Not all Oregon film historians are women, but this first group was. Left to right: Heather Petrocelli,  Anne Richardson, Ellen Thomas, Rose Bond. Not pictured: Michele Kribs, unavailable because she was out riding her motorcycle.

Dateline: 2033, 20 years from now.

The Oregon Film History Initiative celebrated its 20th birthday today by blowing out candles on 20 virtual cakes scattered throughout the state.

Founded in 2013 by a group of librarians and historians, OFHI’s original mission was to ensure that key documents and artifacts essential to a full understanding Oregon’s unique film history were successfully archived within the state.

The Initiative began unofficially with the acquisition of James Ivory’s papers at the U of O.  A trickle of film scholarship triggered by Richard Herskowitz’s 2013 James Blue Tribute turned into a steady stream. Portland’s silent film industry, Oregon’s McCarthy era Westerns,  Godard’s trip through the Pacific Northwest with Jon Jost in 1972 – books on these subjects transformed public understanding of the intersection between Oregon film history and American film history.

Few can remember the time before a full length biography of Portland musician Melvin Jerome Blank, aka Mel Blanc, radically re-positioned pre-Portlandia Jazz Age Portland as an engine of American pop culture, and launched a new cultural tourism industry.

Oregon Film History Initiative brought together a truly diverse set of stakeholders. While UO collected papers of Oregon filmmakers, Oregon Heritage Commission, in cooperation with Travel Oregon and Oregon Cultural Trust, supported the restoration of downtown theaters in rural Oregon towns.

NWFC continued their trademark events. Lewis & Clark began a media literacy summer school for teachers. UO, working in partnership with Oregon Cartoon Institute, began hosting an annual Oregon film history conference.  OCI secured a digital humanities grant to tell the story of Lew Cook, Homer Groening, and Frank Hood, three WWII vets whose passion for 16mm filmmaking would re-ignite Portland’s independent film scene.

Meanwhile, the Initiative’s popular annual fundraisers provide homesick Oregon film artists in LA and NY an annual reason to fly home for a visit.

Virtual candles for the 20th birthday celebration were blown out  in Salem, Astoria, Eugene, Pendleton, Cottage Grove, Joseph, Grants Pass, Bend, Baker, Klamath Falls, Jacksonville, Oregon City, McMinnville, Sandy, Brownsville, Corvallis, and all four quadrants of the city of Portland.

“Perhaps it is the climate, and then again, perhaps it is the illustrious example of the late Homer Davenport, but climate or whatever, the soil of Oregon seems to be prolific of cartoonists.”

The Oregonian, in 1914.

1. Homer Calvin Davenport (1867 – 1912) was the son of a well educated, politically progressive Oregon Trail pioneer. Brought up on a farm in Silverton, Homer became, after a series of vocational false starts, the most highly paid newspaper cartoonist in the world. His political cartoons, drawn for Hearst newspapers, were so influential legislation was introduced in New York State to outlaw them. As one of the country’s first media superstars, Homer Davenport was wealthy, powerful, well connected, and homesick. He dreamed of leaving New Jersey to return to Oregon, but his wife would not hear of it. Born in the Waldo Hills. Self taught.

2. Carl Barks (1901 – 2000) was the creator of Uncle Scrooge McDuck, and the writer-artist auteur behind Disney’s Duckville comic books. Revered for his story sense and superior draftsmanship, he has been claimed as an inspiration by figures as diverse as R. Crumb and Steven Spielberg. Barks was chosen as one of three figures to inaugurate the Will Eisner Comic Book Hall Of Fame in 1987.  Born and raised on an isolated ranch in Merrill. Self taught.

3. Basil Wolverton (1909 – 1978) was the first Pacific Northwest cartoonist to conduct his entire career by mail, without leaving the Portland area. Enormously influential, his innovative “spaghetti and meatballs” style challenged the boundaries of good taste and changed the face of American comics. Robert Crumb’s recently published Book Of Genesis is a tribute to Wolverton, while Jerry De Fuccio of Mad Magazine thought the comics industry version of the Oscar should be called “The Basil”.  Born in Central Point. Self taught.

4. Born in Oregon City in 1946, Bill Plympton worked as an illustrator and syndicated cartoonist in New York for 15 years before switching to animation. His work has appeared in the New York Times, Vogue, Vanity Fair, Variety, Rolling Stone, Glamour and National Lampoon. Bill Plympton is the only filmmaker alive who hand draws feature length films. He has drawn six of them, and is a two time Oscar nominee. Matt Groening, for one, believes “Bill Plympton is God”.

