ATF: France’s Federation Makes Market Debut With ‘The Bureau’

COURTESY OF FEDERATION ENTERTAINMENT NOVEMBER 30, 2015 | 03:47PM PT Patrick Frater Asia Bureau Chief Paris-based Federation Entertainment will this week make its debut at the Asia Television Forum with a timely lineup of scripted entertainment. Topping its Singapore Media Festival slate is “The Bureau” (aka “Le Bureau des Legendes”,) a drama series about the operations of the French secret service, starring Mathieu Kassovitz. The series begins with the return to the DGSE headquarters of the lead officer, after a six-year mission in Syria. But his return to normal life is complicated when he learns that a woman he was in love with in Damascus is actually now in Paris. In addition to its market debut at ATF, the 20-part show gets a screening this week (Thursday, Dec 3) at the Singapore branch of the Alliance Francaise.

Other shows on Federation’s lineup include a 22-part action drama “Hostages,” medical drama “Replacements,” and live action teen drama “The Greenhouse.” The company was founded two years ago by industry veteran Pascal Breton. It describes itself as a “fully-integrated television production and distribution studio comprised of exclusive partnerships with highly experienced executives, producers and show runners in global entertainment.”

Amazon U.K. Orders Period Fashion Drama from ‘Ugly Betty’ Showrunner

NOVEMBER 30, 2015 | 04:52AM PT International Correspondent@LeoBarraclough

LONDON — Amazon Prime Video in the U.K. has ordered period fashion drama “The Collection” from “Ugly Betty” showrunner Oliver Goldstick. The eight-part series, which is set in the world of French haute couture just after World War II, has been commissioned by Amazon and BBC Worldwide from producer Lookout Point. “The Collection” is the story of an illustrious Paris fashion house, emerging from the dark days of the Occupation, now ushering in a new golden age of design and business. The family saga centers on two very different brothers, and “exposes the grit behind the glamour and the treachery beneath the trappings of this empire, and all who work there,” Amazon said. The series is created, written and executive produced by Goldstick, whose credits also include “Lipstick Jungle” and “Pretty Little Liars.” The other executive producers are Anne Thomopoulos (“Rome,” “Borgia,” “Versailles”) and Kate Croft (“Murderland”). Federation Entertainment’s Pascal Breton (Marseille) has signed as French co- production partner.

The creative team includes director Dearbhla Walsh (“Penny Dreadful,” “The Tudors,” “Esio Trot”), producer Selwyn Roberts (“Parade’s End,” “Strike Back”), production designer Alison Dominitz (“Casanova,” “Hotel Splendide”), costume designers Chattoune & Fab (“Dheepan,” “Coco Chanel & Igor Stravinsky”) and casting director Rachel Freck (“The Go-Between,” “Life in Squares”).

The project starts production in January, filming in both Wales and France. It will receive investment from the Pinewood Wales Investment Budget as well as Pinewood. Goldstick said: “’The Collection’ has been a passion project of mine for years; an entrepreneurial fable set in a pivotal moment in history, where fashion served as the ultimate vehicle for transformation and re-invention. It’s the story of a war-scarred family — upstairs and downstairs — tethered together by its success and its secrets.” Croft said: “Out of our shared passion for the world and the period, Oliver has created his extraordinary vision of Paris and the golden age of couture. It’s full of his signature flourishes, and his unique take means we get to peek behind the elegant facade and realize it is not just about the dresses, but more about what they are covering up.”

VOD rewrites the drama script by Stewart Clarke February 16, 2016

In three years Netflix and its SVOD counterparts have turned the TV drama world on its head. Whereas the Holy Grail for a drama producer was once a US network commission, now a global order for Netflix, or an Amazon pilot, is becoming the greatest prize

What’s the difference between pitching a drama series to Netflix and to TV? One distinction between SVOD and traditional TV is the speed at which the new players move. “The initial pitch is really the same: you have to convince one or two of their guys,” says Federation Entertainment founder Pascal Breton. “What changes after that is you have to move much faster.” His fledgling company is making Marseille, a political drama set in the titular southern French port, and the first original for Netflix in France after it launched there last year. “Once they like the idea they go fast, and they want the whole package,” says Breton. “They want a script, talent and a director, or it just doesn’t feel real to them.”

There is also a competitive element to the quick decision-making. Andy Harries, boss of Sony-backed prodco Left Bank Pictures has said Netflix bought the idea for The Queen in the room. Amazon reportedly did the same for The Collection, the period fashion drama from Lookout Point that will be its first original out of the UK for its Prime Instant Video service. “They don’t want to miss out,” says Dan Whitehead, head of drama and digital at TV trends research firm K7. “It’s better for them to say ‘yes’ than let it end up on another service.” In contemporary TV terms, three years is an age, and has been long enough for Netflix to rewrite the rules of producing and selling drama. That is the length of time since Netflix’s House of Cards (above) was released, garnering plaudits and critical acclaim, and propelling Netflix into the world of high-end scripted TV. For TV scribes, there were ramifications from the moment that Netflix released all episodes of Steve Van Sandt drama Lilyhammer simultaneously, spawning a new era of binge viewing. Viewers had binged on DVD box-sets before, but getting new series at the touch of a remote rewired the way audiences consumed TV, and how shows are written.

Producers talk about making a ‘long movie’ when they make an SVOD series. Without weekly installments, cliffhangers became redundant (if the gap between episodes is seconds, the tension is removed). ‘Story of the week’ procedurals are also out as they don’t fit the binge model in the same way as highly serialised shows. The streaming model also changes the way success is measured. No longer are ratings the currency that dictates whether a show gets a second season (or in the case of the US networks, a second episode). “When you talk about drama in the VOD world it’s not about the overnights, and that allows you to have a slow burner,” says Gary Woolf, executive VP, commercial development, All3Media International.The best example of the phenomena Woolf identifies remains Breaking Bad, which slowly won an audience via Netflix after middling ratings on AMC, building to a huge final two seasons on linear TV. “These platforms have the freedom to ignore commercial requirements,” says K7s Whitehead. “They have changed the end product; it is no longer about eyeballs for ads. The content is the end product, and they can take a chance on something like [Amazon’s acclaimed original comedy] Transparent. If you can get 500,000 people paying for Prime Instant Video then it makes sense, and the whole idea of ratings isn’t part of the equation.” Netflix is often used as shorthand for SVOD, being the service that others follow. It launched original drama first, Amazon and others followed, and the same is true of original SVOD films. It also has greater volume of originals, and spends more than anyone else, with Amazon behind in second.

Transparent gave Amazon its ‘House of Cards moment’; it was the show that made people take notice of its originals. “For a show to deal with such complex social issues, so sensitively, dramatically, and comically; and to receive such broad global recognition, shows the power of television shows and their ability to change our perception,” says Chris Bird, Amazon’s London-based director of content strategy. Crucially, when success is measured in buzz, Transparent delivered gongs. “Raising the profile of the transgender community and the stories within has been a huge global success, and winning ‘Best Comedy Series’ awards is a supreme reward to the team behind the show,” says Bird. But is there substance – and volume – as well as style to the SVOD drama revolution? Netflix will soon be in 200 countries and already has over 70 million subs. With that global footprint, it delivered 16 original series in 2015. Chief content officer Ted Sarandos told a US media conference organised by investment bank UBS last December that there will be 31 originals this year, and the emphasis is not on quantity. “I think that if you want a lot of volume you could go to YouTube for free and get a lot of volume,” he said.

“This is high quality stuff. Last year we had 34 Emmy nominations, Oscar nominations [and] ten Golden Globe nominations, so we’ve got programming that people want to watch.” Netflix’s local output remains limited. Marseille out of France, The Queen out of the UK and 3% from Brazil are among the exceptions. The best opportunity for international prodcos is to set up in LA and package programming from there. “They don’t want to always work with major US studios because they are tougher on rights and the budget than indies,” says one prodco boss that has a West Coast base. What producers often talk about when they talk about making an SVOD Original is the creative freedom they are afforded. “We do get notes, but they are bullet points and they are fair,” says Federation’s Breton. The situation is complicated when it is an international project such as Marseille, with Netflix operating out of LA, but again, the streaming service moves fast: “We send them scripts and the next morning our time we have notes,” the Federation chief says.

The SVOD originals are at the very highest end of the drama spectrum in budget terms; season one of Marco Polo (above) cost a reported US$90 million, and upcoming UK production The Queen will reportedly cost more, at £100 million (US$155 million). Marseille is understood to have a more modest, albeit respectable, budget of about €10 million (US$10.8 million). With linear TV budgets strained, the levels of largesse are not lost on traditional broadcasters: UK pubcaster the BBC has touted the fact it can make 14 licence fee funded series for the price of one of Netflix’s. The net result of the huge programme spend is that the US-listed Netflix now outspends the BBC, HBO and Discovery, according to research house IHS, and globally only trails pay TV firm Sky (which spends billions on sports rights). Amazon, meanwhile, spends less, but still more than German broadcast giant ProSiebenSat.1, says IHS.

About a fifth of Netflix’s spend is on originals, and subscriber numbers have increased in line with the marketing hype and press attention. “We do plan to continue to expand Originals,” says spokesman Joris Evers. “One key reason is because we can make those titles available everywhere at the same time and they clearly differentiate Netflix.” The SVOD drama originals story is no longer the sole preserve of Netflix and Amazon as other services seek to stand out from the crowd by investing in their own scripted fare. For example, Icflix in the Middle East is getting into the original movies game for its SVOD service with the likes of Burnout, a Moroccan drama from Noureddine Lakmari. “Original drama does not only differentiate Icflix as a brand but also helps to enhance Arab content production,” says Icflix CEO Carlos Tibi. “This enables Icflix to become the only place for viewers to watch [this] original content.” In a fiercely competitive Australian OTT market, Nine Entertainment and Fairfax Media service Stan is attempting to steal a march on Presto, Quickflix and Netflix with its first original, a series adaption of the 2005 Wolf Creek horror movie. The film’s creator and director, Greg McLean, returns along with star John Jarratt as Outback serial killer Mick Taylor. Banijay International will be selling the series after its mid-2016 debut on Stan. With its built-in marketing punch from the Wolf Creek movies, the series has strong international appeal. Banijay International boss Emmanuelle Namiech says SVOD players, even local ones, have a more international outlook than traditional broadcasters. “SVOD commissioners might have a local audience in mind but also tend to have an ambitious view of what a series can become,” Namiech says. “Look at Man in the High Castle (above); it was developed at the BBC which embraced it but at the same time couldn’t see how relevant it would be for its UK audience, which is why in the end it went to Amazon.” Stan also has Enemies of the State coming through, a political drama from the production team behind ABC legal drama Rake. Essential Media and Entertainment and Little Mates are on production duty. For some the impact Netflix has had on drama has been overplayed. “In terms of how Netflix/SVOD is impacting the content itself, I’d say we haven’t seen a shift yet, or not one as significant as the development of cable-led dramas, where content grew up and was allowed to deal with dark issues and adult themes,” says Nick Thomas, practice leader, digital media, at research house Ovum.

