Production

When thinking of the production differences in the U.S. for movies and Spanish-speaking countries for Telenovelas, I’ve realized that everything about the productions are different. In America, movies are the biggest productions that provide the most profit. On average, most Hollywood movies take about 45-60 days of production, but post production can be from around 6 months to a year. They also have many opportunities to perfect scenes and time to watch the movie from start to finish to see what they want to change about the characters or the scene.

With telenovelas, we have learned that sometimes a telenovela will air every day with a new episode, which means that the actors are busy continually shooting their scenes with little to no breaks on their tight time schedule. Even on the weekends, if their show doesn't air, they are preparing for new week's shoots and writers are writing more of the scripts. As telenovelas are the biggest productions in Spanish-speaking countries, it’s a very different production world than what we are accustomed to here.

One thing that is similar is the actual process of shooting the scenes. To us in the audience, it looks very normal and comfortable for the actors. To us, it seems as if they are perfect at their jobs. In reality, some scenes are shot many, many times sometimes only to fix miniscule things such as a piece of hair in the way or to have their makeup running down their face just right. Or when we are watching a very raunchy scene, thinking that both characters are naked, they actually are not and are wearing sticky boobs or little pieces of clothing to cover themselves up. Or when actors have to kiss in a scene, one actor might have a breath mint inside her mouth to distract her from thinking she is actually kissing the guy. With today’s production, special effects and deception from the angle you’re filming can make anything look real.

What I found most interesting is that social medias for the telenovelas and producers oftentimes show what’s really happening backstage or on the set. Sometimes, it’s very awkward. Other times, it’s really fun. There are definitely different scenes that look more comfortable than others.

Worldwide, production is a very popular topic and is needed in every country, whether it’s for telenovelas, movies, or TV shows. However, I’ve learned that what you see in the final production might not have been exactly what happened live on the scene.

El Valor de Producción y Relaciones Peligrosas

foto: Telemundo.com

El valor de producción, de cualquiera película, serie de televisión, o telenovela que mira, está emergido como una de las partes más importantes de una buena programa. Debido a la cantidad de medios disponibles en actualidad, buenos repartos, guiones, escenas, luces y filmación son muy importantes. Estos rasgos se separan algunas programas altas de las otras. Aunque la telenovela que estoy mirando ahora, Relaciones Peligrosas de Telemundo, no tenía los mejores ratings o consumo, tiene producción excelente!

Relaciones Peligrosas fue escrito por el escritor famoso Roberto Stopello (de la Reina del Sur) y fue producido por Aurelio Valcárcel Carrol, David Posada y Martha Godoy en 2012. La trama es sobre del amor prohibido y la intersección entre drogas, sexualidad y otras cosas controversiales.

La primer éxito para la producción de Relaciones Peligrosas es el uso del gran estudio de Telemundo en Miami, Florida. Alli, el equipo de la novela podría usar la tecnología más avanzada de filmación, muchas cámaras, y todos de los recursos de la telenovela gigante que es Telemundo. También, podrían utilizar los lugares mejores y las playas bonitas de Florida para sus escenas. Esto incluye Fortaleza Lauderdale, el Puerto Deportivo de Haulover, y La Playa de Miami.

El problema central para la producción de la telenovela fue el guión. Aunque el escritor, Stopello, tiene mucho éxito con la Reina del Sur el año pasado, la trama de Relaciones Peligrosas fue demasiada picante para la audiencia.  

Sin embargo la ventaja más importante de la producción de esta telenovela fue la gente, el reparto increíble y la única manera que los directores dieron los papeles. Telemundo no sólo contrataron actores famosos para la programa pero también tuvo un casting abierto. Después del casting abierto, Telemundo tuvo un taller para los actores nuevos así ellos podrían aprender todos sobre de la producción de una telenovela y la profesión de un actor.

Alma Matrecito, Violeta Verdugo en Relaciones Peligrosa, fue a través de este proceso y dice en un video “entre bastidores” con Telemundo,  la combinación de esta educación de los profesores professionals y las interacciones con los actores con más experiencia como Sandra Echeverría, Miranda en la telenovela, creyó su buenisimo interpretación. Esto bueno interpretación es el base de un buen producción.

