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Meet Rose Kreider, possibly Seattle's most do-it-yourself filmmaker – The SunBreak

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Meet Rose Kreider, possibly Seattle's most do-it-yourself filmmaker – The SunBreak


When Seattle indie filmmaker Rose Kreider asked me to check out her 2022 debut film The Woman, I was thoroughly impressed. It was a beautifully told story about a UW art student who discovers that his adopted mother hasn’t been fully truthful about how he came into her life and he must navigate the choices that this new information opens. By the end I was crying my eyes out. It was nuanced and empathetic. It is also very much a Pacific Northwest film. You’ll notice streets you’ve likely driven up and down in King and Snohomish Counties, among other familiar places. I had a hard time believing that it was made with such a low budget in such a short period of time by a first time filmmaker. Still, it’s a wonder. It’s the work of a person with a vision and drive (and a hardworking and dedicated cast and crew).

Her second film is a short called A Room by the Road, a crime thriller that has plenty of tension in its seven minutes. It’s about a robbery that goes wrong and the trouble that ensues when the money ends up in the wrong hands. Like The Woman, it’s a product of the Pacific Northwest, recognizable to locals without featuring well-known landmarks.

With another short film on the way, I wanted to talk to Rose Kreider about her journey from model to actress to filmmaker, how she’s been able to do so much herself, and what is coming up for her in the immediate future.

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Let’s start at the beginning: Can you talk about your film career and how you got started in film and making movies?

So in 2020 I was offered a competition to put in a photo for a photo competition since everything was remote and I forgot about it. And two months later I actually won most photogenic and that got me a spot to be considered for New York Fashion Week. And then we had another competition online where everyone submitted photos and videos of themselves and the top three winners got to go to New York for New York Fashion Week as a model, and I won. And so that kind of jump started my career in general. I started doing modeling for two years, realized that wasn’t the path that I wanted to take. Then I started familiarizing myself with actors in the Pacific Northwest, and I started acting. As I was acting, I was offered a role that was for a short film and I was the main character, and I wasn’t enjoying my experience as an actor and I was actually interested in what the director’s role was about.

So I started studying that and then I decided to create my own film. I had a dream about a movie that I found really particular, and no one had really done something like it before with a storyline. I woke up in the middle of the night, wrote it out in my journal, and then sat on it for about a week, asked people how they liked the storyline. They said it was super unique and I should make a movie. And then three months later I had a red carpet premiere, a sold out theater of 100 people and it’s now a worldwide international movie and I’ve won three awards for it.

And that was The Woman?

Yes, it was The Woman. I wrote, produced, and directed it with only $1,000.

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And you said that took just three months?

Correct. So I started writing it in October. We finalized the script in November of 2021. And then December, I spent the whole month prepping for my first film set day, which was in January. And again, I had no idea what I was doing, so I was just doing it on a whim after reading a couple of books, I didn’t really ask for help. I did it all myself. And we did everything from location scouting to writing the script to finding actors and cast and crew with no budget really. All the $1,000 went to the production costs. We didn’t actually pay the actors, but we found amazing actors and crew and now their careers have jump-started them. After the movie came out, became internationally recognized, we created a lot of hype for the movie and a lot of people here were interested in seeing it. Now it’s on 19 different streaming platforms and all of those people involved have careers in film now.

It was really fast. And it’s because I didn’t realize how long the ideation took. For a feature film, I didn’t realize that basically filming it can take upwards of six months and then another six months to edit. And I just was going really quickly because I wanted to get it out. Now I see things differently because I know how long it takes to edit or be on a film set. And so for The Woman we filmed every weekend, both days, in January, and that was a lot on the cast and crew. And now moving forward, we’re filming a couple of months, but one weekend, so like a Saturday or a Sunday, we’re not doing double days because that was a lot of work. It was like 12-hour days each day.

