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TBI KIDS INSIDE THIS ISSUE

18 28

18THREE -STILL THE MAGIC NUMBER?

TBI takes a look at , and and outlines the challenges and opportunities for US television’s leading children’s channels

28 FORUM FOCUS:ANIMATED IN TOULOUSE

Jesse Whittock heads to to report on the buzziest projects on show at the 2013 edition of Cartoon Forum

34 KIDS TV SERIOUSLY

Andy Fry reports on how broadcasters are approaching children’s factual content in the multichannel, multiplatform era

40 LAST WORD

Snapp Productions’ Ben Butterworth reveals his approach to MIPCOM

MONITOR 6 Dreamworks 8 Chapman 10 People 12 Eurodata 14 Buyer profile: Celine Chesnay, France Télévisions Buyer 16 Tricon 34 CONTENTS OCTOBER/NOVEMBER 2013

For the latest in TV programming news visit TBIVISION.COM TBI Kids October/November 2013 5 Kidsp06-07 Dreamworks OctNov13scJWscSC 23/9/13 19:04 Page 34

TBIKIDS DREAMWORKS DREAMWORKS INTO TV: In diversifying away from movies, DreamWorks has made two key acquisitions,the multimillion dollar deal for digital producer and channel manager AwesomenessTV and US$155 million acquisition of Classic Media.The founders of both talk to Stewart Clarke about becoming part of DreamWorks and how they will help the Studio conquer the digital world and the small screen

CLASSIC Engelman in 2000, before selling and rebuying DreamWorks Classics division. it in 2008. Last year’s US$155 million acquisition In June, there was an output deal with Super DreamWorks Classics offers something no of the company by DreamWorks marks the first RTL that stretched to 500 hours of content and other kids company can, says Eric Ellenbogen: time the business is not primarily backed by a titles included The Penguins of the ability to provide studio level content that private equity firm and that, Ellenbogen says, through to Rocky and Bullwinkle and covered does not come from one of the big three studio- frees the creative shackles and means looking content from both the DreamWorks and owned kids firms. beyond getting the financials in order and Classic line-ups. While Cartoon Network, Disney and engineering a profitable exit. It is a sign of what’s to come and other output Nickelodeon dominate the kids TV space and are We wanted a thoughtful and strategic and volume deals are on the cards. There is also primarily concerned with servicing their own partner not just a financial backer and we more content to sell after DreamWorks acquired outlets, DreamWorks Classics can package wanted to have colleagues in the business, not the Chapman catalogue, giving it Fifi and the features including and with just from the financial side, he says. We have Flowertots and others. classic kids series such as Rocky and Bullwinkle, financial requirements, but it is about a deep The idea is to be the largest single supplier of Lassie and Sabrina the Teenage Witch. It is also investment and is long term oriented. the highest quality content in kids shopping the original series that will come out of Ellenbogen and Engelman run the entertainment. We have the advantage of being DreamWorks’ production pact with . international television acitivities at DreamWorks, a major but not having a vertical channel that we Ellenbogen created Classic Media with John covering distribution from London and the new have to supply, says Ellenbogen.

AW ESOME H aving tied the k not with D reamW ork s after The second reason was meeting L u cas their whirlwind cou rtship, R obbins is now C ru ik shank , better k nown as Y ou Tu be teen Brian R obbins career has tak en a different look ing at local langu age versions of star Fred, and teeing u p a TV project with the trajector to that of man media e ecu tives. To A wesomeness and tak ing the brand, which is online sensation at Nick elodeon, Fred: The viewers of a certain age he is remembered as onl ju st over a ear old, international. M ovie (which was released theatricall in one of the stars of A BC sitcom H ead of the I started A wesomness for two reasons some territories). C lass after which he stepped behind the reall, R obbins sa s. I was watching m own R obbins sa s: I saw what this k id from camera, produ cing k ids shows for Nick elodeon k ids and how the had stopped watching Nebrask a cou ld do and that, along with and series inclu ding S mallville. traditional TV and how drawn the were to think ing abou t the behaviou r of teens and pre- Nick lik el didnt k now when it was work ing mobile devices and compu ters and how the teens, is when I first got the idea for with him on A ll That, a comed sk etch show, consu med what the wanted on these devices. A wesomenessTV. that a few ears later it wou ld be bu ing repack aged, cu tting edge digital content from R obbins. Bu t the k ids net has been doing ju st that, topping and tailing A wesomenessTV content for its network . It has ju st ordered more episodes of its A wesomenessTV series, R obbins tells TBI. M imick ing the su per fast growth of su ccessfu l digital firms, the sale of A wesomeness happened almost overnight. R obbins sa s he met D reamW ork s boss Jeffre Kat enberg for break fast on a Tu esda and had decided to do the deal b the IMO:AwesomenessTVs girl-skewed teen talk show afternoon of Frida the same week .

6 TBI Kids October/November 2013 For the latest in TV programming news visit TBIVISION.COM Kidsp06-07 Dreamworks OctNov13scJWscSC 23/9/13 19:04 Page 35

TBIKIDS DREAMWORKS CLASSIC AND AWESOME

The fact DreamWorks can fully fund content One copro underway is a of – One key advantage also gives it flexibility and means the company which Classic acquired from – with we have is we can does not need to assemble a United Nations of . The 52x11mins CGI come to market with partners to moved ahead with a project. series is for French public broadcaster fully financed Independent producers depend on presales France Télévisions. projects,were not and fractionalising their rights to raise the There is also a new season of George of the dependent on on money for production, Ellenbogen says. Jungle for in and, Ellenbogen regional presales or One key advantage we have is we can come tells TBI, there will be a new storyboard-driven coproduction to market with fully financed projects; we’re not version of shortsighted cartoon icon Mr Magoo. dependent on regional presales or coproduction The DreamWorks distribution division will although we can still avail ourselves of these. be selling Turbo: F.A.S.T. (pictured), a TV spin- with international partners about versions of off from the DreamWorks animated movie content from AwesomenessTV, the tween- being made for Netflix. It is the first show to be focused YouTube channel operator. announced following the 300-hour original Localising will be important programming deal between the studio and the Ellenbogen says: It has enormous potential streaming platform. and we’ll be talking to telecasters about the It also has the DreamWorks Dragons series creation of local Awesomeness content. for Cartoon Network, based on the How to Given its wildfire nature and the audience it Train Your Dragon franchise as well as the addresses, it has the potential to be replicated 26-strong movie catalogue, which has been in with local kids and talent and we would produce film theatres, but Ellenbogen says, is largely it locally with a partner. untouched through other forms of media. He adds:Digital content that drives linear Ellenbogen is keen to initiate discussions viewing is the Holy Grail for a broadcaster.

R obbins teamed with G oogle and Y ou Tu be however, an eas one to profit from, and as it prepared its partner channels initiative brands need to also e ist in other spaces. and A wesomeness now gets comparable or R obbins adds: The economics of ju st being We managed to better traffic than, for e ample, Nick . M ore on Y ou Tu be and su rviving from ad revenu es build a brand with than half of its views are via mobile devices. are ver difficu lt. W e managed to bu ild a brand YouTube and The cost of mak ing shows for A wesomeness with Y ou Tu be and monetise IP in other wa s monetise the IP in pales in comparison to those for a TV network ou tside of Y ou Tu be. other ways outside we dont have time for development bu t B wa of e ample, bo band M indless of the platform that is almost the point: the tweens watching Behaviou r came to tween attention on are not after a TV e perience. A wesomeness, which made and released The big lesson for u s has been that the M indless Behaviou r: A ll A rou nd the W orld among others. stu ff that feels more lik e TV is less popu lar. theatricall. R obbins sa s of the plan: W e 100% The highest q u alit scripted stu ff was not the It then went ou t on D VD before being have local langu age in ou r plans. W ere pu tting most popu lar. Y ou need a combination of shown on Nick elodeon. D reamW ork s will be it in motion now, look ing at which shows whats native to Y ou Tu be and what ou have selling it to broadcasters at M IP C OM . and when. on traditional TV. The plan now is to tak e A wesomeness to a Broadcasters cou ld be forgiven for not The A wesomeness fou nder talk s abou t a wider range of viewers. W e want to scale overl celebrating the A wesomeness and the prank sk etch in which someone pretends to A wesomeness ou nger and older, from cradle are u nlik el to cheer its ne t move, into the smash bo es of iP hone 5 s in front of people to college, R obbins sa s. international mark et. q u eu ing to get hold of the A pple handset. A BC Famil and The C W , thats cu rrentl ou r Bu t A wesomenessTV is not (intentionall ) The team thou ght of it one da and shot it demo, bu t we want to have preschool, k ids setting ou t to tak e on k ids and teen linear the ne t. It has almost si million Y ou Tu be hits. and teen viewers, he adds. channels, at least according to its fou nder, The price of failu re is no big deal, it wont The ne t stage is local-langu age versions who sa s its content is abou t filling little financiall break ou , R obbins sa s. of A wesomeness, which has big fan bases in spaces while on the school bu s or waiting in The Y ou Tu be channels model is not, the U K, Bra il and S panish-speak ing mark ets a movie q u eu e. TBI

For the latest in TV programming news visit TBIVISION.COM TBI Kids October/November 2013 7 Kidsp08-09 Chapman OctNov13scJWjw 23/9/13 18:59 Page 8

M ONITOR KEITH CHAPMAN

Bob the Builder creator Keith Chapman is back on the kids TV scene with new Nickelodeon series Pa Patrol. He tells Jesse Whittock about his latest projects,the importance of a US partner and why his former firm, , went under last year BOB CREATOR STARTS BUILDING

