Om 14

OREGON FILM MAGAZINE 20142

OREGON FILM MAGAZINE 2014 3

PUBLISHERJames R. Baker

ASSOCIATE EDITORKatie Sauro

CONTRIBUTING WRITERSCal Applebee, Bob Baker, Isabelle Edger,Nathan Knottingham, Gary Kout, Charles “Chip”Massie, Mary Pat Parker, Teri Phillips, JenniferRouse, Eric Sande, Gregory Smith, Howard Sul-livan, Lauren Wilbur, Regina Willkie, DianeWolfe, Katera T. Woodbridge

SALES MANAGERKatie Higgins

SALESEric Iles

DESIGNERSDawn Carlson, Beth Harrison, Christina Poisal

PRODUCTION MANAGER John Rusnak

OFFICE MANAGERAudra Higgins

INFORMATION SERVICES MANAGERLois Sanborn

WEBMASTERJon Hines

MEDIA INDEX PUBLISHING GROUP(800) 332-1736 • [email protected] • www.nwfilm.com

Display Advertising. Call Media Index Publishing Groupfor a current rate card. Discounts for frequency adver-tising. Advertising confirmation deadline is the 30th ofthe month prior to issue publication. Advertising me-chanicals are due the 5th of the month of issue. All sub-mitted materials become the property of Media IndexPublishing Inc. and will not be returned.Copyright © 2014 Media Index Publishing Group. AllRights Reserved. No part of this publication may becopied by any means, electronic or mechanical, includ-ing photocopying or recording by any information stor-age or retrieval system, without the express writtenpermission of the publisher. Printed in USA

4 Oregon’s Production Boom

8 Welcome Back to Portlandia:

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

14 Clackamas: Oregon’s New Digital Media Hub

16 Commercial Production Explodes in PDX

18 Voices of IATSE

19 Time Element Insurance & Risk Management In The Digital Age

20 Southern Oregon Film Activity Expands Across the Region

24 Destination Oregon

44 Spotlight On Location Managers

46 The Northwest Film Center Presents: PIFF 37

48 Oregon Film Festival Round-up

52 Oregon Hotel Directory

CONTENTS

From the cover: Director Jonathan Krisel (left), Fred Armisen (center), and DPBryce Fortner (background in blue shirt) on the set of Portlandia. SCOTTGREEN/IFC

BOOM


S ince House Bill 3367 became law on October 7,2013, the production industry has been booming herein Oregon.

The new law increased the state’s film incentive, knownas the Oregon Production Investment Fund (OPIF), from $6million a year to $10 million, as well as made significantimprovements to the local filmmaker program. (See side-bar on page 6 for full details.) What this means is that inaddition to the features and television series that haveflocked to Oregon thanks to the newly increased incentive,the state is now fostering a diverse range of homegrownproductions, from films to digital and video game projects.

At the time of the bill’s passing, Vince Porter, executivedirector of the Governor’s Office of Film and Television, calledthe 2013 legislative session “transformational”—and thusfar, it has proven to be just that.

OREGON GOES WILDThe first project to come to Oregon since the new law

was enacted was Wild, a feature film based on the memoirby Portland author Cheryl Strayed.

At 26, reeling from the loss of her mother and thedestruction of her marriage, Strayed set out all alone ona journey of healing. With no experience or training,Strayed hiked the Pacific Crest Trail from the Mojave Desertthrough California, Oregon, and into Washington—morethan 1,100 miles.

The film is co-produced by Reese Witherspoon, whoalso stars as Strayed. Witherspoon bought the film rightsback in 2012, before the book was even published, andenlisted novelist Nick Hornby to write the script. Strayedstayed on as consultant.

“Nick Hornby’s script about author Cheryl Strayed’s1,100-mile trek through largely untouched wildernesscaptures the poignancy and spirit of the life-altering jour-ney that the author lived 18 years ago,” said Witherspoonand co-producer Bruna Papandrea in an October 2013statement. “Having Cheryl available to us here in Oregonis invaluable... her spirit, her presence, and her input onthe physical and emotional details of her trek are a giftto the production.”

Directed by Jean-Marc Vallée (Dallas Buyers Club),Wild shot throughout last fall, filming in more locationsin Oregon than any other feature film has before. The

land to film new seasons, and both shows utilized theimproved OPIF incentive.

Grimm, a drama series inspired by the classic GrimmBrothers’ Fairy Tales, has filmed in Portland for the lastseveral years, bringing in production dollars and creatingjobs for locals. Filming on season three began in thesummer of 2013, and was expected to continue until early2014. The third season, which will consist of 22 episodes,premiered on October 25.

Although the show jumped around on the scheduleduring its second season run, executives have decided to

OREGON’S PRODUCTION

production traveled the length of the state, beginning inAshland in southern Oregon, and trekking up through thecentral region, into Portland, and finally to the Gorge,where Strayed’s journey ended. Wild, slated for a 2014release, has shown that Oregon has much more to offerthe production industry than just the Portland metroarea—and Oregon Film Magazine showcases some ofthese hidden location gems on pages 24-42.

PORTLAND’S MUST-SEE TVNBC’s Grimm and IFC’s Portlandia both returned to Port-

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.

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


keep it on Friday nights, where it has remained solid inthe ratings. In fact, during NBC’s TCA 2014 winter press tourexecutive session, Robert Greenblatt, NBC Entertainmentchairman, and Jennifer Salke, NBC Entertainment presi-dent, told reporters that a season four renewal lookspromising.

In other TV news, back in June of last year, a fewmonths after the season three finale aired, IFC announcedthat it was renewing Portlandia for two more seasons.Stars Fred Armisen and Carrie Brownstein and the rest ofthe cast and crew shot the fourth season of the sketchcomedy 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 Grimmfame, in addition to returning regulars like Kyle MacLach-lan, Ed Begley Jr., Steve Buscemi and Jeff Goldblum.

“The word is out that the show is fun to work on,” saidPortlandia producer David Cress. “Fred and Carrie allowthem to come in and improvise, so that’s exciting foractors.”

Cress and director Jonathan Krisel talked to Oregon FilmMagazine about the upcoming season of Portlandia. Readthe story on page 8.

Season four premieres February 27 on IFC.

ANIMATION DOMINATIONAnother recipient of the OPIF incentive this year was The

Boxtrolls, the latest project from Portland-based animationcompany LAIKA.

Announced back in 2008 as a project in development,LAIKA and Focus Features began production on the 3D stop-motion and CG hybrid animated film in early 2013. This is thetwo companies’ third project together, after successful offer-ings with ParaNorman and Coraline.

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

out of his box to save his family and the town from an evilexterminator. Directed by Anthony Stacchi and GrahamAnnable, the film features the voices of Academy Awardwinner Ben Kingsley, Academy Award nominee Toni Collette,Elle Fanning, Isaac Hempstead-Wright, Simon Pegg, NickFrost, and Tracy Morgan.

The film will be released on September 26, 2014.In other LAIKA news, the company has optioned Wild-

wood, a young-adult fantasy novel by Decemberists singerColin Meloy, and Goblins, British author Philip Reeve’s super-natural book, to make into feature films.

HOMEGROWN DIGITAL PRODUCTIONSFinally, with improvements to the Indigenous Oregon

Production Investment Fund, or iOPIF, the state is targetinglocal “media production services” projects, which includespost-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 acceptedinto the program for 2013-14.

With iOPIF and other resources, Oregon is committedto fostering homegrown digital and media productions.In fact, Clackamas Community College (CCC) has purchaseda motion capture system that is the first of its kind in thestate. This technology—used by video game companies,digital effects studios and big-budget films—and theaccompanying classes offered at CCC will support thestate’s goal of growing the digital production industry inOregon. See the full story on page 14. OF

For more information about shooting your next project inOregon, contact the Governor’s Office of Film and Televisionat www.oregonfilm.org.

OREGON’S PRODUCTION INCENTIVE PROGRAMSThe state boasts a number of generous incentiveprograms that attract major productions. Read on:

The Oregon Production Investment Fundoffers qualifying film or television productions a 20%cash rebate on production-related goods and servicespaid to Oregon vendors and a 10% cash rebate of wagespaid for work done in Oregon, including both Oregonand non-Oregon residents. The labor portion of thisrebate can be combined with the Greenlight Oregonprogram for an effective labor rebate of 16.2%. Aproduction must directly spend at least $1 million inOregon to qualify. There is no per production cap.

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

The Indigenous Oregon ProductionInvestment Fund (iOPIF) provides the samerebates of 20% of goods and services and 10%of Oregon labor for films produced by Oregonfilmmakers who spend a minimum of $75,000,up to the first $1 million of their spend. iOPIF hasnow been modified to include local “mediaproduction services,” defined as post-productionservices and interactive video game develop-ment.

In addition to the savings associated with theIncentive programs listed above, filming in Oregoncan 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.

A peek at the new seasonof Portlandia. Pictured isstar Fred Armisen.AUGUSTA QUIRK/IFC


On February 27, lovers of sketch comedyand all things Portland will receive abelated Valentine when Portlandia

returns to IFC.

Starring the dynamic duo of Carrie Brownstein and FredArmisen, fresh off his departure from Saturday Night Live,the fourth season will feature the return of beloved char-acters and familiar themes—but it will also delve intouncharted territory for the series.

“We have a distinct style. People will say, ‘It was like aPortlandia sketch’ to describe certain situations. Peopleknow what that means and that’s really cool, but thisseason we tried some new things,” says co-creator anddirector Jonathan Krisel. “For example, a horror filmopens the first episode of the season, and we have a bigfilm noir sketch that takes its roots from a ‘traditional’ Port-landia topic dealing with the popularity of differentvegetables, but it goes off the rails to become like a JohnGrisham novel.

“Thematically we’re always on the Portlandia topic.We’re very specific about what we’re making fun of, butwe can attack it a few different ways.”

This includes different types of storytelling. For

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

instance, Armisen and Brownstein have always appearedin sketches together, but this season, a few of theepisodes feature separate storylines for the pair; Krisel hasdubbed these storylines “the Fred Chronicles” and “theCarrie Chronicles.”

Another tactic the Portlandia team used to shakethings up this season was to add new writers to the mix.

