![Image](https://m.media-amazon.com/images/M/MV5BOWE3YTdkMWItMDVjMy00OTIzLWJhZDYtOTdmMmEwNWFhYjdjXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg)
Seaglass Talent Management, the new venture founded recently by Heather Henderson, has acquired the Actors Talent Management Division of Kontakto, a boutique company focused primarily on Latinx talent, led by Isabel Echeverry. Henderson most recently served as Head of Talent Management at Kontakto, before launching Seaglass earlier this month.
Seaglass Talent is expanding its roster with several actors that Henderson originally signed under Kontakto, including Brent David Fraser (David Lynch’s Wild at Heart), Justin Berti (Samuel Goldwyn’s Divorce Bait), Robyn Cruze (Endemol’s Big Sky), and Amber Pickens (Netflix’s Passing).
Under the acquisition, Kontakto’s roster of talent now represented by SeaGlass includes Marc Clotet (The Sleeping Voice on Prime), Kiley Opsal (A Race Against Time), Jessica Caban (Jane the Virgin), Nicole Santamaria (Netflix’s Griselda), Eddie Martinez (Blumhouse’s NightSwim), Adriana Martinez (Max’s Duster), Liana Mendoza (Mothers & Daughters), Rocio Ibarra, Doreen Calderon (Paramount+’s Fatal Attraction), among others.
Seaglass Talent and Kontakto also have teamed as Executive Producers on features The Low End Theory, a Latinx Lgbtqa film noir in post starring Sidney Flanagan, Ricky Russet, Eddie Martinez, Scotty Tovar, Sofia Yepes and Rene Rosado, as well as two Groucho Marx features with Jade Marx in development.
Echeverry will continue to concentrate exclusively on representing global directors in the advertising industry as well as develop and produce a distinctive slate of film and television projects most notably, Bella thriller, The Black List 2022, with producing partners The Hayes Brothers.
Seaglass Talent is expanding its roster with several actors that Henderson originally signed under Kontakto, including Brent David Fraser (David Lynch’s Wild at Heart), Justin Berti (Samuel Goldwyn’s Divorce Bait), Robyn Cruze (Endemol’s Big Sky), and Amber Pickens (Netflix’s Passing).
Under the acquisition, Kontakto’s roster of talent now represented by SeaGlass includes Marc Clotet (The Sleeping Voice on Prime), Kiley Opsal (A Race Against Time), Jessica Caban (Jane the Virgin), Nicole Santamaria (Netflix’s Griselda), Eddie Martinez (Blumhouse’s NightSwim), Adriana Martinez (Max’s Duster), Liana Mendoza (Mothers & Daughters), Rocio Ibarra, Doreen Calderon (Paramount+’s Fatal Attraction), among others.
Seaglass Talent and Kontakto also have teamed as Executive Producers on features The Low End Theory, a Latinx Lgbtqa film noir in post starring Sidney Flanagan, Ricky Russet, Eddie Martinez, Scotty Tovar, Sofia Yepes and Rene Rosado, as well as two Groucho Marx features with Jade Marx in development.
Echeverry will continue to concentrate exclusively on representing global directors in the advertising industry as well as develop and produce a distinctive slate of film and television projects most notably, Bella thriller, The Black List 2022, with producing partners The Hayes Brothers.
- 5/20/2024
- by Denise Petski
- Deadline Film + TV
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![Image](https://m.media-amazon.com/images/M/MV5BMWNkY2NmYTQtNzUyNi00MDA1LTk4MGEtMGU4MTdhY2Q5NThkXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX140_CR0,0,140,140_.jpg)
J.J. Abrams and HBO Max are officially putting a series into gear.
The streamer has picked up Duster, a 1970s-set drama from Abrams and Latoya Morgan (Into the Badlands, The Walking Dead). Rachel Hilson (Love, Victor, This Is Us) and Josh Holloway, who worked with Abrams on Lost, head the cast.
Duster is the first series to spring from a nine-figure film and TV deal Abrams’ Bad Robot company signed with WarnerMedia (now Warner Bros. Discovery) in 2019. In April 2020, Duster was one of three Bad Robot projects announced for the yet-to-launch HBO Max, along with The Shining offshoot Overlook and a Justice League Dark project. The latter two have since been scrapped (Bad Robot has shopped Overlook to other possible buyers), as has Abrams’ long-developing sci-fi series Demimonde (which was for the HBO parent channel) after concerns over its projected 200 million-plus budget.
As for Duster, it’s set in 1972 in...
The streamer has picked up Duster, a 1970s-set drama from Abrams and Latoya Morgan (Into the Badlands, The Walking Dead). Rachel Hilson (Love, Victor, This Is Us) and Josh Holloway, who worked with Abrams on Lost, head the cast.
Duster is the first series to spring from a nine-figure film and TV deal Abrams’ Bad Robot company signed with WarnerMedia (now Warner Bros. Discovery) in 2019. In April 2020, Duster was one of three Bad Robot projects announced for the yet-to-launch HBO Max, along with The Shining offshoot Overlook and a Justice League Dark project. The latter two have since been scrapped (Bad Robot has shopped Overlook to other possible buyers), as has Abrams’ long-developing sci-fi series Demimonde (which was for the HBO parent channel) after concerns over its projected 200 million-plus budget.
As for Duster, it’s set in 1972 in...
- 2/16/2023
- by Rick Porter
- The Hollywood Reporter - Movie News
‘The Low End Theory’: Rene Rosado, Eddie Martinez, Ricky Russert & Scotty Tovar Board Indie Thriller
![Image](https://m.media-amazon.com/images/M/MV5BYTM4ZjU5MzYtYmM0YS00ZmU4LWJlMjgtODllMmNhM2Y3MzYwXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg)
Exclusive: Rene Rosado, Eddie Martinez, Ricky Russert, and actor/rapper Scotty Tovar have joined the cast of the indie thriller The Low End Theory from Atomic Features Production.
They join previously announced lead Sofia Yepes who is also a co-writer and producer on the film. The Low End Theory—based on a story by Yepes—centers around Raquel (Yepes), an aspiring beats producer in the low-budget hip-hop world moonlighting as a drug money launderer, who ends up stealing from her crime-lord boss to pay off debts owed by the woman with whom she is having an obsessive affair.
The project reunites Yepes with Francisco Ordoñez, who wrote the screenplay for The Low End Theory and will also serve as the films’ director in his debut. Yepes’ first on-screen role was in Ordoñez’s short film st. paul, winner of the Imagen Foundation award.
They join previously announced lead Sofia Yepes who is also a co-writer and producer on the film. The Low End Theory—based on a story by Yepes—centers around Raquel (Yepes), an aspiring beats producer in the low-budget hip-hop world moonlighting as a drug money launderer, who ends up stealing from her crime-lord boss to pay off debts owed by the woman with whom she is having an obsessive affair.
