360 Powwow: We’re developing a film about the Remil trilogy by Argentine Jorge Fernández Díaz

360 Powwow has several exciting projects on the horizon, including a pair of unscripted shows focused on remodeling and factual content. “We’re particularly enthusiastic about collaborating with Alessandra Rampolla on two or three of these upcoming projects,” Leo Lavazza, SVP of Productions and Operations, told PRODU. He mentioned they also have a large project, a reality competition in Mexico.

They also own three other formats: Let’s Make a Deal, El Desafío and That’s My Jam.

In scripted content, they have several projects in development: a trilogy by Jorge Fernández Díaz to be co-produced between Spain and Argentina, the current development with ViX of María Dueñas’ second original project, and a couple of films in Mexico.

“The format is a non-scripted studio show featuring 12 celebrities who compete on a journey of self-improvement is challenging. Unlike other shows, there’s no elimination – the focus is entirely on personal growth. We’re partnering with the Spanish production company, 7 y Acción, the team behind El Hormiguero,” he said.

Fernández Díaz´s trilogy (El Puñal, La Herida, and La Traición) is based on the character of Remil, a counterspy for the secret services. “We already have the writers and a potential candidate for the lead role,” he concluded.

TOGETHER IN ACTION
360 Powwow partnered with Warner Bros. Discovery US Hispanic and Omnicom Media Group (OMG) on the production of the renovation show, Juntos en Acción (4×60′), hosted by Carlos Ponce, Karina Banda, and the design expert Daniela Nares.

Carlos Ponce, founder of the Misión Alivio Foundation, proposed the idea for a cause-driven remodeling show to Discovery.

“Initially, the plan was to visit areas impacted by natural disasters. However, the concept evolved into a show that renovates foundation spaces. The production team actively sought out spaces in need of a makeover, and I must say, it all came together beautifully. We also made a conscious decision to expand beyond Florida and explore Hispanic communities across the US, which is where the show’s target audience resides,” explained Lavazza.

“At first it was planned to go to places that had been affected by natural disasters, but then it was decided to produce a show remodeling foundation spaces. The production approach was a search for spaces to remodel and the truth is that it was very well combined. We made a plan not to stay only in Florida, we wanted to set foot in the Hispanic territory of the United States, which is where the product was going,” explained Lavazza.

The chosen locations reflected a diversity of Hispanic communities. Texas, represented by the Ballet Folklorico de Round Rock, showcased the strong Mexican influence in the region. Puerto Rico’s El Hogar del Buen Pastor brought in the East Coast perspective. “In Miami, we filmed at two locations: the Mexican American Council in Homestead, a place steeped in mariachi and Mexican culture, and Fix Kids, a center serving low-income children.”

Because the program involved brands, they aimed to collaborate with a guest celebrity to tell a compelling story.

“With Carlos Ponce and Karina Banda, we found it interesting that Carlos told the part about the remodeling. Karina helped us make the connections, and the commercial integrations, while the celebrity has been a bridge between the foundation. The landing of the remodeling team that was coming was Carlos’s responsibility,” he said.

He emphasized that the project was a very positive experience. Not only did it increase production, but it also fostered strong relationships with each of the participating foundations. While the renovations themselves may have been a relatively small part of each foundation’s overall work, they had a significant impact.

“For instance, at the Round Rock Folkloric Ballet Foundation in Austin, Texas, we encountered a remarkable woman who had dedicated many years to preserving Mexican folk dance traditions. However, her studio lacked adequate floor space, lighting, or a climate-controlled area with a waiting room for parents. Through the renovations, something magical happened. It went beyond a simple makeover: the foundation’s immense gratitude was matched by our own for their hospitality and openness. We left with the feeling that our contribution, while significant, was just a small part of their ongoing dedication,” he noted.

PRODUCTION
For Juntos en Acción, the team structure is as follows: a core technical team of 16 people is supplemented by a production logistics team that fluctuates between 14 and 20 members depending on the location’s needs. The Art and Design team typically has 5 or 6 members, but this can expand to 10-12 people for projects requiring more days and intensive design focus.

“So, our team size fluctuated between 45 and 50 people. Our approach was unique – we functioned as if operating in four separate locations simultaneously. A core group of roughly 30 people traveled together, and we supplemented them with local teams of 15 to 20 people at each site. The support from the foundations was incredible. Their volunteers dedicated their time and energy to make this rapid turnaround possible,” he said.

Each location received between seven and nine days of our attention. During this time, four days were dedicated to filming the renovations using three cameras, including a drone. To document the progress, they also captured daily footage with a single camera.

He noted that the project generated a significant amount of additional content for Discovery en Español’s networks, which received high viewership. Highlighting the interconnectedness of media, he remarked, “I believe everything is connected. Television drives viewers to social media and social media engagement fuels interest in television programming.” Josette Rivera, a journalist, spearheaded the creation of targeted content specifically for the digital platforms.

The show’s reception was positive, and there’s a chance Warner Bros. Discovery will greenlight a second season. “My impression is that Carlos and Karina were very pleased,” he said. “The dynamic between Daniela (Nares) and Arturo (Contreras) appeared to be very successful.”