Category Archives: Film

Hollis-McLachlan 1

LA Diversity Film Festival brings unique stories to screen from global filmmakers.

Film Festivals – Beverly Hills, CA

Media Inc. Magazine recently caught up with one of LA’s newest Film Festival Director’s Hollis McLachlan from the Beverly Hills Four Seasons hotel to share with us her rapidly growing and distinguished endeavor, the Los Angeles Diversity Film Festival.LADFF 1

Founded in 2013, this unique festival showcases films that are produced and directed by filmmakers whose voices authentically reflect marginalized groups in society. “Anyone and everyone who feels as though they’re on the outskirts of what is represented in our mainstream media, we welcome.” McLachlan said.  “When selecting films for our screenings, we look at issues like LGBT, race and religion, women filmmakers and groups that we feel are under-represented and need a bigger voice”.

Their non-profit 501c (3) festival ran three full days this July with plans to grow to five days in the summer of 2017 that could include national satellite events in other cities around the country. “We want to impact communities that might not know much about what or how diversity may look like from a cinematic point of view”, McLachlan added.  “A longer festival and more satellite events will allow filmmakers a much more fair and equitable opportunity on screen and networking with other filmmakers and the media.”LADFF 2

Having spent over ten years in the industry as an actor (currently an active SAG/AFTRA member) and educator, McLachlan’s time working with people has allowed her the skill set to understand the unique perspectives of creatives and connect them with others in the industry that often lead to empowering filmmakers to tell much more diverse and compelling multi-cultural stories.  “When it comes to Women in Film, there clearly is an in balance of female characters in films these days.” she says.  “One of the goals of LADFF is to help change that by bringing more films to screen that accurately and fairly represent our culture at large especially our female audiences world-wide.”

The LADFF accepts films of all genres and lengths including animation while each screener and programmer looks at each film with a very particular critical eye making sure the stories meet the festival commitment to showcase empowering and educational films from these unique groups within our culture.

Visit www.LADFF.com for upcoming 2017 submission dates and also follower her @LADFF and @HollisMcLachlan on Twitter.     

ONE SHEET Revised_Alcatraz_Jpeg

‘After Alcatraz – Surviving the Escape’ optioned by Seattle based Capestany Films

Written By Jade Kennedy – Associate Editor 

Now after 54 years, one of the most fascinating unsolved US historical mysteries of all time will be returning to the silver screen with an Award Winning screenplay and original story that follows the infamous Escape from Alcatraz by three men on June 11, 1962.Scott and Kevin

Seattle Producer Scott A. Capestany of Capestany Films negotiated earlier this Spring at the 2016 SCRIPTFEST  in Los Angeles, a screenplay option deal with book author Kevin Bruce.  Bruce, whose father J. Campbell Bruce penned the original book “Escape from Alcatraz” that was converted into a movie starring Clint Eastwood in 1979, recently completed his screenplay adaptation and became a 2015 Cannes Film Festival screenplay finalist in competition.

Capestany Films has been gaining much attention with numerous industry insiders over the last few years involving their aggressive campaigns designed to bring new large scale Film/TV productions to the Pacific Northwest.  Capestany has been strategically positioning his companies IP that includes current projects in development and production mirroring the efforts of Washington Filmworks who have been fighting to restructure the current film incentive program.  Currently, the incentive program ranks at the bottom of over 30 States in the union whom offer spectacular and appealing rebates and tax incentives for producers filming in their regions.

At this years 2016 Seattle International Film Festival, Executive Director Amy Lillard accepted an award for Washington Filmworks’ hard work over the years and helping to restore WA State as a premier filming location that could offer better incentives for their filmmakers which in turn positively impact the States local economies.

