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Seattle Film + Music Blog

Seattle Film Industry July Update

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Seattle Film Industry and Community:

As we get deeper into August, the days are slowly getting shorter, but the temps are still high, and the golden hour still lasts over two hours.  We’re hearing that a lot of you are staying pretty busy.  Let’s take a look at Seattle film production in July as we head into our final summer months!

Film set photo
Hungry Man “Discover Card” crew, Pioneer Square.  Photo Credit: Office of Film + Music

July 2019 Seattle Film Permits

Seattle’s busiest shoot day of 2019 (so far) was July 25th, where 11 film productions filmed at 24 public locations, hiring 97 local cast and crew.  Thanks for being, and keeping us, busy, Seattle!

Here’s the July breakdown of local crew hired by production category, and most popular Seattle neighborhoods.

Production Type (59 permits in July 2019)

  • 16 Commercial / Advertising – 331 local cast and crew
  • 5 Corporate / Industrial – 39 local cast and crew
  • 7 Documentary – 44 local cast and crew
  • 6 Short Film – 66 local cast and crew
  • 9 Still Photography – 47 local cast and crew
  • 2 Student Film – 35 local cast and crew
  • 1 VR/ Augmented Reality – 7 local cast and crew
  • 2 TV / Other – 16 local cast and crew
  • 3 TV / Series – 54 local cast and crew
  • 8 Web Series – 90 local cast and crew

Neighborhood Council Districts(showing productions with multiple shoots July 2019)

  • District 1 – 4 productions
  • District 2 – 7 productions
  • District 3 – 8 productions
  • District 4 – 10 productions
  • District 5 – 0 productions
  • District 6 – 5 productions
  • District 7 – 22 productions

Top 5 Filming Neighborhoods (July 2019)

  1. Downtown – 8 productions
  2. Queen Anne – 8 productions
  3. Magnolia – 7 productions
  4. Fremont – 5 productions
  5. Capitol Hill – 4 productions

While Seattle film permits only show a slice of the film production activity in the region, they are a window into local film production work.  We use this data to help City leadership understand what type of filming is happening, and what positive jobs and economic impact it is creating. 

Film Production in Seattle:  Summer Look-ahead

Current #SeattleSqueeze right-of-way permit restrictions:  NONE.
All downtown traffic control/street closure permit restrictions have been lifted.
Film permit requests for all Seattle neighborhoods, including downtown, will continue to be accepted and assessed on a case by case basis. 

Pioneer Square large vehicle street parking restrictions.  Did you know most of Pioneer Square building entrances are on the 2nd floor of the actual buildings?  This is because after the Great Seattle Fire of 1889 roadways were raised about 12’ between the buildings.  To keep commerce going, the sidewalks were kept open while sidewalk “lids” were installed to the new higher entrances.  Those hollow areas are called Areaways, and many of them exist today.  In fact, many Areaways encroach into the traffic parking lanes, which is beginning to pose a structural problem.  To ensure safety, while the City addresses structural stability, several sections of street parking are now restricted to oversized vehicle parking.  The City is increasing the number of restricted parking spaces before the end of the year.  The Film Office is working closely with SDOT and Alliance for Pioneer Square to accommodate large productions as best possible in the Pioneer Square neighborhood.  More information on the restrictions here.

Green Lake and Wallingford Paving Project. Seattle Department of Transportation (SDOT) has started construction on N 50th St for the Green Lake and Wallingford Paving & Multi-Modal Improvements Project. The project is expected to be completed in 2021. More information here.

Fairview Ave N Bridge Replacement. SDOT has began work on replacing the bridge at Fairview Ave N. The oldest portion of the current bridge was built more than 65 years ago and is the last timber-supported bridge on a major road in Seattle. While safe for travel today, the bridge is structurally unstable and vulnerable to earthquakes, including the newer portion made of steel and concrete, and needs to be replaced. Located on the southeast shore of Lake Union near the 1200 block of Fairview Ave N in Seattle, the bridge is next to the historic Lake Union Steam Plant building. More information here.

