About
I work in Portuguese, English and Spanish, and have delivered work in Portugal, Spain, the United Kingdom, Italy and other European markets.
Most of what goes wrong on an ambitious project is not the creative. It is that somebody does not know what changed, or when, or who owns it now. I work on that half — the schedule, the commercial terms, the awkward conversation with the vendor — and when the tools cannot keep up with it, I build the ones I wish existed.
That has looked like several different jobs and it has always been the same one. Four years as the person clients rang when a delivery date was in danger, on fifty-plus international film and high-end television titles. A production company of my own before that. And now an Iberian entertainment venture being built from the market research up.
I read Nietzsche and I read Buddhist writing, and the useful overlap between them is that both are about what you do with a situation you did not choose. That is most of production. The schedule is what it is; the question is what you are going to do about it, and whether you can stay good company while you do.
I read and write screenplays, which is largely training in structure: what has to be true by page thirty for the ending to land. It is not a bad way to think about a five-year operating model either.
I follow anime, games and card-game communities closely. Partly because I enjoy them, mostly because they are the clearest example I know of a consumer culture that rewards people who genuinely take part in it and quietly ignores everyone who turns up with a deck.
And I build tools I wish existed. It is the habit that has been most useful in every job I have had, and the one that has never once appeared in a job description.
02How I work
01
Fifty-plus international film and high-end television titles through a London finishing house, at 99% on time. The date does not move, the escalation lands on you, and the client rings you first.
02
A production company I founded and ran profitably across four countries, and now business development for an Iberian TCG and entertainment venture — the research, the model, the retail relationships, the events.
03
I build the tools I wish existed. When the same friction turns up three weeks running I would rather design it out than keep absorbing it — trackers, dashboards, billing systems, assistants, written inside the operation by someone doing the work.
01What I do
On a CV these read as three careers. They are one job: work out what is worth doing, build the structure that makes it happen, and fix the process when it gets in the way.
01
Fifty-plus international film and high-end television titles through a London finishing house, at 99% on time. The date does not move, the escalation lands on you, and the client rings you first.
02
A production company I founded and ran profitably across four countries, and now business development for an Iberian TCG and entertainment venture — the research, the model, the retail relationships, the events.
03
I build the tools I wish existed. When the same friction turns up three weeks running I would rather design it out than keep absorbing it — trackers, dashboards, billing systems, assistants, written inside the operation by someone doing the work.
06Career
Film, then international delivery, then commercial development. Every step added a piece of the same skill set.
Present
Kuro Neko — Lima & Cia Lda.Braga, Portugal
Leading business development for an Iberian-first TCG and entertainment venture: market and consumer research, retailer and stakeholder mapping, the commercial model, and the organised-play and events roadmap.
Read the case studyGoldcrest Post ProductionLondon, UK
Owned day-to-day client relationships and delivery plans across concurrent film and high-end television projects, and built the internal tooling the facility ran on.
Read the case studyGoldcrest Post ProductionLondon, UK
Scheduling, resourcing and bookings across departments, plus the billing and administration tracking that replaced a largely manual process.
Read the case studyThe Hyperion CollectivePortugal / International
Founded and ran an international production company delivering branded and narrative work across the UK, Portugal, Italy and Spain. Profitable across 2021 and 2022.
Channel 4 / Freeform ProductionsUK
International shoot logistics: permits, recces, client briefs, and day-to-day coordination between contributors, locations and production.
Cineclube Escola das ArtesPorto, Portugal
Programmed and produced a recurring live cinema events programme, including Q&As and debates with filmmakers such as Ai Weiwei and Ira Sachs.
Short and feature films I produced and executive-produced have played more than sixty festivals, won the Grand Prix at Brest, been shortlisted at the BAFTA Student Awards, and taken an award from the Portuguese Academy of Cinema. I am a Full Member of the Portuguese Academy of Cinema, admitted in recognition of my contribution to the international film industry.
Full Member, Portuguese Academy of Cinema
Admitted in recognition of contribution to the international film industry, with voting rights in Academy governance and the Sophia Awards.
Titles delivered during my time at Goldcrest Post Production, where I held the client relationship and the delivery plan.
If any of this is close to a problem you have, I would like to hear about it.
goncaloeugenio.15@hotmail.com