Miptv 2016 news 1

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Monday 4 April 2016

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MIPDRAMA SCREENINGS

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8 Previews of 12 new drama series were showcased to 350 top buyers yesterday at the inaugural MIPDrama Screenings

WORLD PREMIERE TV SCREENING

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Tonight’s World Premiere TV screening is A+E Studio’s Roots, due to simulcast in the US on History, A&E and Lifetime in May

MIPDOC KEYNOTE

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Award-winning writer, director and producer Morgan Spurlock delivered yesterday’s MIPDoc keynote speech

MEDIA MASTERMIND

Best-selling author Harlan Coben — 60 million books sold worldwide and counting — gives today’s Media Mastermind Keynote at 12.20 in the Grand Auditorium

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Turning zeros into heroes

Stand Croisette 11 Cannes E: formats@fremantlemedia.com www.fremantlemedia.com

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THE LEADER IN TELEVISION MOVIES

AT MIP T V 2016: R9.A32 FOR MORE INFORMATION PLE ASE VISIT: STARZGLOBAL.COM PLE ASE FOLLOW US ON:

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THE LEADER IN PREMIUM TELEVISION SERIES

SEASON 1: 10 X 30 MINS

13 X 30 MINS

SEASON 1: 8 X 60 MINS SEASON 2: 10 X 60 MINS SEASON 3: 10 X 60 MINS

SEASON 1: 6 X 30 MINS SEASON 2: 10 X 30 MINS

SEASON 1: 8 X 60 MINS SEASON 2: 10 X 60 MINS

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8 X 60 MINS

SEASON 1: 10 X 60 MINS SEASON 2: 12 X 60 MINS SEASON 3: 10 X 60 MINS

CONTENTS

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NEWS 8 MIPDrama Screenings; MIPDoc; MIPFormats; MIP Digital Fronts; World Premiere TV Screening; and industry news

e Schedulce

ren Confe me a progr m P84

PRODUCT NEWS 52 A round-up of what’s for sale in Cannes

FEATURES 89 Teaming-up with the brands Brands and the entertainment content industry grow ever closer

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95 A fast-moving game While eSports are moving to TV, fans are impacting on traditional sports

The official MIPTV daily newspaper Monday 4 April 2016

Director of Publications Paul Zilk Director of Communication Mike Williams

101 Small people, big expectations Challenges are big in the children’s market, but so are the opportunities

The MIPTV Newsroom is located on level 3 of the Palais des Festivals

EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Sub Editors Neil Churchman, Nigel Willmott Reporters Ben Cooper, Neil Crossley, Andy Fry, Emelia Jones, Juliana Koranteng, Max Leonard, Rachel Murrell, Gary Smith, Joanna Stephens, David Wood Editorial Assistant Hannah Stephens Editorial Management Boutique Editions Technical Editor in Chief Herve Traisnel Deputy Technical Editor in Chief Frederic Beauseigneur Graphic Designers Veronique Duthille, Nour Ezzedeen, Carole Peres Head of Photographers Yann Coatsaliou / 360 Media Photographers Christian Alminana, Olivier Houeix, Patrick Frega, Phydrass Haidar, Michel Johner.

PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Manager Amrane Lamiri Publishing Co-ordinator Yovana Filipovic Production Assistant Eric Laurent Printer Riccobono Imprimeurs, Le Muy (France).

ADVERTISING CONTACT IN CANNES Christine Mendes: christine.mendes@reedmidem.com / +33 (0)7 78 35 38 45 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 © 2016, Reed MIDEM Market Publications. Publication registered 2nd quarter 2016. ISSN 1967-5178.

Printed on PEFC certified paper

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The girl who became Queen

Brand New Drama

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MIPDRAMA

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Buyers applaud first MIPDrama Screenings Some 350 international content buyers and members of the press attended a day of screenings at the inaugural MIPDrama Screenings, held at the JW Marriott hotel in Cannes, and stars from some of the 12 chosen series were in Cannes for the event

New dramas from around the world were submitted for the chance to be shown at the prestigious MIPDrama Screenings. The 12 selected titles came from Belgium, Chile, Finland, France, Germany, Italy, Poland, Spain, Russia and the UK. Representatives from the 12 and Reed MIDEM’s senior management are pictured together ahead of the MIPDrama Screenings networking cocktail, sponsored by BRFT and BBPA

A high-powered jury of six drama experts selected the 12 dramas for the MIPDrama Screenings. Pictured here are four of them: Chris Long (left), Anna Winger, Teresa Fernandez-Valdez and Ramon Campos. During a MIPDrama panel the jurors praised the day-long Screenings and said Europe has needed such an event for a long time

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The recipient of the inaugural Coup de Coeur at the MIPDrama Screenings was Matthieu Frances, writer and director of Belgian drama Public Enemy. The series focuses on the repercussions when a child killer is released from prison

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MIPDRAMA

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Channel One Russia and Rock Films Studio’s four-part mini-series Mathilde follows the romantic affair between Nicholas, the future heir to the Russian throne, and a world famous ballerina – Mathilde. Pictured here is actress Michalina Olszanska

StudioCanal’s Section Zero is a dark, edgy and violent political sci-fi thriller. Set in the near future it posits a futuristic world in which multinational corporations are Europe’s new leaders. Pictured here is actor Pascal Greggory, who stars in the 8 x 60 mins series

Hat Trick International’s The Secret tells the true story of Hazel Buchanan and Colin Howell, whose passionate and destructive affair ultimately leads them to kill both their partners. Pictured is actor James Nesbitt, who plays Howell in the four-part story

The Drama Buyers Advisory Board selected Public Enemy as the first ever recipient of the Coup de Coeur Award. It comprised Anette Romer (left), Aline Marrache-Tesseraud, Zelda Stewart, Ignacio Barrera, Rudiger Boess and Sarah Wright

Keshet International’s The A Word is the story of the Hughes Family, whose lives change when their youngest son is diagnosed with autism. Pictured here is actress Morven Christie

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Formats

Robot Wars Is Back!

RuPaul’s Drag Race

Worst Driver Coming soon to China

Now in Chile

Paradise Hotel Now in 13 territories

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NEWS Super-size non-fiction, says Spurlock — and prioritise the digital strategy

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S THIS the age of brain over brawn in factual programming? Morgan Spurlock’s MIPDoc keynote traced the parallels between intelligent non-fiction on subscription services — including The Jinx and Making A Murderer — and the explosion in good TV drama a decade ago, also initially subscription driven — The Sopranos, The Wire, Mad Men and more.

“More people are watching nonfiction entertainment than ever before,” he said.

And with devices and streaming services offering us more access than ever, more people will start watching smarter content too.

“Now is the time to take risks,” he added.

The question is how to share in this growth: “Today, your production strategy has to contain a digital strategy,” Spurlock said.

“If you want to have a company, [digital] has to be part of it.”

This is where audiences are going, he said, and digital-savvy production companies are well

placed to help networks develop their digital offering.

His production company, Warrior Poets, currently focuses around 40% of its production resources

on digital, but Spurlock expected this to top 50% in 2016. Since I Bet You Will in 2000, Spurlock has created seven original online series to sell back to TV. Online

is a testbed, he said, to see what people think and to prove ideas.

In particular, Warrior Poets was targeting millennial women — a growing, educated and influential market.

“Most people want to chase success in the marketplace,” he said.

“I want to chase the neglected — the millennial women who are not being catered to.”

Morgan Spurlock

Mining the ‘gold rush’ of factual

“THERE’s a gold rush of new factual services online and in a gold rush, most businesses fail,” according to digital consultant Peter Hamilton of Peter Hamilton Consultants.

Sunday’s conference session, The Rise Of Online Originals – What Do Platforms Want?, asked what business models will ensure survival, how to balance original and acquired content, and how to work the rights.

Payment models abound, with AVOD (adver tising-funded video on demand), SVOD (subscription), FVOD (free, often the broadcaster model, including catch-up), TVOD (transactional) and MVOD (membership).

Hamilton claims that on-demand

is driving a shift towards quality documentary content, much of it longer, smarter and more original than the doom-mongers foretold.

“We’re not Vice. We’re Virtue,” said Antoine Robin of SVOD/ TVOD service Spicee.

“We were created for young adults who don’t watch television.

Our big press partner is Babel.

We’re professional journalists.

And journalists need to be paid.”

Much of his output is packaged in five-minute shorts for mobile, but the original 52-minute versions are also watched.

Greg Diefenbach of XiveTV says his content is one-hour and half-hour formats, and most is viewed to about 70% duration.

“This surprises people who as-

sume short form wins,” he said.

Consolidation is inevitable, Diefenbach believes.

“Linear television is the walking dead,” he said. “Younger viewers have almost no relationship with linear. When they find they can’t pause and replay something, they think the television is broken.” According to Hamilton, it’s not over yet.

“The cable channels are locked into distributors, and offer TV as a loss-leader for their phone and broadband services,” he said.

“It’ll take a while to lose linear.”

Social media is vital, said Steve Burns of CuriosityStream.

“It’s great for analysing audiences and trends, and for reaching subscribers.”

Spicee’s Antoine Robin

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03/04/16 17:48

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NEWS

Japanese doc pitches range from cultural upheaval to spiritual calm

S Amanda Hill of A+E Networks

THE MEDIUM IS THE MESSAGE FOR ONLINE CONTENT “WE TRIED video on Instagram and it didn’t work,” said Amanda Hill, chief creative officer, international, A+E Networks.

“We tried photos instead, and we have a million subscribers.”

Hill was speaking at the Engaging With Talent, Brands And Online Native Storytelling on Sunday and her key message was to adapt your tone to the platform you’re on.

“You need to watch, listen and understand the platforms and use the vernacular of each one,” she said. “Facebook isn’t just a video. You have to work out how to pivot your content to get people to click. The first five seconds are critical.”

Thomas Benski, CEO & co-founder of Pulse Films, is a pioneer of branded entertainment online.

“Brands are currently quite open to ideas,” he said. “You can approach them direct or through their media agencies. We worked with Chanel to set up a threeyear programme to support female directors.”

Claire Leproust, founder/ president of Fablabchannel, commissions reports from a network of 60-plus Francophone reporters around the world. “Ask yourself when your users will watch your content, and how long they have to watch,” she said.

ATURDAY’s Japanese praised for its singular footage ticipants risk their lives for the Documentary Pitching and interesting science. Edwina honour of felling a huge tree and Showcase at MIPDoc Thring of Wild Thring Media bringing it down the mountainsaw four independent suggested that the film would ben- side in a high-speed chase.

Japanese film-makers efit from a more exciting title to Ann Julienne of Doc Spinners pitch projects to a panel of inter- attract more viewers on the EPG. said: “This could work there as a national documentary experts.

Mountains: The Origin Of Ja- single, or possibly as one episode Dear Red Children, from Temjin pan’s Spirituality from Visual of a series looking at mountains Company, looks at the 50th an- Folklore follows a Japanese in different countries.” niversary of the Cultural Revo- mountain festival in which par- Panelists found the characters in lution through the eyes of The 84-Year-Old Super four foreigners who lived in Idols “charismatic and China in the Fifties, Sixties unique”. The film follows and Seventies. a group of cheerful senior Panelist Tom Jennings of citizens from Okinawa 1895 Films felt the film who formed a choir 22 had “found a way to crack years ago and are now nathe Cultural Revolution” tional celebrities. The film through unique access explores the challenges of to relatable international old age — for individucharacters. Fellow panals and society — as the elists agreed this story is group goes abroad for the relatively unknown in the first time. west and could appeal to The session was produced broadcasting execs looking

by Tokyo Docs, in confor ways to mark the 50th junction with MIPDoc, anniversary of the Cultural and presented by NHK Revolution.

Enter prises executive Ceramics: The Great Hisproducer, international tory Of Clay And Fire, also Temjin Company’s Shohei Shibata demonstrates the co-production, Kenichi from Temjin Company, was importance of ceramics during his pitch Imamura.

Scientists solving problems in six parts WHAT IS more difficult to navigate — a swamp infested with crocodiles up to 18ft (5.5 metres) in length, or the floor of the Grand Palais in Cannes?

Matt Wright did not immediately answer. It is the Outback wrangler’s first time in Cannes… but he’s been trapping deadly reptiles since he was a kid.

The National Geographic show features Matt catching crocs, collecting eggs and mustering feral animals. It has a serious message too. “We travel a fair bit and try to educate people about the balance between humans and animals,” Wright said.

Wright was a special guest at the MIPDoc Networking Lunch —presented by Fox, the sales division of National Geographic Channel — along with Kurt Say-

Matt Wright (left) and Kurt Sayenga

enga, executive producer of Nat Geo’s Breakthrough, a largescale six-part series showing scientists working to solve global problems such as the Ebola pandemic and water shortages.

“My contention is that Einstein is the most punk-rock human being who ever lived,” Sayenga said.

“He took the existing elements of physics and completely redefined

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and simplified them, to completely change our view of the world.

Part of what we’re trying to do with this series is change people’s perspective on science and its place in their lives.”

And the difference between Cannes buyers and crocodiles?

“Dealing with a crocodile, you know exactly what that thing is gonna do,” Wright added.

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NEWS

Weigh up the odds before you commit to true crime

I FIC’s Prentiss Fraser

FOX’S FRASER SPOTLIGHTS MALALA DOC FOX INTERNATIONAL Channels’ (FIC) Prentiss Fraser welcomed MIPDoc delegates to Saturday’s Networking Lunch, and highlighted National Geographic’s He Named Me Malala, a feature doc following the teenage Nobel Peace Laureate’s efforts promoting education for girls. Fraser announced it was available for sale at MIPTV with no holdback.

“Documentaries like this are so important, so that people in privileged countries can understand what it’s like to live in these terrible circumstances — and we can be inspired to try and create change,” she said.

She also previewed The Story Of God With Morgan Freeman, the Hollywood star-led enquiry into how the world’s religions answer life’s big questions, which received an exclusive MIPDoc screening on Sunday night.

T MAY be the latest ratings driver for factual channels, but as Saturday’s session True Crime: What’s The Buzz? showed, real crime entails financial risk, legal challenges, and ethical dilem mas for everyone involved.

Mok Choy Lin of Channel NewsAsia is commissioning producer of Undercover Asia, a series that investigates everything from child abuse in Pakistan to North Korean slave labour.

“These are important stories to tell,”she said. “And as a news channel, it’s very important to build our brand in Asia. But we are very careful who we commission.”

And the channel is taking a risk too. Now in its third season, the series has so far only sold to

Crime & Investigation Asia (A+E TV Networks).

For Ecuadorean journalist and filmmaker Jeanette Hinostroza, the risks were more personal.

While making her documentary Nelson Serrano: I’m Innocent, she got death threats.

“In Ecuador many media companies have closed,” she said.

“We have a few TV channels that can stand the pressure, but most cannot.”

British director David Nath was lucky to have the support of Channel 4 to make his series The Murder Detectives. He knows that broadcasters see these as long and risky productions, with no certainty of a payback at the end.

Nath also had a co-operative police force. But finding a family willing to allow in a film crew in

Channel NewsAsia’s Mok Choy Lin

such a moment of crisis was extremely difficult.

“I was interested in the reality of a murder investigation so it was important not to just show the police,” said Nath. “You need someone in the family who sees the value in doing this.”

Demanding buyers drive up standards

FACTUAL buyers increasingly want more rights, for more platforms, and in more flexible forms, it emerged at the View From The Top: What Do Buyers Want? session.

“Our audience expects very high standards of re-enactment and CGI,” said ZDF Enterprises’ Kristina Hollstein. “They don’t care whether the show they’re watching is made by us, co-produced with us, or acquired. But to us it’s very important that every show feels like a ZDF show.”

This is why ZDF wants German re-editing rights. With factual series acquired for the digital channel, they want to cut a special from it for the main channel.

For high-end docs shot in 4K, it wants access to the original version so ZDF can make a Germanlanguage 4K version later. And with the re-launch of the ZDF catch-up service later this year, it wants to take catch-up rights not for one week, but for one year.

Discovery UK’s Nesta Owens

ZDF Enterprises’ Kristina Hollstein

wants producers to look to the future. “We’re looking for companion pieces to some of the big dramas we’re filming on Harley Davidson and the Unabomber,” she said. And she welcomes Netflix’s first forays into factuals, not just because it demonstrates the need for factual programming, but because it may transform the way people view. “If people binge-view factual channels, it may allow us to drop the recaps,” she said. “And they are what my viewers complain about most.”

Corentin Glutron buys for RMC Decouverte, the only free factual

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World Screen Factual Trendsetter Awards: Reed MIDEM’s Lucy Smith (left), with winners ZDF Enterprises’ Kristina Hollstein, Smithsonian’s David Royle, RMC Decouverte’s Corentin Glutron, Discovery UK’s Nesta Owens and World Screen’s Anna Carugati

channel on French TV. French content is obviously critical for him. “The French version of Top Gear doubled the ratings of the acquired show,” he said.

His advice to producers is simple: “Watch the channel. Be relevant.”

At the end of the session, all four panelists were honoured with The World Screen Factual Trendsetter Awards in partnership with MIPDoc.

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NEWS

MIPFormats keynoters highlight creativity in a changing market Missing Link Media’s Jan Salling: “impressive quality”

NORDIC REGION THRIVING IN RISKY BUSINESS THE NORDIC region is still taking creative chances, still bringing strong ideas to market and still “going out and grabbing the world” with fresh and original formats, said Missing Link Media’s CEO Jan Salling, speaking to the MIPTV News before the MIPFormats Nordic Formats Screening.

“My message to the market is that Nordic creativity is alive and well,” said Salling, who curated and presented the showcase of the region’s best non-scripted formats.

“People complain about risk-averse broadcasters, the tough commercial climate and the difficulty of getting shows away. But the jury and I went through 50 original shows, all of which had been commissioned since MIPTV 2015, and the majority were of impressive quality. I don’t think that’s bad going for the Nordic region in a risk-averse world.”

But Salling said that bringing ideas to the attention of the international market remained a challenge for independent producers from smaller territories. “That’s where the Nordic Formats Screening is so valuable,” he added. “It’s a great way to showcase the best of our creativity to international buyers. For the 11 formats that make the shortlist, it’s a short cut to the world.”

Formats Gold Award winner Gary Carter

ITV Studios’ Maria Kyriacou

Newen Group’s Bibiane Godfroid

PEAKERS at the MIPFormats Keynote Series on Saturday explored the increasingly competitive formats sector and how it inspires major media companies to invest more in creative skills.

Bibiane Godfroid, CEO, content at France-based Newen Group and CEO of Newen subsidiary Capa, said: “Our priorities include finding new talent because TV creation is changing so much in terms of the way stories are written in all the programming genres.”

In addition to boosting the development side of the business to five per cent of the total creative workforce, she said the company is hiring more production staff.

