MC Review 8pp Mag v4

Madame de Merteuil – Valmont
Dangereusement vôtre
European Premier
RUDY – THE RUDY GIULIANI STORY
European Premier
DRAGNET
World Premier
LES LIAISONS DANGEREUSES
European Premier
LOLA, QUI ES-TU LOLA?
Starring James Woods as Rudy
Starring Ed O’Neil and Ethan Embry
Starring Catherine Deneuve, Rupert Everett,
Nastassja Kinski, Daniéle Darrieux, Lelee
Sobieski, Tedi Papavrami, Francoise Brion,
Jean-Luc Azoulay
Starring Blandine Bury, Alexandra Stewart,
Linda Lacoste, Severine Ferrer, Cyril Mourali,
Delphine Chaneac, Jean-Fracois Palaccio and
Hicham Nazzal
The team of “Les Liaisons Dangereuses” (left to right): Josée Dayan, Eric-Emmanuel Schmitt,
Catherine Deneuve, Tedi Papavrami and Leelee Sobieski
The stars of “Lola” (left
to right): Lynda
Lacoste, Hubert
Besson (Executive
Producer), Delphine
Chanéac, Blandine
Bury, Alexandra
Stewart, Jenny Del
Pino, Jean-François
Boyer (President of
Telfrance), and
Séverine Ferrer.
The actors of “Sous le soleil” (left to right): David Brécourt, Shirley Bousquet, Adeline Blondieau,
Bénédicte Delmas and Frédéric Deban
Kristin Kreuk star of Smallville and Superman’s
little helper Lang Lang
THE ACTORS OF ”24“ (clockwise from left): Taking the day off – the stars of 24,
Sarah Clarke and Xander Berkeley, Penny Johnson-Jerald and Dennis Haysbert,
Elisha Cuthber
Brande Broderick enjoying some time off from Baywatch
Romina Mondello with her husband
Marthe Villalonga
THE BOLD AND THE BEAUTIFUL John McCook
and Jennifer Finnighan
Karine Belly and Martin Lamotte
H.S.H. Crown Prince Albert, Frédérique d’Aragon and Ted Turner
Producer Norbert Saada
Yves Boisset and Pierre-Yves Donnadieu
Arriving as couples Francois-Eric Gendron…
… and Michael Madsen
Dame Helen Mirren
Review 3
Palmarès du 43ème Festival de Télévision de Monte-Carlo
The Awards Ceremony of the 43rd Monte Carlo Television Festival was held on the evening of Saturday 5th July 2003 in the magnificent
Salle des Princes in the Grimaldi Forum. A total of 26 Gold Nymph Awards were presented for programmes in the competition, as
well as 11 special awards from a variety of organisations. Highlights of the ceremony were caught by The Review…
Fiction
Television Films
Jury Members: Markan Akkawi (Director and Producer, Greece), Anne Reid (Actress, UK), Kevin
Reynolds – President of the Jury (Director, US),Valentina Sauca (Actress, Germany), and Jean-Luc
Seigle (Scriptwriter, France).
Best Television Film:
Out of Control (British Broadcasting Corporation/BBC1, UK)
Best Script:
Pierre Colin-Thibert and Jean-Claude Islert for Une Ferrari pour
Deux (TF1 and PM Films, France)
Best Direction:
Krisztina Deak for Jadviga’s Pillow (Jadviga Parnaja) (MTV,
Hungarian Television, Hungary)
Best Performance
by an Actor:
Götz George in The Lawyer and his Guest (Der Anwalt und
sein Gast) (Südwestrundfunk, Germany)
Best Performance
by an Actress:
Marthe Villalonga in Nés de la mère du monde (Born of the
Mother of the World) (Cipango, France)
Mini-Series
Members of the Fiction Jury (TV Films and Mini-Series). From left to right: Romina Mondello, Jean-Luc
Seigle,Valentina Sauca, Wayne Powers, Kevin Reynolds, H.S.H. Crown Prince Albert, Micheline Lanctôt,
Marwan Akkawi, Anne Reid, Sheamus Smith, and Kunio Yoshikawa.
Jury Members: Micheline Lanctôt – President of the Jury (Author, Actress, Director and Producer,
Canada), Romina Mondello (Actress, Italy), Wayne Powers (Scriptwriter, Director and Producer,
US), Sheamus Smith (Former National Film Censor, Ireland), and Kunio Yoshikawa (Head of Fiction
Programmes, Japan).
Best Mini-Series:
White Teeth (Company Pictures, UK)
Best Script:
Dan Frank for Jean Moulin (Scarlett, France)
Best Direction:
Beeban Kidron for Murder (British Broadcasting
Corporation/BBC2, UK)
Best Performance
by an Actor:
Thomas Sangster in Entrusted (Le Sabre, France/Grundy Italia,
Italy/Simply Committed, France)
Best Performance
by an Actress:
Naomie Harris in White Teeth (Company Pictures, UK)
News
Tamzin Outhwaite (leading actress) and Dominic
Savage (director) collecting the Gold Nymph for
Out of Control, which won two prizes – Best
Television Film and the SIGNIS prize for Fiction.
