Juste entre toi et moi - Karine Vanasse

Episode Date: February 17, 2025

Parler d’elle? « Ce n’est pas naturel », annonce Karine Vanasse dans cet entretien pourtant généreux. L’actrice se confie au sujet des attentes que crée un début de carrière précoce, sur le film Polytechnique et sur les raisons pour lesquelles sa nouvelle émission de rénovations n’est pas comme les autres.

Hi, it's Dominique Tardif here. Welcome to Juste Entre Toi et Moi. Welcome to this penultimate episode of the fifthth season of Just Between You and Me. There is only one more interview left that you can hear next week. But until then, my guest today is the actress, animator and producer, Karen Vanas. Karen, whom I have been hoping to receive at this microphone since the very beginning of Just Between You and Me, it has finally finally possible. Karine will be hosting this spring on Les Zones de Nouveau,

the second season of the show Les Traîtres, and we'll also be able to see her on April 8th at Canal Vie, in a new show entitled Karine and the Yellow House. It's a show that documents the renovation of the yellow house that Karine lives in in the east canton. You will hear about it in a few moments. And you can also read the article I took from this meeting in the Press Plus, on lapresse.ca or through the mobile application La Presse. And here is, without further ado, my interview with the fable, Karine Van Asse. It stays between you and me

So before we went to the other studio, which is a little prettier than this one, but here it's like a interrogation room. Amulkula. You've already been to interrogation rooms, no? In fiction. It would have been a big revelation from the start. No, I don't have that to say. Karine Vanasse tells us about her past in prison. No, but it's funny, for example, because have you seen the new show of Marianne Amadza,

L'Evre Ouvère? Yes. Yes, you know, in the second episode, she goes to prison. That's it. She's very happy to be in prison. I think it's very strange. She's your friend, Marianna Madsen? Yes, yes, I love her a lot.

I love her a lot and I find her good. I think she renews herself a lot. She trusts herself, she gets into a lot of things. I think she's really good. Why is it so surprising that you're friends with Marianna? I don't know why, actually. Yes? That's a good question I'm asking.

Yes, I'm asking you again. Yes, I'm asking you again. Because you are, I don't know you, actually. Yeah? That's a good question. Do you have the answer? Yes, I have the answer to that. I don't know you, and I know a little about Mariana, because I've already received her microphone. Yes. But you're different. Yes, but below that, and I find that with projects like

the book opening in its books, when the interviews she did, so many interviews, not long ago, You know, the book was open in her books too. When... The interviews she did too, you know, the time of interviews, not long ago, not exactly for her shows, but just for... She was one of two or three guests with Penelope McQuade. And it was so relevant what she said. I don't remember what the subject was,

but it was really... You know, it's a girl who's thoughtful, who's really more relaxed than her character, I think, as a comedian. Yes, and she doesn't hesitate to go into a great vulnerability in the interview. Exactly. So vulnerability, passion, investing in this coffee too. So no, I think we're getting closer.

But I think that when people learn to know Mariana for real, as is what's happening, I think the the more people learn to know Mariana for real, as is currently happening, I think the ties are still there. So what do you do? Anyway, you should have seen them. What do you do when you see each other, Mariana and you? I feel like to catch her, I have to catch her when she's on vacation. So that's it, I have to go on vacation with her to be able to...

Have you ever been on vacation together? Well, yes. Wow! Well, yes. It's together? Well, yes. Wow! Yes, it's fun. Yes, yes. Vacation with friends? Yes, it's normal a little bit. No, no, it's normal, but in fact, I said it on that tone because it's something

that I dream of, that I haven't done in a long time, given my family life. Yes, yes, yes. But... It puts more constraints on the agenda. But there were families, the family was part of it. Family and friends? Yes, yes, yeah. But... It puts more constraints on the agenda. But there were families, the family was part of it. Family and friends. Yes, yes, yes. In a big committee.

But no, it's a... And you know, Marianna, the children love her a lot too. She really is... I find her full of life. She's a friend I like to be with, and I'm really grateful to have her in my life. And you know, we met. I think it's the first, actually,

the first podcast interview we did together. It was the first podcast I did. But we met in an interview, and we shot on De Paranflic afterwards. And she makes me laugh. I feel like she sees me for who I am too. There's that too, I think, the fun of Marianna. I don't feel like she...

That's it. She sees who I am. And she takes all of that. She learns all that. Who is that person? Oh my God! Dominique, I really like your work. I really admire what you do. Long interviews, I haven't done much. You've done a lot for magazines.

I read almost all yesterday. But it's not that long. You're often there to talk about a project. The angle of discussion is really towards the project you're there for. And often, when I do interviews, for one project, it's not just for one, it's for two, three projects. Because you're well-occupied, yes. Well, yes. and it's because... I'm not complaining about what I'm doing to you. No, no, no, but in the sense that...

No, but in the sense that often, I like it when there are like moments of promotion and that I can talk about several projects at the same time. That's the fun part, there are projects that maybe there would be less press that end up having more thanks to others who are... that we want to talk more about. But it makes sure that for me, interviews are to present projects,

it's not to talk about me. That's not really... Yeah, that's it. It's not as natural for me, that, that's it, to present myself. Yeah, that's it. So what was your question? No, but it often comes back, I read almost all the interviews that you gave to magazines or newspapers since the beginning of your career, there are still a lot.

And what often comes back is that you are both in the news in 2011, an absolute perfectionist, silent on his faults. Silent on his faults, oh no, but that article there, yes. No, Lhosa, an absolute perfectionist, first of all, no. Since 2011. 2011, 2011, what age am I? I'm not good with that. 2011, if it's a period. You were born in 1983, if I'm not mistaken.

Yes, yes, but I'm just trying to see where I was during that period. That means it's like the end of the 20s. So it's the whole 30-life period here. After that, there was Revenge, Pan Am. You know, it's not true that I'm an absolute perfectionist. That's come back often. If you google it, Karen Van Haas is a perfectionist. There will be several occasions.

I think it comes here. We don't say that elsewhere. When I work elsewhere, it's not like that. But I think here, the fact that I started young, the fact of wanting to often introduce children the fact that I often wanted to present children who are almost like young prodigies. So it seems that... It followed you.

Well, it followed me when, in fact, it followed me in a pejorative way later as an adult, when, in fact, when you're young, that's what people want to see. They want to give the impression that, my God, if you give a place in the interview, it's because everything you do is incredible. I don't... I like to do things.

There's no fault either. No, no. And not talking about my flaws, I don't think that's true either. I don't think you need to talk about your flaws to reveal certain things. I think that through the characters, I'm showing a vulnerability that shows certain things too. I think I'm showing more than I could say. So I don't feel like I'm just playing strong, invincible characters. Really fun.

I recently participated in a pilot project with an animator I really like. It was like a retrospective of my career. I participated in a pilot project recently with an animator that I really like. It was a kind of retrospective of my career. I watched the different scenes. I've been playing scenes that are rich to play, that are full of emotions. I often feel like I've put my soul at rest through the characters, even in interviews, often in my way of answering, in my way.

So I feel like sometimes it's not necessarily what they say. Anyway, I'm not there trying to protect an image. In fact, I think what you just described is that it gives the impression that it's someone who protects his image. But, you know, in the end, I never felt that. That was by far... That was the Even the fact of going to work elsewhere has done some good compared to that. It's like if... You know, I think that sometimes when we...

You know, when we celebrate someone younger, well, it's fun when they've become adults like us to maybe put them down a little bit. But I mean, I've never been the version that's so old. You know, that's it. So I think it was just a normal reaction when you put someone on a pedestal at a different age, when they join your age category, let's say.

It's a little more tiring than you want to just put them in their place. That's what I noticed sometimes. But it's not something that, for me, was translated into my contact with the public. And at the same time, I think through time too, by going to work elsewhere, I think in that same article, I think there was time, as well, by working elsewhere, you know, I think that in that same article, I think there was a passage that said, Am I a good actress? The question was, is Karine Vanasse a good actress?

In any case, she works hard. Which is the very definition of a complimar. That was pretty much a complimar, yeah. Yeah, I would say that. So that's it. I don't really have... But you know, it was also... If it was in my twenties, it means it wasn't very long after Polytechnique.

