A summary for Corporate Marketers, Media Sales Executives and Advertising Agencies to see what clients are moving into the market and/or targeting Multicultural consumers right now.

For prior Sales Leads editions, click here. 

2018 NETWORKING SOLUTIONS. To find out about Portada’s new networking solutions targeting the decision makers of the below campaigns, please contact our Sales Manager Isabel Ojeda at Isabel@portada-online.com.

  • GlaxoSmithKline

Global pharmaceuticals giant GlaxoSmithKline has put its entire media account under review, three years after awarding the business to Omnicom’s PHD and WPP’s Mediacom.The reappraisal potentially puts a US$1.7bn advertising budget up for grabs and comes as part of a mandatory three-year cycle of reviews at the behest of GSKmanagement, According to Ad Age.




  • Advance Auto Parts

Advance Auto Parts has appointed Dallas-based independent agency The Richards Group for brand and creative work and Dentsu Aegis Network-owned agency 360i for media and analytics following a review, Adage has reported.Crossmedia, the media incumbent, did not participate in the pitch.As of late last year, the company operated 5,054 stores and 129 Worldpac branches and employed approximately 71,000 across the United States, Canada, Puerto Rico and the U.S. Virgin Islands, according to its website. The company also serves 1,218 independently owned Carquest branded stores.Advance Auto Parts Inc. spent US$29.1 million on measured media in the U.S. in 2017, according to Kantar Media.


  • Wells Fargo

Wells Fargo is launching a new, integrated marketing campaign called “Re-Established”. The campaign, launched nationwide on Sunday, May 6, leans into the company’s history and heritage as it acknowledges past issues, communicates the extent of changes made across the organization, and shows how the company is recommitting to its customers and their satisfaction.The first component of Re-Established is a one-minute commercial called “Trust” that airs nationwide and signals Wells Fargo’s intent in a bold way. The advertisements will run across print, digital,broadcast, and mobile channels. As with previous Wells Fargo advertisements, the campaign acknowledges the diversity of the company’s communities through tailored ads for specific audiences, such as in-language messages in Chinese (Mandarin and Cantonese) and Spanish and advertising in African American media. The Re-Established campaign was developed with BBDO-San Francisco, Wells Fargo’s agency of record since March 2014.


  • McDonald’s 

McDonald’s is introducing the new 100% fresh beef Quarter Pounder burgers by launching the “Speechless” campaign,  inspired by the idea that words can’t describe the pure delight, the feeling, and the taste of a hot and juicy burger.  Led by We Are Unlimited, in close partnership with The Marketing StoreBurrellAlma, IW, Resolution and OMD, “Speechless” is an integrated campaign running broadcast, online video, radio, out of home, social media and in digital. Launched nationally on May 7th, work will run through the end of 2018.Charles Barkley, Gabrielle Union and John Goodman help describe customers’ reactions to the taste of McDonald’s hotter and juicier burger. Additionally, Luis Fonsi describes in Spanish just how good McDonald’s Quarter Pounder tastes in spots created for the Hispanic Market. The creative and production of these spots was led by Alma.


2018 NETWORKING SOLUTIONS. To find out about Portada’s new networking solutions targeting the decision makers of the above campaigns, please contact our Sales Manager Isabel Ojeda at Isabel@portada-online.com.


  • Amscot Financial

Amscot Financial—the Florida-based leader in providing convenient, consumer-oriented financial services through its network of retail branches— reveals its latest Spanish-bilingual campaign geared toward a growing and evolving Hispanic consumer segment.  The new campaign highlights convenient financial services for the growing needs of the ‘gig economy’ with the rise in entrepreneurship, self-employment and those seeking professional development.  The broadcast media campaign will launch May 14 and air across the largest Hispanic DMAs in Florida — Miami-Dade, Orlando and Tampa, with a rotation of 28 fifteen second combined TV and radio executions.Hispanics represented 51% of Florida’s population growth from 2010 to 2015, according to new population data released by the U.S. Census Bureau.  Nationally, Hispanics have the highest rate of entrepreneurship Standford Business: State of Latino Entrepreneurship.  Amscot Financial launched its first Florida-wide, Spanish-bilingual campaign with Semilla AD in 2013 during Amscot’s expansion to South Florida and continues to actively cater to Florida’s evolving Hispanic market with culturally-dedicated campaigns reflecting their customers evolving financial needs.


