Win Prizes At NALIP 10: A Decade Of Influence! Loteria Tickets Available Online or On Site!
What filmmaker does not need some cash to push forward their project? Wouldn’t it be nice to have a few thousand dollars to pay your editor, buy that equipment upgrade or even take some time off to polish your script? Could you use up to $2,500?
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Buy online. Pick up your tickets at registration. And buy more at the Conference! Need not be present or registered to win. All the ticket income goes to one lucky NALIPster at the Sunday closing convening.
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For more information on the Loteria and other exciting events happening April 17-19, 2009 in beautiful Newport Beach click here!
MovieMaker Magazine: NALIP Celebrates 10 Years
Article by Nora Murphy, MovieMaker
It’s not a surprise to discover that there is a lack of Latino representation in moviemaking. In order to draw more attention to this epidemic, 10 years ago a group of Latino producers, academics and media activists took it upon themselves to raise awareness that the Latino population is capable of getting involved just like everyone else. What resulted was the National Association of Latino Independent Producers (NALIP), an organization formed to bring together the Latino population in the film industry.
This April they celebrate “NALIP 10: A Decade of Influence,” a conference honoring the achievements that have been made since the organization originated. Chaired by moviemakers Frances Negrón-Muntaner (War in Guam), David Ortiz (Wanted, Hellboy) and Ligiah Villalobos (La Misma luna), the event will take place April 17-19, 2009 at the Island Hotel in Newport Beach, California.
Just weeks before the celebration kicked off, MM spoke with co-chairs Ortiz and Negrón-Muntaner to discuss their thoughts on the progress of moviemaking and the incorporation of Latinos since NALIP began.
Nora Murphy (MM): What encouraged you to create NALIP?
Frances Negrón-Muntaner (FN): Necessity. Ten years ago, Latino producers were working in isolation, lacking professional opportunities and largely ignored by all media institutions. NALIP was created to address all three issues by building community, creating opportunities for professional growth and opening up space for the production and dissemination of Latino stories.
MM: What changes have you noticed in the movie making industry in the past 10 years?
FN: There have been significant changes. Digital equipment and forms of distribution have made it possible for many more people to tell their stories. The boundaries between producers and consumers continues to blur, although this process is less democratic than assumed. There is also more openness to talent from Asia and Latin America. Yet, these changes have not made a big difference in the inclusion of U.S. Latinos into the American media industries.
MM: How do you think more Latino representation in movies can be achieved?
David Ortiz (DO): We have to remember that this is show business first and foremost and the only color people really care about is green. Urban movies don’t historically do well overseas; that is why they don’t sell them overseas. Will Smith is the biggest movie star in the world. Why? Because he is a star who is fun and people love him, even if his movies aren’t always perfect. Similarly, we need to create content and talent that is going to have a universal, commercial appeal that will generate revenue and create more of a demand for Latin talent and content. Hollywood is a reactive business, let’s give them something of quality that is a commercial success to demand more of.
FN: Almost everyone you talk to in the industry says that the issue is not discrimination against Latinos, but that people just tend to hire who they know and that they don’t know any Latinos. We need to eliminate this kind of self-fulfilling logic by creating effective programs that provide entry opportunities for Latinos in all positions, including executives, screenwriters, producers, directors and actors. Otherwise, changes may either not happen or will happen at such a slow pace to make it even more distressing than it already is.
As part of this effort of equitable incorporation, we also need to effectively communicate why Latino exclusion represents such a significant problem. Most of the time, advocates argue that Latinos should be included because young Latinos are the biggest consumers of media in the top U.S. markets. But this is not only about what is good for business, this is also about ending persistent discrimination and gaining an entirely new understanding of the U.S. as a country.
For instance, the majority of people believe that Latinos are by and large recent immigrants to the U.S. But this is not the case. Latinos have been part of this country for hundreds of years, longer than many other Americans who take their identity for granted. The history of Latinos is then important to understand the U.S. For instance, without knowing about the Mexican American War or the Spanish American War, it is impossible to understand why there are so many Latinos here today and why the U.S. spans from coast to coast and beyond. Latinos are also a big part of the future of the United States. In less than 40 years, Latinos will be a third of the U.S. population. Including Latinos is then not only good for Latinos, it’s a necessity—unless we want to live in a country where 30 percent of the population is ignored by the media and deprived of media access.
MM: What has been your most memorable moviemaking experience?
DO: I was very fortunate and privileged to work on big movies like Wanted and Hellboy and Role Models, which were all financially successful and, although not perfect, definitely entertaining. However, the movie I’m most proud of is the latest Fast & Furious, because we had to jam on the script and collectively make sure the story made sense under the duress of the pending WGA strike. We had a really tough deadline and each night worked page by page, line by line with our superstar writer Chris Morgan and director Justin Lin to get it done. Execs don’t always have the time to participate so intimately with this part of the process, but I’m so proud of the final product. It was a great team effort. We won’t win an Oscar for Best Picture, but I think its the best of the four films in the franchise.
