Echoes from the Set was written to memorialize 50 years of on-location filming in Oregon, as seen through the eyes of Katherine Wilson and Philip Chrysler, two individuals deeply involved in some of Hollywood's most iconic films. Their work gives an invaluable glimpse into the history of filmmaking in the state, which has been the backdrop for many legendary productions.

Introduction: "Echoes from the Set" was written to memorialize 50 years of on-location filming in Oregon, showcasing the perspective of Katherine Wilson and Philip Chrysler on some of Hollywood's greatest films ever made. Today, we sit down with Katherine Wilson to discuss her remarkable journey from actress to filmmaker and the fascinating history of filmmaking in Oregon.

Interview:

Interviewer:
"Miss Wilson, thank you so much for joining us today. Most of my readers might not be familiar with you yet, but after reading about your work and background, I find your story incredibly interesting. Where would you like to begin—should we start with your early years, or perhaps your career as an actress, director, or even your father's influence on filmmaking?"

Katherine Wilson:
"Let's start at the beginning. I was born and raised on the Klamath Reservation in Oregon. My father wasn't a filmmaker, but I was. I went to college but struggled with English. I discovered I had a Klamath Indian syntax, which made it difficult for me to write English. I dropped out of school when I began to get work as a filmmaker and actress. I eventually went to Hollywood in 1973 and even got a scholarship to USC Film School."

Interviewer:
"That’s a fascinating start. And I understand that you had a significant mentor in Hollywood. Can you tell us about Mark Rydell and how he influenced your career?"

Katherine Wilson:
"Yes, Mark Rydell was my mentor, and he’s the one who got me that scholarship. He understood the challenges I faced as a young woman in Hollywood, especially the harassment, which led me to leave. We stayed in touch over the years, and even though he’s in his 90s now, I visited him in L.A. just 10 years ago."

Interviewer: You mentioned how films like One Flew Over the Cuckoo's Nest represented this change. Could you elaborate on that? And also, could you share some of the films you’ve been part of, especially in the context of that ideological shift?

Kathleen Wilson: That’s a great question. The truth is, this shift lasted for about nine years, and that’s the focus of my second book. The last film I touch on is Animal House, which was my first huge film as a casting director and location scout.

At the time, I had been an actress, but I didn’t really enjoy it. I was in Cinderella Liberty and I got so nervous—I thought I was going to have a heart attack before my big scene! There were about a hundred crew members, and then Eli Wallach, James Caan, Billy Sigmund—huge names! It made me a nervous wreck, so I was relieved to become a casting director.

Now, Animal House was probably the last great film made during my generation, although its style is coming back now. Directors like Kelly Reichardt are making poetic cinema films in that vein. But at the time, Animal House was really about the Merry Pranksters. The original writer, Chris Miller, was a senior at Dartmouth when he and Ken Kesey took the psychedelic bus trip to New York. It was a time when people were hearing about the flower children and their lifestyle. Animal House is essentially about Ken Kesey and the American pranksters—something most people don’t realize.

What I do in my book is unpack how the culture of the Merry Pranksters influenced the film. For example, the famous Death Mobile—what people don’t know is that it mirrors what the pranksters did with their school bus. They painted it, turned it into a psychedelic bus. The Animal House guys did the same thing with a friend’s Lincoln Continental, turning it into a “death mobile” with a turret on top.

There’s a scene in Animal House where Otter says, “You screwed up—you trusted us.” The Pranksters had a saying: “Never trust a prankster.” It’s a reflection of the archetype of the time.

Tim Matheson’s character, Mike, had a line of girls outside his door, trying to get in. That character was clearly inspired by the culture at the time, the kind of social scene that the pranksters helped create. So, I unpacked that in the book.

After Animal House, by the time we got to Stand By Me, that sense of community and collective mindset was gone. There was a huge backlash against my generation. In fact, in my book, I quote an author who suggests that today’s conservative movement is, in part, a reaction to the progressive movements that my generation championed—environmental consciousness, social programs, civil rights, and so on. The right-wing has been trying to dismantle the work we started over the last 50 years.

What’s important to recognize is that our generation represented the beginning of a cultural shift. When Start Point occurred on February 13th, 1967, it signified the start of a chaotic period predicted to last for at least 60 years. Plato himself coined the term “eon” to describe this kind of shift. So, we were the heralds of this change, and although it seems like that era faded, it really hasn’t—it’s just been transformed over time.