“Usually we bring in one writer, but this year webrought in three,” says Krisel. “Having different voices inthe process really helps a lot.”

Portland-based producer David Cress has been with theshow since the beginning. Likening his role as a producerto that of a general contractor, Cress and his team handlethe 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 Portlandiafresh.

“That trio of people—Jon, Carrie and Fred—they’rekind of brilliant,” says Cress. “They’re really the birthers ofthe show. I do as much as I can to support them, butthey’re making the magic.”

He continues, “There’s always sort of a fear that there’sa 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’ thisyear.”

“Since we’re a satire show, in the year in betweenseasons, there’s so much new material—social trends arean unending source of raw source material—to drawfrom,” explains Krisel. “This season we took on the ‘anxi-ety’ theme: people e-mailing you constantly, texting,always on the hook to be available, which is kind of a newthing.”

He adds, “The first storyline of the season is aboutpeople sharing their finances, a couple joining bankaccounts. It’s so simple, but I’m curious to see if it strikesa chord with people. I think it’s really funny. Wheneveryou’re tapping into the way people live, and identifyingthat and then satirizing it, it’s really exciting. The topicssound mundane but these are things that haven’t beenused as a source of comedy yet.”

Each season of the show thus far has boasted somegreat guest actors, and that is one thing that has remainedthe same for season four. This season features appearancesfrom Kirsten Dunst, Maya Rudolph, Olivia Wilde, JelloBiafra (Dead Kennedys), Joshua Homme (Queens of theStone Age), Duff McKagan (Gun N’ Roses), and Paul Allenand the Portland Trail Blazers, in addition to returning gueststars Kyle MacLachlan, Jeff Goldblum, Ed Begley Jr., and

AUGUSTA QUIRK/IFC


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 impro-vise, so that’s exciting for actors. It’s very loose andimprovisational. Jon grew up with this style and taughtus; I hadn’t seen that style before. It allows us to beinventive and work off each other. We used to have torely on Fred’s and SNL’s connections and now people justknow the show and like the show and want to be a partof it.”

One of Cress’ favorite guest stars this year is McLach-lan, who has played Portland’s mayor since the firstseason. “He has a real love of improvised comedy,” saysCress. “You can tell he enjoys doing it and is really goodat it. That’s one of my favorite characters.”

Krisel, meanwhile, is particularly impressed with theimprovisational skills of singer/songwriter k.d. lang, afirst-time guest star.

“We tried to get her last season but the schedulingdidn’t work,” he says. “This year another role came up,so she agreed to come out and do it. She’s one of thoseartists that is so genuine, so when she came to set, itwas like, ‘OK, what’s this going to be like?’ Her perform-ance 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 overthe top and crazy, but to act natural is hard.”

In addition to the actors and musicians who have

guest roles this season, there are many local politicianswho also make appearances.

“David tries to keep us in good favor with thecommunity, especially with the film incentive,” saysKrisel. “David worked closely with a lot of politicians, sotheir appearance on the show was a thank you. That taxincentive makes a huge difference, so it was a way for

AUGUSTA QUIRK/IFC

Portlandia director, co-creator and co-writer Jonathan Krisel (left) and DP

Bryce Fortner. SCOTT GREEN/IFC



the crew, and for Fred, Carrie and me, to meet them andsay thank you.”

Indeed, the tax credit has been a boon to not onlyPortlandia, but to several other Oregon-based produc-tions, especially television shows.

“When Vince (Porter) first became film commis-sioner, he and I sat down and talked about the state offilm in Oregon,” says Cress. “He thought one of our prob-lems was that the modest incentive would draw one bigfilm, which would drain it, and then there would be aslack period. TV fits us better because it goes on for alonger period. That really helped build our industry andinfrastructure.”

Other shows that have taken advantage of the incen-tive include Grimm and Leverage.

Cress continues, “Even though they’re different genresand different formats, I think that the shows have all bene-fited from each other. The talent base has grown a lot inthe last decade. I think it used to be hard for an actor tostay in Portland. There was a limited number of things todo. Now with TV, the possibilities have increased.”

These possibilities have likewise benefited Oregon’screw base: Portlandia’s crew is made up of 99 percentlocals. Add to that the supportive nature of the commu-nity—from bars and restaurants letting the show film intheir establishments to the city and state helping in anyway they can—and it’s no wonder Portlandia keepscoming back.

“We couldn’t do the show anywhere else,” says Krisel.“We couldn’t pay for it anywhere else, and the town hasembraced us. It feels very grassroots in a way. We’restretching the dollar as far as it can go, and what we’reable to achieve is awesome.” OF

The 10-episode fourth season of Portlandia begins onFebruary 27 on IFC. Visit www.ifc.com/shows/portlandia formore information.

AUGUSTA QUIRK/IFC

AUGUSTA QUIRK/IFC


Just 20 miles south of Portland liesOregon’s next big production hub:the Digital Media Communications

department at Clackamas CommunityCollege (CCC).

Through a partnership with video game animationstudio SuperGenius, CCC recently unveiled its newmotion capture studio, which will exponentiallyexpand Oregon’s film, video game, animation and digi-tal media production industry. The $95,000 studioinvestment was made possible with the help of a grantfrom the Clackamas County Cable Division.

The motion capture studio—or “mocap”—is thefirst of its kind in the state.

“Our system consists of 16 cameras and is able tocapture motion performances of four actors at a time,”said Andy Mingo, director of the Digital Media Commu-nications program at CCC. “There is no other system likeit in the state of Oregon, so from a workforce devel-opment standpoint, it is invaluable for trainingstudents in the skills needed for motion capture invideo game development and film.

“As educators in the Digital Media program atClackamas Community College, we pride ourselves onmeeting industry needs in the moment because we arefinding film and media technology is evolving sorapidly that it is imperative to keep pace. We wouldbe doing students an injustice should we continuegiving them educational opportunities with camerasutilizing mini DV, for example. So from this standpoint,we feel very satisfied with our investment in motioncapture. We are constantly looking towards the future.”

The first motion capture class began in January, andwill be offered four times a year. Students will learnhow to create motion capture-driven projects that canbe used in video game development and the motionpicture industry.

“Our motion capture class at CCC is going very well,”said Mingo of the program’s inaugural class. “Thesystem is very complicated, but by week three studentsare already able to calibrate the system and capturemotion capture sessions of real time rendered 3Davatars. We’ll be integrating the live camera modenext, which will give mocap directors the ability tocapture sessions from the virtual camera’s point ofview. We are all very excited about the projects that

CLACKAMAS: OREGON’S NEWDIGITAL MEDIA HUBMOTION CAPTURE STUDIO WILL SUPPORT THE STATE’S GROWING FILM, TV AND VIDEO GAME DESIGN INDUSTRY

students are currently putting together. We’ll be sureto make these sessions available on the college’scable channel, CCCTV (and then later online), shouldanyone want to tune in and check out our work at theend of the term.” OF

In addition to the new motion capture course, the Digi-tal Media Communications program offers courses inaudio and sound engineering, film studies, computeranimation, video production and Web design. For moreinformation, visit www.clackamas.edu.

CCC’s new motion capture system in action.


P ortland-headquartered creativeagency Wieden+Kennedy hadanother banner year, producing

commercials and campaigns for some ofits biggest clients.

Some of W+K’s 2013 highlights:• For the seventh consecutive year, W+K had campaigns

supporting America’s biggest football game—the SuperBowl. For OREO, the team had fun with the long-standingdisagreement dividing OREO fans—which part of an OREOis the best, the cookie or the creme? And for Coca-Cola, W+Khad Cowboys, Badlanders and Showgirls battle in a hot, swel-tering desert for ice-cold refreshment where fans got to decidewho should win the Coke.

• People register for wedding gifts, and even vacations. Whynot a car? With the Dodge Dart Registry, W+K let people askfriends and family not for an entire car, because that’s a bigask, but just a bumper, or steering wheel or maybe a taillight.

• On the heels of the 25th anniversary of “Just Do It” thispast July, W+K worked with Nike to redefine “Just Do It” in aspot called “Possibilities,” which inspires viewers to push theirlimits and strive to reach new goals through a variety of play-ful scenarios featuring an all-star cast of athletes and gueststars.

• W+K helped launch a co-branded advertising campaignthat combines the power of a Detroit automaker, major Holly-wood studio and Will Ferrell (as Ron Burgundy) in one of thebiggest-ever original content promotions that is sure to makeyou laugh.

• Some of the world’s best athletes brave harsh elementsto perform at the highest level in a Nike short film titledWinning in a Winter Wonderland, which is set to a whimsicalrendition of the classic holiday tune “Walking in a WinterWonderland.”

Wieden+Kennedy has some really exciting new work you’llbe seeing in the New Year and around Super Bowl time. Andthere are a few events in 2014 that only come around everyfew years that they’re helping clients prepare for. So look forWorld Cup and Olympics work, too. OF

Check out www.wk.com for a collection of W+K’s latest work.

COMMERCIAL PRODUCTION EXPLODES IN PDXWIEDEN+KENNEDY RELEASES SPOTS FOR TOP NATIONAL CLIENTS IN 2013


BY GREGORY SMITH President, IATSE Local 488

I ATSE Local 488 represents the vastmajority of film and video tech-nicians in the Northwest and is an

active advocate of workplace justicefor everyone in the freelance filmcommunity.

These are tumultuous times for unionism. Questionsof healthcare and retirement benefits combined withgrowing public, political and workplace opposition callfor a diligent membership and focused activism.

For example, in the last couple years, our membershave questioned a disturbing practice that has takenhold in our production community. Many productioncompanies (employers) are utilizing the erroneouspractice of misclassifying freelance labor as inde-

VOICES OF IATSEAN UPDATE FROM THE NORTHWEST’S PRODUCTION CREW UNION

pendent contractors. Leadership at Local 488 has consulted with legal

resources as well as the Department of Labor and theEmployment Security Department. In the course of thisinvestigation, it has been confirmed that freelancelabor is to be compensated through a proper W-2payroll process with appropriate taxes withheld. Itwas reconfirmed that work performed as a productioncrew member does not meet the IRS criteria or StateRCW to be classified as an independent contractor.

