Juste entre toi et moi - Fred Pellerin

Episode Date: June 20, 2026

Fred Pellerin, qui présente depuis quelques mois un nouveau spectacle intitulé Au nom du père, explique comment il continue de trouver de l’espoir dans les histoires qu’il raconte. Il se confie aussi au sujet du cancer que sa fille aînée a traversé et donne des nouvelles de Léo Déziel, l’ancien garagiste de Saint-Élie-de-Caxton.

Hello, this Dominique Tardiff. A good-in-between, A just between you and me, the end last for the National, you'll you'll be it, I'm going to

at St. Placid at Mr. Gilvigno. And we've got to the suite in the ideas to just between you and me because, because today,

at some days of the Fentonet National, My invite is a friend of Mr. Vigno. My invite is Fred Pellarine. Fred Rod, a new spectacle that's entitled, The Name of Per,

he will go and be counted this spectacle everywhere in Quebec over the next months, or the next years. Fred,

me has made a visit in studio at Montreal the 23 April the last. It's for that

is briefly question of the Tend of the succors in our entretion, it's not

you're not you're in your times, and if D'Aventure this episode you procure

the joy, the pleasure, of the emotions, d'err and then hesitate not to not a

good note or a commenter on Spotify or on Apple Podcast and here,

and here, without more tarded with a guy that takes the time to do

the things, to be doing things. Fred Pellan. You've got been brossed your d'en,

Fred? It's proper, proper, proper, what's going to be proper, prop, prop, prop. It's the first time that

an invite of my will be able to do you do this before, you do you do this

work, they are very, they're in croce, but they're prope, but I don't know, in the

more, in more, I'm more, I'm sure, but, you know, before to see, before the sign, I'm

pass the the d'clock to my my best, my bossed the d'oeuvres, by respect for the person in first range, yeah, and by hygiene

in the den, I, I've never been to Kerry, it's all right, thank you. Is it like we want to talk to move on? Well, I think

to be on the question 15, 16, we're going to be there to be there, I'd probably to plunge if you're in

first time. No, but I'm so, I'm sorry, and then, yeah, and then,

then we can pass to the things, more, more, less, less, less,

thank, thank you, thank you. If I'd you'd where you come to, let's on

a question, all the people are the people who are the questions, even the Frenchos of also,

yeah, and the francophone in Europe, they're because you know, but let's,

let's say, I'm not, let's say, that question, you're saying, I'm in a village,

you know, I'm in a village, I live, this village, and, you know, what's what has defined

much artistically, it's, it's, this thing, the fact, to tell, the fact,

I'm, I live I live in this village I live in a lot of way, in a fashion central, I've been a

long time installed before the church. Now I'm in a forest a little, but I'm still on the

place in St. Elit Kackston. So, I've been to St. Elit Kasten and all the book that I

make, to get, I'm remand to see, that's that tourn, that the pleasure of

voyage me has been by the years, I'm finish this year, I'm atterir, like,

how is the regard that you pose on your village, it's transformed with the years? It's transformed

I'm just much, by the past, you've been quite implicated, of a car and of tripe and of all the ways, and of

all the ways, and to all the time there was there were some of the episode where it's made

to have deposed my car on this bush that because all a coup, he was

still a misponable to the maltrait and he had been in this car that, so I've been

remit in to me to be to protect to be Or so. I rest implicated in the

village, the different fashion, the same past in Caban and Sucke, we've received the first year

because you're a caban aske. Because I'm a little little caban as a subc, not an affair with the table

with the naps carotet, the little little bit of cereal annually in the front of the court in

rear and it so it's not a thing that's not a thing with the school, with the people,

with the residence that I'm that I'm employ a little to offer to be able to offer, to get to, when we're in

a moment where we're there, there's an counterer that, that's installed for it, so there's this implication that.

By the point, I've been a part of my and my tripe to this bush there, because I'm implicated, I think,

in a way, too, complete and entire, and then it's a bit, it's a little, it's a lot,

my creation, my pleasure creative, my, my implication, my implication, it's reduced, a little. It's reduced,

if it's transformed, let's see, is transformed, as a measure that's a lot, to say, to say, to say,

to say, it's a bit far, but in the whole, it's, quite a part of the planet, there's been a lot, there's been a

age of arc, incredible, we're going to pass, to get to because it's been to be able to , you know, there's a 50,

60,000, tourists, although the village I had no infrastructure to receive these tourists the toilet public that had

said the car that's the money it's me who they're financed because these people that were not to buy them and they're not

to pay for the money. So we've created a corvette and I've got created three salte of bin

for the dispone for the visitar so there so that there had these best years

after after there after there was there was a terro fertile at the visit but also

a terro fertile where we we felt that we recognized the work artistic, the work creative where this part

that of the creation on the reality was available, appreciated and acuey, it's a fact that many of artists

were installed at St.E. Kaston. And then, at this moment this, we're on the case,

we're a place where you're a lot of people who are coming to get to be to get to the village.

And, you, it was not due to the COVID, there had been the inverse of the exode rural.

All the we're going to be re-installel in campaign, but already it was entombed before the COVID, the little families who were going to

to be in front of the village, who had to be the people who had been in, the population has exploded, have to double

the feet of the core of school primary. And I, you know, I'm talking to that's over the traffic,

that we had, because there was an explosion demographic at St. Ed. Kaston, while the

village were a bit more to make a whole, there's there, we're still, we're still,

So at St.E. Lee of Kingston, he demer, a great community-time, very active, you know, of the vicinity, these little commerce of proximity

that we're not, that we're not not necessarily in all the village, and it's continue to bring by this

affair, that. The thing touristic, it's a bit etint, but the community

community is still very very vive. I, who search to have access to the property,

to my to buy, with my company, for our for our , is, is there are

a place for me, in New, because at Montreal, it's not easy. I don't know. No, no, no,

but everywhere it's more easy than it was a but I think it's still in a camp in a country, in a little

in a little in a city to say it's still to be able to if you're with the payment that's worth of monthly,

you're doing to get a to Chastardotot to St.E. I'm sure. I'd live a life of a

rich at St. Elie. Let's talk I'll pose a little in appearance simple but that it is

perhaps not than that. If you What I'm asking what you do in the life? What's you're saying? Because you do a lot of things different? Yes. Now, I, I'm...

I think it's that that's what I'm occupies the plus. It's what I'm occupies the soul creative, the servile. I search to find the good story to tell you, I search to... And, you know, and on the scene, but also, you know,

the morning I'd have the dejoining for my children, and you were still in a delir, to, you know, to search a story, to search a way to tell you a way to to just

I just, I'll just, I'll just, I'll just, I'm in a piece, I'm going to get some stuff, so that's a

thing, so I'm, to create an story, but often, to create these stories, to transform the reality, to distortioning the reality, and with, eventually,

perhaps the way, to be able to be able to becky. So, I think that's a very that that's a lot of, with the last

years, I've been, I've been a bit in forest, and then, there, there's a dimension agricultural,

of my life that I knew not, to which I'm adorn and in which I'm playing a year I'm in a forest.

I used to have a job we're in we're deserbe the forest because there's a surplu of puss of heit it's acidified

the oil, it's not good for the raublier, we'd we're cuted with the cacators and so, you know,

this affair, we cultivate a truffier, we do the cabana succuk a truffe, it's the truffe, the champions of truffe,

the champions of truffe, yeah, and that it's a bit parasit if we want, the racine of certain arbor.

So, in fact, you know, it's, in fact, you know, eventually will eventually

entertain the truff. The truff puts a 30 centimeters in the foot. So, yeah,

we have rased to have a lot of the top of that's up, that's little bit of plant.

