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~ ON THE CREATIVE PROCESS National Office Film Board national du film of Canada du Canada ON THE CREATIVE PROCESS ABLE OF CONTENTS A Filmography and List of Major Creative Contributors and Collaborators 4 Films on Norman McLaren 6 Introduction 7 PART A - Creative Process: Norman McLaren Structure of the Film 10 Outline of the Film 11 Film Credits 13 Cinema, An Art of Motion 17 A Work of Art 20 Music 29- A Synaesthetic Story 34 Automatic Mura! Movies - - 36 On Meaning 38 An Anecdote 42 On Abstraction 43 Reflections 47 PART B - Selected Films: Norman McLaren Technical Notes 57 Boogie-Doodle(1940) 58 Le Merle (1958) 60 Compiled and edited by Donald McWilliams A Chairy Tale (1957) 61 A Phantasy (1952) 65 Neighbours (1952) 67 The "Lines" Films - Vertical &r Horizontal Legal deposit, National Library of Canada, 3"' trimester. [99] (1960-1962) 74 Mosaic (1965) 79 ISBN: 0-7722-04! 1-S New York Lightboard Record (1961) 81 Begone Dull Care (1949) 82 © 1<-M1 National Film Board of Canada Pas de deux (1967) 85 P.O. Box 6100, Station A Montreal, Quebec Blinkity Blank (1955) 88 H3C 3H5 Synchrony (1971) 91 Animated Motion #5 (1978) 94 Primed in Canada Narcissus (1983) 95 Animation Techniques 105 FILMOGRAPHY AND LIST OF MAJOR CREATIVE * Keep Your Mouth Shut 1944 George Dunning CONTRIBUTORS AND COLLABORATORS * La-haut sur ces montagnes 1945 Blackburn, Alouette Quartet * A Little Phantasy on Born April 1914, Stirling, Scoiland a 19th-century Painting 1946 Applebaum Died January 1987, Hudson, Quebec, Canada * Hoppily Pop 1946 Anonymous Calliope * Fiddle-de-dee 1947 Eugène Desormeaux Hand-painied Abstraction 1934 Stewart McAllister * La Poulette grise 1947 Blackburn, Evelyn Lambart, * Seven till Five 1934 McAllister, Wm. J. MacLean Anna Malenfant * Camera Makes Whoopee 1935 McAllister, MacLean, * Begone Dull Care 1949 Lambart, Oscar Peterson Helen Biggar, Violel Anderson * Around Is Around 1951 Raymond Spottiswoode, * Polychrome Phantasy 1935 Chester BeachaH, Applebaum Colour Cocktail 1935 * Now Is the Time 1951 Spottiswoode Five Advertising Shorts 1935 * A Phantasy 1952 Blackburn, Jodoin, Ben Niosi * Hell Unlimited 1936 Biggar. MacLean * Neighbours 1952 Grant Munro, * Book Bargain 1937 Cavalcanti (producer) Jean-Paul Ladouceur, * News for the Navy 1937 Wolf Koenig, Lambart GPO Trailer 1937 * Two Bagatelles 1952 Munro, Koenig * Monya Pickle 1937 * Blinkity Blank 1955 Blackburn Lambart * Love on the Wing 1938 ' Jacques Ibert * Rythmeiic 1956 * The Obedient Flame 1939 * A Chairy Taie 1957 Claude Jutra, Ravi Shankar, Arthur Elton (producer) Lambart, Herbert Taylor NBC Xmas Card 1939 Benny Goodman * Le Merle 1958 Blackburn, Trio Lyrique, * Dots 1940 Lambart * Loops 1940 * Short and Suite 1959 Eldon Rathburn * Scherzo 1940** * Serenal 1959 Anonymous folk music band * NBC Valentine Greeting 1940** Albert Animons * Mail Early for Christmas 1959 Anonymous music band Happy Birthday for * Jack Paar Credit Titles 1959 Lambart Solomon Guggenheim 1941 * Lines-Vertical 1960 Lambart, Blackburn * Stars and Stripes 1941 John P. Sousa * Opening Speech: McLaren 1961 Arthur LipseLt * Boogie-Doodle 1941 Albert Ammons * New York Ughlboard 1961 Jodoin, Ron Tunis, Kaj Pinda! * Mail Early 1941 Goodman * New York Lightboard * V for Victory 1942 J. P. Sousa Record 1961 * Five for Four 1942 Ammons * Lines-Horizontal 1962 Lambart, Pete Seeger * Hen Hop 1942 Folk Music Trio * Canon 1964 Munro, Rathburn * Dollar Dance 1943 Louis Applebaum, * Mosaic 1965 Lambart, Ron Alexander Guy GSover, Robert Anderson * Pas de deux 1967 Ludmilla Chinaeff, * C'est l'aviron 1944 Maurice Blackburn, Vincent Warren, Alouette Trio Margaret Mercier, Blackburn, * Alouette 1944 René Jodoin Jacques Fogel, Wally Howard 4 * Spheres 1969 Jodoin, Glenn Gould, J.S.Bach NTRODUCTION * Synch romy 1971 * Ballet Adagio 1972 David and Anna-Marie Holmes, The central idea for the film Creative Process: Norman Albinoni McLaren came