Posts Tagged ‘Sundance’

“Policebeat” in the Top 10 Sundance Fiction Films of the Decade

January 25, 2010

So says Dennis Lim!

“Robinson Devor’s gorgeous reverie pairs the lovelorn interior monologue of a Senegalese Seattle cop with the alternately mundane and surreal happenings of his typical work week. A cop movie unlike any you’ve ever seen, it casts a sad, dreamy spell that matches its lonely hero’s sense of disconnection.”

Read his entire list here.


“Zoo” Filmmakers Begin Shooting New Documentary

January 7, 2010

This just in!

“Zoo” Filmmakers Begin Shooting New Documentary
on Would-Be Gerald Ford Assassin Sarah Jane Moore

Sundance Channel Playing “Zoo” All This Week Prior to Festival
After Film Is Named Named One of Top 25 Indie Films of the Decade

SEATTLE, WA, January 6th 2010 – The filmmaking team of “Zoo” and “Police Beat” – writer/director Robinson Devor, writer Charles Mudede and cinematographer Sean Kirby, in association with producer Zach Sebastian’s “Pamphlet & Parable” – have begun filming a new documentary on Sara Jane Moore, a suburban, middle-aged wife and mother who attempted to assassinate U.S. President Gerald Ford on September 22, 1975 outside the St. Francis Hotel in San Francisco.

In a very short time, Moore went from country clubs and nurseries to meetings with violent Marxist radicals who advocated the overthrow of government by violent force. Strangely, she was also a narc for the FBI.  Torn between loyalties, Moore eventually gave information to both the FBI and the radical left. Her exposure led to death threats from both camps, and the hatching of a plan to assassinate Ford.

Now eighty and free on parole after thirty five years in prison, Moore agreed to fly back to San Francisco for the first time to do a four day interview on camera. Filming took place all over the city, including inside the St Francis Hotel (where she was thrown to the floor and interrogated for several hours after the assassination attempt) and the Federal Building where she had multiple meetings with her FBI control agents.

“She led an incredible life,” says Devor. “She was a Southern girl who joined the army in her teens during World War Two and patrolled the US coast for German submarines. She reinvented her self in Los Angeles in the fifties and sixties where she became a Hollywood insider married to the Oscar winning sound designer of ‘Citizen Kane.’ By the seventies, she was remarried and settled in a conservative upscale East Bay neighborhood with a young son. She would commute one hour each way into San Francisco to be educated as both a Marxist and an FBI informant – all the while commuting back to the suburbs to pick-up her son from private school.”

“We can see in her the two extreme sides of American politics: the far right and the radical left,” ventures Mudede. “These extremes are still with us today. But at one moment in history, Sara’s body was the site of this struggle between the forces of conservatism and revolution. The conclusion of this struggle was a bullet flying in the direction of an American president.”

“Like ‘Man on a Wire’, this is one of those incredible tales that recent American history has seemed to forget, “ says Sebastian. “Not only is it a compelling character portrait,  it is also a strange and thrilling story that perfectly captures the mood of mid-70’s high paranoia. Think of it as Errol Morris’ ‘Mr. Death’ meets Francis Ford Coppola’s ”The Conversation.’”

Despite the San Francisco locale, Devor is keeping things local to Seattle. He brought crew down from Seattle, rented gear from Oppenheimer Camera, and is using Modern Digital for transferring and post.

As part of the build up to this years 2010 Sundance Film Festival, ‘Zoo” will be playing on the Sundance Channel this week at the following times:

•    Thursday, January 7th at 8PM
•    Friday January 8 at 2:45AM
•    Tuesday, January 12th at 11:30 PM

For more information, contact Zach Sebastian:

Robinson Devor – BIO

Robinson Devor ‘s last feature film, ZOO, made its world premier at 2007 Sundance Film Festival, and then went on to play at the prestigious Cannes film festival. The film was picked up for distribution by ThinkFilms and has played in theaters around the world. The press has called the film “masterful” (Dennis Lim, New York Times), “beautiful and beguiling” (Village Voice), and “a breathtakingly original nonfiction work” (Scott Foundras, Variety).  It was recently named by Filmmaker as “One of the Top 25 Indie Films of The Decade.”

