MIPTV 2013 PREVIEW by MIPMarkets

MARCH 2013

www.miptv.com The ofﬁcial MIPTV magazine

preVieW WORLD PREMIERE TV SCREENING

MEDIA MASTERMIND KEYNOTE

Da Vinci’s Demons

Sophie Turner Laing

Felix Baumgartner & Red Bull Media House

SEE PAGE 60

SEE PAGE 18

SEE PAGE 16

Also inside: • MIPTV’s 50th anniversary • MIPCube 2013 • UN envoy Gordon Brown • 4K by Sony • Discovery’s David Zaslav • Cannes screenings • The Producers’ Hub

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EDITORIAL

Dear friends

ELCOME to this Preview magazine, introducing you to a very busy and exciting event as we celebrate MIPTV’s 50th anniversary. This year we are expecting well over 11,000 participants, including 4,000 buyers, of which over 700 are VOD and digital buyers. 50 is a very special birthday and on behalf of Reed MIDEM, I want to thank past and present attendees for your support of the show and for your contribution towards making MIPTV evolve and grow into the leading international market it is today. Launched in Lyon in 1963, the concept of MIPTV was both pioneering and visionary. It set out to create an international market for television programming at a time when such a market simply didn’t exist. MIPTV has always been about looking forward. From its early introduction of an International Co-Production Office in 1967, to the more recent development of MIPCube — bringing together start-up companies, tech specialists, brands, agencies and producers of content for all screens — the event’s mission has been to look to the future, anticipate trends and provide an international platform for the new players entering the market. While the original MIPTV concept has grown and diversified over the past half century, the most important facet remains unchanged. In short, it’s the huge enthusiasm of talented people and their willingness to share and exchange this passion for TV with friends and peers from around the world. At the end of the day, that’s where great television comes from. In this issue, you can discover the many highlights of this very special edition of MIPTV. I hope you find it an enjoyable and instructive read and look forward to seeing you all in Cannes to celebrate a great industry. See you very soon in Cannes!

Laurine Garaude Director, Television Division, Reed MIDEM 6I

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COntents i nEWs

Including interviews with keynote speakers; MIPCube; United Nations at MIPTV; MIPTV’s 50th anniversary; 4K comes to Cannes; and more

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Da Vinci’s Demons is the MIPTV World Premiere TV Screening

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Content for sale in Cannes

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i features A NEW TYPE OF AUDIENCE How the TV audience has evolved from a passive to an active group of consumers; how to produce for this new kind of ‘active’ consumer; monetising the new content ecosystem. By Juliana Koranteng

MEET THE BUYERS Gary Smith asks buyers how 2012 had gone for them, and what their priorities are for MIPTV 2013

DRAMA Andy Fry reports on the resurgence of a genre that is now attracting creative talent of the highest calibre

CO-PRODUCTION Andy Fry looks at the latest trends in factual co-production

BRANDS The number of brands actively involved in producing both long- and short-form content is growing rapidly. Gary Smith reports

50 YEARS OF MIPTV 96 From Lyon to Cannes; from cans of ﬁlm to online distribution. Julian Newby charts 50 years of the market

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93 miptv preVieW The ofﬁcial MIPTV preview magazine March 2013. Director of Publications Paul Zilk Director of Communication Mike Williams EDITORIAL DEPARTMENT Editor in Chief Julian Newby Technical Editor in Chief Hervé Traisnel Deputy Technical Editor in Chief Frédéric Beauseigneur Graphic Designer Carole Peres Sub Editor Joanna Stephens Deputy Editor Debbie Lincoln Contributors Andy Fry, Juliana Koranteng, Gary Smith Editorial Management Boutique Editions PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Co-ordinators Nour Ezzedeen, Emilie Lambert, Amrane Lamiri Production Assistant, Cannes Office Eric Laurent Printer Riccobono Imprimeurs, Le Muy (France) MANAGEMENT & SALES TEAM Director of the Entertainment Division Jérome Delhaye Director of the Television Division Laurine Garaude Director of Market Development Ted Baracos Sales Director Frédéric Vaulpré Conference Director Lucy Smith Marketing Director Stéphane Gambetta Programme Director Tania Dugaro Director of the Buyers’ Department Bénédicte Touchard Sales Manager Europe excluding Scandinavia & Eastern Europe, Buyers Cyriane Accolas Sales Manager Latin America, Middle East, Africa, Buyers Andry Ramilia Sales Manager Eastern Europe, Oceania, Asia excluding Japan & Korea, Buyers Yi-Ping Gerard Managing Director (UK / Australia / New Zealand) Peter Rhodes OBE Sales Manager David Hedges Vice President Sales and Business Development, Americas Robert Marking Sales Director Latin America José-Luis Sanchez Vice President Business Development, North America JP Bommel Sales Executive Panayiota Pagoulatos Sales Managers Paul Barbaro, Nathalie Gastone Regional Sales Director Fabienne Germond Sales Executives Liliane Dacruz, Cyril Szczerbakow Sales Manager Samira Haddi Digital Media Sales Manager Nancy Denole New Media Development Manager Bastien Gave Australia and New Zealand Representative Natalie Apostolou China Representatives Anke Redl, Tammy Zhao CIS Representatives Alexandra Modestova, Igor Shibanov English Speaking Africa Representative Arnaud de Nanteuil India Representative Anil Wanvari Israel Representative Guy Martinovsky Japan Representative Lily Ono Middle-East Representative Bassil Hajjar Poland Representative Monika Bednarek South Korea Representative Sunny Kim Taiwan Representative Irene Liu Germany Representative (Digital Media Sector) Renate Radke Adam Reed MIDEM, a joint stock company (SAS), with a capital of €310.000, 662 003 557 R.C.S. NANTERRE, having offices located at 27-33 Quai Alphonse Le Gallo - 92100 BOULOGNE-BILLANCOURT (FRANCE), VAT number FR91 662 003 557. Contents © 2013, Reed MIDEM Market Publications. Publication registered 1st quarter 2013. ISSN 1963-2258. Printed on 50% recycled paper ®

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nEWs MIPTV 50 YEARS ANNIVERSARY

A market for programmes? They said I was crazy!

Bernard Chevry: “They said I was crazy”

IPTV is 50 years old. The market launched back in 1963 as part of the Lyon Fair, with just 327 delegates attending. With Cannes considered more appropriate for the event, it moved to the old Palais — originally designed for the Film Festival — for its second edition. An annual event since then, MIPTV has grown to accommodate some 12,000 people, and spawned sister event MIPCOM which matches MIPTV in size each year. “The programming people took me for a visionary,” said Bernard Chevry, founder of MIPTV and its parent company the MIDEM Organisation. “They hadn’t yet perceived the future of television even though the engineers, for instance — who were already working on colour — could understand why I wanted to organise a trade fair.” He added: “They said I was crazy. Nobody in the programme business thought there was any need for a trade fair.” 12 I

Xavier Roy: “I was in the right place at the right time.”

Paul Zilk: “A never-a-dull-moment industry”

Few have attended every MIPTV from the start, but industry veteran Reiner Moritz is one who has. “Television was in its infancy. You had no mobile phone, tape had just been invented, nobody knew anybody,” said Moritz, who was head of sales at the Beta group of companies when he attended the ﬁrst MIPTV. “So Bernard Chevry had the great idea, in this young and blossoming industry, to create a get-together. It was the ﬁrst time ever that you were all talking to each other in a very relaxed way.” MIDEM’s international director, Xavier Roy, took over from Bernard Chevry as president of the Organisation in 1989 — just ahead of the multichannel explosion which changed the industry forever. “I was in the right place at the right time when I became president, because I was able to take advantage of that and watch the company grow as a result,” Roy said. Paul Zilk, joined what became the Reed MIDEM Organisation as managing director in 2001, and was named CEO in 2003. The

years that followed saw further radical change. “Today MIPTV is more sophisticated, larger and with a broader geographic and sectoral diversity,” Zilk said. “The impact of digital distribution and consumption has brought the most important transformation to MIPTV in recent years.” He added: “The continuous evolution of the business, together with the increasingly diverse range of programming being produced and distributed makes this a never-a-dull-moment industry.” All MIPTV delegates are invited to celebrate 50 years of MIPTV at the Opening Night Party on Monday, April 8 at the Hotel Martinez, sponsored by the EU MEDIA programme. An invitation-only MIPTV 50th Gala Dinner takes place on Wednesday, April 10, and is exclusively sponsored by CCTV. Sony Corporation is global partner of the MIPTV 50th anniversary.

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Read the history of MIPTV, page 96

i nEWs SESSIONS OFFER VISION OF THE FUTURE MIPCUBE’s programme of panels, talks and screenings paints a comprehensive picture of how the industry is evolving to satisfy the demands of the new consumers. The Monday, April 8 line-up includes a screening at 10.45 showing successful examples of YouTube channels around the world. The following day at 9.45 there’s a choice: you can hear from Twitter’s Dan Biddle (@danbiddle) on how to build and engage an audience of users; or from Machinima’s Philip Debevoise and SB.TV’s Jamal Edwards on building a loyal and invested audience. On Tuesday afternoon sessions include a MIPCube Talk from New Media Moguls Andrew Creighton of VICE Global and Scott Dikkers, founding editor of The Onion, who will give insight as to what tomorrow’s media business will look like. During a MIPCube Talk on Wednesday, April 10 at 10.15, called Brands: The New Commissioners, brand leaders and experts talk about generating user engagement and producing marketable content from a brand perspective. Another Wednesday highlight is the MIPCube Innovation Show Snack & Screen, featuring the winners of all the MIPCube competitions. SB.TV’s Jamal Edwards

MIPCUBE

Packed MIPCube programme will focus on ‘new audience of users’

OLLOWING its launch at MIPTV last year, MIPCube has now been fully integrated into MIPTV, bringing its mission to “re-invent the content experience” into all areas of the annual Cannes event. During the MIPCube conference tracks, speakers will discuss how the transformation of viewers to users is changing the way entertainment is produced, experienced and financed. The discussions will focus on how to create, engage and monetise an audience that has changed from one of viewers to users. More practical manifestations of these three themes can be experienced during MIPTV at the MIPCube Square inside the Palais des Festivals. MIPCube Square is a matchmaking space and a forum for the exchange of ideas through seminars and pitching sessions. Another feature of this year’s MIPCube is the Brands & Content Masterclass, with partner Hyper Island, a three-hour high-profile workshop where key players in the fields of branded entertainment and branded content meet to share ideas and some of the practical manifestations of their work. The MIPCube competitions will serve to highlight creativity in the new content ecosystem. MIPCube Lab is an international competition to spotlight startups adding value to the video

Just Magine if TV was invented today STOCK HOLM-based Magine is Global Innovation Partner for this year’s MIPCube. Magine is creator and supplier of a delivery system that enables channels and operators to offer content on any device at any time. Magine founder Mattias Hjelmstedt said the company wanted to be a part of MIPCube “because we love TV!”. But, he added: “We have become more and more concerned by the distribution form of TV. Unlike its online competitors TV isn’t “user friendly”. These days, to have a screen stuck in the wall that doesn’t allow you to watch what you want when you want, is no longer acceptable to consumers.” Two years ago Hjelmsted brought together a team of pay-TV professionals and internet 14 I

entrepreneurs to ﬁnd the answer to the question: ‘If TV was invented today, what would it look like?’ What we came up with was a totally new concept; enhancing the best of the multichannel TV: dummy-prooﬁng viewing of all TV content, linear TV, timeshift and catch-up TV in a way that helps you access and explore all the great content that TV channels can offer,” Hjelmstedt said. Magine’s principal partners in all markets are the broadcasters. “But as our service is something totally new, both from a technical standpoint and a unique user experience, MIPCube, as an integral part of MIPTV, is the ideal place to meet and discuss with all industry players:

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industry. MIPCube Lab is a series of startup competitions with a “double crash-test” element, where projects are put in front of not only ﬁnanciers, but also potential industry clients. The Brand Of The Year Award, previously won by American Express (2011) and Heineken (2012), in partnership with Fast Company’s Co.Create, rewards brands and agencies for the creation and strategic use of video in branded entertainment. Content 360, sponsored by Russian broadcaster CTC Media and Russian/CIS telecoms group MTS, is geared towards ﬁnding the creative producers of tomorrow. MIPCube’s TV Hack, powered by BeMyApp, is a two-day event that brings developers, designers and industry professionals together to create the next generation of video entertainment applications. At the MIPCube Matchmaking sessions digital creators present their projects and get the chance to meet with broadcast heads of digital, digital producers and branded content experts. On the Sunday before MIPT V opens, MIPCube Plus — “The ultimate think tank for key players in the TV and online content ecosystem” — brings together leaders from every industry segment around the world for high-level exchanges focusing on the business opportunities for new content creation, user engagement and monetisation models.

Mattias Hjelmstedt: “… because we love TV!”

broadcasters, production houses and other innovation ‘techies’,” he added. “The MipCube/ MIPTV environment is as such the perfect place to launch Magine.”

i nEWs RED BULL MEDIA HOUSE

I’m going home now… was in awe and tweeted: “Congratulations to Felix Baumgartner and @RedBullStratos on a record-breaking leap from the edge of space!” RBMH’s production and communications team ensured it became the most-watched live stream in history, a Top 10 mostviewed YouTube video, and seen by 195 million-plus viewers on TV, online and video-on-demand services. Koppel, who oversees the distribution of original content for RBMH’s media platforms, from broadcast TV, online video channels, to a record label and mobile app games, said: “With this and other projects, we are aiming to be a part of today’s media revolution, a leader by innovating content development and to inspire audiences.” Baumgartner added: “Red Bull has been a true partner in helping me achieve my goals. I think we’re a good fit; we share a dedication to exploration and progression.”

The Red Bull Stratos Experience, a MIPTV Media Mastermind Keynote, takes place on Tuesday, April 9

Felix Baumgartner jumps from outer space as he speaks the immortal words: “I’m going home now…”

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THE COOLEST keynote double act at MIPTV 2013 has to be Alexander Koppel, of Red Bull Media House (RBMH), and Austrian skydiver extraordinaire Felix Baumgartner. The two will explain how RBMH contributed to aeronautical history and established its credentials as one of the world’s fastest growing global multi-platform media companies. On October 14, 2012, RBMH coordinated the international communications for, and produced content related to, Red Bull Stratos – Mission to the Edge of Space, arguably 2012’s biggest media event. Red Bull literally gave wings to Baumgartner’s life-long ambition to become the only human to break the speed of sound in free fall, no mechanical assistance whatsoever. Dressed in a specially created spacesuit, Baumgartner leaped from a space capsule floating at the edge of space 24 miles above Earth, and tumbled at the supersonic speed of 843.6 miles per hour, spinning at up to 60 revolutions per minute, before parachuting to safety. And he lived, ensuring RBMH had one of the most astonishing media stories to tell last year. Even NASA, which sent the first human to walk on the moon in 1969,

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Pilot Felix Baumgartner and technical project director Art Thompson celebrate after successfully completing the final manned flight for Red Bull Stratos in Roswell, New Mexico, USA on October 14, 2012

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i nEWs SOPHIE TURNER LAING

Out from the trenches The 50th MIPTV is the 30th for Sophie Turner Laing, Sky’s managing director of content. And she tells Julian Newby that she’s enjoying the business as much, if not more, than she was 30 years ago

Sophie Turner Laing: “It’s time to get back to basics”

OPHIE Turner Laing gives a Media Mastermind key note at MIPTV this year. Her appearance on the Cannes stage follows BSkyB’s acquisition of Parthenon Media in an estimated £16m ($25m) deal last year, that provides the foundation for the establishment of an international distribution business on the back of the company’s growing investment in original programming. “We’ve increased investment in original commissions and distribution is now an area where we have to be,” Turner Laing said. “Previously we had three areas of excellence, sports, movies and news, and we were leading the way in those. But our entertainment offer had been a bit sporadic. There were some highs but it was inconsistent. Then Stuart Murphy came on board [as director of Sky’s entertainment channels, in April 2012] and we started to get serious.” Murphy’s appointment came just before the departure of James Murdoch: “James had been the biggest supporter of our decision to move in this direction,” she said. The 50th MIPTV is Sophie Turner Laing’s 30th and while she says she always prefers doing her job than talking about it, this year she’s keen to take the opportunity to set out Sky’s plans for the future and to “debate the industry” with colleagues. “It is like coming full-circle, 18 I

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having been at Henson and then HIT — and Carl [Hall, Parthenon founder and CEO] having been with me for part of that journey,” she said. “They call you a veteran, which makes it sound like you were in the trenches — but then the Palais in 1982 was a bit like the trenches.” Turner Laing plans to focus on creativity for her Media Mastermind keynote presentation. “I started my professional life working with one of the most creative geniuses in the world, Jim Henson. The worrying thing today is that we spend a lot of time at the markets talking not about creativity, but about rights. It’s time to get back to basics. TV today is as good as its ever been and I think pay TV has got a lot to do with that. Our customers spend a lot of money with us so we have to deliver ﬁrst-rate content that is different from the freeto-air offering. You have to be brave, you have to take risks, and deliver an experience that doesn’t feel like the small screen.” She added: “HBO is good role model to follow — take people to environments and places they have never seen before.” Even after 30 years Sophie Turner Laing is as passionate about the business as she ever was. “Probably more,” she said. “I’ve been incredibly lucky, to be working in an industry that is ever changing — no way is tomorrow the same as today. Working for Sky the next hour is never the same. Sky is a great combination of content and technology — there is nowhere I would rather be than here. I love the DNA of Sky, the Australian genes — the attitude that you just get on with it. It’s very invigorating. We are encouraged here to believe there is no limit — just go for it! It is very liberating.” Sophie Turner Laing’s Media Mastermind keynote is at 16.30 on Monday, April 8

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i nEWs DAVID ZASLAV

It’s a great time to be in TV AS PRESIDENT and CEO of Discovery Communications, David Zaslav oversees all operations of a company that reaches more than 1.7 billion subscribers. He spoke to Julian Newby ahead of his MIPTV Media Mastermind keynote address

AVID Zaslav took the helm at Discovery at the start of 2007. One year later it started trading as a public company and has delivered double-digit growth year-on-year since then. He has also overseen the rollout of TLC, OWN, in partnership with Oprah Winfrey, The Hub in partnership with Hasbro, and 3net, the 3D network, with Sony and IMAX. And Zaslav said the climate is right for continued growth.

“Viewers are watching more television in the traditional sense than ever before”

“It is a great time to be in the TV content business,” he said. “Viewers are watching more television in the traditional sense than ever before, and, at the same time, consuming more and more content online, on tablets and on mobile devices. This is great news for programmers like Discovery. There are more distributors that want our programmes, more opportunities to monetise content on different platforms and in different windows, and more options for viewers to access our shows when and where they want them.” But he added that new technology can be “disruptive” and that the company is vigilant as to its effects. “Evolving viewing habits, like the growth of time-shifting and TV Everywhere, will certainly change some of the ways we do business. Overall, however, when it shakes out, great storytelling and strong brands will always ﬁnd an audience, which is positive news for Discovery and other content providers.” 20 I

So according to Zaslav television riding out the tough economic climate. So is it resistant to all economic pressures? “I would never say television is recession-proof — certainly advertising sales are impacted by the ups and downs of the economy — but, in general, I think television is such a central part of people’s lives that it is not viewed as a luxury to be given up when it is time to tighten their belts.” David Zaslav has introduced a number of “green” initiatives since he took over at Discovery, both with content and corporate strategy, although he says sustainability has been at the company’s core from the outset. “Protecting, preserving and celebrating our planet have been part of Discovery’s DNA for nearly three decades when our founder and chairman, John Hendricks, ﬁrst had the idea for a channel dedicated to satisfying curiosity and showcasing the world we live in,” he said. “It continues today with tentpole programming events like Planet Earth and our new landmark series North America coming later this spring.” And the company embraces these core values in its business practices too. In general, I think the media industry is a leader in this area, but there is always more we can do. One of the initiatives we are most proud of at Discovery is our annual Discover Your Impact Day of global employee volunteerism, where our employees around the world step out of the ofﬁce for a day to give back to the people and environment in their local communities.” In his keynote address, Zaslav will focus on the key elements that make good factual programming. He will also touch

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on viewer loyalty. “Having hit shows is important, but establishing your brand as a trusted destination is critical. At Discovery, we have also leveraged social media and ‘live’ programming events as opportunities to reward live viewing, which has been very successful.” A recent example is Oprah Winfrey’s interview with Lance Armstrong, which drove record viewership on OWN and was simulcast in over 100 countries on our networks around the world. “No other media company can deliver such a global viewing experience.”

David Zaslav, president and CEO of Discovery Communications

David Zaslav’s keynote speech is at 16.30 on Tuesday, April 9

EVERYONE TURNS US ON

Our formats deliver what they promise: bold, captivating entertainment that audiences can’t get enough of. We have a special chemistry with our viewers and it’s getting more passionate by the day.

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i nEWs DRAMA CO-PRODUCTION SUMMIT

MEDIA MASTERMIND KEYNOTE

BBC’s Stephenson has a lesson for co-producers

‘WE’RE ON THE PRECIPICE OF SOMETHING VERY EXCITING’

Ben Stephenson: “Britishness sells magnificently around the world”

BBC CONTROLLER of drama Ben Stephenson gives the opening speech at MIPTV’s second annual Drama Co-Production Summit on Monday, April 8 — and the following day will take part in a MIPTV Creative Talk on the relationship between commissioners and producers. Stephenson’s believes one of the key functions of television drama is to foster channel loyalty. “That’s why you are seeing other channels now investing more in drama, because they know that it can bring you great loyalty, and a great reputation as well as bringing you great audiences,” he said. And he believes that the competition the BBC currently faces can only be a good thing. “You want to be the best. And when a rival broadcaster has a big hit show, it inevitably makes us want to raise our game. I think where competition is unhealthy is where you try and steal people’s talent in order to have a quick hit.” Acquiring great work is another matter however, and the BBC has won big audiences by bringing Scandinavian talent to British screens with The Killing, Borgen and The Bridge. But Stephenson is adamant that, while the US, Scandinavia and other territories are enjoying great success with drama exports, he’s not tempted to mimic. “We have to love what we do,” he said. “I fundamentally believe that the BBC is a British company that looks internationally. If you look at the shows that have worked in this country but have become huge hits abroad — like Sherlock for example, and Downton Abbey for ITV — these have been produced entirely for a British audience. And yet that Britishness sells magniﬁcently around the world. If you look at the success of Sherlock in America, that’s a lesson for co-producers: the lesson is be yourselves, be what you are. Make the piece the best it can be and believe that our cultural values are going to be so strong that the rest of the world is going to admire them, just as we’re going to admire their content.” Ben Stephenson’s speaks at the MIPTV International Drama CoProduction Summit on Monday, April 8 at 15.00, and takes part in a MIPTV Creative Talk on Tuesday, April 9 at 11.45 22 I

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ENTERTAINMENT One president and CEO Darren Throop gives a Media Mastermind Keynote at MIPTV this year. His appearance on the Cannes stage comes just six months after the announcement of eOne’s acquisition of Alliance Entertainment. EOne has been in high profile at MIPTV and MIPCOM in recent years, regularly bringing the stars of its ever expanding roster of television drama to Cannes, underscoring the importance of talent in genre where competition and range have never been greater. At MIPTV Throop will be accompanied by British actress Thandie Newton (Crash, Beloved), star of eOne’s latest drama series, Rogue. Throop said that the climate is good for a company like eOne right now, particularly with the new platforms that are fast becoming established around the world. “In every territory that we’re in — in fact every territory in the world — there is a high demand for original programming. Each one of these new entrants needs the same thing, which is exclusive content. And as a producer with an international sales arm, it gives us access to all the

new market entrants and it really is a golden age for television, and for original programming.” He added: I think we’re on the precipice of something very exciting.” Throop cited Netflix’s Kevin Spaceystarrer House Of Cards as an example of how the new platforms are thirsty for original, first-window content. “Whether they are originating it themselves or acquiring international rights from producers such as ourselves, we are seeing a demand in the marketplace that quite frankly wasn’t there 12 months ago. “The reason we are seeing such a demand from people like Netflix, LoveFilm, Hulu, all of the different digital platforms, whether they’re subscription-VOD, or OTT solutions, is because there’s a real land-grab going on for the eyes of the consumer,” Throop said. “They are trying to build a market that is sustainable and habitual and to do that they need programming that is unavailable anywhere else. And they’re trying to do that before more new entrants come into the marketplace — and they will — and start going for those audience dollars as well.”