The project reunites Yepes with Francisco Ordoñez, who wrote the screenplay for The Low End Theory and will also serve as the films’ director in his debut. Yepes’ first on-screen role was in Ordoñez’s short film st. paul, winner of the Imagen Foundation award.
- 2/28/2022
- by Rosy Cordero
- Deadline Film + TV
Latin American filmmakers have done well in the Oscar race over the last three years: Awards have gone to two Mexican directors, while films from Colombia and Chile have landed nominations. Meanwhile, revered auteurs from these region have maintained their positions on the world stage, and American-based Latino filmmakers and actors have become outspoken advocates for the need of inclusion and opportunity. But many others receive far less attention even as they toil away on the sidelines to make sure these artists receive the attention they deserve.
The unsung heroes of Latin American cinema’s success work in film journalism, distribution companies, film-oriented nonprofits, festivals, and even major studios. Behind the scenes, Latinos are paving the way for filmmakers and others who are fighting to be heard, seen, and understood. This crowd of influencers includes U.S Latinos, Latin Americans and Hispanics, all of whom are represented in the following overview.
The unsung heroes of Latin American cinema’s success work in film journalism, distribution companies, film-oriented nonprofits, festivals, and even major studios. Behind the scenes, Latinos are paving the way for filmmakers and others who are fighting to be heard, seen, and understood. This crowd of influencers includes U.S Latinos, Latin Americans and Hispanics, all of whom are represented in the following overview.
- 12/26/2016
- by Carlos Aguilar
- Indiewire
Among the countless projects looking for support right now through crowd-funding sites, one of the most unique and genuinely relevant projects is Isabel Echeverry’s documentary “Shamama,” which documents her journey into becoming a full-time philanthropist and what that entails. Echeverry is not just a charitable woman looking to help others, as the founder and head of Kontakto, a talent representation agency focused on Latino talent, she is a respected and successful businesswoman who wants to eventually step away from the daily grind of Hollywood to make a tangible difference in the world.
But though the film she is seeking to bring to life via an Indiegogo campaign, currently underway, will document the steps she must follow to achieve her goal of dedicating most of her time to helping others and creating opportunities for people to get involve, “Shamama” will be more than just an inspirational audiovisual project. Echeverry will also use the funds to support a newly created non-profit organization called “Shamama Movement,” which will serve as place to connect those in need with people willing to give their time and help. The film will in turn become a tool to inspire people to get involve and spread the idea that, even if you are an incredibly busy individual juggling numerous responsibilities at once, you can still find time to give back.
We chatted with Isabel Echeverry about what “Shamama” represents for her, the struggle to find opportunities for Latino talent in the entertainment industry, and the people that inspire her to pursue this ambitious philanthropic dream.
For more information on "Shamama" and to donate to its Indiegogo campaign visit Here
Aguilar: Explain what's a Shamama and how does this concept relate to the documentary/movement you are trying to get off the ground through crowd-funding via Indiegogo?
Isabel Echerverry: Shamama is the feminine name for Shaman but is not part of any religion. When you hear the word “Shaman” what do you think of? You think of someone that heals or that helps somebody else. Someone mentioned to me that Shamama could be someone that helps raise the consciousness of others to get out of suffering and that stayed with me. Then I thought, “This could be a good documentary,” because what I really want to do is become a full time philanthropist within a few years. I see myself becoming a full time philanthropist, so I decided to document my process in becoming that and be a “Shamama.” I felt that name was appropriate because anybody could be a Shaman or Shamama by just helping others. That’s the concept. It’s about the Shamama Movement. I hope that through my journey and my transformation I can inspire others to do the same.
Aguilar: Kontakto, your talent management company, is an important resource for Latino talent in the industry. How does it fit within your plan of becoming a full-time philanthropist?
Isabel Echerverry: As you know I’m very busy with Kontakto, representing directors, working on another feature film, and I have three kids, but no matter how busy you are you can always make time to volunteer and to go out in the field to help others. I want to take it a step further. I’m going to hire people to do sales under Kontakto and set it up so that I can remove myself. That’s what most successful business people do at some point. Ultimately you want the business to run by itself and I want Kontakto to run by itself. This process will also be part of the documentary.
I have a business plan that I've created to expand my business and to have a joint venture with a big company in the entertainment industry. When I go in to meet with some of these big talent representation companies my goal is to try to set up a Hispanic division within their company. That way we would be able to hire people to do everything Hispanic or Latino: Talent Management, Advertising, Representation in the General Market, and Development. It’s a really aggressive plan, but that’s part of my plan to eventually become a full time philanthropist.
Aguilar: It seems that we are busy lives we often forget that there is a whole world out there that needs our help. We need to be reminded that we can do more for others.
Isabel Echerverry: Exactly. It’s really not just about me or to say, “Look here is what I’m doing.” No, it’s really to bring awareness to different issues. We are part of the 5% wealthiest people of the world’s population. Even a person who makes $25,000 to $45,000 a year is still part of the group that can have basic necessities and even some luxuries like cell phones and cars, but the other 90% to 95% of the people in the world are living in suffering. We need to really see that and think, “We are the lucky ones! What are we going to do? Let’s do something.”
For example, what I do for my clients on a daily basis is getting them exposed, rooting for them, and getting them out there, “Look here are my directors, my editors, my actors.” I’m going to be doing the same but for charity, “Hey guys let’s go help people. Let’s go read to the blind. Let’s go help the children at St. Jude’s.” It’s about getting people out of just thinking about themselves, “What am I gonna do today? Go to the gym, go shopping, go to work.” That’s great, I’m not criticizing it, but we can elevate it by helping others.
As part of the process of making the film I’m going to sit down with global leaders. I’m going to interview Deepak Chopra this month and I want to ask him what he believes I should focus on as I undergo this transformation into a full time philanthropist and document it.
Aguilar: Why do you feel it's important for you to talk to influential people or world leaders?
Isabel Echerverry: They’ve already accomplished being an influence. What I’ve learned is that if you want to be like somebody, you gotta model them. If you get the chance to talk to them you got to ask them, “How did you get here? How did you do this?”
And what better than to hear it from Deepak Choppra, Oprah, and other influential people. I want to figure out how we can spread that to everybody else because we are all healers in a way. That’s what I’m getting at with these interviews I’ll be doing.
Aguilar: The Indiegogo campaign is not only funding the documentary itself but also an organization created to help others, correct?
Isabel Echerverry: Yes, the good thing about the documentary and the campaign is that is not just about funding a documentary and learning about something, which most of documentaries are about. It's not only about studying something, or showing you how something works, or giving you information on an issue. The difference with this documentary is that funds that go into Indiegogo also go into helping others. “Shamama” will not only be a documentary but we are also registering it as a non-profit organization. These funds will also help others. It’s not just to fund the documentary because while we film the documentary we are helping others. It’s killing two birds with one stone.
Aguilar: The movement or the non-profit organization will live on after the film is completed and released.
