miptv nEWs ®
Wednesday 15 April 2015
MIP DIGITAL FRONTS • NINA
• WITNESSES • CANDICE RENOIR YouTube kicks off today’s MIP Digital Fronts Screenings at 10.00. Reports from MIP Digital Fronts inside
• THE UNEXPECTED GETAWAY
BuzzFeed’s Ze Frank and Chad Mumm of Vox spoke at MIPTV yesterday See p.4
MIPTV MEDAILLES D’HONNEUR 2015
STAND : P-1. C50.D51 www.newendistribution.com
• POLO Meet the honourees as they prepare for tonight’s Gala Dinner
• THE MYSTERIOUS
CITIES OF GOLD
• MARIE CURIE
A WOMAN AT THE FOREFRONT
• SUPERNATURAL FILES •THE BUTTERFLY DreamWorks’ Eric Ellenbogen on the Kids Channels Talk Budgets, Projects And Targets panel
NEWS Ze Frank: short-form is incubator for long-form
I P T V delegates were treated to a thought-provoking debate about the relationship between short-form and long-form content during Tuesday evening’s Digital Fronts keynote The Future Of Digital Hollywood. Led by BuzzFeed Motion Pictures president Ze Frank and Oscar-nominated producer Michael Shamberg, the discussion centered on whether the kind of short-form video content that BuzzFeed pumps out on a daily basis can provide the inspiration for a TV series or feature film. “Traditional Hollywood has no R&D system,” said Shamberg, whose
many credits include Pulp Fiction, Erin Brockovich and The Big Chill, “but BuzzFeed is a huge emotional laboratory. Our job is to look at why audiences share certain kinds of video content and whether that can be scaled into a story.” Online video pioneer Frank expanded on the idea of short-form as a laboratory, saying that it could also be used as a testing ground before making high-risk moviescale investments: “You can use short-form to test cast members, to see how they handle certain emotions. Or to look at how locations and sets work. So there are implications for cost structures.” Frank also touched on the role of data in the creative process, stressing that “we don’t use data in a command and control way. But we do operate in a data environment, so that our people can try to work out why something is succeeding or failing. It’s a way of identifying new topic buckets.”
Vox creates newsroom of the future EDITORIAL CONTENT will increasingly be produced in “integrated newsrooms”, bringing together journalism and multi-faceted digital media, the head of editorial at one of the fastest-growing video platforms in the US said. Speaking at a keynote event at MIPTV yesterday, Vox Media’s editorial director Lockhart Steele said that too many companies still separate their editorial and digital teams, rather than bringing the two together to enhance content. “We take the approach of inte-
Vox Media’s Chad Mumm (left), and Lockhart Steele
grating the two, to create the integrated, digital newsroom,” he said. In February Vox.com published a special hour-long interview with US President Barak Obama, which Steele said epitomised the platform’s
approach to editorial content. “We wanted to do it in a way that would be meaningful, that would have as much meaning in five years as it does now,” he said. Vox Media’s creative director Chad
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Mumm, also speaking on stage yesterday, said that a core part of the company’s strategy had been to spot bloggers, vloggers and brands already causing a stir online. Mumm cited tech reviewer Marques Brownlee, an online tech reviewer who provides content for The Verge, one of Vox’s seven brands, as well as his YouTube channel which has just under 2.4 million subscribers. “We’ve been able to bring in the YouTube talent that has been disrupting things in so many ways,” he said.
NEWS With great change also comes great opportunity, says Bollore
DVERTISERS are facing a “wall of infinit ith a m ria of fragmente latforms ro ucers an evices ma ing it im ossi le to full ee ta s on ne content the oss of one of the orl s largest a grou s has sai . ea ing at a us e ia astermin e note session at TV ester a avas chairman an chief e ecutive annic ollore sai the isru tion of the in ustr over the ast ears has left it “im ossi le to a to have the eruition a out content that a vertisers once ha .
ortunities artl riven the ne levels of consumer ata availa le. e sai “ magine e can a ress the right t e of content to the right t e of erson on the right evice at the right time of a it ill ecome much more meaningful. iting a recent tie u et een oca ola an soft are evelo er isoft ollore raise the soft rin giant s use of a ran e song ithin the ust ance o game hich has een o nloa e . million times as an e am le of a ran moving ith the times.
Havas chairman and chief executive Yannick Bollore: “mobile first”
ut ollore sai that hile the isru tion to the television an a vertising in ustries over the ast eca e has een a ma or challenge to ever sector it ha also resente a host of ne o -
“ o e ma e more than an one un erstan s that the nee to engage their consumers he sai “an ith this t e of activation it s a com letel ifferent a to e ress itself as a ran . ollore sai that a vertisers shoul no e thin ing “mo ile first hen the esign their online content an a s ith es to sites no a secon ar consi eration for avas. e highlighte orea as a articularl interesting maret ecause of its earl a o tion of an the fact that in terms of consumer thin ing “it s not mo ile first ... it s mo ile onl . ase on the outs irts of aris avas e ia rou consists of three ma or grou s avas e ia formerl avas orts ntertainment an rena e ia an nearl in ivi ual agencies ase in countries.
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some of the moves hich feature in the short film. laining arriott s strateg Tim one sai the com an ante to “create raving ran fans aroun ne t generation travelers ho are see ing great e eriences all aroun the orl . “Travel len s itself nicel to stories so the i ea as to ut stories together aroun ne t generation travel then ta e that an ring mar eting to the ne t level the a com anies shoul e or ing to a . a rera escri e or ing ith the arriott team on T o ellmen as a “ on erful e erience e laining that the hotel coman “ i n t constrain the stor e ante to tell. eferring to the music from the film a rera
a e “The soun trac is u on iTunes. t s reall e citing. e i a rema e of ovel a some a some hi ho in uences ut it all fits into the creative. ee e reveale arriott s am ition to artner ith ran s li e o ro to encourage hotel guests to evelo their o n stories. arriott is also tal ing to various television outlets. “ e ha a sho on TV in the through the enaissance ran calle The avigator ive. e re loo ing at formats that len themselves aroun travel things relate to lifest le li e foo . The ne t short film to come out of arriott s stuio ill e rench iss a romantic m ster hich ill remiere on multi le latforms on a .
David Beebe and Karin Timpone accept the Brand Of The Year award from Reed MIDEM’s Laurine Garaude
Spencer and Sinclair showed off some of the athletic moves that feature in Two Bellmen at the MIPTV session
The official MIPTV daily newspaper Wednesday 15 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
NEWS Maker Studios stars ‘seizing control in online revolution’ Iman Crosson (left), Mr Kate, Bart Baker and Rene Rechtman
OR THE second year running Rene Rechtman took to the Grand Auditorium stage to tell MIPTV about the Maker Studios revolution. His latest message was even more powerful: Maker now has 11 billion
views, 650 million subscribers, 55,000 creators, and is the largest content network on YouTube. “Last year we talked about the revolution in the value chain. This year it’s reached a tipping point. It’s beyond discussion now,” he said.
Accompanying Rechtman on stage were three star creators — Iman Crosson aka Alphacat, Mr Kate and Bart Baker — to e lore the ramifications of creators’ ever-closer relationship with audiences. “I’d like to stress how you’re working across platform
and devices now,” Rechtman said. “Talent is traveling between platforms.” Bart Baker is known for his music video parodies and is one of Maker’s premiere impersonators. “It’s all mobile,” he said. “It’s constantly on the go: 70% of my views are mobile, kids are not even looking up. And all the content is so short, I think that’s a huge change.” “Artists and creators are in a different position than they were,” Crosson said. He shot to fame with his observational humour and Barack Obama impressions. “They’ve always been in the driver’s seat but now they have more control. The power is in the creators’ hands, period.” Mr Kate, meanwhile, stressed the importance of consistency across her endeavours ranging from DIY to fashion and beauty advice: “I talk a lot about transparency,” she said. “I’m only as valuable as the trust I have from my audience. As soon as I do something that isn’t authentic to me and my brand, I lose them.” Mr Kate has moved into books and other media; Bart has begun to make original music, and Iman is starring in his third feature film. ne thing s for sure these guys make short content but they’ll be around for a long time.
Portal opens door to digital space “WHAT’S Trending is the con-
nective tissue between homegrown creators, brands which are becoming digital studios, and traditional TV companies and publishers,” said Shira Lazar, cofounder of What’s Trending, the YouTube channel-turned-multiplatform media portal that is a partner of MIP Digital Fronts. It creates, curates and syndicates digital content around the hottest online stories, helping vie ers filter hat s im ortant understand what’s going on and connect with the YouTube, Snapchat, Vine stars who may well be populating the more traditional media tomorrow. It has more than
60 million YouTube views and is increasingly taking on a consulting or agency role and forging brand partnerships. “We live our lives online, and our audience is millennials who do the same, but something that’s very important is ‘IRL’, in real life,” she said, referring to the decision to partner with and attend MIP Digital Fronts. “People in the digital space want to meet in person, fans want to meet in person.” According to Lazar, much of the media industry is clinging to tried-and-tested models of making money and engaging audiences. “The train has left the station,
but we should embrace it,” she said. “It’s scary to start over, and be a veteran and yet a newbie, but you have to let that go and start again with your own knowledge, and also learn. I think those are the people and companies that are going to blossom in the new age.” What’s Trending is, however, developing TV ideas: “I look at TV and these other places as a billboard. And there’s still an audience and a business model there. Why not use that platform to push people to our website, our app, our digital properties — because people we meet there will recognise and stay loyal to our brand.”
What’s Trending’s Shira Lazar
NEWS Key players enjoy dramatic dialogue at Cannes summit
I P T V’s I n t e rnational Drama Co-production Summit is an invitation-only event that brings together some of the e figures in scri te ro uction from around the world. Held at the Carlton hotel and sponsored by The Canada Media Fund, it is one of the few forums where broadcasters, producers, writers, an u lic an rivate financiers get to exchange ideas. Ben Donald, who has his own indie company Cosmopolitan Pictures while also holding down a role with BBC Worldwide, is currently working on a TV adaptation of Len Deighton’s novel SSGB. He said this year’s Summit provided some interesting case studies and sessions as well as offering a useful networking opportunity. “I think the session I supported most strongly was the one which said we should resist prefabricating co-productions. We shouldn’t let the desire to do a deal get in the way of authenticity or an original creative vision, even if that vision can seem hyper-local. It’s also important to have open minds about what
cross-fertilising talent can bring.” One of the sessions brought together creators Sally Wainwright and Anna Winger, and producer Teresa Fernandez-Valdes, who discussed the ideas behind their recent productions. Novelist Winger recently completed coldwar drama Deutschland ‘83 with husband Jorg. An American living in Germany, she wrote the series in English and it was then translated into German. Echoing Donald’s point, Winger said Deutschland ‘83 was written very much with a local audience in mind. “It was only when it was bought by Sundance in the US that it became an international project,” she said. Wainwright’s two recent hit series Last Tango In Halifax and Happy Valley are set in the north of England where she lives and was brought up. She said writing from local experience, but about situations and feelings that are universal, is what has enabled her work to be appreciated by audiences internationally. Fernandez-Valdes’ company Bambu Producciones produced sci fi series The efugees ith BBC Worldwide for Spain’s
Atresmedia. It’s an all-Spanish production but written and performed in the English language. Fernandez-Valdes said the experience has changed the company’s approach to production and put it on the fast-track to the international market. Kylie Munnich recently joined Sky Vision as director of drama and comedy from SPT. With an ambition to acquire and coproduce more high-end dramas like Fortitude (recently renewed
for a second season), she saw the summit as a great way to network with people in her new role for the first time. “ reall li e the way the room was broken up into tables with a real mix of people in terms of roles and countries of origin,” she said. The event was hosted by Donna Wiffen, head of Duchess Street Productions, an indie backed by me ia a visor firm o o. Wiffen, who is bringing Jeffrey Archer’s The Clifton Chronicles to screen, said it was clear from the event that “drama is still in incredibly high demand. We had Amazon, History and Sky at the Summit and the message was that channels and platforms are competing hard for the best shows.”