SR99 Viaduct demolition continues through Summer months.  There is still about 10%, we’re told, to still tear down.  Then there’s the surface street repairs!  Impacts are expected to be greatest along the waterfront and the access streets leading to I-5 and SR99.  More information here.

Arena redevelopment continues.  Major demolition and digging is now underway at (Key) Arena, with hundreds of daily truck hauls from the Seattle Center to I-5 and SR99.  If you get the opportunity to go up to the second floor at SIFF Film Center, you’ll get an amazing birds-eye view of the giant hole being dug under the Arena roof!  More information here.

SR99 Tunnel Tolls expected to begin late summer. The exact timeline has not been shared, but we should expect a start date sometime in late summer.  Once tolling begins, the general pattern for drivers is to return to surface streets to avoid the tolls.  Stay tuned for more information as it’s shared by WSDOT.  More information on SR99 Tunnel tolling here.

Need Help with a Location?  Hire a Local Locations Professional!

Keeping your schedule is critical to the success of your production.  Navigating multi-location shoots requires intent and expertise.  When scouting and shooting, we always recommend hiring one of the region’s location professionals.  They are the experts and can help you navigate the landscape and permitting processes in Seattle and the region:

Getting Around Town

Be sure to take advantage of SDOT’s mobility assistance information, and north/south tunnel portal entrance/exit scenarios, as you plan for production and crew moves and mobility:

  • Video:  Plan your SR99 Tunnel route now
  • Blog:  Updates on traffic and mobility in Seattle
  • Webinar:  Seattle Squeeze Film Industry Webinar

As always, please contact the Office of Film + Music any time if you have questions or input: filmoffice@seattle.gov

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What we heard at The Mixer: Surviving & Thriving in the Creative Gig Economy

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On June 26, the Office of Film + Music had its second of a four-part Mixer series focused on the creative economy, this time at Clock-Out Lounge discussing “Surviving and Thriving in the Creative Gig Economy”. (Read our blog post about the first Mixer in this series and related creative economy research.)

The Mixer drew about 80 people, most of whom are freelancers, gig workers, and creative entrepreneurs working in fields such as audio engineering, screenwriting, music, marketing, film and media production and editing, journalism, and photography.

SAVE THE DATE:

Join us on July 31, 5-7 p.m., at Youngstown Cultural Arts Center for the third Mixer in this series, “Space Affordability for Creatives”. Tim Lennon, Executive Director of LANGSTON, will lead a discussion with panelists Cassie Chinn (Wing Luke Museum of the Asian Pacific American Experience), David Bestock (Delridge Neighborhoods Development Association), and Julie-C (Artist Coalition for Equitable Development). We’ll have complimentary food and soft drinks, and guests 21+ can purchase drinks from the bar. The Mixer is a free event, and all ages are welcome. RSVP here.
Please mark your calendars for the fourth and final Mixer in this series on August 28. Stay tuned for details.

Surviving and Thriving: About the Panel

Washington Filmworks Executive Director Amy Lillard moderated a panel on how to survive and thrive in the creative gig economy in Seattle. Panelists were brand strategist, cultural connector, and founder of creative agency Milli, Michael Huang; independent journalist, photographer, graphic designer and communication specialist Naomi Ishisaka; and film and XR producer, director, and co-founder of Electric Dream Factory, Lacey Leavitt.  (Learn more about the speakers here.)

The Road Less Traveled

Leavitt and Huang shared their respective entrepreneurial journey and which involved risk-taking, overcoming  “imposter syndrome”, fighting to get the work made and to get paid for it, and in starting their own businesses. For example, after recognizing the personal and cultural mismatch of his corporate job in NYC, Huang decided to take a leap of faith – he quit his job and returned to Seattle to launch his own agency. Today, the values of his business are aligned with his own; diversity, youth culture and general inclusivity are at the core of the organization.

Lillard acknowledged that it is hard for artists and creatives to make a living in Seattle, especially when they are reliant on freelance work or gigs. Ishisaka and Leavitt both discussed the challenges of being a freelancer and expressed concern about the tendency for creative freelance work to be undervalued. They both suggested that a standardized rate sheet could help creatives and those who hire them arrange for fair compensation. Ishisaka added that as a POC creative, it’s critical to have the courage to thrive in a city where “often folks who are undervalued are [also] marginalized folks.”

