That blur running his 40-yd. dash at 2011 Combine?  Clemson DB Marcus Gilchrist, drafted in 2nd round by San Diego. 

The business of player evaluation is highly-intense, multi-layered and time consuming — especially when you’re talking about signing young men to lucrative contracts and entrusting them with an opportunity to contribute as a professional athlete. There’s a lot of research into a player, including their on-field performance through close examination of their playing abilities by studying game film. Lots of game film. Studying players in games is really the real proof of whether or not they can play. Yet employers love to look at prospects up close so everything has its place. Also, through those interviews and tests, teams get a clearer picture of where a young man’s head is at. If needed, injuries are evaluated and all players are drug tested.

Giants’ 2011 1st round pick, Nebraska CB, Prince Amukamara shows off ball skills. 

The thing about the Combine is that it’s only one part of the process. Kids will usually have Pro Days in March. Those are single day events, at their respective college campuses, where team representatives can attend and further examine what players do during workouts. Maybe a young man didn’t do as well in a certain drill during the Combine so now he can give it another shot plus I would imagine the nerves can get the best of some with so many eyes on you — hey, they’re human.

No. 1 overall to the Panthers, Auburn QB Cam Newton displays talented arm which led to league’s Rookie of the Year Award.

It’s amazing to think that all of these young men were probably the best in their city, town, state during high school. They move on to college where many more as just as talented, if not more so. That situation is incredibly heightened in the pro ranks. Being given an opportunity is a wonderful blessing. Hopefully, these 300+ athletes will make the most of their chance as they embark on realizing, for most, their childhood dream.

The Super Bowl was first played in 1967 — a simple championship. Now it’s an American.. wait, international phenomenon. It’s big entertainment, and business.

The two teams represent the best from the National Football League’s American Football and National Football Conferences, respectively. Always played on a Sunday, and usually in late-January, now with scheduling changes it’s been moved to early February. Through innovations in media, technology and entertainment value, the Super Bowl has many appealing aspects:

- matches two deserving, formidable teams in one game, not a series, for the world championship — ya get one shot.

- it’s a *sporting event/social gathering/religious-like “holiday”/marketing haven/huge-sized entertainment event which will reach viewers in 180 countries and territories.

* The NFL is the most popular American sport — and this is the day many people gather with family, friends, plan in advance to attend and plan parties to watch. A former colleague once told me: “whatever you do, try to get to a Super Bowl, at least, once… it’s worth it.

- for the first time this year it’ll be available via online streaming through an NFL Mobile app.

- at those parties, hopefully, you’ll enjoy some cool food, great drinks and while most people are drawn by the game, others are into the *highly-expensive, hopefully funny & imaginative commercials. Plus, there’s lots and lots of betting, and not just on the game’s outcome. So, yes, there’s something for everyone.

* Average 30-second spot costs $3.5 million… wow.

- the lengthy halftime performances by usually legendary and/or popular-at-time artists make for memorable experiences — and plenty time to recover from that first half.

- it’s a big enough deal that causes millions of predictions, even from people who don’t know football. Did I mention all the betting that goes on?

Super Bowl Sunday is like an ‘unofficial holiday’ that so many plans are geared around. Millions of people will kick back and enjoy the phenomenon.

Hopefully, the image below, from four years ago, will be repeated – Giants… 30-17. 

Personally, I have a very strong passion for this game. I played high school football then spent eight years as an assistant coach at the HS and semi-pro levels.

I love the heart it takes to play the game, the selflessness hard work, discipline, preparation and attitude to play through till the end and finish. The feeling of team-working

toward a common goal with a dedicated group of people and reaching it or, at least, taking your best shot is a thrilling sensation that’s hard to explain.

This weekend will prove to be a memorable one as we move into the 2011 Divisional Playoffs. Eight teams with a dream vie for a shot to advance to the conference championship and, possibly, play one more game — Super Bowl XLVI (46) on Feb. 5, 2012 6:30 PM EST NBC from Lucas Oil Stadium in Downtown Indianapolis.

If you ever wanted to see three hours of drama as professional athletes battle using amazing athleticism and strategy while chasing a dream — check out the playoffs.

Some teams are trying to ascend to a place they’ve never been to before, others are attempting to reclaim past glory. This is professional football — careers are being born, some are ascending while others are concluding. All the while, it’s played out in front of millions. Although I have a favorite playing Sunday, I respect all of these teams, their organizations and the staffs that have played their part in .

No predictions… well, maybe one, but I’ll provide some brief comments on these intriguing four games this weekend. All of them look to be compelling contests, I’d be shocked if any of the results were one-sided.

