Working in a theater allows me to see a lot of film segments, but not a lot of films in their entirety. I've seen many beginnings, some middles, and a few endings. How did Blue Jasmine end? What about Enough Said? Does he forgive her? Some of the endings I wish I could swap with other movies. Like The Way Way Back—did it really have to end that way? But my main movie regret this year is saving Touchy Feely for a time when I didn't have to see it in segments. I wanted to enjoy that film without interruption. But it came and went, and each day I would try but get swamped with work. My New Year's resolution is to support local filmmakers by seeing their films in their entirety. No regrets next year. —Leah Gold, general manager at Ark Lodge Cinemas

Even though I have programmed the movie in cinemas for years, 2013 was my first time finally sitting down to watch the Talking Heads concert film Stop Making Sense. I doubted it could be as groundbreaking as I had been told, thought David Byrne wasn't a "real" rock star, and didn't fully appreciate the music of the Talking Heads. I regret these errors, and wish I had watched it decades ago. I also regret that we decided not to include the pool scene from Showgirls in the clip reel for Kyle MacLachlan when he appeared at SIFF this year. (We're saving it for an Elizabeth Berkley tribute in 2020, her comeback year.) Finally, I regret trying to perform Prince's "Batdance" as a karaoke song. —Clinton McClung, programmer at SIFF Cinema

I regret that it took until 2013 for a woman to be appointed second in command at the Pentagon (and only as a temporary replacement). But at least it's Christine Fox: weapons specialist, mathematician, and real-life inspiration for Top Gun's main female character, astrophysicist/aviation instructor Charlie, played by Kelly McGillis. I regret that before meeting Fox (wince-inducing naval aviator call sign: "Legs"), producer Jerry Bruckheimer intended for Tom Cruise's on-screen love interest to be "a groupie or a gymnast." I also regret that the plight of her pop-culture alter ego is the least of Fox's worries, as she flies into the danger zone of the Pentagon's "period of unprecedented budget uncertainty." —Courtney Sheehan, program director at Northwest Film Forum

I regret that my husband thinks it would have been hotter if Sandra Bullock was shown wearing her space diaper in Gravity. —Lynn Shelton, filmmaker

I regret watching Magic Mike and The First Wives Club back-to-back while polishing off a giant bag of Flamin' Hot Cheetos. (I mostly regret the Cheetos and The First Wives Club, but the entire ordeal felt pretty shameful.) —Jessica Aceti, program director at Central Cinema

I regret letting myself fall victim to the creativity-killing social anxiety that's the byproduct of a too-active and entirely self-induced online presence. That is to say, I regret not producing more art for fear that no one would like it ("like" it) on the stupid old internet. Video is almost free to make. The potential approval/rejection of a massive pustular worldwide hate-and-shame machine (with customized ads) should not carry more weight for anyone than the act of creation itself and the simple thrills and pleasures therein. I always hoped I was the kind of person who was willing to do something just 'cause I wanted to see it done, so I'm bummed to have caught myself slipping lately. Mistakes are chill; stasis is lame. Fuck you, 2013. Peace out. —Zach Weintraub, filmmaker

I regret missing every installment of the Brown Derby Series at Re-bar and getting seriously addicted to Wandering Goose's overpriced hand pies. —Wes Hurley, filmmaker

Three Dollar Bill Cinema regrets that we couldn't do two shows of Peaches Christ and Jinkx Monsoon in Return to Grey Gardens as part of the Seattle Lesbian & Gay Film Festival, in part because we want to see it again. We regret that the outdoor movie Conan the Destroyer had to be shown in "Barbarian Vision" on a semi-inflated screen. We don't ever want to regret losing Scarecrow Video and encourage everyone in Seattle to buy or rent something there ASAP. —Keith Bacon, artistic director at Three Dollar Bill Cinema

It's difficult to dislike 2013—I've had an incredible year working with the best people in Seattle. What I regret is South Lake Union. My animation studio now is demure; it once lived in an aircraft hangar, on a street with no damn cupcake shops. I regret no longer being able to ride a bicycle to the restroom. I regret they pulled down the last place families could rent for $250 a month, and the sound of their kids playing in the alley behind my workbench. I regret that this is just the beginning. —Web Crowell, animator/filmmaker