And with Truff Quebec, we've been playing. Yeah. I know that's a

true of Troubekebe. Well, yeah, Troukekekekeke exists. And, and there,

it's, biologists, Gerome Kryon. There's a lot of there who's interested a trough of the trough the trough can

live sunotropics. There exists there's a place that's a palachachach that exists at the state

savage and that we're trying to domestique not quite and then we create a truffe but the truffe but the pH

he'd take a carot of gravel and there he's not the pH of stuff that's

it's just incredible but it's tripping because it can come to colorate your season also

and cut your bode your sweet to time, and he'll have to do you have to be punctue to the reality, it's a change your rhythm of life. So I've lived a bit, this affair that a little more

relentive, because it's land. The arbor are very lans, by the amount of those humans. So there's this affair that, it's very nouricent also at the level of the reflection, of the creation, all that, so, that's what, that's what I, that's what I'm, what I'm, so, you know, it's so, I'm doing, I do, it's so, I'm just stories. The stories and the truff.

The stories and the truff. of champigion and of racine and of delir. Because I re-lue because I re-lue the interview that have accorded to the last year in the press,

and there are many of the theme recurant of these interviews is at what you know what you have many colleagues who,

in the article we're saying they're a bit inquired even for you for your rhythm of work.

Is that you've already froled the burnout? Ah, yeah, I'm interested the pier

of the aura of the line, I think, yeah. And I think that, you know, in my response precedence, I'd have talked to the changement of rhythm when you coat all the arms,

but I think that's a bit of a buoy for me. It's lant, it's lank. When I was installed in this forest, at which point all you've been in, I remember the first time, I'd be up the morning, and I'd say, me, I'd be late at all. And then, it'd be run to 9 o'clock,

and it'd be my journey. I'd never evened not, of this lantor, of what it's impose. And, yeah, it's a... changed much. I changed the rhythm,

a little rhythm, a little, the rhythm of trico, the agenda, if you want, you know, the number of

little points, the number of the number of the a lot, they're going to see, to see,

to see, to see, the, the world, the world, is what the system of the world?

Or, the people are to know the day, the day, the day of, the day, the, you know,

in fact, it's just that, the definition that we do of the stories.

After that, I'm sure stimulated by many people, by the collaboration, by the encounter with other creators,

by the meeting with the new projects, all malleum, but that's a little to be because I'm at you know,

well, then you can't be able to say yeah, but you can't be even more, because it's all to do,

we've found the way, we've got to we're done at 2029, actually we're actually we're we, we're

we're just also et tending that on the time and we have to do that So it's that I try to do. It's a thing that's that's going to do with.

Yeah. Yeah, it's that. It's a little a vertige in a certain fashion, but at the time it's the fun also because it's it's a rassure,

you know, in the mitsy that we're there's a career very short, there there's things that don't know on three years, there's been

some of the so, so, so to be able to create that for me, it's creating a vertige but at the time it's created a

form of appeasement and all that? Is that for for real, that's for that, that's

because your salle are always very filled. It's not not a lot of my sense. At each

tourn't, I'm saying, it's not not a time, but at the time it's the eight-time

to come to end up in September. I've made two tourn of the last, it's ten

tourn that we're doing, it's full all the time, it's vans, it's vans, it's van, it's been,

it's a long, it's a commercial what I'm in the sense where we're not mainstream, you know,

the children, not to become a counterer in listening to the night. So, I'm a time, and at a time, and at a plateau,

maybe it's a little bit more, it's a lot of, but it's continue. So, you know, I measure the privilege that I

to live all of that. I don't know, to get it, long to that. And then, you, I said, I'd do that

like if it had been, I'll answer a show at the autumn, but now I'm in creation and in the rodage. Because he's not

finished, no, no, no, no, I'm It was been casted a year two weeks for a first time, before one, I've never made before person. In two weeks, I'll repren,

in the little places in a little, very intimate, there's very little cell, 100 person by so, perhaps. So, I'm in creation, so, you, I'm, you know, I'm reese de clays to find. I have some door, I have a door,

there, my name, but he's a lot of key. But at each time, there, you know, to not tap in the sous of the precedent, and then after, I mean, I've

done with a 25 times the spectacle, that's finished there's been there's new, it's pretty, verny,

blestried, it's intusable, it's entangue, it's hard. There, I'm going to, that's quite, that's sure

that I can't be not, I can't not arrive at the level of finishing that I had when I'm

after you, so, there's all this thing, to be sure, to be the show that just to finish,

and it's, so, it's so, it's so, it's a lot of to travel, and it's, it's, it's occupied.

You're like an entrepreneur immobiliate. You have some. Yes, but it's that. That's it.

I'm trying in the door. Incerer. To what it it's a result on paper

before you on present the first presentation? It's a strangely what you have on the table

before you, which is your plan of that's what you're in front to you

with a series of numberate and you know you know that you know that you know that you all question

your sign, I go out, ah, it can't have a lot, you can't have a lot, you can't do with that, it's a little like that I'm in a structure,

so I'm very, very, uh, very, uh, lous? Yeah, but at the time, very, very,

serried in the, it's a toilet in fact, it's a design, it's very schematized, you know, it's,

it's, these diagrams, it's, it's, some form geometrick, a bit, it's, you have to get

my points, the affairs that's, the thing, the time, the time, two-frey, for when the third time,

it would sound, it won't know, but you'll know how it's a lot of, but it's all that thing that that's a thing that

that's a thing, that I'm on the paper, but on the post-tit, on the cartons, on a point of time, I'm to get all of

all, like you do it for your interview, and that, I inger that, but I inger not that so I'm not of structure,

an idea, it's like a kind of a kind of a thing, it's like, and I'm, so,

and then after, I'm in the book, and then, all the little little little little little little little

little bit these little public, it's not written in the first of course what I'm like the structure

because my pleasure is there my pleasure is in this thing that that is to find a a skeleton

of a solid he will be going to be a lot of and this will be a thing, because at

all my history, like the the spectacle that I do now I think that's the one

that's the one bit of affairs that are that they do you have

a grand to do you have that's all of the thing, that's all the chain, it's a time that's that's quite a

time that's not that's a lot of that's a part of the end. I'm going to I'm trying to that, so, so it's all that

that's all that that I'm, that I'm inger, then after I'm then I'm in public, and it's that I'm that I'm

that I'm not, but I can't repeat it. So, you know, I'll be there to be able to my team, in Zoom,

an afternoon, I'm doing, two, three times when we're in Bueia, Caban-a-Sucke, what I I'm talking, is the

encounter of each one of these clays, each one of these charniare, each one of the point of limineau, each of the case, that's not

that I'm doing, I'm doing it, I'm doing, I'm doing this, but after the public, there, I've got, I'll,

I'll try to the things, I'm going to be a lot of people, you know, when we're going to pass six people,

I think it's a public, and there, it's a few, and then I'm there, and I'm there, and there, I'm,

and there, And then the work creative, he will be very on the scene in the weeks that come because the spectacle that is new and because there, I will find mil-affair at each night. There's one of your friends,

Mr. Gillesvigno, that I've metering last last year, he said about something like that. Plus than two people, for me, it's a public, and then I'm starting to talk to me.

