mipcom nEWs ®
Thursday 19 October 2017
PERSONALITY OF THE YEAR
Discovery CEO David Zaslav received the MIPCOM Personality Of The Year award in Cannes last night
DIVERSIFY TV KEYNOTE
Sir Lenny Henry urged the TV industry to push diversity to the top of its agenda
Vivendi’s Dominique Delport shared his thoughts on the future of content
STARS IN CANNES
Stars from all over the world came to MIPCOM to promote their latest productions
NEWS 4 MIPCOM Personality Of The Year; Diversfy TV; Media Mastermind Keynotes; market news; conferences and panels; stars in Cannes; and more...
ren Confe mme a r g o r p P17
THE MOST screened programme at MIPJunior this year was Korean animated series Magic Adventures – The Crystal Of Dark (52 x 11 mins). This comedy adventure series from Hong Dang Moo is about a kooky young princess battling the evil Wizard of Dark to save Magic Land. In second place was 44 Cats, the new pet project from Rainbow in Italy. And coming in third was Alice And Lewis (52 x 11 mins) a comedy series about living with change, produced by France’s Blue Spirit Productions in France. 44 Cats (Rainbow)
Magic Adventures – The Crystal Of Dark (Hong Dang Moo)
Alice And Lewis (Blue Spirit Productions)
was great seeing you at MIPCOM safe travels home
Reed MIDEM’s Paul Zilk awards Discovery CEO David Zaslav with the MIPCOM Personality Of The Year award at a gala evening in Cannes last night
Personality Of The Year Industry luminaries, colleagues and friends attended a gala evening at the Carlton hotel last night to honour MIPCOM Personality Of The Year Discovery CEO David Zaslav
IMG Worldwide’s Gary Marenzi (left), World Screen’s Ricardo Seguin Guise and Avi Armoza of Armoza Formats
Eunice Omole of EbonyLife TV (left) with Chi-Elizabeth Duru Ocan of iConcierge
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Tennis stars Boris Becker (left) and Alex Corretja
Peter Iacano (left), Sandra Stern, Jon Feltheimer, Jim Packer and Kevin Beggs of Lionsgate, with Canal+’s Aline Marrache-Tesseraud and Lionsgate’s Jennifer O’Connell
Scripps Networks’ Ken Lowe and Sweet Julia presenter Julia Lowe
Pam and David Zaslav
Discovery’s Holly Bone (left), Andrew O’Connell and Susanna Dinnage
Jane Turton of All3Media (left), Pact’s John McVay, and All3Media’s Louise Pedersen and Sara Geater
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‘Code and content’ key to Own all your global IP, on seeing off internet raiders all platforms, says Zaslav
HE DOMINANT internet companies which have destroyed print adver tising revenues are now coming for TV unless the industry rises to the challenge, warned Dominique Delport in his Media Mastermind Keynote, examining where the money is in today’s media landscape — and where that money might go tomorrow. In the world of “free” content, the global managing director of Havas Group, chairman of Vivendi Content and Vivendi board member noted the “perfect and unprecedented duopoly” of Google and Facebook that in 2016 pushed global digital advertising spend above TV spend for the first time. In paid content, Netflix and Amazon were creating incredible volumes of programming, and Amazon’s ability to charge its customers through its portal for almost anything was impressive. He predicted that voice interfaces like Amazon’s Alexa would further disrupt the status quo. Did this mean that TV creators need fear? Not if they combined what he called “code and culture”
MIPCOM Personality Of The Year David Zaslav, president and CEO of Discovery Communications, used his Media Mastermind Keynote to tell delegates that his company’s traditional dual revenuestream business is in good shape. But he also stressed that traditional media companies need to figure out how to get their content on to every device — or risk losing out to industry disruptors. But Zaslav acknowledged that his company is not yet making much money in this area — despite its huge digital footprint: “We’ve invested a lot of money building audience a nd competence, and provided [digital platforms] with a lot of content — but we need to figure out a way to make that business work.” Key to doing so, he said, is owning all IP globally and across all platforms. At the same time, he added, it is vital “to create content that appeals to superfans. We need to ask ourselves — would people watch this
— computer programming and content programming. For many, that would mean collecting data, or using telco know-how to build new content delivery channels. He said Vivendi’s Studio+ was exploring new stor ytelling forms, in bitesize chunks on mobile — a creative endeavour that owed much of its success to its distribution method. “Content is king, of course, but distribution is queen, and we’re living in a world where the king and queen are equal,” he said. But, finally, the king might have the upper hand: “Don’t forget, everything starts with the best content. Without that, there is no data to capture and no audience to delight.”
Discovery Communications CEO David Zaslav
content before they watch anything else? And would they pay for this before they pay for their dinner?” In a conversation with Lionsgate CEO John Feltheimer, Zaslav said better data might allow broadcasters like Discovery to reduce the number of ads they insert into programming, by enabling better targeting. He also echoed Snap content officer Sean Mills when he said it is important to create content that is tailored to mobile — not just force-fit TV content on to small screens.
Diversity is a business as well as moral imperative BY 2020, 40% of all economic spend will be by Gen Z. And those who do nothing now to attract this global audience with content that crosses borders, barriers, creeds, colours, cultures and genders run the risk of “doing a Kodak” by failing to embrace the march of progress, moderator Rioch EdwardsBrown of So You Wanna Be In TV? told the Diversify TV session, Breaking Stereotypes To Connect Global Audiences. Sugar Films’ Pat Younge said there was a reason why the entertainment industry is called “showbiz” and not “show friends”.
“This is a business and if you’re not talking to the world’s young people, you’re not doing good business,” he added. “So diversity is not just a moral imperative, though that’s extremely strong, it’s also about relevance and, ultimately, survival.” Viacom International Media Networks (VIMN) Africa’s Alex Okosi said that, when VIMN entered Africa 12 years ago, it screened mostly US content. “Twelve years later, Africans want African content that’s about their neighbourhood and in their language and relevant to their lives. The challenge is to find
Breaking stereotypes: So You Wanna Be In TV’s Rioch Edwards-Brown (left), A+E Networks’ Tanya Lopez, VIMN Africa’s Alex Okosi and Sugar Film’s Pat Younge
cheap and easy ways to research what your audience wants.” A+E Networks’ Tanya Lopez, said the Lifetime brand was constantly evolving, “because
women are constantly evolving and want different content”. She concluded: “So at A+E Networks, a lot of what’s happening now is listening.”
