Today is Thursday, Jul 29th

THE BAT SIGNAL:
You are here: Close Up On

Get to Know the Rising Stars in Our Industry

A Slice of Luisaida

If you were to close your eyes, you would recognize his voice long before your eyes set sight on him. And, when you would open your eyes, your mind would instantly recall dozens of his memorable roles from decades' worth of work. His name is Luis Guzman and Latinos In Entertainment recently had the pleasure of sitting down for an intimate one-on-one interview with this veteran of the silver and small screen.

We gathered under the watchful visage, painted in his likeness, that is proudly displayed in the Two Boots Pizzeria located in the Lower East side (advertising the "Luisaida" pizza slice named in his honor). Latinos In Entertainment took the opportunity to ask Luis (Loo-ee) about his past and future projects (including his newest starring role in the new, upcoming HBO original production, "How to Make it in America"); about the trajectory of his stellar career; and about his thoughts - garnered through his unique perspective as one of the leading Latino actors working today - on the past and present of Latino entertainment.

Following is what this uniquely singular, trailblazing actor shared with us:

“The Ministers” and The Word According to Franc Reyes: Chapter I

"The Ministers," the latest film project by writer-director Franc Reyes, will make its national premiere in New York on October 16, 2009.  The tale of two twin brothers who avenge the “murder by arson” of their parents in the South Bronx was penned by Reyes who draws on his experience as a South Bronx native and the recollections of the sweeping arson for insurance incidents that decimated so much of the Bronx in the 1970’s.  It is a subject matter that highlights the effect that one pivotal moment can have on a lifetime and, more so, the effects that greed and evil can have in shaping the world view of its victims.  It also highlights the very reasons that films from a Latino perspective are so vital – what is merely an unsavory footnote in the history of one New York borough is herein brought to life by a writer for whom those incidents were vivid and immediate.  Thanks to Reyes, those incidents of profiteering at its most greedy and evil are dissected and re-imagined and, most importantly, a human face is given to the real life victims behind the dry statistics.

Calling themselves "the ministers of his word," the two brothers (both played by the very talented John Leguizamo) turn into murderers themselves to avenge their parents’  deaths at the hands of arsonists and  their brother’s tragic death at the hands of a police detective, played by the inimitable Harvey Keitel.  In doing so they also set off a course of events that shapes the life of one of their victims whose trajectory will put her on a collision course with the brothers.  Reyes, the son of a Pentecostal minister mother, draws on his memories of ministry-in-action for the religious fervor that is interwoven throughout this fictionalized account of tragedy and revenge.

His ministry roots are also evident as an outspoken member of the Latino community who speaks with unflinching honesty and fiery conviction about his views on the state of the Latino filmmaking scene in the United States.  In particular, Reyes draws sharp comparisons between Latino filmmakers and African-American filmmakers, in particular noting the differences in unity of voice and message in furthering the filmmaking efforts of their respective communities.  He points to the success of such directors as Spike Lee, John Singleton and Tyler Perry as proof of the power that a collective voice and message can have on the creation of a niche filmmaking community and audience. He further points to movie history when he states that before the 1970’s Wasps were the norm on screen and that actors like the blond blue eyed Redford and Newman dominated the filmmaking vista.  Actors like DeNiro did not come to take their place on that vista until directors like Scorsese made films that talked about the Italian American experience.

The most important thing that Black filmmakers did in the 1980's, he states, was to find and cater to a Black movie going audience that until that point had not been particularly looking for Black films.  A similar opportunity exists with Latino audiences but is falling short of similar achievements thanks to inherent issues within the Latino community itself. As an illustrative example of the disparity between these two filmmaking communities, he imagines that that Black filmmakers will go to studios and say "This is a black film" and will pitch it as such for black actors to be delivered as fare for a black movie going audience.  Latinos on the other hand, he imagines, will go and say "This is a Latino movie about Jose and Maria" – before proceeding to pitch Leonardo Dicaprio for the role of Jose, saying "Dicaprio would make a great Jose!" This, he believes, speaks to the Latino community’s often self sabotaging desire for outside validation from mainstream society.

Chief among the other issues affecting Latinos and their foray into the world of commercially viable filmmaking is the issue of self identity and the fact that many Latinos don’t wish to own the Latino struggle.  In addition, there is also a class issue that exists within the community in that upper middle class Latinos tend to want to determine what constitutes the image of Latinos as a whole. He notes that when it comes to self identity many Latinos have no clear definition of where they themselves stand on the Latino continuum, an issue which is further complicated by the fact that Latin Americans don't often consider U.S. Latino Americans as truly Latino as they are.  He recalls being asked by someone who was half Brazilian and Half Argentine, born in the U.S. but raised in Argentina, if he should consider himself "Latino."