And for you know, a bit of a few, when you're just alone with, and you're a public, and, you know, it's a grand orator, you know, there was a, there was a,

there was a phrase, you know, if you want to say, they'd be there. There's no more. There's no other option. I think it's a old part of Chesue

who said that. It's how for you to pass the time? It's how for you to pass the time with a grand, a giant

like Gilles, that's been these great privileges. You've done a film in 2016? Yeah. That's been the

moment where I passed more to the time where we're at the more more intensely during several years

in filet. It's a documentaire. The Gould of a country. It's Francis Lego. the realtor who had created this idea, who had created this idea,

Francis Hugo, it's the he's the that's the same, it's the same as we're, the other midi at the table to the table of, yeah, yeah,

and a moment of, I had made with Jill. There's not a no, I'm sorry, but we'll be well, we know, no, we, yeah,

I've had done a bono. I'm doing, this affair that, and after, because, Jill, when you start an enrable, he's not to go,

he's not finished, and it's not, he's hot, then, it's all, in plus, it's sure, in plus, the motor is show.

So, so, we had part on the deal of, in fact, he had to make the sugar,

and I'm going to be in a lot of a folly of sugar, the metaphor and the allegory of the sugar,

and the go was there at the go and it was if I'm don't know, of this discussion

that for create the idea of the book of a country, and after that then I'm

obliged to embarked there, and it was all the question of identity, our

our rapport, by our culture, how we treat the things that are patrimonial

or who are of our identity or who are of our distinction, but always in talking about the syro.

It's always in the allegory. We never at the show, we were in a lot of the show,

you turn, you turn, you turn, and you turn, and you you're, you're, you attend the

bonchot. With Jill, you have just the bonchot. And then we've passed some,

we've passed, we're pasted to be to have installed in our micro, he'd do you, it's just, I'd try to fret, we'd nisad in the car. So, you know, I'd passed

the day of with Jill. She'd be able to, a good part of the tournage, it'd be able to soon, so,

so, we'd finished the tournage, and then, the team went, to get to Jesus, we'd go to play at the Cove, after, and then,

it's a grand joan of pool. It's a grand joan of beer. So, so, so it's been a moment magic to live that with him, it was not a little intensive of three hours,

it, it'd be years, It had days and days. So, you know, to cotoyer this patriarchs, that's not long in a year, in a cravat, in a memory, vivid and incredible, that's a way of articuling,

to l'givorize, to each detour, it was immense. If there are some of, when you were with Mr. Vigno, you'd pincet or you'd sort of to you,

I'm trying to live that. Well, yeah, but, well, at the time, I analyzed it, I'd like, I'd be in there, and I'd like,

And what was fun, it's like we passed the table, we had passed rapidly the time of that because to be to be very

intensely, and totally in the time and all these days of the time, we're doing in ensemble, we're going to

get in the time, we're having to need to get to my car to appreciate the thing,

I'm in and it and it got it good. The count, why is that

you, you'd you're something in this form of air that, that is in

port-a-for-a- with the in the time in which we live. And the more and more. Yes, of course.

Why is that function again? Why is it we touch the stories that we're going to be in

the way that's at countercourant is that we're in an air of rapidity and if the video

despise 30 seconds on internet you'll be the end up the fact we

we're in this affair that the count is it's sometimes someone

who's someone who part in a history that during a time

So, you know, it's that I think that I think it's a countercourant. There's not 42 plans of camera. There's a guy of Boat, O'A,

or a few, of Boat, who Aci, who a few, who has been, and he says, I'll go you're going to a story,

and there's a fact, there's that that that's a kind of there's a lot of flair, there's not a

choreography, there not of costume because, you know, it's quite quite, you're quite, you're quite, for that,

so, for that, it's a bit a countercour And at the time, there's there's a kind of a

lot that we have seen in us to be the story, and that we're in trying to consume on our iPhone or

on YouTube, or that we're at a theater, that's a cinema with a film American,

300 million of effects special, we, we're always there to be able to be a

story a little. And, you know, from the Grott, the SCO, he had

a bed on the mows on the stuff, it was a thing of a to be able to be told.

And I think that the count, there's, there's quite a lot that's quite quite a lot of, that's the same, to say, I'm going to be told you

want to talk. And there's not not a lot of, and say, oh, there's a lot of special, I'm not, well, there's a lot of

than you're going to be an counter. So I think for that, it's a very much, directly in the

problem, to have to be a domas collateral, and the sense, when you're talking, a story, and what you're It's perhaps for that

that there that's there's a people who can't and they're there's a because it's

a certain this direction that and you this visu that's a old is the story of anything to tell you

don't know. We have all this true that that has been to be being by the

story. That's for that I said there's there's a sko there's the same on the

on the on the it's because he recounted their chasse that So, we, you know, we part from this idea that,

and we consume, you know, what's we do, we do, we consume these stories, we're going to be the stories, we read the journal. Well, that's so. A good article, is a good story,

well, yeah, well, a good article, is a good story, well, and then we're going to be a lot, and then we do the romance. And,

and the children, because, I consume not so, I'm not so, I'm not really, the video, and these guys, guys, you know, I see,

I see, my children, they, they see, they see, an history, the influencers. And then the influencer,

he'd do not a video that's a lot of, it's a suite of video that's a movie that's a end up to be in a whole, and finally

it's articul, and finally, it's the story, you know, that's that's quite. So, what you mean, is that the

people are the time, I think, they're part of, yeah, in a certain way, it's a way,

it's a way, it's a way positive, the time, I'm not, I mean, I'm I'm not, I'm not, I'm

I'm not, I'm no, I'm, I'm trying to I'm trying to I'm trying to I'm trying to I'm in my cousin, you know,

I'm in a 1912 year, who's in fact, he's been in a question, so, he's like, for me, he's been a

influence to be a way to find there's a way to have a parallel between the two forms

of expression. He's not on TikTok, Leo. No, no, and TikTok, not,

but what's what's what what's what's what's going to what's in his life, Leo, he's going, yeah,

yeah, he's very very, Janine, Fald, he arrived a little, well, he wanted 10-cord of wood, because I did a bit of wood of chauphage,

and then, and then, and then, Leo, he, I've seen 10-cord, but, you know, I'm a discord at one person, you know, it's a lot of my production for a single person, so, like, I'll have it

even though, but I'm not to have a discord for Leo. So, he's, I think that with the age, he's probably more frilly, because it's probably he wants to do with that they do with,

it's not so much show, to show show, but at them, because Leo, it's, there's, there's, there's, there's, he has,

his tauts are, he's a poeuvre, a coquill, a pile with with their own to font. It's better. It's better. But in July, when you know, the thermopopoe

that's over, because you're too hot in the house, and you'll light your toes. So, you know, I don't know if it's the

more ecologically friendly that, but, in the case, he wanted to be the cord of wood, he vaugh, he'd be able to sound,

he'd, strangely, leo, it's the garageist, yeah. And, he would, he'd, he'd he'd,

he'd, We'd sit there because one of my good friends, Janow, with whom I'm doing the music, Janow, he was pompous,

it's he was a glass of Eltonyval was pompous. Yeah. And, and he practiced on the saxophones

that. If Janu had been a saxophonist just as at no light, because he had been in

the back because he was because he had been not, there was a fill to tinked

the time to play the saxophon at the pond. Saxofone at the bar. So, oh,

yeah, it's, sand clob, clob, so, So, it's that. So,

so Leoh, he was a garageist, and we had, he was, he was, yeah, so we're going to now,

he's a he has always, the, his form is the cell of 62. He does do the cabanamoano.

He does be a lot of people, he's doing he has more of a little little

little garage of village in St. Paulin, so that he will change with him but he

he does, he did he did a he said, because Because, I'm, I'm a terrain of a cousin, and I have a little cabane, a shed,

who he doesn't say, don't me there at your cabin. My own far, my cabbano, there's in my cabin, I'm going to findoose there, and a trailer of four-row.