Requiring crew to submit an invoice for compen-sation of labor as opposed to proper W-2payroll/timecard places the employing productioncompany at significant risk. Not only are there liabil-ity issues to consider, but if the practice falls subjectto the scrutiny of the state departments mentionedabove, there will likely be the discovery of associatedunpaid payroll taxes and severe fines assessed.

It’s important to acknowledge that most produc-tion companies operate properly. Those companies

should not feel a financial disadvantage for theirefforts. The time is now to standardize the correcthiring/compensation practice. There are many compa-nies that provide temporary payroll service tofacilitate this process.

Misclassification of the freelance workforce asindependent contractors is a serious concern to allfreelance technicians. Local 488 is committed toparticipating in correcting this mistaken practice.

These are times of transition in many aspects ofcontent production. Many traditional alignments arein shift and the participants are grappling to identifytheir role as the New Media World takes its shape. Thisprofessional landscape makes union membershipand participation as essential as ever. Please feel freeto contact me with questions or interest in IATSE Local488. OF

To reach Gregory Smith, president of IATSE Local 488,contact [email protected].


BY BOB BAKER Guest Columnist

T here are several TimeElement insurancecoverage 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 incomeloss, or an added project expense, i.e. lost or damaged datarequiring the additional costs to re-shoot. The insuranceclaim trigger in these Inland Marine Property forms mustbe an occurrence which causes damage to property, or moreexact, “we will pay the actual and necessary Extra Expenseyou sustain due to direct physical loss or damage to CoveredProperty that results in the necessity to re-photograph, re-record.”

What interests me in writing this article is the mediumused today in commercial film production and how it affectsTime Element insurance. Commercial producers seldom usefilm or video anymore, with digital imaging being today’snorm. The film and video methods of backing up shoots,protection prints and duplicating tape can take days to

TIME ELEMENT INSURANCE & RISK MANAGEMENT IN THE DIGITAL AGEprocess, and with much less of an immediate, on-the-setfeedback when something goes wrong. Because of the capa-bilities of making immediate digital duplicates and thealmost instantaneous reviewing of digital content, I see lessof an exposure for a loss transfer to Time Element insur-ance.

The two Time Element insurance forms I’m addressingare the Negative Film, Videotape and Digital Image Cover-age Part and the Faulty Stock, Camera and ProcessingCoverage Part (these forms are used together, one notplaced without the other). In terms of a “direct physical loss”to covered property occurring for insurance to pay the coststo re-shoot, something has to happen to the medium, andin the case of digital medium, it’s the digital media.

The Faulty Stock, Camera and Processing form is anamed perils insurance form, which means the formspecifically 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 mustdamage the “software memory discs”), accidental erasure(recording over material already on a card).”

The Negative Film, Videotape and Digitalized ImageCoverage form is an open ended policy form, stating whatcovered property is: “software and memory discs used togenerate computer images while being used or to be used

in connection with an insured production.” It also stateswhat a covered cause of loss is: “direct physical loss ordamage to Covered Property.” This form then furtherstates what is not a covered cause of loss; the exclusions.Coverage trigger scenarios may be losing the only SD cardyou have, or the card and the backup(s) all go up in flamesin a fire. Operator error is excluded via a number ofspecific exclusions, but in today’s market we’re finding thatsome insurers are affording a lower sub-limit for operatorerror; their judgment or faulty manipulation. The TimeElement limits are often insured at the project’s worst casere-shoot scenario, that project’s total GPC (Gross Produc-tion Costs). Many insurers automatically use $1 millionlimits for both forms on annual packages.

Producers should consider Time Element Insurancebased on its cost and benefits, but in the world of DataWranglers, DITs and digital backups, risk avoidance greatlyhelps prevent the unbudgeted costs in having to bringeveryone 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 insuringfilm and entertainment accounts and was a prior principalin Gales Creek Insurance, which is now the Entertainmentand Film Division of JDFulwiler & Company Insurance.

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BY GARY KOUT Executive Director, Southern Oregon Film andTelevision

Southern Oregon is a big place, its vastregion encompassing a very broad rangeof environments. From east to west,

expansive high dry deserts turn to forestedmountains, lakes and rivers along theCascade Range. Next come lush, verdantvalleys, such as the Rogue and Illinois Valleys,with farms, ranches and vineyards. Anotherrange of low green mountains, the Coastal(or Pacific) Range, heralds the approach tothe beautiful Southern Oregon coastlinewith its windswept beaches and dramaticcoastal cliffs, coves and harbors.

Despite its size—9th largest in the nation—Oregononly ranks 27th in population with just under 4 millioninhabitants, a vast majority in the northern half of the state,concentrated around Portland, Salem and Eugene. Thatdoesn’t leave a lot of people in Southern Oregon. Roughly300,000 residents live from Lakeview in the east to Brook-ings on the coast, nearly two-thirds of whom are gatheredin 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 ofunder- or unpopulated areas. In other words, there are a lotof rural and remote places in Southern Oregon. As one wouldexpect, film and media activity mirrors the population

SOUTHERN OREGON FILM ACTIVITYEXPANDS ACROSS THE REGION

density, with the Rogue Valley area seeing a vast majorityof it. It’s safe to say that many areas of Southern Oregon havenever been seen through the lens of a motion picture orvideo camera.

At least until recently. The end of 2012 and much of 2013brought filming activity to rural areas of Southern Oregonlike never before. At the end of 2012, two feature films shotprimarily outside the Rogue Valley. Redwood Highway wasshot along the eponymous route, which runs 80 miles fromGrants Pass to the coast, turning its lens on the small townsof Selma, Kirby, Cave Junction, O’Brien, Brookings and GoldBeach, and unincorporated areas all along the route. Night

Moves filmed in Canyonville, the Applegate Valley, Williams,and Lake of the Woods.

Smaller productions, including many reality showepisodes, commercials and corporate videos, fanned outaround the area, shooting in such areas as Klamath Falls andTakilma. Don’t know where any of these places are? Neitherdo many of us in Southern Oregon! But look at a map andyou’ll see how widespread filming was in the past year.

Even where filming is common, 2013 brought new testsfor the region. In early 2013, the film By God’s Grace cameto Jacksonville. While not a remote area, this was the firstsignificant project in a town that only recently lifted a 20-year filming moratorium. The careful planning and strongcooperation between the filmmakers and the communityled to a successful shoot and ensured future filming will bewelcomed.

Similarly, Reese Witherspoon’s high-profile indie projectWild chose several locations in Ashland, including LithiaPlaza, the very heart of town. Despite just one day of film-ing, the size and scope of the shoot took the community abit by surprise. Thoughtful follow-up action by the localproduction staff resolved any issues, and the city is eagerto incorporate the lessons learned in order to providestrong support for future filming projects. Which is a goodthing, considering Ashland’s recent accolade as one of the“Best Small Towns in America to be a Filmmaker” byMovieMaker Magazine. While long known by local filmmak-ers, it’s great to get the validation and recognition.

A strong benefit of rolling cameras in lesser-shot areasis that it paves the way for future filming. First productionscan face a bit of a rough road: convincing the local author-ities and residents that the impact will be, if not minimal,Redwood Highway crew cross to the other side out in the Illinois Valley, OR. GARY KOUT

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



at least manageable and worthwhile on many levels;finding what local resources are available; and trying toavoid the unknown pitfalls that lurk in every location. Havingsuccessfully navigated all of that, future projects will havean even easier time of it.

The final and perhaps best upshot of all this, other thanmore areas of Southern Oregon getting deserved exposureof their uniqueness and beauty, is the economic benefit thatsuch activity brings. Small communities have been muchharder hit by the economic woes of the past few years, andas we all know, filming brings in money. Maybe it’s just afew lunches purchased at a local restaurant, or batteries andboots from a local hardware store; it could also mean hiringlocal residents to work as crew or background extras andputting up an entire crew and cast in local hotels. No matterthe local spend, if you want to be appreciated as afilmmaker, shoot in a small town and see how much appre-ciation they have for the dollars you bring.

The future looks incredibly bright for Southern Oregon.The local film association, Southern Oregon Film and Tele-vision (www.filmsouthernoregon.org), continues to providestrong support for local and visiting filmmakers and tospread the word about the area. The Ashland IndependentFilm Festival (www.ashlandfilm.org) deserves its ownawards as one of the best festivals for independent film.

Local crew and actors continue to strengthen their skillsfrom all the recent substantial production. The entireregion is prepped and primed like never before forfilming. So bring your projects to Southern Oregon tounlock their potential and yours. OF

Gary Kout is an independent producer/line producer and thefounder and Executive Director of Southern Oregon Film andTelevision. He can be reached via the SOFaT website, or [email protected].

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

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

Riders for a Motorcycle Superstore spot prep for action at the Rogue ValleyMotocross Park with the snow capped Siskiyou Mountains of SouthernOregon in the background. MADDOX VISUAL

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

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


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Shooting Oregon?

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Portland is a boomingmetropolis teeming withproduction crew and infra-

structure available for your nextproject. But the Rose City is justa dot on the map of all thatOregon has to offer incoming—and even homegrown—filmproductions.

Oregon’s expansive landscapeis a treasure trove of unique andundiscovered gems perfect forany production. From mountainranges and fertile foothills tocoastal plains and pristinebeaches, Oregon boasts a diversearray of film-friendly locations.Not to mention the seasonedproduction crew and film-friendly locals in each town whoare there to support your projectevery step of the way.

No matter what you’re lookingfor, you will find it in Oregon.Read on to discover what thestate has to offer your nextproduction.

