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WASHINGTON FILM MAGAZINE 2014 3

PUBLISHERJames R. Baker

ASSOCIATE EDITORKatie Sauro

CONTRIBUTING WRITERSMichelle Evanston, Barbara Marrett, MollyMichal, Loni Rahm, Tim Robinson, Scott Schaefer, Diane Schostak, Gregory Smith, Jessie Wilson

SALES MANAGERKatie Higgins

SALESEric Iles

DESIGNERSDawn Carlson, Beth Harrison, Christina Poisal

PRODUCTION MANAGER John Rusnak

OFFICE MANAGERAudra Higgins

INFORMATION SERVICES MANAGERLois Sanborn

WEBMASTERJon Hines

MEDIA INDEX PUBLISHING GROUP(800) 332-1736 • [email protected] • www.nwfilm.com

Display Advertising. Call Media Index Publishing Groupfor a current rate card. Discounts for frequency adver-tising. Advertising confirmation deadline is the 30th ofthe month prior to issue publication. Advertising me-chanicals are due the 5th of the month of issue. All sub-mitted materials become the property of Media IndexPublishing Inc. and will not be returned.Copyright © 2014 Media Index Publishing Group. AllRights Reserved. No part of this publication may becopied by any means, electronic or mechanical, includ-ing photocopying or recording by any information stor-age or retrieval system, without the express writtenpermission of the publisher. Printed in USA

4 Washington Offers You More

6 Laggies: Get Another Look At Seattle

8 On the Verge of Something

12 Inside Look: The Maury Island Incident16 Shoot In Spokane

18 The Inland Alternative for Independent Film in Washington

20 Voices of IATSE: An Update from the Northwest’s ProductionCrew Union

24 SAG-AFTRA Seattle – The New Union

26 Destination: Bellingham

28 Washington’s Film-Friendly Olympic Peninsula

30 The San Juan Islands: A Palette Of Emotion & Variety

32 Filming On—And In—Northwest Waters With TMkey Film/Research

34 Blue Wood Films Goes Native

36 A Home For Independent Filmmakers

38 Washington Film Festival Round-up

CONTENTS

FROM THE COVER: The MauryIsland Incident filmed in the Seattle areathroughout 2013. Here, cast and crewshoot at The Tin Room in Burien.MICHAEL BRUNK / NWLENS.COM


WASHINGTON FILM MAGAZINE 20144

WASHINGTON OFFERS YOU MORE2 013 was a year of “more” at Washington Filmworks. We

look forward to continuing that mantra in 2014.Since its creation in 2007, Washington Filmworks has

helped fund 92 projects, creating more than 6,000 jobs.These projects represent $242 million in economic impact.We’ve also helped hundreds of others find area resources,connect with Washington motion picture workers andtalent, and discover the perfect location.

MORE COMMERCIALSIn partnership with the Seattle Office of Film + Music

and several regional creative agencies, Washington Film-works launched Commercialize Seattle, as well as ourCommercial Business Development Plan. These two initia-tives are designed to work hand in hand to attract andsupport more commercial production in the Evergreen State.Commercialize Seattle is getting national attention andhelping to put Washington on the map as a unique desti-nation for your next commercial or ad campaign.

MORE FUNDING OPPORTUNITIESThe Filmworks Innovation Lab completed two funding

cycles. Through this pilot program, Washington Filmworks

works with emerging filmmakers to support the projectsthat help grow their career, and offers funding assistance toproducers spearheading innovative ideas that explore newbusiness models. In the first two cycles we committed$350,000 across ten projects. Watch for these as they cometo life, and keep an eye out for the return of the Lab this year.

MORE PARTNERS & RESOURCESWashington Filmworks has put tremendous energy into

growing our statewide network of film liaisons. At currentcount we have 75, which means we can connect you witharea representatives in all corners of our state. Plus we havemore points of contact for locations, permits, and regionalresources than ever before! We will assess our statewide filmindustry in the coming year, which will reveal even moreinformation about all of the motion picture resources, work-ers, and vendors available to productions working inWashington.

Want to get more bang for your buck? Work with Wash-ington Filmworks to bring your next project to WashingtonState. WF

Visit www.WashingtonFilmworks.org for MORE information.

Filmmakers and friends celebrate the winners of the latest cycleof the Filmworks Innovation Lab.

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Be sure to check out the Washington incentive filmLaggies, the latest Sundance installment from festivalfavorite and Seattle-based filmmaker Lynn Shelton.

A longtime festival alumnus, with films like Your Sister’sSister (Sundance 2012), and Washington incentive filmTouchy Feely (2013), Shelton will premiere Laggies, her mostrecent indie feature, at the January festival. The film tells thestory of Megan (Keira Knightley), who accepts a marriageproposal and then pretends to be at a weeklong semi-nar, but she is actually hanging out with teenaged girls.The woman must struggle to decide what will really makeher happy, while reliving highlights of her high schooldays. In addition to Knightley, Laggies stars Sam Rock-well and Chloë Grace Moretz.

Laggies may center on a reluctant woman clinging tothe past, but the project is one of Shelton’s more ambi-tious Washington productions to date. Dave Drummond,location manager for the film, described the indie filmas location-intensive; he estimates production tookplace at 23 locations in about as many days. In addition,18 base camps, 8 parking locations, and 9 catering siteswere used. Most filming took place in Seattle, butproduction spilled out into surrounding Puget Soundareas, too.

“We worked directly with four different city govern-ments, as well as both King and Snohomish Counties, plusthe Seattle Police, Renton Police, Snohomish County Sher-iff, and Washington State Patrol,” said Drummond.

The looks that Washington and Seattle offer are sodistinct that they have lured Anonymous Content, produc-ers of Laggies, back to the area three times.

“I loved shooting in Seattle. The crew was simplyoutstanding in every aspect and the locations we securedwere perfect,” said producer Alix Madigan. “It was alsowonderful to spend time in this great city, which hasmuch to offer.”

Seattle resident Jennifer Roth, who regularly works allover the world, had the opportunity to work locally asexecutive producer on Laggies.

“As a producer, my job is to help the creative teammake informed, smart decisions about where they canmake the best business and creative decisions for theirproject,” said Roth. “Seattle is my home and I am so verypleased to help bring such a wonderful and worthwhilefilm such as Laggies to our community. If it wasn’t for theproduction incentive program and the help of Washing-ton Filmworks, it never would have been possible.”

A key scene in the film shot at Chihuly Garden andGlass in the Seattle Center, an art experience showcas-ing the most significant works of internationallyacclaimed artist Dale Chihuly. Shelton and the film’sproducers invited state legislators to the spectacularvenue for a set visit. The day doubled as a reminder ofthe vital collaboration Washington is nurturing to keepproducers coming back.

LAGGIES: GET ANOTHER LOOK AT SEATTLE

With an incentive program that concentrates on inde-pendent features like Shelton’s, a cityscape prime withcharming and iconic looks, and a thriving crew base, it’sno wonder they keep returning to Seattle. WF

Lynn Shelton (center) on the set of Laggies. BARBARA KINNEY

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BY JESSIE WILSON Programs & Communications Coordina-tor, Washington Filmworks

Come to Washington State with a production and besurprised by the utopia you find. This is a place whereresources run deep, where the arts are famously

supported, and landscapes are rich with iconic locations,prime for the picking.

Still, Washington’s most treasured production resourcemight be the human kind: a filmmaking community thelocals call “crewtopia.” At the center of crewtopia is a circleof Seattle-based women filmmakers, working to create qual-ity projects while building camaraderie in a thriving localindustry. A central figure in this ecosystem is independentfilm producer Mel Eslyn.

