Page 1

September 2010

MIPCOM Preview magazine




Inside, page 10

Inside, pages 18



ALSO INSIDE Producers Forum • Asian Content Exchange • Special Features • Product news • Conference programme • Spotlight on Australia … and much more






DRAMA | 3 x 1 hr or 2 x 90 mins | MIPCOM Stand RB1 Riviera Beach . Cannes

( 2 4 ,



O R D E R )

Produced by


From Academy Award-winning screenwriter Julian Fellowes

& BAFTA winning producer Nigel Stafford-Clark

A major television event

One voyage. A world of untold stories. 2 x 90 minute / 4 x 1 hour mini-series An ITV STUDIOS/DEEP INDIGO/SIENNA FILMS Production

Production commences January 2011



Dear Friends, Welcome to the MIPCOM 2010 Preview magazine. With over 12,000 top executives, including 4,000 buyers from 100 countries expected, and the exhibition halls welcoming new exhibitors — many of whom are profiled in this magazine — MIPCOM 2010 promises to be an extremely vibrant event. This year’s central theme is Redefining The Entertainment Experience. The Connected Experience conferences will throw light on the future of connected digital television, with keynotes from Laurine Garaude MSN’s Scott Moore and Geoff Sutton and Facebook’s Joanna Shields. We’ll also be looking at the impact of apps on the content industry, the implications of this new publishing revolution, and the potential of the newest content production and distribution channels offered by app publishing. The 2010 MIPCOM Producers Forum provides a wide range of opportunities for producers to meet with film commissions, and keep abreast of developments in co-production and other financing models. Tandem Communications’ Rola Bauer and Scott Free Television’s David Zucker are interviewed here in advance of their Masterclass on the ground-breaking co-production of the miniseries The Pillars Of The Earth. October 5 will see Australia take centre stage during a day-long series of Spotlight On Australia events. From Ned Kelly director Gregor Jordan’s keynote address on digital innovation in the country, to presentations on co-production opportunities, and the chance to meet over 250 Australian industry professionals. Great entertainment is often inspired by great individuals and at this year’s MIPCOM we will be paying tribute to just such a man, our Personality Of The Year and keynote speaker, Jon Feltheimer, co-chairman and CEO of Lionsgate — also interviewed here in the MIPCOM Preview. 2010 sees the introduction of MIPCOM World Premiere TV Screenings taking place in the Palais des Festivals’ prestigious Grand Auditorium. Open to all MIPCOM participants, this is a premium showcase for leading television and film companies to screen to the most influential international industry players. Cast members from Lionsgate’s Mad Men will attend an exclusive screening of a yet-to-be-aired episode from season four of the series. October 5 also sees the first VIP Branded Entertainment Summit, a closed-door meeting bringing together ad agencies, brands, producers, broadcasters, social media and digital platforms that will be summarised at an open panel session later in the day. On the following day, anyone looking to develop business in China, Japan and Korea, has to attend the inaugural Asia Content Exchange screening and matchmaking event, It remains for me to thank you for your continued support for MIPCOM, to wish you an enlightening read, and to say how much I look forward to seeing you at MIPCOM. Laurine Garaude Director of the Television Division


7432 episodes, 39 births, 88 weddings, 120 deaths and approximately 5000 characters Coronation Street celebrates its 50th year as Europe’s longest running and most loved soap.

MIPTV Stand No: R38.01



MIPCOM Personality Of The Year: Lionsgate CEO Jon Feltheimer


Opening Night Party


Facebook’s Joanna Shields and MSN’s Geoff Sutton

20 Kiss’s Gene Simmons and A&E’s Bob DeBitetto 24 PwC’s Marcel Fenez and MediaLink’s Michael Kassan 26 YouTube’s Jeff Nathenson and Jumpwire’s Gavin McGarry 28 Spotlight On Australia 30 Asian Content Exchange 32 Tandem’s Rola Bauer and Scott Free’s David Zucker 34 MIPCOM NEWCOMERS New faces in Cannes 42 PRODUCT NEWS Content for sale SPECIAL FEATURES 60 68 77 84

TV Drama takes on the movies Programme finance: where to next? Programme finance: can brands fix it? Spreading a little appyness



ROBERT REDFORD IN CANNES ROBERT Redford will be in Cannes to mark the first anniversary of Sundance Channel in France and Belgium. The actor, director, producer — and founder of Sundance Channel — will participate in a Q&A to an audience of MIPCOM delegates, Wednesday October 6, during which he will discuss Sundance Channel’s further international expansion plans.





1x120’ / 2x60’

Stand by for robo-bride! Meet Roxxxy - the world's first sex robot and her fan club!

Powerful, moving and insightful TV. Birth, babies and prison bars.

A Landmark Films Production for

A Firecracker Films production for WEtv

Discovery Health





Real women get a crash course in the art of being fabulous!

The ratings winning duo are back to plan other people’s weddings!

A World of Wonder production for Logo

World of Wonder & Life in the Bowl for Oxygen


CUPCAKE WARS 9x60’ Each week top cupcake makers battle it out in a tasty, tough bake off!



A Super Delicious LLC production for

Food competition show in which two chefs go head to head!

Food Network

An Eye Too Production for Food Network




BATH CRASHERS, YARD CRASHERS & HOUSE CRASHERS ambush DIY shoppers to totally transform their living spaces!

As a woman managing a construction company and motherhood there is only one way to be...

An Idea Factory production for DIY Network

An Original Media production for HGTV



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Lionsgate CEO Jon Feltheimer is MIPCOM Personality Of The Year Jon Feltheimer, co-chairman and CEO of Lionsgate, is being honoured at MIPCOM with Personality Of The Year Award 2010. He is being recognised for his leadership at the helm of Lionsgate and for developing award-winning movies and TV programmes, including Mad Men. He spoke to Julian Newby LIONSGATE describes itself as ‘The leading independent filmed entertainment studio’. A bold claim? “No,” Jon Feltheimer said. “I think it’s pretty accurate. Our intention from day one was to be a diversified company, having film, television, and packaged media, and to do it on a worldwide basis. And I think we’ve accomplished that. The mere size of what we’re doing — approaching $2bn, including our minority interests, our partnership interests and our channel business — puts us in a position where we can confidently say that we are the prominent independent entertainment studio.” Feltheimer said that on the film side, Lionsgate is successful in its attempt to “counter-programme” the major studios in terms of both genre and release scheduling. “In the television area we have two or three businesses,” he said. “We are certainly known as a producer and distributor of some of the most iconic brands that have broken through, particularly in the pay and cable television area — with Weeds, Mad Men and Nurse Jackie. I think with our Debmar-Mercury acquisition three-and-a-half years ago we have also made a very major space for ourselves as the Nº1 independent syndicator-distributor both of other people’s third-party content as well as the shows that we’re doing, like

Tyler Perry’s House Of Payne and Are We There Yet?” Feltheimer also claims the lead as an independent in packaged media. “We position ourselves very strongly as a company that understands how to package and re-package and really mine library.” Deals with YouTube and Netflix and the co-ownership of Epix also places the company as a leader in the quest to “really understand and exploit digital rights in a very creative way”, he added. Feltheimer said that risk-taking and the ability to move quickly is a key to Lionsgate’s success. “You know, every now and then we branch out a little bit and try some things. We quickly understand if they don’t work, and then we move the other way. “I’m very proud of our people on the film side who can quickly do a 360 from a Crash that won an Academy Award, to a Saw, to a Tyler Perry movie — throw Precious in there as well, which turned into an extremely commercial enterprise,” he said. “And I’m proud of our television guys too, who can go from doing a multiple-Emmy-winning

show Mad Men, to doing something like Blue Mountain State, a very commercial enterprise that we’re doing with our partner SGF in Montreal.” When Lionsgate was first set up, every staff member was given stock in the company. “We said ‘You’re building something valuable’. The second thing we did was probably more important: we said ‘We’re not going to have 15 layers of executives here. You are all going to be empowered to make decisions and to run businesses’. And we continued to encourage them to operate entrepreneurially. I think that’s the way you maintain that flexibility, by having people who grab the ball and run with it. I

MIPCOM 2010 Personality of the Year & Keynote Address: JON FELTHEIMER co-chairman and CEO of Lionsgate

Tuesday 5 October 2010 16.45-17.30 GRAND AUDITORIUM

Full MIPCOM Conference Programme inside

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Jon Feltheimer

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think that’s the most important thing for me. I love executives who challenge me. People who want to make decisions and who want that responsibility are the sort of executives I want to work with.” Currently American cinema and television — notably television drama — are enjoying a golden era, and LA-based Lionsgate is reaping the benefits. Could Jon Feltheimer have predicted this 10 years ago, when local programming was king the world over and north American exports were far from their peak? “The answer is that we’ve got an amazingly resilient business, that through every recession and depression in the history of this country, has performed very well,” he said. “And when I hear people talking about ‘sector decline’ I want to put my hands around their necks and squeeze. We experience changes every five years — with cable, then pay-TV, then packaged media, and then there’s digital media and so on — and for me it’s such a beautiful thing, because it’s a way to monetise new revenue streams for something you’ve paid for already. People sometimes say ‘Oh, for the good old days!’ I don’t look at it like that, I think it’s always ‘the good new days’. I think we can continually look forward to innovation on the creative side and the technology side that allows us to monetise new content

When I hear people

talking about ’sector decline’ I want to put my hands around their necks and squeeze Jon Feltheimer

and old content. We’re very excited about this explosion of potential digital revenue that’s happening.” Feltheimer is currently in bullish mood over new developments for the company, including the Tiger Gate Asian pay-TV channel and distributor, a joint-venture with Saban Capital Group; and a partnership with Televisa that will see 10 films a year produced for the north American Hispanic market. Meanwhile, few will have missed the ongoing story in the press of the attempted takeover of Lionsgate by Icahn Enterprises. At press time Feltheimer said that “the main thing is that we want to create value for all of our shareholders, and not just one of our shareholders. That situation has certainly been a little bit of a distraction, but we are operating our company in the way that we want to, and moving forward on most of our strategies and we intend to continue to do that.” Of the MIPCOM Personality Of The Year Award, Feltheimer said he was accepting it on behalf of the whole company. “When you’re in this kind of job you’re asked to accept this kind of thing a lot and typically I’m a little embarrassed and I usually don’t. But when I saw that list of honourees — including my good friend Les Moonves, Dick Parsons, Gerhard Zeiler, Peter Chernin and others — and I thought of it as an honour for our company, I saw it as an opportunity to let the international community know how far this company has come, and let them know what a great job the team working for me has done. It’s a significant honour, and you certainly attract some comment when you agree to accept something like this. I noticed on Nikki Finke’s chat room somebody said, ‘To get that award I thought you had to have a personality’. I thought that was amusing. It’s a great honour for me, but more

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MIPCOM WORLD PREMIERE TV SCREENINGS MIPCOM is hosting a special premiere of a new episode of Mad Men on Monday, October 4, attended by members of the cast of the show. This marks the first MIPCOM World Premiere TV Screening, a new showcase for leading film and television companies to screen outstanding programmes to the international industry. “I wouldn’t say I’m surprised by its success, but that level and intensity of fascination I think is pretty amazing, even in its fourth and fifth year going forward,” Jon Feltheimer said of Mad Men. “I’ll put it simply on a personal level: If I don’t come home almost any night with a new episode, I’m going to hear about it from my wife. I’m fortunate to have been involved in some great shows and each and every one of them is so special. You know what I say to everyone about our business? I say ‘It’s magic.’ There is something magical about the creative process. You just don’t know what is going to make an audience feel something and get excited and so when you do, you just feel incredibly fortunate.” The World Premiere Screening is at 18.00 in the Grand Auditorium, and will begin with the international debut of Lionsgate’s new romantic comedy series Running Wilde, starring Will Arnett (Arrested Development, 30 Rock) as Steve Wilde, a wealthy, immature playboy trying desperately to win, or buy, the love of his childhood sweetheart.

importantly it’s a great acknowledgement for the company.” Jon Feltheimer will be honoured on October 5 during the annual MIPCOM Gala Dinner, which unites the world's leading executives shaping the global TV and digital entertain-

ment industry. Also on October 5, he will share his vision of the future of the entertainment industry with MIPCOM delegates during a keynote address as part of MIPCOM's Media Mastermind series of presentations.

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The best in quality production The Silence

Monty Don’s Italian Gardens



A troubled, hearing-impaired teenager witnesses the audacious murder of a policewoman and is reluctantly propelled into a loud and frightening world. Her Uncle Jim is assigned the case, and when Amelia identifies a drug squad police officer as the killer, he urgently needs to protect his niece. But hiding her from his colleagues jeopardises his career and puts his family at risk.

Exquisite, intriguing, and historically fascinating... world-famous gardener Monty Don takes us on a trip around Italy’s most beautiful gardens – it’s not just a feast for the eyes but an insight into gardens from the early Renaissance, through the Baroque and the Romantic Movement, to the great Italian garden revival of the early twentieth century. An inspiring journey...”

The Cube

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Seven simple physical and mental challenges, performed in this extraordinary environment can win you up to £250,0000. The BODY, mysterious master of the Cube shows it can be done – but even the simplest task becomes fraught with difficulty and pressure. Do you have the strength, nerve and focus to beat the CUBE? Extensive interactive and licensing opportunities.

Hayley Taylor is a woman on a mission – she’s challenging the work-shy to get back to work. With tough love, encouragement and through laughter and tears, she convinces people to confront harsh realities and turn their lives around. She motivates, changes attitudes and aspirations – and overcomes fears.


36 x 60 min

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Cutting edge crime solving.

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19 x 60 min Think running a restaurant is hard? Try opening one. Produced by: Frantic Films

67 x 60 min Investigating the unthinkable.


16 x 60 min After prison, can they cut it in the kitchen?

26 x 30 min Policing America’s wildest college campuses.

27 x 30 min

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Best friends try to cook-up a cupcake empire.

Big city chef searches for world’s freshest foods.

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8 x 60 min Female investigators and the crimes they solve. Produced by: Force Four Entertainment

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Dedicated to saving animals.

Spoiled girls go from living it up, to life on a budget.

Three couples wine, dine and undermine each other.

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BRAND NEW SERIES 13 x 60 min Battling it out for control of the Big Day.

3 x 60 min Man vs. monster snakes.

16 x 30 min Take a hell of a ride with street wear fashion brand Dussault Inc. Produced by: Paperny Films

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Science separates fact from ďŹ ction.

An interior design competition like no other.

MIPCOM 2010 STAND: 07.02 – 09.01


SABAN CHOOSES MIPCOM OPENER FOR POWER RANGERS RELAUNCH THE POWER Rangers are back, and to celebrate, their new owner — and former owner — Saban Brands, is sponsoring the MIPCOM 2010 Opening Night Party. Saban sold the franchise to Disney back in 2001, as part of a deal that also included the Fox Family Channel (now ABC Family) for $5.2bn. It was reported in May of this year that the company had re-acquired the franchise for an undisclosed sum, and its first international outing is at MIPCOM.

Haim Saban

“We are thrilled to be back at this year’s MIPCOM with the tremen-

Japanese programme makers must ‘put relationships before business’ MIPCOM is once again partnering with the International Drama Festival In Tokyo to present a MIPCOM Buyer Award for Japanese Drama, during the MIPCOM 2010 Opening Cocktail Party which takes place at the Martinez hotel on the evening of Monday, October 4. A jury of western buyers select what they consider to be the most exportable Japanese drama among the seven finalists from the Festival, which takes place annually in Tokyo following MIPCOM. Hajime Shigemura had enjoyed some 40 years experience in Japanese television — including with Fuji TV as head of programming, and then Sky Perfect TV — when he took his position as vice-chairman EP at the inaugural Festival some four years ago. During his time at Sky Perfect TV, he observed a change in Japanese viewing habits. “Japanese people started to favour the pay-TV channels that showed programming from Hollywood, or Sky, out of Japan,” he said. “That was when I started to think seriously about developing TV programmes as an exportable product.

Hajime Shigemura

I thought we had to change our approach to content, as well as the ideas behind the content.” The Festival launched during a period when Korean drama was enjoying popularity abroad. “I remember even now, how difficult it was for us to compete against Korean drama,” he said. “The Korean population is half that of Japan, so it is difficult to fund production through their domestic industry alone. In Japan we didn’t have that problem, and so our business model meant that our approach was too domestic.” But the recession has changed everything. “There are fewer ideas for new programmes, but if you have one very good programme, we can make

it sell out of Japan as a format. This is a new business opportunity for us, and the key is to open the eyes of the Japanese production community. They should always be thinking internationally, from the start of the production process.” Shigemura said that a Japanese breakfast at MIPTV this year helped established closer relationships between Japan and foreign buyers, and he expects good things from MIPCOM too. “I believe that it is important to establish closer relationships with China and the other Asian countries, and also with the European and US professionals,” he said. “There’s some good quality drama coming from Eastern Europe.” Shigemura said that Japanese programme makers can learn a lot at MIPCOM, by observing foreign productions and exchanging ideas with foreign programme makers.” He added: “The business model should not be only to create partnerships, but more to create human relationships. To put business before relationships won’t work in this industry.”

dously popular Power Rangers franchise,” said chairman and CEO of Saban Capital Group — and MIPCOM veteran — Haim Saban. “We, along with our international distributor, MarVista, plan to maximise the introduction of the 2011 season to a whole new generation of viewers, making it a worldwide TV phenomenon once again.” Saban’s acquisition from Disney includes all previous 17 Power Rangers series. Series 18 will launch on Nickelodeon in the US in 2011.

Korean Creative Content Agency joins the fun KOCCA, the Korea Creative Content Agency, is a sponsor of the MIPCOM Opening Night Party. The organisation is presenting Korean drama and animation during the evening, and is also staging a concert of Korean music. A range of traditional Korean food is also being prepared for the event. “We are very pleased to be hosting the Opening Night Party for the world’s biggest content market,” said Lee Jae Woong, president of Kocca. “The

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party will provide an excellent opportunity for MIPCOM delegates to learn more about Korean programmes, and experience Korean culture while building relationships and networking with participants in a relaxed atmosphere.” KOCCA’s mission is to export Korean culture and content — including television shows, animation, movies, music, mobile content and games — by connecting Korean content suppliers and overseas buyers.

Lee Jae Woong

MIPCOM’10 04·08 October Riviera, R 33.20


Shields to highlight ‘unprecendented’ opportunties offered by social media JOANNA Shields, gives her first keynote speech to an international audience since her appointment as vice-president EMEA, Facebook, at MIPCOM. Her keynote is the focal point of the MIPCOM conference track Redefining The Entertainment Experience. During her address Shields will focus on “how social media interacts with the entertainment business, while illustrating the business models for content on Facebook, and revealing the plans for driving a

deeper engagement in the context of the intersection of TV and social entertainment”. “Facebook is partnering with leading broadcasters and top show brands to integrate the social graph with live programming to create relevant and personally engaging experiences,” Shields said. “The TV industry needs to take advantage of our platform for both reaching mass audiences and hyper-targeted viewers. It’s an unprecedented opportunity to

change the way brands interact with the public. With real-time conversations, direct responses and customer engagement, we are already seeing a glimpse of future things to come.”

Joanna Shields

Social Media Keynote JOANNA SHIELDS, VP EMEA of Facebook

Tuesday 5 October 14.45-15.20 GRAND AUDITORIUM

Full MIPCOM Conference Programme inside

MSN explains connected business models SCOTT Moore and Geoff Sutton of MSN together give the Connected Experience keynote in Cannes. MIPCOM’s Connected Experience focus is designed to highlight the trendsetters and innovators in this field, to asses the impact of connected television on the media industry, to explore what it means for rights owners, and to determine the right business models for the future. “There are a lot of partnerships that we are involved with, both in the US and internationally, which show how we are bringing connected entertainment to an internet audience,” Geoff Sutton, general manager, MSN international Media, said. “For example with Telemundo in Latin America and RTN in Colombia, where we are showing lots of telenovela content through a video player. It’s advertising funded and that’s going very well.” He added that MSN’s strategy is to

bring a “rich video experience” to viewers wherever they happen to be — “on PC, television, iPhone or iPad”. In terms of the development of MSN’s connected entertainment strategy, Sutton said the company is in the “third phase”. “Video is clearly the future, and it’s clearly an integral part of how consumers view their internet experience, and therefore there is an opportunity to grow. It’s easier to sell now, the ad products are better, the video platform that we have invested in has hugely improved — everything is going in the right way in terms of how we take that forward.” At MIPCOM Sutton said he is aware that delegates will want to hear about business models, which, in the connected entertainment space, have not been clear for some time. “To some partners we are paying licensing fees for content, with others

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Scott Moore

we’re doing revenue share. Certainly the revenue share model works in terms of sharing risks and sharing upside.” He added: “I think the idea of the internet being the Wild West, where content companies don't get their dues, is an old one. We are very much on the side of the content companies and want to build the right models in order that we can work together.”

Geoff Sutton

Connected Experience Keynote SCOTT MOORE, General Manager and Executive Producer, MSN

& GEOFF SUTTON, General Manager, MSN International Media

Wednesday 6 October 9.30-10.15 ESTEREL

Full MIPCOM Conference Programme inside


Protecting the Family Jewels We’re getting used to fly-on-the-wall reality shows. But this one is different, as Julian Newby discovered GENE Simmons Family Jewels is now in production on its sixth season for A&E. And at MIPCOM 2010, the star of the show, Kiss front

man Gene Simmons, and A&E president Bob DeBitetto, will offer insight into the series’ success in the session How To Build An Entertainment Brand. Gene Simmons Family Jewels marked one of A&E’s first forays into reality television, and came not long after the arrival of DeBitetto to the network in 2003. “Biography was a seminal series that really helped invent A&E 20 years ago, and when I arrived it was still on the

Gene Simmons

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A&E Network,” DeBitetto said. “I was trying to figure out how to refresh the storytelling on that series and one of the first ideas I had was to approach a colleague of mine, a producer Leslie Greif, who I knew had a good relationship with Gene. But instead of doing a traditional Biography, we had in mind a special called Out All Night With Gene Simmons — a fly-on-the-wall verite doc, giving the viewer the experience of what it’s like to be Gene Simmons for 24 hours. And when I saw the first cut, where there was an awful lot of footage of him being Gene Simmons the rock star but also a lot of him at home with his family, I thought ‘Wow! This could be a series!’ And I thought about the Osbournes on MTV and a lot of docusoaps that were doing well — and I saw something really incredible about the family dynamic. So in many ways this show had its roots very much in the Biography series.” Most people would be horrified at the thought of cameras recording their every move for TV. But Simmons and family take it in their stride. “Everyone leads their life as if the cameras weren't there,” Simmons said. “And that makes it twice as hard for our TV crew to adjust, because they still have to make sense of it all. But, we're decidedly different from families I've met. And because we are so singular in our sense of ourselves, maybe that's what has made tens of millions of people around the world interested in us for over five seasons.” DiBitetto says that a good business brain was partly behind Simmons’ decision to allow the cameras into his home. Simmons agreed. “I always envisioned spreading the Gene Simmons brand,” he said. “It already

exists in the business community (Cool Springs, in the marketing world (Simmons Abramson Marketing), in publishing (Simmons Books), and in the music world (Simmons Records/Universal Music), but certainly the TV show has taken all of this to another level.” DeBitetto added: “And, he’s extremely proud of his family.” Simmons sums up the stars of his show: “We have two great kids — Nick is 21 and six foot seven inches tall, a chick magnet, a charming young man who is on his way to making his own mark in the world — and Sophie, the queen of the household, co-captain of her volleyball team, MVP, bright and ... well, I can't say enough about her.” And not least: “Shannon, the alpha female of them all, who has a ‘take no prisoners’ attitude about life. Live it to its fullest. And she does.”

