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CONTENTS Three local actors star in Z Nation. Photo by Oliver Irwin


James R. Baker EDITOR

George Riddell EDITOR-AT-LARGE


Susan Haley Katie Sauro


Regan MacStravic SALES MANAGER

Katie Higgins SALES


John Rusnak



Dawn Carlson Beth Harrison Sonija Kells WEBMASTER

Jon Hines


Audra Higgins


Lois Sanborn






49 51 53 54 55





58 59





64 67 73












39 44 45









CORRECTIONS On page 54 of Issue 3, Foreground/Background was incorrectly listed as a “talent agency.” Owner Denise Gibbs is a casting director and the company should have been listed as such. Please see an article on page 44 that discusses the role of casting directors and how they differ from talent agents. In the same issue, Lyon Films was erroneously left off the list of Northwest Production Companies (pg 56-60). Their information should have been listed as follows: Contact info: Lyon Films; Lake Oswego, OR 503-990-9080 devon@lyonfilms.net www.lyonfilms.net Top Local Executive: Devon Lyon, partner Types of Production: Commercial, Corporate, Digital, Documentary, Educational/Instructional, Feature Film Media Inc. regrets these errors. If you or your company would like to be on any of Media Inc.’s lists, please email ksauro@media-inc.com.


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Local crew films a scene for Z Nation. (l to r) Robert Webeck, A Camera 1st AC; Alex Yellen, Director of Photography; Federico Verardi, B Camera Operator; Alisa Tyrrill, B Camera 1st AC; Bryan Gosline, Set Grip; Dan Msner, Key Grip; Darin Shaffer, Boom; Eddie Legaspi, PA; Shaun Springer, B Camera 2nd AC; and Kellita Smith, who plays “Warren.” Photo By Oliver Irwin


1219 SE Lafayette Suite 201 Portland, OR 97202 Display Advertising. Call Media Index Publishing Group for a current rate card. Discounts for frequency advertising. Advertising confirmation deadline is the 30th of the month prior to issue publication. Advertising mechanicals are due the 5th of the month of issue. All submitted materials become the property of Media Index Publishing Inc. and will not be returned. Subscriptions. Annual subscriptions to Media Inc. (6 issues) are $15 (+$2.20 if sent to WA address); two-year subscription is $30.00 (+$3.30 if sent to WA address). Send check or money order to Media Index Publishing Inc., or call (206) 382-9220 with VISA or M/C. Back issues of Media Inc. are available at Media Index Publishing Inc. offices at the cost of $5 plus tax. Copyright © 2014 Media Index Publishing Group. All Rights Reserved. No part of this publication may be copied by any means, electronic or mechanical, including photocopying or recording by any information storage or retrieval system, without the express written permission of the publisher. Printed in USA

OMPA Classic eld on July 11 at the Resort at the Mountain on Mt. Hood, the annual OMPA Classic— powered by Zarr Studios—featured a golf tournament, croquet tournament and awards party, all to support Media Arts Education scholarships and OMPA’s work. (PHOTOS BY HOLLIE FEE)




Washington Filmmaker Jessica Valentine Wins Big

Jessica Valentine (far right), U.S. winner of the Jameson First Shot Competition, with her fellow winners and Kevin Spacey (seated). Photo By Max Knight

By George Riddell Editor Photos Courtesy of Jameson First Shot

irecting your first film would be a big moment for any person. Now imagine doing it with Oscar nominee Uma Thurman playing the lead role. That was Jessica Valentine’s life this summer in Hollywood.


Valentine is the 27-year-old filmmaker from Bellingham, Washington, who was selected as the lone American winner in this year’s Jameson First Shot competition. In this, the competition’s third year, Valentine was chosen along with Henco J of South Africa and Ivan Petukhov of Russia to direct actress Uma Thurman in an original short film. Valentine’s film is entitled Jump. The experience was “the best thing that’s happened to me,” says Valentine, who explained she was chosen because of the depth of her experience, as well as the quality of her screenplay. “I’ve done every job in filmmaking, from PA to producer—except director.” Valentine first learned about the global competition last fall. Under the rules of the competition, in order to qualify, screenplays had to fit within one of three themes: Legendary, Comedy or Tall

Tale. Valentine chose the Tall Tale theme in writing Jump, about a psychiatric patient named Wendy (Thurman) with a unique obsession. With the knowledge that the lead character would be played by Thurman, Valentine developed a complex character for her screenplay, which she describes as “Forrest Gump meets Big Fish.” “She’s mentally disturbed, is the best way to put it,” says Valentine of the character. Since Thurman had a major say in deciding which screenplays would be chosen in the competition, Valentine did extensive research to learn about Thurman—specifically what kind of roles she chooses. “Not a love story, that’s for sure,” says Valentine. The multi-stage application process was rigorous, especially once she learned she had been short-listed. On a Wednesday in early February, Valentine received a call from the competition organizers to inform her that she was one of seven Americans who had made the short-list. Just 20 people in all had made it this far. She was given about a week to shoot and edit a short film, create a video bio and assemble a collection of her other work. Oh, and it was Seahawks Super Bowl week, so her usual network of friends, colleagues and supporters were, well, preoccupied. But she rallied her supportive network of about a dozen Washington film professionals and got it done. At this point, Thurman became involved in the selection process, reviewing all 20 short-list submissions and recomAUGUST/SEPTEMBER 2014 MEDIA INC.


taken over my life. It was disbelief, it had been going on for so long.” In early June, Valentine arrived in L.A. to make her film. She spent a month there, including pre-production, the shoot and post. “I tried not to have any expectations. I also tried not to be intimidated,” she says. Valentine worked with the film’s casting director, Chadwick Struck. “Aside from Uma,” she says, “I had almost complete control over the casting of the other roles.” She worked closely with Struck on all aspects of casting, and stressed from the beginning that she wanted to have good people in the cast, in addition to just good actors. “I wanted him to know that this was my first time,” Valentine explains, so she didn’t end up with any on-set talent issues. In the end, she says, “all of the actors were so supportive.” As the youngest of this year’s First Shot directors—and the only female—Valentine was a first-time director working with a brand new crew. “I didn’t know a single person,” she says. “Some people thought I was a PA.” That included some of the actors, like Anthony Ray Parker (The Matrix), who didn’t make the connection when she showed up unannounced at his wardrobe fitting. “But we got along great,” says Valentine. She also made an important connection with the other two First Shot filmmakers. Ivan Pethukov, an ad agency senior creative executive from Moscow, and Henco J, an actor and mime from Pretoria, shared the unique month-long L.A. experience with Valentine. “We’re from completely different

Uma Thurman films a scene for Jump.

mending her top picks for the finalists. As this year’s featured star for the First Shot competition, Thurman joins the featured actors from year one, Kevin Spacey, and year two, Willem Dafoe, as Jameson First Shot collaborators. Spacey continues to serve as the competition’s creative director, and his long-time production partner at Trigger Street Productions, Dana Brunetti, is producer of the First Shot films. All of them have become engaged in the program in order to provide unique opportunities to promising young filmmakers. “What excites me about being involved with Jameson First Shot is that I love the idea of finding and discovering young talent,” Thurman commented. “It’s what makes the film business alive.” Valentine made the cut as one of nine finalists. And then, in April, came the Skype call with Kevin Spacey telling her she had won. The winners were notified almost a month later than in previous years. Valentine says that by that point, the competition “had 10


Uma Thurman, the star of the third annual Jameson First Shot Competition.



backgrounds,” she says. “But there was a really strong camaraderie between us.” As for directing Uma Thurman? Valentine says she learned a great deal from the actress. “She played a really complicated character, which required a lot of research to write and had to be passed along to Uma in a very short time. It was a lot to ask of her,” she says. “We both had to learn quickly how the other person works. And I was also learning how to direct at the same time. But I could be very honest with her, and she reciprocated. It was a very positive experience.” Valentine only met Thurman two days before filming started. “It was the coolest moment of my life,” she recalls. “When she said my name, I realized ‘Oh my God, this is actually happening.’” Despite the fact that they had limited time together to discuss the film and Thurman’s role before production started, Valentine says the actress was generous with guidance about being young and female in Hollywood. “She gave me lots of great advice and was very supportive,” she says. The creative process for the Jameson First Shot competition included a highly compressed post-production experience. Valentine worked with an online editor, but also did her own editing on the side, in order to keep the process moving. She shared the same post crew with the other two filmmakers, since all three projects had to be edited in a two-week period. At the end of the nearly 10-month journey, Valentine’s exuberance is still obvious. “It was an amazing, incredible experience,” she says. “It’s changed my life.” This year’s films were scheduled to premiere at a Jameson First Shot event in Los Angeles during late July. MI



Jessica Valentine holds her film, Jump, in a stack of drives.


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Clackamas County Celebrates Film Industry with Librarians Event n June 28, about 250 invited guests received a backstage tour of a network television program being produced in Clackamas County. The invitation-only event for the Oregon Media Production Association was hosted by Electric Entertainment, and sponsored by Clackamas County Business and Economic Development Department, Tourism and Cultural Affairs and PGE.


Event attendees took a behind-the-scenes tour of the Librarians set.

Guests were treated to an exclusive tour of the set of the upcoming TNT television series The Librarians. A portion of the 10-episode series is being filmed at a warehouse in the Clackamas Industrial Area. The show’s production is projected to create approximately 750 full-time jobs held almost exclusively by Oregonians and infuse about $26 million into the local economy. The Librarians premieres December 7 on TNT. Working with the Governor’s Office of Film and Television, Clackamas County provides support to the film, video and multimedia industry to support the industry’s investment in the County. The economic development team is responsible for marketing and attracting media-related businesses to the County. An example of that support and assistance is the countywide permitting process that simplified and streamlined the permitting process for potential film locations within the County, which recently received a National Association of Counties Achievement Award.

A crowd gathers to celebrate the new Clackamas County production.

Tom McFadden (left), executive director of OMPA, meets with guests.

Aaron Kirk Douglas (left) and Dayan Morgan-Sylvaen.





The Boxtrolls:

LAIKA’s Latest Hits Theaters This Fall illsboro, Oregon-based animation studio LAIKA will release its latest stop-motion masterpiece, The Boxtrolls, on September 26.


Following in the footsteps of Coraline (2009) and ParaNorman (2012), both critical successes and both Academy Award nominees, The Boxtrolls is another spectacular 3D stop-motion animated feature. Co-directed by Graham Annable and Anthony Stacchi, the film is being distributed by LAIKA’s longtime partner Focus Features. “The Boxtrolls is a visually dazzling mash-up of gripping detective story, absurdist comedy, and steampunk adventure with a surprisingly wholesome heart,” said Travis Knight, LAIKA president and CEO, in a news release. “It’s Dickens by way of Monty Python. Tony and Graham have crafted a strange and beautiful world replete with fantastical creatures, good-for-nothing reprobates, madcap antics, and rip-roaring feats of derring-do. But at its core, like all LAIKA films, The Boxtrolls is a moving and human story with timelessness and powerful emotional resonance.” The film is several years in the making, including three years from pre-production to release. But LAIKA acquired the rights to the Alan Snow book Here Be Monsters!, on which the film is based, way back in 2005. So it’s been in development for quite a long time, mostly because Snow’s book is enormous with tons of characters, all strange and wonderful. It took a while to focus in on the Boxtrolls as the key to telling the story.

LAIKA Focuses Solely on Features

s of May, LAIKA has spun off its advertising/commercial division, known as LAIKA/house, and is now focusing solely on animated feature films. Said president and CEO Travis Knight, “As LAIKA finishes our third film and is in the process of actively developing an ambitious range of future projects, it’s become clear that we need to devote all of our artistry, innovation and resources towards our feature films in order to craft the distinctive and evocative stories for which LAIKA has become known.” LAIKA/house president Lourri Hammack, creative director Kirk Kelley and managing director of strategic operations Al Cubillas have left the company and set up shop under the name HouseSpecial, providing animation for all mediums: CG, stop-motion, and 2D moving illustrations. Building on a strong legacy of animation, HouseSpecial has already collaborated with agency luminaries such as BBDO, Saatchi & Saatchi NY, and McCann Worldgroup, and has worked on projects for M&M’s, Honey Nut Cheerios, International Delight, and Jose Cuervo, among others. Visit www.housespecial.com for more.


The Boxtrolls follows the adventures of an orphaned boy named Eggs (voiced by Isaac Hempstead-Wright), who was adopted and raised in the sewers beneath the streets of Cheesebridge by the lovable Boxtrolls. When the Boxtrolls are targeted by an evil exterminator (voiced by Ben Kingsley), Eggs must venture above ground to save his family. The voice cast also includes Elle Fanning, Simon Pegg, Nick Frost, Tracy Morgan and Toni Collette. The Boxtrolls uses a hybrid of stop-motion and CGI, similar to what was used in ParaNorman. However, the use of CGI is more prevalent in this new film in an effort to really open up the world of the Boxtrolls, as well as the world of Cheesebridge above ground. The camera is more fluid and active in this film—in fact, it resembles a live-action film. Discover more when the film is released this September. MI The next LAIKA production has not yet been announced. Stay tuned to www.laika.com. AUGUST/SEPTEMBER 2014 MEDIA INC.


An Update from the Oregon Film Office he Oregon Film Office continues its hiring process for a new executive director. The application process closed as of May 30. There were a number of responses and the Board was pleased to see the qualifications of the applicants. Selection of the best applicant takes some time but the process has yielded excellent results in the past. We should have an answer by next issue! Members of the Board include: Gordon Sondland, Chair; Cythia Whitcomb, Gus Van Sant, Juliana Lukasik and Steve Oster.


Business moves along with the capable staff of Bob Schmaling, Jane Ridley and Nathan Cherrington. Cherrington oversees the sale of the tax credits, which is the funding source for the state’s incentive program. The tax credits are sold at auction, which began Wednesday, July 9, and continued through July 18. “The Oregon Department of Revenue is auctioning $10 million in OPIF tax credits for us this year,” said Cherrington. “This is the largest amount of tax credits we have auctioned off at a single time, so it is a great opportunity for more people to be able to have successful bids.” Historically, these tax credits have sold out. There’s an enthusiastic following by investors and CPAs who facilitate the purchase of the tax credits for clients. Happily for the state’s film industry, this process has been the catalyst for creating many jobs and much business for Oregon vendors. As of publication, there’s no doubt this year’s credits will have been sold and film projects will be queuing up! Already we have shows like Grimm, Portlandia and The Librarians employing thousands of cast and crew in a single year. Thanks to the very capable film office for continuing to provide excellent support to the film industry. They have 31 years of combined experience between the three of them. They have, and continue to work hard representing Oregon by providing location and logistical support.

Nathan Cherrington

Bob Schmaling

For more information, visit www.oregonfilm.org. Jane Ridley


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Sasquatch Invades Easton Photos by Regan MacStravic


s one of the most well-known creatures in Pacific Northwest folklore, Bigfoot has frightened and fascinated generations of children who grew up knowing and believing he was out there, roaming deep in the forested hillsides of Washington.



John Portanova was one of those kids who heard the stories as a boy growing up in Poulsbo, about Bigfoot encounters in the Ape Canyon area around Mount St. Helens. It was this childhood fascination that compelled him to write Valley of the Sasquatch. And in July, the feature film became Portanova’s first directing experience, as well. The film was shot entirely on location in the forests of Washington—mostly near the town of Easton. It was a co-production venture between The October People and Votiv Films. The film stars Bill Oberst Jr., Jason Vail and David Saucedo. For Portanova, it was essential to shoot most of the film at night. “Dark woods are inherently creepy and we are using that to our advantage in the film,” he explained. “A downside to this is that summer night (in Washington) only lasts about seven hours.” It took almost a week and a lot of caffeine for the crew to get used to the night shooting schedule. But Portanova is upbeat



about it: “Gallons of blood, a few body parts and a monster running around in the woods really puts people in a good mood.” Valley of the Sasquatch is a human story about a family going through a hard time and being forced to move into an old family cabin in the Cascades. At this new home, they encounter the Sasquatch and the horror begins. Portanova admits horror doesn’t mean much if you don’t care about the characters who are being terrorized. “Although I am a giant horror fan and we do get the blood flowing in the film, the characters and drama are the backbone of the story,” he said. In order to portray the legendary Sasquatch, great attention was given to makeup and costuming. “Achieving a unique look for the Sasquatch was important for me as a lifelong fan of the creature,” said Portanova. “I worked with our creature designer Doug Hudson on creating a look that was less bloodthirsty monster and more wild animal.” He added, “Keeping the Sasquatch hidden, even though we love the design, is key for keeping it realistic.” Local suit performer Connor Conrad

plays Sasquatch. The film’s crew is comprised primarily of Washington residents, and also includes crewmembers from Portland and Northern California. Jeremy Berg is cinematographer. Portanova hopes to finish Valley of the Sasquatch later this year, in time for the 2015 film festival tour. MI

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The Warren Report

Running Laps Around Seattle

Actors Richard Jenkins (left) and Kelly Blatz during filming of 4 Minute Mile.

By Warren Etheredge Editor-At-Large Photos Courtesy of 4 Minute Mile

aking a movie is much like running the mile. Both require a tremendous, almost masochistic endurance, along with the punishing intensity of a sprint. Neither provides opportunity to slow strategically; for either, one must hurtle forward, confident in one’s prowess, unshaken by the competition.


Charles-Olivier Michaud knows the drill. He’s looped the track before. The Canadian had directed three other features (Snow & Ashes, On the Beat, Exile) before filming 4 Minute Mile in Seattle during the summer of 2013. What he didn’t anticipate, what he couldn’t have known, was how great a city he had selected in which to shoot. I sat down for drinks with Michaud and his lead actor, Kelly Blatz, to discuss making and breaking the 4 Minute Mile and what brought them to the Emerald City. Turns out Amy Lillard, of Washington Filmworks, and James Keblas, formerly of the Seattle Mayor’s Office of Film + Music, were integral in luring the production—costarring Richard Jenkins, Kim Basinger, Analeigh Tipton and Tacoma-born Cam Gigandet—to town. Charles-Olivier Michaud: They were very nice, they were very welcoming. They brought us dinner, they brought us for drinks, they really romanced us, like really well. And Seattle is beautiful to shoot in. I mean, as you see in the movie, Seattle is featured like crazy. Even

movies shot in Seattle—I think of Lynn Shelton movies—you know, it could be shot anywhere in the States, you don’t see it. In this one you do, probably because I’m a guy from outside and I was fascinated by Seattle’s beauty. Warren Report: Were there any hurdles? CM: The challenge was two-fold. It was first the planes. There’s a lot of planes in Seattle, so we had to deal with that. And also, which to me was a challenge at first, it was the idea that a lot of the crew had less experience than I would have liked, but they really came through, came amazingly through. I’m thinking of T.J. Williams Jr., the camera operator, Jason Knoll, Ryan [Middleton] the gaffer. These guys, even though they haven’t worked on major, major motion pictures, they came through and they were amazing and we’re still buddies and stuff. I was really, really impressed. So it was nice because this way they’re not blasé, you know, they’re passionate, so it was really cool. Kelly Blatz: Not only the people in the city but the crew, all the people, all the local people from Seattle were all so friendly and also so caring about the project. The whole crew, but especially those camera guys. And Jason and T.J. both had a really, really tough job because we’re doing so much running. I mean, the focus pulling was crucial on this and these guys, they came at this every day, like sharp and ready, like ‘let’s do this,’ so it was great, man. WR: Was Seattle your first choice? CM: First it was Louisiana, and then Louisiana was just filled with big Hollywood productions so we can’t shoot there. Then I thought, let’s shoot in L.A. I would have loved to; one of my dreams in my life is to shoot a movie in L.A. because I love the city ‘cause it’s so weird. But L.A. was just too expensive and that’s about that time when AUGUST/SEPTEMBER 2014 MEDIA INC.


people said, ‘Well, what about Seattle?’ And I had never come here. I know Vancouver really well and I said, ‘Well, if it looks like Vancouver even a little bit it’s gonna be great.’ And I started looking and discovered it was a running city and I was like, we have to go there, you know, we have to go. So at some point, I started fighting for Seattle because to me it was the perfect city to place a running story like this. I mean, I don’t even know how many stadiums and running tracks and stuff there are here. There’s so many because we scouted to find, like we found in Renton, we found the one at the Jimi Hendrix high school there, Quincy Jones High School. WR: Jimi Hendrix High? Seems fitting. CM: He studied there. We scouted so many others, it was intense. So I fought for Seattle and we came here, it was a natural to shoot here. And Richard [Jenkins] as well was like, ‘Wow! Seattle’s great. Actress Kim Basinger stars in 4 Minute Mile.

