Tag Archives: Guan Yue International

MipTV scorecard: Which dramas stood out?

Jenna Coleman in Victoria
Jenna Coleman in Victoria

There were 11,000 delegates at MipTV this week, 3,900 of whom were content buyers. And top of their shopping list was drama, with a wide array of titles being picked up by free-to-air, pay TV and SVoD channels and platforms.

MipTV doesn’t see much activity from the major US studios, which prefer to focus on the LA Screenings next month. So this meant the attention was more on European and Asian drama, with a few US cable titles also attracting attention.

A big winner at the market, for example, was ITV Studios Global Entertainment, which sold its period drama Victoria into the Nordic region, the Netherlands and Canada. There was also interest in BBC Worldwide’s Anglo-French fashion drama The Collection, which sold to SVT Sweden and DR Denmark.

As the above titles indicate, British dramas tend to secure an initial wave of sales in Scandinavia and other English-speaking markets before picking up deals in other territories. This point was underlined by deals done on Capital. Distributed by FremantleMedia International, the adaptation of John Lanchester’s novel has been sold into the US, Canada, Australia and New Zealand.

If there was a clear trend in terms of sales, it was the continued importance of SVoD platforms, which seem to be doing almost as many drama deals as traditional networks.

The Book of Negroes
The Book of Negroes has been picked up by US streamer Hulu

Hulu picked up eOne’s The Book of Negroes, while All3Media International sold Irish drama Red Rock to Amazon Prime Video in the US. Channel 4’s international drama strand Walter Presents, meanwhile, acquired two series from Keshet International – Baker & The Beauty and Milk & Honey – plus Spanish drama Locked Up.

Perhaps the most high-profile SVoD deal of them all saw Netflix acquire Marcella from Cineflix Rights. Created by The Bridge writer Hans Rosenfeldt and produced by Buccaneer Media for ITV in the UK, Marcella delves into the psychology of a troubled female detective investigating a serial killer. Larry Tanz, VP of global television at Netflix, said: “We got involved with the series early on in the process to gain the opportunity to bring Hans’s great storytelling to our members around the world.”

Other dramas that secured good deals at the market include the Content Television-distributed Line of Duty, which sold to DirecTV Latin America, BBC Worldwide Benelux and Hulu in the US, which picked up VoD rights.

There was also an interesting deal that saw Zodiak Rights’ Versailles picked up by US pay TV channel Ovation. Ovation isn’t really known as a drama buyer, so it’s another good indication of the demand for event dramas.

One company that has got more interesting to the international market in recent years is Italian public broadcaster Rai, which until recently was only really interested in commissioning mainstream scripted shows for primetime slots on flagship channel Rai 1. But there has a been a definite shift as a result of the wider changes taking place in the international drama market.

Marcella
Marcella, starring Anna Friel and now airing on ITV in the UK, was acquired by Netflix

On the one hand, the company is now producing edgier, younger-targeted drama for Rai 3, with the result that it is attracting more attention from international buyers. An example at the market was Close Murders, which was on the verge of being picked up by Franco-German network Arte at Mip.

On the other, Rai has started getting interested in supporting English-language event dramas. At the market, for example, it was one of the backers of Wild Bunch TV’s epic new period drama Medici: Masters of Florence, which has now been greenlit for a second season.

One new development at the market was the launch of the Mip Drama Screenings, a showcase for 12 new drama titles that was held on April 3 in the JW Marriott Hotel. The event, heavily skewed towards European content (but with a Chilean and an Israeli-originated show involved) was well received by buyers and put the spotlight on some interesting series.

Writer/producer Frank Spotnitz, whose Medici was among the shows screened, called the screenings “an excellent platform. We had the undivided attention of 400 buyers who were able to watch extended excerpts and trailers in a nice theatre, with proper sound and picture quality. When you are running around at a hectic TV market like MipTV, a focused and quiet environment is valuable for both the filmmakers and the broadcasters. I hope the screenings expand in the future.”

