Leonardo Padrón is a film and television screenwriter, poet, author, columnist and essayist. He has an impressive portfolio of over 20 published books encompassing poetry, chronicles, essays, interview compilations and children’s literature. In Venezuelan television, Padrón has achieved remarkable success, garnering more than 25 awards for his outstanding work on acclaimed dramas like Amores de fin de siglo, Contra viento y marea, Cosita rica and Eva Luna, among others. His captivating stories have reached audiences through channels such as RCTV, Venevisión, TV Azteca, Telemundo and Univision.
Since 2017, Padrón has been lending his writing prowess to Televisa and Univision, contributing to notable series like Amar a muerte, Rubí and Si nos dejan. Building upon his accomplishments, Padrón entered an exclusive three-year creative partnership with Netflix, focusing on developing series and movies. This collaboration follows the successful debut of the first season of Pálpito on the streaming platform. Padrón talks to TV Drama about his creative process.
TV DRAMA: The first season of Pálpito achieved widespread success on Netflix. What can you tell us about season two?
PADRÓN: ‘Happy’ falls short of describing my feelings, as I was taken aback by an overwhelming surprise of astronomical proportions in terms of viewership and enthusiasm. The series was consumed by audiences across the globe, spanning Europe, Latin America, the United States and beyond, with many viewers devouring it within a mere two or three days. The reception far surpassed our wildest expectations, leaving us absolutely elated.
TV DRAMA: Do you work on the stories you create simultaneously, or did you finish with the second season of Pálpito and start something new?
PADRÓN: I wrapped up the previous project and embarked on something fresh. Meanwhile, parallel to this, all the postproduction tasks were in full swing. This entailed coordinating with the CMO Producciones and Netflix teams to ensure meticulous attention to detail such as music, editing and other important elements. It was crucial to deliver a packaged product with the visual appeal and compelling force necessary to captivate the audience.
TV DRAMA: Now that you are working with Netflix, do you create the stories knowing that they are going to be seen by global audiences, or do you try to keep some elements of the Latino narrative?
PADRÓN: I approach these stories with a mix of excitement and fear, knowing that they will be launched in 190 countries simultaneously. They will undergo translation into multiple languages and be subtitled accordingly. When you’re faced with such prospects, it naturally generates immense stage fright. However, I take a moment to process it, and then dive into the work. The terrifying aspect lies in facing a blank page, where the feeling of uncertainty truly intensifies.
When it comes to writing, it’s important not to be preoccupied with the idea of your creation reaching audiences in Poland, Italy, Germany or the Middle East, as it can hinder your progress. Instead, the key is to tap into your own imagination and nurture your enthusiasm for the story you want to tell. Take, for instance, Gabriel García Márquez, who demonstrated this when he created Macondo, an imaginary town in Colombia that became a symbol and archetype of any Latin American town. Juan Rulfo accomplished a similar feat with Comala, as did Juan Carlos Onetti with Santa María.
The more you delve into the local aspects, the more your story has the potential to resonate universally. This is because, at the core, it’s about capturing human emotions, which remain the same regardless of language or cultural background. Emotions transcend linguistic barriers, creating a shared language. By harnessing these emotions in your work, your story possesses the ability to traverse boundaries and reach a global audience.
TV DRAMA: You have worked with broadcast television channels and now with a streaming service like Netflix. Are there differences in the creative process from one platform to the other?
PADRÓN: I would never have been able to create Pálpito for any traditional television channel, at least not with the daring narrative it possesses. It was crucial to handle the subject matter with care and avoid turning it into a sordid discourse due to its sensitive nature. This is where the remarkable distinction lies in writing for a streaming platform as opposed to traditional broadcast television: the freedom to explore themes and the ability to delve into stories that arise in your mind. However, when you work in broadcast television, there’s always the risk of shocking the executives with your chosen subject matter, and they may ultimately reject it.
Television writers face three significant adversaries: writer’s block, which is the inherent nemesis of any writer; time constraints, as they must meet deadlines for producing episodes; and television executives, who frequently offer their opinions and insights. However, my experience with Netflix has been incredibly positive, as they have approached this aspect quite differently. With over 30 years of writing for various TV channels, I am well acquainted with the obstacles one must overcome to obtain series approval.
TV DRAMA: After this first experience with Pálpito, are you more at ease with this second project you are preparing for Netflix?
PADRÓN: The state of calmness is a rare occurrence when you power up your computer and encounter that glaring white screen, provoking an immediate reaction of ‘Oh my!’ The fear resurfaces once again, leaving you uncertain of whether you will succeed or fail. Nevertheless, I believe it is essential to experience such emotions because the greatest peril for a writer is to be consumed by arrogance or pride following success. This fear prompts deep contemplation of your own story. I must admit that I find myself navigating through much smoother waters, ones that remarkably nurture the creative spirit. It’s an immensely cherished and appreciated environment where the conditions favor the creative process in a profound manner.
