March 2012

MARCH 2012 / TWO HUNGRY EXECUTIVES / LITERARY FICTION AS A SHOWCASE / THEY STREAM VAMPIRES, DON’T THEY? / EARNINGMONEY ONLINE / TERROR ON THE DOORSTEP / DIGITAL BOOK BOOM / EGMONT FACTS 2012 / HIGHLIGHTS FROM 2011 / FROM LONE COWBOY TO NORWEGIAN CULTURAL TREASURE / THE POLAR BEAR GOES LIVE / TURKEY MAKES BOLD DECISIONS

The Changing Face

of Media20

12

Contents 4 Twohungryexecutives

6 Egmontfuel

8 Highlights2011

10 +/-

Revitalisation14 Goodwineinnewbottles

15 Ragstoriches

16 Newlifeforcartoonclassic

18 TheshipisladenwithBrylcreem Cruisingtowardshigherearnings

22 Thepolarbeargoeslive

24 Storytellingacrossthemedia

25 Literaryfictionasashowcase

26 Turkeymakesbolddecisions

27 Aneworganisationfindsitsfeet Focusoncovermounts

28 Abundanceofawards

TheEgmontWorld201235 Divisionalyearinreview

Digitisation40 KidsMediasecuresdigitalrights

41 Theystreamvampires,don’tthey?

42 Earningmoneyonline

44 EgmontMagazinesridestheiPadwave

48 Digitalbookboom

50 Marketaccess ThreenewonlinemarketplacesforNorway

51 Welcometodigitalcinema

MoreTV54 Fightingfortheeyesofthebeholders AnoverviewofTV2’schannels

56 FromlonecowboytoNorwegianculturaltreasure

58 NorwegianinNorway

60 Doomedtosucceed Nyhetskanalenturnsfive

62 Terroronthedoorstep

64 TheotherfaceofEgmont Ourcharitablegrantsin2011

48

28

58

Centrespread

16@ Disney

Colo

phon

Mika Bildsøe Lassen,Vice President, Corporate Communications

Dear colleagueWhyachameleon?Wehavechosentofeatureachameleononthisissue’sfrontcoverbecauseitaptlyillustratesEgmont’scurrentsituation.

Wemakeour livingfromcreatingandpackaginggoodstories incountlessdifferentways, but the need for change and adjustment affects us all. As an independentfoundation,weareabletomakeandimplementtherightchoicesbasedonlong-termthinkingratherthanbecomingpreytosnapdecisions.However,wealsohavetoadaptouractivitiesinkeepingwiththetimesandemergingconsumertrends.

Kids Media builds a new organisation to handle cover mounts; Cappelen Dammlaunchesitsowne-bookreader;NordiskFilmthrowsitsenergyintotheatreconcerts:theseareallexamplesofchangesthatnotonlyputlocalstrategiesintopracticebutalsounderpinEgmont’soverallstrategicdirection.

Egmont’scorporatestrategyforthenextfouryearsuntil2016focusesongeneratingfurther growth by producing film and television, boosting the digital business andrevitalisingourexistingcorebusinessareas.Weintendtodothisbyreplacingoldtitleswithnew, increasingourefficiencyandcreatingnew income streamsbasedonourstrongbrands.Butyoucanreadmoreaboutthisforyourselfonthefollowingpages!

ThisissueofHardcopybringsyouthehighlightsof2011andgreaterinsightintoeachofEgmont’sthreestrategicfocusareas.TheHardcopyeditorshavedecidedtoletthepowerofexampletakecentrestage.Hopefully,theseexampleswillclearlyshowhowthestrategyyouapplytoyourdailyworkpropelsourcompanyasawholeinthedesireddirection.

You can read additional material and other stories inEgmont’s online magazine eCopy, located on yourintranetandinyourin-tray.eCopycomesoutquarterly.In the meantime, you can follow Egmont’s winds ofchange on Insight ... and every day when you go towork!

EDITOR RESPONSIBLE UNDER DANISH PRESS LAWMika Bildsøe [email protected]

EDITOR:Niels [email protected]

PRINTER:Rosendahls Bogtrykkeri A/S

PRINT RUN:4,500 Danish/Norwegian copies2,000 English copies

@ Disney

Corporate Communications Vognmagergade 111148 Copenhagen KDenmarkTelephone +45 33 30 55 50

PUBLICATION DATE:27 March 2012

CONTRIBUTORS (all from Egmont):Niels AlmerMie Bach AndersenReeta BhatianiIrene BrandtEa HansenMaria JungetLouise Abildgaard Jørgensen Nanna LindhardtKamilla Fredtoft PetersenMike RichardsJörg RiskenAleksander Valestrand

PHOTOS:Petter BergSteen BrogaardKim ErlandsenKristian Septimius KroghJohan MarklundJonas Heide SmithEirik Helland Urke/KampanjeCorbisScanpix NorgeSebastian Buur/Ungdommens Røde Kors

LAYOUTOle Jensen

4

Toproduce these impressivefigures,Egmonthasdynami-callyandcreativelydevelopeditsproductportfolioaswellassuccessfully implementedtherecentyears’profitability

programmes.ThesedevelopmentshavepavedthewayforEgmonttoexpand,mostrecentlybyacquiringtheremainingstakeinTV2.ChiefFinancialOfficerHansCarstensenandPresident&CEOStef-fen Kragh briefed us on the past year’s events from the vantagepointoftheirexecutiveofficesatEgmontHouse.

WHAT IMPRESSION HAS 2011 LEFT YOU WITH?Steffen Kragh: 2011hasprovedthatEgmont iscapableofhan-dlingamediamarketundergoingtremendouschange.CompaniesinalmosteveryareaofEgmonthaveperformedwell.I’mthinkingnot only of the financial figures, but also of our ability to createdistinctivemediaproductswhilealsostrivingtosimplifythecreativeprocesses and make them more flexible. Time will show us how2011markedthepointatwhichrevenuegeneratedbyscreen-basedconsumptionfirstaccountedformorethanhalfoftotalrevenue.

Hans Carstensen:Wehaveactually recordedourhighestpre-taxprofitever.This isbecausewehave learnedhowbesttoplanourcostsandthusattainthebestvalueforourmoney.Magazines,KidsMedia,TV2andCappelenDammhaveallperformedbetterthanin2010.

HOW IMPORTANT IS ADVERTISING REVENUE TO EGMONT?

HC: We had no idea what to expect at the beginning of 2011.However,ouradvertisingrevenuehasrisenagain,adevelopmentre-flectedparticularlyinthemagazinesbusinessandTV2.Anincreaseinadvertisingrevenuedirectlyimpactsthebottomline.Allourad-vertisingdepartmentshaveworked strenuouslyand imaginatively.Thatsaid,wearenotplanningafuturestrategyforEgmontbasedonanexpectedcontinuationofthisdevelopment.

WILL THE GOLDEN AGE RETURN?SK: Media houses are certainly not going to have an easier timemakingmoneyinfuture.Newmedia–allcompetingforconsumer

favour–will continue toburgeon, causinganongoingdecline inTVchannelratingsandcirculationfigures.Althoughthistrendalsocharacterised2011,manyofourbusinessareasmanagedto‘spingold’nonetheless.Iseenopointinlookingbackandlamentinghowtheworldoncewas.Insteadwemustlookaheadandseizetheop-portunitiesthemediaindustrybrings.Fromthatpointofview,wearealreadyenjoyinggoldentimes.

WHAT WAS LAST YEAR’S MAIN UNDERTAKING? HC: The acquisitionofhalfofTV2,whichmadeEgmontsoleown-ers, took up a lot of space in our calendars. The process alreadystartedwithearlysalesrumoursin2010,andsincethenwe’ve‘com-muted’betweenNorwayandDenmarkonnumerousoccasions.AsboardchairmanofTV2IhavebeendeeplyinvolvedintheprocessandamproudtosaythatEgmonthasbeenwarmlywelcomedassoleowner.

SK:TheNorwegianmediaattentionwassomethinginitself.Whenwepublishedtheresult,HansandIgavemorethan50interviewsinasingleday.Thatwasafirstforbothofus!

WHY IS TV SO IMPORTANT?SK:TVisanimportantpartofpeople’sdailylives.ImeetmanywhopredictthedeclineofTVasweknowit,butIthinktheyforgetthatTVbroadcastershavethebestgraspofthevideoopportunitiesin-herentinthehugearrayofmobilescreens.That’swhyinvestmentinTVcontinuestobeapriority.

WHAT IS EGMONT’S STANDING IN NORWAY AFTER THE ACQUISITION OF TV 2?

SK:GreaterawarenessofEgmont isa side-effectof theTV2ac-quisition.Wenowrankamongthelargestmediabusinessesinthecountry.You could say that Egmont is heavily exposed tomarketconditionsinNorway,sooursuccessdependsonthehealthoftheNorwegianeconomy.Egmonthasdonebusinessinthecountryforacentury,andweonlydowellbecauseweare‘NorwegianinNor-way’.Beinga leadingmediaplayer inNorwaydefinitelybrings itsobligations,aresponsibilitythatweembracewholeheartedly.

Two hungry executives

THIS YEAR EGMONT IS DELIVERING ONE OF ITS BEST PERFORMANCES EVER. HUNGRY FOR MORE, HOWEVER, THE TWO EXECUTIVES PRESENTING THE FINANCIAL STATEMENTS ARE READY TO TAKE ON NEW INVESTMENTS.

ByNielsAlmer

5

President & CEO Steffen Kragh (left) with Chief Financial Officer Hans

Carstensen (right)

AFTER THE ACQUISITION OF TV 2, CAN WE AFFORD ANY OTHER SHORT-TERM INVESTMENTS? HC: Egmont has a good financial base and still has investmentcapacity,sowearereadytomakefurtheracquisitionsandindeedactively seek out other potential acquisition opportunities. OurtargetistoincreaseourrevenuebyoverathirdtoEUR2billionby2016andrecordanoperatingprofitofEUR200million.Wecannotdothiswithoutfurtherinvestment–particularlyinthedigitalarea.

WHAT IS THE OUTLOOK FOR EXPANDING THE DIGITAL BUSINESS?

SK: Wealreadyknow thatwearegoing to reachourDKK1bil-liontargetfordigitalrevenueby2015.Wearetryingtostrikethebalance between aiming higher and making sensible, profitablechoices.Icouldmentionnumerousgoodexamplesofexperimentsandbusinessconductedwithregardtoappsande-editions,digitallearningandvideo-on-demand.Wewillbeconcentratingondigitalgoalsandmeasurability in2012.Asacompanywearewilling toinvestindigitalventureswherewehaveastrategicfitandthecom-petenciesormarketpositiontomakeadifference.

WHAT WAS THE TOUGHEST DECISION OF 2011? SK:Wehad to turndownanumberof acquisitionopportunitiesforthesimplereasonthatthepriceseemedtoohighrelativetothe

expected future gains. Investigating these opportunities requiredthoroughresearch.Alotofpeopledidthegroundwork,andtheninthefinalmomentswerewardedthemwitha‘no,thanks,notquitegoodenough’andaskedthemtoabandonalltheirhardwork.Ofcoursethisishard,butnecessaryifwewanttobesurethemoneyisproperlyinvested.

WHAT DOES THE FUTURE HOLD FOR THE PRINT-BASED BUSINESS?

SK:Printedmagazinesandbooksholdafascinationformillionsofconsumers,offeringcontentthatisrelevant,inspiringandchalleng-ing.Atthesametimetheprintmediaaregoodbusiness,anditisuptoEgmonttomakesureitstaysthatway.Wemustbegoodatconstantlyre-definingourproductswhilefindingwaystoproducethemmorecost-effectively.Creativity iskeyhere,andtothatendEgmonthastohavethebestmediatalentsonboard.▀

FACTSFIND KEY FIGURES ABOUT EGMONT IN

HARDCOPY’S CENTRE SPREAD.

6

Egmont Fuel

JAMES BALL, EGMONT UKLondon

James Ball is Digital Producerat Egmont UK. He has beenwith Egmont for almost fiveyears and runs web projectsand new product develop-ment, specialising in creatingdigitalapps.

“The digital landscape forpublishing has changed somuch over the last couple ofyears.Wehave toworkhardtostayaheadofthecurveandto maintain our position asexpertsinchildren’spublishingnomatterwhattheplatform.It’s our excellent content thatsetsusapartfromthecompe-tition.Forme,arealsenseofsatisfaction comes when my3-year-oldnephewchoosestoopen an app I’ve worked onbecause he loves it, not be-causeIaskhimto.Jobdone!”

LINUS ARENG, EGMONT TIDSKRIFTER Stockholm

Linus Areng is Digital Art Di-rectorandresponsibleforthedesign and experienceof ourweb sites and are involved inallthingsdigital.With20plusmagazinesandafewtitleswebonly, things never turn dull.

“Whilemyprimarymissionatwork is toget to thebottomof our coffee machine (it’sdown there somewhere, justa couple more shots of cof-fee) I do frequently bang myhead against the wall tryingto come up with designs forthe smallest of details or laydown the foundation for theentirenextgenerationmobileexperience. Always with onegoal in mind: To do the bestand to have great designs,awesome user experienceand brilliant usability. When IwasArtDirectorforSweden’sGolfDigest I took theAmeri-can graphic departments’motto to my heart: Aim forgreatness. There’s no roomfor anything less, always aimfor greatness. Never be lazy.Nevercutcorners.Thewebisan incredible important partof the publishing industry’sfuture and it’s awesome tositinthemiddleofthestorm,designingforourfuture.”

EVA ISELIN HUSBY, TV 2 Bergen

EvaIselinHusbyistheEditorialManager of TV 2’s success-ful online video service TV 2Sumo.Sumooffersthousandsof on-demand programmesin entertainment, Americanseries, documentaries andsport. Sumo also streams TV2’slinearchannelsliveaswellasfootballmatchesfromBar-claysPremierLeague.

“We give our viewers thefreedom to watch what theywant, wherever they are. Weare constantly working tomakeSumoavailableonevenmore screens, like connectedTVs, Android and Windowstabletsandsmartphones.Thisyear,wearegiving theSumoserviceatotalmakeover,mak-ing it more personal, moresocial, and, of course, betterlooking.IfeelprivilegedtobepartoftheteamthatbuiltSumo from scratch and turneditintothetechnicalandcom-mercialsuccessthatitistoday.Wegetpositivefeedbackfromouruserseveryday,andthat’sreallyrewarding.”

KATHLEEN JURKE, EGMONT EHAPABerlin

AsContentManagerandedi-tor, Kathleen Jurke has beenresponsibleforuserentertain-ment on digital platforms atEgmontEhapa,Berlin.Comingfromabackgroundasaprintmagazine editor, Kathleenexperienced the shift fromprint to digital media in herdailyroutines.HerworkattheEhapa’s Digital Unit focusesondevelopingcontentstrate-gies for multimedia channelsthat always follow brandrequirements and involve thelatest features and high userperformances.

“It’s helpful to have theeditor’sbackgroundcombinedwith new media know-howandsolidprojectmanagementskills. Websites, smartphonesandtabletsgiveusfascinatingpossibilitieswhen it comes tostorytelling. Take the infinitecanvas,forinstance,animatedobjects or flexible and re-usable tools. Enriching storieswith multimedia elementsadds user value. It’s user en-tertainment and service thatdrivesmydecisions.”

6

7

MADS ESPER LARSEN, LINDHARDT OG RINGHOFCopenhagen

MadshasbeenwithLindhardtogRinghofasaDigitalProjectManager since January 2011.He develops and maintainsLindhardt og Ringhof’s digitalpublications as well as ideasand projects for enhanced e-books, apps for children andregular e-books. He also de-velopsthecompany’spositionasregardsDanishandforeignonline dealers and does traf-fic-generating work togetherwithexternalpartnersaswellas collaborates with staffacrossEgmont’sdivisions.

“It’s thrilling to work withdeveloping new media likeapps and e-books. The mar-ket for e-books is developingtremendously, both in termsof the technical possibilitiesfordevelopinge-books–howto supply the content in anexciting,interactiveway–andof the new exciting onlinesaleschannelslikeiBooks.OurdailyworkentailsdevelopingalotofideasandnewinitiativesthatcanspreadawarenessofEgmont’s digital products aswell as free wi-fi for e-booksin Copenhagen’s parks andcafés,etc.Itakegreatpleasurein working for Egmont, and,especially in developing newpartnership agreements withexternalpartners,Icanclearlyfeelpeople’sgreatenthusiasmfor Egmont, its products andits story. It’sa sourceofdeeppride.”

EDDY ROBERTSEN, CAPPELEN DAMMOslo

Eddy Robertsen has workedwith the business develop-mentofe-booksande-readerssince 2006. Digitalbok.no isone of the earliest dedicatede-book stores in Scandinavia,andhasbeenattheforefrontof the digital (r)evolution inNorway ever since. At themoment digitalbok.no is thelargest, most comprehensivee-bookvendor,andgrowing.

“Wehavetofocusonbreadthanddepthofcontent,aswellaseaseofuseforourcustom-ers. Accessibility to contentis a prime factor when asound, digital marketplace isdeveloped. The digital arenais an exciting place to be atthemoment.Wehaven’tevenbeguntoseethefullimpactofdigitalisation on informationand entertainment. Businessmodels,contentstructureandmarketplaces will keep evolv-ing at an ever-acceleratingrate.Being“inthethickofit”isformetheplacetobe,bothprofessionally and personally.And as it stands, there’s no-where better than digitalbok.noandCappelenDamm.”

ANNA JONZÉN, EGMONT DIGITAL CENTER Oslo

As Project Manager in theDigital Centre in Norway,Anna Jonzén works withinitiatives supportingbusinessdevelopment.

“Themedia industry is facinga lot of challenges in termsof the digital development –making Egmont an excitingplace to be. Coming from abackground working globallywith online gaming providesmewithaninterestingexperi-ence – the gaming industryhas faced a lot of trials andsucceededinrapidlyadaptingtocontinue.MyjobatEgmontoffers a wide range of diver-sity. I evaluate new businessideasandimplementtheideaswe believe in. For examplewe have recently launched anumberofonlinenichemarketplaces.Itisanexcitingprojectsince it combines workingwith editorial teams, externalsupplier, marketing partners,and different Egmont com-panies. The most importantthings to remember workingwith business development isthatyouneedtobepreparedtofailinordertosucceedandthatit’sallaboutthecustomerneeds.Andofcoursethat it’sneverboring!”

SANNE JACOBSEN, NORDISK FILMValby

Sanne works as Commu-nity Manager at Starfighters,Nordisk Film’s in-house ad-vertising agency. Her primaryfocus area is to ensure thecompany’s presence on socialmedia like Facebook, TwitterandYoutubeonfilmtitleslikeClown: The Movie, the Twi-light filmsandHeadhunters.

”It’s important to think socialmedia in launch campaignsand to be present where theusers are. This gives you theopportunity to listen to andbuild up relations with users.For example, we have devel-opedaFacebookpageforthe Twilight filmsthathastopped100,000 friends. We expectthe coming film The Hunger Gamestobejustasbigahit,and are currently endeavour-ing to convert Twilight fansintoHungerGamesfans.Thisis possible precisely becausewe already know users’ pref-erencesandhavearelationtothem.”

7

8

Highlights JANUARY

MAY

SEPTEMBER

FEBRUARY

JUNE

OCTOBER

Oscar-nominated Danish epic from 1956, Qivitoq, enjoys arenaissanceafterbeingextensivelydigitalisedandre-releasedasaDVD.Ecstaticfansbuyatotalof16,000copies.

TV 2 announces its best-ever operating profit of NOK 335million.Thisfigurehasalmostdoubledsince2009,andtotalrevenueshaverisenby11%.

Egmont Verlagsgesellschaften launches Egmont INK, whichpublishes exciting and emotionally intense titles for youngpeopleinthe12-16-yearagegroup.INKhashighhopesfortheproject’smixofwell-knownnamesandpromisingtalents.

Asthefirstcinemachain inDenmark,NordiskFilmCinemasannouncesitsdecisiontofullydigitaliseall120ofitscinemascreens.Thefinaldemiseof35-mmfilmreelscomesinMay2012.

160 digital Egmont employees get together in Båstad for atwo-day‘DigitalDays’eventtoshareknow-how,findinspira-tionandbuildnetworks.Thisyear’s theme: ‘Digitalbusinessconsumersreallywant.’

