Miptv 2015 news 1 by MIPMarkets

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DAY

Monday 13 April 2015

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MEDIA MASTERMIND KEYNOTES • NINA

• WITNESSES • CANDICE RENOIR

[LES TÉMOINS]

• TEMPLETON

Today, Steve Levitan, creator of hit comedies, talks about his most recent global success, Modern Family

• THE UNEXPECTED GETAWAY Today, MIPTV hears from Jeremy Darroch, group chief executive of Sky, Europe’s biggest investor in TV content WORLD PREMIERE TV SCREENING

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• POLO

• LOOPDIDOO

Cast members of Texas Rising, including Ray Liotta, Bill Paxton and Olivier Martinez, walk the red carpet to the Opening Night Party tonight after the premiere of the epic Wild West series See p.32

• THE MYSTERIOUS CITIES OF GOLD

• MARIE CURIE

A WOMAN AT THE FOREFRONT

MIPDOC 2015

• SUPERNATURAL FILES •THE BUTTERFLY EFFECT

Reports from MIPDoc, including Keynote Talks from Nat Geo’s Tim Pastore and Discovery’s Phil Craig See p.6

• LADY

LIBERTY

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FREMANTLEMEDIA FREMANTLEMEDIA ENTERTAINING ENTERTAINING THETHE WORLD WORLD

Stand Croisette Stand Croisette 11 Cannes 11 Cannes T: +33 (0)4 T: +33 92 99 (0)4 8992 1199E:89 formats@fremantlemedia.com 11 E: formats@fremantlemedia.com www.fremantlemedia.com www.fremantlemedia.com

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CONTENTS NEWS

FEATURES

8 What happened at MIPDoc and MIPFormats; early MIPTV deals; new shows and series

85 Europe makes dramatic entrance

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93 Viewing the millennial way 99 A love affair with France

PRODUCT NEWS

e Schedulce

ren Confe me a progr m P80

54 A round-up of what’s for sale in Cannes

PHIL Craig laid down the gauntlet to producers at his MIPDoc

keynote, when he said that he believed Discovery Channel should be rivaling the BBC’s natural history programming. He also spoke of new relationships with the giant US firm’s indie producers. “For me, Discovery without natural history isn’t Discovery, it’s very high on my agenda” the company’s new executive vice-president and chief creative officer said. His vision for “filmmaking with purpose,” was being fulfilled by the forthcoming Life Of Dogs: “We’ve got a world-class film-maker and a populist subject,” he said. “Plus a really great story. That’s something that’s sometimes been lacking from natural history.” Craig also called on trusted producers to come to him with their hunches, not just fully formed programme ideas. “Discovery’s formula used to be very tight, I’m trying to loosen us up a bit. Bring us things that might surprise us,” he said. “We’d l i ke a back-and-forth on the creative process.” With around 110 hours to fill this year, and around 20 series to commission, he told indies not to be discouraged by Discovery’s recent acquisition of the All3media stable of prodcos, and pledged to cast a wide net for companies to work with. “We’re committed to looking for people outside the UK and new producers, even those outside the traditional industry,” he said.

JIANGSU Broadcasting Cor-

poration welcomed MIPFormat and MIPDoc delegates, as factual and formats joined forces for the weekend’s Opening Party. Channel director Li Xiang (above) and head of international Qiu Yuan Yuan (who is also president of JSBCI, its international commercial arm) were also promoting JSBC’s high-stakes, high-budget format Super Combat Teams. Li said: “We are here to sincerely invite global format experts and leading production teams to co-develop and co-produce world class formats and productions.” Qiu added that MIPTV is “a great platform” to meet with “the world’s most creative minds and most talented production teams”.

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NEWS

Global buyers reveal the science behind localised programming

France Televisions’ Ann Julienne

WAKE UP AND SMELL THE COPRODUCTIONS THE FIRST MIPDoc European Broadcasters’ Co-production Breakfast saw a number of leading players gather for a frank discussion. “The meeting allowed people to pinpoint where we want to go with a future meeting — to concentrate on specific factual areas such as science, history and wildlife,” said Ann Julienne, head of international development, documentaries, at France Televisions, who hosted the event. The event’s aim was to share experience and increase co-operation: unlike current affairs and news, these specialist areas do not yet benefit from understanding the networking benefits such a group gives. The participants also identified other commissioning editors and key producers to be invited next time, and raised the issue of programme duration — a key hurdle in pre-buying documentaries and entering into co-productions. Julienne is about to retire from her role at France Televisions. “I hope to be at the table for next year’s breakfast,” she said.

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HE DECISION Makers Series: What Do Buyers Want? opened MIPDoc with a focus on localised content from the big global buyers. Nesta Owens of Discovery Networks CEEMEA highlighted a move from syndicating to commissioning: “CEEMEA is branching out far more into commissioning for Poland, Germany and Russia. We’re trying to see what the synergies are,” said Owens, who is looking to commission 200 hours in Poland alone. For Corentin Glutron of French DTT channel RMC Decouverte, localising was also a priority. “On character-driven series, we get better ratings with French hosts,” he said. Recently launched French version of Top Gear peaked at a million viewers, double what the UK version

Nesta Owens (centre) with Zhi Hengyi (left) and moderator Edwina Thring.

achieved in the territory. He said he was open to acquiring oneoffs and series, particularly in science, but that for co-productions, international producers must partner a French company. Science was a big trend across the buyers panel. Zhi Hengyi of Da Neng Culture Media, who distributes and syndicates to channels across China, reported success for 20 hours of graphics-

heavy science programming he bought from France last year. He added that China was emerging as a consumer of current affairs. “We’re steering away from reality programming towards science,” Angela Neillis of Freemantle Media International said. She also hailed the acquisition of the Tom Hanks-affiliated The Seventies as “a return to classic documentary making”.

Fact meets Fiction for Nat Geo NATIONAL Geographic Channels has joined Fox Network’s other marquee channels in a single distribution hub – Fox International Channels Content Sales (FIC Content Sales). Germaine Deagan Sweet, Fox’s senior-vice president of global factual content and operations, who heads up the new entity, was speaking at the MIPDoc Networking Lunch. So, with National Geographic, in 171 countries and counting, what is on offer? “People know where big series like Brain Games originate – that’s one of the channel-

Germaine Deagan Sweet

defining series,” Sweet said. “But an important part of a successful distributor is bringing premiere and first-window opportunities.” She pointed not only to the longstanding relationships Nat Geo has with third-party producers,

but also to the amount of content being produced in-house globally. “We have over 3,000 hours coming out of our Latin American business each year, and we’re seeing commissions in our Asian and European businesses. ” FIC Content Sales’ tagline, ‘Fact + Fiction’, is relevant to MIPDoc, she said. “One of the priorities for MIPTV is scripted: Killing Jesus is the highest-rated programme in the channel’s history.” She added: “Scripted is becoming a part of the Nat Geo story, as well as across our wider programming offering.”

The official MIPTV daily newspaper Monday 13 April 2015

Director of Publications Paul Zilk Director of Communication Mike Williams EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Sub Editors Neil Churchman, Sarah Cooper, Sarah Kovandzich Reporters Ben Cooper, Andy Fry, Emelia Jones, Juliana Koranteng, Max Leonard, Rachel Murrell, Gary Smith, Hannah Stephens, Joanna Stephens, Nigel Wilmott Editorial Management Boutique Editions Technical Editor in Chief Herve Traisnel Deputy Technical Editor in Chief Frederic Beauseigneur Graphic Designers Muriel Betrancourt, Veronique Duthille, Carole Peres Head of Photographers Yann Coatsaliou / 360 Medias Photographers Christian Alminana, Olivier Houeix, Michel Johner, Yohann Mortier. PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Co-ordinator Emilie Lambert Production Assistant Eric Laurent Printer Riccobono Imprimeurs, Le Muy (France). ADVERTISING CONTACT IN CANNES Sylvia Ferreira: sylvia.ferreira@reedmidem.com / +33 (0)6 43 86 87 96 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 BOULOGNEBILLANCOURT (FRANCE), VAT number FR91 662 003 557. Contents © 2015, Reed MIDEM Market Publications. Publication registered 2nd quarter 2015. ISSN 1967-5178. Printed on FSC certified paper

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NEWS

Astronaut’s countdown to fame begins at MIPDoc screening

A High risks and high rewards at the Nordic Speed Pitch

NINE BID TO MAKE A PITCH IN TIME SPEED-pitching five commissioners at once is not for the faint-hearted — especially without notice, at MIPDoc, and in front of a hundred of your peers — but it sure saves time. Of the nine intrepid producers who pitched at Saturday’s Focus On The Nordics Docs Factor: Speed Pitch The Commissioners, each heard the words “I could be interested” from at least one channel, together with advice on which slots might be suitable, and whether the show would be considered as a pre-buy or an acquisition. And even when the response was ‘no’, the feedback can be valuable market intelligence. All five commissioning execs want strong storytelling, unique access and high quality — but each in their own way. Gudrun Jonasdottir (RUV Iceland) has four flexible doc slots, whereas those filled by Nina Tuominen (YLE) are more clearly delineated as science, history, wildlife and culture. But as Jonasdottir points out, with only 100,000 households in Iceland, budgets are small, and she can acquire but not coproduce. Also on the panel were Kim Christiansen (Danmarks Radio), Tore Tomter (NRK) and Axel Arno (SVT). The session was moderated by Maria Borelius of Living Waters.

F T ER orbiting the world in the International Space Station, German astronaut Alexander Gerst is set to be a star in his own right, in a show he helped launch at the MIPDoc World Premiere TV Screening. Ø (Zero) Gravity, A Mission In Space follows Gerst and the American Gregory Reid Wiseman through their astronaut training in the US to the space platform high above earth. The stunning film shot by the two in their downtime shows daily life in space: the experiments they undertake, the physical training on weird machines to stop their bodies atrophying, and the combination of high-tech and

DIY that keeps the space station circling the Earth. Director Juergen Hansen had worked with Gerst before, and had to trust him on the space filming: “ We had no direct communication while they were in space. For a director this is kind of scary, but they did a fantastic job,” he said. The film has a strong environmental message: “When I saw Earth, it was just a rock floating in space with finite resources. Certainly as humans we could destroy it if we don’t take care of it,” Gerst said. All rights for the film (1 x 52 mins), except France and Germany first window, are available at MIPTV from Upside Distribution.

Alexander Gerst

“I got shivers down my spine when I saw it,” Gerst said. “I was close to laughing, close to crying when I watched it, it shows you that it’s quite close to the experience.”

Brain Power duo are pitch perfect THIS year’s prestigious Co-production Pitch Competition was won by Fabrice Papillon of Scientifilms (France) and Alec Herrmann of ARTE France for their documentary Brain Power (2 x 52 mins). Chosen from six finalists, the series examines the science behind human consciousness and intelligence. For the first time, a second award was made for the pitch that attracted the most votes from the audience as calculated by a realtime online voting platform. This was won by Alexandra Bohm of Germany’s Autentic for Children Of Dictators, which looks at four of the biggest monsters in human history — Hermann Goring, Idi Amin, Augusto Pinochet and Fidel Castro — from the unique and personal perspective of their now adult children. But Ralf Rueckauer, vice-president of factual at ZDF Enterprises, which sponsored the award for the first time this year, acknowledged that the day’s best

pitch was by Bertrand Loyer for his documentary about the perils of space debris. Loyer pitched Space Smash dressed in an orange space suit and reflective shades, and wielding his own piece of space junk — a piece of a Soyuz space rocket that fell to earth in Guadalupe. The other finalists were Pioneers

And Heroes (Espresso TV, UK) about the technological innovations of wartime; On The Edge Of The Mind (Intuitive Productions and Somadrome, Spain), about neuroscience; and Lengguru The Lost World (Mona Lisa Production, France), about the unique ecosystem of a remote island in Papua New Guinea.

MIPDoc Co-production Pitch winners: Scientifilms Fabrice Papillon (left), Autentic’s Alexandra Bohm and ARTE France’s Alec Herrmann

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NEWS

It’s all about the brand says Nat Geo’s Pastore

Michel Noll of ICTV-Solferino

A MATCH MADE IN CHINA IN THE Producers’ Toolbox session on working with China, producer Michel Noll of ICTVSolferino gave invaluable tips on picking partners. “Don’t just pick someone who knows the ropes,” he said. “Your partner will be judged by his or her colleagues on your project, so find an angle that will work for them and they will really make your project theirs.” He suggested that while the state broadcaster is a good partner for natural history, for more sensitive projects, a regional broadcaster away from Beijing, or an underground partner might be better. Noll avoids importing a Western crew. “Chinese people behave very differently if there are Europeans present,” he said. “On my Great Wall documentary, I used an all-Chinese team and there was no white face on the shoot. This required detailed discussion beforehand about what the story is and how it will be told, but it worked.” Investment still tends to be in kind, rather than in cash, and the Chinese don’t like to say ‘no’. “If they don’t say ‘yes’, they have said ‘no’,” he said. But things are changing. The emerging independent sector is staffed by a new generation of Chinese who are no longer applying for state permission to study film-making. They’re just picking up their phones and shooting.

