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CONTENTS

VOLUME 27 • JANUARY/FEBRUARY

PUBLISHER

James R. Baker ASSOCIATE EDITORS

Susan Haley Katie Sauro GUEST EDITOR

Mary Erickson STAFF WRITERS

Crystal Foley Stephanie Hoover STAFF PHOTOGRAPHER

Regan MacStravic SALES MANAGER

Katie Higgins SALES

Steve Joseph PRODUCTION MANAGER

John Rusnak PRODUCTION ASSISTANT

Kelly Baker DESIGNERS

Dawn Carlson Beth Harrison Sonija Kells WEBMASTER

Jon Hines OFFICE MANAGER

Audra Higgins INFORMATION SERVICES MANAGER

Lois Sanborn Reese Witherspoon in Wild. PHOTO COURTESY OF FOX SEARCHLIGHT COVER

FEATURES 9

Casting Wild

43

Z Nation Renewed

Media Index Publishing Group

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Cabin Fever:Reboot

14240 Interurban Ave. S. Suite 190 Tukwila, WA 98168 (206) 382-9220 (800) 332-1736 Fax (206) 382-9437 Email: media@media-inc.com www.media-inc.com

Oregon Goes Wild

2014 - A YEAR IN REVIEW

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Northwest Production Catering

Washington Caps Fantastic Production Year

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Community, Conversation About Rural Resilience in Dryland

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Southern Oregon Graces Screens Big and Small in 2014 Like Never Before

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Badass Women Behind the Camera

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The Year in Northwest Production

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Talent Services: Much More Than Just Payroll and Paperwork

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Production Survey: A Snapshot of 2014

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Meet Tim Williams

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Road’s End Films Celebrates One Year in Oregon

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COLLABOR8 Hosts Adventure Filmmaker’s Panel in PDX

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Northwest Film Festivals 2015 (Part 1)

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Festival Preview: 17 Years of SpIFF

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Local Sightings Film Festival

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Oregon Locations Shine in Wild’s Spotlight

Eugene International Film Festival Celebrates its 9th Year

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Roll The Credits: Wild

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Reese Witherspoon in Wild.

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PHOTO COURTESY OF FOX SEARCHLIGHT

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Film Festival Photos by Regan MacStravic

T

his fall’s Local Sightings Film Festival was truly a showcase of Northwest talent, both in front of and behind the camera. Produced by—and held at—Northwest Film Forum, the 2014 festival was expanded to 10 days of local films, parties, networking events and juried prizes, as well as the week-long Seattle Film Summit.

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n o g e r O Goes Wild BEHIND THE SCENES WITH DIRECTOR JEAN-MARC VALLÉE

BY KATIE SAURO PHOTOS COURTESY OF FOX SEARCHLIGHT

I

n December, moviegoers were invited to tag along on Cheryl Strayed’s incredible 1,100-mile journey. As viewers, we watched Cheryl (played by Reese Witherspoon) as she trudged along the Pacific Crest Trail, and felt her pain— physical and otherwise—as she grieved for her mother and endured her spiritual transformation.

Wild is striking, both in terms of heartbreaking subject matter and picturesque composition. The beauty of the film can be credited to the source material (Strayed’s memoir, upon which the film is based, and Nick Hornby’s screenplay) and the film’s director, Jean-Marc Vallée, who brings the story

Jean-Marc Vallée directs Reese Witherspoon in Wild.

to life.

Vallée, fresh off a successful turn directing Dallas Buyers Club, was selected by the film’s producers (including Witherspoon and Bruna Papandrea) to direct the film for Fox Searchlight.

“I didn’t choose this film; it chose me,” said Vallée. “I didn’t JANUARY/FEBRUARY 2015

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Jean-Marc Vallée and Reese Witherspoon discuss a scene.

choose Reese; Reese chose me. I knew I had to be part of this film. It’s so beautiful, and I related on a personal level.”

The film was shot almost entirely in Oregon in 2013—most notably in the Ashland-Medford area, the greater Bend area, and in and around Portland—utilizing many local cast and crew. Several Portland locations doubled for Minneapolis, while a number of rural Oregon locations stood in for the California leg of the Pacific Crest Trail (PCT). Vallée called recreating the California part of the trail a “challenge of the film.”

“The plan was to shoot in Oregon for the financial reasons,” he explained. “It’s always cheaper to stick to one place instead of traveling the whole crew and cast and everything.

So [recreating California] became a challenge. It became an objective, a goal, to make it work. The PCT Association supports the film and said we did a great job recreating the PCT.” One of the “California” scenes that was shot in Oregon was when Cheryl is hiking through the Mojave Desert, which is 10 MEDIA INC. JANUARY/FEBRUARY 2015

known for its Joshua trees.

“But Oregon doesn’t have any Joshua trees,” explained Vallée, “so John (Paino), our production designer, had to compensate here and there. We brought in 10 to 15 trees that we put in the foreground and shot using a green screen to add them in post. There were between 100 and 200 trees added when she’s in the desert.”

For Witherspoon, part of the challenge was “pretending she was warm in the California desert when she was freezing in an Oregon desert,” said Vallée, laughing. “We’re wearing winter coats and scarves and boots and hats and gloves, and

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she’s pretending she’s hot.”

And of course, there were several other challenges that cropped up during filming, such as when the government shutdown last year forced the production to find new filming sites that weren’t located in national parks. But for the most part, filming went smoothly, even with regard to the Northwest’s notoriously hit-and-miss weather. (“We were fortunate,” said Vallée.)

“The whole thing was a great, great experience,” he said.

“It was always a great creative moment as a director. I felt I was in a great creative film, surrounded by such a great cast, great department heads and their crew. As a person, as a human, it was a blast to be there and experience nature.

I’ve never hiked one single day of my life and here I was making this film. But it’s not about hiking, it’s about a woman.”

One of his favorite scenes to shoot was the final scene in the film, when Cheryl reaches the Bridge of the Gods, the end of her journey.

“The Bridge of the Gods moment was quite a day, a moving moment,” said Vallée. “I called the DP and said I wanted to shoot with a Steadicam in slow motion. Everything will be very soft and fluid. We will feel like we’re floating. It was a cloudy day, raining a little bit here and there. There was something magical about that.”

Before filming Wild, Vallée had never been to Oregon before. So what does he think of his experience?

“Overall, I would say that I’m ready to move to Port-

land. If I have to move somewhere someday, it would be (to) Portland,” he said. “I loved everything about it: the people, the vibe, good food, restaurants, the outdoors, the bikes, the city, the quality of life. Everything.” MI The film’s Portland premiere was held Monday, December 8, and Vallée was in attendance, as was Strayed, Witherspoon, actress Laura Dern, the producers, and many of the local cast and crew. Wild opened in December in theaters nationwide.

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Oregon Locations Shine in Wild’s Spotlight

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n addition to Reese Witherspoon, Laura Dern, and the rest of the stellar cast, the other star of Wild is Oregon itself, and the vast array of locations used in the film as Cheryl Strayed’s journey unfolds. In fact, it has been reported that Wild filmed in more Oregon locations than any other feature to date.

Media Inc. talked to the film’s key assistant location manager—Portland-based Roger Faires—to find out more.

Media Inc.: How did you become involved in the film?

Roger Faires: I was the first person in Oregon hired to work on Wild. And I showed the producers and Nancy Haecker, the L.A.-based key location manager, all over a great portion of the state. I was first contacted a month or two prior by the Oregon Governor’s Office of Film and Television, hinting that a very important project that may be looking into Oregon for filming might need some expert help in large disparate areas of Oregon to find some rather specific locations. I started by helping with ideas first. Then I took them to see Bridge of the Gods, then Mt. Hood, then the desert of central Oregon, and finally the Ashland-Medford area and surrounding mountains and forest.

At that time, (director) Jean-Marc Vallée had not been hired yet. Bruna (Papandrea, producer) and Reese’s first choice of director was unavailable and they may have been in the very final discussions with Jean-Marc, but he wasn’t on board yet.

So in essence, Fox Searchlight was entrusting some very large decisions to Bruna, Bergen (Swanson, line producer) and Nancy as to whether Oregon would work in the entirety that was needed for going to the great lengths to commit a large chunk of filming here.

So by the time we got Jean-Marc to Oregon, virtually all of the film was scouted and then it was just a matter of taking Jean-Marc all over the state and showing him the various options for each location. Which by that time we also had the production designer and 1st AD along, as well, so they would weigh in to support our intuitions, thus helping Jean-Marc make what I thought were very correct decisions.

MI: What was it like working with the producers and Jean-Marc?

RF: It was an absolute joy to work with them. I found that they knew the material well—meaning both the book and the screenplay—and that they set about with me in an almost childlike and optimistic search for these very specific location

PHOTO COURTESY OF FOX SEARCHLIGHT.

and location areas that would fit the key elements of the story.

MI: What exactly were they looking for? Did you know right away where to find it?

RF: Specifically, they were very interested in finding an Oregon-based substitute for Kennedy Meadows. The real Kennedy Meadows is a place in the Southern Sierra Nevadas that Pacific Crest Trail hikers get to after several days of traveling and have a little break and energy replenishment. The actual Kennedy Meadows has a store and some camp spots but it would have been quite difficult to bring a decent-sized film production there. They also wanted to find enough relatively easy-to-get-to tracts of desert that could stand in for the various desert and arid areas that the PCT goes through in California. And they also wanted to see where the emotional and physical end of Cheryl’s journey ends: The Bridge of the Gods that spans the Columbia River and connects Oregon to Washington State. These folks knew pretty well from the beginning JANUARY/FEBRUARY 2015

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that Portland would work for all city and semi-rural sequences that were in the screenplay—they just needed to figure out in their heads that Oregon could stand in for a lot of the California parts of the PCT and I really feel that I gave them that encouragement on our four-day initial producer’s scout.

As far as knowing right away where to find these exact things, I of course said yes, but then I quickly put on my thinking and intuition cap and had to make that a reality. I think my sheer force of will made some of the things findable, and a couple of other locales fell into place.

MI: Wild has been touted as having used more Oregon locations than any other production. What does that mean to you?

RF: Well, that very well may be correct. We shot in three completely distinct zones: The Ashland-Medford area, the Greater Bend area, and a very large extended Portland area, which included Mt. Hood and the Bridge of the Gods, which aren’t exactly right down the street.

To me, this is why films should come here or go anywhere on location, for that matter. We have all these great places in Oregon and it can be a little frustrating when a production comes here and wants to keep everything 25 minutes from Portland. This state is mind-blowing and it has these features that most people outside of Oregon don’t even know exist.

After all, two-thirds of the state is not only arid but is actually true desert, and in fact much dryer in some areas than its California counterparts.

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I feel that Bruna, Bergen and Fox Searchlight really took the fullest advantage of what Oregon has and utilized it to the fullest they could. It was bold and at the same time very smart of them. Hats off to those good people.

MI: What was your favorite location selected for Wild?

RF: My favorite location selected by the producers—and JeanMarc Vallée, who had the final say so—is a toss-up between our stand-in for Kennedy Meadows, which was the Paulina Lake Lodge at the Newberry Volcanic National Monument, and the other one was this unnamed area in the desert east of Bend that we filmed the “Modoc” sequence where Cheryl runs out of water. The latter needed to have a hotter than heck look and yet still not be in what one would think of as true desert. My find was a very sparse stand of ancient pines on Bureau of Land Management land that was out in the middle of this sage desert that, unlike a lot of the surrounding desert, had a fine layer of white gypsum sand spread over it.

