January 2010
Dear NALIPsters,
The New Year is not just a time of resolutions and aspirations, project starts and dynamic exercise routines. In our industry it is also a moment that brings into sharp focus certain advances, or setbacks, in the field of media diversity. For one thing, it is "Awards season," a summary and celebration of the best and most appreciated creative efforts of the previous year. For another, it is "Sundance season," time for the big daddy of independent film festivals to highlight and launch the creme of the crop of 3724 feature-length submissions put forward by indie narrative and documentary filmmakers.
As such, it is a chance to touch in and notice: how are Latino/a media artists doing? Where are NALIPsters in this mix? What do we still need to do to make measurable progress for our filmmakers and their important, valuable, creative stories?
Well, as the Hollywood Reporter noted this week: "While commentators regularly pore over Academy's annual list of nominees in search of people of color, it's really the film industry's fault when they fail to materialize. For, particularly behind the camera, the industry has been slow to diversify, and it's that reality that is reflected in the Academy's nominations." Hm. It does make sense great U.S. Latino/a artists cannot be nominated if their films are not yet funded and produced, or if they are not selected to work on projects made within the industry. It also comes as no surprise that the executive branch of our industry - the decisionmakers, studio executives, agents and managers, bankers and marketers - are also "slow to diversify." But in NALIP's 11th year, this seems worse than slow: it appears that diversity is really on a backburner in manner regards. The dipstick on diversity reading is far too low for the 21st century, where Latinos and other minorities are the majorities in many states, and in consuming media across all platforms.
We at NALIP cannot let this happen. Even in a challenging economic climate where the industry has taken drastic measures to cut costs and employees, development slates and philanthropic donations, they also had record box office profits in 2009, and some great candidates for the Academy and other awards. We want to appreciate those who are giving Latinos opportunities - to intern and work, to write and direct, to have projects developed and funded - while we don't let up the pressure around the apparent need for more executives and others "behind the camera" of color.
What about in indieland? While we are very proud of LPA Fellow Nicolas Entel, who has been invited to Sundance TwentyTen with the wonderful documentary "Sins of My Father," just licensed for broadcast by HBO, there is no LA MISMA LUNA as at Sundance 2007, no SLEEP DEALER as at Sundance 2008, no DON'T LET ME DROWN as at Sundance 2009. The U.S. Latino documentaries that are coming out of the Latino Producers Academy, LPB or ITVS are not represented there, either. We hope that the next wave of 2010 festivals - SXSW, Tribeca, Miami International and Los Angeles to name a few key influencers - will discover and invite U.S. Latino projects. In addition, we have to remain active in our efforts to train and develop great Latino filmmakers in programs like our Latino Writers Lab and Latino Producers Academy, to advocate for Latino executives and representatives in positions of influence, to introduce key indie and industry companies to our most advanced projects at the Latino Media Market, and to celebrate the accomplishments of our own.
Next week we launch registration for NALIP 2010: Navigating in a Sea of Change. Co-chairs Alexis Garcia (WME), Peter Murrieta ("Wizards of Waverly Place"), and educator Margarita de la Vega-Hurtado plan an exciting weekend of plenaries and panels on What is Really Working Now. I know that we are all eager to explore that, so that the dipstick measurement of diversity at this time next year is more expansive and inclusive of our artists.
Kathryn F. Galan
Executive Director
NALIP
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