and you can really build layer upon layer and get some interesting discoveries. With Redland I was discovering as I was shooting, for sure, but with this I think it's even more so because there were no rehearsals. With Redland , I was very particular about blocking and this is much freer. The camera did to some extent dictate that as well. Everything is way more planned out and structured [with 35mm]. With digital you're much freer because of the amount of information you can capture, and the lightness of the camera makes it a much freer process. And that has its good side and its bad side. It's a super exciting way to work, we're getting a lot of great images. I think it's going to be a really beautiful film. I'm excited. Everything is coming together. Thanks you guys. We're thrilled to have been able to give you this award and good luck with the rest of the shoot! Asiel Norton, Writer/Director Asiel Norton was born in a small cabin on Kneeland Mountain in an isolated section of the American Northwest. With no television, limited electricity and water attained from a nearby stream, his family tended sheep, chickens and rabbits. Having no television, his father would take him to the local university a distance away to watch revivals of classic films, giving birth to a life-long passion for movies. Norton attended the Brooks Institute of Photography, and has worked as a fine arts photographer; in 2004 he graduated