4 Minute Mile actor Kelly Blatz (left) on the film's Seattle set with director Charles-Olivier Michaud.

Great idea.’ ‘Cause it’s such a unique city, we don’t really see it. I mean, we see it in The Killing, but it’s shot in Vancouver. KB: And [unit production manager/line producer] Mel Eslyn, she was amazing. CM: If you do a movie in Seattle and you don’t have Mel, you’re in trouble. KB: I know she did Your Sister’s Sister up here. Did they do Lucky Them up here? WR: Yes, Lucky Them was up here, as well. Seattle’s been on a hot streak lately. Been nurturing our own talent for a while. CM: Shooting in Seattle was a blessing. It was a lot of fun. I mean, I’d rather not say anything against Cleveland, but I’d rather spend my summer in Seattle than Cleveland. WR: That’s going in the magazine. KB: That’s the headline! CM: No, it’s not going in the magazine. No, no, it’s just that I thought it was more natural to shoot here. Um, yes it is. On your marks, get set: 4 Minute Mile is being rolled out by Gravitas Ventures and is currently available on demand, on iTunes and opens a limited theatrical run in August. For more, visit the film’s official website: www.4minutemilemovie.com. MI






SOUTHERN OREGON By Susan Haley Associate Editor


ilmmakers often debate the merits of crowdfunding to get their projects through stages of production. The two sites used most often tend to be Indiegogo and Kickstarter. While there are considerations and benefits, it’s most important that the filmmakers put effort into running a successful campaign. Two great examples of that are both from Southern Oregon.

We recently covered the premiere of Redwood Highway, produced by Gary and Anne Lundgren. Redwood Highway and Calvin Marshall both were financed through traditional means, but for their newest project, Black Road, the Lundgrens decided to go with Kickstarter. According to the producing team, “Crowdfunding offers an alternative to straight equity financing, allows us to connect directly with our audience early in the filmmaking process, and reduces risk and upfront costs. As it’s a challenging time to finance movies and make them viable in the marketplace, we’re experimenting with a conservative business model, a smaller crew and a lower budget.” The film was written and is being directed by Gary and is produced by Anne. Their production company, Joma Films, is based out of Ashland, Oregon. Filming for Black Road began July 21.

On the set of Redwood Highway.

world. When two six-year-old boys are in the hospital together fighting for their lives, courage and friendship are found. One of the strategies for successSouthern Oregon Film and ful Kickstarter campaigns is to break Television (SOFaT) is holding the fundraising into its monthly Cameras & Cocksegments. Setting a tails Networking Event on reachable goal can not Wednesday, August 6, in only get the filmmaker Ashland. This month’s event the money they need, is also a “membership renewal party” for SOFaT but it also gives those members. who back the film a Time: 7pm to 9pm chance to participate in Location: Dana Campbell a winning project. Vineyards, 1320 N Mountain According to Courage Ave, Ashland of Two’s website, “We set Mo Sultan, director of photography for Courage of Two. Marc Wells, writer and producer of Courage of Two. Join fellow members for the amount at a smaller another evening of SOFaT Another Southern Oregon indie feature, Courage of Two, from goal because we know we can make networking. Make new producers Marc Wells and Robert Fort, director Kris Ballard, and it. We filmed a great movie for $25,000 connections, strengthen old a whole cast and crew full (raised through Kickstarter) and we ones, and find out what’s of Southern Oregon Film are confident that for a little over half happening in the production and Television (SOFaT) that we can edit, package and scene. members, successfully promote it to the right festivals.” completed its Kickstarter It’s a lot of work to run a crowdcampaign and is moving funded project. It’s not a simple into post-production. matter of posting some information and then the money rolls in. Courage of Two is about It’s a testament to the filmmaker’s tenacity and savvy marketthe courage and strength ing! Kudos to Southern Oregon filmmakers for well-deserved Kris Ballard, director of Courage of Two. that people can bring to the paydays. MI

Mark Your Calendars:



Making A Living in the Southern Oregon Video Market By Ross Williams


love Southern Oregon. Its natural beauty, mixed with its quaint towns and relative ease getting up and down I-5 or over to the breathtaking Oregon Coast, make it an ideal place to raise a young family. But if you’re trying to make a living in video production, it can be quite a challenge. In my experience, unless you’re already very well established, you have to be a jack-of-all-trades to find steady work. You can’t just be a DP; you also have to be able to operate, work as a gaffer, assistant director, etc. When working in postproduction, you can’t just edit, you also have to mix sound, create graphics, color-grade, and be a special effects wizard, too. I’ve been around long enough that I’ve done all these jobs on different projects and when I’m working on my own projects, I’m usually doing it all myself. I came up through indie filmmaking, providing my own budgets,

so I had to learn to do it all if I wanted a film to be finished to my standards without needing outside funds or going into deep debt. When I started my part-time production company, I applied those same rules. So even on budgeted projects, I’m setting up all my equipment, lighting, running sound and picture, while also trying to direct people who aren’t used to being on camera. When that’s done, I’m also my own post-production team. I’m always trying to push clients for just a few hundred more dollars so I can hire another do-it-all video guy like myself, delegate a few jobs to them and focus a little more on the client. But when you’re working with smaller companies, they don’t understand the costs involved in video production. To keep costs down

A few recent productions from Southern Oregon.

and get the job, I’m usually forced to do it all on my own, to limit the project’s potential, and I’ll feel bad for working under my standards. I’ve had many conversations with potential clients about costs. A lot of them seem flabbergasted by how much I charge (but don’t blink at spending more on a half-page ad in the local paper). So not only am I a video producer, I have to be a salesman and an educator, teaching them about the benefits of video. Then they’ll tell me about their cousin with an iPhone who’ll make them a video for nothing… I’ve been running XRATS Productions for six years. It’s a great part-time job. I’m able to work nights and weekends and add to the family’s bottom line. But I’ve reached the point where I have more work than I can handle. That’s a good thing and a AUGUST/SEPTEMBER 2014 MEDIA INC.


bad thing. Great that I’m making more money at the thing I truly want to do; bad that it’s taking time away from my family. We’ve made the decision to move my business to full-time, which is scary. I know I have enough work for supplemental income, but can I find enough to be the main provider? Creating a good video is the easy part, finding clients that are willing to pay what it’s really worth is the hard part. So far the bulk of my work has come through word-of-mouth. But now I’m going to have to be a great salesman, too. I’ll be constantly looking for new clients, knocking on every door in the Rogue Valley. It’s a tough market, a lot of mom-and-pop shops that seem to be 20 years behind the curve of technology. And the competition is growing, with new production companies popping up every month. Most are one-man shops that shoot on DSLRs and edit on their Mac. I know a lot of them, and we all hire each other on the rare occasions we’re able to find the budget to hire an extra cameraman/grip/sound mixer. I think it’s just a phase. We’re still in the beginning years of affordable HD, 4K, and Internet distribution. It’s perseverance and talent that will see us through these turbulent times. But the genie’s out of the bottle and the YouTube generation is taking over the business. They’re able to do it all for nothing. So instead of cannibalizing each other, let’s teach clients about the true cost of video, the equipment, the crew we should be hiring, the years of experience behind it all. Let’s not price ourselves into extinction before the wave breaks. MI Ross Williams owns and operates XRATS Productions in Talent, Oregon (www.xrats.net) and is a member of SOFaT – Southern Oregon Film and Television (www.filmsouthernoregon.org).







Washington actors Pisay Pao, Nat Zang, and Russell Hodgkinson star in Z Nation.

Z Nation Casts Washington Actors to Fight Zombies By George Riddell Editor Photos By Oliver Irwin

s the Northwest summer shines on, production continues in Eastern Washington on Syfy series Z Nation. The zombie-centric show is being shot in and around Spokane, and three Washington-based actors have been cast as series regulars.


Russell Hodgkinson, represented by Topo Swope Talent, plays Steven “Doc” Beck, an ex-drug dealer whose nickname was earned by his knowledge of “pharmaceuticals.” Pisay Pao is represented by TCM Models and Talent. Her character, Cassandra, is a mysterious woman with a very dark past. “She’s like a feral animal,” Pao says. “She’ll do whatever it takes to survive.” Nat Zang, represented by Big Fish NW Talent, plays 10K, a young survivalist with a tragic past. Because of its production location and status as a Washington film incentive project, Z Nation has provided unusual access to Washington’s pool of actors to work on a network series. This is Zang’s first on-camera acting experience. AUGUST/SEPTEMBER 2014 MEDIA INC.


“If it wasn’t shooting in Washington, I wouldn’t have had the opportunity to audition,” he says. “It gives a lot of local Northwest talent the opportunity to work.” Becky Reilly with Big Fish NW Talent is one of the talent agents who was on the frontlines during the Z Nation casting process. “Actors from all over the state, with varying levels of ability, are getting opportunities not seen by thousands in other markets, including California,” she says. Reilly’s agency is heavily involved with casting of the extras for the series, which are mostly comprised of the ‘zombie horde.’



“Throughout this process, Big Fish has had first contact with more than 2,400 Spokane-area locals just aching to be zombie extras,” she says. Through just the first two weeks of production, they had billed for 320 man-days for extras alone. The local talent agencies and actors aren’t the only ones who benefit from the Spokane production. The economic impact is felt by related businesses, as well. “Actors wanting to up their game for the future, or prep prior to auditioning, are flocking to the region’s coaches for assistance,” says Reilly. “They’re also working with the various video production services to help their video auditions look as good as they can be.” In addition to providing unique work opportunities for the actors, the Eastern Washington production is also a welcome shooting environment. “I love shooting in Washington,” says Pao. “Every time I walk on set, I’m either walking into somebody I know, or meeting somebody who I know I’ll run into later. That’s the community here and it’s something the L.A. cast and crew became part of immediately.” She adds, “Both the Seattle and L.A. crew have been really impressed with Spokane’s diverse landscape. The possibilities are just endless here.” MI

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Talent Agent Spotlight he Northwest production industry continues to boom with film, TV, and commercial projects, which translates to increasing opportunities for local actors. This has been keeping Oregon and Washington talent agents quite busy. Media Inc. went straight to the source to find out more.


Becky Reilly Big Fish NW Talent www.bigfishnw.com Are the current productions of Z Nation, Librarians, Grimm, etc., having an impact on your agency? We have booked 11 principal characters on Grimm since it began production, and we have a callback for the first episode of season 4. Librarians is in the midst of casting as we speak and we hope to land something. Big Fish has booked 5 principal roles in the Z Nation project thus far, including Nat Zang who is a series regular! We have also booked over 300 extras into the project. Have you “discovered” anyone? Kyle Howard (My Boys, Royal Pains, Orange County) was a kid I worked with in Denver years ago. I got him his first ever paying gig and when he was ready, hooked him up with a scout. Tough to say I ‘discovered’ him; but I did get him on the path. Nat Zang, a series regular on Z Nation, was known by our agents in Seattle for his work in musical theater. We can, no doubt, say that we discovered him. What’s the biggest name movie or TV production your talent has been cast in? Tough... hmmm... Film: Bad News Bears (2005), The Postman, Love Happens. Television: Leverage, Grimm, Grey’s Anatomy, Perry Mason TV movies (back in the day, 1990-1992). Is the current state of production in the Northwest sustainable for an agency? We’ve managed to keep fairly busy. I think the better question is, is it sustainable for the number of agencies here? Not really... but again, we’ve managed. Jamie Lopez/Erin Fetridge The Actors Group www.theactorsgroup.com Are the current productions of Z Nation, Librarians, Grimm, etc., having an impact on your agency? EF: Definitely. We’ve booked several guest stars on Z Nation and multiple roles on Grimm and Librarians. We’re fortunate to have these series shooting in our region. Have you “discovered” anyone?

JL: A few people, actually: Paul Giamatti, Jeff Probst, Joel McHale, Anna Faris, Bill Nye, Cheryl Lee, and Jillian Armenante. What’s the biggest name movie or TV production your talent has been cast in? EF: We’ve booked someone in every feature film that’s been shot here. It’s great to work with local directors Lynn Shelton or Megan Griffiths, and we also love booking on shows like Leverage and Librarians with Jonathan Frakes directing. Is the current state of production in the Northwest sustainable for an agency? JL: Yes, as long as you have a competitive roster and know the buyers. An agent is only as effective as their rolodex, so it’s paramount to stay current on who’s who of the local media landscape. EF: Yes, but the business has changed a lot in five years. We have to work harder than ever to bring great opportunities to the agency and our clients. Luckily, though, we’re all a pretty scrappy bunch and working in a place like Seattle really can’t be duplicated anywhere else. We have an incredible pool of talent here in Seattle making our job as easy as it can be. Topo Swope Topo Swope Talent www.toposwopetalent.com Are the current productions of Z Nation, Librarians, Grimm, etc., having an impact on your agency? Yes, indeed! Keeping us quite busy and providing many opportunities for the actors! It’s fantastic! Have you “discovered” anyone? We have been very fortunate to represent so many wonderful local actors throughout the years. The ‘discoveries’ continue! What’s the biggest name movie or TV production your talent has been cast in? Amongst others, Grimm, Leverage, Northern Exposure, and The Fugitive have been the biggest. Films: Lucky Them, Eden, Men of Honor, 21 and Over, The Ward, Humpday, Your Sister’s Sister, Safety Not Guaranteed, etc… Is the current state of production in the Northwest sustainable for an agency? I am in my 20th year in business, so something must be working. Of course, some years are better than others, but overall it’s been a wonderful experience and I love actors and love what I do, and plan to continue! Terri Morgan TCM Models and Talent LLC www.tcmmodels.com Are the current productions of Z Nation, Librarians, Grimm, etc., having an impact on your agency? Most definitely, they are keeping my talent booker, Melissa, extremely busy! We are AUGUST/SEPTEMBER 2014 MEDIA INC.


so excited to have these great new shows being filmed in our area and giving the amazing talent in the Pacific Northwest the opportunity to really shine. Have you “discovered” anyone? We discover wonderful talent on a regular basis, so to pinpoint one person that has been “discovered” is not a true representation of all the wonderful talent that we have represented over the past many years. What’s the biggest name movie or TV production your talent has been cast in? We started many years ago with casting for The Postman and now all the current TV projects and feature films that are ongoing. Every project is a big one to the people that are making the movie or the TV show. Is the current state of production in the Northwest sustainable for an agency? It certainly helps, but we could always be busier, and we certainly have the talent to support more work in the Northwest. Jason Jeffords Puddletown Talent www.puddletowntalent.com Are the current productions of Z Nation, Librarians, Grimm, etc., having an impact on your agency? Yes, they are. They are having a great impact mainly for the fact that it brings work to Portland and helps grow our industry. Primarily, my agency is a children’s agency so when the shows in town are not necessarily a kid-heavy show, we see a little less activity, but nonetheless, enjoy the success of the shows and appreciate any and all opportunities that do present themselves for kid actor roles. Have you “discovered” anyone? We have discovered a wonderful roster of talent who all have their own unique style and hold on this industry. What’s the biggest name movie or TV production your talent has been cast in? Puddletown Talent has had a great pleasure working with Grimm, Leverage, The Librarians and when it was filmed, Extraordinary Measures with Harrison Ford and Brendan Fraser. Is the current state of production in the Northwest sustainable for an agency? Between the opportunities that are here on a union level and the jobs available with our non-union clients, we are extremely busy and for sure welcome any more work that would present itself to Portland. Dennis Troutman OPTION Model & Media www.optionmodelandmedia.com Are the current productions of Z Nation, Librarians, Grimm, etc., having an impact on your agency? They are having a major impact on our agency. These shows are not only bringing in a solid stream of revenue, but they are helping our actors take their goals and their dreams to the next level, and better equipping them to be ready for larger opportunities when they present themselves. 40


Have you “discovered” anyone? We have! In the coming years, be on the lookout for future stars such as Hannah Barefoot, Sonya Davis, Aris Juson, and Isaac Frank. Is the current state of production in the Northwest sustainable for an agency? It is absolutely sustainable! We have enjoyed a growth in sales every year for the last five years. The Pacific Northwest is consistently ranked as one of the best regions in the United States to live, therefore, we will continue to enjoy an influx of actors and crewmembers from other markets, as well as out of state productions bringing their projects to Portland and Seattle. It is critical, though, that we continue to enjoy, and hopefully grow, Oregon and Washington’s incentive programs. Nancy Gasper The View Talent Agency www.theviewtalent.com Are the current productions of Z Nation, Librarians, Grimm, etc., having an impact on your agency? Yes. We are enjoying these projects very much. They have such entertaining roles for my performers. It’s great to see the auditions get extended. The casting directors are great to work with. Have you “discovered” anyone? “Discovered” is a relative term. Of course every actor dreams of becoming a star/name… As an agent, it’s rewarding to see performers grow. To see them mature from being desperate to book at their first audition (and therefore often bombing it) to understanding the audition is the job; booking is the icing. The discovery of the performer’s growth through their hard work is what’s really fascinating. What’s the biggest name movie or TV production your talent has been cast in? Grimm. Is the current state of production in the Northwest sustainable for an agency? We are grateful for these productions in the Northwest. Thanks to the efforts of all those involved to have brought them here and to those for keeping them here. I’m happy to get to be a part of it and we look forward to more projects coming to the Northwest. Stacie Overman TAKE2 Talent Agency www.take2pro.com Are the current productions of Z Nation, Librarians, Grimm, etc., having an impact on your agency? TAKE2 talent is consistently headed out to auditions for principal roles on Librarians, Grimm, Brother in Laws and Portlandia. Excited to say we have a few actors that have nailed their auditions and have made appearances in all of these productions and a handful more. Have you “discovered” anyone? We have many up and coming talent… What’s the biggest name movie or TV production your talent has been cast in? Something Wicked with 85 actors, Saving Winston and Ghost Mine. Is the current state of production in the Northwest sustainable for an agency? The Northwest is the up and coming mini-Hollywood. With the amount of produc-

tions continuing to pop up and many of the TV shows getting renewed for new seasons it keeps our agency very busy. We are excited about the fact we will be getting to take part in the two newest productions, Backstrom and Intruders, which will be coming our way this August.

