Catalonia has a rich filmmaking tradition backed by public investment in local artists and production companies. Four years ago, the region expanded its existing financing structures by launching its Minority Co-Production Fund. It’s now beginning to prove to be a success story.
The fund provides financing to films with at least one Catalan minority co-producer, showcasing the region’s talent and helping local companies grow their international networks.
Launched in 2020, the fund initially had a budget of €1.5 million ($1.6 million) ear- marked to support up to five high-end films annually. Since then, the number of projects backed has steadily increased, with total funding rising to €2 million ($2.2 million) annually, capped at €300,000 per title.
“When we launched, the goal was to provide Catalan producers with the best conditions and framework to enhance and promote their creative, professional and artistic exchanges in the international arena,” says Edgar Garcia, director of the governmental culture industry unit Icec,...
The fund provides financing to films with at least one Catalan minority co-producer, showcasing the region’s talent and helping local companies grow their international networks.
Launched in 2020, the fund initially had a budget of €1.5 million ($1.6 million) ear- marked to support up to five high-end films annually. Since then, the number of projects backed has steadily increased, with total funding rising to €2 million ($2.2 million) annually, capped at €300,000 per title.
“When we launched, the goal was to provide Catalan producers with the best conditions and framework to enhance and promote their creative, professional and artistic exchanges in the international arena,” says Edgar Garcia, director of the governmental culture industry unit Icec,...
- 5/14/2024
- by Jamie Lang
- Variety Film + TV
Over the last seven years, Catalonia has built a thriving film industry which has been the envy of other regions across Europe, boasting a thriving co-production scene, a burgeoning animation industry, a 2022 Berlin Golden Bear with Clara Simon’s “Alcarrás,” and a bevy of prizes at 2023’s Berlinale, thanks to “20,000 Species of Bees.”
Catalonia even brought down the flag with Simon’s “Summer 1993,” a 2017 Berlin Best First Feature Film winner, on what could be hailed as a first film movement in Spain in decades: Fiction films grounded in a large sense upon a specific place, but talking about big social or gender issues.
Now Catalonia is attempting to achieve the same impact with its TV industry. Its early results led by “This Is Not Sweden,” will play out at Content Americas and most especially Sweden Göteborg Festival’s TV strand, TV Drama Vision.
Bowing November in Spain on...
Catalonia even brought down the flag with Simon’s “Summer 1993,” a 2017 Berlin Best First Feature Film winner, on what could be hailed as a first film movement in Spain in decades: Fiction films grounded in a large sense upon a specific place, but talking about big social or gender issues.
Now Catalonia is attempting to achieve the same impact with its TV industry. Its early results led by “This Is Not Sweden,” will play out at Content Americas and most especially Sweden Göteborg Festival’s TV strand, TV Drama Vision.
Bowing November in Spain on...
- 1/24/2024
- by John Hopewell
- Variety Film + TV
Validated at Cannes by a big U.S. sale for Pablo Berger’s “Robot Dreams,” Catalan animation is on a roll – thanks to ambitious creatives muscular state funding, cutting edge talent and diverse stories that captivate global audiences.
“Catalonia’s long had a strong tradition of important animation production companies, which developed ambitious projects,” Edgar Garcia, general director of Catalan cultural company agency Icec, told Variety.
“Over the years, this resulted in the creation of smaller studios with highly qualified professionals on the creative and technical sides. Those studios and professionals are now working for productions all over the world,” he added.
Garcia points to a dedicated Icec fund for animation, features and series, with a €4.5 million ($4.9 million) budget for 2023. Of course, we believe this support scheme reflects the quality and creativity of Catalan animation, but has also helped nurture it. As the whole of the audiovisual production in Catalonia,...
“Catalonia’s long had a strong tradition of important animation production companies, which developed ambitious projects,” Edgar Garcia, general director of Catalan cultural company agency Icec, told Variety.
“Over the years, this resulted in the creation of smaller studios with highly qualified professionals on the creative and technical sides. Those studios and professionals are now working for productions all over the world,” he added.
Garcia points to a dedicated Icec fund for animation, features and series, with a €4.5 million ($4.9 million) budget for 2023. Of course, we believe this support scheme reflects the quality and creativity of Catalan animation, but has also helped nurture it. As the whole of the audiovisual production in Catalonia,...
- 5/23/2023
- by Holly Jones
- Variety Film + TV
Somewhat likable if too silly for its own good, Puerto Ricans in Paris is the kind of film that might one day find itself adapted into a sitcom. Directed by Ian Edelman from a script co-written by Edelman and Neel Shah, the flick finds two NYPD detectives Luis (Luis Guzmán) and Eddie (Edgar Garcia) in Paris on the hunt for a stolen designer handbag. Experts at detecting Canal Street knock-offs, they’re retained by a sexy Paris designer Colette (Alice Tagloni) and her business partner Vincent (Frederic Anscombre) to chase down leads including a young apprentice, a publicist, and a broke model who recently and mysteriously just purchased a vineyard.
