News & Updates
Director Pablo Larraín to Accept Best Latin American Film for NERUDA and Filmmaker of the Year Award.The 2016 Latino Lens Festival and Showcase, sponsored by NBCUniversal, to present awards to best Latin American work by Chilean filmmaker Pablo Larraín for his film NERUDA, starring Gael Garcia Bernal and Luis Gnecco, and Chile’s official Academy Award® selection for Best Foreign Language film, as well as best LatinX work by filmmaker Fede Alvarez for Don’t Breathe. Larraín also directed the upcoming biopic Jackie. The Latino Lens Award for Larraín will be presented by Pablo Cruz, who established Canana with Gael Garcia Bernal and Diego Luna. The awardees were selected from a nomination tier panel of experts and the winners were voted by the NALIP membership of Latino creators and producers.
NALIP is proud to announce the finalists for the Shorts Film Program of the second annual Latino Lens Festival and Showcase taking place October 30th at the Avalon Hollywood. After hundreds of submissions and much consideration, NALIP has chosen the four films to be featured during our Shorts Presentation. They are: 'Toyed' by Jorge "Jokes" Yanes, 'Mosca' by Lizette Barrera, 'Disco Inferno' by Alice Waddington and 'Blast Beat' by Esteban Arango.
Co-presenting the awards ceremony this year are Sandra Vergara and Carlos Yorvick best known for his work as Juan Gabriel in the TV series Hasta que te conocí. These two incredibly talented and young visionaries will join NALIP as we celebrate amazing Latino artists and their accomplishments.
At age 17, Sandra Vergara moved from Colombia to Los Angeles with her cousin, Modern Family actress Sofia Vergara. She studied FX make-up design and theatre, though it was the latter that captured her heart. In addition to numerous hosting appearances, she has appeared on shows like CSI: Las Vegas, NIP/TUCK and The Bold and the Beautiful. Most recently, Sandra co-hosted a show on E! with RuPaul called Good Work. She has also done several films, including starring opposite Colin Farrell in the Dreamworks’ feature Fright Night.
Carlos Yorvick is a Mexican actor best known for his recent work on the bio-series Hasta que te conoci, where he portrays a young Juan Gabriel, "El Divo de Juarez." Yorvick has also worked on commercials, music videos, theater productions as well as films such as 21 Outs, Black Water and Angela's Mask. He is currently working on his first album under the direction of music producer Toby Sandoval who's worked with other talented artists like The Black Eyed Peas, Paulina Rubio and Pedro Fernandez.
Be sure to catch these talented presenters in action at this year's Latino Lens Festival and Showcase, Oct. 30th at the Avalon Hollywood!
NALIP and The Producers Guild of America are proud to present this year's Producers' Master Class, a continuation of our master class series, led by powerhouse industry experts, Mike Medavoy (producer, Phoenix Pictures) and Sergio Aguero (producer, Campanario) and new addition Vice President of Theatrical Motion Pictures, David Friendly.
Jairo Alvarado Manager/Producer at Circle of Confusion, will be on hand at the event to introduce and moderate the LLFS Producer’s Master Class. The master class will focus on producing within the industry and the lessons these professionals have learned along the way.
If you've seen it chances are he's produced it. Mike Medavoy has worked on over 300 feature films, seven of which have won Best Picture Oscars. Joining International Famous Agency as vice president in charge of the motion picture department in 1971, he worked with such prestigious clients as Steven Spielberg, Francis Ford Coppola, Terrence Malick, just to name a few. As chairman and co-founder of Phoenix Pictures, Medavoy has brought films such as “The People vs. Larry Flynt,” “The Mirror Has Two Faces,” “All the King’s Men,” “Zodiac,” and more to the big screen. He is currently working on an eight-part mini-series for National Geographic, “The Long Road Home,” about the battle of Sadr City in Iraq on April 4th, 2004.
