Sasaki

Monster lands first-time deal with Flying Pig WOWWOW Rolling Friends (26 x 11 mins), a children’s series that solves problems by creating imaginative block toys, has signed a global content distribution contract with European distributor Monster Entertainment.

This is the first expansion into global broadcasting and content markets for the innovative animation series created by South Korea’s Flying Pig production studios.

“We are very happy that we are going to have WowWow Rolling Friends in our catalogue, and we are launching this series at MIPTV,” Ania Rozenszprung-Clinton, head of sales and acquisitions at Monster Entertainment, told MIPTV News.

She added: “It’s the first animation series in the catalogue that we have from Korea so it’s something very special for us.”

Monster Entertainment has developed strong global partnerships with the BBC, NHK, Germany’s ZDF and Canal

Plus, among others, across 20 years, and has sold the animated series The Day Henry Met in more than 200 countries around the world.

“It’s our first international distribution contract, so we are very

excited,” said Se Ran So, project manager at Flying Pig. She added that WowWow Rolling Friends is a storytelling-themed children’s show that helps threeto-five-year-olds develop creativity and problem-solving skills.

Monster’s Ania Rozenszprung-Clinton (left) and Flying Pig’s Se Ran So

MIPTV News 4 • 23 • 11 April 2019

TENTIME SET FOR PAN-ARAB STREAMING TENTIME, a pan-Arab streaming platform that will dub and/or subtitle all its international shows, has been in high profile at MIPTV before its official launch on April 27 in the MENA (Middle East, North Africa) region.

The platform will offer a variety of TV channels, including an exclusive Arabic-language music channel, said Mira Mawad, TenTime’s marketing and chief product officer.

“It has the biggest collection of international movies and shows, dubbed or subtitled in Arabic, with future plans of having our own original productions,” she said.

“There are pan-Arab networks fulfilling that role, however, there is no platform offering totally dubbed international content.”

The service will be targeted at Arabic-speaking audiences in the MENA territory and the rest of the world, Mawad said. The venture is being unveiled now because the company felt it was time for a global entertainment service aimed at Arabic-speaking people on a worldwide basis, not just the MENA market alone.

“We chose MIPTV as our international introduction because we believed it will bring us to all the major content distribution companies and offer a variety in movies, series, and other TV shows.”

TenTime’s Mira Mawad

CANNESERIES juror Katheryn Winnick

Lauren Versnick, star of Studio Tarara

MIPTV News 4 • 24 • 11 April 2019

news

Jessica Lucas, star of APC’s The Murders

Stars of Belgian series Studio Tarara

Stars and behind-thecamera talent walked the pink carpet for six nights during the CANNESERIES festival. The MIPTV News photographers look back over the week

Actor Paulina Miel

Director and cast of Vernon Subutex

Facing the press at CANNESERIES

MIPTV News 4 • 25 • 11 April 2019

news

SCENARIO AND MAYA SEAL MUGHAL DEAL SCENARIO Films is in Cannes with a new co-production dramatising the life and times of the Mughals and is looking for broadcast and finance partners.

The Mughals were one of the oldest, richest and most vibrant dynasties the world has known, ruling over India from the 16th century until the colonial era and the British Raj, building the Taj Mahal and many of India’s other historic splendours.

Scenario Films has been working with India-based Maya Movies developing and writing the 10 x 60 mins series and this week signed a formal co-production agreement. “The moment had come for the deal to be formalised and the project to move ahead,” producer Mamta Kaash of Scenario Films said.

The tale promises a blend of epic landscapes, lust, power, political intrigue and ambition that the producers hope will appeal to fans of shows such as The Tudors and Rome.

Maya Movies, led by writer/ director Ketan Mehta, will bring extensive local experience to the task of filming a script loaded with battles, elephants and harems, and the production will benefit both from a UK tax base and Indian production costs.

Mamta Kaash, Scenario Films

Taiwanese firms in Cannes to forge links with global market BUSINESS has been brisk at MIPTV’s Taiwan pavilion. “We brought 11 companies to MIP this year,” said Gillian Lu of Taiwanese Media Producers Association (TMPA). “Most are producing drama, formats, food programmes and animation.

They have all been very busy and find it a good way to understand the global marketplace.”

Key properties mentioned by Gary Lin, chair of the TMPA, include Trapped (10 x 60 mins), from Chocco TV (recently bought out by Line TV).

Trapped is a drama series about the touching love between two men, one a cop and the other a gangster.

Home Chef (17 x 60 mins) from Da Chao TV sees famous TV host Adam visit viewers at home and learn their techniques for traditional Taiwanese cuisine.

The Rope Curse (1 x 90 mins) is a horror movie from Wow Inc

in which a media-savvy young man livestreams from work, and is haunted by an evil ghost.

Derrick Wu, CEO and producer from Magic 9 Productions, has had a lot of interest in his educational animation HeavenKid (26 x 12 mins). “It’s about a boy

with magic powers. It’s based on ancient Chinese poem, and it re-interprets ancient wisdom on positive social values for modern viewers. That’s one of the things Magic 9 is good at,” he added.

“Re-interpreting traditional values for today’s children.”

TMPA ‘s Gillian Lu (left) with Magic 9 Production’s Derrick Wu

Toei reboots back-catalogue gems YUSEI Nagamatsu, senior manager, international sales and acquisitions, Toei Company has been in Cannes this week promoting the reboot potential of this company’s classic catalogue.

His efforts paid off with a deal to remake superhero franchise Jaspion in Brazil.

“We have done a deal with Brazilian studio Sato, which will remake superhero franchise Jaspion as a live-action movie,” said Nagamatsu. “We hope it will appeal to audiences in North and South America.”

Nagamatsu told MIPTV News that reboots are a good strategy for Toei “because we have a large catalogue of shows, many of which have fanbases around the world. Jaspion makes sense for Brazil, because the property

is well known there. But we also have series like Message From Space, Daltanious and Robocon — which have established fanbases in France, Italy and Hong Kong respectively.”

Because Toie controls its prop-

Toei’s Yusei Nagamatsu

MIPTV News 4 • 26 • 11 April 2019

erties 100%, the company can be flexible about the format of a reboot: “Live action, animation, film, TV, straight to video, Netflix Original — any outlet is possible.

And everybody is looking at reboots because they reduce risk.”

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