Making it Work

The panelists then shared their tips for how they made it work as freelancers. Ishisaka suggested that pragmatically, finding a few foundational clients who can provide a stable monthly income led to her striking out on her own. Having these steady clients was essential to leaving her full-time day job, and to begin paying for her own health benefits, a topic which was a significant barrier for many freelancers, especially those who have dependents. Leavitt championed the need to be in a constant learning process to expand one’s skill set; investing in her own personal and professional development has helped her dedicate 100% of her time to film production.

Huang stressed the importance of self-confidence while taking the leap into freelance or gig work. “Your existence is revolutionary,” he said. “Set your moral boundaries, draw the lines in the sand. Don’t second guess yourself.”

The Sense of Urgency: A POC Creative Exodus?  

All panelists agreed that they feel a sense of urgency to improve the creative economy in Seattle. Ishisaka referred to the unaffordability challenges of paying for housing and healthcare. Leavitt mentioned the state’s low film incentive and the lack of communication between production companies and unions.

Along the same lines, Huang explained that we’re at an inflection point: creatives under 30 are not even complaining about the competitive market and struggles of the city, they are just leaving, which makes it necessary to reposition the city to retain creatives of all ages and levels.

Following the panel discussion, attendees broke into groups to provide deeper feedback on the opportunities and challenges that freelancers and gig workers face in Seattle.

Break Out Sessions–Recap

  1. In-Person and Online Networks: Hiring is frequently done through personal referrals, existing relationships, or social media (Facebook and Facebook groups were mentioned most frequently; other platforms mentioned were Twitter, LinkedIn, Craigslist, and Instagram). Having a web and social media presence are important for cultivating leads.
  2. Boost tax incentives to create more jobs and retain more gig workers in the creative sector. Incentivize local hiring between private companies (especially in the tech sector) and creative freelancers.
  3. Health benefits are hard to navigate for gig workers, and so are the steps in applying for them.
  4. Access and Representation: Increase access to resources and opportunities for underrepresented communities, especially immigrants.
  5. Job Finding Resources: Participants expressed a desire for centralized resources: a “public jobs board” or “directory” providing free, accessible, and open information on how and where to find jobs; shared studio space; access to cloud resources; shared equipment; and a hub of information about available grants and loans. Create more points of connection through networking event and mixers.
  6. Mentorship and professional development are critical. Participants discussed the need for accountability in internships and learning experiences, and the desire for investments in trainings, vocational classes, and fellowships.
  7. Improve the image of the city as a creative city.
  8.  Freelancers and artists should fairly value their work and ask to be paid at the rate they are worth, but it’s difficult to know how to set rates. Some folks underbid so they can get the gig. Sometimes, companies hire students rather than professionals, to pay less. Participants said a source for local industry standard rates would be helpful.
  9. Space affordability challenges are significant (which is why our next mixer will expand this conversation).

Of the participants who responded to an interactive prompt, the majority shared that they do creative work on the side while holding down a creative “day job”.

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“East of the Mountains” Wraps Filming in Ballard and Wallingford

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After filming the majority of its scenes in Eastern Washington this spring and summer, locally-produced East of the Mountains filmed at two Seattle locations in Ballard and Wallingford during it’s last week of production in late June.

Based on the best-selling novel by Bainbridge Island’s David Guterson, East of the Mountains tells the story of retired doctor who goes back to his roots in Eastern Washington to end his life on his own terms. The film is directed by Seattle’s SJ Chiro (Lane 1974), produced by Jane Charles and Mischa Jakupcak, and stars Tom Skerritt as the doctor, and Oscar winner Mira Sorvino, who plays his daughter.

According to producer Jane Charles, over 50% of the East of the Mountains crew is female, defying film industry norms (the Center for the Study of Women in Television and Film found women comprised of 20% of all directors, writers, producers, executive producers, editors, and cinematographers working on the top 250 domestic grossing films during a study last year). “We are looking forward to the day when we don’t have to be proud of that, when it is just a given that there are as many women on set as men,” Charles told KING 5 during the filming.

