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PUBLISHER

James R. Baker ASSOCIATE EDITOR

Katie Sauro CONTRIBUTING WRITERS

Cal Applebee, Bob Baker, Isabelle Edger, Nathan Knottingham, Gary Kout, Charles “Chip” Massie, Mary Pat Parker, Teri Phillips, Jennifer Rouse, Eric Sande, Gregory Smith, Howard Sullivan, Lauren Wilbur, Regina Willkie, Diane Wolfe, Katera T. Woodbridge SALES MANAGER

Katie Higgins Eric Iles

CONTENTS

DESIGNERS

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Oregon’s Production Boom

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Welcome Back to Portlandia:

SALES

Dawn Carlson, Beth Harrison, Christina Poisal PRODUCTION MANAGER

John Rusnak

Get an inside look at the upcoming season of the hit IFC show

OFFICE MANAGER

Audra Higgins

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Clackamas: Oregon’s New Digital Media Hub

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Commercial Production Explodes in PDX

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Voices of IATSE

INFORMATION SERVICES MANAGER

Lois Sanborn WEBMASTER

Jon Hines

MEDIA INDEX PUBLISHING GROUP (800) 332-1736 • media@media-inc.com www.media-inc.com • www.nwfilm.com Display Advertising. Call Media Index Publishing Group for a current rate card. Discounts for frequency advertising. Advertising confirmation deadline is the 30th of the month prior to issue publication. Advertising mechanicals are due the 5th of the month of issue. All submitted materials become the property of Media Index Publishing Inc. and will not be returned. Copyright © 2014 Media Index Publishing Group. All Rights Reserved. No part of this publication may be copied by any means, electronic or mechanical, including photocopying or recording by any information storage or retrieval system, without the express written permission of the publisher. Printed in USA

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Time Element Insurance & Risk Management In The Digital Age

From the cover: Director Jonathan Krisel (left), Fred Armisen (center), and DP Bryce Fortner (background in blue shirt) on the set of Portlandia. SCOTT

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Southern Oregon Film Activity Expands Across the Region

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Destination Oregon

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Spotlight On Location Managers

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The Northwest Film Center Presents: PIFF 37

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Oregon Film Festival Round-up

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Oregon Hotel Directory

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OREGON’S PRODUCTION THANKS IN PART TO LAST YEAR’S ENHANCEMENTS TO THE STATE FILM INCENTIVE, OREGON HAS BEEN ATTRACTING MAJOR PRODUCTIONS, FROM HOLLYWOOD FEATURES AND POPULAR TELEVISION SERIES TO HOMEGROWN DIGITAL AND VIDEO GAME PROJECTS. AND IN 2014, THE PRODUCTION INDUSTRY HERE IS SHOWING NO SIGNS OF SLOWING DOWN.

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ince House Bill 3367 became law on October 7, 2013, the production industry has been booming here in Oregon. The new law increased the state’s film incentive, known as the Oregon Production Investment Fund (OPIF), from $6 million a year to $10 million, as well as made significant improvements to the local filmmaker program. (See sidebar on page 6 for full details.) What this means is that in addition to the features and television series that have flocked to Oregon thanks to the newly increased incentive, the state is now fostering a diverse range of homegrown productions, from films to digital and video game projects. At the time of the bill’s passing, Vince Porter, executive director of the Governor’s Office of Film and Television, called the 2013 legislative session “transformational”—and thus far, it has proven to be just that.

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OREGON GOES WILD The first project to come to Oregon since the new law was enacted was Wild, a feature film based on the memoir by Portland author Cheryl Strayed. At 26, reeling from the loss of her mother and the destruction of her marriage, Strayed set out all alone on a journey of healing. With no experience or training, Strayed hiked the Pacific Crest Trail from the Mojave Desert through California, Oregon, and into Washington—more than 1,100 miles. The film is co-produced by Reese Witherspoon, who also stars as Strayed. Witherspoon bought the film rights back in 2012, before the book was even published, and enlisted novelist Nick Hornby to write the script. Strayed stayed on as consultant. “Nick Hornby’s script about author Cheryl Strayed’s 1,100-mile trek through largely untouched wilderness captures the poignancy and spirit of the life-altering journey that the author lived 18 years ago,” said Witherspoon and co-producer Bruna Papandrea in an October 2013 statement. “Having Cheryl available to us here in Oregon is invaluable... her spirit, her presence, and her input on the physical and emotional details of her trek are a gift to the production.” Directed by Jean-Marc Vallée (Dallas Buyers Club), Wild shot throughout last fall, filming in more locations in Oregon than any other feature film has before. The 4

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Reese Witherspoon (right) and crew film Wild at Crater lake. LEE JUILLERAT, HERALD AND NEWS.

production traveled the length of the state, beginning in Ashland in southern Oregon, and trekking up through the central region, into Portland, and finally to the Gorge, where Strayed’s journey ended. Wild, slated for a 2014 release, has shown that Oregon has much more to offer the production industry than just the Portland metro area—and Oregon Film Magazine showcases some of these hidden location gems on pages 24-42. PORTLAND’S MUST-SEE TV NBC’s Grimm and IFC’s Portlandia both returned to Port-

land to film new seasons, and both shows utilized the improved OPIF incentive. Grimm, a drama series inspired by the classic Grimm Brothers’ Fairy Tales, has filmed in Portland for the last several years, bringing in production dollars and creating jobs for locals. Filming on season three began in the summer of 2013, and was expected to continue until early 2014. The third season, which will consist of 22 episodes, premiered on October 25. Although the show jumped around on the schedule during its second season run, executives have decided to


keep it on Friday nights, where it has remained solid in the ratings. In fact, during NBC’s TCA 2014 winter press tour executive session, Robert Greenblatt, NBC Entertainment chairman, and Jennifer Salke, NBC Entertainment president, told reporters that a season four renewal looks promising. In other TV news, back in June of last year, a few months after the season three finale aired, IFC announced that it was renewing Portlandia for two more seasons. Stars Fred Armisen and Carrie Brownstein and the rest of the cast and crew shot the fourth season of the sketch comedy show in the early fall of 2013. Season four features guest stars such as Kirsten Dunst, Jello Biafra, Olivia Wilde and Silas Weir Mitchell of Grimm fame, in addition to returning regulars like Kyle MacLachlan, Ed Begley Jr., Steve Buscemi and Jeff Goldblum. “The word is out that the show is fun to work on,” said Portlandia producer David Cress. “Fred and Carrie allow them to come in and improvise, so that’s exciting for actors.” Cress and director Jonathan Krisel talked to Oregon Film Magazine about the upcoming season of Portlandia. Read the story on page 8. Season four premieres February 27 on IFC. ANIMATION DOMINATION Another recipient of the OPIF incentive this year was The Boxtrolls, the latest project from Portland-based animation company LAIKA. Announced back in 2008 as a project in development, LAIKA and Focus Features began production on the 3D stopmotion and CG hybrid animated film in early 2013. This is the two companies’third project together, after successful offerings with ParaNorman and Coraline.

A peek at the new season of Portlandia. Pictured is star Fred Armisen. AUGUSTA QUIRK/IFC

out of his box to save his family and the town from an evil exterminator. Directed by Anthony Stacchi and Graham Annable, the film features the voices of Academy Award winner Ben Kingsley, Academy Award nominee Toni Collette, Elle Fanning, Isaac Hempstead-Wright, Simon Pegg, Nick Frost, and Tracy Morgan. The film will be released on September 26, 2014. In other LAIKA news, the company has optioned Wildwood, a young-adult fantasy novel by Decemberists singer Colin Meloy, and Goblins, British author Philip Reeve’s supernatural book, to make into feature films. HOMEGROWN DIGITAL PRODUCTIONS Finally, with improvements to the Indigenous Oregon Production Investment Fund, or iOPIF, the state is targeting local “media production services” projects, which includes post-production services and interactive video game devel-

opment. According to the state film office, since October, six local video game productions have applied and been accepted into the program for 2013-14. With iOPIF and other resources, Oregon is committed to fostering homegrown digital and media productions. In fact, Clackamas Community College (CCC) has purchased a motion capture system that is the first of its kind in the state. This technology—used by video game companies, digital effects studios and big-budget films—and the accompanying classes offered at CCC will support the state’s goal of growing the digital production industry in Oregon. See the full story on page 14. OF For more information about shooting your next project in Oregon, contact the Governor’s Office of Film and Television at www.oregonfilm.org.

OREGON’S PRODUCTION INCENTIVE PROGRAMS The state boasts a number of generous incentive programs that attract major productions. Read on: The Oregon Production Investment Fund offers qualifying film or television productions a 20% cash rebate on production-related goods and services paid to Oregon vendors and a 10% cash rebate of wages paid for work done in Oregon, including both Oregon and non-Oregon residents. The labor portion of this rebate can be combined with the Greenlight Oregon program for an effective labor rebate of 16.2%. A production must directly spend at least $1 million in Oregon to qualify. There is no per production cap.

Based on the novel Here Be Monsters! by Alan Snow, The Boxtrolls is about an orphaned boy raised by underground creatures called Boxtrolls who comes up from the sewers and 6

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The Greenlight Oregon Labor Rebate offers productions that spend more than $1 million in Oregon a cash rebate of up to 6.2% of Oregon-based payroll. This rebate can be combined with the Oregon Production Investment Fund incentive for an effective rebate of 16.2% on qualifying production payroll.

The Indigenous Oregon Production Investment Fund (iOPIF) provides the same rebates of 20% of goods and services and 10% of Oregon labor for films produced by Oregon filmmakers who spend a minimum of $75,000, up to the first $1 million of their spend. iOPIF has now been modified to include local “media production services,” defined as post-production services and interactive video game development. In addition to the savings associated with the Incentive programs listed above, filming in Oregon can save you money in the following ways: • No sales tax • Fee-free state parks, cities and counties • Lodging taxes waived For more information, visit www.oregonfilm.org.


WELCOME BACK TO PORTLANDIA GET AN INSIDE LOOK AT THE UPCOMING SEASON OF THE HIT IFC SHOW

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n February 27, lovers of sketch comedy and all things Portland will receive a belated Valentine when Portlandia returns to IFC.

