Rituals to become less ritual at mart.

MIP-TV continues to represent something different for everyone involved, though not necessarily on the same scale. Nonetheless, the event is important enough that, after 43 years, it is still considered the premier international TV market. For the U.S. studios, this spring trade show represents a prelude to the L.A. Screenings; for international buyers, an opportunity to visit smaller distributors (since time with studios will be reserved for the Screenings in May); and, for all, another chance to be close to the cutting edge of new digital technologies, and to figure out what new headache the future will bring.

This year, MIP's precursor, the documentary market MipDoc, takes place at the Carlton Hotel on the Croisette, two days before MIP opens.

MIP's keynote speaker line-up seems to be strong. And in keeping with the theme of a new tech extravaganza (highlighted by new technology market MILIA occurring concurrently with MIP), industry visionaries will provide their own two cents on the multiple platforms and new media opportunities available to both content providers and buyers (in the broadest sense of both words).

Speakers include reality TV expert Mark Burnett, who will discuss what it takes to create next-generation entertainment for Internet, mobile and other emerging technology devices; AOL CEO Jonathan Miller, who will wax on about his company pioneering audiovisual entertainment on the Internet; BBC executive board member responsible for New Media and Technology, Ashley Highfield, discussing his predictions for what content will look like in the future; Gary Carter, chief creative officer, New Platforms at FremantleMedia, who will present a keynote address entitled, "Whose TV is it Anyway?"; and finally, Takeshi Natsuno, senior vice president and managing director, Multimedia Services at NT DoCoMo, Japan's largest mobile operator, providing his visions on how to successfully converge entertainment and commerce. But with keynote addresses scheduled for the middle of the day, when buyers and sellers are at their busiest, it's a wonder anyone can take advantage of these. "It would be useful if there was a bit more flexibility in terms of the conferences," commented Adam Wakeling, head of Co-productions at U.K.-based 3DD Entertainment. "If the Palais could stay open earlier or later, so that we could attend the conferences, that would be helpful," he suggested.

This year's market will see the first edition of the International Interactive Emmy Awards. The event, to take place during the market, will award three of 12 nominees in the categories of Interactive Program, Interactive Channel and Interactive TV Service.

With the market looming ahead, content providers voiced their opinions as to what they foresee as possible trends. Jose Escalante, vp and general manager of RCTV International, said that, increasingly, territories that were never before interested in telenovelas are beginning to take up the Latin soaps (or their formats). This, he said, could cause a real change in the market, which has traditionally been the less busy of the two Reed markets when it comes to Latin buyers. "We are expecting a busier market now that Asia (particularly China and Korea) and Europe (specifically Finland, Norway and Germany) are interested in telenovelas," he said.

Tim Worner, director of Programs and Production at Australia's Seven Network, said that there has been renewed international interest in U.S. programming, "There is no doubt the audience has really taken to U.S. drama during the last couple of seasons. Seven has more U.S. drama in its primetime schedule than it [had] for many years."

And other issues content providers see as taking center stage at this year's MIP are the new technology platforms available to them. Tim Mutimer, svp, Europe at Granada International, said, "One of the trends we've seen recently is broadcasters trying to consolidate the rights they acquire, and incorporate new forms of technology. This creates both an opportunity and a challenge for us," he said. "But, we are happy to talk to people if they're the right people, and are willing to pay for rights."

E!'s vp of International Sales, Duccio Donati, agreed: "One of the biggest trends is the expansion of rights--specifically mobile growth. We are still exploring how to get rights distributed. The business model is there, but we need to know how to make significant amounts of money. Adoption of the technology and the rights situation are the two big unresolved issues. It's a lot like the Internet was in the '90s."

And when it comes to kids' programming, EM.TV's Patrick Elmendorff said he's seeing an increased interest in "bridge" programming. "Kids' viewing structure has changed. You have younger kids watching older age group's shows. The tween programs are popular for all ages."

When asked if the European-centered market comprises exclusively of European buyers, the distributors adamantly agreed that it didn't, pointing to the large presence of Asian buyers who attend the market. "It's a totally international market, which is why we go," said Elmendorff. E!'s Donati agreed, "Everyone except the Latin Americans are there," he said, adding, "it would be nice to see a resurgence in Spain; that country used to be stronger, now it's gone very local." But, he said, "Now, a lot is happening in Russia."

3DD's Wakeling added, "It would be nice to see more North Americans there."

And while traditionally the studios have preferred MIPCOM's timing (after the debut of the new season's shows and once some ratings are in), the ever-changing launch schedule in the U.S. and the varying season schedules all over the world make MIP's timing at least somewhat conducive to most distributors. "It's a bit too close to the L.A. Screenings, but has been revitalized by the fact that now a lot of our cable programs have premieres in February and March. It's also good timing to present numbers for midseason shows," said Marion Edwards, evp, Television Distribution at Twentieth Century Fox. RCTV's Escalante explained that because many new shows launch in Latin America in November, December and January, they will come to MIP well equipped with ratings to show buyers.

3DD's Wakeling said that his company is more than willing to time its business around MIP, rather than vice versa. "We fit around its schedule--MIP and MIPCOM are definitive points on the calendar, like birthdays."

So while there's no question that buyers and sellers are keeping MIP on their schedules, opinions on the relevance of the market ran from crucial to waning. According to E!'s Donati, "It is the most important market by Far; a lot of business is done as a result of MIE" Granada's Mutimer wasn't quite as enthusiastic: "It's a good opportunity to meet with our clients around the world in a focused way. Our sales people travel to home turfs, and that's our primary focus. But, it's still useful to have four or five days to see everyone." He qualified: "MIP is really a useful addition, rather than our main focus."

RDF Media's Matthew Frank expressed uncertainty in MIP's economic viability: "It's still the most important market of the year, but it's expensive and becomes less and less important as the years go by." He elaborated: "The nature of the way TV is sold has changed, people don't need to meet face to face as much. As a result, MIP has moved from a market where you used to do a lot of business, to one that is really just about building relationships." Frank continued, "If I had my way, we would have one market and spend the rest of the money traveling to people's offices to do business there.

"At MIP, buyers are flooded; they have so little time. It's much more beneficial for me to have three hours to sit down and talk to buyers at their offices, rather than to have 30 minutes at MIP," Frank said.

But regardless of the content providers' doubts, buyers insist MIP is an essential part of the TV business, and that is why distributors will keep coming back. "For us, MIP is a great way to meet with our producers and distributors. We like to look at the new kids on the block and carefully watch what's there," said Frank Dietz, head of Acquisitions and Co-productions at Super RTL in Germany, whose company most often buys outside product from the U.K., France and Canada. Dietz disagreed with Matthew Frank: "It's very important that it take place twice a year, it ensures the constant exchange of ideas and creates permanent contact with producers," he said.

Seven's Worner agreed with Dietz: "It's a critical market. We take the chance to meet with all the key players, go through any business in progress, and plan ahead. We're buying programs, but I'd have to say the predominant activity is planning, so far as you get the chance to focus nonstop for a week on what it is you'll be needing to go forward."

This year, at MIP, buyers will be looking for formats, especially. "We will be looking for movies and formats," said Dietz.

"We head into each market with a number of missions and we usually keep the details to ourselves. The one constant is we're always looking for new formats. Seven has had a good run in this area by identifying ideas early ... Australia is the perfect market in which to test a format because you know you're going to end up with a tape with fairly high production values an--when the planets really line up--a ratings story to sell as well," said Worner.