SOURCEOREGON OMPA'S PUBLICATION FOR FILM, TV, COMMERCIAL & INTERACTIVE MEDIA
2016 FILM & T PRODUC V TION DIRECT ORY S O U RC E OR EG O
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IN THIS ISSUE 14 Celebrating Below the Line
Oregon’s amazing talent goes beyond what’s in front of the camera; read about some of these special people.
36 2016 Directory
Find the people, companies, and equipment you need for your next shoot in Oregon. 43 Stages and Studio Services 47 Writers, Directors, Producers and Production Companies 57 Crew 80 Talent 89 Equipment 101 Props and Set Dressing 104 Sound and Music 107 Post Production 112 Interactive Media 114 Support Services 119 Liaisons 123 Phone and Page Index
IN EVERY ISSUE
8 From the Governor 35 Welcome from OMPA 12 Why Film in Oregon? 20 Advertising 22 Animations and Shorts 24 Interactive Media 26 TV & Web Series 30 Cinema 33 Documentaries 37 Oregon Industry Standards & Practices 39 Children’s Employment Guidelines 41 Employee vs. Independent Contractor 119 Liaisons 130 Festivals
ON THE COVER
2013 Emmy Award for Outstanding Costumes on Portlandia: Amanda Needham and Monika Schmidt 2015 Science and Technology Academy Award for 3D Animation: Brian McLean (Laika) 2015 Emmy Award for Outstanding Production Design on Portlandia: Tyler Robinson (Production Designer) and Katherine Isom (Set Decorator)
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Portlandia (starring Carrie Brownstein and Fred Armisen) has three Emmy wins and fourteen nominations over the life of the program. Photo: Augusta Quirk/IFC
From the Governor
Welcome to this year’s issue of the SourceOregon Magazine and Directory. Inside you’ll discover why Oregon is a destination for creative professionals and a center of media production for projects from around the globe. In addition, you’ll find a comprehensive list of companies, crews, equipment, and support services, all with the talent and experience to make your projects a success. Oregon is home to a well-established creative industry, and we are happy to ensure the success of your work here. This past year was our best thus far with four television series, numerous feature films, the growth of a worldclass animation community, and the establishment of a rapidly expanding interactive workforce. To ensure this momentum continues, our incentive program has been extended to 2024, so we’re certain this industry will be a bright spot for Oregon in years to come. I encourage you to visit “The Confluence” blog at OregonConfluence.com to share news and events about Oregon’s thriving industry throughout the year. Thank you for joining us. Together we can make 2016 even bigger and better for all of us.
Make the Governor’s Office of Film & Television your first call
DESIGN AND COORDINATION Richer Design
GOVERNOR’S OFFICE OF FILM & TELEVISION www.oregonfilm.org
COVER ART DIRECTOR Schuyler Telleen
PORTLAND FILM OFFICE www.pdc.us/film
COVER PHOTOGRAPHER Ray Gordon
CITY OF EUGENE MUNICIPAL FILM PERMIT ASSISTANCE www.eugene-or.gov
901 SE Oak St, Ste 104 Portland, Oregon 97214 firstname.lastname@example.org • www.ompa.org 503.228.8822
COVER STUDIO SPACE Picture This Production Studios
COVER DESIGN Molly Saguto
WRITER Jay Horton
PROOFREADER David Freedman WEB DEVELOPER Jay Horton
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OMPA assumes no liability for content, errors, or omissions of any listing or advertisement beyond the cost of said listing or advertisement, whether the result of accident, negligence, or any other cause. Product and company names mentioned herein may be the trademarks of their respective owners. No part of this publication may be reproduced without the written permission of the publisher. Copyright © 2016 by OMPA. All rights reserved.
CLACKAMAS COUNTY BUSINESS AND ECONOMIC DEVELOPMENT www.clackamas.us/business/film.html IATSE LOCAL 488 www.iatse488.com SAG-AFTRA www.sagaftra.org/portland SOUTHERN OREGON FILM AND TELEVISION www.filmsouthernoregon.org
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ACTING • STUNTS • SINGING • VOICEOVER • BACKGROUND • STAND IN BROADCASTERS • RECORDING ARTISTS • DANCERS
THE WORLD'S FINEST TALENT IS AVAILABLE LOCALLY Stretch your budget — save on travel expenses! ENSURE QUALITY. HIRE A PROFESSIONAL.
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hether it is film, TV, digital media, commercial production, animation, game design, VFX, or post production that brings you here – we strive to make producing in Oregon as straightforward as possible. Our incentive programs – the Oregon Production Investment Fund (OPIF) and Greenlight – are streamlined, easy-to-use rebates that are available to a variety of qualified projects. Imagine producing with no permitting hassles and friendly, accessible contacts at all levels of city and state government; surprisingly diverse locations collection; a professional, seasoned crew base; a large accomplished talent pool; strong support from vendors and services; and a unique ethic that set us apart… you’re not dreaming – you’re in Oregon! The bottom line is, we offer good service, and we keep it simple!
Behind the Scenes of Portlandia – Rooster Rock State Park (Photo Credit: Augusta Quirk/IFC )
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20% CASH REBATE ON GOODS & SERVICES AND UP TO 16.2% REBATE ON LABOR
offered through the Oregon Production Investment Fund and the Greenlight Oregon Labor Rebate. Enjoy a cash rebate on any cost related to production that is paid to an Oregon-based company. Labor rebate applies to production payrolls for work done in Oregon. It covers all employees for any film, television or television commercial production company spending $1 million plus over a calendar year (subject to availability). Call the Governor’s Office of Film & Television for the latest incentive information: 971.254.4020
2 LOCAL CAST & CREW Oregon is proud of our strong, professional and growing number of talented cast and crew who work year-round on numerous feature films, TV, and commercial productions. Oregon is also home to a number of local talent agencies ready to provide a full range of talent services.