Alineadonates teachingmaterials toKurdishchildren learn-ingEnglishintheirsummerholiday.TheteacherscomefromFokus-A,anorganisationforKurdishstudentsandacademicsinDenmark.

8

9

reportasjer • intervjuer • Mote • skjønnhet • sunnhet • Mat • reise • Bolig

Nr. 18. april2011

12 sider PÅsKeKriM:

1117

s tor veske-guide● håndvesken● shoppingbagen● Clutchen● skuldervesken

Verdi kr 10.000Vinn Veske

– full av produkter

hevndrama fraCamilla läckberg

Slik Skjuler han pengene for deg

Norges råeste damer

over 40

Vi AVsLØrer:

moNa grUdt – Slik holder jeg

meg vakker6 deilige spa-reiser

bc 1447 007 kr 25

Nytt Blad

(intropris)kr 25

stor KårINg

2011 MARCH

JULY

NOVEMBER

APRIL

AUGUST

DECEMBER

ThePetziappislaunched.Pre-schoolerscannowcolourPetzidrawings,playPetzipelmanismandwatchcartoons.TheapprecordsrevenueofDKK1millionbytheendoftheyear.

ALT for damerne,thelong-successfulDanishwomen’sweekly,crossestheseatoNorway.ThepublicationhasbeentailoredtotheNorwegiantargetgroup,modernwomenaged40+.

LindhardtogRinghofstagesane-bookhappeninginKongensHave, Copenhagen, offering park guests a selection of freee-bookstoreadastheybaskinthesun.

TheEgmontFoundationsupportsNorway’sCenter forCrisisPsychology,settingupaportalofgriefsupportgroupsafterthetragedyinOsloandontheislandofUtøya.

NordiskFilmre-launchesitspopularguidedtoursofitsValbysite,introducingmorevisualaidsandabetterfocused,morevibrantwayof telling the company’s story.Wonderful anec-dotesfromthepastmeldwiththemodernmediaactivitiesofthepresent.

Egmont Hjemmet Mortensen launches the niche webshopBazar inNorway. Inashortamountoftimeusersput2.000itemsupforsale.Thesiteisthethirdinaseriesoflaunchesduringthesecondhalfof2011.

9

10

PLUS:

Nordisk Film and Norwegian post production company Storm Studios AS agrees to establish a new company in Sweden covering all aspects of digital post production on film an TV productions. The new company is active from September 2011 and is called Nordisk Film Shortcut AB.

10/2011 • kr. 54,95 • (NOk 56,00) MAGASINET OM DET BEDSTE VI HAr!

Tænker du

sTadig på

din fødsel? Tag testen, og få styr

på tankerne

EKSTRA TIL DIG:

TIL BABYMESSEN!

GRATIS BILLET

PLUS VINTERSTøVLER + SKIfERIE MED BABY + fEM SUPPER

BK 29.09.2011 - 19.10.2011 kr. 49,95

WW

W.VO

rESBø

rN.D

k

mini0-3 ÅRVO

rES Bø

rN •10/2011

Hvad drømmer

diT barn? Og hvordan

takler du mareridt?

Alt det, du

ikke vidste om

modermælk

DE BEDSTE

CREMER TIL TøR

VINTERHUD

sådAn smitter

bAktusserne

babys førsTe skefuld 10 trin til succes med

mos og grød

ULDNE HITSlunt & funktionelt

tøj til vinter

45 bekæmp de små bæster,

og få færre sygedage

STOrT TEM

A OM

føD

SlEN

54,95

Mor altid til tjeneste

Skru ned for servicen

– og op for dig selv!

SToR SHoPPEGUIDE

Gør et kup på nettet!

LæKRE wEBSHoPS

+ MASSER Af SPARETIPS

VB01011_Forside_CMYK.indd 1

07/09/11 11.33

kr. 54,95 • vores børn special 3/2011

gravid & babyHjælp, vardet en ve?!Sådan gør du, når baby melder sigSpiSkvalmen vækSunde opskrifter,du får det godt af

Fødselsreportage:da Vera kom til Verden

Så stor erbaby i maven lige nu

Fra ært til vandmelon

TEST: Hvilken type er dit barn?Støt din krudtugle eller puttegris

BaBYkalender10 sidersuundværlig videnom dit barnsførste år

HuskelisteAlt, du skAl hAve klAr, til bAby kommer

+ guide til de bedste barnevogne – Find din FAvorit!

denStore

MODE6 funkylook

I form tilfødslen

PLUS Smertelindring + PuSlePladSen + mødregruPPe

Psst! Vi afslører 10mor-hemmelighedergravidøvelser,du roligt kan lave

BK 10.11.2011 - 18.04.2012 kr. 54,95

PLUS Luksus tiL mor ❤ Lækkert tøj tiL heLe famiLien

22

4 komikere: Tag gas på diT barn!

sådan bliver i

fri forkemi

GUIDE TIL søDE

LEGE-køkkEnEr

kr. 54,95 • vores børn special 3/2011

SUND FAMILIE0-8 ÅR

kom tættere PÅ Dit LiLLe Pus meD

minDfuLness

æbler I lANGe bANer – vI tester de suNdeste

sTyrk babys

sanser

✽ Spot Sunde legeting, cremer og tøj✽ Få Sandheden om parabener

tip til at snige grønt ind i alle måltider 7sjove & sunde

tumlelege

BK 10.11.2011 - 18.04.2012 kr. 54,95

The sum of Egmont2011

In 2011 TV 2 was 50/50 co-owned by Egmont and the Norwegian media company A-pressen. At the beginning of 2012 Egmont acquired A-pressen’s stakeholding in TV 2 for DKK 1.9 billion. Egmont has co-owned TV 2 for over 20 years, and the acquisition of the remaining half takes Egmont a strategic step closer towards making television a more prominent part of its business.

Kids Media has invested in the edutainment universe ABCITY. ABCITY is a play-and-learn concept for chil-dren aged 4 to 7 based on the fundamental principle that playing is the best way to learn. On ABCITY.dk children can learn the alphabet and improve their reading skills.

Egmont Magasiner and De Danske Vægtkon-sulenter, a weight-management company, entered a strategic alliance. In this connection Egmont Magasiner acquired the majority shareholding in De Danske Vægtkonsulenter.

Egmont Hjemmet Mortensen signed a deal with Edda Media regard-ing the purchase of the website Kvinneguiden.no. Kvinneguiden is a highly popular site, attracting over 200,000 unique users weekly.

In Denmark activities in the parenting segment were merged with Oxygen Magasiner A/S, which publishes Vores Børn. Egmont Magasiner is the principle company shareholder.

In 2011 Cappelen Damm acquired Høyskole-forlaget in Kristiansand. The acquisition is an

element of the strategic plan to bolster Cappelen Damm’s market position in academic literature.

Høyskoleforlaget ranks among Norway’s leading textbook publishers.

Egmont Hjemmet Mortensen acquired the rights to the men’s magazine Alfa. The acquisition was made after a petition for bankruptcy was filed against Magnum Media A/S.

10

Nordisk Film takes over Pumpe-huset, a Danish music scene in

central Copenhagen.

11

The sum of Egmont2011

MINUS:

On 1 July FilmGear ApS took over Risby Studierne, based in Albertslund and owned

by Nordisk Film for 30 years. Risby Studierne provided the backdrop for numerous famous

Danish films and TV series during the three decades of Nordisk Film ownership.

In Sweden disappointing sales caused the closure of the maga-zine Blossom, launched in 2010. In Norway fit Living suffered the same fate.

Nordisk Film sells its share in Fine & Mellow to Eyeworks.

11

The music company MBO, 50 % co-owned by Nordisk Film, was

sold to Universal Music. The sale was prompted by the difficult

conditions that have made MBO a poor business for Nordisk Film

Nordisk Film Post Production in Stockholm shuts down in October 2011 and Nordisk Film Shortcut in Denmark sells all TV related activities in Nordisk Film Edit to Nordisk Film TV (who is not owned by Nordisk Film).

Lack of earnings forced Egmont Magasiner’s decision to close down the

10-year old monthly Sirene. All staff were offered new positions.

The Egmont publisher Lindhardt og Ringhof sold the following book clubs to Gyldendal in the autumn of 2011: Bogklubben 12 Bøger, Bogsamleren, Roman-bogklubben, Bogklubben Rasmus and Guldklumpen. The divestment is part of Lindhardt og Ringhof’s plan to concentrate its energies on the core business.

12

* Good content is Egmont’s core business. Egmont revitalises and reinforces existing media products through innovation, new business models, acquisitions, unique rights and a team of the best, most creative people. Read a few examples on the following pages.

12

13

Vitalisation *

Vitalityshowsinnotonlytheabilitytopersistbuttheabilitytostartover.F. Scott Fitzgerald

13

14

Good wine in new bottles

YOU CAN EASILY TELL FROM ITS COVER WHETHER A BOOK WAS PUBLISHED 20 YEARS AGO OR JUST YESTERDAY. HOWEVER, ANTIQUATED AESTHETICS DO NOT

NECESSARILY MEAN ARCHAIC CONTENTS.

ByMieBachAndersenandNielsAlmer

LoneSelfort,Editorat LindhardtogRinghof,hasspentmanyhoursdig-gingupoldtitlesfromthedepthsof

anEgmontbasement.Thearchivecontainsbooks dating as far back as the mid-19thcentury. ’There are loads of wonderfulbooksinthebasement–it’sarealtreasuretrove’saysLoneSelfort.Forsixmonthsshehasbeenonasubterraneanquestinsearchof ’new’non-fictionworks.The trick is tospot thecurrent trends– in termsof sub-ject,graphiclookandauthors.

Tom Dahl is responsible for CappelenDamm’s back list. ‘Books quickly go outof date,’ he observes. ‘Rarely can we sella work of non-fiction three years after itspublication. So revitalising old titles is animportantjob.’

Threeeditorsandadesignerworkto-getherontheimprintCappelenDammhasnamedFaktum,whichre-launchesoldtitlesin new covers and sometimes with refur-bishedcontent.Occasionally twotitlesaretwinned in one publication, as happened,forexample,withtheknittingbookPinner og Garn, which sold like hot cakes oncere-published.

Literary fiction follows the same pat-tern, with paperback editions sometimesselling twice or three times as many cop-iesasthefirsthardbackedition.CappelenDamm has successfully re-launched thecomplete works of individual authors asserieswiththeirowngraphictheme.Thisisaspecialformofauthorservice.

‘We revitalise thebooks tomake surewegetthemostoutofthematerial,’saysLoneSelfort.‘It’sallaboutcapturingmarketniches.Andourauthorsappreciateouref-forts too–almostnobody turnsdownanopportunitytomakemoremoney!’

Tom Dahl agrees. ‘Naturally enough,the publishing industry focuses on newtitlesbecausethisishowwebuildourpub-lishingprofileandattractmediaattention,butifwecanrevivebookswhosefirstedi-tionhasapparentlyreachedtheautumnofitscareer,wearedoingbothourselvesandtheauthoragreatservice,’hesays.

But exactly how do you successfullyre-launchatitle?LoneSelfortoffersanex-ample:Bedstemors Køkken[Grandmother’sCooking] was first published in 2005 andhad been out of print for several yearswhen we retrieved it from the archives.We changed the cover and replaced theoriginal photos with rustic drawings andgraphicelements.ItnowhaswhatIcallthe“countrynostalgialook”.Isawitspotentialbecauseitresonateswiththecurrentback-to-your-rootstrend’.

TomDahl,stresses,however,thatthereis no universal recipe for making moneyfromold titles. ‘Youhave to look at eachbook’spotential,andthattakesquiteabitofpractice.’▀FACTS

Re-issued titles are sold to book shops and/or supermarkets.

In some cases, special editions are produced for supermarkets. This happened, for exam-ple, with the re-publication of Ghitas Roser, which was photographically reduced and given a slightly different cover from the original.

Another way to re-issue books is as cover-mounts – that is, books or book excerpts ac-companying weekly and monthly magazines.

Normally the first edition of a good Nor-wegian non-fiction book sells about 2,000 copies. The re-issued cook book Tøff Mat sold 12,000 copies.

Cappelen Damm Faktum and Pocketredak-tionen re-issue about 250 titles a year.

Tom Dahl, Director.Publisher Non-fiction at Cappelen Damm

Lone Selfort, Editor at Lindhardt og Ringhof

Spionjæger, originally published in 2002, have enjoyed a renaissance in new, more contemporary cover.

9 788711 390535

ISBN 978-87-11-39053-5

Lindhardt og Ringhof

En dansk kontraspions bedrifter i den amerikanske hær under 2. Verdenskrig

Ib Melchior

Ib Melchior

155 mm

231

mm

155 mm

15 mm

41 mm

15 mm

SPION-JÆGER

SPIONJÆ

GER »Forrygende læsning« WEEKENDAVISEN

»Man opsluges totalt« JYLLANDS-POSTEN

Ib Melchior er født i 1917 og opvokset i Danmark, men

�yttede som 20-årig til USA. Efter det japanske angreb

på Pearl Harbor meldte han sig til krigstjeneste. Den

amerikanske efterretningstjeneste kunne straks se den

unge danskers talenter - han kendte Europa og talte �ere

europæiske sprog. Han blev sendt til Europa, hvor han

fulgte den amerikanske hærs fremrykken fra Omaha Beach

gennem Frankrig, Luxembourg, Tyskland og Tjekkoslovakiet.

Han var aktiv som kontraspion, og hans opgave var

at efterforske, fange og afhøre spioner, sabotører og

krigsforbrydere. Også bag fjendens linjer. »Han beretter på basis af rapporter og sagsakter foruden

sin egen hukommelse og livfulde rekonstruktion af meget

levende replikskifter om sine opgaver, så man ser det hele

for sig og opsluges totalt. … At følge med Melchior i jeepen

rundt i Sydtyskland minder som antydet om at læse en rigtig

god krimi« JYLLANDS-POSTEN

Efter krigen vendte Ib Melchior hjem til USA, hvor han gennem mange år arbejdede som forfatter samt instruktør og producer af �lm og tv-shows.

Spionjaeger_Final.indd 1

20/01/12 09.07

15

Turning old rags into new riches

TODAY, AS MAGAZINE SALES FALL AND COST PRESSURES RISE, ATTENTION IS INCREASINGLY FOCUSED ON BOOSTING EFFICIENCY

IN PRODUCTION PROCESSES AND CONTENT CREATION. RE-USING EXISTING MATERIAL TOPS THE AGENDA FOR EHAPA’S DISNEY CONTENT. FOLLOWING THE

SUCCESS OF SOME PILOT PROJECTS, EGMONT EHAPA MADE RE-USING MATERIAL PART AND PARCEL OF ITS DAILY BUSINESS, REVIEWING CONTENT POOLS AND

DEVELOPING NEW PRODUCTS FROM THERE.

ByJörgRisken

Ehapa’s successful Pocket Bookseries has generated more than400booksandthousandsofpages

of comics to date. This treasure trove ofcomics provides fantastic opportunitiesforcreatingnewproductslikethethemedline extensions Pocket Book Duck EditionandPocketBookSummerEdition,bothofwhichhaveagreatdealofpreviouslypub-lishedmaterial.

Ehapa’s bi-monthly magazine Winnie the Pooh Bedtime Stories showshowwellit can be done. The magazine is amongthe most successful children’s magazineslaunched in the German-speaking areasin2011, sellingaround45,000copiesperissue.Havingalargearchiveofmaterialonwhich to draw enables the magazine to

compile old stories into new themed issuesand thuscut the timeandexpense requiredtoaminimum.

CORPORATE PUBLISHINGRe-usingmaterialisalsoakeytothesuccessof Ehapa’s Corporate Publishing business.Jörg Risken, Head of Corporate Publishingat Ehapa says: ‘In the run-up to develop-ing this business, Ehapa benefited from thevast expertise and excellent support of KariTavendale,SpecialSalesManageratEgmontSerieforlaget inOslo,whoprovidedvaluableadviceandinspiration.’

Corporate Publishing is now a strategicbusiness area at Egmont Ehapa and severalprojectshavebeenrealised,generallyonthebasisofoldcomicsandeditorialcontenttailor-

madeintonewproducts.EhapahasjustclosedasyndicationdealwithanetworkofGermannewspapersandisprovidingcomic classics to a number of newspa-pers. Other customised projects involvecreating kids’ pages for magazines andputtingtogetheraspecialcomicbookforahotelserviceprovider.▀

Jörg Risken, Head of Corporate Publishing at Egmont Ehapa

16

Nordic partnership breathes new life into

classicsIN JUST TWO YEARS, EGMONT’S SCANDINAVIAN DIVISION FOR COMICS AND OTHER

CHILDREN’S MEDIA HAS EMERGED A PHOENIX FROM THE FLAME AND TURNED THE TRANSITORY RED FIGURES OF THE FINANCIAL CRISIS INTO POSITIVE RESULTS EXCEEDING EVEN THE ROSIEST EXPECTATIONS. THIS REVERSAL IS THE PRODUCT

OF A PAN-SCANDINAVIAN TEAMWORK AIMED AT EXPLOITING COLLECTIVE ADVANTAGES AND RIGHTS AND BRINGING COLLEAGUES TOGETHER TO REVITALISE

CARTOON CLASSICS LIKE THE DONALD DUCK COMIC.

NielsAlmer

Egmont has three distinctly similarScandinavian companies: Seriefor-lagetinDenmarkandNorwayand

Kärnan inSweden.Anew, jointnameforthe trio is being considered, although thethree companies have been collaboratingsinceApril2011undertheleadershipofajointmanagementteam.

CATEGORY MANAGERSIt all started with a single set of categorymanagers working across the companieswithinaspecificproductcategorytomakethemostof collectivecontent rather thandeveloping new content in two separateplaces.

‘Comics for pre-schoolers and inter-national trend products are the easiest totranslateandlocalise,’explainsAnitaTvet-en,PublishingDirectorofSerieforlagetandCategoryManagerforDisneymagazinesinScandinavia. The highly standardised con-tentofthesepublicationsdoesnotrequirelocalisation.

SCANDINAVIAN COLLABORATION

Closer collaboration has put considerabledemandsonallstaff,whomustnowkeepabreast of each other’s meetings in threecountriesaswellasbothreceiveandsup-plycontent.‘Butbeingcompelledtowork

‘AtthesametimeweacknowledgethatacomiclikeDonaldDuckisanall-embracingundertaking with both differences andsimilaritiesbetweenthecountries.Wethink“Scandinavian” where we can and locallywherewemust,’heexplains.

HISTORIC DONALD DUCKThis cartoon series is undeniably a coreproductforallthreepublishingcompanies.

internationally naturally boosts everyone’scompetencies,’AnitaTvetenpointsout.

TheDonaldDuckcomicinScandinaviacomes under Business Area Manager An-ders’Krokfoss’domain.HebelievesthekeytoaScandinaviancollaborationisforevery-onetomakesomeconcessionsintermsoflocal preferences, even though each pub-lisherisbestattunedtoitsrespectiveDan-ish,NorwegianandSwedishcomicreaders.

Norwegian, Swedish and Danish front page of the first publication in the Donald Duck 'world history' series.

16

17

Infact,Egmontpublishesover90%ofallcomicsintheScandinavianmarkets.How-ever, competition for children’s time hasnever been tougher, and the main brandoftheScandinavianKidsMediacompanies– the Donald Duck comic – is particularlyfeelingthesqueeze.Thepublicationhastogalvaniseitspositionin2012.

‘Twenty years ago, the Donald Duckcomic was the natural choice for parentswantingtogivetheirchildanentertainingyeteducationalafternoon.Today,wehavea whole array of options, and childrenincreasinglymake theirownchoices.Asacomics publisher, we must be able to as-sumetheparentalrole in influencingkids’comicschoices,’saysAndersKrokfoss.

The Archimedes Heat Ray is the firstofsixstoriestobepublished in2012thatwill spotlight world history and chronicleanumberofhistoricevents inanew, funway.Thestoriesareunconnectedandwillbepublishedatsix-toeight-weekintervalsthroughout theyear.Thefirst stoponthejourneythroughhistoryistheyear212BC,when the Romans and the Greeks werefightingfortheislandofSicily.

