Latinos In The Industry
 
June 3, 2010 ANNOUNCEMENTS    NEWS    JOBS & OPPORTUNITIES
 
 
Announcements
 

MTV Tr3s Adds Standup Comedians, Telenovelas to Lineup

By Anna Marie de la Fuente, Variety

Viacom's bilingual, bi-cultural music channel MTV Tr3s will kick off its sked July 12, expanding its programming to encompass older Latino English-Spanish speakers in the U.S. and not just its core young, urban market.

The channel, renamed Tr3s: MTV, Musica y Mas, (Tr3s: MTV, Music and More) is casting a wider net to capture more advertising and a larger share of the audience.

After all, "not all bi-culturals are young nor urban; many of them are just as likely to watch both the telenovelas on Univision and the six seasons of 'Lost,' " said Antonio Ruiz, chief strategic officer and a partner at U.S. Hispanic agency the Vidal Partnership (TVP).

The feevee is jumping onto the soccer fever bandwagon with "Rock n Gol," a two-hour special hosted by Mencia on June 3, a week before the tourney begins.

"We are in talks to expand our sports programming," said Jose Tillan, Tr3s general manager and exec VP [and NALIP Board member] in a nod to the success NBC U's rival bilingual channel Mun2 has had with sports programming.

Ratings jumped at the 9-year-old youth-skewed channel when it began broadcasting soccer in February. Some two years ago it added more lifestyle programming and began incorporating subtitled versions of sister channel Telemundo's telenovelas to broaden its viewership.

According to TVP's director of media services Lucilla Iturralde-Rachev, the broadcast/cable share of ad dollars was 90%-10% in favor of broadcast networks in the past. "That shifted during the recession to 80%-20%, and pay TV networks are keen to maintain these new advertisers," she said.

At stake is a $2.2 billion U.S. Hispanic ad market, of which $150 million to $200 million goes to Latino-centric feevees.

Tr3s, which bowed as MTV Espanol in 1998, hopes to tap into that with more diverse programming including shows from standup comedians George Lopez, Carlos Mencia and Paul Rodriguez; "Ninas mal," a telenovela inspired by a Sony Pictures Prods. Mexico chick pic of the same title; Colombian telenovela "Juegos prohibidos" (Forbidden Games), which tracks online and offline romantic intrigue; and Mexican wrestling show "Lucha libre."

Programming will remain 70% music-oriented despite the new shows.

Sked will bow the day after the soccer World Cup tournament ends, to avoid any conflict among soccer-mad auds, said Sofia Ioannou, who has had her mission as managing director of MTVN Latin America and Canada broadened to include U.S. Hispanic.

In January, it added movie showcase, "Have You Cine?" Compared to the previous year, the feevee boosted its viewership by 16% in the 18-49 demo, it announced last month.

The other pay TV rival in the bi-cultural, 18-34 demo is Si TV, which boasts 70% original programming.

It has garnered a loyal following on competition "Model Latina" and MySpace-originated reality show "Elle and Tito: The Married Life," which tracks a couple who married on MySpace as they pursue their musical careers. Extreme sports show "Adrenalina" is also hot.

"When passion and content is there, the consumer will come," said Iturralde-Rachev.


BBC Worldwide America Taps Scannell

By Michael Schneider, Variety

Former Nickelodeon topper Herb Scannell has been named president of BBC Worldwide America. Scannell fills the void left by Garth Ancier, who ankled the post at the end of March.

Scannell takes the top post, heading up the BBC's U.S. operations, immediately. He most recently served as CEO of Next New Networks, a company he co-founded in 2006. Scannell will also sit on BBC Worldwide's executive board.

Scannell's Nickelodeon background will come in handy as the BBC prepares to introduce its young kids franchise, CBeebies, to the U.S. market. BBC Worldwide has previously announced plans to enter the growing preschool marketplace here, although the company hasn't yet announced any distribution for the channel.

Scannell helped launch Nickelodeon's preschool channel, Noggin (now known as Nick Jr.). Disney also recently announced plans to turn SoapNet into the 24-hour preschool-targeted Disney Junior.

As prexy of BBC Worldwide America, Scannell will oversee channel BBC America, as well as BBC Worldwide Productions, BBC.com in the U.S., and sales and distribution.