And so we filmed for six or seven days total for The Woman, and then we edited literally every single night, myself and the editor, we did it together and we edited Monday through Sunday until two in the morning, every day until March 13th. So we started editing in February. Basically we’re on calls every single night until early morning, and then some days we took days off of work so that we can edit together during the day. We had to re-shoot some things because there was traffic or whatever else going on. So we had to actually re-shoot a couple of things. And so we had to backtrack in February. And then March 13th we released the movie. Funny story is we weren’t even done editing it until the day before premiere, so it wasn’t even done until the day before we premiered the movie.

And then you made a short film, correct?

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Yeah, the second one, I actually had a screenplay writer come to me with his script and say, “I saw your movie The Woman, and I want to for you to consider helping finish writing and direct A Room By The Road.” And I read the script and I said, “Hey, can we change a couple of things?” Because I decided that I had my own perspective on how to do movies even after just doing one. I got a groove going and some of the things and the scenes that he had, I didn’t agree with. And so I was able to change some things in the script and rewrite the ending completely. And then we filmed it only two months later in May. And since it was a short, it was only nine minutes long, we filmed it in one day and we released it on June 24th, so only a month later.

I find it really impressive that you’re able to make these films on such a short budget. I know technology has advanced a lot over the past 30 years, but I remember being blown away learning that Robert Rodriguez famously made El Mariachi for like $7000 and you’re working with a budget much, much smaller.

I think it goes to show that people are really scrappy and creative here.

Yeah, absolutely. And I was wondering what was the experience like between you doing everything for The Woman and then being approached with A Room By The Road, which is a script someone else had. What was the difference like for you?

Honestly, I can’t think of any differences. I’m very hands-on. Some say I would be more controlling and I need to let go, which I do agree, I take on a lot. But I don’t have a PA that helps me write call sheets. I do that all myself. I never hire someone for location scouting, I do that all myself. I do the cast and crew hiring myself. I do the budgeting myself. And then when it comes to the script for The Woman, I wrote that in just like a week. And then I had it read by a couple of different people who finalized it, we changed some things together that made more sense for an audience’s perspective, that’s how I write everything is from an audience’s perspective.

And I feel like a lot of people that I work with, especially A Room By The Road, he knew just by talking with me on the phone that I was going to be more upfront and direct. So he was like, “You know what? I’m just going to give you the script and you can do what you want with it.”

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It sounds like you’re still doing pretty much everything like you did with The Woman. What have you been able to learn to make it easier for you with your future films or your films after The Woman?

So I actually keep the call sheet template, which is I think the most time-consuming. And you really have to have a lot of organizational skills and be able to focus. For one call sheet can take me upwards of three hours because you’re putting in all the details for each scene. So what I like to do is keep a template now for the call sheet so that when I’m making a new film, I have that template and I’ve already gone through two and a half hours of work. All I have to do is fill in where the scenes go and for what day. Another thing is, since then for Christmases and birthdays, I’ve gotten books on successful filmmakers and how they do it. And then I familiarize myself with just watching classic movies that were on a low budget and see how they do things as well.

So I’ve basically just been able to study more so than when I actually decided to make a movie, is I didn’t need to do any studying. I just went along with it just from the knowledge of being on set as an actor. And then also just learning about how to interact with people on set, because as an actor, you don’t realize how much the crew goes through.

Can you tell me about your new movie coming out soon?

Wish You Well was filmed all in downtown Seattle along the waterfront and at Golden Gardens Beach, and we filmed that in one day, and it is a story written and produced by me. It’s about college nostalgia, basically. There’s three best friends from college and now they’re out of college with careers and their own lives, but they’re hanging out and they go to a fountain and they decide, “Hey, let’s make a wish.” And so they all throw in a penny. I don’t know if you’ve heard of the folk tale where you’re not supposed to pick up a penny unless it’s heads up because if it’s tails, then it’s negative. It’s like bad luck. And so I kind of did a double play on that where they all flip the coin in and then as the audience’s perspective, we see where their coins landed.

