Junna Chif: Le s3x3 chez les personnes handicapées
00:00I'm very excited to beto be a realistist.You're a realististI'm talking abouthow he's a workof sex,to come toa clientele of a
00:09situation of handicap.What's whomy interest is it,how it's actuallyI never thought,I've never thoughtto people whoeven to be
00:14even totheir sexuality,and also atthe work ofsex by aperson insituation of handicap.The first person
00:21who hasbrought theperson in situationhandicap, andhe said,I'm finallyreally contentto have a
00:27film whome represent.And afterBut that, there's a travailist of sex.She said, I'm going to see in this filmthat.All right, after, there's one thatone that has left in the mind,
00:36and she said, me also.There's a lot ofwho's going to be in searchfor my next.It's about the trait human.I've already startedto encounter these womenwho have been soldue.
00:48The podcast of todayis presented byEros and Company.And Eros and Company,you have organized alittle concour.It's for thosewho book
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01:19go toget to be in ourshow, yougo to dobecause you'll bebeing used toget to bea bit bit of
01:25after thewhole,all the best isbe it,apart from ademo atdomicile,it's a
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02:17call you alsoso write on telephoneor not sorrythe first at Ofor the game.Good demo.Today on podcastI'm very excited
02:48to beexcited to bea goodyou knowyou're apart of you'rean realistyou're
02:53an realistyou've writtenthat'scalled invisibleyeahand it's reallya subjectsuper interesting
03:02so we havethe goodto sitwith youand thatyou knowyou canyou can be
03:07you can bethe filmto see whatthe storyfor thepeople whopeople whodon't know
03:12so itso it'sa story ofwho decided to quitted thework of sex,but just before to quit,she saw a new clientwho is in situation
03:22of handicap.And after havingmet her client,she discoversthat there'sthat she has notnot evennever ever
03:29that's not eventhat,she knowshis workwith this newclientele,of persons insituations of
03:36handicap.How?How?First,I've gotto know howyou've beenreal-at-at-trice,
03:43a-old--old-old.My God.My God.You're reallyyoung,in plus.We're going to
03:49like,we're in a matter oftime of time.We're at asame age.I know.I'm in general.We're young, Tavaro.
03:53We're young.We're so much.We're so much.We're so much.We're so much.When I waslittle,and that I used
04:02these books,on the roleprincipal,you know,at the eyesof the protagonist,I'm imaginingalways,
04:09how I wasgoing to befilm me.And I wasnot eventhat I thinkI wantedto be
04:13realistat this momentbut I wasalways,I'd like,the camerawill be therethe camera
04:18will be thereand thenit's going tosee thatso.So,I'm imagininghow it's
04:24how it'svisuallylyso I thinkit'sback thenthat's thatthat'sback then.
04:30Vers,of 13,14,14,I saidI waswas able toI'm
04:35not,it's notan optionit,it's likeit'sthat I'mthat
04:38that you'rehow you'reand we're going to, I'm going to, I'm going tothis subject. Yeah.In fact, there arealmost 10 years,I was going to, I wasreading these articles, and I was
04:53a time on a article thathow a jobist of sexhas come to encounter a clienteleof a person in a situation of handicap.She had had a client,she's got in love with these clientsand they got married,and there had an story romantic.