He adds: “In that sense, Netflix hasn’t had the impact of an HBO or AMC, it is essentially carrying on in that tradition. The rules of what constitutes premium video content are being rewritten elsewhere, in the short-form video space and with services like Twitch. Netflix has innovated plenty around the distribution of content but the content itself follows the structures of TV.” For distributors, meanwhile, the advent of new platforms is a boon, although the market has naturally leveled as the SVOD platforms move from buying huge packages to more targeted acquisitions. International pay channels are increasingly looking to worldwide releases – with the likes of The Walking Dead (above) going out globally within 24 hours after the US TX – but with its global roll out Netflix wants global rights, and not all distributors are ready, Sarandos told the UBS conference. “We’re embarking on something that is fairly new in terms of in the media space; global licensing and programming,” he said. “Because there has never been a global buyer, it makes complete sense that Sony and Disney and Warner Brothers would have regional sales teams.”

Global deals leave distributors comparing a single license fee against a patchwork of deals. “You work out what the trade-off is, the global value versus what you can get locally,” says All3Media’s Woolf. Netflix’s Evers says: “Selling rights worldwide in a single transaction is much easier than shopping a title around the globe.”

TV’s Big Questions: is the golden age of TV drama over? by Jesse Whittock and Stewart Clarke, January 13, 2016

Federation’s Pascal Breton on the dawn of the European golden age

Pascal Breton, the former Zodiak exec running fledgling France and US-based indie Federation says the European golden age of scripted is in its infancy. “When it comes to drama, especially as seen throughout Europe, the market has just begun to unveil its potential growth,” he says. “Traditional channels continue to develop their local fiction as this gives them a unique signature to compete against digital global series. OTT platforms base approximately 90% of their offer on drama series, and investments will multiply within the next five years.” Breton’s company has been an early beneficiary of that localised OTT strategy and is making Marseille out of France for Netflix and is also involved in Amazon’s period drama The Collection. “European creativity and talent for developing fiction as of yet, has still not been exploited globally in comparison to the US,” the Federation chief says. But things are starting to change. The UK will redirect an important share of investment towards the development of ‘international’ drama series, as opposed to just home grown fare. This will allow for even more growth for channels such as Sky, the BBC and ITV, as well as creating exceptional potential for scriptwriters, filmmakers and English actors.” New investment within Europe will mean Euro-originated drama taking the global stage he adds: “New creativity and new investments from major European broadcasters such as the Scandinavian countries that we have seen over the past 10 years, and more recently France, Israel and followed by Germany, Italy, Spain and Turkey, I believe will create a strong wealth pool when it comes to fiction programming coming out of continental Europe, and this will have a strong influence on the world market.”

Exporting in Asia by TBI reporter, November 26, 2015 ATF is the biggest TV market in Asia. Ahead of the trip to Singapore, TBI checks in with some of the distributors and execs attending for the first time, and finds out what some of the regular attendees are expecting from the market this year

The Asian TV Forum & Market (ATF) is the pre-eminent regional television market in Asia and its organiser, Reed Exhibitions, says the geographical spread of acquisitions and sales executives attending is getting wider as the Asian content business becomes a bigger industry. “Given the growing importance of the Asian market, buyers and distributors will see a growing and diverse range of content creators and owners from Latin America, Canada and Europe participating,” says Yeow Hui Leng, senior director of ATF and Screen Singapore at Reed Exhibitions. “These regions are increasingly placing more emphasis on distributing content to Asia and expanding their global footprint.” “Some of our official pavilions are also expanding their presence at ATF to cater to this growing trend to meet with potential partners and generate more business leads,” she adds. Export group TV France International organises the French participation. Its pavilion will host, among others, Federation Entertainment, Pascal Breton’s fledgling production group, which is making its ATF debut. It is screening its espionage drama series The Bureau (below) at the Alliance Française cultural centre on the Thursday of the market.

In tune with Yeow Hui Leng’s comments about the growing importance of the Asian market, Federation’s head of international sales, Jean-Michel Ciszewski, says the firm will use ATF as a springboard for its efforts in the region. “The company is still really young, and the focus has been Europe and the US out of our Paris and LA bases,” says Ciszewski. “Now, for the first time we are looking at Asia at ATF, and also Latin America at MIP Cancun.” He reports healthy buyer attendance, with a 50-plus schedule of meetings set for the event.

Unlike Federation, TVFI is a veritable Singapore veteran, having hosted French distributors since 2001 (and before that at ATF forerunner MIP Asia). “It’s a great opportunity for our member companies to focus on the region and meet with acquisition executives who don’t attend other international markets, including the ones in Cannes,” says Mathieu Bejot, executive director of the association. “The TV industry has been changing quite rapidly in Asia, as elsewhere, and ATF is a good opportunity to meet with new players or new territories such as Burma.” Bejot adds that demand from Asian buyers is changing. “The Asian market has proven very dynamic for us over the years, particularly for animation and docs,” he says. “We’re starting to see more opportunities for drama, hence our choice to highlight a series such as The Bureau.” Federation will also have conspiracy drama series Hostages, which has gone to a second season on Canal+ in France, and with its edgy subject matter is likely to be a pay TV play in Asia. One other international drama for ATF that looks to have cable written all over it isSlasher (below), the horror series for the Chiller net in the US. Content Media Corp. is handling distribution and will be looking for presales, and to follow up on MIPCOM leads having launched it in Cannes. Diana Zakis, vice president, sales, Latin America and Asia at Content Media, and who is headed into her third ATF, says Content can offer Asian buyers speedy delivery of the eight-part horror series. “We can deliver it day-and-date with Chiller in the US, which is important in Asia and definitely a plus,” she says. Zakis confirms the sales effort will initially be focused on the pan-regional pay channels, but will not rule out a free-to-air deal for Slasher, which, she says, is not as gory and X-rated as its title might suggest. “It has that classic slasher- and horror-film imagery, but also has a really engaging storyline and becomes a murder mystery over the series,” she says Another of the new faces at ATF will be Chris Knight, whose fledgling distributor Gusto will be in Singapore with its 4K cooking shows. Independent Canadian cooking and lifestyle channel Gusto has been ramping up original content, giving the new sales arm fresh programming to take to market. 4K is starting to take off in Asia, but there is a still lack of content in the ultra-high definition format, and what there is is mostly in the wildlife, doc and showcase categories, meaning an opening for content in other genres, Knight hopes. “There is an interest in 4K and an interest in food programming, and a lot of the 4K stuff out there is ‘cute bunny’ wildlife stuff,” he says. The distributor’s new 4K offerings rolling out at ATF include 6x30mins Crate to Plate(above), which traces where food comes from and the journey it makes before finally reaching consumers, and 15x30mins lifestyle series Fish the Dish, which is a companion piece to Fish the Adventure, about angling escapades. UK-based DCD Rights will be at ATF, with senior sales exec for Asia James Anderson making his first journey to the market. “It is an opportunity to open up new markets – I’ll be meeting buyers from Vietnam and Cambodia – and dig deeper into others,” he says. His focuses for the market will be free-TV deals for magic seriesPenn & Teller: Fool Us, which is on The CW in the US and has already sold to NBCUniversal for a first Asian pay TV window. Kids specialists are also heading to ATF with the likes of US-based Splash Entertainment in town for the first time. Winx Club producer and distributor Rainbow will be in Singapore as it tries to get deeper into the regional market. “Asia has been a secondary market for us, but our intention to grow it and establish new relationships with local broadcasters,” says Rainbow’s head of sales and coproduction, Andrea Graciotti. Like Knight and Anderson, Graciotti is an ATF first- timer. “I have been in charge of TV sales and copros since October 2014, and have spent about a year looking at new business, especially in South America,” he says. “The next strategic push is in Asia.” Rainbow, which is part-owned by Nickelodeon owner Viacom, needs broad coverage for its properties to build the L&M activity that underpins the kids TV business. At ATF it will have new Winx spin-off series Winx Club WOW: World of Winx, Regal Academy and new live-action show My American Friend (WT, above). At ATF, early instalments of the latter will be available for buyers to view for the first time. Another distribution exec making his first ATF trip is Sony Pictures Television’s executive VP, international distribution, Mike Wald. He was part of a recent SPT rejig, relocating from London to LA and taking on overall responsibility for Asia, including a local team that comprises in part Robert Lanier in Sydney and Ken Lo in Hong Kong. SPT will have Dennis Quaid and Kate Bosworth drama The Art of More (below) for the market. It set in the world of high-end auction houses, making it a good fit for aspirational Asian viewers. “It has a lot of international appeal and will work well in Asia with its behind the curtain view of a world of extreme wealth,” says Wald. Sony has experimented with a new compressed VOD window in Korea that saw features hit on-demand just four weeks after their theatrical bow. “It is one of the things we like most about Asia,” Wald says. “You can break the mould and do something different; you are not Not all of the ATF attendees are first-timers with many of the large distributors, and seasoned sales folk, making the trip a diary date. For free TV, less edgy imports are often the order of the day, a market trend borne out in Banijay International’s selection for ATF: gifted children format Wonderkids, mother-daughter relationship series Fix My Mom and fashion reality show The Doll Life. “We think positive and upbeat shows work particularly well in Asia, and these shows have these attributes in abundance,” says Michael Jackson, head of global sales at Banijay International. On the formats front, Banijay has shopped Opposite Worlds into China, and Jackson says the likes of Beat the Star and Sing it On are among his ATF priorities, though selling formats into the region requires a deft touch. “Whilst the core format remains intact, there is often a need to transform a western format into a style to fit Asian tastes, so choosing and working with the right producer is a key factor in the process,” he explains.

Amazon, BBCWW coproduce fashion drama by Jesse Whittock November 30, 2015 Amazon Prime Instant Video and BBC Worldwide have greenlit an eight-part fashion-themed drama from UK indie Lookout Point.

