News & Updates

  • Why SuperLatina's Gaby Natale Wants Latinas To Know That Their Voices Matter

    Posted by on June 07, 2016

    The most comforting thought on an early morning is for someone to tell you that you’re not that different from some of the celebrities you follow on Twitter. You have the same hours in a day as say, Beyonce or Shakira. This is how Gaby Natale, Creator and Producer of SuperLatina Show, anchored our conversation for Creating Espacios.

    In an episode that covers everything from how she and her team built SuperLatina’s very first set to how there was a common thread between how she managed her long distance relationship and her new entrepreneurial endeavors, Gaby inspires from the minute you hit play.

    “Taking smaller steps on a smaller scale can save you a lot of trouble,” says Natale. Advice that can apply to any relationship and any endeavor.

    And when it comes to “calladita te ves mas bonita,” a common saying in the Latino community that roughly translates to “you look prettier with your mouth shut,” Natale wants Latinas to unlearn this.

    “Latinas should learn that having a strong voice is something to be appreciated,” she says.

    She follows her wish with some tangible advice — first, “[learn] to create your own value,” and second, turn “the only one who can define my potential is me” into your personal mantra.

    Take a listen to our conversation with Gaby for more tips on why surrounding yourself with a supportive community is a key to turning pipe dreams into reality.

    Subscribe and review Creating Espacios here.

    Don’t forget to join the conversation with #CreatingEspacios and some of our most tweetable quotes:

    “Surround yourself with people who believe in you more than you do in yourself” #CreatingEspacios

    “We shouldn’t from day one ask our businesses to pay all our bills” #CreatingEspacios

    “We’re starting to move into this economy where people are starting to bet on themselves” #CreatingEspacios

    “Supplement your side hustle with safer bets” #CreatingEspacios

    “Being an entrepreneur is unlearning how to be risk averse” #CreatingEspacios

    “Believe in your potential even if you haven’t seen the results” #CreatingEspacios

    “Even though you don’t have top notch resources, take the first steps, start building.” #CreatingEspacios

    “Nothing is nontraditional, it’s just an innovative way to do something” #CreatingEspa


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  • Breaking Glass Picks Up 'People You May Know'

    Posted by on June 07, 2016


    NALIPsters Guillermo Escalona and Pau Brunet from LA Panda  pitched their project People You May Know at the 2015 NALIP Latino Media Market  to prestigious studio executives, distributors, dealmakers, and agents. We are happy to announce that just got picked up for US distribution with Breaking Glass.

    Intense and beautifully shot, the film is helmed by the very talented director JC Falcon  and produced by Guillermo Escalona with Pau Brunet and David Krohnert as Executive Producers. 

    People You May Know stars Sean Maher (Serenity), Andrea Grano, (BFFs), Mark Cirillo (The Seminarian), Curt Hansen (Next to Normal) and Spanish TV actor Nacho San Jose as a group of gay and straight close friends in their 40's.

    LA Panda Productions co-produces with Madrid’s Pony Films.  

    Guillermo Escalona is also involved in the NALIP Latino Lens 2016 project Swimming in the Desert by Alvaro Ron and Pau Brunet will be a speaker at the NALIP Media Summit 2016

    Check out their Facebook page and La Panda!



  • Sponsor Highlight: PBS

    Posted by on June 07, 2016


    PBS and NALIP have joined forces over the years to encourage content creators to explore new ideas and broaden their horizons within the art of creating content in public media. Our conjoined efforts have opened doors to many through incubator programs that demonstrate our commitment to increasing Latino representation across broadcast and digital platforms.

    “PBS and our member stations are America’s largest classroom, the nation’s largest stage for the arts and a trusted window to the world. In addition, PBS's educational media helps prepare children for success in school and opens up the world to them in an age-appropriate way. We invite you to find out more about America’s largest public media enterprise.”

    Check out PBS HERE

    A Special Thank You to all of our Sponsors

    NALIP sincerely thanks all of our generous sponsors for their continual support. Our organization continues to succeed in advancing Latino content creators, their careers and projects while connecting industry leaders with their talent. The NALIP Media Summit and all NALIP programs would not be possible without our sponsors' support.

