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MIPCOM REPORT: WHAT DO BUYERS AND COMMISSIONING EDITORS WANT?

MIPCOM CANNES

MIPCOM CANNES is the premier event for international content rights and co-production, drawing producers and studio executives from over 100 countries to what is often referred to as “the most important industry rendezvous on the global events calendar.”

Every October, MIPCOM becomes the focal point for global decision-makers to compete for new series, seek international production partners, and set the development agenda for the year ahead.

Deals are forged through a dynamic blend of networking events and countless business opportunities, both planned and spontaneous, all set against the stunning backdrop of the Croisette in Cannes on France’s Côte d’Azur.

The MIPCOM “What Do Buyers Want” report compiles testimonials and insights from TV buyers and commissioners attending MIPCOM 2024, the 40th edition of the market. We look at the answers to the question: What kinds of sales pitches do you respond best to?

The best pitches would be a short treatment and a sizzle if available. – KAYE WARREN,  SBS, Australia

focused presentations, which point out the basics of the project in short words, combined with a deck including production- and financing-plan. – MARION CAMUS-OBERDORFER, ORF-ENTERPRISE GMBH & KOKG, Austria

Stories with a strong narrative in all factual genres, fit for public television for a broader audience – TOM BLEYAERT, VRT, Belgium

Combination of basic info (format, volume, availability, producers, commissioning broadcaster, etc) with short pitch plus main storyline and trailer – SVEN VAN LOKEREN, VRT, Belgium

Short and sweet and screeners to share later 🙂 – DUPUIS SIMON, RADIO-CANADA, Canada

Fully produced programs with trailers, sales sheets, and comprehensive background information on source broadcasters, producers, year of production, technical specifications, audience performance, etc. – ALDO DI FELICE, TLN MEDIA GROUP INC (TELELATINO), Canada

People who really know how to summarize their content, that are passionate, and are able to target the programs from their lineup that would best fit our editorial line. – ANNE-CLAIRE VILLENEUVE, TV5 QUÉBEC CANADA, Canada

Short description or bible of the project with main characters and location(s). Example stories are a must. An animation sample or mood pictures, if live action, is definitely a big plus.- VICKY SCHRODERUS, YLE FINNISH BROADCASTING CO., Finland

One-pager by e-mail with synopsis, essential information on production year, length, production company and commissioning broadcaster. A list of interviewees (including titles/positions) and film locations is also useful. A trailer, if available, is a plus. – NINA TUOMINEN, YLE FINNISH BROADCASTING COMPANY, Finland

When the pitcher has understood who we are.- ELISABETH HAGSTEDT, HISTOIRE TV, France

A full bible for new concepts plus scripts 1-2 would be great but sometimes a brief but comprehensive three-liner together with a scribble or a mood board can be sufficient, too. Feature films produced or finished series should come with screening links and short synopsis. – SEBASTIAN DEBERTIN, ARD/ZDF KI.KA DER KINDERKANAL, Germany

Sales Pitch by Sales Representative who knows the programme/project to be pitched very well and can answer all questions. Follow-ups with further information like scripts, trailers, screeners etc. which help to decide if a project is fitting. – CHARLOTTE YOUNG, PALATIN MEDIA FILM- & FERNSEH GMBH, Germany

I appreciate a well informed and straight forward sales pitch focussed on the format strength, history and some production insights. Scheduling insights and an outlook if there is new seasons or spinoffs do help as well. I am not so much after ratings in different demos to proof how strong a format is.- MARCEL AMRUSCHKEWITZ, RTL DEUTSCHLAND GMBH, Germany

The best pitch is the one, which transports the idea best. This can be one page or a completed concept.- NICOLE KEEB, ZDF GERMAN TELEVISION, Germany

As markets are invariably really busy for me and meetings last no longer than half an hour, pitches need to be concise, preferably with visuals or a promo. – DERMOT HORAN, RTE, Ireland

Promo, footage, screeners are the most important tools for decision making process. Prebuy is driven by the complete ‘package’: series bible, scripts and a detailed set of information about budget, cast, commissioning channels, production and delivery timeline. – GIACOMO POLETTI, MEDIASET DISTRIBUTION – RTI SPA, Italy

We see projects sent to us at all different stages – it is the core idea and the overall feel and concept of a show that we focus on when we review submissions, against our current commissioning priorities and upcoming channel line-ups. Sharp pitches with potential for a mainstream audience, scripts and series arc/episode outlines are very useful for us to get a full picture of the project. – LUDOVICA FONDA, RTI MEDIASET GROUP, Italy

We would like to check genre, trailer, key art or stills, stuff & cast info, so we always appreciate receiving emails. We will request a full episode screening link if we are interested. – MASA OMIYA, TRANS WORLD ASSOCIATES, INC., Japan

Presentation of the new or upcoming projects, but the final decision is always made after I screen the finished programmes. – BERNARDA GRUM, RTV SLOVENIJA, Slovenia

READ MORE FROM THE REPORT HERE.

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