’m back now doing what I did with Bob when I sold it to HIT, this support can be the difference between sinking or swimming, says says Keith Chapman of his latest series Paw Patrol. His new Chapman, who is a Brit with a lot of experience of working with venture, Keith Chapman Productions, is working on the show US partners. with Spin Master Entertainment and Nickelodeon. Chapman It’s becoming more and more expensive to produce a show, and then has been developing on his latest slate of ideas since his there can be pressure to find another 4 million (US$6.4 million) for Iformer company, Chapman Entertainment, went into administration at another fifty two episode if you’re successful. The BBC might only put in the end of last year and Paw Patrol is the first fruit of 700,000, so where’s the rest of the money coming from? Unless your that creative burst. toys and books are selling, you’ve got to have a buzz around it or investors The Chapman Entertainment business model was for Chapman (and give up. That’s where the American machine comes in. former business partners Greg Lynn and Andrew Haydon) to finance its Emphasising the power of that machine, Nick launched a video poster shows in order to own the IP, whereas Paw Patrol is put together in the same way as . The model for that show saw the rights sold to HIT Entertainment in exchange for a cut of the copyright, a deal Unless your toys or that was he says hugely beneficial to us both. This time, Spin Master has bought the IP, and licensed TV and ancillary rights to Nick’s books are selling, youve stablemate Viacom International Media Networks. got to have a buzz around The animated CGI preschooler Paw Patrol follows six heroic rescue a show or investors give dogs led by a tech-savvy young boy that work together to solve problems up.Thats where the in their community, Adventure Bay. American machine I’ve known the Spinmaster guys for a long time and have wanted to work with them – it was just the case of finding the right project, says comes in. Chapman of the show’s genesis. I knew they were looking for a boys action show so I pitched Paw Patrol. They loved it and they’re so innovative there [that they thought they could make it work]. They’ve got for the show in Times Square over the summer and created a partnership a great relationship with Cyma [Zarghami, Nickelodeon president] and with the American Society for the Prevention of Cruelty to Animals. It’s the team at Nick, delivered an amazing pitch in New York and got great to have that muscle behind it. To have a global hit you’ve somehow the commission. got to have America involved. In the future territories such as China will The series is boys action but has potential to connect with girls as well. become more important too, Chapman notes, but for now, the US is key. Canadian production house Guru Studios, where the animation was The model at Chapman Entertainment was totally different, says created, has paid real attention to detail, making the dogs look fantastic, Chapman. We owned the IP and would have done well if those brands and that design creates co-viewing potential, says Chapman. had gone on, but we overstepped the mark, overstretched on production, The show launched on Nick in the US on August 12 and has scored got into trouble and went in administration in the back end of 2012, well, outperforming another dog-themed series, its lead-in Bubble he recalls. Guppies, and taking more than two million viewers in its daytime 12pm Chapman Entertainment series including Fifi and the Flowertots grew slot. It launched in Canada on TVO on September goes out on into strong brands without a Big Three US broadcaster attached, but international Nick networks this autumn. ultimately the numbers didn’t add up. DreamWorks Classics bought the Viacom International Media Networks is debuting the show at brands at auction this summer, but Chapman is looking forward. MIPCOM, where it will be a key preschool priority. For an indie producer, We made 325 episodes of top quality animation representing 25

8 TBI Kids October/November 2013 For the latest in TV programming news visit TBIVISION.COM Kidsp08-09 Chapman OctNov13scJWjw 23/9/13 18:59 Page 9

M ONITOR KEITH CHAPMAN

Pa Patrol has started strongly on Nick

million of production in Britain through British studios; those shows questions. Chapman is developing the 52x11mins stop-frame show with will always be around – Fifi, for example, has never moved from its another Manchester studio, Phil Chalk’s Factory Transmedia. primetime slot, not once. But I’ve moved on and it’s all about the Chapman is also working on a puppet series he describes as Fawlty exciting new projects now. Towers meets The Muppets, along with Northern ’s South Camp Yeti is another of these new concepts. Co-developed with Sixteen Television. That project brings Chapman and his former Manchester’s Studio Liddell, the 52x11mins series is set in a world director of production and development at Chapman Entertainment Chapman describes as an original new world that would be the most Emily Whinnet back together, as she joined South Sixteen as head of exciting place in the world for a child to go to comprising rollercoasters, development earlier this year. river rapids and tree top walkways. It follows three fun-loving young yetis I met [South Sixteen owner] Colin Williams and got on well with that spend their days playing and taking part in outdoor activities. him, Chapman says of the unnamed show’s conception. We’ve got a Preschoolers are lacking a bit of confidence these days so we wanted similar a similar advertising mindset. Chapman worked in the to build a show that include fulfilment and that allows them to express advertising industry after leaving an earlier role as a product designer at themselves with a bit of freedom, says Chapman. The brief was to Jim Henson International before getting Bob away, while Williams ran create a show that has quality CG fur on a children’s TV budget. a creative agency before launching South Sixteen in 2008. That was the challenge and we’ve managed it. A major coproduction Taking a commercial approach to a children’s TV show is now vital to partner has been secured for further development and the plan is for it the funding model, says Chapman, a view mirrored by his former to hit TV screens toward the end of 2015. Chapman cohort Lynn, who launched his new series, Airside Andy, at Chapman has nothing but praise for the new UK animation tax credit MIPTV in April. scheme, which will likely help the project. The industry has almost Done properly, L&M should not compromise the creativity of a climbed Everest to get them, and we’ll use them for Yeti. Quite a few show, says Chapman. The toy industry employs thousands of companies have benefited already [from the scheme]; it helps the talented and creative people and the process they go through is just as industry and creates jobs for animation students coming out creative as [creating and making] the show itself. If kids buy a toy, it of university. enhances the relationship with the characters they see on screen. With Another project is Marzi Mars, a series following a Martian boy and a company like Viacom attached, the machine will move your project his friends that come to Earth to explore and find answers to their into different areas. TBI

For the latest in TV programming news visit TBIVISION.COM TBI Kids October/November 2013 9 Kidsp10 People Monitor OctNov13scJW 23/9/13 16:52 Page 34

M ONITOR PEOPLE ON THE MOVE TBI takes a look at the latest comings and goings in the international kids television business and reports on whos moving where

DAVID LEVINE has relocated from the US to London to take the role of VP,programming, production and strategic development at Disney Channels EMEA. The new role gives Levine oversight of content at all of Disneys kids channels in the EMEA region.

The ABC has poached Deidre Brennan from BBC Worldwide and she will be controller of kids TV at the Australian pubcaster. She is rejoining the broadcaster, having worked in its kids programming department for six years to 2007.She will replace Tim Brooke-Hunt who, after a six-year tenure, resigned from the role earlier this year to launch his own indie.

The Foundation has appointed GWEN HUGHES as its new boss after co-founder Vanessa Hill announced her departure from the Zodiak Media-owned kids producer. Hill is leaving to join Jacabo, the company formed by The Foundations co-founder, Ged Allen, after he left the Zodiak company last year. Hughes has been elevated from head of production to managing director.

Marblemedias kids content sales unit Distribution360 has recruited Caroline Tyre as director, business development. She joins from Canadian broadcaster Teletoon, where she was director of programming. Her previous experience includes stints at CBC and Decode.

Canada-based producer and distributor 9 Story Entertainment has hired JENNIFER ANSLEY as VP,marketing and communications. In the newly-created role, Ansley will oversee promotion and marketing of all of 9 Storys properties, which include Wild Kratts and Almost Naked Animals. Prior to joining 9 Story,Ansley was VP of marketing for Phase 4 Films.

Canada-based producer and distributor Shaftesbury has brought on Joanna Webb for the newly-created role of senior VP,content strategy. She will work across Shaftesburys divisions, including kids, factual and digital.Webb has worked in programming at CTV and Corus. At Shaftesbury she will report directly to CEO Christina Jennings.

Canada-based indie producer has hired MARIANNE CULBERT as VP, production. She joins from and will run Mercurys , replacing Bryan Popowich and reporting to Clint Eland. Mercury is currently making Chamelia with Technicolor.

US kids service Sprout has recruited Jennifer Giddens as VP,marketing. She will oversee consumer and trade marketing at Sprout, working in conjunction with Sprout co-owner NBCUniversal. She joins after a decade at Turner.

Canadian animation house Guru Studio has hired its first director of sales, from Spanish toon producer Vodka .IAN LAMBUR previously worked in international distribution for Jell Jamm prodco Vodka and will now head sales for Guru, reporting into VP Mary Bredin.

10 TBI Kids October/November 2013 For the latest in TV programming news visit TBIVISION.COM PREVIEW © 2013 Flying Bark Productions Pty Ltd, Telegael Teoranta, © 2013 Flying Bark Productions Pty Ltd, Telegael Australia LLP & Screen Discreet Art Productions AT MIPCOM 2013 R29.01

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Kidsp11 Studio100 OctNov13.indd 1 11/09/2013 09:52 Kidsp12 Eurodata OctNov13JWsc 23/9/13 19:02 Page 12

M ONITOR EURODATA TRANSMEDIA BY NUMBERS

Childrens love of great TV content shows no signs of abating but young audiences are becoming increasingly agnostic when it comes to the screen they use to find it, resulting in the line between app, game, toy and TV show blurring. Mediametrie and Eurodata TV media consultant Claire Mitchell looks at the numbers these crossovers are generating

