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mipcom The official MIPCOM magazine



MIPCOM Personality Of The Year SEE PAGE 8

8 x 50’ VISIT US AT STAND G3.40


MIPCOM Focus on Russia SEE PAGE 10


MIPCOM Media Mastermind Keynote SEE PAGE 18

Also inside:

ABC Studios’ Missing is World Premiere TV Screening Media Mastermind Keynotes from Viacom’s Robert Bakish, Miramax’s Mike Lang and Netflix’s Ted Sarandos


DRAMA | 10 x 1 hour | Anchored by life-long best friends – To omm and Eddie, The We ommy edding g Band d are weekend rockstars. rocksta Only they’re not crashing their way into the best parties – they’re paid to perform at them. The groupies are bridesmaids, the drinks are free and the dream is still alive. The Wedding e Band stars Brian Austin Green (Beverly Hills 90210, Smallville), Harold Perrineau e (Lost, Oz), Peter e Cambor (NCIS: Los Angeles, Pushing Daisies), Derek Miller (Secret Girlfriend, rlfriend, Transformers r 3) and Melora Hardin (The Office, Monk). Coming to TBS Summer 2012. FremantleMedia Village Stand RB1 Riviera Beach t Cannes Teel: +33 (0)4 92 99 8912 Fax: +33 (0)4 92 99 8913 www .fmescree .

From FremantleMedia & Tollin Productions for TBS.

in MIPCOM 2011



Today, more than 60 countries watch Turkish TV programs

Visit us at Level 01, Stand No: 11-20


COntents i nEWS


Including Personality Of The Year Anne Sweeney; Focus On Russia; interviews with keynote speakers; stars in Cannes

Laurine Garaude Director of the Television Division, Reed MIDEM

i VIEWpoint


Michisada Hirose of the International Drama Festival in Tokyo

Dear friends


s this re-designed Preview goes to print, it’s extremely exciting to be able to announce that the MIPCOM exhibition floor is sold out — a clear sign of industry growth. New exhibitors include Miramax, Hasbro and new national pavilions from Turkey, India and Indonesia. We’re proud to honour Anne Sweeney, Disney/ABC Television Group (DATG) president and Disney Media Networks Co-chair, as our MIPCOM Personality Of The Year — and Disney/ABC’s Missing is this year’s World Premiere TV Screening. Our Focus On Russia will provide detailed information, as well as networking and business opportunities with the key television and digital players in this thriving market. And the Asia Content Exchange will give unrivalled access to information and executives from the Asian market. 3D, IPTV, connected TV, cloud, apps, social media-driven content, crowd-sourcing, brand development, tech start-ups, venture capitalists — these are just some of the issues and players that will come together at what promises to be a vibrant and vintage MIPCOM 2011. A complete conference and events programme features world-class keynotes, great screenings, top talent, industry masterclasses. They’ll all be available in Cannes as the international industry meets to build tomorrow’s TV today. I look forward to seeing you there. Laurine Garaude Director of the Television Division, Reed MIDEM 6I

magazine I September 2011 I





Cannes has always been a place where business veterans and established companies mix with newcomers surfing the new wave. This year, as ever, many of MIPCOM’s newcomers — or first-time standholders — are focusing on the industry’s newest technological developments

Content for sale in Cannes

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ABC Studios launches new series Missing at the MIPCOM World Premiere TV Screenings

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Brands and crowds offer new sources of finance How will productions be financed in the content-hungry digital world of the future?


Funding production: who’s got the cash? Organisations from around the world offer financial incentives and funds for content production


TV adapts to a new life in cyberspace But how do the major players make this pay?


Would you believe it. More people are watching Is TV doomed? The viewing figures tell a different story


New media powerhouse emerges in the East A look at the work going on within the Association of Southeast Asian Nations


Turkey out in force as drama drives growth Turkey has a media industry with six major networks and a mix of over 200 local and international channels…


Who’s laughing in the new world of comedy? Pressures on budgets and the arrival of the internet as a major means of talent-spotting are changing television comedy


The new game show from the creators of ITV hit shows Got Talent and X Factor MIPCOM Stand No: R38.01


WANT TO KNOW MORE? Anne Sweeney gives the MIPCOM Personality Of The Year keynote address on Wednesday, October 5 at 16.00


Anne Sweeney is MIPCOM Personality Of The Year REED MIDEM has named Anne Sweeney, Disney/ABC Television Group (DATG) President and Disney Media Networks Co-chair, MIPCOM 2011 Personality Of The Year. She will accept the Award during a gala dinner in Cannes. She spoke to Julian Newby ahead of the event


ESCRIBED by The Hollywood Reporter as “the most powerful woman in entertainment”, by Fortune as “one of the 50 Most Powerful Women in Business”, by Forbes as “one of the world’s 100 most powerful women” — and by Fast Company Magazine as “The Amazing Sweeney” — Anne Sweeney is used to accolades. But she’s not making too much of being the first woman to be honoured at MIPCOM. “There are so many great women who have preceded me at MIPCOM,” she said. “My exposure to MIPCOM was really because of Geraldine Laybourne and Linda Kahn, the two people who took me to MIPCOM for the first time, showed me the ropes and introduced me to the marketplace. So in my mind I’m not the first woman, I’m one of many women that have been privileged to be a part of that marketplace.” But she added: “This award is a great honour on two fronts. Certainly personally, but also just to have the ability to represent our company and acknowledge all of the great work that Disney has done in the marketplace and all of the wonderful work that our employees have done.” Sweeney has been credited with numerous digital developments during her time at Disney. But she pinpoints the start of the company’s development in this area to a phone call from the CEO of Apple. “Bob Iger called me one 8I

day and said ‘Steve Jobs would like to talk to you’, which was a wonderful phone call to get. It was about providing ABC and Disney Channel series as items to be played on the video iPod. I think it was that moment with the video iPod that opened our eyes not only to how technology can be used to reach our viewers, but almost more importantly it made us understand ourselves as a media and technology company, because what we did immediately following was to launch” Sweeney was recently informed by a young focus group as to how things might continue to change for her company. “I think the next five to 10 years will require us to focus on the personalisation of media. I noticed recently in a focus group with children when they were asked — with nothing on the table, just a moderator in the room — did they have a phone or a laptop or a computer of some kind. And they were talking with their hands as though they were hitting a touch screen, and it was very instructive to me, just watching kids talk with their hands. It does make me think about how we should be presenting programming to them going forward for the devices that they’ll be using.” Meanwhile, as well as business as usual, Sweeney plans to enjoy some of the simple pleasures at MIPCOM this year. “One of the things I’ve always treasured is the walk along the beach to the Palais in the morning. I think to myself how lucky we are to walk along the Mediterranean to work, so I am looking forward to those moments. But I’m really looking forward to seeing people that I’ve known for many years in this marketplace and people who have been great teachers.

WORLD PREMIERE TV SCREENING ABC STUDIOS’ new 10-part thriller Missing is this year’s MIPCOM World Premiere TV Screening. Be among the first to see the Stillking Films production on Monday, October 3, in the Grand Auditorium at 18.00. Cast members will attend the Screening and take part in a Q&A during the event. See page 60

magazine I September 2011 I

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Russia is ready to take its place on the world stage Channel One Russia CEO Konstantin Ernst is in Cannes this year as one of MIPCOM’s Media Mastermind Keynotes and to spearhead MIPCOM’s first ever Focus on Russia


HANNEL One Russia has been the country’s leading broadcaster since 1995, today reaching some 98.8% of the viewing population, and Konstantin Ernst has been at its head for all of that time. As one of the world’s fastest-growing TV industries over the past 10 years, Ernst said that period has seen a switch from imported to local programming. “In the Nineties Russian audiences were offered a large quantity of previously denied product — films and series from the West. But since 2000 the popularity of these products has declined with audiences demanding more local product. So the time has come for Russian producers to create more and more original content.” Maintaining the popularity of a channel is a daily pressure, Ernst said. Though 51% state-owned, Channel One is 95% advertising-funded, the remaining five per cent from rights earnings. “I have always restricted sales of our content internally in Russia,” Ernst said. “We could get about 15% profit from this, but then we risk losing the identity of the product. I have always insisted on maintaining a Channel One look to all of our productions. We do sell a significant element of our content to other territories, such as the Baltic states, Ukraine and Kazakhstan. And we have a wholly-owned subsidiary, the First Channel company. This is a worldwide network which distributes the channel’s content as far as North America, Australia and Southeast Asia.” With Russia in high profile in Cannes this year, Ernst said that MIPCOM’s role as “the most important event for the global television industry

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cannot be overstated”. He added: “The industry gathers there not only to buy content, but also to discuss what to do next. That is a kind of collective experience of civilisation. The Russian TV market now deserves to be presented at this kind of level at MIPCOM and we will use it to demonstrate all our achievements to to the international industry. Those who work closely with us already know a lot, but it’s also an opportunity to communicate with a wider group of professionals than we have ever done before.” t5IFGVMMWFSTJPO of this interview appears in the Focus On Russia supplement, published with Issue 1 of the MIPCOM Daily News.

Channel One Russia CEO Konstantin Ernst

magazine I September 2011 I

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FOCUS ON RUSSIA CONFERENCES: Monday,10.30: Media Overview, Esterel Tuesday 10.00: Co-production Matchmaking, Californie Theatre Tuesday 12.00: Co-production Case Studies, Auditorium A Wednesday,12.15: Russian Fresh TV, Auditorium A Wednesday,15.00: Russian Talk Show, Esterel


CELEBRATING WITH RUSSIA THE MIPCOM Opening Night Party on Monday, October 3, starting at 19.30 at the Martinez hotel, will have a definite Russian flare with main partner, Channel One, bringing live entertainment from one of the channel’s entertainment talent shows — as well as plenty of vodka. All MIPCOM delegates are invited to celebrate the event’s first-ever Focus On Russia. The Focus On Russia Lunch takes place at the Carlton hotel at 13.00 on Tuesday, October 4, in association with Central Partnership, Russia’s biggest independent producer and distributor.

RUSSIA BY NUMBERS Í5XVVLDKDVDSRSXODWLRQRIPLOOLRQ Í7KH5XVVLDQPDUNHWFXUUHQWO\KRVWVRYHU 330 television channels Í6WURQJFRPSHWLWLRQH[LVWVEHWZHHQWKH three main channels in Russia, state-owned TV Channel Russia, NTV, and Channel One Í7KHPDMRULW\RI5XVVLDQFKDQQHOV broadcast 24 hours a day Íb7KHVWDWHRZQHG5XVVLDQ7HOHYLVLRQDQG Radio Broadcasting Network (RTRBN) employs over 20,000 people and provides services to 900 television broadcasting companies and 500 radio stations Í&DEOHUHYHQXHVDUHQRZLQH[FHVVRI ₏723m Í7KHWUDQVLWLRQWRGLJLWDOEURDGFDVWLQJLV scheduled to reach 95% of the population by 2015 Í3UHVLGHQW'PLWU\0HGYHGHYKDVVHWD goal for all Russian citizens to have access to at least 26 digital television channels by 2015 ÍEX\HUVIURP5XVVLDDQG0RUHWKDQ 135 Russian companies attend MIPCOM regularly, including Channel One Russia, Russia Television and Radio, NTV EURDGFDVWLQJFRPSDQ\ 5HG6TXDUH,]\P )68(6WDWH)LOPFROOHFWLRQ&HQWUDO 3DUWQHUVKLS6WDU0HGLD5XVVLDQ&LQHPD Fund, and RT, partner of this year’s MIPCOM conferences

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MIPCOM turns the spotlight on Russia


H A N N EL ON E Russia and RedSquare Group, the country’s largest production house, are host organisations of the Focus On Russia series of events, and The Russia House. Ilya Krivitsky, chief creative officer of RedSquare Group, said that for many years Russia was “observing, learning and watching how the world’s industry was growing and changing, with a desire to do the same in Russia — inventing ways to make our market more in demand and sophisticated�. He added: “We’ve been attending the MIP markets for many years but now the time is perfect to showcase the Russian television and media industry to the world. Russia has become an integral part of the global television industry, producing world class programming, adapting international formats for the domestic Russian audience, and offering original programming to the international audience.� Channel One CEO Konstantin Ernst added:

magazine I September 2011 I

“Without this Focus On Russia at MIPCOM, we would still be feeling like an international airline operating internal ights only. I’m very pleased that our channel, and RedSquare, have been chosen as headline companies for this event, because the decision to organise this Focus On Russia is a validation of our strategic development, which has been carried out to the highest standards.â€?

The Russia House is located in the Azur Hall along with the MIPCOM registration area. It has been conceived as a physical space to showcase the Russian TV industry to all MIPCOM delegates, and will host special seminars and a hospitality terrace. Full programme on


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BAKISH GOES ‘GLOCAL’ AS VIACOM EVOLVES BOB BAKISH, president and CEO of Viacom International Media Networks (VIMN), gives a Media Mastermind Keynote, Monday, October 3. In conversation with PwC global leader, entertainment & media, Marcel Fenez, he will focus on the evolution of both his company, and the international media landscape. With VIMN the umbrella for international brands including MTV, Nickelodeon, Comedy Central, Black Entertainment Television (BET) and Paramount Pictures, Bakish says the company “is evolving in response to what we believe the marketplace is telling us, which is to be a larger-scale, high-quality content provider, all around the world”. Bakish added: “We need to continue to evolve how we deliver our product.

And we continue to evolve in terms of what that product looks like — I like to call it ‘glocal’, part global, part local. We continue to work that balance, bringing people international hits, coupled with fewer — but better — local productions. So we maintain local relevance, because local relevance is about more than just language, it’s about content too.” Viacom brands enjoy a broad digital presence — online, mobile, and including gaming — and are also branching out into events. Recently MTV teamed with Volkswagen for the launch of the 2012 Beetle, with events in Shanghai, Berlin and New York. “We’ve built our event volume year-on-year,” Bakish said. “It’s a great example of product that works on a number of dimensions.”

Bob Bakish: “I like to call it ‘glocal’, part global, part local”


TV will hold its share of advertising spend

PWC’sMarcel Fenez: The tablet has had “an explosive impact” 16 I

IMMEDIATELY before Bob Bakish’s keynote, Marcel Fenez will present findings from PwC’s Global Media & Entertainment Outlook 2011-2015, when the MIPCOM audience will hear that consumer habits are changing rapidly; that television will hold its share of ad spend in the short term; and that the tablet has had “an explosive impact” in multiple markets. Tablets, Fenez says, have changed mobile culture. “The mobile story before the tablet was largely about mobility, but it was mobility with a relatively small screen. And that was probably all part of an overall lean-forward experience — the mobile being more of a distress device, distress meaning that if you didn’t have anything else to hand you would go to the mobile to watch content. The tablet is a device that consumers are very willing to consume highquality video on in a lean-back mode. So in some ways it’s complementary [to the television] and in some ways it’s a substitute.” The good news is that advertisers will not desert television in the near future. “Our findings show that television will hold its share of

magazine I September 2011 I

overall ad share in the next five years and we believe that, because we believe television will embrace digital, and in particular social media, to retain its audience. So talk of the demise of television is clearly premature and in our view, in terms of overall share of advertising television, will hold its own — and in some markets it will actually grow.” But the industry should be braced for change. “The television business for a long time has talked about audiences. How do you reach a certain audience? But I think what we’re beginning to talk about now is how you reach consumers. We are increasingly getting to know those consumers on a fairly intimate basis because they are increasingly telling us stuff about themselves. And what we are now seeing is people individually accessing content which will give the industry a lot more information about the customer. So [MIPCOM delegates] will realise that they now have to think about consumers, not audiences, and how monetising that is quite different from what they might have been used to.”

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WANT TO KNOW MORE? Kevin Reilly, Fox Broadcasting Company, Media Mastermind Keynote, Grand Auditorium, Tuesday, October 4, 15.30; YouTube - The Next Generation, Esterel, 13.00




The best work comes when we break rules, Reilly says

AS MIPCOM and MIPTV continue to explore the future of the international content and communications industries, MIPCOM is staging a closed, VIP event titled The Digital Minds Summit, on Tuesday, October 4. The 2011 edition of this event will focus on social and connected-TV models and their significant impact on the industry, as well as the opportunities they offer for the future. The Summit opens with a keynote address from media futurist Gerd Leonhard followed by a twohour structured brainstorming session during which high-level executives from around the world will focus on social and connected television. This will be followed by the Digital Game Changers Networking Drinks. Findings from the invitation only event will be reported in the MIPCOM Daily News.

Gerd Leonhard

NEW FROM YOUTUBE AT THE Innovation Seminar titled YouTube - The Next Generation, on Wednesday, October 5, 13.00 in the Esterel, Google presents “exciting new directions” for the world’s largest video sharing platform which will be “of interest to all producers and rights holders”, according to YouTube’s head of content partnerships, Ben McOwen Wilson. The session will demonstrate how YouTube plans to reach new audiences, and exploit new revenue sources extending from advertising to pay-perstream. The session will also present YouTube Next which, Wilson said, “demonstrates how YouTube is contributing to the content development ecosystem”. He added: “If you are passionate about video and want to see the next phase in the evolution of social content platforms, this will be a well-spent 90 minutes.”

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EVIN REILLY had scored with ER, The Office, 30 Rock, The Sopranos and many other global hits before settling at Fox in 2007 — where his Midas touch continued as president of entertainment, not least with the comedy/musical phenomenon Glee. So how does he do it? “I think we have to dream big in this business,” he said. “The odds are really against you, you know? If you really thought about how many things ultimately don’t work, you would never get out of bed in the morning.” And there’s no secret formula. “You don’t start strapping elements on [to a show] that you think would be appealing or broaden the reach — that usually ends up just deluding it. If you begin with something that feels incredibly relatable on a human level, everything follows from there.” Reilly said that most of what truly impacts culture begins “on the fringe, like Rock & Roll. And that’s the history of entertainment in a certain respect. And historically it would take some time for something to move from the fringe, which would be an unusual idea — a weird concept, a weird person, a weird performer — to all of a sudden becoming mainstream. Well in this day and age of social networking that can happen in an hour. Personally I am much more excited about pushing towards the edge of something that could be a bit of a paradigm shift, or catch the edge of a cultural change in terms of a tone or a character or a concept.” Reilly gives Media Mastermind Keynote pre s ent at ion , on Tuesday, October 4. So, as a MIPCOM first-timer, what secrets of success will he offer the MIPCOM audience? “I’m always a bit loathe to cite a rule book because rules are meant

magazine I September 2011 I

to be broken,” he said. “You need to know how to break the fundamentals — that’s how jazz works. You can play a scale, but then you start playing a scale in quite the opposite way they taught you to play it, and then it becomes an entirely new form of music. So part of what I hope I would do in this chair is to be mindful of the rules but not fearful of breaking them, and in fact to encourage a creator to go to the edges and follow what may be the scariest instincts.”

Kevin Reilly, president of entertainment at Fox


Rob Lowe and Mike Lang

SUNSHINE AND CLOUD WITH THE launch of US cloud-based home entertainment service UltraViolet (UV) imminent, a panel of professionals involved in the project has been put together by UltraViolet technical partner Akamai to present the concept to MIPCOM delegates — at 09.30, October 4. Akamai has joined with Digital Entertainment Content Ecosystem (DECE) as part of the consortium behind the service. As a cloud computing platform, Akamai supports companies in their direct-to-consumer digital operations by providing video distribution through the HD Network, delivering high-definition video to mobile devices, tablets and browsers, worldwide. Akamai’s Andrew Grant


Miramax’s dynamic duo reaches for the cloud Andrew Grant, Akamai’s senior manager, media and entertainment marketing, told the MIPCOM Preview what delegates can expect from the session. “For us UltraViolet is a really important evolution of the home entertainment market and we happen to have a strong perspective, technically and operationally, on how we can make that successful for consumers,” Grant said. “I wanted to make clear to the unique MIPCOM audience — which is heavily involved in the business side of the content business — how the changing nature of home entertainment will create opportunities to use the rights that are acquired in different ways, over time. So we wanted to present UltraViolet certainly as a very stable technical environment, but also give the European stakeholders a clear understanding of the momentum that’s behind UV in North America, and how that will eventually roll out in 2012 in Europe as a key part of what retailers and television operators bring to market, as they start to use more and more device-oriented services, to meet consumer expectations.” DECE includes five of the six MPAA studios, leading pay TV operators, global retailers, global consumer electronics manufacturers, and technology providers. The session’s panel will include representatives from Akamai, DECE, StudioCanal, Samsung, and Sony Pictures Entertainment. 20 I


IKE LANG, CEO of the new-look M i r a ma x , gives the first Media Master m i nd Key note at MIPCOM, Monday October 3. High profile for some years at the Cannes Film Festival, this is the first time Miramax has taken a stand at MIPCOM, where it will flex its new-found multiplatform muscles. Lang has big plans to exploit the company’s prestigious movie library — including with branded channels further down the line — something that didn’t happen while Miramax was owned by Disney. “I love that company, but it wasn’t a good fit, they didn’t have the focus on the library in the way that we really plan to — and the first step with that is reaching out to all the various international television buyers and saying, ‘Hey we’re open for business and we’d love to work together’.” The fund that bought Miramax from Disney — for $663m — was put together by Tom Barrack of LA-based Colony Capital, construction billionaire Ron Tutor; and Barrack’s friend, actor Rob Lowe. Lowe’s first job was to oversee the evaluation of some 650 projects in-development, found in

magazine I September 2011 I

a warehouse — which he describes as “like the ending of Indiana Jones”. He told the MIPCOM Preview: “You would find the seventh script in an unmarked box, and it turns out to be the movie Anthony Minghella was going to do before he died, to be produced by Sydney Pollack. That’s the kind of stuff you come across.” Central to Lang’s strategy is to embrace digital, and that includes heading for the cloud. “The reason why I’m such a big advocate of the cloud and digital locker, is because if somebody buys something digitally today, I think it’s about the worst consumer experience you could ever have. Everyone has made this argument that no one will ever buy stuff digitally but I don’t know if that’s a fair conclusion because we haven’t built an ecosystem yet that can make that decision happen. But I sure know we have a better shot at doing it if you create the ecosystem, so that’s why it’s important to me.” Lang will be joined on stage by Ted Sarandos, chief content officer of Netflix — with whom Miramax signed a $100m non-exclusive output deal back in May. Together they will discuss digital trends and the future of the entertainment industry.

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WANT TO KNOW MORE? The Acquisition Super Panel—What do Buyers Want? Takes place in the Grand Auditorium in the Palais des Festivals on Wednesday, October 5, at 17.00.


CONTENT TRENDSETTER AWARDS WORLD Screen, in partnership with MIPCOM, presents the inaugural Content Trendsetter Awards, honouring the achievements of leading acquisitions executives. Honourees for 2011 are Mike Cosentino of Canada’s CTV Networks; Sarah Wright of BSkyB in the UK; Carlos Sandoval of Mexico’s Televisa; and Jeff Ford, of Channel 5 in the UK. The executives will receive the World Screen Content Trendsetter Award at the end of the Acquisition Super Panel — What Do Buyers Want? (see main story), taking place at the Grand Auditorium on Wednesday, October 5. World Screen president and publisher Ricardo Guise said: “These leading content executives have played a key role in the success of their networks with smart programming choices. We’re excited to honour them with the inaugural Content Trendsetter Award, in partnership with MIPCOM.”

