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Harvardwood HIGHLIGHTS - January 2024



In this issue: MESSAGE FROM HARVARDWOOD

NEWS

  • Pitching Lab for TV Writers

  • 2024-2025 Harvardwood Artist Launch Fellowship - Applications Open!

  • Featured Job: Assistant for Leading Talent Management and Production Company

FEATURES

  • Alumni Profiles: Daniel Goldhaber AB '13 (director, writer, producer)

  • Industry News

  • Welcome New Members

  • Exclusive Q&A with new Harvardwood President Diane Nabatoff AB '78 HBS '82 (producer)

CALENDAR & NOTES

  • Virtual: Building PERCY JACKSON & Writing Adapted TV with Jonathan E. Steinberg (AB '97)

  • Virtual: Writers-- How to Craft a Compelling Bio

  • Cambridge: Harvardwood Mixer

  • LA: Oscars Watch Party 2024

  • Last Month at Harvardwood

Want to submit your success(es) to Harvardwood HIGHLIGHTS? Do so by posting here!




Seasons greetings and congratulations to our 2023 Harvardwood Volunteer of the Year winners! Pictured left to right: Katie Rich AB '18, Joel Kwartler AB '18, and Jared Lopez AB '14.


We appreciate you and all your hard work! We at Harvardwood could not function without the generous time, efforts, and resources trusted to us by esteemed alumni. Please do reach out to discover how to become esteemed yourself.


Got a script from before the '08 recession that's burning a hole in your eyes? We wanna help you get some other eyes on it with our limited availability lab to master Pitching for TV Writers.


In addition, our Harvardwood Artist Launch Fellowship applications are still open! But applications are due soon, like January 22nd soon, so get those in if you want to mooch off the generosity of Harvardwood Co-Founder Mia Riverton Alpert ’99 and her husband, producer and media entrepreneur David Alpert ‘97!

We have many events coming up! Come talk the new PERCY JACKSON show with co-creator Jonathan E. Steinberg AB '97; I know my cousin's got a couple of burning questions. Or, for those who have mastered productive procrastination, join us to learn How to Craft a Compelling Bio for writers! And of course, the event of the season (Q1 financial quarter) the Harvardwood Oscars Watch Party! Everybody's talking about it.


Now, membership! If you're still not on the new memberships with expanded perks, be sure to sign up for the new membership, like, 2 days ago, as we have begun to sunset the old membership. We're very excited to be in this new era with everyone, so please join us in the new, glorious age of Harvardwood. As always, we want to hear from you, our members — if you have an idea for an event or programming, please tell us about it here. If you have an announcement about your work or someone else's, please share it here (members) and it will appear in our Weekly and/or next HIGHLIGHTS issue.

Please consider donating to Harvardwood. Your donations are tax deductible! Best wishes, Grace Shi Operations and Communications Harvardwood grace@harvardwood.org



Pitching Lab for TV Writers


Eight Sessions, limited to 10 participants.


DATES: From 6 to 9 PM PT over Zoom on these dates: Feb 13th, Feb 15th, Feb 20th, Feb 22th, Feb 27th, Feb 29th, March 5th, and March 7th. PLEASE ONLY APPLY IF YOU CAN ATTEND ALL DATES FOR THE FULL THREE HOURS.


As a writer/creator for TV and Film, there’s nothing more essential than knowing how to effectively pitch your ideas. Whether your goal is to sell a show, talk about a script you’ve written, or participate in a writers’ room, mastering the art of sharing your ideas is something that every scribe needs for success.



This module will be run by Steve Harper (Co-Ep Stargirl, Tell Me Your Secrets, God Friended Me) and Allison Kiessling (who has sold pitches to ABC, TV Land, DC Comics, and Warner Bros, among others). During the first session they will lay out the fundamentals of pitching a new TV show (this lab has an emphasis on TV, although the principles also apply to features), and provide a framework and some essential tools to do it well. The following sessions will be focused on listening to the participants' pitches, and giving support as they are developed. Each writer will have the opportunity to run through a 10-15 min pitch on two different dates (a first draft, and a second draft). All participants will be asked to join in group discussions of the pitches and should be prepared to engage in a collaborative, positive environment.


