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PUBLISHER

James R. Baker ASSOCIATE EDITOR

Katie Sauro CONTRIBUTING WRITERS

Michelle Evanston, Barbara Marrett, Molly Michal, Loni Rahm, Tim Robinson, Scott Schaefer, Diane Schostak, Gregory Smith, Jessie Wilson SALES MANAGER

Katie Higgins SALES

Eric Iles DESIGNERS

Dawn Carlson, Beth Harrison, Christina Poisal

CONTENTS 4

Washington Offers You More

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Laggies: Get Another Look At Seattle

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On the Verge of Something

PRODUCTION MANAGER

John Rusnak OFFICE MANAGER

Audra Higgins INFORMATION SERVICES MANAGER

Lois Sanborn WEBMASTER

Jon Hines

MEDIA INDEX PUBLISHING GROUP (800) 332-1736 • media@media-inc.com www.media-inc.com • www.nwfilm.com 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. 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

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Inside Look: The Maury Island Incident

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Shoot In Spokane

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The Inland Alternative for Independent Film in Washington

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Voices of IATSE: An Update from the Northwest’s Production Crew Union

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SAG-AFTRA Seattle – The New Union

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Destination: Bellingham

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Washington’s Film-Friendly Olympic Peninsula The San Juan Islands: A Palette Of Emotion & Variety Filming On—And In—Northwest Waters With TMkey Film/Research Blue Wood Films Goes Native A Home For Independent Filmmakers Washington Film Festival Round-up

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FROM THE COVER: The Maury Island Incident filmed in the Seattle area throughout 2013. Here, cast and crew shoot at The Tin Room in Burien. MICHAEL BRUNK / NWLENS.COM

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WASHINGTON OFFERS YOU MORE 013 was a year of “more” at Washington Filmworks. We look forward to continuing that mantra in 2014. Since its creation in 2007, Washington Filmworks has helped fund 92 projects, creating more than 6,000 jobs. These projects represent $242 million in economic impact. We’ve also helped hundreds of others find area resources, connect with Washington motion picture workers and talent, and discover the perfect location.

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MORE COMMERCIALS In partnership with the Seattle Office of Film + Music and several regional creative agencies, Washington Filmworks launched Commercialize Seattle, as well as our Commercial Business Development Plan. These two initiatives are designed to work hand in hand to attract and support more commercial production in the Evergreen State. Commercialize Seattle is getting national attention and helping to put Washington on the map as a unique destination for your next commercial or ad campaign.

MORE FUNDING OPPORTUNITIES The Filmworks Innovation Lab completed two funding cycles. Through this pilot program, Washington Filmworks

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

MORE PARTNERS & RESOURCES Washington Filmworks has put tremendous energy into growing our statewide network of film liaisons. At current count we have 75, which means we can connect you with area representatives in all corners of our state. Plus we have more points of contact for locations, permits, and regional resources than ever before! We will assess our statewide film industry in the coming year, which will reveal even more information about all of the motion picture resources, workers, and vendors available to productions working in Washington. Want to get more bang for your buck? Work with Washington Filmworks to bring your next project to Washington State. WF

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

Visit www.WashingtonFilmworks.org for MORE information.

FILM IN WASHINGTON STATE Up to 35% Cash Back in 30 Days

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WASHINGTON FILM MAGAZINE 2014


LAGGIES: GET ANOTHER LOOK AT SEATTLE e sure to check out the Washington incentive film Laggies, the latest Sundance installment from festival favorite and Seattle-based filmmaker Lynn Shelton. A longtime festival alumnus, with films like Your Sister’s Sister (Sundance 2012), and Washington incentive film Touchy Feely (2013), Shelton will premiere Laggies, her most recent indie feature, at the January festival. The film tells the story of Megan (Keira Knightley), who accepts a marriage proposal and then pretends to be at a weeklong seminar, but she is actually hanging out with teenaged girls. The woman must struggle to decide what will really make her happy, while reliving highlights of her high school days. In addition to Knightley, Laggies stars Sam Rockwell and Chloë Grace Moretz. Laggies may center on a reluctant woman clinging to the past, but the project is one of Shelton’s more ambitious Washington productions to date. Dave Drummond, location manager for the film, described the indie film as location-intensive; he estimates production took place at 23 locations in about as many days. In addition, 18 base camps, 8 parking locations, and 9 catering sites were used. Most filming took place in Seattle, but production spilled out into surrounding Puget Sound areas, too. “We worked directly with four different city governments, as well as both King and Snohomish Counties, plus the Seattle Police, Renton Police, Snohomish County Sheriff, and Washington State Patrol,” said Drummond. The looks that Washington and Seattle offer are so distinct that they have lured Anonymous Content, producers of Laggies, back to the area three times. “I loved shooting in Seattle. The crew was simply outstanding in every aspect and the locations we secured were perfect,” said producer Alix Madigan. “It was also wonderful to spend time in this great city, which has much to offer.” Seattle resident Jennifer Roth, who regularly works all over the world, had the opportunity to work locally as executive producer on Laggies. “As a producer, my job is to help the creative team make informed, smart decisions about where they can make the best business and creative decisions for their project,” said Roth. “Seattle is my home and I am so very pleased to help bring such a wonderful and worthwhile film such as Laggies to our community. If it wasn’t for the production incentive program and the help of Washington Filmworks, it never would have been possible.” A key scene in the film shot at Chihuly Garden and Glass in the Seattle Center, an art experience showcasing the most significant works of internationally acclaimed artist Dale Chihuly. Shelton and the film’s producers invited state legislators to the spectacular venue for a set visit. The day doubled as a reminder of the vital collaboration Washington is nurturing to keep producers coming back.

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

With an incentive program that concentrates on independent features like Shelton’s, a cityscape prime with charming and iconic looks, and a thriving crew base, it’s no wonder they keep returning to Seattle. WF


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

ON THE VERGE OF SOMETHING

BY JESSIE WILSON Programs & Communications Coordinator, Washington Filmworks

ome to Washington State with a production and be surprised by the utopia you find. This is a place where resources run deep, where the arts are famously supported, and landscapes are rich with iconic locations, prime for the picking. Still, Washington’s most treasured production resource might be the human kind: a filmmaking community the locals call “crewtopia.” At the center of crewtopia is a circle of Seattle-based women filmmakers, working to create quality projects while building camaraderie in a thriving local industry. A central figure in this ecosystem is independent film producer Mel Eslyn. Mel Eslyn spoils her crew. A great hostess in life and on set, she works hard to get your best work. Eslyn sees an important part of her job as giving back and her personal mission includes building long-lasting relationships with people who are telling great stories. What’s the key to fostering those relationships? “Giving others respect,” says Eslyn. Bucking the Hollywood stereotype, she reminds others you can be a good film producer and still be a really good person at the same time. Eslyn sometimes works outside of Washington. If you’re lucky, you’ll catch the world premiere of her recent work at