Channel 5’s Jeff Ford

BSkyB’s Sarah Wright


Super Panel explains what buyers are looking for NPO’s Roek Lips

EUROVISION TV LAB ALSO on Wednesday October 5, delegates are invited to join NPO’s Roek Lips and Absolutely Independent’s Patty Geneste to learn about the Eurovision TV Lab project, now in its third year. Dutch public channel Nederland 3 launched TV Lab three years ago to test pilot shows on the viewing public. “After we have broadcast a pilot, we have a perfect report on what people think of the show, either through social media or through our viewers’ panel,” said Lips, channel manager at Dutch public broadcaster NPO. “What’s interesting is that 70% of the people we hear from are under 30 years old. That’s an important audience for a public channel.” The session will begin with an explanation of how TV Lab works. Delegates will then see trailers from shows that have been a part of the experiment, and following the screenings, there will be a panel discussion involving Lips, Geneste, Bettina Brinkmann, head of fiction entertainment and arts at the EBU, and Frank Zervos, head of development at German public broadcaster ZDF. Broadcasters participating in the TV Lab project along with NPO, are ZDF, Flemish public broadcaster VRT, and public broadcaster TV Slovenia. 22 I

Buyers from around the world take part in a Cannes discussion on acquisitions strategies in the multiplatform digital world, hosted by World Screen, Wednesday, October 5. Buyers spoke to MIPCOM Preview ahead of the event


URING the Acquisition Super Panel — What Do Buyers Want? a panel of buyers will explain their strategies to MIPCOM delegates keen to hear how the role of the buyer is evolving alongside changing consumer behaviour in the digital world. Panelist Sarah Wright, head of acquisitions at BSkyB, said buyers play a “multi-faceted” role in today’s media world. “Buyers have always been on the hunt for the ‘next big thing’ — it’s at the core of our job description — and editorial judgment has always been vital. But now we need to be ahead of the curve with our knowledge of new technology, keeping constantly abreast of market

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developments, so that we can acquire the right set of programming rights to keep our customers happy.” Also on the Super Panel, Jeff Ford of the UK’s Channel 5, said: “When once it was a linear offer, things were simpler in terms of programming. Now, we are looking at shows that can still be relevant or entertaining through VOD months later — shows which might not have made it to the home entertainment/DVD market.” He added: “We look to shows that can create a stir in social media and shows that may not necessarily follow a specific formula.” Other panelists include CTV Networks’ Mike Cosentino, and Televisa’s Carlos Sandoval. The panel is moderated by Anna Carugati, group editorial director, World Screen.

Jeffrey Dean










Please visit us at RSV25 Tel: +33 (0) 4 92 99 8926

Season 1 – 10 x 60 mins.

© 2011 Starz Entertainment, LLC. All rights reserved.

i neWs

Star names in Cannes A leading writer for stage and screen and an Oscar-winning producer are among the big names coming to MIPCOM 2011. They are joined by stars of drama series Missing from ABC Studios, Hell On Wheels from Endemol USA, eOne and Nomadic Pictures, and Death In Paradise from the BBC — with more big names to be announced as MIPCOM draws closer… Common stars in Hell On Wheels, developed by Endemol USA and produced by Entertainment One (eOne) and Nomadic Pictures for AMC. It tells the epic story of post-Civil War America, focusing on a Confederate soldier who sets out to exact revenge on the Union soldiers who have killed his wife

French film star Sara Martins and British actorcomedian Ben Miller star in Death In Paradise, produced by Red Planet Pictures and Atlantique Productions in association with BBC Worldwide and Kudos Film and Television

Anson Mount plays the lead Confederate soldier in Hell On Wheels

David Parfitt, Oscarwinning producer of Shakespeare In Love, is in Cannes for the launch of Parade’s End, a drama series from the BBC, HBO, Mammoth Screen and Lookout Point 24 I

Cliff Curtis, Ashley Judd and Adriano Giannini, stars of the new ABC Studios thriller series Missing, are in Cannes for this year’s World Premiere TV Screenings

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NBA star Tony Parker is in Cannes to promote The Basketeers, an animated series from Tele Images Productions, about a group of young streetball players discovered by Parker during a basketball tour

Oscar-winning writer of Shakespeare In Love, and playwright, Top Stoppard — after a 30-year break from television — has adapted the novels of Ford Madox Ford for drama series Parade’s End


WEDNESDAY OCTOBER 5: Asian Content Exchange Sessions 08.00 Networking Breakfast, Majestic hotel 10.15 West Meets East Buyer Panel, Esterel 11.45 Lunch and Awards, Californie Theatre 14.30 Meet The Asian Animation Financiers, Californie Theatre

Award ‘will improve quality’ of Japanese content On October 5, western buyers will give a live review of the finalists from the International Drama Festival in Tokyo during the Asian Content Exchange session. The event is sponsored by the International Drama Festival in Tokyo. Festival president Michisada Hirose gives some background to the event


FIRST came to MIPCOM last year, and it was exactly as I’d heard it described — the world’s biggest content market. And I fast discovered that MIPCOM is a place where people achieve mutual understanding of cultures and countries through content. Japanese TV professionals are often so busy going about their daily work, however, that it can prevent them from attending such events. But it is my hope that Japanese participation at MIPCOM will increase year after year as we come to learn how valuable it can be to our understanding of other cultures and the international content marketplace. It is so important to watch overseas programmes and the key is to increase the participation from not only the international programme sales people but also the larger divisions of people who are in touch with the broadcasting content business. And I think it’s important not only for sales executives to be here, but those broadcasting executives with other responsibilities too. Last year TV Asahi expanded its delegation beyond sales staff. Two years ago we launched the MIPCOM Buyers’ Award and we are thrilled by the event’s success. I have been to various well-attended and active Asian conventions, but in comparison with them the MIPCOM Buyers’ Award event really stands out — so much so, that I think we should utilise the impact of the event and consider how to expand it further. Japan, China and Korea are the three biggest markets in terms of programme production and international distribution and all three have recently become very active in drama. This has brought these countries closer together and fostered mutual understanding. I think the important thing is to show content from those three countries to the global marketplace, in order to further integrate those countries into the international community. Korea is the more international of the three countries at present so what does Japan have to do to become further integrated where its content is concerned? For Japanese TV stations the domestic audience is still the priority. We should break this long-held habit and, little by little, Japanese production companies should start to create programmes that are more internationally focused. Among all the different content categories I believe Japan should focus on drama in — and that is why we should ensure that the MIPCOM Buyers’ Award is both a significant and regular event. This year is the fifth year of the International Drama Festival in Tokyo.

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NHK, Japan’s national public broadcaster, and other important commercial organisations including producers and rights holders, all attend the event and as it grows in importance, so we wish for it to become more international with overseas visitors attending. This would give professionals from the international industry further opportunities to experience Japanese content — and likewise, Japanese professionals should take every opportunity to experience content from the rest of the world. The result of all of this would be better-quality content. My goal is for Japan to create high quality content that can be seen and appreciated the world over, and the MIPCOM Buyers’ Award is a step towards this goal.

JAPAN GOES DIGITAL JAPANESE television went digital from July 24 this year — with just a few regions still awaiting conversion. Michisada Hirose said the cost to the country’s broadcast industry was “almost the same as the cost of setting up entirely new TV stations”. This, coupled with the global economic crisis means that Japanese production has been down over the past two or three years, Hirose added: “However now this digitalisation is over the Japanese content production industry is on a better financial footing.” But digitalisation is a technical issue, he says, and won’t affect the quality of content that comes out of Japan. “The quality is down to the creators and my hope is simply that we can continue to produce quality content that is loved the world over.”

Michisada Hirose


360 vision is reflected in the new faces at MIPCOM Cannes has always been a place where business veterans and established companies mix with newcomers surfing the new wave. This year, as ever, many of MIPCOM’s newcomers — or first-time standholders — are focusing on the industry’s newest technological developments. Debbie Lincoln spoke with some of them BILL PATRIZIO CEO


Red Bee Media UK

PeopleBrowsr UK

“RED BEE Media is a media management company providing multiplatform technology and creative solutions to broadcasters, content rights holders, platform operators and brand owners. The company works with some of the world’s leading media organisations in over 80 countries. “Our services include: brand consultancy and creative; media preparation, management and delivery; content discovery and metadata; access services — subtitling, live transcription, signing and audio description; and localisation and compliance. “MIPCOM is a really important market for us both in terms of cementing partnerships, networking and building new relationships. MIPCOM also boasts an exceptional line-up of conference sessions and brings together some of the brightest minds of the industry. Our primary objective is to showcase the breadth and depth of what we do. We’re always keen to meet new people and forge new relationships. “In June we launched RedPlayer, a next generation online video platform that allows broadcasters and content owners to deliver and monetise high-quality video to multiple devices. “One important development within the industry has been the gradual shift of focus where content is concerned. The old adage ‘content is king’ has been adapted by many into ‘content is king; data is queen’. Up until now, it’s been a focus for content owners to ensure that their content is available to consumers on every available platform. The challenge now is to make sure that consumers can find all of this great content.”

“PEOPLEBROWSR is a hightech social analytics company with a passion for marketing, providing data mining, analytics, brand engagement and campaign services to global brands and advertising/ PR agencies. Founded in 2007 in Australia, PeopleBrowsr is an industry leader in the social media revolution, making sense from the collective intelligence. “I’ve been watching MIPCOM from London for a few years now, and never quite made it there. I want to connect with like-minded individuals and hear what they are doing in the digital space. “We are looking to partner with TV production houses, digital and traditional agencies, and infect them with the possibilities that social media analytics and insight can offer. Beyond just the data, we strive to help clients understand what social media means for their business, how they can become more efficient, respond in a timely fashion and develop more relevant products from utilising the world’s biggest focus group for their brand — social media. “We have gathered more than 1,000 days of intelligence from social media channels such as Twitter, Facebook, forums and blogs and have over 40 billion tweets in our database, all indexed by gender, location, community, influence and sentiment. We use this to provide brands and agencies with intelligence on what is being said about them online. “Twitter has become more mainstream and can now be used as a credible proxy for predicting the outcomes of marketing campaigns, and also providing analytics for TV shows based on what people are saying in real time.”

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VisualOn US “VISUALON is a multimedia software company. Our solution enables scalable deployment of premium content across the fragmented consumer and mobile device market. It is operating system- and hardware-agnostic, delivers hardware-like quality and battery efficiency, and has been shipped in over 100m devices worldwide. “VisualOn attended MIPTV and we were impressed with the quality and number of content providers. MIPCOM is a very good venue for VisualOn to promote our technology. “The growth of smart phones and tablets has put more pressure on premium content providers. This has created a great opportunity for VisualOn. Most devices purchased today have a WiFi connection and high-quality display, and are all multimedia-capable platforms, but the device market is heavily fragmented in terms of OS, hardware, screen size, etc... VisualOn is uniquely positioned to help content providers.”


Eurovision London Limited UK “EUROVISION Showcase has been developed by Eurovision London Limited, a subsidiary of the European Broadcasting Union (EBU), the association of national broadcasters serving 85 national media organisations in 56 countries around Europe. It promotes the values and distinctiveness of public service media and brings news, sports, events and music to your home through the Eurovision and Euroradio networks. “The Eurovision Showcase platform enables content creators to showcase their work and buyers to source programmes, formats and series. “MIPCOM brings together our target audience under one roof and is a key event in the marketing calendar. Our strategy is to launch our offering, raise awareness and build momentum. Our members have an audience share exceeding 650 million viewers each week and operate over 300 radio and 280 television channels. “The foundations are now in place for the use of rich forms of content across multiple platforms. The falling cost of production combined with widespread availability of broadband and mobile viewing platforms are key enabling factors. The drive to develop and improve technology capable of receiving and playing high-quality content is in turn driving a demand for more high-quality content. It is essential that the trading rights evolve to enable properties to become more easily locatable and purchased.” 30 I

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Smartclip Germany “SMARTCLIP is the European leader for video advertising. With 14 sales offices across Europe and representing over 500 content publishers. Smartclip sells and serves advertising into multiple platforms across multiple markets. With smartclip you can monetise content across PCs, laptops, smart phones, tablets, IPTV, gaming consoles and connected TV. “Smartclip is already working with a number of MIPCOM partners and we are keen to spread awareness of what we offer. Over the past 12 months we have worked with more and more content owners who are looking to take advantage of connected TV and smart tablets and phones. It is harder to reach the consumer, they have a lot more choice and multiple means by which to access content on several devices. As such, content owners need to find smarter, more efficient ways to reach their audience.”


Studio LOFT, Korea “STUDIO Loft is a 2D-to-stereoscopic 3D conversion company which was originally established in 2001 as Seoul LOFT, initially assisting contractors with the creation of cell-animation background work and a large number of animation projects, including in Japan, and through these experiences Studio LOFT developed its unique technology for stereoscopic 3D conversion. “Our conversion method allows for better expression of the object’s actual volume by rounding the edges instead of using flat lines, thus maximising the reality and naturalness of the resulting image. This effect is best noticed when applied to cell-animation conversion projects. “3D became a hot issue worldwide after Avatar, but the 3D conversion market hasn’t yet matured, especially in Korea. So we decided to promote our technology overseas. MIPCOM is the best way to do this, and we’re looking forward to meeting major companies interested in 3D conversion.”


NFK Distribution (NFKD) Poland “NFKD operates as an agent offering licenses for Polish feature, documentary and animation films, either completed productions or at production and post-production stage. “MIPCOM creates an opportunity to reach international markets more efficiently and make direct business contacts. We’re looking for long-term partnerships with distributors and TV stations.”

Betty White

Steven van Zandt

Come and see us.


Stand H4.12

Tel. +33 (0)4 92 99 87 72


Tagmotion Australia “TAGMOTION is a platform for generating more online views and more revenue for transmedia producers, allowing audiences to: bookmark programmes and scenes; browse and watch them; build and browse a large index through the scaleable interface; access it from any connected device; and share it via social media. “My belief that the leading transmedia producers are ready for the next stage in monetising their content beyond rights and sponsorship, and this led me to MIPCOM. I expect to identify at least one partner for a pilot project. Our strategy is to target producers working on the web and mobile platforms. “Our USP? For transmedia producers, the opportunity to multiply views and revenue by creating an online long tail and a share of ad revenue. “Over the past 12 months we’ve launched our first commercial release into the online TEDx community, and established strategic partnerships in China for mobile and VOD.”


K-Production Korea “K-PRODUCTION’s quality animation comes from an organisation with 30 years experience of production, co-production and distribution worldwide. “Most of our animation is talking about family love and a love of nature. I hope that many people in the world understand the same feelings, and our strategy is to bring our content to the world. “Currently we are developing our own IP. I Love Ddung (2D) is about family love, with suggestions at the end of each episode about how parents can play with their kids. In Riceman (3D) the background to the stories is concern over pollution and protecting the planet. Our third project, Tales Buster, is about fairy tales and we have already developed a character bible and design resource, and script. We are now looking for co-investor. “Since of the film Avatar we have seen so much more 3D content, but I still feel that we need more to fulfill the demand.”

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New Tasty Stories Russia “TASTY Stories studio has produced the animated culinary programme Tasty Stories for about 15 years. The new version of the TV programme is designed for the international market and will combine historical adventures in different countries, with the best recipes and tales from around the world. “We’re at MIPCOM for the opportunity to show our project to thousands of professionals at the same time, to assess interest in this project, and to find out all the directions in which our project can be taken. Our project is new and original for the global TV market and we’re striving to find interesting partners for long-term relationships. “In the past few months we have built a new studio for the centralised production of New Tasty Stories, and have begun cyclical production.”


Atlantyca Entertainment Italy “ATLANTYCA Entertainment is a transmedia entertainment company based in Italy, with offices in New York and Beijing, and is the IP holder and manager of the Geronimo Stilton brand. We produced the animated series Geronimo Stilton, which launched in 2009, with production partner Moonscoop. “As our library grows, we felt that this was the ideal time to raise the profile, building meaningful partnerships with global broadcasters and co-producers. We are at MIPCOM — with a stand for the first time — to introduce the second season of Geronimo Stilton. “We have a 360° approach, and are focused on building publishing relationships, seeking to acquire original properties. Additionally, we are looking for partners for two co-production projects, based on a successful book series. “This year we acquired Dreamfarm, and launched, Atlantyca LAB, dedicated to videogames, apps, content for and from the web, exploiting the brands and copyrights owned by Atlantyca and Atlantyca Dreamfarm, as well as acquiring new properties. “This past year has seen an enormous advance in the popularity of children’s apps. Now producers are developing content with all platforms in mind, this is another avenue in the global marketplace.”

Telephone: +33 (0)4 92 99 8821

Mystery Series (2011) 26 x 60 minutes


PrOductnEWs The MIPCOM Preview highlights some of the content brought to MIPCOM from around the world … ARTEAR









DRAMA series from Artear include: More Than Partners (39 x 60 mins), a comedy featuring three female lawyers; The Social Leader (36 x 60 mins), the story of a political staffer who takes on social work; Left On The Shelf (36 x 60 mins), about three sisters looking for Mr Right; Be Kind To Me (37 x 60 mins), which follows the mid-life crises of a couple after 22 years of marriage; and telenovela Gypsy Blood (250 x 60 mins), featuring starcrossed lovers from warring families. From the documentary genre comes Phantastic Biographies (8 x 30 mins), which considers the impact of fictional characters such as Emma Bovary, and Gregorio Samsa; Methods (13 x 30 mins), looking at the steps artists take to get known; and Tasting Notes (57 x 30 mins), which focuses on the world of wine, with news, tips and More Than Partners (Artear) trends.

REALITY format Tempted is making its international debut at MIPCOM following a successful launch in Denmark and Norway. In the show 10 contestants are taken to an exotic location where during their stay they are tempted by various promises of individual prosperity if they will sacrifice the greater good of the community. Depending on their actions and decisions they have to avoid being sent home by their competitors.

PBS INTERNATIONAL, the co-production and distribution division of PBS Distribution, a joint venture of PBS and WGBH-TV Boston, is highlighting two new HD documentaries at MIPCOM. The Hollywood Complex (60 mins/90 mins) looks at the thousands of children who flock to Hollywood, during ‘pilot season’, the three-month casting window for new television shows. The film follows a dozen fame-seekers as they and their families navigate financial, professional and personal obstacles in search of celebrity. Secondly, every week, Chinese programme Interviews Before Execution airs to a primetime audience and Dead Men Talking (52 mins) follows the journalist from the programme who interviews prisoners, sometimes moments before they are executed.

Tempted (Banijay International)



SHADOWGUARD is a new film brought to MIPCOM by LA-based Shoreline Entertainment. Tremayne, an embittered former special forces operative, is the only surviving donor with the same rare blood type as Bagwan, a wounded spiritual teacher. Deva, Bagwan’s lady bodyguard, has 12 hours to bring him across hostile terrain to the capital, with lethal opponents hunting them along the way.

Shadowguard (Shoreline Entertainment) 34 I

ACTION thriller Bermuda Triangle In The North Sea (90 mins) heads Beta Film’s MIPCOM line-up. In the film ships disappearing, wind farms collapsing, flocks of seagulls falling from the sky are some of the sinister events that are harbingers of a disaster that imperils the habitat of an entire coastal region. Beta Film also brings the second season of detective series King (21 x 60 mins), a new season of Rex, The Cop’s Best Friend (179 x 60 mins), and mini-series Violetta (2 x 90 mins), a new version of La Traviata set against the backdrop of Italy’s struggle for unification.

Bermuda Triangle In The North Sea (Beta Film)

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The Hollywood Complex (PBS International)


PRODIGY Pictures, in association with Shaw Media, has begun production of Season Two of supernatural drama, Lost Girl (13 x 60 mins), scheduled to premiere on Showcase. The series stars Anna Silk (Being Erica, Billable Hours) as Bo, a succubus who survives by feeding off sexual energy, and Kris Holden-Ried (Ben Hur, The Tudors) who returns as Dyson, a shape-shifting homicide detective, and Bo’s love interest. Syfy channel has also aquired both seasons (26 episodes).


AUSTRALIAN eight-part drama The Slap is launched at MIPCOM by DCD Rights. Produced by Matchbox Pictures for ABC Australia, The Slap is based on the novel by Christos Tsiolkas and traces the repercussions of a single event on a group of family and friends. At a barbeque, a man slaps a child who is not his son. The boy’s parents are so affronted that they call the police.

The Slap (DCD Rights)


EUROPE Images International brings The Kennedys (8 x 52 mins) to the international market. The series covers JFK’s election in 1960 to Bobby Kennedy’s assassination in 1968, and will be shown on ARTE after its initial broadcast on France 3. Europe Images has also sold rights to TSR and RTBF, and French DVD rights to FTD. The show stars Katie Holmes, Greg Kinnear and Barry Pepper. A+E NETWORKS






A+E NETWORKS brings five new two-hour television movies from Lifetime to MIPCOM. Bling Ring looks at Hollywood’s notorious burglary gang made up of middle-class teens; The Hunt For The I-5 Killer, follows the hunt for the killer of 44 victims in the I-5 corridor through California, Washington, and Oregon; in Killing Game, a man claiming to be the killer of her daughter taunts a women with clues regarding the location of her daughter’s remains; We Have Your Husband is the story of an American women whose husband was kidnapped in Mexico; and The Pastor’s Wife, based on the true story of the trial of a murdered minister, that reveals the dark secrets of a seemingly perfect family.


HD DRAMA series The Bridge (10 x 60 mins/5 x 95 mins/105 mins) tells the story of the body of a woman found in the middle of the Oresund Bridge between Sweden and Denmark. Half the body belongs to a Swedish politician and the other half to a Danish prostitute, and a bi-national team is put together to solve the crime. From ZDFE’s factual slate comes Planet Egypt (4 x 50 mins/ HD), in which experts reveal the latest findings to reveal how the world’s first great civilization was also the longest-lasting.

The Bridge (ZDFE)

PRODUCED by Entertainment One (eOne) in association with Sony Pictures Television and Paramount Pictures, The Firm is based on the film and the best-selling John Grisham novel of 1991. The series continues the story of attorney Mitchell McDeere (Josh Lucas) who brought down the law firm of Bendini, Lambert & Locke, which operated as a front for the mob. After a decade including time in a witness protection programme, McDeere and his family emerge to find past dangers and new threats are everywhere. eOne handles worldwide Josh Lucas, lead actor in distribution, and the The Firm (eOne) series will air on NBC in the US and on Global in Canada. It will also show on Sony’s AXN networks in more than 125 territories or countries, and eOne Television retains basic and pay television, broadcast television and digital/DVD rights for the show outside of AXN markets.

Bling Ring (A+E Networks)






JUNE Jiang Kun and Mark ‘Dashan’ Rowswell team up in the Chinese Comedy & Variety Show, in Mandarin with English subtitles, filmed at the Toronto Just For Laughs Festival. The 90-minute special premiered on OMNI Television and was seen by millions in China when it aired on CCTV3. The performances feature a mix of comedy and variety, including music, magic, and mime.