And that... I think it surprised me sometimes. Polytechnique was such an important project for me, for everyone involved, of course. But you carried it out for several years. Yes, I was really happy about that. And I was really... I was really proud of what this film became,

with the production of Denis Villeneuve too. And it seems that... It's stupid, but when I was young, I was making a film, I was nominated for all, I won a lot of prizes. It was your first film, you won a lot. Yes, after that, it's Rafin, all that. And it seems that in the 20s, it became a little more tiring than,

OK, she made that film, she's producing it, she's with Denis, she's going out with the producer, this producer is buying a TV station. It seems like all of a sudden, there were offers that were a little tiring. And the film is good. And the film is less the film. So, you know, it's stupid, it doesn't say much, but it was the Jutras at that time, before it was...

Well, anyway, Gallat, Quebec Cinema, and I hadn't been nominated for Polytechnique, I was nominated for Canada Anglais, I won Canada Anglais for the same film. So it's like this moment, unfortunately, where I was really proud of what allowed me to become an adult actress in Quebec, let's say, even though I could have stayed in the scheme of young actress who doesn't know how to evolve, you know, the version we wanted her to be, you know, that it was like a little...

I think there's always this passage, both for guys and for girls, when you were younger. At some point, you're looking for yourself. The girl must become a woman. Yeah, that's it. And sometimes it goes down a funny path. But you know, it seems that I knew what Polytechnique had represented. And then I said to myself, hey, finally, I was able to hang on to the right path.

And to see that finally, that was it. I'm not saying it was badly received, that's not it, but I just felt a little bit of a pain. But it's not something that's there because you're just entering the game and you bring me back to that. I'm not very elegant, actually, the way I start this interview. No, but because I don't want to find either that... because that's not what comes to paint my career either. I should point out that in almost every one of these portraits,

we also highlight how warm you are, which is what may seem paradoxical. We say, she doesn't want to reveal herself, but she's like a friend we've known since forever. But, you know, for me, revealing oneself, that's not it either. It's not getting out of your box. It's not getting out. No, but that's it.

You know, I mean, there are some... It's not my way of communicating. It's not my way of getting in touch either. You know, there are times no matter where we are, no matter how easy it is to have the impression that we create links because, oh, no matter where you are, it's easy to feel like you're creating connections. You talk to a certain person, you share a secret that you know others don't know, and that creates connections.

Lack of understanding is a beautiful social link. Yes, but at the same time, not just lack of understanding, but even sharing the most difficult aspects of your life, let's say. As if it shows the other person that you really trust them. So, sometimes it can be a choice to just not enter through that door necessarily. And it doesn't mean that you don't try it, it's not that. It just means that... I don't know, it's not a door through which I'm interested in entering,

and it's not a door through which I'm looking to enter into the other's lives either. It's not one of the secrets of people who try to fool others, to share something very intimate and difficult. We haven't learned that in the show... The Traits. The Traits, animated by Karine Van As. Hey, Dominique, I'm so... I'm really happy with this project.

I'm like Fabienne Larouche, I'm a man in the interview, if you can hear me, I wouldn't do that. Van As. But I'm really happy with this show, because for real, yes, there's the whole aspect of the game, and it's fun and it's fun, but I really think we don't know each other well in manipulation, which makes us all very vulnerable to all this, even though the rules are very few, it's often the same...

They're easy to understand in a similar way. They're easy to understand, but they're not always easy to see when you're the one who receives them. Who receives this way of playing with manipulation. So yes, you're right, you listened to season one. You understood better than to share something that positions you as a victim. As if the person after that can't question you because you're so open to a vulnerable aspect of your life, whether it's true or false, whatever.

But when you share it, people feel it's true. So from that moment on, automatically, it's as if you're imposing a link that people can't question. Yeah, and we can't admit that a victim can also turn into a job. Well, because it's maybe not even true what was said at the depot either. But that's it.

So yes, indeed, it's a way of... But at the same time, it's still a way of socially getting in contact with each other. I'm not saying it's good or not good. It's just that it's not something I want to encourage necessarily. The relationship that already positions you as if you have to welcome me

because I feel a little pity, you know. Polytechnique, why was this project so important to you? Why did you defend it for so many years until it could finally be shot? It was like a gradation. When I was a teenager, we were promoting the series Two Brothers with Benoît Langlais. And Daniel Thomas, right? Yes, that's right. But Benoît and I, we went to school a lot. And we were invited, I don't remember what anniversary it was for Polytechnique,

but anyway, the families invited us to read a text. So that was like my first contact with an event that I didn't know very well. I knew the date, I knew the big lines, but not really in detail. As a young Quebecois girl, it wasn't an event that... I didn't know so much detail. So it surprised me when I went to the event to realize that at 15, 16 years old, I didn't know much about that event, which had been important for culture and society here. There's a age of feminism in the last 10, 15 years,

but when we grew up, you and I are about the same age. Yes, that's true. In the late 80s, early 90s, it was less happy years for feminism. Yes, it's not... The energy around that word wasn't clear, really. And, you know, I found myself at 19, after that, I was studying in New York. And I was... I was friends with a couple of Quebecers over there,

Louise Blanchard, a journalist that I had met in the time of L'Emporte Moi, with whom I had done my first interview. She was there with her partner, André Dalcourt. And a brunch with us at their place, one day André Dalcourt. And then, at a brunch with them, one day André told me, you know, with his big voice, but you, would you say you're a feminist? It's a big question.

Yeah, and I didn't know what to answer. And it really, well, it really troubled me. It really stayed with me, the fact that there was like a mixture of... of embarrassment to say yes, of being forced to say yes, of being uncomfortable, because I don't really know what that word means, and being shy because I don't really know what it means. It was like, it wasn't clear. So that's really staying with me. And finally, that's it. When with Maxime Rémillard, at the time, we were looking for a project,

I wanted to get involved more in the whole process of a film, not just as an actress. And finally, I really wanted to do that project. I had spoken with other producers who are very audacious and who told me, never touch that, let's see, don't do that. So I think I was was naive to think that... But at the same time, I was happy to think that we were finally going to make a film about it. I thought it was worth telling this story.

I think that the fact that Denis also gets involved quite quickly in the project, it's still coming to direct the film in a direction, it's really extraordinary years. I learned so much. But it was good to focus on a film that had meaning for me. I thought cinema could be that. I studied in Greece when I was 16 or 17, and the program teacher there, he didn't want me to come back and be an actress. He said it was too easy for me and that I had a mind that had to develop something else. He had been an actor in his life.

When I came back, I had done the end credits. I made the choice when I came back because I had this beautiful project with Donald Duck. I said, OK, that's what I'm going to do. But it's still stuck in my head that if you play, tell stories that are worth telling. So the mix of the question of feminism, the mix of projects that have a sense,

I think that's what came to mind. Because when I received the... I received it as if I was receiving an envelope, but I mean, when we had the final copy before the premiere of the film in Montreal, I went to New York, this Greek professor who was passing by. I went back to show him the film, to tell him, yes, I'm playing, I chose to be an actress,

I'm not going to university, but look at what I'm doing. What did he want you to do with your life apart from playing? I think it's not what I wanted to do with my life, I just wanted to do with my head. I think he wanted to make sure I was thinking. That's it. Your reaction is funny. What's your reaction? He wanted you to carry your own projects. It wasn't clear.

He really wanted to say that it was too easy for you to play. And I see today that it's true that it can be that too. You can put yourself on the autopilot when it's something you can do, somehow, easily. So I think that was more of that, to make sure that... Ultimately, I saw him again a few years ago in San Francisco, and I was singing, waiting for him. So what are you doing now?

And then Polytechnique, finally. There were other things. Years later here, I didn't really work. So I called Denise Villarro, I did a play that wasn't really good. But we were all full of good intentions, but the sauce didn't work. But I was happy to have done it, just to shake things up a little. And finally, the evening of the last one, I went to do a post-sync of a film I had done in France, and after that, I started shooting in Panama on Monday morning,

because I had passed the audition while we were doing the presentations, and I took off from Panama, and that brought me elsewhere. It's like it's a period where instead of continuing to do projects that I started, well, then it became... and it's not less good. I had such a preconceived idea that because of who I am, brown eyes, hair, hair, in any case, under the eyes, that I couldn't dream of working elsewhere than in Quebec, actually. So it looks like the years that followed after that in Panama, it's just become years that proved to me that I could dream further.