Sergio Aguero is coming off the FOX series “Red Band Society” which he executive produced. He has produced/exec-produced studio and indie movies that have grossed $180 million worldwide, such as “Y Tu Mama Tambien” and Warner Brother’s “No Reservations”. He is currently working on a family dramedy based on a Spanish hit series at Twentieth Fox Television.
David Friendly, is executive producer of USA’s new drama “Queen of the South,” he is an Academy Award-nominated producer who has produced over twenty-five films to date and worked with some of the most prestigious directors including Ron Howard, Ed Zwick and the team of Jonathan Dayton and Valerie Faris.
NALIP is pleased to have the support and participation of the PGA during our long fought battle for diversity in entertainment. NALIP’s Latino Lens Festival and Showcase aims to display a wide range of voices and narratives that are crafted by Latino content creators, in the hopes of advancing the exposure and accessibility of Latino-crafted cinema, television and art forms.
We invite you, directors, writers, cinematographers and all content creators, especially the producers to #CreateWithUs and learn from masters of this industry.
The Cross Cultural Video Summit is a special half-day event presented by NGL Media and the Disney ABC Television Group taking place Thursday, Nov. 10th on the Walt Disney Studio Lot. Co-founded by actor, John Leguizamo, NGL Media is focused on creating premium video content and innovative multicultural video marketing solutions since it's inception.
The summit will focus on how multicultural Gen-Zr’s and Millennials are influencing media, marketing and entertainment through video, and will bring together a unique set of attendees and panelists consisting of TV and web show producers, digital video content distributors, new mainstream media companies, Fortune 500 advertisers, media and entertainment companies, and celebrities and influencers. Melissa Fumero ('Brooklyn 99'), Danay Garcia ('The Walking Dead') and NALIP's Executive Director, Axel Caballero, are among the featured speakers at this year's Summit.
Click here for more information and to RSVP!
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This week, NALIP had the opportunity to interview the creators of the upcoming film, The Vessel, to premiere September 16. Writer and Director Julio Quintana along with Producer Marla Quintana go into detail on the creation of the film.
After ten years a small coastal town continues to be plagued by the tragedy of a tsunami that destroyed the elementary school with all the children inside. After a young man comes back to life from an accidental drowning, he decides to build a mysterious boat out of the schools remains, setting the town with passions long forgotten.
1. What is it about The Vessel, how did that story come about and what made it the right story to tell?
MQ: It’s about a little coastal town somewhere in Latin America, you don’t know where and you don’t know when it takes place. Ten years before the story begins a wave came and destroyed its only elementary school with all its children inside, and the people are stuck in this state of mourning. Until one day, this young man drowns and wakes up again a few hours later and decides to start building a boat from the remains of the elementary school and it helps the people move on from that horrible tragedy.
JQ: It came about, when I studied religious studies in college and became interested in magical stories and in near death experiences. It was interesting to hear about these people who die and wake up to view the world completely differently than before. The movie is designed to be more of a fairytale or fable, we treated the film, the set design, the wardrobe in a sense like Cuba, to be a sort of time capsule, where you can’t really tell what the time period is. The intention was to make it something that feels universal, that feels very timeless so that people can relate to it regardless of where they are from, or where they were born.
2. The film was filmed in Spanish and English, can you tell us what that was like, was that the most difficult aspect of getting the film done?
JQ: That was a discussion early on, I originally wanted to do it in spanish but everyone wanted it to be in english, many of the producers and Sheen, because of the U.S. audience. For us, we decided to try doing it in both languages and it was actually a lot easier than we expected. We would do a few takes in either english or spanish and just make the actors switch languages and they would do it again pretty much exactly as they did it before. It was pretty easy to shoot it that way. Editing was tougher, because I finished editing the entire movie in english and then I had to stop and go back to re edit the entire movie again in spanish which was exhausting. I do think it was really important because I think there is a huge Latino audience in the U.S. hungry for interesting content and I think we're finding out that having a spanish version has opened up markets for us in Miami, South Texas, Los Angeles and Puerto Rico so spanish language was a good decision on our part as it opened up to a different market that doesn’t really get served much.