NEWS Content is key as kids’ channels target international audience
RANDS are the ammunition in the highly competitive kids’ market, said speakers at the Junior@ MIPTV panel The Kids’ Channels Talk: Budgets, Projects & Targets. “Our main competitor is not Nick, Disney or Cartoon Network, but great content,” said Eric Ellenbogen, co-head international TV and DreamWorks Classics, speaking of the group’s first venture into the network business with the DreamWorks Channel, launching in South East Asia in June 2015. “So much viewing is happening in a non-linear way that [success] is about strong programming brands.”
“Gulli succeeds with older kids because we are sassy,” said Caroline Cochaux, head of programmes Lagardere Active in France. “We don’t talk down to them.” French TV network Gulli currently has around 30 shows in development. It launches them on its pay channels — Canal J (for six- to 12-year-olds) and Tiji (three- to seven-year-olds) — and six months later, airs them on Gulli. “We fight our corner in the 360 space too,” Cochaux said. “We had 20 million page views on Gulli this month, and recently launched a VOD service, Gulli Max. The Gulli app has been downloaded two million times.”
Adina Pitt, vice-president of content, acquisitions and co-production at Cartoon Network, also emphasises the value of wholly-owned IP such as Adventure Time, The Amazing World Of Gumball and Uncle Grandpa, being on every platform, and using events like MIPTV to hunt down new and exciting thirdparty properties. Even Brazilian kids pay channel Gloob, still only three years old, is developing and financing much of its own output. “Six of our top 10 shows are produced domestically, and we have nine live-action shows and 10 animation series in development,” said head of content and programming, Gloob, Paula Taborda dos Guara-
DreamWorks’ Eric Ellenbogen
nys. “We fully-financed our recent show Buuu!, and we’re co-producing with international partners to get into big international shows such as Paper Port and Trullalleri.” Gloob too is majoring on digital, with 15 free apps garnering 1.7 million downloads, 20 million VOD views, and 120 online games.
Agencies take brand new approach “CONTENT tells people what
your brand stands for. Advertising tells them what you want them to buy,” said Mindshare’s David Lang at the MIP Digital Talks - Brands, The New Programmers session The Storytelling Singularity, on branded content. It wasn’t the only definition of branded content on offer, but it was one the speakers could work with, and they agreed that, since millennials aren’t watching traditional TV advertising, branded content was potentially one of the effective ways of targeting them. “We need to evolve the way we reach them, that’s our challenge,” said Olivier Gers of Starcom MediaVest Group. Claudia Cahill of Omnicom Media Group showcased the content her company made for Pepsi around the Super Bowl half-time show. It used stars such as Katy Perry to tap into existing audiences and generate buzz, and it achieved 130 million views, 16 million more than
the half-time show itself. “It was a comprehensive effort across the board,” Cahill said. Gers presented his company’s online videos for Europcar, part of the car-rental company’s partnership with Arsenal football team, making a strength out of a traditional weakness: the difficulty working with sports talent. Instead of focusing on players, it talked to their (fake) relatives — actors digitally manipulated to look like them — including Jack Wilshere’s uncle, a plumber, who used a Europcar van for his job. With only a small amount of paid media support, the content went viral with fans, who liked the original angle. Ad recall was up 20% and brand awareness 28%. All three participants agreed that smart use of data was key to success, in storytelling, distribution and proving campaigns’ effectiveness. “It tells you where to play. It shows you where consumers are so you can create something that’s relevant to them,” Lang said.
Mindshare’s David Lang
NEWS 4K is music to panelists’ ears but technology presents challenges
V BROA DCASTI NG of live music looks set to enefit from the ultra crystal-clear sound and vision promised y roadcast technology, according to speakers at he usic roducers, Investing or ’s uture emand session. ut content producers will still need to adapt to the format, said the panel’s aria edina, pro ect manager at panish independent production group edina edia. he company has produced footage for two music-centric series: lamenco assion 13 0 mins and he ea hef 13 0 mins . nd the e perience, she said, e posed the challenges producers can e pect. or lamenco assion, where professional dancers were not prepared to
Montreux Jazz Festival’s Isabel Sanchez: capturing the emotions of artists
make compromises during their rehearsals for the camera crews, “we were allowed only one shot
with five cameras and re uired a lot of good luck, edina said. In addition to investing in the
still-e pensive cameras and uilding the re uired studio, edina edia needed a larger server to store the footage with its ultra-high picture- uality resolution. nd the specialist post-production work re uired oosted the total udget y 30 compared to conventional methods. “ ut it is something we elieve in, she said. ast year, the iconic ontreu a estival continued its almost 0-year-old tradition of filming the performances y using for the first time. “ lthough there was a lot of improvisation ecause we’re not a dedicated production company, we were a le to capture the emotions of the artists’ live performances and their audience, said Isa el anche , the festival’s head of creative content and audiovisual production. “We’ve always had some kind of audiovisual recording ut could help us keep the footage in the est uality for the future, she added.
Kids’ public broadcasters swap notes TWENTY kids’ execs from leading pu lic service
ABC’s Deirdre Brennan: knowing VOD rights
roadcasters around the world compared their positions on rights this week in an invitationonly reakfast for I ’s new unior I strand. he meeting was called y eed I to discuss pu casters’ common concerns in today’s highly competitive kids’ content usiness. eirdre rennan, head of children’s at ustralia , roached the topic of the variety and con icting deals on offer. “ nowing your other pu lic roadcasters’ positions on rights would give me the confidence to negotiate, she said. articipants also compared the changing proportions of their viewers that are watching online versus on , and discussed sharing rights with et i and ou u e ids, dwindling udgets, and ways to fund the rave pro ects that kids need ut commercial roadcasters won’t touch. e astian e ertin of ika ermany said a priority is to “harmonise the legal situation . he meeting, hosted y kids’ consultant hristophe r es, closed with participants resolving to stay in touch online, and meet again at I , hopefully ringing in other pu lic-service colleagues. “ he aim isn’t to replace the kids’ initiative, ut to keep talking, said r es.
Kika’s Sebastian Debertin: “harmonise the legal situation”
MIPTV Medailles d’honneur Cecile Frot-Coutaz
CEO of FremantleMedia Cecile Frot-Coutaz plays a pivotal role in the world of content creation. Her company produces some 9,000 hours of programming a year across its network of companies in 28 countries. “I think our single biggest competitive advantage is our global footprint,” she said. “It’s hard to be a commercial success if you don’t have real scale.” But, Frot-Coutaz warns against “scale for the sake of it”: “You have to know how to use scale effectively. For us, it is about having strong local production companies wherever we are based, not just relying on a few global programme brands.” Born and raised in France, FrotCoutaz earned her MBA from the prestigious INSEAD, Paris in 1994. Her career breakthrough came when she was appointed CEO of FremantleMedia North America in 2005. In this role, she managed all business and operational matters, oversaw
ELECTUS founder and chairman Ben Silverman burst onto the TV scene while working at the William Morris Agency (as it was before merging with Endeavor to form William Morris Endeavor), where he was one of the pioneers of the international format business. From there, he went on to launch indie studio Reveille and work for NBC before launching Electus in 2009. An Emmy and Golden Globe Award winner, Silverman was directly involved in bringing shows like Who Wants To Be illionaire , he ffice and Ugly Betty to US screens. Since forming Electus, he has continued to e prolific, e ecutiveproducing The CW’s Jane The Virgin, NBC’s Fashion Star, Netflix’s Marco Polo, TNT’s Wake Up Call starring Dwayne ‘The Rock’ Johnson, ABC’s Bet On Your Baby and much more. The award of the Medaille d’Honneur recognises Silverman’s restless creative energy
production and legal affairs and explored growth opportunities. She also executive-produced American Idol, America’s Got Talent and The X Factor USA. As CEO, she has continued to build Fremantle’s entertainment brands and oversee expansion in the scripted slate with titles like The Returned, No Offence and Deutschland 1983. s for challenges, she identifies the emergence of short-form digital content, which is without an obvious business model. Frot-Coutaz is delighted to receive the award: “Throughout my career, MIPTV has been a cornerstone event of the year. From the early days of rolling out our global formats to most recently launching our new digital ventures, the market allows us to spend quality time and do business with our clients, colleagues and partners alike. And for me personally it is always great to do business in my native country.”
and the profound impact he has had on tastes and trends in the international market. Commenting on the award, Silverman expressed the importance of the Cannes-based markets in the development of his career. “It’s an incredible honour to be recognised by Reed MIDEM and MIPTV with this fantastic award. MIPTV and MIPCOM have been an integral part of my career and life. Having spent over 19 years attending and participating in the markets, it is great to see them expanding and evolving as the media landscape continues to change,” he said. In Silverman’s opinion, MIPTV is as important as ever as a platform for doing business. “The world gets smaller but the business continues to get more complicated and MIPTV has grown in importance as a goto environment to pursue new business and check in on great relationships,” he said.
THE MIPTV Medailles d’Honneur were created in 2013 to mark the 50th anniversary of MIPTV and to recognise industry leaders who have made an exceptional contribution to the international TV business. This year’s recipients illustrate a global industry enriched by cultural and professional diversity
IRFAN Sahin, CEO of Dogan TV Holdings (DTV) since 2010, has een a senior figure in the Turkish media industry for the last 20 years. He oversees a diverse array of services including leading free-to-air TV channel Kanal D. He is the first Turkish executive to be awarded the Medaille d’Honneur, timely recognition given that Turkey will be Country Of Honour at MIPCOM 2015 in October. “This is such an amazing honour, together with the excitement of eing the first winner from Turkey. I do not count this honour as a personal achievement. I will take it on behalf of the Turkish television industry,” he said. Prior to joining DTV, Sahin honed his expertise at a range of different media companies. He first came to in 006 as editor-in-chief of Kanal D. In the years that followed, the channel performed strongly in terms of
RICARDO Scalamandre joined Brazilian media giant Globo in 1971 at the age of 19. Fortyfour years later, as TV Globo’s head of international business, he is the first atin merican executive to receive a Medaille d’Honneur, recognition of his achievement in bringing productions from Globo and Brazil to the world. After joining Globo, he worked his way up to head of the planning and control board of the commercial division, later reinvented as the company’s marketing board. Subsequently as head of international business he developed the global strategy. Key achievements include the launch of lo o’s first international channel, the licensing of drama and sports content and, more recently, international productions with important partners across the industry, such as SIC Portugal, TV Azteca Mexico and Telemundo in the US. a os de angre, lo o’s first-
ratings, rand e uity and profitability. The pillars of this success were dramas like Binbir Gece, Yaprak Dokumu, Ask-i Memnu, Kuzey Guney, Oyle Bir Gecer Zaman Ki and Fatmagul’un Sucu Ne?, all of which achieved high ratings at home. Binbir Gece (1001 Nights) also sold well abroad, playing a key role in growing international interest in Turkish scripted shows. As CEO, Sahin has greenlit local versions of foreign dramas, built an in-house production company, taken DTV strongly into digital and backed an aid campaign for earthquake victims. “Throughout my career, I have witnessed so many breathtaking moments, learned a lot, worked a lot and shared all the experience which I gathered on this journey. I strongly believe the most crucial and essential points in whatever you do are passion and patience. Without these, no great work can be achieved,” he said.
ever fiction co-production with SIC, achieved international recognition with an Emmy award. During Scalamandre’s tenure, Globo has experimented with shorter-run telenovelas like El Astro, which have proved popular around the world. It has also diversified content with factual strands such as Globo Doc. At MIP 2015, Globo’s strategy of diversification continues with shorter run drama series such as The Hunter and Merciless. “I am very proud to receive this award. At Globo, we have been striving daily, for 50 years, to produce quality content that is made in a unique way and that enchants people in Brazil and around the world. And to have this effort recognised by the public and the industry is extremely rewarding. Our history is being built with each one of you. And together we will continue to make the best products that thrill audiences around the world,” Scalamandre said.