In 2005, Robinson Devor premiered his second feature film, POLICE BEAT, in Dramatic Competition at Sundance 2005. The film was called “emotionally devastating” (Rolling Stone), “a visual knockout” (Variety) and “Sundance at its best” (Los Angeles Times), as well as named one of the year’s best films by the New York Times, Film Comment and Art Forum. For his efforts, Devor was nominated for a 2006 Indie Spirit Award and 2005 Gotham Award.  The film has since been included in the permanent collection of the Museum of Modern Art.

Named one of Variety’s “10 Directors To Watch” in 2000, Devor made his feature film directorial debut with THE WOMAN CHASER. Debuting at The New York Film Festival and then at Sundance, THE WOMAN CHASER received critical high marks throughout its US theatrical run (“Wicked and Brilliant”, The New Yorker; “A Masterpiece”, MovieMaker Magazine).

A 2002 Fellow at the Sundance Institute, Devor collaborated with Seattle journalist Charles Mudede (co-writer of POLICE BEAT) on the feature script, SUPERPOWER, the story of an African child soldier attempting to recapture his childhood after a civil war.

Rob Devor and Charles Mudede

Moore at St. Francis

On Set in San Francisco

The film that spawned Sundance

July 16, 2009

“Although Redford had been one of Hollywood’s leading box-office earners for a decade, when he looked around him at the end of the 1970s, he didn’t like what he saw. A decade earlier, the studios had been so desperate that directors like Scorsese and Robert Altman, who would have been — and virtually were — indies in the 1980s, could work inside the system, so that an institution such as Redford contemplated would have been superfluous. But the landscape had changed so dramatically since then that now it was a necessity. Redford understood that the most creative filmmakers were being increasingly shut out of the system. He also recognized that if a would-be filmmaker were brown, black, red, or female — forget it; his or her chances of getting a project produced were virtually nil. He knew that indie filmmaking was generally a trust-fund enterprise, because outside of a few federal grants and cash from the proverbial family friends, orthodontists, eye doctors, and so on, there was precious little money available to produce them. Raising money, not to mention writing, casting, shooting, and editing, was brutal, teeth-grinding work that could take years, and if by some miracle it all somehow came together, directors often found, pace the thimblefull of tiny, struggling distributors, that they had to release their films themselves, leaving them broke, exhausted, and disillusioned. In short, indies needed help.

Redford believed that American film culture could contribute more than stale sequels and retreads, that historically, before the renewed hegemony of the studios, film had been a medium for genuine artists and could be again if only they could be sheltered from the marketplace long enough to nurture their skills and find their voices. Oddly enough, he had or thought he had some firsthand experience with the problems they encountered. As he has said repeatedly, “I knew what it was like to distribute a film that you produced. In 1969, I carried Downhill Racer under my arm, fighting the battles that most people face.” He came to understand, as he puts it, the dilemma of the “filmmaker who spends two years making his film, and then another two years distributing it, only to find out he can’t make any money on it, and four years of his life are gone. I thought, that’s who needs help.”

-Peter Biskind, Down & Dirty Pictures

Downhill Racer plays NWFF July 17-23 at 7pm as part of our year-long 69 series.

More info here.

More about the Sundance Three in Seattle Times

January 25, 2009

From today’s (January 25) paper:

Sunday, January 25, 2009

“The Immaculate Conception of Little Dizzle,” a film by Seattle’s David Russo, earned a loud ovation at its premiere in the festival’s Library Theater.

By Christy Karras

Special to The Seattle Times

This year’s Sundance Film Festival marked a watershed for Seattle’s film industry, with three movies made in the city premiering at the nation’s largest venue for independent film.

The festival ends today in Park City, Utah, prompting the question: What happens next?

For Seattle filmmaker Lynn Shelton, it’s basking in the warmth of a festival success beyond her wildest imagination. The movie she wrote and directed, “Humpday,” premiered in the U.S. Dramatic Competition and became one of the most talked-about movies at the festival.

The “bromantic comedy” about two heterosexual male friends who decide to make a porn film starring themselves was also one of the first to attract buyers’ attention. It quickly became the subject of an intense multiday bidding war, an atypical event in a year of tightened distribution budgets.

Magnolia Pictures emerged victorious and will release the movie first via video-on-demand and then in August in theaters in at least 15 cities.

“They won us over immediately. They seemed passionate about the film and thought with the right marketing, it could get to a wider audience than you would normally get for a small film like this,” said Shelton on Tuesday, exhausted after five days of celebration and negotiation.