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Stars in Cannes
Actors Olga Sutulova and Konstantin Khabensky are here for Channel One/Sreda‘s Trotsky
Talent from around the world made the journey to MIPCOM to share news of their latest productions
Yulia Franz stars in TV3 Channel’s Gogol. Origins
Voicing stars John Arcilla and Cherie Gil of Philippinesbased Synergy88’s anime series Barangay 143
Astronaut Chris Hadfield, here to promote BBC Studios’ Astronauts: Toughest Job In The Universe
Actors Anna Chipovskaya and Yuliya Snigir, in Cannes for NTV’s epic drama The Road To Calvary
Celebrity chef Gordon Ramsay’s Studio Ramsay and all3media are co-producing 24 Hours To Hell And Back, as well as Gordon On Cocaine
Starring in Sky/Amazon’s Britannia are Nikolaj Lie Kaas (left), Eleanor WorthingtonCox and David Morrissey (right), pictured with musician Donovan (second left), whose hit Hurdy Gurdy Man is the theme tune for the series
Sebastian Marroquin, son of Pablo Escobar, poses for Beyond Distribution’s Escobar Exposed Actor Juliet Rylance, promoting BBC Worldwide’s McMafia
Aoi Miyazaki stars in NHK’s Kurara: The Dazzling Life Of Hokusai’s Daughter
Actor Kristin Kreuk is here for CBC Original Series Burden Of Truth
NEWS Buyers at Superpanel lay out what they look for in content
eadi ng buyers f rom broadcasters and online platforms used the Acquisitions Superpanel yesterday to lay out the kind of content they are looking for. Dermot Horan, director of acquisition and co-productions at Irish public broadcaster RTE, said “We put a lot of emphasis on formats — creating Irish versions of shows like Dance With The Stars, First Dates and Who Do You Think You Are?. We also acquire drama and library feature films to complement our Irish programming, which we play in 21.00 to 23.00 slots.” Rozan Hamacker, head of acquisitions at Netherlands-based broadcaster SBS Broadcasting, said SBS-owned channels also place an emphasis on formats, such as Rich House, Poor House. “We acquire movies but need to be clever with our marketing. So we wouldn’t acquire one-off films and place them randomly in
the schedule. We look for franchises… like Fast & Furious.” Jason Thorp, CEO of Global Series Networks, a partner with Channel 4 in international OTT platform Walter Presents, said his company “has acquired 1,200 hours of non-English language
drama since it launched in the UK two years ago — so we have a huge appetite. Northern European crime series work well but we look at great stories and ideas across all genres.” Aurelie de Troyer, vice-president global acquisitions and
World Screen editor-in-chief Anna Carugati (left), SBS’s Rozan Hamacker, RTE’s Dermot Horan, GSN’s Jason Thorp, AMC Networks Global’s Aurelie de Troyer and Reed MIDEM’s Laurine Garaude
Social media enables first global show
A “GLOBAL SHOW” is within reach for the first time in TV history with the advent of social media video platforms, Facbook’s head of global creative strategy said.
co-productions, AMC Networks Global, said her company is buying content for international streaming services Shudder and Sundance Now. “Shudder is about genre drama (horror, sci-fi, supernatural, etc) and Sundance Now is about the highest quality shows. We have a high ratio of exclusivity because that’s important to us.” All four executives were also awarded World Screen Content Trendsetter Awards during the session.
Speaking six weeks after the US launch of Facebook’s muchawaited video service Watch, Ricky Van Veen — head of global creative strategy for Facebook — said that social media’s
Facebook’s Ricky Van Veen (left) and Daniel Danker
two billion users presented an unprecedented potential viewership for content-makers around the world. Facebook unveiled the Watch platform in August, allowing US users to access video content and TV series curated to their own tastes. The service allows viewers to find and share content through their own community pages, keep track of episodes through series ‘watchlists’, and interact with the shows. Urging creators and publishers to consider new ways of making shows for social media, Van Veen cited Norwegian teen drama series Skam — which will appear on Watch, it was announced yesterday — as an example of cutting-edge new
format content that is “built for Facebook”. “Not only is it told in a non-traditional format,” he said, “the characters actually have Instagram accounts and they interact with each other.” Van Veen was joined on stage during the Media Mastermind Keynote session, held yesterday in the Grand Auditorium, by Facebook’s director of video product, Daniel Danker. Commenting on the launch of Watch, Danker said: “What’s really exciting for us is that it’s creating a new type of format. Video is so powerful it can bring people together and build stronger connections. When creators and publishers really start harnessing that power it makes for a much better experience. “What we’re making here is a platform. We want anyone to be able to make a show and connect with their audiences”.
Rosamund in Moominland 11
LOVE the Moomins, I’ve had a really strong affinity with these characters since I was a little girl,” Rosamund Pike told MIPCOM News, during her visit to Cannes to promote Moominvalley, the new animated series based on the books by Tove and Lars Jansson. The British actor has played everything from BBC costume drama to a Bond girl — and in the pipeline are roles as the Sunday Times war correspondent Marie Colvin and Nobel Prize-winner Marie Curie. But being in Moominvalley— she will voice Moominmamma — means something very special to her. She’s not the only one. Looking at the team assembled by Moomin Characters Oy (the company started by Lars and Tove that owns and manages the Moomins properties, which is now managed by Lars’ daughter Sophia) and producer Gutsy Animations, it’s clear that many people hold them dear. Voice talent announced so far includes Kate Winslet, Richard Ayoade, Warwick Davis and the writer and broadcaster Will Self. Directing will be Steve Box, known for his Oscar-winning work on Wallace And Gromit, and producing will be John Woolley, who won an Emmy, also for his work with Aardman. There is clearly a deep well of love for the Moomins. What is it all about? “It’s like I always knew these stories, but when I was about 15 I remember looking at Moominpappa and seeing it,” Pike said. “There’s all this tremendous wisdom and depth, and witty, subtle, profound observations about human nature. And you think, these are silly, gorgeous, sort of surreal characters, in what could be quite a whimsical world, but underneath it’s rooted in this great understanding of who we are as people, and our needs and our fears and our passions, and our love for one another and our insecurities within ourselves. Tove Jansson is so clever in the way she characterises them.” The script, by Emmy-winners Mark Huckerby and Nick Ostler, manages to operate on all these levels: “It’s a family drama that’s going to embrace all the complexity,” Pike said. “Obviously, it’ll be able to be watched, on the surreal lovable kids’ level, but it’s going to have all those resonances, just because all the people involved just love this material.” Gutsy Animations is based in Helsinki, and it was announced that Finnish public broadcaster YLE has bought the first two seasons and an option on a following two.
