Exclusive: Lucy J. Mukerjee has joined Stanley Nelson and Marcia Smith’s media company Firelight Media, geared toward nonfiction cinema by and about communities of color, as the new director of its flagship Documentary Lab.
An 18-month fellowship that provides emerging filmmakers of color with customized mentorship from prominent leaders in the documentary world, as well as funding, professional development workshops and networking opportunities, the Documentary Lab has thus far helped to advance the careers of over 100 filmmakers, including Dawn Porter, Yoruba Richen and Peter Nicks.
Mukerjee succeeds Sabaah Folayan, who for the past year has served as the Lab’s Interim Director. She comes to Firelight Media with over 20 years of experience producing films, programming festivals, and overseeing artist development programs. Her previous roles include Senior Programmer at Tribeca Festival, Director of Programming at Outfest Los Angeles LGBTQ+ Film Festival, Outfest Fusion Qtbipoc Festival and NewFest New York’s LGBTQ+ Film Festival,...
An 18-month fellowship that provides emerging filmmakers of color with customized mentorship from prominent leaders in the documentary world, as well as funding, professional development workshops and networking opportunities, the Documentary Lab has thus far helped to advance the careers of over 100 filmmakers, including Dawn Porter, Yoruba Richen and Peter Nicks.
Mukerjee succeeds Sabaah Folayan, who for the past year has served as the Lab’s Interim Director. She comes to Firelight Media with over 20 years of experience producing films, programming festivals, and overseeing artist development programs. Her previous roles include Senior Programmer at Tribeca Festival, Director of Programming at Outfest Los Angeles LGBTQ+ Film Festival, Outfest Fusion Qtbipoc Festival and NewFest New York’s LGBTQ+ Film Festival,...
- 5/12/2023
- by Matt Grobar
- Deadline Film + TV
Sales slate includes UK gangster film Mad Frank, graffiti artist drama Burners.
Us-based Apl Film president of global sales Brian Sweet heads to the Efm with worldwide rights on the crime thriller Chameleon and will shop to buyers in Berlin next week.
Vice and If Beale Street Could Talk executive producer Jillian Longnecker is on board the completed project and Marcus Mizelle directed from his screenplay about a struggling ex-con and his unpredictable accomplice who scam superficial trophy wives and their husbands in Los Angeles.
Australia’s Joel Hogan (Open Water 3: Cage Dive), Emmy-nominated Alicia Leigh Willis (General Hospital), Donald Prabatah,...
Us-based Apl Film president of global sales Brian Sweet heads to the Efm with worldwide rights on the crime thriller Chameleon and will shop to buyers in Berlin next week.
Vice and If Beale Street Could Talk executive producer Jillian Longnecker is on board the completed project and Marcus Mizelle directed from his screenplay about a struggling ex-con and his unpredictable accomplice who scam superficial trophy wives and their husbands in Los Angeles.
Australia’s Joel Hogan (Open Water 3: Cage Dive), Emmy-nominated Alicia Leigh Willis (General Hospital), Donald Prabatah,...
- 1/30/2019
- by Jeremy Kay
- ScreenDaily
This post was originally published on Film Independent's blog. It appears below with their permission. "Movies are made in post-production." While some producers and cinematographers may take issue with this maxim, Nancy Kirhoffer, an accomplished post-production supervisor whose credits include "Memento," "50/50" and "Bernie," makes a compelling case: "Movies are three things: picture, sound and music and two of those happen in post-production." Read More: Attention, Filmmakers: Here's How to Talk Sound Design Kirhoffer recently spoke to Film Independent Members about the responsibilities of her position. "I basically take over from the line producer. My job is to get the film through post-production. I oversee the editing, sound, music and I make sure it's delivered." Kirhoffer recommends finding a post-production supervisor in pre-production. After all, they're the ones responsible for helping the film reach the...
- 9/8/2015
- by Daniel Larios
- Indiewire
Aiming squarely for the potty and missing virtually every time, Daddy Day Camp, the Eddie Murphy-less sequel to 2003's Daddy Day Care, makes for an awfully long 85 minutes -- even by the diminished demands of its juvenile target audience.
Any scrap of charm or honest-to-goodness humor already possessed in limited quantities by the original has been relegated to the outhouse in this sorry follow-up.
Obviously, Sony is banking on its intended demographic not being overwhelmed by Buena Vista's Underdog, given "Daddy's" arrival less than a week later. But minus Murphy, it's got nowhere to go but down.
It turns out Murphy isn't the only one who's out of the picture -- so is the rest of the original cast, including Jeff Garlin, who played his best buddy-turned-business partner.
So this time around, the roles of Charlie and Phil are played by once-upon-a-time Oscar winner Cuba Gooding Jr. and Garlin look-alike Paul Rae, still operating their thriving Daddy Day Care business.