READY FOR THE FUTURE
With 27 cities and 3 counties around the state of Oregon charging no permitting fees, Oregon takes “film-friendly” to a whole new level.
Oregon’s tech and creative industries are collaborating more than ever, resulting in new innovative digital storytelling companies and interactive gaming companies.
NO SALES TAX
CLOSER THAN YOU THINK
No waivers to fill out. No paperwork. Oregon simply has no sales tax on anything! That means no up-front costs for your production, no additional records to keep and no administrative hassle trying to get a sales tax refund.
We’re conveniently located close to LA, with four Oregon cities (Eugene, Medford, Redmond/Bend and Portland) providing direct service to the LA area. We’re a mere two-hour flight away.
LOCATION. LOCATION. LOCATION.
Oregon offers the diverse locations other regions can only dream about. We have the mountains, beaches, ghost towns, deserts, lakes, rivers, streams, small towns, modern cities and lava flows to prove it. Check out our extensive online location database to see how we can help make your vision a reality. Check out more locations online at www.oregonfilm.org/locations
Got Green? In Oregon we like green, and you will too! At the Governor’s Office of Film & Television, we strive to make it easy for you to green your production, pre through post, with our Best Practices and Green Resources - or just ask us for a consultation.
WANT TO KNOW HOW TO START? Our comprehensive production Best Practices information can be found in our online “Guide to Greening Production.”
Through www.pgagreen.org you can: • s ustainably source everything needed from pre-production through wrap, from purchasing to recycling • locate biodiesel fueling pumps and EV charging stations • find energy efficient equipment rentals
For more green production news, check out the green section of our blog: www.oregonconfluence.com/ author/green-production
We invite you to visit our Green Resource page at www.oregonfilm.org/green to learn how our Oregon Guide To Greening Production can help green your show. Have green production goals? Talk to us! We want to help. Contact: email@example.com SourceOregon 2016 | A Publication of the OMPA 13
CELEBRATING BELOW THE LINE Like pearls, or delicate flowers behind a waterfall, Oregon’s design pioneers’ work is often hidden. Recently though, they’ve been in the spotlight, with recent Emmy’s for costume and production design on Portlandia, and an AICP sound design award for work on a MasterCraft spot. Even our technology gurus are being recognized for 3D printing advances with a Scientific and Engineering Academy Award. See why these people call Oregon home.
Emmy: Outstanding Costume Design Native Oregonians Monika Schmidt and Amanda Needham won an Outstanding Costumes for a Variety Program Emmy for Portlandia – the popular IFC sketch comedy series that’s proven to be a veritable playground for their costuming talents. Needham, who also received the award in 2011, started as a local magazine’s make-up artist before branching out to assemble 14 SourceOregon 2016 | A Publication of the OMPA
wardrobes for feature films such as Paranoid Park and Green Room. Likewise, Schmidt has been busy with films, commercials, and television projects since returning to Portland after studies and work in L.A. Both designers consider the show to be extraordinary in costuming breadth. “The opportunity to be so creative with so many different characters is something we get a lot of on Portlandia,” Schmidt explains. “We get to do five, ten, fifteen characters a day and create these crazy costumes.” Needham confirms the sentiment. “For me, a character’s clothing is an opportunity to create a world a person lives in without having to go into huge
Both designers appreciate the creatively collaborative atmosphere, especially working with series director Jonathan Krisel and stars Carrie Brownstein and Fred Armisen. “SometimesJon, Fred or Carrie will have an idea and we go for it,” Schmidt says. “And other times, we get costume inspiration from the people we see just walking around in Portland.” “Portland is incredible because people here believe this is a true art form,” Needham says of costume design. “As an artist, it’s important to feel in touch with The bookstore women of Portlandia in chunk necklaces and animal prints. Photo courtesy of Augusta Quirk/IFC
detail,” she says. “In Portlandia, there’s a wide spread of characters. The bookstore women wear skirts and printed animals and chunky necklaces, whereas Kath and Dave are more Next Adventure Outdoor Store, really practical fabrics. Lance and Nina, they’re dark denim, crusty jeans, with flannel or an old-school bowling shirt.”
the characters you’re building, whether it’s searching through boutiques or thrift shops for something that looks worn‑in. In L.A., for example, a costume house might pull everything from one specific place, but I feel like the hunt is still alive in Portland.” Since taking home her Emmy, Schmidt has focused on stylist and costume work in the Portland area. Needham spent part of last year in L.A. as costume designer for Krisel’s new FX comedy series Baskets, but says she also relishes working close to home in Portland.
Academy Award: Scientific & Engineering “They gave us the award for this process that’s changing how stop-motion animation films are produced,” explained Brian McLean from the Rapid Prototyping department at Laika (page 44), who with longtime partner Martin Meunier changed the medium by using 3D printers to create the most laborious elements: mass reproductions of the lead characters’ heads. (For example, The Nightmare Before Christmas’ Jack Skellington had hundreds of facial expressions, while Norman from ParaNorman had an estimated 1.4 million.) “It’s amazing,” McLean continues, “to have the Academy recognize us all the way up here in Oregon.” Although the Academy honors were based upon Laika’s previous features (Coraline, ParaNorman, The Boxtrolls), the eagerly anticipated Kubo and the Two Strings represents the most important innovation of the Rapid Prototyping department. Using custom color-printing hardware, the Japanese folklore-inspired fantasy characters will have the first
3D printers are still imprecise; touch-up artists must inspect (and sometimes correct) every face. Photo courtesy of Laika Brian McLean explains Laika’s 3D Prototyping. Photo courtesy of Laika.
