Telemundo: El Conde unleashes unbound creativity in period production

Debuting last Monday, July 1st at 10pm on Telemundo, El Conde: Amor y Honor (70×60′) showcases over 127 iconic locations throughout Mexico City and its surrounding areas.  This epic production involved eight weeks of pre-production, filming across 300 sets, and a massive crew of over 3,000 people including actors, extras, and crew members.  The series is produced in collaboration with Sony Pictures Television, which provides production services.

This series stands out for its high production value, evident in its meticulous period setting spanning the years 1930 to 1950.

ADVANTAGES OF FILMING PERIOD PIECES IN MEXICO

Ximena Cantuarias, Senior VP of Scripted Production at NBCUniversal Telemundo Enterprises, holds a special place for period projects. “They represent a significant challenge for the production team,” she explains.  Cantuarias has participated in several of these projects, and each time, she finds that “they allow us to learn from history, unlock greater creative freedom, and present a more demanding challenge. Seeing the final product come to life on the Telemundo screen fills us all with immense pride.”

Mexico preserves much of its period architecture

“Filming period pieces in Mexico offers a significant advantage: much of the architecture here has been remarkably well-preserved. The historic centers, like Colonia Juarez and Colonia Roma, are prime examples.  These neighborhoods boast facades meticulously maintained throughout the years, allowing for authentic period exteriors even if the interiors have been modernized. It’s a treasure trove for creating believable settings across different eras,” she noted.

Cantuarias acknowledges the challenges alongside the benefits of filming in Mexico City. “Filming period pieces is becoming increasingly difficult due to the extensive network of cables,” she explains. “This is especially true in the historic districts, like Colonia Roma and Colonia Juarez, where we often shoot. We have to be very creative in our approach, carefully considering camera angles to minimize the impact of these cables on the final product.”

Mexico presents additional filming hurdles.  First, a surge in production combined with stricter regulations on street access for large vehicles like trucks creates logistical challenges.  Second, even the weather can pose problems, with rain requiring extra planning.  “Modernity itself throws a wrench in filming period pieces,” Cantuarias explains.  “Covering up billboards and modern signage takes time and resources. We often use plants or other props instead of relying heavily on VFX for removal, which is a lengthy process.  The costume department also needs to be especially vigilant to ensure no anachronistic details, like modern jewelry or watches, end up on camera.”

Among the locations are Hacienda Gallardo (Hacienda Tochatlaco-Tepeapulco), Hacienda Zambrano (Hacienda Ometusco), the Regina Church in the center of Mexico City; Café Francés (Metropolitan Palace), the Isla De Los Dolores Prison (Parque Desierto de Los Leones), cemetery (Panteón San Fernando), the count’s mansion (Blvd. Condado de Sayavedra) and Hotel Vicente (Gran Hotel México).

The Regina Church in the center of Mexico City

IN PERIOD PRODUCTIONS, LOCATIONS AND COSTUMES SHINE

She pointed out that period projects truly stand out for their costumes, especially the women’s attire, alongside the impressive locations.

“It’s all about the details: the little hats, the elegant dresses with their specific cuts, and the shoes. And of course, it doesn’t hurt to have stunning actresses like Ana Brenda (Contreras), Marjorie (de Sousa), and Chantal (Andere), bringing these characters to life. It’s not just El Conde, but the entire era that I find so captivating – the art, the production design, and especially the costume design,” she said.

She further emphasized that these aspects – the locations, costumes, and set design – truly take center stage due to the incredible work put in by the production team. After all, they’re the visual elements that captivate the audience. “It’s what viewers want to see on screen,” she explains, “and it’s how we translate the story visually. People often ask, ‘Where did you film this?’ because, let’s not forget, we’re recreating this period in a modern city.”

Cantuarias emphasized the crucial role of each department head involved in the production. “We can develop a concept, craft a story, and bring our vision to life,” she explained, “but without their expertise in interpreting that vision, the final product wouldn’t achieve its full potential. In the case of El Conde, we’re fortunate to have not only a stellar cast but also an exceptional team behind the scenes – from the image design to the exquisite costumes and meticulously recreated settings. Each element is essential and contributes to the overall quality of the production.”

Cantuarias also took a moment to honor the late Helena Rojo, whose final performance graced the screen in El Conde: Amor y Honor.

Joining Cantuarias as executive producers were Karen Barroeta and David Posada. Sergio Mendoza served as the Vice President of Scripted Development. The story was penned by Sandra Velasco and Alejandro Vergara. At the helm, Miguel Varoni, Danny Gavidia, and Felipe Aguilar shared directing duties. The production boasted a talented team behind the scenes: María Eugenia González-Naranjo in Production Design, Yvan Foltzer for Costume Design, and Rául Muñoz in Makeup and Hair Design.

Joining Cantuarias as executive producers were Karen Barroeta and David Posada. Overseeing scripted development was Sergio Mendoza, Vice President. The story was crafted by Sandra Velasco and Alejandro Vergara. Directing duties were shared by Miguel Varoni, Danny Gavidia, and Felipe Aguilar. Behind the scenes, a talented team brought the vision to life: María Eugenia González-Naranjo in Production Design, Yvan Foltzer for Costume Design, Raúl Muñoz Cruz for Makeup and Hairstyling Design, Raúl Andrés Pano Tornero for VFX Supervision, and cinematographers Andrés León Becker, Juan Pablo Ambris (AMC), and Damián Aguilar.

Cantuarias sees the classic Count of Montecristo story as adaptable to any era. “The 1930s and 50s, a period evoked by our parents and grandparents, holds a special charm,” she explains. “It feels both familiar and distant compared to our present reality. This contrast allows us to explore themes of elegance in everything – attire, speech, and decor – and evokes a sense of nostalgia for older generations. Ultimately, the core narrative of the Count of Montecristo remains deeply engaging.”