|May 1, 2007
Applications are now being accepted for the fifth session of the CBS Diversity Institute's Writers Mentoring Program. The submission period is April 1, 2007 - June 1, 2007.
The Writers Mentoring Program helps aspiring writers to break in and move up in the business. Each participant is matched with two mentors - one is a senior level writer/producer on a CBS primetime series, the other is a CBS or Paramount TV creative executive. Participants meet regularly with their mentors for advice and support on improving their writing skills as well as career advice and guidance
With a total of 19 graduates in its first three years, the Program has launched 13 careers in episodic television.
The primary focus of CBS' Diversity Institute Writers Mentoring Program is to provide access and networking opportunities for talented and motivated diverse writers – with a focus on writers of color. The program is based in Los Angeles. It begins in October 2007 and runs through the end of May 2008.
The Writers Mentoring Program is not employment and there is no monetary compensation. It is, instead, a structured program of career development, support, and personal access to executives and decision-making processes; with the goal of preparing aspiring writers for later employment opportunities in television.
For more information and an application visit www.cbsdiversity.com
NewLatino Filmmakers Screening Series presents a Pre Cinco de Mayo film celebration featuring the work of two NALIP-New York member's films -- Elvira Carrizal's "Lunch Money" and Verena Faden's Category 4."
Wednesday, May 2, 2007 - 7PM Sharp - Q&A session following the screening with the two filmmakers.
Anthology Film Archives
32 Second Avenue (at 2nd Street) - NYC
* "LUNCH MONEY"
Directed by Elvira Carrizal / Writer: Deneen Reynolds
Cast: Rashida Davis, Nedra McClyde, Dionne Audain, Jerome Preston Bates
Thirteen-year-old Ta’Keisha ditches classes and her friends to hook up with boys for lunch money.
* "CATEGORY 4"
Written & Directed by: Verena Faden
Cast: Steven Bauer (Scarface, Traffic,The Lost City), and Ivelin Giro (El Zorro, Decisiones, Bad Boys II )
The film captures a Cuban-American family weathering their relationships and a hurricane. Confined by her deteriorating family life, 17 year-old Alexandra struggles to assert herself as an adult. With the oncoming storm, she is forced to choose between her boyfriend and her family. "I thoroughly enjoyed my experience being directed by this young, creative talent," says Bauer. "She has a sharp eye for detail and an innate understanding of human behavior which is translated through her writing and direction."
Curated by Edwin Pagan
Named one of SoCal's top-five fests by LA Weekly, this year sees awards going to Parker Posey, the directors of Little Miss Sunshine, a special citation to punk icon Alice Bay by the Go-Go's Jane Wiedlin, and much more.
Silver Lake Film Festival, a nonprofit arts organization, was established in 2000 to provide a showcase for truly independent-alternative films in the entertainment capital of the world. Seven years later, the festival has evolved into Los Angeles' leading independent film, music & art festival, and the only major media arts event in the city's hip and burgeoning Eastside, which includes Silver Lake, Los Feliz, Echo Park, Hollywood and Downtown.
For the latest information on all the parties, films, music, and goings-on for LA's hippest fest, visit: www.silverlakefilmfestival.org
The Revolution Trilogy Boxed Set is now available on DVD. Three Classics from "the Mexican John Ford."
Fernando de Fuentes was by far the most talented filmmaker of early Mexican sound cinema. Three films from his greatest achievement, a tragic trilogy set during the Mexican Revolution, are collected in an exclusive 3-DVD set.
Prisoner 13 (1933) concerns a son who pays for his father's faults and a desperate mother who tries at all costs to save her son's life.
El Compadre Mendoza (1933) examines the corrupted ideals of the Revolution by way of an opportunistic landowner who must choose between remaining loyal to Zapata's army or saving his own skin.
Let's Go with Pancho Villa (1936) follows six young men who leave their rural homes to join Pancho Villa's army, enduring hardship, loss, and disillusionment in the process. Shot by Gabriel Figueroa (The Fugitive).
3-DVD set. In Spanish with English subtitles.