Bob DeBitetto

How To Build An Entertainment Brand: Gene Simmons, Family Jewels & Bob DeBitetto, President & GM, A&E Network and BIO Channel Tuesday 5 October 9.30-10.15 GRAND AUDITORIUM

Full MIPCOM Conference Programme inside

Visit us at MIPCOM

Stand R29.23

Basketball Wives

Britain’s Biggest Heists

Meet The Amish

Shed US for VH1: 10 x 60’ (series 2) Being the wife or girlfriend of a professional basketball player has its advantages, but outside the glare of the public spotlight, their lives may not be as glamorous as one might think. In Basketball Wives, we’ll finally get a glimpse into the secret and unique lives of the women behind these men, and we’ll realize that it’s not just the players they’re married to... but also the game. Also available as a format

Title Role for Crime and Investigation Network/ History Channel: 6 x 60’ Britain has been the scene of the crime for the most famous heists in modern history. In this series, rare archive footage provided by BBC Motion Gallery and reconstructions are framed by exclusive interviews with the cops and criminals. This mix provides a tantalising insight into a series of crimes that not only shook Britain but also became notorious around the world.

KEO films for Channel 4: 4 x 60’ With rare access to the notoriously private Amish community, this series follows a group of Amish teenagers travelling to the UK on an extraordinary cultural exchange. During their stay in Britain, the Amish youngsters share their values with their British counterparts as well as learning and understanding what teenage life in the UK is all about. Also available as a format

Who Do You Think You Are?

We Built Titanic

The World’s Strictest Parents

Wall to Wall for BBC1 and NBC UK: 9 x 60’ (series 7) US: 8 x 60’ (series 2) Two brand new series which journey across centuries and continents to uncover the compelling family histories of a wide variety of well known celebrities. Also available as a format

Twenty Twenty for Channel 4: 5 x 60’ When the RMS Titanic embarked on her maiden voyage in April 1912, she was the largest, heaviest most luxurious man-made moving object on the planet. To bring the drama, technological accomplishment and social history of Edwardian manufacturing industry to life, a team of modern day engineering experts attempt to rebuild and restore key components of perhaps the most famous ship in history.

Twenty Twenty for BBC3 and Shed US for MTV UK: 11 x 60’ (series 3) US: 10 x 60’ (series 3) It would appear that the values of discipline, hard work and respect for elders are a thing of the past – at least in some countries. Are parents today just too liberal? These series follow unruly teens as they leave their own family lives to spend ten days living under the rules and roofs of some of the world’s strictest parents. Also available as a format

My Weird and Wonderful Family

Family Gap Year

Ricochet and Dandy Films for Channel 4: 1 x 60 Gay British millionaires Tony and Barrie Drewitt-Barlow hit the headlines when their two children were born to a surrogate mother in the US, using donor eggs and the couple’s sperm. This intimate documentary gets behind the headlines to paint a distinctive portrait of a unique family as the couple try for more babies.

Twenty Twenty for Channel 4: 6 x 60’ What would it be like to pull your kids out of school, say goodbye to your old life and travel the world? Filmed over a whole year this series captures the emotional struggles of six families on extraordinary adventures. Journeys that will push them to the limit, force them to question the very foundations of their lives and teach them what it really means to be a family. Also available as a format


Outlook is good, but PwC’s Fenez says industry must focus on the long-term MARCEL FENEZ, global managing partner at PricewaterhouseCoopers (PwC’s), will discuss the future of the entertainment and media sectors with Nonce Paolini, chairman and CEO, TF1 Groupe, during a session

Marcel Fenez: “Television will continue to hold its share of global advertising”

on Wednesday, October 6. Fenez will draw from PwC’s 10th annual Global Entertainment & Media Outlook report, during the discussion. “One thing that we would caution everyone about is that the numbers we have seen for the first half of 2010 — which have generally been pretty encouraging in a number of markets — need to be taken in the context of what happened in the first half of 2009,” Fenez said. “The rate of decline [in advertising] was obviously much higher in the first half of 2009, and lower in the second half, but they averaged at 12%. It’s hardly surprising, therefore, that when you’re comparing the first half of 2010 with the first half of 2009, you are seeing some very good growth numbers.”

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But there’s better news. “Over a fiveyear period television, globally, will continue to hold its share of global advertising,” Fenez said. “But there is a huge discrepancy between certain key markets. Also, in the short-term, we may have seen advertisers who held back their budgets because of the recession, then suddenly got their budgets released, and needed to make a big impact quickly. So they went back to tried-and-tested media. So we need to look at the longer term.” Changes in consumer behaviour will be “absolutely critical” to the industry. “At the moment consumers seem to be shifting their loyalty away from service providers, and towards their devices. What we’re seeing is an ob-

session with the device, whether its something with an ‘i’ at the beginning, or whether it’s a smartphone or an ereader. The good news is that their loyalty to individual programmes or series actually seems to be increasing.” Marcel Fenez meets BBC?Worldwide’s John Smith on Wednesday October 6, at 10.15 in the Grand Auditorium. PWC Global Entertainment & Media Outlook and Ceo Interview Monday 4 October 16.45-17.30 GRAND AUDITORIUM

Branded Entertainment Feedback Session Tuesday 5 October 15.30-16.30 ESTEREL

Full MIPCOM Conference Programme inside


Madison & Vine ‘is growing up’, Kassan says THE VIP BRANDED Entertainment Summit: Branding The Future, takes place by invitation only, from 09.30 on Tuesday, October 5. A feedback session open to all MIPCOM delegates follows at 15.30 in the Esterel. “There has always been a relationship between brands and content creators,” said Michael Kassan, participant in the Summit, and chairman and CEO of US media consulting company MediaLink. What’s new is that brands are getting involved in content creation at the very earliest stages.” Kassan cited a recent deal between Hollywood’s BermanBraun and Starcom MediaVest Group, the media agency unit of advertising giant Publicis. As part of the deal Starcom gets a first look at all of the online properties created by the production company headed by Lloyd Braun and Gail Berman.

The aim is that the advertising spend exceeds some $100m over four years on BermanBraun sites. “This is a very forward-looking deal,” he said. He also cited the Unilever Mad Men campaign as an example of how brands are engaging with content in a more creative way. Unilever picked the second episode in the fourth season of Mad Men to unveil a marketing push for six of its brands — Dove, Breyers, Hellman's, Klondike, Suave and Vaseline. In each vignette, shown in breaks in the show, viewers saw Phil Smith and Tad Winter, a copywriter and art director working at fictional 1960s ad agency SmithWinterMitchell, developing campaigns for the brands. Like the fictional agency in Mad Men, Unilever's fictional agency is meant to be a challenger to the

Michael Kassan: “Brands are engaging with content in a more creative way”

Madison Avenue establishment. “In the context of what is being called Branded Entertainment,” Kassan

said, “you could say Madison & Vine is growing up — that the industry is now going through puberty.”




YouTube in Cannes to help content partners take commercial advantage YOUTUBE is back at at MIPCOM, and this time it’s serious. Google’s video sharing service is exhibiting at the market for the first time, with a bigger delegation and a quest to form partnerships with MIPCOM delegates. “Basically we would like to reach the broadest possible cross section of content makers and distributors,” said Jeff Nathenson, head of film, sport and music for YouTube in northern Europe. “So we thought it was best to have a physical presence from which our larger team can work. And it’s a place where people can stop by and find out more about YouTube.” So does the traditional MIPCOM delegate approach YouTube with some suspicion? “It’s a combination of suspicion and excitement,”

Nathenson said. “Everybody knows how powerful and exciting it is to be on YouTube and getting new types of content noticed and discovered, but there’s a cautiousness because of the lack of clarity about the revenue model and the potential for revenue. That’s why we are going to have a larger group there, to explain in greater detail our plan for helping the partners who count on us to make money on the platform.” Nathenson said that while everyone likes being on YouTube, what content owners want to know is how can they best take advantage of the commercial opportunities. “In Europe it’s ad-funded,” he said. “Google will place ads against your content. We’re also experimenting in the US with

payment models as well. We have a rental model that has launched there, so people from the US who want to monetise their content in that way can also talk to us.” Nathenson says there is still a difference between YouTube and the online store-front services. “YouTube is a lot more serendipitous. You move so freely among different types of content I think there’s more of a surfing nature in the way people use it. So it’s complementary to services like Amazon and iTunes.”

Working With Youtube: Tales From The Digital Frontier Thursday 7 October 10.00-11.00 AUDITORIUM K

Full MIPCOM Conference Programme inside

YouTube’s Jeff Nathenson: “Everybody knows how powerful it is to be on YouTube”

McGarry offers ‘cross-media building blocks’

Gavin McGarry: “Be in mobile”

WRAPPING up the MIPCOM conference programme on Thursday, October 7, Jumpwire Media president Gavin McGarry aims to tie up the threads from the various sessions that have taken place during MIPCOM and explain what he believes to be “the building blocks of a cross-media strategy”. McGarry’s three keywords are data, video and mobile. “Everybody should be focusing on these three areas,” he said. “There’s all this free data online right now that can tell you so much about your business. Click the tabs under every video on YouTube and there’s all the information you need about who is watching and where. You can even

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see the gender of who is watching this content. The same with Facebook. And all this data is free.” McGarry said that for so long television has been “all about gut and nothing about science”. So how do producers, distributors and broadcasters make it more of a science? “There’s a bunch of things they should be doing. They need to use YouTube as an opportunity to test things, to make sure things are working for them – and as an opportunity to make money. There are lots of kids now that are making $20,000 a month and more on YouTube. Video is the best way to communicate. YouTube is the second-biggest search engine on the

web. Young kids don't go to Google. Google is for old people. We search text; they search video. That’s why video is so powerful.” Where mobile is concerned, McGarry said simply: “You have to be a part of it. Be in mobile. Everyone’s talking about the iPad; they’re shipping 200,000 Androids a day. How do you capture that? Wired Magazine said not so long ago, ‘The Web Is Dead – it's all about mobile.’” MIPCOM Cross-media Wrap-up Session Thursday 7 October 14.30-16.00 AUDITORIUM A

Full MIPCOM Conference Programme inside


AUSTRALIAN CONTENT AT MIPCOM A selection of shows from down-under … • On it’s first visit to MIPCOM Roboto brings its debut production Scariacs, a kids horror show made with seed funding from Nickelodeon Australia … • The Wiggles, a 20-year-old pre-school educational entertainment brand, is now available via mobile media, apps and gaming consoles … • Jonathan M. Shiff Productions has begun filming on new series Lightning Point, about two alien girls who come to live in an Australian seaside town … • Beyond Distribution’s children’s priority for MIPCOM is Toybox, aimed at two- to five-year-olds, where the hosts become toysized and play with toys … • ABC Commercial brings a full range of programming including Swan, a live recording of the popular ballet from Sydney Opera House … • SBS Content Sales brings Tetsuya’s Pursuit Of Excellence, the story of a 22-year-old kitchen hand who became a world-renowned restaurateur in Australia … • FremantleMedia Enterprises is highlighting Cops L.A.C. at MIPCOM, featuring savvy plain clothes detectives set against the backdrop of Sydney …

Opening Keynote Interview with “Ned Kelly” Director Gregor Jordan Tuesday 5 October 10.30-10.50 AUDITORIUM A

What’s Going On down Under Tuesday 5 October 11.00-12.45 AUDITORIUM A

Working With Australia Workshop & Matchmaking Event Tuesday 5 October 14.45-16.00 CONFERENCE NETWORKING ROOM

Full MIPCOM Conference Programme inside

Australia under the Cannes spotlight MIPCOM 2010 hosts a special Spotlight On Australia day, Tuesday, October 5, which features a keynote address from Ned Kelly director Gregor Jordan, a series of Australia-focused conferences, the Australia lunch, a ministerial visit, and other special events. As part of the Spotlight On Australia programme, Australian pay-TV broadcaster Foxtel is launching Slide, its first significant foray into integrated multi-platform content, to the international market.

Foxtel’s director of programming Ross Crowley, and Hoodlum CEO Nathan Mayfield, will discuss the process of devising a multi-platform online and TV drama for the teens and young adults. Filmed in Queensland, Australia, the series will launch with an online prequel followed by episodes on Foxtel to be screened later this year. The drama tracks five teens as they smash their way into adulthood, and uses online and social media to enhance the broadcast experience.

Foxtel’s Ross Crowley

The co-production has Playmaker Media handling the TV platform and Hoodlum looking after digital. The project has attracted investment from Foxtel, Screen Australia, and Screen Queensland. FremantleMedia is distributor.

AUSSIES GO CRAZY OVER MASTERCHEF! AUSTRALIA is in the throes of an obsession with culinary wizardry following a ratings blitz for the second series of Freemantle Media’s Masterchef screened on Network Ten. Around one in four Australians saw the finale which attracted a peak audience of 5.74 million people the highest ratings for a non-sporting broadcast since the current television ratings system began in 2001. MIPCOM’s Spotlight On Australia has attracted one of the stars of Masterchef, celebrity judge Gary Mehigan — co-host of Channel Ten's Masterchef Australia series and Celebrity Masterchef, and soon to be seen hosting Junior Masterchef. He is also the star of Good Chef Bad Chef and Boys Weekend, which airs worldwide in over 100 countries. He Gary Mehigan will be joined by a troupe of Australian celebrity chefs including Janella Purcell and Adrian Richardson and wine gurus Ben Edwards and Dan Sims all represented by talent management agency Chef’s Ink. The team will showcase their talents and dazzle MIPCOM with a taste of Australia at the Official Australian Cocktial Party, Tuesday, October 5.

Tourism Australia on lookout for producers TOURISM Australia is seeking international producers to create Australian-made travelogues and documentaries for international distribution via international free-to-air, cable and online television channels. The search is part of the Cooperative Broadcast Program that will encourage more Australian content to be screened globally. Tourism Australia is interested in working with producers who are

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creating travelogues, documentaries, short films or lifestyle programmes that are aligned to Tourism Australia’s “destination brand-building objectives”, and that are destined for international audiences. Under the Program, Tourism Australia will assess proposals from production houses who are seeking limited financial support. A Toursim Australia representative will be taking part in the Australian

Tourism Austraia: seeking producers for destination brand-building

matchmaking session on Tuesday, October 5, at 14.45 in the Conference Networking Room.











Asian countries take increasingly global approach to production OVER 1,200 Asian participants regularly attend MIPCOM. On Wednesday, October 6, MIPCOM is holding the first Asian Content Exchange, a screenings and matchmaking event deisgned to give greater visibility and commercial opportunities to Asian content. The event focuses on animation, documentaries, drama, and formats from China, Korea, and Japan. Speaking ahead of the event, Yukihiko Amagi, executive vice-president of NHK Enterprises, said that “domestic success is vital for success elsewhere, but having strong content is not enough”. He added: “Well co-ordinated promotion is now a huge part of exporting.” In drama, Amagi said that Korean titles have been in the foreground for the past few years. “But now, I feel the trend is making full circle, and Japan’s dramas are starting to generate real interest again.” He cited NHK’s Princess Atsu, which saw considerable domestic success, and is doing well in other Asian countries. “Expectations are high for Ryomaden, the new series currently on air on NHK,” he added. “We are also seeing interest from Europe for some of our other titles, and we hope to introduce NHK’s acclaimed titles on a wider scale.” In the documentary genre, Amagi said NHK’s products have traditionally done quite well in Asia, but they need to be adapted for the US and European markets. “Re-versioning the original with co-operation from our partners in the US and Europe has worked quite well for us,” he said. “As with cars or electronic goods, we should be

flexible and adapt, so that our highquality titles travel further in countries outside Japan.” Korean drama has enjoyed a high profile on the international market for some years now, as the country has become more aware of the need to produce with foreign audiences in mind. Public broadcaster KBS has sold the action-thriller spy series The Fugitive: Plan B (aka The Runaway) to Thailand, the Philippines and Japan. The series is being brought to MIPCOM with a view to selling it even further afield. Private broadcaster MBC’s new drama, Road No.1, also to be launched at MIPCOM, is a love story that takes place at the end of the Korean War. MBC Global’s senior marketing manager, Jean Hur, said: “We believe that because so many military forces were involved in the Korean conflict this story will have wide international interest. And, of course, a love story has universal appeal.” As part of its strategy to move deeper into international markets, MBC has joined ABU (Asia-Pacific Broadcasting Union), EBU (European Broadcasting Union), PBI (Public Broadcasters International), and NAB (National Association of Broadcasters) and has alliances with 17 high-profile broadcasters in 12 countries worldwide. The second quarter of this year saw China’s State Administration of Radio Film and TV (SARFT) license 42 overseas TV drama titles to be broadcast in China, including four TV drama series co-produced with foreign companies. In the first quarter, SARFT had licensed 24 foreign

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NHK’s Yukihiko Amagi: “We are seeing interest from Europe for our titles”

Korean star Rain stars as Ji Woo in KBS’s thriller series Fugitive: Plan B

TV drama series and five co-produced series. China has been the focus of aggressive deal-making on the co-production front. Argentinean broadcaster Telefe inked its first co-production deal in China in July with Shanghai Media Group to co-produce the telenovela Heartbeats. The script of Heartbeats was specifically written for the Chinese market and the co-production will be shot in China with Telefe directors and producers overseeing the 40-episode project. Meanwhile Metan Development Group comes to MIPCOM having entered into a partnership, in July of this year, with Ruyi Media Group’s film operation Beijing Ruyi Xinxin Film Investment Company (Ruyi

Film), a producer and distributor of film and television content in China. With offices in LA and Beijing, Metan brings western-style entertainment to China and introduces content from China to audiences in the west. According to Larry Namer, Metan president and CEO, the companies aimed to “uncover new strategic ways in which we can work together, as we reach out to global markets and develop the highest quality TV and film projects”. The All-new Asian Content Exchange Wednesday 6 October SCREENING: 10.30-11.15, AUDITORIUM K


Full MIPCOM Conference Programme inside

Metan president/CEO Larry Namer with general manager, Ruyi Media Group Chris Ke

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Photo: Egon Endrenyi, © Tandem Productions GmbH / Pillars Productions (Ontario) Inc. / Pillars Productions (Muse) Inc. All rights reserved


A Masterclass in event television Julian Newby meets the producers of epic drama series The Pillars Of The Earth, Tandem Communication’s Rola Bauer and Scott Free Productions’ David Zucker THE PILLARS Of The Earth, the epic drama series co-produced between Tandem Communications, Muse Entertainment and Scott Free Productions, gets a special screening at MIPCOM as the series starts playing out to audiences around the world. Tandem managing director Rola Bauer and president of television for Scott Free, David Zucker, present an International Co-Production Masterclass featuring The Pillars Of The Earth, as part of the MIPCOM Producers Forum. The series is based on the book of the same name from British writer Ken Follett, which tells the epic tale about the building of a cathedral in 11th century England, against the background of crisis caused by the disruption of the succession to the English crown. “I don’t think this is comparable to anything we’ve ever worked on,” Zucker said. “Working with Rola and her team has afforded us the opportunity to do things that have never been done before. In the American press there has been a lot of reference to how this project is a throwback to the glory days of the event epics in the US that went into dormancy for a great stretch of time,

not because audiences didn’t enjoy and embrace the experiences, but because the American networks and studios could no longer find a way to deliver quality programming on this kind of scale with any certainty.” Zucker said that the rise of epic event programming is partly down to the fact that it gives “upstart broadcasters” the opportunity to make an impression on their audiences and build their schedules from there — Starz, in the case of The Pillars Of The Earth. “With Chris Albrecht coming in (to Starz), this was the first plum that he picked to put out there as he starts building his term.” Technology has moved on too, which means that the cost of producing cinematic productions for television is easier to control. “We shot this in HD, and while we went for the very advanced camera, it was nonetheless allowing us to shoot many more hours than one traditionally does in 35mm,” Bauer said. But she stressed that this was no low-budget operation — as demonstrated by vast sets, multiple locations and an A-list cast. “We were able to do that because we were reaching into different broadcasters who gave us good investment, and by combining that investment

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we were able to get a $40m budget. It allowed us to bring all the elements together and give a bigger production value than most of these broadcasters are used to getting. So while the investment may not be different from the broadcasters local regional productions, the end result is on a cinematic level.” Bauer said that much of the cinematic feel of the finished product was achieved in post-production. “It was an absolute pleasure for me to sit there and watch from an editing point of view how he (Zucker) and Sergio (director Sergio MimicaGezzan) just went right in there and used the footage,” Bauer said. “They were able — with the great editor that we had (Sylvain Lebel) — just

cut, cut, cut and really got into a feeling, and a modern sensibility that is part of the puzzle. You start off with the camera work and you move into the post production — all of these elements, including colour and music, make it a demonstration of how a television event should be produced.” The International Co-Production Masterclass featuring The Pillars Of The Earth is held on Monday, October 4, at 15.45 in the Esterel.

David Zucker

Rola Bauer

“The Pillars of the Earth” Coproduction Masterclass Monday 4 October 15.45-16.30 GRAND AUDITORIUM

Full MIPCOM Conference Programme inside



New faces at MIPCOM Every year MIPCOM welcomes a number of people and companies who have never before attended – or exhibited – at the market. Debbie Lincoln spoke to some of them before they arrived in Cannes...

Graham Norton

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HE UK’s So TV makes its MIPCOM debut at the UK indies pavilion. The company is headed up by British chat show host Graham Norton. The company’s flagship property is The Graham Norton Show, featuring the comedian’s monologues and interviews with international celebrities. There are currently 96 episodes of the show available, with more in production. The company also brings three seasons of Sorry I’ve Got No Head, a 30-minute sketch show aimed at a young audience, and Game Over, a comedy soap set in a computer game. Also in the pipeline is a drama project with the BBC that focuses on British detectives who investigate international crime. The first series will be set in China. “The Graham Norton Show has done really well so far, even without coming to Cannes,” So TV founder Graham Norton said. “Given

that it is a talk show it has always surprised me that it has played so well internationally. But we are in quite a few markets, so if it can be in more, well hooray! It does very well for BBC America. We are in Australia on ABC, we’re in Canada, Norway, we have been on in Brazil, and Israel, they’ve bought it too. “When we piloted it, the producer Graham Stuart wanted a computer on the desk and for me to do things on the internet. And I kind of humoured him. ‘Alright then, you can have your stupid internet.’ Because I think, 12 years ago I didn’t even have an e-mail address. It’s odd how things have changed so fast. “We will pick up on things. In the last series we had Fat Gay Kid who is an American guy who does these video blogs on YouTube. If we find people we like out there then we will pass them on to the television audience. “The company was set up because we had a big long commission from Channel 4 and in business terms it seemed crazy not to produce it ourselves. So the business was self-financing and in profit from the word go. “Really Graham Stuart is the one who drives the other content that the company comes up with. But if it ever came to it that I stopped doing the chat show, which is the main focus of my work, then maybe I would get involved in the other side of things.”