s apps cross over onto the Apple and Android devices and allows on iTunes one week before its debut on traditional television set, parents to create profiles for kids and they can Disney XD. Far from eating into its broadcasters and producers collect rewards for progressing in a range of subsequent broadcast audience, the strategy are looking to multiply the games themed around key shows on the boosted interest in the series, which delivered contact with their audiences Aby following them into the online space. Examples of this happening include the Annoying Orange brand, which has racked up more than a billion views on YouTube since its launch in 2009. The short TV episodes were subsequently snapped up by broadcasters around the world keen to benefit from the IP’s existing fans, and the decision has generally proved a good one. In the US, where The High Fructose Adventures of Annoying Orange is aired on Cartoon Network, its best performing episode over the month of August 2013 gathered 733,300 kids aged 2-11, winning a 6.3% market share. Another classic app, Angry Birds, has also Annoing Orange won a 6.3% share in the US in August made a splash on international TV as Angry Birds Toons, gathering 273,000 viewers aged 4-to-14 for its best performing episode over digital kids channel. an audience of 262,400 children for its August on in France, equating to a At launch there were four games, based on premiere among children 2-to-11, and a market share of 20.6%. , Alphablocks, Mr Tumble market share of 11.9% among boys 9-11. On MTV3 in Finland and Super RTL in and Tree Fu Tom with plans to launch new Crossovers between TV and web are still in Germany the title also attracted market games based on the Sarah and Duck and their early stages but this is clearly an area shares of over 30% among children for its Tiny Tumble properties. They have, CBeebies which both sides are committed to strongest performances. said, been developed to build number, word, expanding. Although most of the biggest Meanwhile, kids’ net Boing in has drawing and movement skills among children’s TV properties of the moment are reason to congratulate itself on the preschool viewers. still the product of a traditional route to acquisition of web series Barbie: Life in the CBeebies first ever online commission, Tee market, an increasing number of major Dreamhouse, which ranked among their top & Mo, launched this summer, and during brands from the app and web area have three broadcasts in March, April and May their first week of airing, the one-minute established themselves successfully on the of this year. teaser episodes aired on the CBeebies channel TV screen. Children, meanwhile, already While apps move into the TV space, gathered on average 42,700 children in the 4- expect to access their favourite content across traditional broadcasters are taking steps to to-6 demo, winning a 32.4% market share. a variety of platforms, while broadcasters and follow their existing audience online, with Broadcasters and OTT players, rather than producers are more than happy to oblige. TBI web games, extra episodes and other content competing, are in fact looking for ways to designed to feed children’s appetites across work together to make the maximum S ou rces: E u rodata TV W orldwide / Nielsen all screens. number of contacts with the viewer. A u dience M easu rement (U S ) / M diam trie In the UK, for example, the BBC has In the US the pilot episode of the animated (France) / BA R B (U K) / A G F G fK (G erman ) / created a CBeebies Playtime app. It works on series Camp Lakebottom was made available Kantar M edia (S pain) / Finnpanel (Finland)

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BUER PROFILE FRANCE TÉLÉVISIONS

BUYER PROFILE: Celine Chesnay, France Télévisions France Tlvisions is Frances leading childrens TV broadcaster, supplying 3,800 hours of animated content to the territorys children across 6 to 10-skewing and for ,which will next year partially rebrand as a young adult network, and -skewed channel France 5.Cline Chesnay is the public broadcasters preschool animation manager

What is the kids TV set up at France year in recent memory. Why do you and Mofy is Italian too. The Spanish market has Télévisions? think this is? really collapsed. France Télévisions’ children’s organisation is It could be the result of the financial crisis, but one unit for all our youth channels under it is true that it’s the first year we don’t have What is competition like in French Pierre Siracusa and Tiphanie de Raguenel. I many there. Normally we back about four or preschool television? work as a coproduction manager underneath five, but this year it’s fewer. There are also The key competition is for the audience but them, mainly in preschool for France 5. many more UK producers creating shows, because we invest so much money in this My colleague, Jean-Baptiste Lamotte, looks maybe that has something to do with it. space, there’s isn’t a lot of competition. TF1 is after France 3, which skews slightly older and investing less than in the past so all the targets 6-10s. We run about 3,800 hours of Which territories do you look to for producers come to us first. Disney can pro- children’s content per year overall. good storytelling? duce on its own but with smaller budgets. We look to the UK for programmes like HIT Are you looking for more international Entertainment’s Angelina Ballerina or Fireman What types of genres are you collaboration? Sam as one source. We also have a few pro- commissioning for? I’ve been attending events such as the grammes from PBS in the US – Sid the Science For preschool I want educational Children’s Media Conference in Sheffield and Kid for example, as we’re closer to the UK and US programmes, and look for comedy adventure going to more industry conferences to see than to European territories such as Germany in for the older children of France 3. Things like what’s being developed. I want a wider point of terms of story. There’s not much production in Le Lapins Cretins (Rabbids Invasion, view of what’s going on in the international Italy but we are coproducing Geronimo Stilton pictured), based on the video game, really animation sector. reflect that target demographic. ’ Mouk is really on brand in preschool for Will there be more opportunity for France 5. international partners to work with France Télévisions in the future? How important are digital platforms in There have been a few collaborations – we did terms of sourcing content? 64 Zoo Lane and What’s the Big Idea?with Rabbids came from a partnership with Ubisoft. CBeebies, and we also work with Disney – but We don’t normally find stuff online for pre- the ideas often come from French school but for older-skewing content, we will producers. You need to go down the French look there. We do have successful apps and a production route to qualify for the tax credit, dedicated kids site, Zouzous.fr, which has which makes it more difficult for international catch-up TV, games and much more very soon. producers to come here. Mainly, we buy from the UK; from CBeebies, Disney and What makes a good pitch? sometimes Nick for preschool. We’ve also Tell a story. Describing characters is fine but coproduced Mouk with Disney Jr.. For older it’s all a bit the same: a little boy or a little girl. demographics, we’ve also got Molusco for A good concept should be able to be explained France 3 and Disney. in three to five lines. There are good story- tellers in the UK but internationally I find it a There were fewer French projects at this bit weak. A lot of companies focus on charac- year’s Cartoon Forum than any other ters and design and the story suffers. TBI

14 TBI Kids October/November 2013 For the latest in TV programming news visit TBIVISION.COM p15 DHX Media OctNov13.indd 1 12/09/2013 10:05 Kidsp16 Tricon+deals OctNov13JWsc 23/9/13 14:30 Page 30

M ONITOR TRICON FILMS & TELEVISION

TRICON MAKES KIDS MOVE DEALS ROUND-UP and LA-based producer and distributor Tricon has been DHX Media has acq u ired Teletu bbies and In the Night involved with a handful of kids shows, but has now launched a dedicated G arden owner Ragdoll kids and family division, which will get its first major outing at MIPCOM Worldwide for 17 .4 million (U S $ 27 .5 million). The deal, closed with R agdoll W orldwide owners BBC Worldwide and a grou p fronted b R agdoll compan fou nder A nne W ood, will hand D H X 12 series, inclu ding 36 5 episodes of Teletu bbies, 5 2 episodes of Teletu bbies E ver where and 100 episodes of In the Night G arden.

S pain-based distribu tor Imira Entertainment has tak en international rights to S panish pu bcaster TV Es k ids programming. The deal gives Imira TVE titles The L u nnis, A sha and C lu b P i icato. The distribu tor will start shopping the shows to international bu ers at M IP C OM .

9 Story Enterprises has pick ed u p international rights to animated comed series anada’s Tricon Films & Television has we don’t want ten animated properties for the same H au nted Tales for W ick ed Kids launched a new kids and family age group at the same time. He adds: As we grow ou tside Bra il where it is on division following the acquisition of our catalogue and slate we will grow the team. Cartoon Network and has Kavaleer Productions’ new animated The company’s first acquisition is the 26x7mins established itself as the most- series Wildernuts. Wildernuts from Ireland’s Kavaleer, which was watched show for 4 -to-11s. It is CTricon Kids & Family will focus on selling both produced in association with the Irish Film Board, produ ced b Bra ils Glaz acquired content and Tricon-produced projects. broadcaster RTÉ Junior and the Broadcasting Entertainment and follows P epe, We produce [talent show] for YTV Authority of Ireland’s Sound & Vision fund. a 12- ear old bo who helps ou t and are developing an animated show with Mercury The ecology-themed preschool show follows the at his grandmothers Filmworks called Go Away Unicorn!, but when I crew of a magical flying ship that travels to different potion emporiu m. joined three and a half years ago the idea was that at islands to discover local creatures and study nature. some point we would expand the kids business, says Wildernuts’ charming way of exploring the DQ Entertainment has shopped Tricon’s Jon Rutherford, senior VP, distribution and wonders of the world will engage children everywhere The Ju ngle Book animated business development. and is a perfect fit for our new division, series to U S H ispanic net Tricon came close to buying Kevin Gillis’ Canadian said Rutherford. U nivision. The U S broadcaster producer Skywriter a couple of years ago and when Tricon Kids & Family will debut the series at will show the toon series, in that did not come together hired its sales exec Ashley MIPJunior and MIPCOM alongside JiggiJump, a S panish, in its P lanetaU k ids Rite, whose responsibilities include looking at 25x5mins musical adventure series designed to get programming block . The acquiring and developing kids and family properties. preschoolers moving. E nglish-langu age version of the Rutherford is also familiar with the kids landscape Looking ahead, Rutherford says Tricon is looking at show has alread been licensed having been at Portfolio (Cat in the Hat Knows a Lot different ways to scale up its kids business. There are to A ma on's Instant streaming About That) prior to Tricon. a lot of opportunities we’re looking, which could be service in the U S and D VD He says his company can offer producers a bespoke catalogues or bigger entities, he says. We’re in early rental service Redbox. service: We’re not going to compete with ourselves; stage negotiations on a number of scenarios. TBI

16 TBI Kids October/November 2013 For the latest in TV programming news visit TBIVISION.COM Kidsp17 Foothill OctNov13.indd 1 12/09/2013 10:07 Kidsp18-19,22,24,26 Big 3 OctNov13scJWsc 23/9/13 14:39 Page 18

TBI KIDS THE BIG THREE

With an array of new distribution platforms emerging and new childrens channels growing audience shares in the US and beyond, Jesse Whittock and Stewart Clarke investigate to what extent Nickelodeon, Disney Channel and Cartoon Network still dominate the kids TV market and what challenges lie ahead for the Big Three THREE -STILL THE MAGIC NUMBER?