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Starring the dynamic duo of Carrie Brownstein and Fred Armisen, fresh off his departure from Saturday Night Live, the fourth season will feature the return of beloved characters and familiar themes—but it will also delve into uncharted territory for the series. “We have a distinct style. People will say, ‘It was like a Portlandia sketch’ to describe certain situations. People know what that means and that’s really cool, but this season we tried some new things,” says co-creator and director Jonathan Krisel. “For example, a horror film opens the first episode of the season, and we have a big film noir sketch that takes its roots from a ‘traditional’ Portlandia topic dealing with the popularity of different vegetables, but it goes off the rails to become like a John Grisham novel. “Thematically we’re always on the Portlandia topic. We’re very specific about what we’re making fun of, but we can attack it a few different ways.” This includes different types of storytelling. For 8

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instance, Armisen and Brownstein have always appeared in sketches together, but this season, a few of the episodes feature separate storylines for the pair; Krisel has dubbed these storylines “the Fred Chronicles” and “the Carrie Chronicles.” Another tactic the Portlandia team used to shake things up this season was to add new writers to the mix. “Usually we bring in one writer, but this year we brought in three,” says Krisel. “Having different voices in the process really helps a lot.” Portland-based producer David Cress has been with the show since the beginning. Likening his role as a producer to that of a general contractor, Cress and his team handle the technical aspects of the production: “We hire the crew, budget for the show, schedule it, and put it into action, and hope it all comes out right.” He credits the creative team with keeping Portlandia fresh. “That trio of people—Jon, Carrie and Fred—they’re kind of brilliant,” says Cress. “They’re really the birthers of the show. I do as much as I can to support them, but they’re making the magic.” He continues, “There’s always sort of a fear that there’s a limitation of material. But there is a lot of inspiration, lots of great ideas. I think they really found their voice. In

a sense, I almost feel like it’s the same show but ‘more’ this year.” “Since we’re a satire show, in the year in between seasons, there’s so much new material—social trends are an unending source of raw source material—to draw from,” explains Krisel. “This season we took on the ‘anxiety’ theme: people e-mailing you constantly, texting, always on the hook to be available, which is kind of a new thing.” He adds, “The first storyline of the season is about people sharing their finances, a couple joining bank accounts. It’s so simple, but I’m curious to see if it strikes a chord with people. I think it’s really funny. Whenever you’re tapping into the way people live, and identifying that and then satirizing it, it’s really exciting. The topics sound mundane but these are things that haven’t been used as a source of comedy yet.” Each season of the show thus far has boasted some great guest actors, and that is one thing that has remained the same for season four. This season features appearances from Kirsten Dunst, Maya Rudolph, Olivia Wilde, Jello Biafra (Dead Kennedys), Joshua Homme (Queens of the Stone Age), Duff McKagan (Gun N’ Roses), and Paul Allen and the Portland Trail Blazers, in addition to returning guest stars Kyle MacLachlan, Jeff Goldblum, Ed Begley Jr., and


Steve Buscemi. “The word is out that the show is fun to work on,” says Cress. “Fred and Carrie allow them to come in and improvise, so that’s exciting for actors. It’s very loose and improvisational. Jon grew up with this style and taught us; I hadn’t seen that style before. It allows us to be inventive and work off each other. We used to have to rely on Fred’s and SNL’s connections and now people just know the show and like the show and want to be a part of it.” One of Cress’ favorite guest stars this year is McLachlan, who has played Portland’s mayor since the first season. “He has a real love of improvised comedy,” says Cress. “You can tell he enjoys doing it and is really good at it. That’s one of my favorite characters.” Krisel, meanwhile, is particularly impressed with the improvisational skills of singer/songwriter k.d. lang, a first-time guest star. “We tried to get her last season but the scheduling didn’t work,” he says. “This year another role came up, so she agreed to come out and do it. She’s one of those artists that is so genuine, so when she came to set, it was like, ‘OK, what’s this going to be like?’ Her performance was so natural. She took it to a very funny place. I’m excited to see how it turns out. It’s easy to be over the top and crazy, but to act natural is hard.” In addition to the actors and musicians who have

Portlandia director, co-creator and cowriter Jonathan Krisel (left) and DP Bryce Fortner. SCOTT GREEN/IFC

guest roles this season, there are many local politicians who also make appearances. “David tries to keep us in good favor with the community, especially with the film incentive,” says Krisel. “David worked closely with a lot of politicians, so their appearance on the show was a thank you. That tax incentive makes a huge difference, so it was a way for AUGUSTA QUIRK/IFC

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the crew, and for Fred, Carrie and me, to meet them and say thank you.” Indeed, the tax credit has been a boon to not only Portlandia, but to several other Oregon-based productions, especially television shows. “When Vince (Porter) first became film commissioner, he and I sat down and talked about the state of film in Oregon,” says Cress. “He thought one of our problems was that the modest incentive would draw one big film, which would drain it, and then there would be a slack period. TV fits us better because it goes on for a longer period. That really helped build our industry and infrastructure.” Other shows that have taken advantage of the incentive include Grimm and Leverage. Cress continues, “Even though they’re different genres and different formats, I think that the shows have all benefited from each other. The talent base has grown a lot in the last decade. I think it used to be hard for an actor to stay in Portland. There was a limited number of things to do. Now with TV, the possibilities have increased.” These possibilities have likewise benefited Oregon’s crew base: Portlandia’s crew is made up of 99 percent locals. Add to that the supportive nature of the community—from bars and restaurants letting the show film in their establishments to the city and state helping in any way they can—and it’s no wonder Portlandia keeps coming back.

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“We couldn’t do the show anywhere else,” says Krisel. “We couldn’t pay for it anywhere else, and the town has embraced us. It feels very grassroots in a way. We’re stretching the dollar as far as it can go, and what we’re able to achieve is awesome.” OF The 10-episode fourth season of Portlandia begins on February 27 on IFC. Visit www.ifc.com/shows/portlandia for more information.

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CLACKAMAS: OREGON’S NEW DIGITAL MEDIA HUB MOTION CAPTURE STUDIO WILL SUPPORT THE STATE’S GROWING FILM, TV AND VIDEO GAME DESIGN INDUSTRY ust 20 miles south of Portland lies Oregon’s next big production hub: the Digital Media Communications department at Clackamas Community College (CCC).

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Through a partnership with video game animation studio SuperGenius, CCC recently unveiled its new motion capture studio, which will exponentially expand Oregon’s film, video game, animation and digital media production industry. The $95,000 studio investment was made possible with the help of a grant from the Clackamas County Cable Division. The motion capture studio—or “mocap”—is the first of its kind in the state. “Our system consists of 16 cameras and is able to capture motion performances of four actors at a time,” said Andy Mingo, director of the Digital Media Communications program at CCC. “There is no other system like it in the state of Oregon, so from a workforce development standpoint, it is invaluable for training students in the skills needed for motion capture in video game development and film. “As educators in the Digital Media program at Clackamas Community College, we pride ourselves on meeting industry needs in the moment because we are finding film and media technology is evolving so rapidly that it is imperative to keep pace. We would be doing students an injustice should we continue giving them educational opportunities with cameras utilizing mini DV, for example. So from this standpoint, we feel very satisfied with our investment in motion capture. We are constantly looking towards the future.” The first motion capture class began in January, and will be offered four times a year. Students will learn how to create motion capture-driven projects that can be used in video game development and the motion picture industry. “Our motion capture class at CCC is going very well,” said Mingo of the program’s inaugural class. “The system is very complicated, but by week three students are already able to calibrate the system and capture motion capture sessions of real time rendered 3D avatars. We’ll be integrating the live camera mode next, which will give mocap directors the ability to capture sessions from the virtual camera’s point of view. We are all very excited about the projects that 14

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CCC’s new motion capture system in action.

students are currently putting together. We’ll be sure to make these sessions available on the college’s cable channel, CCCTV (and then later online), should anyone want to tune in and check out our work at the end of the term.” OF

In addition to the new motion capture course, the Digital Media Communications program offers courses in audio and sound engineering, film studies, computer animation, video production and Web design. For more information, visit www.clackamas.edu.


COMMERCIAL PRODUCTION EXPLODES IN PDX WIEDEN+KENNEDY RELEASES SPOTS FOR TOP NATIONAL CLIENTS IN 2013 ortland-headquartered creative agency Wieden+Kennedy had another banner year, producing commercials and campaigns for some of its biggest clients.

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Some of W+K’s 2013 highlights: • For the seventh consecutive year, W+K had campaigns supporting America’s biggest football game—the Super Bowl. For OREO, the team had fun with the long-standing disagreement dividing OREO fans—which part of an OREO is the best, the cookie or the creme? And for Coca-Cola, W+K had Cowboys, Badlanders and Showgirls battle in a hot, sweltering desert for ice-cold refreshment where fans got to decide who should win the Coke. • People register for wedding gifts, and even vacations. Why not a car? With the Dodge Dart Registry, W+K let people ask friends and family not for an entire car, because that’s a big ask, but just a bumper, or steering wheel or maybe a taillight. • On the heels of the 25th anniversary of “Just Do It” this past July, W+K worked with Nike to redefine “Just Do It” in a spot called“Possibilities,”which inspires viewers to push their limits and strive to reach new goals through a variety of playful scenarios featuring an all-star cast of athletes and guest stars. • W+K helped launch a co-branded advertising campaign that combines the power of a Detroit automaker, major Hollywood studio and Will Ferrell (as Ron Burgundy) in one of the biggest-ever original content promotions that is sure to make you laugh. • Some of the world’s best athletes brave harsh elements to perform at the highest level in a Nike short film titled Winning in a Winter Wonderland, which is set to a whimsical rendition of the classic holiday tune “Walking in a Winter Wonderland.” Wieden+Kennedy has some really exciting new work you’ll be seeing in the New Year and around Super Bowl time. And there are a few events in 2014 that only come around every few years that they’re helping clients prepare for. So look for World Cup and Olympics work, too. OF Check out www.wk.com for a collection of W+K’s latest work.

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VOICES OF IATSE AN UPDATE FROM THE NORTHWEST’S PRODUCTION CREW UNION BY GREGORY SMITH President, IATSE Local 488

ATSE Local 488 represents the vast majority of film and video technicians in the Northwest and is an active advocate of workplace justice for everyone in the freelance film community.

