Mike Ward Sous Écoute - #517 - André-Philippe Gagnon et Dominic Paquet

Episode Date: February 24, 2025

Pour vous procurer la Ward Vodka - http://wardvodka.ca/ - Pour vous procurer des billets du spectacle Modeste - https://mikeward.ca/frPour cet épisode de Sous Écoute, Mike reçoit André-Philippe Gagnon, qui nous raconte une tonne d’anecdotes de carrière, ainsi que Dominic Paquet, qui parle de son spectacle sur un bateau!--------Patreon - http://Patreon.com/sousecouteTwitter - http://twitter.com/sousecouteFacebook - https://www.facebook.com/sousecoute/instagram - https://www.instagram.com/sousecouteTwitch - https://www.twitch.tv/sousecouteDiscord - https://discord.gg/6yE63Uk ★ Support this podcast on Patreon ★

In direct from the Bordel Comedy Club Montreal, here is Mike Ward, under the ear. Thank you! Thank you very much everyone. Good evening. Welcome to Mikequard du Sous. Listen, big evening tonight. It's my big day. Yann, it's the party for Michel Grenier. Did you know that? Yes, yes, yes. Michel, happy party Michel. I'd like to hear an applause.

Michel... Michel is the man of my life. Yes. There was someone one year who asked me, Michel, are you your mother? It's like my brother. I know he would be ready to die for me. And I appreciate it. No, I'm not ready for the truth. It's one of the few people I'm ready to die for. If someone wants to kill Michel, you can kill me before.

And I'm ready to die for you. I'm ready to die for you. I'm ready to die for you. I'm ready to die for you. I'm ready to die for you. I'm ready to die for you. I'm ready be ready for that. It's one of the few people I'd be ready to die for. If someone wants to kill Michel, you can kill me first, and please kill Michel instead. How old is Michel?

Michel, are you in the room? Yes. That's the age of the gentleman who won't tell you his age. I'm 56 years old. 56? Wow! Wow! I remembered today that 56 is closer to 60 than 50. So he's closer to being really old than just being old.

But no, that's it. He's in good shape. Michel, you're really in good shape. You don't need a rolling mat. It's a fat guy who looks in good shape. He's fat but he looks in good shape. It's a fat guy who looks in good shape. He does a lot of hockey. He's a big guy. But he's fit.

You're so bad at compliments. What is this compliment? You're a jerk. I'm just starting with my workout. I'm trying to lower the others. I'm going to compliment you. You're a fat guy who looks fit. No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, Michel will cry because of you. But I understand what you mean. You know, because he's a child. He's able to run.

Yes. Oh yes. That's when you want it to take me a little bit, to impress me. But that's it. Happy birthday, Michel. I'm really happy. I was going to say happy for him, but we're stuck.

I saw you this week on stage with Michel Barrette. Is that for his show, his thing that you're going to jose with? Yes, that for example, I did that I think in December that I did that. Oh yeah? Yeah. So if you saw that this week, you ran so fast on your carpet that you went back to the past. I went to the show to Michel Barrette about a month and a half, two months. Was it cool? It was really fun. It was exactly like doing a... It was like doing a sub-listen, but I didn't speak.

You know, since Michel is a show host, I wanted him to tell his stories. So I read it. I was playing... I was doing my job as a straight man. And when he was telling me about it, I was like, I know this thing. I was guiding him to a good punch. So I had a lot of fun. And then there were a lot of people who were talking to me as if I hadn't managed to plug jokes. They were like, hey, you're a jerk, he took all the place.

And I was like, well, it's the show, Michel Barrette. It's normal that they take all the place. It would be like going to see Céline in the show and you say, yeah, guitarist, he doesn't sing very well, him. Ha ha ha ha! So, but it was really fun. If you're lucky enough to see him, I don't know how long he's left, but it's really cool.

At the beginning of his show, he made a little video and then he explained why he decided to do that. He had decided to do that when he came to do the under-eval. He realized that there were so many anecdotes that he could, and he liked to go on stage. He didn't try to go on stage, and it was so much easier for him to just have people asking questions. He asked me, he said, can you prepare 10 questions? And I thought, listen, it's been 14 years, and in 14 years I didn't even prepare 10 questions.

So I did... I did... You know, for Michel, I told him what I was going to prepare, but I just wrote some keywords telling myself, if he asks me what I prepared, I'll show him. But I just went there, listened to it, and it was really fun.

It looked good, it made you want to go. Where did you see that? It should be an extract, I think, on TikTok or YouTube. Okay, so if you saw an extract, you should know that it wasn't coming. I have no idea, I don't know. Were you frozen when you saw that? No, it's an extra random, I don't know, maybe it was for a promo. Were you sitting with him?

Yeah, yeah, he was there. Perfect. But you thought I went to their place, we had filmed a promo, and I did your servo in two weeks, my Michel. No, no, no, I saw you on stage and everything. So, I thought maybe they recorded that too, maybe they recorded it as a podcast and they will broadcast it now.

No, that's what I said to him during the recording. I said that you should release it as a podcast, but he just wants to do it live on stage. Maybe one Monday he will do it as a podcast. Because it must be. I just watch his kind of karate anecdote every three months. Yes, yes, yes. Hey, are you ready? Yes sir. What you're about to see is some big, big, big, big, big podcasts.

The two guests... If you add their years of experience, they have 70 years of experience. There's one, it's his first time listening to you. He did the Tonight Show with Johnny Carson. He did the Tour du Monde. He's one of the biggest sellers in the history of humor in Quebec. The other one is currently the best seller in Quebec. He's approaching 250,000 tickets sold for the tour he's currently doing.

Ladies and gentlemen, here's André-Philippe Gagnon and Dominique Paquette! Thank you! Thank you so much for being here. I forgot to say that I'm always excited when it's someone's first time. Especially you with... You did the Tonight Show 40 years ago? Yes, I did it 40 years ago. I was 8 years old. You should be insulted when we treated treated like Michel de Vieux, you piece of shit.

It depends on the raw material. When you did the Tonight Show, Johnny made you come to the desk. Something they never did. I learned that after. They did that for three comedians, their first appearance at the Tonight Show. They did that for Robin Williams Seinfeld and you. That... First, what was the feeling of doing the Tonight Show

at that time, that everyone was listening to? Well, I wasn't ready for that at first. When I did the rehearsal, I was terrified because I had to tell Doc Syverson, slow down a little bit the Justin Gigolo. I was doing a David LeRoth impression and he was like Primo. You say that in a pose. I was like...

But after that, I was very nervous because at one point in the same tone. I was like... But after that, I was really angry because one day in the afternoon, my press attache, Francine Chaloux, told me, we can't do We Are The World, they haven't cleared the rights yet. Oh yeah? I couldn't see myself doing A.R.A.R. in 15 million Americans. So, thank you. And finally, they cleared the rights. When did they clear the rights?

Really, we were just at five, and it was like two and a half, three. Hey, you jerk! So he came to see me in the lodge, how are you? It was well in rehearsal, and then I arrived, smoke, and relax and everything. Finally, he said, just go out there and have fun. That's what I've been trying to do since then. It was a good concept. It was someone who didn't have the rights and had to make René Simard.

When I went, when I was just behind the curtains, the guy who was in charge of the set told me, we're going to sign you anyway. You disappear behind the curtains. I said, check me out, disappear, we're going to do that. So I finished my number and it went well. So after that... Did you know that Johnny,

when the usual comedian was finished, it was André-Philippe Gagnon, when he put that on, he did a good job. He was a big star on the internet, apparently it became White Power. But I think he wasn't racist. It was a good job. And then if he really was a big shot, it was come to the desk. It was like he was saying to the artist in the United States, I accept him, he's a star like me.