Regular Sho has been a hit for Cartoon Network

18 TBI Kids October/November 2013 For the latest in TV programming news visit TBIVISION.COM Kidsp18-19,22,24,26 Big 3 OctNov13scJWsc 23/9/13 14:40 Page 19

TBI KIDS THE BIG THREE

n some ways, there’s never been a better period for Nickelodeon, Disney Channel and Cartoon Network to maximise returns from If its iPhone, iPad, Android their unrivalled positions in the children’s entertainment market. or online, kids want to Their brands are circulated round the world across hundreds, experience our content so maybe thousands, of platforms and licensing and merchandising we have to find the right opportunitiesI are abundant despite the effects of the global recession. business model. So why does it seem to insiders that these giants are sometimes a Sean Cocchia, senior VP, million miles apart from the rest of the industry in not only revenue terms business operations, and but also in their strategy and vision? The challenge to create an ecosystem general manager, Disney that allows everyone a fair share is growing and the role of the channels is Channels Worldwide evolving in tandem with wider industry developments. We’ve been thinking about our USP really carefully recently, looking at Cartoon and reminding ourselves of its core values, says Pete Flamman, local content strategy as another key reason for its growth. senior VP and COO of Cartoon Network parent Turner Broadcasting Cocchia says new Disney Princess series , which launched System in EMEA, and managing director of its kids business. We’ve been in the US last year and internationally in 2013, has been blowing us away around for a long time and asked are we clear about what Cartoon is and in terms of ratings and consumer product impact, while Teen Beach what its strengths are?’. Movie has become its second largest original TV movie of all time. In the US, Cartoon Network is the third largest kids channel, averaging Internationally, Disney Channel Latin America and Disney Channel around the one million mark per day. Nickelodeon and Disney Channel EMEA-coproduced telenovela Violetta a good example of how the Mouse interchangeably lead the pack with audiences of between 1.5 million-1.9 House adapts its approach. Those businesses looked at their schedules million each day, though much has been made of former market leader and figured out where the opportunities were. In the US, we don’t have Nick’s fortunes because of perceived audience share losses to OTT platforms a long tradition of telenovela but that works in Latin America and in and concerns of over-reliance on mega-hit SpongeBob SquarePants. most of the European territories and so they co-funded the project, Nickelodeon is certainly perceived [by analysts] as being weaker than it Cocchia explains. was a few years ago, says Naveen Sarma, senior director of corporate Cartoon Network, which has diversified into live action programming, ratings, media and entertainment at US financial services company has a of big hits on its hands that have become coviewing staples for Standard & Poor’s. One producer, who asked to remain unnamed, adds: the boys-skewed net. The Amazing World of Gumball, from Cartoon Nick is in very troubled waters. Networks Development Studio Europe, is heading into its third season; The ratings in the US have been great in the past six months and while and draw in family audiences they’re doing well, counters Viacom International Media Networks’ COO Pierluigi Gazzolo, citing recent growth that has seen it snatch back first place from Disney on some days (it lost the spot for the first time in 17 years in March 2012). And from an international perspective, it has been incredible. Nick is a smart and funny channel for all demographics from preschool to teen. That feeling from the trade and consumers of how unique it is has not ceased. We’re seeing growth everywhere. He points to strong rating new US series Sanjay & Craig, which is about a funny Indian-American boy and his talking snake best friend; and Sam and Cat, which brings together the leads of iCarly and Victorious, two big Nick series that have ended in the past 12 months. Nick is certainly still a massive revenue maker for Viacom and a key part of Viacom’s channels portfolio both in the US and internationally. Despite the audience ratings declines, Nick still generates more than its share of advertising dollars relative to ratings versus Cartoon and Disney, says Sarma. But it is true Disney Channels Worldwide has experienced a boom in the popularity of its channels bouquet, as its senior VP, business operations and general manager Sean Cocchia points out. You can easily say that over the past 24 to 36 months that the Disney Channels portfolio has seen the growth we wanted it to see. Take the Disney Channel itself: the performance in the US this summer has been extraordinary. We were number one in 2 to 11s, 6 to 11s, 9 to 14s and total viewers for the month of July. Disney Channels has been doing well and part of that is because of Nicks TMNT had a major marketing push and has performed well Nickelodeon’s missteps, says Sarma. He also points to Disney’s bespoke

For the latest in TV programming news visit TBIVISION.COM TBI Kids October/November 2013 19 Kidsp20-21 Mondo OctNov13.indd 2 11/09/2013 09:54 Kidsp20-21 Mondo OctNov13.indd 3 11/09/2013 09:54 Kidsp18-19,22,24,26 Big 3 OctNov13scJWsc 23/9/13 14:40 Page 22

TBI KIDS THE BIG THREE

I came from running local markets and know about the importance of local decisions, and can bring that to my role Pete Flamman, senior VP, COO, EMEA, Turner Broadcasting System

according to one UK-based exec – is often lauded by indie producers as a model for working with The Big Three. The most consistent need is animated comedy for the 6+ demo, and the demand never goes away, partly because it is so difficult to do well. When you do it right there, are a lot of opportunities around the world and it is the one thing that unites Nick, Cartoon and Disney, says Josh Scherba, senior VP, distribution at Canada’s DHX Media. Mike Watts, CEO and co-founder of Horrible Henry producer Novel Entertainment has indeed seen improvement, noting of one ongoing partnership: It’s good to see Disney work with producer Nickelodeons Sanja &Craig Spider Eye Animation. However, Scherba underlines a key issue: All three produce so much thanks to clever scripting and strong animation. of their own content that it is challenging for indies. It’s about comedy with friendship and humour and you can see that Opportunities do exist, however. For example, Nick International’s those shows embody those values, as do things we have coming through senior VP, programming and acquisitions Jules Borkent is a gatekeeper like , says Flamman. They are really funny bright shows for both acquisitions deals, which can be more flexible for producers with a degree of heroism, but the heroes are often unlikely and always in terms of rights retention, and the US-based global animation ones to which the audience can relate. studio, under the command of Russell Hicks following the departures of Following a global roll out of Cartoon Network’s younger-skewing toon chief Brown Johnson and production guru Majorie Cohn. stablemate Cartoonito across EMEA, the next step is wider distribution of 4-to-7 skewing Boomerang, Flamman says. The international Turner business is settling into new leadership while feeling the effect of widespread cuts, which began when former RTL boss Gerhard Zeiler took over and continued as Europe-based Disney exec Giorgio Stock was drafted in to oversee the EMEA restructure. Another former Disney employee, Patricia Hidalgo, has been brought in as chief content officer, EMEA, to replace Michael Carrington, who has joined HIT Entertainment. We are empowering local markets but also need a strong central team, which is built around me and Patricia, says Flamman of the changes. I came from running local markets and know about the importance of local decision making and can bring that to my role. He adds that the major restructuring, which has seen hundreds of roles cut, is over and that for producers the most relevant thing to understand is the channels and the brands because for people pitching that is very important. Working with the Big Three has rarely been simple for indies. One European prodgramme maker says producing for Cartoon Network via EMEA has stalled and that our entry to Turner is through the US. Another says: Disney can be tough because of the muscle it has. It is very onerous on the rights position and very tough to work with as a producer. Phineas & Ferb remains a smash for Disney Channel However, Nick’s approach – very demanding – but in a good way,

22 TBI Kids October/November 2013 For the latest in TV programming news visit TBIVISION.COM FIRST EPISODE AT MIPJUNIOR

visit us at MIPCOM R29.01 and BLE F020

CONTACTS INTERNATIONAL SALES ASIAN COUNTRIES LUCIA VISMARA SABRINA CALLIPARI [email protected] [email protected] © 2013 De Agostini Editore S.p.A - Musicartoon S.r.l. - De Agostini Publishing S.p.A. - Planeta Junior S.L. - Based on a property owned by De Agostini Publishing Italia S.p.A

Kidsp23 DeAgostini OctNov13.indd 1 16/09/2013 12:17 Kidsp18-19,22,24,26 Big 3 OctNov13scJWsc 23/9/13 14:40 Page 24

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VIMN’s Gazzolo calls for producers to pitch ideas through traditional Nick has got to keep programming fresh and they probably waited too means and new avenues such as Nick’s Animated Shorts Programme. It’s long to refresh it, counters Sarma. They have to keep kids interested the same call Turner’s managing director, UK, Anthony Lukom, made to by providing new content but Viacom has taken steps to remedy this the industry in June when he told TBI he wanted indies to flood CN problem. They have produced strong new episodes of SpongeBob, Studios Europe with new ideas. but also have the new Teenage Disney, which has been accused on being too reliant on M&A after Mutant Ninja Turtles series buying Marvel Entertainment and Lucasfilm to acquire new character and it has been doing well. libraries, is also hunting content and Cocchia expects to source new novela Gazzolo says the My Nick concepts from Latin America now Violetta has broken through. He is also Junior app, which looking forward to the free-to-air launch of Disney Channel in Germany, launched in France last where he believes local content opportunities will arise. year through CanalSat While masters of running successful linear channels and putting and could now launch together TV production deals, the arena that The Big Three are most in up to four new vulnerable in is digital. territories, is a product that The problem for all three channels is they are going after children, who the will revolutionise the are the most fickle of audiences and the ones most likely to go OTT and business. It allows use Netflix. It’s a question of providing new and interesting content to parents and children to maintain audience ratings, says Standard & Poor’s’ Sharma. customise and One producer sums up the issue thusly: Digital looks troublesome for personalise content through pre-sets such as education’ or maths’ to source relevant programming. It also As OTTproviders emerge, we allows for geo-shifted viewing that lets are going to work with them. If its children to continue watching a show Disneys hit novela Violetta done correctly, its going to be an started on their living room TV on the opportunity for everyone. iPad in the car or in the park on a mobile. Gazzolo defines Nick’s Pierluigi Gazzolo,COO, relationship with Netflix has a positive and globally negotiated as one and Viacom International adds: As OTT providers emerge, we are going to work with them. We want Media Networks our brands to be seen everywhere. If it’s done correctly, it’s going to be an opportunity for growth for everyone. But the real impact of Netflix on Nick will be felt now the pair’s content the broadcasters, they are geared up for one mode – TV. They want all agreement has ended, contends Sarma, and has swooped to rights but without knowing how to exploit them. acquire Viacom content for its Prime streaming service. Much has been said about the impact of Netflix on Nick’s ratings dips – Flamman says a key initiative for Turner is growth on mobile and analysts blame OTT, Viacom blames Nielsen ratings. One charge is that tablets. He predicts Adventure Time could be a driver as the company the network has over-programmed the SpongeBob library, but Gazzolo looks to develop truly multiplatform franchises because it is popping on says it is an evergreen – put an episode from season one or season ten on social media and in playgrounds in the same way perennial hit and kids will watch it. did before breaking through and becoming a huge revenue driver. The digital platforms and networks themselves see the relationship as mutually beneficial. Brian Robbins, CEO of YouTube channel operator and producer AwesomenessTV says: We have a great relationship with them; we’re not sitting here saying we’re going to kill TV. Linear TV isn’t going anywhere and we look at is as a partner and as a way to deliver long form versions of our content. Disney is focusing on initiatives such as its Watch on-demand app and Cocchia says: There are a lot of questions about whether we’re concerned by these OTT platforms. We see them as another opportunity to tell a story. If it’s iPhone, iPad, Android or online, kids want to experience our content so we have to find the right business model. However, one example from Standard & Poor’s’ Sarma suggests that the emerging media landscape still presents a considerable challenge for The Big Three. The volatility in Nickelodeon’s ratings seems to indicate that those lost viewers there aren’t going to Disney and Cartoon. Maybe they’re The Amaing World of Gumball is from Cartoon Networks Europe studio all over at Netflix?

