The Executive Producer Talks About the Audiovisual Market and Future Perspectives
by Marcela Liz
Having just come from Rio 2C – the old Rio Content Market, the multimedia event in Rio de janeiro for the meeting among producers, content creators, and players in general –, Brazilian producer and executive producer Junior Perini, a seasoned professional with more than 40 years in the market, acting out in many production companies throughout Brazil, and a partner of Sincronia Filmes in some upcoming and in-developing projects, got some little time in his busy agenda to talk a bit about what is going on in the audiovisual market in the nation and the changes through which the sector has been going in some years now. Circling among diverse media, such as TV, advertising, the cinema, Perini has made, as a producer, more than five thousand advertising campaigns – among them for Estrela, the traditional Brazilian toy brand founded in São Paulo in 1937 –, and today has been developing and making negotiations with players in many projects for many different formats. In this interview, granted by email right after the producer returned from Rio, Perini evaluates the audiovisual market in the country, and ventures some future forecasts for it.
Tell us a little about your history and experience in the audiovisual market. Where do you come from, what have you done so far?
I began my professional career at Espiral Filmes, in 1981, at the time considered one of the top ten best production companies in the world. I have worked at other production companies like Chroma, Fathom, Central, TVT, Filmmakers, until I went on to open my own, Cinéma in 1992, and in 2013 I founded Biocine Produções. Therefore it’s been more than 40 years of activities in the audiovisual market.
How do you evaluate your profession? What are the challenges of being an audiovisual producer in Brazil and manage/run projects in the sector?
Being an entrepreneur in Brazil is no easy task. The audiovisual market as a whole has its own peculiarities, the public financing has been going through a lot of changes and adjustments, and this has caused a great impact in our area. Today we have some filmmakers/companies that invest their own personal money in the production of content and then try to sell them – in a way this kind of animates the sector, but on the other hand we deliver ready made content to the players on a very cheap value than the one applied in the market, and sometimes even in the quality of the final product, since the financial resources of the producers are way little. It is essential a discussion in the sector as a whole, involving creation, production, distribution and players, about new ways of financing, especially coming from the private sector, therefore creating ways of feeding up this industry, with sponsorship and more investment.
It is essential a discussion in the sector as a whole, involving creation, production, distribution and players, about new ways of financing, especially coming from the private sector.
Many producers have a lot of projects for the cinema – but many times are obliged to migrate to advertising or TV in search of better opportunities. What’s your opinion about how these professionals face those difficulties?
Actually what happened in Brazil was the other way around, advertising companies in reality discovered the content niche (with the exception of old ones, that already produced cinema), even out of necessity of having another arm in another business. One of the very first production companies that kind of rehearsed producing content was Olhar Eletrônico, which turned out to become O2 Filmes (the production company of City of God director, Fernando Meirelles). Nowadays, production companies do not have a clear distinction between advertising and content – some of them have created their own personal departments, but in general this relationship with the market is fairly good, especially when one applies branded content in the work.
Are there any differences whatsoever about working for the cinema, TV and advertising – or the demands and/or challenges are basically the same?
Advertising is way faster – you budget, you make it, you deliver it, and then you get paid, a much faster model of payment. Producing content, be it cinema, series, documentaries, shows etc is way more demanding and takes a lot more time, especially during the elaboration process, where the players participate on the creation and production of it. But maybe the biggest difference between content and advertising is the creation of the professional, the creative meddling is much bigger than it is in advertising. In terms of production the two formats are kind of equal, the difficulties are basically the same.
Having followed the history of the Rio Content Market (now Rio 2C), how do you evaluate the event trajectory? What has changed in the years so far?
Rio2C has evolved immensely since the first editions – since the name was Rio Content Market. Today it encompasses music, games, sustainability, fashion, etc. From my point of view it has gotten even better, because moving the event to the City of the Arts made it way more plural.
What were your impressions concerning producers and/or content creators circling around this new Rio Content Market (Rio 2C)?
The fact that during the last couple of years the event was a virtual one, I first noticed that the audience in general was eager and happy to be able to be presencial again. Our class is very communicative, this eye to eye relation is essential in this business. I think it was a very positive experience, including with the players.
How do you see the future perspectives for the audiovisual market in Brazil?
Today we have more creative credibility and of delivery with the players, and this puts us in a position of visibility before the world market. The fact that we also have one of the biggest consumers when it comes to content and the same way the quality of our productions make us believe that our market has a lot grow in the years to come. Besides the cable channels and the open television being investing in content, we have the streaming platforms as well, including distributors that are partnering for their productions. Therefore the market for producers is very well, thank you, and more than ever originality makes the difference. Telling good stories is our great opportunity as producers.
Marcela Liz is a Journalist and Entrepreneur. She frequently collaborates for this website.