Interviewer: That’s totally understandable. Now, you were explaining the shift in generational ideology—from individualistic viewpoints to more community-based perspectives. You mentioned films like One Flew Over the Cuckoo's Nest and a cultural shift. Could you elaborate more on that and how this shift influenced the films you worked on?

Kathleen Wilson: That's a great question. The shift I’m talking about really lasted for about nine years, and I focus on that period in my second book. The last film I describe is Animal House, which was a huge milestone for me as a casting director and location scout. Before that, I had been an actress, but I didn’t enjoy it. On Cinderella Liberty, I was so nervous before my big scene—there were about a hundred crew members, and I thought I was going to have a heart attack! So I was really relieved to transition into casting.

As for Animal House, that film was one of the last great representations of my generation’s mindset, though the themes are coming back now in films like Kelly Reichardt’s poetic cinema. Animal House was essentially about the Merry Pranksters—the original writer, Chris Miller, was a senior at Dartmouth when Ken Kesey took the psychedelic bus out to New York. The Merry Pranksters were the ones who started the whole flower child movement and psychedelic lifestyle, and Animal House encapsulated that spirit, even though most people don’t realize it.

For example, the infamous “death mobile” in Animal House was inspired by the Merry Pranksters’ own psychedelic school bus. And there’s a line where Otter says, "You screwed up, you trusted us," which reflects the prankster mentality of never trusting a prankster. It was all about rebellion and challenging authority, which was the essence of that generation.

Interviewer: That’s fascinating, especially the connection between Animal House and the Merry Pranksters. Do you think that kind of community-driven, rebellious filmmaking was part of a broader cultural shift that your generation was experiencing?

Kathleen Wilson: Absolutely. My generation sparked a lot of the progressive movements we still see today—environmental consciousness, social programs, and the like. But there has been a major backlash over the last several decades, with conservatives trying to erase the progress we made. It’s been a battle to hold on to those ideals.

And speaking of the shift from the past to the future, we’re currently in the midst of a transition between the Piscean era—the "Fisher of Men" or Christ consciousness—and the Aquarian age, which represents the rise of the divine feminine. I think that archetype is emerging now in ways we’ve never seen before. I remember about ten years ago, people started noticing an image of the divine feminine on a grilled cheese sandwich on eBay, and suddenly, that image began appearing everywhere—on skyscraper windows in New York, even on the U.S.-Mexico border. It’s a symbol of transformation, and it’s here to stay.

Interviewer: That’s a powerful image. Do you think your generation’s legacy will ultimately prevail?

Kathleen Wilson: Yes, I do. It’s going to happen, but it’ll take time. Every generation has its own unique experiences and challenges, but I truly believe the values my generation fought for will ultimately shine through.

As for the films I worked on—Animal House aside—there’s one that’s particularly meaningful to me. I spent years working on a screenplay called Length of the Sun, about Jackson Sundown, Chief Joseph’s nephew, who won the World Championship Rodeo. He overcame incredible adversity, including being left for dead by the U.S. cavalry after being shot. Despite racism, he triumphed, and the crowd demanded his victory.

Interviewer: That sounds like a powerful story. So, after working on Animal House and other projects, did you continue to pursue Length of the Sun?

Kathleen Wilson: Unfortunately, no. The film was fully packaged with an amazing cast—Gene Hackman, James Franco, Jack Nicholson—but Hollywood refused to finance it. They didn’t want a Native American perspective on such a grand scale. It was a tough blow. I ended up losing three houses over the course of trying to make that film. So, I returned to school at the University of Oregon to finish my degree.

While at school, I helped a group of film students, and one of them asked me to help with a script. I ended up writing Animal House Blues for them, which went on to win several awards. It was aired on Oregon Public Broadcasting and had the highest ratings that night. I was proud to help those students get their start in the industry, especially since it’s so hard to get your foot in the door without a credit.

Interviewer: That’s incredible, and you’ve clearly made a huge impact. Do you think crowdfunding platforms like Indiegogo could help bring projects like Animal House or Length of the Sun to life?

Kathleen Wilson: I’ve thought about it, but honestly, I’ve been so focused on other projects lately. However, I do think independent filmmakers, especially those in genres like horror, are having great success with platforms like Indiegogo. Many of them have gone on to get their films on Netflix or Hulu with funding from these campaigns.

For me, though, I’m currently working on a new screenplay, and I plan to collaborate with Mitchell Block, a famous documentarian. He’s won eight Academy Awards and has his own distribution company. I’m going to write a screenplay based on my research this summer, and I’m really excited to work with him on it. It’s going to be a great project!