Darren Throop: “There’s a real land-grab going on”

Darren Throop’s Media Mastermind keynote address is at 11.40, on Monday, April 8

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i nEWs NEWS IN BRIEF

THE PRODUCERS’ HUB

THE CREATORS’ MASTERCLASS

Stars gather in Cannes to reveal the mysteries of Hemlock Grove

THE CREATOR’s Masterclass on April 8 features writer, director and producer David Goyer, whose credits include the screenplays for Christopher Nolan’s Batman Trilogy, as well as the upcoming movie Man Of Steel, for which he is expected to bring the same gritty approach to the story of Superman as he did to the caped crusader. During the Masterclass Goyer will share his insights on the MIPTV World Premiere Screening, Starz Entertainment’s Da Vinci’s Demons, brought to Cannes by BBC Worldwide and for which Goyer is writer and showrunner. Goyer speaks of a number of similarities between Batman and Da Vinci (see page 25): “Bob Kane who invented Batman based the designs of Batman’s cape on Da Vinci’s glider,” he said. “So he cited Da Vinci as being one of the leading influences for Batman.” David Goyer’s Creator’s Masterclass Auditorium A at 10.05, Monday, April 8

HE PRODUCERS’ Hub is a programme for commissioners, producers and creators, offering meeting space, matchmaking events, workshops, co-production case studies and masterclasses. The Hub includes a lounge and meeting area situated on level three of the Palais, and a conference space — Auditorium A — where delegates will hear from leading on- and off-screen talent from around the world. As part of the programme, Gaumont International Television is hosting a Coproduction Case Study on the series Hemlock Grove. Gaumont has par tnered w ith

Bill Skarsgard

Eli Roth

director and producer Eli Roth (Hostel, The Last Exorcism) for the 13 x one-hour series that premieres on Netﬂix, April 19. Hemlock Grove tells the tale of a once vibrant and now struggling community following a mysterious death. It stars Famke Janssen (GoldenEye, X-Men) and Bill Skarsgard (Simple Simon, Anna Karenina) who will join Roth and Gaumont International Television CEO Katie O’Connell on the panel, where they will discuss how they brought the series to the screen. The Hemlock Grove Co-production Case Study takes place at 15.00, on Tuesday April 9, in Auditorium A in the Palais des Festivals

Famke Janssen

Katie O’Connell

CO-PRODUCTION MASTERCLASS

Star Thandie Newton joins Rogue panel David Goyer

DRAMA CO-PRODUCTON SUMMIT AT THE MIPTV International Drama Co-production Summit some sixty invited commissioners, producers and deal brokers from around the world who are involved in co-production at its highest level, will share plans and opportunities in international co-production during three hours of networking, from 15.00 on Monday, April 8. Participants include: Starz’ Carmi Zlotnik; ITV’s Maria Kyriacou; BBCWW’s Ben Donald; Tandem’s Rola Bauer; France Televisions’ Sophie Gigon; HBO’s Anthony Root; and Sundance Channel’s Christian Vesper. 24 I

THE PRODUCERS’ Hub brings you the opportunity to meet the cast and crew from Canada-UK co-production Rogue. The Coproduction Masterclass will feature’s the series’ star Thandie Newton, eOne Television International president Peter Emerson, the show’s executive producer Nick Hamm of Greenroom Entertainment, Patricia Ishimoto, vice-president, entertainment at DIRECTV, and series creator, writer and supervising producer Matthew Parkhill. In Rogue Thandie Newton stars as a conﬂicted cop who thinks she may have brought about the death of her son, and whose subsequent investigation is complicated by her romance with a crime boss. Rogue is the ﬁrst original commission from US DTH platform DIRECTV.

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Thandie Newton in Rogue

Rogue is the subject of the Co-production Masterclass in Auditorium A at 10.55, Tuesday, April 9

i nEWs CANNES SCREENING FOR THE ODYSSEY THE ODYSSEY, a 12 x 52-minute drama series brought to the international market by 100% Distribution, gets a MIPTV screening on Tuesday, April 9. Created by Frederic Azemar with the participation of Frederic Krivine, and produced by MakingProd and GMT Productions, the series is set on the Greek Island of Ithaca in the eigth century BC.

PIONEER PRIZE

CSI creator Zuiker to be honoured at International Digital Emmy Awards ANTHONY Zuiker will receive this year’s Pioneer Prize during the International Digital Emmy Awards ceremony at MIPTV. The Prize is presented by the International Academy of Television Arts & Sciences to an individual or organisation for their innovative contributions to the ﬁeld of digital entertainment. Zuiker will also give a keynote address during MIPTV. Creator and executive producer of the CSI franchise, Zuiker has more recently applied his storytelling talents to online, as creator of the “digi-novel” series Level 26, and currently as one of the producers at Black Box TV, which has been producing drama for the YouTube audience since 2010. Zuiker said that YouTube “understands that creators and producers need more autonomy”, adding: “They have provided us a great safe haven of creativity.” The International Digital Emmy Awards are sponsored this year by the Bell Fund, whose mission is to encourage and fund “the creation and development of excellent Canadian

digital/TV multiplatform projects”. The Bell Fund’s executive director Andra Sheffer said: “The Bell Fund has been supporting the development of innovative, high-quality interactive content based on Canadian television properties for some time now.” She added: “Coming in as sponsor of the International Digital Emmy Awards was a natural ﬁt for us.” The eigth edition of the International Digital Emmy Awards at MIPTV will take place on Monday, April 8, during the 50th Anniversary Opening Night P a r t y. E m m y Awards for digital programmes will be presented in three categories — Digital: Children & Young People, Digital: Fiction, and Digital: Pioneer: Anthony Zuiker Non-Fiction.

The White Queen on the big screen Caterina Murino as Queen Penelope

The Trojan War has been over for 10 years and the Greeks have come home victorious. But Odysseus, king of Ithaca, is lost at sea. The island’s economy is fast deteriorating as princes from the region invade the kingdom, devouring its resources and attempting to force Queen Penelope into taking a new husband. Penelope remains the only person who believes that Odysseus is still alive. The series brings a new twist to one of the great stories from Greek mythology, through the lives of four people — Penelope, suitors Telemachus and Leocrites, and Trojan slave Clea. The Odyssey stars Caterina Murino as Penelope, Niels Schneider as Telemachus, Karina Testa as Clea and Bruno Todeschini as Leocrites. Alessio Boni is Odysseus.

The screening is at 17.30 on Tuesday, April 9, and is followed by an on-stage conversation with cast, director and producers 26 I

CA LIFORNIA-based Starz Worldwide Distribution is screening its latest original production, The White Queen, at MIPTV. The 10-episode series, acquired for distribution from All3Media, is produced in association with the BBC. Adapted from a trilogy of novels by Philippa Gregory, The White Queen is the

The White Queen (Starz Worldwide Distribution)

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story of three women caught up in the conﬂict between the houses of York and Lancashire — Elizabeth Woodville, Margaret Beaufort and Anne Neville. The series is expected to debut in the US on Starz later this year. The White Queen will be screened at 15.00 on Monday, April 8

GET YOURSELF TRAPPED

i nEWs The United Nations Global Education First session is at 11.00 on Wednesday, April 10

UNITED NATIONS

UN and EU join forces in Cannes to engage with the TV community The United Nations and the European Union come together at MIPTV to forge content partnerships with the international television industry

DUCATION is top of the United Nations’ agenda this year at MIPTV. On Wednesday, April 10, a high-profile MIPTV panel discussion is dedicated to the Secretary General Ban Ki-moon’s global initiative, Education First. UN special envoy on global education, former British prime minister Gordon Brown, will take the floor, his aim “to inspire the creative community to put their energies into education for all”. Also at MIPTV, the UN is joining forces with the EU, to engage the television industry in their common aim to promote citizenship, peace and human rights around the world. “At first glance, the UN and the EU might not sound very exciting,” said Sixtine Bouygues, director of communications at the European Commission. “But that’s because you know us as acronyms — come and get to know us for who we really are.” The two organisations’ joint presence in Cannes brings together three forces, according to Caroline Petit, deputy director, United Nations in Brussels: the UN’s fight for peace and human rights; television’s power to educate, entertain and mould world opinion; and the EU which has united 23 languages, and 27 diverse states with the twin goals of co-operation and development. Petit said that together the EU and the UN have over 120 years of history. “This translates into a wealth of material to offer.” And at MIPTV the UN is offering to share that material with the industry. “You have what we need: creativity. And we have what you need: content. Footage from 1936 to now, radio interviews with global figures who have marked our history, and photos from every corner of the world. And the best news: it’s all for free. We’re not asking for a single euro, dollar or rupee.” Afsane Bassir-Pour, director of the United Nations Regional Information Centre (UNRIC), said that the EU and UN are

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together present in 193 countries, “from Hungary to Haiti, Belgium to Bolivia. We have experts on every subject under the sun, available in many languages. The EU, for example, is communicating in 23 languages every day.” Petit said that war correspondents know the UN better than most, but that its stories are not just about wars: “They are about people and their dreams. And we are looking for partners to tell them.” She added: “But most importantly we are here because we believe that there are millions of dreamers out there who want to change the world. And we want to reach them without boring them, through television.” An example of the type of story the UN has to tell? “In the year 2000 at the Millennium summit in New York all of the world’s leaders adopted a Millennium Declaration setting out eight goals for humanity and a fifteen-year timeline. The ﬁrst of the goals is to end hunger in our lifetime and the deadline is 2015,” Bassir-Pour said. “We are here to say how well we have collectively done — and we

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have done well. What should be the global priorities after 2015? If we could design the future, what would it look like?” For the EU, 2013 is the European Year Of Citizens, a year dedicated to making people aware of their rights and asking them the question: ‘What kind of Europe do you want by 2020?’ “From Stockholm to Soﬁa, from Berlin to Dublin, we are inviting each of Europe’s 500 million citizens to be involved in this conversation, through Citizens’ Dialogues held in universities, town halls and main squares,” Bouygues said. “We are open to new ideas. A sitcom at a UN ﬁeld mission? Or why not one about the corridors of power in Brussels? A documentary about cartoonists around the world who day in, day out risk their lives to tell the truth?,” Petit said. “UN footage regularly features in public in New York — on the giant MTV screen in Times Square, and on screens inside yellow taxis; you can see it in the air too on ANA and Turkish Airlines; and it can be seen on many global TV networks, for example Tv5 Monde.” “We are here at MIPTV to introduce ourselves,” Bouygues said. “So don’t be afraid of the acronyms, organisational structures or institutional intrigue. Come and get to know us, the EU and UN, for what we have done and what we still have to do.” Caring content: UN secretary-general Ban Ki-moon meets Sesame Workshop’s HIV-positive muppet Kami

i nEWs

Gordon Brown will speak at the United Nations Global Education First session at 11.00 on Wednesday, April 10

UN SPECIAL ENVOY GORDON BROWN

United Nations and MIPTV partner in Education First for 50th anniversary The UN has chosen MIPTV’s 50th anniversary to highlight the role of television to drive social good, as well as entertain, by promoting the Global Education First Initiative, the movement to educate the 61 million children who receive no schooling. Julian Newby spoke to the UN special envoy for global education, former British Prime Minister Gordon Brown

The statistic that an estimated 61 million children of primary school age are out of school is a shocking one. What is the predominant cause here? Poverty? War? Negligence? You’re absolutely right that there are different factors at play in different countries. We’ve commissioned in-depth reports on each of the countries with the largest out-of-school 32 I

populations so we can make sure our interventions are targeted at specific problems. Some issues, though, cut across many countries. We estimate, for example, that child labour is responsible for keeping 15 million children out of school out of that total of 61 million. Child marriage is another huge problem with 25,000 girls being pulled out of school and forced into marriage daily. Poverty and inequality play a cross-cutting role. And around 40 per cent of out-of-school kids live in conflict-affected countries like South Sudan. What are the steps to tackling this problem? The right approach will vary country by country. In some places national governments need to do more — by making education compulsory, banning child labour and child marriage, and enforcing those laws vigorously. In many places, though, the political will is there but extra resources are needed to build schools, train and employ teachers and buy books and other materials. So we need rich countries to recognise the benefits of education — to economic growth and political stability apart from anything else — and increase the amount of money and resources going to education in developing countries, even in these tough times. MIPTV will be a useful platform for the initiative. How do you think engaging with the international television industry serves to progress the initiative? We urgently need to create a global movement which will put pressure on leaders to make education a priority and to ensure that they keep their promises. We’re seeing the beginnings of that global community already, but the television industry has a huge part to play in reaching people in every corner of the world, old and young, rich and poor, and communicating these issues to them in an entertaining and accessible way.

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Photo: Tom Miller © OGSB

H E U N I T ED Nat ion’s Global Education First Initiative was launched in September of last year. What concrete progress has there been since that date? The launch of Ban Ki-moon’s Global Education First Initiative has done more than anything else in recent years to move education up the global agenda. Governments in developing and donor countries alike are treating education with a new seriousness and for the ﬁrst time these issues are cutting through to the general public. Millions of people, for instance, were moved by the shooting of Malala Yousafzai by the Taliban in Pakistan — a teenage girl who was targeted simply for wanting to go to school and for campaigning for the right for every girl and every child also to do so — and signed petitions calling on the Pakistani government to do more for girls’ education. Since then we’ve seen some very promising signs in Pakistan: the government has made girls’ education compulsory, has introduced conditional cash transfers for poor families who send their kids to school, and political parties have started to pledge to double national spending on education from two to four per cent of GDP. In April, ministers of education and ﬁnance from eight countries (with the stated aim to have all children in school by 2015) will meet in Washington with the international community to identify ways to unblock the bottlenecks holding back progress.

UN special envoy on global education, former British prime minister Gordon Brown

When television was invented, it was thought that it would be a tool to educate the world and bring about world peace. In addition to entertainment, education has the power to create social change on a wide scale — and as MIPTV takes place when we start the 1,000 day countdown to 2015, I can think of no better partner. What drew you personally to this initiative? What speciﬁcally is your role and what does that involve in practical, day-to-day terms?? I’ve been passionate about international development since I was a young boy — my brother John and I devised all sorts of schemes for raising money for charities working in Africa when we were kids. Twinned to that has been a lifelong passion for education; only through education can people achieve their potential and can opportunity be spread. So taking up this cause was an easy decision for me after leaving ofﬁce. My role is to be an advocate, to try to catalyse action and to raise awareness of what I think is one of the most important issues of our time.

i nEWs OUTLOOK GOOD AT THE BUYERS’ CLUB MIPTV is hosting more than 4,000 buyers this year, some 700 of those are buying for VOD and digital. The Buyers’ Club offers them reception and appointment services, a meeting area, and refreshments, on level 01 of the Palais des Festivals, during MIPTV. The Club is co-sponsored by Technicolor, and MeteoGraphics, the broadcast division of MeteoGroup, which recently launched its broadcast tool Meteo Earth. MeteoGroup is among Europe’s largest private sector weather businesses with a worldwide customer base and operations in Europe, Singapore and the US.

THE YEAR OF 4K

Industry is ready for 4K but content is the ‘missing link’

HE INVESTMENT cycle for 4K broadcast transmission has already begun. The first demo-channel is already transmitting on satellite, and others are expected this year. Indeed, if the Consumer Electronics industry is to be believed 2013 is already very much ‘the year of 4K’. Research from any number of industry experts suggests that while this view might be a little premature, everyone in the 4K value chain admits that the missing link is suitable content. Fresh data from Deloitte’s Technology, Media & Telecoms division states clearly that “2013 will [see] the roll-out of the next generation of HDTV”. Broadcasters will require new studios and equipment, and consumers will need new TV sets and personal video recorders. Deloitte adds that, because of a shortage of content, most early 4K viewing will be of pre-recorded material dominated by movies. A series of MIPTV sessions sponsored by Sony Corporation, will address these key points. IHS-Screen Digest will deliver its latest analysis and forecasts for the take-up of 4K displays. There will be 4K screenings in the MIPCube Square, and expert panels will talk about their

The Sony 84-inch 4K screen

own expectations for the roll-out of 4K. Sky Deutschland’s Gary Davey will update delegates as to its plans. The head of the BBC’s Natural History Unit, Mike Gunton, will explain why the BBC is already shooting in 4K. Sky, both in the UK and Germany, have already shot soccer test-footage in 4K. Berti Kropac from Kropac Media, which shot the German tests and already has an impressive 4K production portfolio under its belt, will also speak. Same with Barry Bassett, MD at London’s VMI. Other speakers are drawn from 3net, Ateme and the EBU. Sony Corporation is global partner of the MIPTV 50th anniversary and 4K programme

EURODATA MeteoGroup’s Graeme Garson

“MeteoGraphics is sponsoring the Buyers’ Club at MIPTV as it’s the ideal environment for showcasing our broadcast solutions,” said Graeme Garson, head of broadcast sales at MeteoGroup. “Our state-of-the-art broadcast tool, MeteoEarth, is the perfect tool for tracking worldwide weather events in real-time as well as for nowcasting news stories and positioning them around the globe. The combination of highresolution graphics for the whole world and real-time capability allows presenters to respond immediately to any news events around the world.” MeteoGroup employs around 100 meteorologists, providing services in nine European languages. 34 I

Report conﬁrms TV viewing is up T H E E U RODATA T V Worldwide report, One Television Year In The World, is published annually three weeks before MIPTV. The report presents a detailed overview of TV consumption and audiovisual landscapes in more than 100 territories, but perhaps one of its key headlines this year is that TV viewing is up. At press time not all the information was in from all parts of the world — the report covers some 80 countries — but in Europe, for example, average TV viewing for 2012 has increased by an average of six minutes per day. Some countries were down — by one minute both in Germany and in the UK — but in France, Spain and Italy, for example,

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numbers were up. In Greece viewing was up by five minutes to four hours and 33 minutes per day, one of the highest figures in Europe, a sign perhaps of a correlation between financial pressures and television viewing habits. In the US, numbers are the same as 2010 and Jacques up on 2009. Braun But Eurodata CEO Jacques Braun stressed that these figures only refer to what he calls “the big screen”, the traditional TV in the living room. “Figures from the second, third and fourth screens — PC, tablet and mobile — are not yet integrated.” THE EURODATA TV Worldwide report, One Television Year In The World, launched at a press conference in Paris, March 21

T H E B ES T F O R M AT S A N D R EA DY M A D E S F RO M T H E N O R D I C R EG I O N

BYE BYE BULLLY YING LET’S GO BACK TO SCHOOL AND CHANGE IT FOR THE BETTER LET ONE SCHOOL CLASS SET AN EXAMPLE FOR THE WHOLE COUNTRY / FACTUAL ENTERTAINMENT/ SOCIAL CHANGE PRODUCED BY STV PRODUCTION

V I S I T U S AT S TA N D R31.18 FORMATS W W W.N O R D I C WO R L D.T V

SPEEDOMANIA HOW MANY LIVES HAVE YOU SAVED TODAY? IS IT POSSIBLE TO CHANGE THE EVIL DRIVING OF FIVE YOUNG SPEED MANIACS? / FACTUAL ENTERTAINMENT PRODUCED BY FREEPORT MEDIA

WHA ATT’S THE T BIG IDEA? AN EXPERT JURY MEETS THE NATION’S BRIGHTEST MINDS AND THE NOT SO BRIGHT ONES ALL IDEAS COUNT, ONLY ONE WINS / PRIMETIME ENTERTAINMENT/TALENT SHOW PRODUCED BY METER TELEVISION

T H E B E S T F O R M AT S A N D R EA DY M A D ES F RO M T H E N O R D I C R EG I O N

FORMATS

CROP CIRCLE - EMBRACE THE MYSTERY SEE IT, FEEL IT, EXPLORE IT... WHAT DO YOU BELIEVE? / 3X46’ HD DOCUMENTARY PRODUCED BY MELON MEDIA

THE GREEN REEN PLANET THE PLANET IS THREATENED WHAT ARE OUR ATTEMPTS TO SAVE IT? WHAT WILL THE FUTURE LOOK LIKE? / 3X52’ DOCUMENTARY – PRODUCED BY SEBRA FILM CO

All our programs can be screened online at

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MADE OF STEEL THE ROAD BACK FROM A LIFE IN A WHEEL CHAIR WITH FORMER FREERIDER AND BASEJUMPER KARINA HOLLEKIM

All our programs can be screened online at

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PrOductnEWs The MIPTV Preview highlights some of the content brought to Cannes from around the world… STUDIO 100

ZDF ENTERPRISES (ZDFE)

GERMANY’s Studio 100 Media headlines its MIPTV

HOUSE Husbands (10 x 60 mins) is a new HD drama

slate with the revived 3D animation series Heidi. Targeted at six- to eight-year-olds — and a family audience — Heidi (39 x 22 mins), is produced by Parisbased Studio100 Animation and Flying Bark Productions, with Studio 100 Media responsible for the worldwide distribution. The stories, written in 1880 by Swiss author Johanna Spyri, about the talkative eight-year-old orphan who lives in the mountains with her grandfather, were adapted into a 52-part series in 1974. The original series premiered in 1977 on ZDF and has since enjoyed continuous TV presence in more than 46 countries.

featuring stay-at-home fathers Lewis (in his 50s), Mark (in his 40s), Kane (in his 30s) and Justin (in his 20s). The four men meet on the children’s first day at school and it’s the start of a unique friendship. A further 13 episodes are in production. ZDFE also highlights Mako Mermaids (26 x 24 mins/1 x 90 mins), also in HD, a spin-off of H2O - Just Add Water. Mermaids Sirena, Nixie and Lyla must protect the Moon Pool, but when 16-year-old Zac enters the pool and is given a fish-like tail and amazing powers the girls must venture onto land and take back Zac‘s powers.

NHK

JAPAN’s NHK brings a new drama series to MIPTV. Yae’s Sakura (50 x 45 mins, first episode 74 mins) is based on a true story which begins in the 19th century and features a tomboy called Yae. When civil war erupts she joins the frontline in her town, sadly on the losing side. After the war Yae develops a passion for promoting education for women, but she returns to the frontline as a nurse in the Russo-Japanese War. IGMAR

RUSSIAN producer Igmar has added new episodes to its series Nighttime Stories (20 x 5 mins), the preschool and family-oriented animated collection of wellknown fairytales. The company also brings to MIPTV the animated series New Yet Unknown Adventures Of Baron Munchausen, about a phenomenal liar and braggart who pretends to be a character from literary works, inventing breathtaking stories. Heidi (Studio 100 Media)

VIACOM INTERNATIONAL MEDIA NETWORKS (VIMN)

House Husbands (ZDFE)

ITV STUDIOS GLOBAL ENTERTAINMENT

THE REAL Husbands Of Hollywood (10 x 30 mins/HD) is a new faux reality comedy series starring comedian Kevin Hart. Born originally from a comedy skit which aired during VIMN channel BET’s Awards show it follows the lives of Hart, alongside friends and fellow househusbands JB Smoove, Robin Thicke, Boris Kodjoe, Nick Cannon and Duane Martin. Hart has previously appeared in numerous movies and television shows and hosted his own comedy specials.

BRITISH actor David Suchet returns for the final five episodes as the world’s most famous fictional detective, Hercule Poirot. Continuing the legacy of the Agatha Christie collection, the new episodes (5 x 120 mins) see the detective travel from England to the Mediterranean. In this thirteenth and final series Poirot returns to the scene of his first investigation, but will he be in time to prevent the murder in his last-ever case?

The Real Husbands Of Hollywood (VIMN)

Poirot (ITV Studios Global Entertainment)

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iproductneWs AZTECA/COMAREX

MEXICAN broadcaster and producer Azteca brings a new telenovela La Otra Cara Del Alma (120 x 60 mins) to MIPTV, distributed by Comarex, Azteca’s sales agent. The story follows Alma, who after a childhood of family conflict which resulted in her growing up in an orphanage, was brought back into the family to live alongside her cousin. Despite her calm exterior she is filled with revenge.

ELECTUS INTERNATIONAL

ELECTUS International of the US returns to MIPTV with a varied slate including: three seasons of Mob Wives, following six women coping with life while their husbands or fathers are in prison; Savage Family Digger, starring former wrestler Ric ‘Heavy Metal’ Savage who hunts for historical treasures in back yards; and the second season of Fashion Star which gives unknown designers a life-changing opportunity to win a contract to launch their clothing lines in Macy’s, H&M and Saks Fifth Avenue. The company also brings three competition series: 72 Hours, which sees competing teams dropped into the wilderness who are given three days to find hidden cash; King Of The Nerds; and The Hero which stars Dwayne ‘The Rock’ Johnson.

