Major new TV series

French actor Jean Reno (Ronin, Leon The Professional, Da Vinci Code) is in town to promote a new international series presented by Atlantique Productions (the makers of TV series “Borgia” and “The Transporter”). “Le Grand” was created by Rene Balcer (Law & Order – Criminal Intent) and shot in Paris, the project is Reno’s virgin debut as the lead of an international series.

However, the cast of thousands award will probably go to the new series “Titanic”. Harry Potter’s screen “mother” Geraldine Somerville (Harry Potter films, Gosford Park), Celia Imrie (Bridget Jones’s Diary, Nanny McPhee), Toby Jones (Tinker Tailor Soldier Spy) and Glen Blackhall (Jump, Echoes) all star in ITV Studios Global Entertainment’s  international mini-series Titanic, presented at MIPTV’s Gala Screening on Sunday 1 April and marking the 100th anniversary of the sinking of the ship. The cast members will be joined by Titanic scriptwriter Julian Fellowes, who won an Oscar for Gosford Park (2001) and an Emmy Award for Downton Abbey (2010), and producers Chris Thompson (Love Actually, Carrington) and Simon Vaughan (Parade’s End, Coco Chanel) from Lookout Point.

Other celebrities on the red carpet will will include Ellie MacPherson, shopping “Fashion Star”, “Jersey Shore” stars Deena Nicole Cortese and Vinny Guadagnino as well as Nikki Griffon for “Femme Fatales”.

You’ll find the full line-up of MIPTV 2012 events here.

The MIPFormats Pitch competition is an international event for finding companies with innovative concepts for new, non-scripted entertainment formats. Warner Bros. International Television Production, the exclusive sponsor of the competition, oversaw the pre-selection and will spend up to euro 25,000 to develop the winning project of the MIPFormats Pitch.

Formats remain a very lucrative part of the business, even though it sometimes feels as though Endemol have a monopoly on the really successful ones.

Simon Staffans, Media City Finland

5 format finalists at MIPFormat Cannes

This year’s 5 finalists are:

ALL FOR ONE ONE FOR ALL Presented by Janane Mallat, CEO, IPROD, Lebanon

LOOKING FOR LOVE Presented by Stuart Coxe, Executive Producer, Antica Productions, Canada

MILLION DOLLAR MYSTERY Presented by Adam Markowitz, President, Markowitz Media, USA

PERSUASION Presented by Soreyrith Um, President, Summertime Entertainment, USA

WHICH ONE OUT Presented by Simon Staffans, Format Developer, MediaCity Finland, Finland

5 golden rules for pitching at Cannes

It’s interesting to see such a geographical spread of contestants, including at least one MIPTV  regular, Simon Staffans (photo). Ironically, he has written five golden tips for successfully pitching a project that you (and his competitors) can find here. as many people have to pitch at Cannes events it makes interesting reading.

Check now for hotel availability at MIPTV 2012

starting at €170.

This is one red-carpet event it would be advisable not to miss. The Titanic is “celebrating” its centenary this year, which will drive huge interest. In addition, the production and cast of this version promises good television viewing. Produced by Nigel Stafford-Clark (Bleak House, Warriors) and Chris Thompson (Love Actually, The No.1 Ladies Detective Agency), the series of four one-hour episodes is scheduled for broadcast in March/April 2012, to coincide with the anniversary.

“MIPTV and MIPCOM had been hugely important to the financing of Titanic,” syas Simon Vaughan, Managing Director, Lookout Point, and Titanic Executive Producer. “Julian and I were here with ITVS GE 18 months ago talking to potential partners and co-producers, so it feels most fitting to celebrate its launch with a gala screening here in Cannes. We are extremely proud to have the chance to screen it to our friends and colleagues in this way.”

For more details, visit MIPTV.

Check now for hotel availability at MIPTV 2012

starting at €170.