Available Now! Only $49.95 Order Today at:
Sundance Institute has announced the selection of 13 projects for the annual June Directors and Screenwriters Labs, which will take place at the Sundance Resort in Utah from May 28– June 28, 2007. These Labs are the core of the Feature Film Program which was conceived to support emerging American independent directors and screenwriters. The Labs have evolved to include emerging film artists from around the world. The Labs provide an opportunity for filmmakers to develop distinctive new work under the guidance of accomplished Creative Advisors in an environment that encourages innovation, collaboration, and risk-taking,
WATER & POWER by Richard Montoya (writer/director) is about twin brothers nicknamed “Water” and “Power” from the Eastside streets of Los Angeles who rise through the city’s political and police ranks to become players in a complex and dangerous web of the powerful and corrupt of Los Angeles.
Richard Montoya is a founding member of Culture Clash, a performance trio that has been creating works for the national stage since 1984. WATER & POWER, which was presented in the 2006 season at the Center Theater Group/Mark Taper Forum in Los Angeles, is an official submission for this year’s Pulitzer Prize in Drama. CHAVEZ RAVINE, ZORRO IN HELL and WATER & POWER represent a trilogy of works committed to exploring the Chicano experience in Southern California. New works for the stage include PALESTINE/NEW MEXICO and 32 COFFINS; both plays explore narratives of the ongoing Iraqi civil war. Montoya is an actor and Cultural Affairs Commissioner for the City of Los Angeles.
New York Nalipster Richard Martinez has scored "Take the Bridge," a film currently in the Tribeca Film Festival.
Directed by Sergio Castilla, and filmed in Washington Heights , "Take the Bridge focuses on the vibrant Dominican community of this Upper Manhattan neighborhood when four young adults who meet after a suicide attempt become inseparable friends.
For more information go to www.tribecafilmfestival.org
PRIMERA COMUNION, a film written and directed by NALIP membership coordinator Daniel Eduvijes Carrera received the Jury Award for Best Narrative Short at the 10th annual Cine Las Americas International Film Festival. Held on April 19-26 in Austin, Texas, Cine Las Americas showcases the best in Latino and indigenous cinema.
In PRIMERA COMUNION, a young outsider is confronted with the harsh rituals of a rustic Mexican pueblo where cruelty underlies street life and Catholicism alike. Filmed on location in historic Atlatlahucan, Morelos (Mexico) with a cast composed primarily of the town’s children, the film is Daniel’s graduate thesis for an MFA in screenwriting and directing from Columbia University in the City of New York.
For more information regarding PRIMERA COMUNION, please email Daniel.
For a complete list of festival winners or for more information about the Cine Las Americas film festival please visit www.cinelasamericas.org
Apr. 26, 2007 - (Chicago Tribune) - Growing up in Mexico City, Jorge R. Gutierrez watched a lot of American cartoons and read American comic books, dubbed and translated into Spanish. Like many kids, he loved the adventures of the icons in capes and tights. But after a while, he wondered why Superman, Batman, Wonder Woman and their pals were so white bread. "I would watch 'Los Super Amigos' [the 1970s version of the "Justice League" cartoon], and I would wonder, 'Where's the guy from Mexico?'" says Gutierrez, a 32-year-old animator. Meanwhile, 1,700 miles away, another future artist was growing up in Tijuana. Living in a bustling border city, Sandra Equihua enjoyed "the best of both worlds" of Mexican and American television. She loved cartoons, and she watched the U.S. programming in English. Full Story here
From AHAA Conference: Google Enters Market and Social Networking Is Hot Topic
Apr. 30, 2007 - CHICAGO (AdAge.com) - The fast-growing audience of online Hispanics - and how to market to them - was the hot topic at the spring conference of the Association of Hispanic Advertising Agencies last week. The number of Hispanics using broadband at home grew from 40% of online Hispanics to 61% last year, while their use of social network sites soared by more than 200%, researcher Tamara Barber from Forrester Research told the 500 people who attended the AHAA conference April 26-27. Full Story here
May 30, 2007 - LOS ANGELES (AP) - Wilmer Valderrama and the producers of "American Idol" are getting into business together. The actor, who starred in Fox's "That '70s Show" and has branched into production (MTV's "Yo Momma") and movie roles ("Fast Food Nation"), will develop and possibly star in series projects for FremantleMedia North America. Valderrama, 27, and producing partner Danny Villa will establish offices at Fremantle in Burbank for the actor's WV Enterprises, his publicist said Monday. The "first-look" deal with Fremantle includes both scripted and reality shows. Full Story here