3. This film raises questions of faith and meaning, how important are faith based films in the Latino community? And how has it impacted your lives and careers?
JQ: In my experience Latinos are a faithful community, we were raised Catholic and I think that the Latino community in general will respond well, making a movie about faith in spanish, i’m surprised they don’t make more films like that because that’s a huge part of Latino culture. I’m hoping the audience will respond to what we’ve done.
Independent films are hard to get out in general, smaller movies are trying to compete with big budget films and in our experience the faith based community is willing to go out and watch something because of the element of faith. They are supportive and enthusiastic to go out and watch something like this, it is actually helpful. But, just to be clear we don’t consider this film to be strictly faith based. It has elements of faith but it's really about the characters relationships with each other, about a priest trying to help his community about overcoming a tragedy. It’s for all audiences, faith based and non faith based.
4. What is something you didn't know as an up and coming filmmaker and as a producer that you wish you knew to enlighten our NALIP community and emerging filmmakers.
JQ: We didn't know it took so long to make a movie, I started writing this seven years ago when we started doing this together every step was long and complicated. I would advice if you’re gonna make a movie to make sure it’s a topic you are passionate about as you will be working on it for several years.
5. A follow up question to that is, do you provide guidance or opportunities to help other writers, directors, producers or actors move their projects forward?
MQ: We work for a company called Bat Bridge entertainment that develops scripted and unscripted content and we do get a lot of young people who come to us and ask for advice or want to come to the fold of Bat Bridge and develop projects with us. We haven’t done something in official capacity as far as going around doing speeches but we love to help young filmmakers with advice or anything we can help with for them to achieve their dreams.
JQ: This is our first movie we’re the ones looking for the advice most of the time. By the time we get through this process we’ll have a lot more things figured out but for the last few years we’ve been the ones learning as we go.
6.What role do organizations like NALIP play in the development of emerging filmmakers?
MQ: NALIP is a wonderful organization the opportunity that you guys provide to filmmakers, through programs and workshops for writing and producing and connecting filmmakers with experts I think is really incredibly invaluable for people who are trying to get their foot in the door because it’s an overwhelming task to make a film. Any organization that can give you any kind of support, guidance or mentorship it’s worth its weight in gold.
JQ: Coming from Latino families both of our parents were immigrants they’re very practical and when they found out we wanted to do the movie they all thought we were crazy, because you don’t do that. You come to this country to work hard and take jobs that pay well, so to be able to have an organization like NALIP and know there are Latinos that are doing this is very encouraging for young filmmakers like us.
7. What's next for Julio Quintana and Marla Quintana, is there another project you have in mind will you continue to work together?
We are definitely working together we’re married. Our next project is a scripted television series about Latinas. We’ll definitely be talking to NALIP about that in the next year or so.
As the United States leads the Rio Olympics with the most medals of any country, NBC is struggling to win ratings gold this season as TV viewing habits and online consumption have become a game changer for the network.
NBC's coverage of the Games is drawing audiences three times bigger than ABC, CBS and Fox combined. But while the relative ratings strength of the coverage remains formidable, the seismic shift toward online viewing has kept the Nielsen numbers from being as big as NBC hoped.
The average audience of 27.8 million viewers through the first 10 nights is down 17 percent from the 2012 Games in London.
With more competition airing live in prime time, NBC counted on the Rio Games' ratings to be as good or better than London, the most-watched Olympics held outside of the U.S.
NBC executives aren't tossing in the towel just yet on this year's Games. NBC Sports Group Chairman Mark Lazarus described the Rio Games as "the most economically successful" in history, factoring in the audiences for coverage on NBCUniversal's cable networks and NBC's free online streaming app.
"NBC's broadcast is not the only way people are consuming the Olympics," Lazarus said. "Just like the way newspapers and magazines are not only consumed in print."