Sat. Jan 14th, 4:30 PM EST FOX

New Orleans Saints at San Francisco 49ers

Quarterback Drew Brees (holding ball) and the high-scoring Saints (2009 Super Bowl champs) outplayed the Detroit Lions in the Wild Card round. They look to shut down the 49ers who are playing their first playoff game since 2002. San Francisco’s defense, led by All-Pro linebacker Patrick Willis, has to stop an offense known for lighting up scoreboards. San Francisco’s first-year head coach Jim Harbaugh has done a tremendous job of changing the culture in this once-championship level organization. Many questions about how this game will turn out since the Saints usually don’t do well away from their Superdome.

Sat. Jan 14th, 8 PM EST CBS

Denver Broncos at New England Patriots

The lightning rod for discussion that is, Tim Tebow, quarterbacks Denver against the three-time Super Bowl champion Patriots. The resilient Broncos scored a stunning win over the Pittsburgh Steelers in the first round. Lately, the AFC East Champion Pats have struggled in the playoffs, especially at home. Their QB, Tom Brady, (spiking ball in Denver during Week 15 win) is still one of the finest performers in pro football. Expect a slugfest and a tight, exciting finish.

Sun. Jan 15th, 1 PM EST CBS

Houston Texans at Baltimore Ravens

Playoff-newbie Houston, after knocking out the Cincinnati Bengals, head to the bully’s ‘block’ to take on the ultra-physical Ravens. Houston can run the ball effectively with running back Arian Foster (#23), play defense and have a rookie QB T.J. Yates who is playing well. Baltimore does those same things with veteran QB Joe Flacco & stud RB Ray Rice. Plus, their defense is led by legendary, ferocious linebacker Ray Lewis. Expect lots of hard hits in this one.

Sun. Jan 15th, 4:30 PM EST FOX

My beloved New York Giants at Green Bay Packers

The Giants and, defending champion, Packers are two of the oldest and proudest organizations in the NFL. The Giants are gaining momentum, silencing the Atlanta Falcons at the first-ever playoff game at their MetLife Stadium. New York went on a similar run four years ago, defeated the Packers in Green Bay and won the Super Bowl. Giants QB Eli Manning (#10) is playing at an elite level. Packers QB Aaron Rodgers is considered, by many, to be the league’s best signal-caller. Both teams can score touchdowns in a hurry. Whichever defense that can neutralize the opposing offense will have the best shot at victory. Should be a classic. Go BIG BLUE.

There are so many wonderful films from that era that I watch over and over. Luckily, many of them are being released on Blu-ray so that’s one of my hobbies/passions.

One of the most successful proponents of the Golden Age was — Billy Wilder (1906-2002). Born in Austria-Hungary, he was full of wit and had an equally sharp eye for wonderful visuals.

Wilder became of the most complete and influential filmmakers –  ever. He began his career in movies collaborating on screenplays, such as, Ernst Lubitsch’s Greta Garbo-starrer, Ninotchka and the 1939 gem with Claudette Colbert, Midnight. 

He rose to prominence when he began producing and directing his own films, such as, Some Like It Hot, The Lost Weekend, Double Indemnity, The Apartment and Sunset Boulevard among many others. He created one of the most impressive bodies of work spanning a half-century. His films produced six Academy Awards along with countless nominations. Many of his films were written with longtime collaborator, the great, I.A.L. Diamond.

Consider this, many films are made every year, therefore, it’s extremely tough for a film to make a long-lasting mark and become a ‘classic.’ Wilder made four films that are considered among the very best in American cinema. Check the American Film Institute’s Top 100 list.

Writer/director Cameron Crowe (Almost Famous, Jerry Maguire) has a phenomenal 1999 book titled “Conversations with Wilder.” Full of insight directly from Wilder on his life, work and plenty of hard-to-find pictures; I absolutely recommend it. Also, check out the entertaining DVD “Billy Wilder Speaks.”

I love Billy Wilder, which reminds me I need to finish seeing his films, or see them again — they’re wonderful.

Towards the end of “Conversations with Wilder,” he provided some helpful pointers for writers:

1. The audience is fickle.

2. Grab ‘em by the throat and never let ‘em go.

3. Develop a clean line of action for your leading character.

4. Know where you’re going.

5. The more subtle and elegant you are in hiding your plot points, the better you are as a writer.

6. If you have a problem with the third act, the real problem is in the first act.

7. A tip from Lubitsch: Let the audience add up two plus two. They’ll love you forever.

8. In doing voice-overs, be careful not to describe what the audience already sees. Add to what they are seeing.

9. The event that occurs at the second-act curtain triggers the end of the movie.

10. The third act must build, build, build in tempo and action until the last event, and then-

11. -that’s it. Don’t hang around.