So did you know that? No. Ok. That's it. Because he told me, we're going to do it, we're going to wave you anyway. So I waved, I disappeared. So when I finished my number, he didn't do the same thing, he did the same thing. Then I look at it, Johnny Carson was standing, he came to sit.

And then I still have my earphones on, whoops, we're going to turn around. And at the same time, I was very happy. But at the same time, I'm not Seinfeld, I'm not Robin Williams, I'm not Jim Carrey. What am I going to do? You speak English? I understood, but not enough to be a B-boy, and I'm as funny as the others. When you were there, I understood. They're going to improvise me. It's going to be you sitting next to him.

So I was going to go there and at the same time I was like... I should have celebrated that, but I had the dog, my guy. But you know, he was a pro. Johnny Carson, he took care of all that. Dynamite, Piece of Material, Rob Reiner who was there too. And we had Eat Your Life in Vegas. I was like, is it a good deal? I wasn't too sure. Rob Reiner was there too. And we had Eat Your Life in Vegas. I was like, is that a good deal? I wasn't too sure.

So it gave me a pass for the Comedy Store and other places. After that, you did a lot of shows in the States, but you already had a lot of shows in Quebec to book. Do you remember what the show was after the Tonite Show? Did you ever come back to the fashion show festival? Not far away. It was a show that almost made at the time called for a date and my agent said, No, he's busy. And it was Saint-Prosper-de-Bosse.

He said tonight show, he's busy? Yes, Jimmy Corley had called. And on the way, it's Saint-Prosper-de-Bosse that I did. And was it about a festival? It was a show in a small room in Parois. They had to beat me. They had to beat me to the price of the previous one. That must have happened at that time.

Today, there is still a bit of that, but it's not as drastic as in the past. But in the past, you must have gone from 200 pieces per night to 28,000 per night? Well, in those areas. It was like, you know, it was, yes, it was a bad jump, but already there was Jean-Claude Desperance who had started the production, you know, for the, it was the Place des Arts, because we were set up at the Theatre of Saint-Denis. We were in the theater in Saint-Denis. The next day, we sold 20,000 tickets in 3 hours and a half. When the world was waiting. You couldn't call and buy it online.

He was very happy. There was 7 minutes of the show written. We don't have anything. And you burned 5 minutes on TV. For real, one of the reasons I make humor is because of the time I saw it at the New Bulletin on TVA, the night, the day Johnny Carson did the Tonight Show. I was tripping, I was watching it and I remember thinking, Oh my God, we remember you did the hit in the gala just for fun.

And after that, when I saw that at the night show, I was like, Oh my God! And that's one of the reasons why I was shocked by those imitations when I was young, I had a little recording studio. All the things you did. Every time you went on TV, I would record. Well, I do that at this hour. When you go on TV, it changes everything.

I remember a lot of things. I remember once you went to Musique Plus, you change everything. I remember a lot of things. Once you went to Music Plus, you did René Simard, and you did a dance. It was powerful. Do you remember the dance? I don't remember. He did René Simard, and he sang... He sang... What was it that you sang? A plane, that kind of thing. Turn the page.

You know when it goes... Turn the page, turn the page. André did it, and he goes... Turn the page, turn the page... Look at his feet... Turn the page, turn the page... Oh yeah! That's so old school! That's so old school! Your first big number was your imitator number. The imitator number, yeah.

No, it's a parody. You were laughing at him. No, but... No, but it's because I was laughing at the process. I'm not going to record this. Yeah, but it was a joke! It was funny, wasn't it? I was laughing at the process of imitating, as if there were some crazy connections to get to an imitation. The audience understood.

Fuck all. It was going through the roof all the time. It was going through the bar all the time. I explained it to my sister, Sonia, I explained the number to her, she said, I don't like it. Shit, I'm a fan. I'm sure that after your sister told her friends, my brother

Sonia was waiting for me. Yeah, but he's not great. I remember a link I made in Tabarnouche. I said, the tabarnush. The other day I was walking down the street and I came across someone who helped me get up. I don't know who it was, but I looked up and saw it was Phil Collins. I said, Phil, I'm a huge fan of yours.

I said, Phil, I'm a huge fan of yours. He said, yes, but take a look at me now. I thought I was doing it all. And then he signed a shit for it. I'll take that in note. Ok, that's good. It works. How does it happen? Did you, for example, but you know, like Astor with the radio, you do imitations?

Yes, but I'm not, I don't consider myself an imitator, I don't have that talent. I fall for imitations. In the sense that, you know, I hear... Dan Bigra, there. Yes, but that's it, but Dan Bigra... Horrible, horrible. Dan Bigra, for real, I heard him in an interview with Paul Arquem, I was in the car, and I heard his voice. It's not like I hear a voice and I'm like, yeah, I'm going to work on it.

Pierre Verveil, who I work with, he's given orders. He works and Pierre, what's fascinating is that even when he doesn't have the exact voice, he's going intonation, flow and then you leave him. And that's something that's tougher than just having the voice. You are able to go and get that. We? You think so? No, but... Correct. Well, Mike, make Tina Turner.

Hey, shut Tina Turner. I'm your private dancer. I'm your private dancer. I'm your private dancer. I'm your private dancer. I'm your private dancer. I'm your private dancer. I'm your private dancer. I'm your private dancer. I'm your private dancer.

I'm your private dancer. I'm your private dancer. I'm your private dancer. I'm your private dancer. I'm your private dancer. No, he's at the B. I sing and you go... While Michel was eating a pork tongue, I found it disgusting. Oh, shit! I'm at the bar with Michel and he says,

Take a pork tongue, I say, yeah, sure. Then it happens, a little chug of the tongue... Yeah, Michel, for real, the way Michel lived in those years, it's surprising that he turned 56. Since he looks younger than me. Podcast is over. The podcast is over. It's over anyway. That's it.

You're putting up your next show. Yes. When is it going to be? The World's Day in the Hall on February 22nd. But the real first one I think is in May. We still have 7-8 shows after that. So yes, I'm I shouldn't be nervous. Are you stressed out or not?

Or less, you know. Because we're going to tell big anecdotes. You know, the Tonight Show in France, and soup with Lili Dye. But after that... Hey, ok! He said that as he was going to the National Center for the Arts in Ottawa for Prince Charles and King Charles. But we all call him the King of Prince Charles. That's right. After that, he was in the 22 Sussex and then Milam Elrowney.

22 Sussex is where the Prime Minister lives? That's right. There were different tables. Michael J. Fox was there with Prince Charles. Rich Little was there. David Foster was, and Céline was all shy, with the 18 utensils we had at each table. I said, don't worry, we're going to eat at the clubs. Brian Merrono was in the middle, Foster on the left, and Lili Dye on the right. It was a nice thing.

She sat me down, I was sitting there in front of Lady Di and I kept laughing during the dinner. She asked Brian Maroney, before you think that André could do an imitation of you? I sat down and tried to make Brian Maroney understand. Then it was like, you know you were going to be a saxophone again. So, you know, the crazy princess. It must be weird, you know, because that's really,

you know, that's really the crazy king. Oh, yeah, yeah, yeah. But it must be special. You must be like, hey, no, you know, if you were born a thousand years ago, that's what you would have done in life. It looks like the king's crazy, he could have made fun of everyone. He could have made a joke on the king.

I hope it's funny. But after that, no, but when we finished that evening, it was really funny. Were you there with your girlfriend? No, I was just there. I was there alone. I made her laugh a lot. When they left, you won't see her. She'll be like, hey, it's fun, you'll give me your number. And the one who came said, thank you again for the wonderful evening.

You're welcome. But we got together when the prince was gone. again for the wonderful evening. At the end, we got together. Well, everyone was not going bad. We were training there. David Foster was playing the piano and Brian Maroney was singing McDonough. So it was excellent. I was playing Louis Armstrong through that. Renangeli was there and he was like, hey, it's a special moment. But you, how old were you at the time? 33 And you started doing this in the early 20's? Yeah, I was doing imitation.

