Water Cooler

By Erin Somers

A leaked memo to employees of the New York-based TV network, ABC, has caused a stir with the Format Recognition and Protection Agency (FRAPA), a Cologne, Germany-based international organization that aims to safeguard formats. On June 14, 2008, ABC Studios executive vice president Howard Davine sent out a memo to the network’s executive producers, which, according to FRAPA’s interpretation, hinted that producers should circumvent intellectual property laws.

The memo, which was originally published by Los Angeles entertainment industry blog Deadline Hollywood Daily in late June, encouraged producers to “carefully scrutinize” whether it is “necessary or appropriate” to license foreign formats. Additionally, it implies that involving foreign producers in projects could be costly and inefficient.

FRAPA, which represents about 100 companies from around the globe, did not directly approach ABC with a formal reprimand. However, the organization issued a press release on August 14:

“In FRAPA’s view,” said agency chairman, Ute Biernat in a statement, “Davine’s memo can be seen to be encouraging ABC producers and show runners not to license formats honestly. If this is found to be the case, FRAPA will do everything in its power to help protect the property of its members in the international creative community.” Biernet, who is also the CEO of German production company Grundy Light Entertainment, went on to outline the mission of the organization, stressing FRAPA’s belief that “formats belong to the people who create them and should not be used unlawfully by any third party.”

ABC responded to FRAPA’s accusations on August 15. Sarah Hird, a PR rep from the TV network, summarized the statement for VideoAge. “The intention of the memo was greatly misconstrued and misread,” she said, “ABC Studios has been and continues to be committed to the protection of intellectual property and rights holders, as our standards and business practices have demonstrated.”

Reports from behind the scenes also indicate that the memo was misinterpreted. According to one anonymous executive, Davine’s note merely suggested that the general underlying premise of a format might not need to be licensed.

However, ABC has also been criticized by some other studio executives for both the memo and its handling of the situation, though its August 15 statement will no doubt help to diffuse the situation. Prior to the statement, President of Fox Reality David Lyle, who is a member of FRAPA’s board, was especially vocal, suggesting that if ABC continued to remain willfully silent about the matter, then producers around the world should feel free to help themselves to the underlying premise of popular kids series Hannah Montana or even Mickey Mouse, both produced by ABC parent company, Disney.

The ABC incident has put a spotlight on intellectual property appropriation, which has become an issue in the U.S. in recent years, with the growing popularity of formats imported from Europe and Latin America. The success of formats like Ugly Betty (originating in Colombia) and The Office (originating in the U.K.), has proven that foreign series can grab big audiences and caused producers to look abroad for inspiration.

FRAPA, an independent non-profit organization, was established in 2000, when a group of executives and producers from around the globe recognized the need to combat international format piracy. The association’s goals are succinctly described in its mission statement: “FRAPA aims to ensure that television formats are respected by the industry and protected by law as intellectual property.” In the case of ABC’s controversial memo, it has vowed to do what it takes to preserve the intellectual property at stake.

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By Leah Hochbaum Rosner

While TV executives the world over are gearing up for MIPCOM, the world of French TV is first preparing for a smaller, more localized market, Le Rendez-Vous. The 14th annual affair, which will take place September 8-12 in Biarritz, will gather more than 220 acquisitions execs from 40 countries to view the latest product from French TV companies, all members of TV France International (TVFI). VideoAge spoke with TVFI’s head Mathieu Bejot to find out what’s new at the market this year, how new French government rules on television advertising are affecting the region, and if taking place shortly before MIPCOM is a good thing.

VideoAge International: Tell me about the upcoming Le Rendez-Vous. What’s new and exciting at this year’s event?

Mathieu Bejot: The market will be fairly traditional. French companies will screen their product for buyers. Thus far, we know of more than 800 titles that will be screened. We’ve organized some lunches and networking opportunities, as well. But we like to keep it small, on a human scale. One of our main goals is to keep a balance between working and networking. Also, we’ll be in Biarritz again for the second year in a row.

VAI: You used to be in St. Tropez. Why is Biarritz a better locale for this sort of television event?