  • Heineken

Beer brewer Heineken is moving ad verification in-house, Digiday has reported. The company is running a global search for one ad verification technology it can run directly from all its markets. Once the search ends, Heineken will have effectively brought its ad verification in-house,according to people familiar with the matter. There’s a desire at the company, according to one source, to understand for themselves whether the online ecosystem is delivering against its needs and the best use of budget.Heineken has two media-buying agencies: Dentsu Aegis and Starcom MediaVest.




  • Nestlé – Starbucks

Swiss food giant Nestlé will spend US$7.15 billion for the right to market Starbucks Corp. products. This is the third-biggest transaction in Nestle SA’s 152-year history. However, the company won’t get any physical assets in the deal. By entering a marketing pact with Starbucks, the Swiss company is revealing the limits to growing with Nescafe and Nespresso.Starbucks is the second-most-valuable brand in fast food, according to BrandZ’s Global 2017 report, which estimates it’s worth US$44 billion. Nestle will take over about 500 Starbucks employees who will remain based in Seattle.Starbucks will continue to produce packaged coffee and other goods in North America, while Nestle will be in charge of the rest of the world. In addition, the Swiss company gets the rights to sell packaged coffee products in supermarkets, restaurants and catering operations under the flagship Starbucks brand.



  • Lionsgate

Lionsgate/Pantelion/MGM’s Overboard, a film targeting Hispanic moviegoers and fans of Mexican star Eugenio Derbez, came in 2nd for the weekend of May 4-6 as of Saturday AM with US$14.75M at 1,623 venues, the biggest opening in Pantelion’s history. PostTrak reports a Latino turnout of 41%, with the demo giving the pic an 83% positive. Overboard‘s opening is higher than the Mexican star’s April 28 release last year, How to Be a Latin Lover, which opened to US$12.2M and yielded a 2.6 multiple for a final US$32.1M.  MGM and Lionsgate co-financed Overboard, which cost in the low to mid-teens.


A summary for Corporate Marketers, Media Sales Executives and Advertising Agencies to see what clients are moving into the market and/or targeting Multicultural consumers right now.

To subscribe to Portada’s Interactive Database of Marketers targeting U.S. consumers, please contact Sales Research Manager Silvina Poirier silvina@portada-online.com.

For prior Sales Leads editions, click here.

  • Lionsgate

Publicis’ Starcom USA unit has won studio Lionsgate‘s media account. The assignment, which is estimated to bill US$400 million annually, makes Starcom Lionsgate’s media planning and buying agency of record.Lionsgate studio also operates pay TV channels Starz, Pop and Epix.





  • Lexus

Lexus brand will sponsor the web series aimed at multicultural Millennials “I Turn My Camera On” on essence.com, Mediapost has reported. The series features actor and photographer Lance Gross. The 10-episode digital series, created with Macro Digital Studio, explores Gross’s world and his famous crew. The series features Omari Hardwick, Kelly Rowland and her husband Tim Weatherspoon, King Bach, Keke Palmer and Simone Missick. The first episode features Michael B. Jordan. A new episode will be available every Wednesday at 12 noon EST.  Additional episodes will be announced in November.Lexus’ digital content channel L/Studio is sponsoring the series and will feature exclusive behind-the-scenes content on www.LStudio.com.Focused on nuanced storytelling with universal themes, Macro aims to resonate with multicultural Millennials.

NEW PORTADA RESEARCH REPORT: “Content Marketing Initiatives targeting Hispanic and Multicultural Audiences”. The report is filled with intelligence for brand marketing executives targeting multicultural consumers – the majority of consumers in many major U.S. markets –  as well as for media and marketing tech vendors. This report provides a description of 20 content marketing initiatives. Each program’s main elements are described (Brands involved, Target Audience, Owned Properties, Paid Media Program, Key Influencers) are summarized and the agencies and brand decision-makers behind them are listed. Described companies include: Avocados from Mexico, Barilla, Best Western, Ford, General Mills, Hershey’s, Kellogg, Kimberly Clark, Kraft, Makita, Miller Coors, Nestle, Procter & Gamble, State Farm, Sprint, Unilever, Verizon, Vilore and Wonderful Pistachios. Buy the report here  Upgrade to “Research Plus Membership” for only US$ 999 and access this report and 9 more!

  • Coca-Cola

Topo Chico sparkling water from Mexico has become part of the Coca-Cola family. The Coca-Cola Co paid US$220 million to Arca Continental, S.A.B. de C.V., the second largest Coca-Cola bottler in Latin America, which owns the rights to the Topo Chico brand. The deal was made through the American beverage giant’s Venturing & Emerging Brands unit. The vast majority of Topo Chico’s U.S. sales are in Texas — about 70 percent.Topo Chico’s “legacy team” will join Coca-Cola’s VEB unit but remain based in Texas. The acquisition marks a full circle for Topo Chico; the brand’s parent company was the first to bottle Coke outside the United States through a deal struck in the 1920s.


