Water Cooler

By Leah Hochbaum Rosner

This will technically be the very first MIPCOM for ITV Global Entertainment, Ltd. following the firm’s recent renaming of Granada International and Granada Ventures (which until recently were referred to as ITV Worldwide) to its new ITV Global moniker, and Tobias de Graaff, svp, Sales, Europe, at the U.K.-based firm, is positive that the change of name will only help the company do bigger business in Cannes. The TV executive spoke to VideoAge about ITV Global’s new slate of TV movies, its new booth in the Palais, and why the WGA writers’ strike in the U.S. — which paralyzed so many in the industry — is continuing to have a surprisingly positive effect on his company.

VideoAge International: What’s new and exciting about MIPCOM this year?

Tobias de Graaff: This will be the first market we’re attending as a fully merged venture. We’ll have a new stand [R38.01] and everything. Expect prettiness.

VAI: What new product will you be bringing to the Palais?

TDG: We have a mix of TV movies — some are female skewing and others are disaster flicks. We have Scorched, a futuristic disaster movie about the effects of global warming. We also have a new adaptation of Wuthering Heights, as well as Britannia High, a new musical drama series starring six young performers. Additionally, we’ll offer Hell’s Kitchen U.S. with Chef Gordon Ramsay, as well as format Come Dine With Me, which has rolled out successfully in so many countries.

VAI: Do you ever have any time to attend any of the sessions or panels at MIPCOM, or are you essentially chained to your booth?

TDG: MIPCOM is always a very busy market. For me personally, it’s very tight. I’m booked up with salespeople from 8 a.m. until 11 p.m. most days. But we try to always send someone to the panels to make sure we know everything by the end of the market.

VAI: Though the WGA writers’ strike has been over for a few months now, will it still affect MIPCOM? And more importantly, will it affect ITV?

TDG: Our company is a producer of Hollywood dramas, so we’ve definitely felt a positive result from the strike. Our buyers didn’t get the normal amount of scripted shows that they usually get. Because of that shortfall, they’re looking for our stuff.

VAI: So the strike ended up being relatively positive for you. How about the falling dollar?

TDG: It’s had more of an effect on U.S. companies than U.K. because we trade in pounds. But generally I haven’t found that the TV industry has had any downturn yet.

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By Leah Hochbaum Rosner

At the global MIPCOM market, which will start October 13, television executives will turn their attention to nearly every single corner of the world. But Xavier Aristimuño, vp, Sales and International Business Development, Asia, of U.S.-based Telemundo Internacional which is part of the NBC Universal family, will be in Cannes with a one-track mind, focusing exclusively on The Orient. Aristimuño spoke with VideoAge about his company’s plans for MIPCOM, how and why Asia has developed an appetite for telenovelas and why the threat of rampant piracy in the region hasn’t deterred him from his plans to conquer the East.

VideoAge International: What product will Telemundo be bringing to the Palais?

Xavier Aristimuño: First, we have Sin Tetas No Hay Paraiso, a novela that offers an analysis of society’s single moms. We also have Doña Barbara, a complicated story about a tough woman who makes many sacrifices along the way to becoming a success. It’s based on a very popular book.

VAI: Why is MIPCOM such an important market for Telemundo to attend?

XA: MIPCOM has always been the most relevant market for us because it’s a global market. Other events, such as NATPE or DISCOP are more locally focused. Every market has its niche. But for us, MIPCOM continues to be one of the most important because of its global focus.

VAI: What territories will you be concentrating on while in Cannes?

XA: We’ll concentrate a lot on Asia. We’ve been in Asia for quite some time and had one or two telenovelas on every year for a number of years. China is a huge market for us, as is the Philippines. We’re also looking to send some of our product into India. It takes a little while longer to get programming on the air in Asia because of the extra time it takes the censors there to filter our product to make it suitable for local television, but it’s well worth the wait. We also have novelas in Japan, Korea and other Asian countries. We have a presence both on free-TV and IPTV. The market is growing every day.