Wilder’s 1960 classic “The Apartment” won 3 Oscars – Best Picture, Director and Writing, but then “nobody’s perfect.”

Being a member of the ever-growing group, I was interested in what the article had to say about the current state of marketing films to Latino audiences in the US. Producer Elizabeth Avellan, who’s made many pictures with filmmaker Robert Rodriguez, spoke of studios’ impatience due to the varying factors among Latino groups. Nevertheless, the numbers cannot be ignored.

In 2010, 43 million Latinos in this country purchased over 350 million movie tickets according to the Motion Picture Association of America (MPAA). DOLLARS don’t lie. That’s POWER and a VOICE that needs to be accounted for. I’ll bet a majority of those 43 million people wouldn’t object to seeing great stories reflecting their existence other than that of a subservient or peripheral nature.

I often think, ‘we don’t have many Latino superstar actors’ (especially males) – yet I believe it isn’t a question of talent. It’s a question of opportunity.

Being a Latino moviegoer and filmmaker, I’ve come to fully realize this: American Latinos want inclusion in the mainstream movie industry. They want to showcase their stories and speak to their own identity. Latino creatives need to make quality entertaining productions that aren’t exclusively Latino, but feature Latino talent in prominent roles. We’ve contributed greatly to American society so our voices must be heard. We can no longer be disregarded. The Latino population in the United States holds tremendous economic, societal and political power.

Avellan mentioned that studios in Hollywood are only concerned with profits. That’s the goal. She also shared that it isn’t about making movie for Latinos, but making films that reflect some of their flavor which audiences will be able to relate to. The “The Fast and the Furious” franchise is a good example of this idea. The tent pole’s 2009 edition Fast and Furious saw Latinos generate 46% of the opening weekend attendance numbers. This year’s release, Fast Five saw 33% of the opening weekend numbers comprised of Latinos. Both films showcased Latino characters in key supporting roles and elements of Latino culture and influence were evident in the films.

Another huge part of this is the marketing component, which has to attract audiences to the movie especially during its opening weekend. Universal did that with success by highlighting the diverse cast and music, in order to, reach diverse audiences.

One of my goals is to create intelligent and entertaining projects which aren’t exclusively Latino-themed yet feature Latinos in prominent roles. We can tell wonderful and diverse stories incorporating our vast society and still reach audiences the world over. I know it can be accomplished, if it’s done right, and the dollars won’t lie.

I’ve done some writing for the festival site too.

Filmmakers are entertainers. Furthermore, there’s a proven structure we can use to better ensure our feature films can entertain and satisfy our audience.

We have the opportunity to tell stories through the most unbelievable and comprehensive medium at our disposal. Many artists from different disciplines have turned to film. Andy Warhol realized he could do and say more with his art through film. We’ve heard forever “a picture’s worth a thousand words” then a moving picture must be worth a million.

Many filmmakers aspire to be successful with a striving career reaching audiences the world over with their films. I, definitely, include myself in that category.

We are entertainers. Through my previous experiences, I’ve come to really understand my responsibility in the medium. I’ve learned I need to create engaging stories that make audiences feel emotions related to the story, never boredom.

Audiences feeling boredom is poison to a filmmaker’s efforts. Hollywood studios, mid-majors and even indie companies don’t want to hear that. Seriously, these projects cost too much to make. A mistake I made on my 2009 feature debut, Buena Gente (Good People), was not making it entertaining enough. I’ll clarify this observation shortly.

I believe many new filmmakers, including me, want very much to make a strong film while delivering a powerful message. It’s why many filmmakers are writers/directors. You feel a powerful emotion related to something you experienced or learned about and wish to share that through film. It may offer a great life lesson or call attention to a worthy cause. While it’s an admirable pursuit, we have to keep in mind audiences want to be entertained. So we need to find a balance between engaging audiences and showing them a good time.

Luckily movie tickets are still, relatively, inexpensive – when compared to a Broadway show, sporting event or even a nightclub. In some NYC bars, a movie ticket price might get you a decent drink. Anyway, for their $12, 13 tickets, moviegoers want to be taken on a ride away from their reality for a couple of hours. A martini can only do so much.

Whether it’s escaping to Hogwarts to join Harry Potter and friends (those films are great moviemaking) or envisioning yourself being kissed and loved while watching that new romantic-comedy. People want to feel strong emotions while sitting in that big darkened room surrounded by others who all want the same thing. Excitement, thrills, arousal, sides-hurting-from-laughter, anger, euphoria – all will do, just not boredom.

