February 14, 2006

Call for Entries: The Nickelodeon Writing Fellowship

Nickelodeon is offering writing fellowships in live action and animated television to culturally and ethnically diverse, new writers. Participants will have hands-on experience writing spec scripts and pitching story ideas.

The focus of the program is to broaden Nickelodeon’s outreach efforts and provides a salaried position for up to one year. The ’06 – ’07 cycle is tentatively scheduled to begin in October 2006.

The next submission cycle runs from January 2 – February 28, 2006 . Application and submission guidelines are available on our website at www.nickwriting.com.

Information via phone: 818.736.3663

Information via email: info.writing@nick.com

New York Media Workshop DISCOUNT for NALIP Members

NALIPsters:

The New York Media Workshop is offering NALIP members 25% off their regular tuition fee for each of these two professional development workshops. Details below. Make sure to mention NALIP.
--Edwin Pagan

* PRODUCING DIGITAL FEATURES with producer Jake Abraham, InDigEnt
Saturday, February 25, 10am-5pm Tribeca Cinemas

Digital Video has brought feature filmmaking within reach of a new generation of filmmakers.  This one-day intensive in producing digital feature films is led by Jake Abraham, producer at InDigEnt, the leading producers of theatrical DV features (November, Land of Plenty, Tadpole, Tape), and features industry guest-speakers on the cutting-edge of Digital Video film production including Evan Schechtman (Outpost Digital), Jerome Poynton (Swiss Effects), Matthew Bonifacio and Carmine Famiglietti (creators of the 2004 Sundance digital feature "Lbs."), Isil Bagadi and Michael Sergio (CAVU Pictures), and others.  Topics include financing, choice of formats, postproduction and workflow, and tape-to-film transfers. 

* PRODUCING INDEPENDENT FILMS 1:  Development, Financing, and Production with producer Gill Holland (Loggerheads, Hurricane Streets)
Saturday, March 4, 10am-5pm at Tribeca Cinemas

This all day intensive master class will teach you the process of getting independent films off the ground, including getting your script read, raising funds, methods of financing, casting process and contracts, making budget decisions, and putting together a crew.  Instructor Gill Holland has been a producer on almost fifty feature films over the past ten years, some of which have premiered at Cannes, Sundance, and been theatrically released.  He will be joined by leading industry guest speakers for most topics.  Learn to get your film made from people who are actually making films.

Tuition is normally $140, special offer to NALIP members $105 (a 25% discount)
To register, or for more information:  http://www.nymediaworkshop.com or call (718) 625-0004

ANNOUNCEMENT: VOTE FOR 3:52 ONLINE TODAY!!!

Please support and vote for NALIP Member,

Shawna Baca's latest short film staring America Ferrera.

 

‘3:52’ is playing in the Viewer's Competition  at the Cinequest Film Festival.

We need your VOTE!!

Please log onto www.CinequestOnline.org

Go to the Viewer's Competition
Do a search for all films and find 3:52
You must watch the entire film in order to vote!!!
and you must register to watch films....just your email address!

Thank you so much for all your help. Cinequest is voted by the Ultimate Film Festival guide as one of the Top Ten Film Festivals.

THANK YOU FOR YOUR SUPPORT!!!
SHAWNA BACA

www.Shawnabaca.com

2006 CHICA LUNA SHORT FILM FESTIVAL--Now Accepting Submissions!

The second Annual Chica Luna Short Film Festival will highlight the works of
young women of color through out the United States .

FESTIVAL DATE: April 11th, 2006

SUBMISSION DEADLINE: FRIDAY, MARCH 10, 2006

All entries must be postmarked or hand-delivered to the Chica Luna office by or before March 10, 2006 .

ELIGIBILITY: We will consider films from ALL fifty (50) states and its territories. All
films MUST be made by, featuring, about and/or for Young Women Of Color ages
15 - 30. We will only consider Short Films (30 minutes or less). All
projects must have been completed by no earlier than December 2004. All
genres are welcome.

