News & Updates
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3 Surprising Reasons Why You Need To Produce An Independent Movie
Posted by NALIP on March 18, 2016
by
So you want to produce an independent movie? Great. I think this is the best time in history to finally make your indie movie. But if you don’t watch it, self doubt and procrastination can get in the way of your good ideas. So let me share 3 surprising reasons you need to ignore the inner voice and take action.
Let me provide 3 surprising why you should produce an independent movie this year:
1. The Cost of Production: As a result of technology, the cost of production has gone down dramatically for micro-to-low budget movies. You can make your movie look super expensive, add some kick-butt FX and also get an awesome, high resolution image. And assuming you’re super crafty, stuff that once cost millions can be done for under 10K.
2. Post Production In Your Bedroom: Once you complete principal photography, you can complete your entire post product with the power of a laptop. To give you newbies some perspective – nearly a decade ago, you would originate your content on film, not HD.
After that, you would pay to have the film processed, color corrected, transferred to video, edited and then transferred back to film. You would also handle your sound design in much the same way. (And to really give you perspective, I had to physically “cut” my film on a flatbed editor.)
Today you can walk to your local Mac store and get a laptop and software that does this for you.
3. Film Distribution Is Accessible: Once you have a polished, finished film, getting your work to the world is much easier. With some good internet marketing and the use of social networking tools, you no longer need a middle-man to reach the marketplace. Video on demand has becoming the norm.
There are many people out there making movies and making money making movies that are far less talented than you. Just believe in your ability. Keep pushing forward. And when you get to the other side, you’ll wonder why you waited so long! If you liked these tactics, download my filmmaker checklist.
Check this out on filmmakingstuff.com
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Academy Increases Diversity Push by Adding Three Governors
Posted by NALIP on March 16, 2016
REX SHUTTERSTOCK
Tim Gray, Awards Editor
The Academy of Motion Picture Arts & Sciences furthered its efforts at diversity by adding three members to the board of governors, and six members to various board committees.
The board OK’d president Cheryl Boone Isaacs’s choices of Reginald Hudlin (directors branch), Gregory Nava (writers branch) and Jennifer Yuh Nelson (short films and feature animation). They will serve three-year terms, effective immediately.
“I’m proud of the steps we have taken to increase diversity,” said Boone Isaacs. “However, we know there is more to do as we move forward to make this a more inclusive organization.”
The board also appointed additional Academy members to each of the six board committees that provide oversight to specific Academy areas.
Actor Gael García Bernal joins the awards and events committee, chaired by first VP Jeffrey Kurland. Cinematographer Amy Vincent joins the preservation and history committee, chaired by VP John Bailey. Producer Effie Brown joins the museum committee, chaired by VP Kathleen Kennedy. Executive Marcus Hu and animator Floyd Norman join the education and outreach committee, chaired by VP Bill Kroyer. Executive Vanessa Morrison joins the finance committee, chaired by treasurer Jim Gianopulos. Producer Stephanie Allain joins the membership and administration committee, chaired by secretary Phil Robinson.
These people will not be governors, but will have a say in membership and governance. The goal is to bring in new voices with different POVs, to counter criticism that the Academy was losing touch with the realities of filmmaking today.
The board also reaffirmed its Jan. 21 resolution to make sure Academy voters are active in the motion picture industry. In Tuesday’s meeting, the board decided that each branch executive committee will determine specific criteria for active voters based on the guidelines established in January. Active voters are defined as: those who have worked in the motion picture industry in the last 10 years; those who have worked anytime during three 10-year periods whether consecutive or not; members who have won or been nominated for an Oscar.
The branch executive committees will meet every two years — starting this spring — to review their members and determine any potential reclassifications. The committees also will adopt an appeals process for members who may lose their voting privileges.
The additions to the board and to the committees were predicted in Variety March 10.
There are 51 members on the board, with each of the 17 branches repped by three governors. All of those governors are elected, so the addition of three appointees is a subtle but important move. While many women and members of minorities ran for board elections last year, most of them lost out to incumbents.
The board has increased gradually over the years. In 1978, for example, there were 12 branches. The most recent addition came in July 2013, when AMPAS added three governors when it created the casting-directors branch. However, each addition has represented an expansion of the standing system. Tuesday’s decision represents the first time that the board is being restructured, to include governors who do not represent any particular branch and who are not elected by the membership.