Global Buzz from MSN

MSN International is commissioning original content via the Content 360 digital content creation contest. The target audience is gender neutral, 20-45, with a skew towards InfoSeekers (those who keep their finger on the pulse of the internet and are always aware of the buzz of the moment) and Connected Socializers (those who keep in constant connection with their friends and personal networks). The best three entries will receive €5,000 to produce a pilot, with the best one getting the commission.

New Transmedia Concepts

Producers are invited to submit proposals for new transmedia concepts that mix video storytelling (FICTION) with gaming, live events, mobile applications, integrated marketing, dual screen content – or get any additional techniques for enriching the story/story world and the user experience. The projects will be judged on a presentation given by the producer. The presentation MUST be given in the form of a “Quick Fire Concepts” presentation where the producer shows 20 relevant images and talks about each of them for approximately 20 seconds (total 6.40) to explain the concept, target audience, story, characters, platforms and budget.

I like this way of presenting, as it mirrors the viewing habits of the intended audience.  If you can’t grab the attention of professionals in a format like this, what chance do you have with viewers?

Test lab for creative talent

Although traditional production houses seem reluctant to embrace these sorts of productions, there is a very good case to be made for them. Vast amounts of content consumed these days is in short formats, notably on the web and increasingly via mobile. It’s a field which is within easy reach as production costs can be contained, at least at the outset.So it’s possible to keep a horse in the race without mortgaging the house.

These formats can also serve as a good test lab for new directing and format talents, giving new directors a shot at producing short, sharp and focused material with eye-appeal.

The deadline is February 24, with presentations at MIPTV in Cannes and the finalists announced on April 1. To get the full details, visit MIPcube.

Check now for hotel availability at MIPTV 2012

starting at €170.

For the second time, the TV start-up competition will see companies from around the world pitch innovative business plans and prototypes to a panel of television executives, entrepreneurs and venture capitalists in the hope of being named “2012 most promising disruptive TV start-up.” MIPCube Lab will take place during MIPCube in Cannes on Friday 30 March, just ahead of the 2012 edition of MIPTV (1-4 April).

Game-changing innovations at Cannes

“During MIPCube Lab, we are looking to unearth game-changing innovations that will significantly contribute to altering the face of TV in all its forms,” said Laurine Garaude, Director of Reed MIDEM’s Television Division. “MIPCube attendees will be immersed in a unique, limited-participant highly networked cutting edge environment, before joining the thousands of executives who attend the biggest professional market in the TV industry: MIPTV.”

The choice of Cindy Gallop as a speaker fits the bill. Since her trail-blazing advertising career, she has been advising start-ups across the world with a simple approach: “I like to blow shit up. I am the Michael Bay of business.” Gallop is also the author of the thought-provoking “Make Love Not Porn: Technology’s Hardcore Impact On Human Behaviour”.

MIPCube will also feature an intriguing “TV Hack Day”, where developers will spend the day trying to twist new sources of fun out of the TV format. This sort of event has been very successful at Midem, notably.Other speaks at MIPcube include Ogilvy&Mather, Vivendi and Contagious.

Applicants have until Monday 20 February to submit (free) applications for the competition. Finalists will be mentored by jury members at the show to review and rehearse their presentations.

For further info, visit MIPcube.


Public funding has been an important resource for producers for some time. Public bodies in Europe have paid particular attention to the sector since it came into existence. Public intervention was made necessary by the domination of the international film market by the Hollywood giants since the end of the First World War, as well as by the economic weakness of national film industries and the political and cultural issues associated with the production and distribution of images.

Reaching European financing

Currently, Europe has a vast range of sources, from direct cash injections to tax credits & shelters, favourable loans and guarantees as well as support in promotion. Given the complexity of film finances, producers need to be aware of all the various support mechanisms that are available.

This year’s review covers key issues and questions:

• Exhaustive coverage: from influential national film agencies to small-scale local initiatives
• Direct public funding in 37 European countries
• Unique overview of the geographical spread, scale and scope of direct public funding
• With authoritative answers to the key questions:
  • How many funds?
  • How are they financed?
  • What is the total volume of funding?
  • Which activities are supported?
  • National versus regional funding – how do they differ?