Preference will be given to films produced/directed or written by young
women of color ages 15 - 30. Others are welcomed to apply as long as the
subject matter coincides with Chica Luna's mission.

MANDATORY SUBMISSION MATERIAL REQUIREMENTS
   1. Signed and completed entry form (one for each work submitted)
   2. Download Entry Form $10.00 Submission fee
   3. VHS or DVD with title of project, director, contact number and running time on the cassette/DVD label. (If sending a DVD, it MUST be properly formatted. Please test your DVD on as many stand-alone players as you can before submitting.)

MULTIPLE SUBMISSION: If you plan to submit more than one project, each project must have its own submission form, tape or DVD and entry fee. Please DO NOT send compilation videos or DVDs.

FEE: All submitters are required to pay a non-refundable fee of $10.00. Payment must be made by check or money order in U.S. dollars payable to: CHICA LUNA PRODUCTIONS INC.

TO DOWNLOAD THE ENTRY FORM PLEASE GO TO:
http://chicaluna.com/film_festival.php

SHIPPING: Shipping of all materials to the festival will be paid for by the participant. If your project is selected, you are responsible for delivery of the exhibition print or video to the Chica Luna offices by the designated due date. Unless otherwise specified, if you would like your work returned please enclose a self addressed stamped envelope.

SELECTION PROCESS: Only those selected for participation will be notified via email, regular mail and/or phone in April.

QUESTIONS?: If you have questions regarding the submission process, please email: filmfestival@chicaluna.com or call 212.410.3544

TO DOWNLOAD THE ENTRY FORM PLEASE GO TO
http://chicaluna.com/film_festival.php

PLEASE SEND ALL SUBMISSIONS TO:
CHICA LUNA PRODUCTIONS INC.
ATTN: FILM FESTIVAL
4049 Broadway, #256
NEW YORK, NEW YORK, 10032

Ana Trinidad
New Voices Fellow
Chica Luna Productions
anatrinidad@chicaluna.com
trinidad.ana@gmail.com
212.410.3544 (o)
212.410.3545 (f)
646.258.2686 (c)

Future Filmmaker Contest

"City Projects is proud to present the My City Now Future Filmmaker Contest.  The contest is the final component to the My City Now media literacy campaign which was launched during Hispanic Heritage Month, 2005. The program began with a series of workshops that introduced video making skills to high school students in nine U.S. cities with high and rapidly growing Latino populations. These cities included Chicago , Dallas , Denver , Houston , Las Vegas , Phoenix , San Antonio , San Diego and San Francisco .

More than 50 students have entered the program's Future Filmmaker Contest bysubmitting three-minute documentaries about the cities in which they live.

We invite you know to participate in this groundbreaking media literacy program by voting online for your favorite video at www.mycitynow.org

Cine Las Americas- Fundraising Gala

Join us from 6:30 to 10 pm on Sunday, February 19, 2006 for our yearly fundraising gala.

The beautiful Penn Field Design Center has graciously opened it's doors for us again this year, where we will host 200 of Austin 's film, arts and education supporters, regaling the crowd with delectable Southwestern flavors from Suzanne Court Catering, event night drinks, and a unique blend of music and comedy entertainment from Los Flames.

The gala will also feature a silent auction benefiting Cine Las Americas, its film festival, and other programming offered throughout the year. Brian Ramos, music instructor for Cine Las Americas, will host a special presentation of electronic music composed by students who participate in Cine Las Americas’ after school programs.

Expect the unveiling of the 9th Cine Las Americas Film Festival poster, and advance All-Access Passes to the 9th Cine Las Americas International Film Festival at discount prices.

Your support will allow the organization to continue to provide Central Texas with diversity in film and media entertainment, and to enable mentorship of young filmmakers and musicians who might not otherwise have the opportunity to explore their artistic talents in a constructive atmosphere.

Cine Musica y Alma
2nd Annual Fundraising Event
February 19, 2006
6:30 - 10:00 pm
Penn Field Design Center, Austin, TX

Tickets are $50
BUY NOW

For Corporate Group packages, please contact Samantha Smith at: 512-535-0765
or via email.