Las diferentes personas en la produccion de telenovelas

Durante las últimas semanas en clase, hemos discutido sobre la producción de telenovelas. El aspecto que me pareció mas interesante es todas las diferentes personas que contribuyen a la producción y el éxito de la telenovela. Telenovelas tienen los autores, los directores, los actores y incluso el publico en el proceso de producción.

Los autores de telenovelas son muy importantes en producción. Controlan toda la historia en la telenovela. La mayoría de los escritores de telenovelas crean el guion y la historia de cada día de la semana. Muchas veces los autores tienen un equipo de personas o auxiliares que ayudan a escribir el guión y colaborar con ideas. Los autores tienen control sobre los actores, la historia y los temas o asuntos sociales discutidos a lo largo de la telenovela.  Creo que el autor es muy importante para el éxito de la telenovela.

Otra persona importante en la producción de telenovelas es el director. El director hace que la historia de la telenovela cobre vida. El  o ella se encarga de transformar la historia en una experiencia emocional para el público. Los dos principales puestos de trabajo de un director es dirigir a los actores y crear el lenguaje de la telenovela específica. Durante la producción, el director es responsable de observar y modificar escenas para asegurarse de que la telenovela cuenta la historia correcta.

Los actores de telenovelas son algunos de los mejores actores del país de la telenovelas. Los actores deben asumir el papel y convertirse en el personaje que las telenovelas esta tratando de crear. En una historia de amor, los actores tener la química que el publico puede ver el fin de la telenovela de éxito. Los actores son significativos a la popularidad de la telenovela.

Por ultimo, el publico juega un papel esencial en la producción de telenovelas. Debido a que las telenovelas se escriben diariamente, el publico puede influir en la dirección de la historia. Si el publico reacciona mal a la forma en que una telenovela se dirige, el autor y el director pueden cambiar eso. Si los actores no tienen suficiente emocional o la química, la audiencia puede decir. La reacción del publico influye en la producción de la telenovela.

Telenovela Production in Brazil

Having discussed Latin American telenovela production during class, I am struck by how much production has improved over the years. The classic telenovelas like Betty, La Fea continue to permeate Colombian culture and are so ingrained that they have become part of the social fabric of the country. It’s only natural that such a beloved form of entertainment improves over time as more stakeholders realize how popular their telenovelas have become and continue to be. After watching Avenida Brasil, I realize how big an investment it is to make a telenovela with such high quality. Rede Globo has dominated the Brazilian national networks since the 1970s and continues to make high quality productions that are both socially relevant and comment on the state of the nation. These productions not only provide entertainment to the majority of Brazilians, but influence how they form their Brazilian identities. Avenida Brasil was the first of its kind to represent the middle class in a realistic way, which made is accessible to a large and growing percent of the Brazilian population. This is made possible by the high quality productions of Rede Globo, as well as the research that must have taken place before and during the writing of the script. Because Rede Globo dominates the Brazilian networks, they have both the budget and time to do thorough research about their telenovelas, putting them a step above all other networks in terms of accuracy and entertainment.

Because of their popularity and extremely high budget, the production site of Rede Globo is massive and impressive. The quality of Globo’s productions are highly competitive with international telenovelas and popular series, even film. Rio de Janeiro continues to be a huge telenovela production site since Globo constructed their studio in western Rio de Janeiro. Globo’s production site and sets are so impressive that they could be entire towns that they often refer to as the “dream factory”. Most of the production site is located in a forest and includes up to 10 different sets. Because of Globo’s size, they have production assistants and actors that are contracted on a year to year basis, monopolizing on the talent pool of the country. Because Globo is able to contract their directors, producers, and actors, they will always have the first and best pick of the top talent in the country, which further strengthens their reign on the production business in Brazil. Rede Globo is an impressive and massive company that will continue to put out extremely high quality productions that not only serve as entertainment, but contribute to the social discourse of the county itself.

Even after Globo airs its telenovelas, they send out market researchers in order to sample the public’s perceptions of the telenovela. Globo will use up to two or three focus groups per episode in order to determine what is working and what is not. They have the power and the resources to write and produce in real time that reflects the tastes of the views, and at the same time increases their viewer ratings. This is an impressive feat for a production network to be so close to the viewers and to consistently produce telenovelas that are instant hits. These telenovelas form part of the collective memory and national identity of Brazilians, as well as serving as a cultural export to the rest of the world.

