NALIP, in association with UCLA School of Theater, Film and TV Professional Certificate Program and the University of Arizona Department of Media Arts presents
The Third August 3 – 12, 2005 in Tucson , Arizona
The Latino Producers Academy™ is an intensive ten-day professional development workshop for Latino/a film and documentary producers and directors. In its Third Year, it is designed to advance documentary projects to completion and prepare independent features for production. It is open to documentary makers with projects in rough-cut stage, and to feature producers with a director and rewritten script. Documentary makers will receive professional mentoring on the structure of their project, post-production funding and outreach plans, clearances, scoring, mix, delivery and distribution. Feature producers will advance their projects with budgets, schedules, casting, music, and post-production plans while devising funding and production strategies. Feature directors will prepare, shoot, and edit select scenes to prepare them for feature production, and will receive mentoring on their project script development, scoring, special effects and pitching. Only 4 projects will be accepted in each discipline. Documentary producer/directors may bring their editors. Feature Producers must bring their director, and the screenplay can be by one member of the team or another artist.
Producer and Director applicants must be current NALIP members, must have either a rough-cut (documentaries) or a short/commercial/prior feature (narrative) as a work sample, and must complete the application by Friday, June 17. Submissions are evaluated by a panel of professionals, who will gauge the Academy project, the applicant’s creative plans, the type and quality of prior work, commitment to careers in producing and media leadership, dedication to sharpening an applicant’s craft, and the makers’ potential to benefit from this Academy opportunity.
All Fellows are invited to attend the Academy on full scholarship: instruction, production materials, housing and meals are provided by NALIP and our program sponsors. Fellows need only make arrangements to arrive in Tucson by the start of the program. A few travel stipends may be available for those traveling long distance.
LPA 2005 is a Team Experience. The curriculum is designed for documentary producer/directors and their editors, for feature producers and their directors. Please apply accordingly. Each Project team should apply together – one application -- 3 complete sets. However, each team member (producer, director, editor) needs to submit their individual essay, bio, and $20 processing fee with the application.
The 2005 Latino Producers Academy is made possible by the generous support of: Access Tucson; the AMPAS Foundation; ASU; Cox Communications; FedEx-kinko’s; Ford Foundation; FOX; Hanson Film Institute; Hollywood Foreign Press Association; Latino Public Broadcasting; The John D. and Catherine T. MacArthur Foundation; NCLR; Nielsen Media Research; Nosotros; Packair; POV; The Rockefeller Foundation; Southwest Airlines; Tucson Film Office; UCLA Department of Theatre, Film and Television; University of Arizona Department of Media Arts; Univision; and the Walt Disney Company.
If you qualify and would like to apply, please keep in mind the following:
- Applicants must be current NALIP members, and must submit their full application, essay, recommendation, project materials (paper and electronic) by Friday, June 17, 2005 (NO EXTENSIONS)
- Each applicant must include a $20 processing fee
- Accepted Feature Fellows must arrive in Tucson on Wednesday afternoon, August 3, ready for orientation at 5:00 p.m. Accepted Documentary Fellows must arrive in Tucson on Thursday afternoon, August 4 ready for orientation at 6:30 p.m.
- Each accepted fellow will be sent a list of items they should bring, but producers will need a laptop, a hard copy and an electronic copy of their script or documentary proposal and project budget, and be prepared to do assignments and revisions. Documentary Fellows will bring their rough cut and current sample tape to screen and edit. Each fellow will be asked to read LPA materials distributed prior to their arrival. Feature directors will be asked to select scenes and collaborate on casting prior to the Academy.
