Alberto Ferreras

Screen NewsScreen A brand new campaign for the American Heart Association HBO Latino, in collaboration with Latino Media Works, creates a new PSA for the American Heart Association, featuring Daisy Fuentes, And de la Reguera, Judy Reyes and Roselyn Sanchez. Directed by Alberto Ferreras, Produced by Trina Bardusco, Chrissie Hines, Lucinda Desir and Damaris Lasa. The Habla Series returns with “Celebrity Habla 2″- premiering in September on HBO. A new Celebrity Habla special premieres September 17 on HBO, featuring Devendra Banhart, Daisy Fuentes, Ana de la Reguera, Judy Reyes, Jimmy Smits, Walter Mercado, Ruben Blades, Moctesuma Esparza, Wilmer Valderrama, Sonia Manzano and many more. Click here for HBO listings. Directed by Alberto Ferreras, Casting by Trina Bardusco and produced by Latino Media Works and HBO Latino. The Habla Series continues with “Celebrity Habla” on HBO. Featuring: Soledad O’Brien, Rita Moreno, Esai Morales, Narciso Rodriguez, Charo, Cesar Millan, José Antonio Tijerino, Lisa Quiroz, María Hinojosa, Franklin Chang-Diaz, Lin-Manuel Miranda, Lupe Ontiveros, Denise Quiñones, and Rosie Perez. “Habla” is a an award winning series created by Alberto Ferreras and produced by Latino Media Works, that chronicles the experience of Latinos in the United States. It is comprised by 12 TV specials with more than 300 testimonies of Latinos of all walks of life. “Habla” has aired on HBO Latino since 2003. Celebrity Habla Celebrity Habla 2 Habla Habla Again Habla Ya More info on Habla Complete filmography CNN Presents: Latino in America (2009) (TV) Segment Director Celebrity Habla (2009) (TV) Director, Executive Producer, Editor. Habla Ya (2008) (TV) Director, Executive Producer, Editor. Habla y Habla (2006) (TV) Director, Executive Producer, Editor. Habla más (2006) (TV) Director, Executive Producer, Editor. Bigger (2004) Director, Producer, Editor. Habla Again (2004) (TV) Director, Executive Producer, Editor. “HBO First Look” Real Women Have Curves (2002) TV Director, Executive Producer. Verbal Sex (1999) Director, Producer. Sex and the City: A Farewell (2004) (TV) Segment Producer. “HBO First Look” Idlewild (2006) (TV) Executive Producer Making ‘Deadwood’: The Show Behind the Show (2004) (TV) Supervising Writer and Producer Commercial work American Heart Association PSA (2010) Allstate Insurance – TV (2009) Gardasil – Web (2009) DirecTV PSA (2007) New York International Latino Film Festival – TV (2009) PBS Digital transition PSA (2008) Hispanic Heritage Foundation – Gala (2007) Joe Torre Foundation – Gala/Web (2007) Verizon Wireless – TV (2005) Hispanic Scholarship Fund PSA (2002) Promo work V-Me Creative Services – Creative Director (2006 – 2008) HBO Creative Services – Executive Producer (1993-2005) Deadwood (Season 2) Rome (Season 1) Family Bonds Everyday People And Starring Pancho Villa Real Sex The Cathouse Tantrums & Tiaras The Comeback Long form MTV International – Writer and Producer (1991-1993)
Stage NewsStage “My Audition for Almodóvar” Every Sunday at 7:00PM from- October 17th to November 28th 2010 She can sing, she can dance, and she can act… but she can’t get rid of her Spanish accent. That’s why Inma Heredia is determined to audition for the only director who can make her a star. Filled with fun, flair and flamenco, “My Audition for Almodovar” is a magical, musical, and hysterical journey from the heart of Seville to the small intestine of New York City. This one woman show, created and directed by Alberto Ferreras —author of the award winning novel “B as in Beauty”— features the many talents of Inma Heredia, the andalusian actress and singer who has become a staple of the alternative scene in Manhattan. “My audition for Almodóvar” is the chance of a lifetime for an actress on the verge of a nervous breakdown. Credits: Starring Inma Heredia Written by Alberto Ferreras and Inma Heredia Directed and created by Alberto Ferreras Choreography by Carlos Fittante of Balam Dance Theatre Styling by Paolo DiValdi Wardrobe by Hugo Sarmiento Photography by Enrique Pastor and Devin Delano Graphic Design by Yenting Chuang Complete Stage Work “Vanálisis” by Alberto Ferreras, based on works by Jorge Luis Borges Directed by Marietta Perroni Sala Rajatabla, Caracas – Venezuela, 1985 “Los Reyes” by Julio Cortázar Directed by Alberto Ferreras Teatro Alberto de Paz y Mateos, Caracas – Venezuela, 1989 “En Una Noche Tan Linda Como Esa” by Alberto Ferreras Directed by Alberto Ferreras Sala Rómulo Gallegos, Caracas – Venezuela, 1990 “Noche de Ronda” by Pedro Monge Rafuls Directed by Alberto Ferreras Bowery Lane Theater, New York City, 1992 “My Audition for Almodovar” by Alberto Ferreras and Inma Heredia Created and Directed by Alberto Ferreras Teatro IATI, New York City, 2010
Page NewsPage “El Perro y el Gato” book collection, now available at HBO.com A four-book collection based on the popular children HBO Family series created by Alberto Ferreras, Chrissy Hines and Elaine Brown is available for purchase at HBO.com Book design by the amazing Lisa Lloyd, and character design by Justin Winslow and Primal Screen “B as in Beauty” wins Best Popular English Fiction of 2009, at the International Latino Book Awards. Chosen among the best novels of 2009 by The Society of Latino and Hispanic Writers, Voces, Latinidad, and The Pittsburgh Tribune. Publisher’s Weekly 2/2/09 Move over, Ugly Betty; Fat B’s in town and she’s just as bewitching, bodacious and beautiful as the unconventional Latina TV star. In Ferreras’s dazzling debut, Cuban-American Beauty Maria Zavala—“B” to her friends—bounces off the page like a firecracker while she discovers how to embrace her curves under the tutelage of a wise madam. At the outset, B’s not just ashamed of her chubby bod, but finds it standing in the way of a promotion at her Manhattan ad