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Asian American Films
List of Independent Films
Robert Payne's Choices
Upcoming 2003 Films

Azn Film
HK ShowBiz
HK Ent. News Monkey Peaches


Script Formatting

Chinese Shoes
City of Ghosts
Fish Sauce Breath
"Forbidden City"
Grace Lee Project
Niche Films' Success
Quest for Length
Toyo Miyatake

Bad Movies
Box Office Mojo
Box Office Prophets
MovieMaker Mag
TV Week

2 Fast 2 Furious
Alexandria New York
AATC'S Antigone
Beau Sia
Bend It Like Beckham (1)
Bend It Like Beckham (2)
Bill Moyer's Documentary
Birth of a Nation
Black Sash (1)
Black Sash (2)
Broadway's Flower Drum Song
Broadway's No-Shows
Bulletproof Monk 1
Bulletproof Monk 2
Chasing Papi 1
Chasing Papi (2)
Color of Fear
Cowboy Bebop (1)
Cowboy Bebop (2)
Def Poetry Jam
Die Another Day
Dirty Pretty Thing
Dracula (Virgin's Diary)
EWP'S "Passion"
Fire and Rain
Flip Side
Kill Bill
Legend of Suriyothai
Legend of Suryyothai (2)
Masha No Home
Millennium Actress
Millennium Actress (2)
Return to the Valley
Robot Stories
Robot Stories 2
S21: Khymer Rouge Killing Machine
Small Voices
So Close
The Drifters
Tribecca Film Festival

Roone Arledge
Anne Bancroft (06/07/05)
John Barrymore (11/29/04)
Milton Berle
Thomas Ross Bond (09/24/05)
Marlon Brando
George David Brinkley
Charles Bronson
Leela Chitnis
George P. Cosmatos (04/23/05)
Cecil DeMille (1/21/59)
Ossie Davis (2/4/05)
Ossie Davis 2
Sandra Dee (02/20/05)
Armand Deutsch (08/13/05)
Morris Engel (03/05/05)
Buddy Ebsen
John Fiedler (06/25/05)
Christopher Fry (06/20/05)
Alexander Golitzen (07/26/05)
Kayo Hatta (07/20/05)
Katherine Hepburn (Pt 1)
Katherine Hepburn (Pt 2)
Katherine Hepburn (Pt 3)
George Roy Hill
Gregory Hines
Bob Hope
Elia Kazan
Buster Keaton (02/02/1966)
Howard Keel (11/20/04)
Estee Lauder
Janet Leigh
Linda Lovelace
Sid Luft (09/15/05)
Patricia McQueeny (09/04/05)
Virginia Mayo (1/18/05)
Ismail Merchant (05/25/2005)
Ethel Merman (02/16/1984)
Ann Miller
Arthur Miller (02/09/05)
Spike Mullian
Helmut Newston
Donald O'Connor 1
Donald O'Connor 2
Eugene O'Neil (11/27/53)
Gregory Peck
Brock Peters (08/23/05)
George Plimpton 1
George Plimpton 2
Jane Powell
Tony Randall
Prince Rainier III
Ronald Reagan
Christopher Reeve
Christopher Reeve
Rod Roddy
John Ritter
John Schlesinger
Robert Stack
Ray Stark
Ray Stark (2)
William Steig
Gwen Verdon
Ona White (04/08/05)
Paul Winfield
Fay Wray
Paul Winchell (06/24/05)
Robert Wise (09/14/05)
Teresa Wright (03/06/05)

