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september 2013

mipcom The official MIPCOM magazine


PREVIEW MIPCOM Personality Of The Year


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dreamworks’ jeffrey katzenberg


the tunnel

MIPCOM 2013 Country Of Honour

MIPCOM World Premiere TV Screening

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See page 64

Also inside:

• Media Mastermind Keynotes • Women In Global Entertainment • Global Hotspots: Africa and Turkey • 4K Showcase • Content Trendsetter Award • and more ...

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Dear friends


IPCOM 2013 is celebrating what many are calling the New Golden Age of Television. This Golden Age is defined by the extraordinary creativity behind so much of the content available around the world, and the talent that is creating it, particularly as the worlds of film and television draw ever-closer together — a subject at the heart of the new conference and networking programme TV, Film’s New El Dorado. MIPCOM’s Personalit y Of The Year, DreamWorks A nimation CEO Jeffrey Katzenberg, who has brought so many theatrical successes to the international market, is now fasttracking his company into television and he’ll be discussing his vision of the future in Cannes. MIPCOM is above all the place where the international television industry meets. This year we are excited to host Argentina as our Country Of Honour, giving delegates the chance to discover the wealth of creativity and talent in that country. The line-up of MIPCOM Media Mastermind keynote speakers reflects the changing face of the entertainment industry. The conference programme, alongside such unique networking opportunities as the Women In Global Entertainment Power Lunch and the LatAm Global Dealmakers Lunch, confirms our commitment to providing inspirational thought-leadership as a key element of this business event. Audience demand for high-end drama continues to grow and MIPCOM’s World Premiere TV Screening of the international co-production The Tunnel is the perfect example of the high-quality content that has brought us to this New Golden Age. As the multiplatform digital world continues to develop, we’ll be looking at how this impacts on the global industry, examining how news channels are adapting to this world of high-speed information, and unraveling the complex legal landscape connected to the digital world. I look forward to seeing you in Cannes at MIPCOM 2013.

Including: Argentina, MIPCOM 2013 Country Of Honour; Jeffrey Katzenberg, MIPCOM Personality Of The Year; Media Mastermind Keynotes; Women In Global Entertainment Power Lunch; Global Hotspots, Africa and Turkey; World Premiere TV Screening, and more ...




First-time visitors and exhibitors to MIPCOM introduce themselves, their companies and their hopes for the market



For sale in Cannes: multiplatform content from around the world



The New Golden Age of Television; News everywhere, on every platform; Digital buyers: what are they looking for?; Digital distribution models; Focus on Latin America; What’s on the buyers’ drama shopping list for Cannes?



Laurine Garaude Director, Television Division, Reed MIDEM 6I


WELCOME TO CANNES MIPCOM 2013 is expecting over 13,000 delegates, over 4,500 buyers, over 60 new exhibitors, and a new exhibition space, the Croisette Village, outside the Palais des festivals — which includes Espacio Argentino, the area specially dedicated to MIPCOM 2013 Country Of Honour, Argentina. Country of Honour, Argentina, is introduced inside on page 8, and you can meet some of the newcomers to MIPCOM on page 30.

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NEWS MIPCOM 2013 country of honour

Argentina is Country Of Honour Canada passes the baton to Argentina this year as the Latin American country takes on the status of MIPCOM 2013 Country Of Honour. Liliana Mazure, president of INCAA, Argentina’s National Institute of Cinema and Audiovisual Arts, spoke to Julian Newby


hy is it the right time for Argentina to take to the world stage? ARGENTINA’s status as MIPCOM Country Of Honour is a great opportunity for us to give greater visibility to the tremendous Argentine audiovisual production. Argentina has developed unique characteristics and immense diversity in various areas that define the country: its wines, its footballers, and the talent and capacity for production of our audiovisual producers. Our presence at MIPCOM, which is a great honour for us, is in a way the natural continuation of a movement that started a few years ago, in which television production began to be filled with new content, showing the enormous growth of the sector due to policies carried out by the government, with the Audiovisual Communication Services Law and the free digitalisation of public television, in order to bring a b out pro gramming in which everyone has a voice. Now is the time to promote that content on the international stage.

What does Argentina hope to gain from its Country Of Honour status? Not only to show the content created by major producers but also to find a place in which to promote the diversity of independent producers working on a wide variety of content and reflecting also the cultural breadth of Argentina. We want to leave our mark on new broadcasting opportunities. What content sells well from Argentina into the international market? The Argentine television industry is recognised for its formats and series, both children’s programmes and daily sitcoms, as well as telenovelas. Some examples of this can be seen in Violeta, Patito Feo, Montecristo, Sheik, Perla Negra, Los Simuladores, Mujeres Asesinas, Graduados, La Extrana Dama, and CQC, which have managed to break into markets in over 80 countries. Why would a foreign production want to come to Argentina? Argentina has a great strength in terms of locations and its extensive territory includes all kinds of geographic and weather types. Argentina has highly-qualified technical and professional teams, providing production and co-production services for the most ambitious projects. The talent, creativity and skill of our professionals have always been highly appreciated by foreign productions who come to Argentina for its local talent, next-generation technical resources and human resources of the highest international level. ARGENTINA AT MIPCOM MONDAY 08.30: Welcome Press Breakfast 09.15: Fresh TV From Argentina, presented by The Wit 09.45: Argentina Media Landscape, an overview of the Argentine market 10.00: View From The Top, leading Argentine executives share insights on the opportunities on offer in this fast-growing market. This is followed by a press cocktail 19.30: Opening Night Party, sponsored by INCAA


For the last two years we have been working intensely with the audiovisual, film and TV sector to get a law passed to promote the audiovisual industry, which takes in all these strengths and aspires to provide fully for international companies. What do you import into Argentina? The most popular formats are entertainment programmes and reality shows. What are the strongest growth areas for the media in Argentina? With sixty years of history, Argentine TV today has five terrestrial channels — Canal 2, Canal 7, Canal 9, Canal 11 and Canal 13 — which in a highly concentrated model generate 80% of primetime content, with ties to 40 companies that produce the lion’s share of high-ratings programming nationally. These are all based in the city of Buenos Aires and the surrounding metro area. With the passing of the Audiovisual Communication Services Law in 2009 and the adoption of the Japanese-Brazilian Standard (ISDB-T) to implement the Argentine Digital TV System, a process of transformation began, with the government promoting development and backing a television system that expresses the cultural diversity of the country. As a result, today new audiovisual content production companies are continuing to be incorporated from all regions of the country into this group that symbolises this quest for a television system that is richer in terms of content and diversity of subjects.

TUESDAY 09.00: Primetime Focus: Argentina A Country Of Talent 09.50: Co-production With Argentina 10.30: Matchmaking session offering Argentine producers an opportunity to find international format partners 12.30: LatAm Dealmakers Networking Lunch, sponsored by INCAA and Telemundo, where top executives from Argentina will address a VIP gathering on their country’s burgeoning industry

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Media Mastermind Keynote Wednesday October 9 15.45 – 16.30 Grand Auditorium

media mastermind

DreamWorks’ Jeffrey Katzenberg is MIPCOM Personality Of The Year


OLLYWOOD legend Jeffrey Katzenberg, the DreamWorks Animation CEO, is MIPCOM Personality Of The Year for 2013. Katzenberg made his name at Disney during the 1980s and early 1990s. He left the company in 1994 and co-founded DreamWorks SKG with Steven Spielberg and David Geffen. A decade later, when DreamWorks Animation (DWA) was spun off as a separate company, he took control and has overseen a run of hits including Shrek, Madagascar, How To Train Your Dragon, and Kung Fu Panda, all of which spawned successful sequels. Looking back 20 years to when the trio starte d t he c om pany — amid some industr y scepticism — Katzenberg

told Julian Newby that the way the company has developed has “more than fulfilled” his expectations. “The path has been circuitous, unpredictable and a great ride. Certainly we’ve had our ups and downs and have arrived at a place today, I think, where its future has never been brighter. But there have certainly been many detours, unexpected challenges and a few scary moments along the way that have gotten us to today. But I can’t say that I’m looking for a do-over on any of it.” Recently Katzenberg has overseen DWA’s expansion into the TV production and distribution business, sanctioning the $155m acquisition of Classic Media, an indie studio with a library of some 450 movies and 6,100 TV episodes; unveiling deals with on-demand platform Netflix and Super RTL in Germany; acquiring YouTube-based network AwesomenessTV for $33m; and striking a deal which saw AwesomenessTV reconfigured as a TV show on Nickelodeon. “Engagement with Awesomeness was as much about Brian Robbins and his team as it was about the platform itself that he had already created,” Katzenberg said. “What he is doing with that platform and what people will see coming with that in the next 12 months is one of the most exciting opportunities of everything that we are doing at DreamWorks. We think there is incredible promise in what is an accelerated market for short-form content and the value that is going to have in the coming years. We think that’s a blockbuster.” ” With the prediction that revenues from television will exceed $200m by 2015, up from

MIPCOM Personality Of The Year Jeffrey Katzenberg

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$100m in 2013, the company isn’t just proving popular with global family audiences, DreamWorks has also seen the money markets react positively. One particular strength in Katzenberg’s vision is his willingness to embrace the expertise of the international market, something that will make him right at home at MIPCOM this year. In 2012, for example, he struck a deal to build a production studio in Shanghai. Oriental DreamWorks will produce and distribute both animated and live-action features, as well as animated TV programming. “We made the commitment to grow the core business of movies from two to three a year, to acquire Classic Media and to make television a tent-pole part of our strategy. We also commited to consumer products as a tent-pole part of our strategy, as well as location-based entertainment and China. Two years later each of those are starting to take root and become very real and meaningful parts of the company and diversification is really starting to blossom.” Jeffrey Katzenberg will accept his award from Paul Zilk on Wednesday, October 9, during a gala dinner at the Carlton hotel. On the same day he will address delegates in the Palais des Festival’s Grand Auditorium and share his perspectives on the TV business as part of MIPCOM’s Media Mastermind series of presentations. “MIPCOM is really one of the great entertainment institutions, one that has created an invaluable marketplace for both commerce and the exchange of ideas and the making of relationships and partnerships,” he said. “Some 70% of DreamWorks’ business is done in the international marketplace. Our enterprise is definitively international. And as DreamWorks starts to become a great force in television on the international marketplace, to have a place of honour at this forum is really that — a great honour. And I am really there for DreamWorks not for me. I believe I’m there carrying the company’s banner and I really feel the recognition is about what 2,600 people have been doing and are doing and are going to continue to do.”

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i NEWS news in brief

BEN SILVERMAN MEETS MICHAEL WRIGHT EXPECT a lively discussion when Ben Silverman introduces president of TBS, TNT and Turner Classic Movies, Michael Wright to the Cannes stage. Wright will speak with the founder and CEO of the entertainment production company Electus, about the business of programming and scheduling the three networks, as well as his company’s move into original programming, which began with long-running drama The Closer on TNT. During Wright’s 10 years at Turner — he was named president last year — he has been responsible for a number of programming successes across the company’s networks. The Closer was named basic cable’s Nº1 series for five consecutive years; Rizzoli & Isles, took over the top spot when it premiered in 2010; and Falling Skies was last year’s Nº1 new series on basic cable. He acquired The Big Bang Theory for TBS and was also part of the team that brought Conan O’Brien’s late-night show to the network. After adding Family Guy to the line-up, Wright and his team took TBS to the position of Nº1 network among young adults in 2012. Michael Wright and Ben Silverman’s Media Mastermind keynote session is on Monday, October 7, at 12.20, in the Grand Auditorium

Media Mastermind Keynotes Tuesday October 8 11.15: PWC Global Entertainment Outlook 11.35: Punit Goenka, MD & CEO, Zee Entertainment Enterprises Grand Auditorium

Fenez quizzes Media Masterminds on television’s global mega-trends


A RCEL Fenez , globa l le a d er of P w C ’s Entertainment & Media industry practice, is back at MIPCOM to interview two Media Mastermind Keynote speakers, Roma Khanna, president, television group and digital at MGM and Punit Goenka, managing director and CEO, Zee Entertainment Enterprises (ZEE). A subsidiary of the Essel Group, Mumbaibased ZEE is the second-largest media and entertainment company in India, entertaining over 670 million viewers in 168 countries. Fenez said that while ZEE, and India generally, has considerable influence around the world where its content is concerned, particularly in film, the country is behind in the digital sphere. “The fixed broadband and mobile internet infrastructure in India is way below that of China for example,” Fenez said. “Also the low number of smart devices is an issue, as well as affordability.” But Goenka sees a future for OTT — among “a new set of audiences” that will emerge “who do not have the patience to consume TV in front of the TV set”. He added: “We see ourselves

Marcel Fenez

Punit Goenka

tapping into that in a big way. In India, considering the bandwidth issues, the numbers will be relatively small, but we have pre-emptied the market. We were the first OTT platform to launch in India with the brand Ditto TV … but we have been using these technologies to get ourselves ready for these new audiences.” Fenez will be discussing the “mega-trends” in the industry with both Goenka and Khanna, including “the impact of second-screen strategy, windowing, and the monetisation of a consumer dialogue”.

Amazon’s Roy Price needs your help

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AMAZON Studios director Roy price wants viewer feedback on show ideas at the earliest possible stage of development. Amazon Studios has been experimenting in collaborative filmmaking since its launch at the end of 2010. Anyone can upload a script to the service and within 45 days will be notified if that script is optioned. After receiving more than 14,000 movie scripts and 4,000 series pilots over the past three years, Amazon Studios now has 24 film projects and 30 television series in development. Price has been refining the system from the outset and announced recently that he is looking to find a way to get audience feedback even before the pilot is complete. “The ideal thing would be to get more feedback earlier, and that’s something we need to work on,” he said. “Is there a way to test a concept, short of making a full-blown pilot?

To test 100 ideas in some modest way, while knowing it can’t be so modest that you can’t learn anything from it?” Price also commented on the ‘binge viewing’ habit that Netflix has encouraged among viewers. “If we release [all episodes of a series] at the same time, my only concern is you deprive the audience of the chance, week to week, to talk about it,” he said. Roy Price’s Media Mastermind Keynote session is on Monday, October 7, at 17.20, in the Grand Auditorium

Roy Price

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Relativity’s Kavanaugh hails television’s Golden Age


100 countries, thus mitigating the risk when YAN Kavanaugh, foundinvesting in a new film project. “We basicaler and CEO of next-generly don’t take risks on a movie so when a movation studio Relativity, says ie comes out we’re at break-even or extremewe’re not just experiencing ly close to break-even,” he the Golden Age of television says. “We don’t look for a right now, but the golden age of content. 500-million-dollar box “The reason I think people are saying it’s ‘the office. If something Golden Age’ is that you have this massive hunhappens and we get a ger for content because there are so many platfluke, great. But we forms. So whether it’s traditional TV as we also aren’t harmed know it, or new over-the-top boxes, or Netflix significantly if a movor Hulu or iTunes or Amazon — all the way to ie ends up dowhole new forms of television that are in their ing $15m. This infancy — you’ve got this insatiable thirst for all different types of content and massive platforms to put them on, and that means it’s a very good time to be a content supplier.” Content owners, therefore, are in a very strong position. “The guys who find ways to give consumers what they want, how they want it and whenever they want it, I think they’re going to be the winners.” As a creator of content, Relativity takes a different approach to funding from that of the established studios. “Around 85% of movies lose money, 15% of them break through and make money and what that model relies upon is that among that 15% there are going to be huge hits that make up for the losses.” Kavanaugh’s Relativity regards film as real estate. “I’ve always said that the closest asset class that I can find to film, is real estate,” he says. “Because where else do you spend tens of millions of dollars building a property? And when it’s completed you’re going to spend a lot marketing that property to a specific audience with the hope that they’re going to lease it or buy it or rent it?” In building its real estate model Ryan Kavanaugh on location in Paris for Relativity’s movie Three Days To Kill, Relativity formed partnerships in over starring Kevin Costner

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year, our first three releases all made money.” Kavanaugh says that technology has played a big part in bringing film and television closer together. “What one can do today for a million dollars on a TV show is probably the equivalent of what one could do for $20m on a movie about 20 years ago,” he says. “With the quality of television we now have, you have access to the type of stars that might once have shunned television. I now think [television] is as important as film, and maybe even more global.” And television can breathe new life into a movie franchise. “I actually think, depending on the size of it, it’s more valuable to take a successful film and turn it into a series immediately, with the hope that maybe there’s a sequel some time in the future.” He adds: “Catfish was our test, we put it on TV and it has now become the single most successful show in the history of MTV. What it shows is if you take a movie that is considered a failure, it actually has this whole other life that takes it into a massive level of success and you will see us doing that with many of our movies that others say haven’t worked.” TV division Relativity TV will have a strong presence at MIPCOM led by president Tom Forman. The company is in development on a series based on film properties, including the $80m-grossing Nº1 box office hit Act Of Valour. Ryan Kavanaugh gives a MIPCOM Media Mastermind keynote on Tuesday, October 8, at 16.45 in the Grand Auditorium THE NEW GOLDEN AGE OF TELEVISION THIS year’s MIPCOM conference programme comes under the banner The New Golden Age Of Television. From the rise of the limited series to the advent of full-season same-day releases, television is entering a “new golden age”. Driven by a global appetite for cinema-quality episodic storytelling, to be consumed on any screen at any time, TV and film studios are leveraging internationally renowned actors and directors to deliver a level of blockbuster entertainment once reserved for the big screen. A large part of MIPCOM’s conference programme will focus on all aspects of this phenomenon.

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Visit us at MIPCOM 2013: Booth No. 21.02 - 23.01 Sales, Merchandising and Coproductions | Erich-Dombrowski-Str. 1 | 55127 Mainz | Germany Phone: +49 (0) 6131 - 991 0 | |

i NEWS news in brief

Enjoying the gamble in a time of chaos MEDIA Mastermind Kenote speaker Cecile FrotCoutaz is chief executive officer of FremantleMedia, one of the world’s largest international creators, producers and distributors of primetime entertainment, drama, and factual entertainment content. “I think we are in an interesting time right now, particularly on the content side,” she told the MIPCOM Preview. “Having said that it’s not an easy time either. It’s one of those situations where we can all see that the disruption that is going on right now will lead to good opportunities for good content providers.“ She added: “As always when there is disruption, there are always winners and losers. It’s about making bets and some of the bets will be right and some wrong. But I think on the whole, people who are on the content side, like us, are optimistic. I like disruption, I like chaos. I think it’s always more fun to be managing a business in times of chaos.” Chaos or otherwise, Frot-Coutaz concurs that we are in a New Golden Age of Television: “I think of the fantastic scripted shows that are coming out of cable in the US. That’s been a real trend and it has delivered some of the best TV that has been around for the last 20 or 30 years.” But audiences are becoming more complex. “On the one hand the world is becoming a more global place every day. But there is also increased demand for content that feels very local and it’s the intersection of those two trends that is quite interesting.”

Cecile Frot-Coutaz Cecile Frot-Coutaz gives a Media Mastermind Keynote on Monday, October 7, at 16.30 in the Grand Auditorium 18 I

Movie content enjoys a second life on the television screen


OMA Khanna, president television group and digital, MGM, shares her insight on television’s mega-trends with PwC’s Marcel Fenez during a MIPCOM Media Mastermind Keynote presentation. Khanna is overseeing the creation of MGM’s new television production business which is already seeing new content in the marketplace. Series to have come from the new studios include Vikings, for History, Teen Wolf and Fargo — the latter two extensions of existing hit movie brands. But as owner of one of the world’s biggest movie libraries, Khanna insists MGM is not in the business of re-makes. “If it was done well once why do it again? What we want to do is reinvent something and make it relevant in a really interesting and refreshing way,” she said. “Teen Wolf is a good example of something that was a fun movie with Michael J Fox and it has turned into a very serious, sexy and sometimes very dark television

show for MTV and has been taken to a new creative level.” She added: ‘Fargo is the best example of this where we have no interest in recreating the movie — I mean the movie was perfection, it was a beautiful film. So instead we’re taking what we believe to be the spirit of Fargo. I think there is Roma Khanna such a unique world in Fargo, and the TV series will give us greater opportunity to live in that world again.” Khanna said the time is right to be in the content business. “I think the biggest trend from the business side is of course the use that the audience is making of new digital platforms.” She added: “And I think what most studios and producers are looking at now is how we take a show to market and how it will find an audience — we’re not thinking about that in a traditional way any more, now there is a real opportunity to take an alternative approach.” Roma Khanna gives a Media Mastermind Keynote on Monday, October 7, at 12.00 in the Grand Auditorium

Bravo focuses on non-linear content AS PRESIDENT of Bravo Frances Berwick and Style Media, Media Mastermind Keynote speaker Frances Berwick oversees production, development, prog ram m i ng, marketing, research, ad sales, digital and communications for both networks. She recently unveiled Bravo’s largest-ever slate of original programming and has taken Style into the top-10 fastest growing women’s cable networks over the last three years. A priority for Berwick is to build on her successes with non-linear content. “We made a name for ourselves by marrying linear content and non-linear content in transmedia and interactive initiatives,” she said. “For example for Bravo with Top Chef, where we built in a separate competition on

another platform which then impacted the result of the TV competition.” When Bravo first introduced the concept back in 2011, it achieved nine million streams for the nonlinear competition. “Our audience is smart. They have new technology and they know how to use it and they really know how to tap into that engagement.” In Cannes Berwick will be looking at new finance models for her growing roster of original programming. “The things we have done in the past have included underwriting from global brands in food shows. I will certainly look at co-production and co-finance models too, of any description.” Frances Berwick gives a Media Mastermind Keynote on Monday, October 7, at 11.45 in the Grand Auditorium

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i NEWS 4K ULTRA-HDTV ‘UNSTOPPABLE’ THE DRIVE to start transmitting 4K Ultra-HDTV now has an unstoppable momentum. 4K UltraHDTV technology and content will once again be showcased during MIPCOM at the Sony 4K Pavilion. Yves Padrines, EMEAR vice-president, video, at Cisco Systems, said he expects certain Western European pay-TV broadcasters to have channels on air within the next 18-24 months. A number of players, including Sky Deutschland, have spent the past few months testing image capture of soccer and other sports in readiness for 4K transmission. Japan’s SkyPerfect TV will start 4K broadcasts with the 2014 FIFA World Cup, and says it wants to continue transmissions thereafter. The US’ 3net has invested in specially commissioned 4K material, including Space, which will have a showcase screening at MIPCOM. Brazil’s TV Globo is another enthusiastic supporter of Ultra-HDTV. Fernando Bittencourt, TV Globo’s general director of engineering, said the company is busy preparing for next year’s World Cup and the 2016 Olympic Games. Chip-set designer, Imagination Technologies’ Sir Hossein Yassaie, is another enthusiastic supporter: “4K for TV is very close to what the consumer would see in terms of better quality, and I see it making a huge difference as far as viewing experience is concerned. In our view 4K is a much different deal from 3D,” he said. 4K/U-HDTV CONTENT SCREENING: Sony 4K Pavilion (01.03) Monday 7: 14.00-15.00 & 17.15-18.15 Tuesday 8: 11.00-12.00 & 17.30-18.30 Wednesday 9: 10.30-.11.30 & 14.30-15.30 Session: 4K/U-HDTV: THE INDUSTRY PREPARES Audi K Tuesday 8: 9.00-10.30

CONTENT TRENDSETTER AWARD WORLD Screen is presenting the third annual Content Trendsetter Award in partnership with MIPCOM, honouring the achievements of some of the world’s top programming executives. This year’s honorees are: Piv Bernth, head of drama at the Danish Broadcasting Corporation (DR); Ross Crowley, director of programming at Foxtel in Australia; Pedro Lascurain, head of acquisitions at Azteca in Mexico; and Carmi Zlotnik, managing director of Starz in the US. They will receive the Content Trendsetter Award at the end of the Acquisition Super Panel: What Do Buyers Want? session on Wednesday, October 9, in the Grand Auditorium, 16.45, with World Screen group editorial director Anna Carugati. 20 I

Women In Global Entertainment gather in Cannes for Power Lunch


HE WOMEN In Global Entertainment Power Lunch takes place for the second time at MIPCOM on Monday, October 7, at 12:30 at the Majestic hotel. Some 150 of the most influential women executives in the world of entertainment are set to attend the event, held in partnership with Lifetime Networks. Lifetime Networks’ president and general manager Nancy Dubuc introduces a number of speakers during the Lunch including Disney’s Anne Sweeney, twofour54’s Noura Al Kaabi, and actor Emily Mortimer. As co-chair of Disney Media, Sweeney oversees ABC Studios, the ABC Owned Television Stations Group, and the ABC Television Network, which provides entertainment, news and kids programming to viewers via more than 200 affiliated stations across the US. She also oversees Disney Channels Worldwide, a portfolio of 107 kid-driven, family-inclusive entertainment channels. Sweeney was named MIPCOM Personality Of The Year in 2011.