"Herb has a tremendous track record of success in developing and extending innovative brands across multiple platforms, which is precisely the experience needed to help build the next phase for BBC Worldwide in the U.S.," said BBC Worldwide topper John Smith. "Our American businesses have delivered significant successes in recent years - not least record ratings for flagship shows Dancing With The Stars and Doctor Who in the past month - and we believe Herb is the right person to leverage this success and build a power brand for the BBC in the U.S."

Scannell will work closely with BBC Worldwide's Los Angeles-based exec VP Jane Tranter.

"I've been associated with innovative brands and businesses throughout my career, and there's none more innovative in television than the BBC," Scannell said. "It's a world renowned brand with a great portfolio of businesses in the U.S. that have tremendous prospects."

As vice chairman of MTV Networks and president of Nickelodeon Networks, Scannell oversaw all creative and business operations for a portfolio of brands including Nickelodeon, TV Land and Spike TV.

Scannell also expanded Nickelodeon's brand into feature films, consumer products, magazines, online, live theatrical shows and an L.A.-based animation studio.

Under Ancier, BBC America's distribution grew to 67 million households and cultivated hits such as "Torchwood," "Top Gear" and "Primeval." Revenues grew by 39% after ad sales moved inhouse. Ancier remains a non-executive board member at BBC Worldwide America.


Call for Entries: Cine+Mas SF Latino Film Festival

The Cine+Mas SF Latino Film Festival is selecting films including features, documentaries, and shorts from Latin America, Spain, and Portugal as well as work by US Latino filmmakers. Download entry form. Deadline is June 24, 2010. Announcement week of August 9th.

For the form/para la ficha de inscripcion: www.sflatinofilmfestival.com

Cine+Mas SF Festival de Cine Latino esta seleccionando peliculas para el siguiente edicion del festival- inclusive documentales, cortometrajes y largometrajes de todo tipo de genero proveniente de Iberoamerica, de Espana, y de Portugal asi como trabajo por cineastas latinos de EEUU. Descargue la ficha de inscripcion. La fecha tope es el 24 de junio de 2010. Anunciaremos la seleccion la semada del 9 de agosto.


 
 
News
  Outfest Lets 2010 Lineup Out of the Closet
(indieWIRE) - J.B. Ghuman, Jr.‘s gender-bending high school dance comedy “Spork” will join previously announced opening night film “Howl” in bookending Outfest 2010: The 28th Los Angeles Gay and Lesbian Film Festival. FULL STORY

Hispanic Study Reveals Marketing-Critical Complexities
(MediaPost) - Marketing effectively to U.S. Hispanics requires an understanding of diverse psychographics, identity profiles and emerging segments that goes well beyond the language, country of origin and acculturation level targeting definitions now in standard use, according to newly released research jointly conducted by Starcom MediaVest Group and NBC Universal's Telemundo. FULL STORY

 
 
Jobs & Opportunities
 

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



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

Fernando Ram�rez
NALIP Mentor spotlighted for his legal work with filmmakers

By Edison Esparza, NY De Dia

Es una profesi�n fascinante aunque �l solamente desea aportar con sus conocimientos para que su representado alcance el �xito. Es el Lcdo. Fernando Ram�rez, uno de los pocos hispanos en asesorar al talento y empresas dedicadas al mundo del entretenimiento en la ciudad de New York. Sencillo, profesional, humano y dedicado en servir al pr�jimo con la ley en sus manos, pero con coraz�n y los pies bien puestos en el piso.

Los clientes del Lcdo Ram�rez han sido reconocidos con premios Emys, Oscar, Peabody, MacArthur, Sundance y Grammys, dada su capacidad y destreza en el asesoramiento para que artistas, escritores, cineastas, productores de la m�sica, cine, literatura y televisi�n conozcan y defiendan sus derechos de autor, firmas de contrato y otros.

De Padre Puertorique�o y madre Dominicana, Fernando Ram�rez naci� en el alto Manhattan el 16 de Enero de 1968,de muy joven trabaj� como un organizador en el campo de la justicia ambiental y social, luego obtuvo y gan� puestos codiciados y prestigiosos tales como "Ella Baker Fellow" para el Center For Constituccional Rights, fu� miembro fundador de la junta directiva entre otros l�deres de la organizaci�n sin fines de lucro de fondo New York City Environmental Justice Alliance y tambi�n obtuvo muchos puestos de interno codiciados en instituciones nacionales como miembro de la junta directiva de organizaciones sin fines de lucro de fondo, tales como Teatro circulo y como profesor adjunto en " The New School" universidad prestigiosa de la ciudad. Sus art�culos sobre la ley y negocio del entretenimiento han sido publicados en las revistas Latin Beat y The independent Magazine for Video and Filmmakers.

