Women In Film - Seattle



	After moving back to Seattle from Los Angeles, I attended a WIF meeting. The first two women I spoke with became not only dependable and creative professional colleagues, but good friends. Kay D. Ray, director



	34th Annual Seattle International Film Festival May 22-June 15, 2008 Among the many great films to be seen at this year’s fest, WIF/S has branded four films by female filmmakers: Time to Die POLAND Dorota Kedzierzawska Brick Lane UK Sarah Gavron Letting Go of God USA Julia Sweeney (don’t miss WIF’s reception for Julia on June 13!) Lakshmi and Me INDIA Nishtha Jain WIF/S is reminding you also to see these films of our NW filmmakers that are coming up still in the festival: Great Speeches From A Dying World LINEAS PHILLIPS USA, 2007, 92 min. Mr. Big TIFFANY BURNS Canada, 2007, 89 min. The Dark Horse WIF/S MEMBER CORY MOORE USA, 2007, 110 min Good Food Melissa Young and Mark Dworkin USA, 2008, 72 min. Sweet Thing JOE LIA USA, 2008, 80 min. Bookie BAO TRAN USA, 2007, 19 min In the Land of the Headhunters EDWARD S. CURTIS USA, 1914, 47 min The Moore Theatre’s centennial anniversary Visioneers JARED DRAKE USA, 2008, 94 min. *Have fun at the festival!* Seattle Magazine’s feature spread Documentary Filmmaking *Real to Reel, Seattle’s female documentarians* www.seattlemag.com Photos by Charlie Schuck Shot at Seattle's Historic Landmark Theatres By Paula Nechak Why do Seattle's female filmmakers find the documentary genre so alluring? Once thought a poor cousin to the mighty narrative feature and relegated to faded art-house cinemas and obscure film festivals, documentaries have come into their own—and Seattle’s women directors are making them their own. Following in the footsteps of maverick female documentarians like Leni Riefenstahl, Maya Deren, Greta Schiller, Barbara Kopple and Chris Hegedus, local filmmakers are choosing to document subjects from crude oil to burlesque shows. Given the wealth of Seattle women working in the genre, we wondered: Is there something that draws women to documentaries? Do women have a special knack for truth-telling? And what exactly is the truth, anyway? We asked a few local filmmakers—both emerging and established—to speak about the trend. While their answers were wide ranging, they all emphasized the supportive nature of Seattle’s documentary community, which you can experience for yourself at this month’s Seattle International Film Festival. Read the full interviews in Seattle Magazine’ web exclusive photographed at the Egyptian Theater Virginia Bogert: Quiet Crusader Grew up in: Westwood, New Jersey Lived in Seattle since: 1983 Documentary credits: A Matter of Perception (1997), producer and director; in my shoes (1999), director, writer, editor; Pike Place Market: Soul of a City (2001), director and producer; All About Us (episode, Fields of Plenty, 2006), producer and director; American Masterworks (series for the Washington State Arts Commission, 2008), producer and director. Current project/Next up: Fields of Plenty, the long version. This is a film about sustainable agriculture and the glory of food and food producers across the continent—the farmer as nurturer and artisan. Favorite documentary: Harlan County USA, because for me it has all the components of the quintessential documentary film, and true to the spirit of doc filmmaking, this was not the story Kopple set out to tell. Documentary trend I can do without: The trend of “everyone is a filmmaker”—that anyone feels he or she can make a film. Access to inexpensive equipment has democratized the process, but it doesn’t make you a filmmaker nor does it make the footage you acquire interesting, nor do special effects make that footage better. I chose documentary over feature film because: Because life is true. I’d make a feature in a heartbeat though. One does not preclude the other. It’s all about telling a good story. The hardest part about getting truth on film: We documentarians are all, at best, noble propagandists. The filmmaker is an active participant and decision-maker in the process of this medium of communication. Why do women seem drawn to—and so good at—making documentaries? We listen, and that’s the biggest plus. We are also not really as romantic as we are purported to be. I also think women feel they can help make things better in the world and this is a way to do it. If I had all the money I needed to make a documentary, I’d make a film about: Whatever it is, it will be female focused. Lainy Bagwell: The Handicrafter Grew up in: Seattle Lived in Seattle since: 1972 Documentary credits: Blood on the Flat Track: The Rise of the Rat City Rollergirls (2007), co-producer and co-director Next up: I have lots of things brewing in my head…an idea for a horror film, a comedy in the vein of Fast Times at Ridgemont High and a TV series. Favorite documentary: Taxi to the Dark Side, Devil’s Playground, anything by Joe Berlinger and Bruce Sinofsky, and Capturing the Friedmans—that movie creeped me out for a week. Documentary trend I can do without: Reenactments. if you don’t have the footage, figure something