Tag Archives: Iberseries

Female Representation in TV in Spain, Mexico, Argentina: Iberseries

Girls stay noticeably underrepresented within the movie and TV manufacturing sectors in lots of international locations world wide, and Spain, Mexico, and Argentina aren’t any totally different. A spherical desk session on the ultimate day of Iberseries & Platino Industria introduced research on feminine participation within the audiovisual sectors of these international locations and noticed audio system name for a change in attitudes and assist to make sure a higher presence of feminine professionals.

The massive occasion in Madrid that focuses on Spanish- and Portuguese-language content material featured a session with consultants from Nebrija College in Spain on Friday, its ultimate day. The audio system had been Nebrija researchers Mercedes Herrero de la Fuente, Cristina Angeles, and Rocio Gago, in addition to Sabrina Farji from the Audiovisual Equality Observatory OIA in Argentina. Marta Saavedra, director of the Cinema, Girls and Schooling (CIMUED) chair at Nebrija College, served because the moderator.

Herrero de la Fuente shared information that exhibits ladies made up solely 38 p.c of manufacturing professionals in Spain in 2023. Primarily based on the definitions of the nation’s equality legislation that mentions a ratio of no less than 60:40, “we’re speaking a few male sector,” she defined.

She additionally highlighted that girls are a minority in most job classes within the business aside from esthetics-focused roles that historically have been seen as sturdy areas for ladies. For instance, feminine professionals account for 85 p.c of employees within the area of costumes, 81 p.c in make-up, and 64 p.c in artwork path.

In technical areas, akin to cinematography and sound, in addition to in directing (24 p.c), ladies solely have a small presence. “Girls are usually not represented sufficient within the audiovisual sector in our nation,” Herrero de la Fuente concluded.

Angeles stated that in Mexico, equally, “we nonetheless have room for enchancment.” And he or she added that “we have now rather a lot to do to maintain ladies within the business after they direct their first film.”

Final yr, ladies accounted for less than 21 p.c of cinematographers within the nation, 26 p.c of administrators, 39 p.c of screenwriters, however 65 p.c of producers.

For Argentina, Farji stated there may be information for the highest blockbusters, exhibiting ladies accounting for 34 p.c of pros concerned. After #MeToo, feminine illustration, significantly amongst administrators, improved, however then the COVID pandemic had a “brutal” affect on it. “It’s a form of a rollercoaster, and for ladies, it’s all the time more durable to return again,” she stated. However ladies are historically higher represented in such genres as documentaries, the professional additionally famous.

With the manufacturing sector in Argentina having come to a close to standstill amid a political dispute, “we have now reached an equality of zero,” she additionally famous. The federal government of far-right chief Javier Milei handed a controversial plan to chop all state funding for the nation’s nationwide movie physique, offering a success on high of Argentina’s financial struggles.

Gago on the finish of the session summarized key takeaways, calculating that feminine professionals throughout the three international locations solely make up round 30 p.c of sector employees. She instructed the business should begin trusting extra ladies with extra duty outdoors of their conventional roles.

“There’s much less belief in ladies managing tasks with larger budgets,” stated Herrero de la Fuente. And he or she questioned if that will partly even be the case as a result of ladies are so used to and good at making issues work with smaller budgets. She concluded: “We should assume greater.”

Evan Shapiro on Tech Death Stars, Streaming Business, Big Media

Evan Shapiro entertained, shocked and awed an trade crowd in Madrid this week. The previous high govt on the likes of Comcast’s NBCUniversal and Participant Media, in addition to producer (Portlandia, Brick Metropolis), now calls himself a “media universe cartographer” and shares graphics, charts and unconventional ideas on such platforms as his Substack publication “Media Conflict & Peace: Reviews from the Conflict for Our Consideration.”

And he mirrored on the present — and future — state of media and the important thing function of Ibero-American markets throughout a keynote look at Iberseries & Platino Industria in Madrid, following a keynote look from Spanish actress and director Paz Vega.

Among the many themes he touched on was the monetary and market energy of the six expertise “Dying Stars,” as he calls them, which might be every price greater than $1 trillion in market worth — particularly Amazon, Alphabet, Apple, Meta, Microsoft and Nvidia — and why streaming has remained a troublesome enterprise.