Pero fue su padrastro Barry Kenyon le motiv� con su experiencia en �ste tipo de conocimiento, hasta que hace 6 a�os form� su propio buffet de abogados" Soy un agradecido de Barry porque gracias a �l me entusiasm� la carrera, para m� me da igual asesorar a un artista consagrado como a alguien desconocido porque igual, lo importante es que yo pueda aportar para que sea un exitoso en su carrera, hasta ahora he tenido suerte y bendiciones del divino creador que algunos hayan y sigan triufando, yo solamente hago mi trabajo con mucho amor y vocaci�n, porque es as� como siento mi profesi�n " dijo a NYdeD�a, el reconocido jurisconsulto Fernando Ram�rez.

Entre su lista de exitosos clientes est�n; el cantante y compositor Obie Berm�dez, ganador de un Grammy, Maria Issa una figura emergente en la producci�n teatral " Rent" en Minneapolis,el nuevo grupo urbano de bachata " Loisaidas y el sello 848 quienes muchos piensan podr�an cualquier momento tomar el lugar del grupo Aventura, su tema " No me dejes" celebr� 20 semanas en Billboard, as� como Sensato del patio y Tibur�n Records, la compa�ia de medios con base en la Rep�blica Dominicana, Antena Latina; Quiet Pictures dirigido por Bernardo Ruiz cuyo documental sobre Roberto Clemente gano premios para PbS con estrenos por los canales de HBO latino y Sundance.

Ram�rez aconseja a la juventud involucrarse con amor y pasi�n a los estudios " Es la herencia que nos dejan nuestros padres y es el �nico camino para alcanzar ser exitosos en el futuro, no debe importar el sacrificio, al final si alcanzamos las metas" finaliza.


Nicolas Entel
NALIP Estela Award winner's film covered in El Pais

By Mario Vargas Llosa. Originally published in Spanish in Madrid's El Pais newspaper.

Nicolas Entel has made a magnificent documentary that tells the story of Sebastian Marroquin, the son of famous Colombian kingpin Pablo Escobar, who died riddled with bullets in 1993.

Television has been an extraordinary invention. We know this. But it has also been a formidable waste. Instead of elevating everyone's culture and sensibility, it has rendered banal and frivolous a great number of human beings, whom the images of the most successful shows on the small screen -so filled with vulgarity, gossip and yellow journalism- exonerate from worries, spiritual and intellectual concerns, as well as from the discomfort of thinking.

This fact is only made more evident when a show appears that is capable of taking advantage of everything television has to offer to enrich information, knowledge or the pleasure of watchers in a way that is both original and creative. I remember some such shows, which stood out in an Olympic way from the ocean of idiocies in which their peers tended to splash: Panorama, on the BBC, which every week offered a new and deep investigation on political events of interest both on the United Kingdom and the world; Apostrophes, by Bernard Pivot, which every week examined the literary actuality of France with such subtlety, intelligence and amenity that it was seen by millions; 60 Minutes, on CBS, which in three or four sequences of merely thirteen minutes a piece offered a fascinating synthesis of the most outstanding events and characters of the world stage.

Well, the documentary Sins of my Father, a 90-minute feature documentary directed by Nicolas Entel, broadcasted some days ago in Spain, reminded me of the highest television accomplishments that I can recall and, once again, made me regret the uses that producers and networks give to a medium that, in skilful and upright hands, is able to explore the reality around us in a vivid and intimate way; to find in the chaos it represents an order that makes it intelligible and, in this way, not only interest us and move us like a work of great fiction, but also illustrate to us the truths and lies of the world we live in.