SCREEN MEDIA

TWO NEW films top the MIPTV roster of New Yorkbased Screen Media. Bad Karma, starring Ray Liotta as a criminal who’s plans to lead an honest life are derailed when his old partner is released from prison and tries to blackmail him into doing one last job. Family film Derby Dogs tells the story of 12-year-old Ben who sets out to win the local soapbox derby in the memory of his father, battling cheats, dodgy loan sharks and a mother who has banned him from taking part.

Bad Karma (Screen Media) La Otra Cara Del Alma (Comarex)

TWENTIETH CENTURY FOX TELEVISION DISTRIBUTION

A + E NETWORKS

PRODUCED by Leftfield Pictures for History channel, Counting Cars (13 x 30 mins) features Danny “The Count” Koker, a Las Vegas legend who restores and customises classic cars and motorcycles, and then ‘flips’ them for profit. With the help of his talented team, Danny has to restore and modify his chosen cars in a hurry to stay in the black.

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Mob Wives (Electus International)

HOUSE OF FILM

SEAMONSTERS is an award-winning film set in a British seaside town, brought to the international market by the US’ House of Film. Sam and Kieran are best friends whose relationship is put under pressure when they become entranced by the same girl. When Kieran then flees to London with another local girl his life spirals down. Sam realizes he has to help.

Seamonsters (House of Film)

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THE AMERICANS stars Keri Russell, Matthew Rhys and Noah Emmerich and tells the story of two KGB spies posing as Americans in Washington shortly after Ronald Reagan is elected President. They have children who know nothing of their true identity, and their relationship is tested by the escalation of the Cold War and maintaining a network of spies and informants. Life is complicated further by the husband’s growing affinity for American values, and the arrival of an FBI agent as a neighbour.

The Americans (Twentieth Century Fox Television Distribution)

iproductneWs The Deep (Technicolor Digital Productions)

TECHNICOLOR DIGITAL PRODUCTIONS

NEW SERIES The Deep (26 x 30 mins), currently in development, is based on the graphic novel series of the same name. The CGI-animated series follows the adventures of a family of underwater explorers who live aboard a state-of-the-art submarine. Each family member has unique skills and are passionate about conservation. They also try to solve mysteries that appear to be connected to the lost city of Atlantis. ZEE

INDIA’s ZEE hosts the world’s largest Hindi film

PGS ENTERTAINMENT

NEW SERIES The Jungle Bunch To The Rescue is based on the animated movie The Jungle Bunch and is brought to MIPTV by Paris-based PGS Entertainment. The upcoming 52 x 11-minute series, commissioned by France Televisions, stars the comic animal characters from the original movie. Paris-based PGS has recently secured pre-sales with Super RTL (Germany), VRT (Flemish-speaking Belgium), SVT (Sweden), NOGA (Israel) and Workpoint (Thailand).

ICE SKATING Spectaculars is a series of eight onehour themed specials shot in front of live audiences that were originally broadcast on NBC. They feature skating stars including Brian Boitano, Ekaterina Gordeeva and Miki Ando accompanied by musical artists from Aretha Franklin to the Broadway cast of RAIN. The Florida-based company also brings The Better Show, a daytime talk lifestyle series, now entering its seventh year of US syndication.

The Jungle Bunch characters to star in The Jungle Bunch To The Rescue (PGS Entertainment)

SI ENTERTAINMENT

CANADA’s Si Entertainment is bringing a roster of new unscripted titles to MIPTV topped by Majumder Manor (8 x 30 mins/HD). Actor and comedian Shaun Majumder returns to his small hometown in Newfoundland and plans to build a five-star eco resort to bring jobs and tourists to the community. Teaming up with his fiancee, big sister and friend, Shaun embarks on the project of a lifetime. Majumder Manor (Si Entertainment)

library and Zee Bollyworld aims to be a one-stop shop for content aggregators and broadcasters requiring Indian content. With over 100,000 hours of programming covering family dramas, romance, cookery, thrillers, game shows, music and travel, it also offers films and serials dubbed or subtitled in languages including English, French, Arabic, Russian, Bahasa Melayu and Mandarin.

CONTENT TELEVISION

LARRY King Now is produced by on-demand digital television network Ora TV and brought to MIPTV by Content Television, offering TV and digital rights to the series worldwide, including secondary broadcast rights in the US. King continues his 55-year tradition of speaking to interesting people in politics, sports, entertainment and pop culture. Interviewees include Susan Sarandon, Colin Farrell (pictured) and Matthew McConaughey. The series debuted on Hulu and Ora TV in the US. Larry King with Colin Farrell on Larry King Now (Content Television) 38 I

THE TELEVISION SYNDICATION COMPANY (TVS)

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Brian Boitano in Ice Skating Spectaculars (TVS)

LIONSGATE

AMONG a varied MIPTV catalogue from Lionsgate comes the series Nashville, starring Connie Britton and Hayden Panettiere, which centres around the careers, politics, and love interests of three iconic women in the music industry. The company also brings Anger Management, starring Charlie Sheen, who plays an unconventional anger management therapist, and new series Orange Is The New Black that follows the trials and tribulations of Piper Sherman, who is incarcerated in a New York minimum security prison. Nashville (Lionsgate)

iproductneWs FIRST HAND FILMS

SWISS distributor First Hand brings a range of films from around the world to MIPTV. One highlight is And Who Taught You To Drive? (52/84 mins), a German cultural c omedy about three people who move country — from Germany to India, the US to Japan and South Korea to Germany respectively — who are all forced to obtain a new local driver’s license.

TRICON FILMS & TELEVISION

FEATURE-length special Satan explores the role of the Devil in the modern age, influencing popular culture from Milton’s Paradise Lost to The Exorcist to South Park. From Banger Films, producers of hit series Metal Evolution, the series features in-depth interviews with horror icons including John Carpenter, Linda Blair, Stephen King, Mike Mignola and Guillermo del Toro and musicians Bruce Dickinson, Jimmy Page, Rob Zombie and Marilyn Manson.

GOLDCREST FILMS

THREE films are prioritised by the UK’s Goldcrest Films for MIPTV. In Cheerful Weather For The Wedding, Dolly’s wedding day is turned upside down when her lover from the previous summer throws her feelings into turmoil and she can’t decide whether to run away with her ex-lover or start a new life in Argentina with her husband-to-be. From the writer of War Horse, Private Peaceful is a film that tells the story of two brothers who fall out chasing the same girl, who are then reunited in the First World War only for their lives to be torn apart once more. And finally in The Girl, after a money-making scheme fails horribly, a woman ends up traveling across Mexico with a newly orphaned eight-year-old girl.

And Who Taught You To Drive (First Hand Films)

CAKE

TWO TITLES top the MIPTV slate for Londonbased distributor Cake. Firstly Space Racers (52 x 11 mins) is a pre-school CGI series based in Stardust Space Academy about a group of young cadets that make up an elite task force. NASA’s experts vet each episode to ensure accuracy. Secondly, The Sparticle Mystery (23 x 30 mins) is a live-action science-fiction series for kids about a scientific experiment goes wrong and all adults disappear, throwing the world into disarray.

Cheerful Weather For The Wedding (Goldcrest Films)

HENSON INDEPENDENT PROPERTIES (HIP) Satan (Tricon Films & Television)

WAI LANA PRODUCTIONS

Wai Lana Yoga (Wai Lana Productions)

US-BASED producer and distributor Wai Lana Productions brings 188 episodes of the Wai Lana Yoga series to MIPTV. Entertaining, informative, lively and yet serene, Wai Lana demonstrates yoga against stunning backdrops including the beautiful coastlines of Hawaii and California and the spectacular red rock deserts of Sedona. The shows feature relaxing soundtracks of original music by Wai Lana.

THE LICENSING arm of The Jim Henson Company, HIP, brings Sixteen South’s animated pre-school series Driftwood Bay (52 x 7 mins) to the international market. Season one is currently in production with delivery slated for early next year. Driftwood Bay is the makebelieve island seen by five-year old Lily from her beach hut home she shares with her dad. Each day Lily travels there with her trusted seagull friend, where she uses her imagination to craft wonderful adventures.

SMARTJOG

PARIS- and LA-based Smartjog has launched Cloud4Media, a platform to centralise the management, storage and delivery of digital media content, which includes unlimited storage with mirrored data centres; express file delivery; and a flexible file exchange service. New features planned include professional transcoding tools, metadata processing and an automatic quality check system. 40 I

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Driftwood Bay (HIP)

Visit eOne at RIVIERA BEACH RB.43 Watch the trailer at EONETV.COM tvinfo@entonegroup.com

Drama | Suspense Series (2013) 35 x 60 minutes

iproductneWs NIHON AD SYSTEMS (NAS)

VICTORY Kickoff!! (39 x 25 mins), from Japan’s NHK/ NAS is about 12-year-old Sho Ota whose dream is to be a world champion soccer player. He’s not the best yet, but knows that with the right training he can be a great, so he recruits his favourite soccer hero to be his trainer. Together they convince the best players in the region to join them to try to make it to the world soccer championships. European rights are held by VIZ Media.

FLAME DISTRIBUTION

AUSTRALIA-based distributor Flame Distribution brings over 300 hours of programming from Australia, New Zealand and the UK. Highlights include food and travel show Lyndey Milan’s Taste Of Australia (13 x 30 mins), in which she explores the characters and places that make up Australian culinary culture. The company also brings: Recipes That Rock (6 x 30 mins), with rock musician and farmer Alex James and chef Matt Stone on a gourmet tour of the Margaret River region; road movie Missing In The Land Of Gods (1 x 82 mins) about a couple looking for their missing son in India; and ghost-hunting series Ghosts Down Under (8 x 60 mins).

MARVISTA ENTERTAINMENT

NICKY Deuce is an original movie from Nickelodeon starring iCarly’s Noah Munck, The Sopranos’ Steve Schirripa, Michael Imperioli, Vincent Curatola and Tony Sirico, as well as Rita Moreno. The movie is brought to MIPTV by MarVista, which handles global rights and is co-producer with R&R Productions. Munck is Nicholas Borelli II, a nerdy teen who spends the summer with an uncle in Brooklyn. He relies on local kids to help him fit in, and mistakenly earns a reputation as a tough guy.

Victory Kickoff!! (NHK/NAS)

TVN

POLISH network TVN returns to MIPTV with the fourth season of its series Recipe For Life, which recently sold to Hungary, Georgia and China, and its latest series Medics, set in a busy hospital. The company also brings Taste The World With Pascal, featuring chef Pascal Brodnicki who visits Asia, Europe and Mexico, and reality show Knife Makes Perfect, about plastic surgery.

Nicky Deuce (MarVista Entertainment)

VERIA LIVING WORLDWIDE Taste Of Australia (Flame Distribution)

LIFESTYLE and wellness specialist Veria Living Worldwide is showcasing its latest series at MIPTV. Nirmala’s Spice World (39 x 30 mins) is hosted by Nirmala Nardine who prepares healthy meals using international spices, while revealing their natural healing secrets. Veria also brings: Myth Defying With Dr. Holly (26 x 30 mins), about natural medicine; What Would Julieanna Do? (39 x 30 mins), with plantbased diet advocate Julieanna Hever; and cooking show Peggy K’s Kitchen Cures (39 x 30 mins). SHINE INTERNATIONAL

Broadchurch (Shine International)

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SHINE International is debuting Broadchurch at MIPTV, an eight-part series starring David Tennant, Olivia Colman and Vicky Mclure. Produced by Kudos Film and Television and penned by Doctor Who and Torchwood writer Chris Chibnall, Broadchurch explores what happens to a small community which is subjected to the full glare of the media spotlight when detectives investigate a death.

iproductneWs BRB INTERNACIONAL

MILLIMAGES

THE FIRST images of a new animated series will be shown at MIPTV by Spain’s BRB. Filly (26 x 26 mins) is based on a brand that has sold more than 60 million collectable figures worldwide. Made in 3D HD the fantasy series is set to premiere in 2014 and BRB will distribute Filly worldwide, excluding Germany, and will manage the rights to the Filly brand in Spain and Portugal.

ME AND My Robot (52 x 13 mins), an animation about a group of friends in a school for robots, is a coproduction between Millimages, South Korea’s Synergy Media and France’s Canal J. Commissioned by France Television, Canal J and EBS, Millimages handles worldwide television and licensing rights excluding Asia, which is represented by Synergy Media.

Filly (BRB Internacional)

Me And My Robot (Millimages)

RED ARROW INTERNATIONAL

TWO TITLES top the drama slate for Germany’s Red Arrow International. Jo (8 x 45 mins) stars Jean Reno as Jo St-Clair, a detective in the elite Paris Criminal Brigade. The series was produced by Atlantique Productions for TF1. The company also brings the second season of Lilyhammer (8 x 45 mins), produced by Rubicon for NRK and co-produced by Netflix. Steven Van Zandt returns as mobster Frank ‘The Fixer’ in a witness protection programme. Frank’s past threatens to catch up with him when his former associates learn that he’s still is alive.

SABAN BRANDS

THE POWER Rangers return in Power Rangers Megaforce, a series based on the themes of friendship, teamwork, fitness, and helping others. Saban Brands also brings animated pre-school series Julius Jr., about a monkey with a penchant for invention who, with his friends, builds a playhouse out of a cardboard box. When they walk inside ordinary objects magically come to life. WARNER BROS. INTERNATIONAL TELEVISION DISTRIBUTION

REALITY shows brought to MIPTV by Warner Bros. include: Hollywood Exes (23 x 60 mins), a new series about a group of women who are separated from famous men; America’s Supernanny (16 x 60 mins), which tells the stories of wild children and desperate parents; Styled To Rock (10 x 60 mins) in which some of the UK’s promising fashion designers dress some of the hottest musicians — a US version premieres this year; and Sing While You Work (14 x 60 mins), in which choirmaster Gareth Malone sets up new workplace choirs in four large companies.

Hollywood Exes (Warner Bros. International Television Distribution 44 I

TF1 INTERNATIONAL

SET ON the French Riviera, No Limit (6 x 52 mins) was created by Luc Besson and is brought to the international market by TF1 International. A potentially fatal brain tumour forces secret agent Vincent Liberatti to return to Marseille to be close to his daughter and exwife, and to receive medical treatment. Vincent agrees to join a group set up by secret services to fight organised crime. Season two is in production for broadcast later this year.

No Limit (TF1 International)

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Jo (Red Arrow International)

TV ASAHI

A VARIED range of drama series is brought to MIPTV by Japan’s TV Asahi, including: new series The Mother Strikes Back, about 50-year-old Asako, who begins to have suspicions about her daughter-in-law; Doctor-X (2 x 69 mins and 6 x 54 mins), about a top-flight freelance female surgeon; 11 seasons of detective series Aibou, set in Tokyo; and mini-series The Farthest Galaxy, about a retired detective who reopens a case that has haunted him.

The Mother Strikes Back (TV Asahi)

THE FACE | Oxygen (USA) | Premiere Season | 8 x 60â&#x20AC;&#x2122; Watch now at www.shineinternational.com

MIPTV Location: LR5.01

& Format

iproductneWs TVP

POLAND’s TVP brings HD series The Deep End (13 x 45 mins), an in-depth study of the everyday struggles of social workers. Based on real events, each episode is filled with moving stories and dramatic twists.

GLOBO

ATLANTYCA ENTERTAINMENT

TOPPING the vast MIPTV catalogue of telenovelas, series and specials from Brazil’s Globo is Brazil Avenue (150 x 45 mins). The HD series is a modern telenovela, the dramatic story of Rita, who struggles to recover the life that her dreadful stepmother Carminha took from her when she was a child. She confronts her past and contemplates how far she is willing to go to exact revenge on the people who hurt her the most.

THE THIRD season of Geronimo Stilton (26 x 23 mins) brings the available number of episodes to 78. The series is a co-production between Atlantyca and Moonscoop, with the participation of RAI Fiction, France Television and M6, and follows the adventures of a famous mouse journalist and head of the Geronimo Stilton Media Group. The series is set for delivery in 2014.

Brazil Avenue (Globo)

Geronimo Stilton (Atlantyca Entertainment)

The Deep End (TVP)

LAGARDERE ENTERTAINMENT RIGHTS

PARIS-based distributor Lagardere is launching Which Is Witch? (26 x 22 mins), a live-action series shot in 3D stereoscopic and 2D, co-produced between Moi J’Aime La Television, I Love Television, Be-Films, Genao Productions, and Canal J. The series follows Jack, a 16-year-old with big dreams, then a young witch and a teenage fairy come crashing into his life. The company also brings Xiaolin Chronicles (26 x 22 mins), a mystical action-adventure comedy series in 2D/3D hybrid.

IMIRA ENTERTAINMENT

IMIRA brings season one of new animation Larva (102 x 2 mins) to MIPTV. This slapstick non-dialogue comedy revolves around short vignettes from the lives of Red and Yellow, two sewer-dwelling worms, who are entertained and challenged by the various items and other animals which filter through the pavement grates into their world. Season 2 (52 x 4 mins) is currently in production and available later this year in 3D CGI, produced by South Korean company Tuba Entertainment.

TELEMUNDO INTERNACIONAL

©Moi j’aime la télévision

FORBIDDEN Love (120 x 60 mins), produced by Telemundo Studios, is brought to MIPTV by Floridabased Telemundo Internacional. The story follows Bianca, who decides to take revenge against her mother for all the suffering she caused when she killed Bianca’s father. But life becomes complicated when she is caught between the loyalty she owes her good husband and giving in to the passion she feels for his nephew.

Which Is Witch? (Lagadere Entertainment Rights) 46 I

Forbidden Love (Telemundo Internacional)

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Larva (Imira Entertainment)

BOPAUL MEDIA WORLDWIDE (BMW)

RAY HARRYHAUSEN: Special Effects Titan, from Arrow Films, is brought to MIPTV by BMW. The 90-minute documentary explores the body of work — including The 7th Voyage of Sinbad and Jason And The Argonauts — and influence of this filmmaker on modern-day special effects, with interviews with Harryhausen, Randy Cook, Peter Jackson, Nick Park, Terry Gilliam, John Landis, Guillermo Del Toro, James Cameron and Steven Spielberg, among others. BMW also brings a recently acquired catalogue of classic French films from OB Films.

Ray Harryhausen: Special Effects Titan (BMW)

iproductneWs NOVOVISION

NOVOVISION — a specialist in non-dialogue comedy shows and clips for a family audience — brings its latest projects to MIPTV, including: animation compilation show Pop Toon; children’s hidden camera show Gagsters; and Mad Kids.

MEDIATOON DISTRIBUTION

GRUPPO ALCUNI

A NEW 52-episode series of Pet Pals is available in 3D animation, with tales full of facts on nature, wildlife, history and legend. A new deal sees the series on Canadian multi-platform distribution service Ameba. Italy’s Gruppo Alcuni also brings the feature film Pet Pals - Marco Polo’s Code, featuring all the characters from the series, which is set to broadcast in China following a deal with Hong Kong King Land Media.

THIS year Mediatoon is launching the third season of Yakari (26 x 13 mins). The stories of a young Sioux native American who can communicate with animals has been acquired by France Television for France 5 and ARD-Degeto for KiKA. Now comprising 104 episodes, the series has already sold in over 30 territories. The company also brings new episodes of Quiz Time (104 x 4 mins), commissioned by Disney EMEA, including 26 episodes dedicated to the deaf and hard of hearing children. TV5MONDE

A TV5MONDE in-house news production, Le Journal de l’Economie, analyses economic and business news in a three-minute format, including the Au micro’scope report (Under the microscope), and daily news reports on a variety of topics including multinational companies, leading SME businesses and industry sectors on the move. At the end of each week there is a report on advances in new technology.

Pop Toon (Novovision)

Pet Pals - Marco Polo’s Code (Gruppo Alcuni)

AMERICAN GREETINGS PROPERTIES

THE CHARACTER Strawberry Shortcake made her TV debut on The Hub Network in the US. Season three introduces Huckleberry Pie to Berry Bitty City and the girls each get a cute new puppy friend. American Greetings also brings new CGI animated series Care Bears: Welcome To Care-a-Lot, featuring Wonderheart Bear.

©Julien Knaub & TV5Monde0

FREMANTLEMEDIA KIDS & FAMILY ENTERTAINMENT ELLA The Elephant is a new animated pre-school series, based on books by Carmela and Steve D’Amico. The show follows the adventures of a thoughtful and caring little elephant who has her own magic red hat. Ella solves the problems she encounters with her friends with her red hat that transforms into something to help save the day. The series (26 x 30 mins), is produced by DHX Media and FME in CGI against 2D backgrounds.

Le Journal de l’Economie (TV5MONDE)

MEDIATOON DISTRIBUTION

Ella The Elephant (FME) 48 I

NEW TO the Zodiak Rights slate and launched at MIPTV is: Roads (6 x 60 mins), a series looking at the people who keep London’s 2,500 mile road network moving; Neighbourhood Heroes (2 x 60 mins), which profiles the workers who stop noise, rubbish and unwelcome visitors in Britain’s neighbourhood; and two one-hour specials Football, Schizophrenia And Me (working title) about a football league for people with mental health issues; and Crazy For Party Drugs which looks at Britain’s changing drug culture. Strawberry Shortcake (American Greetings Properties)

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iproductneWs SHAFTESBURY

SHAFTESBURY is bringing new kids comedy adventure series Unlikely Heroes (8 x 5 mins) to MIPTV. This series for web and mobile sees a team of teens taking on cryptic puzzles, deadly traps and a medieval steam-punk civilisation thanks to an ancient amulet that leads them to a portal with many secrets. What started out as a boring day quickly becomes the most exciting experience of their lives. A companion puzzlequest game is available for iOS platforms, and the show is produced by Shaftesbury’s digital media division, Smokebomb Entertainment.

Kendra On Top (Off the Fence)

OFF THE FENCE

OFF THE Fence (OTF) brings almost 1,000 hours of programming to Cannes. New highlights include Kendra On Top (32 x 30 mins, Series I and II), a Prometheus Entertainment production for We tv. Kendra Wilkinson is the former wild child, girlfriend of Hugh Hefner and full-time glamour model now juggling motherhood, family life and career.

Unlikely Heroes (Shaftesbury)

HASBRO STUDIOS

HASBRO Studios, with offices in London and Los Angeles, brings Littlest Pet Shop to MIPTV. The animation series centres on fun-loving 11-year-old Blythe and the pets that she cares for at the Littlest Pet Shop, and where she discovers her unique ability to speak with the pets. The War On Britain’s Roads (Argonon)

MOONSCOOP

THE SECOND series of Chloe’s Closet is brought to MIPTV by Paris-based Moonscoop. Produced by Moonscoop Entertainment, LLC, Workout Factory B.V., Ki.Ka, Vision Animation Sdh Bhd, Telegael Teoranta, and Minika, this HD 2D Flash and CGI series follows the same format of the first season of 52 x13-minute episodes. Chloe and her friends once again wear fun and inspiring costumes and taking imaginative role-play adventures.

ARGONON

LONDON’S Argonon includes the TV production companies Leopard Films, Leopard Films USA, Leopardrama, Remedy Productions and Remedy Canada. Among the highlights for MIPTV is The War On Britain’s Roads, which combines footage captured by cyclists through helmet-mounted cameras, with interviews from cyclists, drivers and those affected by incidents on the roads. The film presents both sides of the stories, from the cyclists’ and drivers’ points of view, and follows the cycle-mounted police as they chase errant road users and record more than 3,000 offences every year.

SONUMA

Littlest Pet Shop (Hasbro Studios) 50 I

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SOUNUMA provides thousands of hours of programming and footage from public broadcaster for French-speaking Belgium, RTBF. Footage includes Russian tanks in Prague 1968, the last interview with Salvador Allende in 1975, and the fall of Saigon, as well as entertainment with concerts from Louis Armstrong, Ella Fitzgerald, Ray Charles, Black Sabbath, U2, Genesis, and interviews with movie stars including Romy Schneider and Alain Delon. The catalogue also includes RTBF’s daily programming covering news, current affairs, nature and lifestyle.

iproductneWs HAT TRICK INTERNATIONAL

THE UK’s Hat Trick International debuts factual entertainment title The Real Man’s Road Trip: Sean & Jon Go West at MIPTV. In the 2 x 1-hour series, British comedians Sean Lock and Jon Richardson head to the US to see how real men live. For two weeks, Sean and Jon try herding cattle across states with Creole cowboys and wrestling alligators with Cajun swamp men. They discover forgotten backwoods and new frontiers, but will Sean and Jon pass the real man test?