The Collection is set in the world of French haute couture just after the Second World War, and will launch exclusively in 2016 for Amazon Prime members in the UK. This marks the first time Amazon has ordered a UK-created original, and comes as Netflix readies its first British drama, The Crown. Billed as a family drama, The Collection centres on two brothers to expose the grit behind the world of Parisian high fashion. Lookout Point is the lead producer, with Pascal Breton’s Federation Entertainment signed on as coproducer. Production begins in January, filming in Wales and France. The Pinewood Wales Investment Budget as well as British studio Pinewood will provide some of the funding. This marks the first time the BBC’s commercial arm has co-greenlit a new drama with Amazon, though the pair did structure a deal to save the cancelled BBC period drama Ripper Street, another Lookout Point project, in 2014. It also comes as Lookout Point, in which BBCWW has a 35% stake, moved heavily into original drama production after the recent hire of BBC Wales drama controller faith Penhale as co-CEO. “This is a pioneering partnership structure between BBC Worldwide, and Amazon Prime combined with investment from Pinewood and the Welsh Government,” said Lookout Point founder and co-CEO Simon Vaughan. “World class partners, but working together in entirely new ways.” “The project marks another dynamic shift in the way that drama is being created and produced globally” said Liam Keelan, director of scripted, BBCWW (pictured). “The Collection epitomises the kind of exciting creative opportunities and business models now emerging, in particular from our strategic relationship with Lookout Point. But above all, its attraction is an outstanding script with amazing talent attached.” “We aim to bring our customers the best international TV has to offer, and we’re sure our members will enjoy this window into the seemingly glamourous world of Parisian haute couture, perhaps hiding a more sinister undercurrent,” said Chris Bird, film and TV strategy director, Amazon Video UK. The Collection comes from showrunner Oliver Goldstick (Ugly Betty, Pretty Little Liars). Anne Thomopoulos (Rome, Versailles) executive produces along with Kate Croft (Murderland), whose company Goldstick originated the project through an exclusive development and production agreement with Lookout Point. Dearbhla Walsh (Penny Dreadful) will direct, with Selwyn Roberts (Parade’s End, Strike Back) series producing. “The Collection has been a passion project of mine for years; an entrepreneurial fable set in a pivotal moment in history, where fashion served as the ultimate vehicle for transformation and re-invention. It’s the story of a war- scarred family – upstairs and downstairs – tethered together by its success and its secrets.”

“Out of our shared passion for the world and the period, Oliver has created his extraordinary vision of Paris and the ‘Golden Age of Couture’,” said Croft. “It’s full of his signature flourishes, and his unique take means we get to peek behind the elegant façade and realise it is not just about the dresses, but more about what they are covering up.”

France Télévisions Comes On Board for The Collection Kristin Brzoznowski 16 February

LONDON: France Télévisions has joined Amazon Prime and BBC Worldwide as co-commissioners on the new drama The Collection from Lookout Point. France Télévisions along with production arm MFP and partner Federation Entertainment will collaborate with BBC Worldwide and Amazon Prime Video on the original English-language drama. The Collection tells the story of an illustrious Paris fashion house post-WWII. The series films in both Wales and France until May. It will receive investment from the Pinewood Wales Investment Budget as well as Pinewood. BBC Worldwide will hold international distribution rights.

Simon Vaughan, CEO for Lookout Point, commented: “The Collection represents a ground-breaking funding model under which Lookout Point and BBC Worldwide have co-commissioned the series in conjunction with a major global SVOD platform and a key European terrestrial broadcaster. This arrangement is the absolute first of its kind and reflects the dynamic nature of the global drama market today.” Médéric Albouy, France Télévisions’ head of drama co-productions, said: “By joining a global platform such as Amazon Prime Video, as well as global distributor BBC Worldwide, we are taking part in an exciting new business model. But above all this partnership illustrates our creative ambition to connect French production with international partners on world-class event series.”

Pascal Breton, CEO and executive producer at Federation Entertainment, said: “We are thrilled to shoot part of The Collection in France—the story of a 1947 Parisian fashion house is uniquely French and will resonate with French audiences. We’re also proud to be part of this ambitious production alongside Amazon, France TV and BBC Worldwide.”

Oliver Goldstick, writer and executive producer, added: “The Collection is an entrepreneurial fable set at a pivotal moment in France’s history when fashion truly became a vehicle for transformation and re- invention. At its heart, it is the story of a volatile family who pay a steep price for their ambition—and this ‘family’ encompasses not only the name on the label, but the devoted workers who execute The Master’s vision. Post-war Paris was a chaotic era of stark contrasts—hope and romance was in the air, but the shadow of the Occupation and its moral recriminations also haunted the city. In this divisive world, mystery and secrets abound; knowing too much can cost you a lot—even your life.”

The Bureau to Screen During Drama Series Days at Berlinale Kristin Brzoznowski 2nd February

PARIS: The CANAL+ Creation Originale spy thriller series The Bureau, produced by TOP (The Oligarchs Productions) and co-produced by Federation Entertainment, has been selected to screen during this year’s Drama Series Days at Berlinale. The exclusive screening premieres to international buyers on Monday, February 15, 5:50 p.m. at EFM Cinemobile. Buyers will get to view the first two episodes from season two of the drama series that is currently in production.

Lionel Uzan, co-founder and managing director of Federation Entertainment, said: “Berlinale is a great platform to premiere the first episodes of this new season that will explore hot international topics such as terrorism and other issues at the forefront of world headlines today. The Bureau has all the unique ingredients of a global hit—a riveting spy theme, strong story lines, gripping characters and more, and we feel buyers will not be disappointed.” Alex Berger, executive producer and managing partner at TOP, added, “We are proud to be screening our award winning series in Berlin as we finish the production of season two and the development of season three. We hope that the international interest will be as strong as what we, with CANAL+, have enjoyed domestically.

Europe Takes Aim Mansha Daswani February 3rd

From the U.K. to France, Germany to Iceland and beyond, Europe has become a prolific provider of drama series to the global market. Some 2.5 million viewers in the U.K. tuned in to the first episode of Deutschland 83 last month. The ratings on Channel 4 make the RTL commission the highest-rated foreign-language drama in U.K. history. The impressive U.K. numbers come after a buzz-generating American launch on SundanceTV last summer and a slate of other international deals. “It’s turned into the best-selling German drama in a very long time,” says Jens Richter, the CEO of FremantleMedia International, which is distributing the show. “It’s one of the best-selling non-English-language dramas in a long time.” It has, indeed, been a good few years for European drama, with the Scandinavians, the French, the Germans and others joining the Brits as go-to suppliers for prime-time scripted product. “When you look at the market, there is an opening for European non-English-language drama,” Richter says. “There’s been good stuff coming out of Scandinavia for years. There are good shows coming out of France, out of Spain, out of Italy. Why not Germany? UFA, FremantleMedia’s German arm [which produced Deutschland 83], is the biggest producer of drama in Germany, and Germany is the biggest TV market on the continent and spends the most money on local production. So it was almost overdue! Generation War won the International Emmy [in 2014] and proved that the unexpected shows can come out of Germany.” Alexander Coridass, president and CEO of ZDF Enterprises, is also feeling bullish about what’s happening in the German scripted market at present. “With a drama output that’s among the best in Europe both in quantity and quality, Germany is in a truly privileged situation, and fiction is the programmatic spine of all major players, no matter whether in free TV, pay TV or VOD,” Coridass notes. “ZDF alone produces more than 300 new episodes every year, primarily for the genres of crime, family and drama. These series, which can rake in an enormous viewership, are also a bank for international sales.” Coridass notes that German broadcasters are also beginning to experiment with edgier fare, notably Generation War and Deutschland 83 as well as The Team and Blochin. “I see the following new trend: very strong projects in limited series that prove to be particularly successful for both nonlinear and niche broadcasters, and strong mainstream series that grab the broad audience of linear broadcasters.” Coridass adds, “We are very satisfied with the European hit status of German series and TV movies. They are aired in many important markets—from Italy to other Southern European, Central and Eastern European countries, to the Benelux and Northern Europe. In particular, many productions that are not given flashy write-ups in the press secure us long-term, profitable sales volumes—and we are still making 60 to 70 percent of our turnover with linear TV. But our more ‘niche’ oriented programs are also doing very well.” Red Arrow International, a division of ProSiebenSat.1, has been diversifying its scripted slate over the last few years but still sees the benefit of having high-end local series to offer the market. Its newest German highlight is Einstein, and Henrik Pabst, managing director of Red Arrow International, expects the SAT.1 series to generate both finished-program and format sales. “In general, European drama is on the rise, but it’s not without its challenges,” Pabst observes. “European broadcasters are spending less money, so financing is more fragmented. That leads to the problem of several cooks. If you have a restaurant, it doesn’t make sense to have ten chefs in the kitchen! There must always be a very strong vision at the start of any project.” SCRIPTED FORMULAS “Partnership has become the flavor of the month,” agrees Lionel Uzan, co-founder and managing director of Federation Entertainment, which has such scripted properties on its slate as the French hit The Bureau, Netflix’s upcoming Marseille, the Finnish show Replacements and the Israeli drama Hostages. It is also the French partner on Lookout Point’s The Collection with BBC Worldwide and Amazon. And when it comes to how best to manage those collaborations across borders, many agree that it begins with open communication. “It’s all about knowing what the broadcasters are looking for and which production companies would fit with which projects,” says Maartje Horchner, head of acquisitions at all3media international, which has been stepping up its scripted co-production activities. “It is an interesting development that so many more channels have hired heads of co- production. Whereas previously this would probably only be the bigger channels, even smaller and digital channels and of course the VOD platforms (worldwide and national) have hired people to lead their co-production opportunities and therefore have become an interested partner to us.” Gaumont Television created a new international co-production role in 2014 to tap into these opportunities around the world. “They’d started the U.S. office five years prior, and French television at around the same time,” says Elizabeth Dreyer, the studio’s Paris-based head of international co-production. “This was the last piece of the puzzle. I’m looking for European stories and storytellers, and bringing them to global audiences.” In the works are the 1960s-set Spy City with novelist William Boyd, 1001 by Lars Lundström and Ken Sanzel’s show Crosshair. Asked about how to manage complex co-pro partnerships, Dreyer notes, “There’s a lot of diplomacy involved. I find myself explaining a lot to our French co-producers about what needs to be done abroad. Those are usually conversations about how talent works. We’re working with U.S. writers and those deals are complicated and other-worldly to our French co-producers who’ve originated these great ideas. The talent just works so differently in the U.S. when you’re dealing with U.S. agencies. It’s not rocket science, it’s just a lot of educating both sides on what’s done habitually, what the expectations are.” The international co-pros of today are a far cry from the so-called “Euro-puddings” of the ’90s. But, Dreyer observes, “You still have the Euro-puddings—they just have a harder time getting financed. Sometimes you can feel actors working their mouths around the English [in shows written in Europe]. You just need somebody in the driver’s seat who is really paying attention.”