    If you have questions regarding your sponsorship or would like to know how you can support NALIP, please email Karla, NALIP’s Outreach Coordinator, at [email protected]

  • ‘One Halloween’ Blends Stories of Military Service and Parenthood

    Posted by on June 07, 2016


    Here’s your daily dose of an indie film, web series, TV pilot, what-have-you in progress — at the end of the week, you’ll have the chance to vote for your favorite.

    In the meantime: Is this a project you’d want to see? Tell us in the comments.

    One Halloween

    Logline: “One Halloween” tells the story of soldier who was wounded in the Afghanistan war, through one crazy Halloween night, as he tries to re-connect with his daughter.

    Elevator Pitch:
    The only thing harder than going to war is raising a 10 year old girl is the tag line for this short film featuring three veterans of the Iraq and Afghanistan wars who were injured in combat.

    This film provides a realistic, touching and dramatic insight into the complex challenges that veterans coming from war zones face, as they seek to reintegrate in their lives back home, using humor and friendship to help them through the difficult times.

    One Halloween is the recipient of the NALIP Latino Lens incubator grant funded by Time Warner Foundation, NEA and HBO. Grants were also provided by Disabled American Veterans, and Panavision New Filmmakers Grant.

    Production Team:

    Writer & Director: Rebecca Murga, graduate of AFI Directing Workshop for Women, recipient of the Panavision New Filmmakers Grant, and grants from Time Warner Foundation, DAV and NALIP Latino Lens.

    Writers: Rebecca Murga & Karen Kraft

    Executive Producers: Karen Kraft, Ryan Curtis Meghan Wood

    Produced by: Karen Kraft, Tom McCafferty, Nic Novicki, Melanie Capacia Johnson

    Director of Photography Michael Rizzi – “UnREAL,” “The Returned”

    Production Design: Ellen Dorros

    Editor: Jeff Castillucio – “Dakota Sky,” “Girlfriend,” “The Automatic Hate”

    Costume: Angela Eads

    Make-up/Hair: Kate Oja

    About the Film:
    I had the opportunity to interview wounded soldiers at the Brooke Army Medical Center in San Antonio shortly after I returned from my own deployment in Afghanistan.

    During my my time in Texas, I met and befriended an amazing young man, Juan, who lost both arms and was burned on over 80% of his body by an exploding fuel truck in Iraq in 2004. I knew I wanted to tell this story that deals with many theme including: love, hope family and friends.

    Three wounded veterans of Iraq and Afghanistan are featured in the film.

    Current Status: Fundraising for post production.

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  • 2016 Latino Media Market Companies Announced!

    Posted by on June 07, 2016


    Earlier this year, NALIP announced the 2016 Latino Media Market Program (LMM), where NALIP members had the opportunity to submit their projects to be considered to participate and pitch to top industry executives in hopes of making their project come alive. Out of over 100 applications, 25 fellows were chosen.

    Meetings will take place during the 2016 NALIP Media Summit, a four day event designed for Latino content creators. NALIP is proud to reveal the following companies involved:

    • Amasia Ent.
    • American United Media
    • Blumhouse
    • Buzzfeed
    • CCH
    • Cinedigm Entertainment
    • Cohen Media Group
    • Covert Media
    • Streetwise Ent.
    • Discovery Channel
    • Fox
    • IM Global
    • ITVS
    • KCETLink Public Media
    • Latino Public Broadcasting
    • Matson Films/Garth
    • Mitu Network
    • Motivo Films
    • PBS
    • Sony
    • Sundance Institute Film Diversity Initiatives
    • Sundance Documentary Fund
    • Transcendent Entertainment
    • Valor Entertainment
    • Veranda Ent
    • STARZ
    • Zero Gravity Management
    • Fusion
    • Xlrator Media
    • ITVS
    • Participant Media
    • CAA
    • EGEDA
    • Footprint Features
    • Paradigm Agency
    • Mucho Mas Media
    • Tyler Perry Studios
    • El Rey Network 
    • 3Pas Studios
    • Firelight Media 
    • MAB Production
    • Olympusat
    • Story House Univision

    NALIP is working to further develop company participation, stay tuned for more announcements!

    For the list of the 2016 Latino Media Market Fellows, click HERE.

Get the latest from NALIP news in your inbox. Sign up right here.