I love the area (and the choice of it as a stand-in for Modoc National Forest) so much, so I use a picture of it as wallpaper on my phone. The general public would rarely find the places us scouts can find because we have the backing to go out someplace and get totally lost but yet with some specific look in mind.

MI: What was the most difficult location to procure?

RF: The most difficult location to procure now brings into mention my peers in the locations department on the film:

Bobby Warburg, Doug Hobart and Beth Melnick, who each made major contributions to the locations work on the film.

Each one had their own nightmare locations to deal with.

For Beth, hers was definitely all the work it took to shut down and film on the Bridge of the Gods. For Bobby and Doug, it was after I left the eastern and central Oregon locations to them so I could start getting the Portland area stuff ready, they had a heck of a time dealing with the various BLM-owned properties. Normally the latter would not have been too tough, but for some reason on this film it was like pulling teeth and those two jumped through a lot of lit hoops and pulled it off.

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MI: What has this production meant to the Oregon production community?

RF: I think Wild filming nearly 100 percent in Oregon (minus one day in Mojave) gives our film community a sense of great pride in not only their individual skills but the pride when some important film folks come here and completely “get” your home. No stone was left unturned to get the right location by me and my terrific peers, but also the whole Fox Searchlight team. There was always this attitude that Oregon has it and we will find it and we will film there! Period! MI Roger Faires recently completed location managing duties for Green Room, directed and written by Jeremy Saulnier and filmed throughout Oregon. For more information, visit www. rogerfaires.com.

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Casting Wild

P

ortland-based Cast Iron Studios provided casting services to Wild, ensuring that local talent—in addition to Oregon’s wonderfully diverse landscape—shines in the film.

“We were initially hired to cast around 40 roles. About 30 of them made it into the final cut,” says owner Lana Veenker. “A few more will hopefully be on the DVD!” Veenker and Cast Iron became involved in the production from the outset.

“I had been tracking Wild since I found out that Reese had bought the rights to the film, and pounced on it as soon as I heard that it was going into production,” explains Veenker. “I was a big fan of the book and really wanted to be involved with the film!”

Veenker describes her time working on the film as “a hectic, but wonderful experience.”

She adds, “The project was fast-tracked, so we didn’t have much prep time, and Jean-Marc definitely kept us on our toes, but it was fantastic to hear actors reading Cheryl’s words through Nick Hornby’s masterful screenplay adaptation.”

Cast Iron Studios was in attendance at the film’s L.A. premiere in November, where Veenker got to see firsthand how her team helped bring the film together.

“At the L.A. premiere, Bruce Dern looked me right in the eye and told me he hadn’t been this moved by a film in 60 years,” she says. “That was an incredible moment in my career. Many of the reviewers—and even Q&A attendees— have commented on the strength of the supporting cast, even down to the non-speaking parts. We are very proud of the actors we cast, and even prouder to be associated with the film ourselves.”

In addition to casting, the company also helped host the Portland cast and crew screening and after-party on December 8.

(Above) Lana Veenker with director Jean-Marc Vallée. (Below) Veenker with actress Laura Dern.

“It’s just such a beautiful story, our actors truly shine, and our state looks amazing,” says Veenker. “I’m hoping this will translate into more projects choosing Oregon!” MI

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2014  YEAR IN REVIEW

Washington Caps Fantastic Production Year Governor Inslee with Z Nation zombies.

By Andrew Espe Washington Filmworks

W

ashington Filmworks is pleased to report we have just completed a successful shooting season. Not only have we seen the return of the network series in Washington State, but we also provided funding assistance to a new high-profile feature film.

One of our major projects this year was Z Nation, a zombie series airing on the Syfy Network from Go2 Digital Media and produced by Jodi Binstock, Steve Graham and Rich Cowan, and executive produced by Karl Schaefer. It tells the story of a group of heroes amidst the aftermath of a deadly zombie-pocalypse, and stars Tom Everett Scott (That Thing You Do!, Southland) and local actors Russell Hodgkinson, Pisay Pao and Nat Zang. Episodic series represent months of consistent work and well paying jobs—filming in the Spokane area from mid-May to August, the incentivized series created 12,000 worker days for Washington State cast and crew.

One such crewmember, SFX make-up artist Shawn Shelton, had a very positive on-set experience while creating the zombies’ frightening appearance. “I’m so grateful to have had the opFilmworks executive director Amy Lillard, NxNW portunity to work with such talented profession- Washington founder Rich Cowan, and Washington Filmworks board members Greg Smith and Harry Sladich. als, old friends and new,” Shelton explains. “Over Hoodies that Amy Lillard found on her trip to Spokane.

such a long period of time, we truly became a filmmaking family.”

Due to high ratings and buzzing fandom, Z Nation was renewed for a second season

by Syfy. (See story, page 43) The other major project was Captain Fantastic, one of the largest feature films in Filmworks history.

The film is from Electric City Entertainment and produced by Lynette Howell and Jamie Patricof, and written and directed by Matt Ross (28 Hotel Rooms). It tells the story of a nature-dependent father (Viggo Mortensen, The Lord of the Rings Trilogy) who assimilates back into society after living with his six kids in the Pacific Northwest woods for 10 years. The film is now in post-production and is scheduled to premiere in 2015.

Filming in Snohomish County, King County, and surrounding areas this past summer and fall, Captain Fantastic had an estimated 37 days of production and employed approximately 355 Washington resident cast, crew and local vendors.

2014 also capped off a full year of Commercialize Seattle, a campaign promoting and incentivizing the Seattle region as a commercial production destination. More than 90 regional production companies and agencies participate in the proJANUARY/FEBRUARY 2015

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2014  YEAR IN REVIEW gram, as 33 individual spots showcase their skills and unique work. Additionally, Commercialize Seattle has housed nine incentive projects with over $7.8 million in economic impact.

The latest Washington Filmworks Innovation Lab cycle also occurred this fall. $75,000 in funding assistance was allocated to three projects (This Brute Land Virginia, Wallflower, and War Room) that are currently in pre-production and scheduled to film soon. The Filmworks Innovation Lab is designed to invest in the future filmmakers of our local creative community and original storytelling that capitalizes on emerging technologies.

We take pride in all these accomplishments, but we are also looking ahead to 2015.

With the past year’s unprecedented success, we are currently working with partners to determine the feasibility of additional funding for the state film office and production incentive program. Stay tuned to our blog and newsletter for our Legislative Awareness Campaign, launching soon to help the film community’s voice get heard this upcoming legislative session.

Thank you to all our community and industry partners who helped make 2014 a rousing and inspiring success for Washington Filmworks! We count on your passion and support as we head into 2015 for another incredible and exciting year. MI

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Cindy Ryu (representative of 32nd legislative district) with husband Cody Ryu and Captain Fantastic writer/director Matt Ross.

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2014  YEAR IN REVIEW

On the set of Redwood Highway.

Southern Oregon Graces Screens Big and Small in 2014 Like Never Before

By Leah Gibson Southern Oregon Film and Media (SOFaM)

T

he first narrative film shot in Southern Oregon was all the way back in 1914. It was a 44-minute silent film called Grace’s Visit to the Rogue River Valley. The film featured Broadway actress Grace Fiero alongside a cast of Southern Oregonians. The purpose of the film, shot entirely with a hand-operated Ernemann 35mm camera, was to promote the area for the Panama-Pacific International Exposition in San Francisco. A copy of the film is archived in the Southern Oregon Historical Society located in Medford, Oregon, and is available on DVD.

Flash forward 100 years, and the film industry in Southern Oregon is still going strong, having hosted well over 100 feature films, short films, television episodes and more (view a partial list at www.filmsouthernoregon.org/pages/ list-of-films). What brings all these productions to the area?

For starters, Southern Oregon is renowned for its beautiful and diverse landscapes, from rugged coast to lush valleys, from green forests to high deserts. Add to that four distinct seasons, none of them extreme, dozens of small towns filled with quaint neighborhoods, historic downtowns, and some of the nicest inhabitants you’d ever want to meet. The region is replete with great outdoor and indoor activities: hiking, biking, rafting, skiing, wine tasting, theater-going, fine dining, and art galleries.

Access to this virtual paradise couldn’t be easier. Conveniently located halfway between San Francisco and PortJANUARY/FEBRUARY 2015

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2014  YEAR IN REVIEW land and bisected by Interstate 5, it’s easy to reach by car. Medford/Jackson County Airport makes Southern Oregon easy to reach by air, as well, with direct flights from Los Angeles, San Francisco, Seattle, Portland, Denver, Salt Lake City, Phoenix and Las Vegas.

But what is that secret ingredient that makes this region truly special in the world of film and media? It’s the numerous film industry professionals and services that call Southern Oregon home. From directors to production assistants, from grip trucks to wardrobe rentals, productions can find just about everything they need for a successful production. And that includes an incredibly talented community of actors, attracted to the region by its award-winning theatre companies.

Filming Brother in Laws. PHOTO BY STEVEN SILTON With all of these advantages, Southern Oregon’s popularity as a filmmaking location for the ern Oregon, Wild shot right in the heart of Ashland at three past 100 years is easy to see. Celebrating this centennial locations, including its signature gathering spot, Lithia Plaza. is the fact that Southern Oregon graced more screens big Even though quite the list of Hollywood actors has shot in and small in 2014 than ever before, with three nationAshland throughout the year, the town was abuzz with star ally released feature films that shot entirely or in part in Reese Witherspoon there. Wild brought most of its crew and Southern Oregon, several TV episodes, and many comcast wherever it filmed, but employed many Southern Oremercials and corporate videos. gon film professionals for its prep and shoot in Ashland.

Redwood Highway was released nationwide in April 2014 The small screen is also benefiting in 2014 from what and starred Tom Skerritt and Shirley Knight. The film foSouthern Oregon has to offer. The independent locally cuses on one woman’s 80-mile journey walking from the produced film By God’s Grace, much of it shot in the beauRogue Valley to the coast along Highway 199, also known tiful heritage town of Jacksonville, is currently for sale in as the Redwood Highway. The locally financed film was large retail stores and online. The reality makeover shows made by the team of filmmakers and crewmembers who Hotel Hell and Restaurant: Impossible both came to the area made Calvin Marshall, released in 2010 and also shot ento improve a couple local businesses. Budweiser filmed tirely in Southern Oregon. In Redwood Highway, moviegoone of its winter holiday commercials in Southern Oregon. ers were introduced to many of the region’s lesser known Other national, regional and local commercials for TV and communities and attractions, such as Cave Junction, Lake web—for companies such as Hewlett-Packard, Motorcycle Selma, Great Cats World Park, It’s a Burl Woodshop, the Superstore, Husky Liners, Asante Health Systems, Sauce redwoods of Jedidiah Smith State Park, and Whaleshead Labs and many more—used Southern Oregon as their Beach and Harris Beach State Parks, just to name a few. backdrop and local professionals for their crew and cast.

