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 right in the Oregonian Tower. Radio later served as an Early Warning System to identify the talent of Portlanders 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 named Tektronix. He set up his own home lab to process films he made for them, after losing patience with the delays of sending film to LA. Eventually, he went into business as Teknifilm Lab. For decades, independent filmmaking in Portland was supported by Hood’s lax attitude toward payment schedules.

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 the National Endowment for the Arts decided 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

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

Brooke Jacobson founds Northwest Media Project 1974

Will Vinton and Bob Gardiner make Closed Mondays 1974

Don Zavin makes Fast Break 1977

Penny Allen makes Property 1979

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.

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?”

Last year, Oregon was represented at the Oscars by Coraline and The Fantastic Mr. Fox, both films animated by artists trained by Will Vinton, at Will Vinton Studios here in Portland. This year, Bill Plympton decided to keep Oregon animation in the spotlight by making sure his internationally acclaimed, multi-award winning Idiots and Angels was eligible for an Oscar nomination.

Here’s the story in Bill’s own words.

I believed in the film enough to try for an Oscar nomination.

So, without a distribution deal in place, I decided to handle the release myself. Now this isn’t the end of the world, in fact there are some positive aspects of self-release. But let me first list the negative points:

1.     I had to lay out a lot of money for prints and trailers.

2.     I had to hire press agents.

3.     I produced posters and postcards myself.

4.     I called all my press friends begging to get any kind of interview or articles.

5.     I organized street teams of students to canvas the city.

6.     I booked myself in every art school I could think of to give me a Master Class, to make the schools aware of the screening.

However on the positive side, here are the benefits of self-distribution.

1.     The rights to the film remain in  my hands, thus I can control when it’s released how it’s released, and where it shows. And if I want to rerelease it, it’s my decision.

2.     All the money, if there is money, comes directly to me.

3.     I get to control the images and style of the release. I can talk directly to my audience.

Idiots and Angels’ run at the IFC theater in New York, which began Oct.6, now has been extended to Oct. 21.

Congratulations, Bill! For all you Academy members out there, here’s the screening times:

• Wed, Oct 13 at: 1:00 PM, 2:45 PM, 4:40 PM, 6:40 PM,8:40 PM, 10:35 PM
• Thu, Oct 14 at: 1:00 PM, 2:45 PM, 4:40 PM, 6:40 PM,8:40 PM, 10:35 PM
• Fri, Oct 15 at: 1:05 PM, 4:40 PM, 8:25 PM
• Sat, Oct 16 at: 1:05 PM, 4:40 PM, 8:25 PM
• Sun, Oct 17 at: 1:05 PM, 4:40 PM, 8:25 PM
• Mon, Oct 18 at: 1:05 PM, 4:40 PM, 8:25 PM
• Tue, Oct 19 at: 1:05 PM, 4:40 PM, 8:25 PM
• Wed, Oct 20 at: 1:05 PM, 4:40 PM
• Thu, Oct 21 at: 1:05 PM, 4:40 PM, 8:25 PM

The IFC Theater is at 323 Sixth Avenue, Greenwich Village, New York. Yes! You are correct. It  is located on the site of the historic Waverly Theater, just off the southwest corner of Washington Park.

Q: What is Bill Plympton’s Idiots and Angels about?

A: New York Magazine sez: In the animation icon’s ambitious, hilariously demented moral fantasy, a selfish businessman discovers angel wings growing out of his back and finds his crass impulses suddenly at odds with a newfound, unwelcome desire to do good.

Click here to view the embedded video.

This post brought to you by the good people at Oregon Cartoon Institute.

One name kept coming up. Ellen Thomas said “Homer Groening”. Will Vinton said “Homer Groening”.Bill Plympton said “Homer Groening”. What was the question?  Dennis and I were asking them who we should know about in Portland film history.

From the Seattle Times obituary for Groening, in 1996.

Homer P. Groening was born Dec. 30, 1919, a U.S. citizen in Main Centre, Saskatchewan, the son of Mennonite farmers. He spent his youth in Oregon.