Telenovela Production in U.S

      Growing Hispanic audiences, tax breaks and marketing techniques are contributing to the increase in production of telenovelas in the United States. Several years ago, one would say that Mexico was at the top in terms of production, but lower crimes rates and safer environments for families are prompting actors and production companies like Telemundo and Univision to move production to the States. Although telenovelas form Mexico are still widely successful, Miami-based productions have seen an increase in production growing $11.5 million in 2009 to over $40 million in 2011. Many actors contribute this growth to how much safer of an environment America is in comparison to countries like Mexico. Vice president for novela development at Telemundo, Roberto Stopello says that actors have told him they do not want their kids being kidnapped in my country, making the move to Miami all that easier. From a production stand point, producing telenovelas in Miami is not only more economical for the shows but also from an advertising stand point as American companies like Buick use the telenovela actors to produce commercials in between shoots. The actors, who get paid more for being in commercials, would not have this opportunity if production took place in Mexico. 
       For Columbia-born Sofia Vergara, moving to the United States got her a break on "Modern Family" after originally producing with Univision. Luis Balaguer, founder and chief executive of Latin World Entertainment, says years ago he would have never advised actors to move to Miami but now sees a completely different light. Balaguer's goal in working with telenovela actors is to first move them to the United States, begin production, and transition the actors to English-language networks, as Vergara did. This move in production from more dangerous countries in Central and Latin American are a win-win as both actors and producers can work in a safer area environment with more economical benefits. 

El Formato de Las Telenovelas

Como el resto de la clase, el aspecto de la producción de las telenovelas que mas me sorprendió es la cantidad de tiempo y trabajo las toman. El proceso y cantidad de personas involucradas en producción es increíble. Pienso que muchas personas no conozcan o entienden la cantidad de trabajo que telenovelas requieren. Ademas, pienso que muchas personas no crean que telenovelas son de bien calidad. A menudo telenovelas tienen una mala reputación específicamente con personas que no verlas. Pero en realidad, hay dialoguistas, directores, coordinadores, productores, actores y muchas mas personas involucrados en la producción de telenovelas. La linea de tiempo para producir una telenovela es muy estricto y require el orden y la planificación.

Aunque, teniendo en cuenta la cantidad y esfuerzo va en la producción de telenovelas, yo no entiendo por que las telenovelas no duran mas. A menudo las telenovelas tiene solo una temporada con muchos episodios. Pero la temporada solo dura para unos anos. Al otro lado, programas de television en los estados unidos quieren estar en televisión por muchos anos. Por ejemplo, programas como "Friends" y "Grey's Anatomy" tienen muchas temporadas y duran para mas de diez anos. En mi opinion, este es una programa de éxito porque se encontro algo que funcionaban y conservo sus espectadores. Entonces, hay menos riesgo para la programa y todas las personas involucradas.

Por que telenovelas tiene una temporada con muchos episodios? Con este formato, todas las personas que están involucradas tienen tratar algo nuevo todo el tiempo. Creo que este es difícil para las dialoguistas y para los actores. Si ellos encuentran algo que hace, por que no se quedan? Para las dialoguistas, ellos siempre tienen pensar sobre una nueva idea para una telenovela. Y para los actores, ellos siempre tienen cambiar sus partes. Por ejemplo, en clase nosotros discutimos sobre una pareja que juega el interes del amor en tres telenovelas.

Ademas, pienso que los espectadores querría sus telenovelas favoritas a durar mas tiempo. Hemos visto en clase como los fans de telenovelas son apasionados y dedicados. Ellos se obsesionan con telenovelas, ven la programa todo el tiempo, crean videos sobre los actores y usan los medios socials para mostrar su amor para la programa.

Yo entiendo que hay problemas con dinero y tiempo y las vidas personales y tal vez estas razones resultan en el formato de las telenovelas en una temporada. O tal vez es porque esto es lo que la gente en America Latina les gustan y conocen. Que son sus pensamientos sobre el formato de las telenovelas? Piensan que una telenovela podría tener mas éxito si duro mas tiempo? O es el formato arraigado en la sociedad de America Latin y la producción de telenovelas?