Nat Geo’s Tim Pastore

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N A WORLD where 50% of 18-32 year olds are browsing the internet while viewing television, creating brand addiction is a necessity,” said Tim Pastore, president, original programming and production at National Geographic Channels U.S. in his MIPDoc keynote on the power of branding. The viewers he wants to hook, for now, are the 18- to 32-year-olds, which explains his recent push into comedy with History Of The World [working title]. “It’s a big experiment. But if it succeeds, it opens up a whole

other realm for us,” Pastore said. “We want to expand our reach, and lower the median age of our audience.” His own addiction to the fabled ‘yellow border’ started early, growing up among towers of National Geographic magazines, with the distinctive National Geographic theme tune on the television, and Orson Welles’ narrations of the early documentaries. Looking back, he describes these as “branded memories”. Pastore now oversees 400 hours of production a year, including Brain Games and Live Free Or Die, a re-launch of the 25-year-old multi-awarding winning Explorer series, and a fourth season of Life Below Zero. He describes Life Below Zero as “a new take on the Arctic” and the channel’s second highest rating series for two years. Another of the new ventures is drama. Killing Jesus is the latest in the Killing franchise (Killing Kennedy, Killing Lincoln), and has generated eyeballs aplenty. “We’ll always be a factual network,” he said. “But we’ll do a couple of drama projects a year.” And of course he’s on the lookout for more high-end blue chip docs that can cut through the noise.

Smorgasbord of Nordic docs on show NORDIC Snack And Screen previewed 12 new factual projects from Scandinavia and treated delegates to a delicious Scandinavian lunch too. Among the documentary clips shown was Norway’s I Am Kuba (Cat & Docs) looking at the children left behind by Europe’s economic migrants. Also in the mix was Zlatan Ibrahimovic (Discovery Networks International) which shows the great footballer reduced to tears by memories of his father. Light Fly, Fly High (Cat & Docs) follows a young Indian girl fighting for the right to be a boxer. For Kibera! (YLE Sales) asks why the flood of aid into Kenyan slums has achieved so little. Finnish transmedia phenomenon Docventures illustrated how it achieves a 20% share by leveraging social media to bring 20- to 45-yearold viewers to screenings in social events in pubs and clubs across the country.

The event was hosted by Johanna Karppinen, CEO of Finnish Film & Audiovisual Export (FAVEX).

I Am Kuba at the Nordic Snack and Screen

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The Time is Now STUDIOCANAL MIPTV Stand P1. A1. sales@studiocanaltv.com

TANDEM PRODUCTIONS IN ASSOCIATION WITH BIG LIGHT PRODUCTIONS, SONY PICTURES TELEVISION NETWORKS AND SAT. 1 PRESENT “CROSSING LINES – THE TIME IS NOW” STARRING GORAN VISNJIC, ELIZABETH MITCHELL, TOM WLASCHIHA, LARA ROSSI STUART MARTIN, NAOMI BATTRICK AND DONALD SUTHERLAND U.K. CASTING PRISCILLA JOHN COSTUME DESIGNER SONU MISHRA PRODUCTION DESIGNERS NICK PALMER, MARTIN VACKAR PRODUCER MORITZ POLTER PRODUCED BY RICK MCCALLUM CONSULTING PRODUCER CORINNE MARRINAN CO-EXECUTIVE PRODUCER WENDY BATTLES CREATED BY EDWARD ALLEN BERNERO EXECUTIVE PRODUCERS TIM HALKIN, FRANK SPOTNITZ, ROLA BAUER DISTRIBUTED BY STUDIOCANAL

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NEWS NORDIC REGION IS CREATIVE HOTSPOT THE NORDIC territories are well deserving of their reputation for creativity, according to Jan Salling, chief operating officer and managing director sales & acquisitions at Nordic World, who presented Saturday’s Screening The Best Formats From The Nordics session. Salling opened the event by saying: “A group of us selected 11 formats from a total of 50 submissions. And the impressive thing is that those 50 submissions have all been launched in the last six to nine months. That’s truly amazing. It’s a lot of formats, and the standard is really high.” “It’s no wonder we are seen as being a creative hotspot. And I believe that the 11 formats we chose are all destined to be global hits of the future,” Salling added. The session began with a screening of DR’s show A Dish To Die For where contestants believe that they are in a normal cooking competition, until they are informed that the meat that they intend to cook is still very much alive, and they have to slaughter it. Other series being showcased included My Favourite Soundtrack from YLE; Anno, produced by Strix for NRK; Mastiff’s Crime Writers; When The Orchestra Came To Town from NRK; Something Special from Nordisk Film TV; Jarowskij’s The Detectives, featuring an FBI agent trying to crack unsolved crimes; Run from Elk Entertainment; and MTV3’s Kingi and Farmer In The City.

South Korea cooks up new formats for global market

OUTH Korea could be paving the way for the next popular trends in formats, based on observations made by Keri Lewis Brown, managing director of UK-based research firm K7 Media, during K-Format: What’s New In Korea? Speaking to the MIPFormat audience, she declared: “You’ve had K-pop, K-drama and now you have K-format.” Among K-format trends with global potential are reality shows based on time travel, back-to-basics and local culture. From Korean conglomerate CJ E&M comes Let’s Go TimeTravelers. The series takes participants away from their comfort zones and thrusts them into ancient history, including surviving as slaves in 13th century Korea, and studying as scholars in the 16th century. And since their activities are based on accurate research, contestants have to endure the harsh reality of living in those eras. For the back-to-basics format, the audience was introduced to Three Meals A Day, an outdoor reality series from CJ E&M. It features two celebrities forced to fend for themselves in a remote rural area.

K7 Media’s Keri Lewis Brown

Dish Of The Nation is a cooking reality show where the contestants must use only ingredients sourced from their respective native regions. “As we get more globalised, we’re going to see more shows where local cultures matter,” Brown added.

From SBS, the country’s largest commercial terrestrial network, she introduced Running Man, a long-established on-the-run format that involves winning a brutal race to come out victorious and which “is also a massive hit in China,” according to Brown.

‘INSPIRATIONAL’ Swedish media pioneer and former SVT director of programmes Annie Wegelius was presented with the 2015 International Formats Gold Award on Saturday by Nordic World’s Jan Salling, co-chair of FRAPA, and Reed MIDEM’s Laurine Garaude. Wegelius joins a stellar line-up of previous Gold Award recipients that includes Reg Grundy, Merv Griffin, Peter Bazalgette, David Lyle and Dick de Rijk. Presenting the award on behalf of C21, the EMC and FRAPA, Salling said that Wegelius’ “insight and integrity” had been an inspiration to the entire Nordic media industry. In her acceptance speech, Wegelius, who is also the chief architect of the first Focus On The Nordics showcase at MIPTV, urged the next generation of format executives to “trust each other”. “Be nice to people,” she added. “And above all, value and respect the rights of format creators.”

Nordic World’s Jan Salling

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NEWS

Scherer highlights new media challenge facing broadcasters

Vast Media co-founder and managing director Matthias Puschmann, and Nathalie Wogue, associate director at Ascendo TV

FIFTEEN OF THE BEST ALL HAVE DIGITAL IN DNA VAST Media’s Matthias Puschmann and Ascendo TV’s Nathalie Wogue joined forces to announce their pick of the shows that use digital media to enhance audiences. The list, presented at a conference on Saturday, featured 15 series across four categories, including entertainment and reality shows. “In choosing these examples we were looking for originality and some sort of coherence with the DNA of the show,” Wogue said. There was high praise for two established talent formats, Pop Idol and The Voice. “The reason we chose Pop Idol is that digital is very much part of the show’s tool box,” she said. “For example the French version includes voting in real time which is permanently displayed on the screen, the show has an extensive online offer that compliments the transmission before, during and afterwards, and it also features a playlist on Deezer, a streaming service similar to Spotify, that is updated every week.” Puschmann also hailed The Voice: “Using an app called the GIFKeyboard, viewers can create their own special moments from the show based on clips provided by the broadcaster, in this case NBC, and then share them with friends on social media,” he said.

RIC SCHERER used his MIPFormats keynote on Saturday to flag up the growing impact of new media on broadcasters. The director of future media at France Televisions told his Grand Auditorium audience that the upheaval that had been discussed and predicted for years was now in full swing. “Up until now there hasn’t been much concrete evidence of change, but in the last few weeks and months it is all happening at the same time,” he said. “The video business is growing rapidly but taking advantage of that is complicated because broadcasters are no longer alone due to the popularity of online platforms. News services are having to reinvent their vocabulary and are rapidly migrat-

ing to services like Instagram, and Snapchat, which, although it remains at root a messaging platform, is where you can find Vice, CNN and National Geographic these days.” The fact that the US administration used sites like Vox, Vice and Medium added fuel to the fire, he said. “Obama’s appearance in interviews on both Vox and Vice and the announcement of a major environmental policy shift is very significant for traditional news services, and the fact these services are all available on mobile makes it even more so,” he added. “And we’re only at the beginning of this process. And I believe that, in this world of data exploitation, the next killer app is trust between the audience and the platforms.”

Eric Scherer, director of future media at France Televisions

Time-shifters boost world viewing

Eurodata TV Worldwide’s Sahar Baghery

The figure for the whole of 2014 was two hours 27 minutes a day, down from two hours and 40 minutes in 2013. She said the expected growth this year was being driven by timeshifted viewing in multi-device homes, especially in Europe and the US. For example, shows accessible via digital devices in Finland had seen their viewing numbers grow by an average of

MEGA live events and reality shows are proving the most popular programming genres among world audiences, according to Sahar Baghery, Eurodata TV Worldwide’s head of international TV formats. During her TV Viewing Trends presentation she revealed that the average amount of time spent on daily viewing so far this year was three hours and 13 minutes.

eight percent over seven days. “There is more flexible TV consumption due to increases in new screens in the UK and the US,” Baghery said. “This shows timeshifted viewing is a world asset because it allows viewers to manage their time.” But the use of multiple devices to watch TV has also resulted in declines in audience sizes for some individual brands. For example, the UK’s most popular show in 2004, I’m A Celebrity… Get Me Out Of Here! (ITV1) was seen by 15 million people compared to 13.5 million for the most popular in 2014, The Great British Bake Off (BBC1). But, globally, the biggest individual audience sizes in 2015 have been for mega live events at national levels. Hollywood’s Oscar awards ceremony on the ABC network in the US commanded 37.4 million, while CCTV’s New Year’s Gala in China landed a staggering 166.2 million viewers.

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NEWS FremantleMedia highlights need to find perfect homes for brands

R EM A N T LEM EDI A International (FMI)’s recently appointed CEO Jens Richter used his MIPFormats keynote to tell delegates that the challenge for his company is to sustain its commitment to the traditional TV business while staying alive to opportunities presented by the rapidly emerging digital market: “We are still working in the world of TV with incredibly powerful brands like Idol and Got Talent,” he said. “But we also have to be building new brands and working out the best home for them.” An example of the latter was FMI’s decision to license scripted series The Returned to SVOD platform et i for markets outside the US: “ latforms like et i , Hulu and Amazon are exciting for an independent producer/distributor like FremantleMedia/FMI,” he said. “They are a new way to license content and can also act

as a testing ground for us. Placing German drama Generation War with et i was a way for us to test the potential of non-English drama in the US.” While new platforms are attracting a lot of attention, Richter said distribu-

tors also need to keep listening to the demands of their traditional broadcast clients: “For example, all the cool writers want to do high-concept serialised dramas – movies on TV. But free-to-air commercial TV channels don’t

FMI’s Jens Richter: listening to the demands of traditional broadcast clients

D’Halluin helps Zodiak shows travel Zodiak Media CEO Marc-Antoine d’Halluin: translating local hits into international successes

really want those shows. Buyers tell me they still want repeatable, episodic dramas like Bones and CSI.” Asked why content creators are finding it so difficult to dislodge juggernauts like Idol and Got Talent from primetime, Richter said: ”It’s a big risk for channels to replace those shows because they need to fill 0 to 0 hours of programming space when they do. That’s why they are more likely to change midsized reality or game shows.”