When Disney determined to push into streaming, “in pursuit of Netflix and its flawed ad-free enterprise mannequin, we left behind the period the place media was in management and moved into the user-centric period,” he advised Iberseries. The remainder of Hollywood giants chased behind. “All of the horsemen of the streaming apocalypse adopted with out actually analyzing what would occur by pursuing the direct-to-consumer mannequin,” Shapiro argued.

His conclusion for this new age? “Content material remains to be king. However information is the bloodline,” in accordance with Shapiro, who urged media and leisure executives to problem enterprise fashions and provide you with new options for the disruption and challenges which have impacted Hollywood and past.

In a dialog with The Hollywood Reporter after his look on the rising Madrid trade occasion, Shapiro defined why streaming is a “shitty” enterprise, shared his doubts about Netflix’s promoting enterprise and mentioned why Hollywood should band collectively to make sure it cannot solely survive however thrive.

You employ very sturdy phrases while you clarify trade dynamics. For instance, you discuss Dying Stars and the “horsemen, of the streaming apocalypse.” Why do you employ that form of provocative language?

I contemplate myself a part of the creator economic system. I write this article and these posts on social media, largely LinkedIn. And to begin with, it’s what I sound like, so I’ve a voice. However secondarily, I’ve discovered that if you happen to can seize someone’s consideration by utilizing provocative language, they take heed to what comes subsequent. The issue with a number of analysts and lots of people who do reporting on the media ecosystem, is that to begin with, a number of them don’t learn the precise information, so that they don’t essentially know what they’re speaking about. Then secondarily, the extra essential factor, it’s simply so dry and so boring that individuals really simply ignore it.

That’s part of the explanation we discover ourselves in such a dire set of circumstances — the data they most want nobody actually desires to learn or take a look at as a result of it’s [dry and technical]. It’s the identical cause I do charts in such huge, daring colours with bizarre photographs, as a result of lots of people are visible learners. And so while you say “the horsemen of the streaming apocalypse,” otherwise you say “huge tech Dying Stars,” otherwise you say “concern of discovering out,” or “concern of fucking up,” folks jolt out of their seats, half of them.

I feel there are folks on the market that I lose as a result of I exploit such provocative language however these aren’t essentially those that have to take heed to me. Folks I feel I seize by the lapels and shake, they reply to “fuck you.”

Since we’re speaking about language, it appears the trade goes by intervals when sure buzz phrases are all over the place. From “synergy” and “tipping level” to, extra not too long ago, everyone expressing the necessity to “pivot” — although they often don’t totally element what which means or entails…

These idioms are attention-grabbing. “Pivoting” was a phrase that I began utilizing numerous years in the past about my very own profession, and now lots of people use it. These idioms grow to be so universally used that they lose their which means. And so I try on a weekly foundation to reinvigorate the language that I exploit so that individuals proceed to concentrate to what it’s that I’m attempting to inform them. One, as a result of it’s my dwelling, and two, as a result of it will be significant.

I used to be simply speaking to somebody whose job is to assist producers in Latin America and Spain accumulate the charges that they’re due from the distribution of their content material. But when the platforms that they’re distributing on die, what do you do? So while you seize somebody like that by the lapel and persuade them that the change is not only occurring, but it surely’s occurred already, it will be significant. He stated I made him reexamine what this group goes to do subsequent. That’s not a simple factor to do. It’s very troublesome to shake someone unfastened from their very own preconceived notions, and typically you must be, and I imply this metaphorically, violent. That’s why I exploit the language I do.

That’s additionally why I exploit the imagery that I do. I name Warner Bros. Discovery Disco Bros. as a result of humor performs a big half in why folks take heed to me, or folks take pleasure in my shows. And while you’re laughing, you’re studying. When you’re not entertained ultimately or trend, likelihood is you’re not studying as a lot as you ought to be.

Leisure trade CEOs haven’t at all times had a repute for being the most important entertainers amongst company leaders. Any ideas?

The mentality that individuals on the high of organizations have can be [important]. Not that you must really feel dangerous for the CEOs of huge media. They’re all making tens of tens of millions of {dollars} a yr, however they’re getting yelled at, and it’s tougher and tougher to do the job that they did simply 5 years in the past when it was tremendous straightforward.

The explanation why they discover themselves dealing with such dire straits for his or her corporations is as a result of A, they don’t take note of issues that they want to concentrate to; B, they refuse to let anyone else do it for them, together with and particularly youthful generations; and C, they’re simply not listening to their very own audiences anymore. The viewers that they take heed to are their shareholders, not their viewers, not their customers, and that’s how they’ve pushed themselves right into a dead-end stream.