MIND YOUR LANGUAGE A new development in the international drama business is Continental European dramas shot in English—think Zodiak Media’s Versailles or Red Arrow’s 100 Code. Pabst notes that “100 Code continues to sell really well. We sold it to Sky Atlantic in the U.K. The way the story is told, it’s absolutely natural that 70 percent of the [dialogue] in the series is English and the rest is Swedish. But it didn’t do us any harm in selling the show. As long as it feels natural that the people speak English, we will continue to produce these European co-pros in English. If it’s needed that we build in the local language for the story, we will.” “The barrier of the language is still there, but it isn’t as high as it used to be,” says Federation’s Uzan.

Dreyer points to Gaumont Television’s U.S. drama Narcos for Netflix, where much of the dialogue is in Spanish. “Narcos really changed the game for us internationally in terms of the stories you can tell and what language you can do a show in. The projects we’re looking at now we’re saying, the characters can speak French in this part, they can speak German to each other.” Richter acknow- ledges that foreign-language drama can be a tougher sell: “So the proposition you put in front of buyers has to be unique. It doesn’t make sense to come around with non-English-language drama that is just OK.” However, in this crowded market, even English-language drama can no longer just be average. And for distributors, having a diverse slate is key. At ZDF Enterprises, for example, “Scandinavian series remain a major pillar of our co-production and sales strategy,” Coridass notes, adding that the company is looking at scripted projects out of Central Europe, Belgium, the Netherlands, Italy, Spain and the U.K. Red Arrow has built up its slate of U.K. scripted and is taking its first Icelandic series to market with Case, which Pabst describes as “The Killing meets Broadchurch.” For Pabst, one of the biggest challenges in rolling out European drama is finding qualified talent. “So Gaumont’s Dreyer lists finding writers for projects as one of her biggest issues. “They’re all very busy. There aren’t enough writers. Everybody says so. And the market hasn’t evolved enough here where you can [get a show commissioned from a] great piece of writing by somebody with no credits. I hope it will get there. And there are people like Frank Spotnitz and Paul Abbott who are training writers up on their shows, and [there are] writing programs like Serial Eyes— the new voices are being nurtured.”

TALENT MANAGEMENT Horchner reports that at all3media, “Some of our writing talent are working with younger script writers. It is a tough market for new writers—commissioners like to bank on security, experience and celebrated talent. It gives them comfort knowing that someone with so many highly acclaimed credits is writing their newest big title. The problem is there is only a small pool of writers who get the commissions—getting those writers to write for you might force producers to wait for them to become available. So for us it is important that there is collaboration, mentoring in some instances, where writers with great acclaim will set up a story and mentor their juniors through writing further episodes.” Horchner notes that all3media has its own portfolio of sister companies to tap into for its drama- distribution catalogue, but she is still on the lookout for other ventures and talent to tie up with. “We have a healthy stream of new content coming through via the all3media-owned companies, but we also work with third-party independent producers, some of whom we have first-look deals with. In the last 18 months we signed eight first-look deals with production companies across all genres, but our emphasis has firmly been on drama production talent.” Examples include an alliance with George Faber’s The Forge, and Jack and Harry Williams, the writers of The Missing. “Our drama strategy is to surround ourselves with production talent and the greatest creative minds, which allows us to dip into a pool of fabulous drama developments where we can collaborate on creating and developing content, produced to a high standard—with us helping on the production finance and ultimate exploitation revenues of the shows.” As for the kinds of projects she’s looking for, Horchner says, “We steer toward big-budget crowd-pulling titles with big-name actors, writers, directors and production talent already attached. The intention is to make them a genuine co-production, with that I mean a co-production where both territories have meaningful input, either by shooting location and/or cast and crew, but sometimes we will consider to have co-productions where it is for funding reasons solely.” One area that a number of European producers and distributors are exploring is procedurals, given that the U.S. market has shifted much further into serialized storytelling. “Free- and pay-TV broadcasters are looking for and airing long-running series with self-contained episodes because a large part of the viewers love this kind of TV,” ZDF Enterprises’s Coridass says. “We are often asked when a European series like Derrick will come to 21st century media. I think we already have it in our catalogue [with] A Case of Murder, and series such as Dr. Klein or our SOKO franchise. Gaumont’s Dreyer observes that “the European market is changing very slowly. The channels want to take big swings, they are trying, but it’s hard—they still have to treat their home territory right, they still have to give their audiences what they want. But you do feel a willingness from RTL, from Rai, to think about the shows that could work for them at home and [sell well] abroad. That door was completely closed a couple of years ago—now they’re willing to have those conversations.” What’s helping to drive those conversations, Pabst notes, is that “countries are opening up in terms of tax breaks to incentivize co- productions. Tax breaks are a fundamental piece of the financing.” Ultimately, “It’s all about the script,” Horchner says. “A good script is the cornerstone of any great drama, but especially for international co-production where sometimes concessions need to be made.”

And, on top of getting the creative right, you need to be spot-on with your windowing strategies. “More buyers is always good,” says Federation’s Uzan on how OTT platforms have impacted the drama- distribution business. “They’ve created competition, which is good. What’s difficult is how to organize your windows. That’s becoming complex. OTT platforms started buying locally and now they’re buying global rights. So what does it mean for a distributor in terms of windowing? What do you favor in terms of deals? Is it good to do a global deal? Is it better to sell territory by territory? What do you do if you get an offer out of Germany from a broadcaster, but you know if you make that sale then maybe a deal with a platform that wants to have the major European territories might be at stake? It’s that complexity we have to address. And I think it’s going to become more and more complex.”

Federation Entertainment’s Lionel Uzan Mansha Daswani 1 min ago Top Stories

Out of offices in Paris and Los Angeles, Federation Entertainment has been steadily building a diverse slate of scripted projects, from the French-language series Le Bureau des Légendes and Marseille to the Israeli drama Hostages, using a variety of co-production, financing and distribution models. Founded by Pascal Breton, the venture, run by managing director and partner Lionel Uzan, is looking to ride the wave of demand for international drama with its expanding slate. Uzan tells TV Drama Weekly about trends in the market and what’s ahead for the company.

TV DRAMA: What are some of the new dramas you’re working on at Federation? UZAN: In terms of European drama, we have six series either shooting or in post-production, from diverse sources. The company started with French-speaking series. Right now we have two in post- production. The first is season two of a show we produce for CANAL+, called The Bureau (Le Bureau des Légendes). The second is Marseille for Netflix. We also have local European dramas, and we have a big business going on with Israel. We are post-producing season two of Hostages. We have two Scandinavian series, coming out of Finland. One is being delivered now; it’s called Replacements. A second one is being edited now, called Bordertown. We announced at the end of 2015 that we are the French producing component on an English-language series called The Collectionfrom Lookout Point in the U.K., [with] BBC Worldwide and Amazon as the main financial partners and co-producers. It’s a very diverse slate. Marseille is more of an internal production. The Bureauis part of an overall deal we have with Eric Rochant, the director, and his producing partner, Alex Berger. With the Israeli and Scandinavian producers it’s also co-productions. And on The Collection, Lookout Point came to us to find the right French partner. TV DRAMA: What kind of international demand are you seeing for scripted product out of France? UZAN: I would say the interest is strong in the sense that from every territory, at the minimum from the other European countries and from the U.S., everybody is following very closely what’s happening and every single new project. Then, when the show is ready and it’s been shown to everyone, it’s up to the quality of the series, the originality of the series. The level of interest is very high and it’s impressive to see that the buyers have lots of knowledge of what’s happening in France. I’m not sure that was the case five years ago. But the wave of good programming from CANAL+ or France Télévisions or TF1, and The Returned being the huge blockbuster that it was, have raised the level of interest very clearly, whether it’s for the original series or for remakes. But not every French series finds buyers and/or an audience. TV DRAMA: I’ve heard that when you’re dealing with non-English-language product, you really need a strong hook to get the buyers’ attention. UZAN: Exactly. It’s niche programming. It’s not that some can’t find a wide audience. I think The Returned proved that is very possible. Hostages is another example. It was shown on BBC Four in the U.K. We’ve seen it with lots of Scandinavian dramas. The barrier of the language is still there, but it isn’t as high as it used to be. And some totally break through: The Killing, The Returned, etc. TV DRAMA: Is there still strong demand for the Scandi series? UZAN: There’s still very strong interest. When you look at what is still coming out of Scandinavia, whether it’s Sweden, Denmark, Iceland, it’s still very, very good. Maybe there’s less buzz—in a sense the territory has been discovered, so it’s not a new frontier anymore. But the output is still super strong. For us partnering with European producers on European projects, it’s pretty much the first territory we tried to work with. They have very strong writers, directors and actors. TV DRAMA: What’s the potential for more cross-European co-pros? UZAN: For English-language shows it’s all the rage. And partnership has become the flavor of the month, which is great. English-speaking European dramas meant to be co-produced—in the sense that they need artistic input or co-financing—is a big trend and I don’t see that going down. It’s also interesting to see some of the U.S. studios, mini studios, interested in being involved in purely European dramas. On the co-productions where one of the languages is dominant, let’s say a Franco- German co-production purely in French or purely in German, it is a bit more difficult. I see the interest of people who want to make a project like that, but it’s difficult to find the right subjects. You need to have it in the artistic DNA of the project. If you try to force it, it just doesn’t work. TV DRAMA: How much have OTT platforms changed the way you finance and distribute drama? UZAN: It’s shifted in a big way, with some clear advantages, and some things that are just more difficult to address. [Having] more buyers is always good! It creates competition, which is good. What’s difficult is how to organize your windows. That’s becoming complex. OTT platforms started buying locally and now it’s about buying global rights. So what does it mean for a distributor in terms of windowing? What do you favor in terms of deals? Is it good to do a global deal? Is it better to sell territory by territory? What do you do if you get an offer out of Germany from a broadcaster, but you know if you make that sale then maybe a deal with a platform that wants to have the major European territories might be at stake? It’s that complexity we have to address. And I think it’s going to be more and more complex. TV DRAMA: What are your goals for Federation’s drama business in the year ahead? UZAN: [To] at least keep up in terms of the volume of production. We’re at a good level. We’re also doing kids’ programming. So, by adding our kids’ programming to our drama series, I hope we are closer to eight to ten shows by 2017-18. And we want to see renewals on the shows we have already. Now we’re on season two of The Bureau; the level of interest from buyers has never been higher.

BBCWW, Amazon fashion drama

BBC Worldwide (BBCWW) has linked up with US-based streamer Amazon Prime Video on a period drama from UK-based Lookout Point and Ugly Betty writer Oliver Goldstick. The Collection is an eight-part show set in the world of French haute couture just after the Second World War and will be made available exclusively to Amazon Prime members in the UK in 2016.