But it wasn't projects that I was starting. It was my hope. The challenge was different. And it forced me to go through the courses I took after that in Los Angeles. I don't know about other questions, but I can be part of your plan. There are lots of threads on which I want to draw from what you just said. But I want to come back to the producers you were close to with the Polytechnique project, who told you, don't touch that. Why did they react like that? While it's a subject, it seems to me that it's obvious that it's an important subject.

But even in Quebec, for funding, it was difficult too. You know, there's an English version of the film that exists because we couldn't have done the film if we hadn't gone to get money for the English side. There's a surprise on my face right now. But at the same time, you have to get back, you know. There was more, you know, there's one of my friends, Nathalie Brigette Bustos,

who was a producer on the film, who also made a documentary for the 30 years old. When they had the 30th, I was going to read a text there and animate the evening, but it was the year when we finally changed the record. It said it was a femicide. The way we talked about the event changed. So it means that cinema has a real power. I think so.

But I think that at that time, we were still uncomfortable with this event. We just didn't talk about it again with fiction. So it seemed to be a bit untouchable and something dangerous to talk about. And somewhere, it's true that if it's wrong, you don't want to, out of respect for families, out of respect for students, out of respect for... You don't want to connect victims and survivors with a bad movie. Well, if it had been a bad movie, it would have been really... We wouldn't talk about it the same way.

It's the chance I got. It's that all the creators who embarked, embarked. That Denis put his vision on it too. And that it became the film it is now. But I can understand that it was... I think that... Me, it's just because I was younger. And I really believed in it a lot. But I wanted to that it was... I think that it was just because I was younger and I really believed in it.

But I wanted to believe in it too. I wanted to believe that it could be cinema. Did your feminist awakening continue through the creation of this film? The feminist portion, it seems, has arrived and it continues to take place later. You know, you go to other realities. You know, already younger. I think that's it. I think that your... In any case, like me, that's it. I think that the feminist aspect is confirmed

or in any case, is precise when you're in contact with women who live things. Where you say, OK, OK, that's still present. OK, it translates like that, it lives like that, it looks like that. It's not just a word or a experience that some people live, you know. It's not just the theory. a experience that some people live. It's not just the theory.

No, and when you get closer to... And we're talking about polytechnics, but... It's just the fact that at the time we didn't say femicide. Now we say it to name femicides that are coming, for example. If we use a word, it's because there's still a equality. So, even just in... For example, if I look at Before the Crash, for example, for me, Before the Crash puts forward the fact that there are also women who...

I mean, there are different dynamics in this show too. But still, I find that... I find that it's... Putting forward also that there are stories that we hear, and there are stories that some people can live in the dark, because it's still taboo to talk about it, because it's still dangerous for some to talk about certain things. So I think that when you get older, I think as a woman, the more you're in touch with it. You didn't have the choice at one point to take on that word.

The scene in Vendee Crash where the character, Demille Procloutier, kidnaps your child, the child of your character. What happens in your body while you're shooting a scene like that? Because for me, on my divan, what was happening in my body wasn't really pleasant. What was happening in your body? It was cold. I imagined living a situation like that. Obviously, it would be different because I can't imagine kidnapping my... Well, I don't want to go to the end of that thought because it's not beautiful what's at the end of that thought. But just to think about what my child could be kidnapped, it's disturbing, of course.

But I'm really happy, you know. That's what we were talking about polytechnic, but even series like Before the Crash touches so many things that touch sensitive points for many people, I think that a series like Before the Crash touches so many things that touch sensitive strings in many people, I think, compared to many realities. There are many couple realities. But I was lucky enough to be able to play those scenes. I was lucky enough to be in a series that made the audience react in that way too. So how do you...

I'm just happy when I have the chance to play those scenes. Because I think that, at the same time, I think that TV and cinema often allow you to not only talk about certain things, but to just make them live and show them. So after that, people live and feel what they have to feel. Instead of just being words, all of a sudden it's connected to an emotion too. It's a series that talks about hyper performance. There are people who work a lot in this show, in this fiction.

And it's also where it joins us because I think it's in the spirit of many people, the place that work occupies in our lives. What place do you give to your work in your life? Well, you know, I think that what the show puts a lot of the front is also the fact that we are made to believe that there is a certain rhythm that we're comfortable with when, in fact, it doesn't work. You know, there's a way to always keep yourself in survival mode, you know, which... But my time, for real, I'm still very good in my time, in the sense that, you know, I'm well protected by the team around me, in the sense that it's well... You know, I think it makes sure that when I get to a place,

I can really be there. And I'm grateful for that, because when it goes in all directions at the same time, just to make sure that at least when I do something, I can focus on it. I thought I was someone who could do just one thing at a time, during a given period. When I was younger, that was my schedule. I went to school. I worked another part of the year, and then I often went on trips as a young teenager. So it was like being in a group. I had the impression that I could work like that.

Often, filming also imposes this kind of... When I was younger, it was often the main characters too. So it was like the impression that for two months you were just doing that. So it created that impression that I can do. And then I realized that I can do different things at the same time. I can do it. I can do it well. But the only thing I want, for example, is to be able to protect the fact that I can put myself in each of these things. And the team around the girls really protects that.

And I think the environment we're in now, too, you know, like, I don't know if it's a funny thing. I don't know how to read your face yet. It's a funny face. No, no. I'm asking Vincent Régis, do I have a different face than usual? It's my normal face.

No, it's okay. I'm sorry. No, no, no, no. I'm trying to make another face. No, no, I'm not making another face. No, no, I'm just trying to see how... I'm suspended from your class, Karen. That's what's going on. But...

Sometimes, it's also about allowing yourself to say when you want space and when you put limits. Oh, Iri! But it's true, I think there's... It's a wealth when you're surrounded by people who support and support the fact that it's okay to put certain limits. And to respect,

to try in any case to make all the different cases respected, family, work and the rest. It's the learning of a life, knowing how to say no, I think. I'm talking about myself. Well yes, you can talk about me too at the same time. But it's true, but it's true for everyone. It's not easy to say no and it's fun too when you're, you know, I was... I was reading something on Instagram last week, but sometimes, too, why do you say yes to certain things? Saying no is one thing, but also saying yes to things that really concern you with energy. If it gives me energy, just the idea of doing it,

even if it doesn't seem to be aligned with the rest of what I do, well, it's a good thing to do. And I think the team of what I do, well, it's a good thing to do. And I think that the team of agents that I have around me, the discussions, that's it. Sometimes I receive proposals, and sometimes they seem to be from the outside, to be very well aligned, but I feel like repeating myself. It doesn't bother me. I've already done this character.

Thank you, thank you for thinking of me, but it's not... And the girls, you know, are really... They're going in the same direction as me about that. And other proposals, where everyone could be sure that I'm saying no to that, but in the end, I like the people who are involved. I don't know what it is, but you know, like the traits, you know... I mean, we had proposed other shows of animation before, and... No, you know, I didn't feel like I was the one to do the

production. Natalie Brigette-Bustos was my very good friend who produced. So that was already with whom I had done Polytechnique, with whom I had done Poly à Québec as a producer. So the fact that it was Natalie, okay, and then when I saw the extract of the Australian version, I quickly saw how I could have fun in there. It's for sure that it has no connection in the actress career. It has no connection.

But at the same time... But it allows you to play. It allows me to play and it allows me to be broad. You know, it's not just animation. It's like a character who can't do it. You know, I would record narration for the French-speaking episodes this morning. I mean, I was looking at my costumes and I was like, but it's not funny. But it's fun. There are flamboyant clothes, indeed, in this episode.

You know, it allows me to go out. It looks like it's the kind of project that I could have done elsewhere, but maybe not necessarily. I don't think that in Quebec, it would have been easy for me to think about it. But it really does me good. I love doing this show. I like to see the players in the game too.

I'm the one who's closest to them when all this is happening, when the different strategies around the round table are being played, the games of looks, the stress of one, how one tries to... The context is false, but the emotions are very real, the players, you know. So I find that very fascinating too. From the point of view of the actress too,

I find her really good. There are a lot of view, I think it's really good. There are a lot of scenes that I wouldn't have been able to play as well as that. I like it. It allows me to push myself a little wider. Projects that allow me to do that are rare, so I'm happy to do that. For me, the time is OK, but it's mostly OK, but what project do I say yes to feel good in that schedule? Because I feel like I'm doing things in which I'm having fun for real too. Is my face better now? No, but your face was very good.