  • Northgate/ Cardenas Market

Anaheim-based Northgate Gonzalez Market has sold its stake in seven Los Altos Ranch Markets in Arizona to rival Hispanic retailer Cardenas Market.The sale comes more than three years after the two leading Southern California Hispanic retailers joined forces to buy Pro’s Ranch Markets, which had seven stores in Arizona, two in New Mexico and two in Texas. The value of the deal was not disclosed.Northgate said selling the Los Altos stores will allow the company to focus on its expansion plans in Southern California. The deal is expected to close in 45 days. During the transition, Northgate said it will continue to provide operational support at the Los Altos stores in Arizona.Northgate operates 40 stores in Orange, Los Angeles and San Diego counties. Northgate did not reveal its growth plans for Southern California.Cardenas operates about 30 stores in Riverside and San Bernardino counties as well as Las Vegas.

  • Astral Tequila

San Francisco-based Erich & Kallman has been appointed agency of record for Astral Tequila, owned by Davos Brands, following a formal review. The agency is tasked with creating a market launch plan for Astral. It will also lead video, digital, print, social and OOH components for the brand.E&K was cofounded last year by Steven Erich, former president and partner of Crispin Porter + Bogusky, and Eric Kallman, former executive creative director at Goodby, Silverstein & Partners and Barton F. Graf, as well as creative director at Wieden & Kennedy. The agency has worked with various brands, including General Mills, Chick-fil-A, New Belgium Brewery, Gusto, Church’s Chicken and MTV.




We have incorporated new features to the interactive database of corporate marketers and agency executives targeting U.S. consumers:
New Leads: Weekly more than 20 new leads uploaded to the Database by the Portada team as well as the contacts related to the above weekly Sales Leads column written by our editorial team.
Download the Database: Download the full Database in Excel Format.
Search Database: You can search through a user-friendly interactive Interface: Search Fields include: Name, Company/Agency, Job – Title, Address, Zip, E-mail, Accounts (Agency), Phone, Related News.


What: Lionsgate and Hemisphere Media Group are introducing PANTAYA, the first Spanish-language over-the-top (OTT) service dedicated to premium content for the Hispanic community in the U.S. Sources at Hemisphere TV tell Portada that the service will be monetized through subscription revenue and not via advertising.
Why it matters: The service features Spanish-language blockbusters and films from Latin America and Hollywood, the majority appearing exclusively on the PANTAYA platform.


Global content leader Lionsgate and Hemisphere Media Group, which targets the U.S. Hispanic and Latin American markets with broadcast, cable television and digital content platforms, have launched PANTAYA, the first Spanish-language over-the-top (OTT) service dedicated to premium content for the Hispanic community in the U.S., the two companies announced today.

CHECK OUT: OTT Monetization what Hulu, Pongalo and Vidaprimo are betting on for 2017.

The service features the largest selection of Spanish-language blockbusters and films from Latin America and Hollywood, the majority appearing exclusively on the PANTAYA platform.  The service’s deep slate of current and classic films will be complemented by documentaries, concerts and other original premium content.

In addition, PANTAYA will feature monthly films released “day-and-date” with their debut in Latin American theatres for the first time. PANTAYA’s slate encompasses: Pantelion’s unmatched Spanish-language movie catalogue, including box office hit No Manches Frida and the blockbuster Instructions Not Included, the highest-grossing Spanish-language film of all time; contemporary Latin American hits from Hemisphere’s unparalleled catalogue; classic titles featuring Latino icons, such as Pedro Infante, Maria Felix and Jorge Negrete; and films from Lionsgate’s 16,000-title library dubbed in Spanish, including the classic Dirty Dancing and the Crankaction franchise as well as the Oscar®-nominated Amores Perros.

PANTAYA also provides subscribers exclusive monthly first run access to recent releases such as the animated hit Un Gallo Con Muchos HuevosLadrones starring Fernando Colunga and Eduardo Yañez, and ¿Que Le Dijiste a Dios?, a musical comedy based on the songs by the late Mexican artist Juan Gabriel. Other upcoming first run exclusive titles include the Dominican Republic theatrical success Domirriqueños and the latest installment of the Colombian hit franchise El Paseo.

