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| Image : © Office national du film du Canada |
« I wanted to help Norman [McLaren] to work out his ideas, but I realized that I could do more than that. And it was Wolf who'd said 'Come on Eve, you've got to make some films of your own.' And it was a bit of a stretch for me to realize that my opinion mattered—you see I was so accustomed to discussing everything with Norman and coming to a consensus about something, and suddenly I had to make all my decisions myself. And I'd sit there and think 'Evelyn, you have to decide this yourself. Do not discuss it with Norman. What do you want and what do you think is good and what do you think is worthwhile?' And sometimes it would take quite a while, 'cause your brain was so accustomed to discussing it with somebody. »
-- Evelyn Lambart
(source)
« I loved to do the whole job myself, you know, figure out what you need to tell your story, and then to make it myself, to design the character and paint it and draw it and then to sit under the camera and move it. I did all the shooting myself too. I used to hope I was making films that were simple enough for children but still interesting to adults. »
-- Evelyn Lambart
(source)
« I was always fascinated by cutouts, which could be moved under the camera, and the animation of these things really takes a good deal of skill, it's not move a thing from A to B it's move it so that it is angry, or that it is lazy... »
-- Evelyn Lambart
(source)
« [Norman McLaren and I] were compatible. Our feeling for time and colour was the same. It all became integrated because every tiny detail was discussed back and forth until we came to an agreement on what was acceptable [...]. »
-- Evelyn Lambart
(source)
« Norman [McLaren] didn't really like colour, you know. I'm a nut about colour. Well look, he didn't like red, and I was always having to change things, and I was always having to tone down my feeling for colour, because it upset him. Norman couldn't stand a bright pink. [...] He loved close tones, and he loved 'cool yellow', 'cool green', and I can hear him say that. »
-- Evelyn Lambart
(source)
« Evelyn Lambart est effectivement la première femme en animation à [l'Office national du film du Canada] puisqu'elle y travaille dès 1942. Elle signe quelques films individuels, collabore souvent avec Norman McLaren et fait de l'animation avec plusieurs autres dont George Dunning, Sidney Goldsmith, Jean-Paul Ladouceur, Arthur Lipsett, Colin Low, Morten Parker et Robert Verall. [...] À partir de 1965, elle se concentre sur ses films personnels puis prend sa retraite officielle en 1974, tout en continuant à travailler chez elle dans les Cantons-de-l'Est où elle réalise des films destinés aux enfants. »
-- Jocelyne Denault
(source)
« Ce sont les connaissances qu'elle acquiert en travaillant sur The World in Action qui donnent à Evelyn Lambart l'expérience et la crédibilité requise pour réaliser son premier film d'animation en solo : La Carte Impossible (Lambart, 1947), une illustration de cartes géographiques avec un pamplemousse découpé. »
-- Marie-Josée Saint-Pierre
(source)
« L'apport de [Eve] Lambart à l'oeuvre de [Norman] McLaren est difficilement quantifiable. Pour Le Merle (McLaren, 1959), c'est elle qui découpe tous les éléments de l'animation et participe à la création et à l'enregistrement des mouvements, mais on ne lui donne pas un crédit de coréalisatrice. Pour Lignes Verticales (McLaren et Lambart, 1960), c'est elle qui a gratté toute la pellicule du film en plus de créer les dessins originaux des mouvements. Dans Caprices en couleurs (McLaren et Lambart, 1949) elle a réalisé toute la coloration de l'animation. Les trente dernières secondes du film, elle les a faites seule. Si le site internet de l'ONF la cite à titre de réalisatrice et animatrice au même titre que Norman McLaren, il n'en demeure pas moins que le film tel quel ne lui donne que la mention pour la coloration : « Couleurs par E. Lambart et N. McLaren. » Dans le générique de conclusion la mention finale est : « By Norman McLaren ». [...] Pourtant, elle a participé activement à toute la production du film, au même titre que McLaren. Pour d'autres productions sur lesquelles l'ONF lui a accordé un titre de coréalisatrice, la répartition des titres au générique semble plus équitable, car Evelyn Lambart partage un seul et même carton avec Norman McLaren. »
-- Marie-Josée Saint-Pierre
(source)
« [Norman] McLaren and [Evelyn] Lambart continued to work well together, but in the 1960s his interest in dance films grew and she began making her own films, though she did help complete Ballet Adagio when McLaren was ill. She began to use a technique of paper cut-outs transferred onto litho plates and then painted and animated. This was used to make seven award-winning films [...]. Lambart retired from the film board in 1975 and moved to the country where she made her last film, The Town Mouse and the Country Mouse / Le rat de maison et le rat des champs (1980). »
-- Nichola Dobson
(source)
« For years, [Evelyn] Lambart watched as young men she trained were promoted; for years she had to humbly apply to them for salary raises. Lambart craved yet resisted attempts to direct. [...] 'I had been so accustomed to helping Norman [McLaren] that I found it difficult [to work independently],' she said. With Fine Feathers (1968), Lambart finally stepped out from behind her mentor's shadow. »
-- Karen Mazurkewich
(source)
« [Evelyn Lambart] played an immense role in almost all my films, except for the last ten years, when she started to make her own films. We got together in the '40s. [...] She started kind of as an assistant, but more and more, we fitted in, and in some films she was really sort of co-directing them. One thing was that she was very methodical. Terribly systematic, had lots of things on hand—protractors and compasses and any other instruments. [...] We shared ideas and opinons. [...] I felt the value of a second person, provided that other person felt the same way about art and about colour and about movement. And there she was! »
-- Norman McLaren
(source)
« Evelyn Lambart has mostly collaborated with [Norman] McLaren but has herself made a few films including O Canada (1952) and a little teaching film The Lever (1966). She is an expert in setting up technical experiments in film-making, having earlier studied mathematics and physics. »
-- Ralph Stephenson
(source)
« [Evelyn Lambart] began by specializing in graphics and maps, which were used extensively in The World in Action series. Later she developed her own technique, using paper cut-outs of animal characters in morality tales for children. »
-- Wyndham Wise
(source)
Pour lire les CITATIONS sur un film spécifique de Evelyn Lambart, veuillez
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