Apr. 27, 2007 - SAN ANTONIO (San Antonio Express-News) - Even though the U.S. Supreme Court answered the question in 1954, people still ask: "Aren't Mexican Americans 'white'?" And few realize that the answer forever changed Latinos' legal status everywhere. Yes, Hernandez vs. Texas remains little known as its importance is underappreciated. "I didn't learn anything about this case in University of Chicago (Law School)," says Carlos Sandoval, an inactive attorney who began making a documentary about it in 2002, when he realized that it wasn't until the 1950s that Latinos were afforded equal rights protections. And by putting human faces on the case, he says, Latinos will finally start sharing their history with fellow Americans. Full Story here
Nielsen Media Research’s Senior VP of Hispanic Services, Doug Darfield (former Univision executive) was recently quoted in a trade publication responding to why Nielsen doesn’t match census data for Nativity (U.S. born / non U.S. born Latinos) in their Hispanic samples despite overwhelming evidence that Nativity is the major factor determining media consumption among U.S. Hispanics.
The following quote from Darfield was published in MultiChannel News’ Hispanic TV Update, April 4th, 2007:
“It is amusing. The poor fellow [Robert Rose] really does believe there is some sort of conspiracy there. Getting the information from the old sample will show that this in fact is not what was going on and never was going on,” he continues “My own personal belief is that what we’re going to find out is that by controlling on language we are going to have the born inside/born outside number exactly where it needs to be because they are surrogates on some level.”
How is Darfield so sure that Nielsen is not over-sampling foreign born Latinos? The company has gone on record numerous times stating they don’t ask that information. How can a research company, which makes its living on providing cold, hard and supposedly objective research, allow a key executive to make public assumptions without evidence or predict an outcome and still claim objectivity?
How does a multibillion dollar company like Nielsen allow a key spokesperson to make such broad, sweeping and irresponsible comments and still claim any credibility?
This, I’m afraid is modus operandi for this “objective” research company. When we first went public with concerns related to Nielsen’s erroneous sampling of U.S. Latinos in November 2005, Nielsen’s “spokesperson” Jack Loftus responded with public comments that bordered on hysterics that amounted to personal attacks rather than addressing the issue. His unprofessional and undignified comments were surprising. To see comments in full context go to www.HelpChangeTV.com/press
In August 2006, Darfield and I along with other marketing and research professionals familiar with the issue were invited to participate in a debate at the Texas Association of Broadcasters (TAB) meeting in Austin.
The behind the scenes at that encounter proved to be very telling.
THE REST OF THE STORY
Having known of Darfield from my Univision days, I held on to the belief that despite Nielsen’s misguided methodology and Darfield’s Univision connection, the company probably employed good, professional people who, if given the chance, would support a more accurate TV ratings service. Darfield, Ed Rincón and the other participants of the debate team had a good, civil, pre-debate rapport. All in good spirit, nothing personal, just people who were on different sides of an important, if complicated, issue.
A THREAT OR A FAVOR?
I was seated next to Darfield on the panel and just as the introductions began, he whispers over to me something to the effect “don’t worry I won’t mention how low your ratings are.” I was a little taken aback at what seemed like a not too veiled threat. Then I thought “why do I care?”
At AIM TV, our ratings are a source of pride for us, with over 1 million viewers weekly (according to Nielsen’s own studies), our broadcast syndicated shows provide, by far, the largest reach of any show in English targeted to U.S. born Latinos and we gladly use these ratings, just like the big media companies, to sell our advertising and to track our success. Our reach and ratings success is a big reason we do so well among Fortune 500 advertisers and have grown from 27 cities to over 100 the past five seasons. So disclose away! He’d be doing me a big favor.