VAI: Why are Telemundo’s novelas so popular in Asia?

XA: Because they’re simple love stories and they have a beginning and an end. People can relate to them. Plus, we tell big stories using high production values. People used to never care about stuff like that. But now, with so many different platforms and options available, quality really makes a difference.

VAI: Is there anything about Asia that does worry you?

XA: Piracy, of course. So we’re a little bit cautious. But we work with a number of media groups to try to control piracy, so it’s becoming less of a concern.

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By Leah Hochbaum Rosner

One of MIPCOM’s most veteran executives is certainly Irv Holender, now director/principal of Toronto-based The Fremantle Corporation. Irv has attended both MIP-TV and MIPCOM in different capacities, roles and companies since 1967. First, he came as president of Hollywood-based Desilu; then as president of L.A.-based Ziv; then as CEO of Lorimar/Ziv, after the company was taken over by Lorimar; then as chairman of the L.A.-based Liberty. Earlier this year, he joined the board of The Fremantle Corporation, which used to be run by the late Paul Talbot from New York City.

VideoAge spoke with Holender about Fremantle’s new product, whether he attends sessions at MIP or MIPCOM, to assess the possibility of a Screen Actors Guild’s (SAG) strike and to discuss whether Europeans could have better capitalized on the plunging U.S. dollar.

VideoAge International: What product are you bringing to MIPCOM?

Irv Holender: We’re bringing in a series of animated movies, The Fantastic Tales. It’s a package of animated features dealing with historical and classic subjects, such as Leonardo Da Vinci, for example. We have not revealed the other topics just yet. We’re also bringing Canyon Rangers, a movie that will serve as a pilot for an ongoing family series. It deals with a family that rescues people in the Green Valley area, and it’s filled with action and suspense. In addition, we also have a package of 40 new features, plus ongoing series, including All My Children, Snapped, and Look Alike.

VAI: Do you have anything special planned for the market?

IH: No. We do however, have lots of meetings already scheduled and we expect to make a bunch of announcements at the show.

VAI: Speaking of all the meetings you already have planned, do you ever get a chance to leave the booth to attend any of the many sessions, panels and seminars offered by Reed Midem?

IH: We do have some people attending, but I usually find myself too busy. The market isn’t what it used to be. Now, it and its sessions focus too much on new media. I’d rather there be more broadcasters at MIPCOM and less of a focus on new media. The new media model has not yet proven itself to be a positive financial model for anybody. I still believe in old media. People still want to see TV on a big screen.

VAI: Do you think that MIPCOM will still be feeling the aftereffects of the U.S. writers’ strike? How so?

IH: There won’t be any aftereffects from the writers’ strike, other than the fact that so many reality shows sprang up. But reality shows aren’t evergreen. People will lose interest. We’re focusing on evergreen shows. Also, I believe that there will be a Screen Actors Guild strike. It’s unavoidable. And everyone will be affected this time.

VAI: The dollar has had a rather bad year. How will that affect the market?

IH: With the financial woes of the world, I had hoped that with the euro being as strong as is it, that Europeans would have taken advantage of it somehow. But they didn’t do anything with an entire yearlong window. And now the dollar’s going back up and they won’t be able to do anything.

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By Leah Hochbaum Rosner

Earlier this year, Elizabeth Murdoch’s U.K.-based Shine Group acquired Reveille, a firm started up by NBC Entertainment co-chairman Ben Silverman prior to joining the Peacock net. ShineReveille International, the sales and distribution arm of Shine Group, will be at this year’s upcoming MIPCOM market to support a slew of new series, many of which will soon begin airing on The CW in the U.S. John Pollak, L.A.-based senior vice president of ShineReveille (who began his career at Reveille in 2003, working as an intern for Silverman), spoke to VideoAge about his plans for Cannes, as well as why he’s screening his shows this week in London as opposed to showcasing them at the Palais.