ASTORIA

FOREST GROVE

LINCOLN CITY

ALBANY

FLORENCE

MCMINNVI

84

84

395

395

199

01

26

26

97

97

97

26

26

30

20

20

20

97

101

101

101

101

197

18

34

22

58

31

38

42

62

126

126

138

227

140140

238

66

31

19

19

207

207

206

GreenPeterLake

FernRidgeLake Cougar

Reservoir

Des

chut

es R

iver

Deschute

s Rive

r

SiltcoosLake

Umpqua River

Will

amet

te R

iver

Willamette River

Rogue River

Rogue River

Columbia River

Columbia River

John Day River

John Day Riv

UpperKalamathLake

GooseLake

SummerLake

LakeAbert

WarnerLakes

HarneyLake

Nehalem River

North Santian River

South Santian River

Siuslaw River

Illinois River

Lost River

Sprague River

Crooked River

McKenzie River

CannonBeach Vernonia

Tillamook

Portland

Newport

Yachats

Salem

Cascadia

Harrisburg

Eugene

ElktonOakridge

Blue River

SutherlinCoos Bay

Days Creek

Crescent Lake

Myrtle Point

ort Orford

Wolf Creek

Gold Beach

Brookings Cave Junction

Grants Pass

Medford

Prospect

Ashland

Silver Lake

Chemult

LaPine

Bend

Sisters

Brothers

Wagontire

Paisley

Lakeview

Heppne

The DallesWasco

Arlington

Shaniko

Maupin Condon

Hood River

Mt Hood Village

Idanha

Madras

Bu

Kimberly

Mitchell

ILLE

ROSEBURG

KLAMATH FALLS

CORVALLIS

BOARDMAN

CHEHALEM

ASTORIA

FOREST GROVE

CHEHALEM

MCMINNVILLE

LINCOLN CITY

ALBANY

CORVALLIS

FLORENCE

ROESBURG

KLAMATH FALLS

REDMOND

BOARDMAN

REDMOND


The call from the Governor’s Office of Film& Television came in late May. A locationscout from Portland was working with a

project that could be a “big deal” that we’dneed to keep on the down-low and theyhoped I’d have time to show her aroundwhen she was in town the next week. Ofcourse I’d be happy to do that, that’s my job—well, one of my roles here at the AstoriaWarrenton Chamber, anyway.

The location scout, Beth Melnick, is based in Portlandand Los Angeles with experience in commercials, televisionand feature films, so the shoot could have been foranything. Beth called me before coming out and crypticallydescribed what she was seeking for an insurance commer-cial. The character would appear to be starting a new lifein a new part of the country: living in a rundown home,taking on a labor-intense job and completely alone. Theywould establish the feel of a Northwest town in a fewshort moments on screen, so a view of the Columbia Riverand forested foothills would be essential.

Beth has scouted in the Astoria area for commercialsand stills almost every year since the late ‘80s, includingworking on a feature film here in 1989. She knew of aweathered home that could be a great fit for this project.While she waited to establish contact with those owners,

THE MYSTERIOUS LIFE OF AN OREGON FILM “LOCAL LIAISON”BY REGINA WILLKIE Astoria Warrenton Chamber of Commerce I brainstormed a few other neighborhoods that would

potentially fit their needs. They weren’t needed; herinstinct was spot on.

Over the coming weeks, I helped to establish a list ofcontacts of several locals that could be involved in the shootif they decided to come to Astoria and Warrenton. Those withpotential to be sets for the filming: logging and timbercompanies, commercial fishing vessel operators and proces-sors, property owners with houses that fit their needs. Andthose that would aid behind the scenes: traffic control, secu-rity, garbage and recycle needs, hotels for the crew and castto stay, caterers, and so on.

The production team was coming to see Astoria andWarrenton in person in mid-June. Still very private aboutthe project, the story changed from a commercial to a TVpilot—enhancing the mystery around just what wasgoing on. Although it was curious, it was not hard to stayfocused on their needs and provide the information theyneeded to make their decision. Soon after this visit, I heardfrom Beth again; the production would occur in Astoria!They confirmed the plans with the businesses and agen-cies to be involved and said the shoot would take place inmid-July.

It was about this time that a few community membersstarted to call the Chamber asking about what was film-ing in town. How had they heard anything about a filmproduction!? We had kept everything so quiet! Well, cometo find out, there was a call for extras with a casting agencythat coincided perfectly with this secret project. We have

location scouts and small film crews in this area on a fairlyregular basis, so it was easy to play dumb—not tomention the fact that I still did not know what was beingfilmed.

Several folks I knew were going to the open casting callfor “lumberjacks.” Our volunteer, Dave, who has had priorroles as an extra, stopped by my office that day. He hadbeen selected as an extra and was on the set for the shoot.He was pretty sure he knew what the project was andstopped by to confirm his suspicions with me since I mustalready know. He recognized the star, he said, but Iassured him I didn’t know what was being filmed. Ireminded him of his non-disclosure agreement as an extraand suggested he forget about it until the show airs. Bethcalled me on her way back to Portland that weekend; theyhad wrapped the shoot and all went well.

Fast forward to mid-September, I get another call fromthe Oregon Film Office: “Remember that shoot in Astoriathis summer? Well, it was the series finale of Dexter and itis going to air next weekend.” I’ve heard good things aboutthe series and knew it had a large following, so it was greatto hear that Oregon would be attached to it. I was gladto have assisted with the filming in my small way andproud of our network of industry associates between theOregon Film Office and scouts like Beth who continue toenhance the vibrant film industry in our state.

While Astoria and Oregon weren’t mentioned by namein the show itself, we are glad to be a place for Dexter tofind a new life for himself. Many of our residents have donejust that, starting with the founders of Astoria back in1811, after all. OF

ASTORIA

On the set of Dexter in Astoria. JERRY OLSONJERRY OLS0N

Westerlund Log Handlers

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


BY HOWARD SULLIVAN & LAUREN WILBURForest Grove/Cornelius Chamber of Commerce

Forest Grove, although small, is atown full of charm and quirk that’shard not to love. Situated roughly

26 miles west of Por tland, and 90minutes from the coast and Mt. Hood,Forest Grove is a gem. The imposingTil lamook Forest bordering on thewest and the historic Grand LodgeHotel on the east provide a beginningand end to this quiet vi l lage -l ikecommunity that provides somethingfor everybody.

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

coffee shops, wine bars, and the beloved Maggie’s Bunsbakery. A college town since 1849, Pacific University issituated just off the downtown sector and boasts redbrick buildings and winding paths through lush andexpansive greens.

Among the streets of downtown, one can expect topartake in numerous annual events. From May throughOctober, a farmers market brings fresh food, great drinkand diverse conversation to the historic downtown.Attend the All Northwest Barbershop Ballad Contest inApril, the Annual Hawaiian Luau at Pacific Universityin 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 eventthat celebrates the great wines produced in thesurrounding areas. Kids and adults alike love the ChalkFestival in September, where one can get a square ofsidewalk and create their own art. Also in Septemberis 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 inOctober, attend the Verboort Sausage Festival inNovember, and attend the Holiday Light Parade inDecember.

Venturing just outside of town can lead you to beauti-ful landscapes and countryside. While sitting at FernhillWetlands, you may have the opportunity to see Americanbald eagles as they nest in a nearby tree. Driving six milessouth of town, you encounter Henry Hagg Lake for boat-ing, trails, and recreational activities. Close by the lake onecan find Tree to Tree Adventure Park, full of ziplines andobstacle courses. World renowned wines are made in themany vineyards that dot the area.

The diversity of the activities in this town will surpriseyou. From the college campus to unusual town events torelaxing with a glass of local wine, Forest Grove has a littlebit of everything. Come check it out for yourself! OF

For more information, visit www.visitforestgrove.com.

FOREST GROVE


ARTICLE AND PHOTOS BY ISABELLE EDGER

A l o n g t h e n o r t h e r n r e g i o n o fO r e g o n ’s Wi l l a m e t t e Va l l e y —i n b e t w e e n Po r t l a n d a n d t h e

O r e g o n C o a s t — t h e C h e h a l e mVa l l e y i s h o m e t o re s i d e n t s , a rc h i -t e c t u r e , a n d s c e n e s i n s e a r c h o f ac a m e r a .

Rural farms and scenic byways surround small townsthat visually define Americana.

In the winter, traveling into the valley can be a surrealexperience. The fog that settles at the valley floor engulfstravelers on their way to a mysterious dreamscape. As thesun rises and the fog begins to shift, ghostly trees give wayto beautifully muted and sweeping landscapes. In contrast,summer days are clear and crisp, and cool nights bringstar-filled skies.

Fertile land attracted farmers to the Chehalem Valleyin the mid-1800s, and it keeps them there today. Justoutside city limits, walls of hops climb to the sky, whileordered 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 ofall varieties. But you’ll find more than history, libations,and lore in the picturesque towns that reside in theChehalem Valley. Here are just a few clips begging to becaptured:

NewbergRight off Highway 99, Newberg’s downtown is a mix

of old and new, weathered and contemporary; HerbertHoover’s childhood home is a museum and—acrossthe street—a disc golf park. Petite yet stately munic-ipal buildings elicit feelings of stability.

George Fox University sits just to the north ofdowntown, offering a small idyllic campus completewith a quintessential clock tower. Each year, theuniversity’s Fox Film Festival is a celebration andshowcase for students of Cinema & Media Communi-cations. For the event, the university partners with theowner of Newberg’s Highway 99 drive-in movietheatre—one of the few hundred still operating in theU.S.

DundeeDundee features beautiful rolling vineyard views, and has

some of the oldest grapevines in the region. There is also awalkable downtown off Highway 99. Or, if one prefersrunning and a challenge, the Fueled by Fine Wine HalfMarathon is the perfect event. In mid-July, a group of 1,200runners race through the Dundee Hills AVA (American Viti-culture Area). Marathoners are bountifully rewarded for theirefforts with an after-party pouring of world-class pinot noir.A unique sight to be seen!

St. PaulThe annual St. Paul rodeo over the Fourth of July week-

end brings over 50,000 fans, contestants, cowboys, andcowgirls. And it’s not their first rodeo; 2014 will mark the79th annual event in this tiny town of 425. One couldeasily wrangle a scene or two from this action-packedweekend. OF

For more information, contact the Chehalem Valley Cham-ber of Commerce at 503-538-2014 or visitwww.chehalemvalley.org.

CHEHALEM


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

Incorporated in 1876, McMinnville, Oregon, offers retirees, visitors, wine tasters, foodies, trav-elers, 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 winesand 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 employeein an innovative company.

McMinnville was founded by William T. Newby andnamed after his Tennessee hometown in 1843 when hearrived on the first wagon train that came west. By 1892the city boasted two public schools, two banks, two flourmills, two newspapers, five churches, a county courthouse,and a college—many of which are still in operation. Thepopulation is now 33,000 and growing.