Public Enemy
Belgium’s Public Enemy won the Coup De Coeur following the Mip Drama Screenings

At the end of the screenings, one show is given an award called the Coup De Coeur for being the best of the bunch according to the buyers. This year it was Belgium’s Public Enemy, which is distributed by Zodiak Rights.

It’s too early to know how Public Enemy’s success at the screenings will impact on its sales – but it certainly should help. Sarah Wright, director of acquisitions at Sky and one of the executives on the advisory board that selected the show, said: “We chose Public Enemy because we felt it was brave, it was strong, it was fresh, it had twists and turns. It feels like something that will travel.”

Last week, we name-checked a few scripted format deals. By the end of MipTV a couple more had bubbled to the surface. Onza Entertainment sold the format for Spanish drama The Department of Time to China’s Guan Yue International, while Russia’s NTV commissioned a local version of Nordic Noir hit The Bridge.

In a related development, Lionsgate licensed its new show Feed the Beast (starring David Schwimmer and Jim Sturgess) to AMC’s UK pay TV channel. This show, about two friends who launch a restaurant, is based on a Danish scripted format.

This market was very much billed as being about Germany – this year’s Country of Honour. But it was noticeable that France was actually among the most high profile in terms of deal-making. StudioCanal, for example, used the market to announce that it was acquiring stakes in a number of international production companies, including Spanish powerhouse Bambu, producer of hit shows like Velvet, Gran Hotel and the first Spanish-language series ordered by Netflix. The firm’s sister company Canal+, meanwhile, launched Studio+, which is billed as the first global premium series offer for mobile devices.

Velvet
Velvet, produced by Spain’s Bambu

The new company will produce exclusive premium drama series for smartphones, tablets and a dedicated app. Each series will consist of 10 10-minute episodes, with an average budget of €1m (US$1.14m). Studio+ president Manuel Alduy said the service will launch in September in France with 25 complete original series, before opening in Europe, Russia and Latin America in partnership with major local telecoms. Early series include drama Amnesia starring Caroline Proust, action series Brutal and Urban Jungle and thrillers Kill Skills and Madame Hollywood. Sixty more shows are currently in development.

Explaining the thinking behind the series, Dominique Delport, president of Vivendi Content (Canal+’s parent company), said 60% of smartphone users watch shortform video. He said the directing talent for the new series comes from advertising and music, sectors that have experience of reaching Studio+’s target audience of 15- to 35-year-olds.

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Recap: What MipTV execs said about taking on Netflix

Now that MipTV 2016 has come to an end, DQ editor Michael Pickard looks back on a week where drama continued to reign supreme – and Netflix was again among the major talking points.

With its place in the events calendar so close to other major markets, buyers and distributors have become used to absence of the US studio giants from MipTV each spring.

Yet this year, in what perhaps is representative of the international television industry at large and the growth of the global drama market in particular, it didn’t seem to matter.

The sheer amount of content on display in Cannes – from the traditional posters and billboards lining La Croisette to the inaugural Mip Drama Screenings that presented 12 series from around the world – showcased the current strength of international storytelling that is rivalling US drama.

Private Eyes' Jason Priestley and Cindy Sampson strut their stuff in Cannes
Private Eyes’ Jason Priestley and Cindy Sampson strut their stuff in Cannes

Distributors selected for the screenings certainly felt the benefit, with several reporting a surge in interest in their shows following their presentations in front of more than 350 acquisitions executives on Sunday – none more so than Zodiak Rights, which is selling Belgian drama Public Enemy, the show that scooped the event’s top prize.

But despite the largely absent US studios, those who hoped Netflix might also take the week off were sorely disappointed when the SVoD platform flexed its financial muscles once again.

On Monday, it announced a deal that saw it pick up global rights outside the UK and Ireland for ITV drama Marcella, the first English-language series from The Bridge creator Hans Rosenfeldt.