Through Sunday, online users have streamed 1.86 billion minutes of NBC's Rio coverage, topping the combined number for London and Sochi, Russia. The network is making videos of every Olympic event available on its app and it is streaming its prime-time coverage of the Games for the first time.
NBC is also airing Olympics coverage on NBCUniversal's cable networks NBCSN and Bravo during prime time, giving viewers an alternative to the events airing on the broadcast network. But the growth online reflects the dramatic change in viewing habits over the past four years, making even a typically surefire TV event as the Olympics vulnerable to how viewers are consuming content.
In the summer of 2012, Netflix had 25 million subscribers in the U.S. Now it's up to 46 million. Millennials spend just over half of their TV viewing time binge-watching programs, according to a recent study by GfK Research, and spend far less time watching live. Prime-time TV usage overall among 18- to 34-year-olds has declined 25 percent since the 2012-13 season.
"The number of available viewing choices has grown exponentially over the years and with that choice comes some level of fragmentation that we know will inevitably continue to grow," said Billie Gold, vice president and director of programming research at Amplifi US, a media buying service.
Gold believes that the drop in TV viewing of the Games among viewers ages 18 to 49 — down 25 percent compared with 2012 — can also be attributed to the availability of Olympic content online both through NBC and social media.
"Younger viewers have learned to consume content differently, knowing that if they miss a particular event they can always catch the highlights in the news or online," she said.
NBC's own research on Olympic audience habits has shown viewer migration to streaming.
Alan Wurtzel, president of research and media development for NBC, said that among the viewers surveyed who tuned in the first three days of the Rio Games, 80 percent said they are using TV and one other device, most likely a smartphone, to follow the event. That figure is up from 61 percent for the 2014 Winter Games in Sochi.
"Almost half are using more screens to watch than ever before," Wurtzel said.
But Andrew Zimbalist, a professor of economics at Smith College, believes that technology is not the sole reason younger viewers are watching less Olympics coverage on TV. "There is a cultural shift," he said. "Young people today don't watch as much television. When they do watch sports on television it's because they are in a fantasy league."
The Games' home base in Rio has also made headlines. In the run-up to the Games, NBC executives maintained that reports about Zika virus fears, extreme water pollution and economic strife in Brazil would not be a factor for audiences. But the news has not gotten any better, as four members of the U.S. Olympic swimming team were robbed at gunpoint in Rio early Sunday and officials struggled to clean up the green-tinged water at the Maria Lenk Aquatics Center.
Amplifi's Gold said London may have simply been a more appealing venue for U.S. TV viewers, even if its time zone meant seeing competition packaged for prime-time hours after the results were in.
"Americans have a great affinity toward Britain, its royal family and its music and it is almost an extension of ourselves," she said.
Despite the lower-than-anticipated TV ratings, NBC still expects a healthy profit — more than $120 million — on the record $1.2 billion in Olympic ad sales it booked. The figure includes dollars spent for online ads, but the bulk of the revenue comes from TV commercials.
An additional $30 million in ad time was sold after the Games began. But some of the commercials NBC had available going into the Games will have to be used to make up for the prime-time audience shortfall.
The Rio Games are averaging a 15.4 household rating, according to Nielsen, below the figure in the high teens that NBC guaranteed to advertisers. Lazarus does not anticipate a problem meeting that commitment.
"Overall our ratings consumption is meeting our expectations," Lazarus said. "The mix is just a little different. Cable and digital are continuing to grow at a fast rate."
Broadcast TV is still the biggest outlet for the Olympics. When that is no longer the case, NBCUniversal will be able to adapt its deal with the International Olympic Committee to whatever platform people prefer to watch the Olympics on. The company has more than $12 billion in rights fees tied up in the Games until 2032.
"We have provisions in our contract," NBCUniversal Chief Executive Steve Burke said last month. "If the predominant way of viewing changes over the next 16 years, we're allowed to change the way we present the Games."
Check this out on latimes.com