Television Business International Comedy Funny drama Page 30
Mark Linsey Inside BBC Studios Page 20
TBIvision.com April/May 2017 MIPTV Issue
MIPTV Issue
April/May 2017
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pOFC TBI AprMay17.indd 1 22/03/2017 20:23 TBI_COVER_THE BRAVEST_AW.indd 1 20/03/2017 13:52 A New Scripted Series from Executive Producers DOMINIC MINGHELLA and JEREMY RENNER
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pIFC-01 A+E Knightfall AprMay17.indd 2 17/03/2017 10:42 TBI_Inside_Front_Cover_Knightfall_FIN.indd 1 3/15/17 2:34 PM
TBI Inside Front Cover - Knightfall – FINAL 432mm x 275mm trim size A New Scripted Series from Executive Producers DOMINIC MINGHELLA and JEREMY RENNER
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p02 Red Arrow AprMay17.indd 1 15/03/2017 12:16 CONTENTS APRIL/MAY 2017
30 20
20 TBI Interview: Mark Linsey BBC Studios director Mark Linsey tells Jesse Whittock about his creativity-led plans for the public broadcaster’s new production arm
24 Turner’s European connection Turner’s Hannes Heyelmann tells TBI about being the point-man for European investment in shows from the American mothership 26 OTT strategies 26 Traditional broadcasters, pay TV channel operators and OTT specialists are all launching new, targetted SVOD services. TBI speaks to them about gaining a foothold in the streaming world
30 Comedy at a crossroad Comedy is a tough sell for many internatioanl distributors, but there is increasing demand for dra- ma-infused half-hours buyers, sellers and producers tell Stewart Clarke
34 French exports: increase the volume Pascale Paolli-Lebailly finds that French distributors need more content in key genres if they are to remain relevant in the international marketplace 34 This issue
Also in this issue 6 Ed Note • 8 Diary • 10 People • 12 Molotov’s cocktail • 14 Root’s cause • 16 All3Media International •152 Last Word: Pierluigi Gazzolo, VIMN America
For the latest in TV programming news visit TBIVISION.COM TBI April/May 2017 3 CONTENTS APRIL/MAY 2017
This issue
4236 52 36 Mediapro’s global ambition Emiliano de Pablos speaks to key execs at Spain’s Mediapro about its global ambitions and plans to Formats extend its international footprint TBIvision.com
April/May 2017 42 Returning miniseries There is renewed demand for limited series, also known and miniseries, and increasingly these are returning for second and third seasons. Andy Fry looks at the markets for miniseries and TV movies Kids TBIvision.com 48 BBC Showcase: show and tell ASK THE NATION! April/May 2017 Stewart Clarke speaks to BBC Worldwide bosses and genre chiefs about the distributor’s annual The live entertainment format sales extravaganza, BBC Worldwide Showcase that finds out what the nation really thinks NOW! Factual TBIvision.com
52 Diverse offerings in Rio April/May 2017 Gary Smith reports from the Rio Content Market, where John Singleton and others were keen to Coming talk about diversity in the international TV business FormatspOFC AprMay17.indd 1 soon to
The magazine celebrating television’s golden era of scripted programming 22/03/2017 18:03
Plus TBI Scripted Issue #7 April 2017 Showrunner special, interviews with Shawn Ryan, Mark Goffman and Jimmy McGovern, the low- down on Idris Elba drama Guerrilla and a cose look at a new type of Nordic noir, a procedural first, KidspOFC AprMay17.indd 1 LIVING WITH SECRETS LAGARDERE_SONIC_TBICOVER_0317_def.indd 1 and a glitzy Julia Stiles drama Riviera
15/03/2017 18:01 TBI Factual 15/03/2017 17:20
Produced by NHNZ in co-production with PBS, CCTV9, ZDF, ZDF Enterprises, Factual for millennials, doc trends, Blue Planet II, and news and opinions from the industry Discovery International, Channel 9 and Arte
FactualpOFC AprMay17.indd 1 Distributed by Anzeige_Titelgestaltung_TBI_Big_Pacific_MIPTV2017_RZ_02.indd 1 STEPHEN MOYER IN TBI Kids
22/03/2017 17:55 13.03.17 22:23 TBI Hot Picks highlighting the best for MIPTV, new kids studios, kids OTT strategies, and an at-a- for ITV, UK glance grid showing what’s hot MIPTV Stand No : P3.C10 @all3media_int all3mediainternational.com
TBI Formats Scripted OFC Apr17.indd 2 TBI Hot Picks covering new shiny-floor shows, reality series and gameshows, Paul Telegdy and Phil Gurin interviews, and ITV’s time-travel plans 13/03/2017 16:39
4 TBI April/May 2017 For the latest in TV programming news visit TBIVISION.COM
p03-04 Contents AprMay17scJW.indd 6 22/03/2017 21:17 NEW EPISODES WITHIN MINUTES OF U.S. BROADCAST EVERY MONDAY
p05 AMC AprMay17.indd 1 22/03/2017 10:12 EDITOR’S NOTE
STEWART CLARKE
n politics here in the UK there is a lot of talk of the ‘squeezed has to bode well for producers, and by association, distributors. middle’, the people neither rich nor poor who are hardest hit by Elsewhere in our MIP-focused issue, we look at how comedy is Ieconomic changes. TV, it seems, also has a squeezed middle. evolving, it’s about more than just laughs we hear. Whether it is drama, formats, kids or docs, the idea that you either As TBI heads to Cannes, it seems the April get-together is changing. go big, or go small, is increasingly to the fore. Big means big budgets, Details will be revealed on the first day of the market, but what is marketing and brand building. Small means going after a niche known is that a new TV festival, open to the public, will run alongside audience, who may be low in number but are fiercely loyal to the the buying and selling-focused MIPTV. shows they like. The market’s organisers are also setting up a new LA Screenings In this issue we hear the go-big-or-go-small mantra from several preview at the market, an attempt to lure the US studios to France execs, and about kids shows, formats, docs and drama programmes ahead of their May Screenings. that are both huge, and tiny, and – whether the producers like to admit If that gains traction this year, and the mainstream festival launches it or not – fall into that middle category. next, MIPTV 2018 could look and feel very different. How these (and all) programmes are delivered continues to change. Netflix and Amazon hog the headlines when it comes to streaming, but numerous other established and new players are getting involved. We talk to Viacom, Viaplay and Viki (as well as other companies not starting with a V) about their targeted OTT strategies. Deputy editor Jesse Whittock sits down with Mark Linsey to find out more about BBC Studios, the UK pubcaster’s new production division. The most-used word from the BBC exec is ‘creativity’, which
Editor Stewart Clarke • [email protected] Published by KNect365 TMT, Maple House, Direct line +44 (0) 20 7017 4244 Twitter @TBIstewart 149 Tottenham Court Road, London W1T 7AD Tel: +44 (0)20 7017 5000 e-mail: [email protected] web: www.tbivision.com Deputy editor Jesse Whittock • [email protected] Printed in England by Wyndeham Grange Ltd, Southwick, West Sussex BN4 4EJ. Direct line +44 (0) 20 7017 5809 Twitter @TBI_Jesse Television Business International (USPS 003-807) is published bi-monthly (Jan, Mar, Apr, Sales manager Kate Roach • [email protected] Jun, Aug and Oct) by KNect365 TMT, Maple House, 149 Tottenham Court Road, London, Direct line +44 (0) 20 7017 5295 W1T 7AD. The 2006 US Institutional subscription price is $255. Airfreight and mailing in the USA by Agent named Air Business, C/O Priority Airfreight NY Ltd, 147-29 182nd Street, Jamaica, NY11413. Periodical postage paid at Jamaica NY 11431. US Postmaster: Art director Matthew Humberstone • [email protected] Send address changes to Television Business International, C/O Air Business Ltd / Direct line +44 (0) 20 7017 5336 Priority Airfreight NY Ltd, 147-29 182nd Street, Jamaica, NY11413. Subscription records are maintained at KNect365 TMT, Maple House, 149 Tottenham Court Road, London W1T 7AD, United Kingdom. Air Business Ltd is acting as our mailing agent.
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p06 TBI Ed Note AprMay17scJW.indd 8 22/03/2017 20:56 FROM THE WORLD’S LEADING PRODUCER OF LIFESTYLE CONTENT
JOIN US AT STAND P4.C20
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pXX Scripps TBI AprMay17.indd 1 08/03/2017 16:03
Scripps Networks Publication: TBI Trim Size: 216mm x 275mm Date Interactive ATTN: Tess Waldburger Bleed: 226mm x 285mm 03/01/17 EVENTS 2017 DIARY
9 – 11 May 12 –17 June 12 – 15 September Cartoon Business MIFA Cartoon Forum Belfast, Ireland Annecy, France Toulouse, France www.cartoon-media.eu/cartoon-masters.htm www.annecy.org www.cartoon-media.eu
10 –12 May 12 – 15 June 10 – 12 October Busan Contents Market NEM Brand Licensing Europe Busan, Korea Dubrovnik, Croatia London, UK www.ibcm.tv/eng www.neweumarket.com www.brandlicensing.eu
16 – 19 May 19 – 22 June 14 - 15 October LA Screenings NATPE Budapest MIP Junior Los Angeles, US Budapest, Hungary Cannes, France www.lascreenings.org www.natpe.com/budapest www.mipjunior.com 29 – 31 May 19 – 22 June Cartoon 360 16 – 19 October Sunnyside of the Doc Barcelona, Spain MIPCOM La Rochelle, France www.cartoon-media.eu/cartoon-360.htm Cannes, France www.sunnysideofthedoc.com www.mipcom.com 11 – 14 June 20 – 23 June BANFF TV Festival 19 – 23 October Conecta Fiction Banff, Canada MIA Galicia, Spain www.banffmediafestival.playbackonline. Rome, Italy www.conectafiction.com/en/ ca/2017/ www.miamarket.it/en
4 – 6 July 12 – 16 June 25 – 27 October Shanghai TV Festival Children’s Media Conference DISCOP Africa Shanghai, China Sheffield, UK Johannesburgh, South Africa www.stvf.com www.thechildrensmediaconference.com www.discop.com
23 – 25 June 23 – 25 August 1 – 8 November Licensing International Edinburgh International TV AFM Expo Festival Las Vegas, US Edinburgh, Scotland Santa Monica, US www.licensingexpo.com www.thetvfestival.com www.americanfilmmarket.com
16 – 20 June 10 – 14 September 6 – 8 December Monte Carlo TV Festival Le Rendez-Vous Cartoon Digital Monte Carlo, Monaco Biarritz, France Munich, Germany www.tvfestival.com www.tvfrance-intl.com www.cartoon-media.eu
8 TBI April/May 2017 For the latest in TV programming news visit TBIVISION.COM
p08 Diary AprMay17.indd 10 22/03/2017 18:16 5 x 60’ CRIME DRAMA SERIES BASED ON A TRUE STORY
MIPTV Stand No. C20.A
p09 Zodiak Dear Murderer AprMay17.indd 1 16/03/2017 14:34 DEAR MURDERER_TBI_FP_AD_AW.indd 1 16/03/2017 10:24 MONITOR PEOPLE On the move TBI takes a look at the latest comings and goings in the international television business and reports on who’s moving where
BEN PYNE is leaving The Walt Disney Company after a quarter of a century. For the past decade, Pyne has been president of Disney Media Distribution, the sales arm of the Mouse House
Tomás Yankelevich is exiting Argentinian broadcaster Telefe, as Viacom stamps its mark on the business with a new executive team. It is the latest in a series of exec changes at Viacom under Bob Bakish
Channel 4 chief executive DAVID ABRAHAM will exit the UK broadcaster later this year to launch a new media business in 2018. He has been at the public service commercial broadcaster since 2010
Netflix has hired former Universal exec Scott Stuber to head up its ongoing drive into original movies. He had been the frontrunner to replace Brad Grey at Paramount. Asian Netflix rival Iflix, meanwhile, has poached the US company’s VP of global television, Sean Carey
StudioCanal has hired LOUISA BAYLES as its head of sales for Australasia. She joins from ITV Studios and prior to that was at BBC Worldwide for 15 years
Kevin Dickie has joined the international arm of AMC as senior VP, channels group, UK, Middle East and Africa, and Poland. He joins from Scripps Networks after less than six months at the channels business
Amazon Studios has hired FremantleMedia International’s GEORGIA BROWN as its first director of original television for Europe. Brown’s remit will see her commissioning programming from producers in the UK and across Europe
Elin Thomas has joined UK-based distributor DRG after leaving Passion Distribution. She becomes executive VP of sales at Modern Times Group-owned DRG
Fox Networks Group has put PAOLO AGOSTINELLI in charge of channel distribution for Europe and Africa. He will oversee deals between FNG and platforms for the Fox, National Geographic, Fox Sports and Baby TV channels in Europe and Africa
10 TBI April/May 2017 For the latest in TV programming news visit TBIVISION.COM
p10 People AprMay17jw.indd 16 22/03/2017 21:22 COLM EMMANUEL ANDRES CONRAD RYAN JOSEPH FEORE RJ STEPHANIE PIERCE KABONGO BENNETT PLA 21FETHERSTONHAUGH THUNDER DREAMS COME AT A PRICE
MIPTV Stand C15.A6, Croisette 15 Drama Series: 8 x one hour
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p11 Content Media AprMay17.indd 1 16/03/2017 10:49 J10117_21_THUNDER_TBI_FP_AD_AW.indd 1 15/03/2017 18:56 MONITOR MOLOTOV Molotov’s cocktail Sky-backed French OTT free and pay TV distributor Molotov plans to expand its domestic French service this year and start its European roll- out. Cofounder Jean-Marc Denoual tells Pascale Paoli-Lebailly about Molotov’s 2017 strategy
olotov will attend MipTV on a mission to convince the international TV channels that have not signed up yet to partner with the service. The French freemium OTT and pay TV channel distributor currently offers direct access to the live Mand replay services of a package of 80 free DTT and pay TV services. It is now planning rapid international expansion. Recent live-streaming and channels launches in the US serve as an example the Molotov model is the right one, cofounder Jean-Marc Denoual says ahead of a crucial period for his service. Molotov launched in July 2016 in France by AlloCiné founder Jean- David Blanc, Canal+ founder and Cannes Film Festival president Pierre distributor validates Molotov’s model, which already exists in France,” Lescure and Denoual, the former TF1 exec. Denoual says. He says the traditional TV industry should embrace his Its latest round of fundraising added E22 million ($23.7 million) to business, not feel threatened by it. its coffers last December, and saw Sky sink E4 million into the service “Molotov just adds value to the TV industry by reinventing and and French TV distribution services company TDF become a minority simplifying access, and by bringing a new experience to users,” he shareholder. says. “It is a unique service, and in terms of expansion we are targeting With funding secured, Molotov now wants to launch in another Europe first.” European country within the next twelve months. “There is no fixed Molotov will model its international service on the French product and agenda yet, but we’re in discussions with the main European channels, consumption trends revealed in the first few months of operation. and a few of them have already signed up,” Denoual says. “Molotov’s first ambition was a free and non-exclusive TV service, “Our goal is not to launch into a small country, but the choice of the first but the web-surfing experience it gives is unique,” Denoual says. “The country we’ll extend to will depend on the negotiations with the networks, service has been very well received in France, which isn’t known as an the way the country fits with the Molotov project, and how much digital easy market. The downloads number is high, as we are reaching users usage is developed there.” who come back frequently, and the growth rate is increasing.” Looking to the medium term, the plan is to move beyond Europe. “Of The Molotov exec won’t disclose any audience or subscription figures course, three years from now, we’d like to see our platform available in – “that makes talks with international channels easier” he says – but he several countries and on another continent.” does confide that Molotov’s regular users have a younger profile than for Sky has been a very attentive partner, Denoual says – even before the regular TV. project was launched. The UK pay TV group is eager to trial new models In France, the next step will be to boost the channel line-up on the pay and services that complement traditional pay TV. Sky can also help TV segment. Besides new content, the user experience will be enhanced Molotov develop beyond its home French market, dominated as it is by with the addition of new social functionality, helping users to connect with Vivendi’s Canal+ model. one another. Molotov is available as an app from connected devices, on Samsung With TDF becoming a strategic partner, the platform also plans to and LG TV sets and on the web. It also works with Google’s Chromecast introduce a hybrid product mixing IPTV and DTT, and enhance the dongle. It rolled out a E9.99 “Extended” option plan last December, experience for smart TV viewers with HD DTT. adding eleven new pay TV channels including kids nets Canal J and TiJi “There is a real added-value to present TV in a more modern way,” and AB’s Crime District. Denoual says. “In some European countries, there is a chasm between A standalone E9.99 Ciné+ option, meanwhile, gives access to all the the existing experiences and what Molotov promises.” Canal+ movie channels. The Canal+ premium bouquet isn’t, however, Of course, it will have to compete with the likes of Amazon and YouTube available. The bookmark function enables remote video recording in the as they expand their channels services. With major media companies cloud. “The fact that YouTube is to offer a live TV streaming from a range among its backers and industry veterans at the helm, this year will tell if of leading US broadcast networks and asserts itself as a TV channels Molotov is offering the right cocktail. TBI
12 TBI April/May 2017 For the latest in TV programming news visit TBIVISION.COM
p12 Molotov monitor AprMay17scJW.indd 22 22/03/2017 13:57 NORDIC NOIR MEETS BRITISH MURDER MYSTERY
A NEW DRAMEDY FROM AWARD-WINNING PRODUCER FLX