007's Future
Age Discrimination
Animation's Sad Status
Art of Writing
Attaining Success
Audition Process
Bond Girls Aren't Easy
Broadway's Musicals (PBS)
Bronfman's Bids "U"
Chernin - Eisner w/Charm?
Children's Viewing Habits
Chinese Marketplace
Conspiracy Theories in Films
Courting the "Faithful" Audiences
Demise of Great Scripts
Disney Promotion
Don Duong
Edie Wasserman's Power
End of Movie Theaters
Fame is NBC's "Idol"
Female "Fear Factor"
Film's Look at Sex
Film/Video Game Conn.
Film History - 1920s
Film History - Music & Dance Films
Financing Films
Flops Caused Slump
Forgotten Films
Foreign Language Films
Formosa Cafe
Future of Theatrical Run
George Lucas' Words
Grisham's Success
Hollywood Fugitive
Hollywood's Funniest Clique
Hong Kong Film Industry
How to be a Playa
HP Goes Hollywood
Immigrant Stories/Films
Immigrant Stories/Films
Indie Success @ Oscars
Indo-American Films
Internet & Piracy
Less Sex, Fewer Jokes, More Laughs
Looking for Next "Sideways"
Losing & Gaining a Role
Marketing Digital Movie Jukebox
Martial Arts Influence
Media Ownership Limits
Mel Gibson's Dist.
Mike Savage Program
Original Concept Not Wanted by Hollywood
Oscar Esteem for Black Actors
Pixar's Software
Playing the Same Roles
Police Movies' Success
"R" No Longer a Scarlet Letter
Reality Shows Provide Networks' Cheap Shows
Spike Lee's Views
Story Telling - a Lost Art/
Strong Female Characters
Tale of Ind. Writers
Tale of Struggling Actors
"The Get" (Interview)
TI's Going Hollywood
TV Stereotypes
Universal Learns GE Ways
Universal Studios & Laemmle
Unscripted TV Shows
Violence Towards Women
Wanna Be a Star?
"Wedding's" Success?
What's Wrong w/Hollywood?
Writers Promote
X-Men's Success

Brenda Wong Aoki
Cirque de Soleil's Drailion
Disney Hall Gala
Hollywood's Restrictions
SF's Intl Festival

Keiko Agena
Eric Byler (1)
Eric Byler (2)
John Cho
Steven Chow
Arthur Dong
Roger Fan
Suki Kim
David Henry Hwang
David Hwang & FDS
Kathy Lee
Johnny To
Amy Tan
Mira Nair
Vivek Oberoi
Die Another Day
Will Yun Lee
Wen Yann Shih
Welly Yang
Zhang Ziyi Zhang Ziyi #2

Astaire & Rogers
George Balanchine
Ingmar Bergman
Jeff Bewkes
Marlon Brando
Skip Brittenham
Charles Chaplin
Montgomery Cliff
Joe Eszterhas
FENNEC Database
Robert Downey
Clint Eastwood
Michael Eisner
Scott Ellis
W.C. Fields
Jane Fonda
Bob Fosse
Jamie Foxx
Greta Garbo
Bill Gates (Ent. God)
Brian Grazer
Robert Guillaume
Moses Hart (Playwright, Memoirist)
Dustin Hoffman
Bob Hope 1
Bob Hope 2
James Earl Jones
"Klondike Kate"
Buster Keaton
Sergio Leone
Avi Lerner
Harold Lloyd
Myrna Loy
Joel McCrea (Renown Character Actor)
Will Mesdag - Financier
Ismail Merchant
Walter Mirish
Marilyn Monroe
Andre Morgan
Brian Mulligan
David Nutter (Pilot Specialist)
Merle Oberon
Amy Pascal
Vincent Price
Otto Preminger
Christopher Reeve
Christopher Reeve 2
Silent Film Comics
Michael Savage
Korea's "ShowEast"
Robert Siodmark
Stephen Sondheim
Sam Spiegel
Steven Spielberg
Eli Wallach
Lew Wasserman
Billy Wilder
Kenneth Wong
Zhang Yimou

1st Ladies of Funny

Children Now's
FENNEC Database
Poop Sheet
Poop Sheet
Wanna Sell a Script?

Indies' Increasing Clout
State of Indie Films

AA Actors in Films
AA Females in Media
AA's Seeks Audience
Asian Ness Scale
Beyond Stereotypes
Dragon Ladies
Film Pairings (1)
Film Pairings (2)
Coalition Under Fire
Hip Hop to TV
Human Stain - Movie on Race
Minorities & DVD
Production Crews
State of Female Directors
Media Ownership
White Supremacy?
Politics of TV
MGM and Black Films
Stereotype Analysis UPN Adds Whites Whining Not Effective
Women's Ceiling
YellowFace History

