Success has come without forfeiting creativity for commercialism.
In 2023, we were shooting three shows for different platforms in different countries.
The result was the upcomingSharedCustody,a comedy-drama that explores what happens when parents break up.
Clockwise from left: Camila Jiménez Villa, Silvana Aguirre', ‘No One Will Miss Us’ and ‘Shared Custody’Courtesy; Prime Video; Disney+
A debut film, Sofia AuzasAdolfo, won the Crystal Bear at Berlin last year.
However, that international focus has provided a response.
We are in a good position because we are very diversified geographically, says Jimenez-Villa.
Disney+
Were U.S.-based but work in two languages and several countries.
DEADLINE:Youve had several shows in production last year and this year.
How would you sum up where The Immigrant is right now?
CAMILA JIMENEZ-VILLA:Its been pretty great.
In 2023, we were shooting three shows for different platforms in different countries.
We were working with incredible talent on high quality shows.
The stars aligned and we produced the three shows and had a movie that won in Berlin.
It was a very nice strike.
Its important for us in regards to talent, commissioners and audiences.
Were trying to enjoy the moment also know its also a very difficult market and are continuing to develop.
Thats our philosophy and ambition in an increasingly challenging market.
In your view, why is that?
CJV:We are in a good position because we are very diversified geographically.
Were U.S.-based but work in two languages and several countries.
Unfortunately for producers out there, it is a market that has been consolidated.
Were also privileged because weve managed the company in a way where were not looking to make volume.
Its always audience-facing quality, commercially viable projects first.
We dont need to make a lot but just want to make beautiful shows.
Being nimble allows us to survive in a market that is getting challenging because of all that consolidation.
SILVANA AGUIRRE:Were also in a privileged position because of our deal with Fremantle.
We are a small independent company, but backed by a major company.
That makes us distinct.
DEADLINE:Whats your read on the commissioning market right now?
CJV:A lot of buyers are operating from the place of fear, which makes people very defensive.
Its about finding a balance.
I personally think we will find a new normal at a lower watermark than what were used to.
Companies that are adaptable will be able to make sense of that and survive.
DEADLINE:How has Fremantles backing impacted your operation?
SA:They came provide financing.
If there has been a gap, Fremantle has been a very good partner to us.
Having Jens Richters distribution arm makes it possible.
CJV:The third thing is intelligence.
Its really good to know whats happening beyond our markets.
DEADLINE:What was the experience of working withJavier Fesser like onShared Custody?
Plus, he is on top of his game.
Watching him on set is like having a masterclass.
We werent aware of that when we reached out, which was probably a good thing.
Working with Disney in Spain was also very rewarding, they gave us a lot of support.
They were incredibly respectful of the creators of the story and Javiers vision.
It was a dream to produce.
DEADLINE:Youve pushed heavily into Spain, but are there expansion plans beyond where you currently operate?
We need to solidify the places in which we are doing well.
Spain is definitely important as we both have ties there and with filmmaking in Europe more generally.
We have a slate in Spain that is incredibly solid with strong writing and directing talent.
We want to double-check we grow there.
Also important for us is the shows we are working on for the U.S. market coming to fruition.
DEADLINE:Youve alsogot offices in Colombia and Peru.
What are the plans there and other parts of South America?
CJV:We have to make the most of smaller territories with tangible opportunity, like Colombia.
We have to take advantage of all of that.
Of course, Silvana looks at Brazil, which she loves, from time to time.
DEADLINE:How do you like to work with creatives?
SA:Were always conscientious about finding writers and creators.
It always starts with allowing us to take their seeds and grow their babies.
Last year, we were extremely lucky with the three shows we shot.
Sometimes it can be tough on set, but each time going to set was such a joyful experience.
With Catalina and Samuel, it was about growing up in Mexico in a specific time during the 1990s.
If youre passionate, it is way easier to tell that pop in of story.
DEADLINE:Whats coming up in the future?
CJV:Were continuing to work with people who love the material.
We have several things with filmmakers who we love to work with.
Its a personal story and our first co-production between Mexico and Spain.
DEADLINE:Finally, Fremantle has an option to extend its 25% stake to an ownership position.
Do you foresee that happening?
The structure [of the agreement] has given us the important flexibility we need going forwards.
We are in talks with Fremantle and Andrea Scrosati, and they do have an option to go up.
The partnership has been great, so I dont see why they wouldnt.
Fremantle as a strategic partner has proven one of the better choices weve made.
Hopefully, the deal continues as well.