Maria Kyriacou, UK-based ITV

Studios’ president, international, discussed how the company expects its formats producers to contribute to the whole corporation’s creative output. “We encourage everyone to be creative to produce formats and contribute formats to our network of producers,” she said.

This has been inspired by decentralising ITV’s 58 production labels. “We’ve decided to keep them separate and let the directors choose what they want to do” she added. “You can’t force creativity, you’ve got to let it come out naturally from the people on the ground.”

That approach has also boosted the international side of ITV’s business. “Last year, what used to

be a UK entity became a global one,” she said. “More revenue came from outside the UK than within and that was enough for us to know the future is to grow internationally.”

And before Gary Carter, veteran formats developer, was honoured with this year’s Formats Gold Award, he spoke about how creativity has contributed to his achievements.

“Creativity needs to be combined with skills, experience and hard work, plus the importance of working with talented people who inspire, amaze and amuse,” said Carter, who is currently a non-executive board member at Helsinki-based creative agency Klok.

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Delegates at MIPTV’s first La Nuit Des Formats were treated to three hours of screenings in a festive atmosphere in the Grand Auditorium on Saturday night.

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NEWS Nathalie Wogue

WOGUE’S GUIDE TO MAKING FORMATS FIT FOR DIGITAL FORMAT doctor, digital trend-spotter and MIPFormats consultant Nathalie Wogue has given delegates at MIPFormats a crash course in the successful exploitation of ideas in digital media. Speaking at the When TV Formats Meet Digital session, co-presented by Vast Media’s Matthias Puschmann, Wogue highlighted 20 of the best ideas for the digital exploitation of TV brands, including a show for Norwegian broadcaster NRK The Insta Traveller, a cross-platform concept where a world traveller is assisted by followers on social media. “Successfully transferring digital formats requires developers and producers to think hard about marketing at the very beginning of the process,” said Wogue. “It’s also crucial to properly adapt the idea to the needs of the specific digital audience,” she added, whether on social platforms such as Instagram, Snapchat, Facebook or Twitter. “Each has its own particular needs which have to be taken into consideration.”

Highlighting the differences between digital formats, Wogue said that in digital, viewers don’t just comment and share: “they curate and create and become entertainers themselves.

“Digital, far from being an unwelcome disruptive force in the industry, represents the best opportunity for finding the next big thing.”

Living arcade game grabs jury’s attention at International Pitch

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HE 2016 MIPFormats International Pitch was won by Israeli duo Liraz Mia Shagrir and Yaniv Swissa for their physical game show XYZ, based on the concept of a lucky-dip amusement arcade game — but with dangling celebrities standing in for mechanical claws.

The pair will receive a €5,000 ($5,700) cash prize from sponsor all3media International, plus a development package worth €15,000 ($17,000).

Shagrir and Swissa, who come from the Israeli circus world, started their pitch by describing themselves as “aliens at MIPTV”.

“We have no TV development experience,” Shagrir said. “But we are always being asked about how circus techniques and visual effects could be used in TV.” There was certainly a circus feel to XYZ, which sees celebrities suspended in slings over two pits — one filled with cash-stuffed toys and the other with green gunk — with their movements controlled by teams of friends.

Yaniv Swissa and Liraz Mia Shagrir win the International Pitch with XYZ

The International Pitch jury, chaired by Studio Lambert’s Stephen Lambert, praised the format’s physicality and visual impact, though expressed concerns over the willingness of celebrities to participate in a physical challenge with a potentially undignified finale. But the prize, Lambert said, would enable Shagrir

and Swissa to develop the idea to a point where it was ready to be pitched to broadcasters.

XYZ was up against four other formats: Tanin Productions’ Hero Or Zero, Pernel Media’s Keep Up With The Neighbors, PhoneBox Productions The Call and The Concept Collective’s Toss & Turn.

Japan is thinking outside the box DIVERSITY is the engine that drives Japan’s format success, according to So Fujinuma, Fuji Television Network’s director of worldwide production and sales, and the 2016 representative of the Treasure Box Japan formats showcase.

This year’s Treasure Box Japan clearly demonstrated that diversity. The curated selection of new shows included titles from Japan’s biggest and most innovative format players — ABC Japan, Fuji Television, NEP/NHK, Nippon TV, TBS Television, TV Asahi, TV Tokyo and YTV — covering a range of genres, from hilarious physical game shows through touching family entertainment to hardcore survival.

Treasure Box Japan’s So Fujinuma

Speaking to the MIPTV News after the showcase, Fujinuma pointed to two formats that have been

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generating particular interest among international buyers: Nippon TV’s Battle Of The Homes, a family game show co-developed with Red Arrow Entertainment; and Fuji Television’s “most successful format of the year”, Nininba, which is based on a traditional Japanese party game.

In Fujinuma’s view, Japan’s tradition of developing its own shows rather than acquiring other people’s lies at the heart of its success as a format exporter. “In Japan, we like to come up with our own ideas for shows, which means we’re not heavily influenced by global trends,” he said.

“That makes our creativity very distinctive. Japanese shows aren’t like anybody else’s.”

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NEWS WEBEDIA AIMING TO EXPAND ITS GLOBAL REACH FRENCH media group Webedia consolidated its position as a leader in digital entertainment with the acquisition of MCN operator Mixicom in September last year. Today, the expanded company manages more than 50 websites including Tudo Gostoso, AlloCine, 750g, Purepeople, Puretrend, jeuxvideo.com and Easyvoyage. With Mixicom, it gained access to popular YouTubers such as Norman, Cyprien and Squeezie.

The company will also be participating at the MIPDigital Fronts showcase this week. Marketing and communications director Antoine Meunier explained: “Attending MIPDigital Fronts is a great opportunity for Webedia to promote our rising talents, our MCNs and video production assets, and also develop relationships with local broadcasters, publishers and brands.”

Setting out the scope of the company, Meunier said: “Webedia is a global media group gathering digital leaders within the entertainment and recreation industries, MCNs and major YouTube talents.

More than 90 million unique users use our sites and apps each month, and we have more than a billion video views on our proprietary assets and video platforms.”

While MIPDigital Fronts is a priority for Webedia, Meunier said the company would also be keeping a close eye on the wider MIPTV market: “Our media, video and brand publishing activities require that we keep up to date on TV market news, its contents and consumption trends.

We’re looking forward to discovering emerging formats presented during MIPTV.”.

MIPDigital Fronts provides platform for online content

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OW in its third year, MIPDigital Fronts was created by MIPTV in order to establish the industry’s first global distribution and acquisition market for high-quality original online productions and web series.

At the same time, it was designed to be the pre-eminent international screenings showcase for multichannel networks, digital studios and online publishers.

The event is targeted at the digital natives demographic and is designed to bridge the gap between the online video ecosystem and traditional content players.

While buying and selling content is a core component, the MIPDigital Fronts showcase features new online productions, followed by on-stage interviews with the creative executives and online talents behind the content. These showcases are designed to trigger partnerships with the entertainment industry aiming at assimilating codes of content creation that appeal to the young.

Companies participating in the 2016 MIPDigital Fronts showcase screenings include pioneers such as Endemol Shine Beyond, FremantleMedia, Fullscreen, Machinima, Maker Studios, New Form Digital, Studio71, Vice and Webedia. The audience, meanwhile, is made up of content creators, TV executives and brands. The latter group is a

crucial part of the new ecosystem as it attempts to find new ways of reaching the elusive millennial audience. In Fullscreen’s session, Kevin McGurn, head of sales, and Damon Berger, vice-president, business development will explain how their company transforms the relationship between brands and fans through content.

Catherine Balsam-Schwaber, chief content officer, Mattel will also discuss how to create brand experiences through content.

New Form Digital (NFD), backed by Discovery Communications and Hollywood hotshot producers Brian Grazer and Ron Howard, creates scripted entertainment for the digital generation. To date it has made 19 web series, including The

Fourth Door for Verizon’s go90 platform. Kathleen Grace, NFD chief creative officer, underlined the complexity of the new landscape: “This mobile-friendly format will become increasingly important for distributors on TV and digital platforms internationally,” she said. “In the US, [OTT] platforms like Watchable and Seeso are where audiences are consuming such content. Also, the social online and YouTube influencers who produce these shows have a direct relationship with audiences and, because they know how to use Facebook, Instagram, YouTube, Vine and Snapchat, they go where the audiences are. It’s about knowing how to navigate social platforms smartly.”

“THERE’s lots of entrepreneurialism in the documentary world, people are having to move fast,” said Greg Moyer of Blue Chalk Media USA at The Content Shapers: New Ways To Produce Factual session at MIPDoc. The session focused primarily on content innovations in online video.

Moyer maintained that linear TV was not always an ideal delivery mechanism for documen-

tary, and was enthusiastic about the lowering barriers for distribution that online presented, since that reduced the privilege of access. His co-panelists were Simon Christopher of Scubazoo Images, Malaysia. and Robin Burgauer of Docmine Productions, Germany. Christopher had considerable success with his eco-inf lected short-form content in China, and Burgau-

er’s Docmine used online to “merge different media in one storyline. Every media has its strength,” he said.

The session was sponsored by Munich-based Documentary Campus. “We connect people far beyond conferences,” said the organisation’s Manuela Winkler.

“Ultimately it’s about strengthening the industry and making collaborations happen.”

NFD’s Kathleen Grace

Linear TV ‘not always ideal’ for docs

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NEWS Stars turn out as A+E Studios launches the return of Roots

A

+E STUDIOS drama mini-series Roots has its international premiere at MIPTV today. Cast members Anna Paquin, Jonathan Rhys Meyers, Anika Noni Rose and Malachi Kirby will all attend along with executive producer Mark Wolper and co-executive producer LeVar Burton.

The story, based on Alex Haley’s iconic novel, was previously adapted for TV in the 1970s –

by Mark Wolper’s father. Mark Wolper told MIPTV News: “There is a whole generation, probably a couple of generations, that do not know the story, that will not go back and watch the original. And there is a whole generation of people and a whole nation, and maybe a whole world, that needs to know the story, this critical story about what this nation was built on, the slave trade.

If the story of Kunta Kinte is done in an entertaining and dramatic way that will connect with that broader audience and teach them that history, then that is a reason for us to do Roots again.”

Roots charts the journey of a family fighting against the adversity of slavery while witnessing

and contributing to notable moments in US history.

Produced by A+E Studios for History Channel it will air in the US on Memorial Day, May 30.

It is being distributed by A+E

Networks’ international division.

Sean Cohan, president, international and digital media, A+E Networks, said: “We are incredibly proud of Roots. It’s a story with exceptional gravity and uni-

versality, which we expect will have a massive impact on viewers around the world. Roots was developed and produced by our in-house production arm, A+E Studios. We launched Studios to better control our destiny — to produce and own premium content. To that end, Roots is one of our biggest undertakings. It embodies the type of ambitious storytelling A+E Studios is bringing to the global marketplace.”

Roots (A+E Networks)

Early sales for ITV’s MIPDrama selection

Jenna Coleman as Queen Victoria

ITV STUDIOS Global Entertainment (ITVS GE) has signed a host of pre-sales across Europe, the Middle East, Africa and Canada for its major new drama, Victoria, ahead of launching it to the international market today at MIPTV. One of the 12 new series selected for screening at MIPDrama, Victoria follows the early life of Queen Victoria (Jenna Coleman), from her accession to the throne at the age of 18 through to her courtship and marriage to Prince Albert (Tom Hughes).

Victoria went on to rule for 63 years.

The eight-part drama series has been acquired across the Nordics by Sweden’s TV4, Norway’s NRK, DR in Denmark and Finland’s YLE, NPO in the Netherlands, Yes in Israel, ITV Choice across Africa and by Zoomer Media’s Vision TV in Canada.

The deals follow the news that the drama is set to air in the US on Masterpiece on PBS in the Downton Abbey slot.

Maria Kyriacou, president of international, ITV Studios said:

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“Produced by Mammoth Screen, the creators of the global smash hit Poldark and written by acclaimed novelist Daisy Goodwin, Victoria has all the qualities to appeal to an international audience: a compelling and true story, a wonderful cast led by Jenna Coleman and incredible writing, all captured in a lavish production. Our partners across EMEA and Canada have been quick to acquire the series and we expect further substantial international interest here at MIPTV.”

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NEWS

AbemaTV founders seek content for Japan’s mobile-savvy youth

T Stephania Stegman

CROWNING GLORY FOR MISS SUPRANATIONAL THE MISS Supranational Organisation is at MIPTV to promote its televised pageant with reigning Miss Supranational, Stephania Stegman. The production is the world’s fastest-growing televised pageant show and in 2015 was broadcast internationally across payand free-TV platforms on every continent. Stegman has been invited to walk the red carpet at the Opening Night Party and will also be presenting an award at the International Emmy Kids Awards at MIPTV tomorrow.

Alan Green, representative for the Miss Supranational Organisation, said the company was at MIPTV to raise the profile of the eight-year-old production and to reach the global audience. “Miss Supranational is now on an equal footing with Miss Universe and Miss World,” he said. “We are licensed to around 100 territories, including Direct TV and Star World, and TVPul out in Poland takes a live feed.

Now is the time for it to take the next step, because it’s different from the other pageants. Its fan base has grown enormously, with almost three quarters of a million followers on Facebook. It’s now time to really bring it to the world.”

HE CREATORS of an online TV station for the Japanese market are in Cannes to find new content for the platform ahead of its launch next week.

The station, AbemaTV, is offering 20 free channels for subscribers across smartphone and tablet devices as well as a range of digital media players and browserbased services.

It is operated by AbemaTV Inc, a company formed one year ago with the signing of an agreement between major Japanese broadcaster TV Asahi and online advertising company CyberAgent.

TV Asahi is producing content for one of the channels on the service, Abema News, a news and current affairs channel.

AbemaTV head of acquisition Akihiro Ogata said that the station was designed with Japan’s younger more mobile-savvy viewers in mind.

He said: “The service is completely free, there is no subscription cost, no credit card details needed; you just download it and watch. And its non-linear model is what the younger audience wants; they are tired of having to choose from formats on tel-

AbemaTV’s Akihiro Ogata (left) and Akihiko Narita

evision and they want to be able to watch on their mobile devices wherever they like.”

AbemaTV is at MIPTV to meet producers and writers from around the world and find new content to add to the platform.

Ogata said the company was open to a wide range of shows from

Europe and the US, in particular non-verbal content such as sports which would travel well and be popular with Japanese viewers.

He said the station was built around a highly flexible model allowing the company to add more content and channels quickly and easily.

Chernobyl doc generates pre-sales PBS INTERNATIONAL’s Chernobyl special Building Chernobyl’s Mega Tomb has garnered substantial interest from international factual buyers following its showcase release at MIPDoc. Airing on PBS on Nova, Building Chernobyl’s Mega Tomb already has partners including the BBC, France 5 and N24 in Germany on board, with PBS International seeking additional pre-sales.

The 60-minute science and engineering special follows the progress of a €1.2bn ($1.4bn) international rescue plan to build a 25,000-ton steel shelter to en-

tomb the Chernobyl site for the next 100 years.

The original concrete structure in which the nuclear reactor was encased after it exploded in 1986 was hastily constructed and only built to last for 30 years.

Building Chernobyl’s Mega Tomb follows the team of international engineers as they race against time to build the structure over the disaster site.

Other shows included in the PBS International MIPDoc offering are archaeological special Out Of The Maya Tombs; space exploration special Space Men; cur-

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rent affairs special Netanyahu At War; and African-American photography doc Through A Lens Darkly.

PBS International has also announced a six-hour co-production about rare auction-house treasures from producer Warehouse 51. Trading History, which will air in the UK on UKTV’s Yesterday channel later this year, will have access to auction houses and real-time auctions and will offer a unique chance to see historically important treasures belonging to famous figures before they disappear into private collections.

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miptv

NEWS TCB MEDIA CRACKS IT WITH RIGHTS DEAL UK-BASED TCB Media Rights is handling the distribution rights to Sex Pod and Horror Homes, two new series from British independent Crackit Productions.

Sex Pod, a 10 x 60 mins series originally commissioned by UK broadcaster Channel 5, examines and educates viewers about the awkward questions that people find difficult to ask about sex, sexuality and the human anatomy.

Two series of Horror Homes (12 x 60 mins), another Channel 5 commission, cover horrifying man-made and natural incidents that turn people’s homes into living nightmares.

“Crackit has a genius for finding subjects that have universal appeal and offering a new perspective that strikes a chord with buyers,” TCB CEO Paul Heaney said.

A scene from Sex Pod

CHALLENGE SERIES LICENSING DEAL TORONTO-based distribution company 108 Media has acquired the rights to hit reality series The Challenger Muay Thai (12 x 60 mins), securing both licensing and formatting rights worldwide (excluding Australia, New Zealand and Asia). The series is produced by Imagine Group, the company responsible for successful shows The Contender Asia and The Biggest Loser Asia. The Challenger Muay Thai combines gruelling training, drama and spectacular elimination fights. 108 Media, CEO Abhi Rastogi, said: “Not only is this incredible series the beginning of a valuable partnership with Imagine Group, it is also a great opportunity for us to explore branded content options for this title, as well as others.”

Descendants Of The Sun drama is first Korea-China simulcast

KBS’s Jun Jin-Kuk

J

UN JIN-KUK, the Korean Broadcasting System’s executive vice-president, is at MIPTV with a case study on how its latest hit K-drama series, Descendants Of The Sun, defied the odds to become a sensation in the Chinese market.

The cinema-standard 16-episode love story, which has commanded a groundbreaking 30% audience share in Korea, is the first-ever domestic drama series to have aired simultaneously in China.

It is also the first drama series to have been co-produced with feature-film production company Next Entertainment World.

Crucially, Jun said, it is the first South Korean drama series to have been completed in advance before premiering in the home market. This

was because the producers needed up to three months for the whole series to win approval from SAPPRFT, China’s tough media regulator.

Had it been broadcast in South Korea before entering China, there was a high probability Chinese viewers would have been seeing illegal copies before the licensed version.

“We know Korean drama is very popular in China so we had to take this approach to protect both our licence and profits,” Jun said.

This is all the more crucial as the $10m budget makes Descendants Of The Sun one of Korea’s most expensive drama series.

The strategy has paid off because in China the show has already garnered more than 1.7 billion views on iQiyi, the leading streaming video platform since the February debut.

Strictly no business, just wellbeing

US CONTENT provider Big Media boosted wellbeing in Cannes on Sunday with a free yoga session on the beach for MIPTV delegates.

The annual event has grown over the past seven years from a team-building exercise to a public event attracting 30-plus participants.

With delegates performing asanas while looking out to sea, the “strictly no business” session marked Big Media’s quiet before the storm: together with its co-production and distribution partner KM Plus Media, the company brings a heavyweight catalogue of factual programming to MIPTV, from lifestyle to travelogues.

“We started this tradition for our health and I guess other people traveling to Cannes from around the world felt the same way,” Big

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Big Media prepares for MIPTV 2016

Media’s CEO, Jon Loew, said.

