2013 Juried and Audience Award Winners Announced

Ashland, Ore. — The Ashland Independent Film Festival tonight announced the 2013 juried and audience award winning films at a gala Awards Celebration at the Historic Ashland Armory. Twelve awards were presented to attending filmmakers, honoring their work screened at the 12th annual festival.

The 2013 Rogue Award was presented to AIFF alum and two-time Oscar®-nominated director Lucy Walker, in recognition of her ability to capture memorable characters on transformative journeys. Walker’s latest film, The Crash Reel screened at the Festival, bringing to Ashland audiences the inspiring story of champion snowboarder Kevin Pearce and his ongoing fight to recover from a massive brain injury incurred while training for the 2010 Olympics. Walker also presented a series of short films profiling Olympic athletes from around the world in Going for Gold: Olympic Shorts with Lucy Walker, and moderated a standing-room-only TalkBack panel “Close-Up and Personal,” drawing together documentary filmmakers to explore the creative process behind translating public and private personas to the screen.

2013 Audience Award Winners
The Rogue Creamery Audience Award for Best Documentary was awarded to Jake Shimabukuro: Life on Four Strings.  The Forgotten Kingdom, which had its World Premiere at the Festival, won the John C. Schweiger Audience Award for Best Feature. Slomo received the Sypko Andreae Volunteer Spirit Audience Award for Best Short Film: Documentary and The Other Side took home the Audience Award for Best Short Film: Narrative. The Audience Family Choice Award went to Floyd the Android.

2013 Juried Award Winners
The Retrieval, directed by AIFF alumni Chris Eska (August Evening, AIFF 2008) received the festival’s jury award for Best Narrative Feature film. God Loves Uganda, directed by Academy Award-winning AIFF alumni Roger Ross Williams (Music By Prudence, 2010) took home the Best Feature Length Documentary juried award.

Emanuel and the Truth About Fishes won jury prize for Best Acting Ensemble and the Gerald Hirschfeld A.S.C. Award Award for Best Cinematography. Hirschfeld was the 2007 A.S.C President’s Award Honoree and Director Photography for films such as Young Frankenstein and My Favorite Year.

Bite of the Tail won the Best Animated Short. Best Short Documentary went to FLO. The juried award for Best Short Film went to The River. Karaoke! received a special jury mention in the Short Film category.

Juried and Audience Award-winning documentary, feature and short films will receive encore presentations Monday at the Varsity Theatre. Tickets are available at the box office at the Varsity Theatre from 9 am to 10 pm. 2013 AIFF tickets are no longer available online. For more information and to read complete film synopses visit ashlandfilm.org.

For more press information, contact Anne Ashbey at 541.488.3823

Make sure to get a ticket to all of Lucy’s #AIFF13 films, THE CRASH REEL and GOING FOR GOLD: OLYMPIC SHORTS WITH LUCY WALKER, and a ticket to the Filmmaker Talkback: Close-Up and Personal which she is moderating.

Lucy Walker

Q: How did you get started in filmmaking?

Lucy: As a child I loved acting in school plays, then I got very shy and started directing theatrical productions in high school, instead of acting in them. I carried on doing this throughout university where there were fantastically talented young actors, musicians and set directors to work with, and directed several ambitious productions, some of them elaborate musicals outside in the college gardens. I was just doing it for fun all this time, and meantime was a very serious student. Then one day someone brought me a videocamera and asked me to tape one of the plays I was directing. I was instantly hooked. It was so much fun to shoot the play, and I loved close-ups, pans, zooms. In a flash I realized that I would love to MAKE films, instead of watch films and make theater. In retrospect it made a lot of sense – I loved photography, literature, art, music, exploration, story, all the elements of films. But it wasn’t til pretty late that I thought I could do this myself. And then I had another inspiration – I used to think I had to work and do this fun theater stuff on the side. Then it occurred to me that work could be this theater stuff. That it was a possible career. Another lightbulb. I’m not sure if it’s because I’m female and there were so few role-models, or because nobody in my family was in the creative industries that it took me so long to think of this, despite my love of watching films…