Micheline Lanctôt presents two Gold Nymphs to
Charlie Pattinson (MD of Company Pictures) for
White Teeth (Best Mini-Series and Performance by
an Actress – Naomie Harris).
Jury Members: Antonio Bruni – Vice-President of the Jury (Head of International Events,
RAI, Italy), Henri Chambon (Editor-in-Chief, TF1, France), Manuel Corral (Deputy Director,
Director’s Office,TVE, Spain), Matthias Fornoff (Managing Editor, ZDF, Germany), Oli Grueva –
Vice-President of the Jury (Director, International Relations Dept., BNT, Bulgaria), Cynthia Kinch
(Director of Programming for CBC News, CBC, Canada),Thomas Lundkvist (News & Current
Issues, SVT, Sweden), Bill McClure (60 minutes (London), CBS News, US), Nigel Pritchard (VicePresident Public Relations, CNN International Networks, US), Vin Ray (Deputy Head of
Newsgathering, BBC, UK), Duncan Rycroft (Head of Regional Programmes, Carlton Television,
UK), Andrew Tilley – President of the Jury (Head of Business Development, Sky News, UK),
Philippe Visseyrias (International Journalist, France 2, France), and Shuichiro Yamazaki (Senior
Producer, News Department, NHK, Japan).
Short News
Best News:
Programme
Guinea Refugees: Sex for Food (CNN, UK)
Best News
Programme:
Iraq War (British Broadcasting Corporation/BBC1, UK)
Current Affairs
Antonio Bruni congratulates Kim Bartley
(journalist) and Olaf Grunert (ZDF) for Hugo
Chavez – Inside the Coup (Best Current Affairs
programme).
Best Current Affairs
Programme:
Hugo Chavez – Inside the Coup (Hugo Chavez – ein
Staatsstreich von Innen) (ZDF, Germany)
Best Current Affairs
Programme:
Back to Bagdad (Tilbage til Bagdad) (Danish Broadcasting
Corporation DR/Danish Television, Denmark)
24-hour News
Best 24-hour News
Programme:
Iraq War (British Broadcasting Corporation/BBC News 24, UK)
Producer Award for TV Series
Kristin Kruek presenting Thomas Sangster his award
for Best Performance by an Actor in Entrusted.
Jury Members: Tony Charles (Producer and Executive Producer, UK), Agneta Fagerström
(Director, Scriptwriter and Producer, Sweden), Denise Filiatrault (Actress, Director and Writer,
Canada), François-Eric Gendron (Actor, France), and Marshall Herskovitz – President of the Jury
(Author, Producer and Director, US).
Comedy Category
Outstanding Producer Larry David, Jeff Garlin, Robert B.Weide, and Tim Gibbons for
of the Year:
Curb your Enthusiasm
The BBC coverage of the Iraq War won the
corporation two Gold Nymphs for Best News
Programme and Best 24-hour News Programme.
4 Review
Smiles all around for producer Tim Gibbons –
picking up his prize for Outstanding Producer of
the Year (Comedy Category) for Curb your
Enthusiasm. Presenting the award were Donald
Diamond and Douglas Davidson form The Young
and the Restless.
Outstanding European Mark Bussell and Justin Sbresni for Barbara
Producer of the Year:
Outstanding Actor
of the Year:
Larry David
Outstanding Actress
of the Year:
Marina Orsini
Awards presented at the 43rd Monte Carlo Television Festival
Drama Category
Outstanding Producer
of the Year:
Brian Grazer,Tony Krantz, Howard Gordon, Robert
Cochran, Joel Surnow, and Sirus Yavneh for 24
Outstanding European
Producer of the Year:
Marc Conrad and Friedrich Wildfeuer for Abschnitt 40
Outstanding Actor of
the Year:
Kiefer Sutherland
Outstanding Actress
of the Year:
Allison Janney
European Television Producer Award
Jury Members: Tom Cotter (Producer and Director, UK), Søren Frellesen (Screenwriter and Director,
Denmark), Maurice Frydland – President of the Jury (Director and Scriptwriter, France), Maciej
Karpinski (Novelist and Scriptwriter, Poland), Francesco Scardamaglia (Scriptwriter and Producer, Italy).
This Prize was awarded to Sally Head Production (UK) for its outstanding
fiction productions during the last two years.
Formats
The International
Format of the
Year Award:
Big Brother (Endemol International,The Netherlands)
With Special Mention for: Who wants to be a Millionaire?
(Celador, UK)
The International
Format Masterpiece
Award:
The Price is Right (FremantleMedia, UK)
Friedrich Wildfeuer and Ulrike Liebfried receiving
the award for Outstanding European Producer of
the Year for Abschnitt 40.
Maurice Frydland presents Sally Head the Gold
Nymph for European Television Producer Award.
Sally Head Productions (UK) won the award in
recognition for the outstanding quality of their
productions during the last two years.