NEWS Emmys honour innovators
INNERS of the 10th International Digital Emmy Awards were announced by the International Academy Of Television Arts & Sciences at MIPTV’s Opening Night Party. Dina Foxx - Deadly Contact
Bruce L. Paisner (left) with AwesomenessTV’s founder and CEO Brian Robbins.
(ZDF/UFA/Exozet), a dramatic crime story tackling contemporary topics won the Fiction category. Reverse The Odds (Maverick Television/Chunk/Channel 4/ Cancer Research UK) won the Children & Young People category. The live fundraising show was packed with stars and inspirational stories to raise awareness about cancer in the young. Last Hijack Interactive (Submarine Channel/Razor Film/ZDF/ IKON) took the prize in the Non-Fiction category. It offered an online transmedia experience allowing people to explore the hijacking of a ship off Somalia. “The Academy started presenting these Emmys 10 years ago and the reach and relevance of digital entertainment and information has exploded across that decade,” said academy president and CEO Bruce L Paisner. “This
year’s Emmy winners demonstrate yet again the unique power and versatility of storytelling through interactive enhancements.” Alongside the Digital Emmy
Awards, the Pioneer Prize was presented to Brian Robbins, founder and CEO of AwesomenessTV. The former actor and director founded the digital-focused company aimed at tween and teen audiences in 2012, and then sold it the following year to DreamWorks Animation for $150m (€140m).
Digital Emmy winners and nominees with Bruce L Paisner (centre) at the ceremony
SCREEN Australia is presenting a showcase of the hottest online talent from Down Under at MIP Digital Fronts (Grand Auditorium 11.30 to 12.00) where the stars will share what they believe to be the key to success, drawing on their first-hand experience of developing ideas, monetising content, migrating to mainstream media platforms and building global audiences despite geographical challenges. Pictured here, letting off steam at the harbour in Cannes, are: Natalie Tran (left), communitychannel; Derek Muller, Veritasium; John Luc, RKP; Connor Van Vuuren, Van Vuuren Bros; and Nick Boshier, Ludo Studio.
Are you ready for a MIPTV digital publication experience? Photo: © Tuomas Kujansuu/iStock
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NEWS Digital switchover signals shift in Africa’s broadcasting landscape
HE CONTENTIOUS practice of forcing independent producers to buy airtime before their shows air on Sub-Saharan African channels looks set to end when analogue broadcasting signals are terminated and replaced by digital switchover (DSO) in June. That was the consensus among speakers at the session called TV Advertising And Free-to-air Channel Opportunities In Post Digital Switch-over Africa. The requirement for content owners to pay for airtime is “a bit inverted”, said Emeka Mba, director general of Nigeria’s broadcasting regulator National Broadcasting Commission (NBC). It is also a tradition that has discouraged investment in TV ads.
Nigeria’s National Broadcasting Commission director general Emeka Mba: “opportunities to monetise content effectively”
“It means there is no value placed on what the consumer watches and it skews the industry landscape because there is no independent audience measurement system,” Mba said. However, he added, DSO will enable regulators to clamp down
on such activities that have hurt the sector. “We’re creating the largest freeto-air platform in Africa,” Mba added about Nigeria, which has a population of more than 170 million and 22 million TV homes. “We don’t want a broad-
casting apartheid where only the rich get the best international TV content.” For Mba, NBC’s goal should be to create “a more dynamic broadcasting landscape that is measurable, creating more opportunities to monetise content effectively”. Rotimi Pedro, chairman of Nigerian sports and entertainment company Optima Media Group (OMG), confirmed the DSO could help his own business, which involves buying airtime to transmit a global event as popular as the FIFA World Cup. “We have been at the mercy of a sector that believes content is king, but distribution is King Kong,” Pedro said. “I hope the DSO means we can bypass the old system.” Abdulai Awudu, programmes director at Ghanaian digital terrestrial platform Multi TV, added that DSO would hopefully also mean a reduction in content piracy.
International angle for Asi-B Films A NEW South African TV
channel is set to launch in October — and its founder, Asivhanzhi ‘Asi’ Mathaba, is at MIPTV to seek programming for the feed, as well as to sell the content produced by his Johannesburg-based company Asi-B Films. The new channel, Asi-B TV, will predominantly air “virgin content from Limpopo created by Asi-B Films”, Mathaba said.
Programming will range from the traditional rituals and practices of South Africa’s northernmost province, alongside modern stories set in an urban context. “Asi-B TV will take fresh and original stories and turn them into local content that also has international relevance and appeal,” he said. The channel will be powered by Octopus TV’s cloud-based
content management system, which Mathaba said had impressed him with its “beautiful simplicity, powerful functionality and great user experience”. Asi-B Films’ sales slate includes Cake Dreams (13 x 24 mins), Nyakaza Bodies In Motion (60 x 5 mins) and Going Down Under (13 x 24 mins). Mathaba is also seeking coproduction partners for a 48 x 13 mins political thriller Aluta.
Asi-B TV’s Asivhanzhi ‘Asi’ Mathaba: “local content that has international relevance”
Are you REALLY ready? Photo: © Tuomas Kujansuu/iStock
© MIPTV® is a registered trademark of Reed MIDEM - All rights reserved.
NEWS MIPAcademy expands to meet demand for places
MIPCancun offers fresh forum for LatAm market
Reed MIDEM director of market development Ted Baracos (left), and Jong Sang Koo, chairman of the BCM organising committee
RODUC E R S h ave snapped up places at the inaugural MIPAcademy in Korea, to be staged next month during the Busan Contents Market (BCM). Organisers are now making arrangements to expand the academy after more than 80% of tickets were sold in the first week of becoming available. Delivered by MIPTV organisers Reed MIDEM, the MIPAcademy is one of a series of educational events launched in 2013, designed to provide “MIP’s global expertise to professionals in local markets”, Reed MIDEM director of market development Ted Baracos said. Among the experts addressing attendees on May 8 will be Avi Ar-
moza, founder of one of Israel’s leading content-creators Armoza Formats, and Fremantle Indonesia senior vice-president for content and production, Glenn Sims. Baracos added: “It’s about providing education and training to producers in local markets so they can sell their content successfully on the international market. We want to encourage Korean producers to make content that will travel the world.” Jong Sang Koo, chairman of the BCM organising committee, said: “This is a good time for the academy to come to Korea. Korean producers want to find out about global trends, particularly TV formats, and the MIPAcademy will help them do that.”
MIPCANCUN, launched last November to provide a bespoke sales venue for the growing Latin America television market, aims to double the number of participants at this year’s event, to be held November, 18-20, at the JW Marriott in Mexico’s Cancun resort. This follows the success of the first Buyers Summit, which brought together 33 distributors and 36 buyers from 15 countries. The distributors included France’s ARTE, Japan’s Fuji Television Network, the US’ Viacom International and the UK’s FremantleMedia. Millie Sequiera, FremantleMedia sales manager, said: “I met with companies and channels
I’ve never had the opportunity to present our content to. The system of timing by digital clock keeps everyone on track.” The 25-minute, one-to-one, buyer distributor meetings — with time called by a gong — also found favour with the buyers. Jorge Alejandro Tanaka, general manager of TVC NetworksPCTV, Mexico, said: “MIPCancun’s innovative format allows you to stay focused on your goals.” MIPCancun uses innovative matchmaking software, developed by Reed MIDEM for the travel trade, which uses an algorithm to match buyers to distributors based on the given preferences of both sides.
Cancun, venue for the MIPCancun Buyers Summit 2015
ZHEJIANG Huace Film & TV Group, China’s largest producer of drama, is at MIPTV to further its aim of developing new areas with international partners in the genres of film, TV drama, reality, formats and documentary. Huace is also growing in the digital space after joining forces with online giant Baidu to produce content for the iQIYI platform. Huace hosted a MIPTV breakfast in the Verriere Grand Auditorium as well. Pictured at the event are: Zhejiang Huace Film & TV’s Du Fang (left) and Zhao Yifang; Nadav Palti, Dori Media, Israel; and Zhi Liu, Croton, China.
THE NEW MIPTV REVIEW FOR TABLETS Check out the MIPTV Highlights • • • • •
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And much more in the new MIPTV Review for tablets
Available on iOS and Android from Thursday 30 April 2015
Photo: © Tuomas Kujansuu/iStock
NEWS Be pragmatic but ‘dare to invest’ is message from Nordic leaders
ROADCASTING is an industry “screaming for transformation. You have to accept that fact and deal with it,” MTG’s Anders Jensen told the audience at yesterday’s Focus On The Nordics: Reinventing Broadcasting session, which examined the ways in which the region’s broadcasters are rethinking their business models to meet the cul-
tural, financial and technological challenges ahead. According to Jensen, the trick is to embrace the “scary word ‘digital’, but without putting it on a pedestal”. He added: “You have to be pragmatic but dare to invest in your core product. There’s a never-ending appetite for content and we respond to that.” MTV Media Finland’s Heikki Rotko agreed. “We have to make
a cultural and structural change, cut our costs but keep investing in the things we believe in,” he said. “It’s also a people game — we need the best creative and technical talent to help us make this shift.” Rotko added that, although the Finnish broadcast market had shown no growth for the last 14 years, linear viewing actually rose in the territory last year.