Immediately following that release was the latest film by It’s already looking like 2015 will show no sign of slowcritically acclaimed indie filmmaker Kelly Reichardt: Night ing down. Four feature productions—Black Road, Brother in Moves, starring Jesse Eisenberg, Dakota Fanning and Peter Laws, Besetment and Courage of Two—which all shot in 2014, Sarsgaard. This dark thriller tells a cautionary tale of eco-acwill be released in 2015, and we’re sure to have a busy year tivists who get in over their heads to protest the damming of in TV, shorts, commercials and web content. This continuing a local river. The film shot all over Southern Oregon, includdiscovery and growth of Southern Oregon for culture, advening Ashland, Medford, the Applegate region, and Lake of the ture and now filmmaking brings an excitement for wonderWoods. After gracing the big screen at festivals and theaters ful things to come and kicks off another century of putting across the U.S., both Redwood Highway and Night Moves are Southern Oregon on big and small screens everywhere. MI now available on DVD and online.

Culminating this banner year was the much-anticipated film Wild. Shot all over Oregon, Wild exposed viewers around Leah Gibson is a freelance special effects makeup artist and the the nation and the world to the extraordinary beauty of Executive Assistant to Southern Oregon Film and Media. For inOregon’s wilds, such as Crater Lake National Park and the formation on filming in Southern Oregon, visit www.filmsouthunforgettable sights along the Pacific Crest Trail. In Southernoregon.org.

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2014  YEAR IN REVIEW

The Year in Northwest Production

I

t was a stellar year for film, TV and commercial production in Washington and Oregon. Here are just a few of the highlights:

Richard Sherman, and Duracell’s viral spot featuring Derrick Coleman, the only current NFL player who wears hearing aids. Sherman and Seattle were again featured in a series of Nike commercials from ad agency Wieden+Kennedy.

Locations Lauded by MovieMaker The year kicked off with MovieMaker Magazine releasing its list of the Best Places to Live and Work as a Moviemaker in 2014. In the Big Cities category (pop. 500,000 and up), Seattle was ranked fifth, while Portland was ranked eighth. In the Towns category (pop. 100,000 and under), Ashland, located in Southern Oregon, was ranked second. The judges evaluated locations based on six criteria: Film production in 2013; film community and culture; access to equipment and facilities; tax incentives; cost of living; and a general category that includes lifestyle, weather and transportation.

Portland Gets Electric (Again) Principal photography for the TNT series The Librarians began in Oregon on April 10, and continued throughout the summer. The series, starring Rebec- Noah Wyle (left) and Dean Devlin. PHOTO BY SCOTT PATRICK GREEN ca Romijn, Noah Wyle and Christian Kane, is from executive producer Dean Devlin’s Electric Entertainment, which also shot Leverage in Portland from 2009-2012. The series premiered on December 7.

Film Office Shakeups A series of stunning film office shakeups began in February when James Keblas, director of Seattle’s Office of Film + Music, was not reappointed to the position under new mayor Ed Murray. Amidst the ire from the production community at large, it was Kate Becker announced that Kate Becker, strategic advisor for the City of Seattle, had been named as his replacement, while Keblas was hired as president of Creature. He continues to work in production as co-chair of the Washington Filmworks Advocacy Committee.

In Oregon, meanwhile, Vince Porter left his post as executive director of the Governor’s Office of Film & Television to work as Governor Kitzhaber’s senior policy advisor on jobs and the economy. After several long months of searching, the Board named Tim Williams as Porter’s replacement. Read more about Williams on page 41.

Why Not Us? The Seahawks were ripe for commercial production fodder during (and after) their 20132014 Super Bowl run, resulting in several ad spots shot in Seattle. Among them were Blue Plate Digital’s commercial for CenturyLink, starring

Blue Plate’s commercial with Richard Sherman.

ERNIE SAPIRO PHOTOGRAPHY

Incentive Fund Exhausted Washington Filmworks announced at the end of April that with its funding of a new film, Captain Fantastic, and series, Z Nation, the state’s Z Nation. PHOTO BY OLIVER IRWIN film incentive program had been essentially exhausted for the year. While those two projects brought jobs to local production professionals and pumped money into the economy, it has been reported that Washington missed out on many other opportunities because of the state’s $3.5-million incentive cap.

Something Wicked Finally Comes This Way Five years after crew completed production, Something Wicked finally hit theaters in April.

Shot at nearly 30 locations in and Brittany Murphy on set with TAKE2 actor. around Eugene and Lane County, Something Wicked wrapped up in late 2009 but was delayed in post-production due to the tragic and sudden passing of actress Brittany Murphy.

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2014  YEAR IN REVIEW SIFF Turns the “Big Four-Oh” 2014 marked the 40th anniversary of the Seattle International Film Festival, recognized as one of the top film festivals in North America.

This year’s festival boasted more than 400 film screenings, such as opening night film Jimi: All is by My Side, closing night film The One I Love, a slew of premieres, and more archival films than in previous years. In addition to film screenings, special presentations included tributes to actors Laura Dern and Chiwetel Ejiofor, a Quincy Jones Lifetime Achievement Award Presentation, and many competitions, panels and presentations.

Northwest on the Small Screen While mainstay Oregon-based series Grimm and Portlandia were gearing up to film season four and five, respectively, Washington was prepping for a series of its own. Filmed in Spokane and surrounding areas of Eastern Washington, Z Nation wrapped up its first sea- Filming of Runestone. son (13 episodes in total) for Syfy and was picked up for a second (see page 43). Also (possibly) getting into the series game was The Man in the High Castle, a pilot from Amazon Studios that shot in numerous Seattle locations in the fall.

There has been no announcement as yet if the pilot has been picked up.

Finally, Runestone, from Road’s End Films, is currently filming in Wilsonville, Oregon. Read more about this production on page 45.

LAIKA’s Latest: The Boxtrolls Following in the footsteps of Coraline (2009) and ParaNorman (2012), both critical successes and both Academy Award 30 MEDIA INC. JANUARY/FEBRUARY 2015

nominees, Oregon-based production company LAIKA released its latest stop-motion animated feature, The Boxtrolls, in the fall. With 79 sets and over 20,000 handmade props, The Boxtrolls is the biggest production ever to be made in stop-motion animation, and is only the fourth stop-motion movie to be made in stereoscopic 3D. The film was a box office success, grossing more than $17 million in its opening weekend—the biggest opening weekend ever for LAIKA. Laggies’ Homecoming Although it premiered at Sundance earlier this year and had screened at other festivals, Lynn Shelton’s latest film, Laggies, finally got Lynn Shelton with some of her local cast. PHOTO BY REGAN MACSTRAVIC its Seattle debut in September as part of SIFF’s Women in Cinema event. Held at the newly reopened Egyptian Theatre, Shelton joined her local cast and crew for a red carpet premiere and post-screening Q&A. The film hit 300 theaters nationwide in October, garnering positive reviews for the director and the film’s star, Keira Knightley.

Oregon’s Triple Feature Three feature films shot in Oregon throughout the late summer/early fall, including Brother in Laws, Green Room and Cabin Fever:ReBill Pullman on set. PHOTO BY LACEY JARRELL boot. The comedy Brother in Laws, from producer Lorne Michaels, was filmed in Klamath Falls and stars Saturday Night Live cast member Taran Killam and Bill Pullman. Green Room, filmed in Portland, also has a star-studded cast, featuring Patrick Stewart, Anton Yelchin and Alia Shawkat. Cabin Fever:Reboot, meanwhile, filmed in Molalla and Clackamas County with executive producer Eli Roth (see page 49 for more). All three films are scheduled for release in 2015.

The Relaunch of WAfilmPAC As the legislative session draws nigh (January 12, to be exact), the Washington film community is gearing up to fight for an increase in the annual film incentive cap. One of the first steps toward this goal was to relaunch WAfilmPAC, a political action committee that was originally formed

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2014  YEAR IN REVIEW in 2010. WAfilmPAC aims to elect state legislative candidates who are likely to support the film industry and helps raise money to support the campaigns of those candidates. Ore-

Reese Witherspoon in Wild. PHOTO COURTESY OF FOX SEARCHLIGHT.

Douglas Horn and James Keblas celebrate the relaunch of WAfilmPAC.

gon, meanwhile, is also looking to increase the state’s film incentives when the legislative session begins in February.

Stay tuned to www.media-inc.com as both Washington and Oregon’s legislative session unfolds.

32 MEDIA INC. JANUARY/FEBRUARY 2015

Going Wild Finally, December 2014 saw the release of Wild, the highly anticipated film starring Reese Witherspoon, which filmed throughout Oregon in 2013. The fact that Wild was made completely in Oregon is a testament to the strong—and growing—film production industry in the region. The film opened to rave reviews, especially for actresses Witherspoon and Laura Dern (both of whom have been namechecked as Oscar contenders), director Jean-Marc Vallée, and the state of Oregon’s wondrous locations. MI

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2014  YEAR IN REVIEW

Production Survey: A Snapshot of 2014

F

eature films, television series, commercial projects and more dominated the production landscape in 2014, but what exactly does that mean for the folks in the local industry? We surveyed a few Northwest production professionals to find out more.

Kelly Vander Linda KVL Editorial Was 2014 a successful year for you?

Yes. Being both an editorial boutique and independent editor is working well.

What projects did you work on?

Experienced a good increase in work. Especially with commercial projects. Some credits: Washington’s Lottery via We Are Royale/Cole & Weber, Group Health via DNA, T-Mobile via Publicis, UW via Hornall Anderson, MultiCare via Hydrogen, JMI via Straightface/Laughlin Constable, Golden1 via DNA. Booked or on hold through January with more.

What could have made your year better?

The late spring into summer period was slow. That is not a complaint.

Tanya Tiffany Tiffany Talent Was 2014 a successful year for you?

2014 was a highly successful year for Tiffany Talent Agency.

We have experienced double-digit percentage growth in bookings for the fourth year in a row, by both number of jobs booked and total dollars paid to our talent, while not significantly increasing the size of our talent roster over the past five years. We have also added a new full time agent to our team to handle the increased volume of business.

What could have made your year better?

We believe the best thing that could happen to the Washington film industry would be to see the cap raised on the film incentive. With our 2014 film incentive used up by May of this year, there are many productions that would have shot in Washington, but moved on due to lack of any available incentive. We feel confident that if the film incentive cap was raised, there would be a lot more business pouring in for all of us.

Cody Hurd Glazer’s Camera Was 2014 a successful year for you?

This year has seen exciting key product introductions in

the photo and video industry. We are seeing photographers diversify their portfolios and general consumers taking more video content than ever before.

We have seen the shift to 4K this year, brought to fruition by camera releases like Panasonic GH4, Sony A7s, and the Black Magic Cinema camera. With the momentum of Black Magic, customers are incorporating more Video RAW files into their workflow. Drone sales are also on the rise, which continues to push creative options for our industry.

What could have made your year better?

Being in South Lake Union has its benefits, although the high number of constructions projects—including our own— can make it congested in our neighborhood. We are on the path to building our new store, where our old store once stood, which will house all of our departments and ample underground parking.

Eryn Goodman, Lana Veenker & Ranielle Gray Cast Iron Studios Was 2014 a successful year for you?

2014 was hands down the best year in our 15-year history, thanks to the incentive increase that allowed additional projects to shoot in Oregon, and the rebounding economy that brought back some healthy commercial gigs. Really couldn’t ask for anything more than a busy year, a cracking team, great projects, and wonderful clients. Let’s continue making magic!

Gary Kout Southern Oregon Film and Media Was 2014 a successful year for you?

By any measure, 2014 was an incredible year for Southern Oregon Film and Media (SOFaM) and for production in Southern Oregon.