else out. Hardest part about getting truth on film: It's a bit nerve-racking asking someone if you can pry into their personal life to show to thousands of people. You’re never quite sure if and when you’re crossing the line. Why do women seem drawn to making documentaries? Perhaps women in general feel that now they can tell the stories they really want to without being limited to vagina-centric subjects like they once were. What about Seattle makes this a good place for documentary filmmaking? We have a lot of creative and interesting people in this city. and we have beautiful scenery that makes for good backdrops! If I had all the money I needed to make a documentary, I’d make a film about: I would love to do a documentary on a popular band. Like following around Earth, Wind & Fire—how cool would that be? Lacey Leavitt (left) and Lainy Bagwell at the Seven Gables Theatre Lacey Leavitt: Girl Friday Grew up in: Lake Stevens Lived in Seattle since: 2000 Documentary credits: Blood on the Flat Track: The Rise of the Rat City Rollergirls (2007), coproducer and codirector Current project: I'm currently producing a narrative feature written and directed by Megan Griffiths called The Off Hours and have a documentary short and two narrative features in development. Favorite documentary: The Fog of War by Errol Morris. Documentary trend I can do without: Anti–Michael Moore documentaries. if you don’t like him, why copy his style of film? I chose documentary over feature film because: I didn’t…I work with both. But sometimes the truth is better than anything you could create, and real people can be more vibrant than any big-name actor. documentaries are also exhilarating to make because even if you think you know the story before you start shooting, your subjects will always surprise you. Why do women seem drawn to making documentaries? I think women don’t have much of a voice in the current Hollywood output and understandably so, because most of the films are geared at males under 25. So that s not always an attractive calling for women who want to tell stories. documentaries can be so diY that you don’t have to worry about someone judging whether your vision is marketable enough before they give you money, because a lot of times you can fund your film yourself. Why is documentary film such a hot commodity? it s so easy to relate to people in documentaries because they’re real people, regardless of their social, economic or political standing. If I had all the money I needed to make a documentary, I’d make a film about: Mae West. Shannon Gee: The Home Towner Grew up in: Seattle Lived in Seattle since: 1970 Documentary credits: All Our Sons: Fallen Heroes of 9/11 (2004), producer and writer; The Meaning of Food (2004 mini series), producer; Smothered: The Censorship Struggles of the Smothers Brothers Comedy Hour (2002), producer; Conscience and the Constitution (2000), coproducer Current project/next up: Finishing producing a documentary about the 1957, set-in-Seattle novel No-No Boy; creating exhibit videos for the new Wing Luke Asian Museum and working on the next season of the Seattle Channel’s Community Stories documentary series. Favorite documentary: Hoop Dreams, When the Levees Broke, Iraq in Fragments and the Chinese documentary Useless. Documentary trend I can do without: Stunt documentaries, which I define as when filmmakers create hyper-manipulated situations for themselves or their subjects to participate in. I chose documentary over feature film because: I think people’s stories are just as, if not more, interesting as made-up ones. The hardest part about getting truth on film: You always want to try to “get it right,” and I think you can’t always get there unless you know your subjects well. On the flip side, you can be too close to a subject. What about Seattle makes this a good place for documentary filmmaking? I think Seattle gives you the time and space to think. It has a more relaxed state of mind that isn’t always in places like New York City or Los Angeles. If I had all the money I needed to make a documentary, I’d make a film about: Civil rights history in Seattle or a personal documentary about my mom’s family, who emigrated from China to Mississippi in 1914. Sandy Cioffi: Rebel with a Cause Grew up in: Brooklyn, New York Lived in Seattle since: 1994 Documentary credits: Sweet Crude (scheduled for completion summer 2008), producer and director; And Justice for All (2003), producer and director Current project: Sweet Crude is my current project, scheduled for completion April 2008. It tells the story of Nigeria’s Niger Delta, where billions of dollars of crude oil flow under the feet of a desperate people. Immense wealth and abject poverty stand in stark contrast. The environment is decimated. The issues are complex, the answers elusive. Favorite documentary: Harlan County USA. The hardest part about getting truth on film: Whose truth? Which truth? To make the kind of art I want to, I have to wrestle my big opinions to the ground. Why do women seem drawn to—and so good at—making documentaries? Women assume that they have to