Mr Prefect, Mr Deputy Mayor, Mr Bernard BrochandMesdames and gentlemen,Dear friends,

I am very happy to meet you in Cannes for this new
MIP TV, which again this year brings together more than 10,000
audiovisual professionals from more than 100 countries.
This great international event is not only a must
for the purchase and sale of programs, but also a real forum of
reflection on the future of the audiovisual sector.
I had thus mentioned here at the inauguration of the previous
edition of MIP TV the major issues of the news: the revival of fiction
the financing of creation, or the convergence of
screens. I am glad you answered today my
invitation to take stock of the projects already started and you
outline my priorities for action in the coming months.
I will first address the question of French fiction and the place of
authors, then the future challenges for the sector: the place of creation in
the time of connected TV, the circulation of works, and the evolution of
audiovisual landscape.
1/ I would first like to speak to you about the future of fiction
french
The observation has been established: this one is going through a crisis both in terms of
export. I have entrusted Pierre Chevalier, Sylvie Pialat and
Franck Philippon’s mission to think about ways to better ensure the
financing of writing phases, development of fictions
and the training of authors. After several months of work and
experts – whom I am pleased to
meeting with me today - gave me a report on Friday
particularly enlightening.
The mission first draws up a report on weaknesses without complacency
French fiction. If we can talk about the “French model” for the
film, the same is not true of television fiction, a subject for which
France stands out from its great neighbours – England, Germany -
by a deficit in production volume but also in audience.
The mission’s diagnosis attempts to identify the causes of these
weaknesses. It proposes three sets of remedies in 13 proposals, which
concern the upstream of the production, that is to say the phases of writing and
development.
The first set of proposals consists in rethinking relations
between authors, producers and TV channels. This involves
the elaboration of charters, conventions and codes of good practice between
these partners.
The second set of proposals aims to modernise the
CNC to television fiction, in order to better adapt them to the production of
series and also to improve the financing of script writing
upstream.
Finally, a final set of proposals concerns training
the initial and ongoing work of the authors, including screenwriters' access to
continuing training. It has been denied to them until now because of their
It will be able to be implemented in 2012, as I wanted.
The report of the Chevalier mission is remarkable and particularly
balanced. It is rich in the diversity of experiences of its editors. It
not to be trapped in the deadlock of
set unitary fiction and series: both types of programs have their
and their place on our antennas. It proposes ways of working for
“develop more and better”, particularly as regards series,
weakness of French fiction today, although there are some
Great successes, unfortunately too rare!
I therefore hope that a consultation on the 13
proposals of the report, under the aegis of the National Cinema Centre
and the Animated Image, in order to implement them as quickly as possible
possible. The current situation of imbalance in favor of fiction
It is an invitation to action.
The report also highlights the role of the public service in
in the service of cultural diversity. The latter must be
engine on the subject, it must be the spearhead of the renewal of the
French fiction as part of a genuine partnership with authors
and producers. I will ensure this during contract negotiations
objectives and means (COM) of France Télévisions.
The diversity of genres in general and within fiction itself is
essential. I encourage France Télévisions to draw inspiration from the report of
Pierre Chevalier, Sylvie Pialat and Franck Philippon to define his policy
in terms of contribution to development and writing. In
counterpart, France Télévisions must be exemplary in its
relations with its partners. I therefore welcome the voluntarism of which you
demonstrate and the commitments that could be yours in a
Writing and Development Charter, signed with the
representatives of the audiovisual sector, authors and producers.
The example of France Télévisions, for this as for others
subjects, is a strong element of its contract of objectives and means. I
will personally look after.
2/ Beyond the “fiction” issue, it is clear that developments
of the audiovisual sector are rapid and
They make an overall analysis of the
trends in the sector. Governing is about choosing here and now,
It is also about anticipating what the media landscape will look like tomorrow.
That’s why, a year ago, I announced the launch of a mission
entrusted to Dominique Richard in order to explore all the ways
contribute to a true modernization of the program industry
and their financing. Following a broad consultation
actors in the sector - both in the sphere of creation and
New Media and Technological Innovation - Dominica
Richard, who is with me today, has just given me a report that
provides a comprehensive and accurate overview of future developments.
Even if its horizon – 2015 – is more distant, this report
issues that engage the future of industry and creation. It
two findings:
1/ The cornerstone of modern audiovisual production is the
strengthening the three-author couple – producers – publishers.
2/ The work must remain the heart of reflection and action, whatever it may be
the type of screen where it is presented, regardless of the mode through
which one has access to – linear or not.
I would like my department to review this study in order to
to draw up possible courses of action, particularly those to be discussed at
interdepartmental level and with professionals of course.
Among the major developments highlighted in Dominique’s study
Richard, emerges the upcoming generalization of connected TVs,
which, according to some, could represent 70% of television sales
by 2013. These terminals operate a new link between the
world of television and the internet, framed by
regulations. Their impact on the sector’s economy
and on the modes of consumption of the image is, I know,
a source of concern, even if they are also synonymous
opportunities. The place given to connected TVs in the framework
MIP TV this week shows the importance of this issue and
of its current affairs.