5. Born in Portland in 1951, John Callahan began cartooning in the late 70‘s, after a car accident confined him to a wheelchair. He brought a portfolio of cartoons to a PSU class taught by Bill Plympton, and the rest is history. His syndicated cartoons appeared in the San Francisco Chronicle, the New York Daily News, The London Observer, the Los Angles Times, the Chicago Tribune, Harpers, the Utne Reader, Willamette Week and 50 other publications. Two animated television series, Quads and Pelswick, were based on his work. He died in 2010, of complications related to his quadriplegia.

6. Born in Portland in 1954, Matt Groening is the creative force behind  the longest running scripted show in television history. The Simpsons has won 27 Emmy Awards, 30 Annie Awards and a Peabody Award. He is the third Oregonian to have a star on Hollywood Boulevard, after Jane Powell and Mel Blanc. Throughout all this, Groening has remained active as a cartoonist, publishing his syndicated strip, Life In Hell, every week since 1977. He cheerfully admits “Cartooning is for people who can’t quite draw and can’t quite write. You combine the two half-talents and come up with a career.”

7. Born in Portland in 1959, David Chelsea was selling cartoons before he was in high school. His work appears in hundreds of publications including the New York Times (where he illustrated the Modern Love column), The Wall Street Journal, The New York Press, Seattle Weekly, Chicago Tribune, Reader’s Digest, Boston Phoenix and Portland Monthly. For years, the New York Observer carried David’s celebrity caricatures on the front page.

8. Born in 1960 in St. Paul, Minnesota, Jack Ohman moved to Portland in 1983 to begin working as a cartoonist for The Oregonian. His cartoons appear in hundreds of newspapers including The New York Times, The Washington Post, The Philadelphia Inquirer, The Boston Globe, The Chicago Tribune, The Seattle Times, and The Baltimore Sun. He is the author of ten books, and winner of numerous awards, including the 2009 Robert F. Kennedy Journalism Award, the 2010 Society of Professional Journalists Award and the 2012 Scripps Howard Journalism Award.

9. Born in Malta in 1960, Joe Sacco moved with his family to Beaverton in time to attend Sunset High School. Graduating with a journalism degree from University of Oregon, he found his true calling when he began using the comic strip format to cover the war in Palestine. Internationally renowned, he is the winner of the 1996 American Book Award, 2001 Guggenheim Fellowship, and the 2001 Eisner Award.

10. Two emerging Oregon cartoonists share the #10 spot.

Shannon Wheeler moved to Portland in 2010. You’ve seen his cartoons in the New Yorker.

Matt Bors received the 2012 Herblock Prize, the first alternative editorial cartoonist to win that honor.

Learn more about Homer Davenport, the first in this illustrious string of Oregon cartooning geniuses, in this month’s issue of the magazine 1859. Or attend your choice of three Homer Davenport events taking place in Portland this month:

Saturday, April 21, 2:35 – 3:45 PM
“Occupy Davenport: Cartoons for the 99%”, panel at Bus Project’s Rebooting Democracy @ Backspace Cafe

Tuesday, April 24,  7:30 PM @ Jack London Bar
“Stumptown Stories: Homer Davenport Covers Dempsey vs Fitzsimmons Prizefight” Speakers: Gus Frederick & Gordon Munro

Saturday, April 28, 11:00 – 11:45 AM
Homer Davenport Presentation & Panel Discussion @ Stumptown Comics Fest

All three events are the brainchildren of Gus Frederick, lead organizer of the Davenport Project. Frederick was inspired by last summer’s Mel Blanc Project, a series of public history/arts education events presented by  Oregon Cartoon Institute.

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This post brought to you by Oregon Cartoon Institute, a colloquium of individuals and organizations interested in raising awareness of Oregon’s rich animation and cartooning history.

Pittsburgh has George Romero, Baltimore has John Waters, and Boulder has the memory of Stan Brakhage.

Portland has Gus Van Sant, Bill Plympton, Matt Groening, Mike Richardson, Jon Raymond, Aaron Katz, Chel White, Jacob & Arnold Pander, James Westby, Jim Blashfield, Joan Gratz, Joanna Priestley, Matt McCormick, Rose Bond, Vanessa Renwick and Will Vinton.