Sponsors
Z'Tejas . SBC / AT&T . Q

Event Organizer: Samantha Smith
Piccolina Postcard Graphic Design
MKR Creative Catering
Suzanne Court

SPECIAL INVITATION:
VOICES OF VALOR - Saturday, March 11, 2006 - 7 pm - ASU GAMMAGE

Voices Of Valor
a play by James E. Garcia
directed by Richard Trujillo
musical score composed by Quetzal Guerrero

Co-produced by Arizona State University & University of Texas at Austin

WHEN: Saturday, March 11, 2006  - 7 pm


ASU Gammage
Join us on the ASU Gammage lawn at 5:30 pm for FREE food, drinks and live music to celebrate the kick off of Artes es Amor, an annual celebration of Latino arts and culture presented throughout Tempe and ASU

Voices of Valor recounts the story of how American Latinos lived, fought and died in the global struggle for democracy, despite a legacy of discrimination in the U.S.  It is inspired by real-life accounts of Latino/a World War II veterans and recalls in vivid detail how American Latinos/ Latinas moved from the ranks of an invisible minority to a place where they finally saw themselves as full-fledged Americans.  Still relevant with issues of international and civil unrest, Voices of Valor strikes a chord for Americans today.
 
Tickets at ASU Gammage, showup.com & ticketmaster  480-965-3434; asugammage.com/beyond
$10 students/ $20 all others
2 hr. 15 min., including intermission

jgarcia@americanlatino.net

CPB/PBS ACADEMY NURTURES LATINO PRODUCERS

By Cristina Ibarra

Every year at WGBH-Boston, inside the bustling offices of the largest and most prolific PBS station in the country, the CPB/PBS Producers Academy quietly nurtures the skills of 20 select individuals who aspire to produce or to strengthen their work for Public Television. Half of the group comes from regional PBS stations and the other half is composed of independent producers across the country. This is a highly competitive program, fully subsidized for our professional development by the Corporation for Public Broadcasting. Very few Latino/as have been accepted, although that tide is turning. In 2001, the Workshop’s first year, I was one of the producers selected for the fellowship. Since then, three groups of filmmakers have gone through the program, including my executive producer and producing partner for The Last Conquistador, John Valadez and LPA Fellow Marie Agui Carter.

When I went in the summer of 2001, Judith Vecchione, Executive Producer, WGBH National Productions and Workshop Executive Director, greeted us. My scramble through the maze of Public Television began a few months prior with my short fiction film, Dirty Laundry: A Homemade Telenovela. At the time, I did not have a clear idea of where my film would find a home, but was glad when it was acquired by various PBS entities across the country. This made me highly motivated to understand the system for my future work. I took two projects to develop in the intensive seven-day program: a fiction and a non-fiction.

Judith designs the sessions with a progressive arc and shifting perspectives. We heard from independent producers, series producers, CPB and PBS executives. In the beginning the focus was wrapped around the craftsmanship of the work such as writing, editing and storytelling, but by the end we took a step back and heard about the way public television is being shaped to meet the challenges of the future in order to stay viable. These larger concepts then inform your choices as you develop your individual project.

(Filmmaker: Maria Agui Carter)

NALIP member and LPA Fellow Maria Agui Carter went to the academy this past summer (2005) hoping to reconnect with PBS after five years of being outside the system. She took to the program her historical documentary about a Latina Civil War soldier, Rebel.

“You get different things if you are mid-career than if you are beginning. The earlier in your career you can absorb a lot more of what is there and it is newer. What they are teaching is newer. And it’s really useful as a kind of baptism into the PBS system and into how national producers are approaching PBS. That’s the more perfect time to go. But if you are mid-career what is interesting, I think, is that you might already know a lot of what they are talking about but you understand it in a different way. I felt a lot of what was being taught there might be very difficult to deeply understand if you were earlier in you career. You might hear it but you might not feel it. Or had had experience doing it wrong. Because I had already done national projects within the PBS system, I was hearing stuff that strengthened my approach in more specific ways.”

