DOC WORKERS HOPE TO STRIKE IT RICH ON THE RIVIERA By Michael Rose (c)copyright 2000 Michael Rose All Rights Reserved CANNES, FRANCE: After a week of endless meetings, screenings, seminars, lunches, cocktails, dinners, late night drinks and non-stop schmoozing, the eleven thousand plus buyers and sellers of programs for TV, video, cable, satellite and the internet decamped from the semi-annual market called MIPCOM and headed home to begin the tedious task of following up. Reflecting a surge of interest in new media, the convention organizers, who use the same building that hosts the annual film festival in Cannes, were forced to erect a temporary structure to house the almost five hundred internet companies that wanted booths. This onslaught of web companies stimulated a hunger for information about how their presence was changing the industry. The organizers set up a series of conferences designed to feed this yearning. One popular seminar focused on how to protect your material once it's on the Internet. "Rights are a huge issue," said Michael Wetherseed, director of Reed Midem the sponsors of the market. Producers want to know how to manage and track any sales they make to Internet companies and what people are paying. Other seminars focused on what TV companies expect out of the Internet and the role convergence will play in the delivery and production of programs. While questions remained in every area, one thing that was clear was that there is a growing need for programming material. A smiling Wetherseed agreed that the only sure lesson is that, "Content is still king." But he cautioned that doesn't mean that people will beat a path to your door. "Producers have to have an Internet strategy." Out on the market's floor, buyers and sellers explored the opportunities of web-based entertainment and the new digital channels that are rolling out around the world. Program makers and distributors were showing how their shows, or content, could be spread over several different outlets now that there are an ever-growing number of platforms. This appears to bode well for documentary producers. "There is an undying appetite for factual programming," according to Andy Thomson, executive vice president of FACT, the recently announced Alliance Atlantis documentary production venture. Thomson sees most of the immediate growth coming from the digital channels. "The major diet of the digital channels is factual programming and this will continue to grow," he added. Thomson isn't limiting his efforts to the emerging digital tier. Alliance Atlantis bought Thomson's Canadian documentary company, True North, and put him in charge of guiding their efforts to produce documentaries for all the major outlets worldwide. Some observers worried that the purchase of companies like True North and GRB by large media conglomerates signaled the end of opportunities for independent producers. Thomson and others tried to allay these fears. "Small independent producers won't disappear. Because the outlets need fresh ideas," explained Thomson. Diana Ingraham, director of US Independents, an organization that helps fledgling producers navigate their way through the market, agreed with him. "The risk taking you need (in programming) won't come from a big bureaucracy. They need the creativity of individuals," she said. Ingraham and her co-director, Meg Villarreal, had an epiphany several years ago and became champions for the growing number of independent producers in the US. "We happened to be at a co-production seminar and were taken aback by the quality of products being produced by independents that weren't getting beyond our borders," explained Villarreal. Villarreal, a veteran program seller with the Corporation for Public Broadcasters, and Ingraham saw a need and decided to fill it. "We knew people were looking for quality product about America, produced by Americans, so we said, 'let's put on a show,'" Villarreal remembers. Many established production companies build large booths and bring over a sales staff to work the floors of the market. Or they may be represented by one of the major distributors like Devillier Donnegan, CS Associates or Tapestry, who take the producer's wares to market. But fledgling independent producers coming from the States were largely on their own until US Independents arrived on the scene. "Independents are like refugees walking along the aisle of the Palais (the convention center) lugging suitcases full of sales literature and tapes," Ingraham remarked. They decided to create an umbrella organization that would provide a home for indies at the market. Several companies signed up and the US Independents soon had a booth with a screening area, a place for displaying and storing sales literature and a very important feature, a reception desk. Producers liked their new home and have been coming back ever since. Memories of schlepping bags of stuff around prompted one US Indie loyalist, producer Michael Murphy to vigorously voice his support, "You can still conduct business like that but this gives you a presence." Murphy feels having a booth enhances your chances of making a good impression on a buyer. Even though most buyers are employed by organizations that have their own booths. "It's surprising how many major buyers come to see me at the booth. They want to get out of their own booth," he explained. "US Independents is a good way to break in. You have a place to put things. At the stand we have a place to store materials, show videos, take messages and have meetings," said Germaine Deagan, director of sales for Minnesota based Tremendous Entertainment. It's expensive no matter whether you link up with the US Independents or come as a solo operator without a booth. US Independents has two price tiers ranging from $2300 to $5500. A company can bring two people to the market for the lower fee but can't use any of the VHS players in the booth. The next step up allows a company to bring three people and