7/22/2023 0 Comments Chrizz michaels brief intermissionMS: I made the film just the way I would make a painting or a sculpture. I heard things in music that really moved me and I wanted to do something like that, and the same thing in painting, it was definitely a reaction and the desire to do something in my own way but I didn’t have that at all with film I was introduced to it by seeing what it is as technology: because we were doing animation and I learned how the whole thing is made of one frame after another and how you can alter what happens between this frame in that frame I became interested in it from that point of view.Ĭhris Meigh-Andrews: In relation to making film, was it an issue where the film would be shown or how it would be experienced by anybody else? So in answer to your question this is how I got involved in film. When I saw it I recognized some things that I knew he had been working on and he’d shown us. He was the director of the Beatles film “Yellow Submarine” (1968). This man turned up in England his name is George Dunning. The company eventually collapsed because of hiring people like me. And he said that if we wanted to do something on our own and the animation camera was free and the cameraman was free we could also do things on our own.Īfter I’d been there a while I made my first film ”A to Z” (1956) which is an animation. So we were doing commercials of different kinds for beer and whatever, but he was really inspiring. He hired people who were fine art draftspeople, not people who had necessarily an advertising background, because he thought of animation as a fine art. I was trying to find a way to make ends meet and here was a job where I learned animation. So I met him and it turned out that he had a film company that specialized in animation and he asked me if I wanted a job. He said, “Well I’d still like to meet you”. I had to say that I wasn’t in particular, that my interest was jazz and painting and sculpture. This man, who I didn’t know, said he seen the exhibition and he liked it very much and he thought that whoever had done those drawings was someone who was interested in the movies. When I came back to Toronto I had an exhibition of these drawings and received what turned out to be a very important phone call in my life. I played in bands occasionally but I also did a lot of drawing. I hitchhiked around and I was almost a year in Europe on that $300. To make a long story short I went to Europe with $300 on one of those “trying to find oneself” trips. I went to the Ontario College of Art and design and became interested in painting. Michael Snow: I started playing music when I was in high school and I started to play more or less professionally jazz and stuff like that, but for some reason I was given the art prize in high school and so it seemed to me that I should study art. What were your reasons for starting to use film and what did you feel as an artist that film could give you? You have been celebrated for your film work, but perhaps not everybody knows that you have had in parallel an important career in the visual arts. Michael Snow performing at Tate Modern, Feb 2019.Įlizabetta Fabrizi: I want to start with the film “Side Seat Painting Slide Sound Film” (1970) because it summarizes a lot of issues in your work.
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