agency—thanks to a bitchy boss—and she hasn’t been laid in ages. B’s best friend and co-worker, petite Lillian, tells B to “reinvent” herself. Natasha Sokolov, her Russian-American tax preparer, goes a step further by offering her a moonlighting position “comforting” men with a fetish for voluptuous women—men who will pay “to worship a body like yours.” B accepts the proposition (selling time but not sex), only to find once again the sting of rejection: her first client rejects her for being too lightweight. It’s just one of many illuminating, funny and deliciously awkward moments on B’s page-turning road to love and happiness. (Apr.) Aida Bardales for the NY Daily News “…a roller coaster of laughs and insightfully tender moments…” Terri Schlichenmeyer for the Daily Sound “…Alberto Ferreras has created a modern fairy tale that is absolutely irresistible.” Tove Aldrich for LX Magazine “…one of the best books I’ve read in years.” Soledad O’Brien “From chapter zero (yes that’s how it starts) B as in Beauty is a winner. Hilarious, bizarre and poignant all in one wonderful read. I absolutely loved it. B as in Beauty is B as in Brilliant!” Daisy Fuentes “Perfectly witty, funny and truly engaging. Pure escapism, yet strangely real… I couldn’t get enough of B” Denise Quiñones, Miss Universe 2001 “A funny and moving search for one’s self esteem. It makes you realize that beauty lies not in the eyes of the beholder but in the eyes of your own mind and heart. ” Herb Sosa for Ambiente Magazine “Alberto Ferreras’ first novel is engaging, funny, poignant and hard to put down, except to confidently embrace ones beauty—and to have that other pastelito with grace & humor! Read the whole review Luxury Reading by Vera Blog “B’s strong voice in this first person narrative was able to hold my attention with quite humorous and entertaining anecdotes of some sad, some strange, all quirky characters. It is a great read simply for that, but also for its uplifting message of beauty, confidence, love, and the knowledge that we are all in control of our own happiness.” Book Reviews by Bobbie Blog “B as in Beauty is an unforgettable, touching story of one woman’s journey to find herself(…) B as in Beauty dares to be different and succeeds magnificently!” Read the whole review Thoughts from an Evil Overlord Blog “I just finished reading an uplifting book about believing in and celebrating one’s own physical splendor (…) I highly recommend it as interesting and fun reading.” Read the whole review A Novel Menagerie Blog “…I didn’t have a ton of hope for this book when I started it. After a few chapters, I was in Chick Lit Heaven…” Read the whole review Kathy Cano-Murillo for Craftychica Blog …I have to say, this goes down as one of my all-time favorite books! Read the whole review Shaun Proulx for The Shaun Proulx Show – 103.9 Proud FM It’s a little early for beach reading, but I just finished this fun breezy inventive book narrated by a totally likeable fat ad exec named B (as in ‘Beauty’) and highly recommend it for your summer picks. Read the whole review Rebeca Arora for Glam Spirit Feeling parched on limiting myths and beliefs about modern-day beauty? “B as in Beauty” by Alberto Ferreras is your perfect thirst-quencher… Read the whole review Nina Davidson for Out in Jersey Much like the title character of “B as in Beauty,” Alberto Ferreras’s debut novel is larger than life… Read the whole review Carrie for Tiki Tki Alberto Ferreras is a guy, but he has just written what promises to be one of the most popular Chick Lit books of the summer… Read the whole review Emily Cullen for Butyoudontlooksick,com …This book shows that only by learning to love and accept who you are can you then be loved and accepted by others. Read the whole review Maria for Maria’s Space …It’s like Ugly Betty meets Pretty Woman… Read the whole review Daisy’s Book Journal …I loved this book. At times it was laugh-out-loud funny; at other times it was very touching. Read the whole review “B as in Beauty” Trailer [youtube WwPNnGJzdp0] Publisher’s Weekly B as in Beauty Alberto Ferreras. Grand Central, (338p) ISBN 978-0-446-69789-7 Move over, Ugly Betty; Fat B’s in town and she’s just as bewitching, bodacious and beautiful as the unconventional Latina TV star. In Ferreras’s dazzling debut, Cuban-American Beauty Maria Zavala—“B” to her friends—bounces off the page like a firecracker while she discovers how to embrace her curves under the tutelage of a wise madam. At the outset, B’s not just ashamed of her chubby bod, but finds it standing in the way of a promotion at her Manhattan ad agency—thanks to a bitchy boss—and she hasn’t been laid in ages. B’s best friend and co-worker, petite Lillian, tells B to “reinvent” herself. Natasha Sokolov, her Russian-American tax preparer, goes a step further by offering her a moonlighting position “comforting” men with a fetish for voluptuous women—men who will pay “to worship a body like yours.” B accepts the proposition (selling time but not sex), only to find once again the sting of rejection: her first client rejects her for being too lightweight. It’s just one of many illuminating, funny and deliciously awkward moments on B’s page-turning road to love and happiness. (Apr.) 2/2/09 NY Daily News Move over Ugly Betty — Beauty is in again. Alberto Ferreras’ debut novel, “B as in Beauty” (Grand Central Publishing), centers on Beauty María Závala — or B, as she prefers to be called — a smart, quirky and single Latina who can’t be accused of not being straightfoward about her body. “I’m a fat chick,” says Beauty in the book. “We could come up with nice ways to say it: plump, full-figured, overweight, chubby. But after all these years of fatness, I finally feel good about saying it the simple way: fat.” Besides being an author and playwright, Ferreras is