Focus On The Nordics’ Annie Wegelius (left), TV4’s Casten Almqvist, MTG’s Anders Jensen, Ericsson’s Magnus Mandersson and MTV Media Finland’s Heikki Rotko
“So the consumer relationship with content is strong,” he said. “We just lack money.” Moderator Annie Wegelius, coinstigator with Titan TV’s Thomas Hedberg of the Focus On The Nordics initiative, said “the big elephant in the room” was SVOD giant et i , which launched in the Nordic territories in 2012 to instant and overwhelming success. “It’s been a game-changer,” she added. The same could be said of Ericsson, described by Wegelius as “television’s best-kept secret”. The technology giant has invested heavily in the broadcast market since it acquired Tandberg Television in 2007. Ericsson’s Magnus Mandersson observed that television is “fragmented, nationalised and unstandardised”. He added: “The telecoms industry by contrast is very standardised, which drives down costs.” TV4’s Casten Almqvist, meanwhile, said Sweden’s biggest broadcaster was in the process of transforming itself into a usercentric service by “pouring money” into both technology and production. “It’s a cultural shift,” he said. “It’s about moving technology into the same VIP room as content. And you also have to be a cannibal and be bold enough to attack your core business — because it’s better to be the cannibal than the meat.”
Why it pays to get creative with data
V CONTENT creatives should not reject the potential insight and intelligence on viewers to be gained from real-time data gathering and analyses, advised panelists at yesterday’s MIP Digital Talks, Content & The Geek session Drawing Creativity Out Of Data. “Seven out of 10 programmes in the US never make it past the first season, said ared eger of Parrot Analytics, a company that combines the expertise of creatives, industry leaders and scientists to analyse data. “If we applied and leveraged data as part of decision-making,
those [ratings] numbers could improve.” Seger said radical broadcast decisions could be made when networks used the appropriate data analytics: “We’ve seen that when we work with content buyers on deciding what content to bring to their audience.” Tom Bowers of US-based socialmedia software developer Spredfast also recommended that commitment to data analysis should be total, never half-hearted. Instead of relying on data from one or two social-media networks, such as Facebook, Twitter, reddit, Tumblr and YouTube, the industry needed to measure all of them in real time, he said. “By
looking at them all, you will see more clearly how you might want to change your editorial for the better, instead of just making decisions based on risks,” he added. What TV networks learn about viewers via data can equally help them to make bold statements about their business strategies, said Rob Gabel of Tubular Labs, which claims to provide insights based on individual behaviour among 150 million viewers. Knowing when to use consumers to co-create content on digital platforms is an example. “Data can direct you to some passionate niche communities to target,” Gabel added.
Parrot Analytics’ Wared Seger: “data as part of decision-making”
‘Watershed’ for Turkey as it named Country Of Honour
URKEY’s selection as MIP’s Country Of Honour is an effective way of marking a turning point in the evolution of the Turkish television industry and market, according to Dursun Topcu, vice-president of the Istanbul Chamber of Commerce, which acts as the sponsoring association for the sector. Topcu said there were 30 large Turkish players at MIPTV — plus many smaller ones helped by the support that the government-backed chamber can give. “The number of companies at the market is growing every year, so we decided it was time to put ourselves in the spotlight,” he said. The rapid expansion of highquality production in Turkey means that TV series broadcast in the country are now mostly home-grown. This provides a solid base to expand international
Rovio’s Mikko Polla
CONVENTION WINS BACK MILLENNIALS Dursun Topcu (left), vice-president of the board, Istanbul Chamber of Commerce, with board members Ilhan Solyu and Mahmut Ozden
sales, with growing markets for Turkish programming from Europe to Asia and Latin America, but particularly the Middle East. “We have many tourists coming to Istanbul from the Middle East just to see the locations used in many of our most popular television series,” Topcu said. The latest markets opening up to Turk-
ish producers are the Balkans, and Azerbaijan and central Asia. There is also a growing interest in co-productions, notably with European partners. To mark Turkey’s Country Of Honour status, a magazine, Turkey Home Of Content, has been published jointly by the chamber and the Turkish ministries of culture and economics.
Women’s breakfast of champions LISTEN up, ladies. If you want to get to the top in business, you should choose your next boss/ business partner with as much care as you choose your future spouse. That’s the view of Sarah Wood, co-founder of Unruly, a 190-person strong international video ad tech company creating social
PARIS-based MCN and talent network Dim Sum Entertainment’s co-founder and CEO Thomas Plessis will take to the MIP Digital Fronts stage on Thursday, April 16 at 11.30 in the Agora, to talk about how his team creates original content for Dailymotion. He will be joined by Dim Sum Entertainment’s producer and actor Fred Testot to explain how the Dim Sum Academy exposes new talent through established actors.
video campaigns. “The people you choose to be your life partner, peers and cofounders have the power to make or break your career,” says Wood. “If you’re entering a business as an employee check if the company has a good track record of promoting women internally. Are there senior women already at the top, and are there initiatives in place to help the next generation of women succeed?” Wood will be on a panel at this morning’s Women In Technology And Media Breakfast at the Carlton hotel, sharing her experience of promoting diversity in a tech company. Also on the panel is Marci Weisler, who marries content, commerce and crowdfunding at SWSI Media, a multiscreen video platform featuring original programming for and about Smart Women with Smart Ideas.
Breakfast with Unruly’s Sarah Wood
Two more smart women will be with her: Vicki Huff, global leader of PwC’s technology, communications and media practice, and Orla Noonan, managing director of French media giant Groupe AB. The invitation-only breakfast is moderated by FanTrust Entertainment Strategies’ president Catherine Warren.
YLE, THE Finnish state broadcaster has co-founded one of the most popular live youth events in the Nordic markets in its bid to woo back young millennials it has been losing as viewers. During the Reinventing Content session, YLE’s head of TV and online Risto Kuulasmaa explained how YLE helped launch TubeCON, Scandinavia’s biggest YouTube-themed convention. “We predict the audience size will double this year and we have ambitions to go into the other Nordic markets,” he said. “These kids will be the decisionmakers in 10 years’ time. And public broadcasters should be the ones to be brave and take risks,” he added. Speaking about the success of Nordic entertainment brands, Mikko Polla, group creative director of Rovio Entertainment, said: “We’ve a history of creating content in books, music, TV and now games that has interested consumers beyond our own territories.” But Anette Romer, head of acquisitions & formats at Danish public broadcaster TV 2 Danmark, warned against focusing exclusively on the young. “As the appetite for drama grows, we’re commissioning more,” she said.
WEDNESDAY 15 APRIL
OFFICIAL CONFERENCES & SCREENINGS
10.00-10.45 | Grand Auditorium Presented by ■■ Michael
Stevens, Creator, Vsauce, UK
Featuring Talent ■■ Fleur ■■ Joe
De Force, Vlogger, UK
Harland, Head of Visual Radio, BBC, UK
Producer, LuzuVlogs, USA
11.30-12.00 | Grand Auditorium
Wilson, Director, Crumbs & Doilies, UK
Van Vuuren, Director, Van Vuuren Bros, Australia & Nick Boshier, Director, Ludo Studio, Australia
■■ Natalie ■■ John
Luc, Performer, RKP, Australia
Fleur De Force
Tran, Online Content Creator, communitychannel,
Australia Muller, Creative Director, Veritasium, Australia
Joe Harland Connor Van
10.50-11.20 | Grand Auditorium
12.05-12.50 | Grand Auditorium
Robbins, Founder and CEO, AwesomenessTV, USA
Featuring Talent ■■ Meg
DeAngelis, Vlogger, USA
Eychenne, VP International Content, Dailymotion, France
Gross, Head of TV and New Media Rights, French Football Federation, France
■■ Michael ■■ Oleg
Haenisch, CEO, Freaks4U Gaming, Germany
Kogut, Head of Live & Gaming, Dailymotion, France
freeing CREATIVE CONTENT
THE MILLENNIAL SHIFT
MIP DIGITAL FRONTS MEET & GREET 13.00-14.15 | Matchmaking Lounge, Foyer Balcon Grand Auditorium 16.00-16.30 | Grand Auditorium
In partnership with
Presented by ■■ JC
Cangilla, SVP Business Development, New Form Digital, USA
Grace, Chief Creative Officer, New Form Digital,
USA Featuring Talent ■■ Jack
14.30-15.15 | Grand Auditorium
Penna, Actor, New Form Digital, USA
Presented by ■■ Andrew
Creighton, President, Vice Media, USA
Kelley, Publisher of Broadly, VICE, USA
Howard & Dean Dobbs, Actors, New Form Digital, USA Rose, Actress, producer, comedian, New Form Digital,
Miller, Global Head of Content, VICE, USA
Moretti, Chief Creative Officer, Vice Media, USA
Jack & Dean
15.20-15.50 | Grand Auditorium Presented by ■■ Michael
Green, Co-Founder and Chairman, Collective Digital Studio, USA
Izad, Co-Founder and Chief Executive Officer, Collective Digital Studio, USA
16.40-17.10 | Grand Auditorium Presented by ■■ Burnie ■■ Ezra
Burns, Creative Director, Rooster Teeth, USA
Cooperstein, President & COO, Rooster Teeth, USA
Reza Izad Burnie Burns
freeing CREATIVE CONTENT
THE MILLENNIAL SHIFT
WEDNESDAY 15 APRIL
OFFICIAL CONFERENCES & SCREENINGS WOMEN IN TECH & MEDIA BREAKFAST 8.30-10.00 | Carlton Hotel By invitation only
By Orla Noonan
Speakers ■■ Vicki
Huff, Global Leader, Technology, Communications, Entertainment & Media Practice, PwC, USA @VickiHuff990
Noonan, Managing Director, Groupe AB & Independent Director, Iliad, France
Weisler, Co-Founder, SWSI Media, USA
Wood, Co-founder & COO, Unruly, UK
Moderator ■■ Catherine
Warren, President, FanTrust Entertainment Strategies & Board Member, Bell Fund, Canada
@FanTrust Catherine Warren
SHOW & TELL: THE ONLINE VIDEO MARKETING EXPERTS 10.45-11.45 | Agora Speakers ■■ Ahmed ■■ Johan ■■ Paul
Abbas, Chief Operations Officer, Qsoft Holding, UAE
Fernstedt, Chief Specialist Digital Broadcast, Chimney, Sweden
Kontonis, Executive Director, Global Online Video Association, USA
Manintveld, Executive Chairman, 2btube, Spain @2b
Moreau, CEO, Topito, France
Host ■■ Paula
Souloumiac, Consultant, Media & Telecom, France
PRODUCERS TOOLBOX: HOW TO BE A YOUTUBER? 15.45-16.30 | Agora Speakers ■■ David
Ripert, Head of YouTube Spaces EMEA, Google, UK @davidripert
Producer, LuzuVlogs, USA
PRODUCERS TOOLBOX: HOW TO CROWDFUND & WHY 16.45-17.15 | Agora Speaker ■■ Andy
Green, Managing Director, Distrify Media, UK @andydistrify
NEWS Digital natives desperately seeking freedom, says CMF
NEW generation of digital-only consumers is polarising the media sector, according to new research by Canada Media Fund (CMF). Focusing on 18- to 34-year-old consumers who class themselves as “100% digital”, the CMF report, The Digital-Only Media Consumer, suggested that these consumers revel in a new freedom of choice and help support new entrants to the market. The other main trend to emerge was for “reduced cultural distinctions and increasingly standardised tastes”, along with “even more
consolidation and vertical integration” of the industry, according to CMF’s Stephane Cardin. The report also categorised the majority of the consumers as: Tech-savvy Do It Yourselfers, efficient at customising their devices and apps to fit their needs; Self-Aware Rebels, aware of the effect their bypassing traditional media has on content creators but continuing to do it; Freedom Lovers, more committed to a notion of freedom of choice than economics in their accessing free content; Intrinsically Digital, where digital-only media consumption is not a fad but a way of life; Desperately Seeking Curation, despite their prowess in using digital tools, they consider the large quantity of content on offer to be a concern. Culturally, most digital-onlys characterise themselves as “globally connected”, with potential consequences for “the sustainability of national cultural expression,” according to CMF. “Some consumers are not simply abandoning traditional platforms and turning towards digital content, they actually seem to know no other way to consume content but on digital platforms,” the report added.
