Latinowood

The Making of the Indie “The Shifting”

2012-02-07T12:15:00.000-08:00

Making Low-Budget Doesn’t Mean Low-Quality

“When a myth is shared by large numbers of people,
it becomes a reality. ”

- Lawrence Blair, Filmmaker/Anthropologist, Ring of Fire (documentary, 1991)

Filmmaker/Director Julio Saldariaga’s formula for making independent films requires that his stories convey a powerful, positive message no matter how low the budget. “The trick,” said Saldariaga, “is to deliver a self-help, aha movie and keep a commercial appeal.

Saldariaga has always been fascinated with the Japanese psychological concept known as the 100th Monkey Theory. It presupposes that once a majority of a species understands a concept, idea, or way in which to perform a task, the said minority will automatically gain the majority’s understanding of this concept through a form of mass consciousness… hence Lawrence Blair’s quote on how a myth becomes a reality.

Lizette Molina as Marcela

Saldariaga’s new drama, The Shifting, is a story that follows the life of Marcela (Lizette Molina) who lives in a rough part of East Los Angeles as she comes to grips with her traumatic past. In the year 2012, Marcela reads a transformational book, “Dile Yes A La Vida” by Chris Lee, and begins to follow the book’s six steps toward taking responsibility for her life. Marcela goes against the elder tradition of never addressing taboo issues such as rape, incest, and molestation. But the Pandora’s box she opens will likely get someone killed. Her challenge is to stop her boyfriend Manny (Carlos Acuna) from murdering the man who raped her at a very young age. The accused is now a beloved, up and coming politician, Councilman Joseph Delgado (Mauricio Mendoza). So in the midst of her deepest aha moment, will the entire world be destroyed (in 2012) as many believe? For certain her world, as she knows it, will never be the same.

I was intrigued after watching the movie trailer. I thought, how in the heck do you spin one woman’s tragedy, the mass hysteria ensuing all around her, and the threat of 2012 being the end of the world, into one compelling plot?

Latin Heat interviewed director Julio Saldarriaga along with cast members Mauricio Mendoza (Encounters, Resurrection Blvd.) and Yeniffer Behrens (Unknowns, In Plain Sight), who also wears a producer’s hat.

LatinHeat: It is so hard to make a profound point inside a universal/commercial story for all audiences. Do you think you’ve accomplished this?

Julio Saldarriaga: We succeeded because we never took our focus off the primary message. We managed to modernize an old psychological theory, and we applied it in East Los Angeles in 2012… the year in which many believe the Mayans foresaw the end of the world.

LH: Let’s get to the nitty-gritty of the film. What was the budget?

JS: The hard budget is $200,000. But if you work in the talent deferrals we’re talking about a film, from concept to finish, that’s closer to $450,000.

The film is in collaboration with my company Filigrana Films, an independent production company with offices in Los Angeles and Bogota, Colombia. Our focus is to develop, co-produce, and co-finance content with the right message. We are currently working in partnership with various Latin-American production companies.

LH: Where are you with the film?

JS: In the final stages of post production, editing, and working on the sound. By mid-February, we anticipate being 100% done!

LH: When and where will The Shifting’s worldwide premiere be held?

JS: At the Festival Internacional de Cine in Guadalajara this spring (March 2-10 2012). We are also planning another worldwide premiere during the summer at another festival.

Yeniffer Behrens

Yeniffer Behrens (YB): We went to AFM and the response was amazing! Everyone wants to see the movie. We now have a long list of distributors who are waiting for the screeners.

LH: Yeniffer! You not only co-star in the film, you’re also a great film marketer!

YB: This is where I also jump in as co-producer by creating buzz and marketing. It’s easier when a film has all the winning elements and commercial appeal! This is the fourth film I’ve produced. I love the creative process, the collaboration, and connecting people. The movie is based on a book by life coach Chris Lee and we will tap into the billion-dollar self-help market. It is not the most conventional marketing strategy but it is very specific and niche oriented.

LH: Mauricio, how hard was it to play the role of a man who has a really bad secret from his past and is about to be exposed?

Mauricio Mendoza as Councilman Delgado

Mauricio Mendoza (MM): It was gratifying to play a role of this caliber, and it was all accidental for me. Julio had hired a Mexican star for the leading role and he was let go a day before they started shooting. A friend of Yeniffer’s gave my name to the casting director. I went in at 8 PM that night, was the last one to audition, and Julio offered me the role on the spot.

LH: Julio is it coincidence that you have so many Colombians working on this film with you?

JS: It was my idea from its inception to make a Hollywood movie with Colombians living here. The music is Colombian, the actors are Colombians… it’s really cool. We kid that it’s the Hollywood Cartel!

LH: How hard was it to make this film?

JS: Financing was the hardest. Getting people to believe and let me use their money. It was tough because it was important that this film become a successful business model that I can take back to investors and be able to duplicate. We don’t have to make millions like the Hollywood standard, but we can have a stream of good movies where everyone gets paid and we generate enough of a profit to finance the next film.

LH: Why did you go the indie route instead of the making the regular rounds with the studios?

JS: We discovered we had something to show that was different from everyone else. We have a low budget movie titled 2084 on Time Warner Cable that we made for the owner of Digital Jungle. When TWC saw the quality of what we achieved for so little, they said it was better than what big studios do sometimes with gigantic budgets. So we ventured out on our own with The Shifting and it’s working.

LH: Julio, we’ve seen so many low budget films that frankly look low quality. How do you accomplish a high quality film with little financing?

JS: It’s the quality of the story. It has to shine. The story has to be solid and you can overlook the low budget. A good story on the screen is as good as any other high budget studio film. We should not use the excuse that because we didn’t have money, the film stinks.

LH: One more question Julio. How did The Shifting change you as a filmmaker and as a man?

JS: The Shifting helped me realize the consciousness and awareness that we as humans are achieving. Now more than ever, I believe that we are closer to a big change and more people are aware of it! The film is a perfect example of the 100th Monkey Theory in bringing about the war between the old selfish instructions and the new self-awareness.

LH: Thank you, Julio, Yeniffer and Mauricio.

Will Marcela find peace with her past without her rapist getting murdered? Is 2012 the end of her world?

The Shifting is a Filigrana Film inspired by Chris Lee’s book, “Dile Yes A La Vida.”

Stars Robert Romanus, Mauricio Mendoza, Carlos Acuna, Melina Lizette, and Yeniffer Behrens

Julio Saldarriaga, Director

Gilchrist Macquarrie, Writer

Annette Bigles, Screenplay

Andres Barahona, Chris Lee, Eddie Ruiz, Producers

Guillermo Franco, Set Photographer

Movie Trailer: http ://www .youtube .com /watch ?v =UEtFz 6 s 45-8

To like The Shifting visit: http ://www .facebook .com /pages /The -Shifting /212244898840026

Festival Internacional de Cine Guadalajara: http ://www .ficg .mx/

Edited by: Casandra Moreno Lombera

Hispancize 2012 Manny Ruiz, Roman Morales’ insight on how indie films can benefit

2011-12-08T13:05:00.000-08:00

"It’s very important to note that we want to be a platform even for the existing film festivals. We want to be a friend and an essential ally to other film festivals." -- Manny Ruiz

Hispanicize Event 2012 -- Latino Film Showcase

April 11 to 13, Miami, FL

http://www.hispanicizeevent.com

I had the pleasure of interviewing the main individuals launching the Latino Film Showcase at HIspanicize 2012 and if you haven't read the first part of my article, it's on Latinheat.com or click on link:
http://www.latinheat.com/news/3307/hispanicize-latino-film-showcase-provides-missing-indie-links-in

Latino indie filmmakers don't miss out on this opportunity to submit your film art for consideration at the first annual Hispanicize Event 2012 Latino Film Showcase! If you've participated at other film fests, come and experience the difference it will make in progressing your film forward.

Latin Heat: Sounds like the attending marketers; innovators; influencers; and newsmakers will also learn something from meeting the filmmakers and watching the films.

Manny Ruiz

Manny Ruiz: Yes! One side of the Hispanicize event showcases trends and trendsetters in Hispanic social media, marketing, business, cultural, and entertainment sectors while the Latino Film Showcase side allows participants to see these elements come together in the films they watch. Marketers and filmmakers will be in the best environment to engage with each other and identify who can best help drive their films.

LH: Is the Hispanicize Latino Film Showcase in competition with other film festivals?

MR: I want to be clear and point this out… There are simply not enough venues to help U.S. Latino filmmakers gain visibility and distribution. They are… we are still paddling up a creek as Latinos.

We are willing to make Hispanicize a place that showcases our fellow film festivals to help filmmakers understand how to maximize their visibility. We compliment other film festivals and like events.

We’ve established Miami as our permanent event home to bring the national, international, and social medial worlds together for the benefit of filmmakers. Miami’s international presence is well known. It’s close to New York and has a lot of media. From this perspective, our film event brings a tremendous amount of value to filmmakers. We definitely want partnerships and alliances. We don’t see ourselves as competitors but allies. We see ourselves as an invaluable platform and invite others to join us.

Roman Morales

Roman Morales: It’s a rare opportunity for any filmmaker to come to a Latino film event and gain exposure and access to so many valuable tools.

LH: At last year’s Hispanicize in Hollywood, CA, those who attended praised the event and raved about the fun they had. Will the film showcase also be “fun?”

MR: Absolutely! Doing business doesn’t have to be without some fun elements. There are many activities and surprises in the works. Participants are in for a major treat!

LH: It has come as a surprise to others in the Latino entertainment industry that you may have just put this film showcase together without much thought or experience in cinema arts.

MR: Our Latino film showcase is not just thrown together. We started three years ago as a professional development conference that evolved into social media, bloggers… essentially a Southwest by Southwest Latino event. We have spent time and resources learning the lessons to get to the point where we are ready for primetime. We’re ready to be known as the U.S. Latino film event that showcases high quality product.

LH: The 2012 film event kicks off with feature length, documentaries and short films, what are the main criteria you're after in the area of subject matter?

Roman Morales: We talked about this quite a bit, we just want quality films and films with worldwide appeal. Our objective is to find/discover filmmakers whose main goal is to make quality films that we expose the world to. Not just your run-of-the-mill indie films.

MR: We want to make an emphasis in this film showcase on U.S. Latino filmmakers. We are not excluding Latin American filmmakers or their films, but they are already getting fairly good treatment/exposure on national and global levels...where we feel we can especially help is with the U.S. Latino Filmmakers.

But we won’t dismiss Latin American filmmakers especially those who move into U.S. film space with a project.

One of our primary goals is to empower U.S. Latino filmmakers with more opportunities that they traditionally have had. But it is never enough and with this gap we have to do better.

RM: Also, stories have to be universal. We need to come up with different type stories and prove that low-budget doesn’t have to mean low-quality.

MR: With government subsidies for filmmakers in Latin America it is easier to get produced, unlike the U.S. Latino filmmaker who don’t have these option. We want to be able to help the U.S. filmmaker with exposure, finding funding and help them with their goal of creating better quality stories with universal appeal.

LH: Why encourage U.S. Latino filmmakers to submit a film to Hispanicize Event?

MR: Their films screen with the right audience media and bloggers, professional developers, and opportunity to meet potential marketers.

RM: We expose the entire process it takes to get your film in front of the eyes who can make a difference in whether your film picks up a distributor or not.

MR: I know some very talented filmmakers who have done very good work in terms of documentaries, you can see their talent shine but what frequently happens, there is still a big gap in understanding in how to make a living producing their artwork. Not enough entrepreneurship, we’ll give them this platform.

LH: What other unique aspect to Hispancize will filmmakers have access to:

MR: There’s such an intense focus on the media part of our event that participants and general public think of us as the mother of all press conferences! We’ll have around the clock press coverage, a 4-day press conference, if you will. We expect a lot of use and configuration for press conferences, built-in to event. There is a press conference room set up for filmmakers to use. And, we still have mega surprises up our sleeves.

LH: Will participating independent filmmakers who are veterans and former prize winners be able to submit for consideration?

RM: Yes, we’ll consider veteran filmmakers in talks to showcase and some studio films. There will be a $10,000 cash prize for the winning feature film and a $5,000 cash prize for shorts. The studio films won’t quality for prizes but their presence and films will impact our event. We also have a major retro closing film… a cinematic spectacle!

LH: Roman, was it a hard sell to convince Manny?

RM: Not hard to twist Manny’s arm. The guy loves cinema. He’s put so many resources into event… it’s ultra special.

MR: Roman was an influence, inspired me to take as far as we are in 2012. Roman is a very influential in Austin film industry. It is important to me as a filmmaker and producer, I have a personal perspective of what I need and thus have every reason in the world to have this platform.

Thank you, gentlemen. We’ll see you at Hispancize Event and Latino Film Showcase next year on April 11th to 13th, 2012 in Miami, FL!

For more information on event and how to submit to the Film Showcase, visit: http://film.hispanicizeevent.com. Early film deadline: February 7; Late deadline: February 21.

About…
Manny Ruiz is the organizer and creative director of Hispanicize 2012, the largest annual event gathering marketers, bloggers and social media influencers as well as the chairman and co-founder of Hispanicize and Latina Mom Bloggers network. A media trailblazer and award-winning PR professional, Manny is also the co-founder of the Hispanic PR Blog, the leading marketing trade journal focused on Hispanic public relations and the "daddy-in-chief" of the bilingual parenting web site PapiBlogger.com. Prior to launching these properties, Manny was President of Multicultural Markets and Hispanic PR Wire for PR Newswire. Prior to PR Newswire's acquisition of Hispanic PR Wire, Hispanic Digital Network and LatinClips in 2008, companies he founded, Ruiz was Chairman and CEO of HispaniMark, the parent company.

Roman Morales is the Film Showcase Organizer/Film Curator of Hispancize Latino Film Showcase. A filmmaker from Austin, Texas, and a producer on the award winning documentary Split Decision (2000), Roman has been a part of the Austin film community. Having worked in film and television as consultant and technical advisor for 10 years he is extremely excited to now be a part of the Hispanicize organization.

At The Alma Awards!

2011-09-13T10:55:00.000-07:00

Had such an amazing time at the Alma Awards this past Saturday. Most definitely, the National Council of La Raza’s (NCLR) 20^th Alma Awards was the Latino Party of the year!

This year’s show has many changes, starting with the venue. For years, Alma would host at the Shrine Auditorium or in Pasadena at the Convention Center. This year, NCLR took their soul show to the beach at the Santa Monica Civic Auditorium in Los Angeles.

I must admit I wasn’t thrilled with the venue. It was hot, muggy… guess the air wasn’t working and the seats were not elevated enough for us shorties. I spent most of the night stretching my neck and my luck had me sitting behind a super tall woman with a super high hairdo. But the entertainment, the smoothness of the taping, made these slight inconveniences worth it. Also, NCLR’s production staff, volunteers were all courtesy and helpful. Pros all the way!

There were a lot more A-lister stars and they all dazzled on the red carpet. Co-host Eva Longoria outshone George Lopez in a gorgeous coral mermaid strapless Oscar de la Renta gown.

