miptv nEWs ®
Tuesday 14 April 2015
MEDIA MASTERMIND KEYNOTE • NINA
• WITNESSES • CANDICE RENOIR
Today, in his keynote entitled Content Redefined, at 12.10, Havas CEO Yannick Bollore examines the future of media and entertainment
MIP DIGITAL FRONTS SCREENINGS
• THE UNEXPECTED GETAWAY
Disney subsidiary Maker Studios kicks off the MIP Digital Fronts Screenings at 16.00 today in the Grand Auditorium See p.14 BRAND OF THE YEAR
STAND : P-1. C50.D51 www.newendistribution.com
• POLO MIPTV Brand Of The Year Marriott International presents its Content Studio at a keynote session today at 11.30 See p.16
• THE MYSTERIOUS CITIES OF GOLD
• MARIE CURIE
A WOMAN AT THE FOREFRONT
Focus On The Nordics continues today with a programme of events starting at 09.00 with Show & Tell: The Nordic Innovators. And with this issue, a special Focus On The Nordics supplement
• SUPERNATURAL FILES •THE BUTTERFLY EFFECT
No Offence DPS.indd 1
(The Thick of It, Getting On) as DI Vivienne Deering
(The Paradise, Harperâ€™s Lost) as DC Dinah Kowalska
(The Iron Lady, Utopia) as DS Joy Freers
(Broadchurch) as DC Spike Tanner
(Friday Night Dinner, Vera) as Miller
(Arrow, 24: Live Another Day) as Det. Supt. Darren Maclaren
8 Opening Night Party; MIP Digital Fronts; market deals; stars in Cannes; and more
81 Demand drives Hispanic market 87 Sport goes over-the-top
ren Confe me a r prog m P74
91 Children of the revolution
PRODUCT NEWS 52 A round-up of what’s for sale in Cannes
FRENCH AIR TRAFFIC CONTROL STRIKE The proposed air traffic control strike expected to begin on Thursday has been cancelled
THE INTERNATIONAL Academy of Television Arts & Sciences presented the 2015 International Digital Emmy Awards nominees with medals and certificates yesterday, ahead of the evening’s ceremony. Pictured are the nominees with Academy president Bruce Paisner. Winners announced last night are: Dina Foxx - Deadly Contact (Fiction); Reverse The Odds (Children); and Last Hijack Interactive (Non-Fiction)
AT THE inauguration of MIPTV and the Nordic Pavilion, Cannes deputy mayor Franck Chikli (left) joined Reed MIDEM CEO Paul Zilk, Annie Wegelius, one of the chief architects of Focus On The Nordics, and Johanna Karpinnen, CEO of FAVEX
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watch episodes at itvstudiosge.com
Opening Night Party After the MIPTV World Premiere TV Screening of Texas Rising, stars walked the red carpet to the MIPTV Opening Night Party. The MIPTV News photographers were there to meet them Reed MIDEM’s Jerome Delhaye (left) with Camille Bidermann Roizen and Bruce Paisner of the International Academy Executive Committee, and Reed MIDEM’s Paul Zilk
Alejandra Onieva of Skyline Production’s Dalia De Las Hadas
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Elizabeth Mitchell of StudioCanal’s Crossing Lines - The Time Is Now - Season III
Bill Paxton, Ray Liotta and Olivier Martinez of ITV’s Texas Rising
Rachel Hunter from Zodiak Rights’ Rachel Hunter’s Tour Of Beauty
Xin Wang of Drunken Dragon Productions’ Ex-Model
Catherine Bell and James Denton of ITV’s The Good Witch
Mena Suvari of Sonar Entertainment’s South Of Hell
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NEWS Looking to do comedy differently is the making of Modern Family
HERE’S nothing like winning the Outstanding Comedy Series Emmy for five consecutive years to put a show under pressure. “That’s why we keep looking for new ways to do something differently, or make something very real,” said Steve Levitan, cocreator and executive producer of Modern Family. “We don’t want to ever hear someone say the show has lost its edge.” Hence an episode in season six that plays out entirely on the laptop of Claire Dunphy (Julie Bowen) as she frantically uses social media to try to find her teenage daughter Haley who is missing, presumed married. Levitan (Wings, Frasier, The
Larry Sanders Show, Just Shoot Me and Greg The Bunny) and co-creator Christopher Lloyd conceived the show in 2008. “Everyone Loves Raymond was ending and we saw there was no good family show on air,” Levitan said. “So we looked for a new way to do family.” They chose mockumentary. And to up the pace, they featured not one, but three interlinked families, each different in their own ways. Claire’s family live a lot of their lives online and accident-prone husband Phil is expected to do his share of the parenting. Claire’s brother Mitchell and his husband Cam, far from being the buff gay commitment-phobes so beloved
of TV sitcom, are struggling with middle age and how to be good adoptive parents to the diminutive but withering Lily. And for patriarch Jay, ‘difference’ is about loving — and parenting with — fiery Latina bombshell Gloria. As well as his 15-strong writing team, Levitan pays tribute to casting director Jeff Greenberg and the cast. “A pilot is the sum of 10,000 decisions, maybe more,” Levitan said. “You could make 9,999 decisions right, but if you make one wrong, it doesn’t work. If we’d cast the right Phil but the wrong Claire, it would’ve been a very different story.” Modern Family is distributed by 20th Television, part of 20th Century Fox Television.
Modern Family’s Steve Levitan
Modern Family co-creator Steve Levitan features in today’s MIPBUZZ. Check out the video at www.miptv.com/live
The Sky’s the limit, says Darroch JEREMY Darroch, group chief executive of pan-European pay-TV company Sky, used his MIPTV Media Mastermind Keynote to tell conference delegates that his company is “open to ideas. We want to attract the best people to work with Sky and are willing to take creative risks.” Sky claims to be Europe’s biggest investor in TV content, with a total programme spend of £4.6bn (€6.8m). While some of this relates to the acquisition of sports and movie rights, a growing percentage is going on original shows such as scripted series Fortitude. “Our own commissions give us a lot of flexibility. In the case of Fortitude, we found it brought a lot of viewers to our Sky Atlantic channel in the UK for the first time,” he said.
Earlier this year, Darroch led a deal to combine Sky UK, Sky Deutschland and Sky Italia into a single company with a total customer base of 21 million. In business terms, he said: “greater scale will be better for our customers”. Editorially, it raises the prospect of more shows being commissioned centrally for use across the three platforms. “We’ve just signed off on seven or eight ideas that can do this,” he added. Explaining the company’s success, he said: “Sky has a restless culture. It is built around an appetite for renewal and a willingness to embrace change. We welcome the explosion in technological change because it allows us to get to customers we struggled to reach before.”
Sky’s Jeremy Darroch
miptv neWs 2 ®
The official MIPTV daily newspaper Tuesday 14 April 2015
Director of Publications Paul Zilk Director of Communication Mike Williams EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Sub Editors Neil Churchman, Sarah Cooper, Sarah Kovandzich Reporters Ben Cooper, Andy Fry, Emelia Jones, Juliana Koranteng, Max Leonard, Rachel Murrell, Gary Smith, Hannah Stephens, Joanna Stephens, Nigel Wilmott Editorial Management Boutique Editions Technical Editor in Chief Herve Traisnel Deputy Technical Editor in Chief Frederic Beauseigneur Graphic Designers Muriel Betrancourt, Veronique Duthille, Carole Peres Head of Photographers Yann Coatsaliou / 360 Medias Photographers Christian Alminana, Olivier Houeix, Michel Johner, Yohann Mortier. PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Co-ordinator Emilie Lambert Production Assistant Eric Laurent Printer Riccobono Imprimeurs, Le Muy (France). ADVERTISING CONTACT IN CANNES Sylvia Ferreira: email@example.com / +33 (0)6 43 86 87 96 Reed MIDEM, a joint stock company (SAS), with a capital of €310.000, 662 003 557 R.C.S. NANTERRE, having offices located at 27-33 Quai Alphonse Le Gallo - 92100 BOULOGNEBILLANCOURT (FRANCE), VAT number FR91 662 003 557. Contents © 2015, Reed MIDEM Market Publications. Publication registered 2nd quarter 2015. ISSN 1967-5178. Printed on FSC certified paper
THE BIG NEW PRIMETIME PRANK SHOW
NEW ENTERTAINMENT FORMAT
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NEWS iel Tibbets describes as kick-ass, action-drama content. That is followed by two MIP Digital Fronts keynotes. The first features Vox Media’s vice-president and creative director Chad Mumm. The second is by Ze Frank, president of BuzzFeed Motion Pictures, and Oscar-nominated producer and advisor to BuzzFeed Motion Pictures, Michael Shamberg. The MIP Digital Fronts’ Tuesday sessions end with a screening by Slashtag TV.
Digital screenings get under way with Maker
A K ER Studios’ head of international Rene Rechtman kicks off the MIP Digital Fronts Screenings today at 16.00 in the Grand Auditorium. The company is a MIP Digital Fronts founding
partner and its YouTube channels currently get 11 billion views per month, with a total of 600 million subscribers. Directly after that, Machinima, the video games-in uenced YouTube digital studio, will be showing what chief content officer Dan-
Maker Studios’ Rene Rechtman
MIPLab winner makes light work of licensing
Packed programme of events for the Nordics
RIGHTSTRADE, a global marketplace for television and film distribution rights, has won the 2015 MIPLab Start-up competition. “It makes rights licensing as easy as booking a room on Airbnb,” its CEO, Stephen Polster, said in his pitch that won over a panel of industry experts. Polster explained that he had worked in large global media corporations, and become frustrated with the inefficiencies of the rights market. “There is a huge need to streamline and speed up the complex steps in the licensing process, whether that’s at home or at markets,” he said. “On the rights-holders side, there’s a lot of excess inventory. Lots of rights go unexploited, but lots of buyers have difficulty finding content.” RightsTrade tapped into the data that organisations held on their catalogues and integrated with rights management platforms, making it possible to search, screen, sign, sync and manage properties in an easy, intuitive en-
THE CLIMAX of the Focus On The ordics MIPTV initiative brings together more than 20 broadcasters, producers, creatives, distributors and digitalmedia pioneers today for a series of seminars, showcases and networking events. Curated by former SVT director of programmes Annie Wegelius and Titan TV founder Thomas Hedberg, the programme offers insight, information and access to the commercial and creative faces that have helped transform this group of small northern countries into a content powerhouse. Several factors have helped propel the Nordic region into the media premier league, from its early adoption of mobile and multiplatform broadcast technology through to its strong tradition of brave, well-funded public broadcasting. It is also a fiercely competitive market, where programming budgets are small but the expectations of its well-educated audiences high. This has prompt-
ed a steady stream of fresh and original dramas, formats, documentaries and web series. Today’s conferences supported by a special Focus On The Nordics supplement, start with Show Tell The ordic Innovators, which examines the region’s culture of innovation that has given the world such superbrands as Ericsson, Spotify, Skype and Nokia. This afternoon’s highlights include Reinventing Broadcasting, which explores changing audience behaviour — and broadcast models — in arguably the most competitive media market in the world and Reinventing Content, in which a panel of Nordic content chiefs share the strategies that have helped them crack the millennial challenge. The last session of the day, The Hottest Drama From The Cold, provides a sneak preview of the latest Nordic drama titles. Speakers include writer and showrunner Dulse Gry Jensen, director Henrik Bjorn and R’s fiction chief Piv Bernth.
DR’s Piv Bernth
Annie Wegelius leads Nordic Show & Tell
vironment. According to Polster, the content licensing industry is worth $60bn (€57bn). The other finalists were ramatify, which provided mobile, social production management for TV and film Relevancy ata, which aimed to be the market leader in everything related to metadata, to help target online video ads better Wildmoka, a cut-and-paste service for sharing TV content online that protected creators’ rights and Wildseed, a studio that used a venture capital funding model to bridge the gap between online creators and other media, to help them create future hits. The award was presented by jury member Jacques-Edouard Sabatier, director of new content at Canal+, which, with Canal Start, sponsored MIPLab. MIPLab 2015 was presented by Raphaelle Toledano of Fabernovel. Previous MIPLab winners have gone on to industry success, raising millions of dollars in finance. Jilion (2012 winner) was acquired by Dailymotion in 2013.
MIPLab contenders: Michal Hubschmann (left), Relevancy Data; Miles Bullough, Wildseed; the winner, RightsTrade’s Stephen Polster; Thomas Menguy, Wildmoka; and Annika Lidne, Dramatify
FROM CHUNKY TO HUNKY… WILL IT GO BELLY UP?
THE HIT NEW FORMAT THAT HAS TAKEN DENMARK BY STORM
NEW REALITY FORMAT
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NEWS Online content producers learn lessons from traditional models
H E T R A DIT IONA L art of window releases, which sees movies licensed to cinemas before going to pay-TV and then free-to-air, is being replicated online, said speakers at yesterday’s session Internet Windowing: The Art Of Online Programming. Sam Toles, vice-president of content acquisitions and business development at online sharing platform Vimeo, advised the audience to post their first online attempts on rival platform YouTube. This is because it can generate up to eight billion views monthly, compared to Vimeo’s one billion views. “But we’re the Bloomingdales to YouTube’s Walmart,” he said, emphasising Vimeo’s focus on professionally produced videos. “We don’t have ads, so we monetise access to our special tools, including Vimeo on Demand.”
Vimeo’s Sam Toles: “We’re the Bloomingdales to YouTube’s Walmart”
Once they have an established following, original online producers should then place expensively made shows on transactional-video-on-demand (TVOD) services like Vimeo on Demand, where the rights owner can dictate the pricing, he added. After that, they should consider making the content available to Apple’s iTunes, then subscription VOD channels like Netflix, before relying on ad-funded YouTube. In addition to generating income from TVOD, Buenos Aires-based Fav! Network licenses its content to other online companies and telecoms operators using content as value-added services, said Alejandro Burato, Fav!’s CEO. In a business where viewers are overwhelmed by the endless quantity of content on the internet, US-based streaming platform Pluto TV schedules programmes the way traditional free-to-air networks do. “Linear is still important for discovering content on the overcrowded internet,” said Farid Ben Amor, Pluto TV’s director, business development.
Experts and newcomers meet face to face DELEGATES attending the Scripted Formats Matchmaking session were impressed by the networking opportunities it offered. The matchmaking gathering, which followed a panel debate on Scripted Formats, Drama Glocalisation, was designed to offer face to face meetings between newcomers and established players. It saw producers from leading media groups such as Endemol Shine Turkey, South Korea’s CJ E&M, Korean broadcaster SBS and Israel-based Keshet International share their experiences of how to extend local scripted shows globally. At the session, Canada-based production company Meospect
Media sought advice for the international sale of Call Me Oscar, a four-part half-hour comedy series about a newly wed couple in multicultural Canada and their constantly bickering families. “It’s been very important,” said Daniel Okunbo, president/executive producer at Meospect. “It gave us a chance to meet key people from the major international channels.” Vice-president/executive producer Maia Okunbo added: “If we focused on Canada only, we could not have met the world in one place and MIPTV is the biggest of its kind.” Insoon Kim, SBS’ manager of global format strategy for programme planning at the
Creative Oasis Lab, said: “This is our first time taking part in a matchmaking session. It is a great idea. Although we were
hoping to meet as many acquisitions as sales people, we already have individual meetings with buyers.”
Meospect Media’s Maia Okunbo and Daniel Okunbo: a chance to meet key people from major international channels
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NEWS MOUSELER CHARTS TRENDING SHOWS VIRGINIA Mouseler, co-founder of The Wit, is one of the most popular attractions at MIPTV. Through a series of conference sessions, she showcases some of the most interesting new programmes on the international market, using this to identify key content trends. Speaking to MIPTV News, she said one of the main themes in non-fiction programming was “survival shows — everything from crazy game shows to really tough authentic experiences. Examples would be shows like Electus’ The Raft or series involving Bear Grylls. Another trend we have seen is shows based around amazing or talented kids.” In terms of the business of non-fiction formats, “the emphasis at this market is not on outrageous shows, but on ideas that are easily adaptable like Keshet International’s Trade Up. Broadcasters are not really interested in taking risks on big entertainment shows because the established brands are continuing to work well for them. The markets which seem to be coming up with the most revolutionary ideas at the moment seem to be the UK, Holland and the Nordics — especially Sweden.” Mouseler has extended her analysis to cover drama and will deliver new insights in the Grand Auditorium at 13:15. Here she says “missing or dead children and how it affects the hero is a strong topic. We’re also seeing buyers looking everywhere for new ideas and formats. Turkish formats going to the US or German productions being picked up by US broadcasters are part of this new trend.”
Rapturous reception for hotel’s breakthrough branded content
David Beebe and Karin Timpone
ARRIOTT International was named MIPTV’s Brand Of The Year for the hotel company’s outstanding use of content in its global marketing campaigns. The award comes after the success of the Marriott International Content Studio-produced Two Bellmen, which has had over five million hits on YouTube. Now the studio has teamedup with the company’s flagship brand, Marriott Hotels to produce and release French Kiss, a romantic mystery set to premiere worldwide next month in a multiplatform, all-screens distribution strategy, including digital, cinema, in-room, online, Marriott.com, and to Marriott’s 50 million Marriott Reward members. Starring Tyler Ritter (The McCarthys) the film is a creative collaboration with noted producers and storytellers Ian Sander and Kim Moses of Sander/Moses — the team behind
popular television series such as Ghost Whisperer and Profiler. “French Kiss will propel our ‘3Cs’ strategy of producing entertaining and informative content that builds communities of people passionate about travel who will drive commerce to our company’s global portfolio of hotels,” David Beebe, vice-president, creative and content marketing at Marriott International, said. “It’s a way of humanising our brands and encouraging guests to explore the cities they are staying in.” Global marketing officer Karin Timpone sees clear similarities of intent between what Marriott’s Content Studio is doing and the larger TV industry: “Our business model is all about connecting with the audience, which is the same thing that TV producers want to do, so it’s very gratifying to be acknowledged in this way,” she said. THE UK’s Broadcast magazine honoured a group of young, talented Britsh TV executives with its International Rising Stars award at MIPTV at the Vega Luna beach. Pictured are: Chris Curtis (left), Broadcast; John Stack, Rise Films; Steph Mavropoulos, Arrow Media; Paul Routledge, Objective Productions; Katie Mokhtar, Blink Films; Simon Willgoss, Nutopia; Peter White, Broadcast; and Alex Hryniewicz, Maverick TV.