from McLaren himself. "I'm a Scot," he would * Pinscrecn 1973 Alexeieff & Parker. Munro, say wiih a smile; and so, he had saved nearly all of his tests NFB animators and uncompleted films since his arrival in North America in ' Animated 1939. He had also kepi outtakes and alternate sequences from (.parts 1 to 5) 1976-78 Munro several of his films. McLaren had a voluminous collection of * Narcissus 1983 Donald McWilliams. photographs, drawings, correspondence and "philosophical" Fernand Nault, J.L. Morin, S. Kinal. S, Lalonunc, jottings on cinema. With this material and his completed films, Maureen Forrester, D. de Volpi, McLaren believed it would be possible not only to trace the ami many others. creative process of a filmmaker, but also to learn something about the creative process in general- In addition to the above collaborators, valuable advice and suggestions were made on a continuing basis by Grant Munro, Because of my familiarity with his work and his working Evelyn Lambart, Guy Glover, Tom Daly, and Maurice methods, McLaren suggested that I undertake the film. His Blackburn. cooperation with the project was, unhappily, halted by his death in January', 1987. * Available in Canada from the National Film Board. Outside of Canada, inquiries should be directed to the nearest office of In making Creative Process, I not only drew upon the above the National Film Board. material, but also on my own collection of audio-cassette discussions with McLaren and his colleagues, begun in 1968. * These films were not completed in 1940. They were lost, re- During this production process, my colleagues and I also discovered, restored and completed in 1985 by Norman unearthed film and radio interviews, and other archival McLaren and Donald McWilliams. material, dating as far back as 1938. This booklet is a complement to Creative Process: Norman McLaren; and is intended to enrich viewings of that film, as well as McLaren's own films. It is divided into two pans. In ILMS ON NORMAN McLAREN Part A, there are further thoughts by McLaren on cinema and his creative process. Part B consists of McLaren's technical notes on the Rims included in Selected Films: Norman Pen Point Percussion (1951) C0151 035 McLaren. Window on Canada #29 (1954) C 0154 061 The Experimental Film (1963) C 01 63 048 Donald McWilliams The Eye Hears, The Ear Sees (1970) C 0170 068 (1991) McLaren on McLaren (1983) C 0183 071 Creative Process: Norman McLaren (1990) C 9190 079 PART A L TRUCTURE OF THE FILM UTLINE OF THE FILM The structure of Creative Process: Norman McLaren is The screenings dunng the editing process of Creative Process: modular — each module dealing with a. different theme. This Norman McLaren reminded us that viewers bring their own approach was taken because neither McLaren nor myself knowledge, experiences and interprétation to the viewing of a wished Creative Process to be a conventional, chronological film; and, therefore, have trains of thought and reach biography. In a certain sense, we believed the man less conclusions which we filmmakers cannot forecast or control. important than the ideas. Biography was used only as it This oudine, consequently, only presents the main themes and illuminated a theme. 1 also decided that McLaren would, as far ideas of Creative Process. It docs not attempt to indicate the as possible, he his own witness. The film would be someihing various sub-texts and inter-connections. like a conversation between him and the viewer. 1. Discovery of the arts, especially cinema; biographical A consequence of the thematic structure is that the film weaves overview. back and forth in Urne. Initially, we feared that this might cause problems for viewers. Screenings during the editing 2. Music One. McLaren's musical background, his synaes- process taught us that, within a thematic structure, viewers did thesia (the condition in which the stimuli of diilerem not miss, nor even wish, a linear chronology. This reaction led sensory modes are linked together); his discovery of us to reduce the temporal signposts to a minimum. cinema as a means to express this synaesthesia. 