VideoAge International: Prior to MIPCOM you’ll be screening ShineReveille’s shows in London. Why not do it again at MIPCOM?

John Pollak: MIPCOM is a more fast-paced market designed for quick meetings. It would be very difficult for buyers to set two or three hours aside to devote to screening our product. But at our screenings in London, where nearly all buyers from the L.A. Screenings will be in attendance, they’ll be able to devote their undivided attention to the series being shown.

VAI:What shows will you be screening in London?

JP: We’ll be launching a slew of new shows we didn’t show at the L.A. Screenings. Those include a number of series developed by [New York and Los Angeles-based investment fund] Media Rights Capital [which recently struck a deal with U.S. network The CW to program its Sunday night line-up]. The shows include Valentine, a crime procedural based in the world of love; Easy Money, about a family that owns a loan company; and In Harm’s Way, a reality show about the world’s most dangerous job.

VAI: If the London Screenings are successful, could you envision them becoming a regular yearly event?

JP: This year, the London Screenings are great for us because, as a result of the [Hollywood writers’] strike, no one got to see our shows. So it’s important for us to go to our buyers and show them what we’ve got. Next year, I doubt they’ll be as much of a need for the London Screenings, so we’ll have to wait and see if they’re necessary. We’re all just waiting to see if the traditional production cycle resumes. Plus, buyers really love going to the L.A. Screenings.

VAI: So if you won’t be screening the shows in Cannes, what will you be focusing on during MIPCOM?

JP: We’ll have a full team going there and we plan to meet with as many broadcasters as we can. We’ll be focusing on a number of territories, including Asia, Latin America and Eastern Europe.

VAI: Other than the new shows you’ll be touting, what else is new and exciting for MIPCOM 2008?

JP: This will be the first time we’ll be there as ShineReveille, and we’re looking forward to making a splash.

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By Leah Hochbaum Rosner

MIPCOM is just a month away and TV executives the world over are gearing up for the global television market, which will be held October 13-17 at the Palais des Festivals in Cannes, France. Included among those TV companies is the German subsidiary of Belgium’s Studio100 Media, which, following its recent acquisition of Munich-based EM.Entertainment is poised and ready for the MIPCOM showcase. VideoAge spoke with Patrick Elmendorff, managing director of Studio100, to find out what product he’ll be bringing to Cannes and why MIPCOM will always have a place in his heart and wallet.

VideoAge International: What product are you bringing to MIPCOM?

Patrick Elmendorff: We are focusing on character-driven stories targeting both girls and boys, containing animation, puppetry, comedy, action and adventure. Our aim is to provide programming that has international appeal, high merchandising potential, European storytelling and broad exploitation opportunities. Among the shows we’ll be offering at MIPCOM are puppetry series Big & Small, quiz show Kerwhizz, and animated Zeke’s Pad and Master Raindrop.

VAI: What territories are you focusing on? Why?

PE: Due to the recent acquisition of EM.Entertainment, we are currently focusing on Germany and German-speaking territories. But Italy, France, Spain, the U.K., Asia and Eastern Europe continue to be very important territories for us.

VAI: What are you most looking forward to at the market?

PE: Studio100 Media made its debut at MIPCOM 2007, and with its recent acquisition of EM.Entertaiment’s extensive library, we are looking forward to outlining our plans and strategies both for the company and for our clients. Our main aim is to continue with our sales activities (TV, home video, VoD, etc.), network, as well as extend existing partnerships and touch base with new partners.

VAI: Sounds like it’s going to be a busy MIPCOM for you.

PE: Indeed. We are also keen to contact possible co-production and co-financing partners to get involved in new projects, including our own in-house productions that are in development. In addition, we will actively focus on third-party distribution in order to extend our agency business and work with partners and rights manager who are interested in offering their properties for international distribution.

VAI: Does Studio100 have anything special planned for the market, such as a party, a cocktail or a press conference?

PE: There are no plans for any special events at this year’s market, but the whole team will be attending for networking and sales opportunities.

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