You were already 10 years old when you were doing humor? Yes, that's right. I started... You were doing the A-levels? A-levels at 23, that's right. I was doing imitation after the hockey game. I did my chums. I kept my nose straight at school. The tough guys were like,

Hey, do a tweedy bird. That was my We Are The World at the time. You're not even a cat. Do a little bird. I didn't get into the house. I had a cramp in my nose because of my imitations. Were you a Loretteville's polyvalent talent? Yes, even before we started building. Ok, oh yes.

We had to move to the polyvalent side when we were building. What is your first show in life? First, first, first show... Well, I did a show in... My first show was really for corporate people. What? This guy... The answer is there. Oh, Christ!

It's the ghost of Lady Di that comes. Make a saxophone. The first things I did were for Petro Canada employees in Montreal. Pierre Gravel booked me. Ok, a little joke. But how did Pierre Gravel sign you? You must have done a show before. No, I did like your Boo Boo.

Radio-Canada, at noon. It's that. So there he saw me and said, I don't know who's taking care of you, but I have a lot of appeal for you. I could be your agent. So I went to see you, I had started a hundred... That, at the Boo Boo, it's, the one with dead people in the room.

At the garden complex, that's it. So... So, you want to finish? Oh, sorry. So, that's what I found. After that, I started doing a lot of festivals, all the festivals, the tart, the canelé, theion, the Blue, all kinds of fish, you know, everywhere in Quebec. And when I did the A.A. Monday, I replaced someone in 1983,

and that worked well too. When you did the A.A. Monday and it worked, you had a little stamp, Barding and Dong, which was what started out for us too. It wasn't the first time that I thought it was really great. I had a little Claude Desseps, were you like, I can't believe I'm sharing a stage with them. I was in a small club, they were writing their Italian text. And the room was tiny. And I didn't feel like I was watching them, they were like, chumming with me. I didn't come. Really. The first time I saw you live on stage, it was at Club Soda.

It was at Club Soda. The old one. The first show I did in front of the audience was at Club Soda. It was also at Club Soda. It was the first show at the Ecole de l'Humour in December. On December 11th. And I still remember, it was a thrill just to get in there and to know that the stage that was there, it had all...

You know, all those... André Philippe, Pierre Verville, Ding & Dong, everyone had passed by, Michel Barrette, everyone had passed by. It just made me feel like I was in the same room, knowing that I was going to be in the same scene as these people. There was something that made me feel like that in those years, because I always had the same feeling, I was like, I can't believe they're playing here,

and then I looked at the rooms and I was like, I can't believe they played here. And then I was looking at the rooms and I was like, I can't believe it's that, the room. You know, like, I remember. Oh, he's a little bit old, I'm telling you. You know, there was one time I was in the middle of a camp crisis. I was playing Toronto at 17th City. And then, I was taking pictures of the room. I was like, Asti, I can't believe that SCTV started here.

And then a guy just came up to me and said, hey, do you realize that we moved two years ago? So I took pictures of an old man from the Ramon. It wasn't big, Caroline. I think there was a bench, the table and the mirrors. It was like five feet max. The first time you did it, did you still live in Quebec? When did you leave for Montreal? In 1985, just before the Tonight Show.

Tonight Show was in 1985? Yes, in 1984. So you arrived in Montreal. In 1984, 1985. And in the first year of the show, did you have a plan B? Did you say, look, I give myself one year, two years, or you...

No, I had a lot of shows. We were 10 at the time. We didn't have 80. We had to do shows of humor and imitation. So festivals and all that. So you were winning your life right before. If you had won the year before, you could have gone back to the year before.

And if you were just going to do an id in the Just For Rays gala, the next day you were huge too. I remember, the first years I did gala, it was after the big years, but it was still quite big years. And I remember when you were doing a hit, I remember my first hit, Just for Laugh, I was thinking, I'm going to be okay for the next four years, I'm going to be able to live from that. I have a good reason to sign you. Yes, yes, yes. My second gala that I did, I did the number of the parody imitateur, it went in the butter in the bambin. Don't move, I'm going to get a napkin, I have to move, I did the parody number of the imitator, it went through the end of the world.

Don't move, I'm going to get a napkin, I have to move. Okay, go ahead, go ahead. Now he's going to be on the phone with his agent. Give me the tonic, Joe. Call Johnny, he's dead. For real, my second gala, I Imitator's Paradise number, in the Brattwaite gala. And I remember... And Brattwaite is always the worst presentation, I don't know if it was a bad presentation.

I think I said to myself, I don't remember how he presented me, but it's more that, that I had to go to the Imitator to the end, it lasted like 7 minutes, but I had to go to the end to understand really, because it was too much, it aligned a little, and then I did a correct imitation, the next one was bad, and then we're going to stop the number. They cut my number at 5 minutes. So the important end. So I just went to a limiter that was close to me. So everyone was watching, I was like, yeah, it's okay, but the others are better. It was just that, man. Poor thing. At least, at least.

What year did you do that in a g gala, let's say, 1999, 2000? That's when you're the Cuber. Yes, 1999. No, 2000. My first gala was in 1999. And your first hit in a gala, what year was it? 2018. When was your first gala hit? 2018! The first time it hit was when I did my first Ikea hit in 2007. It was the same kind of thing.

There are people like him who say their first gala hit was a big hit. And my first gala hit was... Why did they book it? And it was like a... But with time I also learned that when you do a gala just for fun the animator is important for your world style. In the sense that if the animator is someone who has a older audience

well, the crowd will be older and you arrive there, you make your number it goes into the bar a little. When I did the Ikea it was you and Pat game, and in the second game there was me, after that there was a number of the Chick and Swell, and after that it was your number from the end. And I remember that my number, it was François Léveillé who was doing the staging, and my number, at that time there was the pre-gala and the TV gala the next day. And at the pre-gala I the TV gala the next day. And at the pre-gala, I had done like 14 minutes, 15 minutes after the number. But this year, I said to myself, fuck off, I'm going to see everyone do it,

20 minutes, fuck, I'm coming, I'm the good little guy who does the 7 minutes, tight, and I deback, and it goes to the bar. So this year, I did, fuck off, I don't piss anyone off, so I wasn't in the least bit of a party. And I'm late for the gala too. So, François... Do you want to say that there are times when they do shows,

45 minutes long shows in gala, a little bit? Yeah. So, after the show, François Le Biais came to see me and said, hey Dom, you're not far from 15 minutes tomorrow, we need to cut a couple of gags. He made me a little bit of a fuss, so if you want tomorrow... The next day I cut one gag. The day before was always perfect for the artists.

The next day I made my full number, I said to myself, what will they cut on TV? And finally I had my first standing in Angola. From then on, it started going well in Angola. But from there, it started to go well in the gala. But before that, it went through my mother's mouth. I was saying it was your first gala, but it was your first gala. It was the first gala that I just laughed at. I think it was in 1984.

And we did the first tour just to laugh. With Alan McDonnell, Pierre Labelle, and the crazy guys. Pierre Labelle, the crazy guys. Hey, hey, hey, hey! Did you notice, he's a fucking digital I'm going to be a good guy. I'm going to be a good guy. I'm going to be a good guy. I'm going to be a good guy. I'm going to be a good guy. I'm going to be a good guy.

I'm going to be a good guy. I'm going to be a good guy. I'm going to be a good guy. I'm going to be a good guy. I'm going to be a good guy. I'm going to be a good guy. I'm going to be a good guy. I'm going to be a good guy. first liner. Oh yeah. There was this and there was that. She clamped it and clicked it. Have you ever seen a clicker?