“You can’t go into a week like MIPTV without getting your mind and body ready to go full throttle.”

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NEWS NEW PBS ELECTION SPECIAL GETS NRK NORWAY’S VOTE AN EARLY MIPTV deal for PBS International sees The Choice 2016 sold to NRK Norway, adding a 16th sale to the US election special that delves into the personal and political lives of the US presidential candidates.

The Choice 2016 is the latest instalment of the Frontline series that is credited with raising the bar on US political journalism. The show looks behind the headlines to reveal the deeper stories of the presidential nominees through interviews with the people who know them best. “Frontline’s access is unparalleled and no other show takes the time to so thoughtfully and carefully place each candidate side by side,” said Tom Koch, vicepresident of PBS International.

The Choice 2016, which will air on PBS in the US in September, has been licensed in the Middle East, Portugal, Germany, Singapore, Australia, Canada, Latin America, Estonia, Belgium, Finland, Denmark and Ireland.

Buyer Raju Jayakumar, assistant vice-president at MediaCorp Singapore (Channel NewsAsia), said: “Our viewers appreciate the detailed research that goes into the production.

The documentary has certainly become a trademark of Channel NewsAsia’s coverage of the race to the White House.”

Endemol Shine looks ready to run and run with hit Hunted format

Hunted (Endemol Shine Group)

E

ndemol Shine Group’s China office has clinched a deal with Shenzhen Satellite Television on the eve of MIPTV for its hit format Hunted. Originally made for Channel 4 in the UK, the format has also been picked up by CBS in the US, as well as broadcasters in Spain, the Netherlands, and Denmark.

Lisa Perrin, CEO of Endemol Shine Creative Networks said: “Hunted is gaining terrific momentum internationally and we’re thrilled to be announcing this latest commission as we head into MIPTV. The format is now being adapted for a number of different geographies, budgets and specifications.”

Hunted is a factual thriller in which ordinary people go on the run. With little cash and limited ability to contact friends and family, the contestants are pursued by a team of skilled professional investigators.

It is one of many Endemol Shine formats on show at MIPTV. From Endemol Shine Australia is Spelling Star, a family entertainment series in which kids hope to be crowned champion speller.

Meanwhile Shine France has created Big Music Quiz, a nonstop test of musical knowledge in which teams of celebrities compete. The series launched on TF1 last year and has recently sold to Channel 7 in Australia.

Other titles include The Brain, which has sold to six territories, and The Island, which has sold to three.

Among new formats are The Big Benefits Handout, Kitchen Impossible, Made Over By and FLiP – Powered By ICON, a multiscreen project that claims to bridge the gap between television and YouTube.

Separately, Endemol Shine Group announced that hit Turkish drama Intersection has been commissioned for a second season by Fox Turkey.

“Endemol Shine Turkey has become one of the most prolific scripted production companies in Turkey and this latest deal is testament to our brilliant team,” said Gokhan Tatarer, managing director of Endemol Shine Turkey. “We are thrilled that the lead stars will be joining us in Cannes as we launch the show to international buyers at MIPTV.”

Intersection (Endemol Shine Group

Buyers Club has vision for arts sector SKY VISION, the international distribution and production arm of Sky, and Sky Arts has launched The Arts Buyers Club to support the creation and exploitation of arts programming and events. This new not-forprofit initiative brings together arts programming buyers, commissioners, producers and distributors from around the world

to encourage creative and commercial collaboration across the sector.

“Some of the most innovative and ground-breaking programming is found in arts schedules,” Jane Millichip, managing director, Sky Vision, said. “Despite challenging budgets, the ambition and the pursuit of quality remain high. However, there can often

be a real struggle for finance and distribution, which the Arts Buyers Club will help to resolve. Its success will depend on the engagement of arts programming executives, and we are really excited about the early expressions of interest we have already received from clients, colleagues and fellow producers and distributors in the sector.”

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miptv

NEWS

StudioCanal expands production with new TV investment stakes

S Studio 100 Media’s Patrick Elmendorff

STUDIO 100 SET TO CREATE BEJUNIOR FOR BEIN MEDIA STUDIO 100 Media will create, supply and schedule a co-branded channel for the Middle East and North Africa region for Qatar’s beIN Media Group. The new channel is called beJunior, and will be available exclusively to subscribers of the beIN Media Group, targeted at a family audience.

Munich-based Studio 100 Media will provide the whole on-air set-up of beJunior, including on-air designs as well as the scheduling and programme supply.

“The new channel will be based on the concept of Junior, but always with special regard to the viewing habits and requirements of the audience of the MENA region,” Patrick Elmendorff, CEO, Studio 100 Media, said.

Yousef Al-Obaidly, deputy CEO of beIN Media Group, added: “We want to expand the portfolio of our branded channels by launching beJunior, and we are pleased to partner with Studio 100 Media, one of the leading providers of quality children’s edutainment content.”

T U DIO CA NA L ha s recruited three new independents to its stable of production talent, with a 33% investment in Spain’s Bambu Producciones and 20% stakes in London-based producers Urban Myth Films and SunnyMarch.

These latest investments signal StudioCanal’s ambition to mirror its success in European featurefilm production in the television arena. “As with our approach to film, we aim to develop series with strong European roots that

also have international appeal,” said Didier Lupfer, StudioCanal’s chairman and CEO. Romain Bessi, chief operating officer of StudioCanal, who is responsible for TV operations, added: “These deals significantly broaden our footprint in TV production in Europe. The aim is to create a unique European family of production companies with top-shelf talent.”

StudioCanal already has a firm foothold in European TV production via its subsidiaries Tandem in Germany and Red Production

Company in the UK, as well as its stakes in Denmark’s SAM and the UK’s Guilty Party.

SunnyMarch founder and Sherlock star Benedict Cumberbatch said he was excited to re-unite with the French production giant, for whom he played leading roles in StudioCanal’s BAFTA-winning Tinker Tailor Soldier Spy and Oscar-winning The Imitation Game. He added that the deal would result in “a diversity of multiplatform programming with quality and creativity at its core”.

Refit for Canada’s Boat Rocker Media JON RUTHERFORD, president, distribution at Torontobased Boat Rocker Rights, is at MIPTV to highlight the global overhaul and corporate expansion at the new parent company, Canada-based Boat Rocker Media (BRM).

BRM was previously known as Temple Street Productions, a venture famous for its high-end scripted content, such as sci-fi suspense series Orphan Black and teen drama The Next Step.

Following a cash injection from Canadian investment firm Fairfax Financial last year, Temple Street was expanded into the four-pronged BRM operation.

Boat Rocker Studios is BRM’s production arm, including the newly named Temple Street, which oversees scripted and unscripted productions. Boat Rocker Studios has also just acquired Radical Sheep Productions to handle production for children’s and family entertainment.

Boat Rocker Rights is responsible for the distribution, exploitation and monetisation of BRM brands, as well as the acquisition of all types of content from third parties. It is at MIPTV with titles including factual show Taking

Boat Rocker Rights’ Jon Rutherford

The Next Step, Radical Sheep’s Ollie! The Boy Who Became What He Ate and the Xplorationbranded science programmes.

Merchandise, licensing and touring events come under the new Boat Rocker Brands umbrella.

The above three are complemented by Boat Rocker Ventures, which focuses on investments and strategic acquisitions, such

32

as the Radical Sheep purchase.

“The Boat Rocker is the name of the fictional book that inspires Kevin Costner’s movie character to construct the Field Of Dreams; if he builds it, he’s told, they will come,” Rutherford says. “We also want to be at the forefront of the industry by taking risks where it makes sense. If we build it right, the revenue will come.”

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PRIVATE EYES CINDY SAMPSON

JASON PRIESTLEY

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NEWS Priestley and Sampson offer first glimpse of Private Eyes

J

ASON Priestley is in Cannes to promote a new show — Private Eyes — in which he stars as a professional athlete turned private investigator. The

Canadian-American actor is in town with co-star Cindy Sampson, who appears as the sidekick investigator to Priestley’s character Matt ‘Shadow’ Shade.

Private Eyes takes a humorous ap-

proach to the PI procedural genre.

Produced by Entertainment One (eOne), it is based around the tension between Priestley and Sampson’s characters, whose methods contrast sharply. Sampson’s

Private Eyes stars Jason Priestley and Cindy Sampson

Worlds collide in Intersection

THE STARS of a powerful new Turkish drama — Belcim Bilgin, Alican Yucesoy and Ibrahim Celikkol — are in Cannes to celebrate the launch of their show. Intersection, produced by Endemol Shine Turkey for Fox Turkey, offers a gritty snapshot of life in Istanbul. A love story based around three main characters, the plot explores issues of power, wealth, status, rivalry and justice in contemporary Turkey.

Speaking to MIPTV News, Bilgin said: “There’s a sense of every kind of class and sociological background being brought together. It’s a reflection of the country.”

For Alican Yucesoy, who plays ambitious automotive designer Umut Ozer, the main attraction was Intersection’s real-life feel.

He said: “In real life, everybody has flaws, but often TV shows don’t reflect that. This has a lot of realism and there is a lot of

depth to the characters. The story is set in a big metropolitan city but, at the same time, it is talking about small parts of

character, a policeman’s daughter called Angie Everett, has a conventional, by-the-book style, while Shadow, a former star athlete, relies on his gut instinct and intuitive flair.

Speaking to MIPTV News, Priestley said: “Shadow likes to fly by the seat of his pants; he’s very much a believer in that. A lot of the tension and humour comes from the difference between him and Angie and the way they work together. Sometimes his attitude wins out, sometimes Angie’s does. I think the show’s humour would work well in Europe because it’s not geographical — it’s more about the humour between two people.”

Shooting has finished on the first season of the show, which is executive produced by John Morayniss, Rachel Fulford and Tecca Crosby for eOne. The writers/ showrunners are Shelley Eriksen and Alan McCullough. It was produced by eOne in association with Shaw Media, in conjunction with the Canada Media Fund, The COGECO Programe Development Fund and the Canadian Film or Video Production Tax Credit. that city and telling the stories of people’s lives.”

There will be an exclusive screening of Intersection at MIPTV tomorrow evening, followed by an on-stage discussion with the stars and producers of the show.

Intersection stars Ibrahim Celikkol (left), Belcim Bilgin and Alican Yucesoy

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NEWS GLOBAL BUYERS LINING UP FOR LINE OF DUTY

RMC Decouverte launches quest for shows with big name appeal

F Line Of Duty (Content Television)

LONDON-based Content Television comes to MIPTV on the back of global sales for season three of the BBC’s primetime thriller, Line Of Duty (5 x 60 mins and 1 x 90 mins), which launches internationally this week in Cannes.

Deals have been signed with DirecTV in Latin America and BBC Worldwide for Benelux for the award-winning drama, written by Jed Mercurio (Bodies) and set in a police anti-corruption unit.

Hulu has picked up the VOD rights for the US, while Acorn has taken the video, DTO and VOD rights for the US and Canada.

Other territories to have licensed the thriller include France, Brazil, Africa, Norway, Iceland, Sweden, Denmark, Germany, Malta, Australia and New Zealand.

Content Television president, Greg Phillips, said Line Of Duty represented “the perfect package” for international broadcasters: “a first-class production team, exciting acting talent, addictive storylines, complex characters, a long-running returning primetime series and proven ratings”.

Content Television is also shopping the pre-sale rights to the drama’s fourth season, which goes into production later this year.

RENCH factual channel RMC Decouverte is at MIPTV hunting for new ideas in history, adventure, science and technology, particularly shows with big names attached.

RMC Decouverte programme director Guenaelle Troly said the three-year-old French DTT channel, which is watched mainly by

24- to 45-year-olds, is looking to establish relationships with producers to commission factual co-productions, as well as making acquisitions.

“There is an appetite at RMC Decouverte for co-pros — particularly ideas that come with a big name attached. As we are quite a new channel we don’t have a big archive so we are looking to talk

RMC Decouverte’s Guenaelle Troly

Zig Zag Productions’ Danny Fenton

to producers about new ideas,” Troly said.

The channel has a €24m ($27m) budget and a schedule of over 1,000 hours of productions, coproductions and acquisitions.

One of the channel’s biggest shows is a French version of BBC motoring series Top Gear, which has been commissioned for a third run (10 x 60 mins).

RMC is also unveiling British Treasure, American Gold (6 x 60 mins), a new factual entertainment series from UK producer Zig Zag Productions. The co-production with Discovery’s Quest sees US antique hunter and star of Storage Hunters US, Jesse McClure, travel Europe hunting down treasures to sell in his family’s Los Angeles antique store.

The show’s executive producer Danny Fenton from Zig Zag is pitching a number of new projects to RMC at the market.

Tricon aims to stand out in a crowd TRICON Films & Television president and CEO Andrea Gorfolova is at MIPTV with a slate of new shows.

The scripted drama Forgive Me from Emotion Pictures is the story of a young insomniac priest who becomes engrossed in the very private lives of his congregation. Also on offer are two documentaries; Satan Lives which takes a pop-culture look at the devil, and Food’s Greatest Hits featuring classic recipes given a modern makeover.

“We’re also premiering reality show Humble Home Hunters, where people look for a dream home, but only have $200,000 to spend, and The Expandables, which started out as a traditional makeover show where DIY experts are challenged to transform homes without adding any extra space, but since then has been extended into online and VR,” said Gorfolova.

The show’s main sponsor is the furniture retailer, Leon’s: “Tricon has always been a very technology-led company, for an indie like us it’s a way to stand out in a crowded market,” Gorfolova said. “Our team has developed a 360º camera called Johnny 6

38

which we’ve been using to create a virtual room which people can decorate with furniture from Leon’s, plus we’ve also been using the same technology for a condominium developer to allow people to virtually visit the apartments.”

The Expandables (Tricon Films & Television)

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miptv

NEWS

MGM’s Ottinger outlines plans for further unscripted success

C Alexandre Brasseur as Victor Bastide in The Collection

BUYERS ALREADY HAVE DESIGNS ON BBC FASHION EPIC BBC WORLDWIDE has pre-sold Anglo-French drama The Collection (8 x 50 mins), which launches today at MIPTV, to SVT Sweden and DR Denmark.

The drama from writer and showrunner Oliver Goldstick, set in the world of Parisian haute couture in the post-war period, is a mix of glamour, intrigue and austerity, The Collection “is a compelling concept on a big canvas”, said Kaare Schmidt, DR’s series acquisitions executive.

Paul Dempsey, BBC Worldwide’s president, global markets, added: “The Collection represents superb storytelling, an amazing array of international on- and off-screen talent, and partners totally committed to bring this stylish drama to our screens.”

The Collection stars Tom Riley (Da Vinci’s Demons), Mamie Gummer (The Good Wife), Richard Coyle (Going Postal) and Frances de La Tour (The Lady In The Van).

Currently filming in France and Wales, it is a Lookout Point and Artis Pictures production, co-produced with Federation Entertainment and MFT for Amazon Prime, France Televisions and BBC Worldwide. The series is distributed internationally by BBC Worldwide.

H R I S O t t i nge r, recently appointed as president, worldwide television dist r ibution a nd acquisitions at MGM, is looking to consolidate the company’s success in unscripted series.

“We’re doing very well in that area in the US,” he said.

“Most usually we’re in first or second place thanks to shows like Survivor, The Voice and Shark Tank. We have a new version of Celebrity Apprentice with Arnold Schwarzenegger, and Mark Burnett has just finished filming a new show in Anguilla called Coupled which will air in May on Fox.” Ottinger pointed to the way that Dutch company Talpa has handled its IP as exemplary.

“We all know that the way to

monetise unscripted series is through a cohesive global production strategy, and the way that Talpa developed that side of their business is our model. And we will be looking to source and develop new producers to feed into Mark’s operation.”

MGM also has a rich library to draw on: “In much the same way that we developed a TV series based around the feature film Fargo, we are currently developing three new series and two pilots, all of which are based on our catalogue,” he said. “Plus we are looking at creating faithbased shows. It’s a huge audience, with between 50 and 70 million people in the US alone who tune into shows with a religious element.”

MGM’s Chris Ottinger

Dramatic developments for new duo DRAMACORP is the name of the new joint venture launched by Swedish-French drama executive Patrick Nebout and Beta Film’s Jan Mojto. Based in Sweden, the new operation will focus on the sourcing, development and executive production of high-concept drama with international appeal.

In line with Nebout’s past credits, DramaCorp’s primary mission is to develop and secure the creative and financial packaging for fresh and original projects in an increasingly crowded and competitive global drama market.

The new company, which is currently finalising a slate of projects in a range of genres, will produce in partnership with local Scandinavian and international producers and talent.

“We have a spy thriller plus a supernatural thriller series linedup, and we’re also looking at adapting some graphic novels,”

DramaCorp’s Patrick Nebout

Nebout said. “We’re ready to consider any kind of format including mini-series and TV movies, as well as a broad range of budgets. Our main aim though, is to create a broad range of stand

out shows with the best possible production and distribution partners. I would single out Mr. Robot as being a model for the sort of quality and risk-taking that we aspire to.”

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miptv

NEWS CANADA’S VIRTUAL REALITY BOOM

Red Planet’s stars set to shine in Tony Jordan’s new drama series

D Time Machine (Majority Media)

CANADIAN VR producers are showcasing three productions at MIPTV this week through an initiative by the Canada Media Fund (CMF) and Telefilm Canada. Deep’s Liquid Cinema, Time Machine by Majority Media and The Unknown Photographer

by Turbulent, are all hoping to grab a slice of this emerging market.

“Thanks to the reputation of Canadian digital media content, the expertise acquired by producers, and a funding ecosystem that supports innovation and creative storytelling, Canada is positioned to benefit enormously from the growing global market in VR,” said Valerie Creighton, president and CEO of CMF. Carolle Brabant, executive director at Telefilm Canada said: ”We’re seeing nearly boundless applications for Canadian VR, from technology that will impact the way we experience content to fully immersive games that take us back millions of years, to cultural VR applications showcasing priceless national heritage. These projects exemplify Canada’s position in the global VR market as a thought leader and innovator.”

RAMA series Hooten & The Lady, produced by Red Planet Pictures, features Golden Globe- and Emmy Award-winning actress Jane Seymour, BAFTA winner Jessica Hynes, Broadchurch star Jonathan Bailey and Da Vinci’s Demons actor Shaun Parkes.

Hooten & The Lady’s writer and executive producer is Tony Jordan, writer of EastEnders and more recently Dickensian. “I write the sorts of shows that I want to watch, which I believe is the only way to approach a series,” he said. “You have to follow your muse, otherwise you end up building ideas around demographics and checking what the market ostensibly wants, and then

you end up being more like an accountant than a writer.”

Jordan is also the owner and founder of Red Planet Pictures. “If you choose the right people and let them get in with it, they’ll make you look better than you are,” he said.

“A n d in this era of

amazing TV series, you need to have a great team, and we have that. And next up we’re working on a new series for the BBC called Stop In The Name Of Love which features five women, which I’d describe as Sex & The City with Motown music.”