“It’s always been a cornerstone of Capestany Films to help enhance the number of commercially sound feature films and TV productions that can be filmed in our State without losing high concept global appeal and avoiding big budgets”, Capestany said.   “The digital revolution now allows quality feature films to be made in the $1-5M range that now carry  lucrative box-office revenue potential around the world”, he added.  “We commend the efforts of Washington Filmworks in helping us filmmakers in this regard.  However, WA state lawmakers need to re-examine the colossal positive economic impacts these films and TV productions make in our communities and the contributions they make among the overall economic vitality of the region.” ONE SHEET Revised_Alcatraz_Jpeg

With their new project ‘After Alcatraz – Surviving the Escape’, Capestany and his team plans on bringing  a large portion of the film to a small Pacific Northwest community that will feature a magnificent 1960s production design, theme and one of the most popular prison escape stories of all time to Washington State.  “Having watched Scott work tirelessly over the years, re-opening the Alcatraz mystery – so to speak – and bringing this tale of intrigue and history to the Evergreen State soil could be the kind of film that helps put Washington State back on the map as a prime and economically viable filming destination.”, said local production designer Aaron John III.

The producers did not comment on or speculate if Clint Eastwood would reprise his role of the aged 85 year old escape Frank Morris or speculate the possibilities of Scott Eastwood to play the lead part of the younger Frank Morris in this film.

Scott and Ben_2015_HSFF

HollyShorts Film Festival welcomes Pacific Northwest Alliance!

Award Winning Seattle Filmmakers set to showcase films at the 2016 LA Hollyshorts Film Festival!

Seattle, WA — Media Inc has partnered with Hollyshorts Film Festival as their official press affiliate this year covering the events from the iconic TCL Theater and the Roosevelt Hotel on Hollywood Boulevard Aug 11-20.

HollyShorts Film Festival announced last week the 3rd annual inclusion of  the “WA State Film Showcase” for their line-up of special film short screenings.  Hosted at the iconic Grauman’s  Chinese Theater on Hollywood Boulevard and other LA venues (The Roosevelt Hotel, Harmony Gold Theater, OHM Nighclub, Ignited Spaces, Avenue 17 Studios, 33 Taps and Redbury Hollywood), the 12th annual Hollyshorts Film Festival will be featuring works from 400+Indie Film shorts from around the world during a week long odyssey between Aug 11-20 packed with of screenings, conferences, parties, panels, workshops and special events.  Nearly 3000 films from every continent were submitted this year.

Ben Andrews and David S. Hogan

Ben Andrews and David S. Hogan

Pacific NW production companies Evil Slave (ES), Abundant Productions (AP), Mighty Tripod Productions (MTP), Modern Motion (MM) and Capestany Films (CF) will be featuring works from PNW Filmmakers.    Headlining the showcase will be the World Premier of 2015 Award Winning Hollyshorts screenplay “The Lunchbox Brigade”.  Produced  collectively by Lorraine Montez, Ben Andrews, David S. Hogan, Marissa Fujimoto, Ryan Wagenhauser and Christopher Meuer,  this warm and adventurous coming of age tale featured over WA state with a cast and crew filmed entirely in the Evergreen State.

The Lunchbox Brigade follows a neighborhood squadron of kids that discovers their brother-in-arms, Johnny, has gone to camp for the summer. They determine a rescue is in order, and together they embark on an antic-filled plan to infiltrate enemy territory (aka summer camp) and free their friend. But when their leader, Teddy, discovers that Johnny actually wants to be at camp, he must lead the Lunchbox Brigade in a touching tribute to the loss of one of theirown.Media Inc Roosevelt party banner

Casted by David S. Hogan of Mighty Tripod Productions, the local talent included Kyan Zielinski as Teddy, Forrest Campbell as Bugsy, Malakai James as Logan, Kristoffer Holtan as Clyde, Eden Campbell as Sue and Alex Silva as Johnny.  “I had a great time casting the talent for this great film.  The amount of talent we saw during the auditions was very impressive.  The kids that were ultimately cast are some of the region’s best young performers I’ve seen,” said Hogan.   

Hollyshorts is listed by MovieMaker Magazine as one of the “top 25 festivals worth the entry fee,” HollyShorts awards the winner of the screenplay competition with an automatic entry in the following year’s festival.

Seattle-based producer and filmmaker Ben Andrews, creative director of Evil Slave, recognized an opportunity to create a strong alliance of filmmakers from Seattle, Tacoma and Los Angeles when he met the HollyShorts leadership early in 2014 at SXSW. “It happened pretty quickly,” said Andrews. “I discussed the need to highlight Washington filmmakers and they discussed the need to expand and further their outreach.”

