miptv
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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