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These are tumultuous times for unionism. Questions of healthcare and retirement benefits combined with growing public, political and workplace opposition call for a diligent membership and focused activism. For example, in the last couple years, our members have questioned a disturbing practice that has taken hold in our production community. Many production companies (employers) are utilizing the erroneous practice of misclassifying freelance labor as inde-

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pendent contractors. Leadership at Local 488 has consulted with legal resources as well as the Department of Labor and the Employment Security Department. In the course of this investigation, it has been confirmed that freelance labor is to be compensated through a proper W-2 payroll process with appropriate taxes withheld. It was reconfirmed that work performed as a production crew member does not meet the IRS criteria or State RCW to be classified as an independent contractor. Requiring crew to submit an invoice for compensation of labor as opposed to proper W-2 payroll/timecard places the employing production company at significant risk. Not only are there liability issues to consider, but if the practice falls subject to the scrutiny of the state departments mentioned above, there will likely be the discovery of associated unpaid payroll taxes and severe fines assessed. It’s important to acknowledge that most production companies operate properly. Those companies

should not feel a financial disadvantage for their efforts. The time is now to standardize the correct hiring/compensation practice. There are many companies that provide temporary payroll service to facilitate this process. Misclassification of the freelance workforce as independent contractors is a serious concern to all freelance technicians. Local 488 is committed to participating in correcting this mistaken practice. These are times of transition in many aspects of content production. Many traditional alignments are in shift and the participants are grappling to identify their role as the New Media World takes its shape. This professional landscape makes union membership and participation as essential as ever. Please feel free to contact me with questions or interest in IATSE Local 488. OF To reach Gregory Smith, president of IATSE Local 488, contact president@iatse488.com.


TIME ELEMENT INSURANCE & RISK MANAGEMENT IN THE DIGITAL AGE BY BOB BAKER Guest Columnist

here are several Time Element insurance coverage parts in a commercial producer’s DICE (Documentaries, Industrial, Commercials and Educational) film package insurance policy. Time element coverage refers to a business interruption which causes a business income loss, or an added project expense, i.e. lost or damaged data requiring the additional costs to re-shoot. The insurance claim trigger in these Inland Marine Property forms must be an occurrence which causes damage to property, or more exact, “we will pay the actual and necessary Extra Expense you sustain due to direct physical loss or damage to Covered Property that results in the necessity to re-photograph, rerecord.” What interests me in writing this article is the medium used today in commercial film production and how it affects Time Element insurance. Commercial producers seldom use film or video anymore, with digital imaging being today’s norm. The film and video methods of backing up shoots, protection prints and duplicating tape can take days to

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process, and with much less of an immediate, on-the-set feedback when something goes wrong. Because of the capabilities of making immediate digital duplicates and the almost instantaneous reviewing of digital content, I see less of an exposure for a loss transfer to Time Element insurance. The two Time Element insurance forms I’m addressing are the Negative Film, Videotape and Digital Image Coverage Part and the Faulty Stock, Camera and Processing Coverage Part (these forms are used together, one not placed without the other). In terms of a “direct physical loss” to covered property occurring for insurance to pay the costs to re-shoot, something has to happen to the medium, and in the case of digital medium, it’s the digital media. The Faulty Stock, Camera and Processing form is a named perils insurance form, which means the form specifically names what a covered cause of loss, or peril, is: such as “faulty materials (a corrupted SD or CF Card), faulty equipment (the computer or camera; they must damage the “software memory discs”), accidental erasure (recording over material already on a card).” The Negative Film, Videotape and Digitalized Image Coverage form is an open ended policy form, stating what covered property is: “software and memory discs used to generate computer images while being used or to be used

in connection with an insured production.” It also states what a covered cause of loss is: “direct physical loss or damage to Covered Property.” This form then further states what is not a covered cause of loss; the exclusions. Coverage trigger scenarios may be losing the only SD card you have, or the card and the backup(s) all go up in flames in a fire. Operator error is excluded via a number of specific exclusions, but in today’s market we’re finding that some insurers are affording a lower sub-limit for operator error; their judgment or faulty manipulation. The Time Element limits are often insured at the project’s worst case re-shoot scenario, that project’s total GPC (Gross Production Costs). Many insurers automatically use $1 million limits for both forms on annual packages. Producers should consider Time Element Insurance based on its cost and benefits, but in the world of Data Wranglers, DITs and digital backups, risk avoidance greatly helps prevent the unbudgeted costs in having to bring everyone back, re-create the scene and re-shoot. OF Bob Baker, CPCU, is Executive Vice President at JDFulwiler & Company. Bob has over 25 years of experience insuring film and entertainment accounts and was a prior principal in Gales Creek Insurance, which is now the Entertainment and Film Division of JDFulwiler & Company Insurance.

INSURANCE, CAMERA, ACTION!

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D N A L T R O P IN Over 30 years specializing in the film industry Local • National • International Contact Our Team of Experts Today 503.977.5640 | www.galescreek.com Apply online for short term productions!

OMPA Members OREGON FILM MAGAZINE 2014

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SOUTHERN OREGON FILM ACTIVITY EXPANDS ACROSS THE REGION BY GARY KOUT Executive Director, Southern Oregon Film and Television

outhern Oregon is a big place, its vast region encompassing a very broad range of environments. From east to west, expansive high dry deserts turn to forested mountains, lakes and rivers along the Cascade Range. Next come lush, verdant valleys, such as the Rogue and Illinois Valleys, with farms, ranches and vineyards. Another range of low green mountains, the Coastal (or Pacific) Range, heralds the approach to the beautiful Southern Oregon coastline with its windswept beaches and dramatic coastal cliffs, coves and harbors.

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Despite its size—9th largest in the nation—Oregon only ranks 27th in population with just under 4 million inhabitants, a vast majority in the northern half of the state, concentrated around Portland, Salem and Eugene. That doesn’t leave a lot of people in Southern Oregon. Roughly 300,000 residents live from Lakeview in the east to Brookings on the coast, nearly two-thirds of whom are gathered in and around the Rogue Valley and the cities of Grants Pass, Medford, and Ashland. What does all of that mean? Lots and lots and lots of under- or unpopulated areas. In other words, there are a lot of rural and remote places in Southern Oregon. As one would expect, film and media activity mirrors the population

DP Tyler Maddox shoots on a ranch in Jacksonville, OR, on a shoot for prototype electric atv's. MADDOX VISUAL

density, with the Rogue Valley area seeing a vast majority of it. It’s safe to say that many areas of Southern Oregon have never been seen through the lens of a motion picture or video camera. At least until recently. The end of 2012 and much of 2013 brought filming activity to rural areas of Southern Oregon like never before. At the end of 2012, two feature films shot primarily outside the Rogue Valley. Redwood Highway was shot along the eponymous route, which runs 80 miles from Grants Pass to the coast, turning its lens on the small towns of Selma, Kirby, Cave Junction, O’Brien, Brookings and Gold Beach, and unincorporated areas all along the route. Night

Redwood Highway crew cross to the other side out in the Illinois Valley, OR. GARY KOUT

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Moves filmed in Canyonville, the Applegate Valley, Williams, and Lake of the Woods. Smaller productions, including many reality show episodes, commercials and corporate videos, fanned out around the area, shooting in such areas as Klamath Falls and Takilma. Don’t know where any of these places are? Neither do many of us in Southern Oregon! But look at a map and you’ll see how widespread filming was in the past year. Even where filming is common, 2013 brought new tests for the region. In early 2013, the film By God’s Grace came to Jacksonville. While not a remote area, this was the first significant project in a town that only recently lifted a 20year filming moratorium. The careful planning and strong cooperation between the filmmakers and the community led to a successful shoot and ensured future filming will be welcomed. Similarly, Reese Witherspoon’s high-profile indie project Wild chose several locations in Ashland, including Lithia Plaza, the very heart of town. Despite just one day of filming, the size and scope of the shoot took the community a bit by surprise. Thoughtful follow-up action by the local production staff resolved any issues, and the city is eager to incorporate the lessons learned in order to provide strong support for future filming projects. Which is a good thing, considering Ashland’s recent accolade as one of the “Best Small Towns in America to be a Filmmaker” by MovieMaker Magazine. While long known by local filmmakers, it’s great to get the validation and recognition. A strong benefit of rolling cameras in lesser-shot areas is that it paves the way for future filming. First productions can face a bit of a rough road: convincing the local authorities and residents that the impact will be, if not minimal,


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at least manageable and worthwhile on many levels; finding what local resources are available; and trying to avoid the unknown pitfalls that lurk in every location. Having successfully navigated all of that, future projects will have an even easier time of it. The final and perhaps best upshot of all this, other than more areas of Southern Oregon getting deserved exposure of their uniqueness and beauty, is the economic benefit that such activity brings. Small communities have been much harder hit by the economic woes of the past few years, and as we all know, filming brings in money. Maybe it’s just a few lunches purchased at a local restaurant, or batteries and boots from a local hardware store; it could also mean hiring local residents to work as crew or background extras and putting up an entire crew and cast in local hotels. No matter the local spend, if you want to be appreciated as a filmmaker, shoot in a small town and see how much appreciation they have for the dollars you bring. The future looks incredibly bright for Southern Oregon. The local film association, Southern Oregon Film and Television (www.filmsouthernoregon.org), continues to provide strong support for local and visiting filmmakers and to spread the word about the area. The Ashland Independent Film Festival (www.ashlandfilm.org) deserves its own awards as one of the best festivals for independent film.

Director Gary Lundgren taking a break from set in the Illinois Valley of Southern Oregon on Redwood Highway. GARY KOUT

Riders for a Motorcycle Superstore spot prep for action at the Rogue Valley Motocross Park with the snow capped Siskiyou Mountains of Southern Oregon in the background. MADDOX VISUAL

Jesse Eisenberg, Dakota Fanning and Peter Sarsgaard boat through the waters of Southern Oregon in Night Moves. CHRISTOPHER BLAUVELT

Local crew and actors continue to strengthen their skills from all the recent substantial production. The entire region is prepped and primed like never before for filming. So bring your projects to Southern Oregon to unlock their potential and yours. OF Gary Kout is an independent producer/line producer and the founder and Executive Director of Southern Oregon Film and Television. He can be reached via the SOFaT website, or email info@filmsouthernoregon.org.

Matt Doell, writer/director (pink shirt), and Tyler Maddox, DP/director (hat), of Maddox Visual Productions in Southern Oregon on set with motocross legend Kevin Windham (red collar) for a Motorcycle Superstore commercial. MADDOX VISUAL 22

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Shirley Knight by the lavender fields in the beautiful late afternoon light of Southern Oregon. GARY LUNDGREN


Shooting in Oregon? Let our world-class casting company handle all of your principal talent needs. Oregon Casting Directors of

Wild, Grimm, Leverage, Twilight, and many more. castironstudios.com

CAST IRON STUDIOS CASTING & DEVELOPMENT CSA, ATAS, ICDN, OMPA

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ASTORIA

ortland is a booming metropolis teeming with production crew and infrastructure available for your next project. But the Rose City is just a dot on the map of all that Oregon has to offer incoming— and even homegrown—film productions. Oregon’s expansive landscape is a treasure trove of unique and undiscovered gems perfect for any production. From mountain ranges and fertile foothills to coastal plains and pristine beaches, Oregon boasts a diverse array of film-friendly locations. Not to mention the seasoned production crew and filmfriendly locals in each town who are there to support your project every step of the way. No matter what you’re looking for, you will find it in Oregon. Read on to discover what the state has to offer your next production.