STUDIO Scotland’s MIPCOM slate includes: feature-length documentary The Daniel Project; feature film The Petersen Files (in development), based on The Daniel Project doc; and a history series featuring Dr Siam Bhayro, an expert on ancient Semitic languages. In preproduction is The Abolition Of Britain With Peter Hitchens; Designed For Disaster, about Britain’s worst WWI maritime disaster; and Great Guns, featuring historical gun stories. I magazine I September 2011 I 35










FME RETURNS to MIPCOM with SLiDE (10 x 60 mins) a funny and frank drama following five 17-year-olds coping with imminent adulthood. The series is backed up online with webisodes, games, graphic novels, social media links, quizzes, polls, behind-the-scenes footage, a fashion blog, a music review site and a music player via which viewers can listen to featured music. FME’s The Wedding Band is a 10 x 60 mins comedy that follows a group of guys who escape everyday stresses by performing in a wedding band. From the entertainment roster comes the US version of The X Factor featuring judges Simon Cowell, Paula Abdul, LA Reid and Nicole Scherzinger.

BINION’s Casino in Las Vegas comes under the spotlight in Casino Confidential, a series brought to MIPCOM by Cineflix International. The docusoap looks at the high rollers, partygoers, and some of the crazy characters passing through, from the perspective of the security teams, dealers and other casino employees.

METAL Evolution (11 x 60 mins) examines the history of heavy metal music, and is brought to MIPCOM by Tricon Films & Television. The series follows the Heavy Metal Family Tree, a 26 subgenre genealogical chart revealing the complex progeny of the genre. Using the chart as his road map, host/producer Sam Dunn, criss-crosses the world exploring a 40+-year history. Tricon also brings Love Trap (30 x 30 mins), which gives people the opportunity to tell someone how they really feel. The show is hosted by MTV’s Evan Starkman.

Casino Confidential (Cineflix International)



TALENTED dancer Marie-Claude Pietragalla choreographed and stars in Eve’s Temptation, a ballet about the history of women, exploring the female condition and its symbols. Pietragalla became Prima Ballerina at the Paris Opera at 16, and in this performance, she transforms herself into the first woman, a warrior, a housewife and a stressed working girl.

Eve’s Temptation (Windrose) 36 I


OTF BRINGS 500 hours of new programming to MIPCOM. Highlights include: Orphans Of The Wild (13 x 30 mins), profiling a wildlife sanctuary in Namibia that has entered into a partnership with the Shiloh-Jolie Pitt Foundation, created in honour of Brad Pitt and Angelina Jolie’s Namibiaborn daughter; Stan Lee’s Superhumans (9 x 60 mins), hosted by the co-creator of Spider-Man, looks at people with genuine super-powers; Amsale Girls – Bridal Shop (6 x 60 mins) features a Manhattan fashion designer who specialises in bridal gowns fetching up to $75,000; Monkey Thieves 3 (13 x 30 mins) follows a troop of Rhesus Macaques living in a Temple in Jaipur; and Twins Of The Twin Towers (60 mins) tells the story of some of the 47 twins who lost their twin brother or sister on 9/11.

Orphans Of The Wild (OTF)

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Alice Cooper guests on Metal Evolution (Tricon Films & Television)


DEATH In Paradise is a new series produced by Red Planet Pictures and Atlantique Productions in association with BBC Worldwide and Kudos Film and Television for BBC One and France Televisions. The series stars actor and comedian Ben Miller as an English policeman posted to the Caribbean island of Sainte Marie. Totally unsuited to the environment, he works on solving crime with local resident Camille (French actress Sara Martins). The filming in Guadeloupe is scheduled for early next year. BBC Worldwide is also launching the 45-minute documentary Planet Dinosaur 3D at MIPCOM. Death In Paradise (BBC Worldwide)





WILDLIFE specialist Earth-Touch is launching Boteti – The Returning River (52 mins) at MIPCOM. Filmed in HD, it documents the extraordinary events when the Boteti River in Botswana returns after 20 years and transforms the dry landscape. The film looks at how zebras, hippos, elephants and crocodiles cope with the dry conditions, and then the burst of activity with the arrival of life-giving water, and in the process records previously unseen behaviour. Earth-Touch also brings other HD docs: Lost Lagoon, Deep Blue Dive, Man-Eaters Of Melghat, and A Dog’s Life.


PRIME Suspect (22 x 60 mins) heads ITV Studios’ drama slate for MIPCOM. Derived from the British television series of the same name, and based on Lynda LaPlante’s novels, Prime Suspect has been redeveloped for American audiences by writer and executive producer Alexandra Cunningham, and director Peter Berg. Co-produced by ITV Studios America and Universal Media Studios and produced by Film 44 for NBC, Prime Suspect stars Maria Bello as the tough, uncompromising New York homicide detective Jane Timoney, who has to work inside a male-dominated police department.


FOOD Network UK has commissioned its first UK series from Sweet TV, featuring London chef and market trader Andy Bates. Andy Bates’ Street Feasts (10 x 30 mins) explores the history of Britain’s most famous dishes and give them a modern street food interpretation. The chef travels the UK, stopping off at local markets and food festivals, and cooking with some of the people he meets. The series also embraces new British food with inspiration from the Caribbean, Spain and India. BANDEIRANTES COMMUNICATION GROUP BRAZIL DRAMA SERIES

MEDIA giant Bandeirantes brings a catalogue including telenovelas, drama series, entertainment, reality, documentary and music to MIPCOM. Highlights include the series Threedom, which tells the story of three young people who don’t know each other well, but who are learning to make their own way in life; and The League, a series that looks at different perspectives of the realities of Brazilian life.

Boteti – The Returning River (Earth-Touch)


Prime Suspect (ITV Studios Global Entertainment)


CONTENT Media Corporation has teamed with BAMMA (The British Association of Mixed Martial Arts) to debut a series of new high-octane sports programming at MIPCOM. The shows combine prestigious venues, high-level contests and a presenting crew including commentator Michael Schiavello. Programming is headlined by a roster of two-hour fight specials filmed live at events throughout the year, alongside highlights shows and existing archive footage. Worldwide rights (excluding UK) across all platforms are available.

BAMMA events (Content Media Corporation) 38 I


THE WORLD’s Greatest Balloon Adventures (5 x 52 mins/43 mins) is an HD series following balloonists as they venture into the Gobi Desert, the snow-covered Alps, touch the canopy of the jungles in Sri Lanka, follow giraffes and elephants over the Savannah of Kenya and face the steep rock faces of the Venezuelan Tepuis. The company also brings Christmas Winter Wonderland (52 mins/43 mins), about animals and humans in wintertime, and science documentary The Eyes Of The Atacama (52 mins), about the space The World’s Greatest Balloon observatory in Chile. Adventures (Marco Polo Film)

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Threedom (Bandeirantes)


THE MAN Of Your Dreams, created and directed by Juan Jose Campanella — who also directed episodes of US series House, Law & Order and 30 Rock — is a 13-episode drama/ comedy brought to MIPCOM by Telefe International. The series tells the story of an unemployed man who decides to work in a dating agency, meeting women and ultimately breaking their hearts, finding comedy in the unconventional ways and of meeting people and the resulting moral dilemmas.










FRENCH distributor AB International is debuting its new series Clash at MIPCOM. The series (6 x 52 mins) explores the relationships between teenagers and their families on their journey to adulthood, combining humour and emotion. The series — co-produced by France 2 and Chic Films — airs on France 2. Clash (AB International) FRANCE 24 FRANCE CURRENT AFFAIRS

AT MIPCOM France 24 is highlighting two of its flagship programmes. Monday to Friday at 18.00 GMT, Live From Paris provides key background information and analytical context to current international developments. In The France 24 Debate, four guests confront each other on a specific theme in the news, with the aim of shedding light on the French and international news from all angles, from the economy, to sports to politics. Presenter Francois Picard (France 24)


THE MIPCOM slate for Albatross includes Circus Stories (5 x 43 mins) which looks at experiments that explore the cognitive capacities of animals, including how elephants react when they see themselves in a mirror, and sea lions’ incredible balancing abilities, in super slow motion. The company also brings Baboon Bandits – Monkey Alert (52 mins); Wild Faces Of The Andes (52 mins); and Goering’s Secret (52 mins), which looks at private film footage of Hitler’s right hand man. 40 I

ABC COMMERCIAL’s MIPCOM HD highlights include: Who’s Been Sleeping In My House (8 x 30 mins), with archaeologist Adam Ford, who visits old houses to uncover stories of people who lived there; Life Architecturally (54 mins/28 mins), looks at innovative design with husband and wife team, architect Robert McBride and designer Debbie Ryan; Cup Of Dreams (60 mins), analyses the All Blacks rugby team in the run-up to this year’s Rugby World Cup; On A Wing And A Prayer (52 mins) looks at the endangered Carnaby’s cockatoo; and, a new series of Poh’s Kitchen, (Series One, 40 x 30 mins, Series Two 26 x 30 mins) follows chef Poh travelling through Australia and Asia.

BROADCASTING now in over 15 countries, Body In Balance TV brings a range of recent programming to MIPCOM, including: Secrets Of Anti-Aging With Glynis Barber; Lovers’ Guide; Trudie Styler’s Warrior Workout, featuring Sting; Ramona Braganza’s 3-2-1 Workout; The Ultimate Body In Balance Workout; martial arts dance workout, Enter The Battle; Fitness Club: Ibiza Workout; Adam Fords Swiss Ball; and Yoga For Wellness, filmed in China.

Life Architecturally (ABC Commercial) Secrets Of Anti-Aging With Glynis Barber (Body In Balance)


THE MUNICH-based distributor Bavaria Media has teamed up with Finland’s Solar Films — in a deal signed at MIPTV this year — to handle worldwide distribution (except Scandinavia) of Solar’s Vares movie cycle. The films, based on novels by Reijo Maki, centre on private investigator Jussi Vares, a hard-drinking ladies’ man based in Turku on Finland’s south-western coast. The first two films, The Kiss Of Evil and The Girls In April, have enjoyed successful cinema runs in Finland, and the third, Garter Snake, has recently been released in Finnish theatres.

Vares (Bavaria Media)

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ACTION thriller Dangerous Attraction, based on a true story, headlines producer and distributor MarVista Entertainment’s MIPCOM slate. In the film Casey (Amanda Righetti) is stalked by her ex-coworker Morgan (Will Estes), calling her dozens of times a day and continuously writing her letters. She tries to get the support of the police to make him stop, but without an actual threat, they are unable to help. Fearful for her safety, she starts to withdraw from the world around her, unaware that Morgan’s scare tactics have only just begun. Dangerous Attraction is the latest addition to over 20 telefilms produced by the company for Lifetime, Hallmark Channel, NBC Universal and ABC Family. MarVista is also debuting disaster, romance and comedy movies at MIPCOM.

Dangerous Attraction (MarVista Entertainment)

iproductneWs ZED









HEADLINING the ZED slate of 52-minute HD documentaries is The Birth Of Shopping, about the impact of the first department stores. The company also brings: Greenpeace, about the world’s most famous NGO; The Last Days Of The USSR, which recounts the critical last two years that led to the fall of the USSR; and A Story Of People In War And Peace follows the Karabakh war, through the stories of soldiers, doctors and villagers.

THE UK’s ITV has commissioned a third season of Take Me Out, a primetime elimination dating show, from FremantleMedia’s UK production arm TalkbackThames. FremantleMedia has also recently sold the format to Brazil (Bandeirantes), Norway (TV3), Lithuania (TV3), Malaysia (NTV7), and to Thailand (Channel 3). The format — developed by FremantleMedia in France — was first commissioned in Australia, and has aired in The Netherlands, Chile, Ireland, Spain, Korea, the Philippines and Denmark. Take Me Out (FremantleMedia)

SUPERIOR Interiors With Kelly Hoppen (5 x 60 mins) is premiering on the UK’s Channel 5. Interior designer Kelly Hoppen is on a mission to change homes with her golden rules of design. In the series she takes on a range of badly designed rooms from kitchens to bathrooms, and transforms them with design tips that anyone can employ in their own environment. TWENTIETH CENTURY FOX US DRAMA SERIES

TERRA Nova follows an ordinary family that goes back to prehistoric Earth as part of an experiment to save the human race. In the year 2149, the world is overdeveloped and overcrowded, and the Shannon family joins the pioneer community. But the terrain is teeming with danger, including a splinter colony of renegades. In the US Terra Nova premiered on the Fox Broadcasting Network.

The Birth Of Shopping (ZED)


TARGET Entertainment has acquired the international distribution rights to mini-series Cloudstreet (5 x 60 mins + 90 mins), set in and around Perth during the 1940s and 1950s. It tells the story of two rural families who suffer separate catastrophes and flee to the city. Brought together in the same house, the Lambs and the Pickles share tragedies and triumphs that draw them closer. Based on the novel by Tim Winton, the series is produced by Screentime for Showtime Australia’s showcase channel and makes its international launch at MIPCOM.

Cloudstreet (Target Entertainment) 42 I


ELECTRIC Sky returns to MIPCOM with a raft of new factual titles. Baking Mad (10 x 23 mins) is a new series in which baking clubs across the country are invited into patissier Eric Lanlard’s home to learn the tricks of quick and easy baking. 3D series Bullproof (4 x 60 mins) looks at professional bull riding with a focus on the men who step in to save the cowboys from harm. SOS Fukushima (52 mins) is a poignant documentary on the devastating earthquake and tsunami in Japan earlier this year. Addicted To Food: Sharon’s Story (60 mins) tells the tragic story of a 45-stone woman who, after a lifesaving operation, starves herself to death.

Baking Mad (Electric Sky)

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Terra Nova (Twentieth Century Fox)


THE CONTROVERSIAL debate about whether museums should return artwork to the countries they were created in is explored in HD documentary Museums (52 mins). Wishing to return a Maori head to New Zealand, the young director of the Rouen Museum caused a upset. After a long legal and political battle, a new law requiring all national museums to restore their Maori heads was brought in. But where will this end? GAD also brings Maritime Mysteries (5 x 52 mins), and the company is looking for international pre-sales for Titanic (52 mins), an investigative documentary.


NATURAL disasters headline NGTI’s science programming for MIPCOM. Australia’s Greatest Flood (48 mins) looks at the extraordinary weather experienced last summer, and the impact that social media had on reporting events and alerting people. Disaster Earth (2 x 48 mins) considers what the next major natural disasters could be, including a mega-tsunami, or if, as scientists suggest, Seattle could be the epicentre for the largest earthquake the planet can create. Omens In The Sky (48 mins) investigates extraordinary events including 5,000 blackbirds falling from the sky in Arkansas and hundreds of red snapper washing up on New Zealand shores.







THE PIRATE Tapes (60 mins/90 mins/HD) follows a young filmmaker who exposes Somali pirate gangs by going undercover. Outback Fight Club (2 x 60 mins/HD) features the last tent-boxing troupe in the world, in Australia, where people challenge professional boxers in amateur fights. Other series include: Making Tracks (13 x 30 mins), a family-friendly road trip; Champions Series Tennis (12 x 120 mins/HD), a tennis tournament featuring former champions; and fashion series State Of Style (20 x 30 mins per year/HD).

CREATED by Endemol USA, Love In The Wild is a dating series where 10 single men and 10 single women compete in a range of tasks in a jungle environment. Two contestants are sent home each week and the winning couple spends a night in a lavish bungalow. From Endemol UK comes Pointless, a general knowledge quiz where the questions have been posed to 100 people before the show, establishing the most obvious and most obscure answers. Pairs of contestants compete for a cash prize by identifying the most elusive answers and scoring the fewest points. The most pointless answer, therefore the most valuable, is the one that none of the 100 people have given.

Australia’s Great Flood

IMC UK LIFESTYLE & REALITY SERIES The Pirate Tapes (Octapixx Worldwide)


NEW FORMAT The Impostor is brought to MIPCOM by ohm:tv. The one-hour show has one contestant who plays the role of a family member while the other contestant tries to uncover his or her identity for a cash prize. It’s the family versus the contestant. How well can the family integrate The Impostor into their home and keep his or her identity secret? The Impostor shares the prize if they remain unidentified.


HD LIFESTYLE series Summer Home (10 x 30 mins) transforms dated vacation homes into relaxing, peaceful retreats with accessible designs and tips for vacation homeowners. Picture Box also brings another HD series, Callout: Search And Rescue (39 x 30 mins) featuring real stories filmed live by search and rescue teams during actual missions. Picture Box holds worldwide TV rights to both series.

Ballet Pilates Workout (IMC)


FACTUAL programmes from the UK’s Lucky World include: music educational show Play Hendrix, with follow-ups planned featuring BB King, Santana and Eric Clapton; Steams & Trains, a range of railway-related shows from around the world; Classic US Combat Aircraft Of WW II (5 x 60 mins); Agatha Christie (74 mins), a profile of the British author; Sherlock Holmes’ London (60 mins), looking at sites connected to the detetctive; Alice’s Adventures In Wonderland (80 mins), focusing on the author Lewis Carroll; and The Tale Of Robin Hood (60 mins), about the mythical outlaw.

The Imposter (ohm:tv)

Summer Home (Picture Box Distribution) 44 I

IMC IN-HOUSE productions include Ballet Pilates Workout, and the debut of Latin Dance Workout. Another MIPCOM highlight is Big Five Challenge — Season Two (6 x 52 mins/HD), a reality game show where contestants are flown to Africa and assigned a game ranger to locate, track and photograph the big five — a lion, leopard, elephant, buffalo and rhino. The first season aired on Animal Planet UK and EMEA, and is scheduled for Animal Planet USA.

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iproductneWs EXPLORA FILMS






THREE rhinos — one white, one black and one Indian — are the stars of the new wildlife special from Explora Films’ Rhinoceros, The Curse Of The Magic Horn (52 mins). By following these three animals the film explores the drastic measures that are being taken to ensure their survival. The company also brings to MIPCOM: Millennial Peru: The Unexplored History (52 mins), looking at extraordinary civilisations 4,000 years ago; The Agony Of The Green God (52 mins), about the jungle Pygmies, their history and up to the present day; and The Celtic Legacy (52 mins), looking at links between ancient Galicia and other North Atlantic Celts.

GUMBALL 3000 Super Car Rally is an actionpacked mixture of parties, celebrities and adventure as high-octane cars race across the US. Rally On! (8 x 24 mins) includes all the stunts, breakdowns, cops and daredevil incidents along the way. The HD series is produced by Lone Gut Productions. Rally On! (Solid Entertainment)


COLOMBIAN national television network Caracol TV brings a catalogue to MIPCOM that includes telenovelas, series and entertainment formats. In The Secretary (120 x 60 mins) Emilio finds the only job he can get is as a secretary because of a criminal record. He falls in love with his glamorous boss, but she is engaged to a powerful businessman. Other drama series include: elite police story Infiltrated (40 x 60 mins); tragic love affair Festival Of Love (40 x 60 mins); The Witch (25 x 60 mins), about a women who uses her magical powers to acquire power; taxi cab comedy Yellow Team (40 x 60 mins); and gender-crossing drama Love And Fear (90 x 60 mins). ONLY LIFESTYLE

Rhinoceros, The Curse Of The Magic Horn (Explora Films)


IN THE comic drama series (Lilyhammer, 8 x 45 mins), Frank ‘The Fixer’ testifies against his Mafia boss in New York, enters the Witness Protection Program and then makes an unusual demand: he wants a new life in Lillehammer, Norway. A sports fanatic, he had fallen in love with it while watching the ’94 Winter Olympic Games. But things don’t go smoothly as he has to adapt to Scandinavian ways, and spend his life eluding the Delucci family. SevenOne also brings to MIPCOM the surreal sketch show What If? Each sketch begins with a question that starts with What if?’. What if car mechanics were honest? What if everyone loved art?


THE SECOND season of the Spartacus series is brought to MIPCOM by Starz Media. Spartacus: Vengeance, follows on from the escape from the House of Batiatus that concluded Spartacus: Blood And Sand. The gladiator rebellion continues and strikes fear into the heart of the Roman Republic.

Sparticus: Vengeance (Starz Media Worldwide Distribution)


NEW FORMAT France Chef America was brought to the international market by Only Lifestyle during MIPTV. The show is a culinary contest between two Michelin starred chefs, one French and one American. The Belgium public broadcaster RTBF 1 was the first to take the format, with France Chef Belgium airing earlier this year. The company, which has a catalogue of 4,000 hours covering cooking, fashion, design, travel and ecological programmes, is now adding 3D content to its offer.

France Chef Belgium (Only Lifestlye)


Lilyhammer (SevenOne International) 46 I

DAVID Finch Distribution (dfd) returns to MIPCOM with a catalogue of factual programming, including history, royalty, biography, warfare and travel, as well as fitness, sport and music productions. Six Step Golf Lesson is endorsed by the winner of this year’s US Open, Rory McIlroy. Other titles include The Oxford Of Inspector Morse, a one-hour tour of the locations of the famous university city as it relates to the Morse stories, including interviews with people associated with the series. This programme is the first in a series focusing on places linked to well known characters, both real and fictional.

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BBC and HBO Miniseries present From the Oscar-winning team that brought us Shakespeare in Love – world renowned writer Sir Tom Stoppard and producer David Parfitt & BAFTA winning director Susanna White #&/&%*$5$6.#&3#"5$)t3&#&$$")"-30(&3"--".t"%&-"*%&$-&.&/4 "//&Ę."3*&%6''t361&35&7&3&55 45&1)&/(3")".t+"/&5.cTEER MIRANDA RICHARDSON

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PA R A D E 5 x 60’ / 6 x 44’ / 3 x 90’

A Mammoth Screen Production for the BBC. In association with HBO Miniseries and Trademark Films and BBC Worldwide and Lookout Point.

the acclaimed novels by Ford Madox Ford

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THE FREMANTLE Corporation’s priorities for MIPCOM include: Journey Beyond, an investigative series of 13 one-hour episodes in 3D and 2D exploring new information about the paranormal, and ideas about life on earth; The Right Hand (12 x 30 mins), a docu-soap following the misadventures of a goodhumoured, small-town graduate looking for work in the film industry, who in desperation becomes an assistant for an adult film producer; and retro ‘70s NBC series Movin’ On (44 hours) staring Claude Akins as independent big-rig trucker Sonny, and Frank Converse as his educated co-driver Will..

Journey Beyond (The Fremantle Corporation)


BEAVER Falls comes from the creators of drama series Skins, and follows the comic adventures of three British lads working in an American summer camp. Another youth-skewed series is Fresh Meat, a drama about the early days of university life, following six students on a voyage of self–discovery. From All3Media’s factual slate comes Stephen Fry’s Greatest Gadgets (2 x 60 mins), covering inventions including the abacus, umbrella, curling tongs and the iPod; and Billy

Office Pranks (iThentic) 50 I

Connolly’s Route 66 (4 x 60 mins), following the Scottish comedian on a motorbike road trip from Chicago to St Louis, Missouri.







TEACHING The Life Of Music (46 mins) is an HD documentary that celebrates the success of Maestro Jose Abreu’s mission to bring free music education and instruments to the underprivileged youth of Venezuela. His vision and the work of his organisation, El Sistema, have inspired the creation of similar organisations in North America. The company also brings HD concert series En Concert (13 x 60 mins), featuring music from around the world.


