Encarna Pardo, executive director of Entertainment at Boomerang TV
Encarna Pardo, executive director of Entertainment at Boomerang TV, was interviewed on #PRODUprimetime with Richard Izarra from Spain in a frank discussion. With more than 30 years in the industry, Pardo has a wealth of experience in production and has also worked in television networks. Her combined expertise has given her a distinct advantage in selling her products to networks.
“I’m a very strong-willed person when it comes to my beliefs. I defend what I think is right, and television channels are aware of this and work with me accordingly,” said Pardo.
The interviewee stated that the client is always right, as long as they are also guided by the producer’s expertise. “In my 30 years in the industry, primarily with production companies, I’ve learned that we must listen to clients, whether they are networks or channels, and try to fulfill their requests. However, it’s important to remember that not everything a network says should be done without considering the producer’s knowledge and experience.”
She explained that, while it may seem contradictory, there’s a delicate balance between channels and production companies that requires mutual understanding. “It’s assumed that the client is always right, but often they don’t have the same level of knowledge as a producer from a production company. With each production, you have to find a balance between accommodating the client’s requests and staying true to your expertise. Networks can sometimes push you into a situation that’s difficult to escape later.”
Regarding the success of Dutch formats, the veteran executive attributed it to their extensive experience and significant investment in developing these entertainment programs. She also noted that Israel is another country renowned for producing high-quality, large-scale, and successful formats.
“Outside the Anglo-Saxon market, two countries stand out for their expertise in developing entertainment formats: Holland and Israel. Their success isn’t necessarily due to superior creativity but rather to their consistent dedication to producing such content. They’ve earned respect in this field and invested heavily in its development. When I say ‘invest,’ I mean they invest a lot of time, hire large development teams, allocate significant resources, and put in a lot of hard work. It’s a demanding business.”
She also noted that major Dutch creators of these formats, like Endemol or Talpa, have all had their own television networks or channels, or at least some involvement in them. “This allowed the producers to test formats and content on their own channels, gauge audience reception, and assess the feasibility of each idea.”
“For us, as for other producers, it’s much easier to sell our clients a format that has already been tested and proven successful in other countries. An entertainment program that can be showcased when it’s time to offer it gives the channel a tangible example,” said Pardo, who continued discussing how the Dutch achieved such a positive reception with their shows.
“It’s very challenging to convince someone to invest in your idea for a new format. You may believe in your idea, but clients often prefer to see something tangible. There’s also a significant difference between the initial concept and the final product. So, when you sell an idea instead of something already tested, the result can be quite different from what was originally pitched. That’s why many prefer to opt for programs that have already been successful in other countries,” she noted.
“New and interesting formats are becoming increasingly scarce. In Spain, channels have conflicting preferences for fiction and entertainment. They always crave something new and different in fiction, but for formats, they seek the security of something established and successful elsewhere. However, it’s important to note that this doesn’t guarantee success in their market,” said Pardo, explaining her approach of searching for formats that have already been produced and released in other countries.
She also revealed that open television channels prioritize formats like games and reality shows, while platforms, that have revolutionized the market, are demanding more documentaries in entertainment.
Encarna had mixed feelings about this question. She often proposes new and innovative ideas that she believes can work, but even the channels themselves may not be clear about what they want. Additionally, networks may hesitate to invest heavily in new developments, sometimes leading to decisions that contradict their initial intentions.
“I propose many new ideas, but it’s important to understand that it’s a complex and cyclical process. Developing something new takes a lot of time, but it can also be very profitable, especially since you retain all the rights. However, that process is lengthy and costly, and in the meantime, you’re investing time and resources. A simpler alternative is to acquire a pre-existing format, adapt it, and produce it, which can also be profitable.”
When asked about the challenges she faces in creating successful programs, the interviewee replied that there’s no magic formula but that her intuition and a few “gut feelings” have always been effective. “It’s rare, and I’ve always been fortunate in that regard. But when you see a format and you think, ‘It’s impossible for people not to like this,’ or ‘This has potential to be developed and perfectly tailored to what people want,’ it’s usually a good sign.”
“I had those gut feelings with Top Chef, Pekin Express, and La Voz. La Voz was a particularly strong instinct. I thought, ‘What a brilliant idea! How could someone come up with that in an audiovisual world?’ The premise of not seeing the contestants was fascinating, and I was right. It took us a long time to sell that format because networks weren’t convinced. A format needs soul and personality, and La Voz has both. The key to success is connecting with the audience,” Encarna explained.
In such a long career, it’s natural to have experienced both successes and failures. However, in this case, the executive from Pamplona has had relatively few failures.
“I’m pleased with the overall balance of successes and failures. The number of failures is significantly lower. Moreover, even failures can be seen as successes. Convincing a network to pursue an idea is a success in itself. Developing it and getting it on air is another success. The final success is audience enjoyment and strong ratings. Even if a project doesn’t achieve those results, simply selling it to a network, developing it, producing it, and seeing it come to fruition is incredibly satisfying,” she expressed.
She also explained that for a program to be successful with audiences, there are many factors beyond the producer’s control, such as programming time and competing programs.
How does Encarna Pardo deal with the pressures of everyday life, what is her life like?
“I love my job. I adore it. I don’t enjoy everything that comes with the business, but over time, I’ve learned to adapt. I can handle pressure quite well until it becomes overwhelming, but I’m better at managing the pressures of production, time, timing, and audiences than the pressures of networks, my own company, the results, the profitability. I can handle those less, but I understand that they’re part of the job,” she concluded.
La serie La Moderna, de RTVE junto a Boomerang TV, se estrena el miércoles 27 en TVE y RTVE Play