Ever wonder why?

For cities wishing to replicate Portland’s densely populated cinematic scene, here’s a handy “how to” guide.

1.  Start early.

As soon as people were making films in New York and Fort Lee, they were making them in Portland. Portland’s first film studio, American Lifeograph, opened in 1910. That’s the same year movies came to Hollywood.

2. Have a show business friendly mayor.

During the 16 year tenure of theater-owner-turned-mayor George Baker, downtown Portland was wall to wall theaters. John Gilbert, Clark Gable, William Powell, Edward Everett Horton and Eugene Pallette are some of the actors who jumpstarted their acting careers on the Portland stage, some of them in Baker’s own stock company. It was Baker who renamed Seventh Avenue “Broadway”.

3. Support innovation.

Oregon’s oldest source of print media, The Oregonian, responded to the puzzling new medium of radio by setting up a station, KGW, right in their own building, the Oregonian Tower. Radio later served as an Early Warning System to identify the talent of Portlanders-gone-Hollywood Mel Blanc, Suzanne Burce (renamed Jane Powell by MGM) and Johnnie Ray.

4. Grow your own film processing lab.

After WWII, Portland inventor Frank Hood went to work for a brand new electronics firm (originally conceived as a radio supply store) named Tektronix. He processed films he made for them, after losing patience with the delays of sending films to out of town labs. Eventually, he went into business as Teknifilm Lab. A filmmaker himself, he acted as teacher and mentor to customers. More important to the development of independent filmmaking in Portland:  Hood’s lax attitude toward payment schedules, which subsidized generations of Oregon artists working in film.

5. Provide a home for an exiled Hollywood film scholar.

Andries Deinum came to Portland during the blacklist. His vision of film as a mode of social discourse laid the groundwork for PSU’s Center For The Moving Image, housed in Lincoln Hall. Jim Blashfield, Bill Plympton, and Matt Groening were among the faithful attendees of the Center’s influential screening series, run by the Portland State Film Committee.

6. Provide a day job for the guy who wants to mentor the guy who wants to revive the archaic art form of stop motion animation.

Homer Groening led a dual life – ad man by day and experimental filmmaker by night. He had a family, a home, and his own business doing what he loved – and he did it all without leaving Portland. Aspiring filmmaker Will Vinton paid attention, and followed suit. His career, like Groening’s, would encompass both television commercials and art house films, but on a much larger scale.

7. Work with, not against, a pair of cinema addled students who want to start a regional film center.

When Sheldon Renan succeeded in persuading National Endowment for the Arts to seed regional filmmaking, they went looking for the right person to submit a grant for a film center in Portland. They were pointed to Brooke Jacobson and Bob Summers, members of the Portland State Film Committee. Brooke and Bob wrote the grant, Portland Art Museum acted as fiscal sponsor, and the Northwest Film Center went into business. This year marks its 40th anniversary.

8. Work with, not against, a visionary film preservationist who wants to create a moving image archive.

Lew Cook was trained as a newsreel photographer by the first generation of Portland filmmakers. His stop motion film, The Little Baker, made circa 1925, proved prophetic when it came to Portland’s future claim to cinema history. He and Thomas Vaughn conceived Oregon Historical Society’s moving image archive, and Cook personally trained the preservationist, Michele Kribs, who currently presides over it.

To re-cap: by the end of the 1970’s, Portland had a film program at Portland State University, a film archive at Oregon Historical Society, and a regional film festival (now the NWFF) located at Portland Art Museum. That nucleus of film creativity on the park blocks was balanced by a film processing lab, an emerging animation studio, and a warehouse waiting to be filled with  filmmakers’ offices over in northwest Portland. No one entity owned the scene – the infrastructure and the support system served all comers.

The following timeline concentrates on factors which contributed to a culture where independent filmmakers supported each other in Portland. It does not address the important role played by Hollywood productions shooting in Oregon. The symbiotic role of Hollywood and the Indies in Portland is embodied in the career of Gus Van Sant who slips and slides with ease between these two worlds.