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ASTORIA Westerlund Log Handlers

JERRY OLS0N

THE MYSTERIOUS LIFE OF AN OREGON FILM “LOCAL LIAISON” BY REGINA WILLKIE Astoria Warrenton Chamber of Commerce

he call from the Governor’s Office of Film & Television came in late May. A location scout from Portland was working with a project that could be a “big deal” that we’d need to keep on the down-low and they hoped I’d have time to show her around when she was in town the next week. Of course I’d be happy to do that, that’s my job— well, one of my roles here at the Astoria Warrenton Chamber, anyway.

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The location scout, Beth Melnick, is based in Portland and Los Angeles with experience in commercials, television and feature films, so the shoot could have been for anything. Beth called me before coming out and cryptically described what she was seeking for an insurance commercial. The character would appear to be starting a new life in a new part of the country: living in a rundown home, taking on a labor-intense job and completely alone. They would establish the feel of a Northwest town in a few short moments on screen, so a view of the Columbia River and forested foothills would be essential. Beth has scouted in the Astoria area for commercials and stills almost every year since the late ‘80s, including working on a feature film here in 1989. She knew of a weathered home that could be a great fit for this project. While she waited to establish contact with those owners, 26

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I brainstormed a few other neighborhoods that would potentially fit their needs. They weren’t needed; her instinct was spot on. Over the coming weeks, I helped to establish a list of contacts of several locals that could be involved in the shoot if they decided to come to Astoria and Warrenton. Those with potential to be sets for the filming: logging and timber companies, commercial fishing vessel operators and processors, property owners with houses that fit their needs. And those that would aid behind the scenes: traffic control, security, garbage and recycle needs, hotels for the crew and cast to stay, caterers, and so on. The production team was coming to see Astoria and Warrenton in person in mid-June. Still very private about the project, the story changed from a commercial to a TV pilot—enhancing the mystery around just what was going on. Although it was curious, it was not hard to stay focused on their needs and provide the information they needed to make their decision. Soon after this visit, I heard from Beth again; the production would occur in Astoria! They confirmed the plans with the businesses and agencies to be involved and said the shoot would take place in mid-July. It was about this time that a few community members started to call the Chamber asking about what was filming in town. How had they heard anything about a film production!? We had kept everything so quiet! Well, come to find out, there was a call for extras with a casting agency that coincided perfectly with this secret project. We have

On the set of Dexter in Astoria. JERRY OLSON

location scouts and small film crews in this area on a fairly regular basis, so it was easy to play dumb—not to mention the fact that I still did not know what was being filmed. Several folks I knew were going to the open casting call for “lumberjacks.” Our volunteer, Dave, who has had prior roles as an extra, stopped by my office that day. He had been selected as an extra and was on the set for the shoot. He was pretty sure he knew what the project was and stopped by to confirm his suspicions with me since I must already know. He recognized the star, he said, but I assured him I didn’t know what was being filmed. I reminded him of his non-disclosure agreement as an extra and suggested he forget about it until the show airs. Beth called me on her way back to Portland that weekend; they had wrapped the shoot and all went well. Fast forward to mid-September, I get another call from the Oregon Film Office: “Remember that shoot in Astoria this summer? Well, it was the series finale of Dexter and it is going to air next weekend.” I’ve heard good things about the series and knew it had a large following, so it was great to hear that Oregon would be attached to it. I was glad to have assisted with the filming in my small way and proud of our network of industry associates between the Oregon Film Office and scouts like Beth who continue to enhance the vibrant film industry in our state. While Astoria and Oregon weren’t mentioned by name in the show itself, we are glad to be a place for Dexter to find a new life for himself. Many of our residents have done just that, starting with the founders of Astoria back in 1811, after all. OF


PORTLAND OREGON • 503.233.4244 • OptionModelAndMedia.com • Awesome people doing extraordinarily awesome work


FOREST GROVE

BY HOWARD SULLIVAN & LAUREN WILBUR Forest Grove/Cornelius Chamber of Commerce

orest Grove, although small, is a town full of charm and quirk that’s hard not to love. Situated roughly 26 miles west of Portland, and 90 minutes from the coast and Mt. Hood, Forest Grove is a gem. The imposing Tillamook Forest bordering on the west and the historic Grand Lodge Hotel on the east provide a beginning and end to this quiet village-like community that provides something for everybody.

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Home to three National Register Historic Housing Districts, you can see homes built as far back as 1854, full of eye-catching architectural details. Downtown is well stocked with businesses that have been there for a century, such as Van Dyke Appliances, as well as fun

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coffee shops, wine bars, and the beloved Maggie’s Buns bakery. A college town since 1849, Pacific University is situated just off the downtown sector and boasts red brick buildings and winding paths through lush and expansive greens. Among the streets of downtown, one can expect to partake in numerous annual events. From May through October, a farmers market brings fresh food, great drink and diverse conversation to the historic downtown. Attend the All Northwest Barbershop Ballad Contest in April, the Annual Hawaiian Luau at Pacific University in June, or perhaps the Annual Garden Fair and Tour. July plays host to a popular and well-attended event: Concours d’Elegance—a car show at Pacific University, and in August one can attend Uncorked, a wine event that celebrates the great wines produced in the surrounding areas. Kids and adults alike love the Chalk Festival in September, where one can get a square of sidewalk and create their own art. Also in September is the Corn Roast, which celebrates the historic begin-

nings to our community, and the Historic Homes Tour. Last but certainly not least, trick or treat downtown in October, attend the Verboort Sausage Festival in November, and attend the Holiday Light Parade in December. Venturing just outside of town can lead you to beautiful landscapes and countryside. While sitting at Fernhill Wetlands, you may have the opportunity to see American bald eagles as they nest in a nearby tree. Driving six miles south of town, you encounter Henry Hagg Lake for boating, trails, and recreational activities. Close by the lake one can find Tree to Tree Adventure Park, full of ziplines and obstacle courses. World renowned wines are made in the many vineyards that dot the area. The diversity of the activities in this town will surprise you. From the college campus to unusual town events to relaxing with a glass of local wine, Forest Grove has a little bit of everything. Come check it out for yourself! OF For more information, visit www.visitforestgrove.com.


CHEHALEM

ARTICLE AND PHOTOS BY ISABELLE EDGER

l o n g t h e n o r t h e r n re g i o n o f O regon’s Willamette Valley— i n be t wee n Por t la nd a n d t h e Oregon Coast—the Chehalem Valley is home to residents, architec ture, and scenes in search of a c a m e ra .

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Rural farms and scenic byways surround small towns that visually define Americana. In the winter, traveling into the valley can be a surreal experience. The fog that settles at the valley floor engulfs travelers on their way to a mysterious dreamscape. As the sun rises and the fog begins to shift, ghostly trees give way to beautifully muted and sweeping landscapes. In contrast, summer days are clear and crisp, and cool nights bring star-filled skies. Fertile land attracted farmers to the Chehalem Valley in the mid-1800s, and it keeps them there today. Just outside city limits, walls of hops climb to the sky, while ordered rows of wine grapes hold an abundance of pinot,

chardonnay, and stories untold. A burgeoning wine scene, the valley is dotted with vineyards and tasting rooms of all varieties. But you’ll find more than history, libations, and lore in the picturesque towns that reside in the Chehalem Valley. Here are just a few clips begging to be captured: Newberg Right off Highway 99, Newberg’s downtown is a mix of old and new, weathered and contemporary; Herbert Hoover’s childhood home is a museum and—across the street—a disc golf park. Petite yet stately municipal buildings elicit feelings of stability. George Fox University sits just to the north of downtown, offering a small idyllic campus complete with a quintessential clock tower. Each year, the university’s Fox Film Festival is a celebration and showcase for students of Cinema & Media Communications. For the event, the university partners with the owner of Newberg’s Highway 99 drive-in movie theatre—one of the few hundred still operating in the U.S.

Dundee Dundee features beautiful rolling vineyard views, and has some of the oldest grapevines in the region. There is also a walkable downtown off Highway 99. Or, if one prefers running and a challenge, the Fueled by Fine Wine Half Marathon is the perfect event. In mid-July, a group of 1,200 runners race through the Dundee Hills AVA (American Viticulture Area). Marathoners are bountifully rewarded for their efforts with an after-party pouring of world-class pinot noir. A unique sight to be seen! St. Paul The annual St. Paul rodeo over the Fourth of July weekend brings over 50,000 fans, contestants, cowboys, and cowgirls. And it’s not their first rodeo; 2014 will mark the 79th annual event in this tiny town of 425. One could easily wrangle a scene or two from this action-packed weekend. OF For more information, contact the Chehalem Valley Chamber of Commerce at 503-538-2014 or visit www.chehalemvalley.org. OREGON FILM MAGAZINE 2014

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MCMINNVILLE

BY NATHAN KNOTTINGHAM Chief Executive Officer, McMinnville Area Chamber of Commerce PHOTOS BY CHARLES HILLESTAD

ncorporated in 1876, McMinnville, Oregon, offers retirees, visitors, wine tasters, foodies, travelers, families, students and residents an enviable lifestyle and abundant attractions. Surrounded by rolling hills, agriculture and vineyards, and boasting one of Oregon’s favorite historic main streets, McMinnville has become a magnet for anyone interested in fine wines and great dining, an excellent college education, a relaxing retirement far from big city crowds, a low-key country lifestyle, or an interesting job—as a creative entrepreneur or an employee in an innovative company.

