Marc LaGana has joined Harbor as sr. editor. He counts multiple Cannes Lions and Clio awards to his credit, and over the past 12 years as an editor, he has collaborated with clients such as Procter & Gamble, Citibank, Intel, L’Oréal, Folgers, Dunkin, Milk-Bone, Lancôme, Invisalign, Core Hydration, Ferrero Rocher, Outdoor Advertising Association of America, Red Lobster, and Garnier. Campaign highlights have included Doctors of the World’s “More than a Costume” which received a Cannes Silver Lion, a Clio Health Silver, and a Chiat Gold, as well as “Who the F*ck Wants to Follow Pepto?” which won a Cannes Silver Lion and a Webby award. LaGana previously worked with KMA Music, Kaplan Theater Group, Publicis New York, and Underbelly.
Harbor’s commercial operation is led by executive creative director Chris Hellman, executive producer live-action Kelly Broad and executive producer postproduction Jesse Schwartz. Harbor artists and producers are available to work globally. In addition to its New York, Los Angeles, Chicago, and U.K. studios, Harbor offers its full suite of services –on-premises, remote, and hybrid – allowing clients the flexibility to mix-and-match as they see fit.
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