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“I’ve won awards before, but the AICP award permanently archives work in the Museum of Modern Art in New York. That’s a cool one to have.” — Chip Sloan, 2014 AICP Sound Design Winner and Clio Short List
computer replicated skin tone without the need to endlessly hand-paint each and every blush or freckle. Though old guard artisans may have balked at first to using advancing technologies, the company’s success and steady growth utilizing these interchangeable model components has proven that 3D-printing minimizes the drudgery of replacement animation while creating new fields of employment.
Digital One’s sound and recording engineer Chip Sloan Photo courtesy of Rob Finch
“When I look around,” said McLean, “there’s a lot of eclectic backgrounds that make up the Laika family. We have ceramicists working with people who have philosophy degrees. Jewelry artists and traditional painters working next to computer animators. We have doll makers now working in the costume department. Some people just moved here because it was Portland. It’s affordable. It’s creative. It’s not L.A., which believe it or not is a huge draw. It’s hard to attract people when there’s not a lot of other film opportunities, but that’s changed with shows like Grimm, Leverage, and Portlandia and innovative companies like Bent Image Lab (page 50), and Hive (page 50) building this unique talent pool.”
AICP: Sound Design and Clio: Short List Chip Sloan isn’t much for award shows. A prior recipient of local and national accolades, the audio engineer skipped the awards ceremonies
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when his sound design (in conjunction with Bump Films and Nemo Design) for the MasterCraft ProStar commercial “Mission 04: History Is History” won the 2014 AICP Award for Sound Design and was recognized on the Clio Awards short list. “I’ve won awards before,” Sloan recalls, “but the AICP award permanently archives awarded work in the Museum of Modern Art in New York. That’s a cool one to have.” After studying audio production, Sloan played in bands around the Midwest, then in 2002 moved to Portland and was hired by post-production studio Digital One (page 105), where he discovered that his skills as a recording engineer applied to a broader range of projects than merely music. “My favorite part about working in this business is that I don’t just get pigeonholed into ADR recording [dubbing] for TV or dialogue editing for feature films or just mixing,” said Sloan. “In Oregon, you do a little of everything, and it keeps things exciting. One day, it’s award-winning sound design for a boat video, and the next day I have Grimm actors doing ADR for a network show. It’s a cool thing to get to do.”
— Tyler Robinson, 2015 Emmy Award Winner for Production Designer
what Portlandia is. As the seasons have progressed, the scripts have gotten more elaborate, and the crew has adapted and found creative solutions to everyday problems and budgetary constraints.”
2015 Portlandia Production Design Team.
Although the Hawaii shoot of upcoming Zac Efron and Anna Kendrick feature Mike and Dave Need Wedding Dates lured Robinson away from Portlandia’s sixth season, he remains committed to his adopted city. “People here aren’t jaded by the film industry. In L.A., for example, they know what their job is, they do it, and that’s it. Whereas, in Portland, people work collectively toward a common goal and like a challenge. People are invested in working here in Oregon and treat it more like a creative process than just a paycheck. Even though I work out of town, I’ll always come back.”
Emmy: Production Design When the Portlandia team – production director Tyler B Robinson (page 58), art director Schuyler Telleen (page 58), and set director Katherine Isom (page 58) – won the 2015 Production Design Emmy for variety, nonfiction, and reality, Robinson was “absolutely surprised.” He recalls being alongside “some weird competition – The Oscars, The Grammys, and Peter Pan Live!. It was funny to even be lumped into that group. We didn’t think we had any chance to win. When they actually called our names, it seemed like a joke.” On stage, Robinson went straight to what came naturally: thanking the entire crew of eight by name. “It’s not that big of a crew, and I wanted the audience to know that. We’re up against shows that have forty, fifty, or sixty people in the art department. And I’m proud of how the crew continually redefines
RAYGORDON.COM Director . Photographer
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“People are invested in working here in Oregon and treat it more like a creative process than just a paycheck.”
OREGON SEE WHY PEOPLE CHO
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“When it comes to the diversity of locations, the talent, friendliness, and creativity of the crew available here in Oregon, our own backyard, is hard to beat.”
—Steve Rauner Executive Producer, North
“Oregon has always been a land of pioneers and trailblazers. Of makers and entrepreneurs. There’s a magnetic quality to this place, something that draws talented, crafty, quirky individuals from across the globe to live and create something new and bold.”
—Roland Gauthier Executive Producer, Hinge Digital
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INDUSTRY OSE OREGON FOR FILMING
Wildfang’s “Evan Rachel Would” proves you should take chances and find adventure in the ordinary. Photo courtesy of Chris Hornbecker.
new interconnection between the film and advertising industries has prompted successive growth and fostered Oregon studios to produce globally-renowned commercials.
Columbia: “Ski Rescue” Columbia needed an agency that could produce ideas on a potentially global scale and found local agency North. “They clearly showed a really, really strong understanding of our brand today and the heritage of it,” said Jeff Timmins, senior global brand director. North produced “Ski Rescue” featuring former chairperson Gert Boyle delivering a pizza to employees stranded on a Mt. Hood chair lift. Executive producer Steve Rauner, who has worked with production partners all over the world, said, “When it comes to the diversity of locations, the talent, friendliness, and creativity of the crew available here in Oregon, our own backyard, is hard to beat.”