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McMinnville was founded by William T. Newby and named after his Tennessee hometown in 1843 when he arrived on the first wagon train that came west. By 1892 the city boasted two public schools, two banks, two flour mills, two newspapers, five churches, a county courthouse, and a college—many of which are still in operation. The population is now 33,000 and growing. Start in McMinnville if you’re looking for picturesque farms, rolling hills covered with vineyards, fields of grain or grass, fruit orchards and Christmas tree farms, wineries, wellpreserved historic architecture, industry and manufacturing (including Cascade Steel Mill), and a classic small-town feel. Seasonal changes bring the bright green growth of new plantings, flowering fruit trees, the turning fields of ripen30

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ing grain, vineyards dense with grapes, or the golden harvest of hay and grain. Lush farmland, native White oak trees, and Douglas firs offer a natural setting perfect for recreation. Discover our urban and rural parks, hiking and biking trails, or float the nearby Yamhill or Willamette River. Use your favorite Internet search engine to find images of McMinnville and the surrounding towns—Carlton, Dundee, Amity, Lafayette, Sheridan, Willamina, Yamhill and Dayton. As the Yamhill County seat, McMinnville’s businesses and resources also serve these smaller communities. McMinnville is located 50 miles from Pacific Ocean beaches, 35 miles from the metropolis of Portland, and 25 miles from the state capital, Salem. And the Cascade Mountains are a scenic two to three hour drive—making a

weekend getaway easy. Founded in 1858, the lush Linfield College campus is part of McMinnville. It offers the eloquent charm of an historic college and the hustle and bustle of a thriving place of learning. You could fly into our municipal airport, visit the Spruce Goose housed at Evergreen Aviation Museum, and then head into town. No matter how you arrive or which sites you visit, you’ll discover a warm welcome. There are few towns in Oregon that can match our historic charm, small-town friendliness, collaborative spirit, respect for our community, and innovation for the future. We’re sure you’ll find the scenery and location you want for your next project. OF The McMinnville Area Chamber of Commerce assists location scouts to find the perfect scenic background for almost any requirement. They can also help acquire access, permits, and book services needed for your time here. For more information, please contact nknottingham@mcminnville.org or call 503-472-6196.


LINCOLN CITY

BY KATERA T. WOODBRIDGE Interactive Marketing Manager, Lincoln City VCB

incoln City, on Oregon’s pristine central coast, is located on over seven miles of sandy beach. Bordered on its north side by Cascade Head, and on its south side by the historic Siletz Bay, the city offers a wide range of interesting and dynamic backdrop opportunities for the film and photo industries alike.

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Here, the options for a water-based location don’t end at the beach. Lincoln City boasts waterfalls, two rivers, an estuary, a lake, and of course the mighty Pacific—all within minutes of the heart of town. Also located in the Lincoln City area is the Nelscott Reef. The Reef generates waves with faces up to 60 feet and is a major destination for big wave surfers. Lincoln City is made up of a collection of smaller communities, which combined in 1965 to become one city. Though now referred to as Lincoln City, each historic community (now called “historic districts”) is still identifiable with unique characteristics and personality. Along with its picturesque scenery, Lincoln City also offers support services to production teams and crews. From assistance through the scouting stage to booking support and liaison services with the city, we are here to assist in making each local production as seamless as possible. OF For more information please visit www.oregoncoast.org or call 800-452-2151.

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ALBANY G. THURMAN

N. BOREN BY JENNIFER ROUSE Marketing Specialist, Albany Visitors Association

n the center of Oregon’s lush Willamette Valley, the city of Albany has beckoned to wave after wave of visitors since the first pioneers settled here in the 1840s. As a result, this small, friendly city offers authentic locations as varied as a pioneer-era trading post, a Victorian mansion, and a WWII army barracks. Nestled into the valley’s wide open farmland and framed by rolling hills and misty forests, Albany is an ideal filming location.

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“Albany is a unique place to film a movie because the historic buildings here are so well-preserved, and they’re from so many different eras,” said Albany Visitors Association executive director Jimmie Lucht. “You can walk down the street in this town and feel like you’re entering the 1880s or the 1980s. We’ve got a little bit of everything.” Albany is home to the most eclectic collection of historic buildings in the state: more than 700 historic homes and buildings are clustered in a 100-square-block section. The downtown commercial district is home to dozens of buildings with historic storefronts dating to the 1860s. An historic Carnegie library, brick school buildings dating from the early 1900s, dramatically-beautiful Gothic-style churches, a turn-of-the-century train station, and an art-deco style courthouse are still in use today. Even the bars and restaurants lend themselves to memorable 32

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shots: from the retro-style Linger-Longer Tavern, in business since 1933 and still featuring a quirky neon sign, to Hasty Freez, a ‘50s-style drive-in burger and milkshake joint, to the upscale Sybaris Bistro, with a romantic wood-burning fireplace and white-clothed tables. Albany’s residential neighborhoods could stand in for nearly any era in U.S. history. Victorian-era homes with elaborate ornamentation evoke the 1870s and 1880s. Craftsman-style bungalows with beckoning front porches and overhanging eaves date from the turn of the 20th century. Queen Anne-style houses with towers, turrets and tall decorated chimneys create homes that are more like mini-castles. Neighborhoods of ‘50s-style ranch houses and tree-lined streets abound in Albany, perfect for shots requiring a nostalgic, small-town feel. The Willamette and Calapooia rivers converge in

Albany, and riverfront parks and trails provide great spots for boating, swimming, and water scenes. A picturesque arched bridge, as well as a metal train trestle, span the Willamette at Albany. Just a few miles outside of town are curving country roads dotted with historic covered bridges, old barns and farmhouses, hazelnut orchards, and fields of wheat and corn. Remote hiking trails, cascading waterfalls, and old-growth forests are all minutes away from downtown Albany. The Willamette Valley’s mild climate rarely falls below freezing or soars above 80 degrees, but still reflects the changing seasons, with frosty winter mornings and brilliant fall foliage. Comfortable hotels capable of housing large groups, excellent farm-to-table restaurants, and small-town friendliness make Albany a welcoming place for a production crew to set up shop. With its unique architectural sites and stunning landscapes, Albany provides the best of city and rural scenery to filmmakers seeking memorable filming locations. OF For more information, visit www.albanyvisitors.com.


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CORVALLIS

BY MARY PAT PARKER Executive Director, Visit Corvallis PHOTOS BY LAINEY DYER

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hy would you want to use a small city as a location for your next film? Because we are located in the heart of the Willamette Valley!

Corvallis, Oregon, offers year-round culinary, cultural and outdoor adventures, making it the perfect place for your next film. We have a vibrant downtown, where all of the shops and restaurants are locally owned and operated. This amazing little city with a distinctive vibe is surrounded by fertile countryside dotted with locally owned, nationally known wineries. We are home to creative chefs and amazing brewmasters and distillers, most of whom source and incorporate locally grown crops into their offerings. If that’s not enough, you can cycle on over 60 miles of biking trails in and around town. Or you can choose a more challenging ride up to Marys Peak, which is the highest point in the coastal range at an elevation of 4,097 feet. On a clear day you can see all the way to the Cascades to the east or the ocean to the west. The spring, summer and fall months offer visually compelling flora and fauna—from cherry blossoms in the 34

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spring to leaves ablaze in fall. We are home to Oregon State University, which is a beautiful 400-acre campus and includes a Historic District, making the university one of only a handful of U.S. university campuses listed on the National Register of Historic Places. The district includes such icons as Weatherford Hall, the Memorial Union and Benton Hall, the oldest building on campus. In addition to the campus, Corvallis has many other historic buildings and homes throughout town. The Benton County Courthouse is the oldest courthouse in Oregon still serving its original purpose. But we also have some very cool modern structures like the Vue and Sky High Brewing in downtown. For a town of this size we have an amazing number of parks, including such beauties as Avery Park & Natural Area, our very own Central Park, and of course the not-to-bemissed Riverfront Commemorative Park running alongside the Willamette River.

We have a large pool of local talent to connect with and plenty of resources to assist with film production in our area. Below please find a list of useful resource contact information. Visit Corvallis, 541-757-1544 Parks & Recreation, 541-766-6918 Public Works, 541-766-6916 ODOT District 4, 541-757-4211 Only 90 minutes from Portland, yet a world away, come for a site visit soon. OF Go to www.visitcorvallis.com for more.


FLORENCE

DIGITAL DUNES

BY CAL APPLEBEE Executive Director, Florence Area Chamber of Commerce

ooking for that unique, undiscovered location to shoot your next award-winning film? Need something that has great locations for settings and backdrops? How about logistics—sufficient lodging options, catering services, extras for casting, and airport for adequate transportation? Check out Florence on the Oregon Coast. The Florence community invites you to Come See What We See!

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From serene solitude to bustling casino night-life; from modern municipality to quaint historic Old Town; from world-class golf links to world famous natural wonders such as the Oregon National Dunes and the Sea Lion Caves, the Florence area has a multitude of options to 36

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offer a filmmaker looking for the picture-perfect backdrop or setting. We have an historic Old Town District where you can enjoy music and dining at several local hot spots and shopping at a variety of quaint shops—but that’s not all. Once the heart of Florence, many of the historic buildings dating from the late 1800s and early 1900s located in the district have been restored and the Siuslaw Pioneer Museum offers historical walking tours to capture that heritage. And whether it’s the scenic beauty of the majestic Siuslaw River that winds through Old Town, the serenity of the 14 lakes in the region, or the mighty, crashing Pacific Ocean, the Florence area offers numerous opportunities to portray life on or near the water, whether it be fishing, sail boarding, surfing or crabbing. Active lifestyle isn’t just a tag line in Florence; it’s a way of life with community-wide celebrations and festivals dating back over 100 years that bring thousands of visitors through our streets. The Florence area has the logistics needed to support a film production, from lodging to catering to transportation to extras. With nearly 1,000 RV sites and nearly 800 conventional lodging unit options ranging from quaint, rustic and small settings, to luxurious suites paired with dining and meeting facilities, there is a lodging option to fit any film project need in Florence. The Florence Events

Center offers on-site meeting and entertainment services, equipment rental and catering. And although conveniently located just an hour away from Eugene and the I-5 corridor, with a 3,000-foot paved airport capable of accepting private jet aircraft, it’s also ideal for flying in for location scouting excursions, or delivering cast and equipment on site. In addition, having a substantial retirement population offers a lot of talent for extras, with many of our local seniors active in several aspects of performing arts. Location, logistics, and no sales tax in Oregon make Florence on the Oregon Coast a logical spot for a filmmaker to consider for that next project. Visit www.naviFUN.net, launch the aerial tour of the Florence area, and Come See What We See! OF Cal Applebee, Executive Director, Florence Area Chamber of Commerce, can be reached at 541-997-3128 or cal@florencechamber.com. Visit www.florencechamber.com for more information.


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ROSEBURG

BY TERI PHILLIPS Destination Marketing Manager, Roseburg Area Chamber of Commerce & Visitors Center

erhaps the simplest way to evaluate the Land of Umpqua in terms of assets

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for film and video production would be to list the things you won’t find here. Skyscrapers come to mind. Palm trees are another. Looking to show five lanes of stop-and-go traffic on a Friday afternoon? Probably not going to find that here either. What you will find is just about everything else you might need for your next production, minus the headaches.

