Last year, the Spanish production house Plano a Plano announced the incorporation of Esther Agraso as Director of its International Area, giving her the responsibility of promoting the company’s presence outside the local territory. During an interview with Señal News, Agraso commented about her first months in its new role, described the group’s strategy, and analyzed the current landscape of the Spanish audiovisual industry.
▸ What projects is Plano a Plano currently working on right now?
“In the international area, which I manage, we are working on several co-production projects with top-level international partners. We are developing two science fiction series, a family drama, an action drama show, and a compelling literary IP linked to sports, all with partners from territories like France, the United Kingdom, Germany, Brazil, and Mexico. In this highly competitive fiction production market, we want to ally ourselves with the best and produce stories that travel globally.”
▸ How would you describe these first months of work in the company's International Area?
“Very positive; I am soaking up a bit of all the projects and getting to know the team, which is fantastic. We have a commitment to talent, people are taken care of, and it is a fantastic place to work. We have been making progress in our co-production projects in these first months. I also traveled to some of the most relevant markets to expand the agenda of partners and contacts.”
▸ What is the strategy of the international area to position itself in the global market with its production pipeline?
“At the national level, in Spain, we are very consolidated, so we focus on the internationalization of our brand. We work with new talent from various territories and to expand our partner’s portfolio. The idea is also to undertake more ambitious projects. International co-productions allow us to associate, finance, and carry out larger projects, which would otherwise be more complicated. At the same time, we want to be flexible to other models in which we can retain IP on the productions we make to have a return over time. It has been beneficial for us to have produced series in recent years that are among the most viewed or sold worldwide. That’s a great cover letter.”
▸ What types of alliances or partners are you looking for?
“We look for top-level partners that complement us, that contribute something that we do not have, such as distribution, financing, access to certain talents, or a window. It is important to harmoniously combine our roles, have a lot of personal and creative harmony, and have the same business vision. Co-productions are usually very long processes, so it might be a problem if you are not very aligned and committed to your partner.”
▸ How do you see the current landscape of the audiovisual production business in Spain?
“The Spanish audiovisual industry is experiencing a new golden age. We produce great stories that travel internationally and are among the most viewed on all major platforms. We have moderate production budgets and very attractive tax incentives. Last year, Spain produced 55 series, which is outrageous. The sector has become very professional, and there is currently a very relevant industry.”
▸ What do you think a film or series must have to succeed in the local and international markets?
“There is an evident and global commitment to IPs, which are the ones that give security to the client. We have cases like ‘Valeria,’ which has worked very well on Netflix with its two seasons and a third one already confirmed, reaching the number one spot in Spain. Aside from these IPs, we are committed to original ideas, which is this industry’s basis. We have our own productions such as 'Toy Boy,' 'El Príncipe' or ‘Desaparecidos’. We are in a market that produces a lot of content. There is fierce competition, so we have to do it very well and offer a fantastic product at all levels because target a very educated audience, who consumes a lot and demands more quality. You have to live up to what that audience expects.”
By Federico Marzullo