do all of the work—a good skill set for a documentary filmmaker. Also, women appear trustworthy, which helps to get people to talk openly. But I actually use being female as a Trojan horse; I bring a pretty male stance to my work. What about Seattle makes this a good place for documentary filmmaking? From the moment I moved here 14 years ago, this city has treated me like gold. In New York, I would be just another filmmaker asking for favors. Why is documentary film currently such a hot commodity? People turn to independent documentaries to fill in what they can’t find anywhere else. Viewers crave that veracity over verisimilitude. We all want something truly, really, actually human that we can care about. If I had all the money I needed to make a documentary, I’d make a film about: Something lighthearted and life affirming. I have a preliminary idea for a piece about women who make wine, cheese and bread. Deirdre Timmons: The Musical Comedienne Grew up in: Wichita, Kansas, and Seattle Lived in Seattle since: 1976 Documentary credits: A Wink and a Smile (2008), director Current project/next up: A Wink and a Smile, a musical documentary following the lives of 10 burlesque students from their first class to their first performance. Favorite documentary: Borat. Oh wait, was that a documentary? Buena Vista Social Club, Ballets Russes, The Beales of Grey Gardens and Jesus Camp. Life event that made you want to be a documentary filmmaker: Fifteen years as a reporter. Documentary trend I can do without: Documentaries on serial killers. Enough already. I chose documentary over feature film because: Truth is stranger than fiction (and it’s cheaper). The hardest part about getting truth on film: Getting your subject matter to trust you, forget the cameras, stay focused and speak in complete sentences. Why do women seem drawn to—and so good at—making documentaries? Persuading people to open up about their lives or certain incidents is a very nurturing—and manipulative—process. I think women are good in both of those arenas. What about Seattle makes this a good place for documentary filmmaking? The burgeoning film scene here encourages filmmakers on many levels. It’s an edgy, up-and-coming, arts-focused town. In what other cities of this size can you find roller derby, burlesque and a decent opera? Why is documentary film currently such a hot commodity? Reality TV primed American audiences to the notion that the mere existence of a person’s daily life is fascinating and fraught with familiar universal truths. Documentaries provide a medium for more in-depth coverage of an issue affecting our lives or illuminating the journey of others. If I had all the money I needed to make a documentary, I’d make a film about: Anything musical—the musical life of Marines in Iraq; the story of a small circus anywhere; the social life in an African refugee camp. Interview with Natalie Wallace, Past President, Women in Film/Seattle, by Alesia Glidewell Q: Where would you like to see WIF/Seattle in 5 years? A: I’d love to see it bigger, more respected and more active. I’d like to see it more on a level with WIF Vancouver – with the attention of the government, over 600 members, and events with the attendance of the entire film community. WIF should become the type of self-sustaining organization that has all of its members hiring from within through an online job board, resume bank and other tools that really promote the women in the local Seattle industry and the members of Women in Film. Q: Advice to WIFFERS. A: Get involved. Join committees. Work on the board. Change your thinking from, “What is WIF going to do for me?” to “How can I get involved to help WIF create more opportunities for me and my sisters in film?” Q: What are the strengths of the Seattle Film Industry and what could be improved? A: The Seattle Film Community is great because it’s smaller and has more of a family feel to it. People are more generous, accessible, and more willing to get involved helping each other out, which is something you just don’t see in the bigger markets. As far as improvements, I really think those are already being made and the whole local industry is moving in the right direction. The new tax incentive will turn things around and attract bigger films that employ more local people than ever before, including our WIF members. More NW Industry news On September 4, 2007 a strong nationwide coalition of film workers, unions and small businesses filed a formal complaint with the U.S. Trade Representative against the unfair and illegal Canadian subsidies which have so successfully targeted our domestic film and television production. And, as if to underscore the pressing need for this filing, on September 15 Nova Scotia raised its provincial subsidy to 50%, which, when added to the Canadian federal subsidy of 16%, brings the total to an incredible 66%, with no limit on the size of the production budget and no Canadian content requirements. Remember: In spite of numerous state incentive plans and the 2004 federal JOBS Act, over 50% of all feature films and all forms of dramatic