Latinos In The Industry
 
October 18, 2011 ANNOUNCEMENTS    NEWS    JOBS & OPPORTUNITIES
 
 
Announcements
 

INDUSTRY INSIGHTS: Digital Distribution Tips

By Orly Ravid

You get it: Digital distribution is the future and the future is now. What you probably don't get is exactly what that means, because... well, no one understands it. Not entirely, not yet. Too many players, too many moving parts, too much in flux. However, there are a few ideas--seven, to be exact--that you can act on now.

1. CARVE OUT DIY DIGITAL.

Distributors and Foreign sales companies often want all rights, including all digital distribution rights.

No matter what, you must carve out the ability to do DIY digital distribution (services include EggUp, Distrify, Dynamo Player, Prescreen and TopSpin) whether off your own site, off your Facebook page or directly to platforms. Platforms and services can almost always geofilter, which eliminates conflict with territories where the film has been sold to a traditional distributor. Often, distributors don't mind that a filmmaker also sells directly to fans, in any case.

2. PLATFORMS ≠ AGGREGATORS ≠ DISTRIBUTORS.
Here's the most basic definitions: Platforms are places people go to watch or buy films; aggregators are conduits between filmmakers/distributors and platforms; distributors usually take more rights for longer terms. And some companies combine more than one of these functions.

Aggregators usually focus more on converting files for, and supplying metadata to, platforms. They usually don't need rights for a long term and only take limited rights they need to do the job. Marketing is rarely a strong suit or focus for an aggregator.

A distributor should be skilled at marketing--otherwise, what's the point? Sometimes distributors are direct to platforms; sometimes they go through aggregators. Know the difference; fees are taken out every time there is a middleman.

Filmmakers should want to know the fee the platform takes (it's not the same for all content providers) and know if a distributor is direct with platforms or goes through an aggregator. Also, filmmakers should have an understanding what each middleman is doing to justify the fee. Ask for a description in writing of what activities will be performed.

FULL STORY


Latinos Make THR Top Showrunner Lists

The Hollywood Reporter has released their annual Top 50 Power Showrunners list of the top showrunners who are not only making a mark on their own shows, but on television as a whole. Latino Greg Garcia, showrunner of Fox's "Raising Hope," made the list.

THR also released their 10 Showrunners to Watch list, which includes candidates whose shows or tenure as a showrunner are too new to make the list. Latino Rene Echevarria made that list for Fox's "Terra Nova."

Greg Garcia
"Raising Hope" (Fox)
"It's madcap, it's weird and kind of 'off,' but it comes from a very sort of decent, guileless place," says Martha Plimpton. The Emmy-nominated lead actress is talking about Garcia's latest offering, Raising Hope, which centers on a young, put-upon dad coping with early fatherhood and a whacked-out family that includes another Emmy nominee in Cloris Leachman. Hope made headlines last winter when it was the first rookie series of the 2010-11 season to get a full 22-episode pickup. Thus far in its second season, viewers have stuck around, with the first two episodes averaging more than 6 million viewers. But Garcia, an alumnus of Maryland's Frostburg State University, didn't begin in television; he started his career in media as a board operator and on-air personality at Washington radio's The Tony Kornheiser Show. The 41-year-old says the full-season renewal offered needed recognition that Hope was clicking. "I'm happy that the show is getting another year," says the Arlington, Va., native, who also created and ran NBC's long-running comedy My Name Is Earl (he won an Emmy for writing the pilot) and co-created Yes, Dear, which aired for six seasons on CBS. "I've been trying to think of a funny quote for the last two hours for this interview, which makes me a little nervous about season two." He needn't be: Pop-culture action icons like Richard Dean Anderson and Lee Majors are lining up for guest appearances.

Rene Echevarria
"Terra Nova" (Fox)
The former Star Trek: The Next Generation scribe has the fall's most ambitious epic and surprised the biz with a strong second episode.


Where the Hispanic Viewers Are (Not Just on Univision)

By Dave Morgan, AdAge

This may come as a surprise, but a large proportion of the US Hispanics cannot be reached with advertising on Spanish-language TV networks. Is it that they're not watching TV? No. In fact, according to Nielsen data, US Hispanic households watch more TV than average. However, contrary to what you would think, many US Hispanic viewers watch no Spanish-language programming on TV, and many more watch very little.

Hispanic audiences are critical to the future of US media and marketing. According to the US Census, Hispanics now account for more than 15% of the US population, and are projected to grow to more than 25% by 2050. This has led many to speculate that Spanish-language media, and television particularly, will eventually capture a corresponding share of US advertising and marketing expenditures. Nice in concept, but it won't happen.

I have a particular interest in the issue. I am part of an Hispanic household. My wife is Mexican. Our daughters are both Mexican and American. To each other, they speak Spanish as their primary language. To me, they speak English. Their Mexican identity impacts our food, clothing, entertainment, travel, current affairs conversations and much of our product purchasing. Nevertheless, while they watch some Spanish-language movies (on TV, in theaters?), we watch virtually no Spanish-language network television. We are a classic bilingual US Hispanic household. We watch plenty of TV, but are hard to find if you target us with traditional planning metrics.