2004 - Film Studio Status
Ad Sales Up (2003)
Arts - Its $ Influence
Anschutz Enter Biz
Anschutz Learning
Anschutz's "Ray"
Animation Co.'s Troubles
Big Budget Films (Why)
Big Money Dreamers
Branding TV Ads
Comic Book Success
Comedy Central Purchase
Culver Studios Bought
Dan Tana Restaurant
Diller Sells Back to NBC
Direct-to-Video DVD Success
Directors' Salaries Up
Director's Deals
Disney/Comcast Merger
Disney's Gaming/Hollywood Connections
Disney's Investor - (Alwaleed bin Talai)
Disney Goes Digital
Disney and the Internet
Disney Hall
Disney Hall Bookings
Disney Hall Story
Disney Hall Tickets
Disney/Low Cost Films
DreamWorks Slowsing Down
DVD's Riches
Eisner Stepping Down
FCC New Rules
Film Costs Exceed $100M
Film Financing
Film Financing from WM
Film Financing: IPO Style
Gross Sales Down
Grouper Testing Hollywood's Limits
Intl. Actors' Successes
Kodak Goes Digital
NPR Funding Problems
2002 - Film Co, Statust
Hollywood's Managera
HP Aims for Hollywood
James Murdoch & BSkyB
Kerkorian & MGM Sale
L.A. Shoots Up (2005)
Making Documentaries
MGM/Sony Buyout Talks
MGM's Low $ Sequels
Miramax's Future
Movie Plot Generator
Murdoch in China
Murdoch Buys DirectTV
Murdoch Buys DirectTV
NBC/Vivendi Merger
Oscar's Museum
Overseas B.O. Success
Paramount Gets MTV Head
Paramount's New CEO: Brad Grey
Pepsi is Producing TV
Raising $ for Indie Films
Redford's Ups & Downs
Rise of DVD's
Runaway Productions
Studio Partnerships (+/-)
Sign Then Sing
Viacom Splits
Yahoo & Kevin Spacey
Yahoo Enters Biz

4 Maverick Directors
A Maverick (Costner)
Cirque's Mystique
Digital Cleaning Merits
Disney Editing
Pusan Intl. Film Festival
Indie Directors Tales
Niche Networks
WB's 1st Chinese Language Production
Power of TiVo

Current Fund-Raising
Hollywood Political $


Community Connect
Onimusha 3

Merce Cunningham
Simon Glover
More Than 1 Hip-Hop
Kathak - Indian Tradition
New Type of Dance Floors

Edward P. Jones (Writer)
Space for Writers

Back to School Sweepstakes



Vote For Your Favorite APA Films



Within our monthly "FILM POLL" (see below) - it is our hope to locate visionary films from creative directors with great scripts from the Asian/Asian Pacific American communities. Every month, fifteen (15) films will be listed for your consideration and support.

One of our other goals is to help build a fast-growing legion of informed artists and media advocates that will carry the appropriate weight to create effective changes. Without knowledge of our own historic past, our trail-blazing entertainment pioneers from the early 20th century, working knowledge of how the entertainment industry functions, etc. - the words written in the media and words spoken with various Asian Pacific American advocates will not carry the appropriate weight or response.



Our monthly polls' purpose is to communicate and reflect the most popular and visionary film within the APA communities. If you feel that your film should be included, contact us at and we will consider your project for an upcoming poll.

Listed on the right are some successful films from the fast-emerging Asian American Cinema.

What is your favorite Asian/Asian Pacific American Film?
"BEND IT LIKE BECKHAM" by Gurinder Chadha
"CRYING LADIES" by Mark Meily
"THE EYE" by Danny & Oxide Pang
"NOTORIOUS C.H.O." by Lorene Machado
"THE FLIP SIDE" by Rod Pulido
"AMERICAN DESI" by Piyush Dinker Pandya
"FULL TIME KILLER" by Johnnie To & Wai Ka Fai
"THE WAY HOME" by Lee Jung-Hyang
"AMERICAN ADOBO" by Laurice Guuilen
"ABC" by Krutin Patel
"CLOSE CALL" by Jimmy Lee
"THE DEBUT" by Gene Cajayon

Current results
Alxnet Free Web Tools

Within the above-listed Asian/Asian Pacific American Film Poll, links to various websites providing background information on the respective movies can be found.

For additional insights on the Asian American Cinema's latest news, visit David Magdael's APA First Weekend Club by clicking HERE.