The report also provides brief insights into a selection of special topics, including funding for the transition to digital cinema, tax incentives, public financial institutions active in the sector and a review of the public policy context at European level.

What is the Creative Europe programme?

The Creative Europe programme would support European cinema and the cultural and creative sectors, enabling them to increase their contribution to jobs and growth. With a proposed budget of €1.8 billion for the period 2014-2020, it would support tens of thousands of artists, cultural professionals and cultural organisations in the performing arts, fine arts, publishing, film, TV, music, interdisciplinary arts, heritage and the video games industry. The goal is also to stimulate operations across Europe,  reach new audiences and develop the skills that are needed in the digital age. In this way, the new programme will also contribute to safeguarding and promoting Europe’s cultural and linguistic diversity.

Why does Europe need a Creative Europe programme?

Culture plays a major economic role in the 27 countries. The cultural and creative industries account for around 4.5% of EU GDP and 3.8% of employment (8.5 million jobs and many more if account is taken of spill-over into other sectors). Between 2000 and 2007, employment in these sectors grew by an average of 3.5% a year, compared to 1% in the overall EU-27 economy. Europe is by far the world leader for exports of creative industry products. So the goal is to retain this position.

Creative Europe takes account of the challenges created by globalisation, in particular the impact of digital technologies, which are changing how cultural works are made, distributed, and accessed, as well as transforming revenue streams and business models. But these developments also create opportunities for the European cultural and creative industries and the programme seeks to help them seize these opportunities, so that they benefit from the digital shift and create more international careers and employment opportunities.

The move inevitably raises many questions, which the European Commission addressed in a recent press announcement.

Why is the Commission proposing to merge the existing Culture, MEDIA and MEDIA Mundus programmes into a single programme?

These sectors face similar challenges, including market fragmentation resulting from cultural and linguistic diversity, globalisation and the digital shift, as well as severe difficulties in accessing commercial lending. They also have similar needs in terms of safeguarding and promoting cultural and linguistic diversity, and strengthening their competitiveness in order to contribute to jobs and growth.

However the Commission recognises that the structure of these sectors is also diverse. That’s why it is proposing a single framework programme, but with separate strands to provide appropriate support.

How will Creative Europe differ from the current MEDIA and Culture programmes?

The Creative Europe programme will combine the current separate support mechanisms for the culture and audiovisual sectors in Europe in a ‘one-stop shop’ open to all the cultural and creative industries. However, it will continue to address the particular needs of the audiovisual industry and the other cultural and creative sectors through its specific Culture and MEDIA strands. These will build on the success of the current Culture and MEDIA programmes.

In addition, it will create a new financial guarantee facility which will enable small operators to access up to €1 billion in bank loans.

What will the programme achieve?

The Commission estimates that, in 2014-2020, at least 8,000 cultural organisations and 300 000 artists, cultural professionals and their works would receive support to cross borders and acquire the experience which will help them to develop international careers. The programme will also support the translation of more than 5,500 books and other literary works.

The MEDIA strand will support the worldwide distribution of more than 1,000 European films, via traditional and digital platforms; it will also provide funding for audiovisual professionals to help them access and successfully work in international markets, and will foster the development of films and other audiovisual works with a potential for cross-border circulation.

There is a lot to build on: thanks in part to MEDIA support, the proportion of European films among all newly released films in European cinemas grew from 36% in 1989 to 54% in 2009. The Europa Cinemas network, comprising over 2,000 screens in mostly independent cinemas, helps to ensure a broad and diverse mix of films for audiences in 475 cities. Their films attracted 59 million admissions in 2009 compared to 30 million in 2000.

What challenges is the programme tackling?