It’s clear the scale of Netflix’s ambitions and depth of its pockets no longer surprise any of the executives found taking back-to-back meetings inside the Palais. Now that the service has established itself as a major player and rolled out in more than 190 countries, said execs are likely to be heard discussing the next challenge facing the industry – how to fight back against Netflix’s dominance.

In particular, this involves producers deciding whether to work with Netflix and attempt to hold on some of the rights, alternative licensing windows and future earnings from the series. As British producer Justin Thomson-Glover, MD of Artists Studio and a founding director of boutique financing service Far Moor, said during a drama financing panel on Wednesday: “Platforms like Netflix write a cheque and you make it (the series). But there’s no back end.”

For distributors, the question is whether global rights deals with the SVoD giant and its online competitors are preferable to piecing together deals with broadcasters on a territory-by-territory basis.

The Roots team pictured at MipTV this week
The Roots team pictured at MipTV this week

We’re also now seeing the emergence of local SVoD platforms targeting original content in a bid to win subscriptions and eyeballs from Netflix. During the same drama finance panel, About Premium Content’s Emmanuelle Guilbart revealed the distributor is working on a new drama with Swedish broadcaster SVT, with finance from a domestic SVoD player. “They are becoming real commissioners with real money,” she said.

Netflix’s influence, and that of its competitors, in the distribution of content around the world also posed an interesting question during the scripted formats panel that I hosted on Tuesday: If original series (in most cases the best versions) are available worldwide, what is the future of scripted formats?

It was clear from the presentations given by Eccho Rights, New Media Vision and Comarex that local remakes of international hits are still immensely popular and profitable across Latin America, the Middle East, Africa and Asia, while New Media Vision’s ambitions to act as a “gateway to the US” is evidence that, despite the drop in adaptations ordered by the big networks this pilot season, the US is still keen on non-English-language formats. NBC, for example, is launching Game of Silence, based on Turkish series Suskunlar, on April 12.

One deal confirmed this week was for The Department of Time, which was announced as the first Spanish drama to be adapted in China.

The eponymous department is a secret government institution tasked with guarding the ‘gates of time’ and preventing intruders from travelling to the past to change the course of history for their own benefit.

Author Harlan Coben was in attendance to promote his forthcoming TV series The Five
Author Harlan Coben was in attendance to promote his forthcoming TV series The Five

The series was originally produced by Cliffhanger and Onza Entertainment for TVE in Spain and the format has been sold by Onza Distribution to China’s Guan Yue International.

Circling back to SVoD, one executive told DQ here in Cannes that Netflix, Amazon and the large number of increasingly confident local SVoD platforms could, in fact, turn to scripted formats in an effort to boost their original production slates.

Meanwhile, the digital revolution is also building in the form of shortform series that are throwing traditional broadcasting structures to the wind. That series with no set running time or episode order are being produced across publishing sites such as YouTube and Vimeo is nothing new – with the latter’s Sam Toles describing YouTube as WalMart compared with Vimeo’s Bloomingdales during a web series panel on Wednesday.

But the session, which also included executives from New Form Digital in the US and France’s Taronja Prod, posed a pertinent question – if a YouTube channel that has 30 million hits still isn’t in the mainstream, how do you measure success?

Canadian prodco Shaftesbury might have the answer. One of its original digital series, Carmilla, which is available on the KindaTV YouTube channel, will this month be shopped to US networks as a 13-hour drama on the back of its success online – three seasons and 41 million views. Showrunner Sandra Chwialkowska (Lost Girl) is attached to the series, which is based on J Sheridan Le Fanu’s novel about a young woman’s attraction to a female vampire.

With ready-made brands known to millions of fans, who participate in fan art, fiction, online debates and more, web series are primed to serve as ready-made pilots for traditional TV networks looking for their next big hit. Just don’t tell Netflix.

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