Isabel Echerverry: Yes, and I plan for that to be my full-time job, to run this organization called The Shamama Movement. It’s going to live on. We are creating a movement and we are going to use the film to inspire others to join us. We want to use the power of film through this documentary so others can get inspire and get up and do something - or simply join us. One of the most important things about the Shamama Movement is that we are creating a hub.
We did some shooting in Time Square and we asked people there, “Do you volunteer?” Some of the answers would be, “Yes, I did it two years ago." Then we would ask, “Why don’t you do it anymore?” And the answers we would be, “Because I don’t have time,” or “It’s too inconvenient.” The process of going online and finding out what’s close to you might discourage some people, so the movement will be a hub of information. We are going to tell people, for example, “You live in Queens, NY? Here is where you can go and help.” We are going to make it easy for everybody. I would like to have something like a “Love Center” in every city, like a hub. There is interest already in cities like Oklahoma City, Miami, and New York, where there is people that want to get involved with “Shamama” and help. Creating these centers of information in every city across the U.S. is one of the main goals so that way we can create opportunities for people to help others.
Aguilar: What has been the biggest challenge you've had to face during this process of dedicating your life to helping others but also establishing a business model that will continue to help Latino talent in the industry?
Isabel Echerverry: The biggest challenge is expanding the business first, because it’s exactly what the National Hispanic Coalition tries to do, which is urging companies to look more into Hispanic talent and most those companies don’t have a Hispanic division. A lot of them are not open or interested in having a Hispanic division, which is a big challenge in the process of expanding the company to eventually be able to dedicate myself full-time to Shamama. Sometimes they don’t understand the Hispanic market, and they should let a Hispanic business person do it, so that’s the biggest challenge.
Aguilar: At what stage of production is "Shamama" right now?
Isabel Echerverry: So far we’ve shot four full day of production. The next step is to see the Indiegogo campaign through. I have hope that we will reach our goal of $100, 000. I’m also very thankful to have Fanny Veliz as project manager. She has worked in other successful campaigns before.
Aguilar: Fanny, in your opinion what makes this campaign special and why did you decide to take part in it?
Fanny Veliz: The reason I wanted to support Isabel in this project is because to have a successful businesswoman look at her life and decide that there is something more to it and that is giving to others is inspiring. To have an influential Latina really take a stand for giving and generosity makes it even more important. Who wouldn’t want to help her? It’s different because I’ve been involved with many projects but with this one I really feel like it’s a movement. It’s really going to have a positive impact. It’s not about Isabel and just making her movie, it’s really about having a conversation with people about how we can all make a difference no matter what. I’m really excited to be a part of it.
Aguilar: This is definitely a big transition for Isabel and a very ambitious philanthropic project.
Fanny Veliz: Yes, her idea is, "I’m not 100% sure how I can be of help to the world, but I’m willing to go through it and be an example to others and inspire others." She will have to be very vulnerable and share her whole life so that this project can get made. It’s not just about the film, but how the film is going to capture this journey and it’s going to take for her to get to that level. That’s why we need people’s support because it’s a big project.
Aguilar: Isabel, why do you think film is the best medium to spread your message and why did you decide that crowd-funding was the best way to get it done?
Isabel Echerverry: For me is extraordinary how film can really move people. That’s why we go to the movies and that’s why there are so many films being produced right this moment. Moving images are very powerful. Being in the business I see films everyday, and I think we can accomplish a lot through the power of film beyond just entertainment.
I never though I was going to do a crowd-funding campaign. It’s interesting to me to go through this process because although this funding model has been around for a few years it’s still a very new tool that I think people should really take advantage of. It creates a community of people believing in each other. When anybody I know has a campaign going to fund a film, without any hesitation I go and I donate. I think it’s so great because we all get an opportunity to help each other. In a sense it’s another example of what this documentary is about, which is helping others.
Aguilar: Can you tell me about some of the perks offered to those who support the project, and specifically about the "Shamama card"?
Isabel Echerverry: There a great perks for those who donate from the opportunity to become an executive producer, passes to the film’s premiere, really cool shirts and tote bags, an something we call a “Shamama” card. A Shamama card is card with affirmations. A lot of organizations help people who need a meal, and that’s great. Thankfully in places like Skid Row there are always tons of people helping and passing out meals, and that helps, but it’s really about the one-on-one time and handing them this card so they can think good things about themselves. Affirmations like, “I’m a good person,” I love myself,” “I’m successful,” “I deserve the best.” I hope that shows them how to love themselves and that they can change how they think about themselves. It’s helped me through difficult times because you have to change the way you feel and think about yourself in order to be successful, to be happy, to be healthy. It’s more than just giving them meals, it’s about reshaping their consciousness so they can get out of suffering. It’s about trying to lift them up.
For more information on "Shamama" and to donate to its Indiegogo campaign visit Here...
But though the film she is seeking to bring to life via an Indiegogo campaign, currently underway, will document the steps she must follow to achieve her goal of dedicating most of her time to helping others and creating opportunities for people to get involve, “Shamama” will be more than just an inspirational audiovisual project. Echeverry will also use the funds to support a newly created non-profit organization called “Shamama Movement,” which will serve as place to connect those in need with people willing to give their time and help. The film will in turn become a tool to inspire people to get involve and spread the idea that, even if you are an incredibly busy individual juggling numerous responsibilities at once, you can still find time to give back.
We chatted with Isabel Echeverry about what “Shamama” represents for her, the struggle to find opportunities for Latino talent in the entertainment industry, and the people that inspire her to pursue this ambitious philanthropic dream.
For more information on "Shamama" and to donate to its Indiegogo campaign visit Here
Aguilar: Explain what's a Shamama and how does this concept relate to the documentary/movement you are trying to get off the ground through crowd-funding via Indiegogo?
Isabel Echerverry: Shamama is the feminine name for Shaman but is not part of any religion. When you hear the word “Shaman” what do you think of? You think of someone that heals or that helps somebody else. Someone mentioned to me that Shamama could be someone that helps raise the consciousness of others to get out of suffering and that stayed with me. Then I thought, “This could be a good documentary,” because what I really want to do is become a full time philanthropist within a few years. I see myself becoming a full time philanthropist, so I decided to document my process in becoming that and be a “Shamama.” I felt that name was appropriate because anybody could be a Shaman or Shamama by just helping others. That’s the concept. It’s about the Shamama Movement. I hope that through my journey and my transformation I can inspire others to do the same.
Aguilar: Kontakto, your talent management company, is an important resource for Latino talent in the industry. How does it fit within your plan of becoming a full-time philanthropist?
Isabel Echerverry: As you know I’m very busy with Kontakto, representing directors, working on another feature film, and I have three kids, but no matter how busy you are you can always make time to volunteer and to go out in the field to help others. I want to take it a step further. I’m going to hire people to do sales under Kontakto and set it up so that I can remove myself. That’s what most successful business people do at some point. Ultimately you want the business to run by itself and I want Kontakto to run by itself. This process will also be part of the documentary.