Special Prizes
The Special Prize of H.S.H. Prince Rainier III
Awarded to the programme that best deals with nature conservation, the protection of
threatened fauna and flora, and the fight against pollution. Awarded to: Uppfrag Granskning:
Hotet Från Oljan (Black Sea – Troubled Waters) (SVT/ Sveriges Television, Sweden)
The Monaco Red Cross Prize
Awarded to a news programme that demonstrates at least one of the ideals of the Red Cross:
humanity, impartiality, independence, neutrality, charity, unity and universality. Awarded to:
Pour une poignée de roupies (For a Handful of Rupees) (TF1, France)
Prize of the Red Cross International Committee
Created this year to commemorate the 140th anniversary of the creation of the International
Committee of the Red Cross.The prize is awarded to a report or documentary that
promotes the principles of international law. Awarded to: Correspondent: Kenya:White Terror
(British Broadcasting Corporation/BBC2, UK)
The AMADE Prize (The World Association of Children’s Friends)
Awarded under the patronage of UNESCO, this prize is given to a programme of excellence
which echoes both the ideals of UNESCO and AMADE.
Fiction Programme:
A Brother for Life (Dakishimetai) (NHK/Japan Broadcasting
Corporation, Japan)
News Programme:
Pour une poignée de roupies (For a Handful of Rupees)
(TF1, France)
Anouchka Ban (Endemol International), collecting a
Gold Nymph for Big Brother, which won The
International Format of the Year Award. Presenting
the award was Michel Rodrigue, President and
CEO of Distraction Formats and deputy chairman
of FRAPA.
The SIGNIS Prize
Two SIGNIS Doves were awarded to the best fiction programme and best news programme in
support of quality television productions that highlight human and spiritual values.
Fiction Programme:
Out of Control (British Broadcasting Corporation/BBC1) (UK)
News Programme:
Les petits soldats de l’armée russe (Little Russian Soldiers)
(Noon, France)
Thomas Lundkvist (SVT – Swedish Television) receiving
The Special Prize of HSH Prince Rainier III for Black
Sea – Troubled Waters.
URTI Prize
The International Grand Prix for Documentaries
Awarded by the International Radio and Television University for documentaries that deal with
social problems in the fields of art and culture.
Trophée Arman:
Le leçon de tolerance Director: Roger Beeckmans (RTBB, Belgium)
Médaille D’Argent:
S21, la machine de mort Kmère rouge Director: Rithy Panh (UNESCO)
Les petits soldats de l’armée russe – winner of the
SIGNIS prize for Best News Programme.
Médaille De Bronze:
Et les arbres possent en Kabylie Director: Djamila Sahraoui (ARTE, FRANCE)
Mention Spéciale:
L’Odyssée de l’espèce Director: Jacques Malaterre (France 3, France)
The URTI jury at the URTI reception
in the Hotel de Paris. From left to
right: Jean-Marie Cavada (President of
Radio France, President of URTI),
Jean-Marie Pelt (President of the
URTI Jury), Laurent Wasteels, Consul
of Belgium in Monaco receiving the
URTI Prize Trophée Arman on behalf
of the winner Roger Beeckmans,
Jean-Luc Maertens (Secretary General
of URTI),Vladimir Gaï (Member of
the URTI Jury), and Roland Faure
(Honorary President of URTI).
Pour une poignée de roupies (TF1 – France).
Winner of both the Monaco Red Cross Prize
and an AMADE prize In the News Programme
category.
Giselle Portenier (producer) and John McGhie
(reporter) receiving their prize from the
International Committee of the Red Cross for
Correspondent: Kenya: White Terror.
Review 5
FORMATS FORUM
200 delegates from 36 countries attend 1st edition of the Formats Forum
DAY 1
LIGHTS, CAMERA, INTERACTION
THE AD MEN
COMMETH…
THE MONTE Carlo Format Forums kicked off
with a panel entitled Commercial Realities:
Reality Commercials Versus A Commercials
Reality, chaired by Ed Waller of C21.
Waller threw open the debate by stating that
one of most widely accepted realities of reality
TV is, in fact, a myth. “It isn’t true that reality
formats are cheap to produce,” he said. “It
costs a lot of money to get that home-made,
camcorder look.”
The following discussion looked at how
Advertiser Funded Programming (AFP) has
changed in the course of the last 20 years.
Panelists debate Commercial Realities
“The beginning of AFP was most usually a
financing model, in which the advertiser would
control the license of a show and then barter in
order to lower the cost of advertising space,”
said Chris Bonney, chief operating officer of
ECM. “But there was no direct association
between a given product and the show.”
As broadcasters became more financially
independent, the attractiveness of this model
faded. “The current situation is that broad-
The WIT’s Virginia
Mouseler
ECM’s Chris Bonney
casters are looking to advertisers to add value
to their programming,” Bonney added.
It is no surprise that the US is approximately 15
years ahead of other countries in terms of AFP.