It has been created, written and exec produced by showrunner Goldstick (Ugly Betty, Lipstick Jungle, Pretty Little Liars) and centres on two brothers working in the fashion industry, exposing the grit and treachery behind the glamour. Goldstick, who said the show had been a “passion project” of his, will work with Emmy-winning director Dearbhla Walsh (Penny Dreadful), producer Selwyn Roberts (Parade’s End, Strike Back) and production designer Alison Dominitz (Casanova, Hotel Splendide) on the series.

“It’s the story of a war-scarred family – upstairs and downstairs – tethered together by its success and its secrets,” he added.

Simon Vaughan, Lookout Point’s CEO, said the show was the result of a “pioneering partnership structure” that involved BBCWW and Amazon Prime as commissioners with investment from Pinewood and the Welsh government.

He said: “I am very proud of the fact that we are finding new and exciting partnerships to greenlight the best projects.”

Liam Keelan, director of scripted for BBCWW, which holds a 35% stake in Lookout Point, said the project marked “another dynamic shift in the way that drama is being created and produced globally.” He said: “The Collection epitomises the kind of exciting creative opportunities and business models now emerging, in particular from our strategic relationship with Lookout Point. But above all, its attraction is an outstanding script with amazing talent attached.”

Anne Thomopoulos (Rome, Borgia, Versailles), Pascal Breton (Marseille) for French production partner Federation Entertainment and Kate Croft (Murderland) are all attached as series exec producers, with the latter originating the series with Goldstick under her exclusive development and production deal with Lookout Point. Chris Bird, film and TV strategy director at Amazon Video UK, said: “We aim to bring our customers the best international TV has to offer, and we’re sure our members will enjoy this window into the seemingly glamourous world of Parisian haute couture, perhaps hiding a more sinister undercurrent.”

The project, which will go into production in January in Wales and France, is the latest to involve BBCWW, Amazon and Lookout Point, after the trio revived crime drama Ripper Street last year. Earlier this month BBC Wales’ head of drama Faith Penhale revealed she would be leaving the UK broadcaster to become joint CEO of Lookout Point, which is behind the BBC’s forthcoming adaptation of War & Peace.

Richard Middleton30-11-2015©C21Media

The Bureau is coming to Berlinale

by @todotvnews the 02/02/2016 The second season of the Canal+ spy thriller will have an exclusive world premiere screening during the EFM "Drama Series Days" at Berlinale. The first two episodes will be shown to international buyers on February 15th. Federation Entertainment and TOP – The Oligarchs Productions have announced that The Bureau, a CANAL+ Creation Originale spy thriller, is debuting its second season during the EFM "Drama Series Days" at Berlinale on February 15th.

The exclusive world premiere screening will showcase the first two episodes of The Bureau's second season to international buyers while the rest of the series remains in production.

"Berlinale is a great platform to premiere the first episodes of this new season. The Bureau has all the unique ingredients of a global hit – a riveting spy theme, strong storylines, gripping characters and more, and we feel buyers will not be disappointed," mentioned Lionel Uzan, Co-Founder and Managing Director, Federation Entertainment.

The series tells the story of a department that trains and dispatches Intelligence service agents to key strategic and often hostile locations all around the world where they assume highly elaborate false identities to remain undetectable as they carry out their missions.

For its second season Mathieu Kassovitz returns in the starring role as a member of the clandestine intelligence bureau operating within the French Secret Service, while the role of Brad Leland will be heightened.

The spy thriller is a CANAL+ original series produced by TOP - The Oligarchs Productions, and co-produced by Federation Entertainment; and has recently won Best Series award from the French Union of Film Critics for Best Series of the Year 2015.

Breaking International Barriers

The Greenhouse by Sofía Vanoli the 30/11/2015 0 Federation Entertainment is ready for ATF with a catalogue filled with high- end drama productions meant to answer to the market's needs, while helping the company break barriers and expand to new markets.

With ATF about to open its doors, Federation Entertainment is gearing up for their first time ever participating in this market. The company, which was launched just two years ago, will be presenting a drama-heavy slate in response to the ever growing demand from high-end drama from consumers and buyers alike. In an exclusive interview with ttvnews Jean-Michel Ciszewski, Head of International Sales for the company shares a little about the importance being present in such a market and what surprises Federation Entertainment has in store.

How have the past two years been for the company? What challenges have you faced? Since we launched Federation Entertainment 2 years ago, the company has been building momentum as a key international producer/distributor, especially in the scripted domain. We have some strong 'international' content with shows such as The Bureau which is now into Season 2, and Hostages.

This is your first time in ATF, why is this an important market to be present at? This year will mark the first time our company attends ATF, although the key executives within our organization are industry veterans and have been to all the key TV markets for many years. We are looking forward to this year’s ATF to build on existing relationships with Asian broadcasters, buyers, producers and to further extend our reach and establish new partnerships.

You're mostly taking dramas this year, why is that? Why do you think audiences find them so appealing? Federation’s key focus is on our scripted fare. There has been a strong demand for high-end drama, and we have already established strong partnerships with key players such as Canal Plus, Netflix etc. With the continued growth and launch of new platforms – free TV, Pay TV, Cable, digital and more, the appetite is strong. The success of the genre and how well drama travels is down to strong storylines, gripping characters and high-production values – something we always employ in our product.

What are you most excited to present at ATF? Headlining our scripted programming slate is The Bureau, a spy thriller series which is a major success for flagship broadcaster Canal Plus. The series explores the world of undercover agents of the French secret service. The lead character returns to his home base after a six-year mission in Syria, but normal life is proving difficult, especially when he learns that a woman he was in love with in Damascus is actually in Paris. The Bureau is co-produced by Federation Entertainment and TOP – The Oligarchs Productions, and is distributed worldwide by Federation. We are also presenting the gripping thriller Hostages– four masked men break into the Danon family home taking them hostage, and demanding that the matriarch of the family who is also a surgeon to kill the prime minister in what’s meant to be routine surgery. Our futuristic teen drama The Greenhouse follows the trials and tribulations of a pair of siblings who after losing their mother in a spaceship crash, arrive at an elite boarding school for gifted leaders. As they fight against evil, the heroes also cope with typical teen. This series is a real gem for broadcasters who are target the teen demographic, as each episode ends with a cliffhanger, which keeps the viewing audience wanting more.

What are your expectations for the market? In our role as distributor, we will be unveiling our slate to buyers in the region and look forward to finalizing sales, and expanding into new Asian territories. As a producer, we will also be exploring potential co-production partnerships.

When we launched Federation the initial focus was on Europe and the US. We are now expanding our operations globally. Our existing partnerships are with broadcasters and producers from multiple territories – so although we are based in France with an office in the US, we are more of an ‘international’ company because our catalog reflects this and our remit is more about seeking out strong compelling stories and characters, regardless of country of origin.

Federation Entertainment bets on Drama

The Bureau by @todotvnews the 25/11/2015 The company, which is attending the Asia TV Forum for the first time, is set to present a gripping line-up of scripted programming that includes two riveting thrillers The Bureau and Hostages. The Bureau and Hostages are two of the main scripted dramas being presented by Federation Entertainment this year during the Asia TV Forum in its first ever presentation at the event since the company's formation.

"Federation was established by a team of high-profile industry veterans who have applied their expertise to create programming that employs high-end production values, edgy storylines and very strong characters", stated Jean-Michel Ciszewski, Head of International Sales.

"These elements result in a premium end product that we very much look forward to presenting to Asian buyers during the upcoming ATF market," added the executive.

The Bureau tells the story of a department in charge of training the most undercover agents of the French secret services. Dispatched to key locations all around the world and living under false identities for years, their mission is to identify potential source, but what happens when they return home? The journey will prove to be a hard one. Federation Entertainment will take advantage of the event to present a special screening of the drama on Thursday 3rd December at 8pm hosted by Alliance Française de Singapour. Hostages, for its part, begins its story when our masked men violently break into the Danon family home taking the family hostage. The mysterious men want the matriarch of this family and brilliant surgeon kill the prime minister in what’s meant to be a routine surgery; if she doesn't then her family dies.

Along with these notable scripted dramas, the company is presenting some other titles such as Replacements, which tells the story of Sofía, a nurse whose life changes after an accident in which she recognizes one of the victims and the mysteries of her life begin to get answers; and The Greenhouse, the story of a brother and sister who arrive at an elite boarding school for gifted future leaders after losing their mother in a spaceship crash.

Federation Entertainment: segunda temporada de Le Bureau

2015.12.10 | Como una de las distribuidoras más jóvenes de Francia, Federation Entertainment tuvo un activo ATF, donde además de la participación de su CEO y Fundador Jean Michel Ciszewski en el mercado, organizó un screening de su serie Le Bureau en Alliance française de Singapour donde participaron compradores asiáticos.

Bertrand Pous, de la embajada de Francia en Singapur, Jean Michel Ciszewski, CEO y Fundador, de Federation Entertainment, Hervé Jourdain, escritor de Le Bureau, y Mathieu Bejot, MD, TV France International durante el screening de Le Bureau en Alliance française de Singapour

La empresa está dedicada íntegramente al desarrollo de series de ficción. Ahora está con dos grandes proyectos: la segunda temporada de Le Bureau para Canal + que se lanza en abril de 2016, y la segunda temporada de la reconocida Hostages, su versión original producida para Israel y cuyos derechos eran manejados inicialmente por Armoza Formats.

‘Hemos vendido nuestras series a Israel, Finlandia y Francia entre otros mercados, y creemos que hay buenas oportunidades en América Latina. Asistimos a MIPCancun, que fue nuestro primer acercamiento a la región, y ya tenemos un proyecto en negociación’, concluye el ejecutivo.

The Bureau screens at Berlinale Federation Entertainment and TOP announced the exclusive world premiere screening of the CANAL+ creation orignale spy thriller.

 Posted on 04 February 2016 by Cheryl Soh

Paris– Federation Entertainment and TOP- The Oligarchs Productions announced that the CANAL+ Creation Originale spy thriller series The Bureau has been selected to screen during the EFM's Drama Series Days at Berlinale 2016. The exclusive screening which will premiere to international buyers on 15 February at EFM Cinemobile will unveil the first two episodes from season two of the acclaimed drama series that is currently in production.

The Bureau had won the Best Series of the Year 2015 award from the French Union of Film Critics (Prix du Syndicat Français de la Critique 2015).

Federation at ATF Federation Entertainment will offer a gripping drama slate during the Asia TV Forum.