Why? We kicked off the year with Ashland being named the #2 Top Town to Live and Work as a MovieMaker by MovieMaker Magazine. Southern Oregon appeared on big screens in not one, not even two, but three theatrical films that were released nationally: Redwood Highway, Night Moves and Wild. And next year, it will be seen in Brother in Laws and Black Road, two JANUARY/FEBRUARY 2015

MEDIA INC. 35

2014  YEAR IN REVIEW more films made entirely in Southern Oregon. It appeared on the small screen as well, most recently on an episode of Restaurant: Impossible and as the backdrop for a Budweiser commercial. Local production was up, including spots, corporate videos, long and short narratives, and more. Our organization received new funding, hired its first paid staff member, and membership in the organization is at an all-time high!

What could have made your year better?

There’s always something that could be better—more productions, more members, more awards—but it just gives us something to strive for in 2015!

Sarah Baltazar Mundo Catering Was 2014 a successful year for you?

2014 was a very successful year for Mundo Catering. We appreciate receiving such a warm welcome from the local film industry.

What projects did you work on?

We provided onsite and drop off catering for several pro-

36 MEDIA INC. JANUARY/FEBRUARY 2015

ductions, including Grimm, Portlandia, West of 7th and Runestone. We also catered for several commercials, including companies like Nike, Hyundai, Harley Davidson, Adidas and Dr. Pepper. We have made some amazing contacts, and really appreciate all the repeat clients.

What could have made your year better?

There are always challenges facing small businesses, especially when the business is new. Retaining quality employees for such a demanding industry is always difficult, along with keeping all equipment in top condition. The work is challenging, but rewarding.

John Douthwaite Production Partners Was 2014 a successful year for you?

Production Partners has enjoyed a successful 2014, our 17th year in the same location above the Old Spaghetti Factory on Seattle’s waterfront. We continue producing high quality television and radio commercials for our long-time loyal customers and have also added a couple of wonderful new clients and technological advances during 2014.

2014  YEAR IN REVIEW What projects did you work on?

We are proud to produce television, radio commercials and print advertising for Westmark Hotels in Alaska and the Yukon.

A personal favorite is our monthly comedic “Anchorman” series for Performance Kia, written by John Douthwaite and starring comedian Dean Oleson. New client Schick Shadel Hospital has also provided stimulating projects for our creative team.

What could have made your year better?

Producing the Bud Light Super Bowl TV commercials would have made the year better, but other than that, I can’t complain. Well I could, but it wouldn’t do any good. Thank you to all our partners in production!

Todd Looby BendFilm Was 2014 a successful year for you?

Yes, BendFilm 2014 was a record year in attendance, festival revenue, and a record number of Northwest-made films. Independent filmmaking and appreciation of independent filmmaking is alive and well in the Northwest!

What could have made your year better?

We would like to have even greater visibility and appreci-

ation from Washington and Northern Oregon. We will work hard to increase our reach to these great areas of independent filmmakers and lovers.

Patti Kalles Kalles Levine Casting Was 2014 a successful year for you?

Better than last year.

What projects did you work on?

National Swiffer commercial; Amazon TV pilot Man in the High Castle.

What could have made your year better?

More work. No incentives to bring work here in Washington. More press to make Washington a friendly town to shoot in. Crew from out of town complain that the public doesn’t like anyone shooting in Seattle. We need press and more help from the government.

Ed Mellnik EMA Video Productions, Inc. Was 2014 a successful year for you?

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2014  YEAR IN REVIEW This was a great year for live video streaming events. I think live streaming has come of age. Most people even know what live streaming is, which is different than only a year or two ago when it was a vague term for most.

What projects did you work on?

In 2014 EMA Video streamed a musical play by The Northwest Children’s Theatre to the Doernbecher Children’s Hospital; we streamed a four-day Holistic Medical Conference in Minneapolis; we worked on the Portland Blues Festival with 8 cameras and sent the mix to two jumbotron screens; and as the videographer for the Oregon Ballet, we recorded several of their performances. Those were the highlights, but we loved doing the smaller jobs this year as well.

What could have made your year better?

The only negative thing about 2014 was that it went by too fast! I hope there will be more groups running conference events deciding to stream the event live on the web this next year.

Colleen Bell Bell Agency Was 2014 a successful year for you?

Yes, a very successful year.

In the past two years, the Bell Agency has done better than any year in our 23-year history. We have developed a new business plan that has brought in many more clients, talent and work. Our talent base is some of the hardest working, loyal talent in Washington and Oregon. We know it takes hard work to make it in this economy and we have continued to meet this challenge head on. We have had a talent in almost every production that has come into Washington and Oregon due to the high caliber of our talent. We understand that we can only be as good as the talent we ask to join our agency.

The Bell Agency talent have booked jobs with Amazon, Nordstrom, Mazda, Chevy, Les Schwab, Microsoft, NFL, Sounders, WSU, Grimm, The Librarians, Fred Meyer, Puffs, Disney, Zumiez, Carhartt, Boeing and so many more just this year.

What could have made your year better?

Loyalty from our talent is what drives us to continue to grow successfully. Despite rumors that the Bell Agency has changed its name in the Oregon market, we want to assure everyone that we are still one agency thriving in both Washington and Oregon. All in all, the year was very successful and we couldn’t be more proud of our talent, and more thankful for our loyal clients.

Jon Nigbor Media272, Inc. Was 2014 a successful year for you?

Yes, 2014 was very successful. We saw our 38 MEDIA INC. JANUARY/FEBRUARY 2015

sales and production more than double.

Why? Two years ago, video was a “nice to have.” Now, it is a “need to have.”

What could have made your year better?

Business owners are more reluctant than ever to spend.

Taxes, health care, and paperwork are horrible time and resource drains. The uncertainty that taxes will increase disproportionately because someone believes “they deserve to pay more” is outrageous. Business owners deserve every reward they’ve earned.

Kathleen Lopez, MS Location Manager Was 2014 a successful year for you?

Yes! Successful. I sent the production designer for a series pilot to Seattle/Woodinville.

What could have made your year better?

Increase in the Washington film incentive.

Amey René Amey René Casting Was 2014 a successful year for you?

Yes! We were lucky enough to work on the NIKE commercial “Train it True,” featuring Richard Sherman, which showcased a lot of local PNW talent and was directed by the legendary music video director Mark Romanek.

We did the local Seattle casting for the feature film Captain Fantastic, which is the directorial debut of actor Matt Ross and stars Viggo Mortensen and shot in Woodinville, Washington. In 2014, Amey René Casting Seattle also got its own permanent offices. We are located in the Saturn Building in Fremont.

What could have made your year better?

We are working on providing continual audition workshops for PNW actors. With more and more nationally recognized projects coming to shoot in the Northwest, we want actors to be ready to showcase their talents and book the job!

Eric Goetz Composer Was 2014 a successful year for you?

Yes. What projects did you work on?

I scored four animated short films for Seattle University and The Gates Foundation, and worked on a number of iPhone/iPad apps.

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MEDIA INC. 39

2014  YEAR IN REVIEW What could have made your year better?

As a composer, I feel like I’ve hit a glass ceiling in Seattle’s film industry. This year, I had seven films in SIFF, but made a combined total of less than $10K on them. When bigger budget films shoot here, they inevitably end up doing their post in L.A., regardless. If it weren’t for one or two really good local video game clients, I would not be able to earn a living as a film composer in Seattle.

Kyle LeMire miracleADwallet.com Was 2014 a successful year for you?

2014 was a successful year for Miracle AD Wallet, LLC. Mostly because it was our first. I started the film equipment e-commerce company to sell Call Sheet Wallets to eco-friendly ADs and PAs: The Miracle AD Wallet. We donate all profits to programs like Plant-it-2020, that reforest and reduce carbon emissions worldwide.

What projects did you work on?

This year alone, we’ve distributed Call Sheet Wallets to Todd Haynes’ Carol, Portlandia Season 5, House of Cards Season 3, CSI: Cyber, among others. And we’ll now be available not only on www.MiracleADwallet.com, but also on Film-

40 MEDIA INC. JANUARY/FEBRUARY 2015

Tools.com and in their three L.A.-area stores.

What could have made your year better?

2014 couldn’t have been better.

Doc Thoemke TMKey Film What projects did you work on in 2014? tmkeyfilm.com provides HD underwater filmography (with no divers) and nearshore salmon habitat assessment documentation in Puget Sound’s deepest substrate. 2014 completed projects: Chehalis River underwater filming lost Gill Nets called Ghost Nets 6; tons of nets removed. Located invasive species club tunicate (sea squirts) in Hood Canal, Puget Sound. Identified substrate hot spots, E. coli in the drinking water, Sea Snow, red and green algae. Started the TMKey Film YouTube channel.

What could have made your year better?

Expanded funding for research filming health dangers to the public. Serious changes taking place in regards to E. coli and red algae—your drinking waters are unsafe. The health of Puget Sound has around 20 more years. Big surprise— health dangers to walk the beach, play in the sand, shellfish toxins. More is coming.

Meet Tim Williams NEW FILM OFFICE DIRECTOR PRIORITIZING PARTNERSHIPS AND SUSTAINABILITY FOR OREGON MEDIA PRODUCTION

By Mary Erickson Guest Editor

T

im Williams visited Oregon to scout locations for the film Wild while working at Fox Searchlight. Working with the Oregon film office on this project, he was struck by the possibilities and opportunities in the state and the level of creative work happening here. Then Vince Porter, the former executive director of the Governor’s Office of Film and Television, left to pursue a position as one of Governor Kitzhaber’s economic policy advisors. Williams seized the opportunity to transition 25 years of production experience into work that would be more consistent in a place that is, as he mentions, “a lot more beautiful.”

Since taking the helm at the Oregon film office on October 1 of this year, Williams dived into getting acquainted with filmmaking communities across the state. He has been encouraged at the depth of the creative community.

WILLIAMS IS COMMITTED TO GROWING THE SUSTAINABILITY OF MEDIA PRODUCTION IN THE ENTIRE REGION. “There is a passion and an insight to so many different creative processes here,” he says, “and I’m excited to see how we can help them out to grow into something forceful.”

Williams is committed to growing the sustainability of media production in the entire region.

One strategy is to make the state’s film incentives—OPIF, i-OPIF, Greenlight Oregon—work for the entire state. Working with various regional industry associations will ensure solid distribution of the incentives across the state. Oregon’s film incentives have been very successful, attracting and retaining high-profile productions, such as Grimm and The Librarians.

Williams says, “The incentive program is working really well and it is benefiting a great deal of companies both in-state and coming from out of state. And it’s created a nice balance of work in the state, and the smaller indigenous work that’s going on.”

But the incentives have topped out quickly this year: the $10 million for the 2014 OPIF incentives were distributed within the first month. Even i-OPIF, the production incentive fund for indigenous, or locally-grown, films, capped out within a week for the first time this year.

“This limits our ability to use incentives for many of the things we’d like to do,” says Williams. “We have about five different projects every week inquiring about shooting in Oregon.

And that’s been happening since July… But with no incentives left to offer, the conversation stops there.”

So much interest in media production means larger-scale productions, and more brick-andmortar companies expanding and moving into larger spaces to accommodate the increase in work. Williams’ role in fostering conditions to keep this momentum going includes looking

at models in other states, such as New York, California, Louisiana and Georgia, examining what works and what doesn’t work.

“We’re looking at what they are doing right,” he says, “and what they are doing that we probably wouldn’t do, and what they are doing that we can learn from. It changes with each one of those jurisdictions.”