Telenovela Production

As we have studied telenovela production and everything that goes into making an episode happen over the past few classes, it was made abundantly clear that these shows and their networks are not a casual affair. No one considers Latin America when thinking of the entertainment industry, but it's obvious that these networks pull out all the stops like any American one would. The load of pure work is just as heavy for the telenovela production team as for a movie crew if not more so because they must go through the entire ordeal daily. The elements of the process that struck me the most were the enormous responsibilities placed on the writers' and actors' shoulders.

For a modern telenovela writer, the minimum amount of screen time that has to be written each day is an hour. Every day is a full day for a writer, and there are little to no breaks until the telenovela is over- which is usually in 100+ episodes. Even in countries where the show is only aired 5 nights a week, the weekends have to be spent connecting plot points and thinking ahead so as not to fall behind. This process is untold numbers of pages that are drafted, outlined, edited, and finalized within hours on a daily basis so that they can be approved and given to the actors. Not only do the 'higher-ups' have to approve what is written, but there must also be agreement and cohesion within the writing team. Sometimes these different approvals can be hard to come by. The preliminary phase of writing starts long before that, though. It was amazing to see the forethought and planning that the writers specifically went through when choosing the location(s) of the story and how involved they were in that process. When we were shown pieces of a day spent exploring a location with Leonardo Padron, the only people accompanying the writing team were production assistants. I could not believe that it was the writers who took a complete tour of the property, concepting as they moved around. This dynamic is much different than in American television where writers are usually working completely within the confines of studio sets. The abundance of locations leaves more room for creativity but also expands the options that must be considered with every decision. But if there are any problems between executives and writers, actors and writers, or anyone else it means that the writing process is put on hold and the team loses even more precious time. To say which job within telenovela production is hardest would be impossible and entirely subjective, but writers are high up on the list as far as sheer workload goes.

Actors are some of the most hardworking members of a production team as well as the ones who carry the bulk of the burden of being the 'faces' of their telenovelas. Filming an hour every day from lines that have only become available to practice recently would be taxing on the most talented of performers, but to do it daily for the better part of the year takes special ability and dedication. The time schedule for filming also makes for long days nearly every day, though this goes for everyone and not specifically the actors. Sometimes the actors will even get lucky and not be needed for a certain portion of the day. It is a break of sorts. This is a rare occurrence for protagonists, however. Since many telenovelas feature on location filming, there is even some travel involved. Those days are surely jam packed with trying to film every moment needed in this particular spot in as short a time as possible. In regards to the actors as people, it is undoubtedly hard to have any sort of social life while filming. The off days- if there are any true breaks- are likely spent recovering from such a hectic schedule rather than on outings with friends and family. Pictures from actors on set show them rarely without the script in hand, so I imagine that the case is much the same when they are at home preparing for the next day. The pace set by the shows is too fast for there to be any downtime- even in the day to day. In the event that there is some, it is likely that actors spend it doing things related to the show. With social media interaction being such a large part of how telenovelas are consumed now, it is important for actors to have a presence on several different platforms. Fans seem to be interested in them as people as much as with the characters they play. Even after production is over there is a lot of time devoted to promoting the show- parties to watch the last episode, interviews about the show, etc. Actors are taking the brunt of the spotlight for their shows on and off screen.

This subset of the entertainment industry is unlike, and in my opinion harder working than, any other that I have come across. Specifically, to be an actor or a writer here requires not more talent necessarily, but more drive, dedication, and capacity to perform than anywhere else. There is no time to relax or second guess. It is a nonstop demand for output that lasts the better part of a year in most cases. As far as production goes, my praise goes out to these two groups of people.

Writing for Locations

Production is perhaps the aspect of telenovelas least often thought of by consumers. Save for the celebrities who star in them, few follow what goes on behind the scenes, because that’s not what they’re shown. 