Academy diversity has been a hot topic for several years, and went into overdrive with the Jan. 14 announcement of Oscar nominations. The Academy was the focus of social media’s #OscarsSoWhite protests (even though showbiz workers say that Oscars just reflect the imbalance within the film industry). On Jan. 21, the board held an emergency meeting, and the following day announced several plans, including the addition of three governors “in order to immediately increase diversity on the board.” No timetable was announced at that point.
Tuesday marked the first board meeting since the Feb. 28 Oscar ceremonies, and while the board undoubtedly discussed the show, no statements were made. The Academy never discloses its board agenda in advance. However, they will likely make decisions about the Oscarcast in May and June. Typically, committees study various aspects of the awards season and the ceremony and make recommendations in May and June to the board, at which point they are voted on.
The board holds regular meetings to discuss ongoing topics (awards, the museum, AMPAS finances, etc.). The group usually assembles in the evening, for a session that lasts a few hours. Tuesday’s meeting started in the morning, a clue that the discussion might be complex — or worthy of an announcement the same day. (Usually, the Academy issues news of board results the following day.)
Check this out at Variety.com
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Christina Aguilera Producing Music Game Show for Spike TV
Posted by NALIP on March 15, 2016
John Salangsang/BFA.com/REX/Shutterstock
Spike TV has greenlit “Tracks,” a music-based game show from Christina Aguilera that will debut as a half-hour special later this year.
Sources close to the project say there are plans to push the game show into a full series, following the special’s debut.
“Tracks” is described as a musical game show in which a team of two attempts to name a song title just by listening to its individual tracks — guitar, bass, vocal, etc. Aguilera is attached as an exec producer on the game show, which will feature surprise celebrity musical guests performing tracks that could be their own or others. The host will be announced at a later date.
“Tracks” fits well into Spike’s landscape, which has been largely defined lately by the recent record-breaking success of another celebrity-infused musical show, “Lip Sync Battle,” which has been renewed for a third season and has even spawned a kids’ special.
“Tracks” hails from Mission Control Media and MX Productions in association with Lionsgate.
“Having finely tuned my ear for music over the years, I thought it would be fun to test other folks and see if they can identify a track — with a twist — since contestants will have to focus on a single component of a song,” said Aguilera. “I’m excited to have ‘Tracks’ debuting on Spike TV, and proud to have this as the first project springing from our first-look deal with Lionsgate.”
Aguilera will exec produce with her fiancé, MX Productions founder Matthew Rutler, plus Michael Agbabian and Dwight D. Smith. Neal Tabachnick and Michael Aubry are co-executive producers and developed the series with Mission Control Media.
Aguilera currently sits on another music-based show, as a coach on “The Voice” on NBC, which is in the midst of its 10th season.
Check this out on variety.com
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#CreateWithUs, Create With NALIP
Posted by NALIP on March 11, 2016
by Margie Moreno, NALIP Board Chair
It’s an exciting time to be a [email protected] creative in today’s media landscape, and as the NALIP Board Chair I’m proud to be part of an organization where our work has proven quintessential in the advancement of [email protected] in media. We are continuously working to bring you, our members, innovative programming and events that re-define how your projects are developed and presented to industry partners to move you forward. With the start of 2016 we’ve implemented a new board structure, where currently 50% of our board of directors are new members, representing a wide variety of media fields in leading positions specifically targeted to support the mission and vision that is NALIP.
That commitment and mission is to our members - we will always work to promote advance, inspire and protect our members’ interests. As a membership organization, NALIP’s success and advancement is completely aligned with that of our members. While we help [email protected] creators at large, it is specifically through our membership where we close the gap, to truly move [email protected] content forward. It is through this relationship, that you, our members have a strong presence in NALIP’s future, collectively, as only together can we advance.
In 2015 we asked you to join us in creating tomorrow together. Well, today is that tomorrow, and we now ask you to create. As the conversation on the lack of diversity in Hollywood continues to come into play, it is more important than ever for [email protected] to CREATE. And we ask that you #CreateWithUs. As a non-profit, we exist to empower you, and not profit from you. Our programs are designed to advance you, the creator, while also providing a bridge to the industry in a respectful dialogue to open access and opportunities that impact not only the creator but the industry. With this recent industry diversity dialogue, now is our time, and we are ready, ready to share the talent of what our members can do. What they can CREATE.
Just as our programs and events aim to advance and promote our members, the same holds true for that of our partnerships and commitments - as we work with these partners to raise a collective voice to provide opportunity. When these partnerships work against our members interests, we are quick to speak out and look for alternatives, always with our members interests in mind. While our partnerships are important, our commitment is to our members, as we never offer, give, or provide information about our members without their acknowledgement. These alliances are important when fostering a creative space - but we are an independent organization, just as our independent members. Our actions and decisions are our members’ actions and decisions, and we are cognizant of that.
