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Brad Anderson, Anne Becker, Barbara Marrett, Dave Peterson, Mark Titus, Jessie Wilson SALES MANAGER

Katie Higgins SALES




Forward Momentum for Washington Film


Washington—We Move Forward

The Next Big Thing


Kitty Jones Documentary Now in Market Place

The Pacific Northwest’s San Juan Islands: Genuine Islands, Genuine Character


How to Insure Equipment


New Leadership at Seattle’s Youth Film Fest, NFFTY


Welcome to Bellingham


Washington Film Festival Round-up


For the Love of Film: The Veteran and the Rookie Hit Sundance


The Talent Community and SAG-AFTRA

Dawn Carlson, Beth Harrison, Christina Poisal






Lois Sanborn WEBMASTER

Eric Pederson

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FROM THE COVER: On the set of Different Drummers. Shot in the fall of 2012 in Spokane, WA. MARC DAHLSTROM (left to right) Nick Kelling, 2nd AC; Dan Misner, key grip (red jacket); Lyle Hatcher, co-writer/co-director; Vince DeFelice, production designer; Bryan Gosline, dolly grip; Dan Heigh, director of photography; Don Caron, co-writer/co-director; Richard Lyon, 1st AC (far right).



FORWARD MOMENTUM FOR WASHINGTON FILM Above and below: Members of the WA film community at WF’s Annual Industry Update Celebration in Seattle. PHILIP EICHNER BY JESSIE WILSON Programs and Communications Coordinator, Washington Filmworks

ashington Filmworks was busier than ever after the renewal of the Motion Picture Competitiveness Program in 2012, thanks to an incredible grassroots effort from the Washington film community. The Board of Directors approved a total of 15 different projects for funding assistance in 5 short months, including 8 commercials and 7 feature films. Due to the continued support of contributors, the organization also reached its fundraising threshold of $3.5 million in record time.


Members of the Washington Legislature and the state film community look on as Governor Christine Gregoire signs legislation to renew the Motion Picture Competitiveness Program.

Washington Filmworks celebrated the launch of its newest funding assistance program, the Filmworks Innovation Lab. This initiative is designed to support Washington resident filmmakers, including filmmakers using new forms of production and emerging technologies. Washington Filmworks was pleased to offer funding assistance to five diverse projects through the Film Cycle of the Innovation Lab last year. These projects will go into production throughout 2013 and represent the future of film in the Pacific Northwest.



Washington Filmworks looks forward to building the forward momentum this year. Check out some of the other program changes since renewal: Defining Motion Picture — The definition of “Motion Picture” has been expanded, allowing the WF Board to consider projects that take advantage of changes in digital distribution paradigms.

Film Office — In 2009, WF integrated the resources of the previous Washington State Film Office. WF now has the legislative authority to maintain the functions of that office, servicing both incentive and non-incentive clients. WF remains a first point of contact for all filmmakers shooting in Washington. We offer our Reel Scout online location database and over 25 years of production resource information. Episodic Series — WF may now offer up to 35% funding assistance for episodic series making more than six episodes that spend more than $300k per episode in Washington. Securing an episodic series continues to be a priority for the state film industry and for WF. Commercials — Commercials remain a priority because they represent good paying work for Washington residents and high-profile exposure for our film industry. The WF Board recently renewed funding assistance for commercials at the 15% level to maximize economic development opportunities. Non-Resident Labor — In our ongoing effort to remain competitive on the national scene, WF will now consider on a limited basis funding assistance for non-resident labor if the cast and crew are 85% Washington residents. Further eligibility requirements apply. Please contact WF for more details. Reporting Practices — Significant changes are being made to the reporting practices for the incentive program, allowing WF to collect much more detailed information about the economic impact of the program. More details coming soon. WF

THE NEXT BIG THING BY JESSIE WILSON Programs and Communications Coordinator, Washington Filmworks

n 2012, Washington Filmworks rolled out its latest funding assistance initiative, the Filmworks Innovation Lab. This program is designed to invest in the local creative community and encourage the development of original storytelling by providing up to a 30-percent return on eligible in-state spending for Washington resident filmmakers. The Board of Directors of Washington Filmworks may commit up to $350,000 annually, over two cycles, to support local filmmakers, including those using new forms of production and emerging technologies.