But when they discover that their old childhood day camp has been run into the ground, they agree to take it over, much to the chagrin of their kids, who would prefer to go to the tonier Camp Canola, which is now operated by Charlie's old nemesis and tormentor, Lance Warner (Lochlyn Munro).
With mere days away from being foreclosed upon, the guys have to work fast, even if it's at the expense of Charlie's relationships with his eager-to-please son (Spencir Bridges) and disapproving military dad (Richard Gant).
Taking the reins from Daddy Day Care director Steve Carr, feature newbie Fred Savage would have seemed to be the man for the job, given his extensive Disney Channel directing credits.
But he can't seem to make much out of the shoddy blueprints furnished by screenwriter Geoff Rodkey (who wrote the first one), along with J. David Stem and David N. Weiss.
Their combined efforts produce enough puking, farting and shots to the crotch to fill the next Jackass movie, while the entire childhood rival plot line could have been lifted wholesale from Cheaper by the Dozen 2.
As far as the performances go, let's just say if Savage's cast was encouraged to play it any broader, they would have needed CinemaScope.
DADDY DAY CAMP
TriStar Pictures
A TriStar Pictures and Revolution Studios presentation
Credits:
Director: Fred Savage
Screenwriters: Geoff Rodkey, J. David Stem, David N. Weiss
Story by: Geoff Rodkey, Joel Cohen, Alec Sokolow
Producers: William Sherak, Jason Shuman
Executive producers: John Davis, Matt Berenson, Derek Dauchy, Richard Hull, Chris Emerson, Nancy Kirhoffer, Jefferson Richard
Director of photography: Geno Salvatori
Production designer: Eric Weiler
Music: Jim Dooley
Costume designer: Carolyn Leone-Smith
Editor: Michel Aller
Cast:
Charlie Hinton: Cuba Gooding Jr.
Lance Warner: Lochlyn Munro
Buck: Richard Gant
Kim Hinton: Tamala Jones
Phil Ryerson: Paul Rae
Uncle Morty: Brian Doyle-Murray
Dale: Joshua McLerran: Ben Hinton: Spencir Bridges
Running time -- 85 minutes
MPAA rating: PG...
Any scrap of charm or honest-to-goodness humor already possessed in limited quantities by the original has been relegated to the outhouse in this sorry follow-up.
Obviously, Sony is banking on its intended demographic not being overwhelmed by Buena Vista's Underdog, given "Daddy's" arrival less than a week later. But minus Murphy, it's got nowhere to go but down.
It turns out Murphy isn't the only one who's out of the picture -- so is the rest of the original cast, including Jeff Garlin, who played his best buddy-turned-business partner.
So this time around, the roles of Charlie and Phil are played by once-upon-a-time Oscar winner Cuba Gooding Jr. and Garlin look-alike Paul Rae, still operating their thriving Daddy Day Care business.
But when they discover that their old childhood day camp has been run into the ground, they agree to take it over, much to the chagrin of their kids, who would prefer to go to the tonier Camp Canola, which is now operated by Charlie's old nemesis and tormentor, Lance Warner (Lochlyn Munro).
With mere days away from being foreclosed upon, the guys have to work fast, even if it's at the expense of Charlie's relationships with his eager-to-please son (Spencir Bridges) and disapproving military dad (Richard Gant).
Taking the reins from Daddy Day Care director Steve Carr, feature newbie Fred Savage would have seemed to be the man for the job, given his extensive Disney Channel directing credits.
But he can't seem to make much out of the shoddy blueprints furnished by screenwriter Geoff Rodkey (who wrote the first one), along with J. David Stem and David N. Weiss.
Their combined efforts produce enough puking, farting and shots to the crotch to fill the next Jackass movie, while the entire childhood rival plot line could have been lifted wholesale from Cheaper by the Dozen 2.
As far as the performances go, let's just say if Savage's cast was encouraged to play it any broader, they would have needed CinemaScope.
DADDY DAY CAMP
TriStar Pictures
A TriStar Pictures and Revolution Studios presentation
Credits:
Director: Fred Savage
Screenwriters: Geoff Rodkey, J. David Stem, David N. Weiss
Story by: Geoff Rodkey, Joel Cohen, Alec Sokolow
Producers: William Sherak, Jason Shuman
Executive producers: John Davis, Matt Berenson, Derek Dauchy, Richard Hull, Chris Emerson, Nancy Kirhoffer, Jefferson Richard
Director of photography: Geno Salvatori
Production designer: Eric Weiler
Music: Jim Dooley
Costume designer: Carolyn Leone-Smith
Editor: Michel Aller
Cast:
Charlie Hinton: Cuba Gooding Jr.
Lance Warner: Lochlyn Munro
Buck: Richard Gant
Kim Hinton: Tamala Jones
Phil Ryerson: Paul Rae
Uncle Morty: Brian Doyle-Murray
Dale: Joshua McLerran: Ben Hinton: Spencir Bridges
Running time -- 85 minutes
MPAA rating: PG...
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