In an industry marked by rapid change and unpredictability, few voices carry the weight of experience and insight quite like Eddie Gamarra’s. With a career spanning academia, publishing, and Hollywood, Gamarra brings a unique perspective to the ever-shifting terrain of entertainment. In this wide-ranging interview, he discusses the challenges facing the industry, offers advice to aspiring creators, and shares his vision for a more entrepreneurial approach to storytelling.
Jeff Rivera: For those who aren’t familiar with your background, how would you describe your journey?
Eddie Gamarra: I went to Regis High School in Manhattan, where I fell in love with Hitchcock and Freud. I was a psych major and film minor at Vassar College. After graduating in ’94, I pursued a master’s in Cinema Studies at NYU’s Tisch School of the Arts while working at Nickelodeon Home Video and Viacom Legal.
I later moved to Atlanta for a second master’s and Ph.D., teaching at Emory University. About 22 years ago, I went to LA and started as an assistant at Alloy, a book packager. I then spent over 15 years at the Gotham Group, representing writers, directors, and animators. Most recently, I was a studio executive at Paramount Global Kids & Family covering Nick Jr, Nickelodeon, and Awesomeness.
How do you view your role in the industry?
I pride myself on having a holistic view of the business. I’ve crossed demographics, genres, formats, and media. I see myself as an ambassador between industries, translating between the worlds of publishing and entertainment.
With the current focus on existing IP, do you see original material returning to prominence?
Original material has never gone away. While we’re in a risk-averse mode due to macro- and microeconomic factors, there are still many original stories being produced. Look at shows like “Baby Reindeer” or the indie film scene. The press tends to focus on comic book movies and the nostalgia brands, but there’s more originality out there than people realize.
What major changes have occurred in entertainment over the past few years?
Several factors have reshaped the industry. COVID-19 profoundly impacted development & production as well as viewing habits. The actors’ and writers’ strikes further delayed productions. Massive investments in streaming platforms have led to financial challenges for many companies. We’ve also seen major mergers and acquisitions, like the Warner Discovery deal, further disrupt the industry.
What advice do you have for newcomers to the industry?
If you’re a writer, have a day job. The best writer is one who doesn’t have to write to make rent. For visual storytellers, take advantage of accessible technology – you can make a movie on your phone and edit it on your laptop. It’s very much a DIY moment. Donald Glover is a perfect example of that or Phoebe Robinson who were able to partner with larger companies and still remain entrepreneurial. Also, look into crowdfunding platforms like Kickstarter or Patreon to finance your projects.
What fundamental issues do you see in how the entertainment business is structured?
Two major issues stand out. First, the coverage system relies on relatively untrained individuals to vet incoming submissions. Second, there’s a significant knowledge gap between creatives and financial decision-makers. I found it fascinating to see how many development executives don’t fully understand how shows make money or how international distribution works.
What advice do you have for creators of color?
Focus on what you can create with minimal resources and get to market quickly. Platforms like TikTok, Instagram, and YouTube are essentially free to use. Create authentic, compelling content that resonates with audiences. Don’t wait for traditional gatekeepers to give you permission – make your own opportunities.
Can you tell us about your current consulting work?
Through my company, Gamarra Media, I help people in publishing navigate Hollywood and help Hollywood people break into publishing. I work with clients to align their life priorities with their business goals, develop strategies for their creative material, and guide them through the process of either selling their work or producing it independently.
