Viva le difference–and for that matter, the similarities. As the recently formed Association of Independent Commercial Producers’ (AICP) Hispanic Market Committee develops a detailed agenda, clearly many of its members’ concerns parallel that of the English-language general market–from figuring out how to best capitalize on new media opportunities to angst over late payment, contractual and insurance issues.
At the same time, the committee is looking to address challenges that are specific to the Hispanic spot industry such as the limited pool of experienced, Spanish-speaking commercial actors in the U.S., and dealing effectively with visa considerations for Latin American directors.
A relevant means to both ends–addressing concerns shared and those distinctly different from their English-language, general market counterparts–was defined by the AICP Hispanic Market Committee during its first meeting, which was held in Los Angeles. Simply put, says committee organizer Massimo Martinotti, a member of the AICP board of directors and executive committee, a constructive dialogue needs to be established with the agency business and creative communities.
A first step towards that goal is for the Hispanic Market Committee to reach out to a pair of key organizations: The Association of Hispanic Advertising Agencies (AHAA) and El Circulo Creativo. Commercial director Martinotti–who is president of AICP’s Florida chapter and of Mia Film, a production house based in Miami with offices in Mexico, Argentina and Costa Rica, and associate offices in Europe–relates that establishing relationships with AHAA and El Circulo Creativo are priorities on the AICP committee agenda.
Martinotti envisions, for example, the organizations teaming to conduct seminars that will educate and inform different sectors of the industry at large. “Most of all, we want to listen and learn from agencies and clients as to what the production community can do better to help them. And hopefully they will listen to our concerns, and we can share ideas and come up with solutions together. We can define the areas in which we need to establish stronger cooperation. It’s important that we open up this kind of industry-wide dialogue.”
COMMUNICATION That dialogue also needs to take place within the production community itself. Martinotti estimates that there are currently about a dozen or so AICP member production companies that are primarily in the Hispanic spot business. His goal is to see that AICP membership representation grow to 30 or 40 shops.
In turn Hispanic company AICP members need to exchange ideas and compare notes with execs and artisans at other AICP general member production houses. “We need to broaden the scope of the participants in the discussion so that more of us can compare notes on areas like new business models and new platforms,” says Martinotti.
The committee also touched upon the AICP in some cases extending to Hispanic shops what it does for its core constituency of English-language, general market spot production houses. AICP executive VP Steve Caplan cites as an example the work the AICP has done over the years in the analysis of ad agency production contracts.
Per that AICP program, ad agency production contracts are reviewed, resulting in detailed reports. Agency production contracts are shown with clauses highlighted that could prove problematic or that merit careful examination. The contract analyses not only identify those provisions, but also may make recommendations on how to deal with them. Such recommendations include production companies striking out objectionable language, replacing it with revised wording, and/or simply initiating a dialogue with agencies about legal issues and concerns.
The AICP research serves as a road map to help AICP member production houses navigate their way through a maze of different agency production contracts. The AICP study is designed to serve as a tool to raise awareness of contractual language and related issues. This in turn helps production companies to make informed choices in dealing with agency contracts. Ultimately, it’s an individual company’s decision as to what options or recommendations it adopts, if any. Contract issues range from receiving payment on a timely basis to postponement/cancellation contingencies, legal liabilities and proper indemnification.
Hispanic agency contracts need to receive the same AICP scrutiny so that production houses working on those spots can similarly benefit.
Another committee goal is to stimulate Hispanic spot representation on the awards show circuit, specifically the AICP Show. The Hispanic Market Committee plans to promote the AICP Show among Hispanic agencies and production companies in order to help increase the number of competition entries in Spanish.
Martinotti adds that there’s an appetite for the AICP Show in Spanish-language countries. The AICP Show tour went to Madrid last week and plans are afoot for events in Mexico and other Hispanic countries, notes Martinotti.
As for challenges specifically pertaining to the Hispanic ad community, Martinotti says the AICP committee will explore different avenues. For example, relative to the aforementioned shortage of experienced, Spanish-speaking commercial actors, he observes, “The tendency is to often see the same faces in casting sessions. There’s definitely a limited talent pool in the U.S. Perhaps the committee can work with casting directors and acting schools, colleges and universities to help grow that talent pool, making them aware that there is a clear need and opportunity for capable Spanish-speaking actors.
GROWTH INDUSTRY Indeed the Hispanic ad market merits strong consideration. Caplan and Martinotti relate that it’s a market that is growing at a higher rate than the general English-language commercials business in the U.S. Additionally, the creative quality and the budgets of Hispanic advertising have increased considerably in the last few years.
Several major mainstream commercial production houses have taken notice, stepping up their commitments to the Hispanic market and/or forming new entities. A prime case in point is bicoastal/international RSA Films’ recent opening of a shop specializing in commercials for the Latin and Hispanic markets. The new venture, called La Division, is headed by industry veteran Ed Rivero, who came aboard RSA in 2002 to provide Latin and Hispanic spot representation for the company’s directorial roster.
La Division maintains a lineup of Latin commercial directors that includes Angel Gracia (whose work has gained recognition at such competitions as the Cannes International Advertising Festival, Eurobest and Circulo Creativo Mexico), Arturo Pereyra (Gatorade, Ford, Coca-Cola), Augusto Gimenez Zapiola (founder of Argentinacine, a leading production house in Argentina), Felix Fernandez de Castro (founder of Barcelona SCPF, with spots for BMW, Audi, VW, Mercedes-Benz, Coke), Jesus M. Rodriguez (former creative director for Discovery Networks Latin America), Karina Taira (Christian Dior, Evian, L’Oreal), Magaby Garcia (Avantel, VW, Kellogg’s), Simon Bross (VW, McDonald’s, Coke, Continental Airlines) and the Argentine directing team Doble Nelson (Ford, Peugeot, Telefonica, Vodafone).
At the time of La Division’s formal launch, executive producer Rivero said, “With Hispanic buying power in the U.S. and abroad soaring to new levels, it’s only natural for a global company like RSA to bring its high standards to the table and focus its energies on what amounts to a promising and dynamic emerging market.”
