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PROFILES
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RESOURCES
Children Now's
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NETWORK NEWS
2003 TV Programming
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RATINGS INFO
Billboard Awards (2002)
Cable Network Ratings
Ratings Rise
Emmys (2002)
FOX's Strategy for 2003
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Oscar 2003 Ratings Down
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DIVERSITY
Film Pairings (1)
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Coalition Under Fire
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White Supremacy?
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MGM and Black Films
UPN Adds Whites Women's Ceiling

BUSINESS INFO
Ad Sales Up (2003)
Arts - Its $ Influence
Animation Co.'s Troubles
Big Budget Films (Why)
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Branding TV Ads
Comedy Central Purchase
Disney Goes Digital
Disney and the Internet
Disney/Low Cost Films
DreamWorks Slowing Down
FCC New Rules
Film Financing
Film Financing from WM
NPR Funding Problems
2002 - Film Co, Statust
Hollywood's Managera
Making Documentaries
Murdoch in China
Murdoch Buys DirectTV
Murdoch Buys DirectTV
Pepsi is Producing TV
Raising $ for Indie Films
Rise of DVD's
Studio Partnerships (+/-)
Sign Then Sing)

MEDIA INFO
4 Maverick Directors
Bollywood
Censorship
Disney Editing
Pusan Intl. Film Festival
Indie Directors Tales
Niche Networks
WB's 1st Chinese Language Production
Power of TiVo

AWARD SHOW INFO
2004 Dates
A-List Parties Producers
AFI's Fall
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Oscars Leaving CA
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Marketing Strategy During Awards Season
Oxcar Ratings Down
Oscars Record Ad $ Oscars Record Ad $ Michael Seligman

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Back to School Sweepstakes


 

JULY 2003 FILM POLL

Vote For Your Favorite APA Films

 

WHAT WILL BE OUR NEXT SUCCESSFUL FILM?

Within this 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.

In addition, with each month's edition - one will find information on upcoming films and directors will be highlighted that could be of great interest to those involved with the various film/television industries, recent news from the Asian American Cinema scene via David Magdael's "APA First Weekend Club,", listings of Asian/Asian Pacific Americans on TV at the "APA's on TV" section, details on the on-going Asian/Asian Pacific American Comedy showcases, insights on how to obtain film financing, .

 
DISCOVER OUR INDEPENDENT FILMS & DIRECTORS

MUSIC POLL

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 jql@earthlink.net 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.

ASIAN/APA FILM POLL
What is your favorite Asian/Asian Pacific American Film?
"BEND IT LIKE BECKHAM" by Gurinder Chadha
"TOGETHER" by Chen Kaige
"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
"CHARLOTTE SOMETIMES" by Eric Byler
"THE WAY HOME" by Lee Jung-Hyang
"MONSOON WEDDING" by Mira Nair
"AMERICAN ADOBO" by Laurice Guuilen
"ABC" by Krutin Patel
"BETTER LUCK TOMORROW" by Justin Lin
"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.

INTERVIEWS W/APA PERFORMERS
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 Zhang Ziyi      
c

CHARLOTTE SOMETIMES

The movie "Charlotte Sometimes" has been nominated for two Independent Spirit Awards, more specifically the John Cassavetes Award for the best feature made for under $500,000) and Jacqueline Kim for "Best Supporting Actress."

Charlotte Sometimes
Reviews and Interviews
Eric Byler Interview
San Jose Metro's Review
BoxOff's Review
Various Reviews  
Oliver Wang's Review
Byler Nixes Tired Cliches

This is the only Asian American film nominated for the Independent Spirit Awards for 2003, and the first nomination since 1995 with the film "(Picture Bride."

NOTE: Eugenia Yuan ("Lori" in Charlotte Sometimes) was nominated for "Best Supporting Actress" and "Best Newcomer" for her performance in Peter Chan's "Going Home" in the Hong Kong Academy Awards.

BETTER LUCK TOMORROW

"Better Luck Tomorrow opened to a record-breaking total gross of three hundred ninety-eight thousand four hundred eighty nine dollars ($398,489) in just 13 theaters (3 days - April 11 13) with Asian Americans making up 70% of the audiences!
Read More>>>>>

UPCOMING DIRECTORS

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

Tsuchida is best know for his short film "A Ninja Pays Half My Rent," which has played at Sundance, South By Southwest, and New Directors/New Films.