Mel Eslyn spoils her crew. A great hostess in life and onset, she works hard to get your best work. Eslyn sees animportant part of her job as giving back and her personalmission includes building long-lasting relationships withpeople who are telling great stories.

What’s the key to fostering those relationships? “Giving others respect,” says Eslyn. Bucking the Holly-

wood stereotype, she reminds others you can be a good filmproducer and still be a really good person at the same time.

Eslyn sometimes works outside of Washington. If you’relucky, you’ll catch the world premiere of her recent work at

ON THEVERGE OFSOMETHING

Sundance this year. The One I Love is a feature she produced,and the film revolves around a struggling marriage on thebrink of falling apart. It stars Mark Duplass, Elisabeth Moss,and Ted Danson and was shot in Los Angeles last year.

While Eslyn doesn’t mind working elsewhere, shechooses to build her career in Washington.

“Seattle is a great location,” she proudly gloats. “It haskiller crews, top-notch vendors, and an overall better vibethan anywhere else I’ve worked.”

Speaking of vibe, Eslyn’s noticed some key differencesoutside the Evergreen State. One, in particular, turns thenotion of Southern hospitality on its head.

“The experience we offer crews in Washington is infec-tious. It’s kind of dangerous,” she laughs, singling out aproduction in Texas where being mindful of her crew’s needsdidn’t go so well. “When I work at home, I’m conscious ofgiving meal options to crew who are gluten-free, or vege-tarian, or vegan.”

Yet she found herself in Austin, where she was instructedby her employer to tone back the hospitality.

“I don’t just want to make great films. I want to supporta community based around a common sense of values,” sheexplains.

When it comes to her personal success, Eslyn is quick tocredit the creative ecosystem she’s a part of. As a producerand community member, she considers a respectable piece

of advice: give back when you can. To that end, she can befound all over Seattle, showcasing films, teaching work-shops, and helping emerging projects. But things aren’t asaltruistic as they seem. She’s casting a wide net, seeking outothers who are hungry to do good work.

“There are a lot of us here,” says Eslyn. “Every time I getmore engaged, I meet creative and motivated people topartner with in the future.”

Eslyn functions as part artist, part businesswoman. Asmany wise producers know, a strong sense of communityis important, but incentives are key to where much of theindustry chooses to go. She points out how organizationslike Washington Filmworks, the nonprofit that manages theWashington film incentive, and local filmmakers are work-ing together to put the state industry on the internationalradar.

“By helping expand the number of films being made inWashington, the film incentive has allowed our community

Eslyn and Zack Cohen, digital imaging technician. SEAN O’MALLEY

Mel Eslyn on set of The One I Love. REGAN MACSTRAVIC


to carve out a thriving film industry that at its heart is basedupon strong relationships,” says Eslyn. “It’s about workingon quality projects you are passionate about, with peoplethat you love.”

She gives the example of her work on the state incen-tive film One Square Mile, where she served as unitproduction manager.

“That film had a Canadian director, was attracted herebecause of the incentive, but also had that crewtopiaexperience,” explains Eslyn. “Seattle feels different, on theverge of something. It’s contagious.”

As for what’s next for Mel Eslyn and her collaborators,she’s in development on a slate of features that she’s work-ing to bring home to Washington. She’s also working withfellow Sundance alumni—producer Lacey Leavitt anddirector Megan Griffiths—to produce Todd Rohal’s nextfeature, Sweet Cheeks. Finally, Eslyn is gearing up for a filmcalled Potato Comes To Washington early this year. The proj-ect is based on a Huffington Post blog by Wes Hurley entitled“Growing Up Gay in Russia.”

“Half the film is in Russia and half in Seattle,” says Eslynof the upcoming project. “It will all be shot in Seattle. It’svery Seattle-centric.” She then segues into recent social issuesin Russia and this year’s Sochi Winter Games. It becomes clearthat Eslyn is a producer who’s thinking locally and globally.

Eslyn has been incredibly busy these last few years, withseveral films premiering at Sundance. Among them weretwo other features with Mark Duplass, the Washington-produced Your Sister’s Sister and Washington incentive film

Safety Not Guaranteed. For now, Eslyn is focused on herduties for her Sundance 2014 foray. Premiering this workin Park City is the culmination of what she’s dubbed herpassion project year.

“You take huge leaps as an indie film producer,” says Eslyn.“Learning to pick and choose wisely is a step towardssuccess.”

So what does she think of the steps she’s taken with TheOne I Love?

“It’s a lot of work,” says Eslyn. “But I’ve never been moreproud of my involvement on a film.” WF

The One I Love director Charlie McDowell and Eslyn discuss ascene. SEAN O’MALLEY

DAVI

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BY SCOTT SCHAEFER Guest Columnist

When local filmmaker Steve Edmiston invited me tohis outdoor party on June 21, 2012, to commem-orate an historic, local UFO sighting, I jumped at

the chance to attend. Since I once worked as a field director on a UFO TV show

called Sightings in the early ‘90s, I had a pretty deep inter-est and passion for these types of mysteries.

Plus, who can turn down a free outdoor party on thefirst day of summer?

And Steve was a good filmmaker (The Day My ParentsBecame Cool, Crimes of the Past) and lawyer, and his pitchon that sunny day was excellent and worthy of turninginto a film, as I told him immediately afterwards.

“Do you realize that you just pitched a story for a greatfilm that’s never been produced?” I recall enthusiasticallysaying to Steve after he spoke.

We agreed to pursue The Maury Island Incident as a filmproject, and over the next several months put together atreatment. On December 5, 2012, we held a presentationat the Tin Room in Burien, where we pitched to and metour soon-to-be executive producer John White. We alreadyhad Danny House (Tin Room owner), and Laura Beth andScott Peterson (of SAFE Boats) on board, but John investedthe necessary remaining money to make this film a real-ity.

The short film, which was completed in December2013, is based on the true story—taken directly fromdeclassified FBI documents—of Harold Dahl’s June 21,1947, UFO sighting near Maury Island and the firstreported ‘Man In Black’ encounter that happened the nextday. An investigation followed that resulted in a myste-rious crash of a B-25 carrying “slag” evidence from theencounter, which killed Army Air Force investigators Capt.

William Davidson and Lt. Frank Brown. This case went allthe way up to FBI executive director J. Edgar Hoover, whoexpressed personal interest in it.

With a cast of outstanding Northwest actors cast byStephen Salamunovich, and beautifully shot/edited byMike Boydstun along with a great Seattle indie crew inBurien, Des Moines, Tukwila and off the waters of MauryIsland, I must admit that this was not only some of mybest work, but also the most fun.

With a crew of 31 or so—recruited and assembled byline producer Elizabeth Heile—The Maury Island Incidentwas awarded an “Innovation Lab” award from Washing-ton Filmworks in June. We are now entering film festivalswith the hope of taking this short to the next level—either as a feature film or TV series.

One of the most important things we did was hire cast-ing director Salamunovich, who auditioned over 80 of thebest actors and actresses in the Northwest, gave recom-mendations, and helped us put together an amazing cast.

If you’ve ever worked on a movie set before, you knowjust how busy and crazy things can get, with crewmembers each doing their jobs like efficient worker ants,always striving to get things ready for the next shot assoon as possible. There’s a director (me, in my firstattempt at shooting a film despite 28-plus years ofdirecting/writing TV) who’s working with actors, as wellas with a director of photography (Boydstun, who I’veknown since we both worked on Almost Live! at KING-TVin the late 1980s), discussing each shot and preparing, allthe while managed by an assistant director (Laura JeanCronin). The AD is making sure things are running on time,that equipment is set and ready, then at the rightmoment shouting, “Quiet! Roll audio! Roll camera!” Thisallows me to say, “And... Action!” and for everyone to justshut the heck up and get the shot.

