Mr President of the Festival de La Rochelle, Dear QuentinRaspail,Mr Deputy Mayor, Dear Maxime Bono,Mr President of the Centre national du cinéma et de l'imageanimé, Dear Eric Garandeau,Mr President and CEO of France Télévisions, cherRémy Pflimlin,Ladies and Gentlemen,Dear Friends,

I am very happy to see you again for this 13th edition of the
La Rochelle TV fiction festival. In 13 years, Quentin RASPAIL and
its teams were able to make this meeting a scene of exhibition, of
meeting with the public, but also a forum for reflection
as evidenced by the organization of the Ateliers de la Fiction and
the Great Debate that took place yesterday. I want to congratulate them
warmly.

It is also an opportunity for me to outline the priorities of my
Audiovisual Policy and take stock of ongoing projects:
revival of fiction, the financing of creation – particularly in
strengthening the resources and ambitions of the public audiovisual sector - now
where the screens converge, and where the French audiovisual landscape
deep reconfiguration, which will not have escaped you.

I will take the liberty of making some very simple comments on this subject, to
to recall certain fundamentals. Beyond the connections between
the diversity of content that is most important to me
to the French, the quality of the works and programs that we
every day on our screens, connected or not. The law guarantees
this diversity, and our regulatory system helps guide the essential
resources towards original, heritage and independent creation. I
will of course be attentive to the instruction that will be made of the reconciliation
between the Canal+ group and the Bolloré group by the competent authorities:
the Conseil supérieur de l'audiovisuel and the Autorité de la concurrence – and
conditions. This framework will of course take
consideration of the market balances. But I think it should be based all
the quality and diversity of the content offered, their funding,
and their ability to circulate.

These comments naturally bring me back to the subject of television fiction.
It is a major issue, as I pointed out in this House.
two years. Fiction is a key component of channel identity, but
also a profound vector of identification for our fellow citizens. We have
need to find ourselves, to recognize ourselves, to be moved and challenged by
the stories that are told to us, and that are the meeting point between
an original creation, our individual stories, and questions
collective and universal.

In short, fiction is at the heart of diversity issues
cultural.

Its economic importance is also essential for the sector
audiovisual, since we are talking about almost 680 million euros
investments in production in 2010, more than 260
production, and a quarter of the programming of free channels.

For all these reasons, I can only be concerned, with you,
positioning our national fiction against foreign fiction, and
American fiction. The latter, with its
inventiveness and its ability to mobilise considerable resources,
the French public. The figures are striking: no
only the share of American fiction in the overall fiction
is now close to 50%, against 35% for French fiction,
but fiction from across the Atlantic made, in 2010, 65 of the 100 best
audiences of all genres, against only 7 for fiction
French. This situation is not without risks, while the evolution of
distribution modes allows an increasingly direct relationship between
rights holders and the spectator.

I am thinking, of course, of connected television, which
strengthen the capacity of American studios to offer their
content to consumers through online platforms without
through national channels. This risk of de-in-ter-mediation should
encourage channels to focus on content production
rather than buying foreign fictions. Moreover, choose the
original production is to give oneself the means to distinguish oneself in this
hyper-choice universe that will be connected television.

I trust the ability of the different actors in our fiction
to adapt to this new situation. As the
debate» organized yesterday as part of the festival, the problems are already well
identified and many leads are open. Some are
innovative, such as the creation of 'pilot creation cells',
series” that would be offered to channels. On others, such as
the improvement of relations between author, producer and broadcaster,
concrete progress has already been recorded, with the signature in July
of the Development Charter, for which France Télévisions
was a driving force, which I want to salute.

The traditional back-to-school conferences organized by the
TV channels on their program grids thus show that a
particular attention has been given to certain formats such as fiction
daily. Recent phenomenon, the “new channels” of DTT
now order their own fiction projects. Even if their
investment in production still remain marginal in terms of
historic channels, these channels participate in a new model of
creation. They are part of a now unified and renovated framework
of production bonds.

The “production” decrees adopted last year made it possible to
to evolve the rules of contribution to the financing of the production of
the share of all audiovisual service publishers:
DTT, cable, satellite and ADSL channels, as well as
On-demand audiovisual media services (SMàD).

Beyond this long reform of bonds, I have sent
Pierre Chevalier, Sylvie Pialat and Franck Philippon to reflect on
revival of French fiction, and in particular the means of better
ensure the financing of the writing and development phases.

The projects opened by this mission are progressing, gradually.