Many wonderful things happened in 2013. I had an art show at Gallery 4Culture, I just Kickstarted capital for a feature film, and I worked about 90 hours a week at several jobs to climb out of enormous debt. What I do regret: missing the summer. I worked and worked. I heard people talk about the summer. It is so beautiful outside, they exclaimed! They swam, picnicked, biked. They complained about losing their sunglasses, about limp flotation devices, and animals stealing hot dogs from the grill. They complained about babies, how they made too much noise and were ugly and annoying. I regret not being able to complain about those unfortunate, ugly, and annoying babies taking up space at the beaches and parks. I regret not having time to go boating. The loss of summer hits twice as hard as we enter January and onward. Those Seething Oven of Resentment Months. These months when I will squint twice as hard to see through the dark clouds and rainy windshield. It is hard to let go of last summer, but I know it's gone. So fuck it. Fuck last summer. —Clyde Petersen, filmmaker

I regret seeing the film Kick-Ass 2 and then lying to the publicist on the way out and saying it was "funny." In fact, I regret it every time I lie to a publicist at a press screening and pretend I like the movie, which happens a lot, because most movies aren't very good (which I also regret). I regret not reviewing Blackfish, a terrible documentary that a lot of people seem to love about a really important subject that requires a more thoughtful film than it got in order to raise awareness and constructively combat a particularly complicated issue. —Matt Lynch, film writer, podcaster, Scarecrow Video employee

I regret not renting all my movies from Scarecrow, not taking greater advantage of the distinct programming of Northwest Film Forum, not being in town for SIFF, not having enough disposable income to make big donations to excellent nonprofits like Reel Grrls, and generally not spending enough of my consumer dollars to support Seattle's incredible film culture. —Megan Griffiths, filmmaker

We regret that 2013 saw the first legitimate North American DVD release of the treasured classic Scorchy. Why, one might query, would anyone find that regrettable? Well, one wouldn't ask such things if one purchased said DVD only to discover the title projected across the screen to be not Scorchy but Race to Death, and all of Connie Stevens's nude scenes CUT! Her infamous breaststroke/frog-style dip in Lake Union—GONE! Her soothing shower following a high-speed dune buggy/car chase through the streets of Seattle, ending in the waters beneath the ferry dock—GONE! Not to mention the insufferable cuts made to classic lines of dialogue like "You're a fruitcake, ya bitch!" or Connie's sultry witticism "Frank, what you need is a good blowjob." Thank Scorchy we still have our VHS! —Shane Wahlund and Michael Anderson, creators of Collide-O-Scope video events

I regret not being available to shoot Welcome to Me or Looking, not surfing enough, that you all need to wait until February to see Review with Forrest MacNeil, not staying longer in Iceland, not seeing my godson in England, not staying longer at Sundance, not writing enough, going to bed way too early most nights in New York City, missing the once-in-a-lifetime Goblin tour, that New York/Seattle/LA/Austin/Chicago/Paris/Berlin/Reykjavik/Mal Pais/Hamburg are not all adjacent to one another, the stomach flu contracted from the birds in Lake Michigan, not fitting into airline seats, my raw apple allergy, missing Iceland Airwaves by a week, that fewer and fewer of my pants can stay up on their own, the food poisoning from Mamoun's on Saint Marks, and still not having a talking malamute that sounds like Mario Van Peebles in Jaws: The Revenge that follows me everywhere barking pearls of wisdom. —Ben Kasulke, cinematographer, 2013 Stranger Genius Award winner

I regret that celluloid officially moved one step closer to extinction in 2013. Although film projectors have been running faithfully for decades with a few improvements and replacements of sprockets here and there, the majority of films being supplied and shown are now being sent to theaters in the DCP format. Moving forward, bona fide film will be projected only for archive and classic films, and from prints that we can pry from studio vaults and perhaps occasionally from auteur directors that somehow use their clout to release on film at a few select theaters. However, there just won't be many theaters left to do so. Cinemas in Seattle still equipped with reel-to-reel 35 mm projection include the Cinerama, SIFF Cinema Uptown, SIFF Film Center, the Grand Illusion, the Harvard Exit, and the Seattle Art Museum. [Also on the list: Northwest Film Forum—ed.] Basically, showing films on 35 mm will be a rarity. I miss the sound of the projectors whirring at 24 frames per second and even the faint hum from the auditorium when the soundtrack was dead silent. But I do look forward to the occasional and rare times we can still get the luxury of seeing the luminescence and warmth of light going through a projector and film onto the big screen. —Carl Spence, artistic director at SIFF