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<body topmargin=0 leftmargin=0 marginheight=0 marginwidth=0> <table cellpadding=0 cellspacing=0 border=0 height="100%"><tr> <td valign="top" width=130 BGCOLOR="#000000" TEXT="#F7F7FF"> <div> <B><IMG SRC="21e7fb30.jpg" border=0 width="127" height="179" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <bR> <bR> </td> <td valign="top" BGCOLOR="#000000" TEXT="#F7F7FF"> <bR> <div> <B>T.V. HEBDO JULY 1993</B></div> <bR> <bR> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>              TV Hebdo 17 - 23 July 1993</B><FONT SIZE="3" COLOR="#9900CC" FACE="Arial" ><B> </B></FONT></div> <bR> <bR> <bR> <bR> <div> <IMG SRC="47a44d90.jpg" border=0 width="324" height="217" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"><IMG SRC="220f85d0.jpg" border=0 width="248" height="349" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></div> <bR> <bR> <bR> <div> <B>Roy as you’ve never seen him before. Whimsical, vulnerable - Roy-the-magnificent!</B></div> <bR> <div> <B>He has just finished making Blanche and is getting ready to film Scoop III. In between the two, the Taurean with his head in the clouds but his feet on the ground celebrated his thirtieth birthday and has stated that his values have changed. We raise the curtain on the theatre of his soul. </B></div> <bR> <div> <B>The trouble with actors is that you never know when they’re acting or being themselves. We apply all our preconceptions to them and confuse them with the characters they play. The way Roy Dupuis is treated by the public is proof of this. The actor everyone is talking about remains the least well understood. </B></div> <bR> <div> <B>Yet he’s not the one causing the confusion. "The gossip columnists make me laugh. They never speak with me yet they write whatever they like. As a rule I don’t give a damn about the picture they paint of me. " </B></div> <bR> <div> <B>Discovering the real Roy Dupuis means having to forget the countless clichés surrounding this young leading man. Particularly as he reacts to these platitudes like a chameleon on an artist’s palette, transforming himself to the expectations of the onlooker. His true personality only appears beyond the mirror - the personality of an energetic, subtle and generous actor, with gentle refined manners and a companionable half smile. </B></div> <bR> <div> <B>Educated in Abitibi by a pianist mother, an authoritarian father, and a bevy of nuns, Roy Dupuis landed up in Montreal at the age of 13. "I was fascinated by the city. When I first began to make money I spent it like water. Later on I developed something of a guilt complex. The rich certainly don’t have an easy conscience. </B></div> <div> <B>I paid for all the rounds of drinks before I finally accepted the fact that my actor friends were poorer than me. That’s why I don’t have any money any more!" </B></div> <bR> <div> <B>But during the past year his values have changed. The nocturnal hawk has become a lark. I’m settling down. I’m in a stable relationship. My desires are more in line with my conscience. Before, I used to let myself be guided by my instincts. With more experience I now accept my life the way it is. That of an actor looking after the instrument he works with. I drink in moderation and keep myself fit. But it doesn’t stop me driving a convertible and freefall parachuting. Drifting at 12,500 feet is a mixture of fear, pleasure and freedom. I have just as much enjoyment as before, and I like myself more. I identify with the words of a Philippe Léotard song : "You must love yourself if you want to love life." </B></div> <bR> <div> <B>On the job front Roy Dupuis looks for work that allows him to rise to challenges. "The more I film the more nervous I am. I’m not the sort of actor who is universally popular. If I have a failure at the moment it could be dangerous. But I reduce my anxiety by doing things I like. I have a film project with Jean Reno </B><FONT SIZE="3" COLOR="#CC66FF" FACE="Arial" ><B><< didn’t happen >></B></FONT><B> and I’m going back to the theatre next winter. In between I feed my mind by listening to Léotard, Brel, Brassens, Ferré, Bashung and the classics.   I devour Paul Oster, Réjean Ducharme, and I’m interested in psychoanalysis through Carl Jung’s experiments on the subconscious. </B></div> <bR> <div> <B>A hockey centre on the ice rink, onscreen Roy Dupuis is a real master of his craft. "I’ve been spoiled because I’ve been lucky enough to play complex characters in the productions I’ve been in. I have a huge ego. I hold fast to what I am and what I believe. I’m rarely satisfied with my work … even if it’s been successful enough to be rerun. I live my life to broaden my horizons and to enjoy myself. But enjoyment is something to be taken seriously. Like hockey. You have to suffer and learn how to overcome your fears before you can appreciate it. It’s as crazy as throwing yourself out of an aeroplane." </B></div> <bR> <div> <B>Though physically he appears on the small and big screens, at present his spirit is on the stage. "You work at greater depths. You have to use your brains and guts more. I’m very inquisitive and the theatre, whose purpose is to inform, is satisfying. It involves more subtlety, exploration and research. But really in life, </B></div> <div> <B>like elsewhere, simplicity is the most difficult thing to achieve." </B></div> <bR> <div> <B>REUNITED WITH MARINA IN BLANCHE << Note : contains plot details for Blanche >> </B></div> <bR> <div> <B>"Ovila lived with a wife who was never happy," says Roy Dupuis, talking about the character that made him famous in Les Filles de Caleb. "Remember - he stopped drinking for four years, working day and night to feed his wife and children. Then Emilie complained about not seeing more of him. Really, these two were victims </B></div> <div> <B>of their age." </B></div> <bR> <div> <B>The actor makes only a short appearance in Blanche, the sequel to the TV series which will be broadcast on Radio-Canada in the autumn. Emilie (Marina Orsini) prevents Ovila from marrying an American Indian. He also meets his daughter (Pascale Bussières) who is living in Abitibi. He spends a last night of love with ‘his beautiful mist’ before returning to the life of a recluse. </B></div> <bR> <div> <B>"Having spent only five or six days on the set, I’ve no idea what the completed thing will be like. For a start there is a difference in style between the directors Jean Beaudin << Les Filles de Caleb>> and Charles Binamé << Blanche >>. And the characters have evolved. Ovila is less naïve, less inclined to act on emotion. Naturally I wouldn’t portray the same passion for a 67 year-old as I would for a 20 year-old. My make-up consists of a lot of latex and facial hair. It’s heavy to carry around. A bit like being Ovila ….. "</B></div> <bR> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B><IMG SRC="22832320.jpg" border=0 width="306" height="306" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"><IMG SRC="227116b0.jpg" border=0 width="273" height="363" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <bR> <bR> <div> <B>   </B></div> <bR> <div>  <IMG SRC="4772f1f0.gif" border=0 width="303" height="31" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"><IMG SRC="4772f1f0.gif" border=0 width="303" height="31" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></div> <bR> <bR> <bR> <bR> <div> <B>L' ACTUALITE AUGUST 1993                                      </B><FONT SIZE="3" COLOR="#9900FF" FACE="Arial" ><A HREF="id16.htm" TARGET="_top" TITLE="_"><U><B><IMG SRC="13e50280.gif" border=0 width="80" height="40" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></U></A></FONT></div> <bR> <bR> <bR> <bR> <bR> </td> </tr></table></body>