KEYNOTE speaker Marc-

ntoine d’Halluin was brought in to run Zodiak Media 18 months ago, and since then he has been focusing on improving internal communications to ﬁnd a process by which local successes have a better chance of translating into international ones.“When I arrived, there were 13 companies under the Zodiak Media umbrella, all of whom were very good at producing local hits, but less so at creating international ones,” he said. “So the challenge was to bring people together. By getting people around a table to talk about best practice we have created a culture where our best ideas travel better.” D’Halluin is also overseeing a shift towards

more scripted series: “Our slate is roughly 0 non-scripted, but our scripted side is currently growing faster. We recently finished production on Versailles, which we produced in English for obvious reasons, even though half the cast and most of the crew are French. It was, I believe, an example of the very best of Anglo/French cooperation.” He also talked candidly in his keynote about the tragic helicopter crash in Argentina during ﬁlming of the reality show Dropped: “Everyone at Zodiak was profoundly affected by the tragedy. Something like that makes you deeply aware of the effect on the families of the victims, and forces you to re ect on what you do for a living,” he said. “We think about the people who died every single day.”

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NEWS

Format gems on display at the Treasure Box Japan showcase

A Dolinsekfilm producer David Visnjic: “overwhelmed”

AND THE WINNER IS… DOLINSEKFILM AUSTRIA’s Dolinsekfilm has won the 2015 MIPFormats International Pitch with 1001 Rooms: Beat The Matrix, walking off with a 5,000 cash prize plus a 15,000 development pot from sponsor All3media International. In the innovative game show, contestants are abandoned in the centre of a matrix of 1,001 rooms and challenged to fight their way out. However, their path to freedom is littered with physical and mental quests and riddles — because the Matrix wants to keep contestants inside the grid for as long as possible. Introducing the session, Sabrina Duguet, senior vice-president of international format sales, All3media International, said the UK distributor believed “good ideas could come from anywhere”. She added that the International Pitch was a “great way to give an opportunity to up-andcoming independent talent”. The other four finalists were the US’ Haas Productions with God’s House, Canadian indy show creator Jean-Francois Grenier with Welcome Home!, Lebanon’s Studiovision with Who Will You Trust and Ireland’s Prize Pig Productions with Project Party Villa. Speaking after the event, producer David Visnjic, who co-pitched 1001 Rooms to the jury of format experts with Dolinsekfilm CEO Michael Dolinsek, said he was “overwhelmed” by the result. “I really didn’t expect it,” he said. “For me, it was just fun to write the concept.”

PACKED auditorium at yesterday’s MIPFormats saw the unveiling of several new formats at the Treasure Box Japan showcase, which aims to help the country’s producers and broadcasters to pitch their concepts to international buyers. Among the Japanese broadcasters at the event were Nippon TV, NHK, TV Asahi, ABC Japan, YTE, Fuji TV and TV Tokyo. Panelist Kei Kitamura, sales manager for international business at TV Tokyo, said that factual and reality formats were becoming increasingly popular with Japanese broadcasters, many of which are moving away from traditional game-show formats to meet international appetite. Kitamura, who presented TV Tokyo’s I Wanna Be Home!!! Lost At The Ends Of The Earth, said: “A lot of the most popular shows in Japan have been from the game-show genre, but I think the trends are changing. There are now a lot a reality and factual shows coming from Japan. We have good factual shows, and our reality shows are strong too. Our reality formats are less fierce and provocative than US shows. We focus on the humour and the good side of humans.”

Nippon’s Yukiko Nakano (left), NEP/NHK’s Kayo Fukuda, TV Tokyo’s Kei Kitamura, Fuji Creative Corporation’ Fumi Nishibashi, Asahi Broadcasting Corporation’s Thomas Fumiaki Hiraoka and TV Asahi’s Shuji Maeda

Treasure Box Japan was hosted by YTE vicepresident and managing director Toshikazu Sugae. YTE presented a number of formats at the event, including the latest series of its popular Cell Phone Relay, which makes stars of unsuspecting passers-by when they answer a smartphone left in a public place. Among the other Japanese formats to be presented were NTV’s Breaking Ordinary, NEP/ NHK’s Lunch On!, Fuji TV/FCC’s Masked Blind Dating, ABC Japan’s Picky Eater Saver and TV Asahi’s The Dinner Table.

‘Big content’ gets Talpa connected AFTER the impact that big data has had on digital technology comes ‘big content’, which formats production giant Talpa came to demonstrate at the MIPFormats session Creativity & Digital: The Voice & The Big Picture. Maarten Meijs, managing director of Talpa Global, the Dutch company’s format licensing division, and Hylke Sprangers, chief technology officer at the technology-development unit Talpa Global Connect, presented their vision of the future of formats. Big content is produced when a TV show’s “connected format” is fully integrated into the internet, Meijs said. “This is content that entertains millennials and their parents alike via multiple screens and has global appeal.” For that to be effective, content creators must work hand in hand with technology developers. “Only five years ago, I could not have imagined being on the same stage at MIPFormats with our chief technology officer,” Meijs added. Sprangers then cited examples of Talpa’s big content. Augmented reality is superimposed on the live transmission of reality series The

Voice in the Netherlands so that a studiobased contestant looks as if she is performing inside a massive cathedral. In the 24/7 socialreality series Utopia, meanwhile, standard live streaming is combined with 3D shots via 360-degree cameras, plus mobile apps to take online viewing to a new level.

Talpa’s Maarten Meijs “content that entertains millennials and their parents alike”

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NEWS PITCH DOCTOR SHARES TIPS AND TRICKS PITCH Doctor Paul Boross took to the Esterel stage last night to perform his popular MIPTV curtain-raiser, aimed at helping Cannes newcomers make the most of their first exposure to the international content industry. Condensing 25 years of pitching and networking experience into a one-hour session, Boross said his mission was to “give MIP first-timers psychological tips and tricks to help them relax, enjoy and take maximum advantage of their first Cannes visit”. He added: “Your first brush with a MIP market can be very intimidating. You’re surrounded by hundreds of super-confident people, all of whom seem to know what they’re doing and know each other.” A central message of Boross’ session was that enthusiasm is contagious. “Your format, service or idea is actually secondary,” he said. “A good 85% of your success is down to the quality of your relationships.” After the session at previous markets, Boross is regularly approached by delegates who have profited from the experience. “It’s very rewarding when people tell me that,” he said. “In the end, anything that gives you confidence will give you a real edge in business.”

Follow-up series sees Burnett and Downey build on Bible’s success

Husband-and-wife team Roma Downey and Mark Burnett: compelling story

FTER the international success of their dramatic re-telling of The Bible, executive producers Mark Burnett and Roma Downey are in Cannes to promote follow-up series AD: Kingdom And Empire, distributed internationally by MGM International Television Distribution. The 12-part series, which debuted strongly on NBC in the US over the Easter weekend, tells the story of the first followers of Jesus as they fight to establish Christianity against the backdrop of Roman oppression and persecution by political rivals. Explaining why they decided to take on another epic historical production, Burnett told MIPTV News: “We had such a great time on The Bible we didn’t want it to end. And this story, of the origins

of Christianity, is so compelling. Take away the period costumes and it has all the political intrigue of House Of Cards.” Downey added: “Telling the story of The Bible in 10 hours was very ambitious, so this allows us to take a deeper dive into a fascinating piece of history. We think it has all the ingredients of a quality drama, with great performances by the likes of Joanne Whalley, Richard Coyle and Vincent Regan. It’s gritty but hopeful. It’s the story of the underdog.” As with The Bible, locations work was done in southern Morocco where a set was constructed to replicate Jerusalem, Damascus and Galilee. New tax incentives meant postproduction could be handled out of the UK. Burnett and Downey said a further follow-up series is also planned.

Baumard gets serious about comedy

Pitch Doctor Paul Boross

STRONG characters and universal situations are the key to successful scripted comedy formats, Christian Baumard, CEO of France’s Kabo International, told a MIPFormats conference session on the topic. “Word play and comedy dependent on dialogue are a lock-out in international markets,” he said. The independent company, which set up the distribution arm, Kabo International, at the end of 2014, claims to have a unique approach to the comedy formats market: pick’n’mix. Its series Our Crazy Family is scripted in 45to 90-second situation comedy scenes, which can be assembled to make 13-, 26- or 52-minute shows. The material can also be “sliced and diced”, so that where cultural references are not relevant, scenes can be omitted. It also means that re-runs can be refreshed by changing the make-up and order of the shows. Matthieu Viala, CEO of another French indie, Makever, stressed the importance of the ac-

tors and the chemistry between them for establishing strong characters. “You have to put the original version out of your mind and find the right cast for the local remake,” he said. The four main characters for the French remake of The Invincibles, from the French Canadian original, had to live and work together for three months to create the right chemistry, he added. A UK production of Makever’s Kaboul Kitchen is now in development, with the Iraq War of the last decade replacing contemporary Afghanistan for British audiences. Sarah Watson, writer and co-executive producer of NBC’s Parenthood, which has been remade in Italy in a version very faithful to the original scripts, stressed the close relationship of drama and comedy for formats. “In real life, dramatic moments often become funny because they are so intense, which is why they translate so well.”

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NEWS DORI SEALS MAJOR CHINA COMEDY DEAL DORI Media Group (DMG) has sold a slate of comedy formats to Croton Media, one of China’s largest TV series producers. The deal, signed at MIPTV, includes titles such as Ciega A Citas, Little Mom and So Where Were We. Nadav Palti, CEO and president of Dori Media Group, said: “We are delighted to be working with Croton Media to launch these shows into the Chinese market and promote the Chinese versions to the broader international market. This deal follows the sale of Power Couple to Chinese production company Shanghai Viva earlier this year and demonstrates how DMG’s formats can be easily adapted for China.” The deal with Croton follows other international sales of the three formats named above. Ciega A Citas has been sold to over 40 territories while Little Mom is on air in Belgium and Poland and will air in a primetime slot on France’s TF1 later this year. So Where Were We, meanwhile, was sold to ABC in the US. Liu Zhi, vice-president of Croton Media, called the deal a win-win, adding that his company “strives to create and distribute TV shows that are loved the world over”.

StudioCanal revamp splits production and distribution

Romain Bessi

EADING European film and TV studio StudioCanal has unveiled a new structure for its TV business that will turn production and distribution into separate divisions. On the production side, StudioCanal subsidiaries, including Germany’s Tandem Productions, the UK’s Red Production Company and Scandinavian production outfit SAM Productions, will all report directly to StudioCanal chief operating officer Romain Bessi. Sales and distribution will be consolidated under a single StudioCanal television label, run by

sales and marketing executive vice-president Katrina Neylon. Speaking to MIPTV News, Romain Bessi said: “The new structure means buyers will have a one-stop shop providing new high quality programming, all backed by StudioCanal’s brand. At the same time, Tandem (which currently has its own distribution division) will be able to concentrate completely on production.” While the StudioCanal brand will control all distribution, the production companies will “keep their own identities”, Bessi said. “It will be the same approach as we take on the movie side, where StudioCanal would distribute a Working Title movie, for example.” Bessi said StudioCanal’s TV business would maintain a balance between original series targeted at local markets and original series designed to be international: “The exact balance will depend on what the buyers want. We will maintain a close relationship with them so we can go the direction they want.” In addition, Bessi said the company would be mining its movie archive for ideas that might translate to the TV screen: “One big asset we have as StudioCanal is our film library. We have a lot of great movie titles that can be developed as TV properties.”

Brand awareness boosts AMC reach

Croton Media’s Liu Zhi (left) and Dori Media’s Nadav Palti

AMC NETWORKS International (AMCNI) reports strong growth around the world for AMC Global, its AMC-branded network, since the company launched the brand for the first time outside North America. “There is clear and strong demand for our line-up of globally renowned, locally relevant channels, with many platform operators adding or repositioning our services on to their basic tiers in recent months to make them widely available to customers,” Ed Palluth, AMCNI executive vice-president of global distribution, said. He added: “We’re particularly excited about the debut of series such as Fear The Walking Dead, Into The Badlands and the new series of Halt And Catch Fire less than 24 hours after the US premiere.” Among the highlights, AMCNI picked out Axtel in Mexico launching the company’s entire portfolio of channels for the first time; Slovak Telecom in Slovakia launching the Sundance Channel and Sport1 HD to complement the SD service; and Singapore’s Singtel

Fear The Walking Dead

TV launching AMC for the first time. AMCNI has also rebranded MGM’s SD channel as AMC across all its systems in the CIS and Baltics, including MTS, Rostelecom, Beeline and NTV Plus in Russia. Africa, meanwhile, saw the first-ever launch of Eva, a new telenovela channel, on the DStv platform. In the UK, Horror Channel, recently launched on Freeview, is already the second largest free-to-air movie channel in cable and satellite homes due to carriage deals with Sky and Virgin, the company said.