24 TBI Kids October/November 2013 For the latest in TV programming news visit TBIVISION.COM Kidsp25 Onza OctNov13.indd 1 16/09/2013 15:42 Kidsp18-19,22,24,26 Big 3 OctNov13scJWsc 23/9/13 14:40 Page 26

TBI KIDS THE BIG THREE

HITMAKERS: CREATIVES BEHIND THREE BIG, BIG THREE SMASHES Ben Bocquelet Ciro Nieli The Amaing World of Gumball, Teenage Mutant Ninja Turtles, Cartoon Network Nickelodeon

The su ccess Ben Bocq u elet has e perienced Now 39 ears-old, C iro Nieli realised a bo hood throu gh mi ed-media comed The A ma ing W orld dream when he was selected to helm the of G u mball ver nearl never happened. Before the series became one new the Teenage M u tant Ninja Tu rtles reboot, which has been of C artoon Network s most popu lar shows of recent ears, the French- credited as a recent tu rning point in terms of Nick elodeons original born creatives previou s life in commercials animation was, b his own content strateg. reck oning, entirel u nsu ccessfu l . I was at W arner Bros. work ing on projects when I saw in M first job was at S tu dio A KA in L ondon. I was hired to design, the trades Nick had bou ght the Tu rtles. That was the title Id regretted animate and direct, as thats how it work s in commercials. The m whole life not work ing on the last go-arou nd was the 2007 problem was, I was ju st a bit ru bbish at it I pitched for three ears movie [TM NT], when I was work ing on m own projects. withou t su ccess. I k new I wanted to work on something with more A fter tak ing a series of meetings and getting the gig, Nieli and his narrative, he recalls. team went abou t reinventing the classic bo s action series. S oon it A dvertisings loss was k ids TVs gain. A fter moving to C artoon became apparent how mu ch the original Tu rtles creators Kevin Network S tu dio E u rope to work as a character development artist E astman and P eter L aird had influ enced his st le and, thereb, the helping other to flesh ou t their creations, the chance came u p to pitch new show. his own designs. Y ou go throu gh so man lik es and interests and ou alwa s tr H e offered u p an earl version of the G u mball world, which he sa s to adapt ou r st le. A s I rek indled m love of Tu rtles and tried to was mu ch older-sk ewed. It wou ld have been more appropriate for define a st le for the show, I realised Id learned so mu ch from them. A du lt S wim at that time, bu t the network wanted something for k ids, Thats reall fu ll circle, sa s Nieli. he sa s. Bocq u elet went back to the stu dio and, along with former Before TM NT came abou t, Nieli had alread had a su ccessfu l toon C artoon Network s former VP , original series and development D aniel series on a major network . Japanimation-influ enced bo s series L ennard, fou nd the formu la for what became C artoon Network S u per R obot M onk e Team H perforce G o! (k nown to fans as D evelopment S tu dio E u ropes first original. S R M TH G ) ran for fou r in the mid-2000s, with the animation produ ced G u mball is now moving toward 100 episodes, with a third season at The A nswer S tu dio in Tok o. coming. Bocq u elet sa s the freedom C artoon Network gives him to The series nearl went to Nick , Nieli sa s, bu t national traged pu t develop the series is e tremel satisf ing. Im think ing of new pa to that. It was abou t giant monsters attack ing a cit and then projects bu t I want to k eeping pu shing G u mball and I have some 9 /11 happened and that k illed the project dead. I felt a bit brok en reall good ideas for where to tak e it. Theres a whole new arc Im hearted bu t abou t a ear later I showed it to D isne and the bou ght interested in developing. it on sight. S u rreal.

Jeff ‘Swampy’ Marsh, was down the fact M arsh and long time collaborator D an P ovenmire Phineas and Ferb developed it all the wa back in 19 9 3. It was simpl started as a wa Disney Channel for D an and me to continu e work ing together, sa s M arsh. If we cou ld mak e a show, we cou ld do that. H ow hard cou ld it be? S adl, The histor of P hineas and Ferb, after we created it, we didnt work again together for 13 ears. argu abl D isne s biggest animated W hen it did finall go to air it was given a major coordinated TV hit of recent ears cou ld have international roll ou t, which M arsh describes as the first of its k ind . been ver different, its co-creator, In the su bseq u ent si ears, the show has bu ilt a repu tation for Jeff S wamp M arsh recalls. smart gags, theatrical songs referencing ever thing from A BBA to First it was twice optioned in Baroq u e madrigals, and special episodes featu ring characters from M ala sia withou t su ccess. Then it D isne stablemate M arvel. A S tar W ars tie-in is planned after the made to the u pper echelons of both L u casfilm acq u isition. C artoon Network and Nick elodeon Before P hineas, M arsh work ed on shows inclu ding The S impsons, which bu t was passed over. A nother near was his first job in animation after leaving a career as a compu ter indu str miss came when a plan to lau nch it on Fo Kids ended with the e ecu tive, and 19 9 0s cu lt classic R occos M odern L ife. H owever, it his cu rrent closu re of the channel in 2002. hit that fills him with pride. I wou ld have to sa nothing has been lik e work ing That it had done the rou nds so often before mak ing it air on D isne on P hineas and if Im remembered onl for work ing on this show, thats C hannel in 2007 as a special and in Febru ar the ne t ear as a seru es totall fine. TBI

26 TBI Kids October/November 2013 For the latest in TV programming news visit TBIVISION.COM www.cartoon-media.eu Conference on funding & revenues for TV series The business of animation • Revenue streams • Brand management

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TBI KIDS CARTOON FORUM 2013

Cartoon Forum 2013 highlighted the best ideas from the cream of the international animation industry, with Belgium, the UK and transmedia projects the focus of attention. Jesse Whittock profiles the shows that made waves in Toulouse and could be set for schedules in coming years FORUM FOCUS: ANIMATED IN TOULOUSE

ncertainty over both the weather and the state of the Finland presented well-crafted shows including Moskito Television’s international animation market provided the backdrop to Cassie Stevens and 26x7mins preschooler Milja from the intriguingly- this year’s Cartoon Forum in Toulouse in September. The named Bronson Club. event was a step into the unknown – being the first time it Overall, France still had the most projects on show, 21, followed by the has stayed in the same city for two years in a row after a deal UK with 10, then Belgium, Ireland and Finland. Germany also had five, CartoonU boss Marc Vandeweyer struck with the city of Toulouse in 2011. Spain had three and two. Scandi neighbours Denmark and Since Cartoon Forum first went to the southwestern French city in Sweden, the and a Switzerland-Luxembourg- 2012, the industry has both changed and stayed the same. The UK now coproduction all clocked up one presentation. has an animation tax break, which may have accounted for an upsurge in Almost half of all projects were coproductions and 45% were targeted interest in British projects at Cartoon Forum, while emerging territories at the 6-12 age bracket, a similar proportion to last year. Preschool shows such as Finland and Belgium were better represented than ever. accounted for 33% and 10% targeted young adults and older demos. Elsewhere, the animation market in the host country France has The growing importance of digital adds-ons and apps to animated displayed signs of strain with five fewer projects than last year although projects was emphasised with 43% of projects being cross-media France Télévisions, the under-fire French pubcaster, was out in force in a proposals. clearly planned show of strength. The total investment of the projects on show was €217 million Overall, there were 68 shows selected for Cartoon Forum, one less than (US$283.8 million), down from €231.8 million in 2012, and there were the 69 from last year. Almost one in two were developed as transmedia 400 hours of programming, down 22 hours on the previous year, projects, including The Pixs from France’s Images Productions, a according to official event statistics. 26x7mins series about four shape-shifting digital creatures. Although the numbers were slightly down, the feeling among The make up of the territories contributing is changing. Productions delegates was that 2013 was a vintage year, especially for preschool. from Ireland, Belgium and Finland made up almost one third of all Commercial realities also seem to have taken hold. One buyer told TBI: projects. The eight from Belgium included Magicworld Productions and Normally you see lots of artistic projects that are nice but you cannot see Alliance Creative’s 26x7mins Abracadabra; Tinker Tree’s 26x13mins where they would go on a schedule. That hasn’t happened this year. Klincus, coproduced with Ulysses Produktion and Luxembourg’s Reviewing all these new programmes were around 250 buyers and Doghouse Films; and off-the-wall 1x26mins Christmas special The Yule investors, more than 90 of whom were buying for channels. France, Log from PANIQUE! and France’s Autour de Minuit Productions. predictably, provided the highest number of channel representatives, From Ireland, Monster Entertainment offered up the 39x7mins with France Télévisions alone sending 11. preschooler Fuzzyworld, along with compatriot Avalon Films and the Despite Netflix and Amazon being increasingly active in the kids TV UK’s Toonspace; Treehouse Republic presented the well-received boys’ market, Cartoon Forum remains a space for emerging linear channels to action series Epic Eric, which also has France’s Michael Richard make a mark, with former Disney exec Dominic Gardiner taking the trip Plowman and Spain’s Teidees Ausiovisuals attached; and Jam Media had across the channel for CSC Media’s four thematic UK digital satellite two 52x11mins preschoolers in the shape of Pigsticks & Harold channels. The market even opened the door for a small local broadcaster, and Early Bird. Toulouse Télévision, which launched a 26-minute daily kids slot this year.