As we embark on the 2016 NALIP Media Summit to bring you industry relevant topics, workshops to enhance your existing skills, keynotes to inspire you, and parties to celebrate you, we must remind you - no urge you - to create. Come #CreateWithUs, share with us your vision, your stories, your voice. Join the collective creative force that is NALIP. That is our members. That is you.
Sincerely,
Chair of NALIP Board of Directors
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César Augusto Acevedo Is Fighting Hollywood’s Negative Stereotypes of Colombia One Movie at a Time
Posted by NALIP on March 11, 2016
The Colombian film industry is having a moment in the spotlight. Not only did the country earn its first ever Oscar nomination for critical standout Embrace of the Serpent (El abrazo de la serpiente) and a major win at Sundance for Between Sea and Land (La ciénaga), but films like Violencia (dir. Jorge Forero), Alias María (dir. José Luis Rugeles) and La tierra y la sombra (dir. César Augusto Acevedo) made splashes at film festivals around the world. In fact, Acevedo’s has proven to be one of the most highly regarded films to come out of the country this past year. It won the writer-director the esteemed Camera d’Or at the Cannes Film Festival, an award bestowed on the best first film screened at any of the festival’s selections. Previous winners include Steve McQueen, Mira Nair, and Jim Jarmusch, putting Acevedo in pretty great company.
Set in the Valle del Cauca, Acevedo’s film is a contemplative look at a family in crisis: when Adolfo (Haimer Leal) returns to the home he abandoned seventeen years earlier, he finds his son Gerardo (Edison Raigosa) bedridden, and the entire landscape surrounding his modest house overridden and destroyed by the effects of sugarcane monoculture farming. Evoking the moody filmmaking of Terrence Malick and, as the director notes, taking inspiration from filmmakers like Andrei Tarkovsky and Robert Bresson, the film is a quiet meditation on our connection to the land and to one another.
We sat down to chat with the acclaimed director ahead of a recent screening at the Film Society of Lincoln Center. Below are some highlights where the César Augusto Acevedo discusses everything from his “poetic style” to the current state of Colombian cinema.
On What Inspired The Film
“I knew there’d be very little dialogue because this is a story of a broken people who cannot express their feelings in words.”
Well, I’m from that region — the Valle del Cauca — and all my life I lived within those sugar cane plantations. But at the start this was a film really about my family. It’s a film that was very personal to me that I began thinking about after my mother passed away. I wanted to reclaim, in film, that lost loved one, but then I quickly realized that such an autobiographical film wouldn’t muster much enthusiasm, so I decided to pivot it towards this social problematic about monoculture farming with the sugarcane, and talking about how that’s closed off the land.
I wanted the film to hinge on feelings not on statements (“sentimientos no acontecimientos”). So, I began thinking about the personal side, my memories of that microcosm — that house, the tree, those characters. And then looking not just to where I came from but looking at the courage, the grit, and the resilience of the people out in the country.
On the Film’s Poetic Style
Well, from the very beginning I knew there’d be very little dialogue because this is a story of a broken people who cannot express their feelings in words. So we began looking for ways to materialize those feelings via images and sounds. In looking for a metaphorical way in, we attempted to create a much more poetic type of film, which is the type of films I really enjoy. And from there, what was crucial was the use of time and space, giving the audience a chance to feel that it wasn’t just what was blatantly on screen, but that there was a deeper level — that’s what we tried to do with those long takes, those camera movements, finding ways of giving more depth to the feeling of the film.
And well, when I say “poetic” I don’t mean moving away from reality, but actually reshaping that reality to think through specific ideas and feelings. The key to the film was to show that the physical world was an emotional metaphor to talk about the distance between bodies and feelings through the camera and its movements.
Check out the rest on remezcla.com
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Top Ten Best Screenplay Contests to Enter in 2016
Posted by NALIP · March 11, 2016
This Post originally appeared on the blog ScreenCraft. ScreenCraft is dedicated to helping screenwriters and filmmakers succeed through educational events, screenwriting competitions and the annual ScreenCraft Screenwriting Fellowship program, connecting screenwriters with agents, managers and Hollywood producers. Follow ScreenCraft on Twitter, Facebook, and YouTube.