A timeline:

American Lifeograph founded 1910

Lewis Moomaw makes The Chechacos 1924

Lew Cook makes The Little Baker c1925

PGE makes It Can Be Done c1936

Tektronix founded 1946

Frank Hood founds Teknifilm Lab, early 1950’s

Andries Deinum arrives 1957

Homer Groening starts his own ad agency 1958

Center For The Moving Image founded 1965

Bob Summers and Brooke Jacobson found Northwest Film Center 197o, with a push from Sheldon Renan

Tim Smith and Matt Groening make Drugs: Killers or Dillers 1972

Ron Finne, Tom Taylor and Brooke Jacobson found Northwest Media Project 1974

Will Vinton and Bob Gardiner make Closed Mondays 1974

Don Zavin makes Fast Break 1977

Penny Allen makes Property 1977

Rose Bond makes Gaia’s Dream 1982

Gus Van Sant makes Mala Noche 1985

Bill Plympton makes Your Face 1987

Matt Groening makes The Simpsons 1987

Jim Blashfield makes Leave Me Alone 1988

Joan Gratz makes Mona Lisa Descending A Staircase 1992

Gus Van Sant makes Good Will Hunting 1997.

Vanessa Renwick makes The Yodeling Lesson 1998

Miranda July makes The Amateurist 1998

Chris Eyre makes Smoke Signals 1998

Will Vinton makes The PJ’s 1999

Travis Knight makes Coraline 2009

Jon Raymond writes & Neil Kopp produces Meek’s Cutoff 2010, one of five Oregon films at Sundance in 2011.

This post is dedicated to Portland filmmaker/film writer David Walker, who inspired it by raising the question “how rare is regional filmmaking, anyway?”

6. A Date With Judy (1948) Jane Powell

Elizabeth Taylor tries to steal all her scenes by wearing a slight mustache, but Jane Powell, Taylor’s best friend and a fellow MGM starlet, is the star of this peek into America before Elvis. Powell (born Suzanne Burce) arrived in Hollywood at age 14. She would have preferred to stay in Portland, because she was looking forward to going to Grant High School, but it was not to be. Portland radio made a star out of Suzanne Burce. Joe Pasternak made a star out of Jane Powell. She made 14 features at MGM, and was the lead in all of them.

7. What’s Opera, Doc? (1957) Mel Blanc

“This afternoon Melvin Blank, a boy with a good voice, will sing a number of solos, accompanied on the piano by his brother.” Mel Blanc’s first write up in The Oregonian gives little indication of what was to come. Portland is where Mel Blanc learned to play the violin, the ukulele, the sousaphone and the stand up bass. Portland is where he became, at age 23, the youngest bandleader on the West Coast. Mel Blanc soaked up everything the Rose City had to offer him except a high school diploma. “I loathed school” he wrote in his autobiography. He  left in 1935 for Hollywood, where he would become the Man Of 1,000 Voices, one of which was Bugs Bunny.

6. Sleeping Beauty (1959) George Bruns

Here’s a music history scavenger hunt for you. Go to the Oregon Historical Society’s  Oregon Rocks exhibit and find George Bruns. He sits holding a trombone in a group photo of a 1940’s Portland jazz band. You’ll have to ID him by his signature because you have never seen his face. You have heard his music. Bruns was Oscar nominated for three of his many film scores: Sleeping Beauty 1959 (his first), Babes In Toyland (1961), and The Sword In The Stone (1963). The Ballad Of Davy Crockett , his first gig for Mr. Disney, sold more that 10 million records. That’s only a small fraction of the take generated by Yo Ho, Yo Ho, A Pirate’s Life For Me, another Bruns composition you might possibly recognize. George Bruns was born and raised in Sandy, Oregon.

Click here to view the embedded video.

9. Don’t Look Back (1967) Derroll Adams

Born and raised in Portland, Derroll Adams dropped out of Reed to follow his banjo. A senior statesman of the 1960’s folk scene, he famously provided Bob Dylan’s introduction to his British counterpart, Donovan. Well, someone had to do it! D. A. Pennebaker was there to catch it on film. Adams remained in Europe the rest of his life, playing folk music and teaching banjo. That’s him in the foreground at the beginning of the clip.

Click here to view the embedded video.

10. Good Will Hunting (1997), Elliott Smith

Did Gus Van Sant cut Good Will Hunting in Portland? Or was he in LA, playing Elliott Smith in the editing room because he was homesick, when it slowly dawned on him  ”Hey I think we’ve got something here…..” ? The soundtrack for this odd little blockbuster about a neurotic orphan with a Robin Williams sized hole in his heart includes Angeles and Miss Misery, which was Oscar nominated.  The Dandy Warhols also show up on the soundtrack. Van Sant is himself a musician. Like Smith, he arrived in Portland during his high school years. Unlike Smith, he basically never left.