a performance artist, filmmaker and creative director for HBO Latino’s “Habla” shorts, featuring Latinos with funny and relatable experiences. “We rush to judge people,” said Ferreras, 42, who was born in Spain, “and part of my emphasis was not to rush.” The story of B first took life as a screenplay, which Fe-rreras shopped to many production companies. “[They] liked the screenplay a lot,” he says, “but they said they couldn’t have a fat protagonist. It was unthinkable. ”So he decided to adapt it into a novel. “I wrote it in three months in a coffee shop in the West Village,” where he lives, Ferreras says. Fortunately for him, the publishing industry had more faith in fat girls; he sold his book before even finishing it. In this laugh-out-loud, inspiring novel, Ferreras, who’s gay, skillfully gets into the mind of 28-year-old B, effectively describing the insecurities most women her age share — fat or not. “Behind every great woman there’s a gay best friend. I talk to my girlfriends a lot and they often complain about the same things,” he says. As part of his performance-artist work, Ferreras sometimes makes himself available in public places and offers to honestly answer any question asked. “Something that really shocked me was that 99% of the women asked if they were fat — and they weren’t. And when you tell them they’re [not], they don’t believe you.” “Young women suffer so much pressure to be a certain weight.” he adds. “You either hate yourself forever or love yourself the way you are. If you want to lose weight, great. But do not put your life on hold until you [do so].” When B meets her accountant to get her taxes done, the woman tells her, “You are a very beautiful woman, and I know men who would pay you. Call me.” After mulling it over, B makes the call. The rest is a roller coaster of laughs and insightfully tender moments that send a clear message: Accept yourself and live in the present. Ferreras — who was raised in Madrid, and has been living in New York for almost 20 years — populates his tale with exotic and eccentric characters, most of whom have something to hide: a fetish. While B helps fulfill some of these often-tame fantasies, she learns a lot about herself and her sexuality. “Gay men and women have one thing in common,” says Ferreras. “We are punished for being sexual. \[But\] in the end, if you go out and you’re open and you love yourself, people will see you differently.” by Aida Bardales NY Daily News 6/11/09 The Daily Sound Your nose is too big. Most people wouldn’t notice, but you do. And when you look in a mirror, your eyes are like two tiny marbles in a pile of dough, and your hair is just… ugh. Everybody tells you how gorgeous your smile is, but you’re pretty sure they’re just being nice. You even hate your ears, if that’s possible. Don’t even start on your thighs or your tush. Do you ever wish someone had a magic wand and would – poof! – make you look like a model? In the new book “B as in Beauty” by Alberto Ferreras, a young woman wants exactly that, but she has other lessons to learn first. As if being fat wasn’t enough, Beauty Maria Zavala’s Cuban-born parents saddled her with a name that definitely didn’t fit. Beauty was willing to acknowledge the fat – it was kind of hard to hide – but the name? Not so much. She told everyone to just call her B. It avoided so much embarrassment. And as if being fat and having a weird name wasn’t the end of it all, B had a rotten job. For several years, she’d killed herself to do a good job for her evil boss, Bonnie, in the hopes of getting a nice, fat promotion and a corner office. But when B overheard a nasty conversation in the ladies’ room, she realized that was never going to happen. B hated her job. So when a Russian tax preparer handed her a business card and called her “beautiful”, well, who could resist calling? Much like a Fairy Godmother, the Russian woman offered B a new life, with a twist: some men would clearly see past the drab clothes and severe hairdo, and they’d pay to spend time with B. No strings attached. No sex. No long-term involvement. Cautiously, B took the job. Then another. And another. Soon, she could see that her body was worthy of worship. Her shape wasn’t pleasingly plump, it was just pleasing. Clothes didn’t have to be drab and curly Latina hair didn’t have to be tamed. And a mousy formerly-fat girl really could find happiness by embracing her wonderful name. Oh, my, but I loved this book. With a perfectly sweet and funny heroine, a few ugly “sisters”, a borderline-criminal fairy godmother, a handsome carriage driver, a flock of flawed and unwitting helpers, and the most unlikely Prince Charming, author Alberto Ferreras has crafted a modern fairy tale that is absolutely irresistible. Beauty Zavala is the kind of character you wish was real, just so you could borrow some of her attitude. It’s hard not to feel sad for her predicaments, it’s easy cheer for her new-found self-confidence, and her slam-dunk revenge is the kind of stuff that Hollywood loves. Real, unstilted dialogue makes this book an even bigger joy to read. If you’re wondering what to pack in your suitcase or overnighter this summer, stop looking and just get this book. For anyone who loves a happy ending, “B as in Beauty” is positively magic. by Terri Slichenmeyer Santa Barbara’s Daily Sound 6/26/09 Interview by Lee Bob Black In this interview, Alberto Ferreras talks with Lee Bob Black about overemphasizing the future, unglamorous jobs and happiness, sexy obese women, how Borges’s Aleph is Google Earth, café culture, vampires, how he was born a New Yorker even though he was born in Madrid, and his novel, B as in Beauty. For more Lee Bob Black’s interviews and writings go to www.LeeBobBlack.com Lee Bob Black: How did singing lessons help your writing? Alberto