Both men come equipped with drama; Luis is a playboy whose been casually seeing Vanessa (Rosario Dawson) until she wants more while Eddie, a family man, is so financially stretched he’s unable to give Rosie Perez‘s Gloria, his wife and also Luis’ sister, a decent anniversary night out. There’s the set up and the film doesn’t quite deliver a great punch-line, although it has many a beat you’d expect with a few laughs along the way. Students of the buddy comedy will surely find the picture to be comfort food.
The most delightful thing about feature is Guzmán in his first leading role. He’s as funny as ever, even if the material doesn’t give him much to work with. Puerto Ricans in Paris is such a sitcom that it plays like one of those special episodes where the characters are taken out of the studio and let loose in the wild. A film seen in theaters probably shouldn’t recall the special two-part episode of Perfect Strangers that found Larry and Balki running for their life after accidentally taping a mob murder in La, but this one is pretty much that.
Puerto Ricans in Paris finds Luis and Eddie in a string of improbable situations, right down to a fitting montage that doesn’t quite work to drinking gags as they insert themselves into Persian life after hours — it’s all quite trite. One early bartering scene which finds our guys dressed as Sheiks is downright culturally embarrassing for all (mostly the film’s audience) without much of a pay-off. I’m sure not even Jeff Franklin, creator of Full House, Bosom Buddies and Hanging With Mr. Cooper, would have signed off on a gag that dumb in the 1990s. Other gags and pay-offs inspire that “ah ha” moment, and one nice thing to be said for its script is it leaves no loose ends, an ideal exercise in narrative economy.
The grand takeaway from Puerto Ricans in Paris, which delivers what you’d expect and not much else, is that someone ought to finally give Luis Guzmán the leading role of a lifetime. The film, however, is tolerable on cable or free TV. It certainly isn’t the worst film you can check into for a few minutes, although that depends on which point you check in.
Puerto Ricans in Paris is now playing in select theaters and is available on VOD.
Both men come equipped with drama; Luis is a playboy whose been casually seeing Vanessa (Rosario Dawson) until she wants more while Eddie, a family man, is so financially stretched he’s unable to give Rosie Perez‘s Gloria, his wife and also Luis’ sister, a decent anniversary night out. There’s the set up and the film doesn’t quite deliver a great punch-line, although it has many a beat you’d expect with a few laughs along the way. Students of the buddy comedy will surely find the picture to be comfort food.
The most delightful thing about feature is Guzmán in his first leading role. He’s as funny as ever, even if the material doesn’t give him much to work with. Puerto Ricans in Paris is such a sitcom that it plays like one of those special episodes where the characters are taken out of the studio and let loose in the wild. A film seen in theaters probably shouldn’t recall the special two-part episode of Perfect Strangers that found Larry and Balki running for their life after accidentally taping a mob murder in La, but this one is pretty much that.
Puerto Ricans in Paris finds Luis and Eddie in a string of improbable situations, right down to a fitting montage that doesn’t quite work to drinking gags as they insert themselves into Persian life after hours — it’s all quite trite. One early bartering scene which finds our guys dressed as Sheiks is downright culturally embarrassing for all (mostly the film’s audience) without much of a pay-off. I’m sure not even Jeff Franklin, creator of Full House, Bosom Buddies and Hanging With Mr. Cooper, would have signed off on a gag that dumb in the 1990s. Other gags and pay-offs inspire that “ah ha” moment, and one nice thing to be said for its script is it leaves no loose ends, an ideal exercise in narrative economy.
The grand takeaway from Puerto Ricans in Paris, which delivers what you’d expect and not much else, is that someone ought to finally give Luis Guzmán the leading role of a lifetime. The film, however, is tolerable on cable or free TV. It certainly isn’t the worst film you can check into for a few minutes, although that depends on which point you check in.
Puerto Ricans in Paris is now playing in select theaters and is available on VOD.
- 6/16/2016
- by John Fink
- The Film Stage
Chicago – Occasionally, a film breaks through the miasma of images, and proclaims its uniqueness by just being weird. Case in point, the strange and wacky “Puerto Ricans in Paris,” which may have been created after two rich film producers made a one dollar bet (ala “Trading Places”) that they could come up with a movie simply based on the title.
Rating: 3.5/5.0
With a plot that would be at home in a 1970s cop drama – New York City undercover cops of Puerto Rican heritage go to Paris to break up a counterfeit designer purse crime – the absurdity of the situation and the actors playing the cops are almost secondary to the off-the-grid humor that emerges both because of and despite the situation. The film also looks good, better than would be expected for such a story, and Paris gets its due as a destination. One of the best examples of the bizarre nature of the way this film was approached, is the casting of Edgar Garcia (whose only major credit was in HBO’s “How to Make it in America,” created by Ian Edelman, the director of this film). He portrays the more romantic of the two cops in Paris, despite his tattooed girth and bald head. Obviously, Edgar has something on Ian.
Luis (Luis Guzmán) and Eddie (Edgar Garcia) are undercover New York City cops, whose beat is busting counterfeit designer purse criminals. After a successful exposure of a one such crook, they are approached by a Paris designer named Collette (Alice Taglioni) to come to the City of Lights to retrieve a hot designer bag – stolen right before its anticipated release.