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So one is heads up and the other two are tails up. So the next day, the people that wished and they got a tails up, their wishes went against them. So exactly what they asked for, it’s the opposite. And then the person that got the heads-up, all these good things are happening to them. And then they realize after a really terrible day or a really good day that it might’ve had to do with the wish. And so they all go back, and I’m not going to give away the ending, but it’s a really cool college nostalgia short film. We’re going to try to make it about 15 minutes long.

And where can people find you?

I’m on Facebook. You can type in Rose Kreider on Facebook and find me. But then also on Instagram, Rose Kreider. I do a lot of content creation. So recently I’ve been doing a lot of Grinch and Christmas reels. But in between all of that, I actually do post stuff about my movies and I will be starting to do movie reels, so clips of my favorite parts of my films put into reels, and so people can find out where to watch them and get excited about it again.

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Rose Kreider also just launched a GoFundMe to raise money for an adaptation of A Christmas Carol, which can be found here.

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Seattle, WA

Seattle’s solution for the middle-class housing squeeze: government housing | CNN Business

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Seattle’s solution for the middle-class housing squeeze: government housing | CNN Business



New York — 

The eight-story, 150-unit Elara at the Market looks like just another sleek apartment building in Seattle’s trendy Belltown neighborhood.

Blocks from Pike Place Market, the Elara opened six years ago with a lush private courtyard, a gym and wine storage lockers. The building is full of Amazon workers who pay more than $2,000 a month for a one-bedroom to live near the company’s headquarters.

But this upscale building with a rooftop deck overlooking the Puget Sound recently transformed into something more likely to conjure images of high-rise public housing in the US or Soviet-style concrete housing blocks: government-owned housing for low-and middle-income renters.

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Seattle believes the affordable housing model has left a void for middle-class households that earn too much to qualify for housing lotteries, but too little to pay for a market-rate apartment. The city’s solution is to create a social-housing model inspired by Vienna, where roughly half of residents across a wide range of incomes live in government-subsidized homes.

It’s not the traditional public housing the federal government built for low-income households during the 20th century. It’s also not affordable housing, privately-owned developments built with government subsidies and tax credits in exchange for below-market rents.

The Seattle Social Housing Developer (SSHD), the city’s newly established public development authority, purchased the Elara for $61 million this month from a private owner.

While many cities and states are trying to climb out of the housing crisis by cutting regulations and relaxing zoning laws to entice private developers, a growing movement on the left wants the public sector to build social housing. The acquisition is the first step in Seattle’s effort to buy more than 1,000 apartments and build 600 new units of social housing for mixed-income households over the next five years.

Roughly 15 of the Elara’s units are vacant. The social developer held a lottery to fill them for people making up to 50% of area median income — $65,000 for a two-person household. It also froze rents on existing market-rate tenants for two years. Nobody’s being evicted, but as apartments turn over, they will be filled with lower and middle-income renters.

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Bilal Durrani, who works as a manager at Amazon and has lived in a 600-square-foot, one-bedroom apartment at the Elara for a year, was surprised when he received a letter in the mail from his new landlord.

He wondered if public ownership would affect his rent or change who lives in the building.

He’s glad the building’s new owner froze his rent and eliminated storage fees. He’s happy to be a guinea pig in Seattle’s experiment — at least for now — and hopeful that social housing may help people struggling to afford the city.

“People always get freaked out when the government steps in, but I’m glad the city is doing something,” he said.

‘Wasted three years and $60 million’

Social housing has won strong political support on the left in Seattle in response to soaring housing costs. The average home value doubled from 2012 to 2022 to $945,000, while rents grew 75% to roughly $1,800 a month.

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Voters in 2023 approved a ballot measure establishing a public developer to construct social housing for people earning up to 120% of area median income — roughly $138,000 for a single person.