I told Darfield as much, but realized right then and there that Nielsen Media Research was not just a company with misguided methodology and good people who wanted to do the right thing. It is a company bent on protecting its current financial situation at all costs, regardless of the outcome or tactics.
Darfield never followed through with his “threat” during his time at the podium, perhaps now realizing that what he had thought was a weakness (our ratings) was actually our strength. We were and are proud of our ratings (underreported though we believe, we make a very nice living off of them, thank you very much) and if Darfield knew anything about the TV business he’d know that, but he is in his own little “Nielsen” world, I suppose.
Darfield did manage to put at least one man in the sparse audience asleep with a presentation that seemed to fulfill a mission of “bore them to tears and maybe they’ll forget about the reason for the debate in the first place” going well over his time limit and expressing how “satisfied” Nielsen was with their current methodology. If I were making billions, uncontested, I’d be “satisfied” too. Over the past 7 years, I’ve traveled all over the U.S. in meetings with several hundred TV executives and I have yet to see anyone of their clients “satisfied” with Nielsen’s ratings (with the exception of Univision perhaps?).
When it was my turn at the podium, I used information in Darfield’s own presentation to prove the point that Nielsen does not properly sample U.S. born Hispanics. After the debate, he accused me of “intellectual dishonesty,” got very agitated and was led away. Video coverage of the debate can be found at www.helpchangetv.com/video
Over the past two years, Nielsen Media Research has spent untold sums sponsoring Latino and minority media and not-for-profit organizations such as the Annual Imagen Foundation Awards (where Nielsen CEO Susan Whiting was honored for her “contribution” to the image of Latinos on Television, something akin to a victim throwing a dinner party in honor of their assailant), the Congressional Hispanic Caucus Institute’s Annual Conference (that should keep lawmakers at bay), the 4th Annual Hispanic Television Summit, The Association of Hispanic Advertising Agencies, and the list goes on and on.
WHY FIX A PROBLEM WHEN IT’S CHEAPER TO PAY THE CRITICS OFF?
To me, their mission is clear. Why should Nielsen admit they are wrong and spend millions fixing something when they can spend much less on hush money keeping others who should be their harshest critics at bay? I’m surprised Nielsen hasn’t called me to head up one of their divisions with a nice, fat salary complete with benefits (I hear they have a great Healthcare plan).
As for me, Nielsen has accused me of acting in my own commercial self interest on this issue. This issue has costs our very small, very busy, independent company, tens of thousands of dollars in precious money and man hour resources (the websites don’t update themselves). Furthermore, we are not sure that a change in methodology would impact our business dramatically or even benefit our shows at all. But we are sure it would be a better, more accurate ratings service and in the end that should be the objective of everyone in the Television, advertising, research and marketing field.
Taking on an issue of this magnitude is NOT fun and I don’t enjoy it. It is financially, physically and emotionally draining and distracts us from our core business and creative missions. But right is right and this serious issue won’t get fixed unless Nielsen is forced to change, so I’ve vowed to not stop fighting until it’s fixed, completely and without bias.
INAPPROPRIATE RESPONSE TO A SERIOUS ISSUE:
Later in the same trade article Darfield goes on to say about our efforts: “It is not going to change anything. [Laughter.] This is one of history’s greatest tempests in a teapot, and I give kudos to old what’s-his-name there for stewing up the industry about absolutely nothing.”
“Old what’s-his-name”? Ouch, that stings and as tempting as it is to sink to a level of name-calling, I prefer to stick to the facts.
THE FACT STILL REMAINS:
Why aren’t U.S. born Latinos represented in the Hispanic sample matching U.S. census data like every other demographic consideration (sex, age, etc)? Why has Nielsen dodged the issue by first protesting vehemently then switching game plans and pretending “Nativity” has no impact on TV viewing (which flies in the face of almost every other piece of research done on the subject).
Why did Nielsen commit to study the issue in January of 2006, yet has not reported any results in well over a year? Then they said they had a study from 2003, where is that study? Why isn’t it publicly available?
