I love looking forward to the movies. That’s why I always arrive at theaters in time to watch all of the previews and never skip the coming attractions on dvd. High on my list of this summer’s most promising pics is TALES FROM EARTHSEA. Are you as excited as I am for this union of Ursula K. Leguin and Studio Ghibli? Rated PG-13, TALES will open on August 13th. (In Seattle, it will screen exclusively at The Harvard Exit.) Here’s the official synopsis…

From famed Japanese animators Studio Ghibli [specifically, director Goro Miyazaki] comes TALES FROM EARTHSEA, a sweeping adventure set in a mythical world filled with magic and bewitchment. An epic tale of redemption and self-discovery, the story follows the journey of Lord Archmage Sparrowhawk (voice of Timothy Dalton), the master wizard, as he searches for the force behind a mysterious disturbance that has caused an imbalance in the land of Earthsea—suddenly crops and livestock are dwindling, dragons have reappeared and humanity is giving way to chaos. Along the way he rescues Arren (voice of Matt Levin), a troubled young prince who has fled his home and is being pursued by an enigmatic shadow. Arren joins Sparrowhawk on the quest and, moving closer to their intertwined destinies, they cross paths with Tenar (voice of Mariska Hargitay), a former priestess, and her disfigured adopted daughter, Therru. With Sparrowhawk’s magical powers dissipating, all of them must band together to defeat the evil Cob (voice of Willem Dafoe) and his henchman Hare (voice of Cheech Marin) before Cob’s mania to find immortality destroys Earthsea.

Suicide isn’t painless. It brings on many changes… more, likely, for the survivors of the dead than the actual victims. Yet despite its societal impact — more than twice as many Americans kill themselves as are murdered — we rarely speak of the act: its rationale, its ramifications, its prevention.

After making a flip comment on Facebook that I intended to be provocative, author/radio personality John Moe took me to task for my alleged insensitivity. In light of his remarks and to honor my goal of getting others to truly think about issues rather than simply pay them lip service, I suggested I discuss the subject on air with Jeannie Yandel on KUOW Presents. I am glad she agreed, I am glad we did. Using three movies as touchstones, we examined Suicide from multiple perspectives, from motive to mourning. Click here for the piece that aired over the weekend. Then, draw your own conclusions and share your thoughts here on The Warren Report.

Also, stay tuned for an announcement about an upcoming episode of my new tv series, The High Bar, spotlighting Suicide with guest Brendan Kiley of The Stranger.

One person, one vote is an equation meant to ensure our democracy. Only problem is, we assume that each vote is equal, a noble ideal scuttle by gerrymandering, the very questionable practice of reconfiguring voting districts in response to census-sussed population shifts. The process is politically charged and tainted; both parties delight in rigging the system and will bend the rules for the privilege of doing so.

Many voters are unaware of the Constitution-blessed process of reapportionment, thankfully, Jeff Reichert has completed GERRYMANDERING, an engaging documentary that colorfully and carefully explains the title’s history, its role in present-day campaigns and efforts nationwide to alter its future impact.

After I published a summary of the movie, critical of some aspects, I exchanged (congenial) messages with Mr. Reichert, who kindly agreed to be interviewed for The Warren Report so that we encourage you to consider the machinations that disempower voters by diluting the significance of their ballots and question the quality of our choices before we even step up to the voting booths.

Once you’re read through our conversation, visit endgerrymandering.com and learn how you can make a change. Draw your own conclusions. You’ve got my vote. And, The Warren Report serves as an open-minded forum for your feedback.

WARREN: Your documentary explains the origins of the term, gerrymandering. In your research, was the process of redistricting essentially, unilaterally, corrupt from the outset? Or, were there exceptions as you suggest Iowa serves as today?

JEFF: I think instead of “corruption,” it may be better in the redistricting context to talk about “fairness.” The idea to elect representatives from geographically defined areas was borne from a certain conception of what “fair representation” would look like.  The problem with an idea like “fair” is that it’s fluid, and no one’s going to agree on what that actually means.  The Founding Fathers took a good stab at setting up a workable system within the context of a nation that allowed only white landowners to vote, but we’re now a few hundred years later electing representatives based on a modified and expanded idea of their “fair.”  So, some of the corruption of redistricting is intrinsic to the way we’ve decided to hold elections, and is really not the fault of any specific party or agent.  The real problems come when the weaknesses of the system are exploited even further, and this is what my film is largely about.

WARREN: There is an implication in the movie that Barack Obama’s district was redrawn to increase the likelihood of his state-level election and that, in turn, dramatically improved his odds of winning on a national stage. Who do you believe was manipulating the process in Obama’s favor?  

Developing your Documentary Project for ITVS: Workshop and Pitch Session
Join Documentary Northwest for this all day event with Richard Saiz, Senior Programming Manager for ITVS.

During the morning Saiz will provide case studies, video samples, and valuable handouts to walk you through the basic steps towards making your project more competitive with this organization. In the afternoon, there will be an informal pitch session where attendees will get an opportunity to watch as twelve people present their proposals and Saiz provides feedback.

As the single biggest funder of independent documentaries on television, the Independent Television Service (ITVS) has become indispensable for filmmakers seeking major funding for their projects. This all day event is a rare opportunity for independent producers to meet Richard and grasp the essential concepts and principles of how to make your documentary more competitive when applying for ITVS funds.

When: July 10, 9am – 5pm (followed by a reception in West Seattle)
Where: Youngstown Cultural Art Center, Thelma Dewitty Theater
4408 Delridge Way SW, Seattle, WA 98106  

I’m a fan of righteous indignation aka reasonable venting. Lately, however, I have encountered more and more indignation that hasn’t earned the modifier that makes it acceptable. Too many rage without noting their latent narcissism or blatant hypocrisy, whether ranting about parking passes, appellations or… supposed censorship.

Last week, three theaters in Japan canceled screenings of THE COVE, the alleged Sino-baiting, graphic dolphin-bashing, Oscar®-winning documentary. The exhibitors’ excused their decisions citing fear of reprisals from nationalists who have been vocal in their disapproval of the Louie Psihoyos film. Maybe their fears are legitimate, maybe not. Regardless, it must be noted that THE COVE did screen at the Tokyo International Film Festival and was just shown at a civic hall in the capital city and featured a hearty post-show discussion (though, apparently, that talk veered more towards issues of censorship than the depicted animal cruelty).

While it is dismaying that broader audiences in Japan will have very limited opportunities to see THE COVE — and then, to draw their own conclusions — before we condemn them, consider America’s own similar, “silent” censorship practices. Have you seen THE END OF THE LINE or KING CORN on network tv? The former film warns of the depletion of our oceans’ resources, the latter clarifies the nefarious implications of our nation’s addiction to commercial corn. Strangely, none of the Big Four (and a half) networks have slated them to air. Like FOOD, INC., KING CORN has received a slot on PBS, but really, does anyone over 6 and under 60 watch public television? Is it crazy to suspect that corporate interests that support free tv with their ads have influenced the decisions to steer clear of these controversial docs that beg viewers to reconsider the entire infrastructure, sense and health of our nation’s industrial(ized) food system? Somehow,I don’t foresee McDonald’s underwriting an uninterrupted broadcast of FAST FOOD NATION, Richard Linklater’s uneven, yet still potent adaptation of Eric Schlosser’s investigative return to The Jungle.