“We are a animation content owner that creates, produces, distributes and markets throughout the world. We are launching several properties this year, and control or own all rights. MIPCOM is the best market to introduce a property, it allows us to meet with global players in a positive and productive setting. “In some ways, I think people sell animation ‘by the pound’. All that matters is the quality and its ability to connect with kids on TV, DVD, downloaded, or as a character license to sleep on or play with. We think we have that! “We did not create 41 Entertainment to add another ‘pound of animation’ to the market, but to serve a specific void and generate the next action oriented hit that has been absent since Power Rangers last decade, and Ninja Turtles the decade prior.“

“Media Vision is a studio combining financing, development, production, Chinese distribution, talent agency, advertising and integrated marketing.


“Fox Telecolombia is a content production company. MIPCOM is an important convention for the entertainment business and this year we are attending for the first time as an exhibitor

“MIPCOM is the premiere industry event and we are looking for partners for international coproductions. Our strategy is to bring our competitive advantages to the forefront in developing win-win partnerships, and we are also exploring buying foreign formats to bring to the Chinese market. There will be opportunities for international companies to partner with Chinese companies to grab a share of the Chinese audience. As our

and our expectations are to meet with clients, seal deals and get to show the world what we are doing. “We are seeking two types of partners: producers looking for new locations and facilities to produce their formats or who need a co-production partner; and channels who need new content. Talent is a crucial to our success — that combined

executives have worked with national broadcaster CCTV and the majority of Chinese regional broadcasters, we are one of the few independent companies that bring access as well as cofinancing ability. The Chinese media market has reached a fever pitch in the last 12 months. Few Chinese companies have focused on the international market. Media Vision is launching an aggressive strategy to carve a niche in this area.

with state-of-the-art infrastructure and a solid business structure. “2009 and 2010 have been positive years for us. We’ve continued with new projects, including new telenovelas showing soon on RCN TV in Colombia. In spite of the tough economic environment we’ve exceeded our production and budget goals.”

JOHN MILLS CEO • VISION IPTV • UK “We build internet based TV products and services and deliver to hybrid terrestrial and IP set top boxes, PC’s and games consoles. We are pioneering the socialisation of online TV. Our application allows viewers to share and comment with their friends or followers. The applications for this are limitless, from humorous effects (shoot the referee) to shopping carts for products on screen. “MIPCOM is the most important meeting for broadcasters and content

producers. A big key to success lies in complementing our expertise with the market knowledge and penetration of our partners. We are open to joint ventures and we invest our own cash in the right partnerships. “We’ve got some great stories to tell about how to get users to pay for content. We’ve spent the past year testing and developing niche internet TV channels that have proved that people are

willing to pay for content if it offers value. With that experience we are excited about the future of internet TV and the profits it brings.”





“Since the company was founded in 2008, the animation industry has been our core business, creation, planning and making children’s programmes, promotion of the brand, copyright management and development, and production and marketing of derivative products. “We have been successful with 3D animation products in China, and we also have some different styles, like paper-cut cartoon work and ink animation. “Our main purpose taking part in MIPCOM is to bring our new TV animation series, Invention Story, and find some international buyers and distributors at the market. Since it is our first time taking part in MIPCOM, communication and co-operation are our basic goals. We also want to meet international distributors and buyers to see if there are any possibilities to take part in co-productions.”

“MIPCOM is the global TV showcase and if you want to expand you've got to be there.It’s as simple as that. My expectations include selling documentaries from our 2010 portfolio and to pitch ideas to produce in 2011. “The basic strategy is to engage in networking, MIPCOM-style. I am interested in connecting with documentary buyers, and I am aware of the challenges of the market for a first-time seller, but I rely on the quality

of my products. “VitriMedia expresses the Portuguese ability to work as a standpoint between Europe, South America and Asia, blending it in our programming, working on stories we understand. After all, we invented globalisation! “We’ve produced six new documentaries and launched three web-based projects, with partners such as the European Commission and Portugal’s public service TV broadcaster. We’re on our way

up and MIPCOM is the perfect venue to keep expanding.”


“We provide a complete service in animation

production from layout to composition, not only in 2D, but also digital. We have professional and experienced artists and painters working to produce all styles of animation. “The main aim of taking part in MIPCOM is to know more information about the changing animation field, and which programming is popular in the

KAREN KANG GENERAL MANAGER MEDIATV INTERNATIONAL SERVICE • HONG KONG “MediaTV International Service (MediaTV), registered in Hong Kong since 2002, acqiures international programmes and distributes them to the central and local TV stations in China. The company is committed to its mission of enhancing the cultural exchange between China and other countries around the world.

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“MIPCOM provides us with the good opportunity to obtain up-to-date programming information and materials on-site. MIPCOM also serves as a good platform for us to build up good communication channels with all prospective venders for future co-operation.”

current market. We would like to take this opportunity to let more potential clients know about us, and our work. “Because we have experience in animation production and services we hope we can help and work with another studio that is looking for a team to develop and complete a project. As well as 2D, we are testing CGI, I think that will be another important focus in the future.”

272 eps x 24 min I.M.P.S. Rue du Cerf 85 B-1332 Genval (Belgium) Tel.: +32 (0)2 652 02 20 Fax: +32 (0)2 652 01 60




“Astral Studios, in operation for 20 years, provides the entire production package from concept to broadcast delivery formats and owns full intellectual property rights on all productions.

“Asahi Broadcasting Corporation (ABC) is a TV and radio station established in Osaka in 1951. We started the first commercial station in Osaka — the second largest city and advertising market in Japan, and ABC is one of the key stations of TVAsahi network. We produce programmes and supply them through our network to various stations across Japan. “ABC would like to compete in the international TV format

market. At MIPCOM we are prioritising a reality show about medical science called The Medical Check-up Horror Show. “ABC will strive to develop new formats by making partnerships with international TV format companies. We have a lot of carefully produced reality shows and factual programmes. Also ABC has developed many formats and has strengthened its

international sales department.”


“MIPCOM has the reputation of being able to effectively take TV products to the international market. Our strategy is to learn the latest trends and what broadcasters want, the latest technology and formats, to evaluate our productions and to meet buyers, distributors and commissioning editors, and to sign up sale agreements. “Our unique selling point is that we have completed TV series within the edutainment genre for children and teens and the adult health genre. We include highly specialised 3D animations in all our productions. This year we are developing our workflow pipeline to improve the performance and quality of our 3D animation.”

“We are the affiliated company of East Japan Railway Company Group, our business is unique as it is active in a variety of fields such as the advertising for the railway company, investment in Pokemon in TV and film, general advertising and promotions. “We are at this MIPCOM as a producer and investor of new variety show Bungee Like You

Mean It. This MIPCOM will be the best opportunity to establish a new genre for our business, to experience the format business, and network with prospective companies. “Business models have changed in Japan, and to catch up with this change, we need to shift to new more profitable business models such as global production and sales.“


“Bankside Films is a sales agency, new to the TV sales market, comprising professionals who have been

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in the industry for more than 60 years. Bankside has enough titles in its catalogue to attract buyers in a competitive market, we feel comfortable coming to MIPCOM to establish relationships with broadcasters who are looking for quality films. “It is important for us to create a core group of distributors with whom we

hope to do repeat business, to get to know the distributors and broadcasters individually in order to assess the best way of working together. “Bankside has expanded in the last 12 months in many ways. We have raised our stakes in the cinematic market, investing more in the production of films and expanding our executive producer services.”




“Our film company, New Era\ Time\ Novoe Vremy, was founded in 2006, and produces documentaries, entertainment programmes, and online broadcasts, including political and celebrity interviews. Over the past 12 months the company has grown three-fold “MIPCOM is the biggest marketplace in the world. Our strategy is to take a leading place among companies producing historical documentary films, and look for distribution and licensing of our content.”


“Chungnam Techno Park is a government-supported organisation established to incubate local visual content ventures and promote them to the level of global leaders in their field. “As a former marketing manager in an animation studio I used to attend this MIPCOM, so I experienced its power. I do not under-estimate the opportunites to meet global magnates and veterans in one place, in one week. “I’m certain that our 3D content, animation and feature films make us unique among other contenders. In the next 12 months we expect huge changes for our clients”

“Throughout the last 70 years Bandeirantes has reached Brazilians through television, radio, newspapers, internet, mobile and the multimedia sector. “For the first time we‘ll have a stand on MIPCOM. Professionals from the whole world now have an entrance to high quality Brazilian production through Band. In my experience as a buyer for many years, I understand the market’s specific needs. So

Band plans to develop products on a tailor-made concept, helping clients save time and costs, providing them with creative tools and maximising the use of our products. We intend to transform our buyers into partners so we can go forward with continuous negotiation. “In the last 12 months several global companies have overcome worldwide economic difficulties. They arrive at MIPCOM as strong


is integrated with software development, production, and animation talent training. “MIPCOM is the world's largest audiovisual and digital content transaction platform. This event will bring major benefits for the expansion of Bluecat’s international co-operation. Our international marketing strategy is to introduce creative talents, establish


“Bluecat Animation is one of the first and largest original animation enterprises in mainland China, with programmes broadcast for more than ten years in over 1,000 television stations in mainland China. The company

buyers looking for innovation.”

international copyright and industrial channels, and introduce high-quality partners to enter the Chinese market. “Bluecat needs help in the area of international copyright and globalisation and is actively looking for a partner in this regard. Thus, we achieve a perfect combination of Chinese and Western elements.”


“The Krakow Film Commission is a part of the Krakow Festival Office, providing a database of specialised companies and a list of locations, assistance in securing rights to locations and streamlining cooperation with city services. Another benefit is the possibility of financial support from the Krakow Film Fund. Since May, we have been one of three film funds that have created the

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Polish Film Commission. “The commission works to promote all regions of Poland, and encourages film-makers create films in Poland. As MIPCOM is the largest industry event of its kind it is obvious that a Polish delegation is here. “We are looking to engage with foreign producers. Poland is a country with every type of location: lakes, sea, mountains, and unspoiled natural settings.

The unique construction of its cities means that Krakow, for example, can become Paris on screen.”


Content for sale Five exhibition floors full of multi-platform content from around the world. Where do you start? The MIPCOM Preview gives you a taste of what’s on offer in Cannes…

Sing it out VOICE coach Elaine Overholt has worked with John Travolta, Renee Zellwegger and Catherine Zeta-Jones, and in Big Voice (13 x 30 mins), brought to MIPCOM by Portfolio Entertainment, she uses her talents with everyday women to help them realise their musical potential, culminating in a stage performance. The Canadian company also brings Everyday Exotic, Season 2 (26 x 30 mins) in which host Roger Mooking explains how to use exotic seasoning in everyday food.

RAI TRADE’s MIPCOM slate includes: The Rimet Trophy, a documentary telling the story of the Jules Rimet World Cup football trophy, from 1928 to the present; and new feature film I Am With You, the story of Mary of Nazareth, the mother of Jesus, a co-production between Magda Film and Colorado Film, in collaboration with Rai Cinema. Also in development is a new thriller film, Gorbaciof, and The Lost World Cup, about the 1942 World Cup in Patagonia, unrecognised by football’s governing bodies. Elaine Overholt, Big Voice (Portfolio Entertainment)

Crime stories

MARVISTA Entertainment’s MIPCOM family roster is topped with feature film 16 Wishes, starring Debby Ryan and Jean-Luc Bilodeau. A co-production between MarVista and Disney Channel, the story features Abby (played by Ryan), a teenager who can’t wait to grow up, and when she is given the chance to make all her wishes come true, quickly learns the importance of being careful what you wish for.

ALL3MEDIA International is highlighting two new drama series at MIPCOM. The Silence, from Company Pictures, is a thriller in which a teenager’s life is under threat after she witnesses a murder. The second project, Accused, from RSJ Films, is a series in which each hour-long episode is a separate story about how one individual finds themselves accused of a crime.

So much ...

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ARGENTINA’s Flor Latina brings new comedy drama Easy Money (26 x 26 mins) to MIPCOM. It is the story of Rolo, a security guard with mounting financial problems, an ex-wife who is ill, and a teenage daughter about to graduate. He finds that he has to break down his own prejudices and beliefs to achieve the welfare of his family.

Made in Italy

Making a wish

16 Wishes (MarVista Entertainment)

Money troubles

THE UK’s So TV headlines its MIPCOM slate with The Graham Norton Show, featuring the comedian’s monologues and interviews with international celebrities. There are currently 96 45-minute episodes available, with more in production. The company also brings three seasons of Sorry I’ve Got No Head, a 30minute sketch show aimed at a young audience, and Game Over (26 x 30 mins) a comedy soap set in a computer game. Also in the pipeline is a drama project with the BBC that focuses on British detectives who investigate international crime. The first series will be set in China.

Live laughs THE UK’s 4DVD, Channel 4’s wholly-owned DVD distribution arm, is at MIPCOM with its latest UK comedy project Rhod Gilbert & The Cat That Looked Like Nicholas Lyndhurst, a live show featuring the Welsh stand-up comedian.

White House confidential THE OBAMA White House: Through The Lens (1 x 52 mins), is a co-production between National Geographic and ProSieben, and is brought to MIPCOM by distributor NGTI. Obama’s official photographer Pete Souza follows the US President into key political and social situations — from giving speeches and hosting dinners, to playing with the family dog. The film also documents the work of the first lady, Michelle Obama.

The Obama White House: Through The Lens (NGTI)


Blossoming love

Heads ... and tales

Following Hanna

BRAZIL’s SBT is highlighting its new telenovela at MIPCOM. A Rose With Love is a romantic comedy about a single 32-year-old who hasn’t dated since she was jilted by her fiance. To help her French boss stay in the country she agrees to marry him. What begins as a marriage of convenience becomes a real love affair.

TWO TALES Of A City is a travel show with a twist, brought to MIPCOM by the UK’s OPTL Worldwide. Produced in 3D and HD, each episode opens with the flip of a coin to determine which of the two female hosts will have either $100 or $5,000 to spend for a weekend exploring an international destination. The show is produced by 3D World Tours, Canada.

ZDF ENTERPRISES returns to MIPCOM with an extensive catalogue of TV movies and factual programmes. From the film slate comes Hanna – Follow Your Heart, the story of a romantic triangle of friendship, betrayal, and jealousy; and Mission In Africa, that features a German ambassador in Zambia who is asked for help by an old flame working for an aid organisation. From the factual genre comes License To Drill, a six-part series featuring a team of natural gas drillers from Canada’s far north.

The hard facts

Land Of Genesis (Cinephil Distribution and Co-Production)

ISRAEL’s Cinephil Distribution and Co-Production is prioritising two documentaries at MIPCOM. Land Of Genesis explores the landscape and wildlife of Israel, the meeting point of three continents with five distinctive climatic zones. Women Of Hamas is a rare account of the lives of the women supporters of the Hamas group in Gaza. Political leaders, social welfare workers and mothers of suicide bombers are profiled. The film was co-produced with SWR, Germany.

Hanna – Follow Your Heart (ZDF Enterprises)

Now showing THE UK’s Bankside Films is at MIPCOM for the first time this year with a catalogue of feature films. Accidents Happen, set in 1980s suburbia, stars Geena Davis as the mother of an accident-prone teenage son in a story of loss and life lessons. Coffin Rock is a thriller featuring a psychopath who becomes a stalker after a one-night stand. Another priority is romantic comedy In Search Of A Midnight Kiss starring Scoot McNairy.

Real works of art FREMANTLEMEDIA Enterprises (FME) is launching Work Of Art: The Next Great Artist (10 x 60 mins). The show features 14 aspiring artists who compete in weekly creative challenges in the hope of winning a solo show at the prestigious Brooklyn Museum, and a generous cash prize.

Shows for the home CCI ENTERTAINMENT brings its recently expanded lifestyle catalogue to MIPCOM. New titles include: The Heat, set in the kitchens of one of Canada’s most renowned chefs; Mark McEwan; The Fix, which features a British contracting team repairing DIY disasters; Save Us From Our House, that follows the team of a relationship strategist and contractor who help unhappy homeowners; interior shows Divine Design and Colour Confidential; and Fearless In The Kitchen, which aims to find the inner chef in terrible cooks.

Filling the gap

Work of Art The Next Great Artist

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FREEMANTLEMEDIA North America brings a new 10-part series of Hole In The Wall to MIPCOM, scheduled to air on Cartoon Network in the US. Production is imminent on the show in which two families compete to combat a series of moving barriers with changing cut-out shapes — and avoid the pool of water. The show launched in Japan in 2006, and the format has since travelled the world. FremantleMedia North America is also set to produce — with SyCo Television — talent show The X Factor for launch in the US on Fox next year.


Ancient traditions

It’s a knockout

MEDIACORP returns to MIPCOM with three HD documentaries. Transmission: Listening To The Mountain’s Message (52 mins) looks at disappearing aspects of mountain life in Japan, including tree cutting, slash and burn agriculture, and roof thatching. Red Box (52 mins) profiles Chen Xihuang, the son of a renowned Budaixi puppet master, a traditional art form of Chinese opera using hand puppets. Finally, The Great Indian Arranged Marriage (52 mins) looks at this tradition in its modern form.

Knockout Boxing (Octapixx Worldwide)

Transmission: Listening To The Mountain’s Message

KNOCKOUT Boxing (52 x 120 MINS) is a weekly boxing event delivered by live satellite transmission, or on delay to broadcasters around the world, providing a sampling of world title championship and regional fights, eliminator bouts and up-and-coming contender competitions, as well as archived classic fights. The concept is brought to MIPCOM by Octapixx Worldwide. The company also brings season two of State Of Style (20 x 30 mins), a high definition tour of the world of fashion.

Facing the dilemma BANIJAY International launches new reality show, Dilemma, to the international market at MIPCOM, following its premiere on M6’s digital terrestrial channel W9 in France. Contestants are isolated from the outside world for eight weeks, with the show’s cohost. The winner is the last person remaining after a series of challenging personal dilemmas. The series was developed by Banijay’s creative department and ALJ Productions.

Harrowing tales LIGHTING Entertainment’s MIPCOM 2010 lineup includes new thriller The Chameleon, starring Marc-Andre Grondin, Famke Janssen, and Ellen Barkin; and new horror title Needle, a gory voodoo tale. Also, principal photography has begun on new action film Blood Hostage, about a rescue mission in Lebanon.

Animal S.0.S. ONE OF Los Angeles-based Rive Gauche Television’s new reality projects at MIPCOM is Poacher Wars, a co-production with Canada’s Stonehaven Productions, which follows an elite team hunting down organised crime syndicates behind the second most lucrative criminal activity on the planet – animal trafficking.

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Couples therapy

High seas adventure

LAST Date? is a format from Spain’s ZZJ Studios that offers couples — in the middle of a separation — the chance to make a documentary about the history of their relationship. At the end of each episode the couples comment on the experience. The show is from Endemol France and has been adapted and produced in Turkey by V-Yapim.

THE SPARROWHAWK (6 x 52 mins) is a family adventure series that makes its first appearance on the international market at MIPCOM. Available later this year from AB International, the series features Yann de Kermeur, the Sparrowhawk, who is accused of a crime he did not commit, and has to face his enemies and prove his innocence.

Criminal minds MIPCOM first-timer Island Pictures is prioritising two projects at the market. McKenzie Friend is a drama series, developed with the UK’s BBC, about a convicted killer who developed an encyclopedic knowledge of the law while behind bars. Now, out on day-release, he finds a job with a young female solicitor which allows him to solve crimes and fight legal battles — before returning to his cell every evening. Secondly, the Scapegoat, developed with ITV, is an adaptation of Daphne Du Maurier’s 1957 novel about a man who takes over the life of his wealthy doppelganger.

Sparrowhawk (AB International)

Heavy warfare BREAKTHROUGH Entertainment debuts season two of factual series, Greatest Tank Battles, at MIPCOM. The 10-part series offers a tank commander’s view of some the deadliest tank battles ever fought, brought to life by computer-generated animation, with technical analysis by military historians.


The best of Hollywood

Freedom Riders (PBS Distribution)

CABLEREADY brings its new series Hollywood’s Top 10 (30 mins) to MIPCOM. The series focuses on the top 10 of everything in movies, including kisses, car chases, villains and Bond beauties. Also, new episodes are available for: Hollywood Dailies, featuring the newest movie trailers; Secret’s Out, uncovering hidden movie gems; Spotlight and Movies And Music; and, What I Learned From The Movies (10 x 30 mins), a comedic take on the life lessons movies give us.

Confronting the big issues PBS DISTRIBUTION, a joint venture of PBS and WGBH-TV Boston, headlines its MIPCOM slate with three HD documentaries. Freedom Riders (113 mins), tells the story of a group of black and white Americans in the early 60s who risked their lives to challenge racism by riding the bus together into the Deep South. God In America (6 x 53 mins) explores the American religious marketplace fuelled by waves of new immigrant faiths and religious innovation. Finally, Stonewall Uprising (83 mins) recounts the dramatic evkents leading up to the Stonewall Inn riot that announced the arrival of the gay rights movement.

Channels want factual JAVA Films is at MIPCOM with documentaries from Current TV (UK) after an agreement, first discussed at MIPTV earlier this year, to distribute their programming. Priorities include Incest: The Last Taboo, which has been picked up by TVE, TSR, RTP, Planete Poland and Pramer; and Bride Trafficking Unveiled, which has been licensed by DBS, SIC, Pramer and The Documentary Channel.

Flight from terror

Take your partners…

SEVENONE International, ProSiebenSat.1 Group’s sales arm, is bringing more than 50 new programmes to MIPCOM. Highlights include: The Sleeper’s Wife (90 mins) a thriller featuring a woman who discovers that her husband is a terrorist sleeper, and in fear of her and her son’s life travels to Sudan; Blackout (90 mins), where a giant power failure plunges the city of Berlin into a deadly turmoil; and period drama The Whore (120 mins), based on the successful novel by Iny Lorentz.

Eyes Closed (52 mins/68 mins) is a new documentary produced and brought to MIPCOM by Digitalsquad. The film is a passionate exploration of Argentine tango looking at the glamour, seduction, spectacle and music. Eyes Closed is to be released theatrically across Italy with worldwide broadcast, online and mobile media availability to follow on. The film is a Digitalsquad production in association with Arte France and produced and directed by Simonetta Rossi.

Domestic goddesses

The Sleeper’s Wife (SevenOne International)

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THE REAL Housewives format is to move to Greece after a deal struck between the creator NBC Universal and Antenna, for a 10-episode series produced by Big Sun Media. Local versions of the show are also under way in Italy, France, Australia, Israel, the UK, and Germany. The Real Housewives is a reality show giving an insider view of the lavish lifestyles and real life dramas of five “housewives" and their families in upscale urban communities.

Adding Spice to life COMCAST International Media Group (CIMG) debuts new 10-part, half-hour reality series from The Style Network, Mel B: It’s A Scary World, to international buyers at MIPCOM. From the pop group Spice Girls to dance entertainment show Dancing With The Stars, Mel B has become an international celebrity. This show follows Mel and her husband, Stephen Belafonte, and two daughters as she juggles family and career. Mel B: It’s A Scary World (CIMG)

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Celebrating Latin music

New job on the table

ALFRED Haber Inc. (AHI) comes to MIPCOM with the distribution rights for the 11th Annual Latin Grammy Awards telecast. The celebration of Latin music airs live on the Univision Television Network on Nov. 11, 2010. This year’s ceremony begins with a star-studded one-hour red carpet pre-show, followed by the three-hour live music show that honours the best in the world of Latin music. The show is also available in an edited, two-hour English-language international edition.

