Avina´s vision is of an entertainment company with a content development and production group, and a technology group. The tech group manages online, on-mobile and in person consumer-focused campaigns focused on a particular entertainment project - a series or feature film. The project may have been created by Avina´s content group and commissioned by a funding entity, such as a broadcaster, studio, investor group, or OTT platform, but over time the project could come from anywhere. Avina´s techno-tainment group and its mobile-online platforms would simply be white labeled and applied to that third-party project. Avina´s methodology is to begin marketing and community building at the front end of the entertainment process: when a project has been greenlit and partially cast. Avina´s Techno-tainment Group then commences its activities, building a community of viewers and continuing this process into production and post-production of that series or film. Engagement would be accomplished through a series of online and in-person events and promotions. During the front and middle end of the entertainment process, Avina would be collecting, analyzing and organizing into a variety of data reports information on the community built around the targeted series or film. This data would be shared with the project´s commissioners and possibly the project´s performing talent. Once this process is complete, the techno-tainment platforms can be re-used or re-allocated to service other clients. In time, Avina´s mobile and online platforms scaled to potentially service scores or hundreds of projects at the same time. The goal of the "techno-tainment" process is to revamp or disrupt the traditional process of marketing entertainment beginning at the back end of the process (i.e. after a project has been finalized). Under Avina´s methodology, marketing would occur during the front and middle end of the process. Avina believes techno-tainment will dramatically reduce, if not eliminate, back end entertainment marketing. Content commissioners would likely receive from Avina data not just about the community built around the project they commissioned, but more generalized data on what a community of consumer would like to see from that commissioner or other commissioners. As a result, the data collected by Avina is dynamic, fresh, and hi-touch in nature.

3 contestants of any age or social background are given the length of the show, say 30 minutes (minus the final five “premio time”) to walk a pre-determined route in the city of the show. Viewers at home are encouraged by the host to bet live via the show app on any of the 3 contestants they think will win, or want to win because they know one of the contestants. But they have to vote up to the last third of the show, after which voting is cut off. One viewer at home will win a cool prize put up by a show sponsor (a cool pricey watch, a designer coat, a washing machine), but viewers know that all proceeds from the show, after show costs are covered, go to the funding of the public TV broadcaster’s programming - and other cultural programs and educational entities for young artists (so bet as a “social good.”) Show specifics: during each episode, the show tosses unexpected and amusing obstacles in the path of the contestants in an attempt to distract them and slow them their progress on their route. We never know what these obstacles will be or when they’ll come - like a comic who poses as a tourist and insistently asks the contestant where various monuments are, or a lady (actor) who pretends to fall and needs someone to call an ambulance or a taxi for her — all these things are meant, of course, to amuse the audience). Contestants are also allowed 2 lifelines during this live show from friends and family if they´re getting lost, or over-distracted by obstacles, or blocked in their route by unexpected obstacles (a car crash, a street blocked off by police). So we can cut to a camera crew in the living room of the contestant´s “fan base” going bananas as they use mobile apps and the internet and try to reach their contestant with alternative route data. Whether they connect or not to the contestant – or whether the contestant can hear them with the street noise around them, or actually take the right alternative route proposed by their friends and family – is half the fun. Cash Walk is meant to be somewhat like “Cash Cab” in the US and UK, or in Spain La Sexta´s 2013 “Taxi” which was previously on Andalusia´s Canal Sur with the same title.

3 contestants of any age or social background are given the length of the show, say 30 minutes (minus the final five “premio time”) to walk a pre-determined route in the city of the show. Viewers at home are encouraged by the host to bet live via the show app on any of the 3 contestants they think will win, or want to win because they know one of the contestants. But they have to vote up to the last third of the show, after which voting is cut off. One viewer at home will win a cool prize put up by a show sponsor (a cool pricey watch, a designer coat, a washing machine), but viewers know that all proceeds from the show, after show costs are covered, go to the funding of the public TV broadcaster’s programming - and other cultural programs and educational entities for young artists (so bet as a “social good.”) Show specifics: during each episode, the show tosses unexpected and amusing obstacles in the path of the contestants in an attempt to distract them and slow them their progress on their route. We never know what these obstacles will be or when they’ll come - like a comic who poses as a tourist and insistently asks the contestant where various monuments are, or a lady (actor) who pretends to fall and needs someone to call an ambulance or a taxi for her — all these things are meant, of course, to amuse the audience). Cash Walk is meant to be somewhat like “Cash Cab” in the US and UK, or in Spain La Sexta´s 2013 “Taxi” which was previously on Andalusia´s Canal Sur with the same title.

