Reel NW

Reel NW | SIFF 2012 Fly Films

SIFF 2012 Fly Filmmaking Challenge

The 2012 fly films were produced by Virginia Bogert. Learn more about the films and filmmakers below.

Watch the SIFF 2012 Fly Films

Reel NW - C.B
Photo by Regan MacStravik

Directed by: Nathan Williams
Written by: Sam Graydon
Produced by: Gevin Booth
Music by: Matt Menovcik

Mark works at a deli and talks too much. C.B. works at a science museum and doesn’t talk at all. When C.B. invites Mark into her carefully protected world, unexpected consequences follow.

About the Director
Nathan Williams – CB

Nathan Williams has been making film in the Pacific Northwest since 2005. His work, including The Dinner Table, Things Left Behind, and Night Stand, has played in festivals worldwide, including SIFF, Vienna Shortsfest, the Hamburg Lesbian and Gay Film Festival, and LA Shorts.

Reviens Moi

Love, Seattle
Photo by Victor Pascual

Directed by: Tracy Rector
Written by: Nik Perleros
Produced by: Lou Karsen
Music by: Eric Goetz

A young Ojibway man wakes to a profound memory from his past, which ignites a yearning for his childhood sweetheart.

About the Director
Tracy Rector - Reviens MoiPhoto by Peter Cohen

As the co-producer of Teachings of the Tree People, a feature documentary about Bruce ‘subiyay’ Miller of the Skokomish Nation, Tracy learned how to bring oral tradition into a contemporary media-based storytelling format, while also identifying the multiple ways to involve the community in the filmmaking process. Her next unique documentary film, March Point, highlights the process of collaborative filmmaking with three young men from the Swinomish Indian Tribe. Both of these films have been Nationally broadcast on PBS, National Geographic and have traveled widely on the national and international film circuit garnering many awards and recognition. Her films have had national broadcast and distribution with Independent Lens, National PBS, Smithsonian, National Geographic and on the world festival circuit including the International Festival de Cannes.

In 2009, Tracy received the National Association for Media Literacy award for outstanding contributions made in the field of media education (previously awarded to Jon Stewart and Bill Moyers). She is a Sundance Institute Lab Fellow and is the recipient of the Horace Mann Award for her work in utilizing media for social justice. Tracy was raised in Seattle and Albuquerque, both homes have inspired her artistic and cultural vision. She currently works and lives in Seattle with her two boys.


Reel NW - D.C.I.
Photo by Regan MacStravik

Directed by: Lacey Leavitt
Written by: Brooks Peck
Produced by: Mel Eslyn
Music by: Kevin Cox

Two astronomers, whose love is on the wane, engage in a radical experiment in hopes of finding passion for more than science.

About the Director
Lacey Leavitt – DCI

Lacey Leavitt, a Seattle-based independent filmmaker, co-directed and produced Blood on the Flat Track: The Rise of the Rat City Rollergirls, an award-winning documentary about women’s roller derby. As a producer, her first two narrative features, The Off Hours (written/directed by Megan Griffiths) and The Catechism Cataclysm, (written/directed by Todd Rohal) both premiered at the 2011 Sundance Film Festival. Lacey also co-produced Safety Not Guaranteed (directed by Colin Trevorrow) and Touchy Feely (directed by Lynn Shelton), which premiered at Sundance ’12 and ’13, respectively. She also co-produced the upcoming films Lucky Them (dir. Griffiths), starring Toni Collette, Thomas Haden Church and Oliver Platt; and Laggies (dir. Shelton) starring Keira Knightley, Sam Rockwell and Chloe Moretz. She was a 2011 Sundance Creative Producers Lab fellow with the upcoming Griffiths project, Sadie, and is producing the in-progress documentary Sweetheart Deal, directed by Elisa Haradon and Gabriel Miller.

The Return

Reel NW - C.B
Photo by Regan MacStravik

Directed by: Jeremy Mackie
Written by: Heather Hughes and Kate Wharton
Produced by: Mel Eslyn
Music by: James Richter

When a techie college grad gets a job with the maintenance crew of the Seattle Center, they endeavor to orient him to the job and its slightly spooky history.

About the Director
Jeremy Mackie  – CB

When not crewing film projects around Seattle, director Jeremy Mackie spends his time making his own films. Before The Return, Jeremy wrote and directed the short film While You Weren't Looking about a pint-sized rebel girl finding adventure in racing grocery carts. The film played at several festivals, including the Palm Springs Shortfest, the Brooklyn KidsFest, International Children and Young People's Film Festival in Malmö, and the Byron Bay Film Festival. He also directed a ‘city-film’ homage to the people of Seattle called Grey Linings, as well as the short documentary A Little Bit Faster that follows an amateur race car driver trying to make it in a sport dominated by money.

Jeremy has also shot, lit and edited film projects in the local film community for more than seven years, and has the pleasure of working with some of the hardest-working and talented people in Seattle. Jeremy’s lighting credits include Safety Not Guaranteed, Your Sister’s Sister, Eden, Fat Kid Rules the World, Grassroots, and the Indie Spirit Award-nominated The Off Hours. As an editor, he’s cut several short films and art projects through the years, including Victory Point and How to Enter a Bedroom.


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I just watched The Return. It was okay but I was amazed that there was no reference to Saki and his classic short story, The Open Window! The story was lifted wholesale from the story! But the wonderful ending, as it was a film, had to be left out: "Romance at short notice was 'his' speciality."

I'm surprised that the writers thought that no one would be familiar with Saki's work. Or that we wouldn't notice, or care, I suppose. Well, guess what? I do care! I wouldn't mind so much if they'd bothered to throw some vestige of credit his way. Imitation in this case is flattery, but next time let the audience know from where your ideas come!

4 out 10 for the film; 0 out 10 for the writing/writers.


I recently came across your comment about 'The Return' and took it deeply to heart. It was never our intention to short Saki credit in adapting his wonderful short story to our ghost story set in the Seattle Center. Obviously, we are fantastic admirers of the story, and in no way meant to do it harm.

While we have never tried to hide the fact that the story came from Saki (our own descriptions of the film always included the credit) and in every Q&A about the film I have personally made it a point to bring it up to the audience, the credit was not included in the version of the film playing on KCTS nor on it's website, much to my chagrin.

I have since corrected this mistake, with Saki and 'The Open Window' getting a adaptation credit on the first title card, and every subsequent playing of the film will include the credit, whether on KCTS, online or at festivals. You can view the version at, as well as see our original description of the film, which has always proudly described the film as an adaptation of the short story in the first paragraph.

As lovers of his work, myself and the writers simultaneously deeply regret the concern this omission might have caused you, and rejoice that we've found a Saki fan with enough love to head out to the boards to correct a slight to his name. Since the story is in the public domain, there's no requirement for us to mention where we got our ideas (hence The Lion King can match Hamlet's story points beat for beat without any credit), but there is a moral responsibility, and I'm glad you brought it to our attention.

Despite the circumstances, we're thrilled to know there's such impassioned fans of Saki's work out there, and hopefully this all ends up with more people reading 'The Open Window' and creating more fans of Saki.

With deepest regrets,

Jeremy Mackie
'The Return'

P.S. As for the ending of the story, I hope you understand that the brilliant final line of Saki's did not fit in with the characters, nor the spirit of the film. Given the old man character of the film, I think something along the lines of 'Tutelage of wayward youth was his speciality' would fit more, if there was a narrator we could have speak those words.

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