A NEW format is launched at MIPCOM by Zodiak Rights, called The Boss Is Coming To Dinner (25 x 30 mins). Each boss spends a week to recruit someone by conducting the interviews at the candidates’ house, while the candidates prepare and serve dinner. The show is an RDF Television format, commissioned in the UK by Five and Discovery UK, and in Australia by Network Nine.

Colombian artist Juanes, a big winner at last year’s Latin Grammy Awards

Monster set-ups

Shooting for cash

FIREWORKS International is at MIPCOM to launch a new HD series that blends comedy, horror and reality. In each episode of Freak Encounters (16 x 30 mins) unwitting participants (nominated by a friend or family member) believe they are part of an investigation into unexplained creatures — from werewolves to giant spiders and alien hybrids — not realising it is a set-up with actors. Real experts provide background to the mythical monsters.

AETN International brings its first competition series to MIPCOM. In Top Shot (10 x 60 mins/HD) 16 professional and amateur marksmen compete for a $100,000 prize, in challenges using weapons and techniques from different eras in history, from muskets and modern pistols to slingshots and knives. The format rights are also available.

Variety from Brazil BRAZIL’s Globo returns to MIPCOM with a range of programming across genres. Highlights include: GloboDOC (7 x 45 mins) covering Brazil’s wildlife, culture, science and personalities; telenovela Paradise City (120 x 45 mins); Sketch It Out, in which a well-known comic actress interprets everyday stories from women; and Profession Reporter, where a TV reporter leads a team of rookie journalists in the production of a news story.

GloboDOC (Globo)

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Fun at work COMEDIANS At Work, from Armoza Formats, is now in its sixth season on Israel's Channel 2 Reshet. In the format comedians perform different jobs for a day, returning to the studio to perform a stand-up routine based on their experience. The show has been commissioned by RTL Germany, and produced by Endemol. Called Stars At Work, the German version will be headlined by celebrities, who will try their hand at standup comedy.

Room for improvement EXTREME Makeover’s Ty Pennington presents a new interior design show brought to MIPCOM by Cineflix. Inside The Box (13 x 30 mins) challenges contestants to makeover rooms in 48 hours, each using the same materials. At the end Pennington reveals his CGI design. Whoever makes the best use of the materials provided wins a prize.

Glorious 39 (The Works International)

Eclectic mix THE UK’s The Works International is at MIPCOM with a slate of new films, including: Stephen Poliakoff’s World War II thriller Glorious 39, starring Romola Garai, Bill Nighy and Julie Christie; zany Irish comedy Zonad; Greenlandic debut Nuummioq; art scene satire Boogie Woogie; fact-based Italian terrorist thriller The Front Line; and Belgian crime story Dossier K.


Films from Bavaria TV DISTRIBUTOR Bavaria Media Television is prioritising two German feature films from its slate at MIPCOM. Takiye – Blinded By Faith (90 mins) is a political thriller about a young Muslim who has to tell the truth about a crooked investment fund. On a lighter note, Here Comes Lola (96 mins) tells the story of a nine-year-old girl who has a passion for Brazilian music, lots of imagination and a need for a best friend.

Somewhere to hide TELEWIZJA Polska (TVP) is putting a focus on fiction at MIPCOM with Venice, a film set in the second world war where a cellar becomes a place of hiding and refuge from cruelty. TVP also brings the third season of The Days Of Honor, a series about a young vet living in Warsaw, and new 13-part reality series Mountain Rescue Team.

Can’t buy me love

Venice (TVP)

New games show

The clear facts

INTERACTIVE Entertainment (17 x 30 mins) is a new HD series focused on video gaming and brought to MIPCOM by Global Telemedia. The series previews, and reviews, new games and systems, and offers tips from gaming experts. Through the show’s website, viewers can upload videos, ask questions, and offer their own reviews. Season two is now in production.

GRB ENTERTAINMENT is launching 39 hours of new HD Discovery titles at MIPCOM. Highlights include: US Marshals: Operation Falcon (2 x 60 mins), following a manhunt; How Stuff Works (7 x 60 mins); JFK: The Ruby Connection (60 mins); Prehistoric Assassins (2 x 60 mins), a look at how dinosaurs hunted; Killer Crocs (60 mins); and Monster Bugs (60 mins).

Uncovering Egypt

Texas trickster

THE UK’s factual producer TV6 is in production on a six-part series about ancient Egypt. The series, titled Hidden Egypt, explores early tombs and pyramids, the world’s largest brick structures, and vast underground tunnels. The monuments reveal a complex culture that is not yet understood, with new discoveries made all the time.

NEW DRAMA Lone Star will head Twentieth Century Fox Television Distribution’s MIPCOM slate. The series follows a charming Texas con-man as he schemes to take control of the family oil business while leading a double life — one with his wife and the other with his girlfriend. The show stars James Wolk, Adrianne Palicki, Eloise Mumford and John Voight.

LIONSGATE returns to MIPCOM with a diverse line-up of programming. From the creators of Arrested Development comes Running Wilde, (13 x 30 mins), a romantic comedy starring Will Arnett as a self-centred heir who has everything money can buy except his childhood sweetheart. Big Lake, (10 x 30 mins) is about a former financial whizkid who is forced to move back in with his parents after the stock market collapse. This Is Not My Life (13 x 60 mins) is about a man who suffers memory loss following an accident. Through flashbacks, he catches glimpses of his real identity.

Shocking Soviet truths

Hidden Egypt (TV6)

FRANCE’s ZED is at MIPCOM with two HD documentaries about the Soviet regime. Firstly, Cannibal Island (52 mins) tells the story of 6,000 "unwanted" people who were sent to an island in Siberia. They suffered such extreme hunger that they became cannibals. The KGB Dissident (52 mins, HD) profiles a KGB officer who was secretly helping and protecting dissidents.

Running Wilde (Lionsgate)




A holy journey

Suspicion and seduction

THE EGYPTIAN Radio and TV Union (ERTU) brings a range of programming to MIPCOM, including dramas, musical and animated children’s shows, and a range of documentaries including Journey Of The Holy Family, which traces the journey taken by Mary, Joseph and Jesus into Egypt.

DARO Film Distribution returns to MIPCOM with a new TV thriller Seduced By Lies, the story of a woman who becomes suspicious of her boyfriend when her best friend is murdered. Daro holds worldwide rights, excluding the US and Canada. Daro also brings three films from SyFy Channel — Ice Road Terror, Killer Mountain and Commander Jim.

Look at the facts FACTUAL titles from UK distributor Electric Sky include: World’s Tallest Man (52 mins), the story of 8ft 1.2-inch tall Sultan Kosen from Turkey; World’s Fattest Man (2 x 60 mins), about the 70 stone-man undergoing surgery to save his life; Working Lives: Human Traffic (5 x 30 mins); and new show First Love (5 x 60 mins), available as a format, in which five famous faces rediscover their first musical love.

Exploring the world EXPLORA Films brings its latest history, nature and travel productions to MIPCOM. La Joya And The Warriors In The Mist (52 mins), focuses on the Peruvian Chachapoyas culture, including their intact funerary chulpas, andthe mummified bodies. 3 Rhino Stories (52 mins), is an HD documentary about Kenyan black rhinos, a baby Indian rhino and the jungle rhinos of Borneo. The Spanish company also brings The Water Factor (52 mins), looking at what people face to gain access to water.

Seduced By Lies (Daro Film Distribution)

Modern-day criminals FRANCE’s MK2 is in production on Hackonomics: Story Of The Hacking Generation (52 mins), an HD documentary about how computer piracy has left an imprint on different industries. The film features the politicians and lawmakers, and portraits of hackers — some have been ruined, incarcerated, and even assassinated, while others have become rich and powerful.

High-energy docs

Soul on stage

GERMANY’s Albatross World Sales is launching its new factual catalogue at MIPCOM. Highlights include: The Agency – The Tethered Watchdogs Of The IAEA (52 mins), looking into the work of the International Atomic Energy Agency; The World’s Greatest Balloon Adventures (5 x 52 mins), which is in development and available for pre-sale; Human Elephant Warfare – Can Chili Peppers Save The Elephants: (52 mins); As The World Eats: Pizza/Falafel/Hamburger/Sushi (4 x 52 mins); and, Operation Wunderland (3 x 52 mins) about ‘nation building’ in postwar Germany.

GRAND Angle Distribution (GAD) brings a 52minute live concert by renowned singer and bass-player Meshell Ndegeocello to MIPCOM. In her career she has played with David Bowie, Alicia Keys and Chaka Khan among others. The Paris-based company also brings Bashisha, Koina, Helinda : Women From Another India (52 mins) about the state of Meghalaya, where the balance between the sexes is carefully preserved, and Clear Water Therapy (52 mins) about the therapeutic benefits of fasting.

How to lose a million THE MONEY Drop is a live game show format created by Endemol UK, originally broadcast on Channel 4. Contestants are given a million pounds, and answers to the subsequent eight questions are displayed on trap doors. The contestants have to put their money on the right answer. If they are unsure, they can spread the money, but if the answer is wrong their money is lost through the floor. A pilot has been commissioned by Fox in the US.

The Money Drop (Endemol)

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Meshell Ndegeocello (GAD)


Eagle’s adventures IMAGINA International Sales brings The Red Eagle to MIPCOM, an adventure series produced by Globomedia for TVE in Spain. The second season has just aired on TVE and a third series and movie is in production.

Engineering the past

Journey To The West (Celestial Pictures)

Walking for our sins JOURNEY To The West (60 x 45 mins) is one of the biggest budget Chinese TV productions. Adapted from a classic Chinese novel, it tells the story of a Buddhist monk’s journey to India to retrieve holy scriptures as an act of atonement for the sins of the world. The series is brought to MIPCOM by Hong Kong-based Celestial Pictures, which is also showcasing six Kung Fu movies at the market.

WE BUILT Titanic (5 x 60 mins), brought to MIPCOM by Outright Distribution, provides a glimpse of British engineering at its peak by looking at the lives of the working class men and women who built the Titanic, at its maiden voyage the largest, heaviest and most luxurious ship ever made. In the series a team of modern-day engineers work from Titanic’s original plans and attempt to rebuild structures from the ship, from a 30’ft section of the steel bow, to components of the gentleman’s first class smoking lounge.

Slaves revolt Saving the world DEUTSCHE Welle’s new magazine programme Global Ideas (52 x 6 mins/13 x 30 mins) features people across the world pursuing innovative projects to counter global warming. Each episode has four reports from different continents on diverse subjects, available in five languages: English, Spanish, Arabic, Portuguese and Chinese.

Showing their metal

Built into history HUNDRED Wonders Of The World (13 x 52 mins) is a new documentary series that profiles architectural monuments around the world. The series, brought to MIPCOM by Cinexport, is available in French and English and the first two episodes are available, with the rest slated for the following quarter.

OFF THE Fence (OTF) brings 350 hours of new programming across a range of genres to MIPCOM, including: Slaveship Mutiny (60 mins), the story of 147 slaves from Madagascar who overpowered the Dutch crew and took over the ship forcing them to sail back home; nature series Life Force (6 x 60 mins); Downsized (8 x 60 mins) is an inspirational story of a bankrupt affluent Arizonian family who go back to basics; and Excavating Jesus (60 mins) a film that attempts to connect the archaeological dots.

Extraordinary tales Scrappers (Entertainment One)

ENTERTAINMENT One brings two new reality shows to MIPCOM. Scrappers is an uncensored look at a group of Brooklyn boys trying to make ends meet in the cut-throat world of scrap metal —friends one minute, fighting over scrap the next. Men With Brooms profiles a group of men in the small town of Long Bay who play in a local curling club that has seen better days.

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DCD Rights is prioritising four programmes from its catalogue at MIPCOM: HD series The Bionic Vet (6 x 3 mins) profiles a pioneering vet using bioengineering technologies; You’re Cut Off (8 x 60 mins) features an eightweek rehabilitation programme in the US designed to transform spoilt women under the guidance of a life coach; Danger Coast (10 x 30 mins) follows Miami-Dade County's waterborne Marine Operations Bureau; and, Gator 911 (10 x 30 mins), set in an adventure park in Texas.

Slaveship Mutiny (OTF)


Compete for a seat EXTREME Musical Chairs is a fast-paced competition format in which 20 daredevils race through five physically demanding rounds as they compete to claim the last chair, and a cash prize. The series, brought to MIPCOM by MEG, puts musical acts centre stage in the arena for maximum atmosphere.

Family business

Discover Science (NHK)

Demonstrating science NHK's NEW series Discover Science (26 x 14 mins) aims to present science in an entertaining way, with demonstrations such as using a 50m-long whale-shaped balloon to see if a person can be lifted off the ground using heat from the sun, to show thermal air expansion. Another episode uses traditional Sumo wrestling to illustrate a scientific theory. The series is a co-production between NHK, NHK Educational and Al Jazeera Children’s Channel.

Haunting love

New from Quebec

TWO WOMEN, both named Elena, fight for the love of one man, one a new bride and one a ghost, in Elena’s Ghost (130 x 60 mins) from Telemundo International. When newlyweds Elena and Eduardo start their lives together in the home he shares with his family, they discover that it is haunted by the spirit of his jilted first love, who committed suicide.

MONTREAL-based La Presse Tele is heading its MIPCOM slate with two formats. Firstly, The Parents, a scripted family comedy, that has already gone to Poland, Russia and Israel. Secondly, A Star’s Life In Lyrics, a who where a guest celebrity revists their past in music, a kind of musical biography.

DRG BRINGS the scripted format and finished episodes for Finland’s primetime crime drama Easy Living (12 x 60 mins). Easy Living is based around the secret life of a ruthless bankrupt business entrepreneur, whose son commits a robbery bringing the whole family into the web of crime and deceit. Season three is airing on MTV3 now. DRG also brings new seasons of the UK’s Doc Martin to MIPCOM.

Gordon Ramsay’s b-word CHEF and TV celebrity Gordon Ramsay goes in search of gastronomic excellence in Ramsay’s Best Restaurant (11 x 60 mins), brought to MIPCOM by Optomen International. In each show — from the eight heats through to semi-finals and grand final —Gordon pits the contenders against each other in a series of challenges.

Our life in their hands!

Elena’s Ghost (Telemundo International)

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INSECURITY (13 x 30 mins) is an action comedy series about the men and women of the fictional National Intelligence and Security Agency. Special agent Alex Cranston and her team take on mission vital to international security to get the bad guys… just. The series is brought to MIPCOM by Tricon Films & Television.

Easy Living (DRG)

Thema’s ethnic offering THEMA has developed over 50 TV channels all around the world and built strong relationships with major platforms including IPTV, DTH, CABLE, WEBTV and Mobile TV in France, Europe, Middle East, Africa and Asia. Thema is at MIPCOM to showcase ethnicthemed packages — including: The African Bouquet; The German Bouquet; and The Indian Ocean Bouquet — and is looking for partners who need linear TV channels or content for VOD (SVOD) services.


Putting people first

The drama of dance

WINDROSE, the Parisian distributor, is at MIPCOM with a range of new documentaries. Included are: People, Just People, looking at the work of NGO health volunteers in Mongolia; 211: Anna, about the Russian journalist, Anna Politkovskaïa, who was murdered (the fifth anniversary of her death is in 2011); Indians Like Us, featuring a group of French people who identify with Native Americans; In Meroe’s Kingdom: Mouweis, A Town Under The Sand, about archaeologists making discoveries in an Egyptian royal city; and, Menahem Pressier, about the composer and pianist who went on exile in the US to flee Nazi Germany.

VERTICE Sales’ MIPCOM movie slate is headed up by Amor De Dios, a musical play based in the prestigious Spanish Dance School, in a story that mixes tango, salsa and Flamenco. The Spanish company also brings the mini-series Karabudjan, a six-part story of a young publicist who investigates the disappearance of his best friend’s sister.

Amor De Dios (Vertice Sales)

People, Just People (Windrose)

The best of health

Bullrun for your money

A HEALTHY You (26 x 3 or 4 mins) is an educational, informative lifestyle series targeting health issues in a format that is ideal for programming inserts and citizen awareness projects, brought to MIPCOM by South Africa-based production house Astral Studios. The show also used 3D animation for demonstratiooons of the human body. Also in production is Do Me A FlavA (13 x 24 mins), a cooking show hosted by a comedian who is joined by an expert in a specific cuisine to prepare a special dish and discuss the relevant culture.

LONDON-based sports and action programming distributor, RDA TV, debuts reality series Bullrun (10 x 60 mins) at MIPCOM. This series sees 12 teams of male and female car fanatics compete for $200,000 prize money, over 4,000 miles packed with explosive challenges. Other shows from RDA include Real Madrid TV, Copa America 2011, Ultimate Fighting Championship, Total Non-Stop Action Wrestling and DTM Touring Cars.

Undercover of the night MEXICAN broadcaster and producer TV Azteca is showcasing its new series When Night Falls (18 x 60 mins) at MIPCOM, a drama series that delves into the underbelly of urban life, it’s characters and strange stories.

UK’s longest-running drama The $100 challenge TURKEY- and UK-based Global Agency brings a range of formats to MIPCOM. In The Big Challenge, 12 contestants are left in a foreign city, given $100 that they can add to with work they find, and are eliminated weekly based on who has the least amount of money left. In contrast, My Ex Is My Witness, follows six ex-couples as they reunite under one roof and witness their ex-partner’s path to a new marriage. The company also brings drama series Secrets Of Eden.

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ITV STUDIOS Global Entertainment brings the new, 60-minute drama Florizel Street to MIPCOM. As the UK’s longest running drama Coronation Street reaches it 50th Anniversary, Florizel Street takes viewers back to 1960. Young writer Tony Warren has a dream of bringing to life on television characters from the North of England that he knew and loved. The film charts how this dream became reality, and how on the eve of broadcast the name changed from Florizel Street to Coronation Street. Florizel Street (ITV Studios Global Entertainment)

Deals get done.

Show Classifieds


Make Money! Share your video content with the world. Make your programmes come alive in facebook, LinkedIn or any other social network. Deliver broadcast TV and engage global audiences with creative apps. We invest for the right content. See it in action: Vision IPTV, stand G3.20 Contact: Edward Bird - Marketing Director +44 (0)20 7636 7474



An X-Rated Family

8x52' MIPCOM News # 1 MIPCOM News # 2

Contact: Marie-Laure Hébrard Stand TVFI number 02-15 Ph: 33 1 47 23 90 35 - M :33 6 31 18 64 10 -

Highlight your programmes and services in the Daily News “Show Classifieds” section. Sales deadline: Tuesday 28 September 2010 Contact: Tel : + 33 (0)1 41 90 49 89


D R A M A’ S G O L D E N A G E ?

TV drama takes on Television drama is attracting big-name casts and innovative storylines and structures. But it needs more than that to make lasting success, as Max Leonard discovers


S THIS a golden age for TV drama series and mini-series? Thanks to the relentless drive towards the lowest common denominator in mainstream highbudget movie-making, big-name acting, directing and writing talent is forsaking the silver screen and TV is arguably the new home of satisfying, thoughtful and exciting narrative fiction. Yet behind the scenes the stakes are high and there’s enough jeopardy to make a compelling script. Channels must take risks on prestigious

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drama at vast expense in the face of fracturing audiences. If they succeed in rallying a posse around their flagpole, the rewards are substantial: long-running series bolster the channel’s brand and engender key audience loyalty — and provide a dependable goldmine of ad revenues, if that’s your thing. However, it’s a tricky path to negotiate and even successes have a shelf life. Tim Kring’s Heroes, for instance, had been a global series staple since 2005, but in May was cancelled by NBC. Kring has since moved on and

is working on Conspiracy For Good, a complex, multi-platform story that weaves a fictional narrative into part-staged real-world events. Nevertheless, he warns against writing off TV drama. “I think it's still a very powerful and potent medium and it's still the way to get the most audience to gather around a single event. It still has the ability to capture people's imagination.” The increasing clutter of the global TV industry arguably presents producers and distributors with as many opportunities as headaches.


The Lost Future (Tandem Communications)

the movies Pay TV, for instance, is now reaching critical penetration levels in many territories outside the US, supporting high-budget programming and giving edgier ideas the niche they need. “I'm very interested in working in cable and premium pay channels because their programming can skew to a particular demographic, which can be really interesting to take out internationally,” says David Ellender, global CEO of FremantleMedia, citing Killing Time (10 x 60 mins), a law drama starring David

Wenham, which is being made by FremantleMedia Australia for TV1. The series is one of the first original commissions for the Foxtel platform channel. In addition, in the UK, Sky is entering stand-out drama commissioning: Going Postal (2 x 120 mins/All3Media), based on the popular Discworld novel by Terry Pratchett, launched at MIPTV this year, and full episodes can be viewed at MIPCOM for the first time. Local programming Europe-wide is thriving, despite the huge and continuing popularity of American

series and mini-series. Jens Richter, managing director of SevenOne International, points to slight declines in audience share for US drama as opening the door to more European innovation. SevenOne International is bringing Sat1’s hits Danni Lowinski and Last Cop to MIPCOM — the former about a sassy beautician- turnedlawyer who gives legal advice to society’s underdogs for a dollar a minute, the latter about an unreconstructed 1980s cop struggling to make sense of how his life and job have changed after he wakes up from a 15-year coma. Both 60minute dramas have had second series commissioned, bumping them up to 26 episodes each — the sort of numbers that attract international buyers. Not only can such shows provide consistency for advertisers, Richter argues, but also big-budget local programming gives channels the edge. “Local content, especially on primetime, is key,” he says. “If everybody only runs American shows, it's difficult to create a profile for your broadcaster. Everybody's in search of their own edge: what's the edge of my channel, how can I build my profile differently to the other guys?” Charles Schreger, president of international distribution at HBO, agrees: “The number one thing that broadcasters are looking for is what

they can create locally, but if you then go to what they'd like from programme suppliers, American programme suppliers, that is, they want hours.