Lab Finalists – Back row (l to r) Nathan Williams, Tony Fulgham, Ian Bell, Shaun Scott, Kenneth White, Keith Bearden. Front row (l to r) Gevin Booth, Megan Lingafelter Ball, Destiny Gowdy. PHILIP EICHNER

More than 20 applicants from across Washington State participated in the inaugural cycle of the program, which launched in August of last year. Everyone underwent a rigorous, juried process; all projects were evaluated on creative merit, as well as economic development potential. In the end, five finalist groups were selected to pitch to a jury of industry experts, receive professional feedback, and ultimately present their proposals to the Board. Washington Filmworks was delighted to allocate funding assistance to all five finalists. These projects, helmed by Washington resident filmmakers, will

result in very different projects over the coming year, including several narrative features, a short film, and a series pilot. All projects will be produced in-state, collectively feature locations across Washington, and put hundreds of local cast and crew to work. Washington Filmworks announced the funding recipients at the organization’s Annual Industry Update celebration in Seattle at the end of last year. The local film community came out in force to help commemorate this investment in the future of Washington’s film industry. The projects that received funding assistance through the inaugural cycle of the Innovation Lab are: • Box Walk, a Narrative Short. Tony Fulgham, writer/director. Megan Lingafelter Ball, producer. • Centerville, a Narrative Feature. Kenneth White, producer. Keith Bearden, director. Kenta Hadley, writer. • Pacific Aggression, a Narrative Feature. Shaun Scott, director/producer. • Sassy Friends, a Series Pilot. Destiny Gowdy, director/writer. Ian Bell, producer. Cate Buddenberg, writer. • The Servant, a Narrative Feature. Gevin Booth, producer. Nathan Williams, writer/director. Matthew Williams, writer. Each cycle of the Innovation Lab shares the same guiding principle—to nurture and invest in the future of the state’s filmmaking industry. This winter, Washington Filmworks kicked off the second cycle of the Innovation Lab, this time designed to challenge local storytellers to create branded motion picture content that traverses multiple delivery platforms. Filmmakers are encouraged to “think outside the box” and are asked to define why their content will help develop a world their audiences can be fully immersed in. WF

Innovation Lab Jury Members Warren Etheredge, Adam Boyd and Mark Lipsky. PHILIP EICHNER

Care to participate in future cycles of the Innovation Lab? Guidelines and a full program description are available at

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Poppies and Lighthouse, San Juan Island. KATHLEEN BALLARD


Historic Hotel de Harbor, Roche Harbor Village, San Juan Island.

he San Juan Islands lend an authentic character to films and shoots, whether capturing the islands’own unique beauty or using their chameleon-like qualities to evoke other places such as New England’s rocky shorelines, Ireland’s emerald isles, or California’s poppy-covered coastline. Reviewers of director Lynn Shelton’s 2012 film, Your Sister’s Sister, filmed on moody Orcas Island, went so far as to describe the island as “the fourth character in the film.”


Aerial of San Juan Islands with ferry. ROBERT DEMAR

Located about 80 miles northwest of Seattle, the islands are easily accessible by car ferries and by air with frequent connections to SeaTac Airport. The San Juan Islands, a magnificent 172-island archipelago in the heart of the Salish Sea, are also close to Vancouver, Canada. In the rain shadow of the Olympic Mountains, the islands receive about half the rain and twice the sunshine of the Seattle area, making filming here more attractive than many other Pacific Northwest locations. WHY THE SAN JUAN ISLANDS MAKE SENSE FOR YOUR LOCATION SHOOT: • Simple permit applications, when needed, with local assistance provided. • Quality lodgings, amenities and custom arrangements—we understand production needs. • Easy, cost-effective travel to and from Seattle, only a 30minute flight. • Historic lighthouses for drama, mystery or romance elements. 8