To better understand how to find Hispanics on TV, Simulmedia, mapped Nielsen's national viewing panel (All Minute Level Respondent Data, including Hispanic identifiers) with the daily anonymous viewing behaviors of 30 million Americans, which we license from cable, satellite and teleco system operators and from TiVo. It turns out that my family's TV viewing patterns reflect US Hispanics in general.

Not only did we confirm that US Hispanics spent the majority of their TV viewing time watching English-language programming, but it turns out that 37% of US Hispanics cannot be reached at all on major Spanish-language television networks (such as Univision, Telemundo, ESPN Deportes, Gala, GOL TV, Mun2, Telefutura, Tr3s, Aza). While the monthly reach of these Spanish-language networks was very strong among Spanish-only (93%) and mostly-mostly Spanish households (88%), it was significantly weaker with bilingual households (71%) and very low into mostly-English (30%) and English-only Hispanic households (9%).

The question most marketers and their agencies should be asking is: Are there unique places to find Hispanic TV viewers outside of Spanish-language networks, or are their English-language viewing habits similar to most other Americans? Actually, the non-Spanish viewing of some Hispanics is unique and quite predictable sometimes.

According to Simulmedia data, Hispanic viewers are heavy viewers of late night sports. On a recent Wednesday in late night, they were were 54% of SPEED Channel's audience mid-week, 53% of GOLF Channel's and 40% of ESPN News. In daytime, midweek, Hispanics were 68% of the audience of LOGO, 37% of the audience of G4 and 25% of Planet Green's audience. Surprisingly, at least to me, Hispanics are 30% more likely to watch FOX Business on Sunday mornings than non-Hispanics.

Keep in mind, this data was generated by Simulmedia leveraging anonymous set-top box data and Nielsen national audience data, but shouldn't be interpreted as verified output from Nielsen. It doesn't include over-the-air viewing data, which is certainly a factor in analyzing Hispanic viewership. But the point here is that Hispanics can be found all over the dial, if you know where to look.

To be clear, Spanish-language networks are extraordinary and unmatched when it comes to delivering US Hispanic viewers, particularly those in Spanish-online and mostly-Spanish homes. Networks like Univsion and Telemundo and their local stations are very powerful and very valuable media properties and will only get more so as the US Hispanic population grows. However, just as Hispanic immigrants watch non-Spanish programming, so too will these companies, I suspect, make English language content more and more part of their programming. They have to. The numbers and their viewers tell them to.

However, Hispanic marketing is certain to become more and more integrated with general market activities, and consumer marketers and their agencies will have to complement their Spanish-language advertising on TV with initiatives to reach Hispanics uniquely wherever they are, many times in non-Spanish programming. When my wife and daughters are watching English-language programming, they are still thinking and acting Latin. So should their advertising.


NALIP Discount for the Film Independent Forum, Oct. 21-23

The 2011 Film Independent Forum will take place from October 21-23 at the DGA in Los Angeles. Emerging and established filmmakers will convene for a weekend of panel discussions, case studies and networking opportunities to discuss survival and success in today�s film industry.

The weekend kicks off with an exclusive screening of Like Crazy followed by a Q&A with director/co-writer Drake Doremus and his creative team. Acclaimed filmmaker Werner Herzog will deliver the Forum�s highly anticipated Keynote address and will answer questions from the audience.

Register today and take control of your project.

Special offer for NALIP members! Click here to register at the Film Independent Member rate of $259: http://my.filmindependent.org/POForum

See the full schedule and speakers here: http://www.filmindependent.org/members/

 
 
News
  Almodovar Gets Under The 'Skin,' But How Deeply?
(NPR) - At festivals and in interviews, Pedro Almodovar is such a furry cuddle bear that it's possible to forget what a perverse filmmaker he can be - that is, until you watch something like his nasty new gender-bent Frankenstein picture, The Skin I Live In. FULL STORY

Esai Morales: 'It would break my heart to reject my daughter for wanting to be a man'
(AOL Latino) - For Esai Morales, a Hollywood actor who fervently advocates for Latino rights in this country, starring in the film Gun Hill Road has not only affected his career, but his life. FULL STORY

Bringing Latino Civil Rights to the Silver Screen
(The Daily Illini) - Emmy-nominated filmmaker John Valadez visited the University to show his most recent documentary film "The Longoria Affair," and The Daily Illini had the chance to catch up with him and ask a few questions. FULL STORY

 
 
Jobs & Opportunities
 

Visit the NALIP Job Opportunities page for all the latest listings.