Last year, voters approved a dedicated “social housing tax” to finance the effort, levied on businesses like Amazon and Microsoft who pay employees more than $1 million in salary annually. Revenue from the tax will fund the social developer’s acquisitions and development, and rents for higher-income tenants will subsidize lower-income neighbors.

But many development experts and business advocates in Seattle have criticized the social developer’s strategy. They say it’s ineffective, led by activists without experience developing housing, and siphons off resources that could go to building housing for people with lower incomes.

The tax generated $115 million this year, and critics believe that funding should go to building new homes or preserving existing affordable apartments for lower-income renters. Dozens of nonprofit and for-profit affordable housing providers in Seattle are reporting losses and have sold off their properties, risking that they become market-rate apartments.

“I think the Seattle Social Housing Developer should develop social housing,” said Jamie Madden, an affordable housing development consultant in Seattle and the author of “Bittersweet Lane: Creating Home(s) in the American Affordable Housing Crisis.” “They have wasted three years and $60 million and delivered rent control for residents who are not low income and 15 new apartments.”

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Seattle’s model represents a sharp break from how the federal government has funded affordable housing in America since the 1980s: the federal Low-Income Housing Tax Credit (LIHTC), which awards tax credits to private companies that construct housing for lower-income residents.

Social housing advocates believe this model is broken. LIHTC funding is limited every year, and projects financed with the credits have strict income eligibility limits. Tenants with incomes above 80% of area median income typically don’t qualify. Credits also typically expire after 15 or 30 years, at which point the building’s owner can start charging market rents.

Montgomery County, Maryland, an affluent suburb of Washington DC, pioneered the social housing model Seattle and other US cities are trying to replicate.

Montgomery County has used a $100 million fund to finance construction of new mixed-income, mixed-use developments. These projects do not require LIHTC credits or other affordable housing subsidies. The first building, the Laureate, opened in 2023 with a courtyard pool, theater and a gym.

“We were very inspired by them,” said Tiffani McCoy, the interim director of the Seattle Social Housing Developer.

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But Seattle’s social housing push has had growing pains since it was formed in 2023. The social developer’s board has turned over and it fired its first CEO in January, installing McCoy.

The social developer wanted to acquire a high-end building in a hot neighborhood to dispel the idea that people who make less money “should only have access too lower-quality housing,” McCoy said. It was also less risky than buying a struggling property behind on millions of dollars of repairs.

But ultimately, McCoy said it’s about thinking about housing as a public good like libraries and roads.

“We don’t want to rely on the private market, which is ultimately there to create a profit off renters,” said McCoy. “We need a model in this country, like other countries across the world, that creates housing as public infrastructure.”

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Seattle, WA

Will Katie Wilson’s endorsements help or hurt Seattle’s position in Olympia?

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Will Katie Wilson’s endorsements help or hurt Seattle’s position in Olympia?


Seattle Mayor Katie Wilson is wading into a series of high-profile Democratic primaries, backing progressive challengers against longtime state lawmakers in a move that could test both her political reach and Seattle’s relationship with Olympia.

Wilson has endorsed several local candidates, including Ron Davis in the 46th Legislative District and Hannah Sabio Howell in the 43rd District. Both are running from the left against veteran Democratic legislators, including Senate Majority Leader Jamie Pedersen.

The endorsements come as Democrats in Washington state face a series of intraparty challenges, with younger and more progressive candidates arguing that longtime lawmakers have not moved quickly enough on affordability, housing, taxation and social services.

An image of Mayor Wilson and Gov. Bob Ferguson giving an update on how the World Cup matches have played out so far in Seattle. (KOMO)

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Political analyst Sandeep Kaushik called Wilson’s decision “a high-risk roll of the dice,” saying she is not only challenging veteran Seattle Democrats but also potentially putting at risk the city’s relationship with state leaders in Olympia.

“It’s definitely going to be” a test of her political influence, Kaushik said, noting that Pedersen can point to a long list of progressive credentials, including work on LGBTQ rights and the state’s new millionaires’ tax.