Tanya Tiffany Tiffany Talent www.tiffanytalent.com Are the current productions of Z Nation, Librarians, Grimm, etc., having an impact on your agency? Those shows are great for the entire Northwest. They help build the foundations of the film infrastructure in our area. They give talent a great opportunity to work in nationally recognized episodics, build resumes, and have a “goal” to work toward. As for day-to-day business, they don’t really effect things, though. They really are just a drop in the bucket of the work that is going on here. Every day there are dozens of jobs casting and shooting in the Northwest. Incentive programs like “Commercialize Seattle” are exciting. Creative agencies like Copacino + Fujikado, Weiden & Kennedy, and Weber Shandwick that use local talent for their work are exciting. Companies like Microsoft, Amazon and T-Mobile that produce their day-to-day advertising in this market are exciting. There are 20, 30, maybe 40 projects hiring talent from these sources for every episode of Grimm, Z Nation, and Librarians. Have you “discovered” anyone? We “discover” incredibly talented actors every week. We do not hang pictures of famous actors on our walls and tell people that we “discovered” them when they were young. Our claim to fame is that Our Talent Work. Our proudest achievement is the talent on our team that successfully make a living from working in this market, day-in and day-out, not the lucky few that got cast into a project that did well and made them a recognizably famous actor that’s now working in L.A. Some started from nothing, some came to us with experience already, but those that have the skill and commitment to be a full time actor in the Northwest make us proud to represent them. What’s the biggest name movie or TV production your talent has been cast in? Leverage, 5 seasons is a pretty good run. 10 Things I Hate About You was a lot of fun and pretty big, still airing on TV 15 years later. The Fugitive series was great and used a ton of local talent. Love Happens was pretty exciting, too. Sherry Bell Bliss Talent & Modeling Agency www.blisstalentagency.com Are the current productions of Z Nation, Librarians, Grimm, etc., having an impact on your agency? Yes! Keeping me very busy! These shows are always looking for new faces and talented people. I am very busy working to offer them new faces and actors. Bliss is always looking for wonderfully talented actors as well as the new face actor that is just starting. We will help you grow.

Have you “discovered” anyone? I have many great talent working to get their break. We are always focused to get our talent discovered! With hard work and perseverance it can happen. I would say on an everyday basis I discover many wonderfully talented people that I enjoy working with and helping them work towards their dreams. What’s the biggest name movie or TV production your talent has been cast in? The biggest thing we have booked has been Grimm and Portlandia. Is the current state of production in the Northwest sustainable for an agency? Bliss Talent is enjoying the continuing growth of production in the Northwest. We are very busy and can see it will only get busier. The Northwest has a plethora of multi-faceted offerings to the movie, television and commercial marketing production industry. Cholee Thompson Ryan Artists, Inc. www.ryanartists.com Are the current productions of Z Nation, Librarians, Grimm, etc., having an impact on your agency? Absolutely! Even though these are only a small portion of the projects that we are working on, the higher profile of these shows is bringing the Northwest great visibility. They are national showcasing the depth and range of talent we have. Along with beautiful locations and great crews. What is the most rewarding part of being an agent and representing some talented actors? Daily we get to help some of the most passionate people in the world pursue their dreams. It brings so much joy to me to make the “you got the job!” call. It is not an easy job and it comes with a lot of no’s but those yeses mean everything! What sets your agency apart from others in your industry? We put our talent through a pretty tough audition process. Our goal is to find strong core talent. We personally see each talent multiple times and test their skills in all forms of on-camera acting. We know our talent pool very well. This helps us to get the clients what they need as well as help develop all our talent to what they can be. Is the current state of production in the Northwest sustainable for an agency? Yes, Ryan Artists and some of the other local agencies have been in business for over 30 years! The upswing in great productions is making the agency grow in size and strength. Elicia Walker Actors First Agency www.actorsfirstagency.com Are the current productions of Z Nation, Librarians, Grimm, etc., having an impact on your agency? My actors have booked Grimm. I have been back two years and those three shows can keep me busy. The monetary benefits can be nice when residuals start coming in. I think the way it has impacted my agency most is when new actors interview, they want to know AUGUST/SEPTEMBER 2014 MEDIA INC.



ELICIA WALKER Sag-Aftra Franchised Representing Union & Non-Union Actors 206.522.4368 (206.52.AGENT) DFWRUVÀUVWDJHQF\FRP‡DFWRUV#DFWRUVÀUVWDJHQF\FRP



what series I have booked. When they hear that I have booked Grimm, it somehow gives my agency, or any agency, a bit more cache. Actors want to be with an agency that works on these shows. Have you “discovered” anyone? No, I haven’t walked into a drug store and saw someone I thought could be a star. Ha! I have had actors move on to L.A. to get work. One actor who was recommended to me years ago, walked into my agency and worked a ton and then moved to L.A. He was Haines Brooks! Everyone knows him as the Sunshine Guy, on the Jimmy Dean Sausage commercials. I wish I was his agent now! What’s the biggest name movie or TV production your talent has been cast in? Well, we have already talked about Grimm. When I had my agency before, I booked all the oldies: Northern Exposure, Hand that Rocks the Cradle, Frasier, etc. That was in the ‘90s when there was a lot of work here. It was constant. Is the current state of production in the Northwest sustainable for an agency? Sustainable seems to be the buzzword in the new millennium. Sustainability is really subjective and every agency’s idea of sustainability is different. I met with three different casting directors when I decided to open an agency again, and they all said I was a fool to do it. They all said there was not a lot of work and there were a lot of agents. I still did it. I panicked at first when there weren’t a lot of auditions to submit people for. The panic is gone and I am thrilled at the work that is coming in. Producers are still learning who I am and when they do, I book actors. I am sustaining and more. Yes, we need more work in this town and we also have a lot of agencies to compete with. I believe work is sustainable right now. Am I making money? Yes? Will I get rich? No! Yet I am seeing a lot of growth, and that is what is important and that sustains me.





www.ryanartists.com ph: 503.274.1005 fx: 503.274.0907 42


Voice Talent Agent Spotlight STACEY STAHL OF IN BOTH EARS How did your career as an agency owner begin? In 2003, a talent agency that represented dozens of Portland voices closed. Because of my exposure to the talent through working at a post-production recording studio, they started asking me if I would open an agency so they could have representation again. I brushed it off at first, thinking it wouldn’t be possible to survive as a voiceover-only agency in Portland. In 2004, In Both Ears was born with a business plan in place that would help ensure success by representing talent all over the world and servicing clients/buyers worldwide as well.


What medium do you find you get the most voice talent requests from? Most of our work is in the commercial world—television and radio. A close second is web audio. Where have you seen the most growth in your industry? In the past five years, web audio has grown exponentially. Spots, videos, narration, tutorials… none of these existed when I opened IBE. Video games have also seen tremendous growth. What have been your strangest or funniest requests for voice talent? Both the strangest and funniest are probably those projects with explicit sexual content. Some of the Mobile App Audio requests are pretty interesting. It’s funny, nothing feels that unusual anymore.



The 411 on Casting T

here is a frustration within the casting director community that continues to persist, and it has to do with terminology. In the media and elsewhere, casting directors are oftentimes called “talent agents,” and vice versa, but the responsibilities and duties of the two positions differ greatly. Casting directors are also often referred to as “casting agents,” but there is no such thing. This article will break down the role of the casting director so readers can get a grasp on the difference between the CD and the talent agent. Talent agents represent actors. They submit actors for roles and negotiate on their behalf. They are not normally involved in the casting process, but they do recommend their clients to be cast. If an actor lands a job through his/her agent, the agent will receive a predetermined percentage of their earnings. Casting directors do not represent actors. They are hired directly by the studio or production company to find the best actors to audition for each role. Casting directors do not receive any fees from the actors they present for hire. A casting director is the liaison between talent/talent agents and the production company. For each project, a casting director reads the script and often meets with the producers and the director to discuss the casting needs. They then post casting notices, contact talent agents, and sort through submissions—headshots, resumes, actors’ reels, etc.—before choosing which actors will be brought

in to audition. The audition generally consists of putting the actor on camera and asking them to perform specific actions and/or dialogue from the script. Then, the casting director sends those tapes to the director and producer for them to decide whom to have in for a callback. Casting directors do not have final say in the casting decisions, but they do have influence in the process and give their recommendations on which actors would be best for the roles. Once talent is selected, casting directors will then make the offers and negotiate the deals to hire actors on behalf of the production companies, while keeping an eye on the casting budget. MI For more information about what casting directors do, visit the Casting Society of America website at www.castingsociety.com.




DP Jonathon Houser and AC Ellen Callaghan. (Photo By Regan MacStravic)

Every Beautiful Thing By George Riddell Editor

ou could say Sonya Lea has a thing for Bob Dylan. It seems her fascination with him goes back decades, since some time before the birth of her daughter, who is named Dylan. In the present, she has written the complex short film about two sisters during their mother’s last days. The name of the film, Every Beautiful Thing, is taken from a lyric in the Bob Dylan song “Not Dark Yet”: “Behind every beautiful thing there’s been some kind of pain.”


Director Sonya Lea (right) discussing a scene with actors Lauren Weedman and Tim Gouran during filming of Every Beautiful Thing. Photo By Katy Lester

So, you can imagine the thrill Lea felt when she received word that Dylan not only liked her screenplay, but that he was also granting approval for her daughter to record “Not Dark Yet” for use in the film’s soundtrack, and to release it as a single. But Every Beautiful Thing is not a movie about Bob Dylan. It’s a story about two sisters—women AUGUST/SEPTEMBER 2014 MEDIA INC.


with a common past, who thought they had present in short films, became necessary for learned to forget their troubles. But reality Every Beautiful Thing. Executive producer intervenes and the emotional ugliness of Etheredge persuaded veteran VFX/animation their youth comes between them. supervisor Tim Everett (Pirates of the Principal photography for Every Beautiful Caribbean, The Last Samurai) to join the Thing took place in Burien and Seattle in crew. “Sonya is doing a serious piece of July, with screenwriter and first-time direccinema,” said Everett. tor Lea at the helm. Executive producer is Every Beautiful Thing was funded by Warren Etheredge and director of photogradonations through the crowdfunding site phy was Jonathon Houser. Indiegogo. The producers exceeded their The film stars Lea’s daughter, Dylan initial $10,000 goal by over 20 percent. It was Nichole Bandy, and Seattle native Lauren an emotional process for Lea. Weedman (HBO’s Hung and Looking) as “It was interesting to see what donors sisters Cissy and Magdalene. Lea wrote the connected to. Reconciliation was a key,” she role of Cissy for Bandy because they had said, noting comments from the film’s discussed working together on a project. Indiegogo site. She also kept track of the “My mom has given me a lot to draw on,” demographics of her film’s donors, 80 percent said Bandy. “There’s a lot of emotional of whom were women. There were numerous content in this character.” comments alluding to the fact that the screenBandy is a formally trained opera singer, play easily passes the Bechdel Test. This and is transitioning from music to acting. Actress Dylan Nichole Bandy records Bob Dylan’s “Not Dark Yet” for refers to a work of fiction in which at least the soundtrack of Every Beautiful Thing. Photo by Karen Moscowitz After the Seattle production wrapped, Bandy two female characters talk to each other went on to work with local about something other than a man. musician/producer Trey Gunn to record “Not Dark Yet” for the film. For Lea, the crowdsourcing experience was a vitally important Gunn was instrumental in getting Lea’s request in front of Bob part of making the film. “The community part is really important,” Dylan. she said. Because one of the film’s characters, Magdalene, is a visual artist Now that the film has been shot and the music has been recorded, with a vivid imagination, Lea chose to write some of the character’s post-production will take place in Seattle, with plans for complevisions and art into the film. So a visual effects component, not always tion prior to the fall film festival deadlines. MI





FILM FESTIVALS PFF: COME OUT AND PLAY AUGUST 26 - SEPTEMBER 1 he Portland Film Festival is the biggest and most outgoing summer movie smorgasbord in the Northwest. This year we have over 150 hours of films, workshops, networking, parties, talks, classes, behind-the-scenes tours and more—some still TBA. Plus three nights of free movies and live music in Wallace Park, Waterfront Park with craft beer, specialty food, and all kinds of fun.


If you are a Labyrinth, Game of Thrones, Breaking Bad, Bill & Ted’s Excellent Adventure, The Doors or The Sixth Sense fan, we have cast and crew coming to Portland to support independent film and our beautiful city. So don’t miss out, check out the schedule, see trailers and get your tickets online at www.portland filmfestival.com.





PORT TOWNSEND FILM FESTIVAL he Port Townsend Film Festival (PTFF), celebrating its 15th year, will showcase 80-plus new independent documentary and narrative films over three days, September 19-21. The festival is completely walkable. All seven theater venues are within the seaport’s compact 1880-era National Historic District facing Port Townsend Bay.


Godfather of independent film (director, producer, screenwriter, actor) John Sayles and his partner, collaborator and producer Maggie Renzi are this year’s special guests. Sayles’ work spans decades and includes dozens of awardwinning films. He’s also known in Hollywood as the “script doctor,” working on commercial films to ensure blockbuster success. Sayles and Renzi arrive Thursday night and will participate in a Q&A following screenings of their films Lone Star and The Honeydripper, as well as speaking with students at local schools. Committed to connecting audiences with filmmakers, each year PTFF also invites at least a dozen filmmakers, cinematographers and screenwriters as guests of the festival, to provide face to face contact with audiences. Each morning begins with locally roasted Sunrise coffee and craft discussions. Over 40 selected new documentaries and narrative films from 25 countries will be screened, with an equal number of short films ranging from 5 to 20 minutes in length. The world premiere of Return of the River, a documentary about removal of two dams, opens at 7:30pm Friday night, dedicated to Seattle attorney Russ Busch, who died shortly after the first breach of the dam, and members of the Lower Elwha Tribe, who worked tirelessly for decades to restore the river. Daniel James Brown, author of The Boys in the Boat: Nine Americans and Their Epic Quest for Gold at the 1936 Berlin Olympics, is the festival’s chosen writer for “Formative Films.” He’ll be available for a Q&A after the screening of Breaking Away, the film that shaped his personal narrative. He will sign books at the Writer’s Workshoppe

on Water Street. Selections from Port Townsend’s Wearable Art Show will be modeled prior to Advanced Style, a documentary about older women, many of them New Yorkers, who dress with aplomb. Kid-friendly free classic films are also offered outdoors each night (seating on hay bales), projected on a gigantic inflatable screen on Taylor Street. Friday night at dusk, John Sayles introduces his 1994 film, The Secret of Roan Inish. Cocktails featuring Bainbridge Organic Distillers’ vodka, Doug Fir Gin and smoky whiskey, as well as local wines and Port Townsend Brewing Company’s crafted beers, are served at “Area 51,” an impromptu bar in the Pope Marine Building, built on the city’s wharf. Seven venues include the Rose Theater, a restored vaudeville theater (built in 1907), and the newly reappointed Uptown Theater, built originally as an Oddfellows Hall and a movie theater since 1948. The more intimate Starlight Room, with crystal chandeliers and overstuffed furniture, food and full bar, is on the third floor of the Miller & Burkett building, built in 1889. Passes are $35, $100 and $185, and all include PTFF membership (and access to the festival’s library of over 1,000 films). Higher priced “Director and Mogol” passes include concierge service during the festival. MI Passes are available through PayPal at www.ptfilmfest.com or during the festival at 607 Water Street. The festival’s best value is a full Festival Pass ($185) that includes a Friday night salmon dinner on Taylor Street and admission to all screenings. AUGUST/SEPTEMBER 2014 MEDIA INC.






Watching Local By Molly Michal Northwest Film Forum


eventeen years ago, Northwest Film Forum launched the first annual showcase of achievements in Northwest filmmaking. From a small beginning of just four films screened over one long weekend, Local Sightings has grown in scope to match the booming local, independent film industry, becoming the Northwest’s premier hub of new local film talent.

Every year, Local Sightings puts emerging, homegrown filmmakers in front of Seattle audiences and connects industry professionals from Alaska to Oregon in a celebration of cinema from the region. After several years of steady growth, Local Sightings is ready for the big leagues—2014 sees the festival expand to 10 packed days of feature and short screenings, new events focused on transmedia, television and interactive projects, filmmaker Q&As, networking events, parties, conferences, education workshops and more. Professional development opportunities abound at the festival, particularly for film production professionals just launching their careers. The annual Seattle Film Summit during Local Sightings offers multi-day panels about the nuts and bolts of working independently in the Northwest, and networking events throughout the festival allow many communities—including the Seattle Docu-


mentary Association, Women in Film, the Seattle Experimental Animation Team and the Seattle Composers Alliance—to share their work and experiences with audiences and filmmakers alike. Northwest Film Forum also hosts juried prizes during the festival, inviting national industry representatives and filmmakers to offer their expertise to local professionals, while also awarding films in competition. Past jury members have included Xan Aranda, an award-winning independent filmmaker affiliated with the documentary powerhouse Kartemquin Films; Graham Swindoll, a seasoned distribution professional with The Cinema Guild; and Richard Peña, former program director at the Film Society of Lincoln Center. Filmmakers showcased during Local Sightings run the gamut of professional experience. In 2012, opening night at the festival AUGUST/SEPTEMBER 2014 MEDIA INC.


featured Olympia-based director Zach Weintraub’s critically acclaimed second feature, The International Sign for Choking, paired with Seattle teen filmmaker Jimmy Bontatibus’ short, Green and Blue Lovers, his first professionally exhibited film. Local Sightings alumni often go on to high-profile independent careers—past filmmakers screening at the festival include current Northwest film luminaries like Megan Griffiths, Lynn Shelton, John Jeffcoat and Drew Christie. “It’s the discoveries that make programming this festival so



exciting,” says festival director Courtney Sheehan. “I’m proud that we’re able to present accomplished first-time filmmakers alongside directors of many years’ experience, all from the same region. The cross-pollination that happens as part of Local Sightings is one of the most important ways Northwest Film Forum incubates film talent from our own backyard.” MI Local Sightings Film Festival is September 25-October 4, 2014. Read more at www.localsightings.org or www.nwfilmforum.org.


Islands Nurture New Film Festivals THE SAN JUAN ISLANDS ARE AN ALLURING DESTINATION FOR DIVERSE FILM EXPERIENCES By Barbara Marrett Communications Manager, San Juan Islands Visitors Bureau


wo new fall film festivals in the San Juan Islands, as different from each other as the islands on which they are located, celebrate our sense of place in the Pacific Rim and nurture the film lover in all of us. And, both the Orcas Island Film Festival (OIFF) and the Friday Harbor Film Festival (FHFF) offer more than just watching flickering images in a darkened theater. Chances to meet directors and actors, Q&As with filmmakers, and the opportunity to explore the autumnal beauty of the San Juans are just part of the appeal.

The first annual Orcas Island Film Festival – Off the Edge (www.orcasfilmfest.com) takes place in the arts-rich village of Eastsound and beyond, October 10-13, 2014. Venues include the Orcas Center, the Sea View Theater and the Music Room at the historic Rosario Mansion. “Film is an incredible art form with the power to transform lives and the San Juan Archipelago is a magical place,” says Jared Lovejoy, coproducer and creative director. “This is why we’ve given three grants to filmmakers to film anywhere in San Juan County, using the islands as a canvas to create short inspirational films.” These shorts will be shown at the festival, in addition to a curated selection of feature-length and short films. The festival will focus on films of the avant-garde, art house, trans-media and emerging edge film culture from around the world, featuring the most progressive directors, stories, techniques and ideas. Wishing to draw on the experience of professionals, OIFF is working with the Seattle International Film Festival (SIFF). SIFF is recognized as one of the top film festivals in North America. OIFF debuts during “Savor the San Juans – A Month-long Medley of Food, Farms and Art.” Savor takes place during the entire month of October (www.visitsanjuans.com/savor). Filmgoers will be able to take advantage of lodging specials, arts events and sample the burgeoning Orcas Island farm-to-fork dining scene. On San Juan Island, the second annual Friday Harbor Film Festival – Stories from the Pacific Rim (www.fhff.org), November 7-9, 2014, carries forward the momentum of an impressively successful inau-

gural event last year. In addition to award-winning documentary films, a Young Filmmakers Project, commentary and Q&A periods with the filmmakers will enrich and engage participants. Screened in four different venues in the waterfront town of Friday Harbor, all are within easy walking distance of the ferry terminal and each other. The festival also presents the opportunity to discover the town’s galleries, museums and shops. Films that “Entertain – Inspire – Enlighten” viewers about the cultures and environment of the Pacific Rim, and at least two premiere screenings, are planned. A sampling of the more than 25 films and shorts includes Bidder 70, the inspiring story of a Utah college student who derailed an illegal BLM oil and gas lease auction in 2008. Illustrating what one person can accomplish, the film motivated islander Lynn Danaher to create the Friday Harbor Film Festival. In Pirate for the Sea, Paul Watson and his organization Sea Shepherd Conservation Society, based in Friday Harbor, are highlighted. During Return of the River, learn how an old, defunct dam on the Olympic Peninsula’s scenic Elwha River was removed—a major success story in environmental reclamation.

