m ss ng p eces managing partners Kate Oppenheim, Brian Latt and Ari Kuschnir take on expanded roles as exec VPs
Tribeca Enterprises has tapped production and creative leader Sandra Nam as VP of Tribeca Studios. In her new role, Nam will be responsible for leading day-to-day operations and growing the business. She begins this week.
Additionally, m ss ng p eces managing partners Kate Oppenheim, Brian Latt and Ari Kuschnir have been given expanded roles as executive VPs at Tribeca Studios, where–alongside chief content officer Paula Weinstein–they will bolster offerings to brand partners. Oppenheim, Latt, and Kuschnir will continue with dual roles across both m ss ng p eces and Tribeca Studios.
“This is an exciting new chapter for Tribeca as we expand our leadership with bold, brilliant talent. Sandra is a creative and operations asset, and I’m confident in our continued growth through her vision,” said Weinstein. “Together with m ss ng p eces, Tribeca Studios will continue to generate industry-leading branded content.”
“Sandra’s track record of delivering unmatched creative work with top talent across the industry speaks for itself,” said Oppenheim. “Her forward thinking and taste-making leadership will further cement Tribeca Studios as the premier home for brands that want to tell entertaining and impactful stories.”
“Tribeca is at the forefront of great storytelling, and I’m thrilled to join this dynamic team to advance branded entertainment by producing groundbreaking stories that move hearts and minds,” said Nam.
Nam has been a creative storyteller and producer for more than 20 years. Before joining Tribeca, she built and managed in-house creative teams from infancy to Emmy- and Cannes Lions Grand Prix-winning storytellers. She previously led production, business affairs and operations for Squarespace’s creative team. Nam has also held creative leadership roles at Droga5, Wealthsimple, and Google–where she was a founding producer at Creative Lab.
Tribeca Enterprises is a multi-platform storytelling company, founded in 2003 by Robert De Niro, Jane Rosenthal and Craig Hatkoff. It provides artists with unique platforms to expand the audience for their work and broadens consumer access to experience storytelling, independent film, and media. The company operates a network of entertainment businesses including the Tribeca Festival; its branded entertainment production arm, Tribeca Studios; and creative production company, m ss ng p eces. In 2019, James Murdoch’s Lupa Systems bought a majority stake in Tribeca Enterprises, bringing together Rosenthal, De Niro and Murdoch to grow the enterprise.
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