28 TBI Kids October/November 2013 For the latest in TV programming news visit TBIVISION.COM Kidsp28-33 Cartoon Forum OctNov13scJW_1_FINAL 23/9/13 17:08 Page 29

TBI KIDS CARTOON FORUM 2013

THE SHOW:The Yule Log THE PRODUCER:PANIQUE! (Belgium),Autour de Minuit Productions (France) Increased Belgian participation at this year’s style from a series of Cravendale milk Germany,” she said. DR’s Jakob Stegelman Cartoon Forum was welcomed by all, with adverts that aired between 2007 and 2010. went one step further, telling the producers one producer telling TBI that the “crazy The show follows a pair of plasticine he was “definitely going to have to kill them” outlook” of the Belgian people was throwing characters, Cowboy and Indian, who Autour if another Danish broadcaster got their up some interesting new concepts in de Minuit’s Nicolas Schmerkin described as hands on it. animation. None is crazier than The Yule Log, “children living in a house with their Schmerkin told delegates the new short a 1x26mins Christmas special. The Franco- guardian, Horse”. They destroy Horse’s yule was to broadcast on Canal+ and Belgian Belgian sitcom is from the same lineage as log cake and are then banned from receiving broadcaster RTBF this coming Christmas with A Town Called Panic, an Aardman-La Parti Christmas presents, leading to a madcap much the finance already in place thanks to coproduction that first ran as five-minute adventure that involves breaking into Santa French production body the CNC. However, shorts on Canal+ and sold globally to the Claus’s house to retrieve their gifts. the prodcos need additional funds for further likes of ABC in Australia and Nickelodeon in ZDF’s head of international copros and improvements to the project. the UK and has spawned a feature film of the acquisitions, children’s and youth, Nicole The show has some quite adult-themes, same name. Keeb was delighted by the project. “It’s so which one buyer told TBI might make it tough UK readers might better recall the visual funny, I’m glad it’s available to buy in to schedule, though overall this was a hit.

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TBI KIDS CARTOON FORUM 2013

that Jam M edia U K, the Northern Ireland office that the compan opened last ear wou ld help with raising mone a clear nod to the U K animation ta break that came in earlier this ear. Jam has a strong histor of raising finance for animated projects and can also u se its main Irish base to attempt to q u alif for S ection 4 8 1 ta relief, mak ing E arl Bird one of the more financiall attractive offerings at the Foru m. One bu er from France T l visions said THE SHOW:Earl Bird the series ma stru ggle becau se man THE PRODUCER:Jam Media (Ireland) childrens channels have similar shows with plu ck little lead characters (France Irelands Jam M edia is well-k nown for a forest . The character is based on a mu lti- T l visions has D imitri, for e ample) bu t was pu shing the bou ndaries of animated content award winning Irish animated short film, Fear blown awa b the animation. throu gh series su ch as C BBC mi ed media of Fl ing, hence P i does not fl and instead The werent the onl bu to e press their mock u mentar R o , the genre-bending spends her da s adventu ring with her friends admiration, with one S panish bu er Fu nk Fables and W alk er Book s-back ed Till C assiu s, an over-confident snail, and complementing both the scripting, which and Friends. The D u blin-based compan was W oolamaro, a nervou s hedgehog, and mi es speech and song, and the overall look u p earl to deliver the first pitch of the event pla ing with her famil, which inclu des a of the show. on W ednesda, S eptember 13. creative grandfather bird whos into The show wasnt even the onl series E arl Bird follows an inq u isitive fou r ear- ever thing from painting to new ou th mu sic. featu ring a bab bird that doesnt fl at the old bird called P i who lives in what Jam co- C Beebies is back ing the preschool proiect, Foru m, the other being 2D preschooler L il owner and head of development C hris D ick er which has a bu dget of €5 .7 million. Jam co- Birdie, which is produ ced b S u n In E e describes as a cross between a su bu rb and fou nder and C E O John R ice told the au dience P rodu ction and ValoA u rink o Tu otanto.

THE SHOW:The Badgers and the Foes PRODUCER:Darguad Media (France) Dargaud Media’s project, The Badgers and the Foxes, attempts to deal with an extremely delicate subject: reconstructed families (two parent families in which each adult has their own children). “One in ten families is now a reconstructed family and 80% of children know about the idea through friends,” said Maïa Tubiana from Darguad-owned . The 52x11mins series is about Mr Fox and his three young children whose quiet life is changed forever when the lively Mrs Fox and her daughter join . The producers say that while they want to show the positive sides of such arrangements but norted that the show will not shy away from also showing the potential problems. France Télévisions animation manager Celine Chesnay says she is impressed by this fact and that “the topic is very important”, though she is less sure about

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TBI KIDS CARTOON FORUM 2013

THE SHOW:Clifton Village PRODUCER:Clifton Village Productions (UK)

Foru m debu tante C lifton Village P rodu ctions 5 2 episodes, and two or even three more came to Tou lou se from the epon mou s part seasons after, the other co-fou nder, R ichard of the U K cit of Bristol. The well-to-do C lifton H iggs added. area lends its name and commu nit - The show blends 3D C G I back grou nds with t pe feel to this 5 2 11mins preschool project. a bleached colou r palette with stop frame The show targets a ou ng 2-to-5 au dience, pu ppets created b S mith, who is k nown as an thou gh C lifton Village P rods. co-fou nder accomplished freelance featu re film charcter D ebbie S mith believes there is also plent of designer work ing for the lik es of Bristols big potential for co-viewership. C u rrentl, C lifton toon stu dio, A ardman. This gave it look a Villages creators have ou tlined 13 plot ideas u niq u e feel, attendees agreed. A n option deal and 6 0 locations, S o we have enou gh for with W alk er Book s is alread in place. C lifton Village is set in a cartoon village in essence based on the real one and follows a girl called L il Bell and her best friend, a rag- a-pu ffin called Bill. E ach episode featu res the classical style of the animation. different characters from the village su ch as Elin Raustol, head of acqusitions at the Italian pi a restau rateu r and a ballet Norwegian kids channel NRK Super, had teacher, who tell L il a stor from their past, no such qualms, saying the classical which S mith told concerned Nick elodeon U K style reminds her of The Animals of e ec A le i W heeler wou ld be abou t three Farthing Wood. “Hopefully it won’t be minu tes in length and, if possible, alwa s in pedagogical,” she adds. a different animated form. That mak es for Another glowing reference came from a ver good coprodu ction opportu nit, ZDF’s head of international coproductions he contended. and acquisitions, children’s and youth C lifton Village P rods. said the bu dget Nicole Keeb, who told the producers: “It work s ou t to arou nd 9 5 ,000 (U S $ 15 1,7 00) is very promising and would fit for ZDF as per episode meaning a first season total of a classical brand.” 4 .9 million. D eliver is schedu led for 2016 The project is based on a series once coprodu ction partners are sou rced. of French comic books that have H elena N lander from the S VT published in 14 languages including Barnk analen channel that sponsored the English, Germany and Spanish, and the show at C artoon, said she was particu larl producers are working to a budget of k een on the st le and the animation and €4.8 million. “We are looking for how the different elements come together , coproductions, pre-buys and licensing thou gh Birgit P onten from G erman pu bcaster partners,” said Tubiana. ND R was concerned there was no hu man male lead character.

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TBI KIDS CARTOON FORUM 2013

A lmost 130 delagates pack ed in to see the bu W alad M ak es H is M u slim show, which is being h ped as one of the few television series ou t there able to break down the cu ltu ral barriers between Islamic tradition and the W est. The series follows the titu lar W alad, who lives in a part-Islamic famil in the W est with his modern mother, more traditional father and ou nger sister. In the planned 7 8 7 mins series, he learns abou t modern THE SHOW:Mirette Investigates societ throu gh his natu ral cu riosit and THE PRODUCER: (France) hu morou s cu ltu re shock moments with friends and famil. The produ cers have also P ierre S issman, fou nder of C ber G rou p it at the Foru m despite the fact the P aris created one-minu te standalone shorts titled S tu dios, is billing M irette Investigates as the episode has not et finished development, and W alad C hronicles. worlds first animated travelling detective C anal+ has pre-bou ght it. Other locations S tu dio R edrogs fou nder L ahcen Bahij comed . The 5 2 13mins 2D /3D C G I project inclu de L ondon, New Y ork and Barcelona. A n said was that it was cu ltu re and not religion follows the titu lar M irette and her best A u stralian setting is also lik el to be added that drove the stor. Islam is never the friend, a la bu t intelligent tomcat called as S issman said an A u ssie broadcaster is driving force, he added. C u ltu re shock is Jean-P at, as the travel the world solving su rprisingl set to come on board. W e the raw material for the gags, added crimes in different places. have strong interest coming ou t of A u stralia, W alad creator Noredine A llam. The show is based on the book s of Fann which we didnt e pect at all, he added. The project is alread a su ccess on the Fol and L au rent A ndou in, which have sold C ber G rou p S tu dios is work ing to a web, its creator, Noredine A llam, told 18 0,000 u nits and, according to S issman, bu dget of €5 million with deliver set for the delegates as he provided some impressive there is plent of su pport for the project in end of 2015 . Two-thirds of the financing evidence of Facebook followers and more its home cou ntr of France. is in place bu t were look ing for additional than 100 online comic strip posts. A llam C anal+ , L agardere and 3D D u o all sponsored pre-bu s, said S issman. said the idea had come from his own

THE SHOW:Drinking Times THE PRODUCER:Sacrebleu Productions, Humpty Dumpty Productions (France)

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TBI KIDS CARTOON FORUM 2013

THE SHOW:Walad Makes His Muslim Sho THE PRODUCERS:Studio Redfrog (France),Ellipsanime Productions (France),Talent Television (UK),Belvision (Belgium)

back grou nd a traditional A rabic father and a famil -themed series might not be the correct a W estern, non-Islamic mother. S cripts are rou te into the stor. Im wondering if it wou ld available this month and there is a major be easier to focu s on a grou p of ou ngsters. transmedia plan drawn u p comprising This wou ld help it be more direct and less Facebook content, dail tweets on cu ltu ral politicall dangerou s than what ou ve done. differences, apps, eBook s, comic book s, The produ cers responded that the show wou ld casu al games, a clothing line, merchandise almost alwa s inclu de W alads mu lticu ltu ral and a website. W ith nu merou s produ ction friends as well as the famil. partners alread in place, some of the €4 .2 Interestingl, W ales C alon TV presented a million bu dget is covered, bu t there is room similar project in Tou lou se, M ostafa, a for more coprodu ction partners. 26 10mins preschool series abou t an A L agadere A ctive bu er was concerned that inq u isitive bo living in an A rabic sou k .