As the next legislative session approaches, beginning in February 2015, Williams and the film office hope to address the gap in what the incentives can offer and what the filmmaking community is asking for.

“We have a growing list of projects that are inquiring about Oregon and because we’re not on a level playing field with other states that have incentives programs with more money, these productions go elsewhere,” says Williams. “Addressing this gap is right up at the top of our agenda.”

He adds, “I am hopeful we can expand the incentives in a way that will continue to help the sectors.”

To complement the incentives and continue strengthening Oregon’s production community, Williams hopes to pursue partnerships with both government and non-government agencies.

“I’m seeing a lot of opportunity for partnership to help the internal creative companies of Oregon, the ones we call brick-and-morJANUARY/FEBRUARY 2015

MEDIA INC. 41

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tar companies,” says Williams. “Media is now a broad term, rather than just TV or movies or commercials. It’s now branded content, digital content, digital storytelling. Everything is crossing over everywhere, so this partnership aspect is really important.”

Williams is approaching this strategy of partnership by examining other states’ activities. “We’re also looking at what some of the state agencies in other places have done,” he says, “like the Arts Commission in New York and what they have done with rural theater and rural filmmaking. What can we learn from these types of partnerships?”

In the meantime, Williams is getting to know the state, visiting both the Eugene International Film Festival and the Northwest Filmmakers’ Festival in Portland in November.

“I’m excited about Oregon’s diversity of film offerings and its different agendas and needs,” he says. “Now we are working on marrying all of these things together in a way that makes people feel like we are here to help without diminishing one side or the other of the equation.”

And at the beginning of December, Williams had his first major film premiere as head of the film office. Wild, the film that first brought Williams to Oregon, boasts more on-location shooting in Oregon than any other feature film, shot in Bend, Ashland, Crater Lake and points in between. The film opened in December in theaters across the country. MI

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Z Nation Renewed

ZOMBIE SERIES WILL RETURN TO SPOKANE FOR SEASON TWO

By Peyton Scheller, CTA Communications Coordinator, Visit Spokane

Z

ombies are returning to Eastern Washington. That’s right; the folks at Syfy network have announced a second season renewal for the post-apocalyptic TV series, Z Nation.

For the Spokane region, this means more recognition and even deeper credibility as a destination for filmmakers.

Rich Cowan, CEO of North by Northwest—the company helping to produce Z Nation—is ecstatic about the second season renewal.

“The renewal shows that the network has faith in us… that we can deliver a great product, week to week,” said Cowan. “It’s different than a feature film, which is essentially a one-time project. With a TV series, we have many more opportunities to show the diversity of the region.”

And with everything from lush forests to vast wheat fields, urban buildings to historic neighborhoods, the Spokane region is as diverse as they come. This makes it

extremely easy to replicate any scene, Cowan says, from a thriving metropolitan area… to zombie-ridden Middle America.

The second season renewal also means a greater economic impact for the Spokane community. With a strong workforce and deep acting pool, the TV series creates sustainable local jobs for hundreds of people. Plus, a portion of the working cast and crew travel from outside the region, boosting business for hotels, restaurants and other tourism-related entities.

“A lot of people don’t realize how the film and tourism industry correlate,” said Jeanna Hofmeister, Chief Marketing Officer at Visit Spokane and liaison to Washington Filmworks. “Not only does it generate dollars locally, it opens the eyes of outside film companies who may not have considered the Spokane region as a filming destination before.”

Cowan agrees, saying the second season Z Nation renewal is good news for other projects in the future.

“Working on Z Nation has been a real breakthrough for us and the Spokane film industry. North by Northwest has a few things on the horizon right now and we hope the buzz about Z Nation will create more opportunities for us and the Spokane region in the future.” MI JANUARY/FEBRUARY 2015

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Road’s End Films Celebrates One Year in Oregon

By Stephanie Hoover & Crystal Foley Staff Writers

B

eautiful panoramic vistas, warmer temperatures and a better lifestyle drew the crew of Road’s End Films from their original location in Idaho to their current space in Wilsonville, Oregon.

Sterling Flock, the production designer and director of operations for the studio, said their location 20 minutes south of Portland has so much to offer, with the beach, mountains and major cities within an hour’s drive.

“There’s a lot of things going on here, and that’s why we built the studio. Because the studios you hear from, they’re booked out, you can’t get in,” Flock said. “So we built ours a little further south, because we don’t want to compete with anyone; we want to collaborate and increase, not take away.”

Being in Oregon also allows them to tap into a large local talent pool, as they did for one of their latest projects, a series titled Runestone.

The Proof of Concept features 23 actors and 60 skill sets,

mostly locals, who helped shoot on location, write scripts, build props, and create costuming. Casting was done by local casting director Lori Lewis.

“We just hope to be able to build some bigger stars out of the fantastic talent base that’s here in the local area,” Flock said.

The saga follows Norsemen, or Vikings, as they cross over the Northwest Passage to the Pacific Northwest in a journey that details their interactions with colorful local tribes. While the show is not based upon a single event, it is historically inspired and draws from lore in both the Norse and indigenous local culture.

Runestone came out of the team at Road’s End Films’ desire to take advantage of the resources they already had, Flock said, which led them to come up with a few different historically-based story ideas.

“It is something that we could film here in the Pacific Northwest that was new and involving talent that we had available JANUARY/FEBRUARY 2015

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which has been assisted by the OMPA (Oregon Media Production Association) organization that we are also part of,” he said.

While Road’s End Films is their passion, Intersect Video, their studio space, pays the bills, primarily through corporate commercial work. They also rent out their studio space, do creative context creation and video translation.

When building their studios, Flock said the team looked around other studios in the area to find their favorite qualities—and the ones they saw lacking—and combine them into their own.

The 6,500-square-foot facility features a 3,500-square-foot soundstage with the largest three-walled cyclorama publicly available in the Pacific Northwest. Other features include a two-wall cyclorama and a powered steel lighting grid.

One element Flock said they’re particularly proud of might surprise you: Parking. “[It’s] one thing that no one else has—and they can’t really say otherwise. You can’t get a crew there,” Flock said, of other studios in the area. “Everyone has to park three or four blocks away and walk in. If we’re trying to shoot a production, there’s just no room.”

However, Road’s End Films and their studio, Intersect Video, are able to bring in the entire production team.

“We can literally bring in a 40-foot RV into our soundstage and put it into our green screen because we have a 45-foot-long by 25-feet-deep green cyclorama,” Flock said. here, along with crew and equipment,” Flock said.

“So we created a few storylines that we thought would be interesting and then we narrowed those down and fleshed them out until we came up with the Runestone series.”

Some of the beauty they relocated to Oregon for can be found in Runestone’s trailer, much of which was shot on the coast at Huck Point in Oswald West State Park over six days. Flock said this offered an interesting challenge, because the crew had about a six-hour window daily in which to shoot before the tide came in.

Natural beauty and a wealth of local talent may top the list, but they are certainly not the only advantages to filming in Oregon, Flock said.

“One of the reasons for being in Oregon is the financial incentives provided by the governor’s growth potential, 46 MEDIA INC. JANUARY/FEBRUARY 2015

The studio is made up of four people on a day-to-day basis, which means they are often working 80-hour weeks.

However, Flock said it is a lot of fun.

“This is my social life. It’s such a family network in the local film crew,” Flock said. “It’s hard to get in, but once you get in, everyone knows you in some way in this huge network.”

The team tapped into this local network for the Runestone series. A lot of research went into creating authentic costumes and props such as weaponry.

To get the right effect, they used Wardrobe Design Studios out of Portland for the costumes and local artisans for the props. Special effects were also done locally, coordinated

by Oregon-based Kai Shelton.

The series has not been picked up yet, however if it were

to be, it would bring 100 to 140 jobs. They have a five-year story mark, with twelve episodes a season, meaning they would be in pre-production to post-production for six to nine months out of the year.

Road’s End Films has also produced four other shows and one feature-length film, and Flock said he is hopeful the company will continue to help expand the local film scene.

“We’re tying into the community of the Pacific Northwest to try and add to the infrastructure of possibilities so that external based productions can come here and take advantage, so we can add jobs and maintain jobs for cast and crewmembers in the local area, who work the majority of the year,” Flock said. “But we’re trying to get more work, more consistency for everybody.” MI

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Cabin Fever:Reboot HORROR FILM SHOOTS IN CLACKAMAS COUNTY

By Susan Haley Associate Editor

I

n a remote location in Molalla, Oregon, principal photography for Cabin Fever:Reboot shot for four weeks in September and October.

Line producer Michael Jones and director Travis Zariwny, both Oregonians, were excited to be working on a remake of this popular story. After working together on 15 film projects, Michael and Travis make a great team, with Michael focusing on logistics and Travis immersed in the creative. Together, they have been scaring audiences for six years, and both have accumulated numerous television and film credits.

When the opportunity came up to take on Cabin Fever:Reboot, both Michael and Travis insisted that Oregon was the place to pull it off. Travis stated from day one that for him, the project was all about what he knew was here in Oregon.

And it wasn’t a flesh-eating virus—for that, they relied on make-up. What they did find was the perfect location. A cabin in the woods just outside of Molalla had the perfect setting and the look that they wanted, and it also fit the needs of filming logistically.

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Remote locations can be tough for an industry that relies on specialized equipment and needs. It’s a complicated process to find a place that will accommodate 60-plus cast and crew for several weeks, along with vehicles, equipment, food and housing. To be on location, this production pulled in motorhomes from Rent RV out of Portland, porta-potties from Clinkscales in Molalla, along with numerous other support services provided by Oregon companies. Most crew were housed at the Stagecoach Inn, while the cast was booked at the Prairie House Inn. Working with the Oregon Film Office and Clackamas County agencies made the planning easier as Michael and Travis put everything into place for their September start date.

“We had a lot of support from all of the agencies and from the local community,” says Michael.

“Travis and I have worked on so many projects together—and it’s been a pleasure to bring our dollars to such a great town.”

Travis adds, “We knew that everything we needed would be here and it’s been awesome to share the experience with the Line producer Michael Jones.

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Director Travis Zariwny.

residents of Molalla.”

Cabin Fever:Reboot includes Eli Roth (Grindhouse, Hostel, Cabin Fever) as executive producer/writer, with Evan Astrowsky (Fanboys, Ironclad) and Armory Films (3 Weeks, Flight 1457) as producers. The film wrapped at the end of October. MI

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Community, Conversation About Rural Resilience in Dryland

By Mary Erickson Guest Editor

A

colorful sign just outside of Lind, Washington, reads, “Welcome to Lind. Drop in. Mt. St. Helens did!” The sign goes on to announce: “Lind Combine Demolition Derby and Rodeo, Second Saturday in June!”

Portland filmmakers Sue Arbuthnot and Richard Wilhelm were in the area in the spring of 2003, filming another project. Curious about the sign’s meaning and ready for a diversion, they stopped in, and were invited to attend the drivers’ meeting for the upcoming combine derby. Arbuthnot and Wilhelm were introduced to one of the derby drivers, Josh Knodel, and his best friend, Matt Miller.

“Right away, we knew we had something,” says Wilhelm. “We were really taken with Josh and Matt, and we wanted to tell their story.”

That documentary would become a decade-long project that traces the determination and passion poured into family farming. Dryland, a film about dryland wheat farming in Eastern Washington, contemplates the resilience of rural farming communities through the eyes of young people driven to continue working on and expanding their multi-generational family farms.