The cultural and creative industries do not currently make the most of the Single Market. One of the difficulties the sector faces is language: the European Union has 23 official languages, 3 alphabets and approximately 60 officially recognised regional and minority languages. This diversity is part of Europe’s rich tapestry but it hinders efforts by authors to reach readers in other countries, for cinema or theatre goers to see foreign works, and for musicians to reach new listeners. A Eurobarometer survey (2007) has shown that only a minority of Europeans watch foreign language TV or films and only 7% read foreign language books.

A stronger focus on support for audience building and on the sectors’ capacity to interact with audiences more directly, for example through media literacy initiatives or new interactive online tools, has the potential to open up many more non-national works to the public. The Commission estimates that well over 100 million people will be reached directly or indirectly through the projects supported by Creative Europe.

Are individuals eligible to apply for funding?

Creative Europe will not be open to applications from individuals. But around 300 000 individual artists and cultural professionals, as well as training institutions, will be reached through the projects submitted by cultural organisations. This is a much more cost-effective way to achieve results and a lasting impact.

Which countries are eligible to apply for funding?

Creative Europe will be open to Member States, as well as the European Free Trade Association (EFTA) countries (Iceland, Liechtenstein, Norway and Switzerland), EU accession and candidate countries, potential candidates and neighbourhood countries. Other countries may be involved in specific actions. Currently, EU Member States, the EFTA countries, Croatia, Turkey, Former Yugoslav Republic of Macedonia, Serbia, Montenegro and Bosnia-Herzegovina are participating in the Culture Programme.

EU Member States, Croatia, Iceland, Liechtenstein, Norway and Switzerland participate in the MEDIA Programme.

What would happen to MEDIA Mundus?

MEDIA Mundus, the existing programme which supports cooperation between European and international professionals and the international distribution of European films, will be integrated into the MEDIA strand of Creative Europe.

Creative Europe still needs the approval of the Council of Europe and European Parliament. Can you see any implications for your work and relations with international production partners? Let us know in the forum below.

Calculating the return on investment of a trip to Cannes is not easy. Rather than look at that, I’d like to ask a few questions that can help those that have decided to attend a trade fair in Cannes, notably how do you get the most from your visit?

Plan for success

At the risk of stating the obvious, the “secret” of success is to plan. But plan for what? And how? This very much depends on what brings you to Cannes and how you define success. Take a second to think of the one big reason you have to attend either Midem or the Film Market (the other events work along similar lines). Let’s say you have a new product you think you can license worldwide. If you are reading this, you are probably a relative newcomer, so what are your realistic expectations?

Nearly everyone you might want to reach will be there. So how do you reach them? How do you then approach them? With what, and with what expectations?

You should know that very few deals are done directly at Midem or the Film Market. Although you are entitled to try, it is far more likely that what you are getting at Cannes is two very simple but precious things: access to interesting people and – hopefully – the permission to keep in contact with them afterwards. That’s it.

Wait, what about my sales figures? I’m not going to Cannes to waltz around the Croisette! Nope, you are going to build partnerships, to find the perfect fit for your product or service in a few if not dozens of territories. You are going to find people that need you in some way. This is not to say you won’t sell stuff – the trade fairs would crumble overnight if that was the case, and some companies report 75% of their annual sales are a direct result of contacts made at the fairs – but you have to focus on connecting with people first.

 

Midem, TFWA and MAPIC offer great networking opportunities

How do I meet the right people in Cannes?

Don’t wait for Cannes to come around to meet the right people. Start as soon as possible. I strongly advise getting one of the early bird event rates for two reasons: you save money (sometimes enough to cover a cheap hotel); and you have a head start in mining the database. Again, with your new product, you go looking for licensors. First, pick off the big names in territories you know. That part is easy (although getting a reply from them is more difficult). Then comes the time-consuming but fun part: investigating the hundreds of smaller players in each region. This could well be where your business comes from.

Why? Because these people are usually more open to deals. There are far more of them. They are less courted and might have more time for you. Check their profiles completely. Visit their website. Check every angle of their work. What other activities are they involved in? Google/Bing/EntireWeb them. Have they sent out press releases recently? What does that tell you about them? Is there  something else you can suggest them? Think wide.