There are also deep rooted issues of skin color that also cloud the issue of Latino identity on both sides of the camera; lighter skin Latinos tend to identify more closely with the mainstream white culture while darker skin Latinos tend to identify with the African American dominant hip hop culture. Finding relevant references within the African American world once again, he points out that to the Black community Spike Lee is no less Black because he does not speak Swahili.  He recalls that the cast of "Illegal Tender"  stood out in the world of Latino films for its use of dark skinned Latino talent. It is especially a rarity when compared to Latin American films from abroad where light skinned Latinos are the norm. He points out that at prior Alma Awards it was easy to see where Celia Cruz and Jon Secada were seated because their dark features were easily distinguishable amidst a sea of light skinned faces. At the end of the day, he states, Latino is a culture; it's what defines all of us - "whether it's Tego or Luis Miguel." But whether a person chooses to identify with it or not is more often the true question.  Therefore, Reyes surmises that for true progress to be made Latinos must come to both fully own and embrace their own identity.

Another stumbling block to commercial viability is the fact that many Latino filmmakers do not make commercially driven films but instead make films that do not appeal to a wide range of audiences.  Stating that as Latinos the majority of us "did not grow up on Godard or Truffaut" but rather on commercial fare and, as such Latino filmmakers should make films inspired by the films that they themselves have been inspired by.  Too often filmmakers who "get a shot" wind up making non-commercially viable films that a majority of audiences would not go to see and consequently do not get the greenlight for a theatrical release.  He points to the fact that many mainstream commercial films have a large percentage of Latinos in the audiences as evidence that Latinos will, in fact, go out in large numbers for films that appeal to their entertainment sensibilities.

An additional problem complicating the success of theatrically released Latino films lies in the Latino film marketing companies who offer the Latino audience to Hollywood as one monolithic entity, making no distinction between Spanish dominant and English dominant audiences.  And unfortunately, he states, "if you made a film and sold it to Lion’s Gate and there’s a five million budget for marketing, they're going to give it to a Latino marketing company." The best way to address this issue he believes is that for any Latino film marketing effort there should always be an overall marketing budget, a percentage of which would be given to Latino marketing companies and the rest to mainstream marketing companies.

For the Love of Darkness: The Art of Pepper Negron

Pepper NegronThe landscape inhabited and brought to life by Puerto Rican born, Bronx bred filmmaker Pepper Negron evokes a dark, gothic wonderland where beauty, death, madness and passion flow together as fluidly as the blood trailing down a beautiful woman's throat.  A self taught screenwriter and director, Negron comes across at first glance as a man driven solely by his haunting visions of an afterlife draped in black lace, red roses and morbid beauty. In reality this skilled auteur is a driven craftsman who deftly navigates through his chosen genre of the gothic with a single minded focus. Plunging into its depths, Negron aims to mine the macabre for the intrinsic beauty and captivation in which he himself has so often found solace. Calling the darkness his "heaven," the realization of his artistic vision enables him to make that same heavenly darkness feel lush and sensual for his audiences as well.

Negron's films combine his dual love of women and the macabre and it this same duality has given rise to "Dark Tales of Tortured Souls," a short film compilation of seven, stand-alone tales written and directed by him through his production company, Purple Velvet Productions.  The seven short film series, in various stages of production, includes the titles "In stillness I Lie;” "Blood Drips;""Me I'm Not Dead;""Buried Dreams;" "Broken Whispers;""So Quiet;"and "Greshen."  Notably, “Blood Drips,” was sparked into creation from its beginnings as a haunting poem penned by Christian Dior Collazo, brother of former recording artist Corina, now herself also a writer, actress and filmmaker. The poem inspired Negron who in turn created original music inspired by the poem. It was from these musical origins that the film began - and would later return.

Those first music pieces inspired by the poem begged for a story to be woven around its musical frame and it was through that need that the idea for a short film evolved.  As is his artistic style, the visuals for the film came to him first and they centered on a woman sitting at a piano before committing suicide. Negron shared this evolving storyline with cinematographer Edwin Pagan, both of whom went back and forth with the idea of suicide until Pagan convinced him to keep her alive. The film then became the tale of a woman seated at a piano, caught in the depths of a dark revelry about committing suicide before emerging from that mental darkness. It was the film’s subsequent appearance at a film festival that led to “Blood Drips”’ road back to music. When the musical pieces within the film were noticed by two record label executives attending the festival, they asked Negron if he would be interested in creating music for a CD.   “Gothic Melodies,” a CD of instrumental music co-created with fellow composer Luis Capri Duprey, was thus born.  The creation of “Gothic Melodies” is rendered all the more incredible when you take into account that Negron is a self taught composer who first hears the music in his head  before sharing it with Duprey who then captures those auditory visions on paper.