Then we all do another take “just for insurance,” orperhaps to “hold for sound” because airplanes (or buses,loud cars, people, etc.) went by, or a dozen other reasons

INSIDE LOOK: THE MAURY ISLAND INCIDENTFILMWORKS INNOVATION LAB PROJECTEXPLORES 1947 UFO SIGHTING

MICHAEL BRUNK / NWLENS.COM

A still from The Maury Island Incident. MIKE BOYDSTUN


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why we want to try it again... all as our AD is asking if we’reready to move on yet. Whew! This was the most intenseproduction experience I’ve had since 1992, when I had theopportunity to direct Arsenio Hall in a comedy sketch onthe New York street backlot at Paramount Pictures in Holly-wood. (Mr. Hall would only do one take, and wasaccompanied by a large, burly entourage driving tiny golfcarts!)

After editing was finalized and we had “picture lock,”we turned it over to local musician David Templeton, whocreated an amazing original score for the film. I was happywith the product with temp music, but once we heardDavid’s magical score, everyone realized that it was takento a much higher level. Wow!

“The most exciting parts of the story to me are the truethings that actually happened, all without having todecide if the UFOs were real: the first reported man inblack, J. Edgar Hoover’s personal involvement, the Army’sinvestigation, the fatal B-25 crash over Kelso, and the factthat the facts were hidden in classified FBI documents,”said Steve Edmiston. “To me, the real story here is whathappens to a man who tells the world an amazing talethat no one believes and the government wants to bury.”

What a pleasure it’s been to be a part of this project,from those first few magical “aha!” moments at Steve’soutdoor party, to watching test screenings of the finalversion with our great crew.

Everyone involved wants to return to another version

of this project, which we know will rise above what wedid in this first round. We can’t wait! WF

For more information, visit www.mauryislandincident.comand www.facebook.com/MauryIslandIncident.

Crew films scenes from the Innovation labs-winning short. MICHAEL BRUNK / NWLENS.COM


CREDITST he Maury Island Incident boasted a talented local team

of cast, crew, and production services.

CAST:Tony Doupe as Harold DahlAllen Fitzpatrick as the original Man In BlackJohn Patrick Lowrie as J. Edgar HooverDavid S. Hogan as Agent MitchellJodie Harwood as Helen DahlJustin Howell as Charles DahlChris Soldevilla as Fred CrismanLisa B. Hammond as Miss GandyDanny House as Tin Room OwnerJohn White as Man on streetLaura Beth Peterson as Tin Room WaitressRick Walters and Aaron Breitbarth as Boat Workers“Kova“ the dog as “Sparky” (the Dahls’ dog)

PRODUCTION TEAM:Directed by Scott SchaeferWritten by Steve EdmistonExecutive Producer: John WhiteCo-Executive Producers: Laura Beth & Scott Peterson,Danny HouseProducers: Scott Schaefer, Steve EdmistonLine Producer: Elizabeth HeileCasting Director: Stephen Salamunovich

Associate Producer: Nancy Pappas BarnhartDirector of Photography: Mike BoydstunAssistant Director: Laura Jean Cronin2nd Assistant Director: Rick WaltersAssistant Camera: Eric RemmeStill Photographer: Michael BrunkAerial Photography: Kelvin HughesDIT/Slate: Jeff VanderpoolSound: Kyle PorterEditor: Mike BoydstunSound Design: Kyle PorterMusic Composed/Performed by: David TempletonAdditional Sound Design: David TempletonProduction Manager: Nikki Sherritt-LewisProduction Designer: Lisa B. HammondSet Decorator: Beth PetersonLead man: Darren EdwardsOn-Set Dresser: Thomas GilbertSet Dresser: Daniel DesrosiersSet Dresser: Terry WrightSet Dresser: Adam RosandSwing Crew: David Templeton, John White, Laura Beth Peter-son, Shawn UnderwoodProp Master: Jared H. ThomasGraphics: Adam RosandCostume Design: Ashley RussellCostume Assist: Kimberlee IblingsCostume Intern: Chloe McNuttMakeup: Renee MajourMakeup Assist: Helena Caldwell (of Serenza Spa & Salon)Special FX: Adam Harum

Key Grip: Jimi HicksGaffer: Mark BueingSwing: Ron NovakLocations Manager: Will ChaseScript Supervisor: Andy SpletzerSet PA: Jake AndersonSet PA/Intern: Vixxen PavySet PA/Intern: Bill HerlingProduction Accountant: Jonica CombsSet Medic: Shawn DaileyCraft Services: Shannon D. StabertDog Trainer: Michelle Reindal

OTHER CREDITS:1947 ‘Man In Black’ Buick provided by John WhiteCraft Services Donations courtesy Salty’s at Redondo, Aztecaof BurienHistorical Consultants: Charlette & Philip LeFevre of the NWMuseum of Legends and LoreSpecial thanks to Burien Little TheatreSpecial thanks to Lucky Vintage/Lucky Dry GoodsSpecial thanks to the Des Moines MarinaSpecial thanks to the Cities of Des Moines, Burien, Tukwilaand Maury IslandSpecial thanks to the Maury Island Incident Historical Soci-etyShot at Maury Island, Landmark on the Sound (Des Moines),Terry Joaquin house (for sale in Tukwila), Tin Room Bar(Burien)Camera boat: SAFE BoatsPicture boat: “The Reliable“


BY TIM ROBINSON Director of Communications & PR, Visit Spokane

The artist addresses the canvas. The artist grasps thebrush. The palette is nearby, but, alas, there are onlythree available colors. This would never happen in

Spokane!When you talk about diversity, variety and a full palette

of filming possibilities, Spokane is the answer. This is not alocation that imposes limits on a filmmaker’s require-ments. This is a city and a region that can cater to everyfilmmaker’s needs. Whether it’s city-core or country-beau-tiful, Spokane offers virtually every imaginable setting forshooting.

The state’s second-largest city, Spokane is located on theeastern edge of Washington, where filmmakers (and every-one else!) enjoy 260 days of sunshine a year. In fact, thename “Spokane” is from the Native American Salish triballanguage, meaning “Children of the Sun.” The area is simplya rich mix of rural and urban settings, including historicneighborhoods, quaint western towns, downtown high-rises, and a beautiful river and waterfalls running rightthrough the heart of town.

SHOOT IN SPOKANE

county, including full-service downtown hotels—historicto modern—as well as boutique hotels and imminentlypractical properties. In addition, the area offers manyhistoric bed and breakfasts in distinctive neighborhoods, allwith their own funky flair. There are also abundant lakefrontresorts (the region is home to some 76 lakes), guesthouses, vacation rentals, and corporate and long-term stayhotels and apartments.

For ease-of-entry, it doesn’t get any simpler. Spokane’sinternational airport is just 10 minutes from baggageclaim to downtown. Served by seven major carriers, morethan 100 flights a day connect Spokane to cities across theUnited States, with direct fly access to 13 major hubs nation-wide. Spokane also offers convenient on-site rental cars atthe terminal.

An experienced production workforce makes your proj-ect easy and affordable, with talented location managers,producers, directors and trade professionals who call ourregion home. This small army of uber-experienced film prosis here because they know the truth: the region is a greatplace to live and work. If you need more, additional crews

Filmmakers who have benefitted from Spokane’s talentedcrew base, diverse locations, great weather and affordableconditions know that Spokane provides the perfect back-drop for shoots of every and any type. “Wherever you turn,there’s something great to shoot,” commented one locationmanager.