One of the aspects of production that I find most fascinating is the use of non-studio locations used in filming- especially the mansions used in so many telenovelas. The clip we watched in class of the writing team walking through the mansion and getting ideas as they went was especially interesting to me. I find it really interesting that the location can shape a story not just in the broad sense- such as the country or neighborhood shaping the culture- but down to where the windows are and how many steps are in the staircase. As an audience member, I rarely think, “wow, that was a handy place for a door,” or “that dining room works really well for this size of a group,” yet if those details were missing, I would notice. The slightest thing would ruin the entire atmosphere of a show, and for something as emotionally charged as a telenovela, a ruined atmosphere could feasibly cost them a large part of their viewership and decrease the overall quality of the show.

Now, the perfect placement of doorways and windows and the ideal room size or view isn’t all that impressive if a scene is filmed in a studio, but it is when those scenes were carefully planned based on the rooms available on-location. This is the opposite of what a casual viewer may think: instead of writing scenes and then creating sets to work for them, the house is pre-existing and the scenes are written to match it. This whole idea fascinates me, partially because I view it as a real-life constrained writing scenario, but with much higher stakes than recreational constrained writing prompts. I’m also amazed at the success that the writers have with doing this.

I’m sure there are other genres of shows and movies filmed on location like this, but again, the melodramatic atmospheres necessary for most telenovelas seem to me to make this a higher-pressure situation in the telenovela world. Knowing the work that goes into setting scenes makes me appreciate the writers and set designers all the more- as well as those whose homes are being used in production. 

Production

The past couple weeks in class we have been talking about the production of telenovelas. What I found from our class discussions and the readings was how much work and intricate detail is put into planning each and every episode. So much detail that honestly, it started to stress me out thinking about having to plan every little thing that is needed to make a single episode a success. It really made me appreciate what I was watching so much more. Watching the different behind the scenes clips in class really gave me a deeper appreciation for actors and directors. Before watching these scenes, I did not realize how much is planned for each scene, how the director knows exactly what he wants each actor to do and how to do it. It really highlighted the creative mind of the director in ways that I had not even thought about. And it really highlighted how “coachable” and actor needs to be to make what the director pictures come to life.

What I really found interesting from class was the behind the scenes of the different romantic scenes we watched in class. When we watched those clips in class, I tried to put myself in the shoes of the actors and actresses and found that I do not think I could ever be an actress. Rehearsing a love scene while being told what to do, where to place yourself, how and when you are supposed to touch the other person would be so difficult for me. I think I would end up laughing every time. On top of that, having to be romantic with no music and with the entire production crew watching you is added pressure. I really think for this industry you must truly be confident in yourself and your looks to be able to act out these scenes well. Specifically, in class we watched a love scene where the camera man was getting an aerial shot of the love scene by standing on a ladder. It would be one thing to have a crane over you or have a camera drilled into the ceiling, but to have another human only feet above you while you are trying to make the romance look real and come alive is a talent I really appreciate. Even more so when in situations like the example where the telenovela is short on money, yet everyone does what they can to get the quality shots they need.

Another type scene I found interesting to see how it was filmed was the sequence shots. To me, this pointed out the organized chaos of filming a telenovela. It is really a work of moving art to see a director create this type of shot. The director is able to picture where he wants every person, what they should be doing, how he wants them to appear in the shot and make the scene come alive. What makes these shots most impressive to accomplish is how perfect every single aspect must be, or else the shot must be redone. If I were a director, I honestly do not know if I would have the patience to film this type of shot.  We talked about in class that if one person is not where they are supposed to be, if one person forgets their lines, or if God forbid, the boom leaves a shadow, the entire shot needs to be redone. It’s a lot of hard work, organization and patience to make these shots successful. However, I really think when it is well done, it is worth it for the audience.

The final aspect from our production discussions I had never even thought about was the detail that goes into filming in exotic locations. Besides the cost that goes along with this, it’s the detailed planning that goes into picking a location and then figuring out how to use that space that I found impressive. I enjoyed learning about the process that goes on when a location is finally picked and the writers, directors and production team arrive at the location to write the scenes. I loved watching how the production team, directors and writers worked together to plan how to use the space for different types of scenes. Seeing them get excited and be able to bounce ideas of each other in what could happen next in the telenovela because of what the location offered them was something very humanizing about the industry to watch. It was moments like this where it really hit me how much people who work in their industry love their jobs and how it highlights how creative everyone in this industry truly is. 

