MIPJUNIOR 2012 PREVIEW by MIPMarkets

In these nervous economic times, David Michel, managing director at Marathon Media, sees another more practical reason behind animation’s comeback. “Animation

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www.mipjunior.com I preview magazine I September 2012 I 39

Moonscoop decided to has much stronger repeat go for the best of both value — as, indeed, all “When you examine the liveworlds on the fi fth series comedy generally does — action boom, the ‘boom’ of Code Lyoko. “After and that’s what channels part is a bit of an illusion. the fourth series, we reare looking for right now,” ceived literally thousands he observes. “When you There were only ever seven of emails from fans askexamine the live-action or eight really great shows” ing for us not to stop and boom, the ‘boom’ part is David Michel to produce a new seaa bit of an illusion. There son,” says Lionel Marty, were only ever seven or Moonscoop’s president eight really great shows, of worldwide distribution. “Rather than do more of the mainly from Disney and Nickelodeon. The rest was pretsame, we wanted to move Code Lyoko into a new di- ty average. I estimate that around 80% of the live-action mension and up a gear for season fi ve. Creatively, we shows that were made didn’t sell well.” were already innovating with the mix of 2D anima- Marathon’s CEO, Vincent Chalvon-Demersay, also sees tion for the real world and CGI for the parallel world channel demands changing: “As from about six years ago, of Lyoko, so moving into live-action scenes with CGI Teletoon in Canada has only been buying live action but, sequences happened organically. Our co-producing in the last year, that has changed noticeably. Our latest broadcasters — France Televisions and Canal J — were series of Totally Spies, which we describe as a comedy thrilled with the idea of a live-action version.” show disguised as an action/adventure series, is And it was exactly what live action offers scriptwriters generating a lot of interest and has several prethat attracted Marty: “By moving into live action, we buys. That’s partly because previous series have found we could add depth to the storyline. There are also sold to around 170 countries, so it has a very many things we can do in marketing a live-action series good reputation, and it’s partly because this latthat we can’t do with animation, such as creating a buzz est run is very social-network friendly, featuraround casting and sending out sneak-preview photos ing a treasure hunt in the gardens of Versailles. from the set. Also, with the new version incorporating There’s an app as well, with clues and an live action, we are planning to sell the format to non-Eu- augmented-reality fearopean territories, which means that, in countries such as ture. The truth is that the US, India and South America, they will be able to re- these days we are make these sequences with local talent. It’s an effective no longer just and localised alternative to dubbing.” French series Kobushi — co-produced by Zagtoon and Inspidea with AB Productions and Gulli — also incorporates a 2D/3D mash-up. “Kobushi has a Flash look,” says Zagtoon’s Jacqueline Tordjman. “We’re launching the series at MIPCOM Junior, where we are convinced it will do well, because several major broadcasters want it. Kobushi is the kind of show that perfectly combines action and comedy.” Valerie Vleeschhouwer, managing director of AB International, takes up the story: “It’s already considered to be an extraordinary and exciting show among professionals. The first episodes are now available, as Gulli will begin to air the show in the fi nal quarter. We’re excited because, while Kobushi is certainly targeted at kids, it’ll be enjoyed by parents as well, thanks to some humour that works on several levels.” Emmanuelle Baril, co-productions and development director for animated programming, drama and comedy at Gulli, adds: “Quality animation can target kids and adults, with smaller kids watching the programme for visual interest and older kids — or even adults — watching it for the nuanced dialogue.”