‘We have also recently launched aco-project with Egmont Creative Centreto draw more attention to our storiesandmakethemfunnieraswellasvisuallyricher,’Krokfossexplains.‘Theinitiativewillbring us closer to the youngest childrenthan we are today, while also reachingadults.’ Introducing kids early on to theDonald Duck universe increases the likeli-hoodof theirbecomingregular readers inthelongterm.Oneprojectaimistomakeallthestoriescomprehensiblewithoutanyspeech bubbles. Readers will see the firstchangesinautumn2012.

63 YEARS OF REVITALISATI ON

Revamping the comic is nothingnew, Krokfosspoints out. ‘Thecomic has beenconstantly devel-oped for 63 years,but of course we mustrespect the original universe inestablishingajointpublicationstrategy.Weshouldonlypublish stories thatmattertokidstodaywithout necessarilybeing the trendiest.That would makeDonald Duck apassing fad. Sofar we’ve man-aged to curb thedecline in circu-lation figures.Consequently,weshouldn’t radicallychange the wayweworkinthecomingmonths,butratherfine-tunewhatwe’vegot.’

The revitalisation of the comic wassparked by analysis results that revealedsomeinterestingfactsaboutcartoonread-ing habits in Scandinavia. For instance,childrenwhoownthemostgadgets,readmore comics. We can thus kill the myththattabletsarearivaltoprintcomics–oratleastquestionit.

DONALD DUCK IN THE CLASSROOM

Theanalysisalsoshowedthatmostchildrenstart reading cartoons before they turnnine, so this is the window for capturingdedicated comic readers. Getting DonaldDuck intotheclassroom isanothersourceofgreatpotential.

Anders Krokfoss has no doubt thattheclassroomisawayforwardforDonaldDuck. Serieforlaget Norway is currentlyconductingaresearchprojectthathopestodocumentthatchildrenlearntoreadmoreeasily if the content offered is somethingtheyactuallywant to read.Apilotprojectrunatoneschoolhasreturnedpromisingre-sultsandisnowbeingextendedto10otherschools. Krokfoss stresses, however, that

thecomicis only to beusedasarewardandsupplementaryprod-uct in the school and not as part of theacademicteaching. ‘Westillwantchildrentoperceivethecomicasentertainment.’

Itcertainlyseemsthatthepan-Scandi-navianpartnership that is the cornerstoneof the Donald Duck comic’s ongoing de-velopmentwillbenefitallcompanies–thecartoonmediuminparticular–infuture.▀

FACTSNorwegians are the most avid comic readers in Scandinavia,

with 63 % describing themselves as cartoon readers (against 38 % in Denmark and 36 % in Sweden). One in four Norwegians reads a cartoon

series every day.

Anders Krokfoss, Business Area Manager, Egmont Serieforlaget

Anita Tveten, Publishing Director and Categroy Manager, Egmont Serieforlaget

17

@ Disn

ey

18

The ship is laden with

BrylcreemA TATTOOIST, A PRIEST AND A STEWARDESS ARE ON A SHIP. IT SOUNDS

LIKE THE OPENING LINE OF A BAD JOKE, BUT FOR EGMONT TIDSKRIFTER IT IS PART OF THE COCKTAIL THAT HAS DRIVEN GROWTH FOR THE SWEDISH

PUBLISHING HOUSE.

ByNielsAlmer

18

1919

20

Corvettes,Mustangs,Chryslers…andMSCinderella.OnaFebruaryafter-noon,acruiseshipbearingthefairy

tale name leaves its berth in Stockholm’sStadgård terminal. Aboard are Americanvintage cars, thousands of car enthusiastsandallthetrappingsof1950s’fashionandmusic to recreate the rightmood. For thenext 24 hours, 2,200 car enthusiasts aregatheredinthebellyoftheMSCinderellatomeet,partyandshare theirpassion forAmerican cars. They have come from allpartsofSwedentotakepartinwhatisthewinterhighlightforthereadersofWheels magazine:WheelsNationalsWinter.

We are talking about ten decks ofreader involvement, includinga car fair atthebottomoftheship,partiesinthreebarsandnightclubs,andnon-stopmusicdatingfromwellbeforethefirst lunarlanding.Inaddition to themust-havecarsat the fair,passengers can acquire a T-shirt embla-zoned with the words ‘Hot rod for sale,soulforrent’,atattoo,anewhairdoorjustahottiponthelatestsparepartsfortheirownvintagecar.TheticketscostingaroundSEK500werequicklysnappedup.

EVENTS ARE THE KEY TO GROWTH

In contrast to Egmont’s magazine opera-tionsinDenmarkandNorway,theSwedishmagazineportfolioischaracterisedbyniche

publicationscateringtospecialinterests.Al-thoughthismeansalowerreadershipthanmagazineswithbroaderappealsuchastheNorwegianDetNyeortheDanishEuroman,nichemagazinesofferthepotentialforhighreaderinvolvement.

Likesomanyotherpublishinghouses,Egmont Tidskrifter has experienced fallingsalesinrecentyears,buteventslikeWheels

Nationals have helped to turn thingsaround. The event business ‘Egmont Tid-skrifterKoncept’isenjoyingmarkedgrowthand has helped Egmont Tidskrifter, oncethe smallest member of Egmont’s Scandi-navianmagazinefamily,torecordthebestfinancialresultsin20years.

From the recently refurbished of-ficesoverlookingSweden’s futurenationalarenainStockholm,ManagingDirectorPerKjellander talks about the year’s glowingresults:

‘Since the merger between HjemmetMortensen and Tidskrifter two years ago,wehavedoneourutmosttoenhanceourbusinessefficiency,andthatworkisongo-ing.’ For example, Egmont Tidskrifter iscurrently finalising implementation of itsjoint editingplatform,PagePlanner. Sincethe merger, costs have been significantlyreduced,andtoday235staffmanthethreeoffices located in Stockholm, Malmø andthewintersportsresort,Åre

‘Our goal is to create the best maga-zines, events and digital activities in themostcost-effectiveway.Wewanttobethebest inSwedenand in themagazinedivi-sion,andwealsoplantoexpandourprint-ing, digital media and concept businessactivities.TheWheelscruise isanexampleofourconceptbusiness,anareacurrentlyexperiencingmarkedgrowth,’saysPerKjel-lander.

21

ROLLING UP HIS WORK SLEEVES

Egmont Tidskrifter Koncept is a small de-partmentmannedbyfivestaffwhodevotetheir time to custom publishing, nichemagazine web shops, reader trips andevents.InthespaceofthreeyearsEgmontTidskrifter Koncept has more than tripledits revenue, currently at SEK 15 million.‘ThefuturegoalforEgmontTidskrifteristodoublethisfigure,andthiscanonlyhappenwhen each and every event is profitable,’saysJohanSandholm.

JohanisManageratEgmontTidskrifterKonceptandhasrolleduphisworksleevestomanthefairstallsellingWheels jacketsandcheapsubscriptions.

‘Wheels is amagazinewithanarrow,extremely dedicated target group thatmeets several times a year and enjoys afantasticcommunityfeeling.Thecombina-tion of a burning passion and a meetingculture oftenprovides theperfect cocktailforagreateventwherereadersreturnyearafteryear,’hesays.

CONNECTING BY KARAOKETheshipcutssilentlythroughtheiceonthecold February night in the waters aroundStockholm.Theicysilenceisamarkedcon-trast with the events taking place inside,where Brylcreem, chequered shirts andhotrodsvieforattentionwithdressesthatcouldhavebeenpluckedstraightoutoftheTVseriesMadMen.

ThenameMSCinderella isalsosome-thingofananomalyforashiphostinganevent for one of the most testosterone-heavyEgmontTidskriftermagazines.How-

ever, behind the wheel, so to speak, sitsfemaleeditor-in-chief,MiaNorberg,nowinherfifthyear.Norberghashadtocomeupwithherownwayofmakingthemagazineunique in a Swedish niche market withno fewer than three different magazinesdevotedtoAmericancars.

The22hoursaboardMSCinderellaareallpartofMia’s strategy. ‘In thecourseoftheeveningImeetlotsofreadersaswellasafewpotentialnewones.IftheythinkI’mcool,humorousandknowsomethingaboutvintage cars, they’ll goback to their clubsand tell themallabout theevent.Eachofthemhasperhaps40friends,whopassthemessageontotheirfriends.Soit’snothardtoworkoutwhichmagazinethey’llchooseto buy next time,’ says Mia. This also ex-plainswhyshehappilyplayshosttothebigkaraokecompetitionlaterintheevening.

The winner was not priest Jerker Al-stedlund, who has been aboard the lastfouryeartomarrycouplesinterestedinan

FACTSEgmont Tidskrifter is Sweden’sfourth-largestmagazinepublisher

Lastyearthevariouseventsenabled38,345EgmontTidskrifterreaderstomeetinperson.

In2012theconceptdepartmentwillorganise 65 events over and abovetheMSCinderellacruise.

ThecruiseshipisleasedfromVikingLine,whichconfirmsthattheWheelscruise is the activity that generatedtheyear’ssecond-highestturnoverinthebarandtax-freearea.

Other Egmont Tidskrifter Konceptevents• Grand Travel Award – the travel

industry’sOscar-forTravelNews• FellpartyforUteMagasinet(out-

doormagazine)• GolfDigestTrophy• King’s100Mightiest• Reader trips with Classic Motors

tothevintagecarfairinPadova.

ocean-goingceremony–atestimonytothestrongsenseofcommunityamongthecarenthusiasts andapossible explanation fortheevent’ssuccess.Jerker,himselfaChrys-lerowner,isahugeWheelsfan.

The next morning, the cruiser headsback to Stockholm. On board, guestseyeball the cars, recover in the spa area,buyhugequantitiesoftax-freeandwatchAmericanGraffitiintheship’scinema.Withrevenue in excess of SEK 500,000 in 22hours, it will not be the last time Wheelsreadersaregiventhechancetoenjoyaminicruiseineachother’scompany.▀

SEE MOREView pictures and videos from the cruise in eCopy.

Johan Sandholm, Manager at Egmont Tidskrifter Koncept

Mia Norberg, Editor-in-chief at Wheels Magazine

In the course of the evening I meet lots of

readers as well as a few potential new ones.

If they think I’m cool, humorous and know

something about vintage cars, they’ll go back to

their clubs and tell them all about Wheels.

22

THE POLAR BEAR

throws itself into live entertainment

NORDISK FILM HAS PRODUCED FILMS SINCE BACK IN 1906, BUT STANDS TODAY AS A DYNAMIC NORDIC ENTERTAINMENT COMPANY THAT

CONSTANTLY SEEKS OUT NEW, INTERESTING BUSINESS OPPORTUNITIES IN QUALITY ENTERTAINMENT WITH BROAD POPULAR APPEAL. IN FEBRUARY

2012 NORDISK FILM UNVEILED ITS FIRST-EVER LIVE PRODUCTION, HEY JUDE, THUS INAUGURATING A NEW BUSINESS AREA, NF LIVE.

ByIreneBrandt

Qualitypopularentertainmenthasalwaysbeenthehallmarkof productions from Nordisk Film, which has producedfilmsandTVprogrammesformanyyears.Thepolarbear

hasnowsetitssightsonanotherentertainmentrealm,liveproduc-tions.AccordingtoManagingDirectorAllanHansen,NordiskFilmhas todepart from its traditional imageasa companyexclusivelydedicated to films and cinemas: ‘Nordisk Film is an entertain-ment company in the broad sense, and it’s natural for us toscoutoutbusinessopportunitiesthatletusemploythespecialexpertisewecommandinareaslikerightsmanagement, commercial insight,marketknow-howandaudienceunderstanding as well as ourgeneralsellingandmarketingexperience. In short:we cangetpeopleintothecinemas,andwecanalsounitegoodart with commercial busi-nessoperations.’

The idea is to combineNordiskFilm’sexperienceandexpertise with the finest livetheatre has to offer, therebycreating the potential for bothcommercially andartistically suc-cessful productions. Allan Hansencontinues:‘WehopeNFLivewillgiveguests a memorable live experience aswell as attract new target audiences. Webelievesuccessbreedssuccessandthatanew

commercialplayerontheNordicliveentertainmentscenecanonlymotivateaudiencestogooutevenmore.’

LIVE BLOCKBUSTERSAllanHansenrecentlyhiredtheformergeneralmanagerofSandrewMetronomeDistribution,FrederikJuul,tospearheadthenewbusi-nessareaknownasNFLive.Frederik’sjobistosecuretherightliveentertainmentprojectsandpartnersforNordiskFilm,preferablyinvariousgenres.

Thefirstliveventureisa“theatrecon-cert”, Hey Jude, launched to great

fanfare in February and due topremiere at Christmas 2012.

Based on the vast catalogueofBeatlessongs,thetheatreconcertwillbethebiggesttodateinDenmark,playinginForum, Copenhagen, to acapacityaudienceof4,200nightly. Frederik Juul callsit “a theatre blockbuster”and elaborates: ‘If there’s

one genre that’s proved itsworth in Denmark in recent

years, it’s the theatre concert.It has broad appeal and reaches

audiences that wouldn’t normallyclassify themselves as theatre-goers.

On the other hand, the Hey Jude audi-encehasaspecial relationship to theartists

23

concerned. Our Hey Jude debut truly manifestsour ambitions for NF Live: to unite high artisticqualitywithbroadappeal.Wetakeanimmortalname like The Beatles and revitalise it with themost talented theatre concertperformersandastrongcast.It’ssuretobeamazing!’

AMBITION AND HUMILITYFrederik Juul has taken on NF Live’s first majorproject with a tremendously ambitious yet su-premelyhumblespirit.Heiskeenlyawareoftheresponsibility that comes from standing on the shoulders of themega-successful Come Together, Denmark’s first theatre concert,which sold 160,000 tickets, and from generally working withBeatlesmusic,aboutwhicheveryonehasanopinion:‘Wehaveto

WHAT IS NF LIVE?

NF Live is the name of the new business area, headed by Frederik Juul, intended to explore and realise the business potential for live entertainment in Denmark. The idea is to exploit Nordisk Film’s ex-isting experience and expertise – market know-how, audience understanding and commercial insight – and establish partnerships with the greatest talents in live entertainment.

Allan Hansen has hired Frederik Juul to head up NF Live and build a live entertainment business. The goal is to produce major, money-making shows with broad popular appeal and high ar-tistic quality. The productions must additionally have the potential to succeed beyond Denmark’s borders.

selllargenumbersofticketswithintheshortspanoftheshow’srun,butIbelievewehavewhatittakes to succeed and thus prepare the way for

newprojects,ofwhichwehopetoproducetwoorthreeannuallywithinafewyears.First, though,we’re lookingforwardtogivingaudiencesahigh-octaneexperiencewithHey Jude,’concludesFre-derikJuul.▀

Director Nikolaj Cederholm (fourth from left) has invented the ‘theatre concert’ and works with the Hellemann brothers, Jens and Peter, conductor and performer, respectively (far left and right). The show’s star-spangled cast includes rock singer Pernille Rosendahl (second from right) and vocally gifted actors Troels Lyby (seated), Cecilie Stenspil and Laus Høybye.

WHAT IS A THEATRE CONCERT?

The theatre concert genre is a Danish phenomenon that has been around for 15 years. Nordisk Film’s goal is to create productions that can tour the Nordic region. A theatre concert is a staged concert where everything is performed and sung live.

HEY JUDE

Beatles music is the heart and soul of Hey Jude, a sequel to the theatre concert Come Together, which sold a resounding 160,00 tickets at Copenhagen’s Østre Gasværk. Hey Jude will be Den-mark’s largest theatre concert to date, attracting up to 4,200 guests nightly during its performance run from 28 December 2012 – 15 January 2013.

24

Cally Poplak, Managing Director , Egmont Press UK

Managing Director of EgmontPress,CallyPoplakelaborates,“what we’ve learned so far

has led us to ask three questions of ourdigitalprojects:howwecanbringplayandinteractivitytothereadingexperiencewithintegrity?Howwecaninvolvethereadersin the development of the story and stilldeliver quality? And how do broaden oureditorialandmarketingexpertisetoincludedigitalinallwedo?”

With these three questions in mind,BZRK was developed with Stephen King’sfavourite YA author, Michael Grant. Thistransmedia project started with an onlinealternaterealitygameinSeptember2011.It grew and evolved through social mediaanda‘hubsite’wentliveinJanuary2012.The iOS and Android app launched inmid-February.Theculminationofallofthisbuild-upwasthelaunchofthebookBZRKonFebruary28th.Chapteroneofthebookopens where the online experience ends.

Theboldexperimentwastellingitthroughagamewiththeparticipationofteenagers.

“There are four important things tonote about the project. First, the wholeworld, every plotline and every characterin digital and print, has been created byMichaelGrant,aprofessionalwriterskilledatcraftingagreatstory.Second,thedigitalpiece is all about play, whilst the book isabout good, old-fashioned reading andlosing yourself in the pages of a thrillingstory. Third, this came out of traditionalauthor-editor conversations about a great

ideaandhowtomakeitappealingtobooklovers and teenagers who prefer to findtheir stories online. Finally, the executionofthedigitalpieceisvital,butthesuccessof theproject isdown to thebrillianceofMichael’sstoryandwriting.It’saboutqual-itycontent,”saysCallyPoplak.▀

Today, every child in the UK has three Egmont books or magazines. We now look forward to seeing them

have our stories on all their digital devices, too.

WHAT IS BZRK?In the transmedia spirit, read more about BZRK in eCopy

AS THE PUBLISHER OF TOP AUTHORS FOR CHILDREN OF ALL AGES, EGMONT UK KNOWS HOW TO PUBLISH STORIES THAT CHILDREN LOVE, GENERATION AFTER GENERATION. NOW THOSE STORIES ARE BEING BROUGHT TO CHILDREN AND

THEIR PARENTS WHEREVER THEY ARE AND ON THEIR FAVOURITE DEVICES.

ByMikeRichards

Transmedia Storytelling in the UK

25

Literary fiction as a showcase

LINDHARDT OG RINGHOF IS CURRENTLY REVITALISING ITS LITERARY FIC-TION PUBLICATIONS, WITH PUBLISHING DIRECTOR HANS HENRIK SCHWAB LEADING THE INITIATIVE. HIS ROLE CALLS FOR ACUTE INTUITION AS WELL

AS THE COURAGE TO EXPERIMENT.

ByMieBachAndersen

LITERARY FICTION IS UNDER-GOING VARIOUS CHANGES. WHAT DOES THAT MEAN?

“The company’s attempts in recent yearsto focus on bestsellers floundered, theproblembeingthatsteeringtowardswhatsellstodayistantamounttorelyingonthetopsellersofyesterday.Thiscanbeacostlyapproach, because it means buying whatpeople think will become a hit. We havetherefore decided to switch strategy to amore editorial form of management. Wearenowgoingtobemore innovativeandselect authors ourselves instead of buyingourwaytosuccess.“

IS IT A QUESTION OF GIVING LINDHARDT OG

RINGHOF A NEW PROFILE?“It’sablendofprofiling,positioningandin-vestinginthefuture.LindhardtogRinghofwouldlikesomemoregoodwillfrombook-sellersandreviewers.Danishauthorswanttorubshoulderswithothergiftedwriters,andpublishinghigh-qualitybooksisalsoawayofattractingthenewauthorswhomayonedaybethenextbestsellers.

Wehavetomakewayfornewthinking,and poets and first-time authors are partof our innovation project. We could havesettled for publishing our poetry antholo-giesdigitally,buthavedeliberatelychosenthe print route as a means of positioning

NEW APPROACHES TO LITERARY FICTION DEBUT AUTHORS Detective fiction genre deconstructed in the debate book Dette er ikke en krimi

Poetry

Lyrics, spoken word, rap and short story competitions

Sophisticated e-books with readings by the authors

andprofilingthecompany.Thisavenuealsooffers prospects for the future, becauseauthorsoftenoptforshortformatsearlyintheircareers.Suchwriterscandevelopintomajor,wide-reachingauthors.“

DOES THAT MEAN THE BESTSELLER IS DEAD?