Winner of the 2015 Cannes Gold Lion in Film, W+K, produced the “Ripple” ad for Nike (above). Oregonbased Columbia contracted North Agency for a recent “Ski Rescue” commercial (right).
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Wildfang: “Evan Rachel Would” Fan-driven apparel company Wildfang, whose mission is to create a home and uniform for badass women across the globe, joined story-telling expert Sockeye (page 108) and sound genius Digital One (page 106) to weave the story of being fearless. With local indie writer/director James Westby (Rid Of Me, The Auteur) at the helm, actress and fan Evan Rachel Wood (Thirteen, Mildred Pierce) roams Portland as she tries new adventures. “Wildfang and Sockeye are both examples of Portland-based companies operating globally. So uniting exceptional talents like James and Evan in Oregon where we could use our local crews, resources, and locations made perfect sense.” explains executive producer Ryan Crisman. “Everything we need to accomplish world-class, high-value production is right here.”
Nike: “Ripple” Founded in Portland, Wieden+Kennedy remains as one of the best in the world, continuing to snag big-name clients. Their 50th Super Bowl spot aired during Super Bowl 50. W+K also helped create “Ripple” which received the Gold Lion in Film at the 2015 Cannes-Lion Award Cermony. For the spot, W+K Portland employed local creative post-production company Joint Editorial to produce the seamless visual effects that twinned the highlights of Tiger Woods to young Rory McIlroy’s watchful eye.
FULL SPECTRUM MARKETING & MULTIMEDIA
ANIMATIONS AND SHORTS
Behind the scenes of Bent Image Lab’s Rankin Bass character-themed AT&T commercial. Photo courtesy of Mark Eifert (page 62)
“The Pacific Northwest is one of the best kept animation secrets in the world.” — Trever Stewart, Producer at Bent Image Lab
aika’s success has tended to dominate animation industry media coverage, but the studio isn’t hardly the only Oregon company to boast eye-popping works. Refuge VFX, which earned its reputation forging the creatures of Grimm, created the mythic swordplay of the 2015 Clive Owen/Morgan Freeman epic Last Knights. Their fellow Grimm imagineers at Hive-FX (page 107) rendered 3D models for the Microsoft Band fitness tool and simulated collisions for Riddell’s new football helmet. HouseSpecial (page 50) – M&M’s, Puget
Sound Energy – and Bent Image Lab (page 50) – Rice Krispies, American Indian College Fund – made headlines through ingenious ad campaigns. As well, Bent Image Lab’s new producer Trever Stewart promises both features (traditional cel and stop-motion films) and TV series tied to Woodbuddy Toys and Adult Swim creator JJ Villard. As Stewart said, “The Pacific Northwest is one of the best kept animation secrets in the world,” but, with production companies like ShadowMachine (producers of off-the-wall comedy hits like BoJack Horseman, TripTank, and Robot Chicken) opening an independent branch in Portland, it shan’t stay Snow Knows by Hinge Digital hidden much longer.
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Kubo and the Two Strings Among the most anticipated summer films, Kubo and the Two Strings is the first Laika (page 44) project to deploy their prototype 3D color printing process, opening a new breadth of possibilities for stop-motion animation. The story — voiced by Matthew McConaughey, Charlize Theron, and George Takei — follows Kubo’s search for his father’s Samurai armor to ward off spirits, though the real draw will be the Portland company’s small army of artisans illustrating the journey.
Snow Knows Playing upon the famous catchphrase of HBO’s signature show – “You know nothing, Jon Snow” – Oregon’s Hinge Digital (page 50) developed a whimsical series of net-based clips that places The Game of Thrones’ starcrossed swashbuckler in increasingly desperate scenarios. The webisodes quickly went viral and were featured in a French cable program.
Magical 4D Rudolph Experience As longtime caretakers of the cherished Rankin Bass characters associated with Rudolph the Red Nosed Reindeer, Portland’s Bent Image Lab (page 50) was tapped to provide animation for an upcoming 4D event that will showcase theatrical thrills at various venues. Combining traditional stop-motion illustrations with state-of-the-art immersive technology, this Rudolph Experience may well go down in history.
CLASSES & WORKSHOPS
FOR FILMMAKERS Cinematography, Screenwriting, Lighting, Documentary and more. Don’t forget, the Northwest Film Center Equipment Room’s film and video equipment is available for all to rent. nwfilm.org/equipment
Screenshot of upcoming anticipated release Tacoma, from Fullbright.
“Oregon is home to passionate and authentic game developers.” — Rob Sorcher, Chief Content Officer at Cartoon Network Studios
regon’s videogame industry jumped another level last year. Fullbright swept international awards ceremonies with Gone Home’s revolutionary approach to first-person sleuthers and Pipeworks (page 112) in Eugene doubled its staff. Even the Oregon Museum of Science and Industry (OMSI) managed to attract the North American debut of a 10,000 square-foot exhibition based on the medium’s origins. After working with PDX company SleepNinja on Monsters Ate My Birthday Cake, the Cartoon Network Studios realized “Oregon is home to passionate and authentic game developers” and brought its Game Jam marathon workshop for independent designers to Portland.
A successful Kickstarter campaign fueled Jumpdrive’s retrofuturistic PC game XO.