Bonus film:

Click here to view the embedded video.

11. Wildwood (2014), The Decemberists

I’m just guessing here. Laika is planning a stop motion adaptation of Colin Meloy’s and Carson Ellis’ book. They may need some music, and Colin might have some ideas about where it should come from.

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Miss the first installment? The first Top Five Movies To See After Visiting Oregon Rocks can be found here.

Caricature by Martinus Van Tee

Myth #1. Mel Blanc graduated from Lincoln High School in Portland, Oregon.

False! Lincoln High School has no record that Melvin Jerome Blanc ever graduated. He did attend.

Myth #2. Mel Blanc moved to Los Angeles in order to become a voice artist.

False! Mel Blanc already was a voice artist when he arrived in Los Angeles. His first professional gig was here in Portland, on KGW radio, in 1927.

Myth #3. Bugs Bunny, Daffy Duck, and Porky Pig formed the center of Mel Blanc’s professional universe.

False! Mel Blanc’s first love was radio, and he worked steadily in radio throughout his entire life.

Myth #4. Mel Blanc’s phenomenal talent was a freak of nature.

False! Mel Blanc worked hard to develop his talent. He conducted two parallel careers in Portland from 1927 to 1935: he was both a musician and  a radio performer. As a musician, he had front row seats (in the orchestra pit) to study the comic delivery of the nation’s top vaudeville comics, a group which included Jack Benny, with whom he would eventually work. As a radio performer, he spent 6 years on a nationally syndicated one hour weekly show at Portland’s KGW, and two years on his own daily one hour show – which he wrote, produced, and starred in – on Portland’s KEX. He was eight years into a show business career when he moved to Los Angeles.

Myth #5. Matt Groening, Oregon’s other animation supernova (who did graduate from Lincoln High School), idolizes Mel Blanc.

Not sure! Matt Groening has gone on record stating that Bill Plympton is God.

Here’s Mel Blanc himself, in a clip introduced by Dennis Nyback. Mel appears at 2:55.

Click here to view the embedded video.

This post brought to you by the Oregon Cartoon Institute in honor of Bugs Bunny’s 70th birthday.

Basil Wolverton displays his pioneering “spaghetti and meatballs” approach to human anatomy.

As Oregon Cartoon Institute heads into its fourth year, I sat down to retrace the steps that led to its creation.

This timeline of development was originally written for Jill Hartz, at the Jordan Schnitzer Museum of Art. Thank you, Jill, for providing me with the impetus to pull this together!

1990’s in New York

As I fly back and forth between Portland and New York, I begin noticing the way Oregon press underplays the fame of Oregon’s most well received artists (Chuck Palahniuk a great example ) while at the same time New York press omits the Oregon citizenship of an artist all together. I begin to understand the way this has created a misperception that Oregon does not produce artists.

At about this same time Columbia sportswear begins showing up on the subways. The Simpsons are becoming a cultural mainstay. Elliott Smith, the Dandy Warhols, Courtney Love, Gus Van Sant — I start to feel  surrounded by Portland even when I am 3,000 miles away.

1999 visiting Portland

David Chelsea tells me about Basil Wolverton.

I knew about Homer Davenport, the Hearst newspaper cartoonist from Silverton.

I’d heard about Mel Blanc, Portland’s most reknowned voice artist.

But I am stupefied by Wolverton. How could a guy from Central Point (pop: 12,000)  influence an entire generation of  Americans? And do it via Mad Magazine ?

A seed starts to sprout in my mind.

2001, in Portland

Dennis Nyback and I teach an avant garde film survey course at Northwest Film Center. Preparing for it, I discover avant garde animator Harry Smith was born in Portland.

Smith was both the disciplined, insightful, completely original collector behind Folkways’ enormously influential Anthology of American Folk Music and a self taught, extravagantly experimental, completely original filmmaker. I never dreamt he had anything to do with Oregon.

In my previous understanding, Oregon rarely produced nationally known artists.

Now with Harry “High Brow” Smith and Basil “Low Brow” Wolverton in the picture, I am completely confused.

2003 in New York

Standing in Kim’s Video, I stumble across a footnote in a book about Robert Crumb which identifies Carl Barks, creator of the comic books which were a huge influence on Crumb, as being from Merrill, Oregon.