Similarly, John confessed to me, “When I first heard about the Producer’s Academy I didn’t think it was for me. I wasn’t going to apply because I thought that it was for people at the beginning of their careers and I considered myself to be a little bit too experienced. But then I thought about it some more, and I realized, ‘Man, I’m kind of an idiot’. When and if an opportunity comes, you should take it. If they think you are not appropriate for it, then they will tell you that you are not appropriate for it. The opportunity brings you to WGBH to meet people from Frontline, American Experience, NOVA: WGBH does some of the best stuff on television. And (workshop Executive Director) Judith Vecchione was one of the series executive producers of Vietnam : A Television History, and Eyes On the Prize. She has played a major role in producing some of the very programs that inspired me to become involved in Public Television in the first place. So I decided I had better get my act together, and focus on the fact that I really do want to learn and grow as an artist, filmmaker and producer.“

We arrived to each session prepared with our reading and viewing material assigned by the teachers, all award winning filmmakers working high up the ranks of the PBS world. Many station-based instructors like Paul Taylor, Senior Editor for Program Development at WGBH, or Adriana Bosch, Producer of Castro for American Experience, participate in the Academy and interact with the Fellows just by walking across the hall from their offices. People like Llew Smith, Executive Producer of the nationally broadcast series, Africans in America , and David Fanning, Executive Producer of the Frontline series, generously lay out their approaches to their writing, editing and producing. They described clear practical steps to their approach for those who want to produce for them in the future. Then it’s up to you whether you stick to the map, of course; but this is the best place to learn how to navigate the large, cumbersome network known as PBS in the United States .

John Valadez went to the workshop with two documentary projects: The Head of Joaquin Murrieta, and The Last Conquistador. “The way it works is that you submit your written proposal about two months before the event and all the other fellows read each other’s proposals. Paul Taylor reads the proposals. If you are lucky, he will use your project as an example and will rewrite one or two pages and say, ‘This is the way I would approach it’. He took a sequence that I gave him, one that I thought was pretty well written and expanded the architecture, simplified the prose, clarified my metaphors and took it to another level. He then sat us down and gave us an incredible explanation about what he did, why he did it and why it’s better.”

Back in the first Workshop, a memorable moment of understanding for me came when I engaged a speaker who was discussing the pros and cons of historical reenactment. I felt that there was no room for experimentation or ambiguity in the way reenactments were being used. Often times, there was a narrator describing what we saw in the reenactment and the audience was being hit over the head with an explanation of what we were watching, what it meant and why it was important. I lamented that there was a need to invigorate the storytelling of historical documentaries so that the technique didn’t suffocate the audience with meaning. So there was room to play with the elements of what we were seeing. Then Pual Taylor sought me out to explain, that he too was concerned about didactic storytelling but he warned that there is a difference between being ambiguous and being confusing. You don’t want to lose your audience because you are sloppy. Being intentionally ambiguous, that is interesting, but very hard to do – it requires great skill and talent. I often think about these lessons as I develop my projects. I seek a balance between the telling of the story and the meaning of the story.

Asked if she felt that the Workshop was a place to dialogue with producers who took different approaches from her own, Maria Agui Carter responds, “I never really feel like you can disagree about an approach to filmmaking because there are so many ways that work. Some things were more applicable than others. And some things were newer than others, so they seemed fresh to me. To someone else, with a different set of experiences, different things would be applicable. But even if you are very experienced, listening to somebody like Ric Burns talk about his process -- a particular artist talk about their process -- this is always going to be wonderful. It’s their particular approach. It was presented as a way of storytelling. For Paul Taylor, that’s not necessarily the way to do documentary storytelling. It’s a very particular way to do a very particular type of PBS documentary. You would never approach a verité documentary that way. It is ultimately very inspiring and wonderful and you take away things, no matter what kind of film you are making. Ric Burns was a definite highlight. And so was Paul Taylor, who is a brilliant teacher. He has thought carefully about how the process works and is able to convey that to other people. That is a real skill and a talent. Paul has that.”