guarantees two hours of screening time every day. Participants in either tier can take advantage of networking receptions at the booth, share the receptionist and display sales literature. Going solo and registering with Reed Midem costs a minimum of 2,200 Euros for up to three people from a company to attend. This buys you a floor pass, a guide with the names of all the attendees (a very valuable commodity) and access to a room with a few tables and a warren of mailboxes where you can theoretically leave and receive messages and hold meetings. This is how most people begin. Andy Berman, a sales representative for Tivix, an online programming database, started his TV sales career this way. "The best sales tool is the MIPCOM guide," he said. Berman read that book, stalked potential buyers and set up meetings at their booths based on the profiles that appear in the guide "It's really good. It's really invaluable," he emphasized. Even some established companies like Termite Arts Productions prefer to use the no-frills, unfettered sales approach. Kathrine Anderson, VP of business development for Termite Arts feels that a booth is a hindrance. They start setting up meetings about three weeks before a market and hit the ground running. "We go to our clients' stands for meetings," Anderson explained. If anyone has to make a change they are reachable on one of the mobile phones they rent for about $100. It seems to work. The company annually produces over 60 hours of programming for the Discovery Networks, A&E, The History Channel, VH-1 and TBS. Others prefer having their own stand or coming in under the US Independents' umbrella and consider the cost an investment. "Right now it's perfect. I kick myself that I didn't explore this sooner," Deagan said. "This is the way to go." Some feel that the way a producer chooses to attend the market is less important than the fact that they go. Brandon Tartikoff, the former head of NBC, encouraged Michael Murphy to expand his horizons this way. "He said, 'always invest in yourself. If it means going to Cannes, do it,'" Murphy recalled. "We budget for it and start planning six months in advance." Jonathon Towers is another firm believer in the benefits of making the pilgrimage to Cannes. "You walk around here and see thousands of documentary projects. You see how the world works," Towers explained. "It makes your head spin. It gives you an indispensable perspective on the world." Towers' Chicago based company annually produces over one hundred hours of fully commissioned programming for A&E and The History Channel. He doesn't really need to come to the market to find pre-sales or production partners. He does it because he feels, "as a producer you owe it to yourself to have a global perspective." He admits that the Riviera isn't a bad place to gain this perspective, "you can't beat the ambience of Cannes," he said. Many European producers take advantage of the ambience and attend the market under the umbrella of the Marketplace, an organization similar to US Independents. This is one of the many media related initiatives funded by the European Commission's Directorate of Education and Culture. The 200 plus producers from over 35 countries who choose to go to MIPCOM with The Marketplace are able to utilize a wide array of support services provided by the organization. Not only do they have access to screening facilities, meeting areas and their own coffee bar (with the best croissants in Cannes) they can also use the on-site lawyers, accountants, distributors and seasoned producers who are there to help them sell their work to international buyers. Every day starts out with a seminar featuring a senior buyer from a major outlet who explains what they are looking for and takes questions from the producers. "Armed with this feedback the producers are ready to hone their pitches and seriously make a case for their projects," explained Suzanne Meltzer, public affairs coordinator for The Marketplace. It was clear that producers really felt these meetings served their needs. "You go to the buyers' meetings to listen to what they want and what they don't want. It's invaluable. You can't get this anywhere else," enthused Catharina Engqvist, head of sales and marketing for the Danish documentary company, AM Productions. Government support allows the cost to be less and a little more flexible than the standard registration price for MIPCOM or for US Independents. One person pays only $820 and three people with their own viewing facility can be set up for slightly more than $3000. While many of the new producers were enthusiastic, one of the consultants, John Marshall, the publisher of an online documentary resource guide, docos.com cautioned, "You go to MIP for the first time as an educational experience. Make your contacts, get your face seen and open doors." Meg Villarreal of US Independents agreed, "A first timer should come just to educate themselves. Try to look at it as at least a three market commitment." The consensus was that if you do start to come you should keep coming. "If you don't, people will think you are out of business," explained Villarreal. "Out of sight, out of mind," Murphy emphasized. With the ability to deliver streaming video over the internet and the universal use of e-mail, faxes, and overnight delivery, some questioned whether the need to come to markets was going to last. But others like, Michael Weatherseed, believe that MIP will never die. "People want to have a face-to-face experience. If you want to do business you want to do it with a human. And this is where the business gets done." The next chance for producers to jump into the Cannes whirl comes in April at MIPCOM's twin, MIPTV. This five-day market is preceded by MIPDOC; a special two-day affair dedicated to documentaries. You have a few months to consider whether you want to learn to parlez at the Palais but it's something you should think about. 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