I turn the book over to see who wrote it — D. K. Holm, from Portland.

At this point I compile a list of living and dead Oregon cartoonists and animators and send it to John Canemaker, asking what he thinks. He calls me, excited and impressed.

He adds two new names.

He tells me Marc Davis, one of Disney’s Nine Old Men, graduated from high school in Klamath Falls

and that Pinto Colvig, an early animator turned voice artist, is from Jacksonville.

2006 in Portland

Dennis and I interview Portland cartoonist  John Callahan for The Portland That Was.

Callahan is surprised to learn that Mel Blanc, a life long hero, is from his own home town. Our intern, a graduate of Lincoln High School, the school Blanc attended, tells us she never heard of him.

About this time, graphic journalist  Joe Sacco returns home to live in Portland, bringing with him his 1996 American Book Award.

Dennis and I return home too.

2007 in Portland

We hold the first Oregon Cartoon Institute public event, a three week screening series at Disjecta of 16mm animation from Dennis’ collection. Jim Blashfield and Rose Bond come and speak. Both have conducted far ranging film careers from Portland.

Blashfield made his acclaimed music videos here, and Bond her monumentally scaled installations. Both use animation.

Our model for engaging audiences emerges  — we will use living artists as interpreters as we raise awareness about the dead ones. Chel White, Bill Plympton, Joan Gratz, Joanna Priestly, Marilyn Zornado and Will Vinton loan us 35mm prints for the final night of the Disjecta series, which takes place at the Hollywood Theater.

Second Oregon Cartoon Institute event: Dennis conducts video interviews with visiting and local artists at the Platform International Animation Festival. We put these online.

At this point, I thought we had found all the historic Oregon animation and cartooning figures there were to find.

I was wrong.

In the course of researching Oregon film history for the Oregon Sesquicentennial Film Festival, I stumble across George Bruns, a four time Oscar nominee for animated film scores, from Sandy

and Dennis stumbles across Ralph Wright, who won the Golden Bear in Berlin in 1957. He’s from Grants Pass.

2009 in Portland

Third Oregon Cartoon Institute event: we co-sponsored Bill Plympton Day at the Oregon Sesquicentennial Film Festival at Marylhurst.

Bill is as fascinated with this history as we are.

Not all our research comes from history books. Some comes from the news. Just when we weren’t looking,  Brad Bird received first one, then two Oscars.

Looking ahead:

An interview about Oregon Cartoon Institute’s next public event, which will take place in 2011, can be found online at  KBOO.fm. Conducted by S. W. Conser as part of his Words & Pictures series, this interview introduces our first artist in residence, Heather Perkins.

Oregon Cartoon Institute is all about partnerships. As soon as the details get finalized, we will announce our upcoming partnerships with others who share our goal of raising public awareness of  this state’s rich animation and cartooning history.

The Ringo Kid goes looking for trouble in Stagecoach (1939). Bonus points for readers able to spot former Pendleton rodeo star Helen Gibson as a dance hall extra.

Imports:

The Big Trail 1930 (Raoul Walsh, John Wayne)

Park Avenue Logger 1937  (George O’Brien)

Abraham Lincoln In Illinois 1939 (Raymond Massey, Ruth Gordon, Jack Pennick)

Exports:

Whoopee 1930 (George Olsen)

A Million Me’s 1930 (Lee Morse)

Virtue 1932 (Mayo Methot)

The Merry Widow 1934 (Louis Kaufman)

Born To Dance 1936 (Del Porter)

Marked Woman 1937 (Mayo Methot)

Modern Times 1936 (Louis Kaufman)

Pickador Porky 1937 (Mel Blanc)

Snow White 1937 (Pinto Colvig, Louis Kaufman, Marc Davis)

Love Finds Andy Hardy 1938 (Vivien R. Bretherton)

The Duke Is Tops 1938 (Phil Moore )

Of Mice and Men 1939 (Bob Steele )

Stagecoach 1939 (Ernest Haycox, Jack Pennick, lillypadders Yakima Canutt & Helen Gibson)

Union Pacific 1939 (Ernest Haycox, Jack Pennick)

Gulliver’s Travels 1939 (Pinto Colvig)

Gone With The Wind 1939 (Louis Kaufman, Ona Munson; lillypadders Clark Gable, Yakima Canutt)

Dual diagnosis:

It Can Be Done 1937 (PGE)