Storytelling school

Alexa Michelle Diaz on Evocative Storytelling, from Netflix to Metaverse

As Global Head of Creative Marketing at Netflix, Alexa Michelle Diaz has been leading cross-channel marketing campaigns for the company’s documentary group since 2018. As a Latina, intersectionality enters into her marketing philosophy to create global campaigns and inclusive.

From music documentaries to character documentaries, Alexa led the launch strategies for Martin Scorsese’s Pretend It’s a City; Worn Stories by Jenji Kohan and Morgan Neville; Jeffrey Epstein by Lisa Bryant and Joe Berlinger: Filthy Rich; In Wonder by Shawn Mendes; Excuse Me Ariana Grande, I Love You; Living Without Papers by Selena Gomez; Miss Americana by Taylor Swift; and Rachel Lear’s Knock Down the House, among others.

She has over 10 years of extensive non-fiction marketing experience, with tenures at E! International, Fuse and FM TV. She also brings experience in live events and production, with stints at AEG Entertainment.

Alexa is a member of the Television Academy, the International Documentary Association and Film Independent. In 2020 she directed the creation which won the Bronze Clio Entertainment Award for Pretend It’s a City, and in 2019 received the Bronze Trailer Award at Promax for the Netflix documentary City of Joy.

We spoke with Alexa for our Backstory series, where we chat with people in the entertainment industry about their creative inspirations and more.


Alexa, tell us…

Where you grew up and where you live now.

I had an exciting upbringing, growing up in multicultural cities like Miami, New York, and Los Angeles, the city I now call home. Throughout my childhood as a permanent “new girl”, I learned that I had to think things through, connect quickly, and most importantly, stay flexible. I did not know then that these learnings would also become my strengths in my personal and professional life.

Your first job in the industry.

My first big official job in the industry was at NBCUniversal. I started as an intern and became a production assistant for promos and on-air interstitials at E! International. I absorbed my time there, touching everything I could, from scriptwriting to mondo shoots.

A decisive moment in your career.

Works with Martin Scorsese and Fran Lebowitz for the documentary series Pretend It’s a City. I mean, need I say more? ! I grew up being influenced by Scorsese films, and here I was working with him and Fran, one of America’s best-known writers. It’s a highlight of my career.

Three movies you couldn’t live without.

This is a difficult question! I think it depends on several things. What is your state of mind ? What is the film that changed your point of view? And what movie took your breath away?

The last of the Mohicans. My most beloved film, the one I can recite every line of, directed by Michael Mann and starring my favorite actor, Daniel Day-Lewis. This film is the reason why I fell in love with cinema. The cinematography, music, storytelling, and wardrobe immersed me as a kid and gripped me with epic romance and action. It’s a movie I can watch again and again. The movie took my breath away.

Pan’s Labyrinth. I have always been fascinated by the fantastic. Guillermo del Toro’s classic (because it is) is so rich in imagination while reflecting the mythical fables I grew up with. The first time I saw this movie, I couldn’t stop thinking about it. Absolutely unforgettable.

American Psycho. Directed by Mary Harron. This film always makes me physically uncomfortable. I must be in a particular state of mind for this film, but it is also the film which, each time I watch it, comes to mind a new reflection or analysis.

Your favorite movie quote.

It has aged well. “We are consumers. We are by-products of a lifestyle obsession.” -fight club

Your favorite movie trailer or poster.

Trailer Where the wild things are. Gandolfini lands the only line in this whole trailer and it’s perfect. This trailer is the example of knowing your audience and creating for the fans because you ARE a fan. It dramatically exploits the visuals and music to elicit that nostalgic and emotional outcry and stays true to the film’s visual language. I was screaming in the movie theater at the end of this trailer.