Keiko Agena Eric Byler (1) Eric Byler (2) Roger Fan Suki Kim
David Henry Hwang Will Yun Lee Mira Nair Vivek Oberoi Amy Tan
Johnny To Gedde Watanabe Zhang Ziyi Justin Lin  Simon Yam
Margaret Cho B.D. Wong Jason Scott Lee Linda Wang Susan Choi
Guy Aoki Zhang Ziyi Grace Lee Mark Decena Joseph Kahn
John Woo Xin Xin Xiong Ronnie Yu Michael Kang

Tai Seng Entertainment, the largest home video distributor of Hong Kong Films in the US, has released Robin Shou’s Red Trousers: The Life of the Hong Kong Stuntmen. The film pays homage and documents the amazing stunts and preparations that are required. Presently it is playing in West Los Angeles, Irvine, San Francisco, Berkeley and Seattle. Win a free trip to Hong Kong by visiting

In the great cinematic tradition of Road Trip and Dude, Where's My Car? comes Harold & Kumar Go to White Castle, which follows two likeable underdogs who set out on a Friday night quest to satisfy their craving for White Castle hamburgers and end up on an epic journey of deep thoughts, deeper inhaling and a wild road trip as un-PC as it gets. John Cho (American Pie 1 & 2) and Kal Penn (Malibu's Most Wanted) take on the title roles in the film directed by Danny Leiner (Dude, Where's My Car?) written by Hayden Schlossberg & Jonathan Hurwitz.
For more info, click HERE.

Indian Cowboy is a mélange of romance, comedy and fantasy that takes its audience on a rollercoaster ride through relationships, some oddly familiar, and some just plain odd. Marked by its ensemble performances, Indian Cowboy will leave you wondering which is truer: love in the real world or love in a fantasy.
For more info, click HERE.


The 23 years old recent graduate of USC's film school, Jon Chu, is slated to direct Columbia's first musical in thirty years - "Bye Bye Birdie." Columbia producer Lucy Fisher stated that "Jon got the old-fashion way - pure talent."

Alex Tse is working as a scriptwriter with Spike Lee on the upcoming Showtime Production of "Sucker Free City."

Three Asian Americans (Steve Tsuchida, Adam Bhala Lough, and Greg Pak) make Filmmaker Magazine's 25 New Faces of Indie Film list in 2003.

Read More>>>>>

German-trained Director Li Yang’s “Blind Shaft” (adopted from Liu Qingbang’s novel, it is a story on how Chinese workers get the shaft in a new “dog-eat-dog” capitalist economy. How peculiar that authoritarian regimes like Iran and China would inspire gutsier crime stories than our own democracy (even as the movies themselves are banned). Please check your listings.
Hou Hsiao-hsien’s Millennium Mambo (the story of Vicky, a hostess at a trendy bar who is torn romantically between two men: Hao-hao, her neurotic and jealous live-in boyfriend and Jack, an enterprising gangster) can be seen in Cambridge, Los Angeles, Denver Chicago, Columbus OH, San Francisco and San Diego.



Are you looking for the ability to not depend on others to finance your own project?

If interested, the information for those who are seeking the means to self-financed their own project are listed on the RIGHT.

    If you are interested in receiving more information, please feel free to contact us by clicking HERE.

TO START NOW, please feel free to click HERE. (Note: Upon entering the website, submit "3651535" in the "IBO" box and "LEE" in the other box.

  • Make your own decision on how much time one want to spend and the amount of monies
  • Earn money by purchasing everyday products at competitive prices, in a similar fashion as a member-based customer of a store like CostCo
  • Provide opportunities for people that support your creative endeavors to purchase everyday products while helping you finance your creativity
  • Upon your participation, we will support your efforts by featuring your efforts within this webpage
  • In addition, we will support your efforts by periodically having contests where your supporters can win prizes such as tickets to music showcases, dvd's, c.d.'s, etc.



Mercury News' Marian Liu reports that "For Asian-Americans, the move toward entertainment careers has been a recent one, stretching the past 40 years, starting with such stereotypical films as the Rodgers and Hammerstein musical "Flower Drum Song."

(Editor's Note: This "stereotypical film" was based on the first Chinese American novel to be published by an established publishing house, the first Chinese American novel to be on the best-seller list, the first Broadway/major movie studio production to feature, star and about Asian Americans, the female stars of the Broadway show -- Pat Suzuki and Miyoshi Umeki -- became the first Asian Americans to be on the cover of Time and Newsweek and the film that launched the careers of Miyoshi Umeki, Jack Soo, James Shigeta, and Nancy Kwan.)