• Stunning shorelines, prairies and dense evergreenforested scenery. • Historic schooners and wooden boats for waterfront ambience. • Pastoral landscapes with vineyards, farms, barns and fields of grazing animals. • Genuine islands (with no connecting bridges) with secluded, natural settings unavailable on more populated Washington State islands. • Villages and hamlets with charming cafes, cottages and shops housed in historic buildings. • Iconic architecture, from eccentric to grand, warmly organic or sleekly contemporary. Friday Harbor on San Juan Island, the Islands’ commercial center—population 2,162—was recently designated a “Distinctive Destination” by the National Trust for Historic

Eastsound, Orcas Island, San Juan Islands

Preservation. One of a few seaports on the West Coast to escape experiencing a major fire, it is home to many captivating historic properties still in their original use. Friday Harbor has 300-plus hotel rooms with connectivity and services one would find in a mainland city. Less populated Orcas Island and Lopez Island are also able to provide a variety of comfortable lodgings and services. Much has changed since Free Willy 2 and Practical Magic were filmed on San Juan Island over a decade ago. You can now work with the local film liaison at the San Juan Islands Visitors Bureau to help facilitate your production. As Lusid Media’s Jillian Cohen, producer of several 2013 programs for The Travel Channel, stated: “Filming in the San Juans is wonderful. The islands are beautiful, and everyone is helpful and welcoming.” In recent years, the San Juans have hosted feature film work and television productions for The Food Network (Rachael’s Vacation), The Discovery Channel, PBS (Smart Travels with Rudy Maxa) and Animal Planet, plus national commercials. World renowned for scenic beauty, the San Juan Islands not only make a memorable place to visit, but also a great choice for film location work. Let the islands’ endless variety of moods and locations inspire and add genuine character to your next film project. WF For more information go to, or contact: or 360-378-6822, ext. 6.

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WELCOME TO BELLINGHAM ellingham is a great place for adventure, fun and natural beauty; it offers gorgeous backdrops and scenery for filmmaking and photography. The Bellingham area has a historic district, a quaint yet vibrant downtown and a picturesque state university. It’s located in Whatcom County, which is comprised of over a dozen small towns (along the waterfront and in mountain valleys), Lummi Island, miles of shoreline on the Salish Sea, Mount Baker and its national forest, the Northern Cascades, Nooksack River, Chuckanut Mountains, lakes, The artsy, historic Fairhaven District of Bellingham. PETER JAMES and hundreds of acres of rural, agricultural land.


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. Mount Baker, located in Bellingham. PETER JAMES

ACCOLADES Bellingham consistently ranks among the top 10 cities as one of the best places to live, best places to retire, and “hippest, healthiest, and most adventure-packed” small cities in America. Reflective of its quintessential Pacific Northwest spirit, Bellingham has earned recognition as a “Best Place to Play Year-Round,” “Coastal Dream Down,” “Top 10 Adventure Town,” “Trail Town USA,” “Best Paddling Town in the USA,” and “Happiest Small City.” CLIMATE Contrary to popular myth, it does not always rain here! Bellingham gets 36 inches of measurable precipitation per year. That’s less than Miami (57 inches), New York City (43 inches) and Boston (42 inches). Yet none of those cities can claim to be among “the top 10 cities in the nation with the cleanest air.”

ABOUT US We are Bellingham Whatcom County Tourism, a local nonprofit association dedicated to serving visitors. Our main office at I-5 Exit 253 in Bellingham is open daily (excluding major holidays) 9am to 5pm to serve you. Whether you’re interested in snowboarding or skiing on Mt. Baker, hiking or biking in the Chuckanut Mountains, waxing nostalgic about Western Washington University, or taking in our charming arts and history scene, we are here to help.

WHEN TO COME? BELLINGHAM AREA BY SEASONS… No matter what season you choose to visit Bellingham and Whatcom County, there is always something going on. Here’s just a small seasonal taste of what to expect: • Summer: Fair weather travelers should plan their trips for July through September, when the sun is shining and the rain is on hiatus. Also in abundance are summer festi-

Fall leaves along the Nooksack River. ROBERT JAMES

vals, events and tourists. • Fall: Autumnal colors and activities (think scenic drives and pumpkin patches) are as bountiful as the harvest. Local farms, farmer markets and restaurants are overloaded with seasonal foods. Fall also kicks off the Art and Culture season in Whatcom County. • Winter: A snow seeker’s best bet is December through March, when deep snow is more than likely on Mount Baker. Local theaters, museums, wineries, breweries and galleries will keep you entertained. • Spring: Spring fever in Whatcom County? We have it and you will, too. It’s the perfect time of year to celebrate boating season, seafood festivals or all-weather golf. Birding, hiking and biking are also perfect on a warm (or wet) spring day. WF

Hovander Homestead Park in Ferndale, located about eight miles outside Bellingham.

