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
Our International Sales Agent (Isa) of the Day coverage is back again for this year's Cannes Film Festival. We will feature successful, upcoming, innovative and trailblazing agents from around the world, and cover the latest trends in sales and distribution. Beyond the numbers and deals, this segment will also share inspirational and unique stories of how these individuals have evolved and paved their way in the industry, and what they envision for the new waves in global cinema.
Double Dutch International is an international sales company based in Toronto, Canada and was established in 2010 by principles Jason Moring and Ron Moring. There are not many Canadian sales companies, so Double Dutch strives to help Canadian producers get representation a global scale.
Double Dutch recently acquired International sales rights to the horror feature The Scarehouse, written and directed by Gavin Michael Booth. Double Dutch will begin selling the title at the 2014 Cannes Marché du Film. Principle Jason Moring says, "We're excited to team with D Films and A Named Viking to bring the film to buyers in Cannes in time to capitalize on the Halloween theme this fall."
Jason Moring recently took the time to speak with SydneysBuzz.
How did Double Dutch International start?
My entire career has been in the movie business, and worked almost backwards. I started in retail, and got into distribution. Now I'm involved as the sales agent and also have started to produce and executive produce content. I've lived my whole career in the chain of movie making. My partner has been involved in the industry since the early days of VHS, so we kind of both lived the movie world our entire careers.
Our history was in domestic North American distribution, where we ran and operated a distribution company called Morning Star Entertainment for 12 years. We represented such prestigious brands as Criterion, The Canadian Broadcast Company, Scholastic and bought from a variety of Isa’s. We sold that company in '07.
Double Dutch started as a Canadian licensing company, licensing content in Canada and the U.S. In 2011, after the demise of Blockbuster and all those rental outlets in 2010, we started up the foreign sales arm. That's been our focus for the last two and a half years.
In the end, we're here to service producers--that's our goal, to make sure that producers' content is being seen and that they're being treated fairly.
What kind of content are you looking for?
We're open to most content. For us, it's about the story and the production value of the content. We want something that we feel will resonate with buyers on a global scale. Obviously budget and cast are big considerations. We've done four or five films that have been represented at Tiff (Toronto Film Festival). We've done foreign films. We've done low budget genre projects. We run the gamut. Moving forward, we're getting involved in development and production and helping producers at earlier stages. Current projects in development include Lockport, Killer Odds, The Blue Mauritius and Asher (See our blog on the producer of Asher, Erika Olmos).
Who are your buyers?
We sell to every distributer around the world, both domestic and foreign. For our higher-level content, we talk to the bigger studios. For our mid and lower level content, we're talking to the smaller and midrange distributors.
We deal with Europe, which is common in the industry, but we've had some good success in Latin America. Domestic is our highest grossing market, followed by Europe and Latin America.
How are sales?
Sales are great, actually. We're in a unique position where we came into foreign sales while sales were declining, so we never really were involved when sales were at these massive peaks that everyone was used to. For us, it's been a consistent upturn, year after year, when some of the other guys are feeling a little bit of the crunch of numbers being lower and sales being down.
Learn More about Double Dutch Media Inc's lineup for the Cannes Film Festival
More About Double Dutch:
Double Dutch International (Ddi) is a globally recognized sales company, representing high level, cast driven features with strong commercial viability worldwide, across all media platforms. Ddi's brings a fresh look to sales, uniquely blending experience with the flexibility to adapt in today's market reality. We find enthusiastic and creative distribution partners for our producers ensuring maximum exposure and return for each film. Double Dutch will be located in the Riviera stand H12 during the Cannes Film Festival.
Double Dutch International is an international sales company based in Toronto, Canada and was established in 2010 by principles Jason Moring and Ron Moring. There are not many Canadian sales companies, so Double Dutch strives to help Canadian producers get representation a global scale.
Double Dutch recently acquired International sales rights to the horror feature The Scarehouse, written and directed by Gavin Michael Booth. Double Dutch will begin selling the title at the 2014 Cannes Marché du Film. Principle Jason Moring says, "We're excited to team with D Films and A Named Viking to bring the film to buyers in Cannes in time to capitalize on the Halloween theme this fall."
Jason Moring recently took the time to speak with SydneysBuzz.
How did Double Dutch International start?
My entire career has been in the movie business, and worked almost backwards. I started in retail, and got into distribution. Now I'm involved as the sales agent and also have started to produce and executive produce content. I've lived my whole career in the chain of movie making. My partner has been involved in the industry since the early days of VHS, so we kind of both lived the movie world our entire careers.
Our history was in domestic North American distribution, where we ran and operated a distribution company called Morning Star Entertainment for 12 years. We represented such prestigious brands as Criterion, The Canadian Broadcast Company, Scholastic and bought from a variety of Isa’s. We sold that company in '07.
Double Dutch started as a Canadian licensing company, licensing content in Canada and the U.S. In 2011, after the demise of Blockbuster and all those rental outlets in 2010, we started up the foreign sales arm. That's been our focus for the last two and a half years.
In the end, we're here to service producers--that's our goal, to make sure that producers' content is being seen and that they're being treated fairly.
What kind of content are you looking for?
We're open to most content. For us, it's about the story and the production value of the content. We want something that we feel will resonate with buyers on a global scale. Obviously budget and cast are big considerations. We've done four or five films that have been represented at Tiff (Toronto Film Festival). We've done foreign films. We've done low budget genre projects. We run the gamut. Moving forward, we're getting involved in development and production and helping producers at earlier stages. Current projects in development include Lockport, Killer Odds, The Blue Mauritius and Asher (See our blog on the producer of Asher, Erika Olmos).
Who are your buyers?
We sell to every distributer around the world, both domestic and foreign. For our higher-level content, we talk to the bigger studios. For our mid and lower level content, we're talking to the smaller and midrange distributors.
We deal with Europe, which is common in the industry, but we've had some good success in Latin America. Domestic is our highest grossing market, followed by Europe and Latin America.
How are sales?
Sales are great, actually. We're in a unique position where we came into foreign sales while sales were declining, so we never really were involved when sales were at these massive peaks that everyone was used to. For us, it's been a consistent upturn, year after year, when some of the other guys are feeling a little bit of the crunch of numbers being lower and sales being down.
Learn More about Double Dutch Media Inc's lineup for the Cannes Film Festival
More About Double Dutch:
Double Dutch International (Ddi) is a globally recognized sales company, representing high level, cast driven features with strong commercial viability worldwide, across all media platforms. Ddi's brings a fresh look to sales, uniquely blending experience with the flexibility to adapt in today's market reality. We find enthusiastic and creative distribution partners for our producers ensuring maximum exposure and return for each film. Double Dutch will be located in the Riviera stand H12 during the Cannes Film Festival.
- 5/7/2014
- by Erin Grover
- 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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