Final Cut Pro Editor (Miami)
Univision, the #1 Hispanic media company in the US, is venturing into English language content with the launch of an upcoming news website called Univision News. We are looking for a junior Final Cut Pro editor to join our start-up venture within Univision. FULL JOB DESCRIPTION

 
 
From the Editor
 
Editor
Alex Mendoza
Alex Mendoza & Associates
AMARTE Design & Digital Printing
9513 Longden Avenue
Temple City, CA 91780
alexmend@aol.com


Co-Editor
NALIP
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Santa Monica, CA 90401
310-395-8880
membership@nalip.info
 
 
Spotlight
 

Elaine Romero
NALIP Board Member selected for Goodman Theatre's Playwrights' Unit

NALIP Board Member Elaine Romero (LWL 2003 & 2005, LPA 2005) has been selected for Goodman Theatre's second Playwrights' Unit, a season-long residency program designed to nurture Chicago's most promising playwrights. Elaine's plays include Ponzi and The Dalai Lama is Not Welcome Here.

The four playwrights were selected by Goodman artistic director Robert Falls, director of new play development Tanya Palmer and the Goodman's artistic team. According to Goodman, "The writers will develop new plays over the course of the residency, which culminate in final readings in spring 2012. The Playwrights' Unit is part of the Goodman's ongoing initiatives to commission and develop new plays."


Joseph Torres
NALIP Board Member launches national book tour

NALIP Board Member Joseph Torres' new book News for All the People: The Epic Story of Race and the American Media, co-authored with Juan Gonzalez, is being launched with a national book tour, starting in NYC with multiple stops in California, New Mexico, Texas, Colorado and Washington, DC.

The first stop will be on Thursday, Oct. 20, in NYC. Joseph and Juan will be interviewed by Amy Goodman on the stage of the Great Hall of Cooper Union. 7-9 pm Free public event. 6-7 pm, special ticketed pre-event reception with a copy of the book included, light refreshments. Event is free, reception requires a ticket. For more information, click here.

This will be followed by events in San Francisco and Oakland on Friday, Oct. 21. Stops after that include Santa Cruz, Fresno, Los Angeles, Santa Barbara, Northridge, San Diego, Albuquerque, Santa Fe, San Antonio, Houston, Denver, and Washington DC.

Click here for a full schedule.


Maria Hinojosa
Correspondent's Frontline doc "Lost in Detention" premieres

Last year, President Obama's administration set a new record for detaining and deporting undocumented immigrants under the Secure Communities enforcement program. The program was set up to target and deport dangerous criminal immigrants, but has that always been the case? In her upcoming Frontline documentary "Lost in Detention," Maria Hinojosa takes an in-depth look at the enforcement of the Secure Communities program, and explores the hidden world of immigration detention. What she and the Frontline Investigative team found is shocking and unimaginable. Visit the Frontline page to watch video from the piece.


Mateo Frazier
NALIPster's film Blaze You Out begins shooting in New Mexico

Sandia Productions has begun principal photography of Blaze You Out, a dramatic thriller. The film is shooting for four weeks entirely in Rio Arriba County in New Mexico. This is the first feature for the Producer, former Disney executive, Alicia Keyes Touche. The film is co-written and directed by NALIP member Mateo Frazier and Diego Joaquin Lopez.

Blaze You Out stars breakout talents Veronica Diaz-Carranza (Mamitas, Taco Shop) and Melissa Cordero (Language of a Broken Heart) alongside award winning Elizabeth Pena (Jacob's Ladder, The Incredibles, Tortilla Soup) and Jeremy Ray Valdez (Constantine, La Mission and Walkout) as well as industry veterans Raoul Trujillo (Cowboys and Aliens), Mark Adair Rios (Along Came Polly) and Q'orianka Kilcher (The New World, Princess Kaiulani).

Blaze You Out tells the story of Lupe, an aspiring DJ, and her sister Alicia; two young women struggling to make a living in the Esperanza Valley, a community that has been suffocated by generations of heroin use. Ever since the death of their parents, Lupe has looked out for her rebellious sister and kept her on track. When Alicia suddenly disappears, Lupe is forced into the heart of the town's dark underworld. She quickly discovers that in order to survive, and save the person that matters most, she must not only harness the power that exists within her, but that also surrounds her.

This triad of filmmakers - Alicia Keyes Touche, Mateo Frazier and Diego Joaquin Lopez - is leading the way by putting together a locally developed, produced and directed project for the state of New Mexico. The Blaze You Out production will utilize the 25 percent Tax Credit the State offers.

"We're excited to be a part of a new wave of filmmakers who are unearthing contemporary stories that draw from the rich culture and history of New Mexico." Said Alicia Keyes Touche, "The three of us are a product of the support our State and legislature has shown toward film. We feel blessed to be able to live, work and create in New Mexico. "

The film is being executive produced by Peter Touche of Sandia Media, co-produced by Brent Morris and O'Shea Read, and associate produced by Kerith Lemon. The Director of Photography is Yasu Tanida.

For additional information visit, www.blazeyouout.com.



 
 
 

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