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THE VETERAN AND THE ROOKIE HIT SUNDANCE BY JESSIE WILSON Programs and Communications Coordinator, Washington Filmworks

ynn Shelton is a Sundance veteran. One of Seattle’s more prolific directors, she’s headed back to Park City, this time with the Washington incentive feature, Touchy Feely, starring Rosemarie DeWitt, Allison Janney, Ron Livingston, and Ellen Page. The trek to the festival has become an annual pilgrimage for Shelton, ever since her film Humpday was part of the Dramatic Competition lineup in 2009. Subsequently she’s returned with other projects, among them a Web series, $5 Cover Seattle, and last year’s hit, Your Sister’s Sister, also starring DeWitt. Shelton was even invited to be on the Dramatic Competition Jury in 2012. “Sundance is a very familiar and comfortable place for me now,” she says. “It feels a little like coming home.” Sundance might feel a bit like home, however Shelton and her collaborators are dedicated to making movies in and around her true home base and urban muse—Seattle. Touchy Feely was one of the first films to receive incentive funding following the renewal of Washington’s Motion Picture




Lynn Shelton and Rosemarie DeWitt on the set of Touchy Feely in Seattle. ELIZA TRUITT



The Roper co-director/co-producer Anna Sandilands behind the scenes. PHOTO COURTESY OF LUCID INC.

Competitiveness Program last year, and Shelton uses terms like “positive” and “inclusive” to describe the experience of returning to work with her beloved local film community. Despite a genuine affinity for working locally, Touchy Feely producer Steven Schardt was candid about the role the state film incentive had in keeping the film in Washington. “Our goal is to always work locally,” says Schardt, “but with other states offering incentives, we have to consider what is best for a film economically. In the case of Touchy Feely, not only were we able to stay local, but we were also able to grow our crew.” Touchy Feely isn’t the only film at Sundance with roots in

Washington. The Seattle-based company Lucid Inc. is an awardwinning documentary studio, focused on advertising. Their project, The Roper, is part of the festival’s Short Film Program. “(Washington) is the hub for our work,”says Anna Sandilands, who co-directed and co-produced the film with Ewan McNicol. “The nature of our commercial work takes us to other cities in the U.S., Europe and Asia, (but) all of our pre-production and post-production happens in Seattle.” The Roper has recently won awards and accolades at other festivals, but this will be Lucid Inc.’s rookie year to represent the Emerald City at Sundance. The filmmakers behind Touchy Feely and The Roper are

in for different experiences at the festival, but they share a comradeship in that women spearheaded both films. In fact, 2013 is a record year for female filmmakers at Sundance, with half of the narrative films in competition made by women. “They say that you’ll only experience getting into Sundance the first time once,” says Shelton, “but when I heard the news that Touchy Feely had been programmed… I swear I felt as giddy as I did back when I got the same news for Humpday. To be a part of this historic year fills me with special pride and gratitude.” Sundance has become a comfy place for Shelton, but that doesn’t mean she takes it lightly. Touchy Feely is on the hunt for a distributor, which she describes as a dually exciting and stressful experience. Both Shelton and Lucid Inc. are there to do some serious business. Sandilands reveals that Lucid has been busy setting up meetings and feeling out prospective advertising clients. “We also have some people interested in expanding and continuing The Roper,” says Sandilands. So does the Sundance vet have any sage advice for the Sundance rookie? “The thing I enjoy most is the audience,” says Shelton. “They are engaged and open to new cinematic experiences, and they have all traveled to that town for one reason: the love of film.” Washington Filmworks is thrilled that both projects are part of such a banner year at the festival. Here’s to a wonderful cinematic experience and the continued success of Washington-produced films. WF