“We’re proud to launch a Spanish-language streaming movie service distinguished by its breadth, quality and diversity,” said Lionsgate Chief Executive Officer Jon Feltheimer. “This platform is the next logical step in Lionsgate’s track record of serving the Hispanic consumer with high-end premium content through our Pantelion Films venture with Televisa.  By drawing upon the blockbuster films, vast libraries and world-class programming resources of its partners, PANTAYA is positioned to become a compelling value proposition for Spanish-language and bilingual audiences across the country.”

“We’re thrilled to be partnered with Lionsgate in the launch of the premier Spanish-language OTT platform that delivers first-run and bold content,” said Hemisphere Chief Executive Officer Alan Sokol. “PANTAYA is user friendly, accessible and will provide Hispanic movie lovers in the U.S. an entirely new way to watch movies and connect with their cultures.”

“PANTAYA will be the one-stop-shop for fans of Spanish-language films to find the best, biggest and newest titles from the Spanish-speaking world unavailable on other platforms,” said Pantelion Films and PANTAYA Chief Executive Officer Paul Presburger. “With our focus on exclusive premium content, our knowledge of the Hispanic consumer, and the breadth of our offering, we are positioned to deliver an OTT service to Spanish-language and bilingual consumers that is second to none.”

The service’s operations will be overseen by Presburger and Pantelion Chief Operating Officer Edward Allen. PANTAYA is available through the web and on iOS, Android and the Roku platform in the U.S. and Puerto Rico as well as to Prime members on Amazon Channels in the U.S.

Join us at PORTADA Mexico!

What: Lionsgate, the next generation global content leader, and Univision Communications Inc. are teaming to launch a premium subscription video on demand (SVOD) service for the booming Hispanic movie-going audience in the U.S.
Why it matters:  The new premium on demand movie service will tap a base of more than 50 million Hispanic consumers in the U.S.Deep Line-up of Popular Spanish-Language Hits to Include “Instructions Not Included” and Current Breakout Comedy “No Manches Frida.”

, the next generation global content leader, and Univision Communications Inc., the media company for Hispanic America, are teaming to launch a premium subscription video on demand (SVOD) service for the booming Hispanic movie-going audience in the U.S., it was announced today by UCI President & Chief Executive Officer Randy Falco and Lionsgate Chief Executive Officer Jon Feltheimer.

Launching early next year with a deep line-up of titles, this is the first premium SVOD movie service designed specifically for the tens of millions of Spanish-speaking and bilingual Hispanic consumers in the U.S.

The service will include Spanish-language box office hits spanning the comedy, family, kids, horror and drama genres and current titles from across the Spanish-speaking world, with many available on the same date as their theatrical release in Latin American markets.  It will also encompass titles from Lionsgate’s joint venture with Televisa, Pantelion Films, and Hollywood films from Lionsgate’s 16,000-title library and other catalogs dubbed into Spanish.

Pantelion Films, the first major Hollywood Latino studio, has rights to more than 70% of the top-grossing films from Mexico over the past five years, including such blockbusters as Instructions Not Included, the highest-grossing Spanish-language film ever released in the U.S., the animated hit Un Gallo Con Muchos Huevos, and the breakout comedy No Manches Frida, which opened recently with the highest per screen average of any national release.

The service is positioned to become the leading Spanish-language premium movie offering in the U.S.  The venture will capitalize on the marketing and distribution expertise of Univision, which will offer the new service to cable and satellite operators individually as well as in tandem with its own Univision NOW, a subscription service for its broadcast networks Univision and UniMas.  Univision will also license titles from its classic Latino cinema library to the new service.

“Our premium movie service checks all the boxes for success – a world-class partner in Univision, films from the Pantelion brand that has great equity among Spanish-speaking audiences, strong management, terrific intellectual property and a well-defined market opportunity,” said Feltheimer. “This new service has all the ingredients to be the leading premium movie channel for Hispanic audiences in the U.S. as well as a great addition to our growing portfolio of SVOD services.”

“Hispanic movie-goers are one of the fastest-growing segments of the entertainment business today, and this platform offers a unique value proposition combining premium content, advanced technology and tremendous accessibility,” said Falco.  “We’re pleased to bring our marketing and distribution experience to an exciting new service driven by current and classic Spanish-language films and Hollywood favorites that will resonate with our audience. Univision’s experience and vast reach coupled with Lionsgate’s and Pantelion Films’ successful track record demonstrate the tremendous opportunity of the Spanish-language movie audience in the U.S.”

The new premium movie service joins a growing portfolio of Lionsgate SVOD services that already includes Tribeca Shortlist, launched with Tribeca Enterprises last fall, Comic-Con HQ, which debuted in July, and superstar Kevin Hart’s Laugh Out Loud comedy platform which premieres early next year.

