A method that was not built to sell
Hypercreative started as an internal tool. Alfonso built it to train the teams of his own production company, where the schedule is impossible, the budget runs out, the brief changes halfway and the work still has to be brilliant on time. When it worked, he turned it into a method that could be taught without him in the room. Companies came later, asking for it.
Creating against a deadline
His production company for film and television has offices in Los Angeles, Madrid and Bucharest. Its work has premiered on Netflix, Prime Video and Nickelodeon, and includes the music for Klaus, the Oscar-nominated, BAFTA-winning animated feature. For the eighty minutes of music that made it into Klaus, the team wrote eight hours and twenty-three minutes: more than six times what survived. That ratio is the method in miniature. Generate without judging, then judge without generating.
Rehearsing the failure first
He flew airliners for Iberia Regional. From the cockpit comes a habit that runs through all of the training: failures are rehearsed in the simulator, not on the day they happen. That is why, in our programs, the rules change on purpose.
Measuring what people feel
He founded Alyze, a company that measured the emotion and attention of real people watching audiovisual work, second by second: first with EEG and sensors in a studio, later with the camera of any phone. It left the method with a conviction. Creativity is not a gift: it is trained, and training it leaves a measurable trace.