In the last near-decade, the significance of screenwriting contests in the eyes of the film industry has grown. Hollywood has been using them more and more often to connect with new writers. There are more people trying to be screenwriters than ever, forcing the studios to thicken those walls, making it more and more difficult for new screenwriters to break through. Contests have truly become one of the most widely utilized filtering systems. They essentially do the work for the studios, production companies, agencies, and management companies, as far as weeding through the countless scripts to find the diamonds in the rough.
So for screenwriters, contests have become the ultimate way to penetrate those thick studio walls and surpass those Catch 22 scenarios. Studio writers like Evan Daugherty have seen their dreams come true through the success of winning contests. In 2008, he was discovered through the Script Pipeline contest, attaining representation and eventually getting on the Black List that year for his script Shrapnel, which eventually became the film Killing Season. He parlayed that success and momentum to his $3.2 million spec script Snow White and the Huntsman. There have been many, many such success stories of late.
However, since the 1990s, there has been a steady growth of screenwriting contests, competitions, and fellowships -- to the point where there seems to be an endless stream of them. How do you find the ones that are worthwhile to enter?
When you're considering your options, you should always ask yourself this simple question -- WHAT CAN I GET OUT OF THIS CONTEST?
Are you more interested in the big cash awards or do you want more access to the film and television industry?
Cash is always nice, but it’s not the goal. (If you want to get rich quick, screenwriting is definitely not the best route). Access to the film and television industry opens doors that you can take advantage of throughout your whole screenwriting career. Access can give you representation, multiple phone calls, and meetings. It's the access you want -- the ability to utilize relationships to push your screenwriting career forward.
Below is a breakdown of the ten screenplay contests, competitions, and fellowships that you should be entering, with the sole goal of getting the most out of each and every one. Of course, we included our own genre-specific screenwriting competitions.
1. Nicholl Fellowship
If there's a granddaddy of them all, this is clearly the one. It's run by the Academy of Motion Picture Arts and Sciences -- the Oscars -- and is the most prestigious option available to you.
In the past three decades, the Academy Nicholl Fellowships has fostered dynamic writing talent in entertainment ranging from major blockbusters to acclaimed indie hits. Click Here for Nicholl Fellowship Success Stories.
Each year, the Academy Nicholl screenwriting competition awards up to five $35,000 fellowships to amateur screenwriters. Fellowship winners are invited to participate in awards week ceremonies and seminars and expected to complete at least one original feature film screenplay during the Fellowship year.
2016 Deadlines:
April 18th Regular ($60) and May 2nd Late ($85)
2. The Tracking Board's Launch Pad Competition
If you're looking for access, this is one of the best competitions out there.
The Tracking Board is an excellent tool for screenwriters -- a real-time news service providing writers up-to-date analysis on trends in the spec market and beyond. Their Launch Pad competitions -- pilots, features, and manuscripts -- have helped dozens of writers elevate their professional careers, sell their scripts and even get staffed on television shows.
In the last two years, 105 writers have been signed to representation from the features contest alone -- 114 in the last three years for the pilot contest.
They are also partnered directly with one of the hottest management companies in Hollywood -- Benderspink. The company’s clients have made every major industry best of lists including the Hit List, Black List, and Young & Hungry List year-after-year, and include clients such as Evan Daugherty (Snow White and the Huntsman, Dennis Dugan (Grown Ups), David Robert Mitchell (It Follows), Christopher Roach (Non-Stop), Victoria Aveyard (Red Queen Series), and several more. The company has also produced a number of projects, including every installment of The Hangover franchise, as well as the Horrible Bosses franchise. They’ve also produced The Ring, We’re the Millers, A History of Violence, The Butterfly Effect, and dozens more.
So if you're looking to get high profile representation, look no further than these competitions.
2016 Deadlines (features):
June 30th Early Bird ($65), July 31st Regular ($75), August 31st Late ($85)
Note: Click Here for pilot and manuscripts deadlines.
3. Universal Pictures Emerging Writers Fellowship
The only major studio-based screenwriting fellowship available to feature writers.
The Emerging Writers Fellowship is a program at Universal Pictures designed to identify and cultivate new and unique voices with a passion for storytelling. Emerging writers who are chosen to participate in the program will work exclusively with the studio over the course of a year to hone their skills. During this program, fellows will be given the opportunity to work on current Universal projects as well as pitch original story ideas. In addition to working on writing assignments, the fellows will receive industry exposure by: participating in filmmaking workshops and studio seminars, receiving mentoring from established filmmakers, networking with top literary agents and managers, meeting with production development executives, and attending screenings and premieres.