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NEWS Digital switch-over opens door to Africa’s billion viewers

REE-TO-AIR opportunities in Africa will be discussed during a conference session that will bring delegates up to date with developments in that con-

tinent’s audiovisual and content industries. The session is organised with African media investment and consulting company Dreamville Limited. At the core of the dis-

Dreamville Limited chairman ‘Toyin Subair: “television has always been about content and content and content”

cussion will be the free-to-air opportunities in Africa that will emerge following the analogue switch-off. “We will be looking at the billion-dollar-plus advertising market on the continent and how to tap into it through highly entertaining and educational free-to-air channels,” Dreamville chairman ‘Toyin Subair said. “The opportunity to grow the TV advertising market is real and achievable with the introduction of digital television across Africa, as the billion-plus viewers there become easily identifiable. With more forensic audience measurement — telling us where they are, who they are, what they watch, and what they want — TV advertising will be the sure way to reach them as traditional TV will still remain the primary way to consume television entertainment for the majority on the continent.” Subair warns that the industry in Africa needs to be fully aware

of the potential that digital can bring. “We must not allow the African market to believe that the analogue switch-off is only about replacing transmitters or introducing clearer pictures and digital boxes and smart TVs,” he said. “Television has always been about content and content and content. They must not only get clearer pictures but much better channels, and more engaging and localised premium productions. International channels must step into the fray with their free-to-air propositions, and partner with local production companies.” He added: “International brands like Viacom, Viasat, and Bloomberg have already gone in and created local versions of their channels, partnering with local companies and channels under a variety of partnership models. Pay TV is reaching 15%-20% of the homes, but the real opportunity is in the remaining 80% of the homes through free-to-air broadcasting.” • TV Advertising And Free-ToAir Channels: Opportunities In Post-Digital Switch-Over Africa is at 10.30 tomorrow in Auditorium K

Quebec gets down to business in Cannes

AQPM president Marie Collin: growth and diversification

A RECORD 34 Quebec TV and audiovisual companies are at MIPTV this week under the umbrella of Espace Quebec, co-ordinated by cultural development organisation SODEC in partnership with AQPM, which represents the region’s independent film, TV and web producers. Espace Quebec aims to support, encourage and “maximise the visibility” of Quebec companies active on the international market, according to SODEC president and CEO Monique Simard. She added that the initiative reported impressive results from its efforts at MIPTV and MIPCOM 2014, with surveys revealing that completed sales, pre-sales and expected sales amounting to some C$10m (€7.5m) were closed at the two events. In addition, 37 co-production deals totalling around C$54m were either agreed or initiated in Cannes during 2014. “These figures are certainly concrete evidence of Espace Quebec’s solid presence

abroad,” Simard said. “But above all, they highlight the outstanding performance of our companies. For MIPTV 2015, our umbrella [delegation] is again highly representative of the flourishing made-inQuebec television sector, bringing together producers, distributors and broadcasters of great prestige.” AQPM’s president and CEO Marie Collin added: “Again this year, our partnership with SODEC is a testament to the importance that AQPM places on growth and diversification strategies for Quebec’s production companies.” Among the events scheduled to take place this week on the Espace Quebec stand are today’s welcoming and network reception, and a pitching session with TF1 Production, during which six Quebec producers will pitch their new format and fiction projects to the leading French audiovisual company.

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NEWS BBCWW CLOSES MULTIPLE DEALS IN SCANDINAVIA SCANDINAVIAN public broadcasters TV2 Denmark and SVT Sweden have acquired a raft of BBC Worldwide (BBCWW) titles in the run-up to MIPTV. TV2 has pre-bought award-winning scriptwriter Andrew Davies’ six-part adaptation of the Leo Tolstoy epic War And Peace, produced by BBC Cymru Wales Drama in partnership with The Weinstein Company and BBCWW-backed Lookout Point. Currently being filmed in Russia, Lithuania and Latvia, the ambitious series — summed up by Davies as “the hopes and dreams of youth, set against the titanic background of the Napoleonic wars” — stars Paul Dano (12 Years A Slave), Lily James (Cinderella) and James Norton (Happy Valley). War And Peace, which has also been pre-sold to SVT, debuts on BBC One in the UK later this year and will air in both Scandinavian territories in 2016. Also headed for Denmark are Casualty, Last Tango In Halifax, The C Word, Dolly Parton Live At Glastonbury, Sewing Bee, Extreme Brat Camp and Horizon: Is Binge Drinking Really That Bad? SVT, meanwhile, has taken a package of factual content, including The Hunt, Shark, Antiques Roadshow, Cats, The Truth About Fat and The Truth About Calories. The Swedish broadcaster has also purchased Lady Chatterley’s Lover and re-runs of the classic sitcom Fawlty Towers.

There’s more to TV2 Denmark’s drama slate than Nordic Noir

ORDIC Noir has taken the world by storm. But the region’s leading broadcasters support much more than crime series, according to Katrine Vogelsang, head of drama at Denmark’s TV2. “2015 saw the second season of our best-rated show Seaside Hotel, a period drama,” she said. “And we are broadcasting the dramady Rita, the story of an unusual teacher who helps pupils to solve problems in an often politically incorrect way. We are also excited about our first mini-series, Happiness Is [working title]. It will be produced by Zentropa, who will be attending MIPTV looking for partners.” TV2 commissions its shows from indie producers, funding them via various means. “With some productions, we take the full risk of finance TV2 Denmark’s Rita: a hit on Netflix [and] fund the production by pre-sales to Scandinavia TV2 nearly four years ago and, at and public funds,” Vogelsang the time, there was one TV series said. “Others are co-productions, a year. This year, we are doing where the production companies four series. We have increased bring together the financing.” the output significantly — only The latter route has become more possible because of the internacommon thanks to the international interest in Nordic drama.” tional popularity of the region’s Explaining why Nordic content has output, she added: “I started at done so well, Vogelsang said: “In

the Nordic region, we have a long tradition of working together with the film industry. It makes the quality of our productions high. We believe a strong narrative is more important than guessing what the audience wants. This results in drama that workS well locally and abroad.” While TV2 backs many types of show, it also does well with Nordic Noir. “Those Who Kill has had a great impact internationally. We also have great expectation for our next police drama, Norskov, which is a co-production between TV2, SF Film Production, Tre Vanner and ARTE France. Pre-sales have already been closed with Scandinavia and the Benelux.” TV2’s dramedy Rita, meanwhile, has been a hit with VOD platform Netf lix, which helped secure the third season. “Netflix got in contact with SF, the production company behind Rita. Netflix already had season one and they were looking for more. At TV2 we loved the first two seasons, but we were not able to finance a third season by ourselves. With support from Netflix, Copenhagen Film Fund and the public service pool, Rita season three became a reality.”

d-rights showcases ‘greater strengths’ JAPANESE animation company d-rights arrives at MIPTV strengthened by a link with Asatsu DK (ADK), Japan’s third largest advertising company, which acquired a stake in d-rights from Mitsubishi Corporation at the end of 2014. d-rights’ best known global brands are Beyblade, BDaman and Scan2go. The company manages content creation from production to distribution, financing, mar eting and product licensing.

ADK has been in animation since 1963 and is especially strong in production and licensing in Asian markets. It has also made Yu-GiOh a global brand working with western partners. Shuji Wada, new president of d-rights, said: “We are thrilled to introduce a new d-rights that will have even greater strengths in animation production, and both Western and Asian licensing businesses. We will also create synergetic effects with

ADK’s content busines and Mitsubishi’s various global businesses.” Shuji Wada

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MIPCancun talks pave way for Fuji’s LatAm expansion

TV Asahi’s Naoko Murao

TV ASAHI’S SPORT FORMAT RUNS ACROSS THE WORLD TV ASAHI’s international debut at MIPTV is new format Beat The Champions, developed from a successful sports entertainment show in Japan, featuring celebrities and amateurs challenging worldclass professional athletes at their own sport. “This is the first time we have brought an international collaborative project on this scale to MIPTV,” Naoko Murao, general manager, business division TV Asahi, said. “We are working with Sweden’s Sparks/Eccho Rights in association with Zebra Producciones and we have already announced sales in Germany, France, Sweden and China. We are confident this format has international appeal and we are now looking for further sales in territories worldwide.” Murao said the amusing twist in Beat The Champions is the ridiculous handicap system; in order to make an equal playing field, Olympic medalists must contend with a surprising disadvantage: “In the past we have seen ping pong pros playing with a raquet the size of a ping pong ball or a tennis match with the net in a completely new position. These disadvantages don’t arrest the athletes’ competitive edge — but rather bring out their determination.” Murao said TV Asahi is focusing less on finished programming but rather is investing in format development and international co-productions. “We have also opened a new office in Bangkok and I am looking forward to developing deeper connections with producers in Asia,” she said.

APAN’s Fuji Television Network (Fuji TV) is targeting Spanish-speaking Latin America and the US following positive discussions with potential format-development partners at MIPCancun, MIPTV’s sister event, last year. “We’ll be announcing a deal soon,” said So Fujinuma, Fuji TV’s general producer, worldwide production and sales, international department. The company is also embarking on an international strategy to boost the number of its shows in mainland China, thanks to increasing internet penetration. Following last year’s success of Mysterious Summer, a horror drama co-produced with iQiyi, the online-video network belonging to Chinese search engine Baidu, Fuji TV has found a way to increase its reach in China, which remains strict about foreign imports for broadcast TV. “Scripted by Fuji in Japan, translated into Mandarin and with episodes by Fuji directors in Beijing, the 15-part online series has had more than 60 million views since its August launch,” said Fumi Nishibashi, the international department manager at Fuji Creative Corporation, Fuji TV’s production/distribu-

Fuji TV’s So Fujinuma (left) and Fumi Nishibashi

tion arm. “We’re now looking for more Chinese partners to develop online content.” The push into more international markets was inspired by successful co-development agreements with FremantleMedia in the US and Newen in France. Sensational, a format jointly developed with Newen, premieres in June on Vietnam’s major regional channel Vinh Long TV and is ready for global sales at MIPTV.

Hulu reaches a million in Japan

Hulu Japan’s Kazufumi Nagasawa

HULU has topped the one million-subscriber mark in Japan and is poised for even greater growth, according to Kazufumi Nagasawa, chief content officer of HJ Holdings, which operates the Hulu service in Japan. Nagasawa said the achievement had been made possible by Nippon TV’s acquisition of Hulu’s Japanese business in April last year,

marking the Japanese terrestrial broadcaster’s first move into the SVOD market. Hulu, which allows consumers to watch unlimited content on multiple internet-connected devices, launched in Japan in September 2011 and was the US service’s first expansion outside of its home market. “Part of Hulu’s success in Japan is having active subscribers who are able to watch content at high frequency,” Nagasawa said. “Subscribers have enjoyed over 360 million hours of total viewing time since the launch. In addition, Hulu is on multiple devices at a fixed monthly price. This was extremely rare when Hulu launched in Japan and is gaining in popularity.” Hulu Japan is celebrating its one-millionth subscriber with a new campaign — Hulu, On — designed to create more “exciting experiences and fun ways for viewers to connect and be entertained”. The service is also becoming “even more aggressive in acquiring content”, Nagasawa added, citing such high-profile foreign dramas as Breaking Bad, Under The Dome and 12 Monkeys.

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Texas Rising stars lead charge on Cannes for series world premiere Lip Sync Battle (VIMN)

SPIKE SHOWS SET FOR NORWAY VIACOM International Media Networks (VIMN) has confirmed a multi-year package deal with TV2, Norway’s largest commercial network, for a number of popular Spike series. As part of its policy of acquiring gender neutral, general entertainment content, the broadcaster has signed Catch A Contractor (series 1-3) alongside the first seasons of Framework, Frankenfood, Gym Rescue and Hungry Investors. Recently launched show Lip Sync Battle was already wildly popular as a segment of The Tonight Show Starring Jimmy Fallon, and the hotly anticipated series — hosted by LL Cool J — premiered to more than 3.2 million live viewers in the US two weeks ago. “The producers have done an amazing job of turning a show segment into half-hour episodes,” Michael Armstrong, executive vice-president and general manager, international brand development at VIMN, said. “Each guest does two performances, and for the second one they can have dancers or pretty much anything they want on stage, then in between there’s backstage footage of the performer preparing. Plus we have some amazing guests including Justin Bieber doing Ozzy Osbourne and Common versus John Legend.”