Other starlets who walked with her included Desperate Housewives Marcia Cross, Felicity Huffman, along with Eva La Rue, Alexa Vega, Naya Rivera, Michele Rodriguez, Jessica Alba, Sophia Milos, the ladies from Let’s Talk… Bel Hernandez, Naibe Reynoso, Dyana Ortelli and Kikey Castillo, and Demi Lovato and Cote de Pablo.
Power couples included Antonio Banderas and Melanie Griffith, Mario Lopez and his lady love Courtney Laine Mazza along with Maria Canals-Barrera and David Barrera also dazzled.

Antonio Banderas, Melanie Griffin
nephew

Lord, help me, but Benjamin Bratt is drop dead gorgeous! He walked with Cheech Marin, Danny Trejo, Enrique Castillo, Edward James Olmos, David Zayas, Michael Trevino, Ricardo Antonio Chaviria and Tristan Wilds. Also, there were some important directors and producers like Gregory Nava, Dan Guerrero, Robert Rodriguez, to name a few. However, the most gorgeous male that night hands down was Modern Family’s Rico Rodriguez! A charmer whose talent is going to take him far!

Let's Talk ladies, Dyana Ortelli, Kikey Castillo,
Bel Hernandez & Enrique Castillo

Let's Talk co-host & CNN Reporter,
Naibe Reynoso

Hip-hop star Pitbull brought the house down with his off-the-charts performance!

Edward James Olmos reminded us that while the night was a celebration, it was the eve of September 11^th and said, “We must try to help all the people who are sick because they went first to try to help when the buildings collapsed. That is my big understanding of what ten years of remember is all about.” Eddie, what a class act he is and I’m honored to call him a friend. Also, not many know that he was originally booked to take one of the planes that crashed into the Twin Towers. But the Sunday prior to the 11^th, as he reviewed his flight itinerary, he realized that he would be arriving into LAX in early evening and he had to be at the Latin Grammy’s that night. So at the last minute he changed his flight and instead returned on Monday, September 10^th. Destiny intervened.

Gregory Nava

While the Alma Awards catered to the glitz and glam of entertainment, the chatter turned political when Gregory Nava, the great director, producer and screenwriter, accepted his Career Achievement Award. “The immigration situation has gotten much worse since 9/11. The attack against the undocumented is now an attack against all Latinos,” said Nava. “This is an attack on all our culture… we have to fight against because it is an injustice.”

The El Norte and Selena filmmaker revealed that he finished the script to Garden of Eden, which examines our current immigration issues.

Actor/Producer Enrique Castillo &
Producer Lorena Alvarado

Enjoyed seeing Danny Trejo, who wore a suit jacket that was lined with embroidered daggers… he looked “Machete” cool! He spoke eloquently about what the evening meant to him. “I love being Latino in Los Angeles,” he said. “Right now is the time for Latinos.” Oh, man, I’m in love! He speaks my Latino language! He got a huge round of applause when he said, “We’ve moved forward in entertainment industry because of people like Robert Rodriguez, Jessica Alba, Michelle Rodriguez who have pushed us into the main stream. We are movie stars, for lack of a better word, but we are out there with all of them, and I thank God for that!”

Demi Lovato & little sister

Demi Lovato performed her current single “Skyscraper” and she sang her heart out! That girl has a spectacular voice! It is better than ever. Her live performance was amazing! It was heartwarming to see that she’s happier and feeling better these days. Bravo, Demi! Keep it up!

The closing act was a spectacular performance by Latin pop icon Gloria Estefan. Her first English-language album since 2003, “Miss Little Havana.” Her performance reminded us she still has the magic!

Naibe Reynoso interviewing Diva Eva!

I would like to mention that the sponsors of the Alma Awards spoke about how important Latinos were to their corporations, gave statistics, etc. Well, I felt they were preaching to the choir! I mean the entire audience knows this… I challenge these corporate tycoons to instead preach to other corporate leaders and billionaires who still are in the dark about the impact Latinos are making economically and demographically. Don’t preach to us… preach to them!

Don’t forget to watch the Alma Awards on Friday, September 16^th at 8PM on NBC. It’s a night where every thing is Latino razzle-dazzle! I’m not going to give you the names of winners… you’ll have to watch the show! There are some surprises!

Clark Russell, hair stylist to stars and Kikey Castillo

At The Almas, Latinowood, Sept. 10, 2011 ©

Behind the Scenes with Enrique Castillo -- Just Wrapped Indie Homebound

2011-08-27T20:26:00.000-07:00

Enrique Castillo as Cesar in Weeds

Enrique Castillo embraces his roles with the type of passion that remind you of a De Niro, Pacino, or Bardem. Like a true thespian, his versatility roars.

I had a chance to catch up with the SAG Award nominated actor recently where we discussed his latest project, Fanny Veliz’s indie, Homebound. Enrique goes from playing the villain in a recent episode on CBS’ NCIS to playing a cancer victim in Homebound. The film, shot in El Campo, Texas, tells the story of a family coping with estrangement, love, and loss. Castillo plays Gilberto, the family patriarch, who is dying from a rare form of cancer and trying to prepare the family for the inevitable.

Latinowood: You just finished filming Homebound where you star in the principal role of a family patriarch. This is an emotional role – how hard was it for you?

Enrique Castillo: It was emotionally draining in that you have to invest in the execution of emotions to convey what the character was going through. Gilberto is not where I’m at as a person in my relationships with my own children; however, as the character, I had to feel the pain he was going through both health wise and in his relationship with his son. It was physically and emotionally exhausting.

LW: How has Gilberto changed you as a father or husband?

EC: I would say, only in the sense that it helped reinforce my feelings: that I love my children to the degree that I do and that I love and appreciate every day that I can share with my wife, my partner.

LW: What was it like to work for Fanny Veliz? She’s so young, talented and a real go-getter… in what way was it different working for her than other directors?

EC: I enjoyed working for Fanny very much. I appreciate her trust in me and I hope that I did her work justice. I wish her all the success in the world and find no reason why she shouldn’t be able to build a very solid career in the film industry. What made the experience different is that it’s the first time I’ve worked for a female director in a feature. But I didn’t see her as a female director, I just saw her as a colleague and an employer that I was fortunate to be working with and for.

“The catena of roles throughout my career and how well I did my work, is what I hope in the end, defines me as an actor and not one role in particular.” –Enrique Castillo

LW: Homebound was filmed in El Campo, Texas and understand the Latino community was generous with their support. How so?

EC: My understanding is that many in El Campo contributed to the budget of the film. Also, there were several in-kind contributions. Many were extras and some even got speaking roles. It’s a great credit to the producers that the project they pitched to the community was so well received. Given that the story reflects the community’s experience, I’m sure they took great care to ensure that the story reflected the positive aspects of their lives.

LW: Homebound will make the indie film fest rounds. What is it that you want audiences to take away after seeing this movie?

EC: That this is an American story that closely mirrors the rule and not the exception to the majority of Latinos. The characters have been in the U. S. for generations and helped build the culture of the West – not unlike what we’ve seen in countless of American Cinema stories. They live as Americans yet they are proud of their Latino heritage. They’re patriotic with several military veterans of foreign wars in the family. In fact, Gilberto is a Vietnam Veteran and proud of his service to his country …con orgullo de ser de la Raza Bronze.

LW: How does your role in Homebound compare to your other film roles?

EC: I choose to look at this role as I do all the others I’ve had the privilege to portray: They’re human with a moral center that gets maneuvered either to one side or the other of the moral compass. How the audience perceives my character is a result of how well I do my work. I leave the judgment to the audience.

LW: Of all your roles, which one has defined you as the fine actor you are?

EC: The role of Montana in Blood In-Blood Out is the role I’m most recognized for in a public sense. The catena of roles throughout my career and how well I did my work, is what I hope in the end, defines me as an actor and not one role in particular.

For more information on Homebound, go to: http://www.homeboundmovie.com

ECastillo/Homebound, Latinowood © August 26, 2011

Edited by: Casandra Moreno Lombera

Miguel Torres & Mauricio Mendoza’s Supernatural Encounters Sets Industry Abuzz

2011-07-06T13:22:00.000-07:00

Recently, the Imagen Foundation announced its 2011 Imagen Award nominees and the new original web series, Encounters, is among those nominated for Best Web Series. If you haven’t already read the first part of this interview on Latin Heat Online, make sure you do. Here’s the link: http://www.latinheat.com/news/3018/b-miguel-torres-mauricio-mendoza-s-supernatural-web-series

This year, Angel Flight Media launched its original web series, Encounters, and has already garnered a coveted Imagen Award nomination with only a few webisodes uploaded. The definitive formula for the consummate web series is still a mystery and pioneers are trying to figure out how to grab television-viewing audiences and keep them riveted for seven to eight minutes on their on-line screens. Not easy to accomplish, yet Encounters has managed to tap into our most sacred emotions and hold our attention for the entire show. How many of us have lost a loved one or maybe a not so loved one without ever having a chance to clear things up or say one more time how much they impacted your life? Watching Enounters could save you big bucks on expensive grief therapy!

Miguel Torres

I recently spoke with the series creator and co-executive producer, Miguel Torres, about both his show and the positive reaction from the show’s growing audience.

Where did you get the idea for your story concept?

MT: I was jogging one day through Boyle Heights and I began to notice people… truly notice them. I don’t know what it was at the time but I felt the pain and hurt in them. Most of them walked with their heads down and I wondered why. I began to think about what I would say to a loved one who had passed away. And, what if these individuals spoke to a loved one who had passed away? How would it change their current lives? Unfortunately for all of us, we often believe that have something holding us back in this world from becoming great and I feel that losing loved ones takes a bit of our soul away. The original name of the series was One More Day, but I decided to share the concept with one of my mentors, Jesus Trevino, who in turn suggested the title of Encounters. I loved it and it stuck. What we are most proud of is dealing with social issues like alcoholism, child abuse, homosexuality, and suicide. We feel we are doing something positive for our community and the world.

“Intrigue, mystery, confrontations, revelation—these are the elements that make up the new Encounters webisodic series…. Encounters explores human stories of passion, anger and love. Topnotch performances and filmmaking by Latino talent, in front of and behind the camera, make for dramas that are provocative, arresting, and memorable.”

-- Jesus Trevino, Director and www.Latinopia.com creator

Mauricio Mendoza

How did your partnering with Mauricio Mendoza come about?

MT: Mauricio and I both know that we need to create our own projects if Hollywood is going to listen and we both understand the importance of universal themes and the quality of our work. We were talking one day about working together on a project, any project. We threw ideas at each other but nothing felt right. I told him about my jog through Boyle Heights and about having one last opportunity to meet with a loved one who’d passed away. He loved the concept and within days we started calling our friends from Armando Acevedo (DP), Lorena Alvarado (Associate Producer), Kenneth Castillo (Series Director), Enrique Castillo (Actor, Series Writer), Joe Camareno (Series Director), Ruth Livier (Actress, Episode Writer), Stephen Murray (Series Editor), Kico Velarde (Series Editor), Kevin Sifuentes (Series Director), Yeniffer Behrens (Actress, Writer, Producer), Ruben Padilla (Series Writer) and others asking if they wanted to be a part of it. Once we shared the concept, without hesitation, they were on-board. Mauricio and I are the Co-Executive Producers of Encounters. It’s tough to produce but we are enjoying most of the process and the professionals that are working with us are amazing. Encounters has talented individuals that I cannot thank enough and we are also providing them with a platform so that their craft as storytellers can be seen. This is a win-win for all of us because we believe and trust in our work as professionals.

What is your average budget per webisode?

MT: The average budget per episode is between $650 and $800 and all of the funding has come out of our pockets and many individuals, including the cast, are providing their time in hopes that we do get funding. As of now, the funding is all hard costs.

Latinowood Note: Keep in mind that this low budget does not reflect extensive built-in equipment ownership advantages. Most independent producers do not possess the inventory and must rent out equipment and facilities.

“Encounters is an excellent and fresh premise for an Internet series that promises to be emotional and heartwarming.”

-- Randy Zisk, Executive Producer/Creator, Monk

Are you & Mauricio seeking out funding/sponsor sources?

MT: We would both love to have sponsors, a grant, or someone to give us funding for our web series but I know it’s difficult. I work freelance as a camera operator and editor for both Radaronline.com and CNN Español, allowing me to put funding into the web series for the past two years. Sometimes you have to believe in yourself and in your projects and if it means funding it yourself, then do it.

When marketing Encounters, is your primary demographic target Latinos? If yes, how do you intend to cross-promote to mainstream?

MT: The Encounters concept is a mainstream concept. We wanted to share the “encounters” stories of the various cultures in the world. We originally wanted to tell a Caucasian, a Black, a Latino, an Asian, an Indian, and a middle-eastern story, however, due to our resources, we went entirely Latino. But, here lies the key to the series and especially our culture: Yes we have a Caucasian in our series but they’re Argentinean. Yes we have a black in the series, but he’s Cuban. What our Latino culture offers us is a beautiful rainbow of colors. We have talent from the lightest skin to the darkest of skin. Is this a Latino project, by no means was that our intention but we called our friends and our friends come in various colors. Our creative team and the people behind the series are all Latino and we are great storytellers.

“Mi Media Naranja is a moving and wonderful webisode of Encounters. If they’re all this good, I’m not going to miss a one. Carlos and Mauricio take you on an emotional journey about how two brothers can look identical but still be so different. A real winner!”

-- Ed Begley, Jr.

Will there be a new season of Encounters?

MT: We have completed 11 episodes and we’re launching the first 7 episodes of the first season. We are planning on taping three more episodes in the coming months to complete season 2. The scripts are ready for production. Hopefully we can obtain the funding to keep telling individual stories and produce many more seasons to come.

Has the importance of getting an Imagen Award nomination sunken in yet?

MT: I was definitely nervous the day before the announcement of the 26^th Annual Imagen Awards. I watched them via live-stream on the site and, when the announcement was made, I was thrilled for the entire cast and crew. I was thrilled that a prestigious organization like the Imagen Foundation recognized the hard work we’ve put into the series for the past 2 years. The nomination sank in immediately because it validated the series, the cast, and the crew.

Who does your casting because you have brought together some fantastic talent?

MT: For budgetary reasons, Mauricio was in charge of the casting… meaning he called his friends!

Don’t miss any of Miguel Torres’ and Mauricio Mendoza’s Encounters: http://www.encounterswebseries.com

Mauricio Mendoza and Miguel Torres
Executive-Co-Producers, Encounters

Encounters Latinowood © July 2011
Edited by: Casandra Moreno Lombera

Crystal Santos: An Unconventional ‘Wonder Woman’ To Make Movies, TV with G Productions and Mystic Warrior Productions

2011-06-22T18:04:00.000-07:00

Watch Crystal Santos on Let's Talk! show, Thursday, June 23, 2011, 7:30 a.m. on KJLA/LATV, check your local cable grid in the greater Los Angeles area (from Santa Barbara to Orange County, to San Bernardino, Temecula). To read this interview's full article, visit: http://www.latinheat.com.

Crystal Santos, leading
Hollywood Stunt Professional
often doubles for Rosario
Dawson and Roselyn Sanchez

We caught up with Crystal recently and asked her about her new film venture and how she balances her busy life:

Q: Film financing is hard to come by, how did you convince Chinese investors?