Smiletime embraces next chapter THE INTERNET can take storytelling to a new level, but Smiletime co-founder and CEO Alex Kruglov claims few are realising its full potential. Speaking at Monday’s session When Storytelling Becomes Experience, Kruglov said: “Orange Is The New Black is a great drama on Netflix, but it could be on any one of the other networks. Netflix isn’t using its technical capabilities to do drama differently.” “What we haven’t yet seen is programming native to the internet, and done at scale,” he added. Kruglov’s Smiletime is an interactive social video platform that attempts to do just that. Its ‘Smilecasts’ are live studio discussions about the latest film, TV and gaming franchises which viewers can participate in via social media. Average user sessions come in at 23 minutes, with some staying for up to 45 minutes. And Kruglov says he prefers a small audience that engages to large ones that don’t. “I’m more interested in 5,000 viewers spending an hour with us than one million coming in and out for a minute.” Monetisation is primarily through sponsor-
Octopus’ Andrew Eborn
COMPACT DEAL HAS LEGS FOR OCTOPUS TV CLOUD-based video-content management and delivery platform Octopus TV and rights-management company Compact Media Group have extended their strategic partnership, which was launched prior to MIPCOM. Octopus president Andrew Eborn said the on-going relationship with Compact would allow his company to further enhance its “smorgasbord of services”. He added: “Together, we will continue to enable companies of any size to enjoy the benefits of a robust and user-friendly solution that will save them time and money when managing and delivering digital files.” Compact CEO David Johnson said he had been impressed by Octopus’ service, technology and capabilities: “With their superior offer and business ethic that is in keeping with our own values, it makes perfect sense to embark on a mutually beneficial working relationship.”
RE:FINE UNDER NEW VISUAL DATA BANNER
Smiletime’s Alex Kruglov
ship and advertising, but micropayment options will also be possible, such as paying for a virtual selfie with a celebrity. Also speaking was James Milward, founder of award-winning interactive agency Secret Location, which uses new consumer technology such as Oculus Rift to create new experiences for fans. Secret Location has worked with Red Bull, Funny Or Die, The Blacklist and others. The session was moderated by Miles Bullough, managing director, Wildseed Studios in the UK.
CONTENT processing and digital media expert re:fine is attending MIPTV 2015 for the first time under its new brand Visual Data Media Services. The company has just secured critical three-year contracts with global producers and distributors All3media International and Off the Fence. “Our digital revenues continue to grow and the need for the right content partner to manage and facilitate the process becomes ever more integral to this business,” John Wagener, director finance and operations, All3media International, said. “The next three years promise to see fascinating developments in the way we reach global audiences, and with Visual Data we are confident that we will stay one step ahead.”
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NEWS Back To The Present examines Future movie’s past predictions
CTOBER 21, 2015 is a date engraved on the hearts of a generation of film fans: it is when Marty McFly arrives in the future in Back To The Future Part II. In 1989, the year the film was made, it may have seemed unimaginably far away, but soon that future will be in the past. And new French production company Allo Houston? is asking the question: if Marty arrived in our version of 2015, would he be disappointed with what he finds? “No, no, no,” said Billy, one of Allo Houston?’s founders, who was a Disney Club presenter on TF1 between 1996 and 2004. “Actually, you’ll find that 85% of the things featured in the film now exist.”
He has investigated the subject in the company’s debut production, Back To The Present. Connected houses? Check. Computers in eyeglasses? Thank you Google. Flying cars? Technically, yes, although there are security reasons why we don’t see them in our skies. Hollywood director Robert Zemeckis, screenwriter Bob Gale and Christopher Lloyd, aka ‘Doc’ Emmett L Brown, all feature. Co -p r o duc e d w it h D8 i n France, and with the permission of Amblin Entertainment and NBC Universal, distribution is being handled by Can’t Stop Media, which has announced a sale to RTBF (Belgium) at MIPTV. The programme is available as 1 x 90 mins in French or 1 x 52 mins for international sale.
Attraction’s Chrystine Girard (left) and Marleen Beaulieu, president and executive producer
SLOVAKS PREPARE TO MEET THE PARENTS
Screenwriter Bob Gale
Sales success for female Samurai UK INDEPENDENT production company Urban Canyons has announced the sale of new docudrama Samurai Warrior Queens to Italy’s Rai, Spain’s TVE and Swedish media entertainment company, Modern Times Group. The 1 x 50 mins show reveals the untold history of the female Samurai told through the reallife story of Takeko Nakano, who formed an all-female fighting unit in 1868 to defend her clan’s independence in a battle that marked the end of the Samurai era in Japan. Samurai Warrior Queens, coproduced by The Smithsonian Channel, ZDF and UKTV, was completed with funding from the European MEDIA programme. It is the third instalment of a Japanese warrior series that includes Ninja Shadow Warriors and Samurai Headhunters. “MIPTV has given me the opportunity to find partners to fully finance our productions,” Urban
Canyon’s managing director Sebastian Peiter said. “Our shows give viewers historical insights through the stories of real-life characters and we are continuing this style in our next docudrama mini-series titled Women Warriors.”
Peiter is looking for co-production partners to complete the new 3 x 52 mins drama documentaries developed with Carl Hall’s Warehouse 51 Productions, which explore the most skilled and ruthless female fighters of all time.
Sealing the deal for Samurai Warrior Queens: Rai’s Maurizio Mele (left) and Urban Canyons’ Sebastian Peiter
ATTRACTION Images’ hit television series The Parents is being adapted in Slovakia by Piknik Pictures. The Slovak version is currently in pre-production and will debut in September. With an eighth season of The Parents airing on ICI Radio-Canada in September, the highly rated FrenchCanadian series continues to charm its home audience, as well as expanding its popularity abroad. While the original series of The Parents was licensed in Germany and France, where it currently airs on Gulli, adaptations have already been produced in Spain, Greece, Israel, Poland and Russia. The adaptation rights to Attraction Images’ Estelle From Hell have also been picked up for France by Gaumont. “We are totally committed to offering only the highest calibre of original scripted content and we look forward to working with our new partner Gaumont in order to continue the global success we have been seeing,” said Chrystine Girard, vicepresident of content rights management and international relations at Attraction Images.
STAND : P1.B10 Contact : Tania Kertesz +1 514-572-3969 firstname.lastname@example.org
Giant love story plays big Wizard Chef format gets with Crunchyroll and Letv new international flavour
IPPON TV has sold new animation series My Love Story to over 100 territories, including US-based global digital platform for anime content, Crunchyroll and Chinese streaming service, Letv. The animation is based on a popular comic series that won the Female Readers category in the 2013 edition of the Kono Manga Ga Sugoi! (This Manga Is Awesome!) guidebook, sponsored by Takarajimasha. My Love Story follows Takeo Goda, a giant man with a giant heart who is continually rejected by women until the day he saves a girl named Yamato. “The deal with Crunchyroll and Letv gives the streaming platforms
the right to simulcast My Love Story hours after it’s broadcast on TV in Japan,” Nippon TV’s Takeaki Tanaka said. “This year Chinese companies are much more interested in our programmes, especially following the mega-hit broadcast of Parasyte-The Maxim on China’s leading online video platform Youku Tudou.” Parasyte -The Maxim scored 260 million views over 24 episodes on Youku Tudou in China when it was broadcast in October. Featuring a high school kid who is attacked by a parasite and becomes its host, the series has been shown in 175 countries and regions to date and has raised over 160 million yen (€1.25m) in revenue, setting a new record in international sales.
Cooking up a MIPTV deal: Amir Shahkhalili (left) and Coz Jackson (WME); Ana Mijich (Embassy Row); Osamu Nara and Shusaku Inoue (ABC)
ASAHI Broadcasting Corporation of Japan has announced a worldwide format rights deal with Embassy Row for the Japanese cooking show Wizard Chef. The New York-based producer, part of Sony Pictures Television, will work with showrunner Shauna Minoprio, who has been involved in hit shows Top Chef and Undercover Boss, to develop the format for the US; Embassy Row will then sell the show internationally. Wizard Chef sees contestants try to impress judges with a beautiful three-course meal that has a very cheap, everyday ingredient — for example, a tuna sandwich — at its centre.
Nippon TV’s Takeaki Tanaka (left) and Keisuke Miyata
“With everyone attached to this project, we have a strong case for international markets,” Ana Mijich, director of international development and acquisitions at Embassy Row, said. William Morris Entertainment (WME) helped to facilitate the deal and will remain involved going forward. “Wizard Chef is all about making something out of nothing,” Coz Jackson of WME said. “We hope that this format will grow to be as big as Iron Chef or MasterChef,” Osamu Nara, director of the business strategy division at ABC, said. “We think we have found the right people and company to do this.”
Dentsu to break Sasuke in Europe after TBS signing TOKYO Broadcasting System Television (TBS) and Japanese
advertising agency brand Dentsu have signed a format rights agreement for sports entertainment show Sasuke. The deal, concluded yesterday at MIPTV, will see Dentsu take the format to the European markets in a bid to follow successful roll-outs in Asia, the Middle East and North America. Dentsu has acquired the rights to the format — also known as
Ninja Warriors in some markets — and will oversee sales and marketing in Europe. The deal between TBS and Dentsu covers all of Europe except for Sweden, Norway, Denmark and Finland. The show was first broadcast in Japan in 1997, since when it has been shown in 165 countries. In 2006 it made its debut in the US, and in 2009 a local version known as American Ninja Warrior was produced.
Makito Sugiyama (left) of TBS and Shuntaro Tanaka of Dentsu
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3/25/15 11:04 AM
NEWS Tandem shows off new recruits to pan-European crime thriller
TUDIOCANALbacked producer Tandem Communications is in Cannes with series three of Crossing Lines,
a fast-paced thriller based around a fictional uropean police unit tackling cross-border crime. The new series is penned by Frank Spotnitz and features
two new cast members: Goran isn ic and li a eth itchell ost . Visnjic told MIPTV News: “It was really appealing for me to
Goran Visnjic (left) Elizabeth Mitchell, Frank Spotnitz and Rola Bauer
Hallmark stars cast spell on Cannes GOOD Witch stars Catherine
ell rmy Wives, , ruce lmighty and ames enton esperate ousewives are in Cannes to promote Hallmark Channel’s scripted 10-episode primetime series based on The Good Witch movie franchise that has kept television audiences spellbound for seven instalments since 2008. ell’s original character, the raven-haired enchantress Cassie Nightingale, will appear in the weekly episodes with her young ‘magical’ teenage daughter race ailee adison . assie’s previous husband played by Chris Potter is replaced by new love interest and neighbour, Dr. am adford. “It was a happy accident that Chris Potter could not be involved
Good Witch stars Catherine Bell and James Denton
in the TV series as this allowed us to shift plot lines and create a new energy on set, ell said, who is also co-producer on the series.