AB INTERNATIONAL DISTRIBUTION

FILM & PICTURE

comedy series that takes place on a Mediterranean cruise ship. The 5,000 passengers from all walks of life provide the dramatic backdrop for the quirky crew that has to look after them. Characters include the captain who dreams of going back to dry land; his rookie second in command; a composed cruise manager who teases her ex-husband, the barman, whose only desire is to rekindle the relationship; the doctor, a former military surgeon; a head of security who thinks he is the hero of an American TV show; and a young and handsome priest who turns into a therapist during confession.

THE PARIS-based distributor highlights three series at this year’s market. The Church Men (8 x 52 mins) follows five young candidates for the priesthood at a Capuchin seminary, revealing the ambitions and discord within the ecclesiastical institution. A second season is in production. In Pack Of Queens (5 x 90 mins) Martin’s world revolves around his women, his partner, daughter and ex-wife, his professional colleagues, the psychologist and head of the forensic science lab, and the victims and killers that are part of daily life as head of the crime squad at the Paris Police headquarters. Complaint (8 x 52 mins) is a detective series in a police station in a working-class suburb of a provincial French city.

Crazy Cruise (AB International Distribution)

The Church Men (Film & Picture)

LAUNCHING at MIPTV, Crazy Cruise (6 x 52 mins) is a

The Real Man’s Road Trip: Sean & Jon Go West (Hat Trick International)

DCD RIGHTS

LONDON-based distributor DCD Rights has acquired worldwide rights to new drama series Mr & Mrs Murder (13 x 60 mins), starring Shaun Micallef and Kat Stewart. The murder mystery series, produced by FremantleMedia Australia, in association with Bravado Productions, follows married couple Nicole and Charlie Buchanan, who run an industrial cleaning business. They specialise in crime scenes, and using this experience they become amateur sleuths, and help the local homicide detectives.

KESHET INTERNATIONAL

The A Word (Keshet International)

THE ISREAL- and UK-based distributor Keshet brings the drama The A Word to MIPTV, which tells the story of the Rotenbergs who live in a close-knit, affluent community in a remote part of the desert, where they manage a successful pepper export business. They have a five-year-old son and a teenage daughter. Their son Omri is a musical genius, but he is diagnosed with autism, and that is the beginning of a long, painful, and occasionally humorous journey of denial, manipulation, and introspection.

Allenby St. (Armoza Formats)

ARMOZA FORMATS Mr & Mrs Murder (DCD Rights)

ISREALI format specialist Armoza is bringing a scripted drama to MIPTV. Allenby St. is based on a top-selling Israeli novel set in the secret underworld of strippers. www.miptv.com I preview magazine I March 2013 I 51

iproductneWs ABC COMMERCIAL

THE FREMANTLE CORPORATION

AUSTRALIA’S ABC Commercial is prioritising three lifestyle programmes at MIPTV: The Flying Winemaker (13 x 30 mins/HD) follows Hong Kong-based winemaker, Eddie McDougall, as he sets out to discover the best wine produced across Asia; a new series of architectural show Dream Build (Series 1, 11 x 8 mins, Series 2, 16 x 8 mins) follows a group of owners building cutting-edge houses; and Stefano’s Cooking Paradiso (8 x 23 mins/27 mins/HD) follows cook, Stefano de Pieri, on a culinary adventure from his home town of Mildura to Melbourne, where he meets some of the country’s most celebrated chefs.

Conan The Adventurer (The Fremantle Corporation)

TWO FANTASY heroes are brought to MIPTV by The Fremantle Corporation. Firstly Conan’s quests to free his homeland from the rule of an allpowerful sorcerer are told in this first series, Conan The Adventurer (22 x 60 mins). Tarzan is the second character, the boy who grew up in the jungle until fate brought him face to face with his past, to take his rightful place as Earl of Greystoke. This story is told in Tarzan (22 x 60 mins) and Tarzan The Epic Adventures (75 x 30 mins). All series are available in the 16:9 aspect ratio for the first time.

DARO FILM DISTRIBUTION

MONACO-based distributor has acquired two new action/adventure series from Sierra Engine to add to their CIS and EE slate. Crossbones (10 x 60 mins) a pirate adventure series, and Rescue 3 (20 x 60 mins), from the makers of Baywatch, starring Dolph Lungren.

SHORELINE ENTERTAINMENT The Flying Winemaker (ABC Commercial)

CYBER GROUP STUDIOS

PRODUCED by Cyber and Scrawl Studios Mademoiselle Zazie (78 x 7 mins), about a group of young friends, is set to debut on France 5 later this year, and has secured pre-sales to VRT in Belgium, MTV3 in Finland, Pop TV in Slovenia, MCD in Turkey, MTV2 in Norway, MTVA in Hungary and Canal Panda in Portugal. Cyber also brings TF1 Production’s first animated series, Mini Ninjas (52 x 11 mins/2D/HD), adapted from the video game of the same name.

Mademoiselle Zazie (Cyber Group Studios) 54 I

US PRODUCER and distributor Shoreline Entertainment highlights two titles from its MIPTV slate. Firstly, A Farewell To Fools starring Gerard Depardieu and Harvey Keitel. During World War II, a German soldier is found dead and the local authorities must find the culprit or they will all be shot by Nazis. Secondly, Perfect Man features a philandering husband (Liev Schreiber) who is finally left by his wife (Jeanne Tripplehorn). He unknowingly falls back in love with her over the phone when she pretends to be another woman.

A Farewell To Fools (Shoreline Entertainment)

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ENDEMOL WORLDWIDE DISTRIBUTION (EWD)

AMONG the new drama series from EWD is Peaky Blinders (6 x 60 mins), a gangster family saga boasting a distinguished cast that includes Cillian Murphy, Sam Neill and Helen McCrory. The story begins in 1919 in the lawless slum neighbourhoods of post war Birmingham in the UK and centres on the extended Shelby family. Low Winter Sun (10 x 60 mins) is a contemporary story of murder, deception, revenge and corruption in a world where the line between cops and criminals is blurred in the Detroit underworld.

Peaky Blinders (Endemol Worldwide Distribution)

iproductneWs BETA FILM ALL3MEDIA INTERNATIONAL

GERMANY’s Beta Film brings a number of miniseries to Cannes. Generation War (6 x 60 mins) is about five adolescents whose friendship is changed by World War II. Baron On The Cannonball depicts the adventures of Baron Muenchhausen, and Hallmark’s series Cedar Cover, starring Andie MacDowell, is a story about a judge who brings harmony to her hometown. The company also brings new six-hour drama series Hotel Adlon – A Family Saga, about the famous Berlin luxury hotel, and new episodes of the Spanish hotel series Grand Hotel.

DISTRIBUTOR All3Media International is launching a detective drama at MIPTV. Hinterland is produced by Fiction Factory with S4C, Tinopolis, the S4C Co-Production Fund and All3Media. The 4 x 2-hour drama, in production on the coast of Wales, stars Richard Harrington as troubled detective Tom Mathias. After abandoning his life in London he finds himself surrounded by dark and destructive secrets. The series makes its TV debut later this year on the Welsh channel S4C.

Hinterland (All3Media)

DHX MEDIA

MULTIVISIONNAIRE PICTURES

CANADIAN distributor DHX brings a raft of children’s product to MIPTV, including: Packages From Planet X (52 x 11 mins), in which a fifteen-year-old receives crazy packages, such as the agua freako capsule that unleashes a tsunami of sewer water into the mouth of a school bully; season six of Johnny Test (117 x 30 mins), about a boy willing to try anything in the name of science; pre-school series Caillou (92 x 30 mins), about a four-year-old with a big imagination; and Shezow (26 x 30 mins/52 x 11 mins) about a 12-year-old boy who discovers magical powers — that come with a girl’s superhero costume.

LA-BASED distributor MultiVisionnaire is launching a slate of titles at MIPTV, including: Live At The Foxes Den, about a young lawyer ready to throw it all away to become a lounge singer; Bullets & Cookies (Balas & Bolinhos), an action-comedy about a trio who cheat and steal from anyone to solve their problems; and The Last Death (La Ultima Muerte), about an unconscious unidentified young man who is found outside the cabin of a doctor, after which a conspiracy begins to unravel.

Packages From Planet X (DHX Media)

Live At The Foxes Den (MultiVisionnaire Pictures)

Generation War (Beta Film)

XILAM

FRANCE’s Xilam brings the second seasons of its priority series for MIPTV. The Daltons (seasons one and two, 65 x 26 mins/195 x 7 mins) is about jailbirds who always manage to mess up their escapes. In Floopaloo, Where Are You? (seasons one and two, 52 x 60 mins/104 x 13 mins) Lisa and Matt have fun in a summer camp. Zig & Sharko (seasons 1 and 2, 52 x 30 mins/156 x 7 mins) is a series of tales of a mermaid and her shark protector and friend.

MONSTER ENTERTAINMENT

DUBLIN, Ireland-based Monster brings a range of new music series to MIPTV. Video Killed The Radio Star, Series 5, highlights the impact of artists, video directors and stylists who created memorable visuals including Bowie’s Ashes To Ashes and Madonna’s Vogue. Electric Burma, The Freedom Concert For Aung San Suu Kyi (52 mins/94 mins) covers the story and concert celebrating Aung San Suu Kyi’s historic visit to Dublin in 2012. Over 30 acts performed including Bono, Damien Rice, Lupe Fiasco, Bob Geldof, Angelique Kidjo and Riverdance. The Daltons (Xilam) 56 I

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iproductneWs ALPHANIM

NEW CGI series Calimero (104 x 11 mins) celebrates the 50th anniversary of the character originally created in 1963 by Nino Pagot, Toni Pagot and Ignazio Colnaghi, and is brought to MIPTV by France’s Alphanim. France’s TF1, Italy’s RAI, Disney Junior (select EU markets), and Tele-Quebec are premiering the series during 2013 and 2014. Accompanying the new series are a raft of deals for toys and other products with Nicotoy and Androni Giocattoli, and apparel with MLP and Oysho.

PASSION DISTRIBUTION

THE UK’s Passion Distribution is at MIPTV with the newly merged Mentorn International catalogue and a slate of new and returning series. Highlights include: High Noon Entertainment’s Prospectors (9 x 30 mins), which follows mining teams in the dangerous Colorado mountains; the third season of Mentorn Media’s adrenaline-packed World’s Scariest (4 x 60 mins); and Daybreak Pictures’ new drama, The Politician’s Husband (3 x 60 mins) starring David Tennant and Emily Watson. Other titles include a new slate of Weather Channel content including Deadliest Space Weather (7 x 30 mins) and Hacking The Planet (6 x 30 mins).

OHM:TV

GERMAN distribution company, ohm:tv brings new format TheBettle.tv to MIPTV. Created by Berlin-based Quintus Media, the humourous game show combines the internet and television with legal online betting. The platform allows interactive play in competitions, with monthly prizes on offer. The German version has just finished its first season and a second season is planned. In co-operation with Quintus Media, ohm:tv brings this show to the international market.

Calimero (Alphanim) TheBettle.tv (ohm:tv)

9 STORY ENTERTAINMENT NERDS And Monsters (40 x 11 mins), from Slap Happy Cartoons, is a comedy about a band of nerdy kids on a fantastic island, battling the local inhabitants, a group of hideous monsters. Produced for Canada’s YTV, the show is part of 9 Story’s recent move into programme acquisition . Prospectors (Passion Distribution)

RIVE GAUCHE TELEVISION

RACE To The Scene (8 x 60 mins) is series for movielovers hosted by action-movie star Dolph Lundgren, and brought to MIPTV by California-based Rive Gauche. The series features pairs of contestants competing in challenges and stunts inspired by memorable movie moments and filmed in the actual locations where the original scenes took place.

PORTFOLIO ENTERTAINMENT

TORONTO-based Portfolio Entertainment brings new animated pre-school series Doki to MIPTV. Produced by Portfolio, the series (26 x 30 mins/52 x 11 mins) follows Doki as he and his friends embark on expeditions to discover the wonders of the world, asking questions including ‘Where do rubber bands come from?’ and ‘What was it really like living in a castle?’

Doki (Portfolio Entertainment)

TELEFILMS

Race To The Scene (Rive Gauche Television) 58 I

ARGENTINA’s Telefilms brings a roster of international film titles to MIPTV including: The Master, starring Philip Seymour Hoffman, Joaquin Phoenix and Amy Adams, a 1950s-set drama centred on the relationship between a charismatic intellectual whose faith-based organisation begins to catch on in America, and a young drifter who becomes his right-hand man; supernatural love story Beautiful Creatures, starring Viola Davis, Emma Thompson and Jeremy Irons; Stand Up Guys, a comedy crime story starring Al Pacino, Alan Arkin and Christopher Walken; Side Effects, starring Jude Law and Catherine Zeta-Jones, about a woman who turns to prescription medication to deal with her husband’s upcoming release from prison; and crime thriller Parker, starring Jason Statham and Jennifer Lopez.

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invision WORLD PREMIERE TV SCREENING

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STARZ Entertainment’s new drama series Da Vinci’s Demons is to be seen for the first time by buyers and the media, at the 50th MIPTV. In the series, brought to market by BBC Worldwide, British Actor Tom Riley plays the young Leonardo, a part he says came to him almost by chance. “I was doing Stephen Poliakoff’s My City at the Almeida [Theatre] in London, and I was able to get out of rehearsal for a very last-minute audition — fortunately I hadn’t had much time to prepare, so I hadn’t had time to over-think it, and as a result it all happened really quickly.” Having passed the audition he threw himself into the role. “I knew the highschool version of who he was — this figure frozen in stasis in his 60s, incredibly wise, having lived a long life, having seen an incredible amount of things and created these beautiful works of art. And that image has lived on through generations, Riley said. “What I didn’t know about was so much of the other stuff that he was involved in that wasn’t art-based. I went to the anatomy exhibition at the Queen’s Gallery at Buckingham Palace, and saw his work as an anatomist. I was there with my girlfriend and I went very silent, because not only was there this whole section to his life, but at the end of the exhibition it stated that, had all his work been published, he would have been the most important anatomist who had ever lived. And yet this was just a sidebar to everything else we know about him.” Writer and showrunner is David Goyer, whose extraordinary career includes the roles of storyline developer on the most successful videogame of all time, Call Of Duty: Black Ops, and co-writer on Christopher Nolan’s Batman trilogy of films. “There was almost nothing Da Vinci wasn’t good at,” Goyer said. “he was also a very good musician, he was known to be a very good horse rider, he was ambidextrous and a very good swordsman… and some people said ‘Oh, you’re turning him into an action star!’ Well, you know, he wasn’t just a painter, he really wasn’t. He was quite tall, and if you read the biographies of him, he was a tall and strapping guy. And I also

Demons

don’t think that he wanted to be remembered as a painter. I think he wanted to be known as an inventor or scientist, but it was painting that got him the money to pursue those interests.” Fascinating are the parallels that Goyer makes between Da Vinci and Batman. “Da Vinci is a figure who is almost universally well-known. There’s almost no one that doesn’t know who he is,” he says. “He’s a person whom all these ridiculous legends have grown up around — it’s hard to separate fact from fiction with him. He was an inventor, Batman was as well, and he had father issues. I think Bruce Wayne and Da Vinci both had these formative experiences in caves. You know, the young Bruce fell into a cave and was surrounded by bats; Da Vinci, when he was a kid, fell in a cave when he was sheep herding and he briefly writes about it in his journals. Something very traumatic apparently happened to him in this cave. And then it’s also interesting that Bob Kane who invented Batman based the designs of Batman’s cape on Da Vinci’s glider. So he cited Da Vinci as being one of the leading influences for Batman. Bob Kane has drawings indicating that.” Da Vinci’s genius is undisputed, but Tom Riley says the series also touches on the theory that he might have suffered from a condition that today is recognised as attention deficit hyperactivity disorder, or ADD. “Or somewhere on the autistic savant spectrum. All those things which, today, we have medical terms for, but back then were seen as either madness or genius.” An important element of the series, however, is that it’s fun, he says. “First and foremost it is wildly entertaining. We set out to make something that would be like a summer blockbuster on the small screen, but that happened to be rooted in one of the greatest minds in history. And it’s full of things that are potentially educational, as well as exciting. If I was at school or if I was having to study that old man with a beard who painted the Mona Lisa, this would certainly give me more of an incentive to do so.” The World Premiere TV Screening of Da Vinci’s Demons takes place in the Grand Auditorium on Monday, April 8. The screening will be followed by an on-stage discussion with Goyer, Riley and his co-star Lara Pulver, who plays Clarice Orsini. After that they will walk the red carpet to the Opening Night Party of the 50th MIPTV.

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i feature MIPCUBE

How mankind has evolved MIPCube focuses on three areas which underpin the evolution of the entertainment content business. The ﬁrst is how the traditional TV audience has evolved from a passive to an active group of consumers. Juliana Koranteng reports

HEN TV transmission of this year’s NFL Super Bowl, the US’ biggest sporting event, ended in February, the post-match discussions seemed to centre on the clever use of tweets. The fact that the sacred TV spots cost an estimated $4m each or that more than 100 million viewers watched the game seemed secondary in importance. No wonder Nielsen, the king of US TV-ratings measurement, happily joined forces with micro-blogging behemoth Twitter last December to announce plans for launching the Nielsen Twitter TV Rating later this year. The new audience-engagement measurement system will calculate the quantity and quality of tweets sent by the 140 million (and growing) ‘Twitterati’ as they watch video content on the TV and any other screen. Twitter itself has since gone and snapped up Bluefin Labs, a start-up analytics firm specialising in measuring usage of social media, for a reported $20m. Now that viewers can influence a TV show’s fate by publicly commenting, sharing, loving, or hating via interactive digital devices, creators and distributors ignore them at their peril. It is still early days for social-TV audience measurement. But the Nielsen-Twitter partnership signals loud and clear that today’s audience have won the bid to watch what they want, when, how and on whatever device in real time. “Our theory is that it [content production] is a partnership between you [creator/distributor] and the fan. You want to create loyalty and trust because, right now, the business is going through a big shift,” says Kim Moses, co-founder of US-based Sander/Moses Productions and its digital-media agency Slam. She also co-created the Total Engagement Experience (TEE), a trademarked business model designed to drive audiences to content on TV and brands’ websites. TEE works on the following premise. Amid the hundreds of millions who could possibly see an online video show or TV programme, there is a second group of millions who are the makers, who don’t just watch video content but also are influenced to create things to share. And then, there are the fewer, but still hundreds of thousands, “super fans”. Nurture these super fans well, Moses says, and they will act as a show’s cheerleaders, spreading the word to ensure audience engagement among several million more, a development that no advertiser can resist. 62 I

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A+E’s Mankind: The Story Of All Of Us

General Motors (GM) had agreed to sponsor Ghost Whisperer: The Other Side, a Sander/Moses-produced web-only series based on the company’s supernatural TV drama Ghost Whisperer, which was created with Hollywood’s ABC Studios and aired on the CBS network. The Other Side was produced in response to fans who wanted to see the show from the ghosts’ point of view. “GM had such a great experience, it crossed over to sponsor the TV show. So The Other Side created new revenue sources, a buzz for the ratings and fan loyalty for the “I don’t buy into the Ghost Whisperer.” ‘conversation’ metaphor TEE is designed so that “what happened to the music industry, which used in modern imploded and is having to start again, marketing — it’s still very does not happen to TV”, Moses says. much a one-way street” To prevent that potential doomsday Mark Sorrell scenario, she urges content creators to ﬁnd their “Otaku”, the Japanese word for obsessive or super fans. “That approach will shift the TV and advertising model and hence the monetary structure of the business.” In an era when TV content remains massively popular, but is no longer watched on only one type of screen or during scheduled times, how will content producers

i feature

How mankind has evolved

MIPTV’S FIRST ONLINE CONTENT SCREENINGS MIPTV has partnered with YouTube to create the first edition of the Original Online Content Screenings showing examples of YouTube channels around the world. Ben McOwen Wilson, YouTube’s director of content partnerships, northern and central Europe, says to keep an audience’s attention, YouTube is advising content creators to use more adventurous still images on the platform’s web pages to promote their videos.

YouTube’s Ben McOwen Wilson

“In addition to counting the number of views, we encourage our content partners to worry about the time users spend watching their videos,” McOwen Wilson says. “For example, one way of getting audiences to stay longer or return for more is to apply eye-catching thumbnail photos and accurate descriptions to your channel.” With more than 72 hours of professional and user-generated content uploaded every minute, the video-sharing platform can be overcrowded and continues to grow. YouTube has funded around 180 original channels in the US, UK, France, Germany and Japan since October 2011. Professional content creators need to be efficient in how they build, retain and scale their fans among the platform’s 800 million unique users a month, McOwen Wilson says. Once they take care of that side of the marketing, they will be able to increase their reach to audiences, learn who is watching, and monetise that information. He adds: “You don’t have to worry about the complexity of calculating all that; the platform automatically takes care of that for you.” MIPTV’s first Original Online Content Screenings are at 10.45, Monday April 8, in the Grand Auditorium 64 I

connect with fans? Moses concludes that viewers will soon do more than share what they own or have done; they will want to share how they feel. “People will be encouraged to share their emotions and get rewarded for it,” she adds. In response, her company has partnered with WeChi, a mobiledelivered technology that encourages users to share their feelings in return for reward points. Understanding how users feel about creative and branded content and capitalising on those emotions is a strategy also embraced by Unruly Media. The international group, which distributes and tracks videos on multiple devices and measures their effectiveness for media owners and advertisers, has data on more than 300 billion video streams collected via its much respected Unruly Viral Video Chart. “Recent scientiﬁc and academic research has found that the number of shares a video attracts, whether it is user-generated or commercial, is linked to the strength of emotion it elicits from its viewers,” says Dorota Smaggia, managing director of Unruly Media France. “The stronger the emotion, the more likely it is going to be shared.” To grab and retain the attention of users overwhelmed with the choice of digital content, Unruly advises branded-content producers to make their videos social. “Increasingly, brands are asking us to evaluate content for its shareability, predict its share-toview ratio and use our new sharing algorithm to estimate the level of word-of-mouth a piece of content is likely to generate,” Smaggia says. One way of inspiring your audience to share your videos is to offer content to a specific community and stay true to that target, says Philip DeBevoise, president/co-founder of Machinima, the online video-entertainment hub. Targeted at 18 to 34-year-old males who enjoy the gamers’ lifestyle, Machinima is distributed via YouTube and its own website. Machinima, which boasted 2.6 billion views by last December, works with more than 6,500 YouTube partners. It produced the live-action online series Halo 4: Forward Unto Dawn for a reported $10m to support the launch of Microsoft’s Halo 4 video game. “In relation to traditional TV, we feel Machinima is the perfect partner for old-media TV broadcasters to garner awareness for their content,” DeBevoise says. “We can deliver their shows to an audience of over 262 million unique viewers monthly, because we have proven successful with long-form episodic series like Halo 4: Forward Unto Dawn. Good content will garner an audience. Then, that

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A+E Networks’ Christopher Barry

Hide&Seek’s Mark Sorrell

audience will share, like, favourite, and thus word spreads around the content.” To encourage audiences to participate and share, London-based Hide&Seek instils the playfulness of games into its productions, which range from outdoor activities to digital content. Mark Sorrell, Hide&Seek’s development director, emphasises that the two-way relationship between producer/distributor and the audience still favours the former. However, it is how the producer or distributor speaks to the latter that will determine a viewer’s eagerness to adopt the content and share with friends. “I don’t buy into the ‘conversation’ metaphor used in modern marketing — it’s still very much a one-way street,” he says. “But it has moved from a more authoritative ‘tell’ approach to a more friendly ’ask’ approach. People are bombarded with so many more offers from so many more channels, the exact tone of those messages has to change to reﬂect that.” Traditional TV networks are learning from these transformations in audience-engagement strategy, says Christopher Barry, managing director of international strategy and digital media at USbased TV entertainment group A+E Networks. The company used Facebook and mobile apps to offer viewers of Mankind: The Story Of All Of Us — its tent-pole epic documentary series — additional content that drew more viewers to the original series on the History channel in the US and globally. “By localising the extra content, we increased the number of Facebook fans by 500,000, a 40% increase of the fan base outside the US. It was a great way to build audience engagement and we saw a correlation between that and those tuning in.” For another History programme, the Ice Road Truckers, A+E took part in a popular motor-racing event in Buenos Aires and livestreamed chats with History’s Facebook fans in Latin America and Brazil. “We’re deﬁnitely a multi-channel platform increasingly meeting demands for viewing anywhere, any time.”

i feature PRODUCTION

Producing for a new type of viewer

Remember Me campaign (Bigballs)

MIPCube is focusing on a new type of audience — more a ‘user’ than a ‘viewer’. The days of the couch potato are over. So how do we produce for this new kind of ‘active’ consumer? Juliana Koranteng reports

ETER Vesterbacka, the marketing guru at Rovio — the company behind the most successful mobile-games brand Angry Birds — recently told US-based Fast Company magazine: “If we want to distribute cartoons on Saturday mornings globally, we can do that. We don’t have to talk to 100 broadcasters.” In February, Netﬂix, the commercial US subscriptionfunded streaming giant, premiered its own remake of the BBC’s 1990 British classic political thriller House Of Cards for its internet-delivered platform. Starring Kevin Spacey, the 13-part new version was available in one go. Viewers had the option to watch each episode daily, weekly or, for binge viewers, in one sitting. As Oscar-nominated Hollywood director David Fincher, who helmed the ﬁrst two episodes, has been quoted as saying: “The world of 7:30 on Tuesday nights, that’s dead. The captive audience is gone.” Social-TV viewing is a reality. The walled gardens controlled by broadcasters have been torn down, enabling viewers to pick and mix what they want to see, when and how. The second, third, and fourth-screen phenomena cannot be ignored as audiences share comments and content with friends via smartphones, tablets and smart TV. “Broadcasters know that the open platform and second screen are already here; it’s a train that hit us last year,” says MIPCube speaker Alex LeMay, CEO/founder/executive producer at US-based The Shadow Gang (TSG), which produces original content for multiplatform distribution via its proprietorial Galahad technology.