“In the Forties and Fifties, most US shows were
funded by advertisers,” said Robert Reisenberg,
executive vice-president of Magna Global
Entertainment (MGE). “In the era of TiVo and
audience fragmentation, it is getting easier to
create AFP programming. Advertisers know
that they have to be proactive in order to get
their message across.”
MGE is currently producing The Restaurant,
funded by Amex, Mitsubishi and Coors, plus two
Johnson & Johnson-funded TV movies per year.
French program-makers, however, face much
stricter controls. “In the Big Brother-style reality
show Nice People, participants are not allowed
to mention brands by name and even t-shirts
bearing brands are banned,” said Virginia
Mouseler, CEO of The WIT. “On the other hand,
TF1 has been successful with daytime ‘call TV’
programming, which is a mixture of simple
quizzes and home-shopping spots.”
Moderator: Ed Waller, C21 Media (UK)
Speakers: Chris Bonney, ECM (UK), Peter
Christiansen, Zeal Television (UK), Jacob
Houlind, MTV International (Denmark), Virginia
Mouseler, The WIT (France), Robert Reisenberg,
Magna Global Entertainment (US), and Mark
Rowland, The Television Corporation (UK).
A SLICE OF THE
AMERICAN PIE
DAY 2
IT’S GOOD TO
TALK...
THE SECOND day of the Monte Carlo Formats
Forum began with a panel discussion investigating the complex situation of copyright
protection and how it relates to formats.
This theme was carried over to the afternoon
session, when Prof Dr Miriam Meckel,
permanent secretary for Europe, international
affairs and media for North Rhine-Westphalia,
delivered a keynote address entitled:
Can A Format Be Owned? Economic,
Political And Legal Remarks On Format
Creation And Trade.
Rounding off the day’s proceedings, Variety
UK’s Debra Johnson moderated a session
investigating the risks confronting European
producers eyeing up the US market.
“THERE has been a
global revolution in
how the TV industry
works in the last four
years,” said Tony
Cohen, CEO of
FremantleMedia, in his
opening presentation
at Showtime! The
Reality Of Selling
Formats In The US
Market. “There are
ABC Entertainment’s
no more cultural
Andrea Wong
exceptions,” he added.
“The big format shows are must-have items
for broadcasters everywhere. And, of course,
anciliary rights income has grown hugely.”
Perhaps the most significant factor underlying
the current status of formats is that the US has
gone from being a major source of hit formats
to being a major consumer of shows
developed mainly in Europe. “From the Fifties
right up to the end of the Eighties, US formats
Interactive people: the panel at the On The
Button conference
“PEOPLE have been talking about the
arrival of interactivity for years, but I think it’s
fair to say that it is now really here and
happening,” said TBI’s Dominic Schreiber,
opening Wednesday afternoon’s conference,
On The Button – Developing The Next
Generation Of Interactive Formats. The
session was chaired jointly by Schreiber
and Distraction Formats’ Michel Rodrigue.
The core issue of the conference was
spelled out by Ashley Smith, senior
research analyst at Van Dusseldorp &
Partners. “Transforming a weekly show into
a 24-7 total entertainment brand with
multiple revenue streams is the ideal,” Smith
said. “The reality is that true multi-platform
shows now exist. But the interactive mindset
can still be encouraged in the TV audience
through increased numbers of primetime
events that have interactive elements.”
Smith reported that the BBC now airs
around 60 shows a month with an
interactive element. RTL in Germany has
eight interactive TV magazines a day,
dominated,” Cohen said. “Until recently,
Temptation Island was the only modern US
format that travelled. But in the last six months,
shows like Bachelor and Joe Millionaire would
seem to indicate that this is changing.”
The burning issue for any non-US producer is,
quite naturally, how best to sell to the American
networks. “It’s very important to have some
sort of relationship with the networks, and
agencies like William Morris can be very helpful
in this area,” said Phil Gurin, managing director
of The Gurin Company. “But the proven ability
to produce a show is as important as the
quality of the idea.”
“It can be very helpful for small companies to
have an agent,” added Andrea Wong, senior
vice-president of alternative series and specials
at ABC Entertainment.
“But we try to see as many proposals as
possible. It must be said, though, that we
prefer to see a tape rather than paper. In any
case, I usually know within 30 seconds if a
proposal is interesting or not.”
Caroline Beaton, joint managing director of
Action Time, believes that content and
execution carry equal weight: “It’s important to
recognise that any decisions about how best to
while the UK’s Channel 4 currently has 15
interactive shows.
Granada’s director of international production and entertainment, Paul Jackson,
likened the current state of interactivity to
the famous quote by the English poet
Phillip Larkin: “Larkin said that the Sixties
generation believed it had invented sex.
We mustn’t forget that interactivity has
been around for at least 40 years. But it’s
also true that it has come a long way in
the last 15 years. Big Brother was a major
breakthrough because the interactivity
posed a very simple question: who do
you want to win? But the most important
thing to remember is that interactivity has
to be grown out of a show organically.
