How did your passion for film arise and how did you end up devoting your professional life to it?

I’ve always been a film lover, but my goal was never to devote myself to it. The truth is I don’t think people dream about becoming a press agent, mainly because I don’t think it’s a very well-known job outside the sector. I studied communication at Pompeu Fabra University because I liked film, but I wasn’t sure what I wanted to do… there, I ended up gradually focusing on production and, when it came to doing an internship, a tutor suggested I do it in the press department of the Sitges Festival because I really liked horror films. From then on, it was a question of creating links.

How and when was Revolutionary created? All three founding partners were working in the sector, weren’t you?

It was founded in 2022 when I got together with Katia Casariego, who I already knew and with whom I’d already worked some time earlier in Filmax, and Nadia López, with whom I’d coincided, working as a freelance for Caramel Films. 

What type of services do you offer?

We’re a communication agency formed by people who are passionate about film, series and entertainment. We try to work on each project in a personalized manner to make the most of its potential. We believe strongly in teamwork and we work on each project in a specific manner, the services including sending press releases, writing content, selecting materials, organizing press conferences and presentations. Whatever’s necessary and most appropriate for the project to reach all its potential audiences.

What are the main difficulties you encounter on doing your job? 

It’s really a team effort, but if there’s a good briefing and all the members of the marketing and press team are aligned, it all tends to work out well. Sometimes scheduling difficulties with actors or directors on coinciding with other projects can create a bit of an obstacle, or the competition for release dates between different projects, among other aspects.

What is a day in the life of Revolutionary like?

Actually quite frenetic (laughs). Right now we’re in the middle of the festival season, living out of a suitcase and with a lot of communication between us because we’re in different places (we don’t have an actual office, so we have to talk ever such a lot for everything to go smoothly). 
Everyone has their own method, but I tend to spend the first half an hour organizing my day depending on the needs. Sometimes you spend all day at home with online meetings, with time to write and organize strategies, and on other days you go from studio to studio doing interviews, or to festivals or press junkets, and you hardly sit down in front of the computer.

What film did you most enjoy promoting?

Actually, there are a lot. Recently, it was really enjoyable to work on Romería, both because the people are fantastic and thanks to the great coordination with the entire team from the distributor and the producer, but the truth is that we’re very lucky because we have wonderful projects with distributors and producers who are often friends.

What is the most essential aspect that a film should take into account in order to have good press promotion?

Time and good material. It’s essential to have time to be able to get to know the film and design a work plan. It’s also necessary to have the work material in good time so that everyone can get to know it.

Is promotion easier or more difficult with new technologies?

I don’t know whether it’s easier or more difficult but it’s definitely more effective. When I started working people were hardly using email and we sent the announcements by fax. I still remember the first 600 faxes. Or the materials, which were physical and not digital and we had to send slides or Betacams to the different newsrooms. That all involved a great deal of time and resources which you can now use for other tasks.

How do you decide which production companies or films you work with?

The truth is that we’re lucky enough to have many regular clients with which we really enjoy working and with which we have a shared vision and way of working. 

How do you distribute the work in the agency?

Each title has someone who “leads it” and someone else who supports them. Apart from that, we try to have weekly meetings in which we discuss the projects and a WhatsApp group in which we support each other, give each other ideas and, when an idea comes across an obstacle, you ask for help and we have a big team to share ideas. I think this really enriches our work: in the team we understand each other very well and there are several people thinking about the projects at the same time.

Are there a lot of differences between promoting a shoot and a premiere? For example, on a shoot there are many things that you can’t explain or share, aren’t there?

Each project has different needs. Some don’t want to do anything during the shoot because they’re dealing with very delicate issues or they don’t want to announce anything until the release. Others need a lot of publicity and presentation right from the start. It also depends on how much time has been left between filming and the release. Normally, all the effort is placed on the release. At present there are a great many products (film premieres, series, etc.) which are released at the same time. It’s all very fast, so sometimes the best option is to concentrate the communication efforts on the release. It is, however, possible to sustain this focus from the release with very big projects involving well-known sagas.

Are there many differences between promoting a TV series and a film?

Yes, it’s completely different, because of the nature of the times. With films, everything’s at stake during their first week in the cinema. Because of this, the effort’s much more concentrated than for a series which is released weekly in episodes. In this case, the process can be much longer, and it’s a question of seeing exactly when each thing is published, when each podcast is made, in order to achieve the most interesting impact. 

Each film is different. Do you have to develop a tailored strategy?
Absolutely. Each project has its own needs, strengths, etc., so you have to design a customized plan in each case in collaboration with the rest of the teams involved in promoting the film. 

What do you think of the current situation of film in your field? Is more attention paid to after the film’s been made - including the promotion - than before?

I think it’s appreciated more and more. Some projects need more work on the marketing side, or social media, and others more on the publicity side. I think both producers and distributors are giving the work of promotion more and more importance and they choose the agency or person they consider to be the most appropriate for each project.