Just as films ignite our feelings and stir our souls, so the San Juan Islands have served as fertile ground and inspiration for many of the festivals’ outstanding films. MI For more information about the Orcas Island Film Festival, contact Shannon Borg at 360-317-6563 or press@orcasfilmfest.com. For more information about the Friday Harbor Film Festival, contact producer Karen Palmer at karen@fhff.org or 360-298-2240, or director Lynn Danaher at 360-472-1050 or fhff2013@gmail.com. AUGUST/SEPTEMBER 2014 MEDIA INC.



What is the 48 Hour Film Project? he 48 Hour Film Project is a timed filmmaking competition where the participants are tasked with making a four- to seven-minute film in just two days. The films must include a specific line of dialogue, prop, and character, as well as 1 of 14 available genres that they literally draw out of a hat.


In the Seattle version of the international competition, all films were screened at the SIFF Cinema Uptown Theater mere days after completion (August 5-7). Later in August, a panel of judges will determine the best films of the year. The team awarded Best In City then goes on to compete against 125-plus other Best In City winners from around the world at the 48 Hour Film Project Filmapalooza in early 2015. A selection of the best films from this event goes on to a special short film showcase at the Cannes Film Festival. The event started in Washington, D.C. in 2001, but didn’t come to Seattle until 2005 under the leadership of Seattle City Producer Krk Nordenstrom. In its first year, the competition attracted 24 teams to compete—very impressive for an inaugural event. An interesting statistic about the event is that each team, on average, has 15 people in the cast and crew. So, in the first year, the event mobilized around 360 filmmakers in Seattle. Since 2005, the competition has grown immensely. In 2013, 62 teams competed, mobilizing almost 1,000 filmmakers. This makes the 48 Hour Film Project hands-down the largest filmmaking competition in Washington State. Nordenstrom goes to great lengths to help people round out their teams with cast and crew through a series of networking events and seminars each year. The events are geared toward boosting registration, but also serve as a mechanism for introducing a great number of people to the greater Seattle filmmaking community. Many teams have formed out of these events, and on more than one occasion, they have gone on to become professional creative collaborators. Why do people take part in a competition that puts such emphasis on creative and logistical restrictions? Many amateur filmmakers see it as a way to sharpen and hone their skills. Filmmakers just starting out professionally in the field see it as a way to test their creative and technical skills under extreme circumstances. The seasoned filmmaking professionals who participate see it as a creative outlet to “shake out the cobwebs” from the



corporate and commercial work they do day-to-day to make a living. Many times over the last nine years, this competition has served as a launching point for filmmakers’ careers. In 2006, Matt Daniel’s film Manquer won Best In City. This amazing film had creatives around Seattle buzzing and clamoring to work with this amazing budding talent. In 2007, Nordenstrom asked him if he was going to compete again and he declined, stating that he was too inundated with work because of his film from the previous year. Amy Enser, a highly regarded Seattle-area filmmaker, competed in many roles in many films early on in the history of the competition. She has gone on to direct, produce and edit many acclaimed documentaries, directed a SIFF Fly Film in 2013, and is now creative director at Studio216 in Seattle. On many occasions she has stated that she learned a great deal about her craft through participating in the 48 Hour Film Project. Over the years, the competition has fostered quite a roster of sponsors to provide awards to the winners, make the event weekend less crazy with snacks and caffeinated beverages, and provide discounts on gear rental to competing teams. Sponsors over the years have included: Bad Animals, Victory Studios, Adobe, Pacific Grip and Lighting, Seattle Film Institute, LeftJet Studios, Pond5, Rampant Design Tools, Red Giant Software, Caffe Vita, Hi-Ball and even local hamburger legend Dick’s Drive In. Each year it seems more and more local and national brands are lining up to help support the teams competing in the 48 Hour Film Project. Nordenstrom’s big struggle in producing the event is reaching an audience beyond the family and friends of the competitors each year. The screenings are well attended, but these films are massive accomplishments and deserve to be enjoyed by the general film-loving populace of Seattle. What the competitors accomplish in only two days is nothing short of amazing. This year’s Seattle 48 Hour Film Project screenings were held August 5, 6 & 7. The awards ceremony will be held August 21 from 7 to 11pm and is open to the public. Come celebrate the hard work and creativity of a very large group of homegrown filmmaking talent! MI


10 Years of 48 Hours By Rob Hatch Producer, Portland 48 Hour Film Project


lthough recorded h i s to r y documents it as 2004, it seems like just last year that we kicked off the first Portland 48 Hour Film Project. Portland producer Rob Hatch at 2012 Drop Off Event, Jupiter Hotel, August 2012.

Back then, the 48 Hour Film Project was only in about a half-dozen cities, and Josh Bovinette and I ran the Portland leg of the event from a tiny artists’ center on Alberta called The Know—long before it became the hip dive bar it is today. At that time, it was a nearly empty room with a couple of computers on a folding table adjoined by a tiny theater and Kombucha was the only fermented beverage on the menu! Back then, Josh and I stayed up for nearly 48 hours getting the films ready to screen. Sitting on his living room floor with DVD decks hooked to mini DV decks hooked to camcorders hooked to a computer, we worked until we dropped. Then we got up and worked some more. The “48 Hour Theatrical Mastering Project,” we halfjokingly called it. Flash-forward to 2014 and the 48 Hour Film Project is in over 120 cities around the world! The Hollywood Theatre is digital with a new screen, new seats, new sound, and more! Most of our films are now submitted on thumb drives, and we just drag files onto the computer in a matter of seconds. Instead of lugging decks and cables and tapes to the Hollywood, I just bring in my laptop (that has more power than our old towers combined), plug it into the new digital projector, and it’s showtime! But the biggest technological improvements have come for our filmmakers. There was a much wider disparity between the haves and the have-nots as far as gear goes 10 years ago. The technological

Filmapalooza, New Orleans, March 2014. PDX 48HFP producer Rob Hatch with Michael Entler & Kara Sowles, team leaders for the 2013 winning team, Monsieur Soeur.

Rob Hatch with 2011 winners, TallSparrow Films. Shaking hands with team leader, Spencer Alexander.

Audience getting ready to watch an actual 3D Portland 48 Hour FIlm Project film in 2011. We actually had two filmmakers submit films in 3D this year!

advancements, particularly shooting films with DSLRs, have made 48 hour films with incredible cinematography the norm rather than the exception, and now everyone can be a contender! But thankfully some things never change—like Portland’s passion for creativity, individuality, and good clean fun! Like the magic of seeing a movie on the big screen. Especially your movie on the big screen! It is great that filmmakers can post their work on Vimeo and YouTube these days, but nothing can ever replace the experience of seeing a movie on the big screen in a theater. The Portland 48HFP has hosted some of the most creative and daring filmmakers in the Northwest and about 500 films have been created and screened as part of the PDX 48HFP. Some have even gone on to Cannes! Another aspect that hasn’t changed is that the Portland 48 Hour Film Project isn’t just about movies. It’s about camaraderie and community. It’s about learning and growing. And the satisfaction I get from mentoring new filmmakers remains one of the most rewarding aspects of running the event for me. As well as working in production, I’ve taught video production to kids and adults for nearly two decades, and seeing someone’s eyes light up as they begin to understand the language of movie magic is always amazing. It’s so rewarding to hear things like “The Portland 48 Hour Film Project is amazing. It’s like a year of film school in one weekend!” I couldn’t agree more! It’s been an amazing ride… So, what will the Portland 48 Hour Film Project look like in 10 years? Will there be a 48 Hour Film Project in 10 years? Will there be a human race that’s not living in a post-apocalyptic nightmare without movie cameras in 10 years? All I can say is buckle up, because this ride ain’t over yet! MI AUGUST/SEPTEMBER 2014 MEDIA INC.


Creature Explores Local Roots By George Riddell Editor


eattle advertising agency Creature was founded 12 years ago by Jim Haven and Matt Peterson and quickly took flight as an upstart creative force with global ambition. Today, after international successes with well-known brands including Pacifico and Dickies, among others, the scale of their growth is measured, in part, by the existence of the agency’s second office in London.

But from their earliest days, co-founders Peterson and Haven have had deep local roots, and their ties to Seattle and the Pacific Northwest remain strong. Peterson explains their launch philosophy: “We knew we needed to first build credibility for Creature outside of Seattle before we could really make noise locally.” Since then, their work for accounts based in Mexico (Pacifico), Venezuela (Venezuela Elections), Texas (Dickies) and Minnesota (Truvia) has been recognized and applauded by the advertising industry, giving Creature the credibility they sought. Creature never really left Seattle, of course. Their creative and digital teams and strategy and account people have burned the midnight oil in the Emerald City all along. And inside the hyper-cool offices of their Capitol Hill agency, their passion has been especially high for film and commercial production in Seattle and Washington. Quietly, even with all their advertising awards and accomplishments, Creature has become an emerging force in the Washington film production community. It’s not a new passion, really. They have been big supporters of their next-door neighbors, the Northwest Film Forum (NWFF), for years. Their work has included the design of catalogues and posters, production of bumpers and trailers, and general branding of first the Children’s Film Festival and then the Local Sightings Film Festival. NWFF marketing manager Molly Michal says Creature’s partnership has been invaluable. “These film festivals are our two largest annual programs, reaching thousands of audience members in Seattle,” she says. “As an in-kind sponsor, they’ve brought huge energy, inventiveness and creative flair to creating the public face of our film festivals.” But Creature’s passion for the Seattle film community got real in 2012 when they met James Keblas, who at the time was director of the Seattle Office of Film + Music. The meeting led to Creature’s leading role in the development of Commercialize Seattle, a brain56


child of Keblas, designed to attract advertising production business to the city. Creature’s multi-faceted pro bono campaign continues to evolve, and has already resulted in numerous commercial successes—both in Seattle and elsewhere in Washington. Keblas, who was on the client side of Commercialize Seattle when it first started, says Creature has donated well over $100,000 in advertising services towards the effort. “Seattle has been treated like a client the entire time, with an account manager and everything,” he says. “They even set us up in their computerized account system.” And in the first six months, Commercialize Seattle has been responsible for $5 million worth of in-state spend. Now, after his controversial ouster from City Hall, Keblas works for Creature. As the agency’s new president, he has already brought new clients to the agency and has traded his coat and tie for the more casual uniform of an ad agency executive. In his new role as president, and in the true spirit of a Creature (as agency employees refer to themselves), Keblas has joined Seattle entertainment attorney Lance Rosen as cochair of the Washington Filmworks Advocacy Committee. In this new role, Keblas and Rosen will work with Washington Filmworks executive director Amy Lillard and lead the campaign to increase the state’s film incentive cap beyond the $3.5 million limit. Such an increase is expected to result in substantially more feature film, TV series and commercial production work being done in Washington. Creature’s community efforts on behalf of the local film industry have taken place in concert with their work for paying clients. And as the recognition and credibility have grown industry-wide,

SkyPad, an interactive touch screen wall, allows visitors to connect with previous Space Needle guests, and more.

Creature has become an emerging force in the Washington film production community. the agency’s founders have found themselves returning to their Northwest origins. Peterson says Creature is ready to make some local noise. “Now we are in a position to move into this phase of our life cycle,” he says, “and hiring James is a key signal for this.” Creature has returned to its Seattle roots in a big way, with a ground-breaking user experience campaign for Seattle’s most iconic landmark, the Space Needle. The ELEVATE guest experience campaign showcases Creature’s world-class creative leadership, in partnership with interactive and technology partners from Seattle and around the world. Space Needle VP of marketing Karen Olson said the project was complex on many levels. “Creature was a phenomenal agency to work with,” she says. “This was an ‘Ocean’s 11’ type of project with many top caliber partners. Not a lot of agencies can do that.” A centerpiece of the new ELEVATE guest experience is the SkyPad, a massive 20’ x 8’ interactive touch screen media wall located on the observation deck. It’s an example of Creature’s creative vision, as well as what Olson describes as their holistic approach to solving a client’s needs. “For most visitors from out of town, the Space Needle is where Seattle starts,” she explains. “Whether they are here for a few hours or a few days, they want to see the Space Needle.” So enhancing that experience for the visitors required delivering on the wow factor in as many ways as possible. The giant media wall gives guests a chance to connect with prior Space Needle visitors from around the world, including those people from their hometown. And the experience goes back to the Needle’s origins at the 1962 World’s Fair. Seattle interactive developers Belle & Wissell created the technology that enabled the touch screen interface to achieve Creature’s vision. Other new enhancements include the new Space Needle Mobile App developed with London interactive agency Fuerte. The new app is the engine that drives many features of the ELEVATE experience.

All guest experiences can be accessed in the cloud with the new SpaceBook.

For example, in one section of the observation deck, using augmented reality, visitors can ‘virtually’ look through the floor to the ground 520 feet below. The app also enables the 520 Teleporter feature, which transports visitors from the Space Needle Observation Deck to other popular Seattle attractions, such as the Seattle Aquarium or directly onto the field during a Seattle Sounders game. Seattle photo and production shop VODA Studios collaborated on this feature, using MOVI camera stabilization systems. And visitors will get the thrill of snapping the ultimate SkyHigh Selfie on the Space Needle, as they use the app to pose for a picture that’s taken from a mile away. By using their digital ticket to log into their new SpaceBook account, all of the user’s new digital experiences will be instantly accessible via the cloud, for sharing with friends or saving as memories of their visit. Olson recalls that Creature knew what the Space Needle was all about right from the beginning of their engagement on the project. “They knew it’s not about technology, it’s about fascination,” she says. And the new visitor enhancements are certain to create a fascination with Seattle for the city’s new arrivals as they elevate to 520 feet. There are other major Washington accounts who are equally fascinated with Creature, and waiting to become their clients. No doubt, we’ll be hearing about them soon. Meanwhile, the local film community can say a big thank you that Creature continues to be a good friend and supporter. MI AUGUST/SEPTEMBER 2014 MEDIA INC.


Celebrating Picture This By Susan Haley Associate Editor


hirty years ago, Picture This Production Services began business in the Portland Metro area and today their success can be measured in many ways. They’ve been able to withstand the ups and downs of Northwest production cycles, they’ve steadily added quality services and equipment, and in a very quiet way they’ve acted as an incubator to the local community.

What is it that has helped to sustain Picture This through the past 30 years? “Our goal was to grow our business, provide excellent production services and offer our employees not only a livable wage but a career path,” says Sari Loveridge, who coowns the company with husband Perry. “Both Perry and I had years of experience in the restaurant and retail industry, so we learned the importance of good customer service. Sounds cliché, I know, but it is the root of any services company. Be fair, be accommodating and go the extra mile. That’s how you keep clients and take on new clients. Picture This has client relationships that date back into the ‘90s. They just keep coming back for more and we so appreciate it.” Media professionals understand that defining what we do changes all the time. But one thing that remains the same is that we still are very much an apprenticeship industry. Many do what they can to help bring up the next generation, and over the years Picture This has been a wonderful mentor to so many. A lot of people who started out at Picture This have gone on to successful film careers. “One of the most challenging aspects of running this business is hiring staff. We want to offer a career option. We want to provide the best benefit package and a great working environment,” says Sari. “We are so incredibly fortunate to have a staff of skilled and truly kind-hearted individuals who go the extra mile for the betterment of everyone. It’s very rewarding to see your employees get married, buy houses and have children during their time with us. Even past employees (who normally want to try the freelance world) land on our list of freelancers, so it’s not always ‘goodbye,’ and that’s awesome.” Perry adds, “Most of our employees are past interns. So I guess you could say we’ve been mentoring people for almost 20 years. When you find people who are passionate about this industry, it’s worth every minute of your time that you spend teaching them all different aspects of what we do. Some of our staff who completed the intern program have been with us for almost 10 years. The best way to find good employees is working with them as interns for at least six months. We offer a legitimate program, with a solid agenda and some of the best 58


teachers. When reading our intern exit reviews, it makes us feel great learning about their positive experience and that they learned more than they thought possible. Some say they learned more about crewing, equipment and studio work at Picture This than they did in college! That’s crazy good.” He continues, “Not only do we find good employees through our intern program, but we have vetted and acquired some of the best freelance crew in the nation. Many of our clients, local or non-local, say our crew are some of the best they’ve ever

worked with.” When asked about an experience from the “early” years, Sari tells about one of her first jobs. “My first gig was a ESL mini-drama and I was makeup and wardrobe,” she recalls. “This was a project that Picture This worked on for Pace Communications back in June of 1990. I had 5 principal actors (between the ages of 11 and 12 years) and around 90 extras. A huge learning experience for me and probably the hardest job I ever had at that point. When I was much younger, I wanted to do makeup for film or print but found it hard to break into this industry. When this job was presented to me, I quit my current job and went for it. Best decision ever.” Perry remembers, “One of our first projects was called Heart to Heart, for St. Vincent’s Hospital. It is the story of someone who has received the gift of a new heart via transplant. We shot at the hospital and we found the experience to be very rewarding.” Reflecting on the Oregon film community’s history for the past 30 years, we can see that relationships are a big part of anyone’s success. It’s how we treat our clients, our employees and our partners that helps us keep a passion for what we do. When I asked to name the favorite part of their work, they agreed that the camaraderie with clients has proven to be the highlight of their business, but Sari quickly added, “Working with Perry.” Congrats to a great partnership! MI For more information on Picture This, visit www.pixthis.com.

FiLMLaB: A Portland Experiment in Writing Contests By Ruth Witteried


t FiLMLaB, the experiment is you.” It is 5:45 on a Sunday morning. Portland director Martin Vavra unpacks his van in the circular driveway of a private residence in the hills of West Linn, as his cast and crew begin to trickle in for their six o’clock call. Concerned about his exterior shots in what meteorologists have promised will be the hottest day of the year so far, he wants to be up and running by seven. The third annual FiLMLaB is underway.

Beginning in 2012, the Willamette Writers Conference sought to provide aspiring screenwriters with practical, real-world experience via a Script-to-Screen Contest. “We didn’t want to be one of those contests that prey on the dreams of artists; charging an arm and a leg to enter with little or no return on investment,” said Stefan Feuerherdt, WWC Chair. “FiLMLaB, the actual filming and production of their script, is the prize.” To that end, local film professionals are recruited to direct, act, and otherwise participate in the nano-budgeted experiment, funded solely through contest entry fees. “No one is going to make money off of this,” said Christopher Alley of Ampersand Productions and director of two FiLMLaBs. “The goal is always about what the writer can learn by participating in production meetings, working through rewrites with the director, being an observer on set. We want to facilitate their learning opportunities while pursuing the very best version of their story.” The 2012 inaugural FiLMLaB prize went to writer Haley Isleib for her short, Alis Volat Propriis (the Oregon state motto, which translated means She Flies With Her Own Wings). Starring Katie Michels and Randall Jahnson, it was shot over the course of two days in a house donated by a friend of the author. The film took home Best Comedic Short at the 2013 Oregon Independent Film Festival and was recently accepted into the 2014 Portland Film Festival.