Lough's feature film "Bomb the System," which follows a New York graffiti artist, premiered at the Tribeca Film Festival.

Pak's feature film "Robot Stories," starring Tamlyn Tomita and Sab Shimono, has won awards at the Hamptons, Florida, and Dallas Asian film festivals.
Read More>>>>>

REVIEWS OF APA FILMS AND EVENTS
Beau Sia Bend It Like Beckham (1 Bend It Like Beckham (2)
Bill Moyer's Documentary Black Sash (1) Black Sash (2)
Bulletproof Monk 1 Bulletproof Monk 2 Chasing Papi 1
Chasing Papi (2) Cowboy Bebop (1) Cowboy Bebop (2)
Def Poetry Jam Die Another Day Fire and Rain
Flip Side Herapurple Hush
Kaani 2 Fast 2 Furious Return to the Valley
Dracula (Vifgin's Diary) Hulk The Drifters
Birth of a Nation Together S21: Khymer Rouge Killing Machine
Legend of Suriyothai    

PERCEPTIONS OF OUR PAST AND FUTURE

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."

 
EARLY ENTERTAINMENT PIONEERS
  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 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, abc.com.
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 and Jamisen Tiangco have done well in Debbie Allen's talent program titled "Fame."

 

WHERE ARE THE ASIAN PACIFIC AMERICAN TV ACTORS?
APA'S ON TV IN THE YEAR OF 2003
January
February
March
April
May
June
Jan. 6 - 12
Jan. 13 - 19
Jan. 20 - 26
Feb. 24 - March 2 March 3 - 9
March 10 - 16
March 17 - 23
March 24 - 30

March 31 - April 6,
April 7 - 13

April 21 - 27
April 25 - May 4

May 5 --11
May 12 - 18
May 19 - 25
June 9 - 15
APA'S ON TV IN THE YEAR OF 2002
July
August
September
October
November
December
Aug 18 - 25
Aug 26 - Sept 1
Sept 2 - 8
Sept 9 - 15
Sept 16 - 22
Sept 30 - Oct 6
Oct 7 - 12
Oct 14 - 20
Oct 21 - 27
Oct 28 - Nov. 3
Nov 11 - 17
Nov 18 - 24
Nov 25 - Dec 1
Dec 2 - 8
Dec 9 - 15
Dec 16 - 22
Dec 30 - Jan 5, 2003

Discover where the Asian Pacific American actors have appeared on television during years of 2002 and 2003 in the links listed right. This information was gathered from an invaluable resource titled "APA's On TV."

WB's "Black Sash" (with Russell Wong), appeared on the 2002-2003 television season. This production was packaged by Rob Kim and others at UTA and they represented all the creators of "Black Sash." This includes Robert Kamen (writer, creator, executive producer), Dylan Sellers (Co-Creator) and Tollin/Robbins Productions (Executive Producers). They also represent the two lead actresses - Sarah Carter and Missy Peregrym. Unfortunately, this program (Dawson Creek meets The Karate Kid) lasted only four episodes.
THE Y FACTOR (tv show)
Lind Ko with
Comic Bobby Lee
The Y Factor (hosted by the beautiful UCLA graduate Linh Ko) has been described by the creators as a new, fun and irreverent weekly magazine television show that features Asian and Asian American entertainment, Asian videos and lifestyle trends that is patterned after the cable program "Wild On."

We will explore various hot spots and feature great musical acts from both Asia and the US. We will also spotlight noteworthy personalities such as actors, comedians (i.e. MadTV's Bobby Lee), models and other celebrities from the Asian and Asian American community.

This Kevin Leung-produced show is scheduled to be seen every Thursday night at 11:00 P.M. in Southern California on KDOC-TV (Channel 56), DirecTV and Dish Network outlets.