So, I can't really he'd be done my caban. And then, he's arrived, and he said, I calculated with the plans of the arpenter, and there's two

feet of the cabbent that's a lot. So, so, what he said, me say, it would be that I'd set two feet

in the cabin, and that, like, I toss my fardust on a bar for that you can't face the cabman in his two-foot. In fact, in the case, we're negotiating there on. These big dossier. Yeah, it's show, you know, you'll be able to be able to be.

You know, there's the development. You know, there's the law, but there's kind of the line Cleo. But it's all that, that's the line that with the people that abit St. Eli, that's never changed. No, no, that.

And, you know, my cousin, Baba, And there, it's a cotidian, it's colorous, it's joyous, it's, it's droll, it's so... So in your new spectacle, you recount the history of curate, is that? Yes. Because the curate, it's,

can't even, he monged a little a volley, from seven spectacles. You know, it's a little suffer-douloor, spectacle after spectacle. It's the monsieur who thinks that he has an authority, and he's got, you know, he's been on the whole, and we'll readiculise.

And then, I think it's interesting to see that, you know, you know, there's a little bit of the soul, you're still, you know, an human there's a man, I think,

I've seen, I've seen, by discovering that's been in being in a man, it's there's a lot, so.

So, that's on him we can't, and we're going to see, we'll see, that's, that's,

that's, that's, is there, is there actually a curate at St. Elie? Uh,

he's a, but he's up just St. Italy, there's so, I think, I think, yeah,

yeah, but it's, by course, uh, by course, there, a, A good curie who had been there

for long time, I'd revise, with who I have a correspondence actually because, I'd like there a little three-quarter an hour,

to be able to to be a story before they're to see, in fact, to have his point to view, d'hom of

church, on what I'm saying, and he said, yeah, we'd be, we'd be for a ver of wine,

so, so I think that, a veard of a viz, it'd be, it's, I think, I think there's a chance

to have been the curate? Is it? Is it to frequent the church when you're in a friend? No, I was there been baptized, and it's

that's been to be the place central that occupies in the village in a community. And, and again today, you know, you're talking to be there's a barred of a village

at the bottom of the cloche. Yeah. If you want to find the center of the village, everywhere, you know,

you're in France you're in France to search the closhes to know, where the little cafe, and, you have this place there,

after that, as, as I've played in the tradition oral, in the souvenirs of the years,

I've seen this figure that of the curate that's very present in my history,

because that's very recently, it's very present also in the stories. Is that

you, do you believe in something? I think, in plenty of affair. Like what?

I have not a religion, no, I'm not that. In what you know that?

In what, I think, in what, I, I, I, I believe, in the

well, you, there's people, I think, in... But, you know, after, I'm... I'm trying to feel that's in baleigh, because I feel that's embellist, because I'm forced to crore in the bell-chose-all-all-all-a-all-all-a-ta-ta-a-ta-a-plombed-a-lut-lut-lut-a. And then, and I've creed by... I've creed by... ...and-a-cru-a-cru-crued, and I've creed...

...and, you know, and there plenty of views on set-ed-de-be with this problem, there, they're lute-lint, they've got... They have these lutein in their grange. They're not going to be there, they're going to be. But, you know, Leo, he has lived with the lutein. He had cutoyed the lutein. He arrived in his garage. The Zudite had all changed the place.

And, you know, he'd have been talking to that. And it's all right. And it's all right. And I've gone through my traverse of lutein, but because we part to believe in what, and in what? In what, in the core of the foe, you know. Because the word, we use, we're usually for design a faith in something.

Maybe the lutein, it's more than we, but we'll use for design a, you know, but it's a word, let's say, well, but, you know, at Cote of that, I'm going to decide to play with this affair, but I go in a

crueance that's the same of a patent collective, which is the patent community of course. I mean,

I said a petal, because all the people say, well, that's a bit of a petal, but, you know, I'm with the

family, but I'm with the group, so, so, so, but that is one of the one of the fact I'm

the thing collective, the movement of group, the, the, of the cohesion

social, the one of a question of that's the fact that my banker of the t

it's all like a like a man who the word they're not that's he said

he said he said he said he they're about it he was it was

it's a confidance he couldn't not that it's it's

it's it's it has been I'm again I'm I've

got the young an old who was in my parents, who had recounted a

story, it was a old who he said, he said, he'd he'd be farched,

he's fashed, he'd be 15, leaves, he had a shoe illustribe back on the rear of

tain auburn, there was always a repose of a centimeter, I'd know how he had to

sitin, not just to tained with a difference of a puss, he'd and he'd

beatted in his stories, he'd be in scene in his their own story. They'd be at a coup of butt. He'd 'd be dead to people. Not he'd

he'd beckoned at coup of bode, in these boxes, they'd, you know, it's an, dimension incredible, and we'd be, and he'd

, he'd, in a coup of, he'd say, he'd say, oh, it's Janine who'd be able, and the story,

it had, been, it's afted with the coup of, but it's, but it's a super orator, and,

and, and, these soare of words there, and plenty of people would go to be in this endrolet

because he was going to be able to his way to say it's a way to talk about when I'm interested in the tradition

oral, I'll see a because I'm at the devil be able to danceer, and I'm going to make to say,

I have to them to the chasse gallery, the point of view, he had known,

he had seen, he, and it was to be a , it's a non, no, no, no,

no, the chate the chate It's because it's the first avion that he had invented and the world he said it was like that he'd say it's

these cano they'd be able to because it's something of alienating for him for him, I imagine where it had been

too folklorized and then a night, he came to see to see, he's been, he went, he'd always

in the toilet Regine, he had found a place, a stage, not long to the toilet to be able to

toils to go to toils in the after the end of the there was the applause

of my story. He had received plenty of extracts of the stories that I had had to be in

he was in he was in a whole, he would be that's not the alienation. It was not the little

thing. It could be the gross gum. And then all the one of the I went to to see that

I was, I wanted, I was just I'd be if you'd have been been in case, he'd be the cano vannal,

I'd have been past. And all of that this affair that could be a

something like a lot of something to that we're to be able to so there there was a lot,

it was a affair to be in it to think it to be in this affair that,

these things that I adair when there when there there's a encounter in,

there's a fraternity in there when there a march and a between the

frontier between which can be gendant or alienant for reprint your word and what's

the order of the merveille it's a question of perspective? Well, yes, I

think that yes. I think in fact it's a question of perspective you know, yes,

and it's a question of acceptation or to what don't I, I've

always to prove my stories by the people the people especially

the descendants of the people of St. Broddard

are there, in life, so when I when I'm talking an story on the other if I'm talking about,

I'm in a place of the house, I'd like he might be, he's when I'm talking about it

when I'm talking to Tussain, I'm going to tell you, I'm a first time, you know, MEO, for

me, for me, for me, for those that I've already tramped in my stories, he's a barbier, he booed

like a troup he decoive all the world, you know, so, so, so, so, I'm, so, I'm,

I'm, I was going to see, Francine, the female, and she said, I said, it's going to that's a lot, and she said, yeah, but my father, he'd boughed so, yeah, but I said,

but, I'm going to be able to that much, before many people, I've got the time to have the nuance in psychology of the person, you know, it's these stereotypes,

it's, it's, it's, these archetype, say, it's, these great characters, at a gross trait, we're there,

and she had been to see, back after the end of the spectacle, that finally, but, oh, he so over, it's over the

humanity, can't, So, so, all of a coup... Which is not a mince accomplishment. You know, on a few... There's a little problem of alcohol. But, you know, but...