television are now shot primarily in Canada. This filing will not jeopardize any of your incentive plans, and, if anything, will make them even more effective. This filing is the only way to put an end to unfair foreign competition and return to a level playing field for American film workers. Now is the time for immediate action. Those of you who are permitted to lobby should ask all your state and local officials and all your members of Congress to send letters of support to the Trade Representative (by fax to 202-395-4549 with a copy sent to Stewart and Stewart at 202-466-1286). Those of you who may not lobby are welcome to fax your personal letter of support to the Trade Representative in care of Stewart and Stewart at 202-466-1286 with the request that it be kept business confidential. For those of you who have questions, see “Fugitive Production,” a powerful article which explains the case against Canada in clear and concise language. Also attached the list of supporters as of the date of filing. Below is an e-mail message to be circulated it as widely as possible in your cities and states. If you have any questions, feel free to get in touch with Ann Champion or with Stewart and Stewart in Washington at 202-785-4185 or general@stewartlaw.com. With thanks for all your efforts to preserve and grow our U.S. film and television production industry, Ann Champion Production Designer and Art Director, member, Art Directors Guild Film and Television Action Committee Board of Directors 323-876-4378 horsedrawn@mindspring.com THE MARTINI SHOT (mahr-tee-nee shot): industry term for the last shot of the day. On September 4 a nationwide coalition of film workers and small businesses filed a historic formal complaint with the United States Trade Representative in Washington. This petition for relief under Section 301 of the Trade Act of 1974 can eliminate the unfair, trade-distorting subsidies that Canada has used to take our jobs for the past nine years. Now that the petition has been filed the most critical task before us is to convince the Trade Representative, Susan Schwab, that our case is worth accepting. To do this, we must show an immediate groundswell of support. There is a simple and direct way for you to do that right now. Take a few seconds, go to http://www.ftac.org and follow the instructions on the front page. You will find form letters (for both industry and non-industry people), but we encourage you to include your own story or comments to personalize the letter you send. With a few mouse clicks you can call on the power of the Federal Government to join our fight against Runaway Production, and every e-mail counts. If our petition is accepted, negotiations must begin WITHIN 60 DAYS with Canada to remove the subsidies which have sent our jobs across the border without us. We could be a few short months away from the dramatic return of film and television production to the United States. Save your job and the future of the industry we love. Please take this one simple action now, and ask your co-workers, friends, family, bowling league, bingo club, etc. to do the same thing. This 301 petition is the only way to put an end to unfair foreign film subsidies. Our goal is to follow the Martini Shot with a champagne celebration. Thank you. If you have any questions or concerns, the excellent article “Fugitive Production” explains the case against Canada in very clear and concise language. It can be found at: http://www.ftac.org/html/claire-art.html. *** For Immediate Release - September 26, 2007 Media Inc. Announces New Blog, Online Edition and More Media Inc. is proud to announce the unveiling of the Northwest Production Index blog, a new resource for the regional film and video industry. Aiming to create enhanced communication among industry professionals and a greater sense of community, the new blog allows members of the local production community to send in contributions and comment on posted content. E-mail all contributions to Katie Sauro at ksauro@media-inc.com. All commentary is welcome, but Media Inc. reserves the right to control posted content. Visit www.nwfilm.com/blog/. We would also like to announce the relaunch of the digital edition of Media Inc. magazine. Now you can read all the latest news about the Northwest's media, marketing, and creative services industries online. See the latest issue, featuring insightful stories on regional printing, special sections devoted to the public relations and post production industries, and much more, at www.media-inc.com. Finally, in keeping with the aim of creating community, job lines are now available on the Northwest Production Index site. We invite both prospective employers and employees to post job-related information online, absolutely free of charge. We request that you please keep all submissions short. Visit www.nwfilm.com and click on Job Lines. For more information, call 206-382-9220 or e-mail media@media-inc.com. Archival Events and Information WOMEN IN FILM-SEATTLE BRINGS 5TH ANNUAL LUNAFEST™ TO SEATTLE Sex, Child Care, Menopause, And Cultural Pressures Encompassed In