Start in McMinnville if you’re looking for picturesquefarms, rolling hills covered with vineyards, fields of grain orgrass, fruit orchards and Christmas tree farms, wineries, well-preserved historic architecture, industry and manufacturing(including Cascade Steel Mill), and a classic small-town feel.Seasonal changes bring the bright green growth of newplantings, flowering fruit trees, the turning fields of ripen-

ing grain, vineyards dense with grapes, or the golden harvestof hay and grain. Lush farmland, native White oak trees,and Douglas firs offer a natural setting perfect for recre-ation. Discover our urban and rural parks, hiking and bikingtrails, or float the nearby Yamhill or Willamette River.

Use your favorite Internet search engine to find imagesof McMinnville and the surrounding towns—Carlton,Dundee, Amity, Lafayette, Sheridan, Willamina, Yamhill andDayton. As the Yamhill County seat, McMinnville’s busi-nesses and resources also serve these smaller communities.

McMinnville is located 50 miles from Pacific Oceanbeaches, 35 miles from the metropolis of Portland, and 25miles from the state capital, Salem. And the Cascade Moun-tains 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 anhistoric college and the hustle and bustle of a thrivingplace of learning. You could fly into our municipalairport, visit the Spruce Goose housed at EvergreenAviation Museum, and then head into town. No matterhow you arrive or which sites you visit, you’ll discover awarm welcome.

There are few towns in Oregon that can match ourhistoric charm, small-town friendliness, collaborativespirit, respect for our community, and innovation for thefuture. We’re sure you’ll find the scenery and location youwant for your next project. OF

The McMinnville Area Chamber of Commerce assists locationscouts to find the perfect scenic background for almost anyrequirement. They can also help acquire access, permits, andbook services needed for your time here. For more informa-tion, please contact [email protected] or call503-472-6196.

MCMINNVILLE


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

Lincoln City, on Oregon’s pristine central coast, is locatedon over seven miles of sandy beach. Bordered on its northside by Cascade Head, and on its south side by the historic

Siletz Bay, the city offers a wide range of interesting anddynamic backdrop opportunities for the film and photo indus-tries alike.

Here, the options for a water-based location don’t end at the beach. Lincoln City boastswaterfalls, two rivers, an estuary, a lake, and of course the mighty Pacific—all withinminutes of the heart of town.

Also located in the Lincoln City area is the Nelscott Reef. The Reef generates waveswith 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 in1965 to become one city. Though now referred to as Lincoln City, each historic commu-nity (now called “historic districts”) is still identifiable with unique characteristics andpersonality.

Along with its picturesque scenery, Lincoln City also offers support services to produc-tion teams and crews. From assistance through the scouting stage to booking supportand liaison services with the city, we are here to assist in making each local productionas seamless as possible. OF

For more information please visit www.oregoncoast.org or call 800-452-2151.

LINCOLN CITY


In the center of Oregon’s lush Willamette Valley, the city of Albanyhas beckoned to wave after wave of visitors since the first pioneerssettled here in the 1840s. As a result, this small, friendly city offers

authentic locations as varied as a pioneer-era trading post, a Victo-rian mansion, and a WWII army barracks. Nestled into the valley’s wideopen farmland and framed by rolling hills and misty forests, Albanyis an ideal filming location.

BY JENNIFER ROUSE Marketing Specialist, Albany Visitors Association

“Albany is a unique place to film a movie because thehistoric buildings here are so well-preserved, and they’refrom so many different eras,” said Albany Visitors Associ-ation executive director Jimmie Lucht. “You can walk downthe street in this town and feel like you’re entering the1880s or the 1980s. We’ve got a little bit of everything.”

Albany is home to the most eclectic collection ofhistoric buildings in the state: more than 700 historichomes and buildings are clustered in a 100-square-blocksection. The downtown commercial district is home todozens of buildings with historic storefronts dating to the1860s. An historic Carnegie library, brick school buildingsdating from the early 1900s, dramatically-beautifulGothic-style churches, a turn-of-the-century train station,and an art-deco style courthouse are still in use today. Eventhe bars and restaurants lend themselves to memorable

shots: from the retro-style Linger-Longer Tavern, in busi-ness since 1933 and still featuring a quirky neon sign, toHasty Freez, a ‘50s-style drive-in burger and milkshakejoint, to the upscale Sybaris Bistro, with a romanticwood-burning fireplace and white-clothed tables.

Albany’s residential neighborhoods could stand in fornearly any era in U.S. history. Victorian-era homes withelaborate ornamentation evoke the 1870s and 1880s.Craftsman-style bungalows with beckoning front porchesand overhanging eaves date from the turn of the 20thcentury. Queen Anne-style houses with towers, turrets andtall decorated chimneys create homes that are more likemini-castles. Neighborhoods of ‘50s-style ranch housesand tree-lined streets abound in Albany, perfect for shotsrequiring a nostalgic, small-town feel.

The Willamette and Calapooia rivers converge in

Albany, and riverfront parks and trails provide greatspots for boating, swimming, and water scenes. A pictur-esque arched bridge, as well as a metal train trestle, spanthe Willamette at Albany. Just a few miles outside of townare curving country roads dotted with historic coveredbridges, old barns and farmhouses, hazelnut orchards, andfields of wheat and corn. Remote hiking trails, cascadingwaterfalls, and old-growth forests are all minutes awayfrom downtown Albany.

The Willamette Valley’s mild climate rarely falls belowfreezing or soars above 80 degrees, but still reflects thechanging seasons, with frosty winter mornings and bril-liant fall foliage. Comfortable hotels capable of housinglarge groups, excellent farm-to-table restaurants, andsmall-town friendliness make Albany a welcoming placefor a production crew to set up shop.

With its unique architectural sites and stunning land-scapes, Albany provides the best of city and rural sceneryto filmmakers seeking memorable filming locations. OF

For more information, visit www.albanyvisitors.com.

ALBANY

N. BOREN

G. THURMAN


Sara BurtonLocation Scout and Manager

[email protected]

www.girlscoutlocations.com


BY MARY PAT PARKER Executive Director, Visit CorvallisPHOTOS BY LAINEY DYER

Why would you want to use a small city as a location for your nextfilm? Because we are located in the heart of the WillametteValley!

Corvallis, Oregon, offers year-round culinary, cultural andoutdoor adventures, making it the perfect place for your nextfilm. We have a vibrant downtown, where all of the shopsand restaurants are locally owned and operated. Thisamazing little city with a distinctive vibe is surrounded byfertile countryside dotted with locally owned, nationallyknown wineries. We are home to creative chefs and amaz-ing brewmasters and distillers, most of whom source andincorporate locally grown crops into their offerings. If that’snot enough, you can cycle on over 60 miles of biking trailsin and around town. Or you can choose a more challeng-ing ride up to Marys Peak, which is the highest point in thecoastal range at an elevation of 4,097 feet. On a clear dayyou can see all the way to the Cascades to the east or theocean to the west.

The spring, summer and fall months offer visuallycompelling flora and fauna—from cherry blossoms in the

spring to leaves ablaze in fall. We are home to Oregon StateUniversity, which is a beautiful 400-acre campus andincludes a Historic District, making the university one of onlya handful of U.S. university campuses listed on the NationalRegister of Historic Places. The district includes such iconsas 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 homesthroughout town. The Benton County Courthouse is theoldest courthouse in Oregon still serving its original purpose.But we also have some very cool modern structures like theVue and Sky High Brewing in downtown.

For a town of this size we have an amazing number ofparks, including such beauties as Avery Park & Natural Area,our very own Central Park, and of course the not-to-be-missed Riverfront Commemorative Park running alongsidethe Willamette River.

We have a large pool of local talent to connect withand plenty of resources to assist with film productionin our area. Below please find a list of useful resourcecontact information.

Visit Corvallis, 541-757-1544Parks & Recreation, 541-766-6918Public Works, 541-766-6916ODOT 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.

CORVALLIS


Looking for that unique, undis-covered location to shoot yournext award-winning film? Need

something that has great locationsfor settings and backdrops? Howabout logistics—sufficient lodgingoptions, catering services, extras forcasting, and airport for adequatetransportation? Check out Florenceon the Oregon Coast. The Florencecommunity invites you to Come SeeWhat We See!

From serene solitude to bustling casino night-life; frommodern municipality to quaint historic Old Town; fromworld-class golf links to world famous natural wonderssuch as the Oregon National Dunes and the Sea LionCaves, the Florence area has a multitude of options to

BY CAL APPLEBEEExecutive Director, Florence Area Chamber of Commerce

offer a filmmaker looking for the picture-perfect back-drop or setting.

We have an historic Old Town District where you canenjoy music and dining at several local hot spots andshopping at a variety of quaint shops—but that’s notall. Once the heart of Florence, many of the historicbuildings dating from the late 1800s and early 1900slocated in the district have been restored and the Sius-law Pioneer Museum offers historical walking tours tocapture that heritage. And whether it’s the scenicbeauty of the majestic Siuslaw River that winds throughOld Town, the serenity of the 14 lakes in the region, orthe mighty, crashing Pacific Ocean, the Florence areaoffers numerous opportunities to portray life on or nearthe water, whether it be fishing, sail boarding, surfingor crabbing. Active lifestyle isn’t just a tag line inFlorence; it’s a way of life with community-wide celebra-tions and festivals dating back over 100 years that bringthousands of visitors through our streets.

The Florence area has the logistics needed to supporta film production, from lodging to catering to transporta-tion to extras. With nearly 1,000 RV sites and nearly 800conventional lodging unit options ranging from quaint,rustic and small settings, to luxurious suites paired withdining and meeting facilities, there is a lodging option tofit any film project need in Florence. The Florence Events

Center offers on-site meeting and entertainment services,equipment rental and catering. And although conve-niently located just an hour away from Eugene and theI-5 corridor, with a 3,000-foot paved airport capable ofaccepting private jet aircraft, it’s also ideal for flying infor location scouting excursions, or delivering cast andequipment on site. In addition, having a substantialretirement population offers a lot of talent for extras, withmany of our local seniors active in several aspects ofperforming arts.