STOP PRESS NOMINATED FOR FOUR BAFTA TV AWARDS
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NOMINATED FOR TWO GOLDEN GLOBES INCLUDING BEST TV MOVIE OR MINISERIES, AND BEST ACTRESS IN A TV MOVIE OR MINISERIES – FRANCES O’CONNOR
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STARZ and related channels and service marks are the property of Starz Entertainment, LLC. Flesh & Bone © 2015 Starz Entertainment, LLC. All rights reserved. Ash vs. Evil © 2015 Starz Entertainment, LLC. All rights reserved. Black Sails © 2015 Starz Entertainment, LLC. All Rights Reserved. Power © 2015 Starz Entertainment, LLC. All Rights Reserved. EXE4178-14-K
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NEWS ZOOMIN.TV ON TARGET FOR DIGITAL SPACE ONLINE video news network Zoomin.TV will be closing the MIP Digital Fronts screening programme on Thursday, as well as taking part in MIPTV’s business incubator initiative Digital Square. With more than 171 million unique visitors per month, Zoomin.TV has offices in Brussels, Paris, Madrid, Barcelona, Dusseldorf, Hamburg, Milan, London, Toronto, New York, Miami, Montevideo and Sao Paulo. The company works with approximately 2,000 international freelance reporters, enabling the service to create 400+ two- to three-minute videos per day, making a total of over 7,000 hours of content per year, and all of it done in-house. “The clips we receive cover everything from news and current affairs to sports, extreme sports, and celebrity interviews, plus unusual and quirky stories,” Flore Deroose, Zoomin.TV’s VJ network co-ordinator, said. “We also use the footage we receive to create programmes and satirical shows, and our content is available in 70 languages and gets two billion views per month.” Zoomin.TV, which was founded in 2001 and is available on over 2,000 digital platforms, has various business models including selling clip and programme packages to hundreds of regular clients, as well as revenue sharing.
Dailymotion is making waves with WebTVAsia roll-out deal
N CONJUNCTION with MIP Digital Fronts, Prodigee Media’s Malaysia-based digital brand, WebTVAsia, has signed a multi-year partnership with global video platform Dailymotion to collaborate on a 100-channel roll-out and an exclusive co-production for the Asian market. Already a popular video platform in Europe, Dailymotion will now have a partner across Asian markets. As Asia’s leading YouTube certified multi-channel network (MCN), WebTVAsia continues to build an impressive portfolio of premium European content in addition to producing, managing, marketing and monetising the most wanted Asian video content. “We are extremely proud to be associated with WebTVAsia, the most prominent MCN and digital studio spanning the Asia-wide market,” Marc Eychenne, vicepresident of content, Dailymotion, said. “We look forward to
Prodigee Media’s CEO Fred Chong (left) and Dailymotion’s Marc Eychenne
working very closely together to set a major footprint in Asia.” WebTVAsia debuts at MIP Digital Fronts 2015 to highlight trends and digital strategic alliances across the growing online video ecosystem, with sneak peaks at how the MCN works with international partners to penetrate the growing Southeast Asian and
Chinese online market. WebTVAsia’s success stories include Youku comedy web series The Unexpected gaining 130,000 subscribers on YouTube within six months, and the viral video campaign of 2014, Little Apple, a global 200 million-view sensation dubbed as the GangnamStyle of China.
Slashtag TV creates virtual currency
The Slashtag TV team
AHEAD of the official launch of technology platform Slashtag TV in June, CEO and company founder Lenka Galinie is at MIPTV looking for content. Galinie describes Slashtag as a combination of several existing platforms, but with something
extra. “In terms of our basic operation, we combine Facebook’s social networking with the video impact of YouTube and the content recognition of Shazam,” she said of the company which is a finalist at the globally famous Red Herring Awards which take
place today in Amsterdam, previous winners of which include Twitter and Facebook. “What we have created is an ideal destination for millenials and brands, but where we are different is that we reward our users for their attention with a virtual currency that allows them to then purchase things from the brands with whom we work. And we also pay the content producers,” Galinie said of the business model. “For us it’s not just about buying series, it’s much more about forming mutually beneficial long term relationships with creative companies. But most importantly it’s about creating an environment where our users can enjoy great content, and where brands can learn about those users in order to better serve them what they want.”
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„SPOTLESS gives you drops of tenderness, leaves a smile on your face, and a feel good sensation … a complete success … carried by excellent actors“
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N O O N E IS E V E R R E A LLY CLE A N
© STUDIOCANAL TV GmbH © RYSK / CANAL+ All rights reserved. Photo credit: Stéphane Grangier
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A TANDEM PRODUCTION IN ASSOCIATION WITH CANAL+ FOR CANAL+ CREATION ORIGINALE “SPOTLESS” STARRING MARC-ANDRÉ GRONDIN, DENIS MÉNOCHET, MIRANDA RAISON AND BRENDAN COYLE CASTING DIRECTOR PRISCILLA JOHN COSTUME DESIGNER EDWARD GIBBON PRODUCTION DESIGNER EVE STEWART MUSIC BY NEIL DAVIDGE CZECH CO - PRODUCERS MATTHEW STILLMAN, DAVID MINKOWSKI PRODUCER MORITZ POLTER PRODUCED BY HUGH WARREN CO - EXECUTIVE PRODUCER CORINNE MARRINAN EXECUTIVE PRODUCERS SUZANNE BERGER, JONAS BAUER, ROLA BAUER, ED MCCARDIE CREATED BY CORINNE MARRINAN AND ED MCCARDIE
© Spotless Productions Limited. All rights reserved.
ZDF Enterprises and over 400 guests celebrate its MIPTV highlights at the ‘Sundowner’ It was a tight fit for ZDF Enterprises’ guests. The event location was filled to the rafters with industry VIPs and other crème de la crème of the media world, qualifying the Sundowner as a major market event. The firm’s special guest of honor was Norbert Himmler, the Executive VP Programs of ZDF German Television. Alexander Coridass launched the spring market with a moving welcome address as well as an entertaining sales trailer that included the firm’s thriller highlights BLOCHIN and BLUE EYES, both selected by BERLINALE 2015 for the ‘Special Series’; the factual hit and German-Polish co-production THE INVASION: THE OUTBREAK OF WWII; the outstandingly successful game of knowledge QUIZ CHAMPION; and the children’s animation CAPTAIN FLINN AND THE PIRATE DINOSAURS.
Sylvia Brucker (VP ZDFE.entertainment, ZDF Enterprises, center) with Oliver Heidemann (Head of Entertainment, ZDF), René Jann (Warner Brothers), Thorsten Haas (Strategic Development Entertainment, ZDF) and Christoph Stoll (Editor Entertainment Department, ZDF).
Herbert G. Kloiber (Managing Director of Tele Muenchen International), Regina Ziegler (Film Producer and General Manager of Ziegler Film) and Manfred Haus-Pflüger.
Norbert Himmler (Executive VP Programs of ZDF German Television), Bill Sondheim (President of Cinedigm) with ZDF Enterprises’ President and CEO Alexander Coridass.
Ale Pro Bo Ma
Telefonica’s Ismael Calleja (TV Channels Aggregation Senior Manager), Gonzalo Fernandez (Head of Latam Content Acquisitions), Eduoardo Pascual (Manager) and Juliàn Rodriguez Montero (Acquisition Director, Global Content Unit) with Sebastian Krekeler (Director ZDFE. drama, ZDF Enterprises, center).
Ba ZD Elz (A TV
Volker Lehmann, VP Acquisitions and Coproductions ZDF at ZDF Enterprises, with Steffen-Philipp Schmidt, Editor Digital Channels, RTL Television.
Ol Wa Ins
Alexander Coridass, President and CEO of ZDF Enterprises (right), with Producer Uwe Kersken, Michael Lehmann, Chairman of the Executive Board of Studio Hamburg Produktion Gruppe, and Stephan Lamby, Managing Director ECO Media TV-Produktion.
Katharina Pietzsch (Director ZDFE.junior, ZDF Enterprises, left) and Arne Lohmann (VP ZDFE.junior, ZDF Enterprises, second from right) with Nine Network Australia’s Co-Heads of Drama Jo Rooney and Andy Ryan and Gold Bee’s Managing Director Christophe Goldberger.
r), do on FE.
Barbara Pfenningsberg (Acquisitions Manager Fictional Programmes, ZDF Enterprises, center) with Martina Liskova (CEO of Foxx New Media), Elza Strapkova (Acquisition Manager, TV Markiza), Petra Bohuslavova (Acquisition Manager, TV Nova) and Peter Chalupa (Head of Acquisitions, TV Markiza).
Nikolas Huelbusch (ZDF Enterprises’ Director ZDFE.factual) with Andrea Piazza (Drama Acquisitions Executive, Mediaset), Fabrizio Battocchio (Light Entertainment Acquisitions Manager, Mediaset), Mauro Torrente (Business Development Executive, SDI Media) and Andrea Roskosch (Director ZDFE.factual, ZDF Enterprises).
Oliver Grundel (Director ZDFE.junior, ZDF Enterprises) and Viktoria Wasilewski (Digital Content Acquisitions Manager, Amazon Instant Video).
Sarah Eichenlaub (Manager ZDFE.drama, ZDF Enterprises, on the right) with TV Polska’s Eva Dabrovska.
BesTV and CMC in content New flow of US procedural deal with FremantleMedia drama delivered to Europe
R EM A N T LEM EDI A, Shanghai Media Group (SMG)’s BesTV and China Media Capital (CMC) have unveiled a joint-venture partnership at MIPTV. A Shanghaibased operation will develop formats for SMG-owned Dragon TV and BesTV in China. At the same time, it will take Chinese content to the world via FremantleMedia’s global distribution network. Cecile Frot-Coutaz, global CEO of FremantleMedia, said: “The Chinese television market is rapidly becoming one of the most important in the world. This new relationship with BesTV, SMG and CMC allows FremantleMedia to build on its existing presence in China and strengthen our ties in the territory. It brings with it the opportunity for FremantleMedia to showcase its creativity to millions of new viewers.” Li Ruigang, founding chairman of CMC added: “China’s TV sector is undergoing the most exciting
transformation, and the value of premium content is being created with unprecedented enthusiasm. CMC is delighted to team up with SMG and FremantleMedia to further shape the China TV landscape and take more of China’s original content to the world.” Wang Jianjun, president of SMG, was at MIPTV to seal the deal. “We envision BesTV to be a new media conglomerate and China’s foremost OTT service provider. It will build a new media ecosystem in which BesTV straddles content production, distribution channels, and products and services. The joint-venture will bring the best resources from all the companies together and gives a strong boost to BesTV,” she said. FremantleMedia has already forged strong relationships with a number of China’s leading broadcasters and has successfully licensed around 20 titles, including Got Talent, Idol, The X Factor, Take Me Out and Family Feud.
SMG’s Wang Jianjun and FremantleMedia’s Cecile Frot-Coutaz
Michael Edelstein, NBCUniversal International Television Production president: “tripartite collaboration”
NBCUNIVERSAL International has signed a landmark MIPTV deal to provide US procedural dramas to Germany’s RTL Television and France’s TF1. “The US has been the main source of popular procedural dramas, such as Law And Order and House, but recently they have been scarce,” said Michael Edelstein, president of NBCUniversal International Television Production, who conceived the deal. “The deal will secure a pipeline of US procedural content and
MIPTV gets first-look at 500 Questions WARNER Bros. International Television Production (WBITVP) has previewed 500 Questions at MIPTV. The new event game show from executive producer Mark Burnett and creator Mike Darnell is produced by United Artists Media Group in association with Warner Horizon Television for US network ABC. The exclusive preview event yesterday in Cannes was presented by CNN’s Richard Quest with Burnett and Darnell, marking the
international launch of the series. Quest is presenter in the upcoming US version of the show. 500 Questions sees the smartest people in the country compete to answer 500 of the most difficult general knowledge questions ever devised. There’s one rule: get three wrong in a row and you’re gone. “I couldn’t be more excited to be back in business with my close friend and colleague Mark Burnett,” Darnell said. “We have done many shows together, but one of
our best experiences was Are You Smarter Than A Fifth Grader? and ever since, we have been trying to come up with another game show that would break new ground. I think we have cracked it with 500 Questions, and with Mark and his team on board, I have no doubt this is going to be the next international game show hit.” 500 Questions is distributed
provide an enhanced bouquet of digital rights to help them monetise the content, which is better than if they were just acquiring the programmes.” Edelstein described it as a “tripartite collaboration” in which the European broadcasters will have input at the front end into concepts and scripts through a creative board, due to hold its first meeting today in Cannes. The shows will be shot in English in North America, using American crews and casts and the first series is slated to go into production in the second quarter of 2016 for delivery in the third quarter. Each season will have 12 to 14 self-contained episodes. Jorg Graf, RTL Germany’s executive vice-president for production said: “The high-value, super-serialised shows now in the international market, such as True Detective and Fargo, all failed in Germany but they love Bones. A year ago, Michael Edelstein came to us and said ‘come up with ideas’. We are very happy to have completed the first step and got all the paperwork done. Now the hard work begins.” Sophie Leveaux, head of international drama development at TF1, added: “We need big strong American shows with international casts, and this is the perfect partnership to provide them.” globally by Warner Bros. Worldwide Television Distribution, with format sales handled by WBITVP.
Mike Darnell (left) with Richard Quest and Mark Burnett
NEWS 4K COSTS FALLING ACROSS EUROPE SHOOTING in 4K is set to “become the norm” as costs continue to fall in line with those in HD, a leading producer has said. Speaking at a briefing arranged by Sony at MIPTV yesterday, David Klafkowski, joint managing director of The Farm Group, said: “We’re at the cusp of where the cost of the process of making content in 4K is getting closer to HD.” “There’s a limited amount of distribution of 4K content in Europe at the moment, but within a year or so it’s going to become the norm for content to be shot in 4K.” Also speaking at the briefing, Peter Sykes, strategic technology development manager at Sony Professional Solutions Europe, said that the use of 4K was “on the increase” in Europe, with many producers and broadcasters planning to adopt the technology in the near future. Sykes added: “A lot of this is from companies that don’t have 4K on air yet but they want to get used to it now”. The briefing came amid a busy schedule of events held by Sony during MIPTV, at the Sony 4K Ultra HD Theatre. Sony is hosting two events today to highlight the growth of 4K and its potential uses for music producers and factual TV content makers.
David Klafkowski (left), The Farm Group; NHK’s Shinichi Nagano, Sony’s Yoshiaki-Joe Nakata; and Peter Sykes, Sony Professional Solutions Europe
Kids really mean business as Junior@MIPTV gets under way
IPTV HAS a packed line-up for the second edition of Junior@MIPTV, a one-day focus on the future of kids’ entertainment taking place today. With over 1,000 kids’ programming buyers at MIPTV, the event brings together key decisionmakers to share their views and strategies on developing kids’ content and brands across multiple platforms. “Children are on the frontline in the mutation affecting traditional TV, and their viewing habits presage the TV landscape of tomorrow, as they travel back and forth across multiple digital experiences, expecting new and original content everywhere they go,” said Laurine Garaude, director of Reed MIDEM’s television division. Junior@MIPTV will outline what the expectations of today’s kids are, and explore how both linear broadcasters and online platforms can grab young viewers’ attention. MIPTV’s first Kids Public Broadcasters Breakfast kicks off the Junior@MIPTV programme this morning with some of the world’s most influential executives discussing the challenges this demographic poses to publicservice broadcasters. The Future of Kids’ TV Summit
Vlogger Meg DeAngelis
is welcoming 100 decision-makers to listen to a panel of highlevel speakers — including Malik Ducard of YouTube; Fred Seibert, the first creative director of MTV and the last president of HannaBarbera Cartoons; Paul Nunn of Outfit7 Brit; and Deirdre Brennan of ABC Australia. Conferences include The Kids’
Channels Talk and Playing The Digital Transformation. And as part of the MIP Digital Fronts programme, Awesomeness TV founder Brian Robbins and vlogger Meg DeAngelis take the stage tomorrow for the first-ever MIP Digital Screening dedicated to Kids’ programming, showcasing children’s original online video.
Peter Rhodes steps down PETER Rhodes OBE, managing director of Reed MIDEM’s London office, is stepping down at the end of May, after 31 years at the company. “During his long career with Reed MIDEM, Peter’s outstanding sales skills and industry knowledge have contributed significantly to the success of our international television, music and real estate events,” Reed MIDEM chief executive Paul Zilk said.
“We are grateful for his loyal service to our company.” Rhodes joined Reed MIDEM as sales director in 1983. He was promoted to managing director of the company’s London office in 1988. In 2007 he was made Officer of the Order of the British Empire for promoting British business interests in France. Rhodes will remain available to advise Reed MIDEM in the months following his departure.
Peter Rhodes, pictured here with John Nettles, former star of All3media’s global hit series Midsomer Murders in which Rhodes made an appearance
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NEWS Market to celebrate Turkey’s pivotal role in global content
URKEY will take centre stage at MIPCOM 2015 when it becomes the event’s Country Of Honour. The geographical crossroads be-
tween Europe and Asia, Turkey is home to a host of TV content producers successfully bridging the divide by selling local entertainment to both regions. A typical example is Magnificent
Magnificent Century (Global Agency)
Century, a period epic already sold to more than 50 countries by Istanbul-based Global Agency. In Israel it recently broke audience ratings records, according to Eurodata TV Worldwide. With its mostly young 76 million population and 21 million TV homes, Turkey’s TV sector is booming. Sales of locally made dramas to 100-plus countries generate more than $150m (€142m) in revenues annually. Digital technology has accelerated the domestic market’s growth. According to Digital TV Research, Turkey alone will represent 37% of the pay-TV homes in the MENA region by 2020. “Satellite will continue to account for most pay-TV revenues in the region, generating $3.76bn (€3.55bn) in 2020,” its report said. “Turkey will contribute the
most towards these revenues.” In response, more new distribution platforms are launching to carry local and international content. One of the most recent is Filbox, a satellite-delivered service launched by a Media Group in 2014. Filbox recently sealed a deal to carry networks offered by Discovery Networks CEEMEA. Based on their presence at MIPTV alone, Turkish broadcasters, producers and distributors are some of the international market’s biggest content suppliers. State broadcaster TRT has come to Cannes armed with drama titles like Please Don’t Go (54 x 75 mins); period epic series Resurrection Ertugrul (26 x 100 mins); and Filinta – An Ottoman Detective Story (26 x 100 mins), a period crime drama. Turkish producers are also some of the world’s most prolific format developers. Global Agency’s catalogue is full of format subgenres including talent (Stairway To Fame; It’s Showtime) and reality entertainment (The Big Challenge).