The Workshop gave me an understanding of what areas in my experience need strengthening, a better grasp of the visual grammar needed to construct a successful program and a reality check about what kinds of programs best suited for public television. Since then I have continued my screenplay writing and I have Associate Produced more independent documentaries. It was after the Workshop that I partnered up with John Valadez, a nationally recognized producer, to make my first hour-long documentary through his production company. Our documentary follows the construction of the world’s largest bronze equestrian depicting Juan de Oñate, a controversial sixteenth-century conquistador, and an offended Native American community seeking to destroy the monument.

John is clear about how his attendance at the workshop has been shaping his career. “A lot of people have wonderful experiences. I certainly am one of them. I could not have imagined that I would end up producing two prime-time, nationally broadcast films coming out of the Academy, and that we would also make a film for ITVS and LPB that will air soon on the PBS series POV. I think my writing and focus improved a great deal.”

John explains how his career moved after the program: “Stanley Nelson and Marcia Smith were two of the presenters at the Academy. They came to talk about their Emmy-Award winning film, The Murder of Emmett Till. I had met Stanley before and he knew that I had directed a film about the Black Panther Party, which he really liked a lot. So we had a chance to talk. I told him that I really wanted to work with him. He and Marcia have done some great work. He produced for Bill Moyers, did a wonderful biography of Marcus Garvey for American Experience. I just knew I would learn a great deal. It’s hard to talk with people, especially people you admire. There is always the fear of being rejected or ignored or not being taken seriously. I’ve been ignored by the best of them. “I told Stanley , ‘If you ever have anything going … I think you ought to do a series… I would love to work with you’ I reminded him that I had directed the first hour of the PBS series Matters of Race (working for a guy who I consider a great mentor- Orlando Bagwell), and an ITVS series before that.”

Behind the scenes of ‘Conquistador’

“Then, maybe a month after, I followed up and sent him a tape of Passin’ It On. I followed up with a phone call to make sure that he got the tape and I checked in. He goes, ‘Well you know what, I’m kind of in a crunch. Do you mind coming up to Harlem ? I want to talk to you about something’. And this came together because we had a chance to really talk at the Producer’s Academy. He hired me as one of the producers of Beyond Brown, which was a nationally broadcast PBS special for the 50th anniversary of the Supreme Court decision Brown vs. Board of Education. Primetime. Everything turned out well, then we did another gig about the Bush administration’s education policies, an hour long film that I directed and he Executive Produced for CNN.”

Tirelessly, Judith keeps all the Fellows informed of each others’ progress with email news from the Academy: someone getting an internship, someone else getting funding for a project, a fellow’s upcoming broadcast. I've emailed Judith with concerns that have popped up during the development of our documentary. Even with her own high-profile productions, she always has the time to get back to me with things to consider or possible ways to deal with an issue. You start to feel less alone as you find mentors who track you and help you understand the whole public television landscape.

 

Maria is currently producing an episode for a four-hour, multi-part series about health disparities in the United States for Vital Pictures, Llewelyn Smith's new production company. Llew is a popular Academy teacher. “Being a CPB fellow is always useful as a way to keep your name in the loop of producers that are doing things that are interesting to PBS,” she explains. “When a project comes up, your name and that of those CPB fellows gets bandied about. When we were looking to staff up “Health Disparities,” we specifically looked at CPB Fellows to find up and coming talent.”

 

I began my application process sometime in the Spring of that year with a letter explaining my professional goals and asked a couple of people for letters of recommendation. I then submitted a work sample. Judith conducted a phone interview with me about my work and interests for the future. According to the PBS website, “the recipients were chosen based on their work experience, particularly as it applied to public television, their stated professional goals, the strength of their storytelling skills as demonstrated in their video presentation, the depth of experience, the applicants current production projects, and the recommendations received.”