Noura Al Kaabi was named Arabian Business’ Media CEO of the Year in 2012 and Female CEO of the Year by CEO Middle East in 2012. She was named in Forbes Middle East’s 30 Most Influential Women in Government in 2013, Arabian Business’ 100 most powerful Arab Women in 2011 and 2012 and CEO Middle East’s Nancy Dubuc 100 most powerful Arab Women in 2012. She leads the Media Zone Authority as well as twofour54, the Authority’s commercial arm, which provides training and talent development and facilitates content creation at its Abu Dhabi-based production facilities. British actor Emily Mortimer began her career on stage and has since ap- Anne Sweeney peared in several films and TV series including The Newsroom and 30 Rock. Her film work includes Woody Allen’s Matchpoint and Martin Scorsese’s Shutter Island. She is the creator of the Sky Living comedy series Doll & Em, which premieres next year. Further speakers are to be announced closer to the event. Noura Al Kaabi offers culture forum is a “wide-ranging discussion platform on culture and creativity in the digital age”. Introduced in April of last year by French multinational mass-media and telecommunications company Vivendi, the website is open to all interested parties — artists, professionals, experts, policy makers — and reflects a diversity of opinions on topics related to Simon Gillham the future of the media and content industries. At press time was scheduled for a mid-September launch, “perfect timing with the upcoming MIPCOM and its own conference and events programme”, according to Simon Gillham, Vivendi’s senior executive vice-president, communications and public affairs. This will be the fourth debate initiated by the platform which has already published first-hand — and sometimes provocative — contributions from over 20 specialists, all of which can be found on the website. will include regular news items and other features, including a series of short videos from 100 leading artists, writers, managers, politicians, outlining proposals for the fostering of a “culture economy”. “MIPCOM is the ideal place for to unveil its new debate on the future of television and calls for contributions and reactions,” Gillham said. “The media and content industries are going through a profound and exciting transformation, demonstrating the continued growing importance of high-quality and diversified content accessible on multiple screens at anytime. We at Vivendi want to contribute to a collaborative confrontation of ideas at international level on how culture and creativity will be shaping up in the digital age.” is also on Twitter @ TheMediaShaker. ©Olivier Roller

news in brief

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i NEWS news in brief

TURKEY UNDER THE SPOTLIGHT TURKEY is one of MIPCOM’s Global Hotspots this year, and the focus of a series of conferences on the afternoon of Tuesday, October 8. The series kicks off with A Market Overview at 14.00, followed by The Broadcasters’ Superpanel at 14.15 and Turkey: A Talented Country Of Production at 15.15. The sessions take place in Auditorium A.

Investor opportunities emerge as Africa enters ‘new renaissance’


H ER E A R E matchmaking opportunities with companies from one MIPCOM’s Global Hotspots, Africa, on Wednesday, October 9, in the Matchmaking Lounge, at 11.30. During the session Production Opportunities From Around The World: It’s Time For Africa, MIPCOM delegates have the opportunity to meet with members of the African delegation in Cannes, to learn about the growing industry on the continent. And for the first time, Nigeria is hosting a pavilion at MIPCOM, supported by the country’s National Broadcasting Commission. Emeka

Game Of Silence (Global Agency)

Turkish Content is becoming increasingly popular on the international market, with 2012’s drama series Game Of Silence (Sunsklar) from distribution company Global Agency, a recent international hit. The primetime historical soap opera Magnificent Century, also from Global Agency, is another recent international success and has sold to some 50 countries since 2011. Global Agency CEO Izzet Pinto said the influence of Turkish content on the international market is growing every year.” He added: “Previously Turkish series and Turkish content had no market and its reputation was very low. But right now it has one of the best reputations. It’s very hot. Trendy. Everybody wants to have it. It’s a moneymaker for the broadcasters.”

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Emeka Mba: “A huge opportunity for other investors”

Mba, the Commission’s director general, said: “One of the best ways of making sure that Nigerian content takes its rightful place on the international marketplace is to find a place within MIPCOM … the largest TV market in the world.” He added: “I believe that the Commission should take the lead in making sure that Nigeria, which is already a powerhouse for content on the continent, finds ways for which it can adequately monetise content, not just within the continent, but globally as well.” Mba said that Nigeria expects an “explosion” in demand for Nigerian content following digitisation which will open up opportunities both for broadcasters and content suppliers. “This would give room for many more broadcasters to come into the market, both on the free-to-air and payTV services. We think it will be a huge opportunity for investors and other people across the world to come and experience what the broadcasting market is like in Nigeria.” Of Africa generally, Mba said “there is a new renaissance that is happening. Production values are steadily climbing. And we have a huge audience of expatriate Africans or Africans in the diaspora who live in faraway places, from the Americas to Europe to Latin America. So, there is a hunger for quality original African content. And I think our presence in MIPCOM provides us that platform for other people to see what Africa has to offer on an international level.”

Cable joins the Cool Japan movement THE JAPAN Cable and Telecommunications Association (JCTA) is exhibiting for the first time at MIPCOM. The Association groups together some 360 companies and serves some 28 million households representing around half of the country’s population. Many of the companies produce their own content — collectively some 20,000 titles each year, comprising mainly factual productions on the subjects of Japanese culture, history and lifestyle. The presence of the JCTA at MIPCOM is part of the Japanese government’s Cool Japan strategy, aimed at raising awareness of Japanese content among international buyers. Another purpose of Cool Japan is to encourage foreign companies to take advantage of Japan’s

production infrastructure, as well as the many and varied locations throughout the country, many of which remain a secret to international filmmakers.

The BBC’s Natural World series visited Japan to film the country’s Snow Monkeys

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i NEWS INTERNATIONAL Screenings in Cannes

A number of companies are screening their latest offerings during MIPCOM 2013. Here are some of the highlights



HE MUCH talked-about bi-lingual detective series Hinterland (Y Gwyll) will be featured at a MIPCOM screening hosted by Louise Pederson, managing director, All3Media International. Set in some bleak but beautiful, rarely photographed parts of west Wales, the drama (4 x 120 mins) has been filmed in both Welsh and English. “It brings its own set of difficulties doing it back-to-back,” Fiction Factory’s creative director Ed Thomas said. “They are two separate films, even though the scripts are literal translations. It’s the same 26 I

story, the same landscape, but each language brings to it its own strength.” The £4.2m ($6.5m) production originated with Welsh-language broadcaster S4C with All3Media International and Tinopolis also investing in the project. BBC4 is screening Hinterland in the UK and significantly DR Denmark, creator of The Killing, has also bought into the drama. “Recent popularity of the Scandinavian series, Borgen, The Killing and so forth, have made it easier and more acceptable to have a product in a minority language in the international marketplace,” S4C chief executive Ian Jones said.

Unlike many of the Scandi-noir series, Hinterland has been produced as four feature-length dramas. “Those people who dip in and out will enjoy them as stand-alone episodes,” Thomas said. “But those who watch all four will see that there is a developing arc to the back story of lead character DCI Mathias, played by Richard Harrington.” The series is distributed internationally by All3Media International. Hinterland is being shown at MIPCOM on Tuesday, October 8, at 15.00, in Auditorium K

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Black Sails THE NEW Starz original series Black Sails from executive producer Michael Bay, is brought to the international market for the first time at MIPCOM. Already renewed by Starz for a second season, the series made a big impact with fans at Comic-Con and anticipation is building for its debut in the US exclusively on Starz in January 2014. The pirate adventure centres on the tales of Captain Flint and his men and takes place 20 years prior to Robert Louis Stevenson’s classic

Treasure Island. “Black Sails will stand out in the content marketplace through a powerful combination of a great storyline and cast, that looks immense and has a global scale in its production, and brings successful filmmaker Michael Bay to television as executive producer on the property,” said Gene George, executive vice-president, Starz Worldwide Distribution. “Black Sails is the ultimate example of our goals in premium television — delivering series with

cinematic quality and content that has never been seen on TV.  We have very high expectations for the series and the response from MIPCOM buyers.” Black Sails is distributed internationally by Starz Worldwide Distribution, which retains all global distribution and home entertainment rights to the series.

share of 29.3%. The following day more than 500 million users visited to watch the first webisode. Telefe has signed an agreement with Fox International Channels Latin America for the series. Allies is described as “the ultimate unconditional love story between the universe and the earth”, where seven “lost” youngsters are chosen by the universe to save the world. To

achieve this they are inhabited in body and soul by seven “envoys of light”, who become their Allies in the task. The future of the world depends on them. Allies is written, produced and directed by Cris Morena and distributed by Telefe worldwide.

Black Sails is being shown at MIPCOM on Monday, October 7, at 15.00, in Auditorium A

Allies ALLIES, the groundbreaking fiction format from producer Cris Morena, is the first 360º production from Telefe. The series comprises 40 HD episodes shown weekly in primetime on Telefe, complemented daily, seven-days-a-week, with seven-minute webisodes that can be seen at Telefe launched Allies (Aliados) in primetime on May 26, when it registered an average 28 I

ALLIES is being shown at MIPCOM on Tuesday October 8, at 13.00 in Auditorium K

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Welcome to Cannes The increasingly diverse audiovisual industry is reflected in the line-up of companies in Cannes this year. Debbie Lincoln spoke to some of the people attending or exhibiting for the first time ARI TAUB • PRESIDENT AND CEO • HARD KNOCKS FIGHTING CHAMPIONSHIP • Canada “HARD Knocks Fighting Championship is arguably the largest promoter of Mixed Martial Arts (MMA) in Canada. Launched in 2009, we showcase the best up-and-coming MMA talent from North America through world class sporting events, making for ‘can’t miss’ entertainment for any sports fan. “MIPCOM is where the world’s top broadcasters gather to acquire content and Hard Knocks has amazing MMA content to offer. We look forward to

forging relationships with broadcasters, advertisers, and media buyers around the world. “The last 12 months have been amazing for Hard Knocks. We did live internet PPV streaming, secured a deal with ESPN in 40 countries and launched on an Xbox channel. We would like to establish Hard Knocks as a worldwide player in MMA through the securing of television deals in all major markets globally and producing a live TV broadcast worldwide.”

RUTH FRENDO • BUSINESS DEVELOPMENT MANAGER • PRO.MOTION LIMITED • MALTA “PRO.MOTION Limited is a television production company which, for the past 12 years, has been working with the national television broadcaster and the biggest private station. The company is responsible for over 5,000 hours including primetime talk-shows, children’s shows, documentaries and others. We would now like to start exporting to the international market. “MIPCOM is the place to be. MIPCOM is the place where we will be showing the pilot of our new animation series aimed at preschoolers called Teddyland. We are setting up meetings with contacts we made in

the past months to hopefully seal a deal for the stopmotion series. So we want to find a capable distributor who loves our project as much as we do. “We are very busy — in Malta we have been producing a book-review programme for the national broadcaster and a young adults show for the biggest private station. On top of this we finalised the development for Teddyland and we have been overwhelmed by the positive feedback. We are also working on another project called Air Lilliput, which is a travel documentary aimed at eight- to 12-year-old children.”

MORGANN FAVENNEC • DEPUTY MANAGING DIRECTOR, INTERNATIONAL SALES & ACQUISITIONS • SUPERIGHTS • france “SUPERIGHTS is a brand new distribution company specialised in high-quality programming for kids’ and family audiences. I have been attending the event since 1997, first as a young distributor selling to Latin American channels and then as a buyer for French TV channels. Whatever side of the table I was on, MIPCOM has always been one of the most important trade shows of the year... and the perfect place for the official launch of Superights. “We would like to meet all the potential partners, this means buyers and producers from all countries. The last 12 months have been very busy, 30 I

from the fundraising to the acquisition of content and of course the introduction of our catalogue to buyers. We plan to take an average of five programmes — animated and live-action series,and feature films — for distribution and acquire one property/IP per year. “We are focusing on three series: preschool series Picnic With Cake, including interactive games and an iPad app; Kika & Bob, a multiplatform educational interactive slapstick comedy; and Wubby School, a pre-school series with strong storylines and big L&M potential as it is about the only school for toys.”

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i NEWCOMERS RAMI FISCHLER • CREATIVE DIRECTOR • MEDIA FARM • australia “WE ARE in the business of creating media products. We like to segment our work into research and development, production, commercialisation and management. We have a history of creating children’s content, but we are diversifying into other areas. “We came to MIPTV in April and really enjoyed it. We saw the networking benefits an event like this brings to an emerging business like ours. Our business model is based on getting together a collective of partners in order to bring our products to life so we’ll be looking to meet as many companies as possible that might be relevant to what we have in our pipeline. We’re big fans of innovators like Amazon and Netflix so we’d like to meet them. It’s difficult to

pick out specific companies which is why MIPCOM is such a great event, as it allows that to happen on a mass scale. “In the last 12 months we have been working hard to build on our points of difference. We’re in the final stages of this and we can’t wait to put our new plan into action. Our target for the next 12 months: Firstly, we’re launching our digital storytelling platform Junior Storytellers. We have a children’s drama series that we aim to kick off into production early next year and we have a number of projects on our development slate, ranging from health and wellbeing to a large-scale AR app. The one thing we know for sure — this is an exciting time to be a content producer.”

CAI SHENG BO • HEAD WRITER FOR AOTU • SHANGHAI SHANG DI MEDIA CO • CHINA “WE ARE a group of young and passionate anime lovers. Our team was founded not only to create some unique 3D animation but also to establish a company in China that also produced toys and games and other related proiducts. “MIPCOM is a great opportunity to let more people know about our animation. We also hope to find buyers or investors to co-operate with us in the future. MIPCOM is a huge phenomenon in the industry. Our team aims to make a great animation, but we know we could not achieve this alone. That is why we

sincerely hope to find partners. We would also like to meet content buyers, publishers and investors from various backgrounds. “For the past year, we have mainly worked on concept designs and crafted the plot of [animation series] Aotu. We have also gathered ideas for Aotu-related products and toys, and integrated a complete network of production in China which will allow us to maximise our quality and production speed as well as profit in the Chinese market. Our plan for the coming year is to finish making the first season of Aotu.”

TATJANA PAVLOVIC • DIRECTOR OF INTERNATIONAL SALES AND ACQUISITIONS ANTENNA TV • GREECE “ANTENNA International Enterprises is the distribution arm of Antenna Group channels in Greece, Serbia and Slovenia. It is also distributor for independent producers from the region. Our catalogue includes drama, comedy, documentaries and feature films. “Our group has been a leading player in the Greek and Balkans media industry since its beginnings with the Antenna TV commercial channel in Greece 25 years ago. This year, with the launch of our distribution company we come for the first time to MIPCOM

as exhibitors. “We are looking to meet TV channel executives as well as independent producers that wish to enter our markets. However, our main focus is making our hit series well-known abroad. “We are working on establishing our distribution activity to be as successful as the other branches of Antenna Group. For this we are enriching our catalogue by developing our own productions, and we are constantly looking for independent productions with high values.”

BETI HEKIMOGLU • MANAGER • MART AJANS YAYINCILIK • TURKEY “AS A PROPERTY owner, we have all the rights to Limon & Family. We started our business by publishing children’s cartoon books featuring compilations of daily Limon & Family cartoon strips. The characters in our books became the most popular cartoon characters in Turkey. We are now making the TV series of 26 x 5-minute episodes. Our target is to introduce them at MIPCOM to the international community. We already have 10 licensees in Turkey, 32 I

including textiles, magazines, and stationery. “Our TV series is the most important content for us and hopefully we will find broadcast partners at MIPCOM. Our primary aim is to make acquaintance with broadcasters, TV channels and agents. “The last 12 months have been the most progressive in our business life, and hopefully the coming years will see us well-known worldwide.”

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i NEWCOMERS YU RENGUO • CEO • BEIJING DREAM CASTLE CULTURE CO • CHINA “ALI The Fox, is one of the most popular original cartoon characters in China, Through picture books and short animation episodes, Ali has earned high recognition throughout the country. “Behind Ali the Fox, Beijing Dream Castle Culture Co. was established in 2009, aiming to build a viable business model. Dream Castle is a creative platform for cultivating strong Chinese original cartoon brands, by building a network of books, animations, products, and digital services. “With nearly 100 staff Dream Castle has successfully branded Ali The Fox on over 800 products and online games, ranging from mass-market items to highend consumer products, mainly through licensing with valuable brands, such as DQ and Tencent.

“So far, the clicks for Ali’s animation amount to over 100 million online. It’s time to go overseas to chase international opportunities, and especially to learn and know more about this industry. There are many great companies, studios and experts that can be seen at MIPCOM. As a promising animation producer, we need to get Ali the Fox involved in this big event. It is an important step in our global strategy, and we have decided to do it right now. We are looking for more local partners across the world, including producers, studios, and licensing agents. “We also have a strong interest in animation movies. Thus, Dream Castle is coming to MIPCOM to look for overseas producers who can help fulfill the dream.”

VINCENT LI • DIRECTOR AND FOUNDER • JJJOY ANIMATION STUDIOS • CHINA “JJJOY Animation Studios, founded last year, creates short animation films. We are currently focusing on the series Kung Fu Bunny, a comedy without dialogue, full of chases and action scenes like Tom and Jerry, and creative adventures like Wallace & Gromit. At the same time it shows Chinese Kung Fu to the audience. The series combines 2D and stopmotion animation and the first season will consist of 12 x 7-minute episodes. “I want to meet producers from different TV channels, to show them my project and learn more about

the international market. I’m looking forward to meeting someone that really understands and agrees with our goal, which is to make happy, professional, highquality work, and at the same time commercial. This person could be a producer or an investor, but the most important thing is that we have similar target. “For the coming year, we plan to sell Kung Fu Bunny around the world, and look forward to co-operating with partners to promote the brand, including more seasons of Kung Fu Bunny, games and other branded products.”

URSZULA STRZELCZYK-PIASECKA • SALES DIRECTOR • MONOLITH FILMS • POLAND “MONOLITH Films is an independent company that has been distributing and producing films since 1998. We operate in all areas including theatrical, pay and free TV, VOD, DVD, internet and local movie production. As a part of the long-term output deal with Lionsgate/Summit recently we’ve successfully launched Now You See Me and Red 2. “Apart from film distribution, Monolith produces and co-finances domestic films which then are distributed worldwide. Titles in our slate — for example Rose, Entanglement, The Lullaby, The Battle Of Sexes — are perfectly suited for any broadcaster who is programming European cinema. Having enjoyed a strong partnership with Revolutionary Releasing, we’ve decided to join forces in TV sales. MIPCOM is the best platform to launch our sales initiative. “We have focused on preparing materials and

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planning meetings in advance. We would like to develop our relationship with TV broadcasters and representatives of VOD platforms. Our object is to sell Polish films to the worldwide market and the Revolutionary Releasing film catalogue to television channels in our region. “Thanks to Revolutionary Releasing we have strong film catalogue every year and this one is no exception. Our upcoming theatrical line-up includes Jobs, starring Ashton Kutcher; animation Justin And The Knights Of Valour; Grace Of Monaco, starring Nicole Kidman; Non-stop, starring Liam Neeson; And So It Goes, starring Michael Douglas; and many more titles. These new titles will be a part of the newest TV/ VOD offer of Monolith and Revolutionary Releasing. Together we are offering about 300 titles with international rights. Monolith Films’ catalogue for the Polish market includes 900 films.”

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All our programs can be screened online at


Find from PDF recreate PMS







All our programs can be screened online at


Find from PDF recreate PMS


PRODUCTNEWS For four days in Cannes the Palais des Festivals will be packed with stands selling every kind of content for every kind of platform. Here’s some of what’s on sale this year BBC WORLDWIDE (BBCWW)

THE REAL story of James Bond creator Ian Fleming comes under the spotlight in a new drama starring Dominic Cooper, Fleming — The Man Who Would Be Bond (2 x 90 mins/4 x 45 mins), brought to MIPCOM by the UK’s BBC Worldwide. BBCWW also brings documentary series Hidden Kingdoms (3 x 50 mins), which looks at the natural world through from the perspective of some of the world’s smallest creatures; Deadly Pole To Pole (60 x 30 mins), which follows Steve Backshall from the Arctic to the Antarctic in search of deadly animals; comedy travelogue Moaning Of Life (5 x 45 mins), starring Karl Pilkington; and new format That Puppet Game Show, where characters created with The Jim Henson Company host a game show featuring celebrities.

Fleming — The Man Who Would Be Bond (BBCWW)


US DRAMA Full Circle follows 11 people whose lives


become intertwined. Each episode begins with a conversation in a restaurant, with one of the character’s storylines carrying over into the next episode which, in turn, introduces the next character. Full Circle — brought to MIPCOM by FremantleMedia International — is executive produced by Nick Hamm for Momentum TV, and written and co-executive produced by Neil LaBute.

Full Circle (FremantleMedia International)


THE LIVES of a mother and adopted daughter are thrown into disarray when the twin brother of the daughter’s boyfriend, motivated by envy, decides to exact revenge on his brother. Head Over Heals, the telenovela from Mexico’s Televisa, stars Livia Brito, Cynthia Klitbo and Juan Diego Covarrubias. The company also brings Crown Of Tears, the story of a hard working woman who has devoted her life to raising three sons.


NEW TRANSMEDIA show All Connected (Conectados) is brought to MIPCOM by Mexico’s Comarex. Produced by Argentina’s New Sock, the format was showcased at MIPCube 2013 and among the finalists at this year’s International Digital Emmy® Awards. Conectados is an interactive TV show in which audiences can sign up on the programme’s Facebook page and participate from their homes using webcams. Audiences also vote for their favourite parts of the show, with the next programme taking their votes into account. TRICON FILMS & TELEVISION


PRODUCED by, and starring, Will Ferrell, new series The Spoils Of Babylon (6 x 30 mins) is an adaptation of a best-selling novel by a fictional famous author, played by Ferrell. The century-spanning saga follows the oil-rich Morehouse family and stars Tim Robbins, Kristen Wiig, Tobey Maguire, Jessica Alba, Michael Sheen, Haley Joel Osment and Val Kilmer. The Torontobased company also brings The Birthday Boys (10 x 30 mins) a new sketch comedy series from Bob Odenkirk and Ben Stiller; and Maron (10 x 30 mins) a fictionalised version of US comedian Marc Maron’s life, featuring celebrities and fellow comedians.

TWO DOCUMENTARIES top the MIPCOM slate for Japanese pubcaster NHK. Robot Revolution: Will Machines Surpass Humans? (1 x 49 mins) examines the forefront of robot research, including how Honda is developing robots even more advanced than its ASIMO creation, spurred on partly by some of the problems identified after the Fukushima nuclear disaster. Legends Of The Deep (2 x 52 mins) follows cutting-edge submarines as they voyage into the depths of the sea to film a giant squid and giant sharks.

The Birthday Boys (Tricon Films & Television)

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Meet us at MIPCOM 2013, Stand



Meet us at MIPCOM 2013, Stand




LOW WINTER Sun (10 x 60 mins) is a drama set in

BMW COMES to MIPCOM with its new acquisition,

the Detroit underworld, based on a British mini-series, starring Mark Strong and Lennie James. Endemol also brings: The Ark (6 x 60 mins), about World War One frontline medics, told through the eyes of the newly recruited women from the Voluntary Aid Detachment; Death Comes To Pemberley (3 x 60 mins), adapted from PD James’ best-selling novel; The Thirteenth Tale (1 x 90 mins), about a novelist (Vanessa Redgrave), who enlists a young writer to tell her story; period drama The Mill (4 x 60 mins); and cooking series Todiwala And Singh: The Incredible Spice Men (5 x 60 mins).

the Melvin Simon film catalogue, which includes Porky’s (1982), Porky’s Revenge (1985) and Porky’s II: The Next Day (1983); The Stunt Man (1980) starring Peter O’Toole; The Man With Bogart’s Face (1980), starring Jeff Bridges and Farrah Fawcett; and Zorro The Gay Blade (1981), starring George Hamilton. The US’ BMW carries more than 1,300 titles, including classics Citizen Kane, Stagecoach and Wild Geese, as well as new documentary Ray Harryhausen: Special Effects Titan.


GLOBAL Telemedia brings a range of outdoor shows to MIPCOM, including: Wild Fish Wild Places (25 x 30 mins/HD), combining travelogue, natural history and sport fishing; Solo Hunters (39 x 30 mins/HD); IFish (60 x 30 mins/HD), an Australian fishing show; The Outdoorsman With Buck McNeely (100 x 30 mins), blending hunting and fishing, environmental issues and celebrity guests; flyfishing show Wildfly (112 x 30 mins); and Inside Angling (52 x 30 mins), which explores different destinations on the African coastline. VISION FILMS

CALIFORNIA-based Vision Films brings a range of new films to MIPCOM, including Dark Tourist (1 x 93 mins), about how a man’s obsession with serial killers leads him to loose his grip on reality, starring Michael Cudlitz and Melanie Griffith. The company also brings: Finding Ms. Right (1 x 90 mins), about a man who pretends to be Jewish to find the perfect wife; Crazy Kind Of Love (1 x 90 mins), about a newly-single mother; documentary Femme: Women Healing The World (1 x 90 mins); and biography series Celebrities, Icons & Stars (12 x 60 mins).