Let us put ourselves for a moment in the place of the viewer: he perceives the
meeting of the two worlds of internet and audiovisual in terms of
easy access, free or paid, and diversity of offer.
In connection with professionals, it is up to the public authorities to
on the differences in legal regimes between the two universes, on the
contribution of each other to the creation. In connection with these same
it is up to the public authorities to reflect and respond
the challenges posed by the convergence of audiovisual screens and
the Internet. That’s the meaning of my presence today, it’s today
a priority for action in the area of
communication and media industries.
This is why I decided, in conjunction with the Ministry of Industry, to
energy and the digital economy, to launch a
The Commission will also be examining two issues.
On the one hand, the potential fragmentation of supply. The choice of technologies
different by manufacturers and the existence of possible agreements
could lead to vertical fragmentation of the supply of
content and services. This seems to me detrimental to the
for content producers and developers of
services.
On the other hand, access to all media services
since its television could have a rapid and significant impact on the
distribution of value among actors from very diverse
and on the financing of creation.
The abundance of supply allowed by digital technology is a
opportunity. But it is important that these channels
reflect a true diversity, which they offer our fellow citizens
real choice in terms of content and our creation of perspectives
development.
I note with satisfaction that the Higher Council for Audiovisual
(CSA) has also begun a reflection on the subject. I am sure that
the symposium he will organize on April 28 on television
will be a particularly interesting time of exchange
for the mission I’m launching.
3/ The question of the multiplication of video terminals and
new modes of image consumption, in what some
call the "society of screens", is not unrelated to the
problem of the circulation of works.
At the last MIP Com held here last October, I had
stressed the importance of this issue, on which my department and the
High Council of Audiovisual are particularly mobilized. I had
also expressed my willingness to explore the possibility of setting up a
mediator of audiovisual creation.
I have proposed to the President of the High Council for Audiovisual of
mandate a person to play this role of mediator of
audiovisual. I am therefore pleased that the CSA has designated Dominique
Richard and that he agreed to fulfil this mission as mediator
for the circulation of works. With his skills and
recognized experience in the sector, including the task of
contribute to the resolution of conflicts relating to access to works
between broadcasters, or between producers and distributors. This function
of mediation, which no one denies – from producers to broadcasters
through distributors, if necessary on the market of
programmes - is therefore particularly welcome.
It would seem interesting to me that in the long term it could also expand its
on the issue of relations between suppliers
Internet access that offer access to television, and
on the other hand, the Video on Demand (VàD) sites. Access, framed, of
the latter to the offers of the former constitutes in fact a useful means
to expand the range of legal content offered to the French – which I
recalls, is a priority of my action placed at the service of the
development of the “legal culture” in the digital age. It
would also develop the promising market from video to
request.
In conclusion, I would like to touch on two points which are topical in
audiovisual sector.
The first concerns the launch of new DTT channels and
recent announcements from some publishers.
This subject is complex and, I know, particularly sensitive. It involves
the future of the audiovisual landscape, and therefore the responsibility of all
government.
Responsibility of the French authorities as a whole as a result of
proceedings initiated by the Community authorities against
famous compensatory channels.
Specific responsibility of my department to ensure balance
of the French audiovisual landscape. As Minister of
Culture and Communication, my mission is to guarantee
in the audiovisual rights market, but also and above all in
terms of diversity of creative funding sources, and more
precisely the diversity of publishers who invest in production
french audiovisual.
Responsibility also to develop a long-term vision
landscape term: perspective that concerns the number of channels that
could be proposed to the French, and likely to be funded
by the advertising market, but also prospects for
best technological options that must be retained, in order to use
at best this rare resource of frequencies.
Some publishers have recently made their orientations and
wish. I take note of this. But I want to remind you that the choices
will be carried out in the light of the questions that arise in
long term and based on the balances I just mentioned.
A final word, which allows us to start the lunch with a
good news. Expected for a few weeks, the
Official journal of the decree on the “webcosip” is now a reality. It
this is the culmination of a considerable project in favour of modernization
of our creative finance system: openness
automatic audiovisual production support for the Internet.
This is an important evolution, I dare say a revolution,
which allows us to adapt our automatic support system to new
access modes and new formats. The Internet and mobile media
are now alternative modes of access for many works, especially
heritage: our public policies and our support policies
must draw all the consequences. I made it a priority issue
of my actions at the head of the Ministry, bearing in mind that the
and the creative sector remain absolutely central. The
is published, it is up to you, professionals, to seize the opportunities
he opens.
As you can see, the challenges are many, so exciting is the digital world
opens the field of possibilities. The philosopher Blaise Pascal
the terror when he meditated on a universe whose center is everywhere and cir-
conference nowhere» - universe to which we can easily assimilate territories
digital and internet.
In this new situation, my ambition is precisely to offer a framework
expression and development for all creators and actors
audiovisual sector. In other words, to propose
flexible and adapted to foster emerging cultural industries,
while guaranteeing the ambition that brings us together in Europe, I
It is about cultural diversity.
Thank you.