“It’s truly an honor to see our dreams becoming a reality, having our esteemed HollyShorts Screenplay competition winner Kyle Thiele get his short made via our partners Evil Slave, Abundant Productions and Mighty Tripod Productions along with Shoreline Community College’s Filmmaking Department,” said Theo Dumont and Daniel Sol, HollyShorts co-founders. “This alliance truly signifies the new pathway between the Pacific Northwest and Hollywood, a bridge that creates incredible opportunities across the board for filmmakers everywhere and we are delighted to be involved.”

Lorainne Montez

Lorainne Montez

Pacific Northwest producer Scott A. Capestany, Creative Director at Capestany Films, has sponsored and supported this new alliance and movement since its inception. “We are proud sponsors of the HollyShort film festival each year in support of Ben Andrews’ efforts in helping bridge the gap between the L.A. indie film market and our local market,” he said. “His resilient efforts have helped open up new relationships between Puget Sound businesses and Hollywood decision makers that support the growth of our Washington State economy and our vibrant film/TV local industry.”ATP Blue poster_HS laurel

Capestany’s latest film “Across The Pond” starring University of Washington alum and now Hollywood writer/producer/actor PARIS DYLAN, was selected to screen during this years WA Film showcase.  “It was an honor and privilege to have worked with such a great team on this film. Pulp Digital Productions really pulled out all the stops and delivered an impressive film.   Rene (Bourke) really worked hard leading us all for over a year to make this film come to reality,” Dylan said.  “I’m so proud of our amazing team, Pulp Digital Productions, Paris Dylan, and special mention to Capestany Films for their consulting, guidance, and marketing expertise to see this film through to showcased in the worlds entertainment capital of Hollywood at this prestigious Hollyshorts Film Festival.” Said Executive Producer and lead actress Renee Bourke.  Also supporting the 2016 Hollyshorts Alliance are industry leaders Terri Morgan of TCM MODELS and Peter Barnes of  CLATTER & DIN, Inc.Hollyshorts 2016

“I’m honored to be the winner of the 2015 Screenplay competition with HollyShorts and am impressed with the professional caliber of the Pacific Northwest filmmakers producing the short,” said Thiele, writer and director of The LunchBox Brigade.

The 12th Annual HollyShorts Film Festival and Film Conference/Film Market is scheduled for August 11-20, 2016 at the world famous TCL Chinese Theatres.  The WA State Film Showcase will take place August 14, 2016 from 10am-2pm followed by an Abundant Playhouse special screenwriting event.   MEDIA INC MAGAZINE will host a special kickoff event at the Hollywood Roosevelt Hotel Saturday August 13th from 7-10pm. RSVP HERE.  Visit www.hollyshorts.com for more information. Hollyshorts on Twitter and Instagram

Ashland article_Bagshaw

Ashland Named A Best Place to Live and Work as a Filmmaker by MovieMaker Magazine for Third Year in a Row

Ashland article_Bagshaw

By Ginny Auer Executive Director, Southern Oregon Film and Media (SOFaM)
Photo by Sean Bagshaw

When thinking of Ashland, most people’s minds go to the Tony Award-winning Oregon Shakespeare Festival, the powder atop the slopes of Mt. Ashland or the many local wineries and breweries. But after a third year in a row on the list of best places to live and work as a filmmaker in MovieMaker Magazine, Ashland’s reputation as a filmmaking hub is solid as well.

Ashland was recognized by MovieMaker Magazine as the #2 Town to Live and Work as a MovieMaker in the nation for 2014, and then was honored with a bump to #1 in January of 2015! In 2016, MovieMaker changed the criteria for the award to combine small cities and towns. Ashland beat out film hubs with populations of more than 150,000 and more robust incentive packages, ranking at #5 on the list this year. How is it that this small town of 20,000 is getting such accolades? MovieMaker cited “a bustling culinary scene, a no-big box store policy (and no state sales tax!), film festivals, independent theaters and a super-supportive film organization called Southern Oregon Film and Media (SOFaM).”

SOFaM supports the local film industry by promoting the region to both local and out-of-area producers, and works to connect productions with local film professionals, actors, equipment and resources via its online directory. With its large database and deep reach across the entire region, SOFaM is a great place to start for any film or media project.

