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CHRIS HORNBECKER / IFC 5/16/13 12:40 PM 12:40 5/16/13 SUPPORTING Portland locations and companies play important parts in the fi lm/TV industry ROLES By Eric Gold ast August, Roger Faires drove Hollywood director Kyle Alvarez around downtown Portland, through southeast neighborhoods and out L to Hood River Valley apple country. Faires is a location scout, and the Oregon Governor’s Offi ce of Film & Television had asked him to give the visit- ing fi lmmaker a tour. Alvarez was looking for a place to shoot C.O.G., his fi lm based on the David Sedaris short story, which premiered at the Sundance Film Festival in January and is expected to be released in movie theaters this fall.

Even though the story—inspired by a period in Sedaris’ life when he picked apples and worked craft fairs—was set in Oregon, Faires knew Alvarez could shoot elsewhere: Virginia, Vermont or could stand in. But Faires recalls that on the ride back into town, Alvarez “was on the phone to differ- ent people, saying, ‘We have to fi lm in Oregon. This is just unbelievable. It all makes sense now.’ ” This reaction has become familiar to Faires, who has scouted and managed fi lm locations for 25 years, the last 10 in Portland. As a scout, he is responsible for fi nding a place—or, usually, several options— that could be used to fi lm each scene in the script. When shooting begins, he becomes a location SIMON MAX HILL manager, deciding where to park trucks, acquiring curiosity and exploration, he says, are key to his suc- city permits and informing neighbors about where cess. “I’m not embarrassed to go to somebody’s house the crew will be fi lming, with special attention to and say, ‘Hey, what’s a quarter mile past the other edge night shots and any simulated gunfi re or pyrotech- of your property? It looks like there might be a pond nics (he also keeps police in the loop). He estimates there. Am I right?’ Sometimes those things pay off.” that a hundred factors could be in play for each The needs of the script come fi rst, logistics second, location. “Some have to be perfect,” he says. For Faires says. “I think all of my peers would agree that instance, you can’t have Mount Hood in the back- they’re directing a version of the fi lm in their heads.” ground if the story is set elsewhere. “Some, you kind On the other hand, some of his best fi nds, such as of work out on the day,” he says. For example, if a a fl oating cabin and its dock—they fl oat on large logs Left: The TV show location is usable except for a nearby highway, fi lm cabled together—at a lake about 45 miles southwest Portlandia stars Carrie crews can sometimes avoid showing the road. of Portland, have led to script rewrites to highlight Brownstein and Fred The chance to work with , director of them. “The director asked the writer of the Hall- Armisen. The primary Good Will Hunting, on fi lms being shot in Portland mark Hall of Fame fi lm The Valley of Light to rewrite on-the-ground producer led Faires to move in 2002 from to the the whole scene because of how cool this thing in Portland for the show City of Roses, where Oscar-nominated Van Sant— looked,” Faires says. Professional divers added pres- is David Cress, who has who graduated from Southwest Portland’s Catlin surized plastic barrels to make sure the cabin could also been a producer for Gabel School in 1971—has long been based. Faires support the extra weight of the crew and equipment. feature fi lms shot in the has scouted and managed locations for several Van Faires has been impressed by how directors use Portland area. Sant fi lms, as well as for the Kelly Reichardt–directed his locations. For example, for the 2008 fi lm Wendy Above: Wendy and movies Wendy and Lucy and Meek’s Cutoff, and many and Lucy, Kelly Reichardt wanted a wooded area for Lucy, starring Michelle other projects, such as some scouting for the pilot the scene in which viewers fi rst meet Wendy, played Williams, is one of the of NBC’s Grimm. His car is his main scouting tool. by Michelle Williams (Lucy is her dog, played by many fi lms that Portland “What’s around that corner?” he asks himself. “OK, Reichardt’s dog). Faires suggested Kelley Point Park, location scout Roger if I see a little gravel road that says, ‘Do not enter,’ at the North Portland confl uence of the Willamette Faires has worked on. why don’t they want me to enter it?” This kind of and Columbia rivers. The crew could shoot from a