Production and the "Magic" Onscreen

In the past few weeks I have learned a lot about telenovela production that I did not know before. I did not realize how much planning goes into creating every scene, or what it looks like on the sets versus on-screen. It is a lot more similar to movie production than I had previously imagined. However, it also allowed me to understand why many people are not as interested in the production aspect even though it important to address when studying telenovelas.

Seeing some of the photos of the sets almost shattered my image of the telenovelas because now I have seen the actors awkwardly kiss while surrounded by crew members during a love scene, and I know more about editing as well. Although it makes sense that things like music are added after the production, it was still surprising for me to watch the scenes in silence as they were being filmed. I think that we as a society use telenovelas and similar forms of media to escape reality, and we see it as an alternative in which life is perfect: the people are beautiful, the problems aren't real and everything turns out the way it should. Seeing the other side of it (the less glamorous side) shatters this idea.

I was therefore fascinated by the amount of detail that is necessary for proper editing as well, and the mistakes that can be found even in the final product that is aired on television. When Dr. A shared a photo of a sequence error in which an actress had different nail polish colors in two different scenes, it reveals that they filmed on different days. It is interesting because this kind of detail is not something you would usually notice if there had been no mistake, but you definitely notice the nail color when it breaks the "magic" of the telenovela by showing you that they filmed on different days.

Learning about the writers' jobs was eye-opening as well because I learned that they take a great deal of time to write hundreds of pages–sometimes extremely quickly–especially when thinking about my own telenovela. There are so many plot twists and creative ideas utilized that it is impressive to learn about the work that goes into it.

Overall I think it was extremely beneficial to learn about the production aspect of telenovelas because it forces you to understand the dedication that the producers, writers, actions, assistants and other crew members have for their projects on set. Most people (including myself) do not like to think about that aspect because it takes away from how the telenovela is viewed as almost "perfect." Luckily, I have not seen any behind-the-scenes shots from my telenovela yet, but now I know that I will definitely look at them after I finish watching it. Only then will I be able to truly understand the process behind such an addicting telenovela.

Faster, bigger, better

From what I can tell, the cost of production of Yo Soy Betty, la Fea, were relatively low to average in comparison to most of the telenovelas produced at the same time. Betty's set is relatively simple as most of it takes place in the offices of Ecomoda. There was nothing particularly flashy about the set, just simple office studios. Other episodes take place in Betty's house which is a simple, lower socioeconomic status house. In terms of costumes/clothes, there were some characters that wore nicer clothes but overall, everything was pretty simple.
Since the series is 17 years old, it's very easy to see the advances made in television production in that the quality is not very good in comparison to productions made today. I think there has been an overall rise in the cost of production in the telenovela world (as well as television overall). Period pieces have become more common and typically entail massive budgets. Pieces like La Esclava Blanca, El Gran Sultan de Sulieman , and A Escrava Isaura are produced incredibly well and have massive production budgets as a result. Period pieces have also become widely popular even outside of the telenovela world (Downton Abbey, Outlander etc). Ultimately, I think these trends of high quality shows with high production costs resulted in the creation of the super series by networks like Telemundo. These shows are shorter in length but typically have very high production quality and fast-paced plots. I think as consumers, we've turned towards the idea of faster, bigger, and better and networks have had to adjust their production formulas as a result. Most super series have between 60-80 episodes whereas telenovelas like Betty had 160+ episodes. I think as a society, we have shorter attention spans and get bored with longer series as a result. Similarly, I found it interesting that Telemundo, a US based network, created the super series. I think the Latino population in the US was exposed to high production television networks (HBO, ShowTime, Starz) and began to demand high quality telenovelas as a result. Like Dr. A said in class, networks are constantly tweaking their production methods in order to meet consumer demand.

I find the phenomenon of the Turkish telenovela to defy some of the trends we've seen in productions like super series. Despite high quality productions, the pace of the telenovelas are incredibly slow. This doesn't necessarily make sense in terms of faster, bigger, better but for reasons like plot, romance, chemistry between protagonists etc, audience appear to accept slower paced telenovelas.

