ANIMATION
WORLD MAGAZINE - ISSUE 3.8 - November 1998
A Look Back at MIPCOM `98
by Loris Kramer
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Loris
Kramer.
Photo courtesy of Sony Wonder. |
As I write this,
I am still recovering from my week in the South of France. I know it sounds
glamorous and while I can think of much worse places to work than the French
Riviera, it is still work! After six days of MIP Jr. and MIPCOM meetings,
endless French dinners and too many nights at the Martinez bar, the fog is
starting to clear and I am happy to say that we had a very successful week.
While I heard people saying that this market seemed slower than in the past,
from my viewpoint, the children's programming business is alive and well.
I have somewhat of a unique perspective when looking at the market. Not only
am I looking for programs to buy, I am also there seeking co-production partners
for our projects and looking for other companies' projects in which to invest.
This gives me the opportunity to see many of the available programs, both
in development and finished, and also to find out what the other buyers are
looking for.
The Immediate Future of Animation
Before I start to sound too "Pollyanna-ish,"
I should say that while the children's programming market is strong, animation
seems to have slowed down. It is live-action that is currently most in demand.
This is probably because there has been an excess of animated programming
fed into the marketplace in the last few years and buyers are looking for
alternatives. It doesn't mean that all is lost for animation, it just means
that for the next year or two it will be more difficult to get an animated
show made. The good shows will always find a home, but the glut of mediocre
product will have a much more difficult time succeeding.
Remember, however, that our business is very cyclical. As soon as the buyers
are inundated with live-action programming, they'll start searching for animation
again.
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A busy MIPCOM 1998.
Photo by Yves Coatsaliou, courtesy of Reed Midem. |
How to Get a Show to MIPCOM and Why
Before I go any further, I should explain how a show even gets to MIPCOM and
more importantly, why we take it there in the first place. There used to be
a time, only a few short years ago, when we Americans didn't think we needed
the international marketplace to get a show produced. If you were lucky enough
to have a show picked up by a U.S. network, most, if not all, of the production
costs were covered and you were on your way. If you didn't have an American
broadcaster, you dropped plans for the show.
Today, if you do get a show picked up domestically, you are lucky if the license
fee covers 10% of the production cost. What would have seemed like a laughable
idea a few years ago is now commonplace; we find one or two strategic international
co-production partners and begin production on shows without having even pitched
to the U.S. broadcasters yet.
Preparing for MIPCOM
One trip to Cannes and you'll realize what a difficult job we as buyers and
co-production executives have in weeding through the tremendous number of
shows and ideas available. That's why it is so important to prepare properly
and do your research before even taking an idea to MIPCOM. This is the only
way a show has a chance of standing out among the plethora of programming.
MIP Jr., the two-day children's programming market proceeding MIPCOM, had
hundreds of programs available for screening. At MIPCOM itself, it seemed
as though there were thousands of additional projects seeking our attention.
This is why a lot of work should be put into a show before it even reaches
the smoke-filled aisles of the Palais. A property's chances of success are
directly related to how much thought and research goes into it. It is very
important to know what the marketplace wants and, while it is difficult, if
not impossible, to come up with an idea that appeals to every buyer in every
country. You must have a pretty good sense of the overall current trends.
Also, it is essential to know what the individual buyer wants. There is nothing
worse than pitching a fabulous idea for an animated fantasy adventure series
and then having the buyer tell you that he only wants live-action dramas.
Conversely, from a buyer's perspective, I can tell you that if I've just wasted
precious "sitting down and resting my feet time" to hear a pitch
for a documentary on the history of the jelly bean, I won't be too happy.
Finally, be flexible. Even if you've done all of your research and think you
have a great idea, listen to what the buyers are telling you. Be open
to change and creative comments. Most of the time it will help your chances
of success.
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Inside the showroom...
Photo by Yves Coatsaliou, courtesy of Reed Midem. |
Back to This Year's Market...
As I mentioned, the overall reaction to animated programming at this year's
MIPCOM was less than enthusiastic. I overheard many buyers saying that they
didn't see anything that stood out. Now, you can choose to have a pessimistic
reaction to this news or, as I have, look on the positive side. The fact that
there wasn't anything spectacular means that if you come up with the next
wonderful idea, you will have a greater chance of sticking out among the competition.
Many people complained that the market was slow and there weren't as many
people there, but I can only comment on my experience which was terrific.
I had more meetings than ever, plus they were more productive than ever. Sony
Wonder has had a fantastic year, which is all directly related to our past
work at MIPCOM. Every series we have in production, including Rainbow Fish
and Wondrous Myths & Legends, or are about to start on, such as
The Lost Legends of Krogg and Atomic Babies, is a result of
relationships and deals done at MIPCOM.
Now, it's time to get back to the office and start plodding through the stacks
of pitches I shipped home. Somewhere in that pile, I hope that I will find
the next big hit.
Loris Kramer is vice president of creative services at Sony Wonder.
Note: Readers may contact any Animation World Magazine contributor by sending an e-mail to editor@awn.com.
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