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p13 Keshet Fallet AprMay17.indd 1 15/03/2017 19:36 MONITOR HBO Root’s cause HBO Europe is well established as a producer in central and eastern Europe, and has now restructured to produce programmes from the Nordics and Spain as well. Original content chief Antony Root tells Jesse Whittock about the plan hile HBO is best known for its agenda-setting US programmes such as Game of Thrones and Westworld, its European production business has “There is immediate been in operation since 2010. Through series such engagement when as Wataha and Burning Bush, it is now established HBO talks to top Was a name in the Polish, Czech, Hungarian and Romanian markets. Last year, HBO Europe’s executive VP of programming and production, creative people in Antony Root, revealed to delegates at Drama Series Days in Berlin that any market ” the company would next be targeting originals out of the Nordic region. Danish Film Institute commissioner Hanne Palmquist was duly hired to Antony Root oversee the push. That news had followed a restructure that saw HBO’s Nordic chief Hervé Payan taking over as HBO Europe CEO from Linda Jensen, it seems to be quite clear that there is a market for what we’re offering.” consolidating bases in the Netherlands, Nordics and CEE region under The challenge with original programmes, he says, is gaining traction his control. With new management in place, HBO has also launched a in a market that is “very well served in drama by its terrestrials” such as subscription VOD service in Spain, and has hired former Canal+ and RTVE and Antena 3. Spain has also witnessed the arrival of Netflix, which Movistar channels chief Miguel Salvat to create originals in the southern is producing a pair of local shows, and has Movistar+, which is pouring European territory. massive investment into its SVOD service and has around 20 shows in Root has since handed some of his duties in CEE to Jonathan Young, various stages of development. with drama development chief Steve Matthews now working across the “I have, having worked for HBO for more than five years, huge three regions under the new structure. confidence that when we talk to the top creative people in any market In Spain, the challenges for HBO include attracting subscribers in there is an immediate correspondence and engagement,” says Root. a territory notorious for its high levels of piracy. Though focused on Salvat, who worked with HBO for more than two decades before joining originals, Root says, “The evidence so far, in terms of subscriptions, is the Time Warner-owned company, has already held meetings with “some of the heaviest-hitting talent in the country”, says Root, noting there will be no immediate announcements on new shows with Palmquist’s Nordic team is next up to reveal its first series. “If we’re talking methodology, we’re trying to take Miguel’s sixth sense about us and analytical powers of the market, coupled with some of the experiences my team and I can bring,” says Root. “Where we’ve been working in Europe, we have been trying to do a derivative of the American HBO, but with difference.” “Tens of shows” have been pitched to HBO Nordic, says Root, and in order to debut an SVOD original in the region by 2018 as planned, a show will need to be greenlit by the second half of this year. Projects that reflect talent’s passion are more likely to be commissioned than cookie cutter shows, as HBO Europe originals must pair well with their US counterparts. An example is Wasteland, an eight-part small-town mystery drama from Czech Republic that debuted last year. “What I’m optimistic about is that a combination of rigour and instinct will give us the kinds of shows that audience know wouldn’t have been on other providers,” says Root. “That has to be my goal.” Further plans for HBO Europe include plans for original production in the Croatia, Serbia, Bosnia and Herzegovina, Slovenia, Macedonia and Montenegro regions. HBO appealed last year for scripts from local talent, with a submission deadline of last November. “Working out what is right Wasteland for that region is complex because it is multi-lingual,” says Root. TBI
14 TBI April/May 2017 For the latest in TV programming news visit TBIVISION.COM
p14 HBO Root monitor AprMay17jwSC.indd 22 22/03/2017 21:23 Rich House Poor House Cheap Cheap Cheap
How To Live Mortgage Free Three Wives, One Husband
Outnumbered Episodes COMEDY FACTUAL FORMATS
Doctor Thorne The Secret DRAMA
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p15 Hat Trick AprMay17.indd 1 15/03/2017 12:15 J10091_HAT_TRICK_TBI_FP_COMBO_AD_AW.indd 1 14/03/2017 10:37 MONITOR ALL3MEDIA Doubling down on All3Media International
In her first interview since returning to run All3Media International, Louise Pedersen tells Stewart Clarke about doubling the investment in drama, moving into supersized factual and working with owners Discovery Communications and Liberty Global
aving left distribution in up the food chain, and get us more involved in Grantchester, Brokenwood Mysteries and Inspector 2014 for drama production drama development, helping with financing and George Gently. These are part of a whole tier of at Colin Callender firm, bringing in coproduction partners.” shows that are fundable from a UK broadcaster, Playground Entertainment, The company has relationships with the plus a tax credit and distribution advance, and Louise Pedersen returned to drama prodcos in the group, which include they play in primetime in key territories. HAll3Media International last year. Although Bentley Productions, New Pictures and South “There is also a place for more niche, younger- ostensibly the same business as the one she left, Pacific Pictures, as well as a network of first-look skewing shows like Clique, which is from the company had a new CEO (Jane Turton), and deals and one-off distribution deals. Bryan Elsley, who created Skins, and is cool and ownership had transferred from private equity With the drama investment doubling and a contemporary.” giant Permira to Discovery Communications remit to get involved at the inception of projects, One industry trend that has only become more and Liberty Global. Pedersen says the role of the company is more pronounced in the period between Pedersen “It felt like a different job,” Pedersen says. than just that of a distributor. “It’s a move leaving and rejoining All3Media is the influence “It was really about the opportunity to grow the towards an independent studio model and is of Amazon and Netflix. She acknowledges this business again. With Jane as CEO there was a about getting in early and having some input in development, but adds that there are other very clear strategy for growth, and there was also development and financing,” she says. factors at play. a commitment from our shareholders to fund In terms of where it will place its drama bets, “For us the biggest thing has been the growth that growth, whereas when I left it was quite an All3Media International wants the edgy high- of another viable tier of broadcasters,” she says. uncertain time.” end drama series that drive cable and SVOD “Whereas once, when we modeled investments In her first stint at All3 Pedersen had set up viewing, and the more comfortable story-of-the- we knew that we needed a big American pay TV copros including The Missing with Playground, week shows that attract broad free TV audiences. network, you now have a whole other tier of pay TV Starz and the BBC, and she says her time in “When we look at the content strategy, our and VOD platforms you can go to, and not just in programme making has given her a drama needs are quite wide,” Pedersen says. “At the the US, but in Germany, France and Australia too.” prodco’s perspective on the business. That could high end, we want big, ambitious shows that All3Media International can invest directly in prove vital given that scripted is a key pillar of the require and can bring in coproducers. At the content through first-look and development deals; growth strategy. moment, these tend to be more in the thriller and it can bankroll overheads and development “We’re doubling our investment in drama this and genre areas. for start-ups in return for distribution rights, but year,” Pedersen says. “Coming back, one of the “There is also another prong, which is not an equity position. If a company is actually things I wanted to do was move us away from more about shows that can return, play more being acquired then it becomes a group deal. just being a sales house, in the sense of coming to a family audience, and are maybe more Sometimes one can lead to another. For example, in at the end of the process. I wanted to move us detective- based; shows like Midsomer Murders, All3Media International had a first-look deal with
16 TBI April/May 2017 For the latest in TV programming news visit TBIVISION.COM
p16,18 Pedersen AprMay17scJW.indd 16 22/03/2017 21:21 p17 DRG AprMay17.indd 1 17/03/2017 16:17 MONITOR ALL3MEDIA
Harry and Jack Williams before the wider group acquired their prodco, Two Brothers, in February. If setting up new first-look deals is on the agenda, the deals are becoming more challenging. “It’s harder to do them now because a lot of people have relationships already, and a lot people have been buying,” Pedersen says. “But we’re having a lot of conversations with new talent that is setting up about how we can support them.” The Liberty and Discovery ownership also opens up other opportunities. Last August, Liberty said that All3Media was producing a quartet of dramas, with its UK cable platform Virgin Media effectively the commissioner. The Clique shows will play on Virgin’s streaming service and on Liberty’s SVOD services in several territories, and All3Media International will sell really well, and [BBC Two’s] Employable Me and upside on some ad-funded projects.” the shows elsewhere. Big Life Fix. In terms of infrastructure, All3Media “We have three nearly ready to announce,” “What is slightly more challenging is International opened a new Singapore base to Pedersen says. “The scripts are being written, traditional factual, and what’s going on is the service Asia last year and a New York office to so they are in very active development. We hope same as in scripted. It’s getting supersized and reach buyers on the ground in North America there will be decisions about which ones are event shows are being done on a bigger budget and Latin America. It backed the Asian pitch at greenlit soon.” and a more ambitious scale, whether that’s ATF last year, and the local presence means it can Drama is a big priority, but unscripted is Making a Murderer or Planet Earth II. We need to now more readily attend local TV markets and also part of the All3Media International story. look at the very big ambitious factual pieces that events alongside the Cannes perennials. In terms of entertainment, there hasn’t been might be 6-to-10 hours, whereas in the past we’d “The localisation of programming markets is a breakout shiny-floor hit sinceThe Voice, but look more at the 2-to-4 hour space.” interesting and useful, and having those offices Studio Lambert’s Gogglebox has fared well Discovery, meanwhile, is a powerhouse in makes it easier to go to the likes of Realscreen, internationally. Across unscripted, the company unscripted and has its own distribution division. Banff and the Rio Content Market,” Pedersen is evaluating where to place its bets, with a move The All3Media International team meets with says. “While MIP is a place to showcase new into ‘supersized’ factual planned. Discovery regularly, and there are some joint drama at screenings and find new formats “We’re reviewing what’s working and initiatives in the offing. “We meet quarterly to go at MIPFormats.” Accordingly, one of its new what isn’t in unscripted internationally,” says through new content, and there are discussions dramas, Clique, will be part of the MIPDrama Pedersen. “What definitely is working are the around specific pieces of content,” she says. Screenings this year and comes from Bryan long-running factual entertainment shows like “We’re talking about potential programming Elsley’s Balloon Entertainment, with which [Channel 4 series] Tattoo Fixers, which is doing deals in the UK, where we both share in the All3Media International has a first look. Other upcoming dramas include Liar, a six- part ITV drama from Two Brothers showing both sides of a relationship gone wrong. It is a copro with Sundance in the US. There is also schools drama The ABC, the first project out of a first-look deal with The Forge (see TBI Scripted, p.23), and Safe House – The Crow, the second run of Safe House, the thriller that has now evolved into an anthology series. Less edgy isLove, Lies & Records from Rollem, about a registrar juggling her personal life and daily work. They say never go back, but in returning to the All3 fold Pedersen is at a different business to the one she left. Instead of private equity owners the current owners are industry stalwarts, and also have deep pockets. “They are saying, ‘go out and get great content and we’ll back you and give you Safe House – The Crow the funds to do it’,” Pedersen says. TBI
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p16,18 Pedersen AprMay17scJW.indd 18 22/03/2017 21:21 1 × 50 min.
ALL ABOUT THE MOON
1 × 53 min.
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DANGER FROM BELOW EUROPE’S SUPERQUAKES
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p19 TerraMater TBI AprMay17.indd 1 17/03/2017 10:25 INTERVIEW BBC STUDIOS
Studios system The BBC’s production arm has become a commercial subsidiary, changing its business model for the first time in more than half a century. Founding BBC Studios director Mark Linsey tells Jesse Whittock how the UK creative giant will evolve
e have a reputation as model is about making our creativity as effective director 13 months ago and immediately the best programme as possible.” launched a review of the existing structures – makers in the world, The move to switch BBC Productions into a time was of the essence as regulatory processes and that’s really wholly owned money-making subsidiary of the were underway already. important to us – BBC was a director general Tony Hall brainchild “When I took over, the first thing I did was producingW quality and delivering distinctive first revealed just over two years ago. to go around the businesses and the different programmes right across all specialisms. That With the BBC facing ideological opposition production entities that existed then,” he says. is not going to change.” from many parts of Britain over its continued “What I was pleased to find was a lot of creative That is the bold statement of Mark Linsey, the licence-fee model (it remains illegal in the heads who wanted the autonomy to lead in founding director of BBC Studios, the newly UK to watch terrestrial TV without one) and their areas.” commercialised BBC production division. financial pressure from the government to both “What they didn’t necessarily have was the Speaking exclusively to TBI on the seventh streamline operations while unlocking value, right business skills to model their creative area floor of New Broadcasting House in London, Hall unveiled his vision for a production unit in an efficient, commercial way, because it’s not the sky-high expectations placed on him and that was devoid of in-house production quotas their background. To be honest, it’s not what I his producers are offset by his lofty ambitions. and able to produce for other networks for the wanted them to focus on – I want them to focus “Becoming a commercial subsidiary of the first time in the BBC’s 95-year history. on being great creatives.” BBC means we can be more competitive in a Peter Salmon was initially tasked with The result was the creation of three business very changing landscape, where we can retain establishing BBC Studios. However, his head positions, which would work as a single and attract the best creatives,” he says. unexpected exit for Endemol Shine Group in layer of management above the creative chiefs. “One can’t be complacent about creativity, early 2016 left the door open for entertainment Nick Betts was named director of scripted, and everything we do in changing the business supremo Linsey. He was officially named Roger Leatham took on entertainment, music
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and events, and Lisa Opie became director of factual, overseeing seven unscripted units. “We wanted the structure as flat as possible, so we didn’t have the divisional hierarchy that often exists in the BBC, to cut out as many managerial layers as possible,” Linsey says. Studios restructuring put paid to 300 roles, however (the unit employed around 2,000 staff at that point). “It’s important we have a flexible operating model, and a model that replicates what is going on in the market. “That was the structural change, to have a different relationship with our staff,” Linsey says. We are working through that process and are nearly through it.” The changes also saw senior executives such as Wendy Darke, Katie Taylor and Mark Freeland leave, with the latter suggesting the new shape would hamper his creative ambitions. Rillington Place ‘Creativity’ is, in fact, the word Linsey uses most. This could be media interview training in action, but it is fair to say he has earned understands both public broadcasting and the pitching skills and how to operate with new his stripes in both independent and BBC BBC’s new remit as a third-party producer customers. It is not going to happen overnight, production circles. In more than 20 years in competing with the likes of ITV Studios and and indies are ahead of us in that sense – they TV, he has worked for Central, LWT, Hat Trick Salmon’s Endemol Shine for commissions. know how to work with a number of different Productions and Tiger Aspect. Between 2001 “The indie market has changed dramatically broadcasters.” and 2004 he was managing director of Zeal over the last five years, with non-qualify indies He appreciates that the BBC will remain the TV, and worked as director of entertainment and indies consolidating,” says Linsey. “It is key buyer of BBC Studios programming, but at Talent Television before joining the BBC as much more competitive than it ever was – truly says: “It’s really hard for a creative if you can a commissioner in February 2007. He rose to a global industry, but BBC Studios is well placed only pitch to one buyer. It’s quite restricting controller of entertainment commissioning to be a significant player in that global industry. and frustrating, and I know our creatives are and deputy director of television before “We’re new in the indie world, and will have really excited about taking their work to other replacing Salmon at BBC Studios, initially on cultural and behavioural changes that we’re broadcasters.” an acting basis. going to work on. We can be more dynamic Operationally, those eager creative executives The CV is impressive, and suggests he in our creativity and have got to learn different come from the likes of Doctor Who prodco BBC Studios Drama, Mrs. Brown’s Boys production unit Comedy, Strictly Come Dancing division Entertainment, Music & Events, Planet Earth II’s Natural History Unit, London- and Glasgow- based Science Unit (Stargazing Live), Murdered by My Father’s Documentary Unit, factual- entertainment-focused Unscripted Productions, The One Show producer Topical & Live, Scotland- headquartered Pacific Quay Productions and formats incubator Auntie Productions. The latter’s establishment was notable not only because former BBC Three interim chief Sam Bickley and Samantha Anstiss are in charge, but also for its overtly commercial indie- sounding name. Is it a precursor to more pod- style production groups within BBC Studios? “We want it to be a place of opportunity where creatives can come and do their best work,” says Linsey. “It is about attracting talent and giving creatives opportunitied, so we will Planet Earth II have a flexible model.”