Cristal Santos: I was fortunate to meet some wonderful Chinese investors and they had seen the value in my project and moved forward rather quickly. I had taken a course in Asian business etiquette in college and let’s just say it paid off. There is a very different style to Asian business and it is based on respect, honor, and honesty. It’s refreshing.

Q: It’s such a rarity to get financing. What other aspect helped you?

CS: There are many ways to finance a film; it’s about knowing what the market will bear and what investors want to see. Finding money for a film is fun and challenging. Still, no two films are funded alike.

Q: What type of training and diet regime do you follow?

CS: I personally stick to the Paleo Diet and strength training plus I run over an hour a day. And of course the extra fun activities like swimming, fights, weaponry, and miscellaneous stunt stuff.

Q: We’re calling you Super Woman combining work with motherhood, but in the real world, well that’s just hard for any person. Since the birth of your son, has any aspect of your career focus changed?

CS: I incorporated motherhood into my business. I believe it is good for my son to grow up knowing hard work and discipline. By being an example as an athlete and businesswoman, I think it would be ingrained into my child. I want him to feel welcomed in my life and my business is part of my life and one he will inherit, so he should always be involved. I try to take Alexander [son] everywhere. And, yes, he will be going to China with me too.

If anything has changed it would be in the area of focusing more on my acting and film producing for my own movie projects.

Q: Why is Comic-Con and AFM important to you?

CS: Comic-Con is important because I am writing and releasing a comic book and have assisted others in doing so. Attending this convention helps me to make the important connections in that industry, which helps to facilitate my goals more efficiently. It is also beneficial to meet the artists that are out there and to see their work. I actually am hiring one of the artists I met at Comic-Con. As for AFM, it is an invaluable resource for a filmmaker; you meet distributors, financiers, actors, directors, etc. Wonderful results come out of AFM and it is AFM that gives you a real sense of opportunity in the global marketplace.

Q: Growing up, who in entertainment was your role model?

CS: Honestly, like most little girls my age, I admired Linda Carter. Wonder Woman was awesome!

Q: You’ve worked on some major films as an actor and stuntwoman. Which gig was the most dangerous?

CS: I suppose anything I have done involving fire. And, the most important movie I worked on was War of the Worlds. Everyone was pleasant, stunt team, and actors, and the director made it fun as he guided us into his vision seamlessly. Hands down, the best work experience ever.

Q: On the entrepreneur side, you and your husband also have a vitamin and skin care company, another successful venture. Why another business when you’re already thriving in the movie business?

CS: In the business I’m in, it is important that one’s body is strong and healthy and also, the outer must also shine for the camera. It made sense to venture into the health and skin industry. We’re fortunate in that both Markethealth and Healthbuy are successful businesses. Markethealth offers affiliates opportunities to promote our vitamin and skin care lines as a home business and Healthbuy is a place for consumers to buy our products. My personal favorite is our Revitol line, which I use faithfully.

Q: Is it pure passion that has contributed to your business success?

CS: I really believe that if you are passionate about any business you can make it successful. It’s also about knowing what you want and being flexible on how you get there. Example, you may want to finance your film via private equity, but discover that there are other methods such as gap and bridge loans that may work for you. Understanding what you can collateralize on and what the value of every element of your film is can determine your budget and potential investment opportunities. That age-old saying comes into play: Know Your Worth! Also be prepared to say ‘no’ to a deal. Example: if you write a script with the intent of directing it, then stick to that, do not let someone tell you that your script is great but you can’t direct it. Understand that there are elements you can include in your package that will increase the value of the film, a director is just one of them, actors another, location, qualified producers, etc. Be realistic. Know what kind of film you are making, who will be interested in distributing this film and what is the possibility of the investors return on investment.

Q: So, Crystal what does an active working professional like yourself do for fun?

CS: I have tons of fun! I get together with friends and play with bullwhips, swords, practice fights, and hang off things,” she laughed. “Our hobbies are a bit unconventional.” Crystal added that a friend even got a baby harness so they can introduce one-year old Alexander to the trapeze soon.

Considered one of the industry’s top stuntwoman, working on dozens of films and television shows. She is also a popular stunt driver for TV car commercials. To learn more about this multi-talented woman, visit: http://www.facebook.com/l/2c93bWcgpu56Orx1C_mRIwYohGA/www.crystalsantos.com
Don't forget to watch her on Let's Talk! on KJLA/LATV at 7:30 AM. Or check out the episode on the website, http://www.letstalkshow.tv.

Latinowood: Elia Esparza

Crystal Santos/June 2011 ©

NICK CHAVEZ INTRODUCES “TRADITIONS” HAIR PRODUCTS ON QVC

2011-06-22T14:00:00.000-07:00

Watch our very own Nick Chavez on QVC tonight (June 22^nd) at 10PM (Pacific), as he debuts his new line, Traditions. Nick has captured the essence of his heritage, traditions, and home remedies from his Latino and American-Indian background. We’re so proud of our friend and for all his philanthropic contributions. His hair products have been the top sellers on the network for years because of their premium quality and affordable prices. Nick will also appear on QVC on Thurs., June 23rd, 8AM and 4PM (Pacific); and 1AM, 11AM, and 7PM (Eastern) where he will introduce his other new line Advanced Volume.

Before I introduce his new line, here is a little background on Nick. He comes from a large Mexican-American family (with Yaqui and Quechan Indian blood). He is the second oldest of seven children and is related to UFW founder, Cesar Chavez and Dolores Huerta. Raised on a farm where his father was a farmer, Nick’s job was to groom horses, clean out stables, and work as a ranch hand after school because the family needed the money. He knew early on that he was headed for something bigger and better. He felt it just the same way as Oprah Winfrey who said that she felt it as a young girl, knowing her destiny was bigger than she could have ever imagined. At around the age of 10, he started working with horses and fell in love. Everyone thought he would become a famous horse trainer. He groomed show horses with a pair of scissors he borrowed from his mother’s sewing kit. In time, he got so good, his horses had the most beautiful manes and tails. There is so much more to his story and I urge you to check out his book, “Perfect Hair Every Day” (QVC Publishing) to read his amazing journey. He eventually turned to hair styling when one of his cousins insisted he cut her hair just like that new TV star, Farrah Fawcett-Majors. Well, that haircut led to many others. Later he travelled to Europe where he modeled and later acted (TheYoung and The Restless) and other TV programs and national commercials. Later he would open his Nick Chavez Beverly Hills Salon, where he continues to cater to his celebrity and eclectic groups of clientele.

Nick Chavez

We’re very proud of Nick and his achievements and for the generous and spiritual person he is. He never forgets where he came from and honors his cultural heritage with integrity. His new line Traditions reflects his heritage and each product’s ingredient's story is based on his own life growing up on a farm. He has an intimate familiarity with unique plants of the Southwest.

New Products:

Yucca Root Conditioning Cream

A rich and luxurious conditioner that helps provides the ultimate hydration and moisture for all hair types. Especially effective on hair that has been chemically treated and has a tendency towards dryness and brittleness. Native American tribes have used yucca root for years to help prevent hair loss, while wild yam helps with normal hair growth. The result is balanced, healthy, shiny and beautiful hair.

Yucca Root Shampooing Cream

This rich luxurious shampoo helps provide the ultimate hydration and moisture for all hair types. It is especially effective on hair that has been chemically treated and has a tendency towards dryness and brittleness. Native American tribes have used yucca root for years to help prevent hair loss, while wild yam helps with normal hair growth. The result is balanced, healthy, shiny and beautiful hair.

Raindrops Purifying Spray

A unique pre-styling spray used immediately after shampooing and conditioning to help neutralize the effects of chlorine and high mineral content in hard water. Made of purified water because of its purifying effects and nutrients that counter the effects of hard water to the scalp and hair. Contains Agave Nectar, which is highly moisturizing and effective in helping to soften and condition the hair.

Red Desert Clay Re-Balancing Conditioning Cream

Designed to help heal damaged or distressed hair that has been depleted by chemicals, thermal heat or the elements. Promotes healing to over-processed, damaged hair. Formulated with Red Desert Clay, which penetrates and restores moisture and hair to its optimum condition… For all hair types, but especially effective on fine and thinning hair.

Nick Chavez Beverly Hills Salon on QVC: June 22^rd, 10PM (PT) and June 23^rd, 8AM, 4PM (PT) and 1AM, 11AM, 7PM (ET)

http://www.nickchavezbeverlyhills.com/traditions

Latinowood: Elia Esparza
Edited by: Casandra Moreno Lombera

Nick Chavez on QVC, © June/201

Constance Marie - No Pushover on Switched at Birth, ABC Family’s New Hit Series

2011-06-15T09:36:00.000-07:00

ABC Family’s Switched at Birth caught my attention since the series debuted on June 6^th on the network’s 9 p.m. slot. I’ll admit I only tuned in because Constance Marie is cast in one of the lead roles, and I’m a huge CM fan.

Switched’ became ABC Family’s number one series debut of all time in total viewers (3.3 million), women 18-34 (754,000), adults 49 (1.7 million) and women 18-49 (1.3 million).

Source: TheHollywoodReporter.com

Constance Marie, Katie Leclerc, Vanessa Marano, Lea Thompson,
D.W. Moffett, Lucas Grabeel

Switched at Birth’s story centers on two teenage girls who discover they were accidentally swapped and are being raised in polar opposite family circumstances. Of course, one family is rich and the other is not. Switched at Birth explores deep issues of nature versus nurture.

It is a smart show and I’ve chosen to forgive the typical Hollywood stereotypes although it is hard at times to dodge the racial clumsiness. Various embedded and reinforced racial clichés unfold, i.e., the poor family who lives in a gang-infested barrio/ghetto is, of course, Latino…because all Latinos only live in ghettos…and all single-Latino mothers are recovering alcoholics. I decided to focus on the unique story line and the fact that the show creators got one thing right: casting Constance Marie, an actress who gives all her roles a classy conscience.

Katie Leclerc & Constance Marie

As Regina Vasquez, CM portrays a talented artist and mother of Daphne (Katie Leclerc) who is hearing impaired. Regina is no pushover and defends her position as a low-income, hard-working single mother who has done an excellent job raising her daughter. Daphne, a light skinned Irish-looking strawberry blond, is a well adjusted, considerate, and excellent student who is proud to be Puerto Rican.

Regina does not let the other parents, who are raising her biological daughter Bay (Vanessa Marano), intimidate her with their wealth and social position.

Katie Leclerc & Vanessa Marano

The parents, John and Kathryn Kennish (Lea Thompson and D.W. Moffett) have provided their beautiful dark-haired, ethnic looking daughter, Bay, and their strawberry blond son Toby (Lucas Grabeel) a comfortable life due to John’s former sports career and successful chain of car washes. Bay has lived in the lap of luxury her entire life, yet there is something missing. She has a rebellious streak, is a talented artist, and when she’s upset, she recharges by sneaking off into the night to secretly paint/stencil graffiti art on walls and fences. Yes, another stereotype because she’s biologically a Latina so of course she would have an innate desire to paint walls! Ugh! OK, no more objections. Back to her art: an image of a little girl in pink and black, like an angel. There’s a story of a lonely girl in there. It will be interesting to see how this metaphor unfolds.

Kudos to Lizzy Weiss (Blue Crush) for creating a show that introduces the integration of the deaf community to a hearing family. The Kennish’s will have to expand their understanding of deafness if they are to connect and bond with the daughter that was lost to them for so many years. Not easy for a family who has enjoyed life’s pleasures without giving much thought to the rest who are not normal like them.

The series debut also featured Ruth Livier as a concerned hospital professional who informs the families of the switched baby girls’ mix up. Ivonne Coll, an actor who brings great integrity to her roles, also shines as Regina’s mother. For those who may not know, Ivonne is a former Miss Puerto Rico and Miss Universe contestant. The Vasquez’ family consists of three strong women and we hope the show’s creators will befittingly cast more Latinos.

Emmett Bledsoe, Daphne’s best friend and protector is played Sean Berdy, a young and winsome deaf actor. He is a thespian with Marlee Matlin acting chops, who is so comfortable with himself that he inspires you to want to learn sign language just to hang with him. What a cutie. Then there’s Ty (Blair Redford), a friend from Daphne’s barrio. I gather he’s supposed to be Latino, not sure, but he has strong Native American features and is a total hunk. No doubt he’ll be hugely popular as Bay’s future love interest.

I hope Lizzy Weiss uses her hit show to introduce more exceptional Latino talent and leverage the interest of her culturally diverse, mainstream audience. For sure the families have miles to go before there is acceptance and understanding with each other’s circumstances and traditions. This means that Ruth Livier’s character should visit more often. As for Ivonne Coll, there is great potential to explore her relationship with daughter Regina.

Moms... daughters trying to
understand their differences

Switched at Birth delivers a highly plausible and socially challenging storyline with emotional intelligence and courageous steps into uncharted waters.

Switched at Birth, Mondays, 9:00-10:00 p.m. on ABC Family.

Latinowood: Elia Esparza

Edited by Casandra Moreno Lombera
Latinowood/Switched at Birth © 2011

Leoni Navigates Web With Los Americans

2011-04-15T21:24:00.000-07:00

Award-winning writer/producer/director Dennis Leoni is set to launch his new web series, Los Americans on May 26, 2011 on www.pic.tv. Read more details on Los Americans in Latin Heat Online (http://www.latinheat.com) and search for “Dennis Leoni Takes on the Web with Los Americans.”

Those of you familiar with Leoni know that his hit series Resurrection Blvd. which premiered on Showtime in 2000, went on to become become the longest running Latino themed dramatic series in the history of American television. Now he brings us the dramatic web series, Los Americans.

Esai Morales

Los Americans has a cast of exceptional actors who have worked for years in television and film. Los Americans is about the Valenzuela family and it stars: Esai Morales (Caprica, Jerico), Raymond Cruz (The Closer, Breaking Bad), Lupe Ontiveros (Southland, Family Guy), and Yvonne de la Rosa (How I Met Your Mother, CSI: Miami).

Raymond Cruz

Lupe Ontiveros

We caught up with the über producer recently and asked him about the future of Internet program and how this new venture came to fruition.

Q: How different is it to develop a web series versus a TV/cable show?

Dennis Leoni: The difference is financial. Because the budgets on a web series are so much smaller, it reduces the scope—locations, props, and of course, there can be limitations in attracting high-priced talent, unless the writer/director/producer has personal connections to the actors and the script is very attractive. Production values can suffer, so you have to be more creative. It’s also difficult to condense and tell an entire story in 5-10-15 minutes…particularly for a one-hour drama writer like me.

Robert Townsend

Q: You’re collaborating with Robert Townsend, how did this partnership happen?

DL: I’ve known Robert for years from our association with The Summit, which is a conference for people of color in the entertainment business that was created by The Black Filmmakers Foundation. Robert has always been a big fan of Resurrection Blvd. and when One Economy decided they wanted a Latino web series, Robert thought that I would be the best person to create one for them.

Q: What is the difference between the Los Americans Valenzuela family from that of the Santiago’s on Resurrection Blvd.?

DL: The Los Americans family and the Resurrection Blvd. family are both modern and fairly well assimilated into U.S. culture, but the family on Los Americans is much more affluent and separated from the Spanish language and the Latino culture than the Resurrection Blvd. family.

Q: How would you like to see Los Americans marketed to mainstream audiences?

