Seattle, WA
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.
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.
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?
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.”
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.
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.
SEATTLE — With less than two weeks before Seattle hosts matches during the 2026 FIFA Men’s World Cup, Seattle City Council Public Safety Committee Chair Bob Kettle is escalating his criticism of Mayor Katie Wilson’s decision not to activate newly installed CCTV cameras in the Stadium District and suggesting she is violating established law.
In a sharply worded letter sent Monday, Kettle argues that the mayor’s decision to pause activation of the city’s Technology-Assisted Public Safety Pilot Program is inconsistent with city law and the ordinances approved by the Seattle City Council.
RELATED | Mayor Wilson hosts discussion on surveillance and security, takes questions from public
“I believe that she is not operating according to the ordinances, the law with respect to the stadium ordinances, and her duties under the charter,” Kettle said in an interview on Tuesday.
The dispute centers on 22 CCTV cameras that have already been installed in and around Seattle’s Stadium District but remain inactive as city leaders debate privacy concerns and the circumstances under which the system should be used.
Kettle said the approaching World Cup is what prompted him to send the letter.
“Basically, we’re less than two weeks out from the World Cup, and we’re not ready,” Kettle said. “We have capacity with these stadium cameras, they’re up, they’re installed, but they’re not turned on.”
In his letter, Kettle argues that the council already approved the surveillance technology through council-approved ordinances, specifically outlining the limited circumstances under which the program can be paused.
According to Kettle, those conditions include situations where the city is compelled to release camera data for civil immigration enforcement, gender-affirming care investigations, or reproductive healthcare matters, or when city leaders determine the technology is being used for those purposes.
RELATED | City leaders say Seattle ready for World Cup, despite concerns with surveillance, drones
“Neither condition has occurred that would merit a temporary program pause,” Kettle wrote.
The councilmember contends that the Seattle Municipal Code and the approved surveillance impact report provide no authority for the mayor to indefinitely delay the program’s implementation beyond those specified exceptions.
The mayor’s office has defended its position, saying activation decisions will be guided by public safety experts and intelligence assessments ahead of the World Cup.
“Mayor Wilson continues to consult public safety officials regarding circumstances that might warrant use of the expanded set of cameras during the FIFA World Cup,” the mayor’s office said in a previous statement. “We appreciate councilmembers’ perspectives, and those will be part of ongoing discussions.”
The previous statement continued:
“With regard to credible threats: Identifying a credible threat involves multiple experts from federal, state, and local agencies monitoring and assessing various streams of information. In collaboration with one another, they weigh incoming intelligence and jointly recommend whether to elevate security operations. Mayor Wilson’s decision whether to activate the Stadium District cameras will be informed by this group’s recommendation.”
The mayor’s office has been asked if there is a change in perspective given Kettle’s letter. In a new statement obtained by KOMO News on Tuesday, the mayor’s office said Wilson’s position remains “unchanged.”
“Per our legal review, we believe council has the authority to pause the use of adopted surveillance technology but cannot require its use,” the mayor’s office said in Tuesday’s statement. “The Mayor is ensuring that our use of surveillance technology is protective of civil rights, liberties, and privacy and provides sufficient data privacy safeguards. The Mayor has a duty to make sure our use of these technologies is responsible.”
Kettle argues that waiting for a specific threat before activating the cameras misunderstands modern security planning.
SEE ALSO | Seattle mayor’s verbal missteps prompt national and viral attention, leadership questions
“There are credible concerns,” Kettle said, citing worries about drones and other security issues surrounding a major international event.
He pointed to examples, including the 1996 Atlanta Olympic bombing and the 2013 Boston Marathon bombing, arguing that public officials often do not receive advance warning before attacks occur.
“This idea that you’re going to get a credible threat warning is not right. It’s not the professional standard,” Kettle said. “The 22 cameras are installed, they’re ready to go, they just need to be turned on.”
Opponents of the camera expansion have raised concerns that footage could potentially be sought by federal immigration authorities or used in ways that conflict with Seattle’s sanctuary city policies.
Kettle dismissed those concerns, arguing that the council built extensive safeguards into the legislation governing the cameras.
“We don’t have facial recognition,” Kettle said, noting the city established restrictions and oversight measures as part of the technology program.
He also argued that federal agencies have their own surveillance capabilities and do not need Seattle’s camera network to conduct enforcement operations.
Kettle said he sought legal guidance before sending the letter and believes the mayor’s decision is inconsistent with the ordinances governing the program.
“I asked the question, if Mayor Harrell had to do all this in terms of ordinances, why is it that Mayor Wilson does not?” Kettle said. He said attorneys reviewing the issue identified concerns centered on the language governing when the program may be “paused.”
While Kettle stopped short of calling for legal action against the mayor, he said he wanted to publicly highlight what he views as a conflict between the administration’s actions and council-approved law.
“Her move related to the pause is not right, and essentially a violation,” Kettle said.