Photo by Dave Drummond

The production hired over 80 local cast and crew for the four-week production. The production was financially supported by Washington Filmworks’ groundbreaking Local Lens incentive program, which prioritizes its film incentive funding exclusively to locally made film productions.

Office of Arts & Culture Director and interim OFM director Randy Engstrom visited the film set in Wallingford, and met with producer Jane Charles ($5 Cover: Seattle, Grassroots), location manager Dave Drummond (Twin Peaks), and assistant location manager Vicky Berglund Davenport (Northern Exposure).

East of the Mountains is slated for release to the film festival circuit in early 2020.

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Seattle Film Industry June Update

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Seattle Film Industry and Community: 

Are you feeling the heat?  Despite yesterday’s rain, we are.  It’s peak filming season, and we’re coordinating your shoots as fast as we can!  Let’s take a look what productions were up to in June! 

June Seattle Film Permits 

While film permits only show a slice of the film production activity in the region, they are a window into local film production work.  This data helps our office and City leadership understand what type of filming is happening, and what positive jobs and economic impact it is creating.   

Here’s the June breakdown of local crew hired by production category, and most popular Seattle neighborhoods. 

Production Type (60 permits in June 2019) 

  • 15 Commercial / Advertising – 247 local cast and crew 
  • 5 Corporate / Industrial – 48 local cast and crew 
  • 17 Documentary – 15 local cast and crew 
  • 2 Feature Films – 125 local cast and crew 
  • 4 Music Videos – 53 local cast and crew 
  • 1 Short Film – 12 local cast and crew 
  • 4 Still Photography – 35 local cast and crew 
  • 1 Student Film – 4 local cast and crew 
  • 3 TV / Reality – 13 local cast and crew 
  • 3 TV / Series – 45 local cast and crew 
  • 5 Web Series – 76 local cast and crew 

Neighborhood Council Districts (showing productions with multiple shoots June 2019) 

  • District 1 – 4 productions 
  • District 2 – 7 productions 
  • District 3 – 8 productions 
  • District 4 – 12 productions 
  • District 5 – 2 productions 
  • District 6 – 7 productions 
  • District 7 – 19 productions 

Top Filming Neighborhoods (June 2019) 

  1. Fremont – 7 Productions  
  1. Magnolia – 6 productions 
  1. Downtown – 6 productions 
  1. Queen Anne, Ravenna / Bryant, Duwamish / SODO – All 5 productions 

Film Production in Seattle:  Summer Look-ahead 

Current permit restrictions:  NONE.  All downtown traffic control/street closure permit restrictions have been lifted. Film permit requests for all Seattle neighborhoods, including downtown, will continue to be accepted and assessed on a case by case basis.   

SR99 Viaduct demolition continues through Summer months.  The June deadline has passed, and there is still about 10-15%, we’re told, to still tear down.  Then there’s the surface street repairs!  Impacts are expected to be greatest along the waterfront and the access streets leading to I-5 and SR99.  More information here. 

Arena redevelopment continues.  Major demolition and digging is now underway at (Key) Arena, with hundreds of daily truck hauls from the Seattle Center to I-5 and SR99.  If you get the opportunity to go up to the second floor at SIFF Film Center, you’ll get an amazing birds-eye view of the giant hole being dug under the Arena roof!  More information here. 

SR99 Tunnel Tolls expected to begin late summer. The exact timeline has not been shared, but we should expect a start date sometime in late summer.  Once tolling begins, the general pattern for drivers is to return to surface streets to avoid the tolls.  Stay tuned for more information as it’s shared by WSDOT.  More information on SR99 Tunnel tolling here. 

Need Help with a Location?  Hire a Local Locations Professional! 