Lured by a large reward, the two fish-out-of-water lawmen start living in luxury in Paris, while coming up with ever more outlandish ways to check out Collette’s staff for the possible thief. In the meantime, the same Collette has a crush on Eddie, which wouldn’t sit right with his wife Gloria (Rosie Perez). There are many complications to consider before this case can be solved.
”Puerto Ricans in Paris” continues its limited release in Chicago on June 10th, and is available through digital download. See local listings for theaters and showtimes, plus see digital providers for availability. Featuring Luis Guzman, Edgar Garcia, Rosario Dawson, Rosie Perez, Miriam Shor and Alice Taglioni. Written by Ian Edelman and Neel Shah. Directed by Ian Edelman. Rated “R”
Continue reading for Patrick McDonald’s full review of “Puerto Ricans in Paris”
Luis (Luis Guzmán) and Eddie (Edgar Garcia) in ‘Puerto Ricans in Paris’
Photo credit: Focus World
Continue reading for Patrick McDonald’s full review of “Puerto Ricans in Paris”...
Rating: 3.5/5.0
With a plot that would be at home in a 1970s cop drama – New York City undercover cops of Puerto Rican heritage go to Paris to break up a counterfeit designer purse crime – the absurdity of the situation and the actors playing the cops are almost secondary to the off-the-grid humor that emerges both because of and despite the situation. The film also looks good, better than would be expected for such a story, and Paris gets its due as a destination. One of the best examples of the bizarre nature of the way this film was approached, is the casting of Edgar Garcia (whose only major credit was in HBO’s “How to Make it in America,” created by Ian Edelman, the director of this film). He portrays the more romantic of the two cops in Paris, despite his tattooed girth and bald head. Obviously, Edgar has something on Ian.
Luis (Luis Guzmán) and Eddie (Edgar Garcia) are undercover New York City cops, whose beat is busting counterfeit designer purse criminals. After a successful exposure of a one such crook, they are approached by a Paris designer named Collette (Alice Taglioni) to come to the City of Lights to retrieve a hot designer bag – stolen right before its anticipated release.
Lured by a large reward, the two fish-out-of-water lawmen start living in luxury in Paris, while coming up with ever more outlandish ways to check out Collette’s staff for the possible thief. In the meantime, the same Collette has a crush on Eddie, which wouldn’t sit right with his wife Gloria (Rosie Perez). There are many complications to consider before this case can be solved.
”Puerto Ricans in Paris” continues its limited release in Chicago on June 10th, and is available through digital download. See local listings for theaters and showtimes, plus see digital providers for availability. Featuring Luis Guzman, Edgar Garcia, Rosario Dawson, Rosie Perez, Miriam Shor and Alice Taglioni. Written by Ian Edelman and Neel Shah. Directed by Ian Edelman. Rated “R”
Continue reading for Patrick McDonald’s full review of “Puerto Ricans in Paris”
Luis (Luis Guzmán) and Eddie (Edgar Garcia) in ‘Puerto Ricans in Paris’
Photo credit: Focus World
Continue reading for Patrick McDonald’s full review of “Puerto Ricans in Paris”...
- 6/13/2016
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Back in the 1980s, films like Lethal Weapon and 48 Hours were instrumental in the creation and popularization of the modern buddy cop comedy, and ever since, countless other releases — from Rush Hour to 21 Jump Street — have built franchises off of the appeal of a mismatched pair of do-gooders who bicker just as often as they take down the criminal element. It’s with this history in its rearview that Puerto Ricans in Paris must contend, as it attempts to provide its own take on the tried-and-true broad appeal that the buddy cop genre has cultivated over the past 30 years.
The film stars character actor Luis Guzmán — who also produces the film — and Edgar Garcia (not to be confused with the mixed martial artist with whom he shares his name) as two New York City cops who are recruited to track down a stolen purse in Paris and prevent an elaborate counterfeiting scheme.
The film stars character actor Luis Guzmán — who also produces the film — and Edgar Garcia (not to be confused with the mixed martial artist with whom he shares his name) as two New York City cops who are recruited to track down a stolen purse in Paris and prevent an elaborate counterfeiting scheme.
- 6/10/2016
- by Robert Yaniz Jr.
- We Got This Covered
When two of New York’s (Puerto Rican) finest head to Paris in search of a kidnapped purse, hilarity should hopefully follow. And it mostly does in Luis Guzmán’s latest comedy, Puerto Ricans in Paris. No rules, no “merci” is the tagline, and the movie lives up to it. It never makes the fatal mistake of many comedies, of taking itself too seriously. Instead, it works because it conveys with pride its light touch and slapstick humor.
Guzmán plays the lead character, NYPD detective Luis, who, along with his partner Eddie is in charge of a beat that traces counterfeit items in Chinatown. After a successful takedown, they are approached by a beautiful French designer, Collette, and her business partner. The duo wants the cops to track down an important new handbag Collette designed that has been stolen and is being held for ransom. Eddie is played by the comedic actor Edgar Garcia,...
Guzmán plays the lead character, NYPD detective Luis, who, along with his partner Eddie is in charge of a beat that traces counterfeit items in Chinatown. After a successful takedown, they are approached by a beautiful French designer, Collette, and her business partner. The duo wants the cops to track down an important new handbag Collette designed that has been stolen and is being held for ransom. Eddie is played by the comedic actor Edgar Garcia,...