Tacoma, switches locales from a deserted NW Victorian home in Gone Home to an abandoned space station. You control a young woman determined to discover the fate of the former inhabitants of a richly-detailed setting; but, instead of rattling through cupboards and reading diaries, Tacoma’s dizzying design enables holographic playback of past conversations and gravity-dimmed flights of fancy. Produced by Fullbright.
graphics reflect the creators’ appreciation for the legendary Battlezone/Tron-styled retro-futurist simplicity, the sci-fi scenario rewards attentive gameplay by incorporating Newtonian physics, political complexities, and military strategy. Produced by Jumpdrive Studios.
Mayday! Deep Space Developed by Portland’s Mountain Machine in collaboration with the Oregon Story Board’s (page 46) accelerator program and Daniel H. Wilson – a local robotics engineer and author of the best-selling novel Robopocalypse. Mayday! Deep Space asks users to guide the lone survivor of the Planetary Ship Appaloosa using only spoken commands and an artfully-crude radar. The app incorporates recent advances in speech-recognition while visionary elements rely on audio storytelling to immerse participants within the twisting narrative. Produced by Mountain Machine Studios.
XO Harnessing a wildly-successful Kickstarter campaign that garnered more than $40,000 in twelve days, the leaders of indie PDX Jumpdrive Studios completed their vintagetailored upcoming PC release XO. Although the distinctive 24 SourceOregon 2016 | A Publication of the OMPA
Mayday! Deep Space asks users to navigate by only using spoken commands.
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TV & WEB SERIES
he shows that sparked the stratospheric rise of Oregon’s film and television boom continue to thrive. Portlandia, renewed by IFC for its sixth and seventh seasons, will keep building the legend of the Rose City across the globe through at least 2017 even as TNT’s The Librarians endeavors to promote its Clackamas production facilities throughout the industry. The hugely successful Grimm employs more than 330 Oregonians, and Governor Kate Brown has credited the production with local investments exceeding $250 million. This may lead NBC to develop other productions for the area, and there are rumors of CBS initiating a new high-profile franchise in town this year. Although Significant Mother will not return to the CW, its filming last summer boosted the credibility of PDX locations. And, while HBO execs chose elsewhere
On location at Multnomah Falls shooting Grimm Photo courtesy of Craig Paup
Filming a scene for Grimm in Oregon’s lush wilderness Photo courtesy of NBC Universal 26 SourceOregon 2016 | A Publication of the OMPA
On set of The Librarians Photo courtesy of Electric Entertainment
for the trouble-plagued shoot of historical miniseries Lewis & Clark, the couple behind in-development Tiny, Beautiful Things (Wild author Cheryl Strayed and documentarian Brian Lindstrom) hope the network will allow them to stay true to the source material’s Portland-area setting.
Grimm A cornerstone of NBC’s prime-time schedule and pillar of Oregon’s film and television industry, Grimm celebrated its milestone hundredth episode last spring. The fantasyprocedural series, which follows a genetically-enhanced “Grimm” Nick (David Giuntoli) as he protects humanity from an animalistic species known as Wesen, deepened the foundations of a continually-growing mythos while maintaining the trademark suspense of weekly encounters with the unknown. Since the start of filming five years ago, the program’s creators have enmeshed themselves with their adopted community. “Some of have bought houses here, some of us got married here, some of us had babies here,” Sasha Roiz (“Portland Police Captain” Sean Renard) told the Oregonian. “Portland embraced us instantly.” The show has also held the star-studded annual Grimm Gala in Portland — featuring an auction of show memorabilia to provide financial assistance for families forced to travel to the facility for medical care. The Grimm Gala has raised more than $700K over two years for the OHSU Doernbecher Children’s Hospital Grimmster Endowment.
Oregon Industry Christian Dolan - Location Sound on set for Episode 5 “Gaybies” of Benefits of Gusbandry Photo Credit: Alicia J. Rose
NOTEWORTHY WEB PRODUC TIONS The Librarians After debuting last year as basic cable’s second-most-watched new series, The Librarians’ sophomore season highlighted TNT’s burgeoning primetime schedule of original programming, and a third run will begin shooting this summer. Following the storyline developed over a trilogy of made-for-TV movies starring Noah Wyle as a bookish recluse appointed by the stewards of an interdimensional Metropolitan Library to defend the magical antiquities from marauding evildoers, The Librarians finds Wyle enlisting a new team (Rebecca Romijn, Lindy Booth, John Kim, Christian Kane, and sitcom legend John Larroquette) for further adventures from a Library Annex conveniently housed beneath the St. John’s bridge. The Librarians shares many production similarities with the oft-brooding TNT show Leverage—both feature breakout star Christian Kane, have the same executive producer (blockbuster impresario Dean Devlin of Electric Entertainment, upcoming Independence Day 2 and Geostorm), and film at the same Clackamas County soundstages. However, in juxtaposition, while Leverage’s tales of reformed-criminals targeting the elite took advantage of Portland’s cityscape, The Librarians’ more fanciful visions send nearly 200 crew members well beyond Portland proper. On location shoots the show has blown up a car in Estacada, invaded the small town of Forest Grove, and took over an Oregon City library. “Electric Entertainment loves it here, there is a good crew base, great locations, and we can find anything we want,” explains location manager Robert Warberg.
LOVE IS SO GAY
Photo Credit: Alicia J. Rose
Benefits Of Gusbandry A rollicking show about the improbable connection of an aging party girl (MADtv’s Brooke Totman - page 87) and the cherubic gay lothario (Wild’s Kurt Conroyd - page 82) she mistakenly falls for. Created by local director Alicia J. Rose and filmed in Portland, the 2015-16 YouTube series pushes its somewhat-familiar scenario through increasingly dire permutations. The first season’s seven webisodes explore the characters’ without pausing to dim the spiraling screwball momentum.