Globo expands telenovela Empire GLOBO, Bra il’s main televi-
sion network, which is celebrating 50 years of TV broadcasting since the launch of its first channel in 1965, is marking the event in suitable fashion, with the launch of its successful telenovela Empire — already licensed to 15 countries — to the European and Asian markets. From the outset Globo became one of the major producers of the daily serial dramas that are a staple of Latin American television, many of them becoming international successes. “The public seeks to engage and be moved,” said Rafael Correa Netto, executive director of international business at Globo, “and telenovelas are extremely captivating works that revolve
around classical elements of successful stories such as love, betrayal, revenge and money. “At Globo we do this in a unique way, always seeking to outdo ourselves with innovative narratives, impeccable aesthetics and charismatic actors. We offer a special product that has the power to captivate people from various cultures.” Empire tells the story of young and humble Jose Alfredo, who becomes a millionaire in the jewellery business. There are betrayals, disputes among his children to take over his home, romance and revenge. In Bra il, it was seen by more than 44 million people-a-day in its opening week and won the International Emmy for Best Telenovela in 2011.
Latin America and Portugal have been the traditional international markets for telenovelas, but audiences have been growing in new markets such as West Africa, Eastern Europe, Pakistan,
Indonesia and the Philippines. Globo will be honoured at MIPTV with the award of a MIPTV Medaille d’Honneur to Ricardo Scalamandre, Globo’s director of international business.
Telenovela Empire, launched in Europe and Asia
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Suvari brings demons to Cannes
OL LY WO OD st a r Mena Suvari is in Cannes for the international launch of eighthou r sup er nat u r a l thriller South Of Hell, distributed by Sonar Entertainment. Suvari plays Maria Abascal, a reluctant exorcist for hire in Charleston, known as ‘the most possessed city in the world’. While she wrestles with the demons of others for a living, she
is also possessed herself — by Abigail, who lives inside her and feeds on the evil that she exorcises from others. Eli Roth (Cabin Fever, Hemlock Grove, The Green Inferno) directs the premiere episode, written by Matt Lambert. Jason Blum (Paranormal Activity, Insidious) is an executive producer and his Blumhouse Television produces along with Sonar Entertainment. “I’ve been a massive fan of the
horror genre my whole life,” Suvari told MIPTV News. “I’ve particularly been a fan of the work of Jason and Eli. I’ve always been the first person in the theatre to watch their films.” Suvari’s career took off in a spectacular with the part of Angela in 1999’s American Beauty. But South Of Hell marks the longest period of time she’s spent playing one role. “I really enjoy the process of learning
about myself through acting, and South Of Hell gave me a chance to do that. I’ve never had the opportunity to be part of a show for this long. I love the family you form while working on a show.” James Manos, Jr (Dexter, The Shield, The Sopranos) is executive producer and showrunner. Gerard Bocaccio, Stewart Till, Gene Stein, Erica Motley and Roth also serve as executive producers.
Big names in a lone star state of mind
EXAS Rising, a co-production between A+E Studios, Thinkfactory and ITV Studios, had its world premiere at MIPTV in Cannes last night. Directed by Roland Joffe and featuring a star-studded cast, the epic eight-part mini-series is a blood and thunder account of the Texas Revolution, a period of history that gave rise to the legend of the Alamo. Ahead of the screening, cast members Bill Paxton, Ray Liotta and Olivier Martinez talked to MIPTV News about what drew them to the project. “As actors,
it’s rare to be in something on this scale,” said Texas-born Paxton, who plays Sam Houston, “The story and characters were great and when I learned Roland Joffe was going to helm it, that was a huge pull. For me he’s the natural successor to David Lean.” For the versatile Ray Liotta, filming a Western was a new experience but one he embraced: “As soon as I saw it was a Western, I said I’m in. Riding horses…bows and arrows…swords, it’s a fun way to make a living. And this was a great group of guys, they were a real blast.” Olivier Martinez, who plays
Mexican general Antonio Lopez de Santa Anna, said: “It was great for me, as a European actor, to be surrounded by a cast of this quality and to work with Roland. It was shot in CinemaScope, which gave the whole project the feel of a movie.” Paxton said the appeal of Westerns is “the notion of selfreliance and sacrifice, of individuals standing up for something. But this is more than a Western. The factions involved make it more like a war story.” Liotta has no doubt the story can travel internationally: “It’s a very specific story but it has a
universality about it. People everywhere can relate to the fight for freedom and the desire to protect their land.” The series was shot against the backdrop of spectacular Mexican scenery over a sixmonth period. Paxton was full of praise for “the Mexican craftsmen who built everything”. The only downside was the horses, said Liotta.“We trained on stunt horses. But the Mexican horses we filmed on weren’t used to people running towards them with swords…” Texas Rising is distributed by ITV Studios Global Entertainment.
NEWS KOCCA STAYS WITH TFP FOR FORMAT FORUM KOCCA (Korea Creative Content Agency) has renewed its contract with TFP (The Format People) to produce The Formatting Process From A – Z, a series of workshops to be staged in Seoul later this year. Led by TFP’s Michel Rodrigue and Justin Scroggie, the professional workshops are designed to support KOCCA’s creative format activities, with a focus on producing formats for a global audience. Sessions include Ideation And Development, Format Creation, Developing Formats With Directors, and Digital Basics Format Producers Need To Know. KOCCA has selected nine projects from Korean independent producers who entered its annual funding competition, and will fund the pilots; TFP then advises the shows through the development stages at the workshops. “Korea continues to be at the forefront of Asia’s format development. We look forward to helping a select group of broadcast and production executives to enhance their skills and evolve in the format business. We are bringing the best experts in the format world to Seoul for extensive training sessions and in return, we are excited to learn about the unique perspective that Korean producers have to share with the industry,” Rodrigue said. “We are pleased to welcome our television colleagues from other parts of the world to collaborate and raise the level of the formats’ business overall,” said Sung-Gak Song, KOCCA president.
KBS focuses on The Producers in global collaboration quest
OREAN broadcaster KBS is reaching out to the international market to make new connections and kick-start joint projects. Attending its 11th MIPTV, KBS is in Cannes with a host of content, including a major new series due to air in Korea next month. The show, The Producers, is a faux-reality drama depicting the behind-the-scenes life of the Korean TV industry. It features some of the country’s best-known celebrities, including romantic actor Kim Soo-Hyun and singer-songwriter IU. The Producers has already caused a major stir in Korea and further afield in Asia ahead of its launch, and KBS has chosen MIPTV to unveil the show to the international market. KBS content business director Paul Jeong said the show had el-
KBS’ Paul Jeong
ements of humour, seriousness and romance. “It’s interesting because it has been produced by our entertainment department not the drama department,” he said. “We want to meet Western producers
and distributors to talk about coproductions”. Jeong said that KBS was expanding its entertainment department, with new shows and formats suitable for Western markets due to be produced.
Three Meals A Day tops CJ E&M menu SEOUL-based CJ E&M is in Cannes with its weekend primetime reality show, Three Meals A Day, at the top of its sales roster. The hour-long show takes its two urban-living celebrity hosts to the countryside, where they try to live a slow, simple, self-sufficient life, using what materials they can find to make themselves
comfortable and, most importantly, to prepare three organic and creative meals each day. To add to the task, other celebrity guests arrive and the hosts have to prepare a meal requested by the guests. For instance, if they ask for meat, the hosts have to bargain for it from the production crew by trading hard labour in a
Jin Woo Hwang (left), head of formats; Myung Han Rhee, executive director; and Lang Lee, content analyst, of CJ E&M
sugar cane field. The programme was created by Na Young-Suk, whose previous format show, Grandpas Over Flowers — in which four older actors backpack around Europe with a younger guide — has been successfully sold to several territories, including China, France, Denmark and Sweden, with NBC producing a version in the US. CJ E&M executive director Myung Han Rhee said Three Meals A Day was available for sale both as a completed series, and as a format suitable for many territories where urban dwellers yearn for the simplicity of rural life. “After watching it, the audience has the feeling that they must go out and enjoy the countryside themselves.” The second season, now completing, has the same format in a remote fishing village, where harvesting mussels replaces cutting sugar cane.
New Series filmed in Las Vegas Presented by Jonathan Ross 13 x 60â€™ Distributed by Stand R9.A37
NEWS Rock The Park
LE Rights dreams big with multiplatform animation
OFF THE FENCE TAKES WALK IN THE PARK OFF THE Fence has acquired Rock The Park, the Emmy-nominated series currently airing on The CW Network. Produced and distributed by Litton Entertainment and Tremendous! Entertainment, Rock The Park is a half-hour series that taps into America’s love affair with its national parks. Hosts Jack Steward and Colton Smith come face-to-face with nature in some of the most awe-inspiring places on Earth. “We are really excited to add Rock The Park to our portfolio of travel and adventure programming,” Georgina Eyre, head of acquisitions, Off the Fence, said. “It takes viewers on an incredible journey to some of America’s national treasures and we expect it also to inspire viewers all over the world.”
DEAL OF THE DAY FOR RIVE GAUCHE RIVE Gauche Television has secured several pan-regional deals for documentary series The Day I Almost Died, including a multiregion deal with Discovery in the UK, France, Italy, Germany, Portugal, Benelux, CEEMEA and Latin America. Produced by Indigo Films in association with Rive Gauche, the series has also been licensed to RTL CBS Asia in a pan-regional agreement. “The international market has been eagerly awaiting the arrival of The Day I Almost Died. We are so pleased to be able to announce these license agreements at the start of the market as it is a great endorsement for the show,” said Jon Kramer, CEO, Rive Gauche Television.
The Day I Almost Died (Rive Gauche Television)
Alexandre Touret (left) and Emmanuelle Bouilhaguet
SING the second screen to push viewers towards TV is common. But how about using TV to push viewers to the web? Lagardere Entertainment Rights (LE Rights) has acquired world rights to My Dream Jobs (70 x 3 mins), a pre-school paper-toy stopmotion animation attached to a web platform and app. In the series a kid explores some fun parts of adult jobs, before a message in the closing credits drives the audience online, where users personalise the animations with photos
— so mum, dad and kid feature in the stories. Emmanuelle Bouilhaguet, managing director of Lagardere Entertainment Rights, said: “It’s going to be a little experimental. We will see what the broadcasters’ needs are and adapt the digital project to how we want to use the property on TV.” Its creator, Alexandre Touret, content and sales manager of Contentinuum, will continue to develop the online element: “We want to mash up all the audiences, all the metrics from one screen to another,” he said.
Wire Men showcases passion for invention A NEW partnership has been formed to turn a hit book covering the lives of inventors Thomas Edison and Alexander Graham Bell into a major TV series. White Pine Pictures, STV Productions and Power have entered into the collaborative project to develop the series, Wire Men, and are at MIPTV to kick off pre-sales. The series is based on the book by historian Charlotte Gray, Reluctant Genius: Alexander Graham Bell And The Passion For Invention, which charts a turbulent and formative period of invention and discovery between the bitter rivals either side of the Atlantic. The deal, signed at this year’s MIPTV, marks the first collaboration between White Pine Pictures and STV. Power will distribute. Speaking to MIPTV News, STV director of content Alan Clements said that the intrigue of the book was the struggle between Edison and Bell, which was comparable to the mod-
ern clash between Bill Gates and Steve Jobs.
Celebrating an inventive partnership: STV Productions’ Alan Clements (left); Power’s Susan Waddell; and White Pine Pictures’ Peter Raymont
He said: “It actually felt very fresh and contemporary. This was one of the most exciting periods in the history of the world; there’s so many layers to the story”.
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Walliams and Raine are primed for Agatha Christie crime series
Penthouse’s European director Nathanael Kalfa (left), Penthouse Pet Layla Sin and president Kelly Holland
PENTHOUSE BUILDS ON ITS HALF CENTURY HERITAGE THE MOVE to broadcast “completely reignited” the Penthouse brand, the company’s president told MIPTV News. Speaking ahead of a party taking place this evening to celebrate the 50th anniversary of Penthouse’s founding, president Kelly Holland said that successfully launching the brand into television had been the “jewel in the crown” for the adult entertainment company and enabled it to reach a global audience. “It was the success of broadcast that moved the Penthouse brand forward. We have big changes happening at the moment; we’re moving into bricks and mortar with a pub chain, and relaunching in the digital space,” Holland said. “A lot of this has been timed to go with the 50th celebrations. There are so many people at MIPTV that we want to thank for being part of our rebirth; we wanted to remind the industry of our legacy and history before broadcast,” she added. Penthouse was founded as an adult magazine in Britain back in 1965, since when it has expanded into a worldwide entertainment brand broadcast in HD to over 100 countries. The company’s invitation-only 50th anniversary party is at the Hotel Majestic Barriere in Cannes this evening. Penthouse Pet Layla Sin is among the celebrities who will attend the lavish Sixties-themed ‘pink carpet’ event.
HE WORD ‘delicious’ crops up a lot when discussing All3media International’s new Agatha Christie series, Partners In Crime. “A husband-and-wife detective duo is a delicious idea,” said BAFTA-winning actor David Walliams, who plays husband Tommy to Jessica Raine’s Tuppence in the re-imagining of the classic whodunit. “And it’s a delicious relationship between the two of them,” added Endor Productions’ legendary founder Hilary Bevan Jones, who is executive producing the BBC One series with Matthew Read for the BBC, Walliams, and Mathew Prichard and Hilary Strong for Agatha Christie Productions. The crime thriller’s behind-the-camera talent is as impressive as its stars. Directing the 6 x 60 mins series, set in 1952 London, is Edward Hall, at MIPTV fresh from the winner’s podium at London’s prestigious Olivier awards. “The early Fifties were a very interesting moment in history,” he said. “Bombed-out London was rising out of the rubble and the Cold War had just started. But for some reason it’s a period you rarely see on screen.” This world of change and uncertainty forms the backdrop for Tommy and Tuppence’s adventures, which take the two amateur sleuths into a tangle of murder, espionage and Soviet conspiracy. Exuberant Tuppence throws herself wholeheartedly into every escapade.
“She’s intuitive and instinctive and liable to get excited,” Raine said. “Tommy is more cautious. He’s the one who figures things out.” Walliams added: “Agatha Christie always delivers plots brilliantly. You’re never ahead of her.” All3media International’s newly appointed CEO, Steve Macallister, said that classic British detective series continued to sell well around the world — and proved the point by listing pre-sales for Partners In Crime to TV2 Norway, TV4 Sweden, RUV Iceland, DR Denmark, Sky New Zealand and ABC Australia. “And the Isle of Wight has said its interested,” Walliams quipped. “And then there’s my mum…”
Crime syndicate: Partners In Crime director Edward Hall (left), All3media International’s Steve Macallister, Endor Productions’ Hilary Bevan Jones, and actors David Walliams and Jessica Raine
Go-N’s Zip Zip secures ratings success GO-N PRODUCTIONS is in Cannes to celebrate the French animation production company’s 10-year anniversary and the successful launch of animated comedy series Zip Zip. Presented at a MIPJunior showcase last October, Zip Zip’s pilot took the second top spot
The collaborators behind Go-N Productions’ new animation Zip Zip celebrate at MIPTV. Back (left to right): Go-N’s Eric Garnet, Super RTL’s Frank Dietz and Marion Winter, France Televisions’ Pierre Siracusa and Go-N’s Anne De Galard. Front (left to right): France Televisions’ Tiphaine de Raguenel, Disney France’s Caterina Gonnelli-Linden and Super RTL’s Janine Weigold
for screening views and secured a raft of deals with Disney Channels in multiple territories. The 52 x 13 mins series tracks the wild antics of forest animals Washington the fox, Sam the wild boar and Eugenie, Sam’s little sister, as they leave the wilderness in pet-costume disguise to seek out creature comforts in the city. “We are quite a promotion for MIPJunior,” Go-N’s CEO Eric Garnet said. “Our concept was supported by France Televisions; Disney France was also interested but it was MIPJunior that kick-started the production.” German broadcaster Super RTL also participated in the funding of the series and the Zip Zip team gathered at MIPTV to celebrate successful ratings since the series launched on Super RTL on Easter Saturday. The show will arrive on France 3 next month. “We are focusing on sales in the UK and US,” Garnet said. “Hopefully ratings will build and we can start work on a second series.”
NEWS POWER RANGERS LEAD THE CHARGE FOR SABAN BRANDS SABAN Brands has arrived at MIPTV 2015 with a slate of new shows including the latest season of its long-running Power Rangers franchise. Entitled Power Rangers Dino Charge, the new series is already a top-rated show on Nickelodeon US and is set to roll-out internationally across Nick networks during 2015. Saban has also brought Popples, a high-energy comedy series based on a popular 1980s toy line and television series. The show is a Netflix Original Series for kids and will be available exclusively to all Netflix members worldwide. Other titles in the Saban line-up include Luna Petunia, a pre-school series created in partnership with Cirque du Soleil Media that will premiere in 2016; and Emojiville, a multiplatform project with Jakks Pacific, that will first launch as an original web series and then evolve into a TV series.
Fighting talk from Kay and Perabo as gritty drama comes to Cannes
RITER and director Stephen Kay (Covert Affairs, Sons Of Anarchy) and actor Piper Perabo (Coyote Ugly, Covert Affairs), arrived in Cannes to present Kay’s new scripted high-action drama series The Fight, a co-production deal between Corona Television and FremantleMedia International (FMI). The series follows two central characters – fearless conflict photographer Riley Miller and journalist Carroll Hobbs – and their electric relationship as they travel to war-torn countries, chasing the story and adrenaline. “This idea has been baking for years,” Kay said. “I wanted to make an off-beat drama that was a human story about the characters behind the lens rather than the political issues surrounding them. The people who follow conflict stories are hardwired to do it and they are very passionate. I wanted to better understand their psychology by documenting a love story in the field.”
Perabo and Kay, who married last year, fell in love during the shooting of Covert Affairs, and The Fight is inspired by their own travels together. Perabo, who stars as Riley Miller in The Fight, said: “It was very much Stephen who pushed to shoot on location, which gave Covert Affairs an inimitable style and allowed for wild, intimate acting. This is what we both want to replicate for The Fight: it has to be simple, honest and intimate.” Corona Television was keen to find an entry to the conflict journalism space and Kay’s character-led drama was the ideal opportunity. “This project has an epic and cinematic feel which fits with our filmic background — we want to create ‘must-see’ television drama with a strong international flavour,” Corona Television’s co-CEO Richard Johns said. Following FremantleMedia’s purchase of a 25% stake in Corona TV, FMI and Corona are joining forces at MIPTV to find a prebuy or a co-production deal with a group of broadcasters in order to kick-start production.