 Posted on 27 November 2015 by Cheryl Soh

Paris– Federation Entertainment will be attending the Asia TV Forum for the first time, with a line-up of scripted programming. Headlining its slate are thrillers The Bureau and Hostages.

“Federation was established by a team of high-profile industry veterans who have applied their expertise to create programming that employs high-end production values, edgy storylines and very strong characters. These elements result in a premium end product that we very much look forward to presenting to Asian buyers during the upcoming ATF market,” said Jean-Michel Ciszewski, Head of International Sales. TELEVISUAL Amazon commissions first UK drama, The Collection 30 November 2015

Amazon has greenlit its first UK produced drama, Lookout Point’s The Collection.

A period fashion drama, The Collection is an eight part series, set in the world of French haute couture just after the Second World War. BBC Worldwide and Amazon Prime Video have teamed up to commission The Collection. The series is created, written and executive produced by award- winning showrunner Oliver Goldstick (Ugly Betty, Lipstick Jungle, Pretty Little Liars). The show marks Amazon’s first foray into UK drama commissioning. The streaming service is stepping up its UK activities, having signed the former Top Gear team in a multi-million pound production deal. Amazon is also following in the footsteps of rival Netflix, which is making The Crown with UK indie Left Bank Pictures.

The Collection is also executive produced by Anne Thomopoulos (Rome, Borgia, Versailles), Kate Croft (Murderland), while Federation Entertainment’s Pascal Breton (Marseille) has signed as French co-production partner.

The Collection is the story of an illustrious Paris fashion house, emerging from the dark days of the Occupation, now ushering in a new golden age of design and business. A family saga, centred on two very different brothers, it exposes the grit behind the glamour and the treachery beneath the trappings of this empire, and all who work there. The project starts production in January, filming in both Wales and France. It will receive investment from the Pinewood Wales Investment Budget as well as Pinewood. The creative creative team includes director Dearbhla Walsh (Penny Dreadful, The Tudors, Esio Trot), producer Selwyn Roberts (Parade’s End, Strike Back), production designer Alison Dominitz (Casanova, Hotel Splendide), costume designers Chattoune & Fab (Dheepan, Coco Chanel & Igor Stravinsky) and casting director Rachel Freck (The Go-Between, Life in Squares). Lookout Point CEO Simon Vaughan said: “This is a pioneering partnership structure between BBC Worldwide, Amazon Prime combined with investment from Pinewood and the Welsh Government.” Lookout Point's credits include the upcoming BBC adaptation of War and Peace. “We’re delighted to be bringing such a smart, sophisticated period piece to Amazon Prime members in the UK,” said Chris Bird, Film & TV Strategy Director, Amazon Video UK. “We aim to bring our customers the best international TV has to offer, and we’re sure our members will enjoy this window into the seemingly glamourous world of Parisian haute couture, perhaps hiding a more sinister undercurrent.” "The project marks another dynamic shift in the way that drama is being created and produced globally," said Liam Keelan, Director of Scripted for BBC Worldwide. “The Collection epitomises the kind of exciting creative opportunities and business models now emerging, in particular from our strategic relationship with Lookout Point. But above all, its attraction is an outstanding script with amazing talent attached”.

Fall 2015

MIPJr Hot Pick: The Ollie & Moon Show by Jesse Whittock

September 24, 2015

Kids industry veteran David Michel’s new animation company, Cottonwood Media, has got off to a flying start with a commission from Sprout in the US for hybrid series The Ollie & Moon Show. Based on the book series from Diane Kredensor, whose TV credits include Clifford the Big Red Dog, the show targets preschool and older kids with a mix of 2D animation and live-action. It follows two globetrotting cats as they have adventures in, on and around famous locations around the world. “It’s a high-energy character show, and it is very entertainment-driven, which is in line with Sprout’s rebranding and new positioning,” Michel says. “It is about two best friends who learn about the world through travelling and is about serendipity, stepping out of your comfort zone and following your instincts, which are all core values for preschoolers. It’s not a travel show; it is character-driven and the locations are secondary.” The Ollie & Moon Show was developed by Kredensor, Robert Vargas (Wonderpets), and Michel. There will be scripts and some video in hand at the market, with the full show starting to deliver in 2017. Pascal Breton’s Federation Entertainment will be selling the 52x11mins kids series at MIPJunior after Cottonwood partnered up with the fledgling Paris-based group.

The show: The Ollie & Moon Show The producer: Cottonwood Media The distributor: Federation Entertainment The broadcaster: Sprout (US) The concept: Buddy travel comedy, based on the popular book series Mip Junior hot picks

Ahead of Mip Junior, our latest Hot Properties Playlist gathers 21 shows worth screening in Cannes, ranging from a rebooted iconic 1990s series and characters based on emoticons to a story set in the ‘cutthroat world of single-cell organisms.’

The playlist is available to view through the C21Screenings portal and the C21Screen app or simply click on the clips below. If you would like to submit a show for consideration in one of our upcoming C21 Hot Properties Playlists, [email protected]. To view the latest programmes from more than 460 rights owners from all corners of the world, visitC21Screenings.

Title: Squish (52x11’)

Producer and distributor:Cottonwood Media. They say: Features the genuinely original world of an amoeba looking to survive in the cutthroat world of single-cell organisms… not to mention school. We say: Based on the best-selling graphic novels by Jennifer Holm and Eisner-winning creator Matthew Holm, this show is being adapted for TV by LA-based scribe John Derevlany (Johnny Test, Gerald McBoing Boing) and the Cottonwood team. Gulli is onboard and delivery is due in 2017. Trailer not yet available.

Cottonwood Sets Asia TV Forum Slate

Mercedes Milligan Nov 2nd, 2015 No Comments yet

David Michel’s Cottonwood Media will be bringing two animated series based on Random House publishing properties to the Asia TV Forum & Market (ATF), taking place December 2-4 at Singapore’s Marina Bay Sands. SVP of Co- productions and Sales, Monica Levy will be exhibitingThe Ollie & Moon Show and Squish with parent company Federation Ent. at stand E10-F10.

The Ollie & Moon Show, which has already sold to NBC Sprout, is a slapstick comedy based on th books by Emmy-winning producer, director and illustrator Diane Kredensor. The show follows two animated cats traversing a live-action globe, introducing kids to “the joys of serendipity, unlikely friendships and global citizenship.” Moon is a hep cat who takes pride in his stylish ats and delights in happy accidents, while Ollie is a die-hard planner. Squish is an animated comedy aimed at kids 6-11, has been snapped up by France’s Gulli and officially selected for Cartoon Forum. Based on the New York Times best-selling books by Jennifer Holm and Eisner Award-winning creator Matthew Holm, the show takes place in the world of an Amoeba trying to survive in the cutthroat world of single-cell organisms — not to mention school.

The Ollie & Moon Show

Monica Levy Named SVP for Federation Kids Sales

Mercedes Milligan Dec 3rd, 2015

Federation Entertainment has launched a dedicated Kids and Family distribution division, and announces the appointment of Monica Levy as Senior Vice President, Co-Productions and Sales. The expansion is key to the Paris-based company’s long-term goal of expanding its production house Cottonwood Media into a major distribution player. Levy brings two decades of international TV distribution experience to her new role, which puts her in charge of global sales for all kids and family content produced by Cottonwood Media (a subsidiary of Federation) as well as third party distribution, collected under the new Federation Kids & Family brand. Levy reports Cottonwood founder and managing director David Michel, now also head of the Kids & Family division. The studio’s IP includes animated series The Ollie & Moon Show and Squish. Levy began her career at Marathon Media in 1995 as a sales manager, moving into sales at Marathon Group and playing a key role in its growth. She helped launch many of Marathon Group’s iconic series, most notably the global hit Totally Spies. When Marathon merged into Zodiak Media, Levy was appointed Vice President of International Sales for Zodiak Rights. Fluent in three languages, Levy has managed TV markets worldwide, across all platforms and multiple genres. Federation Entertainment Launches Kids & Family Global Distribution Paris-based premium content production and distribution company appoints Monica Levy SVP, Co-Productions and Sales. By Jennifer Wolfe | Friday, December 4, 2015 at 4:18pm

In Business, Cartoons, Licensing, People, Television | ANIMATIONWorld, Headline News | Geographic Region: Europe

Monica Levy

PARIS, FRANCE -- Federation Entertainment has announced the launch of their Kids and Family distribution division and the appointment of Monica Levy as Senior Vice President, Co-Productions and Sales. The expansion is a key part of the long-term distribution strategy of the Paris- based premium content production and Distribution Company.

In her new role, Levy will be responsible for global sales of all kids and family content produced by Cottonwood Media (a subsidiary and production arm of Federation), as well as third party distribution, collectively distributed under the Federation Kids & Family brand. Levy will report to David Michel who, in addition to being the founder and Managing Director of Cottonwood, is a Founding Partner of Federation, and Head of its Kids and Family division.

Together with Michel, Monica will also concentrate on building a very select, high quality content catalogue through third-party acquisitions and co-production partnerships. As with their original IP’s such as The Ollie & Moon Show and Squish, the company will focus exclusively on premium content destined for top-tier, multiplatform media outlets. The move is part of the group’s long term plans to both control their own shows across a wide range of platforms, and to become the go to distributor for the best product in the market. “We are very excited to be building a new Kids & Family outfit with Monica. With first-hand experience of her talent and dedication, I know she will help Cottonwood expand from a production studio to global distributor,” commented David Michel, Founding Partner of both Cottonwood Media and Federation Entertainment, and Head of the Kids & Family division. “And Federation is an ideal partner for this venture since, like Cottonwood, it is a premium P. 2/2

drama studio that encompasses financing, development, and distribution, an agile business model adapted for this new media world.”

Monica comes to Cottonwood with 20 years of experience in International TV distribution. Having started her career at Marathon Media in 1995 as a Sales Manager, she made her way into sales at Marathon Group where she played a key role in its growth. She helped successfully launch many of the group’s signature series which grew into worldwide hits, most notably Totally Spies! When Marathon merged into Zodiak Media, she became Vice President of International Sales for Zodiak Rights. Fluent in three languages, Monica has managed TV markets worldwide, across all platforms and multiple genres. “I am honored to work with David, Pascal and Lionel,” adds Levy. “With the talent, experience and resources of such an accomplished executive group, the possibilities for the new Kids & Family division are tremendous. I look forward to being part of the companies’ exciting plans for development.”

Established in 2014 as a top-tier animation producer of premium global kids content, in 2015 Cottonwood partnered with Federation, a newly created mini studio which also specializes in creating premium content. Cottonwood has two series on its active production slate, both originating as best-selling book series published by Random House Children’s Books: The Ollie & Moon Show has already been sold to Sprout and Netflix, while Squish, an official Cartoon Forum selection, got the greenlight from Gulli. Federation is a high-quality drama producer and has the kudos of being the first French company to produce a series for Netflix.