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Sundance this year. The One I Love is a feature she produced, and the film revolves around a struggling marriage on the brink of falling apart. It stars Mark Duplass, Elisabeth Moss, and Ted Danson and was shot in Los Angeles last year. While Eslyn doesn’t mind working elsewhere, she chooses to build her career in Washington. “Seattle is a great location,” she proudly gloats. “It has killer crews, top-notch vendors, and an overall better vibe than anywhere else I’ve worked.” Speaking of vibe, Eslyn’s noticed some key differences outside the Evergreen State. One, in particular, turns the notion of Southern hospitality on its head. “The experience we offer crews in Washington is infectious. It’s kind of dangerous,” she laughs, singling out a production in Texas where being mindful of her crew’s needs didn’t go so well. “When I work at home, I’m conscious of giving meal options to crew who are gluten-free, or vegetarian, or vegan.” Yet she found herself in Austin, where she was instructed by her employer to tone back the hospitality. “I don’t just want to make great films. I want to support a community based around a common sense of values,” she explains. When it comes to her personal success, Eslyn is quick to credit the creative ecosystem she’s a part of. As a producer and community member, she considers a respectable piece

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

of advice: give back when you can. To that end, she can be found all over Seattle, showcasing films, teaching workshops, and helping emerging projects. But things aren’t as altruistic as they seem. She’s casting a wide net, seeking out others who are hungry to do good work. “There are a lot of us here,” says Eslyn. “Every time I get more engaged, I meet creative and motivated people to partner with in the future.” Eslyn functions as part artist, part businesswoman. As many wise producers know, a strong sense of community is important, but incentives are key to where much of the industry chooses to go. She points out how organizations like Washington Filmworks, the nonprofit that manages the Washington film incentive, and local filmmakers are working together to put the state industry on the international radar. “By helping expand the number of films being made in Washington, the film incentive has allowed our community


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

Safety Not Guaranteed. For now, Eslyn is focused on her duties for her Sundance 2014 foray. Premiering this work in Park City is the culmination of what she’s dubbed her passion project year. “You take huge leaps as an indie film producer,”says Eslyn. “Learning to pick and choose wisely is a step towards success.” So what does she think of the steps she’s taken with The One I Love? “It’s a lot of work,” says Eslyn. “But I’ve never been more proud of my involvement on a film.” WF

DAVID JACOBSON

to carve out a thriving film industry that at its heart is based upon strong relationships,” says Eslyn. “It’s about working on quality projects you are passionate about, with people that you love.” She gives the example of her work on the state incentive film One Square Mile, where she served as unit production manager. “That film had a Canadian director, was attracted here because of the incentive, but also had that crewtopia experience,” explains Eslyn. “Seattle feels different, on the verge of something. It’s contagious.” As for what’s next for Mel Eslyn and her collaborators, she’s in development on a slate of features that she’s working to bring home to Washington. She’s also working with fellow Sundance alumni—producer Lacey Leavitt and director Megan Griffiths—to produce Todd Rohal’s next feature, Sweet Cheeks. Finally, Eslyn is gearing up for a film called Potato Comes To Washington early this year. The project is based on a Huffington Post blog by Wes Hurley entitled “Growing Up Gay in Russia.” “Half the film is in Russia and half in Seattle,” says Eslyn of the upcoming project. “It will all be shot in Seattle. It’s very Seattle-centric.”She then segues into recent social issues in Russia and this year’s Sochi Winter Games. It becomes clear that Eslyn is a producer who’s thinking locally and globally. Eslyn has been incredibly busy these last few years, with several films premiering at Sundance. Among them were two other features with Mark Duplass, the Washingtonproduced Your Sister’s Sister and Washington incentive film


WASHINGTON FILM MAGAZINE 2014

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MICHAEL BRUNK / NWLENS.COM

INSIDE LOOK: THE MAURY ISLAND INCIDENT FILMWORKS INNOVATION LAB PROJECT EXPLORES 1947 UFO SIGHTING A still from The Maury Island Incident. MIKE BOYDSTUN BY SCOTT SCHAEFER Guest Columnist

hen local filmmaker Steve Edmiston invited me to his outdoor party on June 21, 2012, to commemorate an historic, local UFO sighting, I jumped at the chance to attend. Since I once worked as a field director on a UFO TV show called Sightings in the early ‘90s, I had a pretty deep interest and passion for these types of mysteries. Plus, who can turn down a free outdoor party on the first day of summer? And Steve was a good filmmaker (The Day My Parents Became Cool, Crimes of the Past) and lawyer, and his pitch on that sunny day was excellent and worthy of turning into a film, as I told him immediately afterwards. “Do you realize that you just pitched a story for a great film that’s never been produced?” I recall enthusiastically saying to Steve after he spoke. We agreed to pursue The Maury Island Incident as a film project, and over the next several months put together a treatment. On December 5, 2012, we held a presentation at the Tin Room in Burien, where we pitched to and met our soon-to-be executive producer John White. We already had Danny House (Tin Room owner), and Laura Beth and Scott Peterson (of SAFE Boats) on board, but John invested the necessary remaining money to make this film a reality. The short film, which was completed in December 2013, is based on the true story—taken directly from declassified FBI documents—of Harold Dahl’s June 21, 1947, UFO sighting near Maury Island and the first reported ‘Man In Black’ encounter that happened the next day. An investigation followed that resulted in a mysterious crash of a B-25 carrying “slag” evidence from the encounter, which killed Army Air Force investigators Capt.

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William Davidson and Lt. Frank Brown. This case went all the way up to FBI executive director J. Edgar Hoover, who expressed personal interest in it. With a cast of outstanding Northwest actors cast by Stephen Salamunovich, and beautifully shot/edited by Mike Boydstun along with a great Seattle indie crew in Burien, Des Moines, Tukwila and off the waters of Maury Island, I must admit that this was not only some of my best work, but also the most fun. With a crew of 31 or so—recruited and assembled by line producer Elizabeth Heile—The Maury Island Incident was awarded an “Innovation Lab” award from Washington Filmworks in June. We are now entering film festivals with the hope of taking this short to the next level— either as a feature film or TV series. One of the most important things we did was hire casting director Salamunovich, who auditioned over 80 of the best actors and actresses in the Northwest, gave recommendations, and helped us put together an amazing cast.