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Galahad’s premise was inspired by BZRK, a young-adult fantasy-novel series by UK author Michael Grant published by Egmont last year. A good six months before the book was published, Grant worked with TSG to create an original interactive multimedia, multiplatform series called Go BZRK, which featured a website, social media, interactive-graphic comics, mobile apps, scripted videos, blogs plus other interactive content. The project garnered more than 125,000 unique visits, 245,000 views and 423,000 page views across the Go BZRK-related websites in 14 countries. Hollywood studio Sony Pictures has since snapped up the movie rights to the BZRK narrative. “I want them (the broadcasters) to know we understand their trepidation, but the audience is telling us to stop scheduling for them,” LeMay says. “They love brands, but they want them delivered to them in a new way. The internet is always involved, so the audience can tell us what they want, and producers have to pay attention.” UK-based Bigballs Films became a transmedia pioneer with multi-format original shows, including Kate Modern in 2007 and the Vodafone-backed Who Killed Summer in 2009. Last October it launched the soccer-themed Copa90, one of the 160-plus original-content channels in which YouTube has invested. Bigballs’ goal is to make its content social with digital media. “Content needs to be rewarding; it needs to feel like it is giving something back,” says Ross Whittow-Williams, a Bigballs executive producer. “We need to make sure we

Producing for a new type of viewer

Rides.tv’s Jim Stewartson

B-Reel’s Petter Westlund

Bigballs’ Ross Whittow-Williams

create what the audience wants and make sure the fan was to make sure that the incentive was good enough and the entertainment surrounding the experience was good finds us and stays with us.” To spur users to share content, he argues, today’s produc- enough on its own.” ers and distributors need to be analytics experts who adopt Rewarding participating audiences or users is an eldigital metrics for understanding what audiences want ement that content producers didn’t have to consider in the past. The new generation of producers are and do not want, and to tailor the content accordingly. Another way of capturing audiences’ attention is to have adopting that approach, says MIPCube speaker Jim them queuing up to take part in real-time “live experi- Stewartson, the US-based CEO/founder of Rides. tv, the technology and creative offence” online. B-Reel, the international shoot of his online production firm hybrid-production company that startFourth Wall Studios. “Creators have ed in Sweden, mastered this technique “The audience to adapt to the fundamental idea with branded-content campaigns for can tell us what that they are no longer just creating Mitsubishi cars, Ariel detergent and the a single, monolithic narrative in the online-store campaign 3LiveShop for they want, and form of a long video,” he says. “The Sweden-based telecoms operator Three. producers have is increasingly expecting With the first, online viewers in any to pay attention” audience entertainment experiences that alpart of the world could actually test Alex LeMay low them to participate at some levdrive a Mitsubishi car, which was in a el, whether through sharing or deepSan Francisco airfield, by using the arer engagement with the story world.” rows on a computer keyboard. With the second, B-Reel succeeded in getting Facebook With the Rides.tv multi-screen technology, Fourth Wall fans to have some fun interacting with a detergent Studios creates entertaining dramas that draw in usbrand and have fun. B-Reel set up a live-gaming expe- ers, who participate by responding to texts, phones and rience by installing a robotic device, that was connect- emails delivered to their mobile or other connected deed to Facebook, inside a glass cage located at Stockholm vices. Its award-winning suspense-filled Dirty Work is Central Station. Facebook users in the Nordic region hailed as exemplifying how the craft of traditional crime could use their computer keyboards and screens to aim drama can be taken to new levels. and fire dollops of lingonberry jam, tomato ketchup and Yet, there is a danger of getting carried away with the chocolate sauce at moving targets of thousands of expen- hype of sharing content in immersive multiplatform ways, sive designer clothes. Participants who successfully made says B-Reel’s Westlund. a hit would receive the garment, after it had been washed “One of the biggest myths in the integrated-production sphere is you can take any players, who are at the top of clean, online, in real time. Using Flash Adobe technology, the 3LiveShop campaign their game, and put them on a multiplatform project. In saw Three’s mobile-device sales people offer users person- this scenario, we see too many hidden agendas or just alised online customer service in real time by touching their ignorance, making things messy.” Consequently, he insists, the skill and discipline required in storytelling rescreens to demonstrate how the mobile phones worked. But such adventurous use of technology for content pro- main essential. As Simon Whalley, executive producer at London-based duction creates challenges. “The lesson learnt from these productions is to take great Framestore, the multi-discipline international produccare of your visitors waiting in line because, with this kind tion firm, says: “In my experience, the more time, effort of live experience, there is usually a limit to the number and craft put into writing a story, the clearer the roadmap of simultaneous users,” says MIPCube speaker Petter is for telling that story in immersive ways that are releWestlund, B-Reel’s chief creative officer. “This led to vant. It’s difficult. And this is the greatest challenge. But queues that were hours long at high peaks. The challenge when done well, it is very rewarding.” www.miptv.com I preview magazine I March 2013 I 67

i feature MONETISATION

Monetisation: is it all in the mind? MIPCube this year focuses on the new audiences of users, how to produce for that audience, and the resulting monetisation of this new ecosystem. So who’s leading the way when it comes to cashing-in? Juliana Koranteng reports

HE MONETISATION of brand-owned video content went into overdrive in September 2012 when American Express (AmEx) launched a US cable and satellite channel to promote its services to current and potential credit-card customers. This is in addition to the AmEx YouTube channel, which is already in existence and features videos of concerts, artists interviews, interviews linked to the Tribeca Film Festival, fashion, travel, haute cuisine, sport plus content aimed at helping small enterprises organise their finances. That channel has had about 20 million views and 12,000-plus registered subscribers. The new AMEX interactive cable-and-satellite service, a one-year-long experiment, is already in 50 million US homes. It offers video clips, games, brand-promotion videos and information to encourage its members to go shopping. The channel is designed to be used with connected smartTV sets so that viewers, who click on icons superimposed on its commercials and electronic TV-guide slot, can instantly access the service. And, according to the BrandChannel.com website, other global marketers such as Unilever, L’Oreal and PepsiCo, are mulling over using similar t-commerce (e-commerce on TV) strategies to boost brand awareness and drive up sales. “This is the largest interactive-TV campaign ever executed, from one of North America’s largest advertisers,” says Jacqueline Corbelli, founder/chairman/CEO of BrightLine, the technology firm powering the channel’s interactive platform. “It includes an ‘always-on’, unified destination point that can be accessed by multiple cable and satellite providers. The AMEX Channel will enable American Express card members and prospects to have an interactive, on-demand viewing experience that matches consumers’ evolving TV-viewing behaviours.” What no one is answering yet is who benefits financially, when the brand owner-cum-retailer is effectively also the broadcaster and the round-the-clock advertiser? This move by AmEx, which has also hooked up with some online retailers to offer discounts to members who tweet 68 I

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MyndPlay brain bands enable these viewers to control the narrative of a TV show just using brain signals.

selected hashtags on Twitter, conﬁrms business models for monetising digital video and TV content continue to be fragmented at an accelerating rate. The number of business model options is overwhelming, says Scott Ferber, CEO of Videology, the international technology service provider for multi-platform advertisers, ad agencies and online publishers. In addition to traditional public broadcasters’ licence fees, plus the advertising and subscription models used by their commercial counterparts, videos on digital platforms can be funded by pre-roll, mid-roll and post-roll advertising, Ferber says.

i feature

GroupM Entertainment’s Peter Tortorici

MyndPlay’s Tre Azam

Videology’s Scott Ferber

Also growing in popularity is sponsorship-funded ex- signiﬁcant investments in premium-content production tra video content to complement the original TV show. and development come from the big commercial broad“We are seeing the increasing integration of product casters and they continue to deliver a scale of audience placement and branded content in video,” he says. “In second to none.” fact, both are a much more affordable and accessible The global growth of advertising expenditure is foreoption in video than in traditional broadcast or cable cast to accelerate from the annual rate of 3.3% in 2012 programming, and we’re seeing more specialist video to 4.1% this year and 5.6% in 2015, when worldwide producers and aggregators offer these options to brand spend is expected to reach $573.7bn, according to Zenith Optimedia. By then, TV will still rule with a 40% share advertisers.” Ferber sees services like the experimental AMEX Channel, of the total ad spend. and those that hope to encourage tablet and smartphone us- But internet advertising will account for the second bigers to order related merchandise while watching a show, as gest share of the total with 23.4%. Even global ad spend on mobile apps will have just the beginning. soared from nothing a few He says: “While e-commerce years back to $12.8bn this per se in video is still in its inyear alone, says Informa fancy, the growing interest in “We are seeing the Telecoms & Media. branded content could open increasing integration of So the old show has to go on the door to more e-comproduct placement and within the TV industry at merce opportunities, includbranded content in video” the same time as it nurtures ing on the second screen.” the next generation of video The relatively young overScott Ferber entertainers. the-top (OTT) internet-con“It’s a balancing act. While nected streaming services they continue to work their like Hulu and Netﬂix are intensifying competition for traditional broadcasters. Yet important legacy businesses, they are well aware of the Ferber is convinced the traditional models are not lag- challenges that digital media and technology present,” Tortorici says. ging behind as some in the industry believe. “Broadcasters understand video content production And if generating income from content, on whatever platand distribution, and they are seeing staggering growth form, is about understanding its value to brand owners of content consumption over some of the newer digital and advertisers, Ferber and Tortorici also want to highdistribution paths. As a result, they are learning how to light the importance of gathering the host of informabetter monetise this content,” he says. “The good news tion that can be generated digitally by observing audiis that we are still on Mile One of a marathon and the ence behaviour. Ferber says: “Data that allow (video distributors) to folearning curve is steep, so networks/broadcasters that are cus on the consumer, rather than on the device, lead to ready to move forward can catch up relatively quickly.” Peter Tortorici also wants to remind the industry that the a more holistic assessment of (ad) campaign results and, traditional players are far from dead. They still account ultimately, to a truer assessment of ROI. Advertisers get this. We get this. And that’s why we’re focusing our effor the biggest share of the advertising pie. “Old-media network economics are still the biggest game forts on making this a reality across the board.” in town,” says Tortorici, the US-based CEO of GroupM MyndPlay belongs to the next-generation of interactive Entertainment — part of WPP Group’s global media- video-distribution platforms that boggle minds while inmanagement agency GroupM. “The industry’s most sisting it can make money for the sector. 70 I

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Monetisation: is it all in the mind? The UK-based ser vice, founded by former The Apprentice UK contestant Tre Azam, enables viewers to control the narrative of a TV show just using brain signals. This is done via a ‘brainband’, a headband featuring a computer chip based on technology supplied by USbased NeuroSky. This allows wearers to command what happens next in a TV storyline with their minds, as long as they focus and relax. First, a MyndPlay app has to be downloaded on to largescreen smart TVs, or mobile devices with Google’s Android operating system or Apple’s iOS. Then, a video is downloaded via the MyndPlay app. The brainband-wearing viewer is then able to control the plot or ending while watching the show on MyndPlay’s dedicated online player (MyndPlayer). Azam says the MyndPlay app, which is free for computers and paid-for for mobile devices, has been downloaded more than 7,000 times and that the service receives up to 70 registrations a day. In addition to the potential therapeutic use (to teach traumatised soccer players or agitated prison inmates to relax), MyndPlay’s clients include colleges, advertising agencies, and brand owners including HSBC and Red Bull. Brand owners can make money from mind-controlled branded content, Azam adds.

Tre Azam demonstrates the MyndPlay app

“For media and entertainment operators, monetisation by third-party users of MyndPlay is possible by encouraging the consumer to pay to download their interactive content via a MyndPlay app,” he says.

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WeatherPresenter MeteoEarth Contact Info E-mail: sales@meteographics.com Phone: +49 30 60098-0

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Sunday 7 April, 2013, 11.00 - 17.30, Majestic Hotel, Cannes

The ultimate think-tank for key players in the TV and online content ecosystem Engaging with the future of the TV business. MIPCube Plus is designed to encourage thought-leaders representing the whole TV and online content ecosystem to bridge their cultural and knowledge gaps. They will work together in a setting that inspires them to think differently, and they will come out of the day stimulated and ready to work together in new ways.

Top-level execs will participate from: A+E Networks, All3Media, BBC Worldwide, Brightcove, BSkyB, Canal +, CTC Media Inc, eTF1, Eurosport S.A., France Télévisions, Lionsgate, National Film Board of Canada, Radio Canada, Red Bull Media House, RTE, RTL Group S.A, Starz Media, Telemundo, Unruly, Viacom International Media Networks, ZDF, Zodiak Active, and many more!

Contact Bastien Gave to ﬁnd out more and apply to register (space limited) bastien.gave@reedmidem.com Be part of the ultimate think-tank for just €300 in addition to your MIPTV/MIPCube registration. MIPTV®, MIPDoc®, MIPFormats®, MIPCube® are registered trademarks of Reed MIDEM – All rights reserved

i feature BUYERS

Shopping in Cannes MIPTV is the market that many buyers regard as central to their yearly cycle in terms of spotting new programming trends, shaping strategic priorities, cementing long-standing relationships and sourcing the best new content for all platforms. In the build up to this year’s market Gary Smith asked buyers how 2012 had gone for them, and what their priorities are for MIPTV 2013

MATHILDE ESCAMILLA ACQUISITIONS EXECUTIVE, LAGARDERE ACTIVE “IN 2012 we focused on big, well-known properties. We were really proud to acquire series such as Legends Of Chima, a new production from Lego, and Littlest Petshop from Hasbro. But also, with the Angry Birds acquisition, it was about extending a series online, on-demand and through social media. For the June and MCM channels we bought big live action series like Hart Of Dixie from

NIAL CURRAN, COO, CHELLOMEDIA “AT MIPTV 2012 we made substantial progress with TV Everywhere rights. We take a very forward view of where TV is going and TV Everywhere is very much part of that strategy. “Because we are a global operation, we have 34 buyers

Warner and The River from Disney. “Our main strategy is to consolidate our hold on France’s kids’ content sector through our DTT channel Gulli, but also on cable and satellite with Canal J and Tiji. Working with us guarantees better exposure and the maximum number of viewers for our partners. “In 2013, we have to continue to prove that we are the best offer for kids and family audiences by carrying programmes which parents trust and that make the family want to watch TV together. We are also focussing on international expansion and Gulli and Tiji are major actors in the Russian Market. at MIPTV, each one doing an average two appointments per hour so we cover a lot of ground. The challenge is to ﬁnd a balance between what the local audience wants while also keeping abreast of how tastes are changing, and MIPTV is central to that process. “We are growing our presence in South America so the programming needs of the region will be an important part of our mission in 2013. For example, Downton Abbey has done very well so we’ll be renewing that.” www.miptv.com I preview magazine I March 2013 I 73

i feature “We are looking for innovative, fresh content with a strong central character and multi-platform appeal” “IN SPRING 2012, Quick Quack Duck, our co-development deal with Zodiak Kids, was among our most important, as the deal reﬂects a proven acquisition model we are using for our global networks. Also in

RUTH CLARKE DIRECTOR OF GLOBAL ACQUISITIONS & CO-PRODUCTIONS, ITVS GE “At MIPTV 2012 we were focused on acquiring Rectify, AMCs new original production for Sundance, from the creators of Breaking Bad. We loved the single voice and vision behind Rectify, and how that similar style to European writing works so well with our best of British dramas. Furthermore the market was key for us to secure ﬁnance for ITV’s new 10-part series Mr Selfridge. The UK premiere (January 7) on ITV1 garnered a consolidated audience of 9.4 million viewers and 31% share.

PIERRE ROY PRESIDENT, TELE ASTRAL CHANNELS AND PRESIDENT, MUSIQUEPLUS “FOR HISTORIA, we bought Ancient Aliens, Vietnam Lost Films, Counting Cars and Cajun Pawn Stars from A&E. From New Dominion we acquired Red Maﬁa, Sky and Phantom Works, and from Beta, two mini-series: Hindenburg and The Chinese Man. For Canal D, more than speciﬁc acquisitions, MIPTV is the ideal venue to consolidate our business relationships with long standing partners such as National Geographic, A&E, ITV

ANDREA JACKSON MANAGING DIRECTOR OF ACQUISITIONS AT DRG “AT MIPTV 2012 we acquired the rights to a Belgian format called Sooner Or Later, a quiz show that’s all about whether something happened sooner or later than something else, a clever way of using archives and celebrating popular culture. We also acquired some interesting factual titles such as Big Tiny for TLC, and Alien Mummies 74 I

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pre-school, Mike The Knight was a key US domestic acquisition for Nick Jr US, and Olive The Ostrich for our Nick Jr. global feed. “Early in 2012, I found there was less new content available, and not enough diversity in what was available, but I did see a signiﬁcant increase towards the end of the year which was an encouraging sign. “For 2013 We are looking for gender neutral comedies with a global appeal, both animation and live action for our 6- to 11-year-old audience. On the pre-school side we are looking for innovative, fresh content with a strong central character and multi-platform appeal. We are also especially interested in both pre-buys and co-development opportunities across all genres and demographics.

“MIPTV is one of the most important markets of our year and critical in informing us of what the key industry trends are, and how that shapes our strategic priorities as a distribution business. It’s paramount that we’re at the centre of those discussions to know where to invest and what to acquire to best support our on-going focus as a business. “In addition to new acquisitions, MIPTV is also important for acquiring or securing subsequent seasons of dramas and utilising the buzz the market creates to build on franchises and bring partners together to fuel a show’s global success. MIPTV 2013 will be a great showcase for our ‘Queen of crime’ Agatha Christie’s Poirot and Marple, and we are always open to acquiring new additions to our ‘best of crime’ franchises.”

and Sky Vision but also gives us the opportunity to be introduced to new partners. Some titles discussed and acquired following MIPTV were particularly successful such as Storage Wars and Wicked Attractions. For Historia, it’s important to ﬁnd American historical drama series with high volume and good ratings potential. And for Series+, we are looking for recent long-running European drama series available in a French version that are also crowd pleasers.At MIPTV 2013, for Historia, we’ll be looking for good historical documentary series and 90-minute drama mini-series, and for Canal D, we’ll be looking to get up-to-date with the latest trends in the documentary genre.”

for Channel 4 and Discovery Science.” “Food titles performed well for us and in 2012 we were delighted to acquire the rights to Heston’s Fantastical Foods, from Channel 4, as well as over 1,000 hours of food and lifestyle content from CBC in Canada. “For MIPTV 2013, top of my shopping list are weekend primetime studio entertainment formats, formatted factent series driven by a host or a key character, and maleskewing programming — about dangerous jobs, travel and adventure.”

JULES BORKENT SENIOR VICE-PRESIDENT, GLOBALACQUISITIONS & INTERNATIONAL PROGRAMMING, NICKELODEON

Shopping in Cannes VICKY SCHRODERUS HEAD OF ACQUISITIONS CHILDREN’S PROGRAMMING, YLE “AT MIPTV 2012 we acquired new seasons of Shaun The Sheep, Franklin And Friends, Babar And The Adventures Of Badou, and pre-bought Peter Pan and Buddy Patrol. Spring is also the time to start acquiring specials for Christmas, and I bought the re-run of the classic Snowman and pre-bought the Snowman And Snowdog. “Time is always a limiting factor. It would be great to meet

BARBARA UECKER HEAD OF PROGRAMMING & ACQUISITIONS CHILDREN’S TV, ABC AUSTRALIA “AT MIPTV 2012 our most important acquisitions for the school age audience on ABC3 were NumbChucks from 9 Story, Officially Amazing from Zodiak and Grojband from Fremantle. For our pre-school audience on ABC4Kids our most important acquisitions would be HaHaHairies, Maya The Bee and Kioka. “It is challenging to ﬁnd shows that appeal to the upper end of our ABC3 audience. Animated shows such as the

everybody, but there are only 24 hours a day. Sometimes you hear about a programme that might interest you, but you might lack information about the title, the producer or the distributor. Luckily there are great search engines that help you to ﬁnd what you are looking for.“ “AT MIPTV 2013 the main focus is on the boys and girls aged four to six. Lately I have pre-bought quite a few series with a girl as the central character, so I would love ﬁnd series that is driven by an energetic boy. As a public broadcaster YLE tends to pick up shows that are story driven and have recognisable main characters. For this target I am searching for adventures that bring a smile to the audience’s face.”

Total Drama Island series and Stoked from Fresh TV are working incredibly well for us but unfortunately there aren’t many shows out there that have this little bit of extra bite. Plus there aren’t a lot of action adventure shows around that sit well among Star Wars Clone Wars and the Marvel shows Iron Man and Wolverine. “AT MIPTV 2013 I’ll be looking for the best available content out there for our different audiences. There’ll be an emphasis on boys action adventure, comedy in the vein of Horrible Histories and of course I’m always looking for the next Total Drama Island! Another strong genre for us is talent driven observational documentaries like the Deadly 60 series.

Basque Audiovisual, the international brand of the basque audiovisual industry Riviera Hall 31.29 www.basqueaudiovisual.com

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Stakes are high in the drama game With traditional channels and digital content providers eager to stand out from the crowd, the production of high-end scripted formats and dramas with global appeal is playing an increasingly important role in the multiplatform era. Andy Fry reports on the genre that is now attracting creative talent of the highest calibre

T ISN’T easy to summarise trends in drama distribution. But if you had to reduce commercial developments in the sector to two observations, it would be these. Firstly, that producers have got much better at creating high-quality content that works all around the world. Secondly, that the genre is thriving in the digital age. Whether they’re in the free, DTT, pay TV or on-demand sectors, buyers need scripted shows that either help their channels make their mark or encourage audience loyalty. Companies that have responded to these developments include FremantleMedia International, whose CEO David Ellender says: “We began to notice some time ago that US showrunners were more mindful of the international audience at the development stage. In light of

this, FMI announced its English language drama strategy at MIPTV in 2009. As part of this strategy we pledged to partner with the best of international talent in order to create premium product for international audiences. Since then we have forged a number of fruitful alliances — some with a view to producing US drama speciﬁcally for cable but with the potential to travel. An example would be comedic drama Wedding Band, which has sold to 185 countries, including Channel 5 in the UK, Network Ten in Australia and CTV in Canada.” Ellender’s observation about US showrunners is made all the more signiﬁcant because of the massive increase in scripted content being originated by US channels. John Morayniss, CEO of eOne Television, reckons there www.miptv.com I preview magazine I March 2013 I 77

i feature are “more than 30 US networks commissioning original scripted content — and many of them are developing content that works just as well internationally.” Morayniss believes the success of the genre has its genesis in ground-breaking shows like HBO’s The Sopranos and Showtime’s Dexter, “which took editorial risks and found the audience was ready for something more sophisticated than police procedurals. Once the fear of finding the audience went away it led to more multifaceted stories with complex and conflicted characters.” The result has been a slew of great shows such as Mad Men, The Walking Dead and Homeland. “There have been two benefits in this,” Morayniss says. “The first is more shows that make noise for the networks. The second is an influx of great talent. Writers and producers more usually associated with theatrical are excited by the possibility of creating 10 or 13 hours for TV.” An eOne show that neatly encapsulates all of the above is its MIPTV launch Rogue, which sees Thandie Newton star as a conflicted cop who thinks she may have brought about the death of her son with her actions, and whose subsequent investigation is complicated by her romance with a crime boss. “We’re seeing great talent like Thandie, Claire Danes (Homeland) and Kevin Bacon (The Following) attracted to these roles more than ever before.” Further support for Morayniss’ observation comes from Showtime, which has just commissioned Neal Street Productions to make Penny Dreadful, a psychosexual

WHO WILL PLAY HARRY BOSCH?