$100, open to full members only. 10 participants will be accepted.


 

2024-2025 Harvardwood Artist Launch Fellowship - Applications Open!


Harvardwood is pleased to announce the 2024-2025 Mia and David Alpert Harvardwood Artist Launch Fellowship for graduating seniors or recent Harvard alumni working or seeking to work in the arts, media, and entertainment fields. The multiyear gift, generously created in 2021 by Harvardwood Co-Founder Mia Riverton Alpert ’99 and her husband, producer and media entrepreneur David Alpert ‘97, includes a $24,000 per-artist grant, awarded annually, to support one or more recent graduates from the College for one year as they pursue their artistic projects. Each Alpert Harvardwood Fellow is also paired with a mentor in their field of interest to help guide their creative endeavors and will receive additional assistance through Harvardwood.


The Harvardwood Artist Launch Fellowship is awarded annually to a different artist or artists. Grant funds can be used at the grantee’s discretion. The purpose of the funds is to provide the opportunity for an individual to choose the pursuit of artistic endeavors without consideration of financial need for the duration of the grant period. There is no restriction on the artistic field; musicians, dancers, visual artists, actors, writers, filmmakers and artists/creators in all disciplines are encouraged to apply.


 

Featured Job: Assistant for Leading Talent Management and Production Company


Job Description:

Assistant needed for leading talent management and production company. Prefer one year agency or management desk experience. Ideal candidates are organized, resourceful, articulate, and professional multi-taskers that can provide superb support. Typical responsibilities include: heavy phones, interacting with actor/writer/director clients, casting offices, producers and executives; managing schedule, travel and office; managing client calendars and organizing meetings or appointments; preparing and sending submission materials. $18-20/hr.



Alumni Profile: Daniel Goldhaber AB '13 (director, writer, producer)

by Laura Frustaci

Daniel Goldhaber AB '13 is a director, writer and producer based in Brooklyn. He graduated from Harvard where he studied Visual and Environmental Studies. In 2018, he directed the Netflix horror film, CAM, which won Best First Feature at the Fantasia Film Festival. His second film, HOW TO BLOW UP A PIPELINE, premiered in the Platform Section of the 2022 Toronto Film Festival, where it was acquired by NEON for theatrical release.

Daniel Goldhaber (AB ‘13), director/writer/producer of HOW TO BLOW UP A PIPELINE, has been obsessed with movies since a very young age. “I was bitten by the film bug at ten or eleven,” Daniel notes. “I started writing scripts, bought a computer and taught myself to edit.” 


Daniel went on to attend Harvard and study VES (now AFVS), for which he is very grateful. “That was home,” Daniel recalls. “I feel like the education I had, especially VES, is really precious to me, in terms of setting forth a way of thinking about craft and the purpose of making a film.” His dedication to the craft led him to assemble time lapse videos for CHASING ICE, the Academy Award-nominated documentary about the Extreme Ice Survey. He was credited as an assistant editor and found that experience integral to his cinematic beginning. 


Upon graduating from Harvard College in 2013, Daniel worked freelance, doing anything he could to make money. Ultimately, he saved enough to begin his first full-length project: CAM. The film is a psychological horror piece focusing on the world of webcam sex work. Directed by Daniel and written by Isa Mazzei, the two came up with the story together along with their third collaborator Isabelle Link-Levy. Ultimately, the film was backed by Blumhouse and picked up by Netflix.


This was the first feature Daniel had worked on, and he found the process hugely educational. “The biggest learning curve from going from a short to a feature is the industrial mechanisms of the process,” Daniel explains. “Capital and time is the medium of the industrial filmmaker. I use the word industrial to talk about a certain level of production value, to make a movie that has commerciality that will allow it to become a commodity. Now anybody with a smartphone has the capability to make a 90 minute movie, but it may not be exhibited as a commercial product.”


