V I D E O • A G E AP R I L 2 0 1 1 18 The birds are singing, which can only mean one thing: MIP is in the air. The days are getting longer, but MIPTV 2011 — set to return to its traditional venue, the Palais des Festival in Cannes, France, April 4-7 — is getting shorter: One day shorter from the previous edition. Aside from CBS Studios and NBCUniversal (now owned by Comcast), which will have the customary elaborate stands, the other U.S. studios will not be in full attendance. Some think that this may make for a quiet market, however indies will surely receive much more attention from buyers. “It could be a very light MIP,” said Irv Holender of Toronto-based Fremantle Corp. of the studios’ absence. But, other executives VideoAge talked to were optimistic that the dearth of studio stands could clear a path for the independents. As usual, MIP activities kick off with MIPDoc, the market’s dedicated documentary event, which will take place April 2-3, two days before the start of the MIP-TV proper. This year, MIPDoc has a lot to offer companies that specialize in factual entertainment, with a packed schedule of seminars, keynotes andmatchmaking events. Also of note is the MIPDoc Co-Production Challenge, now in its seventh year, which is designed to help breakout producers find funding. Plus, MIPDoc will get its own opening night cocktail party at the Majestic Hotel. Jonathan South senior director of International Content Sales, EMEA for new York-based AETN International noted that for his company, MIPDoc is a big attraction. “As MIPDoc is held alongside MIP-TV,” he said, “We always find many new clients that have screened our programs there and consequently come visit our stand.” This year, AETN is bringing to market what South referred to as the firm’s “strongest slate ever of real life focused series,” and plans to target buyers from France, Germany, Scandinavia and Benelux, who have all shown an appetite for this type of programming. Another mini-event, MIPFormats, will also run simultaneously with MIPDoc. MIPFormats, which takes place April 2-3 as well, is only in its second year, but has so far been well received amongst participants since its inaugural edition in 2010. Like MIPDoc, MIPFormats will have a variety of seminars on tap, including a panel titled “Format Programming Strategies: What Buyers Want” and a focus on Latin America on its first day. The return of MIPFormats ensures that formats will continue to be an important worldwide programming trend. Many companies will be using the market as a launch pad for their new formats. CEO Jon Kramer noted that his Los Angeles-based Rive Gauche will be active on the distribution side, but also emphasized that Rive Gauche is “focused on developing original formats and pitching them internationally.” Kramer elaborated that, “It’s just become too difficult to hold on to rights in the U.S.” As for the sellers, MIP and MIPCOM have always brought out the European crowd, and this year will be no exception. Zurich-based First Hand Films will be on hand with sales goals for the U.S., the U.K., Latin America and Asia. CEO Esther van Messel stated that her strategy for the market is to present all the new titles in the company’s catalogue to buyers, but target certain programs towards the tastes of their existing clients. “Each territory is different,” she said, “For example, Asian audiences seem to be interested in Western stories that have a human interest angle, where as current affairs programs are just a little harder to sell in Asia. It’s ultimately about keeping abreast of all viewing trends and tailoring programming to the buyers’ needs.” Greg Phillips, president, Content Television and Content Digital for London-based Fireworks International stated that his team will “focus on all territories with equal importance.” Fireworks will also be launching a host of new titles across a variety of genres, including two new non-fiction series, a crime solving adventure and a thriller. Additionally, Phillips emphasized that this MIP-TV is especially important to the company, as it will be attending for the first time ever “under the recently announced new banner of Content Media Corporation, operating as three distinct divisions—Content Television, Content Digital and Content Film.” Fremantle’s Holender remarked that his sales team will have their noses to the grindstone. “We’re still focusing on European co-productions and the new vitality in the Asian market for co-productions.” Holender also stated that he would be avoiding selling any one-off programming. “What we try to stay away from is the one shot deals,” he said. “The single events and single specials consume as much time as full series do.” For their part, the buyers will be on the hunt for a wide range of product, as usual. Jane Roscoe, network programmer for Australia’s SBS Television said that her meeting schedule is, for the most part, booked, but her team is “always on the lookout for new content and suppliers as [they] walk the floors of the Palais.” SBS, like many major broadcasters, will be acquiring content across a number of genres. “Priorities include ‘big idea’ documentary series (science, politics, environmental issues), engaging factual formats for both acquisition and commissioning, food programming from around the world, fresh and provocative dramas and comedies and accessible entertainment shows for the early evening,” said Roscoe. Though it remains to be seen what programming trends will be hot at this year’s market, some executives had predictions. Patrick Elmendorff, managing director of Munich-based Studio 100 Media pointed to the revival of classic series as one thing to watch for. He elaborated that he expects to see a boom in “the production of CGI state-of-the-art animation series based on classic children’s publishing properties or toys which are meant to attract children and parents.” Elmendorff also observed that “crossmedia productions as well as web and mobile devices are increasingly important,” a trend which First Hand Films’ Messel also highlighted. MIPCOM 2010 played host to a World Premiere TV Screening, and MIP-TV will continue the tradition with the international debut of GK-TV’s medieval drama Camelot. Co-stars Eva Green and Joseph Fiennes will be on hand for this gala event, which will take place on Day One and will be presented by GK-TV and Starz. Where keynotes are concerned, Rodolphe Belmer, executive vice president, Content at Canal Group and David Frank CEO of Zodiak Media Group will each make a speech on Day One. Meanwhile, Hans Vestberg, president and CEO of Ericsson and Miles Young, CEO of Ogilvy and Mather Worldwide will get their chances on Day Two. This time around, conference sessions will tackle a slew of subjects, including the ever-elusive newmedia. The Content 360 panels on Day One and Two will teach execs how to pitch cross-media projects, smart phone apps and media tablet programs and a Day One seminar will explore “How to Achieve Creative Excellence.” Asia will also be a major topic, with Day Two’s “Working With Asia” workshop and Day Three’s Asian Animation Screenings. This year, attendance figures look good with an estimated 11,500 overall attendees from 107 countries in the TV, digital and advertising fields, including 4,000 buyers and 1,500 exhibitors. The reason why this year the trade show is one day shorter remains elusive. The move doesn’t seem to benefit distributors, who said that costs will stay basically the same, while they’ll have one day less to meet with buyers, considering that the previous fiveday event became in effect a four-day market, since buyers leave earlier and exhibitors use the last day to pack up. With a shorter event, exhibitors are thus expecting an effective three-day market. The fact that the Palais will open earlier and close later will have little redeeming value because participants use the morning for breakfast meetings and the afternoons and evenings for parties and/or dinners. ES Indies Getting More Attention Hope Translates Into More Sales M I P - T V S i r e n s
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