In recent years, Ashland has shown up on big and small screens quite a bit. Wild, with Academy Award winner Reese Witherspoon, featured the downtown area, as well as nearby sections of the scenic Pacific Crest Trail. Ashland was also seen in Night Moves with Jesse Eisenberg and then again in the locally-produced independent film Black Road. Companies like Hewlett-Packard and even John Deere are finding Southern Oregon a great place to film.

Ashland has a film-friendly community, with low- to no-cost permits, strong state incentives, no sales tax and unexpectedly large numbers of filmmakers, technicians, equipment, support services and on-screen talent.

And then there are the kinds of resources you don’t expect to find in a town this size. Beyond the talented performers that join the Oregon Shakespeare Festival each year, OSF’s costume rental shop is just as impressive. The shop is the size of a football field with costumes from nearly every era, and it regularly rents to theaters, film and TV productions across the country, including Saturday Night Live.

Ashland is in the center of a filmmaker’s goldmine. Southern Oregon boasts a unique and beautiful coastline, high desert to the east, and many small towns with a host of unique venues for shooting. Medford, situated at the heart of the region, is the location of an airport with direct flights to and from Los Angeles, Portland, Seattle, San Francisco, Denver, Salt Lake City and Phoenix. When taken as a whole, the MovieMaker designation of Ashland as a best place to live and be a filmmaker really applies to all of Southern Oregon.

Cameras are rolling in Southern Oregon like never before and SOFaM extends an invitation for new and returning filmmakers to join in and see what all the buzz is about!

Leaving the Stage Behind: Adapting a Play for the Big Screen

 

IMG_7210Director Bret Fetzer brought the one-man monologue My Last Year With the Nuns to moviegoers with great acclaim. He reflects on his experience in this essay.

By Bret Fetzer
Photos by John Jeffcoat

Making a movie is like running an obstacle course, and the first obstacle in the path of My Last Year With the Nuns was obvious: I was crafting a film out of Seattle performer Matt Smith’s theatrical
monologue — one man talking for an hour and a half. While there are several successful films of someone alone on a stage talking, they’re mostly stand-up comedy, not long-form storytelling. Moreover, I didn’t want to just document a stage performance; I wanted to find a way to make this experience cinematic.

There were three examples I could think of: Spalding Gray’s Gray’s Anatomy, Mike Birbiglia’s Sleepwalk With Me, and Josh Kornbluth’s Haiku Tunnel.

 Director Bret Fetzer brought his one-man monologue from stage to screen.

Director Bret Fetzer brought Matt Smith’s (pictured here) one-man monologue from stage to screen.

Both Sleepwalk With Me and Haiku Tunnel tried to create a kind of hybrid movie, going back and forth between a typical multi-character scenario and the central character talking directly to the camera. But neither one quite gels, largely because in a monologue, a significant event can happen in a single sentence; but when you turn that monologue into a multi-character narrative, that event has to be a scene that can’t match the wit and concision of that sentence. The strongest elements of both movies were when Birbiglia and Kornbluth turned to the camera and talked. This convinced me it was crucial to stick to that.

Gray’s Anatomy is a more interesting case. Like Swimming to Cambodia and Monster in a Box, Gray’s Anatomy stuck to Gray’s monologue, but director Steven Soderbergh took Gray off the stage into a variety of odd settings—the one I remember most has Gray in a chair on some kind of conveyor belt, moving slowly across the screen. The result is visually intriguing, but doesn’t do much to support Gray’s voice; in fact, I’d argue the visuals work against the rhythm of the storytelling—and in storytelling, rhythm is crucial.IMG_7423

So I wanted to make the camera as nimble and fluid as Matt’s words. Matt talks about kids he grew up with, and the nuns and priests who made their lives difficult, but his stories are just as much about places: The shack where the newspaper boys played and fought, the church where Matt was a negligent altar boy, the ravine where secrets were kept and runaways hid, the classroom where a spelling bee became a tool of punishment. So I decided to make these places as significant as other actors would be.