  • NALIP Media Summit & Events App Ready for Download

    Posted by · June 07, 2016


    App available on Apple iOS and Google Android

    Get the NALIP Media Summit & Events app and take all your 2016 NALIP Media Summit (16NMS) information on the go. The app has everything you need to know about our event and is designed to enhance your experience at the summit. It’s super easy to use! Below are some tips to get you started.

    1. Make a Profile

    Making a profile allows you to make a schedule and game plan for the four-day event, as well as see who else is attending! It’s a great way to ensure you don’t miss any sessions and be on the lookout for familiar faces during all the commotion and excitement.

    Once you open the app, click on “NALIP Media Summit”. From there, select the hamburger menu at the top left hand corner and press “Login” at the very top. Fill out all your information and select “Submit.” You’ll get a notification saying an email is being sent to create a password, don’t worry too much about it (it’s optional!).


    2. Explore

    Now that your profile is set up you can check everything out. The hamburger menu features sessions, speakers, exhibitors, venue map, and even directions and hotel information. Make sure to get familiar with the information and email [email protected] for any questions.  


    3. Schedule Your Days

    We are presenting over 35 signature conversations and many exhibitions and interactive booths during 16NMS, make sure to strategize and be efficient with your time! We recommend going through the events and adding your favorites to your in-app schedule or personal calendar, both options are listed at the top of each session.


    4. Edit Your NALIP Business Card

    Afraid you’ll run out of business cards at the summit? We have you covered! Under the hamburger menu, click “Contacts” then “My Card” and customize yours! Now you can exchange digital business cards with other attendees, just press the plus sign on the top right corner.app_business_card.png

    You're all set! Check back on the app during the 2016 NALIP Media Summit for pictures, videos, and social media updates. We’ll see you at the summit NALIPsters!

    NALIP Media Summit & Events app is available on Apple iOS and Google Android. For more information, go to


  • What Makes L.A. Film Fest Special? Director Stephanie Allain Explains

    Posted by · May 31, 2016

    Allain is a shining beacon of hope in studio cinema, but she knows that creating and distributing truly diverse, original film and television comes down to the gatekeepers at those lower levels, the film festivals. As director of the Los Angeles Film Festival, she’s got some words of wisdom on how to find the up-and-coming filmmakers pushing the limits, because this is what she’s been doing her entire career.

    April Wolfe: L.A. Film Fest tapped you to make their message of diversity more robust. What does that mean to you? What kind of film are you looking for?

    Stephanie Allain: They didn’t tap me. I was already doing it. I’ve been in this space for years. Boyz n the Hood was my first movie. At Film Independent, our mission has always been to support artists who were so diverse. All these people scrambling to make fixes? This is what we already do, and it’s like the world has finally caught up with the movement. Last year, 40 percent of the films at L.A. Film Fest were directed by women. What’s exciting is we’re identifying all these women and directors of color who may not get the shot to be in the spotlight. Of course, the movie has to be good enough to go the next step, but that’s what we’re trying to do with our premieres. In the festival, we have six slots we call “Buzz,” and when I saw Equity [directed by Meera Menon], for instance, I was excited. It’s an alternate universe, because it’s Wall Street all from a female point of view. A world populated by women. The guys are the side pieces to the story. It’s a complete flip of the universe, and I felt like, wow, I have not seen this. These women are just killers from the inside, and that’s very, very … You just feel the power, and that’s fresh.

    We also have a doc I love called Political Animal, the story of the four openly lesbian congresswomen, who during the course of the 15 years basically got the marriage laws changed. These women have to stand in the room in front of all these people who say they need to go to therapy to change who we are. It feels very important for the revolution and the incremental change and how we get to where we want to go. We also have Tracktown, from Alexi Pappas, who is an Olympic athlete who’s actually running in the Games. In the movie, she has to take the day off, and we get to see her life. When you make movies and you hire actors portraying runners or boxers, it feels a little off, but Alexi really is it, and it kind of blows your mind how authentic it is, and again, it’s her telling her story. 

    If L.A. Film Fest has been so successful getting this diverse programming, why haven’t other festivals followed suit until recently?