Corona Television’s co-CEOs Richard Johns (left) and Rupert Jermyn, Stephen Kay, Piper Perabo, FremantleMedia Group’s director of global drama Sarah Doole and FMI CEO Jens Richter
Formula 1 fuels Red Bull documentary
Power Rangers Dino Charge (Saban Brands)
THE YOUNGEST driver ever to challenge the Formula 1 circuit is the subject of one of Red Bull Media House’s documentaries is being showcased in Cannes this week. The behind-the-scenes documentary, Max Verstappen - The Next Generation, which follows the 17-year-old as he prepares to become the youngest F1 driver, illustrates the company’s focus on storytelling. Also on the roster, The Unrideables: Alaska Range, takes a look at the high-speed, highstakes mountain sport of speedriding. Other series include Creators Of Tomorrow, which follows social entrepreneurs who are using their talents to bring about positive change in poverty-stricken areas. One’s All, meanwhile, chronicles some of the most dangerous and adrenaline-pumping jobs on the planet. “We’ve been a first mover in sport and culture
content for the past 25 years, and we never sit still — always creating smart, technologically advanced new programming with authentic, emotional stories,” said Alexander Koppel, chief commercial officer at Red Bull Media House. “We look forward to introducing our latest offerings to potential and existing partners at MIPTV.”
Max Verstappen: preparing to make history
Twin deals spearhead CCTV’s big international sales effort
HINESE broadcaster CCTV has signed two major deals at MIPTV which will see its content launched across the Middle East and Europe. Via its business arm China International Television Corporation (CITVC), CCTV sealed agreements with Middle East Media (MEM) and EU Me-
dia Exchange at ceremonies held yesterday as part of a drive to roll-out Chinese television content to the wider world. Among the shows to be distributed by both MEM and EU Media Exchange is the Spring Festival Gala, which is broadcast on the eve of the Chinese Lunar New Year and has an estimated national audience share of 89%.
CITVC’s Tang Shiding (left), with Middle East Media’s Mohammad Yaghi
CITVC’s Tang Shiding (left) and Daniel Zimmerman from EU Media Exchange
Another show, Mr Good Man, is set to launch in Europe led by EU Media Exchange, which will collaborate with CCTV to adapt the comedy for European audiences. Representing CITVC, vice-president Tang Shiding met Daniel Zimmerman director of EU Media Exchange and MEM general manager Mohammad Yaghi to complete the deals.
Poh & Co. (SBS International)
SBS ALL SET TO DELIVER SBS INTERNATIONAL has arrived in Cannes with a number of major signings secured. The distribution arm of Australian broadcaster Special Broadcasting Service, SBS International has completed three deals delivering content to markets in Asia, North America and Europe. One of the shows, a food and lifestyle documentary called Poh & Co., is a glimpse into the life of one of the finalists from Australian MasterChef, Poh Ling Yeow, as she tries to balance her business aspirations, artistic dreams and family life. It has been taken by National Geographic’s People channel in panAsia and Europe on a pre-sale deal. Also showcased at MIPTV is a factual entertainment series, Davie Wants To Live, featuring the video diary of Australian fashion photographer David Murrell as he fights an aggressive brain tumour. The series has been pre-sold to National Geographic’s People channel in Australia and New Zealand.
GRB’s fact-based shows span globe GR B E N T E RTA I N M E N T kicked off its week in Cannes with a raft of MIPTV deals for their factual entertainment programmes. Distribution deals cov-
er most of the world and a range of broadcasters including: Wananchi Programming, sub-Saharan Africa (excluding South Africa), for Classic Gear and How
Team GRB celebrate a successful start to the week: Benn Watson (left), vice-president, international sales; Liz Levenson, director, international sales & acquisitions; Gary R Benz, president and CEO, and Mike Lolato, senior vice-president
Stuff Works; E! Entertainment Television, Australia and New Zealand, for Pregnant & Dating; Discovery Networks, CEEMEA, for King Of Thrones; Discovery (LatAm) for When Ghosts Attack, and seasons five and six of Untold Stories; Sci Fi Channel Europe, Belgium, Luxembourg, Netherlands, for Killer Legends; French-speaking Canada’s Zeste, for BBQ Pitmasters, seasons four and five; and two deals in Sweden, SVT for Pregnant & Dating and TV4, for The Wildlife Docs. “We have a diverse catalogue which appeals to many broadcasters and look forward to closing even more deals this week,” said Mike Lolato, senior vicepresident, international distribution, GRB Entertainment.
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Small World builds partnership with TNFP’s ‘bricks of gold’
A Lodging With Lions (Earth Touch)
EARTH TOUCH SIGNS DISCOVERY DEALS EARTH Touch has signed a raft of deals with factual broadcaster Discovery Networks International. The agreement will see Earth Touch content airing globally across the broadcaster’s channels. Africa’s Piranha will debut on Animal Planet through a deal with Discovery covering Africa, Scandinavia, Eastern Europe, the Middle East, China, Taiwan, India, Southeast Asia, the Pacific Rim and the UK. Reality show Lodging With Lions has been picked up by Discovery Networks Asia-Pacific, Speed Kills 2 heads to Japan, India and Taiwan, while Mega Trains has pre-sold to EMEA and Pacific Rim.
SPI FORGES AHEAD WITH 4K CONTENT SPI INTERNATIONAL has acquired nearly 100 titles from NBCUniversal for its FilmBox Premium movie channel covering the Czech Republic and Slovakia, including 47 Ronin, All Is Lost and Despicable Me 2. “4K content is one of our highest priorities,” said Berk Uziyel, executive director of SPI International and FilmBox International. SPI is making the content available through its VOD platform FilmBox Live and on the forthcoming 4K FunBox UHD channel, which will be its first linear Ultra HD TV channel. SPI is implementing a super-efficient compression technology allowing it to stream UHD content via the internet, and is producing content in 4K, starting with live fighting events.
US-BELGIAN deal will see 13 new formats from Brusselsbase d T he New Flemish Primitives (TNFP) added to distributor Small World IFT’s rapidly expanding catalogue. The deal builds on Small World and TNFP’s existing relationship, which started last year when the US distributor successfully repped sports-challenge format Eternal Glory in the UK and US. “We then dug into TNFP’s other formats and discovered several with monster shares of as high as 80%,” said Small World IFT president Tim Crescenti. “Happily [TNFP managing director] Sue Green and the three production companies that make up TNFP — Woestijnvis, De Filistijnen and deMENSEN — have been gracious enough to hand over some of their bricks of gold and give us the thrill of introducing these proven hits in the UK, the US, LatAm and Asia, excluding China.” Green said it was clear that Small World and TNFP “shared a vision, which is always a very good basis for wider co-operation”. She added: “Our own catalogue is expanding,
Small World IFT’s Luci Burnley (left), De Filistijnen’s Bruno Wyndaele, TNFP’s Jessica Van Gaever, and Small World IFT’s Tim Crescenti and Colleen Crescenti
so now really is the ideal moment to put this relationship into place.” For De Filistijnen managing director, Bruno Wyndaele, it’s not the fine print that makes a deal work, but “the love and trust between the parties”. “And there’s plenty of that going on around here,” he added. The titles included in the package
are The Cleverest Town, Viewer Of The Year, Smartest Person In The World, The Perfect Couple, May I Kiss You?, Fair Game, A Day In The Life…, The Dare, Best Friends, The Stronger Sex, Travelling With Dad, That’s My Job/Art/Dance/Urban/Sport! and Yes I Can.
Emotions riding high with the Coyle brothers BROTHERHOOD is at the heart of The Bike Diaries, the new primetime series from Vanishing Guru, the production company founded by Hollywood actor Richard Coyle — currently starring in NBC’s epic, A.D. The Bible Continues — and his producer brother Ben. Not only will the 6 x 43 mins series follow four Coyle brothers on an ambitious motorbike adventure, but their fraternal road trip will take them to destinations — Northern Ireland, Poland, Cuba, the Balkans — where conflict has ripped families and communities apart, testing and straining the bonds of brotherhood. And it is also “a journey of healing”, Richard Coyle said, following
the sudden death of another muchloved brother, David Coyle. “It will be an emotional journey,” he added. “But I feel very strongly that we owe it to the people we share this planet with to learn more about each other. So this mission is not just about our small family, but about understanding our global family and the bonds that bind us all.” The brothers are in Cannes to seek broadcast and co-production partners for The Bike Diaries, which is creating “quite a bit of buzz” in the UK, Ben Coyle said. “Discovery has already expressed an interest,” he added. “And there’s also a lot of buzz around Richard at the moment, thanks to his new NBC series, so we are harnessing that to raise awareness of the project.”
“We believe this is a show that has broad international appeal,” Richard Coyle added. “The whole world understands family. We have all loved and lost.”
Ben (left) and Richard Coyle: bikes and brotherhood
STAND : P1.B10 Contact : Tania Kertesz +1 514-572-3969 firstname.lastname@example.org
NEWS Platinum launches lab to create multiplatform concepts for kids
P Fashion Hero’s Caroline Bernier: 13 million hits on Facebook
FASHION HERO ON MIPTV CATWALK THE FASHION Hero, distributed by Looking Glass International, is a TV format that intends to redefine beauty for a new generation, bringing together real brands and real people to transform the way beauty is seen in advertising and media. “It’s all about nurturing self-esteem and empowerment,” the format’s producer Caroline Bernier, said. “We see it as much as a social movement as a TV show, and our Facebook stats bear that out. We’ve had 13 million hits since we launched our Facebook page, and we’re starting to see similar numbers on Twitter and Instagram which were launched more recently.” Contestants aged 16 to 40 enter by creating a portfolio on the Fashion Hero website, then generate as many votes from the public as they can. “The format’s uniqueness is that it is not trying to change people to look beautiful by inflicting unreasonable standards on them. Instead, it is all about helping to make people comfortable with who they are,” Nha-Uyen Chau, founder and owner of Looking Glass International, said.
LATINUM Films, the UK independent production group known for shows like Dream Street, Planet Cook and Matt Hatter Chronicles, is introducing a new multiplatform production approach to kids’ entertainment this week in Cannes. Called Platinum Think Lab, it is part of the company’s Creative Studio unit inside its headquarters at Pinewood Studios, where global box-office sensations such as the Harry Potter, Star Wars and James Bond franchises are filmed. Platinum Think Lab brings together production experts from the worlds of feature films, TV shows, book publishing, video games, toy manufacturing and mobile apps who collaborate with children to come up with concepts based on the evolving ways kids consume content. “We’re creating new programmes in a new way,” said Platinum Films CEO Nigel Stone. “We take specialists from the different media sectors, get them to collaborate with children and then we play, imagine and create.” Stone said this does not mean the end of traditional linear TV. “It will
Platinum Films’ Nigel Stone and Natalie Llewellyn: creating in a new way
always have a space in children’s appetites for consuming content.” The Lab’s launch builds on Platinum Films’ existing technology, such as the pioneering immersive viewing experience called Multivision, which enables kids to watch the 3D video game-inspired Matt Hatter Chronicles series without glasses.
By targeting an international market, Platinum Films’ head of international programming Natalie Llewellyn said the company can also take buyers’ needs into account. “You’re speaking to people who know what’s on the channels and you don’t want to find yourself second guessing them either,” Llewellyn said.
Joiz Global helps networks get social SWITZERLAND-based socialTV technology provider Joiz Global is seeking potential broadcaster partners following a recent deal with Aveco, the international broadcast systems service provider. Aveco’s technology enables traditional terrestrial networks to plan, monitor and organise what viewers see on screen, from when programmes are scheduled to when commercials are inserted and when network trailers are aired. By incorporating the Joiz Global software, hundreds of Aveco’s traditional broadcaster clients will be able to offer interactive content that enables viewers to contribute to the shows via smartphones, tablets and smart TV sets in real time.
“Any broadcaster that already uses Aveco’s technology will automatically be able to offer social TV either for specific shows or whole channels,” said Alexander Mazzara, Joiz Group’s cofounder/CEO. The ability of social-TV software to collect relevant data from users as they interact with the shows will allow the networks to monetise the content more effectively. To illustrate what is possible, Mazzara cited the recent partnership formed with German media conglomerate M DuMont Schauberg, which owns newspapers and operates regional terrestrial TV channel Koln.tv. The move turned Koln.tv into Germany’s first inter-
active regional TV network. Joiz Global also operates joiz, the social-TV network aimed at millennials and currently in about 35 million homes in Switzerland and Germany.
Joiz Global’s Alexander Mazzara: enabling viewers to contribute to shows
Bond writers turn to TV
ID GENTLE Films, the independent production company founded by drama producer Sally Woodward Gentle, is working with James Bond writing team Neal Purvis and Robert Wade on an adaptation of Len Deighton’s novel SS-GB, for BBC One. Based on the premise that the Germans won the Battle of Britain, SS-GB takes place in a Nazi-occupied London where British Scotland Yard murder detective Douglas Archer works under the SS. The series poses the question: ‘What would you do if faced with the choice of collaboration, or joining a violent resistance?’. Best known for their scripts for the 007 movies — including Skyfall, the most successful of all the Bond movies — this marks Purvis and Wade’s television debut. And they believe the medium is right for the story. “When you’re talking about what the people of Britain might have had to face, the fact that they
will be watching this in their living rooms feels right,” Wade told MIPTV News. “The idea is to make you look around and think what you would have done.” He said that the members of the resistance don’t come across as out-and-out heroes in Deighton’s book. “They’re having to do very ruthless things. What’s clever about what Len has done is that he’s put at the centre of the story a man who’s caught between the Germans and the resistance. He has a life, a son to protect, he’s a widower and a high-ranking officer who happens to be working under the SS and his dilemma is, ‘Should I let murderers get away with murder just because we’re occupied by Germans, or do I try and uphold the law as it’s all we’ve got?’. It’s a very interesting story,” Wade said, “and something people can relate to.” Wade and Purvis were fans of Deighton’s 1978 novel long before they were approached
by Woodward Gentle to work on the project, and when they finally met the author they discovered that they had a lot in common. “It was really an honour to meet him and talk,” Wade said. “And we have common ground, because he wrote a draft for [1963 Bond movie] From Russia With Love and was heavily involved in what became Never Say Never Again. He knew Ian Fleming and Harry Saltzman and he’s been a producer himself.” Woodward Gentle said of SS-GB: “I set up Sid Gentle Films so that I could work on projects I felt truly passionate about with some of the best creative talent in the industry. SS-GB is a shining example of that — with worldrenowned writers working on an iconic title. It’s hugely exciting to have such quality on board for our very first commission.” Woodward Gentle and Lee Morris are executive producers on SS-GB for Sid Gentle Films and Lucy Richer for the BBC. The series is due to begin production next year.
NEWS Bakayoko predicts bright future for African mobile
CCORDING to Ahmadou Bakayoko of Ivory Coast’s RTI Group, Africa could become a hotbed for new trends in media consumption. In particular, he highlighted mobile consumption as a big theme. “There are more people using mobile for financial transactions than bank accounts in Africa, which means mobile has the ability to leapfrog other
RTI Group’s Ahmadou Bakayoko
Germany opens for business
HE GERMAN Pavilion is making its debut at MIPTV, bringing with it the promise of a broader representation of German companies at the market. Organised by Reed MIDEM German agents Runze & Casper, the Pavilion is open to any German company wishing to have a presence at MIPTV. Previously, attendance was limited to members of German Films planning to sell their products internationally. German Films is supporting the Pavilion, but has stepped down its involvement. Housed in the 2015 Pavilion are: WDR Media Group, Germany’s largest public regional broadcaster; Spiegel TV, the TV arm of the news magazine; Sola-
technologies,” he said. “That’s why we’re strong on mobile. What happened in financial services could also happen in audiovisual and advertising markets.” He spoke to MIPTV News ahead of RTI’s conference this afternoon: Ivory Coast: The New Frontier For Business Development In The African And Global Media Landscape (Auditorium J, 1700). Though a long time attendee at MIP, RTI, which runs two TV channels, is both selling and seeking out co-production for the first time. “We are looking to buy content from outside, but the bigger opportunity is for people to come with us and develop something that’s more sophisticated but based on the tastes and the economics of the African market,” he said. The Ivorian minister of communication will be speaking at the conference: “It’s a sign that Ivory Coast wants to be one of the big hubs in Africa. People think of South Africa and Nigeria as places for Anglophone content, but we believe we are the best placed to become the leader of Francophone content in Africa,” Bakayoko said.
Runze & Kasper’s Marc Wessel: “We’re looking to expand”
Market debut for Taiwanese firms with global ambitions TWO TAIWANESE channel
providers are making their first trip to MIPTV. Udn tv was established in 201 , an affiliate enterprise to United Daily News, one of the four major newspaper publishing companies in Taiwan. In Cannes to boost its
Media, a boutique kids film distributor; Arri World Sales, a film distributor linked to the camera company; Your Family Entertainment, a kids-focused sales, licensing and production house; distributor ohm:tv; and the German Documentary Association. Marc Wessel of Runze & Kasper said there was great demand for the support that the Pavilion offers, and that in the first morning of the show five companies had approached him about participating in future. “We’re looking to expand,” he said. “We’d like to have a bigger German presence at MIPTV and MIPCOM, and invite especially small and medium sized companies to join us, as they usually lack the funds to have their own stands.”
schedules, the news channel is looking at various genres. “Udn tv would be interested in acquiring high-end programmes in lifestyle, music, science, green, travel, food, fashion... any category you can name,” said udn tv representative Kai-in Chang.
“In addition, udn tv is selling its own programmes about Taiwanese food, music, architecture, art and culture, and we welcome collaboration proposals and content exchange.” Cable and satellite TV network Sanlih E-Television is here promote its international activities, said assistant manager Yunchen Lin. “The Sanlih E-Television family provides five channels that cover the market: Sanlih Taiwan Channel, which pro-
vides local themed programming; Sanlih City Channel, which provides international entertainment news and pop culture; Sanlih News Channel, which provides 24-hour news; Sanlih Finance Channel, which provides financial news, stock market information and analysis; and Sanlih International Channel, which offers programming for the global Chinese audience,” Lin said.
PRODUCT NEWS DORI MEDIA GROUP
ON THE MIPTV slate for Dori Media is game show 300 Second Ride, in which the team rides on a moving platform while they answer questions. Other game shows include: The Selfie Challenge in which two teams compete by swiftly replicating selfies they receive, even if it involves strangers; streetbased trivia game show Famous Face; and The Money Pump, in which contestants try to avoid the money pump from sucking their potential winnings away. A Good Family (12 x 30 mins) is a family drama, and Little Mom (25 x 30 mins) and Driving Me Crazy (11 x 30 mins) are scripted comedies. Reality format Power Couple features eight couples in one house who face challenges to see how well they know each other.