But, you know, so, so... So, you know, a fact that, that's a lot... You know, a thing, is also a repropriation that's made

to a village of a... of a... of a... ...that a... ...that-to-cue, we'd admited... ...that it was

that it'd be necessarily an affair alienate, that it would be... ...it... to be a source of a fearty. Because at a day, you know,

I'd have to have been to cut the shoe by me who's, and I'm going to go to cut my shoe, meau. It's, all at a coup of

it's, it's, it's a lot, it's a new so, yeah, a new day of, that's just to be that just to get a variety,

and can't be the way, and in fact, it's, how we're , you're at all these things, are the

people, are the piers to our society, are where the are the years on the case on the time, you're in the

thing, the thing, with the chaste sacred. Well, but at us there's a legend there on the

on the world, on the world, we're all in the story also, what could be, what could be just an anecdote, oh, we have a

cooffer, it's an alcoholic, all the world out of the pennies, it, and it becomes a fantastic,

a time that a bit of a book of a guy like you. Yeah, and it's certainly to find out of

my eyes because, I thought, I was in my, I had seen, to show, I'm going to

showry of the showry of somebody, I'd like, to make these blocks Lego, because we had a new one of them and we had to listen to the stories. But I'd listen to these stories

and I'd re-en-notes. Because what he'd had been to, I had seen, the accident, the end of the principal the day. But all, he had to say,

he said, it's not to do all the I've seen. There, I'm not I'm acky I'm not, I'd try to

understand this moulin that of transformation of the reality, because it was been more fun when it's he that he'd contend than we'd

when we'd to adder at this affair and I tried to demach the mechanism to make sure and then what's what I continue to

do with what I'm trying to do with what I'm it's a movement of reappropriation of fierty that's produced

at St. Eli but when we read on the Quebec actual in my journal by example we're quite quite

a cliche now to say that the Quebec is divised that we have the difficulty to find

there some how you look you on how we do you do? How we're we're doing

to be to be that it debordes the frontiers of St. Elyne? That's, you know, you know, we're trying to find the good affairs, you know, the idea of the pierre angular, the idea of the thing sacred,

you know, in other than religion, the, this thing, is what the intouchable, it's what the affairs on which we'll offer not to compromise, it's what the affairs

that are the affairs before which we're to be able to attend to be able, to be the car, you're where these affairs, are rare.

And, you know, we're talking to Quebec, and, you know, of the decirement or of the division, but, you, we'd say, it's a lot of

place and a plenty of affairs, you know, we're in a, rhythm where the hand is so much to push, you, always in being

to be in being to do these apparel electronic that we occupy, you know, and that also, I know, I know the

way the way, but, you know, I can't easily say, we can easily be to get, we can easily, it's envoy,

there's going to be easily, with very few of arguments, detruing the life of someone there. So,

so, I think that, I think that, that's not, that's a cohesion, you know, I'm not

made a ex-to, I'm trying to get a gas in my little chet blue, that pretens

the two feet on their own and he can't, because he arrived, they're in

a rendezvous at the hospital with Janien and then we're not, we're not the time to

have the time, we're we're not the So, you know, we're not in an in virtual, we're in an amour of reality, and we're in a other day, it's Richard Desjardine, in an interview, he said, he'd have part to live his life numeric. Because there, there, there, parallel, that we can live, who can be assimilate, but, you know, that's that.

So, that's that cohesion, and the encounter with the other, I don't know, it's a big illusion also, because we've talked to all these things that, because we've been 25 years, like these tools of communication. Yeah. So, we're, in fact, at my sense. We communicate very much.

If everyone, everyone, he wants to say, it's a definition of the communication. Well, we can't pretty not, that's true. I mean, it's a lot of communication in a sense unique. So, you know, or if it's on the communication, then, then, then, then, then, then, then, then, so that's what, it's the way. Because it's a lot of, you know, it's a lot of, what it's going to be,

one of the other, so, you know, I don't know, in fact, I, I don't know, in all that's, surely that's so farce of these cano, the efface of the divisions, in any case, I think, that's not, that's not, that it's that's that's been

so it's it's a lot of it's a lot of it's not a that's a new yeah, we know, we know,

we know, we know, we know, we know, it's a couple, it's a cohabite with with the

essence of Twitter at the time, and all the people, all of the you know, we'd have been

it's just it's been that's not so it's not on Twitter now. It's a repair

of fascists, that's, it's an It exists more in my apparel It's a far. How much it's transformed the

Quebec over the last years of the point of view privileged. You know, on the territory because you

you know, it's been more of 25 years, that's that's been that's been in your view?

I think he is transformed be the different in these multiple different of enterprises initiatives

local, a lot of many dimensions cooperative, a a lot of things community

to be a lot of, you know, I've got again a two weeks with a time,

you know, see the the busheer that's the initiative of a car car a car

a car a bushery or what you can't the vash that's the village

of the village of there. There's there's there's a there's a there's

we've been about how how much how many of the people we're on I don't know who's got, you know, it's a bit of this beer, I'd say, it's a bit of a few and it's on-pire.

There's a micro-brossary in Quebec. And so, many of these initiatives, that are with a concern, of the respect of the terroir, with a whole lot of, to, to, have got to the trick local. And that, there's a more, and more. And I think not that it's a trick

that's a thing that can be mainstream, and that we can do, that can do you, that can't do you, because I think it can't even not respond to success that it could generate. You, it's not cleave-a-veh to, Jean-Paul, Lacamarasca,

become the hit of to all the tables in Quebec and it's not a lot of but the idea or the way, or the approach

or this this, that can be repend, and I think that it's it's quite, it's a

time, maybe, perhaps by interest I'm made to see more these things when I'm when I'm

on the I'm in, but that's beautiful. That, it does an hope. That's, it

does you have access easily? At the way? By boot. Because the reasons of

desperer, they're numerous. They're not numerous. Oh, yeah. But I think

that's not that I'm to talk about the story. For you keep, that, you know,

I mean, you know, I mean, I mean, I mean, I mean, I mean, I mean,

but I think, in a other sense, if I had more more, I would be, I'd

think, I'd talker more, it's, it's a motorer. You know, how

is that does that does of the hope to fooier which is our past

in a certain manner? Well, we can think that I'm in a present also?

Yeah, and I'm trying to push a reflection. So, my material is

there, but, you know, we can't not accuse a boulanger, to be

the flour, the flour, is there is still the and the thing,

the, so I think, I'm, I'm, I'm, I'm, I'm, I'm,

I'm, I'm, in the time, you know, I'm a little, you know, I'm a little bit of, you know, because that's a car that permit the distortion of reality, you can't say, oh, we'll go to see, it's true, no, it's not, it's a pu, that, so, that's

this distance that, me permit, the invention, and me, me don't a loss artistic, interesting, but, you know, the spectacle that I'm actually, he's on the Tribunal Popular, he is on, the pardon, and the

the truth and and the non-verity can you pretend to the truth when it's not all the publicer like

actually, it's the modern age, it's the social, so I think, I'm not that I'm in a

nostalgia in fact, I aspire to be a revever and an idealist of the future more than nostalgic,

but I like to use these materials because I have there a be a big base, a be

part, And then how it it gives an effort? Because it's because it's to be able to live the real. Because I'm

always a part of that which is a reality at a pretty approximately historic at St. Elliot of Kxton. But also

from all when I arrive at St. Brulow in France they're saying they're not in St.