Back to that mistake I made. My film was a gritty, Latino-themed coming-of-age drama. It dealt with a young man who deceived his girlfriend, loses her then after finding out she’s in a deadly predicament answers the call to save her. My error was in taking it all too seriously. Each scene had conflict or a point to make, but I didn’t allow for enough breathers. Audiences need moments where they can get a break from serious stuff and smile at an amusing gesture. A sense of humor takes the edge off a tense atmosphere. Since then I’ve learned more about pacing a film.

Alfred Hitchcock utilized this principal in all his movies. Many times, tense scenes were followed by humorous ones. I truly believe Hitchcock knew audiences, and how to affect them, better than anyone in the history of cinema. Plus, he was a master marketer. Could you imagine him today? He’d be on Twitter and Facebook making witty remarks, posting videos, promos and his movie plugs would move people in droves to the theaters.

I think we, as mostly independent filmmakers, try very hard to make a statement and may forget the big picture. The big picture is to reach audiences with original, entertaining stories that speak to the human condition. But before we can make our statement, before we share our message – we must elicit emotions from our audience which relate to our films. Think of horror movies; people go to be scared. If it’s cheesy or not believable – it won’t do anything for that moviegoer and they’ll feel cheated. Simple, right?

Let’s check out a film’s structure.

Here’s the proven nine-step, three-act structure which has been used for many years by American big studio and smaller company movies.

1) Opening: Show something interesting which sets us up for what we will see and makes us want to get into this film. Think about the cool fight sequence at the start of The Matrix, didn’t it totally hook you?

2) Inciting Incident: Something happens to the protagonist which is big enough that they are challenged and need to take action. It makes us wonder what they’ll do about it.

3) By page 10, we know what the movie is about: Usually, by this point we know what kind of film we’re watching. You’ll hear many industry people use the word tone. If it’s a light comedy, we won’t expect to see someone violently beaten. That would throw us off and make many viewers uncomfortable.

4) First turning point at end of Act 1: We can say this is the first twist in the story. The protagonist has set out on a journey or accepted a challenge and they are different than when we first met them. We see this won’t be an easy challenge either.

5) Mid-Point: Something big has happened to the hero and his/her pursuit of the goal. Maybe they just got a big assist or maybe they just suffered a setback.

6) Second turning point at end of Act 2: Here we witness the second big story twist and our protagonist having a tough time. It seems like the plan failed and they’re done. Bad guys party at our hero’s expense.

7) Crisis: The hero must make a key decision in order to move forward. And that decision is never easy. This is where we may say to ourselves: “wow, what would I do?”

8) Climax: This is the big conflict scene/sequence. We cheer the hero on – like in The Matrix when Neo manhandles Agent Smith.

9) Resolution: The final outcome should tie up storylines, answer major questions and leave us satisfied that we have completed the story. At times, some questions may be left unanswered and up to viewer’s imagination. But usually all major situations are resolved.

Although there are some American-made movies which may deviate somewhat from the rules, this method has garnered success for many movie industry professionals past and present. Check out enough films, especially the classics, and you’ll see this structure reveal itself. I hope this has been helpful. In closing, creating entertaining and satisfying stories begins with solid writing. If I may, the biggest source of my writing improvement has come from online classes through ScreenwritingU (www.screenwritingu.com).

I decided to include a structure breakdown using the Coen Brothers’ 1998 cult classic THE BIG LEBOWSKI . By the way, it was recently released on Blu-ray.

1.  Opening
Tumbleweed travel through woods and LA streets. The “Dude” Jeff Lebowski, in robe and slippers, appears at a supermarket to buy milk and pays $0.69 with a check. Clearly, the “Dude” does things his way as we’ll further see in the movie.

2.  Inciting Incident
Two goons meet and rough up the “Dude” at his place to collect money for a gangster. One of them pees on his beloved rug and threaten him. But he’s not the Lebowski they were seeking.

3.  By page 10 (usually), we know what the movie is about.
Lebowski hires Dude to deliver ransom money in exchange for his missing wife, Bunny.

4.  First turning point at end of Act 1

Walter invites himself to accompany Dude to drop off the money. Walter conjures up a plan that backfires, the drop is never made. Later, Dude’s car with the money is stolen.

5.  Mid-Point
After being threatened by nihilists, who supposedly have Bunny and want the money, Lebowski’s daughter, Maude tells Dude those are Bunny’s friends. Dude gets his car back minus money, finds homework assignment and goes to speak with kid they suspect.