To say that Sins of my Father is the story of Sebastian Marroquin, the only son of Pablo Escobar, the most famous drug trafficker of Colombia, with a record of crimes and violent acts without parallel, is to say very little. This is because the confession of the young protagonist of this documentary, more than a testimony of the horror and the blood in which his life and that of his mother and little sister took place - the three miraculously survived an attack from his father's enemies, who exploded the Monaco building, where they lived, with 700 kilograms of dynamite - is the most persuasive and most dramatic radiography of the phenomenon of violence which Colombia went through in the 80s and 90s, depicting both the war between cartels and that between the latter and the forces of order.

This macabre dance involved millions upon millions of illicit dollars and tens of corpses, terrorist attacks, kidnaps, insecurity, chaos and, above all this, the figure of Pablo Escobar, hated for his crimes and robberies and worshipped for his populist excesses - like building a fairy zoo in his Antioquian land and giving away 5,000 houses to the poor living in garbage dumps; of Pablo Escobar, finally shot down by the police in 1993. His son, then fifteen years of age, announced that same day on the radio that he would avenge his father's death, killing his justiciaries. But a few days later he took his words back, asked for forgiveness and vowed not to perpetuate the paroxysm of violence that was bleeding his country.

One of the great merits of Nicolas Entel's documentary is to show unequivocally that the son of Pablo Escobar delivered on his promise. It was not easy. He and his mother had to flee Colombia under false identities; a cinematic escape that led them through Ecuador, Peru, Mozambique and Brazil before they landed in Buenos Aires where, not without inconveniences -including prison, where Escobar's widow spent some time accused of money laundering, and being blackmailed by an accountant that discovered their true identities - they remade their life little by little in an attempt to obtain normalcy: she, selling real estate, and Sebastian as an interior designer.

How did Nicolas Entel convince Sebastian Marroquin to undress his life in front of the camera? That is, accepting to return to a risky life that he and his family had avoided with so much determination for all these years. In the documentary he explains: even if one tries, one cannot run away from his past. The only way to leave it behind is to confront it, with courage and lucidity. He does this, in an intense and tearing way. He asks for forgiveness to all the victims of Pablo Escobar and his gunmen, and his words have a truthful, not gruesome, tone, and seem to express a will towards expiation acquired in long years of reflection and suffering.

The climax of the documentary is the meeting of the son of Pablo Escobar with the sons of two Colombian politicians assassinated by the Medellin Cartel: the Minister Rodrigo Lara Bonilla and the presidential candidate Luis Carlos Galan. Sebastian Marroquin wrote to them first, asking them for forgiveness, and these victims, whose lives were destroyed by the violent death of their fathers, forgave him and accepted to meet with him. Their meeting shivers the spine; a tension cuts palpably through the air while Sebastian, with a strangled voice, explains what he feels and has felt all these years about the homicidal craziness that surrounded his infancy and youth and the havoc his father wreaked around him. The camera has in these moments the mysterious faculty that is imprinted on it by the talent of a good filmmaker: to scrutinize beneath the words and the gestures the truth or the lie of the character before it, to give away its impostures or to ratify its sincerity. In the discomfort it tries to overcome, in the tremble of his voice, in the evasiveness of his eyes, in the tension that seizes him, in the sobs he seeks to contain, it is evident that that which Sebastian says to the sons of Lara Bonilla and Galan, he truly feels. They all understand it this way, and that is why their answer is no less authentic.

Even if Sins of my Father is not specifically a documentary about drug traffic, this is the ultimate cause of that orgy of money, violence and cruelty that shook Colombia then, is shaking Mexico now, and is throwing its tentacles all across Latin America. And one of the conclusions that transpires from the work of Nicolas Entel is the illustration of the futility of judges, police officers, dungeons, prohibitions and sentences to combat such a scourge. There is too much money at stake and a market so ferocious that drugs will inevitably be produced, distributed and commercialized as long as there are consumers that demand them. Repression will not have any other effect than to take the lives of more innocent victims and to increase the price of this forbidden merchandise, which means that those who pull the strings of the drug business will earn more, and will have better weapons to kill and more money to bribe and corrupt, so that violence will continue and the institutions and governments will be progressively corrupted by that acid until democracies devoid themselves of any content and only a fallacious embellishment remains. The truth is, drug-trafficking ceased to be a police affair a long time ago. Now, due to the proportions it has reached, the vertiginous sums of money it controls, and the social and political power that derives from it, it has become an essential problem on which the survival or the collapse of the democratic regimes of Latin America now depends.


 
 
 

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