“We began to notice some time ago that US show runners were more mindful of the international audience at the development stage” David Ellender horror series which sees characters like Dr. Frankenstein, Dorian Gray and Dracula become embroiled in Victorian London. Created, written and executive produced by John Logan (Hugo, The Aviator, Gladiator) and executive produced by Sam Mendes (American Beauty, Revolutionary Road) and Pippa Harris (Revolutionary Road, Call The Midwife), it’s a classic example of the kind of talent now moving backwards and forwards between theatrical and TV. Another interesting point about eOne’s Rogue is that it is the ﬁrst original commission from US DTH platform DIRECTV. Following on from similar scripted investments by the likes of AMC, FX, Starz and History, Morayniss says: “It underlines the point that everyone wants exclusive scripted content. We’re also working on a six-hour mini-series for Discovery called Klondike, which will be a great action-adventure production set during the Gold Rush.”

with Restless [co-produced by BBC One and The Sundance Channel and JENS RICHTER, managing director of but now also in other territories. And co-financed by Red Arrow Red Arrow International, said that the so a lot more choice for the viewer and International with M6 and current global demand for highthere’s more demand for programming ProSiebenSat.1]. It’s a wonderful quality drama means that producers — and room for more targeted example of a novel being put on and distributors are looking for programming, as with channel content with elements of “built-in fragmentation you have more focus on screen. William Boyd not only wrote a brilliant spy novel but he also wrote marketing”. “In general I think the certain audiences.” He added: “It’s the script for the mini-series. Another market out there is changing,” Richter harder and harder for an individual hook could be the outstanding actor, said. It’s quite interesting for programme to find its market and everybody. You have fragmentation of once on air it has to find its audience like we are doing right now with Atlantique. We are now taking delivery the television sector, you have more so we put a lot of time into find of Jo [from the creator of Law & Order, and more TV channels in each concepts with a built-in marketing Renee Balcer], which is bringing Jean territory. And then you have the digital component. In this market the platforms gaining more weight, individual programme has to stand out Reno to television. He hasn’t been on particularly in the US as a front runner and one of the ways we did that was television since the early Nineties and

this is a show with him in the lead.” Another series with all the built-in marketing it needs is Bosch, produced by Red Arrow production company Fabrik Entertainment, and based on Michael Connelly’s Harry Bosch novels. The 20 million-plus people who have bought the books will serve as a ready-made audience, especially when they hear that Connelly is writing the scripts and Eric Overmeyer (The Wire, Treme) is show runner. Just who will play the laconic, jazzloving LA detective should build-in more marketing for the series — but at press time remained a secret.

Jo, starring Jean Reno — and, inset, Bosch

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Stakes are high in the drama game

Jane Campion’s Top Of The Lake

This trend even extends to leading on-demand player Netflix, which made a significant investment in the Kevin Spacey/David Fincher project House Of Cards. Internationally, the beneficiaries of this show include Sky Deutschland, Canal+ in Spain/France, Zon Portugal and Digiturk in Turkey — all of which have acquired the show from its international distributor Sony Pictures Television (SPT). Speaking to shareholders in January, Netflix CEO Reed Hastings made it clear that House Of Cards won’t be the

Annika Bengtzon: Crime Reporter, combining the efficiency of Anglo-Saxon drama with European cultural themes

last high-end series to be green-lit by the cash-rich company: “Because original series can be completely exclusive to Netflix (no TVOD, no linear, no kiosks, no theatres) we believe they will be more effective in attracting and retaining members than equivalent content that is less exclusive to Netflix. Original series developed for internet TV will be better for creators, for consumers and for Netflix.” The kind of internationalised US series outlined by Ellender and Morayniss is only one example of how producers have learned to create borderless content. Just as significant has been the resurgence of the international scripted co-production. Trail-blazing examples have included Rome, Pillars Of The Earth, World Without End and Parade’s End, all of which have proved it is possible to get great multi-episodic drama by piecing together production finance from a variety of international sources. Eric Welbers, managing director of sales and acquisitions at Germany’s Beta Film, says: “There will be always a demand for these high-level productions because channels need lighthouses which raise their profile.” Beta Film’s biggest success to date is The Borgias, which has aired on channels such as Netflix, Canal+, ZDF, ORF2 and Sky Italy. But Welbers says there are more coming through the pipeline: “There are great untold stories out there like Generation War (teamWorx/Beta for ZDF), the first time that WW2 has been told from the point of view of German youngsters, The Crusade about the medieval emperor Frederic II (development) and Alexander The Great, the event-series we are developing with [writer] Michael Hirst.” Historically, there was a concern that projects like these might compromise creativity in pursuit of cash. But “the days of the Euro pudding are over”, says Lookout Point CEO Simon Vaughan, a co-pro specialist who pieced together the finance behind the BBC’s critically acclaimed

“Companies like Canal+ are responding with a new kind of drama” Alex Piel

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Stakes are high in the drama game

mini-series Parade’s End and has just seen the success- US and Brit dramas aren’t the only English-speaking ful debut of his Victorian era crime drama Ripper Street. content that works well. All3Media International has “Co-production used to be a necessary evil, but these sold the ABC1 Australia drama Miss Fisher’s Murder days, there’s much more emphasis on putting the crea- Mysteries to more than 120 territories, including Brazil tive first, which means we can put together the most am- (Globosat), Denmark (DR TV), USA (Netflix), France (France 3) and Singapore (MediaCorp). With a second bitious projects.” Right now, for example, Vaughan is working on a mini- run now coming to market, Louise Pedersen, managing series about Lawrence of Arabia — scripted by William director at All3Media International says: “From the moBoyd. “I think the trend is towards a realisation that crea- ment we became involved with this series we could see its great international potential. tive collaboration can make a betThe meticulous and opulent recter production. And it can also reation of the 1920s combined support distinctive voices.” “We’re focusing on with outstanding performances This last point is significant, becrafting fewer, really and lively stories creates fantastic cause the re-emergence of the high quality episodes” primetime viewing for a wide auco-pro is one of the main ways in Simon Vaughan dience demographic.” which non-US producers are able T he st reng t h of U K a nd to get big ideas up on screen. “At Australian talent has not been Lookout Point, we’re working with BBC Worldwide on what we call global British drama — lost on FMI’s Ellender, whose drama strategy is not soledramas that have bigger budgets, bigger ambition but are ly focused on developing US-originated or US-style draintrinsically British in their taste and ambition,” Vaughan ma. “For example, we have Craig Pearce, the screenplay says. “One key differentiator in this approach is that we writer of Baz Luhrmann’s Romeo + Juliet and writer of aren’t trying to produce the 13 or 22 episode runs you Moulin Rouge, working on The Maid (an admight associate with US networks. We’re focusing on aptation of Kimberly Cutter’s novel about Joan of Arc) and Marshall Herskovitz, writcrafting fewer, really high quality episodes.” Downton Abbey, aired by ITV and distributed by NBC er of The Last Samurai, Love And Other Universal, emphatically proves Vaughan’s point. And Drugs, working on the adaptation of the there is also an upbeat assessment of the export potential novel Hitlerland. We’re also working of British drama from ITV Studios Global Entertainment with Ridley Scott and his company (ITVSGE) managing director Maria Kyriacou. “The re- Scott Free Productions to develop sponse from buyers to our latest drama Mr Selfridge has The Drivers. There’s also a first-look been very strong [deals have been done with the likes deal with UK producer Paul Abbott of VRT Belgium, SVT Sweden, TVNZ New Zealand, and his company AbbottVision. PBS in the US and Seven Network Australia],” she says, Recently we announced we will co-pro“and we’ll be placing a big emphasis at MIPTV on Poirot, duce with AbbottVision to adapt French which ends after 13 series having sold around the world.” drama Les Revenants (working title They For Kyriacou, one attraction of ITVSGE content to buy- Came Back).” ers is that “it is tried and tested. Series like Mr Selfridge, Reference to Les Revenants segues into Poirot, Marple, Morse, Lewis and Endeavour are qual- another big trend towards internationity series that help channels define their brand. They are alisation — scripted formats. While constantly going into re-licence and are even starting to the global TV market is familiar with US dramas being remade for foreign find new audiences thanks to on-demand.”

Miss Fisher’s Murder Mysteries (All3Media)

Avenida Brasil (Brazil Avenue), a big hit for Globo 80 I

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i feature territories, the appetite for scripted content in the US is so strong these day that US channels are more open than ever to adapting ideas from abroad. Great examples include The Killing, an AMC series based on Danish drama Forbrydelsen; Homeland, a Showtime series based on Israeli drama Hatufim; Devious Maids, an upcoming Lifetime series based on the Mexican telenovela Ellas Son La Alegria Del Hogar; and Red Widow an ABC drama due to launch in mid-season 2013 which is based on Holland’s Penoza. Zodiak Rights’ Paris-based senior vice-president, sales and acquisitions, Alex Piel says formats has been a rich area for his company, with UK format Being Human a success for Syfy US and French format Braquo now being reworked for the US. While UK to US is a tried and tested path, the latter is “not something I could have imagined 10 years ago”. So what has changed? “French audiences have been used to watching US drama for the last few years so their appetite has changed,” Piel says. “Now, companies like Canal+ are responding with a new kind of drama which has learned lessons from the US. There has been a very good run of dramas such as Spiral, Braquo and Rebound, which has been rating better than the US scripted shows and will be one of our headline titles at MIPTV.” Support for Piel’s analysis comes from the TF1 drama Jo, picked up by distributor Red Arrow International. Starring Jean Reno as a veteran Parisian detective, it has been sold to RAI, ProSiebenSat1 and Fox International Channels (FIC) for 120 countries. So strong is the momentum in favour of internationalisation that the French are even starting to follow the Germans into English-language co-production. Piel cites the example of Versailles, a high-end co-production being made by Zodiak-owned Marathon. Piel believes that the recent success of Scandinavian drama on the international stage is partly down to the same development. “We have shows like Millennium, Wallander and Annika Bengtzon: Crime Reporter. What’s really working is the way they combine the efficiency of Anglo-Saxon drama with European cultural themes. They have the pacing, characterisation and emotional empathy we always used to associate with US or British drama.” Much of what has been said so far deals with the way that internationalisation is helping to deliver better ideas and executions. But as discussed at the outset, developments in digital have also played their part in driving innovation in drama. This point is picked up by BBC Worldwide director, drama, Caroline Torrance, who has identified increased opportunities for serial dramas like BBC America/Temple Street’s Orphan Black. “A few years ago it was difficult to sell dramas which required viewers to stay loyal every week because they tended to drop in and out. But the growth of on-demand means that people can store up episodes and watch them all in one go. This has shifted demand slightly away from story of the week style dramas towards the more complex characterisation of serials.” Like her peers, Torrance says digital fragmentation places more onus on networks to find stand-out shows. “A lot 82 I

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Parade’s End: great multi-episodic drama

of titles on our slate have strong elements. We have Jane Campion directing Top Of The Lake, Mark Williams starring in Father Brown, Gabriel Byrne in Quirke and David Goyer creator and executive producer of Da Vinci’s Demons, a headline title for us at MIPTV which is the result of a co-production alliance with US channel Starz.” With digital fragmentation has also come more complex and creative windowing. One of the leaders in this arena is Disney, which has used its strong slate of returning series to build services like ABC TV On Demand and Hot From The US. “It’s important for us to reach viewers wherever they want to watch content,” says Tatjana Vucanovic, general manager and vice-president Central and Eastern Europe at Disney Media Distribution. “That’s why we’ve done content deals with the likes of iTunes, Netflix, Loveﬁlm as well as more established broadcasters.” One of the company’s most interesting innovations has been to start showing some of its US shows internationally before they air at home. “We have to be sensitive to the needs of the US market, but it’s a strategy that worked well with Body Of Proof and which we are now seeking to repeat with a new show Mistresses.” A big strength of the Disney catalogue is the evergreen quality of its more established shows — something that has stood Disney in good stead during the recession. “Lost, Grey’s Anatomy and Desperate Housewives continue to be big brands for us across numerous windows and territories,” Vucanovic says. “And we’re starting to see similar patterns with Criminal Minds and Castle, which is now up to around 100 episodes. Both shows demonstrate that the demand for crime series is still strong.” While US drama continues to dominate global trade, it’s important, before signing off, to note that there are also some interesting trends occurring outside that AngloAmerican world. First up is the growing success of the telenovela — spearheaded by companies like Televisa, Telemundo, TV Azteca, Caracol, Telefe, Endemol, Dori Media and Brazilian giant Globo, which comes into 2013 on the back of a huge hit in the shape of Avenida Brasil (Brazil Avenue). TV Globo’s head of international sales Raphael Correa Netto says the show achieved 84% share in its last episode “and was one of the most discussed subjects in

“A few years ago it was difﬁcult to sell dramas which required viewers to stay loyal every week” Caroline Torrance

Stakes are high in the drama game the Brazilian media during the seven months that the plot was on air in 2012”. With sales to LatAm networks guaranteed, he is now exploring the potential for the show to be remade in other parts of the world. Equally dynamic have been recent drama developments in Turkey. Covered in depth during sessions at MIPCOM, the signs are that Turkish-originated drama is starting to expand its footprint beyond its traditional fan base in the Middle East, with titles like Magnificent Century selling across Eastern Europe. That said, there are signs that Eastern Europe is also finding its feet as a producer of drama. HBO Europe has just unveiled Burning Bush, the story of Jan Palach, a young student at Charles University in Prague, who set fire to himself in January 1969, the year following the Prague Spring. “With Burning Bush we are setting a new standard in terms of the scripted drama that we produce,” Antony Root, HBO Europe executive vice-president of original programming and production, says. “The wealth of amazing stories in our region ensures that HBO has many more opportunities to produce the type of event drama that has made the HBO label synonymous with ambitious and distinctive entertainment.” This production will be distributed by Beta Film at MIPTV 2013. The dynamism of local or regional production might look like a threat to the global players. But companies like Endemol, SPT and FremantleMedia International

have responded by drilling down into loc a l m a rket s . D on n a Wiffen, FremantleMedia International head of worldwide drama, says: “Long-running shows such as SOKO 5113, running for 35 years in Germany, and Neighbours, an iconic favourite for 27 years in Australia and the UK, Rogue (eOne) continue to rate well.” And now this strategy is being stepped up. “Over the past couple of years, we’ve had substantial growth in Australia, with three new dramas in production, including Wentworth (a re-imagining of Australian series Prisoner for Foxtel). We’ve also seen growth in India with a groundbreaking drama, Confrontation, in negotiation for a fourth season, and a spin-off series pilot already in production.” Wiffen says there’s a double beneﬁt in this approach, which is that locally produced shows can ﬂow back into the catalogue. “We’re looking to create and produce long running returnable series that work well in local markets, and also have international appeal so as to be distributed worldwide.”

“It’s important for us to reach viewers wherever they want to watch content” Tatjana Vucanovic

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i feature CO-PRODUCTION

Partners in crime Co-production between the US and Europe is kicking into high gear. Driven by an increasing demand for top-quality drama, joint ventures are taking a new direction and producing some big hits in the process. Marlene Edmunds reports

HE GROWING appetite internationally for high-end drama is redeﬁning the dynamics of coproduction in both Europe and North America. Only a few years ago Americans rarely ventured into Europe to co-produce. But according to David Zucker, president of television for Scott Free Productions, those days are over.

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Scott Free’s ﬁrst co-production, The Company, was followed by the massively successful Pillars Of The Earth, a co-production between Tandem, Muse Entertainment Enterprises and Scott Free. Then came Labyrinth, based on the Kate Mosse novel. World Without End, an eightpart mini-series and sequel to Pillars Of The Earth, co-produced by Scott Free, Tandem, Take 5 and Galaﬁlm, broke

Partners in crime Scott Free’s European co-production credentials have not gone unnoticed. At press time, Zucker was busy on Klondike, a co-production with Canada’s Entertainment One, Nomadic Pictures and Discovery Channel. “Discovery needed a partner they could have conﬁdence in and the fact that we’d already done co-productions with some success outside of the US interested them,” Zucker says.

“Discovery needed a partner they could have conﬁdence in and the fact that we’d already done co-productions with some success outside of the US interested them” David Zucker

Crossing Lines, produced by showrunner Ed Bernero, and co-produced by TF1 Production in association with Sony Pictures Television Networks

ratings records when it recently premiered in the UK. “It’s been a positive learning curve,” Zucker says. “Like many of these independent ventures, they are very specific and idiosyncratic to the project itself, the type of relationship and the nature of the partnership. As the market place has evolved, a lot more companies and broadcasters are welcoming that model in a way they hadn’t before.”

Tandem Communications is now working on, among other projects, Crossing Lines, a 10-episode one-hour action crime series produced by showrunner Ed Bernero, and co-produced by TF1 Production in association with Sony Pictures Television Networks. The series, set to air on TF1 and on SPT Network’s AXN channels in more than 80 territories, is the tale of a special police unit investigating crime that crosses European borders. Executive producer Rola Bauer says the story of a global special crime unit is an idea whose time has come. “We were looking for someone to develop with us a global, procedural crime series. It’s safe to say that Ed Bernero is in a league of his own when it comes to procedural crime dramas and as fate would have it, Bernero and Tandem are represented by the same legal counsel in LA. When our lawyer brought us together, it was a natural fit. We met in January 2012 and started shooting the first season in October.” The project is the first to come out of Tandem since StudioCanal picked up the majority stake in the company last year — which, according to Bauer enabled Crossing Lines to get into production much quicker and more efficiently than might have happened before the two companies came together. France is on its way to creating a new dynamic and a new confidence in the quality of European co-productions. Emmy-award winning writer/producer Tom Fontana’s Borgia, a co-production between France’s Atlantique Productions and Germany’s EOS Entertainment in co-operation with Canal+, ZDF and Austrian network ORF, was a hit in Europe. BBC’s re-commissioning of French UK co-production Death In Paradise, heavily tapping France’s co-production and tax support schemes, speaks for itself. The first season of Death In Paradise sold to over 40 territories. More recently Sky Atlantic HD confirmed it had commissioned The Tunnel, a new crime drama to be co-produced www.miptv.com I preview magazine I March 2013 I 85

Partners in crime

by Kudos with Canal+, set in Folkstone and Calais. The bilingual co-production is based on Danish-Swedish coproduction The Bridge (Bron), which centres on a body found on the Oresund Bridge linking Copenhagen to the Swedish city of Malmo. The Tunnel will focus on the suspicious death of a French politician in the Channel Tunnel linking Calais and Dover, forcing French and British detectives to work together. Yellow Bird, co-founded by prolific Swedish crime writer Henning Mankell, and film producers Ole Sondberg and Lars Bjorkman, has produced the Millennium trilogy, three Swedish feature films and six TV movies based on Stieg Larsson’s Girl With The Dragon Tattoo books. In addition, some 26 Swedish Inspector Wallander films were made by Yellow Bird, as well as a limited English language remake, produced by Left Bank, of several of the Wallander books. A significant coup for Yellow Bird is its recent acquisition of international rights to American crime writer Karin Slaughter’s works. Yellow Bird will produce TV films based on the series about the Georgia Bureau of Investigation special agent Will Trent. The Slaughter project will include three feature-length TV films based on the series. “This is something very new,” says Yellow Bird’s Marianne Gray, producer on the Slaughter projects along with Yellow Bird’s Berna Levin. “It marks the first time we’ve bought international rights for a project, rather than relying on Swedish rights. The fact that Karin Slaughter is a New York Times best-selling author and a best-selling author in Europe, and that we’re shooting it on location in Atlanta, gives this project considerable strength from the outset.” Funding will be mainly out of Europe. Michael Hjorth, executive producer for Tre Vanner on The Fjallbacka Murders, based on Camilla Lackberg’s best-selling novels, is no stranger to working with the

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The BBC remake of Wallander

minutes was in post-production. Co-pro partners included SVT, Nordisk Film, Film i Vast, and ZDF. Tre Vanner last year acquired all rights to Norwegian queen of crime Karin Fossum’s novels. At press time, the Fossum project was in the development and funding stage. Hjorth says talks are on with long-standing co-production partners but nothing is signed and sealed. Up in Norway, Norwegian public broadcaster NRK is into its second season of Lilyhammer, this time with Netflix as a co-producer rather than just distributor.

“Previously Americans would buy a right, then do a remake. Now they are into what I’d call true co-productions” Michael Hjorth

Americans. Recent projects include Easy Money with Warner Bros. “The US and the UK are much more flexible than they used to be in the way they approach co-production projects,” Hjorth says. “Previously Americans would buy a right, then do a remake. Now they are into what I’d call true co-productions that pay more homage to the quality of European production coming out of the Nordic territories and continental Europe.” Tre Vanner recently began delivering The Fjallbacka Murders co-production project, five TV films of 90 minutes each. At press time, another feature film of 110 86 I

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Mr Selfridge, ITV Studios’ latest co-production with PBS Masterpiece Theatre

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Partners in crime

“Having Netﬂix as a coproduction partner is great. The additional resources for the production make a difference on screen” Tone Ronning

ing co-productions with American as well as European partners on board. One of his latest projects is Da Vinci’s Demons, which is set to have its world premiere at MIPTV. The eight-part series for Starz from Batman Begins and Man Of Steel screenwriter David Goyer has been picked up by Fox International Channels (FIC) as first-window pay-TV broadcaster in FIC territories outside of the US and Canada. Da Vinci’s Demons marks the first collaborative effort between Starz and BBC Worldwide Productions under a new co-production agreement that was inked following the production of Torchwood: Miracle Day. For such a production “you need to find sustainable partnerships and BBC Worldwide Productions has that with Starz”, Donald says. “Working with the Americans is really no

Quirke, a co-production between the UK and Ireland with BBC Drama Productions, Element Pictures and Tyrone Productions 88 I

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“Having Netﬂix as a co-production partner is great. The additional resources for the production make a difference on screen,” Tone Ronning, commissioning editor, drama and independent arts for NRK, says. The series stars, and executive-produced by, Steven Van Zandt who, Ronning says, bears up well in -15c weather to shoot the exterior scenes just like the native Norwegian crews. Ben Donald, executive producer international drama at BBC Worldwide, has been overseeing, or involved in co-ﬁnancing of a pack of titles in recent years, includ-

Tre Vanner’s Fjalbacka Murders

different or easier than working with any other culture. Language is not a factor that makes it easy or hard. Coproductions are only easy when you have a brilliant project, a shared vision and a compelling reason for the broadcasters to come together.” Donald has helped put together financing in recent years for Death In Paradise, Parade’s End and Spies Of Warsaw — the first drama co-production that has been done with Poland. The co-production is by Apple Film for TV Poland and by BBC America in association with ARTE France and BBC Worldwide. “TVP contributed a large sum of financing,” Donald says, adding that the deal also enshrined an agreement to work together to find additional projects to work on with TVP. Lookout Point production and distribution outfit CEO Simon Vaughan is among a new breed of financing specialists shepherding a number of high-end drama co-productions. Vaughan was instrumental in financing and co-producing mega mini-series Titanic, Parade’s End, a co-production between Mammoth Screen, Anchorage Entertainment and Lookout Point, as well as Ripper Street, a US/UK co-production for BBC1 involving Tiger Aspect and Lookout Point in association with BBC America. Ripper Street has just been signed for its second season. Vaughan’s latest project, also a co-production with Tiger Aspect, is the ambitious mini-series, Lawrence Of Arabia. Vaughan says that while the classic David Lean film of 50 years ago “brilliantly dramatised the events, our Lawrence explores Lawrence the man”. Vaughan says the writer, William Boyd, “has a great way of getting under the skin of his characters”. He expects to have a North American partner on board. “It is wonderful to see such a resurgence of mini-series in America and by extension around the world,” Vaughan says. “The success of Hatfields And McCoys, which did so well for the History Channel, has opened up a number of new potential buyers that would not have considered partnering on a mini-series a year ago.” Boyd penned the novel Restless and was the screenwriter on the co-production between Sundance and Endor. ITV Studios’ (ITVS) latest co-production with PBS Masterpiece Theatre Mr Selfridge premiered on January

For information on membership email max.newman@iemmys.tv or call +212-489-6969

Partners in crime

7 in the UK to 9.4 million viewers and a 31% share. Ruth Clarke, director global acquisitions and co-productions at ITV Studios Global Entertainment, says that over the last year ITV has been building global partnerships with the aim of finding top international dramas. Examples include Mr Selfridge, Rectify (AMC Network’s Sundance Channel’s first original scripted production), and December Media’s Dr Blake, produced for ABC in Australia, as among the partnerships that ITV has found a natural fit with. “We had a great experience partnering with ITVS in the UK and December Media in Australia on Mrs Biggs, whose story centred on time spent in both the UK and Australia and as such, naturally required the co-production,” Clarke says. “We are keen to extend those kinds of partnerships to work more closely in France, Scandinavia, and Canada.” While Ireland has worked extensively with the US, the UK and Canada, it is also now setting its sights on finding more partnerships in both Northern and continental Europe. Irish Film Board film commissioner Naoise Barry says that from the outset, Ireland has had a long Vikings, a co-production between The Irish Film Board, Take 5 Productions, and Morgan O’ Sullivan’s World 2000 Entertainment term production strategy that is now centred addition to the Section around IP and beginning 481 tax scheme, to sup“At the Irish Film Board, we to bear fruit. port series coming from believe the time is right to look Initially through the talented Irish production more closely at continental country’s Section 481 tax companies like Morgan scheme, the Irish govEurope for new co-productions O’Sullivan’s World 2000 ernment and Irish Film E nt er t a i n ment a nd that may help create new IP” DRAMATIC Board supported comElement Pictures. COMEBACK Naoise Barry panies like Element “The incoming producFOR RTE Pictures in their efforts tion brings in imporFINANCIAL hard times have made to bring in UK drama in co-productions a serious tant fees which producchallenge for some broadcasters, a production service capacity. That tactic allowed Ireland tion companies like Element Pictures, Tyrone and World including Irish public broadcaster to build up its film industry and exhibit its talent on the 2000 can then use to develop their own slates,” Barry RTE. “The economy in Ireland fell production, craft and crew side of the picture. Now, the says. off a precipice and we had to reduce the amount of drama and Film Board is also kicking in co-production funds, in Currently on the front burner is Vikings, a co-produc© Lookout Point/Tiger Aspect, Photo: Jonathan Hession

tion between The Irish Film Board, Take 5 Productions, and Morgan O’ Sullivan’s World 2000 Entertainment. Vikings was developed by O’Sullivan with Michael Hirst for History Channel. Distributors also include MGM and Canada’s Shaw Media. Quirke, now shooting in Dublin, is a co-production between the UK and Ireland with BBC Drama Productions, Element Pictures and Tyrone Productions (Riverdance). The next step, Barry says, is for Irish producers to improve their relations with European broadcasters. “Irish producers have always had good relations with the US and the UK, and historically we have always co-produced on the feature ﬁlm side with European producers but not in the TV space. At the Irish Film Board, we are encouraging our producers to look more closely at continental Europe for new co-productions that may help create new IP. We believe the time is right to do that.”