“Otherwise the cast and crew are united once again and we are very much a happy family.” Developing her role for the
work with Frank and (Tandem president ola auer. It was also an opportunity to work alongside the great Donald Sutherland, who plays Michel Dorn of the International Criminal Court in all three series.” Mitchell’s work to date has mostly een ased in the . ut the prospect of filming in urope for four months didn’t worry her: “It was really intriguing to work in so many new places. I was also excited by the fact that my character hadn’t been fully developed when I first spoke to ola and Frank. That was an opportunity for us to develop her beyond broad strokes.” Spotnitz was not involved in the first two series. plaining his decision to write series three, he said: “There are so many exciting stories to be told about crime in urope, so it’s een a great project to work on.” auer said ony’s and Sat1 were continuing to back the show. She added: “We are moving into a new era with Crossing Lines and are elated to have oran and li a eth. nd it was great to involve someone of Frank’s calibre.”
weekly episodes rather than one-off movie specials required ell to e plore new dimensions in her character: “Playing this part in a more dayto-day role with a feisty teenage daughter means that we do see assie ruf ed. he is more relata le now we see her aws, ell added. Hallmark Channel, Crown Media amily etwork’s agship hour cable television network, has announced Good Witch will have a second series of 12 episodes including a two-hour Autumn 2015 premiere and 10 new hours to follow in early 2016. Series one aired in February becoming the network’s most-watched and highest-rated primetime drama in the time period. Good Witch is distributed outside North America by ITV Studios America and is a Whizbang Films Production.
NEWS MEDIA RANCH SELLS SEX CONFESSIONS QUEBEC-based independent TV producer and format agency Media Ranch has sold True Sex Confessions (26 x 30 mins) to Canada’s French-language lifestyle and entertainment channel MOI&Cie, which is aimed at women. Each episode features three intimate stories of ordinary people, with themes exploring a wide range of topics surrounding sexuality and addressing a number of misconceptions with fun facts and stats. “True Sex Confessions is our latest original format. A lighthearted blend of personal testimony and dramatic reconstruction combines to retell some extraordinarily exciting stories that prove that fact is really more compelling than fiction,” president of Media Ranch, Sophie Ferron, said. Media Ranch is premiering the finished series, an English-language pilot and the format this week at MIPTV.
Opposite Worlds brings Banijay and TV Zone Media together
LOBAL distributor Banijay International has signed a deal with China’s TV Zone Media for the format rights to the US adaptation of Opposite Worlds, a competitive reality format that originated in Chile. The Canal 13 original format continues to score high ratings in Chile every week. In the show, 20 people from all walks of life are mixed together in two opposing teams that live in
two distinctly different worlds — the past and the future. The past is a constant struggle for survival; the future is a utopia where every wish can be granted with a push of a button. Each week, players compete in a series of challenges to determine who lives in which world. For the losing team, three contestants currently living in the past will be nominated for eviction from the game — by other players on the show and by view-
ers at home. The last man and woman left standing receive a cash prize. The 12 x 60 mins US format, which airs twice a week (a pre-recorded and a live eviction show), is now being actively pushed across Asian territories. “This is our first deal with TV Zone Media but we have been in pre-market discussions for some time and we are delighted to license the US version to a new Asian producer,” Banijay’s Jimmy Humphrey said.
TV Zone’s Chen Wudong (left); Banijay’s Emmanuelle Namiech; TV Zone’s David Tang; and Banijay’s Jimmy Humphrey
JETPACK PROPELS SHOWS TO MBC
France joins Canada in comedy pact
JETPACK Distribution has secured a deal with Middle East broadcaster MBC covering 62 hours of programming for their kids’ channel MBC3. It includes a package of new series such as Jamie’s Got Tentacles (52 x 11 mins) and Invisible Network Of Kids (26 x 24 mins). Dominic Gardiner, CEO of Jetpack Distribution, said: “Jetpack’s portfolio offers a broad range of programming from pre-school to fast-paced action series and docu-drama. We look forward to working with MBC as our brands roll-out in this key territory.”
A FRENCH-Canadian pact will see Paris-based producer Kabo Family and Quebec-based Contenu QMI co-develop comedy formats. A new show will be based on Kabo Family’s successful Pick’n Mix sitcom model, which con-
sists of individual comedy sketches that can be assembled to order. The French company’s distribution arm, Kabo International, will distribute the co-venture’s new programming. For Contenu QMI, the Kabo alliance follows similar co-develop-
Contentu QMI’s Andre Provencher (left) and Kabo Family’s Christian Baumard
ment deals with Israel’s Armoza Formats and France’s TF1 Production. The company’s vice-president of creation and international development, Andre Provencher, said the Kabo partnership would intensify Contenu QMI’s strategy of producing properties with global appeal, while helping it to showcase Quebec’s talent and know-how on the international stage. Christian Baumard, CEO of Kabo Family, added: “This development deal will allow us to blend our creative forces to create new projects with strong international potential. We feel this European/North American alliance will yield some exciting formats over the coming months.”
New home in New York proves Breakthrough means business
ORONTO-based Breakthrough Entertainment, one of Canada’s largest television production and distribution companies, has opened a new office in New York to reflect the company’s increasing commitment to the US market and a significant expansion in its programming and co-production operations. Emmy Award-winning executive producer Beth Fraikorn has been appointed to drive new business development. “We are thrilled to have Beth lead our US business development activities,” Nat Abraham, Breakthrough’s partner and president, distribution, said. “We now have a person on the ground in New York to speak directly to the networks and we are already in the process of pitching several
new projects in our programming slate this year.” Breakthrough has brought a varied catalogue to MIPTV, including new paranormal reality series Twintuition, about Korean psychic twins, and reality game show Champions Of Crazy, in which two rivals participate in bizarre local championships to prove their prowess. “I am also proud of our new eight-part docu-series Over The Horizon, following Ellis Emmett’s three-year adventure circumnavigating the ocean — it is beautifully cinematic,” Abraham said. “MIPTV gives us a great opportunity to meet our collaborators face-to-face, especially our partners in Asia and Eastern Europe; I look forward to presenting our new shows to new territories around the world.”
Docventures’ Riku Rantala
DOCVENTURES GETS SOCIAL IN CANNES
Breakthrough Entertainment’s Nat Abraham: pitching new projects
Partners treasure Pirata & Capitano FRENCH animator Millimages toasted a deal with Spanish producer Anima Kitchent and Italian producer Alliante, marking the start of a collaboration to deliver children’s series Pirata & Capitano to France Televisions and Rai in Italy. They celebrated the new venture at MIPTV with France Televisions and Rai Fiction, the production arm of Rai. Pirata & Capitano is the story of a young girl who captains a pirate ship sailing the seas in search of treasure. Pirata’s best friend, Capitano, a hydroplane pilot, is never far from her side. Speaking to MIPTV News, Millimages chief executive Roch Lener said: “Pirata goes looking for treasures, but she discovers that the real treasure is being with her friend and the crew. The show is artistic and commercial at the same time. We think it has huge selling potential.” Production on the 52-episode
series, which will be created in association with Spanish designers Gallego Bros, is due to begin
this quarter and the show is due for completion towards the end of next year.
Anima Kitchent’s Ruben Zarauza (left); Rai Fiction’s Luca Milano; Millimages’ Roch Lener; Tiphaine de Raguenel and Pierre Siracusa of France Televisions; Millimages’ Hanna Mouchez; and Anima Kitchent’s Miguel Aldasoro
RIKU Rantala, presenter and executive producer of GimmeYaWallet’s Docventures, produced for YLE, is set to roll out the Finnish transmedia format to international public broadcasters. Rantala said the format re-energises documentary using social media and has boosted YLE audiences for documentary in Finland. Each week, Rantala and his co-presenter pick a film, set up a post-show studio discussion about it, and use Twitter, Facebook and Instagram to build a buzz. “We’ve made docs cool,” Rantala said. “People gather in pubs, clubs and universities to watch art-house documentaries and have fun.” When Docventures showed a film about meat production, Rantala said that 30,000 Finns went meat-free for a month. “We also harass establishment figures,” he said. “When we showed a film about tax evasion, we went to the tax office with €5,000 in cash to donate to the government — and filmed the reaction.” Rantala is in Cannes to license the format, giving advice and digital infrastructure to customise it for local broadcasters. He is also developing a platform to equip teachers with age-appropriate films and teaching resources for Finland’s schools.
NEWS REAL MEN FLIES FOR RED ARROW REAL Men — the Danish format from Fjernsynsforeningen that rated over 80% above its channel slot on DR1 when it debuted in January — is to be re-versioned for Belgium, the Netherlands, Sweden and Finland. Red Arrow International has licensed the format, in which five everyday, overweight guys embark on an intensive five-month health transformation, to Warner Bros. International Television Distribution for Belgium and the Netherlands. FremantleMedia Finland, meanwhile, has picked up the rights for its territory, while Banijay’s Nordisk Film TV has taken them for Sweden. “What Married At First Sight did for dating, Real Men does for the weight-loss genre, opening it up to a much broader audience,” said Tim Gerhartz, Red Arrow International’s senior vice-president of sales and acquisitions for the UK, Scandinavia and Benelux.
FLAME SERVES UP SUGAR DOC FLAME Distribution comes to MIPTV with sales already in the bag for Is Sugar The New Fat?, which attempts to uncover the truth about the world’s most addictive foodstuff. The 44-minute Razor Films documentary has been sold to Norway (Discovery), Israel (Ananey), Hungary (Origo), Australia (SBS) and Poland (ITVN). Flame’s content sales and acquisitions director, Fiona Gilroy, also reports strong interest in Nature Films Network’s Great White Bite, hosted by shark-attack survivor Rodney Fox, who has devoted his life to championing the creature that almost killed him. Flame’s factual slate contains 30 new titles, including the BBC’s Rhys Jones’s Wildlife Patrol and History Channel UK’s Defenders Of The Sky: The Story Of The Airfield.
Turner makes Monster deal with Sunrise for Jungle Beat
UNGLE Beat, an awardwi n n i ng non-verba l children’s animated series from South Africa’s Sunrise Productions has been picked up by Turner for its Boomerang channel across Central and Eastern Europe, from Irish distributor Monster Entertainment. The new third season of 13 x 7 mins premieres on the kids network in the third quarter of 2015 in Germany, Austria, Switzerland, Benelux and Eastern Europe, following which it will be licensed to free-TV broadcasters. VRT is already on board for Flemish-speaking Belgium. Monster Entertainment has sold seasons one and two to broadcasters in 182 countries and to 30 airlines. Seasons four and five are in production. There is also a licensing programme, theatrical screenings, an iOS and Android game and a digital kids club. Phil Cunningham, producer at
Deal makers: Andrew Fitzpatrick (left), chairman, Monster Entertainment; Zia Bales, acquisitions manager EMEA, Turner; Rita Mbanga, special projects, Sunrise Productions; and Tim Keller, managing director Jungle Beat, Sunrise Productions
Sunrise Productions, said: “Our passion with Jungle Beat is to build a quality brand in every respect and we are incredibly excited that the show will be broadcast on Boomerang.” Sylvia Nagl, programming director kids channels Turner Broadcasting System for Central and Eastern Europe, added: “The
world premiere of season three is a highlight for our audiences and will bring the families together in front of the TV.” Jungle Beat is a series of CGanimated, self-contained, dialogue-free episodes focusing on different animals. The stories are classic slapstick with simple situations that spiral into chaos.