John has advice to producers who are considering the Workshop. “I think there are a couple of qualities for people who apply. You should be somebody who is something of a maverick, and someone who is ambitious. You have to really believe in yourself. And I think you really have to believe in public television, because honestly, there are other things you could do to make more money. You can work in commercials. You can work in commercial television doing something that is creative and fulfilling and provides a great livelihood. You can work in features. I bet you that an assistant cameraman who works in features makes a lot more than a director for public television. The bottom line is this: You really have to believe in the mission of PBS. If you believe that television should illuminate and inspire, if you subscribe to the notion that it should encourage people to ask difficult questions about the world around them, if you are convinced that television ought to ignite thoughtful reflection, and work as a catalyst to span divides of difference finding by new connections for positive change and understanding, if you are curious and hungry for knowledge, then PBS might be for you. But you really have to believe.”

Information & Application Details on the CPB/PBS Producers Academy at www.cpb.org

 

 

IMDB (Internet Movie Database) Jeopardizing Actors’ Careers

Did you know IMDB can freely include your birthday and place of birth on your profile and you are not allowed to remove the information?

To ensure equal employment opportunity, The Screen Actor’s Guild does their best to protect us by making casting aware, that they are to refrain from asking your ethnic background, your age, and your sexual orientation.  However, IMDB freely provides most of this information on their site.

Your agent could be trying to get you in the door for an audition, but the casting director/producer/director could decide to look you up on IMDB.  Once they get on your profile to review your filmography, they will see your birth date and place of birth next to your name.  What if the character is mid to late 20’s and you’re 35?  What if they’re looking for someone to play an English character and you were born in Memphis , Tennessee ?  What if you’re a woman over 30 facing ageism discrimination in Hollywood ? Although age and background should not prevent an actor from an opportunity for a job, it is struggle that actors continually face.

IMBD is owned by amazon.com.  Their representatives are most likely not fully aware of the ins and outs of the entertainment industry.  They probably don’t see how posting date of birth and birthplace can keep actors from employment opportunities. Especially women. Although there have been several individuals that have tried to explain these issues while trying to get their personal information deleted from their profiles, IMDB refuses to comply with such requests.  These individuals lost out on a job.  How many more actors are going through this?  Is this happening to you?

It is time actors protect themselves.  In efforts to ensure equal employment opportunity all actors should make an individual request to the IMDB site to please remove your birth date and your place of birth from your profile.

You should also be aware there are websites that can provide someone with your home address if they have your name, place of birth, and birth date.  This is very dangerous for actors who are constantly in the public eye and can attract unwanted fans.  IMDB is freely giving the information that could lead a stalker to your doorstep.

UNIVISION'S UP FOR GRABS--Suitors circle Spanish-language net

Spanish-language giant Univision planted its official "for sale" sign Wednesday amid a flood of speculation on which U.S. media player may reel in the sought-after broadcaster. Univision said it hired investment bank UBS -- which repped the company in the acquisition of Hispanic Broadcasting -- to explore strategic options, including a sale.
http://email.variety.com/cgi-bin7/DM/y/ekip0DbubY0Oe40BBUX0Eg

FILMAX BANKS ON 'BORGIA'
In its biggest pickup ever, Spanish mini-major Filmax has acquired worldwide rights outside Italy and Spain to the $18 million Paz Vega-starrer, "Los Borgia" (The Borgias). Filmax is unveiling "Borgias" tobuyers in Berlin .
http://email.variety.com/cgi-bin7/DM/y/eklK0DbubY0Oe40BBZw0Ei

Trueba's Bienvenido A Casa to open Malaga Film Festival

This romantic drama stars up-and-coming actors Pilar Lopez de Ayala and Alejo Sauras as a young couple undergoing a difficult period in their relationship.

Univision Considers Going on the Block By ANDREW ROSS SORKIN
The Spanish-language media company, which is worth nearly $10 billion, is considering a plan to put itself up for sale.