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he community of professional performers in Seattle and the Northwest has recently been strengthened. The former American Federation of Television and Radio Artists has combined with the former Screen Actors Guild into a more powerful SAG-AFTRA. SAG-AFTRA now speaks with a unified voice for all performers in the region, covering film, television, radio, broadcasting, sound recordings and more. The SAGAFTRA Seattle Local represents more than 1,600 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 “one-stop 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 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. Of course, full integration will take some time—at this point, the legacy contracts for AFTRA and for SAG are still the operative documents and will be until each of the contracts comes up for renegotiation in the ordinary course, at which time they will become unified SAG-AFTRA contracts. For example, SAG-AFTRA is preparing to negotiate the separate collective bargaining agreements for each legacy union’s television and radio commercials, which is intended to lead to a single commercials agreement. One of the functions of the Seattle Local of SAG-AFTRA is to provide assistance with understanding the Union’s



contracts. There is a myth that those contracts are“too complicated” and that “there is too much paperwork.” The Seattle Local staff is here to provide guidance through the processes to demonstrate that they are not as complex as people think and that, with staff’s assistance, paperwork can be expedited and simplified. SAG-AFTRA wants to get beyond these kinds of rote reactions and, rather, if there are real problems and real obstacles for producers or agents, focus on finding solutions to those problems if solutions can be found. SAG-AFTRA and the Seattle Local work hard on behalf of their members to enhance their opportunities in this industry and this region. SAG-AFTRA and the Seattle Local understand that performers are only one constituency in this business—talent agents, signatories and other producers, casting directors and paymasters, among others, are also important members of the community. SAG-AFTRA has reached out and will continue to reach out to the entire community, seeking to better learn how to move this market in a positive direction that betters the economic proposition for all. 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. To that end, SAG-AFTRA has embarked on an ambitious program to introduce the merged organization to the industry and to start the educational process. For example, the Seattle Local recently conducted an informal session with all of the talent agents in Seattle to make that introduction and to field questions from the agents about substance and about process. It seemed to be a very popular event and there was great energy in the room. Similarly, the Seattle Local invited all stakeholders to an “Industry Summit,” held on a recent evening at the Film Center of the Seattle International Film Festival. It also was a lively evening with lots of engagement by the participants and good ideas for the future. SAG-AFTRA will produce more of these types of events on an ongoing basis so that this energy and engagement are not dissipated. Finally, it is important to remember that membership in SAG-AFTRA means something—it means that the performer has a level of skill and professionalism that has been recognized. Membership in the Seattle Local, for eligible performers, can be accomplished quickly and easily. The Seattle Local offers an initiation fee discounted from the nationwide rate, and there also is a payment plan to spread the obligation out over time. Combining the talents of SAG-AFTRA members and the expertise of our other community participants can only move this region and this market forward for the benefit of this entire community. WF

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Human progress is neither automatic nor inevitable…every step toward the goal of justice requires sacrifice, suffering, and struggle; the tireless exertions and passionate concern of dedicated individuals. – Martin Luther King Jr. r. King’s words speak of a singular dedication toward a common goal of justice. Sacrifice. Suffering. Struggle. Sounds kind of like making a film, too, doesn’t it? Who endures struggle and tireless exertions if not for a cause greater than any one individual—a cause that, with hope, leads to progress in the human condition. Washington has made great strides toward progress in 2012. Our state approved landmark legislation for marriage equality and social justice in November. Of particular interest to us filmmakers, in June, Washington’s elected officials reapproved the Motion Picture Competitiveness Program (i.e. Washington’s film incentive), empowering our state to compete on a level playing field with our neighbors to the north and south of us. What it does, simply, is offer producers 30 percent cash back on production expenses incurred in Washington State. That’s crews, hotels, rental cars, restaurants, safety person-




nel, critter wranglers—you name it—30 percent of a budget spent within Washington returned to the producer within 30 days. It means jobs for Washingtonians and exceptional value for filmmakers who want to take advan-

will chronicle several stories of hope versus several stories of potential disaster for remaining wild Pacific salmon stocks. Our cornerstone story of hope is the beautiful Elwha River on the Olympic Peninsula. For 100 years the Elwha people have sacrificed, suffered and struggled after two dams were built that blocked the wild salmon that fed them for millennia. Forty years of tireless exertions and passionate concern by scores of souls dedicated to seeing the Elwha run free once more, saw the light of justice when both dams were removed between September 2011 and November 2012. The human effort involved in achieving the largest dam removal in history has been nothing short of awe-inspiring. The return

