Shonda Rhimes is often called a trailblazer – but she sees it differently.
Shonda Rhimes is often called a trailblazer – but she sees it differently.
Check out Travel Channel’s Planet Primetime led by Latina showrunner, executive producer and NALIPster Esther Reyes!
and Cooper Thornton
From Nashville to Montreal...
When young Joe finds out that the cartoon character he’s in love with is based on a REAL LIVE GIRL, he drags his single father Alex on a road trip to track her down. So what happens when a pit stop in New York sends them off course...?
Saturday, September 26
*Signed, limited edition movie posters will be for sale.
For tickets go to https://cartoongirl.eventbrite.com
The night she won the Golden Globe for her warm, funny and versatile work as the kindhearted title character in the CW comedy "Jane the Virgin," Gina Rodriguez brought her whole family — Mom and Dad, her two older sisters and their husbands — to the celebrity-filled InStyle after-party at the Beverly Hilton. They hung out for about an hour, people watching, but Rodriguez mostly sat with her parents while her sisters Iveliss and Rebecca tracked down Channing Tatum for a selfie.
While you’d be forgiven for thinking that behind every great film is a limitless budget, it would surprise many to learn that you can actually create an excellent, ripe-tomato-of-a-film on a small budget.
A little ingenuity mixed in with perseverance and good, honest hard work can go a long way: Just look at Paranormal Activity. With a paltry budget of $15,000, it ended up grossing $3.5 million worldwide — what a margin!
Here are our tips for great filmmaking on a shoestring:
An ethnically diverse cast is paying off in a big way for Furious 7.
The Universal movie opened to a franchise-best $384 million over the weekend at the global box office, including $143.6 million domestically — the biggest debut since The Hunger Games: Catching Fire in November 2013 ($158 million). More impressive, its global bow was the fourth-best of all time.
According to Universal, 75 percent of the audience in North America was non-Caucasian, generally in line with previous installments. Hispanics, the most frequent moviegoers in the U.S., made up the majority of ticket buyers (37 percent), followed by Caucasians (25 percent), African-Americans (24 percent), Asians (10 percent) and other (4 percent).
"The importance of diversity of the ensemble cast in the Fast and Furious franchise has been an integral part of the success of the brand," said Rentrak box office analyst Paul Dergarabedian. "There is literally someone within the cast that is relatable on some level to nearly every moviegoer around the world, and this has paid big dividends at the box office and also in terms of how casting decisions will be made in the future for these types of large-scale action epics."
Dergarabedian and other box office pundits are hard-pressed to think of another franchise that is as ethnically diverse, even as Hollywood in general is criticized for a lack of diversity both behind and in front of the camera.
Furious 7's ensemble cast includes Vin Diesel, Michelle Rodriguez, Tyrese Gibson, JasonStatham, Dwayne Johnson and, of course, the late Paul Walker. Christopher "Ludacris" Bridges, martial artist Tony Jaa and Djimon Hounsou also star.
"Someone that I admire quite a lot recently said this is a franchise that really looks like America, and there are characters that everyone can relate to. I think that's a big plus," said Universal president of domestic distribution Nicholas Carpou.
Overseas, Furious 7 opened to $240.4 million, the No. 3 foreign opening of all time — also pointing to the broad appeal of the cast. The movie delivered huge results in Latin America, Europe and Asia (Mexico led with $20.8 million, followed by the U.K. with $19 million). In 26 countries, the movie delivered the biggest opening weekend of all time, including Mexico and Taiwan ($10.3 million).
The desire to see Walker one last time no doubt contributed greatly to Furious 7's stunning performance. Universal intended to open the seventh installment on July 11, 2014, but production was halted in November 2013 when Walker died in a tragic car crash during a Thanksgiving hiatus.
Check this out on www.hollywoodreporter.com
Since President Obama eased tensions with Cuba late last year, the film community in the island nation has been optimistic, if cautiously so, about striking new relationships with its counterpart in Hollywood, and hopeful it can reform the Cuban film industry to compete on the world stage.
“Many (American) directors have expressed — more or less privately — their interest in filming in Cuba,” says Luis Barrera, senior advisor at the Cuban Institute of Cinematographic Arts and Industry (ICAIC), the government-run film commission that, in essence, acts as the sole movie studio in Cuba. “On the other hand, Cuba has its own tradition in cinema, and is among the leading lights in the Caribbean region,” he adds. Helmers like Alejandro Brugues (“Juan of the Dead”) and Daniel Diaz Torres (“La Pelicula de Ana”) are some filmmakers who’ve gained international recognition.
Barrera notes that it’s also important for Cuba to build an efficient and competitive infrastructure, with professional crews experienced not only in local productions, but in co-productions with Europeans. “This is one aspect we can quickly work on, as well as looking toward investments and joint ventures, including tax rebates and other incentives to attract U.S. filmmakers,” Barrera says.
Local filmmakers, though, worry that ICAIC will prioritize the needs of foreign productions that want to film in Cuba over the needs to develop those of the nation’s own creative talent.