“Wehaven’tbecomeanarrownichepub-lisher overnight or dropped any specificgenres.Westillpublishdetectivefiction,forexample,butsetcertainqualitystandards.Writers should resist simply following theformulas that produced last year’s trends.We want to predict the next wave, and Ithink debut author Morten Kærså will beriding it. He has written Den uskyldige morder, tackling the detective novel fromanoriginalangleandmixingrealitywithfic-tion. Another example is first-time authorNannaGoul,whohaswrittenacontempo-rarynovel,Privat Skov,whichcombinesele-

mentsofhumourwithasinistertwistà laLarsvonTrier.Debutwritersshouldbreathenew life into the written word, an idealthatbothauthorsachieveintheirindividualways.“

WHAT REPERCUSSIONS DO THESE CHANGES HAVE

FOR THE REST OF LINDHARDT OG RINGHOF?

“Despite our focus on innovation, werespect our responsibility to make theseinnovations profitable. Literary fiction hasalwaysbeenreviewedandattractedmediaattention more easily than other genres.This is why we should use literary fictionas a showcase – we need to spotlightLindhardt og Ringhof, occupy space innewspaper columns and make our nameunmissableinshops,allforthepurposeofattractingnewauthorswhowehopewilldevelopintobestsellers.”▀

Hans Henrik Schwab, Publishing Director at Lindhardt og Ringhof

26

Bold decisions in Turkey

‘Wehavetakensomeseriousstepstoreversethenega-tive sales trend seen in

magazines. Five low-performing children’smagazines were discontinued, and themagazine portfolio is being refreshed,“tellsManagingDirectorofDoganEgmontGülgünÇarkoğlu.Andnewmagazinessuchas Dream You, Monster High,GenaratorRex, Animal Planet and Let’s Discover hasbeenlaunched.

‘The fact that we have grown in thefiction categorygives us abig advantage,as it partially compensates for thedeclineinthemagazinesegment.Wearefocusingonourbest-performingproductcategoriesandcontinue to invest in youngadultfic-tionundertheDEXimprint.Wearekeepingthenumberofnewtitlestoaminimumanddelisting low-performing titles to achievemore targeted marketing and sales. Opti-misingourstocklevelwillfurtherminimisepotentialrisks.’

DOGAN EGMONTFounded in 1996

Staff count: 89

Key business areas are:- magazines for kids- books for kids, teens and adults

Key licences in Dogan Egmont are Disney, Mattel, Nickelodeon, Kanal D, Turner, Sanrio

Holds a 42 % market share in children’s magazines.

Children’s magazines and picture books make up Dogan Egmont’s core business, and in the last five years the novelty and middle-grade fiction categories have grown signifi-cantly. The subsequent acquisition of Dogan Kitap in 2007 strengthened the book port-folio for adults.

Managing Director of Dogan Egmont, Gülgün Çarkoğlu.

structuralchangesinthecompanybycon-solidatingthesalesandmarketingdepart-mentsofDoganKitapandDoganEgmontandevaluatingprocesses to increasecom-panyefficiency,’saysGülgün.

Bold steps were taken to eliminate1000 kiosks whose sales were marginaland instead focus on distributing moremagazines with higher sales and biggerpotential.Another initiative addressed thetraditional way that children’s magazinesare displayed on the lower shelves of ki-osks. Gülgün explains: ‘We convinced thedistribution company that, although dif-ficult toestablish, a verticaldisplaywouldimpactsalespositively.Truetoexpectations,returnratesdecreasedfivepointswithoutadropinsales.’

Infuture,DoganEgmontwillfocusondevelopingitscorebusinessandimprovingsales in chain stores while keeping returnratesstable.▀

BOLD DECISIONS‘Inordertogrowfurther,wealsoneedtolookinwardsandoptimiseourbusinessin-ternally,’Gülgünsays.InSeptember2011,Dogan Egmont formed a small in-houseteamtaskedwithconductingvarioussalesand distribution analyses jointly with adistributionagent.‘Wehavealreadymade

IN SPITE OF A HIGH MARKET SHARE IN TURKEY, PROFITABILITY RATES FOR CHILDREN’S MAGAZINES HAS DROPPED DUE TO A FRAGMENTED MARKET AND HIGH AVERAGE RETURN RATES. THE ANSWERS TO THIS CHALLENGE ARE ‘MORE

BOOKS’ AND SOME BOLD DESCISIONS.

ByMariaAlstedJunget

26

27

A New Business for Cover Mounts

WITH COVER MOUNTS PLAYING SUCH A BIG ROLE AT THE HEART OF EGMONT KIDS MEDIA, A NEW ORGANISATION WAS FORMED

IN DECEMBER 2011, KIDS MEDIA SOURCING, TO TAKE THE BEST OF OUR BUSINESS TODAY AND FIND NEW WAYS TO WORK TOGETHER TO IMPROVE THE WAY KIDS

MEDIA PRODUCE THESE MAGAZINE MUST-HAVES.

ByReetaBhatiani

Hardcopy spoke to ManagingDirectorofSourcing,KerrieCulffand Jacek Beldowski, Regional

ManagerofCEEtofindouthowthisneworganisationisgoingtorevitaliseakeypartofourbusiness.

COVER MOUNTS – A COMPLEX BUSINESS

‘The sheernumbers involved inproducingcover mounts, together with challengesfrom recent changes in legislation havemade it more complex and costly to pro-ducethem,’KerrieCulffsays.“ThepurposeofsettingupKidsMediaSourcingistofindmoreeffectivewaystocreatemountsthatmakeourproductsevenmoreattractivetoourconsumersthantheyaretoday.’

ThefirststepstoachievingthataimareinvolvingEgmontpeople.

muchexcellentfeedbackand inputatthisearlystagebutwe’rerealisticthatwecan’tpromise miracles overnight,’ she says andcontinues,‘asJaceksaid,we’refocusingonsomekeyareasincludingthedevelopmentof a shared supplier pool which will giveusbettercontrolofour supplychain,andsafety. We’re also developing a fully inte-gratedsourcingstructurewhichmeansthatwewillhavesharedsystemsandprocesses,clearrolesandresponsibilitiesfrombothadivisionalandlocalperspective,atranspar-entbudgetingprocessandaclearwayofcommunicating.’

BRINGING TOGETHER THE RIGHT TALENTS AND SKILLS

We ask Kerrie how she would sum upthebenefits thatKidsMediaSourcingwillbring to the division and her response is:‘The highlights are a central, global covermount business that is creative, produc-tive, safer and also much better value formoney.But the thing I’m looking forwardtomostisbringingtogetherthemanytal-entsandskillsofourpeopletocreateanewteam.’▀

Kerrie Culff, Manag-ing Director of Egmont Kids Media Sourcing

27

‘I have visited all the territories withsourcing teams to meet everyone andspendtimeingettingtoknowthebusinessand the markets.Wehavemany talentedpeople in Egmont, with a great deal ofknowledge,soit’simportanttocaptureanduseasmuchofthisaspossibletobuildtheSourcingorganisation,’statesKerrie.

Jacek Beldowski adds: ‘With any neworganisation there’s a lot to be done andwe’rerisingtothechallengeofrevitalisingourcorebusinessbyfocusingonimprovingproduct innovation, building a frameworkfordevelopingandsharingideasforprod-ucts,makingsavingsonco-productionandlearningbestpractices.’

Kids Media Sourcing has bold plansfor the futurebutKerrie is very clear thattheir ambitions are firmly rooted in arealistic view of priorities. “We’ve had so

27

Jacek Beldowski, Regional Manager of Central and East-ern Europe

Egmont pro-duces 130 million individual magazine cover mounts at a cost in excess of 30 million euros every year. They are a major part of our business and vital in making our magazines attractive to readers.

28

The TV mini-series Millennium, based on the successful Stieg Larsson trilogy, was awarded an Emmy for Best TV Movie/Mini-series.

The SKUP award is the Norwegian press award for excellent investigative journalism. In 2011 the award went to TV 2 Norway’s Asbjørn Øyhovden and Olav T. Vold for their documentaries about neglect of the elderly, Eldrebløffen.

Lars von Trier’s Melan-cholia received the main award at the European Film Awards. The National Society of Film Critics also gave the film two awards: Best Picture of the Year 2011 and Best Actress, which went to Kirsten Dunst for her lead role in the film.

Melancholia also garnered nine ‘Robert’ awards, including best screenplay, best leading actress, best director and the evening’s main award, best Danish film of the year.

In Cannes Kirsten Dunst also won the prize for best female lead for her role in Melancholia.

The Egmont Hjemmet Mortensen website Klikk.no won two awards, for Niche Website of the Year and Mobile Website of the Year at the Media Awards in Bergen. Klikk.no also won the golden ‘Gulltaggen 2011’ award for best search strategy of the year. Gulltaggen 2011 is a Norwegian internet award.

TV 2 Sumo also won an award at the Media Awards in Bergen, the most coveted

of web awards, Website of the Year.

28

Abundance of awardsin 2011

29

Dean & DeLuca De Luxe

Der må ikke være for meget visuel støj i et hjem, boligen skal være smuk i sig selv, mener Den berømte gourmetkøbmanD bag gourmetcafeerne Dean & Deluca. i hans ultracool newyorkerloft får Den minimalistiske og inDustrielle stil moD-spil af farver, personligheD og giorgio Delucas fornemmelse for blikfang.

af Pernille Vest tekst Karin GråbæK foto Heidi lerKenfeldt

46 RUM | 03 marts 2010

rum03_2010_dean_and_deluca.indd 46 05/02/10 17:03:33

OPHOldsrUM | De store vinduer er kunststykker i sig selv. og med tre forskellige sofaborde og sofaer dækket med hvidt lærred har giorgio Deluca skabt personlig og uhøjtidelig loungestemning. han beskriver sig selv som en langsom læsehest, der elsker bøger, som derfor får lov at brede sig mange steder i hjemmet. gerne stablet i store stakke med lidt overraskende placeringer. til venstre står en mies van der rohe-daybed, som Deluca ironisk kalder sit trofæmøbel ...– Der er aldrig nogen, der sidder i den. men den reflekte-rer min gode smag.

03 marts 2010 | RUM 47

BOLIGnew yoRk

rum03_2010_dean_and_deluca.indd 47 05/02/10 17:03:42

Det er få idrettsutøvere som er breiere i kjeften enn Petter Northug. Men det skal hanha; Petter er like storkjefta uansett om det går bra eller dårlig. Mye av stoffet i Vi Mennhandler også om det å tørre, og mot ut over det vanlige. Enten det er snakk om norske soldater i strid, Jarle Andhøys polekspedisjoner eller Johnny Haglunds vågestykker. Derfor liker vi heller ikke at folk forsøker å forandre Petter, å gjøre han mindre macho og mer forsiktig. Da vil vi heller sponse ham slik han er. La Petter være Petter. La menn være menn.

DET ER IKKE

UTEN GRUNN AT DET ER

NORTHUG VI SPONSER

The house-and-home magazine ROM 123, published by Egmont Hjemmet Mortensen, was rewarded with the prize for most desirable magazine of the year at the 2011 Media Award ceremony in Bergen.

The Norwegian men’s magazine Vi Menn won the award for ‘Campaign of the Year’ at the award show organised by the Norwegian association for sponsors and events. Vi Menn sponsors the popular Norwgian cross country skier Petter Northug.

Susanne Bier’s In a Better World won an Oscar, a Golden Globe and a European film award. Susanne Bier herself was also named best director of the year at the European Film Awards in Berlin for the same film.

RUM won a prize at the Danish magazine design competition held by Society of Magazine Designers in Denmark (MDID), for ‘Best home feature story’.

Dirch brought home two ‘Robert’ awards, with Nikolaj Lie Kaas winning the award for best actor while Lars Ranthe was named best supporting actor.

Giles Andreae's World of Happy series won the gold award at the Practical Parenting and Pregnancy Awards 2011/2012. World of Happy is a brand under Egmont Press.

29

The magazine Foreldre & Barn (Parenting and Children) won the award for 'Maga-zine Photo of the Year' at the Norwegian Media Awards.

3030

Egmont Ehapa received a Disney Quality Award. Marking 60 years of fruitful coopera-tion, the Disney award was presented during the annual Disney Consumer Products Licensee Meeting.

Egmont Bulgaria was named publishing company of the year 2011 at the Bulgarian Fantasy and Horror Club’s 11 annual ceremony. On the same occasion fans nominated Egmont Bulgaria as ‘publisher of the decade’.

36 EUROMAN FEBRUAR 2010 FEBRUAR 2010 EUROMAN 37

er klokken, og flyet mod Bergen er sat til afgang 15.50. Foran gate C10 i Københavns Lufthavn er der kun en køleskabsbrummen-de, ensom lyd. Før var rækkerne af blå vente-stole fyldt med nordmænd på vej hjem. I ind-købsposer, selvtilstrækkelige ansigtsudtryk og mærkevarevinterfrakker. Nordmænd er regel-rette mennesker og derfor for længst gået om bord. Men der mangler stadig én passager.

”Jeg er i lufthavnen, jeg er lige kommet. Hvad? Var det ikke noget med afgang 17.10? Nu, siger du? Jamen … så … jeg prøver at nå det,” siger han i mobilen, da han bliver rin-get op.

Med løftede øjne står en SAS-steward med grå reklametindinger bag boarding-pas-skranken og kigger på computerskær-men. Stewarden smiler så roligt, at han må have været på kursus i det. ”Nej,” siger han. ”Nikolaj Lie Kaas er ikke tjekket ind. Det er derfor, han ikke er blevet kaldt over højttale-ren. Ja, man har godt nok hørt noget om, at

de der kunstnere kan være lidt forvirrede,” siger han og fortsætter uden et øjeblik at skif-te toneleje: ”Du må hellere gå ind, hvis du vil nå det.”

Klokken 15.54 er det ham der ringer.”Hvad gate?” råber hans forpustede stemme.”C10, men jeg tror ikke, du kan …”Resten af sætningen drukner i jetmotorer-

nes larm. Flyet bevæger sig væk fra gaten og ud på startbanen. Mobilerne skal slukkes. Lidt efter rasler alt i kabinen, da flyet møder sit point of no return. Vi er i luften. Uden ham.

ÅR TIDLIGERE ligger han foran pejsen i det store hus på Risum Allé i Rødovre, hvor han bor alene med sin mor. Som så ofte før befin-der han sig i sin egen verden, en drømme-nus-le-nørkle-lege-verden, ingen andre rigtig har adgang til. Han elsker lyde og at gå rundt med sin kassettebåndoptager og optage alverdens mærkelige ting. Han strikker de mange lydef-fekter sammen til små fortællinger, radiotea-terstykker, dramaer, krimier, og han laver selv

alle stemmerne. Når noget skal lyde, som om det bliver smadret, smider han en af ovnens bageplader på gulvet og optager det.

Nu ligger han foran pejsen, fordi han skal bruge lyden af knitrende ild til en af sine kompositioner. Men det er midt i 80’erne, og der er mange tekniske begrænsninger, når man gerne vil lave flere lyde på samme tid. Derfor har han lavet et sindrigt snoretræks-system gennem hele huset. Fra stuen og ind på værelset løber snoren hen over loftet. For enden af snoren er der en tung kugle. Når han trækker i snoren, rammer kuglen optageknap-pen på kassettebåndoptageren.

Nogle gange optager han også sig selv, når han går rundt og trommer. Han vil gerne være trommeslager, have sit eget trommesæt. På sin seng inde på sit værelse har han lavet en speciel opsætning af puder, som skal gøre det ud for trommer, og dem hamrer han løs på. Han slår rytmer på alt, på radioen, fjernsy-net, på møblerne, og moren siger, at hun ikke kan forstå, at han vil det, for så skal man jo sidde deromme bagved. Først mange år sene-re spekulerer han på, hvad hun mon mente med det, for hun har aldrig ansporet ham til at optræde og gå ind i det, hun kalder ’afdelin-gen for balalajka’. >S

TYLI

NG

FR

ED

ER

IK A

ND

ER

SE

N G

RO

OM

ING

LA

SS

E P

ED

ER

SE

N/U

NIQ

UE

LO

OK

FO

TOA

SS

. KIM

/TH

E L

AB

STU

DIE

TH

E L

AB

BIL

LED

BEH

AN

DLI

NG

WE

TOU

CH

G

RA

FIK

RO

LAN

D&

EH

LER

S

RU

LLE

KR

AvE

BR

UU

NS

BA

zA

AR

TIL

799

KR

. Læ

DER

jAK

KK

E B

zR

TIL

1.9

99 K

R B

UK

SER

WH

yR

ED

TIL

1.0

00 K

R.

STø

vLE

R W

Hy

RE

D T

IL 2

.200

KR

. U

R I

WC

PIL

OT

CLA

SS

IC C

HR

ON

OG

RA

PH

TIL

29.

700

KR

. HO

S O

LE M

ATH

IES

EN.

In 2011 the newly established association, Society of Magazine Designers in Denmark (MDID) held its first Danish magazine design competition, crowning Euroman for ‘Best magazine cover’ and ‘Best story of the year.’

Clown - The Movie won the ‘Robert’ audience prize, and at the Zulu Awards, Frank Hvam was named best actor of the year. Marcuz Jess Petersen won the award for best supporting Danish actor of the year, and Mikkel Nørgaard received the award for best Danish film of 2011. Clown – The Movie also won the Cheval Noir award at the Fantasia International Film Festival in Montreal as well as the prizes for best film and best screenplay in the genre category ‘Gutbuster comedy feature’ at the acclaimed genre film festival Fantastic Fest.

Jan Lehman received an honorary ‘Robert’ award. Jan Lehman, who has worked for Nordisk Film for over 30 years, usually plays a discreet background role, making sure others are seen. However, at the Robert awards ceremony 2011 Jan Lehmann had his turn in the limelight, receiving the tribute bestowed through the Honorary Robert award.

The reviewer-acclaimed feature film R collected eight Danish ‘Robert’ awards and three ‘Bodil’ statues.

Authors from the Cappelen Damm stable won three of a possible five Brage awards at the annual awards ceremony in November.

Kolbein Falkeid, who has been with Cappelen Damm since 1962, was awarde with an honorary award for his career.

In the category ’best book for children or young adults,’ Inga Sætre won with the book Fallteknikk.

In the category ’best non-fiction’ Simen Ekern won with the book Rome. Three other Cappelen Damm authors were also nominated.

3131

K I D S M E D I AE G M O N T

25 %N O R D I S K F I L M

E G M O N T

22 %

27 %*T V 2

M A G A Z I N E SE G M O N T

18 %

B O O K SE G M O N T

8 %

The egmonT WorldSHARE OF REVENUE GENERATED BY EACH BUSINESS AREA

every year more than 50 % OF all nOrdic peOple buy an egmont productegmont’s employees speak 22 diFFerenT

lanGUaGeS in OVer 30 cOUnTrieS 6.400 employees

38 % are between 35 and 45 years old

27 % have been employed for more than 11 years 44 % have been employed for less than five years64 % have a higher education

90 % would recommend egmont to others

59 % are women

94 % are satisfied or very satisfiedwith their job

Since 1920 the egmont Foundation has granted almost eUr 250 M

in support for charitable causes That corresponds to more than

eUr 1,000 for each employee

In 2011 eUr 7 M of egmont’s profit will be channelled into the

egmont Foundation to improve the lives of children and young people

0-5YEARS

11-YEARS

Twilight Breaking Dawn Part 1 sold 1,350,000 CInemA TICKeTS

egmont has published hjemmet for 100 YeArS in norway

egmont publishes over 100 dIFFerenT mAgAZIneS And WeeKlIeS

By the time you finish reading this sentence, egmont will have sold 100 mAgAZIneS

every day egmont sells 219,178 BooKS the world over

on launch day, 50,000 users logged in to Cappelen damm’s sales channel for e-books, digitalbok.n

29 neW dIgITAl leArnIng medIA will be launched in denmark in 2012

TV 2’s nyhetskanalen broadcast 56 hoUrS And 11 mInUTeS of non-stop news coverage after the terrorist attacks in oslo on 22 July

1,611,000 norWegIAnS tuned into the world cup handball final for women in december 2011, setting a TV viewer record for TV 2

60% oF norWegIAnS oVer 15 daily watch TV 2’s main channel in norway

With over 1 million weekly readers, egmont is the World’S lArgeST ComICS ProdUCer

egmont has worked with disney SInCe 1948

egmont sells 9 oUT oF eVerY 10 ComICS bought in Scandinavia

N

EW

S

0340

320

300

280

260

240

220

200 180160

140

120100

8060

40

20

K e Y F I g U r e S

CommerCIAl TV STATIon In norWAY

#1 mAgAZIne PUBlISher

In norWAY #1 ComICS PUBlISher

In ChInA #1 ChIldren’S

PUBlISher In germAnY, PolAnd, rUSSIA And TUrKeY

#1 FIlm ProdUCer In The nordIC regIon#1

CInemA ChAIn In denmArK#1

ChIldren’S PUBlISher In The nordIC CoUnTrIeS#1

#1 SChool BooK PUBlISher In norWAY And denmArK

#1 ConSole dISTrIBUTor In The nordIC CoUnTrIeS #2 BooK PUBlISher

In denmArK

#2 mAgAZIne PUBlISher In denmArK

#1 BooK PUBlISher In norWAY

egmont is involved in one-ThIrd of all films produced in the nordic region

In 2011 over 300,000 PS3 ConSoleS were sold in the nordic region

* In 2011 egmont owned 50 % of TV 2, and only 50 % of the profit and revenue are included in the financial statements. The figures on the map show the distribution of revenue. for TV 2 as a wholly owned company.