I don't have the same. Clamp or click? I don't understand what you were saying. The crazy braques The crazy braques would go into Tabarraque Mimimati No, but

Did you have Mimimati on your head? Mimimati, were you on the gallows? Mimimati, what a disaster! Poor, poor Mami Poor, poor There was also Popek in those years. That's him, he's the dog's owner. Where's the dog?

I made that joke in Quebec. The Moultonnié underwear. And the guy comes and says, Who's the dog? Is the dog dog? No, it's not mine. Black. Black. Black. Black.

Black. Black. Black. Black. Black. Black. Black. Black.

Black. Black. Black. Black. Black. Black. Black. Black. Black. Black. Black. Black. Why is that? The first time you went to France, was it in Rouvran for Céline?

No, it was for the first Victoire de la musique, animated by Julien Claire. I was offered We Are The World at the first show that celebrates the French song. OK. So I was like, wow! He has a lot of stuff! He's not stressed. So it was Julien Clair and Renaud who were animating. But when I saw Renaud and the square-heads, I was like,

oh, damn, yeah, great! It must have been a good time. I think so, but the French showbiz's Who's Who was there that night. No, it was Michel Drucker who gave me a break. He took me under his wing because he was the because he replaced Jean-Guy Moraux, who had a heart problem that summer. It was Michel Druecker who co-animated with Dominique Michel when I did the We Are The World.

Because when I finished We Are The World the first time, I was like, I'm out. And then it was all over. And then Andre Philippe, come back, come back. I went out and it was all over the place. André Philippe, come back! I didn't have anything else to do. I saw that everyone was standing there.

I was like, okay, we'll be in. And then you come to see us in France. It took a little while. And then the English side of Just For Laugh, if you want it in a gala. Yes, that's it. The one who finished the first part was Jay Leno. Who is it?

Jay Leno. Damn! He told me that since it's time to drop for the newspapers, we should make him go in the first part. We'll make you go after Jay Leno. Thank you very much. I heard Norm MacDonald from a podcast before he died, it was WTF with Mark Maron, and he said that he was following you. There was one evening when Norm was following you,

and he was stressed out, and he was talking like... He was stressed out? Norm was his first galo in life, he was still living in Ottawa. And he was apparently nervous. You know, I was so nervous. This guy from Loretteville, I don't know, I was petrified. He's alive! He was so funny. Oh yeah, he was funny. Who was funny?

Especially at the end of his career, when he was sticking to it, he would go to a talk show and he would just take old street jokes and stretch them. So he would take an old joke. Once he was a guy, it lasted forty-three minutes. His number, which he did at the last show of David Letterman, I was making an old joke. Once you're a guy, it lasts for 43 minutes.

His number that he did at the last show of David Letterman. He was moving. He was tired. He was saying how he loved Letterman. Really. So the first time you go to France, it's the victories. You do We Are The World, and then there's a producer... Who was there with you? Did you have...

There was a tour in Banelucan, I was there, I moved with my band and everything... Hey bro, I'm on the way, I'm on the way. Did you have... I was there. But since your agent was Gravel from Granby, he's a bodybuilder. Jean-Claude Desperance, who had quite a lot of that pipe, if you want, live with Michel Durkher. And Claude Fliotter, who was my producer there, and we did tours with the band. I had a good band apart from that.

How many were there? You were walking around, it's like a showrock coming to town. All my imitations, I did live. There were a lot of playback. You were doing lip sync. I was coming to my soundman Daniel Hardy, who was always with me. It must be disappointing to see an imitator doing lip sync. As long as you do it's playing the real game.

Oh, bravo, bravo! It's the same! It's the same! But how does he do it? It's the same, the same, the same. When did you play in the first Oscar gala? No, it's not true. He did all the first g of all. Before 2018. Not 2018, no. No, but that's it. It allowed me to do a tour in

France. Once again, with Denis Farmer, Daniel Hubert, Michel Sir, Michel Vallancourt, excellent musicians, and the whole team. We did that in English Canada too. We were walking through Canada with two fans, five or eight. Six! We were also doing that in Canada, but we were walking through Canada with two fans, 5 and 8. It's crazy! I was going to see Jay Leno, you know, at the Calgary Jubilee. With a bottle of water.

I was looking at Baxter. I knew the next day I was going to be there with my St. Denis set, with two electricians, two soundmen, the band. It was going to cost a fortune. with two electricians, two soundmen, the band. It wasn't worth it. It would cost a fortune, for example, you had to get out of there by saying, yes, I made 11 dollars. Jean-Claude Esperance showed me, he said,

Sandré Philippe, it's 100 musicians, and that's with musicians. So he saw me in despair, I said, he's a fool. He said, it's better not to have musicians. It would be much more expensive. The quality of the show was incomparable. The crowd saw that you were doing imitations.

When the drummer did, you could see it. There was no cheating. It added to it. It allowed me to do festivals, and to do concerts at the Stamp concerts in Calgary, other places, and the Olympic Games in 1988. But when you were in Vegas, you were there for five nights a week? Yes, five nights a week with the band.

When did you come back? I was in Venetian for a while, close to three years, then I had a break because we were in Paris. Another couple of years. Each story has its own story. It's huge. It was fun to have my guys with me. It was the best years. Norm came with Kato Kaelin.

Oh yeah, the guy who stayed at OJ. I saw Norm put it in the water and I was like, I saw it twice. Do you know this guy, Kato Kaelin? Norm, did he speak French? No, no, no, he was in the UK, and he spoke English. But it was not a good feeling. He had great visits, sometimes from Abander, Smoky Robinson,

but... Did people tell you before, that it should fuck your brain, that there's Kato Kaelin in the room. But you know, at Comedy Store in Los Angeles, Dan Hardy, my friend and my sound guy, he was there and he told me that Quintet Jones was there. So after We Are The World, he came to see me. Good job, we took a picture.

So you know, to have the blessing of Q. That's one of the lodges that when I saw it, I was really disappointed. Because the Comedy Store, the lodge, even today, they don't stop selling. It's disgusting. In Los Angeles? It hasn't been renovated since 1971. And they make, let's say, you have a full broken mirror and they are like Richard Pryor was making powder on it and you are like, well yes, but Chris took a little

picture of Richard Pryor on stage, but everyone was telling me, let's say, I was like, Robin Williams was making powder on it, it was just stories of people who made the foudre. Whoopi Goldberg was starting at the time. She was in the belly room upstairs, the little room. It was Métis-Chure, the owner, who was pushing Whoopi Goldberg at the time. Did you meet her? In 1987. Whoopi? Yes.

Yes, she was... Whoopi! What a shitty life! You know, in that room, there's Louis Anderson, who was there too. There's also Blake Clark, Tamayo Atsuki. How do you... Damon Williams. Las Vegas, we were there at the Comedy Store in Metishore, in Las Vegas, which was at the Doones, which became Bellagio after.

And then, well, we were doing shows there, I was talking to Stones, which became the Bellagio after. And then, well, that's it. We were doing shows there. In the meantime, I was talking to Stephane just after noon. We could cross the strip without looking, so much that there was nothing at the time. There was still Sammy Davis and Dean Martin in front, who was at the MGM. And Frank Sinatra was at the... at Caesar's Palace. And at that time... I'll make you give... Jay Leno was opening for Diner Ross.

You're gonna try it here. So Chris, we went to... We saw it... Michel Richard... When you came? I'm gonna kill you. Tell me about your Shawin & Gam shows. So... When did you get it? You're a jerk. Tell me about your show, Shawinigam.

How do you make the big room in Shawinigam? You can do that with Strymon, Quincy Jones, Louis Pognac, Quincy Jones... It's the same thing. Oh. Ah, that's incredible. People in Quebec don't know that. I'll talk about it in the next show. They'll know. It's incredible.