Film Event to Benefit Local Nonprofit WIF-Seattle and the Breast Cancer Fund (Seattle, WA-September 29, 2005)- Women in Film-Seattle, a professional organization dedicated to advancing the opportunities for women in the film, television, video, and new media industries, has announced it will host the fifth annual LUNAFEST™, produced by LUNA®, the whole nutrition bar for women. LUNAFEST, which celebrates its fifth anniversary this year as the only national touring festival of films by, for, and about women, provides a national platform for emerging women filmmakers to share their stories. It will take place this year in Seattle on October 29. The program, which begins at 1p.m. at The Henry Art Gallery, will include eight winning films selected from more than 200 submissions that made their way through a multi-stage judging process. Under the direction of LUNAFEST's professional programmers, the submissions were initially screened on technical merit, then further judged by the LUNAFEST 40-member community panel, assuring winners' widespread appeal. Final selection followed a review by the LUNAFEST Board of Advisors, a panel of nine women professionals in the fields of film, media, marketing and women's advocacy. As in previous years, the films shown at LUNAFEST embody a wide range of topics dealing with what it means to be a woman in the 21st century. Topics include: a short, animated documentary about senior citizens' sexuality; a woman soldier's crisis to find someone to care for her children during her tour of duty in the Middle East; the dilemma of an Egyptian housewife living in Los Angeles, whether to follow tradition and circumcise her daughter; a daughter's struggle to be understood by her mother; a mother's search for her missing daughter; a young Asian girl's internal battle to find herself or continue to try to be “perfect”; the healing power of friendship between an old woman and a troubled young woman; and a humorous look at menopause. The festival also features a variety of genres, including documentaries and animated shorts. Starting with just eight stops on its inaugural 2001 tour, LUNAFEST is expected to top 100 markets this year as it celebrates its fifth anniversary. The event is being held as a benefit for Women in Film-Seattle, the northwest's only non-profit professional organization dedicated to advancing the opportunities for women in the film, television, video, and new media industries. Price of admission is $15 general public, $10 for WIF-Seattle members. Tickets may be obtained at the door or reserved in advance by calling (206) 447-1537. LUNAFEST also raises awareness of, and contributions for, the Breast Cancer Fund. In total, over $75,000 has been raised for the Breast Cancer Fund. This is the first time the event has taken place in Seattle. BACKSEAT BINGO, by Liz Blazer, An animated documentary about the romantic lives of senior citizens Awards: Official Selection Telluride Film Festival, Official Selection AFI Fest, First Prize Animation Magazine Student Award (5m25s) ONE WEEKEND A MONTH, by Eric Escobar Meg, a busy single mom receives a phone call that her National Guard unit will be activated for duty in Iraq in two weeks. She struggles to figure out who will take care of her children. Awards: Official Selection Sundance Film Festival, Official Selection AFI Fest (11m30s) TAHARA, by Sara Rashad Amina, an Egyptian housewife in Los Angeles under pressure from her mother, must decide whether to circumcise her daughter or abandon the tradition. Awards: Santa Barbara Int'l FF, Victoria Independent Film festival, DC Independent FF (17m30s) BLESSING, by Suju Vijayan Maya, home for her brother's graduation, is forced to deal with their often overbearing, sometimes embarrassing mother, Asha, seemingly oblivious to her daughter's feelings. Asha is not without surprises, forcing Maya to rethink her opinion of her mother. Awards: Santa Cruz Film Festival, LA Film Festival, (14m) TWILIGHT, by Victoria Gamburg A story about loss, despair and the possibility of redemption, set in the Russian city of St. Petersburg during its strange White Nights, when darkness never falls. A woman, Masha searches fruitlessly, through morgues and down alleys, for a daughter who disappeared three years previous. Awards: SF Int'l Film Festival, Telluride International Film Festival, Princess Grace Foundation's Cary Grant Award (21m) PERFECTION, by Karen Lin From infancy, an Asian American woman learns the game of perfection. But if your goal is perfection, will the game ever end? Milton Bradley's game Perfection mirrors an Asian American woman's struggle to achieve success and her parent's approval. Ultimately she must decide whether to end the game. Awards: LA Film Festival, San Francisco Int'l Asian America FF, Seattle Int'l FF, Vancouver Int'l FF (6m24s) LAYING DOWN ARMS, by Carol Schreder The story of two women who forge an unlikely friendship through a mistaken phone call. Janet, a troubled young woman, and Esther, and elderly holocaust survivor, engage in a conversation that transforms both of their lives. (13m45s) MABEL'S SAGA / LE