Q: Who is your favorite independent filmmaker? Or who do you look up to in the independent filmmaking world

Lucy: Oh gosh, too many people to name! I know who inspired me to apply to NYU film school were Jim Jarmusch and Spike Lee back in the day. I read that they had gone to film school and I loved the idea that I could study film — this was a very novel idea in the UK at the time. I managed to cash in all my academic chips to get a scholarship to go to film school — I’m still amazed I managed to pull that one off, it was one of my crazier schemes but somehow it all worked out and I got myself a ticket to NYU Grad Film school, which was a great place to learn from scratch, as I needed to do.

And as for documentary filmmakers – there are so many whose work has inspired me and continues to do so!

Q: What was your favorite film as a child and why

Lucy: My first film was The Jungle Book and that was very memorable. I was also weirdly obsessed with The Aristocats in case anyone can explain that to me. The Great Escape was the film I saw the most frequently, as it was replayed so much on British television, and I really enjoyed it. Then one day I switched on the tv and Apocalypse Now was on… now THAT was interesting. My father came in and switched it off, saying that a cow was about to be chopped up, which made me extremely curious…

Q: If you were stranded on an island, and had the ability to watch one film over and over, what would that be?

Lucy: But… wait… why does this sound so familiar? Oh yes! This is actually my life! I’m stranded in a little island editing room, watching my own film for months at a time, with only my poor editor to watch it with me! So I don’t think I’d take a film, I’d just go swimming. Ok maybe a Kubrick movie, they are such masterclasses and I could watch them over and over and still learn something. Then again maybe not The Shining. I don’t think watching that over and over would be helpful in the circumstance.

Q: If you are attending the 2013 AIFF, what are you looking forward to most in Ashland?

Lucy: Everything! It has the reputation as THE most enjoyable film festival, and since I’ve been to many very enjoyable film festivals, and know how much fun they can be, I really have my hopes up. I might have to go for a hike as well, I’ve heard the hikes are beautiful too!

Lucy talks THE CRASH REEL: I decided to make the film after meeting Kevin in 2010. He was recovering from his accident, and I was struck by both his incredible star quality and his vulnerability at that time. I was guessing that there would be a wealth of archival material out there, from home footage to competition footage to the crash itself. Tracking down and putting the pieces of the puzzle together was one of the most exciting parts of making this movie. The Crash Reel is so much more than a snowboarding film. It has all the thrills and spills and eye-popping scenes you’d expect, but it’s most resonant as a coming-of-age story about family, growing up, and learning to accept the most challenging of limitations. I didn’t know how it would end—for Kevin, or his brother David who has Down syndrome. I was thrilled on every level when their stories landed like the best snowboarding trick ever!

Marta Cunningham

Q:  How did you get started in filmmaking?

Marta: I began the process of making of filmmaking by picking up a camera and interviewing key players involved with the murder of Larry. As I started accumulating footage for research on the narrative piece I was working on I quickly realized that this needed to be a documentary revealing the various pieces to this complex story.

Q: Who is your favorite independent filmmaker? Or who do you look up to in the independent filmmaking world?

Marta: Laura Poitras, Fatih Akin, Erol Morris and Jacques Audiard. All of these filmmakers have a way of telling a story through an anti-heros that I really admire. They shy away from black and white themes and delve into the humanity that we all share.

Q: What was your favorite film as a child and why?

Marta: Wow, that’s a tough one. My mother introduced me to some amazing classics when I was young like THE RED SHOES and THE PICTURE OF DORIAN GRAY but hands down I would have to say STAR WARS. I can watch it with my kids today and I still absolutely love it. I love epic tales.

Q: If I were stranded on an island, and had the ability to watch a film over and over, what would that be?