Red Planet Pictures’ Tony Jordan

Designer doc is tailor-made for Idris

Idris Elba in Cut From A Different Cloth

FASHION brand Superdry and multi-awarded UK actor Idris Elba come together in Cut From A Different Cloth, a new observational documentary from Woodcut Media and Green Door Pictures which makes its market

debut this week.

The 60-minute feature, currently in production, sees fashion virgin Elba team up with Superdry founder Julian Dunkerton to launch a major new collection.

The film follows the two men as

they strive to merge their brands, converge their teams and launch Superdry’s biggest ever line in super-quick time.

“It’s highly unusual to get this level of access to the founders of a billion-pound company, especially while they’re knee deep in a high-stakes launch,” said executive producer Derren Lawford, Woodcut Media’s creative director. Cut From A Different Cloth is distributed by Londonand LA-based Content Media.

It is the second documentary to be co-produced by the two UK companies, said Green Door executive producer, Nicholas Yearwood. It follows Mandela, My Dad & Me. “This film presents a side of Idris never seen on television before — that of designer and entrepreneur,” he added.

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miptv

NEWS

Descendants Of The Sun giving lead to other Korean producers

A TV Asahi’s Satoko Shimbori

TV ASAHI MAKES SALES TO INDIA AND CHINA IN THE LEAD up to MIPTV, TV Asahi has sold the format of Beat The Champions to Zhejiang Satellite Television in China, and has also completed the pre-sale of the fourth season of Ninja Hattori to Viacom 18 in India.

“The international market continues to expand rapidly and, together with our international business partners, TV Asahi is determined to play an important role in distributing powerful Japanese content to audiences in every corner of the world,” Satoko Shimbori, director of international business, business division, TV Asahi, said.

“We are currently focusing on emerging markets like China and India, but we are also continuing to develop European, American and other Asian markets. We have options on Beat The Champions with two major European territories, and our long-running animation series Shin Chan, which is celebrating its 25th anniversary, is broadcast in 30 territories, including Spain, Germany and the US.” Shin Chan features fun and sarcastic humour and is compared to The Simpsons. “The show is aimed at young people and families and we have a library of well over 800 episodes,” Shimbori added. “On top of that we have several new animation projects lined up and we are actively seeking co-production partners.”

CCORDING to Sung-Gak Song, president and CEO of the Korea Creative Content Agency (KOCCA), the success of 16-part drama Descendants Of The Sun, which attracted 1.2 billion viewers over its broadcast run in China, is inspiring other Korean drama producers.

“We are involved with around 100 dramas every year, both in terms of promotion or as a production partner, and when a show like Descendants Of The Sun gets that sort of international approval, it’s hugely encouraging for all Korean producers,” Song said.

“But really it’s just one of many excellent dramas being produced in Korea, and many of them have just as much international potential. I believe we are about to see a wave of local productions finding genuine global acceptance and success.”

Animation is already a strong export for the country. “In 2014 Korea exported over $100m worth of its own animation and, on top of that, our studios handle huge amounts of work for foreign companies,” Song added.

Sung-Gak Song, president and CEO of KOCCA

IPCN sets up Dragons’ Den in China

IPCN’s Eric Chang (left) and Jimmy Harmsen, with Nippon TV’s Takao Yaoi and Shenzhen Media’s Yeping Li

IPCN, the London-based, China-focused producer and distributor, is to produce a local version of Dragons’ Den (aka Shark Tank) for Shenzhen TV. The 12 x 60 mins show, based on Nippon TV’s hit business-format franchise, will air on Shenzhen TV in May. IPCN’s Shanghaibased production team is producing the format, which will feature some of China’s most prominent business leaders, including angel investor Xu Xiaoping and internet pioneer Jinbo Yao. It is the first time that the Nippon TV format has been reversioned for an Asian country

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since it debuted in Japan in 2001. “[China is] the 27th country that has adapted the Dragons’ Den format,” said Yukiko Kimishima, Nippon TV’s divisional president, international business development. “We have great confidence that the audience in China will truly enjoy this riveting show.”

IPCN, which was founded in 2007 by Rebecca Yang and former ITV CEO Mick Desmond, has produced several local versions of global formats for Chinese broadcasters, including The Secret Millionaire for Dragon TV, Supernanny for Anhui TV and China’s Next Top Model for CQTV.

419_IMPS_N1_TV

Feature film “The Magic Flute” 1 x 70’

Series “The Smurfs” 272 x 24’

Documentary about the Smurfs’ creator Peyo 1 x 52’

Meet us at

MipTV Booth R7-E64

Discover the new Smurf experience. Go to:

www.smurf.com

In Theaters Spring 2017 Nele De Wilde nele.dewilde@smurf.com Business affairs manager / Audio & Audiovisual

SMURFS™ &

©

- 2016 - Lic. Lafig Belgium/IMPS. Smurfs: The Lost Village, the Movie © 2017 CPII. All rights reserved.

miptv

NEWS LAGARDERE LANDS MORE OGGY AND THE COCKROACHES XILAM Animation and French kids broadcaster Lagardere Active have signed an exclusive broadcasting agreement in France for Oggy And The Cockroaches.

The upcoming fifth season consists of 234 x 7 mins episodes in UHD. With this new production run, the show comprises more than 500 episodes, 350 of them in UHD. “Xilam is particularly pleased about the agreement with Lagardere Active’s Gulli, a channel that contributed so much to the success of Oggy And The Cockroaches in France,” Marc du Pontavice, president of Xilam Animation, said.

“This is an exceptional opportunity for Xilam.

It both enables the franchise to pursue the path it began 20 years ago, while increasing its resonance on an international scale. We are also thrilled to be working again with Olivier Jean-Marie, the director who has led this series from the very start, and who — with the new episodes — reveals his unique mastery of slapstick. Oggy’s return to Gulli consolidates Xilam’s links with the channel, which broadcasts no fewer than six series by Xilam on a daily basis.”

Oggy And The Cockroaches (Xilam Animation)

Sovtelexport’s docs and drama meet rush for Russian content

S

OVTELEXPORT, the d ist r ibut ion a r m of Russia Television and Radio, comes to MIPTV with 20 new titles across all genres, from documentaries to feature films and drama series.

Among its 2016 headliners is World Order, “a unique and courageous” analysis of the current geopolitical situation based on an interview with president V lad i m i r P ut i n.

“Russian documentaries are in high demand,” said Sovtelexport director Yulia Matyash, pointing to two previous current affairs films — Crimea: The Way Home and The President — which have sold to several European and North American territories.

“This kind of documentary always arouses great interest, not only in Russia but throughout the

Sovtelexport’s Yulia Matyash

world,” she added.

Other MIPTV priorities include Russian Beauty (12 x 44 mins), a romantic drama set in the world of Sixties fashion; and Expedition, which consists of spectacular UHD footage shot during a six-month expedition to some of Russia’s most inaccessible locations.

According to Matyash, the international market’s appetite for Russian content is growing, particularly for “large-scale period adaptations of Russian classics, authentic documentaries about Russian culture, films about famous people and Russian nature”.

She added: “But the market is very mobile and it’s not possible to calculate everything. You never know what the needs of new buyers are. It’s easier to say what’s always in demand: quality, entertaining, big-budget content with purity of genre.”

UCI shifts up a gear with Red Bull deal

THE UNION Cycliste Internationale (UCI) has agreed a threeyear extension and expansion of its exclusive television production and media rights partnership with Red Bull Media House.

“The extension of the deal is a clear sign of the commitment of our partner to one of the world’s most spectacular cycling disciplines,” said UCI president Brian Cookson. “With Red Bull Media House as the exclusive distribution agency for the UCI MTB World Cup, a strategic partnership is in place to increase UCI’s global reach with high-quality production, distribution and marketing.”

In tandem with Red Bull TV, Red Bull Media House will use its multiple print, online and social-media platforms to spotlight the sport’s riders. The agreement, which runs until 2018 aims to continue to change the way

viewers around the world experience the Cross-Country Olympic (XCO) and Downhill (DHI) rac-

ing rounds of the UCI Mountain Bike World Cup presented by Shimano on Red Bull TV.

The UCI Mountain Bike World Cup

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miptv

NEWS MISTCO HIGHLIGHTS HISTORICAL HERO RESURRECTION Ertugrul, a weekly historical TV drama centred on the founding father of the 13th-century Ottoman Empire, is one of a package of series brought to Cannes by distributor MistCo on behalf of TRT (Turkish Radio and Television Corporation).

In addition to handling the worldwide multiplatform rights, including the linear TV, digital and ancillary rights to Resurrection Ertugrul, MistCo is also representing other TRT titles.

These include Filinta, a weekly detective series set in 19th-century Istanbul, and Yunus Emre: The Journey Of Love, a dramatisation of the life of Emre, the 13th-century poet and dervish who dedicated his life to religious mysticism and a vow of poverty. MistCo said Yunus Emre was ideal viewing during Islam’s Ramadan.

“This deal enables us to offer TRT’s top content all over the world,” said Mahmut Ipsirli, MistCo’s CEO.

TOP TRUMPS ON TV FORMAT creation company Boxatricks and board game producer Winning Moves, whose brands include Monopoly, Cluedo and Connect 4, are to create and market a TV quiz based on the card game Top Trumps.

The Top Trumps TV Quiz will be played by pairs of contestants, who will be set questions on a range of categories and topics. The show will be designed to encourage viewers to play along at home while watching the action on TV. Boxatricks, whose executive team’s credentials include global superbrands Who Wants To Be A Millionaire? and The Weakest Link, reports that it is in final negotiations with Montenegro broadcaster TV Vijesti for a 13-week primetime run of the new show. The London-based company’s MIPTV slate also includes The Shortest Straw, for which a full-scale pilot is now available.

Llewelyn-Bowen on mission to give suburbs a makeover

Laurence Llewelyn-Bowen

H

OST of Saturday night’s MIPTV International Format Awards, Laurence Llewelyn-Bowen, is in Cannes to promote his latest show Laurence Of Suburbia. “Every suburb has its story,” Llewelyn-Bowen said. “We wanted to create a fun show that tells those stories, while at the same time highlighting the fact that most suburban houses have at least one room that the family really don’t know what to do with.”

The series asks neighbours to nominate houses that could benefit from Llewelyn-Bowen’s decorating skills, then one house is chosen, but the people living in it have no say in what

he does: “The beauty of the show is that it is totally relatable to a lot of people, and we create a bit of drama, and if the family don’t like the makeover, their neighbours get the blame rather than me.”

“We are excited to be working with such a smart, funny, expert talent as Laurence,” said Formatzone CEO Mark Rowland: “He knows what makes great design and great TV, and we are confident Laurence Of Suburbia will become a worldwide hit. It feels like the right time to be doing something like this, and the special that introduces the series is filming now, with the series ready to air by early summer.”

Feel-good focus for Up and Reel One

PRODUCER and distributor Reel One Entertainment and US cable network Up TV are to develop, produce and distribute original scripted content, with a focus on episodic, feel-good series for family audiences.

The content produced under the partnership will debut on Up TV, which is carried in some 70m US homes, and be distributed worldwide

by Reel One. The deal represents the next step in the network’s commitment to original programming and a strengthening of its relationship with Reel One, which produced and distributed its first scripted project, Ties That Bind (aka Detective McLean).

Reel One’s CEO Tom Berry said there was “fantastic, unrealised potential in many countries” for Up’s style of family programming.

“It has always been part of our company’s vision to expand into the production, finance

Reel One’s Tom Berry

Up TV’s Charley Humbard

and distribution of scripted series in collaboration with broadcasters who share our vision, commitment and values,” he added.

Charley Humbard, president and CEO of Up TV, said: “In light of today’s current global climate, the demand for positive content that can bring audiences together is greater than ever.”

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miptv

NEWS

Top Gear is back on track

The two stars of the new-look Top Gear spoke to Julian Newby ahead of MIPTV

T

HE BBC’s worldwide hit motoring show Top Gear is back. After a controversial end to the last series which saw presenter Jeremy Clarkson fired

following an off-air altercation, it has been reimagined by the show’s lead presenter Chris Evans along with the production team, to include outrageous car stunts and other new additions

to the format — including star Matt LeBlanc as co-presenter with Evans. The pair will work alongside four co-presenters including German racing driver Sabine Schmitz.

LeBlanc is known for his sharp comic performances as Joey in Friends and more recently as himself in the Hollywoodbased sitcom Episodes. He has always claimed his characters have been all about the writing and bear little resemblance to himself. So how will he cope with the switch from scripted to unscripted?

“Yeah, I give a lot of respect to the writers, it’s a really difficult job — yourselves included. To start with a blank page and put down on that blank page something that people care about is a miracle to me, I don’t know how you do it,” he said. “But there is an outline that we’re given and it’s well-crafted, and the idea is there and we don’t go too far off of that.”

As for his fame, LeBlanc doesn’t see it as a big issue in the context of the show. “I don’t consider myself a superstar, I have a very blue-collar work ethic,” he said. “I’m a big fan of the original Top Gear. It’s like this giant ship that’s sailing along and presenters will come and go, Chris and I will enjoy our time here and it’s fun to come on board. So there’s a new shape to it now and there’s a new energy about it. It’s interesting to be a part of the evolution of that, and I feel like I have a voice in it. But I have a voice among some really really smart voices which is nice, and that’s what Friends was. I was one of six really smart voices and including the writers and producers, three more really smart voices.”

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Chris Evans is best known in the UK as a presenter of hit radio and TV shows, but he is also a successful creator of programme formats — notably audience participation series Don’t Forget Your Toothbrush and entertainment show TFI Friday. And with that background the BBC has given him free reign on the new Top Gear.

“I could have reinvented it entirely if I’d wanted to,” Evans said.

“They said I could do what I want with it and they’ve never said anything contrary to that since. I’ve never had one directive from the BBC about anything, so it was up to me to make decisions — what to keep, what to go with — which wasn’t difficult to be honest.”

Evans also believes he’s taking over from a show that was actually at its best. “There’s so much there that’s good, and remember, none of it was broken,” he said. “The show was as good as it had ever been — I thought actually two of the three or four shows that aired before it was taken off were among the best, because I thought they were sort of getting back to cars a little bit.”

“Having introduced Chris Evans as the new host of Top Gear at MIPCOM in October and then presented the full cast including Matt LeBlanc at BBC Worldwide’s Showcase in February, we’re really excited to be telling our customers more about our new show at MIPTV,” Adam Waddell, brand director of Top Gear for BBC Worldwide, said ahead of the show’s launch next month.

“The production is in full swing and we’ve been busy filming everywhere from Scotland to South Africa — the show is coming together beautifully and we can’t wait to get into the studio in May,” he added.

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PRODUCT NEWS BBC WORLDWIDE (BBCWW)

miptv

THE JIM HENSON COMPANY

TOPPING the natural-history slate for the UK’s BBCWW is Planet Earth II (6 x 50 mins and 1 x 50 mins), which follows on from the original series 10 years ago, making the most of advances in technology and understanding of the natural world to film from the viewpoint of animals — through jungles, deserts, mountains, islands, grasslands and cities. Also on the slate are: format The Getaway Car, in which five couples compete in a series of driving, obstacle and quiz challenges; Avicii Stories (1 x 60 mins), a profile of the DJ who created the most played song on Spotify; Top Gear, series 23, featuring the new line-up headed by Chris Evans; and drama series The Collection (8 x 50 mins) set in a French fashion house post-World War II. Planet Earth II (BBCWW)

DOT IS a whimsical girl who explores the world with her dog, her friends and any tool or tech to help the fun. Animation series Dot (52 x 11 mins), brought to MIPTV by The Jim Henson Company, is based on tech expert Randi Zuckerberg’s picture book. Each episode ends with Dot encouraging viewers to get inspired and explore digitally and practically what excites them. Dot will debut in the US on Sprout later this year.

Dot (The Jim Henson Company)

TRICON FILMS & TELEVISION

BETA FILM

MIRAMAX

A NEW priority for Beta Film is NRK’s scripted online and TV series Shame, that aims to show young people that they don’t have to compare themselves to others and help them overcome feelings of failure. Mission Arctic (10 x 30 mins) is about four young people on expedition to the North Pole to gain insight into climate change, and Ghosthunters - On Icy Trails (1 x 110 mins) features a ghost who helps a young boy to save his town.

Germany’s Beta Film is also highlighting drama series: NSU German History X, a six-hour miniseries about a far-right terrorist group; Gomorrah (24 x 60 mins), about organised crime; corruption thriller The Embassy (13 x 70 mins), set in Thailand; thriller series Under Suspicion – Trail Of Blood (10 x 70 mins); and political thriller Mammon (8 x 60 mins). Upcoming shows include The Same Sky, Maximilian, Winnetou and Adidas vs. Puma.

CURRENTLY in production, season three of series From Dusk Till Dawn (10 x 60 mins) — based on a film franchise — continues the Gecko brothers’ saga, as they fight their way through the world of culebras, the vampire-snake hybrids that control hidden empires in Texas and Mexico. Seth and Richie made a run for the border two years ago and joined vampire goddess, Santanico. The Geckos settled an old score, winning them a place in the culebra world, but now new enemies are gathering.

The returning ensemble cast includes DJ Cotrona, Zane Holtz, Eiza Gonzalez, Jesse Garcia, Madison Davenport, Brandon Soo Hoo and Jake Busey.

Shame (Beta Film)

From Dusk Till Dawn (Miramax)

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THE EXPANDABLES II (28 x 30 mins), is a sharpwitted construction show in which an innovative crew of renovation experts aim to create space in a building where there seems to be none. Canada’s Tricon also brings Sugar Showdown (14 x 30 mins), a competition series that tests three expert bakers.

The first challenge is to bake sweet treats that include a mystery ingredient. Three judges then send one competitor home and the remaining two make a creation based on a specific theme to determine who will win $10,000.

The Expandables II (Tricon Films & Television)

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PRODUCT NEWS CONTENT TELEVISION

LONDON-based Content Television launches new primetime BBC drama The Secret Agent (4 x 45 mins) at MIPTV, an adaptation of Joseph Conrad’s novel. The series is a tale of espionage and murder set on the streets of Victorian London. Toby Jones plays Verloc, whose Soho pornography shop hides his role as a Russian agent informing on a group of violent anarchists. Caught between the Russians and the British police, Verloc draws his family unwittingly into a terror plot.

miptv

DEEP

DEEP, which is at MIPTV in the Canada pavilion, is showcasing Edge Of Space at MIPTV, a virtual-reality documentary about the launch of one of the largest stratospheric balloons. A collaboration between Deep, Koncept VR, The Canadian Space Agency (CSA) and the French Space Agency (CNES), the film tells the story of this historical flight that reached an altitude of 40km and captured the first cinematic VR images of the earth shot in the upper stratosphere. The company is also launching its software Liquid Cinema, for cinematic VR production.

