In the late eighties, a month after the release of La
Bamba—at the time the biggest
Latino box office hit ever—Newsweek magazine
proclaimed that it was the era of the “Hispanic Hollywood.” That same summer
came the release of the Chicano classic Born in East L.A. written, directed, and starring Cheech
Marin. Compared to the box office smash La
Bamba which made $54 million, Marin’s comedy was only a modest success
making $17 million. But, for Latino films which struggle to make it to millions
in ticket sales these two films were blockbusters that made Hollywood studios
stand up and take notice of the moneymaking potential that laid in the hands of
the Latino moviegoing audience.
The 1980 census had thrown the industry into a tizzy when it
brought to light that the Latino population had grown by more than half since
the previous decade. Then Variety published
a report on the ‘Top 20 Hispanic Markets’ where it revealed that Latinos were a
huge part of the total population of large cities like L.A. and New York, that
they spent 30% more on entertainment than the average American, and that they
held an overall purchasing power of $180 billion (now it’s more than $1
trillion). Movie studio bigwigs suddenly saw dollar signs in the barrios of the
U.S.A. For the first time they saw the advantage of distributing films with
Latino stories, creating bilingual marketing campaigns, and circulating movie
prints that were subtitled or dubbed in Spanish.
In March of 1988, amidst Hollywood’s giddiness over the
Latino box office, Warner Bros. released Stand and Deliver theatrically. It was a small,
independently made Latino film starring the legendary Edward James Olmos and a young Lou
Diamond Phillips. Based on actual events the movie tells the story of Jaime
Escalante (Olmos), a Bolivian immigrant, who teaches math at Garfield High
School in East Los Angeles to mostly Latino students. The school is facing
losing its accreditation and the students are failing miserably. Mr. Escalante,
or Kimo as his students call him, decides to teach AP Calculus against the
advice of the school administration. The chair of the math department says,
“You can’t teach logarithms to illiterates.” Kimo responds, “Students will rise
to the level of expectation.” When a record number of students pass the AP
Calculus exam they are accused of cheating by the Educational Testing Service.
The film, 25 years later, is now a Latino classic thanks in
large part to Edward James Olmos. He not only produced and starred in the film
but also participated in an aggressive grassroots marketing campaign. He
traveled across the country championing the film, doing interviews, setting up
community screenings, and even giving away free tickets to anyone who wanted to
see the film. It’s now one of the most watched Latino films, ever.
LatinoBuzz got a chance to chat with Edward James Olmos about
the 25th anniversary of the film, the state of Latino filmmaking, and the
upcoming release of Filly Brown, a film
his son directed and stars himself along with the late Jenny Rivera in her
first (and sadly last) movie role.
LatinoBuzz: Stand and Deliver earned close to $14
million dollars at the box office. This is a huge feat for a Latino film, even
today. Last year’s most successful Latino movie made a little under $6 million.
What do you think contributed to Stand
and Deliver’s success?
EJO: The biggest
contributor, the biggest factor of its success is the story, hands down the
story. It’s a universal story and we wanted people see it. So, we allowed
people to see it. We practically gave the film away to anyone who wanted to see
it. And because of that the word of mouth was strong. Now practically everyone
has seen this movie. Most students see it at least once before leaving high
school. Sometimes they see it two or three times in school. The usage of the
film by teachers has been incredible. And it’s because of the story. It’s an
inspirational piece, it’s uplifting and it’s not only inspiring for the kids
but for the teachers too.
LatinoBuzz: 25 years after
the release of Stand and Deliver it
is still incredibly difficult to raise funds for a Latino movie. How difficult
was it to raise the money back then? Why do you think it still remains a
challenge to fund a Latino film?
EJO: I think the
budget for the film was $1.2 million. It was really hard to raise the money.
And today it hasn’t changed an inch. It’s still really difficult to make a Latino
film, it’s nearly impossible. I think one of the major factors that make it
difficult to raise the money is that studios have no need to make Latino films.
Because Latinos will go see the Fast and
Furious or some other big budget action movie or a horror film. In fact
about 37% of the people who are going to theaters during the opening weekend of
one of these big budget studio films are Latinos. And it’s even more so for
something like the Fast and the Furious.
It’s closer to about 50% Latinos. They are spending millions of dollars on
movie tickets. The market is very ripe for these fast car action films so
there’s no need to put in a Latino lead actor or have a Latino story. They can
keep it more universal and then don’t nurture Latino talent.
The little Latino talent that is out there, they get cast in
mainstream films and blockbusters—like Selena Gomez the actress in Spring
Breakers—and will be whitewashed. The few Latino actors that are in the
mainstream—someone like Jennifer Lopez, she’s done Anaconda, The Wedding
Planner, mostly mainstream films. She’s done very few Latino-themed pieces,
you can count them on one hand.
I did it differently. Had I done the movies that were offered
to me in my prime, at the height of my career, I would have been alongside the
likes of Denzel Washington. But, I chose not to do those movies. I chose to do Stand and Deliver, American Me, Zoot Suit—Latino
movies that ended up being successful but were not blockbusters. I just wanted
to do my part and get those stories out there before I pass.