Sacrifice. Suffering. Struggle. Sounds kind of like making a film, too, doesn’t it? tage of the stunning locations Washington State has to offer. Not to mention expert, seasoned crews. It’s a win-win for producers, filmmaking as a whole, and Washington’s economy—and it progresses us forward toward a perpetual, totally sustainable industry here in the Great Northwest. On a parting note of film, gorgeous locations and justice: Along with an amazing team, I’ve had the privilege of directing a feature documentary this year called The Breach that

of salmon to the Elwha people after 100 years gives hope for justice and our progress as a species. If you have a tireless cause—or a story you’d like to tell to move us, further—we’d love to have you join us, and tell it here in Washington. WF Mark Titus is a writer + director and principal of August Island Pictures in Seattle.

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itty Jones has been an animal rights activist since she was 14 and has been featured in scores of blog pages of various animal rights organizations, but now she has a new full-length feature documentary about her work available to the public. The awardwinning teenager has caught the world by storm as she emerges as a young lady who is charming, sweet, articulate and brilliant. On top of that, she looks like she could be featured as the lead actress in a Hollywood movie. Writer/director/producer Oliver W. Tuthill Jr. of Blue Wood Films LLC first met Jones back in 2008—and at the time, commented to his fellow producer Tara Walker that Jones would make a fine talent for a romantic comedy. Little did he realize that four years later he would be in production on a film about her life and the work she is doing to help save animals from death and abuse. “If we can live a healthy, happy life without hurting animals, why don’t we?” Jones asks with a huge smile. “Let’s do it!” she exclaims, and she goes about writing another letter to organizations asking them to help animals. When not in school or studying, Jones spends her time volunteering and demonstrating on behalf of animal rights. Tuthill plans on donating a percentage of the profits to various animal rights organizations. He and Walker have learned from Jones how so many animals suffer a life of abuse and death in circuses, pet farm mills, scientific and cosmetic testing labs, farms, and slaughterhouses. “I know most people respect and care about animals,” said Tuthill. “If most of them knew how many of these animals are being mistreated, they would want it to stop. I certainly did not realize how serious the problem was until I met Kitty. It’s something we just don’t want to think about.” As the film gains wider publicity and is entered into film festivals, Tuthill and Walker plan on booking Jones onto various talk shows. “Kitty is an intellectual and speaks well. She knows her facts. She would make the perfect guest on The Ellen DeGeneres Show and Real Time with Bill Maher on HBO,” said Tuthill. As of now, Tuthill and Walker plan on distributing the film themselves by contracting with independent manufacturer representatives throughout the United States. Brad Liszt of Disc Replicators Inc. in Monterey Park, California, is handling all of the manufacturing for Tuthill’ s Blue Wood Films LLC, which produced the film. Liszt was so moved by the documentary after viewing it that he is doing all the replication at cost. “It’s all about helping the animals,” he said. Walker added, “Kitty is an excellent role model as someone who is compassionate, intel-




Kitty Jones, the subject of a new documentary by Oliver Tuthill. OLIVER TUTHILL

ligent and charismatic, and I truly think her message of putting an end to animal abuse can inform and touch many people in order to make a difference.” You can read more about the film at WF Anne Becker is a freelance writer from England who is working on her first nonfiction book about the history of documentary filmmaking in Europe in the 1920s.

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ne very important element of film production is the use of equipment. Lots and lots of equipment. It can be owned, rented or borrowed, but it must be insured in case of loss due to theft, damage, or mechanical failure. The owner of the equipment is ultimately responsible for any problems that arise during use. However, any user has a responsibility to maintain the equipment, and at the end of the day, return it in the condition it was in at the beginning of the day.