Almost every time Matt’s stories shift to a new location, so does the movie—sometimes multiple times within each episode. These locations not only frame the stories (or perhaps “ground them” would be a better way to put it), but the shift from setting to setting gives the movie a visual rhythm that’s in sync with Matt’s verbal rhythms. I hoped the effect would be lively, playful, and perhaps give the audience the sense that they were entering into Matt’s memories as he told these stories. The reviews of My Last Year With the Nuns suggest that I succeeded in leaving the stage behind.

My Last Year With the Nuns is currently available via Vimeo-On-Demand at www.mylastyearwiththenuns.com.

Bret Fetzer has been writing screenplays, plays, and short stories for over 30 years. His plays have been produced around the U.S., as well as a production in Chile. His short stories have been published in a variety of literary magazines and collected in Petals & Thorns and Tooth & Tongue. He’s written film reviews for Seattle Weekly, The Stranger, and Amazon.com. He has been the Artistic Director of Annex Theatre, the theater editor for The Stranger, and a vacuum cleaner salesman for the Kirby Company. He wrote the narration for the documentary Le Petomane: Fin-de-siecle Fartiste. He has previously directed a handful of short films; My Last Year With the Nuns is his feature-film debut.

Eugene Film Fest Celebrates 10 Years

Eugene Mayor Kitty Piercy introduces The American Gandhi team at EIFF 2015. Photo by Mike/SUSMI Global.

Eugene Mayor Kitty Piercy introduces The American Gandhi team at EIFF 2015. Photo by Mike/SUSMI Global.

By Mike Dilley Executive Director, Eugene International Film Festival

The Eugene International Film Festival celebrated its 10th season with the world premiere screening of The American Gandhi, starring James Patrick Stuart (All My Children, Still Standing, Monsters vs. Angels). The EIFF has celebrated filmmaking with awards, receptions, workshops and networking with celebrity mentors throughout its first decade.

Hosting the red carpet gala, premiere and VIPs associated with the making of The American Gandhi was a fitting tribute to the pluck it takes to bring a story to the screen. Producer Hari Ghadia was presented with the festival trophy for Best Film in the 2015 Eugene International Film Festival. The film was also awarded at the EIFF with the Best Cinematography award for its locations and sets used in filming. “I would like to thank the jury of EIFF for this award. We hope to start a global conversation about illegal mining with this inspirational story,” said Ghadia, while accepting the award.

Guests from as far away as McMurdo Station, Antarctica, and Melbourne, Australia, have joined with others from across North America and Europe to enjoy the camaraderie of the festival, wineries, brewpubs, river paths, bicycling, and easily accessible locations such as the Oregon Coast.

James Patrick Stuart starred in The American Gandhi, and attended the festival in Eugene. Image courtesy of SUSMI Global.

James Patrick Stuart starred in The American Gandhi, and attended the festival in Eugene. Image courtesy of SUSMI Global.

It is no stretch of the imagination that the screenplay for The American Gandhi originated in Eugene, a region that many in world arts call home. There is something about the quality of life that makes people creative.

Director and co-writer Joseph Mungra is no exception. He has created a number of independent films, shooting within the region, in Hollywood, Greece and now India. Joining him in creating The American Gandhi were area residents Kale Dawes (co-author and sound design) and casting director Linda Burden-Williams.

In The American Gandhi, Mark Martin (James Patrick Stuart), an experienced mining analyst, is hired by his billionaire friend Brad Harrison (Jim Storm, The Bold and the Beautiful) to manage and upgrade rare earth metal mines in India. Confident, but naive, Mark finds himself on the horns of a dilemma. Does he cater to rampant police corruption and blatant disregard for the law, or follow his conscience? No matter the choice, he will pay a price.

SEATTLE FILMMAKER TAKES HOME $25,000 GRANT

Ahead of Film Independent’s annual Spirit Awards, to be held at the end of the month, the organization recently announced the recipients of three awards, each accompanied by a $25,000 grant.

One recipient was Seattle filmmaker Mel Eslyn, who received the Piaget Producers Award, honoring “emerging producers who, despite highly limited resources, demonstrate the creativity, tenacity and vision required to produce quality, independent films.”

Mel has produced such projects as The One I Love, Touchy Feely and Your Sister’s Sister, among many others.  One of her latest projects,  The Intervention, recently premiered at Sundance.