The film premiered at the 2014 Big Sky Documentary Film Festival and has played in numerous festivals around the country, winning Best Feature Documentary awards at 54 MEDIA INC. JANUARY/FEBRUARY 2015

the Ellensburg Film Festival and the Eugene International Film Festival. Arbuthnot and Wilhelm brought the film to their hometown audience in Portland at the 41st annual Northwest Filmmakers’ Festival on November 15, a week after a sold-out screening at the Eugene International Film Festival. The documentary’s main characters, Josh Knodel and Matt Miller, along with Matt’s father, Grant Miller, also attended the screening in Portland.

The shelf life of an independent documentary often rests on the drive of the filmmakers to continue promoting the film and finding new avenues for its distribution. Arbuthnot and Wilhelm have begun a “Grass Routes” tour of the film, arranging community screenings followed by Q&A sessions and panel discussions. An October screening in Bellingham, Washington, part of the Pickford Film Center’s Doctober series, was followed by a community discussion moderated by Dr. Gigi Berardi, an environmental studies professor at Western Washington University, and featuring Whatcom Farm Bureau board members Debbie Vander Veen and Troy Lenssen. The rousing discussion circled around the topic, “Finding a Common Language: Farming in Rural and Urban Communities.” Members of the local farming community attended and participated in the lively discussion.

In their travels while screening the film, Arbuthnot and Wilhelm have also been gathering stories of farmers and rural communities. These efforts are a way to collect and preserve the experiences that have sustained the fabric underlying much of our modern food production. It is these

experiences from which many of us are far removed; perhaps it was our grandparents or even great-grandparents who were farmers. For many rural farming communities, the trials and challenges depicted in Dryland are the very real challenges that frame every day.

But these are also the successes that motivate farmers to continue farming. By sharing these experiences, Dryland is a vehicle with which to foster community through film.

“We’re working to bridge the gap between our urban and rural communities—both eager to talk about where our food comes from, who grows it, and how we can create meaningful connections,” says Arbuthnot in a recent Dryland newsletter.

“By highlighting similar values, we combine diverse knowledge and interests, forging better solutions for sustaining our farms and communities.”

The Grass Routes tour, along with festival screenings, will continue in 2015, with ini-

tial screenings scheduled around the Northwest, touring in Oregon, Washington, Idaho and Montana. The tour will then expand throughout the country and internationally. MI A trailer and more information about Dryland can be found at www.drylandmovie.net.

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Badass Women Behind the Camera

By Vikram Zutshi Guest Columnist

I

t’s no secret that the world of cinema is a male-dominated bastion in which distinctive female voices are few and far between. Male film directors down the ages –from the ‘Golden’ age of Hollywood to the hard boiled noir era to modern day tent-pole kings, and even auteurs of the indie world– have been projected as quasi-Herculean figures, triumphantly planting their flags on the summit of Mt. Olympus in a blaze of testosterone-fueled glory. The Übermensch has claimed his rightful place in Hollywood and is celebrated for sowing his wild oats in the fertile pastures of the all-American audience.

I embarked on a mission to identify a handful of women—as potential subjects of a docu-series—who had not only succeeded in carving a niche for themselves but had emerged ballsier than their male counterparts by making it in the biz on their own terms, and without resorting to the ‘victim card.’ Maverick director Ava Du Vernay said it beautifully: “The biggest weapon that you have in this revolution is what you wear: Are you wearing this coat of desperation, or are you wearing your passion on your sleeve, because one is a repellant and the other one is a magnet. One is, can you help me? And the other one is, what can I do, and who wants to come along for the ride?”

The all-time queen of big-budget Hollywood blockbusters has to be Kathryn Bigelow. She has taken on the old school establishment by unapologetically picking hyper-masculine subjects, and infusing fresh life into them with massive hits like Point Break, The Hurt Locker and Zero Dark Thirty. In 2010 she

became the first woman to receive an Academy Award for Best Director for The Hurt Locker. Kathryn has always been blasé about how she is perceived in the industry.

In her own words, “If there’s specific resistance to women making movies, I just choose to ignore that as an obstacle for two reasons: I can’t change my gender, and I refuse to stop making movies.

It’s irrelevant who or what directed a movie, the important thing is that you either respond to it or you don’t.”

It was with this sentiment in mind that I contacted director Ondi Timoner to make the first in my trilogy of shorts about badass women behind the camera. Ondi is an artist, visionary and futurist, and the only female director to win the Sundance Grand Jury award twice (for Dig! and We Live In Public).

Dig! was seven years in the making: a labor of love about the star-crossed and volatile relationship between cult rock bands Brian Jonestown Massacre and the Dandy Warhols, from San Francisco and Portland, respective-

ly. We Live In Public explores the fascinating space at the intersection of art, technology and culture and casts a penetrating light on topical issues like mass surveillance, voyeurism and mind control in the age of social media.

Ondi’s ongoing flagship project, A Total Disruption, documents the foremost thought-leaders and innovators of our times; those who redefine technology to disrupt all aspects of our lives and are radically transforming the way we think, work and interact with our fellow earthlings. Ondi has documented several game-changers over the course of her career; for the first time, I decided to cast a spotlight on her own remarkable body of work. My film, The Disruptor, ends on a strange note, simultaneously ominous and hopeful: “Will technology save us, or will it destroy us?”

The film premiered at the BendFilm Festival in Bend, Oregon, where it was very well received. Bend is a beautiful town in Central Oregon, located on the eastern edge of the Cascade Range along

the Deschutes River, an hour’s flight from Portland, and the perfect venue for a film festival. Enthusiastic local audiences turned out in droves for all the screenings, including early morning and late night ones. The volunteers were always gracious and extremely helpful to the filmmakers, making us feel very special over the course of four days. New festival director Todd Looby, himself a filmmaker, had done an excellent job organizing the various events, mixers and rocking parties.

I am now coordinating pre-production on the remaining two films of the trilogy, and perhaps more, if all goes well. The subjects of those films will be announced shortly. For me, it has been a fascinating journey into the heart of the celluloid dream, as seen from a woman’s POV, and one that will continue. MI JANUARY/FEBRUARY 2015

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Talent Services: Much More Than Just Payroll and Paperwork

T

here are very few companies in the country—and even fewer in the Northwest—that are able to provide the multifaceted services that Talent Services does for its production clients.

The Lynnwood, Washington-based company not only provides payroll management, but they also offer union signatory services for industrial programs and manage all of the employer responsibilities, which allows their clients to focus on their productions—not on paperwork.

“We’re the middle man between the government and the various unions in the media industry,” explains Talent Services owner Gunnvor Tveidt. “So we handle all the payments, obligations, and all the liabilities for the government and the unions. And that was one of the reasons this business was started. Many companies, many smaller producers, don’t want to get saddled with all the paperwork and obligations to sign up with the state for workers’ comp, unemployment, taxes, etc. It’s time-consuming to handle when you’re busy making your living doing something you like to do.”

Tveidt bought the company about 16 years ago from a friend who had started out in the casting business. “Working in casting, she realized that there was quite a need for production and payroll management for both the crew and talent side and the producers,” says Tveidt. “I wanted to grow the company and help fulfill this need.”

She knew that the business would be difficult to learn, but she was ready for the challenge.

“I’m Norwegian. I’m stubborn. I’m persistent. So even though I bought a company that already existed, I think there was a little bit of a question whether I was going to make it. But I never doubted I was going to make it and I’ve grown the company substantially since then.”

A major factor in this growth was Tveidt’s decision to expand into the union side of things, and, she says, “pretty soon we got to be quite good. No one else wanted to do it because it’s difficult.”

Due to the complex nature of the business, the high cost of entry, and the amount of financial security necessary to handle the liabilities, Tveidt has seen many competing companies come and go. “People think, ‘if Talent Services can do it, so can I. I know accounting, I know production, I can do it.’ And then they do not realize the complexities and the demand on a company like ours. So they don’t make it.”

Tveidt says that while there are several huge companies based in L.A. and New York that perform similar services, there are very few companies that are small- to medium-sized like hers. But with a huge company, clients don’t get the personal touch that they might get with a smaller company, which is perhaps why Talent Services has been

Gunnvor Tveidt

able to gain so many national clients. Most recently, they’ve worked with Lego Batman, Nike, Adidas, and Wheel of Fortune (“Vanna White is the nicest person,” says Tveidt. “She knits!”).

In fact, Tveidt estimates that 75 percent of the work they do is for out-of-state clients.

“I know it’s hard to believe, but we do business with a great part of the larger companies in the U.S.,” she says. “We were just part of a Wells Fargo production and that didn’t take place in Washington or anywhere near the Northwest.”

And although the job includes a lot of time-consuming paperwork, Tveidt says that it is not without adventure.

On a recent project—she won’t name names—Talent Services was working for an Oregon-based company doing a snowmobile shoot in the Colorado mountains.

“As they went up the mountain 8,000 or 10,000 feet, there were warnings about white-outs and about staying off the mountain. That didn’t happen,” says Tveidt, laughing. “They ended up getting trapped. People had to be airlifted out.

Someone broke their leg. It was really, really bad. They went up there with tennis shoes and froze their toes. That was a huge helicopter bill.”

She continues, “People in the industry, they’re fun people, they’re creative people and risk-takers, and this was like a total synopsis of how they use their talent. I have to laugh about it.”

This good-natured, “can and will do” attitude, combined with high integrity and exceptional payroll management services, has produced what Talent Services calls “raving fans”—clients that come back again and again. MI For more information, visit www.talentservices.com.

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e r u t n e v d A s t s o H 8 R O B A L L CO X D P n i l e n a P ’ Filmmakers

Words and photos courtesy of Pro Photo Supply

C

OLLABOR8 (collaborate) began a year ago at Pro Photo Supply as a gathering for aspiring filmmakers. It drew well over 100 filmmakers to our humble event center in Northwest Portland, making it the biggest event we had ever hosted.

The second COLLABOR8 event, an adventure filmmakers’ panel, took place on November 6 of this year, and saw an even bigger crowd. Panelists included John Waller and Ben Canales of Uncage the Soul Productions, showing off the world premiere of Requiem of Ice, an intimate portrait of the rapidly vanishing Mount Hood ice cave; Gerry Ellis and Skye Fitzgerald, who

60 MEDIA INC. JANUARY/FEBRUARY 2015

collaborated on Great Apes 2020, a documentary on great apes in Africa whose lives are threatened by poaching and development; Ian McCluskey of NW Documentary showing an excerpt from his upcoming film, Les Voyaguers Sans Trace, which tells his story of retracing the footsteps of three Parisian kayakers who came to the U.S. in 1938 and kayaked down the Green and Colorado Rivers; and Colin Arisman, who produced a Kickstarter-backed documentary chronicling his experience hiking the entire Pacific Crest Trail from Mexico to Canada.

At Pro Photo Supply, our greatest joy is getting to be a part of such a great local photo and video community. A huge thanks to all the panelists and everyone who attended. And of course, no great Portland event is complete without the usual libations, so thanks also to Base Camp Brewing Company and Clay Pigeon Winery, both local Portland businesses, for contributing beer and wine for the evening!

Stay tuned to blog.prophotosupply.com and collabor8.prophotosupply.com for announcements on future COLLABOR8 events. MI

FILM FESTIVALS (PART 1)

Northwest Film Festivals 2015

M

ark your calendars for these great events coming this winter and spring to Oregon and Washington.