HE STARS of major new History series Texas Rising are in Cannes for its world premiere screening. The 2015 MIPTV World Premiere TV Screening takes place in the Grand Auditorium at 18.30 today. Cast members in Cannes include Ray Liotta, Bill Paxton and Olivier Martinez. Two-time Oscar

nominee and Killing Fields director Roland Joffe and executive producer Leslie Greif are also attending the event. The eight-hour series tells the story of the Texas Revolution and the rise of the Texas Rangers amid the fierce Wild West power struggle that ensued following the battle of the Alamo. Other stars of the show are

Ray Liotta as Lorca, a survivor of the Alamo

Brendan Fraser, Jeffrey Dean Morgan and Kris Kristofferson. Director Joffe said: “What I like about this story, and all cowboy stories, is really two things: one is that they are about human beings in nature and what it means to be a man and, to some extent, a woman; and they are also about the building of countries that didn’t exist and extraordinary landscapes where everything asks you to decide who you are.” Shot in 6K and Cinemascope, Texas Rising is produced by ITV Studios America and A+E Studios in association with Thinkfactory Media for History. History and H2 executive vicepresident and general manager Dirk Hoogstra said: “We’re ecstatic with what we’ve seen so far from production. I can’t think of a better way to kick off summer than with a big television event that’s sure to resonate with our fans.”

Docu-drama charts history of the Mob EONE is in Cannes this week with The Making Of The Mob: New York, an AMC docu-drama that explores the roots of the five families that led to the formation of the modern American mafia. Produced by Emmy award-winning Stephen David Entertainment, the show uses a mix of dramatic reconstruction, archive footage, original interviews and cutting-edge VFX, to tell a story that spans a 50-year period from 1905 to 1955. Speaking to MIPTV News, Stephen David said: “We’ve all seen a lot of movies about the Mob. But when we started looking into the history, we knew the names but didn’t know how it came together. It was interesting how the chaos at the beginning of the 20th century gave rise to organised crime through people like Lucky Luciano, who were

geniuses at it.” Explaining the docu-drama technique, David added: “In many ways, the true story is better than the fictionalised one you see in movies. There was a lot of research because we are telling the truth. But the idea was to make it more accessible by having characters you care about, that aren’t washed over by information.”

David said the growth of the Mob has echoes of the way legitimate businesses work: “I don’t think the comparisons are illegal businesses, they are legal businesses… businesses big enough to have their hand in everything. The Mob became involved in everything from Hollywood to sanitation. It was like a Fortune 500 company.”

EOne’s John Morayniss (left) and Stephen David: characters you care about

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Supernanny to share wisdom with parents the world over

Emily Fox

EMILY GOES BACK TO THE FUTURE WITH HINDSIGHT SHOWRUNNER Emily Fox is in Cannes with eOne to promote her scripted series Hindsight, which premiered on VH1 US earlier this year. Hindsight tells the story of thirtysomething Becca, who is about to get married for the second time when she finds herself mysteriously sent back to 1995. Once there, she breaks off her engagement to her first husband, and sets about correcting her personal and professional mistakes. “It’s an idea that a lot of people think about,” Fox told MIPTV News, “the notion that you can apply what you know about the future to fix mistakes. What Becca realises, of course, is that there’s no such thing as perfect knowledge.” Fox wrote a pilot of Hindsight for another network in 2009, but VH1 eventually took the show: “VH1 was looking to get into scripted content and this show hit their sweet spot, combining a nostalgia for 1990s music and fashion with the wish fulfilment storyline. The good news is that it has proved popular with men, even though the central storyline is based around Becca and her best friend Lolly.” The first series of Hindsight ran to 10 episodes. Fox, who is on her first trip to Cannes, confirmed that a second series has been greenlit. “We’ll be getting into the writing room when I’m back,” she said.

UPERNANNY Jo Frost has taken her show on the road to bring her parental advice to non Englishspeaking countries. She is in Cannes to meet broadcasters and distributors interested in rolling out the format in their own markets following a successful launch in the Netherlands. A decade after Frost first found fame in the UK, the latest series, Jo Frost: Nanny On Tour, sees her travel around the Netherlands in a bus to meet ordinary people struggling to cope with the pressures of parenthood. The show airs on RTL4 and was produced by Strix, which is in Cannes with Frost to take the show to market. Speaking to MIPTV News, Frost said: “When I first started out 10 years ago I said I wanted to reach one family at a time, one town at a time. It’s all about the family; some things are universal — a hug is a hug, a smile is a smile — but other things are different depending on what culture you’re in. Helping families in non English-speaking countries brings a lot of challenges, but they’re re-

Supernanny Jo Frost

ally positive good ones; it became seamless.” Strix chief executive Roy Aalderink said that there had been

“big interest” in the format and that the producer was already in advanced talks to roll the show out to more markets.

Production spree boosts Blue Ant AFTER launching an initiative that will see 200 hours of bluechip, 4K nature and wildlife programming being produced every

year for the next five years by top producers such as Blink, Off The Fence and James Reed, Canadian independent Blue Ant Media is

The Big Feed (Blue Ant Media)

starting to see sales success. “Nomads of the Serengeti and The Big Feed are among the first shows to emerge from our production drive and we are already lining up sales in Asia and Europe,” Solange Attwood, SVP, international, Blue Ant Media, revealed. “We’re also expecting Jago: A Life Underwater to make quite an impression at this market. Plus we have several HD factual shows such as Cabin Truckers and Dyno Hunt, and we are also looking to acquire shows.” 4K is a huge topic currently and today at 10.00 Sony presents Getting Ready for 4K/UHD in the Sony 4K Ultra HD Theatre.

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NEWS

Trapp Family takes the spotlight for Sound Of Music anniversary

Bosch (Red Arrow International)

BOSCH BURSTS INTO AUSTRALIA VIA SBS SBS AUSTRALIA has bought seasons one and two of crime series Bosch, with season one airing on SBS One this July. Amazon has also ordered the second season of the series distributed by Red Arrow International. This came one month after its release of season one, which broke records with the biggest debut weekend ever for an Amazon Original Series, and was the most watched show on Amazon Prime Instant Video across all movies and TV series in its first four weeks. “The series brings the grit and intrigue fans of the best-selling franchise expect,” Marshall Heald, director of television and online content, SBS, said. “Bosch is the perfect addition to SBS’s slate and enhances our commitment to delivering the world’s best drama to Australian audiences.”

SENSATIONAL SALE THE FIRST season of the jointly developed Newen and Fuji TV format Sensational has been commissioned by Vietnam’s THVL to air weekly for 13 weeks in a Saturday primetime slot on Vietnam’s main private channel THVL1. The game show — the first show co-developed by Newen and Fuji TV — sees two teams of five contestants compete in amusing and visual challenges around the five senses: sight, hearing, smell, touch, and taste. In Vietnam, the show is produced by Dien Quan Media & Entertainment and is set for transmission this June.

NE OF the best-loved movies of all time is the inspiration for Tele Munchen Group (TMG)’s MIPTV headliner — The Trapp Family: A Life Of Music. The theatrical film, which starts production in Salzburg tomorrow, tells the true story behind the multiple Oscar-winning, $1bn-grossing musical that turned an aristocratic Austrian family into a global cultural phenomenon. With a screenplay based on Agathe von Trapp’s autobiography, The Trapp Family’s A-list cast includes Vanessa Redgrave, Matthew Macfadyen, Eliza Hope Bennett and Yvonne Catterfeld. Dr Herbert Kloiber, TMG chairman, reports strong international interest in the TMG-funded project, timed to celebrate The Sound Of Music’s 50th anniversary this year, with “a good number of presales” including to ORF and Sky. “Although the original film is 50 years old, The Sound Of Music is still remarkably fresh and has lasting appeal, particularly in the English-speaking markets of the

TMG’s Dr Herbert Kloiber: “taking historical events and turning them into luxury TV”

TMG’s The Trapp Family tells the true story behind the world’s best-loved musical

US, the UK and Canada,” he said. The only market in the world that did not fall instantly — and enduringly — in love with The Sound Of Music was its home territory of Austria. Austrianborn Kloiber ascribed this to the long shadow of the Second World War: “The film was released uncomfortably close to the 10-yearlong [Allied] occupation. But it did spectacularly show those elements of Austrian society, such as Baron von Trapp, who bravely stood up to the Nazis and were forced to leave their country as a

result of their principles.” For Austrians, too, snow-capped mountains, dirndls and edelweiss do not have much romantic appeal. “It was a case of taking owls to Athens,” Kloiber said. For the rest of the world, The Sound Of Music remains an iconic movie. It is also the perfect vehicle for TMG’s latest project, Kloiber said: “With The Trapp Family, we are staying faithful to what we have been doing for 40 years — taking historical events and figures and turning them into luxury TV.”

Netflix is new home for Lucas comedy A NEW visual sitcom from acclaimed British creative talent Matt Lucas, Pompidou, is set for broadcast on Netflix starting this Wednesday, via a deal with All3media International. The 6 x 30 mins episodes, produced by Matt Lucas’ production company John Stanley Productions, will be made available to Netflix streaming subscribers to watch instantly in all Netflix territories, excluding Australia and New Zealand. In the show, Lucas stars as Pompidou, an elderly oddball aristocrat who has fallen on hard times. Each episode sees Pompidou and his long-suffering butler Hove (Alex MacQueen), who live in

an old caravan, face a new challenge, for instance stealing back a priceless bowl they once owned. In the UK, in a deal also brokered by All3media International, the show was first commissioned by the BBC, where it has already launched. Broadcast rights for the territory were then shared with Netflix and the first season will have its Netflix premiere later this year. Matt Lucas, noted for his work in Little Britain, Come Fly With Me and Tim Burton’s Alice In Won-

Matt Lucas stars in Pompidou

derland, said: “The one thing that everyone in the world has in common is laughter and the aim of Pompidou is to reach out across the globe.”

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NEWS

Original content gives value to brands, says Rainbow’s Straffi

R The Imaginarium Studios’ Andy Serkis

RED ARROW AND THE IMAGINARIUM IN DRAMA ALLIANCE RED ARROW and The Imaginarium Studios — the UK performancecapture and production company founded by actor/director Andy Serkis (The Lord Of The Rings) and seasoned producer Jonathan Cavendish (Bridget Jones’s Diary) — have launched a new initiative to co-develop high-end scripted TV drama for the international market. Senior executives are currently being recruited to manage the new venture’s development pipeline, the results of which will be distributed by Red Arrow International. Cavendish and Serkis said that working with Red Arrow was a “terrific opportunity” for The Imaginarium to create new content for the international marketplace and fast-track it into production. Henrik Pabst, managing director of Red Arrow International, added: “Our aim is to work directly with major talent to develop international TV projects. The Imaginarium has been top of the list of people we would like to work with, so it’s great to be forging this new relationship.” Established in 2011, The Imaginarium’s theatrical credentials include performance-capture work on forthcoming films Star Wars: The Force Awakens and Marvel’s Avengers: Age Of Ultron. Its skill at harnessing performance capture to enhance and enrich film, TV and video-game storytelling has earned it a reputation as “one of the most ambitious new production companies in the English-speaking market”, said Red Arrow Entertainment Group CEO Jan Frouman.

AINBOW Group, the Italy-based international entertainment conglomerate, is seeking partners and buyers for its TV shows and films during one of the most productive years in its 20-year history. The company is introducing a new Winx Club series, a new season of Mia And Me, and Royal Academy, the working title of a new Cinderella-themed animation comedy. Despite selling Rainbow’s content in 150 countries, founder and CEO Iginio Straffi said it is imperative the company, which operates an extensive licensing division, keeps developing and creating original content. “Licensing is very important, but if you don’t have content to sell, you have no exposure for your brands,” he said. “When TV networks buy content, it gives value to the brands.” Following a partnership with media conglomerate Viacom in the US, for example, Winx Club is on Nickelodeon, while Mia And Me is on Nick Jr. Another animation show, Huntik: Secrets & Seekers, airs on Nicktoons. Winx Club is also on Netflix, the on-demand streaming platform. Meanwhile, the company has released The Mystery Of The Abyss, its third Winx Club theatrical feature film, in Greece. The company, which Straffi said is profitable with no debts, has licensed its content brands for toys, video games, school stationery, food, beverages and fashion aimed at families and young children. In Cannes, Rainbow’s head of sales and co-

Rainbow’s Iginio Straffi: “TV channels are still the main drivers for our business”

production, Andrea Graciotti, said the gala dinner the company hosted at last year’s MIPCOM had been a valuable strategic move. At MIPTV, it plans to build on that momentum by finding TV-network partners in the Far East and South America. “TV channels are still the main drivers for our business and there is no better place for us to do the business than at Cannes,” he said.