It's just that, no, but I heard you thinking, but I heard you thinking, but I didn't know what you were saying. What were the words that came out? I don't even always know what I'm thinking about myself. What made you want to do TV or cinema? I think when I was young, did I want to do TV or cinema? I wanted to do more than go to school. I went to school well. I was doing oral art contests.

My friends wanted to do a lip sync contest, which was too embarrassing to be in the lead. I thought, I'm going to do it. You know what and he was too shy to be in the front. I said, OK, I'll do it. You got to 100 watts. Your first TV experience. Exactly. I liked that. I liked that I could live more.

It's a thing to be able, with lip syncs, to be on stage and do a show. That's good. It was fun. But I think it's the oral competition aspect that leads me more directly to the port. And I feel like even in my career that followed afterwards, there's this more inner side of the actress who had a lot of projects where I was able to touch emotions that as a teenager really satisfied me.

When you need to be absolute, I was happy to be able to have that exuditory, let's say. To be able to explore the world of emotions. I was quite embarrassed when I was young. I can't say that I was quite reserved, a little embarrassed. It looked like that all of a sudden, it represented my desire to better understand the world of emotions and explore it. What was satisfying you about Anna in Porte Moi, who lived in a difficult reality, and who was herself inhabited by a certain darkness? I felt like I could finally meet a real person

who would show me everything she was. When I was young, I remember, I was in elementary school, I took the bus in the morning, and I remember a moment, there was, among other things, there was a time when the father of a girl in the neighborhood had committed suicide. But even before that, I was obsessed with knowing that I was surrounded by lots of young people, and that in those dozens of young people,

there were lots of people who lived in things that I couldn't even imagine. But in the bus load of children, all the stories, the worst stories that I could imagine, there was at least one who lived in it. That, for me, it was really... Since I was little, it's been very present for me since I was little.

So, it's like with Em Porte Moi, when I started playing, when I listened, it was the first time I played. My audition for Em Porte Moi was my first audition. And I remember when I left my audition, I cried again, I cried again until the bus, not because the stage touched me, but because I had just touched what it was like to have the right to... I had the right to cry as I wanted, I had the right to... You know, it was like if...

It seemed like between the moment there was action and there was a cut, everything was possible. I could explore everything. And then after that, with time, to see that there were a lot of characters that were going to be presented, and that that allowed me to go to the real meeting of someone fictional in that case, but who can present a very concrete experience for several, and very real for several. That, for me, it...

Yes, I'm a child of love with a big A too. My mother still... she was really young. A series in which there were a lot of very intense scenes. Yes, but I found it fun to talk about real things. I felt like I was being shown real life. Schizophrenia, conjugal violence, drug problems, games, bullying. All of that. I felt like it was...

Okay, I had the impression that I was putting myself in there with the satisfaction of telling myself that finally, I saw the world as it was for real. I had so many nightmares for a long time because of the episode about schizophrenia. With Mario Santamant. No, but you know, I's... I think it's... It's true that we rarely have the chance

to meet each other in real life. You know, it's rare to have access to... I think for me, TV and cinema, it's all about having access to moments that... that a human being would never reveal. So, it's...

But you see, instead of traumatizing me, there was a satisfaction of not being in denial of what was happening for real for certain people. I was maybe a little too young too, but I don't want the DPJ to call my parents. No, but at the same time, why? I mean, I was young when I was watching that,

and I don't think that... I think that children are able to take a lot more because they see that, the dark. They see the hardest, the hardest. You know, it's a bit like the feeling of fear. I think that children see it. We can't protect them from that. I think they're aware of it. As a young child, I remember that it was at my door.

It doesn't just belong to the adult world. It's from adolescence. Children have an inner life that we forget. Yes, that's it. It seems younger to see that I could have access to the inner life of an adult, too. I think it reassured me. Your performance in Portemont? How did you manage to be as incandescent on the screen

as it was your first experience or more or less on a set? All those moments when I told myself that life was more than what I lived. I'm very bright, I don't know. But it seemed like I was ready to explore those areas. I was happy. I felt like I had what it took. I was grateful to for that freedom. Léa was also very... She wasn't in control much either. So I felt like she gave me a lot of freedom

when the time came to dive into a scene. I felt like she was treating me like I was able to... We shot in a real motel, let's say. I don't think it would be like that now. But, you know, we were on one floor, but the floors upstairs and downstairs, the real life continued, you know. And I remember you with a figure,

I don't remember her name, but older, you know. And I was in the stairs and I heard lots of things. I was like 14 years old, you know, and there were sounds, smells, and... It was a multi-sensorial experience. Yes, and I remember it was at night, the lady was talking to me about a lot of things. She had a very rich Cuban life. So it was still a lot to receive, but I was really...

I was happy to be finally where life is, you could say. So I think I had... I don't know what it would have been like if I hadn't had that kind of... It's transformed. It's not that I'm still that exuberant. But still... I know that at that moment, I was ready to savour it all and give it my all. Finally, I could live emotions. No, but I guess that over time, I was able to live emotions.

I guess that over time you developed tools as an actress, but at that age... But at the same time, I was thinking about... When I was hesitating to continue, I was thinking, it's crazy how sometimes there are things that we will do naturally, and then you will look for more training, and then you realize in your training that what you you need is to get back to the basics, to what you had at the beginning.

So I think I underestimated the richness and the importance of keeping that too, what was there at the beginning. Yes, okay, it's fun, all the techniques that are added afterwards, but that the instinct that was there at the beginning and the real will to get as close to the truth as possible, and to trust your tools inside. I had to go back to that. So now it's a mixture of technique and instinct. Were you a child, a teenager, happy despite what you described?

Yes, I was fine. It's not because we want to be absolute that we're unhappy. On the contrary. On the contrary, sometimes you feel like there's a part you can't understand. There's a part where your life is going well because you... Yes, I was a happy teenager. I was full of life. I wanted to take on challenges, but I was more lonely

than the typical teenager life. The parties, yes, but I was working and I was happy to work too. My family was... My group of friends were there, but at the same time, it was work too. So I was happy to work and learn things. You know, it seems like the notion of being more flexible in relation to not being able to do the part. And you know, just accepting that I was really in a hurry.

I wanted to do things. I wanted to do a lot of things anyway. So that's really what was living in me as an energy. So I would say that now, I had read a book at the time, I went on a trip, like Taiwan, I think, at 18 years old. I had read a book called The Art of Loisivity by Hermann Hesse.

I found it extraordinary. I didn't know how to apply it in my life, but I found it. So I think that's it. I was happy as a teenager to have the chance to do things that, for me, made sense to them. I would get involved in it. And then, for friends, parties, that's it.

I had significant connections with certain friends I had around me. But the triple of parties and wins, and all that, was less my reality as a teenager. Did you experience a adolescence late? Yes, it happened later, at my age, yes. It happened at the late age? Yes, I arrived later that year. I arrived at the beginning of my twenties, and I think that when I did Polytechnique, it was okay that I worked less during that period.

Because the things were a bit mixed. There was my daughter and my uncle. My daughter and my uncle were in a more... a bit more blurry period. I had the impression that people were mixing things for me too. For me, it was a role that I was happy to play. The scenes with Christian Béreau, I was happy to, I didn't come to work with Michel Côté,

I was really happy about that. It's the story of a young woman who goes to study law, but who ends up, that's it, stepping foot in the world of sex and pornography. Yeah, pornography online, you know. Or not just online too.

There was, but... So that was really, And also online. Or not just online. It was a different role. I hadn't done that either. But the role as such, and the project. I recently saw some excerpts from my scenes with Christian Bégin when he interviewed me. I was happy to play that character. But after that, the whole period that followed that, not too long after we started working on Poly, but that period was a little bit more weird.

And at the same time, it's not because I needed to escape, it's just that I realize that even as a teenager, when I needed to live more and more, I needed intensity. Work really filled that. It wasn't necessarily a need for perfection, There was a lot of work involved. It wasn't necessarily a need for perfection. It was more a need to do things, to be active, to feel myself. I have a rhythm. I move from one place to another.