    I give all the credit to our director of programming and creative director, whom I brought in when I demanded we embody the mission in a fiercer way. I’m tired of waiting around for people to make the change. You have to challenge every area of the business, from the studios to the press. You can’t just wait until the Oscars to complain. We get like five or six thousand submissions, and there’s also the thing where we get calls from the agency, and every single one of those calls were people advocating for white men. You could tell in the voice when I ask about women — oh yeah, I do have a woman — and I was like, why didn’t you lead with that? We’re a mainstream festival that’s actually trying to be a diverse festival. It’s L.A. We’re culturally diverse. We’re opening with Lowriders [directed by Ricardo de Montreuil], about East L.A., and we’re closing with Desierto [directed by Jonás Cuarón]. Because L.A. is the most Latino city in the country, and I felt like the festival should really reflect that.

    Where do you find these films? What’s the actual process for finding these movies if reps aren’t going to offer them to you?

    With Boyz n the Hood, I read that story, I grew up in Inglewood. I knew these kids. It was so powerful to me. At the time, Columbia could make $5 million pictures like Boyz, but if I hadn’t been at the table, that wouldn’t have happened. First eyes matter. So at L.A. Film Fest, we have the most diverse programmers. We’re letting advocates advocate for their own passion. We wanted diversity across age, gender, sex, sexuality, and it wouldn’t just be a few people picking all the films. If you have a tiny swath of programmers who are all the same, that’s what you’re going to get in the end result. People always say, 43 percent women, and 38 percent women of color? How do you find them? It’s a system, a process. You can’t just rely on submissions. You have to call schools, colleges, groups like Film Fatales, and use Facebook to reach out. Most people don’t know I’m looking for this stuff. There’s a lot of outreach that goes on. It’s Roya [Rastegar] and Jennifer [Cochis]. I just direct them to do what our mission is, so they figured out a way to make it a reality and not just a theory. And guess what! Last year, 30 percent of our movies sold out their tickets.

    But even if these diverse films are playing in the festivals, how do you get the industry to take notice and follow the lead? What are the next steps?

    Last year we sold 20 films [to distributors] out of the festival. I think it’s a combination of fresh new voices and the call and the cry for diversity meeting up with all of these new platforms and distribution companies that are content-hungry. We try to connect the industry to these filmmakers. We ask the filmmakers, What’s your dream? Where do you want your movie to play? We have a festival retreat and invite every feature filmmaker to meet industry people. It’s how we were able to sell Meet the Patels [2014, directed by Geeta and Ravi Patel]. It’s a business of: Do I like this person? Do I want to hang out with them, and are they talented? We invited Helen Huang from Showtime, and she bought In a Perfect World (2015) from Daphne McWilliams. That’s how we make it happen in L.A. Folks are here, and we can make those connections and literally follow up. I call them and ask what they need.

    What do you think about the diversity programs that aim to help women and people of color with a leg up in the industry?

    We don’t need more diversity programs. We need jobs. The only way people get better is through working, through practice. When these traditional male white directors do one thing, and the studios say, OK, now you can direct this $100 million movie, they’re going to get better, because they’re practicing. But if we don’t get these other filmmakers those jobs, they’re not going to become better. Ten thousand hours means you’re a master. Our idea is to get these filmmakers actual jobs.

    What do you think is the responsibility of a film festival to change the system?

    We’re programming films we want to puncture you, that change your point of view. That’s what happened with Boyz. After we made it, I got a call from a 50-year-old woman who said, [emotional] I never knew those boys were so real. We changed this woman’s life. This woman probably had a whole different idea of kids in urban areas doing drive-bys, and now she sees them as people. That’s huge. We’re trying to get these other voices out into the conversation. The most important thing is every day in L.A., though, there’s a premiere, a concert, a play. We’re building something really special here, and I just want people to take the time to come out and watch some movies and experience the festival. I’m moderating a conversation with Nate Parker on The Birth of a Nation and how his dream project ended up breaking all the records. How many filmmakers can say that? He found a way to get it done. Ryan Coogler (Creed) is coming down to do a master class in sound. Ava DuVernay (Selma) will be here. The industry comes here to buy movies. I knew it was happening a couple of years ago when HBO bought Nightingale (2014), and I saw David Oyelowo’s face all over. You don’t have to fly to the snow to see a movie. Come to Culver City. It’s fun. And, hey, it’s on the Metro line.

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