Written/produced/edited by Jill Hodges

Shot/edited by Jonathan Baab

Music composed and performed by Alice Nicholas Wood and Ghosts I’ve Met

Guatemala City Photo by Leah Craver, Lemonade International

Sound Mixing by Sam Gray, Clatter & Din

Audio Coaching by Jeff Hoyt, Jeff Hoyt’s Greater Radio

Funding Provided by Seattle Office of Arts & Cultural Affairs, 4Culture

Produced in association with Northwest Film Forum



JILL HODGES is a writer and editor who focuses on the ripple effects of globalization on individuals’ lives. She was a co-editor and a contributing author of the recently-published book,  Risks and Challenges in Medical Tourism (Praeger July 2012). She lives in Seattle with her husband and 9-year-old son, who they adopted from Guatemala when he was six months old.


JONATHAN BAAB director/editor/shooter, works mainly as an animator and VFX artist, but studied documentary production at University of Washington, and shoots and edits true stories whenever he gets the chance.  He just returned from a yearlong stint in his wife’s hometown of Tokyo, where he worked as a VFX artist.


ALICE NICHOLAS WOOD trained classically in music composition and film scoring at University of Southern California’s prestigious Thornton School of Music, and since then has scored numerous feature films, documentaries, short films and commercials. Her music blends her background in classical music composition with a love of rock, pop and electronic music.


GHOSTS I’VE MET was formed by Sam Watts in Seattle, Washington along with guitarist Ben Blankenship and cellist Brent Arnold, both formerly of Seattle band Modest Mouse. Watts and company create songs that are simultaneously devastating, and soothing and are filled with hand tinted photographic imagery.  In 2010 they released their first collection of songs, an E.P entitled “Payphone Patience” which featured the drumming of Michael Lerner (The Antlers) and piano work from Darren Jessee (Ben Folds Five). The E.P released on Canadian folk label Yerbird marked the finding of what Watts would call his “Rhythm as a writer”.