It’s not something you can just bolt on to
a programme.”
Co-Moderators: Michel Rodrigue, Distraction
Formats (Canada) and Dominic Schreiber,
TBI (UK)
Speakers: Lars Becker, Flytxt (UK), Robert
Chua, Robert Chua Productions (Hong
Kong), Angus Cormie, O2 (UK), John Curtis,
Red Fig (UK), Paul Jackson, Granada (UK),
Trygve Ronningen, CeeTV (Norway), and
Ashley Smith,
Van Dusseldorp &
Partners (The
Netherlands)
Granada’s Paul
Jackson:
“Interactivity isn’t
something you can
just bolt onto a
programme”
Sponsored by
“To put the size of the
US TV audience in
perspective, Survivor drew
13 million viewers in the
UK and 52 million in the
US, while the second
series of American Idol
drew an astonishing 240
million phone votes.”
Tony Cohen, CEO,
FreemantleMedia (UK)
sell a format should be led by the content, but
the execution is also utterly crucial.”
Moderator: Debra Johnson, Variety (UK)
Speakers: Caroline Beaton, Action Time (UK),
Tony Cohen, FremantleMedia (UK), Jonathan
Glazier, Fox World (UK), Phil Gurin, The Gurin
Company (US), and Andrea Wong, ABC
Entertainment (US)
Sponsored by
COPYRIGHTS AND WRONGS
“LOOKING to define what a format is implies that there is some sort of universal meaning, but there is
not,” said FRAPA managing director Christoph Fey in his opening remarks at Defining Moment – And
Just What Exactly Is A Format? “Ultimately, the thing that sells a format is know-how. Without that, noone will buy your show.”
Variety UK’s
Debra
Johnson
Conference moderator Mirko Whitfield of TvFormats pointed out another fundamental truth of
the format copyright conundrum: “What we are dealing with here is ideas – and ideas cannot
be copyrighted.”
There are, however, plenty of options when it comes to protecting a show. “While it’s true that reality
formats in particular lack distinctive elements, there are many ways to make life difficult for people who
steal an idea,” said Adrian Woolfe, Celador International’s managing director. “In Who Wants To Be A
Millionaire?, the basics are 15 questions, a £1m prize and three lifelines. But we also added copyright–able
elements, such as the lozenges in the background, the set design, the music and the money tree.”
Prof Dr Miriam
Meckel
6 Review
Protecting a format remains problematic, however. “The fact that it is very difficult to pin down exactly
what a format is means that it is also difficult to frame effective legislation,” said John McLellan, a partner
at Haldanes. “Laws that are successful are based on confidentiality in the initial stages of the development of a format. But extending that protection beyond the initial stages is very hard.”
Celador’s Adrian
Woolfe
Global communications have also exacerbated the problem of similar ideas cropping up in different countries
and companies. “The existance of what we call ‘zeitgeist’ means that it is inevitable that people will have ideas
that resemble or are the same as other people’s,” said Peter Van den bussche, senior licensing manager at
Endemol International. “The only way to protect a format is, like Adrian said, to make sure that there are a
number of easily copyrightable elements.”
Moderator: Mirko Whitfield, TvFormats (UK)
Speakers: Peter Van den bussche, Endemol
International (Netherlands), Christoph Fey, FRAPA
(Germany), John McLellan, Haldanes (Hong
Kong), and Adrian Woolfe, Celador (UK).
Haldanes’ John
McLellan
DAY 3
24: DAY 2 – BEHIND THE SCENES
Sponsored by
The cast of 24 gives their perspective on the hit 20th Centuary Fox series,
which debuts in France on Canal+ later this year.
Howard Gorden –
Executive Producer
United Talent Agency’s
Chris Coelen
Elisha Cuthbert –
Kimberley Bauer
World Screen News’
Anna Carugati
THE LAST WORDS
To coincide with the 4th July holiday, the third
and final day of the Monte Carlo Formats
Forum threw the spotlight on the US. In the
morning session, Chris Coelen of United Talent
Agency led a discussion on the second
generation of US reality formats – and the
challenges confronting producers in today’s
reality-saturated market.
The last session of the Festival featured a
world-exclusive panel with the stars of the hit
US drama series, 24. Moderated by World
Screen News’ Anna Carugati, executive
producer Howard Gordon, Dennis Haysbert
(Senator Palmer). Penny Johnson Jerald
(Sherry Palmer), Xander Berkeley (George
Mason), Sarah Clarke (Nina Meyers) and Elish
Cuthbert (Kimberly Bauer) discussed the
global success of the award-winning series.
GETTING REAL IN
THE US
“THE MAIN difference between UK and US
television is that the UK has a tradition of
factual programmes and docu-soaps on
primetime TV,” said Stephen Lambert, director
of programmes at RDF Media, at the United
Talent Agency-sponsored conference entitled
A Foot In The Door... The Second Generation
Of US Reality TV.
“Documentaries that feature real people, such
as Airport or Airline are popular, but there is the
enduring problem of finding a guaranteed
narrative drive,” Lambert added.