I run all the time. It's my inner rhythm that's like that. Where does this urgency of life come from? Because we sometimes meet it with people who have died, for example. Mm. In fact, I had never thought about it for as long as that, except that at one point I was doing an interview a little while ago, and Marc-Laure Barrette had asked me, she said,

Yes, you lost a sister when you were younger? Do you think it had an impact on your way of... She's asking good questions, Claude. You're asking excellent questions too. I was hesitating to say her name. No, he's not going to think I'm talking about others. No, but you're really... I really find you...

I told you earlier when I got here. I had the impression... I was going to come here and do an apartment. I remember when I was impressed. I came here and I said, I'm going to do a flat, I'm going to come back to what I said before, but when I remember when I was doing young interviews, and I was going to do interviews with Christiane Charette, with Marie-France Basot on the radio, with Indicatif Présent, I was at my back, I was so happy. I fell asleep that night with the cover of Indicatif Présent, and Pierre Bourgault who came to talk. I felt like that when I came in earlier. For real, I find that even the...

No, no, but it remains, I think that even sometimes... No, no, but it stays... I'm impressed by the actors, but the good journalists and the good animators, it impresses me, I think even more sometimes. Because I think that I sometimes feel closer to what you guys do, than, you know, in the will to go... to be able to perceive certain things.

So when you're able to go and touch the right thing, in any case, in short. But what you were saying earlier... What I was saying about Marie-Claude... No, but what you were saying about the truth that you can touch when you play. Yes. I live it very often when I do interviews.

Because the questions I've been asking you since the beginning of our conversation are quite intimate questions, that I wouldn't necessarily ask people I'm very close to. And you realize that for the first time, we don't know each other at all. And I allow myself to ask you these questions and you answer with generosity. But you see, this freedom, let's say you have it when you do your interviews. The freedom I was talking about earlier, when it's action, just before saying cut, that's it. It's like you're in a world where these rules are like,

we can't dig too far, oh no, you have to be more polite, you can't ask that question. It's like that, it doesn't apply. You can do everything, everything is possible. So yes, you're right, there are last similarities. But what was I saying? Do you think about your sister?

Yes, that's it. My parents had a daughter after me who died when she was three months old. I was four at the time. I can't go back. I don't have a very good memory of many things. But let's say my childhood memories. There are still precise memories of the pain I was singing,

that I saw at my parents' house, at my mother's house, among other things. So it looks like having been in touch with that at that time, that being death, you know, the fact that... And yes, the pain it causes, you know, that's what it can generate in relation to that feeling, like a child, in relation to your parents, let's say, but in relation to life, just to see that... So surely it had an impact somewhere,

because when you asked me the question at the time, I became very emotional, so that's not true. Emotions don't lie. No, that's it. So no matter how it declines and how it explains itself, but I think that I was still in contact with this reality at a young age, in the moments where it seemed to come to forge something.

It's horrible to say, but there's nothing like the consciousness of death to make us want to live fully. Exactly. Exactly. And you know, we say death. Sometimes it can be events too, events that give the impression that you're going to die from your own light too. I mean, death is not just total death either. There's still... Sometimes when I look at people around me who have, sometimes, parts of their lives

that are difficult to conceive, that someone can shine after that, at the same time. That someone can get rid of it. Yes, that's it. And there was an image, from the last few weeks, that I find really beautiful, but you know, the fact that sometimes,

you're like... and we don't believe it, but you know, you're like a person or a little thing in a little plant seed. And you know, it's true that sometimes the earth feels like it's crushing you, but really. But when you succeed, sometimes it takes that pressure, but that environment so that you can germinate just a little bit too. It's really flat to say that sometimes it takes difficult things to be able to go a little bit too. It's very flat to say that sometimes it takes some difficult things

to be able to get over it. But it's still good to remember that there's something that can be more... There's a force that can get out of it anyway too. How was it to meet Roy Dupuis and Pierre Lebeau at the age of what? 17 years old, in A Man and His Fish? Were you impressed by the people you met at that time, at the beginning of your career? I remember that at the press conference, in fact, what impressed me was that, you know, I had done in Portemoy, Two Brothers, Les Débrouillards, OK, perfect.

Grégor Richard is still impressive. Yes, yes, but it remains in the field of me, it impressed me because it's a show that I also listened to in the time with Marie-Solée,, Tuga, and I was happy to do it. It was fun with a gang, Yann England and all that. But when Siraphin, when I had Donalda and that my paternal grandfather, my grandfather, Jacques Vanasse, knew that... Jacques Vanasse, as he would say. But when he knew that I was going to be the new Donalda. It was the first time I sang, OK, there was a range.

You know, in Portemont, the people in the middle saw it. The film was at a festival. It wasn't a popular success like Séraphin. It wasn't as popular as it was at the time. In Portemont, let's say. It's just before Les Boys. Exactly. It was before Les Boys, then Séraphin.

It was this series of projects that really brought Quebec together in region. Also in trot, because we were doing tours and we were going to join everyone, and that's fun too. But, so with Seraphim, when I got it, so I realized with my grandfather that there, okay, it had a different impact. But when we did the press conference and we were everyone there too, all the actors, you know, and that's it. I remember, even you, I'm going to talk about it, and I don't

remember that I was impressed. I just didn't come back. You were more than impressed. Yes, it was like... It was the same feeling when I did Panam. It's the same thing too. It seems that I don't have in mind the idea that I can be bad, so they can change me.

It seems that it's done. When you start projects, it's not like... I feel like I was chosen. There's a kind of euphoria that comes with it. You were chosen for something. Then you don't come back from that point of view, where you never thought you'd be associated at all. So throughout Seraphim, I was taking the time to look at it,

to play, you know. Pierre Lebeau and Roy Dupuis, we agree that it's not the same way of working. How is it different? Pierre, who is bigger than nature, who gives everything, whether in the big picture or in the wide picture, everything. Everything comes out, the drool, the muzzle, everything. I remember sometimes coming to the base to get my make-up done or whatever, and the set was far away. And then one day, I heard Pierre's voice screaming, and I was like, hey, that's it.

He's intense, you know? In a big way. In a big way. And then there's Roy, who has his own intensity too, but who is aware that he had a bigger experience with the technique too. He's cleaning a little more, yeah. Yes, he's cleaning, he's modulating his game depending on the experience with technology too. He moves around a little more, yes. Yes, he moves around, he modulates his game depending on the camera a lot too. And he's very aware of that too.

I could see him just in his way of moving his head, of taking his light. I didn't understand what he was doing, but I just saw that it worked because it was all beautiful what was happening in his face at that moment. So I didn't feel intimidated, I was just fascinated to see that it could be, first of all, to be an actor. I had just made the choice to do that in life. I remember having a great conversation with Pierre-Etre Obitaille, among others. I was amazed.

It was really... It's something to choose that you're going to do a job, and to have so quickly an opportunity like that, I was amazed. It was really... And you know, it's something to choose that you're going to do a job and to have so quickly an opportunity like that one too. And I was happy too because I was arriving with a little extra luggage. You know, I really had the impression

that I was able to give something to that character. I was fine. And I think it seems, when I see excerpts from that film, it seems that I was all there too, in the little subtleties, the movements of the face. And if I learned, the team was beautiful. And that's really where I started to take my place on the set. Would you like us to talk about one of your new projects?

Yes. The Yellow House. Yes, oui, oui. C'est une émission de rénovation. Mais là, moi, l'émission est pas encore disponible. Je ne l'ai pas vue. On m'a seulement envoyé un paragraphe qui décrit cette émission-là. Je pensais que tu avais vu des images. Je m'en remets à toi, mais c'est une émission de

rénovation, ce à quoi j'ai réagi en sourcillant, parce qu'il y en a quand même quelques-unes à l'antenne des émissions de rénovation, mais on m'a dit, celle-là sera be different, Dominique. Oh my God, I was right to tell you, you didn't seem to believe much. I said, convince me, Karen, but you don't have to convince me. No, no, but it's really...