ONLINE and mobile video destination site iThentic is expanding to include short films and web series, growing its library of short-form content. These series will be available in a ‘binge consumption’ model that allows the audience to watch a series on their own terms, rather than the time-release model. New titles include iThentic original productions The Dirt On Green, Green Minutes, Office Pranks, Today On Earth, and The World Of Bruce McCall.

Beaver Falls (All3Media)

RTV’s MIPCOM line-up includes Brazil Masters 94.02, a series of films of sporting events, featuring Brazilian world football stars including Dunga, Bebeto, Ronaldao, Cafu, Paulo Sergio. The dream team is coached by Carlos Alberto Torres, captain of Brazil’s 1970 national team. The team expresses Brazilian culture, vitality and ‘Samba football’ to audiences around the world. Germany’s most-capped player Lothar Matthaus, is co-developer for, and advisor to, Brazil Masters 94.02. The plan is to film up to 24 events a year through until 2016.


PRIORITIES for the UK’s West End Films in Cannes include: Woody Allen films Bullets Over Broadway, Anything Else, Celebrity, The Curse Of The Jade Scorpion, Deconstructing Harry, Everyone Says I Love You, Hollywood Ending, Mighty Aphrodite, Small Time Crooks and Sweet And Lowdown; City Island, a comedy starring Andy Garcia; Nine Lives, starring Glenn Close; drama The Secrets; and documentaries Exodus, and Wild Man Blues, about a tour featuring Woody Allen’s jazz band.

Bullets Over Broadway (West End Films)

magazine I September 2011 I

Brazil Masters 94.02 (RTV)


SAW DOGS (10 x 30 mins) uncovers the extraordinary world of chainsaw carving, a littleknown folk art. Carvers travel to the Hollywood Wax Museum, for which they create a special exhibit. Avec Eric (23 x 30 mins) follows chef Eric Ripert as he travels the world to meet renowned chefs and friends, demonstrating how to turn a simple meal into a shared event. There’s another chef at the centre of Food Trip With Todd English (26 x 30 mins), as he travels on a mission to reinvent traditional cooking around the world.

© 2011 PONPOKO - All rights reserved

2D Animation First season: 52x13’ episodes For Licensing Opportunities: International: Guido Berté, Mondo TV Consumer Products

0,3&20 Italy: Giada Paterlini, Starbright Srl



TWO NEW series headline the MIPCOM catalogue for Spain’s Antena 3. In drama series Grand Hotel (8 x 70 mins), set in 1905, a young man investigates the disappearance of his sister with the help of the daughter of the owner of Grand Hotel, with whom he falls in love. Eat Drink Love (8 x 70 mins) is a review of popular Spanish coastal resorts, with experts giving tips for eating, and finding love, glamour and fashion in the regions.


PAN AM is a glossy, period drama series set around Pan Am (SPTID) the eponymous international airline. The stories concern the Pan Am crew, in a new era of luxury air travel, against a backdrop of romance, shifting social values and international espionage. New comedy drama Necessary Roughness (12 x 60 mins) is about a Long Island divorcee who gets a job as the therapist for a professional football team in order to make ends meet. SPTID also brings format The Substitute in which a comedian host, disguised as a stand-in teacher, ambushes a high school class, and says: “You’re on a game show and you’re about to compete for $5,000!”









BEYOND brings a new catalogue of comedy titles to MIPCOM. Among the new international artists featured are Margaret Cho with her latest tour Cho Dependent; and Nina Conti: Talk To The Hand, bravely going where no ventriloquist has gone before. Tripod Versus The Dragon is an epic comic tale told through music; and Axis Of Awesome Live is an explosive rock show of award-winning musical comedy.

THE PREMIERE of new HD telenovela El Joe, La Leyenda (El Joe) pulled the highest audience in the history of private channels, according to it’s broadcaster RCN. El Joe tells the life story of singing artist Joe Arroyo — who died in July this year — his rise to fame and fortune, his loss of fortune, and his redemption. RCN also brings its new drama Traffic With The Innocent, starring Margarita Rosa de Francisco, about the complicated and hard-hitting realities of the lives of people who become drug mules for criminal gangs.

TWO HD 52-minute documentaries from Blue Bird Productions about lost civilisations top the MIPCOM priority list for Cinexport. Cambodia – The Temples Of Angkor profiles some of the most striking archaeological sites in Asia. Mexico - The Maya Country looks at the Mayan Indians from Central America, the founders of a civilisation in the seventh, eighth and ninth centuries. BREAKTHROUGH ENTERTAINMENT CANADA DOCUMENTARY

BREAKTHROUGH Entertainment brings the follow-up to Greatest Tank Battles to MIPCOM. Greatest Naval Battles (10 x 60 mins) focuses on classic naval encounters ranging from the era of the Egyptian Pharoahs through to World War II. The documentary series repeats the visual approach of its predecessor using CGI animation technology to place the viewer in the heart of the action, and at the heat of the moment.

Margaret Cho (Beyond Distribution)


NEW FILMS from Latido Films brought to the international market include: Chinese Take Away (100 mins), a bittersweet comedy about a Chinese man moving to Argentina; Morente (90 mins), a documentary about Flamenco singer Enrique Morente; thriller No Return (106 mins), about a man who tries to get justice for his murdered son; and thriller The Fifth Commandment (90 mins) about a serial killer.

El Joe, La Leyenda (RCN)

Greatest Naval Battles (Breakthrough Entertainment) I magazine I September 2011 I 51







© 2011 A&E Television Networks, LLC. All rights reserved. 1004.


Rick Harrison PAWN STARS


















+ + + +

650+ hours new programming for MIPCOM 1,200+ original hours annually 9,500+ hours of content across all genres Timeslot-dominating shows from the hottest brands in US cable HISTORY, A&E and Lifetime + Programming that is regularly #1 in timeslot for all US TV viewing, including broadcast + Content that breaks network records in US viewing

Go to and visit us at MIPCOM, Booth G3-18










NEW SERIES from Globo include Cat’s Cradle (110 x 45 mins), a telenovela that has already sold to more than 15 countries. The action concerns a love triangle, a classic love story and a spoiled and selfish villainess. Another telenovela, Passione (160 x 45 mins), is about the secrets of a powerful family. HD Drama series include: The Cariocas (10 x 25 mins) about a contemporary group of women in Rio; and Miracle Hands (5 x 52 mins), about a doctor struggling with the ghosts of his past.

FILMS prioritised by TVP for MIPCOM include Joanna, a drama starring Urszula Grabowska, and Flying Pigs, a story of passion, honour and living life to it’s fullest, filmed in Poland and Venice. TVP also bring two new seasons of Days Of Honor, a war action series, and a third season of the drama series about three generations of women, Life By The Backwater, based on a novel by Malgorzata Kalicinska. From the documentary slate comes Magda, Love And Cancer, about a young couple struggling with cancer and celebrating the birth of their son, and Declaration Of Immortality, profiling Piotr ‘Mad’ Korczak, a legendary polish climber.

NEW PRODUCTION group and format creator Newen has teamed up with French game show specialist Bignose for a new game-show format making its international debut in Cannes. Harry was developed as a daily or weekly 40-minute show. Harry is a super-calculator that knows all the words that exist in the world — it chops them up, mixes them and challenges players to put them back together. In order to win you need to be good at word games, but also have luck and a good strategy.

Cat’s Cradle (Globo TV International) Harry (Newen Distribution)




IN NEW telenovela Jackpot! a group of friends that has been playing the lottery for two years, wins. Each of them becomes a millionaire overnight. However they had made a pact. Each member has a stated mission for the year: half the money is in a savings account, and can only be claimed when they have completed their mission. When the members of the group start to die mysteriously they realise that if they can’t find the murderer, any one of them could be the next victim.



TEN REASONS is a 30-minute daily documentary introducing 10 surprising reasons why we should visit a particular Andalusian town. Subjects covered include: Traditions, food, entertainment, landmarks, nature, business, music, people, active tourism, VIP neighbours, amazing houses, hotels, personalities and holy days, narrated through images and interviews. People can participate online and follow on Facebook, Twitter and Tuenti. Jackpot! (Record TV Network) 54 I

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A MIPCOM highlight for Canamedia is its first 3D special The World’s Greatest Carnivals: Quebec Winter Carnival (30 mins), the first of an ongoing series. The Quebec Winter Carnival features dogsledding, ice sculptures and a visit to an ice hotel. Other new titles include Season 2 of Fraud Squad (26 x 30 minss/HD), a series investigating international crimes, and Test Of Love (13 x 30mins/HD), in which engaged couples compete to win a dream wedding.

The World’s Greatest Carnivals: Quebec Winter Carnival (Canamedia)







THE LATEST production from TV Azteca is Under A Red Sky (120 x 60 mins), a love story starring Mauricio Islas and Edith Gonzalez. The series is distributed internationally by Comarex, Azteca’s exclusive sales agent. The story concerns Alma and Andres, a couple destined for each other, but life takes them in different directions with terrible consequences. After years apart, is there a glimmer of hope for reconciliation?


CAT RUN is a new film starring Paz Vega as a girl-on-the-run in a story that mixes action, crime, political intrigue and comedy. Lightning also brings horror comedy The Revenant, following a fallen soldier who has joined the living dead. Thrillers from the catalogue include Wrath, a tale of survival in the Australian Outback as a young couple is victimised by three strangers; and Phase One, about college students who sign up for a drugtesting programme.

MIPCOM marks the debut of On Duty (13 x 22 mins), a series highlighting the drama, danger and lifestyle of Santa Barbara’s fire fighters. With the use of high definition helmet cameras, the viewer gets a unique perspective on all the action, and follows the Californian emergency workers in their day-to-day lives.


Under A Red Sky (Comarex)


JAVA Films brings the first film in TV Catalunya’s current affairs series, 30 Minuts, to MIPCOM. Rethinking Tuberculosis: The Hunt For A Vaccine investigates the pioneering work of Catalan scientist, Pere-Joan Cardona, who is developing a new vaccine for TB. Other episodes include The Barca Style: More Than Just Football, which looks at how business schools and management consultants are adopting the tactics of Barcelona coach, Pep Guardiola, as a business model. They are also working on a report on the future of a post-Castro Cuba.

On Duty (Foothill Entertainment)

ZODIAK launches a two-part documentary on the Olympic and world 100-metre record holder Usain Bolt to MIPCOM. Producer/director Gael Leiblang secured exclusive access to the athlete over the last 12 months as he prepares for the 2012 Olympics, in which a predicted four billion viewers are due to watch the 100-metre final. The films, Usain Bolt: The Fastest and Usain Bolt: The Legend, and are being produced by France’s Elephant Doc, and Zodiak owns worldwide rights excluding France.


NEW FROM RDA TV is UK’s Strongest Man 2011 (5 x 52 mins/HD) featuring the competition in gruelling events to crown a new British champion. In addition, RDA TV brings Cops, Cars And Superstars: New York To Las Vegas (5 x 30 mins), about the racers involved in the Bullrun rally in which 100 supercars take on the 3,000mile journey from New York City to Las Vegas. The rest of the catalogue from RDA is also skewed towards male-focused sports and action shows including Ultimate Fighting Championship (UFC), TNA Impact Wrestling, Real Madrid TV, Barca TV and Monster Knockout.

Usain Bolt (Zodiak Rights)


Rethinking Tuberculosis: The Hunt For A Vaccine (Java Films)

WORLD Media Pictures brings a slate of telenovelas, entertainment and documentary programmes to MIPCOM. The Band (80 x 60 mins/HD), is set in an international boarding school where the students form two rival music bands. Amores Como El Nuestro (71 x 60 mins) is a love story between a traditional young woman and a spoiled, impulsive young man. Sabrosa Pasion Plus (52 x 60 mins) is a talk show featuring personalities from Latin TV sharing gossip and recipes in a kitchen. Finally, A Tu Salud, is a show focused on healthy living. The Band (WMP) I magazine I September 2011 I 55

David Ellender Global Chief Executive Officer, FremantleMedia Enterprises

P Point oint of of Entry










CHASING The Rush (6 x 30 mins/English, Spanish, Arabic) looks at the lives of extreme athletes who test themselves to their physical and psychological limits, despite the suffering, pain and fear. Whether they are running through the Moroccan desert or diving from 30-metre cliffs, the satisfaction comes from the fact that they can say “I did it”.

IN NIPPON Television’s new game-show format Pharaoh! two teams of five compete in a studio game show for cash prizes. The quizzes take place in trap-filled rooms that the teams tour, in order to win gold pharaoh statues. The team with most statues at the end of three stages qualifies for the final round. For example, in the Cliff Room contestants must avoid blocks randomly coming out from the wall. In the Slippery Floor Room there are three quiz zones and the players move from one to another to answer questions — as the floor is tilting. In the Moving Wall Room two walls converge while the players solve the puzzles. In the Cave Room the contestants slide into a cave to answer questions, if they’re wrong they vanish into the darkness.

LOCATED in Hong Kong, Discover China brings a documentary catalogue to MIPCOM covering travel, gourmet food, beauty, kung fu, and cultural heritage. The first two of seven episodes of an HD series on Tibetan culture is launched by the company in Cannes. The first episode looks at Tibetan Buddhism through rare interviews of several young Tulku or Living Buddhas in their own monasteries, talking about rebirth. The second episode records how this religion is celebrated and practiced by the lay Tibetans in order to gain good Karma for a better reincarnation. The company also brings a range of programmes about different aspects of modern China.


A NEW film version of Robert Louis Stevenson’s classic adventure story, Treasure Island, is brought to MIPCOM by the UK’s Powercorp. In the story young Jim Hawkins is the only person who can successfully get a schooner to a legendary island known for its buried treasure. But aboard the ship is a mysterious cook named John Silver (actor and comedian Eddie Izzard), whose true motivation on the journey challenges Jim’s trust in the entire crew. This is an atmospheric tale of peril, pirates, buried fortunes and friendships. The cast also includes Rupert Penry Jones, Donald Sutherland and Elijah Wood. Chasing The Rush (Deutsche Welle/DW-TransTel)

Pharaoh! (Nippon Television Network)


DOCUMENTARIES brought to MIPCOM by Scotland’s Big Baby Productions include: Fading Trades (3 x 60 mins/6 x 30 mins) which looks at attempts to preserve old trades in the UK; Extreme Businesses (3 x 60 mins) looks at cutting-edge European enterprises; Deep Blue Mysteries looks at the extraordinary story of three people who went missing from a lighthouse in the Outer Hebrides in 1900, and were never found; The Conservators (6 x 60 mins) looks at restorers of masonry, artwork, books and treasured objects; Novel Landscapes (6 x 60 mins) sees celebrity presenters sharing their connection with literature and landscapes, including those associated with Thomas Hardy, Jane Austen and the Brontes; and The Truth Behind Bannockburn (59 mins), a new look at Robert the Bruce’s victory against the English Army. Treasure Island (Powercorp International) 58 I

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RIVE GAUCHE premieres new ABC-TV reality adventure series Born To Explore at MIPCOM. Starring explorer and scientist Richard Weise, Born To Explore (13 x 60 mins) travels across the continents in search of experiences not found in guidebooks. Ever since he climbed Mt. Kilimanjaro at age 11 Wiese has circled the globe to capture stunning images and research stories. Born To Explore is produced by Barnfly Productions, from Charleston, North Carolina.





WHAT’s In A Name? (13 x 30 mins) explores the history behind the naming of notable people, places and things. To complement the TV series a website extends the brand with a re-playable social experience. Visitors to the site uncover the root of a name, its place in history as well as its global popularity. Activities, quizzes and games contribute to a dashboard that uses creative visualisations. The series premiered on Canada’s History Television.


Born To Explore (Rive Gauche Television)


IN SEASON three of Pitchin’ In (13 x 30 mins), produced for Food Network Canada, Chef Lynn Crawford continues to travels across North America in search of the best, freshest ingredients, in the spirit of fun, challenge and adventure. Frantic Films also brings Princess (32 x 60 mins), produced for Slice, in which financial guru Gail Vaz-Oxlade tackles a group of spoiled spenders in an effort to change their disastrous financial habits with some practical advice. Todd & The Book Of Pure Evil is a horrorcomedy that follows the crazy antics of a high school heavy metal music fan who discovers that he must save the world from the Book of Pure Evil. Keep Your Head Up Kid: The Sequel (2 x 120 mins), is a two-part mini-series, which continues the story of the life of Canada’s legendary hockey personality, Don Cherry.


TOP OF the MIPCOM drama catalogue from Frecuencia Latina is Uruguayan romantic comedy series The Way I Love You (40 x 60 mins/HD), starring Catherine Fulop; telenovela The Perricholli (72 x 60 mins/HD), a Peruvian production about the romance and scandal surrounding a famous theatre actress from the 18th century; and Against The Ropes (60 x 60 mins/HD) from Argentina, is the story of a young boxer from a small town who has to learn to survive in a world very different from the one he grew up in. From the documentary slate comes Machu Picchu, Secrets Of A Lost City (101 mins/ HD) commemorating 100 years since the discovery of the famous ruins of a lost civilisation by the American professor Hiram Bingham. The film gives the story behind one of the most important archaeological sights in the world.


IMAGINA returns to MIPCOM with a diverse catalogue of programmes including: The Boat, On Course To The Unknown (10 x 70 mins), a reality show on a training ship where 12 strangers take a mystery tour and share experiences while they compete to win; Mountain Challenge (28 x 50 mins) a reality show following 16 people on a 30-day expedition; historical drama Ocean Hearts (6 x 70 mins/9 x 50 mins) about a group of young Spanish women journeying to the New World in the 16th century; and Red Eagle (122 mins) an adventure film set in the political intrigue of the 17th century. Pitchin’ In (Frantic Films)

The Way I Love You (Frecuencia Latina International) I magazine I September 2011 I 59

WorldPremiere MIPCOM 2011â&#x20AC;&#x2122;s World Premiere TV Screening is Missing, the new 10-part drama series from ABC Studios. The premiere will be attended by Disney/ ABC executives, Missing production team and stars Ashley Judd, Cliff Curtis and Adriano Giannini, who will take to the red carpet after the screening, for the MIPCOM Opening Night Party at the Martinez hotel.

ABC Studiosâ&#x20AC;&#x2122; Missing premieres in Cannes

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Adriano Giannini and Ashley Judd star in Missing I magazine I September 2011 I 61

© Photo: ABC/Larry D Horricks

Ashley Judd in Missing (Photo: ABC/Rory Flynn)

HOW FAR would you go to save the only thing you have left in the world? In ABC Studios’ new series Missing — this year’s World Premiere TV Screening at MIPCOM — Ashley Judd stars as Becca Winstone, who learns that her son Michael has disappeared while studying abroad. It’s a race against time when she travels to Europe to track him down. When she arrives in Rome, she begins piecing together the clues left behind. It isn’t long before the kidnappers realise they’ve picked a fight with the wrong woman. Becca Winstone has a secret of her own — she and her late husband were both CIA agents. “We’re very proud of this edge-of-yourseat thriller and the great storytelling that spans continents,” said Paul Lee, president ABC Entertainment Group. “We’re pleased that the MIPCOM audience will be the first to see what we think is spectacular event television.” Missing comes from writer Gregory Poirier (National Treasure: Book Of Secrets) and executive producers Gina Matthews, Grant Scharbo, Steve Shill and James Parriott. Missing is produced by Stillking Films.

Feature CONTENTS PAGE 70 FUNDING PRODUCTION: WHO’S GOT THE CASH? Organisations from around the world offer financial incentives and funds for content production PAGE 76 TV ADAPTS TO A NEW LIFE IN CYBERSPACE But how do the major players make this pay? PAGE 84 WOULD YOU BELIEVE IT? MORE PEOPLE ARE WATCHING Is TV doomed? The viewing figures tell a different story PAGE 90 NEW MEDIA POWERHOUSE EMERGES IN THE EAST A look at the work going on within the Association of Southeast Asian Nations PAGE 98 TURKEY OUT IN FORCE AS DRAMA DRIVES GROWTH Turkey has a media industry with six major networks and a mix of over 200 local and international channels… PAGE 102 WHO’S LAUGHING IN THE NEW WORLD OF COMEDY? Pressures on budgets and the arrival of the internet as a major means of talentspotting are changing television comedy

Married on MySpace, a digital show created by Endemol and featuring brand integrations, in which users of the social networking site chose a couple to be married online, and decided every aspect of the wedding mipcom preVieW The official MIPCOM magazine September 2011. Director of Publications Paul Zilk ®

EDITORIAL DEPARTMENT Editor in Chief Julian Newby Copy Editor Debbie Lincoln Sub Editor Max Leonard Technical Editor in Chief Herve Traisnel Deputy Technical Editor in Chief Frederic Beauseigneur Graphic Designer Carole Peres Proof Reader Debbie Lincoln Contributors Marlene Edmunds, Andy Fry, Juliana Koranteng, Gary Smith Editorial Management Boutique Editions PRODUCTION DEPARTMENT Content Director Jean-Marc Andre Publications Production and Development Manager Martin Screpel Publishing Product Manager Chealsy Choquette Publishing Co-ordinators Emilie Lambert, Amrane Lamiri, David Le Chapelain Productions Assistant Veronica Pirim Production Assistant, Cannes Office Eric Laurent Printer Riccobono Imprimeurs, Le Muy (France) MANAGEMENT, MARKETING & SALES TEAM Director of the Entertainment Division Anne de Kerckhove Director of the Television Division Laurine Garaude Director of Digital Media Ted Baracos Sales Director Sabine Chemaly Marketing Director Stephane Gambetta 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 Managers Paul Barbaro, Nathalie Gastone International Sales Manager Fabienne Germond Sales Executives Liliane Dacruz, Cyril Szczerbakow 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 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 Representative (Digital Media Sector) Renate Radke Adam Published by Reed MIDEM, BP 572, 11 rue du Colonel Pierre Avia, 75726 Paris Cedex 15, France. Contents © 2011, Reed MIDEM Market Publications. Publication registered 3rd quarter 2011. ISSN 2104-2179. Printed on 100% recycled paper

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Brands and crowds offer new sources of finance How will productions be financed in the content-hungry digital world of the future? Juliana Koranteng finds out


ITH PricewaterhouseCoopers (PwC) predicting global mediaand-entertainment spend by consumers and businesses will jump 5.7% to $1.9tr in 2015 from $1.4tr last year, you have to ask: how do you finance the content in the first place to benefit from the bonanza that PwC forecasts? The days of relying on traditional broadcasters to finance complete TV productions are gone. Furthermore, the demand for a new type of interactive content on the constantly growing but rapidly fragmented digital platforms calls for new supplies of funds. But a new age is dawning, and radically new sources of finance that could pay for the output of tomorrow’s content creators are emerging. “The (traditional) TV model is highly protected,” says Selma Turajlic, head of interactive media and licensing at UK-based TV production/distribution group All3Media International. “But in the digital space, you need to be open-minded because advertisers will no longer pay for everything.” MIPCOM Preview is seeing the rise of new content financiers. They range from dedicated online funding platforms to search-engine operators; from streamed-movies platforms to online discount services. They appear to be replacing the broadcasters and record labels’ traditional funding roles (see sidebar on unconventional financing). In March, US subscription-based movie-streaming platform Netflix astounded the industry when it announced plans to pay a reported $100m for 26 episodes of the House Of Cards, Hollywood’s remake of the hugely admired BBC political thriller. It will star Oscar winner Kevin Spacey and is executive produced by David Fincher, director of The Social Network, the highly acclaimed movie about the Facebook’s origins.