At least 60 percent of sale proceeds will go to the film’s largely Seattle-based cast and crew, many of whom worked for no pay in exchange for a cut of the back-end profits.

“I’m looking forward to feeling like Santa Claus,” Shelton said. “These are the most deserving people in the world, as far as I’m concerned.”

Shelton won over audiences and critics with the way she handled the movie’s premise, as the men’s plan ultimately forces them to explore deeper issues about their identities and relationships.

Judging by audience reaction, “I think we really get away with it,” Shelton said. “They’re fully fleshed out and they’re believable. You really think these guys might go through with this.”

The film gave Alycia Delmore, a lifelong Seattle resident and stage actor, her first starring movie role as the wife of one of the men. Like the rest of the cast, Delmore was paid in shares of the movie, which means she wasn’t sure of getting a paycheck until the movie found a distributor.

Though the arc of the plot was carefully planned, there was no written script, which allowed the actors to largely play themselves on screen.

“People come up to me and say, ‘That’s exactly what I would have done!’ ” said Delmore, who describes her role as “the one character on the screen watching it through the same lens as the audience.”

A big “Little Dizzle”

On Monday, David Russo’s “The Immaculate Conception of Little Dizzle” got a boisterous ovation at its premiere in the Library Theater, the exact place Russo always dreamed his movie would play. “I was very excited to find that the movie functioned very much the way I’d envisioned,” Russo said.

Even more than “Humpday,” his offbeat story about men who unwittingly find themselves in a state of quasi-pregnancy requires the audience to go along with a quirky premise. He was gratified to hear the audience laugh, then get caught up in the emotional climax.

“It was fun to watch all that take hold, because the audience seemed to be really with it. You can laugh with and at the film at the same time, and that’s quite a feat,” he said.

He credited his Seattle producer, Peggy Case, with making the six-year project a reality.

“She doesn’t have a Rolodex of millionaires. She just has willpower,” Russo said.

Although he managed to sell the Australian rights to the movie shortly after the premiere, he anticipates it will be difficult to get wide distribution in the U.S.

“The industry is feeling really timid right now, and this veers away from a lot of genres they love to gobble.”

Seattle appeal

Comedian Bobcat Goldthwait shot his latest film, “World’s Greatest Dad,” in Seattle.

“I prefer to make movies so they don’t look like they’re from Los Angeles,” Goldthwait said after the Tuesday premiere, adding that he liked the idea of shooting the dark comedy under overcast skies but was thwarted by unusually sunny June weather.

A good proportion of the cast was from Seattle, including many who played students at the high school where the action takes place. Locals will recognize it as the former F.A. McDonald School in Wallingford.

Goldthwait chose Seattle partly because he and the movie’s star, Robin Williams, remembered it fondly from their days as stand-up comedians. (Goldthwait occasionally opened for Nirvana, and the movie features a cameo by Nirvana bassist Krist Novoselic.)

At the premiere, Williams made an unprompted pitch for the city. “It’s a great place to shoot a movie,” he said, “especially when you have little or no money.”

That sentiment pleased Amy Lillard Dee, director of the statewide nonprofit WashingtonFilmWorks office that helped lure the production with incentives and production help.

“What we’re hoping to do is corner the independent film market,” she said.

People involved in Seattle film see this as a sign of progress, even as it’s hard to say whether the momentum will continue.

Both “Humpday” and “Little Dizzle” relied on creative financing, including grants from foundations.

“I think there’s something to be said for creating really excellent stuff with that sort of DIY sensibility that Seattle has had for the past 20 years,” said Lyall Bush, director of the Northwest Film Forum, which helped fund “Little Dizzle” through its Start-to-Finish grant.

These films’ successes “ought to say that this is the beginning of something big, and I hope that’s the case,” Bush said.

He believes Seattle already has two of the three legs it needs for a thriving movie industry: education and a permanent pool of talented crew. The third is the framework for raising money.

Bush hopes filmmakers can capture some of the venture capital Seattle puts into startup technology companies.

“The line between the storytelling in film and the storytelling that goes on online and in gaming is growing fainter and fainter,” he said.

Copyright © 2009 The Seattle Times Company

Little Dizzle Australian and New Zealand rights sold

January 25, 2009


Beyond has taken all Australian and New Zealand rights from Visit Films to David Russo’s The Immaculate Conception Of Little Dizzle following its world premiere in Spectrum [Competition at Sundance] on Monday (January 19).

