MIPCOM: Dream Merchants Hit the Riviera

Written by, Michael Rose

(c)Copyright 1999 Michael Rose All Rights Reserved

Reprinted Courtesy of Vue Magazine, Detroit MI

Roger Daltry, Marianne Faithfull and Roger Moore joined over 10,000 hopeful producers and stingy program buyers from around the world to haggle and hawk their sometimes brilliant, sometimes tacky and sometimes just strange television programs at the semi-annual television market --- MIPCOM, held every October in Cannes, France.

Like the famous film festival, the TV Market is held at the Palais de Festivals, the Cobo Hall of Cannes.

MIPCOM is like any other trade show, a lot of booths, bright lights and brochures.  But this TV bazaar has one thing over the Society of Automotive Engineers annual happening in Detroit, there's no snow.  Instead there's sand, blue water and the shops of Cartier, Chanel, Calvin Klein, Gucci, Hermes, Louis Vuitton, Christian Dior, Yves Saint Laurent and Armani.  A veritable Somerset Collection on the beach.

The TV market doesn't receive the massive international publicity of the older more well known film fest but a lot more business is done at MIPCOM, or MIP, as everyone except the organizers call it.

Most of the world's major production companies, television broadcasters, cable channels, independent producers and the scribes who cover the TV business, converge on Cannes for this week of shameless self promotion and sales.

Producers come because they have a chance for one-on-one encounters with buyers.  Many have been coming for years but even newcomers can  quickly find out how their ideas fare in the market.  Navigating the international programming market in search of funding and outlets is critically important for producers today.

"If you want to be a producer you have to learn to raise the money," says Gary Benz, president of GRB Entertainment, the largest supplier of prime-time programming to the Discovery Channel.

An onslaught of new channels throughout the world makes this an easier task than it's ever been. "You have channels springing up everywhere," said Benz.

The good news is that all of these outlets need programming.  The downside is the size of their audiences isn't as large as the older networks and channels.  The audience is being spread over an ever increasing array of channels.  As audience size declines, ad revenues drop and the licensing fees they can pay shrinks.  That's where the sales to international outlets comes in.

"So (program) budgets are falling and producers need to sell to the worldwide market," Benz explained.

"Not many people are going to fund a show 100%," said Nancy Walzog, president of Tapestry International, one of the largest distributors in the world.  "Producers must now look for additional funding for that remaining 25 to 50%," she added.

One way producers have been able to find funding for programs is through corporate sponsorship.  Daimler Chrysler's new sports awards show, the Laureus Awards, named for the laurel wreath winning athletes used to receive in ancient Greece, is one example of corporate program sponsorship..

The Laureus Awards show will honor the best in international sports and according to Justus Schneider, Daimler Chrysler's VP of Marketing and Communication, "It will be the Academy Awards of the sporting world."

They are hoping an audience of over one billion people will tune in on May 5 to this live show that will originate from Monaco.

"This is about entertainment, it's not about sports per se.  It will appeal to everyone," said Gary Pudney, the show's producer and a veteran of 26 Academy Award broadcasts.

The sponsors claimed that they had a broadcast commitment in twenty major territories but that they hadn't secured an American outlet yet.  A problem with relying on sponsorships.  Just because a show is funded doesn't mean it will air.  No matter what, you still have to appeal to the world's programmers.  It's something of an art and a science.

"The main thing the broadcasters look for is immediate recognition, you get two to three words in TV Guide to appeal to a million people," said Charles Schuerhoff, managing director of CS Associates, a veteran distributor who handles such up-market clients as Ken Burns.

The broadcasters feel that they don't," have the luxury to give away time slots for noble efforts. There is too much competition," said Schuerhoff.

To find out how producers are meeting the competition we watched as several initiated their quest for dollars and airtime during a market simulation event held within the framework of MIP.

This event has been going on since 1994 and according to Pat Ferns, the creator, as well as the president of the Banff Television Festival, it's been responsible for over 50 projects being produced.

This year's producers pitched their concepts to buyers like Paul Hamann from the BBC, Chris Haws from the Discovery Channel and Renate Roginas, a consultant who specializes in brokering international co-productions.

Paul Eichgrun, a Canadian producer, thought the interest generated by the bestseller Memoirs of A Geisha and the attendant publicity that will surround the release of the Steven Speilberg filmed version would sell his two-part (two one-hours) Geisha documentary.  After explaining the premise of his show, that proposes to follow three Geisha, one novice, one a working geisha and one older woman who oversees the Geisha house, he sat back and waited for the buyers to whip open their order books.