Keeping your schedule is critical to the success of your production.  Navigating multi-location shoots requires intent and expertise.  When scouting and shooting, we always recommend hiring one of the region’s location professionals.  They are the experts and can help you navigate the landscape and permitting processes in Seattle and the region: 

  • NWScouts.com:  Seattle region location scouts and managers 

Getting Around Town 

Be sure to take advantage of SDOT’s mobility assistance information, and north/south tunnel portal entrance/exit scenarios, as you plan for production and crew moves and mobility: 

  • Video:  Plan your SR99 Tunnel route now 
  • Blog:  Updates on traffic and mobility in Seattle 
  • Webinar:  Seattle Squeeze Film Industry Webinar 

New and Improved Seattle Film Manual is Now Online! 

This comprehensive guide features new and up to date information on everything you need to know about procedures for filming on public property in Seattle. We encourage all filmmakers to give it a read, and to please pass it along to any productions coming from out of town. The manual can be found online at http://www.seattle.gov/filmandmusic/film/film-manual  

As always, please contact the Office of Film + Music any time if you have questions or input. 

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What we heard at The Mixer: Creativity & Technology

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Over the past two years the Office of Economic Development and Office of Arts & Culture have been gathering data to better understand Seattle’s creative ecosystem. Check out these two recent reports:

Four topic areas have consistently emerged and point to the need for more investigation: affordability, youth opportunity, supporting creative workers, and creativity and technology. On May 29 at KEXP we kicked off a series of monthly Mixers in which we invite the community to help the City shape a vision for our creative economy that centers racial equity, affordability, and economic opportunity.

In our first of the series, we highlighted the important relationship between technology and creativity. About 100 people attended, ranging from leaders in the creative sectors including filmmakers, journalists, music producers, visual artists, and marketing professionals, to those beginning their careers, including college students studying video game design and special effects.

The program of the night featured Northwest Film Forum Executive Director Vivian Hua, who moderated a panel with writer, director, and community organizer Netsie Tjirongo and fearless360º Executive Director Sandy Cioffi on the challenges and opportunities for Seattle creatives in engaging with technology. (Learn more about the speakers here.)

Photo of May 29 Mixer panel: Vivian Hua, Sandy Cioffi, Netsie Tjirongo
L to R: Vivian Hua, Sandy Cioffi, Netsie Tjirongo

Tjirongo and Cioffi, who both have used virtual reality (VR) and 360º video for immersive storytelling, explained that technology has the power to build deeper human connection, empathy, and creativity. In her recent work with youth in the Learning Immersive Technology (LIT) program, Tjirongo saw young people gain a sense of empowerment through their own risk-taking – both in overcoming their lack of familiarity with technology, and in practicing character development and other aspects of storytelling.

While financial investments in VR are heavily focused on gaming, military, and medical applications of the technology, exciting and important VR work is happening in arts, culture, and social justice as well – thanks to decades-long organizing efforts, often led by women.

Cioffi challenged the room to consider how to “use creative tech tools involved in decentralizing power and resources”, as technology can often be used to extract value from communities and perpetuate inequity.

Tjirongo added that to increase equity, we need to make concerted efforts to “support the communities with the least amount of representation in the room” as this technology and related economic opportunity develop.

Following the panel discussion, attendees broke into groups to provide deeper feedback on the ways that technology and creativity intersect in their work. Out of these discussions came a number of suggestions including:  how the City could better address challenges in entering the creative workforce; increasing the work spaces where creatives can gather and collaborate; and access to resources for starting businesses, hiring creatives, finding funding, and showcasing creative work. Below are more specifics on what we heard.

Creative Space:

  • Physical spaces are important to collaboration, knowledge sharing, and community building. As one attendee said, collaboration is key in this gig economy, and having people together in a space facilitates that collaboration.
  • These spaces could be subscription-based or could rely on donations.
  • Additionally, it would be ideal if new real estate developments were 100% inclusive for community, and arts space was built in tandem with any new development.

Resources for Creatives & Businesses:

  • Support students and their entry into careers.
  • Support from the City to help facilitate partnerships or mentorship among professionals and organizations.
  • Help prepare job applicants – familiarize them with jargon, refine resumes.
  • Help break down barriers for those who are starting small businesses (e.g. tax info and support), especially those that are run by artists.
  • Support matchmaking of businesses and talent, possibly through a centralized job board for creative jobs and internships.
  • Help guide individuals to resources, coaches, and mentors.
  • Increase access to technology in schools and in communities.