Congratulations, Mel!

To read the full article, click here.

Portland documentarian Beth Harrington.

The Winding Stream Gets Theatrical Release

Portland documentarian Beth Harrington.

Portland documentarian Beth Harrington.

By Mary Erickson Associate Editor
Photos courtesy of Beth Harrington Productions

Beth Harrington’s idea for a music documentary about the legendary Carter-Cash family had been percolating for a while. She wanted to focus on the musical family that heavily influenced—and arguably started—American country music. A.P., Sara and Maybelle Carter recorded their first songs in 1927, starting the legacy that included June Carter Cash, Johnny Cash, and Rosanne Cash.Winding Stream poster

A linchpin in the film would be the inclusion of Johnny Cash. As it became clear that Cash’s health was rapidly declining, Harrington realized, “If Johnny Cash was going to be in the film, I’d have to get on it.” She started shooting in 2003, and recorded Cash’s last on-camera interview. Thus began the production for The Winding Stream —The Carters, The Cashes and the Course of Country Music.

The odyssey that marked the film’s production hinted at the changing conditions of the film industry. The fundraising world for documentaries was shrinking, and it became tougher to find money to finance the film. “I spent a long period in the wilderness as nothing happened financially,” recalled Harrington. It was clear that the film’s music licensing fees would be prohibitive, but Harrington persevered, and the film finally premiered at SXSW in 2014. Since then, the film has played in dozens of festivals around the world, winning multiple awards.

Now, 18 months later, the film is getting its theatrical release. Working with Argo Pictures of New York, Harrington is ready to share the work of promoting an independent film. “I’m loving the fact that someone else is getting the film out there,” she said. The film will open on a market-by-market basis, visiting key cities across the country in event-style screenings. The first stop was Portland, Oregon, on September 17, with additional screenings in Seattle, Tacoma, Ashland, Los Angeles, and elsewhere.

Johnny Cash and June Carter Cash.

Johnny Cash and June Carter Cash.

Harrington has ventured into the world of ancillary merchandise to accompany and support the film. The musical legacy of the Carter-Cash family will be available as a soundtrack to be released in October 2015 by Omnivore Recordings. Harrington published an oral history of the Carter-Cash family in book form, also called The Winding Stream.

Harrington will continue to focus on The Winding Stream for the next year, attending as many of the screenings as possible. “This is my job,” she said. “We’ve received such positive responses. The critics love it. Audiences love it. I owe it to the film.”

The Carter family on Border Radio.

The Carter family on Border Radio.

The Winding Stream opened on September 17 at Portland’s Hollywood Theatre, followed by screenings in Seattle for the Northwest Film Forum’s Local Sightings Festival on September 28, and at Tacoma’s Grand Cinema on September 29. More information about the film is available at www.thewindingstream.com.

Homecoming stars Lauren Bowles and Victoria Smurfit.

Homecoming Finishes Production in Portland

Homecoming stars Lauren Bowles and Victoria Smurfit.

Homecoming stars Lauren Bowles and Victoria Smurfit.

By Mary Erickson Associate Editor   
Photos courtesy of Radar Pictures

After attending a screenwriting workshop at Santa Rosa Community College, Portland-based clinical audiologist Christi Sperry and her sister-in-law Sarah Hehman set out to write a full script. They wanted it to be good, with a compelling story and realistic characters.

“We didn’t expect it to turn into anything,” Sperry comments.

Then, in early 2015, one friend offered to invest in the film production and another friend introduced them to director/producer Paul Kampf. Fast-forward four months, and the film, titled Homecoming, started shooting in Portland.

Homecomingdirector Paul Kampf with DP Rene Jung.

Homecomingdirector Paul Kampf with DP Rene Jung.

A female-driven story, Homecoming follows a 40-something couple who has moved to a new city for the husband’s dream job. The wife, lonely and a little naïve, meets wealthy suburban alpha moms in the community and gets sucked into a life of backstabbing and Botox.

It’s a story that resonates with women, and demonstrates the writers’ commitment to featuring strong female voices. “There’s a need in cinema for more female voices,” says Sperry. One crewmember commented to her during production, “It’s exciting to have so many strong women on set. I don’t often see that.”