6.  Second turning point at end of Act 2

Dude is taken to porn businessman Jackie Treehorn. Jackie wants to know where Bunny is because she owes him a debt. Dude agrees to help Jackie recover his money, but his white russian’s been spiked- he passes out.

7.  Crisis
After being drugged and finding himself running on street, Dude’s arrested for disorderly conduct at Jackie’s place. He gets thrown out of cab taking him home then finds his place has been ransacked. With Maude’s help, Dude learns Lebowski doesn’t have any money and it’s all a set up.

8.  Climax
After bowling practice, Dude and friends walk out to Dude’s car being burned by nihilists who want the money. Dude tells them they never had her. The nihilists demand whatever money they have, but Walter beats them up. Donnie has a heart attack.

9.  Resolution

Dude and Walter pay last respects, scatter Donnie’s ashes from a Folger’s can. Then — they go bowling.

The scenes and performances build tension that almost thirty years later you still feel.

I remember seeing it so many years ago and it left such an impression. Now that I know a little more, I truly appreciate the craftsmanship of all the professionals involved in this landmark film.

NCM Fathom and Universal Studios Home Entertainment have planned a special one-night event for Wed. Aug 31st in select theaters throughout the country.

Click here for more info. On Tue Sep. 6th the Blu-ray hits streets. Check out the High-Def Digest review, btw, it includes a DVD of the Howard Hawks 1932 classic which inspired Pacino to do the movie.

Go here to check out recent Scarface cast reunion.

This post covers some of the titles that are worth checking out. I always visit High-Def Digest for the latest blu-ray movie news and reviews.

Battle of Algiers (1965) – Gillo Pontecorvo’s multiple Oscar-nominated docu-styled classic about Algeria’s struggles against French occupation really is required viewing. Plus, it’s released through Criterion Collection – so you know the quality and supplements (special features) are first-rate. According to legendary critic Pauline Kael: “The most emotionally powerful revolutionary since Eisenstein’s Battleship Potemkin.”

A HUGE cult classic which I took a liking to after a while – the Coen Brothers’ The Big Lebowski (1998) includes a memorable character in “The Dude” (Jeff Bridges). It mixes various genres, too. Some film noir, stoner comedy, escapist fun and, I just love Julianne Moore.

Brian De Palma’s 1983 Scarface written by Oliver Stone, starring Al Pacino I’d have to say is the BIGGEST film for urban audiences and people of color who are gangster aficionados. Several lines of dialogue entered the realm of popular phenom, even made a video game. And I’ll bet millions have been made in Scarface-related merchandise. I need to look that up. It’s one of the most memorable films from my childhood. Btw, Howard Hawks’ 1932 gem of the same name is worth viewing, too.

Disney’s classic The Lion King (1994) is getting a limited re-release this fall. It’s one of the very best animation films ever crafted. Famed story consultant, Chris Vogler helped develop this film which will touch generations to come.

I think Quentin Tarantino is one of the most incredible writer/directors ever. His masterpiece Pulp Fiction (1994), won the Best Screenplay Oscar, hits blu-ray soon. People are still talking about this inventive, sometimes-shocking, sometimes-funny and very engaging gangster drama.

Finally, the saga that has touched millions and millions… George Lucas’ Star Wars Saga, yes all six films.

It’s been a really fun, eye-opening show which I began watching during Season 2 in 2005. I was going through a challenging time in my life and for those episodes lasting just short of thirty minutes I laughed, lived vicariously and, in general, had an awesome time watching. It quickly became my favorite TV show. Then when I re-entered the world of creative arts in 2007, I began paying closer attention to many of the shows storylines as they offered tremendous insight into Hollywood inner-workings and how things are done. Essentially, it’s about true friends – those people who are really there for you – no matter what.

Entourage: 10 Never-Told Secrets

Created by Doug Ellin and, loosely, based on actor/producer Mark Wahlberg’s earlier years in Hollywood we came to make new friends in Vince (Adrian Grenier), Johnny Drama, (Kevin Dillon), “E” (Kevin Connolly) and “Turtle” (Jerry Ferrara), the lovely, classy “Sloan” (Emmanuelle Chriqui)… oh, and the man who many would say makes the show go – Ari (Jeremy Piven) among an incredible amount of celebrity cameos.

I love this show and I even watch the edited (toned-down) network episodes just because… Cheers to Entourage thank you for the eight seasons worth of laughs and memorable moments. So enjoy this final, and shorter season, catch up on past seasons and get ready for the Entourage movie in a few years.