T. L.T. L. Kasten, they they have no idea of where it's but they

they're trying the archetype in village. You know, as a 20 people together, these

archetype there are, there's a school, you know Cintellit Cacton. Cateateau is contained

everywhere, you know, so it's, so it's a thing that's a thing that, you think it's just in the astrology, and I think

that's a thing that, so that I'm appropriate for that's a way to get to injecte the hope,

to the way, you know, when I'm when I'm when I'm when I'm recounted the perth of

the humanity for a piece. Because there had a debt of a piece that's construed and that the,

the humanity had been in peril at cause of that's the it's like me Oh, so it's it's,

it's a bit sound in the air nostalgic or, but I think it's, in all I'm, in a lot,

I'm, I'm, there's, I'm in, these, the, these, the reflections

that I'm actually, there's, in what it has been in v. Inves, Carote.

No, but I've posed this question because it's one of the most great misentance,

I'm trying to be the new, you're idealise the past so it's quite that's quite when we're in front that's not,

like, you're trying to talk to be talking to be here now. Well, I'm after that who can preten to the creation

spontaneous without any that, you can also discuss this we're all we're all we're all

on something that exists that's you, you know, you're accord to the guitar how it's the guitar,

you're too nostalgic of the accord anterior, the grom in the top, you can reinvent all every time, but I don't know

if it's not that's a lot that's not that I'm not even the idea of my thing on something that's a

that's also and you know, there's a nostalgia to what I'm, I'm talking the story. I mean,

the Odyssey of Mer is an account oral, you know, so I'm, so I'm, so,

I'd be a hyper nostalgicic also, you know, because the fact of the thing, the story,

yeah, but, no, but in the sense to recount the history is, can even contemporary

of all these epochs, so, so, yeah, but I'm very very well, that, you know, that we can't be able to pass this, also, it's not a problem. Is it that you'd have been able to do do you, is it destined to other things, before that's the count so forth to fill up until you?

Yes, I'm going to be on a lotterature. Because you've studied in literature. Yes, I've made my back in literature and linguistic. I also, I've made it. Linguistic, also? Just in literator. That's a sitrypant also. Yeah.

Because then we decortique the origin of the words, And how they are constructed? Well, yeah, I'm, I was, I had, at least, I had learned well, I learned at the school

seconder, and as well, when you were in school, he'd been in Latin, you know, you're doing, in the same,

I was in in 1994, I'm so, so, so, there were again in the course, in the

year after, when you, when you were in school, it was the Spanishol, but I'd be well,

I'd be the time that's, you're of having seen that's the racis I'm

I'm I'm not the Latin like that's currently but just to know

the racine of the word of that's not there no, there's a

nuance of the response but then it's interesting and after that when you

get to when you get to you're on linguistics you're to come to tell

this so it's interesting for the the whole the part the

the part the whole my idea to be in an teacher in literature. I'd have said to

say to see a year to seep. And I'm going to get not the idea to do it's not a year

to do you have a few of course to do you know for a session and signy. They do in certain universities

sometimes some universities, sometimes, some of the thing, that's an affair that I'd like to perhaps

probably probably probably to give eventually also, you know, to give you don't know a call on the orator,

what we're called the orator, all that's what's a form literary but that is not figed in the

Warrant Pover in literature. The count, yeah. The orality in general. The orality in general, you know, of the superstition,

to the whole, there's plenty of things that are in the language that that have never been written, so they've

never attained that of the writing, but who, but who have sometimes a justness to get a interesting.

Yeah, yeah, what's the did you want to do you want to be in a literature? I want to

want to have to write to write to write a Her own wife, he had to be comfortable. And then he said, he said, well, he said,

so he went to, his sage, he said, he had been in accountability, then you can do what you do with that? You know, if you're playing,

you can't be accountable to baseball, if you like, the music, you can be accountable for a band or, I know what, for a production, or, so, that, she said,

ah, good idea, so, so, I'm saying, I'm saying, I'm going to receive plan to court, and then, I can't do you,

I can't do that, so, so, I'm going to say, I'm going to have to be in literature. But, you know, it's true,

I know, I know, I know to be a professor but I'm going to see what I'm doing, it's the best

thing, it's that the best thing, it's a matter, it's a matter, to tell me, I'm trying the stories, to tell us, and the story,

that's just, that I've done, that I've been done, you know, I've never made, you know, I've never made, so, you know,

so, the possible, and tripe it's a bit of my life, it's real. At what you've got to understand, that, that, that had griped by the collet, is it in trying to to become a career,

or that's, that, your view? Well, at the university, I'd make of these courses, because I'd do spectac, the count. I'd do you do these animations in the schools second-dair, in second-dard three,

in the program of France and the Ministry, even, there's the count. So, all the proffes do you talk to talk the count. And then, when I used to, I, I'd I'd say, I'd have been

invited my envelope in the 75th school secondaire of Quebec. And then, then, tranquillment, he'd re-invite from one an year to other, because he changed the students. And so, he'd had to find, and I'd have, and I'd have, and I'd do classes

in a little group, one or two class at a foe, so I'd pass, sometimes, a day or two, in these schools. And, so, that, it'd nuisand a bit to my, my, my assiduity at the school,

and after that, I've started to I started to play in the festival of contes a bit in France

here in Quebec also, but in France it's a more complicated by the time,

when I'm when I had the idea already to the masteries, I had two plans

to get, it was the place to play in a place, how the public

influence the in, how he modify the count, how it's the reception

modify the concept. And then there, but I'm to have a little more,

so I'm said, I'm going to take a a year a day sabbatics, for just tripe this, it's there, and it's there, and then

after they, they're just accumulating the an an an sabbatical. So, you know, I'm... I don't know, but it's a few years after accumulation of the annes sabbatics, I'm saying, finally, it's perhaps that that's my life, but all the time, and me saying, you know, we're going to end up to the interview, all the time, it's, it's, it's...

It's, can't be that are often effemarre, or so... You, all that, all... All that, you know, that's all... You, it's when the shansons of a tell, they touch people, when my stories me tochers

more than I'll know if I'm to get to get that's a chance I'm trying to I'm not I'm sure because I'm

I'm doing fun I'm in a moment of creation I'm trying to create the next story that I'm going to talk about I'm trying to

I think of each idea so I'm I hope that and I hope and I'm sure that's the way to work that you're

not in his path and that you don't even don't even I'm back Oh, no, that I didn't not come to be able to, no, no. He's, it's important

that we asked to try to get a diploma. You know, because my frere, he had a part of this idea

also. That's the musicy. Yeah, who it's so, so, but my friend was, I'm sure,

he was quite he was done, he was at he was at math, pure. So, you know,

that's so. Your brother, musician, one of the most grand musicians of music, the middle

music, pure, it was mathematics pure. But I I think that's that, he has commenced his

back in Mathematics Pure, and then they opened the concentration of music trad to Joliette to seeheb to Joliette.

And there he had defroqued the map and he set on to goliate, but he was to the first cause, I think

that it had to come that's a thing, it so the frereire Pellarain have failed to be countable

and mathmatian. Yeah. It would be a trice can't be I'm quite that's not functioned

in this voice that for you know, my father had decided a few years years, but he was content

to all that, I think. He was fired of what you were doing, your father? Yeah. He'd he's not

he'd say, he'd sometimes, I'm remember, there's a night at his point of his poe at

his way, he'd say, and he said, what's what I'm, I had no explanation for him,

and we'd savoured our capacity to explain to the same, yeah. It's a good

parlor, also, you know, it's a man of a man of a grand silence,

but when he talked, he had, he had, He had a sense of the deconstruction of the reality or of the remulinage of the reality. You know, he demanched, he remanches, and we'd say, well, why that's that

and that's why, and that's, there's a story that, that, that I've recanted more than a spectacle, you know, he'd have to be a piece, he'd have to, he'd have to, but he's, he, he'd, he'd, he'd have repassed

the real in his moulin for the whole to make a more than intelligible

or the inverse the rent to be in the fact there's a thing, I think not that

being a counterer it's just to be to be a question, it's also also be

someone who's someone who has brought a regard new on certain little things.

