NALIP MEMBERS WIN DOCUMENTARY FILMMAKER & AUDIENCE
PRIZES AT LOS ANGELES FILM FEST
The Los Angeles Film Festival (LAFF) closed last night with its annual prize-giving ceremony where NALIP's Beth Bird'sEveryone Their Grain Of Sand won the documentary prize. The award carries with it an unrestricted cash prize of $50,000 - one of the largest cash prizes at a film festival in North America .
Meanwhile in the audience award categories, Sir! No Sir! produced by NALIP Board member Evangeline Griego won best documentary feature.
The festival is a division of Film Independent (FIND), formerly known as IFP/ Los Angeles .
Everyone Their Grain Of Sand looks at the Mexican community of Maclovio Rojas which has been fighting for education, electricity and water owed them by their government which would rather force thousands of residents off land that developers are drooling over.
For more information, visit: http://www.lafilmfest.com/home.php
Description: FREE Seminar for NALIP Members!!!
Join NALIP and Jungle Software as we present a special interactive 4 hour seminar to help filmmakers produce a budgeting & scheduling presentation for your next project. Whether you are a documentary filmmaker or looking to produce your first movie, come learn the power tools of Gorilla Software. Get all the elements you need like budgeting, scheduling, crew, cast, profit-sharing, editing notes, and even film festival submissions all in one place. Gorilla Software can generate over 50 industry- standard reports, from strip-boards to breakdown sheets, and budget top sheets to variances. Have your entire production run from one program made for PC and Mac.
Sponsors: www.JungleSoftware.com and www.WritersBootcamp.com
Reserve your space via email at rsvp@nalip.org. You must present your NALIP ID at the door.
Date: Saturday, July 2, 2005
Time: 10am to 2pm
Location: 2525 Michigan Avenue , Building I
Bergamot Station Arts Center
Santa Monica , CA 90404
Free Parking Available
You want real access to real decision-makers? NATPE is offering NALIP members a 40% discount off the registration rate to its 3rd annual TV Producers’ Boot Camp!
When and Where
The event is taking place July 28-29 at the Wyndham Bel Age Hotel in West Hollywood .
What
The TV Producers’ Boot Camp is a take-no-prisoners lineup of sessions and pitching opportunities. That means over 20 hours of panels, workshops, chats, clinics and networking – a day-and-a-half, double-time march including all the tactical training you’ll need.
Check out the full agenda online: http://66.251.117.4:81/CT00011901MTA0NDgz.HTML
More on Pitch Pit!
If you register for the 2005 TV Producers’ Boot Camp byJuly 1,you’ll get priority sign-up for Pitch Pit, one-on-one meetings with development execs from studios, networks, agencies and production companies. Anyone registering for Boot Camp by July 1 will be able to sign up for Pitch Pit appointments in advance of Boot Camp.
Companies taking pitches at Boot Camp include ABC Family, Akimbo Systems, Atlas Worldwide, Beantown Productions, Current TV, de Passe Entertainment, Disney TV Animation, E! Networks, FINE LIVING, FOX Networks Group, Fun Little Movies, Grosso Jacobson Communications, Hearst Entertainment Productions, Here! TV, High Noon Entertainment, King World Productions, Lifetime Television, Moviewatch, National Lampoon Networks, Nelvana, Orb Networks, Pie Town Productions, SíTV, SOAPnet, Sony Pictures Television, The Shuman Company, ThumbdanceTM , Twentieth Television, Vin di Bona Productions, Weller/Grossman Productions and Western International Syndication among others!
The Deal
NALIP has arranged the special rate of $410.00 for NALIP members to reserve a spot at the TV Producers’ Boot Camp (normally $680) - that's a savings of $270.00! For more information or to register, please contact Abel Salas at abel@natpe.org.
Boot Camp gives you real access to real pros in real time - register by July 1 for priority Pitch Pit sign-up! You can check out the latest session and speaker information anytime online http://www.natpe.org/calendar/bootcamp/agenda/ and find helpful background research at Penthouse 10 http://natpe.blogs.com/ph10/boot_camp/index.html.