RETAIL expert Mary Portas returns for a new season of Secret Shopper (4 x 60 mins), brought to MIPTV by the UK’s Optomen. Porter aims to transform failing stores by giving owners tough advice. The series features secret shoppers and footage to capture every mistake and comedy moment.
Secret Shopper (Optomen International)
NEW CGI pre-school series Tutu (104 x 7 mins) is in production by Spain’s NPO SALES Ficcion Producciones and DUTCH distributor NPO Sales returns to MIPTV with an extensive slate, brought to Cannes by including: Our Man In Tehran (4 x 45 mins), following the life of Thomas London’s Media I.M.. The Erdbrink, Iran bureau chief of The New York Times; In My Britain (5 x 43 stories feature Tutu the mins), featuring former mayor of London Ken Livingstone; Plaza Man (1 x 59 kangaroo and his flea mins), about the Zapruder film that witnesses John Kennedy’s assassination; friend Nina. Tutu has no Alice Cares (1 x 54 mins/75 mins), about an experiment with a robot carer; legs but with the help of a and youth dramas Giovanni And The Water Ballet (1 x 17 mins), about scooter he is mobile and synchronised swimming, and Anything Goes (1 x 22 mins) about a boy’s ready to face new dream of taking part in carnivals. challenges and solve problems. The storylines are aimed at showing how any setback can be overcome, and that no matter what differences we have, we can accept each other. 300 Second Ride (Dori Media Group)
Tutu (Media I.M.)
NOVOVISION, supplier of comic non-dialogue clips, is at MIPTV with its latest hidden-camera show Prank My Pet (26 x 22 mins). The new French production has already sold into Cambodia, China, Korea, and Vietnam. The animal-themed series joins a catalogue that includes Crazy Hidden Camera, Mad Boys Hidden Camera, Junior Hidden Camera, Gagsters, Crazy Xmas and Yalla Nadhak!. Our Man In Tehran (NPO Sales)
PRODUCT NEWS COMERCIAL TV
NEW SPORTS documentary FC Barcelona - Passion & Business (1 x 50 mins) is brought to MIPTV by Spain’s Comercial TV. The programme explores one of the biggest football clubs in the world, portraying the passion of their worldwide fans and the business behind the brand.
NEW BELGIAN producer De Wereldvrede presents dramedy series The Natives (Bevergem) at MIPTV, which evolved from characters created by the chosen actors. In the show, stand-up comedian Freddy De Vadder moves to a village where he finds grotesque residents in anticipation of the yearly town festival. The Natives (8 x 45 mins) will broadcast on Belgian National Television’s Flemish channel Canvas later this year.
MADRID-based Boomerang brings three new releases to MIPTV. Acacias 38 is a soap opera set in 1899 that depicts the crossed lives of four bourgeoisie families and their servants. Our Guys is a mini-series offering adventure and romance in a story about an elite army unit on a mission to rescue two children held hostage in Mali. From the entertainment slate comes Out Of Class, in which aspects of life are seen through the eyes of children in their own words.
The Natives (De Wereldvrede)
Acacias 38 (Boomerang TV)
FC Barcelona - Passion & Business (Comercial TV)
FORMAT Black Sheep helps ordinary people search for details of their ancestors to find out if a family legend is true, revealing interesting moments in history along the way. Each episode is stand-alone and with the help of experts each contributor attempts to profile a family character who was considered the black sheep. For instance, in the original version from Ireland’s RTE a builder finds out if his ancestor really did go to Rome with the intention of converting Pope Alexander VII from Catholicism to Protestantism.
SENDOKAI Champions (52 x 12 mins) is brought to MIPTV by Spain’s Nottingham Forest. The action animation series is coproduced by Kotoc, TVE and Planeta Junior, and has sold to more than 130 countries. A recent deal will see the first branded playing cards in Spanish and Portuguese stores.
Sendokai Champions (Nottingham Forest)
YOMIURI TV (YTV) ENTERTAINMENT ONE TELEVISION (EONE)
TORONTO-based eOne highlights a slate of new factual and scripted series as well as returning series at MIPTV. Hindsight, renewed for a second series, is a dramedy that follows Becca (Laura Ramsey), a once-divorced woman on the eve of her second wedding. After reminiscing about her past, Becca is transported back to 1995 on the morning of her first wedding. New horror series based on real events, The Enfield Haunting, is a threepart supernatural drama, starring Timothy Spall and Matthew Macfadyen. The Making Of The Mob: New York chronicles the roots of the original five families that led to the formation of the American mafia, using experts and reenactments. The Great Barrier Reef is a natural history series with David Attenborough.
LOVE:Redux is a romantic drama featuring Haru and Ryuichiro who marry 17 months after their first chance encounter. The marriage falters and the couple divorce. Despite this they still go out for romantic dinners, indulge in karaoke duets and even act as matchmakers, trying to set each other up on dates. Was divorce the right decision? Should marriage be on the cards again?
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PRODUCT NEWS BBC WORLDWIDE (BBCWW)
CREATED by writer Jimmy McGovern, Banished is based on the inhabitants of the first penal colony in Sydney. The seven-part series is the first local co-commission for BBC First in Australia, and is brought to MIPTV by BBCWW. Other top priorities include: SS-GB, the story of detective Douglas Archer in a thriller set against a Nazi-occupied London in 1941, adapted from a Len Deighton novel; Wolf Hall, adapted from Hilary Mantel’s novels and starring Damian Lewis and Mark Rylance; Critical, a real-time medical drama; The Interceptor; and Orphan Black. The natural history slate includes The Hunt, exploring the world of predators; Atlantic, telling the stories of people and wildlife whose lives are shaped by the rhythm of the Atlantic Ocean; and Shark. New to BBCWW’s kids’ catalogue is Nelly & Nora (52 x 7 mins), about two sisters who spend their holidays and weekends with their parents at the family’s mobile home by the sea.
KESHET INTERNATIONAL (KI)
THERE are two format launches prioritised by Israel’s Keshet at MIPTV. Trivia game show Trade Up features two families who compete to win their dream car. Whichever family wins the quiz then tries to win the car, and they can then choose to trade up to the next one. KI also brings comedy series Imported (9 x 26 mins), following an Israeli footballer who when chosen by Chelsea Football Club thinks all his dreams have come true. In the UK with his outrageous family, things are very different from what he imagined.
UK KIDS TV and learning platform for pre-schoolers, Hopster, has launched across Asia, Africa and Europe. Alongside over 600 episodes of pre-school content, Hopster carries a suite of games built on multiple international curricula that are designed to be educational and stimulating. 280_PALATIN_N2_TV
Trade Up (Keshet International)
A HALF HOUR NETFLIX SERIES
PRODUCT NEWS AARDMAN
AARDMAN is distributing pre-school series Wussywat (52 x 5 mins) at MIPTV. Co-produced by Baby Cow Productions, Bigfatstudio and Smiley Guy Studios, the 2D series launches on the UK’s CBeebies. Wussywat follows the slapstick antics of a curious cat who discovers interesting things as he explores the garden with his friends.
271_GRUPPA_N2_TV Wussywat (Aardman)
CELESTIAL TIGER ENTERTAINMENT (CTE)
HONG KONG-based channel operator CTE highlights its first original production at MIPTV. The reality series called R U Tough Enough? (RUTE) is in production to air on CTE’s channel KIX HD (and KIX) later this year. The series is based on a competition to find Malaysia’s toughest contender which KIX HD launched in 2014. Hosting RUTE is Malaysian film and TV actor Aaron Aziz.
R U Tough Enough? (CTE)
TWO TITLES are prioritised by the UK’s Argonon International at MIPTV. A second season of Eve has been re-commissioned by children’s channel CBBC, where it premiered in January. The series, starring Poppy Lee Friar and Jane Asher, follows a female sentient robot living in suburbia and trying to make sense of human life as a teenager. The company also brings The Dreamhouse, a six-part series in which three young adults with intellectual disabilities move into a new home for 10 weeks. Experiencing life away from parents and learning to live more independently is a dream for them all. And if it works out, they hope to stay on.
080V2_DOGTV_N1_TV Eve (Argonon International)
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PRODUCT NEWS 100% DISTRIBUTION
POLITICAL feature film The Activist is set during the Native American protest at Wounded Knee in 1973. Two activists are in custody in a sheriff’s office, where they meet a Nixon advisor, a lawyer, a senator and a movie star. Underground Time, based on a book by Delphine de Vigan, is a romance based in Paris. The French distributor also brings two 20 x 26 mins comedies. In America follows brothers-in-law who are unable to get along, but have to travel from New York to Vegas in season one, and then in Brazil in season two. Officebased comedy Quebecer Undercovers features a young Quebecoise who settles in Paris, to be confronted with a mentally unstable roommate and a boss who vows a deep hatred for all Quebecois.
PRODUCED by Method Animation and Morgen Studios and commissioned by France Televisions, animation series Super 4 (52 x 11 mins) is brought to MIPTV by PGS Entertainment. Aimed at kids aged five to nine, the stories feature the adventures of characters based on the Playmobil brand who travel around five islands. PGS has offices in Paris and Hong Kong.
Super 4 (PGS Entertainment)
SOMOS DISTRIBUTION The Activist (100% Distribution)
ENDEMOL SHINE GROUP
NEWLY launched producer and distributor, Endemol Shine Group, which brings together Endemol, Shine and Core Media is highlighting its format slate at MIPTV, including MasterChef, Junior MasterChef, Big Brother, Pointless, The Biggest Loser, Your Face Sounds Familiar and The Island. Making its international debut in Cannes is Bullseye, where teams become human darts and could find themselves acting as a human slingshot or jumping between speedboats for a cash prize. Also launching is Stripped, which challenges people to live for 30 days without any possessions. Scripted format highlights include Broadchurch and The Bridge, and international titles include The Orpheus Project, a supernatural medical drama from Israel and No Identity, from Spain, about a lawyer led into a network of theft, extortion and trafficking as she searches for her true origins.
MasterChef (Endemol Shine Group)
LAGARDERE ENTERTAINMENT RIGHTS (LE RIGHTS)
LE RIGHTS launches Irish thriller An Bronntanas (2 x 80 mins) at MIPTV. Billed as a Celtic noir, the mini-series stars John Finn, Dara Devaney and Owen McDonnell, and begins on a stormy night when a lifeboat crew discovers a million euros worth of drugs. The French distributor also brings documentary series The New Explorers, shot in 4K/ UHD, which follows an expedition that takes in the beautiful wilderness of French Polynesia, the Arctic, India and Southern Africa; and Life At The Zoo (12 x 26 mins), a behind-the-scenes look at Pairi Daiza zoo in Belgium.
An Bronntanas (LE Rights)
ON THE MIPTV slate from Miami-based Somos are: youth telenovela 11-11 En Mi Cuadra Nada Cuadra (75 x 45 mins), featuring 14-year-old Kike who has a passion for technology. After he moves into apartment 11-B in Building 11.11, whenever he falls asleep he comes to life as Enrique, a 20-yearold version of himself; and Milagros (20 x 60 mins), a drama series from Ecuador that features different stories of how people use their faith to face challenges.
WRITTEN By Mrs Bach (1 x 60 mins) explores the story of Bach masterpieces that were re-attributed to other composers. However, Australian Prof Martin Jarvis supplies evidence advocating the maestro’s second wife, Anna Magdalena, as a serious contender for recognition. The documentary is brought to Cannes by Germany’s Looks Distribution.
Written By Mrs Bach (Looks Distribution)
PRODUCT NEWS HAT TRICK INTERNATIONAL
LOOKING GLASS INTERNATIONAL
HAT TRICK International debuts Keo Films’ Tom Felton Meets The Superfans at MIPTV, which follows Tom Felton, who played Malfoy in the Harry Potter films, as he dissects the relationships between the famous and their followers, from Wizard World to the streets of New York and Comic Con. Other titles on the slate include: I Bought My Own Rainforest (3 x 60 mins), about a wildlife photographer who buys 100 acres of the Peruvian Amazon; and Skint (4 x 60 mins), which tells stories about how people survive without work.
Tom Felton Meets The Superfans (Hat Trick International)
RESTAURANT Australia (3 x 60 mins), follows chefs Neil Perry, Ben Shewry and Peter Gilmore on a culinary journey across Australia as they source the finest local produce, culminating in an extraordinary meal for 250 of the world’s toughest food critics in the Museum of Old and New Art (MONA) in Tasmania. Australia’s Looking Glass holds worldwide rights and debuts the show at MIPTV.
TOPPING the slate for Montreal-based Media Ranch at MIPTV is Too Cool For School? (6 x 60 mins), featuring nine teens facing academic failure who embark on a three-month life makeover. Each week, a psychologist, fitness trainer, medical doctor, nutritionist and remedial educator aim to give the teens the necessary tools to achieve scholastic success. The show is also available as a format.
Restaurant Australia (Looking Glass International)
Too Cool For School? (Media Ranch)
MADE in 3D/HD, Filly Funtasia (26 x 30 mins), brought to MIPTV by Spain’s BRB, follows the adventures of a group of Fillys — unicorns, elves, fairies, princesses and witches — at the Royal Academy of Magic in Funtasia. As well as the classroom challenges and friendships, there are bad influences — the magician Wranglum and his assistant Battiwiggs. Produced by Dracco, the Filly stories are based on collectible toys.
Penn & Teller: Fool Us (DCD Rights)
Filly Funtasia (BRB Internacional)
CANADIAN food and lifestyle channel Gusto TV brings A Is For Apple (30 x 30 mins/90 x 2 mins webisodes) to MIPTV, a fast-paced cooking show with a twist. In each episode the young chefs are challenged to cook with two ingredients that start with the same letter of the alphabet, for instance apples and anchovies or bacon and bananas. At the end of the show the chef has to create a recipe that includes both ingredients. The show is available in HD and 4K.
A Is For Apple (Gusto TV)
UK-BASED distributor DCD Rights launches the US version of Penn & Teller: Fool Us (13 x 60 mins) at MIPTV. Commissioned by The CW and produced by 117 Productions and September Films, the show challenges magicians to perform their most mystifying tricks in front of Penn & Teller. Each episode — filmed in Las Vegas — features four magicians who test the duo to see if they can work out how the trick was performed. Delivery is due in June this year.
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PRODUCT NEWS PLATINUM FILMS
THE UK’s Platinum Films returns to MIPTV with its boy-skewed adventure series Matt Hatter Chronicles. A recent deal sees French licensing agent TF1 Licences exploring licensing partners for a product roll-out over the coming year. The show is broadcast on Lagardere Active’s pay and free-to-air children’s channels, Canal J and Gulli. Master toy partner Smoby France will launch the Matt Hatter toy range later this year.
SCHEDULED to be aired on France 2 by the end of the year, Call My Agent! (6 x 52 mins) features a group of fictional talent agents striving to get contracts for prestigious clients like Cecile de France, Jeanne Moreau and other top actors who make guest-star appearances as themselves. The French distributor also brings Vanished By The Lake (6 x 52 mins), a crime drama about Lise, who hasn’t returned to home since a tragedy that shattered her teens. Now an urban homicide detective, she is back to care for her Alzheimer’safflicted mother. But the day she arrives, a neighbour’s teenage daughter goes missing, under the same circumstances as Lise’s two best friends, fifteen years ago.
TWO 4K documentaries head up the MIPTV roster for Spain’s Medina Media. Flamenco Passion (13 x 50 mins) aims to make the viewer feel close to all the drama and passion of the performances as well as capturing the spirit of some of the emblematic cities in the south of Spain. The Sea Chef (13 x 50 mins) is a series that features a chef, with two Michelin stars, as he travels the coastline of Spain fishing and learning the best way to prepare the catch. The footage includes aerial and underwater scenes.
Call My Agent! (TF1 International)
Flamenco Passion (Medina Media)
Matt Hatter Chronicles (Platinum Films)
PARIS-based distributor Xilam is introducing three new series at MIPTV. Season two of Zig & Sharko (seasons one and two: 52 x 30 mins/156 x 7 mins) is set on a desert island where a starving hyena has one obsession, to eat the mermaid. In this season his dream might come true as she has set up house on the beach. The only problem is that her bodyguard, the shark, is also there. Paprika (26 x 30/ 78 x 7 mins), aimed at kids four to six, stars Stan and Oliver, who with a little help from their friends, have a special knack for turning problems into solutions. Season two of A Kind Of Magic (seasons one and two: 52 x 30 mins), is the story of characters who move from Fairyland to settle in the real world — for which they are unprepared.
Zig & Sharko (Xilam)
Water: Reflections (HG Distribution)
DOCUMENTARIES brought to MIPTV by Montreal-based HG include: Water: Reflections (1 x 45 mins), which explores influence of water on humans and the planet; The Roots Remain (1 x 52 mins/76 mins), about a French-Canadian graffiti artist who traces his Khmer roots; and frank adult special 10 Degrees Of Sex (1 x 52 mins). The company also brings youth web series No More Parents (10 x 4 mins) and sci-fi film Project M (1 x 98 mins), about four astronauts who discover the potential for life on one of Jupiter’s moons.
Palais des Festivals, Cannes - France 13 -16 April 2015 miptv.com
Bag and Guide Distribution (Outside structure, between the Palais des Festivals & Riviera buildings) Pick up a MIPTV Guide at any time during the show by presenting your badge.
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PRODUCT NEWS Bringing Up Bates (Cineflix Rights)
FICCION Producciones attends MIPTV with three new television projects. The company, from Galicia in Spain, highlights TV movie The Stolen Codex, which is based on the real story of the theft of the Codex Calixtinus, a 12th-century manuscript. Royal Hospital is a historical drama mixing love, mystery and melodrama, set in 18th-century Santiago, in a time of economic crisis and the spread of liberal ideas from the French Revolution. The third priority is Tutu, an animation series for kids with an emphasis on facing challenges with effort, intelligence and joy. CINEFLIX RIGHTS
MIPTV is the international launch market for Bringing Up Bates (seasons one and two: 34 x 30 mins), brought to Cannes by the UK’s Cineflix Rights. The reality series profiles the chaotic daily life of Tennesseean couple Gil and Kelly Jo Bates and their family of 19 kids, aged from two to 25. At Your Service (seasons one to three: 24 x 30 mins) follows hotel experts and brothers, Francis and John Brennan, as they give business makeovers to distressed hospitality establishments across Ireland.