After CAM, Daniel was working on development for other films when the book HOW TO BLOW UP A PIPELINE by Andreas Malm came to him. Inspiration struck. “It felt really exciting and important,” Daniel says. “I love finding friends and collaborators who love working together and finding ways that tell stories in an accessible way… getting under the hood of modern life and modern politics and modern systems.” So, that’s what he did. 


From there, the film was made and became a huge success, garnering acclaim across the festival circuit. HOW TO BLOW UP A PIPELINE tells the story of a group of young environmental activists who plan and execute a daring mission to sabotage an oil pipeline. What’s interesting about this film is the way it presents a “challenging moral landscape,” Daniel notes. “You have to separate the morality of property destruction from the morality of doing harm to another living thing. If you destroy an oil pipeline, if you sabotage our oil system, are you going to cause downstream effects that do cause harm to innocent lives?” 

 

And that morality question imbued within the film’s perceptions wasn’t something the team considered as they were making it. “We never really felt that this is a film that’s calling to action, or that we had a moral responsibility.” Daniel reflects. “People hold leftist film to that kind of standard, but no one is out there calculating the moral cost of Marvel movies. Often we allow leftist films so much less room to exist as storytelling. There are inherent prejudices that are so baked into cultural criticism.” This film was never intended to be an inspiration or a ‘how to’—  despite its name. It’s a creative interpretation on taking matters into one's own hands when constantly facing the hopelessness of climate change that’s engulfing younger generations in particular. 


“I feel that hopelessness every day in my life. I struggle with it.” Daniel confirms. “This climate doomism to some extent has always been a part of being human. We’re dealing with catastrophes of our own making, which is part of what gives it that edge, but this is how it’s always been. It’s ultimately just a different form of this thing that my ancestors have always dealt with. It does mean allowing yourself joy and community and for me. And I’m just trying to find a way to embrace the instability.”


As a writer/director, Daniel does feel that there is one obligation that creatives have to the society for which they create: honesty. “Humans are inherently very creative,” He muses. “I think for filmmakers and for storytellers, storytelling has always been a foundational element of the way that humans make up society. Part of that has been a way to communicate knowledge, morality, and to form the fabric of culture. I think that the thing that storytelling does is it imparts those values and knowledge in a way that shapes our consciousness.” As creatives, Daniel thinks the questions we must ask ourselves are: What kind of culture are we trying to create? What kind of ideas are we trying to inject?


But not all work can have a social impact, or at least, it’s impossible to approach the art making process with that in mind, Daniel theorizes. “Conceptualizing one’s art of storytelling based on its believed social impact is a fool’s errand. You can’t know what a movie or a story is going to do. That is a very capitalistic way of approaching art, like trying to evaluate it in some objective terms. There’s an idea sometimes that just because you have an idea for a film that is yours and it’s personal, it should be made. For me, it’s ‘Is this something new?’”


Along with creating something new, Daniel has other wisdom to pass along to aspiring filmmakers. “Work with your friends,” He says. “Build a creative community, make work that’s generous to audiences and that speaks to people. It doesn’t need to speak to a lot of people. Find out who you’re making it for, and then make work for those people passionately and lovingly. Chase that honesty of your experience, your fears, things that interest you, and try to challenge yourself. The joy of collaboration is having people in the room who say ‘you’re wrong’. That’s what gives film dimension and gives film richness.” Daniel adds, “Don’t be afraid to ask for help. Young filmmakers fail when they don’t ask for help.”


He elaborates: “I’ve only gotten anywhere because I asked for help from my friends, from industry people, and a lot of people say they don’t want to help you and that’s fine. If you want to make movies, make movies. Making a movie is starting a business, and the way you start a business is you prototype the product, and eventually if it’s good, that’s going to attract people. If you want to make work, start making it in whatever way makes sense for you to attract people to support you. You just have to start.” 