I have a business plan that I've created to expand my business and to have a joint venture with a big company in the entertainment industry. When I go in to meet with some of these big talent representation companies my goal is to try to set up a Hispanic division within their company. That way we would be able to hire people to do everything Hispanic or Latino: Talent Management, Advertising, Representation in the General Market, and Development. It’s a really aggressive plan, but that’s part of my plan to eventually become a full time philanthropist.
Aguilar: It seems that we are busy lives we often forget that there is a whole world out there that needs our help. We need to be reminded that we can do more for others.
Isabel Echerverry: Exactly. It’s really not just about me or to say, “Look here is what I’m doing.” No, it’s really to bring awareness to different issues. We are part of the 5% wealthiest people of the world’s population. Even a person who makes $25,000 to $45,000 a year is still part of the group that can have basic necessities and even some luxuries like cell phones and cars, but the other 90% to 95% of the people in the world are living in suffering. We need to really see that and think, “We are the lucky ones! What are we going to do? Let’s do something.”
For example, what I do for my clients on a daily basis is getting them exposed, rooting for them, and getting them out there, “Look here are my directors, my editors, my actors.” I’m going to be doing the same but for charity, “Hey guys let’s go help people. Let’s go read to the blind. Let’s go help the children at St. Jude’s.” It’s about getting people out of just thinking about themselves, “What am I gonna do today? Go to the gym, go shopping, go to work.” That’s great, I’m not criticizing it, but we can elevate it by helping others.
As part of the process of making the film I’m going to sit down with global leaders. I’m going to interview Deepak Chopra this month and I want to ask him what he believes I should focus on as I undergo this transformation into a full time philanthropist and document it.
Aguilar: Why do you feel it's important for you to talk to influential people or world leaders?
Isabel Echerverry: They’ve already accomplished being an influence. What I’ve learned is that if you want to be like somebody, you gotta model them. If you get the chance to talk to them you got to ask them, “How did you get here? How did you do this?”
And what better than to hear it from Deepak Choppra, Oprah, and other influential people. I want to figure out how we can spread that to everybody else because we are all healers in a way. That’s what I’m getting at with these interviews I’ll be doing.
Aguilar: The Indiegogo campaign is not only funding the documentary itself but also an organization created to help others, correct?
Isabel Echerverry: Yes, the good thing about the documentary and the campaign is that is not just about funding a documentary and learning about something, which most of documentaries are about. It's not only about studying something, or showing you how something works, or giving you information on an issue. The difference with this documentary is that funds that go into Indiegogo also go into helping others. “Shamama” will not only be a documentary but we are also registering it as a non-profit organization. These funds will also help others. It’s not just to fund the documentary because while we film the documentary we are helping others. It’s killing two birds with one stone.
Aguilar: The movement or the non-profit organization will live on after the film is completed and released.
Isabel Echerverry: Yes, and I plan for that to be my full-time job, to run this organization called The Shamama Movement. It’s going to live on. We are creating a movement and we are going to use the film to inspire others to join us. We want to use the power of film through this documentary so others can get inspire and get up and do something - or simply join us. One of the most important things about the Shamama Movement is that we are creating a hub.
We did some shooting in Time Square and we asked people there, “Do you volunteer?” Some of the answers would be, “Yes, I did it two years ago." Then we would ask, “Why don’t you do it anymore?” And the answers we would be, “Because I don’t have time,” or “It’s too inconvenient.” The process of going online and finding out what’s close to you might discourage some people, so the movement will be a hub of information. We are going to tell people, for example, “You live in Queens, NY? Here is where you can go and help.” We are going to make it easy for everybody. I would like to have something like a “Love Center” in every city, like a hub. There is interest already in cities like Oklahoma City, Miami, and New York, where there is people that want to get involved with “Shamama” and help. Creating these centers of information in every city across the U.S. is one of the main goals so that way we can create opportunities for people to help others.
Aguilar: What has been the biggest challenge you've had to face during this process of dedicating your life to helping others but also establishing a business model that will continue to help Latino talent in the industry?
Isabel Echerverry: The biggest challenge is expanding the business first, because it’s exactly what the National Hispanic Coalition tries to do, which is urging companies to look more into Hispanic talent and most those companies don’t have a Hispanic division. A lot of them are not open or interested in having a Hispanic division, which is a big challenge in the process of expanding the company to eventually be able to dedicate myself full-time to Shamama. Sometimes they don’t understand the Hispanic market, and they should let a Hispanic business person do it, so that’s the biggest challenge.
Aguilar: At what stage of production is "Shamama" right now?
Isabel Echerverry: So far we’ve shot four full day of production. The next step is to see the Indiegogo campaign through. I have hope that we will reach our goal of $100, 000. I’m also very thankful to have Fanny Veliz as project manager. She has worked in other successful campaigns before.
Aguilar: Fanny, in your opinion what makes this campaign special and why did you decide to take part in it?
Fanny Veliz: The reason I wanted to support Isabel in this project is because to have a successful businesswoman look at her life and decide that there is something more to it and that is giving to others is inspiring. To have an influential Latina really take a stand for giving and generosity makes it even more important. Who wouldn’t want to help her? It’s different because I’ve been involved with many projects but with this one I really feel like it’s a movement. It’s really going to have a positive impact. It’s not about Isabel and just making her movie, it’s really about having a conversation with people about how we can all make a difference no matter what. I’m really excited to be a part of it.
Aguilar: This is definitely a big transition for Isabel and a very ambitious philanthropic project.
Fanny Veliz: Yes, her idea is, "I’m not 100% sure how I can be of help to the world, but I’m willing to go through it and be an example to others and inspire others." She will have to be very vulnerable and share her whole life so that this project can get made. It’s not just about the film, but how the film is going to capture this journey and it’s going to take for her to get to that level. That’s why we need people’s support because it’s a big project.
Aguilar: Isabel, why do you think film is the best medium to spread your message and why did you decide that crowd-funding was the best way to get it done?
Isabel Echerverry: For me is extraordinary how film can really move people. That’s why we go to the movies and that’s why there are so many films being produced right this moment. Moving images are very powerful. Being in the business I see films everyday, and I think we can accomplish a lot through the power of film beyond just entertainment.
I never though I was going to do a crowd-funding campaign. It’s interesting to me to go through this process because although this funding model has been around for a few years it’s still a very new tool that I think people should really take advantage of. It creates a community of people believing in each other. When anybody I know has a campaign going to fund a film, without any hesitation I go and I donate. I think it’s so great because we all get an opportunity to help each other. In a sense it’s another example of what this documentary is about, which is helping others.
Aguilar: Can you tell me about some of the perks offered to those who support the project, and specifically about the "Shamama card"?
