Wednesday, October 16, 2019
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Laurine Garaude Talks MIPCOM Highlights


Laurine Garaude, director of the television division at Reed MIDEM, showcases some of the many highlights MIPCOM attendees can look forward to this year, with the event set to host a slew of new exhibitors and a series of keynote addresses and panels under the theme “The Streaming Offensive.”

“It’s a really exciting time in the industry,” Garaude notes. “We have lots of new exhibitors from around the world—60-plus,” she says, all looking to tap into the booming demand for content worldwide, driven by the rapid proliferation of streaming services. “After the first wave by Netflix and Amazon, we’re all waiting for Apple TV+ and Disney+ and then soon after, HBO Max and more.”

The highlights of the keynote lineup include WarnerMedia’s Robert Greenblatt—also MIPCOM’s Personality of the Year—who will be interviewed on the Grand Auditorium stage by World Screen’s Anna Carugati, discussing the new HBO Max service. James Farrell of Amazon Studios will deliver a keynote together with Georgia Brown, the company’s director of European originals.  Farhad Massoudi and Adam Lewinson will talk about the international expansion strategy of the popular AVOD platform Tubi.

MIPCOM will also feature keynotes by some notable creatives, among them Line of Duty creator Jed Mercurio, who will receive the World Screen Trendsetter Award in association with Reed MIDEM; Darren Star and RuPaul Charles. And on the production, distribution and broadcast sides, Garaude highlights Newen CEO Bibiane Godfroid and ProSiebenSat.1 CEO Max Conze.

Another highlight this year will be a spotlight on four prolific content-creation markets. “Usually we have a Country of Honour,” Garaude says. “This year, we’re taking a different approach. We see there is such a huge trend in terms of internationalization of content, so we’ve chosen to take a look at four countries that have been increasingly focusing on content production for the global stage: China, Japan, Russia and Argentina.”

The slate of world premieres at MIPCOM this year also speaks to the diversity of content being made available and consumed across the globe, Garaude says, referencing the Scandi series Agent Hamilton, the Sky Italia-commissioned Devils and the Japanese Samurai drama Kikyo—The Return as examples. “We have over 20 world premieres and market screenings between MIPCOM and MIPJunior. Not to mention the Fresh TV screenings, the Sony Ultra HD screenings in 4K/8K and the new NHK 8K Theatre. We are seeing the continued growing importance of MIPCOM for the launch of new programs and for creating awareness for both buyers, and the press and social media.”

The changing nature of financing will be a central theme across many MIPCOM sessions, Garaude says. “For the second year running, we have the Production Funding Forum. We have a meet-up with producers and investors. And we have 20-minute fireside chat sessions on funding creativity with companies such as yes Studios, Endemol Shine and BBC Studios.”

Garaude also highlights the eighth annual Women in Global Entertainment lunch, in association with A+E Networks, with special guests dream hampton, showrunner and executive producer of Surviving R. Kelly, and Lifetime’s Brie Miranda Bryant. “In addition, we’re hosting for the second time a mentoring breakfast with MediaClub’Elles on Wednesday morning.”

The Diversify TV Excellence Awards also return to MIPCOM this year, honoring shows in seven categories. “It’s important for MIPCOM to highlight and recognize inclusive programs that make an impact in representation,” Garaude says.

MIPCOM kicks off October 14 in Cannes. See the full schedule here.

About Mansha Daswani

Mansha Daswani is the editor and associate publisher of World Screen. She can be reached on [email protected]


MIPCOM: Newen’s Bibiane Godfroid in Conversation with Anna Carugati

On Tuesday, October 15, Bibiane Godfroid, the CEO of Newen, will sit down with World Screen’s Anna Carugati in the Grand Auditorium of the Palais for a session entitled “How to keep endlessly adapting in order to offer the best possible content on an ever-changing audiovisual landscape?”