Juste entre toi et moi - Marina Orsini

Episode Date: February 9, 2025

« L’important, c’est les mots et l’émotion », dit Marina Orsini, qui lance un premier album de chansons. L’animatrice et comédienne parle de sa collaboration avec Catherine Major, Richard Séguin et Paul Piché, en plus de parler de son rapport à l’écriture et de livrer un plaidoyer pour la gentillesse.

Hi, Dominique Tardif here. Welcome. Just between you and me, thank you for your many messages. Many messages on the very moving interview that Sylvie Léonard gave me. I am delighted that you were many to want to dive into the work of Sylvie's cousin, poet Marie-Huguet. It will be a new question of writing today because my guest is Marina Arsini, and because imagine that Marina is launching a new album in a few days. A new song album, yes. An album on which Marina co-wrote no less than five songs.

The album was made by Catherine Majard. The list of Marina's collaborators is absolutely impressive. I'll let you discover them throughout our conversation that is coming. The album in question is entitled Reconstruir les saisons and it will be available on all platforms from February 14. You can of course read the article I took from this meeting in the press plus on lapresse.ca or thanks to the mobile application of the press. And here is without further ado my interview with the nice Marin Orsini l'application mobile de la presse. Et voici sans plus tarder mon entretien avec la gentille Marie-Norcini. To you and me For once It stays between you and me

It's not the first time we see each other, Marie-Nadine. No, eh? I had an interview with you at the Lestri bookshop when you showed up Leastri bookshop, when you showed up. We had a great interview. I don't remember. I'm sorry. It's okay. You meet a lot of people.

No, I didn't remember. I hear your voice, and the more I look at you, I think, it sounds like a bell to me. At that moment, I was missing half of a leg, the left leg. And at that moment... Oh my God, it didn't appear, you have a prosthesis? Yes, that's it. Ah, OK. At that moment, I was injured, so I moved to Béquet without my prosthesis. So it really appeared.

And I told you everything that had happened to me, that had led to my injury, just before we started the interview. And then you took my hand and you told me, you're still beautiful like a heart. Ah, yes, huh? And then in a second, I understood that the Marina that I had always imagined... Was it there? It was the real Marina.

Oh wow, thank you. There was no margin between the one on TV and the one in real life. It was a super nice compliment, thank you so much. But I keep a very nice memory of this interview. You were very generous with me because in the salons du lait, you are very committed to the human plan. Yes, and it's often two minutes know, two minutes, three minutes. It's rare. Like today, it's a gift, you know,

to be able to have time to jazzy, you know. And it's fun because, well, we know each other a little bit, so you know me a little bit because we had a conversation, an interview, so that's fun because we're talking about something that's fun, it's even richer, you know. Well, I know you too because I'm a 38-year-old Quebecer, so like all Quebecer of my age, we know Marina Orsini.

You're in our lives forever, or more or less. Before we talk about what we need to talk about today, what I want to talk about today, can you tell us what you just did? I brushed my teeth. It's embarrassing to say that. I was really crazy this morning.

I went out, I put on makeup, I got ready, because I thought it was filmed, but indeed we had photos to take. Red lips and everything, little contour, pencil, and I didn't brush my teeth. And then I stopped in a Rachel Berry on Saint-Denis, and I bought myself a toothbrush and toothpaste. That's what I did in the beginning.

Was it by chance for you to brush your teeth or for you? Because you didn't want to... Both, but I would say anyway. I have a certain pride. I'm a little... Well, I'm a clean girl at first. The great revelations today. Marie-Norcini, a clean girl.

I was a clean girl. Marina is lowering her microphone because it's important that we see each other. Marie-Norcini, une fille propre, et voilà. J'étais une fille propre. Marina vient de baisser son micro, parce que c'est important qu'on se voit. Oui, oui, moi je veux te voir, je veux qu'on se voit, ben oui. Puis moi j'adore la radio. T'en as fait beaucoup? J'en ai fait pendant 10 ans. C'est un des plus beaux médias au monde.

Qu'est-ce que ça t'a apporté? Comment est-ce que ça t'a transformé de faire autant de radio avec André Orbitay, notamment? Deux ans le matin avec André, mais huit ans dans le retour, dont cinq toutes seules. Les cinq dernières, ben André, but eight years in the return, including five alone. The last five, well, listen, the radio, first of all, we're live, we're live. So, you know, you have to be completely listening and ready for everything.

To get out of bed on a And that's it, you know, I mean, especially on a return show, you're in traffic with people, in the morning you're in their bed, otherwise in their shower, or at breakfast. It's intimate, yes. It's very intimate. And it's about being connected on a daily basis,

on life, on current events, on what's going on. And I was in a commercial radio, so a lot of music. And so that's where I discovered, and I learned, and I got the chance to meet a lot meet a lot of artists from home and elsewhere. I'm going to let you tell us the main reason why you're here today, Marina. Because I'm releasing an album of French-language original songs. And I feel like a little 8-year-old girl who is going to the land of wonders, in fact. Yeah.

Was it Catherine Major who proposed to you to do the jump, to take part in the act? This official jump, yes, but we've known each other since 2015. Catherine is an immense artist, she's an incredible musician. Great pianist, yeah. Great, great. Composer. Absolutely. And then we met because I invited her to my radio show in 2015 because I loved her.

I wanted to discover who this girl was. So, I guess she didn't have to play so much on the radio waves you worked on. No, not really. And then I discovered her elsewhere on other radio stations, actually. And then actually on Radio Radio Canada. Yes, here in Music. That's what I discovered with Catherine. When I heard her album,

at the time it was the album La Maison du Monde, if I'm not mistaken. And I was lucky too, because in my radio show, I really had a blank card, so I could invite pretty much everyone I wanted. And the artists never said no, because they had very few platforms

to present their work. And we say no to Marie-North-Signy. Yes, maybe. But to play live too, you know, and it's a story of friendship that developed over the years. And just before, it was Cartemère, and for a few years, so to get to know each other, she asked me if I wanted to launch her album virtually in the middle of a pandemic, and we did that in Estrie, on her land. And then, you know, more and more, friendship developed, and then she knew I was singing.

We had already sung together on En Directe de l'Univers, and I don't remember who for, but anyway, we knew each other a little bit and more and more. And in 2020, in the context of this launch of Carte-Mère, in Estrie, in the middle of a pandemic, she asked me, Do you really want to sing? I said, yeah, I love singing. And I told her, I revealed to her that I was writing. She said, well, you have to sing what you write.