That's why I was happy to have you. I feel like the 30 years and less, knows who you are, but they don't know who you are. I don't know if you understand, they know that... That's a result of a plan. They made such and such a number, but they don't realize it. Your private imitations business, you made a dance on the table to help the people. Hey! It's like Marilyn Monroe. She's out of a cake.

We'll see if she's the mistress of the details. We'll do some name dropping. When I did the Tonight Show. Yeah. Just that. When I did the Tonight Show. It was the music awards, like in the beginning of December. Just before Christmas, there was a show in Switzerland. It was to collect funds for children at camp Budge and other places. There were big points. I played with my We Are The World.

In the front, there was Frank Sinatra, Mary Poppins, who was there, Julie Andrews, Roger Moore, James Bond, John Denver, also Robert Charleboot, Alain Souchon, you know, it was like, Hey Robert, help me! When you see Frank Sinatra in a room, that must be destabilizing. They asked me after my We Are The World, what do you think of the impression Mr. Sinatra?

And he said, Marvelous! Get him out of here! Get him out of here! It was very impressive. I wanted to see him at some point and I saw that his 26 oz vodka had gone down a bit. Maybe not the right moment. Did you go to Asia to do shows? No, I made a lot of space thanks to Céline Dion when I opened before doing Las Vegas to find a spot there to be permanently to see the children grow up I don't know, I don't know

I crossed the world with Celine Dion the tour... You will tell us that, you will tell us the open foot to the garden bomb everyone will know It was the respectables It's the evening of Moselle Dry in Quebec. They didn't want to talk to me. So Céline, you started to talk about it.

Yes, I did. Europe, North America and Asia. I must be a fool at this point, but we didn't do that segment. But it allowed me to show that we did the Las Vegas show by two groups. There was the Venetian gang and the Paris gang. After the show in the Mac Arena, Thomas and Mac, it was called in the past. Thomas and Mac. And there I had the Venetian gang, let's say short, who was talking to me about the show, about building C2K or Venetian, a big theater and all that.

But I knew that I had my agent who worked at Pierre Gravel, who had the Paris gang on the other side. So I said, I'm going to go to my lodge, I'll be right back. So I ran to the other side to see the Paris gang. Oh, hello, nice to meet you. Do you think the others saw you? It was a big fight. So I ran to the other side and did it a bit like in summer theaters.

The vaudeville, running from the bottom. I said, I'm coming. I ran to the other side and did it like in summer theaters. Vaudville, running from the other side. I was like, I don't know where I'm coming from. Who were your talents with Paris? I started with the Venetians. And then you went to Paris. How many rooms were there? The Venetians?

The Venetians had a magician before me. After that, there was a club to dance after. It was called the Sea To Kay at the time. It was the Guggenheim Museum after. Then it became the Angkor, the hotel. They built another hotel above that. But it was... there was a little like a 1200-seat place. We didn't care about that. We had our... the ground was well filled, but I didn't have enough billboards at the time. You had five nights a week. Even if you had 800, five nights a week... It was fun. We stayed there.

Did you have a house in Vegas? We rented it to the west because my family was with me. The idea was to see the kids grow up. Can you see them in pictures. If it's enough. I wasn't... Camille was 3 years old, I was 11 months old. I wanted to see them grow.

It was a little thing. It was there or Broadway. Broadway had 8 shows per week. Did you stay long enough in Vegas for them to go to school? I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of the show, and I was in the middle of theam and then I would turn on my Astrip to arrive on time for my show. Were they dresses for 2 months? No, they were for several months. We didn't play summer. It's 40 weeks of filet. Yes, exactly.

It's like working at Rona's. She's a little bit of a cheery, but... Yeah, but... But vocally... I was talking to Verne Clavaud last night, and she's playing the Titanic, a piece by... Céline? Yeah, she's playing Céline. Yeah, she's playing Céline, that's it. It's like a 6-7 show per week offer. She said she has a replacement,

because sometimes she says... She's been replaced, sometimes even during the show, because the voice is off. But you but you don't have a replacement. It's five nights a week. I do that in my shows. I'm like, more capable than anyone else. I'm just on stage, I'm making a little sound. I'm making a little sound. It was really fun years too. It was a lot of work.

That's old-fashioned. Since the voice changes, do you think you need to do more? Let's say at 20 you didn't have to pay attention to your voice. But now you feel... Oh, he blairs about it. And now you feel if you, he blairs a bottle of tea. And now you feel, let's say, if you turn a brush the next day and like, look at this, all my imitations sound like...

You know, a little different. No, I'm just... my venerable judge. I don't do... I don't take a brush with me. I couldn't. I couldn't. I wouldn't be funny. Put on a hand warm. I can't take a brush in the morning. If I couldn't, I wouldn't be funny. You're a hot man! No, but that's it. There was a time when I came back, I was doing shows here and there in the West.

I wanted to find a good producer here in Quebec, but it didn't happen. So I didn't use my voice too much, I turned around and forced myself to do it. I swear I had good sound systems, so we sing as we feel. So if you feel good, like I always have, Daniel Ardic,

he made me feel good. Did you lose your nose? Do you still hear it? Not bad, yes. I don't have an acuphense, it's the same thing. Pierre, our guy Pierre Verbeet, he had an acuphense.

Yes, yes. I wouldn't want have seen that. And you can't hear when you're an imitator. Yeah, it's a bit... Not cool. I think I'm able to do Céline... That's it. You're the only one who thinks it's there.

That's what I was saying in the intro, that you're cheating the 250,000 tickets sold. Yes. That's crazy. I wanted to humiliate him from the beginning because it's been a couple of years now that... And I always feel like you as an example. You know, people are like, you know, the nasty people who sell 200,000 tickets, it won't happen in Quebec anymore, it doesn't exist anymore, and I'm like, dumb pack, he sold 250,000.

So, is your show selling the best at the moment? Yes, the other day we did 220,000, and now we're going to sell 250,000. 220,000, the other 250,000. 220, 250... That's 2 million less than Frank Sinatra. When will the end be? It will be in June. We added a couple of dates because we were going to be at about 2.40. Ok, you wanted to get the 2.50. Why don't you add another 6 months and then go to 3.00?

No, but we added dates until July and we'll be at 2.50 with that. It's going to be evenings, like Monday and Tuesday. But the dates I had already, they are all full. So we added dates to get to that. And did you start your next show already? I decided to come here for a couple of weeks. The auditions are the dead. Here.

Come. Alright. I come. I'm stressed out about Tabarnouche. We talked about it earlier. Before we used to do bar, we always wrote new stuff. We did 45 minutes, we put 15 minutes in new stuff. But now when you do a tour, there are some who will continue. I don't know if you do that, but there are some who will continue during a tour to test the 5-10 minutes. I don't test during you do this, but some people will continue to test the 5 of them during a tour. I don't test during a tour.

Me neither. But I'm no longer proud of it. So when I start again, let's say, at the beginning, you go to a word party, there are five people in the crowd, out of the five, there are three who are not very good, and they all come in more than you. I found that hard. I went back to the stage and I was like, crazy. I'm not funny anymore. But at this time, I'm just like, ah,

that's the stuff that comes. I'm not crazy. I've always had that. Every time I was approaching the end of a tour, he always said to me, Ast show, I would say to myself, I can't write another show at 1.30pm, what am I going to say? But you write a joke at times. I write ideas and here I think it's the best way for me to do 7 minutes.

I can't write a text, I can't. I was doing it before. You have a flash and you do an act out. I have a flash, I write it down, and I make groups of ideas in my phone. I have 4 gags on it, but I try to make a 5-6 minutes number with it. I test it, and when it goes well, you improvise a little and then you play. Then you think, I think I have something there. But you know, it stresses me out, but it's creepy when you play. The feeling is like a drug.