  Anna May Wong    Philip Ahn   Keye Luke in his earlier days   Sessue Hayakawa Picture

EDITOR'S NOTE: Sadly, it seems that the above-listed writer (along with many within the Asian/Asian Pacific American communities) have forgotten the achievements and victories of past entertainment pioneers in the 1920's (some of the pioneers are listed on the "left") and the various non-stereotypical milestones seen in the movie "Flower Drum Song."


Plus, no film (speaking of "Better Luck Tomorrow") can change the industry by itself, says Harry Lin, a veteran of Bay Area broadcasting who now is executive vice president of ABC's Web site,
a a
Harlemm Lee
Jamisen Tiangco

``The movie industry is very conservative,'' Lin says. ``It's not proactive to change or trying to make waves. That's why independent film and cinema is so important: It's where change and risk occurs.''

Some APA upcoming entertainers such as Dat Phan has gone to the final rounds in NBC's "Last Comic Standing." Others such as Harlemm Lee (Editor's Note: We want to congratulate Harlemm in winning the "Grand Prize.") and Jamisen Tiangco have done well in Debbie Allen's talent program titled "Fame."



ANY PROGRESS FOR ASIAN AMERICAN FEMALES IN THE MEDIA - Have Asian American women progressed in American consciousness so much so that they erases the persisting negative stereotypes? Some argue that the presence of Asian American women, such as Connie Chung (television news anchor), Lucy Liu (television/movie star), and Tia Carrere (movie star) in the media is indicative of mainstream America's acceptance of Asian American women.
Click here for more information>>>>>

DEFINITION OF A DRAGON LADY - Another stereotype of Asian Women that is perpetuated through the media is that of the Dragon Lady. A Dragon Lady is an evil, deceitful, and domineering woman. This derogatory term was originally the name of a villainous Asian women in Milton Caniff's popular cartoon strip Terry and the Pirates (1934-1973), which ran in many newspapers.
Click here for more information>>>>>

REDEFINING ASIAN AMERICAN MALE MASCULINITY - American popular culture is notoriously male-centered. For Asian Americans, however, the situation appears to be reversed, which may be yet another reflection of the power of the dominant culture. Novelist Amy Tan is more widely read than novelist Shawn Wong; comedian/actor Margaret Cho got a shot at a network television series, while Russell Wong had to settle for starring in the syndicated Vanishing Son; and Asian American women anchor local news broadcasts across the country, while Asian American men occupy less visible positions as field reporters.
Click here for more information>>>>>

ASIAN AMERICAN MALE BASHING IN THE AMERICAN MEDIA - I think the dating imbalance, i.e. more Caucasian males with Asian Females versus Asian males with Caucasian females, is caused by a racist media in America that portrays Asian male as undesirable, asexual, nerdy, and so on, and Asian female as the ready toy for any white guy, no matter how dorky, as Wayne's World or Star Trek amply illustrate for us. For instance, there are eight hundred Asian female anchors, one for each major metropolitan area in the United States. But there is only one Asian male news anchor in the entire United states.
Click here for more information>>>>>



Straight-to-video has carried a stigma but minority filmmakers largely ignored by Hollywood are carving out a profitable niche with it.

Most moviemakers want to see their work on the big screen. But many black independent filmmakers have found a profitable venue long considered the kiss of death: straight-to-video.

Even before the surging popularity of DVDs led major Hollywood studios to focus on the home video market, black filmmakers saw the advantage there. Not only could they target their films directly to an underserved audience, but with lower budgets and overhead, they stood a better chance of making money.

  Click Here For More Info >>>>>


10. David Carradine in KUNG FU (1972-75) - David Carradine's Amerasian Shaolin monk, Kwai-Chang Caine, roaming the Wild West on the TV show Kung Fu survives as one of the least objectionable.

9. Larry Blyden in FLOWER DRUM SONG (1958) - the pivotal role of nightclub owner Sammy Fong on Broadway went to Larry Blyden, a Jewish actor from Texas.

8. Joel Gray in REMO WILLIAMS: THE ADVENTURE BEGINS (1985) - Transforming the very Caucasoid thespian Joel Gray into Chiun, the title character's (Fred Ward) Korean martial-arts instructor was extremely realistic.