While the ability to create fully realized projects without formal training would seem nearly impossible to most, it is par for the course for Negron who has lived the life of the ultimate self taught multi-hyphenate.   A self proclaimed visual artist, his artistic career also encompasses photography and illustration, both of which he credits with aiding him in the formulation of the visual imagery of his films. In addition to his artistic accomplishments, Negron is also a former extreme sports enthusiast (at one time almost choosing the career path of a ski instructor) who has also spent time underwater diving,  skydiving, hot air ballooning and white water rafting. He also took private pilot lessons, an activity cut short when dyslexia made the necessary math work for piloting extremely difficult.  Despite such adventures throughout the years, as well as a sojourn in the music business, filmmaking nonetheless always remained in the back of his mind.

It would be after an eight year stint in the music industry, managing recording artist -and future filmmaking collaborator - Corina, that the digital technology advancements in filmmaking would finally make it possible for Negron to transition to film and wholeheartedly pursue that interest.  He then embarked on a self taught filmmaker’s course in which he read screenplay after screenplay in order to teach himself the intricacies of plot, character and dialogue development organically. During that time, Negron also watched films with the sound turned off in order to see without distraction the way that scenes moved and transitioned from one frame to the next.  Those intense studies culminated in his directorial debut on the short film, “Master and Servant” which was accepted into a now defunct Bronx film festival. It was at that festival that Negron got to see firsthand an audience’s reaction to his work and, more importantly, was able to solidify his calling to be a filmmaker.

Chief among the films that followed “Master and Servant” was the short film he directed based on the Franc Reyes' screenplay, “Beauty.” The film was written by Reyes as part of a trio of short film screenplays he wrote for HBO’s project “Tales from the Brown City” wherein three up and coming Latino directors were able direct one of his screenplays.  Negron was chosen to be one of those three directors and while “Beauty,” starring Lauren Martin, was well received by both Reyes and screening audiences, the project did not progress further due to the fact that the remaining two filmmakers failed to complete their respective films. 

Currently, Negron is in post production on his most recent directorial project, “Skyy,” a short film starring Corina. Once completed, he will be hard at work finishing production on “Dark Tales of Tortured Souls” while also continuing to write new screenplays. Citing the seminal influences of such visionaries as David Lynch and Rod Serling, it is almost certain that Negron’s future works will continue to hold within them the fundamental elements of his fascination with both the darkest sides of human nature and those terrifying things that fall outside of nature.

Negron’s artistic world of dark and haunting tales and characters bring to life the gothic visions that he says constantly reside within him. He tells of hearing the characters speak to him long before they are ever seen on film or written down on paper.  It is an inner world that most would find terrifying but one that Negron finds comforting and familiar.  His background, one of difficult childhood experiences, gave rise to a man who can find beauty and seduction in the darkness, both the figural and the literal.  His future, to be found one very far off day in a cemetery shrouded under steel gray skies, will see a crowd of elegant mourners huddled around a tombstone which proudly reads “Here Lies a Troubled Soul.”  They will have come to pay tribute to a director whose long and rich career was peppered with a long list of great accomplishments.

Upcoming Events

 

No current events.

 

Latest Tweet

From HootSuite
#latinowood RT: Freida Pinto rises for 'Apes' prequel - Film News: 'Slumdog' actress in talks to star opposite James... http://ow.ly/17QGUU
Tuesday, 22 June 2010 22:30
From HootSuite
#latinowood RT: Academy taps Oscar producers - Film News: Bruce Cohen, Don Mischer will helm Feb. 27 awards telecast... http://ow.ly/17QGUV
Tuesday, 22 June 2010 22:30
From HootSuite
#latinowood RT: Visual Effects Society plans Summit - Film News: Production event to bow October 23 -- The Visual Ef... http://ow.ly/17QF6N
Tuesday, 22 June 2010 21:30
From HootSuite
#latinowood RT: Mark Waters circles 'Mr. Popper's Penguins' - Film News: Director eyes Fox's adaptation of the 1938 ... http://ow.ly/17Qyfa
Tuesday, 22 June 2010 19:53
From HootSuite
#latinowood RT: DreamWorks Animation trolls for laughs - Film News: Toon outfit to bring Happy Troll Dolls to bigscr... http://ow.ly/17QsBn
Tuesday, 22 June 2010 17:31
twitter Follow latinowood on Twitter