Fellows admitted into the program will be hired under a writing service agreement and must be committed to working full-time for one year. Additionally, Universal Pictures has the option to extend a fellows' contract for a second year. The writer will receive the salary of $69,499 for that first year (likely the same for the second). And yes, you'll need to physically live in Los Angeles during that time.
Overall, this program is basically offering writers a chance to learn through the system, much like screenwriters did back in the old days of Hollywood. It's an intense fellowship for those serious in taking on a full-time screenwriting career.
Note that you do need two letters of recommendation from two industry professionals. They define industry professionals as persons who currently or previously worked in the film industry -- agents, managers, studio executives, writers, directors, producers, directors of photography, cinematographers, editors, actors and film professors.
Note: They do not include writing partners in this program.
2016 Deadlines:
Currently closed for entries and will re-open for the 2016-2017 period in late November 2016.
4. ScreenCraft's Screenwriting Contests and Fellowship
ScreenCraft's screenwriting contests are dedicated to discovering talented screenwriters and connecting them with producers, agents, and managers. Our contests uniquely tailor the prize package and jury for each contest (eliminating potential genre bias) by specializing in screenplay competitions by genre.
In addition to the genre contests, ScreenCraft offers its Fellowship Program and quarterly Short Film Production Fund Grants.
Past ScreenCraft winners have optioned their projects and signed with top representatives at 3Arts, Anonymous Content, Paradigm Talent Agency, ICM, Bellevue Productions and more.
ScreenCraft's contests have quickly become the fastest growing in the industry, connecting writers with top industry screenwriters, development executives, and representation. Each genre contest has specific judges that have written, developed, or represented the best films and television series of those genres.
Any entrants -- whether they win or not -- that receive a script coverage rating of 130 or more during the reading and judging process are also shared with ScreenCraft's exclusive list of industry professionals.
2016 Deadlines:
Click Here for a full list of all deadlines for genre contests, Fellowship, and grants.
5. Austin Film Festival Screenplay Competition
This competition has been going strong for over two decades. They pride themselves on their personal touch. All entrants receive FREE "Reader Comments" which are a brief, overall summary of their notes. As an added bonus, for Second Rounders (the top 10-15% in each category) and above, entrants receive further comments from 2-3 readers. They also send both postal mail and e-mail notifications to ensure everyone knows their placement in the competition.
Semifinalists and Finalists have the opportunity to meet with several agents, managers, and executives, and participate in the festival's Script Reading Workshops where their scripts are read aloud and workshopped in a personalized setting. Semifinalists and Finalists' loglines and contact information are also included in the annual Producer's Book, distributed to all AFF panelists as well as over 400 agents, managers, producers, and other industry professionals.
In past years, the judges have included representatives from Oasis Media Group, Mosaic Media, ABC Studios, Paradigm Agency, Di Bonaventura Pictures, Kopelson Entertainment, Nickelodeon, Escape Artists at Sony, Washington Square Arts, Fourth Floor Productions, Haven Entertainment, Artisan, CAA, Brant Rose Agency, WME, DreamWorks, and Pixar among others.
2016 Deadlines:
April 20th Feature Screenplay Regular ($40), May 20th Feature Screenplay Late ($50), April 20th Short Screenplay Regular ($30), May 20th Short Screenplay Late ($40), April 20th Teleplay Regular ($30), May 20th Teleplay Late ($40)
6. Sundance Screenwriters Lab
The Sundance Film Festival is clearly the premiere event of the year for filmmakers worldwide. For screenwriters, this can often prove to be an amazing launching pad into both indie cinema and Hollywood. This competition will allow screenwriters to network and meet some industry professionals, but will also serve as perhaps the best possible education they could receive in screenwriting and storytelling through film overall.
The Screenwriters Lab is a five-day writer's workshop that gives independent screenwriters the opportunity to work intensively on their feature film scripts with the support of established writers in an environment that encourages innovation and creative risk-taking. Through one-on-one story sessions with Creative Advisors, Fellows engage in an artistically rigorous process that offers them indispensable lessons in craft, as well as the means to do the deep exploration needed to fully realize their material. They accept 12 project each year.
Some of Hollywood's greatest talents have gone through the various Sundance Labs, including famous auteurs like Quentin Tarantino and Paul Thomas Anderson.
2016 Deadlines:
The 2017 Lab application is open March 15, 2016 - May 1, 2016. See the site for application fees.
7. BlueCat Screenplay Competition
If the screenplay that you plan on entering has won a competition before, BlueCat is not for you. However, it does offer some excellent connections for those that have never won any. The writer of the Hugh Jackman and Jake Gyllenhaal film Prisoners was discovered through this contest years ago.