Spokane offers some 7,200 guest rooms throughout the

Historic Monroe Street Bridge. JEFF SCHINDLER/VISIT SPOKANE

Looking up the Spokane River, toward the falls, near Riverfront Park. JEFF SCHINDLER/VISIT SPOKANE

Overlooking Spokane. ALAN BISSON/VISIT SPOKANE


and equipment are available from Seattle, a short 45-minuteflight or 4-hour drive from Spokane.

For your entire project, Washington Filmworks’ incentiveprogram pays huge dividends. Projects can get funding assis-tance for qualified in-state expenditures (up to 30 percentfor motion pictures and episodic series with less than sixepisodes, and up to 35 percent for episodic series with atleast six episodes). The Spokane liaison for Washington Film-works offers simple, fast permitting and reasonably pricedservices. The office also makes location scouting a breeze

by providing Web access to same-day digital photo location services. It’s just another wayto keep those pre-production costs down.

From the aerial wide shot to the tiniest detail of nitty-gritty filmmaking, it’s all here.Make sure you make it great and play it smart by choosing Spokane, Eastern Washing-ton and the Inland Northwest for your next project. WF

For more information, contact local film liaison Jeanna Hofmeister, Visit Spokane, at 509-742-9372 (office), 509-993-9822 (cell), or [email protected]. Riverside State Park near Spokane. JEFF SCHINDLER/VISIT SPOKANE

Main Avenue, Downtown Spokane. ALAN BISSON/VISIT SPOKANE


THE INLAND ALTERNATIVE FOR INDEPENDENT FILM IN WASHINGTON

West of Redemption, a Washington Filmworks incentive film produced by Seattle’sKairos Productions, wrapped principal photography this past fall. In contrast tomany feature films produced in Washington, the movie was filmed east of the

mountains, out of Spokane. It stars Billy Zane (Titanic), Kevin Alejandro (Southland), andMariana Klaveno (True Blood).

While many productions choose Washington State for its views and rich natural land-scapes, inland Washington offers many similar resources. By working with Spokane-basedNorth By Northwest, West of Redemption was able to leverage high quality production valuewithin a short pre-production schedule in order to meet the needs of its script and budget.

“Eastern Washington was my first choice for a movie that was mostly set on a dry farm,”said director Cornelia Moore. “It provided the wide-open landscapes that we needed for thestory, and I couldn’t have asked for a more hard-working crew.”

This isn’t the first time Moore has worked in the area. Her second feature film, CamillaDickinson, was also shot in Spokane, in association with North By Northwest.

“There’s a lot of versatility and diversity of scenery on the Eastside,” she added. “It’s amaz-

ing that we were able to find locations ranging from 1940s New York to war-tornLebanon.”

Set in the early 1990s, West of Redemption is a story about the battle betweentwo men who love the same woman. The film was directed by Cornelia Duryée Moore,written by Meagan Daine, and produced by Larry Estes and Tony Becerra for KairosProductions. Rich Cowan served as executive producer. WF

The crew sets up for a shot. CORNELIA DURYÉE MOORE

Above: Kairos camera. Right: TJ Williams. SARAHMACAARON

Mary Russell, Cornelia Duryée Moore and Marc Dahlstrom. SARAH MACAARON


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BY GREGORY SMITH President, IATSE Local 488

IATSE Local 488 represents the vast majority of filmand video technicians in the Northwest and is anactive advocate of workplace justice for everyone

in the freelance film community. These are tumultuous times for unionism. Questions

of healthcare and retirement benefits combined withgrowing public, political and workplace opposition callfor a diligent membership and focused activism.

For example, in the last couple years, our membershave questioned a disturbing practice that has takenhold in our production community. Many productioncompanies (employers) are utilizing the erroneouspractice of misclassifying freelance labor as inde-pendent contractors.

Leadership at Local 488 has consulted with legalresources as well as the Department of Labor and the

VOICES OF IATSEAN UPDATE FROM THE NORTHWEST’S PRODUCTION CREW UNION

Employment Security Department. In the course ofthis investigation, it has been confirmed that free-lance labor is to be compensated through a properW-2 payroll process with appropriate taxes withheld.It was reconfirmed that work performed as a produc-tion crew member does not meet the IRS criteria orState RCW to be classified as an independent contrac-tor.

Requiring crew to submit an invoice for compen-sation of labor as opposed to a proper W-2payroll/timecard places the employing productioncompany at significant risk. Not only are there liabil-ity issues to consider, but if the practice falls subjectto the scrutiny of the state departments mentionedabove, there will likely be the discovery of associatedunpaid payroll taxes and severe fines assessed.

It’s important to acknowledge that most produc-tion companies operate properly. Those companies

should not feel a financial disadvantage for theirefforts. The time is now to standardize the correcthiring/compensation practice. There are many compa-nies that provide temporary payroll service tofacilitate this process.

Misclassification of the freelance workforce asindependent contractors is a serious concern to allfreelance technicians. Local 488 is committed toparticipating in correcting this mistaken practice.

These are times of transition in many aspects ofcontent production. Many traditional alignments arein shift and the participants are grappling to identifytheir role as the New Media World takes its shape. Thisprofessional landscape makes union membershipand participation as essential as ever. Please feel freeto contact me with questions or interest in IATSE Local488. WF

To reach Gregory Smith, president of IATSE Local 488,contact [email protected].


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As the first point of contact for filmmakers in thestate, Washington Filmworks (WF) is often askedabout our talented and professional cast and

crew. One of the best places to direct producers forinformation about Washington talent is SAG-AFTRASeattle Local.

WF has been following changes at the new unionsince the 2012 merger and we reached out to BradAnderson, executive director, to find out more. Priorto the merger, Anderson was Northwest regionaldirector of AFTRA, based in Seattle. Born and raised inthe Pacific Northwest, he trained and practiced as alawyer, spending his career working through complexproblems involving employee and labor issues.

Washington Filmworks: Explain the SAG-AFTRA merger. What are some of the benefits, locally?Brad Anderson: The community of professionalperformers in Seattle and the Northwest has recentlybeen strengthened. The American Federation of Tele-vision and Radio Artists combined with the ScreenActors Guild into a more powerful SAG-AFTRA. SAG-AFTRA now speaks with a unified voice for allperformers in the region, covering film, television,radio, broadcasting, sound recordings and more. TheSAG-AFTRA Seattle Local represents approximately1,500 people working day after day in this industry.These performers are the professional talent thatproducers depend on to create the quality work theSeattle area is known for.

The merged SAG-AFTRA will make it easier forproductions to get made. No longer will people haveto concern themselves with having to compare twodifferent potential sets of contracts, with differingprocesses and procedures in how those contracts areadministered. SAG-AFTRA in Seattle is now a “one-stop shop” where producers can work with the staffof the Seattle Local to get the best fit in terms of acontract and to have their questions and concerns

SAG-AFTRA SEATTLE – THE NEW UNIONanswered in a timely andresponsive way. SAG-AFTRA hasadded to the staff on theground at the Seattle Localspecifically to provide a contin-uing dynamic connectionbetween the union and otherstakeholders.

WF: Tell us about the initiatives that SAG-AFTRA isfocused on. BA: Part of being an effective labor union and partic-ipant in the entertainment community is tappinginto the innate desire of people, through their ownsocial nature, to lift each other up, not tear each otherdown. SAG-AFTRA and its members recognize thatwhat is good for them—a better standard of living,access to healthcare and pensions, and satisfyingwork—is the same for all the members of thiscommunity, lifting everyone’s material well-being, andthat of their families and their children. We want tocreate an environment for work that brings securityto performers and other stakeholders. The SeattleLocal understands that organizing performers is itsresponsibility, but believes that the market willbecome stronger if it is responsive to the needs andconcerns of the other stakeholders, and if it providescontinuing outreach and education for the industry.