Offer more to stay in the game

Although some companies can afford to attend Cannes with one hot product, I strongly advise against it. There is  nothing more gutting than to realise after the first three meetings that your product is totally dead in the water for whatever reason and you have three more days of spending money to look forward to. If you’ve done your homework, you’ll know the people you are meeting are also active in character licensing, physical distribution, packaging, music supervision or whatever. Move the subject in that direction and hit them with the back-up plan. Rep someone else, if necessary. Mention your next upcoming project (if it is notably different from the one you did not impress them with right now). It could pay for the trip and more.

And when all else fails…

Never let yourself feel down when all else fails – there’s time enough for that in the plane going home. Analyse what people are telling you. Look for new angles. How could your idea be re-packaged? And in your time off, attend the conferences, they are a source of great ideas and also offer great networking opportunities. Read the dailies and determine to try and meet at least one company mentioned in them per day (I have a trick for that, more of which later).

And lastly, I strongly recommend doing what only about 15% of people do properly: follow up every contact 10 days later and see who is still open to some sort of business situation. Remember also that your Cannes event is usually about five days. The database, however, is open for 12 months. Armed with your new knowledge, you can develop products that fit what you learnt and can then go find exactly the right person to contact in each territory. The fact that you did not make a sale this time does not mean you never will – on the contrary. A slap in the face is often  a great stimulus for business. You are now armed with greater insights and access to the people that can make them work.

I’d really love to get some debate going. So feel free to make comments ask questions (below). I deal with specific aspects of travelling to Cannes on the rest of the site. Keep up to date using the RSS feed, follow me on Twitter or why not get Cannes news straight to your mailbox. I cover Cannes, music and movie biz news.

Michael Leahy

CANAL+ COO Rodolphe Belmer

French producer and broadcaster CANAL+ will announce an increase of €10 million in investment in TV drama at the upcoming MIPTV show in Cannes. The company intends to ramp up investments to €50 million for its TV dramas, underlying the need to keep a flow of international supply of original programming.

CANAL+ will also emphasise the importance of international co-productions in creating appeal for the programmes. Shows that will benefit from the French broadcaster include the US’ “XII” and “Borgia” (with EOS Entertainment).

The company’s COO and executive VP of content Rodolphe Belmer will head the Producers’ Forum conference, which includes a co-production workshop, and give a keynote speech. Co-production will be the hot topic at the Producers’ Forum at MIPTV 2011. Two days of conferences and matchmaking sessions will be devoted to the subject, with the launch this year of a new lounge dedicated to meetings and working sessions. Conferences will develop themes such as drama co-production through specific case studies; TV networks’ global strategies in terms of co-production laid out by some key industry players; and special regional workshops on both Asia and Latin America.

As a broadcaster, CANAL+ goes out to 12.3 million subscribers internationally.

Connected Creativity at Cannes 2011

An international committee headed by Guilhem Bertholet, Director of the HEC Incubator, selected: Camup, USA; Cognik, France; Fair Play Interactive, France; Futurecode, Finland; Hit Me Baby, UK; Hitlantis, Finland; Invideous, UK; Jakaa, France; Lorenzi TV, France; Mediabong, France and Stupeflix, France.

“The first edition of CC Ventures is extremely encouraging. We are very excited about highlighting some of the most innovative start-ups in digital entertainment. It gives us great satisfaction to provide these new players with unique access to some of the major media investors and venture capitalists,” says Laurine Garaude, Director of the Television Division at Reed MIDEM.

On 6 April in the Hotel Majestic, the selected companies will present their activities to a panel of experts representing venture capital and corporate funds (Balderton, Comcast Interactive, Morgan Lewis, Ventech, VentureBeat). The winners will be announced shortly after during the CC Ventures awards at the Connected Party.

For details, visit MIPTV Get more MIPTV news.