It's still produced by people I really appreciate a lot. It's the same team as the traitors. And then at one point, I'm on the show, I come to you, and there's France Boudouin who's not very far from me. And there's Mark Labrach, right? Yes, that's you, and there was France Boudouin, who wasn't very far from me. And you were in Marquette Brèche, right? Yes, that's right. So, there was France Boudouin, who was the producer of that show. And there were the girls from Nouveau and Belle, who were there. And, finally, France was talking to me about my house,

that I had just bought, you know, my house without a roof. And I saw right away, huh, a house without a roof! Oh my God! Hey, are you going to make reno? Can we film that? No, no. So, I received their enthusiasm, but at first, I was like, no, hey, we're going to make reno, can we film that? No, no. So I received their enthusiasm, but at first it was like no, no, no. So you had the same reaction as me. Well, I didn't because I thought there were too many. I know that people love these shows too.

It was just that I never did that, let cameras in. But then, finally, the producer who came back to me, it's the producer, it's a traitor is the producer of The Soda and Trade, Nathalie again, Nathalie whom I love. And Nathalie, through time, and the whole team with whom she also works, what I find beautiful and what I love too is when there are projects where I say to myself, well, there is the perception that I bought on a head start, on Zoom visit from Costa Rica, like in Sarcens. That's pretty much it.

So, that's it. You've never visited it? No, I made my offer, I made my letter, that's it, like that. I was super happy where I was. It was a house, you know, I was in a super nice neighborhood. So I'm still in the same environment, too. But what can we say, in which region?

For my son, it's in the canton of the East. But that's it. But this project, it really represented the fact of coming back to what not respecting certain codes, really doing what my eye wants to see, and in what type of environment I want to live in. Not to make it beautiful and represent the color of 2025 or whatever.

Really just to come back to choices or creatively. You know, there's a kind of... In fact, it started from the fact that it's easy to let yourself be, I think, because of the pressure of Instagram and everything else. It's beautiful, I mean, beautiful environments, beautiful houses. We like beauty, we're not going to say otherwise. Well, no, no. Except that after that, it's like sometimes I realized that in my everyday environment,

I had integrated a vision that didn't really represent how I wanted to live at home. Instagram colonizes our minds. Yes, and it comes so much from the purification of our personality. And from real life. And from real life too. That is to say, a mess that sometimes settles, that doesn't disappear right away,

but also memories that are there. And those memories, well, you have to hang them somewhere. It means a poor, sometimes a little less beautiful, who is overflowing with necklaces, a necklace to wear, brought from a little bit everywhere in the world, which is not organized in vignettes as if it were... But the fact of being around them,

it reminds you of memories, it reminds you of who you are, it reminds you of the people you loved, who met you, who taught you something. So I wanted to go back to that. And the director of the series is Sabrina Hammoum, who worked on the series Elle with Sarah May on TV5. She was shooting in Africa, right?

Among other things, in a lot of places in the world. She was going to explore collectives of women a little bit everywhere in the world. It was amazing. Who explored collectives of women all over the world. Sabrina has a great sensitivity. I wanted to bring a lot of creativity to this house. All the people I'm turning to, the different techniques to renovate a house in the center. I didn't have any restrictions on heritage,

and all that to respect. I just didn't have to put it on the ground. That's fine. I didn't intend any restrictions on heritage, and all that, to respect. I just didn't have to put it on the ground, which is fine, I didn't intend to do that either. But I really wanted to have around this house people who do their job really passionately. Jobs that we see less and less. A carpenter, I mean, find a carpenter's job. I like carpenter's.

There are not many carpenters anymore. And there is one with whom I've been doing for years. Meeting him, what's his story? Ah, his father was a tapestry artist too. Ah yeah, his father suffered from Alzheimer's at the end of his life. Well, he posed tapestries everywhere, because that's what his hands knew how to do. Wow! So that's that show.

I'm convinced. Yeah, that's it. It's convincing. I was told that there would also be a question of your love for visual arts in this show. By the band? By the band, because basically, it's for sure that when I change places or when I'm speaking in the plural, paper teaching for several years, but at the same time, before that, it was still present.

I move around with my books, lots of books I haven't read, it's really embarrassing. That's why Mariana didn't come to do her show at our place because I'm too embarrassed. You're not the only one, it's a problem that's affecting me too. It's crazy, it's crazy, but it's a presence that reassures me. In any case, in short, and the works that I have with me that I chose to keep, also when you leave a place,

you know, works, it's not as much an investment as really heart-throbbing, which represents periods too. So what do you let go of, what do you keep? It ends up being something that is very, very emotional, but not of my own emotion, just mine, but in the sense of getting closer to the emotion of why people do what they do. Antiquarian, for example, which I like so much in Alton.

Brian, well, when he chooses his objects, they have energy, these objects. Are there people who don't want to sell certain objects because they feel that the person won't like that object enough? It's not a good fit. No, that's it. So, you know, how people do things with intention. And that makes me happy to bring that home.

And I find it fun that this show puts that forward too. You talked about Panam earlier, which is the American series you played in, which only had one season. It still had a good critical success, if I remember correctly. It was a great series with Margot Robbie, in particular. And Christina Richie too. Who hadn't become the star she is today, Madame Robbie.

Margot was her first American project. She came from Australia. Yeah, yeah, Ricci too. Who didn't become the star she is today, Madame Rami? Margot, it was her first American project. She came from Australia. Yeah, yeah, that's it. Are you still in touch? When I lived in Los Angeles, the gang, we saw each other more often. There was another Quebecer who worked, but not as an actress, but as a producer assistant

on that show. And so, that's it. So we were still in touch with everyone. But me, at one point, I was so afraid that people would think I was there for bad reasons. I know so many people who are after others too. So one day, I let it go. I'm like, well, look. But Margot was in a period where I dared to keep a little less contact. I was afraid that I would be left out of contact with people. I was afraid that I would be left out of contact with people.

I was afraid that I would be left out of contact with people. I was afraid that I would be left out of contact with people. I was like, well, look at that. But Margot was in a period where I dared to maybe keep a little less contact. And it got so big quickly, too, afterwards. So, when I was in Los Angeles, we saw each other with the rest of the gang a few times. But, you know, she did a trip on Lake Memphremagog.

Oh, yes. And it's funny because on X, Twitter, there was constantly a message that came back at some point from someone who was the friend of my husband at the time, who was there. And he was like, there was a photo that came back at some point. Oh, it was with you? Well, yes, I was there.

Yeah, OK, OK. Well, yes, I was there. Well, yes. So, yes, Margot and Christina had come to do the trip on Lake Vemfrémagog. And it's funny because Margot had such a clear vision of where she was going. It was crazy.

She was young, she was 21. 21, I think at that time. She knew she would become Barbie. Well, she knew that at some point, she could do pretty much what she wanted, live where she wanted, and then receive scripts and choose the ones she did. But it wasn't said with pretension.

It was just said with knowledge of the rest of the things. And that impressed me because I wasn't able to have that vision for myself. And it doesn't matter. It didn't... It impressed me to be able to have that confidence that you have what it takes to get to a certain place. And that's it. So I was very destabilized from that. I didn't know why I thought about it. But anyway, I mean, she knew exactly where she was going.

And at the same time, I'm happy, what else would I say about that? I like that because I don't need to ask a question. You're right. Did you have a question? No, I was just asking myself. I wasn't complaining about what I was doing. The less I work, the happier I am. How did you experience the disconnection from Panama? Well, actually, where I was going in my head...

That's not where you were going. I would have just let you go. No, no, but it's because where I was going in my head, I was going back to where you wanted to take me, but it's just that I was telling myself, you know, the fact that she knew so much where she was going. I think that on my part, I... That's it. I wanted to prove to myself that I was able to work in the United States.

That, I was happy to have that chance. I wanted to believe it. And then all of a sudden, it's like I was happy to have that chance. I wanted to believe in it. And then all of a sudden, it's like I was dreaming. So I was happy to open that door, because I didn't allow myself to do that before. But I'm still happy that this dream wasn't as precise as that, what made it so that after Panama, I was going to do Revenge. And when Panama ended, precise, what was done so that after Panam, I was going to do Revenge.

Yes. And when Panam ended, yes, I was disappointed because in fact, I just wanted to go to Japan. We didn't have time to go. And we felt that the base in Japan was getting caught. And I just want to work in Japan once in my life. And we felt that Panam was international, a lot of it was more recognized in the United States. Yes, there was the big commercial brand, but international.

So there was a reason, because ABC at the time didn't have the rights to sell, but anyway, they didn't collect money when the show was international, so it worked more... It gave them less money. Exactly. But internationally, it worked really well. I was disappointed that we didn't go to the promotional tour in Korea and Japan.