WF: What specific partnerships and programs are youworking on? BA: The Seattle Local has expanded its partnershipwith the Seattle International Film Festival in 2013.Seattle performer members and broadcast membersparticipated in a number of forums for education offilmmakers, filmgoers, and actors, including:

• Transition from Stage to Screen – an explorationof the resources and tools for stage actors to thrivein film.

• Inside Stunts: Meet the Men and Women that Packthe Punch into Movies – a discussion and demon-stration of stunts, industry standards, stuntperformers and local resources for budding stuntperformers.

• The Alchemy of Film Scoring – a commentary onscoring for movies and the effects of good and badscoring, from the composer.

• Getting the Most Out of the Media – an engage-ment with film reviewers about media techniques tocapture the attention of reviewers, bloggers and thepublic.

WF: What does 2014 look like for the new union inthe Pacific Northwest?BA: The SAG-AFTRA Seattle Local will continue itsoutreach to the performing community and enter-tainment industry and will provide educational andengagement opportunities for all stakeholders. Watchfor information about these opportunities in thecoming year!

For more information, please contact the appro-priate staff member, listed below:

• Brad Anderson - Executive Director. Brad isresponsible for overseeing all performer and broad-caster areas of work. He can be reached [email protected].

• Chris Comte - Contracts Administrator. Chris isresponsible for interpreting and administering theunion’s contracts and working with producers underthose contracts. He can be reached [email protected].

• Allison Harger - Membership Coordinator. Allisonis responsible for managing both performers andproducers with respect to performers’ union status.She can be reached at [email protected].

SAG-AFTRA Seattle staff may also be reached byphone at 206-282-2506. WF

Brad Anderson


Now in its 20th year in busi-ness, Topo Swope Talent isa permanent fixture of

the entertainment industry inthe Pacific Northwest.

Though Topo herself is oftenconfused with an Italian bowl-ing ball company, she is indeed a real live person! Born in New York and raised in Los Angelesby a family of performers and artists, Topo has been a vibrant member of the arts and enter-tainment community for most of her life. Her credit-rich career in front of the camera,working with the biggest names in the business, gives her a world of experience she read-ily draws from to this day. Inspired by her healthy respect for the craft and a love for actors,she opened the agency in 1994.

The main goal at Topo Swope Talent is to provide a variety of fabulous talent to satis-fied clients. Throughout the years, TST has endeavored to maintain a highly professionalwork ethic within the agency and expects the same from the stellar talent it represents.The scene at the agency is always lively with a nimble and efficient team of three runningthings as smoothly as possible. In order to maintain this structure, there is always a senseof fun, diligence and humor in the office. With its strong, diverse talent roster, TST offerstop-notch, highly skilled, professional and diverse actors who will complement the qual-ity of any project.

Topo Swope Talent is more than proud of its accomplishments over the past 20 yearsand looks forward to continued success!

For more information, visit www.toposwopetalent.com.

TOPO SWOPE TALENT CELEBRATESTWO DECADES IN BUSINESS


BY LONI RAHM President & CEO,Bellingham Whatcom County Tourism

Like the bulls-eye in a target, Bellingham representsan epicenter of northwest Washington’s blend ofrural and urban—where mountains meet the

sea. Balancing small town spirit with funky college-infusion, artist chic and culinary wow, progression andpreservation, Bellingham has managed to honor thepast while embracing the future.

The surrounding landscape provides visual diversity.Mt. Baker dominates the eastern horizon, with a stairstep of fertile valleys, foothills, placid lakes, and riversthat vacillate seasonally between docile and irate.Located just north of the Skagit Valley’s colorful tulipfields. To the west lies miles of meandering Salish Seashoreline dotted with secluded bays and inlets, adja-cent to the San Juan archipelago.

WHERE IS BELLINGHAM?Bellingham is located in Northwest Washington

State, just 90 miles north of Seattle and 30 miles southof Vancouver, BC. The Puget Sound is to the west andthe North Cascade Mountains are to the east.

BELLINGHAM WEATHERAlthough Mt. Baker boasts the world record for most

DESTINATION: BELLINGHAM

snowfall, the populated cities and valleys in its shadowenjoy a moderate marine climate with misty morningsoften giving way to sunshine throughout the day. Theaverage temperature in January is a high of 43.3 F anda low of 30.1 F. In July, the average high is 73.9 F, andthe low is 50.1 F. As for precipitation, in January theaverage rainfall is 4.65 inches, and in July, it’s 1.30inches.

PROJECTS FILMED IN BELLINGHAM

Whatcom County has been a “bit player” in severalmovies and commercials, including The Deer Hunter(1978) and The Ring (2002), but its rising claim tocinematic fame centers on recent independent filmsfocused, not ironically, on achievements and acco-lades of fiercely independent locals.

The Mountain Runners was released in 2011 tocelebrate the 100th anniversary of America’s firstmountain endurance/adventure race—a trek whichlured amateur athletes in a combination of auto-mobile, steam train, and human resilience to reachthe top of Mt. Baker’s 10,781-foot volcanic glacialpeak. This amazing docudrama weaves togetherarchival material and dramatic recreations filmed inthe historic Fairhaven District of Bellingham, theNooksack Valley and Mount Baker.

As evidenced by the soon-to-be-released filmOut of Nothing, the independent and competitivespirit has not diminished since the mountain runnersera. This locally produced documentary follows fourmotorcycle fanatics—two Bellingham brothers andtheir friends—as they custom create a machinedestined to break the motorcycle land speed racingrecord at Bonneville Salt Flats. Co-produced by localresident, comedian/actor Ryan Stiles, the film is infinal editing.

KEY LOCATIONS OF INTEREST• Historic City Hall (downtown Bellingham)• Mt. Shuksan and Picture Lake• Historic Fairhaven District• Whatcom Falls Park• Bellingham Waterfront / Boulevard Park /

Taylor Dock (interurban trail)• Chuckanut Drive Scenic Highway• Lynden Dutch Village and Raspberry Capital• Peace Arch International Border

For more information, contact Loni Rahm, President &CEO, Bellingham Whatcom County Tourism, at 360-739-0027 or [email protected].

Photos Courtesy (L to R): BELLINGHAM WHATCOM CO TOURISM, BWCT,LANNIE BOESIGER, ROBERT JAMES



BY DIANE SCHOSTAK Olympic Peninsula Visitor Bureau

Dense rainforest valleys, wild Pacific shores, alpine meadows. These are the signature landscapesof the Olympic Peninsula, the primary parts of Olympic National Park. The park offers sought-after backdrops for features, commercials and stills, but is often daunting to reach when federal

regulation and fees come into play. The good news is that Olympic National Park is nearly 1 million acres, but the Olympic Peninsula

is over 3.4 million acres. Beyond the park are more lush forests, mountain peaks, and amazingbeaches—situated on the more film-friendly lands of the U.S. Forest Service, local tribes, and privatetimber lands, as well as many state and county parks.

Add to these natural landscapes the historical, vintage and architecturally significant buildings,and you have locations that can be used in a myriad of ways. Victorian Port Townsend is very film-friendly, both in the variety of visual landscapes and in the city’s permitting and enthusiasm for filmprojects. From catalogue shoots to feature films to commercials, Port Townsend is satisfying manya producer for the perfect setting—visually, financially and business-wise.

Puzzle-like shorelines abound all across the Peninsula. Finding a secluded spot to wash up, fallin love, or commit a murder—or whatever your storyboard dictates—is within reach.