Well, I said, well, yes. She said, go, we're doing it, we're doing your project, we're making an album. And then she really took me, I'll tell you, it was like a blow of passion, but in the heart, you know, to do like, oh my God, okay, someone is interested in this possibility. And so it started like that, and it's almost five years later because she works a lot too. I worked a lot on other projects, but it's a project that was built little by little, I would say,

but it's really in 2024 where we're in the studio, but in the meantime, there's writing that was done too. When have you been singing? I've been singing since I was 15. We were singing Journey in a local in Pointe-Saint-Charles. It's not easy to sing Journey because Steve Perry, the singer of Journey, has a whole voice, a whole recording. It's amazing, yes. But that's it, I mean, when I was little,

I used to do shows in my living room with my parents. My mother used to sing, I have CDs of my mother that she sings, and that's one of the most beautiful memories I have of her. And, well, that's it, I've always sung somewhere, but then, a few times in my job, they asked me to sing. I've always sung somewhere, but well, then a few times in my job, I was asked to sing. I participated in albums with other artists.

You did a duo with Renée Simard a few years ago. I did a duo with Renée on her last album, Qu'on D'or. I went to direct de Nuit Vert a few times. And in these last years, those who listened to the series, Une Autre Histoire, in which I see a woman in the shape of Alzheimer, I had, I really like Morane, the French singer, Morane, who left way too quickly, who sang the song Les Anémones. And I had asked my producers if we could adapt, you know, ask for the rights to adapt this song

for the final scene of the last episode where where my character asks medical help to die. And my producers had accepted. And Catherine knows Daran, Catherine Major, always. And since my character was double in the story, she was called Annemonde, but she was also called Manon. She had a double life. I had therefore asked my producers and Catherine to do the song with me in a duo.

And they had accepted, and that's what ends the last episode, so the very end of another story. And so we did that together too. But before we talk more about the album, I'd like us to talk about your band. What was it called? Your first band at 15? We didn't even have a name. Did you do shows?

Not even! We were rehearsing in a club and at one point... Who was it with? I don't remember their name. But it was with friends. It was guys I had met, yes, that I had known in my neighborhood. I think it was at the municipal swimming pool in southwest Montreal. In Villémore? In Villémore.

Listen, it's been more than 40 years, it's been like 40 years. But I keep a nice memory. We may have met about 10, 12 times. And maybe he listens to us and I say, I salute you because I still have this memory in my memory. We want a reunion, a return of the first Magnus group. I should make a call on Facebook or something like that. You write in the thanks, in the bag that comes with your album,

entitled Reconstruire les saisons. You thank Richard Séguin, who is another of the prestigious collaborators of this album. And you write that Richard Séguin, for 20 years, has answered yes to my ideas of musical projects. I've been talking about music with Richard for a long time. So it's not from yesterday? No, it's not from yesterday, that dream. And at the beginning with Richard, among other things, it was... I wanted to make a duet album with boys, with guys. And then Richard always told me,

well yeah, Marina, it would be super creepy. And every time we talked about music together, he always said, present. And it's in 2018, if I'm not mistaken. 2018, 2019. That's what's written in the pocket, 2018. Just listen, we're falling into a pandemic after, so that's what made everything frozen.

But I remember, I went to see it in Saint-Venant, because it was in the idea of making a duet album. And I had these two wonderful texts that are found on the album, La Ch Orange Chamber, and also the song Comme Tu Es, which I do in duo with Paul Pichet. He had released this from his drawers. He told me that it was two beautiful texts. The first, the Orange Chamber, which I do with Richard,

is a woman named Louise Marois who wrote it. A great poet, yes. Yes, who wrote this text, And Richard had written the music. And after that, he had just told me about, as you were, a Charlie Bushara who had written that song. Who wrote the song, Richard made the music. And it stayed. I kept them because I thought it was so beautiful.

I even have a video that I made with my phone at Richard's. We had all filmed ourselves singing it, freding it together. That's a very nice memory. And that's when the album project really started to take shape. Obviously, I communicated with Richard to say, look, it's happening. And I would love to put these two songs on my album.

And he said yes. And then we continued the project. And they're well, that's why we continued the project. And the sound is there. It's true, it's concrete. It's a huge gift. Chambre orange is a very, very beautiful love song. It's beautiful, huh? Yes.

Very beautiful. And a love song, well, I find, in any case. This album, I mean, it's really, it's duo, precisely, that we're talking about. It's really, I wanted to have a dialogue between a man and a woman. And of my age. I want to sing my age. It's not the love of the first papillons. No, not at all.

It's the love rooted. Exactly. You have so many good words. And how we go through time in this rooted love. Richard is with his daughter's mother. They've been married for 40 or 50 years. They've been together for a long time. And that's it. I wanted to have a dialogue like that with men. And that we talk about love, that we talk about relationships, that we talk about passion.

There's also Manuel Tadros, who wrote two wonderful songs, including one that is a duo. It's a kind of tango. Exactly. There are two tangos on the album. Because tango is really a dance of passion, love, fire. There's red in a tango. So that's what I wanted. And that's also part of the dream. And that experience, yes, of the album, of course,

but those three duos in the project, it gave me more desire to make other duos with men. How do we talk? Where did we go? The dialogue between men and women in love, in the relationship, in this time that runs and that lasts, and how do we do what we live? How did you meet Richard Séguin? Richard, in our environment, sometimes it's a gala,

you meet in a corridor, there's so many ways to meet, but there's one, I remember, it's maybe not the first time, but once it was important, it was the Téléthon Enfant Soleil in Quebec. And that's been going on for a long time, listen, it must have been

late 80s, early 90s 90, un des Téléthons enfants soleils, parce qu'on allait souvent faire des perfos, répondre au téléphone, participer finalement au Téléthon. Et ça, ça a été vraiment une des rencontres, je pense que c'est dans ces années-là qu'on s'est rencontré. Marte était là, puis on parlait de la vie, des causes. C is a very committed guy, and so am I. So it was a place of meeting and exchange. How was it to be with him in his studio in St. Venant? It was extraordinary.

To be with Richard, he's a man of great kindness. He's the heart. Yes, talent, yes, all the path. Yes, I mean, it's a monument, Richard Séguin. But to know him first, it's a beautiful privilege. And he's a guy who's totally authentic in everything. So he's a real guy. He's a guy with whom you're good because he makes you feel good too.

He's a very respectful guy who's interesting interesting, but also interested in the other. A lot, Richard. Every time I interview him, I had to tell him at some point, Richard, it's nice that you're interested in me, but the idea is that I ask you questions. I believe you. That's so much, Richard Séguin, so much.

We learn in the thanks, there are five pages of thanks, so we learn a lot. I tell myself that this is maybe the only album I'm going to do in my life. So I really want to say thank you because it's a privilege. Once again, it corresponds to the image we make of you. You have to be grateful. You thank Nelson Mainville, the composer who also collaborated on the album. And we learn that you participated in writing workshops.

With Nelson, absolutely. So that means that Marina Orsini, star of the Quebec Atelier, is signing up for ateliers for which Mr. and Mrs. Toulon are participating. Yes, it happened to me 22 times, but I remember a few years ago. That too, clearly before the pandemic.

Yes, because it's been a long time that I've been writing, but I would say in a more conscious and active way, it must have been about 10 years. And so at some point, writing is primarily an art, it's a profession. And then there's a structure to writing, I mean, there are basic rules to follow too. Especially in songs.