Low Winter Sun (Endemol Worldwide Distribution)


MEXICO’s Azteca brings new drama Destino (105 x 60 mins) to MIPCOM. Valeria, who is searching for her real mother, is accused of being involved in a robbery at the home of lawyer Sebastian. During the robbery Valeria risked her life to protect Sebastian’s daughter, and his testimony frees Valeria. There is a mutual attraction but Valeria doesn’t realise that her rival for Sebastian is the mother she has been looking for. The telenovela is distributed by Comarex.

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Stagecoach (BMW)


MIPCOM priorities from India’s Zee TV include Qubool Hai (I Accept), a 215 x 30 mins series about two warring familes. When Indian-born American Zoya visits them she is initially disturbed by the hypocrisy, but as time progresses she brings the families together. The company also brings Jodha Akbar (50 x 30 mins), a lavish 16th-century story about a political marriage between a Mughal emperor and a Hindu Rajput princess.

Qubool Hai (Zee TV)

Dark Tourist (Vision Films)


FRONTIER Vets (13 x 30 mins) is a new factual series featuring eight final-year vet students from around the world who take on the running of an animal clinic in the Kruger National Park. The Canadian company also brings Played (13 x 60 mins), an ensemble drama set in an elite undercover police unit.

Frontier Vets (Peace Point Rights)

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ABC Commercial Entertaining the world

COMEDY 8 x 30’ HD



Visit us at MIPCOM Stand 04:36/06:37 and 06.34

Contact Natalie Lawley,, +61 428 326 277

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POLAND’s TVN brings new seasons of its most successful programmes to MIPCOM, including travel series Woman At The End Of The World, drama Recipe For Life, science magazines Yes We Can and The Way We Fish It, and motoring shows AutoManiac, MotoOn and Dream Car.

german format distribution company

ohm:tv brings new travel guide series, Marco Polo TV (20 x 25 mins) to MIPCOM. The HD series features cities including Venice, Barcelona, New York, Paris, Dubai, Rome and London, giving advice on the best hotels, restaurants and places to visit.

Woman At The End Of The World (TVN)

Marco Polo TV (


ELECTUS brings a varied catalogue to MIPCOM, including: The Hero (9 x 60 mins), a new reality series starring Dwayne ‘The Rock’ Johnson, who assigns missions to test the brains, brawn and even the morality of 10 contestants; 72 Hours (8 x 60 mins) in which competitors are dropped into wild terrain by helicopter and given three days and a GPS device to find a hidden suitcase full of cash; Bet On Your Baby (8 x 60 mins), a game show where families try to predict their child’s next move; bounty hunter reality show Dog And Beth: On The Hunt (10 x 60 mins, 1 x 90 mins, 1 x 120 mins); and three seasons of Mob Wives.


NON-FICTION specialist Explora Films brings its latest project to MIPCOM. Cuba: Life Shelter goes beyond the usual tourist route in Cuba. In the first episode the inhabitants and landscapes of the villages are explored. The natural history of the island comes under the spotlight in the second episode, looking at the local ecosystems and the flora and fauna which live under its surrounding warm seas. Cuba: Life Shelter (Explora Films)

AUSTRALIAN distributor Flame brings a slate of over 380 hours to MIPCOM. Highlights include: Roller Derby (13 x 30 mins), looking at the women involved in this extreme sport; Rio: City Of Sport (6 x 30 mins), an exploration of the host city for the 2014 FIFA World Cup and the 2016 Olympic Games; Great Estates (4 x 60 mins) looks at grand houses in Scotland; Lyndey Milan’s Taste of Australia (13 x 30 mins) which explores the characters, culture and cuisine of Australia; The Unlikely Pilgrims (1 x 60 mins), about a group of recovering drug addicts along the medieval pilgrimage route to the Camino de Santiago in Spain; and The Story Of Australia (6 x 30 mins). OCTAPIXX WORLDWIDE


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PARIS-based producer of non-verbal, short-form comedy, Novovision, brings The Bubble Comedy Show to MIPCOM, a 26 x 26-minute series of the best short non-verbal comedy sketches from around the world. The company also launches Yalla Nadhak! (Let’s Laugh!), a 26 x 26-minute series for distribution in the Middle East, produced by Novovision in Morocco. New series Mad Animals (26 x 26 mins) features clips from various newly acquired homevideo catalogues. Lastly, Pop Retro (13 x 26 mins) is a new compilation show of the best in black-andwhite silent slapstick clips, including Buster Keaton, Charlie Chaplin and Harold Loyd.

CANADA’s Octapixx brings two new documentary series to MIPCOM. Guns: The Evolution Of Firearms (7 x 60 mins/HD) traces the history of gunpowder, and using interviews, archival photos and re-enactments, the series explores the events and developments that have shaped the evolution of firearms. History In 360 (6 x 60 mins/HD) exposes one of the best kept secrets of the Second World War, Adolf Hitler’s main headquarters. Hitler spent over 800 days hiding in the Wolf’s Lair, which was disguised as a chemical plant.

Guns: The Evolution Of Firearms (Octapixx Worldwide)

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Series 2 30 x 60’

Series 2 6 x 60’ + Series 3 6 x 60’




Series 10 8 x 60’ + 4 x 60’ Revisits


The challenge format that turns forgotten items into hard cash and helps hoarders to a happier, richer, more organised life. 50 hours now available.

A fresh bunch of teenagers check into the Lively Hotel on the island of Magaluf, in this candid coming-of-age constructed reality series.

Alex Polizzi, TV’s most glamorous business expert, gives a wake-up call to failing hotels. Long running series totalling 102 episodes.

A Twofour produced show for ITV1 (UK)

A Twofour / GroupM Entertainment show for ITV2 (UK)

A Twofour produced show for Channel 5 (UK)




Spearheaded by Prince Harry, three teams of wounded servicemen and women compete in one of the world’s most hostile yet stunning environments as they race to the South Pole.

Diving sensation and Olympian, Tom Daley, embarks on a voyage of a lifetime to hunt down some of the most extreme adventures the planet has to offer.

A Twofour produced show for ITV1 (UK)

A Twofour / GroupM Entertainment show for ITV2 (UK)

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The hit crime factual series focussing on one killer and the psychology behind their path to murder. Produced in the US, titled ‘Twisted’. A Twofour produced show for Discovery ID (US) / Channel 5 (UK)


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THE SECOND season of TV Asahi’s Doctor-X is about to air in Japan. The series continues the story of a gutsy female freelance surgeon that became so popular in the first series. The company also brings its gameshow format Nine Vs Nine. The family show pits teams of nine contestants against each other, lined-up in bingo-like seating, for a series of quizzes.

Doctor-X (TV Asahi)


VARIETY shows, formats, documentaries and children’s programming are brought to MIPCOM by Chile’s Canal 13. Highlights include documentary series Recomiendo Chile and Mundo Ad Portas; documentary specials lPalestina Al Sur, Locas Mujeres and La Hija Del General; telenovelas Las Vega’s, Mama Mechona and Secretos En El Jardin; a new series of game show format Vertigo; and kids’ shows Lost On Earth and Flippos. JANSON MEDIA

crafting A Nation (1 x 95 mins) is a documentary about how American craft brewers are growing their industry exponentially. The programme travels to North Carolina, Colorado, California, Oregon, Delaware and Massachusetts to look at small communities that are flourishing as a result of craft breweries.

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durban, South Africa-based wildlife and factual producer Earth Touch is debuting a raft of natural history programming at MIPCOM, headlined by reality/wildlife show Snakes In The City (3 x 50 mins). The original series, shot in Durban, follows the expert husband-and-wife team of Nadine and Simon Keys, as they combat rogue reptiles that find their way into anywhere from nightclubs to office blocks. The rescued snakes are either returned to their natural habitat or to the pair’s own home, which doubles as a rehabilitation centre for injured reptiles.

Snakes In The City (Earth Touch)


colombia’s RCN Television brings to MIPCOM a number of telenovelas that have been successfully adapted for other markets. En Los Tacones De Eva was adapted for Russia’s CTC Channel as Think Like A Woman. Starring Marat Basharov and Evgeny Novikiv, the story follows a man who decides to walk in a woman´s high heels in order to make the love of his life fall for him. En Los Tacones De Eva was successfully adapted for Mexico under the title Por Ella Soy Eva, and is seen in more than 10 other Latin America countries, as well as in Romania. RTE


a second season of Ireland’s Search And Rescue (8 x 30 mins) is available at MIPCOM. Ireland national broadcaster RTE has documented the work of Ireland’s rescue services, capturing never-before-seen footage of dramatic rescues on land and at sea — featuring the work of the coastguard helicopters, mountain rescue teams, rapid response medical teams and fire fighters. This series also features Irish people working in Sydney’s helicopter rescue teams and Irish American fire fighters in New York during Hurricane Sandy.

topping the MIPCOM drama catalogue from Germany’s ZDFE is the second season of The Bridge (10 x 110 mins/20 x 60 mins/HD) in which Sofia Helin and Kim Bodnia reprise their lead roles in a story that begins with a ghostly tanker heading for the Oresund Bridge. From the factual catalogue comes Countdown To A Catastrophe (3 x 50 mins/HD), looking at the possible connection between natural disasters around the world. In the entertainment genre is Your Song (16 x 25 mins and 1 x 100 mins), which gives under-18s the chance to present their original songs, the winners going to a songwriting camp and recording studio in Ibiza. The overall winner is selected by audience votes after a live show.

Ireland’s Search And Rescue (RTE)

The Bridge (ZDFE)

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iPRODUCTNEWS Battle Cats (Soshefeigh Media)


ALEX Polizzi, the third generation hotelier of the Forte family dynasty features in The Hotel Inspector, now in its 10th series. Polizzi’s mission is to cast fresh eyes over failing hotels with eye-popping decor, hapless hosts or family feuds, using her expertise to help bring them up to a high standard. The Hotel Inspector is the longest running format on the UK’s Channel 5, and is brought to MIPCOM by Twofour Rights.


NEW CANADIAN venture Soshefeigh brings a slate of unscripted formats to MIPCOM, including: game show The Algorithm, food competition The Meal Ticket; transformational plastic surgery format My Perfect Day; and comedy game show Battle Cats. Strategic partnerships have already be formed with NBCUniversal, eOne, Ryan Seacrest Productions, Endemol and Force Four Entertainment to produce Soshefeigh’s formats. Alex Polizzi, The Hotel Inspector (Twofour Rights)


BARCELONA-based TotalChannel is a pay-TV platform that operates 100% in the cloud with its own Network Personal Video Recorder technology (nPVR). Content is offered on monthly subscription that includes 12 live channels, including those broadcast by Sony, Fox, Viacom, Cosmo, NBCU, Warner and A&E. Most of the channels have HD image and audio quality, catch-up capability and the ability to record and store on the remote hard disk. In addition it is available on PC or MAC computers, tablets, Samsung and LG SmartTV, Bluray and soon on video-game consoles. ITV STUDIOS GLOBAL ENTERTAINMENT (ITVGSE)

THE UK’s ITVSGE brings a range of drama and

entertainment programming to MIPCOM. In Big Star’s Little Star (6 x 60 mins) celebrities team up with their young children to win money for charity. Stepping Out (5 x 90 mins) sees six celebrities and their real life partners in a dance competition. Tricked (6 x 60 mins) features a mystery magician who amazes unsuspecting celebrities and members of the public with hidden camera magic. Set in London in 1961, Breathless (6 x 60 mins) follows a group of doctors and nurses in a London hospital, uncovering the secrets, love, ambition and sex in their relationships.

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KOREA’s AK Entertainment is prioritising two HD series at MIPCOM. Bible Route Season 2 (4 x 60 mins), is produced by CBS, the biggest Christian broadcasting network in Asia. The Master (9 x 60 mins) looks at the people who work to preserve Korean culture, art history, dancing, and other cultural assets.


PBS BRINGS three new HD documentaries to MIPCOM. Sand Wars (1 x 52/75 mins) is an investigation into how and why three-quarters of the world’s beaches are in decline and disappear through erosion or sand smuggling. War Of The Worlds (1 x 60 mins) celebrates the 75th anniversary of Orson Welles’ infamous radio broadcast when millions of listeners heard a report that Martians had landed in New Jersey, causing mass hysteria. Secrets Of Britain (6 x 60 mins) explores British icons, including: The Tower of London, Selfridges, Scotland Yard, Her Majesty’s Secret Service, The British Museum, and The Houses of Parliament and Big Ben.

Sand Wars (PBS International)


A+E BRINGS a line-up of Lifetime Original Movies to MIPCOM, including: Jodi Arias: Dirty Little Secret (1 x 120 mins), the true story of a 28-year-old aspiring photographer found guilty of killing her former lover; Abducted: The Search For Sophie Parker (1 x 120 mins), about two friends, one the daughter of the American Ambassador to Russia, who are drugged and kidnapped at a nightclub by an international sex slavery ring; and Baby Sellers (1 x 120 mins) which stars Kirstie Alley as a well-respected adoption agency owner who is actually operating a ruthless black-market baby racket.

Jodi Arias: Dirty Little Secret (A+E Networks)

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#1 Unscripted Series Telecast in U.S. Cable History 11.8M Viewers Tuned In #1 Telecast in All TV! #1 Program on Social Media 6.3M Viewers among A25-54



Nielsen Media Research National MIT, Live+SD, Season 3 2/27/13–4/24/13, Season 4 premiere 8/14/13, Wed 10–11pm; Social media – Bluefin, telecast level data excludes sports. ©2013 A&E Television Networks, LLC. All rights reserved. 0907A.

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FRENCH producer and distributor ZED highlights its history offer at MIPCOM. Sacrifice (2 x 52 mins/HD), about the 100 days between the D-Day landings and the liberation of Paris in the second world war, is in production for TF1. Nazi Nurseries (52 mins/HD), focuses on the Nazis’ secret breeding programme called Lebensborn, and how the surviving children are trying to rebuild their lives today. ZED is also seeking financing for the eight-part series Annihilation – The Destruction Of Europe’s Jews.

GERMAN distributor Red Arrow International is prioritising two titles from its drama catalogue at MIPCOM. Thriller The Escape Artist [2 x 90 mins/ 3 x 60 mins] stars David Tennant as a junior criminal defence lawyer who specialises in getting people out of tight legal corners, though his latest case takes a horrific turn. The company also brings the second season of Lilyhammer (8 x 45 mins), the comedy drama starring Steven Van Zandt as an ex-mobster living in Norway. In the format category comes Married At First Sight, which takes six singles who take the radical step of marrying a complete stranger. After some time they return to their families to decide if they will stay together or divorce.


THE WIPERS Times, produced for the BBC by Trademark Films, is brought to MIPCOM by the UK’s Content Television. The 90-minute made-for-TV film is the true story of a satirical trench newspaper produced by soldiers during the first World War. The cast includes Michael Palin, Ben Chaplin and Emilia Fox. It is written by Ian Hislop and Nick Newman.

The Wipers Times (Content Television)


Sacrifice (ZED)

The Escape Artist (Red Arrow International)


How Cities Work (Electric Sky)

HOW CITIES Work (5 x 60 mins) profiles London, New York, Las Vegas, San Francisco, Los Angeles, Stockholm, Barcelona, Berlin, Madrid, and Birmingham, looking at the ingenious engineering that enables cities to function under the pressure of ever increasing populations. The UK-based company also brings The Railway: Keeping Britain On Track (6 x 60 mins) about the inner workings of Britain’s railways, introducing the track workers, train guards, drivers, police officers and management teams who speak with humour and honesty of their efforts to keep the system going.

MYTRACE is a personalised socially connected music channel, offering 12 different music genres, the ability to create and select your own profile, rate or skip videos, quizzes and other exclusive features from the TRACE catalogue, including concerts and special interviews. The Franceheadquartered platform is available on set-top boxes, smart TVs, PCs, Android and iOS tablets and smartphones. PASSION DISTRIBUTION

PASSION brings a slate of new and returning series to MIPCOM, including: Hotel Of Mum And Dad (6 x 60 mins), a lighthearted format following young couples who have to live with their parents; and The Writers Room (6 x 30 mins), exploring the creative visionaries behind some of the most acclaimed TV drama series including Breaking Bad, Dexter and Game Of Thrones. The UK distributor also brings a number of one-hour specials from Firecracker Films including: Men In Rubber Masks and Virgins; a sixth season of Rupaul’s Drag Race (11 x 60 mins + 1 x 90 mins); and season two of Prospectors (8 x 60 mins).


ANNUAL music event shows brought to MIPCOM by Alfred Haber include the 2014 GRAMMY Awards; 2013 American Music Awards; 2013 Latin GRAMMY Awards; 2014 Billboard Music Awards; iHeartRadio Music Festival 2013; and Jingle Ball 2013. In the film category: 2014 Golden Globe Awards; 2014 Movies Rock; 2014 SAG Awards; and 2014 Spirit Awards. And from the fashion genre comes 2013 Victoria’s Secret Fashion Show; 2013 Miss Universe Pageant; Justin Timberlake at the GRAMMY Awards (Alfred Haber and 2014 Fashion Rocks Specials. Other specials feature Madonna, Distribution) Michael Buble, Whitney Houston, Justin Bieber and Michael Jackson. 50 I

Men In Rubber Masks (Passion Distribution)

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Chasing Life (Lionsgate)

SECRETS And Lies (6 x 60 mins/HD), commissioned by Australia’s Network 10, is about a family man whose life is shattered when he is accused of murdering a four-year-old boy, and then embarks on a relentless chase to clear his name. Cineflix also brings documentary series All Aboard: East Coast Trains (10 x 60 mins/HD), featuring the unsung heroes behind one of the UK’s biggest railways.


CHASING Life (13 x 60 mins) follows 20-something April, a smart aspiring journalist at a Boston newspaper. When not pursuing the latest scoop, April tries to balance her ambitious career with her family — her widowed mother Sara, her rebellious little sister Brenna, and her grandmother. Just as things seem to be going well, April gets some devastating news from an estranged uncle, which forces her to realise that every moment is precious. The series is based on a format from Mexico’s Televisa, and brought to MIPCOM by US’ Lionsgate.

AMERICAN Beach House is a new production

from New Films International starring Mischa Barton (The O.C., Homecoming, All My Children) and Lorenzo Lamas (The Bold And The Beautiful, Falcon Crest, Renegade). The comedy romance tells the story of six strangers from all over the world, who win a contest with the prize of a trip to an amazing beach house in Malibu, California, only to discover they have to share it with each other.

MUNICH-based TM International has added a new romantic mini-series to its line-up, Rosamunde Pilcher’s Unknown Heart, produced by Tele Muenchen Group with Gate Film. Currently in post-production, the drama is set in the UK city of Bath and the surrounding countryside. The two-parter tells the story of a woman who struggles with the psychological effects of her neardeath experience after a successful heart transplant. The cast includes Carolina Vera, Greg Wise, Gedeon Burkhard, Julian Sands, James Fox and Jane Seymour.


IN THE one-off 60-minute format Great British Budget Menu three chefs — James Martin, Angela Hartnett and Richard Corrigan — tackle the pressing issue of food poverty when they enter financially challenged households with the task of shopping and cooking on the householders’ budgets. The chefs then create a Budget Banquet, cooking cheap nutritious meals for the Great British Menu judges Prue Leith, Matthew Fort, Oliver Peyton and Mary Berry.


STAR India, comprising 40 channels, offers a range of content that is dubbed and available in different languages for specific markets. Two priorities are Diya Aur Baati Hum (Soulmates), a 254-hour series which tells the story of Sandhya who aspires to become a police officer, breaking the narrow confines of her middleclass values; and Devon Ke Dev Mahadev (The Lord Of Lords: Mahadev), a 164-hour series based on legends featuring the Hindu God Shiva, also known Diya Aur Baati Hum (STAR India) as Mahadev.


Great British Budget Menu (Optomen International)

©2013 TMG Photo: Oliver Upton


Secrets And Lies (Cineflix Rights)

Unknown Heart (TM International)


NEW NATURAL history series Rise Of Animals (2 x 50 mins) is presented by David Attenborough and brought to MIPCOM by the UK’s Atlantic. Commissioned by the BBC in the UK, the two-parter tells the story of the evolution of back-boned animals. The team goes around the world to the sites of the latest discoveries including China, a region that has become the modern frontier of paleontological and evolutionary research. I preview magazine I September 2013 I 51

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NEW SERIES Marriage Bootcamp: Bridezillas (9 x 60 mins) features five couples with failing marriages who agree to undergo a two-week boot camp run by husband and wife counselling team, Jim and Elizabeth Carroll, who are supported by counsellors Dana Hamman and David Bishop. DCD Rights is launching the series at MIPCOM alongside the 10th Anniversary season of the reality show Bridezillas (23 x 60 mins).

LIGHTNING ENTERTAINMENT STORM Rider is a new family drama about a talented teenage equestrian who is forced to adjust her privileged lifestyle when she moves in with her reclusive uncle at his country ranch. Lightning also brings two comedies to MIPCOM: Gus, about the chaos that ensues when a couple invite a pregnant best friend and an addict brother into their household; and Cavemen, about a man trying to find the perfect girl. Action, thriller, horror, comedy, and documentary titles also feature in the Lightning catalogue.


NEW FROM Nordicworld comes Cold Heart (8 x 24 mins), about 12-year-old Anneli from Oslo who moves to a rural environment in the north of Norway. She feels lost until she gets to know her classmate Isak, who becomes a good friend. Isak’s mother is then arrested for killing her reindeer herd and the youngsters decide to solve the mystery on their own.

Cold Heart (Nordicworld)


Storm Rider (Lightning Entertainment)

Marriage Bootcamp: Bridezillas (DCD Rights)


HEADING the GRB MIPCOM slate is My Beautiful Game (6 x 30 mins) which sees football stars, including David Beckham and Didier Drogba, join Hollywood celebrities to reflect on the game’s greatest goals, epic saves, greatest players, iconic stadiums and worst own goals. The company also brings Wives With Beehives (1 x 60 mins), which profiles women who live their lives as they would have done in the 1950s; Pit Boss (12 x 60 mins), about a Hollywood talent management company for little people; Portal To The Unknown (28 x 30 mins), featuring haunting encounters; My First Home (104 x 30 mins); and Police Women: Dallas (13 x 60 mins).

My Beautiful Game (GRB Entertainment)

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AT MIPCOM MarVista Entertainment debuts a trio of movies airing on Lifetime in the US. Two MarVista productions: Escape From Polygamy, about a young couple who try to escape from the charismatic leader who holds them captive; and Dead Real, in which a reality show television producer’s life is in danger when she heads to Mexico to replace the current producer who has disappeared. In Murder In Suburbia, a mother’s determination to find justice for her deceased daughter reveals a shocking history of lies, infidelity, cruelty, and sexual obsession that may have led a serial predator, hiding behind the shield of religion, to commit murder.

Escape From Polygamy (MarVista Entertainment)

EURODATA’s programme tracking and trends service, NOTA, now covers South Africa. Content wise, the favourite genre is local fiction, while finished series from the US or Canada are popular. There is also a demand for telenovelas and local wildlife programmes. Another trend is producers ‘Americanising’ their shows for selling abroad. An example is Clifton Shores, a scripted reality series that features four American women, which has been picked up in the US. SONY PICTURES TELEVISION

SINGLE-camera family comedy series The Michael J. Fox Show (22 x 30 mins) stars Michael J Fox and Betsy Brandt as New York parents of three, dealing with family, career, and the challenges of Parkinson’s disease. Sony also brings: Blacklist (13 x 60 mins), about a criminal who wants to work with the FBI; Rake (13 x 60 mins), about a self destructive defence attorney; The Goldbergs (13 x 30 mins), a multigenerational comedy set in the 1980s; and reality series Summer Camp (8 x 60 mins).

The Michael J. Fox Show (Sony Pictures Television)

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METRO-Goldwyn-Mayer Studios offers a roster of theatrical films and television programming at MIPCOM, including: the second film in the Hobbit trilogy, The Hobbit: The Desolation Of Smaug; the upcoming remake of Carrie starring Chloe Grace Moretz and Julianne Moore; RoboCop, featuring Joel Kinnaman, Samuel L Jackson and Gary Oldman; 22 Jump Street, starring Channing Tatum and Jonah Hill; Hercules, starring Dwayne Johnson; and GI Joe: Retaliation, featuring Dwayne Johnson, Bruce Willis and Channing Tatum. From MGM Television comes Vikings, Fargo and Teen Wolf.