Is it because they are waiting until they get the results they need so they can then say “nativity” is a non-issue and was really just a “tempest in a teapot”?
Judging by Darfield’s comments, I’d bet on it. I now believe after reading Darfield’s comments that if we see the results of a study at all from Nielsen, it will be for the sole reason of proving that their current methodology was not erroneous after all. They are just waiting on the “right” results before releasing them.
DARFIELD’S COMMENTS FIT THE NIELSEN PATTERN
The fact that Darfield resorts to personal attacks isn’t surprising or as disturbing as the fact that in the article he laughs and makes light of a very serious situation (the potential under-sampling of U.S. born Latinos, which means there are few TV programs for U.S. born Latinos and contributes to larger, very serious social issues).
Maybe he lacks the empathy gene or more likely he’s just doing his job, carrying out orders for his multibillion dollar, monopolistic employer who doesn’t give a damn about accuracy or the social implications of their mistakes, just their bottom line.
Hey, we all have to make a living, I understand. But we also all have to look at ourselves in the mirror everyday, and somehow, stomach what we see staring back at us and be able to sleep at night. Darfield and a few other folks at Nielsen may have a tough time doing that. As for me, I’m happy to report that I’ve been sleeping just fine.
Robert G. Rose’s opinions are entirely his own and do not necessarily reflect those of Artist and Idea Management, Ltd. or American Latino TV, LLC.
Provide creative vision, leadership and oversight to the production and execution of all original production for SiTV shows, short form and digital content. Supervise the creation, production & integration of all ad sale product integrations.
* Work with SiTV Programming to understand programming strategy, vision and creative standards to assure proper execution of SiTV productions
* Maintain quality control for the Creative Tone and Vision of each program
* Develop, allocate, approve, oversee and manage Budgets for all Original Production
* Work with finance to deliver on budget
* Help create departmental budgets and strategic plans.
* Hire Creative Personnel: Producers, Talent, Editors, Etc.
* Executive Produce all original programs
* Supervise Scripts and production of all shows
* View shows and give multiple rounds of specific edit notes
* Responsible for final delivery of all shows per Programming standards
* Guide and set agendas for multiple direct reports: Director of Post, Executive in Charge of Production/Prod Manager/Show Producers
* Set departmental goals and objectives while managing creative and personnel issues for staff and freelance employees
* Provide insightful and consistent creative direction in a myriad of small and large decisions from set design to music choices, from wardrobe to graphics
* Establish, maintain, and enhance creative relationships with producers and other creative personnel.
* Establish and create departmental systems to enhance production management and increase company-wide integration into the production process.
* Set departmental goals and objectives; lead creative meetings to foster ideas
* Approve all scripts, shoots, concepts and final edits of every SiTV original production.
* Prepare and deliver weekly status updates to inform management team
* Oversee production’s ongoing service to other SiTV departments whether it be dubs, clips, studio space, talent needs.
* Facilitate personal and professional skill development and growth among the production team, while building employee loyalty and a unified production team
* A minimum of 7-10 yrs experience producing and supervising reality programming and other forms of non-fiction programs such as talk, magazine, game etc.
* Must have a detailed knowledge of budgets and production planning.
* Candidate must be reliable, hardworking, energetic, and be a team player.
* Requires an understanding of the youth market
* Expert understanding of producing for multi-platform media applications.
TO APPLY: Candidates must meet the minimum requirement to be considered. Qualified candidates are asked to forward their resume AND salary history to email@example.com
SiTV Cable Network seeks full-time Post Production Supervisor for Evening Shift Monday-Friday (5:30pm-2:30am).
- Knowledge including but not limited to overseeing, supervising and maintaining staff schedules.
Assisting with show input/outputs to digi-beta and QC maintaining delivery schedules required.
Oversees, and maintains the technical/broadcast standards & delivery elements for all original programming while supervising the machine room staff including standard and high def.
Ability to multi-task and interface with Editors & Audio Mixers to organize and coordinate on-time delivery elements.
Must have exceptional knowledge of FCP and professional A/V & FCP troubleshooting skills as well as additional software knowledge and installation skills, networking skills, server media management with individual cut/projects.