Federation forms kids distributor

Paris-based Federation Entertainment, the prodco behind Netflix’s first French original, is launching a distribution division for children and family shows and appointed an exec to lead it.

Monica Levy is joining Federation as senior VP of coproductions and sales reporting to kids and family head David Michel.

Levy started her career at Marathon Media as a sales manager in 1995 and later became VP of international sales at Zodiak Rights when the companies merged.

She will now be responsible for global sales of content produced by Federation subsidiary Cottonwood Media, as well as third-party content, under the Federation Kids & Family brand.

Cottonwood launched in 2014 as a kids producer led by David Michel and partnered with drama studio Federation earlier this year.

The company already owns original IP including The Ollie & Moon Show and Squish, and will now focus on premium content destined for top-tier, multiplatform media outlets.

Clive Whittingham03-12-2015©C21Media

Kids & Family Distribution Arm for Federation Entertainment World Screen December 3, 2015 Top Stories PARIS: Federation Entertainment has launched a Kids & Family distribution division, with Monica Levy being appointed as senior VP of co-productions and sales. Levy will oversee the global sales of all kids' and family content produced by Federation's Cottonwood Media, as well as third-party titles, collectively distributed under the Kids & Family brand. She will …

Federation Entertainment launches Kids & Family distribution arm

December 3, 2015 by Wendy Goldman Getzler

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Cottonwood Media MD, David Michel, is also now at the helm of Paris-based Federation Entertainment’s newly launched Kids and Family distribution division, which has brought Monica Levy on-board as SVP of co-productions and sales. Levy will be responsible for global sales of all kids and family content produced by Cottonwood Media, which became a subsidiary and production arm of Pascal Breton’s Federation this past June, as well as third-party distribution, collectively managed under the Federation Kids & Family brand. She is bringing more than two decades’ worth of experience to the table, having started her career at Marathon Media in 1995, where she went on to launch many of the group’s signature series, including Totally Spies! When Marathon merged with Zodiak Media, she became VP of international sales for Zodiak Rights. Levy will report to Michel, who in addition his role at Cottonwood, is a founding partner of Federation, which has primarily produced adult dramas (including Marseille, Netflix’s first original commission in France) before opening up to animation opportunities through its association with Cottonwood. Michel and Levy will also concentrate on building a select content catalog through third-party acquisitions and co- production partnerships. The company is focusing exclusively on premium content destined for multiplatform media outlets – something Cottonwood’s original series like The Ollie & Moon Show (sold to Sprout and Netflix) and the recently Gulli-commissioned Squish have been designed to accomplish. Federation taps Zodiak exec for kids launch by Stewart Clarke

December 3, 2015

Federation Entertainment has recruited kids TV veteran Monica Levy, who will play a key role in a new kids and family division within the business.

Pascal Breton set up production and distribution group Federation in late 2014, and subsequently teamed withDavid Michel by buying into his kids indie prodco Cottonwood. Breton and Michel are both former senior executives for Zodiak Media companies in France, as is new recruit Levy. She was most recently vice president, international sales, at distribution arm Zodiak Rights. Levy joins the new Paris-based kids and family unit within Federation, and will handle sales of all of Cottonwood’s content. She will also be selling third-party fare, and all of the content will be sold under the Federation Kids & Family umbrella brand. Cottonwood currently has The Ollie & Moon Show with Netflix and with Sprout in the US and is developing a slate of new shows. Levy will report to Michel who will be the head of the new kids division. He said: “We are very excited to be building a new kids and family outfit with Monica. With first-hand experience of her talent and dedication, I know she will help Cottonwood expand from a production studio to global distributor.” Levy added: “With the talent, experience and resources of such an accomplished executive group, the possibilities for the new kids and family division are tremendous.” Federation Launches Kids & Family Distribution

Home/News/Federation Launches Kids & Family Distribution

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Paris-based production and distribution company Federation Entertainment has unveiled their Kids & Family distribution division. As part of the company’s long-term expansion plan, Monica Levy has been appointed svp, Productions and Sales. The Kids & Family brand will focus on building quality multi-platform content through third-party partnerships and co-production partnerships. The brand will also include live-action programming, in addition to animation. Federation Ent. Launches Kids & Family Division, Taps Levy

COURTESY OF KOKO MEDIA CONSULTING DECEMBER 3, 2015 | 12:26AM PT Double move will also power up third-party acquisitions at Paris production-distribution company

John Hopewell Chief International Correspondent@john_hopewell Paris-based Federation Entertainment has launched a Kids & Family distribution division and tapped Monica Levy as senior vice-president, co- production and sales.

Kids & Family head David Michel made the appointment. The two moves are related, and one key to further expansion at Pascal Breton’s Federation P. 2/3

Entertainment, a premium content production-distribution mini-studio which also has a strong line in live action non-kids/family TV fiction.. Reporting to Michel, Levy will be responsible for global sales of all kids and family content produced by Cottonwood Media, founded and run by Michel as managing director and a Federation subsid and production arm, as well as the distribution of third-party content, collectively distributed under Federation’s Kids & Family brand. Together with Michel, Levy will also concentrate on building a very select, high-quality content catalogue through third-party acquisitions and co- production partnerships, focusing exclusively on premium content destined for top-tier, multiplatform media outlets, Federation Ent. and Cottonwood Media announced Thursday.

The battle for premium kids and family content will be a battle for premium talent. Crucially, though Kids & Family is described as a distribution division, its third-party co-production mandate will allow it to ring multiple funding options.

“The innovation here is that Federation’s Kids & Family division will be able to co-finance, not just distribute, not just put forward distribution money, but really co-finance and co-produce ideas from third party producers,” said Michel.

One scenario would be Federation coming in with development or co- development coin on top shows, then co-producing and distributing them, he added. Development funding is still an unusual, so highly attractive, scenario in the international TV market outside the U.K. where talent is often forced to develop content on spec.

Kids & Family will include not just animation but also live action. “We’re heavily investing in that right now and we’re developing a few really exciting teen and drama properties,” Michel commented.

The moves also form part of Federation’s long-term plans to both control its own shows across a wide range of platforms, and to become the go-to distributor for the best product in the market. P. 3/3

“We are very excited to be building a new Kids & Family outfit with Monica. With first-hand experience of her talent and dedication, I know she will help Cottonwood expand from a production studio to global distributor,” observed Michel, founding partner of both Cottonwood Media and Federation Entertainment, and head of the Kids & Family division.

Starting her career at Marathon Media in 1995 as a sales manager, Levy helped the Marathon Group launch signature shows, most notably worldwide hit “Totally Spies!”When Marathon folded into Zodiak Media, she became vice president of international sales for Zodiak Rights. “I am honored to work with David, Pascal and Lionel [Uzan],” Levy said. “With the talent, experience and resources of such an accomplished executive group, the possibilities for the new Kids & Family division are tremendous. I look forward to being part of the companies’ exciting plans for development.”

Already the most prominent new player on the burgeoning France-U.S. TV axis, Federation Entertainment burst onto the scene in September 2014 announcing it would produce the “Boss”-style“ Marseille” for Netflix, the streaming giant’s first French-language TV series. This June, Federation announced that it had taken a majority stake in Michel’s Cottonwood Media, producer of two properties from Random House Children’s Books, “The Ollie & Moon Show,” from author-illustrator Diane Kredensor, greenlit by NBC’s Sprout for a 2017 debut and also sold to Netflix; and “Squish,” with John Derevlany (“Lego: Legend of Chima”) attached as showrunner, and Gulli, France’s leading kidcaster partnering. Teletoon, Shaftesbury On-Board for ‘Squish’ Mercedes Milligan Jan 27th, 2016 1 Comment

Cottonwood Media has signed new development partnerships with Corus Entertainment’s Teletoon Canada and Toronto production house Shaftesbury for its microbial comedy toon Squish. Across the pond, French children’s network Gulli has reworked its existing development agreement into a pre- buy for all digital and broadcast rights in the country. Squish (52 x 11, for kids 6-11) is based on the humorous graphic novel series from bestselling children’s author Jennifer Holm and creator Matthew Holm (Random House Children’s Books). The producers expect a 2017 delivery for the show, which centers on a plucky young amoeba just trying to get by in the cutthroat world of single-cell organisms. Squish is being executive produced by Cottonwood Media founder David Michel (Get Blake, Totally Spies!), with John Derevlany (LEGO: Legends of Chima, Johnny Test) acting as showrunner.

Squish Cottonwood & Shaftesbury Strike Development Deal for ‘Squish’ Corus Entertainment’s TELETOON joins French kids channel Gulli to grab new comic-inspired series. By Jennifer Wolfe | Thursday, January 28, 2016 at 10:49pm

In Business, Cartoons, Licensing, Television | ANIMATIONWorld, Headline News | Geographic Region: Europe, North America

PARIS & TORONTO -- Cottonwood Media and co-production partner Shaftesbury have announced a new development deal with Corus Entertainment’s TELETOON in Canada for its animated comedy Squish, while top French Kids net Gulli ramped up its prior development deal to a pre-buy.

“It is very exciting that Squish is moving into the key Canadian market. Cottonwood’s raison d’être is to produce premium content for global channels and having a top North American partner such as TELETOON reaffirms this goal,” commented Cottonwood Media Producer and Founding Partner David Michel. “We are confident that TELETOON will help the TV show attain the same massive success the books have had in both Canada and the US.” With delivery planned for 2017, SQUISH already has a stellar creative team on board. Showrunner John Derevlany’s credits includeLego: Legend of Chima, Johnny Test, Endangered Species, and Angry Beaver. Executive Producer David Michel has co-created and co-produced 15 international series, including Get Blake (Nickelodeon), Redakai (Cartoon Network) and global hit Totally Spies!, the first French show ever to become a #1 rated series on Cartoon Network. “Squish has already succeeded in entertaining kids in Canada through its graphic novels and we are thrilled to develop this concept for TELETOON,” said Athena Georgaklis, Director of Content, TELETOON. “We look forward to joining this list of talented writers and producers to bring these stories to life.”

Aimed at 6-11 year olds, Squish is an animated comedy about the secret life of Amoebas (yes, Amoebas!) looking to survive life in the cutthroat world of single cell organisms, not to mention school! The series is based on the original and hilarious New York Times best-selling graphic novels by Jennifer Holm and Eisner Award-winning creator Matthew Holm. Published by Random House Children’s Books, over one million copies of the existing six books have been sold to date, with a new book to be published yearly. Gulli and Cottonwood entered a development deal for the series in mid-2015. Gulli has since ramped up its commitment with a pre-buy of all digital and broadcast rights for France.