Finally, a landmark scripted series about pivotal historical events in the one place that defines Basques and their culture: Guernica

Reality TV series format in which a reality show turns to the public for incredible dishes or deserts or sandwich like food products they make that are easy and fast and could be a great item to get at a takeaway or "gourmet" fast food truck or joint. In this competition format, viewers from around a region or country compete to have their food item on the menu of the food truck or joint, whose menu reflects "the best" takeaway inventions from the people. A chef host helps select candidates, along with the voting public, in each episode, which presents 2 food item candidates from amateur cooks and/or their families. Only one is chosen by the voting public of "fifty locals" who are gathered in one location to try both items in a blind tasting. The item with the most votes win´s that week's competition. The "winner" of each episode then goes on to compete in the final 13th episode, where the voting public again votes, but in a bigger way: 100 people from all over the region or the country the show has sourced food items from come to the final episode set and vote in a final blind tasting on live broadcast. The winners and their families are in the audience and come on stage to receive a winner´s certificate, and an invitation to be at the opening of the first takeaway location. All items submitted to the show will also be in a cookbook anyone can buy.

Reality TV series format in which a reality show turns to the public for incredible dishes or deserts or sandwich like food products they make that are easy and fast and could be a great item to get at a takeaway or "gourmet" fast food truck or joint. In this competition format, viewers from around a region or country compete to have their food item on the menu of the food truck or joint, whose menu reflects "the best" takeaway inventions from the people. A chef host helps select candidates, along with the voting public, in each episode, which presents 2 food item candidates from amateur cooks and/or their families. Only one is chosen by the voting public of "fifty locals" who are gathered in one location to try both items in a blind tasting. The item with the most votes win´s that week's competition. The "winner" of each episode then goes on to compete in the final 13th episode, where the voting public again votes, but in a bigger way: 100 people from all over the region or the country the show has sourced food items from come to the final episode set and vote in a final blind tasting on live broadcast. The winners and their families are in the audience and come on stage to receive a winner´s certificate, and an invitation to be at the opening of the first takeaway location. All items submitted to the show will also be in a cookbook anyone can buy.

Viewers across Euskadi submit their neighbors, their friends, their family – well, anyone they believe is the funniest vasco they´ve ever come across. And their prize? Their own one-hour comedy special on EITB. But… to win each bona fide joker has to convince a panel of comedians from around Euskadi (and the viewing public) that they deserve to advance to the final round. So, in each episode our panel of judges tries to see how good the candidates are at being funny on their feet by issuing spontaneous comic sketch challenges, and through the judges’ subsequent critiques teaching our EITB viewers about their own, secret tried-and-true, professional comedy techniques. But ultimately it is not the judges who choose the funniest person in the province, but viewers across Euskadi from their living rooms. The audience votes from home in a final star-studded live event broadcast live from Guernika. So, who is the funniest person in Euskadi?

Tired of being confined with his partner in the face of a deadly pandemic, Oscar decides to break the quarantine even knowing that this decision will cost him his life. Wanting to say goodbye to the world in style, Oscar organizes the wildest party of his life for other kamikazes to join him. He does not suspect that all the excesses of that night will reveal an unexpected truth: He is no longer the same.

Public date: 2009-04-01 - Debodinance, Yves Alain: Composer (Main), Author (Main)

Homenaje al cine de humor en version ilustracion

A treatment of the work in progress script. High concept: In a post-war setting, two documentary filmmakers, a homeless middle-aged woman, and two veteran soldiers cross paths with opposing desires: to portray the vestiges of war in their film, to live quietly in an abandoned tank, and to patrol the area as if the war never ended. They are all victims of the circumstances of the war, facing their own issues in a magical realism atmosphere that reveals the fragility of peace through sarcasm.

The play follows the story of Pedro "Pete" Pérez, a young man from a humble background who, after a series of chance encounters, is given the opportunity to become a gentleman thanks to an anonymous benefactor. In this adaptation, Pedro, known as Pete by Zonians, grows up in a working-class neighborhood in Puerto Armuelles, Chiriquí during the 1990s, a time marked by the rise of neoliberalism and the country’s political transformations. Throughout the story, Pete faces social inequalities and dreams of a better life, but also the moral dilemmas that come with his social ascent. The story also features other iconic characters such as Estella, the cold and distant young woman who captures Pete’s heart, and Miss Ofelia, a wealthy and eccentric woman who has never overcome the pain of her past. Modernized Themes: Social inequality in post-invasion Panama. Aspirations and social expectations in a rapidly modernizing economy. The influence of global culture on Panamanian youth in the 1990s and 2000s.

comedy music, film music, cine music, cinema music,

The Dragon's Path is a film that tells the story of Kobe and Lebron, two gangsters who have to deliver a briefcase full of drugs. During their journey a series of mysterious characters begin to cross their path, leading them to the mystery, to the discovery of their past lives and changing their destinies forever. The film explores stylistic elements such as the mixture of genres.

ComandX Vol1, 4-6. English

ComandX Vol1, 7-9. Català

ComandX Vol1, 7-9. Español