Photo Credit: Lavenda Memory
The masculine-centric Kane’s Kitchen treats culinary endeavors as possible romantic pursuits. Developed by Oregon-based producer José Behar and Leverage/The Librarians’ Christian Kane, the charismatic star passionately prepares personalized classics such as Chicken n’F’n Waffles and Purple Pizza. Kane’s Kitchen debuted atop iTunes 2015 nonfiction series list and rose to fifth overall. The first season is streaming on Hulu, and the show promises a follow-up later this year.
Photo Credit: Lucas Longacre
Produced by Portland’s Iron Way Entertainment (the studio behind recent Microsoft co-financed documentary Big Dreams) for PBS’s online programming, Original Fare features host Kelly Cox as a culinary adventurer searching for stories behind the foodie world’s most treasured ingredients. Although this show travels the globe, many of the most engrossing tales are found locally such as prize dogs at a Yamhill Valley truffle festival and people foraging for sustenance along the Oregon Coast.
The Haunting Of Sunshine Girl
Photo: Levy Moroshan (P. 73)
With help from the Weinstein Co., The Haunting Of Sunshine Girl has expanded into a multi-platform franchise with its recent addition of Young Adult novels. As new videos are being filmed, the studio plans a series by the original producers. “The great thing about our deal with Weinstein,” said co-creator Mercedes Rose, “we maintain the rights to the YouTube stream so we can continue creating content.” In addition to shorts and star Paige McKenzie’s (page 83) vlog, they host other projects such as Erin Lehn’s Stalked and Voices of April by Martin Vavra. SourceOregon 2016 | A Publication of the OMPA 27
“[In Oregon]…there is a good crew base, great locations, and we can find anything we want.” — Robert Warberg, Location Manager, The Librarians
Portlandia (starring Carrie Brownstein, Fred Armisen) has been renewed by IFC for its 6th and 7th seasons. Photo: Augusta Quirk/IFC
“This is an opportunity to extend the franchise with new storylines and characters.” — Rich Ross Group President, Discovery Channel
Deadliest Catch: Dungeon Cove
It’s not quite time to put a cap on the series that, more than any other, first placed Oregon’s signature city on the film and television industry map. Following IFC’s announcement of a two-year commitment in 2013, last February the network again renewed Portlandia through 2017; however, stars Fred Armisen and Carrie Brownstein have indicated that the eighth season would be the final run of the Emmy- and Peabody-award winning show.
Deadliest Catch, a multiple-Emmy winner and one of the Discovery Channel’s top-rated shows ever since its first episode eleven years ago, started filming a spin-off series in Newport, Oregon. Among the handful of former fishing villages still thriving within the “Graveyard of the Pacific,” Newport has become a vital hub for dungeness crab despite numerous perils (hidden sandpits, towering waves, unpredictable currents) that have rendered the area arguably the globe’s most treacherous commercial fishery site with thousands of fishing boats lost over the decades. Unlike the Deadliest Catch mothership, which concentrates mostly on the activity aboard boats trawling the Bering Sea, Dungeon Cove (working title), with a premiere set for the fall of 2016, intends to capture the stories of families left behind in the communities forged by generations of crabbers. “This is an opportunity to extend the franchise with new storylines and characters,” said Rich Ross, Group President of Discovery Channel.
Although most of the series’ most indelible moments were filmed around landmarks of Portland, creators have occasionally ventured outside municipal boundaries and spread the production budget with nearby communities. For example, in a notable sixth season episode starring Louis C.K. and directed by Steve Buscemi, the show travelled to the suburb of Tigard and transformed a vape shop into a bar to conform to their own sketch comedy visions. “Tigard is getting more exposure because of all the improvements and revitalization efforts,” said one local coffeehouse owner after loaning the space to Portlandia’s crew.
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As well, local laws regulate strict time limitations in contrast to the Alaskan policy of enforcing quota for each vessel. This limitation causes a frantic rush to catch as much
Dungeon Cove, the newest spin-off in the Deadliest Catch series, revolves around Newport, Oregon. Photo: Discovery Channel
crab as possible within a brief window—half an estimated year’s catch will be hauled in within the first two weeks! The first season Photo: TLC bodes extra intensity with a month-long postponement to the start of In a somewhat bittersweet turn, the show’s crabbing season (from fears of elevated toxins largest ratings came during a ninth season finale intended to celebrate son Zach’s in marine life). wedding; however, parents Matt and Amy stunned viewers by ending their 27-year Little People, Big World From the moment in 2006 when TLC featured marriage. A subsequent announcement about the larger-than-life exploits of a couple the youngest son, Jacob (conspicuously absent unhindered by dwarfism, Little People, Big World from the finale), feeling frustrated by the rigors attracted a devout fanbase, and the show has of filming further fueled headlines. While since grown to become a reality programming renewal is still pending, many fans hope for staple as audiences worldwide have embraced TLC to greenlight another run of Little People, the Oregon family’s tales for more than two Big World to relay the whole story in greater perspective. hundred and fifty episodes.
SourceOregon 2016 | A Publication of the OMPA 29
“They’ve done a good job of fixing up the town [Astoria], but it also hints of a grand era that no longer really exists.”