VOYAGE DE MABELLE, by JoDee Samuelson The film blends animation with a lush musical landscape in which Mabel, juggling the demands of work, teenagers and an elderly mother, is confronted with hot flashes and chin hairs. In a touching, funny film without words that celebrates menopause as a natural transition, rather than a medical condition to be feared, Mabel finds herself the unassuming heroine of her own adventure of aging. Awards: Winner- Montreal World Film Festival, Best Short- Atlanta Film Festival (15m3s) LUNA, the top-selling nutrition bar in natural food stores, now contains 30 percent more fiber and 25 percent less sugar. Based in Berkeley, Calif., Clif Bar & Co., whose product lines include LUNA, is a leading maker of energy and nutrition foods committed to sustainability from the field to the final product. For more information visit: www.lunabar.com/lunafest. ClickFlicks.net Premiere online destination for the exhibition and distribution of independent film and television content** New York, NY - October 26th, 2005. Offering the best in independent film and television content, ClickFlicks.net has announced today that it will go live on January 15th, 2006 with over 100 independently produced film and television projects. Unlike competitors such as iFilm and Atom Films, ClickFlicks.net is dedicated to the true independents, those who have mastered the art of "doing whatever it takes" to get their projects made. Powered by a proprietary database application environment, ClickFlicks.net is able to serve content quickly and reliably to millions of visitors simultaneously. In an age when investment money is nearly impossible to come by, the independent often gets the short end of the stick and is forced to beg, borrow and steal for production funds. Even if the film is successfully funded and completed, the independent immediately faces an uphill battle towards securing exhibition and distribution deals. Festival submission seems to be a logical route for completed films, but with most festivals giving preference to "pseudo-independent" Hollywood films, little room is left for the true independents. No entries in major festivals means no exposure to major distributors. Local screenings are a more feasible route, although exposure is limited and rarely leads to a distribution deal. Submitting a film directly to a distributor can be the same as throwing it into a black hole. If the independent is lucky enough to have his or her film viewed, chances are slim to none that it will be picked up for distribution. In the rare case that a deal is offered, distributors have already tasted the desperation and take full advantage - offering the independent a tiny percentage of what is deserved. ClickFlicks.net addresses the plight of the independent by providing an effective exhibition and distribution environment that features only independently produced content. Complete with online festivals, 24/7 screenings, trailers and a target audience of millions per month, ClickFlicks.net truly has everything the independent needs to find success in the world of entertainment.
	Support your Washington State Film Office! The WSFO hosts a resume file and work hotline. If you would like to have your resume on file at the office please send it to wafilm@cted.wa.gov or Suzyk@cted.wa.gov. The Job Hotline is (206) 256-6155. It is a recording and updated as necessary. The office does not send resumes to shows gearing up. Resumes are used as a resource to fulfill production requests that come into the office. It is up to you to track what is shooting locally and take the responsibility for sending in your resume and cover letter. Please send a professional production resume and note only those categories for which your are truly qualified. And...remember to update your resume annually on your birthday or it will expire and be removed from the files. Thank you. Sign up for the Film + Music Newsletter on their website at www.seattle.gov/filmandmusic to be up on the news. James Keblas, Rachel White. If you need film permitting assistance, be sure to check out Seattle's $25/day film permits and the NEW - WASHINGTON STATE FILM INCENTIVE PACKAGE! 20% return on in-state spending for film related expenditures $1 million cap per production $3.5 million annual fund Spending thresholds left in Washington; $500,000-Feature Films, $300,000-Television Productions, $250,000-Commercials Applications available February 1, 2007 Contact Amy Lillard Dee, Executive Director, at Amy@washingtonfilmworks.org, or visit http://washingtonfilmworks.org/home.html. ***plus* SALES TAX EXEMPTIONS: Sales and Use Taxes Off Rental Equipment and Purchase of Services All Taxes Off Vehicles Used in Production Hotel/Motel Tax Exemption with 30 Consecutive Day Stay “INDIE PRODUCERS DEAL” & “VENDOR DISCOUNT”** For productions with budgets between $500,000 - $3 million 30 - 70% off below-the-line costs from participating vendors Productions qualified through the Washington State Film Office Contact The Washington State Film Office, at wafilm@cted.wa.gov, or visit http://filmwashington.com/index.html.