----- Laura Frustaci (AB ’21) is an NYC-based actor and writer. She recently completed a yearlong Harvard Postgraduate Traveling fellowship in Edinburgh, Scotland, where she wrote her first full-length play. While at Harvard, Laura studied English and performed with the Hasty Pudding Theatricals, the HRDC, On Thin Ice, and the American Repertory Theater.

 

Industry News


Catfish Jean (TO LESLIE) is set for a key recurring role in AMERICAN SPORTS STORY, Ryan Murphy’s FX anthology series based on the podcast GLADIATOR: AARON HERNANDEZ AND FOOTBALL INC, Marshall Lewy AB ‘99 to executive produce. (Deadline)


Michelle Williams is set to star in and produce DYING FOR SEX, a limited series for FX from writers Liz Meriwether and Kim Rosenstock, director Leslye Headland (Acolyte) and 20th Television, Marshall Lewy AB ‘99 to executive produce. (Deadline)


Nicholas Britell AB ‘03 won best Score-TV Show/Limited Series for SUCCESSION at the Hollywood Music in Media Awards 2023. (Music Connection)


NBC has renewed THE IRRATIONAL for a second season, with Arika Lisanne Mittman serving as showrunner and executive producing alongside Mark Goffman MPP ‘94, Sam Baum AB ‘98, and David Frankel AB '81. (Deadline)


Prime Video has released 9 first-look photos of the new survival series FALLOUT from WESTWORLD creators Jonathan Nolan and Lisa Joy JD '07 and their Kilter Films. Geneva Robertson-Dworet AB ‘07 and Graham Wagner serve as executive producers, writers and co-showrunners. (Deadline)


Robert Kirkman and David Alpert AB ‘97’s company Skybound opening in Japan will bolster the LA-headquartered outfit’s international presence, with a focus on Japanese IP and anime, coming almost seven years after Skybound North opened in Vancouver. (Deadline)


Netflix has snapped up rights to INCOMING, a teen comedy written and directed by THE MICK creators Dave Chernin and John Chernin, with Nicholas Stoller AB ‘98 producing. (Deadline)


Monster In My Pocket is the latest toy brand that is set to be turned into a live-action television series. Terence Carter AB ‘01 and David Boorstein will executive produce the project on behalf of Westbrook Studios. (Deadline)


Rideback Rise, the 501c3 non-profit BIPOC content accelerator launched by producer Dan Lin MBA ‘99 to advance racial equity, has selected its inaugural cohort of 16 writers and filmmakers who will be financially and creatively supported as they seek to develop their own market-ready mainstream TV and film projects. Tracey Bing MBA '01 is the Head of Content for Rideback Rise, and among the selected Rideback Rise Residents are Harvardwood's very own Eric Lu AB '09 MD '14 and Min-Woo Park AB '16! (Deadline)


The Damien Chazelle AB ‘07 directed, Justin Hurwitz AB ‘08 scored, Emma Stone and Ryan Gosling starring 6x Oscar winning feature musical LA LA LAND is returning to China via distributor JL Film on Dec. 22. (Deadline)


CURB YOUR ENTHUSIASM, created by and starring Larry David and executive produced by Jeff Schaffer AB ‘91, is officially coming to an end with Season 12 on HBO. (Deadline)


Emmy winner and Oscar nominee Glenn Close has been tapped to portray the legendary Harper’s Bazaar editor-in-chief Carmel Snow in Apple TV+’s THE NEW LOOK, Lorenzo di Bonaventura AB ‘80 and Mark Baker executive producing.  (Deadline)


BREAKING BAD alum Dean Norris AB ‘85 has joined the Season 4 cast of LAW & ORDER: ORGANIZED CRIME in a major recurring role as Randall Stabler. (Deadline)