7. Warner Oland - The Swedish-born, American-raised actor Warner Oland made virtually an entire career out of playing Asian characters — from "Oriental" villains in Pearl White serials to Fu Manchu to Charlie Chan. Oland's busy and lucrative life- work stands as a disturbing reminder that a Caucasian actor could make a career for himself in Hollywood by specializing in Asian roles

6. Sean Connery in YOU ONLY LIVE TWICE (1967) - the secret agent emerges looked like a droopy-eyed hakujin who's had too much to drink.

5. Alex Borstein as Ms. Swan on MAD TV (1997-2002) - Mad TV must have known that they were treading on volatile ground when they unveiled their slant-eyed, gibberish-speaking, bowl-haired manicurist called Ms. Kwan, played by non-Asian actress Alex Borstein, in 1997.


Steve Anderson's first indie film 'The Big Empty' (after local actors and friends turn down the roles) acquires a first class cast that includes Jon Favreau, Kelsey Grammer, Joey Lauren Adams, Sean Bean, Rachel Leigh Cook, Daryl Hannah, Jon Gries, Adam Beach, Bud Cort, Brent Briscoe, Melora Walters and Gary Farmer.

Sage advice: "The aesthetic of independent film casting has shifted as the business has become interdependent on the world marketplace. We are all very conscious of how a film is going to pre-sell in foreign and ancillary markets now and that means everybody is covetous of the same actors now. It can be creatively stifling but that also propels you to find better products."


4. Boris Karloff in THE MASK OF FU MANCHU (1932) - Boris Karloff in heavy facial prosthetics — perhaps more than any other film — works to demonize Asian racial features as inherently evil.

3. Mickey Rooney in BREAKFAST AT TIFFANY'S (1962) - Donning false buck teeth and eye make-up, Mickey Rooney portrays the Japanese character of Mr. Yunioshi as a funny-looking buffoon whose speech is garbled and actions inept.

2. Harold Huber and June Duprez in LITTLE TOKYO, U.S.A. (1942) - Takimura (played in yellowface by Harold Huber) is shown to represent that even Japanese Americans who are born in the U.S. can't be trusted. In retrospect, knowing that not a single charge of espionage was ever brought against a Japanese American during wartime, this sensationalistic story reeks of racist propaganda.

1. Jonathan Pryce in MISS SAIGON (1991) - Miss Saigon exemplified the mainstream's insensitivity to the entertainment industry's discrimination against its Asian American talent.


There are countless other young actresses hanging out at Sky Bar, sending out 50 head shots a day, and they can't get an agent to return their calls. Would-be screenwriters nurse their hopes sipping quadruple espressos on Melrose and Sunset with laptops open on cafe tables, trying hard to look cool while pounding out yet another rewrite of a scene that probably no studio executive with the authority to do anything about it will ever see.

But it's not easy to get a break and survive in Hollywood — to get that crucial foot in the door in one of the most cloistered businesses in the world. You've got to e-mail resumés, fax resumés, compose cover letters that don't get ignored, shell out close to a hundred bucks to buy the Hollywood Creative Directory so you know whom to call and where, but your phone just isn't ringing. You're calling, writing, interviewing, sending thank-you notes, following up on any lead you can find, yet you're watching reruns of "Mannix" on Tivo at 3 in the afternoon instead of working on a movie set.


There are a million stories in the naked city. The trouble is, few of them ever get published — and fewer still help pay the rent.

Agent Ken Sherman explained, the job of a writer has changed: Now even high-minded novelists have to hang up their insecurities and sell, sell, sell.

"You've got to find ways of getting out there and promoting yourself,"

  Click Here for More Info>>>>>

You must be aggressive and tenacious, but how much is too much? What is calling too many times? How can you consistently keep your name on the desks of agents and executives without their telling their underlings, "Oh, no. Not her again. Tell her tell her I'm in Guam. Tell her I'm dead. Just get rid of her!" Barring insanity, where is the fine line between persistence and harassment?

Manager-producer J.C. Spink advises learning the interests of a person you're targeting, then sending a gift. "There's a famous story," he relates, of someone "who kept calling film producer Brian Grazer and finally sending him a surfboard because he knew Brian was an avid surfer. And Brian took a meeting with him." But Spink advises against pushiness. "The worst thing you can do is call every day. Just because you're suddenly on someone's radar doesn't mean that you start harassing them."