The Most Beautiful Woman (FremantleMedia)
FRANCE-based media service company Arkena returns to MIPTV to introduce OTT offers for branded screening services, including live, catch-up, subscription VOD and transactional VOD. Formerly known as SmartJog, the company continues to focus on its Cloud4Media services providing private networks for file storage in the cloud, file format transformation, asset management and file deliveries worldwide. PASSION DISTRIBUTION
HEADING the FremantleMedia format line-up for MIPTV is The Most Beautiful Woman, which launched on RTL Television in Germany. The series invites women of all ages and backgrounds to take part in a national competition. 20 contestants take part in challenges designed to bring out their confidence, self-esteem and inner beauty. Also on the slate are: Chef On The Block, in which chefs visit each other’s restaurants and score the food, decor and overall service; 10 Questions You Wouldn’t Ask On A First Date, a dating show, filmed on location, where each blind-date couple can win money by answering questions correctly about each other; The Trade Off, in which two professionals swap jobs and salaries for two weeks; Dogs: Their Secret Lives, combining surveillance, expert advice and experiments; game show Cash Or Splash, where contestants compete for prizes by answering questions and completing physical challenges to avoid an icy pool of water; and Extreme Love, a new dating format that challenges a group of men to prove their survival skills in order to win the hand of their princess.
LONDON-based Passion showcases a slate of programming at MIPTV across various genres, including: Brainstormers (8 x 60 mins), from the producer of Pawn Stars and Hoarders, about a group of Colorado-based, backyard geniuses building and testing inventions that fight bad weather and harness power for everyday use; Animal Storm Squad (6 x 60 mins), about animals displaced by storms; Dara O’ Briain Meets Stephen Hawking (1 x 60 mins); new format Idiotest, based on an app game; Quiz Nights, a format that includes a home audience; World’s Worst Driver; new entertainment series ...Make You Laugh Out Loud (7 x 60 mins), a user-generated clip format that includes Cats Make You Laugh Out Loud; Strange Medicine (12 x 30 mins), about exotic medicines and cures; and Avec Eric (12 x 30), about chef Eric Ripert.
Brainstormers (Passion Distribution)
A R LT U D H 4K
THE GREY AND THE RED SECRETS OF SQUIRRELS 1 x 52 min. I 4K
Fo r more documentari e s se e co nte nt s a l e s .ORF. at
WILDLIFE I NATURE I SCIENCE I HISTORY ORF-Enterprise GmbH & Co KG, Content Sales International Wuerzburggasse 20,1136 Vienna, AUSTRIA E-Mail: email@example.com A Subsidiary of the Austrian Broadcasting Corporation
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DOGTV develops content specifically designed for the eyes and ears of dogs, featuring programming split into three categories — relaxation, stimulation and exposure, aiming to ease the anxiety dogs experience when home alone or traveling. DogTV’s content is now available in France on the Orange France network, Portugal on NOS and Animal Planet Germany in a Saturdaymorning block.
Babushka (Armoza Formats)
BABUSHKA, developed in partnership with Ryan Seacrest Productions and TF1, is a game show in which contestants are presented with 10 giant Russian babushka dolls and must open eight of them for the chance to win a cash prize. If the babushka is empty they lose whatever money they have accumulated and if there is a smaller doll inside they continue. Other formats from the Israeli company include I Can Do That! (1 x 90/120 mins), which has been commissioned by US broadcaster NBC, and Azteca in Mexico. From the scripted slate comes comedy Honey Badgers, about four best friends from a small town who fake their names, their speech and their style to get jobs at one of the world’s top financial firms.
40 HOURS of new programming is brought to Cannes by France’s Terranoa, including; documentary Freedom, An Eagle Takes Flight, which follows an eagle’s journey; pop science series Superpowers: Boosting Our Senses (5 x 52 mins), which compares super heroes’ superpowers with the promises of tomorrow’s science; and Moon: The Story Of The Earth (1 x 82 mins/2 x 52 mins), which has pre-sold in 10 territories.
TITLES heading up the MIPTV roster for Orange Smarty include the new six-part travel series African Motorcycle Diaries, as well as three new series of Channel 4 show A Place In The Sun. In addition Orange Smarty represents the back catalogue of the latter show. The British distributor is also highlighting a number of one-off programmes including: Online and Lying from Knickerbockerglory; 40 Year Old Virgins from Zig Zag Productions; and Curing Cancer, Looking After Mum, Growing Up Poor and No Place to Call Home from True Visions. Arts titles include Hermitage Revealed, Madam And The Dying Swan and the second season of Exhibition On Screen. ATTRACTION DISTRIBUTION
DARK crime series Coppers features Liese, a nononsense head of the police homicide division. The character is based on a series of best-selling books by Toni Coppers. Montreal-based Attraction also offers a range of family films, further drama series and light entertainment formats.
OMNIFILM Entertainment headlines its MIPTV slate with the 12 x 30 mins documentary series Jade Fever, about a remote highway stop in northern British Columbia run by a couple who mine a jade claim, employing most of the people in town. Drama highlights include Blood Magick, a one-hour supernatural drama series based on the bestselling book series by Nora Roberts.
Freedom, An Eagle Takes Flights (Terranoa)
SAMURAI Warrior Queens (1 x 52mins/HD) is the latest docudrama from UK-based Urban Canyons. The series reveals the history of female Samurai through the real-life story of Takeko Nakano who in 1868 formed an allfemale fighting unit to defend her clan’s independence. The docu-drama includes Japanese, UK and US historians and a female martial arts grandmaster from Osaka. Coppers (Attraction Distribution)
Jade Fever (Omnifilm Entertainment)
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PRODUCT NEWS DISCOVERY PROGRAM SALES
US DISTRIBUTOR Discovery Program Sales highlights a range of programming from its schedules, including: How It’s Made (series one to 12: 312 x 30 mins), a show that explores how everyday objects are made; season one and two of natural history series Life Force (12 x 60 mins), a celebration of the power of evolution; Ugly House To Lovely House (6 x 60 mins), which looks at how to transform a home in the UK for under £50,000;
Autistic Gardener (4 x 60 mins), a series that proves that a garden is where autistic personalities can be celebrated and helpful; reality show Say Yes To The Dress: Canada (series one and two: 40 x 30 mins); Building The Brand (10 x 60 mins), looking at some of the world’s best-known products; Inside Waco (1 x 60 mins); Pop Illusionist (5 x 60 mins); and Super Systems (series 1-2: 15 x 60 mins).
NEW HIGHLIGHTS from French animation producer Millimages include pre-school series Molang (104 x 3.30 mins), which was adapted from a Korean character and tells the story of the friendship between Molang the rabbit and Piu Piu the little chick. Co-produced by Canal+ and TVC Spain, the first season of 52 episodes will be completed by November this year, and the second in 2016.
DARO FILM DISTRIBUTION
MONACO-based Daro Film Distribution brings a new line-up of films to MIPTV, including the explosive new Van Damme action title Pound Of Flesh. Also on the Daro slate are sequels to the Garage Sale Mystery franchise, vampire/action crossover Nocturna and horror film Shark Island.
How It’s Made (Discovery Program Sales)
PRIME ENTERTAINMENT GROUP
PRIME Entertainment Group launches its new show Ultimate Countdown (13 x 45 mins) at MIPTV. The show ranks the most memorable moments of movie and celebrity history, including funny and exclusive anecdotes from experts. Among its first episodes are: Sexiest Movie Scenes, Most Outrageous Divas, Top Celebrity Affairs and Best Chick Flicks. Other shows on the slate include: Hollywood’s Best Film Directors, Hollywood On Set and Hollywood News.
CALIFORNIA-based Vision Films is in Cannes with documentary Breath Of Life (1 x 83 mins), a 4K film that takes a global journey to Europe, North America and Hawaii for insightful commentaries from evolutionary biologists, psychologists and cultural leaders. Dr. Richard Dawkins, Dr. Sue Blackmore, Maureen O’Hara and Dr. Bruce Hood explore humanity’s effect on nature, and what we Breath Of Life (Vision Films)
CANADA’s Guru Studio highlights kids’ series Nemesis at MIPTV, about Blade and Josh, cousins who were best friends, but are now the best of enemies and wage daily prank battles. The pilot launched on teletoon.com, in English and French versions. Nemesis is a Bell Media Fund animation project in partnership with Guru Studio and Teletoon.
Nemesis (Guru Studio)
can all do to preserve the fragile planet. The company is also prioritising Containment (1 x 90 mins), a sci-fi thriller in which neighbours in an apartment building wake to find their doors and windows sealed shut. Strangers in hazmat suits infiltrate their building and begin snatching residents. The residents soon discover the real danger is sealed inside with them.
TOON BOOM TCB MEDIA RIGHTS
TCB MEDIA Rights is at MIPTV with all seven seasons of Les Stroud’s Survivorman (59 x 60 mins), the multiple award-winning series credited with creating the survival-TV genre. Survivorman, the latest 14 x 60 mins series of which is currently airing on OLN Canada, and Discovery Channel and The Science Channel in the US, is produced, filmed, directed and hosted by Les Stroud. The company is also prioritising Wicked Inventions (30 x 30 mins), a pop science show with a history twist, looking at how everyday items are manufactured, and their unusual origins. Survivorman (TCB Media Rights)
COTE Ouest comes to MIPTV with a range of documentaries that show the many faces of Africa. Titles include Rush, a series made in Kenya about the creation of a fashion magazine, The Fabulous History Of Njinga, 16th Century Queen Of Angola, and the 3D animation Soundiata Keita, Le Reveil Du
SOFTWARE developer from Canada, Toon Boom, is at MIPTV to launch Harmony 12, the third edition of the 2D software that aims to provide the same production tools used by the world’s largest animation studios accessible to everyone. On offer is: Harmony Essentials, for simple paperless and cut-out style projects; Harmony Advanced, a professional grade version; and Harmony Premium, the most powerful and sophisticated version allowing highly organic movement. RAYDAR MEDIA
RAYDAR Media is at MIPTV with a slate of factual titles headlined by Sundog Pictures’ new BBC Three series, Reggie Yates: Extreme Russia. The new show builds on DLT Raydar’s sales success with Reggie Yates: Extreme South Africa, which was picked up by ABC Australia, NRK Norway, YLE Finland, UR Sweden and DR Denmark. With six hours of the Extreme franchise already completed, Raydar and Sundog are now in discussions about which countries will be featured next.
Lion. Cote Ouest’s portfolio also includes several documentaries that highlight Africa’s positive, winning characteristics, including: short-film series Regarding Africa, Alexandra My Alexandra, Miners Shot Down, I Love Kuduro and Divided By Race, United In War And Peace.
Regarding Africa (Cote Ouest)
Reggie Yates: Extreme Russia (Raydar Media)
KUU-KUU Harajuku (working title) is brought to MIPTV by DHX Media. Produced by Moody Street Kids and Vision Animation and executive-produced by musician Gwen Stefani, the animation series (26 x 22 mins) sees Love, Angel, Music and Baby forming HJ5, a band driven by their inspirational leader, G. The girls are super talented but every gig is interrupted by a fantasy-driven adventure. Angry aliens, politicians, invading creatures and cute monster pets have foiled concert attempts, but G and her friends never give up. As a result, the series is a collision of cultures, music,
fashion and style. The series was commissioned by Network Ten with investment funding from Film Victoria (Melbourne, Australia) and Malaysia.
Kuu-Kuu Harajuku (DHX Media)
THE MIPTV priority for Harmony is new documentary series Boomtowners (6 x 60 mins), about the oil boom that has been drawing workers to North Dakota and Montana, and chronicles the daily lives of those who live and work in the Bakken region of North Dakota, scene of hydraulic fracturing or fracking. Boomtowners is produced by Partners In Motion in association with Smithsonian Channel and Landmark Media Productions.
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TUESDAY 14 APRIL
OFFICIAL CONFERENCES & SCREENINGS
BRANDS, THE NEW PROGRAMMERS SHOW & TELL: THE NORDIC INNOVATORS
In partnership with
VIDEO IS THE NEW BLACK
09.00-10.00 | Agora
9.00-10.00 | Esterel Case Study #1 – BUY THIS! An entirely new way to do branded content ■■ Theodor
Arhio, Creative Director, TBWA\Helsinki, Finland @theodor_arhio
Speakers ■■ Andrew
Knight, Global Business Development Director, IXONOS, Finland
Sörman, Founder & CEO, SPLAY, Sweden
Raunio, Vice President, TBWA\Helsinki, Finland @JuhisRaunio
Werner, Chairman of the Board, Flow Network,
Sweden Juha-Matti Raunio
Case study #2 – KOTEX by Shaftesbury
Moderator ■■ Maria
Jennings, Chairman & CEO, Shaftesbury, Smokebomb Entertainment & shift2, Canada @CJShaftesbury
Borelius, Partner, Living Waters, UK
Moderator ■■ Michael
Bürgi, Director, Editorial Partnerships, ADWEEK, USA @michaelburg
THE STORYTELLING SINGULARITY 10.15-10.45 | Esterel
10.00-10.30 | Agora Speaker
Speakers Cahill, Chief Content Officer, OMNICOM MEDIA GROUP / THE CONTENT COLLECTIVE, USA @cahill_claudia
PRODUCERS TOOLBOX: HOW TO FIND THE STREAM... OF ONLINE REVENUE
Wood, Co-founder & COO, Unruly, UK
Gers, Global President, LiquidThread, Starcom MediaVest Group, UK @oliviergers
Lang, Chief Content Officer, N.A., Mindshare, USA @davidlangmse
Moderator ■■ James Cooper, Editorial Director, ADWEEK, USA @jcoopernyc
A SUCCESSFUL VIDEO STRATEGY: THE SECRET SAUCE 11.00-11.30 | Esterel Speakers ■■ Emma Johansson, Global Content Director, Malibu, Sweden @esjohansson ■■ Simon Richings, Executive Creative Director London, AnalogFolk, UK @sirich @AnalogFolk Moderator ■■ Michael Bürgi, Director, Editorial Partnerships, ADWEEK, USA @michaelburgi
SHOW & TELL: NEW PRODUCERS TO WATCH! 12.30-13.30 | Agora Featuring ■■ Kate
Albrecht, Co-founder and CEO & Joey Zehr, Co-founder and President, Mr. Kate, USA
Dawson, President, Genius Productions,
Canada ■■ David
Delayat, President of Association, No Mad’s Lands Projects, France
Fox Geraghty, Producer/Writer/Director, L’Amour (or less...), France
Fuller, Managing Director, 1440 Productions, Australia
Moderator ■■ James
Martin, Head of Social Media, MIP Markets, France @jamesmart_in
freeing CREATIVE CONTENT
THE MILLENNIAL SHIFT
KIDS PUBLIC BROADCASTERS BREAKFAST
INTERNATIONAL DRAMA CO-PRODUCTION SUMMIT
8.30-9.30 | Auditorium H
9.30-14.00 | Carlton Hotel
By invitation only
By invitation only
Host ■■ Christophe Erbes, author & consultant, kids media (c)nsulting, France @Oscar_Hoo
Featuring ■■ Teresa
THE KIDS CHANNELS TALK: BUDGETS, PROJECTS & TARGETS 9.45-10.45 | Auditorium A Speakers ■■ Caroline Cochaux, Head of Programs for Lagardere Active’s Channels, France ■■ Eric Ellenbogen, Co-Head, Int’l TV and DreamWorks Classics, DreamWorks Animation, USA Eric ■■ Adina Pitt, Vice President Content Acquisitions Ellenbogen and Co-Productions, Cartoon Network Turner Broadcasting, USA ■■ Paula Taborda dos Guaranys, Head of Content & Programming, Gloob, Brazil @paulataborda
Fernández-Valdés, Showrunner, “The Refugees”, “Velvet”, “Grand Hotel”, Spain
Hoogstra, Executive Vice President & General manager, History & H2, USA
Mensah, Head of Drama, Sky, UK
Wainwright, Creator, Writer, Director & Executive Producer of “Happy Valley”, UK
Wandell, Head of Drama Development, Amazon Studios, USA
Winger, Writer & Co-Creator, “Deutschland 83”, Germany
Young, Managing Director, Temple Street Productions, Canada
Host ■■ Donna
Wiffen, Head of Duchess Street Productions, UK
Moderator ■■ Christophe Erbes, author & consultant, kids media (c)nsulting, France @Oscar_Hoo
THE KIDS CHANNELS MATCHMAKING 10.45-11.15 | Matchmaking Lounge, Foyer Balcon Grand Auditorium GETTING READY FOR 4K/UHD
PLAYING THE DIGITAL TRANSFORMATION 11.00-11.45 | Auditorium A Speakers ■■ Telidja Klaï, Buyer Children, Ketnet - VRT, Belgium @Telidja ■■ Stella NOH, Manager, SK Broadband, Korea ■■ Paul Robinson, Executive Vice President, Your Family Entertainment, Germany ■■ Malin Ströman, Head of Online, Children Strategist, SVT, Sweden ■■ Nicholas Walters, Founder, Hopster, UK
Moderator ■■ Miles Bullough, Managing Director, Wildseed Studios, UK @milesbullough
THE MUSIC PRODUCERS, INVESTING FOR 4K’S FUTURE DEMAND 10.00-11.00 | Sony 4K Ultra HD Theatre Speakers ■■ Yannick
Dumartineix, Head of OB & Studio Production, RTS, Switzerland
Medina, Project Manager, Medina Media, Spain
Sánchez, Creative Content & AV Production, Montreux Jazz Festival, Switzerland
Chair ■■ Chris
Forrester, Journalist & Industry Consultant, UK
TUESDAY 14 APRIL
OFFICIAL CONFERENCES & SCREENINGS TV ADVERTISING AND FREE TO AIR CHANNEL OPPORTUNITIES IN POST DIGITAL SWITCH OVER AFRICA
FRESH TV FICTION
10.30-11.30 | Auditorium K
In partnership with
Speakers ■■ Abdulai Awudu, Programmes Director, Multi TV, Ghana ■■ Emeka Mba, Director General, National Broadcasting Commission, Nigeria ■■ Tolu Ogunkoya, Managing Director, Media Reach OMD, Nigeria ■■ Rotimi Pedro, Chairman, OMG, Nigeria
13.15-14.00 | Grand Auditorium
Mouseler, CEO, The Wit, Switzerland @thewitfreshtv
Moderator ■■ Paula Souloumiac, Consultant, Media & Telecom, France
MIPTV 2015 BRAND OF THE YEAR KEYNOTE SESSION: MARRIOTT INTERNATIONAL’S CONTENT STUDIO 11.30-12.00 | Grand Auditorium
INTERNATIONAL DRAMA SCREENING: “DEADLINE: GALLIPOLI” 14.30-16.00 | Auditorium K By
Featuring ■■ Karin Timpone, Global Marketing Officer, Marriott International, USA ■■ David Beebe, VP, Creative & Content Marketing, Marriott International, USA ■■ Daniel “Malakai” Cabrera, Director/Producer, “Bellman #3”, USA ■■ Caine Sinclair, Actor, Stuntman and Parkour Specialist, USA ■■ William Spencer, “GAGE”, Stunt Performer, USA Interviewed by ■■ Elsa Keslassy, Foreign Correspondent, Variety, France
Speakers ■■ Joann
Alfano, Executive Vice President, Scripted Programming, NBCUniversal, USA
■■ Fiona Karin Timpone
Cameron, COO, Screen Australia, Australia
Walsh, Executive Director of Television, Foxtel, Australia
Moderator ■■ Julian Newby,
Editor in Chief MIPCOM News, Boutique Editions, UK
MEDIA MASTERMIND KEYNOTE 12.10-12.40 | Grand Auditorium
YANNICK BOLLORE, CHAIRMAN & CEO, HAVAS Interviewed by ■■ James Cooper, Editorial Director, ADWEEK, USA
freeing CREATIVE CONTENT
REINVENTING BROADCASTING 14.00-14.45 | Auditorium A
FUTURE OF KIDS TV SUMMIT 15.00-18.00 | Carlton Hotel By invitation only
Speakers ■■ Casten
THE MILLENNIAL SHIFT
Almqvist, CEO and President, TV 4, Sweden
Forbes, President and Managing Director, Discovery Networks Northern Europe, UK
Jensen, Executive Vice President & CEO Scandinavian Free TV & Radio Operations, Modern Times Group MTG, Sweden
Speakers ■■ Malik
Mandersson, Executive Vice President and Head of Business Unit Global Services, Ericsson, Sweden Rotko, CEO, MTV FINLAND, Finland
Moderator ■■ Annie
Wegelius, Senior Advisor, Sweden
Ducard, Global Head of Family and Learning, YouTube,
USA Seibert, Founder/CEO, Frederator Networks & Thirty Labs, USA Nunn, Managing Director, Outfit7 Brit, UK @nunnone
Brennan, Head of Children’s Television, ABC TV, Australian Broadcasting Corporation, Australia
Baily, President, Consolidated Baily, USA
14.50-15.20 | Auditorium A Speakers ■■ Risto
Kuulasmaa, Head of TV and Online, YLE, Finland
Pöllä, Group Creative Director, Rovio Entertainment,
Finland ■■ Anette
Romer, Head of Acquisitions & Formats, TV 2 DANMARK, Denmark
Moderator ■■ Lars
Beckung, CEO, Mexiko Media, Sweden
THE HOTTEST DRAMA FROM THE COLD 15.30-16.15 | Auditorium A Speakers ■■ Piv
Bernth, Head of Drama-DR Fiktion, DR, Denmark
Björn, Director, Showrunner, Writer, “Jordskott”, Palladium Film, Sweden
Gry Jensen, Creator, “Norskov”, TV 2, Denmark
Wikander, Head of Drama, SVT, Sweden
Moderator ■■ Tone
C Rønning, Commissioning editor drama indep, NRK, Norway
GETTING READY FOR 4K/UHD
THE FACTUAL PRODUCERS, READY FOR 4K BROADCASTING 15.00-16.10 | Sony 4K Ultra HD Theatre Speakers ■■ Olivier
Chiabodo, CEO, The Explorers Network,
France ■■ Torsten
Hoffmann, CEO & Founder, 4K Content Hub,
Australia ■■ Dr.