I don't have drugs, but it must be that, the drug. When you make a new 5-6 point. I have a feeling for the world. And now I just imagined someone who takes heroin and does... No, no, heroin is really better. Because... Because I saw you, dumbass, when it works, I'm just like...

But I'm... But the girl was crying. When you get off, when you get off, and you're like, I think we have 5 minutes. It's so sad. There's a side of me that's excited. There's also something that I find really absurd. You've been doing this for 40 years, I've been doing this for 30 years, you've been doing this for 27 years.

When I started, I thought, I think it's going to be funny, but I'm not sure, but it must be because I'm new. And Chris, after 30 years, it's the same business style. I think it's going to be funny, but I don't know. Chris, I should know. You're 30 years old. It's not any profession. No, but I often when I do a pacing before, when do a pacing before I come here to test the truck.

When I arrive 15 minutes before boarding, I'm like, this is not good. I cut a lot of stuff because it looks like you're putting yourself in the hot tub. Sometimes in your head at home, it's going to be funny if my dad is like that. But when you arrive here, you're like, no, no, I like, I'm going to ask people, it's going to be bad. And how do you write? Do you write just on stage? Let's say you have your flash cards, you don't have a script editor,

you don't have anyone. Yes, I work with Pierre Fiala and Louis-Philippe Rivard, but they... They come to see you on stage. They come here, they take notes, and they encourage me after I get off the bus. They say, no, it wasn't shit. It was shit, shit.

No, that was good. So they give me ideas. But it's more like that. They start from what I do, and then they'll say, hey Chris, you can say that, and then I'll go in that direction. So it's more or less like I'm going to work with the others. How long does it take, let's say, if you start to run, let's say, are you going to take a six months off completely before you start running in a small space? No, because we're going to finish in July, about,

and it's going to be about six months. I want to start there. Ideally, next year, I have my 1h15, 1h20 skeleton. That you already play in a small place. Yes. In a year, ideally that's it. And that's the pressure I put on myself. I don't want people to come to my shows and do... Oh, he was in the band! You're in the band, but the other one is your best.

That's my fear too. Even the tour I'm doing now, we were supposed to release it in March, April 2020. There was a pandemic, but if there wasn't a pandemic, we released it in April 2020. I told my manager, I said, no man, we'll push it back to the fall. They said they were just getting ready, but I wanted to play a little bit, to be comfortable and then do it. So we pushed it back, but finally there was a pandemic and it took a year and a half. When you go on shows, do you have your ideas alone?

At the beginning, you worked a lot with Stéphane Laporte? Yes, we work together for this show. Because there are a lot of anecdotes since we started working together, when we worked together on We Are The World. So since 1985, he said to me, Oh yes, do you remember Monaco, Prince Rainier? I was like, oh I forgot that. When you dance a slow with Poutine, come on!

You have to put it in the show! You have to put it in the show! You have to put it in the show! So we do some boot, we do the tour a little bit, Australia. The fun and the world that allowed me to meet. What happened with Prince Rainier? I did a show after the Formula 1 in 1997. Was it the years of Jacques Villeneuve? Yes, it was a bad time for him, but we were there, we were running, and I did the show.

Were you in the room? It was like... I was imitating one of the pilots, Herbert, who was there, and the We Are The World at the end, and you opening the windows, entering the ground, the fireworks, on cue, I couldn't believe it. It was really fun. That was after a Formula 1 Grand Prix? Yes. I did a show after the Grand Prix de Trois-Rivières. And really after, 3 weeks after.

I don't know if I counted, but that was one of my worst shows in my life. It was not three weeks later. It was the same day, but you know, it was a day that he took back his pride. He was doing shows, doing his job and everything. And it was on a boat. The people who had bought a ticket for a race, then they arrived on a boat, then the boat went on the river, whatever. Then there was a cocktail, then a soup. Then I did un show.

Pis après il dansait pis il fait l'artifice. Non, après je faisais un show pis après ça il y avait des feux d'artifice. Pis après ça il est ramené. Fait que là, j'arrive sur le bateau, j'ai la chienne. Tout le monde arrive, ils ont toute la face rouge, des coups de soleil, ils sont déjà brûlés, calistes pis ils sont 5 heures, ils ont bu toute la journée au soleil. Là je les vois prendre un cocktail, ils mangent des gros steaks. They're already burnt, they're on fire, and they're 5 hours, they've been drinking all day in the sun. I see them take a cocktail, they're eating big steaks, they're drinking wine.

Obviously, they're fucking late, so the guy comes to see me, the organizer. The organizer comes to see me and he says, Yeah, you have to do 45 minutes, and the fireworks are at 10, and it's 9.40. So you won't have time to do your show, so you should do your show after the fireworks. I'm like, holy shit! Then they drank too. Fireworks, dying. Hey, how are you? Holy shit!

I can't say no, so I'm like, yeah, I'll pass after. Holy shit! So then the fireworks, if they place the chairs, the stage, I don't have a stage, I'm in front, and I have two spots, you know, the spots we had in the garages, it's like a bowl of toast, with a chicken in it, you know, when you click, click, you know. That was my spot of light, you know, to see me. So I have two spots, one there, one there. And then, the fireworks just went out. The guy said, sir, the Dominique Park is just ahead.

But the fireworks just went out. So all the boats that were there to see the fireworks, they're leaving. So when it's boats that leave, it's a wave, damn it! So I'm on stage. I'm on stage. How much is it? I have to hold on to it because it's... It's the same thing. I'm on stage, I say, how much is it? I have to hold on to it because it's... It's the same base.

And then... What are the babies? Men or men? Men? Men? Men. There are men, but I'm talking about it, I'm not messing with you. It comes and does this in front of me, it's the same. So the sound guy, to help me, said Chris, they're attracted by the light so he closed one spot of light. Not both, he closed one.

So now we see half of my face, but there's so much BB's, tabacnac! Chris, the lip... So there's so much BB's but we see half of my face and I'm laughing. Hey man... I did like 25 minutes, I was like fuck off. Thank you for the evening. I landed.

I didn't land, I wasn't embarking anywhere. I was stuck in the boat. Yes, but I was stuck in the boat. As soon as I landed, I went to the other side of the water, making a lot of noise. I heard the captain say, Hey, everybody, good news, we're gonna stay an hour longer on the water. So I got caught on the boat seat. I really thought, OK, fuck off,

I'm gonna get on the boat and I'm gonna drown. What a shitty show. You, the first, was good? But you have to go. You, how was it? But you must have... How was it for you? But you must have... I'm going to think about it, Basseau. You've done so many shows,

you must have had absurd shows even in the past years that you were like, yesterday I was with the princess, tomorrow I was with Brad Pitt, but today you must have absurd absurd gigs too. Yes, during the tour of Cyril, there was the Heart Foundation of Larry King, the guy from CNN who is British.

Yes. And it was done at Mal Argo, at Donald Trump. Wow! And maybe in what year was that? 98. In the time he was loved. Wow! In what year were they? In 1998. In the time they were loved. They were real estate agents at the time. So we did a show at their place.

And maybe I was in the... Where they indicated the friend's room, where they had the documents. I think it was there. Did you sleep in Mar-a-Lago? No, no, no. But it was like... At that time, pharmaceutical companies had crazy budgets

to bribe doctors, whoever. So we would gather in places... It was really fun. What did you say? Marrakesh. Casablanca, places in Switzerland, it was really nice. It was in and out.

And you could visit. No, I had a show the other day at Coutimille. So we were walking around a lot at that time. And Jan, he must be a million questions. Yes, I have very good questions. Oh, Sagittarius! Yes sir. André-Philippe, it's a question from Carl who asks,

is there an imitation that you always wanted to do but never succeeded? Well, girls, it's tough in Tabarouet to do a good imitation of... In the past, I did Madonna, it wasn't worse, but... Madonna, old, it must be easier to do. I don't know if it's made of lip-sync now, but... Timothée, a good Rod Stewart, it's difficult. Joe Cocker, it's very... Rod Stewart is more like a scotch tape. So I'm like, wake up Matt!