Yes, especially in songs. You know, it's feet, it's yes, rhymes, but not necessarily automatically. In short, it's an incredible world to discover. And I had seen, because I receive a lot of communication on my networks, and Nelson was giving a writing workshop a weekend in Quebec, and I was like, oh yeah. And Nelson, I was going to say, he has an incredible pen too. He's a guy who writes so many songs.

He was known as a singer, author and composer, and interpreter, but it seems like he has gone away. I don't think the song for him is too shy. I think he was uncomfortable in this... Have you ever interviewed him? No, I've never met him. But he really got into writing, and that's what he does mostly in I would say, in his life.

He writes for others, with others, but he teaches too. And that was an incredible experience. And he too, Nelson is an authentic guy. He's a love, he's a nice guy, loving, respectful, interested, mega interesting too. And that too, besides, the first song on the album, Les Cendres de nos Étés, it's a song we made together, yeah. There are four songs?

Five in total. There are ten on the album, and there are five that I wrote with... Well, the four with Jeff Morant, and one with Nelson. So the others are La Mer, Nov'embre, Masquerade and Rosy. Yes.

What did you have to say? Where did that drive you to? From other risks? I would say at the beginning, it's... I could, if I had to summarize that, it may start more as a kind of intimate journal. To write, to write. I find it an incredible therapy to write,

to lay on a sheet what we live, what we try to understand, what we try to cross. I wrote a lot of letters to people I loved and I never sent. How so? Well, because sometimes you don't want to send it, but you need to put it somewhere, you know. And it's true that putting it on a piece of paper or on a computer, it empties the heart, it empties the state in which you are, you know. So I would say, spontaneously, there's that. My mother wrote all her life, by the way, I wrote it in my notebook, you know. And she had a very nice pen, my mother, she wrote it.

Even in terms of spelling, it was so beautiful how she wrote it, it was lace a lace. And so I still find, I still find notebooks from when I was little, that I wrote and I questioned myself about life. So it's been a long time, actually. There's a part of me that's always, that part has always existed. And I think that's it. We try to understand things, we try to express things while writing.

And we say that we write them too. So there are some things that I burned too. Like what? Letters, exchanges that have never taken place verbally, but which clearly have been launched into the universe. First in a fire, then in the universe. First in a fire, then in the universe. I'd like people to see your face. I'm red. You have a beautiful smile. So writing has always been present in your life?

Quite. After that, it was more in the form of poems. Poems. But in my head, it was, yes, poems, but to become a song, you know. Yeah. What does that tell us? Because I talked about it to a few people around me, and I think the word started to circulate,

that you were about to launch an album. And it surprises people. Oh, McNancy is going to do a song. How's that? And there are others who know it. Finally, it's going to happen to you. Finally, you realize it, because it's not from yesterday either, I told it to some people.

What does it tell us about the idea that people are making of you? That it's surprising that you're becoming a singer, that you're revealing yourself as a singer? I often say, and Catherine Major will scold me again, but I always say that I'm an actress who can sing. Because to say that I'm a singer, it seems that in my head it didn't organize like that. But she always tells me, you have to stop saying that, you're a singer. It seems like in my head, it didn't organize like that. But she always tells me, you have to stop saying that, you're a singer.

So maybe one day I'll be able to say it, but for now, I feel comfortable for myself. I'm an interpreter, in fact, because my job is to interpret roles at the base. And I have a certain voice, I would say, that could, that can, that obviously sticks to these texts. But it's a dream, it's a dream for me that becomes reality, as we often talk about bucket lists in our lives. They say we should write a book, we should make a trip to the other end of the world,

we should, well, it's clear to me that it was, you know, I see my book there, which is next to you, my recipe book, I'm looking forward to it. That too, it was a super nice gift, you know, and that you, my recipe book. Gourmand. That was a beautiful gift. And that was on my list. But at the same time, I started music several years ago. At 50, I promised myself to go to the studio with musicians to make an album. A cover, a popular song, a cover, as they say. And I did it. I offered myself this gift.

It's the biggest gift I've ever given myself in my life. This album has never been released? No, it's on my computer. It's not me who forgot this record. No, it's not you who forgot it because it exists on my computer. But it's 10 songs, 10 songs from a repertoire that I love a lot. And for me, it seemed like a first step. I was thinking, at 50, I have to play music,

otherwise I'll be disappointed, I'll regret it. And I didn't know that eventually, I was dreaming of making a real album project. But for me, it seemed like it allowed me to test things. It's possible. Okay, there's an interest. Okay, I'm the one who offers that, it's the gift I'm offering, the biggest gift of my life. But it seemed like it was consciously and unconsciously a way for me to test things.

It sounds like, it comes out like, it gives what, am I really capable? And it was, yes, revealing in the sense that it just confirmed to me that I wanted to do it more. You created it with who? With David Lafletche, who we know well, the music director, who has a great studio in the Laurentides. Excellent guitarist. Yes, also an excellent musician. And it all won. We spent a weekend in the studio and I had so much fun.

The joy of being in a studio with musicians. It was magical for me. The experience of that was one of the most beautiful things in my life that I've ever lived. So it put things in place. Often, I realize a dream, and we all have dreams to realize, but it's not always possible. on It's a big dream. It takes an organization, it takes people who will be interested. In my case, I'm talking about an album.

When you first saw Catherine Major, you thought, OK, she wants to do this with me? It's like wings are starting to grow. You thought, maybe it's possible. And then Jeff, who is Moran, who is graffitied in writing, and that too is another step, to open your writing notebooks when you're facing a composer-interpreter author. It's very, very intimidating.

It's very dizzying. Because it's also a naked start. It's your business. It's like opening your own diary. And then, well, I said it. In any case, you're going to hear me say it, but I really felt like a six-year-old girl who's in front of her poetry teacher

or literature, and who opens her notebook to show her poem. You know, I really felt like that. It intimidated me so much. Same thing with Nelson, same city. And I was welcomed by these guys like big brothers. It's like I had the impression that they took me as if they wrapped me in their winter coats.

And I felt safe. I felt loved, respected, listened, accompanied, and validated too, to say, well no, okay, wait, we're listened to, accompanied, and validated by saying, no, okay, we're going to do something with this and we're going to help you go further. That was that too. But I want to go back to this album that was recorded that we've never heard of. What did you interpret on it? Oh my God, I had Bette Midler, I had Pavarotti.

Pavarotti. Pavarotti? Yes, I did Caruso in Italian. But a little more guitar, a little... It sounded more flamenco than Italian accordion, or I don't know. The Rose, Do You Wanna Dance, that's all from Bette Midler. And why did you never try to make this album appear? Because that's not what I wanted to do. That was something I wanted to taste. I wanted to taste it for real, for real, for real.

In a real studio with real musicians. And that's not what I wanted to do. For me, that was something else I wanted to do. And even then, you know, I could have made a reprise album in French, because there's so many beautiful songs. That's not what I wanted to do. I really wanted to start from my lyrics, from my writings.