K I n g

A l I n e A

S P o r T

B A r B I em A g A Z I n e

C A r l S e n

C A P P e l e nd A m m

T A n U ml I n d h A r d T

o g r I n g h o F

K l A S S e F e S T e n

d I r C h

T W I l I g h T B r e A K I n gd A W n P A r T 1

h o d e J e g e r n e

U n C h A r T e d 3

S U m o

Z e B r A

n Y h e T S K A n A l e n

B l I S S

A l T F o rd A m e r n e

h J e m m e T

K A m I l l e

B o n Y T T

m r . m e n

h A P P Y g o AT

d o n A l d d U C K W e e K lY

r A S m U S K l U m P

EUR MILLIONS 2011 2010

EgMONt NORdISk FILM

nordisk Film is the leading producer and di-

stributor of films in the nordic region and the

leading games distributor.

2011 (eUr mIllIonS)

reVenUe 334

oPerATIng ProFIT (eBIT) 11

emPloYeeS 1,403

tV 2

TV 2 focuses on news, entertainment and

sport, and is norway’s largest commercial TV

company.

2011 (eUr mIllIonS)

reVenUe 210


emPloYeeS 1,008

EgMONt MagazINES

With a range of over 100 titles, egmont maga-

zines ranks among the nordic region’s largest

publishers of weeklies and magazines.

(eUr mIllIonS)

reVenUe 296


emPloYeeS 1,251

EgMONt BOOkS

egmont Books comprises norway’s largest

book publisher, Cappelen damm, and

denmark’s second-largest publishing house,

lindhardt og ringhof.

(eUr mIllIonS)

reVenUe 146


emPloYeeS 1,088

EgMONt kIdS MEdIa

egmont Kids media publishes comics, maga-

zines and books to educate and entertain

children and young people in more than 30

countries.

(eUr mIllIonS)

reVenUe 395


emPloYeeS 1,475

reVenUe 1,386 1,423

oPerATIng ProFIT (eBIT) 88 82

ProFIT BeFore TAx (eBT) 94 75

eqUITY 506 461

emPloYeeS 6,400 6,500

ChArITABle grAnTS 7.4 6.7

Egmont_828x280_4S_RGB_UK_final.indd 1 21/03/12 12.05

32



E G M O N T

22 %

27 %*T V 2


18 %


8 %







59 % are women







0-5YEARS

11-YEARS














N

EW

S

0340

320

300

280

260

240

220

200 180160

140

120100

8060

40

20

K e Y F I g U r e S











In denmArK






K I n g

A l I n e A

S P o r T


C A r l S e n



o g r I n g h o F


d I r C h



U n C h A r T e d 3

S U m o

Z e B r A


B l I S S


h J e m m e T

K A m I l l e

B o n Y T T

m r . m e n

h A P P Y g o AT




EgMONt NORdISk FILM




2011 (eUr mIllIonS)

reVenUe 334


emPloYeeS 1,403

tV 2



company.

2011 (eUr mIllIonS)

reVenUe 210


emPloYeeS 1,008

EgMONt MagazINES




(eUr mIllIonS)

reVenUe 296


emPloYeeS 1,251

EgMONt BOOkS





(eUr mIllIonS)

reVenUe 146


emPloYeeS 1,088

EgMONt kIdS MEdIa




countries.

(eUr mIllIonS)

reVenUe 395


emPloYeeS 1,475

reVenUe 1,386 1,423



eqUITY 506 461




33



E G M O N T

22 %

27 %*T V 2


18 %


8 %







59 % are women







0-5YEARS

11-YEARS














N

EW

S

0340

320

300

280

260

240

220

200 180160

140

120100

8060

40

20

K e Y F I g U r e S











In denmArK






K I n g

A l I n e A

S P o r T


C A r l S e n



o g r I n g h o F


d I r C h



U n C h A r T e d 3

S U m o

Z e B r A


B l I S S


h J e m m e T

K A m I l l e

B o n Y T T

m r . m e n

h A P P Y g o AT




EgMONt NORdISk FILM




2011 (eUr mIllIonS)

reVenUe 334


emPloYeeS 1,403

tV 2



company.

2011 (eUr mIllIonS)

reVenUe 210


emPloYeeS 1,008

EgMONt MagazINES




(eUr mIllIonS)

reVenUe 296


emPloYeeS 1,251

EgMONt BOOkS





(eUr mIllIonS)

reVenUe 146


emPloYeeS 1,088

EgMONt kIdS MEdIa




countries.

(eUr mIllIonS)

reVenUe 395


emPloYeeS 1,475

reVenUe 1,386 1,423



eqUITY 506 461




34



E G M O N T

22 %

27 %*T V 2


18 %


8 %







59 % are women







0-5YEARS

11-YEARS














N

EW

S

0340

320

300

280

260

240

220

200 180160

140

120100

8060

40

20

K e Y F I g U r e S











In denmArK






K I n g

A l I n e A

S P o r T


C A r l S e n



o g r I n g h o F


d I r C h



U n C h A r T e d 3

S U m o

Z e B r A


B l I S S


h J e m m e T

K A m I l l e

B o n Y T T

m r . m e n

h A P P Y g o AT




EgMONt NORdISk FILM




2011 (eUr mIllIonS)

reVenUe 334


emPloYeeS 1,403

tV 2



company.

2011 (eUr mIllIonS)

reVenUe 210


emPloYeeS 1,008

EgMONt MagazINES




(eUr mIllIonS)

reVenUe 296


emPloYeeS 1,251

EgMONt BOOkS





(eUr mIllIonS)

reVenUe 146


emPloYeeS 1,088

EgMONt kIdS MEdIa




countries.

(eUr mIllIonS)

reVenUe 395


emPloYeeS 1,475

reVenUe 1,386 1,423



eqUITY 506 461




35

The year in review …

HOW WOULD YOU DESCRIBE

2011?

t u

WHAT WAS THE GREATEST CHALLENGE?

t u

WHAT ARE YOUR

EXPEC TA TIONS FOR 2012?

t u

The year brought many highlights to be proud of.Nordisk Film Production won eight ‘Robert’ awardsfor the featurefilmR, andSusanneBier’s In a Better WorldwonanOscarandaGoldenGlobe.Manyofourproductions also won favour with local Scandinavianaudiences, with Klassefesten, Dirch and Headhunterseachsellingoverhalfamilliontickets.Wemanagedtomobilise all our expertiseacross theorganisationandendedtheyearwithahealthyprofit.

Theseare timesof changingmarket conditions. Last yearwe saw a serious drop in the sales of physical DVDs be-causeconsumersareshowingagrowingtendencytobuydigitalmediaonthenet.Foronething,thismeanswehavegearedourdistributionorganisationtothenewreality.Wehavealreadymadegoodprogressintermsofadaptingourbusinesstothenewdigitalworld,andhaveestablishedour-selvesasamarketleaderintheNordic‘videoondemand’sector.

Thekeytosuccessliesinallthepassionateandcommit-tedeffortsthateachandeveryNordiskFilmemployeemakes throughout thecompanyeachandeveryday. Ibelievewehaveexcellentcardsinourhandin2012.

On thefilmsidewecan look forward to fantasticblockbustertitleslikeBreaking Dawn II, Hunger Games, Kon-tiki, A Royal Affair,anewfilmbySusanneBierandmany more. We have just launched a new handheldPlayStationconsole,VITA, forwhichwehavehighex-pectations. We also recently opened a spanking-newcinemainNæstvedandattheendoftheyearwewillmakeourfirstforayintotheliveentertainmentbusiness,withthelaunchofthelargesttheatreconcertever,Hey Jude.

2011wasayearofmajorreorganisationalchangefor Lindhardt og Ringhof in which we sketchedthe contours of the new company. A publishingcompanyhastoexciteandattractauthorsandstaffalike.It’salmosteasiertotellyouwhatwehaven’tchanged!Wehavemadethefewestorganisationalchanges in educational publishing, but then thestaff in thatareahave takenonagiganticdigitalproject.

Itgoeswithoutsayingthateliminatingalmost60jobsanddivestingthebookclubswaspain-ful.Fortunately,wewerealsoinapositiontohirenewpeopleandthusnowhaveastrong,competent publishing team. It is also gratify-ingtoseehowtheremainingemployeeshaverisen to the challenge and how quickly theirnewcolleagueshavebecomepartoftheteam.

Weaimtocreateanewpublishingculture,agoalthatposesaresource-intensivechallengewemustcontinuetotackleeveryday.Wehavetotrytobepatientandnotexpectresultsovernight,becausethisisgoingtobealonghaul.InthatsenseIseenodividinglinebetween2011and2012,becausewehavetoadjustthewaywedobusinesseverysingle day. Management is engaged in buildinganall-roundpublishingcompanywithapresenceinboththedigitalandtheprintworlds.Naturallywewant to see thedigital investmentsmadebytheeducationalpublishers takeoff in2012,andobviously we have to show that the company isdefinitivelyontrack.

Allan Hansen, Executive Vice President

Lars Boesgaard, Managing Director

Nordisk Film

Lindhardtog Ringhof

36

KidsMedia

Egmont Magazines

Frank Knau, Executive Vice President

Torsten Bjerre Rasmussen, Executive Vice President

The year in review … The year in review …


2011?

t u


t u

WHAT ARE YOUR


t u

In2011wedeliveredtheresultsexpectedandsawthefirst signs of digital revenue, generated by the Petziapp,whichwaslaunchedinApril.Wehavesuccessfullyrestructured our Scandinavian companies, and Den-mark,SwedenandNorwayhavealldoneevenbetterthanexpected.

To maintain the profitability of a declin-ingcorebusinessareawhileinvestinginnewdigitalinitiativesthatarenotyetgeneratingsubstantialrevenues.

Thenextyearwillbetougherthan2011.Weareexperienc-ingashiftinmediaconsumptionfromprinttomultipleme-diaplatforms.MagazinecirculationisalsounderpressureinEasternEurope,forexample,wheresalesfell15%involumecomparedwith lastyear.OurEasternEuropeancompaniesandEgmontUKarefeelingtheimpactofhavingtoadapttoshiftingconsumerhabitsinaharsheconomicclimate.

DespitethegoodresultsinGermanyandinScandinavia,meetingourbudgetsforKidsMediawillbeachallenge,andIappreciatethateveryoneisdoingtheirbest.Thekeypriori-tieswillbetosupportourcorebusinessaseffectivelyaspos-sibleandexplorenewmarketopportunities–byrevitalisingourmagazineandbookportfolioaswellaslaunchingnewdigitalproducts.Wewillcontinuetoworkonour‘must-win’battlesandimplementourstrategytomakeKidsMediathepreferred‘globalchildren'spublisherofthefuture’.

Egmont Magazines had an excellent year. Allcountriesperformedtoexpectation,and2011wastheyearthatSwedenmadearealcontributiontoearnings,recordingitsbestprofitinover20years.Wewerealsoblessedwithhighadvertisingsalesinallcountries,whichcompensatedforthedeclineinsalesofweeklymagazines.

Unfortunately,Iwillhavetogivethesameansweraslastyear.Thedecline intheweekliesmarket isunequivocallyourbig-gestchallenge,becauseitputsrelentlesspressureonearningswhiledemandingactionandfocusonthecostsidetoensurewekeepproducinggood results. I should alsomention theentiredigitalarea,wherewearemakingsignificantprogress,buttheroadtorecordingstrongearningsremainslong.

2012carriesgreateruncertaintythannormal.We can expect magazine sales to continuedropping,butcannotcountontheadvertisingmarket to compensate for the decline. So Ipredictatoughbutalsoanexcitingyear.Wealso have to decide finally about the futureofourprintingworks.Nomatterwhichsolu-tionwechoose,thedecisionwillbringmanychangesandalotofworkforlargepartsofthedivision in2012. Furthermore,weconstantlyassessacquisitionalopportunitiesinthedigitalsectorandtheSwedishmarket.Theremaybemany ways to grow, which is why we needto weigh our options all the time. But ourambitionsarehigh–andnotonlyinSweden.

37

TV 2 Group

Alf Hildrum, Managing Director


2011?

t u


t u

WHAT ARE YOUR


t u

2011 was another good year for the Cappelen Damm Group,which further consolidated its position in the Norwegian bookmarket. We achieved a profit margin (EBITDA) of 10% for thefirsttime,whichgivesusasolidplatformforpro-activeinitiativesin all publishing areas and scope to continue developing digitalinfrastructureanddigitalproducts,forboththeeducationsectorandthegeneralbookmarket.

Industrystatisticsfor2010issuedbytheNorwegianPublishersAssociationshowthatinthegeneralmarket,CappelenDammiscurrentlylargerthanAschehougandGyldendalcombined.In2010ourauthorswonthreeofapossiblefiveBrageawardsandnumer-ousotherprestigiousliteraryprizes.In2011CappelenDammsoldmorethan300titlestoforeignpublishinghousesfortranslation.

InDecemberCappelenDammacquiredHøyskoleforlaget.Theacquisitionofthetextbookpublisherhelpsestablishasolidplat-formforthefuturegrowthanddevelopmentofteachingmaterialstargetedatacademicandotherformsofhighereducation.

The total market for Norwegian e-books was estimated at26-27,000titlesin2011.CappelenDamm’swebsiteDigitalbok.nocapturedamarketshareofapproximately55%.Inotherwords,themarketsizeisstillmodest,butthingsarestartingtomove.

ThegreatestchallengeforCappelenDammandtheentireNorwegianbookindustry isdealingwiththeindustrystructureentailingfixedbookpricesandVATexemption.Theindustry system is under extreme politicalpressure.

As a whole, the market will show aslightdecline.Althoughdigitalproductrevenuewillincrease,itwillstillaccountforonlyasmallshareoftotalbookrev-enues.TheCappelenDammGroupwillfindithardtocompensateforthelossofTanum’sairportbookstoreatGarder-moen,whichARK/Gyldendaltookoverattheturnoftheyear.

Cappelen Damm

Tom Harald Jenssen, Managing Director

The year in review … The year in review …

2011wasasolidfinancialyearinwhichwerecordedourhighestoperatingprof-ittodate.Manyfactorsplayedaroleforthis satisfying result, including the sig-nificantgrowthgeneratedbyNorway’sbest media sales department and itsincreasedshareof theadvertisingmar-ket.Wealsoclinched importantagree-ments thatwillguaranteepayment forcontent, and have launched successfulnewinitiatives.Itisespeciallygratifyingthatourwebservice,Sumo,hasgrownstrongandbeennominatedwebsiteofthe year. Sumo is a good platform forthe digital battle in which we are cur-rentlylocked.Wehadarecord-breakingnumber of viewers, and broadcast theNorwegian TV programme with theyear’shighestviewerrating–theworldcuphandballfinalforwomenbetweenNorwayandFrance.

Theterroristattackon22Julywill leaveanindeliblemarkonNorwayandTV2.Webroadcast56hoursofnon-stopnewscoverage in themiddleof the traditionalholidayperiod.Thechaosofarmouredcars,grippingstories,distraughtfriendsandrelationspushedthelimitsofbothethicsandjournalism.Ourstaffdidanexceptionaljobunderthistremendouspressure.

Althoughweareplanningtorecordanothersuccessfulfinancialyear,weareunlikelytoreachtheheightsof2011.Thisyear’smainchal-lengewillbetobolsterourmainchannel,whichiswherewefacethetoughestcompetition.Atthesametimewehavetokeepupthepaceandcontinueadaptingourcontentfornewplatforms.Wenowrelyonsmartphonesandtabletstomanageourworkandleisure.Theyhelpuswitheverydaypracticalitiesandentertainus.Thehall-markofstrongmediahouses isthedeterminationandcapacitytochange.Iforecastsomesurprisesandhopetoretaintheabilitytoact.

3838

* Egmont’s digital revenues are growing. ‘More digital business’ means that in future we will further improve our digital publish-ing skills, generate more online transactions, create higher digital earnings from our brands and strengthen our customer relations as well as buying and developing new digital activities. Read more on the following pages.

39

Digitisation *

Somepeoplesitdownandask,'Whatisit?'butthechildasks,'WhatcanIdowithit?'Steve Jobs

39

40

Kids Media secures digital rights

KIDS MEDIA SECURES THE RIGHT DIGITAL RIGHTS TO THE WORLD'S STRONGEST CHILDREN'S BRANDS AND IS NOW WORKING TO CAPTURE THE STRATEGIC POSITION IT DESIRES IN THE COMIC MARKET AND THUS SATISFY

CONSUMERS’ MEDIA PREFERENCES.

ByMariaAlstedJunget

Peter Schrøder, Digital Director Kids Media

Egmont holds licences for strong brands such as Mattel, Warner, Hasbro and Disney, all of which are available on digital

platforms.

‘We bring stories to life’ –that’s how we make ourliving at Egmont. Kids

Media will now bring stories to life onnumerous platforms through independentapps and replica editions. ‘We’re launch-ingdigitalservicesanduniversesbasedonthe print editions so we can cement therightstrategicpositionnowandinfuture,’explainsPeterSchrøder,DigitalDirectoratKidsMedia.

Egmont Kids Media has a businessmodel for digital activities that seeks totransform existing core products andbrands as well as develop multiple plat-forms for thesamecontent. ‘Byprovidingseveral destinations for the samecontent,wecangiveourexistingconsumersatotalexperience and reach new customers viadigitalplatforms,’saysPeterSchrøder.

‘In2012weaimtolaunchmoredigitalservicesanduniversesbasedontheprintedproducts we already publish,’ he reveals.Digital apps for existing brands, Petzi orMickeyMouse,forexample,arealreadybig

favouriteswithourtargetgroups.AnothermodelusedbyKidsMediaconsistsofrep-licaeditionsofprintpublications.Areplicaeditionisaphysicalproductlauncheddigit-allywithnochangeofformat.Developingsuchsolutionsthusentailslittleriskorcost.‘Werecently launchedthecomicLunch inNorwaybasedonthisprinciple,’saysPeter.

Inthecomicsmarketthisapproachwillhelp Kids Media gain a strategic positionthat allows the company to develop itsbusinessinthelongtermandletsconsum-ersdictatethecommercialdirection.

If Peter Schrøder was to predict thefuture, he would envision a digital “Eg-

montcomicskiosk”whereallEgmontKidsMedia’s digital magazines and replica edi-tions could be found in one place. ‘Oncewestartpublishingourcomicsonavarietyofplatforms,thenextsteptowardssealingtherightstrategicpositionistomakesurewehavea single“Egmont comicskiosk”,thenconsumerswon’thavetolookinvari-ous places for their favourite products, astheydotoday.

‘Trends indicate that in the long runconsumers will prefer to customise theirown uniquely personal magazine. Bykeeping this ever in mind, we can alwaysbe where the consumer is,’ says PeterSchrøder.▀

40

41

They stream vampires, don’t they?

Facebookisnolongersimplyameet-ingplacebutaservicethatiseagertofulfilallyourdigitalneeds.Ifyou

want tosell something,bringoutagameorsendanemail,Facebookaimstobeyourpreferredpartner.

So too ifyouwant todistributefilms.Independent documentary makers havebeen there a while, but last year Ameri-can Facebook users were able to streamHarryPotter,InceptionandBatman.AndinNovember 2011, Nordisk Film launched aFacebookappenablingScandinavianuserstowatchTwilightfilmsintheirbrowserforDKK 39. Not cinematic quality, of course,but remarkably high picture quality none-theless. Project Manager Dimitri Danilukexplains:

‘The picture quality is fine and isadaptedtotheuser's internetconnection.The challenging part has been to get ahighlyadvancedappto interfacewith theFacebook platform and the pay system –three elements that require a fair amountoffine-tuning’.