Zodiak Kids unveils production hub ZODIAK Kids has unveiled Zodiak Kids diversity of all three companies, improving Studios, a new division that will encompass our development and production capability. all of its production across France and the Our combined experience and talent relationUK. Companies within the new unit inships on both sides of the Atlantic clude Marathon Media and Tele Images will allow us to develop and proProductions of France, and The Founduce creator-led properties with dation in the UK. a unique voice.” The CEO of Zodiak Kids Studios Zodiak Kids’ productions will be Michael Carrington, who include upcoming Sprout is currently head of The FoundaUS series Floogals (52 x 11 tion. Working alongside him as mins), Mister Maker (137 chief creative officer will be Eryk x 20 mins), The Ranch (52 Casemiro. The new production unit x 26 mins), Lolirock (56 x 22 will sit alongside Zodiak Kids Dismins), Millie Inbetween (13 x 30 tribution and Consumer Prodmins) and Get Blake! (52 x ucts. Carrington said the 11 mins), a slapstick annew structure would imated cartoon series “help us leverage and Zodiak Kids Studios’ Michael Carrington: that launched on Nickalign the strengths and “creator-led properties with a unique voice” elodeon this spring.

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NEWS

Starz’ drama Flesh And Bone takes centre stage in Cannes

Mediaset’s Alessandro Salem

LUCKY SERIES JOINS PARTNERS IN CRIME FEDERATION Entertainment and Mediaset Group are to co-produce Lucky Luciano, a 12-part one-hour series which will explore the life of notorious mobster Charles ‘Lucky’ Luciano. The writer on the series is Alessandro Camon (The Messenger). “This is an extraordinary project based on the life of one of the most compelling figures in crime. The subject of countless books and films, Charles ‘Lucky’ Luciano continues to remain a mystery in many key facets of his life, especially in his relationship with the FBI. We intend to explore these mysteries and offer the most definitive work on Luciano that’s ever been produced,” Breton said. Alessandro Salem, Mediaset managing director of content added: “We’ve been looking for a long time for the right co-producer who shares our fascination with the complexity of such a criminal icon as Lucky Luciano.”

GO-AHEAD FOR BOY AND THE DINOSAUR FOOTHILL Entertainment and UK affiliate Foothill Europe have closed a co-production deal for animation series, Boy And The Dinosaur with the UK’s Shooting Star Animation and Canada’s Echo Media. Foothill will handle worldwide distribution outside of the co-production territories.

Flesh And Bone (Starz Worldwide Distribution)

HE CURTAIN went up on MIPTV this morning with an International Drama Screening of Starz Worldwide Distribution’s Flesh And Bone, from the Emmy Award-winning writer and executive producer Moira

Walley-Beckett (Breaking Bad). The 8 x 60 mins series, which premieres in November in the US, is the unflinching story of a young ballet dancer’s journey to the top of the glamorous but brutal New York ballet world. Sarah Hay (Black Swan) plays

Claire, an emotionally vulnerable but physically transcendental ballerina whose ambition is matched only by her talent for self-destruction. Among the other world-renowned dancers attached to the series are former American Ballet Theatre stars Irina Dvorovenko and Sascha Radetsky. Former artistic director of the Royal New Zealand Ballet Ethan Stiefel, who served as the series’ choreographer, created an original 13-minute ballet for the series. “Finding exceptional dancers to inhabit these roles was incredibly creative and exciting,” WalleyBeckett said. “The verisimilitude of the project was of paramount importance to me. I wanted to be able to capture dance on film with complete integrity, authenticity and freedom.” Flesh And Bone, which was shot entirely in New York City, is executive produced by John Melfi (House Of Cards; Sex And The City), Lawrence Bender (Inglourious Basterds; Pulp Fiction) and Kevin Brown (Roswell).

Nurses on call in Germany and UK ECCHO Rights has closed two deals for the Scandinavian drama show Nurses, produced by Finland’s Yellow Film. ProSiebenSat1 has licensed the show for Germany, marking the first time a German commercial channel has bought an original Scandinavian drama. DLT Productions will make a UK version of Nurses with head of drama Margaret Enefer leading the team. DLT are behind popular series like As Time Goes By and My Family. Enefer is former head of drama at STV and producer on hit shows including Taggart and The Poison Tree. “Nurses is a fantastic scripted format and we’re very excited

Nurses: heading for the UK and Germany

to be developing this amazing project here,” Enefer said. “The NHS is such an important part of British life and we believe this series will really connect with the audience, particularly

through the strengths of the four female characters at the centre of the drama. Their personal stories and the impact that has on their professional lives is what drew us to the material so strongly.”

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miptv

NEWS NEW DECADE FOR FMI FREMANTLEMEDIA International (FMI) has secured global distribution rights (excluding the US) to CNN Original documentary series, The Seventies. The 8 x 60 mins series follows the international success of The Sixties, sold into 43 territories worldwide. The Seventies is produced for CNN/US by multi-Emmy Awardwinning producers Tom Hanks and Gary Goetzman (HBO’s John Adams, The Pacific and Game Change); and Emmy Award-winning producer Mark Herzog (History’s Gettysburg). FMI is launching The Seventies to buyers at MIPTV this week.

HOODLUM GIVES ITV US OPTIONS ITV STUDIOS America has finalised a first-look production deal with production company Hoodlum for scripted television series in the US. The Emmy- and BAFTA Award-winning production company is based in Australia and will now also be operating out of ITV Studios America’s headquarters in Los Angeles. Hoodlum is focused on creating multiplatform entertainment experiences for the global market, and producing compelling experiences regardless of how audiences choose to watch, play and share. Scripted projects include Secrets & Lies (currently on ABC), The Strange Calls (a pilot for NBC), Slide and Fat Cow Motel.

Electus offers the formula that ensures eyes stay on the screen

OHN Pollak, president of Electus International, is at MIPTV with a diverse slate of shows. Headline titles include National Geographic Channel’s The Raft, in which two people are stranded in the ocean in a life raft, and ITV’s Bear Grylls: Mission Survive, in which survivalist Bear Grylls mentors eight celebrities as they fend for themselves in the wild. Other key properties include the format rights for CW drama Jane The Virgin and Bellator, a mixed-martial arts franchise that offers channels live and as-live fights on a monthly basis. Also in the line-up is King Of The Nerds, a US series that has just been picked up for a remake by Sky in the UK. Commenting on Electus’ survival shows, Pollak told MIPTV News: “This genre is very hot, but I think what makes some-

thing like The Raft stand out is that it is very relatable. The producer Brian Catalina (Deadliest Catch, Ultimate Survival Alaska) is an expert at bringing audiences as close as possible to what participants are experiencing.” As a general observation, Pollak said the Electus slate is focused on two things. “We want to own and represent content that can work across traditional and digital platforms and we want content that is DVR proof. Live shows like Bellator stop audiences time-shifting, but so do provocative formats. If you can get audiences talking about your shows, they watch them live to be part of the social conversation. An example would be Dating Naked, a VH1 series where daters meet at a primitive island resort, completely in the nude. We have the format and completed version of that.”

Electus International’s John Pollak: getting audiences talking about shows

Tricon introduces the Real Rob! TRICON Films & Television is at MIPTV to launch Real Rob!, a 8 x 30 mins scripted comedy series starring actor/comedian Rob Schneider. The series is “an exaggerated yet brutally honest depiction of Schneider’s real life” that juxtaposes the ups and downs of his celebrity life with the closerto-home issues he faces daily with his wife and two-year-old daughter. Schneider’s wife, Mexican television producer Patricia Azarcoya, also stars in the show and there are guest appearances including George Lopez, David Spade, and Norm Macdonald. Jon Rutherford, Tricon executive vice-president distribution & business development, told MIPTV News: “Two years ago, Rob starred in a sitcom called Rob! that averaged 11 million viewers over its run of eight episodes on CBS.

Tricon’s Jon Rutherford and Lia Dolente: strong slate of comedy

“CBS chose not to renew that show, so Rob decided to self-finance and independently produce a new series. The result was Real Rob!, which is being launched to the international market this week. We have high hopes for it, because Rob has established such a strong fan base. It is like a cross between Episodes, Curb Your Enthusiasm and Modern Family.” Tricon has also brought two com-

edy specials to MIPTV – Erik Rivera’s I’m No Expert and Gina Brillon’s Pacifically Speaking – and a series of scripted comedies from US cable channel IFC. “We’ve built up a strong slate of comedy in recent years,” said Rutherford. “Comedy doesn’t sell everywhere, but there are strong slots for the right shows. The key is to have a diverse slate to offer buyers.”

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miptv

NEWS Huace at market with new focus on partnerships and platforms

HEJIANG Huace Film & TV Group, China’s largest producer of drama, has set out its aims at the beginning of the market. The company’s vice-president, Du Fang, said: “At this point, Huace is China’s largest exporter of TV programmes. We want to continue that trend, and also develop new areas with international partners in the genres of film, TV drama, reality shows and documentary.” Last year, Huace joined forces with Chinese online giant Baidu to create a new company to produce content for its iQIYI online video platform. Explaining why, Fang said: “We are transitioning from our traditional space of only producing for broadcasters, to working with China’s online

Du Fang: “transitioning from our traditional space”

companies as well. We have the deal with iQIYI as well as Xiaomi which streams into an increasing number of homes in China. So for us, the iQIYI deal is part of our strategy to push content to viewers through these platforms.” In terms of priorities for the international market, Fang said: “We want to be the partner of choice for those looking to work in China. One area we are really focused on is working with international partners to develop new formats together from the beginning, and then exploit them together in both China and overseas.” At the same time, Huace is focusing on developing its own formats, added Fang: “We’ve brought three original formats to MIP this year including I Wanna Sing With You, My Father The Hero and Granddaughter Is My Classmate. We worked with overseas talent to produce promos for these formats, and are hoping to find distribution partners for these shows.”

Gogglebox all set for Chinese homes GOGGLEBOX is going to China via a deal between All3media

International, the UK distributor of the Studio Lambert format, and Chinese producer Zhejiang Huace Film & TV. In a deal closed on the first day of MIPFormats, Huace has licensed the hit Channel 4 show and will co-develop a 12-episode run for transmission in the second half of this year on a first-tiered satellite channel. Meanwhile, All3media International will assess Huace’s roster of local Chinese formats with a view to adapting them for the international market. Du Fang, vice-president of Huace, said he was looking forward to reversioning the “special and unique” show for his home market. He added that the Gogglebox format, in which sofa-bound members of the public pass judgement on the week’s news and entertainment programmes, would be a “big leap” for Chinese viewers. “There’s nothing close to it on television in China,” he said. “We will make some adjustments to the format — perhaps including more famous people, for example — but we will localise and cast it in close consultation with All3media.” Sabrina Duguet, senior vice-president of international format sales, said that, with a personality-driven show such as Gogglebox, “casting is all”. She added: “Since it launched in the UK, Gogglebox has been on an upward trajectory, becoming one of the most watched and discussed television shows in recent years. I’m confident the team at Huace will produce a brilliant version for the Chinese market.” Duguet was also optimistic that the deal would “usher in a future of mutually advantageous collaboration” between All3media and Huace, which was recently named one of China’s top 30 cultural en-

terprises. “The Chinese market is very creative,” she added. “This agreement will build on All3media’s well-established success in the region with titles such as Are You Normal?”

China Media Management’s Wang Zheng (left), All3media International’s Sabrina Duguet and Zhejiang Huace Film & TV’s Du Fang

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miptv

FEATURE CHINA FORMATS

China is new formats hotspot China has become a key player in the formats business, in both traditional television and in the online video space

HE FORMATS industry in China has grown

rapidly over the last few years. A market that initially did not receive much attention has turned into one of the global hotspots for the industry. For example, as part of its global development strategy, provincial broadcasting powerhouse Jiangsu Broadcasting Corporation (JSBC) sponsored the Formats And Factual Opening Party — a joint event to welcome delegates to MIPDoc and MIPFormats. At the same time, Sohu head of production and IP acquisition, Wang Yi gave a MIPFormats keynote. Those in the Chinese formats industry have stepped up their game on the international stage. The last three years have seen at least 70 significant format acquisition deals with Chinese platforms announced. These range from large-scale production global format shows such as The Amazing Race and the Idol series, all the way to smaller-budget outdoor reality shows such as Cash Cab. China’s broadcasters were initially reluctant to commission non-studio-based reality shows, often citing the difficulties of outdoor shooting in China along with finding qualified production teams. This changed with the introduction of the hit Korean format import Dad, Where Are We Going? from Hunan TV. The show follows celebrity fathers participating in various travel-related activities with their children. It was so successful in China and was such a ratings winner for Hunan TV, it even spawned its own feature film.

