By Andrés Arell-Báez
Marlon Moreno Solarte 2016 has started quite busy. After filming in Brazil the film I Believe in Butterflies and Norwegian production in Colombia Handle With Care -in which shares the screen with the most important Norwegian actor, Kristoffer Joner, of appearance in The Revenant – is now in its current place of residence, Los Angeles, organizing new projects
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of course, Moreno Solarte is known in much of the continent for his performance in the series the capo , in which he played the character remembered Pedro Pablo Leon Jaramillo. However, in his native Colombia resonates more for his two decades of work on the small screen and 18 feature films, among them one of the highest grossing country, Dreaming does not cost anything , and another with the which achieved international recognition, dog eat dog , whose performance was celebrated with the award for Best Actor at the Festival de Gramado (Brazil) in 2008 and the Best Actor Award at the International Festival film in Guadalajara (Mexico), the same year.
Later, in 2013, won the Best Actor Award at the Latin American film Festival of Huelva (Spain) for his role in the film chasing fireflies .
with few people can speak so deeply about cinema and international television as Marlon. He is passionate about visual art, either by creating for the small screen or the big
Hence its strong position on the industry he loves and his current situation. “In my humble opinion, there is nothing good nor bad in terms of productions refers: simply humanity develops tastes and influences where some walked, others not. What do I mean? There is a vast minority who enjoys House of Cards . For those who see it, this series is almost a vindication of television, but the truth is that it is not like mainstream audiences. You see the success of Fast and Furious and the number of people carrying the rooms and have to admit there is a huge audience for that kind of entertainment. Thus, both are valid. In this scheme also they fit reality shows, which are a phenomenon that began in England in the midst of a crisis where the chains had no way to pay their actors. Consequence of this situation, this format contrive, seeking to find other means of exploitation for the sleaze, gossip and violence that needed to be displayed on the screen and can hold hearings with lower budgets, becoming already a reality much success planetary level. “
in any field, you can not talk about television and movies without mentioning the new changes imposed by the new digital platforms. According to the latest report Datxis , VOD and OTT in Latin America reached 10.2 million subscriptions in 2015.
“Today -comenta Marlon about this-, channels TV do not know how to address the phenomenon of Netflix, which generated other large companies produce under that same model Hulu, Amazon, HBO, to which must be added the emergence of youtubers as new attractions for the audience. All this has made the model of traditional television into crisis, because the truth is that nobody wants to see business, the core business historically. And that crisis has led to a drop in television budgets, contracting a loss in acting and technical production quality. “
It seems, then, that the way left to regional television is adapted to new times, but it is understanding that in doing so, must sweep completely with its traditional mechanism to attract revenue. large audiences that attract large advertisers
According to Aaron Sorkin , creator of HBO’s the Newsroom , to the string “does not care in the least how many people see their series. What interests them is that the media talk about them in depth, because that way attract subscribers “
Sorkin concludes his comment saying.” The few people who really see the series can not imagine more commented “
Marlon complements that vision.” Today, which became popular are things that cause taunting, teasing. We singers and artists who fill stadiums because YouTube became popular. At the same time we see that the critical successes on international television are very low in the size of the audience. Series like Breaking Bad or The Sopranos do not have a huge audience. We can say that the audience, between a good product or a mediocre, often prefer the latter. “
And that is quite right Moreno Solarte. According to an article published in the cultural magazine Jot Down entitled “Why live in an Golden Age of the series ?”, Large television dramas are more expensive, more demanding more risky, but none of that translates into a positive reception. Until today, in Latin America attempts chains for making large local series not appear to have brought the success desired.