— Neil Kopp Producer Green Room
Homecoming director Paul Kampf with DP Rene Jung. Photo courtesy of Radar Pictures
lthough the local television boom may have garnered the most attention of late, Oregon continues to serve as fertile ground for both independent and studio productions while fostering vibrant communities of filmmakers throughout the state. As collectives such as Portland Community Media and POWFest’s (see festivals insert or page 130) seminars bolster a new generation of creators, eminent festivals continue to gather momentum in Portland, Bend, Eugene, and Ashland, which MovieMaker Magazine has ranked among its top five towns for working auteurs. Noteworthy 2016 releases were shot around Oregon—Brother Nature in Klamath Falls, Cabin Fever in Molalla, and Black Road in Southern Oregon’s Rouge Valley. Star-studded Cannesfave Green Room utilized locations ranging from Mt. Hood to the Willamette Valley to the Oregon Coast. “Astoria’s unlike anywhere else,” said Green Room producer Neil Kopp (page 49), “the community welcomed our crew with open arms. They’ve done a good job of fixing up the town, but it also hints of a grand era that no longer really exists. Looking down on the river from the hills, there’s just something epic.”
Homecoming Co-produced by Radar Pictures and producer-directorteacher Paul Kampf, Homecoming was conceived after two Portland-area women (Christi Sperry and Sarah
30 SourceOregon 2016 | A Publication of the OMPA
Hehman) took a community-college screenplay workshop and penned a barbed satire about the travails of a recently-relocated housewife caught unprepared midst the manicured vipers of darkest suburbia. The script soon found its way to Kampf, and a host of familiar faces joined the cast—True Blood’s Lauren Bowles, Once Upon A Time’s Victoria Smurfit, and Death Race’s Max Ryan. Kampf chose to film in Oregon and hopes to schedule his next productions around town, “One of the reasons why TV productions are rushing up here is that Portland has the diverse look of five cities in one. It’s like a living film set.”
Honey Buddies A SlamDance Audience Award-winner dreamt up by Flula Borg (Pitch Perfect 2) and David Giuntoli (Grimm), Honey Buddies is a self-parodying bromantic comedy. When a broken engagement almost breaks former child star Giuntoli, best man-to-be Borg insists that the mismatched duo take advantage of the backpacking honeymoon already planned. An estimated ninety percent of the footage was shot outdoors in natural light along Silver Falls State Park, and director Alex Simmons’ experience as a Discovery Channel and National Geographic documentarian lends the film a distinct visual aesthetic miles above the typical bro-mance comedy.
— Paul Kampf, Director, Homecoming
Portland weird thing so I think I was inspired by that to write the movie.” A quarter finalist in Francis Ford Coppola’s Zoetrope screenplay competition, Zilla and Zoe centers around Zoe, a 10-year-old girl, who is forced to film her sister’s wedding instead of a horror movie contest entry, and transforms the ceremony into a horror show. The crowdfunded indie briefly made national news after scenes portraying the exchange of vows between two women were disrupted by a protest. While this seemed somewhat surprising for a Portland-based shoot, the unfortunate event only highlighted Zilla and Zoe’s message of embracing the differences among us all.
Green Room Writer and director Jeremy Saulnier’s third film, Green Room, follows on the heels of his microbudgeted revenge classic Blue Ruin. And while this upcoming escape broadens the scope and widens the lens of Saulnier’s harrowing visions, he sacrifices none of the white-knuckled suspense. We open on a no-hoper punk band during the last dregs of a miserable tour when an already hellish gig in a backwoods bar populated by Neo-Nazis spoiling for blood gets even worse when band members accidentally glimpse a young girl’s murder. Moments later, they’ve barricaded themselves (alongside caustic bystander Imogen Poots) inside the backstage rest area while jackbooted thugs led by Sir Patrick Stewart
Alexi Pappas and Jeremy Teicher in the movie trenches of Tracktown. Photo courtesy of Jeremy Teicher
Tracktown Tracktown, the second film co-produced/directed by Alexi Pappas and Jeremy Teicher (Tall As The Baobab Tree), is a coming-of-age tale about a track star (Pappas) forced to question her priorities. Filmed in and around Eugene, the town and its aesthetics become part of the film. Teicher explains, “What is cool about working in Eugene, as opposed to making a film in New York or LA, is how the community rallies together.” As well, Pappas’ unique ability and connections as a professional runner allow Tracktown access to a world seldom seen. The film should finish before Pappas competes at this summer’s Rio Olympics.
“I love the whole keep Portland weird thing so I think I was inspired by that to write the movie.”
— Jessica Scalise Writer and Director Zilla and Zoe
Zilla and Zoe Drawing inspiration from her past experience as a wedding videographer and the unabashed weirdness of her adopted Oregon home, first-time writer-directorproducer Jessica Scalise spun this charmingly addled tale. “This film is about Portland,” said Scalise who moved to Portland after graduating from the University of Southern California School of Cinematic Arts. “I love the whole keep
Make-up artist Amber Arpin touches up actor Brian Sutherland’s for Zilla and Zoe.
SourceOregon 2016 | A Publication of the OMPA 31
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plot their impending doom. Acquired by A24 (who’ve set up a branded online radio station in advance of the film’s April release), the uniformly stellar reviews, festival buzz, and enviable cast should propel Green Room to headlining status among the year’s crop of indie thrillers. Taking full advantage of Western Oregon’s diverse terrain, the late autumn shoot encompassed locations ranging from Astoria’s time-swept coastal hub to the teensy Mt. Hood community of Rhododendron. “Portland’s easy, locations are great and relatively affordable, and there’s a huge super-experienced crew base,” recalls producer Neil Kopp (page 49). “The ferocity of the television market in the past five or ten years developed an infrastructure that wasn’t entirely here before. We brought in some people – the cast, of course – but there really was no position that we couldn’t find locally.”