Kettle said Seattle is the only one of the 11 World Cup host cities that does not have its full camera system operational and warned that the city is running out of time.
“We have to take action now to get ourselves ready for the World Cup,” he said. “That is ensuring that we have all the pieces in place, and that we’re using the capacities that we have to their full ability.”
Kettle said he was scheduled to meet with members of the mayor’s team on Tuesday and hopes a resolution can be reached before the first World Cup matches arrive in Seattle.
Seattle, WA
Melinda French Gates is done ‘cheering on Seattle from the sidelines’ — she’s buying into the bet to bring the Sonics back | Fortune
Melinda French Gates, a billionaire philanthropist and businesswoman, will join the Seattle Kraken as a minority investor, pending NHL approval.
French Gates, 61, is the ex-wife of Microsoft co-founder Bill Gates. She and her $30 billion net worth, according to Forbes, join an ownership group headlined by majority owner and managing partner Samantha Holloway, as well as investors David Wright, Andy Jassy and longtime Hollywood producer Jerry Bruckheimer.
“As a longtime Seattle resident, it means a lot to me to have the chance to make this investment in our city and its future,” French Gates said in a statement. “I’m a big believer in the power of sports, and after many years of cheering on Seattle from the sidelines, I’m excited to have an even deeper connection to the Seattle sports community.”
French Gates has never previously had an ownership stake in a major professional sports franchise. She will do so at a time when the Kraken ownership group is positioning itself to own an NBA franchise should the NBA return to the Emerald City for the first time since the SuperSonics were relocated to Oklahoma City nearly 20 years ago.
In March, the Kraken ownership group announced the creation of One Roof Sports and Entertainment, which serves as the umbrella brand of the organization to “oversee a growing portfolio of properties and fuel new opportunities.” At the time, Holloway announced that One Roof would pursue an NBA team in Seattle, should the league move forward with expansion.
Holloway also announced in March that the group had entered an agreement to purchase additional equity in Climate Pledge Arena from Oak View Group, and would make the organization the majority owner of the building. OVG has retained a minority stake.
French Gates, who grew up in Dallas and received a bachelor’s degree in computer science and economics, as well as an MBA from Duke, currently heads Pivotal, a group of organizations she founded to accelerate the pace of social progress for women and young people in the United States and around the world.
French Gates previously founded and co-chaired the Gates Foundation, the world’s largest philanthropy.
“I am excited to welcome Melinda to our ownership group,” Holloway said in a statement. “Melinda is an impressive business leader, philanthropist and importantly, a Seattle sports fan. We share many of the same values, including a deep commitment to Seattle and a belief in building organizations that create lasting impact.”
Seattle, WA
Melinda French Gates, ex-wife of Bill Gates, to join Seattle Kraken as minority investor
SEATTLE (AP) — Melinda French Gates, a billionaire philanthropist and businesswoman, will join the Seattle Kraken as a minority investor, pending NHL approval.
French Gates, 61, is the ex-wife of Microsoft co-founder Bill Gates. She and her $30 billion net worth, according to Forbes, join an ownership group headlined by majority owner and managing partner Samantha Holloway, as well as investors David Wright, Andy Jassy and longtime Hollywood producer Jerry Bruckheimer.
“As a longtime Seattle resident, it means a lot to me to have the chance to make this investment in our city and its future,” French Gates said in a statement. “I’m a big believer in the power of sports, and after many years of cheering on Seattle from the sidelines, I’m excited to have an even deeper connection to the Seattle sports community.”
French Gates has never previously had an ownership stake in a major professional sports franchise. She will do so at a time when the Kraken ownership group is positioning itself to own an NBA franchise should the NBA return to the Emerald City for the first time since the SuperSonics were relocated to Oklahoma City nearly 20 years ago.
In March, the Kraken ownership group announced the creation of One Roof Sports and Entertainment, which serves as the umbrella brand of the organization to “oversee a growing portfolio of properties and fuel new opportunities.” At the time, Holloway announced that One Roof would pursue an NBA team in Seattle, should the league move forward with expansion.
Holloway also announced in March that the group had entered an agreement to purchase additional equity in Climate Pledge Arena from Oak View Group, and would make the organization the majority owner of the building. OVG has retained a minority stake.
French Gates, who grew up in Dallas and received a bachelor’s degree in computer science and economics, as well as an MBA from Duke, currently heads Pivotal, a group of organizations she founded to accelerate the pace of social progress for women and young people in the United States and around the world.
French Gates previously founded and co-chaired the Gates Foundation, the world’s largest philanthropy.
“I am excited to welcome Melinda to our ownership group,” Holloway said in a statement. “Melinda is an impressive business leader, philanthropist and importantly, a Seattle sports fan. We share many of the same values, including a deep commitment to Seattle and a belief in building organizations that create lasting impact.”
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AP NHL: https://apnews.com/hub/nhl
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