But pretty quickly, I came to do 30 lives here. I felt like I was giving one to Fabienne Larouche because I was supposed to do 30 lives before doing Panam. And finally, when I got Panam, I said, Fabienne, I can't do 30 lives anymore. And she finally agreed to let me go. The texts weren't written yet, so it was good. So after that, I had the impression that, okay, look, Panama, that's enough. I'm going to do 30 lives after.

So I went to do 30 lives. And after that, finally, ABC reminded me to work on Revenge. And I was super happy there. It was going well. And at one point, I was getting a little annoyed. In the sense that I saw that there were some main characters that were more challenging. I wasn't annoyed in the sense that I just saw that I wasn't annoyed.

I was really happy. I loved my years at Los Angeles, but I saw that it wasn't a big challenge. So let's say the little voice of my Greek teacher who came back to me saying, you know, you're going to get into situations that will make you work hard enough. So, when Revenge ended, I could have stayed there. I had agents at the time who suggested that I find other opportunities of this kind. It's paying, it's working on the year. But finally, there's a cardinal series that ended, directed by Pods. It wasn't a lot of episodes per year.

It was just the first season to confirm anyway. But the character was extraordinary. I wanted to work with Pods for a really long time. And, you know, on Reven, I worked with incredible directors. Like, Helen Hunt came to make episodes. She directed me. It was great. I lived extraordinary moments. I was happy. It felt good, Los Angeles. You know, I was fine there. I was happy to be there.

But compared to really my work when Cardinal arrived, It felt good, Los Angeles. I was happy there. I was happy to be there. But when Cardinal arrived, I was happy to not have a goal set so much on having a big career in Los Angeles. Maybe because I didn't believe it, but when Cardinal arrived, it made me think, oh, that's tempting. So even if it's not as big as the last two big projects I did in the United States, I was happy to deviate towards that series, which is probably one of the most beautiful TV experiences I've had. What kind of ambition do you have today for your career abroad in Quebec?

It seems that now I realize that I want to dream again, and that we have the right to dream even when we're no longer 25, even when we're no longer 35. Does she say that from her old age? No, but I think it's... Like it's... I think it's easy to put that aside. Like at some point, things happen and you have children or a child, and you say, well, that's going to be it. But I don't know exactly yet, but I just want to believe that it's worth it

that I try new things and that... to get excited about the idea of, I don't know where it I just want to believe that it's worth trying new things. And to get excited about the idea of, I don't know where it's going to lead me. But keep making the effort to push you because you could be surprised. Surprised about what? I don't know. But it makes me feel good to put myself in that state. I like that. Do you still have people who represent you in the United States? Yes, yes, yes. In recent years, COVID has also affected me.

I remember that. Yes, it has slowed things down. Sometimes I have contracts here too, which don't allow me to work elsewhere. I also work a lot more than most of the people I've worked with. I've kept in touch with several actors from Revenge. Some of them are great actors, and they've done two projects since the end of Revenge.

How many have I done in the last six years? So I think I still have the opportunity to continue to improve myself, to work, to try new things. I'm really happy to have all these opportunities here. Sometimes it makes me feel like I'm not available for projects that were presented elsewhere, that I have a child too. So all of that together makes sure that sometimes it's not the right opportunity, but I keep believing that it's worth it.

It's not precise. It's not precise. I just want to believe that I can still be a surprise. That's it. Denis Villeneuve could offer you a role in one of his next films? In the United States? I don't really want to go there in my head. I don't want to go there because I have the impression that we can all run after Denis and send that energy to Denis too.

So I would collapse from... What would I do? I would collapse or jump on a roof? I don't know. Not from a roof, but I would jump on a roof. If you want to play in the film, it would be better not to jump on a roof. I don't know. Not on a roof, but I mean... If you want to play in the movie, it would be better not to jump on a roof. Of course, that's it. But I think I would jump really high, that's more it. But no, I mean, when there was the tribute to Denis at the last Galles Cinéma,

when he had time to record the excerpts of the tribute for the video... It was touching. It was really difficult. Because it's really difficult for me not to have an emotion that overflows in the sense that it happens just in the heart or in the stomach. It's like I become moved very, very quickly. Among other things, as well, in relation to everything I was saying earlier, you know, the dream of Los Angeles or to have an international career,

but you know, I feel that Denis, he does, he managed to do it his way, his own way. And you know, I'm going to say, I look at actresses or actors that I've met, sometimes actors that I don't even want to meet, but I feel that they made the choices they really wanted. And it made sure that it took them where they are now. But I recognize in their way, what I receive from them, I feel like I recognize what I want to receive from myself in a few years. So that touches me a lot.

So if I ever have the chance to meet Denis, I would be very happy about it. But it's not related to the admiration I have for him. In other words, the attachment to the admiration I have for him is not dependent on whether I will work with him or not. You will love him anyway, even if you don't go back to his company. No, that's right. But I find it fun to... It's funny because I was doing an interview recently and I realized that it's fun to get to a point where you're sincerely happy for people who do the same job as you, almost the same age, and who have opportunities that you would have liked to have too,

but you're really happy for them that it works. Without having the slightest suspicion of jealousy. No, that's it. And I think it's fun to be at that stage, to really be able to be deeply happy for an actress with whom I took lessons in Los Angeles, who is in the series Severance, Brit Lauer, who is incredible. She's having fun, I see it in her face. And I see that, you know, I remember all the moments where, for example, when we were

promoting Panam and I had a press relations officer who was coming from Montreal at that time. And I knew right away that my American agents at the time told her, you know, tell Karine that she should stop... She had to look American when she chose her clothes for these interviews. I don't even know what that means. Yeah, sometimes it's related to... I don't know, that's it.

It's a little weird what that means. I can't say I knew that much at the time, but I just understood that according to them, how I presented myself, it wasn't going to ensure that I'd please the biggest number. So when I see people who succeed without entering this track, I'm filled with admiration. I'm proud of them.

It feels like it proves to me that it's worth it. Whether it works at some level or not, it's worth it to hold on to it and not put those values aside. So I'm always admirable when I feel that some people who succeed, they don't succeed because it was a success at all costs. They succeed because they made the right choices that looked like them and that they tried. They don't succeed because they put on more American clothes

than they normally would. Exactly. You said earlier that just before the shooting of Un homme et son péché, you had made the decision that that would be your life, that you would be an actress. Wait a minute. Is it a moment, is it a second where it happens, or is it... It unfolds over several weeks?

You know, that's what I'm going to say. I participated in a study program in Greece. I had a scholarship from the Price family in Quebec for a scholarship. It's important to go to study, to participate in a program there. I think their daughter had participated in that. And they had really learned great lessons that stay with her and had really transformed her life. With the Greek teacher we're talking about earlier. Yes, that's it.

Can we say his name? Yes, Nick. Nick Gernmanakos. And we were two Quebeckers to have a scholarship to go there. And we weren't really several students. I think we were 12 students in total. We were in Crete school in Crete. It wasn't even a school, it was a house with rooms. We worked in the morning and studied. It was like classes that were equivalent to university classes,

but general, but with anthropology, history and all that. At 16, my English wasn't that good. I did a lot for English. It's a funny idea to want to perfect your English. Yes, your English. Not really your English. You put English on your English in Greece. Yes, that's it. With teachers who have a very strong Greek accent. I don't know if it still remains a little bit.

But the despair, I didn't know what I was doing there. But... But you had acting classes too? No, no, it was really anthropology classes. But Nick wasn't an actor? No, he was an actor when he was young, but it was anecdotal. That was not his life. No, no, no. That's why he wanted to go to something else.

Yes, that's it. And when I was there, it was part of having conversations in the newspapers with one of the professors who was with us. Each student had his teacher with whom they talked every day via a notebook. It was really very present. I go to school, I go to college, I keep doing that. I really liked, in the interview, at that time, to say that it's to college, I keep doing that. Because I really liked, in the interview,

saying that it wasn't really what I'd do later. And then one year, I was on a movie, and there was an actor who was shooting, and he arrived one year, I did an interview, I was watching him, I don't know what, and his blonde was an actress, and she didn't work much. And he really liked me, saying, that's not really what you want to do in life.