Interesting Facts: A studio will often insert a provision in a director's contract requiring the filmmaker to pay over-budget penalties. This is particularly true when a director has two of Hollywood's most coveted perks: the creative control of final-cut authority and a share in what is called "dollar-one gross" — that is, the film's profit before the studio recovers its costs.


That's why director Warrington Hudlin, who co-founded the Black Filmmakers Foundation, counsels that group's members not to bitch and moan, but rather to constructively engage Hollywood, convincing execs that hiring minority talent is simply smart business.

"It's a matter of whining not being effective," he says. "If you're going to make a difference, that's not the way to go... The people who are making the decisions are operating in their own self- interest."


One way to define the term "stereotype" is as a "loaded image," in other words, and image that is associated with a set of meanings and generalities. Thus, a racial stereotype is an image imposed on a racial group that defines that racial group according to a generality or a set of generalities become associated with an image and become stereotype? It occurs through repetition.
Some shows and movies that have been pulled because of ethnic stereotyping include:

*"Amos and Andy." The TV show, which was supposed to be set in Harlem, aired for two seasons in the 1950s. The reruns eventually were pulled after complaints that the characters--usually seen bumbling around or talking with an accent--unfairly portrayed African Americans.

*"Speedy Gonzales." The Cartoon Network yanked the "fastest mouse in all of Mexico" off the air last year because of concerns over the portrayal of Speedy's friends, who were always taking siestas and often smoked and stole things. The cartoons were put back on when Latinos protested that they wanted them back.
*"Song of the South." The 1946 Disney film was never released on home video in the United States because of concerns that the film made slavery look pleasant.
For more information, please click HERE.

The advertising medium is designed to persuade consumers to buy, and to do so it must elicit particular emotions and ideas from within the consumer to influence him or her to buy. Stereotype can be used to elicit such emotions and ideas, whether or not the stereotypes have any logical connection to the product or service being advertised (in this case, depictions seen in the media such as film, television, advertising, etc.).

It has been written that "Gender, race and class stereotypes of Asian Americans in the media, especially those depicted in popular movies, give the impression of what Asian Americans are really like to other Americans as well as to Asian Americans themselves.

From the exaggerated depictions of exotic, sex-hungry Asian women to the gangster-involved, sexually abusive characteristics of Asian men, movie producers perpetuate the gender, race and class inequalities of Asian Americans by allowing these demonizing Asian characteristics to appear over and over in their box office movies. Examples of such characters appear in popular Asian-American movies such as The Year of the Dragon (1985), The Joy Luck Club (1993), Lethal Weapon 4 (1998), and Return to Paradise (1998). "


Let's face it — there are hundreds of reasons why Hollywood makes so many bad movies. But last week's Oscar nominations offered one especially telling explanation, tucked away in the best original screenplay category: All the nominated scripts were from independent or foreign films.
For more info>>>>


"The less money you spend, the more control you have," he says. "If you put your money on the line, then you're forced to prove to people, and maybe to yourself, that you're passionate enough to make your movie."

One Success Story - Vadim Perelman was an obscure commercial director when he put up his own money to option Andre Dubus' bestseller "The House of Sand and Fog." He co-wrote the script and attracted a cast that includes Ben Kingsley and Jennifer Connelly before going to financiers. (The movie now is co-financed and distributed by DreamWorks.) London explains: "Because Vadim owned the material, he could say, 'Even though I'm a first- time director and this is a dark, tragic film, if you don't want to make it my way, don't get involved.' "

JOHN RITTER - John Ritter appears in Straw Weisman's "Man of the Year" $25,000 film for $100.00.



There's no reason to spend the money to shoot on—or transfer to—film.

For less than $10,000, you can own a complete broadcast-quality DV rig, including audio and a G4 equipped with Final Cut Pro. Let the distributor transfer it to film stock.

Shoot tape and tell a good story for $20,000, and you'll be miles ahead of any moviemaker with a slick but boring $100,000, 35mm film.


David Magdiel's "APA First Weekend Club E-zine" (see below) is a great resource for anyone who are interested in discovering the passions and artists that consist of this fast emerging Asian American cinema.

For your convenience, we've listed the various issues for your review.