Looking for scenic beauty? We’ve got that. The Rogue-Umpqua National Scenic Byway is loaded with some of the most amazing landscapes you’ve ever seen. The kind of stuff that looks great on film. Like the emerald green waters of the North Umpqua River, a haven for fly fishermen, including legendary author Zane Grey. You’ll also find at least a dozen spectacular waterfalls along the way, including Watson Falls, cascading 272 feet over a basalt rock cliff onto the rocks below. Or maybe you’re in search of that perfect bridge. Historic Mott Bridge or the new Tioga pedestrian suspension bridge are one-of-a-kind. At the end of the road is Crater Lake, Oregon’s only national park. The collapse of Mt. Mazama about 7,700 years ago created the deepest lake in the United States, a lake so pure and so blue it has to be seen to be believed. The park is a testament to the forces of nature and home to immeasurable beauty. It has all the trappings of a classic national park, including the historic Crater Lake Lodge overlooking the rim of the lake. 38

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If you’re looking for a historic backdrop for your next production, look no further. Built in the 1800s, Oakland is on the National Register of Historic Places and already has a couple of major motion pictures to its credit. Oakland features some of Oregon’s most impressive brick storefronts from the 1890s, and still has many historic homes within walking distance of its downtown district. Trying to shoot Africa on a budget that’s a little closer to home? Wildlife Safari is a 600-acre drive-through wild animal park with over 550 animals from around the world. If you’re looking for exotic, you’ve come to the right place. And in the center of it all, Roseburg, the Heart of the Land of Umpqua. Roseburg is a small city with all the conveniences for a production company on the go. There are plenty of accommodations with nearly 1,000 hotel rooms to choose from, a variety of restaurants for a variety of tastes, and plenty of retail shopping for anything you might need. Roseburg is also the geographic center of the Land of Umpqua so it’s simple to pick up

b-roll of the Oregon Coast one day and follow that with a day of shooting in the rugged Cascade Mountains the next. This is only a small sampling of all the opportunities that await you in the Land of Umpqua. For more information, please visit www.VisitRoseburg.com or contact us at 800444-9584 or sales@visitroseburg.com. SOURCE: K. Rochester/99 Productions, Roseburg, Oregon


KLAMATH COUNTY

Wild at Crater Lake. LEE JUILLERAT, HERALD AND NEWS BY CHARLES “CHIP” MASSIE Executive Director, Klamath County Chamber of Commerce

lamath County offers untapped vistas of high desert and mountain landscapes, an art deco downtown Main Street, and small agricultural communities that could be the perfect stage for your next filmmaking project. Located on the east side of the Cascade Mountain Range in southcentral Oregon, Klamath County is the home of Crater Lake National Park, where portions of Wild, starring Reese Witherspoon, were recently filmed.

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Klamath’s landscape features winding mountain roads, volcanic backdrops, pine forests, rivers, lakes, abundant wildlife, and outdoor recreation of all kinds. The area boasts four seasons: a colorful fall, snowy winter, green spring, and a temperate summer. Visitors enjoy over 300 days of sunshine annually. The City of Klamath Falls (the county seat) offers an art deco downtown Main Street easily dressed for 1940s, ‘50s, or ‘60s. It is home to The Ross Ragland Theater, an old-fashioned art deco cultural center that hosts touring companies and local theater alike. Several buildings and homes in and around the area have preserved the original architecture from earlier eras. Klamath Falls is a full-service community of nearly 45,000 people. The Running Y Ranch Resort offers an Arnold Palmer-designed golf course, a grand lodge, and rental condominiums. Klamath Falls features ample lodg-

ing at Best Western, Holiday Inn Express, Shilo Inns & Suites, and Microtel Inns & Suites. The Crater Lake-Klamath Regional Airport has daily commercial flights to and from San Francisco and Portland, a wide range of rental car companies, and very easy access to the community. The Amtrak Coast-Starlight stops at a 1940s-style train station daily on its run from Los Angeles to Seattle and back again. Klamath County is home to a large working railroad yard, an Air National Guard military base, and the campus of Oregon Tech University, which has a distinctive 1970s to ‘80s feel. Additionally, a few 1930s and ‘40s abandoned timber mills dot the local landscape, and there are plenty of farm and ranch lands in desert, forest, and riverside settings. Upper Klamath Lake is the largest body of fresh water (by surface area) in the western United States and has over 85 miles of nearly unencumbered shoreline. Sky Lakes Medical Center is Klamath’s newly renovated regional hospital

DISCOVER KLAMATH

providing state-of-the-art healthcare and a modern hospital setting. Klamath is also close to the Lava Beds National Monument and the Tulelake WWII Internment Center facilities. The Lava Beds were the site of the Modoc Indian War (circa 1873), the only Indian conflict in which a General officer was killed, and Tulelake maintains a number of the original buildings used to house Japanese internees during the Second World War. Permitting is low cost and the Klamath County Chamber of Commerce staff functions as the local contact and government/community liaison to help make the process of filmmaking as smooth as possible. The Chamber’s robust communication network can also be used to recruit local cast and crew members, fulfill catering and lodging needs, or provide rentable office space and equipment. OF Contact the Klamath County Chamber of Commerce for location information, additional photos, to arrange a scouting visit, or ask further questions at 541-884-5193, via e-mail at executive@klamath.org, or visit www.klamath.org.

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REDMOND

BY ERIC SANDE Executive Director, Redmond Chamber of Commerce & CVB

he Redmond experience is one that truly reflects the best of Central Oregon, and offers an eclectic array of landscape, scenery, buildings and more. Founded in 1910, Redmond’s downtown area boomed in the ‘20s through the ‘40s, and most of these buildings remain today. Having recently undergone a major transformation, Redmond’s downtown now shines in all its “Norman Rockwell” glory. Redmond’s charm lies in its vibrant yet historic feel and is definitely worth a look.

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Filming in Central Oregon, and Redmond in particular, is sure to be a breeze. Whether you are shooting at Smith Rock, Redmond’s quaint downtown, or some other nearby location, you are sure to encounter easy access and a willingness to help from all. Many of Redmond’s first buildings still stand today—from the New Redmond Hotel, built in 1927, to the 1910 Train Depot and the Redmond Union High School, built in 1922—and all retain their original character. 40

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Redmond is uniquely situated at the western edge of the high desert, and is just four miles from the Deschutes River, a half-hour drive from the Cascade Mountains, and within minutes of several picturesque lakes. Redmond is also home to Robert’s Field, Central Oregon’s only commercial airport. With over 320 days of sunshine on the high desert, you will be amazed at what Redmond has to offer. One of Redmond’s closest natural attractions is Smith

Rock, which boasts many unique geological formations, wildlife, and breathtaking vistas, as well as miles of hiking, climbing and mountain biking trails. Situated on the banks of the Crooked River, Smith Rock is a 651-acre state park. The rock is known for its long history with the movie industry, standing in as the backdrop for many films, including Wild, filmed on location with Reese Witherspoon; Rooster Cogburn, the 1975 Western classic starring John Wayne and Katharine Hepburn; The Postman with Kevin Costner, filmed in 1997; and the John Travolta movie Swordfish in 2001. OF Redmond is ready, willing, and able to meet all of your production needs. For more information on Redmond, please check out our iBook at the Apple Store, or visit us online at www.visitredmondoregon.com. We can also be reached at 541-923-5191 and info@visitredmondoregon.com.


BOARDMAN

BY DIANE WOLFE IOM Executive Director, Boardman Chamber of Commerce

s one of Eastern Oregon’s newest tourist attractions, The SAGE (Sustainable AGriculture and Energy) Center showcases the economic engine of our region; promoting farms and dairies, a diversity of food-processing facilities, and advanced energy projects. Since the SAGE Center opened in June 2013, visitors have been amazed to learn about the innovative technology in agriculture and how each part of the world is affected by food processed here locally.

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The SAGE Center highlights local industries through interactive exhibits featuring the various technologies used by growers and the related industries at the Port of Morrow. The main exhibit hall displays a two-story Kinetic Centerpiece Sculpture of a potato processing plant. One of the more popular exhibits is the simulated hot air balloon experience ride that features an oversized basket that appears to be suspended from a hot air balloon. The experience includes the sounds of a gas jet roaring into the balloon above and a basket that rocks gently as the aerial film of Morrow County projects on the wall. Above the exhibits on the main level, a mezzanine with tables and chairs can be used for private parties and business functions. Also housed in the SAGE Center is a 42

OREGON FILM MAGAZINE 2014

state-of-the-art 204-seat theatre to be used for screenings, seminars, and private events. The Store at SAGE Center, operated by the Boardman Chamber of Commerce, hosts a collection of handmade art and jewelry made in the Pacific Northwest, as well as a variety of books, gifts and souvenirs. Proceeds from The Store at SAGE Center benefit community projects and events in Boardman and Morrow County, as well as continue to promote tourism and local businesses. The Store at SAGE Center expands on the SAGE Center experience, continues education and enhances the knowledge, appreciation, and enjoyment of Morrow County and the Port of Morrow. The SAGE Center offers free educational visit programs for schools and welcomes children of all ages. OF

Admission:

General: $5.00 Students/Senior Citizens: $3.00 Ages 5 & Under: Free Family max. Price: $20.00

Hours of Operation:

Labor Day to Memorial Day Monday – Saturday – 10:00 am – 5:00 pm Memorial Day to Labor Day Daily – 9:00 am – 6:00 pm Closed July 4th, Thanksgiving, Christmas Eve, Christmas and New Years Day

The SAGE Center 101 Olson Road | P.O. Box 200 Boardman, Oregon 97818 541- 481-SAGE (7243) www.visitsage.com The Store at SAGE Center Boardman Chamber of Commerce 101 Olson Road | P.O. Box 1 Boardman, Oregon 97818 541-481-3014 www.boardmanchamber.org


SPOTLIGHT ON LOCATION MANAGERS: SHAUN GAVIN dramatically since my early days as a scout. The basic tool is still a camera, but digital cameras and computers have made the process much more efficient. Gone are the days of one-hour film I FIND IT A FUN CHALLENGE, developing and taping How long have you been in the indus- WHETHER DRIVING, HIKING, BOATING, pictures together into a try and how did you get into this “book.” Location photos are OR FLYING, TO FIND A LOCATION field? now shared almost instantaI’ve been scouting and neously and meta-data THAT’S “JUST RIGHT.” managing locations for over shows the exact location, 20 years. I’ve worked in California, Arizona, and Puerto time of day, etc. Rico, but primarily I concentrate on Oregon and have been in Portland for the last 15 years. What are some of your most exciting discoveries as a location

e talk to some of the state’s most seasoned location managers about their recent projects and their favorite Oregon locations.