I wanted to do something very personal, actually. But it's a beautiful and big gift to be offered, to go out of your shell and say, I'm going to record an album that is destined to please me. Immense. My hypothesis would be lower today, I'll tell you. I'm going to record an album that is destined to please me. I'm lying. My hypothesis would be lower today, I'm telling you. But it was like, it was non-negotiable in my head, it's me with me. But it was like, no, no, I want to do this in my life.

There's a word that's in fashion, self-care. That's self-care of quality. Of luxury quality, big luxury, big big luxury. Yeah. There's a very nice song on the album that I mentioned earlier, which is called La Mer. It's the first, in fact it's the second on the album, but it's still the first extract. It's the first song of all this project. Have you seen the wall? Will you come get me?

The fruit of my womb only lives half. My body is a failure, for the burden I have. Is that beautiful? I'm not a big deal. That's funny, that's Jeff, who added that, who brought that to that level. And there's a very nice video clip even that's already shot, which is absolutely beautiful, that goes with that. Your mother left in 2013? Yes, my mother, last July, it's been 11 years that she left. Who did she leave? My mother, my mother Your mother left in 2013?

Yes, my mother, last July, it's been 11 years since she left, from whom I was extremely close. And this song, when did it arrive? In the years that followed its departure? Well, that's it. It happened, I would say, four or five years after he left. I was living a very difficult period of my life. My mother was present in my life, all my life. She carried me, she took me to bed. She was in my life, but we lived in front of each other

for several years. All my sorrows, I would say, I cried them out in my mother's arms. All the sorrows we had, not necessarily love each other, but great sorrows, I would say, I cried them out in my mother's arms. In my life, all the sorrows we've had, not necessarily love at each time, but great sorrows. Life, I shared all my life with my mother. We were almost twins, I would say. So when she left, and the whole process of her illness, it was... She was long ill.

Yes, almost five years of colorectal cancer. And it was a great, big, big journey. And when my mother died, it looked like the years that followed, I needed to read a lot about mothers, about the mother, the fiction that talked about a relationship with a mother. I read a lot of beautiful books on that subject. And it looked like that also brought me to writing. And to say, well, if you're not there, where are you going, mom?

To help me, where am I going? So, as long as it's that, and the idea is that she's in heaven and she's looking at me. She's looking at the storm in which I'm caught. And will you come and get me? The fruit of your womb only lives half. And that's with Morant, it's with Jeff that we brought this text to that level. And it's the very first song on this album. Because when we started talking about the album, well, we were talking,

it's the first text I showed Jeff. And at some point, Catherine, a few weeks later, Catherine said, well, come on, we have something to show you. And I arrived at their place in Estrie, and they have soundtracks all over the house. Obviously, they're musicians, so they listen to their stuff. They're well equipped. They're well equipped.

And they played that, it was just piano voices, Catherine was singing it. And I really got something, and it was just piano voice. Catherine was singing it. And then I really got something. I shook, but it completely shook my heart. And then there's something that's born in me to do, like it's clear that we have to do this. I have to do this, you know. Because Jeff Moran had taken the raw material of your words

and then sculpted all that to make a song. Yes, sculpted more. What I like to say, and I say it out of respect, What was the first material you used to write your songs? Yes, to write more songs. What I like to say, and I say it out of respect, and it's a tribute, is that I find a lot of my words in what we did together. It's how to write, just keep those words, but bring them a little further. That's the beauty of this project,

is that I recognize myself. It's me. I brought a little bit of a little bit of a little bit of a little bit of a little bit of a Sinatra, yeah, all these songs from the 40s, 45s, 50s. My mother was born in 1938, so we can imagine all this musical era, mainly in English. My mother grew up a lot in English. It's a young, Verna Young, that's her name. And, well, that's it, she had a musician friend, and she started doing studio sessions at home.

And I have about ten CDs from my mother, who also sings in French. Sometimes I just got a flashback, my mother always sang. That's one of her songs on one of her albums. And so I still have that, you know. Does that mean that one day you could maybe record a duet with your mother, a virtual duet?

Absolutely. You're right. Yes, we could have fun doing that. Absolutely. We used to sing together, Stan Byerman. We did that duet together. We never recorded it, but we sang it together. So yes, yes, it's a very good flash you just got.

I'll remember that. It's a very good flash that you just had. I'll remember that. It's a pleasure. Where do you put it? Your pen, now that your mother is no longer available, at least in this world, to welcome her? Hmm. Well, family, friends, writing. Writing, I often write a lot. And yeah, that's what I think.

But it's funny because when my mother died, very naively in my head, as a little girl, as a child, that's when I really understood that we were dying in life. It's when my mother died. It's like, as long as my mother lived, it's like we could say that eternity exists. But it seems that when she died, my mother, I really understood concretely that we're all going to die,

that we're dying in life. And I think that gave me a kind of momentum to want to live even more. So, following my mother's death, there were also big changes in my life. There were big changes, and it came from her departure, I think. Yes, it caused a lot of things in my life, in our choices, what we keep, what we don't want to have anymore. And so, it brought a lot of things, in fact.

What do you refuse to accept in your life now? Hmm. What I refuse to accept in my life? Obviously human stupidity, non-sincereity. But that has always been part of my life. We have less tolerance, but that's also aging. I think we don't always know what we want.

Because what we want is very relative, but we probably know more than we don't want. And that's the beauty of aging. It's to continue to... In fact, ideally, it's to continue to choose what makes us happy. That's life. Life is also choices. But it's to make choices that will contribute to our well-being,

to our well-being, and to keep moving forward. So what are the choices you make to be happy now? Apart from this album. Well, to cultivate my curiosity, to stay very active. I die in life, I get involved in causes, I develop projects, I have absolutely precious and immense friendships that are part of my life. My family stays very, very close to me. Seeing my son grow up, help him move forward and realize his dreams as much as possible.

That's all. Life is huge. I always say that I don't understand people who get bored. I would need three lives to... It never happens to you? Never to get bored. I never get bored. It doesn't mean I'm always active.

I can be alone. I have a wonderful countryside. Alone in the silence of my countryside. For me, I don't get bored. You know, I... I move and I feed my life with lots of things that inspire me. And we are alive, shit. We are alive.

It's still a privilege. You know, every day. And I tell him, I feed myself with this thought every day. You know, I mean, I'm not that much of a bitch. And there are no butterflies in my face when I wake up in the morning. Marina doesn't avoid it. She's sitting on her chair.

Absolutely. But it's still like, listen, we're alive. Yes, aging is not fun. There are many transformations. We're alive, and we continue to feed our heart, our soul, our brain. And that's creepy. But do you have an inner melancholy? Because when I listened to the album, I was thinking, well, it struck me to the point where there is a very big melancholy that crosses this record. It's not the Op la vie record that we could imagine. It's a different album, at first.

That's very important to underline. There's a song called November, and the album would have also been called November. Yes, because, you know, to rebuild the seasons, for me the word season was important to have in the title of this album, because we're talking about the month of November, we're talking about ice, we're talking about torrents, we're talking about whirlwinds, storms. So for me it was like seasons, it's the seasons of our lives, the seasons of my life.