Ferreras: The cool and subversive thing about “Healing Singing” is that its premise is that we all can sing. We’re just afraid to do it. So when you stop judging yourself, you open up and let it out . . . . Since English is my second language, I was very afraid of writing professionally. My grammar sucks, my spelling can be pretty screwed up, but I guess my ideas were good enough for people to notice me, overlook my shortcomings and give me the chance to write . . . . But if I were worried about all the things that can go wrong with my writing, I’d be paralyzed. Healing Singing opened me up. LBB: What other activities complement your writing? AF: I like writing in a coffee shop because you can observe people who don’t even notice you. So I’d say that people watching is definitely one of my complementary activities. Also, music is very important in my writing process. It gets me in a sort of trance–for good or bad. I don’t know if I could write before the phonograph was invented. LBB: What do you listen to while writing? AF: For my novel B as in Beauty I played a lot of Brazilian stuff, Paula Morelenbaum for instance, and a great album of Coldplay arranged for string quartet, and the French artist Keren Ann. If I listen to music in languages I don’t speak, I don’t get distracted. LBB: Even though you talked about not worrying about your writing, what are your fears about writing? AF: I guess the biggest fear of anyone in our culture is being rejected. It screws your love life, your career, even the chances of getting laid. Any artist can be afraid of being judged: ‘”They think that my ideas are old, stupid, shallow.” Or: “So-and-so writes so much better than me, what’s the point of saying anything?” Or: “Who am I to write?” Those are the voices I hear in my head sometimes. I’m just better at shutting them up now. LBB: How do you shut those voices off? AF: This is going to sound so new-agey, but I actually believe that God has a plan, and I’m following it. The voices are distractions, crap from the past, things we heard when we were children. Most people think they can’t sing because they were told so at an early age by someone completely unqualified. It marked them for life. Back to the singing, when you convince yourself that the negative thoughts are not natural, you open up. I think that an artist is a vehicle for higher power to communicate things to fellow humans. When you stop listening to the voices of the past, you tune in with God, so to speak. By the way, I am not religious. LBB: Will there be another installment of Dr. Truth (www.doctor-truth.com), an alter ego you created for a performance art series? AF: Yeah baby! You are talking to Dr. Truth right now! LBB: Looking back, you’ve worked for MTV, ABC, Nickelodeon, Comedy Central, Lifetime, and HBO (including campaigns for “Deadwood”, “Rome”, “Family Bonds”, “Sex & The City” and “The Comeback”). How was that? AF: Baby . . . everything is a preparation for the revelation. LBB: You mean your novel? AF: Who knows, maybe B as in Beauty is a preparation for another revelation. Sometimes I wonder if the revelation is serving coffee in a corner café. I’m tired of our success-driven society. I admire people who have totally “unglamorous” jobs and live happily. LBB: I know what you mean. Last week I was offered $30,000 as a receptionist, and $60,000 as an IT consultant. I took the IT job. AF: Which would make you happier? LBB: The receptionist position was specifically advertised for a creative type. It was supposed to have lots of down time–and I could have written half the day. I was so close to taking it. But I decided to chase the bigger money, and then in the future take time off to write. Which is a pattern of mine: I plug into capitalism, make a bag of money, and then unplug and just spend all my time writing. But sometimes I feel like I’m delaying my dreams. It’s always a trade-off. Where did the first impulses for your novel, B as in Beauty, come from? When did you start writing it? AF: It was a dark and stormy night . . . just kidding. A dear friend of mine who’s gorgeous and overweight was offered by her female tax preparer to “hook her up” with men who paid good money for a girl of her size. My friend didn’t accept. The novel is basically my fantasy of what would have happened if she did. I got the time to start writing it when I had appendicitis. I was curiously peaceful and content throughout the whole process. Maybe it was god-sent. Anyway, since I couldn’t go to work and I got sick of watching television, I dragged my laptop to a coffee shop and started working on it. That appendicitis is the best thing that ever happened to me. LBB: I’m guessing your novel is character-driven not action-based. AF: Interesting that you bring that up because I originally wrote it as a screenplay, so it’s very action oriented. Before I started working on the novel all the “plot points” were in place. The “writing” adventure started when I decided to write the novel in first person–from the perspective of a fat girl who becomes an escort to build her self-esteem. I had to create a voice for her, and developed the thought process. And I loved that part of the writing. LBB: Which cafés, other than Snice Café [in Manhattan; where this interview was conducted], do you invest literary time in? AF: I’m spoiled now, because I like to have my Internet WiFi where I write, but I worked a lot at Doma on 7th Ave, and the disappeared Mary’s Off Jane. That coffee shop was fabulous to write in, maybe because that building–according to the coffee shop owner–is haunted. LBB: What are the pros and cons of writing in cafés? AF: The pros for me are I don’t see any cons–unless you happen to be sitting in the toilet and someone storms in. [See Endnote1.] The pros for me are that I don’t get distracted