Everybody's in

search of their own edge: what's the edge of my channel, how can I build my profile differently to the other guys? Jens Richter

“Number two, they want big event series that they can't produce on their own because they don't have the scope or they don't have that kind of cast.” HBO’s Boardwalk Empire (13 x 60 mins), produced by Martin Scorsese and written by Terence Winter of The Sopranos, traces the origins of the East Coast Mob in the 1930s. Schreger predicts the drama, starring Steve Buscemi, will have an even bigger impact than Spielbergassociated The Pacific, as, unlike the $200m mini-series, it may run and run. HBO is also showing a teaser of




Danni Lowinski (SevenOne International)

This Is Not My Life (Lionsgate)

Mildred Pierce (5 x 60 mins), starring Kate Winslett and directed by Todd Haynes, as well as the third season of True Blood (36 x 60 mins in total), the titillating series which, unlike Twilight on the big screen, has made the supernatural sexy. True Blood is just one of many properties on offer that demonstrate the value of continuity. Being Human (8 x 60 mins/Zodiak Rights), the BBC3 supernatural comedydrama, is also at the market in its third season, and is accompanied by Being Human USA (13 x 60 mins), the US franchise that will air on Syfy in early 2011 and whose storyline, after the first two episodes, diverges significantly from the UK original. Most eagerly awaited, perhaps, is Tandem Communications’ World Without End, the follow-up to its critically acclaimed Pillars Of The Earth, the historical epic based on Ken Follett’s blockbusting novel about a medieval town, Kingsbridge, and those involved in building its cathedral. Pillars Of The Earth, coproduced with Scott Free Television premiered on Starz in July and has sold to more than 140 territories. The 8 x 60 mins World Without

If you have a clear artistic vision for

what your show is, and keep within that, you have a better shot at being memorable and distinctive Marion Edwards

End, also set in Kingsbridge, is being funded, in part, by pre-sales; Starz has already invested, and Tandem is looking for more partners. “To finance the project we need the partners on board at an early stage, so it’s very important they see the quality we deliver,” says Bernhard Schwab, Tandem’s head of sales. “Scott Free has the same quality thinking as Tandem, and that’s what our broadcasters expect from us.” Tandem is also continuing to sell Pompeii, the four-hour miniGoing Postal (All3Media)

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series developed with Sony Pictures Television, Scott Free and Peace Out Productions. Co-productions of all flavours — from true creative collaborations to strategic international investments — are, understandably given the stuttering global economy, numerous. However, there is also a creative impulse behind them, an attempt to make an internationally popular show that is not what Marion Edwards, president, international television, Twentieth Century Fox Television Distribution, calls “international pudding –shows that are trying to be everything to everyone. She adds: “I believe if you have a clear artistic vision for what your show is, and you keep it within that wall, then you have a much better shot at being memorable and distinctive.” But how can you avoid international pudding? Ellender says Fremantle is increasingly putting money into de-

velopment and script funding, and working with producers such as Ash Atallah (The Office, Trinity) from an early stage. Fremantle is not alone: BBC Worldwide is working with indies from casting onwards to ensure a distinctive, saleable product. Outcasts (8 x 60 mins, for pre-sale) follows a group of settlers in 2040 as they struggle to adapt and create a society on a distant planet, says Sarah Doole, BBC Worldwide’s director for comedy and drama. She worked with Kudos Productions and co-producers BBC America to secure Hermione Norris, Ashley Walters (Bullet Boy), Jamie Bamber (Battlestar Galactica) and Eric Mabius (Ugly Betty). And, for The Deep, a 5 x 50 mins thriller about underwater exploration and ecology, Orla Brady and James Nesbitt (Cold Feet, Murphy’s Law) are teamed with Minnie Driver and Goran Visnjic (ER). “Casting is becoming more and more important,”

The Last Cop (SevenOne International)

Doole says. “A really nice, mixed cast just gives the series a better chance of selling.” Submarine and extra-terrestrial escapism have an obvious draw but history can provide a similar jolt. “For an audience today, even topics like the Tudors feel fantastic,” says Eric Welbers, Beta Film’s managing director. “Obviously, history is a common ground, especially between European networks. But it's

not always easy to agree — I remember when we did Napoleon we had everybody around the table except the British because they wanted more Trafalgar!” Beta Film is majoring on history at MIPCOM, including an actionpacked re-telling of the Hindenburg disaster (2 x 90 mins). The €11m show has effects by Pixomondo, which worked on the movie 2012, and stars Greta Scacchi and Lauren




Haven (E1 Entertainment)

Boardwalk Empire (HBO)

Lee Smith (CSI). Beta Film is also bringing an Alan Bleasdale-scripted BBC co-production, The Sinking Of The Laconia (2 x 90 mins), and God’s Mighty Servant (2 x 90 mins), about a nun who worked for Pope Pius XII. “These are two of the very few stories of the Second World War that haven’t been told yet,” Welbers says. Even historical drama must have strong genre appeal to succeed in today’s market, he adds, and, looking at the range of drama at MIPCOM, police- and law-based shows seem predominant. CBS Studios International is offering a contemporary take on the classic Hawaii Five-0, alongside Blue Bloods, a cop drama starring Tom Selleck as a New York police chief presiding over several generations of his own family, and The Defenders, about two Las Vegas attorneys, one hard-living and one hard-working, who go all-in when representing their clients. Also from the US is Fox’s Ride Along, a gritty cop series with a distinctive Chicago setting, written by Shawn Ryan (The Shield, The Unit) and starring Jason Clark, Jennifer Biel and Delroy Lindo. Franklin & Bash, from Sony Pictures Television, leavens the mix with some escapist entertainment. It follows a pair of “ambulancechasing lawyers with souls”, as Keith Le Goy, president, international distribution, Sony Pictures Television, describes them. “Combining light-hearted drama with plenty of comedic moments, it's a classic fish-out-of-water tale with some great buddy interplay. The demand for high-quality drama with meaningful characters is as high as ever, but networks are looking for the next great show that offers viewers a distraction from their day-to-day worries. Even the dramas have a light touch to them.”

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Over the pond, British crime drama “is now established,” says Tobi de Graaff, director of global TV distribution at ITV Studios Global Entertainment, “as having a certain sort of colour and pace.” Runaway (5 x 60 mins), a new drama from Martina Cole, has a similar 1960s gangland setting to previous success The Take. Vera is another ITV Studios offering, starring the respected Brenda Blethyn as an unconventional detective. It started as a one-off but is now a trio of featurelength shows thanks to a re-commission from ITV1.

Local producers are learning how to adapt telenovelas into primetime series. The

continuity is helping them bring the audiences back on a weekly basis Karina Etchison

Thorne (Fireworks International) is a new franchise adapting Mark Billingham’s popular novels, starring Natasha McElhone (Californication), and David Morrissey (Centurion, State Of Play) as Detective Tom Thorne. All3Media, meanwhile, is promoting Accused (6 x 60 mins for BBC1), by writer Jimmy McGovern, starring Christopher Eccleston, Juliet Stevenson and Mackenzie Crook. The company is also selling The Silence, a mini-series about a hearing-impaired girl who witnesses a murder, and using MIPCOM to unveil a new Inspector Barnaby, for

Midsomer Murder’s 14th season. Marathon and Capa’s Braquo (the name is French slang for “hold-up”) is directed by Olivier Marchal and is at MIPCOM in its second series (8 x 60 mins), available from newly merged Zodiak Entertainment and RDFRights. Managing director Jane Millichip is excited about prospects from the production companies handled by the distributor now known as Zodiak Rights. “Marathon's got an amazing history in French drama, but we’ve also got Yellow Bird in Sweden, which is behind Wallander, and now Touchpaper in the UK: three amazing drama production companies which we hope will coproduce in the future.” No less fertile ground is the booming international telenovela business, fed on the mix of twisting plots and high melodrama, and the forms appeal to the desirable young, female demographic. Miami-based Telemundo Internacional is selling Elena’s Ghost, in which the humble Elena marries millionaire Eduardo only to find, after a whirlwind romance, his mansion is haunted by the presence of his previous love, also called Elena. Argentina’s Telefe Internacional, meanwhile, is offering Secrets Of Love, about a lawyer’s romance with her junior employee, and The Resistance, a new property aimed at the teen market, a growing concern for telenovela producers. “There's been some growth of telenovelas for the kids and family market, and you'll see those going into channels such as Disney and Cartoon Network in Europe,” predicts Cathy Payne, chief executive of Endemol Worldwide Distribution, which, aside from its extensive catalogue of telenovelas, is concentrating in Cannes on English-language series, which have been bolstered by its acquisition of Australia’s Southern Star. Offspring (13 x 60 mins) is the


story of an obstetrician, Nina, her boisterous family and chaotic romantic life. Telemundo’s Karina Etchison, vicepresident, sales, EMEA, also identifies formatting as a growth area: “I think you'll see more of them being remade in certain markets as opposed to selling the finished show. Local producers are learning how to adapt telenovelas into primetime series. I think they're becoming flexible with what they can do with a product, and the continuity is helping them bring the audiences back on a weekly basis. There's a fidelity that holds the channel in a strong place.” In the European stronghold of the telenovela, Germany, ZDF Enterprises is offering episodes of its long-running domestic favourite Forbidden Love, and Hanna – Follow Your Heart (130 x 45 mins), a continuation of the successful Alisa – Follow Your Heart. SevenOne International, which holds rights to the local version of Betty La Fea and produced Love Is In The Air, is selling Anna (Producers At Work/ORF), about a shy girl’s struggles for success in the ad business. Often, however, it’s the unclassifiable shows that provide the intrigue. Haven, based on a Stephen King story, follows an FBI agent investigating strange phenomena in an isolated town. “In terms of the dramas, I think crime procedurals or action procedurals are the way to go,” says Martin Irusta, senior vice-president, programming and acquisitions, NBC Universal Networks International, which is premiering the E1 show produced for Syfy. “That's why we're looking at science fiction from a point of view — it’s a crime procedural with a supernatural aspect to it.” NBC Universal’s close cousin, NBC Universal International Television Distribution, is focusing on The Cape and The Event. The former is

about a disgraced yet honest police officer who assumes the identity of his son’s favourite superhero. The Event is a conspiracy thriller following a man’s search for his missing fiancee. This Is Not My Life, a paranoid technology thriller from Lionsgate, adds to its slate of distinctive programming by offering the story of a man who wakes up to a perfect life he is convinced is not his. Set in New Zealand, it stars Charles Mesure (V; Hercules: The Legendary Journeys; Xena: Warrior Princess) as the scientist who finds his own memory-tampering invention used against him. Fox’s Lone Star features another man living a lie: a conman juggling two families in Texas. “It's fascinating drama about how many people live their lives in shades of grey to some degree,” Edwards says. “He is living on the razor's edge of morality, but he is himself definitely wanting to be a better person, to get out of the world of the con that his father is determined to keep him in.” Disney Media Distribution is offering something of a breakaway from traditional drama. My Generation, created by Noah Hawley (The Unusuals, Bones), follows a group of people who graduated together in 2000, and fleshes out the intervening years’ stories by referring to real events and splicing the fictional characters into archive news and documentary footage. What to make of it all? The last word goes to Kring: “We saw last year there's a vast sea of competition and it becomes harder to break out from the pack. There's a lot of noise and a lot of clutter, but every year one or two of these shows break out and prove there's still a very viable model in traditional television.” Drama buyers will have their work cut out at MIPCOM as they place their bets on this year’s winners. There’s no doubt the search will be exciting and worthwhile.

The Cape (NBC Universal International Television Distribution)

Vera (ITV Studios Global Entertainment)





Breaking down barriers Barriers that have kept many Asian producers out of the drama arena are coming down, thanks to lessons learned from US global hits. Marlene Edmunds reports


SIAN players, flush with success in selling top drama titles regionally, are increasingly looking to gain an expanded global profile for their titles and the increased distribution income that comes with it. Differences in business models, production values, storylines and cultural sensibilities have created hurdles for Asian drama. But producers in Japan, Korea and China now believe they can match globally the success of US studio dramas such as CSI and 24. The International Drama Festival in Tokyo (IDFT) has partnered with the Shanghai Television Festival and Seoul International Drama Awards Festival to increase awareness and understanding of the region’s drama, says Shingo Saito, director of the IDFT bureau. “Our aim is spread the word and little by little bring more global awareness of and

Colors’ Na Aana Iss Desh Laado

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attention to Asian drama.” The Tokyo festival was launched in 2007 by a group of broadcasters, producers and other organisations. At MIPCOM last year, the IDFT in partnership with Reed MIDEM launched the MIPCOM Buyer Award For Japanese Drama and this year returns as sponsor of the event, which has content buyers based in Europe selecting the best Japanese titles. “The event has been significant in opening up new opportunities for Japanese drama,” Saito says. Public broadcaster NHK has picked up several international awards for its drama, the latest being the Prix Italia for Keishi Otomo-directed The Vulture: Part I: Buy Japan Out. The broadcaster’s popular historical costume drama slot has attracted year-long series: Princess Atsu (2008) and Heart Of The Samurai (2009), which have also done well abroad. This year’s hit, Ryomaden: The Legend, also directed by Otomo, has been pulling audiences shares of over 20% per episode, says Fumio Narashima, head of the programme development centre for NHK. Ryomaden is also expected to have considerable international appeal, says Yukihiko Amagi, executive vice-president, NHK Enterprises. “Ryoma is one of Japan’s most popular historical figures but he was also responsible for pushing feudal Japan into becoming a modern nation. [The series] also stars one of Japan’s top musicians and celebrities, Masaharu Fukuyama. All in all, we feel fairly confident that the qualities that have made this drama so popular in Japan will also make it a successful international crossover.”

Public broadcaster KBS shows how Korea, along with China and Japan, has become more savvy at producing for the international market. KBS recently sold its action thriller spy series The Fugitive: Plan B (aka The Runaway) to Thailand, the Philippines and Japan, and is confident the launch at MIPCOM will bring in more territories. “This is without question a drama with all the elements,” says KBS content business office manager Seungha Gim. The Fugitive tells of the smuggling of large sums of money out of the country after the Korean War, and the cast includes superstar Rain (Ninja Assassin), Daniel Henney (XMen Origins: Wolverine) and Korean actress Lee Na-young. “It’s being shot in Korea, Japan, China, Hong Kong, Thailand and the Philippines, and, frankly, has all the ingredients of an international spy thriller,” Gim says. Political tensions between the two Koreas are clearly on the minds of producers and scriptwriters as well as audiences. MBC’s new drama, Road No1, also to be launched at MIPCOM and featuring top Korean actors Soh Ji-Seop and Kim HaNeul, is a love story that takes place at the end of the Korean War. MBC Global’s senior marketing manager, Jean Hur, says: “We believe that because so many military forces were involved in the Korean conflict this story will have wide international interest. And, of course, a love story has universal appeal.” Romantic Korean comedy dramas such as My Wife Is A Superwoman have had success in Latin America, not surprisingly, Hur says. “Romance, intrigue and gorgeous actors and ac-

CONFERENCES Deals get done.


Jon Feltheimer, Co-Chairman and Chief Executive Officer, Lionsgate

Rola Bauer, Partner, Managing Director, Tandem Communications

MIPCOM WORLD PREMIERE TV SCREENINGS David W. Zucker, President, Scott Free Television


Marcel Fenez, Global Entertainment & Media Leader, PricewaterhouseCoopers

Joanna Shields, VP EMEA of Facebook

Nonce Paolini, Chairman & CEO, TF1 Groupe

Scott Moore, General Manager and Executive Producer, MSN

Michael Poryes, Co-creator & Executive Producer, Hannah Montana

CELEBRITY FEATURE: How to Build an Entertainment Brand: Gene Simmons, Founding Member, KISS; Star and Executive Producer, Gene Simmons Family Jewels

Bob DeBitetto, President & GM, A&E Network and BIO Channel

Geoff Sutton, General Manager, MSN International Media



Rethinking the Business.

A new world of possibilities for your content.

Monday 4 & Tuesday 5 October

Wednesday 6 & Thursday 7 October

Format business, insight from the producers

The new publishing revolution and the impact of apps

THE FORMATS SUPERPANEL: Rob Clark, President of Worldwide Entertainment, FremantleMedia ; François de Brugada, CCO/ EVP Creative & Commercial Affairs, Banijay ; Alex Mahon, President, Shine Group ; Tom Toumazis, Chief Commercial Officer, Endemol...

Rich media apps. Tablet devices.

ENTERTAINMENT MASTER CLASS: Tangible solutions on cost effective models for formats production.

Shaun Barriball, Founder & CEO, Mobile IQ ; Sunil Gunderia, VP Digital, Disney Media Distribution ; John Jelley, Producer, Sky ; Saku Tuominen, CCO, Entertainment, Zodiak Entertainment ; Dan Witters, UK MD, Kiwa…


Production incentives in France Discover new sources of financing and co-production models and hear from: Patrick Lamassoure, Managing Director, Commission Nationale du Film France ; Olivier-René Veillon, Director, Ile de France Film Commission...

Transmedia content show & tell A special screening session exploring new ground-breaking transmedia productions.

INTERNATIONAL CO-PRODUCTION MASTERCLASS A major case study on the innovative development model behind the epic eightpart “The Pillars of the Earth” TV miniseries premiering on Starz and Channel 4.

Don’t miss this unique programme of sessions featuring the thought leaders of new publishing ecosystem. Featuring:

Connected TV and online video The future of connected digital entertainment as defined by the new digital players, broadcasters and rights holders. Featuring: Michael Comish, CEO, Blinkbox Duccio Donati, EVP, Comcast International Media Group Dan Marks, Head of New Media, ProSieben Jim Packer, EVP, MGM Avner Ronen, CEO & Founder, Boxee Vassilis Seferidis, Director, Samsung Electronics Europe...

Thursday 7 October

WORKING WITH YOUTUBE Content creators and distributors discuss how they are using YouTube and where it fits within their stategy. Learn what works, what doesn’t and what’s next on the world’s largest digital video platform.



09.00 - 09.45

09.00 - 10.00



Foyer Auditorium A

09.30 - 10.15

09.45 - 10.45


HOW TO BUILD AN ENTERTAINMENT BRAND : Gene Simmons, Family Jewels & Bob DeBitetto, President & GM, A&E Network and BIO Channel Grand Auditorium SPOTLIGHT ON AUSTRALIA

10.50 - 11.50

PRODUCTION INCENTIVES IN FRANCE Followed by Matchmaking Conference Networking Room

10.30 - 10.50



11.00 - 12.45

12.00 - 13.00



Majestic Hotel (By Invitation)

Auditorium A

13.15 5 - 14.15 13.0 00 - 14.15



Exclusive e at MIPCOM! Grand Au Auditorium

Carrlton Hotel, La Côte

14.30 - 16.00

14. 4 30 - 15.30

13.00 - 14.30

LUNCH 14.45 - 16.00



Conference Networking Room

Auditoriu i mA


15.45 - 16.30



16.45 - 17.3 7.30 0


BRANDED ENTERTAINMENT SUMMIT : FEEDBACK SESSION Open to all MIPCOM Participants Esterel 16.45 - 17.30

18.00 - 19.30

MIPCOM WORLD PREMIERE TV SCREENINGS “MAD MEN” AND “RUNNING WILDE” *Doors open at 17.45 / Grand Auditorium 19.30 Onwards



KEYNOTE 2010 PERSONALITY OF THE YEAR: Jon Feltheimer, Co-Chairman & CEO, LIONSGATE Grand Auditorium m

18.30 - 20.30

PRODUCERS’ COCKTAIL Vega Luna Beach Restaurant






Deals g get done.



08.00 - 09.15

09.30 - 10.00



Conference Networ orkingg Room

Foyer Auditorium K

09.30 - 10.15 10.00 - 11.00

CONNECTED EXPERIENCE KEYNOTE Scott Moore, Executive Producer & GM, MSN & Geoff Sutton, General Manager, MSN International Med dia



Auditorium K

10.30 - 11.30




10.30 - 11.15

11.15 - 12.30



Auditorium K 11.15 - 12.45


Auditorium A

Conference Networking Room

12.45 - 14.15

12.45 - 14.15



Ma estic Hotel, Salon Dinard Maj

Conference Networking Room

14.30 - 15.00

THE NEW PUBLISHING REVOLUTION KEYNOTE Auditorium A 14.30 - 16.00 15.10 - 16.25


MIPCOM CROSSMEDIA WRAP-UP SESSION Presented by: Gavin McGarry, President, Jumpwire Media Inc. Auditorium A

Auditorium A

16.30 - 17.30


17.40 - 18.30



Programme Subject to Change



THE PERFECT MATCH New business. The right partners. Deals get done. Monday 4 October

Production incentives in France matchmaking Discover the French tax rebate policy, already profitable for BBC’s Merlin, Inception and Hereafter!

Meet the film commissions & media funds Find the best location to film your production of tomorrow and discover the incentives from Film Commissions worldwide. Tuesday 5 October

Working with Australia workshop & matchmaking Discover how working in Australia can create opportunities that exist nowhere else. Wednesday 6 October

The new publising ecosystem networking cocktail Meet the leaders behind the newest content production and distribution channels offered by app publishing.


Spotlight on Australia

Asian content exchange

Tuesday 5 October

Wednesday 6 October

Discover what’s going on down under:

Your passport to new content and contacts from the leading markets in Asia.

Cross Platform Content & Alternative Revenue Streams. 360 Programming: New Co-production. Australia’s Broadband Future. Featuring: Ross Crowley, Director of Programming, Foxtel ; Guy Gadney, Director, The Project Factory ; Marcus Gillezeau, Producer/ Director, Firelight Productions ; Jarod Green, Creator of KEYNOTE Beached Whale/Director INTERVIEW Radical Love ; Ian Hogg, CEO, FremantleMedia Australia ; Andrew Lambert, General Gregor Jordan, Manager Content Acquisition, Film Director, Telstra Media ; Nathan Ned Kelly, Mayfield, CEO, Hoodlum... Buffalo Soldiers

By invitation only

Over 1,200 participants from Asia attend MIPCOM, including 460 buyers. See what content from Asia can do for your business. CHINA, JAPAN AND KOREA: New documentary, drama, animation and formats. Matchmaking: Meet acquisition executives and potential partners.

One continent. Unlimited potential.

Tuesday 5 October

VIP BRANDED ENTERTAINMENT SUMMIT: BRANDING THE FUTURE Ad agencies, brands, producers, broadcasters, social media and digital platforms will come together at MIPCOM in a future-defining summit. A STRATEGIC MEETING WITH INSPIRING RESULTS, ONLY AT MIPCOM.

Participants include: • Michael Kassan, Chairman & CEO, MediaLink LLC, US • Werner Brell, Red Bull Media House • Robert Friedman, • Olivier Gers, Endemol • Matt Jagger, Naked Communications • Adam Levin, BEBO • Douglas Scott, Ogilvy Entertainment • Ben Silverman, Electus • Todd Tran, Apple (UK) Limited • Marcus Vinton, Publicis Entertainment


tresses are the major ingredients in a Latin telenovela. Korean drama has all of these elements as well.” It’s all about finding the right fusion, the right mix between the modern and traditional, the national and international, says Eva Kang, sales executive for SBS Contents Hub. “In Asia, there is a large audience of young people that want drama that has comedy or romance, or both.” Titles such as He’s Beautiful are likely to travel well internationally, she adds. Domestic TV drama production output in China has remained stable over the years with some 402 titles and 12,910 episodes produced

We feel fairly

confident that the qualities that have made this drama so popular in Japan will also make it a successful international crossover Yukihiko Amagi

in 2009. “While variety, lifestyle and talk shows are making definite inroads, drama is still a major priority in the viewing habits of the Chinese,” says Chen Yong, president and editor-in-chief of Modern Advertising, the official publication of the Chinese Advertising Association. He adds that Japanese and

Nippon Television Network Corporation's AishiteruKaiyo, winner of last year’s MIPCOM Buyer Award For Japanese Drama

Korean drama definitely interests Chinese viewers, but adds: “It really depends on the storyline. So far in 2010 there has been no big drama hit in China coming from Japan or Korea.” Shanghai New Culture TV And Radio Production, one of China’s largest producers of drama, produces some 400 episodes a year, with Shanghai Media Group being the biggest client. Latest to bring in big audience shares is crime drama Shanghai. The company’s dramas sell across Asia and outside the region, says Hanson He, overseas marketing department manager. A recent project with Spain showed how the producer is learning to bridge cultural differences. CMMI Beijing-based media analyst Kristian Kender says: "Production companies in China are increasingly entering into presales agreements with broadcasters in order to ensure distribution for the programming, as well as spread financial risks. At the same time, a number of local and international banks are now beginning to

provide media finance services." In India, Viacom 18’s Color channel has proved that drama at its best can be entertaining but still help transform social values. Rajesh Kamat, CEO of Colors and chief operating officer of the Viacom18 Group, says: “Balika Vadhu (Child Bride) got a lot of people in Indian society talking about the issue of child marriages. It was something that hadn’t been previously discussed openly. While there was awareness in certain pockets of Indian society, Balika Vadhu clearly outlines child marriage as a social evil, and parents

who might have condoned it before are now stopping it.” Colors show Na Aana Iss Desh Laado also highlights the evils of female infanticide. Kamat says: “Female infanticide is still a major issue in India.” Both of these dramas are doing well in the UK as well as the US, where Colors and its programming have been launched. “Huge communities of Indians live around the globe and these dramas speak to them. They remind them of their cultural heritage but they also have a modern take on what is going on in India,” Kamat adds.