MB: St. Tropez was fun, but the venue was getting too small for us. In Biarritz, we’re in a proper conference center. It’s a nice setting and very efficient. Also, most hotels are in walking distance of the convention hall. In St. Tropez, we needed shuttle buses.

VAI: How many people will be at Le Rendez-Vous?

MB: We’ll have about 55 French companies in attendance, as well as more than 200 buyers. We’re not yet sure about final numbers. But we’re in line with last year. It looks pretty good so far.

VAI: With all the new rules in place regulating advertising on French public television, how will the market be affected?

MB: We’re still trying to figure out what the impact will be. The government plans to tax telecom operators and Internet providers in order to make back the money they’ll lose from banning advertisements on public television. This is being hotly debated here. During the market, we’ll talk figures, and try to figure out how this will all work. The big fear is that French TV will have less money and make fewer programs. A number of new programs have already been shelved. There’s lots of uncertainty here at the moment.

VAI: Do you ever worry that there are too many fall TV events, what with MIPCOM, SPORTELMonaco, the Florida Media Market, AFM and Le Rendez-Vous, just to mention a few, all happening around the same time?

MB: It’s certainly a concern. But this is still a person-to-person business, and for us, having Le Rendez-Vous one month before MIPCOM works quite well. People can meet by us and then not have to meet up at MIPCOM, or they can start negotiations during Rendez-Vous and finish during MIPCOM.

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By Leah Hochbaum Rosner

In the months leading up to MIPCOM, which will be held a somewhat late October 13-17, in Cannes, France, independents the world over have been readying their slates for an entertainment extravaganza that will cap off a rather irregular year in the industry. VideoAge spoke with a slew of indies to find out what product they’ll be bringing to the Palais, if the U.S. writers’ strike has affected them, and if MIPCOM is still the best place for TV executives to do global business.

“MIPCOM marks the beginning of the year-end frenzy for us,” said Oliver Kreuter, head of Distribution for Germany’s Bavaria Media, “Buyers come out of their summer break ready to make the last acquisitions for the current year.” This year, Bavaria will be launching Serralonga, a two-part adventure miniseries from Spain, as well as disaster movie White Menace-The Avalanche of the Century. “MIPCOM is a catalyst for the business we want to do during the second half of the year,” he said, before adding that Bavaria and TV3 de Catalunya will host a special event and cocktail on October 13 to celebrate the international launch of Serralonga.

Following Canada-based Cookie Jar Entertainment’s recent merger with U.S.-based DIC, MIPCOM will be the newly formed company’s coming out party. “This is the first show since combining our efforts,” said Cookie Jar’s Toper Taylor, noting that the firm now has over 6,000 hours of programming in its library — one of the largest in kids’ television. This year, Cookie Jar is bringing a number of new kiddie series, including Metajets, a co-production with Korea’s Sunwoo, and Noonbory and the Super 7, a co-pro with Korean partner Daewon Media. According to Taylor, the aftereffects of the U.S. writers’ strike will still be felt. “It’s still hurting the U.S., but it creates opportunities for international co-productions.”

Tobias de Graaff, svp, Sales, Europe, at the U.K.’s ITV Worldwide, the international distribution arm of ITV that combines the recently merged Granada International and Granada Ventures, concurred with Taylor that the strike is still on people’s minds. “Our buyers didn’t get the normal amount of scripted shows that they usually get,” he said. “Because of that shortfall, they’re looking for our stuff.” The company is bringing product galore in the hopes of filling that void. Scorched is a futuristic disaster movie about the effects of global warming that de Graaff hopes will strike a chord in this era of environmental awareness. But de Graaff is most excited about Britannia High, a musical drama series that is expected to soar. Besides the series, attendees will see a new booth for ITV, which better reflects its recent Granada acquisitions. “Expect prettiness,” de Graaff said cheekily.

Another U.K. company that will be on hand to meet, greet and do business at MIPCOM is Power, which will focus its market efforts on promoting Crusoe, its adaptation of the famed Daniel Defoe novel that airs this fall on NBC in the U.S. “We’ve pre-sold Crusoe in 43 territories,” said Power’s Chris Philip, noting that the family-friendly series will soon air on Canal Plus in France, Channel Nine in Australia and TV2 in Hungary, among other regions. “It’s an enormous accomplishment to get a scripted show on TV in the U.S.,” said Philip. “When we’re sitting at a table with a client and we tell them we have a U.S. network show, that gets their attention immediately. We’ve been able to capitalize on that with a number of long-term output deals.”