The 10th Annual Slamdance Screenplay Competition is the only competition to offer feedback to every single screenwriter who submits. Slamdance will highlight the best feature-length City Scripts with their brand new Skyline Screenwriting Award, sponsored by Andrew Lauren Productions.
Postmarked Submission Deadline: July 7, 2005 . Details at http://www.slamdance.com
Every script submitted to the competition will be provided with a sample log-line, an indication of strengths and weaknesses and a genre suggestion. In addition, their Script Service will address matters of your screenplay in a conversational style that’s as to-the-point and constructive as possible. The coverage is geared towards the reader's opinion of what works and what does not, and should be used as a reference for future rewrites.
The price for entry without coverage is $40 and includes feedback; they only charge an addition thirty-five dollars for additional coverage from Slamdance Readers ($75 total). Feedback and Coverage will both be available online within a month. Rushed Coverage will be available within a week! Check out a sample of their Online Script Service
DEADLINES
Every screenplay submitted will be in consideration for the 2005 Screenplay Competition. The earlier you submit the sooner you receive Feedback from their readers. Feedback for all participating screenwriters, and Coverage provided by our Slamdance Readers as part of their Script Service, will be available within a month (Rushed Coverage within a week). Scripts submitted to the 2004 competition and those submitted early in the 2005 competition are eligible to re-submit their work based on the coverage they received for half-price.
Postmarked Submission Deadline: July 7, 2005 – coverage sent out August 30, 2005
1st Prize: $5,000
- The top three screenplays will receive Final Draft Pro screenwriting software
- The top three screenplays will receive a subscription to Script Magazine
- The top ten screenplays will be posted on www.inktip.com
- The top ten screenplays will be read as part of our staged reading series sponsored by the Writer's Guild of America, Slamdance On Stage.
- Each year production companies, studios, agencies and managers request to read our top scripts.
- Skyline Screenwriting Award, 1st Prize: $5,000
-Sponsored by Andrew Lauren Productions
- A Staged Reading in New York City
-Sponsored by Andrew Lauren Productions
Enter today!
SEND ALL SCRIPTS:
2005 Slamdance Screenplay Competition
5634 Melrose Ave
Los Angeles , CA 90038
IF YOU HAVE QUESTIONS:
Phone: (323) 466-1786
Fax: (323) 466-1784
E-mail: screenplay@slamdance.com
FAQ: Screenplay FAQ
NALIPsters,
Want $$$ 4 Films!?
Deadline: September 1, 2005; January 2, 2006; and May 1, 2006
Pacific Pioneer Fund Supports Documentary Filmmakers in California, Oregon,
and Washington
The Pacific Pioneer Fund provides funding for organizations to support emerging documentary filmmakers or videographers who live and work in California, Oregon, and Washington. The term "emerging" is intended to denote a person committed to the craft of making documentaries who has demonstrated that commitment by several years of practical film or video experience.
The program is limited to organizations certified by the IRS as "public charities" that undertake to supervise any project for which individuals receive funds. The fund does not provide support for endowments, building campaigns, accumulated deficits, or ordinary operating budgets; make grants to individuals; or support instructional or performance documentaries or student film projects.
Grants range from $1,000 to $10,000, and the foundation's board meets three times a year. Application deadlines in 2005-06 are: September 1, 2005 ; January 2, 2006 ; and May 1, 2006 .
Visit the Pacific Pioneer Fund Web site for complete program guidelines.
Link to RFP: http://www.pacificpioneerfund.com/
Pura Vida,
For questions call: Henry K. Priest
Nosotros American Latino Film Festival
Festival Director
Phone: (213)739-3385
Email: HenryKPriest@Nosotros.org
http://www.Nosotros.org
A ROOM OF HER OWN FOUNDATION GRANTS
http://www.aroomofherownfoundation.org/giftfreedom.html
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A Room of Her Own has a "moral" contract with the recipient that requires the artist to commit to a specific goal which will result in a finished work. The application process for a Gift of Freedom Award includes essays on the applicant's artistic life, an example of the applicant's artistic
expression, and questions involving educational, and employment history, as well as community service. Complete disclosure of an applicant's data and assets is required.