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Linsey declines to confirm if it will return. “The challenge for us, industry-wise, is factual entertainment formats,” he says. “They are always a challenge for every production company and are in many ways the Holy Grail. I want us to achieve the next big hit going forwards, and that will be a focus for us. “Entertainment formats are very difficult to find, but we need to find the big hitter. We’ve got Strictly Come Dancing and just had a successful first run withLet it Shine, which I think did really well and got very good feedback from buyers at the BBC Worldwide Showcase. We have to find more.” On the drama front, Linsey says the big issues are funding and allowing local stories to shine in an international market. “In scripted, we have one of the biggest commercial franchises in Doctor Who, and want to find another of similar stature,” he says. “What we are about in scripted is taking the British-ness of our content to the global market. We are not about to suddenly try to appeal to the global market in our casting or writing. “We had a good commercial success with War & Peace and we’re following that up with Les Misérables, so it is very much about the quality, and maintaining that British voice and taking it to the global market.” BBC Studios is also coproducing upcoming Doctor Who Amazon drama Good Omens as digital content becomes more important. BBC Three drama There’s a desire to succeed “in all There was plenty of quiet grumbling within the Thirteen was a resounding hit on- and offline, specialisms”, he continues. This will mean the indie community when BBC Studios won the while releasing short clips of Planet Earth II creation of “reputational” documentaries and first tender, for quiz showQuestion of Sport, but online drew tens of millions of views before the dramas such as To Walk Invisible and Rillington news of Avanti Media and Nine Lives Media linear broadcast and helped BBC One beat The Place. “We have an amazing factual drama securing production rights to religious Sunday X Factor in 16-34s demos. coming up called Against the Law, which is night staple Songs of Praise has gone some way “The reaction we’ve had to Planet Earth II about being gay in the sixties, and Arctic Life is to assuaging cynics. around the world – and it has been massive coming soon. Linsey says BBC Content went to “extreme on BBC America in the US and France, where “The sweet spot is when we come up with lengths to make sure it is a level playing field”, it was getting five million viewers and a 17% an idea that is a commercial success, which adding: “It’s important – most of all to BBC share – and we want to find pieces of specialist allows BBC Worldwide to exploit the IP, as the Studios – that tendering stands up to scrutiny. factual and give them impact, scale and size, IP means money comes back into the licence We won Question of Sport, which I’m absolutely there’s a real appetite for that,” says Linsey. fee,” he says. delighted about, and I am confident with other That, therefore, is the level to which BBC “It’s generating that IP and creativity that tenders, but let’s see what happens.” Studios must aspire, while Linsey must ensure is so important to the BBC. We have to be Much of Linsey’s strategic thinking relates commercial responsibilities don’t interfere with the creative engine of the group, and have to to maintaining the BBC’s high standards of risk-taking, distinctive programmes. succeed for the future of the BBC. That is the creativity, but he also has practical problems “The change at BBC Studios has been model, and it is critical to the BBC.” to solve. While Planet Earth II was arguably seismic,” he says. “To change something that has Among the new protocols established along the global TV hit of last year and Strictly Come 50 years of history within public service and put with BBC Studios was the tendering of staple Dancing took huge shares, BBC One is yet to fill it into a commercial subsidiary is huge. BBC shows: the BBC’s production arm and the Saturday night gap left by The Voice, which “We’re very keen to maintain the heritage, its rivals now pitch to Charlotte Moore’s BBC has transferred to ITV, and Sherlock’s latest run reputation and tradition, but move forwards in Content for the right to produce programming. saw a drop in ratings and critical appreciation the changing landscape of a global industry.”TBI
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pXX NHK TBI AprMay17.indd 1 08/03/2017 10:10 MONITOR TURNER
Germany, US, international
Turner’s Hannes Heyelmann tells Jesse Whittock about his parallel roles as managing director of central and eastern Europe broadcasting, commissioner of German original production, and point-man for European investment in shows from the American mothership
urner’s strategy with its TNT region and Central and Eastern Europe. As a result, Heyelmann now gets early access channels in Germany is one of “Channels that just aggregate will go away to scripts and plans from Turner’s Stateside the more interesting narratives over time because you need to own the value cable production business, which chief content currently ongoing in Europe. In chain,” says Heyelmann. “You need to be able officer Kevin Reilly leads, and then indicates to a market famed for the strength to hold a show back for twelve months before his US counterparts if these will be successful Tof its free TV broadcasters and local production it goes out as a window, or maybe it needs to be in Europe and whether he will invest. market, pay TV was for a long time the neglected exclusive for two years. “Where we have TNT or equivalent channels cousin of the local sector. “That said, we cannot just do that with we typically take the first run and sell the second However, Turner went a long way to German originals. This is where the big window to recoup the money, the distribution changing that when it debuted a TNT Serie international coproductions comes from, and channel goes hand-in-hand,” he says of original, comedy-drama Add a Friend, in and we’ve bumped up our investment in series such as Those Who Can’t, Good Behavior 2012, and followed it up with mystery drama US shows. In 2017, we will have at least ten and The Last Ship, which have successfully Weinberg (The Valley), which Tom Forman’s scripted comedy and drama series from TNT, transferred across the Atlantic. Critical Content is now taking to the US as a TBS and truTV.” “I don’t know of any other channels group format. Both won prestigious Grimme Awards, The long-serving Heyelmann joined from that has such a big internal output, with and next up is the Berlin-set 4 Blocks and a first AOL in 2001 as the tech giant merged with guaranteed rights, as Turner International. comedy, Arthur’s Gesetz. Turner parent Time Warner. He has expanded The reason we are doing this is because if Hannes Heyelmann led that charge into his role to become Turner’s point person for you don’t co-invest, the US studio tends to put high-end original scripted programming as coproductions with the US. international rights into output deals through senior VP and managing director of central His suitability for the post is down to Warner Bros., and it’s no longer accessible for and eastern Europe, and international spending three years in the corporate strategic the international channels.” programming strategy. planning group at the Turner headquarters in The fact many Turner shows are now This means he controls Turner in the Atlanta, and a spell in business development coming through its Studio T production arm German-speaking territories, the Benelux in London. is testimony to this initiative is working, and
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Heyelmann says the US production teams, led by Brett Weitz and Sarah Aubrey, are more open to his advice than at any point in the past. In turn, this is helping Turner is Europe, where carriage agreements with major pay TV platforms are becoming increasingly fractious, as the Discovery Networks-Sky dispute in the UK and Germany earlier this year proved. “TNT, TBS and TruTV in scripted comedy have ramped up the pipeline and are producing some really interesting and great shows that we can use on TNT and then sell on to other partners,” says Heyelmann. “It’s crucial to know you have the pipeline. As a channel, you have to be able to promise your platforms partners – Sky, Canal+ or Vodafone – what the future for the next few years looks like. You need offer the catch-up and stacking rights, and not in bits and pieces, which is not good for them. We can say we can offer the whole package.” However, it is the German original TNT Serie original 4 Blocks programming – distinct in its tone and content from that of free-to-airs RTL, ZDF, ARD and ProSieben – where Heyelmann’s Turner has of its sensibilities with something like seminal can use the insurance money to start a new life. made most noise locally. Baltimore series The Wire. However, every decision he makes, the worse “German is a big free TV market and the Heyelmann says the original pitch was “a his situation gets. Heyelmann says production pay market is still growing,” says Heyelmann. traditional police story”, adding: “We went back values will “very high” when it debuts on “We have to give our subscribers a reason to to the writers and told them we wanted it from German pay TV next year. subscribe, so we can’t just give them what they the perspective of the gangs.” “The message in the big markets is go might get from free TV. This is why we choose Writing trio Hanno Hackfort, Bob Konrad big or go home,” Heyelamnn says of the to produce without a coproduction partner, and Richard Kropf (who are also behind programming strategy at Turner CEE. “In a which is more risky and expensive, but allows Amazon’s first German original, You Are market like Germany, you cannot be middle of us to control the product.” Wanted) had access to the gangs, and Turner the road. At the Berlinale International Film Festival in wanted its series to reflect their plight. “They “These days a channel needs to have February, Heyelmann and his key lieutenants, moved to Kreuzberg and lived in those hoods,” exclusive original content,” he adds. “It can’t who include CEE director of original says Heyelmann. “They talked to all sorts of just be an aggregator. The local originals give productions Anke Greifeneder, were in town people, from women’s organisations, gangs, us incredible PR and marketing buzz, which for the world premiere of their latest effort, 4 police, and journalists, and you see from that it perhaps not all of the US coproductions can.” Blocks, which was one of six selected to screen is very multi-dimensional.” Turner’s German commissioning team at the Drama Series Day event at the Zoo Palast The result is a story centred on a drug dealer does take cues from a key Time Warner cinema near the western tip of the Tiergarten keen to leave the criminal world behind him division, HBO, however. The premium cable inner-city park. with his wife and daughter, but who is sucked revolutionised what television programming The glitzy debut came after an exclusive deeper into crime after his brother-in-law could aspire to be in the late-20th Century, and buyers-only screening, and three months is arrested. Kida Khodr Ramadan plays the that now that approach is shared by many pay before the of the Wiedemann & Berg Television- lead role, while local acting talent including TV operations in the international market, and produced drama’s debut on TNT Serie on May Frederick Lau, Almila Bagriacik and Maryam Heyelmann says employing it has changed the 8 at 9pm. Zaree also star. type of talent pitching to TNT. 4 Blocks is set in the south Berlin area of Next up is TNT Comedy’s first original, “A lot of actors want to work with us because Kreuzberg and follows Arabic drug dealers, Arthur’s Gesetz (Arthur’s Law), a dark 6x60mins we give them the creative freedom and have the who are able to operate relatively hassle-free, show starring local favourite Jan Josef Liefers stories they want to tell,” he says. “That’s what due to the laissez faire politics that operate and written by Benjamin Gutsche. HBO has been so great at – they have created a locally. While Germany is known for its It follows a man, pained by an unhappy great environment. We used to get pitches what appreciation of police procedurals, Heyelmann marriage and a miserable existence, who first went to RTL and had just had the logos and his team wanted the series to share more decides his insufferable wife must die so he changed. That doesn’t happen any more.” TBI
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p24-25 Turner AprMay17scJW.indd 25 22/03/2017 21:26 TECHNOLOGY OTT STRATEGIES Streaming strategies
When it comes to streaming services, Netflix and Amazon dominate the headlines. There are, however, hundreds of local and regional offerings launching or seeking to consolidate their position. TBI speaks to some of executives from free TV, pay TV and native OTT companies about how they are using targeted streaming services to take on their global rivals
Viaplay: number one in the Nordics MTG’s SVOD service Viaplay has 50 originals in the works and says it will become the region’s leading drama producer. Jonas Karlén talks original movies, series, the established Fox+ deal and the competitive landscape
Viasat on Demand launched in 2007, but the cinema window, accessing it in the Viaplay Viaplay is a Nordic business managed from how has the service has developed since it store before it goes into the SVOD window. Stockholm. An advantage of being in the was rebranded Viaplay? MTG group is we have free TV, pay, SVOD and In 2011, we named the service Viaplay and Your parent group, MTG, has extensive free AVOD, and that means when we engage with introduced it as the first SVOD service in the and pay TV operations. How do you avoid content providers we have a lot of outlets and Nordics. We were the first service to launch treading on their toes? we are an interesting partner. the offline feature in 2012, and we launched In terms of cannibalisation, it was a pretty EST in 2016. In doing so we took the position important move when we said that for Who is the target subscriber? as the leading Nordic on-demand service, traditional Viasat subscribers we would Viaplay’s core demographic is more and more offering customers the freedom to decide if include Viaplay in the proposition, so that tilted towards families. We have over 60% of they want to see a movie directly following they benefit from our digital products. the exclusive first pay deals in the Nordics
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he costs of launching an over- economic woes, he says its TVOD launch last the-top service are lower than for year was a way to gauge the appetite of Greek a new linear channel, meaning consumers. “With the economy, and low pay specialists and targeted services TV penetration, there isn’t an established are more feasible in OTT. propensity to pay for content, so we didn’t know T“Distribution on the internet is quite different if it was the right time, but we decided to test the to TV because the cost is marginal,” says Cécile market,” he says. Bertrand, media consultant at Eurodata TV Over ten weeks Antenna made episodes Worldwide. “That allows some niche actors to of its popular dramas – Brousko and Tamam offer services at a reasonable price.” – available before its linear broadcast for There are now numerous services across E1 (US$1.10). That resulted in 90,000 genres – from docs to different categories of registrations and a respectable enough number film, drama or music – as well as for social and of views to convince the media group there was demographic groups, from kids to LGBT, to ex- enough demand to roll out SVOD. pat communities around the world. “We wanted to see if people were willing to “When you can get distribution for a pay, and saw positive results and said ‘let’s do marginal cost you don’t need to target a lot of SVOD’,” Syed says. The new service is priced at people, just a specific group, and you can target o2.99 per month and gives scripted episodes an audience that cannot find the content they in advance of their linear airing, as well as box are interested in on TV,” Bertrand says. sets and library fare. The Eurodata TV analyst adds that while the Antenna also has an ad-supported (AVOD) barriers to entry are low, the number of roll outs service, and will take the SVOD service to will slow this year. “We saw a lot of launches in local pay TV platforms and bundle it with 2016, but there will be fewer this year,” she says. their offerings. In terms of content, Greece is considered a local content market and it is Free TV: Antenna goes SVOD mostly source nationally. For a group with a traditional broadcasting Antenna has supplemented its free TV channels base in Greece, the move into streaming is in Greece with TVOD, and is now taking the about future-proofing. “Free-to-air is around for plunge with a full SVOD service. Tariq Syed, its the long term, but we think [on-demand and managing director of digital assets and thematic streaming] will be the future at some point,” channels is leading the charge. Syed says. “We wanted to get in early.” With low pay TV uptake and continuing Research shows consumers will now take
for films with Sony, Disney, Universal, Nordisk Film and [Scandi studio] Scanbox, and a second pay window deal for Fox. We “We have 50 projects in are strong in family and kids and have kids series available both online and offline. the pipeline... we have an ambition to be the leading With all of those studio deals, how Nordic drama producer” important are movies? In streaming world, in terms of what Jonas Karlén, Viaplay attracts new subscribers and what subs consume, it is evident that films are very important and attractive. It is easy to recognise Zootopia or a What then is the role of series? angle by adding Viaplay Originals. well-known film, so it’s an easy way to see Series get you hooked. We believe a mix of what’s on a service, and they are a good good films and series is the combination to You have set a bold objective in terms of tool for marketing and attracting subs. have. We have acquired series through our local production, why? Films are the content category deals with the studios – Empire, Outlander, Viaplay is committed to not only be the that attracts most customers into the Transparent – and have also identified the leading Nordic SVOD and on-demand service, service. possibility to create a more local Nordic but also the leading Nordic producer of >
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Rakuten in 2013. “When you are a focused service, people are more passionate,” she says. “In the smaller markets “The secret sauce is our community.” When customers are hyper-engaged you there will generally be need to reach them in new ways, according one key service that to Waage. “People form a bond and we have people go to” evolved beyond a normal streaming service,” she says. “In terms of functionality, you can Tariq Syed, Antenna create your own collections and communicate with other users. We do a lot through technology and social, and there are also physical meet-ups and events.” multiple streaming services in developed and often sourced from Korea and elsewhere Originals are a big part of the plan for Viki, markets, but in smaller territories that may not in Asia. whose subs are mostly female. The Asian be the case. Syed says: “People want multiple While Netflix and Amazon go wide, being influence is clear in its first show,Dramaworld , ways to consume content and a lot will have niche gives you a smaller but more engaged a miniseries set in LA and Korea, and from a Amazon and Netflix. The harder question customer, says Joanne Waage, senior VP, trio of China’s Jetvana, EnterMedia Content and comes in the smaller markets where there partnerships and programming at the service, Third Culture Content. will generally be one key service that people go which was bought by e-commerce giant Its second project is Five Year, is in association to. We’re programming our service with local content. Netflix is a higher price and has a non- local portfolio.” Although the timelines are different depending on the market, and broadcasting will not disappear, Syed says online TV will ultimately become the bread and butter of the TV business. “In some markets that will happen in five years, in others it will be ten,” he says. “In Greece we are somewhere in the middle.”
