Montage I: Paint and Painter

Half-hour documentary based on the work of Northwest author Ivan Doig and his "brother" of yesteryear, Northwest pioneer James G. Swann. Broadcast November 24, 1982. Included in "Best of the Northwest Films" exhibition for Bumbershoot. Winner of the Critics Award for Cinematography at the 16th Annual Northwest Film and Video Seminar, 1983. Partial funding by Washington Commission for the Humanities.

Half-hour documentary on the artistic and cultural heritage of Croatian immigrants in Washington state. Broadcast February 25,1981. Exhibited at the Smithsonian Institution Folk Life Festival, 1981. Funded by National Endowment for the Arts.

Wayne Sourbeer deftly combines visual forms, the original poetry of Kansas-born poet Charles Plymell and an original music score by David Levinson, who was at the time, associate conductor of the Wichita Symphony. Montage II: Ephemeral Blue is the quintessential example of what continental film critics have called “non-verbal communication.” Sourbeer’s images are the foundation for Plymell’s verbal abstractions and Levinson’s brilliant musical score.

Half-hour documentary focusing on the music and cultural traditions of a unique community of North Carolinians, now settled in Darrington, Washington. Released through Southern Educational Communications Association (SECA), PMN and Eastern Educational Network (EEN), 1979. Fully funded by NEA.

Vibrant, bursting with color (shot in the late, and much lamented Kodachrome) and ringing with bells and whistles, Wayne Sourbeer’s ode to the joys of the lowly pinball machine is a visual feast; Colored balls whiz, clink, and crash across the laminated landscapes. Dim bulbs illuminate the gaudy caricatures that stare back at the player. Neon lights flash in streaks of hot pink, red, and blue.

A profile of architect and planner Warnett Kennedy.

The small town of Lucas, Kansas, is home to one of America’s most unique triumphs of self-expression: S. P. Dinsmoor’s fantastical backyard concrete and wood rendering of the Garden of Eden. Dinsmoor’s self-constructed and wildly imaginative figures represent one man’s attempt to make sense of the world in which he lived. A Civil War veteran, farmer, and self-taught artist, Dinsmoor created a work perhaps more relevant today than ever before; witness Dinsmoor’s Labor Crucified surrounded by a Doctor, a Lawyer, a Preacher, and a Banker to know that this garden is still thriving today. Adding to Dinsmoor’s triumph is the collective work of Montage Production’s Richard Grove, Richard J. Meyer, and Wayne Sourbeer, a trio of avant-garde filmmakers who simply and effectively captured the power of Dinsmoor’s architectural sculptures under the blue-gray skies of southeastern Kansas and further emboldens them using Dinsmoor’s own words.

A profile of student Merly Leadford on her struggle to find her place at the University of Washington as a member of the Makah tribe.

A profile of Shushma Sardana on immigrating to Canada, her culture, and her job.\

An experimental film by Wayne Sourbeer from 1962.