Videoage International November 2019

12 the industry environment. A major concern for many market participants is whether or not studios plan to reserve some or most of their production slate for their new OTT platforms and thus reserve little or no product for international sales, which will reduce the need to attend TV trade shows. In other news, MIPCOM 2019 got glowing reviews. It even had the largest number of cocktail receptions and TV star appearances of any recent edition. Among the busiest companies was the Turkish contingent: Global Agency hosted a cocktail party attended by celebrity actor Can Yaman, ATV showcased actors at cocktails and screenings, Madd Entertainment hosted a rooftop party for producers Ay Yapim and Med Yapim at the Carlton Hotel. Plus, Sony Pictures Television held a live demonstration of its rebooted version of the original format Can’t Touch This , which saw participants go bungee jumping. SPI International showed previews of its new Mister Mayfair trilogy as part of the market screenings, and hosted a big bash at the Majestic Hotel, just as team Disney did in its vast beachside tent. Other large receptions were hosted by A+E, Banijay, and Series Mania. Considering the dozens of deals and announ- cements reported by VideoAge Daily alone from companies as diverse as Viacom, Telefilms, A+E, All3media, CBS, Banijay, Filmrise, GRB, and Electric Entertainment, just to mention a few, business for this fall market was fruitful for all. are not as essential as they once were since the studios now stage regional screenings worldwide for their new season’s series. If Reed MIDEM organizers are able to ca- pitalize off of these new industry developments and respond by filling the gap created by market trends, the success of MIP-TV, it is said, could be assured. However, because so many elements are still up in the air, many past exhibitors aren’t rushing to commit to participate in MIP-TV 2020. This means that, if market predictions are accurate, there will be a last-minute rush to exhibit. Paramount’s Dan Cohen, for example, received the MIP-TV 2020 proposal, but his staff has not yet presented him with a recommendation. However, he added that, “markets are efficient, and we’re not taking content out of the markets.” Plus, “the L.A. Screenings are very important to us, especially to show new series.” Similarly, at least as far as MIPCOM was concerned, CBS Studios International’s president of Sales Barry Chamberlain said, “I can anticipate that CBS will have a presence at MIPCOM 2020. Like any other trade show, if a market is viable for us, we’ll attend. No question that the industry is facing a big transition, but as far as MIPCOM and next year’s L.A. Screenings are concerned, CBS is still on a broadcast calendar, and thus will participate.” Chamberlain also admitted that some Holly- wood studios are hard-pressed to come up with even short-term plans due to the uncertainty of from 98 sqm to 150 sqm; and the Lounge Stand, which measures 156 sqm. At the October 16 press conference, which was presided over by Reed MIDEM’s Laurine Garaude and Lucy Smith, in the presence of Jérôme Delhaye, some of the 40 journalists in attendance emerged with the impression that MIP-TV organizers are still focusing on generating more registrations than exhibitors, even though a mention was made that they were actively recruiting more content buyers. The preoccupation with having more par- ticipants than exhibitors and buyers, however, is not just a MIP-TV issue –– it’s a problem most TV trade show organizers share. Recently, for example, when it was pointed out to a U.S. marketer that an ad the organization placed in the trades failed to promote the market’s buying and selling component, the marketer explained that it was done deliberately in order to emphasize the participation component. The Reed MIDEM press conference focused exclusively on MIP-TV 2020 — not much was said about the then-ongoing MIPCOM. Traditionally, Garaude would reserve the last day of the market to dazzle journalists with a cascade of numbers — the large number of buyers, the growing number of exhibitors, the huge number of participants, and the many stars who were in attendance at MIPCOM. This time around, however, themeeting with journalists was held before the closing day of the market and no numbers were flaunted. Much ado about little, however, was reserved for the “development” aspect of the TV business. Lucy Smith touted MIP-TV’s Production Forum and the In Development program, which focuses on factual programming and formats, as well as drama and kids’ content, and added that the Forum acts as a “gateway for international financing.” This aspect, though, once again, discounts the main reason that participants attend a market –– for the buying and selling of content –– and the fact that the success of a trade show depends predominantly on the number of buyers and sellers in attendance. However, one aspect of the industry that is still not leveraged properly in order to make MIP’s conferences more pertinent to the buying and selling of content (the raison d’étre of the trade shows) is exactly what makes New York City’s Upfronts and the L.A. Screenings –– both in May –– great attractions: The need for TV outlet executives to mingle with program producers, sellers, and advertisers. Indeed, a conclave with representatives from all the key components of the TV business during MIP-TV would be the best antidote to a declining market. In addition, this element could usefully anticipate market and programming trends, now a prerogative of the Upfronts and L.A. Screenings. Plus, considering that the U.S. studios are planning to release fewer programs for the international marketplace in order to retain content exclusivity (and thus attract subscribers) for their streaming services, the L.A. Screenings could soon lose some appeal. However, since commercial TV outlets use the spring and summer months to prepare their schedules and presentations for advertisers, MIP-TV could represent their main outlet for new content supplied by independent program distributors. Some U.S. studio executives are already saying that although they “love the L.A. Screenings,” they November 2019 MIPCOM Review Global Agency’s Izzet Pinto (r.) with Turkish actor Can Yaman At the SPI bash for the Mister Mayfair trilogy (l. to. r.): MGE’s Esperanza Garay, Miami-based Loni Farhi (SPI’s president), Manuela Caputi of Italy’s Mediaset, SPI’s Berk Uziyel, and SPI’s Tel Aviv- based Revi Benshoshan. The press cocktail for Turkish actor Burak Özçivit of ATV’s new series The Ottoman (Continued from Page 10) “MIPCOM 2019 got glowing reviews. It even had the largest number of receptions and TV star appearances of any recent edition.”