DL: As a family dealing with problems, the way any family would here in the U.S. they just happen to have a few other unique problems that have been created because of cultural issues. I do know that the marketing plan includes the mainstream media with television ads; promotion through various organizations, Latino and otherwise; the internet; word of mouth; any and every which way we can grab attention.

Q: Web series are still new to the broadcasting scene, what’s the plan on monetizing? Media sponsors?

DL: I’m not absolutely certain of the entire marketing and monetizing strategy, but I know that sale to a network is an option that is being explored as well as DVD sales. Media sponsors would definitely be welcome.

Q. Who’s handling distribution?

DL: One Economy Corporation and Townsend Entertainment are in charge of distribution with www.pic.tv being the Internet channel outlet.

Q: Is there a life for programming on the Internet? If yes, why?

DL: Of course there is life for programming on the Internet. In fact, it is the future. Some day your television and computer will be the same device, and people will download and watch TV and films.

Q: On the best case scenario, what is it you wish for Los Americans?

DL: That a network sees the value of having a Latino family drama on the air and picks us up for broadcast so that millions of people everywhere, Latino and otherwise, can see a show about what real life is like for assimilated Latinos here in the U.S.

Los Americans premieres on http://www.pic.tv (Public Internet Channel), a division of One Economy, May 26, 2011.

The Making of Firehouse

2011-04-14T20:57:00.000-07:00

Pedro Antonio Garcia’s new play, Firehouse, tells a story based on a real-life incident about the honor and loyalty clash with ‘doing the right thing’ in a South Bronx firehouse. I urge you to read the article I wrote for Latin Heat Online (www.latinheat.com), titled: Garcia’s Firehouse at Whitefire Theatre Ignites Vitriolic Debate. Firehouse is playing on Fridays only at 8:00 P.M. through the end of May 2011 at the Whitefire Theatre in Sherman Oaks, CA. Contact info listed below.

Enjoy the interview and I hope it inspires you to go see this amazing play. Find out why Robert “Bobby” Moresco, Oscar-winning co-writer of the movie Crash, is also a Consulting Producer of Firehouse.

PEDRO ANTONIO GARCIA, PLAYWRIGHT
The acclaimed playwright and criminal defense attorney opens up about the making of Firehouse
See clip on interview: http://www.youtube.com/watch?v=XYj2dJRmFPo

Q: Firehouse is an intense story about controversial social issues that continue to plague society. What was the pivotal motivation that inspired you to write a story about a South Bronx firehouse?

A: The inspiration always was the Amadou Diallo shooting, where an African street salesman was shot 41 times by four New York City Police Officers on February 4¸1999 in the South Bronx. I am a criminal defense attorney in NYC, and at that time I was representing – among others - African streets salesmen accused of selling without a license.

Q: What obstacle did you find difficult to overcome in telling this story?

A: As all writers, we struggle with exploring the deeper issues lying in the recesses of our minds. This started as an exploration of the Amadou Diallo issue and racism, but at its core, it became an excavation of my childhood growing up in the South Bronx and the effects of poverty and abandonment in the ghettos.

Q: Have you gotten any negative reaction to Firehouse?

A: No. In fact, we have had audience members who have come to see the show four times already, and others who recommend the show.

Q: Obviously, the seed for Firehouse was on your mind for a long time, seeing your finished product, has it been a cathartic release for you?

A: Yes. The story still affects me, to my core, and it affects the audience and the cast. I am still tweaking the play, digging deeper, wondering why it affects me so. Every Friday night is a cathartic release for me.

Q: How do you think your South Bronx community will react to Firehouse? Are you hopeful it will provide some type of healing or closure to the unjust Amadou Diallo tragedy?

A: The community will respond enthusiastically to it, as they are familiar with the tragedy they experience daily. I hope the play will expose their lives to others, so they are never neglected.

Q: Prior to the Diallo incident, did you have a particular interest in the happenings of your community or were you as involved as you are now? OR how did the Diallo incident change you?

A: I’ve been a civil rights activist attorney in the South Bronx for 25 years, representing the indigent in every type of case. The Diallo incident is a typical scenario I’ve witnessed all my life.

Q: Do you think the message will educate police personnel who find themselves for what ever reason turning to a new career that you don’t just train to be a firefighter on a whim because it is a job with health benefits?

A: No. Firefighters generally become firefighters because someone in their family was one, usually the father. In NYC, 94 percent of the firefighters are Anglo-Americans.

Q: Do you think there is a subtle message for rogue police personnel wanting to seek out a career with the fire department, that they don’t just pass training, they also have to be willing to become a respected and trusted member of the community? Is there a community vigilance message here?

A: No. My message is to not discriminate, to help, to save, to do your duty, and to truly love.

Q: How have police personnel who have seen the play responded?

A: Police personnel have loved the play. It’s more about fear, and the unknown, sometimes embodied in racism.

Q: You mentioned that a couple of firefighters who recently lost one of their brothers in a Los Angeles fire had come to see the show. What was their reaction and comments?

A: Firefighters from Los Angeles Fire Station 61 were the second response unit at the fire that killed firefighter Greg Allen. These firefighters were so moved by the play that they came a second time, brought more firefighters to see the show, and gave the cast and crew T-shirts.

Q: As far as audience understanding, what is your hope they get out of it?

A: I want the audience to be moved, to ask questions about their lives and what’s important, to search for the truth.

Jossara Jinaro
Kamar de los Reyes

JOSSARA JINARO “Aida Rojas”
This outstanding actress opens up about working in with the boys and her role as an idealistic attorney defending the underserved and indigents

Q: As the only female in an otherwise all-male production, what was the hardest challenge you had to overcome to hold your own among them?

A: The minute the cast read the script, I knew I was in good company. Surrounded by a group of crazy-talented artists, I had to step it up. So I held my own, became one of the boys and earned their respect.

Q: How does it make you feel, as a Latina, portraying a character that represents an entire community? How did you research your character?

A: I found Aida's plight to be very personal to me. I feel it is extremely important to support other people in any way I can. I've always been very passionate about giving my time and effort to causes and of course to my Latino community. Emotionally, I understood the journey very well.

Then of course there was her occupation of being a lawyer who serves her own community. Our playwright Pedro Antonio Garcia is an attorney and he created Aida with a specific fellow-attorney in mind. I vigorously watched video of her and read everything I could on the Internet. I also shadowed a community lawyer here in Los Angeles who had turned her life around after being a gang member in her youth. I didn't just want to play an idea of a lawyer, I wanted to embody the reason she became a lawyer.

Q: What was the hardest challenge you’ve had to overcome in portraying your character?

A: Aida is not only the sole representative of an entire outraged community, but also a woman deeply in love with a man she thinks is a devoted compatriot. The circumstance of this story put this man on the fence and shakes her world. I had to find a way to walk a very thin line between passionate righteous strength and the vulnerability of being betrayed by the person I love the most.

Gerald Downey, Elvis Nolasco, Kamar de los Reyes

Jon Southwell, Jossara Jinaro, Bryan Rasmussen, Ed Morrone

FIREHOUSE ACTORS Q&A

ELVIS NOLASCO “Pito”

Actor shares insight on his poignant portrayal as a crack-addict with a moral conscience and code of ethics. He’s also the half-brother to one of the firemen caught in drama

Q: How did you prepare for your difficult role?

A: I go through a very intense preparation for every character I play. I do a series of character exercises, like a private moment with the character, finding the unfulfilled need of a character, adapt an animal and use it as a sensory for mannerisms and personality. I've learned throughout this process to find something that puts a motor in my soul before stepping out into the stage. And, lastly, HAVE FUN and give the audience what they came for.

Elvis Nolasco & Kamar de los Reyes

Q: What in your background helped you with this character?

A: I try to utilize any real experiences I might have had with loss. In this case “Pito,” he has lost a lot…his person to his addiction, or he has never recovered from the tragic death of his father. And, there is his love and support from his brother “Roberto ‘Perry’ Miranda. Having lost family and friends as a result of natural causes, sickness or addition, tapping into the grief factor is not hard for me. I draw from my own losses.

See clip on actors: http://www.youtube.com/watch?v=1QTWxQ7dEw8

GERALD DOWNEY “Brian Boyle”

Actor talks about his characterization of the fearful and polarized former cop turned rookie firefighter

Q: How did you prepare for your difficult role?

A: Most of the preparation was in learning the thought process that this character goes through throughout the play. I am normally cast as ‘the nice guy’ or ‘dad,’ or in more comedic roles. In the beginning I worried that I wouldn’t be able to pull off the role of a cop. A cop who has been through the stress, the anxiety, the trial, and the daily horrors that he must’ve seen. So, much of the preparation was researching the stresses of a police officer. At one time, not too long ago, I wanted to stop acting and apply for the police academy. After spending some time with this idea and doing some research, I remember reading a quote from an officer. He said, (paraphrasing), “after years on the job, I’ve learn to really distrust people. The things I see people do to each other have made me made dislike humans.” That really stuck with me.

Anyway, I’ve also been reading Blue Blood by Edward Conlon, and, to be honest, started watching the show Southland on TNT. Most of the characters are not that likeable, but I still feel for them. That was the biggest hurdle for me. I had to really like my character. I had to go back and recreate in my mind what led him to do what he did. And, to where he feels justified. I really had to make it to where I really 100%, believe my character is justified and correct in what he did, what he does, and how he reacts throughout the play. It’s kind of scary that I’m now to a point where I can actually argue and believe my characters actions and reactions.

Q: What in your background helped you with this character?

A: NOTHING! Thank goodness! Ha! I come from a very “live and let live” family.

However, I was brought up in the Mid-west and there were a few small-minded passionate people who were racist. I could tell, even then, that it was based on fear and their ignorance.

Q: Because of the intensity of the subject matter, did you, the Anglo actor, ever start to feel the sting of being thought of as racist? At any point, did the character get to you personally?

A: I believe everyone is a little bit racist or has been at one time or another. If they truly are honest with themselves, I believe we have all made some racist reactions or assumptions…sad but true. To answer your question, no, throughout the rehearsing the play and performing I haven’t felt a sting of being thought of as a racist. Most of the reactions have been, “I really enjoyed hating you.” I take that as a compliment. I feel flattered the audiences so far have understood my character’s struggle, and enjoyed my performance. They hate the character but loved my performance. I’ve done my job and told the story.

The only thing that has gotten to me is that I actually feel for this bastard now. Part of me wants more scenes and flashbacks where I get to tell my side of the story. I mean, here’s an ex-cop who’s trying to start a new life, first day on the job he’s put in a situation where he has to make a split decision. He’s face with a life or death situation. In my opinion, it had nothing to do with race; it had nothing to do with whether or not he made a conscious decision of who to save. He’s in doubt the whole time.

JON SOUTHWELL & ED MORRONE

Actors talk about the intensity of their roles

Q: Because of the intensity of the subject matter, did you, the Anglo actor, ever start to feel the sting of being thought of as racist? At any point, did the character get to you personally?

A: (Jon Southwell, “Breaker”) No. I've been extremely fortunate to be working with a cast, crew and writer that are not only consummate professionals who are truly gifted in their craft, but also caring, giving, deeply empathic individuals. They have each extended their hands and hearts to this project and to me as well. As much as I identify with most of my character's sensibilities (love, loyalty, and sacrifice), the portrayal of his lesser qualities (racism, homophobia, and hate) have been made possible by the support of my fellow cast members.

Q: How did you prepare for your difficult role?

A: (Ed Morrone, “Valentino”) Preparing for the role was a matter of having Valentino approach each issue within the firehouse as if they were double-sided. No situation is just black or white, everything that Valentino heard from either side of the argument had to be questioned. This helped form this character into someone more than just a firefighter from the Bronx, but more as a modern-day thinker, who doesn’t take anything for granted.

Q: What in your background helped you with this character?

A: (Ed Morrone, “Valentino”) Being born and raised in New York, and also a witness to the tragedy of 9/11 and the after-effects it had on New York City, I tried to use those experiences to prepare for my character and do the best job I could possibly do. But, you always feel like you need to work that much harder especially when it comes to a part of New York culture that is so important and has so much history. I hold these men in such high regard that I felt an obligation to go out there and to maintain a sense of integrity for the real people who go out and risk their lives everyday.

LAURA COKER, EXECUTIVE PRODUCER

Veteran producer talks about giving up vacations to nurture her theatrical passion

See producer's clip: http://www.youtube.com/watch?v=p6hcg1iHU84

Q: You're the executive producer, why would a person who usually produces musicals do a complete turnaround with Firehouse? How risky was this for you?

A: Although I have produced musicals previously, I come from a background of acting for over 25 years. Having worked in a variety of plays, I've learned to recognize and appreciate great writing and great talent. Producing gives me the ability to create in a way I could not as an actor. I may be limited as a performer, based on age, gender, etc. As a producer, I get to help put the pieces together to create something amazing.

I love when cast members get the recognition they deserve and move on to greater success. I have been blessed to work with actors who went on to Broadway, films, and television series. They keep in touch with me so I can follow their successes. I feel like a proud parent.

The only risk is monetary. I stick to small theatre. The amounts involved are similar to a really great vacation. You know you won't get your money back after a vacation, but you've had a great time, and have wonderful memories. Who knows, maybe one day people will be able to make money in theatre.

Q: What was it that appealed to you most about the story?

A: Sitting in on the auditions, many had stories about being touched by 9/11 personally, and spoke with such passion about firefighters. You couldn't help being moved. Firehouse story is about doing the right thing. With the world in such chaos, it's comforting to be reminded that there are those who are willing to "do the right thing" even when it's not the easy way.

Firehouse

A Laura Coker in association with the Whitefire Theatre presentation

Runs: Through early summer 2011

Plays: Fridays ONLY, at 8:00 P.M.

Whitefire Theatre, 13500 Ventura Blvd., Sherman Oaks, CA

Tickets: www.theatermania.com or call (323) 822-7898

http://www.facebook.com/pages/Firehouse-World-Premiere-Fan-Page/162506083802340

“How could I not see patterns in our history?” And one of the biggest patterns I’ve noticed is that whenever there’s chaos, there’s ambiguity, and where there’s ambiguity, there’s fear. And fear gets manipulated.” –Robert Redford in an interview about his new film, The Conspirator.

Latinowood/Making of Firehouse © 2011

Beverly Hilton Memories of Ricardo Montalban

2011-01-18T09:37:00.000-08:00

A Bygone Era of LatinoWood

Watching the Golden Globe Awards on Sunday night was a bit boring for me until I noticed that it was taking place at the Beverly Hilton Hotel’s International Ballroom and a flood of memories poured in.

The Beverly Hilton was the venue where many of Ricardo Montalban’s Golden Eagle Awards took place. Nosotros, the non-profit organization that Montalban founded in 1970 hosted this annual event up until a few years ago.

Ricardo Montalban

We lost Ricardo on January 14, 2009, and the memories of the Golden Eagle Awards are bittersweet because I had the honor and pleasure of working with him not only with the awards gala but also in 1999 during the acquisition of the historic Doolittle Theatre in Hollywood, which later became the Ricardo Montalban Theatre. I was the project manager during the acquisition period for which we can thank NCLR for helping to bring this tremendous project to fruition. Ricardo was deeply touched and humbled.