I could add that, of course. And then at some point he came to deconstruct, so deconstruct the seasons. But I thought deconstructing was maybe negative. So with Catherine, we jotted down, she came up with the word, reconstruct. I said, that's it. It's reconstructing the seasons, so reconstructing the seasons of my life. And there have been a few of them in my life, the seasons.

And it's looking from afar, from close, from seeing, from analyzing, from reinventing. It's all that too. I think when we think about our life and our life path, depending on our age and where we are, that was also the idea of this album.

There's also, I think, the side... You know, I'm still someone who's quite up-to-date. I mean, I have energy. Today, I was dressed in pink. That's me. But there's also the other side that's more inside, that's more... introspective, I'd say.

And that's also this album. There are two tangos, but otherwise, it's songs, I mean, it's piano. There's voice, piano, strings. That's all. There's no drums, no electric guitar. There's nothing like piano, strings. That's all. There's no drums, no electric guitar. There's nothing like that, not even a guitar. All of a sudden, it's that atmosphere, actually, that I needed to give.

And there's still that state that's part of who I am. How did you make the big request to Paul Pichet to participate in your album? Actually, it's the two lyrics. So it came from Richard, so the orange room is like you are. You can imagine how big it is, Marina, that you sing songs written by Richard Seguin.

It's monumental. It's monumental. Listen, yes, pinch me. In fact, I've been pinching myself for four years, I can tell you that, every day. And I went through all kinds of very positive emotions. I often cried during the process of this project with Catherine. Sorry, I interrupted you. We were talking about Paul Pichet.

Yeah, that's right. Well, it's that there were these two duos that came as a gift from Richard. And then Richard didn't want to do two duos on the album, so we knew we were doing Orange Chamber together. And after that, we said, OK, who, you know, for... And Paul is someone I've loved for a long time, someone I've known for a long time, but not intimately. But every time we met in our profession,

even several times, we always had a natural wave. Hello, how are you? Hello, Paul? Marina, hello? It's always been that. And he was also a monument. And this quarrel, Paul And he's also a monument. And this I wrote to him, and we talked on the phone. He said, you know, Marina, I'd like that, but I have to listen to the song first. You know, in Vlandis, you can't ask me to get in the car. I said, Paul, I understand so much, and without you, you know,

you shouldn't feel anything, and I'll understand and I'll respect that. And then he wrote. He heard the model, and then he said, well, yes, I want to do that. And we found each other in the studio, face to face, to do that. And we found ourselves together in the studio, face to face, singing that song.

It was a moment engraved in my memory for eternity. And it's engraved on a disc, our voices together, you know. Ah, it's wonderful. How were you in front of him in the studio? Well, when he arrived, I went to pick him up outside, he was getting out of his car. I said, not to pick him up! went to pick him up from outside. He was leaving his car. I said, Paul Pichet! Paul Pichet!

So we ran to each other. And Paul too, he's such a nice guy. It was simple, easy. Really, it was a very, very, very, very nice moment. In the culture, do people... We like to imagine or imagine with a certain cynicism that people are imbued with themselves, who may not be as generous as they are,

who are non-brilliant. Is that the case or are we wrong when we think about it? Well, there are. There are in all the environments. You're going to name them to us. Not in all of them, because I would tell you that here, it's still a small environment. Our environment is huge, but it's small here, it's still a small environment. It's huge, but our environment is small.

Whether it's even among the actors or the singers. Everyone knows almost everyone. We all met somewhere. And I like those who are humble, of course. And I say that often because sometimes, even at the grocery store, there are people who will tell me, hey, you're thin, because sometimes. And I often say, because sometimes, even at the grocery store, there are people who will say, hey, you're thin, because sometimes there are people who look so stupid

or who take for others. And I tell them all the time, systematically, well, be careful because sometimes, it's not that they take for others or that they're stupid, it's that sometimes they're embarrassed. It's hard to believe. You say, well, you're in the scene, you're an actor, you sing, you do shows.

Yes, when you embark on a scene, you can become someone else. But in life, there are a lot of people who are extremely shy. There are people who don't know how to manage popularity. In fact, it's love, it's affection. There are people who don't know what to do with it. There are people who are very introverted. But going on stage, it's a beast, it transforms itself, incredible.

But in life, they are reserved, they are shy. So I tell people, be careful, because sometimes it's shyness, even if it's hard to believe. And there aren't many who take it for others. I think we're not that. We don't have that essence. You know, it's not that, the Quebeckers. The Quebeckers are're not that. We don't have that essence.

It's not that, the Quebeckers. The Quebeckers are not like that. We are otherwise. Did you immediately receive the popularity when it was presented around 1986 with L'Enseignement? Yes, that was my first project, Suzy Lambert. Well, yes, I would tell you that I come from a family that is very down to earth. I always say, if I had flown a little too high, there is one of my aunts who would have grabbed me by the back to bring me back. That's clear, I come from a family like that. And well, no, it didn't... it's something I learned, it's something that is learned, in fact, that we take for granted. Popularity is something that we take for granted.

All that attention. And you have to be careful, there's a danger in all of this, because you can take yourself for others. Because you're great, because you're so beautiful, you're so intelligent. Wow. And often when people see us, either we talk on the radio, or we talk about interesting things that we're passionate about. We're at our best.

We're at our best. When you do an interview for a magazine or a cover page, you have a whole team that will make you up, who made incredible clothes. You're at your best. You're often at your best in that field. So that's kind of the whipped cream. And that's kind of the fun side of it,'s the fun part, to put it another way.

In fact, life is not that. Life is everything everyone lives. We all live the same things, in fact, at different degrees, at different moments, but we all look pretty much the same somewhere. But it's a job that can be dangerous because popularity gives you a certain power, it has an aura too, and it can also be very scary. What do you do when you meet people who are part of the minority that is perhaps a little more imbued with themselves?

Well, I often tell myself, well, it's not people who will naturally attract me, but... You try to spend as little time as possible with them. Yeah, but above all, I would say, authenticity disarms a lot. Authenticity disarms a lot. I think that when you're authentic, with no matter who, it allows the other to be too. It looks like there are weapons falling, you know.

The idea is to disarm. It's like, we're two humans, you can be whoever you want. Hello, nice to meet you. You have to bring these things back. You don't have to contribute to that, actually. You have to try to undo that. And well, we get into complex things, but all that is relative too. It takes two people to want to go there.

No one has resisted the authenticity of Marine Dorsigny. Oh yeah, you're hungry, I think. I have the impression that it's difficult, anyway. Yeah, well, I don't believe in that. I can't work in that, it can't be done. Jean-Claude Lard, when he announced that you had obtained, that he would offer you, that he would entrust you with the role of Susie Lambert in his accounts, he announced it to you after seeing the screen test.