A glance at US programme schedules reveals
another key difference: the large number of
shows that rely on spectacular environments.
“Up to now, there have been a lot of fantasy
shows on the US networks, but there are
several upcoming series, such as Restaurant,
The Real Roseanne and Banzai, that we are
keeping an eye on to see if they can come up
with a relatable ending to the episodes and
keep their audience,” said Duncan Gray,
vice-president of alternative programming at
ABC Entertainment.
“Extreme Makeover has managed that with the
emotional pay-off of the person displaying their
new look in front of their friends and family. The
show is also interesting in that it is not about
winning or money.”
Sarah Clarke –
Nina Meyers
Penny Johnson Jerald –
Sherry Palmer
Dennis Haysbert –
President Palmer
“The fact the series is in real time demands
a different narrative technique. You have to
find key moments to be mined by the actors,
the cameramen and the director… Being
able to leave each episode as a cliffhanger
has definitely worked with the viewers.”
Howard Gordon – Executive Producer.
Crime & Punishment is another US show that
gives a markedly different spin to the reality
format. “Most reality shows exist simply
because the situation is produced,” said Bill
Guttentag, executive producer/ creator of Crime
& Punishment. “But Crime & Punishment is real
life and we originally pitched the idea of making
a reality version of Law & Order. It’s the
production values of shows like Law & Order
and West Wing that set the standard for Crime
& Punishment. We shoot in high-definition and
the editing is very tight.”
Despite the many differences between US and
UK formats, Mindy Herman, president and
CEO of E! Networks, noted that “a lot of US
cable networks have looked to the UK for ideas
for low-cost programming for some years now.
Young cable networks must be competitive 12
months of the year. And, in order to appeal to
the younger audience, they are obliged to run
their best shows during the summer.”
Moderator: Chris Coelen, UTA (US)
Speakers: Duncan Gray, ABC Entertainment
(US), Bill Guttentag, executive producer/creator
Crime And Punishment (US), Mindy Herman,
E! Networks (US), Jonathan Hewes, Wall to Wall
Television (UK), and Stephen Lambert, RDF
Media (UK).
Sponsored by
“I knew I was a senator who was about to
become president and I knew that I had
some sort of secret. But I had nothing else
to play from so I had to pretend that I had
the darkest, dirtiest secret in the world. Now
that was acting!”
Dennis Haysbert – President Palmer.
“My character is not bad, she’s misunderstood. The ground moves from
under her and she will do anything to get
her man back. You know what it says in
the bible: hell hath no fury like a woman
scorned.”
Penny Johnson Jerald – Sherry Palmer
THE JURY OF THE FIRST MONTE CARLO
FORMATS AWARDS
“These awards are important from a
format protection standpoint. If the
industry acknowledges that a format is an
intellectual achievement by giving it an
award, it may make it easier to protect
that intellectual
achievement
under law. If a
format can be
rewarded, then
why can’t it be
protected?”
Christoph Fey,
FRAPA
From left: Jonathan Galzier, Duncan Gray, Peter van
den bussche, John Gough, Debra Johnson, Christoph
Fey, Colin Jarvis and Ed Waller.
“A Monte Carlo award is
significant in the industry –
and it has been for 40odd years. So, it’s justified
that an important award is
married to an important
part of our business.
Everyone is talking about
formats, so it’s right that
formats are recognised
with their own awards.”
“Ideas are everything to
the formats industry. So
it’s great to be able to
recognise good ideas
with these two awards.”
Jonathan Glazier, Fox
World UK
Colin Jarvis, BBC
Worldwide
“The formats community
has embraced these
awards with enthusiasm.
The FRAPA-nominated
jurors gave up one day
to judge the nominees
in both the award
catagories. That’s real
commitment for you.”
“I think these awards are
important because they
judge the format rather
than the production. And
they also give formats from
the smaller territories a
chance to break onto the
international stage.”
Ed Waller, C21 Media
John Gough,
Distraction Formats
E! Networks’ Mindy Herman:
looking to the UK
Crime & Punishments’
Bill Gutentag: high values
ABC Entertainment’s Duncan
Gray: emotional pay-offs
Special thanks are also extended to the London based company, Willott Kingston
Smith (WKS), who acted as independent scrutineers for the entire voting process,
from pre-selection to final judging.
THE ORGANISERS OF THE MONTE CARLO TELEVISION FESTIVAL WOULD LIKE TO EXTEND THEIR THANKS TO THE
FOLLOWING COMPANIES WHO ALL CONTRIBUTED TO THE SUCCESS OF THE 1ST FORMATS FORUM:
Another
highlight of
the Formats
Forum – the
Video Library
Screenings
where buyers
from around
the world had
the opportunity
to screen
the latest
international
formats
productions.