Marta: I think it would be a toss up between TAXI DRIVER and Ed Wood’s PLAN 9 FROM OUTERSPACE. I think TAXI DRIVER is an amazing film of how dangerous and out of control the 70’s felt to everyone in states and it inspired me to be a filmmaker and PLAN 9 makes me laugh harder then any other film I have ever seen.

Q: If you are attending the 2013 AIFF, what are you looking forward to most in Ashland?

Marta: One of the best experiences I have had this year as we travel to various festivals is to be able to meet other filmmakers. You rarely have opportunity to meet people who are directors and producers from all over the world and that is extremely exciting. Also, I have every intention of delving into the Ashland itself, I have heard nothing but great things!

Marta talks VALENTINE ROAD: I first heard about Lawrence King and the tragic circumstances of his death from an article in the Southern Poverty Law Center’s magazine. The coverage that existed seemed to portray the real problem as Larry being ‘too gay, too soon.’ I believed Larry deserved to have his story told in an unbiased way. I called to find out when the next hearing for Brandon, his accused killer, was taking place, and so began the four-year journey that became Valentine Road. Brandon had turned fourteen only nineteen days before the shooting. Were there two misunderstood juveniles in this case? I had to tell the story of these two boys who had both suffered abuse. I challenged myself to support the struggle of all citizens to equal rights before the law. It is my hope that this film plays some part in the struggle for justice in the often forgotten communities of our nation.

For more information and tickets, click here.

Steve Doughton

Q: How did you get started in filmmaking?

Steve: At age seven my baby-sitter and I made a home-movie inspired by the Keystone Cops, upon its completion my father bought me a super-8 camera.

Q: Who is your favorite independent filmmaker? Or who do you look up to in the independent filmmaking world?
Steve: Charles Joffe, John Casavettes, Christine Vachon, Todd Haynes, Wong Kar Wai, John Sayles, Kelly Reichardt, Tom Noonan, Mike Leigh

Q: What was your favorite film as a child and why?
Steve: 2001 A Space Odyssey. I loved the multi-colored space suites. Furthermore, the sequence “Jupiter And Beyond The Infinite” terrified and fascinated me. On the way out of the theater I turned to my father and said “What was that all about?” without missing a beat, a man in front of us turned and said “And after you’re done explaining it to
him, explain it to me!”

Q: If you were stranded on an island, and had the ability to watch one film over and over, what would that be?
Steve: Ozu’s “Late Autumn”

Q: If you are attending the 2013 AIFF, what are you looking forward to most in Ashland?
Steve: Lithia water.

Steve talks Buoy: In an age of email, texts, and social media, the phone call is one of the last remaining places for deep and revealing conversations—and it seems to be losing ground to those quicker, less personal modes of communication. In a phone call, we can converse honestly and intimately; the abstract location (you are there and I am here, and yet we are together in this aural space) prompts us to divulge our most secret thoughts. So this endangered interaction struck me as an interesting space to explore cinematically. The people we’ve known the most intimately are often the most mysterious to us. For my cinematic phone call, I decided to focus on a conversation between two estranged people with a deep and shared past, each with a need to unburden themselves to, and connect with, the other.

For more information and tickets, click here.

Tim Cawley

Q. How did you get started in filmmaking?
Tim: My “day job” is in advertising as a writer and Creative Director. In that role, I get to write scripts, do boards, cast, scout, go to the shoot, cut, edit, mix, transfer. It’s a great film school. Even if you’re only putting out 30 or 60 seconds of film at a clip.

Q. Who is your favorite independent filmmaker? Or who do you look up to in the independent filmmaking world?
Tim: I tend to love a lot of director’s first films: the scrappy ones they made against the odds when they had no resources. Kevin Smith’s Clerks. Sam Raimi’s Evil Dead. Duncan Jones’ Moon. Darren Aronofsy’s Pi. Shane Carruth’s Primer. Christopher Nolan’s Following. Those directors aren’t all so “indie” now, but they scratched and clawed to eek out that first movie.