He earned the rank of Eagle Scout and was a co-founder in 1936 of Camp Pioneer at the base of Mount Jefferson. He graduated from Linfield College in McMinnville, Ore., in 1941.

He met his wife, Margaret, at Linfield. They married in 1942.

Mr. Groening flew a B-17 over Europe during World War II and participated in the D-Day invasion, winning a Distinguished Flying Cross.

After the war, he returned to Portland and joined the Botsford, Constantine and Gardner ad agency as a production assistant.

He was called up again to fly transport planes in Korea.

Upon his return, he became a vice president at the ad agency, working on accounts such as Jantzen, Pendleton, Olympia beer, Idaho potatoes and Western Hotels. He started his own agency in 1958.

“He was an absolute creative genius,” said former Advertising Federation President Mick Scott, who worked with Mr. Groening to found the American Advertising Museum in Portland.

When film caught his interest, he taught himself the craft.

“He was a one-man show,” said his daughter, Lisa. “He did the producing, writing, shooting, sound recording, editing, directing and narrating.”

Among his film clients were Jantzen, Timberline Lodge, Johnson Motors, Eastman Kodak and the U.S. Army Corps of Engineers.

He won numerous Golden Eagles, given by the Council on International Non-Theatrical Events (CINE), and awards from the Advertising Association of the West and the American Film Festival.

He produced a string of films about water in all its forms, including “Get Wet,” “Getting Wetter,” “Psychedelic Wet” and “Study in Wet.”

Mr. Groening’s son, Matt, said he received creative encouragement at home, in part because his father was a cartoonist himself. Mr. Groening took colored pencils and sketch pads home to his five children. He would make up the beginning of a story and his children would finish it.

When young Will Vinton stood in Portland with his brand new Oscar in 1975, wondering if he should stick around, he took a page from Homer Groening, and decided to stay.

One consequence of that decision…..

Travis Knight and Mark Gustafson next month will be in LA nervously waiting for the moment they open the envelope for Best Animated Feature. Both artists are former Will Vinton Studio employees, mentored by Will, who was in turn mentored by Homer.

A Wild Hare (1940) Mel Blanc voicing Bugs Bunny, nominated for Best Short Picture, Animated

Hiawatha’s Rabbit Hunt (1941) Mel Blanc voicing Bugs Bunny, nominated for Best Short Picture, Animated

Pigs In A Polka (1943) Mel Blanc voicing the Big Bad Wolf, nominated for Best Short Picture, Animated

Greetings Bait (1943) Mel Blanc voicing Wacky Worm, nominated for Best Short Picture, Animated

Swooner Crooner (1944) Mel Blanc voicing Porky Pig, nominated for Best Short Picture, Animated

Life With Feathers (1945) Mel Blanc voicing Sylvester, nominated for Best Short Picture, Animated

Rhapsody Rabbit (1947) Mel Blanc voicing Bugs Bunny, nominated for Best Short Picture, Animated

Tweetie Pie ( 1947) Mel Blanc voicing Tweetie and Sylvester, WON Best Short Picture, Animated

For Scent-imental Reasons (1950) Mel Blanc voicing Pepe LePew, WON Best Short Picture, Animated

Speedy Gonzales (1956) Mel Blanc voicing Speedy Gonzales, WON Best Short Picture, Animated

Birds Anonymous (1957) Mel Blanc voicing Tweetie and Sylvester, WON Best Short Picture, Animated

Knighty Knght Bugs (1959) Mel Blanc voicing Bugs Bunny and Elmer Fudd, WON Best Short Picture, Animated

Sleeping Beauty (1959), composer George Bruns nominated for Best Music

Babes In Toyland (1961), composer George Bruns nominated for Best Music

Sword In The Stone (1963) composer George Bruns nominated for Best Music

Robin Hood (1973) composer George Bruns nominated for Best Music

Closed Mondays (1974) c0-directors Will Vinton & Bob Gardiner WON for Best Short Film, Animated

Rip Van Winkle (1978) director Will Vinton, nominated for Best Short Film, Animated