- 6/9/2016
- by J Don Birnam
- LRMonline.com
Luis Guzman, Edgar Garcia, Rosario Dawson, Rosie Perez, Miriam Shor, Lilou Fogli, Julie Ferrier, Charlotte Mangel, Frederic Ansombre, and others star in the comedy "Puerto Ricans in Paris" - a USA/France/Czech Republic co-production directed by Ian Edelman (HBO’s "How to Make It in America"), with a story that follows 2 detectives working in NYPD’s Luxury Goods Recovery Unit, who are responsible for taking down bootleggers selling knockoff consumer items. The 2 cops are played by Luiz Guzmán and Edgar Garcia, a series regular on "How to Make It in America." The pair is sent to Paris to help a French designer recover a bag that is of some...
- 4/29/2016
- by Tambay A. Obenson
- ShadowAndAct
Forging a career out unforgettable performances in both independent classics and studio fare as well countless television roles, Rosie Perez is one of the most successful and well-regarding Latina actresses working in the tumultuous entertainment industry. Her unquestionable talent has helped her surpass the unspoken and hindering stereotypes that plague Hollywood, and though the road has been anything but easy, her prolific body of work speaks for itself.
Perez recently attended the Gasparilla International Film Festival in Tampa to support the film “Puerto Ricans in Paris, “ in which she appears alongside Luis Guzmán , Rosario Dawson, and Edgar Garcia.
We sat down with her to discuss the humorous caper about two Puerto Rican American detectives solving a case in the European capital, her perception on diversity in Hollywood, and how “Fearless” became a surprising success that earned her an Academy Award nomination.
Carlos Aguilar: “Puerto Ricans in Paris” is a project that literally has some of the biggest Puerto Rican talent in Hollywood gathered in one film. How did your involvement with the project come about? I understand you are friends with the mastermind behind the film Luis Guzmán.
Rosie Perez: Louie just called me up and he said, “Mija, I need a favor” [Laughs]. I said, “Ok, that means no money,” and he just started laughing [Laughs]. I said, “Whatever it is you got it. What is it?” Then he said, “Oh it’s this movie that means so much to me.” I went, “Oh shit, send me the script firs!" [Laughs]. He did and I thought it was funny, so I said I’ll do it. That was it. It was as simple as that. There was no agents involved, no managers, it was just that phone call. Later he did forwarded the script to my agent, but literally it was that simple.
Aguilar: Seems like it was one of those rare cases when things work out easily in Hollywood thanks to good relationships and friendships.
Rosie Perez: Yes, that’s very rare.
Aguilar: What did you find appealing about this story? It’s definitely a fish out of water tale about these two men from New York in a culturally foreign environment . Was it simple the fact that it's quite funny, the themes within it, or was it because you knew everyone involved?
Rosie Perez: It’s a little bit of all the above, but I think mainly it was that it was funny and secondly I would say that it’s about friendship and family, so I liked that. I just couldn’t wait to see the club scene. You first see it on paper, but I was like, “Oh I gotta see this!” [Laughs]. It’s a comedy about being someone’s friend and being family, that’s what drew me to it.
Aguilar: You've had a prolific career between your work in television and incredibly memorable film roles. At this point in you career how do you decide what is a role you want to pursue, in particular with Hollywood still unwilling to create more roles for people outside their mold?
Rosie Perez: If it hits me right and if it’s not insulting then I consider it, because as you know, most recently with the Oscars controversy, Hollywood is tough for people of color. When they say, “We are going to create more roles for people of color,” they are stereotypical roles and they are insulting roles, and we are like, “That’s not it people.” I’m going on almost 30 years, I’m lucky and I’m very grateful, but it’s still not a walk in the park. I think it is also because I’m choosy with roles. I’m at an age where I don’t want to do something if I don’t have to do it. Even with the TV show, I had enough. I did it for a year, I was contracted for three years, and I said, “No, I don’t want to do this anymore.” That’s what happens when you get older, you get to that point. You want to enjoy life. You want life to be good. At the end of the day you don’t want to think, “What the hell was I doing?” [Laughs]. “Why did I do this?” or “Why didn’t I walk away from that?" Or “Why did I accept that?” That’s how my decision-making works. With this film I really liked that all my scenes were in New York because I like to stay home a lot. I’m a homebody. I’m a girl who was in the clubs since I was 14-years-old, I’m done with that, I’m over it [Laughs].
Aguilar: It’s definitely important to know when to say no.
Rosie Perez: Exactly, and I say no. I say no a lot. I’m grateful that work still comes my way. Forget about me being of color, I’m a woman. Then when you are over 40, you are like, “Oh shit,” you know? [Laughs].
Aguilar: Hollywood seems to pile on these barriers on people. Being a woman of color over 40 is disgracefully a no-go for studios. Is't insane to think we haven't gotten over all those prejudices, why do you think that's still the case?