Inspiration, the winning script from 2013 by Barbara Thomas, was a silent film beautifully shot in black and white by cinematographer Eric Macey. Thomas flew all the way from Texas to see her film debut at opening day of the Willamette Writers Conference. After post-production work was finished, the author worked with the creative team to come up with a new, more fitting title: Coffee. Table. Book. The latest FiLMLaB experiment, Unwelcome Guests, debuted August 1, the opening day of the WWC. In addition to Martin Vavra, it features the talents of Portlandia DP Phil Anderson, Alyssa Roehrenbeck, Dennis Fitzpatrick, Priscilla Prosser, Tyson Daily and actress Paige McKenzie of the internationally popular web series, The Haunting of Sunshine Girl, recently optioned by The Weinstein Company. “It’s been a huge growth opportunity for me to see these film professionals operate and be an active part of the creative process,” said Guests writer Jon Dragt. “It has helped me to better understand what they need from me, and as important, what they don’t need from me as a screenwriter.” To learn more about FiLMLaB, visit www.willamettewriters.com/wwfilm. MI Ruth Witteried is a freelance writer and FiLMLaB Executive Producer. She served as Film Coordinator for the Willamette Writers Conference from 2011-2013 and is cofounder of FiLMLaB. You can follow her on Facebook at SitYourAssDown or on Twitter @sityourassdown1.



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Exploring Washington’s Vast Landscape By Kaleigh Ward Interim Communications Coordinator, Washington Filmworks


ntil you’re away from the usual haunts and surrounded by the new and unusual, it’s easy to forget that environment is intimately tied to emotion and experience. Your surroundings can trigger danger, nostalgia or romance. The flash of a location on screen can be a powerful touchstone that breathes life back into a forgotten experience. The ability to control these elements is huge in production. Luckily for us here in Washington, there’s no shortage of surreal locations and idyllic scenery. We’ve combed through our Location Database and picked some of the most unique, film-friendly locations Washington State has to offer.

LOCATIONS FORT WORDEN Port Townsend, WA Details: Fort Worden was originally a United States military base designed to protect Puget Sound. It’s now a Washington State park that’s home to 100 historic 19th Century structures, according to the Fort Worden website. The multi-use park stretches across 434 acres of land with access to 2 miles of saltwater shoreline and with views of the Olympic and Cascade Mountains and the San Juan Islands. Houses for rent on Officer’s Row include original fireplaces, ornate tin ceilings, Tiffany lamps, and Victorianstyle furniture. Filmed Here: Enough (2002), An Officer and A Gentleman (1982)




SATSOP BUSINESS PARK Satsop, WA Details: Satsop Business Park was originally constructed as a nuclear power plant, but was never actually finished. It now functions as an industrial center, a technology campus, a workforce-training center, and more. This community-owned site offers a single filming location that includes two unused nuclear towers, a five-story, 270,000-square-foot cavernous reactor building, evergreen forests surrounding the plant, a campus-like business park and office space for production crew activities. Filmed Here: Transformers: Age of Extinction (2014) Titan Missile Silo PHOTO BY EHREN I. HOTCHKISS

Satsop Power Plant PHOTO BY ARNO JENKINS



TITAN MISSILE BASE Moses Lake, WA Details: The Titan Missile Base, which was built to withstand a nuclear attack, is the largest U.S. underground missile base ever built. With thousands of feet of connecting tunnels and three 160-foot-tall missile silos, Titan makes a great location for sci-fi and action scenes, and it’s ideal for anything involving super-high walls, like indoor rock climbing. The base features an open-dome building with a 50-foot ceiling and an opening that stretches 125 feet in diameter. It makes a great location for post-apocalyptic scenery, as it spans nearly 60 acres above ground and is surrounded by barbed wire and chain-link security fencing. (Information courtesy Bari Hotchkiss) Filmed Here: Deep Burial (2014 Washington Filmworks incentive project, not yet released)


CITIES LEAVENWORTH Leavenworth, WA Details: Leavenworth is a quaint Bavarian town tucked away in the Cascade Mountain Range. According to the Leavenworth Chamber’s website, in the early 1960s, town leaders decided to change Leavenworth’s reputation from a logging and sawmill town


to a tourist attraction with a German-Bavarian face. It’s 1,100 feet above sea level and is surrounded by wilderness, mountain ranges, rivers and lakes. This location features year-round festivals and events and has a live outdoor theatre and nationally ranked outdoor recreational opportunities. Filmed Here: Switchmas (2012), Mad Love (1995), On Deadly Ground (1994), Love Leads the Way: A True Story (1984) VINEYARDS Walla Walla, WA Details: Walla Walla features 145 wineries and was recently named as one of the “Top 10 Wine Destinations in the World” by USA Today.

These rolling hills provide surreal filming locations for dramatic and romantic effect. It’s also a great double for Napa Valley. A unique aspect of the Walla Walla wine scene is the fact that you have direct access to the winemakers, which provides a valuable resource for learning about the area and the thought process behind the wine itself, according to David Woolson, president & CEO of the Walla Walla Valley Chamber of Commerce. Says Woolson, “Things really get cooking at the vineyards from September through October when crush (harvest) begins. There is a small window to get the grapes off the vine at their optimal ripeness, flavor profile and sugar content.” Filmed Here: Toys (1992) RESTORED WESTERN TOWN Winthrop, WA Details: According to its Chamber of Commerce website, Winthrop has been home to a restored Western town since 1972, when local merchants pitched in to finance lumber baron Kathryn Wagner’s idea to start a reconstruction and restoration project for visitors passing through. The town’s structures all meet the standards of the era spanning from 1850–1890. Adding to the throwback charm of the town is the Winthrop Vintage Wheels Show (upcoming this September), which occurs annually. While this event may discredit the filming of an old Western period piece, it does provide an eclectic and unusual backdrop for other projects. There’s also an annual Winthrop Balloon Festival (next in March 2015), which fills the sky with dozens of hot air balloons set against the snow-capped mountains of the North Cascades. Filmed Here: Various still shoots, American Pickers, Ice Road Truckers, REI commercial To see more of what Washington has to offer, subscribe to the Washington Filmworks Location of the Month Newsletter or visit our online location database. You can also submit your home, lot, or business to our location database if you are interested in hosting a film project. Please see the Locations section of our website for more details.



Northwest Roadtrip! iscover the vast array of diverse landscapes that await you and your crew in Oregon and Washington. Pictured here are just some of the regionâ&#x20AC;&#x2122;s film-friendly locations. For more information, contact the various film offices, chambers, CVBs, and associations listed on the following pages. No matter where you want to film, youâ&#x20AC;&#x2122;ll find the assistance you need. Now pack your bags and hit the road!



Corvallis Lincoln City



Port Townsend

San Juans





Film Office Guide


Astoria-Warrenton Chamber of Commerce 111 W Marine Dr. Astoria, OR 97103 503-325-6311 www.oldoregon.com


Baker County Visitors Bureau 490 Campbell St. Baker City, OR 97814 541-523-5855 www.visitbaker.com

our resource guide to the film offices, chambers, visitors bureaus, film liaisons, and state associations throughout the Northwest.

MAIN OFFICES & ASSOCIATIONS Oregon Governorâ&#x20AC;&#x2122;s Office of Film & Television 123 NE 3rd Ave, Suite 210 Portland, OR 97232 971-254-4020 www.oregonfilm.org Portland Film Office 222 NW 5th Ave, 6th Floor Portland, OR 97209 503-823-3326 www.pdc.us/portland-film-office Mid-Oregon Production Arts Network (MOPAN) 1430 Willamette St. #111 Eugene, OR 97401 www.mopan.org Oregon Media Production Association (OMPA) 901 SE Oak St., Suite 104 Portland, OR 97214 503-228-8822 www.ompa.org Southern Oregon Film and Television (SOFaT) PO Box 1265 Ashland, OR 97520 877-434-5676 www.filmsouthernoregon.org REGIONAL OFFICES/ CHAMBERS/CVBs/LIAISONS Albany Visitors Association 110 3rd Ave SE Albany, OR 97321 541-928-0911 www.albanyvisitors.com Ashland Visitors & Convention Bureau 110 E Main St. Ashland, OR 97520 541-482-3486 www.ashlandchamber.com

Bandon Chamber of Commerce 300 Second St. Bandon, OR 97411 541-347-9616 www.bandon.com Bay Area Chamber of Commerce 145 Central Ave Coos Bay, OR 97420 541-266-0868 www.oregonsbayarea.org Bend Chamber of Commerce 777 NW Wall St. #200 Bend, OR 97701 541-382-3221 www.bendchamber.org Boardman Chamber of Commerce 101 Olson Rd. Boardman, OR 97818 541-481-3014 www.boardmanchamber.org Brookings-Harbor Chamber of Commerce 16330 Lower Harbor Rd. Brookings, OR 97415 541-469-3181 www.brookingsharborchamber.com Canby Area Chamber of Commerce 191 SE 2nd Ave Canby, OR 97013 503-266-4600 www.canbyareachamber.org Cannon Beach Chamber of Commerce 207 N Spruce Cannon Beach, OR 97110 503-436-2623 www.cannonbeach.org Central Oregon Coast Association PO Box 2094 Newport, OR 97365 541-265-2064 www.coastvisitor.com

(and More!)

Central Oregon Visitors Association 705 SW Bonnett Way, Suite 1000 Bend, OR 97702 800-800-8334 www.visitcentraloregon.com Central Point Chamber of Commerce 650 E Pine St. Central Point, OR 97502 541-664-5301 www.centralpointchamber.org Chehalem Valley Chamber of Commerce 115 N College St., Suite 2 Newberg, OR 97132 503-538-2014 www.chehalemvalley.org Christmas Valley North Lake Chamber of Commerce PO Box 651 Christmas Valley, OR 97641 541-576-3838 www.christmasvalleychamber.org City of Brownsville PO Box 188 Brownsville, OR 97327 541-466-5880 ci.brownsville.or.us City of Cascade Locks 140 SW WaNaPa Cascade Locks, OR 97014 541-374-8484 cascade-locks.or.us City of Dundee 620 SW 5th St. Dundee, OR 97115 503-538-3922 www.dundeecity.org City of Glendale PO Box 361 Glendale, OR 97442 541-832-2106 www.cityofglendaleor.com City of Tualatin 18880 SW Martinazzi Ave Tualatin, OR 97062 503-691-3059 www.tualatinoregon.gov Clackamas County Business & Economic Development 150 Beavercreek Rd. Oregon City, OR 97045 503-742-4BIZ (4249) www.clackamas.us/business/film.html AUGUST/SEPTEMBER 2014 MEDIA INC.


Clatskanie 95 S. Nehalem St. Clatskanie, OR 97016 503-728-2622 www.cityofclatskanie.com Coquille Chamber & Visitor Information 119 N. Birch Coquille, OR 97423 541-396-3414 www.coquillechamber.net Creswell Chamber of Commerce 285 E Oregon Ave Creswell, OR 97426 541-895-4398 www.creswellchamber.com Drain Chamber of Commerce PO Box 885 Drain, OR 97435 541-505-0091 www.drainchamber.com Enterprise/Wallowa County Chamber of Commerce 309 S River St. Enterprise, OR 97828 541-426-4622 www.wallowacountychamber.com Estacada Area Chamber of Commerce 475 SE Main St. Estacada, OR 97023 P: 503-630-3483 www.estacadachamber.net Eugene Cascade & Coast / Travel Lane County 3312 Gateway St. Springfield, OR 97477 541-484-5307 www.eugenecascadescoast.org Florence Area Chamber of Commerce 290 Hwy 101 Florence, OR 97439 541-997-3128 www.florencechamber.com Forest Grove/Cornelius Chamber of Commerce 2417 Pacific Ave Forest Grove, OR 97116 503-357-3006 www.visitforestgrove.com

Grants Pass Tourism 1995 NW Vine St. Grants Pass, OR 97526 541-450-6180 www.visitgrantspass.org

Lake Oswego Chamber of Commerce 459 Third St. Lake Oswego, OR 97034 503-636-3634 www.lake-oswego.com

Gresham Area Chamber of Commerce and Visitors Center 701 NE Hood Ave Gresham, OR 97030 503-665-1131 www.greshamchamber.org

Lebanon Chamber of Commerce 1040 S Park St. Lebanon, OR 97355 541-258-7164 www.lebanon-chamber.org

Harney County/Burns 484 N Broadway Burns, OR 97720 P: 541-573-2636 www.harneycounty.com Heppner Chamber of Commerce PO Box 1232 Heppner, OR 97836 541-676-5536 www.heppnerchamber.com Hermiston Chamber of Commerce 415 S Hwy 395 Hermiston, OR 97838 541-567-6151 www.hermistonchamber.com Hillsboro Chamber of Commerce 5193 NE Elam Young Pkwy, Suite A Hillsboro, OR 97124 503-648-1102 www.hillchamber.org Hood River County Chamber of Commerce 720 E Port Marina Dr. Hood River, OR 97031 541-386-2000 www.hoodriver.org Illinois Valley / Cave Junction Chamber of Commerce 201 Caves Hwy Cave Junction, OR 97523 541-592-3326 illinoisvalleychamber.wordpress.com Jacksonville Chamber of Commerce & Visitor Center 185 N Oregon St. Jacksonville, OR 97530 541-899-8118 www.jacksonvilleoregon.org

Gold Beach Visitors Center 94080 Shirley Lane Gold Beach, OR 97444 800-525-2334 www.goldbeach.org

Klamath County Chamber of Commerce 205 Riverside Dr., Suite A Klamath Falls, OR 97601 541-884-5193 www.klamath.org

Grant County Chamber of Commerce 301 W Main St. John Day, OR 97845 541-575-0547 www.gcoregonlive.com

Lake County Chamber of Commerce 126 North E St. Lakeview, OR 97630 541-947-6040 www.lakecountychamber.org



Lincoln City Visitor & Convention Bureau 801 SW Hwy 101, Suite 401 Lincoln City, OR 97367 541-996-1274 www.oregoncoast.or Madras/Jefferson County Chamber of Commerce 274 SW 4th St. Madras, OR 97741 541-475-2350 www.madraschamber.com Malheur County Economic Dev. 522 SW Fourth St. Ontario, OR 97914 541-889-6216 www.malheurcountyeconomicdevelopment.com Manzanita Area Chamber of Commerce PO Box 781 Manzanita, OR 97130 503-812-5510 www.exploremanzanita.com Maupin Area Chamber of Commerce PO Box 220 Maupin, OR 97037 541-993-1708 www.maupinoregon.com McKenzie River Chamber of Commerce PO Box 275 Blue River, OR 97413 541-896-3330 www.mckenziechamber.com McMinnville Area Chamber of Commerce 417 NW Adams St. McMinnville, OR 97128 503-472-6196 www.mcminnville.org Milton-Freewater Area Chamber of Commerce 157 S Columbia Milton-Freewater, OR 97862 541-938-5563 www.mfchamber.com Molalla Area Chamber of Commerce 180 S Industrial Way Molalla, OR 97038 503-829-6941 www.molallachamber.com

Mt Hood Area Chamber of Commerce PO Box 819 Welches, OR 97067 503-622-3017 www.mthoodchamber.com Newport Chamber of Commerce 555 SW Coast Highway Newport, OR 97365 541-265-8801 www.newportchamber.org Oakridge-Westfir Area Chamber of Commerce PO Box 217 Oakridge, OR 97463 541-782-4146 www.oakridgechamber.com Ontario Area Chamber of Commerce/ Visitor & Convention Bureau 876 SW 4th Ave Ontario, OR 97914 541-889-8012 www.ontariochamber.com Oregon Coast Visitors Association PO Box 940 Tillamook, OR 97141 888-628-2101 www.visittheoregoncoast.com Pacific City-Nestucca Valley Chamber of Commerce PO Box 75 Cloverdale, OR 97112 503-392-4340 www.pcnvchamber.org Pendleton Chamber of Commerce 501 S Main St. Pendleton, OR 97801 541-276-7411 www.pendletonchamber.com Philomath Area Chamber of Commerce PO Box 606 Philomath, OR 97370 541-929-2454 www.philomathchamber.org Port Orford & North Curry County Chamber of Commerce PO Box 637 Port Orford, OR 97465 541-332-8055 www.portorfordchamber.com Prineville-Crook County Chamber of Commerce 185 NE 10th St. Prineville, OR 97754 541-447-6304 www.visitprineville.org Redmond Chamber of Commerce & CVB 446 SW 7th St. Redmond, OR 97756 541-923-5191 www.visitredmondoregon.com

Reedsport/Winchester Bay Chamber of Commerce 855 US 101 Reedsport, OR 97467 541-271-3495 www.reedsportcc.org Roseburg Area Chamber of Commerce & Visitors Center 410 SE Spruce St. Roseburg, OR 97470 541-672-9731 www.visitroseburg.com Seaside Visitors Bureau 7 N Roosevelt (Hwy 101) Seaside, OR 97138 503-738-3097 www.seasideor.com Sisters Area Chamber of Commerce 291 E Main Ave Sisters, OR 97759 541-549-0251 www.sisterscountry.com South Columbia County Chamber of Commerce 2194 Columbia Blvd. St Helens, OR 97051 503-397-0685 www.sccchamber.org Sweet Home Chamber of Commerce 1575 Main St. Sweet Home, OR 97386 541-367-6186 www.sweethomechamber.com The Dalles Area Chamber of Commerce 404 W 2nd St. The Dalles, OR 97058 541-296-2231 www.thedalleschamber.com Tillamook Area Chamber of Commerce/Go Tillamook 3705 Hwy 101 N Tillamook, OR 97141 503-842-7525 www.gotillamook.com Travel Medford 1314 Center Dr. Medford, OR 97501 541-776-4021 www.travelmedford.org Travel Portland 701 SW Sixth Ave Portland, OR 97204 503-275-8355 www.travelportland.com

Umatilla Chamber of Commerce 100 Cline Ave Umatilla, OR 97882 541-922-4825 www.umatillaoregonchamber.org Union County Chamber of Commerce 207 Depot St. La Grande, OR 97850 541-963-8588 www.unioncountychamber.org Vale Chamber of Commerce 252 B St. W Vale, OR 97918 541-473-3800 www.valechamber.com Visit Bend/Bend Visitor Center 750 NW Lava Rd., Suite 160 Bend, OR 97701 541-382-8048 www.visitbend.com Visit Corvallis 420 NW 2nd St. Corvallis, OR 97330 541-757-1544 www.visitcorvallis.com Waldport Chamber of Commerce 620 Spring St. Waldport, OR 97394 541-563-2133 www.waldport-chamber.com Washington County Visitors Association 12725 SW Millikan Way, Suite 210 Beaverton, OR 97008 503-644-5555 www.wcva.org West Columbia Gorge Chamber of Commerce & Visitor Center 107 E Historic Columbia River Hwy Troutdale, OR 97060 503-669-7473 www.westcolumbiagorgechamber.com Wilsonville Area Chamber of Commerce 8565 SW Salish Lane, Suite 150 Wilsonville, OR 97070 503-682-3314 www.wilsonvillechamber.com Woodburn Area Chamber of Commerce 979 Young St., Suite A Woodburn, OR 97071 503-982-8221 www.woodburnchamber.org

Travel Salem 181 High St. NE Salem, OR 97301 503-581-4325 www.travelsalem.com AUGUST/SEPTEMBER 2014 MEDIA INC.