Ryan Kampe of New York-based Visit Films brokered the deal with Beyond’s Simone Ubaldi.

The Immaculate Conception Of Little Dizzle focuses on a computer programmer who loses his job and finds work as a janitor, where he and his co-workers become unwitting guinea pigs in a bizarre corporate experiment.

Peggy Case produced the film, which stars Marshall Allman, Natasha Lyonne, Tania Raymonde, Tygh Runyan, Matt Smith and Vince Vieluf.

Visit Films represents international rights to Sundance titles The Missing Person, Kimjongilia and You Wont Miss Me.

Seattle at Sundance

January 15, 2009

From the PI:

Three Seattle films getting a close-up at Sundance Festival


It may not put Seattle on the cultural map the way Grunge did in the ’90s, but 2009 is shaping up to be Seattle’s biggest year for homegrown cinema on the national stage.

Two Seattle productions are in competition at the Sundance Film Festival, the premiere showcase for America independent cinema that begins today. Lynn Shelton — whose debut feature, “We Go Way Back,” won the Jury Prize at Sundance alternative Slamdance in 2006 — is going to Utah with her third film, “Humpday,” one of only 16 films accepted into the festival’s Dramatic Competition. Two days before, Shelton was announced as one of three nominees for the Someone to Watch Award from the Independent Spirit Awards.

David Russo’s “The Immaculate Conception of Little Dizzle,” the latest production nurtured by the Northwest Film Forum’s “Start-to-Finish” program, is in the Spectrum Competition. Premiering out of competition is “World’s Greatest Dad,” a dark comedy with Robin Williams that was shot in Seattle and drew from the local talent pool and production resources.

This isn’t Seattle’s first invitation to the Sundance, which runs this year through Jan. 25. In 2005, “Police Beat,” inspired by Charles Mudede’s column in The Stranger and directed by Robinson Devor, premiered in the Dramatic Competition, and “Iraq in Fragments” won three awards in the 2006 Documentary Competition before it was nominated for an Oscar.

But this year Seattle comes to Park City in force, and this arrival brings a message along with it: The local filmmaking community is both growing artistically and developing a base of resources, from technicians to post-production facilities. At least for this very specific kind of filmmaking model.

Officially, “Humpday,” which makes its premiere Friday, was made for “under $1 million.” Unofficially, it is surely the lowest-budget production in the Dramatic Competition and one of the very few without the draw of Hollywood actors. Mark Duplass (of “The Puffy Chair” and “Hannah Takes the Stairs”) and Joshua Leonard (co-star of the blockbuster “The Blair Witch Project”) have some indie cachet, to be sure, but are hardly name draws in an industry that banks on star power and prestige for selling films. Apart from Duplass and Leonard, the cast and crew are drawn from Seattle.

“Humpday” is the story of best friends — one now married, the other a rootless drifter — who reunite after 10 years and make an unusual commitment to an extreme art project that threatens the marriage.

Like Shelton’s previous film, “My Effortless Brilliance,” “Humpday” is shot from a detailed outline, but the lines are improvised by the actors, and the momentum, the blocking and the timing worked out on set between Shelton and the cast.

“It works the way that a normal script does, where you have this blueprint,” she explains. “I have everything laid out ahead of time except for the actual words they are going to be saying.”

In a festival filled with multimillion-dollar movies, this is genuine independent filmmaking. As is “The Immaculate Conception of Little Dizzle,” the debut feature from short filmmaker Russo that premieres Monday. Russo’s short “Pan With Us” won an honorable mention at Sundance in 2003. In the words of the official Web site, the film is “a character-driven comedy about unintended consequences,” in which surreptitious experiments on a group of night janitors impregnate the men with “small, beautiful, immaculately conceived blue fish.”

As in his short films, Russo mixes live action and animation, but unlike the largely solo endeavor of handmade short filmmaking, he had to transition to working collaboratively with a cast and crew, not to mention a deadline. “When I make short art films, I can bang my head against an obstacle for years on end until I get it right or another breakthrough emerges. With a live-action feature film, it’s all a blur, and then you’re married to all the errors — forever.”

“World’s Greatest Dad,” directed by Bobcat Goldthwait, wasn’t born in Seattle, but it was in part shepherded by Seattle-based executive producer Jennifer Roth, whose credits include current Oscar hopeful “The Wrestler” and “Police Beat.”