Willingness to embrace projects to fulfill the overall needs of the Production Team.
Knowledge of the Latino culture helpful.
- A minimum of 5-7 years Post Production experience. Extensive background with various editing softwares including Final Cut Pro. Previous supervisory experience is mandatory. Ability to work the evening shift (5:30pm - 2:30am) a must.
Exceptional communication and leadership skills are required. Seeking an energetic and reliable candidate with the strong need to achieve excellence.
TO APPLY: Qualified candidates are asked for forward their resume AND salary history to firstname.lastname@example.org
I'm looking for a female screen-writer to adapt my 191 pages NOVEL into a script to be able to shop it around town.
I'm looking for a committed and experienced co-writer who believes in the project and with whom I can have a ping pong writing system with dead lines. The novel is in Spanish, and I would like to adapt it into English. The character has a very flowery vocabulary and thus you need to be completely fluent in both languages.
If you are interested please get back to me via e-mail and I'll give you all the details email@example.com
Seeking Artistic Editor, 1st AC, Sound Mixer/Boom Operator, Set Designer/Wardrobe, Audio Post, Script Supervisor or if you think you have something unique to contribute. HBO/NY Latino Film Festival is seeking the next hot 5 minute short. To qualify only the director must be Latino, everyone else on the team can be from anywhere in the world. Last year's winning team's short was purchased by HBO for airing and the director got a studio deal and is currently shooting a feature and also has a project with the producers of Crash - all from this 5 minute short. Seeking the above people to complete this crew. The short will be shot and cut to 15-22 minutes to qualify for award categories including Academy and another 5 minute version to be cut for HBO/NY Fest according to their rules. Will be shot digitally also as defined by the rules. Deadline is next week for the package being submitted to HBO/NY Fest including the requested short film script/bio. Shoot will happen thereafter end of May and/or June. Film is gritty, dark drama, about the lives of two very different women addicted to meth. 50%/50% visual to dialogue ratio so the visual artistry is very critical to this film especially during the drug induced scenes. We are seeking only those who want to explore work on this kind of material and can be part of a collaborative team as director is open to creative ideas. It will be fun yet intense as the material is quite intense. We are out to set the bar higher in short film making so if you feel you have something exceptional to contribute, let us know. Please do not respond if you are seeking pay. No pay. If we win, then we'll have a budget, but we have to seek a team that is willing to participate on this project one way or another as we intend to shoot it either way. If we get a budget that will be Bonus! When responding, please indicate if you are ok with that. We have a marketing strategy in place to hit the festival market (in key markets only) with one critical fest dealine fast approaching so we may move forward either way now with the shoot and on to the bigger recognition of the academy. Thanks all!
TO APPLY: contact immediately - firstname.lastname@example.org
Casting for a short film scheduled for a 4 day shoot in June.
The Role of
SANDRO: 13-16 years old. Male Lead. Latino. Conflicted by opposing forced in his life. Has criminal bent. Rough and Tough exterior. Has a streak of compassion. Can tell a great story-good with language.
TO APPLY: please contact April at email@example.com or call production office at: 310-273-1984
Stebner Studios currently casting for the upcoming film, SPY-MAN an experimental espionage film noir set to roll cameras in Los Angeles in the Summer 2007.
Please send submissios below: “Attention Brenda D. Alvarado”
Looking to fill the following characters:
SENATOR RIGHT (MALE - 50s) a mean and lean senator out for political power and world domination.
JOHN MADDOX (MALE – 30s) a journalist that gravitates to the left with a keen love for uncovering the dirt on power hungry figures.
CALACA MARTINEZ (MALE – 20s-40s) a professional assassin and muscle that sells out to the highest bidder and cold skull eyes.
DONNIE CHIPS (MALE – 40s) a Mafioso on the downward slope into the shadows of political power.
ALEXIS (FEMALE 20s-30s) a calculating professional secret agent with a uncompromising focus to her work.
SARA (FEMALE - 20s) a classy woman that must retrieve the truth that will keep here alive or send her to a quick death.
