Issue link: https://digital.copcomm.com/i/1339678
16 C I N E M O N T A G E C O M M I T T E E N E W S n o t s e e f i l m m a k i n g i n t h e i r f u t u re because they don't often see directors, editors or cinematographers within their own environment. Best known for the 2018 live-action/ animation hybrid "Mowgli: Legends of the Jungle," Alex Márquez, ACE, grew up in the predominately white neigh- borhood of Bel Air and didn't see himself differently. "But I'd never heard of what an editor was, I only knew about the actor. I didn't know about film school or that I could work on a movie." "I never knew there were opportuni- ties to work in movies, and that's what this panel is for—to bring awareness," added Cuban-American editor Jessica Hernández, ACE, who won a Peabody Award for the documentary "Bhutto." Márquez's last two projects were Spanish-language f ilms but he had a tough time finding Spanish-speaking assistant editors. "Now I'm going to get a ton of resumes, which is great!" "When I got older, I started asking why is everyone the same color?" Hernández continued. Recalling the first time she was around another Latinx filmmaker in a decision-making role: "Working with Alex was the first time I worked with another Latino editor, and until I worked with Susy, I hadn't seen another female Latin editor." "Someone mentioned he'd never seen so many Latino editors in one place. This is a first for me too. I've only worked with a handful of Hispanic filmmakers in my career," added Mexican-American television editor Oscar Rene Lozoya, who has cut cop procedural mainstays such as "Chicago Fire" and "Law & Order: SVU" after getting his start as a post-produc- tion assistant at Wolf Films. BUSTING STEREOTYPES Sabrina Gimenez got her start as an assistant editor on P uer to R ican director Miguel Arteta's comedy "Like A Boss." Touting one's Latinx heritage as a filmmaker could also be a double-edged swo rd , a s s h e s aw f ro m h e r d ay s o f cutting trailers. "As soon as they know you're Latinx, you're assigned all the Latin content, so some of my colleagues stayed silent. Just because you're Latinx doesn't mean you can only cut Span- ish-language material." When it comes to stereotypes, many feel you have to work twice as hard to combat some preconceived notions. On the studio lot where Lozoyo has been wo r k i n g f re q u e n t ly fo r 1 0 ye a rs, h e has been mistaken for the valet, main- tenance or kitchen staff many times. "It's embedded in the mind of some in the industry that we only occupy the non-creative positions." Latin-themed projects aren't neces- sarily easy to find, either. "It's not easier because there just aren't that many Lati- no projects going around. There are certain shows that are labeled Latino that are not very good or projects the wrong message. There has to be a shift of who is making these films and the talent behind the scenes," said Márquez, who often has to specifically ask his agents to look for Latin-centric projects. With the Latinx population being one of the largest blocks of entertainment consumers, Hernández is surprised they're still considered a specialty demo. "They could be getting huge hits [from Latinx consumers] but they're still seen as a niche market," she said. "Just looking at the bottom line, the studios could be making a lot more money." ICONIC PORTRAYALS? With the Selena movie wallpaper adorning the [Zoom] screen and sultry Latin rhythms playing in the background, the second panel—"Latinx Movies That Inspired Us"—paid tribute to some of the iconic films many viewers have grown up with. Moderated by "Narcos: Mexico" ed- itor Joaquin Elizondo, the panel offered a trip down memory lane via movie clips from some of the most iconic English-lan- guage Latinx-themed films, beginning with the Oscar-winning musical drama "West Side Story." Nonetheless, contem- porary audiences have differing opinions when it comes to how Puerto Ricans have been portrayed in movies such as the classic musical. As a native Puerto Rican, "The Morn- ing Show" editor Aleshka Ferrero was less than thrilled about how her commu- nity was portrayed in the classic. "It's such a wonderful musical with amazing choreography," she said. "But I don't recognize my people when I watch it – it feels more like what white Hollywood perceives Puerto Ricans to be." Best known for indies "Chuck & Buck" and "The Good Girl," veteran director Mi- Karen Castaneda, left, Julio Perez, and Aleshka Ferrero. P H O T O : J A S O N R Y A N