Andy Cortina, co-founder of the creative studio Guakamole Makers and a former executive at platforms like Amazon, Televisa, and FOX Networks Group
According to Andy Cortina, co-founder of the creative studio Guakamole Makers and a former executive at platforms like Amazon, Televisa, and FOX Networks Group, the decision-making processes and internal procedures used by platforms to bring projects to screen can be counterproductive. In a rapidly evolving landscape of audience tastes, content can quickly become outdated if these factors are not addressed.
After serving two years as the senior executive of creative script development at Amazon, Cortina resigned. “I decided to delve deeper into the development and production processes of a series,” he explained. While at the platform, his personal goal was to complete the projects under his management ahead of schedule. He successfully premiered Putas Redes Sociales, Mala Fortuna, the first season of Jalas o Te Rajas, and the third season of El Juego de las Llaves, which allowed him to adapt to work rhythms more akin to those he was familiar with in traditional television.
Throughout his career, Cortina has operated under the motto “Time is money.” “On open television, I learned that results are immediate. When I identify content, I automatically prioritize audience appeal. For example, you premiere content on open TV, and the next day, you know whether it’s a hit or a miss. This experience taught me the importance of efficiency. When I started producing for Amazon, I realized that the processes were more drawn-out, requiring significant risk mitigation,” he explained, questioning, “Wouldn’t it be counterproductive to minimize risk for something that hasn’t even been released yet?”
“Eduardo Clemesha, a former colleague at Televisa, taught me a valuable lesson: always take responsibility for your decisions. So, whenever I wanted to take a risk, I would remind myself that it was my decision, and I would be accountable for the outcome. I’ve managed to find a balance between consistency and risk. As the saying goes, ‘Nothing ventured, nothing gained.’ By taking risks with content, we’ve been able to uncover hidden gems that have resonated deeply with our audience,” Cortina commented.
Reflecting on his early days at Amazon, Cortina shared, “It was quite a challenge, as it was like learning how to do what I already knew but within a new structure and processes. The first year was spent understanding how the company operated, while the second year focused on identifying the best paths to achieve specific objectives. That’s when I activated licenses, such as for ‘Chavorrucos,’ a comedy that I promoted. If it had been treated as original content, the production timeline would have been significantly slower.”
If Chavorrucos had followed the process for an original series, it would have taken three years to premiere,” Cortina explained. “I’m not sure if any of the actors involved in Chavorrucos would have made a mistake that could have led to cancellation. In the case of Televisa, such a scandal could be turned into a positive. However, platforms have a completely different approach, as the product must be presented as flawlessly as possible. This seems nearly impossible in Mexico,” he said. That’s why he opted for the licensing route, ensuring a quicker premiere for the series. “As a creative executive, I oversaw the project, but it was brought to the platform with the help of the acquisitions team.”
During his two years at Amazon, Cortina set a personal goal of launching his projects and bringing them to screen ahead of schedule. “As an executive, I made a conscious decision to influence the company’s typical timelines,” he explained.
He recalled that during the pandemic, a production bubble fueled by significant investment was created, partially justified by the pandemic’s impact on processes. “It was also a year of reset, where companies that generate content faced closures, while those that pay for content needed to maintain their screens,” he commented.
He noted that while there was a surge of new directors and producers during the post-pandemic era, production costs were significantly higher. “How will the industry recover or adapt to the new work scenarios presented by platforms? I believe we will eventually resume production, but under new rules, particularly economic ones. This means working with more limited budgets, but it’s crucial not to compromise on quality.”
He explained that there were outdated economic standards that persisted, but the reality is that the cost of producing open television and its profitability differ significantly from the costs associated with platforms. “While there should be a difference, I don’t believe the gap should be so wide, especially in Latin American markets,” he said, noting that the production companies that have survived this period have achieved more reasonable profitability through their current workflows.
“This year, in particular, I believe we should be open to exploring various business models, both as producers and platform executives. Most importantly, we should never lose sight of the fact that we primarily serve the audience. As such, we have a tremendous responsibility to push entertainment to new heights.”