Edge Of Space (Deep)

PRODUCT TITRE

The Secret Agent (Content Television)

ARGONON International, which has offices in London, New York, Vancouver and Glasgow, is highlighting three new factual properties at MIPTV. The Pusher (1 x 60 mins) looks at the grisly storyof the remains of over 90 people, mostly young men, recovered from the canals of Greater Manchester in the UK. Detective Tony Blockley reviews some of the cases. Penguin A&E (2 x 60 mins) follows Cape Town’s SANCCOB Western Cape Centre, better known as Penguin Hospital. 24 Hours To Save A Face is an observational documentary about a 17-yearold Ugandan who has ground-breaking surgery to remove a 2kg tumour from his face.

MGM TELEVISION

NORMAAL INTERNATIONAL

BETTY Boop, the character created by legendary animator Max Fleischer, returns in a new series developed by Normaal Animation, the first time the character has starred in her own show in 30 years. Aimed at tweens and teens, Betty Boop (Normaal the 26 x 26 mins International) series follows young Betty Boop, who has every intention of becoming a superstar. Slated for release in 2018, the series will be produced by France–based Normaal in partnership with Fleischer Studios and King Features, the New York City-based exclusive worldwide licensing agent for Betty Boop. Normaal International handles global distribution.

FEDERATION ENTERTAINMENT

NEW TO MIPTV this year from MGM Television is producer Mark Burnett’s first unscripted dating series Coupled, recently picked up by Fox in the US for 10 episodes. The untitled project features single men and women who, after face-to-face meetings, pick a mate based solely on instant chemistry. Also from MGM comes the third chapter of series Fargo (20 x 60 mins); Celebrity Apprentice (80 x 60 mins), which features actors, musicians, athletes and even politicians in business-related tasks; the fourth season of drama Vikings (29 x 60 mins); and a super-sized fifth season of MTV’s show Teen Wolf (80 x 60 mins).

FEDERATION Entertainment brings Bordertown (11 x 52 mins), a new Scandinavian crime series to MIPTV. Kari Sorjonen, his wife — who is recovering from cancer — and teenage daughter move to a small town on the border between Finland and Russia. As the new police chief, Kari must investigate a murder, a child prostitution ring and a serial killer. He discovers that the crimes are interconnected not only to each other but also his family. A Fisher King Production and Federation Entertainment co-production, Bordertown is also distributed worldwide by Federation Entertainment.

Fargo (MGM Television)

Bordertown (Federation Entertainment)

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PRODUCT NEWS PILOT PRODUCTIONS

PILOT Productions is launching natural-history documentary The Lost World Of Joseph Banks (2 x 52 mins/HD) at MIPTV, about Sir Joseph Banks — naturalist, explorer, president of the Royal Society and one of Australia’s founding fathers — an outstanding figure of the eighteenth and nineteenth centuries. As a young botanist he accompanied Captain Cook on his circumnavigation and voyage of discovery to Australia.

miptv

9 STORY MEDIA GROUP

NEW SERIES Nature Cat (80 x 11 mins), brought to MIPTV by Canada’s 9 Story Media Group, follows a cat who dreams of exploring the great outdoors, however he’s a house cat with no instinct for nature. With the help of his animal friends, he investigates the wild. The company also brings the four seasons of Wild Kratts (118 x 22 mins), a series featuring animated versions of the creators of natural-history shows Kratt’s Creatures and Zoboomafoo, who travel the world to meet amazing animals.

Nature Cat (9 Story Media Group)

SOMOS DISTRIBUTION The Lost World Of Joseph Banks (Pilot Productions)

PORTFOLIO ENTERTAINMENT

THE MIPTV listings for Canada’s Portfolio Entertainment include: Do You Know? (25 x 15 mins/ HD), in which YouTube sensation Maddie Moate answers questions from pre-schoolers, including ‘how does a toilet flush?’’; animation series for sixto 11-year-olds Freaktown (26 x 30 mins or 52 x 11 mins/HD); food and travel series You Gotta Eat Here!

(130 x 30 mins/HD), with 16 compilation episodes available; pre-school animation The Cat In The Hat Knows A Lot About That! (60 x 30 mins/120 x 15 mins/HD), with four 60-minute specials; pre-school animation Doki (52 x 30 mins/104 x 11 mins), with three 30-minute specials; HD food shows Everyday Exotic (52 x 30 mins) and Chef Abroad (26 x 30 mins); and tween animation series Carl Squared (65 x 30 mins).

Do You Know? (Portfolio Entertainment)

FLORIDA-based Somos Distribution brings a range of series and telenovelas to Cannes, including: Hasta Que Te Conoci (13 x 45 mins), which traces the life of singer Alberto Aguilero Valadez, aka Juan Gabriel; Turkish drama Mercy (226 x 45 mins), about a young girl who has a difficult relationship with her rich father; Merlin (13 x 50 mins, about a professor that any student would wish to have; and telenovela Strange Love (120 x 60 mins).

BLUE ANT INTERNATIONAL

PEACE POINT RIGHTS

TOPPING the MIPTV slate of new HD factual shows from Toronto-based distributor Blue Ant International are: Post My Party (13 x 30 mins), following event planner Lynzie Kent as she guides party hosts through a series of handmade projects, helping them to create a special event; naturalhistory series Africa’s Hunters (6 x 60 mins/4K), revealing the characters and amazing adaptations of Africa’s top predators; and reality show Bigfoot Commandos (6 x 60 mins), about a group of vets, ex-lawmen and hardcore woodsman known as the Gulf Coast Bigfoot Research Organization who hunt the mysterious ape-like creature in the hopes of proving that these creatures exist.

IN INSPIRED With Anna Olson (10 x 30 mins/HD) chef Anna Olson travels to Singapore, Malaysia, Indonesia, Vietnam, Hong Kong, The Philippines and Thailand, to learn the secrets behind Asia’s bestloved signature dishes. She then adapts the techniques and ingredients — learned from streetfood cooks to high-end restaurant chefs — to create her own dishes. The Canadian distributor also brings the third season of Bake With Anna Olson (20 x 30 mins), shot in 4K. Anna uses her expertise and anecdotes to inspire beginner bakers.

Post My Party (Blue Ant International)

Inspired With Anna Olson (Peace Point Rights)

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PRODUCT NEWS MELODY

FRANCE’s Melody channel is at MIPTV to showcase its programming including: vintage music videos; variety shows from the archives of TF1 and RTL TV; documentaries from RTBF, INA (National Audiovisual Institute) and producer Morgane; concerts and musical films; commercials featuring famous singers; and tributes to legendary artists. The company has also announced the launch of three channels — Melody Belgique; Melody Quebec and Melody d’Afrique .

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ZODIAK KIDS

KODY Kapow, produced by Zodiak Kids Studios, is slated to debut on NBCUniversal Cable Entertainment’s 24hour pre-school network Sprout in early 2017. Kody Kapow is about a martial arts–style superhero who spends the summer with his extended family in a small village in China. His grandfather, a martial arts master, teaches Kody mindfulness, patience and perseverance, which he employs when he and his super-spy cousin set off on adventures in the village together with their tiger friend Stripes. Zodiak Kids holds worldwide distribution rights, excluding the US.

BEJUBA! ENTERTAINMENT

TOOT The Tiny Tugboat (52 x 11 mins), brought to MIPTV by Bejuba! Entertainment, follows the adventures of a busy tugboat who plays with his ocean-going friends in the harbour. Aiming to show children that they are capable of big things, no matter how small they are, the series was broadcast on Channel 5 in the UK, and has also been seen on Cartoonito, S4C and Netflix. The series is a Toot Enterprises Production for Channel 5 and S4C, in association with Lupus Films, Cloth Cat Animation and Boom Kids, and supported by the MEDIA fund, SDML and the Welsh Government.

Kody Kapow (Zodiak Kids)

JUST FOR LAUGHS DISTRIBUTION

JUST For Laughs’ new format is called In My Head.

The original French version, Dans Ma Tete, is airing weekly in primetime on TVA. The show, hosted by Patrick Groulx, is a combination of stand-up performances and situation comedy, and has been renewed for a second season in Quebec with options abroad under discussion.

INTERNATIONAL distribution arm of France’s TF1 Group, TF1 International, is highlighting The Flying Squirrels (26 x 13 mins) at MIPTV. Targeted at eight- to 12-year-olds and produced by Magoproduction, Televisio de Catalunya, Symbiosys Tech and Apapacho Films, the show is also supported by NBA player Pau Gasol. The Flying Squirrels are five teenagers — all streetball fans — living in Dragon City. When an old pirate map falls into their hands, they discover there is treasure hidden in the desert — but the mafia boss who controls the city, a huge corporation that seeks world domination and an ambitious journalist are also after the treasure. With the help of a member of an ancient tribe that ensures the balance of nature’s forces, the Flying Squirrels discover they have been chosen to find the treasure.

In My Head (Just For Laughs Distribution)

The Flying Squirrels (TF1 International)

Toot The Tiny Tugboat (Bejuba! Entertainment)

KESHET INTERNATIONAL (KI)

ISRAEL-based KI brings a diverse slate of new programming to Cannes, including: Touch, a game based on touch screens in which sharp eyes and quick fingers can win prizes. It is also available for mobile; Battle Of The Chefs, which puts two celebrity chefs in a country where they are less known and, using local ingredients, they battle for the title of Best Chef; Walk Of Shame Shuttle (13 x 30 mins), featuring candid taxi confessions of late-night revelers on their way home; UK drama The A Word (6 x 60 mins), a thought-provoking story about an extended family with a child newly diagnosed with autism at its centre; The Writer (10 x 25 mins), about a Palestinian living in Israel and struggling with an identity crisis; and Korean-language properties, You Will Love Me (16 x 60 mins/and format), a romantic comedy, and thriller Spy (16 x 60 mins).

TF1 INTERNATIONAL

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JOIN US AT THE EUROPEAN COMMISSION PANEL DISCUSSION

Creative Europe MEDIA

PRODUCT NEWS STUDIO 100 MEDIA

LIVE-action series The Night Watch (season one, 13 x 25 mins/season two, 13 x 25 mins) is about three youngsters who can transform into fantasy creatures — Keelin the elf, Vladimir the vampire and Wilco the werewolf. Together they form The Night Watch, a secret group that protects Dusky Lake village, which is a place where strange things happen and is a portal to the underworld. Produced by Studio 100 in association with Ketnet, the series is aimed at eight- to 12-year-olds.

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JETPACK DISTRIBUTION

A TOP MIPTV priority for Jetpack Distribution is The Sisters (52 x 11 mins), targeted at six- to 10-year-olds. Produced by Samka Productions and Bamboo Production, The Sisters follows seven-year-old Marine and her 13-year-old sister Wendy in a comedy charting the ups and downs of sibling rivalry. The series is based on one of the top 10 best-selling comics in France.

Jetpack is a partnership between Nerd Corps Entertainment, Samka Productions and Gardiner Entertainment and is headquartered in London with offices in Paris, Toronto and Vancouver.

CYBER GROUP STUDIOS

ON THE MIPTV line-up for Paris-based animation studio Cyber comes a range of HD CGI shows including: three series aimed at six- to 12-yearolds — Zorro The Chronicles (26 x 22 mins), Mini Ninjas (52 x 11 mins) and The Long Long Holiday (10 x 26 mins/5 x 50 mins); two adventure series aimed at the six- to 10-year-olds — G-Fighters (26 x 22 mins) and Mirette Investigates (52 x 11 mins); Tales Of Tatonka (52 x 13 mins) and Mademoiselle Zazie (78 x 7 mins), targeted at five- to eight-yearolds; and three shows for the under-sixes — Zou 3 (156 x 11 mins), Mia (39 x 11 mins) and Balloopo (52 x 11 mins).

The Night Watch (Studio 100 Media)

HAT TRICK INTERNATIONAL

HAT TRICK International launches James May: The Reassembler (3 x 60 mins) at MIPTV. Produced by Plum Pictures for the UK’s BBC Four, the show follows motoring expert and TV presenter James May as he reassembles various objects which have been carefully taken apart to all their hundreds of component parts. In the process the history of the objects is explored, how they came about and what they do.

James May: The Reassembler (Hat Trick International)

WOODCUT MEDIA

UK-BASED producer Woodcut Media brings factual entertainment Animal Antics (13 x 30 mins) to MIPTV. Using footage from the internet and the viewing public, the series uses home animal videos and features comedians, pet bloggers and experts.

Animal Antics was commissioned by MTG World for Viasat Nature and is distributed worldwide

by Factory Media.

Animal Antics (Woodcut Media)

NIPPON TELEVISION NETWORK CORPORATION (NIPPON TV)

LOOKING to replicate the success of Dragons’ Den (Shark Tank in the US), currently in its 11th year, Nippon TV is at MIPTV with three new formats. Battle Of The Homes, a 60-minute game show co-developed with Red Arrow Entertainment — the first project from their partnership announced at MIPCOM 2015 — sees two neighbouring families compete in challenges. For 48 hours comic hosts spring four challenges at the most inconvenient moments — toasters become timers or beds are made blindfolded. Love Liar is a 30-minute outdoor dating game show in which a female celebrity goes on a date with two men, but only one that really likes her; and Celebrity Style Battle is a 30-minute fashion competition in which three female celebrity contestants are given an item of clothing and a budget with which to find accessories in a mall.

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Zorro The Chronicles (Cyber Group Studios)

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PRODUCT NEWS COMAREX

CANAMEDIA

MEXICO’s Comarex brings new Chilean drama Veinteanero A Los 40 (70 x 45 mins) to Cannes. Produced

by Canal 13, the series tells the story of Pancho Bustamante who wakes up after 27 years in a coma, in a different body and a world he doesn’t remember.

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DCD RIGHTS

THREE new HD documentaries top the Canamedia MIPTV slate. Forever Dad (1 x 60 mins) concerns the poignant story of photographer Thomas, who loses contact with his son following a parental abduction.

To deal with his grief he embarks on an artistic project to make portraits of three fathers in the same situation as himself. Missing Mom (1 x 90 mins) follows film director Rob McCallum and his police officer brother who search for their mother who’s been missing for almost 25 years. Touching Life (1 x 60 mins) profiles a visually impaired couple raising their seven-year-old son.

THE UK’s DCD Rights debuts Deep Water at MIPTV, a crime thriller (4 x 60 mins) accompanied by a 90-minute documentary. When detectives Tori (Yael Stone, Orange Is The New Black) and Nick (Noah Taylor, Peaky Blinders) are assigned a brutal murder case, they uncover evidence that the killing is connected to a spate of deaths, suicides and disappearances of gay men in Australia throughout the Eighties and Nineties. When more murders occur Tori and Nick put their relationships, careers and their lives on the line to search for the truth.

The accompanying documentary uncovers the real story of up to 80 murders, 30 unsolved cases and thousands of assaults, and the context of police ineptitude in a society riddled by homophobia.

Forever Dad (Canamedia)

Veinteanero A Los 40 (Comarex)

EL RECREO STUDIO

MR. TRANCE (52 x 5 mins), developed by Madrid-based animation studio El Recreo and coproduced with broadcaster Senal Colombia, is a series that pokes fun at everyday situations. El Recreo has already produced 26 episodes and is in production on the next 13. The series is broadcast on Senal Colombia and Cartoon Network in Latin America, among other channels. The show has also received a nomination for the International Emmy Kids Awards @MIPTV.

Mr. Trance (El Recreo Studio)

ZODIAK RIGHTS

BANIJAY Group-owned, France- and UK-based distributor Zodiak Rights is launching thriller Wolf Creek (6 x 60 mins) at MIPTV. Based on the cult films of the same name, the story features murdering psychopath Mick Taylor (John Jarratt) and Eve (Lucy Fry), the sole survivor of the massacre of her family who vows to bring the killer to justice.

Wolf Creek is a Stan Original series, produced by Screentime in association with Emu Creek Pictures and financed with the assistance of Screen Australia and the South Australian Film Corporation.

Deep Water (DCD Rights)

ITSOK.CO

SPAIN’s itsOk.co is highlighting three of its shows at MIPTV. Street-based game show The Fitting Room is a 45-minute format in which contestants answer questions while wearing celebrity’s outfits.

Sociopath 2.0 is also a game show featuring a strange character who lures people into challenges for money over a series of five rounds of increasing intensity and weirdness. In non-scripted 60-minute format Ready For A Baby?, 10 couples compete to show which of them is most prepared for a baby, in an effort to win the cash prize that covers their first five years of expenses.

Wolf Creek (Zodiak Rights)

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PRODUCT NEWS

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MARBLEMEDIA

HOHO RIGHTS

TORONTO’s marblemedia and animation studio Atomic Cartoons are in development with Corus Entertainment’s Teletoon on comedy series Captain Cornelius’ Cartoon Lagoon. The series follows the whacky submarine adventures of Captain Cornelius and his crew as they scour the lagoon floor for the best, and the worst, cartoons ever made. The series offers different animation styles in an assortment of original shorts, clips and sketches. The series is based on a web series by Pat-Man Studios.

PRE-SCHOOL series Cloudbabies (52 x 10 mins) features the adventures of four childlike characters who look after the sky and their friends. Hoho Rights, the commercial arm of producer Hoho Entertainment, also brings Everybody Loves A Moose (52 x 7 mins) to Cannes, aimed at six- to 11-year-old boys, which features a young boy and his impulsive expert-in-everything friend Moose.

Captain Cornelius’ Cartoon Lagoon (marblemedia)

Cloudbabies (Hoho Rights)

CAKE

THE UK’s Cake, French CGI studio TeamTO and Belgian studio Thuristar are launching the 52 x 11 mins animated series My Knight And Me at MIPTV. Aimed at six- to 11-yearolds, the series follows Jimmy the Squire, his best friend Cat the Princess and his father Henri of Orange. The show marks the fifth project in a production partnership between Cake and TeamTO, and is a spin-off of Thuristar’s short film 850 Meters. Cake handles international distribution.

MEDIA IM

LONDON-based distributor Media IM presents animation special Rosa & Dara And Their Great Holiday Adventure (1 x 26 mins) at MIPTV. Seven-year-old twins Rosa and Dara are spending the summer holiday with their grandparents. When their dog frightens a group of cows all over the world they have to bring them back safely. They have lots of adventures including looking down the mouth of a volcano, seeing sequoias and wild bears in North America and even in outer space. Creator Bionaut Animation studio is partnering with Czech Television to develop an activity book and a number of online games have also been developed for Czech Television’s kids site Decko.

My Knight And Me (Cake)

MEDIASET

Rosa & Dara And Their Great Holiday Adventure (Media IM)

INCLUDED on Spanish distributor Mediaset’s slate is: The Xef (4 x 55 mins), a profile of chef Dabiz Munoz, owner of Diverxo, a three-Michelin-starred restaurant; Gypsy Kings (16 x 55 mins), which follows the daily life of four large Gipsy dynasties; I Know Who You Are (10 x 70 mins), a new thriller series about the mysterious disappearance of a young girl; and Cain’s Father (2 x 75 mins), a mini-series based on a true story of a policeman obsessed with fighting against terrorism who ends up leading a double-life.