Wilson’s endorsements follow a national trend in which progressive candidates have tried to build momentum by challenging establishment Democrats in deeply blue areas. Kaushik said the timing did not appear coincidental, coming shortly after New York City Mayor Zohran Mamdani endorsed several candidates who went on to win their races. But he also noted a key difference: Wilson won Seattle’s mayoral race by a much narrower margin and has faced a bumpier start in office.

Davis, who is running against Rep. Gerry Pollet in the 46th District, said he entered the race after working on statewide housing legislation and deciding Olympia was a place where he could make a larger impact.

“Urgency” has been missing in Olympia, Davis said, arguing that too many lawmakers treat the job as a side role while families struggle with the cost of living. He said he wants the state to move faster on housing, transit, Sound Transit accountability, and progressive taxation.

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Davis said Wilson’s endorsement matters because of her role in Seattle’s JumpStart payroll tax and broader progressive organizing.

“Katie Wilson is one of the people who has done more to bring taxation on the rich in Washington state than anyone else,” Davis said, calling JumpStart a measure that “broke the legal dam” for other forms of progressive taxation.

Davis also defended a challenge from the left after Democrats delivered the millionaires’ tax, saying internal competition is healthy and necessary.

“I think it’s needed,” Davis said. “There needs to be disagreement, and there needs to not be a cling to the status quo.”

According to a Washington Public Disclosure Commission candidate finance chart, Democrat William Dreher has raised about $258,000 in the race and spent $21,000. Davis has raised about $140,000 and spent $26,000.

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Pollet has raised about $96,000 and spent $14,000.

Kaushik noted that Dreher, a prosecutor who worked on cases connected to the Jan. 6 attack on the US. Capitol, makes that race a three-way contest.

In the 43rd District, Sabio-Howell is challenging Pedersen, one of the most powerful Democrats in the Legislature. Sabio-Howell said she is running because the affordability crisis has worsened under current leadership.

“I believe in Washington’s potential to be the best place in the country to build good lives if we can afford it,” Sabio Howell said. “Status quo leaders, career politicians who have been in office as the crisis of affordability has only gotten worse, are not the people who are going to make an affordable future possible.”

Sabio Howell acknowledged the millionaires tax as a “historic win,” but argued it came only after a severe budget deficit forced lawmakers to act. She said progressive leadership from the 43rd District should have pushed for the policy earlier.

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She also rejected arguments from large employers that Washington has reached a tipping point on taxes, comparing the current debate to warnings made during the fight for a $15 minimum wage. Sabio-Howell said voters have repeatedly shown support for funding social services through measures such as the capital gains tax, the Climate Commitment Act and the Long Term Care Act.

Sabio-Howell said Wilson’s endorsement aligns with her campaign’s focus on affordability, housing, schools, public transit and shifting political power away from corporate interests.

The fundraising gap in the 43rd District remains significant. The PDC chart shows Pedersen has raised about $348,000 and spent $77,000. Sabio-Howell has raised about $82,000 and spent $23,000. A third candidate, Heather-Marie P. Wilson, reported no contributions or expenditures on the chart.

Wilson did not return a request for comment.

The Washington State Labor Council also issued a statement, “Jamie Pedersen is the most progressive Senate Majority Leader we have ever had, delivering on major progressive priorities like progressive tax reform and rent stabilization when previous majority leaders couldn’t. If he is not re-elected, the next majority leader will most likely be less progressive and less willing to tackle the toughest problems. Campaigning is an extended job interview and Pedersen has demonstrated he can do the job effectively and in-line with his district’s values. Our unions and community allies should be united in fighting back against a right-wing authoritarian government, not divided against legislators like Jamie Pedersen and Gerry Pollet, who have strong progressive voting records. We have a common foe: the conservative forces in Washington seeking to take over our State Supreme Court, attack our trans community, and repeal the Millionaire Tax and force deep cuts to education and healthcare.”