Olympic Peninsula communities have distinct looks, starting with the Victorian brickwork of PortTownsend and the WWI military barracks at Fort Worden. Port Angeles has retained its 1950s–erafacades in this waterfront village, with the Olympic Mountains rising behind it. Sequim offers a sweet,

WASHINGTON’S FILM-FRIENDLY OLYMPIC PENINSULA

clean downtown, with a wide valley spreading to the shore in the rain shadow of the Olympics,with many farms with old barns, lavender fields and dairies dotting the landscape. To the west,one finds the quintessential logging town of Forks, the iconic images of First Beach at LaPush,and the fishing resort village of Sekiu on the Strait of Juan de Fuca National Scenic Byway. Speak-ing of scenic, winding roads with forest and water views stretch all across the region, from theHood Canal to Neah Bay to Lake Quinault.

The entire Olympic Peninsula has benefited not only from the popular Stephenie MeyerTwilight book series and the films that followed, but from many commercials, catalogue shoots,and travel story coverage. The rural nature of the region, an overactive grapevine of informa-tion sharing, and the friendly attitude of the locals means that they approach film projects witha welcoming, “can-do/git ‘er done” attitude.

The regional film office is the Olympic Peninsula Visitor Bureau, with a strong network oflocals who can help a scout find the special place/building/vista/machine, or fill the must-haverequest between the Big Bend of the Hood Canal to the shores of Lake Quinault. Every townhas a company or two willing to repurpose equipment to hold lights, piping or screens. WF

Visit www.OlympicPeninsula.org for more inspiration!


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BY BARBARA MARRETT Communications Manager and Film Liaison, San Juan Islands Visitors Bureau

Alpacas and orca whales. A weathered beach cabin. A float plane with nologo. Secret spots. Haunted hotels. A seaside village that resembles Ireland.“Please keep our reporter out of the sun.” What do these items have in

common? All are requests from visiting location scouts, or film crews. All arerequests fulfilled on location in the San Juan Islands.

In my role as film liaison, I love the challenge of working collabora-tively with creative, talented people to make their work easier. The reward:having a small part in showing the multi-faceted appeal of the islandsthrough ever-changing lenses and, at the same time, discoveringhidden histories, reclusive artists, and the beauty of the islands’ naturalenvironment.

The archipelago’s appeal for film work?

Moody landscapes: From the unbridled wildness of sweeping skyand shoreline vistas, to moist, green fern forests, to golden prairies—any mood or hue in the filmmaker’s vision can be found in the islands.Silvery metallic grays, deep marine or foggy blues, lingering sunsetoranges and pinks—make for a palette of surprising emotion and variety.

The recent award-winning documentary film, Shining Night: A Portrait of ComposerMorten Lauridsen, interweaves footage of the composer’s muse—life in the San Juan Islands—with scenes of performances of his transcendent choral music to mesmerizing effect.

Architectural allure: Quaint artists’ enclave or frontier town with vernacular century-old storefronts, lovely lighthouses, historic resorts, log cabins and ultra-modern waterfronthomes make an eclectic menu for visiting filmmakers.

Whatever floats your boat: The islands’ historic harbors—lined with woodenschooners, sleek fiberglass yachts, kayaks, canoes and all manner of watercraft—may addnautical ambience to any production.

More than a location; it’s a state of mind: We understand the pressure filmmak-ers are under to quickly capture shots, scenes and fleeting golden light. While filmmakingcan involve long hours and stress, by the time most crews have left the islands, they arerelaxed—having been able to focus and accomplish their creative goals easily within “islandtime.”

Easy to navigate: Orcas and San Juan, the largest islands in the archipelago, are only approx-imately 57 square miles and can be circumnavigated by car or fast boat in a few hours. We are

THE SAN JUAN ISLANDS: A PALETTE OF EMOTION & VARIETY

here to help pre-scout and navigate permitting needs. We know the cast of characters—from whom to call for an old farmhouse location versus a cliff-perched, Architectural Digesthome, to who creates the best catering menu on location.

Close and convenient: The Islands, located about 80 miles northwest of Seat-tle, are easily accessible by car ferries and by air with frequent connections to SeaTacAirport or downtown Seattle. In the heart of the Salish Sea, the Islands are also closeto Vancouver, B.C. Because the islands receive about half the rainfall of the Seattle areaand twice the amount of sunshine, outdoor filming is less challenging than other loca-tions in the Pacific Northwest.

The town of Friday Harbor is the largest commercial area in the county with over 300guest rooms. Recently designated a “Distinctive Destination” by the National Trust forHistoric Preservation, Friday Harbor exudes waterfront charm with many well preservedterritorial-era buildings. Despite its small stature, the town offers modern services andconnectivity. Orcas Island and Lopez Island are also able to accommodate a variety oflodging and service needs in resorts or small village centers.

We’re here to help filmmakers capture the ‘reel’ side of island life, and discover whythe San Juan Islands have become an inspiring location for commercials, documentaries,travel spots and feature-length films. WF

For more information go to www.visitsanjuans.com, or contact: [email protected], 360-378-6822, ext 6.

Orcas Island waterfall. MARK GARDNER

Sea lions at Cattle Point, San Juan Islands.

An orca off the coast. JIM MAYA


In the Northwest region—and particularly Washing-ton—we are surrounded by bountiful bodies of waterripe for commercial and film production. Everyone knows

that the glistening Puget Sound is picturesque, but thelesser-known waters are the true film-friendly gems.

That’s where TMkey Film/Research, led by coordinatorDale “Doc” Thoemke, comes in. With an intimate, in-depthknowledge of these hidden waters, Thoemke can not onlyshow you where to film, but he can provide an ADA-acces-sible and U.S. Coast Guard-approved boat to take you there,and even cabins for overnight or multi-day filming excur-sions.

And with his 30-plus years of experience as a reputablecontractor for the federal, state and tribal government,Thoemke and film/commercial consultant Jason Roberts, aMakah guide, have access to waters that most don’t.

Working with Thoemke and crew, not only will you filmin secluded, untouched spots, but you will also have theopportuntity to see what lies beneath. TMkey specializes inunderwater imagery without the use of divers. A filmingcrew obtains high-definition, high-resolution, macro videog-raphy in low light conditions by utilizing robotic remotely

FILMING ON—AND IN—NORTHWEST WATERS WITH TMkey FILM/RESEARCH

controlled, waterborne GPS-enabled real-time underwaterrecording, in combination with sonar echo location andsidescan capability. Other equipment includes an extendersystem used for flying HD underwater cameras, GPSmapping, substrate sample taking and lightweight removallift.

In addition to their production services for outside proj-

ects, the company does filmwork and research of its own. Arecent documentary seriesproduced by TMkey tracedefforts by the Puget Sound Part-nership—a community effort

of citizens, governments, tribes, scientists and businesses—to clean up, restore and protect Puget Sound. Thoemke usedhis patented robotical puppeteering underwater camerasystem to help systematically track pollution conditions andrestoration efforts.

TMkey is dedicated to protecting our natural resources.In fact, the company has successfully completed the require-ments of a contract with the Quinault Indian Nation tolocate, remove, document and dispose of derelict fishingnets in the Chehalis River. The crew used underwatercameras to locate the waste—which equaled six tons ofnetting! WF

For more information on this one-stop production shop, or tocontact Thoemke for your next project, visit www.tmkey-film.com.

Above and right: Doc Thoemke at work.Far right: TMkey’s extender systemused for flying underwater cameras.



BY MICHELLE EVANSTON Guest Columnist

It was early on a Friday morning when thecall came in. The caller said it was urgentthat a realistic narrative feature on Crazy

Horse, the late Lakota Sioux leader andwarrior of the 19th century, be produced asquickly as possible. It was the third such callin less than a week and the receiver wasstarting to feel the pressure growing to getback into production on another film featur-ing American Indians.