It’s also filmmaking on a much larger scale, with a bigger budget and greater demands on local resources, and different benefits to the city, not the least of which is employment for Seattle actors and technicians. “People need to be able to make a living,” Roth observes.

If it sounds like stating the obvious, then she has made her point that Seattle needs to develop an industry to attract out-of-town filmmakers and give local actors and technicians a reason to stay in the city.

There is no doubt that small-scale filmmaking is facing hard times in Hollywood. Specialty distributors are closing shop or being folded into mainstream companies, and promotion costs are at an all-time high, which makes it hard for real independent filmmaking to compete with big-budget, studio-backed productions.

But even in this climate, this current blossoming may boost Seattle’s profile as both an alternative for independent filmmakers and a welcoming community for out-of-town productions (which, more often than not, head north to Vancouver). Seattle’s Alpha Cine is one of the best labs in the country, points out Roth, and NWFF co-founder Michael Seiwerath notes that the post-production houses have been very supportive of local filmmaking.

What seems clear is that the two can only nurture each other.


Alan Rudolph and Cameron Crowe fell in love with Seattle when they came to make films here (“Trouble in Mind” and “Say Anything,” respectively). They have since made homes here but (for the most part) their films elsewhere. Here are the specifically homegrown productions that helped put Seattle filmmakers on the map in the past decade:

# “Silence!” (2001): Cinema meets theater in this silent film with dialogue performed with a live cast.

# “Police Beat” (2005): Robinson Devor moved from Los Angeles to Seattle and made this film, the first Seattle-produced feature to compete in the showcase Dramatic Competition at Sundance.

# “The Heart of the Game,” left, (2005): Nurtured at 911 Media Arts, Ward Serrill’s documentary about the Roosevelt Roughriders girls basketball team got a national release by Miramax.

# “Iraq in Fragments” (2006): James Longley’s locally produced film won three awards in the 2006 Sundance Documentary Competition and was nominated for a 2007 Academy Award for best documentary.

# “Brand Upon the Brain!” (2006): Canadian filmmaker Guy Maddin accepted an invitation to make a film in Seattle with an all-Seattle cast and crew. He called it “my first foreign film.”

# “We Go Way Back” (2006): Lynn Shelton’s debut feature won the Grand Jury Prize at the Slamdance Film Festival

# “Expiration Date” / “Outsourced” (2006): Seattle filmmakers Rick Stevenson and John Jeffcoat self-distributed their locally produced features and got them into theaters in 2007.

# “Zoo” (2007): Robinson Devor’s controversial documentary about the Enumclaw bestiality ring.

Help out HUMPDAY

January 2, 2009

From Jennifer Roth, our illustrious Board President (and also a Sundance 2009 participant):

As everyone who hasn’t been living with Gilligan on his island knows, Lynn’s film HUMPDAY is in competition at the 2009 Sundance Film Festival. 

HUMPDAY is facing some additional unanticipated costs for Sundance and needs to raise about $5000. Many of you know that HUMPDAY had a big fundraiser at the NW Film Forum on Saturday night but because of the snow very few people were able to come. I was there and saw 3 cut scenes as well as the trailer, everything we screened is amazing and I can’t wait to see the film! If you were planning on stopping by and dropping a few dollars, perhaps you’d consider sending a check. Even if you weren’t planning on stopping by, perhaps you could send a check. To those of you who have already contributed, please forward this e-mail with reckless abandon.

I’m neither a connoisseur of Sundance Film Festival history or always reliable with my information, but personally I think it’s HUGE  that Seattle has 3* films at Sundance. It’s highly unusual for a regional film community to be so well represented at this festival (which is usually all about NY and LA). All of our Seattle efforts: creative, technical, volunteer are paying off and every member of the film community should share in this success. If we support one another, we all win.

Humpday was made in part with a NW Film Forum support and a donation to HUMPDAY is tax deductible. Checks made out to NWFF just need to have “Humpday” written in the memo line. The mailing address:

c/o NW Film Forum
1515 12th Avenue
Seattle  WA  98122

*THE IMMACULATE CONCEPTION OF LITTLE DIZZLE and WORLD’S GREATEST DAD are also at Sundance (again, for those of you on the Island).

Benefit party for HUMPDAY

December 13, 2008


Saturday, December 20

Northwest Film Forum will host a benefit for Lynn Shelton’s 3rd feature film Humpday, which has been invited to have its world premiere at the SUNDANCE FILM FESTIVAL in January 2009!  Money raised at the party will help to defray the costs of publicity and housing at the prestigious festival.