You might be saying that content material remains to be king however there’s additionally information. Are you able to clarify that a little bit?

If you consider the period that we’re in, which I name the person centric period, the person’s voice is paramount. The person’s voice is the information. They’re telling us what they need. They’re telling us how they behave.

The explanation why I ask folks within the room to reply questions all through my shows is that I need to be sure that my thesis is appropriate. So once I say, “Who right here has signed up for one thing, binged the heck out of one thing after which canceled?,” and a lot of the room raises their hand. I do know I’m proper, and I can proceed. That’s information in actual time. “Who right here has simply logged on to a service, couldn’t discover one thing to observe, logged on to a different service, couldn’t discover one thing to observe, logged on to a 3rd service, gave up and simply took a drink and watched Buddies?” And a lot of the room raises their hand they usually snigger in recognition.

However while you zoom out, you get swimming pools of knowledge which might be exceptionally massive. As an alternative of surveys of two,000 or 3,000 folks, take a look at the information Antenna, Kantar and others have. Take a look at precise person information on the market within the market. That’s the person’s voice. And within the person centric period, if you happen to’re not listening to your person’s voice, you realize nothing.

His Grasp’s Voice outlined the final period. This period is being outlined by your viewers’s voice, and the information is their voice.

I’ve seen experiences from Wall Avenue analysts at MoffatNathanson and a few others saying that streaming is just not a terrific enterprise. You might be much less good in your evaluation, proper?

I say it’s a shitty enterprise.

Why?

Effectively, it’s the distinction between wholesale and retail. Retail is a really troublesome enterprise. Dealing with the patron every day is basically arduous, as a result of individuals are difficult. They’re not all the identical. They’ve issues. Your buyer help is probably the most thorny a part of the enterprise for a cause, as a result of you’ll be able to’t deal with each client the identical, and you may’t deal with each viewers the identical. You may’t deal with each demographic or age or era the identical. And so the explanation why streaming is a shitty enterprise is as a result of it’s a retail enterprise.

Once we had been promoting to simply three or 4 [pay-TV] suppliers in a market, it went like this: You are taking them out for cocktails, fly them to Cannes to entertain them, and also you made a deal. And most of them, let’s be trustworthy, we went to high school with. They had been fraternity brothers and sisters. We’ve identified one another and grew up within the enterprise collectively, so all of us simply form of shook arms and made a deal. That’s a unique enterprise than promoting to every particular person client.

After which inside a house, you might have 4 completely different shoppers. That’s a really difficult, thorny enterprise with plenty of pitfalls. Persons are difficult. And while you discuss tens of tens of millions or billions of them on the identical time, all utilizing your service throughout planet Earth, my goodness, it’s like dropping a jigsaw puzzle, shedding all the perimeters and attempting to place the jigsaw puzzle collectively.

I see your level. I like arthouse movies and jazz and experimental music, and I’ve gone to music occasions the place solely 50 folks present up, and paid for them, however then I additionally like skilled wrestling…

I like tiny little area of interest issues however I additionally love Marvel films. I like Taylor Swift, however I additionally like numerous little bespoke issues. I like books which might be about bizarre issues. I like articles which might be about bizarre issues. Persons are difficult, and that’s what makes the customer support enterprise such a sophisticated enterprise, and that’s what streaming is.

If you’re YouTube and also you’re agnostic to the content material, and all you’re is a tech platform, that’s a a lot simpler enterprise, as a result of all you must do — it simply sounds straightforward, however I can’t do it — is invent an algorithm. However as soon as the algorithm is invented, you’ve obtained a flywheel in movement. Amazon collects extra information on its shoppers than folks have ever had or generated information in historical past, and in order that information is Amazon’s flying wheel and is so highly effective as a result of they take heed to this Tower of Babel every day. It’s lots of of tens of millions of individuals doing lots of of tens of millions of various issues, however they’ve constructed a machine that is aware of the best way to react to that and provide what the patron desires, which is why everyone is an Amazon Prime member, and nobody will ever cancel, as a result of it is aware of who I’m. It is aware of what I would like, and it offers it to me each time I log in — as a lot as I don’t need to be with it — It is aware of me. It has all my albums. It has all my stuff. And that’s the sport that we’re in. Massive media, conventional media doesn’t perceive that recreation.