Tencent was able to take a fairly small-scale format originally produced for the Oprah Winfrey Network and turn it into a massive hit in China, with nearly one billion views. To adapt the format All3media International and Tencent worked together to add new elements to the show, including celebrity contestants and interactive surveys utilising Tencent’s messaging platform WeChat. All3media International’s senior vice-president for international format sales, Sabrina Duguet, said: “It was a great thrill to work with Tencent to put together a revitalised version of Are You Normal? for the Chinese market. The creativity and knowledge they brought to the deal helped make it the huge success it now is.” Other Chinese online video giants, including Youku/Tudou and Sohu, have been adding new formats as well. Youku/Tudou is currently producing a local version of Big Brother, and Sohu — following its keynote at MIPTV last year — is negotiating a number of format deals with major players from across the globe. “Sohu is continuing to work with companies from all around the world to create the best kinds of content for our audience,” Sohu’s Wang Yi said. Qiu Yuanyuan JSBC’s head of international and president of its international commercial arm JSBCI, said that JSBCI has established Golden Media, a UK branch focused on developing content with the world’s top creative production companies. Qiu said: “With the UK co-creation base, JSBC and its international partners will work together to develop great formats not only for Chinese, but also world markets.” And it’s not only platforms in China that are striking deals. China’s largest TV drama production entity Huace has moved into the formats game. Du Fang, vice-president of Huace, said: “Working with the international content industry to make all kinds of content that works both in China and abroad is of great interest to us.”

In 2012 75% of format deals in China were for studio-based formats. In 2014 that percentage decreased to 50%

In 2012, some 75% of format deals in China were for studio-based formats. In 2014 that percentage decreased to around 50%. At the same time, the last few years have seen Chinese online video companies commissioning and acquiring formats, adapting them to suit their environment. A recent example is Tencent Video’s acquisition of All3media International’s format Are You Normal?.

JSBC’s Qiu Yuanyuan: “developing great formats for Chinese and world markets”

Soho’s Wang Yi: “creating the best kinds of content for your audience”

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miptv

NEWS Animation and drama drive surge in Russia’s international TV sales

USSIAN TV productions are currently scoring multiple sales around the world with animated series such as Masha And The Bear from Animaccord Studio having been sold to more than 100 countries, including the UK, France, Germany, Australia, Latin America, Spain and Italy. In February 2015, the series won the Kidscreen Award in the US as Best Animation 2015. Currently the series is enjoying major Italian success. “Ratings on Rai’s channel YoYo are particularly impressive,” Massimo Liofredi, channel manager Rai YoYo, said. “Masha has broken all records with an audience of 800,000 viewers for the show.” For the second year running, Reed MIDEM partnered with

Yoko (Wizard TVSeries)

the Suzdal Animation Festival in Russia to support the most promising Russian animated TV series. The company introduced an award for the Animated Series With Highest International Potential, and this year’s winner, Yoko by i art TV eries, is also the first Russian/Spanish co-production. Yoko has been developed as a truly international property focused on outdoor play patterns, with a social curriculum that mixes friendship, nature and imagination. The series of 52 episodes was written by an international team including Andy Yerkes (Pocoyo, Jungle Junction), Kevin Strader (Jelly Jam), Evgenia Golubeva (Luntik), Leo Murzenko (Kikoriki), and Edorta Barruetabena (Unibertsolariak).

Last year’s winner was Alisa Knows What To Do! by Bazelevs, a science fiction adventure series inspired by the popular Russian novels of Kir Bulychov. The series has already sold to Israel, Ukraine, Kazakhstan and North America, with the theatrical release of an animated Alisa feature film in 3D planned for late 2016. On the drama and reality side, Russia’s production sector is also targeting the international market. “We do our best to produce TV projects on the same level as European, British and American shows,” Alexander Tsekalo, producer at production company Sreda, said. “And, in my opinion, it gives us a good chance on the international market. One

Alisa Knows What to Do! (Bazelevs)

such production is the detective drama Major. The original series name in Russian is also Major but pronounced in the French way, which means a “golden kid” or the son of rich parents. We are also very proud of Fartsa, an adventure/crime drama that was broadcast in Russia on Channel One in March this year.” There are currently two TV series about Catherine II, also known as the Catherine the Great, who was an enlightened sovereign, a patron of the arts, literature and education, as well as a successful political leader who expanded the country’s borders and introduced Western-style reforms. It is under her reign that Russia was recognised as one of the great powers of Europe in what became known as its Golden Age. High-budget historical drama series Catherine The Great, has been produced by Mars Media Entertainment for Russia on Channel One, and Ekaterina has been produced for Russia-1.

Fartsa (Sreda)

Dance India Dance deal is a reality THE FIRST international deal for an Indian reality format has been

closed between Mumbai-based Zee TV and Thailand’s largest media company JKN Global Media. Under the landmark deal, Zee TV’s ratings-topping Dance India Dance — India’s most popular dance-based competition — will be reversioned for the Thai market, where it will air in 22 million homes via JKN Channel. Sunita Uchil, Zee Entertainment Enterprises’ global head of syndication, said that the demand for Indian content had been steadily building in recent years. “We have endeavoured to meet this demand by offering a wide array of entertainment content and customised services under the Zee Bollyworld umbrella,” Uchil said. “This deal reinforces Zee Bollyworld’s leadership as the one-stop shop for Indian entertainment content.”

Punit Goenka, managing director and CEO of Zee Entertainment Enterprises, said that the Indian media giant was committed to developing in-house formats: “It was our belief in the concept of Dance India Dance that led to its growth from the regional to the international platform. Going forward, we hope to license not just Dance India Dance, but our other home-grown formats to the international market.” Zee Entertainment Enterprises’ Punit Goenka

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Series “The Smurfs” 272 x 24’

Feature ﬁlm “The Magic Flute” 1 x 70’

AVAILABLE IN HD 16/9

Documentary about the Smurfs’ creator Peyo 1 x 52’

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

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ORDINARY WORLD HS MEDIA Co., Ltd.

THE KING OF SOLDIER Beijing Huiying Media Corporation Ltd

MAZU Beijing Wanglian Bafang Culture Media Co., Ltd.

THE RHYME OF SONG-SONG CI POETRY Beijing SDT Media Co., Ltd.

SUPER PARTNER PWPIC

LOVE-HATE COUPLE Beijing East Ascending Production Co., Ltd.

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BEIJING MUNICIPAL BUREAU OF PRESS, PUBLICATION, RADIO, FILM AND TELEVISION

CAPITAL RADIO & TV PROGRAM PRODUCERS ASSOCIATION

THE LOVE IS INCONCEIVABLE Beijing Guoli Changsheng Movie & TV Productions Co., Ltd.

WOMEN IN A FAMILY OF DAOKE HS MEDIA Co., Ltd.

THE ROOT Beijing Guoli Changsheng Movie & TV Productions Co., Ltd.

THE PENANCE GATE Beijing Guoli Changsheng Movie & TV Productions Co., Ltd.

PRODUCT NEWS FIRST HAND FILMS

NEW DOCUMENTARY Leaving Africa (1 x 54/84 mins), from Guerrilla Films, is brought to MIPTV by Switzerland’s First Hand Films. The film explores the quest for gender equality and the challenge of population explosion in Africa. Riitta has been an aid worker in Uganda for over 25 years. Before she returns to Finland she and local Catherine run a course in which they challenge priests and imams to a straightforward, taboo-breaking discussion on women’s right to their bodies, sexuality and life.

miptv

MONA LISA PRODUCTION

GAY OR Straight, Is It A Choice? (1 x 73 mins/52 mins) is an HD documentary about sexual orientation, the fourth film in the Mona Lisa collection about sexuality for France Televisions. The series started with The Inner Adventure: From Kiss To Baby; followed by The Outer Adventure: From Baby To Kiss; and then couples were the focus in Faithful Polygamists; and finally sexual orientation with this new film. The Lyon, France-based producer and distributor also brings Planet Sand (5 x 52 mins/HD), which explores the major deserts in the world.

Gay Or Straight, Is It A Choice? (Mona Lisa Production)

BANIJAY INTERNATIONAL

Treasured Tunes (Banijay International)

UK-BASED distributor Banijay International has acquired new entertainment format, Treasured Tunes, in time for a MIPTV launch. The studiobased format is a search for a country’s favourite song, as voted for by the viewers, with all songs reinterpreted by contemporary artists. The company also launches The Pioneers (6 x 60 mins), a series that follows four couples for three months as they experience the reality of early life on the American prairie — making shelters, bartering, dealing with wild animals and livestock and calling on members of the local Lakota tribe for advice. Banijay has worldwide rights to the show excluding the US. Another priority is Something Special, a format from Nordisk Film TV, which follows a group of young athletes in preparation for the Special Olympics in Los Angeles.

LIONSGATE TELEVISION INTERNATIONAL

Leaving Africa (First Hand Films)

HULU original comedy series Deadbeat is brought to second season is already in production. market in Cannes by Lionsgate Television International. Starring Tyler Labine, Lucy DeVito and Cat Deeley alongside guest stars including James Franco, Danny DeVito, Jim Norton and Zach Levi, the series features Kevin, who has the ability to see dead people. Faced with a constant stream of stubborn spirits, he attempts to help New York City’s most frivolous ghosts finish their unfinished business.

Deadbeat (Lionsgate Television International)

FRANCETV DISTRIBUTION

AMPERSAND

FRANCETV Distribution holds rights to seasons one and two of The Owl & Co. (78 x 7 mins). The show is already destined for Turner Group’s children’s channels (Cartoon Network/Boing/ Boomerang) in Europe, the Middle East and Africa. Also on the kids’ slate from FranceTV is Peanuts (104 x 7 mins/500 x 1.30 min), from Normaal Animation; and Rabbids Invasion (156 x 7 mins).

GROWING Up In The Savannah is a 52-minute wildlife documentary about the young animals in the African savannah, brought to MIPTV by producer and distributor Ampersand. Other titles prioritised by the French company include 4K documentary From Abyssinia To Ethiopia (1 x 52 mins); Crossroads (8 x 24 mins), a series about unusual public transportation systems in Asia; and current affairs special Islamophobia, A British Reality (1 x 45 mins). The Owl & Co. (FranceTV Distribution)

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PRODUCT NEWS PERNEL MEDIA

PARIS-based Pernel Media is highlighting two series at MIPTV. Paris Palace features the Park Hyatt Paris Vendome, one of the world’s most luxurious hotels, and with unprecedented access profiles the staff and guests from around the world. Innocent (6 x 60 mins) is a new series looking at the stories behind wrongful imprisonment around the world, the circumstances surrounding the crime, the evidence presented in the trial, the conviction, process of appeal and ultimately freedom.

BEYOND DISTRIBUTION

GRUPPO ALCUNI

LEADING Beyond Distribution’s MIPTV slate is Hockey Wives: Married To The Game (8 x 60 mins), which follows the wives and partners of professional ice hockey players across North America. The company also brings a selection of documentaries, including: Beyond Siberia – Riding The Road Of Bones, following motorbike riders on a 30,000-kilometre journey; Transforming Gender, exploring gender re-assignment; The Truth About Female Desire; and Wild & Dangerous, about turning exotic animals into domesticated pets.

AT MIPTV Gruppo Alcuni is presenting the 26 new 3D episodes of its series Leonardo, featuring the inventions and adventures of the young genius and his friends. The Italian company is also in production on a feature film starring Leonardo, and has completed 13 five-minute additional episodes made especially for Expo 2015, covering nutrition, the use of seasonal and local produce, food wastage and renewable energy sources. Other projects include new pre-school series Mini Pet Pals (52 x 6 mins).

Hockey Wives: Married To The Game (Beyond Distribution)

Leonardo (Gruppo Alcuni)

9 STORY ENTERTAINMENT

Paris Palace (Pernel Media)

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TELEVISA

NEW EPISODES are in production of 9 Story Entertainment’s comedy series Wild Kratts, starring animated versions of presenters and naturalists, the Kratt brothers. The series (92 x 22 mins) follows them across the world as they activate their Creature Power Suits to rescue animal friends. The Canadian distributor is also prioritising new episodes of pre-school series Pet + Cat (80 x 12 mins) in which Peg and her cat use basic arithmetic to solve problems in adventures that take them around the world and into historical faraway lands.