OTT: Viki’s community-powered originals
The Viki streaming service harnesses the power of its user base to localise content, with fans subtitling and peer-reviewing the local versions Viki’s Dramaworld of the available content, which is film-centric
Viaplay continued > What impact does it have when you best story we can tell for our Nordic Viaplay launch your own series? subs?’ if it is, and is really good, we have original content. We have 50 projects in the When we launch an original – boom – seen there is interest outside the Nordics. pipeline until 2020, which makes us take the the viewing is amazing compared to Great storytelling travels globally and it lead. We are committed to distribute great even the best acquired shows. There is an was a great success that Lionsgate picked stories, whether they are acquired or locally attractiveness because subscribers recognise up distribution rights to Swedish Dicks. sourced and produced. the actors, environments and stories. It’s The next Viaplay Original, Veni Vidi Vici, The originals have a more Nordic focus and about finding great stories and we know a premieres on April 13. It is set in the south we can tailor them to the tastes of Nordic lot of them are to be found locally. of Sweden and has a Swedish and Danish viewers. It is a big thing for us, and we can cast. It is almost a Breaking Bad, but in the leverage our local knowledge and insight Lionsgate picked up Swedish Dicks. You world of porn. to deliver engaging stories to our Nordic are clearly aware there is a market for your It has dark humour, and we’re proud customers. We have an ambition to be leading originals beyond the Viaplay footprint. that it has been nominated in the 2017 Nordic drama producer. When we look at originals, we say ‘is it the MIPDrama awards.
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with The Walking Dead creator Robert Kirkman ‘do not touch’ button!” he says. activity around a clutch of core pay TV brands. and his Skybound Entertainment. It will be a “Then we looked at VIMN, which is in Paradoxically, that could create streaming local version of his show about a family living 180 countries. Things were being done in opportunities for the more niche brands it owns. with the knowledge the end is near, with a fragmented way, and we thought that wasn’t “BET Play is direct-to-consumer,” Reich meteor headed towards earth. the best way to leverage our scale. We realised says. “We see pockets of fandom for the BET Announced last February there has been we could leverage engineering and business Awards for example, and that might suit a VOD little news since, but Waage says the project is models, and have a video streaming platform experience.” live, and Viki will announce the next stage of the that supports all of the brands.” Across the suite of Viacom apps there are 20- project within weeks. Outside of Nick, which has games and other 30 million monthly streams and they have been “Original production is a big part of our content, the Plex downloaded 18 million strategy,” the Viki programming exec says. offerings are video- times. “Owning content is important and is one way focused with additional In terms of usage to deliver something special.” bells and whistles patterns for the mobile Netflix, meanwhile, is also alive to the stripped away. and OTT services, the opportunity of local content in Asia. “They are Reich is clear that fear for pay channels very aggressive in Korea and Japan, but we the main aim is to is always cannibalising have long and strong relationships with the work with platform traditional viewing. production community there and everyone is operators. Experimenting with in competition with Netflix,” says Waage. “We “The primary goal releasing episodes and can’t let them take over the market.” is to support pay TV clips of shows ahead and enhance the value of time indicates Pay TV: Viacom flexes mobile of subscriptions,” he those fears might be with Plex says. “But we have also unfounded. expanded our horizons Full episodes of Viacom has made a streaming move with to look at different Acapulco Shore and its authenticated Play Plex-branded offering, mobile opportunities, Geordie Shore mash-up which is a way of using streaming services to and we can support Super Shore have been support what it does in pay TV and expand its mobile carriers’ data released in-app first. relationship with mobile telcos. packages.” “The viewing is Having started with its kids net Nickelodeon, It has done Play additive, and not a it has expanded its OTT services under the Plex deals with replacement,” Reich Viacom Play Plex brand. Dan Reich is senior Singtel in Singapore says of the usage. VP, multiplatform product strategy and among others, and “There was an development for Viacom International Media other agreements are increase in streams Networks. “We’ve seen the younger demo currently in the works. and [linear] views. It is the first to embrace mobile, so we wanted With Bob Bakish at made a noise and the a presence there and started with Nick Play, the helm in the US, linear show got record which has video, games and shortform, and a Viacom is focusing its ratings.” TBI
How will you release your originals and What’s the plan with original movies? What was the thinking behind the launch will they all come from MTG-affiliated We currently have announced the movie of Fox+, a branded section in Viaplay? prodcos? Super Swede, about Swedish Formula 1 driver As a first among Nordic services, Viaplay We are still experimenting with release Ronnie Peterson. We have also done a first recently added the full Fox+ library, making patterns. With Swedish Dicks we released original series for kids, The Great Experiment. available an enormous quality library of two on the first day and the one per week. We are experimenting with films and series, content to our customers. Subs might want to binge view but with a focus on fiction. The consumer wants lean-forward shows there’s also a desire for something released and lean-back shows and we have added a once a week. How will you compete with Netflix? great library with the Fox+ deal. We want the best stories, if it comes from What we see that in the Nordics in SVOD, EST We have already seen great traction one of our own production companies, as and TVOD, increasingly, is that households are with shows includinh American Dad, Family with Swedish Dicks, that’s a bonus. But we’ll picking up more than one service. We see a Guy and How I Met Your Mother. It gives us remain neutral and work with others if they great opportunity to pick up a lot of new subs added library content for a broad array of have the best content. from both buckets. audiences.
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Comedy at the crossroads Comedy has not had the same uplift in budgets and ambition as straight-up scripted fare, but half hours that are as big on drama as laughs are in demand and, increasingly, on-demand. Just don’t call it ‘dramedy’. Stewart Clarke reports Bucket
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p30-32 Comedy AprMay17scJW.indd 30 22/03/2017 21:03 GENRE FOCUS COMEDY
or comedy writers and producers, well, and take a leap. Shows in the middle – road trip with her mother. recent proclamations from that are good but not great, or too expensive for BBC Worldwide drama chief Liam Keelan industry heavyweights are no niche – that’s a dangerous place to be.” says the SVOD platforms have opened up laughing matter. “It is a genre no These new half-hour projects are single cam the comedy market. “It is not as big as drama commercial station can sustain,” and, tonally, feel as much drama as comedy. as a genre, but there is a shift, and shows FChannel 4’s outgoing chief David Abraham Distributors add that over the longer term like Transparent on Amazon have had an said recently. NBC programming boss Jennifer comedy is binge friendly and can attract the effect,” he says. “Then there are platforms Salke, meanwhile, has publicly said network demos channels are struggling to reach. like Seeso from NBC. There’s definitely an comedy is an “especially” difficult nut to crack. “Comedy is a way for our broadcasters to international market for comedy.” “Drama has reinvented itself,” adds Ash attract younger audiences away from other Worldwide has new series White Gold for Atalla, producer of The Office. “I don’t think platforms, and it returns well and often repeats MIPTV. The BBC drama comes from The comedy has yet had its reinvention.” well,” says Louise Pedersen, CEO of Fleabag Inbetweeners co-creator Damon Beesley and The Big Bang Theory, one of the biggest TV distributor All3Media International. his Fudge Park prodco. series in the world, and the likes of How I Met “We’re putting quite a bit into comedy, but It reunites several of the stars and team Your Mother are still doing the numbers on US are very clear about what we want, and that’s from The Inbetweeners, but what is different network TV and international screens, but the authored comedy. We were really pleased with the new show, which is set in the world production and distribution of these multi- with [dark BBC Three comedy] Fleabag and of double-glazing sales in the 1980s, is that cam broadcast shows is mostly limited to the Gameface from Roisin Conaty [for E4]. What audiences want more than a string of gags. Hollywood studios. we’re not so keen on is traditional sitcom. In “Comedy shows are watched very differently What has emerged as an interesting space a sense, we’re talking about comedy moving now,” Beesley says. “You can explore longer is half-hour comedy dramas for streaming more towards drama. Something like Fleabag dramatic arcs, while when we made The services and cable nets, and these are in treads a line between two.” Inbetweeners they had to be self-contained demand. All3 is about to get behind Bucket, which because that’s how everyone was watching “Half-hours have evolved from comedies fits the authored-comedy bill. The BBC Four television.” to almost half-hour dramas; look at [Starz four-parter is written by and starring Frog There has been a positive knock-on effect show] The Girlfriend Experience,” says Stone as a reserved history teacher going on a from the booming drama market, the writer Pancho Mansfield, president, global scripted programming, Entertainment One Television. “There’s a real range to the half-hour now, and we’re developing numerous shows. It’s about 20% of what we’re developing.” You Me Her for DirecTV’s Audience Network was an indie-flavoured comedy from Greg Poehler about a three-way relationship and came out of the eOne stable last year. The company is making a concerted move more deeply into half-hours. The trick, says John Morayniss, CEO of eOne Television, is to either go big or small, just don’t get stuck in the middle. “We have in development a range of comedy with production values that range from US$500,000 to US$2.5 million per half hour,” he says. “On the expensive side, they feel very premium pay, with high-level talent and subject matter. They’re funny, but fit into that world where that funniness comes from character and relationships and stories, not set-up, joke.” The drama and comedy markets are evolving in the same way, the eOne chief adds. “You’re either going to go niche and it may not get the biggest audience, but if you execute well you’re going to have a loyal, rabid following,” he says. “Or, you’re going to go big and pitch it really You Me and Her
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p30-32 Comedy AprMay17scJW.indd 31 22/03/2017 21:03 GENRE FOCUS COMEDY
and indie boss adds. is coming into comedy with shows like Silicon to do a show about a developing relationship “People have an expectation and Valley, which has a history and an arc to the back in the 1990s and early 2000s, but drama sophistication now in terms of what they want characters. in comedy was much harder to pitch then.” the shows to look like and the story,” he says. “The bump we’re experiencing from drama Horgan and Rob Delaney finally did get a “We have gone into an era when people have has allowed us to do that, and the new players relationship show away, and Catastrophe is one a desire for longer-form storytelling, and that have definitely helped. Sharon Horgan wanted of the archetypes of the new authored comedy drama. It has taken Horgan to the US and HBO, where she has made another show in that bracket, Divorce. The Avalon-distributed Catastrophe has sold well, and Amazon is a partner on the show and has it in the US. If Netflix, Amazon, YouTube, Vimeo, Seeso and their digital counterparts are the new homes for international comedy, what is the role of the big free TV nets? David Abraham, boss of UK broadcaster Channel 4, lumped comedy in with other worthy-but-hard-to-pay-for genres in his recent keynote interview at the INTV conference. “Channel 4 has to make a profit to pay for the investigative journalism or comedy, which in the UK is a genre no commercial station can sustain, but is important to our culture,” he said. Speaking at the same event, NBC The Unbreakable Kimmy Schmidt programming boss Jennifer Salke said: “I don’t think comedy’s dead, I just think on network television it is especially challenging.” Despite running programming at a broadcast net, she accepts digital is the place for many comedy projects, noting that shows out of its studio like Unbreakable Kimmy Schmidt can go to Netflix “where they might thrive more and not be a victim of the network-comedy graveyard”. The way people watch comedy is part of the issue for mainstream nets, she added, with catch-up and binge viewing not always an easy sell to advertisers. “We look at success not based on the ratings at all,” Salke said. “If we did that you wouldn’t find a way to use your money to support the comedy business. But if you look at the tail- end, viewing for these shows over three and seven days, and binge watching, it changes the perception of how they are doing.” The term dramedy is widely disliked by industry execs, with many considering that it captures the worst of both worlds. The reality, however, for international producers and distributors is that comedy-drama, or drama- comedy, is a growing area, and while comedy rarely has producers and distributors laughing all the way to the bank, there is buyer demand. Catastrophe ‘Comerama,’ anyone? TBI
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p30-32 Comedy AprMay17scJW.indd 32 22/03/2017 21:03 MIPTV 2017 R7.J11
pXX AudioVisualSpain AprMay17.indd 1 14/03/2017 13:40 AFS-MIPTV-2017-adTBI-pagina-completa_C.C_v3.indd 3 14/03/17 11:02 FRANCE EXPORTS
Cain
France: increase the volume France lacks long-running drama and documentary series, as well as procedural drama. The stagnation of drama production in recent years means distributors are organising their activities differently to fill the gap and ensure they don’t lose their place in the international market. But if producers and broadcasters can’t raise the volume of scripted hours France exports, TV will take a hit, Pascale Paoli-Lebailly reports
n Africa, French drama series have adapt to international demand could hit the president of the French Union for Audiovisual dropped back in the market, because entire audiovisual sector in four to five years, Production (USPA), last December. broadcasters are looking for telenovelas,” Sedpa urged broadcasters to commission French fiction has proved its creativity in says Ampersand CEO Jean Dufour. more long-running dramas and documentary the past years and can produce eight to ten “And France doesn’t produce long- series. The move must be accompanied by episodes of an event series. This demand drives Irunning family or youth series anymore.” His diversification of the drama segment, in terms the market, but the production rhythm that company works in documentaries, and he says of formats, production costs and processes, and allows the delivery of, at best, one season each the analysis is the same for doc series. There is a global increase in volumes, according to the year must be improved, according to Mathieu a real economic issue, he adds. association. Béjot, CEO of distributors association TVFI. Although French export figures broke new Producers have set a target of 1,000 hours “When we analyse demand, there is room records in 2015, rising 6.8% in a year to E165 produced per year instead of the 770-750 hours for more social, comedy and late-evening million (US$177.2 million), the matter was seen in the past five years, with 1x52mins or formats,” says Béjot. “Canal+ and Arte are the raised last December at a conference organised 1x90mins primetime drama devoted to crime only broadcasters involved in those genres. to mark the tenth anniversary of Sedpa, series. “On the fringes, French production is There is also a market for telenovelas, but as for the association of French TV programme innovative, but it remains on the fringes,” said access primetime, the only daily soap today is distributors. Warning that an inability to Thomas Anargyros, EuropaCorp producer and France 3’s Plus Belle la Vie. Other channels, like
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p34-35 French Exports AprMay17jw.indd 34 22/03/2017 20:59 FRANCE EXPORTS
TF1, trialled programmes like Seconde Chance of telenovelas such as RTV-produced Acacias new daily soap shot in Montpellier will air in (180x22mins) before abandoning them. Buyers 38 and El Secreto del Puente Viejo. Produced 2018 on France 2. are looking for two or three seasons at least.” by Spanish sister company Boomerang, they At Ampersand, Dufour has diversified That’s the challenge the French TV industry can challenge long-running Turkish series in his catalogue with factual, including travel, faces, even though broadcasters like Canal+ Europe. discovery and wildlife documentaries like Home (10x24mins), Crossroads (8x24mins) and Asia Exposed (10x26mins). A few free “TV is now so novelistic. There’s and pay TV channels like Voyage, Ushuaïa and RMC Découverte invest in long-running an interest in doing projects series, as does Arte, but wildlife series have where you can unfold a story almost disappeared from the slots, as channels favour one-offs like Arte and Bonne Pioche slowly and get deeper in your Television’s Morning Glory. characters” “International thematic channels and Mathieu Béjot, TVFI platforms search for 1x52mins and 1x26mins series of 13 episodes and more about wildlife, lifestyle, travel and discovery,” Dufour says. “The French sector is absent from this market showed they could take rapid decisions and For the French industry, distribution adds because the bulk of productions commissioned accelerate the pace. While season two of value and helps to amortise costs and fund by local broadcasters are hour-long Franco- Versailles is about to air, season three will be shot projects. New DTT channels haven’t invested French authors’ films,” he adds, predicting in May. But although the first run of France 2’s in low-cost drama series, but established FTA that drama won’t evolve this way. On specific series about the movie industry, Dix Pour Cent, broadcasters are starting to embrace the issue themes, Lagardère also finds content abroad. went out in October 2015, the new season has with new initiatives. TF1 is studying ways to It has rights to Extreme Hotels and Restaurants been announced for only next spring. diversify its slate in terms of financing and from Canada’s Trio Orange, for example. The quality push in French drama has been production processes, and last December, “France is weakest in factual entertainment,” acknowledged, but one figure shows the gap France 3 launched cost-controlled crime Béjot says. “Authors’ documentaries have between the offer and potential demand. Over series Tandem, from DEMD. In early January, pretty much restricted the doc sector to limited the past ten years, French drama sales increased France Télévisions, which is set to increase its formats that inhibit that side of the market.” 100%, while production volumes has remained investment in production to E420 million Doubling TV exports within five years is stable. “If volumes tripled, we wouldn’t triple this year, also announced a plan to help give wishful thinking, but continuing to strengthen the sales,” TVFI’s Béjot says. “But deals would French drama a fresh creative impetus. New the international presence of the French industry increase.” slots will be open in September 2017 for late- is a collective challenge that needs win-win With tougher competition, tension in the night drama series and family comedies. A choices for both drama and documentary. TBI broadcast market and the rise of streaming platforms, distributors have changed their working habits too, investing more upfront in a project and in marketing programmes. Lagardère Studios Distribution, which accounts for 10% of the production group revenues, had to wait until season four to start selling the 44 episodes of crime series Caïn, whose fifth season started in March on France 2 in the primetime Friday-evening slot. “I see two trends in distribution,” Lagardère managing director Emmanuelle Bouilhaguet says. “Event serials from Arte and Canal+ are working well on the international market, but the problem lies in procedural series and shorter formats. With eight episodes of Caïn, what can a distributor sell? Increasing the volume and number of episodes has a real commercial interest, for instance, with European public channels and daytime slots.” In the meantime, Lagardère fills the gap selling 1,000 episodes Crossroads
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p34-35 French Exports AprMay17jw.indd 35 22/03/2017 20:59 COMPANY PROFILE MEDIAPRO
Mediapro’s global conquest
With SVOD players shaking up the market, content has become the major growth driver for Spain’s Mediapro. It is determined to play a leading role in high-end drama and TV entertainment businesses around the globe. Emiliano de Pablos talks with the executives behind the company’s overseas television production-distribution gameplan
or years, Mediapro has been best its football rights operations, including a Holder of a 7% stake in Spanish broadcast known for films of international partnership with Al Jazeera’s beIN Sports. company Atresmedia Group, Imagina is directors (Woody Allen, Roman Having operated since 1994, the Barcelona- managed by Mediapro co-founders Jaume Polanski) and Spanish talent based Mediapro teamed with Madrid’s Roures and Tatxo Benet. The conglomerate, (Isabel Coixet), local primetime Globomedia to create Imagina Group, which operates 36 offices on four continents, FTV drama hits, often created via fiction alongside Mexico’s Televisa, ad giant WPP and posted revenues of around €1.5 billion (US$1.6 giant Globomedia, its technical services, and investor Torreal in 2006. billion) in 2015.