BIG BUDGET mini-series The Time In Between premiered on Antena3 in Spain. With an international cast, it is based on a best-selling book about an ordinary woman who transforms herself into a prestigious couturier. The action takes place in Portugal and Spain prior to the civil war, and in the hotbed of conspiracies, Morocco, at the beginning of World War II. Boomerangtv also brings youth comedy series The Avatars (52 x 24 mins), produced by Portocabo and co-financed by Fly distribuzione TV, Brave Film and Boomerangtv.


BETA Film brings a slate of drama series to MIPCOM, including: Cedar Cove (14 x 60 mins) featuring Andie Macdowell in her first series lead for Hallmark Channel, based on the bestselling novels by Debbie Macomber; Gomorra (12 x mins), a crime series made in collaboration with Roberto Saviano who wrote a book about the brutal Camorra organisation; the second seasons of Copper (total: 23 x 60 mins) and the detective show Cracked (total: 21 x 60 mins); and A Letter For Evita (2 x 120 mins), inspired by the visit of Argentina’s Eva Peron to fascist Spain in 1947.

The Hobbit: The Desolation Of Smaug (MGM Studios)

The Time In Between (Boomerangtv)


NEW SCI-FI fantasy-drama I’ll Follow You Down is brought to Cannes by Toronto’s Breatkthrough Entertainment. The film, which stars Haley Joel Osment, Gillian Anderson, Rufus Sewell and Victor Garber, is about a physics student who is overshadowed by the mysterious disappearance of his father when he was nine. A discovery by his grandfather becomes a clue to solve the mystery. PICTURE BOX DISTRIBUTION

CANADIAN factual distributor Picture Box has added the new series All For Nothing (39 x 60 mins) to its catalogue in time for MIPCOM. In each episode two households try to fix up their design-deficient homes with zero budgets. The seller with the highest increase in value wins the commission-free listing services of expert realtor and host Paul Rushforth.


SLEEPY Hollow is a retelling of Washington Irving’s classic tale in which Ichabod Crane (Tom Mison) is resurrected and travels 250 years into the present to unravel a mystery dating back to the founding fathers. Revived alongside Ichabod is the infamous Headless Horseman who is on a murderous rampage in presentday Sleepy Hollow. Ichabod realises that the resurrected rider is the first of the Four Horsemen of the Apocalypse. Sleepy Hollow is produced by Twentieth Century Fox Television and Kurtzman Orci Paper Products. The company also brings the drama series The Crazy Ones, starring Robin Williams and Sarah Michelle Geller as a father and daughter who run an ad agency in Chicago.

Cedar Cove (Beta Film)


TVS is highlighting several new series at MIPCOM, including: The Willow (100 x 30 mins/HD), a yoga series that aims to harmonise mind, body and spirit while fostering self-awareness and a deeper sense of wellbeing; Toque 12 (12 x 30 mins/HD), a luxury guide to Bali’s most exclusive culinary venues with chef Phil Davenport; and four one-hour specials of Disson Ice Skating Spectaculars.

All For Nothing (Picture Box Distribution)

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The Willow (TVS)

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SPANISH producer Phileas brings a portfolio of entertainment programmes to MIPCOM, including: Millions@Home, a live and interactive game show where the audience at home becomes the contestants; The Average, a multiplatform show where contestants, celebrities and viewers play to see if they are above or below the national average; and The ATM, where contestants are trapped in an ATM and are forced to watch €500,000 from their bank account vanish in front of their eyes. The only way to stop losing money and to win the money that is left, is to get strangers and family members to carry out five challenges. FIRST HAND FILMS Extreme Babystitting (9 Story Entertainment)


CANADA’s 9 Story brings Extreme Babysitting (22 x 30 mins) to MIPCOM. A hidden camera prank show that gives teenagers the ultimate babysitting test without letting the babysitter know that they are being filmed. VERIA LIVING WORLDWIDE

VERIA offers a range of original series at MIPCOM, including: The Lisa Oz Show (39 x 60 mins), the relationship expert’s talk show; Good Food America (26 x 30 mins), looking at healthy places to eat across America; and Yogi Cameron: A Model Guru (26 x 60 mins), starring the former supermodel turned Ayurvedic healer and yoga master, who uses ancient healing treatments to help people to recover from various conditions. SCREEN MEDIA

NEW YORK’s Screen Media is highlighting it’s new film acquisition at MIPCOM. Shuffle is the story of a man who is experiencing his life out of order; every day he wakes up at a different age, on a different day, never knowing where or when he’s going to be once he falls asleep. He’s terrified but notices a pattern, and works to uncover why this is happening and what or who is behind it.

Shuffle (Screen Media) 56 I


NOVEMBER marks the 50th anniversary of the Kennedy assassination. The Bystander Theory, a drama from Toronto-based Fremantle Corporation, is a fictional take on an unidentified woman who was present at the site on the day, and the film uses footage taken during the assassination. In the story a woman travels to a Texas town after inheriting a house from her grandfather, and receives visit from the host of a radio show who informs her that her grandfather may have been involved in the Kennedy assassination.

FIRST Hand Films brings a slate of cross-genre programming to MIPCOM, including Project Wild Thing (1 x 80 mins), in which filmmaker David Bond takes a humorous look at how families have become disconnected with nature. The Switzerland and Germany-based company also brings: Raw Herring (1 x 75 mins), using single-camera footage to portray the lives of Dutch herring fishers; Journey Story (1 x 58/75 mins), following the search for missing Eritrean refugee Timnit, exposing the underground torture camps run by Bedouins in Sinai while telling the human story of a lost person; Silicon Wadi (4 x 48/52/90 mins), about startup entrepreneurs; and Death - A Feelgood Series About Life (5 x 52 mins).


BEVERLY Hills-based Sierra/Engine Television brings a range of drama series to Cannes, including: The Black Box (13 x 60 mins), in which brilliant neurologist, Dr. Elizabeth Black, helps solve medical and psycological mysteries, while hiding her own bi-polar condition; Siberia (12 x 60 mins), about a reality show in Siberia in which the contestants begin to realise that the strange things happening to them are not part of the show; and Rescue 3 (20 x 60 mins), starring Dolph Lundgren, about a multi-agency task force.

Project Wild Thing (First Hand Films)

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ENDEMOL brings a line-up of entertainment

formats to MIPCOM. Created by Endemol USA is Wall Of Fame, in which a family can win money by answering trivia questions and then identifying which celebrity on the Wall Of Fame has the correct answer. Step Up is a game show from Endemol USA in which contestants win money if they step on squares that have hidden cash amounts underneath: the higher you get on the pyramid, the greater the risk and reward. Created by Endemol UK You And Whose Army? is a challenge show in which well-known personalities lead their teams of friends, family, and fellow celebs in a series of quizzes, bizarre memory tests, and funny physical challenges.


THE RIVER Cottage series starring Hugh Fearnley-Whittingstall has now taken the experiment in self-sufficiency to Australia. River Cottage Australia (8 x 60 mins) follows former Tasmanian chef Paul West, as he sets up his own farm on the South Coast of New South Wales. After stocking the smallholding with animals and establishing vegetable and fruit gardens, Paul learns how to cook what he’s grown, reared or caught and to make the most of any wild food he can find. River Cottage Australia (Hat Trick International)


NEW GAME-show format Versus sees 30 contestants compete for a big-money jackpot. They may have to share it or they could take the whole amount home, but in order to win they have to predict the outcome of a series of duels, with the help of their team of family and friends. The duels range from death-defying stunts to ridiculous set-ups. The format is available in 60- or 90-minute versions.


BRAZILIAN producer Boulevard Filmes offers Urban

Beasts at MIPCOM, in which an adventurerous biologist seeks the exotic and lethal animals in the largest urban forest in the world, the Tijuca National Park. Some animals pass beyond the border of this forest and the programme looks at how to prevent their dangerous attacks.


NEW AT MIPCOM from ARTE is Korea, The Impossible Reunification (2 x 52 mins), retracing the 80 years of history of the two Koreas; Wind Quests (6 x 52 mins), hosted by urban adventurer Arthur de Kersauson; and The Birth Of The Tramp (1 x 52 mins), a biography of Charlie Chaplin. ABC COMMERCIAL

Versus (Zodiak Rights)


FOLLOWING a partnership with Dynamic Television Daro Film offers worldwide rights (excluding the US) to four new sci-fi disaster films — Exterminators, Crystal Skulls, Firequake, and Viking Quest. The Monaco-based company has also acquired series from Sierra/ Engine Television for central and eastern Europe and CIS regions, including: mystery thriller Siberia (12 x 60 mins); and Rescue 3 (20 x 1hr) starring Dolph Lundgren. 58 I

Urban Beasts (Boulevard Filmes)

VIRGINS Wanted (6 x 30 mins/HD), an observational documentary series brought the MIPCOM by Australia’s ABC, follows a man and woman who auction their first sexual experience. Alex and Catarina’s lives begin to change once they inform their parents of their plans, and they are then thrown into the media spotlight.


LATIDO — a Spanish consortium of Tornasol Films, Zebra Producciones and Continental Producciones — specialises in foreign cinema with a special focus on Spain and Latin America. At MIPCOM they are highlighting: The Secret In Their Eyes; Violeta Went To Heaven; Martin H; The Method; Machuca; Fados; and Chinese Take-Away.

Virgins Wanted (ABC Commercial)

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TORONTO’s Portfolio is prioritising food and travel series You Gotta Eat Here at MIPCOM. Produced for Food Network Canada by Lone Eagle Entertainment, You Gotta Eat Here is hosted by comedian and food enthusiast John Catucci who uncovers restaurants best known to locals. The series shows on UKTV’s Good Food Network and is now due to air on National Geographic Channel Italy.


THE THIRD season of No Limit (14 x 52 mins) is in pre-production. Written by Luc Besson and Franck Philippon, it continues the adventures of the ultra-secret agent with an incurable tumor who must work with his newest recruit, the latest partner of his ex-wife. Together they try to bring down the criminal organisation Black Hand, which is run by a former special forces colonel. Six episodes are available now from the French distributor, with the further eight due at the end of this year. No Limit (TF1)

You Gotta Eat Here (Portfolio Entertainment)


MARBLEMEDIA’s distribution division

Distribution360 brings the documentary series Talent Hounds (1 x 60 mins special/4 x 40 mins) to MIPCOM. Produced by Toronto-based Hop To It Productions, the series investigates the evolving roles of dogs in the human world and celebrates how man’s best friend enriches lives.


THERE is life-and-death drama at the heart of TCB’s Rescue Code: 1, about a rescue helicopter crew and its paramedics. The factual reality series from the Londonbased company focuses on Status 1 emergency callouts, involving crews for fire, rescue and ambulance services, plus police, nurses and doctors saving lives in the most extreme circumstances. Two series of 20 x 30 mins are available. Also on TCB’s MIPCOM slate is I Want That Car (10 x 60 mins), in which the show’s hosts track down quality used cars.

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BRAZILIAN producer Sato brings documentary The Legend Of Bruce Lee to MIPCOM, the story of the greatest icon of martial arts, portraying his life in Hong Kong, his move to America and his tragic death at the age of 32.


Atresmedia is the new corporate identity of Antena 3 Group and La Sexta. The company brings three new series to MIPCOM: The Time In Between, Galerias Velvet and Vivo Cantando. ALL3MEDIA


MTV’S Girl Code (22 x 30 mins) features female comics who give advice on everything from frenemies and PDAs (public displays of affection) to drinking, dating or dancing. Also from the comedy slate comes edgy sketch comedy Inside Amy Shumer (20 x 30 mins). In contrast, Generation Cryo (6 x 60 mins) explores the issues facing young adults who were conceived by sperm donors. The unscripted series, currently in production for MTV in the US, follows a 17-year-old girl who learns that she has at least 15 half-siblings fathered by a man none of them know.

TWO NEW primetime game shows top the format slate for All3Media. Reflex sees two families compete in a series of challenges where every move is captured on super-slow-motion cameras. The show culminates in a game where one family gets to unlock the cash prize and then decide whether to risk it all in a double-ornothing Golden Ball Challenge. The show has been commissioned by the UK’s BBC and is created by the team behind The Cube. Million Second Quiz runs nonstop 24-hours-a-day for one million seconds or 11 days 13 hours, 46 minutes and 40 seconds, in which contestants do battle with intense bouts of trivia. The show takes place in a massive hourglass structure in Manhattan, where the four highest scorers also live. The audience can join in online.

Girl Code (VIMN International Programme Sales)

Reflex (All3Media)

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ARGONON brings a new series about anti-social

behaviour to MIPCOM. Street Patrol UK (10 x 45 mins) follow authorities and the police as they tackle this problem. The company — based in London, New York and Vancouver — also brings a documentary about the rare neurological condition, stiff person syndrome. The Incredible Hulk Woman (1 x 60 mins) follows the bedridden 50-year-old as she searches for treatment. And, Orient Express: A Food Adventure (6 x 60 mins) features cookery writer Jonathan Phang.


AT MIPCOM TV3 is highlighting seven new

documentaries covering subjects from flamenco to sports and adventure, new children’s programmes, and three ambitious mini-series, including Descalc Sobre La Terra Vermella.

Descalc Sobre La Terra Vermella (TV3)


SPAIN’s Veralia is launching scripted-reality

Street Patrol UK (Argonon)

format That’s Life at MIPCOM. Each episode features the dramatisation of one self-contained story, divided into three segments. After each segment, the real individuals involved in the story debate what is happening and the decisions they took with the hostess and a panel of contributors. The company also brings documentary format 21 Days, already in production in Chile, Canada and France.


CALIFORNIA-based Rive Gauche brings a range of factual programming to MIPCOM. Mountain Movers (8 x 60 mins), follows builders of winter sports projects; Illegal Eater (13 x 30 mins), hosted by Steven Page, lead singer and guitarist of The Barenaked Ladies, uncovers underground restaurants; Who Let The Dogs Out (26 x 30 mins) features inspirational canine stories; Buying Hawaii (10 x 30 mins), looks at dream homes on the islands, and Buying The Bayou (8 x 30 mins) searches for others on the waterways of America’s Gulf Coast; and Elder Skelter (3 x 60 mins) profiles senior citizens who commit serious crimes. OFF THE FENCE

OFF THE Fence’s MIPCOM priorities include: Bible Hunters (2 x 60 mins), looking at early records of Christianity; Methbusters (1 x 50 mins), following Franklin County Missouri’s narcotics task force; Curvy Girls (9 x 60 mins), about four plus-size Latino models in LA; Model Latina (57 x 60 mins), a modelling competition; Rudolph’s Bakery (80 x 30 mins); Love And Hip Hop/Love And Hip Hop Atlanta (59 x 60 mins); and Meet The Coywolf (1 x 60 mins), about a part-wolf partcoyote creature.


DRG’s Top Boy 2 begins a year after the end of the first series and once again follows the two lead characters Dushane and Sully as they try to keep on top in the criminal underworld of East London. They are now rivals and both looking to expand on their territory and deal with their enemies. Both are challenged by new relationships: Dushane meets Rhianna, a solicitor who represents him and a relationship develops that offers Dushane a way out. Sully meets Jason, a street kid, who reminds Sully of his own painful childhood. The series also features other residents of the fictional Summerhouse estate, who are trying to make their way in this difficult world without resorting to criminal means.


TWO DRAMA series top the MIPCOM slate for NBCUniversal TV Distribution. Ironside features Detective Robert Ironside who leads a handpicked team to solve some of the most difficult crimes, despite being confined to a wheelchair after being shot in the line of duty. Chicago PD, features the uniformed cops who deal with street crimes, and the intelligence unit, combating organised crime, drug trafficking and highprofile murders.

Bible Hunters (Off the Fence)


TELENOVELAS prioritised at MIPCOM from Globo TV include: Sparkling Girls (120 x 45 mins/HD), about three housekeepers who reach stardom when an online clip of them singing becomes a hit; Brazil Avenue (160 x 45 mins/HD); Gabriela (55 x 45 mins/ HD); and Dinosaurs & Robots (125 x 45 mins). The Brazilian company also brings series Crazy About Them (14 x 30 mins) and Slaps & Kisses (season 1, 37 x 30 mins/season 2, 35 x 30 mins); and documentaries Animal Kingdom, The Diaries Of Lawrence Wahba (10 x 23 mins) and Neymar, Heir To The Crown (1 x 40 mins).


AFTER consolidating its sales strategy across all platforms, Spain’s Imagina returns to MIPCOM with a catalogue that contains a number of new titles including new seasons of series Moon (Luna, El Misterio De Calenda), The Boat (El Barco) and The Red Eagle (El Aguila Roja). Ironside (NBCUniversal TV Distribution) 62 I

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Incredible talent. Interactive live voting and results. A multi-platform experience unlike any other. Coming to mipcom

@KeshetIntl KeshetInternational Catalogue: Contact us:

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World Premiere

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The MIPCOM World Premiere TV Screening takes place in the Grand Auditorium on Monday, October 7, at 18.15 and will be attended by stars including Stephen Dillane, Clemence Poesy, Tom Bateman, Cedric Viera, and Sigrid Bouaziz

e TV Screening


T EPH EN Dillane and Clemence Poesy are the stars of the new A ng lo -French crime drama T he Tunnel, this year’s MIPCOM World Premiere TV Screening. The 10-part series is a Sky Atlantic HD and CANAL+ commission, distributed worldwide by Shine International and co-produced by Kudos. The Tunnel is based on the acclaimed Swedish-Danish drama Bron, which was later re-versioned in the US as number-one cable drama The Bridge. When the mutilated body of a prominent French politician is found at the mid-way point of the Channel Tunnel linking the UK and France, detectives Karl Roebuck (Dillane) and Elise Wassermann (Poesy) are sent to investigate on behalf of their respective countries. After a shocking discovery, the two homicide detectives embark on a hunt for a serial killer. Bron and The Bridge were set on the bridges between Denmark and Sweden and Texas and Chihuahua respectively; while this latest version takes the crime scene underground. “The Tunnel is the latest adaptation of that same premise and I think it’s really interesting because it demonstrates to me that a good story bears re-telling,” said Shine International chief executive Nadine Nohr. “And it’s one that happens to lend itself to adaptations. When you set it in a different landscape, the sociopolitical context changes; it lends itself, in a way that unscripted formats do, to adaptation in different markets.” Nohr said that her company has had “huge interest” from many territories keen to adapt the drama. “And if you look at the calibre of the talent that has been attracted to these adaptations, it all speaks to the quality and uniqueness of the story,” she said. “The Tunnel is a co-production that perfectly combines French and British talents in both writing and production,” said Fabrice de la Patelliere, head of French drama at CANAL+. “It encapsulates our objective of creating major series that stand out for their unique character.” I preview magazine I September 2013 I 65

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©ITV Sudios

Breathless — a MIPCOM priority for ITV Studios Global Entertainment

Hollywood in the home The migration of film talent and money to TV is ushering in a new golden age of television — and a whole new chapter in the history of storytelling. Marlene Edmunds reports


ILM has for nearly a century been the primary engine of the entertainment industry, but those days are over. TV now accounts for the majority of the profits of the major media players, including Disney, Viacom and Time Warner, all of whom are filmstudio owners. On the talent side, the titans of the film world — among them George Lucas, Steven Spielberg, Sir Ridley Scott, Francis Ford Coppola, Martin Scorsese, Jean Reno, Eli Roth, Kevin Spacey, David Fincher and George Lucas, to name a few — are flocking to TV. For most, film is the main contributor to their oeuvre, but they are now, increasingly ramping up their TV projects. Higher budgets are also making TV projects increasingly attractive, but the crossover of A-list stars is also about a renaissance in television — a new golden age 66 I

of storytelling that has no boundaries, no limits and no borders. Ridley Scott and Steven Spielberg, two high-profile directors in the cinema, have both traversed the world of TV over the years. Spielberg, with dozens of films to his name, is now building up his TV interests. He is the sole proprietor of Amblin Television (Under The Dome), formerly known as DreamWorks Television. Spielberg’s raft of new TV projects so far this year include the third HBO mi“There is no story ni-series (as yet untitled) on the Second World War, like Band Of Brothers and that is beyond the The Pacific, to be executive produced scope of television” with Tom Hanks. Napoleon, a mini-seDavid Zucker ries based on a film script by the late Stanley Kubrick, is also on the agenda.

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272 eps x 24 min

meet us at BOOTH R31-24 ALSO AVAILABLE • Documentary about the Smurfs’ creator Peyo • Feature film “The Magic Flute”

Hollywood in the home

for film talent, especially when they do not have to share Scott Free Productions’ Ridley Scott has been the driving creative force behind some of the most successful box-office expectations over opening weekend figures from an audience that primarily wants an accelerated event television series in history, including Pillars Of The Earth, World Without End and Labyrinth. At press time, fairground ride, rather than an exquisitely constructed piece of human drama.” Scott was involved in several TV projects, including TV movie The Vatican and Klondike, Discovery’s first foray Content Television’s president, Greg Phillips, notes that the increased interest of A-list talent in television is not into scripted series. He has also signed on for Discovery’s as-yet untitled TV series about Scottish freedom fighters about making either/or choices between film and TV. “In the past, theatrical has been viewed as more valued, but Robert the Bruce and William Wallace. The project is exthat is not the case any more,” he says. “TV is now in pected to be out in time for the Scottish referendum on many respects like a cinema viewing experience — in independence in September of 2014. screen size, in quality, in emotional impact and in the talDavid Zucker, president of Scott Free Television, has ent offered both in front of and worked with Ridley Scott on all behind the camera.” of the company’s TV projects. Content’s recent first-look deal “Right now is probably the first “Human drama has with Artists Studio, under which time since I’ve been in the teleblossomed on TV, the companies will collaborate vision business when I could truon a roster of titles for the inly say that anything is possible,” while commercial film ternational market, reflects its he says. “There is no story that is has become about preference for staying close to beyond the scope of television.” superhuman stunts” the creative source. The result, Gub Neal Phillips says, are projects that are A n award-winning producmore about “passion and comer, former head of drama at the mitment to the creative” than the UK’s Channel 4 and one-time bottom line. controller of drama at Granada, Neal, however, admits the business model has its chalGub Neal is now the creative director of Artists Studio (The Fall). Neal, who co-created the acclaimed TV se- lenges. “We don’t bankroll our enterprise on production ries Cracker and won an Emmy for Prime Suspect, be- fees in the way that conventional UK independents do. lieves TV is benefitting from an influx of big film names We try to make our returns on selling, funding and capitalising on the rights, which we also do as a profit share for ver y good reasons. “Human drama has blossomed on TV, while commer- with the writer. They get a significantly better deal from both production and distribution, and we get the advancial film has become about tage of working with the best writers.” For example, in superhuman stunts,” says The Fall, writer Allan Cubitt was given “the freedom to Neal, who is speaking at the TV’s Golden Age Of act as an author across the scripts, the casting, the production and the edit”. Storytelling conference on October 8. He maintains that the big action/3D big- Keith Le Goy, president of distribution at Sony Pictures Television International (SPTI), a company historically screen films of the last few years “have tied to both film and TV, points to recent Sony dramas dwarfed person- with Greg Kinnear in Fox’s Rake and James Spader in al vision and The Blacklist. Both actors work equally in film and TV, Le Goy says. restricted The SPTI executive agrees with Phillips that there is choices”. Neal adds: room for both film and TV to flourish: “There are sto“TV’s busi- ries that get told brilliantly over a few hours and stories that get told brilliantly over 120 episodes. The beauty of ness and the c re - what we see now is that some of the same storytellers are choosing to tell their stories across a number of media — ative film, TV, even games.” models are Kate Bartlett, creative director of drama at ITV Studios, a ma s - points out that Jeremy Piven (Mr Selfridge), Jack sive at- Davenport (Breathless) and Anna Friel (The Vatican) are all talent that have worked in both film and television. traction Friel is playing the lead role in the new one-hour drama The Psychopath Next Door for ITV Studios. Elisabeth Moss as Robin “For us, it’s very positive that more film talent is lookin Jane Campion’s Top Of ing to move into television,” Bartlett says, adding that Mr The Lake 68 I

Artists Studio’s Gub Neal

Svensk Filmindustri’s Rasmus Ramstad

© Svensk Filmindustri, Sonet Film, and Filmpool Nord. Photography by Frederik Hjertling


The Hypnotist’s Lasse Halstrom

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Hollywood in the home

Rectify: second season on Sundance Channel

Selfridge has sold to more than 100 territories and she expects period medical drama Breathless — a MIPCOM priority — to follow suit. The drama is set in 1961, when abortion was illegal and the pill only available to married women. “Breathless does touch on some of the issues woman faced at that time,” Bartlett says. “But it’s primarily driven by the relationships between the characters.” The draw for A-list talent crossing over to TV is chiefly creative, but high-quality event series, mini-series and TV movies also offer considerable back-end potential without the pressure of achieving big box office. TV also offers greater reach, says Thandie Newton, who has worked mostly in film but recently made the TV series Rogue. “As an actor, the thing that is really attractive about TV is the number of people you can reach.” Tandem Communications was one of the first companies in Europe to pull in top international talent from both the film and TV worlds, and to put serious money into event series. Tandem is now working on the second series of Crossing Lines, created by Ed Bernero (Criminal Minds) and starring Donald Sutherland and William Fichtner. According to Rola Bauer, president of Tandem Communications, the business model that Tandem uses for event series works because it is for many networks in key territories such as Germany, the UK, France and Italy a cost-effective alternative to domestic production. 70 I

“There are stories that get told brilliantly over a few hours and stories that get told brilliantly over 120 episodes” Keith Le Goy

“Networks can get involved with big-budget event programmes, maintain a certain creative voice and market the programme to their viewers as an event that they were involved in, but they do not have to carry the full weight of the production costs,” Bauer says. She adds that a series like The Pillars Of The Earth, which cost over $40m, could never have been made by just one television network alone. Sundance Channel’s DNA is in film, so it is no surprise that, when it stepped into the world of original scripted programming, it drew in major talent — for example Jane Campion, Elisabeth Moss, Aden Young and Ray McKinnon. “Our vision for all of our scripted projects is that they are daring, original, character-driven narratives, with all of the verve, surprise and strong point of view that has characterised the best independent films,” Sundance Channel president, Sarah Barnett, says.

