Punctuating a long, successful relationship that began in a freelance capacity, 2C Originals, the original content division of 2C Media, Inc., has appointed Mark S. Clark as its new head of development. The news was announced by the North Miami-based company’s co-founder, Chris Sloan, who looks forward to putting Clark’s varied skills to work in 2C’s unscripted world and beyond.
First tapped as a freelance editor/producer in 2005 (2C’s first year in business), Clark has assumed roles with increasing responsibility throughout the company’s 12-year growth. With his work spanning the launch of MyNetworkTV to integral roles in the promo campaigns for CNN, FOX, ABC Family, History, Science Channel, Comedy Central, Velocity and Animal Planet, Clark has served as a writer, editor, producer and director on more than 100 short- and long-form projects.
These projects aside, perhaps the most relevant aspect of Clark’s background is his role in developing four previous series with 2C, including Travel Channel’s Airport 24/7: Miami, which he co-executive produced and directed for three seasons.
“This series was truly like producing several unique shows at the same time, as we followed Customs and Border Protection, TSA, The Miami-Dade Police, Fire Rescue, airport staff and airline carriers with unprecedented access that we worked very hard to attain. It was a massive undertaking from development to series, and very rewarding.”
The other unscripted 2C series Clark helped to develop include CMT’s Danger Coast, WE tv’s A Stand Up Mother and Planet Green’s Future Food.
Director Payal Kapadia Finds Truth In Fiction With “All We Imagine as Light”
Fiction moves stealthily through Payal Kapadia's films.
The Indian filmmaker's first movie, "Night of Knowing Nothing," is a documentary about the student strike at the Film and Television Institute of India, Kapadia's alma mater, following the appointment by Prime Minister Narendra Modi of a right-wing chairman. The film, though, is threaded through with fictional letters between two students who have split because they belong to separate castes.
Kapadia's first fully narrative film, "All We Imagine as Light," begins more like a documentary, surveying Mumbai, particularly at night, before gently gravitating toward three women, all of them hospital workers, who are juggling their workaday realities, and those of India's stratified society, with their own aspirations.
"Real life is more interesting than cinema can be. We just have to pick its fruits," Kapadia says, smiling. "There's a quote from Rilke that I really love: 'If your real life is poor, it means you are not poet enough to draw from its riches.'"
"All We Imagine as Light," which opened Friday (11/15) in theaters and expands in the coming weeks, is about as rich a movie experience as you'll find this year. The film, which won the Grand Prix (second prize) at the Cannes Film Festival, is an intoxicatingly atmospheric portrait of life in Mumbai — of its dreams, its illusions and its impossibilities.
As "All We Imagine as Light" moves along, it slowly accumulates the magic of fable. Prabha (Kani Kusruti) hasn't heard from her husband, who's working in Germany, in years. Anu (Divya Prabha) is in love with a Muslim man, a relationship they have to hide and that, probably, is doomed. Their slightly older, recently widowed colleague, Parvaty (Chhaya Kadam), is being evicted... Read More