The charter for the development of fiction, signed between the
organizations of producers, authors, and France televisions, and that
I just mentioned, frames the policy of the public group in this matter: I
wish to congratulate each of its signatories, and to encourage others to
movement. This charter is an important act for the
and to create the ripple effect that the
public service can have, by its example, in this field.
The Chevalier mission also proposed ways to renovate
the support systems of the National Film and Image Centre
Eric Garandeau’s teams, who is with us this morning,
carry out an important work of consultation for their implementation.

This work has already borne fruit with the reform of the
innovation, designed to promote artistic risk-taking and support
producers upstream of production. The redeployment of
these aids, including the “concept” and “rewriting” steps, must
To enable a more refined management of the support available to the
authors.

I am not unaware that the road still to go on others
projects in progress, whether in support of development with
the opening of the advance mechanism, or the reform of support to
fiction production, in their variety: series called «low cost»,
international co-productions, recurring series. I appeal to the
responsibility of everyone to participate in this consultation, and
by the end of this year.

But beyond the CNC, the revival of fiction, and its funding,
also goes a lot through the public television service. I
would like to finish on these few points, because it seems to me that in the
the fiscal environment we are familiar with, how resources are
France Télévisions and Arte France have been confirmed sends a sign
and the professionals you are. I have
ensured that the new Objectives and
public channels are ambitious and innovative, with
resources to meet these ambitions.

In the case of France Télévisions, the draft contract of objectives and
means 2011-2015, on which Parliament is currently consulted
and that we wish to sign before the end of the year, dedicates the role
the public group must play in terms of innovation - that it
innovation in formats, writing or delivery modes.
It renews the company’s financial commitment for the benefit of the
production of heritage works. France Télévisions
invest at least €420 million per year in audiovisual creation
assets from 2012. Combined with the group’s obligations
calculated according to the evolution of its turnover, this is a
guarantee and a significant step compared to the €391 million planned in 2011 by
the current Agreement.

As far as Arte France is concerned, as you know
has experienced an erosion of its ratings in recent years. But the
new Contract of Objectives and Means of Arte will mark the support that
we bring to the ambition of relaunching the chain and our commitment to
this unique model of television. Arte will benefit from a
public endowment of €270 million, an exceptional increase of 7.3% per
report to 2011.

Arte’s model remains relevant in a context of crisis
that puts European solidarity to the test, and to achieve
its ambition, it must be able to address a wider audience. The State supports
so willingly this ARTE recovery plan. The new COM
2012-2016, currently being finalized, plans over this period a
annual average increase of 3.8% in public resources.

Arte’s main objective is clear: to win back its audience without denying
characteristics that make it unique, being a cultural chain
creative and demanding in the quality of its programmes.
In concrete terms, a completely renewed, highly
day and more accessible to the general public will be put into
place from 2012. It will be punctuated regularly with programs
high quality events. Arte’s COM 2012-2016 project
confirms the channel’s commitments in fiction:
Arte France’s financial commitments in the
production of European audiovisual works, and
reaffirming the chain’s commitment to the development of the 3 types
fictions (unit, series and mini-series).

Two strong objectives of the COM 2012-2016 project deserve to be here
underlined.

In the first place, a special effort will be made to
programs specially designed for Internet. You know, Arte is
pioneer in the production of web fiction and series. From
new types of programs will be tested, combining
and the Internet. For some of these programs, the public
will be able to participate in the creative process by bringing their ideas, even their
own audiovisual creations.

Second, Arte will foster the emergence of new writings
original ideas and bold works. For this, she
will build on the development agreements that will represent, at
4% of the production budget by 2016. In parallel, Arte France
continue to support original unitary works in short films and
in documentaries.

These strategic axes, through which Arte intends to mark its
the other obligations of the
fiction channel, namely:
- Strengthening international co-production,
notably Franco-German;
- Dissemination of the European series selected from among the
best and most creative;
- The search for quality series from
creations are little known in France;
- Or support for the first works.

So I have full confidence in Arte’s ability to win back
its audience, while continuing to play its role in supporting TV fiction and
work for gender renewal, through innovation, originality and
the cultural ambition that make this Franco-German channel unique.

As you can see, I am fully committed to
challenges facing French fiction today. In a
changing environment, made of media convergence and
PAF, my ambition is to offer a framework of expression and
development stabilized, consolidated, to all creators and actors of
audiovisual. I hope that we can meet these challenges together, and
think together the television fiction of tomorrow - a rich fiction
originality, independence, constant renewal.

Thank you.