Balika Vadhu (Child Bride) got Indian people talking about the issue of child marriages





Where to next?

The need for a global presence along with budget pressures are bringing more and more territories together in co-production, and increasingly in the most unlikely of partnerships. Marlene Edmunds reports 68 / M I P C O M P R E V I E W M A G A Z I N E 2 0 1 0


CROSS the globe, from Argentina to Singapore to Shanghai, from Canada to Ireland to Hungary and Malaysia, alliances are being struck and principal photography begun on co-productions that a decade ago would have been unimaginable. Take Babylon. The co-production being billed as the world’s first Euro Noir

is the brainchild of the European Broadcasting Union (EBU) and Scandinavia’s largest and most audacious production company, Zentropa. Or the spate of co-productions happening in China, including Argentine broadcaster Telefe’s deal in July with Shanghai Media Group (SMG) for the making of Heartbeats, a telenovela being shot


“It presents a challenge because coproductions require a meeting in the middle creatively. Even in English-language territories, for example between the US and the UK, it’s not easy to find this creative middle. The reality is that there is really not a large number of AngloAmerican co-productions being brokered each year.”


require a meeting in the middle creatively. Even in English-language territories, for example between the US and the UK, it’s not easy to find this Richard Life

ITV’s The Prisoner, a co-production with AMC in the US

in China with an all-Chinese cast. Co-production is gaining cachet across the globe and players are in a dealing mood. The alliances are sometimes about creativity, sometimes culture, but always about finance. Broadcasters are paying less and the cost of production is going up. Distribution no longer always bridges the gap between what it

costs to make a programme and what broadcasters are willing to pay. “In the UK, for example, typical drama deficits are nudging the 20% margin. With the hourly drama budget now around $1.2m, this becomes a significant deficit,” says Richard Life, head of acquisitions and co-productions, ITV Studios Global Entertainment.

For ITV’s The Prisoner, a co-production with AMC in the US, it was clearly worth the five-year effort. “There was a halo effect of going through the long co-production process. We ended up with a project that was much more saleable than a domestic one coming from the UK,” Life says. The six-hour miniseries remake of the 1960s cult classic has sold to more than 100 territories. Pillars Of The Earth, a co-production based on the Ken Follett novel of the same name, had its worldwide TV premiere on Starz in the US on July 23. The co-production between Germany’s Tandem Communications and Canada’s Muse Entertainment in association with the US’s Scott Free Films was a groundbreaker on several levels,

among them Scott Free’s involvement for the first time as a significant player a European co-production. “The biggest challenge for anyone doing a TV drama of scale, that is $30m-45m, is that it ideally needs a US broadcaster,” says James Flynn, managing director, producer and co-founder along with Morgan O’Sullivan of Irish production company Octagon, which is involved in both Showtime Networks’ The Borgias and Starz’s 10-episode, four-territory co-production, Camelot. O’Sullivan was lead producer on The Tudors and is producing Camelot with John Weber and Fred Fuchs of Canada’s Take 5, and Douglas Rae of Ecosse. “While securing local incentives in Ireland, Hungary and Canada is crucial,” adds Flynn, “the US licence sale is essential since it effectively greenlights the project and gives it a domestic slot and an international profile.” Flynn points out that new structures in both Germany and France in recent months “have managed to finance and produce high-end international TV drama that will be acquired on completion by US cable channels”. With The Borgias, Camelot and HBO’s Game Of Thrones on the front burner, the Irish film and TV sector is seeing a dramatic upturn in foreign TV producers choosing Ireland as a co-production partner, says Naoise Barry, film commissioner with the Irish Film Board. A generous tax incentive for TV productions, currency fluctuations, a deflationary local economy and the fact that Ireland is an English-speaking territory all help, he adds. Filming for the official Irish-Canadian co-production Camelot is in Ireland, with visual effects and all post-production taking place in Canada. Flynn adds: “We have both Irish and Canadian above-the-line




talent including Ciaran Donnelly and Jeremy Podeswa, both of whom also directed episodes of The Tudors.” Octagon is producing The Borgias, also in partnership with Take 5. The series was written and directed by Neil Jordan and stars Jeremy Irons in his first regular series role on TV, as the infamous family patriarch Rodrigo Borgia. The Irish/Hungarian/Cana-

Use kid research

groups to test script and storyboards ahead of full animation. It is a great reminder of what your target audience is looking for Billy Macqueen

dian co-production is developed in Ireland, shot in Hungary and, as with Camelot, post-produced in Canada, with Hungary’s Mid Atlantic Films and DreamWorks and ImageMovers also on board. Some companies are contemplating an expanded international co-production strategy, among them NBC Universal International. Michael Edelstein, newly appointed president, international television production, for NBC Universal International, says the plans are to co-produce with partners across the globe. “Our strategy is to find extraordinary talent and deliver it to our customers, and coproductions are a fantastic vehicle for doing so,” Edelstein says. Other companies are making their first push into co-production, among them the UK’s Darrall Macqueen, whose previous work has focused on live and studio-based shows and productions aimed primarily at UK markets. This first leap is Pet Squad, a co-production with March Entertainment Canada and Malaysia’s Inspidea,

Pet Squad, a co-production with March Entertainment Canada and Malaysia’s Inspidea

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with worldwide distribution, excluding the UK, Malaysia and Canada, picked up by Sony Pictures Television. The first broadcast of Pet Squad will be on the BBC in 2011. Billy Macqueen, joint founder and head of Darrall Macqueen, believes the show will travel well internationally. “It delivers good pacing, comedy and action adventure in a retro 2D visual style reminiscent of the classic Scooby Doo, Top Cat and the first Teenage Mutant Ninja Turtles series. Pace and laughter are attractive to sixto 12-year-olds the world over.” MacQueen gives some insight into how the company put together the funding for the project. “We took the Pet Squad bible and two scripts to CBBC, which then put up 20% of the budget for a pre-sale licence for the UK. Then we took the project to selected producers on the Canada stand at MIPCOM. March Entertainment were the strongest creative fit and subsequently triggered the Canadian production budget subsidies.” Darrall Macqueen and March then met the Malaysian Multimedia De-

velopment Corporation (MDeC), which recommended Inspidea as one of the country’s top-tier animation companies best suited to the project. Inspidea was signed up with the backing of MDeC and the Malaysian government at the following MIPTV, where Sony Pictures Television came on board to close the funding with a distribution guarantee. Darrall Macqueen’s next co-production is pre-school series Magic Baby, a 26-part mixed-media show that is being produced with Jam Media in Ireland and set to be delivered in mid-2011. Macqueen cites one of the lessons learned from the first-time experience: “Use kid research groups to test script and storyboards ahead of full animation. It is a great reminder of what your target audience is looking for from your storytelling while you drown in a mountain of contractual paperwork.” Canada has some 50 TV and/or film co-production treaties that are in effect in 53 countries. Among the latest deals is one with Argentinean company CT Producciones/Caloi en su Tinta to co-produce an animated short, an agreement signed off on by the National Film Board of Canada in June. Thorne, a new crime film thriller based on the bestselling novels by Mark Billingham, is a UK-Canadian co-production is being launched at MIPCOM by Fireworks International. Both Thorne: Scaredy Cat and Thorne: Sleepyhead are debuting in the autumn in the UK on Sky1 HD. The two dramas are being released in three parts each, with David Morrissey playing detective inspector Tom Thorne. Fireworks International president Gregg Phillips says: “We believe that Tom Thorne is a different kind of detective. He’s multidimensional, he’s liked and disliked in equal measures by his contemporaries,


he’s modern but he does things in his own way.” The co-production is by the UK's Stagereel and Canada's CiteAmerique association with Movie Central, The Movie Network, 87 Films and Artists Studio. Fireworks parent outfit ContentFilm will handle distribution for the film side of the equation. The lack of a treaty has not stopped US and Canadian companies from getting together. Among those newly trying their hand at co-production is US-based Rive Gauche Television, which will launch its first venture into the international coproduction arena at MIPCOM. Six-episode series Poacher Wars is being co-produced with Canada’s Stonehaven. In the series, a team of international operatives hunts down the organised crime syndicates behind the billion-dollar business of animal trafficking. “Poacher Wars is a strong idea that includes cast from top experts in organisations such as the Interpol Wildlife Crimes Group, the United Nations Envi-

ronment Programme and the Humane Society of Canada,” says David Auerbach, president of Rive Gauche Television Stonehaven executive producer Karen Coshof says the company plans to tap Canadian funding from several sources, including broadcast licence fees, and federal and provincial tax credits. Coshof, incidentally, was the award-winning creator and producer of The Great Warming, the 2006 documentary narrated by Alanis Morissette and Keanu Reeves, and one of the earliest definitive projects on the dangers of global warming. Scandinavian companies have been co-producing or co-operating with each other in churning out programming for more than a half a century and boast a legacy of awards crediting in the co-production area. The EBU’s selection of Zentropa, one of Europe’s most awarded, experienced and audacious film and TV outfits, as principal producer on Babylon is no surprise. “The idea for Babylon was ours,” says

Thorne, a UK-Canadian co-production is launched at MIPCOM by Fireworks International

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Nicole Jeanrenaud, EBU project manager for Babylon. With the Lisbon Treaty in place and the position of president of the EU created in 2009, the EBU felt the time was right to launch a long-running drama TV series about EU and its institutions in Brussels. “The EU is seen by most Europeans today as an opaque bureaucratic world,” says Jeanrenaud. “We wanted to change that image, to create a gripping and entertaining crime series that would make audiences interested in what is going on in Brussels.” Hopes are high that Babylon will also present some kind of competition to the ubiquity of American drama series seen across major commercial networks in Europe. The EBU TV Development Fund is putting 50% of the development budget into Babylon, with public broadcasters ARTE France, RTE in Ireland and DR in Denmark on board as well. “From the very beginning, we have received strong interest from major European broadcasters,” Jeanrenaud says.

The fact that the tax rebate is open to all

content-makers, not just film-makers, is one thing that sets France apart from many other countries

Olivier Rene Veillon

The EBU co-production unit is involved in some 30 co-productions annually, says Philippe Jacot, head of co-productions. “Our aim is to provide EBU members with good European programmes and put them together on common projects. If there are opportunities to go outside of Europe, we do so.” The EBU has recently worked on a number of projects that also involved Canada, Japan and South Africa. Among this year’s crop of fiction, documentaries and animation coproduction projects is The Magic Circus Show, a 100-minute family show set to launch in November with the participation of children from Switzerland, the Netherlands, France, Portugal, Belgium and Russia. “The production is a primetime family programme with children mixing circus performances, poetry, and magic.” The EBU likes it, says Jacot, because it has the look and feel of a real live event and because it reflects circus traditions coming from all over Europe. The programme is locked in for two years, with Swiss Television as the host broadcaster and more outlets expected to sign on. France is no babe in the woods when it comes to co-production,


with more than 200 partnerships in place last year, 100 of them TV dramas. In 2009 almost all of the co-productions had majority French input, an equation that will eventually change as TRIP, France’s new tax rebate for foreign productions, becomes better known. Patrick Lamassoure, managing director of Film France, says TRIP has begun to change the dynamics of production in France. “Many productions that used to fake France in other countries are now going for the real thing.” Olivier Rene Veillon, executive director of Ile de France Film Commission, France’s largest, calls TRIP one of France’s greatest assets but says the fact that the tax rebate is open to TV content has simply not been communicated well enough, one of the reasons he’s making the trip to MIPCOM along with Lamassoure. Veillon adds: “We now have 23 productions on the front burner that have taken advantage of TRIP, but only two have been TV content.” Gossip Girl is being shot in Ile de France and the second series of the BBC co-production Merlin shot in Chateau de Pierrefond, Picardy, the region that borders Ile-de-France. Veillon says: “Series 1 of Merlin was shot in France before the tax rebate and series 2 was shot after. “We have to get the word out. The fact that the tax rebate is open to all content-makers, not just film-makers, is one of the things that sets France apart from many other countries where the rebates and subsidies apply to film only.” Possibly one of the most prolific co-producers to come out of India is DQ Entertainment. The company has had a decade-long relationship with Gaumont Alphanim, owns a 20% stake in France’s Method Animation and frequently arranges very high-end

co-productions through them. Between April and July of this year it announced the $13m co-production The New Adventures Of Peter Pan through DQE Ireland, with Method Animation and France’s Story Board Animation, and France Televisions on board as distributor. It also announced a co-production deal with UK outfit The Hive Enterprises for a 3D, CGI production, and co-pacted with Neonetwork, a Zodiak Entertainment-DeAgostini Group company. Other iconic properties DQE is co-producing and co-developing include Iron Man, Charlie Chaplin, Little Prince, Lassie And Friends, Little Nick and Galactic Football. In all of the co-production production deals with the French, UK or US partners, Tapaas Chakravarti, CEO and chairman of DQE, says: “Our co-productions have provided us access to creative skill sets available in France, the UK or the US, as well as access to our partner governments incentives or subsidies. All partners benefit while the teams have an opportunity to learn from each other.“Our strategy is to involve the networks and co-producers right from the beginning. We aim to combine our resources right at the start, once the project is conceptualised by our team. This gives all partners the advantage of an early buy-in while we gain from the expertise, advice and networking of all the partners. ‘Distribution rights — audio visual, merchandising or gaming’, a ‘percentage of the back-end rights’ or ‘exclusive territories’ are negotiated based on the participation of each partner and the amount they bring in to the global production pool”. He says, for example, that the coproduction deal on Hive was attractive for DQ since there was a buy-in and global acquisition by Play House Disney.NHK’s first ma-

NHK partnered with Korean broadcaster SBS for the drama Bad Guy

jor international co-production was The Silk Road, a partnership with Chinese state broadcaster CCTV. Since then, the Japanese public broadcaster has been on the cutting edge when it comes to seeking out quality co-productions across the

globe. It frequently works with entities in the US, France and Germany, including France 5, Telepool, Austria’s ORF and EuroArts Music, says Sayumie Horie, senior producer, international co-productions. This year it teamed up with Al

NHK’s Discover Science, a co-production with Al Jazeera




Donald Sutherland as Bartholomew in The Pillars Of The Earth, a co-production between Germany’s Tandem Communications and Canada’s Muse Entertainment, in association with the US’s Scott Free Films

Jazeera Children’s Channel for Discover Science, and Smithsonian Channel for Mystery Of The Hope Diamond. It also partnered with Korean broadcaster SBS for the drama Bad Boy. Possibly one of the strongest forces in global co-production today is Singapore’s Media Development Authority. The MDA has forged some 200 TV and film co-productions involving Singaporean companies and partners in more than 15 countries. Of these, 13 are official co-productions resulting

from treaties between Singapore and Canada, New Zealand, Korea and Australia. Sparky Entertainment’s Jack, produced with PVP Animation Canada, and among the co-productions benefiting from the Canada-Singapore Audio Visual Coproduction Agreement. In July Singapore became the first country in Asia to enter into a film co-production agreement with China. The China-Singapore Film Co-production Agreement covers theatrical feature films and tele-

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movies, across live-action, animation and documentaries. It is expected to pave the way for more tie-ups between the two countries as co-productions will enjoy the same access to government funding and incentives as do national productions in each country. “It caps years of warm ties between both countries,” says the MDA’s chief executive, Christopher Chia. The agreement comes on the heels of a trade mission involving 14 Singaporean companies that resulted

in further pledges of co-operation. Among them was a memorandum of understanding between the MDA and China International TV Corporation (CITVC) and China Radio Film TV Program Exchange Centre (CPEC) to co-produce content and share programming. Other new co-production deals between Singapore and China TV include a collaboration between Singapore's MyChinaChannel and SMG’s distribution arm, Wings Media, to co-produce two TV series:


China Trend and Foreigners In China. Not surprisingly, China has been the focus of aggressive deal-making on the co-production front. Argentinean broadcaster Telefe inked its first co-production deal in China in July with Shanghai Media Group to co-produce the telenovela Heartbeats. The script of Heartbeats was specifically written for the Chinese market and the co-production will be shot in China with Telefe directors and producers overseeing the 40-episode project.

Telefe’s deal with SMG was closed after nearly three years of talks, says Michelle Wasserman, senior sales executive for Telefe International. It is being done in association with CTN and SVP. Wasserman adds: “China is a $20bn advertising market that we definitely want to get into, and in big way. Telefe plans spin-offs, including CDs, DVDs, live theatre and shows, all part of the business model it uses to drive sales.” Mexican TV giant Televisa earlier linked with CITVC, the interna-

tional arm of China state network CCTV, for a 40-episode co-production set in China, with local cast, director and producer. Shanghai New Culture TV & Radio Production experienced first hand the clash of cultures between China’s supercharged work schedule and the more relaxed one found in Europe when it filmed Love In Spain, a coproduction between Shanghai New Culture Media Investment Group and Catalonia TV (TV3). Catalan lunch is often the main meal of the day and can stretch between two and three hours. The working day, however, also closes as late as 8pm. When it worked in Spain, his company brought in extra crew to keep the production on schedule, says Shanghai New Culture overseas marketing manager Hanson He. Derek Huang, manager of international affairs, Beijing Ciwen Film Distributions, part of Ciwen Media Group, has spent some 10 years in the media industry and much of that on rather complex co-productions. Before moving over to Ciwen Film late last year, Huang worked as a project consultant for Beijing Zhongbei TV Art Center's The Ultimate Secret Of A Warrior. The co-production with Russia’s REN TV aired in primetime on Chinese TV earlier this year. Huang says: “A successful co-production has to exist on two levels. On the financial side, the goals have to be very clear and everything has to be on the table from the very beginning in terms of investment and how profit can be generated.” On the creative side, a story line with

universal appeal has to be found and that, Huang admits, is no easy task for a TV series. “In the Ultimate Secret Of A Warrior, the series was developed by a team of Russian and Chinese writers who worked together every step of the way,” Huang says. Both Zhongbei and REN TV knew what their respective audiences wanted and set about to give it to them.”

The goals have to be very clear

and everything has to be on the table from the very beginning Derek Huang

Ciwen Media Group began co-producing with international media companies early for China. In 2000, it co-produced TV drama series Love Actually with a German-based media company, and the result was rated by Beta Films as one of the top 10 TV series of the year in Germany. Since then, the company has been actively involved in various international co-productions including TV series, feature films and animation programmes. On the film side, Ciwen is in development on a co-production project with Asian Union, Italian media company Seven Dreams and Germany’s Action Concept for a slate of films.

PRODUCERS FORUM Join the MIPCOM Producers Forum, comprising a series of events focusing on all aspects of production — including the International Co-production Masterclass at 15.45, Monday, October 4. Producers Forum events and sessions take place throughout Monday, October 5 and Tuesday, October 6





Ty Pennington hosting Endemol USA’s Extreme Makeover: Home Edition

Can brands put it right? TV audiences are up and advertising is coming back . But the pressure is on production budgets, and brands need to engage with audiences in a multi-platform world. So will the closer relationship between brands and content help ease the pressure? Gary Smith reports


E HEAR the phrase media saturation so very regularly these days because it is a reality for hundreds of millions of people. It is estimated that we are assailed by more images per day than the average 14th century person would have seen in a lifetime. No surprise, then, that we have developed a filter system, which allows through only what we consider relevant, unusual or entertaining. It is even less of a surprise that the traditional 30-second TV spot, with its product “push”, does not work with an audience that is already highly selective about the content to which it is prepared to pay attention.

As a constantly regenerating industry, television — alongside other platforms — is finding new ways of connecting consumers with brands, and funding production. Skechers Entertainment, founded by the shoe brand in 2009, will launch an animated kids’ television series, Zevo-3, with a promotional sneakpeek DVD insert in one million shoe boxes in the US in September, when the nation's kids go back to school. The marketing campaign will set the stage for Zevo-3’s series premiere on Nicktoons on October 11. “We will leverage the marketing and promotional power of the Skechers

brand at retail to raise the visibility of Zevo-3 in a truly impactful way,” says Kristen Van Cott, vice-president of creative development for Skechers Entertainment. “This promotion will generate brand awareness among the exact audience we need to reach. We are confident this will result in enhanced viewership once the series takes to the airwaves.” The series originated as a comicbook promotion and has evolved into a comedy-action/adventure 2D animated series with 3D CGI effects. "It's a whole new way to define branded content," Van Cott says. "The series is a perfect reflection of




Skechers founder Robert Greenberg's maverick attitude to shoes and therefore of the brand generally. The DVD contains a mini-episode with a cliff-hanger ending which we think is the perfect way to set up the launch of the show." Zevo-3's US premiere marks a strategic approach to branded content. "We do not have Skechers shoes in the show but we do talk to all our partners and we are prepared to create opportunities for them within the series, provided it doesn't interfere with the quality of the entertainment, because our first goal is to make great shows," Van Cott says. "We are coming to MIPCOM with several more properties including Heidi & The High Tops plus two further productions, plus we expect that by then we will have concluded deals around Zevo-3 for several major territories." Frank Chidiac, general manager of Beyond Action, is collaborating with Red Bull on Free as well as distributing Rexona’s Greatest Athlete and Pat Callinan’s 4 x 4 Adventures, a

When you have a

major brand funding the majority of a programme or series, then they generally dictate the level of exposure they are comfortable with Frank Chidiac

fully sponsor-driven 4WD series. “The brief for Free was to have credible integration of the brand,” he says, “and to mix it up with other successful brands in surf, skate, snowboard, freestyle motocross, and more general youth culture including art, music and fashion. The series has been syndicated worldwide, enabling marketing and promotion of the Red Bull brand,

