Dear Mr Tuck Yew LUI, Mr Mayor of Cannes, Mr Bernard BROCHAND,Mr President of the MIPTV, Mr Paul ZILK,Ladies and Gentlemen,
am very pleased to be able to inaugurate, for the first time since I have the
chance to be Minister of Culture and Communication, the International Market
television programs (MIPTV), here in Cannes, in the world capital of
This is a great honour for France, but also a great responsibility,
to host the world’s largest program market, where
exchange, five days, programs, ideas, innovations, and where you go
between professionals, to discuss the future of audiovisual content and
and think about how to grow your business and build the digital
Because the MIP is not a simple “market” where professionals would come to «do
their shopping», but it’s really a great forum, an agora of the image where
exchanges are multiplying. At the same time, this term “market” is a reminder
to those who would like to forget it, that despite their singular and even
“exceptional”, cultural goods, particularly audiovisual works, are
both works of the spirit and mercantile goods, from a sector whose
economic and industrial weight is far from negligible. This is what makes them
11,500 professionals, nearly 4,000 companies in no less than 105
countries, and almost as many buyers, 4 billion euros of negotiated rights: we
We are all aware of the considerable importance of these exchanges.
Over the years, the MIP has been able to adapt to all developments, to those of
technologies, content, formats, platforms
on which content circulates. It is a laboratory where television is imagined
This edition comes in a very particular context, which is at the same time that of the
digital revolution, and of course, in the shorter term, that of the economic crisis,
which has hit television hard, especially French television.
This is largely due to the evolution of the advertising market. It has been through the year
last a deep crisis, especially in this sector, where advertising revenues
fell by 11% in France between 2008 and 2009. This market crisis
the balance of television creation, which is essentially based on
on the economic health of the chains.
This is why securing the France Group’s resources
Television plays an essential role here for the whole sector of the
heritage audiovisual production: the amendment to the Objectives and
Means, under signature, details investment levels
in creation, in absolute terms and as a percentage of revenues. They
from €375 million in 2009 to €420 million in 2012,
switching off the analog signal, when DTT will cover the entire
But the crisis also had a strong impact on production, particularly
French fiction, which experienced a sharp decline in volume last year.
This economic crisis obviously puts us in a position to explore the
means of reviving fiction, and on this point, you will allow me to
focus my remarks on the audiovisual content developed in
France, not by chauvinism, but both because their inscription in
the landscape seems essential to cultural diversity, and because the
In some respects, French fiction lags behind
formats in particular.
In this area, as in others, financial resources do not
not enough: we must also use all the resources of
imagination and innovation, to renew content.
I shared this observation with the professionals, gathered in September
last in La Rochelle, at the Festival de la Fiction TV.
And to consider solutions, I entrusted the Club in November
GALILEE a mission on French fiction, whose conclusions come
to have recovered, within the very tight deadlines I had set for him.
After several months of intense work and meetings with the ensemble
professionals, Philippe CHAZAL and Olivier ZEGNA RATA
proposed in this comprehensive report, two broad sets of guidelines
that I would like to explore and deepen.
The first concerns the crucial role of authors for the future of fiction
the need to foster the writing and development of
The aim is not only to establish projects but also to set up a system of continuing training.
The future of French fiction requires, as I said, a greater
innovation. Not only must the various
media (conventional television and internet) and encourage diversity of
programming formats, genres and schedules, but also
further develop writing research and development of
scenarios and pilots. For this, rather than further amend the decrees
recently renovated, it may be interesting to explore the
inter-professional agreements, as already exists in the
documentary and animation fields.
In order to avoid all this remaining a dead letter, I decided to entrust
Pierre CHEVALIER a mission that will evaluate this first part of
proposals of the GALILEE report, and consider ways of achieving
those that are feasible and relevant to better ensure
the future financing of writing and development phases of
audiovisual works. In this mission, he will be accompanied by the
producer Sylvie PIALAT and screenwriter Franck PHILIPPON
As far as continuing training is concerned, I would like to welcome the fact that
an agreement between France Télévisions, the
The second track explored by the GALILEE report concerns the
diversification of production financing methods and sources
of fiction. The report highlights the importance of increasing resources
for audiovisual creation in general, and to develop a policy
In particular, by extending aid schemes to SMEs and
TPE and by making audiovisual creation a strategic sector in
the framework of the recovery plan.
To evaluate these proposals and consider their concrete transcription, I have
asked Laurence FRANCESCHINI, Director General of Media and
Cultural Industries, as well as Véronique CAYLA, President of the
National Center for Cinema and Animated Image (CNC), to set up
a steering committee that will liaise with the relevant departments of the
Ministry of Budget.
Finally, at a time of such great and rapid change, it is obviously
of medium and long-term television
from a forward-looking perspective. In line with the
several unions of audiovisual producers, I decided to put in
place a working group to reflect on the perspectives of the
audiovisual in France by 2015.
The audiovisual landscape is changing profoundly: it is framed by a
new regulatory framework for production obligations
and film. It is reshaped by the extinction of the
analog television, which began and will be complete in 2012, and it must
adapt to the development and spread of the Internet, which
both the economy of the sector and the habits of vision and access to
It is necessary to anticipate the important changes that will be induced
through these structural transformations in order to guarantee the future of creators
and the audiovisual industry.
Given his experience and professional competence in
the audiovisual field, unanimously recognized by all here, I
wishes to entrust to Dominique RICHARD a mission of coordination of a
group tasked with considering this issue. This group will bring together
all professionals in the sector. He will
The aim is to explore all avenues that could contribute to a
of the audiovisual programme industry. It
formulate scenarios of possible developments and, where appropriate, of
concrete proposals to improve and secure the future of the
French audiovisual creation by 2015. Dominique RICHARD
will have, to carry out this mission, the support of the Directorate
The European Commission’s Directorate-General for Media and Cultural Industries and the CNC.
You will understand, my will is to move quickly to relaunch
our fiction production, to give it the full means to
develop and enable it to find new momentum. We will have, before
the next MIPCOM, to take action in this regard.
My desire is also to anticipate future developments in television, and
allow our program industry to prepare for, to
transform, look ahead and innovate. Because innovation
TV is an essential part of a shared and quality culture,
what I call “culture for everyone”.