Buthigh technicalquality isof courseonly one parameter. ‘Social TV’ – whereviewers socially interact with each otheraroundagivenprogramme–isoneofthehottest buzzwords of the moment. Manyviewers already sit on the sofa clutching

theirsmartphonesassocialnetworksflashonto the screen during major TV events.Seen in this light, Facebook is far morethanaconvenientdistributionplatform–itis also an arena crying out for the ‘socialfilm’experience.ViewerscansitbackandwatchTwilight infull screen,buttheycanalso discuss Bella’s unborn vampire babywith like-minded fansusingNordisk Film’sappiftheyfeellikeit.

‘It’s clear that Facebook, if anything,is geared to social interaction – that’swhereyour friendsandpeoplewhoshareyour interest are already! We gave usersthe chance to chat at the same time aswatchingthefilm,butobviously itcanbeexploitedfarmore,’explainsHeadofDigitalBusiness Development in Egmont Digital,MikkelWeider.

WHAT HAVE WE LEARNED?The technical side works, the fans are al-readythereandarehappytotalkabouttheproduct, but that does not automaticallytranslateintocreditcardsales.Initiallyonlyafewusershavegonethefulldistanceandpaidforaccess.MikkelWeiderusedafocusgrouptostudythetargetgroup’sattitudes:

‘The fact that Twilight fans had al-readyseenthefilmssomanytimeswasaclear obstacle. Then there was the added

combination of Facebook and payment,whichusersareunaccustomedto,andalsothe difficulty of youngsters without creditcards. Many expected the quality to bepoor and were quite surprised when weshowedthemtheproduct.’

Despitethelackofoverwhelminginter-est, streaming is clearly the future. Videoondemandisrumblingonthehorizonasamust-havesupplementtootherdistributionchannels, and an experimental approachis needed to understand the advantagesand disadvantages of the various models.MikkelWeiderconcludesthus:

‘This project has proved to be quitechallenging,so it’snotsomethingwe’llbeinvestingheavilyin,initscurrentform.Butitwon’tbethelastvideo-on-demandinitia-tivefromus.Othersareinthepipeline’.▀

NORDISK FILM ALLOWED VAMPIRE FANS TO STREAM THE TWILIGHT FILM VIA FACEBOOK. THE CONCLUSION: IT WORKS BUT IT TAKES A BIT OF GETTING USED TO.

ByJonasHeideSmith

Mikkel Weider, Head of Digital Business Develop-ment at Egmont Digital

Dimitri Daniluk, Junior Business Consultant at Egmont Digital Centre in Denmark

42

ment of personal debtors. The first-with-the-newsmaximcompels journalists tobeparticularlycriticalabouttheirsources. ‘Asanonlinemediumwecaneasilycopyfromothers,butwedon’twritearticlesbasedonspeculation,’Gunnarunderscores.

PARED TO THE BONEThe editor-in-chief joined Net-tavisenduringitstimeaspartofTV2from2003to2009.Hedescribes the latest de-velopments: ‘When wewere hived offfrom TV 2 in 2009 wedecided to cut downto the bone, droppingany- thing that wasn’t

relatedtothecorebusi-ness. At the same time

we worked hard to increaseour flexibility by trimming away

the management dimension.’ Thecompanymanagedtohalvecostswhile

trafficgrewandgrew.Today 55 staff remain, and no one

works exclusively with managementtasks. Gunnar Stavrum sits in the middleof itall–notshutaway inaglass-walledcorneroffice.Thisispartandparcelofthephilosophy. Everyone has an operationalrole to play. Journalist executives alsopublish articles. This also creates an apt

TheatmosphereatNettavisen’sdis-creetofficeintheGrønlanddistrictofOslo is hectic as its staffwork

freneticallytobethefirsttobreakthebig-gestnews,perhaps thesecond,butneverthethird.

‘As a reader you’re unlikely to noticewhether an article was published at 3.34or 3.39 PM, but for journalists timing iseverything,’explainseditor-in-chiefGunnarStavrum.

Nettavisen was created in 1996 withadvertising revenue as its only source ofincome. Some claim it is the world’s firstindependent digital newspaper. Since itsinception,thewebpublicationhasseenitsfairshareofacquisitions,divestments,upsand downs – mainly downs. Nonetheless,Nettavisenhasalwaysrallied.After16yearsofexistence,with1.4millionweeklyread-ersNettavisennowranksamongNorway’s10largestwebsitesandisalsothecoun-try’slargestpurelydigitalnewspaper.In2011thebusinessrecorded itsfirstprofits.

Journalistically, Net-tavisen has strived topositionitselfinspe-cific areas whereit could captureaniche.Ithasrunseries about religion, immigration, infra-structure and theNorwegian state’s treat-

-88mio. NOK

-34mio. NOK

2008 2009

How to earn money online

NETTAVISEN HAS GENERATED ITS FIRST PROFITS IN THESE GENERALLY DIFFICULT TIMES FOR NEWS MEDIA, THANKS TO ITS FAST-BREAKING

NEWS, SLIM ADMINISTRATIVE ORGANISATION AND STRONG INNOVATIVE DRIVE.

ByNielsAlmer

Gunnar Stavrum, editor-in-chief at Nettavisen

Christine Skansen, Sales Director at Nettavisen

Pål Nisja, Head of Business Development at Nettavisen

43

environmentfor short chains of

commandandrapidinnovation.

ADVERTISING SALESAsaresult,staff intheadvertisingdepart-ment can quickly produce customisedsolutions for key accounts, an approachthat has given Nettavisen a reputation inthe Norwegian business world for beingextremelysolutionoriented.

Sales Director Christine Skansen ex-plainshowNettavisentacklestheadvertis-ing market: ‘We’ve started working withbigger ads and bigger brands.’ Better tohave good relationships with a few largeadvertisers than with lots of small ones,seemstobethemotto.Forexample,Net-tavisenrecentlylaunchedaPepsiadtailoredto the content for women and men onPage2andPage3,respectively.

Goodtrafficfiguresandastrongsalesteam of both young and seasoned salespeople boosted advertising revenue fromNOK45millionin2010tooverNOK50mil-lionin2011.Thisyearthecompanyexpectsgrowth in advertising revenue above themarketaverage.

INNOVATIONAttheotherendoftheroomsitsPålNisja,Head of Business Development. Every daythedepartmentoperateslikeaproducttor-nado,whirlingupnew ideasonly todropthem shortly afterwards. The departmenthas launched100projectsoverfiveyears.Ofthem,20stillexist.ThebiggestsuccesswasasportsgameprojectwithNorskTip-

ping, a co-venturethat generated NOK 10

millioninrevenuelastyear.'Mittop-drag'wasthenameofanotherproject,thisone aimed to rival the Norwegian YellowPages,DeGuleSider,bymediatingcontactwithcraftsmenandotherservicesuppliers.

‘Ourmodusoperandiistoapproachex-istingcommercialplayersratherthancom-ingupwithallourownsolutions,’saysPålNisja.Hisdepartmentispreparedtoaxeanyproject that fails togenerateNOK50,000ofclearprofitaftersixmonths.

‘Ican’texplainwhysomethingisgood.Wecanonlyseethatitisbytestingandtry-ingoutdifferent concepts,which requiresgivingmanagementfreereintotryoutallsortsofideas,’Pålsays.

‘Everyweek1.4millionpeoplebrowsetheshoppingstreetthatwecallNettavisen.It’sourjobtoopenasmanyshopsaspos-sibleonthatstreet,butalsotoclosedownthosewithlowsales.’

The department’s lack of formal or-ganisationisalsoreflectedinitstitle,whichis merely specified as ‘Other revenue’. Itgenerates annual revenue amounting toNOK25millionandaimstoalmostdoubleitstargetby2014.

AndeventhoughPålandhis teamsitin their own section of the large office,theyalsolookattheeditorialcontentitself,which in future will offer mobile accessagainstpayment–particularlythecontentformenlocatedonPage3.

SOCIAL MEDIAGunnar Stavrum believes that generatingmore dialogue will be tomorrow’s taskfor Nettavisen. To date, all Nettavisen’sinitiatives have challenged the establishedmedia,whichreceivestatesubsidiesbasedontheirprintedpublications.Butthetimesthey are a-changing. ‘At conferences Ispeak alongside established media whereup-and-coming bloggers constitute thenewcontenders.Weneed togetused tomovinginthisworld,bothbywritingmoreinthewayofdialogue,butalsobyworkingwith bloggers where relevant. We spendnothingonmarketing,soinfuturewewillfocusonusingsocialmediatocreateloyaltyandcommitment,’saysGunnarStavrum.

It is impossible to forecast whetherthe 16-year-old digital pioneer’s growthrates will continue, but the trail has beenblazed.▀

-17mio. NOK

+3mio. NOK

2010 2011

FACTS•Nettavisen was established

in 1996

•TV 2’s Sumo and tv2.nostarted out as part of Nettavisen

•Acquisition of German Lycos in 2002

•Egmont has owned Net-tavisen since 2006, initially through TV 2 and later through direct co-owners-hip with A-pressen.

•Published for iPad, mobile phones and web

•Nettavisen offers news, sports and financial ar-ticles.

•Page 2 offers lifestyle content for women

•Page 3 offers lifestyle content for men

NETTAVISEN'S DEVELOPMENT IN EARNINGS BEFORE TAXES (MIO. NOK).

4444

4545

Egmont Magazines rides the iPad wave

EGMONT LAUNCHED ITS FIRST MAGAZINE FOR THE IPAD IN THE AUTUMN OF 2010, AND MANY OTHERS HAVE SINCE FOLLOWED. ASSISTED BY THE DIVISIONAL DIGITAL DIRECTORS, HARDCOPY ATTEMPTS TO SUMMARISE

CURRENT STATUS AND ANSWER THE QUESTIONS: WHAT PROGRESS HAVE WE MADE, WHAT LESSONS HAVE WE LEARNED AND WHERE DO THE TRENDS POINT?

ByEaHansen

46

In 2010 digital publication was un-chartedterritory.Today,justtwoyearslater,weknowmuchmoreaboutthe

tabletmagazine,butthemagicformulastilleludesus.ThishasspurredEgmontMaga-zines inDenmark,SwedenandNorwaytorun various experiments aimed at testingwhatuserswantandwhichbusinessmodelworksbest.

OnlytimewilltellwhethertheSwedishPDF version, the Norwegian special edi-tionsortheslightlypricierDanishEuromanmodelisthekeytothefutureorwhethertheanswerliesinanother,unrelatedmodel.Until then,wecanonly conclude thatwehavemadepositiveprogress in several ar-easandthattabletmediaconsumptionwillgrowexponentiallyinfuture.

EXPERIMENTAL DIGITAL PUBLICATION

The Swedish Egmont Tidskrifter publishesviaPaperton,aPDFversionof theprintedmagazine.TheexperimentstartedinJanu-arywithfourmagazinetitlesincludingthecomputer magazine Datormagazin andÅka Skidorforskiingenthusiasts.Thegoalisbothtosellthepublicationsonlineandtoaddvalueforexistingsubscribers.

In Norway, the company has adapteda special supplement of Bonytt for iPad,as well as adapting its other house-and-

home publications Bonytt Bad and Bonytt Kjøkken.Thelatesttabletmagazine,Forel-dre & Barn Gravidaboutparenting,boastsNorway’sfirstvideofrontcover.

SinceJanuary2011EgmontMagasinerinDenmarkhaspublishedan iPadversionofEuroman alongside theprint versionofthemonthlymagazine.

InbothDenmarkandNorway,thetab-letmagazinesareeitheraspecialeditionoftheprintedmagazineoranewadditiontothe print publication in the form of extraphotoseriesorvideoguides.

Digital director at Egmont Magazines,Cato Broberg, explains why the directorsoptedtovarythesolutionsratherthancarryoutasingle,jointexperiment:

‘We are testing different formulasbecause this is a whole new market, andweneedanswersto lotsofquestions.Forexample,sinceproducingaPDFversionofEuromanismorecomplicated,we’retryingout the two different ideas for the sakeof comparison. We have coordinated theprocess so that thecountriesupdateeachother and thusgainmoreexperience inashortspaceoftime.’

THE ‘EVERYTHING FOR FREE’ BATTLEFIELD

According to John Severinson, Digital Di-rector at EgmontTidskrifter, theprevalent

‘everything for free’mentality of consum-ersregardingappsandonlinepurchasesisaconstantchallenge.Peopledo,however,seemwillingtopayfortheconvenienceofiPadmagazines.

At Euroman Digital Art Director Fred-erikStormbelieves thatextra featuresarethewaytoloosenconsumers’pursestrings.HethinkstheiPad’suniqueinterfaceshouldbe used to differentiate iPad magazinesfromtheprintproducts:

‘First of all, we have to create some-thinguniquelysuitedtothenewplatform,not just stick to what works in print. Wehave to publish an iPad magazine withfeatures geared for the iPad. Euroman’sreadersexpectsomethingdifferent–some-thingoverandabovewhat theyget fromtheprintedmagazine.’

Euromanhasachieved thisbymakingthe iPadmagazine a supplementaryprod-uct. Since the summer of 2011, the iPadmagazine has been a free, extra featureofferedtoreaderswithafull-yearsubscrip-tion.

AsFrederikStormsays,thishasboost-ed the number of full-year subscriptions,whichhetakesasasignofreaders’willing-nesstoreadtheiPadmagazine.Thisisalsoreflected in steady readership trends andsales figures reminiscent of internationalmagazineslikeGQ.

Our aim is to keep up with our readers

rather than with technological

advances.

If we compare the percentage of iPad owners with the percentage

of the population who buy

magazines, then the figures are not way off the

mark.

47

Cato Broberg points out: ‘If we com-pare the percentage of iPad owners withthepercentageofthepopulationwhobuymagazines, then the figures are not wayoff the mark. However, we had obviouslyhopedforhighersales.We’vetried lower-ingtheprice,butthatseemstohavemadelittle difference – apparently the determi-nantiswhetherthetabletmagazineisfreeornot.’

THE FUTURE OF THE TABLET MAGAZINE

Cato Broberg believes that the future forthe iPad magazine as a stand-alone busi-ness and potential successor to the printmagazineremainssomewayoff:

‘Rightnow it’smore interestingtoex-plorethepossibilitiesof thedigitaleditionasasupplementaryproduct,liketheDanishEuroman, for example, because we canseethatsubscriberstothepapermagazinearewillingtopayabitextraforthedigitalarchive and theoptionof taking a collec-tionofmagazineswiththemanywhere.’Heimmediately adds, however: ‘Although it’stooearlytodrawanyconclusionsaboutthefuture,thereareseveralsmall,butnonethe-lesspositivefigures.Ialsoknowthatmostmedia houses are working with similarmodels, and I think users will ultimatelyexpectthedigitalversion.’

FrederikStormthinkswehavetostopthinkingaboutthe iPadmagazineasare-placementfortheprintmagazine:

‘WeneedtolookatwhattheiPadcando compared with the print media, theweb,mobilephonesandsoon.IbelievetheiPadshouldenrichtheotherformatsratherthan copy them. The various platformsshouldreinforce,notsubstituteeachother.Thismeans the tabletmagazine shouldn’treplacetheprintmagazinebutbeitsexten-sion.Ifinditfascinatingthewaythemediaconverge and enhance each other. That’swhatIseehappening.’

AccordingtoStorm,theextrafeaturesandconvenienceoftheiPadmagazinearedefinitely why the digital version appealstoEuroman’s readers. For this reason, thedigital AD would not recommend a PDFversionofEuroman.

Sigmund Clementz, Digital Projectmanager at Egmont Hjemmet Mortensen,adds that understanding the particulartarget group of each individual magazineis important when considering the futurelookofthepublication.

‘Thetargetgroupmustdeterminehowthemagazine’scontentispresented.SomereaderspreferthePDFversion,whileothertarget groups want more technology andotherfeatures.’

JohnSeverinsonagrees:

‘Ouraimistokeepupwithourreadersratherthanwithtechnologicaladvances.’

Whether Euroman’s success will bringmore iPad magazines to supplement andrefresh print magazines, or whether thecheaper, Swedish PDF model, which re-quires fewer resources, will be the nameofthegameremainstobeseen.Onethingis certain, though:wewill see a lotmoreexperiments inusingandplayingwiththedigitalisationofthemagazinemedium.▀

Cato Broberg , Digital director at Egmont Magazines

John Severinson, Digital director at Egmont Tidskrifter

Sigmund Clementz, Digital Project manager at Egmont Hjemmet Mortensen

The tablet magazine shouldn’t replace the print magazine but be

its extension.

Some readers prefer the PDF version, while other target groups want

more technology and other features.

48

IN DENMARK LINDHARDT OG RINGHOF RECORDED A FIRST IN 2011: A TITLE PUBLISHED AS AN E-BOOK SOLD MORE COPIES THAN ITS PRINT COUNTERPART.

IN NORWAY CAPPELEN DAMM IS WORKING STRENUOUSLY TO MAKE THE E-BOOK MARKET MORE ACCESSIBLE TO LITERATURE FANS.

ByNielsAlmer

48

Digital books boom

49

Inautumn2011asurveyconductedbytheDanishbusinessdailyBørsencon-cludedthatcustomersarepreparedto

payup toDKK180 for an e-bookwhoseprint counterpart costs DKK 300. This isencouragingnewsforpublisherslookingtomakemoney inadigitalworlddominatedbyfreesolutions.

‘Fewpeople realise thatprintingcostsmakeuponlyasmallfractionofthepriceofabook,soane-bookisactuallynotmuchcheaper to produce than a printed book.To make the same profit, we have to selle-booksatpricesnolessthan30%belowthe print price,’ explains Øisten Wahl,Directorof Tanumbook clubs ande-retailbusiness.

You may already have tried reading abook on an e-reader or tablet PC. UnlessyouhaveenteredAmazon’svastbutexclu-sive universe of English-language books,youwillalmostcertainlyhaveencounteredoneof threemainchallengesfore-books.‘Weknowthatrightnowcustomerswantcheaper e-book readers, simpler technol-ogyandagoodrangeofmaterial in theirlocallanguage,’saysØistenWahl.

In Norway Cappelen Damm and inDenmark Lindhardt og Ringhof have ap-proached the challenges from separateangles.

IBOOKS‘We have put our material out on everyconceivable platform. We have signed anagreementwithApplesiBooks,madedealswiththelargestDanishinternetbooksellerregarding low-end e-books and launcheda pilot project for e-book loans via publiclibraries,sowehaveamassivepresenceinthemarket,’explainsCliffHansen,Directorof Business Development at Lindhardt ogRinghof.

‘Since our launch on iBooks lastautumn, sales figures have improved,especially for children’s books, where ourPetzi series has performed well,’ explainsLasseHorne,editor,L&Rdigital,‘butthat’sbecause this is the only e-book shop thatactivelycultivateschildren’sbooks.Westillsell most of our e-books through Danishbook dealers like saxo.com,’ says EditorLasseHornefromL&RDigital.InDecemberthis site featured Hanne Bech Hansen’sdetective novel Lasten as book-of-the-month,which,atDKK90,forthefirsttimein Lindhardt og Ringhof’s history outsold

theprintedition.‘Wecanthanktheclose,constructiverelationshipbetweenSaxoandLindhardt og Ringhof for this outstandingresult,butwhiche-bookstorewillbepopu-lar infutureremainsuncertain. Itdependson whether and how Danish booksellersgraduate to mobile platforms. Amazon,iBooks and others are catching up withDanishdealersatafeverishpace.’

While Lindhardt og Ringhof reachesDanish book lovers via the hundreds ofthousandsofiPadsandiPhonessold,Cap-pelen Damm in Norway has establishedits own channel – digitalbok.no – to getaroundApple’s30%mark-up.

DIGITALBOK.NOCappelen Damm has run digitalbok.nofor over two years. Seventeen thousandcustomers have already registered anddownloadedanaverageof2.5bookseach,someofwhichwerefreedownloads.‘Ourrevenue has doubled despite a year of e-bookPRchallengesrelatedtothemisfiredlaunchof theBokskya joint venture,’ saysØistenWahl.