WASHINGTON MAIN OFFICES Washington Filmworks 1411 Fourth Ave, Suite 420 Seattle, WA 98101 206-264-0667 www.washingtonfilmworks.org Seattle Office of Film + Music 700 5th Ave, Suite 5752 Seattle, WA 98124 206-684-5030 www.seattle.gov/filmandmusic REGIONAL OFFICES/ CHAMBERS/CVBs/LIAISONS Bellingham/Whatcom County Film Commission 904 Potter St. Bellingham, WA 98229 360-671-3990 www.bellingham.org Brinnon Visitors Center 306144 Hwy 101 Brinnon, WA 98320 360-796-4350 visitorscenter@embarqmail.com www.emeraldtowns.com Burlington Chamber of Commerce 520 E Fairhaven Ave Burlington, WA 98233 360-757-0994 www.burlington-chamber.com Centralia-Chehalis Chamber of Commerce 500 NW Chamber of Commerce Way Chehalis, WA 98532 360-748-8885 www.chamberway.com Chewelah Chamber of Commerce 214 E Main Chewelah, WA 99109 509-935-8595 www.chewelah.org City of Bothell Visitor Development 18305 101st Ave NE Bothell, WA 98011 425-486-3256 www.ci.bothell.wa.us City of Pateros PO Box 8 Pateros, WA 98846 509-923-2571 www.pateros.com 70


City of Port Townsend 250 Madison St., Suite 2 Port Townsend, WA 98368 360-531-0127 www.enjoypt.com

Grays Harbor Tourism PO Box 1229 Elma, WA 98541 800-621-9625 www.visitgraysharbor.com

City of Redmond 15670 NE 85th St. Redmond, WA 98073 425-556-2900 www.redmond.gov

Greater Goldendale Area Chamber of Commerce 903 E Broadway St. Goldendale, WA 98620 509-773-3400 www.goldendalechamber.org

Colfax Chamber of Commerce 120 S Main St. Colfax, WA 99111 509-397-3712 www.visitcolfax.com Columbia River Gorge Visitors Association PO Box 1037 Stevenson, WA 98648 541-806-1436 www.crgva.org Colville Chamber of Commerce 986 S Main St., Suite B Colville, WA 99114 509-684-5973 www.colville.com Concrete Chamber of Commerce 45770 Main St. Concrete, WA 98237 360-853-8784 www.concrete-wa.com Cowlitz County Tourism 1900 7th Ave Longview, WA 98632 360-577-3137 www.visitmtsthelens.com Dayton Chamber of Commerce 166 E Main St. Dayton, WA 99382 800-882-6299 www.historicdayton.com Deer Park Chamber of Commerce 316 E Crawford Ave Deer Park, WA 99006 509-276-5900 www.deerparkchamber.com

Jefferson County Chamber of Commerce 440 12th St. Port Townsend, WA 98368 360-385-2722 www.jeffcountychamber.org Kettle Falls Chamber of Commerce 425 W 3rd Ave Kettle Falls, WA 99141 509-738-2300 www.kettle-falls.com Kittitas County Chamber of Commerce 609 N Main St. Ellensburg, WA 98926 509-925-2002 www.kittitascountychamber.com La Conner Chamber of Commerce 511 Morris St., Suite 3 La Conner, WA 98257 360-466-4778 www.lovelaconner.com Lake Chelan Chamber of Commerce 102 E Johnson Ave Chelan, WA 98816 509-682-3503 www.lakechelan.com Leavenworth Chamber of Commerce PO Box 327 Leavenworth, WA 98826 509-548-5807 www.leavenworth.org

Destination Packwood 103 Main St. E. Packwood, WA 98361 360-494-2223 www.destinationpackwood.com

Lewis Clark Valley - Hells Canyon Visitor Bureau 847 Port Way Clarkston, WA 99403 509-758-7489 www.visitlcvalley.com

Enumclaw Visitor Center 1421 Cole St. Enumclaw, WA 98022 360-825-7666 www.enumclawchamber.com

Lind Chamber of Commerce PO Box 561 Lind, WA 99341 509-677-3655 www.lindwa.com

Long Beach Peninsula Visitors Bureau 3914 Pacific Way Seaview, WA 98644 360-642-2400 www.funbeach.com Lynden Chamber of Commerce 518 Front St. Lynden, WA 98264 360-354-5995 www.lynden.org Mount Vernon Chamber of Commerce 301 W Kincaid St Mount Vernon, WA 98273 360-428-8547 www.mountvernonchamber.com North Hood Canal Visitors Center 295142 Highway 101 Quilcene, WA 98376 360-765-4999 www.emeraldtowns.com Odessa Chamber of Commerce PO Box 355 Odessa, WA 99159 509-982-0049 www.odessachamber.com Okanogan County Tourism Council PO Box 626 Omak, WA 98841 888-431-3080 www.okanogancountry.com Olympic Peninsula Visitor Bureau PO Box 670 Port Angeles, WA 98362 360-452-8552 www.olympicpeninsula.org

Pullman Chamber of Commerce 415 N Grand Ave Pullman, WA 99163 509-334-3565 www.pullmanchamber.com Quincy Valley Chamber of Commerce 119 F St. SE Quincy, WA 98848 509-787-2140 www.quincyvalley.org

Vancouver USA Regional Tourism Office 101 E 8th St., Suite 240 Vancouver, WA 98660 360-750-1553 www.visitvancouverusa.com Visit Kitsap Peninsula 9481 Silverdale Way NW, Suite 281 Silverdale, WA 98383 360-692-1084 www.visitkitsap.com

Republic Regional Visitors and Convention Bureau 15-1 N Kean St. Republic, WA 99166 509-775-3387 www.republicwa.com

Visit Spokane 801 W Riverside Ave, Suite 301 Spokane, WA 99201 509-624-1341 www.filminspokane.com

San Juan Islands Visitors Bureau PO Box 1330 Friday Harbor, WA 98250 360-378-6822 ext. 6 www.visitsanjuans.com

Visit Walla Walla 26 E Main St. Walla Walla, WA 99362 877-998-4748 www.wallawalla.org

Sequim Visitor Information Center 1192 E Washington Sequim, WA 98382 360-683-6197 www.visitsunnysequim.com

Wenatchee Valley Chamber of Commerce 1 S Wenatchee Ave Wenatchee, WA 98801 509-662-2116 www.wenatchee.org

Skamania County Chamber of Commerce 167 NW Second Ave (Highway 14) Stevenson, WA 98648 509-427-8911 www.skamania.org

Winthrop Chamber of Commerce PO Box 39 Winthrop, WA 98862 509-996-2125 www.winthropwashington.com

Snohomish County Tourism Bureau 1133 164th St. SW, Suite 204 Lynnwood, WA 98087 425-348-5802 www.snohomish.org

Omak Chamber of Commerce 401 Omak Ave Omak, WA 98841 509-826-1880 www.omakchamber.com

Tacoma Regional Film Commission 1119 Pacific Ave, Suite 500 Tacoma, WA 98402 253-284-3267 www.traveltacoma.com

Port Angeles Regional Chamber of Commerce 21 E Railroad Ave Port Angeles, WA 98362 360-452-2363 www.portangeles.org

Tri-Cities Visitor and Convention Bureau 7130 W Grandridge Blvd., Suite B Kennewick, WA 99336 509-735-8486 www.visittri-cities.com

Prosser Chamber of Commerce 1230 Bennett Ave Prosser, WA 99350 509-786-3177 www.prosserchamber.org

Twisp Chamber of Commerce PO Box 686 Twisp, WA 98856 509-997-2020 www.twispinfo.com AUGUST/SEPTEMBER 2014 MEDIA INC.




Discovering a ‘Hidden Location’ Photos By Alissa Desler

s crews from L.A. and around Washington have seen this summer during production of Z Nation, the diverse geography and landscapes in Eastern Washington are a film professional’s dream. And the Tri-Cities region of Eastern Washington, loosely defined by the areas surrounding Pasco, Kennewick and Richland, is equally rich in its wide variety of looks and settings. Expanding the area to Walla Walla to the east and Yakima to the west opens up even more shooting locations. From flatlands and farmlands to rolling hills and mountains, the region boasts three major—and scenic—river valleys. Along the banks of the Columbia River, trails and pathways wind for 67 miles. When it comes to location management for film productions, the region’s expert is Alissa Desler of A Hidden Location. Her Kennewick homebase puts her in the heart of the Tri-Cities region, and gives her unparalleled access to everything the area has to offer. As part of the Tri-Cities community, Desler has established relationships that help her find the right location for productions from feature films to commercials. As farmland owners, her family is very connected to the agricultural community. “We have access to farms of all types,” she says. “For instance, the region is home to more than 160 different wineries.” Desler also knows the local government processes for film permits, saying, “The region is very film-friendly.” After scouting and shooting for car commercials, Desler knows the roads of the Tri-Cities region well. “In addition to three state highways and two Interstates, we have many winding back roads that are newly paved,” she says. For interiors, the region is also diverse. Says Desler, “We have access to many different homes, including mansions and modern, high-tech houses.” The Tri-Cities region is actually a little closer to Portland than Seattle. So for Washington and Oregon production teams alike, it is a strong contender for filming locations. MI





LOCATION MANAGERS/SCOUTS Company City, State Phone; Fax E-mail Web site





A Hidden Location NW; Kennewick, WA 509-531-5454; fax 509-586-1957 ahiddenlocation@aol.com www.ahiddenlocation.com

Alissa Desler


Liaison for all government communication/film permits, scouting services, film friendly location database, 24/7 location security, transportation, accommodations, local background talent/local music artists, food crafts, production assistance.

If There’s A Hell Below, Family Escape short, Nature Valley commercial

Peter Allen Locations; Seattle, WA 206-601-1585; fax 206-774-2785 inquiry@peterallenlocations.com www.peterallenlocations.com

Peter Allen

Teamsters Local 174

Full service location scout and manager. Library of homes available for shoots listed on web site. Also a member of Northwest Location Professionals (NWLP).

Microsoft, Petsmart, TireBuyer.com

BK Locations; Ketchum, ID 206-669-8445 bklocations@aol.com www.bklocations.com

Bruce Kendall


Photography, still production, locations.

Wells Fargo, Toyota, FedEx

Jimmy Canavan; Seattle, WA 323-363-3062 jimmycanavan@me.com

Jimmy Canavan


Location manager and scout for commercials, films, music videos, corporate videos, and still photo shoots.

4 Minute Mile, Laggies, Lucky Them

Ken Coble; Seattle, WA 206-755-3584 ken@harvestmoonpictures.com www.harvestmoonpictures.com

Ken Coble

Teamsters Local 174

Location scouting & managing for commercials, features, television, corporate and print. Experienced & resourceful Northwest native.

Porsche, DreamWorks, Carhartt

Denise V Collins; Zephyr Cove, NV 530-545-0255 denise@denisevcollins.com www.denisevcollins.com

Denise V Collins


Location scouting & location manager.

Tommy Hilfiger, IZOD & Marshall Fall/Winter14 print/video, SYSCO Foods commercial, John Deere Go Gator commercials

Common Good Films; Portland, OR 503-317-8456 enrique@commongoodfilms.com www.commongoodfilms.com

Enrique Arias


Location scouting and managing in the great Northwest.

Corporate: CMD, Respond2; Film: Raising Flagg

Dave Drummond; Seattle, WA 425-269-3396 dave@drummondmedia.com www.drummondmedia.com

Dave Drummond

Teamsters Local 174

Location scouting and location management for feature films, commercials, industrials and new media. Serving Washington and the Pacific Northwest.

Captain Fantastic feature film, Laggies feature film, Macklemore: Dr. Pepper commercial

Doug duMas; Seattle, WA 206-300-6345 doug@dougdumas.com www.dougdumas.com

Doug duMas

Teamsters Local 399

Scouting the Northwest for 25 years.

The Architect, 7 Minutes, 21 & Over

Roger Faires; Portland, OR 503-975-1936 rogerfaires@me.com www.rogerfaires.com

Roger Faires

Teamsters Local 305

Location scout and manage features, commercials, TV, print ads.

Wild (feature), The Librarians (10 episodes - TV), Meek’s Cutoff (feature)

Floyd’s Locations; Portland, OR 503-704-0076 mike@floydslocations.com www.floydslocations.com

Mike Floyd


Location scouting and managing for the advertising photography industry, including location research, scouting, permitting, parking reservation, and on location managing.

Mark Fristad Productions, LLC; Portland, OR 503-680-6807; fax 503-246-8716 fristad@teleport.com www.mthoodphotolocations.com/www.markfristad.com

Mark Fristad


Providing location & production services for still photography in Oregon and beyond.

Nike Running photo shoot for Connect the Dots Productions, Adidas photo shoot for Savage and Company Productions, Vero Moda photo shoot for Nee’em Productions Ralph Lauren, LL Bean, Pendleton

Sherrie Garcia; Spokane, WA 509-922-2362 garciaentertainment@yahoo.com www.visitspokane.com

Sherrie Garcia


Montana girl specializing in the Inland Northwest’s spectacular scenery. Montana’s Kootenai, Flathead, Mission, Bitterroot, Swan and Yaak Valleys; Kootenai Falls (River Wild), Bull Lake (Always), Washington’s Palouse; north Idaho’s Coeur d’Alene, Clark Fork country.

Target Corp., Coldwater Creek, Wilhelm Schultz Photography

Shaun Gavin; Portland, OR 503-539-6113 spgavin63@gmail.com

Shaun Gavin

Teamsters Local 305

Scouting, permitting, and managing locations in Oregon and SW Washington for film, TV, and print.

NBC’s Grimm, Chevy Silverado, Nike

Girl Scout Locations; Portland, OR 503-998-2793 sara@girlscoutlocations.com www.girlscoutlocations.com

Sara Burton


Oregon native, ten years of Los Angeles residency as a member of highly seasoned production teams. Commercials, still, feature film.

Toyota, Nike, Kroger

Mike Gust; Portland, OR 503-329-5251 mikegust@teleport.com mikegust.locations.org

Mike Gust


Location scout and manager.


JFoto/AllOverIt Locations; White Salmon, WA 541-387-4292 jay@jfoto.com www.jfoto.com

Jay Carroll


Location scouting and management.

Chevy Silverado (Roe), GE Wind (JTP Fifth Column), Proctor & Gamble Mother Nature’s Gift (Crossroads)



Location Management and Production Support Creative & Thorough Location Scouting • Friendly & Reliable Service

SSara a ra B Burton u r to n


LLocation ocation SScout cout and M Manager anag ger

dave@drummondmedia.com • www.drummondmedia.com




sara@girlscoutlocations.com sar a@girlscoutlocations.com m 503.998.2793 www.girlscoutlocations.com www.girlscoutlocations.com m


W Y G A N T productions Never Had A Bad Day 

50 States & International Experience

Complete production services 

Detailed Nationwide Locations

Budgets & Schedules



Location Manager

Large Crew & Resource Database

Past productions include: Anheuser Busch, AT&T, Blue Cross, Boeing, General Motors, Jaguar, John Deere, Microsoft, Nike


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S e a t t l e , WA s h i n g t o n markwygant.com • Tel 206.679.3072 Email wygant1@mac.com A Monkeys With Footballs Production




LOCATION MANAGERS/SCOUTS Company City, State Phone; Fax E-mail Web site





Locations PDX; Clackamas, OR 541-510-1434 bobbywarberg@yahoo.com www.locationspdx.com

Bobby Warberg

Teamsters Local 305

We provide location scouting and managing. We also provide location related equipment rentals.

Grimm, Leverage, The Librarians

Kathleen Lopez; Lake Oswego, OR 503-780-2767 filmmakerlopez@aol.com www.oregonproduction.com

Kathleen Lopez


WA native scout/manager/UPM. 20 years securing locations to aid the director’s vision on time, on budget, with a smile and a sense of humor! Web, print, commercials, corporate, feature, educational.

DreamWorks, Boeing, Nike

Lisa-Marie Moon; Seattle, WA 206-551-3105 moon.lisamarie@gmail.com www.lisamariemoon.com

Lisa-Marie Moon


Heather Murphy; Seattle, WA 206-548-9859/206-913-7312 (cell) murphh@earthlink.net

Heather Murphy


Producing beautiful images for clients by communicating clearly to bring the job to perfect completion working with the crew on any project. Strengths in production managing, scouting, onset photo and prop styling. Experienced lifetime resident of the Pacific Northwest with knowledge of Seattle and those beautiful hidden places throughout the state and beyond. Permits to personnel and history in all facets of production.

Clarisonic Video M.A.Y.O. (as production manager), Chasing Fireflies (as product stylist editoral/Internet), Richard Brown Photography (as product stylist) Kayak, Amazing Race, Percy Jackson 2 - Sea of Monsters

Northlight Locations; Portland, OR & Los Angeles, CA 503-780-7989/310-779-5683 northlightlocations@mac.com northlight.locations.org

Beth Melnick

Teamsters Local 399, 305

Over 20 years location scouting and management throughout the United States but centered in the Northwest for TV commercials, film, television and still photography.

Wild, Twilight, numerous commercials

Pacific Northwest Location Services; Mill Creek, WA 310-770-3930 markafreid@gmail.com www.northernlocs.com

Mark Freid

Teamsters Local 399

Location scouting and management.

Chevy Silverado Strong, 50 Shades of Grey, Transformers 4

Jennifer Popp; Seattle, WA 206-617-8207; fax 206-937-8001 jenpopp@comcast.net

Jen Popp


Location scouting and managing for film, video, and photo shoots. Includes permitting, maps/directions, parking. One stop shopping - providing additional production support with casting, hiring crew, producing, production managing, coordinating, ADing and props.

Spin Creative “Wave”, MidCoast “Volvo Trucks”, Sanmar “Nike Golf”, “Sports Brand”, “Workwear Brand”

R & B Productions; Grants Pass, OR 541-441-0842 rockyg1960@yahoo.com

Rocky Garrotto


Location scout specializing in Southern Oregon, Bend and Northern California.

Wild (feature film, River Road Entertainment), Dodge Ram (national commercial, Untitled Inc.)

Doug Reynolds; Gaston, OR 503-936-4525 doug@locationsnw.com www.dougonlocation.com

Doug Reynolds


Location scout and manager.

Mazda, Nike, Ford

Craig Stewart; Seattle, WA 206-818-6357 craig@craigstewartlocations.com www.craigstewartlocations.com

Craig Stewart

Teamsters Local 174

Full locations services.

Tool of North America - Bob Richardson, Furlined, Rabbit Content

TMKey Film/Research; Olalla, WA 253-857-7402 thokefilm@yahoo.com www.tmkeyfilm.com

Doc Thoemke


New not filmed yet perfect locations. Underwater filming without divers. Grip on location reel time editing vessel. 32 years industry experience, 31 films.

U.S. Government, Washington State, Northwest Tribal

Mark Wygant Productions, Inc.; Kenmore, WA 206-679-3072 wygant1@mac.com

Mark Wygant

Teamsters Local 174

Nationwide in motion and still photography. Location scout/manager in any medium.

John Deere, Chase Bank, Microsoft



Location Scout & Manager For Over 25 Years

503.975.1936 • rogerfaires@me.com • rogerfaires.com





Vancouver’s Jewel

The Historic Kiggins Theatre


ituated on Main Street, in the heart of Vancouver’s recently named Arts District, the 1936 Kiggins Theatre has been enjoying an artistic renaissance since being restored to its former glory in 2011. Named for on-again, off-again Vancouver mayor J.P. Kiggins, the local “theatre baron” of the era, the charming art-deco Kiggins was the movie fan’s pride and joy.

