3 items from 2011
Producer, distributor, and longtime professor (24 years!) at Columbia Film School, Ira Deutchman has been appointed the division’s new chair. He takes over from the film school’s previous chair, Jamal Joseph.
Well known in the independent community, Deutchman was a founder of indie distributor Cinecom, a former head of Fine Line Features, and is currently Managing Partner of Emerging Pictures. Film’s he’s worked on as either a distributor or marketer include The Player, An Angel at My Table, Hoop Dreams, Naked, and sex lies and videotape. In an interview with The Hollywood Reporter, Deutchman commented, “I’ve been teaching at Columbia for 24 years now. I used to have mixed feelings in the earlier era of film school, because it was a place for people of privilege. I see the value of it much more than I used to, because of changes in the business. Everybody with a »
- Scott Macaulay
Ira Deutchman, ever since his early days as an indie film distributor, always gave good quote. He went on to do many things, including co-founding Emerging Pictures, but for 24 years he was a popular professor of professional practice at Columbia University's School of the Arts. That's one of the reasons he was so smart about things--he always had an overview. Now Dean Carol Becker is appointing Deutchman as the new chair of Columbia’s Film Program. Deutchman will succeed Jamal Joseph, who has stepped down as chair after five years. Deutchman founded the Mfa program in Creative Producing in 2009 after having supervised the producing concentration since its beginnings. The new program doubled the enrollment of producers at Columbia and added the study of television »
Chicago – Nominated right alongside buzzed-about features such as “Get Low” and “Tiny Furniture” in the Best First Feature category at this year’s Indie Spirit Awards is “Night Catches Us,” the impressive yet entirely overlooked filmmaking debut of writer/producer/director Tanya Hamilton. The film breaks no new ground artistically, but its historical backdrop has rarely been explored in cinema.
Welcome to Philadelphia, 1976. The rumblings of revolution during the 1960s have faded into the distance, but their remnants are scattered all over the volatile neighborhood occupied by Patricia (Kerry Washington). She’s a single mom resigned to shutting out the past while still remaining entrapped by it. Patricia’s caginess causes her ever-curious daughter, Iris (Jamara Griffin), to resort to drastic measures, literally ripping apart the wallpaper in an effort to unearth her family’s blood-stained secrets (this is an example of the film’s less than subtle visual metaphors »
- email@example.com (Adam Fendelman)
3 items from 2011
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