In what appears to be a contradictory position, Moreno does not believe that television should take that route. “The big series are isolated and very difficult to repeat phenomena. The stories the filmmakers we can get to like, not necessarily connected massively “worth asking, then what could be done
Henry Ford once said:”. If he had asked people what they wanted, I would have said a faster horse. “that analysis can share versus what should be done in film and television, because as mentioned by the writer remembered Oscar winner William Goldman , in this world “nobody knows anything”.
for Marlon, “each generation is creating a resistance to what is offered as content, and that resistance tastes of the future are born. A few decades ago, for example, in Colombia they were serialized productions with high quality and were based on the great works of world literature. Thus was born a need for the public, a resistance of us to this type of television, demanding stories closer to our reality, our problems were counted. such television then and there we did have a taste for stories of drug trafficking. Today, again, it is creating a resistance to narconovelas and out new products as consideration to this new desire. For example, in Colombia’s response it was to create stories about our most renowned local singers, and those are the products that are saving the ratings “.
In the program that made Charlie Rose on the golden age of television in the United States, David Carr, a columnist for New York Times , said this “is the perfect time to have a script under his arm.” He was referring to the growing demand for content there today, with so many programming bidders looking for new material.
In our region is going something similar and that projects a better future. “We are experiencing the phenomenon of new and risky -complete Marlon talents, such as the case of Ciro Guerra, an amazing talent who received an Oscar nomination this year. There are also young producers are opening space in all media and festivals, performing a wide variety of audiovisual products, which are finding their space. That creates a very promising deal, which is expanding rapidly, at a time when the industry strives to meet them, given the large number of channels and platforms available. Nevertheless, we enter into a position in which the viewer has no right to complain, because if you see something you do not like, you have access to all kinds of audiovisual products, all at your fingertips. “
recently on Twitter, one of the most talked publications was a saying: “everyone will get us one day our Uber.” on television and film came long ago. Marlon know:
“There was a tagline in a movie in the eighties that said ‘We are the future. Párennos if they can. ‘Let’s deal with that today there are fights like taxi drivers and Uber, and those between the channels and Netflix. They are meaningless fights. You can only compete against these new services with quality. The idea of putting restrictions only bring more problems. Uber is more comfortable, more friendly; Netflix freed us from the hubbub of commercial and noise. Traditional channels today want to draw attention to noise, with shouting. They resemble that attract local customers with a megaphone. Today it is no longer so captivates the viewer with such measures. It is made with quality. The question is: when we will realize that ?, When will begin to change the picture? And that change must be done knowing that the new business model affects everyone. Today we should think more productions under the mechanism cooperative, transforming all producers, risking each for the project out so that increasingly ambitious and impactful projects done. “
Reminding Bill Gates could say that in Latin America that judgment also applies in the nineties by the founder of Microsoft that “content is king”.
But when an analysis of this medium is not You can go over the most important part of it: the audience. In a article written in these pages, a while ago, we mentioned that the audiovisual is “a perfectly competitive market.” And, facing the audience, Marlon shares this statement:
“I think the criticism aimed at discrediting the taste of others are fascistic. It does not seem valid to put ourselves in a position to say what the other sees is bad, that mine is smart and the other is uncultured. Television is an answer, a need for the audience. The offer is responding to demand, a demand which, I believe, has to do with the fact that we have a generation with a vision of ‘no future’. If we remember the great Mexican and Venezuelan productions of the past, they were based on viewers to make you dream that you could have a better future, were aspirational works, to put it in terms of marketing. Not today. Facing the fact of living a daily life full of apocalyptic news on energy, water, overpopulation, economic crises … it is creating a collective subconscious that says that there is nothing else to do but laugh and not think too much. In the first world countries, young people do not want to study or work. His vision is to eat, live, sleep … and now. And that is why television is successful. “
There is no doubt that the audiovisual industry is going through a defining moment, one in which the rules are to be established and the future is uncertain but also exciting. For now there are more questions than answers, but maybe Marlon is right when he says that the only thing left is to take risks and compete with quality. That are doing great on the outside.
Andrés Arell-Báez is a writer, producer and film director. . CEO of GOW Filmes
Contact:
Twitter @andresarellanob
opinions expressed are those of the authors and are completely independent of the position and the editorial line of Forbes Mexico .
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