The annual Gift of Freedom award is up to $50,000 and is for creative women who apply for support. Currently, A Room of Her Own Foundation has decided to focus our efforts on its literary awards for the indefinite future. No deadline.
Courtesy of C. Hope Clark
FundsforWriters-owner@yahoogroups.com
HopeClark1@aol.com
3145 E. Chandler Blvd., Suite 110 Box 747
Phoenix , AZ 85048-8701
http://www.fundsforwriters.com
Nosotros is having their annual American Latino Actor Showcase and would like to invite you to attend. The showcase will take place Tuesday the 28th and Wednesday the 29thfrom 7:30 pm to 8:45 pm . Both showcases are the same and will take place at the Ricardo Montalban Theatre at 1615 Vine St , Hollywood CA 90028 .
Please RSVP to Rafael Calderon at Summa Media, 323-842-0403. Thank you!
Written by Steve Fardys
Directed by Jeffrey Johnson
Produced by Maryam Dalan
A dedicated high school teacher and family man is pushed to the edge of sanity after he is forced to kill a carjacker while defending his family.
THE PLAYERS: Joel Swetow, Jake Eberle, Efrain Figueroa, Marco Rodriguez, Nikki Wittenberg, Steve Wilcox, Richard Penn, Rebecca Ritz, Kourtney Kaas, Tommi Delton and David Mersault
THE WRITER: While attending UCLA’s Professional Program in Screenwriting, Steve Fardys wrote Storm Surge, an action adventure with a female lead, winning the UCLA Screenwriting Contest in 1999. His second script, Soul Searching, a supernatural thriller, won the SCRIPTWORLD 2002 screenwriting competition, and subsequently both scripts were optioned. Killing Dennis Nolan, won SCR(I)PT MAGAZINE’S - OPEN DOOR CONTEST last December. Recently, Steve was hired to pen Icebox, a serial-killer thriller for director/producer David Winkler (Devour, Finding Graceland) and he just finished a horror thriller entitled Beast – also for Winkler. In addition, he has written, produced and directed several short films with his partners Nathan Price and Alex Dalton under the banner of Bootstrap Productions (www.thisisbootstrap.com). His most recent short film, Overqualified, premiered at the DANCES WITH FILMS FILM FESTIVAL this past May. Contact info: SoFar@aol.com
THE DIRECTOR: Jeffrey Johnson studied theater at the University of Massachusetts and since moving to LA has worked steadily in the film industry. Some of his film credits include Helter Skelter, Scorcher, Target, and Down Dog, as well as television appearances on C.S.I., Without A Trace, Boomtown, Tremors, and The District. When Jeff isn’t in front of the camera, he can usually be found performing or directing with the local Los Angeles theater groups, The Bad Puppets, The Evidence Room, Imagination Station, The Met, The Company Theatre, and T.S.S. He recently wrote and directed The Wedding Play at the Celebration Theater. Jeffrey Johnson and Steve Fardys have collaborated on several of Bootstrap Productions short films in the past, including Steve’s first short, Personal Business.
THE DRAMA GARAGE SCREENPLAY SERIES: is housed in Hollywood . The writers chosen are bestowed a coveted status. The screenplay readings are part audition, part workshop and part industry debut. Think of it as a loft party where you get to hear a great script.
WHERE: Woman’s Club of Hollywood
Cecil B. DeMille auditorium.
If you don’t know this place…you don’t know Hollywood !
1749 North La Brea (corner of Franklin)
WHEN: Wednesday June 29th, 2005
TIME: 8:00 PM
R.S.V.P: (323) 993-5700 – or dramagarage@hotmail.com
RECEPTION BY: Bonny Doon Vineyard, Fiji Water, CL One Energy Drink
SPONSORED BY: Final Draft, Hollywood Scriptwriter, Working Pictures, Production Update Magazine, Digital Express, ScriptCopiers.com, Indie Printing and Entertainment Planet
www.dramagarage.com
We're real excited to let you know that the premiere screening of Grand Opening will be July 18 (Monday night) at 7:30 PM .
