Deutsch has hired Jeremy Gelade as SVP, director of creative operations and project management, a new position at the agency. He will report to Dan Kelleher, chief creative officer of Deutsch’s New York office. Joining from Translation, Gelade is also a Deutsch “boomeranger,” having previously worked at the agency between 2010 and 2015.
While at Translation, Gelade served as director of project management and creative operations, working on behalf of major brands including Google, Apple, Jeep, State Farm and the NBA. In addition to Translation and Deutsch, he’s also gained experience at Lowe NY, StrawberryFrog and Mezzina Brown & Partners. His projects have earned recognition from the Webby Awards, Cannes Lions, the AICP Show, and the Art Directors Club, to name a few.
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 โ a series of 10 plays โ 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