Interviewer: That sounds amazing. Are you looking at any particular film festivals for showcasing this new work?

Kathleen Wilson: I’m not sure yet, but I’m definitely considering it. The great thing about my previous experiences is that I already have a platform and connections in the industry. So, we’ll see where this project takes me.

Interviewer: That’s fantastic. One last question: outside of Animal House, which other film from your career stands out the most to you?

Kathleen Wilson: It’s hard to pick just one, but I think Smoke Signals by Chris Eyre is a standout. It broke down so many barriers for Native American cinema. It’s a film that truly embodies the power of community and cultural pride. I worked with some incredible people on that, and it was such a privilege to be part of a project that changed the industry’s perspective on Native American stories.

Interviewer: Thank you so much, Kathleen. It’s been an honor speaking with you about your incredible career and the lasting impact of your work.

Kathleen Wilson: Thank you! It’s been a pleasure.

Interviewer: I'm sorry, could you clarify? Was it One Flew Over the Cuckoo's Nest you're referring to, with Jack Nicholson and Michael Douglas?

Katherine Wilson: Yes, exactly. As a matter of fact, when I was at Michael's place, we were talking about how Ken wanted to write a screenplay. They paid him to write it, and he wanted to tell the story from the point of view of the Indian grandmother. But Michael Douglas and others were like, "No, no, no, that won't work in film."

Then, one day, I got a call from the film commissioner asking me to drive a woman named Judy up to the set of One Flew Over the Cuckoo's Nest. I was reluctant, but I agreed. So, I showed up on set during the lunch break, and the production office told us to head to the cafeteria. While waiting, I noticed the extras coming in, and I remember thinking, "Wow, they really cast some incredible insane asylum extras."

Then, out of nowhere, the cinematographer Pascal Wexler came up and told us, "Ladies, you need to move. Someone's been murdered over sitting in their seat." After lunch, we went on to watch Jack Nicholson film a scene where they actually give his character a lobotomy. It was an intense subject matter, but there was something kind of hilarious about it.

Judy and I were sitting in the room when Jack was being wheeled out on a gurney. They’d remove his shoes before each take, then he’d come back and have to put them on again. Each time, he’d move a chair closer to me. It was like he was giving me a look.

By the end of the shoot, Jack was sitting right next to me, and he asked, "Do you want to go to dinner tonight?" I had to turn him down, though, because I already had plans. It was surreal!

Interviewer: That sounds like quite an experience. What happened next? How did this all lead to your career progression?

Katherine Wilson: Well, after that, I ended up replacing the film commissioner on the set. What I didn’t know at the time was that the film commissioner had been kicked off the set by the producers and Jack himself. Apparently, he'd made some accusations about smoking on set. Jack had a great sense of humor about it. He said, “What are you, nuts? This building’s a hundred years old; the paint's so old it's liquid!"

The next thing I knew, the governor needed someone to oversee the production, and I was getting calls from Ken Phobes to come in. That’s when things took an unexpected turn.

Interviewer: It seems like you really got thrown into the deep end. How did that shape your career?

Katherine Wilson: It was truly beautiful. One of the things that people don’t know is that Milos Forman, the director of One Flew Over the Cuckoo’s Nest, was a subversive Czechoslovakian filmmaker. He would play music for each new scene to set the rhythm—so everyone on set would get into the same emotional flow before filming. Then, once the music stopped, it was time for action.

It was a real learning experience. I got to see first-hand how a truly great director works, and I was also fortunate enough to represent the filmmakers on that set.

Interviewer: Incredible! So, after One Flew Over the Cuckoo's Nest, where did your career go next?

Katherine Wilson: After that, I worked closely with Jack Nicholson, especially on Oregon-based projects. He had a deep love for Oregon films and stories, and I would bring him scripts from local filmmakers to see if he'd act in them or help produce them. He was very interested, but unfortunately, many of those projects couldn’t secure the necessary financing. One key project was about a man named John Barry, who wrote books that Dennis Hopper had optioned. One of those was Trask, and the other, Motrab, was considered Jack’s great love story. I worked on getting these projects to the big screen, but financing was always an issue.

I also spent some time with Michael Douglas in San Francisco. At the time, I had kids, and it was a personal turning point for me. Eventually, I started learning the ropes of development, which eventually led to Animal House coming to town. That movie opened a new career path for me.

Interviewer: So, is that when you became a casting director for CBS, or was that part of a different role?