Location : Sugar, 311 Church Street , New York , NY
You and your guests are invited (invite who you wish). There will be a cash bar, no cover (of course). Please RSVP to EDDY@DURANFILMS.COM. See you there!
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By NALIP Member Almudena Carracedo
The National Association of Latino Independent Producers (NALIP) held its sixth annual conference in Huntington Beach , California this past March. The conference brought together a record 600 attendees for three days of panel discussions in a friendly, nurturing environment that fostered networking, business and professional development. Several interesting themes emerged from the event, providing an opportunity for International Documentary to talk with panelists and attendees about the audience for Latino-themed documentaries and the concept of “Latino” filmmaking.
NALIP was founded in 1999 as an emergency response to the Corporation for Public Broadcasting’s (CPB) de-funding of the National Latino Communications Center (NLCC), which was responsible for dispersing CPB funds to Latino filmmakers. “What’s so interesting about NALIP is that it was born from people in many areas of film, video, activism and academia, when we realized we were losing one of the few resources we had,” explains NALIP founding member and Association of Independent Video and Filmmakers Executive Director Bienvenida Matias. The decision to de-fund the NLCC, which followed concerns about financial improprieties, galvanized filmmakers to come together to create a community of their own. Latino Public Broadcasting, currently led by Luca Bentivoglio, would later take the place of NLCC and has been instrumental in supporting NALIP’s documentary makers.
“Before NALIP we were a bunch of independent filmmakers working in our own spheres who didn’t necessarily know each other,” explains NALIP Board member and filmmaker Vangie Griego (God Willing). “NALIP created a sense of community.” Matias adds, “All of a sudden we realized that our world was larger—East-West coast, doc-narrative. We created an organization that could be very inclusive of different ways to look at the world.”
NALIP’s early meetings included veteran filmmakers such as Moctezuma Esparza, Lourdes Portillo, Paul Espinosa and Hector Galán, but half of the attendees were under 35 and had different needs. “There was a charge in the air,” Cristina Ibarra (The Last Conquistador) remembers. “We, the younger filmmakers, were especially frustrated because you need to be experienced before you can get funds from PBS. It was a double-edged sword—how do I get experience if I can’t get my project made?”
“A lot of focus was put on how to support not only the next generation but also mid-career filmmakers, to close the gap between younger and more senior makers,” explains Kathryn Galán, NALIP’s executive director. This focus on mentoring contributes to the spirit of the conference and to the excitement, learning and networking at the event.
Photo: Kevin Estrada
The panels at this year’s conference, with titles such as “Documentary Clearances,” “Hi-Def for Indies,” “Documentary Trailer Evaluations” and “Budgeting Basics,” attempted to bundle an entire doc education into a long weekend. NALIP founding member Ray Telles (Race Is the Place), who moderated the panel “Stories That Broke the Rules: Social Change Documentaries,” explains, “We wanted to give filmmakers a true sense of what it takes to make a documentary––how much work it is, but also to encourage them not to give up.”
“I learned a great deal,” says first-time attendee Gabriela Breton. “The doc panels were designed to fit any stage of production—from development to distribution. It gave me the big picture.” But for Breton, who is developing the doc October 2nd, it was also an opportunity to participate in one of NALIP’s newest programs: The Latino Media Market, which afforded filmmakers opportunities for one-on-one meetings with potential buyers, broadcasters and funders. “We wanted to turn the national conference into a business opportunity as well as a strong celebratory, informational and mentoring opportunity,” Galán maintains.
One of the most popular panels was “Pieces of the Doc Pie,” moderated by Cara Mertes, executive director of the PBS series P.O.V. The panel, which brought together executives from LPB, PBS, CPB and ITVS, as well as from the Sundance Documentary Fund, focused on strategies for filmmakers to navigate the public television system. “I believe it is very important for public television to be represented at a conference like NALIP, which stresses a mix of commercial and non-commercial opportunities,” says Mertes. “Commercial venues are good, but producers should be able to see the many options public television provides.”