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HZ 06.13 PDXFilm.indd 25 5/17/13 1:27 PM meadow, he told the director, showing Williams walking her dog along a nearby Meet me in Seattle service road. “Kelly did the opposite,” Faires recalls, “using the road for a moving cam- era lane, and we watched as Wendy slowly, like a daydreaming schoolgirl, walked Lucy through this meadow while Wendy hummed this haunting simple melody that Will Oldham wrote for the fi lm.” The decision, Faires says, “gave, in one short sequence, the heart and soul of the fi lm: a woman moving through time and space but not aware yet of the dangers that lie ahead. Absolutely brilliant.” Faires touts Portland’s versatility as a major benefi t for fi lmmakers. “You start with a city that was built in the middle of the 1800s, and old Victorians,” he says, “and then you drive 70 blocks, and it’s 1950s America. Then you drive over here, and it’s 1980s America. It’s got a lot of great variety.” He encourages fi lmgoers to remember the location scout. “Every time you see a real-world place in your favorite TV show or movie,” he says, “somebody found that. And a lot of those great places are in Portland.”

SEATTLE CENTER ecause the City of Roses and nearby sites are such appealing locales, the BPortland metropolitan area’s fi lm/ television-production industry is strong DOWNTOWN and growing, according to the Portland Film Offi ce. Films such as the 2012 thriller Gone, and ongoing TV shows such as UNIVERSITY DISTRICT Grimm and Portlandia bring jobs and dol- lars to the metro area. New projects include the pilot for a possible new drama starring UNIVERSITY DISTRICT Geena Davis, which is being overseen by the producers of TNT’s Leverage TV series. Leverage was fi lmed in Portland for four years before its last episode aired in December 2012. The series won the Favor- ite Cable TV Drama award at the People’s Choice Awards this past January. In addition, local studios such as

PINEAPPLE HOSPITALITY continue the world-class legacy of Port- land-based animation. Laika is known for award-winning commercial content and also for producing the Oscar-nominated stop-motion features Coraline (2009) and ParaNorman (2012). Its next animated feature, The Boxtrolls, will premiere in 3D 866.866.7977 in theaters on October 17, 2014. The area’s reputation for noteworthy ani- staypineapple.com mation work was built by people such as , who coined the term “Claymation” /StayPine apple in 1976 and won acclaim for the “California Raisins” commercials of the late 1980s (he also created the computer-animated M&M’s characters “Red” and “Yellow”). Laika, Continued on page 75