Location, logistics, and no sales tax in Oregon makeFlorence on the Oregon Coast a logical spot for a film-maker to consider for that next project. Visitwww.naviFUN.net, launch the aerial tour of the Florencearea, and Come See What We See! OF

Cal Applebee, Executive Director, Florence Area Chamber ofCommerce, can be reached at 541-997-3128 [email protected]. Visit www.florencechamber.comfor more information.

FLORENCE

DIGITAL DUNES



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

Perhaps the simplest way to evaluate the Land of Umpqua in terms of assetsfor 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 hereeither. What you will find is just about everything else you might need for yournext production, minus the headaches.

Looking for scenic beauty? We’ve got that. TheRogue-Umpqua National Scenic Byway is loaded withsome of the most amazing landscapes you’ve ever seen.The kind of stuff that looks great on film. Like the emer-ald green waters of the North Umpqua River, a havenfor fly fishermen, including legendary author Zane Grey.You’ll also find at least a dozen spectacular waterfallsalong the way, including Watson Falls, cascading 272feet over a basalt rock cliff onto the rocks below. Ormaybe you’re in search of that perfect bridge. HistoricMott Bridge or the new Tioga pedestrian suspensionbridge are one-of-a-kind.

At the end of the road is Crater Lake, Oregon’s onlynational park. The collapse of Mt. Mazama about 7,700years ago created the deepest lake in the UnitedStates, a lake so pure and so blue it has to be seen tobe believed. The park is a testament to the forces ofnature and home to immeasurable beauty. It has all thetrappings of a classic national park, including thehistoric Crater Lake Lodge overlooking the rim of thelake.

If you’re looking for a historic backdrop for your nextproduction, look no further. Built in the 1800s, Oaklandis on the National Register of Historic Places andalready has a couple of major motion pictures to itscredit. Oakland features some of Oregon’s most impres-sive brick storefronts from the 1890s, and still has manyhistoric homes within walking distance of its downtowndistrict.

Trying to shoot Africa on a budget that’s a little closerto home? Wildlife Safari is a 600-acre drive-throughwild animal park with over 550 animals from aroundthe world. If you’re looking for exotic, you’ve come tothe right place.

And in the center of it all, Roseburg, the Heart of theLand of Umpqua. Roseburg is a small city with all theconveniences for a production company on the go. Thereare plenty of accommodations with nearly 1,000 hotelrooms to choose from, a variety of restaurants for a vari-ety of tastes, and plenty of retail shopping for anythingyou might need. Roseburg is also the geographiccenter of the Land of Umpqua so it’s simple to pick up

b-roll of the Oregon Coast one day and follow that witha day of shooting in the rugged Cascade Mountains thenext.

This is only a small sampling of all the opportunities thatawait you in the Land of Umpqua. For more information,please visit www.VisitRoseburg.com or contact us at 800-444-9584 or [email protected].

SOURCE: K. Rochester/99 Productions, Roseburg, Oregon

ROSEBURG


BY CHARLES “CHIP” MASSIE Executive Director, Klamath County Chamber of Commerce

Klamath County offers untapped vistas of high desert and mountain landscapes, an art deco down-town Main Street, and small agricultural communities that could be the perfect stage for yournext filmmaking project. Located on the east side of the Cascade Mountain Range in south-

central Oregon, Klamath County is the home of Crater Lake National Park, where portions of Wild,starring Reese Witherspoon, were recently filmed.

Klamath’s landscape features winding mountain roads,volcanic backdrops, pine forests, rivers, lakes, abundantwildlife, and outdoor recreation of all kinds. The area boastsfour seasons: a colorful fall, snowy winter, green spring, anda temperate summer. Visitors enjoy over 300 days of sunshineannually.

The City of Klamath Falls (the county seat) offers an artdeco downtown Main Street easily dressed for 1940s, ‘50s,or ‘60s. It is home to The Ross Ragland Theater, an old-fash-ioned art deco cultural center that hosts touring companiesand local theater alike. Several buildings and homes in andaround the area have preserved the original architecturefrom earlier eras.

Klamath Falls is a full-service community of nearly45,000 people. The Running Y Ranch Resort offers anArnold Palmer-designed golf course, a grand lodge, andrental condominiums. Klamath Falls features ample lodg-

ing at Best Western, Holiday Inn Express, Shilo Inns & Suites,and Microtel Inns & Suites. The Crater Lake-KlamathRegional Airport has daily commercial flights to and fromSan Francisco and Portland, a wide range of rental carcompanies, and very easy access to the community. TheAmtrak Coast-Starlight stops at a 1940s-style train stationdaily 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 ofOregon Tech University, which has a distinctive 1970s to ‘80sfeel. Additionally, a few 1930s and ‘40s abandoned timbermills dot the local landscape, and there are plenty of farmand ranch lands in desert, forest, and riverside settings.Upper Klamath Lake is the largest body of fresh water (bysurface area) in the western United States and has over 85miles of nearly unencumbered shoreline. Sky Lakes MedicalCenter is Klamath’s newly renovated regional hospital

providing state-of-the-art healthcare and a modern hospi-tal setting.

Klamath is also close to the Lava Beds National Monu-ment and the Tulelake WWII Internment Center facilities.The Lava Beds were the site of the Modoc Indian War (circa1873), the only Indian conflict in which a General officer waskilled, and Tulelake maintains a number of the original build-ings used to house Japanese internees during the SecondWorld War.

Permitting is low cost and the Klamath County Cham-ber of Commerce staff functions as the local contact andgovernment/community liaison to help make the processof filmmaking as smooth as possible. The Chamber’s robustcommunication network can also be used to recruit local castand crew members, fulfill catering and lodging needs, orprovide rentable office space and equipment. OF

Contact the Klamath County Chamber of Commerce for loca-tion information, additional photos, to arrange a scouting visit,or ask further questions at 541-884-5193, via e-mail [email protected], or visit www.klamath.org.

KLAMATH COUNTY

Wild at Crater Lake. LEE JUILLERAT, HERALD AND NEWS

DISCOVER KLAMATH


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

The Redmond experience is one that truly reflects the best of Central Oregon, and offers aneclectic array of landscape, scenery, buildings and more. Founded in 1910, Redmond’s down-town 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 definitelyworth a look.

Filming in Central Oregon, and Redmond in particular,is sure to be a breeze. Whether you are shooting at SmithRock, Redmond’s quaint downtown, or some other nearbylocation, you are sure to encounter easy access and a will-ingness to help from all. Many of Redmond’s first buildingsstill stand today—from the New Redmond Hotel, built in1927, to the 1910 Train Depot and the Redmond Union HighSchool, built in 1922—and all retain their original character.

Redmond is uniquely situated at the western edge of thehigh desert, and is just four miles from the Deschutes River,a half-hour drive from the Cascade Mountains, and withinminutes of several picturesque lakes. Redmond is also hometo Robert’s Field, Central Oregon’s only commercial airport.With over 320 days of sunshine on the high desert, you willbe 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 banksof the Crooked River, Smith Rock is a 651-acre state park.

The rock is known for its long history with the movieindustry, standing in as the backdrop for many films,including Wild, filmed on location with Reese Wither-spoon; Rooster Cogburn, the 1975 Western classic starringJohn Wayne and Katharine Hepburn; The Postman withKevin Costner, filmed in 1997; and the John Travolta movieSwordfish in 2001. OF

Redmond is ready, willing, and able to meet all of your produc-tion needs. For more information on Redmond, please checkout our iBook at the Apple Store, or visit us online atwww.visitredmondoregon.com. We can also be reached at541-923-5191 and [email protected].

REDMOND


BY DIANE WOLFE IOM Executive Director, Boardman Chamber of Commerce

As one of Eastern Oregon’s newest tourist attractions, The SAGE(Sustainable AGriculture and Energy) Center showcases theeconomic 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 amazedto learn about the innovative technology in agriculture and how eachpart of the world is affected by food processed here locally.

The SAGE Center highlights local industries through inter-active exhibits featuring the various technologies used bygrowers and the related industries at the Port of Morrow.The main exhibit hall displays a two-story Kinetic Center-piece Sculpture of a potato processing plant.

One of the more popular exhibits is the simulated hotair balloon experience ride that features an oversizedbasket that appears to be suspended from a hot air balloon.The experience includes the sounds of a gas jet roaring intothe balloon above and a basket that rocks gently as the aerialfilm of Morrow County projects on the wall.

Above the exhibits on the main level, a mezzanine withtables and chairs can be used for private parties and busi-ness functions. Also housed in the SAGE Center is a

state-of-the-art 204-seat theatre to be used for screenings,seminars, and private events.

The Store at SAGE Center, operated by the BoardmanChamber of Commerce, hosts a collection of handmade artand jewelry made in the Pacific Northwest, as well as a vari-ety of books, gifts and souvenirs. Proceeds from The Storeat SAGE Center benefit community projects and events inBoardman and Morrow County, as well as continue topromote tourism and local businesses. The Store at SAGECenter expands on the SAGE Center experience, continueseducation and enhances the knowledge, appreciation, andenjoyment of Morrow County and the Port of Morrow.

The SAGE Center offers free educational visit programsfor schools and welcomes children of all ages. OF

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

Hours of Operation:Labor Day to Memorial DayMonday – Saturday – 10:00 am – 5:00 pmMemorial Day to Labor DayDaily – 9:00 am – 6:00 pmClosed July 4th, Thanksgiving, Christmas Eve,Christmas and New Years Day

The SAGE Center101 Olson Road | P.O. Box 200Boardman, Oregon 97818541- 481-SAGE (7243)www.visitsage.comThe Store at SAGE CenterBoardman Chamber of Commerce101 Olson Road | P.O. Box 1Boardman, Oregon 97818541-481-3014www.boardmanchamber.org

BOARDMAN

W e talk to some of the state’s mostseasoned location managers abouttheir recent projects and their favorite

Oregon locations.

How long have you been in the indus-try and how did you get into thisfield?

I’ve been scouting andmanaging locations for over20 years. I’ve worked in California, Arizona, and PuertoRico, but primarily I concentrate on Oregon and havebeen in Portland for the last 15 years.

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 Grimmsince its first season. During the hiatus, late spring andsummer, I scout for commercials. Prior to Grimm, Iworked on the TNT series Leverage and countlessfeature films such as The Postman and Twilight.