Honored at the 2005 NALIP Conference for Lifetime Achievement as a Producer, Lourdes Portillo discusses her art in an intimate conversation with participants in a panel moderated by IndieWIRE Editor-in-Chief Eugene Hernández. Photo: Kevin Estrada.
The panel on “Press, Promotion and Outreach Plans” brought together journalists, publicists and community outreach specialists to discuss how best to reach audiences. Moderator Cynthia Lopez, vice president of P.O.V. and NALIP executive board member, explains the panel’s three goals: “First was to hear from press people [about] what are the best ways to approach them so they consider covering us. Second, if you don’t have a lot of resources, what are grassroots ways to promote your work? Third, how do we get our community to watch these non-traditional forms of media?” Publicist Lourdes Ortega emphasized the importance of “incorporating a publicist from the moment you conceive your doc. You must set your audience before you start making something.”
The panels led to much discussion about what makes a film “Latino” and the difficulties of defining the audience for “Latino-themed films.” “There’s the idea that only Latinos are going to watch Latino films, but these are good stories and if you market them properly people will watch,” Telles pointed out. Sonya Childress, director of campaign strategies at Active Voice, a team of outreach specialists, talked about the outreach for the PBS series The New Americans, which tells the stories of recent immigrants to the United States: “We initially thought that the segment on the Flores family could speak to Latinos, but when we took the film to California’s Central Valley, Latinos thought that although it validated their experiences, it didn’t do much more for them. It was more interesting for them to hear about what other groups were going through.” But, she continued, “The film was extremely effective in reaching longtime residents who might never have had a personal relationship with recent Latino immigrants.”
With an estimated population of 44 million, Latinos now account for nearly 14 percent of the total US population. But those numbers include foreign-born, second- and third-generation Americans alike, and different strategies are required to reach different segments of the Latino audience. As Debra Zimmerman, executive director of Women Make Movies, notes, “Cuban Americans are very different from Mexican-Americans, and very often you can’t market a film just as ‘Latino.’”
“We find a great audience for our films,” she maintains. “I think that Hollywood changes much more slowly than the rest of the country in terms of being able to identify who the audience really is. Señorita Extraviada [the director and producer of which, Lourdes Portillo, received the conference’s Lifetime Achievement Award] has been consistently in the top five in Women Make Movies’ collection.”
Photo: Kevin Estrada
But while films are finding audiences, Zimmerman argues that there are still not enough Latina filmmakers producing strong documentaries today. “Funding is still not what it needs to be. It is still much easier to fund films about men than it is about women. I’ve seen many more doc features made by Latinas from Latin America than from the US .”
Sonia Gonzalez, who participated in the Latino Media Market with her doc Bragging Rights, believes that Latin American films have opened the doors for Latinos in the US , “But they represent the foreign experience. It is my goal to make Latino-themed films that are reflective of my experiences. As a little kid I looked for those images.”
“But as Latinos are looking for representation, there’s no such thing as the ‘right’ Latino depiction,” Gonzalez cautions. “I, for example, want to see more gay Latino-themed films that represent the homophobia encountered in our communities; that’s brave.”
While some Latino producers choose to tell stories of living in the US as Latinos, subject matter can vary widely. “I think that it’s important for Latino producers not to label or limit themselves,” Gustavo Sagastume, PBS’ vice president for programming, explains. “It starts with the filmmaker setting out a space in which to work that is not limited by ethnicity or origin.” Matias cautions about prejudgments in either direction: “You also cannot be so narrowly focused to say that only Latinos can do films about Latinos; that’s not the world we live in.”
Publicist Gabriel Reyes concludes, “When you get past labels and you start seeing the truth around things, your eyes open up, and that’s the most wonderful service that docs can do for us: They open our eyes to the deeper truth about issues that we’re more than likely misinformed about.”