Like most cinemas of the era, the Kiggins had many peaks and valleys over the years, hitting bottom in the early part of this century until a dedicated group of volunteers stepped forward to help the new owner save their hometown treasure. Gone are the sticky floors, broken seats and $1.50 sub-run movies of yesteryear. In are newly poured floors, plush lounge chairs with plenty of legroom (the original 700-seat theater now holds just 342), and a wide selection of first-run independent, repertory and family films showing from the new digital projection system funded last year with a Kickstarter campaign. The Marquee Lounge, located in what years prior was the theater’s smoking room on the second floor, serves an everchanging selection of Washington artisan beers and hard ciders, as well as a wide range of cinematic wines from Coppola vineyards. A big change in 2013 was the passing of “the Kiggins bill” in the Washington legislature, which now allows alcohol to be taken from the bar area and into the auditorium, while still allowing the theater to be all-ages, all the time. In addition to screening the best in world cinema year-round, the Kiggins is the place for special events in Vancouver. Earlier



this year the Kiggins launched a bi-monthly talk show hosted by Temple Lentz entitled Hello Vancouver!, plus hosts many other monthly events including the Nerd Nite science lecture series, The Rocky Horror Picture Show with live Shadowcast by resident troupe The Denton Delinquents, and stand-up comedy. Dozens of locally produced films have also made their debut on the Kiggins screen, including The Haunting of Sunshine Girl (whose “Black Eyed Kids” story and lead actress have struck a deal with the Weinstein Company for a feature film and book). The theater also works closely with Washington State University and Clark College, hosting film festivals and educational programs for both schools. In August, some of the films scheduled include the new Joe

Swanberg film Happy Christmas, starring Anna Kendrick, Melanie Lynskey and Lena Dunham; the film festival hit To Be Takei, about actor and activist George Takei; the “Summer of John Hughes” series continues with Ferris Bueller’s Day Off; and in participation with the BBC, the theater will be presenting a free series of films commemorating the 100th anniversary of the start of WWI. The Kiggins Theatre, located at 1011 Main Street in Vancouver, was named to the National Registry of Historic Places in 2012. MI For a lineup of films and special events, visit www.kigginstheatre.com. For information on how to rent the Kiggins for a special event or screening, contact info@kigginstheatre.com.





dvertise to me and you won’t get 30 seconds, tell me a great story and I’ll give you as long as you want. Gone are the days where you can bring audiences to your side through sheer force. The proliferation of content platforms has led to extremely fragmented viewer populations that will disconnect the instant that they sense you’re trying to sell to them. Luckily, these same social consumers are the ones that actively engage with brands when they feel they share similar values. That’s a tremendous opportunity for advertisers, as long as they have to have something real to say. When content is entertaining, it doesn’t matter if it’s branded. If you give viewers something of value they’ll give back to you the most valuable thing they can – their time. Why would a company that manufactures boots create a documentary series that breaks stereotypes about modern Detroit? Why would a sunglasses brand profile the creative process of an electrofunk duo? It’s because these videos go beyond regular advertising to offer true brand experiences. They reinforce brand messages of exploration and creativity without being heavyhanded. With the documentary commercial you can be brand adjacent, that is to say that you can present consumers with various core values indirectly and let them connect the dots themselves. When you allow consumers to become co-creators of your message, the connections they form will be stronger than any 30 second spot. Audiences don’t hate advertising; they hate disingenuity.

310 . 2 5 6 .7 8 9 0

through the

Documentary Commercial

Successful stories are relatable so it’s crucial to present an authentic portrayal of your company. Corporations don’t have dimension, but the people that run them do. Resisting the temptation to speak only to awards and accomplishments when there’s a unique story within your company will connect viewers on an emotional level that is much more powerful. The documentary commercial creates content built for the social media environment because video that resonates is what’s shared, liked, and re-tweeted. And because this format is often times quicker and cheaper to produce than traditional broadcast commercials, it keeps the consumer checking back in with your brand through the promise of future content. With the wealth of information at their fingertips, consumers now look at companies as a whole rather than any particular product. That’s why it’s more important than ever to communicate your brand’s story in a way that’s authentic. They’re ready to care; you just have to give them a reason. The documentary commercial can help you do it.

je r e m ia hflor es . c om

j er e mi a h. f. flor es@gm ail .co m

Roe and Behold By Warren Etheredge Editor-At-Large


’ll never eat farmed fish again. I’ve known I should not for quite some time—heck, does it make any sense that Atlantic salmon are being raised industrially in the Pacific? —however, only after watching The Breach, do I understand how heinous a solution this is to a much larger (seafood) crisis. The Breach refers to Man’s unspoken pact with nature, specifically with salmon. Over the years, humans have decimated these populations by overfishing them and, just as significantly, by damming and polluting the waterways up which salmon swim to repopulate their species. Today, the only surviving salmon populations traverse the West Coast, from Oregon to Alaska. Northwest filmmaker and fisherman, Mark Titus, fuses his passions with The Breach, a salmon-centric documentary that screened as a work-in-progress at the Seattle International Film Festival and just wowed movie-lovers at the 26th Annual Galway Film Fleadh in Ireland, picking up the prize for Best International Documentary, beating out 10 other commendable pics including Cecilia Peck’s heart-rending Brave Miss World. The Breach is an issues doc but with a very personal angle. Titus has enjoyed catching and cooking salmon since he was a kid, and by his estimate, the number he’s consumed surely enters the thousands. This is why he feels he has a stake in both the problem and the search for answers. He traces the story from his earliest experiences and the allure of fishing to the advancement of corporate plans to mine copper in Bristol Bay (Alaska), which may very well lead to the demise, nay, extinction of salmon altogether. Perhaps making the movie even more appealing to the festival audience (and jurors!) in Ireland is the fact that, currently, there is a battle over farm fishing in Galway Bay, an effort spearheaded by Marine Harvest, a company unfavorably spotlighted in The Breach because of their operations in British Columbia. (Tip of the day: When in doubt, always choose wild, line-caught fish.)

Titus may have an agenda, but it plays as a clear-eyed evaluation of an inarguable tragedy. Salmon have provided one of the most beneficial food sources for mankind and, also, one of the most environmentally friendly. They are the keystone of an aquatic food-chain, as attested by experts such as Bill Ruckelshaus (the first head of the Environmental Protection Agency), Alexandra Morton (an independent biologist with decades of first-hand study), and, most convincingly, Rick Halford, the former Republican State Senator and president of the Alaskan Senate, who’s opposed to the Pebble Mine project despite its obvious economic advantages, which could climb into trillions of dollars of profit for the mining company. The Breach, beautifully shot by Andres Garreton, is still a workin-progress and editor Eric Frith promises to trim its current 96-minute run time to bring the story into tighter focus; the screenings at SIFF and in Galway have helped shape the content. Still, The Breach remains the catch of the day. MI AUGUST/SEPTEMBER 2014 MEDIA INC.


Bilingual Video Production In Spanish And English With Passion And Cultural Understanding Our services include: Educational & Corporate Videos Promotional & Commercial Spots Documentaries & Special Programs News Coverage with Talent in Spanish Casting Services Translation Voiceover in Spanish or English

P.O. Box 17287, Seattle, WA 98127

(206) 706-1255 www.latinonorthwest.com info@latinorthwest.com

w e i v r e t n I An with Executive Producer Oliver W. Tuthill Jr.

COMPLETION FUNDING: How Do You Get It? By Katie Sauro

What are the key elements you need to get completion funding? First you need a good product. The script is the most essential for building your film, as it serves as the blueprint for the entire production. Next you need a good cast, preferably a cast that includes a couple of name actors. They do not have to be prime actors who are the most in demand, but rather one or two up-andcomers and one or two actors who are on the downside of their career. Often these actors will still hold great value in foreign territories and will increase the demand for your completed film. As an example, in one of my low-budget features, I hired veteran actor John Savage (Deer Hunter, Godfather III) for the lead and this immediately created a demand by international sales agents to see the finished product. It also gave me the opportunity to work with a world-class sales representative who did not charge me any upfront fees. Give us an example of someone you cannot help. I get approached constantly by talented filmmakers who have very little money and a no name cast. There is just so much product and content now available online and in packaged media, it is almost impossible to get finishing funds unless you have a couple of names in your cast. Also, without some type of verifiable equity that can be confirmed by the representative who would be assisting the filmmaker in getting finishing funding, or some type of assurance from a distributor that they would license it after the product is ready for distribution, there is no place to stand. Morgan Spurlock (Super Size Me) told me that most of the talented filmmakers he went to film school with are now working in banks or insurance companies. He said he was successful because he learned how to sell. Give us an example of someone you can help. I can help a film producer who comes to me with a finished screenplay, an attached actor list with at least two name actors, a budget that has been professionally completed, and a lookbook and/or business plan. He or she also needs a minimum of $200,000 in verifiable equity or presales guarantees from foreign or domestic distributors of at least 20 percent of the filmâ&#x20AC;&#x2122;s budget. So, if your film is budgeted at $1 million, I would need presales guarantees of at least $200,000 from reputable and professional distributors and/or media companies.

If I have all the elements and meet the criteria, what would I need to know to find the completion funding? You would need to know the right producer to assist you in finding the right financial professional to help you find your completion funding. I work as an executive producer on film projects in that capacity. I am always on the outlook for new films that qualify.

There is just so much product and content now available online and in packaged media, it is almost impossible to get finishing funds unless you have a couple of names in your cast. What should I look for in a company to make sure I am not making any mistakes? You want a company that has been in business for a few years, and that is overseen by capable professionals who are interested in your film. What are the trends in the industry now? Since the 2007 recession, it is much more difficult to get presales guarantees from distributors and media companies. The trend is towards name actors with a name director and producer attached. Myths â&#x20AC;&#x201C; are there any floating out there that are not true? Yes, that film studios are dying to see your new film. They want to deal with experienced producers that they have a relationship with. It is all about relationships, and that is why it is so important to attach the right producer. MI Oliver W. Tuthill Jr. is an award-winning music and film producer who owns Blue Wood Films LLC. Since April of 2014, Tuthill has been working as an executive producer helping independent filmmakers find production and completion funding for their films. AUGUST/SEPTEMBER 2014 MEDIA INC.


Galaxy Sailor Productions is a creative, dynamic, award winning film and commercial production company.

This is our art, our science, our passion.

6635 N. Baltimore St., Ste 112 • Portland, Oregon 503-206-6058 • galaxysailor.com

Stories that connect, engage, and inspire. 206-498-1554 aaron@fcvdo.com. www.fcvdo.com Samples Available At


Over 80,000 Videos Created Since 2000 800.272.7222 • 503.230.0406 • info@media272.com

Pat Barber


Film 16/35mm TV/Movies


206.914.5204 pbedit@comcast.net

Video Tape

Compters Streaming


åFeatures Mobil In çDocumentaries Your Hand éShort Dramas èTelling Seattle Direct Stories For Brain Over 3 Decades Implants






Homegrown Pro


hile the large-budget feature films and starstudded television projects might make the headlines, the Northwest region is chock full of local production companies doing award-winning work right in our own backyard. Read on…


Gary Nolton Limbo Films www.limbofilms.com How did you get into the industry? I studied film at the Art Center in Pasadena, then found work in L.A. as a 2nd Assistant Cameraman via a friend who was on a TV show and was moving up from 2nd to 1st. Are you now doing the kind of work you originally set out to do or has that changed? I am fortunate enough to be doing exactly what I always wanted to, working as a Director/DP on narrative films, documentary and commercials. What would you consider your best piece of work and why? Of late, it would be a web video I shot for Bulleit Bourbon. There was total creative freedom, with no client or agency present, plus I got to edit it as well. It was as close as I have ever come to full authorship while getting paid… a rare combination! What is your favorite piece of equipment and why? Without a doubt it’s my personal ARRI Alexa, which we bought 4 years ago and it’s never disappointed me yet. It’s an HD camera built like the film cameras I shot with for 15 years, and provides a filmlike image with all the advantages of digital medium. Jeff Erwin red jet films www.redjetfilms.com How did you get into the industry? I worked in television news for many years—the last thirteen in Seattle at KING 5. In the mid-90s, the first non-linear edit systems began to appear and with the demise of real storytelling in the news world, it seemed like a good time to try something else. I first started a production company with a fellow KING



employee. He became an AVID Certified Trainer and I ran the production side of the business. For three years we were actually in the KING TV building, but in 1998 we moved to our current location on lower Queen Anne. A few years later, Sue and I went into the production world on our own and red jet films began. Are you now doing the kind of work you originally set out to do or has that changed? I think you do the work that comes through your door. You might say you do commercials or features but pretty much everyone I know in this business does a wide variety of projects. I have gained a lot of chops shooting in developing countries so I would say we are more of a documentary style company. I enjoy telling stories that matter or have a call to action. Basically being able to do something positive for someone somewhere—anywhere—in this world we live in. What would you consider your best piece of work and why? That’s impossible to answer. There are just too many movies now to count. Many projects are memorable because of the locations they were shot in, some for the hardship and many for the joy. Who you work with makes a big difference as well. As I was answering these questions, I received a call from an old friend that I have traveled with all over Africa, India and South America shooting stories for the Bill and Melinda Gates Foundation. She has a new project in Africa and I would jump at the chance to work with her again. There is something about the idea that your life’s best work is still in front of you that keeps it interesting. What is your favorite piece of equipment and why? I can’t stop buying tools because they keep changing. This past year we purchased a MōVI M10 and a Sony F-55. The MōVI for dynamic moves and the F-55 for 4K cine production. Both are beautiful and for the time being, my two favorites. Kelly Guenther Guenther Group, Inc. www.guenthergroup.com How did you get into the industry? I was originally a TV news guy. I served as an on-air reporter, photographer, anchor and producer, so I really got to know all aspects of production both in front of the camera and behind it. And those skill sets really help with overall marketing for private clients today. Are you now doing the kind of work you originally set out to do or has that changed? Well, originally I was going to pursue being a doctor, then got convinced by my high school English teacher not to do that and finally ended up in TV. Once there, I wanted to be a foreign TV correspondent some day. But I was always a hard news guy and that was not the direction TV news was heading. The TV industry changed to the AUGUST/SEPTEMBER 2014 MEDIA INC.


point that I thought I would have a much more interesting life telling meaningful visual stories outside of a newsroom. Now my earlier understanding of science, math and biology, coupled with years of communications work, have me telling really interesting stories for tech clients, the medical industry and others. So what I set out to do has changed but in a really compelling way. What would you consider your best piece of work and why? It was a piece for a tech client where we had budget for the first time in a long time and were able to pull off something very difficult but very beautiful because of the incredible skills of a team of creatives, and the risk-taking of a creative director from the client side. My workload was heavy at the time, so I collaborated more than usual: Scotty Mac and I figured out a way to shoot HDR video with DSLRs, Beth Craig and Mary Daisey were instrumental in getting the project off the ground when I couldn’t be there, and the creative director, Ben Hawken, fought for my idea of a more radical look and hard-hitting script even with a lot of pushback from his company. Then Todd Soliday used his wicked graphic design and editorial skills to get this technically-demanding project over the finish line. I think I consider it one of our best because I had some really good production people collaborating on it, because the client embraced the piece and uses the presentation years later, and when I watch it now I still get tingles and love the look. What is your favorite piece of equipment and why? No real favorites. The gear is changing too fast these days. If anything, I dabble in lens purchases. That’s the one piece of gear I don’t sell off because I know I’ll be able to use that glass in one way or another in the years to come. Peter Barnes Clatter&Din, Inc. www.clatterdin.com How did you get into the industry? I was a musician, independent engineer and record producer for several years and got offered a job in a post audio house doing commercial music and post. Are you now doing the kind of work you originally set out to do or has that changed? Of course the industry has changed dramatically. I personally am now running operations and business development for my company. I do occasionally engineer sessions or produce music for clients that I like. So my official answer is yes and no, depending on the day. What would you consider your best piece of work and why? I suppose this would be our Emmy Award-winning team providing ADR for Northern Exposure for almost 9 years. Or it could have been my collaboration with Jim Copacino on the hit country song “He Drove His Eighteen Wheeler Through the Truckstop of My Heart.” What is your favorite piece of equipment and why? My brain. Seriously I guess it would be our Black Magic 4k Cinema camera. Easy to use, incredible quality, makes our work look great. Mario Zavaleta Latino Northwest Communications www.latinonorthwest.com How did you get into the industry? My work in media started during the late ‘70s in a recording studio at one of the largest radio networks in Mexico City, 88


where I am from. I worked there as a soundboard person for a couple of years until I was invited to work for a multimedia production company where I began my work as a still photographer, mainly for advertising projects. My interest in storytelling drove me to explore the television industry and I found the opportunity at one government TV station just outside Mexico City. It was there where I met Martha, my wife. During the late ‘80s I was invited to explore the commercial fishing industry in Alaska. While working there I was contacted by a reporter from Univision Network in Miami who needed help to produce some stories about Latinos living in Alaska. It was then that Martha and I started producing news and feature stories for Univision Network. In 1996 we moved to Seattle and continued covering Washington, Oregon and other areas of the Pacific Northwest for Univision. This experience helped us acquire a strong understanding of the issues affecting Latinos in the Northwest. Trying to respond to that need and to the lack of Spanish local content that existed at the time, led us to create Latino Northwest Communications. Are you now doing the kind of work you originally set out to do or has that changed? It has definitely changed. My work has evolved over the years from working as a soundboard person, to still photographer, photojournalist, news producer and directing my own projects and business. What would you consider your best piece of work and why? I really enjoy producing documentaries and historical pieces, however I consider that our educational productions have been the most successful. One example is “Silenciosa y Peligrosa: La Diabetes en Nuestros Hijos” a special program we produced for Seattle Children’s Hospital to educate the Latino community about the silent danger of diabetes in children. What is your favorite piece of equipment and why? Definitely the camera, because with it I can capture the images to document the facts and testimonies for news, a feature story or to preserve what can become a historical moment. Martin Vavra Galaxy Sailor Productions www.galaxysailor.com How did you get into the industry? I had left a government job, working as an ecologist, and went back to get my Masters in Teaching. Before school started, I went to live in the Caribbean for six months. I decided to buy a consumer grade camera and film my trip. When I returned, someone asked if I would film their wedding. Within a year, I was filming weddings for fun and extra money. I grew very bored of that, and with the discovery of Video Copilot online, I started to see what could be done with a little imagination. In 2008, frustrated with my life and out of a job, I moved to Portland with a camera, a computer, my futon, and my dog. I was determined to get into making movies or die trying. Are you now doing the kind of work you originally set out to do or has that changed? I am not doing anything at all what I thought I would do. I thought I was going to become a camera guy and an editor. To be honest, I was not good at either one, and had no clue how much I didn’t know. Due to having no money, I was calling in my friends on weekends to shoot a web series about a zombie apocalypse. When the process was done, I realized my strength was finding the right people and orchestrating the entire project. From that day, I set out to get the right people, who were infinitely better at most of this than me, get them jobs and interesting projects, and direct once the project was in place. To be honest, I never thought I would own a company that is actually working and employing people.