The filmmaker being urged to makeanother film on Crazy Horse was Oliver W.Tuthill Jr., the award-winningwriter/director/producer who has madethree films to date on American Indians,two of them featuring the Lakota Siouxon the Pine Ridge Reservation in SouthDakota. Tuthill is the president of BlueWood Films LLC.

“It has been amazing the goodfortune I have had with making films onthe Lakota,” Tuthill said after finishing aconference call with a producer in LosAngeles. “I have wanted to return to thePine Ridge Reservation and the BlackHills of South Dakota, but since the deathof Russell Means (Last of the Mohicans,Pathfinder, Natural Born Killers), I lostsome of my motivation.”

Means, the co-founder of the Ameri-can Indian Movement, died last year,leaving a huge void. Tuthill has been incommunication with his wife, PearlMeans, who is producing along withBayard Johnson a documentary onRussell’s life (titled Conspiracy to be Free),

BLUE WOOD FILMS GOES NATIVEdirected by Colter Johnson.Tuthill has written andproduced a song that willbe used in the film featur-ing Native American MusicAward-winning Indianrapper Shadowyze.

Two of Tuthill’s mostpopular DVDs have beenhis documentaries on PineRidge and Crazy Horse. Hisfirst, Wounded Heart: PineRidge and the Sioux,released in 2005, wonnumerous awards and isstill a steady seller nineyears after its initialrelease. The Native Ameri-can Journalists Foundationcalled it “an accurate andcompelling portrayal of thestruggle to survive on thereservation.” The film isdistributed in the UnitedStates by Passion RiverFilms and internationallyby Entertainment 7.

Russell Means narratedthe film. He decided to helpTuthill on the documentaryafter they met at a demon-stration on the reservationwhen Tuthill approachedMeans and asked him to bein the film. Indian actorand activist Jay Red Hawk(Skins, Deadliest Warrior) isalso featured.

Tuthill’s most recentdocumentary on American Indians is Questions for Crazy Horse: Hypothetical Conver-sations with the Strange Warrior of the Oglala Lakota, which also features RussellMeans and Jay Red Hawk. Tim Rhys, publisher of MovieMaker Magazine, called it“an imaginative fearless attempt to help bridge the gap between myth and modernIndian life.”

Now Tuthill embarks upon the making of a narrative feature on the life of CrazyHorse, one that he does not take lightly.

“Crazy Horse is one of the most significant leaders in the history of the UnitedStates,” said Tuthill. “They are building a memorial to him in the Black Hills thatwas started in 1948. To make a feature that will do this man justice will take atremendous team effort, and I am now searching for talented producers who wouldlike to form a team to make the best film possible on Crazy Horse.” WF

NEW NARRATIVE FEATURE ON CRAZY HORSE IN DEVELOPMENT

Blue Eagle Standing by Oliver W. Tuthill Jr.


BY MOLLY MICHAL Northwest Film Forum

For almost two decades, Northwest Film Forum hassupported working filmmakers in the Pacific Northwest.As Seattle’s only comprehensive film arts center—

offering year-round film screenings, filmmaking classes anddirect grants and services for local artists—the Film Forumchampions opportunities for filmmakers to view, learn andmake, discovering their own voice along the way.

Located in the rapidly growing Pike/Pine corridor onCapitol Hill, the Film Forum’s venue includes not only newlyrenovated screening rooms, but post-production facilities andclassroom space as well.

In a digital editing suite, filmmakers can work independ-ently on their own projects using current filmmaking software(recent additions include an upgrade to FCP X 10.1 and AdobePremiere Pro CS6). Also on site: a 16mm Steenbeck, an opti-cal printer and a custom FAX animation stand.

The Film Forum provides easy and affordable access to adizzying array of filmmaking gear to rent, including digital,16mm and Super 8 cameras, lighting kits and sound gear, andextras like projectors, screens, tripods—you name it, the FilmForum probably stocks it.

Filmmaking classes are ongoing throughout every month

A HOME FOR INDEPENDENT FILMMAKERS

of the year, ranging from beginners classes on filmmaking soft-ware and orientation on new cameras and equipment, toadvanced seminars on topics like documentary making,creating your own DCP/digital prints, world cinema historyand much more.

There are also direct sources of filmmaker support avail-able, including the Documentary Film Fund, a competitivegrant program that provides cash and free production serv-ices to local non-fiction filmmakers. Every year the Film Forumgrants over $10,000 directly to local documentary projects,as well as thousands of dollars of in-kind services. Other sourcesof direct support to filmmakers include a Fiscal Sponsorship

program, which extends Northwest Film Forum’s non-profitumbrella to local productions, opening up new grant and tax-deductible contribution opportunities.

As a non-profit with a mission to serve filmmakers, mostfees associated with using the Film Forum’s resources are keptintentionally low. A Film Forum membership is a greatinvestment for filmmakers looking to use services on a regu-lar basis—a $45 annual fee buys 50 percent off rental rates,class tuition and film tickets.

Northwest Film Forum serves artists, but also acts as a socialhub for the independent film community in Seattle. Don’t missout on happy hours at the Film Forum lobby bar, industrymeetings like the annual Seattle Film Summit (September2014), and virtual communities like the Callboard, where localfilmmakers advertise production jobs.

Sometimes the right help at the right time can transforma career, and make all the difference to independent artistsworking without big bases of support. Our goal is that by visit-ing Northwest Film Forum, filmmakers of all ages andexperiences can find resources, friendly faces and usefulconnections for that next big project. WF

For more information, visit www.nwfilmforum.org/live/page/filmmaking.

Northwest Film Forum provides access to filmmaking equipmentat an affordable price. MARGARET SCHULER


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M ark your calendars for these greatevents coming soon to your neigh-borhood.

JANUARY

Spokane International Film Festival January 23-February 1www.spokanefilmfestival.org

Now in its 16th year, the Spokane International Film Festi-val features a small, selective offering of world-classfeatures, documentaries and shorts that have been madearound the world during the past two years but have notyet been commercially released for wide distribution. Inaddition to film screenings, SpIFF offers exclusive events suchas Filmmaker Forums, which give attendees the opportu-nity to hear filmmakers explain firsthand how their projectswent from “Action!” to “That’s a wrap.”

Children’s Film Festival SeattleJanuary 23-February 2childrensfilmfestivalseattle.nwfilmforum.org

Presented by Northwest Film Forum, Children’s Film Festi-val Seattle celebrates the best and brightest in internationalchildren’s cinema with a 10-day extravaganza of more than100 films from almost 30 countries. By showcasing inno-vative, inspiring and fun films from around the globe,Northwest Film Forum aims to promote delight, discussionand even debate while sparking interest in differentlanguages and ways of life.

FEBRUARY

Seattle Asian American Film FestivalFebruary 6-9www.seattleaaff.org

The Seattle Asian American Film Festival’s mission is toseek out, promote, produce, and develop Asian Americanartists with a commitment to original and innovativemedia works. SAAFF showcases works by Northwest AsianAmerican filmmakers, as well as films from across the coun-try dealing with Asian American people, issues and themes,which are absent from other local festivals. All festival

WASHINGTON FILM FESTIVAL ROUND-UP screenings throughout the four-day event will take placeat Columbia City’s Ark Lodge Cinemas.

Post Alley Film FestivalFebruary 8www.postalleyfilmfestival.com

Post Alley Film Festival, held at SIFF Film Center inSeattle, features uniquely stimulating, female-centricshort films hand-picked from local talent as well asemerging and established filmmakers from beyond theEvergreen State. PAFF is co-sponsored by Women in FilmSeattle (WIF Seattle), a non-profit professional organ-ization dedicated to advancing opportunities for allwomen in the film, television, video, digital, and screen-based industries.