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

The equipment used for scouting has changed


SPOTLIGHT ON LOCATION MANAGERS: SHAUN GAVINdramatically since my early days as a scout. The basictool is still a camera, but digital cameras and comput-ers have made the process much more efficient. Gone

are the days of one-hour filmdeveloping and tapingpictures together into a“book.” Location photos arenow shared almost instanta-neously and meta-datashows the exact location,

time of day, etc.

What are some of your most exciting discoveries as a locationmanager?

Over the past couple decades I’ve had the goodfortune to photograph some of the most beautifulplaces imaginable, whether urban cityscapes or wind-ing roads through unspoiled wilderness. I find it a funchallenge, 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?I’ve found that I have an eye for getting “the shot.”

Once a location has been chosen, the more mundanejob of getting permits, finding parking, etc., begins.

But I enjoy that, as well, since it provides the oppor-tunity to meet many people with interesting stories.Usually considered a chore, the relationships I’ve builtwith state and city officials makes the job of gettingpermits pretty simple. I enjoy the entire process fromconcept to finished product. OF

Contact Shaun Gavin at 503-539-6113 [email protected].

I FIND IT A FUN CHALLENGE,WHETHER DRIVING, HIKING, BOATING,

OR FLYING, TO FIND A LOCATIONTHAT’S “JUST RIGHT.”

MUSIC COMPOSITION | ISDNSOUND DESIGN | MUSIC LICENSING

VOICE RECORD | ADR | SOURCE CONNECT

AUDIO POSTPRODUCTION

[email protected]

2211 NE Oregon Street

Portland Ore 97232


How long have you been in the industry and how did you get into thisfield?

I have been making a living with a camera in one form or another startingjust after high school. Portraits, more weddings than I care to think about, sell-ing stock to magazines, and then assignments. At the same time, I was workingas an assistant to most of the local photographers and a good many cominginto town. One day in 1981, a photographer coming in asked if I knew of, orcould find, a location to film his project and he said he would pay me to lookfor it. The rest is history.

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-cials, about half a dozen projects for Nike, five spots for Ford, four for Travel

SPOTLIGHT ON LOCATION MANAGERS: DOUG REYNOLDSPortland. I also worked on New Balance shoes, Lexus, Subaru, anda dozen or so more.

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

Because I was a photographer first, my gear is a little differ-ent than most scouts. I have high-end Canon cameras and lenses,a good laptop, backup laptop, desktop computer (all Mac) and alot of hard drives. Compass, smartphone on big blue and a MiFion 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 direc-

tor and he/she says, “Doug, you have outdone yourself on this one.” As for specifics, thereare 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 answerto this question would need to be a book. OF

Contact Doug Reynolds at 503-936-4525 or [email protected]. Visit www.dougonlocation.comfor more information.

I TRULY ENJOY THE HUNT, SO EXCITINGFOR ME IS FINDING A LOCATION, THEN

SHOWING IT TO THE DIRECTOR AND HE/SHESAYS, “DOUG, YOU HAVE OUTDONE

YOURSELF ON THIS ONE.”


Running February 6-22, 2014,Northwest Film Center’s 37thPortland International Film

Festival (PIFF 37) will bring morethan 130 features, documentaries,and short films to the Portland Metro area. Over the last 37years, the festival has populated its schedule with diverseand innovative films for an audience of more than 38,000annually from throughout the Northwest region.

As Oregon’s largest, most culturally diverse film event, PIFF 37 pulls togethera multi-faceted experience of film and visiting artists, including around 25submissions for the Best Foreign Language Film Oscar, a multitude of works fromreturning world masters, and nearly 30 films by emerging talents. Audiences canexpect to thrill over cinematic treats from around the globe, as well as films madein our own backyard by members of Portland’s thriving filmmaking community.

Returning to an earlier model, the Opening Night film selection will be spreadacross three venues on Thursday, February 6, with screenings at the Northwest FilmCenter’s Whitsell Auditorium (located in the Portland Art Museum), Cinema 21,and the festival’s newest venue, OMSI. Among the films on Opening Night islegendary Japanese animator and Studio Ghibli founder Hayao Miyazaki’s final film,The Wind Rises. Readers may recall that NW Film Center has previously showcasedthe work of Miyazaki and Studio Ghibli, and an additional “Classics from StudioGhibli” series is already scheduled to follow PIFF in the month of March. The WindRises details the life of Jiro Horikoshi, lead designer of the innovative aircraft thatbecame 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 down-

town with screenings at NW Film Center’s Whitsell Auditorium, Cinema 21, FoxTower, and various other venues across town. Other confirmed films for this year’sfestival 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 theUnjust, a follow-up to his epic film Shoah; Ti West’s (The House of the Devil) newcult 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, issponsored by The Oregonian, Regal Cinemas, LAIKA, The Paul G. Allen Family Foun-dation, Alaska Airlines, Wieden+Kennedy, Delta Airlines, James F. Marion MillerFoundation, Anvil Media, and many more.

THE NORTHWEST FILM CENTER PRESENTS: PIFF 37

FALL GUYS: OREGON'S BEST STUNT PROS FALL GUYS: OREGON'S BEST STUNT PROS


JANUARYCascade Festival of African FilmsJanuary 31-March 1www.africanfilmfestival.org

The month-long CascadeFestival, held at Portland Commu-nity College, includes a variety offeature and documentary filmsfrom the African continent thatcelebrate Africa’s achievements, expose Africa’s problems,and reveal the possibilities for a more hopeful future. Thefilms show us pictures of Africa through the eyes of Africans,rather than a vision of Africa that is packaged primarily forWestern viewers. The event is free and open to the public.

FEBRUARYOpenLens FestivalFebruary 1openlens.proscenia.net

The single-day short film festi-val, hosted by the DowntownInitiative for the Visual Arts inEugene, includes seminars, meet-and-greets, and, of course, filmscreenings. Celebrating 10 years,the 2014 event includes a seminarwith film reviewer Doug Hennessyentitled “The Five Best Movies Ever Made.” The film screen-ings begin at 7:30pm, followed by a public reception andawards ceremony in which the Jury Best Of Show, JuryHonorable Mention, and Audience and Choice Award aremade.

Portland International Film FestivalFebruary 6-22www.nwfilm.org/festivals/piff

Drawing an audience of over38,000, the Portland Interna-tional Film Festival (PIFF) is thebiggest film event in Oregon.Read more about this year’s festi-val on page 46.

University of Oregon Queer Film Festival February 7-9qff.uoregon.edu

Now in its 22ndyear, the Queer FilmFestival aims tosupport the LGBTQcommunity through

OREGON FILM FESTIVAL ROUND-UPMARK YOUR CALENDARS FOR THESE GREAT EVENTS COMING SOON TO YOUR NEIGHBORHOOD

films. The main objectives of the festival are to give a voiceto the LGBTQ community, to bring those voices to aneducational setting for exposure and discussion, and toshowcase the talent of international and domestic film-makers through short, feature-length, documentary andinternational film.

Mid-Valley Video FestivalFebruary 20-22www.mvvfest.org

Launched 11 years agoto celebrate the passion oflocal auteurs, the Mid-Valley Video Festival is a501(c)(3) corporationorganized to promote,educate and network film-makers in Salem. Film submission categories includeNarrative Short, Narrative Feature-Length, DocumentaryShort, Documentary Feature-Length, Music Videos, Anima-tion, and new this year is the category of Podcasts.

Eastern Oregon Film FestivalFebruary 20-22www.eofilmfest.com

The fifth annualEastern Oregon FilmF e s t i v a l —#EOFF2014—in LaGrande is dedicated to creating a cinematic experience inEastern Oregon that promotes discovery, entertainment, andeducation via artistic exhibition and viewership. This year’sfestival will kick off Thursday, February 20, and run throughSaturday, February 22. A decompression gathering withmusic, skiing, and snowboarding will take place Sunday,February 23, at Anthony Lakes Ski Resort.

MARCHPortland Women’s Film FestivalMarch 6-9www.powfest.com

The PortlandOregon Women’sFilm Festival(POWFest) places aspotlight onwomen directorsby showcasing their work and strengthening the commu-nity of women in film. POWFest’s 2014 lineup is diverse andcompelling with features and shorts, narrative and docu-mentary, innovative and from the next generation of

young filmmakers. The screenings are supplemented by Q&Asessions and panels with many of the filmmakers.

Siskiyou FilmFestMarch 21-22www.siskiyoufilmfest.org

Held in Grants Pass, theSiskiyou FilmFest, a produc-tion of theKlamath-Siskiyou WildLands Center, features environmental films focusing onsustainability and critical issues that face the Siskiyou WildRivers region, the Northwest, and the planet. The festival,now in its 12th year, features both short and full-length filmsfrom passionate filmmakers nationwide.

APRILashland independent film festivalApril 3-7www.ashlandfilm.org

Every spring, film lovers gather at the historic art-decoVarsity Theatre in downtown Ashland to watch over 80 films(documentaries, features and shorts). The ashland inde-pendent film festival is five days of the highest qualityindependent film in this historic town the Washington Postcalled “a dream you’ll never want to leave.”

Faux Film FestivalApril 4-6www.fauxfilm.com

The only festival of its kind, theFaux Film Festival specializes infaux trailers, faux commercials,faux PSAs, mocumentaries, satiresand spoofs. The three-day festivalis held in Portland every year,coinciding with April Fool’s week-end.

DisOrient Asian American Film Festival of OregonApril 11-13www.disorientfilm.org

Held inEugene eachyear, the DisOri-ent AsianAmerican Film Festival of Oregon is a social justice film festi-


val dedicated to deconstructing the media stereotypes ofAsian and Pacific Islander Americans as “Orientals.” The festi-val is a community, grassroots, and volunteer-run filmfestival committed to presenting honest portrayals of thediversity of Asian American experiences.

H.P. Lovecraft Film Festival & CthulhuConApril 11-13www.hplfilmfestival.com/portland-or

The H.P. LovecraftFilm Festival &CthulhuCon wasfounded in 1995,and is the longestcontinuously running Lovecraftian event in the world. Over18 years, the festival has grown from being a film festivalto a full fledged 3-day convention that brings together film-makers, authors, artists, and other creators, for a meetingof minds that you won’t find at any other event.

