Courtesy of Filmax<\/cite>\n\t\t\n\t<\/figcaption>\n\n\t\t\t\n<\/figure>\n\n<\/div>\n\n\n\n\n\t\u201cThe series that we\u2019re making are increasingly ambitious and powerful and with casts which require much more investment,\u201d says Montse Garc\u00eda, fiction director at Atresmedia TV which produced \u201cVeneno\u201d and \u201cThe Gypsy Bride,\u201d two Atresplayer Premium Originals, with HBO Max and Paramount+ respectively.<\/p>\n\n\n\n
\n\t\u201cThanks to these international alliances, the series have large international repercussion,\u201d Garc\u00eda adds <\/p>\n\n\n\n
\n\tThe Showcase\u2019s featured shows, shooting or shot, will be looking for distribution, notes Beltr\u00e1n Gort\u00e1zar, CEO of Suma Content, founded by Ambrossi and Calvo and producer of \u201cVestidas de Azul,\u201d an Atresplayer Premium Original. <\/p>\n\n\n\n
\n\tThat said, he comments, when it comes to financing, \u201cThere\u2019s an industry re-set. Formulas that functioned over the last five years don\u2019t work any longer. Streamers are constricting budgets. Probably co-production is one of the only ways to finance big projects of large ambition and global impact,\u201d he adds.<\/p>\n\n\n\n
\n\t\u201cCo-production contains risk on the costliest projects. Your co-producer can help territory-by-territory distribution where it operates. A partner who shares your vision can, moreover, bring a lot to the table in creative terms, \u201csays Domingo Corral, director of original fiction at Movistar+, which co-produced Alejandro Amen\u00e1bar\u2019s \u201cLa Fortuna\u201d with AMC Studios and \u201cTell Me Who I Am\u201d and \u201cEl Inmortal\u201d with Telemundo. <\/p>\n\n\n\n
\n\t\u201dAfter huge growth, there\u2019s a certain contention in investment, which creates more willingness to look for alliances,\u201d he adds.<\/p>\n\n\n\n
\n\tA neighbouring strategy is to bring on anchor broadcaster clients from the get-go, pre-sales which Mediapro Studio achieved on \u201cThe Head\u201d Season 1 with Hulu Japan and HBO Asia. Retaining IP, TMS went on to sell Seasons 1 and 2 to 90 territories. <\/p>\n\n\n\n
\n\tA neighbouring strategy is to bring on anchor broadcaster clients from the get go, pre-sales which The Mediapro Studio achieved on \u201cThe Head\u201d Season 1 with Hulu Japan and HBO Asia. Retaining IP, TMS went on to see Seasons 1 and 2 to 90 territories. <\/p>\n\n\n\n
\n\t\u201cPre-sales on finished series which are ambitious, both artistically and commercially, are indeed another way for us to produce content fully developed in house,\u201d recognizes Marta Ezpeleta, The Mediapro Studio director of distribution, co-productions and international offices. <\/p>\n\n\n\n
\n\tYet \u201cco-production or early pre-sales have to have two common denominators: \u201cThat the series makes sense for partners and the partners have screens, an outlet for the series\u201d, she adds.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<\/div>","protected":false},"excerpt":{"rendered":"
The latest series from Alex de la Iglesia and \u201cVeneno\u201d creators Javier Ambrossi and Javier Calvo feature at a first-look Next from Spain Showcase which marks a massive step-up in the country\u2019s presence at the Berlinale Series Market. Running Feb. 20-22, the showcase also unveils \u201cRapa\u201d Season 2, with its first season proving Movistar+\u2019s biggest 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