“The first step should be to see how Cuban cinema can flourish from this relationship on its home turf, and hopefully not get swallowed up by the great machinery of the U.S. film industry,” says Carlos Quintela, whose second film, “The Project of the Century,” about three generations of a Cuban family living near an abandoned Soviet nuclear power station, won a Tiger award at Rotterdam after being acquired for international sales by Berlin-based M-Appeal.
Filmmaker Yassel Iglesias, who made 2012 doc “The Chosen Island,” about Jewish emigres in Cuba, which ultimately brought him to the U.S., sees progress coming only after regulations ease. “I think that (reform) will definitely help the production of Cuban films,” says Iglesias, “but I can’t use the phrase ‘Cuban film industry’ yet, because so far there have been no reforms or laws that recognize new independent companies, and the only ‘industry’ is ICAIC, which many Cuban filmmakers refuse to work with.”
Many Cuban filmmakers have had to seek funding overseas. Quintela, a former student at the Intl. Film and Television School (EICTV) in Havana, started a production company in England and raised coin for “Project of the Century” from Argentina (with production shingle Rizoma Films), as well as tapping coin from the Rotterdam fest’s Hubert Bals Fund.
At its heart, Cuba is a warm, welcoming nation full of vast promise and rich potential, yearning for opportunity, both economically and artistically. Despite its communist roots, the country has an entrepreneurial spirit, built of raw necessity plus a desire to make its own way, without an intrusive government or an overbearing next-door neighbor.
For now, the greatest obstacle to rebuilding the local film industry may well be the lack of freedom of expression. The promise that a diplomatic thaw would change that took a blow when Boris Arenas Gonzalez, a professor at EICTV, was fired after being jailed for attempting to participate in a free-speech-themed performance-art event. Especially troubling is that the school, which has an international charter, has been a beacon of free speech in Cuba for students and filmmakers from around the world.
The hope is that this is a momentary blip on the radar, and that the thawing of relations with the U.S. will bring more free expression and less government intervention. “I think it’s a historical change that presents opportunities and challenges to both nations,” says Barrera.
Quintela agrees. “If we were to combine the shared histories of both countries, there would be enough material to create movies of great significance.”
For Iglesias, who just finished shooting his latest film, “Lois” in Havana, the future is already beginning to take shape. “There’s more hope, and Cubans need that. A year ago, nobody thought of change, and to find a smile on the streets was harder. Today people scream, ‘Ya somos amigos de los Yuma!’ — Now we are friends with the Americans! And there is laughter, and rum … of course.”
Check this out Variety.com
The 5th Annual Cinema Tropical Awards have announced the 2015 nominations that recognize international Latin American filmmakers and their work. NALIP is proud to announce that dominating the Best U.S. Latino Film category are 3 out of 5 NALIP members:
(Richard Ray Perez, USA, 2014)
(Cristina Ibarra, USA, 2014)
(Rodrigo Reyes, USA/Mexico, 2013)
You can get learn more about these nominated films and the filmmakers at nalip.org under our ‘Members Work’ section.
The Cinema Tropical AWARDS, created in 2010 to honor excellence in Latin American filmmaking, is the only international award entirely dedicated to honoring the artistry of recent Latin American cinema. Visit CinemaTropical.com to check out the accompanying nominees.
The NALIP family is excited and proud to congratulate Gina Rodriguez for her Golden Globe nomination in the category of Best Actress in a TV Series, Comedy or Musical for her lead performance in CW's Jane the Virgin. A well deserved recognition for arduous and talented work, a true representation of the quality of our Latino artists and creators out there.
Chris Rock is at it again! The Top Five comic star talks more about race in his cover essay for The Hollywood Reporter. He specifically focuses on race in Hollywood and the struggles still faced by minority actors. Rock even touches on the slave state of Mexicans in La La Land.
“But forget whether Hollywood is black enough. A better question is: Is Hollywood Mexican enough? You're in L.A, you've got to try not to hire Mexicans. It's the most liberal town in the world, and there's a part of it that's kind of racist—not racist like ‘F— you, n----r’ racist, but just an acceptance that there's a slave state in L.A. There's this acceptance that Mexicans are going to take care of white people in L.A. that doesn't exist anywhere else. I remember I was renting a house in Beverly Park while doing some movie, and you just see all of the Mexican people at 8 o'clock in the morning in a line driving into Beverly Park like it's General Motors. It's this weird town.
You're telling me no Mexicans are qualified to do anything at a studio? Really? Nothing but mop up? What are the odds that that's true? The odds are, because people are people, that there's probably a Mexican David Geffen mopping up for somebody's company right now. The odds are that there's probably a Mexican who's that smart who's never going to be given a shot. And it's not about being given a shot to green light a movie because nobody is going to give you that—you've got to take that.
The shot is that a Mexican guy or a black guy is qualified to go and give his opinion about how loud the boings are in Dodgeball or whether it's the right shit sound you hear when Jeff Daniels is on the toilet in Dumb and Dumber. It's like, ‘We only let white people do that.’ This is a system where only white people can chime in on that. There would be a little naiveté to sitting around and going, ‘Oh, no black person has ever green lighted a movie,’ but those other jobs? You're kidding me, right? They don't even require education. When you're on the lower levels, they're just about taste, nothing else. And you don't have to go to Harvard to have taste.”
What do you think of Rock’s comments? Let us know below!
Check this out at Latina.com