Additional Themes:

As always, conversations like these generate new lines of inquiry. Among these questions are: How might we build alliances across tech and art? How can we work to elevate the value of creativity and the arts in the context of automation, artificial intelligence, and other technologies that will change how we work and interact? What is the role of the private sector, and of philanthropy? How can we create opportunities for cross-sector discussion to build understanding and solutions?

These conversations are more important now than ever: the 2019 Creative Economy Report found that Seattle creative workers employed in tech (web developers, for example) are the highest paid in the nation, while creative workers employed in arts and entertainment occupations (such as photographers and musicians) are the lowest paid in the nation. The report also found that women and people of color are underrepresented in certain creative occupations, and that wage disparities exist along job title, race, and gender. We need to hear from you, Seattle’s creative community, to help us better understand the full story behind these disparities and find ways to bridge the gap.

Join us next week on June 26 at Clock-Out Lounge on Beacon Hill for the second Mixer in this series, “Surviving and Thriving in the Creative Gig Economy” with a panel moderated by Washington Filmworks’ Amy Lillard. We’ll have complimentary pizza and soft drinks, and guests 21+ may purchase drinks from the bar. The Mixer is a free event, and all ages are welcome. RSVP here. Spots are filling up fast.

Please mark your calendars for the following two Mixers on July 31 and August 28.

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The Mixer: Surviving & Thriving in the Creative Gig Economy

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Join us at Clock-Out Lounge on 6/26 for our second in a series of community discussions to help shape the City’s vision for the future of our creative economy.

Seattle’s creative workers earned over $6 billion dollars in 2017, and creative jobs in Seattle are growing at a faster rate than in the rest of the country*. On a national level, the “gig economy” is on the rise—allowing flexibility and freedom for creative types, but with less of a safety net. At this month’s Mixer, Amy Lillard of Washington Filmworks will lead a discussion with panelists from different creative fields who will share their secrets of success about freelancing, entrepreneurship, and what it takes to make it professionally in Seattle’s growing creative economy.

Afterwards, attendees will break out into small groups for more networking and to give feedback about how the city can help creatives find the resources they need to not only survive, but thrive in our rapidly growing city.

This event is free and open to the public. All ages are welcome. Refreshments will be provided, and alcohol is available for purchase for guests 21+.

For ADA accommodations or accessibility information, contact filmandmusicoffice@seattle.gov.

Please register here: https://www.eventbrite.com/e/the-mixer-june-surviving-thriving-in-the-creative-gig-economy-tickets-63028843969

All members of Seattle’s creative community are welcome at this conversation: visual artists, musicians, music and film industry professionals, teaching artists – whatever role you play in our local creative scene, we want to hear from you!

About the Moderator:

Amy Lillard – Amy Lillard is the Executive Director of Washington Filmworks and has been with the program since it launched in 2007. Under her leadership, WF has helped over 90 film projects complete principal photography, which have brought an estimated $242 million to the statewide economy. Amy Lillard started her career as an independent film publicist out of New York and Los Angeles, designing the release campaigns for groundbreaking films such at “The Blair Witch Project,” “American Psycho” and “Lock, Stock and Two Smoking Barrels.” Amy retired from publicity in 2000 and took a trip around the world. Two years and 42 countries later, she settled in Seattle where she has worked in various capacities including, director of publicity and promotion at SIFF, festival director of the Reel Cinerama Film Festival, and producer of the Fly Filmmaking Challenge.

*This data and more is available in the 2019 Creative Economy Report. Of note, the report found that Seattle creative workers employed in tech (web developers, for example) are the highest paid in the nation, while creative workers employed in arts and entertainment occupations (such as photographers and musicians) are the lowest paid in the nation. The report also found that women and people of color are underrepresented in certain creative occupations, and that wage disparities exist along job title, race, and gender. We need to hear from you, Seattle’s creative workers, to help us better understand the full story behind these disparities and find ways to bridge the gap.