If you’ve ever worked on a movie set before, you know just how busy and crazy things can get, with crew members each doing their jobs like efficient worker ants, always striving to get things ready for the next shot as soon as possible. There’s a director (me, in my first attempt at shooting a film despite 28-plus years of directing/writing TV) who’s working with actors, as well as with a director of photography (Boydstun, who I’ve known since we both worked on Almost Live! at KING-TV in the late 1980s), discussing each shot and preparing, all the while managed by an assistant director (Laura Jean Cronin). The AD is making sure things are running on time, that equipment is set and ready, then at the right moment shouting, “Quiet! Roll audio! Roll camera!” This allows me to say, “And... Action!” and for everyone to just shut the heck up and get the shot. Then we all do another take “just for insurance,” or perhaps to “hold for sound” because airplanes (or buses, loud cars, people, etc.) went by, or a dozen other reasons


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why we want to try it again... all as our AD is asking if we’re ready to move on yet. Whew! This was the most intense production experience I’ve had since 1992, when I had the opportunity to direct Arsenio Hall in a comedy sketch on the New York street backlot at Paramount Pictures in Hollywood. (Mr. Hall would only do one take, and was accompanied by a large, burly entourage driving tiny golf carts!) After editing was finalized and we had “picture lock,” we turned it over to local musician David Templeton, who created an amazing original score for the film. I was happy with the product with temp music, but once we heard David’s magical score, everyone realized that it was taken to a much higher level. Wow! “The most exciting parts of the story to me are the true things that actually happened, all without having to decide if the UFOs were real: the first reported man in black, J. Edgar Hoover’s personal involvement, the Army’s investigation, the fatal B-25 crash over Kelso, and the fact that the facts were hidden in classified FBI documents,” said Steve Edmiston. “To me, the real story here is what happens to a man who tells the world an amazing tale that no one believes and the government wants to bury.” What a pleasure it’s been to be a part of this project, from those first few magical “aha!” moments at Steve’s outdoor party, to watching test screenings of the final version with our great crew. Everyone involved wants to return to another version

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

of this project, which we know will rise above what we did in this first round. We can’t wait! WF For more information, visit www.mauryislandincident.com and www.facebook.com/MauryIslandIncident.


CREDITS Maury Island Incident boasted a talented local team T heof cast, crew, and production services.

CAST:

Tony Doupe as Harold Dahl Allen Fitzpatrick as the original Man In Black John Patrick Lowrie as J. Edgar Hoover David S. Hogan as Agent Mitchell Jodie Harwood as Helen Dahl Justin Howell as Charles Dahl Chris Soldevilla as Fred Crisman Lisa B. Hammond as Miss Gandy Danny House as Tin Room Owner John White as Man on street Laura Beth Peterson as Tin Room Waitress Rick Walters and Aaron Breitbarth as Boat Workers “Kova“ the dog as “Sparky” (the Dahls’ dog)

PRODUCTION TEAM:

Directed by Scott Schaefer Written by Steve Edmiston Executive Producer: John White Co-Executive Producers: Laura Beth & Scott Peterson, Danny House Producers: Scott Schaefer, Steve Edmiston Line Producer: Elizabeth Heile Casting Director: Stephen Salamunovich

Associate Producer: Nancy Pappas Barnhart Director of Photography: Mike Boydstun Assistant Director: Laura Jean Cronin 2nd Assistant Director: Rick Walters Assistant Camera: Eric Remme Still Photographer: Michael Brunk Aerial Photography: Kelvin Hughes DIT/Slate: Jeff Vanderpool Sound: Kyle Porter Editor: Mike Boydstun Sound Design: Kyle Porter Music Composed/Performed by: David Templeton Additional Sound Design: David Templeton Production Manager: Nikki Sherritt-Lewis Production Designer: Lisa B. Hammond Set Decorator: Beth Peterson Lead man: Darren Edwards On-Set Dresser: Thomas Gilbert Set Dresser: Daniel Desrosiers Set Dresser: Terry Wright Set Dresser: Adam Rosand Swing Crew: David Templeton, John White, Laura Beth Peterson, Shawn Underwood Prop Master: Jared H. Thomas Graphics: Adam Rosand Costume Design: Ashley Russell Costume Assist: Kimberlee Iblings Costume Intern: Chloe McNutt Makeup: Renee Majour Makeup Assist: Helena Caldwell (of Serenza Spa & Salon) Special FX: Adam Harum

Key Grip: Jimi Hicks Gaffer: Mark Bueing Swing: Ron Novak Locations Manager: Will Chase Script Supervisor: Andy Spletzer Set PA: Jake Anderson Set PA/Intern: Vixxen Pavy Set PA/Intern: Bill Herling Production Accountant: Jonica Combs Set Medic: Shawn Dailey Craft Services: Shannon D. Stabert Dog Trainer: Michelle Reindal

OTHER CREDITS:

1947 ‘Man In Black’ Buick provided by John White Craft Services Donations courtesy Salty’s at Redondo, Azteca of Burien Historical Consultants: Charlette & Philip LeFevre of the NW Museum of Legends and Lore Special thanks to Burien Little Theatre Special thanks to Lucky Vintage/Lucky Dry Goods Special thanks to the Des Moines Marina Special thanks to the Cities of Des Moines, Burien, Tukwila and Maury Island Special thanks to the Maury Island Incident Historical Society Shot at Maury Island, Landmark on the Sound (Des Moines), Terry Joaquin house (for sale in Tukwila), Tin Room Bar (Burien) Camera boat: SAFE Boats Picture boat: “The Reliable“

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SHOOT IN SPOKANE BY TIM ROBINSON Director of Communications & PR, Visit Spokane

he artist addresses the canvas. The artist grasps the brush. The palette is nearby, but, alas, there are only three available colors. This would never happen in Spokane! When you talk about diversity, variety and a full palette of filming possibilities, Spokane is the answer. This is not a location that imposes limits on a filmmaker’s requirements. This is a city and a region that can cater to every filmmaker’s needs. Whether it’s city-core or country-beautiful, Spokane offers virtually every imaginable setting for shooting. The state’s second-largest city, Spokane is located on the eastern edge of Washington, where filmmakers (and everyone else!) enjoy 260 days of sunshine a year. In fact, the name “Spokane” is from the Native American Salish tribal language, meaning “Children of the Sun.”The area is simply a rich mix of rural and urban settings, including historic neighborhoods, quaint western towns, downtown highrises, and a beautiful river and waterfalls running right through the heart of town.

Historic Monroe Street Bridge. JEFF SCHINDLER/VISIT SPOKANE

Overlooking Spokane. ALAN BISSON/VISIT SPOKANE

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Filmmakers who have benefitted from Spokane’s talented crew base, diverse locations, great weather and affordable conditions know that Spokane provides the perfect backdrop for shoots of every and any type. “Wherever you turn, there’s something great to shoot,” commented one location manager. Spokane offers some 7,200 guest rooms throughout the

Looking up the Spokane River, toward the falls, near Riverfront Park. JEFF SCHINDLER/VISIT SPOKANE 16

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county, including full-service downtown hotels—historic to modern—as well as boutique hotels and imminently practical properties. In addition, the area offers many historic bed and breakfasts in distinctive neighborhoods, all with their own funky flair. There are also abundant lakefront resorts (the region is home to some 76 lakes), guest houses, vacation rentals, and corporate and long-term stay hotels and apartments. For ease-of-entry, it doesn’t get any simpler. Spokane’s international airport is just 10 minutes from baggage claim to downtown. Served by seven major carriers, more than 100 flights a day connect Spokane to cities across the United States, with direct fly access to 13 major hubs nationwide. Spokane also offers convenient on-site rental cars at the terminal. An experienced production workforce makes your project easy and affordable, with talented location managers, producers, directors and trade professionals who call our region home. This small army of uber-experienced film pros is here because they know the truth: the region is a great place to live and work. If you need more, additional crews


and equipment are available from Seattle, a short 45-minute flight or 4-hour drive from Spokane. For your entire project, Washington Filmworks’ incentive program pays huge dividends. Projects can get funding assistance for qualified in-state expenditures (up to 30 percent for motion pictures and episodic series with less than six episodes, and up to 35 percent for episodic series with at least six episodes). The Spokane liaison for Washington Filmworks offers simple, fast permitting and reasonably priced services. The office also makes location scouting a breeze

Main Avenue, Downtown Spokane. ALAN BISSON/VISIT SPOKANE

by providing Web access to same-day digital photo location services. It’s just another way to keep those pre-production costs down. From the aerial wide shot to the tiniest detail of nitty-gritty filmmaking, it’s all here. Make sure you make it great and play it smart by choosing Spokane, Eastern Washington and the Inland Northwest for your next project. WF

Riverside State Park near Spokane. JEFF SCHINDLER/VISIT SPOKANE

For more information, contact local film liaison Jeanna Hofmeister, Visit Spokane, at 509742-9372 (office), 509-993-9822 (cell), or jhofmeister@visitspokane.com.