MIPCOM was the destination for talent from around the world, eager to promote their latest work
New Orleans rapper Big Freedia is promoting her new show Big Freedia Bounces Back produced by World of Wonder
Charlie Gustafsson and Hedda Rehnberg star in The Restaurant, produced by Banijay Group in collaboration with SVT, Viaplay and Film i Vast
Comedy duo Robert Webb and David Mitchell are present for BBCWWâ€™s Back
Medial talkshow host, Dr Nandi, here for Ladies First Distributionâ€™s Ask Dr. Nandi
Parenting expert Jo Frost fronts documentary series Jo Frost On Killer Kids, brought to MIPCOM by Keshet International
Brandon Beemer, Celeste Fianna, Kristos Andrews, Gregori J Martin and Eric Nelsen are here for GRB Entertainment’s drama The Bay which is launching this week
Actor Brittany LeBorgne stars in CMF and Telefilm Canada’s Mohawk Girls
Actors Alexander Karim and Malin Buska are in Cannes for the premiere of The Lawyer, produced by SF Studios
Jessica Brown Findlay stars in ITV and Hulu’s period drama, Harlots
Actors Dolunay Soyert, Erkan Petekkaya and Songul Oden are here for Karga Seven Pictures’ launch of City Of Secrets, made for Fox Turkey
Actor Tzion Baruch stars in United Studios’ Juda
NEWS Help us to shape digital policy for next decade, urges the EU
HE EUROPEAN commission is appealing to TV programme-makers a nd b r oa d ca st e r s t o take part in shaping the future of the industry in the midst of a “difficult political climate”. Commission deputy director general for communications networks, content and technology Claire Bury said at a special event on EU digital policy yesterday that with future media policy currently being formulated, now was the time for the industry to get involved. She told the conference session How Will The European Digital Single Market Affect My Business: “The reason why this MIPCOM is so important is that
we are in the process of reviewing media policy and the financing framework. We are looking at what’s been done, what’s worked and what’s going to be important for media in Europe over the next decade.” The session looked at the commission’s policy on a range of topics affecting media, including cross-border content and rights issues. Bury said the commission was working to create a level playing field on which broadcasters, online platforms and contentmakers of all sizes could compete and thrive, and that the industry’s input would be crucial. “What we need from you, the stakeholders, over the next year is action to prepare media pol-
icy over the next decade. There will be decisions taken about how much funding we get. We
European commission deputy director general Claire Bury
Media support should be ‘one-stop shop’
THERE IS “huge potential” for
the EU’s MEDIA programme to play a key role in in supporting the European film and TV industry over the coming years, but the strict qualifying criteria should be relaxed, panelists argued at a European Film Forum panel, The Media Programme Beyond 2020: Connecting Content, Finance And Audiences. RAI deputy director, digital, Antonella di Lazzaro said: “There is huge potential for the programme to become a onestop shop to support technology and innovation in content, rights and distribution as a package — those things must be combined to work in the next 10 years.” Wildseed Studios creative director Jesse Cleverly, who moderated the session, added that one question was the relevance of the content supported by the fund — big budget TV and film co-productions, involving local PSBs — to platforms where younger audiences are congre-
hope that we can extend the funding, but it’s a difficult political climate.” In May, the European parliament voted to allow greater “portability” of online content by removing “geo-blocking” restrictions, a move which raised concerns over territory licensing and rights.
gating. “How can the criteria shift to support lower budget creation and digital distribution?” she asked. Orange France director of entertainment and digital services Christian Bombrun said: “The transformation in the content industry has been in the way it is consumed.”
One of the big challenges was the influx of global OTT services into the European media scene, he said. “In Europe many TV channels have already gone, replaced by global names such as Netflix. Local platforms need help as they may be gone in 10 years’ time. I think that Netflix needs a local competitor.”
On the panel: Wildseed Studios Jesse Cleverly (left), RAI’s Antonella di Lazzaro, Orange’s Christian Bombrun with NC+’s Anna Limbach-Uryn
The European commission’s DG Connect deputy directorgeneral Claire Bury underlined the role of MEDIA in promoting European unity. She said the programme’s role in supporting high-end projects such as Babylon Berlin, Sky Deutschland, ARD Degeto, XFilme and Beta Film’s €40m drama about the Weimar Republic period in Germany between the wars, was important in bringing people together. “The scriptwriting is fantastic and it speaks to people about their history in a way that dry history books can’t,” she said of the show, which has been picked up by HBO and Netflix. She called on producers to make sure the Media Programme was still relevant and actively funding production in 10 year’s time. But she acknowledged that the programme did need to adapt for the future. “It needs to be able to reach out better to audiences, support the digital revolution and provide increasing flexibility in the value chain.”