20th Century Fox (UK & US), ABC Entertainment (US), Absolutely Independent (The Netherlands), Action Time (UK), AK Associate (US), Alliance Atlantis
Communications (Canada & UK), Antenna TV (Greece), A Prime Group (France), AQS (Czech Republic), ARTE (France), Aslanis (France), BBC Worldwide (UK),
BK Media (Poland), Brainpool (Germany), Broadcast Magazine (UK), Broadcasters Group (Finland), Broadcasting Network Thailand (Thailand), Bulgarian National
Television (Bulgaria), C21 Media (UK), Canal+ (France), Carlton Television (UK), CeeTV (Norway), Celador International (UK), Creative Vision (Romania), Deansee
Entertainment (Hong Kong), Distraction Formats (Canada & UK), E! Networks (US), Earth Television Network (Germany), ECM (UK), Ecran Total (France), Endemol
France (France), Endemol International (The Netherlands), Espresso TV (UK), Europroducciones (Spain), Fireworks International (Canada/UK), Flouride (Nigeria),
Flytxt (UK), Fox World (UK), FRAPA (Germany), FremantleMedia (UK, Italy & US), French TV (France), Future TV (Lebanon), Gestmusic Endemol (Spain), Granada
(UK), GRB Entertainment (US), Grundy Italia (Italy), The Gurin Company (US), Haldanes (Hong Kong), The Hollywood Reporter (US/France), Interferenze (Italy),
JCS (Israel), Kanal 5 (Sweden), King World International Productions (US), Magna Global Entertainment (US), Magnolia (Italy), MBC (United Arab Emirates),
Mediacorp (Singapore), Mediametrie (France), Midas Productions (Ireland), Minick (Switzerland), M-Net (South Africa), MTV International (Denmark), Mushroom
Media (UK), Ninox Films (New Zealand), NRK (Norway), NTV (Russia), O 2 (UK), Publico (Portugal), RDF Media (UK), Red Fig (UK), Robert Chua Productions
(Hong Kong), RTI (Italy), RTL (Belgium), RTL (Hungary), SABC (South Africa), SBS (The Netherlands), Sera Film (Turkey), SIC (Portugal), Signature Films (US),
Sony Pictures Television International (UK & US), Star Channel (Greece), STR (Turkey), Strix Television (Sweden), TBI (UK), Telecast Media Group (Germany),
Telefe International (Argentina), Teletypos -Mega Channel (Greece), The Television Corporation (UK), Telewizja Polska (Poland), TNT Network (Russia),
TV2/Danmark (Denmark), TV Azteca (Mexico), TVE (Spain), TvFormats (Germany & UK), TVN (Poland), TV Norge (Norway), TV Nova (Czech Republic), TVNZ
(New Zealand), UFA Film & Produktion (Germany), Umut Sanat (Turkey), United Talent Agency (US), Van Dusseldorp & Partners (The Netherlands), Variety (UK),
Videoage (US), Wall to Wall (UK), William Morris Agency (UK & USA), The WIT (France), World Screen News (US), ZDF (Germany), Zeal Television (UK).
Review 7
LOCATION, LOCATION, LOCATION
No doubt about it, when it comes to mixing business with pleasure then Monaco is a tough act to beat!
The Review did some investigating and and caught some of the fun on camera…
FORMATS FUN ON THE ROAD TO DISTRACTION
A Room with a View: The Minister of State for Monaco, His
Excellency Patrick Leclercq and his wife Marie-Alice (inset),
graciously opened the doors of their residence to the stars
and guests of the Festival. The champagne was punctuated
by splendid views of Port Hercule.
H.S.H. Crown Prince Albert, honorary president of the Festival, welcomes
guests to the traditional reception at the Palace of Monaco.
Party people… Formats Forum delegates
packed the Seaside Café on Wednesday
evening for Distraction Formats’ cocktail party.
SBS’ Daniela Matei (left), Telcast Media
Groups’ Tewe Pannier and Earth Television
Network’s Mandy Crooks.
TBI’s Dominic Schreiber (left) with MTV
International’s Jacob Houlind.
ECM’s Chris Bonney (left), Distraction
Formats’ Michel Rodrigue and TvFormats’
Mirko Whitfield.
The Grimaldi Forum at night, with the Monte Carlo Sporting Club in the distance (top right)
Photos courtesy of Verve Music Group
Yuri Buenaventura and friends playing at the GMD sponsored
“Festival on the Beach” party at the Monte Carlo Beach Club
(inset). Hot Salsa from the Vagabundo!
UNFORGETTABLE –
IN EVERY WAY!
Publisher: David Tomatis • Editorial and Design Director: Mirko Whtifield • Graphic design and
layout Saskia Whitfield • Reporters: Joanna Stephens and Gary Smith Photographers: Claire Albaret,
Jessica Kassner • Printers: Multiprint Monaco • Special Thanks to: The staff at Monaco Mediax.
