Archive for October, 2008

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“On the Page” Podcast Interview With Paul Battista

October 21, 2008

Podcast Interview with Pilar Alessandra and Paul Battista.

PILAR ALESSANDRA is the director of “On the Page,” and former Senior Story Analyst for DreamWorks and Radar Pictures. She’s trained story analysts at Nickelodeon, MTV, and Final Draft and has taught writing and pitching at numerous film festivals including the Screenwriting Expo where she’s regularly featured as a “star speaker.” Her company “On the Page” provides ongoing classes, workshops and private consultations for screenwriters at all levels.  Classes take a “dig into pages” approach, inspiring students to write or refine their screenplays in a matter of weeks.

Pilar’s ON THE PAGE PODCAST has listeners as far away as Australia and Scotland and regularly appears in the top 100 of film and television podcasts.

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DENNIS DORTCH NOMINATED FOR IFP GOTHAM INDEPENDENT FILM AWARD

October 21, 2008

Congratulations to Dennis Dortch, Director of “A Good Day To Be Black & Sexy”, who has been nominated as BREAKTHROUGH DIRECTOR in the IFP Gotham Independent Film Awards taking place December 2, 2008 in New York City.

The first major awards of the film season, the Gotham Awards™ are juried and provide critical early recognition to worthy independent films. Past winners include JUNO (2007), HALF NELSON (2006), JUNEBUG (2005), all of which went on to numerous awards and Oscar™ nominations for their stars — Ellen Page, Ryan Gosling, and Amy Adams, respectively.

A GOOD DAY TO BE BLACK AND SEXY will screen at the 2008 AFI Film Festival on November 5th and November 7th.

African-American writer-director Dennis Dortch’s smart, sensuous debut explores the ever-shifting balance of power in the tug of war between the genders. Set in Los Angeles over the course of one day, the film is composed of six vignettes about the intimate territory of sexual desire as played out in bedrooms, kitchens and the back seats of cars. Dortch’s take on black sexuality bears no trace of the old stereotypes as defined and analyzed in Donald Bogle’s seminal Toms, Coons, Mulattoes, Mamies & Bucks, a critical work on the history of black stereotypes in Hollywood. Instead, Dortch’s characters are dynamic, his dialogue raw and relaxed, and his visual aesthetic seductive. Some of the scenes are hilarious, most are familiar to romantics of any color, and Dortch elicits great performances from the strong women he has cast—Kathryn Taylor, Chonte Harris, Mylika Davis and Emily Liu. As much as the filmmaking draws, in style and attitude, from wonderful sources—there are nods to Melvin Van Peebles, Charles Burnett, Julie Dash, Spike Lee, French and Italian auteurs and ’90s independents—Dortch has crafted an original, irreverent and fresh American independent film.