I'm, you're an album that's called silence and I have the time in the

counterer there's there also the silence. Yeah, yeah. Yeah, Yeah, there I'm in a situation.

I've got to talk. But, you know, in life, I'm not more. But I'm not going to... But I'm not going to... But I'm not a guy who's not. You know, at a table, at the soup, it's not me who you're talking. The morning, you know, I'm not sure. The day's the day, when the children are in the boot,

the young old stoir, you know, they're there. They're on. And I'm at all right? And I'm still. They're so grand, now, 20-18 and 15. But, you know, the joy, he's different. And, in the same time, you have... You know, my blonde has these

children who are more young, who are 14 and 11. So, there's still the family that where I arrive to get to play. My children are and they're going to

my mechanics and see, but this game, these games, so there, the job of the jute is kind of and the jute

you can't, you can't get the bat on the there, there's a couple of there's a bit that you're getting to

get a one of your feet. Oh, yeah? I also, I've had a cancer when I'm 14-year? She had

that age that? Yeah, my She said, yeah, yeah. It's a lymphome Ochkinnian, I mean.

I was a Rhabdo-Mio-sarkom in a great affair. But I'll ask you to put it to ask you to my parents

but I'm not really to I'm gonna be to ask you to be the no, because I'm long as I'm

I've been talking to I'm not too long I'm sure I'm I've been the person that

the person personal of my person that was the more suffered. And, well, I'm sure in a few of the shape. A way friday, it's a

kind of thing, it's my who's the most suffered of that. But when I'm myself, I'm thinking a pair over the five year, I've

repensed, I re-viewed all over the eyes of my parents, and my, my boys are in health, but they have, they're

little bobo, they're sometimes, and the suffering of an un-supportable for the parents. How, how they've

seen that as we have seen that as how has been I think that I'm like not too vexed on the I'm just

placed in a pile you know the father it ought to be the more the world in the

of his own of his kids have my children me of my sit new and I'm

I've been a lot of I'm much to have done that you know I'm doing pass me

I'm going to I'll be it. Yeah. It's not, not at her. And then, but after, in fact,

I'd let's not the loisier to live the affairs, it was too gross, and it was just to be there

to be a to let's nothing to be, you protect, what's, what you have to protect

and that what you can have to have a pang, because you can't there's a

big boot, that she that's, that's, that's, that's, that, in our lives, we have

kind of the pung on a lot of many of things there's a lot of there's a lot of there's a lot of that's that there's

that there's not a point for the arraid so, so, so, but, see,

but, see, but, it's insupportable, it's insupportable. It's so, at the point where you just

don't me me to, you know, I'll be, but I continue to to think that's her that's suffered

the plus there's there. She had the batte in demand with all what's

that's with all the possibility of recidiv during the five years they're in the five years

of remission that we're there when it says it's it's all you're to be in

remission you're you're you're we're we're we're if they

they're if they're they we're they're they're all so they all they're

all they're all but there, no, you're out of the law with the fear of the recidiv, and I'd say, and I'd see, and I'd see, and I'd

see, and I'd say, and I'd see, and then, you know, and then, then you'd say, we'll have arrived at the end of five years, you know, that, you know, it's all right, and, you know, and there's always, that there's a pair, that, you know, and, you know,

what you're saying, is that after the garrison, is that, there's that you're not more chance that you're to, that's it's going to that's a other.

You're an idea. Yeah. So, so it's it's marked that. A lot of

that's, but the suffering of your child, you know, and the way, you know,

the suffering of your end of the suffering of your life, you get used, it's, you're just,

you're just that's what, what, what's the that's, and it's, it's, it's,

and it's, when a few people, I'm, I'm even more content of their diploma,

I'm even They're also the cheques or of the of the it's not in the

rest of the so that's after having to play the role of the role of your own your own your own

your way to your I'm still there I'm in the omission and the issue it's

it's it transformed at never yeah yeah it's it

it's all it's it's all it's it's a price of conscience enormous

on the fragility it's really the fragility of the fact of the cliché that's not you know

that's not my name she'll get to get her and she'll go to her hair, it's got to but you

you're not to you it's just it's it's to say to what to

cotoying that something thing thing thing my my objective

it was I'm there The medicine to give the medicine I'm going to I'm going to

my moulin I'm in permanent, I'm in permanence I'm going to to see, the percentage on the bar

to put all to make all the affair in the front plan, but I remember, the fact,

my name I've had reproached that, you know, I'm not, you know, there's not just that's going

there's been there's, there's, but, yeah, it's a doubt for the but,

yeah, it's not, then, it's not, then, she's, she, Is she had passed the card of the garrison?

Yeah. In June, last, she's five years, how you have celebrated that? We had made a surprise. D'clock, and there had a superiors and there was a superiors,

and there was a superiors, you know, in my moulin that, in my moulogne, we've got to, at our garrison. We've been to annuled the day.

She said, yeah, it's not of mine, and finally, we've made, but it's not the soup that's not the soup that's not,

she said, yeah, she went, she had been, she, She had a work at St. Justine today. She had

been a where she where she was in where she's yeah, the moment when we're also, I'm also

a moment of to lose of innocence because, well, I'm 14 years, I know, it's what, I'm in fact, you're in

a lot of that's not just a TV, that, yeah, and then then I'm sure if you that's doing that but, you know,

I'm trying to get to be there, but she, she, she, she had to go to reassurance, of comfort. And, you know, I mean that

she's... Because, like, she, because, like, she's a couple of people, that's, she's at a time, actually, during his studies, and I'm saying, she, she, she, she, she, she, she, she, she, she, she, she, she,

she's so, she's so, it's so, she'll have to go, to continue to be, to be a certain way, or to be a certain way, or, but... Is that changed your... You've been, you've been

in many of your spectacles? Is it has transformed your rapport to this grand thing? It's a lot of it's certainly propulsed, this reflection

that's, you know, on the character effemaire of what he is offered, on the, on the

inco-nue also, of this we're talking of the time, but the time, but the time,

there's the time that, there's all to us, there's the time that you're accorded, there,

there's the time that we have to do, there's the there's the different sorts of time. So,

yeah, It's a nourished my reflection. But, you know, it's, it's a lot of, but, you know, it's a lot of,

and it's, it's time for to do you, it's time to have, uh, to do you, what I'm trying to do with that,

it's so, it's to be, like, like, to make a , you know, to push, instead of

than to do more, we're talking, we're talking, the word, that's not the word, that we're

talking, well, well, well, in the interge of there, there's, there,

there's, yeah, Yeah. But the phrase of Felix Suclair, it's, it's a boy, it's plenty of

life in the time. Yeah. When we envisage of this manner that, it can be

clue to soil. Yeah. Yeah. And, you know, that means, you know, that's the

end of course, that's the time that, we're going to be a profit we're going to do it. We're going to

do it's a thing that. I've done this thing. In 2029, but we're going to do it. Yeah.

Yeah, but I'm every day. We've done after the visit, we're in doing it's

being in to be in here to be in to be in what you're in a 15 year? In the time?