Discovery's Haws wanted to know when the Speilberg film was coming out and whether Eichgrun was going to shoot his shows on High Definition tape, Super 16mm film or some other format that would deliver a widescreen, 16x9 formatted master.  Haws, as the Discovery Channel's international head, constantly looks for high quality programming that will work around the world.

Hamann from the BBC asked why the program needed to be two one hours.  He asked, "Would you be willing to reformat."

"What makes it unique," Roginas wanted to know?  She felt, " it's well trodden ground."

Eichgrun bristled a bit and explained that, "It isn't about the sex trade and scandal that it's more about the art."

Roginas still wasn't convinced and wanted to know how he was going to produce two shows for his budget of $230,000 US dollars.  She'd believe maybe $230,000 for one hour.

Discovery's Haws felt it would be interesting to focus more on one character, such as an apprentice and follow her through the journey of becoming a geisha.  He wanted to, "See the world through her eyes, don't need to be so in-depth a look."  He agreed that a one-hour or maybe a ninety minute special was more appropriate.

The BBC's rep, Hamann said he would be interested in a 50 minute show, "If we get a feel of strong authorship."

The producer said, he thought they were right and he decided to re-pitch the show as a one-off special.

Animal homosexuality; that's what another producer, Bertrand Loyer, was shopping. His topic caught everyone's attention.  He described his five year old company, Saint Thomas Productions as a "blue chip" high budget wildlife production company.

Loyer said, "I want this show to be pretty matter-of-fact," and avoid sensationalism.

But the trailer, complete with images of two female monkeys aggressively rubbing each others genitals and a bull elephant seal with a hard-on trying to mount a young male; all in synch to the pulsating sound track, failed to convince the buyers that this wasn't going to be a cheesy show.

Hamann speaking for the gray and proper BBC felt it was, "A good subject but not the best treatment, not sure it isn't salacious."  He wanted to meet the scientific experts and see how they could be used on-camera.

Loyer, the producer, countered that his approach, focusing solely on the animal kingdom and drawing no comparisons about the similarities to  human behavior would keep it from being tawdry.

Roginas said, "Why not make a comparison between people?  The audience will and that's something that would make it more interesting.  The implications are obvious."

She felt no matter what Loyer did that the program was borderline for family viewing.

Haws agreed that you can't avoid confronting the human question.  And doing so would, "make for a very revealing program."

The jury was out on this show.

Hamann, cautioned filmmakers, "It's not just passion for a subject that matters but the rigor of the thought behind the treatment of a subject."

A pilot demo for an historical documentary series featuring a computer generated ancient Egyptian Pharaoh, Ramses II, caught everyone's attention.

Hyped as "a new generation of documentaries," it sparked a response when an animated Ramses rose from his tomb and began to tour his temples.

A cross between the animated feature, The Prince of Egypt and a National Geographic special, this program combined a mix of historical content, archival footage, live action location photography, computer generated 3D animation, music and character voices.

The producers plan to produce ten episodes featuring Nefertitti, Genghis Khan, Mozart and other historical figures. They wanted to, "create a brand new generation of documentaries that present history in an entertaining way."

Hamann from the BBC liked the project and immediately told them to come see him in London.  He didn't blink at the $1.5 million dollar per episode price tag.  Proving that there is a market for high-end, blue-chip programming.

Another buyer, Thomas Von Hennet, from Germany's Pro Seiben TV was also looking for, "high end, big budget productions," shows with budgets in the $300 to $400,000 dollar range and above.

He was searching for shows that don't just rely on special effects but have strong stories that will appeal to a broad audience.  He deals primarily with the major networks.  "It's hard for independents to produce at that level," said Von Hennet.

Hennet quickly pointed out a recent exception; last summer's special on the eclipse that was produced by a small independent who rounded up fourteen international outlets to broadcast and underwrite his dream project.

Before approaching an international buyer he said, "that it was very helpful to already have one competent domestic partner or major distributor on board who can invest and help you look for international outlets and funding."

A good place to meet either is at MIPCOM.

"Every producer should come over and see what's out there," said Tapestry's Nancy Walzog.  "Either they are going to be depressed because they see so much that is on the market or encouraged because there is so much programming out there," Walzog said smiling. "No one can sell a program better than the producer," she continued.

Of course, Walzog, a distributor, feels that producers should hook up with a distributor before knocking on the foreign broadcaster's doors.

"To convince a foreign broadcaster to come in it's all about track record," said Walzog.  The distributor is, "a stamp of approval," she added.

But if the lone wolf approach suits your temperament you can just send in your $2500 registration fee, book a flight, come over and hope for the best.