SQUEEZE

QUEBEC City-based studio Squeeze is presenting Cracke, a 3D-animated slapstick non-dialogue series, at MIPTV. The show features an anxious ostrich dad with the task of protecting his eight eggs. Turner is scheduled to broadcast the 52 x 1 min series on Cartoon Network and Boomerang across Latin America and the Caribbean. Cracke, which will also be seen as a mobile video game and comic book, was produced in collaboration with Teletoon, the Canada Media Fund, the Quebec Refundable Tax Credit for Film and Television Production (managed by SODEC), the Canadian Film or Video Production Tax Credit (CPTC) - CAVCO, and the Bell Fund.

Cracke (Squeeze)

The Xef (Mediaset)

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PRODUCT NEWS IGMAR

RUSSIA’s Igmar is presenting several feature films at MIPTV. The End Of A Beautiful Epoch — based on a novel by Sergei Dovlatov — is an atmospheric film about young journalist living in Soviet times. Gold Fish, set after World War II, tells the story of two children who believe a gold fish can do magic.

Psychos is a challenging non-conformist story about youth movements.

The End Of559_MISSION_N1_TV A Beautiful Epoch (Igmar)

DAILY NEWS 1, 1/2 Page Horizontal Half Page Trim Size = 216 x 137 mm

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CELESTIAL TIGER ENTERTAINMENT (CTE)

HONG Kong-based CTE, operator of a bouquet of pan-Asian channels dedicated to Asian entertainment, is highlighting exclusive pay-TV rights to Stephen Chow’s The Mermaid at MIPTV. This is part of a licensing deal with Sony Pictures Television for CTE’s channels in Malaysia, Brunei, Indonesia and Singapore. The fantasy-comedy stars newcomer Jelly Lin Yun as a mermaid who is tasked to seduce a ruthless real estate developer in order to save her natural habitat.

RAINBOW

NEW SHOWS from Rainbow include Maggie & Bianca Fashion Friends, the company’s first foray into a full liveaction production. The show tells the story of an ordinary American girl with a dream of becoming the world’s greatest fashion designer. She becomes the youngest contestant ever to win a two-year scholarship at the Milan Fashion Academy. There she meets Bianca, a self-proclaimed Italian princess. The show follows their friendships, competitions, love stories, dreams and disappointments.

Regal Academy is an animation Maggie & Bianca Fashion Friends focusing on the adventures of Rose Cinderella, a normal girl who suddenly finds herself in the world of fairytales where she discovers that Cinderella is her grandmother. Rose is enrolled at the Regal Academy where her fellow students include Hawk SnowWhite, Travis Beast, Joy LeFrog, Astoria Rapunzel and LingLing Iron Fan. The company also brings World Of Winx, a new animation starring the characters from previous series Winx Club.

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The Innocence Network

True Crime

Forensics: The Science Behind the Truth

Stand out true crime documentary series – from the genuinely, emotionally gripping INNOCENT NETWORK to the fascinating and intriguing storytelling of FORENSICS. MIPTV Stand No: R8.C20 @all3media_int all3mediainternational.com

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PRODUCT NEWS

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DW TRANSTEL

ARMOZA FORMATS

GERMANY’s DW Transtel brings a documentary series to MIPTV — Art Beats (7 x 30 mins) — that looks at what it means to be creative. Included in the line-up of artists are: an artist who began with graffiti on the streets of New York; land art using natural materials; light artists, who transformed a desert crater into an exhibition that displays the heavens; Shanghai jazz musicians who are developing a new form of jazz; and talented circus acrobats. Versions are available in English, Spanish and Arabic, and 13 further episodes are available.

ISRAEL’s Armoza Formats is bringing a range of new formats to MIPTV. The Foodies (60 mins), features groups of foodies who run a new restaurant; Local Heroes (60 mins) follows city services, including firefighters, paramedics, bomb squads and drug units; Wrecking Ball (60 mins) is a game show where contestants face four wrecking balls and increasingly difficult questions for the chance to win $250,000. If they get an answer wrong, the ball swings to knock the contestant out of the game; Date In Reverse (60 mins), in which a couple get to experience a relationship in reverse; Marry Me Now (60 mins); and — produced by Armoza Formats, Sohu and Zipi Rozenblum — The Running Show (30 mins), a mixture of celebrity talk show, entertainment and lifestyle advice. From the scripted catalogue comes comedy La Famiglia (30 x 30 mins), and thrillers Vertige (6 x 60 mins) and The Wordmaker (7 x 60 mins).

The Foodies (Armoza Formats)

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Art Beats (DW Transtel)

Explore the World of Pokémon!

Join Ash, Pikachu, and friends in more than 160 countries and in more than 30 languages.

Visit us at Stand P0.A20, Level 0 to hear more about a property that spans 19 seasons and 18 movies.

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PRODUCT NEWS PASSION DISTRIBUTION

ENTERTAINMENT series with competitive bouts between remote-control robots, Robot Wars (6 x 60 mins), has been rebooted and includes returning robots Matilda and Sir Killalot. A production hub is available for potential international versions of the format from Mentorn Media and SJP Media. The UK’s Passion Distribution also brings: Find It, Fix It, Flog It (20 x 60 mins), in which the presenters look for interesting items to upcycle and sell; The Great Escapers (25 x 60 mins), which profiles ex-pats; and Unreported World (8 x 30 mins), which follows reporters in some of the most dangerous and neglected parts of the world covering stories including the struggle of transgender women in Malaysia, the shootings in Chicago and the water shortages in Pakistan.

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GLOBAL TELEMEDIA

A NEW Way 2 Move (22 x 30 mins) is an upbeat exercise show for adults, featuring HD half-hour workouts from all over the world, hosted by Curtis Adams. The show aims to encourage participation, no matter what age, and is exclusively distributed by Connecticut, US-based Global Telemedia.

A New Way 2 Move (Global Telemedia)

STARLINE ENTERTAINMENT

535_TAIWAN_N1_TV Robot Wars (Passion Distribution)

JONAS Kaufmann: An Evening With Puccini, featuring a performance at La Scala in Milan by one of the world’s leading tenors, is presented at MIPTV. Kaufmann also offers his own profile of Puccini, a composer with whom he has established an affinity. The film has a theatrical release through producer Arts Alliance and the UK’s Starline handles distribution for TV and VOD.

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Jonas Kaufmann: An Evening With Puccini (Starline Entertainment)

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The new standard of Brilliance Incredible contrast, real-life colours and exceptional 4K detail.

Get closer to reality, even with regular broadcasts and movies, thanks to unique technologies from Sony.

‘Sony’ and their logos are registered trademarks or trademarks of Sony Corporation. All other logos and trademarks are the property of their respective owners.

MBOURG TRALIA

PRODUCT NEWS ANKAMA ANIMATIONS

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LIONSGATE

FRANCE’s Ankama Animations is highlighting Kit’n’Kate (32 x 5 mins) at MIPTV, a pre-school series set in a playroom with a magical box filled with toys and costumes. Kit and Kate use their imaginations to go on adventures using the magic box and when they face a problem a helpful stranger — who looks like mum or dad — helps them make the right decision.

Kit’n’Kate (Ankama Animations)

LIONSGATE introduces new reality series Douglas Family Gold at MIPTV. The series chronicles the daily life and gruelling training regimen of Gabby Douglas on her journey to become the first female gymnast in almost 50 years to repeat her success as Olympic All-around Gymnastics Champion. At 16, Gabby became the first African-American to win the USA team and individual All-around gymnastic Olympic gold medals. Now 20, after a break from sport, Gabby is determined to achieve gold at Rio 2016, with the support of her family.

MARVISTA ENTERTAINMENT

ANNABELLE Hooper And The Ghosts Of Nantucket (1 x 90 mins) stars Bailee Madison, Robert Capron, Juliana Harkavy and Gary Weeks as friends following a trail of clues as they investigate a 200-year-old mystery uncovered by 15-year-old aspiring novelist and pal Annabelle Hooper. An Angelina Pictures production, the family adventure is distributed by the US’ MarVista Entertainment.

Douglas Family Gold (Lionsgate) 567_DISCOP_N1_TV

Annabelle Hooper And The Ghosts Of Nantucket (MarVista Entertainment)

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TM

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KOREA

USA

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UK

June 2014

TM

IRELAND

January 2015

January 2015

TM

TM

GERMANY

JAPAN

February 2014

August 2013

TM

November 2014

TM

FRANCE April 2015

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CHINA May 2015

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PORTUGAL May 2015

CAYMAN ISLANDS June 2015

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ISRAEL

September 2015

2016:

LUXEMBURG, AUSTRALIA, DENMARK, FINLAND, SWEDEN, JORDAN, MEXICO, MONACO, QATAR, POLAND, SLOVENIA, SRI LANKA, CROATIA, SWITZERLAND

YOUR MARKET?

Come meet us at our booth P3.B4 to learn more about distribution opportunities.

www.dogtv.com

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PRODUCT NEWS NORDIC WORLD

BUSY yet aspirational women are the targeted audience for Nordic World’s new personal makeover format Sexy In 60 Minutes, a show which reflects the growth in online makeover tutorials. The Sexy In 60 Minutes’ studio hub aims for high-volume and cost-efficient production. Each episode is currently configured as a 30-minute show but can be tweaked according to local needs. Nordic World distributes content from leading Nordic broadcasters including TV4 Sweden, TV2 Norway, TV2 Denmark, MTV3 of Finland and NRK Norway.

380_RM DATABASE_N1_TV Sexy In 60 Minutes (Nordic World)

RED ARROW INTERNATIONAL

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SMALL WORLD IFT

HIGHLIGHTS from the Red Arrow MIPTV slate for scripted entertainment are: Cleverman (6 x 60 mins), a new drama starring Iain Glen (Game Of Thrones), set in the near future when a species from ancient mythology lives among humans; the return of crime series Bosch (10 x 60 mins), starring Titus Welliver, based on stories from Michael Connelly’s novels; and new Icelandic psychological drama Case (9 x 60 mins). Top titles from the formats catalogue include: dating show Kiss Bang Love, from the creators of Married At First Sight; reality show My Diet Is Better Than Yours, that pits diet experts against each other to help contestants lose weight; and The Day The Cash Came, that tests what a family living below the poverty line would do if they were gifted a year’s salary in one lump sum.

LOS ANGELES- and London-based formats company Small World IFT is at MIPTV with interactive stuntbattle format Super Combat Teams from China’s Jiangsu Broadcasting Corporation. In the show, competitors comprising a range of world champions and record holders, take on challenges in segments that include Fly Over Cars, Cross Fires and Beat Gravity. Viewers at home guess the result of each challenge in real time via an interactive platform, with cash prizes to those who predict the correct winners. Small World IFT is handling the distribution, excluding Germany and the Nordic territories.

Bosch (Red Arrow International)

Super Combat Teams (Small World IFT)

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PRODUCT NEWS 108 MEDIA

NEWLY acquired titles from Toronto’s 108 Media include: Liemba (1 x 60 mins) a documentary telling the story the world’s last surviving steamship in Tanzania, central Africa; T-Rex (1 x 91 mins), about Claressa ‘T-Rex’ Shields from Michigan, the first woman to win an Olympic boxing gold medal; Run Free (1 x 92 mins), about an American ultra runner who helped the Tarahumara Indians of Mexico preserve their traditional running culture by creating a 50-mile ultra marathon; Nobu’s Japan (5 x 30 mins), about Japanese chefs; travel series Tourism Salvation (10 x 60 mins); and reality show Nightclub Confidential (17 x 30 mins).

ALBATROSS WORLD SALES

NEW SHOWS from Albatross World Sales include The Equalizer (1 x 52 mins), exploring how modern science influences top-level sports, and #MyEscape (1 x 52/90/30 mins), examining Europe’s migrant crisis through the eyes of refugees, using mobile-phone footage and interviews. Travel and adventure series include America’s Forgotten Heart – On Horseback Through The Wild West (5 x 43 mins), Greece! From The Mountains To The Shoreline (5 x 52 mins) and Amazing Albania (2 x 43 mins). Wildlife titles include Antarctica The Equalizer (Albatross World Sales) – Tales From The End Of The World (1 x 52 mins), The Canary Islands – In The Shadows Of Volcanoes (1 x 52 mins), A Winter’s Tale – The Journey Of The Snowy Owls (1 x 43 mins) and Mystery In Yellowstone (1 x 52 mins).

ANIMA KITCHENT

TWO TITLES are priorities for Madrid-based animation studio Anima Kitchent at MIPTV. Cleo And Cuquin is about siblings coping with everyday problems while playing as cooks, actors, astronauts or detectives. In Piny: The Pinypon Institute Of New York Michelle and friends discover their passion for fashion, sports, music and the importance of friendship.

Liemba (108 Media) 580_KIEV_N1_TV

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Cleo And Cuquin (Anima Kitchent)

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PRODUCT NEWS ENDEMOL SHINE GROUP

JANSON MEDIA

INCLUDED in Endemol Shine’s line-up of formats for MIPTV are: new show The Big Benefits Handout, in which long-term unemployed families receive cash and give up benefits, and with the help of experts see if one large cash sum can turn their lives around; Spelling Star, where kids hope to be crowned champion speller; Big Music Quiz, with teams of celebrities; The Brain, in which contestants compete for a cash prize by performing mental and physical challenges; Kitchen Impossible, a culinary challenge show; and Made Over By, a makeover show. Factual formats include Hunted and The Island.

US DISTRIBUTOR Janson Media is at MIPTV with Hollywood Idols (14 x 30 mins/HD), a series portraying classic movie stars including Audrey Hepburn, Clint Eastwood, Grace Kelly, Cary Grant, Gregory Peck, Michael Caine, Shirley Temple, Robert Mitchum, Yul Brynner, Shirley MacLaine, Ingrid Bergman, Jack Lemmon, Burt Lancaster and Gary Cooper.

The Big Benefi ts Handout (Endemol Shine Group) 581_KIEV_N1_TV

Gregory Peck in Hollywood Idols (Janson Media)

miptv

THE KITCHEN

LANGUAGE translation, dubbing and subtitling studio The Kitchen, based in Miami, returns to MIPTV — marking its 15th anniversary — to promote its localisation services.

RTVE

TWO DRAMA series are brought to Cannes by Spain’s RTVE. Crime Times (13 x 70 mins), set in the Sixties, follows two journalists who investigate crimes for their newspaper. The second season of The Department Of Time (13 x 70 mins) follows a secret government body that detects any intrusion of characters from the past traveling to the present — or vice versa.

Crime Times (RTVE)

MAKE SURE YOUR NEW FORMATS’ LINEUP IS DULY PACKED AND READY TO TRAVEL TO UKRAINE

TO LEARN MORE PLEASE VISIT WWW.MRM.UA

OR MEET ORGANIZERS RIGHT HERE AT MIPTV (CALL +3725 499 69 29)

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PRODUCT NEWS FOX

MEDIA RANCH

FACTUAL series How We Met (13 x 30 mins) focuses on three couples per episode who talk about how they met and through entertaining re-enactments, the audience clearly sees how memories are sometimes unreliable. Distributor Media Ranch also brings So You Want To Be A Witch? (13 x 60 mins), a reality show in which 10 people who claim to have extra-sensory abilities take on challenges. They are then judged by a respected mystic as well as celebrity guest parapsychologists.

HG DISTRIBUTION

QUEBEC’s HG Distribution brings 2 Nuts And A Richard! (26 x 30 mins) an animation series based on comic characters created by Les Grandes Gueules — Jose Gaudet, Mario Tessier and Richard Turcotte — in their radio and stage work. Also on the roster is docu-series Erotic Art (5 x 46 mins), in which host Anik Magny meets artists who explore the secrets of desire and the forbidden, creating works including sculpture, photography, comics, decorative arts, jewellery, digital arts and video.

miptv

FOX, THE distributor for programming from the Fox and National Geographic family of channels, among other programming, brings more than 700 hours of new content to MIPTV. Lead titles include He Named Me Malala (1 x 90 mins), Davis Guggenheim’s Oscarnominated portrait of Nobel Peace Prize Laureate Malala Yousafzai, who now campaigns for girls’ education globally; and Undercover Angel (10 x 60 mins), following wealthy benefactors as they go undercover to help people in need. Fox is also launching 60-minute primetime format Sleeping With The Enemy which brings couples who are complete opposites together for a series of real-life tasks.

2 Nuts And A Richard! (HG Distribution)

PERNEL MEDIA

THE INNOCENCE Network (4 x 60 mins) profiles the 69 organisations from around the world that are working to exonerate unjustly convicted people and who work to reform the criminal justice system. Pernel Media is producing a French- and English-language version of the series. Both versions feature cases in New York and New Orleans, and the French version will also feature ongoing 549v2_MEDIAKWEST_N1_TV French cases, voiced by actor Jean-Hugues Anglade.

The Innocence Network (Pernel Media)

He Named Me Malala (Fox)

Tournage Post Broadcast Ecrans Production Communication Services Communauté Made in France

Actualités produits l Articles & dossiers exclusifs l Témoignages l Bancs d’essais l Agenda l Web TV l

Mediakwest, c’est Multiscreen et Multi Connecté

www.mediakwest.com Mediakwest-MIPTVnews-demiH.indd 1

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PRODUCT NEWS WDR MEDIAGROUP (WDRMG)

ORIGINAL formats from Germany’s WDRmg include: black-comedy mini-series Moral Springs, about a man who returns to his home village after 20 years and has bizarre encounters with the odd village inhabitants; The Laugh Of Others, in which two comedians meet members of a fringe group and try to laugh with them about their situation; and Couples Retreat, a format in which a group of actors spend a weekend in a spa hotel and equipped with biographies of their characters, they improvise with relationship issues.

miptv

AB INTERNATIONAL DISTRIBUTION

HYBRID CGI animation and live-action series Seven & Me (26 x 26 mins/3D) — a contemporary twist of the Snow White fairytale — is brought to Cannes by Paris-based AB International Distribution. Commissioned by France Televisions, the series is produced by Method Animation in co-production with AB, Rai, FranceTV, ZDF, DQ Entertainment and Nexus Factory.

Seven & Me (AB International Distribution)

ESPRESSO MEDIA INTERNATIONAL

Moral Springs (WDRmg) I 524_CAN

GET_N1_TV

TWO NEW HD documentaries are brought to MIPTV by Espresso Media. War Of Words (1 x 60 mins) explores the subculture of Hip Hop and the evolution of rapping battles. Footage includes Ice-T, Chuck D, Scroobius Pip, Wu-Tang Clan and Professor Green, and there are contributions from linguistics expert Professor David Crystal. The British distributor also brings Undercover Egypt (1 x 55 mins), following journalist Natasha Wheatley as she returns to the country to explore controversial topics.