Please mark your calendars for the two remaining Mixers in this creative economy series: July 31 and August 28.

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Film Industry Update: May 2019

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Seattle Film Industry and Community:

Has anyone noticed Golden Hour™ is getting longer and wrap times are getting later each day? That’s because we’re nearly through May and it’s almost summer! Let’s take a look what productions were up to in April!

[Read more…]
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Meet the Music Commission: Sue Ennis

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Sue Ennis

Seattle Music Commissioner Sue Ennis is Seattle-based songwriter who has co-written more than 70 songs for the Seattle band Heart (30 million records sold and 2013 inductees in the Rock & Roll Hall of Fame). She has co-written songs for feature films including The Golden Child starring Eddie Murphy and Thomas and The Magic Railroad. Her hobby band, The Lovemongers, also appeared on the soundtrack of Singles. Sue teaches Music Business, Career Development and Songwriting at Shoreline Community College and Songwriting for Film for the Seattle Film Institute. She also serves as the Pacific Northwest Grammy Board’s national Trustee on the board of the Recording Academy.

We spoke with Sue about her career in Seattle’s music industry, how she approaches her work, and what advice she has for songwriters and musicians.

[Read more…]
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Mayor Jenny Durkan Announces 2019 Mayor’s Award for Achievement in Film

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Mayor Jenny Durkan announced Nesib “CB” Shamah as the recipient of the 14th Annual Mayor’s Award for Achievement in Film.

“I am proud to present the 2019 Mayor’s Award for Achievement in Film to CB,” said Mayor Durkan. “His work is a testament to the outstanding talent and ingenuity of Seattle’s creative community, and I applaud all he does to create opportunity for his fellow local filmmakers. CB both represents and has helped shepherd Seattle’s film industry and is incredibly deserving of this recognition.”

“It is truly an honor to be recognized with the Mayor’s Award for Outstanding Achievement in Film for doing something I love. I am humbled to have my name added to this list of award winners that have been and continue to be a source of inspiration for my work,” said Shamah. “The City of Seattle continues to support and foster Seattle film, and this award is proof of that.”

The Mayor’s Award for Outstanding Achievement in Film recognizes an individual or entity for exceptional work that has significantly contributed to the growth, advancement and reputation of Seattle as a filmmaking city. The award will be presented by Mayor Durkan at the Seattle International Film Festival Opening Night Gala on May 16.

Nesib “CB” Shamah is an Emmy-nominated producer and director best known for the music documentary, Welcome to Doe Bay, SJ Chiro’s Lane 1974 and the science fiction short film Haskell. He attended the Seattle Film Institute before producing and directing over 25 live music shoots and the music web series Destination Unknown. Shamah also led the renovation of the historic Columbia City Theater music venue.

Shamah has contributed to the Seattle film and music landscape for years, from his work on community advisory boards to financing and executive producing many local film projects. As a current board member of both the Satterberg Foundation and the Northwest Film Forum, Shamah advances social justice by telling unique stories in his own films and providing support for other artists to bring their visions to life on big and small screens.

The Mayor’s Award for Achievement in Film will be presented to Shamah at the SIFF Opening Night Gala, where local filmmaker Lynn Shelton’s newest film, Sword of Trust, will kick off the festival.

To learn more about the award and previous winners, visit seattle.gov/filmandmusic/film/mayors-film-award.

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Meet the Music Commission: Tony Kiewel

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Tony Kiewel headshotSeattle Music Commissioner Tony Kiewel is currently Co-President of Seattle-based Sub Pop Records, where he has worked ever since moving to the city in 2000. Tony began his career at Sub Pop as the Commercial Radio Director but shifted to the A&R (artists and repertoire) department soon after his arrival. While overseeing A&R, he was responsible for bringing dozens of artists to the label, including The Postal Service, Sleater-Kinney, Father John Misty, Flight of the Conchords and David Cross.

Tony has been serving on the Seattle Music Commission since September 2016. We spoke with him about his career, challenges facing the local music industry and how the Commission is rising to meet those challenges.  [Read more…]

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