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indeed all genres of programming we were commissioning in recent years,” Dermot Horan, director of broadcast and acquisitions for RTE, says. But, he says, RTE is ready to climb back on the co-production wagon again. “We understand that drama makes a statement like no other kind of programming and in order to commission as much as possible, we want to get involved in more co-productions.” He points to series like Love/Hate, which is being distributed by ITVSGE, and picks up 40% of the audience with stars like Aiden Gillen and Robert Sheehan. “Irelan certainly has the talent, locations, and the funding to do high-quality co-productions, and as the public broadcaster with a mandate to commission drama, we are in a good position to help with that,” Horan says.

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i feature BRANDS

The beauty of brands… The beauty of brands is that they have a life off screen, an interaction — a relationship — with the consumer. That’s why, in response to the changing media landscape, the number of brands actively involved in producing both long and short-form content is growing rapidly, with an average 12% of marketing budgets now being spent on content production. Gary Smith reports

TARTING in the 50s with the original ‘soap ope- to the idea of producing content. “A couple of projects ras’, marketers have sought to both attract con- that we made for Toshiba/Intel provide good examples sumers’ attention, and to get them to invest some of current marketing content,” he says. “In collaboraemotional capital in their products. Audience fragmen- tion with RSA Films, B-Reel created an interactive short film called The Inside Experience tation over the last five years and the where Christina Perasso is trapped consequent drop in effectiveness of in a room with only her laptop and the classic 30-second TV spot have “The audience an unreliable internet connection. forced marketers to rethink their experience here is Her only way out is to bring the aumedia strategies, while the rise of dience in.” The project fully intedigital habits such as second-screen about much more grates social media around a film viewing and internet-based conthan just eyeballs” directed by DJ Caruso (Disturbia, sumption of content have broadPetter Westlund I Am Number Four, Eagle Eye) and ened audience outreach, offering filmed by Oscar-winning cinemaviewers ever richer, more relevant, tographer Mauro Fiore (Avatar). more social and more engaging experiences. At root, having an engaging story to tell is the Inside Experience uses Facebook, Twitter and YouTube to let the audience communicate directly with Christina only reliable online branding mechanism. According to chief creative officer and founding part- and a number of supporting characters. ner of “hybrid production company” B-Reel, Petter Another Toshiba/Intel project called The Beauty Inside tells the story of Alex who has a condition where he Westlund, it is the social aspect that is attracting brands www.miptv.com I preview magazine I March 2013 I 93

i feature wakes up every day as a different person. “It’s the first Hollywood film that gives the audience a chance to play the lead role,” Westlund says. “Alex can be a young, beautiful redhead one day, then an overweight middle-aged man the next. He chronicles his ever-changing appearance through webcam diaries on his Toshiba Ultrabook. While his condition is fun and intriguing at first, Alex quickly realises his limitations as he falls for Leah.” Launched on Facebook in eight languages in 13 countries, The Beauty Inside is a 30-minute social film split into six episodes, which also allows users to audition to play the role of Alex. “Viewers choose from a list of outlines that are based on individual episodes and they can audition before or during the live experience,” Westlund says. “They can submit their own webcam diaries or photos, and, if selected, users can then either be featured in the film or have their auditions posted as Alex’s blog content on the official Facebook page. The audience experience here is about much more than just eyeballs, and for us as producers it offers a range of possibilities and drives us to break out of the accepted ways of doing things.” An advert for Google’s Chrome browser provided another opportunity to get up close and personal with the audience. “Featuring Arcade Fire’s single We Used To Wait, The Wilderness Downtown is an interactive music video built in HTML 5, using Google Maps and Street View,” Westlund says. “The film takes an intimate approach by prompting users to input an address from their childhood which then places them at the centre of the film’s narrative. Viewers see themselves in the film as they run through the streets of their old neighbourhood and finally reach their childhood home.”

“More and more companies are focusing their marketing efforts on storytelling through their own channels”

The SCA female-crewed boat

“We heard about their take on the Volvo Ocean Race featuring an all-female team with full backup, something that has never been done before, and we felt that this would make an amazing story,” Linnander-Manfred says. “Eleven of the best female sailors in the world living their dream, participating in the hardest and longest race there is — that’s a story worth telling! So we worked out how we could do a television show together with SCA, featuring almost two years of training, hard work, races and adventure, all leading up to the start in Alicante.” Boats are however, notoriously not very ﬁlm-friendly places. “Sailing is not a great television sport, especially trying to make a yacht race more televisual,” he says. “But this is not a show about sailing, this is 11 Amelia Earhart-type women having the opportunity to

Jonas Linnander-Manfred

Jonas Linnander-Manfred, managing director of international sales at MTG Studios, sees an increasing number of brands interested in telling stories their own way. “Editorial communication is growing explosively,” he says. “More and more companies are focusing their marketing efforts on storytelling through their own channels — whether it’s on their home page, YouTube, through an app, web-TV — rather than traditional product and brand marketing. Strix is all about storytelling and therefore becomes a natural partner in this, because today it’s not only about selling a speciﬁc product, it’s about creating credibility and a relationship with the brand.” Strix, part of MTG Studios, was already in discussions with women’s toiletries company SCA about a branded-content project when something special came up. 94 I

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Marco Berry arriving in an A-Class Mercedes

The beauty of brands… do something that has not been done before. They had not met before, most of them have never sailed a big boat before, and now they are going to spend the next three years together. Our story is about a group that will evolve and become stronger both as a team and as individuals, about how to maintain relationships and friendships while living your dream far away from home offshore. This show is about brave women preparing for an adventure, about new friends and about the ones that shared the dream but didn’t quite make the cut. We have worked hard to find the right crew and the right people for this format — but the real story is what we’ll get when they sit together on the pier, crying, laughing, talking, bonding and working as a group and a team.” Mediaset’s recent foray into the world of branded entertainment in the form of the two-hour show Celebrity Games was, as much as anything else, a test of the neArcade Fire’s interactive video The Wilderness Downtown gotiating skills of Lorenzo De Stefani, founder and director of Showethica, the company that put the package together. “It was quite an experience because you are obliged to get the broadcaster’s sales and market- audiences. “We have seen many great examples of this ing department on board, and that was quite a chal- from brands recently. In fact, it’s noticeable that 2012 lenge as they had already turned down several ap- was less about brands using funny animals and cute babies, and more about harnessing powerful, univerproaches. I think I was helped by the fact that the world is undeniably changing and they know it, so eventual- sal emotions. It was the year social video really grew ly they offered a discount to the client Mercedes, and up. Best Job, P&G’s ad for London 2012 had many of then Mercedes pushed for a further discount which in- its viewers shedding Olympic-sized tears, while Red volved more negotiation,” De Stefani says. “Ultimately Bull’s Stratos campaign, which saw Austrian skydiver as the interlocutor you have to be able to speak market- Felix Baumgartner make history by jumping from the edge of space, took content maring language, brand language and keting to new heights,” Smaggia broadcaster language, and then says. “However Kony 2012, a on top of that you have to be on 30-minute branded video which top of the logistics of the produc“2012 was about highlights appalling atrocities tion. The show, which went out on harnessing powerful, in Africa, was a milestone in soyouth-skewed Italia 1, was quite a universal emotions” cial video advertising. It is the production with 70 celebrities in Dorota Smaggia first branded video to come anysix teams, but we produced it on a where near to attracting 10 milrelatively small budget, and manlion shares — and it did it very aged to include a charity element quickly. In its first three days alone, it attracted 50 milwhich raised money to build a hospital in Somalia.” For Mercedes it was all about the new A-Class cars. “The lion views and 6.6 million shares. The share rate was a red carpet celebrity shuttles were of course all A-Class, phenomenal 13%. That means that nearly one in seven presenter Marco Berry arrived at the stadium in one, and people who watched the video felt compelled to pass there were several more around the stadium,” De Stefani it on. We’ve been tracking videos since 2006 using the says. “It was a lot of work but we got the results, the brand Unruly Viral Video Chart and we’d never seen anywas happy with the exposure, the channel was happy with thing like it.” the ratings and we raised quite a lot of money for the hos- Other brands have used this strategy to create contagious pital.” De Stefani is currently working on versioning a se- content. Cable network TNT had the biggest commercial ries sponsored by Portugal Telecom called Fora Da Box ad of 2012 with A Dramatic Surprise On A Quiet Square. (Out Of The [Set-Top] Box) for telecoms in other coun- The clip earned over 3.1 million shares in three days tries, as well as makeover show Son Of A Brief (Filho Da thanks to a heady mix of hilarious slapstick and exhilaPub) where advertising agencies help businesses makeo- rating stunts. “It’s not hard to see why Dramatic Surprise is so popular,” Smaggia says. “As well as being genuinely ver their marketing campaigns. According to Dorota Smaggia, managing director of surprising, offering a new twist on the now familiar flash mob phenomenon, it’s spectacular, it’s funny and it’s very Unruly Media France, the social video ads that elicit the strongest, most intense emotional reactions from smart. It packs a lot of sharing triggers into a video that is its audience see the best rates of sharing among online under two minutes long.”

Dorota Smaggia, CEO of Unruly Media France

Lorenzo de Stefano, CEO of Showethica

www.miptv.com I preview magazine I March 2013 I 95

i feature MIPTV 50TH ANNIVERSARY

Not such a crazy idea after all MIPTV is 50 years old this year. Julian Newby meets some of the people who were around during the early years, and traces the early days of the global content market that has stayed ahead of the curve since its very ďŹ rst manifestation in Lyon, in 1963

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Not such a crazy idea after all

The old Palais, MIPTV’s first home in Cannes

Bernard Chevry

IPTV opened for the very first time in Lyon, France, 50 years ago. It was the vision of Frenchman Bernard Chevry, who admits that many people thought the idea was “crazy” at the time. Most of the 327 people who attended the first-ever MIPTV back in 1963 would not have planned on being here 50 years on; and there were some who didn’t believe that it would keep going past 1963. According to Reiner Moritz — a veteran of MIPTV, MIPCOM and their musical close relation MIDEM — the mayor of Lyon, Louis Pradel, gave an impressive dinner party at the end of the first MIPTV. “Lots of good wine and lots of good food,” Moritz says. “And he turned to me during the course of the evening and, pointing to the delegates, he said: ‘Do you know, I don’t think television has a future. And that is why Lyon lost MIP.” But Moritz, who was head of sales at the Beta group of companies at the time, did see the benefits of what Chevry was proposing. “The opportunity to go and meet people you couldn’t meet otherwise was very tempting, so I immediately subscribed and went.” Realising that MIPTV had no future in Lyon, Bernard Chevry approached Cannes, whose Film Festival had been established for some 17 years by that time. And city hall was receptive to the idea. Chevry reflects: “The people at Lyon didn’t catch on and weren’t prepared to help us. As I wanted an international airport nearby, I went to see Jean Medecin [then Mayor of Nice].” Talks then moved to Cannes, and they were brief: Chevry says he got the OK inside half an hour. So two years later MIPTV re-launched in Cannes at the old Palais des Festivals, its home until it moved to the new Palais, still “The people at Lyon its home today, in 1983. “What was wonderfully old fashioned about the old Palais didn’t catch on and — where the Marriott now stands — was weren’t prepared to that, at the entrance, you had a photograph help us” of each person attending,” Moritz recalls. Bernard Chevry “Each photograph had a little lamp by it and when the light was on it meant that person was in the Palais. That was quite handy.” It wasn’t a smooth beginning for MIPTV in Cannes however. The old Palais — the vision of Raymond Picaud, Mayor of Cannes after the second world war — had been designed for the Film Festival, dancing, fashion and perfume shows, and not as a trading floor for TV programmes. When MIPTV arrived Chevry had to order the floors to be covered to accommodate the exhibition stands, and offices had to be turned into screening rooms that could accommodate cumbersome projectors and heavy cans of film. It took 11 years for MIPTV to break even. “Back then, as there were no cassettes, no DVDs, we actually had to bring films,” Moritz says. “And if your client didn’t appear dead on time you lost part of your screening because you had to book a booth with a projectionist. If you had booked the hours of 11 to 12 and the guys showed up at 11.15, they missed a quarter of the film.” Almost from the outset there was talk of the show outgrowing the old Palais and the need for more space. At the inauguration Chevry thanked visiting French information minister Joel Le Theule for attending the event. “This honour is shared by all our participants,” he said. “I point out that 53 different nations are represented. I would like to thank also the mayor and municipal council of Cannes for their assistance and for the new congress centre they are building at this time.” Referring to the expansion of the Palais which was ready the following year, he added: www.miptv.com I preview magazine I March 2013 I 97

i feature “This building will be bigger, more functional and better were getting done and more people were starting to show up,” he says. “And for ABC in those days it was an excelconceived to serve our needs.” Le Theule replied: “Mr Mayor, I have taken note of the fact during my tour that it lent opportunity to access a considerable number of peois absolutely essential that the Palais des Festivals be en- ple in one place.” larged, and I understand that you have this in hand. You When ABC started its distribution arm there were almost no private channels in Europe, and Granath says have given me impressive details of the facts and figures and I am confident that you will attain your targets.” He that while selling to state-run stations was good business, continued: “My eyes have opened as to what MIPTV is he kept one eye on the future and started to take finanand I have noted the large number of countries represent- cial stakes in European production entities. “I’ve always ed and large number of companies and television organi- believed, and still do, that all television is local and the sations present. MIPTV is more than a festival and ren- more local the better. Evidence of that is that in the early days the stations in Europe were virtually all [showing] ders great service to television.” The internationalisation of the industry that Chevry had imported product from Hollywood. But as they got more envisaged was evident from the start. In 1969 it was re- confident in what they were doing, they began to produce corded that British attendance at MIPTV was up, as was their own programming and that became more popular the number of UK-produced programmes, the result of than the imports.” official government support for British companies at- US TV veteran Michael J Solomon first came to MIPTV tending. Among those attending MIPTV in 1969 were in 1978 with his company Telepictures. “My first MIP Richard Price, formerly of Granada Television but by that was in the old Palais, downstairs in the basement,” he year at the helm of international production and distri- says. “I remember it as if it was yesterday. I only had one other person with me, and bution company Richard we just had a desk with a Price A ssociates; and load of posters which we’d Associated British Pathe, “He turned to me during the nailed up around it.” whose package of procourse of the evening and he Solomon started in the gramming included The business “loading films on said: ‘Do you know, I don’t Avengers, then the world’s trucks in 1956 for United most widely-sold series, at think television has a future” Artists”, but 10 years latthe time seen in some 91 Reiner Moritz er he was starting up a countries. Latin American division MIP T V 1970 saw the for MCA. He went on faunveiling of the C.B.S. Electronic Video Recorder (EVR), and this led instant- mously to run Warner Bros. International Television ly to a change in the type of company that would attend Distribution and has remained in the international telthe event: immediately, publishers were interested in at- evision and content industries ever since. His lasting tending MIPTV, seeing the opportunities the technology MIPTV memories are of the camaraderie, “dealing and associating and socialising with wonderful people in this could offer non-broadcast home entertainment. MIPTV was fast becoming an important place at which industry”, he says. ”I’ve made fantastic lifelong friends to find co-production partners and after the move to with people in the television business and the content Cannes, an International Co-production Office was es- business in 100 different countries.” tablished where companies could register their interest A year after Solomon’s first MIPTV, the event exceeded in partnering with different countries. It was a simple sys- 100 countries for the first time. In April 1979, 101 countem: a chalk board was attached to a wall where partic- tries were represented at MIPTV, which totalled 3,000 ipants would indicate who they were, what country they delegates. In 1979 there were 116 countries in the world were from, what shows they had, and from which country capable of TV broadcasting. Gilbert Wolmark and Jean Chalopin of French company DIC jointly announced: they were seeking partners. Herb Granath, today chairman emeritus, ESPN, was “MIPTV is now so big that there is no longer any queswith ABC when he first came to MIPTV almost 50 years tion of whether to come or not. In line with MIP, our ago. “We had started ABC Distribution and in those stand has got bigger and bigger each year.” days we didn’t have an awful lot to distribute because the The internationalisation of MIPTV continued rapidnetworks in the states primarily licensed product from ly into the Eighties. Two territories appearing in 1982 the studios. So what we had was mainly news product. for the first time were Iran, represented by the Islamic It really wasn’t enough of an inventory to start sending Republic of Iran Broadcasting Company, and Cuba, repsales people around the world so when I heard about this resented by Empresa Cubana De Radio Y Television. [MIPTV] it seemed like a really good opportunity to get That year also saw Ivory Coast take its first stand. Then everybody in one place at one time and do what we had Ivory Coast information minister Amadou Thiam said at MIPTV: “For the first time then, our country will not to do.” Granath said that within five years of his first visit he simply watch what others are doing, but will propose its knew that the international business had a future. ”Deals own programmes. Of course we still have little to offer 98 I

preview magazine I March 2013 I www.miptv.com

Herb Granath

Reiner Moritz

Michael J Solomon

Not such a crazy idea after all in this regard, but our country is open to all types of co-productions.” The following year — which was marked by the move to the new Palais des Festivals where MIPTV is still held today — saw Zaire, Somalia, Zimbabwe, Niger and Vietnam make an appearance in Cannes. MIPTV 1983 welcomed a record 110 countries. Germany was out in force in 1984, with a group stand which brought together ZDF and ARD with its nine regional German stations. That year also saw the start of a revolution that would pick up speed in the next century when MIPTV announced that its Co-production Office — which began with the aforementioned chalk board of companies seeking partners — was now computerised. The Co-Productions Data Bank could now be consulted on mini-televisions in the Co-production Office, still under the direction of Elsa Manet who started the operation back in the late-Sixties. The year 1989 saw a new face at the helm: founder Bernard Chevry had sold MIPTV to a British consortium in 1988 and the company’s former international director Xavier Roy, took over as president of MIDEM Organisation, parent company of music market MIDEM, industries. At the Forum, MEDIA’s then head Holde MIPTV and its sister market MIPCOM, the following Lhoest announced plans to take on the American inyear. Reed Exhibitions acquired the company in 1989 dustry, expanding MEDIA to include eastern European countries. and re-named it Reed MIDEM. Reflecting on his first MIPTV back in the early Seventies, For much of its 50 years MIPTV played host to comparRoy’s lasting impression was “how small it was”. And he atively few celebrity names. The MIPTV that we know says selling the event back then wasn’t easy either. “We today matches the Cannes Film Festival for it’s glamour, were obliged to sell joint stands to companies — compa- star-studded galas and red-carpet events, but during its first 30 or so years it was more about nies had to share a stand back then. business and less about talent. So you can imagine how difficult that So the arrival of Hollywood star, muprocess was.” “We just had a sician and comic Dudley Moore in But he said he soon learned of the imdesk with a load Cannes for MIPTV in 1990 was someportance of striking up relationships of posters which thing of a novelty. Moore was prowith clients and listening to their moting his Channel 4/Initial Film seneeds. “Their needs changed year afwe’d nailed up ries Orchestra! With conductor Sir ter year, as the industry had begun to around it” Georg Solti, a small number of invitchange so fast, and we had to change Michael J Solomon ed guests witnessed a private concert with it.” by Moore at the Majestic as part of the The year 1989 saw a number of prompromotion. inent sponsorship and barter deals highlighted at MIPTV — what today we might label as Other stars to have appeared in Cannes in the early branded entertainment. UK independent Sunset+Vine days of MIPTV included French actor Yves Montand, announced a £1m worldwide sponsorship and barter deal Muhammad Ali, Roger Moore — who appeared in 1992 with soft drink 7-Up for Rocksport, a 15-minutes format to promote a documentary about UNICEF — and three featuring men and women participating in dangerous years later, Jacques Cousteau was honoured during a day sports, with a rock music background. The deal involved of celebration to mark the explorer’s achievements. the Leo Burnett advertising agency in Chicago. The same In 1990 there were hints at MIPTV of the reality TV exyear the BBC announced the formation of a special unit plosion that was to come a decade later. NBC vice-presdedicated to sponsorship and barter, building on the cor- ident Gary Wald spoke at MIPTV of the success of its poration’s existing relationships with Swiss Air, Johnny reality series I-Witness Videos. Jon De Mol’s Hilversumbased company Jon De Mol Productions — later to beWalker, Rothmans and Goodyear. Meanwhile the European MEDIA initiative of the come Endemol — was growing in stature and its direcEuropean Union — launched in 1986 — had become a tor, international Monica Galer, said at MIPTV that partner of MIPTV and used the Cannes event to hold year, almost a decade before the launch of its series Big high-powered meetings, in 1989 its MEDIA Forum host- Brother: “Reality programming will be huge. There ing some 350 leaders of the European film and television are six primetime reality shows on air in France at this