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Those same characteristics are what interested Elisabeth Moss about playing the lead role of Robin in Jane Campion’s Top Of The Lake, a co-production between Sundance Channel, BBC2 UK and UKTV in Australia and New Zealand. Moss, who describes Campion as “the epitome of the actor’s director” says: “Jane Campion does such incredible work on so many different levels and her projects always have her own sensibility about them. Robin is one of those female roles that is really rare in that she is both strong and feminine.” Sundance Channel at press time was in production on Hugh Blick’s The Honourable Woman, starring Maggie Gyllenhaal, and was gearing up for a second season of Rectify. The Red Road, a drama from Aaron Guzikowski and Sarah Condon, were also on the front burner.

The Blacklist (SPTI)

Holden Jones (Mystic Pizza), the line-up includes showrunner Ilene Chaiken (The L Word), producer Bryan Singer (House) and Kelly Reilly (Sherlock Holmes) in the lead role of a brilliant neuroscientist struggling with mental illness. Misfits creator Howard Overman, who is scripting Atlantis, an Urban Myth Films production for the BBC Cymru Wales, co-produced with BBC America, says the role of writer differs widely from territory to territory. He adds that some scripts need collaboration while others are individual efforts: “The Misfits, for example, had ©Tre Vanner, photo Ola Kjelbye

Rectify’s first season consisted of six episodes, which went straight to series — a model that is increasingly becoming the darling of the industry, not least for the freedom it offers A-list talent. “It gives our showrunners an interesting creative canvas to work on,” Barnett says. “In the case of Rectify, it inspired [creator/writer] Ray McKinnon to tell the very intimate story of the first seven days of our lead character’s release from prison. So form dictated creative vision in a terrific way.” Sierra/Engine Television CEO Chris Philip has worked with some of most daring people in the business, including — on drama series Siberia — Infinity Media’s CEO and producer Michael Ohoven. Straight to series, Philip says, “is good for business and great for international sales”. He adds: “It can be risky and it doesn’t always work but, in the case of Siberia, it was picked up by NBC immediately, so it worked out just fine.” The pilot model still exists, but it is no longer the only way to go. And while writers, producers and talent are all hoping their series will be picked up, the waiting around to find out isn’t the best use of A-list talent, Philip says. “The financial model of a pilot is incredibly risky,” he adds. “An inflated budget for one episode that may never be seen is a waste of money. And who really knows what’s going to work? There is no magic wand or crystal ball that determines if a pilot will be a success.” Philip, who is also speaking at the TV’s Golden Age Of Storytelling conference, will be talking up one of Sierra/ Engine’s latest projects, The Black Box, at MIPCOM. The 13-episode straight-to-series drama, picked up by ABC, is production outfit Bold Films’ first foray into television. Set to premiere in 2014 and scripted by Amy

“As an actor, the thing that is really attractive about TV is the number of people you can reach” Thandie Newton The Fjallbacka Murders (Tre Vanner) 72 I

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A new series from director Nicolas Winding Refn and writers Neal Purvis & Robert Wade


NHK_MIPCOM2013_PREVIEW_AD_A4-HalfVertical_ol.pdf 13.8.27 2:34:06 PM



Hollywood in the home a unique point of view. I was the one who had the vision and could tell the story. If it’s a cop show where you don’t need the singular vision of the writer, it’s a different situation.” According to Michael Hjorth, executive producer, scriptwriter and co-founder of Tre Vanner, says the gap between film and TV is not as big in Scandinavia as it is in many other territories. “For example, there is no Swedish film star that has not done some TV,” he says. Like other Scandinavian companies, including SF and Yellow Bird, Tre Vanner often stretches a project across both film and TV windows. For example, The Fjallbacka Murders consists of 10 x 90 mins TV films and two theatrical films. Hjorth says this model makes it easier to tap film financing, as well as share the costs of pre-production, casting and locations. Tre Vanner recently inked a deal with ZDF Enterprises that includes the development of high-end TV drama with key Scandinavian talent. “We have been working for a long time with ZDF Enterprises and felt that it would be good to formalise our relationship, Hjorth says. “One of the hardest things for a production company is coming up with the development money, so this gives us a partner early on.” Soren Sveistrup was the scriptwriter for all three seasons of Danish broadcaster DR’s global hit The Killing, which was remade for the US by AMC. He describes his role in the making of the drama as resembling the conductor of a symphony. “With some justice, writing for television has been regarded as a second-rate job,” Sveistrup says. “So it’s extremely good for the whole industry to begin to discuss and maybe redefine the parameters of the writer’s role.” The writer is, of course, nothing without the producer, the director and the actors, Sveistrup says. He adds: “The dangers occur when there are too many chefs in the kitchen. The vision gets blurred if everybody has to agree every time there’s a creative decision to make.” DR Fiction’s head of drama Piv Bernth, whose department also produced the internationally acclaimed Danish political series Borgen, agrees that allowing the writer to be an integral part of all the creative processes is vital to the quality of a project. Bernth says: “The working model of ‘one vision’ is taken seriously at DR Fiction and it is one of the most important reasons for our success over the past 10 years.” DR Fiction will launch a new long-running series called The Legacy in January. Rasmus Ramstad, CEO and president of Svensk Filmindustri (SF), says that for him the trend for A-list talent to move into television did not take off until DR decided to commit big budgets to drama some eight-to-10 years ago. That increased interest in television spurred SF — one of the oldest film companies in the world — to launch its newest division, Sonet Television, last May. The new venture is under the direction of Sonet Film’s founder and CEO Peter Possne. Among the directors who will be working for the new company is multiple award-winner Lasse Halstrom. The Hypnotist (2012) was Halstrom’s first Swedish-language film in 25 years. “It is off to a great start,” Ramstad says. “We are discussing a slate of TV series with potential partners in Germany, the Benelux, the UK, France and Italy. So far, we have placed five different shows with local broadcasters, with the first two — The Hunters and The Infiltrator — going into production in 2014.”









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i FEATURE scripted programming

Looking for drama The spotlight is on drama as MIPCOM focuses on the New Golden Age of Television. Andy Fry spoke to buyers of around the world to ask what’s at the top of their Cannes drama shopping list

Emily Van Camp in Revenge, which won record-breaking audiences for Seven Network


HETHER or not a channel produces its own drama output, there are certain global hits that everyone has to have. Seven West Media’s flagship channel, Seven Network, has been the number one Australian network for six years and is currently leading the 2013 season. It primarily targets women aged 25 to 54 but is supported by strong performances from other channels in the group. These include 7Mate, which targets men aged 16 to 39, and 7Two, which targets a general audience aged 40-plus. 7Two has also recently started targeting exclusively men aged 40-plus on some nights. Scripted content is key to the overall success of Seven’s business, says Angus Ross, who recently stepped up to become director of programming after a period as head of acquisitions and scheduling. “Seven is Australia’s leading producer of Australian drama,” he says. “It dominates the Australian drama landscape with shows such as Packed To The Rafters, Winners & Losers and Home & Away. In 2013, Seven launched Australia’s number one new drama series — A Place To Call Home.” As the above examples suggest, there is a strong emphasis on drama origination on the main channel. But this doesn’t mean there is no room for acquisitions: “Australians are gravitating to Australian stories and programming,” says Ross. “US Output deals are becoming more strategic in

construction but Seven still sees value in overseas drama. The network achieved record ratings for Revenge and Downton Abbey. Revenge works well on Mondays at 20.30, Downton Abbey Sundays at 20.30 and (Anglo-Irish sitcom) Mrs Brown’s Boys is all over the place!” Seven isn’t doing any scripted formats at present and tends to acquire drama from the US and UK: “Seven mainly uses first-run US drama, for example Revenge, Criminal Minds, Bones, Castle, Parenthood and coming soon The Blacklist and Marvel’s Agents Of SHIELD, with a bit of UK — for example Downton Abbey and Mr Selfridge,” Ross says. As for 7Two, “it tends to be UK drama — mainly repeat series or second window behind pay TV”. In addition to this, “UK shows such as Dynamo and Botched Up Bodies have done good business for us in short runs recently.” CTC is the flagship channel of CTC Media, one of Russia’s leading commercial broadcasting groups. According to Irina Panfilova, CTC’s director of content acquisitions and distribution, the channel “mostly commissions Russian content to build the core of its schedule. We rarely acquire ready-made foreign drama series. If we do consider such series, it would be for daytime programming or special event programming.” That said, CTC is an active buyer of scripted formats, Panfilova says. “We acquire international formats and I preview magazine I September 2013 I 79

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i FEATURE localise them for the Russian market because it’s vitally important to keep it appealing to the audience; that obviously happens only when the audience can somehow relate to the story. We’ve had quite a few success stories with international formats such as Ugly Betty, La Lola, Who’s The Boss, El Internado (The Boarding School by Imagina) and many others. Everybody Loves Raymond is still one of the biggest hits on CTC nowadays.” Panfilova is open about what ideas work best for CTC: “There isn’t an ideal format for a completed drama for CTC based on the acquisitions preferences I mentioned. That said, out of all kinds of dramas, long-running series or soaps are the least preferred based on our audiences’ tastes.” In terms of the kind of content CTC is looking for right now, Panfilova says: “With formats, we look for familyoriented comedies and drama series of various genres. When localised, both comedies and dramas build CTC’s pre-prime and primetime, together with feature films. We are open to all ideas and formats, though I believe one of our preferences would be less edgy, more general-audience content. Also we’re always happier when a format that we like has at least 20 episodes in the original version. This gives more flexibility and material for scriptwriting during the adaptation process.”

Looking for drama

Canada’s Murdoch Mysteries — “a great show for Alibi”

a TNT procedural that stars Eric McCormack as a neurophysicist working with the FBI. Sister channel Dave (pay TV) is skewed towards men and has a comedic feel. “The channel has a lightness Launched in 1997, UK-based channel provider UKTV of touch that appeals to men but doesn’t exclude wombuilt its business on the back of high-quality content from en,” Finlay says. “Shows that work here have a wit about 50% shareholder, the BBC. But in recent years it has also them. Until recently Dave was mostly based around combecome a significant buyer of edy but we’ve broadened it to inUS scripted content. “US draclude drama. One example is the ma brings something different USA Network show Suits, which “We are open to all to our schedules,” Alexandra has the kind of banter that works Finlay, head of acquisitions and with Dave’s audience.” ideas and formats” co-productions at UKTV, says. Moving on, UKTV’s pay TV Irina Panfilova “Combined with the BBC concrime channel Alibi has done tent, it gives us a compelling and well with series like Castle and unique offer.” Body Of Proof while female-skewing channel Really has Each of UKTV’s channels has different target audiences, done well with shows like Heart Of Dixie, Grey’s Anatomy which means that Finlay is in the market for a pretty broad and Covert Affairs. “Really is on Freeview (a DTT freespectrum of shows. “For Watch, a pay-TV channel that tar- to-air platform) which means its audience is broader than gets 25- to 44-year-olds, we’ve had success with fantasy- the pay-TV channels in our network,” Finlay says. “It also based episodic dramas like Grimm and Beauty And The means we’re more likely to use second-run US series, Beast. But we’re not just looking at content that has a fan- whereas Watch, Alibi and Dave would all require first-run tastic feel to it. We’ve also been pleased with Perception, US series.” As a general rule, Finlay favours long-running series over mini-series because they are easier to promote and more reliable when it comes to building and keeping audiences. While US and UK drama are priorities, “we’re also actively interested in shows from other English-speaking markets. Murdoch Mysteries (from Canada) has been a great show for Alibi.” Interestingly, UKTV is actually a minority co-production partner on Murdoch Mysteries. “We’re happy to have a conversation about deeper involvement if we see a show that is exactly right for us, but we’ll only really be looking at a minority partner position. We’re involved in Impossible/Omni’s Primeval: New World, for example, a Canadian version of the UK drama. We had a lot of sucThe Voronins, the Russian adaptation of Everybody Loves Raymond — still one of cess with the UK version on Watch so there was a logic for the biggest hits on CTC 80 I

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Looking for drama

us in continuing to work with the franchise.” UKTV also has a new channel called Drama, which recently launched on Freeview. Currently, it is mostly reliant on classic UK series such as Silk, Call The Midwife and Sharpe — but there is some scope to add US secondrun drama series, Finlay says. The Sundance Channel, part of the AMC stable of television networks, is growing fast. Already established across Europe and Asia, it has just launched on the DirecTV DTH platform in Latin America, says Harold Gronenthal, executive vice-president, programming and operations, AMC/Sundance Global. That gives the channel access to seven new territories including Argentina and Chile. Gronenthal says Sundance provides an eclectic mix of stylish and thought-provoking content. “A major part of our offer is independent films fresh from the festival circuit. But there’s also plenty of room for smart, edgy scripted drama.” Typical of the content that suits the Sundance profile is Rectify, a hard-hitting US serial that debuted on AMC in the US and has now rolled out around the world on Sundance: “That did very well for us,” Gronenthal says. “We’ll also be airing Rectify 2.” Other shows to have come to Sundance from the AMC stable include Breaking Bad, Portlandia and Hell On Wheels. But Gronenthal says he is also open to great drama from third parties: “ITV’s Mr Selfridge has been a big show for us. So have Rake and The Slap, two dramas from Australia’s ABC.” As the above list suggests, Sundance mainly works with English-language content, but Gronenthal says he would look at foreign-language content if it fit the brand: “We do run foreign-language films and we’ve seen growing interest in Scandinavian and French drama … so the right series might work for us.” Gronenthal likes long-running dramas that can work across all the different channels because they help provide a unified brand profile: “But we don’t have a cookiecutter approach. In part we have to react to where rights are available, but we also like to tailor the schedule to suit local audience requirements.” At the same time, he believes the schedule stability provided by long-running dramas needs to be balanced out

by short-run dramas. “The current trend towards the mini-series is good news for us because they’re great at spicing up the schedule for a short period of time. Programme events and stunts, like our movies, are a great way for us to attract audience attention.” As yet Sundance hasn’t made the shift from acquisition to co-production, but Gronenthal doesn’t rule out such a move: “We do look at opportunities to get in early with projects. But we haven’t quite found the right show at the right price yet.” MBC is one of the leading broadcasters in the pan-Arab region and, as such, has a voracious appetite for scripted shows — airing them across a number of channels including MBC1 and MBC Drama. The executive responsible Breaking Bad. ©2008 Sony Pictures Television Inc. All Rights Reserved. for sourcing many of these shows is Fadi Ismail, group director of services at MBC and general manager of subsidiary 03 Productions. As part of his role, Ismail also distributes hundreds of hours of content. Part of Ismail’s role involves commissioning content from within the Middle East that can be played right across the pan-Arab region. “The three traditional centres of produc“The Lebanon has tion activity are Egypt, which is still inalways been an dispensible, The Gulf and Syria. In the important production Gulf, the most established production hubs are Kuwait and Saudi Arabia, which centre” have been going strong for 10-15 years. Fadi Ismail As for Syria, the recent problems there mean that production has approximately halved, though some Syrian producers are now making their shows in the Lebanon.” Rising stars in the region include Lebanon and Dubai, which is where MBC is based. “The Lebanon has always been an important production centre but is now getting

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i FEATURE better at making dramas with a pan-regional feel,” Ismail says. “As for Dubai, we now have state-of-the art facilities, great talent and have started to produce some hits such as Abu Al Malayeen, the Nº1 light drama for Ramadan this year — the key season for advertisers. Expect to see a lot more production activity here.” One of Ismail’s big successes has been the introduction of dubbed Turkish drama to the region. This proved a masterstroke in terms of winning audiences, but he admits it this is slowing down now “because the Turkish producers have doubled their prices in a very short time. At MBC we can pay top prices but will only do so if shows are top quality.” To take up some of the slack, Ismail has started introducing Indian and Korean drama to the mix. “They are not as close culturally to us as Turkish drama but the early signs are that they are doing well. To put it in perspective, our recent Korean drama acquisitions are doing as well as US scripted shows.” One way to get around the issues of cultural differences is to go down the scripted format route, Ismail adds. “We’ve talked to US companies about scripted formats but so far haven’t quite managed to find the right project at the right price. However we work very successfully with telenovela owners. Recent successes have included Televisa’s Ruby, Monte Cristo and Men Wanted, the latter two from Mexican studio TV Azteca.” In terms of the kind of content that works in the Middle East romance, social drama, melodrama and telenovelas continue to be popular, Ismail says. “We’ve also had some success with action thrillers but it is hard to get the production values right. Comedy is also difficult but can work beautifully for us.” One recent hit for MBC was Omar, a 31-part historical drama co-produced by MBC and Qatar TV and made in Saudi Arabia and Morocco. For the most part though, Ismail is short of big returning Arabic dramas that can act as appointments to view. Mignon Huisman, head of series acquisition at Dutch public broadcaster NPO, is one of Europe’s best-known

Homeland, a hit on NPO’s third channel 84 I

Looking for drama

Omar, a 31-part historical drama co-produced by MBC and Qatar TV and made in Saudi Arabia and Morocco

drama buyers. Responsible for acquiring shows across NPO’s three channels, she has identified a number of positive trends in scripted. She is, for example, “happy with the fact that there are more strong shorter running US independent series like Homeland, which has been very successful for us on our third channel.” She’s also excited by what she describes as “the extraordinary Scandinavian Springtime that has given us such wonderful programmes as Borgen, The Killing, and The Bridge”. And finally she is enthusiastic about the recent trend towards “long-running brilliant costume drama series — which is great because we can finally build an audience in that genre.” One example she cites is Downton Abbey, “which has had a great response”. Less positive are the background business trends: “We acquire more, need more rights, but budget cuts (in Holland) are enormous so we have to negotiate more severely. We have also had some new big parties entering the territory — last year HBO, this year Netflix. So the market is quite turbulent.” Despite this, she is putting on a brave face: “The fact that they find our territory interesting should make us feel confident.” While money is tight in Holland right now, it’s possible that this could benefit content distributors. Two to three years ago, Huisman identified a trend towards local production. Now though, she anticipates “less local production because of budget cuts. These are more difficult times for local programming.” As for the kind of content she wants, she says: “We have some additional slots to fill early evening on Channel 2 and we are looking for successors to Dexter and Breaking Bad, which are both ending this year … quite a difficult mission to fulfil. The Scandinavian crime series have worked well so we will look out for other Scandinavian drama, like Borgen, and we will give Real Humans a try. It’s quite an original series about human robots. We might also look at event programming and shorter running serials, but that depends on the genre and the slots available.”

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The Digital Comes Of Age session Access Is The New Ownership: A New Look At Content Distribution, is on Wednesday, October 9, at 14.30 in Auditorium A. This forms part of the Digital Comes Of Age strand that runs from October 7 to October 10

digital distribution

Disrupting the status quo Engaging with the digital platforms that are busy disrupting the traditional distribution model is no longer a choice, writes Marlene Edmunds — it’s a question of survival

House Of Cards made Emmy Award history for Netflix


ODAY’s media landscape is more fragmented and more complicated than ever before. It is a world where customers expect content to be served up when and where they want it, and where both digital and traditional players are on the hunt for new business models that will pave the way to the future. Digital platforms including Netflix, iTunes, YouTube, Hulu and Amazon Prime may have different stories to tell but they are, without doubt, changing the fundamental 86 I

nature of the industry, from storytelling and branding to financing and distribution. Netflix at half year had racked up more than 36 million streaming members worldwide, mostly in the US. It had made Emmy Award history by becoming the first internet streaming company to achieve multiple nominations — 14 in total and nine for House Of Cards alone. Should Netflix come away with awards in late September, it will have made media history — again.

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Disrupting the status quo

“With digital distribution, you The SVOD (subscription vidhave to put more energy behind eo-on-demand) player has a “With digital building the brand,” Richter says. habit of challenging traditions distribution, you have “The storytelling is also differand upending long-held ideas to put more energy ent. It becomes more serialised on production, distribution, sewhen all the episodes come out at rialisation, pilots and the merbehind building the once.” He adds that, for distribits of appointment TV’s ubiqbrand” utors, digital has obvious advanuitous cliff-hangers. And that’s Jens Richter tages, among them the fact that only where TV is concerned. On you can address your target audiApril 1, Netflix premiered Fox Digital Studio’s Shotgun Wedding as its first original fea- ence clearly: “That is one of the principal advantages of Netflix. They do know their subscribers very well.” ture film. Content Television & Digital works with both Hulu and Netflix may have the most flash and the biggest library, Netflix, according to executive vice-president Jonathan but internet titans Amazon, Hulu and YouTube/Google Ford. “They offer more flexibility than traditional TV in are aiming to catch up with their own versions of subscrip- terms of the type of titles that work,” he says. Among the tion streaming services. All have their hand in original product that Ford is unveiling at MIPCOM is the Sixties Red Arrow International’s Jens Richter content as well. Hulu, fresh from a $750m cash injection detective series Serangoon Road. from backers Fox and Disney, at press time was set to roll But the proliferation of platforms and delivery mechanisms out a new slate of original and acquired programming. YouTube, which claims 1.2 billion daily users worldwide, for content does not change the basics of building distribuoffers pay-per-view streaming movies and TV shows from tion strategy, says Tobi de Graaff, director of global telemajor networks and studios, as well as a pilot programme vision distribution at ITV Studios Global Entertainment. for the 30 or so subscription channels that went live in “Great content works anywhere and we need to be in tune with what viewers want to watch,” he says. May, including National Geographic. And Amazon Studios has picked up some 10 pilots, five to While not everyone is jumping on the digital streaming bandwagon, most are paying attention to digital strategy. turn into series and another five to be made available to Amazon Prime subscribers, who will decide if they should Bruce Tuchman, president of AMC/Sundance Channel go to series. In the meantime, Amazon’s Prime Instant Global, says there are no immediate plans to put AMC/ Video service, following deals with NBCUniversal and Sundance content online. “We work closely with our partCBS, has added some 3,000 titles to its library of more ners to create customised packages that suit their specific than 40,000 movies and TV episodes in what appears to needs and audiences,” he adds. “Whether it be authenticated streaming on smartphones or tablets, or providing be a game of catch-up with Netflix. exclusive VOD premiere windows, our aim is to design Jim Packer, Lionsgate’s president of worldwide TV and viewing experiences and access that works for our clients digital distribution, believes discussions about SVOD and grows their business.” Lionsgate’s Jim Packer versus linear, broadcast versus cable and traditional ver- Meanwhile, new kid on the block Magine, the Swedish sus digital are no longer relevant to the media world in cloud-based TV operator works with broadcasters to prowhich we live. Packer — one of the speakers at the Digital vide live, recorded and time-shifted television across a Comes Of Age: Behind The Scenes With Key Players range of devices, made its international debut in July with showcase on Tuesday, October 8 — says that traditional moves into Germany and Spain. This followed a cash inand digital players need to work together to come up with jection $19m from a group of Swedish investors aimed at furthering its international ambitions. a win-win strategy for the new digital age. Since it launched some 15 years ago, Lionsgate has ac- Making the announcement, Magine chairman Michael quired a reputation for embracing change. The company, Werner said: “Magine is not just another TV platform but which recently premiered Orange Is The New Black on a totally new way of accessing and consuming content. It Netflix, has become a master at devising best-case scenar- is a subscription service that was devised to make viewers ios for sales, whether digital or traditional, tailored to indi- come back to watching TV, and this is why broadcasters vidual markets. For example, Lionsgate pre-sold Nashville and content providers are very keen to adopt the service.” The service is already available in Sweden. in the US but in another territory put it up on iTunes. Distributor, gap financer and co-producer Red Arrow RE-EVALUATING VALUE International is part of the Red Arrow Entertainment DIGITAL distribution is changing financing models, as well as how banks and equity investors place value on content. group of 17 production companies across nine territoDavid Grover, head of media financing at ING Bank’s structured banking department, admits that the banks have been slow ries. Among them is Endor Productions, producer of Red to get to grips with valuing content in the wake of the digital transformation. But Grover, who is speaking at the Business Is Arrow MIPCOM priority The Escape Artist. Red Arrow Booming: New Financial And Business Models conference on October 8, adds: “The industry is taking the first step required, which is get a better handle on the value of VOD rights and do a better job of monetising them. In the case of International’s managing director Jens Richter reports that Netflix, we are talking about subscription VOD [SVOD] and, in the case of iTunes, transaction VOD. What’s needed is to build some 20% of the company’s revenues came from digital in up enough data to predict future performance with statistical accuracy.” 2012 — and that number is expected to grow exponentially.