No one expected the relatively young Netflix, known for acquiring rights to existing catalogues, to invest in original content — at least not this soon. Meanwhile BSkyB, the satellite-delivered TV platform, is continuing with its ambitions to more than double its spend on original UK content to £600m by 2014. That type of expenditure was associated with terrestrial networks decades ago. Search-engine behemoth Google has opened an office in Beverly Hills to network with Hollywood talent after pledging to spend $100m on high-end content for distribution on its video-sharing site YouTube. And when All My Children and One Life To Live, two longenduring US daytime soap operas, were cancelled by the ABC Network after more than 40 years, the rights were picked up by US production company Prospect Park, which plans to stream old and new episodes on an online TV network from 2012. “In the US these days, you’re likely to give your rights to operators like Netflix, which are getting more competitive, in some cases, than the (traditional) networks,” says Andrea Zoso, CEO of Italy-based De Angelis Media, the high-end drama production group. But the real game changer could be Kickstarter, the funding website where aspiring filmmakers, songwriters, game developers, photographers and other content creators pitch ideas to prospective financiers. Potential donors each pledge amounts from $5, to hundreds of thousands of dollars. In return, some of those requesting funds offer merchandise gifts or even ‘special producer’ status in a production’s credits. After launching in April 2009, through crowd-sourcing Kickstarter donors had pledged more than $50m in total by July this year, to successfully fund 10,000 creative projects. According to Kickstarter, film, videos and music have attracted the most pledges. A typical success story is The Biscuit Brothers Television Project, which raised more than $10,000 in May to pay for I magazine I September 2011 I 63

i feature Brands and crowds offer new sources of finance real-life English town of Sandwich new episodes of an Emmy-Award by agreeing to be employed by lowinning music education series “The wisdom of the cal businesses. The celebrity staff that is supplied to PBS TV stacrowd strategy is members included US actress tions for free. Pamela Anderson, England footBy contrast, Rockin’ The Islands, exciting, but we’re not baller Frank Lampard, boy band a TV show following Nashville there yet” JLS, Formula One Grand Prix band Red Carpet Rats as they touSelma Turajlic, driver Jenson Button, and TV red the Caribbean for the R&R All3Media chef Marco Pierre White. The TV network, failed to reach its campaign won several prizes at goal by the July 24 deadline. the Cannes Lions International Lionsgate managing director, inFestival of Creativity in June this year. ternational television, Peter Iacono feels positive about such These are not whimsical activities. Consumer-goods giant developments. “It’s helpful to know (funding) options still Procter & Gamble still operates its P&G Productions diviexist.” sion to invest in content. Austria’s Red Bull and Denmark’s Olivier Gers, CEO of Endemol Worldwide Brands, also obHeineken, have become distribution platforms by funding serves that “just because we haven’t seen successful crowdoriginal events and shows. Check out Heineken’s collabosourcing on a grand scale doesn’t mean it won’t happen.” ration with Dutch meister DJ Tiesto, and The Spot, the But most people agree that the crowd-sourcing route is still Heineken event created with New York’s Latin cultural embryonic, especially for major drama series. All3Media’s community this summer. Turajlic says, “The wisdom of the crowd strategy is exciting, Endemol, the reality-TV pioneer, creates original branded but when it involves hard cash, we’re not there yet.” content such as the online-distributed reality series Married Better established is the means of funding by brand owners, On MySpace, and, which was backed by who continue to chase the Holy Grail alternative to the US food and chemical production company Clorox. 30-second TV spot. Advertisers are tightening their purses. In March, Endemol USA joined forces with Major League In July, WPP’s media-buying subsidiary GroupM predicBaseball and marketing agency Holiday Hill to produce a ted that global ad expenditure will slump nearly 6% by this series of baseball-themed interactive webisodes. And last year’s end. Consequently, the appeal of branded entertainyear, Endemol agreed to work with US basketball star Kobe ment keeps growing. Research firm PQ Media estimates a Bryant to produce multiplatform original content, star9%-plus growth in branded-content spend between 2009 ting with a webisodes-and-TV show designed to help young and 2014 globally. people fulfil their dreams. Endemol is also preparing simiAnd despite the recent closure of NBC Digital Studio, lar brand-supported shows in Germany, France and Italy. the US network’s three-year-old online branded-enter“Our business is under a tremendous amount of pressure tainment division, brand-funded entertainment is gaining as the days of (broadcasters) funding original from scratch momentum. are probably over, so we work in many different ways with Last year, beer brand Fosters revived the UK cult comedy the brands acting as clients, as distributors and funding TV series I’m Alan Partridge online with the original star sources,” says Endemol’s Olivier Gers. comedian Steve Coogan. Indeed, the lines between advertising and entertainment To prove any sandwich can be made more delightful to eat could be truly blurring now that advertising agency JWT has by adding Walkers Crisps, the brand’s London-based ad co-developed a TV show format that has been submitted to agency Abbott Mead Vickers BBDO created a series of ona major US TV channel. line films in which celebrities astonished residents at the

JWT New York’s Mike Wiese 64 I

All3Media’s Louise Pedersen

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Endemol’s Olivier Gers

Massive’s Ron Downey

Wide-Eyed Entertainment’s Jasper James

All3Media’s Selma Turajlic

i feature Brands and crowds offer new sources of finance

Sandwich, a series of online films promoting Walkers Crisps in which celebrities visited the real-life English town of Sandwich and agreed to be employed by local businesses “JWT is in development on a TV series that will be funded Birra Moretti and aired on Sky Italia; and the Toyotaby a network,” says Mike Wiese, director of branded enter- supported TV version of quirky online talk show Carpool, tainment at JWT New York. “JWT will license the show which aired on the Dave network last year in the UK. based on a concept developed by JWT, but the brand is not “We’re engaging in partnerships of all kinds, not to spread funding, simply helping provide the necessary elements to the (financial) risks, but to maximise the results,” says Marco tell the story.” He adds: “As more brands leverage their me- Ferrari, Zodiak Active’s CEO. “We believe that the critidia (space) like broadcasters, they’ll be in a position to re- cal success factor for projects that integrate TV and branded lease more programming and market network shows in content is the careful coordination among all the stakeholders.” Whether by crowd-sourcing or brand owners, financing more meaningful ways.” For example, with more than 22 million Facebook ‘likes’, the content remains a complex business. Banks, venture-capital cookie brand Oreo could turn its page into a viable distri- firms, private-equity companies seek innovative media and entertainment ventures on which to gamble. But are they bution channel. It already features an Oreo-branded game. Italy-based 360 Agency, a unit within Zodiak Active (the right for TV content? digital and branded-content division of multi-territory pro- “Venture capital yields real dividends if you can pull it off, but it needs to be a big play to justify duction company Zodiak Media the effort and risk. It is a hard slog Group) has a mission to meld “The days of with a high fatality rate,” says Jasper creative content seamlessly with a broadcasters funding James, CEO of production combrand’s commercial requirements. pany Wide-Eyed Entertainment, Successful projects include the original from scratch which is launching an iPad app that Renault TV online channel, which are probably over” was funded by mostly “non-broadlaunched in 2008 and is still going Olivier Gers, cast sources” for a 90-minute dostrong; the Divano Football Club Endemol cumentary special March Of The sitcom created with beer brand 66 I

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2011: CONFERENCES & EVENTS MEDIA MASTERMIND INSPIRATIONAL KEYNOTES Konstantin Ernst, CEO of Russia’s leading television station Channel One Russia, will share his unrivalled knowledge of today’s Russian entertainment business and join PwC’s Marcel Fenez to give his outlook for the industry’s future and his strategy for the country’s leading broadcaster.

Anne Sweeney MIPCOM 2011 PERSONALITY OF THE YEAR Named the `Most Powerful Woman in Entertainment’ by The Hollywood Reporter, Co-Chair, Disney Media Networks and President, Disney-ABC Television Group, Anne Sweeney will be honoured as MIPCOM 2011 Personality of the Year.

KEYNOTE ADDRESS: Kevin Reilly, President of Entertainment at Fox Broadcasting Company will explore what it takes to develop and nurture

Wednesday 5 October at 16.00

some of the world’s most successful television series and the challenges and opportunities of an evolving media landscape. Grand Auditorium - Mon 18.00

President & CEO of Viacom International Media Networks Robert Ro M. Bakish will discuss where the Miramax CEO Mike Lang (photo on the main growth prospects left) will discuss his vision of the future are for geographic and for studios in the multiplatform and sector markets as well cloud-based technology world. He will be as where companies joined on stage by his special guest Ted will fit into the fastSarandos, Chief Content Officer of developing digital value Netflixx as they discuss digital trends and chain. the future of the entertainment industry.

Monday 3 to Wednesday 5 October

Wednesday 5 October



Discover the best Russian content, expand regional business ties, meet co-production & acquisition partners and get a deeper understanding of one of the fastest growing entertainment markets. New global relationships will be formed as Russia’s top media moguls present their perspective to the world.

Country Media Overview conference session to provide perspectives on the vast potential of the market.

Russian Co-Production Forum featuring co-production case studies as well as matchmaking sessions between Russian production companies and potential foreign partners.

Russia Fresh TV Screenings by The WIT exposing the hottest regional properties in Russian drama.

Focus on Russia Lunch (invitation only) with major Russian industry figures and Focus on Russia Talk Show hosted by VLADIMIR POZNER.


It’s a buyers’ market, so what are they looking for at MIPCOM and beyond? Join key members of the buyer community to discuss emerging global acquisition trends and new content focuses for 2012 at the WORLD SCREEN ACQUISITION SUPER PANEL WHAT DO BUYERS WANT? in association with MIPCOM, chaired by World Screen editorial director Anna Carugati, followed by the WORLD SCREEN CONTENT TRENDSETTER AWARDS and cocktail (invitation only). Monday 3 October


Harness the next dimension of TV content. A special focus on today’s 3DTV content and what it takes to drive success in the value chain from the perspective of device manufacturers, producers and all-3D networks.

ABC STUDIOS’ “MISSING” WORLD PREMIERE TV SCREENINGS Be the first to screen episode one of the eagerly awaited thriller «Missing», ABC Studios’ new series produced by Stillking Films, during the MIPCOM World Premiere TV Screenings. Meet cast members Ashley Judd, Cliff Curtis, Andriano Giannini for a special Q&A. Monday 3 October

PwC’S GLOBAL ENTERTAINMENT & MEDIA OUTLOOK PricewaterhouseCoopers’ global entertainment and media leader, Marcel Fenez will present the findings from the PwC’s Global Entertainment & Media Outlook 2011-2015.

Conferences MONDAY 3 OCTOBER 9:00-10:00 THE PITCH DOCTOR’S GUIDE TO MAKING IT AT MIPCOM Californie Theatre 10.30-11.45 FOCUS ON RUSSIA: COUNTRY MEDIA OVERVIEW Esterel 12.00-13.00 MEDIA MASTERMIND KEYNOTES: Mike Lang, Miramax & Ted Sarandos, Netflix Grand Auditorium 13.15-14.15 FRESH TV AROUND THE WORLD Grand Auditorium 14.30-15.30 CONNECTED TV preparing for the mass market - Esterel 15.30 MEET THE SPEAKERS

09.00 - 15.00 CREATING A NEW 3D ENTERTAINMENT EXPERIENCES: Audi A 09.00 - 09.15 INTRODUCTION & OPENING KEYNOTE 09.20 - 10.10 3D BROADCAST 10.20 - 11.10 3D PRODUCTION 11.20 - 11.50 3D SPORTS 13.30 - 14.10 3D NEW CINEMA CONTENT 14.20 - 15.00 3D ADVERTISING

16.00-16.20 PWC GLOBAL ENTERTAINMENT & MEDIA OUTLOOK Grand Auditorium 16.20-16.55 MEDIA MASTERMIND KEYNOTE: Robert M. Bakish, Viacom Intl Media Networks Grand Auditorium 16.55-17.30 MEDIA MASTERMIND KEYNOTE: Konstantin Ernst, Channel One Russia Grand Auditorium 18.00 - 19.30 MIPCOM WORLD PREMIERE TV SCREENINGS ABC STUDIOS' "MISSING" Grand Auditorium 19.30 ONWARDS MIPCOM OPENING PARTY Martinez Hotel



9.30-10.30 TALES FROM THE CLOUD: here comes UltraViolet Esterel 10.30 MEET THE SPEAKERS 10:45-11:45 CONTENT DISCOVERY find your path to business Esterel 11.45 MEET THE SPEAKERS 12.00-13.00 REDEFINING REAL-TIME ENGAGEMENT: what’s next in social TV? - Esterel 13.00 MEET THE SPEAKERS

13.00-14.30 FOCUS ON RUSSIA: NETWORKING LUNCH By invitation only - Carlton Hotel 14.00-15.15 ALTERNATIVE SOURCES OF FINANCING: branded entertainment & sponsorship - Esterel 15.15 MEET THE SPEAKERS

14.15-15.15 DISRUPTIVE MEDIA meet today’s game changers Audi A

15.30-16.00 MEDIA MASTERMIND KEYNOTE Kevin Reilly, Fox Broadcasting Company 16.00-16.30 THE SHOW-RUNNER MASTERCLASS Grand Auditorium 16.45-18.00 16.30-17.30 ALTERNATIVE YANN ARTHUS-BERTRAND SOURCES OF LAUNCHES NEW SUSTAINABLE FINANCING: DEVELOPMENT TV Banks & venture PRODUCTION COMPANY Californie Theatre capitalists - Esterel 18.00-19.00 PRODUCERS’ NETWORKING DRINKS Californie Theatre

16.30-18.30 DIGITAL MINDS SUMMIT Private Event Majestic Hotel

18.30-20.30 DIGITAL GAME-CHANGERS NETWORKING DRINKS By invitation only Majestic Hotel

3 - 6 OCTOBER 2011

and Events Agenda WEDNESDAY 5 OCTOBER 8.00-9.30 ASIAN CONTENT EXCHANGE: NETWORKING BREAKFAST Majestic Hotel 9.30-10.30 9.00-10.30 CROWDSOURCING: PWC STRATEGY FORUM new funding By invitation only for producers Californie Theatre 10.15-11.45 WEST MEETS EAST BUYER PANEL Esterel 11.45-13.00 MIPCOM BUYERS’ AWARDS FOR JAPANESE DRAMA & ASIAN CONTENT EXCHANGE LUNCH - Californie Theatre 13.00-14.00 YOUTUBE the next generation Buffet lunch served from 12.30 Esterel


14.00-15.00 THE LATIN TOUCH: latest original productions from Latin America - Audi A


16.00-16.45 MIPCOM PERSONALITY OF THE YEAR KEYNOTE: Anne Sweeney: Disney Media Networks & Disney-ABC Television Group - Grand Auditorium 17.00-18.00 ACQUISITION SUPER PANEL: what do buyers want? followed by WORLD SCREEN CONTENT TRENDSETTER AWARD Grand Auditorium 20.00 ONWARDS MIPCOM PERSONALITY OF THE YEAR DINNER By invitation only - Carlton Hotel

THURSDAY 6 OCTOBER 8:45-10:00 FOCUS ON RUSSIA BREAKFAST SESSION: From confrontation to cooperation. Monetizing premium content in UGC environment on emerging markets. Russia House, Azur Hall 10:00-11:00 RE-MONETISE, RE-LOAD, RE-MAKE YOUR CATALOGUE Californie Theatre 11.00 - 11.30 BREAK 11:30-12:30 NEXT GEN CONTENT SHOWCASE: the shape of things to come Californie Theatre 13.00 - 14.00 LUNCH BREAK 14.30 - 15.30 MIPCOM 2011 BLOGGERS ROUND UP Californie Theatre


RUSSIA HOUSE: Located in the Azur Hall, Russia House will be hosting 4 days of screenings, showcases and networking breakfasts that you can’t miss if you want to work with Russia. NEW: MEET THE SPEAKERS SESSIONS! One-on-one meetings with the MIPCOM speakers and ask the questions only they can answer. Last 30mn after the Event. KEYNOTE





2011 TOMORROW’S TV TODAY CONFERENCE MODULES: Tuesday 4 & Wednesday 5 October

Monday 3 to Thursday 6 October

Tuesday 4 & Wednesday 5 October




The most far-out creative minds in the business go inside the process of creating unmissable television experiences for every audience. Learn what really works to attract, grow and sustain your audience with hit content of tomorrow.

Find the insight you need to reboot your content strategy and adapt to the connected consumer revolution.

New entertainment experiences mean new ways of financing production. Get to the bottom of how crowd-sourcing, branded entertainment and new capital sources are redefining content funding.

Beyond the event: towards the next generation of must-see TV Discover how today’s high-production value, dramatically rich series has turned watching television into an event, see who’s watching and take a look at how it gets made.

Connected TV: preparing for the mass market Discover the new opportunities emerging for your business as content and the user experience take on new dimensions.

Disruptive media: meet today’s game changers

Breakfast with the international film commissions Commissioners share details on financial incentives and logistical support available for their new regional projects.

Start-ups bring the force of innovation to Cannes with the power to transform entertainment.

Crowd Funding: the new source for producers

Content discovery: find your path to business

Can crowd funding work for you? Hear from the experts about how this innovative opportunity operates.

Branded Entertainment 2.0

The Latin Touch

Understand what effect the new generation of content discovery tools will have on TV networks and your content.

Screen some of the hottest original Latin American productions, discover new business models and meet the producers behind it all.

Get ready for social media’s outsized impact on the TV industry.

EUROVISION TV Lab Nederland 3’s Roek Lips serves as your guide through the TV Lab pioneering concept for increasing channel outreach to audiences and uncovering the genuine, fresh local talent.

Social TV experience Content from the cloud


Detailed programme on

Learn how the freedom of universal access to content is shaping the new connected home entertainment experience.

Figure out the best way to work with brands and sponsors to develop branded entertainment partnerships that make sense.

Here come the banks & the venture capitalists Your next co-production partner could be a banker. Get a better look at who they are, what content they want and how to structure a mutually lucrative deal.

Wednesday 5 October


MIPCOM’s Asian focus provides extra opportunity to meet, network and get more deals done with Asian content producers and buyers. The kick-off networking breakfast provides an overview of major channel and programming trends in the Asian TV and digital media landscape.

West Meets East Buyer Panel gives live feedback from Western buyers to high production value Asian drama.

Followed by Asian Content Exchange Lunch offers another opportunity to network with buyers and Asian producers. Includes MIPCOM 2011 Buyers’ Award presentation for Japanese Drama.

Asian Animation Makers some of the region’s rising production financiers discuss their strategies for the future.

In association with:

i feature Brands and crowds offer new sources of finance story that is universal, Dinosaurs. The iPad app features exyou need a financial tras that will be used to promote the do- “We’re engaging in model that results in a cumentary and give extra content for partnerships of all kinds, show getting made as viewers who want to know more about the budget from one the content in March Of The Dinosaurs; not to spread the risks, but territory alone might and the app has also been produced in to maximise the results” not be enough.” a way that enables purchasers who don’t Marco Ferrari , A l l 3Me d i a’s r e normally watch TV to have access to the Zodiak Active cent co-production show as well. successes include The time-sensitive aspect of TV proThe Great Wall, by Lion Television with duction, however, means that programme-makers are still requiDiscovery Channel, Channel 4, Phoenix red to court broadcasters and co-production partners for part of the Satellite TV, and France 5; and Alexandria: funding. The Greatest City by Lion Television with “Broadcasters are the only way forward, if you are looking at high-end The History Channel for More 4. drama that can cost between $2m and $4m per episode,” says Andrea Financing content appears to be a compliZoso at De Angelis Media, which is behind the Zen: Vendetta detective cated game that varies on a productionseries (co-produced with the BBC, ZDF and the US’ PBS). De Angelis is by-production basis. But whatever the also negotiating with a US network to join Spain’s Antena 3, France-based strategy, investors need assurance of getMarathon Group and the Irish Film Board for its new 12-part blockbuster ting their money back. Titanic – Blood And Steel. The involvement of the Irish Film Board in De Angelis’ Titanic illustrates the TV content sector’s growing dependence on tax incentives. “The days of ‘dumb For example, Europe’s independent TV-production community can approach the European Union’s 20-year-old MEDIA Programme which awards grants money’ are over” of between €10,000 and €190,000 for TV and digital-programme developMike Wiese, ments, and up to €500,000 to complete the production of factual, fiction and JWT animation aimed at a European or international audience. The MEDIA Programme co-funded The Borgias, the blockbuster histo“As broadcasters, telecom companies, content rical costume drama series starring Jeremy Irons, co-produced in Ireland, providers and other entertainment retailers Canada and Hungary, and the award-winning Kinshasa Symphony race to monetise premium content, it is crudocumentary. cial to ensure consistency of design and user As Wide-Eyed’s James, says: “International projects have got more experience across those platforms as this will complicated, more time-consuming and more costly to launch. You strengthen the content brand and deliver the need a PHD in tax credits and to see in six dimensions to construct greatest audience,” says Ron Downey, CEO/ some labyrinthine funding scheme.” founder of Massive, the international technoAlternatively, says Louise Pedersen, All3Media International’s managing logy developer for distributing video across director, the production company can establish a healthy in-house fund to any kind of digital device. ensure co-production partners and deficit financiers are selected with care. London-based Branded Content Market “We’ve a group facility and an improved investment fund, so we don’t Association (BCMA) recently launched need to go outside. And with factual programmes, where you’re telling a Contentmonitor, a tool that enables brandedentertainment producers to measure the actual impact of the created content and determine return on investment. “The rapid advance in new technology has lowered barriers to entry,” says Andrew Canter, the BCMA’s CEO. “This has given brands the opportunity to test different content strategies at an acceptable cost. It also allows brands to change things if they are not working as well as anticipated.” As JWT’s Wiese says: “The days of ‘dumb money’ are over. Content producers need to show how the investment will deliver on brand objectives.”