Freaks, produced for MySpace UK with Tampax and Red Bull as sponsors

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its events and athletes. This was one of the essential elements of the original brief and client objective.” Although there is plenty of potential for tension between the client brand and the creative/editorial team, it does seem that the majority of brands are aware of the need to take a gentler approach to audience engagement. “Some brands are more conscious of credible integration than others,” Chidiac says. “But when you have a major brand funding the majority of a programme or series, then they generally dictate the level of exposure they are comfortable with. However, much of the brand-funded programming we are involved in is broadcast in off-peak programming times, and you will find that primetime shows are more stringent with what they allow.” Beyond Action has recently created a partnership with the format owners of Rexona’s Greatest Athlete. The series, supported by Unilever’s Rexona Men’s accessory brand, pits eight of the best sporting athletes from various disciplines against

each other in a series of challenges. “We are also currently looking at integrating a brand in our new adventure sport television magazine series, MultiSport TV, which is scheduled for release in late 2010,” Chidiac says. For Thomas Benski, managing director of integrated content production company Pulse Films, the question of how to get the best out of brand collaborations is down to the quality of communication between the involved parties. “Brands realise that in order to achieve the results they want in today's fragmented media landscape they need to provide credible entertainment.” he says. “It’s essential to focus on a great idea, combine this with the right content strategy for the brand and, most importantly, constantly communicate. Sometimes it seems that content producers expect brands to fund a show and leave them alone, which is clearly unrealistic. “The other key element is to ensure that the product/brand has a genuine narrative part in the show. It makes life a lot easier and it has been proved that the audience can tolerate brand association if it feels natural or is part of a great show.” Benski rates the series Iconoclasts, produced by Radical Media and Grey Goose Entertainment, as one of the very best branded content shows. “Each one-hour episode featured intimate, unscripted encounters between two individuals who have transformed our culture by staying true to their passions,” he says. “World leaders and entrepreneurs, actors and artists, athletes and musicians all appeared and helped make the series a cult favourite for a full four seasons. It is a great example of how to make successful branded entertainment, and it also proves that high-end lifestyle brands have an opportunity to be


associated with quality entertainment. The real trick is how the brand leverages its association.” While regulations covering product placement and branded content in the US are very relaxed, Europe is a patchwork of variations on the basic guidelines provided by the EU’s AVMS directive, which replaced the Television Without Fronters directive. “Being French, I know how difficult it is in France to work around the regulations,” Benski says. “But the fact is that modern audiences are sophisticated enough to make their own decisions. If a brand abuses the system, it will be judged and consequently ignored by the audience.” Although regulations are being adapted in line with the changing nature of branded content and product placement, Branded Content Marketing Association (BCMA) managing director Andrew Canter would like to see more clarity: “The BCMA feels that the rules could be streamlined in order to remove any lingering confusion,” he says. “The current wording does not encourage producers who are considering getting involved in branded content to do so. And in terms of product placement, we would like it to be more obvious as to exactly who one has to talk to in

order to get a brand in a major primetime series such as [long-running UK soap] Coronation Street. Certain consultation processes could and should be better defined.” There is, however, virtue in adversity: “One positive aspect of the current situation is that brands are obliged to be more creative,” Canter says. “Red Bull is very good at setting up events like the Red Bull Air Race, which give the brand exposure in an ideal context. And I truly believe that, while some form of regulation is necessary, modern audiences will vote with their chan-

Brands have seen

that being elegant is the way to go. That said, there are still times when the production process can be tense

Robert Riesenberg

nel changers if the brand presence in a show is anything less than engaging and appropriate.” Red Bull is developing other means

Beyond Action’s Frank Chidiac is collaborating with Red Bull on Free

of indirect exposure. “We are working on a feature documentary for Red Bull which is part of the crossplatform campaign for the 2010 Red Bull Music Academy,” Pulse’s Benski says. “We believe that Red Bull has got it right. The brand understands that it is a media company, which means it is well resourced to manage such projects, and that makes it easier for us to interact with them when it comes to content.” Pulse is also working on Russian Standard Vodka Originals, a music show for Channel 4, as well as a cross-platform documentary with a famous apparel brand. Benski’s frustration at current regulations is shared by many producers working or distributing in the European market. Recent changes to French and UK laws covering product placement have made life simpler for producers, but when the Pepsi Network Chart Show was launched in the UK in 1993, brand names were not allowed in primetime shows. Malcolm Gerrie, chief executive at Whizz Kid, takes up the story: “We were asked by then Channel 5 controller, Dawn Airey, to come up with a low-budget music show and Pepsi wanted to be involved but, according to Ofcom’s rules of the time, they could not be. As we were producing a lot of live events, we were aware of a loophole in the law. TV shows that were also live events were not subject to the restriction, so we set-up a Pepsi Chart Show event in a club just off Regent Street in London which ran for several weeks, and then we proposed the show branded like those live events, to Ofcom. They hesitated, but agreed, and the show ran for six years, plus we sold the format to 100 countries.” Since then Gerrie has worked on projects with Lynx and Nokia and is involved in Treasure Tag. The show, presented by Cat Deeley, is a part-

Pulse Films’ Thomas Benski: “We believe that Red Bull has got it right”

FMX’s Claire Tavernier: “Brands know an agency has the brand’s best interests at heart. But that isn’t quite as clear with TV companies”

RER Entertainment’s Robert Riesenberg: “The economy was such that advertisers went back to nuts and bolts”

Skechers Entertainment’s Kristen Van Cott: “This will generate brand awareness among the audience we need to reach”




nership with Nokia. “In the days of the Pepsi Chart Show we had to tweak the format per territory. Roughly speaking, the Nordic countries were very strict and the southern European territories like Italy, Spain and Portugal were very laissez-faire. We used to fly in the Spanish presenter to do her links

The Asian market is

very open to product placement and branded content, and Europe now is moving pretty quickly towards a more open attitude Malcolm Gerrie

and she’d be standing there with a can of Pepsi in her hand. “The Asian market is very open to product placement and branded content, and Europe now is moving pretty quickly towards a more open attitude. It’s a very exciting time, with ITV and Channel 4 lobbying hard to get legislation relaxed. We have recently created a subdivision of Whizz Kid called Precious which is entirely dedicated to branded content.” According to Claire Tavernier, senior executive and vice-president, FMX, it can be easier to work directly with a brand, but not always. “The main difference for a brand is that, working with an advertising agency, they know the agency has the brand’s best interests at heart. But that isn’t quite as clear with TV companies. Tampax sponsored the internet series Kate Modern, but had not been particularly happy with the product integration. Then

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Endemol Asia’s Best Years Of Our Lives: “Ford is the sponsor and the company’s products are all over the show:

Fremantle was commissioned to produce the HD teen series Freaks for MySpace UK with Tampax and Red Bull as sponsors, and one of the things we did was to have the group The Saturdays playing on the show with a discreet brand presence, and the key metrics surged.” An obvious and effective example of brand integration is the ‘Kleenex

Moment’ when a contestant does or doesn’t go through on X-Factor. The talent show is also launching its own weekly magazine, aimed at women viewers, to coincide with X Factor’s seventh series. “I think that generally there is a move towards more creative and better integration of brands, but at the same time some brands will always be easier to


integrate than others,” Tavernier says. “Ford and Coca-Cola are the sponsors of American Idol, and while with Coke it is much easier to see how the brand presence works, Ford has been a sponsor for all nine series of the show and has been very creative with leveraging its presence. And they clearly feel that they are getting value from the association.” President of RER Entertainment Robert Riesenberg is a consultant to the AMC Network, helping it maximise revenue in the branded entertainment area. “I am particularly excited about this because the company’s properties are so critically acclaimed (17 Emmy nominations for Mad Men, seven for Breaking Bad) and they are innovators in the marketplace,” he says. “I am also working on two productions with the writing/ producing team, Marc Abrams and Michael Benson (Entourage/Bernie Mac), to develop and produce a comedic micro-series for Turner Broadcasting, and a comedic series for the Epix Network based on the book E A Novel by Matt Beaumont.” The 2009 slump in branded entertainment projects was, according to Riesenberg, logical. “The state of the economy was such that advertisers went back to nuts and bolts, mainly because they were looking to reduce costs by 10-15%,” he says. “Despite that blip, the branded entertainment area has evolved significantly over the last four to five years. Brands have seen that being elegant is the way to go. That said, there are still times when the production process can be tense, which is why it’s so important to make sure that everyone involved is in sync prior to production.” Riesenberg particularly likes Extreme Makeover: Home Edition, The Apprentice and Into The Heart Of Italy: “The Apprentice lends it-

self naturally to great integration, while Bertolli Pasta’s micro-series Into The Heart Of Italy featuring celebrity chef Rocco DiSpirito offers a lot of really valuable information,” he says. Olivier Gers, CEO of Endemol Worldwide Brands (EWB), was hired in March as part of Endemol’s push into greater brand involvement. “EWB is focused on extending Endemol properties across multiple platforms including licensing and merchandising as well as investment in product development and the creation of games applications and social gaming sites,” he says. “And at MIPCOM we’ll be looking for partners to get involved in an online social game around one of our big properties.” Endemol’s current branded entertainment series include the variety

Beyonce arriving at the 2009 EMA Awards in Berlin

We used the

sounds to create a basic thumbs-up, thumbs-down, wolf whistle repertoire for mobile phones that adults are shut out of

Giles Rhys Jones

Treasure Tag by Whizz Kid for Nokia

format Best Years Of Our Lives from Endemol Asia. “Ford is the sponsor and the company’s products are all over the show. Endemol USA created Married On MySpace. It is the most watched series on the site, with 15 million views and one million votes cast. Brands involved are Dove, JC Penney and, in the first season, Disney. The series was successful enough that the couple who won




Skechers Entertainment’s animated kids’ television series Zevo-3

that first series had their own spinoff TV show on SiTV Hispanic.” Gers believes that any kind of brand stands to benefit from getting involved in entertainment: “I don’t think it’s a question of which sort of product might benefit,” he says. “It’s more about the brand’s behaviour and how they communicate, using the show as a central pole around which they talk to the customer base.” Giles Rhys Jones, in charge of global digital strategy for Unilever at Ogilvy & Mather, sees a better and stronger branded entertainment sector following 2009’s downturn. “So many brands now understand why they have to be entertaining and, more generally, a lot of smaller brands are also getting in on the action,” he says. “This is partly because they can get branded entertainment to the market very quickly, and also down to the fact that there are multiple opportunities in terms of platforms.” Ogilvy & Mather created the Fanta Teens Have The Right To Play mobile communication system, which used the same ultra-high frequencies that were supposed to stop them hanging

Rather than

creating bespoke content from the

ground up you can take a long-running series and put the existing audience at the centre of a branded project Russell Samuels

around in town centres to communicate with each other. “The Mosquito device emits frequencies that anyone over 25 cannot hear, so we used the sounds to create a basic thumbs-up, thumbs-down, wolf whistle repertoire for mobile phones that adults are shut out of,” he says. “The campaign included a humorous spoof documentary video with a befuddled adult explaining the sys-

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tem, which was both viral and engaging.” A campaign that took engagement to another level was the one for Lacta based on the series Love In Action, where the Greek public was asked to submit scripts. “We had several thousand submissions, which was amazing, then we narrowed that down to one, and gave it to a top script writer who created the episode,” Rhys Jones says. “Then we turned it back to the public again by having an online casting competition, also asking them for suggestions as to how the characters should dress. It’s important to strike the right balance between openness and keeping enough control to ensure quality.” That brands crave audience engagement and interactivity is not

news but, according to Russell Samuels, vice-president, client innovation, Viacom Brand Solutions International, there are several ways to achieve this. “Rather than creating bespoke content from the ground up you can take a long-running series like MTV’s Made and put the existing audience at the centre of a branded project,” he says. “Made is a show where people are transformed, and Ford, which had had a big presence on Quantum Of Solace through the Ford car driven by Bond girl Olga Kurylenko, wanted to leverage that. So we put out a ‘call to action’ for a competition to find someone who would be transformed into a Bond girl and perform a stunt. It was a good combination of paid-for media and created media, with Ford able to use the footage across other platforms after the show.” MTV’s flagship awards ceremony, the EMA Awards, was streamed live on Facebook in 2009 with extra exclusive backstage footage and artist videos. “It’s not either TV or internet any more, you have to be everywhere,” Samuels says. “The week of the show we registered 880,000 unique views, up 65% on last year, with 40% of users streaming videos, a 5% gain on last year. Video streams totalled 1,600,000 (not including the live stream), an increase of 244% on 2008, and time spent came in at 22 minutes per viewer, up 33% on last year. We did 1,037,252 live streams, an increase of 28% on last year and the first time we’ve ever broken a million streams for the live show.”

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Spreading a little appyness Bollywod dancers featured in Tim Kring’s Conspiracy For Good

The drive to put TV on to mobile phones stalled. But the recent advent of apps, tablet computers, and smartphones has opened up new possibilities. Juliana Koranteng reports


OLLOWING complaints from commercial competitors in April, UK public broadcaster the BBC postponed plans to develop mobile apps for three flagship brands: BBC News, BBC Sport and its catch-up TV service, iPlayer. The BBC Trust, the broadcaster’s governing body, felt compelled to investigate whether use of this portable distribution platform contravened the BBC’s public service remit. In July, the Trust concluded the BBC’s apps would not affect its existing public and commercial (via

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BBC Worldwide) activities and should therefore not threaten its rivals. The Trust added: “The estimated cost of developing apps is less than 1% of BBC Online’s current budget, substantially less than the 10% threshold at which specific Trust approval may be required.” The protests from the BBC’s rivals illustrates how far mobile apps, those tiny, brightly coloured, internet-enabled icons on touch-screen handsets, have come in the last couple of years. “I think that, without realising it, we’re at the edge of a new age in

terms of content consumption,” says Patrick Mork, chief marketing officer at fast-growing independent app store GetJar. “We’re moving away from the era of clicks and searches to one of touching [onscreen] icons. This is not a small platform; it’s a phenomenon.” Recent research data explains Mork’s and the BBC’s enthusiasm for apps. According to ABI Research, consumers downloaded about 2.4 billion paid-for and free apps from stores last year. It predicts about 7 billion downloads in 2013. A study


from Yankee Group forecasts that paid-for apps will yield $11bn-plus in revenue by 2014 in the US alone. Apps have turned mobile phones into sophisticated computers. Users require smartphones powered by operating systems provided by Apple’s iPhone 4, the BlackBerry, Nokia handsets, plus those incorporating Microsoft’s Windows Mobile, Samsung’s Bada, and Google’s Android. They are most effective on high-speed 3G or Wi-Fi networks. Research company Gartner estimates sales of smartphones rose 49% in the 12 months to first quarter 2010, to 54 million-plus units globally. The International Telecommunications Union envisages more than 5 billion mobile phone subscriptions globally by the end of 2010, up from 4.6 billion last year. Increasingly, feature phones (low-end handsets) are being refined to carry apps. “Many cheaper phones are becoming more powerful, pushing smartphones into becoming super-phones and raising the bar of the [mobile] richmedia experience,” Mork adds. Apps are also accessible via portable computer tablets such as Apple’s iPad, with their bigger screens. Gunnar Sellaeg, CEO of Norwegian mobile TV service provider Rubberduck Media Lab, has seen the average viewing time on mobile devices grow: “This has gone up from three minutes to over 10 minutes in the past two years and I believe that with the iPad we will see these numbers doubling, spurring the demand for full-length programming and movies.” Several rights owners, including broadcasters, are paying software developers to create programme-related apps and selling them mostly

on the world’s biggest online apps store, Apple’s App Store (see chart). Walt Disney Co has acquired Tapulous, a company that specialises in music-related apps games sold on the App Store and played on the iPhone, iTouch and iPad. News Corp subsidiary Fox Mobile Group recently introduced the beta version of Bitbop, a subscriptionbased app service that enables users to watch full TV episodes on smartphones. US networks CBS and ABC are reported to be making content for apps on the bigger-screen iPad.

After a major announcement in 2009, mobile handset giant Nokia and Tim Kring, creator of NBC’s hit sci-fi series Heroes, unleashed the app-centred Conspiracy For Good in July. Filmed in London this summer, this interactive thriller was written by Kring, and produced with the company P, the Swedish production group specialising in audience-participation entertainment, for online and mobile distribution. Nokia handset owners were able to participate by using apps to access games, music and websites that featured clues to the thriller’s storyline. 2waytraffic International, the Netherlands-based subsidiary of Sony Pictures Television, has been making digital games versions of its

hit reality game show Who Wants To Be A Millionaire? for 10 years. Last December, it added an iPhone app version to the portfolio. Launched in 67 countries, that app game is localised and monetised where appropriate. In Germany, where the programme is produced by RTL, the app was initially free and ad-supported, then a paid-for premium edition was introduced. 2wayTraffic has also licensed an Arabic-language app for the Middle East. Ed Louwerse, 2waytraffic International’s managing director, says the app platform has been a significant revenue generator because of the widespread popularity of TV’s Who Wants To Be A Millionaire? He argues that the growing importance of apps should not be underestimated. “The programme buyers are requesting it. They don’t only want to buy the formats, they also want to see what else you can deliver. And when I am in a race against a competitor, I want to bring more to the table and win that race, so I come with these apps attached.” Global news network CNN International unveiled its first iPhone/iTouch app in the US last year followed by an international edition free this year. “They're great for business travellers, as each story features bulleted highlights for mobile ‘snackers’ as well as the full article for those who want the whole story,” says Louis Gump, vice-president, CNN Mobile. “It’s also easy to share news stories via e-mail, Twitter and Facebook directly from the CNN app.” Canada’s Breakthrough Films & Television worked with app developer Frima Studio on Greatest Tank Battles, its documentary series on military clashes, and with Jam3Me-

Gong Media’s Andre de Semlyen: “The quality of the screen is now optimal, therefore the size of it does not matter any more”

FaberNovel’s Baptiste Benezet: “Two years ago, I wasn’t sure about the app format. But it has proven to be a major breakthrough”




dia on the HBO Canada comedy series Less Than Kind. Dorothy Vreeker, Breakthrough’s producer, interactive, learned that adapting a programme genre for miniature app games raised new creative challenges. “For Greatest Tank Battles, we wanted to put players in the commander’s turret to test their bravery as they try to out-think, out-manoeuvre and out-gun the enemy. For Less Than Kind, we wanted to provide a humorous gaming experience, one that was light and fun while still allowing the audience to engage with the series’ key characters.” For video producers without traditional broadcast distribution, the app has proved to be a dependable alternative outlet. Gong Media, the international multi-platform operator of the anime/manga network Gong, sells an iPhone app called GongLive, which offers fans a live TV service (an HD version is scheduled for the iPad); GongApp offers a video-on-demand version. Gong Media’s CEO, Andre de Semlyen, says that mobile devices may be small but they no longer restrict the enjoyment of good content: “The quality of the screen is now optimal, therefore the size of it does

not matter any more.” Equally, the mobile app is known to help rights owners and wireless carriers deliver reliable streamed-TV services on mobile phones. SPB Software produces SPB TV apps which allow subscribers to download up to 150 linear TV channels from 25 different countries. The industry trying to bring TV to mobile failed because the screens were too small, the networks were too slow and had bad connections because

With the iPad we will see these

numbers doubling, spurring demand for full-length programming Gunnar Sellaeg

the WiFi and 3G coverage weren’t necessarily good,” Olga Gachko, SPB Software’s head of marketing, says. “We don’t need to buffer the channel; you can start to watch within a second.” Apps can even meld live and recorded entertainment. In France, the international innovation agency faberNovel created ARTE Avignon, an iPhone app for ARTE, the Franco-German culture channel, and its live broadcast of the annual Festival d’Avignon. “Two years ago, I wasn’t sure about the app format. But it has proven to be a major

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breakthrough,” says Baptiste Benezet, faberNovel’s lead project designer. Yet, how do you make money from this platform when 90% of total revenue is said to come from only the top 10% offerings? For Joe Braman, commercial director, DVD, mobile and digital at Turner Broadcasting EMEA, the company’s core business remains video content on networks such as Cartoon Network and the young adults channel Adult Swim. “But apps and related games are our number two focus; it’s revenue that we’re keen to add to the bottom line,” he says. His division’s most successful apps are for the kids TV animation phenomenon Ben 10. The Ben 10 MouthOff game, developed with UK/Swedish company ustwo, allows kids to hold the mobile device to their mouths and lip-synch to the voice and mouth movements of the aliens featured in the series. Braman notes that apps have changed places with mobile phone personalised content, such as ringtones and wallpaper. “Personalised revenue is declining because consumers can create their own content. Apps, which can equally get us closer to the end user, are replacing that.” Expedition Africa: The Game, and Life After People Photo Ager (which shows how people and physical surroundings age with time) are among numerous apps from A&E Television Networks. Steve Ronson, executive vice-president, enterprises, explains their contribution to marketing the programmes. “Apps have become an important tool for growing fan communities and bringing viewers back to a series every week. We also believe there is a monetisation opportunity. We make sure that our shows point to our websites and apps, that our apps point to our sites and shows, and each of these is an additional

2waytraffic International’s Ed Louwerse: “When I am in a race against a competitor, I want to bring more to the table and win that race, so I come with these apps attached”

Starling’s Kevin Slavin: apps will join the social media services that fans will use to share their experiences while viewing programmes simultaneously on different platforms

CNN Mobile’s Louis Gump: “It’s also easy to share news stories via e-mail, Twitter and Facebook directly from the CNN app”



App Store

Ovi Store

App World

Android Market

Windows Marketplace for Mobile

Launch date

July 2008

May 2009

April 2009

November 2007

October 2009




RIM (maker of BlackBerry)

Google/ Open Source


Number of apps






A&E Television Networks’ Steve Ronson: ”We believe there is a monetisation opportunity”

Number of apps downloaded


1.7m a day




Operating System

iPhone OS 4

Symbian; Series 40; Maemo OS

BlackBerry OS


Windows Mobile

Developers’ share of each app’s price






Examples of TV-related apps

iTunes Festival; Radio Times; BBC News

Tim Kring’s Conspiracy For Good; Sky Mobile; Star Trek games; MuchMusic

Sky Mobile


PRP TV; Star Trek games; Simpsons Arcade

Sources: the companies Data compiled in July 2010

chance to expose viewers/customers to our brands, and to the ads on our various properties.” Challenges remain. First, the interoperability problem. An app from Apple’s App Store cannot be downloaded on to a handset that uses Google’s Android operating system. Kevin Slavin, president of the coviewing technology Starling, introduced at MIPTV, believes apps will join the social media services (Skype, SMS, Twitter, Facebook) that fans will use to share experiences while viewing programmes simultaneously on different platforms. Yet research company In-Stat predicts apps will soon be downloadable on to TV screens.

Layar, the Netherlands-based augmented-reality technology company, is developing apps that allow users’ handsets to enhance what they are looking at in real life. Augmentedreality phones must have a camera, GPS and a digital compass. An example given by Claire Boonstra, Layar’s co-founder, has Harry Potter fans using a phone with a Layar app to look at a standard train station but be the only ones to see

the fabled Hogwarts Express train standing on the fictional Platform No 9¾ inside the same (real-life) station. She adds: “Augmented reality will help to extend the [TV] content experience into people's everyday lives. For now that’s on mobile; for deeper experiences people can use their iPad for this [when equipped with a camera], but ultimately this could also run on [reading] glasses or even in contact lenses.”

Breakthrough’s Dorothy Vreeker: “For Greatest Tank Battles, we wanted to put players in the commander’s turret to test their bravery”

THE NEW PUBLISHING REVOLUTION Join The New Publishing Revolution series of conferences on Wednesday, October 6, from 14.30 to 19.30 in Auditorium A

GetJar’s Patrick Mork: “This is not a small platform; it’s a phenomenon”





The audience participates and

gives feedback, but ultimately we guide them in the direction we want to Tim Kring

Kring learns a new Heroes creator Tim Kring tells Juliana Koranteng about how he devised Conspiracy For Good and his vision of a transmedia future


IM KRING, creator of groundbreaking NBC sci-fi hit Heroes, has started a global conspiracy using mobile-apps technology. This summer his company, Tim Kring Enterprises, arrived in London with a large production crew to film Conspiracy For Good, a four-part suspense thriller that was updated weekly online and is funded by Nokia. But instead of focusing on a linear narrative, this interactive production blended fact and fiction and was distributed by mobile app. It in-

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corporated alternative-reality gaming, augmented-reality puzzles, flash-mob gatherings, concerts and live-audience participation into the fictitious narrative. This fits Kring’s enthusiasm for the “transmedia” narrative, an approach that allows storylines to be available on multiple digital platforms and customised for each one. Nokia worked with Kring’s team to develop its Point & Find service, a downloadable app that enables users to point handsets at objects and

landmarks in London to reveal clues that moved the storyline forward. Additionally, Kring applied his philosophy of using his work for good causes. The plot involved established international charity organisations such as Room To Read, which is helping to build a real-life library in a village in Zambia that is part of Conspiracy For Good’s locations. Kring explains how apps technology enabled him to produce content in a way that traditional TV couldn’t.