Rosie Perez: Because it’s still a male-dominated industry. That said, I have to repeat myself, I’m very fortunate because I know a lot of actresses that are super talented that just don’t get work. They don’t get the offers, they don’t get the auditions, they don’t get the opportunities, and it’s so unfair. I’m really not complaining.
Aguilar: You were were nominated for an Academy Award for “Fearless" back in the 90s, considering the recent Oscar controversy and the state of diversity in Hollywood, how difficult was it to make that happen from getting the role to getting the industry's attention back then?
Rosie Perez: I think “Fearless” happened not because of Hollywood. Hollywood didn’t believe in it. They threw their marketing dollars on a different film. But when the Berlin Film Festival picked up the movie and said, "This was exquisite," and everyone was throwing awards at us, I think that's when the Academy was like, "Wait a minute what is this film." We went over to Europe and it was a smash hit. We'd drive down Champs Élysées and we'd see the movie poster for "Fearless," and I'd go, "Oh my God. This is a dream." I really thought I was in a fairytale. That had never happened to me. I found out about the Oscar nomination while we were still in Berlin. I think that's what happened.
It's wonderful on one end and on the other end it was unfortunate that it took Europe to make America say, "Oh this is a good film and there are really good performances in it." This is one of the instances where the role was not insulting, it wasn't stereotypical, and it wasn't for a Puerto Rican American. I had to fight for it. I think I was like the 80th-something person they had seen. They kept saying, "No, no, no she is not right." All they kept thinking was "White Men Can't Jump." My agents at the time were like, "Just give her a chance," and the director was not from America so he didn't have any prejudices or preconceived notions of what I could do or who I was. I had to do four call backs, and I did it. I didn't complaint not one bit. When you really want something in life you work for it. You go through the mud. Being at the Oscars was great as well was the Golden Globes. That's what I mean when I say I'm not complaining.
Aguilar: iI's strange and unfortunate that sometimes there is a need for outside sources to validate the quality of a film rather than just looking at the performances and the quality of the material.
Rosie Perez: I don't think that's the case all the time, but it is the case sometimes and that's unfortunate. I just have hope for the Academy. I have hope for Hollywood. I'm a very hopeful person in general. Things will change, but it's not about just one minority group. Asians and Native Americans get it the worst and nobody is rooting for them. Let's hope it changes for everyone. That's what I would like to see.
Aguilar: In "Puerto Ricans in Paris" the two Puerto Rican leads are detectives. They are not stereotypical roles that are usually assigned to Latino talent or secondary characters to a white lead. Do you think this has to do with the fact that a big part of the creative talent was Latino?
Rosie Perez: Yes! Louie had to do his own thing. He got the screenwriter with whom he had done "How to Make it in America." Louie is a very forward-thinking person and I hope with this film people start recognizing that. I knew it when I first met him. He was like, "We gotta stick together mama. We are gonna change things," and I was like, "I believe you." Everybody was like,"Nah," but I was like," I believe you," because he said it with such fortitude. And he did it right because in this film I play a middle-class wife. That could have been anybody. It could have been "White People in Paris," "Black People in Paris," or "Asian People in Paris." It could have been anything but it was "Puerto Ricans in Paris" because a Puerto Rican American actor took the initiative and said "I'm going to make this movie and I'm gonna show them that we are just like you. We are not a novelty. We are human beings." That's why this is a great thing. It really is. It came off like a commercial film, but I was pleasantly surprised
Aguilar: But definitely the fact that is a commercial film will help it cross over to any audience. It doesn't have to be just a "Latino film."
Rosie Perez: Thats right!.
Aguilar: Would you say in order to see significant change in the way opportunities are created and offered, we, as minorities, have to create our own opportunities or what would be the best approach?
Rosie Perez: I think you do have to create your own opportunities, but you also have to fight to have opportunities being created for you by the studios. You can't just fight that one fight, you have to fight the good fight and that means covering all the basis. Things are changing, but it is unfortunate that we are still at this point. Things have gotten better but sometimes we take one step forward and two steps back.
Aguilar: "Puerto Ricans in Paris" is going to be released later this year, but you already have several other upcoming projects. Can you tell about your recent role in Maris Curran's film and what other adventures you are embarking on?
Rosie Perez: Well "Five Nights in Maine" was another film that the director didn't see me for but she wanted to meet me, which was weird. I thought, "Why do you want to meet me if you don't see me for the role," but I was like, "Ok I'll meet you whatever." We sat down and we talked and after our luncheon she called Diane Wiest and said, "I think I found the nurse and its Rosie Perez," Diane Wiest just went, "Wonderful!" It was that simple. She wasn't like, "Really?" It's a very dark film. It's beautifully shot, it's very moody, David Oyelowo is excellent in it and so is Diane Wiest. It's a very quiet film, and for it to be so dark there is a ll of light in it. There is a lot of outdoors shots and the house is bright in Maine. I'm glad people have responded to it.