Inthefirstsixmonthsof2012Cappe-len Damm also plans to release a Norwe-giane-bookreaderlinkedupfromthestartto digitalbok.no. ‘We’re trying to removeallbarrierstobuyinge-books,’heexplains.‘Havingourowne-book readerwillmakeitextremelyeasyforourcustomerstobuy,downloadandreadourpublications.Theywon’t have to worry about copyright is-sues.Alltheyhavetodoisbuythereader

onthenet,haveitdelivered,connectittotheinternetandthey’reoff–readytobuy,downloadandreade-books.’

LOFTY WORDSIn 2011 Cappelen Damm also tested anew streaming service for audiobooks,ordflyt.no.ThesiteoffersaudiobooksfromCappelen Damm and 30 other publishersforusers tostream. Inearly2012 iPhoneusersgotthechancetodownloadanappenablingthemtostreamcontentdirecttotheir mobile devices. After one week, theapphadattracted9,000newuserstotheservice,whichalsoendeavourstointroduceyoungertargetgroupstoaudiobooks.

‘Three years ago, if you bought anaudiobookyougotacasewith13CDstokeeptrackof–notterriblyhandyonalongcartrip!Nowanaudiobookcanfitontoasinglemp-3formatCD,andourserviceletsusers stream audiobooks via a computeror iPhone,’ explains Håkon Havik, projectmanager of Ordflyt. Listeners no longerhave to wrestle with the numerous CDsthatholdthe54-hoursixthvolumeofKarlOveKnausgård’sMy Struggle.

So 2011 was a year that made evenmore titles accessible to digital literaturelovers in Denmark and Norway and sawthe elimination of a few obstacles to anefficient e-bookmarket. Some small signsofoptimismregardingpotentialbuyerscanalsobetraced:

‘The market for e-books has beendominatedbymen interested in the tech-nology,butwe’renowseeingmorewomenembracing the new medium,’ concludesØistenWahl.▀

FACTSiBooks is Apple’s sales channel for e-books, which can be bought via iTunes on a compu-ter or via an app on an iPhone or iPad. The publishing companies set their own price in this store, but Apple adds a 30% mark-up.

Leading competitors to iBooks include Ama-zon’s Kindle, which readers can use through an app for iPad as well as on independent e-book readers.

E-books from Cappelen Damm can be read on iPads and all e-book readers that support Adobe’s DRM format. The popular Kindle is not among them.

Lindhardt og Ringhof offers about 500 titles through iBooks. (February 2012)

Cappelen Damm’s digitalbok.no bookshelf features almost 2,000 titles.

Cappelen Damm also distributes picture books via iBooks and independent apps.

Ordflyt registered 30,000 users in February 2012.

Cliff Hansen, Director of Business Development at Lindhardt og Ringhof

Øisten Wahl, Director of Tanum book clubs and e-retail business at Cappelen Damm

49

Lasse Horne, Editor at L&R Digital in Lindhardt og Ringhof

50

Market accessIN BYGONE TIMES A MARKETPLACE WAS SOMEWHERE PEOPLE COULD WANDER FROM STALL TO STALL, TOUCH THE WARES FOR SALE AND HAVE A CHAT WITH THE SELLER. IN RECENT YEARS THE MARKETPLACE HAS CREPT BACK INTO OUR

LIVES – NOW AFFIXED WITH THE PREFIX ‘WWW’.

ByNielsAlmer

ITEMS AT LAUNCH

Foreldre & Barn-Torget (August): 700 items

BonyttBazar (October): 500 items

Bazar (December): 2,000 items and 4,000

registered users

Inthelastsixmonthsof2011Egmontopenedthreenewonlinenichemarketplaces inNorway.Userscansellcloth-

ingonBazar,furnitureonBonyttBazarandchildren’s products on Foreldre & Barn-Torget. The transactions are conceived asan additional source of income to traffic.The market for classified ads is attractive,andinterestingnicheshaveemergedonthenet. These niches are particularly interest-ing forEgmont,whichcommandsagoodpositioninNorwayinareaslikeparenting,homesandgardensandfashion.

Inorder toaccelerate theprocessandmaintainmomentum,thethreewebstoreshavebeendevelopedasajointventurewithanexternalpartner,buttheeditorialpanelsfor the three areas – parenting, homesandgardensandfashion–haveplayedanimportantroleinternally.‘Theeditorialpan-els hold invaluable knowledge about thetargetgroupswe’retryingtoreach.We’veworkedcloselywith theproject team, theeditorial panels and various Egmont com-panies,’saysAnnaJonzén,projectmanagerofEgmont’sdigitalcentreinNorway.

Theideaisthatthethreemarketplacesshoulddifferfromothersbyprovidinginspi-ration and ways to interact socially. Niche

marketplacesbuildonthemutualinterestsoftheirusers.‘Weprovideaforumwhereuserscansocialisethroughusergroupsandcommentsfieldsintheads.Iftheylike,sell-erscanalsoaddlinkstotheirownfashionblogs, forexample, toprofile themselves,’Annaexplains.

ThesiteshavebeenpromotedprimarilythroughapartnershipwithNettavisen,onFacebooksites,inmagazinesandonklikk.no.Theprojectteamhasalsorunaninter-nal campaign aimed at launching fashionboutiquespackedwithcontent.‘Youcan’tdrive traffic with empty shelves, and we

had to start somewhere, so we invitedBazar Serieforlaget, Nettavisen and thefashion editors here at Egmont HjemmetMortensentoputitemsonsaleinthestore.Weevenworkedwithsmallshopsandsub-scribers,suggestingtheyofferproductsforsale,’shesays.

In almost no time Bazar featured animpressive 2,000 items and 4,000 reg-istered users, but booming user figuresand revenue in the area are still a distantdream.Thetri-storeexperimentisawayoftestingthemarket.Duringthetrialperiod,userscansubmitabasicadforfree,buttheultimateplanistochargeafeeforallads.

‘CompetitionisfierceintheNorwegianmarketforclassifiedads,withFinn.notheunmistakablemarket leader.Theservice isahigh-riskproject,andmakingitasuccesswill be hard. It will either attract users ordiearapiddeath.Ifitsucceeds,though,wecouldbe lookingataveryprofitablebusi-ness,’Annaconcludes.▀

Anna Jonzén, project manager of Egmont’s digital centre in Norway

51

WELCOME

to digital cinemaNEVER HAS NORDISK FILM CINEMAS LAUNCHED A PROJECT AS SWEEPING

AS THE ONE CURRENTLY UNDERWAY: THE FULL DIGITISATION OF ALL 120 CINEMA THEATRES – WITHOUT UNDUE DISRUPTIONS TO DAILY OPERATIONS.

ByLouiseAbildgaardJørgensen

SinceJune2011whenNordiskFilmCinemasannounceditsdecisiontogoall-digital,thefirstsevencinemashavebeendigitisedwiththeremaindertofollowsuitinthespring.If

everythinggoesaccordingtoplan,alltheatreswillbedigitalbyMay2012.

‘Implementingsuchahugeprojectwhiledoingbusinessasusualandnotlosingboxofficerevenueisquiteachallenge.Fortunately,everythinghasgonewithoutahitchsofar,’saysoperationaldirectorLarsJørgensen,elaborating:‘Theprojecthasresultedinrestructur-

ing and new work routines, especially for projector operators. Ingeneraleveryonehasembracedthechangesthatdigitisationbringstoeverydayroutines.’

GeneralmanagerofNordiskFilmCinemasJohnTønnesadds:‘Digitisationisamammothinvestment,butisbothrightandneces-sary.Wecanonlyexpectsatisfiedguestsifwegivethemmemorablefilmexperiences,anddigitalcinemasandthebestequipmentonthemarketallowustodothat.’.▀

WHAT IS A DIGITAL CINEMA?A digital cinema consists of three elements that give guests a razor-sharp film experience: A

digital projector produces a matchless image on the screen

A digital film server receives and transmits the digital film to the projector

A digital audio system transmits a perfect sound track through the theatre’s multiple loudspeakers

51

52

*Egmont’scoreareaisTVandmovingimages.Sinceacquiringtheremaining stakeof TV2 in January2012, Egmontnowconcen-trates half its business onmoving images. Egmontwill invest inmorelivepicturesintheformofadditionalTVchannels,premiumTVcontentandtheintegrationofvideoinmoreproducts.

TV 2’s predominant content is news, sport and entertainment.Readaboutnewsandentertainmentonthefollowingpages,andaboutsportineCopy.

More tv *Televisionprovidestheopportunityforanongoingstory–theopportunitytomeldthecastandthecharactersandaworld,andtospendmoretimethere.DavidLynch

53

54

Fighting for the eyes of the beholders

SINCE 1992 TV 2 HAS EVOLVED FROM BEING A STATION OFFERING A SINGLE TV CHANNEL TO ONE OFFERING A WIDE RANGE OF CHANNELS, EACH WITH ITS OWN

PROFILE. TV 2 ZEBRA WAS FIRST OUT OF THE GATE IN 2004, AND MANY MORE HAVE FOLLOWED, A FEW OF WHICH HAVE SINCE BEEN CLOSED.

ByNielsAlmer

The competition for TV viewers’ eyes has grown fiercersince 1992. More widespread distribution means morechannels can reach larger audiences. Viewers have both

more TV channels to choose fromanda far broader selectionofonlineoptions.‘Tomaintainourmarketshareofabout25%oftheNorwegianpopulationfor12years,wesimplyhavetooffermorechannels,’explainsChannelDirectorNilsKetilAndresen.

Amainchannelwithabroadprofileiscrucialforgeneratinghighadvertisingrevenueandhealthydistributionrevenueaswellaspro-vidingashowcaseforthenichechannels.

‘However,ourmainchallengeinhavingmultiplechannelsisthewayweutilise and cross-promote content across the channels. This is

Nils Ketil Andresen, Channel Director at TV 2

exactlywhatmakespresentingauniqueprofilemoredifficultforin-dividualchannels.Wehavetostrikethebalancebetweenmaintain-inghighvolumeandbeingattractivetoyoungertargetgroups,’hesays.AndhehasnodoubtthatTV2’sfocusonbroadlydistributedniche channelswill ensure that futuregenerationsofNorwegianswithbuyingpowerwillalsotuneintooneofTV2’schannels.▀

55

Themainchannel,TV2,isNorway’sbroadcommercialchannel,aforumthatbringsallagegroupstogether,thoughprimarilythe20-49yeargroup.ThisisthechannelwheremajorserieslikeThe Voice andShall We Dance? arelaunchedinprimetime.Thechanneloffersfamilyentertainmentforallgenerations. ‘PeoplediscussourmainchannelprogrammesatworkthedayafterandcommentonthemonTwitter,’sayschannelmanagerNilsKetilAndresen.

SumoisnotaTVchannelinthetraditionalsense.SumoisScandi-navia’slargestcommercial internet-basedTVsuppliermeasuredbynumberofcustomers.ViewerscanbuyaccesstoSumoviafivedif-ferentpackagescostingfromNOK79to229amonth.ItoffersfreeaccesstoallTV2'slinearchannels,whilesubscribershaveaccesstoanextensiveprogrammelibraryplusaninteractivelivesports-basedcentre.In2011SumowaslaunchedforiPad,andmostofitscontentisalsoviewableoniPhone.

Havingacquiredtherights totheEnglishPremierLeaguefootballchampionship,TV2setupthreeHDchannelsdedicatedtomatchesinthischampionship.FromthestudioinBergenimpassionedEng-lishandNorwegianfootballexpertsdiscusstheextremelypopularEnglish leaguefromeveryangle.ViewerscanreceivethechannelforNOK179amonth,orforNOK299ifpurchasedalongwithTV2Sport.

TV 2 Sport holds the broadcasting rights to all main round Tip-peligamatchesandthesolerightstoNorwegianhandball,cyclingand icehockey.As TV2Zebra couldnot accommodateall theserights-negotiatedprogrammes,TV2establishedSportin2007asapay-channel.ViewerscanalsofollowtheEuropaLeagueandCham-pions League football championships. Most distributors charge amonthlyfeeofNOK199towatchthechannel.

TV2Bliss is thenewestmemberof theTV2family.Launched in2010,itofferslightentertainment,docu-soapsandfilmsmainlyforwomen,butmenarewelcometowatch,too.ThechannelisnotasbroadlydistributedasTV2'sotherchannels.‘ThelaunchofBlissisakeyreasonwhyTV2’sshareofthetotalmarketremainedstablein2011,’explainsNilsKetilAndresen.

Thischannelfornewsjunkieswaslaunchedin2007andhassincemorethanquadrupleditsmarketshare.ItattractstheoldestviewersinTV2'suniverse–alsoolderthantheviewerswhowatchnewsonthecompetingchannel,NRK.Thechannelairsnews24hoursadayandhasintensifiedcompetitionamongcurrentaffairsprogrammesinNorway.

Launchedin2006,thischannelshowsmainlyolderfilms16hoursoutof24.‘Thefilmchannelisagoodprofit-makingchannelbecauseitletsusre-useourexistingfilmbroadcastingrights,’saysNilsKetilAndresen.Thechannelunderwentafaceliftin2011,fiveyearsafteritspremiere.Ithasconsistentlymaintainedamarketshareof0.7%.

Zebraisfortheyoungset.Thisisalsothechannelwhereyoucanwatch the weekly match from Norway’s finest football Tippeliga.On theentertainment sideTV2Zebraoffers viewers fresh, inno-vativeTVprogrammes.TheNorwegianprogrammesofferablendof newly developed, slightly raunchy humour and broad, warm,feel-good stories. Internationally purchased productions offer anassortmentof solidentertainment ranging fromcelebrity featurestoshow-stoppingcomedies.

55

56

From lone cowboy to Norwegian cultural treasure

WHEN EGMONT WAS CONSIDERING ACQUIRING THE LAST 50 % STAKE IN TV 2, THE COMPANY WAS VALUED AT A WHOPPING NOK 4.2 BILLION AND DESCRIBED

AS A NORWEGIAN CULTURAL TREASURE. HOWEVER, THE TRANSFORMATION FROM TV CHANNEL TO FULLY FLEDGED MEDIA HOUSE WAS HARDLY A GIVEN WHEN A

SMALL GROUP OF PIONEERS TEAMED UP MORE THAN 20 YEARS AGO TO LAUNCH A NATIONAL TV CHANNEL.

ByNielsAlmer

The European football cham-pionship gives TV 2 its first broadcasting

rights to a major interna-tional football tournament

TV 2 writes TV history with

Norway’s first daily soap

opera – Hotel Cæsar

The channel bolsters its

new coverage with nine daily news broadcasts

TV 2 records its first

operating profits

Venturing into Norwegian drama, the series Mot i Brøstet is a

succes

TV 2 goes on air on 5 September

TV 2 gets its first licence

for the period 1992-2001

The Norwegian parliament,

Stortinget, al-lows national commercial

TV in Norway

In 1990 after years of discussion theNorwegianparliament, Stortinget,de-cided to establish anational commer-

cially financed TV channel. The followingyearTV2wonthebroadcastingrights,andthefirstprogrammeswentonairin1992.

A frantic quest for funding waslaunched in 1991 to meet the licencerequirements. The clock ticking, a smallgroupofpeoplehadtodrumupNOK500million – with a tough business case toboot.Scepticismwasrifeastowhetherthe

Norwegian advertising market could sup-portthenewchannel.’Mostpeopledidn’trealiseanationalchannelmeantwecouldopenthedoorstointernationaladvertisers,’explainsOddvarStenstrøm,oneofthefirstmembersoftheTV2projectteam.

In his first internal newsletter, formerCIOHarald Strømmewrote: ’As youhaveprobablynoticedwearecurrentlytheobjectofmajormediapublicity.Mostofwhatweread isgood,butnotall. Speculationandprophesies proliferate, and since everyoneinthemarket iscompetingforadvertisingrevenues,somepeopleareboundtotrytoputaspannerintheworks.’

He also said that the licence was notaconstraintbutratherthatinpracticeany

other commercial TV station would alsohavehadtomeet theobligationsentailedby the licence,which included the criteriaofbroadcastingnationwide,ensuringvari-ety inprogramming,providingdailynews,strengthening the Norwegian nationalidentityandproducingNorwegiancontent.

EGMONT INVOLVED FROM THE OUTSET

Inthecourseof1991theTV2teamman-agedtoscrapetogetherNOK400million.Although the amount fell just short ofmeetingtheformalrequirements,theNor-wegian government nonetheless grantedTV2thelicence.

Egmont became a 20 % stakeholder,

1991 1992 1995 19981996 19991997 2000199419931990

SEE MOREWatch the first three minutes of TV 2's life in eCopy.

57

the maximum share allowed at the timeforanyoneowner.TheinsurancecompanyVital Forsikring, Selvaag Invest, SchibstedandaconsortiumnamedNTNmadeuptheother main owners at the time TV 2 waslaunched.

After the acquisition Egmont, thenknownasGutenberghus,putconsiderableenergyintosellingNordiskFilmproductionstothechannel,hopingforthesamesuccessthatNordiskFilmhadenjoyedwhensellingLykkehjulet,theDanishversionof Wheel of Fortune,andEleva2eren, anentertainmentprogramme,totheDanish TV2.

GutenberghuscourtedOddvarandtherestoftheTV2teamforalongtime.‘Lav-ish dinners and trips in white limos wereinvolved.Theyreallywantedtoselluspro-ductions,’Oddvarrecalls.Butthefledglingchannelcouldnotaffordthem.

LONE COWBOY COMPANYInJanuary1992thechannelhadastaffofeight. With the licence in place, the firstemployeeswereexpectedtogetaTVsta-tionupandrunninginamatterofmonths.Many questions needed answers. For ex-ample,whatdoes it cost tomakeanewshour?NooneinNorwayknew,becausenoonehadevermadethiskindofTVbefore.

’The atmosphere was good. Everyonepitchedin,’Oddvarrecounts.TV2’sfirstof-ficepremiseshadnocanteenorinfrastruc-ture.‘Wechangedthetoiletrollsourselves,’herecalls.

Oddvarwas anewsmanhimself,withlongstanding experience from the Norwe-giannationalbroadcastingcompany,NRK,aswellastheVGandAftenpostennewspa-pers,butatTV2,hisjobincludedattendingtheTVfestivalinCannestobuyBaywatchforthechannel.

TV 2 imple-ments the first

of two NOK 150 million cost-cutting programmes

TV 2 Sumo launched for

iPad

TV 2 secures the rights to Barclays Pre-mier League and launches three Premier League chan-

nels in HD

TV 2 starts HD broadcasting

TV 2 launches Norway’s first national news channel and TV 2 Sport

TV 2 Filmkanalen

launched

TV 2 acquires the rights to

all Norwegian top league football.

TV 2 Zebra launched

Idol was the TV event of the year in

Norway

The venture into reality TV with Norwe-

gian Farmen is a success

Today Oddvar anchors Nyhetskanalenafter hosting the Holmgang debate pro-gramme for 10 years. Before that hewasTV2’sfirst,andforalongtimeonly,foreigncorrespondent. ‘Initially we could onlyafford one correspondent, so from Wash-ingtonIhadtomakeitlookasthoughweactuallyhadacrewof10!’hesays.

Twomonthsbeforethefirstprogrammebroadcast, theentireTV2 staffwere sent‘to school’ to learn how to produce TVspots. A couple of months after the firstairing, TV2 learnedhow toproducepro-gramming based on regular routines andrecognisability–amustforanycommercialTVstation.

BLACKOUTTV2’sfirstfewsecondswereblack–literally,asviewerswaitedforNorwegianKingHar-aldtogivehis inauguralspeechandhandover to the TV station’s first programmedirector,DanBørge,whohostedtheopen-ingshowFørste gang. ThiswasfollowedbythreeextraopeningshowsandDirty Rotten ScoundrelsstarringcomedianSteveMartin.However, most viewers stayed tuned fortheads,acompletelynewphenomenononNorwegiantelevision.

Theopeningshowwasco-broadcastedwithNRK,asinitiallytheTV2signalcouldonly be received in 60% of Norway. This

was a drawback in Oddvar’s eyes, as theonlybaitthatwillattractthebigadvertisersisnationwideexposure.However,TVsignaldistribution rapidly improved, with TV 2covering 90% of Norway just two yearslaterin1994.

