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Event Television

Chasing content and dodging cloudbursts in Cannes

Three and a bit days in Cannes for MIPCOM have just come to an end. The Indian summer gave way to dramatic cloudbursts, making the Croisette  look like somebody had gone overboard on the CGI budget.

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Shine International party, Majestic Hotel

Drama subplots were everywhere. Warner International’s semi-open stand on the beach got flooded out; All3Media laid on Tuk-Tuks to their lunch for Lion TV’s 17th birthday, only for their drivers to get arrested. Companies that were big were becoming even bigger.   Shine International had fine Sunday evening weather for their opening drinks by the pool – likely one of their last markets as a standalone outfit before the Endemol-Core merger. Your correspondent can report that Shine’s Espresso Martinis were excellent. May such creativity not get lost in the merger.

The frequent downpours in elegant if overpriced Cannes seemed to echo the rapid changes in the industry. A global industry crammed together in a small space, sent scurrying for cover by unpredictable events.  Digital distribution was once again the talk of the market. Ted Sarandos of Netflix gave a keynote – comin’ atcha, Japan, Australia and New Zealand. HBO announced a streaming service. The stands and posters though were all still about the content – in that sense, little changes at MIPCOM from year to year.

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The market at 0815 on Monday morning

The days were full with half-hour meetings – ‘speed-dating’, as my boss at SBS Peter Andrews called it – and my notebook quickly filled with titles, delivery dates, and conversations to follow up. Being with my new colleagues Peter, Ben Nguyen, Tony Iffland & Andrew Golding  as we were pitched by distributors and producers was a great way to learn about SBS, and my version of the SBS editorial pitch is now flowing a bit more naturally. Our acquisitions wishlist and programme catalogue got held up in French customs for a day, but eventually it became a useful prop to head off the ‘what are you looking for?’ question. Let me know if you’d like a pdf emailed to you  – though it’ll also be online soon.

Wednesday ended with BBC Worldwide Australia & New Zealand’s drinks and dinner on the roof of a chi-chi hotel. Plenty of new contacts to follow up on when I get to Australia in December.

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BBC WW ANZ drinks, V Hotel

It was good to be back in the swim of broadcasting,  and I’m really looking forward to my new role.  Next time I come to Nice airport though, I’m going to remember to pack my helicopter.

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By Krishan Arora

I'm an experienced television executive and producer. I started out at the BBC in London, working as assistant producer and director on a variety of documentary and magazine programmes. I then went to France to be one of the first programmers at Arte in Strasbourg when the channel launched in 1992. Returning to London after three years in France, I became Producer and Head of Development for documentary company Antelope. There I produced docs for all British broadcasters, with many co-productions on international subjects including the award-winning feature documentary Srebrenica - A Cry from the Grave, produced for BBC, NPS, PBS, and WDR.

After a year developing and producing through my own company Electrify, I rejoined the BBC in 2001 as Commissioning Executive in Factual, commissioning Science, History and Arts documentaries and series from independent producers for all four BBC channels. In 2005 I became the BBC’s Independents Executive, responsible for the BBC’s strategic relationship with the UK independent television production sector across all genres – factual, drama, comedy and entertainment. In mid-2011, I went back to the world of production and consulting, for clients including NHK, Steps International, the Sunny Side markets, French production company Gedeon, and now the Australian broadcaster SBS. Of Indian and German parentage, I'm based between Copenhagen and my native London.