NEWS WAYS TO FUND CONTENT Investor: Search-engine pioneer Google Funding vehicle: YouTube NextUp Platform: Global videosharing platform YouTube Summary: The launch of the US-based YouTube Creator Institute this year to nurture future content creators; the first selected 25 video producers to receive the allocated $35,000 funding each were unveiled in May Future: Plans to spend €500,000 on YouTube NextUp in Europe; the industry is also waiting to learn about the strategy of the $100 million YouTube plans to spend on attracting original content creators, including Hollywood talent; original content is expected to be promoted on the new socialmedia network Google+, which aims to challenge Facebook Investor: Crowd-sourced supporters who agree to donate funds for a variety of creative content submitted for consideration on Kickstarter, the online crowd-funding service Funding vehicle: Kickstarter Platform: website Summary: Kickstarter is currently the darling of online crowd-sourcing ventures; it has become a brand in its own right and has successfully helped fund more than 10,000 creative projects since its launch in April 2009 Future plans: The flexibility of Kickstarter’s concept means users will be able to use the service to finance all kinds of creative projects for a variety of distribution platforms — from modern-day computer tablets to flat-screen TVs via smartphone mobile handsets Investor: Users of Groupon’s global ‘deal-of-the-day’ discount service Funding vehicle: Groupon Platform: website Summary: UK music star David Gray made Groupon the exclusive destination for buying his latest album, the 12-track Lost And Found – Live in Dublin 2011, in the MP3 format before the CD version is released later this year Future plans: Experts predict this strategy’s success will yield similar models for content creators I magazine I September 2011 I 67


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Funding production: who’s got the cash? A surprising number of organisations from around the world offer financial incentives and funds for content production, as Marlene Edmunds discovers Credit: (Photo by kwod)


ANKS, film commissions, government funding mechanisms and equity funds remain the pillars of content financing. The Bank of Ireland, Banque Nationale du Canada, HSBC, Barclays and ING Bank are among the financial institutions that have been making their way to Cannes for some two decades. ING has been among the most active banks, with major clients including Finland’s Sanoma and Central European Media Enterprises. ING recently closed a $43m content funding agreement involving Russian World Studios (RWS — a subsidiary of Sistema, one of Russia’s largest media conglomerates) and Russia’s Sberbank. The loan is secured against RWS’s own library of video content. The deal with RWS sets a precedent: in Russia, TV stations have historically owned the rights to the content they commissioned. Producers wanting to retain their rights be warned: “Financing your own production requires a massive working-capital swing,” says David Grover, head of media finance in the structured banking department at ING Bank NV. Banks during the financial crisis turned toward larger players but small players can still access funding, Grover worked for Barclays in the UK and in New York before joining the Dutch bank three years ago. “You have to shooting in Australia and a 30% offset for post, digital come to the banks with very well thought-out business and visual effects — both aimed at luring international plans,” he says. And it’s not about who’s big or small. producers. Australia’s much talked about 20% rebate for “We’re interested in backing not winners or losers but ra- TV content and 40% offset for film are only accessible by ther, steady horses that if they suffer a setback, will still Australian producers — though the offset is available for finish the race,” he adds. foreign firms co-producing with an Australian producer. Film commissions and film These incentives are making funds answering to governments themselves felt: the high-tech are becoming increasingly comadaptation of John Milton’s “You have to come to petitive in their efforts to of17th-century epic poem Paradise fer tax rebates and incentives to the banks with very Lost, directed by Australia’s productions which satisfy certain Alex Proyas (The Crow) and well thought-out criteria. Several countries in parbacked by Legendary Pictures business plans” ticular are worth watching. in the US, is setting up as an David Grover, ING Bank Screen Australia offers a 15% Australian production and taptax rebate on money spent ping the 40% producer offset.

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And international post-production outfit Digital Domain is also setting up a Sydney office with Paradise Lost as its first contract — the shoot will include 72 weeks of postproduction and visual effects. Competition for the project was fierce but the 40% producer offset and 30% post, digital and visual effects incentive were said to have clinched the deal for Oz. Ross Matthews, head of production investment at Screen Australia, says the offset for TV may not be as strong as film, but, he adds: “It’s a good launch-pad to get a production going.” TV already has a substantial amount of other funds it can use attached to national broadcasters, he says. Film France’s 20% Tax Rebate for International Production (TRIP), launched more than two years ago, appears to be a major success “for anyone who can afford to spend €1m ($1.4m) in France,” says Patrick Lamassoure, managing director of French umbrella film commission Film France. TV has accounted for $25-26m of the $188m foreign spend under TRIP, and companies can apply for the rebate for an entire series, or just one or two episodes. Meanwhile, animation has accounted for some $98m of the total. Post-production expenses are eligible for the 20% rebate but only if at least five days of live-action shooting has been done in France. But, says Lamassoure: “We decided that if the project includes a strong portion of VFX shots, it could qualify as an animation film, thus making the five day minimum shoot rule irrelevant,” he adds. An animation project that tapped TRIP is the second series of City Of Friends. Series creator and CEO of Norway’s CreaCon Entertainment, Carl Christian

Hamre, says Marseille-based CG animation studio Action Synthese alerted him to the benefits of TRIP. “We did the scripting in the UK but otherwise, we did everything else through Action Synthese, from storyboarding to rendering to sound effects to music.” The first season of the CG animated series, distributed by Parthenon Entertainment in the UK, has sold to 140 territories. TRIP has helped Ile de France double its international activity. Clearly one of the more desirable shoot locations on the planet, it is also a major high-tech corridor. Ile de France Film Commission director Olivier-Rene Veillon says that some 50% of the projects tapping TRIP “have been tied to cutting-edge animation and visual effects capabilities” in his region. He adds that Ile de France is attracting live-action shoots from as far away as China, with China State Television (CCTV) the destination for recent TV movie Our French Years. Brazil’s TV Globo also returns time and again to shoot telenovelas in the City of Light. Other recent wins under TRIP include Rommel, shooting this summer at Chateau de la Roche Guyon. And, many thousands of miles away, Death In Paradise, a partnership between UK independent Red Planet, the BBC, France Televisions, French producer Atlantique and BBC Worldwide, qualified under TRIP for its shoot in Sainte Marie, Guadaloupe, a French overseas territory. Ireland’s film tax relief scheme, otherwise known as Section 481, has been responsible for a number of coproductions over the last few years, among them GK-tv’s $47m series Camelot and, recently, the 12-part one-hour TV series Titanic: Blood And Steel. Telling the story of the ill-fated maiden voyage, with the

Nerd Corps Entertainment’s animated series Rated A For Awesome, produced with Canadian funds I magazine I September 2011 I 71

i feature Funding production: who’s got the cash?

De Angelis Group for Italy’s RAI and Irish company Epos Films, Titanic: Blood And Steel is being shot in both Ireland and Serbia. “Being able to bring Section 481 to the table was a huge advantage, as Ireland’s a great place to package this story of the making of the Titanic,” Epos producer Paul Myler says. “We will do some shooting in Serbia to capture some of the atmosphere of the time as Serbia still has many of the old industrial elements we needed for the story, including the specific types of furnaces.” All money spent on Irish goods and services, as well as all EU cast and crew working in Ireland, qualifies for tax relief under 481. In addition the funding comes in prior to principal photography begins — a not insignificant matter, according to Myler. With broadcasters no longer completely financing TV projects and sales companies not picking up the funding gap, post-production is becoming the new darling of funding mechanisms. Windmill Lane Entertainment, an Irish post house, is a financial partner on Lockout. The Luc Bessonassociated film is being co-produced in Ireland and France and shot in Belgrade. Michael Murphy, its chief executive, says: “There is no difference between TV, feature film, creative documentary or post-production,” when it comes to eligibility for 481. He adds: “Windmill can provide the essential final element of a finance plan. The

Irish tax money is delivered up-front and, as a funding option, can be delivered through post-production and VFX — and can often be the equivalent of free equity.” Canada too has post-production incentives, and Ireland has traditionally been very successful as a location for Canadian co-productions, among them The Tudors and Camelot. But, Murphy adds: “What we are finding now is a large number of series shooting in Canada and then looking for post-production in Europe. The Irish co-production treaty with Canada allows you to split it 80/20. That allows us to qualify as both European and Canadian content, ultimately leading to higher TV licenses in both territories.”

Amberwood Entertainment’s Rob The Robot, part-funded by Singapore’s MDA


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i feature Funding production: who’s got the cash? “For international co-producers, Canada is a wonderful country to focus on, as they can tap into the various funding mechanisms through a Canadian producer,” says Canada’s Nerd Corps Entertainment president Ken Faier. His company’s recent 26 x 30 mins animated series Rated A For Awesome was developed with and commissioned by Canadian kids outlet YTV. It was co-produced by Disney, although all of the work was done in Canada. “We were able to finance the show through the various Canadian funds, including the provincial and federal tax credits, the CMF [Canada Media Fund] funding, Bell New Media for the TV show and interactive content, as well as the broadcaster contributions,” Faier says. Meanwhile, funding for Amberwood Entertainment’s Rob The Robot co-production with One Animation in Singapore included Singapore’s Media Development Authority (MDA), the CMF and equity funding from the kid-oriented Shaw Rocket Fund. Amberwood’s senior vice-president and executive producer Jonathan Wiseman says: “We accessed both federal and provincial tax credits, and the CMF.” However, he says that intense competition for CMF money can be an incentive for producers to look for other funding alternatives, as well. Singapore was among the first territories in Asia to begin forging co-production treaties across the globe — and the MDA has launched two programmes that speak of a wide media vision. In the UK, Content Across Continents is now in its second year; and in Australia, the MDAScreenWest Cross-Media Development Initiative encourages Singaporean and Western Australian companies

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jointly to develop visual narrative concepts for new media. Yeo Chun Cheng, MDA director of broadcast, animation, film and music, says: “The content world is changing and these two initiatives are trying to explore new things.” He continues: “At this moment, we are really at a seed stage but what we are hoping for is that this becomes a template for other territories.” Malaysia has substantially increased its support for international as well as local content in recent years. The Mac3 Co-Production Fund, from its Media Development Corporation (MDeC) benefit international partners the most, says Adam Ham, former MDeC entertainment and media specialist and now executive director of Global Creative and Media Agency (GCMA). “It requires a Malaysian partner to find a foreign co-production partner in the area of animation and games,” he says. “Malaysia’s government funding and incentives, and its attractive ecosystem, have convinced companies like Endemol to come to Malaysia.” He adds: “Endemol received a 10-year tax break on income. The beauty is that once you come to Malaysia and set up your company, you still get to keep 100% of the shares, and control over the company, yet you can claim the tax break, which is normally about 28%.” The National Film Development Corporation (FINAS), a Malaysian government agency, has been responsible for supporting a number of TV and film productions and co-productions, while other organisations offer support in the area of visual effects, games, broadband and mobile content.

City Of Friends, an animation project that tapped TRIP

i feature INTERNET TV

TV adapts to a new life in cyberspace We’re now in a new era in which consumers can get all the information and entertainment they want, when and where they want it. But how do the major players make this pay? Andy Fry takes a critical look


IGITAL TV has been a great boost to content owners, providing many more places to sell shows. But with the advent of broadband, connected TV and VOD, the stable windowing structure that worked so well has come under attack from a fluid, non-linear market, in which traditional ways of monetising content have been turned upside down. Ultimately, this explosion of activity should benefit IP Owners, says Jonathan Ford, executive vice-president of digital acquisitions and distribution at London’s Content Digital, part of Content Media Corporation. But it presents some tough decisions. “I’m a believer,” he says, “because the digital landscape offers new ways to monetise content. But that doesn’t mean that all the new platforms will survive — so a key job for rights holders is to ensure they get the best distribution deals.” This is easier said than done. Not only do IP owners have to weigh the benefits of working with the new players, they have to make sure deals don’t jeopardise existing relationships or block the path to new deals. “A lot of deals are still cash for content,” Ford says, “but there’s also more scope for revenue-sharing deals, non-exclusive deals or cross-platform deals. All of that has to be weighed against traditional windowing arrangements with broadcasters.” One way to begin to make sense of the options is to look to the highest-profile platforms in non-traditional TV. By establishing how they are adding value for consumers, who already have hundreds of TV channels and a PVR, then revenue models become clearer. First stop is Netflix, with 25 million US subscribers and revenues approaching $800m a year. Having transformed the movie rental business with its mail order subscription service, Netflix now provides all-you-can-eat film and TV streaming on subscription. For it to work, Netflix’s chief content officer Ted Sarandos explains, completeness is critical. Netflix is “the only online premium service with shows from all four networks and dozens of cable’s biggest brands,” he says. The pursuit of “completeness” has seen Netflix put serious money on the table this year. This spring, it paid 76 I

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Doctor Who — now available on Facebook CBS $200m for the US rights to classic CBS shows such as Star Trek, Cheers and Frasier. More recently, it paid NBC a rumoured $300m for shows such as Saturday Night Live and The Office, as well as a selection of NBC Universal’s film library. Other deals include a partnership with Miramax, while a renewal with Starz Media is expected to cost around $350m. So what does Netflix’s growth tell us? Firstly, that consumers are increasingly comfortable paying for on-demand movies and TV box sets via digital pipes (three-quarters of new Netflix customers are digital). While this might have a negative impact on DVD sales, the long-term view is that it is familiarising consumers with a digital box-office window. Secondly, Netflix suggests a market in archive on demand. Pitch the price right, and people will pay for a service with the completeness of a library and fulfilment of a supermarket.

i feature TV adapts to a new life in cyberspace The challenge posed by the Netflix model is the fact that the company doesn’t own content — which, of course, is good news for content owners. But there are two potentially problematic issues here. Firstly, most of Netflix’s contract renewals have seen serious price rises, which in turn have resulted in higher subscription tariffs. It remains to be seen how users react. Secondly, Netflix is short on first-run and catch-up content because broadcasters don’t want to part with it. It is trying to rectify that by investing in premium rights (eg House Of Cards). But Netflix knows that its business could come under pressure from premium on-demand services operated by broadcaster-platform partnerships. CEO Reed Hastings says these would “reduce the number of people attracted by a service like Netflix. HBO Go is an example of this: HBO subscribers can watch HBO on-demand through [a provider like] or a dedicated application.” It’s the lack of first-run and catch-up content that could present a challenge to a possible Netflix European launch, where the likes of RTL, the BBC, TF1, Sky and Canal+ see catch-up TV as core content. A strong proposition for Netflix is a market like Latin America, where a well-run on-demand service could probably give pay TV a decent run for its money. Another online streaming service with a different model is Hulu. Launched in 2007 as a partnership between News Corporation and NBCUniversal, Hulu was a defensive measure by network owners to counteract the threat of Google/YouTube and Apple’s iTunes. In 2009, Disney — anxious about piracy — joined Hulu as a shareholder, bringing shows like Lost and Grey’s Anatomy. Hulu, which has an audience of 13.5 million has since added a subscription service called Hulu Plus, which is on course to have 1 million takers by year-end. This number is good news for distributors and confirms a genuine market in subscription VOD. Hulu CEO Jason Kilar says Hulu Plus is “revealing our ability to compensate content owners at the high end of the market. Today, we pay the content community $8 per subscriber per month for the content offering on Hulu Plus. A portion of the $8 payment comes from our $7.99 subscription fee; the balance comes from revenue we generate through advertising. A


Source: Nielsen

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British comedy Whites, a hit on Hulu positive trend.” Despite this overlap with Netflix, Hulu is not currently in the same business. This is because its core revenues come from advertising around free-to-view TV episodes provided by its parents. This is the kind of content Netflix can’t get its hands on — because catch-up is essentially a broadcaster-controlled space. It has worked well for Hulu, which is on course to generate $500m in revenues by the end of 2011. But where this story gets interesting is that the three shareholders behind Hulu want to sell it. The question is, why? One point is that News Corp, Disney and ComCast (NBCUniversal’s new owner), may all now feel wellequipped to map out their own digital futures. But there’s also a sense that Hulu is dislocated from HQ. Earlier this year, Kilar caused major ructions when he said: “Traditional TV has too many ads. Users will go to great lengths to avoid the ad load that traditional TV places upon them.” The line about too many ads on TV was never going to please Hulu’s shareholders. But in case anyone missed the strategic significance of the point, Kilar added: “History has shown that incumbents tend to fight trends that challenge established ways and lose focus on what matters most: customers. Hulu is not burdened by that legacy.” Beyond the internal squabbling, the significant question raised by Kilar is this. Have the shareholders lost sight of their customers? And if not, what have they learnt from Hulu that they are applying to their own digital distribution plans? Ben Pyne, president of global distribution at Disney Media Networks, is not able to comment on the Hulu sale. But he contradicts Kilar’s claim when he says: “For me, the big learning from services like Hulu is that we need to give consumers what they want, when and how


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i feature TV adapts to a new life in cyberspace they want it. That’s as true for international as domestic. We can’t treat international viewers as second-class citizens by delaying the release of shows.” This consumer-centric model has led to numerous initiatives, Pyne notes, such as the streaming of Disney content on Netflix, the sale of shows via iTunes (US and international) and the creation of Hot From The US, an international offer which brings hit shows such as Lost to international markets as soon after launch as possible. If there’s a key theme emerging, it is the delivery of branded services via partner platforms. “An example is ABC TV On Demand,” Pyne says, “an ABCbranded VOD service showcasing ABC Studios series in a ‘catch-up’ window. This has launched on BT Vision UK, Lusomundo Portugal and Vodafone Germany, with more to come.” If branded on-demand is a part of the future for TV, what happens to Hulu? Yahoo!, Apple and Google have been touted as potential buyers. But it’s hard to see News Corp selling Hulu to Google unless it expects the business to fail. Yahoo! has foreseen this risk, arguing that Hulu is worthless unless it has four or five years exclusivity over its content. At present, the shareholder offer is two-year exclusivity. Hulu’s move into subscription is partly a response to this concern — and something that Kilar has been to publicise to content owners. It is also keen to publicise it is buying shows from non-shareholders. “We sold them a comedy series called Whites which has done very well,” Content Digital’s Ford says. “And they have picked up other properties such as Vuguru’s The Booth At The End and BBC Worldwide’s Misfits.” But without compelling US catch-up TV rights, there’s a chance that Hulu would face similar problems to SeeSaw, the UK-based on-demand service which nearly went to the wall this spring. SeeSaw launched in February 2010 after its owner Arqiva acquired the assets of Project Kangaroo, a JV set up by BBC Worldwide, ITV and Channel 4 to build a scalable online TV platform. Here we see the similarity to Hulu. As long as SeeSaw was run by broadcasters, it looked like a viable model. But in the hands of a third party, its focus on acquiring recently-aired shows made it look vulnerable. In July, SeeSaw was saved from closure by a consortium led by Criterion Capital Partners. But the message is that it is the platform, not the positioning, that CCP wants. Michael Jackson, a former C4 chief executive, now chairman of the company, talked of “world-class technology”. If there’s an implicit message in all of this it’s that Hulu and SeeSaw should be cautious of the first-run/catchup window — looking instead to the digital box office or archive ends of the spectrum. To do this they probably need big retail backers. This is the way LoveFilm, a European version of Netflix, has progressed — selling 80 I

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CBS’s Medium, on Amazon Prime

The Office, part of a package bought from NBC by Netflix

up to Amazon for £200m ($326m) last year. This has given it the muscle to pull off major content deals with the likes of eOne. So far, Netflix’s Hastings has been dismissive of Amazon’s impact, but the retailer may yet pose a real threat. This year, for example, Amazon US added 2,000 episodes of CBS shows, including full seasons of Numb3rs and Medium to its Amazon Prime service. Retail is also the way Blinkbox has gone, selling its business to UK supermarket giant Tesco this year. Blinkbox CEO Michael Comish says the company used to be in the TV rights game, but found the broadcasters’ control of the catch-up window tough to compete with. So the core of his business now is to deliver “the best new movies as early as possible to as many devices as possible”, he says. “Strategically, that’s a great fit with Tesco, which is one of the largest DVD and consumer electronics retailers in the UK, and has a goldmine of customer data through its loyalty cards.” Once integrated, Comish envisages a situation where “purchasing a physical DVD in Tesco brings with it digital access via other platforms. Or loyalty points generated by purchases can be traded for digital content.” The Tesco/Blinkbox partnership echoes the marriage between Walmart and Vudu in the US. Viewed

THE ASIAN EXPERIENCE A NEW report from Digital TV Research forecasts that ondemand TV revenues are set to grow quickly in Asia Pacific, with the figure tripling to $1.2bn by 2016 — driven in particular by China. But it’s important to understand that on-demand in Asia is very different to the US and Europe, says Jeff McFarland, MD of research firm Span Consulting. A significant difference in Asia is platform or device neutrality. “In China, unlike the US, video has never inherently belonged to any particular platform,” he says. “Our research has revealed that 77% of PC owners in China considered their computer to be the primary entertainment centre in the home, whereas only 7% chose the TV. This points to opportunities for those who can mentally de-couple the idea of TV content from the traditional ideas of the TV device, the TV viewing environment, and the linear TV experience.” According to McFarland, anyone who thinks online TV in Asia means poor quality unprofessional clips is missing the point: “, the popular Chinese video site, has no length restrictions on uploads and supports full-length TV and movie content. Places like Korea are setting the pace for the East with the fastest broadband speeds in the world.” McFarland says this cultural distinction extends to mobile. “Already, the internet is accessed more by phone than by PC in Asia, and, in 2009, the region represented around 75% of all mobile TV viewing worldwide. Online consumers in Asia-Pacific are 45% more likely to use mobile video than the global average.”

i feature TV adapts to a new life in cyberspace

through this lens, Hulu (or Netflix?) might benefit most from aligning with Walmart or Amazon. In terms of next phase, the elephants in the room are Google/YouTube and Facebook. Never mind its cashrich parent, YouTube is on course to hit $1.3bn in revenues this year according to Citigroup’s market analyst Mark Mahaney. YouTube has ramped up its content acquisitions in the last couple of years and is now running both ad-supported and pay services (the latter securing deals with Sony Pictures, Warner Bros. Entertainment, Universal and Lionsgate). For analysts, the 2010 poaching of key content exec Robert Kyncl from Netflix was a sign that YouTube is ready to make a major foray into mainstream video. If 82 I

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reports are right, then Kyncl is planning to push heavily into web originations. To cite an example, Google is reported to be spending millions to persuade celebrities to create original YouTube channels. It has also moved into live sports streaming, in the shape of Indian Premier League cricket rights. As for Facebook, the social network’s deep engagement patterns can unlock new revenues. BBC Worldwide, for example, is offering old episodes of Doctor Who for rent, as its chief executive John Smith explains: “We’ve seen through our Facebook channel that fans are asking for a guide into our Doctor Who back catalogue. We see this service as a perfect way to give our fans what they want, as well as a great way for them to get their fix before the next series.”