The Creation (1981), director Will Vinton, nominated for Best Short Film, Animated

The Great Cogito (1982), director Will Vinton, nominated for Best Short Film, Animated

Return to Oz (1985), claymation director Will Vinton nominated for Best Special Effects

Your Face (1987), director Bill Plympton nominated for Best Short Film, Animated

Mona Lisa Descending a Staircase (1992), director Joan Gratz WON for Best Short Film, Animated

Guard Dog (2004), director Bill Plympton nominated for Best Short Film, Animated

The Incredibles (2004), director Brad Bird WON Best Animated Feature

Ratatouille (2007), director Brad Bird WON Best Animated Feature

Coraline (2009), director Henry Selick/lead animator Travis Knight, nominated for Best Animated Feature Film

This installment in the Handy Guide Series brought to you by the Oregon Cartoon Institute.

Portland represents at the Oscars once again this year. Last year we sent two directors: Gus Van Sant for Milk and Irene Taylor Brodsky for The Final Inch. This year we sent animators- lots of them. Coraline employed a small nation state of caffeine fueled Portland obsessives. As it happens, both Coraline and one of its competitors, The Fantastic Mr. Fox, showcase the stop motion work of graduates of Will Vinton Studios.

Top Photo: Travis Knight, lead animator on Coraline. Bottom photo: Mark Gustafson, working on The PJ’s at Will Vinton Studio. Gustafson is the animation director on The Fantastic Mr. Fox.

Gee…..thanks, Will!

This post brought to you by the Oregon Cartoon Institute.

Cameron obviously intends Avatar to be a critique, however broad and simplistic, of American money and militarism—after all, his hero is an embittered veteran insurgent. But it’s hard to entertain seriously the proposition that the Most Expensive Movie Ever is on the side of the underdogs, let alone the angels. When judged against scrappier pictures like Fantastic Mr. Fox and Coraline, and their respective modest budgets, Avatar more closely resembles the unsavory, disproportionate strategies of Michael Bloomberg, our billionaire mayor who recently bought his own re-election, another king of the world. Benjamin Strong, in The L Magazine

When Benjamin Strong isn’t using James Cameron’s latest film to address the need for campaign finance reform in New York City,  he uses it to discuss CGI vs stop motion.

It’s worth noting, though, that 2009 has seen not one but two outstanding animated films—Wes Anderson’s Fantastic Mr. Fox and Henry Selick’s Coraline—both of which were made with stop motion, a technology that’s supposedly obsolete, at least as compared to what Cameron is doing. These two films—Fantastic Mr. Fox, in particular—have natural, fully immersive settings, material worlds that appear as if they were handmade in actual three-dimensional space (and not on a computer) for the reason that they were. Benjamin Strong, in The L Magazine

Thanks for the shout out, Benjamin! Readers of Oregon Movies A to Z instantly recognize that both the “scrappier” pictures he cites were made by animators – Travis Knight and Henry Selick for Coraline, and Mark Gustafson for  Fantastic Mr. Fox — who originally worked for Oregon born and raised Will Vinton, the godfather of feature length stop motion animation.

Oregon’s contribution to Avatar, however, is on the live action side of the equation.

Kristi Turnquist, an honorary research associate of Oregon Movies, A to Z, broke the big story: Joel David Moore, the actor who plays scientist Norm Spellman in Avatar, is from Portland.

That’s Moore, catching flies, to the right of Sigourney Weaver.

Avatar is James Cameron’s second Oregon film, after Point Break, which he executive produced.

Anyone seen this film?

I hereby claim Avatar as an Oregon film, on the basis of Oregonian Joel David Moore’s presence in the cast.

Then there was another third were local artists and animators from Portland, Oregon. There’s a long tradition of stop-motion with Will Vinton’s company that specialize in claymation. Travis Knight, one of our lead animators, is one of the best animators in the world, in the top five or 10 that I’ve ever worked with, so he set the bar very high for the local talent.

Henry Selick, director of Coraline, in an Animation World magazine interview