MIA|DOC opens with an overview on the Italian television formats, with the panel Factual to Go: How to Export Italian Products?
The session, produced and moderated by Chiara Salvo (Founder & CEO, KIMERA PRODUZIONI) and Davide Valentini (Producer, EIE FILM), started from a pivotal question concerning international productions: is Italy still a “Sleeping Giant”?
What is the key behind the exportation of a format? Nicole Morganti (VP talent and production, DISCOVERY Italia) describes a very optimistic scenario: “a number of our formats, like Alta Infedeltà, Undressed and Il Boss delleCerimonie, were bought by international buyers thanks to their ability to tell universal stories, and becausethey are able to represent Italy aboard and, at the same time, be profitablein other international contexts”. “The key for a successful format” continues Morganti “lies in its ability to travel and adapt itself.”
By observing the international scene, it is easy to understand that markets interested in Italian productions do exist, so Italy has to seize this opportunity to tell its own stories: it has a number of valiant examples likethe works of Fabio Toncelli, director of two internationally acclaimed documentaries (Ortona 1943 – Un Natale di Sangue andMistery of the Wolf), that were sold because of their ability to tell unconventional stories aboutour country.
Two deeply interconnected realities arise: on one side, the need to create new formats that satisfy the international market needs, while telling stories about our country, on the other side, the ability to invest in formats that are able to be translated and transported aboard. Alessandro Grieco (Director Comedy Central, VIACOM), explained how CCN (Comedy Central News) was bought in many countries, despite the fact thatcomedyis usually difficult to sell and export.
It requires courage to tell universals stories, like the productions by TV2000 (I Will Survive, Notes on Happiness e Happy), Paolo Ruffini (Director TV2000) uses as example.
