Chile Attracts Increasing Share Of U.S. Work; Uruguay Draws From Canada
By Robert Goldrich
“Oh Canada” could become the anthem of Uruguay based on the flow of Canadian spot filming into the South American country. Meanwhile Chile is also attracting its share of commercialmaking from Canada, but the lion’s share of volume is being generated by the U.S. advertising industry. Yet no matter the source of the business, the bottom line is that both Chile and Uruguay are on the lensing upswing.
Harry Tracosas, founder/president of Global Production Network (GPN), a Los Angeles-headquartered company that represents production service houses throughout the world, has a firm handle on the state of business in Chile and Uruguay. In the latter market, GPN maintains a relationship with El Camino Films, a production shop in Montevideo. In Chile, GPN’ s liaison is Santiago-based Benito Cine. In fact, GPN brought Independent Media, Santa Monica, together with Benito Cine to facilitate a shoot in Chile for PBS’ “Bucket Brigade” last year. The spot, out of Fallon, Minneapolis, was directed by Elias Merhige of Independent Media who is profiled in this week’s Directors Series.
“Chile is beginning to boom internationally because of its diversity of locations including snow, sea, cities and deserts,” assesses Tracosas. “Chile is in an ideal situation for clients from the northern hemisphere seeking summer in the winter and winter in the summer. Additionally, Santiago and surrounding areas have many North American-looking residential areas and cityscapes. And within an hour and a half of Santiago, a whole other world of locations opens up.
“Locally, the advertising business is booming, internationally it’s an emerging market that is growing steadily and rapidly,” continues Tracosas. “U.S. trade relations with Chile are very good which helps a great deal. There are no bonds necessary for cars or equipment going into the country, and clearances are usually quick and without issue.”
Tracosas notes that Chile is becoming more interesting to clients, given budget considerations, talent buyouts and diversity of locations. He reports that most jobs that come to Benito Cine for production services emanate from the U.S. and Canada. Inquiries from Europe and Australia are also starting to become more prevalent.
“Ninety percent of the jobs we produce [in Chile] come from the U.S.,” affirms Georgos Nicolaides, executive producer of Benito Cine in Argentina and Chile. “Other Chilean production service companies normally work for the European market, especially Germany.”
Among the recent work hosted by Benito Cine in Chile is Visa’s “Nervous” directed by Pam Thomas of bicoastal/international Moxie Pictures for BBDO New York, and a Chevy assignment out of production company GearHead, Vancouver, B.C.
Nicolaides adds that homegrown work will grow, but not necessarily creatively. He observes that 2006 “is supposed to be a very good year because the Chilean economy has been growing over the last few years, especially in 2005. But Chilean clients are more interested in efficiency than creativity or building strong brands. There are very good Chilean creatives but clients [are causing them to struggle]. So the result will be lots of commercials during 2006, more than in 2005, but not–[always] very creative.” He adds that emerging media in advertising will also probably grow.
Twist Film, Santiago, is a production company/production services firm with recent activity for Chilean agencies as well as other ad markets. In its home country, Twist owner, director Claudio Droguett, recently helmed a Falabella Rusia Chic spot for Chile ad shop Dittborn & Unzueta. Meanwhile, Twist facilitated a Canadian shoot directed by Mark Bennett for Leo Burnett, Toronto.
Key Twist staffers include Droguett, executive producers Polo Luisetti and Axel Brinck, and head of production Yvonne Garcelon.
URUGUAY Canadian productions have made their way to Uruguay and represent a prime source of business for production service shops like the aforementioned El Camino. According to GPN’s Tracosas, American companies are actively bidding with El Camino, which is headed by executive producer Nicholas Aznarez.
“With only 14 months in the market and after two high seasons (December-May), we have doubled our business from 18 to 36 shooting days per season,” says Aznarez.
Tracosas relates, “Uruguay is definitely emerging as a contender in the South American market and looks to have a bright future.”
He notes that the new Miami Vice feature, starring Colin Farrell and Jamie Foxx, was shot in Uruguay since there are locations there very similar to those in Florida. Uruguay also has locales that are reminiscent of sites in Australia.
“Montevideo is an urban community that replicates Europe very well,” adds Tracosas. “And its surrounding areas have a deep South American feel. Punta del Este is a very high-end seaside community with many looks.” He opined that Uruguay is an “up and comer” in the South American market for global production.
Among El Camino’s latest production service gigs was a Canadian spot for Toyota; production house on the job was Radke Films, Toronto. El Camino also handled recent shoots for Blink, Toronto, and Cinelande, Montreal. The former was for Viagra, while the Cinelande assignment was for Labatt Blue beer.
Review: Writer-Director Andrea Arnold’s “Bird”
"Is it too real for ya?" blares in the background of Andrea Arnold's latest film, "Bird," a 12-year-old Bailey (Nykiya Adams) rides with her shirtless, tattoo-covered dad, Bug (Barry Keoghan), on his electric scooter past scenes of poverty in working-class Kent.
The song's question — courtesy of the Irish post-punk band Fontains D.C. — is an acute one for "Bird." Arnold's films ( "American Honey," "Fish Tank") are rigorous in their gritty naturalism. Her fiction films — this is her first in eight years — tend toward bleak, hand-held verité in rough-and-tumble real-world locations. Her last film, "Cow," documented a mother cow separated from her calf on a dairy farm.
Arnold specializes in capturing souls, human and otherwise, in soulless environments. A dream of something more is tantalizing just out of reach. In "American Honey," peace comes to Star (Sasha Lane) only when she submerges underwater.
In "Bird," though, this sense of otherworldly possibility is made flesh, or at least feathery. After a confusing night, Bailey awakens in a field where she encounters a strange figure in a skirt ( Franz Rogowski ) who arrives, like Mary Poppins, with a gust a wind. His name, he says, is Bird. He has a soft sweetness that doesn't otherwise exist in Bailey's hardscrabble and chaotic life.
She's skeptical of him at first, but he keeps lurking about, hovering gull-like on rooftops. He cranes his neck now and again like he's watching out for Bailey. And he does watch out for her, helping Bailey through a hard coming of age: the abusive boyfriend (James Nelson-Joyce) of her mother (Jasmine Jobson); her half brother (Jason Buda) slipping into vigilante violence; her father marrying a new girlfriend.
The introduction of surrealism has... Read More