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HZ 06.13 PDXFilm.indd 26 5/17/13 1:27 PM within the Portland Development Commission. “The PDC, the mayor, all of our bureau partners [such as Portland Parks & Recreation and the Port- land Bureau of Transportation]—we’ve really got the city behind this industry,” she says. Filmmakers know they also can rely on knowl- edgeable and experienced local companies and crews, Midthun says. In addition to location-scout Faires, some of the area’s top film/TV-production- support experts include the animation wizards at , the casting aces at Cast Iron Stu- dios, and respected Portlandia producer David Cress—just a few examples of the thousands who make film-and-television production a vital part of Roger Faires found Liz’s COURTESY: ROGER FAIRES Portland’s economic and cultural landscape. Palace for Beauty for the Continued from page 26 movie C.O.G., expected which now owns the Claymation trademark, grew Bent Image Lab to be on-screen in movie out of a studio Vinton founded in 1976. Other promi- In 2002, Ray Di Carlo—who put in more than 700 theaters this fall. nent animation-industry players include Jim Blash- hours of scuba diving off the east coast while work- field, Joan Gratz, Joanna Priestley and Bill Plympton. Blashfield’s career in animation for films, art PORTLAND’S ATTRIBUTES installations and music videos dates to the 1970s, Skilled workforce: Work on local and out-of-town film productions and in the and he directed, produced and oversaw animation demanding field of episodic television—such as on TNT’s Leverage, which for the Grammy-winning music filmed in Portland for four of its five seasons—has resulted in a crew and video Leave Me Alone. Gratz developed the technique of clay painting in animation, first used in her actor base of people who are experienced and knowledgeable. “Anybody who Oscar-nominated 1981 film The Creation, and also needed to be trained up is ready to go,” says Lana Veenker, owner of the Cast used in her 1992 Oscar-winning Mona Lisa Descend- Iron Studios casting company. ing a Staircase. Priestley has been making animated Variety of locations: With 19th century Victorians, traditional suburbs, areas films since the early 1980s and was dubbed the that look like the Midwest, industrial areas similar to the Rust Belt, dense for- “Queen of Independent Animation” by fellow Port- est conveniently located right in the city, and glass towers that have stood in land native and animator Bill Plympton. In 2011, for Dubai, Portland “is the first city, leaving LA, that looks like it could be any the Action on Film International Film Festival gave number of locales,” says location scout and manager Roger Faires. Plympton—who has been nominated for two Accessibility of mountains and coast: With Mount Hood about 60 miles south- Oscars—a Lifetime Achievement Award. east and the coast about 80 miles west, Portland offers tremendous outdoor A study by the Northwest Economic Research filming opportunities. “I love scouting the natural elements,” says Faires. Center at Portland State University showed that Weather: “Overcast skies look beautiful on film,” says Shelley Midthun, film- when all types of productions, including animation industry liaison for the Portland Film Office. “Plus, summers are beautiful and live action, were factored in, the film/TV indus- and mild.” Digital technology, requiring less light than film, means less back- try directly accounted for 4,288 Portland metropoli- lighting and more flexibility to shoot in misty conditions, notes local producer tan area jobs in 2011 (the most recent year studied by David Cress. the center), a 16 percent increase over 2007. The No sales tax: Oregon’s lack of sales tax means that a $10,000 set elsewhere total dollar value of goods and services provided in may cost only $9,200 here, says Vince Porter, executive director of the the Portland metro area in 2011 as a direct result of film/TV work was approximately $522 million. Governor’s Office of Film & Television. The state-funded Oregon Production Investment State incentive program: The Oregon Production Investment Fund has Fund annually invests $6 million to provide rebates $6 million per fiscal year it can use to rebate 20 percent of the cost of to companies for Oregon-based production expenses Oregon-based goods and services and up to 16.2 percent of production- such as set-building materials, props and catering. related personnel wages. The rebates are in cash and are based on meeting While the state’s reimbursement rate of 20 percent various criteria. on goods and services and up to 16.2 percent for Quality of life: Outstanding outdoor recreation, a vibrant music scene, excel- wages is not among the highest offered by the lent restaurants and brewpubs, and a relatively low cost of living are among 40-plus states that have such a fund, the rebates are the attributes that make Portland attractive to out-of-town filmmakers and in cash versus tax credits. The fund gets Portland to entrepreneurs deciding where to base their companies. “Just from our into the conversation, and other factors close the headquarters, we can walk to four exceptional restaurants,” notes Bent Image deal. (Please see the sidebar at right.) Lab’s Ray Di Carlo. “We try to make the process of filming here as Same time zone as industry center LA: Portland’s proximity to Los Angeles easy as possible,” says Shelley Midthun, who worked means filmmakers can come up for a quick visit to check out a crucial loca- at Laika for more than five years as an assistant to tion or attend a casting session. “You could leave LA in the morning, be in director Henry Selick, and in other production roles, Portland by lunchtime, and fly back home the same day,” says Lana Veenker and now heads the Portland Film Office, facilitating of Cast Iron Studios. “They love that.” —E.G. permitting and other aspects of production from