Something Like Summer Based on the first of Jay Bell’s best-selling series of Young Adult novels, Something Like Summer successfully raised more than $100K during a month-long crowdfunding campaign from fans eager to see the franchise adapted by writer/producer Carlos Pedraza and director J. T. Tepnapa (acclaimed 2011 indie Judas Kiss). Following a national casting search, vocalist Grant Davis bested more than 500 competitors for the lead role of Ben Bentley – an alienated gay Texas high-schooler struggling to pursue a singing career while distantly smitten with an athlete just moved to town. Not surprisingly, Bell’s admirers desperately hope the PDX-filmed tale soon finds a distributor.
The safety and rigging team, Jared Smith, left, and Mike Williams, right, stand below the waterfall nicknamed “NE Shangri-la.” Photo courtesy of Uncage The Soul/OPB
hether Oregon’s reputation for captivating documentaries arose from the state’s beauty or colorful political history known for rewarding directors and producers pursuing subjects off the beaten path, our documentarians provide additions to the legacy through searing investigative work and poignant reminiscence. The non-profit NW Documentary Arts & Media (page 115) workshop showcases shorts three times a year with their Homegrown DocFest series. Oregon’s Silver Falls Lodge hosted the inaugural Oregon Doc Camp for filmmakers to meet legends such as Steve James (Hoop Dreams, Life Itself). And, the Oregon International Film Festival, home to the largest northwest documentary program, fielded an enviable line-up including Bonobo Connection and Letters From Generation RX and premiered at theaters throughout Portland and Eugene.
50 Feet From Syria To film 50 Feet From Syria, local director Skye Fitzgerald (page 53) followed Portland surgeon Hisham Bismar (originally from Syria) north of the Turkish border where he helped treat war-torn refugees fleeing the devastating Syrian civil conflict. Although the footage proved so grisly the film included a warning of the horrific scenes, the inspiring portrait offers a glimpse of humanity at its best … and its worst.
Voyagers Without Trace Ian McLuskey recreated the path of three French adventurers – Genevieve and Bernard de Colmont and Antoine de Seynes – 75 years after they kayaked down the Green and Colorado Rivers. Set to era-appropriate music composed by Jenny Conlee (The Decemberists), the documentary intertwines the trio’s footage with newlyfilmed replicas to create a nostalgic travelogue.
Journey To Valhalla
Recreating a journey down the Green and Colorado Rivers with Voyagers Without Trace Photo courtesy of Voyagers Without Trace and NW Documentary
Considering that the breathtaking vistas afforded by Valhalla’s uncharted gorge offer cascading waterfalls, sheer cliffs, and primeval foliage, the greatest adventure awaiting the Oregon Public Broadcasting and Uncage the Soul (page 52) teams was the journey to get there. The team split into two groups to explore the hidden slot canyon tucked away in the Mt. Jefferson wilderness, which was accidentally discovered during a helicopter flight. SourceOregon 2016 | A Publication of the OMPA 33
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The Experience Everyone is Talking About DisOrient is a social justice film festival dedicated to deconstructing the media stereotypes of Asians and Asian Americans as “Orientals”. We believe in the power of film-as-art to educate, heal and improve the lives of people by giving voice to our experiences.
April 29 - May 1, 2016 BIJOU ART Bijou Art Cinemas andCINEMAS Broadway Metro Eugene, Oregon EUGENE, OREGON
DISORIENTFILM.ORG DisOrient is a program of the Chinese American Benevolent Association (CABA)
WEBVISIONS May 18-20 PNCA and Revolution Hall
Explore the future of the Web with a supercool lineup of experts in NYC, Portland, Barcelona, Chicago, Berlin and London. Discover new techniques and strategies to advance your career and organization.
Have a group? Save 15% off tickets to all events with the code “GROUP4” Find out more at WebVisionsEvent.com
Motivate Design April 7
Revolution Hall May 18-20
IED Barcelona July 7-9
Siskel Film Center Sept. 21-23
Edenspiekermann Oct. 26
Method Oct. 29
CELEBRATING PORTLAND FOR OVER A DECADE —48 HOURS AT A TIME—
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Community. Craft. Career.
We Are Willamette Writers
Randall Jahnson Screenwriter, Director, Producer, Educator, Willamette Writers Member
Willamette Writers Conference 2016 August 12-14 Sheraton Portland Airport Hotel
Randall Jahnson is one type of writer you could meet at the next Willamette Writers Conference. A veteran of Hollywood, heâ€™s currently focusing on new platforms for visual storytelling and teaching others how to do so. Plan to join Randall and hundreds of other writers at the largest writing conference in the Pacific Northwest. Find your community, hone your craft, and advance your career at the Willamette Writers Conference. All writers are welcome.
McMinnville Short Film Festival This festival is open to amateur and professional filmmakers alike. Films, including music videos, must be 20 minutes or less. Three screenings across two days including educational and networking opportunities. Awards include cash prizes!
Festival Dates October 1â€“2, 2016 Entry Deadline: August 1, 2016
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SUBMIT A FILM • NO ENTRY FEE ENTRY DEADLINE: AUGUST 1 CONTACT: BEN@NWFILM.ORG
40TH PORTLAND INTERNATIONAL FILM FESTIVAL
The Northwest Film Center’s annual showcase of new world cinema. Like the Northwest Filmmakers’ Festival, which surveys outstanding new work by our region’s media makers, the Portland International Film Festival explores not only the art of film but also the world around us, no matter the place or the language spoken.
COMING FEBRUARY 2017
THE 5TH ANNUAL
PORTLAND BLACK FILM FESTIVAL