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What: Content leader Lionsgate will acquire integrated media and entertainment company Starz for a combination of cash and stock totaling US$4.4 billion.
Why it matters: The deal creates global content powerhouse by combining premier independent content company with world-class distribution platform.  Lionsgate Films owns a 50% stake Pantelion Films, a joint venture between Lionsgate Films and Grupo Televisa, which has the goal of bringing wider theatrical distribution of movies aimed at Latino audiences.

Lionsgate, a premier next generation content leader, and Starz, a leading integrated media and entertainment company, have announced an agreement under which Lionsgate will acquire Starz for a combination of cash and stock totaling US$4.4 billion, creating a global content powerhouse positioned to capitalize on growth opportunities worldwide.

The transaction significantly increases the combined company’s content creation capabilities, enhances its leadership in premium scripted programming and scales its global distribution footprint across mobile, broadband, cable and satellite platforms.  It also paves the way for a broad range of new content partnerships and accelerates the growth of Lionsgate and Starz’s own OTT services.  In addition, the acquisition is expected to generate significant revenue and cost synergies.

The combined company will encompass: a 16,000-title film and television library; the largest independent television business in the world, including 87 original series on 42 U.S. networks; a feature film business that has generated over us$7 billion at the global box office over the past four years; operation of or investment in 30 channel platforms around the world, including the flagship STARZ platform reaching 24 million U.S. subscribers, the STARZ ENCORE network with over 32 million subscribers and five OTT services; and a growing presence in location-based entertainment and video games driven by the company’s deep portfolio of brands and franchises.

Under the terms of the agreement, holders of each share of Starz Series A common stock will receive US$18.00 in cash as well as 0.6784 of a share of Lionsgate non-voting stock based on a fixed exchange ratio.  The offer represents a total value of US$32.73 per share to Starz shareholders, an 18% premium to Starz’s 20-trading day VWAP as of the same date. Holders of each share of Starz Series B common stock will receive US$7.26 in cash and 0.6321 of a share of Lionsgate voting stock and 0.6321 of a share of Lionsgate non-voting stock.

“The combination of Lionsgate and Starz brings significant scale to our portfolio of content and distribution assets and will enable us to compete successfully in today’s rapidly evolving global entertainment marketplace,” said Dr. Mark H. Rachesky, Lionsgate’s Chairman of the Board.  “By bringing together complementary resources, premium quality intellectual property and exceptional management, this strategic transaction positions us extremely well to unlock the underlying value of our content to create substantial lasting value for our shareholders.”

“This transaction unites two companies with strong brands, complementary assets and leading positions within our industry,” said Lionsgate Chief Executive Officer Jon Feltheimer and Vice Chairman Michael Burns.  “We expect the acquisition to be highly accretive, generate significant synergies and create a whole that is greater than the sum of its parts.”

Greg Maffei, Chairman of Starz, said, ” The combined company will be well-positioned to return more value to our shareholders and effectively compete in the global media marketplace.”

The agreement has been approved by the boards of directors of Lionsgate and Starz and will be submitted to their respective shareholders for approval as well as to regulatory authorities. The proposed creation of Lionsgate non-voting stock is also subject to shareholder approval. Closing is expected to occur by year-end.

The Company intends to fund the cash portion of the deal with a combination of newly issued bank and bond financing.  Pro forma leverage, excluding synergies, is expected to be approximately 5.0x-5.5x as of December 31, 2016, with the ability to rapidly delever given the highly cash generative nature of the combined entity.


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The whole is greater than its parts for Pantelion Films, a joint venture between Lionsgate Films and Grupo Televisa.

debrezFive-year-old Pantelion Films has been on a roll since the 2013 release of Instructions Not Included, a feature starring Mexican comedian, television actor and director Eugenio Derbez. Saying it “resonates beyond borders,” the Washington Post also said it was the most successful Spanish-language film at U.S. box offices in history.

That breakout success for Pantelion is the result of a business strategy that enabled the studio to experiment and refine its offerings.

Under the aegis of James McNamara, formerly CEO of Telemundo and now chairman of Pantelion, Lionsgate had released two Spanish-language films, Ladrón que Roba a Ladrón and La Mujer de Mi Hermano. Both were created as vehicles for TV stars, according to Edward Allen, COO of Pantelion Films.

“Latino audiences are very star-driven,” Allen says.

While those two movies met with some success, Lionsgate and Grupo Televisa believed there was more opportunity and more success to be had. They formed Pantelion Films to take it to the next level.