Right now I'm just ping-ponging around between projects. I'm producing a project with Edward Norton's company with executive producer Bill Migliore. It's very exciting to me and very challenging to me because Bill and Edward are very challenging people. They don't want to take one step forward until something is right. Right now we are writing the script. We thought we were done and I said, "We thought you said yes to the script," then they went, "Yeah but now comes the real work." It's been a mind-blowing experience. I'm writing and producing but I'm not acting in it. I'm behind the scenes this time. Louie is attached and so is Zoe Saldana. But right now is all about the script. I get excited because I feel stimulated. When you get off the phone and you just had a four hour script meeting and you are like, "What time is it? Oh my God I have to make dinner for my husband. We've been on the phone for four hours? Are you kidding me?" and you don't feel exhausted, you feel invigorated and you can't wait to go back and star writing off of the notes, it's special. We haven't even made the damn movie and it's just been such a special experience for me. It really has.
Perez recently attended the Gasparilla International Film Festival in Tampa to support the film “Puerto Ricans in Paris, “ in which she appears alongside Luis Guzmán , Rosario Dawson, and Edgar Garcia.
We sat down with her to discuss the humorous caper about two Puerto Rican American detectives solving a case in the European capital, her perception on diversity in Hollywood, and how “Fearless” became a surprising success that earned her an Academy Award nomination.
Carlos Aguilar: “Puerto Ricans in Paris” is a project that literally has some of the biggest Puerto Rican talent in Hollywood gathered in one film. How did your involvement with the project come about? I understand you are friends with the mastermind behind the film Luis Guzmán.
Rosie Perez: Louie just called me up and he said, “Mija, I need a favor” [Laughs]. I said, “Ok, that means no money,” and he just started laughing [Laughs]. I said, “Whatever it is you got it. What is it?” Then he said, “Oh it’s this movie that means so much to me.” I went, “Oh shit, send me the script firs!" [Laughs]. He did and I thought it was funny, so I said I’ll do it. That was it. It was as simple as that. There was no agents involved, no managers, it was just that phone call. Later he did forwarded the script to my agent, but literally it was that simple.
Aguilar: Seems like it was one of those rare cases when things work out easily in Hollywood thanks to good relationships and friendships.
Rosie Perez: Yes, that’s very rare.
Aguilar: What did you find appealing about this story? It’s definitely a fish out of water tale about these two men from New York in a culturally foreign environment . Was it simple the fact that it's quite funny, the themes within it, or was it because you knew everyone involved?
Rosie Perez: It’s a little bit of all the above, but I think mainly it was that it was funny and secondly I would say that it’s about friendship and family, so I liked that. I just couldn’t wait to see the club scene. You first see it on paper, but I was like, “Oh I gotta see this!” [Laughs]. It’s a comedy about being someone’s friend and being family, that’s what drew me to it.
Aguilar: You've had a prolific career between your work in television and incredibly memorable film roles. At this point in you career how do you decide what is a role you want to pursue, in particular with Hollywood still unwilling to create more roles for people outside their mold?
Rosie Perez: If it hits me right and if it’s not insulting then I consider it, because as you know, most recently with the Oscars controversy, Hollywood is tough for people of color. When they say, “We are going to create more roles for people of color,” they are stereotypical roles and they are insulting roles, and we are like, “That’s not it people.” I’m going on almost 30 years, I’m lucky and I’m very grateful, but it’s still not a walk in the park. I think it is also because I’m choosy with roles. I’m at an age where I don’t want to do something if I don’t have to do it. Even with the TV show, I had enough. I did it for a year, I was contracted for three years, and I said, “No, I don’t want to do this anymore.” That’s what happens when you get older, you get to that point. You want to enjoy life. You want life to be good. At the end of the day you don’t want to think, “What the hell was I doing?” [Laughs]. “Why did I do this?” or “Why didn’t I walk away from that?" Or “Why did I accept that?” That’s how my decision-making works. With this film I really liked that all my scenes were in New York because I like to stay home a lot. I’m a homebody. I’m a girl who was in the clubs since I was 14-years-old, I’m done with that, I’m over it [Laughs].
Aguilar: It’s definitely important to know when to say no.
Rosie Perez: Exactly, and I say no. I say no a lot. I’m grateful that work still comes my way. Forget about me being of color, I’m a woman. Then when you are over 40, you are like, “Oh shit,” you know? [Laughs].
Aguilar: Hollywood seems to pile on these barriers on people. Being a woman of color over 40 is disgracefully a no-go for studios. Is't insane to think we haven't gotten over all those prejudices, why do you think that's still the case?
Rosie Perez: Because it’s still a male-dominated industry. That said, I have to repeat myself, I’m very fortunate because I know a lot of actresses that are super talented that just don’t get work. They don’t get the offers, they don’t get the auditions, they don’t get the opportunities, and it’s so unfair. I’m really not complaining.
Aguilar: You were were nominated for an Academy Award for “Fearless" back in the 90s, considering the recent Oscar controversy and the state of diversity in Hollywood, how difficult was it to make that happen from getting the role to getting the industry's attention back then?
Rosie Perez: I think “Fearless” happened not because of Hollywood. Hollywood didn’t believe in it. They threw their marketing dollars on a different film. But when the Berlin Film Festival picked up the movie and said, "This was exquisite," and everyone was throwing awards at us, I think that's when the Academy was like, "Wait a minute what is this film." We went over to Europe and it was a smash hit. We'd drive down Champs Élysées and we'd see the movie poster for "Fearless," and I'd go, "Oh my God. This is a dream." I really thought I was in a fairytale. That had never happened to me. I found out about the Oscar nomination while we were still in Berlin. I think that's what happened.