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THE INLAND ALTERNATIVE FOR INDEPENDENT FILM IN WASHINGTON

est of Redemption, a Washington Filmworks incentive film produced by Seattle’s Kairos Productions, wrapped principal photography this past fall. In contrast to many feature films produced in Washington, the movie was filmed east of the mountains, out of Spokane. It stars Billy Zane (Titanic), Kevin Alejandro (Southland), and Mariana Klaveno (True Blood). While many productions choose Washington State for its views and rich natural landscapes, inland Washington offers many similar resources. By working with Spokane-based North By Northwest, West of Redemption was able to leverage high quality production value within a short pre-production schedule in order to meet the needs of its script and budget. “Eastern Washington was my first choice for a movie that was mostly set on a dry farm,” said director Cornelia Moore. “It provided the wide-open landscapes that we needed for the story, and I couldn’t have asked for a more hard-working crew.” This isn’t the first time Moore has worked in the area. Her second feature film, Camilla Dickinson, was also shot in Spokane, in association with North By Northwest. “There’s a lot of versatility and diversity of scenery on the Eastside,” she added. “It’s amaz-

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The crew sets up for a shot. CORNELIA DURYÉE MOORE

Mary Russell, Cornelia Duryée Moore and Marc Dahlstrom. SARAH MACAARON Above: Kairos camera. Right: TJ Williams. SARAH MACAARON

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ing that we were able to find locations ranging from 1940s New York to war-torn Lebanon.” Set in the early 1990s, West of Redemption is a story about the battle between two men who love the same woman. The film was directed by Cornelia Duryée Moore, written by Meagan Daine, and produced by Larry Estes and Tony Becerra for Kairos Productions. Rich Cowan served as executive producer. WF


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VOICES OF IATSE AN UPDATE FROM THE NORTHWEST’S PRODUCTION CREW UNION BY GREGORY SMITH President, IATSE Local 488

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ATSE Local 488 represents the vast majority of film and video technicians in the Northwest and is an active advocate of workplace justice for everyone in the freelance film community. These are tumultuous times for unionism. Questions of healthcare and retirement benefits combined with growing public, political and workplace opposition call for a diligent membership and focused activism. For example, in the last couple years, our members have questioned a disturbing practice that has taken hold in our production community. Many production companies (employers) are utilizing the erroneous practice of misclassifying freelance labor as independent contractors. Leadership at Local 488 has consulted with legal resources as well as the Department of Labor and the

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Employment Security Department. In the course of this investigation, it has been confirmed that freelance labor is to be compensated through a proper W-2 payroll process with appropriate taxes withheld. It was reconfirmed that work performed as a production crew member does not meet the IRS criteria or State RCW to be classified as an independent contractor. Requiring crew to submit an invoice for compensation of labor as opposed to a proper W-2 payroll/timecard places the employing production company at significant risk. Not only are there liability issues to consider, but if the practice falls subject to the scrutiny of the state departments mentioned above, there will likely be the discovery of associated unpaid payroll taxes and severe fines assessed. It’s important to acknowledge that most production companies operate properly. Those companies

should not feel a financial disadvantage for their efforts. The time is now to standardize the correct hiring/compensation practice. There are many companies that provide temporary payroll service to facilitate this process. Misclassification of the freelance workforce as independent contractors is a serious concern to all freelance technicians. Local 488 is committed to participating in correcting this mistaken practice. These are times of transition in many aspects of content production. Many traditional alignments are in shift and the participants are grappling to identify their role as the New Media World takes its shape. This professional landscape makes union membership and participation as essential as ever. Please feel free to contact me with questions or interest in IATSE Local 488. WF To reach Gregory Smith, president of IATSE Local 488, contact president@iatse488.com.


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SAG-AFTRA SEATTLE – THE NEW UNION s the first point of contact for filmmakers in the state, Washington Filmworks (WF) is often asked about our talented and professional cast and crew. One of the best places to direct producers for information about Washington talent is SAG-AFTRA Seattle Local. WF has been following changes at the new union since the 2012 merger and we reached out to Brad Anderson, executive director, to find out more. Prior to the merger, Anderson was Northwest regional director of AFTRA, based in Seattle. Born and raised in the Pacific Northwest, he trained and practiced as a lawyer, spending his career working through complex problems involving employee and labor issues.

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Washington Filmworks: Explain the SAGAFTRA merger. What are some of the benefits, locally? Brad Anderson: The community of professional performers in Seattle and the Northwest has recently been strengthened. The American Federation of Television and Radio Artists combined with the Screen Actors Guild into a more powerful SAG-AFTRA. SAGAFTRA now speaks with a unified voice for all performers in the region, covering film, television, radio, broadcasting, sound recordings and more. The SAG-AFTRA Seattle Local represents approximately 1,500 people working day after day in this industry. These performers are the professional talent that producers depend on to create the quality work the Seattle area is known for. The merged SAG-AFTRA will make it easier for productions to get made. No longer will people have to concern themselves with having to compare two different potential sets of contracts, with differing processes and procedures in how those contracts are administered. SAG-AFTRA in Seattle is now a “onestop shop” where producers can work with the staff of the Seattle Local to get the best fit in terms of a contract and to have their questions and concerns

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answered in a timely and responsive way. SAG-AFTRA has added to the staff on the ground at the Seattle Local specifically to provide a continuing dynamic connection between the union and other stakeholders.

Brad Anderson

WF: Tell us about the initiatives that SAG-AFTRA is focused on. BA: Part of being an effective labor union and participant in the entertainment community is tapping into the innate desire of people, through their own social nature, to lift each other up, not tear each other down. SAG-AFTRA and its members recognize that what is good for them—a better standard of living, access to healthcare and pensions, and satisfying work—is the same for all the members of this community, lifting everyone’s material well-being, and that of their families and their children. We want to create an environment for work that brings security to performers and other stakeholders. The Seattle Local understands that organizing performers is its responsibility, but believes that the market will become stronger if it is responsive to the needs and concerns of the other stakeholders, and if it provides continuing outreach and education for the industry. WF: What specific partnerships and programs are you working on? BA: The Seattle Local has expanded its partnership with the Seattle International Film Festival in 2013. Seattle performer members and broadcast members participated in a number of forums for education of filmmakers, filmgoers, and actors, including: • Transition from Stage to Screen – an exploration of the resources and tools for stage actors to thrive in film.