The new studio knew it might take some time to get the formula right, and that it would need to test many things – testing them within the context of releasing feature films. Pantelion didn’t know whether dramas, comedies or horror would most appeal to Hispanics, and whether features should be in English, Spanish or both. (Approximately 75 percent of the dialog in Instructions Not Included is Spanish.)

“We knew we needed to have as many at-bats as possible,” Allen says. “We managed our risk on a company level as well as on a film-production level.” In other words, budgets were carefully controlled so that the studio would have time to get the recipe right. “We didn’t want to go out and produce big-budget films and, after two or three failures, we’re done. Because we managed our losses, we have been able to keep trying new things until something worked.”

We didn’t want to go out and produce big-budget films and, after two or three failures, we’re done.

Turning point

Allen says the success of Instructions Not Included was that turning point – although the formula is not entirely clear or simple. Certainly the presence of Derbez, a crossover star who is not only hugely popular in Mexico but who has also appeared in mainstream U.S. movies and TV shows, was a huge factor. So was the universality of the plot.

“It’s a universal story that people — irrespective of your culture and your preferences – can relate to, about unconditional love,” Allen says.

Then, there’s the English title for this mostly in-Spanish movie. Allen says this decision was partly to address some perceptions that Spanish-language films were of less quality than English-language movies, but more to emphasize the universal appeal.

He says, “If you make a universal story that touches the human condition, but you perhaps dress it in or give it the DNA of a particular culture, that’s when magic happens.”

A true JV

catinflasWhen Pantelion Films was formed, it aimed to take advantage of synergies between Lionsgate and Grupo Televisa. Lionsgate had a solid infrastructure in place, while Grupo Televisa had access to acting, creative and production talent.

“We are a true joint venture,” Allen says. “We use the resources of both companies to operate our business.”

This means that the Lionsgate team that handles films like Hunger Games and Divergent will use those same contacts to get Pantelion films into theaters across America.

vatican tapesPantelion has a full and ambitious catalog of releases planned for the rest of the year. Next up is Vatican Tapes, to be released on July 24. The English-language horror film was produced by Lionsgate and Lakeshore Entertainment and stars Michael Peña. “Horror, especially with religious or Catholic elements, tends to perform well,” Allen notes.

On Labor Day weekend, Pantelion will release Un Gallo con Muchos Huevos, the third installment of a Mexican animated comedy film series produced by Huevocartoon Producciones. Allen says that each of the films has done very well in Mexico and that the Spanish-language film “contains a lot of Mexican DNA.”
[youtube https://www.youtube.com/watch?v=IcJNJGOXVv8&w=560&h=315]In October, Pantelion will release Ladrónes, a sequel to Ladrón que Roba a Ladrón, the Lionsgate film that started it all.

Allen now sees the market for its films as a lot higher than what it was when the studio was founded. But that doesn’t mean Pantelion Films can rest on its laurels. He says the studio will need to continue testing and evolving to meet the tastes of the changing Hispanic audience.

“The audience is changing,” he says. “More and more people are acculturating, and there are more young Latinos. Their experience and their tastes will be very different than those of their parents or the older generations.”

Join us at PORTADA Mexico!

James M. McNamara, Chairman of Panamax Films and Pantelion Films, will be a keynote speaker at AHAA’s Annual Conference next week. Portada interviewed Mc Namara ahead of this speaking engagement to ask him about the evolution of the marketplace, motion picture marketing, TV Everywhere, SVOD and more…

Portada: You have been in the Hispanic Entertainment Market for a long time.What are the three most salient characteristics of the change of this market over the last 15 years?
Jim McNamaraJames M. McNamara, Chairman of Panamax Films and Pantelion Films.: “There have been numerous changes but the biggest would be the obvious evolution of the Hispanic Market towards a new “normal” which has as much to do with cultural relevance as the specific language. So, an example might be music, let’s say a big musical event like Premios Juventud or the Billboard Awards. The show is hosted in Spanish, the artists sing in Spanish, then the acceptance speech is given in broken/limited Spanish by a U.S. born singer who happens to sing in Spanish. His/her fans were largely born or brought up in the US, they have attended English language schools, they listen to the music in Spanish and then tweet and chat in English about these artists. The fact that the artist or the fans are more comfortable in English doesn’t take away from the fact that what the artist is communicating in his/her songs is incredibly emotional or relevant to the audience. This concept of “relevance or emotional connectivity” taking precedence over the specific language is a fact of life today. A second characteristic of change is the rapid adoption of new media by younger Latinos. My opinion is based on a hunch that the early adoption was triggered by the fact that many Latino households were single TV set households. Frankly, the kids may not have wanted to watch the same thing the parents were watching on the tv in the living room, and they discovered videos on the iPhone. The rest s history! The third characteristic of change is how little change there has been in big media. Let’s face it big media has not been friendly to Hispanics because big media is all about preserving the status quo.