When I first started working at Univision/Univisa in mid-80’s, I was invited to attend a Nosotros meeting and there I met other Latinos working in Hollywood. Today, many of these professionals remain close friends. At Nosotros it wasn’t long before I got involved in helping with the Golden Eagle Awards. This show was different from the others because at the time, it was the only televised event that recognized and honored Latinos working in Hollywood. I volunteered to help Loyda Ramos with the awards dinner/gala. Loyda is an actress and a couple of years later, she turned the reins of the gala over to me. I had the honor of working the craziness that comes with organizing a major sit-down televised awards dinner event.

As I watched the Golden Globes, I couldn’t help to check out the tables, floral arrangements, show theme, stage design and where celebrities were seated, one of the most important responsibilities of the event preparations and it is no easy feat. In fact, the seating arrangements are a big deal full of politics, emotions and if you get it wrong, the caca hits the fan and you had better duck! I mean you had divorced couples, now attending with new loves, aging beauties competing with younger glamorous starlets, suffice to say there is never a shortage of drama.

During my years as dinner coordinator, The Beverly Hilton was then owned by entertainer/businessman Merv Griffin and he always made the rounds during our set-up day and evening. Because of Merv, the Gabor sisters (Zsa Zsa and Eva) were almost always present, as were other legends like Cesar Romero, Eddie Albert, Robert Goulet, Casey Kasem (American Top 40 fame), Arlene Dahl (Lorenzo Lamas’ mom) among many others. Also, Ricardo’s closest friends were always on hand: Rita Moreno, Hector Elizondo, Luis Avalos, Vikki Carr, Edward James Olmos, Liz Torres, Andy Garcia, Robert Beltran and a whole bunch of others. This is pre-Antonio Banderas, Salma Hayek, Eva Longoria era.

(L-R) Ruben Soto, Elia Esparza and friend

To really understand Latinos working in Hollywood is to know, respect and honor the hurdles that were overcome by legends like Ricardo Montalban. No matter the controversy and politics of organizations, it was worth all the sweat and tears required to produce The Golden Eagle Awards. Later in more recent years, the National Council of La Raza produced The Alma Awards, which was also hosted and co-produced by Eva Longoria. Hopefully, this show will make the rounds again soon. Still, the original was Ricardo Montalban’s Golden Eagle Awards, and watching the Golden Globe Awards I couldn’t help recalling little things like me tapping on Ricardo’s shoulder to whisper that he was up soon. Or to review a speech or comments I had drafted for him. He never failed with his appreciation and gratitude of everyone who contributed to his organization and show.

Raquela Mejia

There was one year (sometime in the 90’s) when I wasn’t working the Golden Eagle Awards and I attended as a guest with my dear friends, Raquela and Wayne Mejia. Raquela prior to her marriage had been a professional back-up singer who traveled with Julio Iglesias and sang with many international performers. Wayne was and is a business manager to many Hollywood A-listers. Sitting at our table was a young Eva Longoria who at the time was still trying to break into the industry. Raquela was really excited because her good friend Jose Feliciano was being presented an award and performing. When the show ended, I accompanied her to the backstage area.

Nosotros had reorganized and working the gig was a bunch of really young interns who didn’t know who we were. It didn’t matter how much we pleaded nor name-dropped, the kids had strict orders that no one had backstage access. Raquela wasn’t about to let some greenhorn kids keep her out. She pulled me along as we made our way to the opposite side of the stage. The curtains had come down but not all the way to the floor. There was a one-foot gap. Raquela noticed no security blocking this stage entrance and because the lights were still lit on stage, she convinced me to get on all fours and the two of us crawled, inching our way across the very long stage.

Meanwhile, Wayne was wondering where the heck we were until he saw movement under the stage curtain and was mortified when he realized that those hands, knees and feet belonged to his wife and that crazy friend of hers (me). Lucy and Ethel, we were, we are! I still can’t believe I let Raquela talk me into this caper.

When we finally reached our destination, we quickly sprung up, composed ourselves and made a beeline toward Jose Feliciano. He recognized Raquela immediately.

Jose Feliciano

“¡Raquelita! ¿Eres tu?”

Yes, we know, Jose is blind but Raquela always smelled like her signature perfume, “Paris,” and because Mr. Feliciano’s smell sense was in top form, he knew instantly she was standing right next to him! We had such a great time.

There are so many memories of our journey with Ricardo Montalban, The Golden Eagle Awards, and the acquisition of the historic theatre. I’ll write more about it at another time. Join me in celebrating his life, career and legacy.

So now you know what I was thinking about as I halfheartedly watched the Golden Globe Awards at the fabulous Beverly Hilton Hotel!

Que Dios te bendiga, Ricardo. Siempre en nuestros corazones.

‘Tis the season, Yet Networks Still Scrooged Latinos

2010-12-14T18:16:00.000-08:00

Network Grades & Politics and Working in Baton Rouge, Louisiana

The recent release of the annual Television Network Report Cards by the National Latino Media Council (NLMC) reflect a decline in Latino diversity at the for major television networks (ABC, NBC CBS and FOX), and report summarizes progress and shortfalls of the networks’ diversity efforts during the ’09-’10 TV season.

That’s right, the networks got a big fat “F.”

Yeah, well most Latinos already know this and if Latinos are the only ones reading and validating these reports, well it’s like preaching to the choir, and I’m kind of sick of it already. Actually, I shouldn’t say that because I did find feedback comments very telling and amusing. I believe that within these comments is where the pulse of the real problem is. A sampling:

“It was a worse year for African Americans and Whites on Telemundo, Azteca and Univision.”

These of course are the Spanish-language networks. However over 60% of the U.S. Latino population watch English-language channels, and yes, Virginia, Latinos do speak English. For some it’s the only language they speak. Not all are bilingual or only Spanish-speaking. Shocker!

Another comment:

“You have Sofia Vergara on Modern Family! It’s been a great year for Latinos!”

OK, Sofia has worked hard to earn her place on ABC’s Emmy-winning show. But there’s room for dozens of Sofia’s, Rico’s, etc. According to NHMC report, “ABC earned an overall grade of B- because it slipped in key areas. African Americans and Asian Pacific Americas posted impressive gains in most categories, but when it came to Latinos, the networks failed us.”

This next comment made the most sense to me:

“If Irish were part of mainstream America you’d have a point. Latinos are the largest minority and fastest growing demo in the US. They deserve to be fairly represented on major network television in front and behind the camera. As far as executives in the business it’s been much needed by all studios and agencies to hire Black, Asian, Latinos, etc. For all its liberal claims, Hollywood has failed in representing minorities.”

And, then there was this one:

“Problem is that the big Latino numbers don’t speak English, so they don’t see U.S. Networks, they can go to subtitled films, but TV is still difficult.” Huh?

But the best response (which also came with a solution) to the networks diversity shortfalls is from Dennis Leoni, an award-winning executive producer, writer and director (Resurrection Blvd.):

“Latinos, those born here and those not, don't realize that the disparaging images of us that have dominated the U.S. television and motion picture landscape since the dawn of time are not only, in large part, responsible for how the greater U.S. population views us, but also how we view ourselves, particularly our children. It's why we still struggle with racism and negative stereotyping.

If Carlos Slim or any other wealthy Latino moguls want to start a media company, I would be more than happy to advise them or work with them to create something that progresses us. We shouldn't expect others to help us. We need to help each other and ourselves. If we don't, nothing will change.”

Well said, Dennis. I’m writing a letter to Mr. Slim. Seriously, I used to work for the Azcarraga’s a long time ago, I still remember a thing or two about how get through the myriad of “handlers” to reach a Mexican tycoon.

The Politics of Network TV and How it Affected NBC’s “Outlaw”

I have had so many inquiries as to why NBC cancelled the TV series “Outlaw” after only a handful of episode. “Outlaw” starred Jimmy Smits as Cyrus Garza, a Supreme Court Justice who abruptly resigns to defend the people who he believes have little to no chance at fair and balance representation in our current American justice system. The show tackled important social issues plaguing our society: Abortion and gay rights, immigration, racisms, you name it and it was covered. Well, for first and only 8 episodes aired that is.

The show had its problems but nothing that couldn’t be fixed. So why cancel this show, while other NBC shows with lower ratings survived? “It [Outlaw] didn’t connect with many viewers,” according to one NBC executive interviewed. Bah! Humbug! Baloney!

The In re: Tracy Viladin episode of “Outlaw” which aired on October 16, had the largest viewer audience the network has had in that time slot since June 26, 2010. So why did they cancel it?

Let’s dissect a bit: “Outlaw,” produced by Conaco for NBC, and Conaco, is Conan O’Brien’s production company. Connect the dots to the Jay Leno vs. Conan debacle. It was all a matter of which show had the least appeal to the network -- sheer network politics.

Do you [NBC] want to keep “Outlaw” when your relationship with Conan has soured or do you keep a high costing sci-fi/conspiracy thriller “The Event” created by Nick Wauters and executive produced by Steve Stark who have already given the network a six year hit with mystery/drama Medium)?

With ABC’s hit “Lost” gone and FOX’s 24 done, it didn’t matter that “Outlaw” could have eventually experienced the same success that “West Wing” had as I believe. NBC has a lot invested in “The Event” in spite of the lackluster ratings (Nielson reports indicate show placed 4th in primetime ratings, 2.0/5 vs. ABC’s first place 3.9/10). With ratings continuing to erode, it is doubtful “The Event” will ever secure the audience it needs to succeed.

A parting thought with a ray of hope: Politics of the networks is what killed this promising primetime series, just like it cancelled the George Lopez Show. However, the George Lopez sitcom was eventually picked up in syndication and it became a major cable hit that is still on the air worldwide. Stay tuned for more “Outlaw.”

Enrique Castillo

The last episode of 'Outlaw' was a fine example of the Latino talent that will no longer have this show to showcase their work. In Re: Tony Mejia, Latinos included guest star Enrique Castillo as Tony Mejia, Marcelo Tubert and Alex Meneses as psychologists, Gary Cervantes as a judge, as well as Carlos Sanz and Toni Torres. You can watch all their performances

HERE:

http://www.nbc.com/outlaw/video/in-re-tony-mejia/1260013/

Mora and Montecon Working in Louisiana

Got a call from veteran actor Danny Mora from location in Baton Rouge, Louisiana filming “Dragon Eyes,” homage to Sergio Leone’s Fistful of Dollars starring marshal arts champion Cung Le and Peter aka Robocop Wellar.

Danny Mora

Danny called to tell me that there are more Latinos working in Louisiana than in L.A. “Thank God for red beans and rice,” Danny joked. Seriously, he’s having a blast, “it’s almost like I’m working for Leone in an old Hollywood Spaghetti western.”

Crystal Montecon

John Hyams is directing this action flick and Mora plays grandfather to actress Crystal Montecon (Harold & Kumar) who also co-stars in a principal role. Crystal is steadily gaining recognition with each of her outstanding performances. She reminds me of when Rosalyn Sanchez first hit pay dirt in Rush Hour 2 in 2001. Crystal Montecon is a ethereal beauty who can portray any role of any ethnicity. Listen up, Hollywood.

That’s the latest for Latinowood, stay tuned for my funny Christmas story that involves Jose Feliciano.

For more Latino celebrity and entertainment news check out Latinheat.com.

Gen Y Latinos: Bridging the Marketing Generation Gap

2010-10-06T18:16:00.000-07:00

Recently, Los Angeles’ NBC Ch-4 News at 5PM aired a segment titled “Generation Gap” where reporter Mekahlo Medina gathered a group of young Los Angeles Latinos (ethnically mixed, 19-22 years) he referred to as “Generation Ñ,” to discuss nationality, identity, and culture, and what Hispanic Heritage Month meant to them. Responses included (paraphrasing here):

“I don’t understand why there is a specific month honoring Hispanics”
“How do you define heritage, culture or identity?”

“Everyday we should embrace our heritage”

“I’m not Mexican”

I wondered, How or what is the most effective method or strategy to successfully tap into this powerful demographic when there appears to be such a huge disconnect with identity and culture?

According to the latest projections (based on solid data from the American Community Survey, the CDC, Homeland Security and Geoscape’s DataStream 2010 Series):

• 48.4 million Latinos in the U.S. in 2010
• 62 % of Latinos are under the age of 34

• 33% of Latinos will be under the age of 19

• By 2020, minorities are expected to account for 40% of the country

• 138.8 million projected Latinos in the U.S. in 2050

How do advertisers/Fortune 500 (America’s largest corporations), market to this segment of young Latinos, most born in the 1990’s?

In 1999, Latino youth (10-19 years) were recognized as Generation Ñ, a much coveted Hispanic market segment of the decade. Today, young Hispanics of this same age group are recognized as Generation Y (Gen Y), which USA Today recently described as “young, smart and brash.” Still, the marketing disconnect, in my opinion if based on the six young Latinos featured on the NBC4 News segment, the disconnect comes from a lack of understanding the identity issues confronted by young Latinos of this age group mixed in with their acculturation into the American lifestyle.

Media, entertainment channels, music producers, and manufacturers of apparel, foods, beverages, and even cars target young Latinos, but how effective have they been? Do Spanish-language ads reach Gen Y Latinos? How passé is traditional Hispanic marketing?

All of NBC4 News Latinos interviewed are bilingual and live in Latino segregated communities within Los Angeles area. Advertising Age, the advertising trade, recently acknowledged this demographic shift in an interview with Jackie Hernandez, COO of Telemundo where she calls this shift the “New Now.” According to Hernandez, the most important thing for marketers is that “we can’t look at the past. We need to write the future now.

To shed light on this seemingly marketing disconnect, I turned to Gabriel Reyes, President of Reyes Entertainment and asked him about effective marketing campaign strategies that impact Gen Y Latinos and also their parents.

Elia Esparza: The TV news segment I mention above refers to the panelist of young Latinos as Generation Ñ, but even here there is a disconnect because they’re not Gen Ñ correct?

Gabriel Reyes: Generation ñ is a term used to represent those of us who grew up with Spanish-only parents and were constantly pulled in the two different directions of our new American-ness and our parent’s Latino-ness. Always straddling the two worlds of the permissive American culture with the traditional Hispanic culture. We all know that story and countless books have been written about it.

I call the group featured in the NBC4 news story Generation Y (Gen Y), just like their mainstream counterparts because, increasingly, they ARE the mainstream. They are the children of one or more generations of Latinos in America and they feel and are Americans first.

This is the product of the trend prognosticated in 2005 by the brilliant Latino author Guy Garcia in his book “The New Mainstream: How the Multicultural Consumer is Transforming American Business.” His book is a great tool that helps us to understand the demographic shift, which has transformed America from a mostly-white Anglo-Saxon Protestant nation into a multi-cultural country where Hispanics are the fastest-growing and most visible “minority” group. The prognostication of Latinos as the New American Mainstream has come to pass and Gen Y, is the most Hispanic new American generation in history.

Even more important are the current trends in U.S. birth rates. For all intents and purposes, the traditional white, Anglo-Saxon Protestant two parent, two-child household of yesteryear has vanished. White Americans are having fewer births, marrying into “minority” families and/or growing older, leaving a population vacuum that is rapidly being filled by minority groups like Asians and Blacks but most notably by Hispanic Americans, the youngest demographic, who are also having the most babies. Hence, elementary schools and middle schools across America that are not already Latino-dominant, soon will be, making Latinos the majority of Gen Y, the youngest of all Americans and the target of every marketer across the land.