Would you believe it? More people are watching There are still those who prophesy doom for TV as it competes with a growing number of screens. But, as Andy Fry discovers, the TV viewing figures tell a different story


HERE is much research and analysis showing how people consume media in developed digital markets. And perhaps the most surprising fact is that television viewing continues to rise. “There’s no doubt, says Chellomedia’s Eduardo Zulueta, manager of Chello Multicanal in Spain, “In North America and Europe, the data show significant increases in viewing over the last decade — for every major territory. As recently as July, the data show the average American was watching four hours five minutes of TV a day. After working and sleeping it’s what people do most.” His comments are backed up by recent reports from research firms. In the US, Nielsen recently reported: “TV viewing increased 22 minutes per month per person over last year, remaining the dominant source of video content for all demographics.” Meanwhile, Eurodata TV says “worldwide TV consumption reached a new record in 2010 with an average daily viewing time across the world of three hours and 10 minutes, an increase of six minutes over the last five years. Growth is notable among young adults, with an increase of 14 minutes in the UK,

“In North America and Europe, the data show significant increases in viewing over the last decade — for every major territory” Eduardo Zulueta, Chello Multicanal

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five minutes in US and three in France.” (See panel for another assessment of the market from IP Network). What’s remarkable about this trend is that it comes at a time when internet usage is also booming. In another 2011 analysis, research firm Forrester said internet usage in the US has grown by 121% in the last five years. Yet despite this competition for eyeballs, television continues to retain a dominant grip on our leisure time. At this point, we need to ask some important questions about TV’s resilience. Firstly, why is TV going up and how is it possible (given there are just 24 hours in the day)? Secondly, what do we know about viewing patterns behind the headline statistic? Thirdly, how is the current wave of technological change affecting strategy? For Zulueta, growth in TV viewing makes sense for a number of reasons. He cites the recession, which has reminded people (particularly families) that TV is good value compared with other leisure options. But he also believes there are factors at play that have nothing to do with disposable income: “The thing that has not changed is that people want to relax and be entertained, which is what TV does. But what has changed is there

for example, saves travelling time (which can be ploughed back into screen viewing). And digital home-workers have also bought back a couple of hours every day. Another digital development which explains this increase in screen-based entertainment is better use of downtime, says Christian Kurz, senior director of international research and insights at MTV Networks Kids and Family Group / Nickelodeon: “Shorter pieces of content can be consumed at the bus stop, while travelling or in break-times. It’s as though everything in life is speeding up.” Where the story gets really interesting is mulDirty Dancing attracted the best ever audience for French channel TMC, with an 8.3% market share titasking. Hasbro Studios president Stephen Davis echoes Kurz when he says “kids today are cramming 11 hours of media into seven hours by usis more choice. If you don’t find something straightaing multiple devices. They have the ability to bend time.” way you zap and zap until you do. You don’t turn the TV This is a phenomenon many 21st-century parents will off and walk away. And on-demand means people can be familiar with — the TV on in the living room while see shows that a few years ago they would have missed.” one child is texting friends and anThe impact of extra choice is evident in kids TV, where other is watching YouTube or playit’s easier for a child to switch channels than go outing Zynga’s Farmville. But shouldn’t side or play with toys. But you also see it in adult gen“Kids today are this worry us? Doesn’t this suggest res, says Jacques Braun, vice-president of Eurodata TV cramming 11 hours of that the growth of TV viewing is just Worldwide. Braun has been tracking feature films on TV media into seven hours the equivalent of leaving the radio on and says their popularity has been revitalised by the dein the background for company or, velopment of DTT and new channels launched within by using multiple worse still, forgetting to turn lights off? the last two years. “The latest blockbusters are still the devices. They have the Forrester has been investigating this preserve of traditional leaders (ie premium subscription ability to bend time” exact point because of concern among channels), but the growing channels offer allows classical Stephen Davis, advertisers, who clearly have a lot to movies to find a second youth,” he says. “Dirty Dancing lose if TV isn’t being watched. Analyst attracted the best ever audience for French channel Hasbro Reineke Reitsma says: “We looked into TMC, with an 8.3% market share, against a 3.4% averour data to see what consumers are doage on the same time slot over the previous months.” ing on their computers while watchSo how are we fitting in so much TV and online coning a TV show and we found that the top four activities sumption? Well Forrester’s survey suggests some slack is have nothing to do with what they are watching. Because taken up by changing methods of consumption. For exconsumers are using their PC for activities that require ample, a lot of online’s extra hours are spent listening more attention than watching TV, it’s questionable how to radio, reading newspapers or playing games we used much of the TV content they are even registering.” to play in the real world (eg: cards and chess). In addiReitsma’s assessment is that “one-third of consumtion, Zulueta suggests screentime may be replacing sleepers play games on their computers while watching TV, time and going out. This may sound unhealthy, but it’s and one-quarter are doing schoolwork. 44% of connot a completely negative scenario. Online shopping, sumers are communicating with friends via social networks, chat and email on topics not related to the show.” However, Zulueta isn’t too concerned by Forrester’s num“Shorter pieces of content can bers, preferring to point to examples of programmes where be consumed at the bus stop, the TV and online elements work to reinforce each other. while travelling or in break“During the Final of the 2010 FIFA World Cup, virtually times. It’s as though everything the whole country was watching Spain — but a lot of them were also chatting online with friends at the same time.” in life is speeding up.” The World Cup Final may not be the best example beChristian Kurz, cause it is so infrequent. But one proven way of linking TV MTV Networks Kids and Family Group / Nickelodeon and online is to create live game play. Endemol-owned Remarkable Television did this with the UK version of I magazine I September 2011 I 85

i feature Would you believe it? More people are watching Remarkable Television did this with the UK version of The Money Drop, which aired live on Channel 4. In addition to a respectable season average of 2.6 million viewers on TV, C4’s online activity generated 4.2 million online

“Because consumers are using their PC for activities that require more attention than watching TV, it’s questionable how much of the TV content they are even registering” Reineke Reitsma, Forrester

players in its first year. In this instance, there’s no question of the broadcaster running scared of online: “The Million Pound Drop Live is a brilliantly intuitive twoscreen format,” says Syeda Irtizaali, C4’s commissioning editor for entertainment who has just ordered three more series. “The on-air action works seamlessly with the web game, transforming a passive viewing experience into an active one, allowing viewers to have their actions feed into the live programme, making for a gripping show.” These positive spins on multitasking do actually find some support in Forrester’s own figures, which show that a significant minority look up stuff in shows (19%), talk about shows on social networking sites (14%) and look up stuff they see in ads (12%). In fact, some brands would probably accept a partially engaged audience in return for the 9% who, according to Forrester, claim to “shop online for things I see in shows or commercials” (See attached chart for full breakdown). Besides, adds Hasbro’s Davis, it’s important to stress that any threat to TV from other devices within the living room is offset by the broader benefits that digital brings. The most obvious point to note, he says, is that TV viewing is also part of the internet growth story — with figures from platforms like Hulu, YouTube and BBC iPlayer underlining the extent to which TV is populating the net. With connected TV expanding fast (see panel) the hope is that this process will readjust the video market in TV’s favour. In addition, says Davis, there’s scope for digital devices to boost TV viewing, both from within the TV room and beyond: “The first job for any content creator is to produce a great show. If you do that, social networking becomes a way for kids to recommend shows to each other.” So instead of zapping between a defined pool of default channels, social networking turns kids into ‘recommendation engines’ who encourage friends to try new channels and content. I nev it abl y, s o c ia l net work i ng br i ng s u s to Facebook: “Millions of people engage with their 86 I

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High-rating: Criminal Minds favourite TV shows on Facebook every day and we’re now seeing broadcasters look at innovative ways to use Facebook tools to connect their fans with exclusive content,” says Christian Hernandez, director of platform partnerships at Facebook. A good example of how social networks are boosting the TV business is The Game, a US sitcom that aired for three series on CW Network before being cancelled because of modest ratings. The show was then picked up by BET (Black Entertainment Television) where it has been a ratings hit. One of the key reasons cited for this turnaround

i feature Would you believe it? More people are watching is a Facebook page created by Stacey Mattocks. A lot of evidence around social media is still anecdotal, but there is support for the recommendation argument from cinema box office revenues, where The Hangover and Bridesmaids have benefited from the social media buzz on Facebook and Twitter. Bridesmaids, for example, took $24.4m in its opening weekend at US box office compared to the $1517m predicted by analysts. No wonder, then, that the likes of TF1 Vision and BBC Worldwide are going into the Facebook space with paid content offerings.

“You need to be thinking about delivering an experience across all platforms” Steve Grieder, Viacom


IN JULY, RTL Group subsidiary IP Network published its own take on trends in TV viewing. Its report, Television – International Key Facts 2011, analysed audiences, programmes and leading trends in 37 countries, covering more than 900 European, American and Japanese channels. It concluded that: “Global TV is growing and technological innovation, healthy audience levels and programming will continue to drive this expansion in 2011.” The main reasons are: SHIFT TO DIGITAL

The transition to the digital era has reached its final stage, with 72% of EU households and 55% of Europeans watching digital television. A third of European homes are watching in HD – 69% in the UK. Ratings companies are increasingly able to measure new modes of TV consumption. Initial analyses of time-shifted viewing show that recorded programmes — including advertising — are consumed within 24 hours after broadcast, with fiction and sitcoms most watched. Catch-up viewing is also popular, with 55% of internet users watching TV on catch-up services. 81% of catch-up users state they are watching as much TV as previously. SCRIPTED DRAMA

The study shows the UK rediscovered its love for scripted dramas in 2010, with Downton Abbey the most watched new drama, launching with 9.3 million and climaxing with 10.8 million viewers. The same phenomenon can be seen globally with US series such as The Mentalist, Desperate Housewives and Grey’s Anatomy. ENTERTAINMENT FORMATS

There are other interesting points to emerge from TV viewing on the internet. One, says Nielsen, is a growing trend in which “the lightest traditional television users stream significantly more internet video, and the heaviest streamers under-indexing for traditional viewership”. In other words, elusive audiences are being reached — and may find that connected TV is a reason to go back to the sofa. Also fascinating is’s recent observation that the most social TV shows are not necessarily the ones with the highest Nielsen rankings — examples being Criminal Minds and The Vampire Diaries. While this disconnect has not yet been explored in detail, the question here is whether shows which seem to inspire deeper engagement can be used in ways to benefit the overall business. For Steve Grieder, executive vice-president of Nickelodeon International and international programme sales, Viacom International Media Networks, a key lesson in all of this is that TV brands can’t be seen in isolation. “You need to be thinking about delivering an experience across all platforms — from Facebook to live events. With brands like iCarly or Big Time Rush, we try to anticipate the audience’s expectations wherever they might search.” Another point that both Hasbro and Nickelodeon identify is that kids with PCs and smartphones in the living room are actually in the room, not in their bedrooms. The message here, says Nick research guru Kurz, is that there is an opportunity around shared viewing: “A lot of our work is around this trend towards common tastes in entertainment. Whether it’s TV, on-demand or gaming, there’s no question technology has encouraged the return of family viewing.” 88 I

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Talent shows that can be locally adapted and where internet interactivity increases viewers, have proved the most successful entertainment format. In 2010, the most popular talent shows included FremantleMedia’s Got Talent, which entered an impressive 11 new markets. SPORT

Live TV and sport continue to dominate viewing. In the European countries covered by the study, the viewership for football accounts for the largest share of sporting-event audiences. 2010’s FIFA World Cup generated huge audiences for both the BBC and ITV1. Meanwhile, a study by DisplaySearch says the number of connected TV units shipped every year worldwide will rise from 40 million in 2010 to around 138 million in 2015. Significantly, “the adoption of connected TV is not just in developed regions”, says Paul Gray, director of TV electronics research. With 500m connected TVs shipped in total by 2015, he cites China and Eastern Europe as fast-growing markets.


New media powerhouse emerges in the East Marlene Edmunds profiles the work going on within the Association of Southeast Asian Nations (ASEAN) that is making the region a global media force


HINA, India, Korea and Japan may be the bright stars in the Asian media galaxy but Southeast Asia and its 600 million people collectively represent an emerging and pivotal media force that is increasingly being taken seriously by global players. Linked historically and culturally through the ages, Southeast Asia includes the 10-member ASEAN geopolitical block, made up of Malaysia, Singapore, Indonesia, Thailand, Laos, Cambodia, Myanmar, Brunei, Vietnam and the Philippines. The region’s serious collaborative overtures to induce international players to its doorsteps, and obvious potential in a population that is increasingly switched on digitally, has not gone unnoticed around the world. Take Malaysia, a serious rising star, with a young population of 28.9 million people. Other significant statistics: some 23% of all Malaysians are under the age of 15; moHidden Cities Asia (AETN All Asia Networks) bile penetration is at a remarkable 121%. “We are a 3G society. Most Malaysians carry two mobile phones, so we are far more likely to use mobile to access internet than a 52 x 11 mins co-production between Ed Online, Scrawl a PC,” says Adam Ham, executive director, entertain- Studios and the UK’s Bryant Whittle. Lee Chuen Loong, ment and media specialist, Global Creative And Media executive director of Ed-Online Technologies, says coAgency (GCMA). Ham moved over at the beginning of productions like those with France, South Korea and the this year from a long-held executive position at Malaysia’s UK “give us the opportunity to co-own rights and open up Multimedia Development Corporation (MDeC). access to markets that we cannot venture into on our own”. Malaysia over the past few years has been engaged in Malaysia has made clear its eagerness to forge alliances a whirlwind of deal-making around the globe. Case in with its neighbours. “Recently we have begun to invite point is the flurry of activity on the part of Ed-Online ASEAN producers to jointly participate in foreign trade Technologies. In May the company inked a co-produc- missions and to leverage each other’s talents and creativtion deal with French animation company Xeopex for ity,” Ham says. In a recent trade visit to Korea, memoran2D animated comedy TV series Nabab Holidays. In dums of understanding were signed between MDeC and April, it signed an excluKorea Creative Content sive deal with Singapore’s Agency (KOCCA), and beScrawl Studios to distribute tween GCMA and SBA “We are a 3G society. Most Nanoboy: Mission Heath Seoul Animation Center. Malaysians carry two mobile animated vignettes and inBoth were aimed at boostteractive learning moding collaboration in the area phones, so we are far more ules. Other alliances by of media entertainment. likely to use mobile to Ed-Online include Eori, a One of the biggest changaccess internet than a PC” co-production with NHC es over the last decade has Adam Ham, GCMA Media of South Korea, and been the commitment and Red, Yellow & Blue (RYB), support the Malaysian 90 I

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i feature New media powerhouse emerges in the east government has given to the creative sector. “Previously in Malaysia, not many companies had the financial backing and the quality of talent needed,” Ham says. “Now Malaysian government organisations such as FINAS and MDeC, as well as others, have all jointly played significant roles in supporting the growth of content development.” This support is paying off: “Malaysian content producers have significantly raised the quality of creativity and content production over the years,” Ham adds. “The result is world-class and award-winning television programmes.” Astro, a subsidiary of Astro All Asia Networks, a Malaysian media group that operates local pay-TV platform Astro, as well as Kristal-Astro in Brunei, is one of Malaysia’s most successful media brands. It also has several significant joint ventures and partnerships, among them with Endemol and A+E Networks (AETN). Signed in 2010, the Endemol joint venture is aimed at creating premium shows that appeal locally in Malaysia as well as internationally. Endemol had previously produced local comedies and TV movies for both Astro and Media Prima prior to the joint venture. Since then, it has also made kids dance show Kamilah Bintang, Serasi Bersama (the Mr. & Mrs. game show), the live dance show Mari Menari and the TV Movie Centi Celop for Astro. Elsewhere in Southeast Asia, Endemol signed a threeyear deal with Vietnam’s Blue Ocean Communications

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Three Kingdoms (Beijing Orient Henghe Film & Video Culture) Advertising Corporation in June, for the format The Kids Are All Right. The format is being produced by Blue Ocean for broadcast by Vietnam’s VTV3. The first Indonesian version of Big Brother (BB), produced by Trans TV, got off the ground in April. BB has also aired in Thailand and the Philippines. “With the exception of the joint venture in Malaysia, the shows are for the most part produced by the local broadcasters, with Endemol consulting,” says Arjen van Mierlo, Endemol’s CEO of Asian Operations. “The territories of Southeast Asia are all different markets with different sensibilities and different strengths,” says Louis Boswell, general manager of AETN All Asia Networks, a joint venture between AETN and Astro. With a degree in Chinese from Oxford University, Boswell has spent most of his adult life in Asia, and in the media world. He adds: “Our joint venture aims for localisation and credibility in the stories that we tell. We work with local production companies around the region, producing a very “The shows are for the significant number of hours of local content.” most part produced by B o s wel l c ont i nue s: the local broadcasters, “Certainly if we do a stowith Endemol consulting” ry on the Philippines, we Arjen van Mierlo, Endemol want it to work in other parts of the region, like Singapore and Malaysia, but we especially want it to work in the Philippines.” Territories like the Philippines are rich with stories to tell, Boswell says, pointing to The Assassination Of Benigno Aquino Jr. on History, one of the channels in the joint venture. The show is about the exiled Filipino senator who returned to challenge Marcos, only to be assassinated on

i feature New media powerhouse emerges in the east the tarmac of the airport. “This was a huge moment in history that everyone in the Philippines knows,” Boswell says. “We were able to look at it with a fresh perspective, which gave us credibility with a Filipino audience, but was also fascinating to a wider regional audience who are probably not so familiar with the story.” The joint venture is now at work on the second series of Hidden Cities Asia, which will be broadcast later this year. Singapore’s Media Development Authority (MDA) has been charged with overseeing the media sector and establishing Singapore as a major Asian portal for global players, and it has taken that task seriously. The MDA has an impressive record, since its commissioning by the Singapore government, of bringing major new media entities into Singapore, and of helping Singaporean companies ink deals across the globe. To date, Singapore has signed official co-production agreements with Australia, Canada, China, Korea, and New Zealand; and memorandums of understanding with China, France, the Philippines, Australia, Korea, Italy, Thailand, Canada, and Japan, as well as the World Intellectual Property Organization (WIPO). And it has set up funds and production centres to ensure Singapore’s producers stay on the cutting edge. One of the MDA’s key interests is stereoscopic 3D. Singapore was one of the first territories in the world with one-stop, end-to-end production and post-production capabilities in stereoscopic 3D. The MDA continues to boost the 3D ecosystem, by supporting 3D content development and building production expertise. Among companies in Singapore heavily involved in 3D and working with international content producers is Beach House Pictures, Blackmagic Design, Widescreen Media and animation producer Tiny Island Productions. At press time, Singapore was in the middle of a year-long 3D-TV trial. Yeo Chun Chen, director of broadcast, animation, music and film for the MDA, says it is important for Singapore’s very survival as a media territory that it maintains a high profile when it comes to digital and digital content.

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Princess Go (NHK) “Singapore is a small country and we really have to be tuned into the changing patterns in the world,” he says. “Previously, our media could remain localised but we are now facing changing media consumption patterns and rather than going against this trend, our process has been to try to understand it and be a part of it.” One example, is connected TV. “In the past a big bulk of our media GDP has been driven by our pay-TV players so if, as is expected with connected TV, consumption goes through the internet, it changes the dynamics of the media industry. What we are “The territories of Southeast doing is looking at this Asia are all different markets to see how our broadwith different sensibilities and casters, rather than lose, different strengths” might be able to beneLouis Boswell, AETN All Asia Networks fit from or capitalise on this trend.” Among companies with dedicated offices in the city state are Off the Fence (OTF) Singapore, headed by long-time Singapore production veteran Tony Chow. Chow, formerly head of the Independent Producers Association in Singapore, owns 30% of the Singaporean operation. “OTF wanted to base itself in Singapore as part of its aim to use and develop local talent,” Chow says. Among OTF’s Singaporeproduced content is Asia’s Monarchies, a five-part series

i feature New media powerhouse emerges in the east the 3D-animated series The Jungle Book to Thailand, about the monarchies in the region. OTF Singapore is also helping local producers to make Indonesia, and Singapore. their content more international. â&#x20AC;&#x153;We are working with While the Asian stars, Korea, China, and Japan, have all Japanese public broadcaster NHK to help repackage been active to some degree in co-production deals and its natural history titles for the Western market,â&#x20AC;? Chow treaties involving Singapore and Malaysia, much of the says. â&#x20AC;&#x153;Anything NHK does is of very high quality and we business from these Asian tigers is now about selling to donâ&#x20AC;&#x2122;t tamper with that, but we might for example want to ASEAN territories. Chinaâ&#x20AC;&#x2122;s Beijing Orient Henghe Film change some things like the music track to make it more & Video Culture, has sold all 95 episodes of its TV drama Three Kingdoms to Vietnam, Thailand, Cambodia, appealing to Western audiences.â&#x20AC;? Malaysia, Brunei and He adds that perhaps the Indonesia, according to MDAâ&#x20AC;&#x2122;s greatest contribumanager Yang Xiaojun. tion has been its numerâ&#x20AC;&#x153;We are now facing changing Yang says he would like ous co-production allimedia consumption patterns, to see more co-producances across the globe: and rather than going against tions between China and â&#x20AC;&#x153;Talent is ever ything, Southeast Asia, but there which is why the MDAâ&#x20AC;&#x2122;s this trend our process has are hurdles to overcome, initiatives aimed at skillbeen to try to understand it, especially when it comes sharing, and work with and be a part of itâ&#x20AC;? to co-producing drama. more experienced proYeo Chun Chen, MDA Japanese public broadducers around the world, caster NHK has sold more helps our local producers than 80 titles to the region enormously.â&#x20AC;? DQ Entertainment CEO and chairman Tapaas in recent years, among them Princess Atsu and more reChakravarti agrees that Singapore and Malaysia in par- cently, Princess Go. Shuji Yamada, international sales ticular have increased their media proďŹ les enormously manager for NHK Enterprises (NEP) says: â&#x20AC;&#x153;Princess Go in recent years. â&#x20AC;&#x153;They are small, so it is understandable depicts the lives of three sisters who lived during an age but the only thing that is keeping them back from becom- of turmoil and civil war. Although this drama will not be ing serious world class players is they need to increase ready until the end of the year, NEP has already closed a their talent pool,â&#x20AC;? he says, adding: â&#x20AC;&#x153;We are very keen to deal in Brunei and is negotiating with other territories in get into a position where we can do the same kinds of Southeast Asia.â&#x20AC;? co-production deals that we do in France, for example, Bruneiâ&#x20AC;&#x2122;s strong censorship regulations make it a chalacross ASEAN territories.â&#x20AC;? DQ Entertainment is al- lenging territory but Yamada points out that historical ready co-producing 3D animation The Adventures Of dramas such as Princess Atsu and Princess Go do seem Peter Pan with B-Channel Indonesia, and has licensed to work there.


