PS260 has upped assistant editors Colin Edelman and Colin Reilly to editors, and head of production Laura Lamb Patterson to executive producer, all in the New York office.
Edelman’s credits include collaborations with artists such as MM La Fleur and Chance the Rapper, and work for such brands as E*Trade, Burger King, Intel, Facebook, Citibank, Fox Sports, Staples, Ad Council, Abbott, and the New York Lottery. Edelman is also no stranger to longer-form pieces, including cutting a feature video for the 2012 Democratic National Convention with Barack Obama, several television pilots and short films, and a feature-length documentary currently in the festival circuit that questions the NYPD’s use of chokeholds and taking progressive measures.
Meanwhile Reilly started at PS260 11 years ago. He has worked with agencies ranging from BBDO to MullenLowe and Mythology, and directors including Henry Joost & Rel Schulman, Jon Watts, Fredrik Bond, and Hannah Lux Davis on campaigns for the likes of Coca-Cola, Harry’s Razors, Grey Goose Vodka, Google, Facebook, Peloton and AT&T. His credits also include a short about social justice issues and solitary confinement in prisons for a series called Motion Poems. Reilly’s work has taken him to various domestic locations where he’s set up his own 4-wall edit bays, and internationally to Tokyo and Lisbon.
Patterson spent years on the agency side at Messner, Vetere, Berger, McNamee, Schmetterer/Euro RSCG, DiMassimo Brand Advertising and Havas, working alongside notable creatives like Jeff Kling, Kevin Roddy, Mark DiMassimo and Michael Lee–managing 60+ person creative groups in New York and Amsterdam. It’s with these management skills that she was able to seamlessly jump over to the postproduction side–starting with three years at Final-Cut NY, and since 2010, at PS260, where she has rolled up her sleeves with clients like BBH, BBDO, MullenLowe, Mythology, mcgarrybowen, Publicis, Anonymous Content, MJZ, RadicalMedia, Smuggler, Supermarché, Park Pictures and Hungry Man to produce multiple highly recognized commercials for such brands as M&M’s, Powerade, Harry’s, Google, Citi, AT&T, Monster.com, JetBlue, and Intel. She has the experience of seven Super Bowl spots under her belt, including one in 3D. For PS260, she has helped to set up expansion with the opening of its L.A. and Boston offices.
Review: Malcolm Washington Makes His Feature Directing Debut With “The Piano Lesson”
An heirloom piano takes on immense significance for one family in 1936 Pittsburgh in August Wilson's "The Piano Lesson." Generational ties also permeate the film adaptation, in which Malcolm Washington follows in his father Denzel Washington's footsteps in helping to bring the entirety of The Pittsburgh Cycle — a series of 10 plays — to the screen.
Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it's second nature, it would be hard, one imagines, to go wrong. Jackson's own history with the play goes back to its original run in 1987 when he was Boy Willie.
It's not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with "Mudbound" screenwriter Virgil Williams, goes beyond Wilson's text and shows us the past and the origins of the intricately engraved piano that's central to all the fuss. It even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family's home. Another fleshes out Doaker's monologue in which he explains to the uninitiated, Fisher's Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes... Read More