Isabel Echerverry: There a great perks for those who donate from the opportunity to become an executive producer, passes to the film’s premiere, really cool shirts and tote bags, an something we call a “Shamama” card. A Shamama card is card with affirmations. A lot of organizations help people who need a meal, and that’s great. Thankfully in places like Skid Row there are always tons of people helping and passing out meals, and that helps, but it’s really about the one-on-one time and handing them this card so they can think good things about themselves. Affirmations like, “I’m a good person,” I love myself,” “I’m successful,” “I deserve the best.” I hope that shows them how to love themselves and that they can change how they think about themselves. It’s helped me through difficult times because you have to change the way you feel and think about yourself in order to be successful, to be happy, to be healthy. It’s more than just giving them meals, it’s about reshaping their consciousness so they can get out of suffering. It’s about trying to lift them up.
For more information on "Shamama" and to donate to its Indiegogo campaign visit Here...
- 11/9/2015
- by Carlos Aguilar
- Sydney's Buzz
A bright college student gets caught up in an obscure world of conspiracies, mysterious beliefs, and the possibility of more powerful forces controlling the world's destiny, all while trying to figure out his personal dilemmas. This is Asher, an upcoming film by Queens native Francisco Ordonez, whose intricate story is partially inspired by his own quest to form his unique view of the world. The film is still in the development stage, but it already has important talent attached such as Mekhi Phifer, Danny Glove, and Rene Rosado in the leading role. The project will be Ordonez' feature debut and it is based on his 2005 successful short film St. Paul, in which Rosado also starred. Asher is being produced by Erika Olmos through her production company Olmos Kontakto - a joint venture with -Isabel Echeverry - and it's expected to start production later this year. Ordonez talked to us about his interaction with the religious group at the center of the story, The Black Israelites, his organic transition into filmmaking, and what interests him as a storyteller.
Read more on the newly formed Olmos Kontakto Here
Carlos Aguilar: Reading through the synopsis of the film I was intrigued by the concept and your approach. Where did the concept come from?
Francisco Ordonez: When I was an undergraduate student studying sociology at City University in New York I had to do a thesis paper, and it involved documenting a subculture. There were these guys that I had seen my whole life preaching in the streets of New York City, mostly in Time Square. They were the Black Israelites, even though they have different schools, churches, and different names, people on the street would simply call them Black Israelites. I would see them preaching with very unique costumes that had several stars of David and intriguing symbolism. They would talk about the end of the world, a lot of conspiracy theories, a lot of biblical prophecies. I was always intrigued ever since I was a kid.
Therefore, when it came time to write this paper in college, I made them the subject of it, which involved spending time with them and getting to know them. They have a church in Harlem on 123rd street, so I spent a lot time with them there. At first it was difficult proposing that I wanted to write a paper on them being that their preaching style is very imposing, at least on the street. It was a little intimidating, but I ended up being upfront with them about writing this. It was a very interesting time, especially because I was 22 years old at the time and forming my own opinions about the world, about power, religion, beliefs. A lot of that stuff stayed with me. Later, when I got into filmmaking I thought it would be a very interesting time in my life to explore, because of all the things that it brings up about how the world really operates under the surface.
Aguilar: How did you make the transition from sociology into filmmaking?
Ordonez: A lot of the skills and the perspectives that sociology gives you are actually good for a filmmaker. They make you see the point of view of whatever group you are studying, and that is something I’ve definitely done with this project, Asher. You can make a movie about this group, the Black Israelites, that is very judgmental, and that is one type of movie in which I’m not interested. I’m interested in a movie that considers what it could possibly be like to look at the world through their eyes, to see it the way they see it. That’s why I think sociology is a discipline that is actually good for a filmmaker. I studied sociology because I was very interested in it, but I was actually considering going to law school. Since you don’t necessarily have to do pre-law I decided to study something I was really interested in related to politics. I have been interested in film since college and that’s where I started writing. Later after two years working out of college, I decided to go to film school. I ended up at Columbia University.
Aguilar: There are a lot profoundly intriguing ideas in your film, which are rarely seen from a Latino perspective. Your project seems to add a different level of sophistication to what a Latino film could be.
Ordonez: I can’t say that I intentionally thought “Let me try to make a movie from a Latino perspective,” that wasn’t on the agenda. I wanted to tell a very personal story where I could use a lot of the experiences and emotions that I gathered during the time when I was doing that thesis paper. If I was going to stay true to that, it was going to be a Latino character. It wasn’t deliberate, but having said that, I do know that a lot of people don’t necessarily look at Latinos as people who could be having philosophical or religious crises. Unfortunately sometimes we are looked at as people who don’t even have that sort of deeper thinking or people who don’t question anything. We are portrayed as being overly religious or incredibly devout, so there is that view. I’m interested in characters that ask questions and that have very deep inner conflicts whether they are Latino, White or Black.
Aguilar: The protagonist for this film Asher is Rene Rosado, whom you have worked with before, more notably in the short film 'St. Paul,' which inspired this upcoming feature. Why was he your first choice?
Ordonez: Rene and I have worked together in a couple of other things in the past. We are very good friends as well. I know him very well and he knows me, and there is a lot of trust.Besides the fact that he is a very good actor, since we know each other intimately we are able to use those things that we know about each other in order to create a character or to access certain emotions. He gets it because of how long we’ve worked together and how long we’ve discussed this project.
Aguilar: You also have an amazing cast in the other roles, how did you come about getting them interested in your film?
Ordonez: First, Mekhi Phifer got the script through a friend of his. We had sent him the short film [St.Paul] and he really liked it. He has an internet platform called ThirdReel.com where he shows short films, so we first sent it asking him “Would you consider the short for your website?” He was very excited about it, and even Tweeted about it, so that gave me the courage to present him with the screenplay. He read it and signed on. I’ve been fortunate because the screenplay goes over pretty well with actors. The same with Danny Glover, though a third party we were able to get the screenplay to his office. They took about two weeks to respond, and then he sent me a letter of intent. At this point we are working through our casting director and the agencies to get to all the other people and close those deals.
Aguilar: Being this your feature debut how intimidating or exciting is it for you to be facing your first major project?
Ordonez: Every phase involves so much attention from me. We are about to start pre-production and that requires me to be involved in a lot of things from financing, to hiring crew, schedules, etc. I’ve been able to stayed focused, but I’m incredibly excited and I can’t wait to get on set.
Aguilar: In a nutshell, what is your intention as a filmmaker with this film? What is the central idea?
Ordonez: People usually ask “What’s the message?”, but with this particular film it is not about a message, it is more about exploring certain things and that is what I intend to do with the film. I intend to explore those themes, to raise those questions and have people talk about it. How do we create our reality? How do people construct their reality in their minds about religion, belief, power, and politics? The main character goes though some very heavy experiences that bring up all those questions. I’m more interested in telling an amazing story by raising those questions, but at the end of the day it really is an exploration.
Read more on the newly formed Olmos Kontakto Here
Carlos Aguilar: Reading through the synopsis of the film I was intrigued by the concept and your approach. Where did the concept come from?