Caroline Cochaux, Managing Director France & International at Lagardère Active (Gulli) commented, “We are still delighted to be a part of this new animation company’s first production, we are proud to be partnering up with Cottonwood Media on this adventure. Comedy is a beacon of Gulli’s programming and a natural fit for our young audience, so we are especially enthusiastic about working with all this creative team for Squish!” Canadian producer Shaftesbury has also joined as co-producer of the series. “We’re looking forward to working with Cottonwood, TELETOON and Gulli to bring this scientifically hilarious series to life,” said Ryan St. Peters, Vice President, Kids & Family, Shaftesbury.

Squish is one of five projects on Cottonwood Media’s slate, which includes The Ollie & Moon Show, another original best-selling book from Random House Children’s Books sold to Sprout and Netflix. Shaftesbury & Teletoon join Gulli in support of Squish

January 26, 2016 by Jeremy Dickson

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Paris-based indie Cottonwood Media has signed new development partnerships with Toronto-based procdo Shaftesbury and Corus Entertainment’s Teletoon Canada for its 52 x 11-minute animated comedy, Squish. In addition, French kidsnet Gulli has turned its existing development deal for the series into a pre-buy for all digital and broadcast rights in France. Aimed at kids six to 11, and based on a comedic graphic novel series by bestselling children’s author Jennifer Holm and creator Matthew Holm, Squish follows the life of a young amoeba that is looking to survive in the cutthroat world of single-cell organisms. With delivery expected in 2017, the series’ creative team includes showrunner John Derevlany (Lego: Legend of Chima, Johnny Test) and executive producer and Cottonwood founder David Michel (Get Blake,Redakai, Totally Spies!).

To date, six Squish titles (Random House Children’s Books) have together sold more than one million copies, and new books are set to be published yearly.

The deals come amid Cottonwood’s work on four additional projects in its slate, including The Ollie & Moon Show which recently sold to Sprout and Netflix. Cottonwood Strikes 'Squish' Development Deal

Jan 28, 2016

By License! Global

Cottonwood Media and co-production partner Shaftesbury have entered into a new development deal with Corus Entertainment’s Teletoon in Canada for its animated show “Squish.”

“'Squish’ has already succeeded in entertaining kids in Canada through its graphic novels and we are thrilled to develop this concept for Teletoon,” says Athena Georgaklis, director of content, Teletoon. “We look forward to joining this list of talented writers and producers to bring these stories to life.”

“Squish,” which is an animated comedy about the life of amoebas, is currently one of five projects on Cottonwood Media’s slate. Cottonwood plans to air the comic-inspired show in 2017.

In addition to the deal, Gulli (France) has ramped up its prior development deal to a pre-buy of digital and broadcast rights for the series in France. Shaftesbury and Teletoon join Gulli in support of Squish Paris-based indie Cottonwood Media has signed new development partnerships with Shaftesbury and Teletoon Canada for its animated comedy Squish. By Jeremy Dickson

January 26, 2016

Paris-based indie Cottonwood Media has signed new development partnerships with Toronto- based procdo Shaftesbury and Corus Entertainment’s Teletoon Canada for its 52 x 11-minute animated comedy, Squish. In addition, French kidsnet Gulli has turned its existing development deal for the series into a pre-buy for all digital and broadcast rights in France. Both English and French versions of the series are currently in development. Aimed at kids six to 11, and based on a comedic graphic novel series by bestselling children’s author Jennifer Holm and creator Matthew Holm, Squish follows the life of a young amoeba that is looking to survive in the cutthroat world of single-cell organisms. The series’ creative team includes showrunner John Derevlany (Lego: Legend of Chima, Johnny Test) and executive producer and Cottonwood founder David Michel (Get Blake, Redakai, Totally Spies!). It currently has an expected delivery date of 2017. To date, six Squish titles (Random House Children’s Books) have together sold more than one million copies, and new books are set to be published yearly. The deals come amid Cottonwood’s work on four additional projects in its slate, including The Ollie & Moon Show which recently sold to Sprout and Netflix. - from Kidscreen, with files from Julianna Cummins Teletoon boards Cottonwood’s Squish by Jesse Whittock

January 27, 2016

Canadian kids channel Teletoon has come onboard Squish, the new 52x11mins animated comedy from France’s Cottonwood Media and Toronto’s Shaftesbury.

Teletoon has confirmed a development deal for the show, while French channel Gulli, which previously had joined the development, has ramped up its participation to a prebuy. “Cottonwood’s raison d’être is to produce premium content for global channels and having a top North American partner such as Teletoon reaffirms this goal,” said Cottonwood founder David Michel.

Squish is set to deliver in 2017. Aimed at 6-11s, it follows the secret school life on tiny amoebas living in the “cutthroat world of single cell organisms”, and is based on graphic novels from Jennifer Holm and Matthew Holm. “Squish has already succeeded in entertaining kids in Canada through its graphic novels and we are thrilled to develop this concept for Teletoon,” said the channel’s director of content, Athena Georgaklis. “We look forward to joining this list of talented writers and producers to bring these stories to life.” Cottonwood, which is part of Federation Entertainment, bagged rights to Squish after launching in 2014. Canada’s TELETOON Is On Board Squish Sara Alessi 29 days ago Top Stories

PARIS/TORONTO: Cottonwood Media and its co- production partner Shaftesbury have entered into a development deal with Corus Entertainment’s TELETOON in Canada for the animated comedy series Squish. In addition, French children’s network Gulli has ramped up its existing development deal for the series into a pre-buy of all digital and broadcast rights for France. Gulli and Cottonwood had entered into a development deal for the series in mid-2015. The 52×11-minute series targets kids aged 6 to 11 and is based on the best-selling graphic novels by Jennifer Holm. It is set for delivery in 2017.

Squish tells of the secret life of amoebas trying to survive in the cutthroat world of single-celled organisms. The series is executive produced by Cottonwood Media’s producer and founding partner David Michel (Get Blake!, Redakai). John Derevlany (Johnny Test, Angry Beaver) serves as showrunner. Michel commented: “It is very exciting that Squish is moving into the key Canadian market. Cottonwood’s raison d’être is to produce premium content for global channels and having a top North American partner such as TELETOON reaffirms this goal. We are confident that TELETOON will help the TV show attain the same massive success the books have had in both Canada and the U.S.” “Squish has already succeeded in entertaining kids in Canada through its graphic novels and we are thrilled to develop this concept for TELETOON,” said Athena Georgaklis, the director of content at TELETOON. “We look forward to joining this list of talented writers and producers to bring these stories to life.” Caroline Cochaux, the managing director for France and international at Lagardère Active (Gulli), added: “We are still delighted to be a part of this new animation company’s first production, we are proud to be partnering up with Cottonwood Media on this adventure. Comedy is a beacon of Gulli’s programming and a natural fit for our young audience, so we are especially enthusiastic about working with all this creative team for Squish!” “We’re looking forward to working with Cottonwood, TELETOON and Gulli to bring this scientifically hilarious series to life,” said Ryan St. Peters, the VP of kids and family at Shaftesbury.

MIPJr Hot Pick: The Ollie & Moon Show by Jesse Whittock

September 24, 2015

Kids industry veteran David Michel’s new animation company, Cottonwood Media, has got off to a flying start with a commission from Sprout in the US for hybrid series The Ollie & Moon Show.

Based on the book series from Diane Kredensor, whose TV credits include Clifford the Big Red Dog, the show targets preschool and older kids with a mix of 2D animation and live-action. It follows two globetrotting cats as they have adventures in, on and around famous locations around the world. “It’s a high-energy character show, and it is very entertainment-driven, which is in line with Sprout’s rebranding and new positioning,” Michel says. “It is about two best friends who learn about the world through travelling and is about serendipity, stepping out of your comfort zone and following your instincts, which are all core values for preschoolers. It’s not a travel show; it is character-driven and the locations are secondary.” The Ollie & Moon Show was developed by Kredensor, Robert Vargas (Wonderpets), and Michel. There will be scripts and some video in hand at the market, with the full show starting to deliver in 2017.

Pascal Breton’s Federation Entertainment will be selling the 52x11mins kids series at MIPJunior after Cottonwood partnered up with the fledgling Paris-based group.

The show: The Ollie & Moon Show The producer: Cottonwood Media The distributor: Federation Entertainment The broadcaster: Sprout (US) The concept: Buddy travel comedy, based on the popular book series Date : 27 JAN 16 Page de l'article : p.4

Pays : France Périodicité : Quotidien

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Cottonwood / Shaftesbury : Teletoon Canada rejoint Gulli dans la série d'animation Squish

Le montage financier de la comédie d'animation d'exemplaires » pour les six tomes déjà parus. Elle raconte Squish (52 x 11') prend forme, a annonce son la vie quotidienne d'un préadolescent passionné de BD et producteur Cottonwood Media (David Michel) ce qui se trouve être... une amibe. Ses meilleurs amis sont un mardi. Gulli, qui avait signé une convention de plancton et une charmante bactérie. La série, dont le développement, a renforcé son engagement dans la showrunner est John Derevlany (Lego: Legends ofChinà\, série en entrant en préachat sur l'ensemble des droits raconte les tribulations de cet ado/amibe pas comme les numériques et de diffusion pour la France, indique le autres entre vie à l'école et menaces d'extinction biologique. communiqué. Par ailleurs, la série, coproduite avec la Cette comédie à la Bob l'éponge est l'un des cinq société canadienne Shaftesbury, a trouvé un diffuseur projets de Cottonwood Media, indique la société, n'en sur ce territoire : Teletoon, filiale de Corus citant qu'un autre : The Ollie & Moon Show, adapté Entertainment. Rappelons que ce groupe, déjà puissant des livres de même titre de Diane Kredensor (notre sur le secteur enfants-jeunesse dans le pays «Confidentiel» du 3 septembre 2014). Créée en (Nickelodeon, Cartoon Network, Disney Channel et la juin 2014 par David Michel (ex-Marathon Media), chaîne Disney, ABC Spark), est en passe de racheter l'entreprise s'est rapprochée de Federation Entertainment Show Media, propriétaire de Nelvana (nos informations (Pascal Breton), qui a pris une part importante de son du 14 janvier). capital. A travers un échange de titres, David Michel est Squish, qui devrait être livrée en 2017, est adaptée devenu, à cette occasion, associé-fondateur de des livres éponymes de Jennifer et Matthew Holm Federation Entertainment en charge de la jeunesse (notre (Random House), déjà « vendus à plus d'un million « Confidentiel » du 26 juin). •

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