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Eori, a co-production with Ed-Online and NHC Media of South Korea

ASEAN BY NUMBERS ĂŤ$6($1FRYHUVDQ area of 4.46 million km, 3% of the total land area of earth ĂŤ$6($1LVKRPHWR approximately 600 million people â&#x20AC;&#x201C; 8.8% of the worldâ&#x20AC;&#x2122;s population ĂŤ,Q$6($1äV combined nominal GDP was $1.8 tn ĂŤ,I$6($1ZHUHD single entity, it would rank as the ninth largest economy in the world

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Turkey out in force as drama drives growth

Magnificent Century, Turkey’s most-talked-about drama series

Turkey has a media industry with six major networks and a mix of over 200 local and international channels. At MIPCOM this year, for the first time, there is a Turkish Pavilion where all key players from the country can be found. Gary Smith reports


S A COUNTRY with 18 million TV households, Turkey represents a huge, intriguing and promising target for distributors, but equally this is not a typical territory. Its audience combines secular and religious segments, and a now thriving private TV industry that barely existed until 1993 — the one exception up until that date being STAR 1, which began broadcasting via satellite from 98 I

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Germany in 1990 in order to avoid the then law banning private broadcasting from within the country. As well as a growing consumer of foreign programming, Turkey is also an exporter, mainly of drama and formats to the Middle East, the Balkans and Eastern Europe. “Global Agency is one of the pioneers in exporting Turkish series abroad since we started a regional trend in Bulgaria with 1001 Nights,” says Izzet Pinto, CEO of

Global Agency. “It achieved up to a 60% share on Nova he says. “The Turkish market really likes a good drama programme, and lately there have been several that TV, which is almost four times higher than the channel’s sold across quite a few territories around the world.” average share. Since then, 1001 Nights has been sold to 16 territories including Serbia, Bosnia, Greece, Croatia, Kerim Emrah Turna, a buyer from Kanal D, explains Kosovo, Romania, Slovakia, Ukraine and the Middle the channel’s progamming philosophy: “The Turkish East, and in all those countries it became the most audience likes local programming featuring family drawatched programme of its time-slot. Also recently we mas, class conflict and a sort of Cinderella element,” he started representing Turkey’s most-talked-about drama says. “And we mix local series with content from major studios such as Disney, Warner and Sony. In addiseries, Magnificent Century, which won the Best Drama tion to this we also acquire shows from independent Series Award in this year’s Turkish Television Awards ceremony. So far we have licensed the series to 20 terri- companies in Germany, Canada and USA. In Turkey tories, and our goal is to reach 40 in the next 12 months.” our most popular shows are Oyle Bir Gecer Zaman Ki (48% average share) and Local private broadcastFatmagul’un Sucu Ne? ers Kanal D, Show TV, – Fatmagul (39% averATV, Fox and Star TV age share). This year’s hit are the leading channels abroad is Oyle Bir Gecer in Turkey, with Kanal D Zaman Ki, which transcurrently ahead in the lates as Time Goes By.” race for ratings. Local Kanal D rarely works tastes are varied but drawith foreign co-producma drives the numbers tion partners: “Our own up: “Almost 50 TV series production is quite strong are produced here each and this is why we generalyear, and most of them ly don’t work with foreign are drama. Sitcoms are production partners,” he also attracting large ausays. “We also sell our diences, but Turkish viewseries all over the world. ers’ first choice is draFollowing on from the exma series,” Pinto says. port success of our series, “Reality shows used to initially in neighbouring perform well, but that territories and then in the trend has dropped off, Middle East, Kanal D has although I suspect that expanded to new territoit will return in the near ries such as the Balkans future. At the moment and the Far East. Kanal quiz shows are having a D’s series Gumus was tough time keeping audi1001 Nights — sold to 16 territories including Serbia, Bosnia, Greece, seen by 85 million viewences. Conversely wellCroatia, Kosovo, Romania, Slovakia, Ukraine and the Middle East ers in the Middle East — structured game shows a regional record — and are doing well and talent show s a re c on si stent rat i ng s w i n ner s .” ever since, the series has been a phenomenon there.” Global Agency, celebrating its fifth anniversary at The under-18s, who make up over 26% of the populaMIPCOM, is also developing as a distributor: “We are tion, are increasingly connected. Turkey currently has the exclusive distributor of Greece’s channel Mega and 30 million internet users and 1.5 million active mobile we work with Turkey’s leading production companies internet connections. Caroline Beaton, senior viceand independent format creators,” Pinto says. “We also president, programme sales, at Viacom International work with several international production companies Media Networks (VIMN), takes the territory very seriously: “Turkey is fast emerging as a near east priorand broadcasters in Europe, Asia and Latin America.” Senay Filiztekin, head of sales and acquisitions at ity market for us in terms of programme sales. This Endemol Turkey currently only sells to the Turkish mar- is for many reasons, a key one being the way Turkish ket, but is also now looking further afield. “We just fin- youth are clearly so engaged online. Our Digital Media ished the production of Wipeout with a Greek company, team’s research shows that Turkish youth represented and in the past we have worked with ENA Productions. one of the largest groups of visitors globally to MTV We also worked with TIMS, the biggest local Turkish Europe’s web site in July, overtaking Russia, and typdrama production company, on the series Mr Pells,” ically they vote in huge numbers in the run up to the

TURKEY BY NUMBERS - The Turkish audiovisual market is one of the largest in Europe with 18 million television households - Average daily TV viewing time is 5.09 hours in the week days and 5.15 hours at weekends - In 1990 the first private commercial TV channel STAR 1 began broadcasting via satellite from Germany in order to avoid the then law banning private broadcasting from Turkey - In August 1993, the monopoly on TV and radio broadcasting was lifted and there are now 24 national, 16 regional and 181 local television stations - Public broadcaster TRT has 11 national television channels - The most watched private television channels are ATV, Kanal D, Show TV, Star TV and TGRT - There are currently 60+ channels available via cable including BBC World, BBC Prime, CNN, TV5, RTL, MTV, Eurosport, National Geographic and Discovery. After the completion of the digitalising process the number of TV channels available on cable is expected to reach 300 - Al Jazeera acquired the Turkish channel Cine 5 for $40.5m in February 2011. Al Jazeera Turk is expected to launch imminently

THE PERFECT FORMAT SIX NEW versions of Global Agency’s reality format Perfect Bride are under way. First launched in the company’s home territory, the format features 12 bride candidates for six bachelors. The six men live in one house, with the potential brides and the men’s mothers living in another. Over 13 weeks of competition the mothers eliminate the bride hopefuls, and eventually the brides can eliminate the mothers and sons. The show has already aired in Italy, India, South Korea, the Middle East and Romania, and will now be seen in China, Germany, Hungary, Bulgaria, Russia and Ukraine. I magazine I September 2011 I 99

i feature Turkey out in force as drama drives growth EMAs — MTV’s prestigious music awards. This has traditionally resulted in local Turkish artists doing fantastically well,” Beaton says. “Turkey was also the top country for visitors streaming our MTV programming in June and the number two country in July, accounting for 10% of youth streaming content from the MTV Europe site. I think this shows a real appetite for MTV’s diverse and relevant programming from Turkey’s youth audience. We’re really looking forward

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to building on this demand at MIPCOM where we’ll explore new ways to extend our content further in Turkey.” Interestingly for distributors, there is also a strong aspirational streak in the pay-TV audience that can mean big business, according to Jamie Lynn, FremantleMedia Enterprises’ (FME) senior vice-president, international distribution, Southern Europe, Middle East and Africa. “In terms of finished programmes, as opposed to formats, we do extremely well there, and the pay-TV audience really wants Western shows,” he says. “Series li ke Project Runway, Work Of Art with Sarah Jessica Parker, anything with Jamie Oliver, The Apprentice (UK version), Martha Stewart and recently Merlin, have all been very successful. In fact Merlin has been so successful that we have started a broader spinoff with books and a range of merchandising.” It is important to realise that there are effectively two Turkish TV audiences: “The free-to-air broadcasters carry a lot of local content, in fact it rules for them, whereas the pay-TV broadcasters cater to the large and growing AB demographic,” Lynn says. “Which is, conversely, why we were extremely proud to have sold The Sinking Of The Laconia to Kanal D. There are also several Fremantle formats on free-to-air channels including Family Feud, Turkey ’s Got Talent, Password and The Price is Right. But for me the most exciting aspect of the country’s broadcast landscape is the channels that attract the younger audience such as Fox Life, FX and some of the DigiTurk offering. This is a large and very dynamic audience.”

Murat Yalcıntas

TURKISH PAVILION AT MIPCOM THERE are 11 exhibitor companies participating on the Turkish National Pavilion at MIPCOM 2011, with the stand organised and supported by the Istanbul Chamber of Commerce. The organisation hosts 70+ foreign trade delegations and organises around 20 fairs abroad each year. “Observing the growing international popularity of the Turkish audiovisual industry, the Chamber decided to look for the best ways to promote the sector,” Murat Yalcıntas, president of the executive board of the Istanbul Chamber of Commerce, says. “We participated in MIPCOM 2010 as an exhibitor, in collaboration with the Turkish Radio Television Corporation (TRT), in order to explore the possibilities of organizing a Turkish National Pavilion this year.” In a related development, the Ministry of Economic Affairs has made amendments on the Declaration of Subsidies for Participation in Fairs Organized Abroad, by increasing the subsidies granted to film producers by a significant amount. “Turkey’s rapidly growing audiovisual industry is enriched by the fact that the Orient and the Occident really come together here. And we believe that our audiovisual industry should be considered as part of Turkey’s overall economic growth strategy,” Yalcintas says. “When Turkish soap operas — currently being broadcast in more than 60 countries — are taken into account, it is an undeniable fact that they act as a global promoter of Turkish culture, and one which that has already had a significant effect on tourism, as well as in terms of economic returns. The Istanbul Chamber of Commerce is motivated by the idea of investing in both culture, and in Turkey’s future, by supporting Turkish audiovisual industry.”


Who’s laughing in the new world of comedy? Pressures on budgets and the arrival of the internet as a major means of talent-spotting are changing television comedy. Bob Jenkins examines the serious business of being funny


ITH new stand-up clubs opening up almost daily around the world, and with new comic talent turning up on the internet with increasing regularity, it seems that audiences have an insatiable appetite for laughter. But according to a number of MIPCOM delegates in the field, many of television’s comedy staples — and especially the sitcom — are coming under increasing pressure in many territories. Gregoire Furrer, founder and CEO of the Montreux Comedy Festival, has no doubt as to why. “Sitcoms,” he explains, “are such an inherently risky television form that you have to do them really well. You have to hire really good writers, two or three really good actors and also spend a lot on sets and design.” And, he continues, “They also have the disadvantage compared to other expensive forms such as drama: they do not lend themselves easily to co-production, as humour is often highly specific to a particular country.” Don Taffner Jr, president of sitcom producer DLT Entertainment, based in London and New York, echoes this point: “The pressure on the traditional sitcom is largely about pressure on budgets, and certainly stand-up is a lot cheaper to produce than sitcoms.” Regarding production costs, Taffner makes an interesting comparison between the US and the UK. “In the US,” he says, “the single camera sitcom is cheaper to produce than a multi-camera sitcom, whereas, in the UK the reverse is true. This is because in the US multi-camera shoots are always done on a closed set, while in a single camera shoot many different locations are used and the characters are followed around a lot — more like in the “Sitcoms do not lend movies. In the UK, both types of themselves easily to shoot are done on a closed set.” co-production, as Whatever the reasons for this shift towards stand-up, some see humour is often highly it as a reversion to a purer form of specific to a particular comedy. For Franck Appietto, dicountry” rector of entertainment channels Gregoire Furrer, at Canal+, “stand up is the DNA Montreux Comedy Festival of comedy. It is a necessary rite of passage for anyone wanting a

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Celebrity Stand-Up (Banijay International) career in humour — you have to go face-to-face with the public.” And an increasing number of young comics are doing just that — on the internet. “New digital media are having a big impact on the way comedy on television is changing,” Furrer says. “They allow, for the first time in history, content creators to go straight to a mass audience.” He

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i feature Who’s laughing in the new world of comedy? cites as an example Dix Minutes A Perdre (Ten Minutes also true that production of sitcoms at the networks is currently on the rise.” To Lose), a daily 10-minute topical online sketch show, So any surge in stand-up is not necessarily to the dewhich has had 16 million hits since January this year: triment of sitcoms. Caroline Beaton, senior vice-presi“The success of shows such as this is about more than dent of programme sales at Viacom International Media just the numbers. They build communities, which are Networks, draws a nuanced picvery valuable to advertisers. All ture, bringing in other comedy of this has major implications forms. “There is no question that for everyone in the business of “Today’s mantra has stand-up is undergoing a renaiscomedy.” This has led Furrer to to be, if you want to sance,” she says. “You only have introduce a market element to to look at the huge bidding war Montreux — a social space that sell it — shoot it,’ that surrounds shows like [UK is less about large companies selwhereas, in the past, stand-up show for BBC/Comedy ling their catalogues and more shooting was so Central] Live At The Apollo to about the comedy community expensive you had to see how very much more imporexchanging ideas and identifying tant stand-up is now than was tomorrow’s break-out stars. sell it first” the case even a few years ago.” Dave Bernath, executive viceDavid Bernath, While this is partly because of president of program strateComedy Central US the internet, Beaton also states: gy and multiplatform program“In a multichannel world where ming at Comedy Central in the people are constantly zapping, US, is clear that the internet is having a profound effect across all forms of content. “The stand-up is more digestible. If they come across standup, and are in the mood for comedy, they tend to stay with big difference with comedy is that the technology is now so cheap, anyone can make an animated short, a sketch, it because it comes in bite-sized bits and, unlike a sitcom, there isn’t a narrative they or just a witty commentary and, presto, you’re out there. have to get up to speed Today’s mantra has to be, If you want to sell it, shoot it,’ with.” She continues whereas, in the past, shooting was so expensive you had by acknowledging: to sell it first.” “Both sitcoms and And there is no doubting Comedy Central’s commitment stand-up tend to to the internet as a way of sourcing new talent. Their new be too cultushow, Workaholics, which debuted on April 6 this year afrally specific ter two years in development, features internet-sourced to travel, talent, and their earlier hit Ugly Americans came from the internet sketch show 5-On. Scouting new talent on the internet is something all broadcasters are now doing: Comedie+ debuted La Chanson Du Dimanche (Song Of Sunday) this year, which also began life on the internet. However, Appietto cautions: “The comedy that works on the internet is very different from the comedy that will work on television. For me, it’s important always to consider a project’s potential on other platforms right from the outset. But it’s not enough simply to segment a show [to adapt it to other platforms], you have to write it and produce it specifically, and that always puts pressure on budgets.” If Bernath is in agreement with Furrer and Taffner as to the revolutionary role of the internet in today’s televised comedy, he takes issue with the notion that the sitcom is under threat. “I don’t think this is the case in the US. It is true that for a while the networks were not producing as many sitcoms, and it is true that currently stand-up is very vibrant. “But it is 104 I

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MAKING FUN OF THE FAMOUS THE UK version of celebrity panel format Wall Of Fame (10 x 30 mins) is brought to MIPCOM by the UK’s Hat Trick International. Fronted by actor and comedian David Walliams and produced by CPL Productions, the show checks newspaper column inches and tweets tolled up to determine who are the most talked-about people in the country. The faces of the 25 most popular personalities are then projected onto a wall, each representing the answer to a question. The show is one of the latest in a long line of hit comedy panel games developed in the UK over the past 15 years.

As Time Goes By (DLT) The worldâ&#x20AC;&#x2122;s largest online library of new childrenâ&#x20AC;&#x2122;s, youth, documentary and factual programmes

i feature Who’s laughing in the new world of comedy? and, internationally, it is shows with more universal themes, such as South Park and The Daily Show, that tend to sell really well. After that, it is shows that maybe have a stand-up element such as Jon Benjamin Has A Van.” International sales also depend on the comic’s exposure in any given country. Underlining this point Beaton cites the Viacom show Tosh.0 which stars Daniel Tosh, a huge star in the US but a virtual unknown outside of the States. There is no doubt this can be a problem, but, for Karoline Spodsberg, managing director of Banijay International,

“There is no question that stand-up is undergoing a renaissance” Caroline Beaton, Viacom Media Networks International

there is another — and quite new — way that stand-up can work really well for both producers and commissioners. “Stand-up,” she says, “can be a great way of exploring serious issues.” She cites Banijay’s new series Comedy On The Edge, which takes a light-hearted approach to serious issues including why some towns and communities have much more severe social problems than others. “Topics like this would traditionally be dealt with in a serious manner, on a current affairs programme for instance,” she says. “But by looking at the issue through the guise of preparing a stand-up routine the show has a much broader appeal, as well as the added draw of a famous comic presenting.” This serious but light-hearted emphasis appears elsewhere on Banijay’s roster. Celebrity Stand-Up provides “an in-depth celebrity interview,” Spodsberg says. “But

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Gregoire Furrer, founder and CEO of the Montreux Comedy Festival in a way that’s quite different from a star and an interviewer sitting opposite each other in a studio.” She adds: “Locking down relationships with talent is increasingly important for both producers and broadcasters.” In support of this, she states that Banijay Group company Angel City Factory signed up comedian Howie Mandel to host the US version of Celebrity Stand-Up before pitching it to the US networks.”

Sarah Tong, director of sales at leading British comedy house, Hat Trick International, looks to the long-term US-UK dominance of the international comedy market, and questions whether there is, in fact, a boom in stand-up internationally. “Internationally broadcasters tend to look to the UK and the US for comedy because both countries have historically made such great shows over the years,” she says. “There is certainly a boom in stand-up in the UK, so that’s what we are supplying — and that’s what the market is taking.” But even with this inbuilt advantage, Tong is quick to stress that, “British comedy remains a tough sell. This,” she believes, “is partly because of our unique sense of humour, and also because we suffer from competition with the US. The Americans have a number of advantages: in particular, their shows tend to be pacier, much more visual and have genuinely international star names. Finally,” she adds, “they are produced in quantity which is very important when selling internationally.”

Prize Of Surprise (Novavision) LAUGHING AT REALITY SINCE its acquisition of Media Entertainment Group (MEG) this year, a Scandinavian company which was one of its major competitors, France’s Novavision claims to be “leader of the funny non-dialogue clips market” with 65,000 funny clips broadcast in 105 countries, and seen by some 800,000,000 viewers. New from Novavision is Prize Of Surprise, a show which mixes live audience, hidden cameras, home videos and other weird footage shot around the world. One aim of the show is to compare different countries reactions to “universal gags”. I magazine I September 2011 I 107



MEET Identify and connect online with new business partners in the Online Community at

BOOK THE RIGHT ACCOMMODATION that fits your needs with our MIPCOM hotel reservations service. @

ëTake meetings at the Participants’ Club, open to all visitors and features a meeting area, coffee service and free Wi-Fi, with a suggested time limit of one hour.

PLAN YOUR FLIGHT TO NICE Your best-bet travel agencies: ëSilver Voyages (France and Southern Europe) Š+33 (0)1 45 61 90 59 @

ëNew participants can take the first-timers’ cocktail and discovery tour. Meeting point at the main entrance of the Palais des Festival on Sunday, October 2, 17.00. ëNetwork in style and celebrate a week of business opportunity with key industry personalities at the Opening Party, Monday, October 3, 19.30 at the Hotel Martinez. PROMOTE ëOrganise an event at the market (parties, screenings, etc.) with the help of MIPCOM’s full-service Events Department. Š+33 (0)1 41 90 44 96 @ ëMake headlines with breaking news of major deals and announcements through the MIPCOM News Team. @ ëUpload market-related press releases to the Online Media Centre at ëDesign a press event to maximise the impact of your announcements, including interviews, round tables, photo-calls or full-scale press conferences. Contact the Press Team for more information. Š+33 (0)1 41 90 46 48 DISCOVER Plan your conference experience with the conference and events programmes to determine which sessions best suit your interests. Open to all participants, depending on venue capacity.

ëDovetail Foks (UK and Northern Europe)

Š+44 (0)20 7025 1515


Fly for less with a special MIPCOM offer from Air France KLM at (ID code: 13185AF) GETTING FROM NICE COTE D’AZUR AIRPORT TO CANNES ë Bus 210 (Xpress Cannes): departs every 30 minutes. Duration: 50 minutes. Tickets desks are located in Terminal 1 and 2. One way ticket/return tickets: €15.60/€25.50. ëTaxi: available at Terminal 1 and 2. Duration: 30 minutes approx. Average fare: €80. Night rates apply between 19.00- 7.00. To book a taxi, call Allo Taxi (24/7 hotline) at +33 (0)8 90 71 22 27 ëTrain: One way ticket: €4.50 and €8. Call 3635 (France) or +33 (0)8 92 35 35 35 (international) for more information. ëCar rental: Sixt offers special MIPCOM rates using promotion code: 9963828. Visit or call +33 (0)8 20 00 74 98. IN CANNES ëThe free MIPCOM shuttle bus service runs between hotels located outside Cannes and the Palais des Festivals for the entire event. Schedules are available in hotels as well as the accommodation desk in the Registration area.

ëCannes local buses: One-way ticket: €1. ëCar parks: It is strongly advised to book well in advance of your arrival. @ 3 MUST-HAVES & MUST-KNOWS

REMEMBER THE ESSENTIALS pack your badge or e-ticket and the original invoices for your French VAT refund (under certain conditions). NEW COLLECT YOUR BADGE This year, you will receive an e-ticket by e-mail a few days before MIPCOM. Print this e-ticket and scan the barcode at a self-service delivery point in the Registration* area to collect your badge. A personal photo is no longer printed on the badge but is visible when scanned at the security checkpoints. Please remember to wear your badge at all times during the market. *Journalists, reporters and photographers can collect their badges at the press registration desk in the Press & News Hub.

REGISTRATION HOURS Saturday, October 1: Sunday, October 2: Monday, October 3: Tuesday, October 4: Wednesday, October 5: Thursday, October 6:

14.00-19.00 9.00-19.00 8.00-19.30 8.30-19.30 8.30-19.30 8.30-16.00

MARKET HOURS** Monday, October 3 – Wednesday, October 5: Thursday, October 6:

8.30-19.30 8.30-18.00

**Exhibitors can access the exhibition area 30 minutes prior to open.

ëExhibition location Palais des Festivals, Esplanade Georges Pompidou, 06400 Cannes. Map with main entrances located.

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CLUBS ëParticipants’ Club: used by participants attending MIPCOM without a stand. Features include a meeting area, free coffee service, free WiFi service and telephone charging stations. ëBuyers’ Club: reserved for programme purchasing executives. Features include a lounge area, complimentary bar, electronic message board organised by hostesses and free WiFi service.

ëMember desk: provides services to Customer Recognition Programme members during the show. ëTechnical department: solve queries at your stand including electricity supply, stand telephones lines, contractual furniture and more. Š+33 (0)1 41 90 44 43 / 49 74 TELECOMMUNICATIONS ëInternet Zone: offers e-mail stations, a plugand-play area and telephone charging stations. Sponsored by

ëWiFi connections: free WiFi is available at the Participants’ Club, the Buyers’ Club, the VIP Club, the Press & News Hub, Lerins Hall. Alternatively, WiFi sessions are available for purchase on the “Palaisdesfestivals” network for all other areas. ëMobile Phones & 3G Data Cards rental: contact Cellhire to rent a cell phone Blackberry, SIM card or 3G data card during MIPCOM.

Sponsored by

ëVIP Club: exclusive club reserved for VIP delegates to relax or discuss business in more private surroundings. Features include WiFi access, refreshments and a dedicated staff. Sponsored by

NEW ëPress & News Hub: the centre of anything news-related at MIPCOM, including the Press Club, Blue Lounge press conference room and the offices of the MIPCOM News, MIP Blog and international press teams.

ëRegus Business Lounge reserved for eligible delegates. Features include complimentary personalised business services, private lounge area, international press, PC, internet access, refreshments and dedicated staff. Sponsored by

TECHNICAL SERVICES ëBusiness centre: provides a complete range of secretarial and administrative services for all participants. ëConcierge service: provides a complete range of services including restaurant and taxi bookings, flight, spa reservation etc. ëCustomer Service Help Desk: available all year long to provide customised assistance. Š+33 (0)1 41 90 44 41 / 42 @ ëLeft luggage: available if you wish to go directly to MIPCOM from the airport.

To make sure you are properly prepared for Cannes, visit the MIPCOM website or take a shortcut by flashing the QR code with your smartphone. I magazine I September 2011 I 109

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