The concept of relevance or emotional connectivity taking precedence over the specific language is a fact of life today.

How many Latinos do you find in decision asking positions at TV and cable networks or motion picture studios? J.M. McNamara.: “Not many. By definition big media is constantly in search of massive audiences and therefore the theory is they can’t focus on a subset of the general audience. The good news is that the Latino audience is becoming so big that it is inevitable big media will begin to really focus on it, but by then it won’t about including an interesting minority, it will be trying to attract the general audience.”

As a leading exec in Pantelion and Panamax Films what have the main changes been in Film Production and Distribution targeting the Hispanic market?
J.M. McNamara.:“From my perspective the motion picture studios are not thinking about the Hispanic audience or market outside of creating campaigns that can air on Univision or Telemundo. The only change I am aware of is the increase in ad spend trying to attract the audience. There is some minor uptick in the roles of Latinos on the big screen and small screen but really very little.”

The concept of relevance or emotional connectivity taking precedence over the specific language is a fact of life today.

How are you going to take advantage of the SVOD (Subscription Video on Demand) opportunities?
J.M. McNamara.: “SVOD is indeed a major force in the industry today. However, it is very quickly following the same pattern as pay tv, which is to say motion pictures are thought of as filler, albeit very good filler, but the real driver is thought to be original series content. In the Hispanic space SVOD represents a new revenue stream that is still in its infancy.”

When it comes to film/motion pictures marketing to Hispanics what is your main advice to agencies and other marketers?
J.M. McNamara.: “Try to get involved with the producers before the film is shot. Try to have a good understanding of who the film is being made for? Don’t fall for the delusion that an art house film is targeting the broad Hispanic market. In order for a film to be successful there needs to be a clear understanding of ” who am I trying to entertain with this film”. Basically, that question should be answered in every frame/scene of the film.”

In the Hispanic space SVOD represents a new revenue stream that is still in its infancy.

Where do you see the main opportunities and challenges around the TV Everywhere concept? ”
J.M. McNamara.: “TV everywhere should, in general, be a positive opportunity for the Hispanic entertainment community. TV everywhere means different things to different people, but in general it is considered to be a way around the traditional gatekeepers who have never really embraced the Hispanic side of the industry. I think the TV everywhere opportunity is quite big and it will benefit many young up and coming producers and by extension writers, directors, actors, etc.”

The Association of Hispanic Advertising Agencies (AHAA) Annual Conference, at which James M. McNamara will be a keynote speaker, is taking place from April 27 to 29 in Miami. James M. McNamara has more than 25 years executive experience in the media and entertainment industry. In addition to serving as Chairman of Cinelatino, a widely distributed Spanish-language movie channel in the U.S. Hispanic cable marketplace, Mr. McNamara is founder and Chairman of Panamax Films, the largest producer of Latino films in the U.S. In partnership with Televisa and Lionsgate, McNamara is also Chairman of Pantelion Films, a theatrical motion picture company that targets the US Latino market. Previously Mr. McNamara was CEO of Telemundo, where he oversaw the sale to NBC.

What?  “Instrucciones no incluidas” (“Instructions Not Included”), generated US $10 million in ticket sales over the four-day Labor Day weekend, a record for a Spanish film in the United States. The film is distributed by Pantelion, a joint venture of Hollywood studio Lionsgate Entertainment and Televisa.
Why it matters: The strong showing is another sign of the potential the Hispanic market represents for Hollywood. The film ranked fifth among films in U.S. theaters over the Labor Day weekend, despite opening in only 347 theaters.  Bestseller “The Butler”,  showed in 3,300 theaters.

“Instrucciones no incluidas” (“Instructions Not Included”), which has English-language subtitles,  stars 52-year-old Mexican TV star Instructions not IncludedEugenio Derbez as an Acapulco playboy forced to raise a baby girl left on his doorstep.  As a result of the fact that it was shown in few theaters and had strong sales, “Instrucciones no incluidas” generated average ticket sales of US $28,818 per screen, more than four times the average of “Lee Daniels’ The Butler,” the weekend’s top film. Before last weekend’s record of  “Instrucciones no incluidas”, the biggest-selling Spanish-language film in the United States was  “Pan’s Labyrinth,” a horror film directed by Spain’s Guillermo del Toro, that opened in 2007 with $4.5 million on its first weekend. “Instructions Not Included,” with its Mexican setting, may have resonated with the U.S. Hispanic audience, which includes many Mexican immigrants, than “Pan’s Labyrinth,” which is set in Spain in 1944. “No one saw this coming,” Paul Dergarabedian, president of the box office division of Hollywood.com told Reuters.