It's wonderful on one end and on the other end it was unfortunate that it took Europe to make America say, "Oh this is a good film and there are really good performances in it." This is one of the instances where the role was not insulting, it wasn't stereotypical, and it wasn't for a Puerto Rican American. I had to fight for it. I think I was like the 80th-something person they had seen. They kept saying, "No, no, no she is not right." All they kept thinking was "White Men Can't Jump." My agents at the time were like, "Just give her a chance," and the director was not from America so he didn't have any prejudices or preconceived notions of what I could do or who I was. I had to do four call backs, and I did it. I didn't complaint not one bit. When you really want something in life you work for it. You go through the mud. Being at the Oscars was great as well was the Golden Globes. That's what I mean when I say I'm not complaining.
Aguilar: iI's strange and unfortunate that sometimes there is a need for outside sources to validate the quality of a film rather than just looking at the performances and the quality of the material.
Rosie Perez: I don't think that's the case all the time, but it is the case sometimes and that's unfortunate. I just have hope for the Academy. I have hope for Hollywood. I'm a very hopeful person in general. Things will change, but it's not about just one minority group. Asians and Native Americans get it the worst and nobody is rooting for them. Let's hope it changes for everyone. That's what I would like to see.
Aguilar: In "Puerto Ricans in Paris" the two Puerto Rican leads are detectives. They are not stereotypical roles that are usually assigned to Latino talent or secondary characters to a white lead. Do you think this has to do with the fact that a big part of the creative talent was Latino?
Rosie Perez: Yes! Louie had to do his own thing. He got the screenwriter with whom he had done "How to Make it in America." Louie is a very forward-thinking person and I hope with this film people start recognizing that. I knew it when I first met him. He was like, "We gotta stick together mama. We are gonna change things," and I was like, "I believe you." Everybody was like,"Nah," but I was like," I believe you," because he said it with such fortitude. And he did it right because in this film I play a middle-class wife. That could have been anybody. It could have been "White People in Paris," "Black People in Paris," or "Asian People in Paris." It could have been anything but it was "Puerto Ricans in Paris" because a Puerto Rican American actor took the initiative and said "I'm going to make this movie and I'm gonna show them that we are just like you. We are not a novelty. We are human beings." That's why this is a great thing. It really is. It came off like a commercial film, but I was pleasantly surprised
Aguilar: But definitely the fact that is a commercial film will help it cross over to any audience. It doesn't have to be just a "Latino film."
Rosie Perez: Thats right!.
Aguilar: Would you say in order to see significant change in the way opportunities are created and offered, we, as minorities, have to create our own opportunities or what would be the best approach?
Rosie Perez: I think you do have to create your own opportunities, but you also have to fight to have opportunities being created for you by the studios. You can't just fight that one fight, you have to fight the good fight and that means covering all the basis. Things are changing, but it is unfortunate that we are still at this point. Things have gotten better but sometimes we take one step forward and two steps back.
Aguilar: "Puerto Ricans in Paris" is going to be released later this year, but you already have several other upcoming projects. Can you tell about your recent role in Maris Curran's film and what other adventures you are embarking on?
Rosie Perez: Well "Five Nights in Maine" was another film that the director didn't see me for but she wanted to meet me, which was weird. I thought, "Why do you want to meet me if you don't see me for the role," but I was like, "Ok I'll meet you whatever." We sat down and we talked and after our luncheon she called Diane Wiest and said, "I think I found the nurse and its Rosie Perez," Diane Wiest just went, "Wonderful!" It was that simple. She wasn't like, "Really?" It's a very dark film. It's beautifully shot, it's very moody, David Oyelowo is excellent in it and so is Diane Wiest. It's a very quiet film, and for it to be so dark there is a ll of light in it. There is a lot of outdoors shots and the house is bright in Maine. I'm glad people have responded to it.
Right now I'm just ping-ponging around between projects. I'm producing a project with Edward Norton's company with executive producer Bill Migliore. It's very exciting to me and very challenging to me because Bill and Edward are very challenging people. They don't want to take one step forward until something is right. Right now we are writing the script. We thought we were done and I said, "We thought you said yes to the script," then they went, "Yeah but now comes the real work." It's been a mind-blowing experience. I'm writing and producing but I'm not acting in it. I'm behind the scenes this time. Louie is attached and so is Zoe Saldana. But right now is all about the script. I get excited because I feel stimulated. When you get off the phone and you just had a four hour script meeting and you are like, "What time is it? Oh my God I have to make dinner for my husband. We've been on the phone for four hours? Are you kidding me?" and you don't feel exhausted, you feel invigorated and you can't wait to go back and star writing off of the notes, it's special. We haven't even made the damn movie and it's just been such a special experience for me. It really has.
