Diego Ávalos, Vice President of Netflix Spain: «We have reached the limit that a person can pass by consuming means»

When someone has power, their opinions are ideology. Diego Ávalos (Cabo San Lucas, Mexico, 44 ​​years old) has a lot of power, at least in the Iberian audiovisual industry: of his approval as Vice President of Netflix Content for Spain and Portugal, successes such as the snow society (12 Goyas), series such as the body on fire, documentaries such as Nevenka and several elite seasons and the paper house have come out. Its criteria has been essential to define what we understand today on streaming television. And in his opinions, which broadcasts the same month that Netflix turns 10 in Spain, what is the competition in the Tiktok era and what constitutes a television creator, it costs not to see a road map for what we will understand on television in the future. Ask. The word algorithm what makes you feel? Answer. Frustration. How many times do I have to explain that we do not have an algorithm, that we are people, humans with instinct, with experience of seeing, reading and writing, which we do not use data? P. And what do they do? Sit in front of a creator, of a director and fall in love with a project. Those moments that your skin bristles, that you get tears. It is literally what happens. Q. To what extent is it guided in the experience of previous series? «It works that in chapter 6 there is a turn here.» A. We are writing what the characters and history demand, we are not thinking: «What turn do we put at the end of the episode?» Right now we are shooting the second season of Berlin: Alex Pina is writing the series as we rolling it, it does not have everything written. There are episode endings that end with a Cliffhanger, there are others that do not, when you are wrong in what we do is when you try to replicate what has been done in a place. If you say: «We are going to do Spanish adolescence,» there you start to make mistakes.The vice president of Netflix Spain, Diego Ávalos, at the headquarters of his company in three songs (Madrid). Pablo Mongep. A failure that hurt? R. The longest night [serie estrenada en 2022]. I had all the elements for me: scripts and incredible production design, a concept that had managed to convince us in seconds … and suddenly you see and do not connect with the audience that you believed. He had his fandom, like all, but still charge with her. What could we have done differently? Q. Any success that did not come to come? A. The disorder you leave, our Galician thriller. I had some characters that you don't usually have, I didn't have the turns every three scenes … We knew I was going to find his audience, but he didn't expect this level. Be of people who started traveling to Galicia to see her. On the side of the docuseries, Nevenka won a brutal audience. Not only the number of spectators, but the impact it had in other spheres: I was not expected to be mentioned in Congress. P. Convinced that streaming television is not as subject to trends as other online products. Trends are for today, to move quickly. We work with quite long deadlines, things that will be seen in three years, four years. Jota Bayona worked in the snow society a long time before he was given green light. Hwang Dong-Hyuk, creator of El Game del Calamar, was trying for 10 years. What is noted is that the world is at a psychological, emotional, socioeconomic, politician, politician that makes certain stories make more noise.The vice president of Netflix Spain, Diego Ávalos, at the headquarters of his company in three songs (Madrid). Pablo Mongep. When Netflix arrived in Spain, the then CEO Reed Hastings told me that his competition was not open television but the magazines, the kitchen, the books, everything that was leisure. Does Netflix compete now against Tiktok? A. The consumption time in entertainment can no longer be higher. We have reached the limit that a person can be connected consuming music, media, entertainment. The battle is now what that time uses, how we capture those moments of entertainment that people are looking for. And let's not forget that we are still very small. Streaming television consumption in Spain remains 10% of the total. We still have to grow. Q. How do you compete with Tiktok or YouTube, good attention sucking? R. The entertainment is very wide. Sometimes we like to define the storytellers or creators as people who have gone, I invented, the ECAM. But actually creators is very wide. Ms. Rachel on YouTube is a great creator who kneads millions of audience. One thing we have to do as an industry is to expand our definition of creator. In Tiktok there are great creators. On YouTube there are great creators. We must expand the definition by guiding us for quality. How? R. The quality is who interacts with the stories, not those who create it. As a company, you have to be expanding. But yes, all the companies that have said are competitions and there have never been so much. What lesson is the one that follows in its day to day? R. Just think about the audience. When we have been wrong, it is when we have the projects with which someone is passionate because. What audience are they? «P. What would you like to be the first phrase of your Wikipedia within 100 years? R. [Piensa] What helped transform the Spanish industry? I am not just me, this is a company, but we have managed to inject a new energy into local productions and attract investment. In addition, behind us comes the competition seeing what we have achieved. Ten years ago everyone knew that more than 550,000 euros could not be invested per episode. That either 90 -minute series were made or they were not done. There are no longer those barriers.