WARRIOR, featuring Hoon Lee AB ‘95, canceled at HBO Max as Netflix picks up non-exclusive rights to 3 existing seasons. (Deadline)

​​

Paramount Pictures’ adaptation of Tomi Adeyemi‘s novel CHILDREN OF BLOOD AND BONE is gaining momentum with Wyck Godfrey and Marty Bowen AB ‘91 of Temple Hill Entertainment to produce. (Deadline)


Clint Eastwood‘s JUROR NO. 2 at Warner Bros. has rounded out its cast with Amy Aquino AB ‘79, Adrienne C. Moore, Cedric Yarbrough, Chikako Fukuyama and Onix Serrano. (Deadline)


Warner Bros has won a weeklong auction for CALAMITY HUSTLE, an action comedy that will star Ryan Reynolds and Channing Tatum with Free Association’s Reid Carolin AB ‘04 and Peter Kiernan producing. (Deadline)


Get in loser, we’re going to watch the MEAN GIRLS Girls musical with lyrics by Nell Benjamin '93! That’s right, the classic film we know and love is back with a new era of The Plastics set to terrorize Cady Heron and the rest of North Shore High School. (Cosmopolitan)


GALACTIC CATCH executive produced by Maureen Fan MBA ‘09 wins Outstanding Interactive Media at the Children’s and Family Emmys 2023. (Deadline)

 

Welcome New Members

Harvardwood warmly welcomes all members who joined the organization last month (or those who migrated their membership over):

  • Jillian Letteney

  • PW Jackson

  • Penelope Hartogensis

  • Claire Liu

  • Alexis Lauricella

  • Sara Caplan

  • Nikki Beard

  • Elyse Dolbec

  • Melissa Fall

  • Alexandre Drago

  • Jayne Amelia Larson

  • James Caven

  • Francis Xavier Hayes

  • Mario Pochat

  • Skye R. Regan

  • Ben Tobin

 

Exclusive Q&A with newly elected Harvardwood President Diane Nabatoff AB '78 HBS '82 (producer)


Diane Nabatoff AB '78 HBS '82 has worked as a studio executive, production company executive and producer of film and television over her 30-year career. Nabatoff loves discovering new voices and is known for launching multiple first-time directors including Pete Berg, Joe Carnahan, Kathryn Bigelow and Liz Friedlander.


She has worked in theater for the legendary Joe Papp at The Public Theater; in television at The Landsburg Company; and in features at Feldman-Meeker, Vestron, Fair Dinkum Productions, and Interscope Communications.


While at Interscope, she developed and produced an eclectic group of films ranging from OPERATION DUMBO DROP to VERY BAD THINGS, working with talent including Pete Berg, John Favreau, Lesli Glatter, Ken Branaugh and Leonard Nimoy.

After Interscope, Nabatoff started her own company, Tiara Blu Films, where she has produced a wide range of projects. Her films include: TAKE THE LEAD and NARC as well as the award-winning documentaries DANCING IN JAFFA and 999:THE FORGOTTEN GIRLS OF THE HOLOCAUST. In television, she executive produced KNIGHTS OF THE SOUTH BRONX for A&E (SAG and Namic Vision Award nominations); RACING FOR TIME for Lifetime (two NAACP nominations); She co-executive produced pilots SCENT OF THE MISSING by Carol Mendelsohn for TNT and BASEBALL WIVES by Tom Fontana and Julie Martin for HBO. She also conceived and executive produced three seasons of the ground-breaking AFTER HOURS WITH DANIEL for Mojo.


Q: Congratulations on becoming Harvardwood’s new President! Can you tell us a little more about how you got involved with Harvardwood? And what’s been your favorite part about working with the organization?


I originally started out as a member. When Mia [Riverton Alpert, Harvardwood Co-Founder] asked me to volunteer on some of the committees, I realized the breadth and power of the organization, so I just kept getting more and more involved. My favorite part of the organization is the tremendous sense of community.