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manager? What are some recent production projects you’ve worked on?

Now in its third season, I’ve been the location manager of the NBC/Universal television series Grimm since its first season. During the hiatus, late spring and summer, I scout for commercials. Prior to Grimm, I worked on the TNT series Leverage and countless feature films such as The Postman and Twilight.

Over the past couple decades I’ve had the good fortune to photograph some of the most beautiful places imaginable, whether urban cityscapes or winding roads through unspoiled wilderness. I find it a fun challenge, whether driving, hiking, boating, or flying, to find a location that’s “just right.” What do you think makes a good location manager or scout?

What kind of tech gear (cameras, computers, gadgets) are you currently using?

The equipment used for scouting has changed

I’ve found that I have an eye for getting “the shot.” Once a location has been chosen, the more mundane job of getting permits, finding parking, etc., begins.

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But I enjoy that, as well, since it provides the opportunity to meet many people with interesting stories. Usually considered a chore, the relationships I’ve built with state and city officials makes the job of getting permits pretty simple. I enjoy the entire process from concept to finished product. OF Contact Shaun Gavin at 503-539-6113 or spgavin63@gmail.com.

AUDIO POST PRODUCTION MUSIC COMPOSITION | ISDN SOUND DESIGN | MUSIC LICENSING VOICE RECORD | ADR | SOURCE CONNECT

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OREGON FILM MAGAZINE 2014

info@sonicmediastudios.com www.sonicmediastudios.com 2211 NE Oregon Street Portland Ore 97232


SPOTLIGHT ON LOCATION MANAGERS: DOUG REYNOLDS How long have you been in the industry and how did you get into this field? I have been making a living with a camera in one form or another starting just after high school. Portraits, more weddings than I care to think about, selling stock to magazines, and then assignments. At the same time, I was working as an assistant to most of the local photographers and a good many coming into town. One day in 1981, a photographer coming in asked if I knew of, or could find, a location to film his project and he said he would pay me to look for it. The rest is history.

I TRULY ENJOY THE HUNT, SO EXCITING FOR ME IS FINDING A LOCATION, THEN SHOWING IT TO THE DIRECTOR AND HE/SHE SAYS, “DOUG, YOU HAVE OUTDONE YOURSELF ON THIS ONE.”

Portland. I also worked on New Balance shoes, Lexus, Subaru, and a dozen or so more. What kind of tech gear (cameras, computers, gadgets) are you currently using? Because I was a photographer first, my gear is a little different than most scouts. I have high-end Canon cameras and lenses, a good laptop, backup laptop, desktop computer (all Mac) and a lot of hard drives. Compass, smartphone on big blue and a MiFi on the other one. Communication is key. And a very large and growing website: www.dougonlocation.com. What are some of your most exciting discoveries as a location manager? I truly enjoy the hunt, so exciting for me is finding a location, then showing it to the director and he/she says, “Doug, you have outdone yourself on this one.” As for specifics, there are too many to list. Oregon and the Northwest is an amazing place to live and work. What do you think makes a good location manager or scout? You need to understand the process. TV commercials are different than print and just because it’s a pretty location does not mean it will work for a film project. The full answer to this question would need to be a book. OF

What are some recent production projects you’ve worked on? In 2013, I worked on all of the 2014 Can Am Spyder spots filmed in Oregon, both the TV commercial and print. I did seven 2014 Mazda National commer- Contact Doug Reynolds at 503-936-4525 or doug@locationsnw.com. Visit www.dougonlocation.com cials, about half a dozen projects for Nike, five spots for Ford, four for Travel for more information.

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THE NORTHWEST FILM CENTER PRESENTS: PIFF 37 unning February 6-22, 2014, Northwest Film Center’s 37th Portland International Film Festival (PIFF 37) will bring more than 130 features, documentaries, and short films to the Portland Metro area. Over the last 37 years, the festival has populated its schedule with diverse and innovative films for an audience of more than 38,000 annually from throughout the Northwest region.

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As Oregon’s largest, most culturally diverse film event, PIFF 37 pulls together a multi-faceted experience of film and visiting artists, including around 25 submissions for the Best Foreign Language Film Oscar, a multitude of works from returning world masters, and nearly 30 films by emerging talents. Audiences can expect to thrill over cinematic treats from around the globe, as well as films made in our own backyard by members of Portland’s thriving filmmaking community. Returning to an earlier model, the Opening Night film selection will be spread across three venues on Thursday, February 6, with screenings at the Northwest Film Center’s Whitsell Auditorium (located in the Portland Art Museum), Cinema 21, and the festival’s newest venue, OMSI. Among the films on Opening Night is legendary Japanese animator and Studio Ghibli founder Hayao Miyazaki’s final film, The Wind Rises. Readers may recall that NW Film Center has previously showcased the work of Miyazaki and Studio Ghibli, and an additional “Classics from Studio Ghibli” series is already scheduled to follow PIFF in the month of March. The Wind Rises details the life of Jiro Horikoshi, lead designer of the innovative aircraft that became Japan’s most fearsome weapon during World War II. After the film’s end, the Opening Night party begins at OMSI’s eatery, Theory. Following the Opening Night festivities, PIFF retains a sizable presence downtown with screenings at NW Film Center’s Whitsell Auditorium, Cinema 21, Fox Tower, and various other venues across town. Other confirmed films for this year’s festival include: Taiwanese master Tsai Ming-liang’s (What Time is it Over There?) latest film Stray Dogs; documentary filmmaker Claude Lanzmann’s The Last of the Unjust, a follow-up to his epic film Shoah; Ti West’s (The House of the Devil) new cult horror classic The Sacrament; and Roger Michell’s (Notting Hill) Le Week-End, starring Jim Broadbent and Jeff Goldblum. The full PIFF program is available online at festivals.nwfilm.org/piff36. OF The Portland International Film Festival, produced by the Northwest Film Center, is sponsored by The Oregonian, Regal Cinemas, LAIKA, The Paul G. Allen Family Foundation, Alaska Airlines, Wieden+Kennedy, Delta Airlines, James F. Marion Miller Foundation, Anvil Media, and many more.

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FALL GUYS: OREGON'S BEST STUNT PROS


OREGON FILM FESTIVAL ROUND-UP MARK YOUR CALENDARS FOR THESE GREAT EVENTS COMING SOON TO YOUR NEIGHBORHOOD JANUARY Cascade Festival of African Films January 31-March 1 www.africanfilmfestival.org The month-long Cascade Festival, held at Portland Community College, includes a variety of feature and documentary films from the African continent that celebrate Africa’s achievements, expose Africa’s problems, and reveal the possibilities for a more hopeful future. The films show us pictures of Africa through the eyes of Africans, rather than a vision of Africa that is packaged primarily for Western viewers. The event is free and open to the public.

FEBRUARY OpenLens Festival February 1 openlens.proscenia.net The single-day short film festival, hosted by the Downtown Initiative for the Visual Arts in Eugene, includes seminars, meetand-greets, and, of course, film screenings. Celebrating 10 years, the 2014 event includes a seminar with film reviewer Doug Hennessy entitled “The Five Best Movies Ever Made.”The film screenings begin at 7:30pm, followed by a public reception and awards ceremony in which the Jury Best Of Show, Jury Honorable Mention, and Audience and Choice Award are made. Portland International Film Festival February 6-22 www.nwfilm.org/festivals/piff Drawing an audience of over 38,000, the Portland International Film Festival (PIFF) is the biggest film event in Oregon. Read more about this year’s festival on page 46. University of Oregon Queer Film Festival February 7-9 qff.uoregon.edu Now in its 22nd year, the Queer Film Festival aims to support the LGBTQ community through 48

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films. The main objectives of the festival are to give a voice to the LGBTQ community, to bring those voices to an educational setting for exposure and discussion, and to showcase the talent of international and domestic filmmakers through short, feature-length, documentary and international film. Mid-Valley Video Festival February 20-22 www.mvvfest.org Launched 11 years ago to celebrate the passion of local auteurs, the MidValley Video Festival is a 501(c)(3) corporation organized to promote, educate and network filmmakers in Salem. Film submission categories include Narrative Short, Narrative Feature-Length, Documentary Short, Documentary Feature-Length, Music Videos, Animation, and new this year is the category of Podcasts. Eastern Oregon Film Festival February 20-22 www.eofilmfest.com The fifth annual Eastern Oregon Film Festival— #EOFF2014—in La Grande is dedicated to creating a cinematic experience in Eastern Oregon that promotes discovery, entertainment, and education via artistic exhibition and viewership. This year’s festival will kick off Thursday, February 20, and run through Saturday, February 22. A decompression gathering with music, skiing, and snowboarding will take place Sunday, February 23, at Anthony Lakes Ski Resort.

MARCH Portland Women’s Film Festival March 6-9 www.powfest.com The Portland Oregon Women’s Film Festival (POWFest) places a spotlight on women directors by showcasing their work and strengthening the community of women in film. POWFest’s 2014 lineup is diverse and compelling with features and shorts, narrative and documentary, innovative and from the next generation of

young filmmakers. The screenings are supplemented by Q&A sessions and panels with many of the filmmakers. Siskiyou FilmFest March 21-22 www.siskiyoufilmfest.org Held in Grants Pass, the Siskiyou FilmFest, a production of the Klamath-Siskiyou Wild Lands Center, features environmental films focusing on sustainability and critical issues that face the Siskiyou Wild Rivers region, the Northwest, and the planet. The festival, now in its 12th year, features both short and full-length films from passionate filmmakers nationwide.