On the Spanish-language side, U.S.-based Telemundo is muy excited about the telenovelas it will be bringing to the market. Among the Spanish-language soaps to be showcased at MIPCOM will be Doña Bárbara, Without Breasts There is No Paradise and Marina. “MIPCOM has always been the most relevant market for us because while other markets are local, MIPCOM continues to be global,” said Telemundo’s Xavier Aristimuño. The company, which has a strong presence in Asia, will use the event to continue its focus on the region. “China is a huge market for us,” said Aristimuño, noting that Marina will soon be on the air there. The company also has soaps airing in the Philippines, Japan, and Korea, among other locales. Aristimuño believes that Telemundo’s novelas do so well in Asia because “they’re simple love stories and they have a beginning and an end. People can relate to them.”

MIPCOM 2007 drew a total of 13,371 participants, a seven percent increase over the previous year’s market. Some 4,585 companies from 105 countries were on hand. Reed Midem, organizers of the event, hope for an even higher numbers for MIPCOM 2008. For our part, we hope for business as usual and good weather.

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By Leah Hochbaum Rosner

CTAM Europe was launched by European cable executives in 2004 as the European arm of CTAM, the Alexandria, Virginia-based Cable and Telecommunications Association for Marketing. CTAM Europe is a Switzerland-based, non-profit professional membership organization for European cable operators, and has more than 300 members. The company organizes various networking events and educational marketing workshops throughout the year, however their flagship event is the EuroSummit. The fifth annual conference, which will take place September 25-26 in Berlin, will bring together hundreds of European cable executives to discuss best practices and effective marketing approaches. VideoAge spoke with CTAM Europe managing director Krisztina Homolay to find out what to expect from EuroSummit 2008.

VideoAge International: Who is the EuroSummit for?

Krisztina Homolay: European cable executives, programmers, vendors and cable industry service providers who would like to learn more about cable marketing. The EuroSummit is two full days that focus completely on marketing best practices, customer experiences, multi-platform opportunities, and other issues relevant to the industry that will help cable operators stay alive in face of so much competition in the European market.

VAI: Why did you choose to hold the event in Berlin this year?

Every year we choose a different city in Europe. In the past we have hosted the EuroSummit in Budapest, Zurich, Prague, Barcelona, and now Berlin. When we are choosing a location, it is important to have a large cable presence in that given country. We’re already looking at locations for the 2009 and 2010 editions.

VAI: How many people do you expect will attend the event this year?

KH: Last year, we had about 300 people representing 80 companies from 25 countries at the EuroSummit. We expect the numbers to be similar this year. It’s not a very large conference and we’re happy to keep it as it is, a small educational event, and not to make it into a big moneymaking machine. Our main goal is to give attendees valuable information that they can apply to their businesses.

VAI: With so many TV events taking place in the fall — including MIPCOM, SPORTELMonaco, the Florida Media Market and the American Film Market — how do you hope to stand out?

KH: We are the only cable marketing organization in Europe, therefore our program is not competing with any other industry events. In addition to learning and sharing best practices, we also focus on networking opportunities during our event. During coffee breaks, lunch breaks, cocktail receptions, as well as our informal gala party, there is plenty of time to mingle with industry executives. It’s especially good for someone who just joined the industry. It’s a great place to meet people.

VAI: What’s new at the upcoming EuroSummit 2008?

KH: Every year we try to spice up our conference program with something different. Last year, we had a session on new media usage by teenagers and invited teens from the American School in Barcelona so attendees could receive information first-hand from teens. This year, we’ll be having a session entitled “Insight From Other Industries: How Customer Experience Can Help to Retain Customers,” in which marketing execs can learn from other industries about branding and customer care. We also invite different keynote speakers, representing different sides of the cable industry to give their perspectives. It’s this kind of out-of-the-box thinking that sets EuroSummit apart from other cable industry events.

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