Alicia Yubero: "The Ministry of Time is a film series" The executive producer of the new fiction bet on TVE, discusses in this interview the evolution of this genre and some of the highlights in the production and postproduction of The Ministry of Time aspects. An interview Rodrigo Espinel
ProduccionAudiovisual.com
TVE has just released The Ministry of TimeHis new fiction series. An original proposal that mixes fantasy, drama, comedy and adventure. It works like this: the government has a secret that has been kept away from public knowledge for centuries. A kind of magic doors that allow move to any point in the past. Through these three time travelers struggle to prevent any modification that would alter the history of Spain from a secret ministry (the time). Alicia Yubero is the production director and executive producer.
With several proposals critically acclaimed and supported by the audience Do you think we are living in Spain a "golden age of television series"?
I think he is living in many countries and also here. In recent years, fiction has evolved. We make series of different genres and many are increasingly among the most watched programs, above blockbusters out.
The Ministry of Time is the new commitment of TVE think the fantasy genre What are the criteria of the chain when picking a particular project?
I hope they are seeking audience through quality products. In the case of The Ministry of TimeIt is a bet on a relatively new genre on our TV. I think its more a series of adventures with classic dyes, written and made sense of humor, that science fiction. Travel to the past are a pretext to explore episodes in our history. The stories and characters are ours, but underlying that is universal, the dilemma or drama could change the past of others but not your own.
The series is surprising because in each chapter traveling to a different time in history. From the point of view of production what is the biggest challenge you had to face?
That precisely.
Approximately, what budget you count for each chapter? What is the most important item?
Approximately 550,000 euros per chapter. Most important, personal, by far the game: cast and crew. Then scenery.
Could you briefly explain the production values of the series?
We recorded 8 chapters between October and February with an average of 10 days of recording by chapter, with two cameras. We barely made double units, because the weight of all frames has gone to the protagonist patrol. It was hard to take days of shooting without three key players.
Except cinematography, there has been solely responsible for the department, with teams organized in even-odd or forward-shooting-disassembly chapters. The director of the series that marked the main lines and supervised all chapters, in addition to directing half.
From the beginning the collaboration between all departments, especially between Art and VFX was very important (along with directing and producing). Just look at the series to realize the work done by the whole team. The series has a great visual and sound attractive, but the key are the scripts. I think for all has been a challenge to work in a demanding project.
In his opening night more than 7 million viewers watched your show sometime triumphing especially in social networks. ? Today occurs thinking of an audience that is already multiscreen?
Were still digesting the enormous impact on social networks and how it will translate that into actual number of viewers of the show. The week prior to the issue has been a real expectation. We did a press pass Chapter 1 before the press conference and had a very favorable reception.
During the broadcast of the first chapter, the official account MdT # MDT1 was already Trending Topic. And there were other until spontaneous as #ElMinisteriodelTiempo or #RodolfoSancho who went on to become trending topics worldwide! Twitter countless fans of the series were declared.
Lets see how this translates into actual audience, both broadcast viewers La1 and through Internet.
On the other hand, in film you worked with Daniel S nchez Ar valo as a production of his films The Spanish Grand Family and Cousins. What do you think is the main difference being produced for film and television production?
Without going into the first phase of project development (scriptwriting, financing or in the case of television, sale to a string), the big difference is that in film start working with a single script as written, what
When we say that The Ministry of Time It is a film series we mean the formal finish, quality photography, scenery, costumes, makeup, sound ... Also the shooting: we have mobilized a top team in technical and human resources, the majority of productions national film.
Proportionally, budgets and deadlines are lower in television: In just ten days we shot 70 minutes of fiction, with many more outside that set, with different times, even within the same chapter, with qualities "film". Each chapter has been prepared in just over a week. As for the post, the editors have worked very well and very quickly, as VFX makers. And the musician responsible for the sound. It is hard to imagine that this level of quality can be achieved with these times.
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Alicia Yubero: "The Ministry of Time is a film series" The executive producer of the new fiction bet on TVE, discusses in this interview the evolution of this genre and some of the highlights in the production and postproduction of The Ministry of Time aspects. An interview Rodrigo Espinel
