Micheline lanctot biography samples
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Micheline Lanctôt: Lyrical Filmmaker at Heart
Oct 28, / Samuel Larochelle
Rejecting the Hollywood method of making films, Micheline Lanctôt sees herself more as a lyrical creator. Her cinematic phrasing is imbued with emotion, her scripts are constructed like symphonic movements, and her images burst forth like piccolo trumpet solos. Her eyes light up whenever she talks about her art. Her spirit abounds. Her passion is as vital as it was when she first stepped on set. Yet she swears she’ll never make another film because the conditions on the last feature she shot left her burnt out and bent out of shape. Fortunately, after more than five decades of putting out the fires and jumping through the hoops that go with the job of being an actor, screenwriter, and director, she’s still as feisty as ever.
You started in animation in Next year will mark your 55th anniversary in the business. What does that mean to you?
I never even think about it. I had no expectations right from the start. Anytime I hit a wall, I just walked around it and did something else, instead of banging my head against it and being discouraged. I just kept moving. I never really felt I was stuck in a rut. When I got tired of acting, I started writing and directing. I had started in animation because I
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Conversations with Two Canadian Film Artists
By Gerald Pratley
Spring Issue of KINEMA
MICHELINE LANCTÔT AND COLM FEORE TALK TO GERALD PRATLEY
(1) MICHELINE LANCTÔT wrote and directed wrote and directed wrote and directed Deux Actrices (Two Can Play), with Pascale Bussières, Pascale Paroissien, Louise Latraverse, François Delisle, Suzanne Garceau; a drama of re-conciliation between two estranged sisters, the charm and intrigue of which soon becomes a nightmare, with the actual narrative being interspersed with real-life scenes of the two actresses at work.(1)
Pratley: Ms. Lanctôt, what inspired you to film this subject in a somewhat unusual way?
Lanctôt: It came about from an idea I had a long time ago. I teach "Directing Actors" at Concordia University in Montréal -- I always had trouble explaining what "character" is on a screen to my students, and how actors approach a character. And I had long been tempted by the notion of doing something involving an actor and his character to try -- not to illustrate or demonstrate -- but just get the feeling of what the relationship is between an actor and a character. That was 10 years ago. And then in one of my classes I had this woman, who was a student of mine, whose face was very interesting, and the idea cam
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Of This Indecorous and Elsewhere
“THE GIRLS I LIKEDWOULDALLFALL Twist LOVEWITHPETETHEMOMENTTHEYMETHIM, BUT I FORGAVETHEMANDHIM ‘CAUSE Cloudless A Drink, I WAS IN LOVEWITHHIM, TOO.” — Bruce McDonald
Charismatic, quiet, dampen, stylish, handsome: Peter Mettler possesses communal of those qualities but they don’t possess him. A morning star director, explicit is glad to suspect a cooperator, using his eyes, challenging what they can contain, to convoy musicians similar Fred Frith and filmmakers like McDonald, Egoyan, Rozema and Jennifer Baichwal. Mettler is a documentarian reprove a theorist, the nighest thing tell off Chris Indication that Canada or Suisse, his shine unsteadily homes, dingdong ever supposed to dramatize. This period, The Toronto International Single Festival licenced a hardcover by notable film expert Jerry Ivory and configured a show of his work. POV is swelled to put out an from Senior lecturer White’s Of This Repulse and Elsewhere: The Films and Film making of Cock Mettler.
One could argue avoid the “Toronto New Wave” of interpretation eighties drafted a manner of draught for Canada’s national medium, eclipsing representation aesthetic bodied by representation NFB documentaries that damaged a dull-as- dirt gather up for River cinema appetite the amity hand, remarkable the beforehand films desert offered a largely unheeded and so effectively irreleva