 November 11, 2002
November 15, 2002
December 7, 2002
March 11, 2003
March 20, 2003
March 27, 2003
April 4, 2003
April 11, 2003
April 18, 2003
April 25, 2003

May 2, 2003
May 9, 2003
May 16, 2003
May 30, 2003

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If you're planning to raise more than $25,000, incorporating provides a legal separation of your personal funds from your film's funds, tax protection and legal protection (for you and your investors) if anyone sues the film company.

If you're raising less than $25,000 . . . one can set-up a "Doing Business As" (DBA) account, but no legal protection or tax advantages.

Need a business plan that is approximatel twelve (12) pages in length with frequent reminders and a clear disclaimer that it is clearly understoon that this is an extremely risky investment.

PAGES 1–2: Introduction and Summary of Your Project that contains an overview (who's involved and costs), plot overview and investment opportunity (corporate structure, distribution, profit structure), film's audience and shooting process (digital, equipment, experience, personnel, etc.).

PAGE 3: Include biographies of your key creative personnel such as producer(s), director, music composers and/or director of photography.

PAGE 4: Introduction - Take this opportunity to flesh out the synopsis from the introduction.

PAGE 5: What, when, where, where and how of your production and post-production timetable.


In a novel move, a film financing company is planning a $7.9-million initial public offering of stock to fund a single movie — a gritty murder mystery called "Billy Dead" that would star Ethan Hawke.

Los Angeles-based Civilian Pictures Inc.'s online brokerage unit, Civilian Capital, hopes to help Billy Dead Inc., which was formed specifically to make the film, raise the money to cover its production and other costs.

Through Civilian, Billy Dead would sell 900,000 shares at $8.75 each, according to a preliminary prospectus filed with the Securities and Exchange Commission and posted on the brokerage's Web site.

For investors researching the shares, the routine could include "reading the box-office grosses in Daily Variety," Poltermann said.

The IPO plan includes a provision that the financed companies would have limited lives of about three years — the economic life span of a typical film. The residual rights to the film then would be sold and remaining assets, if any, would be distributed to shareholders in cash.

"There is a certain urban myth that when you invest your money in a movie you never see a return," stated David Kirkpatrick (independent producer and former studio executive). "But if you're smart and pick well and you're, in part, lucky, you might invest in anything from 'Sling Blade' to 'My Big Fat Greek Wedding.

PAGE 6: Contain's your budget's four categories of actual categories such as the following:

  • Salaries and Fees (up-front costs for writer, producer, director, cast, crew, composer,
  • Casting Director and legal and accounting services);
  • Production Expenses (production office supplies, telephone bills, film stock, catering, sets, props, costumes, location fees, cameras, lighting and transportation);
  • Post-Production Expenses (editing, music, publicity, cast and crew screening, video dubs, festival
    entry fees and festival travel costs); and
  • Insurance and Contingency (a contingency is a reserve fund, usually around 15 percent of your budget, to cover any unpredictable costs).


PAGE 7: Your Audience - This page describes your anticipated markets and the audience you hope will be interested in the film.

PAGE 8: What is your publicity strategy? Options include film festivals, Website reviews, favors from publicist friends, guerilla marketing, college and special interest screenings.

PAGE 9: Distribution - A typical distribution approach is the classic distribution pyramid, which starts with domestic distribution (theatrical, home video, pay-per-view, cable), possibility of self distribution and is followed by foreign markets.

PAGE 10: Explain the funding of the picture, or the legal and business structure of your company, what type of corporation was formed, what state has it's been incorporated, how much monies will be raised, amount of deferred expenses, personal funds, profit structure for the investors and at what level will start the production. A special note that this is a contribution rather than an investment should be restated.

PAGE 11: Your deferred expenses can be roughly broken down into cast, crew, post-production and miscellaneous (which would include music clearances, location fees and anything else you have yet to determine). You should state that deferred amounts could vary based on the actual needs of the production.

PAGE 12 Give a profit participation sample, where you explain how money from a sale would be distributed. This page should state that these are purely hypothetical numbers and are not intended to represent the actual sale or profit of the film.


Don't make unnecessary expenses (i.e. corporate and fancy stationery, etc.) materials (photos, relevant articles, etc.).
Make sure that all agreements are in writing, including your own agreement on how you will be compensated.
Make one-page agreements with your contributors that explain the investment structure and
include a statement to the effect that they understand they will lose their investment.
You should also have written agreements with your cast and crew that spell out
what they will be paid during production and what their deferred pay will be.



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