There’s been a lot discuss concerning the rise of advertising-supported streaming and Netflix and different have been speaking about that progress enterprise rather a lot. However I feel you will have raised some doubts about ad-supported streaming. What’s your fear?

In my presentation right here, I requested folks “who has Netflix with advertisements?” and no person, not one individual in that entire room, put up their hand. Why do you suppose that’s? There are a selection of various causes. I feel, to begin with, they transitioned to promoting in a really dangerous approach. When you take a look at how Amazon transitioned to their advertisements [offering], it was significantly better. They didn’t say, “Hey, right here’s a brand new tier — join it.” They stated, “We’re going to cost you extra if you happen to don’t need advertisements. And 70 p.c of their viewers stated, “I’m positive with advertisements. I’ll pay what I’m paying.” So that they transformed 70 p.c of their customers to the advert tier in a single day. For everyone else, they raised their costs, and the common income per person went up in a single day.

So factor primary, Netflix launched it badly. Factor quantity two is simply pure hubris. They went out with their advert tier to the advertisers with a worth that was not commensurate with their platform, they usually discovered themselves shocked when advertisers didn’t need to enroll in it. After which lastly, there’s a complication with their advert tier, which is that they don’t have the rights to insert promoting in all of their content material, and so a number of their good content material isn’t essentially on the on the advert tier of their platform, or whether it is, you’ll be able to’t insert advertisements in it, so it’s not producing the revenue that they should make it definitely worth the whereas. So it’s a sequence of dangerous choices.

We’ll see in the event that they succeed long run however their advert enterprise is damaged. It isn’t in fine condition. The remainder of their enterprise is in respectable form. However for a way lengthy?

I heard you say that YouTube is now, within the U.S., the primary TV channel. Plus, you will have six deep-pocketed tech giants, which you name Dying Stars. You’ve new gatekeepers to the house, reminiscent of Roku and Amazon/Hearth. What do huge media and leisure corporations do? What can Hollywood giants do?

If huge media will get collectively — and in that I embody Netflix, I embody the BBC, and extra — and collaborates round their information, out of the blue they’ve an information pool that’s not as huge, however approaches, the dimensions of a Google or a Meta. However extra importantly, that information is of a premium client base that’s not on YouTube, that’s not on Meta, or if they’re, they’re not spending the identical period of time there. So [we need] a radical collaboration and the graceful transition between platforms for the person by way of the creation of an interface and a person expertise that’s considerably higher than what it’s at the moment.

In the present day’s person interface, while you activate the tv, individuals are canceling. They’re pissed off. They will’t discover the stuff that they need to watch. It’s not personalised in the best way that we promised them.

If we try this, it means taking down the partitions round your gardens and competing as a bunch with Google, competing as a bunch with Meta, competing as a bunch with Amazon. If not, good luck! They’ll beat you.

TV Series for U.S. Hispanics Need Authenticity: Iberseries, Madrid

Tales for the U.S. Hispanic market have been the subject of debate at Iberseries & Platino Industria in Madrid, Spain on Thursday afternoon.

The fourth version of the occasion centered on Portuguese- and Spanish-language content material introduced a panel that includes Carlos Quintanilla (Management Z, Working Woman), vp, authentic content material at Sony Photos Tv, Christian Gabela, senior vp, head and government producer for Latam & U.S. Hispanic at Gaumont, Leonardo Zimbrón (Acapulco, Membership of Crows), senior vp, movie & worldwide coproduction at 3Pas Studios in Mexico, and Sergio Pizzolante (Zorro, Nicky Jam: The Winner), president, Secuoya Studios industrial & worldwide distribution. The session was moderated by Fidela Navarro, CEO of Dopamine in Mexico.

“U.S. Hispanic audiences signify an enormous market,” a panel description had stated. “Executives mirror on how they method the creation of movies and sequence for them.”

Early on within the debate, it was all concerning the continued progress and upside. “It’s a market that’s unstoppably rising,” Zimbrón stated, mentioning that the best-selling grocery merchandise within the U.S. was bread however that has been changed by tortilla. He additionally highlighted that when it comes to buying energy within the U.S., Hispanics rank “quantity 2 behind the American People, so to talk.”

Gabela added that Hispanics are younger in comparison with the remainder of the U.S. and are very variety given backgrounds in many various Latin American nations.

