{"id":3172,"date":"2016-11-17T12:36:53","date_gmt":"2016-11-17T17:36:53","guid":{"rendered":"http:\/\/worldscreen.com\/tvlatina\/adaptations-and-remakes-take-center-stage-at-mip-cancun\/"},"modified":"2016-11-17T14:05:04","modified_gmt":"2016-11-17T19:05:04","slug":"adaptations-and-remakes-take-center-stage-at-mip-cancun","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvlatina\/adaptations-and-remakes-take-center-stage-at-mip-cancun\/","title":{"rendered":"Adaptations and Remakes Take Center Stage at MIP Cancun"},"content":{"rendered":"

CANCUN: Mega\u2019s Juan Ignacio Vicente, The Kitchen\u2019s Alexis C\u00e1rdenas and RCN Televisi\u00f3n\u2019s Catalina Bridge talked to Elizabeth Bowen-Tombari, editor of\u00a0TV Latina<\/em>, about their experiences in making telenovela adaptations and remakes in a session at MIP Cancun.<\/p>\n

The conversation kicked off about the factors they consider before making an adaptation or remake. Bridge, the production manager at RCN Televisi\u00f3n, said, \u201cYou have to evaluate everything when you choose a production you want to make, whether the characters and situations work in a given country or if you have to modify it a bit.\u201d<\/p>\n

She mentioned the adaptation of Desperate Housewives<\/em>, Amas de casas desesperadas<\/em>, stating that much was learned in the process because \u201cthe women in the original show didn\u2019t reflect the reality of the Latina woman, even though they were Latina. You have to make sure that what you include is credible in our culture.\u201d<\/p>\n

The panelists then talked about their project highlights. Vicente, the director of content and international business at Mega, mentioned the adaptation of Ru Paul\u2019s Drag Race<\/em>, titled in its first season as The Switch: Drag Race: El arte del transformismo <\/em>and the upcoming second season The Switch: Drag Race.<\/em><\/p>\n

\u201cWhen I called the people at Mega to tell them we wanted to buy the license they said, \u2018Are you sure?\u2019 I said yes, this is the show we want to make,\u201d said Vicente. \u201cIt took a long time from the moment I saw the format in 2012 to finally having it ready in 2016.\u201d<\/p>\n

He also stated that the show doesn\u2019t discriminate nor is there any mention about the participants\u2019 sexuality, but rather it is a talent show and a story about their lives.<\/p>\n

Mega also adapted Telefe\u2019s novela Sres. Papis<\/em> (Dear Daddies<\/em>), which Vicente saw at a market and immediately closed the deal. \u201cThe show is about single dads and the stories they create around their kids,\u201d said Vicente. \u201cI felt that this was very ingrained in Chile\u2019s contemporary culture. Part of the innovation was to include a different topic, with a certain value, but that would be very much be part of Chilean culture.\u201d<\/p>\n

Vicente also mentioned that proper cast selection is crucial. The production was put on standby for a year until they found the actors they wanted to work with.<\/p>\n

In regards to the modifications that had to be made for the Chilean version, Vicente stated that a lot had to be done. \u201cTelefe\u2019s version starts with the same premise, but then turns very dark and violent, with a very strong dramatic narrative. We wanted our version to be a dramedy, an emotional comedy showing the relationship between a father and child. We\u2019ve done well with Sres. Papis<\/em>. It\u2019s garnered 26 ratings points, which is around 40 percent share, leading its time slot.\u201d<\/p>\n

The conversation then shifted toward The Kitchen, which offers subtitling and dubbing services. C\u00e1rdenas, the VP of international sales for the company, said: \u201cDubbing is an art. The beauty of it is being able to adapt a script for a region or territory that has different beliefs or sense of humor.\u201d<\/p>\n

Asked about the dubbing process in neutral Spanish, considering the different meanings a word can have in different countries, C\u00e1rdenas said, \u201cThe idea is to dub in Spanish as neutral as you can, incorporating a very precise vocabulary without trying to adopt Spanish idioms, but generic terms. You have to use words that aren\u2019t offensive in any region. Latin America is special because it is a territory where you speak the same language, but there are different versions of that language. So creating a script that is understood in every country and that doesn\u2019t offend is very difficult.\u201d<\/p>\n

RCN Television\u2019s Bridge then talked about the successful novela Az\u00facar<\/em>, launched originally in 1989. \u201cAz\u00facar<\/em> was easy to remake. What we had to adapt was very little. Our biggest challenge was the way the characters spoke. In the past, these stories were so slow in their narrative that you would end up dozing off on your couch. The idea then was to find a way to add some dynamics and rhythm to the same story.\u201d<\/p>\n

She highlighted that Az\u00facar<\/em>\u2019s new version, some 30 years after the original debuted, received mixed reactions from audiences. \u201cOn one hand you have folks that never saw the original and on the other you have people that did see it and eventually start comparing versions.\u201d<\/p>\n

Asked about which was riskier, adapting or remaking a novela, Bridge said: \u201cToday you have to adapt remakes. In the past you would usually take the script, change the names and that was a remake. It was very similar to the original. Today you have to change those scripts because we speak and behave differently. They need to be adapted to current situations.\u201d<\/p>\n

RCN Televisi\u00f3n has made many adaptations of successful American series, among them Grey\u2019s Anatomy<\/em> and ER<\/em>. Regarding what she\u2019s learned with this experience, Bridge said: \u201cThese adaptations are the ones that have taught us the most because they need a lot of modifications. For example, we did really well with Grey\u2019s Anatomy<\/em>. It\u2019s one of the most watched shows in Colombia. But Grey\u2019s Anatomy <\/em>starts off with the protagonist having sex with a stranger. In Latin America, how do you start a series with your star having sex with a perfect stranger? Here\u2019s where you need to make changes. We didn\u2019t make her too pure as in a novela, but not too liberal either like in the U.S. These are the productions that have taught us the most because we have to adapt them to who we are.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

CANCUN: Mega\u2019s Juan Ignacio Vicente, The Kitchen\u2019s Alexis C\u00e1rdenas and RCN Televisi\u00f3n\u2019s Catalina Bridge talked to Elizabeth Bowen-Tombari, editor of TV Latina, about their experiences in making telenovela adaptations and remakes in a session at MIP Cancun.<\/p>\n","protected":false},"author":1,"featured_media":3173,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[69],"tags":[375],"class_list":["post-3172","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-top-stories","tag-mip-cancun"],"yoast_head":"\nAdaptations and Remakes Take Center Stage at MIP Cancun - TVLATINA<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/worldscreen.com\/tvlatina\/adaptations-and-remakes-take-center-stage-at-mip-cancun\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Adaptations and Remakes Take Center Stage at MIP Cancun - 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