Well, stop doing it and leave the place to others. » Oh, okay. So I think that it still had, it still had this feeling that maybe if I did it, from now on, maybe it could be a choice. For how long, I didn't know, in what way either. But do you commit to that or do you do something else? You animated the show in a cinema near your place,

which highlights the work of artisans in Quebec cinema. Are you worried, like many people, about Quebec cinema, but the Quebec culture, which, according to several, suffers from underfunding and is in danger in different ways? I was reading an article this morning about the programs that are being reduced, certain theaters, certain museums too. Yes, the Metropolitan is canceling concerts.

Yes, exactly. I think that through that, what is worrying for me, beyond the reality of all these projects, which creates uncertainty for everyone in the environment, is just to see that our culture is actually not very far away, who won't be interested in people here because they don't know them. For now, it may still look like a series of anecdotes. Yes, that's it. But all put together, that's what it's all about. Even the show in a cinema near your house, we're really lucky.

We're really happy to have been able to do it at Radio Cannes, but the budgets are minimal. So we do doing magic. It's France Baudouin who produces this show, with Jocelyn Lebeau who was the content, Fred Nassif at the production. Okay, we're having some great meetings, but all together it's a very beautiful object, but it's a little miracle that it can still exist.

So that's going to be able to exist for how long? But it's mostly the fact that we're going to talk about ourselves. I live it when I go to Canada-England, for example. Just doing the deals, for example. Or when I was doing Cardinal at the time, it was the same thing. You want to talk about a show in Canada-England, where are you going? There are no shows, there are no late night shows. The morning show, okay, the news, but it's very small.

But at the same time, there are the morning, but it's very small. At the same time, there's no magazine, there's no variety show. So to make culture shine, we need space for that. It's not just for us to work. No, it's for us, the big us, to exist through that. All Quebecers. Yes, that's it. So, you know, I was listening to an interview that Bucardieu did. My brother sent me that, an interview that Bucardieu did, a podcast.

I don't remember what the name was. It was a longer interview, that's what's fun about podcasts too, you know, when you're lucky to... It's a bit contradictory. I like it. Guests are forced to talk to each other, for example. I like that, listen to others. I don't like that, talk to me. I don't like talking to myself.

I like observing and listening. But it was really fun to hear Bucquard develop his thinking. And having met Kim Tui, I think those who speak the best about it are the ones who learned to know Quebec culture, who are now part of it, but who took the time to explore it to be able to make it their own, basically. But I have the impression that we don't really realize what it is.

When we've been here for several generations, let's say, the impression that we've forgotten a little bit what the wealth we have here is. It's a bit of a bubble, a bit unlikely. I was shooting with a documentary team on a TV5 series that will be released on the market. It's a crew from New Brunswick with whom I worked for that. An incredible crew. OK. But you know, the opportunities to work on projects, the funding is very limited.

It goes through the UNF. OK, TV5, after that, you know, Radio-Canada, there's one project that can... So if there are several production houses, or if the same production house presents several projects, well, there's room for one, that's all. But the richness of their culture is the same. So I say to myself, okay, that's it,

I think we forget the chance we had to develop, and at the same time, it's all recent too. There were, you know, in the series of Balado, among others, on Robert Charlebois, you know, I listened to it last summer, during the time of Saint-Jean. And you know, you realize that just the fact of being called a Quebecer, it's not been long.

We were French Canadians not so long ago. Yeah, that's it. So you know, it's... So it's still fragile, the fact of existing through a language, a culture, but I find that... I find that it's still blurry. It seems like it could go with the water of the well, let's say.

I don't think we're alarmed enough about that. That's my impression. Are you satisfied with this interview, Karine? Did you talk too much about yourself? No, but I think you understand. In fact, it's not just because you're an actor in life that you're necessarily comfortable talking about... No, but it's like you as a journalist,

I'm certainly in the same business too. I like talking about myself. Yeah, well, that's it, it's the same thing. And it would really make me feel good this year. I participated... It's been a really long time since I played, actually. We're going to start shooting the third season of Avant le crache soon. I'm excited. Yeah, me too, but it's been a really long time since I played. In fact, we're going to start shooting the third season of Avant le crach soon. I'm looking forward to it.

Yeah, me too, but it's been... Let's say that the trailers are a bit of a game. But a real fiction series. But a real fiction series, it's been a really long time. In fact, it must be like... It's been a really long time. I've been here for a year and a half, almost. In any case, it's been a while.

But I've been more animated. And apart from the trailers, there's this show that's going to be on TV5, called Cousu. And even the cinema show, it's the same thing. It's still shot over a longer period, too. But it's so nice for me to go to meet other people, not just through characters, but just in life. So it's like I was more at ease

exploring how I receive what people tell me about myself, how I receive what someone else has experienced, and how I react as Karen, rather than sharing my... So even the show, the Yellow House, you know, the parts I prefer, it's when we meet people who work on my show, and I feel like we don't talk enough, and we're lucky to put them in front of us. I'm fine with that.

Will you find it easy to shoot the third season of The Crash? Because earlier you said that the game could be easy. Oh, no, no, no, but it's not... We agree, it's scenes that are fun to play. It's not... No, I think it's easy in the sense that sometimes you can... If I had rehearsed all the time, and I had to repeat myself all the time, and I had to find characters or projects that are not...

By digging the same hole, it can become... Yes, that's it. But before the crash, I'm grateful to be part of that gang. I'm happy that Stéphane's realization is on point. I'm proud of Éric, Bruno, who started writing with this project. I think it's nice that he does it with Kim Lizotte. We recognize Kim's pen through all of this, both together. But I like how people talk about this show. I'm happy with the multitude of characters that we present,

models of relationships too. That's it, all this kind of discomfort in a big problem. I think that's a big problem. I think that's a big problem. I think that's a big problem. I think that's a big problem. I think that's a big problem. I think that's a big problem. I think that's a big problem.

I think that's a big problem. I think that's a big problem. I think that's a big problem. I think that's a big problem. I think that's a big problem. Is there one last thing you'd like to tell me? One last time you'd like to be violent? I have a question for you. I didn't think I'd say it at the end of the day, but I'll take the opportunity. I didn't ask you until now, and it's my only chance to do it. I'll maybe do a face.

At the beginning of the podcast, why do you do... It's a tribute to... I'm a big fan of LUT. Okay. And there's a podcast that I listen to religiously. There are two episodes a week. I listen to them. They're guys talking about the news of the LUT world. And the host, who's called David Shoemaker, he does that too. He starts saying, welcome to the Masked Man show. It makes me laugh.

And it's a tribute that I do to a podcast that no one listens to except me. So no one meets. I pay tribute to that. to the Masked Man show. Ah, that's funny! And it's a tribute that I do to a podcast that nobody listens to except me. Nobody meets each other, I pay tribute to that person. And that's why I do it. And there are a lot of people who blame me for it, who find it very unpleasant. Oh no, that's funny! But I noticed that, and you'll tell me if I'm wrong, my husband told me it's not true that you say,

Re-welcome, but I think you say, Re welcome back. But I think you're saying welcome back. I'm saying welcome back. Ah, that's it. But I have the impression that you're making it clearer. It's the last episodes. I think I've moderated my harshness because there are a lot of people, people I respect the intelligence, who told me, we listen to your sick person, it's good, but the abusive air at the beginning Stop it, Dominique, please.

But now that you say it makes you laugh... Ah, it makes me laugh. Sometimes I put the gum back. Pfff. Hahaha. I find that... Is it what I like about you allowing yourself to do that? It's sure it doesn't matter.

No, it doesn't matter. In addition, the podcast starts. But it makes me laugh. It makes me laugh. It's sure there was a reason. That's why I was looking forward to knowing what it was. But clearly, you were doing it for a reason. Clearly, it was something that made you laugh because it's precious to you.

I like that. So no, no, keep going. It's because I've done it too often. Then at a certain stage, I said to myself, I can't stop. I did it in the first 15 episodes. I can't stop doing this very strange thing. I love that. So now I don't know if I'm flattered or uncomfortable.

Oh, no, no, it's funny. No, no, no. And I find it fun. It's not easy to see what the... You reveal yourself through your questions, journalists too. But it's fun to feel the colors of that genre. We humans too.

I think that's great. Thank you, Karine. Thank you very much. My pleasure. Thank you.