Katherine Wilson: That's right! After Animal House came to town, everything changed for me. I became involved in casting and development, and it was around that time that I started working with CBS. It was a huge turning point in my career.

Interviewer: You've worked with some major production houses like Parliament and Sony. Is there a particular movie from each of these houses that you'd like to highlight, or is it more of a broad range of work?

Katherine Wilson: After Animal House, my phone started ringing non-stop. One of the things I did was create a directory for the state of Oregon, listing grips, gaffers, and filmmakers. So, whenever a production came to Oregon, they knew who to hire. I worked with the Northwest Film Center on that. I also started a non-profit called the Oregon Media Producers Association and was part of a task force for the governor to help fund Oregon’s film industry. That’s why they call me the "godmother of Oregon film." I was really passionate about creating an industry here, telling our own stories.

Interviewer: That's fascinating. You've had such an impact. Did you also work on any specific films or television series during this time?

Katherine Wilson: Yes, I worked on several projects. For example, I was involved in a CBS series called The Private Strangers of Brian Keith and also worked on Stand by Me with Rob Reiner and River Phoenix. I also did a project called Dog Bites, but production got so chaotic that I didn’t get a credit on that one. I worked on many films and television projects coming into the Northwest, including some massive ones with Harrison Ford and Kelsey Grammer. I stayed home, wrote screenplays, and raised my children during that time.

Interviewer: Now, you’ve written two books. They're both available on Amazon. Who do you think would benefit most from reading them?

Katherine Wilson: My first book is really for film students. It’s filled with pictures, call sheets, scripts—things that help young filmmakers understand the industry. It also includes stories about set etiquette, which is crucial. I always tell people that the key to working in film is knowing what not to do, especially in your first few minutes on set. I also wrote it for the film office and for film professors. The second book is more for professors and addresses the challenges young filmmakers face today. It’s about giving them hope and offering comfort during a difficult time when they feel lost or uncertain about the future. I really wanted to show them that they can get through this, and that we can all come together to make it happen.

Interviewer: It sounds like you're trying to offer a sense of hope with your work.

Katherine Wilson: Exactly. I want to inspire young filmmakers and give them the guidance they need to succeed. It’s about living well, doing the right thing, and finding hope even in difficult times.

Interviewer: You mentioned a future movie you're working on. Could you share more details about that project?

Katherine Wilson: Yes! I’m working on a documentary, which will be guided by an eight-time Academy Award-winning filmmaker. The documentary will focus on American Indian stories, and I’m mentoring a young woman in making this film. We have the Twilight Wolf Pack involved, which is exciting. It’s all about giving voice to Native American perspectives, and I truly believe the American audience is ready for these stories. We’re aiming for something that could win an Academy Award.

Interviewer: That sounds like an amazing project! And as for your academic future, how long do you expect to be working on your doctorate?

Katherine Wilson: Hopefully two to three more years. But honestly, at my age, who knows? Age is just a number.

Interviewer: Beyond your academic pursuits and film projects, do you see yourself becoming a professor or lecturer in the future?

Katherine Wilson: My true passion is mentoring young people. I don’t want to be just another professor with all the answers; I want to lift them up and help guide them as they navigate their own paths. These young filmmakers are the future, and we need their stories to help us understand and interpret the world around us.

Interviewer: It’s clear you’re deeply invested in guiding the next generation. Before we wrap up, is there a charity or cause you’d like to mention?

Katherine Wilson: Yes, if I were to support any charity, it would be to support Native American communities, particularly their longhouses. What’s so beautiful about bicultural people is their ability to navigate multiple cultures. They’ve learned how to thrive in both worlds, and that wisdom is essential for the future of humanity. The filmmakers involved with the longhouses come from diverse backgrounds, and their work is invaluable. We need to acknowledge their perspectives, which are often overlooked.

Interviewer: That’s incredibly insightful. Lastly, if you had unlimited resources and could work with anyone in the industry, what would your dream project look like?

Katherine Wilson: If I had unlimited resources, I’d want to see Jack Nicholson return to a project like Moon Traffic, based on John Barry’s writing. It’s a magical story set in the 70s, and it deserves to be brought to life. I’d bring Michael Douglas, Jack Nicholson, the Twilight Wolf Pack, and top directors on board for that project. It would be my dream to create something like that, with the potential for major impact in Hollywood.

Interviewer: That sounds like a powerful vision. Thank you so much for sharing your journey and insights today.

Katherine Wilson: Thank you for having me! It's been a pleasure.