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p36-38 Spain AprMay17jwSC.indd 36 22/03/2017 13:59 COMPANY PROFILE MEDIAPRO
A first step in Mediapro’s transition into and a number of international partners, to international high-end TV drama was in create co-development deals with channels, Paolo Sorrentino’s Jude Law series The Young production companies and creators from Pope, which it coproduced with HBO, Sky and around the world,” he says. Canal+. A second season is in development. On the scripted-entertainment front, Telem “We want to extend our talent-driven cinema is currently co-developing thriller series The model to TV and entertainment,” says Javier Paradise, a “Mediterranean noir” coproduced Méndez, Mediapro’s head of content. with Finnish pubcaster YLE, about a series of The company has continued to increase its crimes that take place in a Finnish community international presence via creative partnerships. in Fuengirola, on Spain’s Costa del Sol. Last year, Ran Telem, former television “The combination of Nordic writers, creators
“Our solid development investment and our know-how in film and scripted TV are indications of our intentions” Ran Telem
executive at Israel’s Keshet, came on board as and drama experts is huge,” says Telem. “Along head of international development. Mediapro with YLE, we have managed to take advantage also acquired a significant stake in Argentine of this talent, bring it out of the cold, snow and Daniel Burman’s prodco Oficina Burman, in a darkness of the Finnish winter, and take it to the deal unveiled in February. Spanish sun.” “Tapping these highly talented people is the “It is not just geography,” he adds. “It is the signal that we mean business,” Méndez says. ability to work together in the same room and “Our solid development investment and our create plots and characters that would have know-how in film and TV fiction production, never been born without the symbiosis of already clearly demonstrated in Spain, are different creative thoughts. further indications of our intentions.” “Paradise will be the first of many. We believe “Most of Mediapro’s offices around the in this way of creating ideas, teaming up not just world are already involved in local and global for financial reasons, but from a purely creative development of our content,” adds Laura and artistic perspective. After working both in Fernández Espeso, Mediapro’s director of Finland and Spain, we feel we are creating a international content. new idea together: an idea that couldn’t have Beyond high-end TV dramas, Mediapro’s evolved in Finland or Spain alone, but only executives have also detected international thanks to the shared creative mess.” growth opportunities in entertainment formats. In Latin America, Mediapro employs In both cases, the company’s productions will almost 800 professionals operates at bases in not only be aimed at the Spanish-speaking Argentina, Bolivia, Colombia, Cuba, Mexico markets, but at the whole world. and Uruguay, and a Latam-focused Miami Locked Up A Primetime Emmy Award-winning office. “These territories are very important producer on Homeland, Telem also created to support the group’s international strategy,” As in other markets, the rapid expansion of well-known TV gameshows such as Boom, Fernández Espeso says. SVOD platforms in Spain, led by Telefonica’s when he was VP of programming and content As a top seller of Spanish scripted via its Movistar Plus, means that content producers at Keshet Broadcasting. He joined Mediapro in distribution arm, Imagina International have focused their attention on premium TV May 2016 to identify and develop original and Sales, Mediapro is already established in the drama. The modest size of the Spanish TV unscripted content. Latin American market, but the company’s market has meant Mediapro has started to look “We are working independently with in- ambitions go further. The alliance with further afield for production opportunities. house creative ideas, both with Spanish creators Oficina Burman, creator ofSupermax , the first
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p36-38 Spain AprMay17jwSC.indd 37 22/03/2017 13:59 COMPANY PROFILE MEDIAPRO
Spanish-language drama to be produced out great and catchy visual element: a crashing safe house productions and third-party pickups. It of Brazilian TV giant Globo’s Rio de Janeiro [think the comic image associated with Wile has already built up a back catalogue of more studios, and production of Edha, Netflix’s E. Coyote and the Road Runner], which is a than 300 series, films and documentaries first original series in Argentina, sealed the very clear and distinct key image that helps the across multiple genres and formats, and its launch of one of the biggest independent show stand out,” Telem says. “More crucially, programmes can be seen in 150 countries. The distributor is a sales force mainly in Latin America, but also works in western and eastern Europe, and SVOD rights already represent about 30% of sales, according to Setuain. “We want to be the reference Top scripted products within IIS’s current catalogue are Spanish TV dramas, often point for the distribution of produced by Globomedia and 100 Balas, two of Spanish content worldwide” Mediapro’s subsidiaries. Beatriz Setuain Female prison drama Locked Up and psychological thriller Lifeline scored recent sales hits after they aired primetime on Atresmedia’s core channel, Antena 3. IIS has just sold UK and US SVOD rights development and production hubs in the we believe the big advantage of Crush is the for Emilio Aragón-created Lifeline to non- Spanish-speaking markets. gameplay. More than a visual gimmick, Crush English-language streaming service Walter Mediapro and Daniel Burman, coproducer is a group gameshow.” Presents. Locked Up, which premiered last year of films including Walter Salles’The Motorcycle At MIPTV, Mediapro is presenting Ovo, on Channel 4 for the UK free-to-air TV market, Diaries, have announced their first two “a totally new way of storytelling, which we a pioneering move for a Spanish drama, then premium TV series projects: spy thriller IOSI believe is a step in a different directions,” says streamed on Walter Presents. El Espía Arrepentido, and Stroke, a comedy Telem. It was created by Israel’s Bat-dor Ojalvo, Recent milestones also include the sale of about a 40-year-old man rebooting his life after an experienced factual and reality executive, Locked Up to Amazon Prime Video in the US. suffering a stroke. together with the Mediapro and Phileas teams. “The UK sales helped to further open UK Mediapro also recently inked a deal to co- “Ovo will start in the middle of the night, audiences to Spanish fiction,” Setuain says. develop El fútbol no es así, a TV series based on when a convoy of trucks will deliver strange- October 2016 saw the launch of Mediapro Javier Tebas and Pedro Torrens’ crime novel looking and huge objects to different locations Content UK, headed by Stephen Johnstone, a of the same name set in the Spanish football world, with DirecTV Latin America, the region’s biggest satellite TV multichannel operator. The project is being developed by Argentine author Eduardo Sacheri, co-writer of Juan José “We want to extend our Campanella’s Oscar-winning romantic thriller The Secret in Their Eyes, while Spanish director talent-driven cinema model Daniel Calparsoro is attached to helm. to TV and entertainment” In Colombia, Mediapro subsidiary company Javier Méndez Televideo has produced two series to date: Yo Soy Franky, for Nickelodeon Latin America, and Chica Vampiro, aired by RCN. “There is a huge deficit of entertainment TV formats in Spain and the world,” Méndez says. “Having around the country,” says Telem. “When the former exec at WPP’s GroupM Entertainment. created formats such as Boom and Rising Star, sun rises, people will see a large, egg-shaped For Laura Fernández Espeso, “The UK is a key Ran Telem’s arrival brings us a lot of creative object, waiting. If they have the courage to step market for our content growth plans – we aim to muscle. inside, the show will begin.” coproduce there. It is a very competitive market “Most formats we see today are veteran Mediapro’s overseas distribution arm, where our creative team is already focused on formats, lasting for close to a decade or more, Imagina International Sales, is another strong the development of several specific ideas and is and everyone is searching for that new idea.” pillar of the business. “We want to become the studying others from potential local partners”. Alongside Madrid-based Phileas Productions, reference point for the distribution of Spanish The company is also eyeing an increase Telem created gameshow Crush, which was content worldwide,” says Beatriz Setuain, who its third-party pickups. Currently, it already optioned in key territories such as the US (Loud joined IIS as director in February after running manages sales rights to Gran Reserva and TV) and France (Satisfaction) after MIPCOM. distribution for Madrid-based Boomerang TV. Six Sisters, two dramas produced in Spain by “Like most new gameshows, Crush has a IIS plans to boost its catalogue with in- Bambú Producciones for pubcaster RTVE. TBI
38 TBI April/May 2017 For the latest in TV programming news visit TBIVISION.COM
p36-38 Spain AprMay17jwSC.indd 38 22/03/2017 13:59 p39 Imagina AprMay17.indd 1 16/03/2017 19:30 UNVEILED
6 x 30’ 412 Entertainment
Six couples undergo cosmetic procedures in the lead up to their wedding day… will it be for better or for worse? LIFESTYLE REALITY & ENTERTAINMENT
THE GREAT AUSTRALIAN COOKBOOK SPACE DEALERS 10 x 30’ CJZ 6 x 60’ WAG TV Based on the smash hit cookbook of the same name, featuring Australia’s best cooks & chefs, it’s a blend of
NEW SERIES Four of America’s top space traders travel cooking, travel and personality. A lush celebration of the country in search of incredible space food, family and love. artefacts. They are all in competition, SCIENCE looking to buy cheap and sell for a profit, stopping at nothing to get their hands on FACT! THAT’SA something valuable.
THE BOY WITH NO BRAIN DIVA BRIDES
1 x 60’ 10 x 60’ markthree media Crackit Productions
Noah was born with less than two Following brides to be who are desperate to &
25 percent of his brain. But three years have their special day and will stop at nothing later, Noah is thriving. Leaving doctors to get it. It’s their day and no one else matters! MEDICAL & RESCUE MEDICAL REALITY & ENTERTAINMENT questioning... how?
DIANA AND THE PAPARAZZI HUNTING NAZI TREASURE
1 x 60’ 8 x 60’ TVT Productions Saloon Media/BriteSpark
20 years after Diana’s tragic death we are told Looking at the greatest theft in history stories for the first time and some exclusively, and one of the biggest treasure hunts in including the truth behind some of the most the world today. HISTORY HISTORY iconic images of her.
THE HIGHLAND MIDWIVES ROYAL MURDER MYSTERIES
3 x 60’ 6 x 60’ Matchlight/GME Like A Shot STAND R8.D3 With no consultants nearby, and no Featuring modern investigations into history’s epidurals, the health and safety of most notorious murder cases involving royalty [email protected] +44 20 3735 5222 you and your baby lie in the hands worldwide. Historians, pathologists, forensic www.tcbmediarights.com HISTORY MEDICAL of some very special women, the scientists and modern detectives combine to Highland Midwives. sift through the evidence.
p40-41 TCB dps AprMay17.indd 2 15/03/2017 18:03 UNVEILED
6 x 30’ 412 Entertainment
Six couples undergo cosmetic procedures in the lead up to their wedding day… will it be for better or for worse? LIFESTYLE REALITY & ENTERTAINMENT
THE GREAT AUSTRALIAN COOKBOOK SPACE DEALERS 10 x 30’ CJZ 6 x 60’ WAG TV Based on the smash hit cookbook of the same name, featuring Australia’s best cooks & chefs, it’s a blend of
NEW SERIES Four of America’s top space traders travel cooking, travel and personality. A lush celebration of the country in search of incredible space food, family and love. artefacts. They are all in competition, SCIENCE looking to buy cheap and sell for a profit, stopping at nothing to get their hands on FACT! THAT’SA something valuable.
THE BOY WITH NO BRAIN DIVA BRIDES
1 x 60’ 10 x 60’ markthree media Crackit Productions
Noah was born with less than two Following brides to be who are desperate to &
25 percent of his brain. But three years have their special day and will stop at nothing later, Noah is thriving. Leaving doctors to get it. It’s their day and no one else matters! MEDICAL & RESCUE MEDICAL REALITY & ENTERTAINMENT questioning... how?
DIANA AND THE PAPARAZZI HUNTING NAZI TREASURE
1 x 60’ 8 x 60’ TVT Productions Saloon Media/BriteSpark
20 years after Diana’s tragic death we are told Looking at the greatest theft in history stories for the first time and some exclusively, and one of the biggest treasure hunts in including the truth behind some of the most the world today. HISTORY HISTORY iconic images of her.
THE HIGHLAND MIDWIVES ROYAL MURDER MYSTERIES
3 x 60’ 6 x 60’ Matchlight/GME Like A Shot STAND R8.D3 With no consultants nearby, and no Featuring modern investigations into history’s epidurals, the health and safety of most notorious murder cases involving royalty [email protected] +44 20 3735 5222 you and your baby lie in the hands worldwide. Historians, pathologists, forensic www.tcbmediarights.com HISTORY MEDICAL of some very special women, the scientists and modern detectives combine to Highland Midwives. sift through the evidence.