Q. What was your favorite film as a child and why?

Tim: Willy Wonka and the Chocolate Factory. Kind of a musical. Kind of horror (those Oompa Loompas gave me nightmares). Kind of Sci Fi. Kind of a Fairy Tale. A little bit of everything. And I loved that the hero wasn’t a clear-cut good guy. I’ll still watch that film if I’m clicking around and it’s on the TV.

Q. If you were stranded on an island, and had the ability to watch one film over and over, what would that be?
Tim: Something long and epic would make sense. A little funny to keep my spirits up until I got rescued. Maybe something a little sexy to help fight off the loneliness! Probably Boogie Nights. Though I’d try to sneak Goodfellas, Mulholland Drive or Pulp Fiction on to the island in a hollowed out coconut.

Q. If you are attending the 2013 AIFF, what are you looking forward to most in Ashland?
Tim: Never been to Oregon before. Never been to the Ashland Film Festival before. People say the most amazing things about both. Plus, this will be the first time our composer Conan Skyrme and his brother Tom see the film in a theater with an audience. Can’t wait to hang with them, as they’re traveling from Los Angeles and London respectively. It’s gonna be like indie film Spring Break for us.

Tim talks From Nothing, Something: This film is a record of what essentially a two-year “creative guy fantasy camp” where I met sixteen intelligent, interesting, strange, frustrating, inspiring personalities. We shot when we could get access, when folks were in the middle of a big project, or “in a groove.” We distilled hundreds of hours of footage. In the editing process, a funny thing happened: On those occasions when we lost our way, the film became the roadmap to actually finishing the film. That’s when I suspected we were on to something. It wasn’t just entertaining, sad, funny, etc. It was useful.

In hard, uncertain times, people can get practical and conservative. Being creative can be seen as a luxury or even foolish. But what I want viewers to learn is this: Creativity be a prudent, profitable, productive and glorious thing. And it’s not just for “geniuses.”

People use the term “flash of inspiration.” But in conducting my interviews, I discovered there’s just as much hard work, diligence, trial and effort that goes into creativity. Achievement doesn’t come in one glorious, overnight, American Idol-esque “congratulations you’re famous” moment. It’s a workaday mix of talent and effort. And it’s achievable, to some extent, by most everybody.

Buy tickets to the film here.  More spotlights to come!

Dawn Porter

Q. How did you get started in filmmaking?

Dawn: I worked in television standards and practices for many years – first at ABC News and  then at A&E television. That job involved among other things watching cuts of long and short form programs.  After doing those jobs for more than 12 years I was ready for a change and thought Id really like to work on my own film.  I met Jon Rapping and he invited me to come film his training program in Alabama and so I hired a crew and began filming.

Q. Who is your favorite independent filmmaker?  Or who do you look up to in the independent filmmaking world?

Dawn: I adore the work of Laura Poitras.  Not only is she a beautiful storyteller, she is so brave. She is a true original voice and I really admire her work.

Q. What was your favorite film as a child and why?

Dawn: Butch Cassidy and the Sundance Kid.  I watched that movie so many times.

Q. If you were stranded on an island, and had the ability to watch on film over and over, what would that be?

Dawn: OK this is embarrassing but its probably The Way We Were.  I love and I always hope that Hubbell and Katie get back together.

Q. If you are attending the 2013 AIFF, what are you looking forward to most in Ashland?

Dawn: I can’t wait to see great films and connect with other filmmakers.  Ashland has such a great reputation as a place for great conversation as well as great films.  I love meeting people who love documentary filmmaking.

Buy tickets to Gideon’s Army here.  Stay tuned for more!

Greg Finton

Q: How did you get started in filmmaking?

Greg: My first three majors in college were: Music, Art, and Philosophy – film seemed to combine the aspects that I liked of all three.

Q: Who is your favorite independent filmmaker? Or who do you look up to in the independent filmmaking world?

