Une histoire du cinéma : Jacques Bensimon

Morten Parker recalls the early days of documentary filmmaking at the NFB, including the making of his Oscar nominated film The Stratford Adventure.

This interview is part of Making Movie History: A Portrait in 61 Parts.

Director and writer Carol Geddes reflects on telling stories from an aboriginal perspective as a filmmaker in the NFBs North West studio.

This interview is part of Making Movie History: A Portrait in 61 Parts.

Svend-Erik Eriksen reflects on his early days working on animation projects at the NFBs Vancouver based studio.

This interview is part of Making Movie History: A Portrait in 61 Parts.

Alanis Obomsawin talks about how she got her start at the NFB and the overarching importance of sound/story in her work.

This interview is part of Making Movie History: A Portrait in 61 Parts.

Colin Low reflects on leaving art school in Calgary to join the NFB and his early days in the NFB's animation department.

This interview is part of Making Movie History: A Portrait in 61 Parts.

In this short interview, Grant Munro, the celebrated animator, actor and director recalls being recruited by Norman McLaren to join the NFB's legendary animation studio.

This interview is part of Making Movie History: A Portrait in 61 Parts.

A look at the work and legacy of Tom Daly, the legendary Unit B producer, who died in 2011.

This interview is part of Making Movie History: A Portrait in 61 Parts.

Lateformer NFB commissioner Jacques Bensimon, who headed the Film Board from 2001 to 2006, recalls coming into the NFB as a director in the early 1960s, at a time when the institution was seeking to broaden its horizons and expand its reach.

This interview is part of Making Movie History: A Portrait in 61 Parts.

Producer Michael Scott reflects on moving from the NFBs head office in Montreal to help set up the NFBs Prairie studio in the late 1970s.

This interview is part of Making Movie History: A Portrait in 61 Parts.

In a long and happy career at the NFB, master editor Edouard Davidovici witnessed the evolution of editing techniques. Before non-linear digital technology became the norm, Davidovici and his colleagues were adept at handling the raw material of cinema, cutting and splicing film on stand-up Moviolas or flatbed Steenbecks. As chief editor at the NFB, he oversaw the picture and sound edit of hundreds of productions in a range of genres.

This interview is part of Making Movie History: A Portrait in 61 Parts.

Jeanine Hopfinger describes working in the NFBs Montrael distribution office in the 1940s and bringing films to audiences in the days before television.

This interview is part of Making Movie History: A Portrait in 61 Parts.