with domestic little things, like the fact that I haven’t cleaned my bathroom in weeks. If I’m home, I also feel a little lonely. LBB: What are your thoughts on café culture? AF: Café writing has to do with a couple of New York factors. New York apartments usually suck. My writer friends in Spain, Venezuela, and Chile have fabulous apartments with gardens and views, or little houses. In New York with a writer’s salary, you’re lucky if you can rent half a shoebox. So being outside grants you a little bit more of space, daylight, and company. And I also think that New Yorkers have–more than in many cities–the need to interact, and to feel that they’re taking advantage of living in this great city. If I sit in my stoop for half an hour, I’ll see something that’s worth writing about, from the homeless guy in the corner to the old lady with the insane facelift and the miniskirt. We all know that there’s something happening on the streets and we don’t want to miss it. LBB: The tortured and struggling artist is such an overused metaphor, but it separates the men from the boys. If you can’t hack it, can’t make your mark on the literary world, then you’ll be eaten alive. AF: I’ve been frustrated while finishing the novel, but I wouldn’t call me myself tortured. Again, going back to the singing, the people who torture themselves in class are those who think that they sing better when they strain themselves. And, guess what? It’s never the case. I think that when you love what you’re doing, you might have more or less money, you’ll go to better or worse restaurants, but you’re happy in the moment. I’m happy when I write–and that was the sign I took when I decided to leave a steady job and take the chance of investing my time in “writing.” We put way too much emphasis in the future, in the destination, in the results of things. If we enjoy the process, then we’re always happy. LBB: You mentioned loneliness, and also how you have literary friends abroad. Cafés offer a community, of sorts. How important to you is it to be within a community of writers? AF: Writing is very personal for me. I talk about it with my friends, but I’m not sure if I can talk about it with other writers. It can turn weird and competitive. If you really see your work–and other’s work–as a manifestation of the divine, you must respect them even if you don’t like their work, and–naturally–they should respect your work too. It’s way too easy to fuck with people’s self esteem with innocent comments and hints. LBB: How have you set your life up so that you can write? How do you stay in the moment? AF: One day at a time, that’s my motto. I started free-lancing in 2005, directing television and advertising. That pays the bills, and gives me some downtime to focus on writing. It’s still too early to decide if I can actually make a “comfortable living” writing. But luckily my “day job” somehow connects with my writing and also allows me to hang out with inspiring people. LBB: Who are some of the real people your characters are based on? AF: All the characters in my novel are actually me–the nice and nasty ones. That’s the only way to understand their motivations–and keep you from getting sued. In any case, my friend–who was approached by the Madame–is not really like my character. I can look out the window of this café and pick anyone as a character. I might use their face–in my mind–but the essence of the character is always a part of me–the nice and the naughty. LBB: What are some of the themes of your novel? AF: I think the main theme is the perception of oneself. There’s also sex, relations, and there’s corporate culture, and the role of women in society. I’m a big fan of the twelve steps–I’m a twelve stepper myself–so I tried to take some twelve step wisdom and apply it to a non-addiction related situation. LBB: How was researching for your novel? AF: I did a lot of Googling, and a couple of field trips to Coney island, but this being my first novel I tried to write about what I knew, so most of my experience was already there. The fact that I wrote in first person–which is something disdained by Hemmingway (right?) facilitated some parts of the process. By the way, I hate Hemmingway. LBB: Tell me about your novel’s acknowledgements section. Who has helped the most with your writing? AF: I could write a whole book of acknowledgements. I have friends that I haven’t talked to in 10 years that contributed to this novel, simply because they introduced me to something or someone who made an impact. I like being grateful. It’s a feeling that gives me peace, so I tried to acknowledge as many people as I could. Even someone who grabbed my ass in a bar once. I’m not kidding. LBB: Okay, here’s a big, silly question: How is your book spiritual, emotional, and/or psychological? AF: Gee, it’s all of the above I hope. I think we are all in some sort of search–what is the meaning of life? Why are we so unhappy sometimes when we are neither hungry, nor homeless? Why do we feel less than other people? What is the impact that culture has in our perception of life, and oneself? Can we change? Can we be happier by choice? I think that’s the quest of my character–and some of her pit stops are spiritual, emotional, and psychological–if it’s believable or not, predictable or not, I’ll leave that in the hands of those who do me the honor of reading the book. LBB: Why did you title it B as in Beauty? AF: Latin immigrants sometimes give weird names to their kids and the main character’s name is Beauty Maria Zavala. However, since she doesn’t feel particularly beautiful, when people ask her to spell this unusual name she spells it as, “B as in boy. E as in elephant . . . .” She would not say, “B as in Beauty”–that’s her problem. LBB: How do you experience the editing process? Do you edit while