YAKU GI (ASIAN FEMALE – 20s – 30s) an ex yakuza bodyguard turned professional hitwoman.
TALI (FEMALE 2Os) – a romantic interest for SpyMan.
COCO DE LA TOUR (FEMALE 30s) a French assassin who tangles the spider web of deception with precise execution.
Well known client is seeking an AMAZING Male Voice Talent for a ten day, fun-filled promotion in Miami.
1. You must be an experienced MC.
2. You must be Bilingual, fluent in English and Spanish.
3. You must be available for ALL work dates (see below), and one conference call.
PAY RATE: $400 per day
--must take on the personality of the vehicle on site and promote the product with talking points (these will be provided by the client ahead of time)
--must have the ability to improv off of the reactions of the consumers
--must be witty and humorous to engage the consumers in conversation and invite them to take a free sample from the brand ambassadors on site
--must assist in the set up and break down of the audio equipment
You MUST be available for all the dates listed below, as well as a mandatory conference call you must be on (date TBD).
June 2-3, 9-10, 16-17, 23-24, 30 and July 1
10:00 am - 6:00 pm (all dates)
Email ALL the information required below to:
PLEASE INCLUDE THE FOLLOWING INFORMATION TO BE CONSIDERED FOR THE JOB, ASAP:
1. First and last name
2. Mailing address
3. Mobile phone number
4. Email address
5. Brief description of your voice over talent and work
6. Professional photo/headshot MUST BE ATTACHED
7. YOU MUST BE BILINGUAL (English/Spanish) - Please state in your reply.
8. MUST HAVE ACCESS to record the script to an .mp3 File that can be emailed to us. Script will be emailed to you by us as soon as we are in contact with you.
We will be in touch. Thank you.
Latino Actors, English-speaking, for our fall 2007 production of "The Women of Juarez" in English. (Latino accents ok as long as they're fully comprehensible.)
1 Mother, 30s-50s
2 Daughters, 18-20s
1 Father, 30s-50s
1 Boyfriend (Juan Carlos), 18-20s
Female Chorus Members, various ages and types
Male Chorus Members, various ages and types
Auditions will consist of reading from the play, to be provided during the audition.
Synopsis: A Mexican mother searches for her missing daughter in the border city of Juarez where hundreds of young women have disappeared or been killed in this riveting drama based on actual events.
(Play will run at Phoenix College's John Paul Theater from September 1-16th. Rehearsals begin August 7.)
AUDITION DATE: May 16, 2007, 6:30pm-10:00pm
At Fine Arts Center (FAC) 131, Arizona State University
Corner of Mill Avenue/10th Street
FOR APPOINTMENT: 602-258-1800 or email firstname.lastname@example.org
I have been on your "Latinos in the Industry" online newsletter's mailing list since last year. It finally occurred to me that you may know writers who need an editor or proofreader. Or maybe they could use a professional critique or consultation before taking things to the next stage? For the past several years, my company, NLI, Inc., has performed copy editorial and editorial proofreading services for Black Classic Press, Elsevier Inc. (the international medical publisher), and for individual authors in the Mid-Atlantic and other regions. I would like to offer NLI, Inc.'s services to any authors you recommend.
For info on rates, etc., writers can click on the "Writers In" link at:
Elliot Bratton, Director, NLI, Inc.
Editing--Proofreading--Consultations: Fiction, Nonfiction, Screenplays, Poetry
Alex Mendoza & Associates
AMARTE Design & Digital Printing
9513 Longden Avenue
Temple City, CA 91780
1323 Lincoln Blvd., #220
Santa Monica, CA 90401
To post news, announcements, business data or job postings, please click on the following link: email@example.com.
To SUBSCRIBE send an email to admin-LITIfirstname.lastname@example.org or to UNSUBSCRIBE send an email to admin-LITIemail@example.com
The Latinos in the Industry e-Newsletter is a free service provided by the National Association of Latino Independent Producers (NALIP) with the generous assistance of Alex Mendoza & Associates (AMA) in an “as-is” basis for the education and information of users only. 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.