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His campaign also cited a statement from Katy Ozog, the Executive Director of the Washington Senate Democratic Campaign, “Jamie Pedersen is the most progressive Senate Majority Leader in state history, and the author of landmark legislation like the Millionaires Tax, a champion for affordability measures like rent stabilization, and a leader in the fight for LGBTQ+ equality. He is proud to be the only candidate in the race to have sole endorsements from labor unions and Planned Parenthood.”

Kaushik said the broader picture is a Democratic Party “at war with itself” in Washington, with younger, outsider candidates challenging incumbents they view as part of a failed establishment.

“The mayor doesn’t see herself as just another typical Democratic politician,” Kaushik said. “She very much sees herself as part of and a leader of a movement, a progressive political movement that really aims to take over and change the Democratic Party.”

Whether Wilson’s endorsement can help deliver victories for those challengers remains uncertain. Her allies see the move as part of a broader push for progressive leadership at every level of government. Her critics may view it as an unnecessary risk at a time when Seattle still depends on Olympia for housing, transportation, public safety, and budget support.

For now, the races offer a clear test of whether Wilson’s narrow mayoral victory has grown into broader political power or whether longtime Democratic incumbents can withstand a challenge from their own left flank.

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Seattle, WA

3 Seahawks Rookies Who Must Step Up Right Away

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3 Seahawks Rookies Who Must Step Up Right Away


The Seattle Seahawks are the defending champions, but that doesn’t mean their rookie class isn’t important.

If anything, it means the rookie class is more important because these first-year players will have to play at a very high level right from the jump in their careers. The Seahawks’ rookie class is going to be expected to help the team win a Super Bowl by replacing some key players on the roster.

“The world champion Seahawks, as I saw it, had three clear areas that became needs this offseason: running back, safety and corner, with the departures of Kenneth Walker III, Coby Bryant and Tariq Woolen,” Sports Illustrated reporter Albert Breer wrote.

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“Accordingly, running back Jadarian Price, safety Bud Clark and corner Julian Neal were their first three draft picks, and all three will be guys to watch in late July and August. And another storyline, one that’ll tie back to Price, will be Zach Charbonnet’s return from a torn ACL.”

Jadarian Price

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Seattle Seahawks running back Jadarian Price during minicamp at Virginia Mason Athletic Center. | Steven Bisig-Imagn Images

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With Zach Charbonnet tearing his ACL during the divisional round game against the San Francisco 49ers back in January, first-round pick Jadarian Price will be thrown into the limelight in Week 1, assuming he gets through training camp in full health.

This will be an excellent opportunity for Price to get early reps, especially considering he was a backup in college to Jeremiyah Love, the No. 3 overall pick in the draft. He’ll compete with George Holani in training camp for the starting job against the New England Patriots on Sep. 9.

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Bud Clark

TCU defensive back Bud Clark speaks to members of the media during the NFL Combine. | Jacob Musselman-Imagn Images

Clark shouldn’t be expected to start over Julian Love and Ty Okada, but he should still have a handsome role in the secondary. Last year, the secondary proved how important depth is, and everyone in Seattle’s back line can play at a high level.

Clark is taking over for Coby Bryant, who signed with the Chicago Bears back in March. Those are tough shoes to fill, but Clark will be given an opportunity to show why he was a second-round pick.

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Julian Neal

Arkansas defensive back Julian Neal during the NFL Scouting Combine. | Kirby Lee-Imagn Images
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The Seahawks won’t have Riq Woolen this season after he signed with the Philadelphia Eagles. Josh Jobe and Nick Emmanwori will also need to fill in for Woolen’s absence, but third-round pick Julian Neal will have to shoulder some of the responsibility as well.

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Woolen played in 78 percent of the team’s defensive snaps last season, which means Neal could hear his number early and often if he has a strong showing in training camp.

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