p40-41 TCB dps AprMay17.indd 3 15/03/2017 18:03 PROGRAMMING FOCUS TV MOVIES & MINISERIES
Returning miniseries Distributors will tell you that if they could have one drama production in their portfolio it would be an evergreen returning franchise that rakes in the cash year after year. But this doesn’t alter the fact that TV movies, minis and limited runs are also regarded as valuable assets and are increasingly getting recommissioned as returning series, reports Andy Fry
here’s no question the mini/ be promoted as event TV by linear broadcasters,” The market is awash with strong examples. limited series sector has grown in says Caroline Torrance, head of scripted at From Banijay’s own slate Torrance cites significance in recent years. The Banijay Rights. “They can also be successful on 5x60mins Dear Murderer, a new release for primary reason has been the key SVOD services such as Netflix where subscribers MIPTV. “It tells the story of notorious criminal role these shows play in helping are often happy with a six-to-eight part series barrister Mike Bungay, who defended over 100 Tchannels and platforms stand out. “Limited that is satisfying in itself without the long-term homicide cases and lived a life of excesses,” she series with strong characters and a good plot can commitment required of a multi-series drama.” says. “We also have The Accident [6x60mins]
42 TBI April/May 2017 For the latest in TV programming news visit TBIVISION.COM
p42-44,46 TV Movies AprMay17cbSCjw.indd 42 22/03/2017 21:28 PROGRAMMING FOCUS TV MOVIES & MINISERIES
Dirty Dancing
is our German-language limited series The Same are looking at some Nordic noir,” he says. “We Sky, which has sold to 100 territories, including also have an Israeli format, 2.3 a Week, being Netflix for English-speaking markets. We have developed for YouTube Red by Jenji Kohan.” also seen strong interest in NSU Germany Sky Vision managing director Jane Millichip is History X [80 territories] and our period drama another exec who is trawling the globe in search Maximilian just launched in Austria.” of quality mini/limited series. “Returnable Other examples confirm the international franchises are our lifeblood,” she says, “but flavour of the mini/limited boom. there is a growing appetite in the mix for mini FremantleMedia, for example, is shopping its and limited series.” She cites the example ofBad TV adaptation of Australian movie classic Picnic Blood, a Canadian six-part thriller based on the at Hanging Rock, starring Natalie Dormer, while true story of Mafia boss Vito Rizzuto. Written Federation Entertainment will be presenting the by Simon Barry (Van Helsing) and Michael German/Luxembourg financial thrillerCredo at Konyves (Barney’s Version), the show is inspired MIPTV. France’s Newen Distribution has Ouro, by organised crime experts Peter Edwards and an eight-parter about a geology student who goes Antonio Nicaso’s bestselling book, Business or to French Guiana. That show recently sold to On Blood: Mafia Boss Vito Rizzuto’s Last War. “I DirecTV in Latin America. think they’re particularly good for biographies Sonar Entertainment is also pushing a and true life stories,” Millichip says. Harlots German-language event drama at MIPTV. Katrina Neylon, executive VP, international Das Boot is an adaptation of Lothar-Gunther sales and marketing at StudioCanal, is another produced by GTV for France 3, a thriller about a Buchheim’s novel, previously turned into a who sees strong interest in limited series from man who refuses to believe his wife’s death was movie. David Ellender, Sonar’s president of outside the US. “Examples include eight-part an accident.” global distribution and coproductions, is excited French-language political thriller Baron Noir on The fact that Banijay is headlining dramas by the addition of Andreas Prochaska as director, Amazon UK, Sony in Germany and SBS from New Zealand and France is a good claiming that “having him on board ensures that Australia; multi-language series The Last Panthers, indicator that the mini/limited series boom is the original vision for the story and the series will which has sold to over 120 territories; and not simply a US-led phenomenon. Echoing hold true”. Midnight Sun, now sold to over 90 territories.” recent developments in returning series, “We’re Das Boot takes its place alongside Sonar’s From the Nordic region, she points to the seeing limited series from many territories sell Anglo-American fare – Taboo, Mr Mercedes and new eight-part crime thriller Below the Surface, well,” says Moritz von Kruedener, managing The Son – and Ellender is clear it won’t be the which will debut at MIPTV. Produced by Sam director of German-speaking territories at company’s last non-English project. “We have Productions for Kanal 5 and coproduced by producer-distributor Beta Film. “A good example another German project in development and ZDFneo Germany, it centres on a subway train
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p42-44,46 TV Movies AprMay17cbSCjw.indd 43 22/03/2017 21:28 PROGRAMMING FOCUS TV MOVIES & MINISERIES
beneath Copenhagen, where 15 people are taken part of a balanced portfolio. “We are working on is Line of Duty, which has grown out of the hostage by three masked armed men. The City and the City,” she says, “a 4x60-minute limited series space to become a key returning Not to be overlooked are UK-originated short adaptation of China Miéville’s acclaimed sci- franchise,” he says. “We’ve enjoyed success with series, she adds. “Trust Me, from Red Production fi novel by Mammoth Screen, with a script by miniseries like The Secret Agent, but it also makes Company for BBC One, is a new four-part Tony Grisoni.” sense for distributors to try and give audiences mini-series by Dan Sefton,” says Neylon. “Set in “It’s a very versatile format in terms of the and broadcasters shows that have an event feel, Edinburgh, it’s a character-led thriller that tells subject matter it covers,” Meldal-Johnsen says. but can return.” the story of Cath (Broadchurch’s Jodie Whittaker), “It’s also a format that provides scope for creative Content’s new limited series at MIPTV include a nurse who, after losing her job, steals her best risk-taking.” Date My Dad, “an uplifting drama about a friend’s identity as a senior doctor.” Increasingly, she adds, content creators are widower trying to get back into the dating game”, According to Neylon, limited-series budgets looking for ways to get the best of both worlds, and 21 Thunder, a Montreal-based show about the are dependent on the nature of the show. by creating event-style limited series that have challenges facing young football players trying to However, there’s no question that the need to the potential to return. She cites the example of break into the first team. “I haven’t seen a show stand out is pushing up above-the-line talent Fearless, a new ITVSGE drama starring Helen like this before,” says Ford. “It deals with all the costs as producers go in pursuit of A-list actors, McCrory as a crusading lawyer. While the first behind-the-scenes issues faced by young players writers and directors. This in turn is making series is a self-enclosed story consisting of six and has a very international feel about it. It’s got coproduction a necessity in many cases, with episodes, the ambition is for it to return. a great edge and has a lot of young-adult appeal.” deficit-financing models increasingly important. Harlots, an eight-part period drama from Beta Film’s von Kruedener agrees that there Upcoming examples that prove the point are ITVSGE that is also launching at MIPTV, is a trend towards limited series with potential McMafia, an eight-part BBC/AMC copro that lends itself to a similar approach. So do limited to return, but he also points out that there can centres on the English-raised son of Russian series like Sonar Entertainment’s Taboo, be a scripted format dimension to a miniseries exiles with a mafia history. Also in the works are FremantleMedia International’s Deutschland launch too. “We have a Belgian show called The Spy Who Came in from the Cold from The Ink 83 and Beta Film’s Gomorrah, all of which have Professor T that was 26x60mins in Belgium, Factory and again for the BBC and AMC;Howards been renewed. but remade as six hours in France for TF1 and End, a 4x60mins coproduction from Wolf Hall Also coming to market for the first time are four hours in Germany for ZDF,” he says. “The prodco Playground Entertainment for Starz and APC’s mystery thriller The Forest and Federation shorter runs are a way for broadcasters to test the BBC; and Guerrilla, a hotly anticipated Sky Entertainment’s Credo, both initially as six-part the appeal of a show. ZDF attracted five million and Showtime copro starring Idris Elba. productions. with their version, so now they have the option of The heavy UK involvement in these projects Content Media executive VP sales and ordering a new series.” is no surprise given that the UK commissioning distribution Jonathan Ford agrees that this High-profile talent can boost the prospects of system has always been happy to support shorter attempt to create limited/returning hybrids is a a mini/limited series. So can a reboot of a great series. Julie Meldal-Johnsen, ITV Studios Global key area of activity, with examples ranging from idea, says Peter Iacono, president of international Entertainment director of global content, shares Sherlock to The Bridge to the numerous anthology television and digital distribution at Lionsgate. Torrance’s view that limited series are valuable as series coming out of the US. “Our best example “A reimagining of a well-known movie like Rosemary’s Baby or Dirty Dancing means that a legion of fans are excited by the prospect of a new version and you aren’t starting with something completely unknown,” he says. At MIP, Lionsgate will showcase “a brand new version of Dirty Dancing,” says Iacono. “This time it comes to TV as a three-hour musical event, which we are also selling to our international broadcasters as a 3x60mins miniseries.” Also on offer from Lionsgate is The White Princess, a companion piece to The White Queen, both of which are part of the company’s portfolio since the recent acquisition of Starz. Echoing Meldal-Johnsen, Iacono says TV movies and miniseries can sit across any genre. “For Lionsgate, we have had tremendous success across many genres: sci-fi withDresden Files, Ascension and Lost Room, action series like Kill Point and period pieces like Houdini. Great storytelling can be achieved in any Dear Murderer genre. However, limited series must deliver an
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p45 MIA AprMay17.indd 1 17/03/2017 15:27 PROGRAMMING FOCUS TV MOVIES & MINISERIES
In addition, he says: “We have had examples of high-quality singles that can work either in TV or theatrical. The Eichmann Show starring Martin Freeman was a good example. It played on BBC Two in the UK, and was picked up by The Weinstein Company in the US for TV and boutique theatrical release.” Katrina Neylon points to Red’s single drama Danny and the Human Zoo as evidence of room for stylish TV-movie-length stories. Even more significant is news that StudioCanal-backed SunnyMarch TV is teaming up with Pinewood Television to adapt Ian McEwan’s novel The Child in Time as a 90-minute film starring Benedict Cumberbatch. Amelie von Kienlin, senior VP of scripted acquisitions and coproductions at Red Arrow International, says it’s important to differentiate between types of TV movies. “One segment of the market is big-budget, high-end and talent-driven movies that are produced almost like feature films and built for primetime,” she says. “Another segment is TV movies that are thematically on the lighter side and easy to consume, and can be scheduled for both daytime and primetime. The second The Heretic Bride type of movie probably provides the most slots internationally, particularly in major dubbing authentic and gripping storyline from the outset party sales. We have multiyear deals with TF1 countries such as France, Italy and Spain.” – there isn’t time for a slow build.” in France, Atresmedia in Spain, and TV2 in Red Arrow’s recent TV movie hits includePeter TV movies, meanwhile, continue to have a Norway. We also have strong relationships with & Wendy, Roald Dahl’s Esio Trot, Berlin One and key role to play on US cable and in the major RAI 2 in Italy and HBO Europe.” Jack the Ripper. The latter, for Sat.1, secured a 14% continental European markets, says Beta Film’s The auteur qualities of the genre are less share, nearly double the average. Looking ahead, von Kruedener. “This is a different phenomenon obvious because the main emphasis is on the von Kienlin says: “Our new TV movies include to what we are seeing with miniseries and mainstream female audience. “But the creative two big historical event movies: The Puppeteers limited series,” he says. “We still sell TV movies and quality bar is rising,” says Vien. “We have from Ziegler Films for ARD in Germany and across Europe, but they are catering to a more some really interesting projects, like Michael The Heretic Bride from TV60Filmproduktion, traditional demographic.” Jackson biopic Searching for Neverland, a film which recently launched on Sat.1. Also in this Is there, however, scope for TV movies to about the infamous Menendez Brothers’ murder market we have Hallmark Channel movieSound reinvent themselves as a more auteur-driven of their family and another about the unsolved of Christmas and the final movie in the hugely genre, as minis and limited shows have done? murder of child beauty queen JonBenét Ramsey. successful High Society Murder movie franchise Von Kruedener’s view is that the single “Also just reaching the market is Beaches, a from Tivoli Film for ARD and ORF in Austria.” format is less attractive to most buyers than remake of the romantic movie starring Bette In terms of trends, von Kienlin detects one multi-episode events that can be played across a Midler and Barbara Hershey and a great biopic towards romantic comedies and Christmas number of nights, but he does acknowledge that about the career of singer Britney Spears.” movies, in part as a response to some of drama’s the boundaries are blurring. Content Media’s Jonathan Ford agrees that darker shows. “As drama series have pushed Netflix’s investment in original movies, there is a stable market for “traditional action the boundaries of what is acceptable to show on for example, is an illustration of the theatrical adventures and women-in-jeopardy TV movies screen, these kinds of TV movies have proved experience being redesigned as home in territories like France, Italy and Spain”. a bit of an antidote to that,” she says. On the entertainment. However, he also points to the growth in crime subject of non-English movies and miniseries, Patrick Vien, executive managing director series like Sherlock, “where you get a series of self- she says there is definite demand. “We have of international at A+E Networks, says: “We’re contained TV-movie-length stories”. output deals and client relationships in most very committed to them as a format, producing “We’ve built up a nice franchise that way with major markets for our German TV movies. The around 30 a year. They do extremely well on an Irish detective series called Jack Taylor starring library titles also continue to remain attractive our Lifetime network and in terms of third- Iain Glen,” he adds. to certain buyers.” TBI
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p42-44,46 TV Movies AprMay17cbSCjw.indd 46 22/03/2017 21:28 p47 RTVE AprMay17.indd 1 14/03/2017 16:31 BBC WORLDWIDE SHOWCASE 2017 BBC Worldwide’s big year
Broken
Top level BBC Worldwide executives talk about the programme they hope will propel the commercial arm of the UK pubcaster to another level
his is a big year for BBC Worldwide, Lead host Chris Evans subsequently exited, it has previously been estimated at about 20%. which has been tasked with leaving Matt LeBlanc at the wheel. Clarkson et al, That translates as about £80 million coming into delivering more to help its public meanwhile, are making headlines for the right company coffers as it hits its year-end. broadcaster parent to balance reasons, with The Grand Tour a hit for Amazon. BBCWW’s current roster of talent includes the books. In fact, BBC director Suffice to say, the pressure is on to generate Jimmy McGovern (Broken), Damon Beesley Tgeneral Tony Hall wants its commercial division the next wave of international hits and Paul (White Gold), Mike Bartlett (Doctor Foster) and to funnel 30% more back to the Corporation Dempsey, BBCWW’s president of global Hossein Amini and Misha Glenny (McMafia). than in previous years. markets, says the recent BBCWW Showcase Scripted always grabs the headlines and now The pressure to return more to the BBC proves the BBC brand remains powerful around accounts for up to half of all of programme sales comes as some of Worldwide’s core franchises the world. “The fact we can command a few revenue at Worldwide, but 2017 is arguably the face challenges. Sherlock remains a huge global days’ time of 700 buyers – who fly in at their own year for formats and entertainment to take centre hit, but the latest season stalled in the UK ratings expense – is testament to the quality and breadth stage. and wasn’t well received critically. of the content.” “Drama is so important, but a side of the Post-Jeremy Clarkson, Top Gear was launched Worldwide won’t divulge what proportion of its business we have scaled up is formats,” to huge fanfare at last year’s BBC Worldwide programme sales revenue of about £400 million Dempsey says. “We’ve really been giving it more Showcase, but did not set the ratings alight. (US$500 million) is generated at Showcase, but attention.”
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p48-50 BBCWW Showcase AprMay17sc.indd 48 22/03/2017 21:24 BBC WORLDWIDE SHOWCASE 2017
Let It Shine Top of the Lake: China Girl
Recent launches include Let it Shine, with Take That songwriter and the host of the Saturday night talent show Gary Barlow heading to Cannes to appear at a special event aimed at drumming up interest from buyers.