The listing is by manufacturer, description, serial number and cost new. This is perhaps the best form of Inland Marine coverage, but it is also the most time consuming, due to potential changes in the number of items added to and subtracted from the list during the policy term. Inland Marine policies can be issued for different territorial use. If a producer is ever contemplating using equipment out of the USA, its possessions, or Canada, a “World Wide” policy can be issued. The cost of this coverage is nominally higher than a standardissue Equipment Policy issued with the territory USA or Canada, and is easily obtained. Let it suffice to say, “If you take care of your gear, it will last a long time.” WF

is about to lend, and require the producer to carry insurance for Miscellaneous Rented Equipment at the level requested. In today’s insurance marketplace, the instances of large owned equipment schedules for producers are waning. The new cost of cameras, lenses and ancillary equipment is continuing to decline, so it makes economic sense to rent rather than buy. However, if the producer owns equipment, it should also be insured on a “floater,” which will cover that equipment in case of loss or damage. There are different kinds of Equipment Policies. Most are annual in length, and are issued at the same time as a General Liability Package policy.

Let it suffice to say, “If you take care of your gear, it will last a long time.” Owned and Rented Equipment coverage can be purchased on a miscellaneous basis, which does not require listing out the actual pieces of gear. Scheduled Equipment Insurance is the form that lists each piece of gear.





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Inland Marine Insurance is the term used by insurance professionals to lump together coverage for equipment that commonly leaves a fixed premises. The coverage is usually issued in the amount of the value of the equipment in question. When a producer uses a rental house for equipment, the rental house will establish a value for the equipment it

Dave Peterson is president of Midlakes Insurance, a Seattlebased insurance company that has been providing coverage for the production community for over 25 years. Reel Solutions Insurance is on the horizon.

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NEW LEADERSHIP AT SEATTLE’S YOUTH FILM FEST, NFFTY fter a nationwide search, NFFTY (National Film Festival for Talented Youth), the largest youth film festival in the world, recently announced Owen Davies would be joining the organization as their new executive director. “After founding and leading NFFTY as executive director for the first six years, I’m ecstatic to pass the reigns to someone like Owen,”said NFFTY founder and artistic director Jesse Harris. “He’s got the ability to bring NFFTY and our year-round programming to the next level, all the while staying true to our mission of promoting and encouraging the next generation of filmmakers.” Davies has spent his career working with innovative non-profits, on award-winning film productions, and for world-class film festivals. Before joining NFFTY, he spent three years at the Environmental Film Festival in the nation’s capital, where he focused on development, programming and online partnerships. He also had a successful career in television and documentary film, with credits including the Bill Moyers documentary Capitol Crimes, as well as Torturing Democracy, which won the 2009 Robert F. Kennedy Journalism Award. In 2006, Davies worked with Academy Award-winning director Sharmeen Obaid-Chinoy on her short film Assimilation No, Integration Yes. “I couldn’t be more excited to join NFFTY. In only six years, NFFTY has built an international reputation as the premier forum for young filmmakers from across the country and around the world,” said Davies. “With such amazing films and talented filmmakers, NFFTY has enormous growth potential and I look forward to building exciting new initiatives and partnerships. It’s an amazing opportunity, and I’m thrilled to be joining such a great organization.”




Owen Davies

NFFTY is the largest and most influential film festival for young filmmakers (age 22 and under) in the world. NFFTY occurs each spring in Seattle and includes over 200 film screenings, filmmaking panels, film contests, parties, and opportunities for young filmmakers to network with industry professionals and each other. Young filmmakers from around the world submit feature-length and short films in narrative, documentary, animation, music video, experimental, and action sport categories. More than 12,000 film fans are expected to enjoy films and take part in NFFTY, April 25-28, 2013. For updates and news on the 2013 NFFTY, go to or WF




school youth, and in-depth chats with filmmakers, industry professionals and local community leaders.

SCIENCE FICTION + FANTASY SHORT FILM FESTIVAL January 19 Experience Music Project in partnership with Seattle International Film Festival present the Science Fiction + Fantasy Short Film Festival. The one-day festival brings together industry professionals in filmmaking and the genres of science fiction and fantasy to encourage and support new, creative additions to science fiction and fantasy cinema arts.

POST ALLEY FILM FESTIVAL February 16 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 screen-based industries.