We saw it, yes. You saw it together. Together. That's one of the most beautiful gifts I've ever had in my life. I've often talked about it, but yes, I had spent like three auditions with Jean-Claude for the role of Suzy Lambert. After three auditions, he gave me an appointment in a cinema-like viewing room. We had watched my audition on a cinema screen. It was quite impressive to see your face 15 feet by 12 feet.

I had never seen myself on a screen like before, so it was pretty impressive. But it was especially that we had watched my audition together, and they had commented on each shot, each shot, each scene. And that was extremely constructive, you know, and to finally tell me, well, you're going to play Susie Lambert. And we got up and we jumped into each other's arms. It's crazy, huh? And it was one of my greatest friends, Jean-Claude, and we did a lot of projects together. And, you know, I often say,

that's how I was welcomed into this job. So it's a bad gift to be welcomed with open arms. That's the case. And it has always continued, in fact. Even when I arrived the first day on this set of filming, which was launched, everyone welcomed me in such a generous way, as if I had my place, as if it was natural for me to be there or to arrive there.

So I started like that, and it continued like that too. The imposter syndrome? Well, yes, you have it. Did you have it? Well, yes. You arrive from nowhere. There are people who went to school, who went to theater schools. It's for sure that in the first few days, you're like, OK, I'm going to the profile.

I'm going to look at what the others are doing. And that's what I was doing a lot. I was starting to realize that in the first two years, I went on the set, even on the days when I didn't shoot. And I was watching the people working. It would be the lighting, the positions, back to today, 2025, with this album, it's clear that I have a feeling of an impostor. An indescribable inner vertigo, do you write in the album cover?

Completely. Completely. Yeah, yeah, yeah, completely. Yeah, yeah, a great vertigo, but which is at the base of our work, and which is the work of the people you write it in the album cover? Completely. Completely. Yeah, yeah, yeah, completely. Yeah, yeah, a great, great vertigo, but which is at the base, nourished by happiness. You know, it's not a... And it looks like age also makes it, you know, I don't think I would have... Well, clearly, I didn't do that 10 years ago, but I think age also makes us get into it with a certain look, a certain posture. And it's for sure that I hope that this album will have a success and that it will join people in large numbers.

But at the same time, I'm ready to face all of this, as much criticism as people may not be interested in it. You spent a lot of time with Marc Messy because you formed a couple on the screen with him in his account. Why is he so good at it, Marc Messier? Well, Marc, the beauty is that I think he can play as much drama as humor, you know. Comedy, so it's a nice palette. It's a nice palette. And that too, it's going to be a great meeting. It's a beautiful palette. And it's also a wonderful meeting.

I was shooting with Karl Marotte in my first days of shooting. Karl Marotte and Marc Messier were the first actors I worked with. I shot in my life. Two great guys. We had so much fun together. I was young. I was 17 when I was shooting the film. And Marc was about 32, I think. Yeah, about that. And he was very, you know,

intimidated to play with such a young actress. Because we were in love. And in the story, she was very young, and he was older. But he was kind, respectful, you know, a great team. Are you worried? There are several people who have been worried for a few years about the future of Quebec TV.

Because of phenomena like L'Enseigonte or the Filles de Calais, we have the impression that it will no longer be reproduced as many people gathered in front of the small screen at the same time. I'm not sure about that. I'm not worried about Quebec TV. I'm not worried about talent, projects, and project possibilities. The creators we have here, I would say, are crazy, the talent we have here. I always talk about teams, because we have fire teams.

Our technical teams are recognized around the world, in fact, from TV and cinema. From there too, the idea that there are many people all over the world who come to shoot in Quebec, at home, for these same reasons. It's the means, that's the big problem. It's that we need more money. And now with all the platforms, and now the web makes it global,

and now, indeed, Netflix, Crave, all these platforms that were born. Prime. Prime and company. You know, Disney is not worth much. They should count them. There are hundreds. Yes.

And we consume our TV differently. And then everyone will be in this parade, of course. Except that we don't all have the same reality. You know, budgets in the United States have nothing to do with the budgets here, but I could even say in Canada, we're going to talk about Quebec. So I think clearly we could do a survey, and I'm not the only one who says that. It's not me who makes that revelation. But at the very least, we could even say that there are too many projects in relation to...

Not at the very least, there are too many projects in relation to... Not at the limit, there are too many projects in relation to the budget we have and the money we have. And despite that, we do projects, but we compare ourselves to anyone on the planet. So to be in this paradigm, there are a lot of things that have been done quickly in the last decade, the last 20 years. Except that our decision makers have to realize that it takes more money to be in this parade. We're always proud when we see people succeed internationally, projects that are exported, that have been bought in 10 countries. We're happy with all of

that. But I mean, it's crazy how, at the level of the amount of work that has to be done, you know, it's a lot of work, shooting films and making series. And you should never forget that a project, I know I'm developing projects, you can develop a project for two or three years and then it finally falls apart. It never ends. It never ends for all kinds of reasons. And that means you're not paid for all the years you've invested in this project? Well, not when you're, for example, a producer, associate producer, or ideator.

If you write it, it's one thing. There are all sorts of factors that will play in there. But you know, sometimes you see the gala parties, homages, like the Gémeaux or the the Oscars, all those nights, when you say, it's been seven years of my life or five years of my life, and now I'm here tonight and I'm so proud. It's true. There are projects, before you see it on your screen

or before you sit down in a cinema to watch that film, it's years of work, you know, investment, time, staff, writing, collaboration, development, it's a lot of work. So we need more money. It takes money to do that. And so I'm not worried about our Quebec TV. What worries me is that we'll need more money. Is there anyone who can hear us? You know, in terms of funding, how the projects are financed. And for everyone, you know, it's not easy for the producers,

it's not easy for the broadcasters, it's not easy for the actors, nor the directors. And it's funny because I was on the committee of negotiations in the last year and a half between the CUPEM, which is our association of Quebec producers, and the Union of Artists, because I was interested in understanding more about it. And you know, you realize that for no one, Association des producteurs québécois et l'Union des artistes parce que ça m'intéressait d'en comprendre davantage. Et tu sais tu te rends compte que pour personne c'est facile, mais l'idée c'est on n'est pas des ennemis, on devrait se rassembler.

Y'a pas de guérants méchants. Ben non, on est face à une réalité donc on devrait s'unir tout le monde ensemble face à nos décideurs, face à nos gouvernements, face au ministère de la culture, tu sais de dire, hey nous autres toute la gang là on veut continuer à faire des affaires mais to our decision-makers, to our governments, to the Ministry of Culture, to say, hey, we want to keep doing business, but we're out of breath, we're exhausted, we don't have enough money, and we're already doing miracles. That's it. I've always said it during this year and a half of negotiations. We're not enemies. We should unite together to build a greater force and have a greater range. The more we are, the better we are.