El costo de producción de telenovelas

El costo de producción de telenovelas

No sabía nada sobre la producción de programas de televisión o películas antes de esta clase. Pero, mi primer pensamiento en clase era “Con el número de personas y equipo involucrado, ¿cuánto cuesta la producción de una telenovela?”

Cuando estaba investigando la producción de mi telenovela, “El Gran Sultán de Suleiman,” me sorprendió aprender que se trata de la producción televisiva más costosa en la historia de Turquía. Con un costo aproximado de 5 millones de dólares por cada episodio, es muy exquisita. Su pre-producción tuvo un presupuesto de 4,7 millones de dólares, de los cuales 2,2 millones se destinaron a escenografía y vestuarios. El drama fue filmado en el palacio de Topkapi, un lugar muy elegante e histórico lo que fue construido en el siglo XV. Mientras que el ambiente es muy elegante, los vestuarios son mejores. Yo leí que por lo menos 25 personas trabajaron para crear los vestuarios durante la producción de cada capítulo. Los accesorios y vestuarios fueron puestos en exhibición en una exposición para el público en Estambul.

El palacio antiguo de Topkapi, el lugar donde se filmó la drama. 

La producción de este drama es un tema tan popular que hay un documentario con 8 capítulos sobre su producción. El episodio final genera 2 millones de dólares estadounidenses de ingresos- una cantidad que batió el record. El hecho es simple: la cuesta alta es vale la pena. Mi telenovela es un testimonio de un alto riesgo financiero de da frutos, en parte porque se capitalizan sobre las tendencias de "otomanismo" y en parte debido a que pasaron mucho tiempo y energía en la producción.

Los productores se enorgullecen en la exhibición de los
intrincados detalles de los trajes de los personajes en cada anuncio.

          Este drama se transforma en un esfuerzo artístico por todos de las 130 personas involucradas en cada capítulo. Hay más que 50 personajes mayores en cada capítulo, cual incluyan modelos populares y celebridades internacionales. Fue mostrado en más que 50 países. Muchas críticas han dicho que este drama eleva el nivel por dramas históricas no solo en Turquía pero en todo el mundo. La producción de una drama es cara, pero es clave a su éxito.    

Blog Post 3 Production

Esta semana en clase nosotros hemos aprendido acerca de lo que sucede detrás de la serie de television, o una telenovela. Hay muchas cosas que son necesarios para hacer una buena telenovela y una telenovela exitosa. Me pareció que era muy interesante cuando Profesora A nos mostró todas las cosas diferentes que los ejecutivos, productores, actores y hombres de la cámara hacen durante una producción de la telenovela. Esto incluye la forma en que tiene que asegurarse de que todo esta en su lugar y se ve perfecto para conseguir el mejor tiro.

Antes de la lección, yo no pienso mucho sobre las detalles que son necesarios para hacer un episodio de la telenovela y el tiempo de producción de un solo episodio puede tomar. Después de la lección, yo pienso mucho sobre las telenovelas diferentes y las cosas que necesitan hacer para hacer una telenovela que hacer mucha diner. Esto también me hizo pensar sobre como en algunos programas de television que he visto, muchas situaciones yo puedo ver el "boom" en el episodio, que no es bueno. Específicamente, en "Friends" muchos episodios puede ver el "boom." Para tener un buen episodio, o en este caso una buena telenovela, es necesario asegurarse de que todo está oculto y que la escena no es mal solamente porque la causa de una pequeña cosa como tener el "boom" en la imagen.

En estas telenovelas, pensé que era interesante cómo tienen que volver a hacer todo el tiro si una persona meta la pata o algo está apagado. Esto puede incluir, si una persona se olvida de sus líneas, que estudian hasta que ir en la pantalla y lo llaman "acción!" o si golpean con algo en el conjunto y se pone en el tiro. Todas estas pequeñas cosas pueden producen un mal telenovela.
Mi parte favorita fue aprender acerca de cómo el equipo de producción y los escritores, cuando encuentran una buena lugar y la casa de utilizar para su telenovela, puede ser visto caminando por las salas de pensar en la forma en que van a escribir la telenovela y lo que las cosas van a suceder cuando. En general, fue una tema muy interesante a discutir en clase.