PARMINDER JOINS E.R
Parminder Nagra, the 27-year-old British actress who starred in the sleeper hit Bend it Like Beckham, will make her ER debut in the fall of 2003 and joined Ming Na as the Asian Pacific American members of the top-rated television program..
Read More>>>>>

BASKETBALL DIPLOMACY: FROM MAO TO YAO
National Geographic Ultimate Explorer host Lisa Ling scores a rare interview (on her first television appearance since leaving the highly popular ABC program "The View," with NBA superstar Yao Ming and journeys to Shanghai to explore the remarkable story of China's most famous export, unraveling a multifaceted cultural tale that's not just about basketball - it's about China, being an immigrant and globalization. This program will makes its premiere on Sunday, June 1, at 8 p.m. ET.
Read More>>>>>

DIVERSITY IS DORMANT
Despite persistent scrutiny of network and studio hiring practices by the DGA, directing opportunities on top TV series continue to be few and far between for women and minority directors, according to a new DGA study.

The study, which examined the hiring practices of the top 40 TV series airing on the Big Four broadcast networks in the 2002-03 season, revealed that for a third consecutive year, Caucasian male directors helmed more than 80% of the episodes of top comedy and drama series airing on ABC, CBS, Fox and NBC.
Read More>>>>>

WHERE ARE OUR COMICS
Listed below are some on-going comedy showcases that are available for prospective comics from the Asian/Asian Pacific American communities. Laughter have often provided effective ways to provide insights into the stories of our communities.

"CHOPSTICK COMEDY"

Asian American comedy night (aka "Chopstick Comedy) comes to the world famous Hollywood Improv (8162 Melrose Avenue / Hollywood, CA / 323-651-2583)!

Every other Saturday, Amy Anderson hosts this cutting edge show features a line up of the top Asian American comedians in the country. Check out www.geocities.com/amysfunny for all the show details. Group rates and industry comps available.

Tickets are $10.00 and there is a full menu and bar at the venue. In the future, they will be having product giveaways from some groovy sponsors! NOTE: Amy has stated that if you are a starving artist, she will provide you with a discount if you contact her at amysfunny@yahoo.com.

 

ASIAN COMEDY NIGHT @ LAUGH FACTORY

PK's [Paul Kim] Asian Comedy Show is at the World Famous Laugh Factory EVERY Saturday at 12am midnight.

Free admisson for those on the guest list. (regular admission $15).

If you would like to be put on the guestlist, email PK at prokreation@yahoo.com. and and visit the "event's website" for additional details.

* 18+ can order non-alcoholic drinks.2 drinks min per person

If you are an Asian stand up comic and you'd like to perform a 5 min.routine, please send a VHS or DVD to PK/Asian Comedy Show 8001 Sunset Blvd. Hollywood, CA 90046

DEFINITION OF A "STEREOTYPE"

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.
 
BANNED BECAUSE OF STEREOTYPES
 
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). "

 
 

HONESTY SHOULD BE THE FOUNDATION OF YOUR BUSINESS PLAN.

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.

APA FIRST WEEKEND CLUB

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.

2003 EZINE LISTINGS
2002
MARCH
APRIL
 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
JUNE
JULY
AUGUST
May 2, 2003
May 9, 2003
May 16, 2003
June 6, 2003    

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.

BEND IT LIKE BECKHAM
Director Gurinder Chadha, UK

A world-wide box office hit, and the highest grossing British-financed film of the year in its native UK, BEND IT LIKE BECKHAM is poised to become a major breakthrough film in the US.

Set in London's Indian community, it tells the story of a young soccer fanatic (Parminder Nagra), caught between following her heart and family tradition. An uplifting, boisterous and irresistible crowd pleaser, BEND IT LIKE BECKHAM is a film for everyone to enjoy!

BECKHAM has been released in select cities and has become the biggest limited opening of the year on a per-screen basis. Fox Searchlight Pictures will expand BECKHAM into wider release on March 28, including: San Francisco, Cambridge, Chicago, Washington DC, Pasadena, Seattle, Dallas.

Read the film's reviews and articles
National Post LA Times Review
Newsweek Article Reuters
LA Times Commentary Continued Successes
Beckham Hits with Audiences  

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.

CLICK HERE FOR ADDITIONAL AND SPECIFIC INFORMATION>>>>>

IMPORTANT FINAL WORDS
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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