You put that sound in there, you can't do it anymore. So, there's also... A good Claude Dubois, it's difficult. He sings like a tabarouette with four feet on the microphone. He's a real pure tenor. So I'm still working on it. When you imitate... That's Claude Dubois, you can't imitate him. No, I'm not sure.

I was working on Jean-François Mercier recently, and I think it's coming. It's just going to take a tighter shirt. Show some tries. Yann, another question. Again for André-Philippe, have you ever been asked to do some patchwork, a little anonymous, youwork, a bit anonymous? For a film? For films or for... I'd like to do that, to make voices and animation, but I think Pierre Verville,

at one point, had to replace Robert Lepage, who perfectly... He's still there. He's there, perfectly. Robert de Pagel doesn't die. We were talking about this, because Julien Poulin just died, but he also made Julien Poulin in a film. He made a dubbing for Julien Poulin. I'd like to do that, but no, it's not happening yet. I have a question for Dom.

How was it to be part of the third season of LOL? Oh, yes, I haven't seen yeah, I haven't seen it! I know you're a good tarot reader. And the face you make when you're... Don't laugh! We shot that, there's an enemy. I'm coming from the South and people are talking about things like Oh yeah, I'm a fucking fuckhole, I don't know.

It lasts 5-6 hours. You must be good at getting the world out of your head because you're the kind of guy that... I'm not the best, honestly. I think Joe Cormier was hot in the West. Joe Cormier was strong. He made me crack the first time because he went to Korea,

he slipped his neck and... He went to Korea, he slipped his neck counter. And then, if you say... He went to Korea, he slipped his counter, and he broke his camp. He went down, and I was like, oh, fuck! And the two things that made me laugh, it was a nasty mess. Jean-Michel was tying his shirt, and I was just behind him, and I was putting my finger in, so that you wouldn't be able to make a mistake. It was just that, it was just that. Except that when I was doing that, Jean-Michel took his little hand and did the same thing.

And he said, stop. Stop. I put it back in, and he said stop. And every time he said stop, I was like... It was funny. And I kept going. Did you really laugh? Yes, I burst out laughing. The third shot or the fourth or whatever. Where did you come out? Were you in the middle? Not towards the end. I would have put some cash on you.

In your eyes, you become crazy. I could have made my own number. That was cool. What was your number? I was a business man who came to tell how his company made it to go up. I had drawings that showed me, but they were ridiculous, like, the important thing in business is to work hard, but I saw that I was reaching a plateau. So what made my company really explode is when I started to take the powder. There's coke in it.

I said, did it affect my life as a woman? Yes, a little bit. A little bit. That was crazy. I saw Real and Melanie Menard. I heard Melanie, so... I heard the other side of the wall, those who were out laughing. I heard Johan, so... That was fun to do. But the rest was fun.

The beginning is so much like a nasty mess. You do something, but it starts. The beginning is so much like a garbage dump. You do something, but it starts. Nobody wants to laugh. You do something, but nobody looks at you because they don't want to laugh. Everyone does something because they want to make someone laugh. I had a little girl. One of them was making a chair, the other one was real.

She was making a toast on a oven, but it was a plastic toast. It smells like shit. It was a when you were doing your business man. Business man? Yeah, it's a bit of that. Yeah, yeah, it's a bit of a crap. Those characters, they're good. Your hidden camera show. Oh my god, that was funny. And now, I feel like there's been a second life because of TikTok. Since it's so perfect.

So it's just... Yeah, we post them on the office and I think we get 400,000 in two days. But we're trying to work on the offer but on the web. If you get the order, we click and do it again. People talk about it so much. I used to have fun with Jean-Claude. Jean-Claude was the perfect guy to work with me for that, because we tripped on our mood. And Jean-Claude, you know, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so fast, man, he's so if you want, he would get on the boat. The only thing that wasn't good about Jean-Claude was not to laugh at the piton so I could hear him laugh.

Sometimes... So you would hear him laugh? Yes, but sometimes he wanted to talk to me, but he was scratching in the truck. So he would laugh, so I would try not to laugh. And he would laugh at the piton. Look at that! Look at that! Look at that! Look at that! One of the...

One of the... One of the... One of the times, it was a mess. We were trapping a man. I was doing a guy who had two arms in his chest. And I was looking for an assistant at home to take notes. And the guy couldn't hold his own. It was sad. There was someone coming here. And a man came and the man had like a... You know, a double chin, you know? And it was a retired man gentleman had a double chin.

And it was a retired gentleman, a very nice gentleman. And I started to tell him the dictation I wanted him to write. You know, it's a piece of paper, but the dictation... Jean-Claude, he's telling me nonsense. So, for the next decade, when I go to the United States, it's a necessary sentence, not a report. And the gentleman, what didn't make me happy was And the gentleman wrote, and I was going fast. When he wrote, he was doing the same thing.

So I was doing the same thing. And the house was hot, we had to stop the air conditioning. So every time he came to the end of the leaf, it's stupid, but every time he got to the end of the leaf, it was a moving leaf. So to come back to the other end, the leaf stuck, you know. It was wet. So he got to the end of the leaf and he did... He was swinging.

And the third shot, man, the third shot that does that, I fart like this. I got up here. I go to the toilet, I close the door, I close the door, I don't know what. I open the tap and I laugh in the sink. Jean-Claude was in my ear and he said, No sir, turn around.

You have to turn around to see, we'll see the father of these guys. It's crazy. We'll see him again! We'll see him again! Oh my god! Damn! Damn! We have to get back to that. That, that, that... You turned around. He was there.

He read and stayed. That, that, that... Every time I broke in front of people, I recommend... I remember one morning I said to myself, Chris Marvenet is going to do your shit, I wonder... I was coming back and Chris was like, I was nothing, fuck! You had trapped... is it Geneviève Gagnon that you had trapped? Yes, Geneviève Gagnon, the one you know! Yes, but she was an accomplice! We were tricking her mother!

But Geneviève arrived, Chris, and she got angry right away. Because I was selling Tupperware. And I had a small radio and a microphone. But we were eating a kitchen table. And if we were six, I had a microphone. And every time I said something interesting, we had a reverb button. So I said, all this, today, tomorrow, and yesterday, yesterday, yesterday, yesterday, yesterday.

There, I was like, oh, she was the only one who could do it. But one of the times I broke a stick, I was doing a dog owner's class, giving teaching a dog dressing. A dog dressing? Yes, a dog dressing. A salad dressing. I put dogs in salads. You played too long in Vegas, you speak little French. Alright, Frank.

Frank a boy. And it made me laugh. Claude in the truck, he was going to talk to me and he went to the back seat. Because I told the woman, when you eat with a dog, you have to keep straight. You have to keep straight because if you eat with confidence, the dog will have confidence. So I said, like that, when you arrive at the dog park,

if you eat the same, and you arrive at the dog park, your dog will be the same. He's going to be dominated by all the other dogs. They're all going to get into the initiative, you're going to come back, and your dog will be the same. He's going to be dominated by all the other dogs. They're all going to get into the initiative, and you're going to come home, and your dog is going to blow his ass. He's going to be so angry when he says that. So I count that, we continue to hide and leave. And at the end, there are the three accomplices and the victim.

I ask the three accomplices, what did you do? And we said, what do you mean? When we arrived at the woman, I said, did you find three things? The woman was all serious. She said, when you have a dog, you have to walk with confidence. Otherwise, there will be no insurance. And it will end up blowing his ass.