Pere Vila, Director of Technology Innovation & Information Systems, Spanish Radio and Television Corporation (RTVE), Spain
Chair ■■ Chris
Forrester, Journalist & Industry Consultant, UK
TUESDAY 14 APRIL
OFFICIAL CONFERENCES & SCREENINGS
CONTENT & THE GEEK DRAWING CREATIVITY OUT OF DATA 14.00-14.30 | Esterel Speakers ■■ Tom Bowers, Head Of Creative, Broadcast & Media, EMEA, Spredfast, USA ■■ Rob Gabel, Founder and CEO, Tubular Labs, USA ■■ Wared Seger, CEO, Parrot Analytics, USA Moderator ■■ Louisa Heinrich, Founder, Superhuman Limited, UK @customdeluxe
ENRICHING CONTENT WITH TECHNOLOGY
16.00-16.45 | Grand Auditorium Presented by ■■ René Rechtman, Head, International, Maker Studios, USA Featuring Talent ■■ Kate Albrecht, Co-founder and CEO, Mr. Kate, USA ■■ Bart
Baker, Vlogger Crosson as Alphacat, Actor, USA
14.45-15.15 | Esterel Speakers ■■ Antoine Cayrol, Founder and CEO, OKIO STUDIOS, France @snnookker ■■ Kelly Moulton, CCO, never.no, USA ■■ Jose Luis Navarro Salinas, CEO & Co-founder, inMediaStudio, Spain @inmediastudio
Moderator ■■ Louisa Heinrich, Founder, Superhuman Limited, UK @customdeluxe
ENGAGING ONE, ENGAGING ALL (LEGALLY) 15.30-16.00 | Esterel Speakers ■■ Fabrice Hamaide, Chief Financial Officer, Piksel, USA ■■ Mattias Hjelmstedt, CEO and Founder, Magine TV, Sweden ■■ Marc Valentin, Founder & CEO, Wizdeo, France Moderator ■■ Louisa Heinrich, Founder, Superhuman Limited, UK @customdeluxe
SHOW & TELL: MEET THE DIGITAL UNDERWRITERS!
16.50-17.20 | Grand Auditorium Presented by ■■ Shane Burruss, Director Programming, Machinima, USA ■■ Chad Gutstein, CEO, Machinima, USA ■■ Daniel Tibbets, Chief Content Officer, Machinima, USA Featuring Talent Gazza, YouTube Content Creator, Machinima, UK
15.15-16.15 | Agora Speakers Bakang Tonjé, CEO, AFROSTREAM, France ■■ Scott Ehrlich, CEO, QYOU TV, USA @sehrlich ■■ Jennie Morris, SVP Acquisitions, Participant Media/PIVOT, USA ■■ Jeremy Sahel, CEO, DAFOUK, France ■■ Tonjé
Host ■■ Liz Rosenthal, Founder & CEO, Power to the Pixel, UK
18.15-18.45 | Agora Speakers ■■ Lenka Galinié, CEO and Founder, Slashtag TV, France ■■ Martin Laugery, 360° Director, Slashtag TV, France ■■ Marine Sejournant, Strategic planner, Slashtag TV, France
freeing CREATIVE CONTENT
THE MILLENNIAL SHIFT IVORY COAST, THE NEW FRONTIER FOR BUSINESS DEVELOPMENT IN THE AFRICAN AND GLOBAL MEDIA LANDSCAPE
MIP DIGITAL FRONT KEYNOTE
17.00-18.00 | Auditorium J
17.25-17.45 | Grand Auditorium
CHAD MUMM, VP, CREATIVE DIRECTOR, VOX MEDIA/VOX ENTERTAINMENT, USA Moderator ■■ Lockhart
Steele, VP, Editorial, Vox Media, USA
Speakers ■■ Affoussiata
Bamba-Lamine, Ivory Coast Minister of Communication and Spokeswoman of the Government, Ivory Coast
Bakayoko, General Manager, RTI Group,
Ivory Coast ■■ Thierry
Bizot, Founder, Elephant Group, France
■■ Emmanuel ■■ Sandra
Chain, Founder, Elephant Group, France
Coulibaly, Manager, RTI Distribution, Ivory Coast
Moderator ■■ Sandra
Ouaiss, Founder, SO Consulting, France
MIP DIGITAL FRONT KEYNOTES: “THE FUTURE OF DIGITAL HOLLYWOOD” 17.45-18.15 | Grand Auditorium
ZE FRANK, PRESIDENT, BUZZFEED MOTION PICTURES & MICHAEL SHAMBERG, OSCAR-NOMINATED PRODUCER, ADVISOR/FILM & TELEVISION, BUZZFEED MOTION PICTURES Interviewed by ■■ Jocelyn
18.00-19.30 | Auditorium K By invitation only By
The screening will be followed by a Q&A with George Blagden, Actor (Louis XIV); Alexander Vlahos, Actor (Louis’ brother), Jalil Lespert, Director; Simon Mirren, Showrunner and David Wolstencroft, Showrunner. Moderator ■■ Dominic Schreiber, Co-production consultant/exec producer, UK
Johnson, Founder, VideoInk, USA
INTERNATIONAL DRAMA SCREENING: “VERSAILLES”
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FEATURE US-HISPANIC MARKET
Texas Trocas (Discovery Networks)
Demand drives Hispanic market
The stories we tell are fundamentally universal and have broad appeal Luis Torres-Bohl
The US Hispanic demographic is now demanding so much original production that it has created a self-contained market. And, Gary Smith reports, it is also increasingly influencing mainstream US viewing
HILE on the one hand the US-Hispanic audience is developing ever more hybridised viewing habits, it is simultaneously becoming more relevant and attractive to the US networks. This is mainly being driven by the growth in cord-cutting and the popularity of on-demand services among traditional US viewers, making the enduringly loyal Latin and Hispanic audience an attractive new target. The 50 million-strong communityâ€™s estimated $1.5tr in purchasing power in 2015 is another obvious lure
for advertisers but, for both sides, producing series that bridge the cultural divide is still in its infancy. Nonetheless, with producers increasingly aware of the potential for crossover content, and the US networks looking to offer shows that are more attractive to the Hispanic segment, a significant change in what constitutes traditional US viewer is brewing. To truly understand the size of what is potentially a pan-Latino/Hispanic market, Mexico and Colombia have to be factored into the equation. According to Juan Acosta, chief financial officer, executive vice-president
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FEATURE Son Mariachis (Castalia Communications)
Now we’re starting to see 20-year-old, third-generation Hispanics rediscovering the culture their grandparents left behind Bilai Joa Silar
and executive in charge of production for Viacom International Media Networks (VIMN) Americas, Nickelodeon Latin America has doubled its production investment. “Within Nickelodeon Latin America’s original production pipeline, we’ve seen great success in appealing to domestic and international markets through our novellas,” Acosta says. He adds that, since 2008, Nickelodeon Latin America has produced numerous multi-market hits, including Grachi, which premiered in 50 markets around the world and inspired the English-language adaptation Every Witch Way. The latter is currently available in 75 international markets including Europe, Asia and the US, ranking number one in its time slot with both kids and tweens during its third season on Nickelodeon US. MTV Latin America is also increasing its investment in peak and factual reality shows such as Catfish and Acapulco Shore. The latter is set to debut in Greece, Italy, Portugal and Spain this year. “We are also currently producing Acapulco Shore in Mexico and Catfish in Colombia, as well as local versions of the Kids Choice Awards in both markets and the Millennial Awards in Mexico,” Acosta continues. “VIMN Americas is producing over 350 hours of local content in Latin America plus three original novellas [Talia’s Kitchen, Every Witch Way and The WITs Academy], which will premiere on Nick US and abroad.” Acosta says Colombia is where the first foreign version of the series Catfish, which explores the lies endemic to the world of online dating, is being produced and broadcast. The show’s producer, Damaris Valero of Animus Group, adds that the series had a slow start: “Catfish picked up a strong following, but mainly on the repeats. I think it would be fantastic to do a Hispanic version of the show, and certainly it would be much easier in the US, where people are more used to the idea of dealing with systematic liars,”he says. “That said, Colombian society is very connected and technologically advanced. The kids there don’t see international
barriers in the way that we did at the same age, and I consequently consider Colombia to be very much part of the emerging Hispanic ecosystem. And then you look at second- and third-generation Hispanic immigrants in the US and they are truly a hybrid segment. On the one hand, they are much more in tune with US culture than their parents and grandparents; on the other hand, they seek to integrate themselves and don’t really want to stand out, so the sort of programming they want is very different to the classic Latin/Hispanic offering.” Valero points to a Colombian show that she believes could work for both Hispanic and US audiences: “It’s called Pensando En Grande [Think Big] and it’s about kids with exceptional technical ability. It definitely could be a good fit in the US, but you would have to get the idea through the Los Angeles gatekeepers, which is not easy. You really have to know people there to get things made for the US market.” Luis Torres-Bohl, president at Castalia Communications, has a somewhat different take on the situation. “Hispanic culture is perfectly capable of standing on its own because it is collective and based on group culture, and it is of course a veritable melting pot of influences,” he says. “What is currently missing are shows that reflect the experience of being an individual immigrant. But as the US audience continues to grow, we are going to see more of that sort of programming. For me, it’s axiomatic and that’s the direction that we’re taking with our new shows. We’re ready to reflect the realities of one of the cultural groups who are transforming this country. But at the same time, we’re well aware that the stories we tell are fundamentally universal and have broader appeal.” Castalia’s growing portfolio, including Son Mariachis and Imagenes de Mexico [Images of Mexico], is targeted primarily at Mexicans. “We make our shows first and foremost for Mexicans everywhere, ranging from those that move within the country to find work to those who leave at birth and grow up elsewhere,” he says.
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FEATURE Animus Productions’ Damaris Valero
Mexicanicos (Discovery Networks) Bunim/Murray Productions’ Gabriela Cocco-Sanchez
I really believe that it won’t be long before Hispanic and Latino become irrelevant as labels Gabriela Cocco-Sanchez
Discovery US Hispanic Networks’ Bilai Joa Silar
TV and radio star Don Cheto
Nickelodeon Latin America’s Juan Acosta
“Consequently, one of the underlying ideas behind Images Of Mexico is to reflect the many positive aspects of the country. Alongside the problems that we hear about so often, Mexico has 32 states and hundreds of municipalities, and they all have characters with great stories to tell, stunning natural features and interesting history. So although it’s a show made for Mexicans, there is plenty of crossover appeal as well.” For Bilai Joa Silar, vice-president of content at Discovery US Hispanic Networks, crossover shows are an increasingly important part of Discovery’s strategy. “A show like Texas Trocas [Texas Truckers], which debuted at the end of last year, is a good example of Hispanic culture that has broader appeal,” she says. “Generally speaking, Discovery Studios is very much on the lookout for talent that has that sort of cross-cultural appeal, producing shows like Mexicanicos and TLC’s The Next Great Baker with Buddy Valestro. We produce them in English but then we make Spanish-language versions as well. And it’s important to note that we have Hispanic talent in front of and behind the camera. For me, that’s one of the factors that have made these shows successful.” Silar sees real change in what it is to be Hispanic in the US: “In the eight years that I’ve worked here, I’ve seen parts of the US being re-shaped by Latin culture. In the last couple of years, it has become abundantly clear that every network wants to attract the Hispanic audience. Now we’re starting to see 20-year-old, third-generation Hispanics rediscovering the culture their grandparents left behind, getting into Latin music like Merengue, and that is whole new kind of ‘Latin’ audience. Our port-
folio grew by 5% in 2014 and that’s primarily because Discovery En Espanol has attracted an audience that has an insatiable appetite for quality content.” According to Gabriela Cocco-Sanchez, vice-president, Latin, at Bunim/Murray Productions, this is an interesting time for Hispanic and Latin culture. “Third-generation Hispanics understand both worlds, and this is one of the biggest differences compared to previously,” she says. “Hispanic programming is no longer an import business and, consequently, we are seeing a shift in original programming.” What that means for Bunim/Murray is that it is currently working on an as-yet unnamed hybrid reality series starring TV and radio star Don Cheto; a reality dance competition show in partnership with Televisa USA, which is based on the hit Argentine format Sonando Por Bailar; a scripted drama in Spanish with a Latin dramatic rhythm called Super Natural, which is primarily aimed at Spanish speakers; and a series of documentaries about Hispanics who are hugely popular in Latin America, but who choose to live in Los Angeles or New York, where they can live in anonymity. Cocco-Sanchez points to Eva Longoria as being the sort of personality who is capable of taking Hispanic culture to a whole new level. Longoria is executive producer of Devious Maids, based on the Mexican series Ellas Son La Alegria Del Hogar, which is now in its third season. She has also just signed with NBC for a 13part comedy series called Telenovela, in which plays a telenovela star. “On top of that, ABC Family is showing My Sweet Fat Valentina, which is adapted from a Venezuelan series,” Cocco-Sanchez adds. “We we are starting to see more and more Hispanic and Latino talent in leading roles in series that are aimed at a mainstream audience. I really believe that it won’t be long before Hispanic and Latino become irrelevant as labels when it comes to programming. It will just be great TV whose merits are more important then its cultural background.”
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Sport goes over-the-top
Sport, a key driver from the start of pay TV, has been a relative latecomer to OTT. But there are signs that this is changing — and the implications could be profound. Bob Jenkins reports
HE PIONEERS of pay TV relied heavily on sport and movies, with sport rapidly assuming the mantle of lead driver. This is a position that sport still holds today, as exemplified by the renewal of the UK Premiership football deal in February of this year, which saw Sky pay £4.1bn for a three-year deal for five of the seven Premiership packages on offer. BT added to the Premier League’s coffers to the tune of £960m for the remaining two packages of live games — 42 in total. By contrast, the dramatic growth of Netflix, which has seen its subscriber base rise from 4.2 million in 2005 to over 50 million in 2015, has been built entirely on traditional TV content, in particular drama. But there is no question that things are starting to change. One telling example of this was the January announcement by Dish that the new core over-the-top (OTT) bundle — Best Of Live TV, priced at just $20 a month — will include both ESPN and ESPN2. One of the key reasons sport had a comparatively low profile in the early days of OTT is the different nature of the environments inhabited by pay-TV and OTT services, and the consequent difference in the use to which these services put content — in particular, the ways in which content is used to drive revenue. Sky charges £414 a year for its sports channels; BT gives them free to customers who take phone and broadband packages. A stark illustration of the nature and consequences of these differences can be seen in the analysis of the over-
all pay-TV market in the 22 countries making up the Asia-Pacific region, published in March by Digital TV Research. The study predicts that, by 2018, more homes in the Asia-Pacific region will be paying for IPTV than for satellite. However, the report continues, satellite will continue to generate higher levels of subscription and, by 2020, cable in Asia Pacific will still account for revenue of $23bn — more than half the predicted total pay-TV revenues of $41.52bn. Jo Fox, director of brand communications at Sky’s Now TV, suggests one reason for the apparent discrepancy between the user numbers and revenue of the OTT and pay-TV services lies in the differing nature of the two business models. “OTT is more about specific buys on the part of the consumer, rather than the package buys of pay TV,” she says. Fox also suggests reasons as to Jo Fox why sport has not, so far, played the central role in the development of OTT that it did in the development of pay TV. In addition to the differences in marketing and consumption, she points to the considerable technical challenges presented by the streaming of live sport, as well as the fact that “sport, and in particular live
Sport, and in particular live and exclusive sport, is by far the most expensive content genre there is
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FEATURE and exclusive sport, is by far the most expensive content genre there is”. “But while I wouldn’t presume to speak on behalf of sports rights-holders, I do think that most rights-holders are keen to ensure their sport is seen by as many people as possible,” Fox adds. “So I expect the presence of sport on the OTT services to increase in the future.” Indeed, the growth of sports is already under way — and Now TV provides an example of this. But, as mentioned earlier, the differing nature of the commercial and content environment between the OTT and pay platforms is spawning very different growth patterns. Launched two-and-a-half years ago, Now TV is an OTT offering that clearly has the imprimatur of its pay-TV origins. Fox explains that Now TV essentially offers four products: the Entertainment Pass, priced at £6.99 a month, which offers top entertainment channels, boxed sets and catch-up; the Movie Pass (£9.99 a month) which offers access to more than 1,000 movies; the Now TV streaming box, available for a one-off fee of £9.99; and the Sports Pass, available at either £6.99 for a day or £10.99 for a week, which offers access to all seven Sky Sports channels.
