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The Writings of Donald Brittain

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The Writings of Donald Brittain • D o c u M E N T A R y • Brittania The filmmaking saga of Don C. Brittain by Michael Dorland "I'm a Canadian. There's no getting away from it and I don't want to get away from it - that sense of the mythic nature of its geography. I couldn't live happily anywhere else. My exasperation with the population of this country gives me some­ thing to do, because I can attack it. Yet one of the problems is that you become a member of the Establishment whether you want to or not. But if I kick it hard enough, I'll never really get sucked into it. And I'll continue to do that as long as I live." - Donald C. Brittain Like Malcolm Lowry, Donald Brittain's secrets too "are of the grave and must be kept, and this is how I sometimes think of myself, as a great explorer who has discovered some extraordinary land from which he can never return ... But the name of this land is Hell... " For nearly 30 years now, in documentary after extraordinary documentary, Donald Brittain films have explored the Hells of the human heart - its wars, its concentration camps, its factories, its great and lesser men, and its places, including Lowry's Mexico, Henry Ford's America, Bethune's China, and, perhaps above all, Don Brittain's Canada. In the following Cinema Canada interview, Don Brittain, raconteur, tells something of the saga of Don Brittain, filmmaker. Beyond the documentary, his work has included dramas for CBC-TV, pseudo-documentaries for Hollywood, and assorted dis­ astrous attempts to develop feature film projects. It was not until he was actually shooting Canada's Sweetheart: The Saga of Hal C. Banks, the CBC-NFB docudrama that won the best Canadian production award at the 1985 Toronto Festival of Festivals, that Brittain once again felt back in his element. Today Brittain, who has just completed shooting Earthwatch the $1.3 million Showscan film for the Canadian Pavilion at Expo '86, for Montreal production house Prisma, is working furiously. On the one hand, he's continuing a tradition of exploration in media experimentation that he began working in at Expo '67 and in Imax in}apan in the early '70s, while, on the other hand, continuing his documentary explorations of the emblematic figures of the Canadian landscape with two forthcoming dramatic documentaries on Tommy Douglas and on William Lyon Mackenzie King. And, in between, just being Don Brittain, a former Ottawa journalist, pursuing a career that he never in­ tended for himself in a universe of randomness and accident. The following interview with Brittain by Cinema Canada associate editor Michael Dorland took place in an empty execu­ tive office at the National Film Board of Canada. January 1986 - Cinema Canada!11 D o c u M E N T A R y • • ally, and cut by night invariably, and ----------------------:----------::----l~ Cinema Canada: I would like you to ~ take a broad overview of your experi- build little trim bins in these hotel­ - ence in documentary principally. I rooms. It was sort of a crash-course and don't know how correct this is, but I I quit at the end of the month. I was des­ get the feeling that, like many Cana­ perate to go to Europe; I'd never been dian filmmakers, it took you a long to Europe; I was drawn to Europe, and I time to adjust to the idea of being a had now saved enough money to go. So Canadian filmmaker, that you had to I went for about six months with the in­ go through this whole American inter­ tention of staying - I knew that I could lude, and, in a sense, it was not until probably get a job in Fleet Street after that, that you were reSigned, so to through the Canadian connection. I speak, to working from here. bummed around; I really bummed Donald Brittain: Well, it's partly true around. I spent a lot of time in Tangiers but, at the outset, I had no intention of in the bad old days - almost everybody staying in the business. I was in news­ was under sentence of death in some papers and I had run around a bit, but country or other but they were all very the Film Board was pretty much the good boys, particularly there, because only game in town then. There I was in otherwise their lives would not last too Ottawa working for them and the idea long. It was a great adventure. of working anywhere else didn't even But I never got to write anything; I cross my mind. Nor did the idea of con­ was enjoying myself. And I ended up tinuing in this business cross my mind. back in London flat-ass broke, really. I'd gone broke in Vienna - this was the last Cinema Canada: When you started at days of the occupation - '54-'55, in the the Board in 1954, it was as a writer? dead of winter, Russian soldiers Donald Brittain: Yes, I was actually everywhere. I'd wired desperately for hired as a location manager by Tom money to be sent to the American Ex­ Daly. I got a call from Tommy Van press in Vienna. I walked across town; I Deusen who went on to become had about 20 cents in my pocket after Diefenbaker's executive-assistant, and taking a train from Venice. At the Amer­ whom I had worked with at the news­ ican Express, I said you got anything for paper. He'd taken a job as the first PR Donald Brittain? My middle initial is C, man at the Film Board - they never had and they said Donald L. Brittain from in­ one - to enable him to write a book on dianapolis, Ohio? I was just about ready the St. Alban's Raid, and he called me to reach for it - I figured I'll pay him one day. I'd done a couple of film criti­ back later with interest, this is a desper­ cisms, really nothing much, but I used ate situation. He had 400 bucks. And to screen films at lunch-time, Film then they said, wait, there is another Board films, and they were looking for one -Donald C of Ottawa, Canada: 800 a newspaper man to go on a small crew bucks. So I had a wonderful time, Harry in Newfoundland. I was between en­ Lyme time in Vienna. I was enjoying it gagements and had quit the paper after thoroughly l?ut I didn't know how the union struggle; I'd been bumming mythic it really was until much later. around in Mexico and the States and I Anyway, I ended up in London and I did had personal problems. My wife had get a job in Fleet Street and I wrote to " died the year before. So I was ready to the Film Board and said if you want me jump ship and I'd never been to New­ back, I'll come, otherwise I'm staying, .' foundland. and they wired back. Don Mulholland was the Louis B. So I took the boat and ended up back Mayer of the National Film' Board - they in Ottawa and they had changed their were still in the John Street sawmill in mind. I was enraged; there I was once Ottawa. And he said, we're not hiring again flat broke. So I yelled and any location manager but a guy who can screamed at Mulholland who was a very write, so he asked me for a few clip­ formidable person. He had a huge blow­ pings and liked them, so he hired me. up of the Queen set behind his desk and That was how I spent some time on lo­ he smoked a cigar; he was a great guy. cation, learning about camera equip­ So I yelled at him, you know, and be ment and so on. Anyway, the thing gave me a raise; he hired me back and stretched on for about four months. It upped me from $65 a week to $70. So I was a three men crew: John Spotton, stuck with it. This was the same film. the director Allan Wargon and myself. I We went back and we started shooting think the first day I almost got drowned, out West now, and that lasted for nine and the second day I almost got electro­ months. cuted putting up lights. It struck me as an extremely curious business, coming Cinema Canada: What was the film? out of a daily newspaper into that. Donald Brittain: Canadian Profile. Spot­ Those were the days when the Film ton won a Canadian Film Award for best Board ... we took 41 days to do a five­ cinematography but it was 10 five-mi­ minute segment of the film on Cape nute vignettes. External Affairs wanted Breton Island. That was the speed at something to encourage immigration which we were operating. It wasn't just and it painted a very bleak of Canada; that it was cloudy or bright in terms of they hated it. Lots of snow, and I was in continuity - the cumulus clouds had to charge of the money; I was also the be at the right altitude or we packed it budget officer, so we went 100% over up for the day. So I was quite bemused the budget. Anyhow, I quit a few times. by this whole operation and as Spotton But I 'still didn't plan to stay and I came and the director stopped talking to each back and started writing scripts which other, I had to operate as an interpreter.
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