“At Secuoya, now we have a fantastic success story with Zorro,” Pizzolante stated. “It’s a present that might organically stay in Spain or Latin America. [The protagonist] is Spanish, and the story occurs in California. It both works very strongly for America, possibly with a European wink, or for Europe with an American wink.” His conclusion: “Content material wants a territorial anchor, both in Latin America or in Spain.” He underlined the necessity for such readability with a comparability: “Folks like both chilly or scorching tea. No person
likes cool tea.”

Zimbrón stated one other recipe of success is to all the time preserve the audience in clear focus. “We’re all the time considering of U.S. Hispanics,” pointing to Apple TV+ hit comedy sequence Acapulco for instance.

In the meantime, Sony needs to maintain issues actual and never pressure issues that make no sense. ‘We’re on the lookout for authenticity,” stated Quintanilla. “If in case you have Colombian content material and we attempt to embrace a Spanish cousin, that’s very troublesome for the viewers. As quickly as they detect that it’s not genuine, they depart you.”

Zimbrón echoed that, saying growing content material for U.S. Hispanics is “a matter of authenticity.” Serving to with that’s the reliance on Hispanic writers, administrators, and different creatives. “We have to respect utilizing Hispanic creativity,” he stated. “We have to embrace them.” His firm additionally needs to inform LGBTQ+ tales and desires to usher in the suitable artistic voices for that.

In some circumstances, he stated his firm’s work may additionally embrace expertise from Spain, Zimbrón stated, lauding Spanish writers and different creatives and describing them as “a luxurious merchandise.”

Anonymous Content Panel at Iberseries: Walter Salles Doc Series

High executives from Nameless Content material (True Detective, Alfonso Cuarón’s Disclaimer, Highlight, The Revenant) and its joint ventures in Spain and Brazil took the stage in Madrid on Wednesday as day 2 of the fourth annual Iberseries & Platino Industria occasion kicked off.

Jacobo Aparicio director of worldwide at Nameless Content material in L.A., Barbara Teixeira, CEO of Nameless Content material Brazil, a three way partnership with RT Options that additionally has the monetary backing of Hollywood expertise company CAA, and Beatriz Campos, managing director of Nameless Content material Spain, a three way partnership with Morena Movies, mentioned their technique and growth plans in a highlight session moderated by the author of those traces.

Campos mentioned that since she is just a few months into her function, she has no official titles to unveil, however shared that, “we’ve got two movies and 4 TV collection in growth.” All of them are Spanish-language, aside from one worldwide English-language venture. “We jumped on board as a result of we love the idea,” she defined. “We’re aware that English-language could be barely tougher, however it’s a narrative that’s set in Spain’s Civil Struggle, however it has a really natural worldwide method. It is sensible to inform that story, and it’s one which we’re attempting to place along with our companions within the U.S.”

In the meantime, Teixeira touted two beforehand introduced initiatives from AC Brazil. They’re its first scripted venture, a TV adaptation of Raphael Montes’ bestseller Good Days, and a documentary collection about Brazilian soccer star Sócrates, each for Globoplay, the streaming service of trade big Globo Brazil.

The eight-episode Good Days, directed by Joana Jabace (Treasured Pearl) and written by Claudia Jouvin (The Nightshifter), is about Clarice (Julia Dalavia), a carefree screenwriter who playfully kisses awkward medical scholar Téo to harass her faculty boyfriend. However the joke turns right into a nightmare when the obsessed Téo kidnaps her and takes her on a street journey throughout Rio de Janeiro. Teixeira referred to as it “a giant thriller.”

In the meantime, the Sócrates venture may even present the star as a “very distinguished political determine,” she shared. “It’s a really human story, greater than an athlete’s biography, as solely Walter Salles may inform it. So it’s one thing we’re actually enthusiastic about.” Salles’ I’m Nonetheless Right here was not too long ago chosen as Brazil’s contender for the most effective worldwide function Oscar.

Aparicio described the objective of Nameless Content material’s worldwide joint ventures (it additionally has them for the U.Ok., France, and the Nordics) as being “capable of attain not simply the U.S. viewers, however a worldwide viewers, and encourage native workplaces to be formidable of their storytelling, dangerous, daring, and to have the ability to actually purpose for one thing really particular.”

Arguing that the COVID pandemic and the twin Hollywood strikes opened audiences’ eyes to new content material from extra elements of the world, he concluded: “These tales have been those which have actually resonated.”