Francisco Ordonez: When I was an undergraduate student studying sociology at City University in New York I had to do a thesis paper, and it involved documenting a subculture. There were these guys that I had seen my whole life preaching in the streets of New York City, mostly in Time Square. They were the Black Israelites, even though they have different schools, churches, and different names, people on the street would simply call them Black Israelites. I would see them preaching with very unique costumes that had several stars of David and intriguing symbolism. They would talk about the end of the world, a lot of conspiracy theories, a lot of biblical prophecies. I was always intrigued ever since I was a kid.
Therefore, when it came time to write this paper in college, I made them the subject of it, which involved spending time with them and getting to know them. They have a church in Harlem on 123rd street, so I spent a lot time with them there. At first it was difficult proposing that I wanted to write a paper on them being that their preaching style is very imposing, at least on the street. It was a little intimidating, but I ended up being upfront with them about writing this. It was a very interesting time, especially because I was 22 years old at the time and forming my own opinions about the world, about power, religion, beliefs. A lot of that stuff stayed with me. Later, when I got into filmmaking I thought it would be a very interesting time in my life to explore, because of all the things that it brings up about how the world really operates under the surface.
Aguilar: How did you make the transition from sociology into filmmaking?
Ordonez: A lot of the skills and the perspectives that sociology gives you are actually good for a filmmaker. They make you see the point of view of whatever group you are studying, and that is something I’ve definitely done with this project, Asher. You can make a movie about this group, the Black Israelites, that is very judgmental, and that is one type of movie in which I’m not interested. I’m interested in a movie that considers what it could possibly be like to look at the world through their eyes, to see it the way they see it. That’s why I think sociology is a discipline that is actually good for a filmmaker. I studied sociology because I was very interested in it, but I was actually considering going to law school. Since you don’t necessarily have to do pre-law I decided to study something I was really interested in related to politics. I have been interested in film since college and that’s where I started writing. Later after two years working out of college, I decided to go to film school. I ended up at Columbia University.
Aguilar: There are a lot profoundly intriguing ideas in your film, which are rarely seen from a Latino perspective. Your project seems to add a different level of sophistication to what a Latino film could be.
Ordonez: I can’t say that I intentionally thought “Let me try to make a movie from a Latino perspective,” that wasn’t on the agenda. I wanted to tell a very personal story where I could use a lot of the experiences and emotions that I gathered during the time when I was doing that thesis paper. If I was going to stay true to that, it was going to be a Latino character. It wasn’t deliberate, but having said that, I do know that a lot of people don’t necessarily look at Latinos as people who could be having philosophical or religious crises. Unfortunately sometimes we are looked at as people who don’t even have that sort of deeper thinking or people who don’t question anything. We are portrayed as being overly religious or incredibly devout, so there is that view. I’m interested in characters that ask questions and that have very deep inner conflicts whether they are Latino, White or Black.
Aguilar: The protagonist for this film Asher is Rene Rosado, whom you have worked with before, more notably in the short film 'St. Paul,' which inspired this upcoming feature. Why was he your first choice?
Ordonez: Rene and I have worked together in a couple of other things in the past. We are very good friends as well. I know him very well and he knows me, and there is a lot of trust.Besides the fact that he is a very good actor, since we know each other intimately we are able to use those things that we know about each other in order to create a character or to access certain emotions. He gets it because of how long we’ve worked together and how long we’ve discussed this project.
Aguilar: You also have an amazing cast in the other roles, how did you come about getting them interested in your film?
Ordonez: First, Mekhi Phifer got the script through a friend of his. We had sent him the short film [St.Paul] and he really liked it. He has an internet platform called ThirdReel.com where he shows short films, so we first sent it asking him “Would you consider the short for your website?” He was very excited about it, and even Tweeted about it, so that gave me the courage to present him with the screenplay. He read it and signed on. I’ve been fortunate because the screenplay goes over pretty well with actors. The same with Danny Glover, though a third party we were able to get the screenplay to his office. They took about two weeks to respond, and then he sent me a letter of intent. At this point we are working through our casting director and the agencies to get to all the other people and close those deals.
Aguilar: Being this your feature debut how intimidating or exciting is it for you to be facing your first major project?
Ordonez: Every phase involves so much attention from me. We are about to start pre-production and that requires me to be involved in a lot of things from financing, to hiring crew, schedules, etc. I’ve been able to stayed focused, but I’m incredibly excited and I can’t wait to get on set.
Aguilar: In a nutshell, what is your intention as a filmmaker with this film? What is the central idea?
Ordonez: People usually ask “What’s the message?”, but with this particular film it is not about a message, it is more about exploring certain things and that is what I intend to do with the film. I intend to explore those themes, to raise those questions and have people talk about it. How do we create our reality? How do people construct their reality in their minds about religion, belief, power, and politics? The main character goes though some very heavy experiences that bring up all those questions. I’m more interested in telling an amazing story by raising those questions, but at the end of the day it really is an exploration.
- 5/20/2014
- by Carlos Aguilar
- Sydney's Buzz
Knowing that the Latino community is a pivotal element for its success today, Hollywood has finally adapted open spaces for content and talent that speak directly to an underrepresented sector of the population. However, despite the current outpouring of interest, this was not always the case. Only a few decades ago the Latino market consisted of a few individuals trying to bring attention to projects, actors, and filmmakers that could connect with people that rarely saw their stories on the screen. One of those pioneers was Isabel Echeverry who, through her unceasing efforts, has managed to make a success out of meeting the developing need for Latino talent in both film and advertising.
Together with her business partner Erika Olmos, who is known for her work in different facets of the film industry, Echeverry merged her company, Kontakto Rep with the Olmos Talent Management, forming what is now Olmos Kontakto. This unique new venture aims to provide support and representation to Latino talent working in all aspects of the business. Both powerhouse women saw the potential of the Latino market long before it became a consistent part of the entertainment industry. They share a particular perspective on the ins-and-out of how to create a successful career out of one’s passion.
Echeverry believes dreams are still attainable in Hollywood today when the dreamer is provided with the adequate tools. That’s what Olmos Kontakto wants to do, to offer that support and expose hidden Latino talent to an industry and audiences eager for new and innovative works.
Here is what Isabel Echeverry told us about her journey and this new fantastic project:
Aguilar: How did you get started in the entertainment industry, and how did Olmos Kontakto come about?
Isabel Echeverry: I started out about thirteen years ago working at ICM for Jeff Berg, as an agent trainee, and while I was there I offered the idea of starting the Latin American department. At the time Jennifer Lopez had just done Selena, and it was a big hit of course. They were kind of interested, but really it was too early. Thirteen years ago the Latin market was just starting in terms of people being interested in the power of the Latinos, etc. I remember bringing Sofía Vergara and they passed on her, so funny [Laughs]. After three years at ICM, I left to work with Reber Covington who represents directors in the general market for advertising and production company editors among others. While I was there they said, “Look we have one director who is Colombian, Simon Brand. Since you speak Spanish, why don’t you see if you can start him at Dieste? Dieste was the only company back then that was big in terms of productions for advertising. It was the only company that general production companies also would go after. So I started selling him, and that’s how I started with the Latin market as it grew.