you’re writing? Or, do you get it all down, and then later go back and edit? Or something else? AF: I write fast, poorly, and in a frenzy, then I go back and I fix it. I’ve been sending it to my editor and she gives me comments that first I refuse to incorporate, but that sooner or later I realize are right on the money. Damn editors! LBB: Who’s your editor? AF: The wonderful Andie Avila first, and then the fabulous Selina McLemore at Grand Central Publishing. LBB: Your novel is in first-person, is it in present tense or past tense? Is tense important for you? Or was it just a natural outcome? AF: Great question, because that was actually something that my editor pointed out. I originally tried to do it in present tense but it was way too weird, so it ended up being in past tense. LBB: Who’s your agent? AF: I’m with Andrea Montejo at Indent Agency. LBB: What more can you say about the plot points you put together for the initial screenplay version? How do you go about outlining a novel? AF: In this particular case I allowed the story to unravel based on the character’s actions, and then expanded those actions with her thought process and the type of descriptions that you’d expect in a novel. I’m very action oriented–I hate people who tell you unnecessary details of a scene, or irrelevant actions just to fill the paper. I guess when you have to deliver your 65,000 words and run out of ideas, it comes handy to start counting sheep. LBB: What do you want to write books about in the future? AF: Vampires–tee-hee! But first I got to read all the Ann Rice books, which I’m not looking forward to, with all due respect. LBB: Serious? AF: Yep. LBB: Maybe read every thing except Rice. Or maybe read her last. Maybe you have to know the competition so that you can out-write her. AF: Too late. She’s written so many that I got to make sure she hasn’t already written the novel I want to write. I hope not! Otherwise I’ll have to write about white retired ladies with ethnic earrings–I’m not kidding, I’m very interested in them as characters. LBB: In my opinion, the best book that has vampire “elements” to it is Bret Easton Ellis’s The Informers. Just throwing that out there. Do you daydream about writing your autobiography or a memoir? AF: I try not to, that feeds crazy egos. If I ever catch myself on that mode I try to remind myself that I’m barely a drop in the bucket–as we all are. LBB: Who do you expect will read your books? AF: The book is geared towards females, but I hope that the story can be appealing to anybody. I would think that gay guys might get a kick out of it. Years ago I met a very good looking Moroccan hustler in a bar, and he confessed that his favorite movie was Real Women Have Curves, the story of an overweight girl growing up in East L.A. Who could have guessed that? I guess that as an artist you throw the pebble in the puddle, but you can’t predict the ripples. LBB: Do you have an ideal reader? AF: Tough question. I think I’m my ideal reader. If I read that thing for the “nth” time and I still find it amusing and moving, I tell myself that I did a good job. LBB: Do you read your work aloud when you’re editing? AF: Yep. LBB: I know you like Jorge Luis Borges; his “The Aleph” is brilliant. What other writers do you admire? AF: Gabriel Garcia Marquez, Julio Cortázar, Manuel Puig, José Donoso. I love Latin American writers. I like David Sedaris, I think he’s great. I like Shakespeare, believe it or not. The Aleph is Google Earth–have you noticed that? LBB: What book have you read more than any other? AF: One Hundred Years of Solitude–it has so many layers, and of course I reread Borges stories often to remind myself of how awesome he was. As soon as I learned English, I reread Oscar Wilde’s Salome to hear it in its original language–it was so beautiful in Spanish that I was dying to see the original. LBB: What kind of writer do you expect to be branded as? AF: I prefer branding as a sexual practice–just kidding. If I’m labeled a “writer” I’ll be happy. LBB: Don’t you think you’ll be labeled incessantly as a “gay writer”? Or a “Latin gay writer”? AF: Like Jesus Christ used to say “forgive them god because they don’t know what they’re doing.” Again, as long as the word “writer” comes right after whatever the label is, I’ll be happy. LBB: Do you read poetry or go to readings? AF: Funny… I’m not crazy about poetry. I’ve cried with Jacques Prévert, and I love the “old fashion” style of reciting poetry that was developed in Argentina in the 40′s with Berta Zimmerman and Graciela Lecube–forgive the maybe obscure references–but I don’t go out searching for Urban Poetry. I love a performer called La Bruja here in new York, but that’s as far as I go. I’d rather read than be read to. LBB: Anne Lamott advises writers to write towards vulnerability. Your thoughts? Did you mine your own weaknesses (in addition to feelings of rejection) for your novel? AF: Oh, I’m not afraid of being rejected–nobody has ever rejected me!