Formats take centre stage
This is our year,” says Tracy Forsyth, director of factual entertainment and entertainment at BBC Worldwide, the commercial arm of the BBC. “We have a smorgasboard of Saturday night shows, and there’s always demand for these and the big entertainment pieces. “There is also demand for strippable daily entertainment shows like [BBC gameshow] Impossible, which has just been commissioned for a second season. The third thing people want is really strong primetime fact-ent, which can Top Gear form the bedrock of their schedules.” Forsyth says the spotlight is increasingly shifting onto entertainment and fact-ent and former BBC One series The Voice in the UK (the British comedian Joel Dommett. away from other genres. “It’s a great time for Talpa Media format is now with ITV). As heavily-formatted ob-docs fade out of us,” she says. “The tide has changed and all The format has endured a rocky time since fashion, Worldwide has a fact-ent line-up it commissioners have these shows on their wish the former presenting team left (and reappeared hopes meets the demand for authentic and lists.” on Amazon) and their replacement, Chris positive programming, with life-swap show The Broadcasters around the world are looking Evans, resigned, but it remains a huge seller Day I Fell to Earth and life-coaching show for shiny-floor primetime shows, as several internationally. . Both are new shows from freshly-minted staples of the genre start to run out of steam. Also on the slate is Tribal Bootcamp. The BBC Studios offshoot Auntie Productions (see As such, Worldwide has launched Whizz Kid Rumpus Media show (fka Are You Fitter than a page 20). Entertainment’s series Let’s Sing and Dance Maasai Warrior) was one of four commissioned The Day I Fell to Earth is being marketed as alongside Let it Shine, which is battling it out with by BBC Worldwide late last year, and features a finished show and a format. The show has
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people swap their workaday existences with people thousands of miles away. People at a crossroads in life are blindfolded and dropped into a new life in a different country. “It’s a wish-fulfilment series with people from other ends of the world swapping their lives and finding out if the grass really is greener,” Forsyth says. The other six-part BBC show from Auntie, In Your Ear, also has an international element baked in the format: stressed people preparing to face a big life event or challenge are connected to group of experts from around the world that relay advice via an earpiece. The diverse advice-givers include retired New York cops, Catholic nuns and a Nordic Yogi. “The sages from around the world watch their every move,” Forsyth says. McMafia New Worldwide recruit Sumi Connock, the former ITV entertainment exec who recently joined as creative director, formats, says these of the Lake, titled China Girl. The drama moves emergence of digital platforms has impacted formats come as viewers gravitate towards from New Zealand to Sydney, Australia, for the the whole sector. The UK Television Exports kinder programming. “Audiences don’t want new run. It sees Moss investigating a murder Report showed sales rising to £1.37 billion in mean and harsh – they want warmth and feel- after a girl’s body is washed up on Bondi Beach. 2015/16, up from £1.21 billion, a 10% increase good,” she says. Buyers at the BBCWW Showcase got an early on the 2014/15 number. Connock only joined Worldwide in early look at some footage. Within that, digital rights sales were up 79% February, with her role to make sure there is The first season sold into 200 territories. to £248 million, the second largest source of pipeline of shows and a two-way conversation Worldwide is a coproduction partner on the television revenue, and Keelan has noticed a with partners making local versions of BBC second, teaming with US partners Sundance change. shows. and Hulu, Foxtel in Australia and Arte in “If you go back a few years it could be difficult She will also scour the BBC library for France. See-Saw Films is the prodco. getting a [UK-originated] show away in the US,” possible remakes. “There is a huge catalogue The roster of partners is testament to how he says. “But the SVOD players have changed the and some great titles in there,” she says. “I’m high-end drama has evolved, requiring several appetite for UK drama. There are few shows that already looking at it.” parties to cover the increasing cost of the we think of as difficult for the US nowadays.” biggest projects. Away from established talent, Keelan singles Dramatic shifts Keelan says complex funding discussions are out Conor McPherson, writer of Paula, as one regular occurrences. “For us there are different to watch. “He’s a real up and comer,” he says. BBC Worldwide drama boss Liam Keelan talks ways a project can get made,” he says. “We Paula is a BBC and Cuba Pictures psychological up a new show from fellow Liverpudlian Jimmy could partner with BBC Studios, or the indies thriller that follows a woman who becomes McGovern – both were at Showcase – Broken. we have stakes in such as Lookout Point.” involved with an obsessive man after a one- It has Sean Bean playing a Catholic priest Returning series include second runs of night stand. presiding over an urban parish in northern family drama Doctor Foster and detective series “Three-parters can be difficult to get away England (see TBI Scripted page 24). Unforgotten, and a new season of The Durrells. internationally, but this could sell as a feature, “It’s a state of the nation piece,” Keelan says. With the BBC known for period drama, particularly in Europe where it could be an “It’s centred around a priest and his parish, and Worldwide’s new slate includes The Last Post, a event show,” Keelan says. shows the stresses and strains in that precinct. Bonafide Films drama set in 1960s Yemen. It The major BBCWW comedy launch at It has that story of the week element that buyers comes from Peter Moffat (Criminal Justice) and Showcase was White Gold, which has several of are really looking for.” Anna Friel (Marcella) also is based on his early life. The Inbetweeners team back together. The creator stars. Buyers also got a heads up on upcoming of that hit comedy, Damon Beesley, and two of But does gritty UK drama sell internationally? shows at Showcase, and one of the most its stars, Joe Thomas and James Buckley, reunite “It’s not Sherlock and it’s never going to be, but anticipated is McMafia, the BBC-AMC drama for the series, which follows a group of double Jimmy McGovern’s previous shows such as The about organised crime. “It has been billed ‘the glazing salesmen in 1980s UK. “Comedy is not Accused have done well,” Keelan says. British Godfather’,” says Keelan. as big as drama as a genre, but there has been Meanwhile, A-lister Nicole Kidman is joining Pact’s recent export figures underlined the a shift and shows like Transparent on Amazon Elisabeth Moss in the second instalment of Top increased demand for UK drama, and the have had an effect,” Keelan says.” TBI
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p48-50 BBCWW Showcase AprMay17sc.indd 50 22/03/2017 21:25 p51 VRAR AprMay16.indd 1 22/03/2017 12:07 RIO CONTENT MARKET REPORT Diversity in Rio The seventh annual Rio Content Market, held March 8-10 in the Rio de Janeiro suburb of Barra de Tijuca, attracted close to 4,000 regional and international delegates. Event organiser the Brazilian Audiovisual Independents (BRAVI) chose diversity, or more pointedly the lack of it across the audiovisual industries, as RCM’s main theme. Gary Smith reports
John Singleton and Damielle Moné
lthough billed as taking place the framework of classic films likeThe Big Sleep Moné Truitt, previously best known as a stage March 8-10, Rio Content or The Maltese Falcon, where a war veteran actor, admitted that she needed support. “The Market in fact started the joins the police and ends up out on a limb lack of an audience and that immediate feedback day before with a series of fighting institutional corruption, but features you get in a theatre took some getting used to, but warm-up events that included a black woman in the lead role,” Singleton the depth of the writing helped a lot,” she said. Afrobrasilidade,A an afternoon-long networking said. “I thoroughly enjoyed the experience. Continuing the diversity theme, BET head event aimed at encouraging and fostering the There is a rawness to it that you don’t often see, of original programming Zola Mashariki participation of Brazilians of African descent and, especially these days, making TV is like delivered a passionate demand for more socially (estimated at 54% of the total population of producing a weekly film.” representative TV. “The US is a long way from Brazil) in the local and regional audiovisual Singleton is currently working on a new series parity, with 80% of films having no speaking industries. for FX called Snowfall, about how Hollywood and black characters, and currently the racial divide This was followed by the global premiere of Los Angeles were transformed by the arrival of is more evident than ever,” she said. “However, the BET series Rebel, a first foray into television crack cocaine in the early 80s. “The writing in on the positive side we have shows with strong, by film director John Singleton (Boyz n the TV got better and movies got dumber,” Singleton well-written black characters such as Orange Hood) starring another TV debutante, Danielle added. “Plus, TV is no longer just a square is the New Black, How to Get Away with Murder Moné Truitt. image. It’s in 16/9, and we composed the shots and Scandal. Incidentally, Scandal was the first “In terms of the background to Rebel, it takes in Rebel and Snowfall as we would in a movie.” TV series in over 40 years that featured, in the
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p52-54 Latin AprMay17scJW.indd 52 22/03/2017 13:56 RIO CONTENT MARKET REPORT
form of Kerry Washington, a black female lead,” she pointed out. “Here in Brazil, with 54% of RIO CONTENT MARKET IN NUMBERS the population of African descent, only 8% of characters across films and TV are black.” “The convention centre at the Windsor Barra Hotel played host to 3,700 participants, the same Masahriki’s solution is what she refers to number as last year, an excellent result when viewed against the unfavourable economic climate,” as ‘the reach back’: “Share your success, open said Mauro Garcia, executive president of BRAVI, the association that stages the event. doors for others, follow the example of John The seventh edition of the Rio Content Market, featured 1,281 audiovisual projects presented Singleton and Spike Lee, who constantly engage and 1,421 one-to-one meetings, a 20% increase on 2016. The number of sponsors and exhibitors with upcoming talent and are always mentoring, grew 54% and there was also a significant increase in international players and keynote speakers: helping and encouraging young people. I would in 2016, there were 197 international players in comparison to this edition’s 269, while last year, encourage every actor and director here in Brazil saw 28 keynote speakers compared to the 37 names seen in 2017. to take on and help ten people, to aspire, to The event played host to participants from 30 countries including Germany, Argentina, Bolivia, inspire, and to lift others as you climb the ladder. Chile, Colombia, South Korea, Denmark, United States, Mexico, the UK and Russia. International Build networks, push each other like me and delegations also attended the event from Argentina, Canada, France, Chile and Paraguay, the Shonda [Rhimes] constantly push each other last two for the first time, reinforcing ties between Brazil and other Latin American countries. to this day. But most importantly, don’t wait for Executives from channels like Telefe, Caracol, TV Azteca and Señal Colombia, as well as production permission. Back in 1986, Spike Lee madeShe’s companies such as Zumbastico Studios (Chile), came to Rio de Janeiro with the aim of developing Got to Have It on his credit card, and these days coproductions. Twenty-four Brazilian state players also attended the one-to-one meetings, you can make a whole series on your own using including delegations from Ceará, Espírito Santo, Paraná, Santa Catarina and Rio Grande do Sul. your phone.”
Canal+’s mobile method director Gilles Galud. In an attempt to revitalise users, and that figure is growing by 20% per the struggling Canal+ Group, Studio+ is focussed year,” Galud said. “But more significantly, 60% The use of phones to make TV came up again on creating shows for mobiles in a 10x10mins of them watch at least one short-form video per during the Studio+ presentation by Studio+ format. “There are already 3.7 billion smartphone day on their phone. We created a format that is
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p52-54 Latin AprMay17scJW.indd 53 22/03/2017 13:56 RIO CONTENT MARKET REPORT
basically a feature length movie with ten cliff- hangers for the mobile generation.” VIEWPOINT: MAURO GARCIA, EXECUTIVE PRESIDENT, So far Studio+ has launched 25 series in the BRAVI, ON BRAZILIAN AUDIOVISUAL CONTENT last twelve months, including efforts such as Amnesia, Mme Hollywood, Crime Time, Surf “Brazil has been increasingly active in the Therapy and Death Corner. global market. Animation such as Show da Brazil is The latter “is about illegal, highly brutal Luna (TV PinGuim) and S.O.S. Fada Manu increasingly cage fights in the slums of Sao Paulo. Due (Boutique Filmes and Lightstar), which was active in the to the claustrophobic nature of the fighting nominated for a Kids’ Emmy, represents half of global market environment and the need for multiple camera all exported Brazilian audiovisual productions Mauro Garcia, angles, we decide to try using the iPhone 6, and have achieved international recognition. BRAVI filming in 4K and using an adaptor to fit different “It’s also significant that here is a genuine lenses such as 50 and 85 mm. The results were rapprochement within the Latin American intense”, said Galud. market. Rio Content Market is proof of this trend, with the presence of buyers and coproducers from across the region. Twenty channels from around the region took part in our one-to-one ESPN’s doc strategy meetings, from countries such as Argentina, Chile, Colombia, Ecuador, Mexico, Peru and Uruguay among others. O.J.: Made in America, won the 2017 Oscar “The Brazilian audiovisual market generally has had interesting results recently. The series for best documentary, and was produced by Santo Forte (Moonshot Pictures) has been licensed by Keshet, and Fox Networks Group Latin ESPN’s original content vice-president and America’s coproductions with Brazilian producers: Me Chama de Bruna (TV Zero) and 1 Contra executive-producer John Dahl, who explained the Todos (Conspiração) were very well received in Mexico, Argentina and Chile. The success of such company’s production philosophy. “We would not series is anchored in the high standard of our telenovelas, which for decades have exported well. make a film about a popular sportsperson unless Our expertise in this format certainly contributes to the production of other kinds of drama series. there’s a compelling narrative behind them,” he “BRAVI seeks to boost participation by the sector in international events. Brazilian Content, said. “When we started the 30x30 documentary our export programme, has arranged the participation of delegations of Brazilian producers series we received 150 proposals, of which we in international events such as MIPTV, MIPCOM, NATPE and Kidscreen. BRAVI has also joined accepted 23, which means that we had to say ‘no’ a negotiations for cooperation agreements between Brazil and countries such as the UK and Israel. lot, but we knew what we were looking for, which “We are currently evaluating the event, compiling information and numbers to map which are themes that go beyond sport. And when (O.J. aspects of programming we can invest more effort into. There are three points that should be director) Brett Morgan pitched us the show, we highlighted for the next edition: a focus on Latin coproduction, trends in content distribution on saw immediately that it was a good fit, and we’re TV and OTT platforms, and the search for new markets for Brazilian audiovisual production.” delighted with how it was received. We are also hugely proud of other shows such as The Two Escobars, which parallels the lives of a World Cup that could have happened anywhere in the world.” explained how the network is coping with the footballer and the infamous drug baron, as well Kerry Taylor, senior VP of youth and music post-music-video era and the notoriously hard- as Hillsborough, which tells the story of a tragedy at Viacom International Media Networks, to-please millennial audience. “Globally 91% of people between 18 and 34 own a smartphone, and in Brazil it’s around 61%, with the amount of content being viewed growing at 18% per year,” she said. “But, against that background, the TV has never been so important, with 70% of viewers saying linear TV is still their first choice. Despite that, it’s clear that great content is no longer in the form of a 30-minute show. In fact, what defines great content is shareability and customisation for social platforms.” “We made a show called Show Us Your Phone for SnapChat consisting of three-minute episodes, and a major lesson from that is that our second series will have 60 second episodes,” she added. “Our audience moves fast, and we have to go at the same speed by combining date mining with gut instinct. For us that means shows like Ex On the Beach, Are You the One? and Just Tattoo Zola Mashariki Of Us.” TBI
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p52-54 Latin AprMay17scJW.indd 54 22/03/2017 13:56 MIPTV 2017 HOT PROPERTIES MIPTV 2017 HOT PROPERTIES
Tel: +44 (0)20 7845 4350 web: www.all3mediainternational.com Stand: P3.C10 Safe House: The Crow Episodes Clique Episodes 6x60’ Genre Drama Paul Hollywood’s Car Nations 4x60’ Genre Drama/Thriller Synopsis Synopsis A seductive and intense Episodes 3x60’ Genre Factual Stephen Moyer stars as an ex-police drama from the makers of Skins about Entertainment Synopsis Cars and officer who runs a safe house, who friendships tested to the extremes in national characters collide as Paul believes the terrifying assailant of an old elite university clique of alpha girls. Hollywood sets out on an epic road trip case is active again. across a nation with a proud motoring history.
Tel: + 44 (0) 207 323 3444 web: www.beyonddistribution.com Stand: R7.B16 Contacts: Miakel Borglund, CEO & MD; Michael Murphy, General Mythbusters: The Search Episodes Outlaw Tech Episodes 6x60’ Genre Nippers Episodes 14x30’ Genre Manager; Munia Kanna-Konsek, Head 8x60’ Genre Science & technology Science & technology Synopsis The Children & family Synopsis Throughout of Sales; Caitlin Meek O’Connor, Head Synopsis With never-before-seen world’s most high-tech crimes and the the summer over 65,000 children hit the of Acquisitions stunts, the teams continue to bust science behind how they were planned. beaches of Australia for Surf Lifesaving’s myths in a celebration of curiosity and A battle between the brilliant ‘outlaw’ junior activity programme. Nippers experimentation that was the hallmark science employed by the criminals is a colourful collage of action and of the original series. versus cutting-edge security systems. challenges.
Tel: +1 416-646-4434 web: blueantmedia.ca Africa’s Jaws & Claws Episodes 4x60’ Evil Nature Episodes 12x60’ HD Home Chef To Pro Chef Episodes Stand: R8.D7 4K Synopsis From the razor sharp teeth Synopsis In the harrowing new 14x30’ HD Synopsis A combination Contacts: Solange Attwood, SVP, Blue of the great white shark, to the lightning docudrama series Evil Nature, we of passion, wish fulfillment and food Ant Int’l; Kate Blank, Senior Director, fast strike of a black mamba, we explore share salacious stories of murder and programming, each episode gives one Int’l Sales; Nick Solowski, Director, Int’l some of the most dangerous animals mayhem that occur far from the bright person the opportunity to fulfill their Sales and Acquisitions; Raja Khanna, known to man lights of the big city. fantasy of running a dinner service in a CEO Television and Digital real restaurant for paying customers.
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Tel: + 44 (0) 207 851 6500 web: www.contentmediacorp.com Stand: C15.A6 Contacts: Greg Phillips, President of Distribution, Content Media; Jonathan Ford, Executive Vice-President, Sales 21 Thunder Episodes 8x60’ Genre Date My Dad Episodes 10x60’ Genre Cries From Syria Episodes 1x112’ & Distribution; Jennifer Brinkworth Drama Series Synopsis 21 Thunder Comedy Drama Series Synopsis Since Genre Documentary Feature Synopsis Executive Vice-President, Marketing & is the story of the Montreal Thunder losing his wife, Ricky’s agenda has been This compelling documentary bears Communications; Saralo MacGregor, U21 team on and off the field in the to be the best dad possible. But his witness to the resiliency of the people Executive Vice-President, Television cutthroat world of pro soccer. girls have their own agenda: get dad a in the wake of their exposure to Acquisitions & Development girlfriend. unthinkable crimes against humanity.
Tel: + 44 (0) 207 845 5200 DRG web: www.drg.tv Guiltology Episodes 6x60’ HD Genre 12 Stars Episodes 60’ Format Genre Kids On The Edge Episodes Stand: R8D21 Crime Synopsis Crime series that takes Factual Entertainment Synopsis Studio 3x60’ HD Genre Factual Synopsis Contacts: Richard Halliwell, MD; viewers deeper inside the world of entertainment show that features Unprecedented numbers of children Jeremy Fox, CEO; Noel Hedges, EVP forensic investigation. Every episode famous faces doing funny things. The are being diagnosed with mental health Content; Joel Atley, SVP Sales features one compelling true-crime new format pits three celebrity guests disorders. This series goes behind the case that is ultimately solved by a leap against each other, as they aim to doors at the Tavistock, where we see the forward in forensic science. correctly answer an array of questions. intensive support the children recieve.