“One big idea” “T
ODAY I am going to talk to you about one big idea,” Sir Lenny Henry said as he took to the stage to give his Diversify TV Keynote. “Tax breaks for diversity.” If we appeal to people’s business sense as well as their better nature, he said, we can achieve a revolution for diversity in the TV business. Less taxation, more representation. “We cannot make television without money, and if we want diversity to work it has to make financial sense,” he said. “I am very aware that all the good intentions and beautiful words in the world are useless if they don’t make a difference to the bottom line.” In the UK, currently, productions can qualify for tax relief if they pass a cultural test for ‘Britishness’. “Imagine if, instead, your business had to pass a ‘diversity and inclusion test’.” He pointed to legislation with similar aims currently under discussion or being enacted in California and New York states in the US. “This could work everywhere,” he said. But change has to come from the top. “Nothing is going to change without legislation, nothing is going to change without lobbying politicians,” he said. The veteran of the UK TV industry made his name as a comedian and TV actor, and was the co-founder of Comic Relief, which has raised over £10bn from the British public for charity. He has also long campaigned to make British broadcasting more diverse, both on and off air. He said that when he first worked at the BBC he was “the only black person in a 10-mile radius — well, there was me and the security guards and the women in the canteen. For 35 years I never had a meeting with an executive who looked like me.” And this is not to single out the BBC: “This is everywhere you go,” he said. To demonstrate the point he then asked every able-bodied white man in the room to stand up. They were in the majority. He then asked each man standing to move next to anyone who was still seated, take a selfie and post it on social media. “The need for diversity in front and behind the camera is urgent for the social fabric of society. Over the last few years I have argued this, along with others, and I think it is an argument we are winning,” he said. “We have the moral high ground and people are listening to us. But change is not fast enough. To achieve these social, human goals we have to shift the battleground into the financial sphere, he said. And that is why he came to MIPCOM. “This industry isn’t called ‘show-friends’. It’s called ‘showbusiness’. If television is a business — which it is — right here is where you find its beating heart.”
NEWS NELVANA PARTNERS DISCOVERY FOR NEW KIDS VENTURE CANADIAN animator and distributor Nelvana is to join forces with Discovery Communications to produce a new stream of linear and digital children’s content. The partnership, which has yet to be given a title, will be based in Canada, drawing on a wealth of combined experience. Nelvana is behind a number of hit kids’ shows in Canada, including Hotel Transylvania: The Series, Babar and Max & Ruby, and licenses content in over 160 countries. Discovery Kids has been a major player in Latin America, where it is ranked as the number-one pre-school network and has amassed a huge audience base with initiatives including its Discovery Kids Play app. Nelvana president Scott Dyer said: “This new venture was born from two businesses that have built a reputation for entertaining, inspiring and informative storytelling. The inception of the venture comes at a time of strong and increasing demand for kids’ content globally, boosted by insatiable viewing via digital streaming services. Our mutual goal is to create a new pipeline of kids’ content for distribution across the world.”
Petry-Sirvin welcomes buying frenzy for Dandelooo shows
HIS MIPCOM has been exceptionally vibrant,” said Emmanuele Petry Sirvin of French kids’ producer-distributor Dandelooo. “I haven’t known buyers able to be this decisive in years.” “Big territories like Germany suddenly seem to be able to move forward on co-productions and acquisitions,” she said. “After this market, we’re potentially putting together a co-production for Hungry Bear Tales with the Czech Republic, Ireland and Belgium.” But while buyers are confirming their interest in almost every meeting, success hasn’t come overnight. Petry Sirvin said the past three years had been hard. “It has sometimes felt as if we’ve been crawling through the desert,” she said. “And suddenly here we are, in an oasis full of palm trees and sparkling water. It’s remarkable.” During this week alone Dandelooo was a finalist in the MIPJunior International Pitch competition, and was nominated for an International Emmy Kids’ Award in the category of Best Preschool Programme. The company also won Best Producer at Cartoon Forum in Toulouse last month.
Dandelooo’s Emmanuele Petry Sirvin
“Our show Rita And Crocodile (26 x 5 mins) has taken a long time to make, but now that it’s complete, we’ve been closing deals on it left, right and centre,” she said. “We’ve done VOD deals on The Treehouse Stories and Ernest And Celestine. Also, Cartoon Hangover, a US VOD platform, has picked up two series of shorts — The Tiniest Man In
The World (53 x 60 seconds), and Gold Jacket (78 x 90 seconds) as well as The Golden Apple (26 x 26 mins). “Pigtail And Mr Sleeplessness, — a 26-minute Christmas special we launched this year — was picked up by several buyers. They will air it this Christmas — and they want to take delivery on Monday!”
Peru stand ups profile and sales
A SLATE of deals has been signed this MIPCOM by Peruvian content creators in Cannes in association with Peru’s PromPeru first-time umbrella stand. Lima-based Red Animation Studios sold their kids animation series Siesta Z — nominated for an Emmy Award in the Kids Animation category — to broadcast in over 50 territories worldwide. The series dives into dreams of a young boy where funny adaptations of the classic literature he is reading come to life.
FLI International sold their film La Peor De Mis Bodas (The Worst Of My Weddings) to Latin America’s streaming platform Blim and US-based Cinelatino. Tondero Distribution, the distribution arm of Peru’s leading production company Tondero Films, closed a deal with US-based Netminds Media Group for film title Juego Siniestro (Sinister Game) that will see a theatrical release of the title in Argentina, Paraguay, Uruguay and Chile. PromPeru’s associate director
Mariella Soldi Vargas said the formal presentation at MIPCOM was part of an ever-growing and evolving prolific film and television industry in Peru. “We are establishing our film commission to attract and retain foreign productions for location filming and to also introduce the global industry to Peru’s professional production and postproduction services,” he said. “After such a successful first landing we will be back for many years to come.”
