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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=140 BGCOLOR="#000000" TEXT="#F7F7FF"> <div> <IMG SRC="3458ebc0.jpg" border=0 width="142" height="188" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></div> </td> <td valign="top" BGCOLOR="#000000" TEXT="#F7F7FF"> <div> <B>Unknown  Source.</B></div> <bR> <div> <B>(</B><FONT SIZE="1" COLOR="#00FFFF" FACE="Verdana" ><B>I took a photocopy of it from a magazine ... but sadly forgot to make a note of the name of the magazine</B></FONT><B>)</B></div> <bR> <bR> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B><IMG SRC="34ca80d0.jpg" border=0 width="168" height="269" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"><IMG SRC="34dd29e0.jpg" border=0 width="210" height="158" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"><IMG SRC="34fd49e0.jpg" border=0 width="212" height="158" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <bR> <bR> <bR> <bR> <bR> <bR> <div> <B>Northern Man</B></div> <bR> <bR> <div> <B>by Louise Forestier (born in Shawinigan in Quebec, a graduate of the National Theatre School, and a singer-songwriter who has made several records)</B></div> <bR> <bR> <bR> <div> <B>He is four years old. There is a cello between his legs, his mother is seated at the piano. The neighbourhood children watch the concert open-mouthed. Their little friend is a musical wizard. They encourage him and are jealous of him at the same time. As a result of being acquainted with him some of them will be immensely proud, others will be envious, jealous of his internal luminescence, his enduring talent, those green eyes with their hypnotic translucence.   In this little town of Abitibi he will grow up with his cello until the age of eleven. Then comes the move to northern Ontario, and the cello never comes out of its case again.</B></div> <bR> <div> <B>You will play again! We always return to those childhood pastimes that are interrupted by events outside our control.</B></div> <bR> <div> <B>LF: </B><B>The move and the break in routine - I expect you felt very alone at this time?</B></div> <bR> <div> <B>RD :</B><B> </B><B>Certainly. I remember when I was quite young I made up stories. I shut out reality so that I could believe in a better outcome. I reorganised everything to the way I liked it. Then I wasn’t lonely any more. The transformations eased the pain.</B></div> <bR> <div> <B>LF :</B><B> You changed the casting, you did your own casting for "the view of your life". You directed the scenes and wrote the scripts that improved your life.</B></div> <bR> <div> <B>RD :</B><B> </B><B>It’s a habit I’ve had for a long time. When I was little, if I saw a film about Chopin, I </B><B>was</B><B> Chopin. I could keep that up for a month. That’s the way I lived.</B></div> <bR> <div> <B>Not only were the scenarios a comforting way to escape into fantasy, but some of them came true. It was inevitable that the young cellist would become an actor. Unwittingly. By chance, thanks to a friend who was auditioning for the National Theatre School. He put himself forward and was accepted. </B><B>The School brought me down to earth</B><B>, he says.</B></div> <bR> <div> <B>LF :</B><B> So what did you do before then?</B></div> <bR> <div> <B>RD : </B><B>I moved the piano! Seven times in seven years I moved my mother’s piano. We eventually moved to the city, my mother, my brother, my sister and I. I was fourteen at the time and I fell totally in love with city life. It was magic. For me life was the subway. I had come from the country. The city fascinated me, the streets of Montreal, the people, everything. It was a gas!</B></div> <bR> <div> <B>LF</B><B> : What sort of pupil were you at the National Theatre School?</B></div> <bR> <div> <B>RD :</B><B> </B><B>I really liked to learn, but above all I met amazing people who opened my eyes to a world that was richer, bigger, more complex, but at the same time more basic. I was in my element. Free and happy. Armand Gatti inspired me enormously. He made me understand the importance a single individual could have on humanity, on the world. Four wonderful years.</B></div> <bR> <bR> <div> <B>INSTINCT</B></div> <bR> <div> <B>LF :</B><B> I first saw you in </B><B>Les Filles de Caleb</B><B> where you played the unforgettable Ovila. You give the impression of attaching great importance to the person you are acting with, which in turn makes the viewer feel important. </B></div> <bR> <div> <B>RD :</B><B> </B><B>I asked myself an enormous number of questions before I started playing the part, but from the moment I started acting I stopped questioning. I don’t like to analyse exactly what I do. I don’t like to put myself in a box.