Q: When you’re not at the helm of Harvardwood, you’re primarily a producer. Can you talk about any upcoming projects that you’re working on?


I am developing several features with different studios as well as with independent financiers.


For television, I am developing several scripted series with the streamers and studios as well as a limited series.


Almost all of my projects are based on true stories but they range from musicals to drama to comedy.


In addition, I am adapting a film I produced, TAKE THE LEAD, into a Broadway musical that will have its out of town production next year and then go to Broadway in 2025.


I have a small documentary, 999: THE FORGOTTEN GIRLS, that just won the Human Rights Award at the Hamptons Documentary Film Festival and is coming out in 2024.

Q: Can you share insights into your time at Harvard and your early career experiences? How did these early experiences shape your approach to the entertainment industry?


When I went to Harvard you could not major in theater; all theater was extracurricular. At the time, I wanted to be a Broadway actress/singer so I had to figure out how to find my way into the arts on campus. I ended up engaging in three different ways.


1) The first week I was on campus I started auditioning for the musicals. I made sure to do a musical each year at Agassiz or one of the houses.


2) I realized that the only a cappella singing group that existed was The Harvard Krokodiloes which was all men, so that was the impetus for deciding to start The Radcliffe Pitches, which I co-founded with Kathy Manning AB '78. Despite having to overcome quite a few obstacles and lots of derision to get the group formed, we created a wonderful community of female singers that still thrives today.


3) The other part of the year I worked on The Hasty Pudding Show. I started out running Props then sophomore year was the Tour Manager, junior year the Publicity Manager and then my senior year became the Producer. And because I was the first female producer in 130 years, there was a lot of press and I

received an unexpected offer from Joe Papp to work at The Public Theater. Realizing this was an extraordinary opportunity, I postponed my acceptance to The Neighborhood Playhouse (where I was planning to go) and went to work for Joe Papp, which was the start of my career. I was still singing in nightclubs in NY and funny enough at one point I was singing at a club called the Grand Finale and Joe Papp had his own show at The Ballroom. I never stopped singing but decided to focus on producing as my career.


Q: You're known for launching the careers of several first-time directors. What qualities or potential do you look for in emerging talents, and how do you support them in their early stages?


Most of the first-time directors I worked with had written the scripts they brought to me and had a passion and vision that was so clear and specific for the material. It was obvious they were the best person to direct their films.


With any first-time director, you want support them by surrounding them with a great team and encouraging them to ask questions and learn from everyone around them. In the end, we all have the exact same goal – to make the film the best it can be- and if everyone works from that directive the process is much clearer and more successful.


Q: Your career has spanned various genres, from features like OPERATION DUMBO DROP to award-winning documentaries like DANCING IN JAFFA. How do you navigate such a range in your projects, and what draws you to transformational stories and ordinary people overcoming challenges?


I worked at different companies and studios for years before starting my own company. When working at the studios, you have to make movies that fit their mandate. When I started my own company, I decided I was only going to work on projects that shifted the paradigm. It could be any genre but it had to make you think differently.


The most inspiring and exciting stories I have come across are true stories where an ordinary person does something extraordinary and changes the world for even a few people. To give you an idea of a few of my projects, right now, I am working on The Barbara Jordan story with Viola Davis and Searchlight. Barbara was a trailblazer who changed politics, perceptions and the lives of many who followed in her footsteps. I am doing a musical with Allen Media Group about a group of men and women from Harlem who are 55 and older (cops, housewives, janitors, ex-cons) who always wanted to sing but life got in the way. Now they are given a second chance in life, to sing and tell their stories, because of one extraordinary woman - Vy Higginsen. I have so much admiration for the people whose stories I tell. They are truly exceptional and it is important to shine a light on their endeavors. It inspires others to do something courageous and shows the impact one person can have on many people’s lives.