Why is it important for you to participate in this process? Because it's my field, because it's my profession, because I was lucky to live and we are many, it betrays my age, but I was really lucky to be part of the time when TV was the most beautiful years. It was only a budget to work, to do projects. We really lived the 80s and 90s. It was incredible years for our TV, even culture budgets, I'm talking about. But especially on TV, because when you think of dance,

it's still today the father of culture. It was family and it still is, yeah. I'm talking about culture, but especially on TV. Because when you think about dance, it's still today the poor parent of culture. It was family and it still is, yes. Yes, still. And because it concerns me, because I still have a lot of experience now. It's been 40 years that I've been in this profession. I've done magnificent projects.

I still have a lot of experience. So I said to myself, I'm going to bring it to the table and show how I had lived it. I think that this business today doesn't make sense. I don't want to give a voice to those who have less. That's what our years of experience are for. It's about passing, and it's about helping those who are behind us and those who are still there. I'll keep doing this job, and it's about helping those who are behind us next, and for those who are still there.

I mean, I keep doing this job, and it's about uniting our voices, and to be better, to be stronger, in fact. I'd like to take a moment to mention my late colleague Marc-André Lucier, who was a big fan of your morning show. You had given him an interview in October 2017 on that subject. Which one? The cooking show or Marina La Cotidienne? Marina La Cotidienne, yes. It was an interview. In fact, he was watching in the air at night.

That's true. And the article that was drawn from your interview, it was like a rampart in the crowd of the world. Because Marc-André explains in that interview that we used a lot of channels of information in the future where we talk about rather negative things in general, and that when there were enough, he would turn to your show. We talked about brighter things. Do you think kindness has a bad press?

No, I don't think'elle a mauvaise presse. Je trouve quand même qu'on vit dans une société où il faut faire du spectacle, tu sais, du spectaculaire, de parler on dirait du négatif. C'est comme si ça rend ça plus... Alors moi, je prends de la gentillesse dans la vie. La vie est trop courte, puis tu sais, ultimement, c'est drôle. Je parlais de ça avec quelqu'un dans la voiture en m'en venant ici ce matin. Moi, même si ça sonne quiétaine, And ultimately, it's funny, I was talking about this with someone in the car while I was coming here this morning.

Even if it sounds like a quaint thing, I don't have anything to say. But the heart of life is love. We are here to love and to be loved ultimately. And this life journey should be made up of that. And at some point, you have to protect yourself, because yes, we would say the good news TVA, there was that. They don't do that anymore now, I think, TVA. There is no good news anymore.

No, that's it. But there is. That's the problem. It's that we are always sent back the bad things of what the human is, you know. We know we are capable of bad things, and we are capable of everything, in fact, the most beautiful and the most light. But you know, the light laid-back, sometimes, it's not voluntary, it's life that does that sometimes. So I think that, on top of that, we need to focus a little more on the positive and the good, and we're pretty much better than bad as humans. And no, we'll never put enough forward the good of human beings, beauty, kindness, respect too. But we still have a certain proportion.

At least I want to talk about myself. I'm talking in game, like in therapy. Yes, yes, I hear you, I hear you. We say that too. I associate, I tend to associate kindness, positivism, optimism, to a form of naivety and cynicism to a form of lucidity. Yeah.

But naivety, we still have to cultivate it in our lives, because that's what keeps us too, what helps us survive. You know, naivety, surprise, curiosity, for me, it's all in the same basket. We have to keep a certain naivety, because what's good? Life is a challenge too. Life is not easy all the time. I think happiness, I also think we choose happiness every day.

We can decide to be happy today. On the other hand, sometimes there are fucking passages of life that even if you decide to be positive, you hang on because the wind blows hard. But you have to keep a naivety and as they say, keep our heart of children. You have to feed it because that's what allows us to move forward and continue to believe in our capacities, believe in humanity. And everything will be fine.

We have to feed that in our lives, otherwise we don't survive. And we know that the negative exists. We know that. And humans, they live together, that's it, to deprive and feed our lives together. Everyone has their own luggage, everyone has their own history, everyone has their past, everyone has their childhood, We all have a story to tell. But our ultimate goal in life is to make a difference. And that's what we do. We all have a story to tell.

We all have a story to tell. We all have a story to tell. We all have a story to tell. We all have a story to tell. We all have a story to tell. We all have a story to tell. We all have a story to tell. We all have a story to tell. We all have a story to tell, of course.

But our ultimate goal in life is to be happy. All of that for that. I read that one day, the writer Jacques Salomé offered you a sentence that marked you. Never forget that you are bigger than the story of your life. What does that mean to you? That sentence is pretty brilliant. In what circumstances? Never forget that you are bigger than the story of your life. What does it mean to you? That's a great sentence.

In what circumstances? I had just separated from my son after 12 years. A huge pain, a vertigo, the floor, everything broke under my feet, literally. And Jacques, I already knew him because we had done audio books together. And so he came to the radio with this book, a book from the time, which he published. He was at the book show in that context, and then, well, seeing each other, hello, hello, it's okay, it's okay. I'm in a whirlpool of my life, you know, I'm separating, I have a child, well. And he told me that, he told me, Marina, don't forget one thing.

You are bigger than the story of your life. I never forgot it. Even though I'm quoting this sentence right now, it makes me very moved. Because it's true that we have unsuspected strengths and capacities. Sometimes things happen, you wonder how I'm going to get through this? There are some who are fatal sometimes, you know,

but it's true that we all have great, great abilities, we all have great abilities that we don't know, that we don't even suspect. And you see, I say that, and it makes me think, well, our environment is an important client. Our life is made up of who? It takes people who will feed that. Our capacity, our ability to overcome any challenge.

It's always been that way. And it's true that we're bigger than the story of our lives. You know, you may have had a shitty childhood, but that doesn't mean you have to have a shitty life. You can have had a shitty family history, a shitty love story, but that's not what defines you. You know, it's bigger than that. And the idea is to find that, and to feed that,

and to be aware of that, and to have a certain vigilance at that level, of who we let enter our lives too. There's a very beautiful song on your album, and to feed that, and to be aware of that, and to have a certain level of vigilance, of who we let enter our lives too. There's a very beautiful song on your album, the last one, called Rose, that you co-wrote. Yes. Who is Rose?

It's my aunt, it's my mother's sister, Rose. Yeah, who lost my uncle. In fact, my uncle died a year ago, a little over a year ago now. When my uncle left, his life really changed. Today, he's 85 years old, and it hasn't been long since he left. I've had exchanges with her, and I'm very close to her. I'm very close to my aunts. I always call them my aunt and mother. When my uncle left, we lived a lot of moments together.

We could chat and talk. His departure really affected me a lot. I wrote a text about it because she also surprised me with some things she said. She's always been the rebel of the four sisters. My mother had three sisters, so she has three sisters, her four daughters. And she's been the traveler, the rebel, she's never had a child. A woman with an incredible drive and energy.

I think it shows in me how I am in life. I really come from those four women. And that's it. I composed this text with whom I worked, with Jeff too, with Morant. And it gave this very beautiful song. And also, I asked Richard Séguin to make the music for this song. And Richard accepted.