Lompoc reaches out to Latinos at film festival
Lompoc Record Tue, 07 Feb 2006 11:42 PM PST
“Battalia En El Cielo,” “Noticias Lejanas” and “Green Bush” may not sound like big Hollywood blockbusters that attract huge audiences or get film critics like Ebert & Roper talking, but Lompoc officials are hoping that those pictures will generate some buzz for the City of Arts and Flowers.

Gael Garcia Bernal to star in Hector Babenco film

The Past (O Pasado) , budgeted at $4.5m is backed by private and state sources in Brazil , Argentina and Spain .

AMC Entertainment in deal to sell multiplexes to UK equity firm Terra Firma AMC and Cinesa, the Spanish brand of Terra Firma-owned UCI, have reached an agreement for the potential acquisition of AMC's cinemas in Spain and Portugal.

Sin Frontreras Film Festival accepting entries
New Mexico Business Weekly Thu, 09 Feb 2006 12:37 PM PST
Submissions are now being accepted for the 2006 Sin Frontreras Film Festival and Conference.

Diversity Film Series scheduled
UB Reporter Thu, 09 Feb 2006 7:25 AM PST
"Crash," a film that twists preconceived stereotypes of varied races and ethnicities up and down class lines, will be the first offering in the Diversity Film Series, a monthly screening of films that spotlight diversity.

San Antonio make up artist helps stars look tiptop — or monstrous
San Antonio Express News Wed, 08 Feb 2006 10:02 PM PST
Jacenda Burkett was careful not to say aloud what her dream was, embarrassed that she'd be ridiculed and told her goal was unattainable for a girl, a San Antonio girl, an Hispanic San Antonio girl.

Breaking the Silence
State Press Thu, 09 Feb 2006 6:03 AM PST
Death can sometimes tell more than life. At least that is the message that two local filmmakers, John Jota Leanos and Marco Santiago Jr., share in their short films, "Los ABCs: !Que Vivan los Muertos!" and "Once Upon a Time in the Desert."

CASTING: SEXY LATINAS 21-25 y/o for Traveling Road Show

NOTE: HELLO EVERYONE. I AM CURRENTLY HELPING BILL HOOEY GET TALENT FOR THIS PROJECT, PLEASE RESPOND TO HIM AND TELL HIM I SENT YOU, THANKS. Susan Johnston Casting 323-969-4800

NALIPsters:

We looking to cast ten beautiful, 'hot and sexy' Latinas, age range 21-25, must be legally 21 years of age, for a 27 week, on the road, promotional tour for a popular nationally known premium tequila.  We are looking for extroverted personalities, women with charisma.

Spanish speaking mandatory, road experience a plus. Promotional event experience a plus, Dancing and singing experience a plus. If you lip sync, bring your CD and boom box.

This group of 10 will be traveling across the country on a promotional. All expenses paid, pay is $2,450 every two weeks.  This is a fun gig with good pay, ideal for anyone who loves to perform in front of a live audience and a nice thing to have on your modeling resume'.

Auditions will be held on Monday, February 20, 2006 at The Florentine Gardens, (night club) located at 5955 Hollywood Boulevard, in Hollywood, just east of Gower Street
Audition will be held from 10:00 AM to 6:00 PM.  You must make an appointment.
Contact us at (323) 934-6465 - office.  If our voice mail is full you may call us at (323) 397-8740 - cell.

If you don't fit the requirement of this casting notice, please pass it on to someone who does.  Good deeds generate good luck.  In an industry where so many people get cast because of who they know, our goal is to open the doors of opportunity as wide as possible and give everyone an equal chance.  So, please spread the word about this gig.

Thank You,
Bill Hooey
billhooey@earthlink.net

Hispanic Talent Casting Of Hollywood .
P.O. Box 46123 / Los Angeles, CA  90046

Casting: Educational Theatre Company

EDUCATIONAL THEATRE COMPANY
(Nonunion Stage)
$35-100 per 30-minute performance provided.
Educational Theatre Company is casting for its 2006-07 touring season featuring a multi-ethnic cast. Wheaton James, prod. Rehearsals are ongoing. Performances are ongoing to June and resume in Aug at various schools.