SAM PARTNER (right), vice-president sales, Scandinavia, for Beyond Distribution, with Tiina Karo (left), senior acquisitions executive for Sanoma Media Finland, and producer Julie Bristow (centre) from Bristow Global Media celebrate the acquisition of Hockey Wives: Married To The Game at Beyond’s launch event. The eight-part reality series follows the wives and partners of professional ice hockey players across North America, as they balance families, long periods of separation, careers and the challenging lifestyles of this high-stakes world.
Star China rises to Challenge STAR China, a specialist in producing and creating formats for the Chinese audience, has acquired Infinite Challenge, the number-one rated format from Korea’s MBC. This marks a breakthrough into factual and reality genres for Star which is known for studio-based talent shows in China including The Voice Of China (Talpa format
The Voice), as well as their own format Sing My Song, which is being distributed by ITV Studios. “We are confident that this unique show will be a hit in China. We have a strong history of creating and producing the country’s top rated formats and look forward to taking Infinite Challenge to that level,” said Vivian Yin, chief representative, Star China and vice-president
of Starry Productions, “We thank MBC for entrusting Star China with their most prized format.” Infinite Challenge is a comedy show where a team of six comedians carry out often absurd or impossible to achieve creative challenges. It has consistently had the largest market share for its timeslot, Saturday evening at 18:30, since its start.
Tour Of Beauty F
ILMING Imagination Television’s new series Rachel’s Tour Of Beauty has proved a transformative experience for presenter and international supermodel Rachel Hunter, who embarked on a personal journey to discover indigenous beauty rituals and beliefs. The thought provoking odyssey around the world revealed surprising secrets to lasting beauty that are more than skin deep; Hunter has returned from her trips with a true sense that she immersed herself in a nourishing elixir of life. “In Western culture we paint beauty with one brush — when you break free of controlling rituals you realise that beauty is a rainbow with so many colours.” Distributed by Zodiak Rights, the 13-episode series travels from Asia to America, Mexico to the Middle East and Fiji to France to explore diverse cultures. “My idea of beauty has been completely shattered,” Hunter says. “I have been a traveling model for thirty years but I have never experienced such profound revelations — this series has enabled me to fall in love with the world, with a renewed sense of wellbeing and self-acceptance.” Rachel’s Tour Of Beauty investigates both extreme forms of beautification and mindful, spiritual practices in a myriad of cultures from the Chinese Hainan community to the sprightly, elderly inhabitants of the Greek island of Ikaria. “I met an elderly Arab woman who completely changed my view of Islamic traditions and who also exposed my own vulnerabilities — it was an extraordinary meeting and one that will always resonate.” Rachel’s Tour Of Beauty is currently in production for TVNZ and due to air this summer.
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.
NEWS TF1’s harrowing ratings winner is set to air on Spain’s Antena 3
PAIN’s Antena 3, owned by Atresmedia, has acquired TF1 International’s successful TV movie Woman Under Influence (L’Emprise), which is making its official debut at MIPTV. Starring Odile Vuillemin, Fred Testot and Marc Lavoine, the 90-minute film achieved the highest ratings for a French TV movie since 2007 when it aired on TF1. Attracting close to 10 million viewers, it also generated a buzz on the French broadcaster’s social media, reaching an additional four million people. A Leonis Productions’ production with TF1, Woman Under
Influence was directed by ClaudeM ich el Rom e, who also wrote the script. It is based on the harrowing true story of Alexandra, a mother of four, who finds herself in the dock for murdering her violently abusive Atresmedia’s Mercedes Gamero Hoyos (left) and Javier husband. After 17 Iriarte Moreno; Leonis Productions’ Jean-Benoit Gillig; years of physical and TF1 International’s Aurelia Tahar of her children. The film, which torture, alone and struggling to protect her increas- centres on her three-day trial, is ingly vulnerable family, she is a stark portrayal of how society eventually forced to fight back to fails to protect women from lifesave both her own life and those threatening domestic abuse.
AB format highlights wildlife threat THE MESSENGER, a primetime docu-tainment format from AB Productions is being launched at MIPTV. In each episode, a celebrity, known as The Sponsor, is sent to an area of the world where a wild species is in danger of extinction and a group of people, or The Messengers, are fighting for the survival of that species. The Sponsor serves as a mediator between the audience and the animals they are trying to pro-
tect and help survive. The show is being produced in France for France3 by Boreales, and AB Productions. “We have produced a 90-minute episode for France3, and we believe the format has genuine global appeal. Every country has endangered species and celebrities who can leverage their media power and popularity to make a difference,” said Richard Maroko, AB’s channels and production manager.
The Messenger (AB Productions)
WIZART ANIMATION has sold
The Snow Queen 2 (Wizart Animation)
in 2014. To date the feature has been released theatrically in 70 countries including the UK, South Korea, the Middle East, the Baltic States, Russia and CIS, Croatia,
KESHET International (KI), the distribution arm of Keshet Media Group, has sold its new game show, Trade Up, to the Romanian commercial broadcaster Prima TV. The channel has commissioned 15 episodes of the trivia game show in which families can win the car of their dreams “This fresh trivia game show is a completely new format on the Romanian TV market and I am convinced that the public will love it,” Simona Mazilescu, chief operating officer, Prima TV, said. “Trade Up builds tension and excitement in both the studio and the living room, because its players are already seated in the car they could be driving home. Visually it’s very distinctive. It also presents a seamless and authentic product placement opportunity which is inherent to the format,” added Keren Shahar, managing director distribution, Keshet International.
EUROPEAN BOOST FOR AISLIN GROUP
Snow Queen follow-up is hot property the US and Canadian (English and French-speaking) rights for the Russian 3D animated feature The Snow Queen 2 to Entertainment One (eOne). The sequel has been sold to more than 80 countries, and was directed by Alexey Tsitsilin and produced by Yuri Moskvin, Vladimir Nikolaev, Diana Yurinova and Timur Bekmambetov. The Snow Queen 2 was among 17 animated features shortlisted for Golden Globe consideration
TRADE UP GOES TO ROMANIA
Serbia, Montenegro, Bosnia and Herzegovina, Albania, Slovenia, Macedonia and Israel, grossing twice as much as the first movie of the franchise.
AISLIN Group is boosting its presence in Europe, having signed an co-operation agreement with Sally Head Productions (SHP). The London-based drama producer was founded in 1997 by Sally Head and Gwenda Bagshaw, becoming one of the most successful production teams in British drama, responsible for shows including Prime Suspect, Cracker and Band Of Gold. SHP now joins Italy’s PayperMoon and France’s Pampa Productions in the group. Aislin aims to extend its reach into the Englishspeaking world, encouraging creative exchanges between producers, while respecting their local knowledge and character.
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NEWS Sweden’s FlowNework aims to link newspaper networks
Michael Werner, chairman of FlowNetwork, and speaker at the Nordic Innovators conference
WEDISH newcomer FlowNetwork believes it has found a solution to the problem of declining reach for television advertisers: a ready-made network eager for video content provided
by Sweden’s local newspapers. Michael Werner, chairman of FlowNetwork, who introduced his new venture to the Show & Tell: The Nordic Innovators conference, said: “Add up all the local newspaper networks in the country and you have 70-80% reach. We just need to provide more content so that people stay longer on the sites.” FlowNetwork provides the technology for high-quality online TV to the sites and is building up the programming content available. “We are here to do deals,” Werner said. The company began trials of the concept last November by providing a slate of 30 movies to the fledgling service. It is now providing a talk show, which can be edited into searchable bite-size clips, so that viewers can access the content in a variety of ways. Its most ambitious project is an original drama series. Gasmamman, with Alexandra Rapaport in the leading role, is a co-production with Endemol and SBS Discovery. FlowNetwork aims to build up the service in May, with tools for clipping content and a search engine to link to wider content. The aim is to launch the full service along with the new drama series at the end of 2015.
Above Average aspirations for Dafouk JEREMY Sahel, founder of new comedy platform Dafouk is at MIPTV looking for “content that is mildly absurd and that has a little something extra in the vein of the YouTube channel Above Average.” Launched in March 2015, Dafouk directly addresses the X-Y generation with constantly evolving fun and offbeat videos and content. The aim is to allow emerging as well as established authors and talent the chance to express themselves on everyday issues such as love, sex, jobs and friendship. From the embittered call-centre operator to the neurotic psychiatrist and the frustrated 30-year-old woman, every one gets the same treatment. Elaborating on the kind of content he is looking for, Sahel said: “basically it has to be genuinely funny, and be able to appeal to men and women aged between 25 and 44. I’m also talking to several potential broadcasters, and I’m working on building a distribution operation based around the material we’re collecting for Dafouk.”
Jeremy Sahel, founder of Dafouk
Joaquin Amat, managing director, KnoxMediaHub, Spain
“KNOXMEDIAHUB (KMH) is a cloud platform that operates in the B2B segment of the industry, empowering content owners and TV and video exhibitors to do more and better business, and there are no limits in terms of scalability — no more hardware, software, storage or operational resources required. KMH cloud services enable more sales, lower costs, better quality of service to clients, and the leanest and fastest delivery and supply chains with literally any format, pay as you go, 24/7. Worldwide. “MIPTV is a perfect platform to introduce KnoxMediaHub to the global content media market and contact worldwide content owners and exhibitors, and we are looking to meet exhibitors who need to improve their digitalvideo supply chain. “KnoxMediaHub started operations a year and a half ago and has been working with leading Spanish companies. Our focus now is to be present in the European and American markets supporting media companies in their international operations.”
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Nelson, Winston and Idris
DRIS Elba, star of Mandela: Long Walk To Freedom, is in Cannes to promote his new documentary, Mandela, My Dad And Me. The 60-minute feature from Content Television follows the Golden Globe-winning UK actor, DJ and producer on a journey of self-exploration. Following his portrayal of Nelson Mandela in Long Walk To Freedom, Elba decided to record an album of South African music as a tribute to his political hero. But as he started to work on the ambitious project, he received the devastat-
ing news that another of his role models, his father Winston, had died. What started out as a professional project evolved into an increasingly personal mission as Elba struggled to pay tribute to two inspirational and irreplaceable men. Mandela, My Dad And Me, directed by BAFTA Award-winning Daniel Vernon, is produced by Elba’s production company Green Door Pictures, Woodcut Media and Shine North. It was co-financed by Green Door Pictures and Bob & Co. “I’m delighted to be joining the
production and sales teams at MIPTV,” Elba said. “This was an incredibly fulfilling project for me. It was difficult at times but, ultimately, it was a hugely rewarding experience.” Greg Phillips, the president of Content Television, added: “Mandela, My Dad And Me captures the personal and professional journey taken by Idris in the production of the album Mi Mandela during one of the toughest years of his life. We’re confident this emotionally moving story will resonate exceptionally well with international audiences.”