In my six years at Reber Covington I created the successful Hispanic division. Everybody wanted me to represent them, all the general market companies and the Latino companies alike. It was amazing! Then, five years ago I went on my own and created Kontakto Reps., which had been a huge success. I moved back to Miami where I had my three babies, then came back here in June of last year because I have a script, a personal story, that I want to get off the ground. So I thought “I have to be in L.A for this. This is were the whole market for film is” The advertising part of my job I could do from anywhere, but for film you have to be in L.A. My script is actually at CAA right now, I’m very happy.
I always wanted to expand the focus on getting Latinos into film, like I originally did at ICM. So I started asking people in the industry that are Latinos, “Who do you think that I could partner with? I want to expand and invest into a company that is Latino focused and has talent.” Therefore, it was perfect to meet Erika Olmos because she had a wealth of around 25 great actors and actresses; she was also starting with Asher - a project in pre-production right now - so it was a great fit. We get along great and it has been a great success ever since we merged. We named our company Olmos Kontakto. She focuses more on the day-to-day management aspect for the actors, and I continue focusing on the advertising side: directors, editors, etc. We are fully immersed in everything that is Latino, both in Hollywood and in advertising in the U.S.
We have these two great companies and we benefit from each other with our projects. For example, recently one of my clients was shooting a commercial and he said, “I need a Latin actress”. We sent him an actress for casting and he booked her. That works as a vice-versa situation with anything anybody might need. Our main focus is to get people to think of Olmos Kontakto whenever they think about anything Latino.
Aguilar: What do you think has allowed the Latino market to evolve into the highly profitable industry it is today?
Isabel Echeverry: The population has grown, so it is really about the numbers. There are over 50 million Latinos in the U.S. and the number is growing. It has also changed creatively because of the power of the Latino audience who access content in different platforms and have the discretionary spending money to buy tickets and products. All these demographics have affected the investment in brands for this market. Everybody wants to invest in this market right now. There is more money, and both the quality and the demand have increased. There is an awareness of the power of Latinos and what they can offer the general market creatively. It is really powerful!
Aguilar: I understand your focus is on Latino talent here in the U.S. Are there any plans to expand into representing talent from their native countries?
Isabel Echeverry: It is very important that our talent speaks English, like you and I; we are bilingual. That’s who we are. If they do speak English, and we meet them on a trip or someone recommends them, and of course, if they have what it takes, of course we are open. For example, I was in Miami and one of our Venezuelan editors introduced me to an actor. I met him and spoke to him in English, and he is perfect, so we are going to represent him out of L.A. but will find him work in Miami as well. We are going to send him to auditions; we’ll get him an agent and get him working. It is possible to do this anywhere in the U.S. with any Latin talent. There is another actress who lives in Uruguay right now; she wants to move to L.A, and we really believe in her so we are sponsoring her. This is something we will consider case by case, but we are committed. If we see the talent and we believe we can get them a job, we will do anything to help them establish themselves. We really want to help people fulfill their dreams.
Since we started our company we’ve booked three series regulars, that’s very big. The last one was Octavio Pisano, who has a Mexican background. He just booked a series regular job on Tyler Perry’s new TV show. Then two other Mexican-American actors have just booked roles for several seasons in Hulu’s East Los High.
Aguilar: Can you tell us about the current projects being developed through Olmos Kontakto?
Isabel Echeverry: We have a TV project slate and we have a feature slate. On the feature site we have about eight projects that are in the creative development stage. One of them is Asher, directed by Francisco Ordonez, which is getting ready to shoot in New York. We have the funding in place, Danny Glover, Mekhi Phifer, and others are attached to the project.
Then we have Allegro, my personal story. I hired Michael Gottlieb, the director of Mannequin and he has been mentoring me. He sat down with me for five months and showed me how to write the script. It’s about “brujeria” (witchcraft),which is a very Latino subject. It’s now at CAA and they loved it. They sent me a list of writers that they are considering to polish the script, and then they will attach an actress and a director. Lastly, we have Chasing Rubi, which is about Porfirio Rubiosa, a diplomat from the Dominican Republic who was also known for being a playboy. We have a file from the FBI and information on his case, so it’s going to be a really interesting story. That will be a bigger budgeted film.
In terms of TV we have a few unscripted reality shows. One of them is I Am Genie. We have attached Richard Devinki, a producer who worked on The Apprentice. We're moving a lot, there is so much happening. We are overwhelmed with how our company has become a big success so quickly because of the buzz. People are reaching out to us, which is amazing!
Aguilar: Is there anything else about this new venture you would like to share?
Isabel Echeverry: Here is what I want to share. We want to be a bridge or pathway to anyone in the Latino community who has a project and who is talented. It’s a very a hard business to get into. We have the contacts; we know what it takes for anyone to be a director in commercials, in features, an editor, effects, color correction, a writer, actors who want to get their careers to where they need to be, and also anyone needing help with creative development. We have a lot of talent and projects that come to us, but my main focus is offering people an amazing opportunity. That’s really what I love to do; I love making people’s dreams come true. Since I was sixteen when I got into this business to pursue my own acting career (and it was very hard), I have done everything. I have worked at agencies, I have worked as an assistant, I was acting, and I learned the hard way. I’m here to offer people my knowledge. This is my way of giving back.
For more information on Olmos Kontakto you can visit Here...
Together with her business partner Erika Olmos, who is known for her work in different facets of the film industry, Echeverry merged her company, Kontakto Rep with the Olmos Talent Management, forming what is now Olmos Kontakto. This unique new venture aims to provide support and representation to Latino talent working in all aspects of the business. Both powerhouse women saw the potential of the Latino market long before it became a consistent part of the entertainment industry. They share a particular perspective on the ins-and-out of how to create a successful career out of one’s passion.
Echeverry believes dreams are still attainable in Hollywood today when the dreamer is provided with the adequate tools. That’s what Olmos Kontakto wants to do, to offer that support and expose hidden Latino talent to an industry and audiences eager for new and innovative works.
Here is what Isabel Echeverry told us about her journey and this new fantastic project:
Aguilar: How did you get started in the entertainment industry, and how did Olmos Kontakto come about?
Isabel Echeverry: I started out about thirteen years ago working at ICM for Jeff Berg, as an agent trainee, and while I was there I offered the idea of starting the Latin American department. At the time Jennifer Lopez had just done Selena, and it was a big hit of course. They were kind of interested, but really it was too early. Thirteen years ago the Latin market was just starting in terms of people being interested in the power of the Latinos, etc. I remember bringing Sofía Vergara and they passed on her, so funny [Laughs]. After three years at ICM, I left to work with Reber Covington who represents directors in the general market for advertising and production company editors among others. While I was there they said, “Look we have one director who is Colombian, Simon Brand. Since you speak Spanish, why don’t you see if you can start him at Dieste? Dieste was the only company back then that was big in terms of productions for advertising. It was the only company that general production companies also would go after. So I started selling him, and that’s how I started with the Latin market as it grew.