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HZ 06.13 PDXFilm.indd 75 5/17/13 1:27 PM age, with more staff added for big projects. The company does all kinds of animation and effects, from 2D cartoons to stop-motion puppetry to computer-generated and graphics. For a soap commercial, Bent Image Lab devised an original technique to animate the head of a real actress and put it on a stop-motion body. The com- pany says it also was the first to use 3D printers for stop-motion animation, a technique it employed for an anti-smoking spot commissioned by a govern- ment client. The company printed a series of boy and girl faces that had different facial expressions and could snap on and off a puppet body for a boy character and a girl character. It then filmed differ- COURTESY: BENT IMAGE LAB ent faces on each puppet, and when the frames were The visual effects for good- ing on special effects for the 1989 James Cameron put together, they created the impression of subtle guy character Monroe, film —realized that Portland animators facial-expression changes. When another client who transforms into a and effects experts were struggling. One drove a cab; wanted a character to age before the viewers’ eyes, werewolf-like creature in another took a job as a janitor. Di Carlo did not want the lab combined images of different parts of vari- the Grimm TV series, are to leave town, and neither did award-winning direc- ous faces on a computer to achieve the effect. created by Portland’s Bent tor and animator or animator/director When the producers of the TV series Grimm came Image Lab. David Daniels, who had invented the strata-cut tech- to town in the summer of 2011 and needed someone nique of clay animation. (Strata-cut involves creating to animate human characters morphing into fairy- images within a long “loaf” of clay that is sliced to tale creatures, Bent Image Lab was ready. Among reveal each image.) They knew there was world-class other Grimm characters, the company says it now animation talent in Portland, notes Di Carlo, “so we does all the visual effects for series regular and said, ‘Let’s see if we can get some work.’ ” good-guy Monroe, a reformed werewolf-like creature. The trio formed Bent Image Lab, and their exper- Bent Image Lab has also created stop-motion rat tise and commitment to innovation have paid off. puppets for the Channel’s Port- Today, Bent Image Lab employs 130 people on aver- landia; a sperm whale puppet for Portland director

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HZ 06.13 PDXFilm.indd 76 5/17/13 1:27 PM Experience Thailand in Central Oregon at Noi Thai Cuisine. Authentic Thai fl avors and elegant atmosphere off er an escape

to a culture where food is art and friends OREGON MEDIA PRODUCTION ASSOCIATION are family. Lunch Monday - Friday, dinner Many filmmakers and TV producers turn to Cast Iron Studios to find actors. The com- nightly, Saturday dinner all day. Happy pany cast Danny Bruno, right, for the recur- hour 2:30 - 6 p.m. noithaicuisine.com. ring refrigerator-repairman role in Grimm.

BEND 541.647.6904 ’ Bob Dylan–inspired film I’m 550 NW Franklin Ave Not There; and two stop-motion specials for Suite 148 (Entrance on Bond St.) Hallmark: Jingle All the Way and Jingle & Bell’s Christmas Star. The lab has animated in for commer- cials for Fruity ; re-created classic Rankin/Bass Christmas characters from the 1960s—such as Rudolph, Santa and The Bumble from the Rudolph the Red- Nosed Reindeer classic—for Microsoft; and created animated TV spots for companies in Canada, South America, Europe, Russia, India and China, among other places. Di Carlo says that Portland’s reputation as a hip city with a phenomenal food scene Authentic ! ai food of the Northwest helps Bent Image Lab compete for busi- ness. Clients who once preferred to travel to London or Los Angeles now “literally cannot wait to come here,” he explains. “They say, ‘Hey, I want to try this restau- rant I read about.’ ” The company’s commitment to creative excellence has helped Bent Image Lab keep its revenue growing at about 35 per- cent a year, Di Carlo says. “If we don’t do the business right and we fail, we can all Bai Tong, which means banana leaf kind of live with that. If we don’t do the art in Thai, was opened in 1989 to cater right, and fail, then that’s a problem.” Thai Airways crew members with Cast Iron Studios top restaurant chefs from Bangkok. For live-action needs, many filmmakers Today, Bai Tong is the standard for and TV producers call Lana Veenker, genuine Thai food in the Seattle founder and owner of Cast Iron Studios. area, with locations in Tukwila The onetime stage actor, originally from Portland, learned casting in Europe, where and Redmond. her employers included a London casting office. When she returned to Portland in Lunch and dinner daily, happy hour 1999, she thought it would be just a pit 3 - 6 p.m. baitongrestaurant.com stop on the way to a bigger city, but “people found out I had done casting and started TUKWILA REDMOND hiring me,” she says. “Next thing you 206.431.0893 425.747.8424 know, I’ve got a company.” 16876 Southcenter Parkway 14804 NE 24th St. As casting directors, Veenker and her associates find actors who fit specified