AMONG the highlights on the Televisa MIPTV roster are: The Single Chef (8 x 90 mins), in which 24 candidates face culinary challenges to win a date with three chefs looking for love, who in turn compete with their own cooking skills to choose their favourites; game show The Assembly Game, which sees two teams answering questions while completing challenges on an assembly line where each correct answer earns cash for the team and penalises their opponents by speeding up their assembly line; Generation Gap, a game show featuring four families answering trivia cultural questions to win money; and talent show Stand Up, featuring parent-children duos.

Wild Kratts (9 Story Entertainment)

The Single Chef (Televisa)

ZIG ZAG PRODUCTIONS

THE UK’s Zig Zag Productions brings its series The Secret Me to MIPTV. Each episode begins following someone through their everyday life, their colleagues, family and friends, before revealing their secret lives. Secrets include being a lingerie model and dating older women. The programme follows the protagonist as they decide to tell their friends and family about their secret life.

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PRODUCT NEWS DW TRANSTEL

JETPACK DISTRIBUTION

JANSON MEDIA

THE RAPID pace of global development is the focus of a new documentary series from Germanyâ&#x20AC;&#x2122;s DW Transtel. Whose World Is It? (7 x 30 mins), available in English, Spanish and Arabic, covers issues including international banks consolidating financial resources, shadow banking where multinational institutions reap huge profits while hiding from regulation, dwindling stocks of farmland, climate change and population growth.

JETPACK Distribution, headquartered in London, brings The Moe Show (52 x 11 mins), a pre-school series combining puppetry, animation and live action, to MIPTV. The series from Pop-Up Workshop features a furry monster, who in order to solve a problem activates his letter machine to give him a letter of the alphabet, which is his first clue to help him find the answer. The company also brings a reality series aimed at tweens, Heart & Soul (26 x 30 mins), following a band of 30 schoolgirls who tour European music festivals. When the band loses their mentor and musical director, they must overcome a growing division that could destroy their dream to tour America.

NEW YORK-based Janson Media is highlighting Serene Universe (1 x 55 mins), a documentary that combines images and music in a tour of Earth from above, the solar system and out into deep space. The company also brings: Iceland Aurora (1 x 27 mins), available in 4K, a non-narrative time-lapse film that captures the Aurora Borealis and the scenery of Iceland; and The Bitcoin Story (1 x 35 mins), profiling bitcoin entrepreneurs.

Whose World Is It? (DW Transtel) 268_ARAB_N1_TV-P1

The Moe Show (Jetpack Distribution)

Serene Universe (Janson Media)

miptv

ZDF ENTERPRISES (ZDFE)

DISTRIBUTION, production and co-production arm of German broadcaster ZDF, ZDFE, brings a range of HD programming to Cannes. Drama titles include: Blochin – The Living And The Dead (1 x 90 mins/4 x 60 mins), featuring a team of Berlin homicide detectives, one of whom used to be a criminal; and Blue Eyes (10 x 60 mins), in which a woman searches for her mother’s murderer, leading her to an extreme right-wing movement. Factual highlights include: The Invasion (2 x 50 mins), about Hitler’s invasion of Poland; Apocalypse Neanderthal (1 x 90 mins/2 x 50 mins); Secrets Of The Bible (13 x 50 mins); and Wild Australia (5 x 50 mins). The kids slate includes: Captain Flinn And The Pirate Dinosaurs (52 x 11 mins); Sam Fox: Extreme Adventures (26 x 26 mins); and Four And A Half Friends (26 x 26 mins). The company also brings entertainment formats Dalli Dalli (150 mins); and Quiz Champion (150 mins).

SCRIPPS NETWORKS

TWO SHOWS in their first season are brought to MIPTV by Scripps Networks. Booze Traveler (15 x 60 mins) features cocktail connoisseur, Jack Maxwell, who discovers the most exotic, interesting and unusual alcoholic beverages. In Tiny House, Big Living, (14 x 30) prospective homeowners learn to embrace tiny-home lifestyle. At an average size of only 17 square metres, they are bargains to build, and they can also become the perfect home.

Booze Traveler (Scripps Networks)

AB INTERNATIONAL DISTRIBUTION

SEVEN And Me! (26 x 26 mins), produced by Method Animation, is brought to Cannes by France’s AB International. The 3D/CGI series, mixing animation and live action and co-produced by Rai Fiction, ZDF, Newus Factory, France TV, DQ and AB, features a direct descendant of Snow White who is visited by seven dwarfs who make sure that she is true to the tradition. Blochin – The Living And The Dead (ZDFE)

PRODUCT NEWS BETA FILM

BREAKTHROUGH ENTERTAINMENT

MUNICH-based Beta Film presents its first slate of programming from NRK at MIPTV, including: The More We Are Together (18 x 30 mins) about two families living together; Sofia Flux (7 x 20 mins), in which a young child can hear thoughts; Young Girls, a daily online format; and All Round Champion, a reality show featuring young athletes. Beta Film drama on offer includes; Line Of Separation (6 x 60 mins), set between the American and Russian occupation zone after World War II; Starfighter (1 x 120 mins), in which a widow fights government and big business on the issue of faulty planes; Under Suspicion (8 x 60 mins), a drama about a child disappearance; and Italian corruption thriller 1992 (10 x 60 mins).

197_STUDIO100_N1_TV The More We Are Together (Beta Film)

SCIENCE Max: Experiments At Large (13 x 30 mins), brought to MIPTV by Canada’s Breakthrough Entertainment, takes a small-scale experiment and presents a super-size version on location. The company also brings documentary series The Great War Tour - With Norm Christie, commemorating the 100th anniversary of the World War One, and new documentary acquisitions Sticks And Stones (1 x 60 mins), which tells the story of curling, from a pastime to an Olympic sport; and Nordic Lodge (6 x 30 mins), which follows a couple who take over a fly-in fishing resort in Saskatchewan.

Science Max: Experiments At Large (Breakthrough Entertainment)

MARVISTA ENTERTAINMENT

IT’S A MIPTV debut for teen comedy Pants On Fire, one of 13 new film titles that MarVista Entertainment is bringing to MIPTV. The story features 15-year-old Jack who is shocked when all his lies become real — a possessive girlfriend, a duo of alien body-snatchers and an imaginary friend. Jack and his buddy search for who is behind this, while chasing down a plush purple hippo who may solve the mystery. MarVista holds global distribution rights, excluding Canada.

Pants On Fire (MarVista Entertainment)

For Awesomeness PREVIEW AT

MIPTV 2015 R7.C1

Studio 100 Media GmbH Sapporobogen 6-8 80637 Munich – Germany T: +49 (0)89 96 08 55-0 info@studio100media.com www.studio100media.com

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miptv

TELEMUNDO

MGM

SPANISH-language network Telemundo brings a range of programming to MIPTV, including telenovela Tierra De Reyes (130 x 60 mins), in which three brothers are the victims of a horrible crime. In their search to find justice, they meet three landowning sisters. Telemundo, owned by NBCUniversal Television Group, also brings: Duenos Del Paraiso (60 x 60 mins), a drug-based drama; Amor Sin Reserva (120 x 60 mins), a ghostly story; Los Miserables (120 x 60 mins), inspired by the Victor Hugo novel, about a woman accused of a crime she did not commit; and talent-show format Yo Soy El Artista (13 x 120 mins).

A MIPTV highlight for the US’ MGM is series A.D.: Kingdom And Empire (12 x 60 mins), which explores the dramatic and inspiring events that followed the crucifixion of Jesus, his first followers and their struggle for survival in a dangerous world. The Apostles, Pontius Pilate, Caiaphas, the Zealots and the Herod family struggle to control The Holy Land in a world of bloody Roman oppression, deadly persecution and bitter political rivalries.

TRICON FILMS & TELEVISION

CANADA’s Tricon brings new comedy shows to MIPTV. In Erik Rivera - I’m No Expert (1 x 60 mins) comedian Erik Rivera tackles relationships, fatherhood and his eccentric family. Gina Brillon – Pacifically Speaking (1 x 60 mins) is a stand-up special from a young comic with sharp jokes and a Bronx attitude. Tainted Dreams (14 x 30 mins) follows the lives of the cast and crew of a fictional daily TV soap opera. The cast combines Broadway and reality-TV stars with actors from top soap operas.

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BRAND NEW FILMS

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WRITER EDITOR

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THIS FILM WAS SUPPORTED BY THE NETHERLANDS FILM FUND, THE BELGIAN TAX SHELTER, ABRAHAM TUSCHINSKI FUND AND ALGARVE TOURISM BUREAU

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PRODUCT NEWS CANAMEDIA

miptv

GALAXY POP

NEW PROGRAMMING brought to MIPTV by Canamedia includes: The Hard Way (26 x 30 mins/ HD), which sets out to help struggling businesses through advice and tough challenges; Queen Mimi, about an 89-year-old who lives in a Californian laundromat, making friends with locals and Hollywood A-listers; Jesus Meets The Gay Man, a documentary about reconciliation and forgiveness; The Bikers (13 x 30/HD), looking at the culture of motorbiking; and Wildside TV (13 x 30 mins/HD), which includes swimming with sharks and zip-lining over alligators. Canamedia is also looking for pre-buy partners for its series The Hot Rod Diaries (13 x 30 mins/HD) and The Cool Guy Files 2 (13 x 30 mins/HD).

AUSTRALIAN producer Galaxy Pop is at MIPTV with Get Ace, an animation series that follows the adventures of geek Ace McDougal who, after being accidentally fitted with a pair of hi-tech super-spy braces, finds himself thrown into a world of espionage. The 52-episode second season has just been taken up by Network Ten. Production is due to start later this year.

The Hard Way (Canamedia)

Get Ace (Galaxy Pop)

WOODCUT MEDIA

UK-BASED Woodcut Media brings new documentary series Defenders Of The Sky – The Story Of The Airfield (10 x 60 mins) to MIPTV, its latest order from A+E Networks UK. Hosted by presenter and military historian Jules Hudson, the series uncovers stories of airfields throughout Britain, wartime stories, aviation inventions and daring comradeship. The series is distributed internationally by Flame Distribution.

GLOBO

Defenders Of The Sky – The Story Of The Airfield (Woodcut Media)

CARGO FILM & RELEASING

SONNY Rollins: Beyond The Notes (1 x 77 mins) is a documentary about the jazz musician’s 80th birthday concert and his thoughts on music and life, brought to MIPTV by Cargo Film & Releasing. The New York distributor also brings music series Blondie: Song By Song (4 x 30 mins); Grand Benders (20 x 30 mins), about the owners of a hotel, nightclub and bar in Grand Bend, Canada; culinary documentary The Search For General Tso (1 x 56/75 mins); political documentary 1971 (1 x 58/79 mins); and Bronx Obama (1 x 60/90 mins), about an Obama impersonator.

Sonny Rollins: Beyond The Notes (Cargo Films & Releasing)

KABO INTERNATIONAL

KABO is unveiling a new comedy format at MIPTV. Peplum (3 x 90 mins) takes place during the decline of the Roman Empire, yet draws parallels with current day challenges — from office politics, marital problems and teenage angst to emotional breakdowns and idealism. The action follows tyrannical Emperor Maximus and his freed slave Bravus, who he names prime minister. The Emperor’s wife flaunts expected codes of conduct, while his cheeky daughter lives a little too well, and his son has just converted to Christianity. Peplum is a co-production between Noon and Ardimages.

Peplum (Kabo International)

TELENOVELAS from Globo include: Fight Or Love? (120 x 60 mins), about two cousins who hate each other but are forced to live together because of a huge inheritance; Empire (150 x 60 mins), about how the arrival of a possible daughter overturns a rich man’s life; period family drama Precious Pearl (110 x 60 mins); passionate love triangle Helena’s Shadow (75 x 60 mins), and high-tech drama Now Generation (105 x 60 mins). The Brazilian network is also highlighting a catalogue of drama series and feature films, and comedy series Sweet Mother (14 x 30 mins).

Fight Or Love? (Globo)

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What’s the story up North? Tuesday 14th MIP DIGITAL SQUARE Agora, Palais des Festivals 09.00-10.00 Show & Tell: The Nordic Innovators FOCUS ON THE NORDICS Auditorium A, Palais des Festivals 14.00-14.45 Reinventing Broadcasting 14.50-15.20 Reinventing Content 15.30-16.15 The Hottest Drama From The Cold THE NORDIC PARTY 22.00–02.00 Hotel Martinez – By invitation only

Come and talk to us, listen to us and do business with us. Or just come and see us in The Nordic Pavilion, C16.A4.

www.focusonthenordics.com

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