TV DRAMA: Latin America is known for its telenovelas and melodrama. What are the creative challenges in evolving from these genres?
PADRÓN: There is an intriguing shift occurring in the Latin American narrative that deserves recognition. Traditionally, telenovelas have faced significant stigmatization, particularly within intellectual circles. However, we cannot ignore the fact that Latin America possesses a rich history of exceptional productions within the melodrama genre, alongside others that have perhaps tarnished its reputation. It is essential to acknowledge both the noteworthy contributions and the less commendable ones.
I firmly believe that Latin American storytellers are eagerly awaiting the opportunity to share their imaginative tales through a more captivating blend, one that allows for exploration of the Latin American social crisis and the distinct manifestations of power and violence in the region. Latin America possesses its own distinctive voice in human conflicts, including the intricacies of love, the dynamics of falling in love, the exercise of power and the fulfillment or failure of individual ambitions.
Drawing upon the legends, myths and vast Latin American lore, we can craft narratives that captivate audiences. This is where the allure of streaming platforms lies, as they provide a space where these stories can thrive and attract viewers.
TV DRAMA: How has the role of the creator evolved, now recognized as a showrunner?
PADRÓN: I must admit that most of my career has been cultivated within my home country, Venezuela. It’s unclear why, but there, I managed to attain a significant level of relevance with my projects. Television channels afforded me the opportunity to be deeply involved in various aspects of the production process, such as casting selection, editing and the initial episodes. In a way, I had been assuming the role of a showrunner even before the term became widely used. This responsibility was a part of my work in my home country for a considerable period.
Upon venturing into writing for Mexico, I quickly realized that the producer held an all-encompassing power in the industry. In Venezuela, it was customary to announce the release of a novel by José Ignacio Cabrujas, César Miguel Rondón, or myself, Leonardo Padrón. However, in Mexico, the emphasis shifted to attributing the story to Carla Estrada or the producers. It became apparent that, as writers, we had a voice but lacked voting power. This dynamic seemed prevalent in a significant portion of the industry.
I’ve experienced a remarkable resurgence of the privilege I once enjoyed in Venezuelan television, and this is all thanks to the insightful and astute vision of the Netflix executives. Credit is due to Roberto Stopello, Netflix’s VP of Latin American original series, who, at his core, is a writer himself. He deeply understands the significance of the writer’s perspective throughout the various stages of production. As the writer, you possess an unparalleled familiarity with the creation from its earliest sparks of inspiration. No one knows that creation quite like you do. The re-establishment of a strong connection between the writer and their work, along with its history, has been incredibly nourishing. This shift has provided a rejuvenating environment where the writer’s input is valued throughout the development of a production.
TV DRAMA: What elements must a series or film have in order not to lose the audience in such a crowded TV landscape?
PADRÓN: This is an excellent question because it addresses the challenge of navigating the vast sea of content and avoiding failure in the process. It’s crucial to prioritize the authenticity of your storytelling. Attempting to replicate the success of series like Stranger Things or Squid Game can lead to stumbling and diluting your own work, resulting in a loss of authenticity. Instead, it’s essential to embrace your own unique voice and perspective. Every writer has their own distinct way of perceiving the world.
To maintain that authenticity, it’s important not to imitate the voices of others but to remain faithful to your own narrative style. By staying true to your own storytelling voice, you cultivate a unique identity. Just as every fingerprint is different, your work will bear the mark of your individuality. Of course, this doesn’t mean that your creation will be completely different from everything else, as stories share common elements. However, the way in which your characters speak, the way conflicts unfold, and the dramatic tones you employ will reflect your own personal touch.
Staying true to your vision of the world is what gives your work its distinctiveness. It is through this commitment to your own narrative voice that your creation will possess its unique singularity.
TV DRAMA: In your creative process, do you draw from other creators?
PADRÓN: Consistently. I find it important to engage with television series. While some writers may claim they don’t have time for it, I personally value staying informed about the ever-evolving ecosystem, industry trends, emerging narrative experiments, as well as both successful and unsuccessful ventures. Additionally, I find pleasure in consuming these series as a fan and avid movie lover. It may sound a bit wild, but I simultaneously follow three series on Netflix, one on Hulu and two on Apple TV+. As a writer, I believe it is highly beneficial to immerse oneself in these productions as it fosters an ongoing dialogue with the industry’s current landscape.