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HZ 06.13 PDXFilm.indd 78 5/17/13 1:27 PM parts, then represent producers in contract negotiations with the talent agents who represent the performers. “We’re like the Does Your Hand Shake buffer between the creative artists and the money people,” Veenker says. Her firm When You… draws primarily from talent-agency rost- Drink a glass of water? Write a note? Dial a phone number? ers and from its own database of unrepre- sented local actors, but occasionally uses If so, you may be suffering from Essential Tremor. Dr. Ronald Young other methods, such as when it turned to from the Swedish Radiosurgery Center has successfully treated over social media to find cast members for Van 1,000 patients — more than any other physician worldwide — using Sant’s Paranoid Park. Van Sant wanted “real Gamma Knife, a non-surgical approach to treat Essential Tremor. kids,” not movie stars, for his film focused on a high school skateboarder, Veenker says. A post on MySpace invited teenagers ranging from skaters to honor roll students, from shy kids to class clowns, to attend cat- tle call auditions. The posting drew 2,971 Portland-area teens. One of them, skate- boarder Gabe Nevins, landed the lead role. Generally, out-of-town productions will DRAWING SAMPLE BEFORE TREATMENT DRAWING SAMPLE AFTER TREATMENT come to Portland with a few celebrities attached, then hire everyone else locally, Learn more about Essential Tremor and !nd out if Veenker says. The requirements for each Gamma Knife treatment is right for you. role are different and go beyond acting. A 1-206-320-7187 Swedish.org/essentialtremor director’s preferences, the physical stature of the stars the other actors will play alongside, and stunt ability can all be considerations. A typical episode of a TV series such as Grimm, which Cast Iron Studios handles, could involve five to 20 roles. A feature film could involve 30 or more roles. In recent years, Veenker’s company has cast the gothic phenomenon Twilight; the Harrison Ford film Extraordinary Mea- sures (including casting Portland’s Diego Velazquez in the role of a son); and the romantic comedy Management, starring “THERE’S Jennifer Aniston. Two Portland actors her company cast for Grimm—Danny Bruno (as a beaverlike refrigerator repairman) and Robert Blanche (as a Portland police NO SUCH officer)—have seen their roles evolve into recurring parts. Television commercials for companies such as Nike, Intel, Apple and Facebook keep her staff busy between film and television work. THING AS A When not casting, Veenker travels inter- nationally to speak about the industry, and locally, she lobbies legislators in Oregon’s capital of Salem. The industry generally has strong bipartisan support, she says, B O U T I Q U E especially when legislators are able to visit a set. “It’s not just these Hollywood types drinking lattes,” she says. “It’s a lot of local HOTEL, carpenters and electricians. Good jobs.” Producer David Cress said the Portland hotel that TripAdvisor called ‘the fourth One Portland-based film-industry executive sexiest boutique hotel in the country.’” They said it, not us. who’s used Cast Iron Studios is David Cress, who produced Van Sant’s Paranoid Park A PROVENANCE HOTEL RUN THE PROVENANCE WAY. and Restless, both filmed in Portland. Van Sant’s earlier film, Drugstore Cowboy, helped