Seattle Asian American Film Festival Seattle, WA February 12-15 www.seattleaaff.org Mid-Valley Video Festival Salem, OR February 19-21 www.mvvfest.org

JANUARY Children’s Film Festival Seattle Seattle, WA January 22–February 7 childrensfilmfestivalseattle.nwfilmforum.org

Bellingham Human Rights Film Festival Bellingham, WA February 19-28 bhrff.webs.com

Siskiyou FilmFest Grants Pass, OR January 30-31 www.siskiyoufilmfest.org

Post Alley Film Festival Seattle, WA February TBD www.postalleyfilmfestival.com

FEBRUARY

Sister Cities International Film Festival Tacoma, WA February TBD www.sistercityfilmfest.org

Spokane International Film Festival Spokane, WA February 5-13 www.spokanefilmfestival.org Portland International Film Festival Portland, OR February 5-21 www.nwfilm.org/festivals/piff University of Oregon Queer Film Festival Eugene, OR February 6-8 qff.uoregon.edu Science Fiction + Fantasy Short Film Festival Seattle, WA February 6-8 www.empmuseum.org/ programs-plus-education/programs/ science-fiction-plus-fantasy-short-filmfestival.aspx Cascade Festival of African Films Portland, OR February 6–March 7 www.africanfilmfestival.org

MARCH Portland Women’s Film Festival Portland, OR March 12-15 www.powfest.com Seattle Jewish Film Festival Seattle, WA March 14-22 www.seattlejewishfilmfestival.org Spokane Jewish Cultural Film Festival Spokane, WA March 19-22 www.sajfs.org Vox Docs Film Festival Leavenworth, WA March TBD www.icicle.org/performances/ vox-docs-film-festival JANUARY/FEBRUARY 2015

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FILM FESTIVALS APRIL ashland independent film festival Ashland, OR April 9-13 www.ashlandfilm.org Langston Hughes African American Film Festival Seattle, WA April 11-19 www.langstoninstitute.org/film-festival DisOrient Asian American Film Festival of Oregon Eugene, OR April 17-19 www.disorientfilm.org National Film Festival for Talented Youth (NFFTY) Seattle, WA April 23-26 www.nffty.org Cinema Pacific Eugene, OR April 27-May 3 cinemapacific.uoregon.edu

MAY Seattle Transmedia & Independent Film Festival Seattle, WA May 1-9 www.trueindependent.org Eastern Oregon Film Festival La Grande, OR May 7-9 www.eofilmfest.com Seattle International Film Festival Seattle, WA May 14-June 7 www.siff.net/festival-2015 Rainier Independent Film Festival Ashford, WA May 15-17 www.rainierfilmfest.com

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The Archaeology Channel International Film and Video Festival Eugene, OR May 15-19 www.archaeologychannel.org/events-guide/ international-film-and-video-festival Filmed by Bike Portland, OR May 22-23 www.filmedbybike.org Leavenworth Film Festival Leavenworth, WA May 30 www.leavenworthfilmfestival.org Translations Seattle, WA May TBD www.threedollarbillcinema.org/ programs/translations/ Central Oregon Film Festival Redmond, OR May TBD www.centraloregonshowcase.com 50 Hour Slam Spokane, WA May TBD www.50hourslam.com Sixty Second Film Festival Vashon, WA May TBD www.sixtysecondfilmfestival.com

FILM FESTIVALS

Festival Preview: 17 Years of SpIFF

PHOTOS BY RAJAH BOSE

W

hen it begins its run on February 5, the 2015 Spokane International Film Festival will celebrate its 17th edition. What began in 1999 as a small weekend affair, focusing primarily on regional feature films and shorts, has gradually evolved into a week-plus-long celebration that offers a feast of international cinema to round out the regional delicacies. Just as important as its celebratory factor, though, SpIFF has provided the Inland Northwest annual access to the eyes of the world through the art of cinema.

Take the 2014 festival. Features, documentaries and shorts from Europe and Asia, North and South America graced the screens of four different Spokane venues: The Magic Lantern, The Bing Crosby Theatre, The Garland, and AMC, River Park Square. Awards were presented to films from The Netherlands (Matterhorn), France (Mr. Hublot), Iran (For the Birds) and the U.S. (K2: Siren of the Himalayas). At the same time, Northwest films were rewarded, too, with special honors for features and shorts.

The 2015 festival, which will run through Saturday, February 14, promises to be even more varied, with hundreds of submissions—again, features, documentaries and shorts—coming from as far away as Spain, Australia, Turkey and Japan. SpIFF will begin announcing titles on their website in January.

An all-volunteer project, headed for the past six years by Pete Porter—whose day job is professor of film at Eastern Washington University—SpIFF is an annual reminder that cinema in all its forms remains

alive and well. Even in this cozy sector of the Inland Northwest. MI To access the SpIFF website, go to www.spokanefilmfestival.org.

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FILM FESTIVALS

Eugene International Film Festival Celebrates its 9th Year

By Mary Erickson Guest Editor

O

ver 160 filmmakers submitted their films to this year’s Eugene International Film Festival, and 45 films made the cut. The three-day-long festival, which took place November 7-9, presented films from around the world, hailing from as far away as Sweden and elsewhere, and over 40 filmmakers were present to attend their film screenings, answer questions from audiences, and network with other film professionals.

The festival’s executive director, Mike Dilley, has been at the helm for eight of the festival’s nine years. He takes pride in the festival’s objective to be a “filmmaker’s festival.”

“We want to make the festival productive for the filmmakers,” says Dilley. The festival offers numerous opportunities for filmmakers to network with production and distribution executives. “We are helping get conversations started… The camaraderie at the festival is a big payoff.”

Started in 2006, the Eugene International Film Festival has seen a number of changes over the years that signal the festival’s growing maturity. This year, Dilley and his team received more feature film submissions than ever, added six hours of screen time, and added a new screening location 20 minutes south of Eugene in Cottage Grove. The festival has also built a dedicated team of 125 volunteers who spend hundreds of hours reviewing films, hosting filmmakers, introducing screenings and providing additional support.

The festival hosted an opening gala for filmmakers and other industry professionals, who were warmly welcomed by Eugene mayor Kitty Piercy, Oregon state legislator Nancy Nathanson, and the Oregon Film Office’s new director, Tim Williams.

Screenings were held at the Valley River Center Regal Cinema and the Bijou Metro Cinema. EIFF also sponsored screenings in Cottage Grove, the town where one of the very first films in Oregon—Buster Keaton’s The General—was produced in 1926.

“I’ve been looking for this opportunity for years,” Dilley says. Holding screenings at Cottage Grove’s Opal Center for the Arts was a “big success and great for the community,” he adds.

One of the marquee opportunities is the festival’s Screenwriters/Filmmakers Retreat. This intensive three-day retreat connects screenwriters with experienced industry executives: film and TV agent Ken Sherman, Murder, She Wrote show64 MEDIA INC. JANUARY/FEBRUARY 2015

Programs for EIFF 2014. IMAGE BY MARY ERICKSON

runner Tom Sawyer, and distributor/producer Mike Katchman. Fifteen participants joined in the retreat this year, gaining insight into the inner workings of the industry and refining their

Thru the Woods producer/director/screenwriter P.R. Tooke and Murder, She Wrote showrunner Tom Sawyer enjoying the camaraderie of the Eugene International Film Festival. IMAGE BY KELLY LYON

FILM SPOTLIGHT: EVOLUTION OF A MURAL In 1984, Michael Margulies was director of photography on the ÀUVW Police Academy movie. Over the span of his lengthy career, he has been DP on RYHU ÀOPV DQG QRZ teaches cinematography at Boise State University. Now he has directed his first Director Mike Margulies and executive producer Jandocumentary short, et Parks, whose film Evolution of a Mural won Best Art Short at this year’s festival. IMAGE BY MARY ERICKSON Evolution of a Mural, which was featured in this year’s Eugene International Film Festival. Evolution of a Mural received the festival’s Best Art Short award.

FILM FESTIVALS FILM SPOTLIGHT: HOMES FOR THE HOUSELESS

Distributor Mike Katchman, ďŹ lmmaker Greg Black and Eugene Mayor Kitty Piercy at the Eugene International Film Festival Opening Reception. IMAGE BY KELLY LYON

screenplays.

Another highlight in the festival is the Shaggy Dog Project, showcased for the third time this year. The Shaggy Dog Project is a consortium of Eugene-area ďŹ lmmakers who meet weekly to work on several ďŹ lm projects collaboratively. Kathleen Caprario-Ulrich’s short comedy, Mourning After, which played at the Cannes Film Festival Short Film Corner this past May, screened as part of the sold-out Shaggy Dog Showcase during the Eugene festival.

A number of ďŹ lms were honored for excellence in ďŹ lmmaking at the festival. David Brown and Meredith Dreiss’ ďŹ lm, Agave is Life, won Best Documentary Feature. Wildlike,

$ VKRUW ÀOP E\ -DQD 7KULIW DQG 'DYLG =XSDQ Homes for the Houseless GRFXPHQWV KRPHOHVV SHRSOH LQ WKH (XJHQH DUHD ZKR KDYH IRXQG VXSSRUW DQG WHPSRUDU\ KRXVLQJ DW WKH FLW\¡V 2SSRUWXQLW\ 9LOODJH FRPPXQLW\ $IWHU ZLWQHVVLQJ WKH 2FFXS\ PRYHPHQW DQG VHHLQJ VXIIHULQJ LQ KHU FRPPXQLW\ 7KULIW ZDV LQVSLUHG WR PDNH D ÀOP DERXW WKLV VWUXJJOH WKDW LV RIWHQ RYHUORRNHG 7KH FLW\ RI (XJHQH ZDV Jana Thrift produced and directed SUHVVXUHG WR DGGUHVV LWV KRPHOHVV FULVLV Homes for the Houseless with David DQG 2SSRUWXQLW\ 9LOODJH VSUDQJ RXW RI Zupan (not pictured). IMAGE BY KELLY LYON. WKDW SUHVVXUH Homes for the Houseless LV 7KULIW DQG =XSDQ¡V ÀUVW ÀOP ´, ZDQWHG WR EHFRPH D GRFXPHQWDULDQ IRU WKLV KLVWRULFDO PRPHQW ¾ 7KULIW VD\V 7KH ÀOPPDNHUV¡ ZRUN ZDV KRQRUHG DW WKH (XJHQH ,QWHUQDWLRQDO )LOP )HVWLYDO WKH PLQXWH ÀOP UHFHLYHG DQ DZDUG IRU %HVW 'RFXPHQWDU\ 6KRUW

directed by Frank Hall Green, won Best Narrative Feature.

As the festival heads into its tenth year, Dilley is coy about plans to celebrate this milestone. “Whatever it is,� he says, “we’ll have fun doing it.� MI The Eugene International Film Festival returns to Eugene in November 2015.

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Roll the Credits: Wild

C

heryl Strayed’s incredible journey—both physical and spiritual—comes to life in Jean-Marc Vallée’s Wild. Starring Reese Witherspoon and Laura Dern, the film was shot almost completely in Oregon and utilized many local cast, crew, and services.

Wild opened nationwide in December.