And I told him, the only sign I could give you is that I want it to sound a little bit lullaby, in fact. So it's a ballad, obviously. And then with the piano, it's Catherine after who adapted, because she realizes, she made all the arrangements and adaptations with the piano and the strings at the base, and it gives an absolutely wonderful song. She is very moved and touched by this song. Yes, she heard it.

Yes, yes. A lute for a 85-year-old lady. Yes. It's beautiful. Yes, well heard. A 85-year-old lady. Yes. It's beautiful. Yes, because for me too, what I had said to Jeff and Morand and Richard, is that my mother, she lost her mother, she was 10 years old, she was the oldest of the four girls. And I have the impression, they had a father who was not at all adequate, my grandfather,

he was not a man who was made to be with four girls alone. And I have the impression that they weren't really blessed in their lives. So that was the feeling. And Richard said yes. Do you have one, a rebellious side? Well, yes. It seems like you don't. Oh yes, I have temperament. The more we talk, the more it seems like it.

But I don't know if it's the first word that comes to people's minds when they think of my pregnancy. Maybe not rebellious. No, I don't talk anymore, yes, it seems. But I don't know if it's the first word that comes to people's mind when they think of Magrassini. Maybe not rebel. No, I don't think so. But I'm able to defend myself and it seems that... Oh yes, what do you want? I come from that. What does it look like when you defend yourself? Well, I have character. I think it seems that I have character. Kind, but you shouldn't walk on your feet.

Yeah. Well, not so much that you shouldn't walk on your feet, but especially at my age now, but I've already learned to defend myself. I come from a materialistic family of women who are warriors. I come from that. I'm made of that. How would you summarize your career? Because you've done a lot of different things. Actress, comedian, first, thenator on the radio, on TV. You were a spokesperson for Tell Jeanne.

You did all sorts of things. Now, singer or actress who sings, which one do you prefer? Which one? Yes. What is the leading role in all of this? Rich, lucky, privileged. I'm very, very grateful for my life, my profession, because as I said, sometimes you dream about things and you want to do things, but it takes people to do things too. You can't do things alone.

In any case, there's a step at a time when you can't do it alone. You have to move on to another step. And to have people who believed in me, who gave me an opportunity, who trusted me, who trusted me, these gave me an opportunity, who trusted me, who trusted me. It's great gifts. It's great, great gifts. Life, you know, it's funny, David Lynch died not long ago, and I don't remember which actress it was. Is it Naomi Watts who published it? Is it that one? I think it's one of the first to give him his first chance.

And to what extent that man had marked his life. And I think systematically of Jean-Claude Lard and Jean-Baudin, who are the two directors with whom I worked the most in my life on absolutely exceptional projects. And they trusted me. And then I did some tests and they were right to trust me. There's all this reality, but still, you know, it takes one person, in fact, to make you grow wings.

And then, well, it's a lot of this image that comes to me, you know, from... Jean Baudin had announced it to you on Telegram that you had taken over the role of Dimilie Bordelon in Les Filles de Calais. I was in a shooting in France for the series L'Or et le Papi. And I was Marc-André Coalier, I played my brother. And we were in the Alps, it's exotic to say that, but we were shooting in the Alps and we were getting ready. We were repeating our texts that we were going to shoot the next day together.

We were in the same hotel, he was in my room. And we were working on our texts. And I received a telegram from Jean Beaudin, who said, Mlle. Bordelot, you are invited to the school of the Bourdais rank on such a date, and it was signed by Inspector Jean Baudin. And listen, I have it, I have it in the frame today,

this telegram that I had kept. Listen, tell you how happy I was, and I started jumping on my bed in the hotel room. Marc-André was there. It was a moment, if he listens to us, he must remember it. It was an unforgettable moment to receive this news. You said earlier that it was only when your mother left that you realized that you were yourself dead.

What are you doing today with that consciousness? Because it can be invasive, it can be anxiogenic, You were yourself mortal. What do you do today with this consciousness? Because it can be invasive, it can be anxiogenic, to be conscious that it's the end. No, it gives me more of a taste for life. For me, it gives me more of a taste for life, and it goes by too fast. You'd want to stop time, you know?

You'd want to stop time and stretch it out. At the same time, you can't stop it. So, take advantage of it. That's what I'm trying to do. And to realize dreams through that. Yeah. That's really it. That's really it. Marina, this book is entitled

Just Between You and Me. You've already told me a lot about it. But if there was one last thing that you'd like to entrust me with, it would be Just Between You and Me. Well, I'd say it's's expressing my gratitude, actually. You know, with this new album project, which, yes, I hope, will please.

I hope I can do a show from that, to find myself even more intimate with the audience, because that's really it too. So, is there a show scheduled? Well, it's time to talk. But yes, it's for sure that you want to live that with people live and go further in the rooms.

That's like a first step, that music, those words. And if it doesn't happen, it's not that bad either. But yes, I would like to explore that for a while, of course. How did you discover your voice in the studio? But yes, I would like to explore that for a while, of course. How did you discover your voice in the studio?

Because it's still an important thing to discover how to sing in the most real way possible. It's a very good question. And later I thought about going on about it, and we changed the subject, but it was a great school, actually, this album project. And a great school with Catherine. I learned a lot with Catherine when I was making this album. Because when you're not a singer in life, I'm an actress and yes, I'm an animator. That's my job.

It gives me the material and I know exactly what to do with it. But singing is like a whole world that opens up. And when you want to sing, at least in my case, you sing and you want to be lyrical a little bit. Because unconsciously you want to show that you're want to sing, in my case, you sing and you want to be lyrical a little bit, because unconsciously you want to show that you can sing. It's all unconscious. There are some kind of instincts that come out of, if I'm going to sing, I'm going to sing.

And Catherine always brought me back and she said, no, you don't need to be lyrical, Marina. Because I wanted to finish the sentences, you know, and to have a sound with a certain vibrato. You know, you fall into a kind of fantasy of what you think it should be. And she helped me to undo all of that. To say, no, you don't need to be lyrical. You can just let the note fall, or, you know,

let it go slowly. And that helped me to break away from that. And it's true, when you listen to music, there are great singers, great singers who can be very lyrical. And at the same time, there are some who, sometimes, it's not very loud voices, but it's the sound that touches us. The note doesn't push the note that hard. That's it. And in fact, it's the words and the emotion that come out of it.

And I know that, the words and the emotions, because I'm an actress, I'm an actress. So it's about bringing me back to that, to be more in the interpretation. And that was a beautiful challenge in the studio with Catherine. So today, don't forget to smile at someone. I used to say that in my morning show. It's a nice phrase. It doesn't seem difficult for you to smile at people. No, but I love the world.

I've said it a hundred million times in my job. I love human beings, I love the world, I love... Yeah, I love. And don't forget to brush your teeth either. Yeah, something I did when I left once in the world. I love... Yeah, I love it. And don't forget to brush your teeth too. Yeah, something I did when I left this morning. But my teeth are clean now, look! They're beautiful. Beautiful teeth. Thank you, Magna. Thank you for the words.

Thank you for the emotion. Thank you so much. It's been a great, great pleasure.