2022 Mipcom Takeaways – Various

By | October 20, 2022

According to global TV market Mipcom – the first full-strength edition since 2019 is due to conclude at Cannes on Thursday; Difference It offers the best from the vibrant market.

Mipcom proves itself

Those of us who watched the tube weed roll on the Croisette at the eerily quiet Mipcom 2021 and Miptv earlier this year will know that this Mipcom is the first time since pre-pandemic that the global TV industry has come together from all over the world. Morale was sky high as vendors saw their first Asian tie-up in three years, and American studios proved to international buyers that they were struggling to consolidate domestically. With specialty markets such as Series Mania, MIA, Realscreen and Sunny Side of the Doc returning this year, delegates seem to recognize the importance of bringing the entire industry together in one place. MIP organizer RX confirmed that MIPTV is moving forward in April – and will probably face a permanent struggle to get the exhibition’s buy-in – but if no one is asking, MIPCOM is an important meeting of minds for television. .

One big transmedia universe that rules them all

There is a corresponding effect on the media M&A front, which promises to play a major role in shaping the future of entertainment. Thomas Day, president and CEO of ACF Investment Bank, told the Mipcom audience on October 19 that there is an increase in content-related buying and selling of IP assets labeled “transmedia”. Dey admits that the T-word was in vogue a decade ago and never really caught on. But this can change in a command environment that is not limited by time and space with social media and real giant game platforms.

Day came to Mipcom to talk about the unusual and complicated sale of certain rights, including video games, to Tolkien’s “Lord of the Rings.” The buyer was Sweden-based Emberser, which had been quietly amassing gaming-related companies in addition to Dark Horse Comics. “We’ve always talked about the relationship between the different monetization boxes. [for content]. It just didn’t happen,” Day said. Now that we realize the power of established IP and the ability to monetize what they do. The fact that [companies like Embracer] Coming from these angles tells us that this is a really strong growth area for those of us mostly in the film and television area.

ITV Studios sales rumors fly

The sale of producer-distributor ITV Studios was the talk of the town following a surprise Financial Times report on October 17 that UK broadcaster ITV was offering expressions of interest to sell a stake in the business. (Reported suitors Banjay and Fremantle have so far played down their claims of interest.) Executives at ITV Studios in Cannes on Monday appeared stunned by the news, which can’t bode well for sales staff ahead of the year’s biggest market. Many questioned the legitimacy of the report, given how critical it is to any transmission pipeline. However, with only an estimated third of ITV Studios’ sales going to the channel, and chief executive Caroline McCall desperate to boost her share price, a sale could indeed be on the horizon. Sources said. Difference ITV studio bosses admit they are under a lot of pressure to keep up the pace and develop the costume.

Will independent distributors remain?

Banijay Group shocked the industry when it announced plans to acquire an Australian-headquartered distributor beyond International. Banija CEO Marco Bassetti said the agreement Difference The acquisitions of Drive and Eccho rights came off the back of a real game for high-end English. Several sources said. Difference Everyone from Beyond’s senior team to its product partners only found out about the deal in the press (probably because Banijay is now a publicly listed company), and urgent talks between Banijay and Beyond took place at Cannes to smooth out a rocky start. .

In the end, this is a perfect example of producers – especially those without a “change of control” clause in their contracts – losing out when their shows get buried in big catalogs. Of course, for-profit companies like Cineflix Rights are the remaining independents. Difference Understanding is not buying at Fremantle despite some market rumours. Cineflix Rights CEO Tim Mutimer, former head of Banjay Rights, says: Difference Manufacturers are expressing an interest in working with smaller outfits that can be particularly noticeable for their shows.

“Knives Out” director Rian Johnson was in Cannes for a day pitching his new TV show “Poker Face” to international buyers.

Run your AVOD fast

The dominance of AVOD and FAST channels as a source of revenue for sellers with deep catalogs is unquestionable. Some FAST channels in Cannes are predicted to start broadcasting content soon as they become more profitable. Others say that the upcoming ad-supported tiers on streaming services like Netflix will only serve to topple free AVOD services. “People talk about ‘AVOD Netflix and AVOD Disney+,’ and they really aren’t,” explains Danny Fisher, studio director and AVOD provider Filmrise. “What’s missing in the conversation is that there’s a huge difference between low-cost advertising and free. Free is free, and even when you pay $3.99 or $6.99, it’s more than most people can afford. I believe premium SVODs like Netflix or Disney+ will accelerate the migration from SVOD to AVOD when they add a low-cost, ad-supported tier.