- 4/7/2016
- by Carlos Aguilar
- Sydney's Buzz
Read More: First Clip from "Puerto Ricans in Paris" Focus Features has acquired U.S. distribution rghts to Ian Edelman's "Puerto Ricans in Paris" through its multi platform distribution initiative Focus World. The film premiered at La Film Fest this summer and stars Luis Guzmán, Edgar Garcia, Rosario Dawson and Rosie Perez. The dramedy was executive produced by Pitbull and directed by Ian Edelman, who created the HBO series "How to Make it in America." The official synopsis reads "Puerto Rican brothers–in-law Edgar and Luis just happen to be NYC’s two best counterfeit detectives. When the latest, must-have 'It Bag' from celebrated Parisian fashion designer Colette’s new collection has been stolen, they head to Paris in hopes of cracking the case and collecting a handsome fee. With clashing sleuthing styles and personality traits, the comedic duo infuses a bit of color into the City of Lights.
- 10/23/2015
- by Wil Barlow
- Indiewire
Focus World, the multi-platform distribution initiative that is owned and operated by Focus Features, has acquired USA rights to the dramedy "Puerto Ricans in Paris." Making its world premiere at the Los Angeles Film Festival earlier this year (June), the film (a USA/France/Czech Republic co-production) is directed by Ian Edelman (HBO’s "How to Make It in America"), and stars Luiz Guzmánm, Edgar Garcia, Rosario Dawson, Rosie Perez, Alice Taglioni, Miriam Shor, and Frederic Anscombre, in a story that follows 2 detectives working in NYPD’s Luxury Goods Recovery Unit, who are responsible for taking...
- 10/23/2015
- by Tambay A. Obenson
- ShadowAndAct
Plus… Focus World acquires Puerto Ricans In Paris; Abramorama to release Rock In The Red Zone; The Bequest begins Canada shoot; and more.Wolfe Releasing has acquired North American rights from Rj Millard of Obscured Pictures to Joey Kuhn’s Upper East Side gay love triangle drama Those People ahead of a screening at the NewFest New York Lgbt Film Festival this weekend. The film will open on DVD, VOD and multiple digital platforms in the second quarter of 2016, including a limited theatrical release in top markets. Jonathan Gordon, Jason Ralph, Haaz Sleiman, Britt Lower, and Meghann Fahy, Chris Conroy and Allison Mackie star (pictured).
Producer Christine Guenther in Berlin, producer Chevy K Chen in Los Angeles and filmmaker Susan Korda in New York have launched the production label Fireglory aimed at creating independent films guided by an emphasis on equal opportunities for female filmmakers. Documentary Cassette from Zack Taylor is in post and Salomea’s Nose...
Producer Christine Guenther in Berlin, producer Chevy K Chen in Los Angeles and filmmaker Susan Korda in New York have launched the production label Fireglory aimed at creating independent films guided by an emphasis on equal opportunities for female filmmakers. Documentary Cassette from Zack Taylor is in post and Salomea’s Nose...
- 10/22/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
A particularly hard type of film about which to write critically is the comedy of modest ambition that achieves its aim with an acceptable amount of appeal in playing, gags, plot, and outlook, but little more. One does not wish to criticize for not being more (not least as so many are so less), nor to overpraise its slight achievements, leaving one mostly in the territory of reportage, rather than critical appraisal. Which is a way of saying that such a film is Puerto Ricans in Paris, a perfectly inoffensive, oftentimes smile-raising fish-out-of-water/culture-clash comedy that does what it aims to do pretty much without fault.
The Puerto Ricans in question are Luis (Luis Guzmán) and Eddie (Edgar Garcia, like Guzmán, a regular on director Ian Edelman’s HBO series “How To Make It In America), and they play well together – Guzmán furrows his brow a lot, and Garcia is like a nice,...
The Puerto Ricans in question are Luis (Luis Guzmán) and Eddie (Edgar Garcia, like Guzmán, a regular on director Ian Edelman’s HBO series “How To Make It In America), and they play well together – Guzmán furrows his brow a lot, and Garcia is like a nice,...
- 6/18/2015
- by Tom Newth
- SoundOnSight
After creating the HBO 2010 twentysomething series How to Make It in America, Ian Edelman soon turned his attention to feature films, making his directorial debut with Puerto Ricans In Paris, which he co-wrote with Neel Shah. Edelman’s America scribe partner Joseph Zolfo is also producing. The comedy revolves around brothers-in-law, Eddie (Edgar Garcia) and Luis (Luis Guzman), who are highly regarded counterfeit detectives dispatched to Paris to recover a stolen purse. Ros…...
- 6/6/2015
- Deadline
Making its world premiere at the upcoming Los Angeles Film Festival next month - June 10 through June 18 - Luiz Guzmánm, Edgar Garcia, Rosario Dawson, Rosie Perez, Alice Taglioni, Miriam Shor, and Frederic Anscombre star in the dramedy "Puerto Ricans in Paris." Shot last year, the film (a USA/France/Czech Republic co-production) is directed by Ian Edelman (HBO’s "How to Make It in America"), with a story that follows 2 detectives working in NYPD’s Luxury Goods Recovery Unit, who are responsible for taking down bootleggers selling knockoff consumer items. The 2 cops are played not by Dawson and Perez (as some...
- 6/4/2015
- by Tambay A. Obenson
- ShadowAndAct
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