This sense of enthusiasm is shared by participants in this year’s conference. Sonya Childress was “inspired by the camaraderie and the youth and vitality of the people attending,” and is eager to participate again. For Telles, “It’s just such a rare opportunity to come together in a nurturing environment, in a setting that’s unhurried. There’s a feeling that we’re not alone, that there’s a space to share and help each other.”
For more information on NALIP visit www.nalip.org
Almudena Carracedo is a NALIP member currently in post-production on Made in L.A., a documentary about Latina garment workers in Los Angeles (www.madeinla.com).
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WALKOUT, a film by Moctesuma Esparza and Edward James Olmos seeks dynamic, energetic and socially conscious individuals to be part of this historic film!
WALKOUT tells the true story of a group of brave Chicano students who staged a dramatic “walkout” against the injustices of the public school system in the East Los Angeles High Schools. Set against the background of the civil rights movement of 1968, the year that defined youth protest around the world, this is a story of courage and the fight for justice and empowerment.
WALKOUT , produced by Moctesuma Esparza (Selena/Gettysburg) and directed by Edward James Olmos (Stand and Deliver /Mi Familia), is a film project that tells the story of the birth of the Chicano civil rights movement, and brings to life the single largest protest by high school students in the history of the United States. Chicano Productions is proud to partner with HBO to bring this powerful American story to life.
“It is our mission to tell a story that will not only document the past, but will inspire and empower today’s youth and emerging leaders,” says Esparza, an original student leader of the 1968 walkouts. “It is our goal to encourage and stimulate new participation in civic and community issues that will result in a newfound sense of identity and legacy.”
This July 2005 be a part of history !!!
The filming of WALKOUT will require thousands of volunteer extras of all ages to recreate this important moment in time that demonstrated the amazing power of youth action and activism for educational equality and social justice.
Come and be an extra in the film; tell your friends to join us for a day of fun and filming. You will learn about making a movie, listen to live music and a surprise deejay, enjoy stand up comedy, listen to guest speakers including LA’s newly elected Mayor, Antonio Villaraigosa among others, plus enjoy free food and raffles, including a chance to win tickets for the world premiere of WALKOUT .
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REGISTER as an extra by e-mailing us at TDCGroup@adelphia.net – make sure to include ALL contact information including telephone number(s) where you can be reached and a valid e-mail address; OR call Tery Lopez at 213-534-3486 to receive a registration form by fax/e-mail TODAY!
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Hello Jeff,
We are going to be shooting a fully funded low budget SAG film in August and are in need of a highly skilled editor.
Pay, Travel, and Per Diem for 4wks (The rate will be non-union, union welcome)
The film will be shot on 35mm and edited on Avid. So if you can have editors email me that would be great. Be sure to have them mention Jeff Gund sent them, and email me their contact information and resume to d2i2005@yahoo.com.
NALIPsters,
1211 Entertainment is still looking for some great people to intern and assist with the feature film " Indiana St "
Interns/ PA's/Camera Dept/Grip
We begin shooting second unit this weekend. We will need some extra bodies that want to take part of this soon to be talked about indie project. Pay is deferred for most positions, others are paid.
Please email Frank Aragon @ Frankthedirector@aol.com.
An Equal Opportunity Employer
JOB OPPORTUNITIES
June 24 – July 1, 2005
Open positions include: Storyboard Artist; Storyboard Revisionist (2); Character Designer; Storyboard Supervisor; Character Layout Artist (2); Character Designer; Background Layout; Storyboard Artist; Storyboard Artist/Revisionist; Background Layout Designer; CG Generalist; Compositor; Production Coordinator; Storyboard Artist; Background Painting Supervisor; Assistant; Coordinator; Production Manager; Production Coordinator; Production Assistant ; Financial Analyst; Driver, and many more…
Please visit the website at www.mtvncareers.com for job descriptions and application information.
Trying to get your movie made? Serpaco Films is seeking short film scripts with Latino themes for possible collaboration. Email in PDF, FDR, or TXT format or any questions to Paco Farias at serpaco_scripts@sbcglobal.net.