In my six years at Reber Covington I created the successful Hispanic division. Everybody wanted me to represent them, all the general market companies and the Latino companies alike. It was amazing! Then, five years ago I went on my own and created Kontakto Reps., which had been a huge success. I moved back to Miami where I had my three babies, then came back here in June of last year because I have a script, a personal story, that I want to get off the ground. So I thought “I have to be in L.A for this. This is were the whole market for film is” The advertising part of my job I could do from anywhere, but for film you have to be in L.A. My script is actually at CAA right now, I’m very happy.
I always wanted to expand the focus on getting Latinos into film, like I originally did at ICM. So I started asking people in the industry that are Latinos, “Who do you think that I could partner with? I want to expand and invest into a company that is Latino focused and has talent.” Therefore, it was perfect to meet Erika Olmos because she had a wealth of around 25 great actors and actresses; she was also starting with Asher - a project in pre-production right now - so it was a great fit. We get along great and it has been a great success ever since we merged. We named our company Olmos Kontakto. She focuses more on the day-to-day management aspect for the actors, and I continue focusing on the advertising side: directors, editors, etc. We are fully immersed in everything that is Latino, both in Hollywood and in advertising in the U.S.
We have these two great companies and we benefit from each other with our projects. For example, recently one of my clients was shooting a commercial and he said, “I need a Latin actress”. We sent him an actress for casting and he booked her. That works as a vice-versa situation with anything anybody might need. Our main focus is to get people to think of Olmos Kontakto whenever they think about anything Latino.
Aguilar: What do you think has allowed the Latino market to evolve into the highly profitable industry it is today?
Isabel Echeverry: The population has grown, so it is really about the numbers. There are over 50 million Latinos in the U.S. and the number is growing. It has also changed creatively because of the power of the Latino audience who access content in different platforms and have the discretionary spending money to buy tickets and products. All these demographics have affected the investment in brands for this market. Everybody wants to invest in this market right now. There is more money, and both the quality and the demand have increased. There is an awareness of the power of Latinos and what they can offer the general market creatively. It is really powerful!
Aguilar: I understand your focus is on Latino talent here in the U.S. Are there any plans to expand into representing talent from their native countries?
Isabel Echeverry: It is very important that our talent speaks English, like you and I; we are bilingual. That’s who we are. If they do speak English, and we meet them on a trip or someone recommends them, and of course, if they have what it takes, of course we are open. For example, I was in Miami and one of our Venezuelan editors introduced me to an actor. I met him and spoke to him in English, and he is perfect, so we are going to represent him out of L.A. but will find him work in Miami as well. We are going to send him to auditions; we’ll get him an agent and get him working. It is possible to do this anywhere in the U.S. with any Latin talent. There is another actress who lives in Uruguay right now; she wants to move to L.A, and we really believe in her so we are sponsoring her. This is something we will consider case by case, but we are committed. If we see the talent and we believe we can get them a job, we will do anything to help them establish themselves. We really want to help people fulfill their dreams.
Since we started our company we’ve booked three series regulars, that’s very big. The last one was Octavio Pisano, who has a Mexican background. He just booked a series regular job on Tyler Perry’s new TV show. Then two other Mexican-American actors have just booked roles for several seasons in Hulu’s East Los High.
Aguilar: Can you tell us about the current projects being developed through Olmos Kontakto?
Isabel Echeverry: We have a TV project slate and we have a feature slate. On the feature site we have about eight projects that are in the creative development stage. One of them is Asher, directed by Francisco Ordonez, which is getting ready to shoot in New York. We have the funding in place, Danny Glover, Mekhi Phifer, and others are attached to the project.
Then we have Allegro, my personal story. I hired Michael Gottlieb, the director of Mannequin and he has been mentoring me. He sat down with me for five months and showed me how to write the script. It’s about “brujeria” (witchcraft),which is a very Latino subject. It’s now at CAA and they loved it. They sent me a list of writers that they are considering to polish the script, and then they will attach an actress and a director. Lastly, we have Chasing Rubi, which is about Porfirio Rubiosa, a diplomat from the Dominican Republic who was also known for being a playboy. We have a file from the FBI and information on his case, so it’s going to be a really interesting story. That will be a bigger budgeted film.
In terms of TV we have a few unscripted reality shows. One of them is I Am Genie. We have attached Richard Devinki, a producer who worked on The Apprentice. We're moving a lot, there is so much happening. We are overwhelmed with how our company has become a big success so quickly because of the buzz. People are reaching out to us, which is amazing!
Aguilar: Is there anything else about this new venture you would like to share?
Isabel Echeverry: Here is what I want to share. We want to be a bridge or pathway to anyone in the Latino community who has a project and who is talented. It’s a very a hard business to get into. We have the contacts; we know what it takes for anyone to be a director in commercials, in features, an editor, effects, color correction, a writer, actors who want to get their careers to where they need to be, and also anyone needing help with creative development. We have a lot of talent and projects that come to us, but my main focus is offering people an amazing opportunity. That’s really what I love to do; I love making people’s dreams come true. Since I was sixteen when I got into this business to pursue my own acting career (and it was very hard), I have done everything. I have worked at agencies, I have worked as an assistant, I was acting, and I learned the hard way. I’m here to offer people my knowledge. This is my way of giving back.
For more information on Olmos Kontakto you can visit Here...
- 5/7/2014
- by Carlos Aguilar
- Sydney's Buzz
Exclusive: Isabel Echeverry of Kontakto Reps and Erika Olmos of Olmos Management have joined forces to form Olmos Kontakto Entertainment, a new management firm focused on discovering and developing emerging Latino talent. Olmos Kontakto represents actors, writers, directors and other creatives and will also develop a slate of feature films, reality TV, and scripted TV that promote ethnic and cultural diversity. Advertising vet Echeverry has experience in the Us Hispanic market and a client roster via her commercials-focused Kontakto Reps that includes Believe Media, Carbo Films, Company 3, Beast Editorial, Boxer Films, Personal Music, Altered.La, Slim, Cherry Sundae and Nunchaku. Clients of Olmos include Jonathan Castellanos (Off the Map), Vannessa Vasquez (Sorrow), Maynor Alvarado (Chavez), and Bernardo Saracino (Bless me Ultima, 50 to 1). She has also produced a number of documentaries. Olmos Kontakto is currently repping feature film Asher, from writer-director Francisco Ordonez with Danny Glover, Mekhi Phiefer, Gina Rodriguez...
- 2/12/2014
- by JEN YAMATO
- Deadline TV
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