She said that to me, like seriously, I learned something today. I also broke it. Like she learned something. Your dog, if you don't walk with confidence, he'll whistle in your ass. Damn it. And what happens with your film? You told me a few years ago that you wanted to make a film. Yeah, we're still in it. We're going into the scene-by-scene.

So it's written? Yeah, the synopsis, everything. We're going into the scene-by-scene. So, according to me think we'd shoot this... Like... I'm not good at it. If we want the budget, I don't know. But it's going to work out. Have you ever played as a comedian?

No, not yet. Did you get offered things that you said no to? No, it're not coming. You win a show. I'm a go-fer. It's production. I go get coffee and water. You'd be good. Pierre Verville is an excellent actor.

He impersonates people. Pierre is also an actor in a movie theater. Your job is to make sure you're someone else. Exactly. So you'd be good. Pierre in a movie theater, it doesn't make any sense. It doesn't make any sense. And he's also good in Cyclone... Well, there's the Christmas Cyclone, but the series...

I haven't seen it. In the eye of the Cyclone. He makes a neighbor. He must be good at it. He's precise and well-nourished. No, he's good. But it precise and well-nourished. But it's something you'd like to do? Yes, comic books too. My first comic book was Mel Blanc by Bugs Bunny.

He made all the voices. I didn't come back when... But make Disney and you're looking for Disney dubbing. That's it. He had stuff like that. I'm going to take a What did you do and what is your favorite sketch? Oh shit! I have three that I remember. I did some numbers with Dodo too. In the bye-bye, there were a lot of numbers that I would see and I would say, Oh yeah, we did that. But there was a number with Dodo, because just seeing her go,

she was already like 62, 63, which at that time I found a respectable age. And then I was doing David Bowie, and she was spinning, dancing, climbing on my back, everything. I found that really fun. But in a couple of shows, bye bye. When I was doing Tanya Harding, and I was running after the other skater who broke her legs. Nancy Kerrigan. Nancy Kerrigan. And then I was like, hey, you know,

I was like a pitbull with a blonde wig. And I was running after Patrice Lécuyer who was just on his feet. I was lying on the floor and I was going down. I was really a real metal bar. He didn't think of giving you something in rubber. I broke the ice in the arena. You're crazy! I was going for real.

You had done some live shows too, I think. Yes, that's right. One was live, but you were doing a sketch with Jacques Demers, and the others were doing Pagé. Yes, that's right. And we had the Canadians who were in the frame at the time. And Patrick, we asked Patrick, can you bring up a couple of people to take care of it?

There was Vincent Dampousse, Brice Bois, who was there, who had come to do the sketch with us. It was the reconciliation between Pagé and Jacques Demers, who hated each other in real life, being the northern and Canadian coaches. Jacques Demers was so kind, really a positive guy, his beautiful Patrick. It was perfect. These are beautiful memories because I'm a hockey fan. Jacques Demers was such a real legend. I played a game of lifting the ball.

There were games at the Bell Centre to lift the ball. I was in the players' room and Jacques Demers was our coach. Even if it was a bad game, we were getting along. He made us sit-ups. Oh, to motivate you? Yes, yes. But it was like, guys, we're not letting them go, and you're going to get up, and...

Intense, but not too intense, like Chris, like you. Were there any Vedettes who did, I don't know, like, skating? No, no, he was just perfect, like Chris. And honestly, just with that, I could see how this guy from a player's room, he must be really hot in his speech.

With real talent. Exactly. Yann, how many are left? There are two left. Ok, perfect. The question for Dom is from Macandré who asks, How was it to shoot in the French film, all stocked up, and did the controversy of Éd of Edward Baer annoying the film?

I don't remember that. It was a big controversy. Yeah, but he seems to be a faggot. He was a faggot back there in France. What happened? Well, it's a misogynist mentality, a little faggot. But I didn't play. You didn't have a finger. mentality a peu fuck all. Mais moi j'ai pas joué. T'as pas de doigté.

Moi j'ai un pénis. Tu sais quoi du trottier comme ton chien? Moi j'étais là deux jours. J'ai joué une petite scène avec lui. C'est quoi le film? So I played a little scene with him. What was the film? It was with Julie Le Breton. It came out this summer.

I think it was this summer that it came out. It was good? It sure didn't help. Oh, thank you. Was it good? Yes, it was good. It was cool. But it didn't help because just before the film came out, it was a scandal.

The film was shot. It's not super cool when it sounds like a fun in a film. It sounds like a shit-ass. I heard stories about the shooting, but I was there for two days. After? And they were a bit of a pain in the ass. That must have pissed you off, when you're like, it's fun, it's the end, how did he do that? No, I didn't talk about it, honestly we did our scene,

but outside the scene, I didn't talk about it, it looked a bit... I'm French, I come from France, it's the same thing. Paris, France is natural... Paris. Paris. Frank Sinatra. I didn't really talk about it. It's more about Julie who is more in sync with it. Is she a chef? No, but her role is to try to be Michelin's first. Her daughter wants to enter a culinary competition. He's a great chef in New York.

He's in the city, passing by. I saw the previews. I didn't even know you were in it. I'm one of the doggies. It's a small farm. I'm one of the doggies. I'm at the one of the Me? I want the mic. You want to have fun on the set? Same here. We'll ask the actor. I want the mic. Drop the mic.

So, Yann, we're gonna go with the last question. If it's the last question. Yes, for André, Philippe, has there ever been a personality that you've imitated that has taken it badly? I like that question. Who asked that? It's me. Ok, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well, well? It's me. Ok, well... Well done, Yann! There was a special we did, and where we interviewed the imitators,

the Turkish heads that I was doing, Mr. Pelado, father, Mike Bosse, and then there was also Michel Louvin. And Michel Louvin, I had made a number in Australia, in Brisbane, on the first of July, no, but there is a link and all that. Oh yeah! I was telling the Australians, I said, we're going to do what? Because the number was transmitted via satellite

to Canada on July 1st, end of July. We've already done that too, we know what it is. So I said, I'm going to imitate the Prime Minister of Canada. When I say, Brian Mulroney, I'm going to ask who is it? I'm going to turn the microphone around, you're going to say, Brian Mulroney? OK, then it's. I turned the mic around and said, Brian Mulroney? Then it was Corey Hart, then it was Michel Louvin. So when you said, Michel Louvin, Corey Hart, he saw me, let's say, in Australia,

and he said, I hope Australians don't think Louvin sings like that. But it's André Philippe, it's correct. I went a little bit beyond the mark sometimes. When it breaks, it's to be known. I hope Australians don't think Louvain sings like that. Mike Bossy, I'm a parody, I exaggerate his voice. He was very happy with that. But Michel Louvain...

It didn't go well? The others didn't talk to me. I had the chance to have some French singers who went to see the show in France, let's say Julien Claire, they went to eat after. His friends said, he's doing well, he's doing Barry Whack, he's Vanessa, he's doing a sex show, he's Johnny. I was like, calm down, you're Julien Claire, fuck off. I'm a little bit of an imitation, for real. Julien Claire and Barry White, for me, are the two that impress me the most. Julien Claire is very cool, it has no creases.

All you have to do is be cool, and Barry White, the bass you're able to get, it's going to make a sound too. Oh yeah! That's amazing! I'll bring it back to the show too. Yeah, yeah, yeah. At the same time, how old are you? Do you ask your children, who is hot to have a scenes in the future? Yes, sometimes I would do this one, which would be this one or that one. I immediately have their opinion.

They are very happy with it. How old are they? 27 and 30, Camille is 30, and Jules is 27. It's a lot of fun to have their opinion. It's necessary too. I don't want to make him ashamed. It's important. When you see Christmas. Tease didn't make you ashamed tonight.

Thank you so much. Thank you. Thank you. Go see Dumpak, who is on the show until summer. Go see André, who will leave after this. Thank you. Thank you everyone. see you next week. Thanks for watching!