For those who want some instant camaraderie but haven't made a deal with a distributor or want to try it themselves, US Independents, Inc. may be the answer.

US Independents' director, Meg Villarreal, offers an array of services for independent producers and distributors. She says "I help them through the maze of the international marketplace."

Villarreal, a mother hen whose own son is serving in the Marines, said she, "works with them to get information about MIP, about what productions are out there and how what they want to do might find a home."

Meg's outfit has designed a home for wayward American independents.  She not only gives advice, hand holding and encouragement but her US Independents has its own booth so member producers have a place to sit down, get messages, make phone calls, screen tapes for buyers and have meetings.

It's also a place to network with other producers who have a similar mission and who can share tips, gossips and leads.

One producer who's bought into Villarreal's idea is Jonathan Towers, the Chicago based president of Towers Productions.  Towers' ninety full-time producers, writers, editors and post production workers turn out several weekly documentary series, including A&E's long running, American Justice.

"It's our home base when we're at the market here.  You need a home base," says Towers.

"Meg is a class act," chimes in Kate MacMillin, Towers' vice president of development.

"You need a presence, it's not either or," Towers said.

Villarreal has been coming to MIP for years and can help fledgling producers and old hands arrange, "meetings with broadcasters and major distributors like people from ZDF, ARTE and Britain's Channel 4."  She'll even help you ship your tapes and brochures.

Of course, there are costs involved.  Villarreal offers several different packages for participants.  The ultimate US Independents package runs about $3600.  This gives you two to three hours of viewing time a day and some shelf space at the booth for your brochures.

While it's expensive she says, "It's a lot less than someone would pay if they had to build their own booth, rent the VCR's, monitors and furniture and staff the booth."  "Companies pay upwards of $30,000 to build a rudimentary booth," according to Villarreal.

Before producers spend any money trying to attract international sales she tells them to critically evaluate their shows. Villarreal says, "A lot of independent producers don't have barn burning product." She continued, "While there is a need for good solid programs about American life you have to be realistic."

Exactly what makes a program viable for international audiences is a bit elusive.  Tapestry's Walzog said she couldn't explain it, "but you know it when you see it."

She says, "One of our best selling documentaries ever was done by a Detroit broadcaster in 1987."  That film, Castles in the Sand, produced by Chris Benjamin, documented Josh Littman's eventual unsuccessful struggle with cancer.  It caught the world's attention.  "That's a film that left you in a puddle but makes you say, go on get up, smell the flowers. It was inspirational," Walzog recalled.

GRB's Benz said that whatever it is, "You have to put quality on the screen. Viewers don't care that the budgets have gone down," mimicking an impatient channel clicker, "they're out of here," said Benz.

"If you've got a good story, you get an audience," said Paul Talbot president of The Freemantle Corporation.  He's been coming to the TV market at Cannes since the 1950's.  He started in television in 1939 when CBS had its first studio in New York's Grand Central Station   He believes that everyone wants to hear a good story that it's a universal need.  "It's what we all say when we are very young, tell me a story, you never grow out of it. . . It's all storytelling."

Kristen Jordan, vice president, of international development, Home and Garden TV agrees.  She says, "Our mantra is, ideas, information and inspiration."  She looks for shows, "That are not just how-to's but shows that take you to a place that you've never been, like gardens of the world."

She feels their series, Dream Houses, attracts an audience because it contains all the standard story telling elements, good characters, interesting locations a beginning, middle and an end, conflict and suspense.  The premise of this documentary series is that the audience will follow a couple through the trials and tribulations of building their dream home.

"We never know if the house is actually going to get built or the if the couple is going to divorce, it doesn't always work out," said Jordan.

It doesn't always work out for program producers either but, when she surveys the international market Jordan thinks, "there are a lot of opportunities for producers.

The ideal show for international distribution according to Schuerhoff is a nature film.  The talent costs are nothing.  There is no lip-synch to worry about, so no dubbing problems.  No actors who need ongoing payments and no stock footage or other licensing fees.  They have good shelf life because they are timeless. They aren't controversial and the shows appeal to people all over the world.  The best selling animal shows feature, "big animals with big teeth, sharks, killer whales or crocodiles," Schuerhoff said smiling.

The number of shows about World War Two and airplanes led another market attendee to quip that he thought the perfect cable series would be Flying Nazi Sharks.  But it's only in the concept stage.

The world is changing at warp speed and those who want to keep up with the changes and produce programs for the world's market should seriously consider putting MIP on their calendar.  The worst thing that can happen is you may get sunburned from lying on the beach when you should have been making deals.  Although, I've heard some of the best deals are made in the bars.

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