• Inside Stunts: Meet the Men and Women that Pack the Punch into Movies – a discussion and demonstration of stunts, industry standards, stunt performers and local resources for budding stunt performers. • The Alchemy of Film Scoring – a commentary on scoring for movies and the effects of good and bad scoring, from the composer. • Getting the Most Out of the Media – an engagement with film reviewers about media techniques to capture the attention of reviewers, bloggers and the public. WF: What does 2014 look like for the new union in the Pacific Northwest? BA: The SAG-AFTRA Seattle Local will continue its outreach to the performing community and entertainment industry and will provide educational and engagement opportunities for all stakeholders. Watch for information about these opportunities in the coming year! For more information, please contact the appropriate staff member, listed below: • Brad Anderson - Executive Director. Brad is responsible for overseeing all performer and broadcaster areas of work. He can be reached at brad.anderson@sagaftra.org. • Chris Comte - Contracts Administrator. Chris is responsible for interpreting and administering the union’s contracts and working with producers under those contracts. He can be reached at chris.comte@sagaftra.org. • Allison Harger - Membership Coordinator. Allison is responsible for managing both performers and producers with respect to performers’ union status. She can be reached at Allison.harger@sagaftra.org. SAG-AFTRA Seattle staff may also be reached by phone at 206-282-2506. WF


TOPO SWOPE TALENT CELEBRATES TWO DECADES IN BUSINESS ow in its 20th year in business, Topo Swope Talent is a permanent fixture of the entertainment industry in the Pacific Northwest. Though Topo herself is often confused with an Italian bowling ball company, she is indeed a real live person! Born in New York and raised in Los Angeles by a family of performers and artists, Topo has been a vibrant member of the arts and entertainment community for most of her life. Her credit-rich career in front of the camera, working with the biggest names in the business, gives her a world of experience she readily draws from to this day. Inspired by her healthy respect for the craft and a love for actors, she opened the agency in 1994. The main goal at Topo Swope Talent is to provide a variety of fabulous talent to satisfied clients. Throughout the years, TST has endeavored to maintain a highly professional work ethic within the agency and expects the same from the stellar talent it represents. The scene at the agency is always lively with a nimble and efficient team of three running things as smoothly as possible. In order to maintain this structure, there is always a sense of fun, diligence and humor in the office. With its strong, diverse talent roster, TST offers top-notch, highly skilled, professional and diverse actors who will complement the quality of any project. Topo Swope Talent is more than proud of its accomplishments over the past 20 years and looks forward to continued success! For more information, visit www.toposwopetalent.com.

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DESTINATION: BELLINGHAM

BY LONI RAHM President & CEO, Bellingham Whatcom County Tourism

ike the bulls-eye in a target, Bellingham represents an epicenter of northwest Washington’s blend of rural and urban—where mountains meet the sea. Balancing small town spirit with funky collegeinfusion, artist chic and culinary wow, progression and preservation, Bellingham has managed to honor the past while embracing the future. The surrounding landscape provides visual diversity. Mt. Baker dominates the eastern horizon, with a stair step of fertile valleys, foothills, placid lakes, and rivers that vacillate seasonally between docile and irate. Located just north of the Skagit Valley’s colorful tulip fields. To the west lies miles of meandering Salish Sea shoreline dotted with secluded bays and inlets, adjacent to the San Juan archipelago.

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WHERE IS BELLINGHAM?

Bellingham is located in Northwest Washington State, just 90 miles north of Seattle and 30 miles south of Vancouver, BC. The Puget Sound is to the west and the North Cascade Mountains are to the east.

BELLINGHAM WEATHER

Although Mt. Baker boasts the world record for most

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

PROJECTS FILMED IN BELLINGHAM Whatcom County has been a “bit player” in several movies and commercials, including The Deer Hunter (1978) and The Ring (2002), but its rising claim to cinematic fame centers on recent independent films focused, not ironically, on achievements and accolades of fiercely independent locals. The Mountain Runners was released in 2011 to celebrate the 100th anniversary of America’s first mountain endurance/adventure race—a trek which lured amateur athletes in a combination of automobile, steam train, and human resilience to reach the top of Mt. Baker’s 10,781-foot volcanic glacial peak. This amazing docudrama weaves together archival material and dramatic recreations filmed in the historic Fairhaven District of Bellingham, the Nooksack Valley and Mount Baker.

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

As evidenced by the soon-to-be-released film Out of Nothing, the independent and competitive spirit has not diminished since the mountain runners era. This locally produced documentary follows four motorcycle fanatics—two Bellingham brothers and their friends—as they custom create a machine destined to break the motorcycle land speed racing record at Bonneville Salt Flats. Co-produced by local resident, comedian/actor Ryan Stiles, the film is in final editing.

KEY LOCATIONS OF INTEREST • Historic City Hall (downtown Bellingham) • Mt. Shuksan and Picture Lake • Historic Fairhaven District • Whatcom Falls Park • Bellingham Waterfront / Boulevard Park / Taylor Dock (interurban trail) • Chuckanut Drive Scenic Highway • Lynden Dutch Village and Raspberry Capital • Peace Arch International Border

For more information, contact Loni Rahm, President & CEO, Bellingham Whatcom County Tourism, at 360-7390027 or loni@bellingham.org.


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WASHINGTON’S FILMFRIENDLY OLYMPIC PENINSULA BY DIANE SCHOSTAK Olympic Peninsula Visitor Bureau

ense rainforest valleys, wild Pacific shores, alpine meadows. These are the signature landscapes of the Olympic Peninsula, the primary parts of Olympic National Park. The park offers soughtafter backdrops for features, commercials and stills, but is often daunting to reach when federal regulation and fees come into play. The good news is that Olympic National Park is nearly 1 million acres, but the Olympic Peninsula is over 3.4 million acres. Beyond the park are more lush forests, mountain peaks, and amazing beaches—situated on the more film-friendly lands of the U.S. Forest Service, local tribes, and private timber lands, as well as many state and county parks. Add to these natural landscapes the historical, vintage and architecturally significant buildings, and you have locations that can be used in a myriad of ways. Victorian Port Townsend is very filmfriendly, both in the variety of visual landscapes and in the city’s permitting and enthusiasm for film projects. From catalogue shoots to feature films to commercials, Port Townsend is satisfying many a producer for the perfect setting—visually, financially and business-wise. Puzzle-like shorelines abound all across the Peninsula. Finding a secluded spot to wash up, fall in love, or commit a murder—or whatever your storyboard dictates—is within reach. Olympic Peninsula communities have distinct looks, starting with the Victorian brickwork of Port Townsend and the WWI military barracks at Fort Worden. Port Angeles has retained its 1950s–era facades in this waterfront village, with the Olympic Mountains rising behind it. Sequim offers a sweet,