Core curriculum for the 2005 LPA Documentary Fellows will include:
- Review and mentoring of Rough Cut & sample tape trailer
- Evaluation of post-production proposal and fundraising plan
- Clearances, scoring, outreach and distribution
- Post-production crew and relationships
Core curriculum for the 2005 LPA Feature Producers and Directors will include:
- Selecting 2- 4 challenging scenes from your submitted script to cast, shoot, edit, score and review
- Mentoring in cast and crew management, scene preparation for production
- Production package and funding plan
- Script development and pitching, sfx and composer collaborations
Latino Producers’ Academy™ Advisors
NALIP has created this Academy in association with the advice of its Board of Directors, Board of Trustees and experts from the field of feature and documentary production. Advisors include: Moctesuma Esparza, Maya Pictures; Hector Galan, Galan Productions; Prudence Glass, American Masters; Hector Gonzalez, KUAT; Evangeline Griego, About Time Productions; Yuri Makino, University of Arizona Media Arts Department; Denise Mann, UCLA Department of Theatre, Film and Television; Beni Matias, AIVF; Alex Nogales, NHMC; Alex Rivera, writer/director; Elaine Romero, writer/director; Tom Schatz, UT Austin; Bruce Sheridan, Columbia College Chicago; David Valdes, producer; Jerry Velasco, NOSOTROS
To download the application, please visit: http://www.nalip.org/signaturePrograms/latinoProducersAcademy.htm
The CPB/PBS Producers Academy is offering scholarships to twenty (20) individuals for a Producers Workshop to be held at WGBH Boston, Saturday, June 18 - Friday, June 24, 2005 . Each scholarship will include the cost of the workshop, and reasonable expenses for airfare, hotel accommodations, meals, and limited ground transportation.
Complete information and downloadable application forms are available at www.pbs.org/producers.
Over a seven-day period, participants in the Producers Workshop will attend an intensive course that covers a range of production skills and draws on the expertise that has made PBS a recognized force on the American cultural landscape. The goal of the Producers Workshop is to encourage a diverse and talented group of producers who will create new and greater programming achievements in public broadcasting.
If you are interested in applying, please submit three copies of the following: a completed application form (attached) along with a resume including education and television production experience, a letter of recommendation from a public television station or other public television programming partner (including the Minority Consortia, ITVS, etc.), production company, or industry professional, and one non-returnable VHS tape of recent work (full program and/or sample reel). The tape provided should include work for which the applicant performed a significant role (ex: producer, director, writer, editor, associate producer) and must be cued to the beginning of the program or scene to be viewed.
Please include a brief narrative of your professional development goals within public broadcasting. Among the areas you may wish to address are general and long-range goals and how the Workshop might help you attain them, specific skill areas you hope to develop further in the Workshop, and projects you are currently planning or have in progress that might be aided by your participation in the Workshop.
To be considered, an application must be received at PBS by 5:00 PM on Friday, April 8, 2005 . Scholarship awards will be announced on Friday, May 13, 2005 .
If you have additional questions after reading the detailed Workshop description, please contact Cheryl Jones at PBS (703) 739-5306 (cjones@pbs.org) or Angie Palmer at CPB (202) 879-9643 (apalmer@cpb.org). Please do not call WGBH.
We are seeking entries for our first ever "Film Versus Music" ten minute film short contest starting on June 1st. Just as the name says, we want this film short contest to glorify the usage of music in film! It is our hope that this contest will help spread the benefit of musicians and filmmakers working together with a common goal, exposure. Usage of music in film can come from a wide range of film topics and genres, so we are not requiring a set theme to the film submissions.
The contest is open to any and all filmmakers worldwide. All films submitted in our contest are requested to use music from at least one independent musician. To support this need, film-makers are recommended to use our "film seeking music" project listing service to locate their music needs. To date, we've assisted nearly 700 film projects worldwide with their music needs from our core database of musicians looking for exactly these types of opportunities.
To help eliminate extra costs for clearing the necessary music, we will be offering every musician and filmmaker in our database the ability to create One Free Digital Film License Agreement using our site throughout the duration of this contest.
Winners: We will name one Grand Prize winning film, which will receive a check for $1,000 US. Along with the winner, nine runner-up films will be placed on a professional DVD which will be made available for purchase early in 2006.
Requirements: The entry fee of $25 as well as a printed and signed copy of the release forms should be submitted with each film entry.
For further information regarding this contest, please visit the following webpage. http://www.versusmedia.com/contest.php
Sponsors: We are interested in speaking with film or music oriented companies looking to possibly donate service and/or product in exchange for sponsorship. Please contact us if you are interested.
VersusMedia
http://www.versusmedia.com
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DOCUMENTANDO LA VIDA. "MIS MEJORES EXPERIENCIAS SUCEDEN CUANDO UNA COMUNIDAD VE SUS PROPIAS HISTORIAS REFLEJADAS EN LA PANTALLA", DICE VARELA, EN SU MEDIO NATURAL.
“La Cineasta del Pueblo”
by: JUDITH TORREA
Una directora de cine de San Antonio descubrió su identidad, pero sigue escarbando para que otros la encuentren.