PromPeru’s Mariella Soldi Vargas
THURSDAY 19 OCTOBER OFFICIAL CONFERENCE & SCREENINGS HIGHLIGHTS GLOBAL CONTENT TRENDS
4K ULTRA HD
10.00-10.45, AUDITORIUM A
10.00-11.00, SONY 4K ULTRA HD THEATRE
BEST OF FRESH TV
UHD: THE LATEST DEVELOPMENTS #1
Virginia Mouseler, CEO, The WIT, Switzerland
Peter Sykes, Strategic Technology Development Manager, Sony Professional Solutions Europe, UK
11.00-12.00, AUDITORIUM A
11.30-12.30, SONY 4K ULTRA HD THEATRE
WHAT TO DO NEXT? KEYS TO A SUCCESSFUL POST- MARKET
UHD: THE LATEST DEVELOPMENTS #2
Peter Sykes, Strategic Technology Development Manager, Sony Professional Solutions Europe, UK
Sarah Baynes,CEO, The Creative Garden, UK
Amanda Groome, Managing Director, The Bridge, UK Nathalie Wogue, Partner, Ascendo TV, France
14.00-15.00, AUDITORIUM A
14.00-15.00, SONY 4K ULTRA HD THEATRE
TRENDING TOPICS: THE MOST BUZZ-WORTHY TRENDS OF THE MARKET
THE VERY BEST IN ULTRA HD
Moderator: James Martin, Head of Social Media, MIP Markets, France
SpeakerS: Guy Bisson, Research Director, Ampere Analysis, UK Lisa Gray, Founder and Content Consultant, Black Meteor, UK Sandrine Pechels de Saint Sardos, Director of Disruption and Platform
Distribution, TFO, Canada
Additional information in the MIPCOM Handbook and the MIPCOM app
Spirit of globalisation lives on through The Silk Road
Cineflix’s Kate Laffey, with Blizzard Road’s Ray Pedretti
CINEFLIX RIGHTS LICENSES KEY NEW SERIES UK INDEPENDENT distributor Cineflix Rights this week licensed a number of key factual and lifestyle series. Cineflix picked up three new factual series from Australia’s Blizzard Road Productions, makers of Predator Pets. Killer Soundtrack (13 x 60 mins) looks at well-known songs that relate — and sometimes inspire — real-life murders, while Impossible Planet (12 x 60 mins) explores strange natural phenomena, and Extreme Animal Transport (13 x 60 mins) is about the challenges of relocating big cats, giraffes and race horses around the world. Among Cineflix Rights’ sales were several titles from the Property Brothers franchise. Property Brothers was licensed to Discovery Sweden and Digicast Italy. Property Brothers At Home (4 x 60 mins) was sold to UKTV, while Property Brothers: Buying And Selling went to ITVBe, NC+ Poland and AMC Networks. Brother Vs Brother was sold to Poland’s Zoom TV. Flipping Virgins (12 x 60 mins), which follows real estate and home space expert Egypt Sherrod helping first-timers find and flip properties, has sold to Discovery Latin America (seasons 1 and 2, 12 x 60 mins) and AMC Networks for their Spektrum Home channel. Sport1 Germany and WP Poland acquired Buy It, Fix It, Sell It (20 x 30 mins), which follows people who buy hidden treasures at auction, transform them, and re-sell them at a profit.
S media conglomerate A+E Networks plus Chinese giant broadcaster CCTV and its international arm CITVC yesterday sealed a major coproduction partnership, starting with The Silk Road – Reborn, a major documentary about history’s most famous network of trade routes. It will look at the past, present and future of the most influential development in global trading, geographically and historically, over the past 2,000 years. Available as a one-hour special for the US, with a two-hour version targeted at Asia, The Silk Road – Reborn also marks the first time CITVC and A+E Net-
works are co-producing. And the partners say more co-productions are in the pipeline. “Thanks to our History channel, we’re able to deliver dramatic stories taking place today or any other period. We also have a broad palette to work with, from drama to factual and digital,” said Edward Sabin, A+E Network’s executive managing director, international. Jianing Shen, CITVC’s president assistant, added: “We see this as the first co-production of many. I’m happy this is about the Silk Road. Although the original existed about 2,000 years ago, it was really the first experiment in globalisation. And that spirit still exists today.”
CITVC’s Jianing Shen and A+E Network’s Edward Sabin
JANSON Media has secured the US digital rights to Korean preschool animation series Little Farmer Rabby (52 x 11 mins). The show, created by PNI System, has been sold across Asia but this is the first deal outside that region, according to general manager Sasha Kim (left). The deal was signed at MIPCOM by Kim and Jesse Janson (right), executive vice-president for acquisitions and development at Janson Media. English dubbing is now taking place with plans for a US roll-out in the second quarter of 2018.
New Nickelodeon linear channel launches
VIACOM has announced the launch of a new Nickelodeon linear channel via OTT and mobile platforms in Japan — the first time internationally it will make a Nick-branded subscriptionTV channel available only via streaming services. The new channel will launch in the first quarter of 2018 on Japanese OTT platform dTV-Chan-
nel, an NTT DoCoMo service. It will offer titles including SpongeBob SquarePants, Dora The Explorer and Teenage Mutant Ninja Turtles. Nickelodeon is not currently available as a linear TV channel on either cable or satellite TV platforms in Japan. Mark Whitehead, president and managing director, Asia Pacific, Viacom
International Media Networks, said: “OTT and mobile offer an important growth path for Nickelodeon and our other flagship brands in mature subscription TV markets like Japan. This is a great way to reconnect Japanese viewers with Nickelodeon and should open up new opportunities for the brand in this valuable and important market.”
Kansai TV goes beyond Asia with scripted format deal
APAN’s Kansai TV has finalised a first-time deal with Turkey’s MF Yapim for the Japanese scripted format of drama series My Dangerous Wife. The nine-episode first series aired with hit ratings in Japan last year. The psychological suspense follows the demise of a marriage and the mystery surrounding the wife’s disappearance. “We are delighted to expand our sales outside Asia — it’s a great honour for us to have the series adapted in Turkey by this award-winning company,” said Miho Okada, general manager, Kansai TV. MF Yapim has been adapting Japanese formats for the past five years. Next week, MF Yapim president Faruk Bayhan will pick up an award for Best
Foreign Drama at the International Drama Festival In Tokyo for the Turkish remake of Nippon TV’s Japanese drama series, Mother. “We are really focused on finding interesting material,” Bayhan said. “We were the first producer to adapt Japanese scripts and stories for Turkish audiences and we look forward to making a tremendous success of this new show.” Kansai TV and MF Yapim were introduced by Fuji Creative Corporation, an agency specialised in both distribution and production of TV programmes for domestic and overseas markets.
