In the days leading up to MIPDoc and MIPTV, Amy Nelson, head of acquisitions at TVF International, tells realscreen what she’s looking for in Cannes and what genres of non-fiction are working best for the international distributor.
How is what you’re looking for at this market different from what you were looking for back at MIPCOM?
The biggest change is the trend of broadening the demographic of lifestyle programming. Last year most slots seemed to be skewed strongly towards either male or female viewers; now it seems that for a series to really succeed internationally it needs to have a much wider appeal. Primarily, though, our strength lies in the diversity of our catalog and I am really focused on maintaining that.
As an international distributor, are there any regions that seem to be on an upswing in producing in-demand content?
We’ve had some really successful collaborations with German production companies recently. Germany has always been a great producer of high-quality factual programming and we are happy to be seeing even more of it at present.
Are you mostly looking for series or one-offs and why?
A good mix of the two – the crucial thing is for the format to be appropriate for the content.
You deal in so many genres within non-fiction; what genres are working the best for you right now?
History, science and arts are all doing particularly well. We’ve [also] had a real surge of interest in celebrity stories.
Any particular trends that you’re seeing in factual and documentaries?
We’ve noticed a lessening interest in obs-doc series, while authored journeys are becoming more popular. During the economic downturn there was a real focus on domestic stories, which I think is gradually being replaced by more ambitious, international projects.
What’s your favorite haunt when in Cannes?
I’m always happy with a sea view and a glass of rosé.