The unique aspect of BlueCat is that every entry receives written analysis as well -- a service that normally costs additional fees for other contests, competitions, and fellowships. While the analysis may not be as expansive as those provided by others, it's free.
2016 Deadlines:
Currently Closed for entries and will re-open for the 2016-2017 period in November 2016.
8. Page International Screenwriting Awards
This competition was established in the fall of 2003 by an alliance of Hollywood producers, agents, and development executives. It's widely recognized within the industry as one of the most important sources for new screenwriting.
Past winning writers have signed with top literary representatives, optioned and sold their scripts, landed paid writing assignments, and many now have movies and television shows in production, on the air, and in theaters. This competition allows you to submit under certain genres as well.
Past winners have written films like the recent Maggie, The Judge, and have joined the writing staff of shows like The Walking Dead, Bates Hotel, Sleep Hollow, etc.
2016 Deadlines:
March 15th Regular ($59), April 15th Late ($69)
9. Script Pipeline
This contest has been going on for over fourteen years and continues a long tradition of discovering up-and-coming talent and connecting them with top producers, agencies, and managers across studio and independent markets.
Thus far they tally over $5 million in screenplays and TV pilots sold from competition finalists and "Recommend" writers since 2003.
2016 Deadlines:
May 1, 2016 ($55)
10. Film Independent Screenwriting Lab
Much like the Sundance Screenwriters Lab, this lab focuses on honing the skills of the writer and preparing them for the film industry and how to best tell their cinematic stories. It also connects them with industry veterans as well, so there is certainly an excellent networking opportunity.
It's an intensive four-week workshop that meets two to three evenings a week in Los Angeles every September. The lab is designed to facilitate each writer's unique voice through the development of a single feature project. Through personalized feedback from experienced industry professionals and other writers in the program, Screenwriting Fellows will gain the tools to revise and refine their scripts for production.
The Screenwriting Lab also helps to further the careers of its Fellows by introducing them to film industry veterans who can offer guidance on both the craft and business of screenwriting. Each Screenwriting Fellow will be paired with a Creative Advisor, with whom they'll work one-on-one and in Lab sessions to further develop their project over the course of the program. A variety of guest speakers may screen and discuss their own films, or offer insights into their career trajectories, and a final retreat offers further opportunity for individualized feedback and discussion with additional established filmmakers and producers.
You do obviously have to live in Los Angeles to take part -- or live there for at least four weeks.
2016 Deadlines:
April 18th application deadline, non-Member ($65) and May 2nd Members-only deadline ($45).
Honorable Mention: HBO Access Writing Fellowship
This fellowship provides mentorship for up to eight diverse, emerging storytellers. Following a one-week intensive of master classes, participants are immersed in eight months of mentoring by HBO creative executives as each participant develops a script suitable for HBO or Cinemax. Submissions can be original 1/2 hour comedy pilot or 1 hour drama pilot, one act play or full length play, or a feature film screenplay.
This obviously affords writers the chance to work directly with the powerhouse that is HBO right now. Amazing networking opportunities and a chance to get an on-the-job education in screenwriting directly from the source.
2016 Deadlines:
This fellowship is currently closed, but keep an eye on it later in the year as they re-open entries.
Before you enter any of these contests, be sure to read ScreenCraft's 7 Things to Do Before You Submit Your Screenplay to Anyone.
Check this out on huffingtonpost.com
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NALIPsters Create Film 'Gringos'
Posted by NALIP · March 11, 2016
NALIPsters Luis Guerrero and Chris Lemos (ARMORED) have produced a gripping, Latino-driven horror/thriller called, GRINGOS. The story centers on a group of undocumented workers and what they are exposed to when they get in the wrong car in search of work.
Everyday, thousands of immigrants line the parking lots of hardware stores and climb into cars with strangers they've never met, all for the promise of paid work. In GRINGOS, a group of undocumented workers are lured into the home of Liz Rhodes with the promise of their biggest payday, only to discover the terrifying fate she has in store for them.
The cast is lead by Lynn Collins (John Carter, X-Men Origins: Wolverine), James Tupper (Revenge (tv), Mr. Popper’s Penguins), Rigo Sanchez (McFarland USA), Nicholas Gonzalez (The Purge: Anarchy), Edy Ganem (Devious Maids), and Roberto Sanchez (2 Fast 2 Furious).
For more information, go to www.facebook.com/gringosmovie/