What would you consider your best piece of work and why? I am working on my best project to date. I am a giant sci-fi fan. When I was approached with this project as a possible TV show, I saw what it could be. The whole of it needed a steady course and a good heading. We just shot the proof of concept pieces, and it is better than I had imagined. While I realize we all love our baby, I am really excited and have the utmost faith that my baby is going to grow up to be something amazing. What is your favorite piece of equipment and why? This is going to be abstract, but I think the person is the best ‘equipment.’ A tool is a tool, and no amount of RED footage will save your bad story. No jib will save a bad event. No dolly will make the dialogue better. It’s the people that come together. I know that the question is not meant to be marginalizing to the human aspect, but it’s the first place my heart went to. A person is versatile, creative, instinctive, flawed and irritable. Just like a lot of equipment, but the difference is that a person can turn that around and make the day better. When your dolly breaks, it’s the person that will turn that around and make the shot work. No piece of equipment could replace the people. Chris Donaldson Hand Crank Films www.handcrankfilms.com How did you get into the industry? An old girlfriend of mine was a filmmaker in Los Angeles and asked me to lend her a hand on a documentary she was making. The rest is history. Are you now doing the kind of work you originally set out to do or has that changed? I originally set out to do narrative and feature film work, which I’ve done a fair amount of. But when I moved to the Pacific Northwest, I became involved in Hand Crank Films, which is predominantly a commercial production company (though we have a few narrative projects in the works). So now we do that to support our filmmaking habit. What would you consider your best piece of work and why? Tough question. We’ve done a lot of pretty decent work, from zombies to emotional fundraising pieces. So it’s hard to say for sure. What’s interesting about commercial work is the fact you need to balance commerce against art, i.e. you need to hit some real specific marketing objectives in a creative way. So maybe I’d say the fundraising piece called ‘The Letter’ that we did for Overlake Hospital, which helped raise $600,000-plus. You can view it here: www.handcrankfilms.com/film/overlake-the-letter/. What is your favorite piece of equipment and why? My favorite piece of equipment is still the pencil. All the fancy gear cannot replace a wellwritten story. But yeah, we like the RED Epic, too. Jared Hobbs Deep Sky Studios www.deepskystudios.com How did you get into the industry? I originally went to Full Sail University back in 2000 for film, visual effects and entertainment business and law. I started out working in live TV productions and later found my calling with motion graphics and 3D visualization. Design, audio, video and visual effects I still love to do and get to often. Are you now doing the kind of work you originally set out to do or has that changed? I went to college to get into visual effects field, but having decided not to move

to L.A., I started out working in Eugene, Oregon, at KVAL and Chambers Productions. Later freelanced in Portland doing motion graphics and video production. What would you consider your best piece of work and why? That’s tough to say since we do so many types of multimedia. We rarely get the same projects and always pitching for something new. Recently we shot and animated an Innovation video for Cambia Health. It was very complex and we made it look pretty elegant and beautiful. What is your favorite piece of equipment and why? We are more software-based here and primarily use After Effects. We do have a Cintiq 24” touch display we use for matte paintings, animation and storyboarding. I personally don’t have the time to use it often, but we absolutely love it. David Poulshock Red Door Films www.reddoorfilms.com How did you get into the industry? Through the back door. I was a keyboardist in the cult band Upepo (now in the Oregon Music Hall of Fame) and needed to “get a real job” because I was getting married and we planned to have kids. Not a great idea on a musician’s wages. So I responded to a classified ad for a copywriter/TV spot producer, thinking my liberal arts degree would help. But after the interview, I realized I knew nothing and told them I wasn’t qualified. They said, “Let us decide that,” and gave me an assignment to write some TV spots over the weekend, featuring Ed McMahon as a spokesperson for a local S&L. I checked out a couple of books on how to write ad copy from the library, wrote the spots, delivered them Monday, and they hired me on the spot. Four months later I was producing “Check King, the King of Checking Accounts” commercials for Lincoln Savings & Loan, starring Ed McMahon. And the rest is history. Are you now doing the kind of work you originally set out to do or has that changed? Yes and no. I always saw (and still do) advertising as a way to keep my creative juices flowing. Along the way, I did a stint as a copy chief for an apparel manufacturer and another as an account executive for an events-oriented ad agency. Then I went out on my own and discovered long form video. We started doing industrials and corporate pieces, back when you could do Noir mysteries and sci-fi spin-offs and comedy spoofs, yet still sell product. Then we went on to produce the Wee Sing kiddies for Universal Home Video, The Head Table TV pilot about sustainable cooking, a series on American History and another on higher mathematics for public television, and on it goes. Now our work is a mix of commercials, docs, web videos, feature films—even iBooks. What would you consider your best piece of work and why? That’s not an easy question. In the can, currently: the documentary Raw Materials (www.rawmaterialsmovie.com). Well, it’s sort of in the can. We’ve decided to shoot some more footage. The film is a rich and heartfelt look into the lives of three rugged Americans, and asks the question, “Is the American dream still worth dreaming?”Why my best work? Just the joy of starting with a raw idea and crafting it into something beautiful. On the page: my screenplays The Fix (davidpoulshock.com/portfolio/the-fix) and Turbulence (davidpoulshock.com/portfolio/turbulence/) — both awardwinners, yet very different from each other. Why? Same as above. The craft. AUGUST/SEPTEMBER 2014 MEDIA INC.


What is your favorite piece of equipment and why? My ears. How can you write a good script, direct a good film or play a good song without knowing how to listen? Oliver Tuthill Blue Wood Films, LLC www.bluewoodfilms.com How did you get into the industry? I started out as an extra in movies by registering with the unemployment office in Hollywood, California. After I worked in about 50 movies as an extra and stand-in, I got hired by a director to say one line in a film so I could join the Screen Actors Guild. On the first day on the set the lead actor got angry with the director and quit, and they asked me to step into the lead role, which I was eager to do. The film turned out terrible, but I still made it into SAG and then found agency representation and a personal manager also. After meeting and working with Academy Award-winning director Jonathan Demme, I decided I wanted to concentrate on producing and directing. TV star James Arness of Gunsmoke fame and MovieMaker Magazine publisher Tim Rhys both encouraged me to pursue my dream of being a director, which I did, and in 2002 I won the Washington State Governor’s Award in Media for educational documentaries I directed. Are you now doing the kind of work you originally set out to do or has that changed? I started out doing production primarily, but now work more as an executive producer, helping other producers and filmmakers find financing to get their features funded. What would you consider your best piece of work and why? I would consider my best piece of work my documentary Questions For Crazy Horse because I filmed it while living on the Pine Ridge Indian Reservation in South Dakota, and I had the opportunity to work with the late Lakota Indian actor and activist Russell Means. My skills at that time were pretty finely honed, and I already had one award-winning documentary on the Lakota and life on Pine Ridge being distributed by Entertainment 7 internationally and Passion River Films domestically. I captured a time and a people in transition that no longer exists. My production manager was Celeste Olds and a real trooper. We had some close calls with certain folks who were not happy to see us on the reservation and one incident where we were surrounded by a buffalo herd, but we made it out okay. The film still is a steady seller, and I fill purchase orders on it every week through Amazon Advantage. What is your favorite piece of equipment and why? Final Cut Pro 7 because it is so user-friendly. Nikia Furman Furman Pictures www.furmanpictures.com How did you get into the industry? I started young. I was literally raised in a barn out in the sticks, and there wasn’t much in the way of consumer video technology. Even so, in grade school, I started a school newspaper and sold subscriptions, recorded fake radio dramas and staged plays. Then I started getting my hands on video cameras, and that changed everything. That’s when I decided to go to school for media. Are you now doing the kind of work you originally set out to do or has that changed? Yes, I am doing what I love: telling stories. I’m lucky because I get quite a variety of projects coming my way—reality television, commercials, indie films, music videos, fundraising 90


tools for non-profits, etc. My goal is to head in the direction of more creative and collaborative storytelling. I think having an outlet like that, where you can be really creative and push yourself, is important. What would you consider your best piece of work and why? One of the projects I am most proud of is Beyond Adventure, a reality series that aired on Outside Television. Each episode is an introspective journey with an outdoor sports enthusiast who challenges themselves in a new way. We filmed in some of the most spectacularly scenic areas of the U.S. and even an episode in Patagonia. I experienced some life-changing moments for sure. What is your favorite piece of equipment and why? I love a good camera, but I don’t really get attached to them anymore. I did get attached to the Canon XL1 back in the day. It was such a sweet, sexy design. I could spend all day and night just caressing her curves... which may explain why I didn’t date much back then. Now camera technology changes so fast, and is so utilitarian in design, that I like to spend less time with a specific camera and more time focusing on how a camera will help me tell a story better. And for me, using composition, motion and color to capture and convey vivid human emotions in a way that allows the viewer to see life through new eyes... that’s where the magic happens. Jon Nigbor Media272, Inc. www.media272.com How did you get into the industry? I have always been a technology geek and amateur photographer. So, it was only natural to consider videography. At the same time, I knew my business skills were better than my video artistry skills. In 2006, I hired a couple of videographers. Soon thereafter we established a nationwide network of videographers and an operations center in Los Angeles. In 2009, we merged with Lush Productions, the producers of the TV series This Week in Real Estate. Today, we’ve created over 80,000 videos. Are you now doing the kind of work you originally set out to do or has that changed? The industry is constantly changing and we try to change with it. Most of our work is for small- to medium-size businesses featuring an overview of what makes them successful. Occasionally, we develop some cool 3D imagery and motion graphics. We are doing exactly what I had hoped to do. It’s really fun to work with a business and make their vision come to life. It’s so rewarding to make someone else look great, especially when they aren’t sure even where to start. We’ve got some pretty simple systems that make it possible for us to create a great video for any business or individual. What would you consider your best piece of work and why? Our best piece of work is where we take a story with a complex subject and we turn it into an entertaining and informative 1-2 minute video. We blend the client’s story into broll content we collect on site, stock footage we purchase or have, a terrific voice over and upbeat music. In this example, the client does not want to be on camera, nor has staff who can carry the story. We need to build the video while making them look great even when they aren’t even on camera. Here’s an example: vimeo.com/69034599. What is your favorite piece of equipment and why? I don’t have a favorite piece of equipment because I’m not the guy shooting the videos, nor editing the content. The equipment is always changing and my guys are on top of the latest. If I were to pick something as an observer versus a user, I’d pick the Jib. It’s amazing how such a simple tool can make a relatively boring scene come to life and wow viewers.

Talk It Up Productions is a full service Transmedia production company, specializing in small business and entertainment. We work with our clients from concept to execution to deliver compelling and engaging multi-media projects for multiple platforms. &RUSRUDWH%UDQG&(23URÀOHV 6L]]OH5HHO3LWFK(PSOR\HH3URÀOHV5HFUXLWPHQW Marketing Instructional Camera Rentals Industrial

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Digital One Honored at AICP Show igital One, a premier post-production studio encamped on the banks of the Willamette River, has been honored by the Association of Independent Commercial Producers at the AICP Show: The Art & Technique of the American Commercial, for its sound design on one of “the best commercials of the year.”


The award-winning web film for the 2014 MasterCraft ProStar titled Mission 04: History Is History, was revealed at the AICP Show at the Museum of Modern Art in New York, where it will also be archived in the Department of Film at the Museum of Modern Art until the end of time. Following its premiere at MoMA, Mission 04: History Is History will tour museums and cultural institutions around the world as part of The AICP Show Reel. Produced by Nemo Design and shot, edited and directed by Bump Films, the three-minute film features the ProStar in Phantom slow motion, complete with ski jumpers and slalom skiers who seem to defy the laws of physics. Digital One sound designer Chip Sloan began working on the project early in pre-production. Says Sloan, “(Director) Mark Bame came to me early on wondering if we could capture the feeling of being out on the water without using a music track. Just the growl of the engine and the sounds of skiers carving through the water.” It was a challenge Sloan was happy to tackle. Sloan began with high-quality location audio. “We talked through how best to mic the boats, both the vintage one and the new ProStar, to really capture the signature sounds.” To this, Sloan

then added precise sound design to create an intimate, layered experience. “In the slow-motion section, I augmented the thrum of the hull on water with a kind of multi-part drone that I could control, dialing up or down various voices to subtly change the mood.” The result is a shining example of how Chip Sloan good planning, strong partnership, and a lot of careful craft can result in stellar sound design that becomes part of the storytelling in a subtle, natural way. In addition to being honored by the AICP for work completed in 2013, Sloan also received an AICP Award for Sound Design in 2012 for his work with Nike. MI For more info, visit www.digone.com.

Corporate communications specialists. Deep experience throughout the Northwest. • Digital Cinema/Crews • Studio/Greenscreen • Post, Animation, EFX





Roll the Credits: 4 Minute Mile hot throughout Seattle during the summer of 2013, 4 Minute Mile, about a troubled teen track runner (Kelly Blatz) who meets a reclusive ex-track coach (Richard Jenkins), hit theaters in August.



Production Management Mel Eslyn ... unit production manager

Analeigh Tipton ... Lisa Cam Gigandet ... Wes Jacobs Kim Basinger ... Claire Jacobs Richard Jenkins Kelly Blatz ... Drew Jacobs Rhys Coiro ... Eli Dylan Arnold ... Eric Whitehall Blair Fowler ... Lisa’s Friend #2 Ernie Joseph ... Cop #1 David Brown-King ... Reese Marino Matthew Smith ... Pal 2 Elle Fowler ... Lisa’s Friend #1 Gerald Grissette ... Peanut Jason Lee Daniel ... Cop Tom Ricciardelli ... Dock Worker Aaron Kennedy ... Chuck Arian Anderson ... Charlie St. James Aaron Washington ... Nate Rickard Deidre Harmon ... Highschool Teacher Gavin McLeroy ... Pal 1 Michael Magnussen ... Track Announcer Josh Feinsilber ... Young Drew Jacobs Daniel Oliver ... Deke Abrams Courtney DiSalle ... Lisa’s Friend #3 LaVon Hardison ... Restaurant Waitress Grace Arends ... Partygoer (uncredited) Erik Franklin ... Dock Worker (uncredited) Evgueni Petrov ... (uncredited) Brian Robertson ... Neighbor (uncredited)

Second Unit Director or Assistant Director Tony Becerra ... key second assistant director James Grayford ... first assistant director Kat Ogden ... second second assistant director

CREW Directed by Charles-Olivier Michaud

Camera and Electrical Department Mike Astle ... grip Ben Benesh ... key grip: Los Angeles unit Shaun Bowlby ... key grip Mark Bueing ... lighting technician Chris Carroll ... gaffer: Los Angeles Kevin Cook ... best boy electric Marc Dewey ... additional grip Steve Itano ... first assistant camera (second unit) Niall James ... grip Jason Knoll ... first assistant camera Isaac Lane ... additional electrician Regan MacStravic ... still photographer Gabe Medina ... additional second assistant “b” camera Ryan Middleton ... gaffer One Square Mile ... grip Chris Mosio ... camera operator: “b” camera Tracy Nystrom ... electrician Nathaniel Peirson ... electrician Joel Phillips ... assistant camera Arthur Reynolds ... best boy grip Erik Simkins ... still photographer Norman Tumolva ... grip Alisa Tyrrill ... second assistant camera: “a” camera Random Vaughn ... digital imaging technician T.J. Williams Jr. ... a camera steadicam

Writing Credits ... Josh Campbell, Jeff Van Wie Howard Burd ... producer Randy Dannenberg ... co-executive producer Mark DiSalle ... producer Mel Eslyn ... line producer Michael Hothorn ... co-producer Dane Lillegard ... co-producer Michael Magnussen ... executive producer Lawrence Steven Meyers ... co-executive producer Deborah Moore ... producer Jennifer Reibman ... producer Lauren Selig ... co-executive producer Joe Sisto ... executive producer Micah Sparks ... producer Jonathan Vanger ... executive producer Music by Stephen Barton Cinematography by Jean-François Lord Film Editing by Elisabeth Tremblay, Dirk Westervelt Casting By Michael Hothorn Production Design by John Lavin Art Direction by Tania Kupczak Costume Design by Ronald Leamon


Makeup Department Nancy J. Hvasta Leonardi ... makeup department head Jennifer Jane ... hair stylist: Kim Basinger Jennifer Popochock ... assistant hair stylist Shawn R. Shelton ... makeup artist/ special makeup effects artist Ross Williams ... hair stylist


Art Department Erin O. Kay ... on-set dresser Karl Lefevre ... art swing (as Kari Lefevre) Sound Department Daniel Douglass ... adr mixer James Gallivan ... sound effects editor Vincent Gates ... boom operator Myron Nettinga ... sound re-recording mixer/ supervising sound editor Kelsey Wood ... sound mixer Visual Effects by Heather Davis Baker ... digital compositor Stunts Rob Bradstreet ... stunt performer Jake Crawford ... stunt coordinator Art Hickman ... stunt actor Michael Hilow ... stunt performer Sherril Johnson ... stunt performer Daniel Locicero ... stunt double

Casting Department Pat Evans ... crowd casting assistant Denise Gibbs ... extras casting Patty Majorczak-Connolly ... adr voice casting Cash Oshman ... crowd casting: Seattle Alana Raiser ... crowd casting: Seattle Mark Sussman ... adr voice casting Costume and Wardrobe Department Gerard Parr ... costume supervisor

Teresa Purkiss ... key set costumer Editorial Department Fred Beahm ... assistant editor Niccolo H. Bodner ... assistant colorist: Digital Sandbox - as Tyrell Lloyd Edward Brizio ... colorist Matthew Capocci ... assistant editor Maxime Lahaie-Denis ... first assistant editor Nicole Olmsted ... digital lab coordinator: Digital Sandbox Katie Wiesbrock ... assistant: Digital Sandbox Transportation Department William Archuletta ... driver Jerry Cates ... transport captain David J. Guppy ... driver Steve McMahan ... driver: honeywagon Brian Joseph Moore ... transportation coordinator: reshoots John Petty ... transportation coordinator Seth Pickens ... van driver Mitch Reed ... driver Joe Soleberg ... driver Rick Wiley ... driver: camera car Jason Yarbrough ... driver: hair/makeup combo Other crew Jason Aumann ... office production assistant David Falcon Ayala ... production assistant Alan Lee Baker ... assistant location manager Dave Baron ... production intern Kimberly Becerra ... set medic Shannon Bengston ... production intern Erin Bosetti ... intern Laurent Boyé ... corporate publicist (as Laurent Boye-Guérin) Marissa Brent-Tookey ... production intern Jimmy Canavan ... assistant location manager Shannon Clegg ... key craft service Carol A. Compton ... script clearance Dalton Crawford ... production assistant Paul Dahlke ... key set production assistant Princess Noelle DeCicco ... intern Princess Diccico ... production intern Duncan Dickerson ... production intern Wesley Donato ... production assistant Rhys Dowbiggin ... publicity assistant Dave Drummond ... location manager Anna Lee du Mas ... production assistant Yael Egnal ... production intern Amanda England ... assistant accountant Jennifer Godwin ... production intern Sadie Rose Grayford ... production assistant Brendan James Griffin ... miscellaneous crew/ production intern / set intern Amber Grunte ... assistant production coordinator Rayne Harris ... assistant to Ms. Moore Elizabeth Heile ... production accountant Alison Kelly ... production coordinator John Lacey ... production intern Josh Larsen ... production assistant Jake Lazarus ... production intern Kathleen McInnis ... publicity consultant Israel Medrano ... production intern Nat Motulsky ... intern Amrik Pabla ... production intern Aviva Peltin ... production intern Keaton Slansky ... stand-in Andy Spletzer ... script supervisor Nick Thompson ... intern Nick Thompson ... production intern Nikki Van Den Eikhof ... assistant to director Alex Van Gelder ... production intern Tari White ... production intern Joseph Wuthrich ... intern Angela H. Young ... production assistant (Los Angeles) *Information courtesy IMDb

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