EE: Have young Latinos now fully assimilated? How do you market to them?

GR: Yes and no. Yes, they’ve accumulated and respond to mainstream messages but they are also finding a strong identity in their culture and many of them are re-interpreting their Latino culture in a new way. Thus, we see icons of Latin American culture like Frida Kahlo become symbols of cool, hip and trendy urbanites in the U.S.

Also, every new generation becomes less and less concerned with issues of race, ethnicity, gender, sexual preference and young Latinos are no different. One can understand comments like “Why do we need to have a Hispanic Heritage Month?” That’s because young people feel on a visceral level that we are all the same and they grow impatient with labels and distinctions that separate us and make ethnic understanding and cooperation much more difficult.

As for marketing, the marketing trend since the 1990s has been “niche marketing” and more and more market segmentation. This trend is driven by self-conscious, inorganic attitudes of separation and solidified with facile labels like “Latino Pride” “Gay Pride” “Conservative” “Liberal.”

However, more and more, people are slowly waking up to the limitations of those labels and are instead seeking to establish links with each other based on their American-ness and the commonalities of their human experience vs. their ethnic and/or cultural differences. Therefore, Aspirational marketing is really the key. If your message inspires a mostly urban, mostly multi-ethnic young demographic to unite under their unique “American-ness,” regardless of gender, color of skin, religion, language, sexual orientation, ethnicity, race, tribe, etc., then your message will resonate more strongly. What’s more, Gen Y can smell self-conscious, smarmy messaging a mile away and they don’t buy the same old platitudes of old.

EE: You say “Hispanic marketing today is essentially just plain marketing,” yet some might interpret this as “assimilation peaked for Latinos,” therefore no need to specifically reach out to them, just catch them with the mainstream marketing, a common misconception.

GR: By our sheer numbers, Hispanics are becoming the largest group, besides aging Anglos, to market to and so every marketing plan must necessarily include multicultural elements with a focus on the largest, youngest and fastest-growing group: Hispanics. Some might call this assimilation, but it’s more a 50-50 proposition: Latinos assimilate as America becomes more Hispanic.

Additionally, U.S. Latinos are a dynamic, ever-changing population and the marketing model must change along with them. There are now many, many more Gen Y kids who are a product of inter-marriages between Latinos and whites as well as Latinos of different nationalities and ethnic backgrounds. They, along with the kids of mixed Asian-White and Black-White marriages, are at the forefront of the drive to focus on our commonalities vs. our differences.

EE: Spanish-language TV stations are now embracing English subtitles on their programming especially for their telenovelas. Will it bring in the younger Latino viewership?

GR: That’s one way of trying to bring in the English-dominant Latino demo but, ultimately, the quality of the telenovela will dictate its ratings. If I were seriously trying to attract English-dominant viewers, I would start by launching a series of short-form novela web-isodes starring Gen Y characters.

Thank you, Gabriel Reyes, for sharing your expertise and insight. Also, Kudos to NBC4 News Reporter Mekahlo Medina for his outstanding coverage during Hispanic Heritage Month, check out the Latino panel we talked about at:

http://www.webcastr.com/videos/news/hispanic-hertiage-month-generation-gap.html

Generation Y—“despite their differences, they begin to celebrate a month that honors their culture, knowing that diversity is what makes their culture rich.”

Check out the Facebook info here on Gen Y - which is the biggest generation since the Baby Boomers

http://en-gb.facebook.com/note.php?note_id=481559568942

# # # #

Gabriel Reyes is President and Founder of Reyes Entertainment, the premiere entertainment, marketing agency in Hollywood with expertise in the bilingual Latino markets with offices in Los Angeles, New York and Austin, Texas. Reyes is considered one of the pioneers of Hispanic marketing in the Entertainment Industry and was featured in CNN’s “Latinos in America with Soledad O’Brien,” and was named one of “50 Most Powerful Latinos in Hollywood” by The Hollywood Reporter. www.reyesentertainment.com

NBC’s “The Event” A Major Casting Faux Pas?

2010-09-19T23:57:00.000-07:00

(NBC Series Premiere, Mon. Sept 20, 9:00 PM)

Recently, Julio Martinez, Latin Heat correspondent gave the lowdown on NBC’s upcoming drama series, The Event, starring Blair Underwood who plays Cuban American U.S. President, Elias Martinez. (www.latinheat.com)

When a member of the Television Critics Association asked Underwood “if he was Cuban American,” he responded, with a flippant, “I’m going to say yes.” He isn’t.

My initial response was among the negative. Latino roles are so few and if the script called for a Latino, why cast a non-Latino?

But it’s not as black or brown as it seems. A Facebook posting by veteran actor, comedian Lydia Nicole read:

“Congratulations to my friend Blair Underwood for playing a Cuban American President in “the Event.” I love that. And for all the haters out there pitching a fit because he is not Latino, let it go. Nobody complained when George Sanford Brown got to play a Black guy in “the Rookies.” And he’s Cuban.”

Lydia’s comment stopped me in my tracks because I realized my own biases stemmed solely from personal reasons rooted from my experience of having once worked at a historically Black institution, which have left me with some negative racially related experiences. Therefore, in fairness and in an effort to better understand this casting controversy, I invited Lydia Nicole, whose FB comment grabbed me, and to visionary music producer, Benjamin Esparza (no relation) to present their opposite views and maybe somewhere in between, we might have an Aha moment on how to conquer Hollywood’s ongoing blasé disrespect of Latinos.

Q: Should it matter that Hollywood cast a non-Latino actor to portray a character that was written for a Latino actor? There are two Latinos (Lisa Vidal and Clifton Collins) cast in key supporting roles, isn’t this enough?

Lydia Nicole

Actress, comedienne, writer, producer, motivational speaker

As an actress who has been in the business for the last thirty years, I too have gotten frustrated in the past when an actor from another ethnic group got an acting job that was written for a Latino. But in the last ten years as I have been working behind the camera, my perspective has changed dramatically.

I find what will work best is to embrace that a Black Latino character has been written into a major series and gently encourage the network to include Latino show runners, directors, and writers on the series to really make a difference.

That is where the power is.

It is not in begrudging a Black actor because he got the part. Because at the end of the day what we want is to pave the way for Latino actors to have the opportunity to play any character they are right for regardless of their background. I personally want to see Latinos, Blacks and Asians all represented. For me it’s not enough for a Latino to get an acting job. I want to truly see diversity represented on television and the big screen. And the fight is bigger than just having an actor of Latino heritage star on a show.

The fight is about diversity in front and behind the camera to tell our stories authentically and not stereotypically. I want to see this generation not be given the crumbs but be allowed to sit at the table and call the shots at every studio and network. But it will only come when we change our fighting tactics. Instead of demanding that the Studios and Networks give us by trying to strong arm them to force ourselves on their teams and play on their fields, we need to woo them by learning to use the power we hold in this country. As my friend, Dyana Ortelli, reminded me, via Facebook, Latinos constitute 15.1% of the total U.S. population, which converts to over 45 million Latinos. We Latinos in Hollywood need to get those Latinos to demand that the airwaves change by their votes and viewership.

As Nelson Mandela said “…we are powerful beyond our imagination.” And what I know is that the battle is won because of money, power and imagination and not from protests and complaints. So, instead of trying to force the Studios and Networks to include us as unwelcomed guests, let’s use our money, power and creativity to take ownership.

About Lydia Nicole: Actress recently took some time off from performing and lecturing so she could hone her skills as a writer and producer. During the last few years she apprenticed under the iconic filmmaker Robert Townsend. Under his guidance was given the opportunity to associate produce Why We Laugh, the comedy documentary on the history of Black Comedians. But now she is returning to her first love, performing. She is bringing her one- woman show “A Rose in Spanish Harlem to a theater near you.

Benjamin Esparza

Break Records, Founder & CEO

When I heard that NBC’s new drama series, The Event had cast Blair Underwood in the Latino president role, I was instantly infuriated. Clearly, NBC had yet again missed an opportunity to help end this long and ugly chapter in Hollywood tradition to only cast Latino talent in negative and disposable roles.

Maybe I’m ultra sensitive because of the anti-immigration, anti-Latino, anti-Mexican climate we’re currently experiencing, but whatever the network’s excuse is, it is simply no longer acceptable. I’m sick of Hollywood’s tradition of telling our stories their way, utilizing actors from white bread America. Pancho Villa (a Mexican General) was once portrayed by Wallace Berry, whose interpretation as a goofy fat buffoon was insulting and culturally insensitive. Zapata’s (another Mexican General) story went to Marlon Brandon and many other leading men also attempted to play Latinos—Yule Brenner, Paul Newman—none delivering accurate or believable performances. It wasn’t until in 1982, when Ricardo Montalban was cast in Star Trek II; The Wraft of Khan did a Latino actor have the opportunity to transform a character into one of the best villains of all time. Montalban’s powerful performance turned a mediocre film at best into a box-office hit earning $97 million worldwide and setting a world record for first-day box-office gross. The Wrath of Khan is generally considered one of the best films of the Star Trek series and is credited with creating renewed interest in the franchise.

Blair Underwood is a wonderful actor, no argument here. Why not just make him a Black president? It’s reality. Why a Cuban? The decision probably came about for two primary reasons:

One, producers were looking for a series for Underwood; two, they needed a story that incorporates a couple of Latinos to take advantage of the growing Latino demographic.

The pitch meeting with the NBC brass probably went something like:

Producers: We’ve come up with what we consider to be a timely cutting edge futuristic drama that includes the first U.S. Latino President

NBC: But we thought you said that Blair Underwood would star?

Producers: What if we cast Blair as the president?

NBC: Yes, but he’s black not Latino.

Producers: See? That’s what makes this idea so wonderful, we give Blair the role and because he’s playing a Latino president, Latinos will be thrilled, they’ll drive Nielsen ratings through the roof!

NBC: It’s a win-win. But won’t Latinos protests?

Producers: They bark but don’t bite. They’ll get over it, they always do. It’s entertainment after all. Blair will prove how powerful an actor he is, and NBC will have a hit! Besides, we’ll cast Lisa Vidal as his first Lady and that actor who looks white but is Latino, Clifton Collins, in a supporting role. Latinos will be fine. Why wouldn’t they be happy? They’ll be happy.

Hollywood decision-makers have continually dismissed Latinos as not important enough AND that they think Latinos will not notice these character faux pas. Combine this with Arizona’s racist legislation, SB-1070, well, guess what? Hell no, this won’t go! For Hollywood to continue to do so means the entertainment establishment wholeheartedly agrees with the political rhetoric and venom being spread against Latinos.

Hollywood’s blatant disrespect and terrible stereotyping track record of Latinos is as insulting to Latinos as when white actors portrayed blacks with painted “black faces.” The times eventually changed, and when Blacks finally drew that line in the sand by flexing their economic power, Hollywood eventually came around. Latinos cannot back peddle, not at this pivotal time in history. Our voices have obviously not been loud enough, so now we must speak through our collective pocket books.

To those who say Latino actors are not ready to carry a universal mainstream role or lead a primetime TV series, may I again, remind the naysayers of our growing Latino demographics and its multi-billion dollar purchasing power—if we don’t exercise this power, we’ll always be in the passenger seat. Latinos, we are in the driver’s seat, we can steer our own direction. Our spending power speaks volumes. It’s up to us, it always has been.

Hollywood, America listen up: Latinos are here and we’re not going away. Shame on you, NBC, for once again robbing a Latino actor of the golden opportunity that The Event offered.

About Benjamin Esparza: He is founder and CEO Break Records music label, and an accomplished composer/musician. He produced Lalo Guerrero's "Vamos A Bailar-Otra Vez,” an award winning CD. Founding member of the 1960's East L.A. rock group "Acostics," Esparza is a member Board of Directors Hollenbeck PAL-ELA. Projects include Ed Begley, Jr.’s musical Cesar and Ruben, and several made-for-TV reality series VH-1 and MTV Music Videos, PBS: ELA Chicano Music documentary. Esparza is currently writing Take A Stand: A Musical Journey, the story of "Acostics" whose 60’s adventures include a glimpse of the life of Mexican-American family life and culture, music, humor, and racism experienced during that era, and a Japanese tour to participate at the Teenage Fair Battle of the Bands.

Casandra Moreno-Lombera

Another colleague, Casandra Moreno-Lombera, an award-winning indie writer/producer also weighed in on this controversy and said, “Latinos have two beefs against Hollywood’s miscasting. 1) Hollywood does not create Latino roles. The Event storms the citadel by deliberately writing the leading role (of a president) to be a Black-Latino American. Let’s face it, they could have written the role to be Black-American only. And, 2) Hollywood does not cast Latinos in leading roles.

“If we see either one of these two issues successfully addressed,” said Moreno-Lombera, “we should celebrate. At the end of the day, Latinos need to support The Event. If we don’t, networks will throw their hands up in the air and say ‘Latinos don’t respond to concrete development of key Latino characters/starring roles.’ Let’s not hate progress.”

Thank you Lydia Nicole and Benjamin Esparza. And, thanks to Casandra Moreno-Lombera. Whatever your point of view is, let it be constructive and forward thinking. Won’t it be wonderful when Latinos no longer have to have this conversation?

— Elia Esparza

Our Hollywood Bel

2010-09-07T21:32:00.000-07:00

Bel Hernandez Publisher, Activist, Leader

On Thursday, September 9, 2010, the National Hispanic Media Coalition at its annual Local Impact Awards Luncheon, in Pasadena, CA, is presenting the “Outstanding Service to the Latino Community” Award to Bel Hernandez, publisher of Latin Heat Magazine and Latin Heat Online. No doubt the awards presentation will include a recap of her outstanding contributions in helping Latinos in entertainment gain visibility, respect and work. Many owe their careers in part to Bel and her efforts of always representing the Latino actor, filmmaker, writer, behind-the-scenes professionals and technicians up front and center. The spotlight has never been about her or her publication.

Today, I’d like to share a bit of Bel the real woman, the true and loyal friend that she is. Those few who are in her confidence know her already but most of the people she is fighting for do not. Allow me to introduce you to my friend and colleague, Bel:

Bel, an actress and former professional Mexican folklore dancer gave it up to jump into the publishing world without knowing one thing about this industry other than knowing she had something to say and she was going to get it out in public. She never gave it a second thought that she would be competing with powerhouses like The Hollywood Reporter and the Daily Variety.

I have worked with Bel on and off throughout the past 15+ years. Anyone who has worked closely with Latin Heat can attest to the fact that at times our debates were very colorful. That’s what happens when two hardworking, determined and passionate women join forces to fight a common cause. I cannot say that she has always been a best friend, but I can say she has always been a loyal friend who never allowed any of our disagreements to get in the way of our mutual mission: To put Latinos on the Hollywood map.

When the rest of Hollywood is ignoring Latinos, Bel makes sure Latin Heat shines the spotlight extra bright and then knocks on the doors of decision makers without intimidation and states her case. When Latin Heat first started publishing, the subscription list was not very long. But the few Hollywood names that were subscribers, packed a powerful punch. It literally is a who’s who of Hollywood elite, and they read LH because they know it’s the main source where they can tap into who’s hot in Latinowood.