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The next generation…

All3Media’s Skins, in first place among all the British drama titles on China’s Tencent website

Over 800 digital buyers will attend MIPCOM this year. These digital players are changing the fundamental nature of the business, blurring lines and challenging the traditional models. But what exactly are they buying? And how are they structuring their deals? Andy Fry asks some key players


AUNCHED in 2006, Sweden-based video-on-demand (VOD) service Voddler spent the first seven years of its life building up a 1.3-million user base in Scandinavia and Spain. Now, it is in the process of rolling out across rest of Europe, the Americas, Asia and Oceania. The service is based on peer-to-peer networking technology. At first sight, that might worry rights-holders because it suggests that the content can be passed on for free from user to user. But the reality is the reverse, according to Voddler’s head of communications, Anders Sjoman. “Voddler uses the technical advantages of being a P2P platform, but the rights to the content are completely protected,” he says. “The pricing, windowing and geographic availability are all decided by the content-owner.” This is a key point, because Voddler’s USP is that it allows rights-owners to decide for themselves how they want to commercialise their content. “Any owner of professional-quality content can sign up,” Sjoman says. “We provide a platform that can do transactional VOD, subscription VOD, advertising VOD and electronic sell-through [EST]. But the actual decisions about how to monetise content are completely left to the IP-owners.” 90 I

The upside of this approach is content-owner control. But it does require a shift in mindset, Sjoman says: “Most rights-owners are used to getting minimum guarantees for content. We don’t do that. This model is about revenue share. The good news is that we pay the highest revenue shares, starting at 70% for the content-owner and rising to 90% in some cases.” The Voddler model also requires some expertise from the rights-owners. “We provide technical support, but it does assume some basic capability in managing content this way,” Sjoman adds. “Again, the good news is that a lot of the big players are experienced in this kind of commercialisation.”

“Rights-owners are used to getting minimum guarantees for content. We don’t do that. This model is about revenue share” Anders Sjoman

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The next generation…

Key to making the business work globally is, first, getting the content and, second, building the audience. “It’s a bit chicken and egg,” Sjoman admits. “But we have signed up a number of TV and film rights-holders. We also think there is real opportunity in diasporas — for example, telenovelas, and Korean and Bollywood content aimed at the relevant communities living abroad.” Voddler has added two incentives to entice people to sign up. One is an allocation of free upload space where people can store the digitised content that they already own. Another is ViewShare, which allows people to share content with 10 friends, who each pay a small fee. “This,” Sjoman says, “is a way of providing a service to users while generating revenue for content-owners that previously would have been lost to illegal downloads.” It is no exaggeration to say that Netflix has transformed the TV distribution business. So any new announcements from CEO Reed Hastings regarding content strategy are worth noting. Second season of Lilyhammer, back on Netflix In July, Hastings outlined some of the series coming up on the VOD platform, which include the Ricky Gervais comedy Derek, season two of Lilyhammer and sci-fi ac- version of The Killing a day after it airs on AMC in the tion series Sense8. There is also a debut for kids’ show US. This rapid turnaround is credited with reducing the Turbo: FAST (Fast Action Stunt Team), a DreamWorks number of illegal streams that the series might otherwise Animation TV series about a snail who develops the abili- have experienced. ty to compete in the Indianapolis 500. VOD feels like it ought to be run by Children’s is not the only genre TV, telecom and broadband-based Netflix is moving towards. According “We’re rewarding companies. So the fact that the UK to Hastings: “We will be expandour customers retailer Tesco has made an aggresing our originals initiative to include sive entry into the UK VOD market broadly appealing feature documenwith hundreds of is interesting for rights-holders and taries and stand-up comedy specials. movies and TV platforms around the world. Netflix has become a big destination shows for free” Tesco’s first move was to acquire for fans of these much loved and ofScott Deutrom 80% of the independent VOD serten under-distributed genres.” vice Blinkbox. Then, in the secWhile Hastings’ comments are relatond quarter of 2013, it launched ed to original commissions, it is clear that any kind of diversification in Netflix’s offering is po- Clubcard TV — so called because Tesco has a card-based tentially good news for distributors. Originals are expen- loyalty scheme called Clubcard, which currently has 16 sive to make, so it stands to reason that Netflix will need million customers in the UK. to support this expansion in output through appropriate The idea behind Clubcard TV is to offer Clubcard customers hundreds of movies and TV shows online for free, acquisitions. There is proof of this in the kids’ genre. Here, the plat- with content specifically tailored to family and kids. form has been doing very well with reruns of Jonathan Explaining the model, Michael Comish, CEO of Tesco M Shiff’s teen drama H20: Just Add Water. As a result, Digital Entertainment, says: “Clubcard TV makes digNetflix content officer Ted Sarandos has just secured the ital entertainment easy and accessible for our customexclusive rights to follow-up series Mako Mermaids for ers. The reason we can offer great programming for free is because customers will see relevant advertising before all territories where it operates (the US, Canada, Latin and during the movie or TV show they are watching.” America, the UK, Ireland and Scandinavia). This deal is a reminder that Netflix is no longer just a At launch, advertisers that had signed up included US player. In a communique to shareholders, Hastings Kellogg’s, J&J, Colgate and Danone. In terms of conrevealed that Netflix has seven million paying custom- tent, launch titles included Brad Pitt western The ers outside the US, which means it is now a significant Assassination Of Jesse James By The Coward Robert acquisition partner on both a pan-regional and territo- Ford (Warner Bros.), The Shawshank Redemption ry-by-territory basis. It has been very active in the UK, (Daro Media), The Only Way Is Essex (All3Media), and for example, securing exclusive rights to the final run of Doc Martin and The Real Hustle (DRG). Kids’ conAMC’s megahit Breaking Bad. It also streams the US tent included The Wind In The Willows movie (DCD

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Croisette Village CV.02 At the Second Screen Square, leading pioneers in the second screen industry will take you through the latest technology, digital strategy, trends, new formats and commercial models. In a few short years the media industry has embraced second screen like no other online technology before. Second screen today links social media to TV, enriches TV broadcasts, turns viewers into users and makes advertisers excited. Now we need to focus on value creation. Increased reach adds value to advertisers and sponsors. Frequent and deep engagement offers new opportunities for data mining, freemium and commerce based business models. And a new generation of TV formats and broadcast integration will offer breakthroughs in the way we experience our entertainment.





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i FEATURE Rights), and The Care Bears and Strawberry Shortcake (American Greetings). This line-up was added to during the summer, when Clubcard TV did a deal with UK distributor ITV. Titles in the new 160-episode package include Inspector Morse, Prime Suspect and Cracker. Among the newer titles are Hell’s Kitchen USA and Marco’s Great British Feast. Other companies to supply shows to Clubcard TV include BBC Worldwide, Aardman and Endemol. In his blog, Clubcard TV managing director Scott Deutrom says: “A couple of years ago, if someone had told me I was going to be MD of Clubcard TV, it would probably have conjured up visions of a TV channel promoting Tesco products to Tesco customers. But that’s not what Clubcard TV is about. We’re rewarding our customers with hundreds of movies and TV shows for free.” According to Deutrom, the service is “hassle free and there are no charges, contracts or subscriptions”. Expanding on Comish’s ad targeting point, he adds: “By using Clubcard, we can look at what customers buy from us, what things they like and make an effort to target adverts that are more relevant to them. We can target adverts based on what they bought yesterday, showing that we are listening to our customers in real time.” The VOD revolution is alive and well in Eastern Europe, according to Orange Polska’s director of content Maja Porczynska. “The on-demand market in Poland is evolving quickly because many people are interested in watching online what they want, when they want, and where they want,” she says. “They do not want to depend on the scheduled TV programme when it is broadcast.” Outlining her own service, Porczynska says: “Orange Polska is Poland’s leading telecommunications provider. At the end of 2012, we had 20 million customers of different services — mobile, fixed voice, broadband and TV. At the same point in time, we achieved revenues of 14.1bn Polish zloty [$4.4bn].” In terms of TV, Porczynska says that Orange Polska has more than 700,000 TV subscribers (in IPTV and DTH technology), which it provides with TV premium services and on-demand content. “In addition, Orange Polska is the owner of an OTT service and one of the biggest mobile multimedia services in Poland,” she adds. The content on offer is broad-based and covers movies, sport, kids, general entertainment and adult content. In terms of what is working well on Orange Polska’s VOD platform, Porczynska says: “Most of Orange’s VOD customers are looking for premium Hollywood content and the newest Polish movies. This kind of content is working very well and is always on target.” In terms of priorities, Porczynska is looking for “partners with high-quality programming, mainly kids and movies”. As for her terms of trade, she says: “The business model is decided based on specific conditions offered by the content-provider.” Netflix, Hulu and Amazon may grab all the headlines,

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The next generation… but VOD is also emerging as an important market in China thanks to well established platforms such as Gcoo Entertainment’s Tencent. Ivy Chen, director of Gcoo’s international and new-media co-operation department, says Tencent “has become one of China’s largest and most popular ISPs, providing users with value-added internet, mobile and telecom services, and online advertising”. Platforms include QQ (QQ Instant Messenger),, QQ Games, Qzone, 3g.QQ. com, SoSo, PaiPai and Tenpay, which together have created “China’s largest internet community”, Chen adds. In terms of its content strategy, Chen says that an essen-

Comedy western Quick Draw, a Hulu original series

“Companies interested in China should keep in mind that the target audience for US and British drama are people with higher education and income” Ivy Chen tial part of Tencent is its online entertainment section, “which is dedicated to being China’s biggest online video media platform with the largest number of monthly unique visitors in China”. To achieve this goal, Tencent has built up a formidable portfolio of shows across all genres, including some content acquired from abroad. For example, Chen says that Tencent has aggregated more than 500 hours of UK dramas, including Doctor Who, Hustle, The Adventures Of Merlin, The IT Crowd and Agatha Christie’s Marple. One recent pick up that suggests a liberalisation in Chinese attitudes is teen drama Skins from All3Media International. “According to the performance report, by July 16 Skins was in first place among all the British

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i FEATURE service gain access to some 3,000 hours of content. drama titles on the website,” Chen adds. In terms of wants, Chen says the service is well stocked Global BBC iPlayer manager Matthew Littleford says the — but adds that there is always room for top shows. “Our 3,000 hours is made up of UK content ranging from claslibrary covers a wide range of drama content, including sic dramas such as Boys From The Blackstuff through adventure, detective and crime, comedy, romance, sci-fi to recent episodes of EastEnders. While the majority and history, which meet different needs,” she says. “But of content comes from BBC Worldwide’s huge archive, there are also third-party relationpicky viewers always expect the best ships. “We work with a lot of producproductions and hope to be kept upers,” Littleford says. “They are very dated with trendy titles.” “Some of the very positive about iPlayer.” In terms of the wider market for big VOD services The 16 countries that can acVOD in China, Chen says: “We have cess Global BBC iPlayer include witnessed a booming growth of the can dazzle you Australia, Canada and much of VOD audience in the past few years. with choice” Western Europe. “Australia delivers However, linear TV is still dominant. Matthew Littleford the biggest audiences,” Littleford Companies interested in the market says. “But we also see a lot of inshould keep in mind that the target terest from audiences in places like audience for US and British drama in China are people with higher education and income. Holland and Germany.” The number of such viewers is still small compared to The Global BBC iPlayer comes under the control of the the huge population. It’s a market to be cultivated, which BBC’s commercial arm, BBC Worldwide. In its current phase, it is classified as a pilot service. As yet, a decision takes time and requires special attention.” has not been made about whether to extend it into additional territories. BBC Global iPlayer is a commercial service loosely based on the UK public-service platform BBC iPlayer. While In terms of the content that does well, Littleford says drathe UK operation is, in essence, an on-demand catch-up ma, comedy, factual and kids are all strong genres. The service, Global BBC iPlayer is a subscription VOD ser- platform has also had success with curated content and collections. “So, for example, we got Louis Theroux to vice available via IOS (Apple) devices in 16 countries. For a fee equivalent to about €5 per month, users of the curate a selection of his own programmes,” Littleford adds. “We’re now looking at whether we can get other internationally known faces to curate content that isn’t necessarily their own.” On the collections front, Global BBC iPlayer aims to collate programming that resonates with audiences for some reason. “For example, we’re pulling together a Peter Capaldi collection, following his selection as the new Doctor Who,” Littleford says. Sixty to 70 hours of new content is added to iPlayer each month. At the same time, some shows are taken down because rights windows end or because they are not working for audiences. In terms of the overall size of the catalogue, Littleford is happy with 3,000 hours, which he calls a “bespoke boutique offer”. He adds: “Some of the very big VOD services can dazzle you with choice. In our case, you have to remember we are showcasing BBC content in international markets, so it might not have the same easy recognition you’d get in the UK. We have to think carefully about how we get the right message over to audiences, which would be harder with a much bigger library. At our size, the content selection process is very pleasurable for users.”

Hell’s Kitchen USA, heading for the UK’s Clubcard TV 98 I

Most of the recent headlines about the US-based VOD platform Hulu have concerned whether it will be sold or not. But the day-to-day business of running the company goes on unabated. Hulu acting CEO Andy Forssell said: “In Q1 of this year, we set new records for revenue and, for the first

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The next generation… time ever, Hulu viewers streamed more than one billion content videos in a single quarter. Mobile viewing is also growing at a significant rate and will account for approximately 15% of Hulu’s consumed videos in 2013-2014. For context, mobile viewing was non-existent only two years ago.” Forssell, who was in charge of content until the departure of former CEO Jason Kilar earlier this year, made much of the company’s move towards exclusive first-run content, citing examples such as comedy western series Quick Draw and highschool drama East Los High (Englishlanguage but featuring a Latino cast). “These join nine other Hulu Original Series and Hulu Exclusive Series, including The Awesomes, Behind The Mask, The Wrong Mans, Mother Up!,

Global BBC iPlayer is currently available in 16 countries on IOS (Apple) devices

“In Q1 of this year, we set new records for revenue” Andy Forssell


Pramface, Prisoners Of War, The Only Way Is Essex, Braquo and Moone Boy,” he says. Animation series The Awesomes has been given a high profile by Hulu. First revealed at Comic-Con 2013, episode one of the show was made available exclusively to Xbox Live users for a week ahead of its official launch on Hulu. Hulu called it “an incredible sampling opportunity for a new television series”. While Hulu is predominantly known for acquiring English-language content, this summer saw it pick up an array of content from Chinese, Japanese and Korean libraries. Korean dramas in the line-up include My Sassy Girl, 200 Pounds Beauty, Crying First and A Brand New Life.


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13x22’ | HD | Ages 6+ 30+ Languages I preview magazine I September 2013 I 99

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territory focus

The new Latin America Argentina’s status as Country Of Honour underscores the fact that the Latin American TV market is on the cusp of profound change. Growing broadband penetration and strengthening links with US Hispanic broadcasters are together ushering in a new era, writes Gary Smith


O SAY that every Latin American broadcaster wants to leverage the US Hispanic audience as both a back door into the larger US market and a source of programming is an exaggeration — but not a very big one. Add to that the fact that a recent report by Pyramid 102 I

Research predicts that, by 2017, the number of multi-play households in Latin America will have reached 69.9 million, up from 42.3 million households at the end of 2012. And what that means is that a new kind of audience is emerging — one that demands a much broader and more comprehensive viewing choice, with all the interactive

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The new Latin America “The LatAm and Hispanic markets have always been joined at the hip, but now it’s a genuine two-way conversation” Adriana Cisneros

and social networking bells and whistles that US, Asian and European audiences now expect. Having been the first Latin media operation to open a studio in Miami 15 years ago, it comes as no surprise that Venevision International, part of the Cisneros Group, is leading the charge to create deeper and more immersive experiences around shows. Company vice-chairman and vice-president of strategy at the Cisneros Group, Adriana Cisneros, takes up the story: “It’s not a question of how and when the LatAm NBC is versioning Venevision’s novela La Viuda Joven as The Black Widow for the US market is going to be affected by the internet — it’s happening already. Consequently, we are seeing more shows incorporating some kind of interactivity with LatAm markets, and Peru is very dynamic — definitely a audiences via social-media platforms such as Twitter market to watch.” and Facebook. We have a laboratory that is entirely fo- Extending that two-way conversation into the maincused on understanding how TV and the internet can stream US TV market, Venevision is now workwork for each other and, as a result of its work, when ing with • Electus. As a result, NBC is versioning we made Eva Luna, we included an interactive strategy the Venezuelan novela La Viuda Joven as The Black that brought us two million new Widow. viewers, basically by focusing on teenagers.” According to Sheila Since then, Venevision has “By the end of 2013, A g u i r re, Frema nt leMe d ia ex tended it s so c ia l-med ia International’s senior vicenearly one half of all strategy to include last year’s president of sales and develLatin American Miss Venezuela beauty pagopment, Latin America and households will be eant, which is produced by Hispanic US, there are plenty Venevision and broadcast live digital” of series emerging from the rethroughout L atin A merica gion with international potenSheila Aguirre v i a D i re cT V. “A ud ien c e s tial, including Canal 13’s realwere able to interact with the ity series Mundo Opuestos and contestants and participate the Argentine docu-reality sein the voting process,” says ries Mujeres Asesinas. “Both are being adapted for Venevision’s vice-president of sales, Cesar Diaz. “All US audiences,” Aguirre says. “Series such as Betty La candidates had an official certified profile on Twitter Fea [Ugly Betty] established Latin America as a viaand, through the pageant’s website, users were able ble source for innovative scripted drama that can travto view the candidates’ never-before-seen daily rou- el and capture worldwide audiences.” tines through videos that were updated every day. For While internet penetration remains relatively low, the pageant’s crowning ceremony, an app allowed re- Aguirre sees tremendous potential for expansion: “In the al-time voting and more than 800,000 votes were cast past few years, Latin America has experienced significant using it.” growth in satellite and pay-TV across the region. Satellite Advertising and product placement were also included in television is propelling the growth of digital TV and it is the show’s digital strategy. “It’s the first time that has hap- estimated that, by the end of 2013, nearly one half of all pened in the region,” Cisneros adds. Latin American households will be digital. Lower pricing “Generally speaking, the LatAm and Hispanic markets and prepaid packages have made cable much more acceshave always been joined at the hip, but now it’s a genuine sible and have changed the composition of pay-TV auditwo-way conversation,” Cisneros says. “On top of that, ences across the region.” Colombia’s TV market has moved so fast it effectively Viewing consumption has increased, with Latin skipped a decade. Caracol is opening a studio in Miami, American viewers who have access to pay-TV consuming where it will produce series for both the US Hispanic and

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Telemundo International’s current hit series El Senor De Los Cielos (The Lord Of The Skies), produced for the Latino audience in the US

an average of two hours and 57 minutes of TV per day. “More pay-TV channels and new audiences are affecting the region’s appetite for content, which has resulted in FremantleMedia International’s US version of The X Factor, successfully produced now in a number of LatAm territories a rise in local productions,” Aguirre says. “In countries such as Mexico and Argentina, daily consumption of payTV exceeds three hours. These consumption trends will developed in the US is brought to life by Latin American continue, as will the need for more content to satisfy re- talent. “Technicians, directors, actors and even executives gional tastes.” And while the growth of the Hispanic market is signifi- are, for the most part, brought in from countries such cant for the LatAm region, it is by no means a given that as Mexico, Argentina, Venezuela, Chile, Colombia and programming will flow back and forth: “Traditionally, Brazil,” he says. “The content produced by Telemundo US Hispanics have had an appetite for Mexican con- is aimed at a very complex audience, and is tailored for tent,” Aguirre says. “While Venezuelan and, particularly, all Latinos living in the US, whereas much of the content Colombian series have performed well, overall Mexican programmed by our competition is directed at the USprogramming tends to travel best. This is because US based Mexican audience.” Hispanics are predominantly of Mexican descent, which Telemundo’s current hit series include La Patrona (The means they identify with the characters and certain as- Return), El Senor De Los Cielos (The Lord Of The Skies) and La Voz Kids (The pects of the programming.” Voice Kids). Santana reports FremantleMedia International’s Sheila She adds: “When it comes to that, on July 9, La Patrona’s two- Aguirre Latin America, the general per“Chile has the fastest hour finale was watched by 1.45 ception is that, since they all million adults aged between 18growing TV industry in speak one language, whatev49, making it Telemundo’s higher original programming works the region” est 21.00 finale and the second in one country will work in the Marcos Santana highest Telemundo novela finale rest of the region. However, this behind La Reina Del Sur (2.82 is not the case. It is actually rare million). And on July 3, The to see a programme produced Lord Of The Skies averaged 1.7 in one Latin American country broadcast in another with the same success. It’s much million adults in the 18-49 demographic — its best permore common to see a locally produced adaptation of formance ever. While the region’s powerhouses are well known, Santana a title rather than the acquisition of a finished version.” FremantleMedia International’s current most successful says there are several rapidly maturing markets that are Telemundo International’s Marcos Santana finished programmes in Latin America are American well worth keeping an eye on: “Chile has the fastest growIdol, America’s Got Talent, The X Factor, Merlin, Jamie ing TV industry in the region. This phenomenon began Oliver, Project Runway and The Apprentice. As far as in the country’s post-dictatorship era, under Patricio formats are concerned, Got Talent, The X Factor, The Aylwin’s government. Since then, Chile has created a maPrice Is Right, Family Feud and My Name Is… have been ture, commercial television landscape in only 20 years. successfully produced in a number of LatAm territories. Colombia is also a rapidly maturing market, with realitybased series like Pablo Escobar: The Drug Lord proving According to Marcos Santana, president of Telemundo to be very powerful and capable of attracting and keepInternational, most of the Spanish-language television ing big audiences.” 104 I

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Mira Quien Baila/Look Who’s Dancing (Univision)

Argentina’s CMD studios, part of Grupo Clarin, specialise in managing digital projects. CMD/Grupo Clarin chief operating officer Marcelo Liberini does not currently see much potential in the Hispanic children’s market. “The US Hispanic market is a little tricky, because the fact is that children are more tied to American culture,” he says. “Their heritage is Latin American but, as they are mainly born in the US, they rapidly lose touch with their roots. Cross-market content for grown-ups is less complicated.” CMD’s Mundo Gaturro, an animated series based on a well known Argentine character, has a strong online presence, with more than eight million registered users in the LatAm region, plus more than 30 books and a range of merchandising products. “The TV series closes the circle and gives us a complete presence in the regional kids’ market,” Liberini says. “Gaturro has become the very first 100% transmedia property from Argentina. It’s a real success story, partly due to Gaturro’s edgy personality and partly due to the fact that we recognised that children aged between seven and 11 are inter-connected, globalised and multitasking. The series respects its audience and their needs.” Argentina is globally respected as a fiercely creative country and right now its TV sector is on a roll with some exceptional children’s content. “Currently, we have several very good companies developing ideas that are naturally universal, including Smilehood, whose series Plim Plim, aimed at pre-school children, is being aired on the Disney Junior channel in Latin America and on Discovery Family in the US,” Liberini says. “Coincidentally, it’s the first animated series from Argentina to reach the US Hispanic market. There’s also Bondi Band, created and developed in Argentina and currently being aired on the Disney Channel in LatAm. And of course, I can’t finish without mentioning Violetta, which is a worldwide hit for Disney.” While the Hispanic market may only hold a distant promise for CMD’s Liberini, it is already very important for Claudio Ipolitti, director of pay TV and international business at Telefe. “Growth in Latin America in terms of the improvement

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The new Latin America in communications, the penetration of pay-TV and satellite services, and digital platforms has created an increase in successful content production in Spanish and the penetration of those products in the US Hispanic market,” Ipolitti says. “Alongside primetime fiction, this year we have become involved in several multiplatform projects, including Allies, where the programming strategy is based on a broadcast synergy between the traditional TV screen and the web.” Being among the most sophisticated in the region, Argentine viewers act as a good indicator of where audiences in neighbouring countries are headed, Ipolitti adds: “Projects such as Allies have triggered a strong increase in digital traffic and they allow us a certain level of interactivity, which feeds into our future plans for both Argentina and the international market. It’s a new phenomenon for us, but it’s clear that we have to continue to go in that direction.” According to Alberto Ciurana, president of programming and content at Univision Networks, this is a great time to be in television in Latin America. “The important thing is to respect your audience,” he says. “If you do that, there are huge opportunities — which is why we launched UniMas, our second network. It might seem strange to launch a network that could cannibalise our existing audience, but the two are very different. Univision carries our more traditional programming, whereas UniMas has a totally different look and feel. It’s much more audacious and, of course, it has different shows and a differ- ent target audience.” According to Ciurana, telenovela s a re sti l l a n i mp or t a nt st aple. H e r e p o r t s , h o we v er, that reality shows such as Mira Quien Baila (Look Who’s Dancing), and Nuestra Belleza Latina (Our Latin Beauty) now dominate the Sunday schedules: “We don’t produce shows ourselves because we have such great partners, including Televisa and Caracol, who are already producing the sorts of shows that we need. But we are always on the look-out for new series and formats, especially talent shows.” He points out that the audience for telenovelas is also aging, adding: “We consider ourselves to be a contemporary company with a very horizontal structure. So we now have a new generation of telenovelas from Televisa that feature second-screen content, which is a very exciting area indeed.”