Its a C artoon Foru m tradition to showcase added that the series wou ld mak e fu n of the more leftfield E u ropean projects look ing ever one , bu t also address some more to go a step fu rther than tou ring animation seriou s societal issu es su ch as feminism. festivals. This ear threw u p almost literall S o far, we have onl u sed graphic artists D rink ing Tales, a 26 3mins adu lt-themed from S trasbou rg, bu t we are ver open comic short series in which traditional going mu ch fu rther and we dont have to fair tales are mi ed together and given sta where we are, said H u mpt D u mpt e treme new treatments. produ cer Joel H enr when ask ed how a E ach episode begins with a sodden old coprodu ction cou ld work . A coprodu cer man with a gre beard and pu ffa jack et, P re cou ld be part of the animation or the post- Nestor, entering the D rink ing Tales bar and produ ction it is ver possible. narrating a stor to the locals, at which D ens said the show wou ld cost abou t point the animation st le switches as the tale €13,000 per minu te, with a total cost of is told. abou t €1 million. W e have alread raised A ttendees saw Beau t in Boots, a €220,000, he added. P rodu ction is rework ing of S leeping Beau t and P u ss in schedu led to end in 2015 . The produ cers Boots in which a prostitu te with magic boots are also planning to create a website break s free from her pimp. throu gh which u sers can have their own P rodu cers have si scripts read to go, bu t stor featu red b writing one based on a S acrebleu boss R on D ens said b mi ing random characters and fair tale algorithm stories together, there cou ld be 100 in one hou r and su bmitting it a pu blic episodes on single characters alone. H e foru m for critiq u e.

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GENRE FOCUS FACTUAL PROGRAMMING

Todays kids have an endless array of entertainment choices. From Disney, Nickelodeon and Turner Broadcasting TV channels to films, music videos, social media and console & casual gaming, theres enough compelling content out there to occupy them 24/7.Is there a place for factual programmes in that mix? Andy Fry investigates KIDS TV SERIOUSLY

he overwhelming majority of kids The latter’s VP of children’s programming much as in entertainment TV. factual content is and always Linda Simensky’s job is all about Shows she is particularly proud of include has been funded by a stalwart commissioning kids shows for 2 to 8 year-olds Dinosaur Train from Henson and Peg + Cat, band of public broadcast groups that fulfil educational objectives. But Simensky, from The Fred Rogers Company. Peg + Cat is and organisations with a a former employee of both Nick and Cartoon a preschool animation series that specifically cultural/charitableT mission. Network, says that this is only possible if you sets out to tackle maths. What makes it stand The distinction is not so clear-cut in inject the same kind of excitement on offer at out is that it has creatives who are really preschool, where shows like Nick Jr.’s Dora the the commercial networks: This age group is a passionate about the show. [The show’s co- Explorer have strong educational elements great audience because they really love to creator] Jennifer Oxley loves maths and that embedded within them. But if you want to find learn they’re in constant discovery mode, but came through in the pitch. If you can get that an ongoing commitment to educational that doesn’t mean you can lecture them. The passion from the creators, you have a good content for preschoolers you need to be looking same basic rules about story and character chance the kids will be excited too. at the likes of Sesame Workshop and PBS Kids. apply in educational programming just as For Simensky, the use of animation seems

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GENRE FOCUS FACTUAL PROGRAMMING

Anbar plays a crucial rolefor s JCC

Entertainment. Here, you have a one minute Also in ZDFE’s MIPCOM slate is a spin-off live action sequence in which the Kratts present from Wolfblood, a drama copro between ZDF the theme of the episode and then it switches to and the BBC. In this case [the 10x12mins live-action, says Simensky. At the end there’s Wolfblood Uncovered], we are using the main another short live-action wrap up. characters from the drama to introduce a This model works, says Simensky, because factual series about wolves, says Lohmann. the Kratts are well-known through their Lohmann shares Simensky’s faith in previous series and are also active in the real established brands, but is more positive about world, going to zoos and meeting their fans. the potential of factual programming – perhaps I’d love to find other expert presenters who because he is dealing with older age groups could carry through productions in this way, than PBS Kids: At MIPCOM we are she says. introducing Smart! That’s My Story, he says. Wild Kratts performs an educational role but This is a series of true life documentaries for is entertaining enough to export well, airing in children 10 to 12. In every story children Canada, Latin America, India, the Middle East describe the challenges they face in trying to and Europe. This is something that ZDF achieve ambitions in areas like sport or music. Enterprises is also attempting to achieve with a It’s the first time the series has been in the new wave of kids shows, says Arne Lohmann, catalogue so I am keen to learn what the VP at ZDFE.junior: As a public broadcaster, market thinks. BBC Childrens Fierce Earth explores it’s an important part of ZDF’s remit to deliver The urge to educate is also alive and well at amazing natural phenomenom informative and education shows for children. Japanese public broadcaster NHK, where So at ZDFE we’re looking at whether there is Junko Ogawa, head of global content more appropriate than factual programming also some commercial potential. marketing, says: As much as we want to when dealing with the younger end of the kid Lohmann says that it’s hard to educate kids entertain our young audience, we also want to market: I’ve no real sense that documentary or through TV if there isn’t a compelling inform them about important aspects of life, magazine shows would work for this age entertainment hook. Part of what we’re doing the wonders of nature and the complexities range, she says. If we had a specific is to create serious shows that connect to of society. educational topic we wanted to tackle then we’d established or high-profile brands. For Some projects echo the cross-genre probably build a show or special around iconic example, we are coming to MIPCOM with a approach outlined by Simensky and Lohmann. characters like The Cat in the Hat, Curious show called Jungle Book Safari in which we The Kamaishi Miracle is a documentary that George or Arthur. mix animation from our Jungle Book series shows how children in the city of Kamaishi The closest Simensky comes to using real with real animal footage. We think Mowgli is a survived the 2011 tsunami. However, it uses world characters is Wild Kratts, a series based great character to introduce this kind of show animation to offer lessons on ways to prepare around the exploits of wildlife experts Chris because he is a small boy who is also going for natural disasters. Meanwhile, weekly series and Martin Kratt, which is produced by 9 Story through his own kind of education. Knocking Out Bullying uses animation and

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GENRE FOCUS FACTUAL PROGRAMMING

only entertain children, they will hopefully also inspire a new generation of scientists and inventors. Saad Al Hudaifi, is acting executive general manager and channels director at JCC, and says serious content for kids is a crucial part of the mix at JeemTV, JCC’s kids channel for 7 to 12 year-olds. JeemTV’s mission is to be the preferred children’s media experience provider in every Arab home, he explains. Our in- house production reinforces our commitment to safeguarding Arab culture while offering responsible yet universal content that educates and empowers Arab children, providing them the opportunity to unlock their potential. Titles PBSDinosaur Train sets out to teach math skills include Anbar, The News Show, Noun, Shashatech, Tijan Alnour, Power Struggle and Science Capsule. celebrities to help children speak out about Union and physics lab CERN handed out Al Hudaifi says entertainment is critical to bullying. It is set in a classroom and features a grants to help producers develop multiplatform keeping kids engaged. In Anbar, for example, member of an all-girl pop group, says Ogawa. projects that can inspire children’s interest in topics such as sport, nutrition, culture and A cartoon character created for the science. Recipients included Baby Cow and games are discussed by a presenter, two programme shows scenes of the kind of Bigfatstudio for an animated series called puppets (Anbar and Lahouh) and special classroom bullying that can be seen anywhere Cubic, in which robots explore physics through guests relevant to the episode’s theme. and asks the celebrity what they feel. All the slapstick humour; and Screen Glue for Just for Shashatech, meanwhile, is a technology- questions are meant to encourage kids to Quarks, a series of short films targeting the focused programme that keeps children up-to- discuss issues involved. YouTube generation about a trio of teen date with the latest technologies around the In addition, however, NHK has proved it is pranksters that have the ability to alter the laws globe. Tech-savvy guests are brought in to possible to make factual series that engage kids of physics. Commenting on them, Eurovision every episode. with curriculum-based content. Examples Media director Annika Nyberg-Frankenhaeuser There is no reason why tough subjects can’t include Discover Science, a science says: The best children’s programmes educate work for kids, says Al Hudaifi, if they are entertainment show that helps young viewers and inform without the viewer even being presented in the right way. While The News is understand the theories of science by showing aware. These science-themed series will not a straightforward news magazine show, Power them in action in ridiculously huge experiments and Design Ah!, which helps children understand design by showing them objects and ideas from various perspectives. These shows are among NHK’s E-Creative programmes. Ogawa says: We are finding there is a strong international demand for Discover Science and Design Ah!When NHK came up with the idea of Discover Science, our goal was to combat the fact that children were rapidly losing interest in science at schools. When we pitched it internationally we found this problem existed in other countries. That’s probably why Discover Science has been sold to 15 countries and had so many partners [series one was coproduced by NHK/NHK Educational, JCC in Qatar, SWR/WDR in Germany, UR in Sweden and EBS in South Korea]. We definitely see demand for serious content, but recognise that it needs to be shown in a unique and fun way. Wolfblood Uncovered was spun out of ZDF and the BBCs drama Wolfblood This summer, the European Broadcasting

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Nobody knows better than us what kids really watch

WE SPEAK TV

Trends & Hits in Children’s Programming Contact : [email protected] PuMa Conseil

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GENRE FOCUS FACTUAL PROGRAMMING