Una verja separaba su escuela de dos mundos cargados de contrastes y coincidencias. Laura Varela supo desde niña que en el Lower Valley de El Paso , frontera con Ciudad Juárez, había historias olvidadas por los libros, el cine y la televisión.
A los 5 años vio cómo asesinaban a un joven. A los 16, a otros dos. Sin embargo, el peor asesino era la heroína, que se había convertido en la compañera inseparable de las pesadillas de muchos de los veteranos de la Guerra de Vietnam.
Estas experiencias, y contemplar el rostro de los mexicanos que llegaban a la puerta de su casa en busca de comida al cruzar el río, forjaron su conciencia.
Un día comenzó a preguntarse el porqué de tanto dolor y descubrió que en el mundo había demasiada injusticia, pero que muchos no lo sabían, porque los habían despojado de su propia memoria. Por eso decidió sumergirse en las comunidades para contar la historia de los México-Americanos en Estados Unidos.
Sus documentales gritan justicia social y preservan la cultura. Por ejemplo, en Texas Majority Minority cuenta las dificultades de las comunidades Afro-americanas y Mexicanas para inscribirse y votar. En Slight Discomfort: Echoes from the Clinic, donde fue productora adjunta, relata los problemas de salud a que se tienen que enfrentar las mujeres.
"Lo que he descubierto es que hay mucha necesidad para este tipo de cine. Cuando enseño mis películas enfrente de la raza todos se quedan extáticos", dice Varela.
Atardece en San Antonio y después de un día lleno de entrevistas por el West Side de la ciudad buscando trabajadoras de las nueces, Varela sigue brillando con entusiasmo: ríe a carcajadas, mueve los brazos con energía y elegancia, mientras sus ojos derrochan felicidad. Sus dos hijas (Ixchel, de 6 años y Maya, de 3) la están esperando con su padre, el músico Gilbert Cuéllar.
"Antes hacía comerciales y trabajo de producción para televisión. Si el dinero fuera lo más importante, eso es lo que seguiría haciendo, pero ni disfrutaría tanto de mi familia ni podría contar nuestra historia", indica.
Varela está preparando con Anne Lewis el documental Ya Basta. Stories of Pecan Shellers. En él intenta documentar la mayor huelga de trabajadores en la historia de San Antonio (1934), cuando 12,000 mujeres, en su mayoría mexicanas que descascaraban nueces, salieron a las calles pidiendo un aumento de salario.
"Los niños también trabajaban duramente, pero las familias seguían viviendo en la pobreza. Los mexicanos que se refugiaron de la Revolución Mexicana ayudaron a que las mujeres se organizaran", explica Varela.
En las noches, Varela se encierra en su estudio, una pequeña habitación con una computadora y un sistema de edición. En ese rincón comienza a ingeniárselas para conseguir fondos.
Desde hace cinco años trabaja en el documental As Long As I Remember: American Veteranos, "que se hace poco a poco, a medida que llegan las subvenciones y donaciones. En él, por ejemplo, está el pintor Juan Farías, que habla de cómo le fascinó la idea de poder alistarse para la guerra, pero al final se dio cuenta que le estaban pagando por matar a otro ser humano.
"Todos mis amigos chicanos tenían padres o tíos que habían estado en Vietnam y esto me llamó mucho la atención", dice Varela.
En su familia tres tíos fueron a la guerra: uno de ellos se suicidó a su regreso, otro acabó adicto a la heroína y el último todavía sufre de estrés postraumático. En el documental, Varela trata sobre el racismo contra los mexicanos en Vietnam, que realizaban las misiones más peligrosas y eran una proporción exagerada sobre la base de la composición demográfica del país en ese momento.
Le pregunto si vale la pena invertir todo su tiempo y energía en este trabajo.
"Por supuesto", dice.
"Si conociéramos la historia, no cometeríamos tantos errores. Es importante saber nuestra identidad, para saber a dónde vamos y, reconozcámoslo, en las escuelas no nos enseñan el otro lado de la historia", concluyó.
For Full Story:
http://www.diariosrumbo.com/
rumbo/articulo.asp?idart=204577&idcat=809
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Studio acquires Spanish and Latin American rights to Guillermo del Toro's upcoming Franco era horror title. 
Spanish sales consortium does brisk sales on hit film; lines up English-language remake deal