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clean downtown, with a wide valley spreading to the shore in the rain shadow of the Olympics, with many farms with old barns, lavender fields and dairies dotting the landscape. To the west, one finds the quintessential logging town of Forks, the iconic images of First Beach at LaPush, and the fishing resort village of Sekiu on the Strait of Juan de Fuca National Scenic Byway. Speaking of scenic, winding roads with forest and water views stretch all across the region, from the Hood Canal to Neah Bay to Lake Quinault. The entire Olympic Peninsula has benefited not only from the popular Stephenie Meyer Twilightbook series and the films that followed, but from many commercials, catalogue shoots, and travel story coverage. The rural nature of the region, an overactive grapevine of information sharing, and the friendly attitude of the locals means that they approach film projects with a welcoming, “can-do/git ‘er done” attitude. The regional film office is the Olympic Peninsula Visitor Bureau, with a strong network of locals who can help a scout find the special place/building/vista/machine, or fill the must-have request between the Big Bend of the Hood Canal to the shores of Lake Quinault. Every town has a company or two willing to repurpose equipment to hold lights, piping or screens. WF Visit www.OlympicPeninsula.org for more inspiration!


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THE SAN JUAN ISLANDS: A PALETTE OF EMOTION & VARIETY BY BARBARA MARRETT Communications Manager and Film Liaison, San Juan Islands Visitors Bureau

Sea lions at Cattle Point, San Juan Islands.

lpacas and orca whales. A weathered beach cabin. A float plane with no logo. Secret spots. Haunted hotels. A seaside village that resembles Ireland. “Please keep our reporter out of the sun.” What do these items have in common? All are requests from visiting location scouts, or film crews. All are requests fulfilled on location in the San Juan Islands. In my role as film liaison, I love the challenge of working collaboratively with creative, talented people to make their work easier. The reward: having a small part in showing the multi-faceted appeal of the islands through ever-changing lenses and, at the same time, discovering hidden histories, reclusive artists, and the beauty of the islands’ natural environment. The archipelago’s appeal for film work?

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Moody landscapes: From the unbridled wildness of sweeping sky and shoreline vistas, to moist, green fern forests, to golden prairies— any mood or hue in the filmmaker’s vision can be found in the islands. Silvery metallic grays, deep marine or foggy blues, lingering sunset oranges and pinks—make for a palette of surprising emotion and variety. The recent award-winning documentary film, Shining Night: A Portrait of Composer Morten Lauridsen, interweaves footage of the composer’s muse—life in the San Juan Islands— with scenes of performances of his transcendent choral music to mesmerizing effect. Architectural allure: Quaint artists’ enclave or frontier town with vernacular centuryold storefronts, lovely lighthouses, historic resorts, log cabins and ultra-modern waterfront homes make an eclectic menu for visiting filmmakers. Whatever floats your boat: The islands’ historic harbors—lined with wooden schooners, sleek fiberglass yachts, kayaks, canoes and all manner of watercraft—may add nautical ambience to any production.

Orcas Island waterfall. MARK GARDNER

More than a location; it’s a state of mind: We understand the pressure filmmakers are under to quickly capture shots, scenes and fleeting golden light. While filmmaking here to help pre-scout and navigate permitting needs. We know the cast of characters— can involve long hours and stress, by the time most crews have left the islands, they are from whom to call for an old farmhouse location versus a cliff-perched, Architectural Digest relaxed—having been able to focus and accomplish their creative goals easily within “island home, to who creates the best catering menu on location. time.” Close and convenient: The Islands, located about 80 miles northwest of SeatEasy to navigate: Orcas and San Juan, the largest islands in the archipelago, are only approx- tle, are easily accessible by car ferries and by air with frequent connections to SeaTac imately 57 square miles and can be circumnavigated by car or fast boat in a few hours. We are Airport or downtown Seattle. In the heart of the Salish Sea, the Islands are also close to Vancouver, B.C. Because the islands receive about half the rainfall of the Seattle area and twice the amount of sunshine, outdoor filming is less challenging than other locaAn orca off the coast. JIM MAYA tions in the Pacific Northwest. The town of Friday Harbor is the largest commercial area in the county with over 300 guest rooms. Recently designated a “Distinctive Destination” by the National Trust for Historic Preservation, Friday Harbor exudes waterfront charm with many well preserved territorial-era buildings. Despite its small stature, the town offers modern services and connectivity. Orcas Island and Lopez Island are also able to accommodate a variety of lodging and service needs in resorts or small village centers. We’re here to help filmmakers capture the ‘reel’ side of island life, and discover why the San Juan Islands have become an inspiring location for commercials, documentaries, travel spots and feature-length films. WF For more information go to www.visitsanjuans.com, or contact: barbara@visitsanjuans.com, 360-378-6822, ext 6.

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FILMING ON—AND IN—NORTHWEST WATERS WITH TMkey FILM/RESEARCH n the Northwest region—and particularly Washington—we are surrounded by bountiful bodies of water ripe for commercial and film production. Everyone knows that the glistening Puget Sound is picturesque, but the lesser-known waters are the true film-friendly gems. That’s where TMkey Film/Research, led by coordinator Dale “Doc”Thoemke, comes in. With an intimate, in-depth knowledge of these hidden waters, Thoemke can not only show you where to film, but he can provide an ADA-accessible and U.S. Coast Guard-approved boat to take you there, and even cabins for overnight or multi-day filming excursions. And with his 30-plus years of experience as a reputable contractor for the federal, state and tribal government, Thoemke and film/commercial consultant Jason Roberts, a Makah guide, have access to waters that most don’t. Working with Thoemke and crew, not only will you film in secluded, untouched spots, but you will also have the opportuntity to see what lies beneath. TMkey specializes in underwater imagery without the use of divers. A filming crew obtains high-definition, high-resolution, macro videography in low light conditions by utilizing robotic remotely

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

controlled, waterborne GPS-enabled real-time underwater recording, in combination with sonar echo location and sidescan capability. Other equipment includes an extender system used for flying HD underwater cameras, GPS mapping, substrate sample taking and lightweight removal lift. In addition to their production services for outside proj-

ects, the company does film work and research of its own. A recent documentary series produced by TMkey traced efforts by the Puget Sound Partnership—a community effort of citizens, governments, tribes, scientists and businesses— to clean up, restore and protect Puget Sound. Thoemke used his patented robotical puppeteering underwater camera system to help systematically track pollution conditions and restoration efforts. TMkey is dedicated to protecting our natural resources. In fact, the company has successfully completed the requirements of a contract with the Quinault Indian Nation to locate, remove, document and dispose of derelict fishing nets in the Chehalis River. The crew used underwater cameras to locate the waste—which equaled six tons of netting! WF For more information on this one-stop production shop, or to contact Thoemke for your next project, visit www.tmkeyfilm.com.


