Oregon Movies, A to Z » Homer Groening

Oregon Film History Initiative Celebrates 20 Fabulous Years/A Trip Ahead In A Time Machine

Anne Richardson — Fri, 15 Nov 2013 22:13:26 +0000

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 Cartoon Institute opened up a storefront catering to tourists. 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. OSU began a media literacy summer school for teachers. PSU, working in cooperation with Oregon Cartoon Institute and Northwest Animation Festival, began hosting a biennial animation studies conference. OHS 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.

Will Vinton Talks: How He Broke In

Anne Richardson — Thu, 06 Dec 2012 03:23:18 +0000

Will Vinton, David Altschul, William Fiesterman and Marilyn Zornado at a 25th anniversary screening of The Adventures Of Mark Twain at the Whitsell Auditorium.

Will Vinton and Bob Gardiner won Oregon’s first Oscar in 1975 for their stop motion tour de force, CLOSED MONDAYS. Will grew up in McMinnville and began making films as an architecture student at Berkeley (where he happened to hear lectures given by Sheldon Renan!). The list of award winning animators trained at Will Vinton Studio includes Craig Bartlett, Barry Bruce, Joan Gratz, Brad Schiff (PARANORMAN), Travis Knight (CORALINE, PARANORMAN) and Mark Gustafson (THE FANTASTIC MR. FOX). Will continues to teach stop motion animation at Northwest Film Center.

Anne Richardson: Will, when you arrived here after Berkeley and were starting to make CLOSED MONDAYS, you were able to support yourself with day jobs working as a filmmaker. What was your very first job?

Will Vinton: I was initially hired by Dan Biggs, who was working for Northwestern, Inc. doing industrial documentaries. They had a recording studio and a nice little sound stage. This was in the days when Tektronix was big. Companies like that spent alot of money on media. Georgia Pacific was one of Dan’s big clients.

Anne Richardson: This is training films? Sales films?

Will Vinton: Training, sales, those were the main things. We did corporate image films. Maybe one third of the work was commercials. I was hired to do editing. Maybe about a year into working at Northwestern, Dan wanted to split off and service the Georgia Pacific accounts himself. So we decided to found Odyssey Productions. Bill DeWeese, the industrialist at Esco, had been a client in the past, so they worked out some terms, and he came on board. Reagan Ramsay, myself, Dan Biggs were the worker bees. Bill DeWeese was the president. Dan put together a terrific board of directors: Patty Kaplan, who was head of Evans Products Co.; Tom Moyers, Sr., Moyers Theaters; Bob Farrell, Farrell’s Ice Cream. The idea was to create a base of really good, strong, big clients – Evans, Tektronix, Georgia Pacific, Louisiana Pacific – and to base a company around doing commercials and industrials, but with the intention of growing to do entertainment.

Anne Richardson: Homer Groening set up his own advertising agency in 1958. Were you aware of him?

Will Vinton: Oh yeah. In fact I edited one of his productions. During the time I was freelancing for Northwestern, I did one for Homer which (laughs) I’ve always thought of as a cross between e. e. cummings and Benny Hill.

Anne Richardson: You told me once about finding help when you had to build special equipment to shoot claymation.

Will Vinton: When I was just starting out, I didn’t have a synchronizer, couldn’t afford one. Somebody told me about Walt Dimick whose father was a machinist and kind of a wild mechanical guy. I went to talk to him, and he felt sorry for me, and gave me a bunch of sprockets and hardware necessary to build a synchronizing part which allowed me to hold my film in place.

Anne Richardson: Did you have that same kind of mentor relationship with Homer Groening?

Will Vinton: No. I was just hired to do a freelance job. But it was important to me because it was one of my first jobs in Portland.

Anne Richardson: Did you feel inspired by Homer’s career?

Will Vinton: Well, you have to consider the films! Neither the e. e. cummings part or the Benny Hill part seemed to be exactly what I wanted to do. (laughs) What I did like about Homer COMPLETELY was the kind of wild freedom. That anything’s possible, and someone will pay you to do it.

Anne Richardson: Thank you, Will.

A crash course on Will Vinton’s place in Portland film history can be found here.

Handy Guide To Growing Independent Film Outside of LA & New York: What Portland Did Right

Anne Richardson — Wed, 16 Nov 2011 16:05:46 +0000

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?”

Homer Groening, Oregon filmmaker

Anne Richardson — Fri, 12 Feb 2010 18:24:04 +0000

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 inspired by Homer.