This is the fourth year that SIFF is showing films at Shoreline Community College. While I didn’t go to any films there this year (I’ve moved since last year, and not closer to Shoreline — which is unfortunate, since I love the venue), I’d encourage anyone who can go to check it out. It’s away from city traffic, the screenings tend not to be as crowded (though they had at least one screening on standby this year), and they have free parking.
For the third straight year, Shoreline Community College (SCC) was one of the satellite venues for SIFF. This year, however, was the first year I attended a screening there, and the screening I attended launched the first-ever Episodic Content category: WebFest at Shoreline (this was the only screening of this content during the festival).
Besides having ample parking for people with cars, SCC boasts a leisurely bus ride for people who rely on public transportation. Of course, sometimes the buses don’t cooperate:
Being out-of-the-way means that there isn’t a fight for seats, like can sometimes happen at other venues. For example, I saw no lines outside by the time I arrived. Inside, I saw few passholders and plenty of empty seats. If I’d stayed for Virus Tropical, the only line I would’ve seen is a short one for ticket holders. And the campus has a quiet, relaxed atmosphere to it. One feels they’ve escaped the city for the countryside.
The theater reminded me of the one SIFF used for years at McCaw Hall, in that there’s no middle aisle and the rows are long. Being a bit hungry, I hit the snack bar, where I was happy to discover that they had Reese’s Peanut Butter cups. Also, their popcorn bags are guaranteed not to make noise during the screening.
While Shoreline upgraded their theater in 2017 to include a digital 4K projector and 7.1 surround sound, one of the trailers before WebFest sounded screechy in the high treble range, either meaning that the sound stretched the capacity of the speakers, or the volume was too high (there’s a possible third option: that the audio wasn’t formatted right). During the shorts (a mixture of pilots and webisodes), however, both sound and image quality weren’t a problem. Still, I’d love to see how the space handles a movie meant to be shown in theaters, rather than on a laptop.
Before the shorts began, Beth Barrett, Artistic Director at SIFF, introduced the 95-minute program and told us that multiple people involved in these episodes would be appearing afterward for a Q&A. In addition, Randi Kleiner (Chief Executive Officer) and Caleb Ward (Late Night Programmer), who run SeriesFest in Denver, would be joining them. Before the exclusive content of this program, we got to see a wonderfully amateurish promotional video for Shoreline, which looked like it was made by students at the college.
You can check out my capsule reviews for my thoughts about specific webisodes (unlike the feature films listed, they are listed in order of viewing, not alphabetically). In general, I enjoyed all of them, as they covered a diverse range of topics and genres, from slice-of-life humor (Apartment) to drama (Otis) to sci-fi (The Big Nothing, Strowlers) to thriller (Unspeakable). The Passage had the longest episode at 22 minutes, while Arun Considers had the shortest at 2 minutes.
The Q&A revealed interesting details. For example, the reasons behind developing these projects as web series were varied. Burgers (The Passage) said they just wanted to tell a story, born out of director Kitao Sakurai’s connection with various communities, while Narayanan (Arun Considers) said they did it as a web series for practical reasons (the series originally started as stand-up), as they needed to make it cheaply. For Otis, Etseyatse said the series was originally conceived as a movie. He thought about making it into a short, but then decided to do a web series, instead. With Strowlers, the creators want to make an entire universe that encourages audience participation, which allows them to set stories in different places and different times (one of them pitched a story set in Nigeria). It also allows them to expand into different media, such as literature and comics. Finally, Chamuris said Unspeakable director Milena Govich wanted to do a series centered around an anti-hero.
Some of these series have multiple episodes up already (Arun Considers, Unspeakable), while others have only one episode shot (The Passage) or don’t have them online yet (Strowlers, which will have episodes up in the fall).
Then it was time for Kleiner and Ward to take the stage and explain what SeriesFest is. Basically, it’s a film festival that only shows web pilots, but they also bring network execs in to watch the pilots so that these series can receive financial backing. This year, the fest runs from June 22-27. Unbeknownst to the filmmakers in WebFest, Kleiner and Ward were judging their pilots, and Unspeakable won the honor of appearing at their festival.
Next year, I hope to visit this gem of the north more often when the 45th Annual Seattle International Film Festival begins. And I hope more people will join me.
A very special thanks to Beth Barrett for furnishing me with the names of all the guests for Strowlers.