Filming in Portland was particularly appealing, given the filmmakers’ connections to the city. Sperry lives there, as does the film’s executive producer. “We were able to use a lot of resources here and call on favors for locations,” says Sperry.Homecoming Lauren Bowles Victoria Smurfit 2

“One of the great things about Portland,” says Hehman, “is the universality of the city. It has so many different neighborhoods that feel like different places. The city of Portland conjures up other places.”

Director Paul Kampf agrees. “One of the reasons why TV productions are rushing up here is that Portland has the diverse look of five cities in one. It’s like a living film set.”

Sperry and Hehman were on set every day during the film’s 21-day shoot, their first introduction to working on a production. “It was very exciting and intense and amplified,” says Sperry.Homecoming director Paul Kampf

They were awed at the level of collaboration that goes into making a film. “When you give your script over,” says Hehmen, “it’s amazing to see how many people’s thoughts contribute to the film. Each person gleaned something from the script to bring it to life.”

Homecoming has entered post-production now, with the festival circuit in mind once the film is completed. In the meantime, Sperry and Hehman have co-written another script and have a treatment for a third. They are each also continuing to pursue their careers, Sperry as a clinical pediatric audiologist and Hehman as co-owner of Favery, an online jewelry and accessories boutique.

Kampf is also working on other projects. His experience in Portland on Homecoming was so positive that he’s hoping to line up two more independent feature projects to film in Oregon.

“You can’t quantify the people up there,” he says. “They’re so great to work with.”

photo4

Lundgrens Release Black Road

photo4

Duo’s Third Movie Filmed in Southern Oregon

Utilizing a vast array of locations, including beaches, mountains, rivers, lakes, restaurants, retirement communities, universities, a minor league ballpark, city streets, campgrounds, redwoods, winding roads, and the Great Cats World Park, Gary and Anne Lundgren have leveraged the beautiful landscape and ease of shooting in Southern Oregon on three feature films.

Gary and Anne Lundgren.

Gary and Anne Lundgren.

Their third feature, the sci-fi thriller Black Road, starring Sam Daly, will be in theaters in October 2015. In addition to great locations, the film benefited from partnerships with members of the Southern Oregon community, including Brammo Electric Motorcycles, the Neuman Hotel Group and multiple local restaurants and equipment houses.

The Lundgrens have always been drawn to the area. In 2007, they traveled from Los Angeles to film their first feature, Calvin Marshall (starring Steve Zahn). This college-aged baseball film was shot at Southern Oregon University and Harry & David’s impressive, professional-sized baseball field.IMG_1739sm

After a great experience with local crews and locations, the Lundgrens moved their production company, Joma Films, to Ashland permanently.

In 2012, they made Redwood Highway, the story of a 75-year-old woman walking alone for 80 miles between Grants Pass and the coast. It was filmed at over 40 locations in 19 days across 200 miles and 4 counties. The ease of navigating Southern Oregon with minimal traffic and supportive communities made the arduous schedule a possibility.

The Lundgrens’ third film, Black Road, is set in the State of Jefferson, the mythical joining of Northern California and Southern Oregon. It was filmed completely in the Rogue Valley and on the beach at Arcadia Vacation Rentals between Brookings and Gold Beach.

In October, the Lundgrens are embarking on a screening tour through Oregon to show Black Road to their fans and to the communities that participated in the filming.IMG_6683

“The community has been incredibly supportive,” says producer Anne Lundgren, who also worked as the Ashland location manager and liaison between the city and the production company for the 2013 production of Wild. “We love living and making movies here. We have a talented crew we’ve worked with for many years. The people are great, the crews are professional, the landscape is beautiful, the light is perfect, and the clouds billow. There are plenty of great local restaurants and hotels to house guests due to the strong tourism industry. The community is supportive, the locations are accessible, varied and numerous. And people are still proud that movies are made in their town. It’s a wonderful place to raise our family, and we plan to make movies here for many years to come.”

Join the Southern Oregon ranks of working filmmakers or come enjoy what the region has to offer for a few months while you shoot your next feature!

For more information about filming in Southern Oregon, please visit Southern Oregon Film & Media (SOFaM) at www.filmsouthernoregon.org.