Users are only now beginning to discover the joy of the second and third screen when watching sport Remi Leclancher This, Fox says, “is a perfect example of the ‘specific buy’ nature of OTT” outlined above. She adds: “So, for example, if you are a golf fan, and only want to watch the Ryder Cup, you can do that for a week’s pass without having to make a commitment to a contract. Equally, it allows fans of more niche sports such as netball and wrestling — both of which have proved especially popular on Now TV — to access just their sports, which don’t have a huge amount of coverage in the UK. Finally, given that 90% of Now TV users have never considered taking out a Sky contract and the service is available on over 60 different devices, it is testament to the way in which Now TV offers reach out to audiences otherwise unavailable to both Sky and our content partners.” Fox appears to be correct in pointing to a desire on the part of federations and other holders of sports IP to ensure that their sports reach as wide an audience as possible. And, in terms of OTT streaming, a number of them are taking the solo route with the help of technology companies, such as US-based streaming specialist NeuLion. Chris Wagner, executive vice-president and co-founder of NeuLion, describes the company’s role as “working with the IP buyer or owner to create a presence for their sport on the internet”. He adds: “Typically, we work
with a broadcaster, operator, cable company or aggregator to extend the fan base and viewership. Our business model is, therefore, based on a fee, plus a performancerelated bonus for increasing usage, viewership, video views, ad viewership and ad sales.” That NeuLion is particularly good at this is evidenced by its impressive array of clients, including the NFL, NHL, NBA, the Premier League, ESPN Europe, CCTV China and the PGA. Last year, it worked with Univision Deportes to stream the FIFA World Cup on multiple devices and, as a result, the US versus Germany game broke all records, attracting 900,000 viewers across PC, mobile and tablet devices. In 2013, the company saw over eight million apps downloaded, and delivered 47,000-plus live events and more than 80,000 hours of VOD, handling some 2.3 million credit-card transactions in the process. Although acknowledging the technical difficulties involved in streaming high-quality images of live sporting events, not to mention the cost of rights, Wagner is upbeat about the future of sport on OTT — largely because “digital platforms can deliver coverage that differs from sports coverage on legacy television in many significant ways”. These include instant replays, live stats, access to highlights during the match, the delivery of two matches simultaneously and the preselection of a team the viewer wishes to follow. Collaborations such as those between NeuLion and major sports rights-holders are, of course, a very long way from ending the legacy broadcasters’ gatekeeper role. But they are interesting developments and, perhaps crucially, they are also developments that are not possible anywhere other than in a streaming environment. Remi Leclancher is sports content partnership manager at online aggregator Dailymotion. He says that, like NeuLion, Dailymotion sees its role as working with IP owners to increase the visibility of their sport. “We do that by promoting the best videos to help our users discover diverse and surprising content, while also helping our partners to reach a passionate global audience,” he adds. “We do this not only through our own platform, but also by means of our strong communities on social networks.” Generating revenue for sports partners is the other key aim for Dailymotion. “We provide content partners, whether they be a skateboarder with a mobile phone or a major sports league, with the best tools, flexibility and resources,” Leclancher says. “In the case of sports, this includes providing the right business models for one-off and daily sports events.” Leclancher shares the conviction of both Fox and Wagner that, despite a slow start compared to many other genres, the future for sport on OTT is bright — and set to grow brighter still. “Sport is a major content category for Dailymotion,” he adds. “Users are only now beginning to discover the joy of the second and third screen when watching sport. Meanwhile, for content creators and owners, the business model will continue to evolve quickly with improved targeting and native advertising. This is only the beginning for sport on OTT.” It is early days but, if sport is starting to find a role on the OTT services that is anything near comparable to the role it has played on pay TV, then the implications could be profound.
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13-16 APRIL 2015 CANNES, FRANCE
© MIPTV® is a registered trademark of Reed MIDEM - All rights reserved. DreamWorks Dragons: Riders of Berk © 2015 DreamWorks Animation LLC. All Rights Reserved. - BEN & HOLLY’S LITTLE KINGDOM © THE ELF FACTORY LTD/ ENTERTAINMENT ONE LTD 2008. All rights reserved CALIMERO™ ©2013 GAUMONT ANIMATION, GAUMONT TELEVISION, STUDIO CAMPEDELLI, PAGOT, CALIDRA BV, TV TOKYO, KODANSHA ARR - HASBRO and its logo, Transformers, Transformers: Robots in disguise and all related logos and characters are trademarks of Hasbro and are used with permission. © 2015 Hasbro - All Rights Reserved. - © TAT productions / Master Films 2013 © 2015 Viacom International Inc. All Rights Reserved. Dora and Friends and all related titles, logos and characters are trademarks of Viacom International Inc. - ©Xilam Animation
With more than 1,000 kids entertainment buyers and 1,200 major kids content distributors and production companies, Junior @ MIPTV defines the future of children’s entertainment, bringing together a huge community and opening up countless opportunities. This international spotlight on the kids industry is the perfect place to play a strategic role at the Future of Kids TV Summit, pitch to some of the most influential commissioners, and access the most original online video content through a kids edition of the MIP Digital Fronts. The special conference series also features The Kids Channels Talk, where the world’s leading broadcasters share their editorial strategies and Playing the Digital Transformation, which highlights broadcasters’, producers’ and digital players’ strategies for developing kids content and brands across multiple platforms. The year for kids TV kicks off at MIPTV, the international marketplace powering the unlimited potential of extraordinary stories.
FEATURE KIDS TRENDS
Children of the revolution Children today don’t watch TV. They consume content. What does that mean for the television industry? And what can we learn about tomorrow’s bill-payers through their behaviour today? Andy Fry investigates
in the future?” The Jensen family is not alone. Anders Jensen, exThe same phenomenon is ocecutive vice-prescurring in developed TV marident of Scandinakets everywhere, says Christian vian free-TV and Kurz, vice-president of research radio at Modern Times Group and insights at Viacom Interna(MTG), gave a presentation to tional: “We have just released investors in which he discussed TV Redefined, an in-depth piece how changes in the media landof research based on behaviour scape were affecting his busiin 14 countries, and we found ness. During the course of his that what young audiences refer talk he gave an insight based to as TV is not necessarily what on his own family experience: Christian Kurz the industry refers to as TV. We “I have four kids, three of them have one great video clip of a teenagers. On the rare occasions mother telling her child to turn I get them all on to the TV sofa, there will be at least three iPads. They will have one eye off the TV when he is viewing on a tablet.” on the TV and shift their attention back and forth. I had In terms of stats, TV Redefined found that, of those who a discussion with my 18-year-old and said: ‘I rarely see have access, 56% had used VOD, 53% had used channel you watching TV — why not?’ He said: ‘What do you websites, 51% had used DVR and 47% had used SVOD mean, I watch TV all the time.’ His perception of TV is in the last week. “There’s a really important viewing not TV, but TV as video. So the question is: what is TV segment, which we call the engaged viewer,” Kurz says. T THE end of 2014,
What young audiences refer to as TV is not necessarily what the industry refers to as TV
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1440’s show Heart & Soul resonates really well with children
“Representing 45% of global viewers, they have access to at least two secondary sources to watch TV. Overall, consumers have redefined TV to mean content on their own terms. The ability to watch TV whenever they want is really important. This highlights the importance of user-friendly platforms to make it simple to watch shows.” Kurz says his company has nothing to fear from the changes for two reasons. “Firstly, because linear TV continues to play a central role in content discovery by young audiences. And secondly, because our company makes great content that inspires conversations. As long as we are across linear, DVR, VOD and apps with longform, short-form and game-based content, then we’ll keep our audiences engaged. That’s why we have developed apps like My Nick Jr, done programme-licensing deals with Netflix and used platforms like Snapchat to introduce new elements to shows like Geordie Shore.” While Viacom, Disney and Turner Broadcasting, the three big players of the children’s industry, have all been making moves to respond to the above changes, there is no question that the emergence of the digital, on-demand, device-neutral landscape has allowed new players to make their mark. In the SVOD arena, Netflix and Amazon have both ramped up their kids’ offering through a combination of content acquisitions and commissions. Meanwhile, YouTube, with its free-to-use, advertising-based model, has become a key kids’ destination. Dylan Collins, CEO of leading children’s digital marketing platform SuperAwesome, has just launched a tracking service that measures how kids across different demos are splitting their time between YouTube and TV. In his opinion, the industry is right on the brink of a significant shift. “People are talking very openly about the decline in linear-TV viewing and our tracker reflects
that,” he says. “Among boys and girls aged seven to 12, we are seeing around a third watching more YouTube than TV, and another 20% watching about the same of both. Among the older youth demos, those figures are even higher for YouTube.” According to Collins, advertising spend has not yet shifted to reflect that fact: “But I think we’re going to see media agencies start shifting billions of dollars to digital. And when that happens, everyone on the creative side will need to pay more attention to what’s happening on platforms like YouTube.” In terms of content consumption on the platform, there is a clear distinction between the older and younger children’s demographics, Collins says. At the older end, kids are spending more time with content originated for the platform at low budgets. The best known examples of this are bloggers who offer lifestyle/makeover tips, for example Zoella, or gaming commentary, for example PewDiePie. Explaining their appeal, Collins says kids find them more authentic than some of the content delivered by traditional
One thing a lot of people don’t realise is how much learning is done on YouTube. Twice as much education content is viewed via YouTube as animal videos Malik Ducard
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platforms. “They are easier to relate to and down to earth,” he adds. “They are celebrated for making normality cool.” TV producers have so far struggled to make sense of this sector as a business model, because the economics of producing for YouTube often do not add up when viewed from the perspective of the traditional production process. But it is noteworthy that channel-owners/ vertically integrated studios are moving into this space. Disney’s $500m acquisition of short-form content specialist Maker is the highest profile example of the two models meeting. Elsewhere, it is also significant that RTL acquired YouTube network StyleHaul for $127m and MTG in Scandinavia has taken a 35% stake in Splay, the leading provider of YouTube content for youth audiences in the region. At the younger end, Collins says there is currently more of an overlap between the digital channels and traditional content: “The iPad is being used as an electronic babysitter or for co-viewing by parents of pre-schoolers, so here you see more of a role for traditional TV content. Peppa Pig is still Peppa Pig,” he says.
Our audience doesn’t care how you deliver content. They move seamlessly between TV, games, YouTube and social Samo Login
YouTube has noted a strong trend towards family/kids viewing on its platform and reacted accordingly, reports the platform’s head of family/EDU, Malik Ducard: “In the last year, we’ve seen overall YouTube viewing grow by 50%, but the family/learning category grow by 200%. So we launched the YouTube Kids app, our first product built from the ground up with kids in mind.” The app is free to use and has been designed for young audiences. “The interface is easier for them to use and it’s simple to navigate,” Ducard says. “There are also features that allow parents to regulate the time their children spend on the app, control what they have access to and provide feedback.” Echoing the main YouTube offer, the app offers channels that have been put together by kids’ contentowners. Partners at launch include DreamWorks, Jim Henson, Sesame Workshop, HIT Entertainment and National Geographic Kids, some of which have umbrella channels and others show-specific channels. “Within the channels, you’ll see episodes from shows like Sesame’s Furchester Hotel and HIT’s Thomas The Tank Engine,” Ducard adds. “But you’ll also see other kinds of content, some of it originated with this platform in mind.” Content-owners make money through advertising, so need to make their own judgment call about what content to deploy on the app (full series or sample episodes; exclusive or non-exclusive; library or new shows, etc). But from YouTube’s perspective, its strength lies in its
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ability to aggregate content from a wide range of sources. “One thing a lot of people don’t realise is how much learning is done on YouTube,” Ducard says. “Twice as much education content is viewed via YouTube as animal videos, for example. So a lot of the content on the app is about inspiring kids and encouraging them to explore, as well as the entertainment content that you’d expect to find.” While it is tempting to think that most content originated for the digital space is low-cost live-action video,
WHICH HAVE THEY WATCHED MORE OF THIS MONTH?
a number of speakers at the MIPTV Future Of Kids TV Summit will outline new business models based around gaming and animation. One of these is Fred Seibert, founder and CEO of Channel Frederator, an animation multichannel network (MCN) on YouTube that boasts more than 1,200 owned and affiliated animation channels with a collective reach of 14 million subscribers. Another is Daniel Sanchez-Crespo, CEO of Novarama, the creator of Invizimals, a PlayStation Portable augmented-reality game that is currently being turned into a 26-part TV
Boys 16-18 Girls 16-18
Both about the same
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FEATURE series by BRB Internacional. Also present will be Samo Login, co-founder and CEO of Outfit7, the company that created Talking Tom And Friends. Like Rovio’s Angry Birds, Tom began life as a mobile app but has turned into a global media franchise. “Talking Tom started as a single app but then expanded as it became more popular,” Login says. “Tom and a suite of related characters have now recorded 2.5 billion downloads since launching four years ago across 230 countries. The franchise was also extended into YouTube short-form video and has had 1.4 billion views.” Having clocked up an audience of 250 million active users a month, Talking Tom is now being reinvented as a 52 x 11 mins CGI animation series that will appear on the new YouTube Kids app from April. There is also a feature film in the works, Login adds. Analysing the secret of the property’s success, he says: “Humour was key. Tom made people laugh and that’s still a big part of the proposition as we extend on to a TV platform. Going viral was important. Once the property had achieved virality, we worked hard to cross-promote it, making sure that it was available across as many platforms as possible. Our audience doesn’t care how you deliver content. They move so seamlessly between TV, games, YouTube and social that you need to find ways to engage with them across all of those channels.”
For the first time, we’re being presented with a generation capable of exceeding our abilities while they are still kids Dylan Collins
Angela, one of Talking Tom’s friends
Having grown from the app space, Outfit7 does not yet have to worry too much about balancing the needs of traditional and emerging platforms. But this is a consideration for companies like Konamiowned 4K Media, which distributes Yu-Gi-Oh! outside Japan. “We’ll be targeting broadcast distribution for the new Yu-Gi-Oh! series, ArcV,” says Kristen Gray, 4K Media’s senior vice-president of operations, business and legal affairs. “But it’s also important for us to find ways for the property to live on digital platforms in a way that is compatible to broadcast.” One way to do this is to licence some of the show’s 650-episode back catalogue to SVOD players. “So we have a number of deals around the world with platforms like Hulu, Netflix and Crunchyroll,” Gray says. “Netflix, for example, is showing seasons one and two in the US, Canada, the UK and Ireland.”
There is also an official Yu-Gi-Oh! website that runs hundreds of the TV episodes. “Yu-Gi-Oh! is very popular as a TV show and a trading-card game, so it’s an important part of the mix for us to have a dedicated site where fans can engage with the world,” Gray adds. “We also have a dedicated production unit in the US, where we are currently making short-form and interstitial content. I think snackable content can prove useful in terms of connecting with Yu-Gi-Oh!’s fan base. We want them to engage with the brand whenever and wherever they want.” Navigating this new world is increasingly challenging for content-owners, particularly indie producers, which are not always resourced to deal with the complexities of the new distribution landscape. That is part of the rationale for the launch of new kids’ distributor Jetpack, according to founder and CEO Dominic Gardiner. “It’s a big overhead for an indie producer to run an in-house distribution operation that can deal with the plethora of opportunities that now exist. So the idea behind Jetpack is to provide them with a mix of scale and flexibility.” Gardiner comes to MIPTV with a slate of shows from Nerd Corps, Samka Productions, Pop-Up Workshop and 1440 Productions. He will also be on the lookout for indies to join the Jetpack fold. “I think our model is well-suited to the current market for two reasons. First, buyers don’t want to get all their content from one or two big players — they are keen to shop around for quality. Second, we can move a bit faster and be more entrepreneurial than the big players. We can perhaps be a bit more innovative about the kind of deals we do and the platforms we are prepared to work with.” As a former Disney executive, Gardiner says the creation of a carefully curated YouTube app would probably prove to be a welcome addition to families. “There’s sometimes a criticism that you are only ever a couple of clicks from inappropriate content on YouTube,” he says. “But we never found that to be an issue, because YouTube’s algorithms tend to retrieve relevant content. The part we had the biggest issue with was the comments underneath the video, which we used to disable.” In terms of content trends, Gardiner agrees with SuperAwesome’s Collins that part of the success of the platform is its authenticity. “But that’s something that traditional TV networks also know how to do,” he says. “1440’s show Heart & Soul follows 30 schoolgirls from Australia as they compete in Europe’s top music festivals. It resonates really well with children, which is why it rated well at home and is attracting attention from broadcasters around the world.” Perhaps the most interesting aspect of the entire children’s content debate is the industry’s uncertainty about what is going to happen to content consumption and how it will impact on their business. But one thing the children’s market needs to wake up to is the growing sophistication of their audience, both in terms of content creation and content access/discovery. “For the first time, we’re being presented with a generation capable of exceeding our abilities while they are still kids,” Collins says. “The reason Minecraft exploded was that it allowed kids to create: it gave them the tools and empowered them. As a society, we are woefully under-prepared for this generation, I think.”
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