Globalgate Entertainment: We aim to have with the musical La Usurpadora the same success we had with Instructions Not Included

Paul Presburger, who until November of last year led Pantelion Film and Pantaya, announced the next steps with his production and co-financing company, Globalgate Entertainment.

With the two projects that Globalgate Entertainment will release this year, Presburger hopes to repeat the formula of success they had within the US, such as No Manches Frida y No Se Aceptan Devoluciones (Instructions Not Included). “We are going to fail miserably or it will be a great success,” he said during the talk “Growth in the consumption of content in Spanish) at the XVII Canacine Convention, in Tequila, Jalisco.

Presburger was talking about the musical La Usurpadora, which will open in theaters in the US on April 7, following Mexico a week later, on the 12th.

The other project that will premiere soon is Radical, by Eugenio Derbez, which won the audience award at Sundance and will also be seen in theaters in the US and Mexico.

Presburger says the trick is to adapt the IP of great stories to the local market with great writers doing the adaptations. Big names, on-screen talent, is the other key, he explained.

Globalgate arises from the opportunity to adapt great Latino stories to different languages and countries around the world. The first was No Manches Frida for the German market. Turkey, Indonesia, Vietnam, and Korea made remakes of No Se Aceptan Devoluciones.

“It’s not quantity, but quality,” he said, as to how business should be approached on a streaming screen.

He recalled an anecdote from when he was younger and wanted to watch basketball content, but he was in Europe. A friend recorded the games, downloaded them to VHS, sent them by FedEx and then they had to convert them to the European format. “I realized that people who want to see content that moves them are willing to pay anything and do whatever it takes to see it.”

He said that it is time to take risks and knock the trend, in times when the platforms are cutting budgets for series. “I want huge names, huge actors, and incredible IP with incredible stories,” he concluded.