The buzz in global TV is all about programme formats - and Irish producers are well-placed to profit from them, writes Máire Kearney
'One deprived area somewhere in the world . . . 10 carefully chosen volunteer workers . . . 11 weeks of hard work to improve the living conditions of people in distress . . .'
Sounds like an international aid mission? Believe it or not - it is actually a pitch for a new reality entertainment TV format. It is called Solidarity and it was unveiled during the keynote address at the world's biggest international TV market, MIPTV, in Cannes last week.
Solidarity sends 10 participants off to help out in some real-life emergency situation overseas. Each week the participants must succeed with a specific task - although thankfully it stops just short of eliminating them if they fail.
The concept was launched at MIPTV by Anna Brakenhielm from the Swedish company, Strix - well-known as a producer of reality entertainment formats. "Viewers are getting bored of watching stupid people sitting around, having sex and fighting among themselves. They still want reality, but less superficial and artificial," she told delegates at the opening conference address, 'What Will the Winning Programme Formats Be?'.
Reality TV has taken a bashing recently, but this latest manifestation has outraged critics - even before it has been made. One French journalist accused Brakenhielm of trying to make money and entertainment out of starving babies.
Brakenhielm vigorously defended her company's idea, emphasising that it would be made in conjunction with an international aid agency, and that TV, press and Internet coverage would yield results for the deprived area long after the cameras stopped rolling.
Solidarity (expected to be on air in Scandinavia this autumn) is just one of thousands of new programmes pitched at MIPTV last week. Every April, more than 10,000 people and 1,200 companies exhibit their wares in the crowded Palais des Festivals. While less glamorous than the Cannes Film Festival, MIPTV has its fair share of schmoozing opportunities, with endless receptions aboard the yachts moored alongside the Palais.
But no-one comes to Cannes just for that. Television is a serious business and being at MIPTV is a real eye-opener into the scale and money involved in the global industry. Delegates usually have a strict timetable for meetings, on the half-hour, from morning until well into the night. Most deals are done in advance of the market, but MIPTV is often used as a high-profile platform to shake hands on deals and publicly announce them.
The big buzz this year was around formats as a key programming trend in the wake of the international success of Survivor, Big Brother, Who Wants to be a Millionaire? and Pop Idol.
The formats have been around for years, but the hype and money surrounding these shows have made them headline news rather than the preserve of international distributors. "Formats are a cost-efficient way of producing programmes. They're getting audiences. They are also particularly well-adapted to producing other revenue streams beyond advertising," according to Michael Weatherseed of MIPTV.
"The format business has exploded in the last year," says Edel Edwards, programme sales executive for RTÉ International, who has been attending MIPTV for 11 years. "The market used to be geared towards acquisitions and co- productions, but now everyone is looking for the next big thing," she says.
For the first time, RTÉ International had a format to sell. The Fame Game, made by Adare Productions for RTÉ, has already been optioned in the UK and Germany and two high-profile US companies are bidding for the international distribution rights.
Independent TV producer and MIPTV veteran Andy Ruane sees this new-found interest in formats as problematic. "The big difficulty with formats - which was hugely apparent at MIPTV - is the two-season wonder," he says. "There are lots of formats, but very few successful formats - broadcasters don't want shows that are gone in two seasons. They want the Blind Dates and Generation Games that can run for years."
He cites his format, The Lyrics Board, as an example of a format that has longevity - and can travel. The programme is currently on air in 23 countries and is into its eighth season in many territories.
Both Edwards and Ruane see the origination of formats in Ireland as crucial for success in the international market. It's an area that Larry Bass, of Shinawil Productions, who produced the hugely successful Popstars format for the Irish market, is also keen to enter.
The Irish version of Popstars is currently airing as part of ITV's SM:TV show in the UK. While Bass is negotiating the rights for an Irish version of Pop Idol, and the UK and Irish rights for an Australian format, Stripsearch - The Real Full Monty - basically a Popstars for male strippers - he is also keen to develop original Irish formats in partnership with international companies.
"There's no reason why we couldn't develop them here," he says. "We have the production base and the creative background in lots of areas, like writing and music. Ireland could easily become a very big player."
If proof was needed that Irish-created formats can have international appeal, presenter/producer Brendan Courtney was certainly kept busy promoting the Wanderlust format for Tyrone Productions at Cannes. "We got a good distributor involved in selling the format and we're currently negotiating the rights with 19 territories," he says.
As the dust settles after MIPTV 2002, it is clear that formats are the hot products in today's television market. But in the post-September 11th climate, the appetite does seem to be turning towards more feel-good programming and industry pundits are predicting a return to old- fashioned "variety"-type shows.
'Tops of the Town', anyone?