At the beginning, Bel went without any pay to first take care of Angie Ortíz, our Graphic Designer, and me. We worked for very little but it was enough to get by and enough to feed our passion to help Latinos. In 1995, we decided to co-host the first Latino Entertainment Media Conference in response to the dozens of calls we received from struggling talent asking for direction, opportunities. We often felt like the “Social Services Office for Latinos in entertainment.” One summer night while relaxing at former CBS weatherman Maclovio Perez’s famous Pasadena pink house, we came up with the idea of a conference where we would gather industry professionals to give out info to our readers. Bel and I immediately planned, plotted and made it happen. Bel combed through the Hollywood Creative Directory and called the most high profile names she came across. She talked to presidents and power brokers. She was able to get by the receptionists and in some instances talk to the “men” themselves (few women in power then). If any one said “no” to her, it was because of scheduling problems. Most said “yes” and we can only assume it was because they took the publication seriously and/or maybe wanted to be politically correct. We didn’t care the reasons why they agreed Bel hooked them with her convincing pitch. Our event budget came out to be $130,000 and we had no money. If the event had been a bust, she and I would probably still be washing dishes at the Sheraton Hotel in Universal City. But it succeeded beyond our wildest dreams and, from this one event, we co-founded the non-profit organization, Latino Entertainment Media Institute (LEMI) and hosted conferences for several years until the event outgrew us and Bel stepped aside for others to continue sponsoring industry conferences.

Hernandez and Esparza
at the 1st LEMI Conference, 1995

Bel has never turned down any request to help, ever. She’ll either share her resources or contacts she has cultivated during the past two decades. She’ll even take the time to make the introductory call for you. She’ll never say it, but there are several high profile talents who owe in part their careers to her relentless efforts.

I remember the first time we met Jennifer Lopez, I recall Bel saying, “This one, is going to be a big star.” Jennifer was our 2nd LEMI Conference Celebrity Co-Chair just as the film Selena was about to premiere. Neither one of us had any idea how big she’d eventually be, but Bel called it first. And, Latin Heat was the first media publication to support this future megastar.

One of the things that I admire most about Bel is her strength of character. Very little rattles her or if it does, she never ever allows it to show. She’s unreadable this way and it has gotten her far when pushing Hollywood decision makers. I read in the manuscript of an upcoming book titled, “How to Say I love My Life and Mean It,” contains a chapter she wrote titled “The Power to Say I Belong,” where she tells how her pregnant mother “weaved her way in and out of rows upon rolls of towering green and golden cornstalks, through the beautiful hills and valleys that surrounded her home in El Rancho del Padre in Momax, Zacatecas,” on her way to the midwife. She never made it and gave birth to Bel while in route. “She delivered me on her own; quickly measuring the umbilical cord and cutting it with a nearby rock. Afterwards she wrapped me in her rebozo.” No doubt, this is where her fearless resolve and strength comes from.

In 2007, I was diagnosed with stage one ovarian cancer and I was frozen with fear. I recall that the only woman I wanted to talk to was Bel Hernandez. I knew that she would not coddle me or let me crumble. I knew that if anyone could kick me in the A and knock some courage into me, it would be Bel. She not only calmed me down and reinforced my faith, she also offered to take over my pending projects on top of her own responsibilities with the magazine. She did this quietly without ever saying a thing to anyone. Because of Bel, I was able to take care of my health business and all that was waiting for me without having to worry about my own career responsibilities.

This is the type of woman Bel Hernandez is. And, she’s never asked for anything in return.

Latin Heat is growing into a media giant and I hope the next time the publication comes knocking, you’ll remember the sacrifices it has taken for Bel Hernandez to represent the Latino community. She is, after all, all about us.

Congratulations, Bel.

—Elia Esparza

From Angie, With Love

Angela Ortíz with Latin Heat Publisher, Bel Hernandez

The first time I met Bel, I liked her, even though she was very cautious while she looked through my portfolio. The next thing I know, I’m doing a couple of small graphic things and the next issue of Latin Heat. That was in 1996.

After a few issues with some minor changes, she allowed me to make some major changes in the layout and a great working partnership, I can say, began. That doesn’t mean she didn’t have layout suggestions, which I would do and then end up doing my original layout. We laugh about that a lot now.

That’s how Bel and I have worked for many years. I think it was good for both of us. She learned more about publishing and design; which made our jobs so much easier. Today, it’s smooth sailing when we are planning our next projects. She has pushed me in directions I never dreamed of, like doing event photography for instance. My titles at Latin Heat have run the gamut from Art director, Production Manager, photographer and to the “NO” person.

Her passion for the publication and what it stands for (in print or online) really drives her to make changes in this world we know as Hollywood. When you meet Bel and you listen to her talk, especially about things that move her or bother her about the industry she loves, you know she is a driven person to the causes she supports. That’s the true her…I don’t think many people realize how much she has supported many talent(s) in Latin Heat.

The more I’ve gotten to know her, the more I admire and respect her. She’s a great mom; she has a really cool hubby, Enrique Castillo. And on a personal note, I can call her a friend, a very good friend. And I love her.

Thank you, Elia for introducing us.

—Angela “Angie” Ortíz

Taught Me Tools of the Trade

Brenda Herrera with Latin Heat Publisher, Bel Hernandez

I remember picking up Latin Heat at the bookstore as a student at UCLA and thinking, “This is exactly what I’ve been looking for…” without even knowing it! I read through it from beginning to end and it was then that I decided what I wanted to do with my life.

A couple years later, I landed at the Los Angeles Latino International Film Festival where I had the good fortune of meeting and working alongside Bel Hernandez. I told her that I was a big fan of Latin Heat and would love to work with her. That was the beginning of a beautiful relationship on several levels. She took me under her wing and showed me the ins and outs of the entertainment industry and gave me the opportunity to spread my wings. She trusted in me to explore and execute new ideas to help market Latin Heat. We made an awesome team and even better friends!

Bel has been a great inspiration to me for her tireless commitment to the Latino entertainment industry and I am honored to call her not only my mentor but one of my best friends! I couldn’t be happier for her to finally be recognized for her efforts after all her years of supporting Latinos in front of and behind the camera and never expecting anything in return. Besides showing me the ropes and handing me the tools to succeed in this business, most importantly Bel has taught me that when you are passionate about something, the satisfaction of seeing it come to fruition is reward enough.

—Brenda Herrera
Photos: Angela María Ortíz S. (Bel Hernandez/Brenda & Bel)
Anselmo S. Ortiz (Angie and Bel)

NBC’s “The Event” A Major Casting Faux Pas?

2010-08-30T16:00:00.000-07:00

When a member of the Television Critics Association asked Underwood “if he was Cuban American,” he responded, with a flippant, “I’m going to say yes.” He isn’t.

My initial response was among the negative. Latino roles are so few and if the script called for a Latino, why cast a non-Latino?

But it’s not as black or brown as it seems. A Facebook posting by veteran actor, comedienne Lydia Nicole read:

Lydia’s comment stopped me in my tracks because I realized my own biases stemmed solely from personal reasons rooted from my experience of having once worked at a historically Black institution. The then administration recruited Latinos to hold key executive positions in its effort to be more diversified and of course, to make it easier to tap into Latino education funding. I was one of the few hired. It was quite an honor to be selected among so many candidates. However, throughout our tenure [Latinos] were met with resentment. In fact, at one meeting, a Black faculty angrily stated “every Latino who works at the university, is one less job for Blacks.” They wanted our money but that’s about it. It was a challenging time and we did our best despite the hostile environment. I kept at it because I believed in the mission of helping the less fortunate and underserved. After reading Julio’s article, I found myself reversing the Black-Latino sentiment with: Every Black actor who takes the role written for a Latino, means one less Latino working. However, for me to interject a negative reaction based on personal feelings is unfair and not conducive to moving Latinos forward.

Therefore, in an effort to better understand this casting controversy, I invited Lydia Nicole, whose FB comment grabbed me, and to visionary music producer, Benjamin Esparza (no relation) to present their opposite views and maybe somewhere in between, we might have an Aha moment on how to conquer Hollywood’s ongoing blasé disrespect of Latinos.

LYDIA NICOLE

Actress, comedienne, writer, producer, motivational speaker

That is where the power is.

About Lydia Nicole: Actress recently took some time off from performing and lecturing so she could hone her skills as a writer and producer. During the last few years she apprenticed under the iconic filmmaker Robert Townsend. Under his guidance was given the opportunity to associate produce Why We Laugh, the comedy documentary on the history of Black Comedians. But now she is returning to her first love, performing. She is bringing her one- woman show “A Rose in Spanish Harlem to a theater near you.

BENJAMIN ESPARZA

Break Records, Founder & CEO

It wasn’t until in 1982, when Ricardo Montalban was cast in Star Trek II; The Wraft of Khan did a Latino actor have the opportunity to transform a character into one of the best villains of all time. Montalban’s powerful performance turned a mediocre film at best into a box-office hit earning $97 million worldwide and setting a world record for first-day box-office gross. The Wrath of Khan is generally considered one of the best films of the Star Trek series and is credited with creating renewed interest in the franchise.

Blair Underwood is a wonderful actor, no argument here. Why not just make him a Black president? It’s reality. Why a Cuban? The decision probably came about for two primary reasons:

One, producers were looking for a series for Underwood; two, they needed a story that incorporates a couple of Latinos to take advantage of the growing Latino demographic.

The pitch meeting with the NBC brass probably went something like:

Producers: We’ve come up with what we consider to be a timely cutting edge futuristic drama that includes the first U.S. Latino President

NBC: But we thought you said that Blair Underwood would star?

Producers: What if we cast Blair as the president?

NBC: Yes, but he’s black not Latino.

NBC: It’s a win-win. But won’t Latinos protests?

Producers: They’ll get over it, they always do. It’s entertainment after all. Blair will prove how powerful an actor he is, and NBC will have a hit! Besides, we’ll cast Lisa Vidal as his first Lady and that actor who looks white but is Latino, Clifton Collins, in a supporting role. Latinos will be fine. Why wouldn’t they be happy? They’ll be happy.

Hollywood, America listen up: Latinos are here and we’re not going away. Shame on you, NBC, for once again robbing a Latino actor of a golden opportunity that The Event offered.

About Benjamin Esparza: He is founder and CEO Break Records music label, and an accomplished composer/musician. He produced Lalo Guerrero's "Vamos A Bailar-Otra Vez,” an award winning CD. Founding member of the 1960's East L.A. rock group "Acostics," Esparza is a member Board of Directors Hollenbeck PAL-ELA. Projects include Ed Begley, Jr.’s musical Cesar and Ruben, and several made-for-TV reality series VH-1 and MTV Music Videos, PBS: ELA Chicano Music documentary. Esparza is currently writing Take A Stand: A Musical Journey, the story of "Acostics" whose 60’s adventures include a glimpse of the life of Mexican-American family life and culture, music, humor, and racism experienced during that era, and a Japanese tour at the Teenage Fair Battle of the Bands.

CASANDRA MORENO-LOMBERA

Another colleague, Casandra Moreno-Lombera, an award-winning indie writer/producer also weighed in on this controversy and said:

“Latinos basically have two beefs against Hollywood’s miscasting. 1) Hollywood does not create Latino roles. The Event storms the citadel by deliberately writing the leading role (of a president) to be a Black-Latino American. Let’s face it, they could have written the role to be Black-American only. And, 2) Hollywood does not cast Latinos in leading roles.

--Elia Esparza

Trash Matters: "Cartoneros"

2010-06-10T09:49:00.000-07:00

Due to the craziness of post-Spring madness, the follow-up article on marketing Latino made or themed films is still a work in progress…however, I am reprinting an interview I conducted with filmmaker Ernesto Livon-Grosman to talk about his documentary Cartoneros. With the current Gulf of Mexico crisis, now is a good time to bring up this film. For complete info on the filmmaker and docu, please visit, The Hummingbird Review, http://www.thehummingbirdreview.com/.

Enjoy!

Cartoneros

MOVIE ALERT

Ernesto Livon-Grosman’s Cartoneros respects the dignity of Argentina’s middle-class citizens who have been thrust into a life of survival when the economy collapsed in 2001—but survival isn’t all this movie is about. www.cartonerosdoc.com

TRASH MATTERS

By Elia Esparza

Boston College professor Ernesto Livon-Grosman found the sight of people pushing carts packed with trash destined for old train cars in his native Buenos Aires so powerful that it became the subject of his first film, Cartoneros (2006). In doing so, he helped make public the situation of the cartoneros, who had remained unnoticed by the citizens of Buenos Aires. The word cartoneros refers to the city’s trash scavengers. What many people didn’t realize was that, by scavenging, the cartoneros were providing an important ecological service: recycling trash and thus reducing the amount of trash that went into landfills by 25 percent.

By and large, these so-called “scavengers” were not homeless beggars or street urchins: they were productive, hardworking people that, due to Argentina’s economic collapse in 2001, resorted to trash recycling to earn money. Unable to wait until the bleak economy began to turn around, the cartoneros found a way to generate an income through honest work by establishing recycling cooperatives.

No one seemed to care much about who, precisely, was responsible for trash removal and disposal before the economic crisis, but when the cartoneros became visible leaders of an informal recycling industry, they were criticized for interfering with the city’s official waste collectors. This struggle over the rights to the city’s trash ignited fierce debate throughout Buenos Aires.

Cartoneros has excellent production values in terms of cinematography, editing, sounds and music—components that many times are lost in first-time documentary films. The injection of 1940’s news archival clips at the beginning of the film offers an interesting look at Buenos Aires before the economic upheaval of 2001. The footage reminds us of a time when films featured a preview of world news and when filmmaking was more about the story and not box-office projections. The director also broke tradition by having famed actor and singer, Cristina Banegas, narrate the film. One almost wonders whether this female narrator is, in fact, Livon-Grosman’s alter ego.

“Indeed,” said Ernesto Livon-Grosman, Cartoneros’ director. “I made a conscious decision to use a female voice-over; it is customary to have a male narrator because they are considered the authoritative voiceover. I wanted to have a voice that would be reflective and more intimate, and didn’t necessarily tell the audience how things are supposed to be.”

Cartoneros presents the complexity the social issues surrounding trash—its value and political and cultural implications. In the end, the film leaves the audience asking numerous questions. How do people respond when their economic security is pulled out from under them? How do people in an economic crisis salvage their dignity while trying to survive?

We are also given insight into the political arena in which city officials were under political pressure to regulate the activities of the cartoneros. These debates and negotiations took place at meetings between cartoneros and government officials, as featured in the film. It was at one of these meetings that Director Livon-Grosman met some of the anthropologists who were there on the city’s behalf.

“Once I met the anthropologists, I realized how complex the issue of cartoneros was and that it was so much more than just about picking through trash bins,” said Livon-Grosman. "In keeping with Jørgen Leth, I assume that I know nothing but I would like to know something. Curiosity is an engine. Searching, fascination, framing. Discovering, seeking to understand. Not knowing in advance, not proving, not illustrating, certainly not arguing, but showing."