FN: As a director, my most memorable moviemaking experiences are always about talking to the audience. Before that point, you haven’t really made a film.
MM: This year you’re honoring Rafael Montañez Ortiz. How has he inspired you and your work?
FN: When I first heard of Montañez Ortiz, I was inspired by his trajectory as an artist and activist. Here was a Latino born in the early 1930s who has a great impact, no pun intended, on many fronts. He was one of the first Latinos to work with film as an art form. In the 1950s, he was also one of the first artists, Latino or not, to experiment with found film and use it to critique racist ideologies. And this was well before the civil rights movements of the 1960s and 1970s.
Moreover, he was at the forefront of thinking about how to break down the boundaries between artist, artistic object and audience, a question that is now at the center of contemporary culture. Equally important, he was a co-founder of El Museo del Barrio located in East Harlem, the first museum in the U.S. dedicated to the artistic production of Latinos.
MM: What are the group’s plans for the future?
DO: Onward and upward. We’ve discussed a more permanent site for the conference as well as a building which members can call their own. I can see the talent’s growth and know we’re close to having our own Guillermo del Toros and Alfonso Cuaróns emerge. The organization will continue to foster such talent and become more of a resource for Hollywood to find the next wave of filmmakers.
FN: To be so successful that we are no longer needed.
Visit http://www.nalip.org for more information.
Latinos to Premiere at Tribeca
The Tribeca Film Festival unveiled its narrative, documentary and Discovery competition roster Monday morning, featuring a new streamlined event with 84 features and 46 shorts screening April 22 - May 3. This year’s line up includes includes 46 world, five international, 13 North American, 3 U.S. and 11 New York City premieres, as well as eight titles, which are part of the event’s third annual Tribeca/ESPN Sports Film Festival. 2,254 films were submitted for consideration this year, according to figures provided by the fest.
The “Discovery” section includes the world premiere of ENTRE NOS, directed and written by NALIPsters Gloria La Morte and Paola Mendoza (USA, Colombia). It stars talented co-director Paola Mendoza as the adoring mother Mariana, who has toted her two children from Colombia to New York to indulge her husband’s whim. But when he abruptly abandons the family, she has to rely on her own imagination and courage—and that of her remarkable kids (breakthroughs Sebastian Villada and Laura Montana)—to survive insurmountable odds during their first summer in the United States. In Spanish with English subtitles.
The Tribeca Film Festival has also announced its out-of-competition feature film selections in the Encounters, Spotlight, Showcase, Restored/Rediscovered and Midnight sections. In the Encounters, Michael Cuesta will premiere his new narrative feature TELL-TALE, inspired by the classic Edgar Allan Poe horror story. Michael Cuesta’s (L.I.E., Twelve and Holding) chilling tale follows Terry (Josh Lucas), a single father whose recently transplanted heart leads him on a frantic search to find the donor’s killer before he meets a similar fate. This unsettling psychological thriller features Lena Headey, Brian Cox and Dallas Roberts.
The Spotlight section will include NALIP Conference 9 co-chair Frida Torresblanco and keynote speaker Carlos Cuaron’s RUDY Y CURSI. The film stars Gael Garcia Bernal and Diego Luna, and was also produced by Alfonso Cuaron (Children of Men), Guillermo del Toro (Pan’s Labyrinth), and Alejandro Gonzalez Inarritu (Babel), through their groundbreaking new company Cha Cha Cha. This is a riotous film about a pair of thickheaded stepbrothers whose rivalry takes them from their jobs on a small-town banana ranch to star spots on opposing soccer teams. It will be released through Sony Pictures Classics.
Other films on Latino topics will also be screening at the Tribeca Film Festival including:
”P-Star Rising,” directed by Gabriel Noble. (USA) - World Premiere, Documentary. In the early ‘80s, Jesse Diaz was a rising star in the hip-hop world. Now a broke single father in Harlem with two children to support, Jesse finds a shot at redemption in his nine-year-old daughter Priscilla Star, a precocious and immensely talented rapper. Director Gabriel Noble follows four years of father-daughter ups and downs as they navigate the grit and the glamour of the music business.
”Which Way Home,” directed by Rebecca Cammisa. (USA) - World Premiere, Documentary. In this unprecedented, revelatory doc, director Rebecca Cammisa (Sister Helen) follows three unaccompanied children on a harrowing odyssey away from their homes in Latin America and through Mexico with one mighty shepherding hope: to reach the United States, where they can either reunite with their own families who made the journey before them, or create new lives for themselves.
Call for Entries: ACEFEST
Want your film played in New York City? ACEFEST is one of the most anticipated annual film festivals on the industry calendar with countless patrons, members, distributors, journalists, industry professionals and fellow filmmakers from all over the world waiting eagerly to see what the 2009 program has to offer!
As our Regular Deadline approaches April 29, we are very excited to pass along to you an exclusive 25% discount on all entry fees! Simply click the link below to get started!
Submission details and application: http://www.acefest.com/submit/4909.php