Gary "Gaz" Alazraki is the writer and director of Mexico's record breaking comedy Nosotros los Nobles (2013) and the co-creator, executive producer and director of Club de Cuervos (2015), Netflix's first original series in Spanish. He heads Alazraki Entertainment, a Mexico City-based production company focused on high-quality entertainment for general audiences in Latin America and Hispanic USA.
Born and raised in Mexico City, Gary "Gaz" Alazraki went to the American School Foundation in Mexico City. He studied a year in Boston and did the second half of his college education at the University of Southern California. His grandfather was prominent Mexican filmmaker Benito Alazraki, and his father Carlos Alazraki Grossman went on to work in television for many years before he opened his own advertising agency, Alazraki and Associates Advertising, in 1977, the same year Gary was born.
Gary Alazraki began his studies of communications at the Ibero-American University in Mexico City, but after going on to take an eight-week summer program at the New York Film Academy, he transferred to the USC School of Cinematic Arts to pursue a career in film and television.
Gaz chose to acquire on-set experience by working on big productions in the advertising industry, while doing short films on the side. He worked as assistant director for filmmaker and commercial director Alejandro González Padilla, where he got his first break directing commercials for blue chip companies in Mexico.
In 2004 he opened his own production company, Agave Shots, in partnership with Pitipol Ibarra and under the mentorship of Simón Bross, where they continued directing commercials for the advertising industry. In the same year he directed Volver, volver (2005), his first important short film which caught the interest of upcoming local stars Jaime Camil, Martha Higareda, Tony Dalton as well as Oscar nominee and Palme d'Or winner Guillermo Arriaga who invited Gaz to direct La hora cero (2008), a short film he was producing for Terra Films, a project Lucas Akoskin put together. It was part of an experiment where Arriaga wanted to see how different directors would direct the same six pages he wrote.