Greg: I have so many favorites, but here are three that come to mind.  In no particular order – Errol Morris, Jim Jarmusch and Richard Linklater.

Q: What was your favorite film as a child and why?

Greg: It would have to be “The Bad News Bears”.  It combined my two main loves at that time – little league baseball and comedy.  I saw it in the theater at    least 3 or 4 times in 1976.  It wasn’t until I watched it years later as an adult that I realized it was probably the themes in the film – never giving up, and  the importance of pulling together as a unified team – that I was really responding to.

Q: If you were stranded on an island, and had the ability to watch one film over and over, what would that be?

Greg: Hoop Dreams

Q: If you are attending the 2013 AIFF, what are you looking forward to most in Ashland?

Greg: Getting to know the city, and spending time with fellow filmmakers.

Buy tickets to the film and get more information here.

GOD LOVES UGANDA

I first met Roger Ross Williams when he came to Ashland with his documentary, MUSIC BY PRUDENCE, shortly after he won an Academy Award for the film.  We had paired PRUDENCE with Steve Bognar and Julia Reichert’s THE LAST TRUCK: CLOSING OF A GM PLANT and Popeye, a subject of their film, was in town as well.  Roger and Popeye had not met before, but they hit it off right away, and their joint Q&As were a highlight of the 2010 festival.

I have stayed in touch with Roger since, seeing him at festivals, and always looking forward to a big hug and his warm smile. We talked about his new project, GOD LOVES UGANDA, and I was thrilled to learn that it would premiere at Sundance in January.  I had a chance to see the film early on, and the AIFF programming team was unanimous in our enthusiasm for this incredibly powerful, and infuriating look at the “role of the American evangelical movement in Uganda where American missionaries have been credited with both creating schools and hospitals and promoting dangerous religious bigotry. The film explores the evangelical campaign to change African culture with values imported from America’s Christian Right.”

All the filmmakers featured in this year’s festival have a wide range of interest and outlooks towards film.   We asked the burning questions, and they answered.

Steve Brown, Jessie Deeter
Co-Directors of
Spark: A Burning Man Story

First up, Jessie Deeter, the Co-director of Spark: A Burning Man Story.

Q. How did you get started in filmmaking?

Jessie: An old boyfriend introduced me to documentary films long ago with a black and white documentary called “Freaks.” I was fascinated, but never thought that making films was something I could do until I was a student of Jon Else (we call him “the Master”) at UC Berkeley’s graduate school of journalism, which worked with PBS’s Frontline to give students practical internships working on their documentaries. I started as a PA and worked my way up from there.

Q. Who is your favorite independent filmmaker?

Jessie: I don’t have only one favorite filmmaker–there are so many! I’ve learned a lot from watching Errol Morris and Werner Herzog’s films. I was lucky enough to work a little bit with Alex Gibney, whose is extremely good with story and structure. I greatly admire the way Lucy Walker and Ondi Timoner get at character. But what Joshua Oppenheimer has just done with “The Act of Killing” has me still reeling. Like Errol did, he’s cracked open a new grammar for documentary filmmaking that forever alters how we documentary filmmakers think about how our characters can tell their stories.

Q: What was your favorite film as a child and why?

Jessie: I must admit that I was a John Hughes, “Breakfast Club” kind of girl. Because I identified with each of those characters (except maybe the jock) and fell in love with Hughes’ version of Romance.

Q: If you were stranded on an island, and had the ability to watch one film over and over, what would that be?

Jessie: It would either be “Man on Wire” or “Life of Brian.” I view both as perfect films.

Q: If you are attending the 2013 AIFF, what are you looking forward to most in Ashland?

Jessie: I am most looking forward to simply being in Ashland. I’ve never spent any time there, and other documentary filmmakers have highly recommended it to me as a gorgeous and fabulously welcoming place for filmmakers. I’m also looking forward to seeing as many movies as I can, which I view as professional training.

More about Spark: A Burning Man Story here.  To purchase tickets visit our Box Office page.