</B></div> <bR> <div> <B>I sang as a child. I was a soloist in the choir. I took singing at the National Theatre School. Since then I can’t sing any more. I’m afraid of being restricted by what I’ve learned. To be a genius you have to transcend awareness.</B></div> <bR> <bR> <div> <B>THE CINEMA</B></div> <bR> <div> <B>RD :</B><B> </B><B>What I find wonderful about the cinema is that when magic moments happen you can watch them over again. They’re captured on the film. They’re preserved. This doesn’t prevent me loving the ephemeral nature of the theatre.</B></div> <bR> <div> <B>LF : </B><B>What I hate most is this preservation. The equivalent of making a film for me is cutting a record.</B></div> <bR> <div> <B>RD :</B><B> </B><B>It’s a bit like death, this fixing on film. It doesn’t move any more. The moment is captured for ever.</B></div> <bR> <div> <B>LF :</B><B> Exactly, but you can never recreate the moment. For me, it’s the opposite. What interests me in my work and my life is the re-creation.</B></div> <bR> <div> <B>RD :</B><B> </B><B>I was really proud of </B><B>Being at Home with Claude</B><B>. It’s an amazing role for an actor. That the character was captured on a roll of film was fascinating. But on rewatching it there are a lot of bits I would like to do again because I’m not in fact dead. At least I like to think that.</B></div> <bR> <div> <B>Last year he made a film about the story of two European botanists who studied the flora of Venezuela in the 18</B><B>th</B><B> century. Filming deep in the Amazonian jungle was difficult. As we are talking he is driving his jeep. I observe him discretely, as another Roy Dupuis emerges. He has aged ten years, his voice more serious, his speech slower. This film was a gruelling experience. </B><B>For all sorts of reasons I wanted to walk off the set but I finished it because of the honesty of the screenplay and the message it carried</B><B>, he says simply.</B></div> <bR> <div> <B>I have often thought that northern men have a quiet strength. Roy Dupuis is the definitive Northern Man. He has the eyes of a trapper or a hunter. Yes, eyes that hypnotise. Many a doe has fallen at his feet without a blow being struck. He doesn’t force himself on his victims or his co-stars, he draws them to him. That’s his strength. It’s his charisma and his childlike self-assurance that preserves his instinct.</B></div> <bR> <div> <B>LF :</B><B> What do you do when you need to get away from it all?</B></div> <bR> <div> <B>RD :</B><B> </B><B>I go walking in the mountains and free-fall parachuting. I like to push my body to the limit, to feel alive. At night I like to look through my telescope and commune with the stars. I’m interested in astrophysics. I’ve always been fascinated in why things are. I also like philosophy and find it particularly comforting that </B><B>Sophie’s World *</B><B> is a best seller world wide.</B></div> <bR> <div> <B>While waiting for darkness to fall I jump on my bike and go for a ride. Once I went off to the American desert. Not a single word for ten days. Riding in harmony with the countryside rolling by like a film on the screen. Just me, the silence, and my camera. And a desire to move forward.</B></div> <bR> <div> <B>LF :</B><B> To where?</B></div> <bR> <div> <B>RD :</B><B> </B><B>To become freer so that the desire was no longer a necessity. I try to do things out of enjoyment rather than need. I used to say that I believed I would die at the age of thirty three …. that was a time when craziness fascinated me, was a goal to be achieved. Whereas today I find more value in simplicity and serenity. I have bought myself a place in the country.</B></div> <bR> <bR> <div> <B>A TWIGHLIGHT SCENE</B></div> <bR> <div> <B>"Magic Hour" featuring a country house. The camera moves towards the house. We hear the music of a cello, its sound becoming louder, filling the house. The camera approaches the window. We see a man and his cello. The shot is held. Then the camera pulls back. </B></div> <bR> <div> <B>"Magic Hour" with Magic Roy.</B></div> <bR> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>     <IMG SRC="4ba17230.jpg" border=0 width="279" height="35" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B><B><IMG SRC="4ba17230.jpg" border=0 width="279" height="35" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <div> <B> </B></div> <bR> <bR> <bR> <div> <B>Time Out New York magazine, Mar. 26-Apr. 2 1998                   </B><A HREF="id32.htm" TARGET="_top" TITLE="1998 Articles"><U><B><IMG SRC="1cd633c0.gif" border=0 width="99" height="60" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></U></A></div> <bR> <bR> <bR> <bR> </td> </tr></table></body>