Q: After your tenure at Interscope, you started Tiara Blu Films. What inspired you to take the entrepreneurial path, and how has running your own production company influenced your creative and business decisions?


I loved my job and the team at Interscope. It was an incredibly unique job where we were the producers finding the material, developing it and then producing it - and we were also the financiers. Very few companies were doing what we were doing. I went out on my own right before the company was sold to Universal. I had been making movies that fit a studio or production company mandate for so long. I thought I would try seeing what it would be like to find and fight for stories I loved. My first film was NARC followed by TAKE THE LEAD, then others. When I first started it was much easier to sell and make projects. Today with the focus on tentpole movies there are fewer financiers for the stories I tell, so it just takes a little longer and more ingenuity to get them greenlit.


Q: Many of your projects are based on underlying intellectual property. Can you elaborate on the importance of IP in your creative process and how it contributes to the storytelling in your projects?


When I started with IP not many people were doing it. Now it is almost essential when selling something. For me it is just about falling in love with someone’s story and being able to share it with others. Because a film could take years to get made, you have to really love the stories you are committing to tell.


Q: Your work often focuses on true stories and diversity. How do you balance the responsibility of telling real stories while also creating engaging entertainment that resonates with a broad audience?


I am very upfront with my subjects that we are creating a movie and we need to make sure the story works in that format. I keep them involved every step of the way so they are not shocked when they see the final product. If they understand why you are making a change and are included it is usually fine. If they have an issue with it, then we figure out a solution that works for everyone. Don’t forget these are scripted films and series - not a documentary - but they are also about someone’s life. They have one chance to tell their story, so you want to be sure they are as proud of the film as you are. Even after the film is finished, I continue to have long term relationships with the people whose stories I tell.



Virtual: Building PERCY JACKSON & Writing Adapted TV with Jonathan E. Steinberg (AB '97)

Thursday, 1/11 Free for all members

Join Harvardwood for an exclusive conversation with executive producer and showrunner Jonathan E. Steinberg about what it was like to co-create the new television series PERCY JACKSON & THE OLYMPIANS with Rick Riordan.


 

Virtual: Writers: How to Craft a Compelling Bio

Monday, 2/12 Free for all members

In this 90 minute event, Joey Tuccio from Roadmap Writers will give writers the tools to write a compelling writer's bio that should be included in all marketing emails to execs, how to target the best companies for you and your projects, and how to make yourself as appealing to reps as possible.


 

Cambridge: Harvardwood Mixer

Friday, 2/23 Free for all members

Come join us for our first Cambridge mixer of the new year!


 

LA: Presents: Oscars Watch Party 2024

Sunday, 3/1o Free for Premium members

How accurate are your picks for Best Actress and Best Actor? Who will take home the Oscar for Best Picture this year? Watch the fashion, excitement, and drama of the 96th Academy Awards with other members of Harvardwood!


 

Last Month at Harvardwood


Last month at Harvardwood, we discussed the Harvardwood Artist Launch Fellowship, talked to Albert Cheng (Prime Video) and Steve Chung (CJ Entertainment) with H4A about the future of Asians in media, gathered with Harvardwood London/UK members, saw a demo of Arc Studio, had the Harvardwood LA Holiday Party and more!


 

List of All Upcoming Harvardwood Events Here Want to submit your success(es) to Harvardwood HIGHLIGHTS? Do so by posting here!

Become a Harvardwood member! We work hard to create programming that you, the membership, would like to be engaged with. Please consider joining Harvardwood and becoming an active member of our arts, media, and entertainment community!

 

DISCLAIMER

Harvardwood does not represent or endorse the accuracy or reliability of any of the information, content or advertisements (collectively "Materials") contained on, distributed through, or linked, downloaded or accessed from any of the services contained in this e-mail. You hereby acknowledge that any reliance upon any Materials shall be at your sole risk. The materials are provided by Harvardwood on an "AS IS" basis, and Harvardwood expressly disclaims any and all warranties, express or implied.





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