Paul Zilk and Xavier Roy

www.miptv.com I preview magazine I March 2013 I 99

i feature Film & Television: The Global Marketplace, a group of moment and I am convinced that the rest of Europe will professionals from around the world discussed how the go the same way.” influx of broadcasting windows like pay TV, PPV and Today technology is as much a talking point at MIPTV as VOD, were likely to bring the worlds of TV and movcontent. But it wasn’t always that way. This year, 2013, 4K is a hot topic in Cannes; in 1991 it was HDTV — with the ie production closer together. Xavier Roy pinpoints this big announcement that Viacom was teaming with NHK moment as one of big change for the industry. “The sudfor the “first HDTV television movie”, a two-hour Perry den growth in the number of channels — with the largeMason special starring Raymond Burr. In 1993 a num- scale introduction of satellite and cable — marked a huge increase in the demand for prober of developments in interacgramming. I was in the right tive television were announced, place at the right time when I an early example being TV “Companies had to share became president because I Globo’s format You Decide a stand back then. So you was able to take advantage of that was selling well that year that and watch the company — where viewers phoned in to can imagine how difficult grow as a result. Between 1989 determine the outcome of the that process was” and 2001 the company grew storyline. Two years later Paul Xavier Roy from 87 people to 313.” Sturiale of US company TV The rapid growth of MIPTV Answer astutely predicted: “I continued during Roy’s tendon’t think there’s ever… going to be one totally dominant interactive technology.” ure and, as its sister market MIPCOM had done in 1993 In 1994, Japan’s NHK held a MIPTV press conference with MIPCOM Junior, MIPTV added a special dedicatto highlight the issues the global industry may have to ed screenings event for factual programmes in 1998. Like face if agreement couldn’t be reached on a single wides- MIPJunior, MIPDoc was designed to enable a specialist group of buyers to screen content in a space away from creen TV format. The way in which technology was enabling growth in the the busy MIPTV trading floors. MIPDoc celebrated 15 number of channels around the world — the so-called years at MIPTV last year. multichannel universe — was on the agenda for MIPTV While always primarily a content market, technology, 1995. At a prophetic Variety/MIPTV conference entitled and its impact on the industry, has become a dominant force at MIPTV. Xavier Roy’s tenure ended with his retirement in 2003 when Paul Zilk, Reed MIDEM managPaul Zilk and ing director since 2001, took the helm as CEO. Roy says Xavier Roy on that Zilk “was the right person to take over at this time,” MIPTV’s 40th as the industry was braced for more radical change. anniversary Zilk reflects on his first MIPTV as a client back in 1993: “I was with the National Basketball Association (NBA) at that time, and we were selling rights to broadcast NBA games. We had a stand in the bunker,” he says. “I never forgot that first-time experience in the Palais, and when I joined Reed MIDEM in 2001, I knew it would always be important to do everything we could to take good care of our international participants, because I remember what it is like to be one.” One year into Zilk’s tenure as CEO and China was to take centre stage at MIPTV. The first day of the 2004 market was dubbed China Day as MIPTV welcomed the largest-ever Chinese delegation to Cannes. A China pavilion was launched, and MIPTV held a series of panels and events designed to explore the potential and the practicalities of conducting business with China for foreign companies. The following year proved pivotal for MIPTV and the industry generally. At MIPTV 2005, the Korean Ministry of Culture and the Korean Broadcasting 100 I

preview magazine I March 2013 I www.miptv.com

More and more stars made the journey to Cannes as MIPTV grew in size and importance. Pictured: Sir Roger Moore, Sam Neill, Jacqueline Bisset (with two minders) and Arnold Schwarzenegger

Commission (KBC) joined forces with MIPTV for a series of high-level conferences and a national pavilion. KBC designated 2005 as the year for Korea to start building partnerships abroad. “Korea is now a leader in many areas, including broadband and mobile,” KBC chairman Sung-Dai Noh said at the time. “At MIPTV the television world will ﬁnd out where Korea stands in terms of new-media services in digitalisation, along with its aims for the future.” Mobile was also a key subject outside of the Koreathemed events that year: Nokia’s Anssi Vanjoki gave a keynote address on the future importance of mobile as a content medium; and MIPTV launched the Made-ForMobile Screenings, to showcase programming produced for mobile distribution. Microsoft, Intel and Hewlett Packard came together at MIPTV 2005 to create the Digital Home, to demonstrate to content providers how they would be able to deliver

to the electronic home of the future. And sessions sponsored by Softbank Broadmedia explored all the areas of the television industry that would soon be radically altered or enhanced by broadband technology. And there was more crystal ball-gazing in 2005 with then Sky Networks’ managing director Dawn Airey declaring in a keynote address that in the future “viewers will have a choice of more programmes, more channels and more delivery mechanisms than ever before”. This key year in the history of MIPTV also saw a greater number of delegates from the Arab world, a sign of the opening up of this region to the international industry. “There is a fever here, with new channels launching almost every week,” said Salah Hamza, CEO of NileSat. The Branded Content Marketing Association (BCMA) and Ben Silverman’s Reveille, held two sessions at MIPTV 2005 exploring new relationships between producers and brands — in 2013 an important theme www.miptv.com I preview magazine I March 2013 I 101

Be part of the

celebrations at the

MIPTV th 50 anniversary opening party and ﬁrework display! Monday, 8 April, 2013 from 19.30, Martinez Hotel Ofﬁcial Partner

i feature

Not such a crazy idea after all

of MIPTV in conjunction with its future-focused anniversary is Sony Corporation. MIPCube series of events. As Zilk says: “The impact “MIPTV has always been about looking towards the fuof digital distribution and consumption has perhaps ture and that began with its launch in 1963, at a time brought the most important transformation to MIPTV when there wasn’t even an international market for buying and selling programming,” Zilk says. “Over the in recent years.” MIPCube extends throughout MIPTV for 2013, demon- years, our team has always worked to understand the strating again how rapidly digital technologies have af- television industry, anticipate where it is going and, fected and changed all areas of the international broad- above all, they listened to our clients as they expressed what they needed from MIPTV cast and content industries. and MIPCOM.” That a MIPCube participatHe adds: “The evolution of ing company, MyndPlay, is in“One element that has MIPTV is continual. What betroducing to the world a ‘brainremained constant and gan as a mainly buying and sellband’ which, worn on the head, vital to the success of ing event is now a gathering in conjunction with an app, can MIPTV has been Cannes” that also includes conferences enable viewers — or users as where the future of entertainwe are now known — to inﬂuPaul Zilk ment is discovered and debatence the outcome of a TV stoed, and where networking helps ryline, demonstrates how dramatically the industry has changed since MIPTV was build relationships and trading and exchange among an ever-larger entertainment ecosystem. All of this evoluintroduced to the doubting city of Lyon 50 years ago. Such developments might be at the back of MIPTV del- tion has helped maintain the relevance of MIPTV for egates minds however during the 50th anniversary cele- the broad international mix of clients who attend — and brations in Cannes in April. Monday, April 8, sees a big who are the essence of the market.” birthday party, in partnership with MEDIA, to which And not to forget its host city — for not quite 50 years, all delegates are invited. Two days later during a VIP but almost: “Throughout the decades of change, one elgala dinner, exclusively sponsored by CCTV, Paul Zilk ement that has remained constant and vital to the sucwill honour a number of key MIPTV veterans with the cess of MIPTV has been Cannes,” Zilk says. “The city is inaugural Medaille d’Honneur, introduced to mark the part of MIPTV’s DNA and the magic that is Cannes is a 50th anniversary. Global partner for MIPTV’s 50th uniquely important part of the MIPTV story.” MIPTV, at home in the new Palais des Festivals

www.miptv.com I preview magazine I March 2013 I 103

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tips & serVices Welcome to MIPTV! Thank you for attending our 50th anniversary! There is much to think about to be fully prepared for this exciting edition of MIPTV, so we’ve designed this tips & services section to help you make the most out of your show. To ensure you start off with a bang, please refer to our Quick Checklist Things to do before the Show:

INSIDE:

Have you prepared your transportation? Have you arranged your transfer to Cannes? Have you booked your accommodation? (If not, call our accommodations department for preferential pricing on your lodging: +33 (0)1 79 71 99 43 / 94 54).

• GETTING TO CANNES

Have you printed out your e-ticket to save time on your badge collection? If not, don’t worry. Go straight to Registration with valid ID to redeem your badge and enter the show.

• UPON YOUR ARRIVAL • ON-SITE SERVICES

Have you visited the Online Database on my-mip.com to ﬁnd out in advance who else is attending the show, to set up meetings and discover projects? Have you checked the show programme to plan the week around events not to be missed? Do you wish to organise an event at the market? Contact our full service events department: +33 (0)1 79 71 94 25 / 96 82. Find answers to all those questions on the following tips & services section. For more details please refer to my-mip.com.

GETTING TO CANNES BY AIR: The nearest airport is Nice Côte d’Azur International (NCE), which provides direct flights to many cities around the world. Book your flight with Air France and KLM Global Meetings and benefit from preferential rates using discount code 17899AF www.airfranceklm-globalmeetings.com Important: If you’re arriving at Terminal 1, you’ll be able to

collect your badge from a MIPTV desk from Sunday 7 to Monday 8 April 08.00-19.00.

BY TRAIN: The Cannes train station is a short walk away from the Palais des Festivals. Book your tickets or check departure times at www.tgv-europe.com or by calling +33 (0)8 92 35 35 35.

GETTING TO CANNES FROM THE AIRPORT You have six options: 1• TAXI Taxis are available at the Nice Côte d’Azur International Airport. Where to catch one: Terminal 1 (Gate A1) and Terminal 2 (Gate A3)

Reserve a taxi in advance at no extra cost: call +33 (0) 8 90 71 22 27 (24 hours) or +33 (0) 492 99 39 23 or send an email to taxi.allo@wanadoo.fr

Where to catch it:

The journey takes around 30 minutes and fare varies between €70 and €90. Fare includes motorway taxes, but baggage charges must be added to the driver’s meter reading. It is normal practice in France to tip the driver (about 10%). Please note that a night rate applies between 19.00 and 7.00. If you have a query or concern about your taxi journey, please note the taxi licence number and contact our customer service helpdesk upon arrival with your receipt.

• Bus N°200 also goes to Cannes from Monday-

2• BUS 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: 08.00 – 23.00

Terminal 1: gate A0, platform 3 Terminal 2: between gates A1 and A2, platform 3

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

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

3• TRAIN

Desk at Terminal 2: outside arrivals, between gates A1 and A2. Opening hours: 08.00 – 24.00 • The Nice AirportXpress line to Cannes (bus N°210)

goes to and from Nice Côte d’Azur International Airport and the Cannes bus station via Le Cannet everyday from 8.00 to 20.00 every 30 minutes. Journey takes 50 minutes. A one-way ticket costs €17,50 and a return ticket costs €28,50.

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

www.miptv.com I preview magazine I March 2013 I 105

i tips & serVices 4• CAR RENTAL If you wish to rent a car, our partner Sixt Rent a Car can provide you with preferential rates mentioning promotion code 9963828. Book in advance at www.sixt.com or call +33 (0)8 20 00 74 98. Where to rent (Nice Airport): Terminal 1: arrivals, Gates A1/A2 Terminal 2: arrivals, between gates A2 and A3 Motorway toll from Nice to Cannes: €2.70. Visa cards accepted.

5• HELICOPTER Azur Helicoptère is available at the Arrivals Concourse in both Terminals 1 and 2. The ﬂight duration is 6 minutes to Cannes. A free shuttle service is available in Cannes for transfers between the Palm Beach heliport and your ﬁnal destination downtown. A one-way ticket costs roughly €99 per person for Reed MIDEM event participants (+15€ heliport tax). Note that there is a 2-person minimum for helicopter service.

6• LIMOUSINE RENTAL Le Privilège Limousine is a Reed MIDEM preferred partner. The company specialises in airport transfers as well as charters for private or business engagements. A one-way journey from Nice Airport for 1-3 people costs approximately 90€. For 4-8 people, it will cost around 130€.

Contact Stéphanie Plot: Tel: +33 (0)6 25 75 34 54 • Email: stephanie@le-privilege.com Website: www.le-privilege.com

SHUTTLES TO OUR PARTNER HOTELS MIPTV offers you free shuttle service to and from your hotel if you are staying outside Cannes during the market.

UPON YOUR ARRIVAL

during opening hours. Please carry it at all times, and be ready to show it at entry points and security checks around the area. Do not exchange your badge with anyone. Even if your photo does not appear on the badge, it will appear on security guards’ monitors when they scan it. Shared badges will be conﬁscated and not returned.

COLLECTING YOUR BADGE 1• REGISTRATION Registration can be found at the Gare Maritime, next to the Palais des Festivals. Press representatives can pick up their badges at Protocol. Badges can also be collected from: - Martinez Hotel during MIPDoc - Majestic Hotel (Saturday 6 - Tuesday 9 April, 9.00-19.00) - MIPTV Desk at Nice Airport’s Terminal 1 (Sunday 7 Monday 8 April, 8.00-19.00) Important: E-ticket holders: E-tickets will be sent to you via email a few days before the show. They include a barcode for ID recognition. Don’t forget to print it out to save time at the Registration area. You will be able to collect your badge by scanning the barcode at a self-service badge delivery point. You may also make corrections to your name and photos (identiﬁcation will be required).

2• REGISTRATION OPENING HOURS • Saturday 6 April: 9.00-19.00 • Sunday 7 April: 8.30-19.00 • Monday 8 April: 8.00-19.30 • Tuesday 9 April – Wednesday 10 April: 8.30-19.00 • Thursday 11 April: 8.30-16.00

3• MARKET OPENING HOURS • Monday 8 April – Wednesday 10 April: 8.30-19.00 • Thursday 11 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 Hall.

PLAN YOUR WEEK

1• 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

BE SURE YOUR SCHEDULE IS SET

2• YOUR BADGE: Your Badge is your primary means of identiﬁcation during the market. It provides access to the exhibition areas, conference sessions and networking events

• Opening Party featuring the International Digital Emmy® Awards Ceremony – Monday 8 April, Martinez Hotel. You will need your MIPTV badge to access the party

106 I

1• MAKE APPOINTMENTS AND CONTACTS BEFORE ARRIVAL. Pro tip: Connect to the Online Database, the best way to schedule meetings in advance! Visit my-mip.com to: • Identify and contact the right people to meet among all attendees • Increase your own visibility by completing your company and personal proﬁles • Showcase and identify projects of interest • Schedule and plan meetings • Select the conferences and events you wish to attend 2• EVENTS FOR ALL DELEGATES

preview magazine I March 2013 I www.miptv.com

• MIPTV World Premiere TV Screening “Da Vinci’s Demons” – Monday 8 April, Grand Auditorium, Level 1, Palais des Festivals Your ﬁrst MIPTV? Don’t miss the • First Timers’ presentation and discovery tour – Sunday 7 April, 17.00, Main entrance, Palais des Festivals See the full at a glance for a complete overview of events and conferences.

THE EXHIBITION ZONE The exhibition zone includes: Palais des Festivals (Level -1, 0, 1, 3, 4, 5) Riviera Hall Lerins Hall Riviera Seaview Riviera Beach Hall Outside structures for individual clients

FINDING AN EXHIBITOR All stands at MIPTV have an alphanumeric reference code, derived from aisle and stand placement. Interactive ﬂoor plans are available at my-mip.com, indicating the location of stands and MIPTV services. You can also use our Online Database (my-mip.com) to locate exhibitors by name and contact them directly.

CONTENT ZONES MIPCube Square (Palais des Festivals – Level -1, 05.01) A showcase for technologies that bring together creativity and innovation. A matchmaking space with a lounge and coffee area. An agora for pitching sessions and tech talks. Producers’ Hub (Palais des Festivals – Level 3) The Producers’ Hub is MIPTV’s dedicated space & programme for creators, producers and commissioners. An agora packed full of masterclasses, workshops and co-production showcases. A matchmaking space with a lounge & coffee point. Other content, conference & screening venues: Grand Audi: Level 1 Audi A: Level 3 Audi K: Level 4 Esterel & Meet the Speakers Lounge: Level 5

ON-SITE SERVICES 1• CLUBS Participants’ Club (Palais des Festivals – Level -1, Aisle 07): Open to all participants attending MIPTV without a stand. Features include a meeting area, free coffee

service, free Wi-Fi service and telephone charging stations and a message system. Buyers’ Club in association with

(Palais des Festivals – Level -1, Aisle 01): Reserved for programme purchasing executives. Features include a lounge area, complimentary bar, electronic message board organised by hostesses and free Wi-Fi service. VIP Club in association with

(Palais des Festivals – Level 3): Exclusive club reserved for VIP delegates to relax or discuss business in more private surroundings. Features include Wi-Fi access, refreshments and a dedicated staff. Entry reserved by invitation. Gold Business Lounge (Palais des Festivals – Level -1): 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, refreshments and specialised staff members. Media Centre (Palais des Festivals): The Media Centre includes a lounge area, complimentary bar, Wi-Fi access and a fully equipped editorial room (Level 4) with computers for journalists. Visit the press section at www.miptv.com to access

the latest news and background information, including ofﬁcial press kits and press releases, as well as press kits and news releases from clients. 2• MIPTV NEWS & EDITORIAL TEAM Visit the News Room during the market to brief our team of journalists about your breaking news, latest deals, events, parties and photo opportunities! 3• FACILITIES • Concierge service The MIPTV concierge provides a number of services free of charge including restaurant and taxi bookings, ﬂights and helicopter tours, shuttles, spa reservations and tourism information on cannes and its surroundings. • Member Desk (Level 0) The Member Desk provides on-the-spot care and assistance for all the members of our Customer Recognition Programme. • Help Desk (Level 0) Staff are on hand at this desk to assist you throughout the market. Don’t hesitate to ask them your questions. • Information points Information points with hostesses can be found at strategic positions all around the Palais des Festivals. • Guide and Bag distribution (Registration, Gare Maritime) Pick up a MIPTV guide at any time during the show by

presenting your badge. • Left Luggage A left-luggage service is available on the main concourse between the two buildings. Open from Saturday 6 April at 8.00 to Thursday 11 April at 19.00. • The Business Centre Offers a complete range of secretarial and administrative services such as photocopying, word processing, printing and faxing at competitive rates. • Connectivity Email points Computers are available for you to send and receive your emails free of charge. Features also include a plug & play area for laptops and telephone charging stations. This is also the perfect place to visit our ofﬁcial site and social media pages to get a fuller sense of what’s going on around you: www.miptv.com. Wi-Fi Free Wi-Fi is available at the Participants’ Club, the Buyers’ Club, the VIP Club, the Media Centre, Lerins Hall. Alternatively, Wi-Fi sessions are available for purchase on the “Palaisdesfestivals” network for all other areas. http://miptv.viapass.com. Mobile rental If you wish to rent a smartphone, SIM card or 3G data card during MIPTV, please contact Cellhire at www.cellhire.fr/reedmidem.

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Up to 15% discount for MIPTV visitors and exhibitors. (Sixt â&#x20AC;&#x201C; official car rental supplier of MIPTV)

TĂŠl : +33 (0) 1 44 38 55 55 (for International bookings) and state the promotion code 9963828 or book online on www.miptv.com

Re-inventing the content experience at the heart of MIPTV

MIPCube Talks

Create for, engage and monetise an audience of users Discover the future of the content experience with a wide range of high-proﬁle talks from the world’s most innovative minds in the content and entertainment business.

Philip DeBevoise President & Co-Founder Machinima, Inc.

Jamal Edwards Founder & CEO SB.TV Global Ltd

Kim Moses, Principal Sander/Moses Productions, SLAM

Scott Dikkers Founding Editor & VP Creative Development The Onion

Petter Westlund Chief Creative Ofﬁcer B-Reel

Andrew Creighton President VICE Global

Lance Sloane Head of Digital Programming & Development Warner Bros. Digital Distribution

Kevin Tancharoen Director / Producer Warner Bros.

This year’s speakers include:

Dan Biddle Head of Broadcast Partnerships Twitter

Dorota Smaggia Managing Director France Unruly

MIPCube Square (Located: level -01 stand 05.01) A showcase for technologies that bring together creativity and innovation. A matchmaking space, where you can connect with brands, broadcasters, techs, online platforms, new talent, agencies and more. A place for exchange, where tech talks will expand your mind and where you can discover the talents of tomorrow at MIPCube’s pitching sessions.

MIPCube TV Hack, powered by BeMyApp

MIPCube Square will also host the Content 360 and MIPCube Lab competitions. > MIPCube Lab: spotlighting start-ups helping the video industry move forward. > Content 360: showcasing producers and innovative transmedia content (sponsored by CTC Media and MTS).

Developers have 36 hours to ﬁnd new ways to interact with video content. Speakers include

BRANDS & CONTENT MASTERCLASS (by invitation only) sponsored by Ogilvy and in partnership with Hyper Island The Brands & Content Masterclass will bring together 80+ high-level decision-makers working with brands, agencies, producers, TV networks, digital platforms and social networks. The objectives are to learn how to create engaging branded entertainment, meet potential partners in this ﬁeld, and share best practices from a selection of some of the best branded entertainment campaigns.

John Allert McLaren

BRAND OF THE YEAR AWARD

Simon Whalley Framestore

Fru Hazlitt ITV

Sunday 7 April, Majestic Hotel

in partnership with Fast Company’s Co.Create Rewarding a brand and its agency for the creation of original video content, and its use as a key element of a branded entertainment strategy/campaign. Past winners: AMEX (2011), Heineken (2012).

A one-day think tank dedicated to unlocking new business opportunities for content creation, user engagement and monetisation models.

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Media Mastermind Keynote Series

Anthony E. Zuiker Creator of the CSI Franchise

Howard Gordon Executive Producer, Homeland

Gideon Raff Creator, Writer and Director Prisoners of War / Executive Producer, Homeland

Ben Stephenson Controller of Drama Commissioning BBC

Felix Baumgartner, Aerial Expert & Alexander Koppel, Chief Commercial Ofﬁcer Red Bull Media House

Piv Bernth Producer/Head of Drama Danish Broadcasting Corporation

David M. Zaslav President & CEO Discovery Communications

Tim Hincks President Endemol Group

Sophie Turner Laing Managing Director, Content BSkyB

Darren Throop President & CEO Entertainment One

Tuesday 9 April

Monday 8 April

Tim Kring Multiplatform Storyteller TKImperative

In partnership with KESHET INTERNATIONAL

MIPTV celebrates its 50th anniversary in 2013 A golden jubilee at the forefront of the international TV industry. Events in Cannes will kick off in style with the MIPTV 50th opening party and ﬁrework display, and don’t miss our collector edition photo retrospective, available to all delegates on this special occasion. Visit 50.miptv.com to join MIPTV Stories and share memorable moments from the market and see video interviews with industry leaders.

Screenings Monday 8 April 18.15

MIPTV WORLD PREMIERE TV SCREENING: DA VINCI’S DEMONS Produced by Adjacent Productions for Starz Entertainment, Da Vinci’s Demons is being sold internationally at MIPTV by BBC Worldwide. The screening of Da Vinci’s Demons will be followed by an on-stage conversation with writer and showrunner David S. Goyer, along with the series’ principal cast members Tom Riley, Laura Haddock, Lara Pulver and Blake Ritson. © Courtesy of BBC Worldwide

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SUNDAY 7 APRIL 11.00-17.30 I MAJESTIC HOTEL The Ultimate Think-Tank for Key Players in the TV & Online Content Ecosystem Focusing on the FUTURE OF TV

Conference & Events Programme

Knowledge Partner

Visit miptv.com for regular updates.

MONDAY 8 APRIL PRODUCERS’ HUB & CO-PRODUCTION

SQUARE

TALKS CREATE

TUESDAY 9 APRIL SCREENINGS & SPECIAL EVENTS

9.30.10.30

8.30-9.15 Documentary Content Makers’ Showcase Buyers Only

Content 360 Pitch: Transmedia Producers And Creative Agencies Sponsored by CTC Media & MTS

9.30-10.00 PRODUCERS’ HUB

Workshop: Making it at MIP: Hints & Tips For First-Timers 10.05-10.40 AUDI A

The Creators’ Masterclass Featuring David S.Goyer

10.45-11.15 AGORA

8.30-10.30 PRODUCERS’ HUB

9.30-10.00

Global Hotspots: Co-producing with Canada Matchmaking

ESTEREL

Mortal Kombat: Building A Split-Screen Blockbuster

11.30-12.00 AGORA

AGORA

AUDI A

Expand the Content Experience

AGORA

MIPCube Lab Pitch for Start-ups 2/2

10.55-11.35

In partnership with YouTube

11.40-12.10 I GRAND AUDI DARREN THROOP, ENTERTAINMENT ONE 12.15-12.45 I GRAND AUDI TIM HINCKS, ENDEMOL GROUP

ESTEREL

12.30-14.00 AGORA

SNACK & SCREEN Sponsored by CMF & Teleﬁlm Canada

ESTEREL

Building A Loyal & Invested Audience 10.25-10.55 ESTEREL

In partnership with Hyper Island By invitation

11.00-12.30 AUDI K

ESTEREL

The Most Shared Videos: A Screening