About

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Nick and Mary’s award winning film work has been praised by filmmakers Gus Van Sant, James Benning, and the critic/noted film scholar Ray Carney. Their narratives are carried visually rather than resting on expository dialogue and their art lies in the representation and examination of individuals’ struggle to know and love one another. Their second feature film, “Field Guide to November Days”, is an almost wordless study of sexual identity and social isolation which premiered in 2010. The production was done entirely by bicycle, and in the summer of 2010 the two biked over 1500 miles screening the film between Vancouver, B.C. and Los Angeles, CA. Their first feature film, the musical “yellow” (2006) was scored with original songs played by a live ensemble during filming—no audio dubbing was used in post-production. The film was lauded for its soundtrack, elegantly arranged color palette and it’s subtle and intricate shot sequences. Currently they are in pre-production on their next 2 features: Shelly And Louise Make a Family, a screwball musical comedy about a single mother set in 1930s Portland and So Long Eric, a contemplative narrative about the tragic death of famed 1960s jazz reedman and composer Eric Dolphy.

Some nice things people have said about us:

[Nick Peterson] is one of the best young filmmakers I have come across in a long time. His unity of vision is rare and gives me hope for the next generation of American filmmakers.
Gus Van Sant, filmmaker

Nick Peterson’s Yellow is a breath of fresh air. Amid the grainy, the gritty, and the grim–in short, in contrast to virtually every other American “first film” out there–Peterson brings the brightness, the brilliance, the wonder, and the mystery of poetry (and song!) to his work. He has the best, the most exciting”eye” of any young filmmaker in my experience. Yellow is visually delicious, acoustically dazzling, and completely original, fresh, and new in its sensibility. And it doesn’t hurt that it is deeply perceptive and penetrating as well. It is an eye- and ear-opener of a film–one of my favorite “unknown masterworks” of the past five years.
Ray Carney, professor\author

My favorite narrative film of the festival… [Nick is] Perhaps the best image-maker in the [2003 NW Film Festival].
James Benning, filmmaker on “Three”

[“Field Guide to November Days”] is a true breakthrough in a new aesthetics that has its roots in the architectural language of Michelangelo Antonioni. …Like an American “Satyricon,” Peterson captures life in the process of being lived, refusing to bookend it with beginnings or endings, preludes or epilogues. …[”Field Guide” is] evidence of a New American Underground that is giving voice to a generation that has, for too long, been judged dispensable and inarticulate.
Bill White, Seattle PostGlobe

Peterson has gifts that defy pigeonholing, especially his judicious use of music, a terrific feel for shot-framing and, crucially, awareness that showing is better than telling.
Stan Hall, The Oregonian

[“Field Guide’s”] execution is demonstrably sensitive and artful.
Marjorie Skinner, Portland Mercury

…one of the most original features to come out of Portland in recent years.
Northwest Film Forum on “yellow”

…Peterson has created a winning, offbeat breakthrough.
Brian Miller, Seattle Weekly on “yellow”

…an arresting new talent… “Two” and “Three” are a truly brilliant pair of nearly silent, gorgeously filmed, edited and scored works.
Shawn Levy, The Oregonian

Peterson has quickly become one of the city’s most promising writer-directors.
Brian Libby, Willamette Week

Nick Peterson’s short film “Contingent” is brilliant and firmly places the filmmaker at the top of the local talent pool.
David Walker, Willamette Week