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NEWS Revamped Rai Com is in market for new creative collaborations
AST YEAR Italian public broadcaster Rai revamped its commercial activities to present a more focused and dynamic face to the international market. The result was the creation of Rai Com. CEO Luigi De Siervo told MIPTV News Rai Com’s mandate covers a wide range of areas including TV and digital rights distribution, linear channel distribution and related businesses such as publishing: “But we are also looking for partners that we can work with on international co-productions. Just like BBC Worldwide or ZDF Enterprises, we very open to collaborating with companies across a range of carefully-selected projects.” One of Rai Com’s most ambitious projects right now is Italiana, a 28 x 25 mins magazine series linked to the Milan Expo, which takes place next month. Mattia Oddone, head of cinema and international TV sales, said: “Italiana is an HD series, available in the English language, that provides a fascinating insight into
ORF UNIVERSUM MAKES RUSSIAN CO-PROD DEBUT
Rai Com’s Mattia Oddone (left), Luigi De Siervo and David Bogi
the many subjects covered by the Expo such as art, fashion, cooking, culture and architecture. We’ve already pre-sold it to many countries, including a deal with the Abu Dhabi Media Company.” Rai Com is also making strong headway in drama thanks to its Montalbano franchise (Inspector Montalbano and Young Montalbano), added Oddone. “There are new episodes of Montalbano. We also have new titles at MIPTV such as Palermo Police Squad
and a biopic of journalist Oriana Fallaci,” he said. In kids content, Rai Com is going into production on Pio The Chick, an animation co-production with DQ Entertainment in India. “We also have a really interesting project called All’opera that will see us film operas live for distribution via cinema chains. We have deals in France and Spain and are in negotiations in markets like the UK, Germany, Canada, China and Japan.”
Polish players with plenty on offer LEADERS of an alliance of Polish broadcasters, TV producers and distributors are in Cannes with a slate of local content to introduce to the international market. Representatives of the Polish
Chamber of Electronic Communications (PIKE) and the Polish Foundation for the Development of Electronic Communication (PIKSEL) are at MIPTV to promote the content, which includes
Hanna Samsel (left) and Ewa Michalska from PIKE and PIKSEL
history shows, dramas and reality television, and get up to speed with the latest trends in the market. Among the shows on offer are Mysteries Of Poznan: Enigma, a dramatic telling of the true story of three Polish cryptologists who helped crack the Enigma code; and Chaos, a powerful documentary about an artist who lives in a forest in the west of Poland and whose artwork is inspired by the confusion of his existence. PIKE and PIKSEL communication and development manager Hanna Samsel said: “We want to find out what’s happening out here in the market and the latest trends. And we want to be able to help local TV stations market their content to the international market.”
ORF UNIVERSUM of Austria has used MIPTV to unveil its first ever co-production with Channel 1 Russia. The project in question is Hell & Paradise: Russia’s Wild Sea, a 2 x 52 mins production that looks at the beautiful Sea of Okhotsk. Also involved in the production are Smithsonian Networks and ARTE France. Pictured sealing the deal are: ORF head of history and natural history Andrew Solomon (left; ORF chief financial officer Richard Grasl; Channel 1 head of documentary films Svetlana Kolosova; Channel 1 deputy director general Oleg Volnov; Channel 1 commercial director Peter Shepin; and InterSport Films joint managing directors Heinrich Mayer and Nikolaus Klingohr.
OCTAPIXX PICKS ICELANDIC HIT OCTAPIXX Worldwide has signed an international distribution deal with Iceland’s Sakamal 13 for the docu-drama series True Nordic Crimes. “In keeping with MIPTV’s Focus On The Nordics initiative, we are most pleased to be distributing True Nordic Crimes globally on behalf of Sakamal 13,” said Octapixx Worldwide president, Gary Gladman. “Nordic television is enjoying an international boom.” The HD series is among the most popular in the history of Icelandic television and was recently awarded The EDDA Award for Best Documentary series from The Icelandic Film & Television Academy.
NEWS SMG Innovations launches into new international partnerships
NTERTAINMENT giant Shanghai Media Group (SMG) announced three international strategic partnerships at its MIPTV launch party for SMG Innovations, held at the Carlton this week. They include a joint venture with FremantleMedia for format research and development, a strategic co-operation with A+E Networks to trade and produce original programming, and a collaboration with BBC Worldwide covering drama, documentaries and kids’ series. SMG’s president Wang Jianjun highlighted why it’s important to have an innovative business model in order to create exceptional original content for its TV channels and to ensure SMG-developed content is best represented in global markets. SMG Innovations will mainly focus on the distribution of SMG’s original formats but will also facilitate new international partnerships and co-productions. SMG is one of the largest media and entertainment companies in China, boasting a business portfolio including radio, TV, newspaper and magazine traditional media
SMG’s president Wang Jianjun: innovative business model
outlets, TV and film production and distribution, multiplatform video distribution such as IPTV and internet TV, online video offerings, digital advertising, online and console gaming, TV shopping and e-commerce, live and performing arts and tourism.
Barcroft seals digital deals for docs HYBRID linear and digital TV producer/distributor Barcroft Media has signed agreements to stream over 25 hours of long- and shortform factual programming on its YouTube channel Barcroft TV and other digital platforms carrying the channel around the world. Following a deal brokered by Drive, UK distributor DRG will provide a varied slate of 20 x 60 mins documentaries for the Barcroft Docs strand from mid-April. They include The Boy Who Sees Without Eyes, Half Ton Man and Bigamist Bride: My Five Husbands. The deal also includes Through Hell And
Celebrating the deal in Cannes: Alex Morris (left), creative director, Barcroft Media; Ben Barrett, managing director, Drive; Wayne Davison, commercial director, DRG; and Barcroft’s Sam Barcroft
High Water (6 x 30 mins), the series that charts Olympian James Cracknell and Ben Fogle’s Atlantic Rowing Race adventure. A second deal, with the UK’s TVF International, covers 60-minute documentaries Diana - The Night She Died, Prince William And Kate: A Royal Love Story, and Kate Moss: Queen Of The Catwalk for the Barcroft Docs strand, which will also show short-form supercar series Millionaire Motors (14 x 4 mins). Barcroft is also looking for wildlife content at MIPTV for a new Barcroft Wild! strand, set to debut in the next quarter. The agreements are based on a revenue share model funded by advertising. Barcroft TV’s YouTube channel and the company’s own relaunched website Barcroft.tv will debut the content that will also roll-out across a number of other global and regional platforms. Digital platforms that also feature Barcroft TV include the Rightster network, AOL On, MSN, YouKu in China and Yahoo’s GyaO! in Japan. “We have a clear understanding of what our one million subscribers want from the channel and it’s clear that demand is growing every day for premium long- and short-form content on Barcroft TV,” said Barcroft Media CEO and founder Sam Barcroft.
US STUDIO ADDED TO AUDIO NETWORK LIST AUDIO Network has signed an annual licensing deal with US digital studio Rooster Teeth, enabling Rooster Teeth to fully exploit the 90,000-track catalogue available on the Audio Network platform across their animated and live-action web series. The deal reflects Audio Network’s strategy to expand its global footprint across all platforms, and adds to existing partnerships with major multi-channel networks (MCNs) and online producers around the world including Content One and Mediakraft in Germany, Ping Network in India, and a number of UK MCNs and creators such as FoodTube (FreshOne) and Zoella.
ZIGBY AND FRIENDS FLOW INTO FRANCE MUNICH-based Studio 100 Media has signed an agreement at MIPTV with France TV Distribution, giving MCN francetv all rights to manage channels in France on YouTube and Dailymotion for several Studio 100 Media titles including pre-school 3D animation Zigby (52 x 11 mins), Blinky Bill (52 x 30 mins) and Flipper & Lopaka (78 x 30 mins). MCN francetv was set up to distribute, publish and manage flows of audiovisual content on free video-streaming platforms. Julien Borde, executive director, new projects at France Televisions, said: “French children and their parents will enjoy discovering their adventures in non-linear as the have enjoyed them on TV for years.”
Zigby (Studio 100 Media)
Nordisk Film says I Can Do That! with Armoza’s primetime format
B TCB Media Rights’ Paul Heaney
TCB MEDIA WINS TWO-TITLE DEAL WITH DISCOVERY IN A MIPTV market deal, boutique UK distributor TCB Media Rights has sold two of its MIPTV headliners — Wicked Inventions and What On Earth? — to Discovery Networks Asia-Pacific. Like A Shot Entertainment’s Wicked Inventions (30 x 30 mins), originally produced for Viasat History, looks at the improbable history of such everyday inventions as the Swiss Army knife and the saddle. WAGTV’s What On Earth? (6 x 60 mins) for Discovery Science US attempts to solve mysteries — the exact location of the Garden of Eden, or the cause of a whirlpool in the ocean the size of Connecticut — from images taken by satellites in space. Paul Heaney, managing director of TCB Media Rights, said: “To do a deal over lunch in Cannes is very old-school, but it proves that nothing beats face-toface business. Discovery Networks Asia Pacific is a perfect match for What On Earth? and Wicked Inventions.” Lynn Ng, Discovery Networks Asia-Pacific’s director of programming, added: “We are always on the look-out for entertaining science series and these shows tick all the boxes.”
ANIJAY-owned Nordisk Film has acquired the rights to Armoza Format’s primetime entertainment format I Can Do That! for Sweden, Denmark and Norway. The show is already licensed in Finland by MTV, where it has gone into production with Banijay Finland. In Italy the second season of I Can Do That! has just launched on Rai 1, while in the US the NBC adaptation is gearing up for an all-star launch in May. The show takes a group of com-
petitive celebrities and challenges them to perform new show-stopping live acts. It is currently in production in 15 countries.
Israel’s Armoza Formats has more than 75 formats in its catalogue and over 70 productions in at least 35 countries.
Armoza Formats’ I Can Do That! heads to Sweden, Denmark and Norway
KYUSHU Asahi Broadcasting Corporation (KBC)’s Mami Nagayoshi (left) and Misuzu Tsukue are attending MIPTV for the first time follo ing the formation of KBC’s international business department last year. Nagayoshi said: “We want to introduce our content to the world. MIPTV is a very exciting market.” KBC is introducing a range of shows, including drama series Love Stories From Fukuoka and Ishi-chan’s Extraordinary Gourmet Show.
Kiyoshi and Ori close 600-hour deal M U M BA I-ba se d d ist r ibutor Kiyoshi Entertainment has acquired the television, cable and digital rights for India to 600 hours of animation from
China’s Ori Animation. Welcoming the deal, Ori Animation president Qian Feng said: “This is our first co-operation with Kiyoshi, and we hope it will be
Laughing Buddha’s Rohit Bohara (left) with Ori Animation’s Qian Feng, Kiyoshi’s Bhupen Chhadva and Ori’s Sammi Lu
the beginning of a long and productive relationship.” Kiyoshi has dubbing rights for all Indian languages. It plans to start with Hindi, then Tamil and then Telugu. “There is a growing market for animation in India, and we will be targeting regional channels at home, and digital platforms across the world,” said Kiyoshi managing director and CEO Bhupen Chhadva. “These properties will appeal to our audiences because they are new and different from those on the four existing cartoon channels.” Kiyoshi has also taken 400 x 30 mins from Spain’s Neptuno Films and 150 x 30 mins from Turkish Radio Television (TRT).
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