Kansai TV’s Miho Okada and MF Yapim’s Faruk Bayhan
Globe-spanning sales for Jetpack
JETPACK Distribution has closed a raft of deals for three of its top kids shows. The Sisters, produced by Samka Productions and Bamboo Productions for M6, has been picked up by Spain’s TV3, Israel’s Channel 8, Poland’s teleTOON, Russia’s Gulli, Portugal’s Canal Panda and iflix in the Philippines, Malaysia and Thailand. Samka’s agent Redcastle has also brought Disney Channel Italy on board. A string of deals has also been closed for Jamie’s Got Tentacles, produced by Samka in collaboration with France TV and Canal+. The new season of the show, which has now been sold into 169 countries, has been picked up by Nat Geo Kids in Latin America, Australia’s ABC, Spain’s TVE, Russia’s Gulli, Poland’s teleTOON, New Zealand’s TVNZ, Portugal’s Canal Panda, Ireland’s TG4,
The Sisters (Jetpack Distribution)
Israel’s Zoom, India’s Sun TV Network, Asia’s iflix and Ukraine’s PlusPlus. Yoko, produced by Wizart Animation, Somuga and Dibulitoon Studio for RTVE and ETB in Spain, has been bought by Nick Jr in Italy and BBC Kids in Canada. Other sales have been closed with India’s Sun TV Network, Portugal’s Canal Panda,
Estonia’s ETV, and CTC and O! in Russia. Jetpack CEO Dominic Gardiner said the deals were a “huge testament” to the shows’ global appeal and would ensure that “young audiences internationally experience all they have to offer — magical friends, aliens, bickering sisters and, of course, fun and humour”.
ITV STUDIOS LANDS RIGHTS TO WOLF’S TRUE CONFESSIONS THE INTERNATIONAL rights to Dick Wolf’s Criminal Confessions (11 x 60 mins/1 x 120 mins) have been picked up by ITV Studios Global Entertainment (ITVS GE). Commissioned in the US by Oxygen, the Shed Media/ Wolf Reality show premiered earlier this month. ITVS GE will now take it out to the international market. “Crime buffs around the world will get an inside look into the investigation of criminals, with an emphasis on the psychological component of confessions,” said Law & Order creator Wolf, who executive produced the series. Each episode of Criminal Confessions focuses on a real homicide case, starting with the emergency call to the police, moving on to the crime scene and ending in the interrogation room. Every case featured shows how detectives ‘break’ suspects to uncover the truth. Ronan Hand, ITVS GE’s senior vice-president of global content, non-scripted, said the great creative talent behind Criminal Confessions had delivered a series that was truly best in class. He added: “Its unique approach takes you to the heart of the investigation — the interrogation room with one suspect, one cop and, ultimately, one outcome: guilty as charged.” Seven Network in Australia has already licensed the true-crime series under its first-look deal with ITVS GE.
Wonder and Suisse Vague Sallehudin on mission united by lucky encounter to look, learn and sell
CHANCE meeting during the last day at MIPTV in April has led to the formation of a new partnership at MIPCOM between Belgium/ US-based creative software/animation production firm Wonder Media Productions and Suisse Vague, a Swiss independent producer/distributor. The co-production agreement will see both companies take Vague’s Chicca Pancaldi (left) and advantage of Wonder Media’s Suisse Wonder Media’s Rudy Verbeeck proprietary technology that seamlessly melds 3D-animation der Media’s CEO, Europe. “With and live-action sequences in real that, we shall also be co-designtime. On virtual or real sets, real ing, developing and producing characters can interact with ani- unique formats together.” mated ones to create dynamic in- “As a rule, we pride ourselves in creating innovative works and novative stories. “We can integrate multiple ani- when we met Wonder Media, mation characters into scenes we were inspired,” added Chicca with real people in a very fast Pancaldi, co-managing partner at way,” said Rudy Verbeeck, Won- Suisse Vague. 239_MIDEXPO_N1_N2_N3_N4_COM_17
ABDUL Rahman Sallehudin has been in the animation business since the 1980s and set up his own 3D animation studio, Infinite Motion, in 2009. Since then he has been a regular attendee at MIPTV and MIPCOM, often with financial support from various public agencies backed by the Malaysian government. Sallehudin explained that he attended the Cannes markets for two reasons: “Firstly to sell our shows into territories like Australia, Turkey and the Middle East. And secondly to learn from Korea, Japan and the US so that we can keep improving our work.” Sallehudin said the Malaysian economy had slowed in recent times, but he believed it
Abdul Rahman Sallehudin
vital for Malaysian animation firms to keep attending global markets like MIPCOM. “For Malaysia’s animation industry to keep growing and talent to keep improving, we need to learn from the best and share our knowledge,” he said.
Wildlife doc on endangered species gets go-ahead from MBC and STV
BEYBLADE LICENSED TO CANADA AND THE US
ungwoo Kim, managing director, content business department, at South Korea’s Munhwa Broadcasting Corporation (MBC), and Paul Sheehan, commercial director at UK-based STV Productions, signed a Memorandum of Understanding (MOU) to coproduce The Bears, a 4K UHD wildlife documentary about endangered animals. The agreement was significant because it had received funding from the Korean government via industry MBC’s Sungwoo Kim (left) and STV Productions’ Paul Sheehan trade organisation Korea Radio Promotion Association (also known as and Insight TV plan to co-de- coincide with next year’s Winter RAPA), a MIPCOM exhibitor. The MOU follows another one velop and produce the eight-part Olympic Games in South Kobetween Korean entertainment one-hour 4K UHD series The rea. And on October 16, RAPA conglomerate CJ E&M Corpora- Legend Of Masters: Exploring signed a separate MOU to contribute to an international online tion and Netherlands-based 4K Forgotten Martial Arts. UHD content specialist Insight CJ E&M and Insight TV are al- co-production platform operated TV, also sealed at MIPCOM. CJ ready co-producing the two-part by Pact, the UK’s independent Doping Human to TV producers’ trade body. E&M’s Factual Studios division documentary 297_TAIWAN TRADE_N2_DEMI HORIZONTALE_COM_17
BEYBLADE Burst Evolution, the second series of Sunrights’ successful animated action series, has been licensed to Disney XD in the US and Corus Entertainment’s Teletoon and Disney XD channels in Canada. New episodes were unveiled at MIPCOM, where the deal was announced. The new series is supported by Beyblade Burst Switchstrike products from master toy licence partner Hasbro. Hasbro has also released the next evolution of the Beyblade Burst app. This app allows fans to expand their play digitally and battle friends in over 90 countries worldwide through a vibrant global multiplayer with leaderboards, personalised profiles, an enhanced digital top selection and the capability of earning achievements to level up from Rookie to ultimate Beyblade Master.