Filmed by BikeApril 19-22www.filmedbybike.org

Now in its 12th year, Filmed by Bike is a film festival ofbike-themed independent short movies from around theworld. Submissions are limited to eight minutes and mustrevolve around the central theme of cycling. Hundreds ofinternational entries are submitted but only an average of45 make the final cut.

Cinema PacificApril 23-27cinemapacific.uoregon.edu

Based at the Universityof Oregon—and overseenby graduate students inUO’s Arts and Administra-tion Program—CinemaPacific features a wideselection of new film andmedia art from Pacific-bordering countries, each year focusing on different nations.The 2014 festival focuses on Taiwan and Chile.

MAYCentral Oregon Film FestivalMay 6-7www.centraloregonshowcase.com

The 2014Central OregonFilm Festival is alocal, family-friendly festivalfor all ages. Entry deadline: March 31, 2014. Contestants

must be residents or part-year residents of Central Oregon.Awards and festival will be held May 6th and 7th inRedmond, Oregon. COFF organizers strive to inspire peopleof all ages to learn the craft of filmmaking and share theirart with the community, with an emphasis on school-agechildren. $25 sponsorship fee. See site for details.

The Archaeology Channel International Film and Video FestivalMay 9-11www.archaeologychannel.org/events-guide/international-film-and-video-festival

Held in Eugene, the festivalfeatures three days of juried films andvideos on archaeological and indige-nous topics, aimed at exhibiting thediversity of human cultures past andpresent. This year’s festival begins onFriday, May 9, with a keynote by Dr.Jean Clottes, leading researcher onworld rock art, and culminates withan awards reception Sunday evening,May 11.

JUNEPortland Jewish Film FestivalJune 15-29www.nwfilm.org/festivals/jewishfestival/

Produced by the NW Film Center, the Portland JewishFilm Festival explores themes of spirituality and Jewish iden-tity throughout all parts of the world, especially howAmerican Jews perceive themselves in a larger socialcontext. The films touch on tragedy, embrace humor, andrecount the emotional and tangible gains and losses of apeople.

AUGUSTPortland Film Festival August TBDwww.portlandfilmfestival.com

Portland Film Festival is a non-profit organization dedi-cated to nurturing filmmakers and audiences, and tocelebrating the power of a good story. The festival focuseson the people, ideas, technology, skills and artistry behindfilmmaking and provides both entertaining and educationalopportunities to the public. The festival is anchored withthree nights of outdoor screenings, offering its filmmakersone of the largest audiences available on the West Coast.

48 Hour Film ProjectAugust TBDwww.48hourfilm.com/portland_oregon

A worldwide phenomenon, the 48Hour Film Project has teams of film-makers creating short films in just twodays. The Portland edition takes place in

August, though a specific date was not available at presstime.

SEPTEMBEROregon Independent Film FestivalSeptember 9-28www.oregonindependentfilmfest.com

The Oregon IndependentFilm Festival, coming toEugene and Portland inSeptember, exists to discoverand showcase the best inde-pendent films of the past year(with a curatorial emphasis on documentaries and studentfilms), while promoting the majestic state of Oregon as atravel destination for film lovers. The most recent OregonIndependent Film Festival featured over 75 films from over14 countries.

OCTOBERBendFilm FestivalOctober 9-12www.bendfilm.org

B e n d F i l mcelebrates thebrave voice ofi n d e p e n d e n tcinema throughfilms, lectures and education. The festival showcases filmsin six categories, including full-length Documentaries,Feature Films, Short Films, Student Short Films, Animation,and Conservation. With the thousands of dollars in prizemoney handed out each year, BendFilm landed onMovieMaker Magazine’s 25 Film Festivals Worth The EntryFee, giving the most bang for the buck.

Reel Music Film FestivalOctober 10-26www.nwfilm.org/festivals/reelmusic/

Another NW Film Center production, Reel Musicembraces films exploring a variety of musical genres—jazz,blues, rock, classical, opera, and avant-garde—and fusesthem into a unique cinematic celebration. The festivalfeatures everything from collections of vintage performanceclips to new documentary and dramatic films, to cutting-edge music videos and animation.

Astoria International Film FestivalOctober 17-19www.goaiff.com

A world-classfilm festival on thenorthern Oregoncoast, the AstoriaInternational FilmFestival attractsand showcases the work of independent film and videoartists and writers, and provides workshops and seminars


for students of film and the public. AIFF showcases inde-pendent film from around the world, but its programmingspotlights regional filmmakers and youth filmmakers as well.

Portland Lesbian & Gay Film FestivalOctober TBDwww.plgff.org

The Portland Lesbian & Gay Film Festival (PLGFF) show-cases feature, documentary and short queer films from allover the world. Dates for the festival, now in its 18th year,were unavailable at press time.

Portland Latin American Film FestivalOctober TBDwww.pdxlaff.org

S e r v i n gthe commu-nity as an o n - p r o f i tc u l t u r a lp r o m o t e runder theguidance of The Hollywood Theatre, PDXLAFF is a festivalwith universal appeal that can be enjoyed by native Span-ish, Portuguese, and English speakers, and other lovers ofthe Latin culture. Festival organizers are dedicated to show-casing perspectives of Latin American culture through anannual exploration of Latin film and increasing the visibil-

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

NOVEMBERNorthwest Filmmakers’ FestivalNovember 7-16www.nwfilm.org/festivals/nwfest

The Northwest’s premier showcase of new work byregional filmmakers, theNorthwest Filmmakers’F e s t i v a l — f o r m e r l yknown as the NorthwestFilm & Video Festival—brings artists and audiences together for a singularcommunity celebration. Each year the festival drawsmore than 400 entries from filmmakers in Alaska,British Columbia, Idaho, Montana, Oregon, and Wash-ington, presenting to the public carefully selectedprograms of outstanding work and awarding criticalrecognition to top juror- and audience-recognizedfilms.

Fresh Film NWNovember 15www.nwfilm.org/festivals/youngfestival

The Northwest Film Center’s annual Fresh Film NW(formerly the Young People’s Film Festival) celebrates the

next generation of regionalfilmmakers by showcasingtheir work and circulating itaround the region andbeyond. It is one of the oldestand largest youth film festi-vals in the nation.

Eugene International Film FestivalNovember TBDwww.eugenefilmfest.org

In addition to the myriad excellent film screenings atEIFF, the event also features a number of networkingopportunities for filmmakers (such as the complimentaryfilmmaker buffet mixer, the intimate nightly cocktail-and-snack lounge, and the exciting awards ceremony), aswell as several production workshops like the EIFF Screen-writers’ Retreat™.

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CHILDREN MODELS & ACTORS


Looking for a place to stay with your castand crew? Look no further. Here are our toprecommendations:

OREGON FILM MAGAZINE’S HOTEL DIRECTORY

The Benson Hotel503-228-2000309 SW BroadwayPortland, OR 97205www.bensonhotel.com

Providing legendary service since 1913, the TripAdvisor Four-Star rated historic BensonHotel features 287 guestrooms and suites with Tempur-Pedic Sleep System beds, PalmCourt restaurant and lobby lounge, in-room dining, fitness room, business center, eventspace for up to 400 people. On the National Register of Historic Places, in the heart ofdowntown Portland and nearby the Pearl District. We are experienced, working withfilm crews/productions. Members: Unite HERE Locals 8 & 9.

Columbia Gorge Hotel541-386-55664000 Westcliff DrHood River, OR 97031www.columbiagorgehotel.com

Nestled in the heart of the majestic Columbia River Gorge only 60 minutes from Port-land International Airport, The Columbia GorgeHotel & Spa refreshes the spirit with lush flow-ering gardens, pure mountain air and old-worldMediterranean charm.

Built in 1921 by Simon Benson, who had justcompleted the world’s most beautiful road, thehistoric Columbia Gorge Scenic Highway,Benson’s dream was to create an opulent hotelfor travelers at the end of this road.

Whether you are looking for a get-away,premier meeting facility, an idyllic weddinglocation or just a trip to the rejuvenating spa, youwill create a memory at the Columbia GorgeHotel & Spa…Truly, a legacy of luxury.

Jupiter Hotel503-230-9200800 E Burnside StPortland, OR 97214www.jupiterhotel.com

The Jupiter Hotel is designed for creative urban explorers and offers a uniquely Port-land experience. Our mid-century hotel with a modern twist offers complimentarywireless internet, complimentary Water Ave Coffee every morning to our guests, uniquewall art murals in each room, full chalkboard doors to unleash your inner artists, andsome kitchenettes. The Doug Fir Restaurant and Lounge is on property and is open 20hours a day. The Jupiter Hotel is located next to all major transportation and offers awardwinning dining, coffee shops, and nightlife all within a 4 block radius.

The Mark Spencer Hotel503-265-4399409 SW 11th AvePortland, OR 97205www.markspencer.com

The Mark Spencer is Portland’s Hotel to the Arts, ideally situated where The WestEnd meets The Pearl District. This boutique Arts themed hotel was made famous byGus Van Sant in the eighties when he spent a great deal of time during productionof the Drugstore Cowboy.

This uniquely Portland hotel is a perfect location for film, video and productionin Portland, Oregon, within blocks of exciting locations, major restaurants, theater,tax-free shopping, museums, galleries and nightlife. Each guestroom and suite isunique, personally accessorized to create a comfortable homelike atmosphere withfull kitchenettes, private bath and ample closet spaces.


Provenance HotelsHotel DeLuxe 503-219-2094729 SW 15th AvePortland, OR 97205www.hoteldeluxeportland.com

Hotel Lucia 866-986-8086400 SW BroadwayPortland, OR 97205www.hotellucia.com

with the local community,the featured art and thehotel staff. Our contempo-rary hotels provide far morethan just an inviting place tolay your head. At HotelDeLuxe and Hotel Lucia, wecreate savvy, branded expe-riences that highlight theculture of Portland.

Today’s modern traveler is looking for something different. Something interesting. Somethingenticing. And yet, something with that specialized service we’ve all come to expect from a luxuryhotel. Provenance Hotels does just that, treating every guest to a unique cultural story that inex-tricably 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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