Responsable de exitosos melodramas como Las tontas no van al cielo, la saga Vencer y, más recientemente, Papás por conveniencia (Univision), Ocampo ha hecho de la innovación y el impacto social sus señas de identidad como productora.
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00:00I think there are two features that define what I produce.
00:03One is, I like to innovate.
00:05I think the genre of the telenovela,
00:08although many people think it is a minor genre,
00:12it is more current than ever, that is, what is the melodrama.
00:15Even very successful American series are based on the melodrama.
00:19This is Us, Bridgerton, they are melodrama.
00:23And I like to produce current, current, urban melodrama
00:29that talks about the issues that affect us all.
00:33That is, both in Mexico and the United States.
00:36For me, the focus of the United States is extremely important
00:39because I want to see how we also summon this audience
00:43which is very, very important for television and television.
00:47So, we always make original telenovelas.
00:51I have a group of writers
00:53who are writers who have accompanied me for many years
00:57and many of them are young, that is, they are very young writers.
01:04And basically what we do is develop original stories
01:09based on emerging themes.
01:12In the case of Papas por Conveniencia,
01:14we wanted to take a break from the franchise Vencer,
01:17which are five telenovelas,
01:19take a break and we are considering this one,
01:22which is Papas por Conveniencia.
01:25We talk about the challenges that exist in the different types of families,
01:30but something very important is that we work hand in hand
01:34with an institution, a non-profit called Population Media Center.
01:38They are dedicated to making entertainment that supports well-being,
01:43the social, personal well-being of the community itself.
01:49And in this case, Papas por Conveniencia,
01:51we talk about a topic that is relevant
01:54because at home, Latinos do not talk about sexuality in the family.
02:00It is a topic that is vetoed.
02:03And this has brought many consequences
02:05because now, for example, here in the United States,
02:08we are talking about 2.5 million cases of sexual transmission infections,
02:13of which more than half are of young people, are of boys.
02:18And this is simply a matter of prevention.
02:21So, within the novel,
02:23we talk about promoting that parents talk to their children,
02:27that it is a topic that is somehow dealt with.
02:30In other words, beyond the ethical and moral framework of each family,
02:33the boys are going to start their sexual life,
02:35and more and more young people,
02:37then they must have information and it is very easy to prevent.
02:41In other words, it is this double prevention that is always the use,
02:45the use of this condom is promoted.
02:47And with this, it is already known that
02:50the infections of sexual transmission are going to go down very, very big.
02:56It is part of the topics that are dealt with in PAPAS por conveniencia,
03:01which are even treated in such a way
03:04that it is not felt that it is neither didactic nor educational,
03:06but rather it is part of the same plot.
03:09Our workgroups, our production group,
03:12is always advised through Population Media Center.
03:15They brought us all the experts on the subject,
03:20where they told us what the problem is.
03:23And part of the problem is incredible,
03:25is that we do not believe the parents to the children.
03:28That is, when suddenly they have this confidence to approach and say,
03:31hey, I feel uncomfortable with such a person.
03:35The first thing we react is, no, no, your uncle,
03:37you, my cousin, the neighbor.
03:40Finally, I believe that the one who is wrong or the one who is wrong is you.
03:46So we are approaching it,
03:49but we are very careful because we are always in the hands of institutions.
03:53Institutions that guide us,
03:55that tell us how to give this orientation on the same screen.
04:01And what is also important to mention
04:05is that our impact, the impact is measured.
04:08Finally, Population Media Center has a series of pre-investigation
04:13prior to the next novel,
04:16where we see that it does comply with this question of information
04:19and finally awareness.
04:21For us, what is very important is that they are topics that are obviously strong topics,
04:26but whoever sees the content, be it a child, be it a young person,
04:30there will never be explicit violence,
04:33there will never be scenes that bother,
04:35because we want it to be a completely familiar content.
04:38And inspired by that, we publish this book,
04:43which is almost like a Bible in size.
04:46It's huge, it's called Show Running for Social Impact Entertainment,
04:51also precisely in collaboration with Population Media Center,
04:55where we want to serve as inspiration.
04:59Now, you know, we are all content producers,
05:05because content can be produced in a very simple way,
05:09through phones, cell phones,
05:11and this content becomes viral
05:14and reaches many millions of people.
05:17So this book, what it brings is all this methodology that we use,
05:24and above all we want to inspire and raise awareness
05:27that a content that develops
05:29is a content that must have this framework of ethics,
05:35where we know that it is preferable to have a positive impact,
05:40a positive social impact.
05:42In Daniela's diary, so many things have been written.
05:48I produced that novel in 1989-90,
05:53no, sorry, in 1997-98,
05:59and it was the first telenovela with a purely children's approach.
06:02Novels had been produced before,
06:04such as Luz Clarita, Mundo de Juguete, etc.,
06:10which had children,
06:12but really the approach from the inside had not been given.
06:17And with the experience that I brought in Plaza Sésamo,
06:20I was given the task of making these novels, which are original,
06:23that is, they were also made ex-professor,
06:26where the main focus was on children,
06:28and all the issues that were addressed from a child's point of view.