CMD’s Mundo Gaturro, an animated series that has a strong online presence, with more than eight million registered users in the LatAm region

Brazilian broadcaster Globo is, says Raphael Correa Neto, executive director of international business, seeing profound changes in audience

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behaviour. “We know that watching TV at home is a unique and irreplaceable experience,” he says. “Studies show that, when possible, the public prefers to watch content this way. However, when this is not possible, our content has to be ready to reach viewers wherever they are, in the way they want, under the concept of ‘TV everywhere’. The internet intensifies this interactivity and opens new spaces for the public to find and comment on their favourite programmes.” He adds that the internet also allows for deeper layers of content associated with programmes, as well as “content portability”. Globo is bringing the telenovela Gabriela to MIPCOM. The show is a remake of a classic series from the Seventies, in a format licensed by Warner Bros. International Television Production and produced by Globo. “On SIC in Portugal, on the day of its debut, it attracted 1.65 million TV viewers and was first in its timeslot,” Correa Neto says. “The last episode drew an average of over 2.1 million viewers and was the most-watched finale of any Brazilian telenovela in the last decade on Portuguese television.” He adds that, in Brazil, the last episode of Gabriela drew almost 26 million viewers. “My Dear Handyman, which is currently being filmed in South Florida, is our big news for this second semester,” Correa Neto continues. “The series is geared to the US Hispanic market and is a partnership between Globo and Telemundo. Inspired by the original Globo production Looks And Essence, the co- Globo’s telenovela Gabriela is a remake of a classic series from the Seventies production underwent some adaptations to better suit local tastes. It also brings together a strong international A measure of how seriously the LatAm and Hispanic cast, which includes actors from across Latin America markets are currently being taken comes from BBC and the US.” Worldwide’s president of global markets, Paul Dempsey. Right now is, according to Marco Altberg, president “In the last three months, we have entirely revamped of the Brazilian TV Producers (BTVP), a watershed the structure of the company in order to be better pomoment in Brazilian TV. “The sitioned to unlock the potential law that guarantees investment of markets like Latin America,” in the independent produche says. “We have gone from a “Brazil went through a tion sector is genuinely making vertical business structure to Wild West period, but space for new producers,” he one that is now organised by resays. “BTVP now has 341 memgion, and each region has its own now there is genuine bers and they are from all over team. Our earnings from the stability” the country, not just Rio and LatAm region are currently very Marco Altberg Sao Paolo. But the most prosmall — around three pence per found change is that we used head of population — but there to be the opposite of Europe, is a growing and vibrant middle which was dominated by public broadcasters and tightly class and pay TV is still new, so we see it as offering huge regulated. Here, a private broadcaster dominated. And potential.” then we went through a Wild West period, but now there And Dempsey believes that the BBC has plenty of seis genuine stability.” ries that fit regional tastes: “BBC is globally known as That stability is giving new producers the chance to a factual broadcaster, but we also have shows like Top grow. “Initially we saw a lot of new documentary-mak- Gear, which is factual and aspirational, Dancing With ers, then animation houses, then more recently the em- The Stars, Top Of The Lake and Sherlock. And the phasis has been on fiction, drama and comedy, as well as brand is strong [in LatAm], even though we are not deepreality shows and formats,” Altberg says. “And in terms ly rooted there. But the fact of not being such a big playof coming generations of producers, the sheer number er gives us the opportunity to be agile and more experiof Brazilian videos on YouTube is proof of a ground- mental than we might be elsewhere. Initially, I see Chile, swell of young talents who are all heavy users of the so- Argentina and Colombia as having plenty of potential, cial networks. The challenge lies in how to monetise this and we’re keen to build on the popularity of CBeebies phenomenon.” with Hispanic and Mexican audiences.” 108 I

BTVP’s Marco Altberg

Caracol Television’s Gonzalo Cordoba

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important to our company,” he Fred Medina, executive vicesays. “It’s growing constantly president and managing direc“Initially, I see Chile, and currently comprises over 52 tor of BBC Worldwide Latin Argentina and million people, who are becomAmerica/US Hispanic, adds: Colombia as having ing ever more diversified and “There is a natural synergy interested in different types of between Mexico and the US plenty of potential” programmes. So of course it’s Hispanic audience. They are Paul Dempsey important for us to participate very similar and therefore our by offering Caracol programpre-school channel CBeebies shares one feed with both markets. As far as content ming through the most important Hispanic broadcastsales are concerned, we usually do deals for broadcast- ers in the US.” ers that own Spanish-speaking networks in the US, Hispanic audiences are also becoming increasingly desuch as Fox and Nat Geo, and it’s very common for manding, expecting higher quality, better stories and them to secure rights for the Latin American region, elements that surprise and entertain. “That’s what we as well as the US Hispanic market. It’s also common at Caracol produce every day in order to be able to ofto see larger media organisations in the region pro- fer our viewers quality products,” Cordoba says, citducing content in the US and/or Mexico, Colombia or ing Football Dreams: A World Of Passion. “This has Venezuela, in order to use it across both their Latin captivated Colombian audiences and is getting excellent ratings,” he adds. “Through the stories of Carlos American and US Hispanic platforms.” Global BBC brands such as Dancing With The Stars, ‘El Pibe’ Valderrama, Faustino Asprilla, Rene Higuita Top Gear, Sherlock and Doctor Who are very success- and Freddy Rincon, we explored the human side of ful in the Latin American market — something the BBC a group of captivating characters who also played can leverage with Hispanic viewers. “We do not have a brilliantly for the Colombian national team in the channel in the US for Hispanic audiences and, there- Nineties.” fore, we have no way to measure their popularity specif- The growing influence of technology means that every media company from both LatAm and elsewhere has had ically with the Hispanic population in the US,” Medina says. “But we do know these programmes are also popu- to raise its game. “The growth of multi-play households lar on the BBC America channel, which airs in English is significant,” Cordoba adds. “But rather than changing and is part of the BBC Americas organisation. We’ll also the business, it means that Latin American viewers have soon be premiering The Numtums and Andy’s Dinosaur new consumption habits. And if television channels and Adventures through CBeebies for both US Hispanic and content producers want to hold their position, they must complement that experience by being available across the Latin American viewers.” growing number of platforms. It’s not a matter of replacVenevision International’s Diaz will be at MIPCOM with ing one screen with another, but of having a complemenseveral series that confirm the growing links between tary and convergent experience that facilitates access to Latin America and the US Hispanic market — often a channel on any device 24/7 and enables the viewer to by way of Miami — as well as underlining the growth of profit from the possibilities offered by multi-play in orglobally competitive series of real quality that are start- der to have richer TV experiences using the second screen and social networks.” ing to emerge from the region. “We are showcasing Los Secretos De Lucia [Lucia’s Secrets], a 75-episode series that was shot in Venezuela MATCH FIT and Miami,” he says. “Additionally, we are introducing a IN THE lead-up to next year’s World Cup, Brazilian broadcaster pair of new telenovelas, De Todas Maneras Rosa [Love Globo has launched NewSource Globo, an agency that offers Gone Crazy], produced by our TV station in Venezuela, journalistic content as well as technological and services support. “Our goal is to facilitate the operations of international and Cosita Linda [Sweet Thing], which is currently in probroadcasters in Brazil by offering diversified broadcasting duction in Miami from our affiliated production house, services, from stand-up positions, studios, logistic and Venevision Productions. These three in-house producoperational support through to exclusive content, access to image archives and comprehensive journalistic coverage,” head of the initiative Leandro Valentim tions will headline our programming proposal, which says. “The World Cup is now our main focus. We want to be the local partner contains a diversity of products and genres.” for important broadcasters covering what promises to be the greatest With close to 35 years in the industry, Venevision has global football party.” Globo’s coverage of the 2014 World Cup will involve over 2,000 people made a name for itself with its classic telenovelas. These working across the country, allowing NewSource Globo to provide days, however, Diaz says the company is also differentieverything from hard news to archive footage and special series. ating itself by offering an array of quality programming “In relation to services, we can provide anything from the best locations for live stand-up presentations to glass studios with designed to satisfy clients’ needs across languages, terripanoramic views of the stadiums, which can be supported by tories and demographics. mobile units and SNGs,” Valentim adds. President of Caracol Television, Gonzalo Cordoba, sees the Hispanic market as a major part of his compaNewSource Globo’s Leandro Valentim ny’s growth strategy. “The US Hispanic market is very

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BBC Worldwide’s Fred Medina

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i FEATURE the news report

All the news, all the time Digital media has transformed most areas of the content business. But arguably the biggest change has come in news, where everything we took for granted in the analogue era has had to be reinvented for the connected consumer. Andy Fry reports


T THE most basic level, the development of digital platforms has changed audience expectations about where and when they receive news. While TV still has a key role to play, a recent survey by Lightspeed Research showed that Facebook, Twitter and news websites have become the key news sources for the 18- to 34-year-old demographic. At the same time, the growing number of tablets and 112 I

smartphones on the market means that most people are on top of the news agenda long before broadcasters air their flagship evening bulletins. This shift in consumption patterns is not just about where people get news, however. It is also about what they expect to get from different platforms. This is most obvious with regard to breaking news. The Boston bombings, the death of Whitney Houston and the killing

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of Osama bin Laden are three high-profile stories that broke on Twitter long before they were picked up by the traditional news organisations. Recent estimates suggest that more than 50% of people in the US now learn about breaking stories on social-media platforms rather than via official news sources. Against this backdrop, Frederic Bonnard, head of new media at international news channel France 24, says that the two key points for news organisations to understand are that they are no longer the only source of news and they cannot force people to come to them. “If they want to stay relevant to consumers, then they have to focus on their strengths,” he adds. The most significant of these is trust, Bonnard says: “News organisations may not be the only source of Photo: Will Pearson


News room new media infusion breakfast is on Wednesday, October 9, at 8.30, in the Matchmaking Lounge, Level 5 golden opportunities in global news sessions is on Wednesday, October 9, at 9.30 and 10.40, in Esterel

The BBC’s state-of-the-art news studio opened in central London in 2012

news, but they are best-placed to check facts and provide analysis. So even if they aren’t first, they have a fundamental role to play.” Other news organisations back Bonnard’s point. “Big news organisations are good at verifying stories,” Al Jazeera’s new media chief, Moeed Ahmed, says. “At Al

Jazeera, we have a great network of journalists and contacts, so we know we can “News organisations provide audiences with fast, accurate may not be the only confirmation and then get experts and source of news, but politicians to provide insight or commenthey are best placed tary. It’s the curation of stories as major events are unfolding that keeps us releto check facts and vant to audiences.” provide analysis” This is an important point. According Frederic Bonnard to a piece of research by Social Media Today, 49.1% of online users admit to having been tricked by false reports on the internet. Sometimes, this is fairly trivial, such as spoof reports that a celebrity has died. But there are times when it can have more serious implications. Suppose, for example, that images of a Syrian bombing have appeared online. How do we know responsibility for the act has been correctly attributed? This, say the news organisations, is their forte. While research backs up the fact that big news brands are trusted, this does not mean they can wait for audiences to come to their TV channel or website to verify stories. “You need to push your content out to audiences rather than wait for them to find you,” France 24’s Bonnard says. “For example, we make content available via platforms like YouTube and Yahoo!. In the case of YouTube, we don’t just publish and go — we have a team of three people dedicated to the platform. Their job is to keep the content relevant.” It is a similar story at Al Jazeera, according to Ahmed: “We have embedded social-media teams into the news production process so that we are able to make content that can live in the social stream. Any time there is a big breaking news story, we are ready to push out content in a format that is suited to platforms like Twitter, Facebook and Tumblr.” While responding to breaking news quickly and insightfully is important, it is only one part of keeping audiences happy in today’s news landscape. One noticeable trend is the way in which digital has created a much more immersive and interactive relationship between news organisations and audiences. “One thing we are doing is extending TV content online,” Bonnard says. “We have a TV debate show at 19.00, so what we do now is publish the subject on our website at noon and then let the debate build momentum online during the day. This is a way of engaging more closely with the audience and encouraging them to move from digital towards the TV channel.” France 24 is also exploring the role of second-screen media with some interesting ideas, Bonnard reports: “We have been looking at whether we can make people get more involved by using game mechanics — for example, by asking people questions related to the content and letting them ‘fight’ other people. It’s not a given that all content works with debating or gaming, but there are opportunities.” Over at Al Jazeera, there are also attempts to create more sticky connections between news provider and audience. I preview magazine I September 2013 I 113

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MIPCOM Opening Cocktail Party

Enjoy the sounds and flavours of Argentina at the MIPCOM Opening Party! Monday, 7 October - 19.30 Carlton Hotel In partnership with:

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All the news, all the time Photo, James Andre

“We run live blogs online, which have proved very effective in keeping people up to date on the changing situation in places like Syria and Egypt,” Ahmed says. “We have also done interesting work with SMS in parts of Africa.” The use of SMS is recognition that not everyone in the world has access to a smartphone. “We were conscious that news coverage sometimes does not get right to the heart of the action, either because it’s logistically not possible or because it’s too expensive,” Ahmed says. “So we started a project where we sent SMS questions out to people in places like Somalia and Uganda. Their responses were then fed into our news coverage. It has proved very effective at supplementing stories with the real voices of ordinary people facing day-to-day problems.” The next step up from this kind of commentary is to use local people as news-gatherers. Perhaps the best iteration of this is at CNN. “We have a really successful citizen journalism operation called iReport,” Petra Malenicka, vice-president of ad sales at CNN International, says. “Altogether, we have 1.3 million people contributing content around major events.” Not only does this allow CNN to extend its France 24 reports on the conflict in northern Mali news-gathering capabilities, it also acts as the basis of iReport For CNN, a weekly half-hour programme showcasing Interestingly, Leading Women is sponsored by Omega Watches — an illustration of how news broadcasters that compelling contributions. CNN is in a different position to France 24 and Al Jazeera shape the editorial agenda can then create room for it to because it needs to turn a profit on its global news opera- be leveraged by brands. “The space chat triggered a lot tion. One way it has done this is to broaden its definition of of social-media activity, which made the client very hapnews. To date, this process has gone further in the US than py,” Malenicka adds. internationally, where CNN boss Jeff Zucker has started Reinforcing the point that CNN needs to make monpushing a more populist agenda. Recent examples include CNN’s heavyweight coverage of the George Zimmerman ey, the broadcaster has established a strong track record trial and of a story about a crippled cruise ship where pas- in linking brands to its digital content. In one recent exsengers were stranded without toilet facilities (known af- ample, luxury watchmaker Hublot linked up with CNN Football Club, an online section of that tracks fectionately to the watching media as the Poop Cruise). At the same time, CNN US is running more lifestyle con- the UEFA Champions League. In another, the news tent, notably Morgan Spurlock’s Inside Man and Anthony broadcaster worked with Siemens on programming about Bourdain’s travel cookery series Parts Unknown. Overall, sustainable cities. “You have to be careful about balancthe result is that CNN US is delivering bigger ratings ing the values of the broadcaster with those of the adverwhile offering content with which advertisers are com- tiser,” Malenicka says. “But if you get it right, you create a unique proposition.” fortable being associated. The overall shift towards takAs referenced above, CNN US ing control of the news agenda has gone further down this road “News is a rights has another commercial benethan CNN International. But the minefield, but our fit, points out Chris Press, direclatter has also been exploring tor of business development for ways to create different kinds of increased investment CNN International, EMEA. “As connections with its core demos. in long-form we start producing more own One method has been to try to programming puts us content, we can be certain of the be a thought leader rather than in a strong position” quality and we also get to keep just waiting for news to break. our own rights. News is a rights Malenicka cites the example of Chris Press minefield, but our increased inLeading Women, a TV series vestment in long-form programthat looks at the achievements of extraordinary women in a range of professional and so- ming puts us in a strong position.” cial scenarios. “We have created a very strong social-me- All the evidence suggests that news organisations are dia dimension to the series,” she says. “In June, for ex- becoming very adept at moving content across platample, we set up a live chat with female astronaut Karen forms in pursuit of audiences. But the one big issue that is yet to play out is how well they will be able to Nyberg. That generated a huge response.”

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i FEATURE propagate a serious news agenda in the face of changing media patterns. How, for example, do you teach young people the difference between a Kardashian and a Kalashnikov when they have complete control over the way they source and select news? This is an area on which Ahmed is focusing as Al Jazeera prepares to launch in the US. “I think there is a real challenge in this space regarding how we deliver news that matters to a young audience,” he says. “It’s easy to capture them if you focus on sport and entertainment. But making them engage with news and politics is a tougher proposition.” As traditional news organisations work out how to engage with younger viewers, they are facing increased competition from dynamic digital start-ups like US-based BuzzFeed. Launched in 2006, BuzzFeed is already attracting around 70 million unique users a month and there is no sign that this growth is about to stop. “I think what’s happening right now with digital is similar to the shake-up when cable launched,” Jon Steinberg, BuzzFeed’s president and chief operating officer, says. “Young audiences don’t go to TV for their news any more. They head for social media, which is why BuzzFeed is growing so fast.” So what is BuzzFeed? “It’s a mix of high-quality


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All the news, all the time journalism and social content,” Steinberg says. “BuzzFeed has the same exacting “Young audiences standards of reporting that you’d find in don’t go to TV for traditional publishers. But it also places their news any more. emphasis on content that has the potential to be picked up and shared.” They head for social The best way to understand BuzzFeed media” is to explore it. Visit the homepage, for Jon Steinberg example, and you will find quirky posts with titles like The 10 Most Impressive Beards In Literature and 23 Dogs Who Are Too Adorably Stupid For Their Own Good. These, and many other equally esoteric lists, are BuzzFeed’s attempt to be part of the viral pop-culture conversation that exists across the social-media sphere. You can either read/watch the content on BuzzFeed or find it embedded in other parts of the social-media landscape. Drill down deeper into the site’s channels and you find still more lists, but mixed in with more traditionally structured long-form journalism. This, Steinberg says, is a major focus for BuzzFeed as it moves into a more mature phase: “We are trying to figure out our role in the news area. A lot of users are counting on us to cover stories like the Boston bombings so we are upping our game in this respect.” Examples of this include a video partnership

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i FEATURE with CNN and the recent hiring of The Guardian’s Miriam Elder as foreign editor. BuzzFeed’s attempt to manufacture viral content is regarded as an interesting development for the media. And so is the way BuzzFeed works with brands. According to Steinberg, the key point about this is that BuzzFeed “doesn’t run any ads at all”. Instead, it has built its business model around what is widely referred to as ‘native advertising’. “The way it works is that we have an editorial team and a content team which have nothing to do with each other,” Steinberg explains. “The BuzzFeed content team are the ones who work with agencies and advertisers to create branded content.” This branded content is just like the lists referred to above, but with a sponsor’s name attached and a distinctive colour. So if you look in the celebrity section, for example, you will see 10 Amazing Things That Happened Over A Beer, presented by Miller64. The beauty of this approach is that the content has to stand up on its own merits, Steinberg observes, otherwise people will not read it. He adds: “I don’t think there’s been a lot of innovation in advertising for the last couple of decades, but content-driven advertising really works. We have seen much higher click-through rates than you would get for a banner ad.” It is too early to say if BuzzFeed’s advertising-as-content model can grow to scale. But if it does it will raise interesting questions about the viability of online newspaper paywalls.

All the news, all the time

Viewers contribute to France 24’s evening debate programme via social media

investment in original authored journalism. Our journalism puts us in a great position when it comes to newsgathering, the verification of breaking stories and telling stories in greater depth.” Underlining the fact that TV news is far from dead, BBC World News’ penetration via the traditional TV platforms is 360 million homes — and rising. In addition, however, Lawrence says the channel is making sure it is available across a range of emerging platforms: “We take a lot of care choosing the environments where we position our content. But at the same time it’s important to be where the audience is. So we have our content up on platforms In 2012, the BBC unveiled a state-of-the-art news stu- like Flipboard and we also worked with Xbox around the time of the US presidential elecdio that has been specifically detions. We know younger demos signed to cater for changes in the are changing the way they connews broadcasting landscape. “It is an ideological sume news, so we are responding “It is an ideological shift that poto that.” sitions the BBC as a platform-agshift that positions the Getting your news in front of nostic news provider,” says Colin BBC as a platformaudiences is not just about pilLawrence, commercial director agnostic news ing up extra platforms, howevof BBC World News, the internaprovider” er. Lawrence reports that, aside tional news operation owned and from the effort that goes into operated by BBC Global News. Colin Lawrence managing distribution, BBC “It places our online, radio and World News does a great deal of TV teams in the same vicinity, work to reinforce the authenticialong with our foreign-language ty of its brand positioning. “Earlier this year, we launched specialists. The result is a truly converged operation that Live The Story, a global multiplatform marketing camcan tailor news for any platform or device.” This kind of set up was crucial if the BBC was to stay paign that focused on the unrivalled capability of our news abreast of changes in audience behaviour. But it was not operation,” he says, by way of an example. a defensive move, Lawrence maintains. “We totally re- Like CNN, the BBC’s global news operation has to make gard the changes in the market as an opportunity because money. Traditionally, BBC World News’ main revenue of the amount of video being consumed over connected streams have been carriage fees and revenue from pay TV devices,” he says. “Our mobile usage figures are up 58% and advertising. But these days, there is a growing ad revenue contribution from online —, the online year-on-year, which is a great indicator.” companion service to the BBC’s television news services, Lawrence regards news as an obvious beneficiary of the changes in the media market because so much of it is attracts 815 million page views a month, up 21% year on based around short-form programming. As for the BBC, year. Going forward, Lawrence also expects content syndihe says: “Our strengths include our trusted brand and our cation and mobile advertising to play a bigger part.

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TIPS & SERVICES Welcome to MIPCOM! Thank you for attending the show this year. There is much to think about to be fully prepared for this exciting edition, so we’ve designed this tips & services section to help you make the most out of MIPCOM. To ensure you start off with a bang, please refer to our Quick Checklist


Things to do before the Show: Have you prepared your transportation? Have you arranged your transfer to Cannes? Have you booked your accommodation? (If not, call our accommodation department for preferential pricing on your lodging: +33 (0)1 79 71 99 43 / 97 43).  ave you visited the Online Database on to find out in advance who else is attending H the show, to set up meetings and discover projects? Have you checked the full show programme of mipcom conferences, screenings and events not to be missed? Ensure you download the Mymip App to get the most of mipcom.  ind answers to all those questions on the following tips & F services section. For more details please refer to

1. USEFUL TIPS • Getting to mipcom • Upon your arrival • The exhibition halls


3. general map of mipCOm

1. Useful Tips Getting to mipcom

4Where to get tickets: Desk at Terminal 1: outside arrivals, Gate A0. Opening hours: 8.00 – 23.00 Desk at Terminal 2: outside arrivals, between gates A1 and A2. Opening hours: 8.00 – 24.00

By air The nearest airport is Nice Côte d’Azur International (NCE), which provides direct flights to many cities around the world. Promotion code (Air France and KLM): 17899AF

•T  he Nice AirportXpress line to Cannes (bus N°210)

By train The Cannes train station is a short walk away from the Palais des Festivals. Please note that the station is currently under renovation. Works might make the access a little less fluid. T: +33 (0)8 92 35 35 35

A one-way ticket costs €17,50 and a return ticket costs €28,50.