Well, there's a fine in the that's already done. And then after,

and then the grand time, that, he's, he's he's never, there's

there's a popper vertige, there's a sentiment of infini, I'm, I don't if you're

not, you know, But, me, it's not frequently and it's a time to be a few times. I think

it's a question with what I'm going to be the sentiment oceanic. It's a kind of sentiment of being in

a tutte, that, or, it's a bit of a way, I've been a kind of

a kind of, but not the kind of, but not theoretical, a affair you're afraid that you're going to buste

of an immacitude, well, there had also this encounter that with the infini, and it's, he's

it's all athereque my affair but it's because you mean, it's just this sentiment

of urgency that, to find the thing, I'm always been being being a

thing, but there there was also this fact, he's not just in an urgent,

but he's in a front of the lot of that's, in fact, it's so, on the different

experience of the part of the vastitude in the vastitude, yeah. Yeah, um,

In a interview that you're accorded to France Baudoin a few years of an extract

that's a story that's you're always about the four questions of Pierreot, you know,

four good questions to be used to be question to be able to that, no? No? It's been to do you I've said to, I'm saying, he made

to live proche of the dream that I'm in in plenty of fashion and in the

dream that's not a I think not a I think it's a dream that but you have this

thing that to to be able to be a form of legertet in the

years to have to have the time and that I'm I'm

not a certain time So there are there are these grand moments to access to access to the joy

that's a joy of the life of the not the joy of that is not that that can

we can be to gotoy the morning the afternoon the night and that I'm in the year

for a few years so I think I'm I'm I'm I'm

I'm I'm I'm It's good good, that when we can find out of a joy

at each a little bit. Yeah. You know, when you're the impression that's what you want to do,

the two diagrams, in mathematics, I think that's, I think we'd that at a school, he'd a circle with a other

circle, and there were a zone between the two that was a more, let's the

how it's I think, it's the diagram of vene? The diagram of Venn, exactly. If you're,

if you're, if you're, if you're, if you're, if you're, if you're, and the other bull that's what you

see, the situation that's the situation that's more it's to be in front, because there after that

that situation should always still be in the day of the I don't know if it's I don't know if it's

so it's being able to but you're interesting. Yeah, it's so, aspirate to the superposition

perfect it's perhaps a bit too a year. No, it's so, it's so, it's true,

it's true, we're not, we're, we're just, we're, we're just, we're, And all.

How it's how it's how to your project of whiskey? It's more. Yeah,

yeah, you know, you know, you know, we're not to end up that's about, yeah,

yeah, there's a project of whiskey. Well, you know, I've got to do you have a project

in my life, so, you know, in the risk that that's not, and then, no,

the term that we had to push to it was, it was it had finished that we

had finished that we did you, so, we've done we're You can't do not do spiritual with the citroye, as I

know, no, no, no, we've just spiritual of all the way. No, no, we've made partage. No, but we've made distruy one way. But, no, it's not

not much, it's a matter. It's a matter very sableoneoge, and it's, it's a lot of, and I'm trying to a S.A.

And I'm going to get a whiskey, well, we know, we're doing, on, we've had fun, we've had referee far, and finally,

then, it's aborted. So, it's avote. So, it has that, he said, He's a wine, he was at St. Joseph's Dulac. And his wine, he's not in the

land sembloneous of St. Ely to Axel. Well, I'm dissu that this whiskey that I'd ever get an year, it doesn't not, it exists not. Well, no, we'll be

other shows. We'll mackere d'oeuvres. We'll mrs. You're all right? No. Not. I'm going to the imaginer. And by the boath,

and you boaths, it's not. No, no. But the siote-herabre. It's a matter. It's a matter. No, but the truff, at the end, it's supposed to be to market. I've got 50, at my defense. There's a rest two.

And then, yeah, we'll make the show. I don't know what, to fight with the pH of that. So, we could have to goot it to the truff. We're going to invite. I'd like, I'd like to have the truff to offer. Fred, this ballad also, is it entitled, Just Between Toe, and Me, is there a last thing that'd ever be said,

to us, to, me, to, you and me? Ah, who'd be around, we, too. Yeah. Ah, well, but that you have to you need to be able to. What I'd like to say? If I don't know. I mean, I've been a good,

I've been able to do with one of your book, I imagine that you devine the case, I've got to be able to my feet, it's the course of these little battles? Yeah. Except would you to know to read the end of the book?

Yeah, yeah. I'll be able to be able to because, this morning, I'd already say, today, I'd rather than, I'd read out the monsieur who has created the course of the little

little bit of my feet are two and five years. So it's a bit abstract the idea that the leaves there's a

question. Yeah, so you can put a context or I know the I know the book by car, it's a

affraying. I'm able to do it's able to do it's quite the year before it's going to be a course

of the course of the big battles. All right, all the people, they created, with a bit of a box of

what I'm what they could use they could use of the back the barage that's a little at the nacexxxx

the river Yamachich, who is the cell that's serpent in the village, he'd shied a little bit of the boat. All the whole, it was in the road, St. Jean, he attended to see the boat. The first boat that was going to be in the boat. But there were plenty of battles that's ever, they'd, there were plenty of bonyers'n,

there were to go ahead. And if there were a boat that passed on the pond, but it was the guinea of the course, and he had at the epitcery at Tussain at Tussain, at Tussain Bollard, at a bagel, and there had a sack of bonbon. And then, Babine, who was not an infant, but who had, in his head,

an infant, had had had a chance to to sign up, and to find his little boat. But, you know, his little

he had not flotet long. Tussin, has been able to have had to have a boat. Yeah,

he was luch the battle. So, that, so, so, so, so,

so, so, so, so, so, so, he had, that he

had to be on the on, the story that's there's there until,

he had to get, to, to get, to find, the The Sun had to do it, to make his little boat, the Fierty. The curate us suggest to the call it the apocalypse.

Yeah, yeah. Oh, yeah, you know, you more than me. The grandad myth, that's the essential. Yeah, and then... And then, you know, can't... It's a few feet. Yeah, well, yeah, it's you who that's all right. So, now, his little bit of a little bit of course.

And then, Tussain, Broder, he, always, we always, atop atopold, to work atop. Toil see, to buy the market. And he exchanged the money. And exchanged the money. Yeah, because he was on the water. Tussain, he had a part of the water, but he had a lot of the entire in his poach.

And then, there would, a batteau, a pack-bo, named the Fierre that's coming to port at Tro-R-R-River. So, that, Tussain, is going to go and say Babbin on,

he said, your baton, he has passed before all the world, that's not that you've not seen it, had been far as far as we're getting more than we're and then he had made Babbin at

three-river. And when Babbin is arrived in the port, he has seen this immense battle on which it was written the Fierty.

Babine, even amued by the majestuosity of the fue was also bolstered

by this immense packbo that was the port. Babine opened the and acue

this giant of metal convinced that he had been there to the bit of a

battle that the Babin don't a baton he poin the baton the

he poin the baton the pince and it's a bigmble babine announced that the

Fierty that he could not He could not be the village. The river is not quite enough enough. Tussin let his

abbin savoured his retruveh after the minute he went to his caris had to his cariscares a last time

his battle and let's have a culled in the arm that the million of millions of millions of

gout of glos of village at the hour of the night of the suns in the

back some had comepents that's the company the And then we saw Tussain that he'd give them to give them on Babine.

For the first time, he had to be long time, he'd have to beabing her and he'd beware of a manned

he'd of the fervourte and of the people who had on their shoulders. The russos on the rivers

and the flea just to the ocean and the little battles and the great.

Thank you, thank you, Dominic. me