Tim Kring holding the Nokia handset with Point-and-Find technology

Q: How does this fit into the transmedia narrative format? A: I am a storyteller who likes pushing the boundaries. I became obsessed with the idea of telling stories across multiple platforms while working on Heroes. [In addition to TV], we told the story across the internet, on mobile and in publishing, and I learned how to use digital technology to extend the story, as opposed to just replaying the story. Even when you bought a replica of the sword used by Hiro Nakamura [the Heroes character who uses his powers to manipulate time and space], there was a story about the sword’s origin on the back of the box that was available nowhere else. Q: Will you be working with Nokia to create versions of Conspiracy For Good for other platforms, such as TV and a graphic novel? A: We’re focusing on [the mobile app] right now. But we’re also talking about how to duplicate this in other cities. This particular kind of narrative lends itself beautifully to urban environments for all kinds.

vocabulary Q: Why did you choose to start Conspiracy For Good with a mobile app as opposed to a TV broadcast? A: When you start a television show with fictitious characters, the content is shot in an artificial way because you’re setting up scripted scenes. Consequently, you run the risk of the programme always appearing to be at arm’s length from the audience. With Conspiracy For Good, the audience is part of the story. Q: Were you influenced by your experience on Heroes?

A: I became interested in the idea of mobile [distribution] when I was working on Heroes. I had seen the beginnings of the smartphone, a device that knew where you were, where all your friends were, and could push and receive content to people at the same time. With television, you have this delay between the show’s post-production and the audience’s viewing. With the app, the goal was to shorten that delayed feedback from the audience, so that you could create an immediate relationship with the audience.

Q: Because of the audience’s participation, how are you going to maintain the suspense in Conspiracy For Good the way a TV series can? A: The audience participates and gives feedback, but ultimately we guide them in the direction we want to; we’re still the storytellers. Q: But hasn’t Hollywood always tweaked storylines to make a movie or a TV series more appealing to a targeted audience? A: Those of us working in TV have seen the audience become completely fractured. The audience was clearly going to the internet, to gaming, and to mobile content. If the audience is e-mailing, texting, is online or on the mobile phone, then why not go there? Q: You are using Nokia’s apps technology to do something that’s effectively not for profit. Is Conspiracy For Good something a production company could do on

its own without a major sponsor? A: That would be very difficult; especially at the level that we’re doing it. It’s a true production, similar to mounting a large film production, and so the infrastructure requires a certain amount of capital. When I first started in this profession, the thought of working with corporations or sponsors was anathema for somebody creative like me. Today, there’s real case for strong relationships between creative people and corporate interests because I think that’s the way things are going to be funded in future. Q: In which case, with a production this big, what made you think Nokia’s app technology would work? A: What we’re getting is the marriage between someone who has a really crazy idea like this and Nokia’s huge reach on mobile. The sudden proliferation of apps, the ability to use GPS, image recognition and augmented reality have provided incredible tools for storytellers like me. Nokia becomes the equipment you use to tell a story. Q: How flexible has Nokia been in the collaboration? A: The Nokia Point & Find technology that we’re using is being created at the same time as this production. We’re constantly testing the boundaries of what it can do because we ask questions that the general public wouldn’t. And it’s forced me, 25 years into my career, to learn a whole new vocabulary. Q: Are you still being a maverick or is this something Hollywood has to deal with now? A: There is a handful of us moving in this direction. I know that any show in Hollywood that’s being pitched right now is being pitched with some element of how it’s going to reach people across multiple platforms. I don’t know how a show can become a hit nowadays without figuring out how to do so.



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The information is divided into seven sections:

The entire MIPCOM team is committed to ensuring your event experience goes as smoothly and efficiently as possible so you can focus on achieving your objectives. This document is intended to assist you in your preparation for MIPCOM. The following information will provide you with the necessary tools to arrive with a full meeting schedule in place and an in-depth understanding of the market.

1 • PREPARING FOR MY MARKET STAY CONNECTED ON YOUR MOBILE. DOWNLOAD THE FREE APP Prepare your MIPCOM schedule, consult Conference & Event information and learn more about speakers and keynotes by reading their biographies. Find out who will be attending and connect with them through the Online Delegate Database. Receive daily updates during the show. A whole world of useful information in the palm of your hand! Download the application on website Or contact: USE THE MIPCOM ONLINE COMMUNITY TO IDENTIFY BUSINESS PARTNERS WHO MATCH YOUR BUSINESS OBJECTIVES Search by company, participant, sector, professional activity, product, primary activity, country, continent or keyword. Complement your search by viewing company product pages that provide full details on each company’s activities, specific projects and products. Join the Online Community on WHERE TO HOLD APPOINTMENTS IF YOU DON’T HAVE A STAND The Participants’ Club is intended for participants attending MIPCOM without a stand. Features include a meeting area*, free coffee service and free Wi-Fi service. *To ensure that all participants are able to benefit from this business lounge, we kindly

ask participants to keep their meetings to a maximum length of one hour. Should you require a larger venue for a longer period, please contact our Events Department. Tel: +33 (0)1 41 90 44 96 Email: JOIN THE FIRST-TIMERS’ COCKTAIL AND DISCOVERY TOUR If you are attending MIPCOM for the first time or would like to meet the MIPCOM team, please join us for a welcome drink and tour of the Palais des Festivals. Take advantage of this unique opportunity to receive market tips, as well as one-onone assistance and advice on how to achieve your business goals. First-timers’ meeting and discovery tour: Sunday, October 3, 17.00 Meeting point: Main entrance, Palais des Festivals DON’T MISS MIPCOM CONFERENCES AND EVENTS Consult the conference & event programme in this Preview Magazine for information on official MIPCOM conferences. MIPCOM conferences are open to all participants free of charge on presentation of their badge, depending on venue capacity. Consult our website,, for further details. Don’t miss the Opening Cocktail, Monday, October 4, 19.30 at the Hotel Martinez, Cannes. ORGANISE AN EVENT If you wish to organise an event during MIPCOM (cocktail party, screening, press conference, etc.), inside or outside the Palais des Festivals, our Events Department is available for advice and assistance.

1 2 3 4 5 6 7

Preparing for my market Transportation Don’t forget to pack... Accessing MIPCOM Exhibition halls and clubs MIPCOM services Keeping in contact during the market

Tel: +33 (0)1 41 90 44 96 E-mail: For smaller events at your stand, please note that only SEMEC-approved caterers may work in the Palais des Festivals, due to public health and hygiene regulations. These regulations also prohibit nonapproved foodstuffs, except packaged items (nuts, biscuits, etc.) and bottles. Clients wishing to use caterers at their booths must use an approved catering supplier. For further information, please contact our Events Department.

and KLM Global Meetings. Take advantage of discounts of up to 47% on flights within France, and up to 10% on international flights (conditions apply). To benefit from these special offers, access and use event ID code: 10461AF. These rates are valid from 27/09/2010 to 13/10/2010. For more information about the terms and conditions of these special fares, check online at Airport The Nice Cote d'Azur International Airport (NCE) offers direct flights to many cities around the world. It is situated 24km (15 miles) southeast of Cannes, 30-45 minutes by car or 50 minutes by bus from the city centre. Tel: +33 (0)820 423 333 Website:

RESERVE YOUR ACCOMMODATION The Hotel Reservations Service is available to help you address your booking and accommodation requirements. For further information, please contact:

2 • TRANSPORTATION BOOK YOUR FLIGHT TO NICE Travel agencies MIPCOM has two official travel agency partners who can help find the best airfares: • Silver Voyages (France and Southern Europe): Tel: +33 (0)1 45 61 90 59 Email: • Dovetail Foks (UK and Northern Europe) Tel: +44 (0)20 7025 1515 Email: During the event, the Dovetail Foks desk can be found at Registration. Airline and travel discounts Find the lowest airfares with Air France

AIRPORT TRANSFERS Car rental Rent a car through MIPCOM partner Sixt for special rates reserved for MIPCOM participants. To take advantage of this deal, use promotion code: 9963828. For more information, consult the transport section under "Prepare" on, visit or dial +33(0)8 20 00 74 98. Sixt has agency locations at Nice airport and in Cannes. During the market, a Sixt desk will be situated at Registration. The motorway toll from Nice to Cannes is €2.70. Payment must be made by cash, cheque or credit card. Please call +33 (0)8 92 70 70 30 for further information. Helicopter Azur Helicoptere makes six-minute flights regularly between Nice Airport and Cannes. A one-way ticket




costs €125, per person, including tax (10% off regular rates). A free shuttle service is available in Cannes for transfers between the heliport and your final destination downtown. A minimum of three people is required for each flight. An Azur desk will be located on Level 01 of the Palais des Festivals. Tel: +33 (0)4 93 90 40 70 E-mail: Member benefits available here.

and the Palais des Festivals throughout the exhibition period. Schedules are available in hotels and at the Accommodation and Shuttle Bus Information Desk at Registration.

Limousines MC Limousine specialises in every aspect of limousine services, including airport transfers and the provision of cars for all occasions. Oneway service from Nice Airport for one to three people costs approximately €100. MC Limousines representatives will be on hand at the travel desks at Registration. Tel: +33(0)4 92 18 80 80 E-mail: reedmidem@

Car parks Numerous covered public car parks are located within walking distance of the Palais des Festivals. These can be paid for with a magnetic card available at the Tourism Office at the Palais des Festivals. MIPCOM strongly advises you to book well ahead of the market.

Bus Bus 210 (Xpress Cannes) is an express line from Nice Airport to Cannes’ town hall. Buses run every half hour, with trips taking about 50 minutes. The Nice Airport ticket desk is located in Terminal 1 and Terminal 2. One-way/return tickets cost €15.60/€25.50. A one-way ticket for four people costs €41. The RCA desk will be situated at Level 01 of the Palais des Festivals during the event. Visit for further information. Taxis Taxis are available at the Nice Airport, from Terminal 1 (Gate A1) and Terminal 2 (Gate A3).The average taxi fare between Cannes and Nice airport is €70, with trips taking 30-45 minutes. A night rate applies between 19.00-7.00. To reserve a taxi, call the Allo Taxi Cannes 24/7 hotline at +33 (0)8 90 71 22 27, or their daytime number at +33 (0)6 20 26 65 94 (available 9.00 18.00). Visit for further information. During the market, visit the MIPCOM Concierge service, Level 0, in the main entrance of the Palais des Festivals. Train For information about rail travel between Nice and Cannes or for additional destinations, please call 3635 (France only) or +33 (0)8 92 35 35 35 (international number). A one-way ticket between Nice and Cannes costs between €4.50 and €8.00. IN CANNES Free MIPCOM shuttle bus service The free MIPCOM shuttle bus service is available to all delegates, running between hotels located outside Cannes

Cannes local buses A local bus network services Cannes and the surrounding areas (€1 for a one-way ticket).

Equiptech: Chambre de Commerce et d’Industrie, Gare Maritime Fax: +33 (0)4 92 98 70 01 E-mail: Uniparc Cannes SNC Tel: +33 (0)4 93 68 79 02/13 E-mail: / Tourist information The Cannes Tourism Office is located at the Palais des Festivals on la Croisette. Tel: +33 (0)4 93 39 24 53 E-mail: Website:

3 • DON’T FORGET TO PACK... YOUR BADGE Participants registered before August 11 will receive their badge via post, and therefore do not need to collect it from Registration. You will need your badge to enter the show. Your MIPCOM Bag will be available on demand at any time during the show at the “Guide and Bag” distribution point. YOUR INVOICE Foreign participants are eligible for a refund on French Value Added Tax (VAT) under certain conditions. TEVEA International, the fiscal advisor located at Registration, can organise and process your VAT refund request. Remember to bring the original copies of your invoices with you to the market and to visit TEVEA before you leave Cannes.

4 • ACCESSING MIPCOM CANNES INFORMATION The Palais des Festivals is situated on the beachfront along the famous Croisette, clearly signposted throughout Cannes.

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Please note this important practical information: 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 Measuring system: Metric Currency: Euro

NEW this year: Registration has moved to the seafront on the left of the Palais des Festivals. COLLECTING YOUR MIPCOM BADGE If you have already received your badge via post, you may proceed directly to the show entrances. Otherwise, please collect your badge and bag from Registration. You will need to present your badge to access the event. Registration hours • Saturday, October 2: 14.00-19.00 • Sunday, October 3: 9.00-19.00 • Monday, October 4: 8.00-19.30 • Tuesday, October 5-Thursday, October 7: 9.00-19.00 • Friday, October 8: 9.00-13.00 MIPCOM Protocol Department is located in the Organiser’s Offices on the Esplanade of the Palais, clearly signposted from outside the Palais des Festivals. They will provide you with your badge (if you have not received it yet) and any further information necessary. Journalists, reporters and photographers: proceed to the Press Registration desk at Protocol to collect your badge. Please note that members of the press must register for the event prior to arrival in Cannes. Conference speakers: proceed to Registration to collect your badge. The Conference Department is located in Auditorium D, Level 3 of the Palais des Festivals if any further information is necessary. Conference staff members will be happy to welcome and assist you. BADGE TYPES Badges indicate the type of activity for each participant: exhibitor, participant without stand, press or official. Please remember to wear your badge at all times during the market. BUILD-UP ACCESS Exhibitors will have access to their stands before the market opens. Appropriate protective clothing and safety

shoes are necessary in the Palais des Festivals during build-up. MARKET OPENING HOURS • Monday, October 4-Thursday, October 7: 9.00-19.00 • Friday, October 8: 9.00-13.00 Exhibitors can access the exhibition area 30 minutes before opening.

5 • EXHIBITION HALLS AND CLUBS EXHIBITION HALLS The Palais des Festivals is composed of two buildings, accessible from the Croisette or beachfront. Exhibition halls are located in each building: • Principal building (Level 01, 0, 1, 3 and 4): direct access from the Croisette • Riviera, Riviera Seaview and Lerins Halls: direct access from the beachfront The two buildings are connected by a mechanical escalator and passage on Level 3 of the Palais des Festivals. An additional exhibition hall is located in a special marquee on the seafront: • Riviera Beach Hall Maps are available throughout the market to help you find exhibitors, or ask a hostess for assistance. CLUBS Participants’ Club This club is intended for participants who are attending MIPCOM without a stand. Features include a meeting area, free coffee service and free Wi-Fi service. Buyers’ Club This club is reserved for programme purchasing executives. Features include a lounge area, complimentary bar, electronic message board organised by hostesses and Wi-Fi access. VIP Club This exclusive club allows VIP delegates to relax or discuss business in more private surroundings. Features include Wi-Fi access, refreshments and an attentive staff. Media Centre Our International Press Service is in constant contact with the international trade and general press. Representatives are on hand to help you increase your visibility at the market.


The Online Media Centre allows you to post your show-related press releases and press kits, free of charge, in a dedicated zone on the show website, which can be accessed by hundreds of media professionals covering MIPCOM. Once registered for MIPCOM, send your press release or press kit to After the show, you will receive a report on which media and journalists read your press release. For technical assistance, please contact our Online Media Centre partners VPO by email at, or by phone at +1 973 783 77 87.

6 • MIPCOM SERVICES We offer an extensive range of services to ensure your stay in Cannes runs as smoothly as possible. Many of these services are complimentary. CUSTOMER SERVICE HELP DESK During the market, MIPCOM staff members will be available to field inquiries and provide one-to-one assistance. Please do not hesitate to approach them for advice or assistance, however difficult your request may seem. • Before and after MIPCOM, contact the Customer Service Help Desk at: Tel: +33(0)1 41 90 44 41/42 E-mail:

• Visit the Help Desk during MIPCOM at the following locations: October 2-3, Registration October 4-8, Main Entrance (close to the lifts), Palais des Festivals Tel: +33(0)4 92 99 87 44 Blue Lounge This fully-equipped press conference facility is capable of hosting 60 journalists and 3-4 camera crews. Features include plasma screens to showcase programmes, a sound and video technician and a trilingual (French / English / Spanish) moderator who can host conferences and act as a ‘friendly’ interviewer. For more information please contact the Events Department.

Business Centre The Business Centre provides a complete range of secretarial and administrative services for all participants. Professional photocopying, typing, fax, print and postal services are available at competitive prices. Cloakroom Free cloakrooms are available for coats and small bags on Level 1 (close to the lift) of the Palais and inside the Riviera. Concierge Service The Concierge provides a complete range of services, including restaurant and taxi bookings, flight, helicopter, shuttle and spa reservations. Our concierge will welcome you and ensure your stay in




Cannes is as enjoyable as possible. The Concierge Service will be located on Level 0 of the Palais des Festivals. Tel: +33 (0)4 92 99 87 35 Green – Selective collection At Reed MIDEM, we believe that every little effort can help protect our planet. Your support in helping us be more respectful of the environment by recycling will be very much appreciated. Please look for paper collection bins available throughout the Palais. Hotel hotline The Hotel Reservation Service offers a 24-hour hotline to help you with issues regarding hotel check-in and check-out. The hotline can also be used for any accommodation queries. Tel: +33 (0)6 85 54 30 53 Internet & Charging Zone

The Internet Zone offers e-mail stations, charging stations and a plug-and-play area. Free Wi-Fi is available at: • The Participants' Club • The Buyers' Club • The VIP Club • The Media Centre • Lerins Hall Left luggage & overnight safety deposit A left luggage service is available on the main concourse to the left of the building if you wish to go directly to MIPCOM from the airport. An overnight security room is also available for valuables (laptops, cameras, etc.), on Level 0.

Member Desk The Member Service Desk is dedicated to Customer Recognition Programme members and provides personalised services, including transport and restaurant reservations as well as any other requests for assistance members may have during the show. It is located on Level 0 of the Palais des Festivals, close to the lifts. Available to members only The MIPCOM News Don’t hesitate to contact our News Team during MIPCOM with details of your breaking news and deals. The MIPCOM News can be found next to Registration. Regus Business Lounge The Regus Business Lounge offers eligible delegates complimentary, personalised business services, including a private lounge area, international press, PC and internet access, refreshments and specialised staff. Available to members only Screening rooms Reserve a screening room or video centre for your business presentations, open 10.00-19.00. Please contact our Events Department for more information. Stand-holder services Find order forms for the stand-holder services in the Exhibitors’ Technical Manual, available at under “Prepare”. Technical Department Solve technical queries at your stand with

the help of the Technical Department. Their expertise covers electricity supply, stand telephone lines, contractual furniture, and more. This desk is located on Level 01 of the Palais des Festivals to the right of the main stairs. Before the market, don’t hesitate to dial +33 (0)1 41 90 44 43/49 74 for information.

7 • KEEPING IN CONTACT DURING THE MARKET INTERNET & CHARGING ZONE WITH SABAN The Internet Zone offers e-mail stations, charging stations and a plug-and-play area. Free Wi-Fi is available in the clubs and Lerins Hall. Wi-Fi CONNECTIONS Viapass provides Wi-Fi connections in the Palais des Festivals. Purchase your session on site once you are connected to the “Palaisdesfestivals” network. Please contact their hotline at +33 (0)4 97 06 37 65, or visit their desk on Level 01 of the Palais des Festivals for further information. MOBILE PHONES & 3G DATA CARDS RENTAL CellHire, MIPCOM’s mobile telephone partner, can equip you with an international cell phone during the market. You will receive free incoming calls while in France and enjoy competitive international rates. 3G data cards are also available should you need unlimited wireless internet access throughout the event. Reserve your mobile phone, Blackberry, SIM card or 3G

data card well ahead of the market at or +33 (0)6 83 58 44 22 E-mail Cellhire for further information France: UK: USA: PAYPHONES Telephones are located near the central staircase of the Palais des Festivals. Telephone cards are available at the Business Centre and in any post office or tobacconist. YOUR PHONE ON THE STAND (if applicable) • To call within the Palais des Festivals, please dial your correspondent’s internal four-digit number. • To make an outside call, dial 0, then 00, followed by the country code (for international calls) and number. • To receive a call, your correspondent can dial +33 (0)4 92 99, followed by your four-digit extension. Alternatively, they can call the Palais des Festivals switchboard, +33 (0)4 93 39 01 01, and ask for your four-digit extension. POSTAL ADDRESS The following address should be used for all postal communications: Company name Stand number MIPCOM 2010 Palais des Festivals Esplanade Georges Pompidou 06400 Cannes France

MIPCOM Preview magazine — September 2010 Director of publications: Paul Zilk Editorial Department – Editor in Chief: Julian Newby – Deputy Editor: Debbie Lincoln – Sub Editor: Phil Sommerich – Contributors: Marlene Edmunds, Juliana Koranteng, Max Leonard, Gary Smith – Technical Editor in Chief: Herve Traisnel – Deputy Technical Editor in Chief: Frederic Beauseigneur – Graphic Designer: Carole Peres – Editorial Management: Boutique Editions Ltd.

Printed on 100% recycled paper

Production Department – Content Director: Jean-Marc Andre – Publications Production and Development Manager: Martin Screpel – Publishing Coordinators: Amrane Lamiri, Bruno Piauger – Production Assistants: Emilie Lambert, David Le Chapelain – Production Assistant, Cannes Office: Eric Laurent – Printer: Riccobono Imprimeurs – Le Muy (France) Management, Marketing & Sales Team – Director of the Television Division: Laurine Garaude – Director of Digital Media: Ted Baracos – Sales Director: Sabine Chemaly – Communications and Partnerships Manager: Dee Perryman – Programme Director : Tania Dugaro – Managing Director (UK / Australia / New Zealand): Peter Rhodes OBE – Sales Manager: Elizabeth Delaney – Vice President Sales and Business Development, Americas : Robert Marking – Vice President Business Development, North America: JP Bommel – Executive Sales Director, North America : MJ Sorenson – Sales executive : Panayiota Pagoulatos – Sales Manager: Paul Barbaro – Sales Manager: Nathalie Gastone – International Sales Manager: Fabienne Germond, Olivia Screpel – Sales Manager: Samira Haddi – Digital Media Sales Manager: Nancy Denole – Australia and New Zealand Representative : Natalie Apostolou – China Representative: Anke Redl – CIS Representative: Alexandra Modestova – Czech Republic and Slovakia Representative : Milan Stritesky – English speaking Africa representative: Arnaud de Nanteuil – India Representative: Anil Wanvari – Israel Representative: Guy Martinovsky – Japan Representative: Lily Ono – Latin America Representative: Elisa Aquino – Middle-East Representative: Bassil Hajjar – Poland Representative: Monika Bednarek – South Korea Representative: Sunny Kim – Taiwan Representative: Irene Liu – Germany Mobile & Music Representative: Renate Radke Adam – Germany Advertising Representative: Nathalie Daube Published by Reed MIDEM BP 572 – 11, rue du Colonel Pierre Avia 75726 Paris Cedex 15 – Contents © 2010 Reed MIDEM Market Publications – Publication Registered: 3trd quarter 2010

94 / M I P C O M P R E V I E W M A G A Z I N E 2 0 1 0 The worldâ&#x20AC;&#x2122;s largest online library of new childrenâ&#x20AC;&#x2122;s, youth, documentary and factual programmes

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MIPCOM 2010 Preview  

MIPCOM 2010 Preview

MIPCOM 2010 Preview  

MIPCOM 2010 Preview