Stand and Deliver has been
the most successful thing I have done in my life. So many people have seen it.
There was really no need for me to do anything else. And the fact that we were
able to do the film, it was a miracle.
LatinoBuzz: Your performance
in Stand and Deliver garnered you an
Oscar nomination for Best Actor making you the first American-born Latino to
receive this honor. Do you remember the day you found out you were nominated?
What effect did the nomination have on your acting career?
EJO: I was in
Miami on the set of Miami Vice. It
was around 8:30 in the morning. I was walking from my trailer to the set and
someone walked up to me, someone I didn’t even know. They said, “You were just
nominated for an Oscar.” I asked him, “Excuse me?” And he said, “Yeah, for Stand and Deliver” and then just walked
away. Of course I called my family right away and then Jaime (Escalante). I
called him and woke him up. It was around 5:30 in the morning over there, in
California. I told him, “Congratulations, you just won me an Oscar nomination.”
Jaime said, “What do you mean? That wasn’t my performance, it was yours.” And I
said, “No, it was all you. I just impersonated you. It was all you.”
It’s really difficult to figure out how to make a performance
work, it’s like putting lightning in a bottle. But, it was really just an
impersonation of him. From meeting and watching and observing Jaime I realized
there is a reason why he was successful at teaching, it’s his personality. And
I found that out on set. He was always there on set while we were filming. He
was always standing there next to the camera. I would look at him after
finishing a scene and he would have his arms crossed on his chest, his head
tilted, his eyes a little bit squinted and then he would put his thumb up.
That’s it. He wouldn’t say anything, just the thumbs up.
And as far as the nomination it opened up a big opportunity
for me with a big studio. I signed a development deal. Tom Pollock, who was
head of Universal at the time, asked me what I wanted to make. I got the chance
to make a movie that I had been trying to make for 18 years, American Me. And it was as strong a
movie and as important as Stand and
LatinoBuzz: Stand and Deliver is filled with witty
dialogue that people quote even 25 years later. Some of my favorite lines are,
“You burros have math in your blood” and “His body is decomposing in my
locker.” Any favorite lines of dialogue?
EJO: Oh yeah,
there are so many of them. There’s the one that everyone quotes when he calls
the kid, “the finger man.” And that was all Jaime, all those lines were Jaime.
There was nothing of that stuff that we made up. I rewrote the script, him and
I, we wrote it together. All the dialogue in the shooting script was ours. We
were never credited but we wrote it. He told me line by line what he said. He
remembered everything. The scene where he comes back from the hospital and
surprises the kids. When they yell “Bulldogs, dog-dog-dog-dog” and he says,
“Thank you for babysitting my canguros.” When he makes them line up, “Against
the wall like a snake.” He told me exactly what he said to each kid while they
were standing in line and I put it in there.
The scene where he talks to the guys from ETS (Educational
Testing Service) and they accuse him of cheating, the part that Andy Garcia
plays, he told me exactly what he said to those guys. Exactly that scene, word
for word, was said by Jaime. That scene, the dialogue is meticulously written.
If you go back and watch it again—the rhythm, beat by beat, it is incredibly
written. It’s because Jaime is a mathematician, he was meticulous with details,
you have to be.
I remember lines from a lot the movies I made like Zoot Suit and American Me but most of the ones I remember are from Stand and Deliver.
LatinoBuzz: You are part of
some of the most iconic Latino films. We haven’t had a huge hit like that in a
few years. What do you think it will take to get there again?
I don’t know but the main issue is distribution. Right now I
am focused on April 19th, the release of Filly
Brown. That movie is my cause right now. There have been some major
mistakes around publicity. Pantelion took over the distribution after Indomina
went under. Indomina, they were young and couldn’t handle it, they didn’t know
what they were doing. So, we sold it to Lionsgate/Pantelion and they moved up
the release date, they made it earlier. And I told them that they made the
biggest mistake for a film of this caliber. They aren’t giving people a chance
to find out about the film. They need time for word of mouth to spread. Latinos
and Spanish speakers, they will show up because of Jenny Rivera, because of
their love for her and their love for me. But they are losing out on the chance
to attract an audience of non-Latinos that will love this film. The are going
to do what is always done with Latino films and independent films—putting the
movie out there without giving the audience a chance to find out about it. You
need to give it away and then they will tell other people—and then thousands of
people will find out about it. It takes time. Unfortunately, with this film, if
it works, will probably be attributed to Jenny’s tragic accident.
It’s an issue. Studios want to tell universal stories. We
want to do the same thing. But, we want to use Latino stories with Latino faces
to tell universal stories. We’re only one group. We are all humans and we all
want to tell human stories.
Filly Brown opens in theaters across the country on April 19. The film stars
Gina Rodriguez as a rapper who needs to make it big so she can raise money to
get her mom (Jenny Rivera) out of jail. In conjunction with the film’s release
soundtrack will be available beginning April 16. Filly Brown on Facebook.
Written by Juan Caceres and Vanessa Erazo,
LatinoBuzz is a weekly feature on SydneysBuzz that highlights
Latino indie talent and upcoming trends in Latino film with the specific
objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on Twitter and Facebook.