Carlos Quintanilla from SPT: “Betting On A Hybrid 40-Episode Format For Yo No Soy Mendoza Was The Right Call”

Yo No Soy Mendoza, a series currently in Netflix’s global Top 10, reached the #1 spot in Mexico and #6 in Colombia. The show adopted a hybrid format—melodrama, comedy, and action—told over 40 episodes with a modern structure.

In an interview with PRODU, Carlos Quintanilla, VP of Original Productions at Sony Pictures Television for Latin America and US Hispanic, discussed the keys to the show’s success and revealed some upcoming news: on May 20, three new productions will be announced—season four of Rosario Tijeras with 40 episodes, a dramedy, and a melodrama, one of which has strong international appeal.

“I believe the 40-episode format will become trendy. I’d like Yo No Soy Mendoza to be remembered as the first,” email@rentmanager.com said Quintanilla, emphasizing that today the story dictates the length—if the narrative holds, audiences will stay for all 40 episodes.

He explained that comedy adds lightness, which, combined with action, keeps the pace fast and audiences smiling, while still delivering the emotional impact of melodrama. “Action brings that ticking clock for the characters. I think we’ll see more of it. Action works very well for Latin American audiences. We mixed everything we Latinos love: emotion from drama, fun, car chases, and shootouts—always with a love triangle at the center,” he said. Each episode moves so quickly that it feels like a shorter series.

The show, which combines talent from Colombia and Mexico, is structured in four parts of 10 episodes each, requiring intense work from the script stage.

A key data point: a very high percentage of viewers watched the series through to the end.

KEYS TO SUCCESS

Quintanilla said Yo No Soy Mendoza is a posthumous tribute to Colombian writer Fernando Gaitán. “We studied his essence and developed 40 episodes from a storyline he left us, working with international writers—very Latin. The writers’ room included Mexicans, Colombians, and Spaniards.” The production used two teams, one in Colombia and another in Mexico, working for about four months.

“This was also a tribute to Mexico and Colombia—two brother countries with shared stories. In honoring Gaitán, we specifically told a story of two families clashing through a wedding, through love and humor. That was our challenge,” said Quintanilla.

The result is a story that feels very Mexican and very Colombian, with universal values. “With the essence of a light melodrama that makes us laugh—what we at Sony now call our new line of dramedy products. We’re proud of the genres that work well in the region and aim to deliver them with the highest quality.”

CAST AND PRODUCTION

The cast is another element that resonates with viewers, featuring well-known stars from both countries. “We wanted this series to feel authentically Mexican and Colombian. That’s why we used top cameras and lenses to tell this story. The locations are stunning—exceptional places in both countries—which helps because audiences love to travel through content.”

Producing in two countries with two separate teams required intense planning from the script phase. There were more filming weeks in Colombia, while iconic scenes were shot in Mexico City’s Reforma and Zócalo. Some scenes were shot in Bogotá made to look like Mexico—always ensuring natural authenticity given the shared cultural heritage. The art department played a major role.

Yo No Soy Mendoza (40×45’, Sony Pictures Television), which premiered on Netflix on Wednesday the 16th, took on the challenge of developing, expanding, and updating Fernando Gaitán’s last original idea for the Mexican market while preserving his essence. Netflix acquired the series under a licensing deal.

“We designed everything from the script, working with the production team to decide what scenes would be shot in Mexico or Colombia. All scenes that allowed for production efficiencies were done in Colombia, but we didn’t fake Mexico—we aimed for authenticity to tell a real Mexico-Colombia story in both territories.”

He highlighted that Colombian production incentives were very attractive and allowed them to invest those resources on screen. “That money shows on screen. Since we have a presence in both Mexico and Colombia, it’s strategic to take some projects to Colombia. But we also have projects solely produced in Mexico. The incentive is great, but it’s not right for every project.”

They also used Colombian locations to simulate Panama. “It’s intense production work that allows us to be efficient but also authentic.”

AVAILABLE ONLY IN LATIN AMERICA AND THE U.S.

The series is not yet available in Europe—Netflix’s license covers Latin America and the U.S., which is why its Top 10 ranking is only in Latin American countries.

Quintanilla said the business model—buying IP to produce original content and then licensing it—is part of John Rossiter’s strategy. Though challenging, he said it’s paying off. “We’ve had strong market reception. Several players were interested in Yo No Soy Mendoza, but Netflix ultimately got it. This model carries risk, but it’s proving to be successful.”

He added they are producing many shows under this model—all of which have sold. “We’re in a phase of high production with diverse content—comedies, dramedies, action melodramas. We’re reviving known IPs and also creating originals like Yo No Soy Mendoza.”

WHAT’S NEXT

Quintanilla previewed what’s coming on May 20:

Rosario Tijeras 4, with 40 episodes: “It’s spectacular. We’re relaunching this popular franchise. It will attract both old fans and new viewers. It’s completely renewed.”

A new dramedy

A new melodrama with international appeal: “It’s a global Sony project with Latin America at its heart.”