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THE POWER OF FANS

INTERNATIONAL TV & CONTENT TRENDS 9.15-10.00 | Esterel

INTERNATIONAL DRAMA SCREENING: ‘THE EMBASSY’ 9.00-10.30 | Auditorium K - Breakfast served from 8.30 Open to all registered delegates.

By Speakers: ■

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Introduced by: Ramón Campos Sáez, Producer, Bambú Producciones, Spain

Sahar Baghery, Director of Global Research & Contents Strategy, Eurodata TV Worldwide, France @SBaghery

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Michael Puopolo, SVP Research, Twentieth Century Fox Television Distribution, USA

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Frédéric Vaulpré, Vice-President, Eurodata TV Worldwide, France @fredericvaulpre

CHANNELS TALK

Moderator: ■

Presented by

Stewart Clarke, Editor, TBI Vision, UK

10.00-11.00 | Auditorium A Speakers: ■

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THE POWER OF FANS SUPERPANEL

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10.10-10.50 | Esterel Supported by

Teresa Fernández-Valdés, Producer, Bambú Producciones, Spain

Sandra Coulibaly, RTI Distribution Manager, Radiodiffusion Télévision Ivoirienne, Ivory Coast Tara Ellis, Executive Director, Scripted Content, CBC, Canada Chmiel Maciej, TVP 2 Channel Director, Telewizja Polska, Poland

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Zelda Stewart, Head of Acquisitions, Mediaset, Italy

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Katrine Vogelsang, Head of Fiction, TV2 Denmark, Denmark

Moderator: Speakers: ■ ■

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Steven Ekstract, Group Publisher, License! Global Magazine, USA @licenseexpert

MATCHMAKING WITH CHANNELS

Kat Hebden, Managing Director, Shotglass Media, UK @KatHebden

Hosts:

Sam Rogoway, CEO, Victorious, USA, @samrogoway

Laurent Colombani, Partner, Bain & Company, France

11.00-11.45 | Speakers Lounge ■

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Speakers:

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Arnd Benninghoff, CEO MTGx Digital Ventures at MTGx Modern Times Group, MTGx International AB, Sweden James Glasscock, SVP Business Development, Machinima, USA Laurence Jones, Commercial Director, Endemol Shine Group, UK

Zelda Stewart, Head of Acquisitions, Mediaset, Italy Katrine Vogelsang, Head of Fiction, TV2 Denmark, Denmark

Producer Toolbox REGIONAL DIGITAL FRONTS: MCNS FROM AROUND THE WORLD 10.00-10.45 | Agora Speakers: ■

■ ■

Moderator: ■

Peter Warman, CEO & Co-Founder, Newzoo, The Netherlands @PJWarman

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Kaswara Al-Khatib, CEO & Chairman, UTURN Entertainment, Saudi Arabia @KaswarAlkhatib Charlie Echeverry, CRO, Mitu, USA Joona Haatainen, CEO & Partner, Töttöröö Network, Finland Natasha Khitrova, Head of Licensing, X-Media Digital, Russia

Moderator: ■

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Marcin Stefaniak, Counsellor to the Board, Telewizja Polska, Poland

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11.00-11.40 | Esterel Supported by

Sandra Coulibaly, RTI Distribution Manager, Radiodiffusion Télévision Ivoirienne, Ivory Coast

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ESPORTS, THE NEXT BIG CONTENT PLAY?

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Anna Carugati, Group Editorial Director, World Screen, USA

Ahmed Abbas, Founder, DigiSay, Egypt @a3abbas

Moderator: ■

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Jesse Cleverly, Creative Director, Wildseed Studio, UK

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MONDAY 4 APRIL

OFFICIAL CONFERENCES & SCREENINGS BRAND NEW! DIGITAL SQUARE MEETS-UPS

MEDIA MASTERMIND KEYNOTES

Open to all registered delegates

MARGARET CZEISLER CHIEF STRATEGY OFFICER, WILDNESS

Digital Square, Palais -1 9.00-10.00 FIRST TIMER NETWORKING BREAKFAST 11.00-12.00 PRODUCERS MEET-UP: TURKEY & MIDDLE EAST 12.00-13.00 PRODUCERS MEET-UP: AFRICA 13.30-14.30 COFFEE & MIGNARDISES 15.00-16.20 PITCHING SESSION: VIDEOBEAT NETWORKS, MUSO TNT LTD, ARKMONITOR & APPINESS

11.45-12.15 | Grand Auditorium

12.20-12.50 | Grand Auditorium

Margaret Czeisler

HARLAN COBEN NOVELIST, CREATOR, EXECUTIVE PRODUCER ‘THE FIVE’ Moderator: ■

Pierre Langlais, Journalist, Télérama, France

Harlan Coben

SCREENINGS FRESH TV FORMATS WELCOME INTRODUCTION 10.00-10.30 | Sony 4K Ultra HD Theatre Speakers: ■

Michel Chabrol, Director Innovation Marketing, Eutelsat, France

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Joe Nakata, Senior Producer, Sony Corporation, Japan

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Mariam Zamaray, CEO, Insight TV, The Netherlands

13.15-14.15 | Grand Auditorium & Balcony In partnership with Presenter: ■

Virginia Mouseler, CEO, The Wit, Switzerland

Chair: ■

Chris Forrester, Journalist and Industry Consultant, UK

ULTRA HD’S FAST-GROWING IMPORTANCE 10.30-10.45 | Sony 4K Ultra HD Theatre Speaker: ■

Claudia Vaccarone, Head of Market Research & Customer Experience, Eutelsat, France @Claudia_v_

DRAMATIC ENTERTAINMENT IN HDR ULTRA HD: PLANNING FOR THE FUTURE, AND TODAY’S NEW ULTRA HD OPPORTUNITIES 14.00-15.00 | Sony 4K Ultra HD Theatre Speakers: ■

Chair: ■

Chris Forrester, Journalist and Industry Consultant, UK

■ ■

ULTRA HD: JAPAN IS BOOSTING PRODUCTION

Tony Followell, Head of Media, Royal Opera House, UK @tonyfollowell Andy King, Head of Technology Television, BBC Engineering, UK Marcello Paolillo, International Sales & Production, Nexo Digital, Italy

Chair: Chris Forrester, Journalist and Industry Consultant, UK

11.00-12.00 | Sony 4K Ultra HD Theatre

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Speakers: Yoshiharu Kashima, Senior Manager / Programming Department, Japan Broadcasting Corporation (NHK), Japan

SPORT: BREAKING RECORDS IN ULTRA HD HDR

Yoshihiro Takahashi, Video Engineer / Broadcast Engineering Department, NHK, Japan

Speakers:

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Mabito Yoshida, Deputy Director General of the Information and Communications Policy Bureau, Ministry of Internal Affairs and Communications, Japan

Chair: ■

Chris Forrester, Journalist and Industry Consultant, UK

news_monday.indd 2

15.15-16.30 | Sony 4K Ultra HD Theatre ■ ■

Raymundo Barros, CTO, Globo, Brazil Daniele Gauna, Senior Sport Production Technology Consultant, Infront, Italy

Chair: ■

Chris Forrester, Journalist and Industry Consultant, UK

01/04/2016 15:39

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THE POWER OF FANS Drama Screenings ‘THE ELECTION DAY’ AND ‘SUNZE BOX’ 14.00-15.15 | Auditorium K

MIPTV INTERNATIONAL DRAMA CO-PRODUCTION SUMMIT

Open to all registered delegates.

14.15-18.00 | Carlton Hotel

Screenings presented by ‘Star Wars’ and ‘Indiana Jones’ producer Robert Watts.

By invitation Supported by

Speakers: ■

Supported by

“LIVE”, THE NEW COOL IN A NON-LINEAR WORLD 14.15-14.45 | Esterel

■ ■

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■ ■

Speakers: ■

Dan Biddle, Director of Broadcast Partnerships, Twitter, UK @DanBiddle

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Will Keenan, President, Streamup, USA @WillKeenan

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Vigor Sörman, Founder & CEO, Splay Networks, Sweden

Moderator: ■

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Rola Bauer, CEO / Partner, TANDEM Productions and STUDIOCANAL Executive, Germany Pascal Breton, President, Federation Entertainment, France Anthony Horowitz, Writer/Showrunner, Eleventh Hour Films, UK @anthonyhorowitz Christina Jennings, Chairman & CEO, Shaftesbury, Canada @ShaftesburyTV Miikko Oikkonen, Director and Fisher King Production, Finland Nicola Shindler, Executive Producer, Red Production Company, UK Simon Vaughan, Chairman and Joint CEO, Lookout Point, UK Morgan Wandell, Head of Drama Development, Amazon Studios, USA

Host: ■

Catherine Warren, Board Member / President, Bell Fund / FanTrust Entertainement, Canada @FanTrust

Donna Wiffen, Managing director, Duchess Street Productions, UK

FEED THE PASSION, ENGAGE YOUR 360° FANS 15.00-15.30 | Esterel

Host:

Speakers:

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David Cormican, EVP Business Development & Production, Don Carmody Productions, Canada

15.00-15.30 | Grand Auditorium

Kalle Kaivola, Head of Business Development, Next Games, Finland Ziv Rabinovich, Head of Interactive, Keshet International, Israel @zivrab

Moderator: ■

Amber J. Lawson, MIPDigital Fronts Emcee

Catherine Warren, Board Member / President, Bell Fund / FanTrust Entertainement, Canada @FanTrust

Speakers: ■

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James Glasscock, SVP Business Development, Machinima, USA Chad Gutstein, CEO, Machinima, USA

15.45-16.15 | Grand Auditorium

Industry Spotlight 14.30-15.30 | Salon Croisette

Speakers: Kat Hebden, Managing Director, Shotglass Media (FremantleMedia), UK @KatHebden

LA FABRIQUE DES FORMATS: THE FRENCH FORMATS BOOSTER

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Discover the new French investment fund looking for new formats to develop.

Talents:

Press conference open to all MIPTV delegates.

news_monday.indd 3

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Neil Smythe, Head of Sport, Shotglass Media, UK

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Adam McKola , Presenter, Shotglass Media, UK

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Sam Homewood, Presenter, Shotglass Media, UK

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MONDAY 4 APRIL

OFFICIAL CONFERENCES & SCREENINGS

Producer Toolbox WHEN TV LEVERAGES ONLINE INFLUENCERS

MIPTV WORLD PREMIERE TV SCREENING 18.30-19.45 | Grand Auditorium - Doors open at 18.00

15.15-15.45 | Agora Speakers: ■

Manuel Alduy, Head of Canal OTT, CANAL +, France @manald1

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Reza Izad, CEO, Studio71, USA

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Chris Kelly, Founder, Big Balls Films, UK

Presented by

Emmy Award® Winner

LAURENCE FISHBURNE

Academy Award® Winner

FOREST WHITAKER

Academy Award® Winner

ANNA PAQUIN

Golden Globe Award® Winner

JONATHAN RHYS MEYERS

Tony Award® Winner

ANIKA NONI ROSE

Introducing

MALACHI KIRBY as Kunta Kinte

Moderator: ■

Natan Edelsburg, Executive Editor, The Drum’s Found Remote, USA @twatan

EUROPEAN FILM FORUM STORYTELLING IN THE DIGITAL AGE 16.00-16.40 | Agora Supported by The European Commission Sarah Muller, Creative Director Scripted, Animation and Co-Productions, CBBC, BBC, UK

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Paolo Roatta, Founder, Arkimedia - Beyond Television, Italy

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Tom Vedel, Founder, M-Vapp/Animgram, Denmark

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Ville Vilen, Creative Director, Yle/ Finnish Broadcasting Company, Finland

© 2016 A+E Networks. Claimed marks are the trademarks of A&E Television Networks, LLC protected in the United States and may be protected in other countries around the world. 0868.

Speakers: ■

BOOTH P3.C-10 sales.aenetworks.com

@RootsSeries

#ROOTS

Moderator: ■

Martin Dawson, Deputy Head of Unit, MEDIA Support, European Commission, Belgium

MIPTV 4K PREMIERE SCREENING MEDIA MASTERMIND KEYNOTES

From 19.30 | Grand Hyatt Cannes, Hotel Martinez

16.30-17.00 | Grand Auditorium

Doors open at 19.00

GUILLAUME DE POSCH, CO-CHIEF EXECUTIVE OFFICER, RTL GROUP

MORIBITO: GUARDIAN OF THE SPIRIT Presented by

Moderator: ■

Marcel Fenez, President, Fenez Media Limited, HK @marcel_fenez

Guillaume De Posch

17.10-17.40 | Grand Auditorium

VARIETY’S 2016 ACHIEVEMENT IN INTERNATIONAL TELEVISION AWARD AT MIPTV: JEREMY DARROCH, GROUP CHIEF EXECUTIVE, SKY

Jeremy Darroch

Moderator: ■

Leo Barraclough, Senior International Correspondent, Variety, UK

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01/04/2016 15:40

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miptv

FEATURE BRANDS

Teaming-up with the brands A series of activities in Cannes underline the growing crossover between brands and the entertainment content industry. Gary Smith reports

B

RANDS@MIPTV is a day-long programme of sessions and events which brings brands

together with professionals — for example MCNs — towards mastering online and other content strategies. A highlight of the programme is the Brands And Online Video Summit, on Tuesday at the Martinez hotel.

Underlining the importance to brands establishing themselves as credible suppliers of genuine entertainment, Mattel’s chief content officer, Catherine Balsam-Schwaber, outlines the company’s strategy: “It’s really about creating a three-way match between the consumer, the content and the platform, because different content performs best on different platforms.

When we think about longer-form programming, direct-to-consumer opportunities are the best way to deliver that kind of format,” she says. “When we’re thinking about regularly scheduled programming and 22-minute series, those are most likely best on a more traditional television platform.”

But sometimes content is created for the wrong platform. “Serialised content on YouTube doesn’t perform as well as it does in a direct-to-consumer environment or on a television platform. Raw, more organic, authentic content performs better in that environment,” she says. “Making sure we match

the content to the platform is an area where Mattel is evolving, along with our overall content strategy which includes a faster iteration of content, as well as how we connect digitally with our consumers in order to offer content that is appropriate.”

Ultimately, though, it’s about connecting with customers in ways that classical advertising rarely does: “A major focus right now is that we are taking big steps to optimise our ability to connect with our consumers at every touch point.” Balsam-Schwaber says.

“Our goal is to deliver content experiences to kids and parents, wherever they are, that draw on the power of our brands and create deeper engagement with them. Whether that’s theatrical, direct-to-consumer, television series or rapid-development digital content, we are going to play in all of those spaces.”

It is widely recognised that brands have been making content for a very long time, but Mattel was among the early adopters: “Mattel has been creating and supporting content for much of its 70-year history, going back to the early days of the Mickey Mouse Club, the iconic television programme of which Mattel was an original sponsor,” Balsam-Schwaber says.

“Through the years, it’s fair to say Mattel focused primarily on creating great play experiences and

The second episode of JW Marriott’s Two Bellmen, set in Dubai

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miptv

FEATURE

What consumers really want is honesty and authenticity, so if you make a mistake put your hand up and admit it Andrew Canter

The Postcode Millionaire

on content secondarily. Today, however, we have a renewed commitment to creating and distributing content that enhances play experiences and drives deeper engagement with our celebrated brands.”

Other early adopters include tyre manufacturing company Michelin. The prestigious — and international — Michelin-star system came about when the company created its Michelin Guide in 1900, its raison d’etre being to encourage people to get in their cars, hopefully ones fitted with Michelin tyres, and seek out the fine culinary establishments featured in the annual publication. “And even before that, UK bread-maker Hovis created cycling maps in 1899, in the hope that cyclists would devour their healthy bread in order to fuel their efforts,” says Andrew Canter, global CEO of the Branded Content Marketing Association (BCMA), an industry partner with Brands@MIPTV. “And then in the Twenties brands such as Palmolive and Colgate created soap operas. At its best, branded content is a very powerful way to communicate, but for it to work, brands need to have a strong idea of what problem they are trying to solve by using branded content. They need to have a firm grip on why more standard forms of advertising aren’t working. But in this space, even missteps can be beneficial, because what consumers really want is honesty and authenticity, so if you make a mistake put your hand up and admit it.”

Unsurprisingly in this data-driven era, it is the proper use of data that lies at the heart of successful branded content: “Any content-based campaign has to be based around data and insight and there are some great recent examples of branded content including P&G’s Always #LikeAGirl, Honda’s The Other Side, Virgin Media Business’ Pitch to Rich #VOOM, Guinness’ Sapeurs, A Small Section Of The World by Illy Cafe, Chipotle’s Farmed And Dangerous, Pedigree’s K9FM (a radio station for dogs), GE’s Six Second Science, Patagonia, The

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Journey by Coca Cola — and finally there’s Red Bull of course,” he says. “Red Bull has done an exemplary job in terms of the quality of the content and how they have used the various platforms to get every kind of content form out there, from six-second vines through to long-form films. I’d also point to Coke’s The Journey as being a very fine piece of work.”

Paris-based advertising agency Les Gaulois — part of the Havas Group — is another MIPTV industry partner and has focused particularly on the MIP Content Club, an area which brings together brands and content creators towards the goal of creating “media-brands”.

“The current approach is to consider all forms of communication with the public as content: advertising campaigns, videos on social media or consumer magazines,” says Les Gaulois president Elisabeth Billiemaz.

“The real challenge is to devise and produce everything, keeping to the same concept, but with different types of dialogue according to where it is to be diffused — TV, social media, outdoor, events.” She adds: “We’re managing a huge range of content for the brands. Participating in MIPTV means committing ourselves to this goal of creating media-brands, by providing them with the necessary resources to start a new chapter in the relationship between brands and clients, whilst also preserving the DNA of the brand.”

JW Marriott’s globally acclaimed forays into content making are equally exemplary with short films Two Bellmen and French Kiss, plus the TV series Navigator Live, proving that it is possible to be engaging and connective while also being unashamedly promotional — but in the best sense of that much maligned-word: “Beyond the numbers of views, it was really great to see the comments,” David Beebe, Marriott’s vice-president, global creative, says. “People clearly understood that it was an 18-minute advert, but they still watched it all

590_RM 4k_N1_TV

4K ULTRA HD SCREENINGS & SESSIONS Sony 4K Ultra HD Theatre - Palais 4

Monday April 4 10.00-10.30

4K Ultra HD TV Welcome Address Sony/Eutelsat/Insight TV

10.30-10.45

Ultra HD’s fast-growing importance Eutelsat

10.45-12.00

Ultra HD: Japan is boosting production Japan/NHK

14.00-15.00

Dramatic Entertainment in HDR Ultra HD BBC /Nexo Digital/Royal Opera House Media

15.15-16.30

Sport: Breaking records in Ultra HD/HDR InFront Sports & Media/Globo TV

IN PARTNERSHIP WITH

miptv

FEATURE

Mattel’s Catherine Balsam-Schwaber

BCMA’s Andrew Canter

The Swedish Postcode Lottery’s Ase Ericson

the way through. Consumers remember that and appreciate the fact that it’s not a hard sell. On top of that, by leveraging the available technology we can create a situation where we are scaling content to build a community through loyalty programmes and that in turn drives commerce.”