Tel: 1 424 281 5200 email: www.gaumonttelevision.com Stand: R8: C1 Contacts: Christophe Riandee, The Frozen Dead Episodes 6x60’ The Art of Crime Episodes 6x60’ Belle & Sebastian Episodes 52x11’ Vice CEO, Gaumont; Nicolas Atlan, Genre Drama/Event Series Synopsis A Genre Drama/Event Series Synopsis Genre Animated Comedy Adventure President, Gaumont Animation; group of workers discover the headless When a hot-headed detective teams up Series Synopsis Follow the outdoor Vanessa Shapiro, President Worldwide body of a horse hanging from the edge with an art historian from the Louvre, adventures of a courageous young Distribution, Gaumont; Isabelle of a frozen cliff. Commandant Martin their relationship grows like fire and boy, Sebastian, and his huge white dog, Degeorges, Head of Gaumont Servaz starts investigating and discovers ice as they delve into mysteries that Belle, who will rush to anybody’s rescue, Television France a dark story of madness and revenge. capture French culture and history. friend or foe, no matter the risk.
Tel: +44 (0)20 7184 7777 email: [email protected] Cheap Cheap Cheap Episodes Rich House Poor House Episodes Lost and Found Episodes 20x60’ Stand: R7: F24 30x60’ Genre Entertainment/Formats 4x60’ Genre Factual/Formats Synopsis Genre Factual/Formats Synopsis Dog Contacts: Sarah Tong, Director Synopsis A collision of comedy and Two families from opposite ends of the rescue format following the heart- of Sales; Hana Zidek, Senior Sales game show. Pairs of contestants must wealth divide trade homes, budgets warming stories of lost and abandoned Exec; Elfyn Morris, Senior Sales Exec; pick the cheapest of three items to and lives for a week, to find out if dogs and the people who work Cassandra Toller, Sales Exec; James win money, whilst contending with an money really does buy happiness. tirelessly to reunite them with their Mill, Sales and Marketing Exec eccentric cast of comedy characters. owners or find them new homes.
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DISTRIBUTION
Tel: +331 40 74 76 76 web: lagardere-studiosdistribution.com Transfer Episodes 6x52’ Genre Thriller Age Of Tanks Episodes 4x52’ Genre Sonic Boom Episodes 104x11’ Genre Stand: P-1.K50 Synopsis Five years after his death, History (Documentary) Synopsis A Animation Synopsis They’re back, with Contacts: Emmanuelle Bouilhaguet, Florian wakes up in the body of an century ago the first tanks appeared on a vengeance! More epic conflicts, more MD; Frédérik Rangé, Director of officer with BAIT, the anti-transfers unit. the battlefields of WW1. We look at the potent crystals, more stylin’ space suits Acquisitions; Catherine Couriat, Now he’s living on borrowed time. history of these metal juggernauts that and, of course, Dr. Eggman and his Senior Vice-President Sales; Guillaume changed warfare forever. ceaseless creations! Pommier, Sales Manager
Tel: +49 8102 99453-0 web: www.m4e.de Wissper Episodes 52x7’ Genre Mia and Me Episodes 78x23’ (3 Miffy’s Adventures. Big and Small Stand: Riviera 7, R7.H3 Adventure, Comedy Synopsis Wissper seasons) Genre Fantasy, Adventure Episodes 52x7’ (2 seasons) Genre Contacts: Hans Ulrich Stoef, CEO, is a little girl that can talk to animals! She Synopsis New adventures are waiting Preschool Synopsis Miffy, the charming m4e AG & Studio 100 Media; Sjoerd can sense their feelings and thus she on Mia when she returns to the fantastic bunny-rabbit, now thoroughly modern Raemakers, General Manager, can help animals around the world. world of Centopia, where unicorn and more adorable then ever in CGI- Telescreen B.V.; Jo Daris, SVP Onchao is in great danger. animation. Operations
Tel: 001.646.467.5312 web: http://www.mattel.com Stand: R7.B2 Contacts: Justin Richardson, VP Barbie Dreamhouse Adventures Enchantimals Episodes 1x60’ Genre Turning Mecard Episodes 50x30’ Global Content Dist & Strategy, Home Episodes 26x22’ Genre Girls Synopsis Girls Synopsis The Enchantimals are Genre Boys Synopsis Join Chan on his Ent & New Media Dist; Christopher Barbie and her sisters take us on their a special group of friends with an journey with the colourful and diverse Keenan, SVP Content Dev & Prod, Alex wild adventures from their Dreamhouse unbreakable bond and extraordinary Mecanimals through different worlds Godfrey, Director, Content Dist, Home in Malibu to escapades around the animal abilities, who with their animal and dimensions as he searches for long- Ent & New Media Dist; Amarilis Whitty, globe. If you can dream it, you can do it! best friends look after the enchanted lost family. Global Senior PR Manager forest.
Tel: +358 50 465 3323 web: www.rabbitfilms.com Stand: Rue des Belges 2 City Vs Country Episodes 12x60’ Battle of the Hits Episodes 8x60’ Once Upon a Life Episodes 12x60’ Contacts: Jonathan Tuovinen, Head Genre Quiz Show Synopsis A fun Genre Music Competition Synopsis A Genre Science Comedy Panel Synopsis of International; Olli Suominen, CEO; weekly game show format that pits weekly primetime format that dives into A studio-based comedy game show Jukka Hildén, Director for teams from the city against teams from the stories of a nation’s most beloved format that’s a big entertaining science International Partnerships the countryside. songs, and gives young artists a chance bang for the whole family! to reimagine them.
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Tel: +43 662 2240 28662 web: www.redbullmediahouse.com Stand: Riviera 07.N1 Liquid Science Episodes 11x30’ Genre Contacts: Anita Banard, Regional Lifestyle/Travel Synopsis Wu Tang Clan Sales Manager N. Europe, Italy & Social Fabric Episodes 12x30’ Genre founding member GZA takes us along Road Trick Episodes 10x30’ Genre Africa; Alexander Von Moers, Director Lifestyle/Travel Synopsis Takes viewers as he meets with the scientists and Entertainment Synopsis Follow TV & Digital Sales - GST, France, on an enlightening journey into the engineers shaping our future, exploring magician and Broadway star Adam Canada & Turkey; Sharon McCulloch, world of streetwear. In each episode, the human side of technology and Trent on a journey across Europe, using Regional Sales Manager Lat America designer Kyle Ng will embark on a series science. his magic as currency to access unique & Iberia; Wan Pei Tham, Director of of adventures around one global and experiences that money can’t buy. Content Sales Asia Pacific iconic fashion staple.
web: storylab.com Contacts: Michael Iskas, Global President; Luci Sanan (Burnley) Format Director; Erik de Winter, Head of The Game of Clones Episodes Primetime Hall Pass Genre Reality Synopsis A Time Box Episodes 40x60’ Genre Story Lab NL 20x30’ Genre Reality Synopsis The social experiment in which couples Reality Synopsis An item of emotional new dating show where one singleton at a crossroads in their relationship, significance is placed in a time locked gets to create their ideal partner and allow each other to live and behave box. The show follows the emotional then delivers eight of their creations. like they are single for 72 hours. journey of the senders and the receivers Will they find true love? Created & Created by Phileas Productions & MY of the boxes. Created by Secuoya produced by Youngest Media Entertainment. Produced by Simpel Content Media
Super Garden Episodes 54x60’ Genre Very Personal Training Genre Reality Street Stars Genre Competition Reality Synopsis This series follows five Synopsis 8 Personal Trainers are paired- Synopsis A talent show looking for the emerging garden designers as they up with 8 holiday-makers who want to country’s best street performers with compete for the prestigious honour get fit and have fun. The perfect setting the help of audience participation via of having their show garden exhibited for drama, romance, competition and social media (eg. Facebook,Snapchat at a national garden show. Created by amazing transformations. Created by etc). Created by Greymatter Vision Independent Productions Whizz Kid Entertainment Entertainment.
Tel: +33 4 92 99 8876 web: www.studio100media.com Stand: R7.C15 Contacts: Hans Bourlon, CEO Studio Arthur and the Minimoys – The Series Maya the Bee – New Season The Wild Adventures of Blinky Bill 100; Hans Ulrich Stoef, CEO of Studio Episodes 26x26’ Genre CGI Animation Episodes Season I 78x12’, Season II Episodes 52x12’ Genre CGI Animation 100 Media; Martin Krieger, Head of Synopsis Arthur found the world of 52x12’ Genre CGI Animation Synopsis Synopsis Without Blinky Green Patch Global Distribution; Tanja Aichberger the Minimoys and visits his friends The brand-new season features 52 new would be a quiet refuge from the Schätzle, Senior Sales Executive Selenia and Betameche. The king of adventures with Maya, the little bee dangerous outback. With this kid koala, the Minimoys is organizing resistance who is so unlike any of the other bees, everyday life is spiraling into a chain of against tyrant Malthazar and his armies. and her very best friends! escapades.
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5 Gold Rings Episodes 8x25’ Genre A Whole New Beginning Episodes Cannonball Episodes 12x45’ Genre Tel: +31 35 5333 111 Connected gameshow Synopsis 52x45’ Genre Reality Synopsis Three Entertainment Synopsis Fifteen web: www.talpa.tv Contestants answer questions by families go and build a new life and a daredevil couples compete in a water- Stand: C16.B placing gold rings onto an animated new future in a remote place on the based spectacle. The multiple rounds Contacts: Maarten Meijs, MD picture, displayed on a huge LED floor. other side of the world…from scratch! cover distance, speed and height: the The prize money per level gets higher… contestants are human cannonballs! but the rings get smaller.
Tel: 0203 7355222 web: www.tcbmediarights.com Stand: R8.D3 The Highland Midwives Episodes Clash of the Collectables Episodes Hunting Nazi Treasure Episodes 8x60’ Contacts: Paul Heaney; Kate 3x60’ Genre Medical & Rescue 10x60’ Genre Lifestyle Synopsis What Genre History Synopsis Looking at Llewellyn-Jones; Mem Bakar; Claire Synopsis With no consultants nearby, happens when you bring two of the the greatest theft in history and one of Runham the health and safety of you and world’s best collectors go head to head? the biggest treasure hunts in the world your baby lie in the hands of some Two experts compete on a road trip today. very special women - The Highland treasure hunt. Midwives.
Tel: 0043 1 87003 0 Back from the Brink - Saving the Tribe versus Pride Episodes 1x50’ 4K Wild Cornwall – Out on the Edge web: www.terramater.at King’s Horses Episodes 1x50’ 4K Genre Nature Synopsis In ‘Tribe versus Episodes 1x50’ Genre Nature Stand: R07.N1 Genre Nature Synopsis The Trakehner Pride’, one of the Maasai’s most defining Synopsis Cornwall: on the far western Contacts: Sabine Holzer, Head of TV; breeds comeback after war-induced cultural traditions gets abolished – to edge of Europe, surrounded by the Walter Koehler, CEO; Berend Dreier, hardships! See these horses exceling in help Africa’s lions survive. continent’s most bio-diverse seas, a Int’l Sales; Sven Westphal, Int’l Co- tournaments; see breeders and horses home to peregrine falcons, adders and Production Manager suceed against the greatest odds! grey seals throughout the seasons.
Tel: +44 (0)1752 727400 web: www.twofour-rights.com Stand: ITV Studios House Contacts: Melanie Leach, Twofour Group Chief Executive; Andrew This Time Next Year Episodes 6x60’ Give It A Year Episodes 6x60’ Format The Home Game Episodes 10x60’ Mackenzie, Twofour Group Chief Format Genre Entertainment Synopsis Genre Factual Entertainment Synopsis Format Genre Factual Synopsis Creative Officer; Anthony Hughes, Demonstrating the popularity of the Following the Television Time Travel Property programming reinvigorated. Twofour Group Chief Operating Television Time Travel formula, THIS formula and delivering multiple instant Cutting out the boring builds, fast Officer TIME NEXT YEAR is in production in 14 reveals of success or failure, this format forwarding to the reveals and delivering territories and recommissioned in the tells the stories of the make or break first hit after hit of amazing transformation UK following ratings success. year of business. with the added layer of a financial reveal.
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p151-155 Hot Props AprMay17.indd 155 21/03/2017 19:43 LAST WORD PIERLUIGI GAZZOLO, PRESIDENT, VIMN AMERICA LAST WORD PIERLUIGI GAZZOLO Using windows to open doors
ong ago, in the analogue era of TV, Greater competition for rights to premium are consistent with this wider strategy. the most challenging ‘windowing’ content is also driving up prices in certain genres In Latin America, we have partnered with decision a rights owner had to – witness the multimillion price tag Amazon pay TV operators to launch a selection of make at MIPTV was whether to was prepared to pay to lure the Top Gear team authenticated mobile apps – Comedy Central open the double doors to their away from the BBC to launch The Grand Tour. Play, MTV Play, Nickelodeon Play – that offer Lhotel balcony when they returned from a At the same time, the value of some content new windows to their customers to stream our warm evening on La Croisette. Rights deals libraries has been utterly transformed, with premium content on-demand. We premiered the were typically one-dimensional, involving Hulu reportedly paying higher-than-premium new season of Spanish-language reality series, nothing more complicated than agreeing a prices to control the re-run rights to episodes of Super Shore on MTV Play, attracting two million transmission date and a number of repeats over Seinfeld that are more than 20 years old. unique viewers in Mexico alone, alongside a an agreed timeframe with a single channel in a In order to take advantage of these new further four million watching on MTV linear 48 given territory. opportunities, rights owners are adopting more hours after each episode premiered on the app. Today, the international TV rights market sophisticated and flexible windowing strategies. Super Shore’s ratings during its run were 400% could hardly be more different. The way TV That is particularly true for content companies, above MTV’s average linear rating, suggesting content is distributed is being transformed by like Viacom, which own extensive content nontraditional windowing strategies, if carefully the changing consumer behaviours that digital pipelines and libraries but also operate their thought through, can add to linear viewing technology has made possible. Over-the-top own branded networks – including Comedy rather than cannibalise it. subscription video-on-demand (SVOD) services Central, MTV and Nickelodeon. How do we We have also agreed “parity” deals with pay like Netflix, Amazon and Hulu – and a growing take advantage of emerging opportunities in on- TV operators who have signed up to offer their number of local providers – are expanding the demand, including the chance to generate new subscribers authenticated access to our apps, traditional pay TV ecosystem and challenging revenues from programme sales to third party selling them the rights to aggregate much of the incumbent platforms. In response, legacy pay networks, without compromising the prospects same content in their own-brand VOD apps. TV operators are evolving their content offerings of our own brands? We’ve worked with some of the same Latin to include linear catch-up and video-on-demand Part of Viacom’s answer has been to seek American partners to launch a new windowing access to libraries of content, via the flat screen in deeper, more innovative partnerships with initiative, NickFirst, giving pay TV subscribers the living room and TV Everywhere services on distribution platforms with a shared interest in a first window on premiere exclusive content smart mobile devices such as Sky Go. Branded- supporting the pay TV ecosystem and helping within a Nickelodeon-branded environment on content companies are even starting to retail their us maintain the profile of our entertainment an operator’s VOD platform, ahead of its launch rights on-demand direct-to-consumer via apps brands as viewing continues to transition on our linear channel. such as HBO Now or Viacom’s own preschool towards on-demand. We do sell our library In the UK, we’ve offered greater access than mobile streaming service, Noggin. content to standalone SVOD aggregators and, in previously to our Nickelodeon content libraries For the owners of intellectual property, this rare instances, where market context dictates, we to help key affiliate partners, including Sky, multidimensional distribution model brings will sell premium rights as well – for instance, launch their own branded kids apps and meet a wealth of opportunity. Platforms are asking the Chinese format rights to Lip Sync Battle were demand among young viewers for on-demand for new rights from content owners to increase bought by Sohu. access to Paw Patrol and SpongeBob via family choice for their customers – from side-loading However, we prioritize working with smartphones and tablets. and reverse EPG to cloud-based recording and traditional pay TV providers, giving them more With the growing popularity of VOD in all its start-over. Rights holders have new leverage in flexible windows to our premium rights to help forms, there has never been a better time to be negotiations. While there is still a premium on them build their VOD propositions, and giving a major content owner. With vast libraries and exclusivity, many service providers are more us the opportunity to grow affiliate revenues. In thousands of new hours each year, adopting a willing to accept shorter windows and to share pursuit of better partnerships, we’re more closely more flexible and innovative rights strategy will rights with other providers in another part of the aligning our international programme sales and deliver greater reach, revenues and relevance. ecosystem, creating further sales opportunities. affiliate sales teams to ensure the deals we strike We just have to smash a few windows. TBI
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p156 Last Word AprMay17scFINAL.indd 6 22/03/2017 13:22 ATF2017_PrintAd_TBI_PATH_FA.inddpIBC ATF AprMay17.indd 1 1 15/03/201715/3/17 11:3912:09 pOBC KanalD AprMay17.indd 1 17/03/2017 15:55