The movie sold US $10 million less than bestseller The Butler which was shown in ten times as many theaters.

Marketing Campaign

To tap that market for “Instructions Not Included,” Pantelion put ads on Univision, Telemundo and other Spanish-language TV networks as well as social media sites like Fandango, Facebook and Youtube that are heavily used by the Hispanic population. Another important component was the sponsorship of Univision’s annual “Premios Juventud” awards in July. Pantelion also relied heavily on Derbez, who promoted the film to his 3.2 million Twitter followers and 1.5 million “likes” of his official Facebook page.

Pantelion, whose formation was  announced in 2010 by Lionsgate CEO Jon Feltheimer and Grupo Televisa CEO Emilio Azcarraga, intends to produce 8 to 10 films a year targeting Spanish-speaking audiences in the United States and Mexico. Hispanic movie going  audiences last year bought 10.9 million tickets or 26 percent of all tickets sold, according to the industry group Motion Picture Association of America. According to a Nielsen study, Hispanics are heavy moviegoers as they represent 18%of the moviegoing population but account for 25% of all movies seen.” Pantelion is by no means the only group targeting the Hispanic movie goer. “” The Hispanic audience continues to be an important target audience for Universal Pictures.” Fabian Castro, VP Multicultural Marketing, Universal Pictures, told Portada earlier this year.  “A huge opportunity for us will be mobile and tablet use, since it is fast developing into Hispanics preferred source of information for movie content, trailers and show times in both English and Spanish. We will definitely be developing strategies that involve mobile in all levels of moviegoer’s purchasing funnel.” Castro added.

Top Ten Labor Day Weekend Box Office Sellers

1. Lee Daniels’ The Butler (Weinstein) Week 3 [Runs 3,330] PG13
Friday US $3.6M, Saturday US $5.5M, Sunday US $5.7M
3-Day Weekend US $14.8M, 4-Day Holiday US $20.0M, Cume US $79.3M

2. One Direction: This Is Us 3D (TriStar/Sony) NEW [Runs 2,735] PG
Friday US $8.8M, Saturday US $4.0M, Sunday US $2.9M
3-Day Weekend US $15.7M, 4-Day Holiday US $18.0M

3. We’re The Millers (New Line/Warner Bros) Week 4 [Runs 3,445] R
Friday US $3.1M, Saturday US $4.5M, Sunday US $4.9M
3-Day Weekend US $12.6M, 4-Day Holiday US $16.3M, Cume US $113.3M

4. Planes 3D (Disney) Week 4 [Runs 3,259] PG
Friday US $1.7M, Saturday US $2.9M, Sunday US $2.9M
3-Day Weekend US $7.5M, 4-Day Holiday US $10.5M, Cume US $73.6M

(Lionsgate) NEW [Runs 347] PG13
Friday US $1.9M, Saturday US $2.7M, Sunday US $3.1M
3-Day Weekend US $7.8M, 4-Day Holiday US $10.3M

6. Elysium (Sony) Week 4 [Runs 2,539] R
Friday US $1.5M, Saturday US $2.3M, Sunday US $2.4M
3-Day Weekend US $6.3M, 4-Day Holiday US $8.2M, Cume US $80.4M

7. The Mortal Instruments (Screen Gems/Sony) Week 2 [Runs 3,118] PG13 Friday US $1.4M, Saturday US $2.0M, Sunday US $1.9M
3-Day Weekend US $5.4M, 4-Day Holiday US $6.8M, Cume US $24.3M

8. The World’s End (Focus Features) Week 2 [Runs 1,553]Friday US $1.4M, Saturday US $1.8M, Sunday US $1.8M
3-Day Weekend US $4.9M, 4-Day Holiday US $6.5M, Cume US $18.4M

9. Percy Jackson: Sea Of Monsters 3D (Fox) Week 4 [Runs 2,393] PG
Friday US $980K, Saturday US $1.7M, Sunday US $1.7M
3-Day Weekend US $4.3M, 4-Day Holiday US $5.9M, Cume US $56.5M

10. Getaway (Warner Bros) NEW [Runs 2,130] PG13
Friday US $1.4M, Saturday US $1.5M, Sunday US $1.4M
3-Day Weekend US $4.4M, 4-Day Holiday US $5.5M

Note: Top Ten movie based on the 3-day weekend/4-day holiday sales estimates

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