3. Surrealism and Hand-made Cinema. McLaren's disco- very of surrealism in the late 1930's and its influence on his work. His technique of hand-made cinema is described, partly because it is an ideal illustration lor McLaren's thoughts on the roles of the subconscious and the conscious in the creative process; and partly because it demonstrates McLaren's idea of cinema as movemenis- designed-through-time. 4. Nature. McLaren also thought of cinema as painting with light. This came from the Scottish environment of his youth. He expressed it, in one way, with the chain-of- mixes technique. 5. Dance. McLaren saw a connection between his films and dance. This topic is elaborated by relating it to McLaren's identification with hens and birds, with comments by him on abstraction in cinema, on film structure and creativity. 10 11 6. Collaboration - Tradition - Technology. The role of ILM CREDITS collaborators, particularly Evelyn LambarL This topic is interwoven with an examination of the place of tradition and technological invention in McLaren's creative process. CREATIVE PROCESS: Debussy, Desormeaux, NORMAN MCLAREN Gluck, Handel, Ibert, 7. X-ray. In 1955, McLaren's head was x-rayed. Afterwards, McLaren, Milhaud, Mozart, he doodled his thoughts in the x-ray. He explains those FEATURED Mussorgsky, Peterson, doodles. Norman McLaren Piazolla, Poulenc, Ravel, Clyde Gilmour Respighi, Rubbra, Satie, 8. Colour-Music. This section elaborates the theme of Tom Daly Seeger, Shankar, Strauss, synaesthesia first raised in Music One. McLaren's theory of , Grant Munro Villa-Lobos, Villoldo the cyclical or repetitive nature of artistic ideas and I with the voices of discoveries across the centuries is sketched here by Glenn Gould CINEMATOGRAPHY John Grierson Pierre Lelarte reference to marble, Pompeii and Jackson Pollock (and, Peter Raymont Jacques Leduc perhaps, McLaren). Magnus Isacsson Steve Dale ADDITIONAL CINEMATOGRAPHY 9. Trompe l'oeil. McLaren's fascination with illusion is Donald McWilliams Andreas Poulsson, CSC examined in this look at a McLaren artefact, the tesseract Yolande Parent Donald McWilliams (a 3-D representation of a 4-D object) and his design for a 4-D house.
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  • Jeux D'images

    Jeux D'images

    1 jeux d’images (petite forme) programme de 5 courts métrages de Norman McLaren Volatile McLaren Le point de vue de Emmanuel Siety Sérieux et pas sérieux - portrait de l’artiste en poule Une poule, voilà qui ne fait pas très sérieux. Une poule c’est amu- sant, un peu ridicule dans une cour de ferme… Caquètements et petits Auteur d’un documentaire sur Norman McLaren, Donald McWil- coups de bec pour picorer, elle est presque une icône de la sottise liams rapporte cette anecdote plaisante et éclairante : quand tant d’autres oiseaux incarnent la grâce, la fragilité, la légè- reté… Volatile balourd dont les ailes ne lui permettent pas de voler, « J’ai fait la connaissance de McLaren en 1968 et j’ai vite compris mais tout au plus de soulever un nuage de poussière dans une course que la présence fréquente d’oiseaux, de poules et de pattes de poules affolée quand un chien s’avise de la poursuivre. Est-il bien raison- dans ses films ne tenait pas du hasard : le cinéaste s’identifiait aux nable de penser à Fred Astaire en dessinant une poule ? Dans La Ruée volatiles, en particulier aux poules. Perplexe, j’en ai glissé un mot vers l’or, Chaplin déguisé en poule fait rire et aussi un peu peur. Peut- à son amie Evelyn Lambart. Elle m’a regardé avec étonnement. on prendre au sérieux un artiste qui se prend pour une poule ? Un « Chacun de nous est un animal. Moi, je suis un cheval. Et vous, albatros, passe encore, mais une poule ? qu’est-ce que vous êtes? » Je suis resté sans voix durant peut-être une minute.