--Job Opening - Media Arts Director
The Media Arts Director is responsible for the development and management of the SAY SI technology programs. The Media Arts Director is accountable for the planning of programs, coordination of staff, services and evaluation of the technology based programs.
About the Organization:
SAY Sí, San Antonio Youth YES! is a year round, long-term multidisciplinary arts program for students from San Antonio 's urban high schools and middle schools which provides opportunities for these students to develop artistic and social skills in preparation for higher educational advancement and professional careers.
Major Responsibilities and Duties:
Oversees program curricula and student instruction for the SAY SI technology programs - High School and Middle School. This includes, but is not limited to the following: Interview potential students, instruct students in web page design, digital video, and graphic design processes and history, organize and inventory supplies and equipment, prepare gallery for exhibits, install monthly exhibits, organize fieldtrips, and review/critique student projects.
--Determines appropriate programs and services for the Media Arts Studio.
--Develops and implements marketing and recruitment tools.
--Gathers information, data and statistics regarding new technology and the arts.
--Serves as a spokesperson for SAY Sí and its programs.
--Supervises staff, students and volunteers in the technology programs; Administers program and coordinates computer network administration.
--Creates assessment tools to evaluate all aspects of the program.
--Works with the development staff to advance program.
Job Qualifications:
Advanced degree in film, arts education, media, or related fields preferred, but not required. Demonstrated media production and media literacy skills and proven knowledge of technology applications in community/educational settings. Experience working with youth and community based organizations a plus. The candidate should be a creative individual who is able to negotiate within a team setting. Successful candidate will have a minimum of 5 years relevant experience in education, management & media arts.
Salary and benefits:
This is a challenging full-time position, salary commensurate with experience.
SUBMIT RESUME AND COVER LETTER TO:
Jon Hinojosa, Executive Director
1414 South Alamo , Studio 103
San Antonio , Texas 78210
jon@saysi.org
For more information about SAY Sí, visit our website at http://www.saysi.org
Denver Center Theatre
"September Shoes"
LORT D
Artistic Director: Kent Thompson
Director: Amy Gonzalez
Playwright: Jose Cruz Gonzalez
Casting Director: Julia Flores
Dates: Rehearsals: 9/26 Preview: 10/19 Open:
10/27 and Close: 12/19 (Sundays are the day off during rehearsals)
Contract: LORT D (approximately
$850 weekly plus housing and transportation)
Audition Date: LA Only July 12th
BREAKDOWN:
NOTES: Audition Information sheet will be posted on our web site on or
before 6/27 http://home.mindspring.com/~florescasting/
Cuki: Late 30's to early 50's. Latina . Earthy. Indigenous roots. Part ranges from light comic moments to deep emotional pain due to loss of family in auto accident. Warm. Off center. Obsessed with taking and collecting shoes of other people.
Alberto: Late 30's to early 50's. Latino male. A doctor. Educated and polished. Cold and cerebral. Controlling. His external façade breaks down during the play revealing a vulnerable and compassionate self. Acts out dreams where he a teenager. Is haunted by the death of a young sister.
Gail: Late 30's to late40's. This role is written as Chinese-Mexican-American, but we are open to
variations of these ethnicities. Outside appearance is composed and polished. Sophisticated, cool. She journeys to a more " authentic" self that is relaxed, strong and instinctive. She is dealing with past issues of rejection by her mother figure, so at times in her journey she is vulnerable and seeking her inner independence. Aging beautifully. Speaks Spanish well (just a bit of Spanish
in the script and we are open to someone who is willing to learn).
Please send submissions no later than Monday, 6/27 to:
Flores Casting
"September Shoes""
9121 Atlanta Avenue #430
Huntington Beach , Ca. 92646
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Good news for beleaguered British production industry as Universal's adaptation of Children Of Men starring Clive Owen heads for UK studio.
Looking to control catalogue in Spain , El Deseo takes stake in local DVD specialist Cameo Media.