Long gap since my last post, apologies. But last week I went to the annual MIP-TV market in Cannes which gave me plenty to think (and write) about.
Four days of meetings equated a big batch of ideas – though the word product seems more appropriate in such a marketplace.
Fewer people were wandering the Palais this year – cuts are biting, and there’s less face to face in the business anyway these days. The cost of attending a market like this for producers and distributors is large, and the pressure is on from day one.
With four of us from SBS all doing separate meetings, we covered a lot of companies. Telling distributors and producers what we needed, running through their ‘slates’, working off this MIP 2015 SBS Acquisitions Needs brochure.
My main impressions?
You meet who you know already. There should be a ‘lucky dip’ function on the website to put you together with people you’ve never met before.
30 minutes is not long enough for most meetings, given that I usually got there late and kept getting lost in the Riviera part of the market.
There’s no time to digest all the news and industry insight that floods the market – here are just a few of the magazines I picked up before leaving. In there are lots of programmes that I should be watching.
Caffe Roma, the central cafe for meetings with those who haven’t registered for the market itself – serves terrible tea.
What were the Aussies up to?
The SBS stand was opposite the Screen Australia stand for the Aussie producers, who made merry at a drink on the Tuesday.
It was good to see so many producers making the long trip to Cannes. Here’s a Screen Australia showreel of Australian projects brought to the market
At 22 minutes long, it’s a great way to get a fix of Australian TV. Spoiler alert: Doesn’t include all the terrible reality shows on Australian TV though.
And Blown Away (at 2:21) – a very intriguing part-animated doc on Cyclone Tracy which happened 40 years ago. There’s more about the film, shown in late December on ABC1 and co-produced by Rachel Clements, here
The other clips on the reel:
Deadline Gallipoli (3:17)
Miss Fisher’s Murder Mysteries (4:22) – which I’d love to see bought in the UK
Pitch Battle (5:38) – about the Palestinian football team
Restaurant Australia (7:22)
Sammy J and Randy in Ricketts Lane (9:37)
Status: Vacant (11:15)
Struggle Street (13:05) – coming to SBS in May
Tattoo Tales (14:57)
That Sugar Film (16:36) – a kaleidoscopic look at a key health issue.
Heart and Soul (19:35) – this looks like a good tale of girls making music and growing up
Vice is a brilliantly focussed and sure-footed media company and its ideas demand attention. Some ideas at MIP though seem there to test us. The delegate bag was sponsored by DogTV (TV for dogs, in case you were wondering). The Telegraph in the UK has written about the formats on offer, and it’s not too impressed.
One of the other SBSs around the world, in Korea, has the slogan ‘See The Bright Tomorrow’. Which is a nice thought, even though it doesn’t exactly work as a slogan.
MIP wouldn’t be MIP without a bit of socialising, and nothing beats a beachside party at Cannes. This one on Monday night was from distributor DRG.
If you were at MIP, let me know how you found it. At the Nordic party, I met a gentleman from Finland who reminded me that it’s only 170 shopping days left till MIPCOM…
There was a packed auditorium for the main debate at Wildscreen on Wednesday. It covered themes familiar to previous festivals, but no less important for that, according to Wildscreen veterans. How television wildlife films misrepresented the world and its environmental problems. How cute and fluffy animals don’t tell the whole story. How the word ‘Environment’ is a turn-off for commissioners. Questions from the audience came from people identifying themselves as from the ‘‘Save the Rhino’ or ‘Ocean Conservation’ campaigns. They were impassioned about the need to raise public awareness of habitat and species loss, including of the dreadful trade in shark fin soup which kills between 75 and 100 million sharks a year. The reality of climate change and our role in destroying our planet hung over everything.
On the panel, Channel 4 factual boss Ralph Lee presented a clip of the series Fish Fight, sitting alongside Will Anderson of producer Keo Films. The impact of Fish Fight on the policy of supermarkets, and European Union policy, including through social media is thoroughly documented and well worth a read.
But Channel 4 has had to set aside some of its campaigning work to keep its ratings up. I heard Ralph Lee say as he was leaving the venue that he’d been dining out on Fish Fight for three years. Alongside him on the panel, the BBC’s Science and Nature commissioner Tom McDonald squirmed a bit when asked if as a public service broadcaster they could do something like Fish Fight. He used the familiar BBC defence ‘we’re not allowed to do campaigns or be political’ – which seems quite weak to me. There’s nothing party political that I can see about a programme dealing with the food on our plates, or how the supermarkets behave. And Fish Fight wasn’t promoting a campaign group, it was an independently produced examination of the subject which got its message out. If there was a problem with dealing with such issues, shouldn’t the BBC be looking at Watchdog and other consumer journalism? Feel free to browse the BBC’s editorial guidelines to see how you interpret them, and how they apply to series such as Fish Fight.
Ralph Lee had cleverly assembled a reel of C4 clips – from a live show from the Space Race, the drama Utopia, and a Kevin McLoud design series – to demonstrate how environmental questions could be covered in other programme forms, not just documentaries about the natural world. The BBC’s science and natural history commissioner Tom McDonald also reeled out plenty of examples.
But this didn’t satisfy the audience, or me. The state of the planet is too grim, and climate change too grave an issue, for it to be just ‘smuggled into’ programmes. It really needs creative thinking and leadership from the top. Tony Hall of the BBC has brought about a change in the BBC to be an Arts broadcaster, and a Diverse broadcaster. And backed it up with money and resources. How about allocating similar funds and managerial will to making the BBC actively cover climate change and its effects? This BBC Trust report from 2011 on BBC’s Science coverage still seems to stymie debate in the BBC about the coverage of climate change issues – but it can’t be allowed to. TV has a bigger responsibility than that.
Joe Smith and Kim from the Open University, with the filmmaker Jeremy Bristow behind the camera, interviewed me for a research project about the coverage of environmental issues in broadcast media. A great subject, and it made me think hard about the responsibility of people with such powerful tools as cameras, TV channels and other platforms at their disposal – and often with money from the public.
The channel I’m now working for, SBS, has done a series looking at the origin of the seafood Australians eat, called What’s the Catch? – starting on Thursday 30th October. I’d like to see more campaigns and awareness-raising on the channel, and know I’m going to be asking myself with the same questions on the best way to get people to engage. It can’t be beyond us to work it out, can it?
Please comment on this, or email me. Thanks for reading!
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.
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.
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.
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.