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BLUE WOOD FILMS GOES NATIVE NEW NARRATIVE FEATURE ON CRAZY HORSE IN DEVELOPMENT BY MICHELLE EVANSTON Guest Columnist

t was early on a Friday morning when the call came in. The caller said it was urgent that a realistic narrative feature on Crazy Horse, the late Lakota Sioux leader and warrior of the 19th century, be produced as quickly as possible. It was the third such call in less than a week and the receiver was starting to feel the pressure growing to get back into production on another film featuring American Indians. The filmmaker being urged to make another film on Crazy Horse was Oliver W. Tuthill Jr., the award-winning writer/director/producer who has made three films to date on American Indians, two of them featuring the Lakota Sioux on the Pine Ridge Reservation in South Dakota. Tuthill is the president of Blue Wood Films LLC. “It has been amazing the good fortune I have had with making films on the Lakota,” Tuthill said after finishing a conference call with a producer in Los Angeles. “I have wanted to return to the Pine Ridge Reservation and the Black Hills of South Dakota, but since the death of Russell Means (Last of the Mohicans, Pathfinder, Natural Born Killers), I lost some of my motivation.” Means, the co-founder of the American Indian Movement, died last year, leaving a huge void. Tuthill has been in communication with his wife, Pearl Means, who is producing along with Bayard Johnson a documentary on Russell’s life (titled Conspiracy to be Free),

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Blue Eagle Standing by Oliver W. Tuthill Jr.

directed by Colter Johnson. Tuthill has written and produced a song that will be used in the film featuring Native American Music Award-winning Indian rapper Shadowyze. Two of Tuthill’s most popular DVDs have been his documentaries on Pine Ridge and Crazy Horse. His first, Wounded Heart: Pine Ridge and the Sioux, released in 2005, won numerous awards and is still a steady seller nine years after its initial release. The Native American Journalists Foundation called it “an accurate and compelling portrayal of the struggle to survive on the reservation.” The film is distributed in the United States by Passion River Films and internationally by Entertainment 7. Russell Means narrated the film. He decided to help Tuthill on the documentary after they met at a demonstration on the reservation when Tuthill approached Means and asked him to be in the film. Indian actor and activist Jay Red Hawk (Skins, Deadliest Warrior) is also featured. Tuthill’s most recent documentary on American Indians is Questions for Crazy Horse: Hypothetical Conversations with the Strange Warrior of the Oglala Lakota, which also features Russell Means and Jay Red Hawk. Tim Rhys, publisher of MovieMaker Magazine, called it “an imaginative fearless attempt to help bridge the gap between myth and modern Indian life.” Now Tuthill embarks upon the making of a narrative feature on the life of Crazy Horse, one that he does not take lightly. “Crazy Horse is one of the most significant leaders in the history of the United States,” said Tuthill. “They are building a memorial to him in the Black Hills that was started in 1948. To make a feature that will do this man justice will take a tremendous team effort, and I am now searching for talented producers who would like to form a team to make the best film possible on Crazy Horse.” WF


A HOME FOR INDEPENDENT FILMMAKERS BY MOLLY MICHAL Northwest Film Forum

or almost two decades, Northwest Film Forum has supported working filmmakers in the Pacific Northwest. As Seattle’s only comprehensive film arts center— offering year-round film screenings, filmmaking classes and direct grants and services for local artists—the Film Forum champions opportunities for filmmakers to view, learn and make, discovering their own voice along the way. Located in the rapidly growing Pike/Pine corridor on Capitol Hill, the Film Forum’s venue includes not only newly renovated screening rooms, but post-production facilities and classroom space as well. In a digital editing suite, filmmakers can work independently on their own projects using current filmmaking software (recent additions include an upgrade to FCP X 10.1 and Adobe Premiere Pro CS6). Also on site: a 16mm Steenbeck, an optical printer and a custom FAX animation stand. The Film Forum provides easy and affordable access to a dizzying array of filmmaking gear to rent, including digital, 16mm and Super 8 cameras, lighting kits and sound gear, and extras like projectors, screens, tripods—you name it, the Film Forum probably stocks it. Filmmaking classes are ongoing throughout every month

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

of the year, ranging from beginners classes on filmmaking software and orientation on new cameras and equipment, to advanced seminars on topics like documentary making, creating your own DCP/digital prints, world cinema history and much more. There are also direct sources of filmmaker support available, including the Documentary Film Fund, a competitive grant program that provides cash and free production services to local non-fiction filmmakers. Every year the Film Forum grants over $10,000 directly to local documentary projects, as well as thousands of dollars of in-kind services. Other sources of direct support to filmmakers include a Fiscal Sponsorship

program, which extends Northwest Film Forum’s non-profit umbrella to local productions, opening up new grant and taxdeductible contribution opportunities. As a non-profit with a mission to serve filmmakers, most fees associated with using the Film Forum’s resources are kept intentionally low. A Film Forum membership is a great investment for filmmakers looking to use services on a regular basis—a $45 annual fee buys 50 percent off rental rates, class tuition and film tickets. Northwest Film Forum serves artists, but also acts as a social hub for the independent film community in Seattle. Don’t miss out on happy hours at the Film Forum lobby bar, industry meetings like the annual Seattle Film Summit (September 2014), and virtual communities like the Callboard, where local filmmakers advertise production jobs. Sometimes the right help at the right time can transform a career, and make all the difference to independent artists working without big bases of support. Our goal is that by visiting Northwest Film Forum, filmmakers of all ages and experiences can find resources, friendly faces and useful connections for that next big project. WF For more information, visit www.nwfilmforum.org/live/ page/filmmaking.


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WASHINGTON FILM FESTIVAL ROUND-UP

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ark your calendars for these great events coming soon to your neighborhood.

screenings throughout the four-day event will take place at Columbia City’s Ark Lodge Cinemas.

JANUARY

Spokane International Film Festival January 23-February 1 www.spokanefilmfestival.org Now in its 16th year, the Spokane International Film Festival features a small, selective offering of world-class features, documentaries and shorts that have been made around the world during the past two years but have not yet been commercially released for wide distribution. In addition to film screenings, SpIFF offers exclusive events such as Filmmaker Forums, which give attendees the opportunity to hear filmmakers explain firsthand how their projects went from “Action!” to “That’s a wrap.”

Post Alley Film Festival February 8 www.postalleyfilmfestival.com Post Alley Film Festival, held at SIFF Film Center in Seattle, features uniquely stimulating, female-centric short films hand-picked from local talent as well as emerging and established filmmakers from beyond the Evergreen State. PAFF is co-sponsored by Women in Film Seattle (WIF Seattle), a non-profit professional organization dedicated to advancing opportunities for all women in the film, television, video, digital, and screenbased industries.

MARCH

Children’s Film Festival Seattle January 23-February 2 childrensfilmfestivalseattle.nwfilmforum.org Presented by Northwest Film Forum, Children’s Film Festival Seattle celebrates the best and brightest in international children’s cinema with a 10-day extravaganza of more than 100 films from almost 30 countries. By showcasing innovative, inspiring and fun films from around the globe, Northwest Film Forum aims to promote delight, discussion and even debate while sparking interest in different languages and ways of life.