–just kidding. I think that when we explore our vulnerabilities we hit strains of social and psychological viruses that go around. I love David Sedaris because he writes about his envy like nobody else does. I’ve never read anyone who so courageously acknowledges his envy, and I think that’s fabulous. I think that younger generations raised by both working parents will have very particular feelings about it that will and should be expressed by their work–and those are feelings of abandonment that maybe no other generation as felt before. I hope that they’ll dig in and write incredibly moving books. LBB: How do you plan to approach literary reviews/criticism of your work? AF: Denial. Pure denial. What other people think of me is none of my business. LBB: Do you intend/hope to teach writing one day? If you had to pass on any knowledge that you’ve accrued as a writer, what would it be? AF: I think that Alcoholics Anonymous, or the 12 step groups in general, are what religion should be. A place where people go to share their troubles and victories in life, where you connect with your tribe, your community, and a higher power without anyone profiting and without anyone mediating between you and the divine. I’m starting to teach this fall at NYU’s School of Continuing and Professional Studies, I’ll teach a course on writing and producing movie trailers–my former profession. Copywriting is a great way to develop your writing skills–but I’m not sure if I would or could teach creative writing. [Note: This interview was conducted in 2006.] LBB: Do you keep a journal/diary? AF: Nah, I’m lazy. I have enough with the voices in my head–we discuss everything that happens to me in excruciating detail. No need to immortalize it on the page. LBB: Would you marry a writer? AF: I’d love to marry somebody–I’d certainly love to have that option if I fell in love with someone. I’ve dated writers, musicians, lawyers, and hairdressers, and believe it or not, I had the best and most fascinating conversations with the hairdresser. LBB: How has living in NYC been? How does it compare to Caracas, Venezuela? AF: I think that you are born a New Yorker–even if you’ve never been in New York City. I was born in Madrid, but I was born a New Yorker, then I moved to Caracas and I always managed to surround myself by “New Yorkers” at heart. Even anywhere in the world. I’ve been lucky. LBB: What’s the most untrue thing said about you? AF: Someone called me a junkie once–and I’ve hardly tried drugs in my life. That was funny. LBB: What recurring dreams do you have? AF: I dream that my father didn’t die and that he comes back. He actually died when I was 10 years old. LBB: What are the most romantic and hateful things you’ve ever done? AF: I wrote a love letter once–only once. The most hateful thing . . . gee, I don’t want to talk about it, but I’ve looked for that person for quite a while to ask forgiveness. I’ll find him one day. LBB: Sex and men are very time consuming. Your thoughts? AF: I don’t know where to start with men and sex. There’s so much and so little to be told. It’s a tough question, but I must acknowledge that the pursuit of men and sex takes a toll on my schedule. However, all I need is love. Or so I think. LBB: Love?! What’s the best orgasm you’ve ever had? AF: The good ones are usually in the middle of the night–when you’re dreaming that you’re having sex with the person who’s actually sleeping next to you. And then you go at it. LBB: What song have you listened to more than any other? AF: I have to answer with an album that I’ve played to death: Pop Pop by Rickie Lee Jones. She’s a genius. LBB What movie have you seen more than any other? AF: All That Jazz [a 1979 movie directed by Bob Fosse]. That movie is pure art. I recently interviewed Ben Vereen [who played O'Connor Flood in All That Jazz], and he told me that Bob Fosse didn’t know how to end it, and he re-shot the whole ending. Turned out that this movie–that closely resembled Fosse’s life–ended just like his life. He died just like his character, and he made that decision by pure intuition. I think that the lesson is that intellect is overrated and intuition is underrated. In this world where people mix art and entertainment, and writers and filmmakers are constantly controlled by executives who keep trying to make their material more likable for focus groups or marketing targets, art is suffering the consequences. LBB: Thank you with all my literary and silly heart. You gave a courageous interview. I really admired how you jumped into it. Thanks for that. Endnote1: I first met Alberto after accidentally busted in on him sitting on the toilet at Snice Café in the West Village. Alberto forgot to lock the door. Oops. Interviewer: Lee Bob Black, www.LeeBobBlack.com Interview date: Aug 2006. Interview venue: Snice Café, West Village, NYC. [The end.] Published with permission of Lee Bob Black Interview by Bobbie Crawford Alberto Ferreras’ interview by Bobbie Crawford-McCoy from “Book Reviews by Bobbie” BCM: Who or what was your inspiration for the character, Beauty? AF: Beauty is a combination of all the great women I’ve met in my life: my mom, my sisters, my friends… I hear them talking about the same issues, complaining about the same things: relationships, self-image, work… They are all so strong, and yet so fragile. They can swim across the ocean, but sometimes they drown in a drop of water. B is inspired by all their stories and adventures. But one particular friend of mine really met a Russian Madame when she was doing her taxes… the difference is that she never called her. B feels that she has nothing to lose and that’s why she calls her. read full interview Interview by Jesus M. Rodriguez Alberto Ferreras Sabe Mucho de Belleza por Jesus M. Rodriguez para venezolanosenhollywood.com Alberto Ferreras dejó Caracas por Nueva York hace casi 20 años, pero su sensibilidad es tan caraqueña que parece que nunca se hubiese ido. Su talento como Director Creativo y Cineasta ahora se complementa con su nuevo oficio: novelista. Con motivo de la publicación de su primera novela “B as in Beauty”, Jesus Rodriguez (de Venezolanos en Hollywood) chateó con Alberto vía Skype. A continuación publicamos –en exclusiva- la conversación virtual que entablaron. Jesus Rodriguez: Hey Alberto, soy yo, Jesus! Alberto Ferreras: Epale! JR: Hola!!!!!!!!!!!!!!!d AF: holaaaaa!!!! JR: Primera vez chateado por Skype, tenme paciencia! Yo prefiero IChat!!!! AF: Asegúrate de que puedes cut and paste esta vaina. Read the whole interview at www.venezolanosenhollywood.com
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About Alberto Ferreras