Published by: Monaco Mediax, 4 Boulevard du Jardin Exotique, MC 98000 Monaco
8 Review
Immediately after the Awards Ceremony, delegates
and stars were whisked off to the Monte Carlo
Sporting Club for a spectacular closing dinner in
the Salle des Etoiles. Highlights of the evening
included two superb performances by Natalie
Cole and George Benson… fireworks over the
Mediterranean… and, as the roof of the Sporting
Club slowly opened, the magnificent star
studded night sky. An evening that would truly
remain unforgettable.
43RD MONTE CARLO TELEVISION FESTIVAL
Premier Screenings and Star
Appearances
pages 2 & 3
Who won What, Where, When
and Why?
pages 4 & 5
200 delegates from 36 countries
attend Formats Forum
pages 6 & 7
Never a dull moment – with some
of the best parties in town!
page 8
MONTE CARLO TURNS ON THE MAGIC!
43rd edition of festival features winning combination of
screenings, star appearances and business conferences
T WAS a celebration of television, and
the people who make television
happen. The producers, actors and
actresses, directors, script-writers, and
the media and television industry
executives who all keep the wheels of
show business turning. And for one week,
the world of television descended into
Monaco to celebrate the 43rd Monte Carlo
Television Festival.
I
For the 1,100 delegates, their reasons for
attending were as diverse as their own
respective backgrounds. For many it was
The 43rd edition of the festival hosted the
European premier screening of the
second series of 24. Enjoying the Monte
Carlo sunshine were Elisha Cuthbert (left),
Xander Berkeley, Sarah Clarke, Penny
Johnson Jerald and Dennis Haysbert.
Premier Screenings &
Star Appearances
pages 2/3
Gold Nymph Awards &
Special Prizes
pages 4/5
Formats Forum
pages 6/7
Special Events & Parties
page 8
the hope of winning a coveted Gold
Nymph award, or one of the other Special
Prizes. For others, it was the opportunity
to promote their programmes, catch up
on the latest trends and business
developments at the Formats Forum
conferences, or simply discuss business
in a less formal setting.
Ted Turner took centre stage on Monday
night at the Opening Ceremony, when he
was presented with the first Gold Nymph
of the 2003 Festival. Turner, vicechairman of Time Warner and one of the
highest profile television executives in
the world, received his award from
H.S.H. Crown Prince Albert, president of
the Monte Carlo Television Festival. “We
are delighted to acknowledge the
achievements of Mr Turner, who has
revolutionised the television experience
around the world” said Prince Albert. “As
the creator of CNN, he is a pioneer and a
principal architect in changing the nature
of the way information is presented to
international audiences”. In accepting the
award, Turner commented “It‘s an honour
to be nominated for a Gold Nymph. It is
always particularly gratifying to be
recognised by one’s fellow professionals.
I tried to make money and be successful
during my career, but also to put
something back. Thank you from the
bottom of my heart!”.
It was the turn of another great industry
figure – Reg Grundy – to be honoured on
Saturday night at the Gold Nymph
Awards Ceremony. Grundy rose from a
local radio commentator in Australia to
become the founder and chairman of
Grundy Worldwide, one of the most
prolific TV production companies in the
world. It was Reg Grundy who famously
pioneered the concept of “parochial
internationalism”, which went onto to
become the mission statement for all
Grundy Worldwide operations. “Reg
Grundy was the true pioneer of
international production and formats“
said Prince Albert. “What he created is
now being replicated by many companies
around the world. It is only fitting that,
Join us next year for the 44th edition!
given the theme of our conference as a
‘Formats Forum‘, we should honour the
great contributions he has made in this
field of entertainment.”
A new era began for the Festival in 2002
when the organisers decided to reschedule the event from its traditional
time slot in February to the beginning of
the summer season. This has proven to
be an optimal time for industry executives
in the busy calendar of international
television markets and festivals. Indeed,
many companies took advantage of this
normally quite summer period to promote
their upcoming programmes slated for
the Autumn and Winter seasons. With
more than 230 journalists from 24
countries in attendance, the 43rd Festival
provided an outstanding opportunity for
producers and broadcasters to market
and promote their stars, talent and
programmes to the global media. And it
wasn’t just the press who were on hand.
Each day, US cable channel Access
Hollywood broadcast a live report of the
Festivals’ highlights back home to viewers
in the States…
The Revue caught some of the highlights
of the six day Festival. So, if you weren’t
able to attend, here’s a snap shot of what
happened. And if you were there, here’s
a small reminder… In every case, we
look forward to welcoming you again
next year for another great week of
global television!
H.S.H. Crown Prince Albert presents Ted
Turner with the first Gold Nymph of the
2003 Monte Carlo Television Festival.
International production and formats
pioneer Reg Grundy receives a special
honorary Gold Nymph at the Festival
Awards Ceremony from Prince Albert.
Celebrating 50 Years of Broadcasting Excellence
This year marks the 50th
anniversary of television
broadcasts by the Japanese
Broadcaster, NHK. In Monte
Carlo, the company promoted
its new High-Definition TV
(HDTV) service. Staff members
demonstrated some of the
latest HD images from the
NHK HDTV Broadcasting
Centre in Antarctica.
28 June-3 July 2004