Cartoneros seeps deep into the predicament of the film’s protagonists: the people suddenly left to survive by their own wits and the sanitation industry affected by their actions. In Cartoneros the female narrator is a fictional character who returns to Argentina after many years of being abroad in order to rediscover the city where she was born. She introduces us to the film’s main cartonero, a well-groomed attractive woman called La Colo. The film focuses on La Colo, and, in her articulate and her dignified way, she takes us her through her daily life and the decisions that she must make to secure a better existence for herself.

In a conversation with the filmmaker, we were able to ask more about the cartoneros of Buenos Aires.

Q: What makes the cartoneros unique?

A: There are many ways of looking at this. For many years the landfill industry offered many jobs and they were not stigmatized in society or politics. The job became stigmatized when entire families got involved. Thousands of people on the streets picking through trash bins suddenly became a very complicated phenomenon.

Q: They say that poverty is the mother of invention; it is amazing how this group of people, who were once employed and thriving middle-class citizens, abruptly found themselves trying to figure out how to support their families. The fact that they discovered a form of labor directly related to the global ecological crisis is simply amazing. How did you get inside their lives on such an intimate level?

A: The film is not just one more way of showing poverty but instead depicts one more way to be independent and still be able to make a living. This is how I got inside to the co-ops in order to film the effect and benefits from organized labor and to present reasonable practical alternatives to help improve the people who are cartoneros. Sure there is the shock factor of extreme poverty and showing the cartoneros struggle elicits our sympathy. But in addition to this, I wanted to show something positive. I wanted viewers to see how their actions were a means of improving their economic situation, as well as doing something useful for the environment. In Argentine society, they had not been seen in quite that way before.

Q: What surprised you the most while making this film?

A: The fact that I started the film with one idea and ended up with another. At first, I held a much more narrow view of social issues. As the film went on, I realized that these people looking for a way out of their economic situation had mobilized ecological awareness in a way that was both practical and meaningful. They became much more informed about ecology and benefits of recycling—something that the middle-class in general had not paid much attention to in the past. As this discovery grew in scope, the cartoneros realized that what they were doing not just another reason to make money but a way of positively affecting the ecological crisis. The evolution of the film cartoneros was created by many circumstances coming together at the same time, and I took away many valuable lessons from making this film. I hadn’t sufficiently recognized the importance of ecology in what the cartoneros were doing. My focus was on the economic crisis, but out of this catastrophe an ecological awareness evolved, and I, along with many Argentine citizens became aware of the importance of ecology and the need for regulation and reform.

Q: How important to you think the experiences, background, and education of the cartoneros influenced their ability to act effectively.

A: No doubt their former position in society as educated individuals came in handy. They had the tools to think carefully and thoroughly about what it was they were doing. This also allowed them to look at the issues in a much broader sense. And, more importantly, their union experience helped them to organize and act effectively.

Q: Did you ever have a private screening for cartoneros or people featured in the film?

A: I would have loved to screen it only to them but it was never possible—hard to get them all together—La Colo didn’t want to be seen in public. I assume that she felt she had moved on and didn’t want the spotlight on her even though she is a main thread of the film. After the film was completed, she went on to work as a telephone operator. La Colo, who holds a Masters in literature and philosophy, and was the owner of a freight-shipping company prior to becoming a successful cartonero, is now a private tutor to high school students. She no longer rummages through the trash to survive.

Q: What do you hope audiences will take away after viewing Cartoneros?

A: Argentine society, like the U.S., is undergoing an economic crisis, and so it is important to provoke awareness and start making connections between labor, the market, and the environment. We also have cartoneros here in the U.S., and I hope that the next time we see someone rummaging through the trash that we don’t dismiss what they are doing as somehow irrelevant to our own lives.

Cartoneros is a thought-provoking documentary that brings honor to hardworking people by depicting the resourceful and creative measures taken to create work and protect the environment. The film seeks to raise awareness and stimulate dialogue.

Now that we have been introduced to the life of a cartonero, perhaps the next installment will focus on the future of the movement and trace the impact that these recyclers have had on environmental policy.

Ernesto Livon-Grosman’s Cartoneros is as thought provoking as Al Gore’s An Inconvenient Truth.

Reprinted with permission from The Hummingbird Review,

http://www.thehummingbirdreview.com/

Latino Who? Latino What? Latino Where?

2010-03-09T19:09:00.000-08:00

Oscar time and invisibility of Latinos has never been more visible. What happened to the new opportunities brought on in the 1980s and 1990s for Latino filmmaking and Latino film representation? According to the L.A. Times, “these shifts took place because of the rising cadre of Latino film professionals entering the mainstream film industry, many of whom had gotten their start in Chicano and other Latino cinemas, as well as the industry's rising interest in the Latino audience.”

So what happened?

Money. It’s about money and the lack of belief or understanding by Hollywood that Latino buying power now exceeds $1.2 trillion, according to the Selig Center for Economic Growth at the University of Georgia’s Terry College of Business. According to Latinalista.net, Latino buying power will be the largest multicultural market by 2012. How much richer does a demographic have to be to gain Hollywood’s respect?

The supposed know-it-all mostly white Hollywood still insist on its failed tradition of continuing to hire non-Latinos to select Latino projects (mostly written by non-Latinos) and then produce a finished product that fails with ratings or at the box-office. They’re baffled as to why “Latinos aren’t flocking to the theatres or watching their shows.” What do non-Latinos know about the Latino experience? Nada.

In 2002, when director Franc. Reyes was premiering his critically acclaimed film Empire, he was asked about the difference between his gangster movie and that of other “Latino” mafia flicks. “What other movies?” he asked. And he was read a list: “Carlito’s Way?” Brian de Palma, he responded. “Scarface?” de Palma directed and Oliver Stone wrote it, he answered. “Mi Vida Loca?” Allison Anders, he said. “What about Blood In and Blood Out?” Taylor Hackford. Reyes went on to say that these movies were about the Latino perspective but made by a non-Latinos. That’s why his films are unlike any other type of Latino-labeled gangster movie, unique in that it was actually 100% Latino, cast, story, everything.

Recently Black History Month was celebrated and Tyler Perry was all over the place, networks and cable. This is one smart dude who knows how to maneuver his way around white tontos. Sure he’s highly criticized for exploiting his actors, writers and just about everyone who works for him, but hey, the networks and studio love him, so who cares who he screws on his way to the bank. I complained and my teenage smart-ass niece said something that got me thinking, “Tia, is it really THEIR fault our stories aren’t told, is it possible that we Latinos have some culpability here?” She was beginning to sound like Franc. Reyes. “Why are we still asking, begging?” I don’t know the answer, so I asked Latino Hollywood insiders–Yareli Arizmendi & Sergio Arau, Dan Guerrero, Dennis Leoni, Dyana Ortelli, Kathryn F. Galan, Bel Hernandez, Miguel Najera and Richard Yñiguez:

What would I do to improve the state of Latinos in Hollywood?

Yareli Arizmendi and Sergio Arau

(Actor, Director, Producer, Writer/Day Without A Mexican, Naco es Chido)

Sergio Arau as “El Uyuyuy” and Yareli Arizmendi as “Macuca Reina” in
NACO ES CHIDO: The story of Botellita de Jerez more or less based

on the real facts.

Hollywood has to want to change. Does it? Who is Hollywood?

What exactly do we Latinos want Hollywood to allow us to do and to be?

Be ourselves? Who are we? What do we have to say that is different from what is already being said? Or is it that we just want to have our actors say it?

Hollywood is changing…slowly. Prior generations of decision-makers are passing on the power baton to next. And who’s next? Latinos are definitely part of next. We are part of the resisted past, we are the present and we are the future. But what do we look like now? Interracial marriages have given way to a mixed race population. Latino, Black, Asian, there are no clean lines of demarcation. We need to be aware of what those changes mean for us. This is the new audience. But who is driving the creative wave and tapping into this market? Are we? This is not a rhetorical exercise; it is time that Latino professionals discuss the important demographic/social changes that have already affected the reality of an industry we think we know.

We are now in the 21st, are we people of the 21st century? How so? The ‘traditional’ business models in Hollywood and in every industry are falling apart. After much resistance the great distribution machine has had to pay its respects to the Internet. Original, niche product is the order of the day. The mass market is fading; not cool to be a ‘one size fits all’ anymore. People are eager to find their special vendor at the open market and pass the word when they find it; the much sought after word-of-mouth. Are we taking our handmade products to the public square for sale or waiting to be invited? Our point is; we cannot wait for an invitation to be part of a project. We must generate millions of independent projects and call on each other to collaborate. We need to explore, risk, dare, create new genres that surprise the establishment. Let it beg to be invited to our party. And lets not forget who our friends are. Latinos don’t grow up by themselves. They live in a society with Koreans, Russians, Blacks, Iranians, Jews, Hindus, Cambodians, etc. Our best friends, teachers, bosses have a whole array of faces and stories they bring with them to interact with ours. Don’t erase them from our narratives; including them will paint the enviable party others will want to crash. No shortcuts, it is hard work. But hey this is our world; shape it or someone else will. And we know what that feels like.

Dan Guerrero

(TV/Theatre/Live Producer, Director)

Photo: Luther Orrick Guzman

Sweetie, if I knew the answer as to what would improve the state of Latinos in Hollywood, I would bottle it and make more money than Sara Lee with her baked goods.

www.danguerrero.com

Dennis Leoni

(Executive Producer, Writer, Director)

The problem is a complicated one, but to try and put it as simply as possible, the only way Latinos are going to progress in the film and television industry is if we create a strong marketplace for Latino content. The African-Americans have done it, Tyler Perry being the latest example. But until Latinos start going to Latino films and watching Latino content on TV, nothing will happen. If we don't subscribe to our own content, how can we expect others to? If just half of the forty plus million Latinos in the U.S. faithfully bought Latino content, then the powers that be would see that there is money to be made, more projects would get green lit and more Latinos would work.

Now Spanish language is a different story because they have their own marketplace. But English-speaking Latinos are so intent on assimilating, it creates a problem for anyone trying to make content for English-speaking Latinos here in the United States. Another part of the problem is that Latinos so rarely get an opportunity to get something made that the expectation for every project to so high. Every Latino project can't be everything to every Latino. Obviously, it doesn't work that way for general market content and it shouldn’t for us, either.

Having said all of this, there is another solution for Latinos who want to work in the entertainment industry and that is to forget about Latino content, completely assimilate and make general market films and television. That should probably happen too, but it's a shame that we can't have both so that Latino stories can also be told.

Dyana Ortelli
(Film and TV actor, comedian)
“Mom, you and your friends have been having the same conversation for 20 years!” That is what my son said to me a few years ago when he overheard me on the phone having a conversation about the “state” of Latinos in television and film…under-represented and subjected to the same-old stereotypes. Sadly, he was right. Not much had changed. I had written letters in industry publications pointing out the inequity; I had spoken out at numerous industry conferences; I was even at the forefront of organizing a protest when a non-Latina was offered the role of our revered Frieda Khalo back in 1992. I used my stand-up comedy routine to try and get the message heard: “If you're Mexican and you’re an actor in Hollywood, you get to play all the UN-people, UNdocumented, UNemployed, UNeducated, On-drugs!” Lots of laughs, but these types of roles for Latinos pretty much remained the same. Our outcries and protests fell on deaf ears.

I started my career 25 years ago, and the truth is that I am still waiting for the opportunity to audition for the white-collar, business professional roles…attorneys, doctors, fashion designers…and the calls I get, for the most part, continue to be the same: the Mexican nanny, the housekeeper, the suffering gang member's mother, stereotypes. Latinos are simply not seen as part of the fabric of America.

While writing, creating and developing our own projects is obviously a given in order to improve the image and numbers of Latinos in the industry, it is also worth noting that, unless and until our community leaders are willing to have an on-going dialog with casting directors and producers to educate them, and demand the casting of Latino actors in a more positive light and in greater numbers, the state of Latinos in the industry will never see a significant change.

Kathryn F. Galan

(Executive Director, NALIP)
More Latino/as in decision making positions: creative and production VP’s and above; marketing and publicity executives from the U.S. Latino community; lawyers and distributors who know and come from our community. This will require an aggressive campaign and commitment by studios, agencies, mini-majors, production companies, and management firms to recruit and train actual Latino/a executives –not just interns and assistants. The major colleges, business and law schools have great Latino/a candidates who need persuasion to embark on careers in the entertainment industry. The initiative needs to be funded in all seriousness so that film, television, and documentary production/broadcast companies’ train, mentor, promote, and retain mid-to high-level executives who can make decisions that change media to reflect the culture and community where we live in the 21st century. www.nalip.org

Miguel Najera
(Filmmaker, film and TV actor)
We need to find a way to create funding sources for our own films. If it means pooling resources, creating entities or shooting a la brava like some of us are already doing, then so be it. The studios promised to open doors years ago but as is noted only two Latino regulars have been cast for the new season. Create our own studio that should be our aim. There are Black owned companies that have studio space and series but we don’t. We need to create writing groups where the end result is to shoot scripts not more classes or attend ‘how to’ seminars. Award ceremonies are great but do not make films or get us on primetime. Mainstream studios compete for audiences and compete for ours while we compete with each other.

Bel Hernandez
(CEO/Latin Heat Entertainment & Publisher/Latinheat.com)
Photo: Angela María Ortíz S.

We Latinos have to get out of our own way. We need to stop trying to be the “good” Latino that will not create waves and will just go along with the status quo so as not be perceived as “difficult.” Since when have any major changes occurred by not making waves?

If the African-American community had not stirred the pot, they would not have bankable stars, or films with and all Black casts and have Hollywood begging for more.

Their projects run the gamut from the Tyler Perry broad (and some Blacks even call them stereotypical) to the Spike Lee political-leaning fare such as Malcolm X. In addition, Black directors like Forest Whitaker have found success by teaming with mainstream projects.

We as Latino entertainment professionals need to allow for the different voices within our community to be expressed. Academia and journalist need to better understand the complexities of the entertainment industry before they rush to judgment when criticizing some of the Latino filmmaker’s choices.

Parties on both sides just need to allow the evolution of Latino Hollywood to happen without throwing a roadblock at every turn, just for the sake of a controversial article that will get you hits.

Instead of criticizing…let’s try to understand the whole picture. We all need to keep the end goal in site, that unless we are allowed to create, without censure (either by the Hollywood studios/networks or journalist, policy makers, or academia), or allowed to fail and keep trying (just like every other group in the entertainment industry) our stories, that should be seen by the world, with our perspective (which is very rare) will never get out there.

That is not to say journalist and academia should not point out when there is a major travesty, but in the past it has been simple things like “another gang movie.” Scorsese has been allowed to make many “Mafia movies” (i.e. “gang” movies) without the outcry from journalist or academia of “another Mafia movie.” Latinos need to be afforded the same courtesy. www.latinheat.com

Richard Yñiguez

(Veteran film and TV actor)

I would ask Latinos to come together and produce projects for their own community! If we do this together as a group (a force, unity is strength in numbers) and we find investors from our own community, we would be able to produce positive and unique stories about ourselves—all with a commercial thrust—and with a goal to set up our own studio facility. We can do it if we come together in the name of trust and support for each other’s creative abilities. I'm ready to work.... are you?

Readers, what do you think? Disagree? Speak up! Personally, everyone above hit it on the nail. Now, what to do about it? I’ll include your responses in a follow-up article for LatinHeat.com