Vertical integration suffers, studios still sell internationally

American studios may be prioritizing their counterparts to compete with the likes of Netflix and Amazon Prime Video, but it would be wrong to say they’ve stopped serving the international market entirely. This week, Paramount Global flew “Knives Out” director Rian Johnson from London to Cannes for a day to present his new TV series, “Poker Face,” to international buyers. Lisa Kramer, president of worldwide TV licensing for Paramount Global Content Distribution, said deals for the “high-premium” Peacock series are already flying in and pre-sales are secured.

“Where we can, we look at creative windows,” Kramer says. “The reason we’re doing this is because we’re able to share the right window with the broadcaster, so we get better coverage and awareness.” Meanwhile, Disney+ and Paramount+ are showing flexibility that benefits distributors. For example, Paramount+ has the original “Last King of the Cross” for Australia, but Cineflix Rights is selling the show internationally. “It gives us a real opportunity to work together with international players when we’re looking at local products,” Mutimer said. “If something has legs, we invest in it for the rest of the world.”

Be where you are

As the global content business continues to grow rapidly, Hollywood studios need global development and production expertise more than ever. Rola Bauer, MGM’s president of international television production, is based in Munich, and for good reason. Its proximity to all of Europe is good for business, with its mandate to produce high-end series for streamers and co-productions for other platforms. Bauer said in her Oct. 17 session, “The local language landscape has changed to companies that allow creators to talk to a decision-maker in their own time zone.” Of Canal+, Studiocanal, ProSieben and Tandem, Bauer praised MGM’s leadership for “realizing that we can build more in Europe, with more people working in our daytime hours than driving here from LA view.” It comes down to quality of life for those in the fertile field of television co-production. “Talent prefers to eat cocktails [in the evenings] Instead of talking to a conference call from LA,” Bauer observed.

English-language series at the highest level

Streamers may be investing in local content, but international TV teams and producers still prefer English language for shows with significant budgets. It opens the door to greater international pre-sales and collaboration opportunities, executives said. During Mipcom, several executives including Ludovic Atal, Senior Vice President of Product Financing Strategy at MGM Intl. Television Productions, the company primarily pursues English-language series domestically, has released trailers outside the U.S. for “The Reunion,” Guillaume Musso’s bestseller “La jeune fille et la nuit” (produced by Sidney Gallonde), and “The Last Light” from “Lost” actor Matthew Fox (produced by NENT and Gallonde). Both titles sold widely.

Newen, which owns TF1, is pursuing English-language projects, said Newen Connect boss Rodolphe Butt at the flagship’s Mipcom presentation. Newen Productions’ label Kappa Drama just presented “Marie Antoinette,” about the late queen of France, a season show created by the “favorite” Deborah Davis. The series was sold to PBS by Banijay Rights on the eve of Mipcom.

Contemporary pieces (still) in Vogue

Historical series have always been attractive, and the market is now seeing the launch of more intimate, character-driven series. “Marie Antoinette” is one of a number of female-centric biopics on sale at Mipcom. “Diane de Poitiers,” another high-profile character being repeated on French television, is Isabelle Adjani, a long-time favorite of France’s King Henry II. Elsewhere, Sidney Gallonde is at Make it Happen Studio in collaboration with MGM intl. Television Productions by Eugene Bullard Fleeing segregation and segregation in the US, he moved to Paris in 1914, where he later became one of the black American military pilots.

True crime and true lies

“True crime, true lies and men’s lies” were the central themes of the hot screenplay titles being marketed, said Virginia Mauzler of The Wit at Mipcom’s popular international series of shows. True Crime titles include Banejay Rights’ “Bali,” UK’s “Maxine,” Belgium’s “1985” and Dutch Sky’s “Crash,” both from StudioCanal. Meanwhile, male fiction has ranged from Newen’s content “For Better or Worse” to ZDF Studios’ German title “Dear Vivi” and France’s “Serial Lover.” Other titles show women trying to create the life they want for themselves despite being labeled as having cancer (Norway’s “Afterglow”), a disability (Spain’s “Easy”) or transgender (France’s “About Sasha”).

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