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NEWS MIP VETERANS SOUGHT FOR SOCIAL MEDIA MICRO-DOC
Global co-pro is key for drama production in Africa
“A Screen Culture Australia’s Brooke Nichole Lee (left) and Wade Boyes
DELEGATES are being invited to tell their stories of MIPCOM as part of a micro-documentary for social media led by two Australian programmemakers. Brooke Nichole Lee and Wade Boyes, who run Screen Culture Australia, are asking people in the Palais to tell them their favourite stories from MIPCOM and MIPTV over the years, as a way of getting to know more people and spread the word about their content. “There are some really interesting people here with great stories from coming to MIP for 20 or 30 years,” said Nichole Lee. The pair are in Cannes to meet distributors and broadcasters interested in partnering to push a range of content to the markets, including a tongue-in-cheek documentary about a German WWI tank that was ‘stolen’ by Australian soldiers as a trophy in 1918. The show, Waltzing Mephisto, tells the true story of how the German A7V tank ended up in Australia, in Queensland, where it remains today. Boyes said: “It’s a real Aussie prank. They wanted to stick it to the man. This has been years in research; the writer has got interviews with people who are no longer alive who were involved and we’ve got full access to the tank itself.” Screen Culture Australia is also showcasing a drama series based on a trilogy of fantasy novels written by Peter Koevari. The show, Legends Of Marithia, is currently at the development stage.
FRICAN creativity is now making an impact on the global stage,” said Ahmadou Bakayoko of RTI, the Ivory Coast’s national broadcaster, at the Global Drama: It’s Time For Africa! panel. “The challenge for us is to have production values on a par with the creative talent.” His was one of the diverse perspectives on drama production in Africa, although all panelists recognised that quality was key to helping programmes travel beyond their country, and to growing the industry. International co-productions were a way of assuring this – both for the funding and the technical learning experience they could offer. Togo’s YoBo Studios had co-produced with Canal+ Francophone Africa’s ﬁrst HD comedy series, which had also aired in France. YoBo’s founder, Angela Aquereburu, highlighted Hospitalite, a hospital series featuring two doctors, one traditional and one western-trained. “We need to tell stories that are local but also universal,” she said, “love is universal but the way we talk about it in Togo, in the Ivory Coast or in Morocco is going to be different.”
RTI’s Ahmadou Bakayoko
VIMN Africa’s Alex Okosi showcased MTV Shuga, which has had three local productions in sub-Saharan Africa — Kenya, Nigeria and South Africa — and which will be ﬁlming soon in Egypt in Arabic. “It deals with issues young Africans face in an authentic way,” he said.
Clive Morris brings new slate to Cannes
WELL-KNOWN South African producer Clive Morris Productions has made its MIPCOM debut this year, bringing a raft of drama and documentary development projects to the market. New business development and communications director Lala Tuku told MIPCOM News: “We have revamped our business strategy — traditionally we were funded by broadcasters and didn’t own the rights to our work, but going forward we are looking at holding onto our own IP and attracting ﬁnance for projects from international co-production partners.” Best known for telenovela Broken Vows and its successful and award-winning SABC nature show 50/50, Clive Morris Productions’ new slate includes six dramas which need co-production finance, including medical drama Blood Lines, rugby drama Grassroots and Promise Land, about a church built on a potential gold mine. Feature docs in development include the story of inspirational South African poet and writer Don Mattera, a docu-drama based on the reallife story of Czech gangster Radovan Krejcir — now in prison in South Africa – and a spinoff series from 50/50 called Attacked In The Wild, which recounts the true stories of peo-
Lala Tuku, new business development and communications director at South African producer Clive Morris Productions
ple attacked by wild animals in Africa. “For me MIPCOM has been all about relationship-building with potential co-production partners,” said Tuku.
International competition 7-11 April 2018
9-12 April 2018 Cannes France
Creativity Glamour Business All new content to screen this April. The stars align at MIPTV. 4 days / 10,500 participants / 1,632 exhibiting companies / 100 countries / 3,800 acquisition executives. www.miptv.com
NEWS IM GLOBAL TV AND FILM.UA SHAKE ON CO-DEVELOPMENT IM GLOBAL Television’s unscripted and alternative division unveiled a co-development deal with Ukrainian media group Film.UA this week at MIPCOM. IM Global Television president of unscripted and alternative, Phil Gurin, said: “The exclusive content we will develop together assures IM Global Television a unique pipeline and an exciting initiative into this part of the world — and beyond.” Kateryna Vyshnevska, head of development and co-production at Film.UA said: “IM Global Television is the kind of partner we were looking for to take the ideas that we are developing in non-scripted, digital, VR/AR and CGI internationally. They have the scale, the resources, the ambition and the experience, but also the passion, vision and ability to think outside the box.” Projects produced by Film.UA have been sold in over 100 territories and can be seen on Amazon Prime and Netflix. They include crime procedural drama The Sniffer, which was the first Ukrainian series on Netflix, Red Queen and feature film Battle For Sevastopol, acquired by 20th Century Fox.
THE VOICE CARRIES TO AFRICA, MIDDLE EAST AND ASIA ITV CHOICE Global, the cable and satellite television channel owned and operated by ITV, has acquired music show The Voice UK 2018 for Africa, the Middle East and Asia. Audiences will be able to watch new episodes less than 24-hours after UK broadcast and Sophia Yuen, head of content and distribution at ITV Choice, said she believes this will make it more exciting.