SEEKING
Actors: male & female, any ethnicity except Caucasian, must be able to portray teenagers, different characters including dialects, instrument playing ability a plus, fluent in Spanish a plus, high energy, positive attitude, must have flexible schedule.

Send pix & résumés to:
Educational Theatre Company
6720 Melrose Ave., Ste. 201
L.A. , CA 90038
or email to educationaltheatre@earthlink.net

Cast and Crew Notice For Upcoming Film

Hello all NALIPsters, it's Hollie Hummel:

I'm assisting in a production/distribution company, David Heavener Ent. and the experience has been beneficial and changed the face of my career. David is going to be starting a new production in about 40 to 60 days.

Project:
"Possessed" Michael San Chica is a professional exorcist who is called to drive out demonic spirits from a local church in Costa Rica . There is little pay. Nonunion.

Crew:
Director of Photography, Camera Asst., Set Designer, Special Effects Make Up, Caterer, Grip, Gaffer, CGI Person, Editor, Production Sound Mixer, Post Production Sound, 1st Ad, Production Manager

Cast:
--Vanessa Rodriquez 26-36 good-looking with edge, doctor works in Costa Rica, nice body, reluctantly assists with exorcism
--Bishop Fernando Rivera- 55-65 Head Diocese, helps Chica with exorcism
--Jonathan McWurter-35-45 Baptist Minister w/ redneck edge
--Katherine McWurter-32-40 Jonathan's wife, conservative, wholesome sexy
--Tatiana McWurter 17 actor must be legally 18 to play 17 good looking, wholesome, becomes possessed, must be in good physical condition, if you are not in shape this is not the role for you
--Jimmy & Luke 19-39 religious, conservative rednecks
--Dr. Humanez 45-65 distinguished, loveable, this man is a child molester
--John Jr. 9-14 Tatiana's brother, likeable, wants to help his sister

Please send headshots and resumes to:

David Heavener Ent.
11271 Ventura Blvd. #326
Studio City , CA 91604 .

HIRING FLASH PROGRAMMER

Team2080 is looking for a person who can program REMOTE FLASH for our Team 2080 websites.

This person will get paid on a per project basis, and can be located anywhere in the world.

To submit, you must mention you were referred by Jeff Gund/The Info List, and email links to sites on which you have worked to:

hpope@team2080.org

Thank you!

 

Editor

Alex Mendoza
Alex Mendoza & Associates
AMARTE Design & Digital Printing
9513 Longden Avenue
Temple City, CA 91780
626-614-8277

Co-Editor

Jose Murillo
NALIP
1323 Lincoln Blvd., #220
Santa Monica, CA 90401
310-395-8880
membership@nalip.info

 

 

To Post News, Announcements, Business Data or Jobs Postings please click on the following link: membership@nalip.info .  To SUBSCRIBE send an email to admin-LITI-subscribe@nalip.info or to UNSUBSCRIBE send an email to admin-LITI-unsubscribe@nalip.org

The Latinos in the Industry e-mail Newsletter is a free service provided by the National Association of Independent Producers (NALIP) with the generous assistance of Alex Mendoza & Associates (AMA) and it is provided in an “As-Is” basis and for the education and information of users only. It is not provided with the intention that users rely upon the information for any purposes. Accordingly, NALIP and/or AMA, their principal(s), employees, agents or representatives shall under no circumstances be liable for any loss or damage, including, but not limited to, loss of profits, goodwill or indirect or consequential loss arising out of any use of or inaccuracies in the information. All warranties expressed or implied are excluded to the fullest extent permissible by law. All comments and postings, including those by the Editor, are the responsibility of those individuals posting and no endorsement by NALIP and/or AMA should be inferred. Referral links and individual e-mail forwarding are permitted. NALIP reserves the right to withdraw or delete information or to discontinue this service at any time. All quoted, linked and/or referred information, as well as all copyrights and trademarks, are the property of their respective holders, used here under license and/or “fair-use” rules. ©2005 NALIP.