Struggle is a reality gameshow in which eighty teens from across the Arab world take part in overcoming the challenge of preserving the environment. Science Capsule, meanwhile, is an animated educational show featuring two virtual hosts, Salem and Anis. In each episode, Salem [a 3D boy] quenches the thirst for knowledge of the audience through the use of 3D holograms. In addition, Anis [a 3D flying robot] goes to real places where the subject of the show is being studied, since the young audience is interested in what is concrete and close-by. Increasingly, this kind of content needs to be backed up by second screen or social media, adds Al Hudaifi. The modern needs of Arab children can only be catered for by offering a NHKs curriculum-focused Discover Science 360-degree proposition across platforms. Our research underscores the importance of digital platforms, because 49% of children watch TV As an educational tool, Horrible Histories aimed at kids, says Lohmann: We are looking content online. And it is not only about is proving popular with teachers and at doing a spin-off of a documentary series watching TV online, it is also about schoolchildren. But Bradley says it would be right now – we’re just deciding exactly the interaction. We recently launched a new wrong to think that the series is trying to right way to do it. jeemtv.net website that enables greater provide a comprehensive view of the This approach is endorsed by NHK’s interaction between children and JeemTV at curriculum. The point about a series like this Ogawa: We recently aired a kid-focused spin- home and on the go – live streaming, video is that it sparks curiosity in the subject. It’s off from our wildlife series Life Force [a copro , full episodes of favourite shows and then up to the audience to decide if they want with NHNZ]. Life Force is a six-part series interactive competitions as well as games to pursue their interest further. that transports viewers to six strange worlds based on shows such as Anbar. Simensky, agrees and says her job is not within worlds, where it seems as though Science, natural history and art seem to about teaching, but about role-modelling. nature has thrown the rulebook out the feature most strongly when it comes to We’re helping kids get excited about window. In the Japanese version we used a educational content for kids. But UK-based education and asking questions. Once they popular actor and singer Masaharu indie Lion Television has also shown that know how to interact or have a conversation Fukuyama as host. history programming can work well with its they can develop enthusiasm for any topic. For the kids spin-off, NHK did a 49-minute multi-award winning series Horrible If Bradley has a disappointment it is that talk show with 100 children in a studio. The Histories. Based on best-selling books by Terry Horrible Histories has not yet taken off in a show centered on Fukuyama, a wildlife Deary, the programme is a sketch comedy big way internationally. professor, and an MC. Everyone watched series that airs in the UK on the BBC. We’re optimistic that we will start to see segments of the series, and Fukuyama talked The books set the tone for the series, says some progress, but the thing we’ve learned is about his on-location experiences. The Lion TV managing director Richard Bradley, that not all countries are able to laugh at their programme was aired in primetime during who spends most of his time making history history. In some cases, that’s because recent the summer holidays and, Ogawa says, series for grown-ups. Because the books are events are still too painful. In others it’s that succeeded in showing children the wonders funny we knew that the TV series had to follow there is no culture of laughing at the past. The of nature in their own language and tone. that lead. The books are also historically Americans don’t laugh at their presidents in There’s also a view that educational accurate, so that was another area upon which the way the British laugh at their kings and programming for kids works best when it’s we couldn’t compromise. queens. interesting enough to appeal to adults as co- Bradley didn’t have any qualms about One thing that most agree on is that kids viewers. Wild Kratts, Horrible Histories and producing an educational series for kids need tailored programmes. In part, this is Discover Science all garner adult engagement because, he says, he knew they were fascinated because the language of adult programming and endorsement that gives children a sense by facts. The real issue was making sure the is often too complex. But it’s also because the of belief that what they are watching is good quality of the series was good enough. Kids have imagery can be too graphic, adds ZDFE’s for them. so many entertainment choices that you can’t Lohmann: In an area like wildlife, you don’t If parents watch shows with their kids hope to succeed if you don’t match them. We want young children to see raw predator they’ll talk about the topic, says Simensky. put a lot of effort into making sure the writing, behaviour. There’s no doubt that seal of approval is the songs and the performing was excellent. That said, it is possible to create spin-offs important. TBI

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GENRE FOCUS FACTUAL PROGRAMMING

BBC KIDS EXECUTIVES ON THE UK PUBCASTERS APPROACH TO FACTUAL

A panel of the BBC s top childrens TV e ecs* talk abou t the U K pu blic broadcasters approach to k ids factu al programming

W hat k ind of seriou s shows does the BBC produ ce for k ids? News, factu al and docu mentar programing is what sets C Beebies and C BBC apart from other U K childrens channels, and mu ch of ou r factu al content is among ou r best performing content. A nd s W ild A dventu res, D eadl 6 0 and H orrible H istories are all hu ge brands. L ook ing at one show in more detail, Fierce E arth is a science series that fu ses archive footage, e periments, e perts and personal stories each episode e ploring awesome natu ral phenomenon.

H ow do these shows cu t throu gh when k ids have so man choices? Horrible Histories:Top performing content M ost children activel want to discover things and tak e awa inspiration from their viewing. For e ample ou r M L ife sophisticated. G raphics on science shows H u man C hallenge tak e a global view of their docu mentar strand is one of the best need to compete with high-end special effects respective topics. L ik ewise, A nd s D inosau r performing shows for C BBC this ear. on compu ter games. The effects on S u per A dventu res is epic in its e ecu tion bu t, at the Interestingl, au dience research su ggests H u man C hallenge are the same fast cu t, same time, manages to focu s on small bu t that science is one of k ids least favou rite la ered graphics u sed in sports pack ages. important information on dinosau rs. U sing su bjects, therefore the challenge with Fierce footage from W alk ing with D inosau rs, it E arth was to mak e a science show withou t H ow important is second screen these da s? places A nd at the centre of the dinos world ou r au dience think ing the were learning. In Ideall the brand lives on all mu ltimedia to give a new perspective on what their lives that case, we focu sed on e treme weather, platforms. were lik e. which we k now ou r au dience is fascinated From the ou tset with Fierce E arth, we b, bu t made each episode in the st le of a k new that L eo H ou ldings climbing stu nts Is there a need for k id-specific factu al shows? su rvival gu ide. wou ld be a hu ge draw for ou r au dience. W e There is more need than ever for factu al W e also have S u per H u man C hallenge, a therefore decided du ring shooting, that we content shaped arou nd the u nderstanding hu man biolog show, pack aged as a large wou ld create diar cam content for the and concerns that k ids have. scale, international series abou t real people website. Ou r dail news show for k ids, Newsrou nd, with su per hu man abilities. The stu nts are For S u per H u man C hallenge, we have a is a cornerstone of ou r pu blic service content dangerou s, ambitiou s and on a grand scale. Flash based q u i and gaming application as it engages children with real events in the that allows ou r au dience to test their sk ills world. To m mind [Joe G odwin], the need for C an we have faith that ou r children still have against the shows presenter. content lik e this is greater in toda s worlds a thirst for k nowledge? than it was when I was a k id. Y es. Ou r best performing U K factu al content is Is there an international mark et for these led b facts, world-class stor telling and shows ou t there? * P anel comprised: Joe G odwin, director, BBC ama ing pictu res. That said, with an Factu al shows are something man C hildrens; S am L ewens, creative director, au dience regardless of age, the more ou broadcasters produ ce locall so the C BBC ; L ou ise C orbett, e ecu tive produ cer, can deliver that k nowledge in a gloss, challenge has alwa s been to find shows S u per H u man C hallenge; Nathan ambitiou s, entertaining and e citing wa, the that compliment local ou tpu t, bu t also W addington, childrens genre manager, BBC better. S u per H u man C hallenges visu als are compete with it in the international mark et. W orldwide; and S ara H ark ins, creative fast paced, e citing and the graphics are A s a resu lt, both Fierce E arth and S u per director, C hildrens, BBC S cotland.

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LAST WORD BEN BUTTERWORTH

LAST WORD

BEN BUTTERWORTH, SNAPP PRODUCTIONS Making MIPCOM work for you

e first attended actually matter. MIPCOM veteran yet, but I have attended a MIPCOM back in To meet the right people, you want to set up fair few in the past five years. My experience 2009 with the idea for as many meetings as you can, well in advance. has changed significantly. What were once a new preschool But be realistic – you may not secure all the speculative meetings with potential partners animated series called ones you desire, so look for other are now get togethers – with the same people WQ Pootle 5. We had already presented the opportunities outside of the Palais. Attend the – who are now very real partners, as we discuss project to a number of European broadcasters relevant seminars and go to the bars and commercial strategy and future projects. They and the BBC had made an offer for the series parties – as many as you can. Collar someone have been fantastically supportive, especially but we required more funding to get it off the in the street if you have to, if you think they ZDF Enterprises and the BBC. ground. While we thought we had a good might be worth talking to. It feels great to be officially launching Q project, there was still a sense of trepidation Make the most of the meetings you do have Pootle 5 with ZDF Enterprises this year. We presenting to broadcasters and financiers who by doing your research, know your audience are very proud of our show. It is performing might have had different expectations and and tailor your pitch appropriately. Ideally, arm fantastically well on CBeebies and children cultural leanings. yourself with a pilot, a short summary in your and grown-ups really love it so we’re very Fortunately for us, Q Pootle 5 was really head of the main points of the show, which can confident that it will prove just as popular on well received by the broadcasters we met from be backed up on paper, and prepare yourself other channels across the world. across the globe – and so began my love affair for the odd awkward question about why the We hope to meet lots of people, who are both with MIPTV and MIPCOM. buyer should take you project over another. interested in acquiring Q Pootle 5, whether it’s Both events are huge, and it’s easy to find For children’s TV, MIPJunior is a great for broadcast, licensing or other commercial yourself overwhelmed by their scale – the opportunity. Speaking to buyers, I know they rights, but we’re also interested in meeting major producers, the huge billboards, like the chance to sit and watch the people to discuss the development of new announcements of major deals and the programmes uninterrupted, and I think this projects for children, families and grown-ups. keynote speakers. But we soon discovered that is great for sellers too. See you in the Palais (or on the Croisette). TBI fortunately not everything you hear or read is Whilst a face-to-face is very important, it is actually relevant to you and your show. equally important that your show, which you Hopefully your project will stand out in its worked so hard on, is given a good airing. The genre – don’t panic if you come away thinking screening booths give you a great chance to you didn’t make waves, just hope that your show off, even if you’re not present. show has resonated with the people that I can’t describe myself as a MIPTV and To meet the right people, you want to set up as many meetings as you can, well in advance. But be realistic – you may not secure all the ones you desire, so look for other opportunities outside of the Palais too

40 TBI Kids October/November 2013 For the latest in TV programming news visit TBIVISION.COM “I found the perfect job in media through TBI Vision Jobs” It’s time to find yours!

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