06:34And from the first, that is, in the diary,
06:37we deal with what is mistreatment of children.
06:39At that time, we were talking about a very big problem of mistreatment towards children,
06:44which fortunately does not happen anymore,
06:47but it was addressed and we went hand in hand with UNICEF.
06:51Later, the next novel, which was even the launch of Belinda,
06:55where we discovered it in a casting in the Aztec stadium,
06:59and we brought it, and it was the first of several novels that we did together.
07:05In that novel, we addressed Down syndrome,
07:08that is, as a condition,
07:10and precisely at that time there were many prejudices
07:13regarding children with Down syndrome,
07:15and there was information and the impact was that
07:20more than two million children changed their perception regarding Down syndrome.
07:25And so we were advancing La Fea Más Bella,
07:27which was a great success,
07:30and basically what we wanted to promote there was
07:34that the inner part, the intelligence,
07:37is much more important than the outer beauty.
07:41And obviously, then came all these novels
07:44that were focused on the Hispanic population,
07:47with stories that originated here,
07:50after a very large investigation that we did for the Hispanic audience,
07:54which was Estela Carrillo's La Doble Vida,
07:57and a series that is located in Texas,
08:05which is currently in VIX,
08:07which is called Más Allá de Ti,
08:10and well, two or three more novels that were totally focused on
08:15stories of Hispanics here.
08:18And then came this saga of Vencer,
08:22which is this format that we created,
08:24that we developed, which is an original format,
08:28where there were the stories of four women
08:30and normally also stories of men
08:34that dealt with particular themes.
08:36In the case of Vencer,
08:38the fear was very important,
08:40the part of violence,
08:41violence towards women,
08:43gender violence,
08:45violence within the same family,
08:48and so each one.
08:49Vencer, the past, which was one of the novels
08:52that was headed by Angelique Boyer,
08:55there we talked about the care that one has to have
08:59with social media,
09:01that the fact that sometimes one, as a woman,
09:03I don't know, that you are in love and you take photos in intimacy,
09:07those photos are shared with the couple
09:09and somehow, when there is a breakup,
09:12these photos go viral,
09:13and there have been many cases of women
09:16who even end up committing suicide,
09:19I mean, after the social and prestige
09:23they suffer from that.
09:24So it was a novel that focused a lot on the digital part.
09:29Finishing, the last one, which was Vencer, the guilt,
09:32we wanted to address the part of the different families
09:35that there are,
09:36and above all,
09:40we wanted a family novel,
09:42light in tone,
09:44and bring back those infantile figures
09:47that are now young and adults,
09:51and incorporate them as protagonists of the novels.
09:53So it has been wonderful to be able to see
09:56that the audience that we had at that time
09:59now returns to join in
10:00and see precisely these characters
10:04that were so important in their childhood.
10:07When I started producing in the 80s,
10:11obviously there were very few women in Televisa,
10:15and a large part of the positions were in a very masculine world,
10:19but I think what is very clear to me
10:22is that the hard work and perseverance,
10:27and finally, I think that thinking outside the box
10:31is what has made me go from one position to another.
10:37But on the other hand, I think it has been a pretty good journey
10:43because I had the opportunity to be in many positions,
10:47from assistant,
10:49that is, the assistant who did the simplest jobs,
10:52to head of content at the same company.
10:55So yes, there are glass ceilings,
11:00but the world has also been changing.
11:02And now, for example, I come to Televisa,
11:04or I come here to Univision,
11:06and I realize the number of empowered women there are,
11:08the number of women who are breaking paradigms
11:11and who are entrepreneurs,
11:13and that finally, then,
11:15what I want, on the contrary, is to be a mentor within my own work team.
11:20We promote women a lot,
11:22and I am very committed to that cause.
11:24If you review all my novels,
11:26in none, the only goal of the woman is to get married.
11:30I don't like to make Cinderella stories.
11:33I like to see...
11:37I know that the melodrama is a mirror
11:39through which our audience is reflected,
11:42and I like to see these women who fight
11:45and who have to get ahead,
11:47despite everything and against everything.
11:48What happens in the stories of all those people who are watching us.
11:59I think it's curious, because originally the original title was
12:02the stupid ones don't go to heaven.
12:04However, well, because of issues
12:08of the type of titles that are usually put in the novels,
12:13they stayed in the stupid ones.
12:15But it is the novel that in chapter 1,
12:18the protagonist who was in love, etc.,
12:21Jacqueline in Bracamontes,
12:23that at that time, even she, Jacqueline,
12:27had finished with Valentín de Lanús,
12:29but they get married.
12:31And in chapter 1, she throws the cake,
12:36she takes off her clothes, she stays in underwear and runs away.
12:39And from there, the story begins.
12:41And in all the novels, I have tried just that,
12:44that is, to promote that the goal of the woman is not to get married.
12:49Obviously, it's good if they get married,
12:52but there are women who don't get married,
12:54there are women who don't have children,
12:56but finally, the most important thing is personal fulfillment.