Beebe points to French Kiss as a particularly strong driver of new business: “We launched a package offering customers the chance to stay in that hotel and experience the iconic sights in the film,” he says. ”And the package offer drove 500,000 stays in that hotel. It’s the same with our online magazine Marriott Traveller, which features local writers talking about a city that they know well, so it’s authentic and useful and inspiring to curious travelers. It is not a branded publication but of course there are booking opportunities in there and it works. There were 7,200 rooms booked through the magazine in 90 days. But everything we do is inspired by the original Marriott establishment which was a root beer stand in Washington DC, founded in 1927. After a successful first summer the winter came and root beer was no longer an option, so our founder started searching for easy to make hot meals, and that’s how Marriott’s customer-centric ethos came about.”

Sweden’s Postcode Lottery has been producing successful primetime content for the last decade, but the Dutch Postcode Lottery from which Sweden’s operation sprang, has been doing it for much longer: “The Postcode Lottery started in Holland 25 years ago and they always created content around it,” Ase Ericson, head of TV & live events for the Swedish Postcode Lottery, says. “Ever since we started we have been looking both to make deals with broadcasters and to work with them to create something special. So far we have done 900 episodes of The Postcode Millionaire, which uses the Who Wants To Be A Millionaire format, as well as that show’s extremely popular Swedish host, Rikard Sjoberg. The show features a branded Lottery segment introduced by Rikard who also appears in all our advertising, from mail-shots through to the show.”

The Lottery has now created its own game show and app called Odd One Out: “We worked together with

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It’s really about creating a three-way match between the consumer, the content and the platform Catherine Balsam-Schwaber

production company ELT to make a show that has been running since January. And it has been very successful, getting 27% audience share in its slot on TV4. In fact it did better than Postcode Millionaire so we’re delighted, and a second season has now been commissioned,” Ericson says. “And the app has been downloaded well over 220,000 times. It allows people to play along live while the show is on air, as well as to play whenever they wish. We are also really happy that the new show has skewed younger than Postcode Millionaire. Odd One Out attracts a much bigger audience in the 19-40 demographic, whereas Postcode Millionaire’s viewers leaned much more towards the 50+ segment.”

The app is also proving to be very popular with people aged 15-30: “Even though we aren’t sure if they also watch the broadcast show, the aim of the app was to bring in a younger audience and so we’re very happy with the results,” Ericson adds. “We wanted to make a show that would enhance the app experience and it has worked well enough that we are now starting to sell adverts to third parties within the app, which in turn means that we are considering creating and selling a premium, ad-free version. But I think Odd One Out will be our last project for linear TV because it’s so much more effective and, to be quite honest, much more fun, to create online projects that can then be crosspromoted, for example, through Facebook, Instagram and YouTube.”

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ENTER TODAY isaacawards.com

IMAGINE. INVENT. IGNITE. Join the other Project Isaac Award winners — inventors driving the future of marketing, advertising and media. Go for the gold. Enter today.

GRAVITY AWARD/GOLD WINNER 2015: Product Development Invention Samsung Safety Truck, Samsung; Leo Burnett Argentina, Buenos Aires

MIPTV_Isaac_AWAd1.indd 1

3/22/16 12:04 PM

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miptv

FEATURE SPORT

A fast-moving game

As seen on The Football Republic

eSports — now estimated to have a global audience of 260 million — is migrating from online to broadcast TV, while the way in which traditional sports is covered is becoming increasingly fan-based and interactive. It’s a whole new ball game out there, Gary Smith discovers

S

PORTS and the future of traditional sports’ coverage are centre stage at MIPTV today and

tomorrow, with two Digital Talks examining how to leverage the power of fans, plus an indepth look at eSports and how traditional broadcasters can help to grow the genre. There are also two MIP Digital Fronts sessions with Machinima and The Football Republic.

Alongside that, two giants of football are in Cannes this week: Brazilian striker turned TV Globo commentator Ronaldo, who is taking part in tomorrow’s panel Sports, The Origins Of Fans; and Gianluca Vialli, the ex-Chelsea striker and now manager, who is the copresenter of reality show Football Nightmares, which premieres at MIPTV this week.

The eight-part series, produced by FremantleMedia Italia in association with Vialli, hopes to do for struggling amateur teams what Gordon Ramsey does for failing restaurants. Each week, Vialli and co-presenter Lorenzo Amoruso take an underperforming club and attempt to knock it into shape. At the end of the week, the team plays a match. “With luck, the no-hopers will at least have a chance of scoring the odd goal,” Vialli says. “In the show I play the Mr Wolf character — the bad guy. Even though these are amateur footballers who play for the love of the

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game, they still need to be respected by their fans.”

The Italian series features village teams from across the country. “They are all teams that have lost their confidence,” Vialli says. “Their fans might have even have abandoned them. Their training facilities are shabby and they are not performing. Some of the players might have psychological problems. But there’s drama and even comedy as we try to transform what’s happening on the pitch, in the dressing room and in the players’ heads.”

There’s drama and even comedy as we try to transform what’s happening on the pitch, in the dressing room and in the players’ heads Gianluca Vialli

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FEATURE

Brazilian striker turned TV Globo commentator Ronaldo Shotglass Media’s Kat Hebden

Vialli says that filming the show was surprisingly tough: “Frankly, it was exhausting because you need to be blunt with these guys and not be afraid to tell them home truths. But I think ordinary people who play football every weekend can relate to the experience of these amateur players much more than watching, say, the Premier League, however entertaining it is. Football is hugely popular around the world so Football Nightmares has huge international potential. I think the show would work well in the UK, where there is great passion for the game.”

The original Italian series debuted on Sky Italia channel MTV 8 in February.

Gamers understand the need for ads, so there’s no friction there. But it can be tough for any brand that’s not perceived as being friendly to the gaming community Peter Warman

FremantleMedia’s UK’s The Football Republic channel harnesses the best of today’s hyper-connected world to create a new kind of experience that puts fans and their passion at the heart of the programming.

“Being a live event, it’s all about how you curate it and how you push it in the right direction,” says Neil Smythe, head of sport at producer Shotglass Media.

“It’s about asking the key questions, then being able to spot and display the best replies quickly. You could say that The Football Republic has taken the spirit of a show like Soccer AM and brought it up to date.”

Shotglass’ managing director Kat Hebden sees the channel as having almost infinite possibilities: “Football is the biggest niche in the world, which means we can take the channel in multiple directions to grow the commercial opportunities,” she says. “Plus there are so many digital possibilities, such as Periscope, Snapchat and Instagram. They are all tools we can deploy to

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Shotglass Media’s Neil Smythe

bring in the younger fans. The typical demographic for a football show is 40-plus but, by having an authentic voice, being community-driven and debating the key issues with passion, we are seeing a much broader audience developing.”

The show also uses a variety of presenters, including a stand-up comedian, a super-fan and a young, up-andcoming presenter. “We’re not trying to re-create a linear show online and we’re not trying to compete with Sky Sports,” Smythe adds. “We can say things that you wouldn’t say on broadcast TV. And on a strategic level, as the audience becomes ever more digital and spends more time watching YouTube, it would be a mistake not to be present in that world.”

Hebden believes there will be a merging of old and new: “The traditional world and the digital world will increasingly feed into each other, with each one doing what it does best. We can get involved in layers of detail that a linear show just can’t do, and offer levels of engagement that would get in the way of that sort of production.”

While traditional sports are taking a new approach to their craft, the rapid growth in the popularity of eSports is creating a huge audience that barely existed even five years ago.

“This year, the eSports global audience will number around 260 million viewers,” says Peter Warman, CEO and co-founder of Newzoo, the international gamesmarket research company. “And that audience splits into two distinct types. There are the ones who watch live competitions based around popular games like Mortal Kombat, and those who watch other people playing the games they love. Minecraft, for example, generates 4.5 billion views on YouTube alone — every month. It’s so dominant in this area partly because it’s easy to live stream what you are doing in the game, and partly because it creates an endless stream of moments that a lot of people want to share.”

The phenomenal growth of eSports is also having an effect on how games publishers perceive themselves.

“You have to provide entertainment for this audience,” Warman says. “Games companies are increasingly seeing themselves as content-providers and that, in turn, is

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FEATURE

Endemol Shine UK’s Laurence Jones

Ex-Chelsea striker Gianluca Vialli

bringing in advertisers. And those advertisers are very interested in the fact that the demographic is also skewing towards the 25-40 segment. These are people who have been passionate gamers but who don’t have the time any more due to having a job and family responsibilities, but they still want to know what’s happening so they watch tournaments to keep up.”

When you add to that the fact that 25% of all video content is game-related and it becomes clear that eSports has become a massive global movement. “We are already seeing more advertising, often as pre-rolls on Twitch and other platforms,” Warman adds. “Gamers understand the need for ads, so there’s no friction there, but it can be tough for any brand that’s not perceived as being friendly to the gaming community.

Brands are coming in and sponsoring teams but they are still working out how best to be present without creating conflict.”

According to James Glasscock, senior vice-president of strategy and business development at content-producer Machinima, the next few years in eSports are likely to be a time of consolidation and rationalisation.

“The sport has grown organically and, consequently, it’s fragmented and a lot of the leading players are not earning anything like what they could or should,” he says. “But now we are seeing companies like Turner creating an eSports department, and we will see mergers and acquisitions in the months and years ahead, because what advertisers really want is a one-stop shop.

So it’s a question of creating scale, and bringing in the audience in a way that’s similar to what Turner did with NASCAR some years back. They figured out how to tell the stories around the sport and elevated the experience.

Their tagline was ‘we know drama’ — and I have to admit that they did a great job.”

A global audience of 260 million may be impressive, but Glasscock believes it is merely the start: “It could be 10 times bigger. Now that broadcasters are coming in, we’re going to see much more focus on telling the stories and much more premium content.” He cites the examples of HBO’s reality documentary series Hard Knocks and Machinima’s own Chasing The Cup, which aired on The CW.

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Machinima’s James Glasscock

Laurence Jones, commercial director at Endemol Shine UK, also sees big changes ahead. “If you look back five years, there was a shift from hardware to software as consoles were replaced by online gaming,” he says.

“Now gaming is everywhere thanks to mobile devices.

Even two years ago, the audience was mostly hard-core gamers, but now we are seeing grandparents taking their grand kids to Minecraft events. Off the back of our YouTube channel Legends Of Gaming, we organised an event at Alexandra Palace [in London] and the crowd was mainly families where the parents had been big gamers.”

Jones says there is “a halo effect” in holding live events in terms of boosting the number of subscribers to the Legends Of Gaming, channel: “Currently we have 750,000 subscribers but, by the time we hold the next live event, we expect that figure to have grown to around 1.2 million.”

And, Jones admits, the idea of migrating content from Legends Of Gaming to a linear show is very much on his mind: “The growth rates are so high that we almost have to bring this to traditional TV. But it’s a question of finding the right format. A show on Channel 4, for example, would be vastly different to what works on YouTube. All the traditional TV companies now moving into this space are looking at ways to deliver the content. And when they get it right, they’ll be bringing the lost ‘online-only’ audience back to broadcast TV.”

All the traditional TV companies are now moving into this space.

And when they get it right, they’ll be bringing the lost ‘online-only’ audience back to broadcast TV Laurence Jones

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FEATURE TRENDS IN KIDS’ TV

Gigantosaurus (Cyber Group)

Small people, big expectations While the drama boom powers on and docs find a new lease of life through 4K technology and cinematic releases, the children’s market has never been more challenging. But there have never been more opportunities either, writes Gary Smith

E

VER since the idea of creating programming

specifically for children was born just over 60 years ago, entertaining kids has been a complex business. And now more so than ever, with the age range of the audience shrinking from the traditional four- to 15- to four- to nine-year-olds, and viewing behaviour changing drastically.

Nevertheless, according to Cyber Group Studios’ CEO Pierre Sissmann, we are entering a great period in kids content. “If you’d told me a few years back that I’d be co-producing with companies like Oscar-winner Brown Bag and The Jim Henson Company, I would not have believed you,” he says. “But that’s the reality of the global kids’ market of today. There are so many carriers and platforms that the demand for content has never been higher, which is why we currently have six shows in production [including Gigantosaurus, Boubouh!, Mirette Investigates and Enchanted Sisters] plus a further 12 in development. One of the main reasons driving this high level of production is that our shows

Our young audience is the most demanding and the least forgiving — but also the most likely to get excited overnight Corinne Kouper

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have to help platforms to distinguish themselves from the competition. And there are a lot of platforms, so we need to be able to offer a broad palate of shows.”

Demand may be higher, but downward pressure on prices is constant. “The market is fragmented and segmented, and that drives prices down,” Sissmann adds.

“But kids these days want premium product and great, original ideas. The only way you can deliver such quality and keep your prices down is by going much deeper into the development of shows, which means they take much longer to produce, and by technical innovation, which is something we’ve always believed in and have always pursued passionately.”

“It is a challenging time,” says Corinne Kouper, producer and founding partner of TeamTO. “But it’s not only challenging for producers — it’s the same for broadcasters. With viewing patterns and platforms evolving so rapidly, it’s harder than ever for broadcasters to develop long- or even medium-term strategies to engage viewers. It’s not even a question of how to retain children’s attention any more, but what it really means to retain their attention. I do think there’s an opportunity being lost in the lack of information-sharing between broadcasters and producers on the subject, as we could all benefit from that experienced feedback.”

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KIDS IN CANNES THIS year’s kid-related events at MIPTV include the International Emmy Kids Awards ceremony, which is being held in Cannes for the first time on April 5. The conference programme features The Future Of Kids’ TV Summit, an invite-only event sponsored by Majid Entertainment on Tuesday, April 5; and The Kids’ Channels & Platforms Talk, which also takes place on Tuesday and features VIMN’s Jules Borkent.

But at least it is still possible to innovate. “Kids TV has always been the most innovative segment in production, both in the storytelling, and on the tech side,” Kouper says. “Our young audience is the most demanding and the least forgiving — but also the most likely to get excited overnight. So innovation is an on-going necessity, which is refreshing and has the added benefit of keeping us young.”

Kouper says that, with TeamTO’s girl-power series Jade Armor (52 x 13 mins), the aim was to “contribute to the discussion of female role models in TV”. She adds: “This show was originally cast with a boy lead but we thought… why? Why not a girl? So now we have a super-dynamic action-adventure series directed and written by women that will still appeal to girls and boys, but breaks the stereotype of who can use their imagination to turn into a superhero.”

A 20-year-old concept that is currently being revamped also provides plenty of room for innovation. The Future Is Wild — a speculative evolutionary concept that imagines the world in 200 million years time — remains one of Animal Planet’s most popular shows. The idea was conceived by Joanna Adams to explain in an accessible, entertaining and educational way the concept of evolution and to explore the environmental changes that could affect the planet and its inhabitants.

“The Future Is Wild was originally conceived as a book

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Boubouh! (Cyber Group Studios)

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and TV series, which then spun into theme parks, museum exhibitions, educational material, toys, etc,” Adams says. “Now, Hollywood producer John Williams [Shrek] is developing a new 26 x 60 mins TV series.

We’re also developing a children’s series that will be based less far in the future and will look at the real implications of climate change, examining what it really means for our kids and their kids too, in a positive way.

A new dinosaur park in Germany has also just opened its very own Future Is Wild attraction.”

Adams says that The Future Is Wild is now a brand and, as such, needs to be managed like a brand: “So we’re extending it into mobile games, collectibles, a game-show format and a VR experience. In this context, VR is an amazingly powerful medium that brings the concept alive for a fraction of the cost of creating something like a themed ride, which was done at Futuroscope in France and cost several million euros. VR allows us to create thoroughly immersive experiences, which I hope will inspire both kids and adults to see the world differently by pushing them to experiment, and to use their imagination coupled with real science.”

According to Dominic Gardiner, CEO of Jetpack Distribution, the very definition of what a kid is has changed: “The age range has shrunk to the point where, after nine, we have to assume kids will be somewhere other than in front of a TV,” He says. “Plus their appe-

Animal Planet’s The Future Is Wild features the creatures of the far future

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FEATURE

The Sisters (Jetpack Distribution)

tites have changed. What kids are increasingly relating to is brands. We therefore run Jetpack as a brand by b e - ing very careful how we manage our portfolio, and asking ourselves whether the style and look of a show is a good fit with what we’re known for. That said, we have the room to be eclectic because we’re not a studio and therefore we can pick and choose rather than having to accept what the inhouse team has come up with.”

Gardiner’s definition of what the market wants is based around quality: “It may well be a challenging time to be in kids’ TV, but that doesn’t mean no one is trying. Quite the opposite, in fact.

There’s a lot of material out t here so one way to st a nd out in such a crowded space is to up the quality by being strong

on design and storytelling. Another way is for a series to be forward-leaning with a futuristic edge to it. But really what we are talking about is shows that have had a lot of love put into them, made by people who really care. That’s why we’ve brought The Sisters to MIPTV. It’s a show that rings true and that deals with real issues and real lives, plus it features two girls, and there just aren’t enough strong females in kids’ programming.”

There is, however, no change in how children’s shows are financed, which brings another set of challenges.

“The main reason why kids’ shows take so long to produce is that the financing process is complicated,” Gardiner says. “In drama, it’s usual for one co-producer to put in anywhere up to 50% of the budget, but in kids it’s more like 20%-30%. That makes the whole financing process longer and harder, and that impacts on the production of the show, meaning that a project that could take one or two years takes three to five. In a genre where quality is a good way to stand out, it’s ironic that financing should be so complicated and elongated.”

Alongside quality, there is something else that can make or break a series, according to Cottonwood Media president and founder David Michel. “Series with a local feel or character just don’t have any traction on the current international market,” he says. “A show made in France that is visibly French will only sell around Europe. So there’s a clear difference between what Europe wants internally and what the global market accepts.”

Like Gardiner, Michel’s solution is to focus on quality: “Premium content is at the centre of Cottonwood’s strategy, much like what is currently happening in TV drama. And that’s why we’re doing an adaptation of Squish with Gully and Teletoon. Quite apart from the fact that Squish is an amazing character, it’s reassuring to our partners that the brand has already been a success as a book. And that’s the way it has to be, because the kids of today have no tolerance for substandard shows — they expect the best all the time.

The other big change in kids’ mindset is that they want to see films much more than previous generations, which is due to the success of animated movies from Pixar, Disney, etc.”

Cottonwood is also developing a live-action kids’ drama series called Paris Opera with ZDF.

The kids of today have no tolerance for sub-standard shows — they expect the best all the time David Michel Mirette Investigates (Cyber Group Studios)

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