OUTLOOKHavingspent20yearsofhislifewithTV2,Oddvarpricksuphisearswhentalkturnstothe futureof thechannel,whichhe looksonashisownchild.‘Televisionwillstillbethe focus of conversation and a magnetthat brings people together. It’s the mostsocialmediumIknow,’Oddvarasserts.

TV 2 brought the first reality pro-grammes,thefirstall-footballchannelandNyhetskanalen. It brought the ‘man onthe street’s’ perspective into Norwegianjournalismandhasgenerallyboostedwhatresearcherstermmedia literacy inNorway.‘Weoverflowedwithself-confidence,butittooksometimetochangepeople’shabits.’

The story about a handful of peoplewhomanagedtocollectenoughmoneytowin the licence and then cobble togetherauniqueTVstation in justninemonths isquiteanamazingtale.Inthecourseofthepast 20 years TV 2 has successfully fash-ioneditselfasthefreshalternative.ItisnowbyandfarNorway’slargestcommercialme-dia house and ranks among the country’sstrongestbrands…andisevenreferredtoasaNorwegianculturaltreasure.▀

2002 20052003 2006 20092001 2004 2007 20102008 2011

Oddvar Stenstrøm, News Anchor at TV 2 Nyhetskanalen

58

Norwegian in Norway

GONE ARE THE DAYS OF TV CHANNELS BULK BUYING AMERICAN TV SERIES. TO SUCCEED IN TODAY’S MODERN TV WORLD,

YOU HAVE TO PRODUCE YOUR PROGRAMMES LOCALLY.

ByNielsAlmer

In the early days of TV 2, the likes ofDavid Hasselhoff and Pamela Ander-son magnetically drew viewers to the

screen whenever Baywatch was aired.Today Norwegians want Norwegian con-tent just as Danes want Danish content.Entertainment programmes and formatshavetobelocalisedtothegreatestextentpossible.Americanseriesnolonger‘rate’aswell,as it’sput inTV jargon.Peoplewantsomethingclosertotheirownworld.

TV 2 has to vie with such rivals asTV Norge in the battle to make the bestNorwegian-produced content. To helpmeet this challenge, in 2011 Danish PilGundelachBrandstrupjoinedTV2asaPro-gramme Director from the Danish TV sta-tionTV3.Aswellasin-houseproductionslikeadailymorningshow,theprogrammedepartment is also responsible for buyingall locally produced programming, a jobthatmakes itahubfor thedialoguewithproductioncompanies.

‘TV 2 profiles itself as being strongon news, sports and entertainment, butwithout compelling prime time program-ming,wewill lose thebattle for viewers,’Pilbelieves.

CASTING IS KINGHardcopy’s reportermether just after thepremiereofoneofthisspring’smajorseries:TheVoice,aformatalsosoldtomanyothercountries.TheVoice isagoodexampleofthe particular formats that achieve cross-border success. ‘The large-scale entertain-ment formats that can do this are oftenmulti-layered,andboththeirstructureand

their content have broad appeal. Manyare based on a universal story that workswell,forexample,thedreamofbecomingasuperstarorfindingtruelove,’Pilexplains.

Other major formats like Idol, ShallWe Dance? and Jagten på kærlighedenhave previously proved their mettle onNorwegianTV2.PilhighlightsthehumourprogrammeTorsdagkveldfraNydalenandtheSenkveldtalkshowasexamplesofsuc-cessfulNorwegianprogrammesonTV2.

According to Pil a programme has totell a good story, and high-quality execu-tionmustpermeateeveryaspectfromtheimages, sound, cutting style and graphicsto casting in particular. The professionalsinvolvedmustbeabletoexpresstheiremo-tionsregardlessofwhethertheprogrammeisadocu-soap,atalentshow,amagazineprogramme or a factual entertainmentproduction. ‘We make our living frombeing genuine and showing emotion. Aprogramme’scastingisvitaltoitsabilitytotouch the hearts of viewers,’ she thinks.The success of the Norwegian version ofTheVoicestemsprimarilyfromthetalentedsingers of its cast and a mentor panel offourcharismaticpersonalities.

DANISH IN NORWAYButwhatdoesaDane likePil reallyknowaboutNorwegianculture,andwhydidshechoose tobeasupplier? ‘Theopportunitytoworkwithsomethingsointrinsicallycul-turalastelevisioninadifferentculturefrommyownappealedtome,’sheexplains.‘Adistinctive characteristic of Norwegians istheir great pride in the Norwegian iden-

Norske talenter

58

59

PROGRAMMES WITH HIGHEST VIEWER RATINGS

NORSKE TALENTER (TV 2): Most viewed programme attracted 1,028,000 viewers.

IDOL (TV 2): Most viewed programme at-tracted 1,007,000 viewers.

SHALL WE DANCE? (TV 2): Most viewed programme was the final, which attracted

995,000 viewers.

THE VOICE (TV 2): Most viewed programme attracted 655,000 viewers.

HVER GANG VI MØTES (TV 2): Most viewed programme attracted 624,000 viewers.�

tity, a feeling strongly reflected in theirloveofthelandscapeandnatureinawayunknown inDenmark. It isunique.’Asanexample, she mentions Nordisk Film TV’s71 Degrees North, broadcast by TV 2’scompetitor,TVNorge.TheprogrammewasreleasedinbothDenmarkandNorway,butwhereasitonlyraninDenmarkforacoupleofseasonsandattracted135,000viewers,the programme is now being shown inNorway for its13thconsecutiveyearwitharecordof600.000viewers.

The future of programme productionpoints towardsbetterqualityprogrammesmatched more exactly to viewers’ prefer-ences. ‘TV 2 is the largest commercialbroadcaster in Norway, and its entertain-ment range must have broad appeal. It’salwaysachallengetoattractabroadcross-

Pil Gundelach Brandstrup, Programme Director at TV 2

The Voice

Hver gang vi møtes

Shall We Dance

Idol

59

section of viewers without excluding theyoungermembersofthecommercialtargetgroup,forwhomwealsohavetocater.’

ButabovealltheprogrammesmustbeNorwegian.Theyareexpensivetoproduce,butwithEgmont’sfullbacking,TV2isnowpoisedtomaketheinvestment.▀

60

Doomed to succeed

‘In the following months a greatmany things will be written andsaidaboutNyhetskanalen,notleast

in the readers’ comments pages. Some“know-alls”willfailtoseethepointof it.However,we shouldn’t beput off bydirepredictions. On the contrary, for us lowexpectations are not a disadvantage…. Ibelieve we must judge ourselves on qual-ity and financial success, not ratings. WeshouldcompareourselveswiththelikesofDagensNæringsliv.Notnecessarilyapaperwithmassmediaappealbutnonethelessagoodnewspaperthatdeliversquality.’The news editor was right. A great dealwaswritten–andmanyofthepredictionswerenegative.Inareview,Dagbladet’sJanOmdahlwrote:

‘This illustrates one of the biggestchallenges facing Nyhetskanalen: truly

sensational news reports that can drawlargenumbersof viewers are fewand farbetween.Thisisamajorproblem,particu-larly at a timewhenmost of us prefer tokeepupwiththenewsusingtheinternet,andTVismovingmoreandmoretowardsuser-basedTVcontent’.

Today,fiveyearson,Nyhetskanalenhasfirmly established itself as a strong, qual-ity niche channel which, for many, is firstchoiceforcoverageofmajorbreakingnewsstories.Årsætherisconvincedthechannel’spure news focus is the secret behind itssuccess.

‘Yes,Ithinkthisstrategyhassucceededfor the most part. NK is a financial suc-cess.ThelatestviewersurveyshowedthatNyhetskanalen is the fourth largest com-mercialmediuminthecountry,and,giventhereliabilityofthesurvey,thismeansthat

viewersfeelweareprovidinghighquality,’saysÅrsæther.

Today, Nyhetskanalen is perhaps thebiggestsuccessofallthenewnichechan-nels that have sprung up in recent years.Havingsaidthis,therewereplentyofchal-lengesattheoutset:

‘Initially we suffered from a lack ofjournalistic experience in daily marathonbroadcasts, which coincided with the in-troductionofanew technical system.Wemanagedtoaddressbothissuesinthefirstquarter.“ItwillallgowrongbeforeEaster,”adutymanagertoldmeaftertwoweeks–butfiveyearslaterwe’restillhere!’

WHAT IS THE MAIN REASON FOR YOUR SUCCESS?

‘We deliver news when people have timetosee it.Andbecausenooneelsebroad-

WE TURN BACK THE CLOCK TO 2 NOVEMBER 2006. TV 2 IS PLANNING THE LAUNCH OF ITS NEWS CHANNEL, NYHETSKANALEN. MANY AREAS OF THE ORGANISATION ARE WORKING FLAT OUT. THE FOLLOWING EXTRACT IS FROM AN E-MAIL SENT BY

JAN OVE ÅRSÆTHER TO ALL TV 2 NEWS STAFF:

ByAleksanderValestrand

61

casts asmany livenewsevents aswedo.If it’snews,webroadcast itandtheview-ersknowthis.Ourslogancouldbe:We’re there when you need us.’

FormerheadofcurrentaffairsforTV2,Kjell Øvre Helland, was for many years adrivingforceinbringinganewschanneltoTV2.HehadlongdreamedofaTV2newschannel and was convinced that it wouldbeasuccessandcoulddelivermeaningfulcontent.

‘Ibelieved inanewschannelbecauseI have always believed that TV news cancompete with entertainment and sport.I was sure that many Norwegians wouldwatch“newsinthemaking”,butIfeltlikeanervouswreckduringTV2’svirginbroad-cast of Nyhetskanalen at Gardermoen inspring2006,’hesayswithasmile.

WHAT WERE THE BIGGEST CHALLENGES IN

THE BEGINNING?‘Inthebeginningwedidn’tknowwhatwewerelettingourselvesinfor–luckily–butitwasa steep learning curve formanyofus. Expertspredictedanearlydemise.Wedidn’thavemuchofacontentbudget.’

WHAT DO YOU THINK OF NYHETSKANALEN TODAY – FIVE

YEARS ON?‘In my opinion, the launch of Nyhet-skanalenisthesinglemostimportanteventin TV2 Nyheterne’s nearly 20-year history.Practicallyeverythingwasnewin2007.Ourworking days were different; we gaineda new news perspective. The station wel-comedaninfluxoffreshnewfaces,peoplewhoarecomingtotheforefrontnowandhaveworkedhardforTV2.Nyhetskanalenhas played a unique role in changing thecontent,pace,rhythmandbehaviouroftheNorwegianmedia.’

Initially appointed as project managerfor Nyhetskanalen in summer 2006, Tho-masHenschienwentontobecomeeditorialdirectorofTV2Newsandinpractice,chan-nelmanagingdirector.Healsobelieved inthe project. But the road to success waslongandhard.Inthebeginningtherewasalsooppositiontothechannelfromwithintheorganisation’sownranks:

‘Getting the journalists to believe inthechannelwasachallenge,’saysThomas.‘Gettingthebestmindstocontributeevenwhenratingswerepoor.Deliveringquality

24/7–whenwehadonlydonesoinafew,scatterednewsbroadcasts throughout theday–wasdifficult.’

Today, Silje Hovland is the new bossat the helm. She describes life at Nyhet-skanaleninthefollowingway:‘It’saboutbeingfirst.Thefewsecondsthatelapsefromthemomentthenewsreportslands on our editorial desk. The graph-ics reporter briskly punches in a sentenceand the newsflash is on the air. The deskreporter grabbing the phone to get thefirst interviews.Noonegetsthenewsoutfaster thanwedo.Thephotographerandreporterracingtobefirstonthescene.Thelinkoperatorjumpinginbehindthewheelof the SNG vehicle. The duty manager’stelephone ringingnon-stopas the reportscomeflying in.When the alarmgoesoff,everyone knows their place. It’s all aboutonething–beingfirstwiththenews.’▀

‘This channel will be quickly forgotten

once the money has dried up. Then they’ll come up with some other new idea… People who need

to follow the news during the day would rather use a computer and the internet than stare at a TV at work – and signal they’re not doing their job.’

Esten O. Sæther, editor at

Dagbladet.no

61

62

THE STAFF OF TV 2 WERE TRULY PUT TO THE TEST ON 22 JULY 2011 WHEN TERROR STRUCK A DEVASTATING BLOW TO NORWAY. IN THE MIDDLE OF THE SUMMER BREAK, WITH MOST EMPLOYEES AWAY ON HOLIDAY, TV 2 HAD TO COVER THE

BIGGEST NEWS STORY IN THE CHANNEL’S HISTORY. THE NATIONAL TRAGEDY HAS SET A PRECEDENT FOR TV 2’S JOURNALISTIC REPORTING.

ByNielsAlmer

Abomb explodes in the heart ofOslo’spoliticaldistrictat3.25PM.A few hundred metres away on

KarlJohansGate,theTV2buildingshakesandblackdustshowersdownintheedito-rialofficesonthefourthfloor.Afewwin-dowsareblownout,peoplepanicandthebuilding is evacuated. TV 2 subsequentlybroadcastsnewsnon-stopfor56hoursand11minuteswithnocommercialbreaks.

When Hardcopy’s reporter visited theOslo office six months after the terroristincident,thescenewaspeaceful.However,theexperienceputeveryoneatTV2tothetest.Editorialstaffhadsometoughcallstomake,andreportersinthepoliticaldistrictand on the island of Utøya found them-selvesfacingmoreethicalandprofessionaldilemmasthanmanyjournalistsexperienceinanentirecareer.

DILEMMAS AND DIFFICULT CHOICES

Thenewsdepartmenthasspenttimeaftertheeventreviewingitscoverageminutebyminutetoevaluateandclarifythedilemmasanddecisionsthathadtobehandled.

‘As news editor, I faced the major di-lemmaofwhentoreportonthenumberofdeathsonUtøya. Informationonly trickledthrough gradually, and we received many

rumours along the way, but we did notwant to announce afigurewithout policeconfirmation.Thisisnoplaceforerror.TheconsequencesforTV2wouldhavebeenim-mense,’saysNewsEditorJanOveÅrsæther.

Butsuddenlychangingthedeathcountfrom10to80alsohadconsequences.NewsanchorDyvekeBuaneshadtheunenviabletaskofpresentingthenewssinglehandedlyfortheentirenightafter22July.Thatwasthenightthatthedeathtollwasmadepub-lic.‘Iheardthemscreamingintheeditorialoffice,’sherecalls.

MISTAKESWhenthepressureison,theriskofmakingprofessionaland logisticalmistakesalwaysarises.

‘We were uncertain about the detailsof the Oslo explosion for too long; therewas initially only one news presenter inthe studio; and we passed on speculativereports from theBBCabout a possible Is-lamiteterroristattack.WeshouldhavehadmorefaithinourownreportsaboutaNor-wegianattackerwearingapoliceuniform,’Årsætherconcedes.

However, TV 2 subsequently estab-lished that despite being evacuated earlyon,itwasthefirsttoprovidethefactsandfootage that covered the key events. ‘On

Terror on the doorstep

62

balance we passed the test as a newschannel after 19 years of practice,’ saysÅrsæther.

AUTOPILOT TURNED OFFDuringtheircoverageofthetragedy,jour-nalists had to check their natural profes-sionalurgetofindthecracksinthesystem.‘Onthefirstdaywehadtogetanoverviewofwhathadhappened.Daytwowasadayofshockasthenumberofdeathsbecameapparent.Ondaythreewetriedtodescribetheextentofthetragedy,anddayfourwasadayofmourning.Thatwasthedayroseswere laid in the centre of Oslo, and wemovedthestudiodowninfrontoftheseaofflowers,’Årsætherexplains.

It was not until seven days after theevent that TV 2 started levelling criticism.InDenmark,themediastartedquestioningthe authorities’ role in the affair almostimmediately, asking why Norwegian intel-ligencewasunawareofAndersBreivik.‘InNorway,thatwouldhavebeeninappropri-ate.Wehadtogaugethemoodofthepeo-pleandgowithit,’Årsætherunderscores.

JOB THERAPYSiljeHovland is theeditorialheadofTV2Nyhetskanalen. She was on holiday whensheheardabout thebomb in thepolitical

63

district,andherdepartmentwasinsummerloop mode. ‘I went to work immediately,just likemanyofmy colleagues. Everyonewanted to work in this situation, and co-ordinatingthelogisticsanddutyrotaswasquiteachallenge.’

But as a news mediator how do youmaintain professional objectivity when anact of terrorism occurs right outside youroffice and many probably know someonedirectlyaffectedbytheevents?

‘Formoststaff itmademoresense tobeatworktalkingaboutwhatwashappen-ing than sitting at home alone each withtheirownthoughts.Workingletusputtheterribledeedintowords.It’salsohelpfultoremindyourselfthatyoucan’tbeobjectiveinsuchsituations,’saysHovland.

FACTSThe terrorist attacks in Norway in the summer of 2011 consisted of two consecutive attacks carried out against the government, random civilians and a summer camp organised by AUF, the youth organisation of the national labour party, on the island of Utøya outside Oslo on 22 July 2011. The bombs in the political district went off at 3.25 PM, killing eight people and injuring 30. Almost two hours later the man behind the attacks, Anders Bering Breivik, arrived at the island of Utøya wearing a police uniform and proceeded to kill 69 people in the course of an hour.

The Egmont-owned publishing company Cappelen Damm has offices even closer to the political distric that was the scene of the bombing. None at the office was physically injured.

Terror Aril Riise, New Anchor at TV 2

63

Management also provided supportbyholdingfrequentmeetingsandmakingswift decisions about the host of difficultquestions regarding use of visual materialandinterviewsthatarose.

All staff involved have since beenoffered psychological counselling. Manyhavewitnessedthingsthatwouldneverbeshownonscreen.For thosewhowereonholiday, returning to a workplace markedby thedreadfulevents isalsostamped in-deliblyintotheirmemories.

THE CASE CONTINUESTheeditorialofficeislitteredwithlawtext-books and legal literature. The court caseagainstAndersBeringBreivikisduetoopenin April and will take place in downtown

Silje Hovland, editorial head of TV 2 Nyhetskanalen

Jan Ove Årsæther, News Editor at TV 2

Oslo.Theworldmediawillbepresent,andTV 2 will have to jostle for space with athrong of journalists unseen since BarackObama received the Nobel peace prize.‘We’ve set up a terror research group togatherknowledgeaboutthecourtcaseandsharpenourskillsonthelegalaspects,’saysHovland.

TV2’sofficessufferednoseriousdam-age, but the events have become a yard-stick for the journalists’ professional workand,togetherwiththependingcourtcase,havesetanaturalprecedentforprioritisingcoverageinfuture.▀

Egmont’s other face

In 2011 Egmont channelled DKK 50 million of its profits back into society via the Egmont Foundation, whose charitable vision is to give children and young people a good life through active and committed participation in society.

As part of the activities that come under the heading of ‘Caring’, the Foundation has chosen to support children and young people who experience problems before, during and after their parents’ divorce.

SFI, the Danish National Centre for Social Research, is currently examining how children deal with shared parenting schemes where they spend roughly equal amounts of time in two separate homes. The results of a survey in 2011 sparked intense debate, which also had an impact on the amendment of the Danish Act on Parental Responsibility.

Actionklubberne (‘action clubs’) is the title of a new project launched under the auspices of the Egmont Foundation in partnership with the Danish Red Cross Youth. The project, aimed at improving conditions for marginalised children and young people, represents a commitment to donate almost DKK 8 million over four years. Specifically, the money will go to Danish Red Cross Youth and to seven social activities for children and young people based on a youth-to-youth approach and volunteer work.

An action club is a sports club that gives young people, mainly boys, the chance not only to be active, but also to put letters together or solve number puzzles. The project aims to foster 3rd to 4th grade boys’ desire to learn. It’s about having fun and learning at the same time.

SPLIT BETWEEN MUM AND DAD

The foundation specifically supports projects that incorporate a learning perspective or help children and young people to handle life crises. In addition, the foundation provides direct financial support to vulnerable families in need of help for special purposes, for example, holidays, Christmas, recreational activities for children or furniture required after a stay in a crisis centre. Lastly, in 2011 DKK 3.5 million was granted in support to the Danish film industry via the Nordisk Film Foundation, also part of the Egmont Foundation.

These are two examples of projects supported by the Egmont Foundation in 2011.

DESIRE TO LEARN

Documents

March 2012