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HZ 06.13 PDXFilm.indd 80 5/17/13 1:27 PM inspire Cress to pursue filmmaking. He’d thought it wasn’t practical to seek a film- related career in Portland, but because Van Sant was from Portland and had shot Drugstore Cowboy there, Cress—who’d taken a break from pursuing his college degree while he tried to determine his voca- PORTLAND, OREGON tion—thought maybe he also could have a film-focused career in the City of Roses. He decided to study filmmaking at Mt. Hood Community College. While working at the on-campus television studio, Cress kept noticing three empty chairs on a raised platform in the back of the room. “One day I got the nerve to ask who sat there,” he says, “and they said, ‘Oh, don’t worry about that. That’s where the producer sits.’ ” But TEA ... FOR TWO Cress had a keen interest in how organiza- An icon of Portland, the Tea Court tions work; he had found his niche. has been restored to its original He likens the producer’s role to that of splendor. Sip tea by the marble the conductor of a college marching band. The film crew and cast are highly trained fireplace, surrounded by artwork in their individual jobs, he says, “but some- from the Vanderbilt Estate. one has to orchestrate bringing everything together.” The title of producer is applied to a vari- ety of roles, Cress says. Executive produc- ers on feature films have traditionally been people who invested money or brought some other important piece, like an actor, to a project, although sometimes they have an administrative, business-oriented role, as he did as one of the executive producers of Restless. In television, Cress says, the executive producer role is often more creative and may involve writing for the show; however, WE TREAT Cress typically plays a logistical role. “I’m kind of a nuts-and-bolts guy,” he says. He makes sure everything is on time, EVERY GUEST budgeted and accounted for, and negotiates with unions for crew rates. “We’ve always tried to make a dime look like a dollar,” he says of local film and TV producers. LIKE A In 1995, Cress co-founded Portland- based Food Chain Films, which produces TV commercials and music videos. He sold CELEBRITY his interest in the company in 2007, but his work with local musicians was part of what led him to his current project, the TV BECAUSE MANY series Portlandia, starring indie-rock gui- tarist and ’s . OF THEM ARE. The series features sketch comedy You don’t have to be an Oscar winner or head of state to feel like lampooning modern urban life—from the most important guest we’ve ever had. You just have to have your militant bicyclists to almost empty retail people call our people. (We’re in Portland.) establishments to misguided craft projects. Cress is the primary on-the-ground pro- ducer in Portland for the show, working for executive producers such as Andrew Singer, who oversees the LA-based West A PROVENANCE HOTEL RUN THE PROVENANCE WAY. Coast office of famous executive producer

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HZ 06.13 PDXFilm.indd 81 5/16/13 10:09 AM Lorne Michaels’ Broadway Video company. Cress wasn’t sure what would happen when his Portlandia team asked then- mayor Sam Adams not only to let the pro- duction shoot in city hall, but also to play a cameo role—as the assistant to Portland- ia’s mayor, played by Kyle MacLachlan (Cress thinks Brownstein was the one who pitched that idea to Adams). “I was fully prepared to make the [we create] jobs argument,” Cress says, recall- ing a meeting with the mayor and his staff, “but they were very attuned to that. Some- times the difference between a place that gets picked for a production and one that doesn’t is the apparent friendliness to the [film/TV] business.” The film industry is akin to the real estate–development industry, Cress says. “Every once in a while you have to drive a block out of your way because we shut down the street. But we’re real job creators just like they are. When you see that guy setting up the lights, he’s your neighbor.”

ince Porter, the executive director of the Governor’s Office of Film V& Television since 2008, brought his 12 years of experience as a vice presi- dent of production at Showtime to the film- office position when he came to Portland in search of a lifestyle and career change. His background gives him a good under- standing of the people on the other end of the phone, he says. “We average one to three projects a month—very serious, ready-to-go projects that want to come if there are incentives available.” Portland and all of Oregon continue to be places where film and TV producers can have a world-class filming experience, Por- ter says, citing Portland’s strength in the software and video-technology industries CAL COLLINS, CLASS OF ‘98 PRESIDENT AND COO as an additional opportunity for collabora- ESCO CORPORATION tion with producers in the evolving land- scape of digital media. Are you already a proven leader with a desire to advance your Given advantages such as technological career and broaden your opportunities? Earn your MBA among expertise, an experienced workforce and peers in a curriculum tailored to working professionals while you outstanding location options, he says, propel your career to the C-suite. “we’re very bullish on Portland’s ability to innovate and grow in the film and TV Join us in Portland Wednesday evenings June 12 or 26 for industry.” I an open house, or attend a noon lunchtime session Thursday, June 20. Reserve your seat at Writer Eric Gold lives in Portland. For a list of films shot in Portland, and in Oregon, visit oemba.uoregon.edu oregonfilm.org.

Alaska Airlines (800-ALASKAAIR; alaskaair.com) flies daily to Portland, with new service between Atlanta and Portland EO/AA/ADA institution committed to cultural diversity. starting August 26, and new service between Dallas and Portland starting September 16.

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