Once you are at Nice Airport you have five options: TAXI T: +33 (0)8 90 71 22 27 or +33 (0) 492 99 39 23 BUS You have several options for bus travel. Tickets must be bought beforehand.

goes to and from Nice Côte d’Azur International Airport and the Cannes bus station via Le Cannet everyday from 8.00 to 20.00 every 30 minutes. Journey takes 50 minutes. 4Where to catch it: Terminal 1: gate A0, platform 3 Terminal 2: between gates A1 and A2, platform 3 •B  us N°200 also goes to Cannes from Monday-

Saturday at 20.45 and 21.55. 4Where to catch it: Terminal 1: platform 3

• Noctam’Bus N°200 will get you to Cannes in the evenings. It is available Thursday, Friday and Saturday nights and travels from 23.30 to 04.10 every hour and a half. 4Where to catch it: Terminal 1: platform 3

CAR RENTAL If you wish to rent a car, our partner Sixt Rent a Car can provide you with preferential rates. Promotion Code: 9963828 T: +33 (0)8 20 00 74 98 HELICOPTER Azur Helicoptère is available at the Arrivals Concourse in both Terminals 1 and 2. The flight duration is 6 minutes to Cannes. A free shuttle service is available in Cannes for transfers between the Palm Beach heliport and your final destination downtown. Preferential rates are applied to MIPCOM participants. T: +33 (0)4 93 90 40 70 LIMOUSINE Le Privilège Limousine is a Reed MIDEM preferred partner. Contact: Stéphanie Plot T: +33 (0)6 25 75 34 54 I preview magazine I September 2013 I 123

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iTIPS & SERVICES Upon your arrival USEFUL INFORMATION ABOUT CANNES The Palais des Festivals is on the seafront at the end of the famous Croisette. It is clearly signposted throughout Cannes. Address: Palais des Festivals Esplanade Georges Pompidou 06400 Cannes Country dialling code: +33 Time zone: GMT +1 Electricity: 220 volts AC, 50 Hz. Round two-pin plugs are standard Measurement system: Metric Currency: Euro YOUR BADGE Your Badge is your primary means of identification during MIPCOM. It provides access to all exhibition areas, conference sessions and networking events during opening hours. Please carry it at all times, and be ready to show it at entry points and security points around the area. E-ticket holders: E-tickets will be sent to you via email a few days before the show. They include a barcode for ID recognition. Print it out to collect your badge at a self-service delivery point or scan the QR Code on your smartphone and save time at the registration area. REGISTRATION OPENING HOURS

Your first MIPCOM? Don’t miss the

• First Timers’ presentation and discovery tour – Sunday 6 October, 17.00, Main entrance, Palais des Festivals

The exhibition zone The exhibition zone includes:

• Palais des Festivals (Level -1, 0, 1, 3, 4, 5) • Riviera Hall • Lerins Hall • Riviera Seaview • Riviera Beach Hall • Outside structures for individual clients

2. SERVICEs CONTENT, CONFERENCE & SCREENING VENUES Grand Audi: Level 1 Audi A: Level 3 Audi K: Level 4 Esterel: Level 5 Matchmaking Lounge: Level 5

In association with

CLUBS Participants’ Club Open to all participants attending MIPCOM without a stand. Features include a meeting area, free coffee service, free Wi-Fi service and telephone charging stations and a message system.

Badges can also be collected from:

In association with

Events for All Delegates •A  ll MIPCOM conferences, screenings and events

can be accessed with your MIPCOM badge (space permitting) See the full programme overleaf. •M  IPCOM Opening Party in partnership with the Argentine National Film Board (INCAA) – Monday October 7, 19.30, Carlton Hotel. You will

need your mipcom badge to access the party. •M  IPCOM World Premiere TV Screening “The Tunnel” In association with Shine International, Kudos, Shine France Films, Sky Atlantic HD and CANAL+

Monday October 7, 18.15, Grand Auditorium, Level 1, Palais des Festivals. 124 I

(Palais des Festivals- Level 0)

The MIPCOM concierge provides a number of services, free of charge, including restaurant and taxi bookings, flights and helicopter tours, shuttles, spa reservations and tourism information on Cannes and its surroundings. Member Desk (Palais des Festivals- Level 0)

The Member Desk provides on-the-spot care and assistance for all the members of our Customer Recognition Programme. Help Desk (Palais des Festivals- Level 0)

Staff are on hand at this desk to assist you throughout the market. Don’t hesitate to ask them your questions. Information points Information points with hostesses can be found at strategic positions all around the Palais des Festivals. (Azur Hall)

• Saturday, October 5: 14.00-19.00 • Sunday, October 6: 9.00-19.00 • Monday, October 7: 8.00-19.30 • Tuesday, October 8 - Wednesday, October 9: 8.30-19.00 • Thursday, October 10: 8.30-16.00

MARKET OPENING HOURS •M  onday, October 7 – Wednesday, October 9: 8.30-19.00 • Thursday, October 10: 8.30-18.00 Exhibitors have access to all the exhibition areas starting from 8.00 via the Artists’ Entrance situated between the Palais des Festivals and Riviera Hall.

Concierge service

Guide and Bag distribution

(AZUR HALL outside structure)

• The Carlton Hotel during MIPJunior. • The Majestic Hotel (Saturday 5 - Tuesday 8 October 8.30 -19.00) • Press registration: at the Press & News Hub.


(Azur Hall)

Buyers’ Club (Palais des Festivals – Level -1, Aisle 01)

Reserved for programme purchasing executives. Features include a lounge area, complimentary bar, electronic message board organised by hostesses and free Wi-Fi service. VIP Club In association with

(Palais des Festivals – Level 3)

Exclusive club reserved for VIP delegates to relax or discuss business in more private surroundings. Features include Wi-Fi access, refreshments and a dedicated staff. Entry reserved by invitation. Gold Business Lounge (Palais des Festivals – Level 1)

This lounge offers complimentary and personalised business services to the members of our Customer Recognition Programme including a private lounge area, international press, PC & Internet access. Press & News Hub (Gare Maritime)

The centre of anything newsrelated at MIPCOM, including the Press Club, Blue Lounge press conference room and the offices of the MIPCOM News, MIP Blog and international press teams.

Pick up a MIPCOM guide at any time during the show by presenting your badge. The Business Centre Offers a complete range of secretarial and administrative services such as photocopying, word processing, printing and faxing at competitive rates. LEFT LUGGAGE There are 2 venues available free of charge. One next to registration and a further alongside the Press & News Hub next to the port. Connectivity Wi-Fi Free Wi-Fi is available throughout the exhibition on the 2013_REEDMIDEM network. You can connect one device at a time. If you require a customized Wi-Fi service, please contact Viapass. Online Database The best way to schedule meetings in advance! • Introduce yourself, your company and programmes to increase your visibility. •S  earch among participating companies and visitors to find your future business partners. •B  ook meetings ahead of time to increase ROI during the market. Master Guide To Cannes Enhance your Cannes experience at MIPCOM

MIPCOM has joined forces with TripAdvisor and to bring show visitors the ultimate guide to the Croisette’s hottest addresses. Available via the official Mymip mobile app and on the MIP Markets Facebook page, the Master Guide offers reviews submitted both by TripAdvisor users and by fellow MIPCOM-goers. So they can not only find where to eat, drink and stay, but also read peers’ ratings, check in, and share tips themselves. A memorable time in Cannes is guaranteed! Visit:

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mipcom PREVIEW The official MIPCOM preview magazine September 2013. Director of Publications Paul Zilk Director of Communication Mike Williams EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Technical Editor in Chief Hervé Traisnel Deputy Technical Editor in Chief Frédéric Beauseigneur Graphic Designer Carole Peres Sub Editor Joanna Stephens Contributors Marlene Edmunds, Andy Fry, Juliana Koranteng, Gary Smith Editorial Management Boutique Editions PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Co-ordinators Nour Ezzedeen, Emilie Lambert, Amrane Lamiri Production Assistant, Cannes Office Eric Laurent Printer Riccobono Imprimeurs, Le Muy (France) MANAGEMENT & SALES TEAM Director of the Entertainment Division Jérome Delhaye Director of the Television Division Laurine Garaude Sales Director Frédéric Vaulpré Conference Director Lucy Smith Director of Market Development Ted Baracos Marketing Director Stéphane Gambetta Programme Director Tania Dugaro Director of the Buyers’ Department Bénédicte Touchard Managing Director (UK / Australia / New Zealand) Peter Rhodes OBE Sales Manager David Hedges Vice President Sales and Business Development, Americas Robert Marking Sales Director Latin America José-Luis Sanchez Vice President Business Development, North America JP Bommel Sales Executive Panayiota Pagoulatos Regional Sales Director Fabienne Germond Sales Executives Liliane Dacruz, Cyril Szczerbakow Sales Managers Paul Barbaro, Nancy Denole, Nathalie Gastone, Samira Haddi New Media Development Manager Bastien Gave Sales Managers, Buyers Cyriane Accolas, Yi-Ping Gerard, Andry Ramilia Australia and New Zealand Representative Natalie Apostolou China Representatives Anke Redl, Tammy Zhao CIS Representatives Alexandra Modestova, Igor Shibanov English Speaking Africa Representative Arnaud de Nanteuil India Representative Anil Wanvari Israel Representative Guy Martinovsky Japan Representative Lily Ono Middle-East Representative Bassil Hajjar Poland Representative Monika Bednarek South Korea Representative Sunny Kim Taiwan Representative Irene Liu Germany Representative (Digital Media Sector) Renate Radke Adam Reed MIDEM, a joint stock company (SAS), with a capital of €310.000, 662 003 557 R.C.S. NANTERRE, having offices located at 27-33 Quai Alphonse Le Gallo - 92100 BOULOGNE-BILLANCOURT (FRANCE), VAT number FR91 662 003 557. Contents © 2013, Reed MIDEM Market Publications. Publication registered 3rd quarter 2013. ISSN 2104-2179. Printed on 50% recycled paper ® I preview magazine I September 2013 I 125

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For the full programme, visit or download the app.

The New Golden Age of Television From the rise of the limited series to the advent of full-season same-day releases, television is entering a “new golden age”. Driven by an insatiable global appetite for cinema-quality episodic storytelling, to be consumed on multiple screens at any time, TV and film studios are leveraging internationally renowned actors and directors to deliver a level of blockbuster entertainment once reserved for the big screen. Conference tracks include: TV, Film’s New Eldorado, Digital Comes of Age, Golden Opportunities in Global News, and The New legal Landscape.

Media Mastermind Keynote Series


Personality of the Year

Monday, 7 October

Tuesday, 8 October

Frances Berwick President Bravo and Style Media

Dan Rose VP of Partnerships Facebook 11.10


Punit Goenka MD & CEO Zee Entertainment Enterprises 11.35

Roma Khanna President, Television Group and Digital Metro-Goldwyn-Mayer Studios 12.00

____________________________________ In conversation with Marcel Fenez, Global Leader, Entertainment and Media, PricewaterhouseCoopers

Michael Wright Ben Silverman President, Head of Programming Founder & Chairman TBS, TNT, & TURNER CLASSIC MOVIES Electus ______________________________________

Jeffrey Katzenberg CEO DreamWorks Animation Keynote address: Wednesday, 9 October, Grand Auditorium


Ryan Kavanaugh Founder & CEO Relativity Media 16.45


Jeffrey Katzenberg will accept his award on Wednesday 9 October, during a gala dinner for industry executives at the Carlton Hotel in Cannes.

Cécile Frot-Coutaz CEO FremantleMedia 16.30

Roy Price Director Amazon Studios 17.20

MIPCOM World Premiere TV Screening Monday, 7 October,

18.15, Grand Auditorium


In association with Shine International, Kudos, Shine France Films, Sky Atlantic HD and CANAL+ Kudos, the BAFTA-winning producers of “Broadchurch”, and Shine France Films present “The Tunnel”, the thrilling new 10-part crime drama for Canal+ and Sky Atlantic HD. When a politician is found dead on the border between France and the UK, police from both countries are forced into an uneasy partnership. “The Tunnel” is distributed worldwide by Shine International. After the screening, the shows stars - Stephen Dillane, Clémence Poésy, Tom Bateman, Cedric Vieira and Sigrid Bouaziz - will be walking the red carpet! Photo courtesy of Jessica Forde

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All Media Mastermind Keynotes take place in the Grand Auditorium.

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MIPCOM and the Argentine National Film Board (INCAA) invite you to discover Argentina’s vibrant TV production industry. The 2013 focus on Argentina includes: dedicated conference sessions and events, co-production matchmaking sessions, a Fresh TV Argentina Showcase, a kids content screening at MIPJunior, and much more. And don’t miss our Argentinathemed Opening Night Parties at MIPJunior (Saturday, 5 October) and MIPCOM (Monday, 7 October).

Argentina session speakers include Cris Morena Producer & CEO Cris Morena Group

Martin Kweller CEO & Chairman Endemol Argentina

LatAm Global Dealmakers Lunch

Women in Global Entertainment Power Lunch

In partnership with The Argentine National Film Board (INCAA) & Telemundo Internacional

In partnership with Lifetime Networks Media Partner: The Hollywood Reporter

The must-attend networking event with the most influential executives at MIPCOM shaping the future of content in and out of Latin America. This year’s focus will be on the dynamic TV and film industry of Argentina, MIPCOM’s Country of Honour. Tuesday, 8 October, 12.30 – 14.30 Grand Salon, Carlton Hotel By invitation

Tomás Yankelevich Global Content Director Telefe

Eduardo Ruiz Executive Vice President & General Manager (A&E, BIO, and History), A+E Networks Latin America

Connect with 150 of the world’s most influential women in TV and entertainment. MIPCOM and Lifetime Networks presents this 2nd annual thought leadership lunch featuring an exclusive conversation with four extraordinary women executives who will share their unique perspectives on the global content business. Monday, 7 October, 12.30 – 14.30 Salon Croisette, Majestic Hotel By invitation Speakers include

Speakers include

Emilio Romano President, Telemundo Network Telemundo Internacional

Liliana Mazure President INCAA

Anne Sweeney Co-Chair, Disney Media Networks & President, Disney/ABC Television Group

Emily Mortimer Actress/Co-creator and writer, “Doll & Em” King Bee Productions

Noura Al Kaabi Chief Executive Officer twofour54

Nancy Dubuc President & CEO A+E Networks

Fresh TV from Argentina Monday, 7 October,

9.15, Audi A


Fresh TV Formats Monday, 7 October,

13.00, Grand Audi

Telefe Tuesday, 8 October,

13.00, Grand Audi

Black Sails

Fresh TV Fiction Tuesday 8 October,

International screenings


Discover the world’s best new 4K/Ultra-HDTV programming in the SONY 4K Pavilion (01.03) Monday 7, Tuesday 8 and Wednesday, 9 October

Starz Worldwide Monday, 7 October,

13.00, Audi K

15.00, Audi A

Hinterland (Y Gwyll)

ALL3MEDIA International with Fiction Factory and S4C, Tuesday, 8 October, 15.00, Audi K

30/08/13 11:56

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SUNDAY 6 OCTOBER FROM 20.00 I CaRltOn HOtel MIPCOM Pre-OPenIng DInner CelebratIng 20 Years Of azteCa


By Invitation



8.30-9.30 I MatCHMakInG lOunGe KIDs COntent MaKers sHOWCase Buyers only

neW legal lanDsCaPe

argentIna COUntrY Of HOnOUr

9.15-9.45 I audI a fresH tV frOM argentIna

10.00-11.00 I audI a VIeW frOM tHe tOP

In association with IAEL

9.00-9.40 I audI a PrIMe tIMe fOCUs: argentIna, a COUntrY Of talent

tV, fIlM’s neW elDOraDO

9.50-10.30 I audI a CO-PrODUCtIOn WItH argentIna

9.30-9.50 I eSteRel nO bOrDer, nO bOUnDarIes, nO lIMIts: gettIng aHeaD Of tHe WInDOWs gaMe

11.10-11.40 I GRand audI Dan rOse, VP OF PaRtneRSHIPS, faCebOOK


MeDIa MasterMInD KeYnOtes

MatCHMakInG lOunGe

11.45-12.15 I GRand audI franCes berWICK, PReSIdent, braVO & stYle MeDIa

fIlM DIstrIbUtOrs & tV fICtIOn bUYers MatCHMaKIng

12.20-12.50 I GRand audI MICHael WrIgHt, tnt, tbs & tUrner ClassIC MOVIes & ben sIlVerMan, eleCtUs

12.30-14.30 I MajeStIC HOtel WOMen In glObal entertaInMent POWer lUnCH In partnership with Lifetime Networks

By invitation

fresH tV arOUnD tHe WOrlD 13.00-14.00 I GRand audI neW legal lanDsCaPe

sCreenIng 14.00-15.00


SOnY 4k PaVIlIOn (01.03)

MatCHMakInG lOunGe

4K/U-HDtV COntent sCreenIng

Meet tHe laWYers In association with IAEL By registration

DIgItal COMes Of age

10.30-12.30 I MatCHMakInG lOunGe DIsCOVer neW fOrMats frOM argentIna MatCHMaKIng

10.00-11.00 I eSteRel beHInD tHe sCenes WItH tHe KeY PlaYers

14.30-15.30 I audI k blUe bOx: tHe rOUte tO ItalIan entertaInMent & CreatIVItY By Blue Box

MeDIa MasterMInD KeYnOtes

12.00-12.30 I GRand audI rOMa KHanna, PReSIdent, teleVISIOn GROuP & dIGItal, MetrO-gOlDWYn-MaYer stUDIOs

In partnership with The Argentine National Film Board (INCAA) & Telemundo Internacional

17.20-18.00 I GRand audI rOY PrICe, dIReCtOR, aMazOn stUDIOs


MatCHMakInG lOunGe

JaPanese anIMe PrODUCers

tV, fIlM’s neW elDOraDO

glObal HOtsPOts: tUrKeY

14.00-14.30 I eSteRel CHangIng tHe VerY natUre Of bUsIness: CanaDa

Featuring exclusive survey by Eurodata TV Worldwide: “Film, Drama and Talent: The facts behind the trends”

15.40-16.35 I eSteRel tV’s gOlDen age Of stOrYtellIng

14.00-14.15 I audI a MarKet OVerVIeW 14.15-15.00 I audI a tHe brOaDCasters’ sUPerPanel 15.15-16.00 I audI a tUrKeY: a talenteD COUntrY Of PrODUCtIOn

MIPCOM WOrlD PreMIere tV sCreenIng

MeDIa MasterMInD KeYnOte

18.15-19.30 I GRand audI “tHe tUnnel”

16.45-17.30 I GRand audI rYan KaVanaUgH, CeO, relatIVItY MeDIa

From 19.30 I CaRltOn HOtel MIPCOM OPenIng PartY

In partnership with The Argentine National Film Board (INCAA)

By invitation

Presented by The WIT

14.40-15.30 I eSteRel bUsIness Is bOOMIng: neW fInanCIal anD bUsIness MODels

MeDIa MasterMInD KeYnOte

11.00-12.00 SOnY 4k PaVIlIOn (01.03)

By Telefe

14.30-15.30 MatCHMakInG lOunGe

VIeWers Or PrOfessIOnals WHO WIll be DesIgnIng tHe tV exPerIenCe Of tHe fUtUre? By Magine By registration

neW: fresH tV fICtIOn 13.00-13.45 I GRand audI





MeDIa MasterMInD KeYnOte

SOnY 4k PaVIlIOn (01.03)

In association with IAEL

11.35-12.00 I GRand audI PUnIt gOenKa, Md & CeO, zee entertaInMent enterPrIses

In partnership with Canada Media Fund & Telefilm Canada

4K/U-HDtV COntent sCreenIng

11.00-12.00 I audI k seCOnD sCreen legal IssUes anD sOlUtIOns

13.00-14.00 I audI k “allIes”

15.00-16.30 I audI a “blaCK saIls” sCreenIng

16.30-17.10 I GRand audI CeCIle frOt-COUtaz, CeO, freMantleMeDIa

neW legal lanDsCaPe

11.15-11.35 I GRand audI PWC glObal entertaInMent OUtlOOK

15.45-16.15 I eSteRel tV - a CHallengIng gOlDen age. teCHnOlOgY & eCOsYsteM IssUes CHangIng tHe fUtUre Of tV/COntent

By Starz Worldwide

4K/U-HDtV 9.00-10.30 I audI k 4K/U-HDtV: tHe tV InDUstrY PrePares

4K/U-HDtV COntent sCreenIng

12.30-14.30 I CaRltOn HOtel lataM glObal DealMaKers lUnCH

Presented by The WIT

14.15-15.30 I eSteRel VOD fOr sUCCess: taKe YOUr DIgItal rIgHts fUrtHer

Breakfast session by Deluxe Media Europe

DIgItal COMes Of age

MeDIa MasterMInD KeYnOte

DIgItal COMes Of age

Buyers only

argentIna COUntrY Of HOnOUr

10.00-11.00 I audI k naVIgatIng MUltI-PlatfOrM teleVIsIOn lICenses In an eVOlVIng MarKetPlaCe

9.45-10.00 I audI a argentIna MeDIa lanDsCaPe

8.30-9.30 I VeRRIèRe GRand audI COntent DelIVerY: WHY YOU neeD tO get DIsrUPtIVe

8.30-9.30 I MatCHMakInG lOunGe DraMa KIDs COntent MaKers sHOWCase

15.45-16.30 MatCHMakInG lOunGe

neW UK tax relIefs fOr tV & anIMatIOn By The British Film Commission

sCreenIng 15.00-17.00 I audI k “HInterlanD (Y gWYll)” sCreenIng

By ALL3MEDIA International with Fiction Factory and S4C


SOnY 4k PaVIlIOn (01.03)

4K/U-HDtV COntent sCreenIng 17.30-19.00 I audI k fUtUre HIts By RU.C - Russian Animation

18.00-20.00 J-CreatIVe PartY

In partnership with the International Drama Festival in Tokyo

Sponsors & Partners:

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8.30-9.30 I MatCHMakInG lOunGe neWsrOOM neW MeDIa InfUsIOn: tOOls & KeYs fOr brOaDCasters & neWs CHannels Breakfast session by Applicaster

DIgItal COMes Of age 10.00-12.00 I MatCHMakInG lOunGe tHe PrODUCers tOOl bOx: seCOnD sCreen WOrKsHOP 10.00-10.20 best Of seCOnD sCreen

gOlDen OPPOrtUnItIes In glObal neWs

tV, fIlM’s neW elDOraDO

In collaboration with AIB (Association for International Broadcasting)

9.45-10.45 I MatCHMakInG lOunGe fIlM COMMIssIOn sHOWCase

11.20-12.00 Is seCOnD sCreen bIg bUsIness?


Press COnferenCe

9.30-10.30 I eSteRel PrOgraMMIng & engagIng In tHe DIgItal age 10.40-11.20 I eSteRel InflUenCIng aUDIenCes effeCtIVelY

10.30-11.30 I SOnY 4k PaVIlIOn (01.03) 4K/U-HDtV COntent sCreenIng

glObal HOtsPOts: afrICa


11.30-12.30 I MatCHMakInG lOunGe

11.30-12.30 I audI a

PrODUCtIOn OPPOrtUnItIes frOM arOUnD tHe WOrlD: It’s tIMe fOr afrICa

10.20-11.00 WHat’s next In seCOnD sCreen?

11.00-12.00 I Blue lOunGe MIPCOM 2013 OVerVIeW

lUnCH breaK

a ClOser lOOK at tHe OPPOrtUnItIes In tOMOrrOW’s VIDeO COnsUMPtIOn InDUstrY


By PricewaterhouseCoopers

14.00-15.00 I MatCHMakInG lOunGe

12.45-14.30 I Verrière Grand audi gWangJU, HUb CItY Of asIan COntent, fUnDIng PrOJeCt By the Ministry of Culture, Sport and Tourism of Korea Lunch served

DIgItal COMes Of age

sCreenIng 14.30-15.30

14.30-15.30 I audI a aCCess Is tHe neW OWnersHIP: a neW lOOK at COntent DIstrIbUtIOn

SOnY 4k PaVIlIOn (01.03)

4K/U-HDtV COntent sCreenIng

PersOnalItY Of tHe Year KeYnOte 15.45-16.30 I GRand audI JeffreY Katzenberg, CeO, DreaMWOrKs anIMatIOn WOrlD sCreen COntent trenDsetter aWarD 16.45-17.45 I GRand audI aCQUIsItIOn sUPerPanel: WHat DO bUYers Want? Followed by WOrlD sCreen COntent trenDsetter aWarD

From 19.30 I CaRltOn HOtel MIPCOM PersOnalItY Of tHe Year DInner HOnOUrIng JeffreY Katzenberg By invitation

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Visit for detailed programme.

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Mipcom 2013 preview  

dreamworks, personality of the year, world premiere tv screenings, the tunnel, 4k, content trendsetter awards,

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