Dori Media’s romcom travels to Italy in Fox Networks deal
ORI Media Group has sold romantic comedy Las Estrellas to Italian broadcaster Fox Networks Group. This is the third international sale of the Argentinian show, which has already been picked up in Israel and Indonesia. Las Estrellas (aka 5 Stars) is a 120-episode series produced by Dori Media in collaboration with Pol-ka Producciones, about the five Estrella sisters who, after the death of their father, face the challenge of living on their own. Alessandro Saba, Fox Networks’ vice-president of entertainment channels said: “There is no doubt Italian viewers will be fascinated by the manner in which the young women are leaving their old lives
Dori Media’s Nadav Palti (left) and Fox Networks Group’s Alessandro Saba
behind. Las Estrellas’ themes of love, friendship and family are utterly universal, which is why the series has proved so popular.” Nadav Palti, chief executive officer and president of Dori Me-
KOREAN producer and distributor H Culture has this week signed a memorandum of understanding (MOU) with IRIB Media Trade, a division of Iran Broadcasting. Under the terms of the deal, the two partners will collaborate on a series of animation co-productions. The MOU covers a couple of key scenarios. Firstly, IRIB will come on board projects that H Culture has sourced from outside Iran as a co-production partner. Secondly, H Culture will seek international partners who can assist in developing IRIB intellectual properties, possibly in the form of co-productions. In either case, the ambition is for any resultant productions to be made at animation studios within Iran. H Culture will then be responsible for distributing any titles around the world. The deal was signed at the Korean Pavilion by H
dia Group added: “The show increased ratings 80% on average for its 21.30 time slot in Argentina. The concept, the storylines and even the look of the cast can be suitable all over the world.”
H Culture president Sukhwa Hong (left) and IRIB Media Trade’s Mohammad Hagh Shenas
Culture president Sukhwa Hong and Mohammad Hagh Shenas, head of sales and co-production at IRIB Media Trade.
Eccho lands Star Media thriller ECCHO Rights and Star Media, one of Russia’s leading television producers, have concluded an agreement under which the Swedish company will distribute Star’s 16-episode drama series Life After Life. It tells the story of two businessmen, lifelong childhood friends, one of whom kills the other to take over his share of the business. However, his partner does
not wish to simply die and is offered the opportunity to return to Earth in the body of another person. Nicola Soderlund, managing partner of Eccho Rights said: “Life After Life is a fantastic series with great potential as both readymade and scripted format. The story is new and innovative and the combination of the paranormal and the thriller is some-
thing that will really capture the attention of buyers and viewers.” Vlad Ryashin, general producer of Star Media added: “This is our first deal with Eccho Rights. Life After Life will be understandable in any country, because it speaks of universal values and feelings: friendship, betrayal, disappointment, justice and love. And the paranormal element lends it a special sharpness.”
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NEWS FIRST TIME AT MIPCOM
New basketball anime is set to put Synergy88 in the zone
Jed Corenthal Chief marketing officer, Phenix P2P, US
What brought you to Cannes? I’ve heard it is THE place to network. I don’t think many other companies are in our space — realtime IP solutions/streaming real-time video — will be attending, so we can stand out. Plus, I heard Cannes is beautiful. What are you bringing to MIPCOM? We are bringing a demo that showcases our technology — we are the only company in the world that can stream content in realtime, not “live”, at broadcast scale. What type of people/professionals are you hoping to meet at MIPCOM? Anyone who has content and is interested in streaming this content out to the masses, while owning the real-time data we collect. What are your goals for MIPCOM? What would you like to have achieved by the end of the market? I am hopeful that we can walk away having met with companies who are interested in working with us and feeling as though this is a show we would like to attend on a yearly basis. Do you know Cannes? What are you expecting? I have never been to Cannes, although I spent my honeymoon travelling around France. We made it to Nice and Eze, but not Cannes. Excited to see the Croisette and drink some delish French wine!
Philippines Export Marketing Bureau assistant director Anthony Rivera (left), with Barangay 143 voicing stars Cherie Gil and John Arcilla, and Synergy88’s Jackeline Chua
HILIPPINES animation and games developer Synergy88 has joined forces with Japanese broadcaster TV Asahi and Singapore’s August Media Holdings to present new anime series Barangay 143 to the global market. The anime mystery drama — currently in production — is the story of a young talented basketball player who turns his back on the game after a personal family tragedy and moves to the Philippines. Synergy88 producer and managing director Jackeline Chua said: “This is ground-breaking for us in that the IP for the series is Filipino.” To date the Philippines has earned itself a big reputation as an animation service provider but has been less well known for creating and owning its own intellectual property. “That’s why Barangay 143 is the ﬁrst of its kind,” Chua said. The series is voiced by A-List Filipino talent including actors John Arcilla and Cherie Gil. Gil said: “It’s the ﬁrst anime to be made in the Philip-
pines told by Filipinos in Tagalog — which will hopefully be dubbed into different languages. The story is very much something a global market can identify with — crime, drama and mystery.” Available as 13 x 44 mins or 26 x 22 mins, the anime-style production, set in the Philippines, targets young adults, basketball fans and aﬁcionados of primetime scripted programmes around the world. Anthony Rivera, assistant director of the Philippine government’s Export Marketing Bureau, which is supporting eight producers on its MIPCOM stand, said: “On the government side we would like to develop the Philippines’ animation industry. We want to transform it from being service providers to IP asset owners. That’s why we are encouraged by the success of Barangay 143 and why we want to support the animation industry. “We have a stand at MIPCOM which our ministry has sponsored because we have seen the potential and now provide a package of assistance for projects such as this.”
‘America ﬁrst’ threat to TV industry
DONALD Trump’s “America ﬁrst” policy and the growth of nationalist politics around the world are causing “ripples throughout the ﬁlm and TV industry”, according to Lorraine D’Alessio, founding partner of D’Alessio Law Group. The threat of more restrictive immigration controls was creating “nervousness” among programme-makers and jeopardising cross-border projects. “This is billions of dollars of trade,” she said. “Governments seem to be looking back, becoming more nationalistic as they become more economically bonded.” D’Alessio’s law ﬁrm, which is headquartered in Los Angeles with ofﬁces across the US, Canada and the UK, saw a 460% increase in business last year, driven largely by concerns over Trump’s rhetoric and by the Brexit vote.
Lorraine D’Alessio of D’Alessio Law Group
“People want to know the legal ways to streamline their businesses and make successful cross-border productions despite the challenges,” she added. “Having delays and hindrances makes people very nervous.”
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