FEBRUARY

Seattle Asian American Film Festival February 6-9 www.seattleaaff.org The Seattle Asian American Film Festival’s mission is to seek out, promote, produce, and develop Asian American artists with a commitment to original and innovative media works. SAAFF showcases works by Northwest Asian American filmmakers, as well as films from across the country dealing with Asian American people, issues and themes, which are absent from other local festivals. All festival

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Seattle Jewish Film Festival March 1-9 www.seattlejewishfilmfestival.org Founded in 1995, the Seattle Jewish Film Festival (SJFF) is an annual, 10-day and year-round cinematic exploration and celebration of global Jewish and Israeli life, history, complexity, culture and filmmaking for everyone. SJFF showcases the best international, independent and award-winning Jewish-themed and Israeli cinema, enhanced by educational, family, social, performing arts and year-round programming.

APRIL

National Film Festival for Talented Youth April 24-27 www.nffty.org NFFTY has grown into the world’s largest youth film festival. In 2013, the event featured 215 films from the best filmmakers 22 and younger representing 30 states and 20 countries, with 10,000 in attendance. Held in conjunction with NFFTY, The Future of Film Expo hosts all of NFFTY’s additional programming including panels, workshops, and exhibitor booths featuring the best resources and organizations for film technology and education.

Langston Hughes African American Film Festival April 26-May 3 www.langstonarts.org This annual event features thought-provoking, illuminating films that showcase stories of people of African descent, from around the world, by independent filmmakers. Now in its 11th year, the festival also offers panel discussions, screenplay readings, matinee screenings for middle and high school youth, and in-depth chats with filmmakers, industry professionals and local community leaders.

MAY

Seattle’s True Independent Film Festival May 2-10 www.trueindependent.org STIFF is dedicated to the exhibition of independent, underground, experimental and zero budget films. The festival endeavors to provide cultural exchange and educational opportunities by bringing a diverse selection of films to the area and providing a place for networking between local filmmakers, visiting filmmakers and the public.

Translations May 8-11 threedollarbillcinema.org/programs/translations Launched in 2006, Translations is one of only a few transgender film festivals in the world. Three Dollar Bill Cinema presents this groundbreaking film festival to provide the Pacific Northwest with a venue for films by, for, and about transgender people, encouraging visibility and positive representations of transgender issues. Audience awards will be given for Best Narrative Feature, Best Documentary Feature, and Best Short Film.

Seattle International Film Festival May 15-June 8 www.siff.net Celebrating 40 years, SIFF is one of the largest and most


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

JULY

48 Hour Film Project July TBD www.48hourfilm.com/seattle A worldwide phenomenon, the 48 Hour Film Project has teams of filmmakers creating short films in just two days. The Seattle edition takes place in July, though the dates hadn’t been announced at press time.

AUGUST

Columbia Gorge International Film Festival August 1-17 www.angaelica.com Held in Vancouver, the seventh annual CGIFF showcases a variety of local, national and international films, aiming to share a broad range of films representing current affairs and relevant topics that affect our communities. Filmmakers are invited to submit both films and screenplays for consideration.

1 Reel Film Festival/Bumbershoot August 30-September 1 www.bumbershoot.org Curated by SIFF, Bumbershoot’s 1 Reel Film Festival is one of the best-attended short format festivals in the U.S., drawing nearly 10,000 cinema fans annually. 1 Reel Film Festival features themed collections of short films from around the world.

guests, and many other events.

Irish Reels Film Festival September TBD www.irishreels.org Held in Seattle, the Irish Reels Film Festival celebrates Irish film in the Northwest, providing an annual festival of new works by independent Irish filmmakers. The festival’s focus is on independently produced films that introduce Seattle audiences to more typical stories that reflect the uniqueness of Irish life.

Local Sightings Film Festival September TBD localsightings.nwfilmforum.org Presented by Northwest Film Forum, Local Sightings is an annual showcase of current narrative, documentary and experimental film by Northwest artists. Held in late September/early October every year, the week-long festival also features panel discussions, historic NW films, parties, juried awards for a winning short and feature film, and national industry scouts looking for strong new work.

OCTOBER

Ellensburg Film Festival October 3-5 www.ellensburgfilmfestival.com Since its inception in 2004, the Ellensburg Film Festival has grown into a major film and arts event in the Northwest with over 2,000 people in attendance. The three-day festival features local and international feature, documentary, and short films, honored guests, special events, live musical performances, and much more.

festival and attend.

Gig Harbor Film Festival October TBD www.gigharborfilmfestival.org Now in its sixth year, GHFF includes local, regional, and international filmmakers to advance a variety of creative ideas and bring the community a diverse range of appealing films, giving aspiring filmmakers an opportunity to present their efforts to a sophisticated audience and gain recognition beyond the local level.

Seattle Lesbian & Gay Film Festival October TBD threedollarbillcinema.org/programs/SLGFF/ Held annually since 1996, The Seattle Lesbian & Gay Film Festival has grown into the largest event of its kind in the Pacific Northwest, gaining industry and audience recognition for showcasing the latest and greatest in LGBT film, from major motion picture premieres to emerging talent. The festival provides unique opportunities for visiting and local filmmakers to engage and entertain over 10,000 attendees. Maelstrom International Fantastic Film Festival October TBD www.mifff.org The Maelstrom International Fantastic Film Festival (MIFFF) is the Pacific Northwest’s premier weekend-long event devoted towards independent and international genre filmmaking. The event was created to offer exposure to films that traditionally are overlooked by the festival circuit from genres including action, fantasy, horror, and science fiction.

SEPTEMBER

Port Townsend Film Festival September 19-21 www.ptfilmfest.com The 15th annual Port Townsend Film Festival is dedicated to connecting great films, filmmakers and communities. PTFF is billed as “a film lover’s block party,” featuring both indoor and outdoor screenings, meet-and-greets, special 40

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Tacoma Film Festival October 9-16 www.tacomafilmfestival.com The Tacoma Film Festival is an eight-day celebration of current independent film from around the globe. Held at The Grand Cinema, the primary focus of the festival is on art house, foreign language, independent, documentaries and numerous short films. TFF especially encourages filmmakers from the Pacific Northwest area to submit to the

Seattle Polish Film Festival October TBD www.polishfilms.org Seattle Polish Film Festival (SPFF) is an annual event showcasing the best of Polish cinema since the early 1990s. SPFF showcases critically acclaimed films alongside inde-


Providing operators and equipment

425-891-8575 Duffel@akteleprompt.com www.akteleprompt.com

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

NOVEMBER

Spokane’s GLBT Film Festival November TBD www.spokanefilmfest.org Spokane’s GLBT Film Festival is a non-profit organization dedicated to presenting a realistic and positive depiction of the gay/lesbian community and its concerns. The festival is dedicated to screening contemporary independent films that are of interest to the GLBT community and that are not likely seen anywhere else in the community.

Olympia Film Festival November TBD www.olympiafilmsociety.org/festivals/olympia-film-festival Since 1983, Olympia Film Society has hosted the annual Olympia Film Festival, a 10day around-the-clock extravaganza of films, filmmakers and film-related guests, special performances, discussion panels, and educational workshops. Screenings are held at the Capitol Theater, a 750-seat venue built in 1924.

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