MARCH

Seattle Jewish Film FestivalMarch 1-9www.seattlejewishfilmfestival.org

Founded in 1995, the Seattle Jewish Film Festival(SJFF) is an annual, 10-day and year-round cinematicexploration and celebration of global Jewish and Israelilife, history, complexity, culture and filmmaking foreveryone. SJFF showcases the best international, inde-pendent and award-winning Jewish-themed and Israelicinema, enhanced by educational, family, social,performing arts and year-round programming.

APRIL

National Film Festival for Talented YouthApril 24-27www.nffty.org

NFFTY has grown into the world’s largest youth filmfestival. In 2013, the event featured 215 films from thebest filmmakers 22 and younger representing 30 statesand 20 countries, with 10,000 in attendance. Held inconjunction with NFFTY, The Future of Film Expo hostsall of NFFTY’s additional programming including panels,workshops, and exhibitor booths featuring the bestresources and organizations for film technology andeducation.

Langston Hughes African American Film FestivalApril 26-May 3www.langstonarts.org

This annual event features thought-provoking, illumi-nating films that showcase stories of people of Africandescent, from around the world, by independent filmmak-ers. Now in its 11th year, the festival also offers paneldiscussions, screenplay readings, matinee screenings formiddle and high school youth, and in-depth chats with film-makers, industry professionals and local community leaders.

MAY

Seattle’s True Independent Film FestivalMay 2-10www.trueindependent.org

STIFF is dedicated to the exhibition of independent,underground, experimental and zero budget films. The festi-val endeavors to provide cultural exchange and educationalopportunities by bringing a diverse selection of films to thearea and providing a place for networking between localfilmmakers, visiting filmmakers and the public.

TranslationsMay 8-11threedollarbillcinema.org/programs/translations

Launched in 2006, Translations is one of only a few trans-gender film festivals in the world. Three Dollar Bill Cinemapresents this groundbreaking film festival to provide thePacific Northwest with a venue for films by, for, and abouttransgender people, encouraging visibility and positiverepresentations of transgender issues. Audience awards willbe given for Best Narrative Feature, Best DocumentaryFeature, and Best Short Film.

Seattle International Film FestivalMay 15-June 8www.siff.net

Celebrating 40 years, SIFF is one of the largest and most


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highly attended film festivals in the United States. The eventfeatures 250 feature/documentary films and 125 short films,and boasts an audience of over 155,000 annually. SIFF isconsistently cited as one of the best “audience festivals” inthe world.

JULY

48 Hour Film ProjectJuly TBDwww.48hourfilm.com/seattle

A worldwide phenomenon, the 48 Hour Film Project hasteams of filmmakers creating short films in just two days.The Seattle edition takes place in July, though the dateshadn’t been announced at press time.

AUGUST

Columbia Gorge International Film FestivalAugust 1-17www.angaelica.com

Held in Vancouver, the seventh annual CGIFF showcasesa variety of local, national and international films, aimingto share a broad range of films representing current affairsand relevant topics that affect our communities. Filmmak-ers are invited to submit both films and screenplays forconsideration.

1 Reel Film Festival/BumbershootAugust 30-September 1www.bumbershoot.org

Curated by SIFF, Bumbershoot’s 1 Reel Film Festival is oneof the best-attended short format festivals in the U.S., draw-ing nearly 10,000 cinema fans annually. 1 Reel Film Festivalfeatures themed collections of short films from around theworld.

SEPTEMBER

Port Townsend Film FestivalSeptember 19-21www.ptfilmfest.com

The 15th annual Port Townsend Film Festival is dedicatedto connecting great films, filmmakers and communities.PTFF is billed as “a film lover’s block party,” featuring bothindoor and outdoor screenings, meet-and-greets, special

guests, and many other events.

Irish Reels Film FestivalSeptember TBDwww.irishreels.org

Held in Seattle, the Irish Reels Film Festival celebratesIrish film in the Northwest, providing an annual festival ofnew works by independent Irish filmmakers. The festival’sfocus is on independently produced films that introduceSeattle audiences to more typical stories that reflect theuniqueness of Irish life.

Local Sightings Film FestivalSeptember TBDlocalsightings.nwfilmforum.org

Presented by Northwest Film Forum, Local Sightings isan annual showcase of current narrative, documentary andexperimental film by Northwest artists. Held in late Septem-ber/early October every year, the week-long festival alsofeatures panel discussions, historic NW films, parties, juriedawards for a winning short and feature film, and nationalindustry scouts looking for strong new work.

OCTOBER

Ellensburg Film FestivalOctober 3-5www.ellensburgfilmfestival.com

Since its inception in 2004, the Ellensburg Film Festivalhas grown into a major film and arts event in the North-west with over 2,000 people in attendance. The three-dayfestival features local and international feature, documen-tary, and short films, honored guests, special events, livemusical performances, and much more.

Tacoma Film FestivalOctober 9-16www.tacomafilmfestival.com

The Tacoma Film Festival is an eight-day celebration ofcurrent independent film from around the globe. Held atThe Grand Cinema, the primary focus of the festival is onart house, foreign language, independent, documentariesand numerous short films. TFF especially encourages film-makers from the Pacific Northwest area to submit to the

festival and attend.

Gig Harbor Film FestivalOctober TBDwww.gigharborfilmfestival.org

Now in its sixth year, GHFF includes local, regional, andinternational filmmakers to advance a variety of creativeideas and bring the community a diverse range of appeal-ing films, giving aspiring filmmakers an opportunity topresent their efforts to a sophisticated audience and gainrecognition beyond the local level.

Seattle Lesbian & Gay Film FestivalOctober TBDthreedollarbillcinema.org/programs/SLGFF/

Held annually since 1996, The Seattle Lesbian & Gay FilmFestival has grown into the largest event of its kind in thePacific Northwest, gaining industry and audience recogni-tion for showcasing the latest and greatest in LGBT film, frommajor motion picture premieres to emerging talent. Thefestival provides unique opportunities for visiting and localfilmmakers to engage and entertain over 10,000 attendees.

Maelstrom International Fantastic Film FestivalOctober TBDwww.mifff.org

The Maelstrom International Fantastic Film Festival(MIFFF) is the Pacific Northwest’s premier weekend-longevent devoted towards independent and internationalgenre filmmaking. The event was created to offer exposureto films that traditionally are overlooked by the festival circuitfrom genres including action, fantasy, horror, and sciencefiction.

Seattle Polish Film FestivalOctober TBDwww.polishfilms.org

Seattle Polish Film Festival (SPFF) is an annual eventshowcasing the best of Polish cinema since the early 1990s.SPFF showcases critically acclaimed films alongside inde-


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pendent films, shorts, and documentaries. The SPFF is produced and presented by theSeattle-Gdynia Sister City Association.

NOVEMBER

Spokane’s GLBT Film FestivalNovember TBDwww.spokanefilmfest.org

Spokane’s GLBT Film Festival is a non-profit organization dedicated to presenting arealistic and positive depiction of the gay/lesbian community and its concerns. The festi-val is dedicated to screening contemporary independent films that are of interest to theGLBT community and that are not likely seen anywhere else in the community.

Olympia Film FestivalNovember TBDwww.olympiafilmsociety.org/festivals/olympia-film-festival

Since 1983, Olympia Film Society has hosted the annual Olympia Film Festival, a 10-day around-the-clock extravaganza of films, filmmakers and film-related guests, specialperformances, discussion panels, and educational workshops. Screenings are held at theCapitol Theater, a 750-seat venue built in 1924.


Documents

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