APRIL ashland independent film festival April 3-7 www.ashlandfilm.org

Every spring, film lovers gather at the historic art-deco Varsity Theatre in downtown Ashland to watch over 80 films (documentaries, features and shorts). The ashland independent film festival is five days of the highest quality independent film in this historic town the Washington Post called “a dream you’ll never want to leave.” Faux Film Festival April 4-6 www.fauxfilm.com The only festival of its kind, the Faux Film Festival specializes in faux trailers, faux commercials, faux PSAs, mocumentaries, satires and spoofs. The three-day festival is held in Portland every year, coinciding with April Fool’s weekend. DisOrient Asian American Film Festival of Oregon April 11-13 www.disorientfilm.org Held in Eugene each year, the DisOrient Asian American Film Festival of Oregon is a social justice film festi-


val dedicated to deconstructing the media stereotypes of Asian and Pacific Islander Americans as “Orientals.”The festival is a community, grassroots, and volunteer-run film festival committed to presenting honest portrayals of the diversity of Asian American experiences. H.P. Lovecraft Film Festival & CthulhuCon April 11-13 www.hplfilmfestival.com/portland-or The H.P. Lovecraft Film Festival & CthulhuCon was founded in 1995, and is the longest continuously running Lovecraftian event in the world. Over 18 years, the festival has grown from being a film festival to a full fledged 3-day convention that brings together filmmakers, authors, artists, and other creators, for a meeting of minds that you won’t find at any other event. Filmed by Bike April 19-22 www.filmedbybike.org

must be residents or part-year residents of Central Oregon. Awards and festival will be held May 6th and 7th in Redmond, Oregon. COFF organizers strive to inspire people of all ages to learn the craft of filmmaking and share their art with the community, with an emphasis on school-age children. $25 sponsorship fee. See site for details. The Archaeology Channel International Film and Video Festival May 9-11 www.archaeologychannel.org/events-guide/ international-film-and-video-festival Held in Eugene, the festival features three days of juried films and videos on archaeological and indigenous topics, aimed at exhibiting the diversity of human cultures past and present. This year’s festival begins on Friday, May 9, with a keynote by Dr. Jean Clottes, leading researcher on world rock art, and culminates with an awards reception Sunday evening, May 11.

JUNE Now in its 12th year, Filmed by Bike is a film festival of bike-themed independent short movies from around the world. Submissions are limited to eight minutes and must revolve around the central theme of cycling. Hundreds of international entries are submitted but only an average of 45 make the final cut. Cinema Pacific April 23-27 cinemapacific.uoregon.edu Based at the University of Oregon—and overseen by graduate students in UO’s Arts and Administration Program—Cinema Pacific features a wide selection of new film and media art from Pacificbordering countries, each year focusing on different nations. The 2014 festival focuses on Taiwan and Chile.

MAY Central Oregon Film Festival May 6-7 www.centraloregonshowcase.com The 2014 Central Oregon Film Festival is a local, familyfriendly festival for all ages. Entry deadline: March 31, 2014. Contestants 50

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Portland Jewish Film Festival June 15-29 www.nwfilm.org/festivals/jewishfestival/ Produced by the NW Film Center, the Portland Jewish Film Festival explores themes of spirituality and Jewish identity throughout all parts of the world, especially how American Jews perceive themselves in a larger social context. The films touch on tragedy, embrace humor, and recount the emotional and tangible gains and losses of a people.

AUGUST Portland Film Festival August TBD www.portlandfilmfestival.com Portland Film Festival is a non-profit organization dedicated to nurturing filmmakers and audiences, and to celebrating the power of a good story. The festival focuses on the people, ideas, technology, skills and artistry behind filmmaking and provides both entertaining and educational opportunities to the public. The festival is anchored with three nights of outdoor screenings, offering its filmmakers one of the largest audiences available on the West Coast. 48 Hour Film Project August TBD www.48hourfilm.com/portland_oregon A worldwide phenomenon, the 48 Hour Film Project has teams of filmmakers creating short films in just two days. The Portland edition takes place in

August, though a specific date was not available at press time.

SEPTEMBER Oregon Independent Film Festival September 9-28 www.oregonindependentfilmfest.com The Oregon Independent Film Festival, coming to Eugene and Portland in September, exists to discover and showcase the best independent films of the past year (with a curatorial emphasis on documentaries and student films), while promoting the majestic state of Oregon as a travel destination for film lovers. The most recent Oregon Independent Film Festival featured over 75 films from over 14 countries.

OCTOBER BendFilm Festival October 9-12 www.bendfilm.org BendFilm celebrates the brave voice of independent cinema through films, lectures and education. The festival showcases films in six categories, including full-length Documentaries, Feature Films, Short Films, Student Short Films, Animation, and Conservation. With the thousands of dollars in prize money handed out each year, BendFilm landed on MovieMaker Magazine’s 25 Film Festivals Worth The Entry Fee, giving the most bang for the buck. Reel Music Film Festival October 10-26 www.nwfilm.org/festivals/reelmusic/ Another NW Film Center production, Reel Music embraces films exploring a variety of musical genres—jazz, blues, rock, classical, opera, and avant-garde—and fuses them into a unique cinematic celebration. The festival features everything from collections of vintage performance clips to new documentary and dramatic films, to cuttingedge music videos and animation. Astoria International Film Festival October 17-19 www.goaiff.com A world-class film festival on the northern Oregon coast, the Astoria International Film Festival attracts and showcases the work of independent film and video artists and writers, and provides workshops and seminars


for students of film and the public. AIFF showcases independent film from around the world, but its programming spotlights regional filmmakers and youth filmmakers as well.

ity of Latin American cinema locally by showcasing new fulllength feature films, documentaries and short films.

Portland Lesbian & Gay Film Festival October TBD www.plgff.org The Portland Lesbian & Gay Film Festival (PLGFF) showcases feature, documentary and short queer films from all over the world. Dates for the festival, now in its 18th year, were unavailable at press time.

NOVEMBER

Portland Latin American Film Festival October TBD www.pdxlaff.org Serving the community as a non-profit cultural promoter under the guidance of The Hollywood Theatre, PDXLAFF is a festival with universal appeal that can be enjoyed by native Spanish, Portuguese, and English speakers, and other lovers of the Latin culture. Festival organizers are dedicated to showcasing perspectives of Latin American culture through an annual exploration of Latin film and increasing the visibil-

Northwest Filmmakers’ Festival November 7-16 www.nwfilm.org/festivals/nwfest The Northwest’s premier showcase of new work by regional filmmakers, the Northwest Filmmakers’ Fe s t i v a l — f o r m e r l y known as the Northwest Film & Video Festival— brings artists and audiences together for a singular community celebration. Each year the festival draws more than 400 entries from filmmakers in Alaska, British Columbia, Idaho, Montana, Oregon, and Washington, presenting to the public carefully selected programs of outstanding work and awarding critical recognition to top juror- and audience-recognized films. Fresh Film NW November 15 www.nwfilm.org/festivals/youngfestival The Northwest Film Center’s annual Fresh Film NW (formerly the Young People’s Film Festival) celebrates the

for TV & radio, narrative, technical, training, medical, characters & more - via ISDN, SC or phone patch Demos online www.kcvoice.com

next generation of regional filmmakers by showcasing their work and circulating it around the region and beyond. It is one of the oldest and largest youth film festivals in the nation.

Eugene International Film Festival November TBD www.eugenefilmfest.org In addition to the myriad excellent film screenings at EIFF, the event also features a number of networking opportunities for filmmakers (such as the complimentary filmmaker buffet mixer, the intimate nightly cocktailand-snack lounge, and the exciting awards ceremony), as well as several production workshops like the EIFF Screenwriters’ Retreat™.

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OREGON FILM MAGAZINE’ S HOTEL DIRECTORY

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ooking for a place to stay with your cast and crew? Look no further. Here are our top recommendations:

Jupiter Hotel 503-230-9200 800 E Burnside St Portland, OR 97214 www.jupiterhotel.com The Jupiter Hotel is designed for creative urban explorers and offers a uniquely Portland experience. Our mid-century hotel with a modern twist offers complimentary wireless internet, complimentary Water Ave Coffee every morning to our guests, unique wall art murals in each room, full chalkboard doors to unleash your inner artists, and some kitchenettes. The Doug Fir Restaurant and Lounge is on property and is open 20 hours a day. The Jupiter Hotel is located next to all major transportation and offers award winning dining, coffee shops, and nightlife all within a 4 block radius. The Benson Hotel 503-228-2000 309 SW Broadway Portland, OR 97205 www.bensonhotel.com Providing legendary service since 1913, the TripAdvisor Four-Star rated historic Benson Hotel features 287 guestrooms and suites with Tempur-Pedic Sleep System beds, Palm Court restaurant and lobby lounge, in-room dining, fitness room, business center, event space for up to 400 people. On the National Register of Historic Places, in the heart of downtown Portland and nearby the Pearl District. We are experienced, working with film crews/productions. Members: Unite HERE Locals 8 & 9. Columbia Gorge Hotel 541-386-5566 4000 Westcliff Dr Hood River, OR 97031 www.columbiagorgehotel.com Nestled in the heart of the majestic Columbia River Gorge only 60 minutes from Portland International Airport, The Columbia Gorge Hotel & Spa refreshes the spirit with lush flowering gardens, pure mountain air and old-world Mediterranean charm. Built in 1921 by Simon Benson, who had just completed the world’s most beautiful road, the historic Columbia Gorge Scenic Highway, Benson’s dream was to create an opulent hotel for travelers at the end of this road. Whether you are looking for a get-away, premier meeting facility, an idyllic wedding location or just a trip to the rejuvenating spa, you will create a memory at the Columbia Gorge Hotel & Spa…Truly, a legacy of luxury. 52

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The Mark Spencer Hotel 503-265-4399 409 SW 11th Ave Portland, OR 97205 www.markspencer.com The Mark Spencer is Portland’s Hotel to the Arts, ideally situated where The West End meets The Pearl District. This boutique Arts themed hotel was made famous by Gus Van Sant in the eighties when he spent a great deal of time during production of the Drugstore Cowboy. This uniquely Portland hotel is a perfect location for film, video and production in Portland, Oregon, within blocks of exciting locations, major restaurants, theater, tax-free shopping, museums, galleries and nightlife. Each guestroom and suite is unique, personally accessorized to create a comfortable homelike atmosphere with full kitchenettes, private bath and ample closet spaces.


with the local community, the featured art and the hotel staff. Our contemporary hotels provide far more than just an inviting place to lay your head. At Hotel DeLuxe and Hotel Lucia, we create savvy, branded experiences that highlight the culture of Portland.

Provenance Hotels Hotel DeLuxe 503-219-2094 729 SW 15th Ave Portland, OR 97205 www.hoteldeluxeportland.com

Hotel Lucia 866-986-8086 400 SW Broadway Portland, OR 97205 www.hotellucia.com

Today’s modern traveler is looking for something different. Something interesting. Something enticing. And yet, something with that specialized service we’ve all come to expect from a luxury hotel. Provenance Hotels does just that, treating every guest to a unique cultural story that inextricably links each individual property to our core brand. And yes, catering to their every need. The identities we create at each of our hotels allow guests to form personal connections

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