Stage

“My Audition for Almodóvar”

Every Sunday at 7:00PM from- October 17^th to November 28^th 2010

She can sing, she can dance, and she can act… but she can’t get rid of her Spanish accent. That’s why Inma Heredia is determined to audition for the only director who can make her a star. Filled with fun, flair and flamenco, “My Audition for Almodovar” is a magical, musical, and hysterical journey from the heart of Seville to the small intestine of New York City.

This one woman show, created and directed by Alberto Ferreras —author of the award winning novel “B as in Beauty”— features the many talents of Inma Heredia, the andalusian actress and singer who has become a staple of the alternative scene in Manhattan.

“My audition for Almodóvar” is the chance of a lifetime for an actress on the verge of a nervous breakdown.

Credits:

Starring Inma Heredia

Written by Alberto Ferreras and Inma Heredia

Directed and created by Alberto Ferreras

Choreography by Carlos Fittante of Balam Dance Theatre

Styling by Paolo DiValdi

Wardrobe by Hugo Sarmiento

Photography by Enrique Pastor and Devin Delano

Graphic Design by Yenting Chuang

Complete Stage Work

“Vanálisis” by Alberto Ferreras, based on works by Jorge Luis Borges

Directed by Marietta Perroni

Sala Rajatabla, Caracas – Venezuela, 1985

“Los Reyes” by Julio Cortázar

Directed by Alberto Ferreras

Teatro Alberto de Paz y Mateos, Caracas – Venezuela, 1989

“En Una Noche Tan Linda Como Esa” by Alberto Ferreras

Directed by Alberto Ferreras

Sala Rómulo Gallegos, Caracas – Venezuela, 1990

“Noche de Ronda” by Pedro Monge Rafuls

Directed by Alberto Ferreras

Bowery Lane Theater, New York City, 1992

“My Audition for Almodovar” by Alberto Ferreras and Inma Heredia

Created and Directed by Alberto Ferreras

Teatro IATI, New York City, 2010

Alberto Ferreras

Stage

“My Audition for Almodóvar”

Complete Stage Work

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