CHILDREN’S FILM FESTIVAL SEATTLE January 24-February 3 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. Other highlights of the festival include kid-friendly workshops such as “Movie Making with Sock Puppets” and “Claymation Madness.”

SOUTH ASIAN INTERNATIONAL DOCUMENTARY FESTIVAL February 23-24 This is the first ever South Asian documentary festival in the Northwest, and perhaps the only one in the U.S. The two-day festival kicks off its first year with an exciting lineup of South Asian subject matter documentaries, and cash prizes will be awarded for the best feature documentary and best short documentary.




SEATTLE JEWISH FILM FESTIVAL March 2-10 The annual Seattle Jewish Film Festival (SJFF) is an international cinematic exploration and celebration of Jewish life, global cultures, identity, history and filmmaking. A program of the American Jewish Committee Seattle Regional Office, the SJFF strives to build bridges of mutual understanding between diverse groups through a stellar lineup of international films, related educational programs and illuminating guest artists.

SEATTLE’S TRUE INDEPENDENT FILM FESTIVAL May 3-11 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.

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. All festival screenings throughout the three-day weekend will take place at the Wing Luke Museum in Seattle’s International District.

FEBRUARY SPOKANE INTERNATIONAL FILM FESTIVAL February 1-10 Now in its 15th 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.” 30


APRIL LANGSTON HUGHES AFRICAN AMERICAN FILM FESTIVAL April 13-21 This annual event features thoughtprovoking, illuminating films that showcase stories of people of African descent, from around the world, by independent filmmakers. Celebrating its 10th anniversary, the festival also offers panel discussions, screenplay readings, matinee screenings for middle and high

NATIONAL FILM FESTIVAL FOR TALENTED YOUTH April 25-28 NFFTY has grown into the world’s largest youth film festival. Each year the festival showcases films by directors 22 and under. 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. Read more about the festival on page 28. AAINA: SOUTH ASIAN WOMEN’S FOCUS April 26-28 Aaina, which in Urdu means “mirror,” focuses on and celebrates the artistic work of and about South Asian women. This year’s weekendlong festival includes film, visual and performance art, speakers, and conversations aimed at highlighting issues relevant to South Asian women.

TRANSLATIONS May 9-12 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 16-June 9 One of the largest and most highly attended film festivals in the United States, with 250 feature/documentary films and 125 short films, SIFF has an audience of over 155,000 annually, and is consistently cited as one of the best “audience festivals” in the world. This is SIFF’s 39th annual event.

JUNE 48 HOUR FILM PROJECT June TBD 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 June.

vant topics that affect our communities. Filmmakers are invited to submit both films and screenplays for consideration. 1 REEL FILM FESTIVAL/BUMBERSHOOT August 31-September 2

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.


AUGUST COLUMBIA GORGE INTERNATIONAL FILM FESTIVAL August 14-18 Held in Vancouver, the sixth annual CGIFF showcases a variety of local, national and international films, aiming to share a broad range of films representing current affairs and rele-



The 14th 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 guests, and many other events.

IRISH REELS FILM FESTIVAL September TBD The Irish Reels Film Festival features 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 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, juried awards, and national industry scouts looking for strong new work.

OCTOBER TACOMA FILM FESTIVAL October 3-10 Held at The Grand Cinema, the primary focus of the festival is on art house, foreign language, independent, documentaries and short films. TFF especially encourages filmmakers from the Pacific Northwest area to submit to the festival and attend.



ELLENSBURG FILM FESTIVAL October 4-6 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. GIG HARBOR FILM FESTIVAL October 18-20 GHFF features local, regional, and international filmmakers to 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 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. MAELSTROM INTERNATIONAL FANTASTIC FILM FESTIVAL October TBD The Maelstrom International Fantastic Film Festival is the Northwest’s premier weekend-long event devoted to 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. SEATTLE POLISH FILM FESTIVAL October TBD Seattle Polish Film Festival is an annual event showcasing the best of Polish cinema since the early 1990s. SPFF showcases critically acclaimed films

alongside independent films, shorts, and documentaries.


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 2013 marks the 30th anniversary of the Olympia Film Festival, a 10-day 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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