How do we get our little film seen among the 120 films showing?  We solicit your help!  We’ll unveil our newly cut Humpday trailer for your immediate (and constructive, please) feedback.  For those interested in the cross-section of arts & crafts and festival & film marketing, we’ll have a Make-a-Humpday-Button craft table. The best design will win a bag of Hump-themed swag.   And, at your discretion, you’ll be able to answer on camera a secret question crafted by our marketing experts.

Everyone who enters will be eligible for our raffle, and our own DJ Hump (TBA) will spin for your dancing pleasure.

This party is open to the public, so bring your friends, with particular interest in guerilla marketers, grassroots organizers, poster children, and tycoon-philanthropists.

Door is $5, and drinks by donation.

Humpday stars Mark Duplass (The Puffy Chair), Joshua Leonard (The Blair Witch Project) and Seattle actress Alycia Delmore. The film was produced with an all-local crew, including award-winning cinematographer Benjamin Kasulke.

For more information on the film, please visit:

Lynn Shelton also in Sundance

December 3, 2008

What a day for Lynn!  Congrats!

From the press release, (which was presumably written within the confines of NWFF, since her producer rents an office here):

The Sundance Institute announced today that the world premiere of Humpday, Seattle filmmaker Lynn Shelton’s third narrative feature, will play in the U.S. Dramatic Feature competition at the 2009 Sundance film festival. This year’s 16 films in U.S. Dramatic competition were selected from 1,026 submissions. Celebrating its 25th anniversary, the Sundance Film Festival runs January 15-25, 2009, in Park City, Salt Lake City, Ogden, and Sundance, Utah.

Sometimes male bonding can be taken a little too far. When Andrew (Joshua Leonard) unexpectedly shows up on Ben’s (Mark Duplass) doorstep late one night, the two old college friends immediately fall into their old dynamic of heterosexual one-upmanship. To save Ben from a life of city planning and domestication, Andrew invites Ben to a party at a sexpositive commune. Everyone there plans on making erotic art films for the local amateur porn festival (The Stranger’s Hump!) and Andrew wants in. They run out of booze and ideas, save for one: Andrew should have sex with Ben, on camera. It’s not gay; it’s beyond gay. It’s not porn; it’s an art project.

The next day, they find themselves unable to back down from the dare. And there’s nothing standing in their way – except Ben’s wife Anna (Alicia Delmore), heterosexuality, and certain mechanical questions. Humpday: a bromantic comedy.

Ms. Shelton’s first feature, We Go Way Back, premiered at SLAMDANCE 2006 where it picked up the Grand Jury Award for Best Narrative Feature and the Kodak Vision Award for Best Cinematography. Shelton’s second feature film, My Effortless Brilliance, premiered in competition at SXSW 2008 and won the Special Jury Prize for Excellence in Direction at Atlanta Film Festival. Shelton was the recipient of 2008 Stranger Genius Award in Filmmaking.

This week, Film Independent announced that Shelton is a nominee for the 2009 Independent Spirit “Someone to Watch” Award. The 2009 Film Independent’s Spirit Awards ceremony will air uncut, uncensored, and commercial free on IFC (Independent Film Channel) on Saturday, February 21 at 5 pm EST/PST. An edited re-broadcast of the ceremony will air later that evening on AMC. Humpday, her third feature, stars Mark Duplass (The Puffy Chair), Joshua Leonard (The Blair Witch Project) and Seattle actress Alicia Delmore. The film was shot on location in Seattle over 12 days with a Seattle crew, including Cinematographer Benjamin Kasulke, Composer Vinny Smith, and Production Designer Jasminka Vukcevic. The film was Edited by Nat Sanders (Medicine for Melancholy).

Humpday was Produced by Lynn Shelton, Executive Produced by Dave Nakayama and Co-Produced by Jennifer Maas and Steven Schardt, with Associate Producers Sue Corcoran and Ted Speaker. Josh Braun of Submarine Entertainment is acting as Distribution Advisor for the film.

Humpday Website
For further information on the film, please visit:

Back at Sundance

November 29, 2007


The Rambler, like Little Farm before it, is going from Local Sightings to the Sundance Film Festival. With the Rambler, Calvin Reeder’s created another blood polished gem produced by Brady Hall.

Thank goodness these fellahs keep making this hilarious shorts.