CAST Reese Witherspoon ... Cheryl Laura Dern ... Bobbi Thomas Sadoski ... Paul Keene McRae ... Leif Michiel Huisman ... Jonathan W. Earl Brown ... Frank Gaby Hoffmann ... Aimee Kevin Rankin ... Greg Brian Van Holt ... Ranger Cliff De Young ... Ed Mo McRae ... Jimmy Carter Will Cuddy ... Josh Leigh Parker ... Rick Nick Eversman ... Richie Randy Schulman ... Therapist Cathryn de Prume ... Stacey Kurt Conroyd ... Greg’s Friend Ted deChatelet ... Greg’s Friend (as Ted De Chatelet) Jeffree Newman ... Greg’s Friend Lorraine Bahr ... Lou Jerry Carlton ... Dave Kevin Michael Moore ... Spider (as Kevin-Michael Moore) Debra Pralle ... Saleswoman Gray Eubank ... Doctor Anne Sorce ... Nurse Charles Baker ... T.J. J.D. Evermore ... Clint Beth Hall ... Desk Clerk Jan Hoag ... Annette Art Alexakis ... Tattooist Anne Gee Byrd ... Vera Evan O’Toole ... Kyle Jeanine Jackson ... Lecturer Jason Newell ... Cheryl’s Dad Barry O’Neil ... Young Suit #1 Rich Morris ... Young Suit #2 Bobbi Strayed Lindstrom ... Cheryl (6 Yrs Old) Robert Alan Barnett ... Man at Gas Station Tony Doupe ... Man Behind Counter Dan Considine ... Weird Dude Andrew Saunderson ... Outdoor Store Clerk Greg James ... Man at the Hotel Bar Orianna Herrman ... Paul’s Girlfriend Brian Borcherdt ... Grateful Dead Cover Band Eric D. Johnson ... Grateful Dead Cover Band

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Matt Pascua ... Wayne Alina Gatti ... College Freshman Henry Shotwell ... Son of Man at Gas Station Cheryl Strayed ... Woman in Truck Brett Barron ... Drunk Guy #2 Ray Buckley ... Joe Areana Cirina ... Newspaper editorial Student David Lichtenstein ... Roland Zackry Ayres ... Dead Head/Extra (uncredited) Joseph Thomas Bailey ... Native American Man Crossing the Road (uncredited) Sara Bailey ... Mother of two at the gas station (uncredited) Vincent M. Biscione ... Truck Driver (uncredited) Cody Burns ... Restaurant Patron (uncredited) Miles Cardin ... College Student (uncredited) William “Will” Daubert ... Gas Station Attendent (uncredited) Jordan David ... (uncredited) Matthew Joel Flood ... Grateful Dead Hippie - Matthew (uncredited) Bekah Grace ... Ashland Local/Deadhead (uncredited) Dylan Hall ... Hippie Kid (uncredited) Simos Kalivas ... Deadhead Bartender (uncredited) Kurk Kasparian ... Man in the Sushi restaurant (uncredited) Brent Kublick ... Drunk Guy #1 (uncredited) Dylan Wayne Lawrence ... College Frat Guy (uncredited) Jacob Looper ... College Student (uncredited) Edwin Modlin II ... Hot Smoking Guy (uncredited) Blaine Palmer ... Store Assistant (uncredited) Elizabeth Pennington ... College Student (uncredited) Ted Rooney ... Crazy Guy (uncredited) Trip Ross ... Punk (uncredited) Peter Simpson ... Man in Bar (uncredited) Wayne Sweat ... Tourist (uncredited) Robert Zorn ... Homeless Man w/Dog (uncredited) CREW Directed by Jean-Marc Vallée Writing Credits Nick Hornby Cheryl Strayed Produced by David Greenbaum ... production executive Bruna Papandrea ... producer Nathan Ross ... executive producer Cheryl Strayed ... associate producer Bergen Swanson ... executive producer Reese Witherspoon ... producer Cinematography by Yves Bélanger

Film Editing by Martin Pensa Jean-Marc Vallée (as John Mac McMurphy) Casting By David Rubin Production Design by John Paino Art Direction by Javiera Varas Set Decoration by Robert Covelman Costume Design by Melissa Bruning Makeup Department Kymber Blake ... key makeup artist Tanya Cookingham ... key makeup artist Stephanie June Johnson ... makeup artist Christina Kortum ... makeup artist Miia Kovero ... hair department head/ hair stylist: Ms. Witherspoon Terri Lodge ... additional makeup artist Robin Mathews ... makeup department head/ personal makeup artist: Reese Witherspoon Kyra Panchenko ... makeup artist: Laura Dern Jennifer Popochock ... additional makeup artist Production Management Michael Bartol ... production supervisor Bergen Swanson ... unit production manager Second Unit Director or Assistant Director Shawn Dyrdahl ... second second assistant director Urs Hirschbiegel ... first assistant director Eric Richard Lasko ... second assistant director Art Department Antonio Andraus ... leadman: Mojave Unit Daniel Bates ... set painter Daas Bersano ... general foreman Jason Beveridge ... on-set dresser Philip Blackburn ... set dresser Dan Clerg ... greensman Andrae Covington ... set designer Jarred Decker ... propmaker Alan Feffer ... propmaker Sean Fong ... assistant property master Jenelle Giordano ... buyer Shayna Goldstein ... set dresser Isaac Hayden ... set dresser Arlo Hoffman ... on-set greensman Eldridge Huntington ... set dresser Anne Hyvarinen ... head painter: locations Adam Johnson ... set dresser Jeffrey Brian Johnson ... set dressing gang boss Shane Klum ... greensman Vanessa Knoll ... additional buyer Ellen Lepinski ... lead scenic artist

Rick Lepinski ... first greens Beth Lipson ... art coordinator Chris McFadden ... key greensman Julia Oliver ... clearance coordinator Steve Patterson ... propmaker John Pearson-Denning ... property master Kenneth Poirier ... graphic designer Renee Prince ... paint gangboss Dean G. Roberts ... construction coordinator Sean Roney ... art production assistant Bryan Seidel ... set dresser Crystal Shade ... painter Angela J. Smith ... additional buyer Johnny Trudell ... construction gangboss Chandler Vinar ... leadman Bryan ‘fro’ Waters ... greensman (as Bryan Waters) James D. Workman ... on-set painter Sound Department Coll Anderson ... sound effects editor Paul Apted ... dialogue editor Nate Aylor ... utility cable David Betancourt ... ADR mixer Susan Dawes ... supervising dialogue editor Tim Gomillion ... sound recordist John Guentner ... foley mixer Dick Hansen ... production sound mixer Morgan Hobart ... second boom/sound utility Mildred Iatrou ... supervising sound editor Doug Jackson ... sound effects editor Bob Kellough ... sound effects editor Tom Lalley ... re-recording engineer Ai-Ling Lee ... sound designer/sound re-recording mixer/supervising sound editor Andy Nelson ... sound re-recording mixer Dan O’Connell ... foley artist Jacob Riehle ... assistant sound editor Creed Spencer ... sound utility Billy Theriot ... ADR mixer (uncredited) Special Effects by John S. Baker ... special effects foreman Bob Riggs ... special effects coordinator Visual Effects by Marc Cote ... visual effects supervisor Daniel Coupal ... lead compositor Philippe Desrosiers ... assistant editor Arnaud Dumas ... additional footage production Charles-Alexandre Gauthier ... digital compositor Ken Gray ... digital compositor Heston Labbe ... matte painter Nathalie Lanthier ... project manager Maxime Lepage ... digital compositor Jean-Philippe Lucas ... digital compositor Petru Luchianic ... system administrator Julien Maisonneuve ... visual effects producer Adam O’Brien ... additional footage production Yawar Raja ... visual effects artist Terry Riyasat ... digital compositor Frederic St-Arnaud ... digital matte painter: Raynault vfx

Catalina Stanculescu ... accounting Timothy Ward ... digital compositor Stunts Kristina Baskett ... stunt double: Reese Witherspoon Art Hickman ... water safety Josh Hicks ... stunt rigger Kent W. Luttrell ... stunt rigger Doug O’Dell II ... stunts Alex Terzieff ... stunt coordinator Camera and Electrical Department Stephen S. Campanelli ... steadicam operator Jesse Evans ... camera operator Anne Marie Fox ... spfx photography/still photographer Jeff Griecci ... camera production assistant Bruce Henderson ... key grip Brian Neubauer ... grip Nathaniel Peirson ... additional grip Laura Roe ... loader Paul Santoni ... first assistant camera Sigfried Seeliger ... lighting technician Brian Shotzbarger ... best boy grip Liam Sinnott ... second assistant camera Albert Tablanza ... best boy/electric Mark Tomlinson ... grip Scott Walters ... gaffer Justin C. Ward ... lighting technician: additional Casting Department Johnny Gidcomb ... ADR voice casting Eryn Goodman ... casting: Oregon Ranielle Gray ... casting associate: Oregon Jeremy Lambert ... extras casting assistant Melissa Pryor ... casting associate Andrea Rueda ... casting assistant Danny Stoltz ... extras casting Lana Veenker ... casting: Oregon Costume and Wardrobe Department Nikki Bartnick ... costumer Britta Hellquist ... costume p.a.

Martha Hines ... ager/dyer Savannah Johnson ... tailor Lindsay Kouri ... key costumer Dan Moore ... costume supervisor Kara Stanford ... set costumer Editorial Department Chris Abdon ... assistant editor David Berman ... assistant editor Marc Boucrot ... colorist Alexis Cadorette-Vigneau ... technical supervisor Gwenaelle Larpent ... first assistant editor Music Department Susan Jacobs ... music supervisor Transportation Department Victoria Mischa Austreng ... transportation dispatcher Cora Brooke Conzoner ... driver

Justin Louie ... unit driver Sam McMahan ... driver Steve McMahan ... driver: greens truck David Norris ... picture car coordinator Leonard Romie ... construction driver/driver Other crew George Adams ... assistant production coordinator Sheila Allen ... production accountant Nadeem Ashayer ... set production assistant Toni Atterbury ... unit publicist Daniel M. Baker ... production assistant Juli Bako ... accounting clerk Madeline Bell ... key assistant location manager Suzanne Bingham ... script supervisor Jacob Block ... stand-in Susan Boisvert ... second assistant accountant Melissa Bosco ... basecamp production assistant Jefferson O.S. Brassfield ... production assistant Allison Chic ... production assistant Dustin DellaVecchia ... accounting clerk Kiya Entwisle ... stand-in Cam Everson ... production assistant Roger D. Faires ... key assistant location manager Tal Fiala ... account executive Pam Fuller ... script supervisor Rocky Garrotto ... locations scout Alina Gatti ... key set production assistant Carolyn Golden ... production secretary Chris Goodson ... production office assistant Michele Goosen ... stand-in Nancy Haecker ... location manager Eliot John Hagen ... production assistant Erin Hagen ... stand-in Karin Hassenger ... assistant to producers Lauren Henry ... animal trainer Art Hickman ... marine coordinator Doug Hobart ... key assistant location manager Ron Huffstutter ... misc crew Sangye Ince-Johannsen ... production assistant Brendan Kenney ... set production assistant Anne Lundgren ... key assistant location manager Courtney McCrory ... accountant: post production Beth Melnick ... key assistant location manager Lee Peglow ... post production accounting assistant Lauren Pollock ... production assistant Ben Pronsky ... ADR voice actor Roland Sonnenburg ... head animal trainer Erik Sundin ... medic: cast/crew Andrew Ticer ... key assistant location manager Ryan Van Riper ... first assistant accountant Robert Warberg ... key assistant location manager Aaron Ward ... key craft service Kathy Ward ... craft service Naomi Yospe ... production coordinator

*Information courtesy of IMDb

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