05:05But the historyromantic me not reallyinterested.What I'm interested,because I think thata bit cliché,also. What heinterested
05:12was itwas howit's everthat I nevernever thoughtto peopleto get totheir sexuality
05:19and alsoat their sexuality,and also,at work ofthe sex,by the person insituations,I've learned
05:26there's beenthere's beenin Franceto meto form apass.In fact,it's a
05:32formationthat form ofpeople whobecomeassitancesexualfor personsin situation
05:36of handicapped.And inrevenantin Morale,I'veI've started todo youknow,
05:40the person insituations ofhandicappedthan thepeople whothose peoplethat I'mtalking about,
05:46you know,you know,you know,you know,I'msaying, you know,I've wanted toview that,
05:53of the point of view,that,of a familythat,who decidedto do that,and, you,not,
05:58the familyexploited,and,in fact,it's what Iknow,that's oftenwe don't,
06:02we don't,we're not,often,these women,sometimes,often,victims, it's notthese women who
06:09research the aid,that we haveneed to help,and the samefor the personin a situationof handicap,the same thing,
06:15it's the peoplethat's not the personthat's notpeople who arevery nice,and who areall kinds, andthere were some
06:23there's bad ass,and there, youhave a lot,and it's thesepeople thatthat I wantedjust to showto the screen
06:29because Ihave an impressionthat wedon't knowor that weall,of a certainpeople
06:36Antiqueped, they're allgentleand they'reThey're likeYeah, they'reExactly, in thevictimization,often by the
06:44two-cotein fact.Bravo,in fact,that,to have doneto haveto be able to
06:48and thento be able toand that's,it's one ofthe things,I'm,I'm sure,because Sonia
06:55that hadhad done tothis film that,Sonya vanSaches, that'show did youhave been toyour first,
07:03how she hadfound that?that?Ourour encounter withSonia,in fact,it was at the
07:08first of film,at the firstNorth American,it was at thefestival,the Cinemania,and I invitedfor that
07:16she had beeninterviewed,I interviewedplenty of otherpeople,and I,and I,and I was
07:22proposed atthe end ofthequestion,for the questionif I'mdirectlyin line with
07:29the work ofsex,for that I'mnot ajob of sex,so I'm nota questionthat's
07:33address not to me. And in fact,someone has posed a question, and shehas taken the micro, and she said,in fact, before to respond to the question, is what I canjust say, and then, she said, she said, shesaid that it's the first time, herhaving a film, in fact, that,who, well, who, that revisibilize
07:54not her work, that he does not invisible.And she was really content, and reallyreconnoissement. I was really touched, because, in fact,what's what I'mthe mostwith the filmthat's thepeople are in
08:06the time ofpeople who areand they're saying,okay,we're not,we're not,we're representing.And a better
08:13way,and we're notbeing representedbefore.Same thing withthe personin situation ofhandicap.
08:20She'll havepleadedall along,it's all right?Apparently,she'll beshe'dprobably,
08:23she'dapparently, shehas beenapparentlyour littleone ofmy way,yes,
08:29it's sure,Kallin.I mean, beforeI want toI justrevening tobecause we'relike you're like
08:35banalementbutbanalementit's notbanalement?You're notyou're notyou're the
08:42right to sayit's badalemso youhave made afiveyears,in fact itfor seven
08:47in a totalseven yearsbut fiveyearsin totalthat you'reand you'reto do
08:53make aformationin Franceforto dofor doingto be aworker's of sex
08:59with the personsin a situationof handicap?Yeah.Is it like,is that youcan't knowdo that?
09:05Yes.In fact,in France,it's abecause when I'mgoing to see theformation,they don't
09:09do you know.This formationthat in particular,they were notlike thework youfor us.For us,
09:14it's reallythe assistancesexualfor personsin asituation ofa handicap.A other
09:17language,no,but,while,so,I mean,so,if the
09:22if the people,if it'swith a personthat's with aperson who isof the work of sex,I mean,yeah,
09:28the personcan't benot move tohis car,but it's notmore of thework of sex,one that has
09:34with aperson who canbe able tobe able tobe able tosee thatthe assistancesexual,
09:39and like,like manypeople do yousee that,they wantto differentiate thatbecause theywant that
09:45that's sothat's notso muchthat'snot so,they're,they're likea hierarchisization
09:52of thework ofsex thatI tryalso todo pushin thefilm, in the
09:55case, we'llhave come back.But theformation,it's aformation of aschool of atime,
09:59it's atime of thethings of thedifferenthandicapped,but alsoon the law,because it's
10:07criminal,to do it,for that'snot decriminalized,it's acrime,it's alot on
10:13all theaspects thatentour thepractice ofthe assistancesexual,so we havereally a
10:19group,we had,time of theformationthat was doneby apersonin persuasion
10:24on a handicap, by someone whopractice the job ofthat's a job ofwork, bysomeone who ismore theperson, so,it's a
10:29completelike a professionprofessional.It's not,in fact,you know,in fact,I'm not,
10:36I'm not,I'm not,I'm notpractiqued witha person,but, you know,we hadsome, we have
10:40some of,there, we're, there,some,activities,that we haddone with theother,
10:45for kind ofwith somesome ofsome,some kind ofpractice,you can practice.Yes,
10:50and,and,some,some,techniques.How tolearn theway, by example.
10:56It's that,there's that.There's abut what'swhat's thereal, is thatall thepeople are
11:03seeing, I'vemet 15%have all ofa clienteleof personsin a socialhandicap,they've
11:08not seenof theirformation.And thisclienteleis partof theirclient,
11:13you know,a certainpercentage,there'sthere athere'sthere onsome people,
11:18there'sthere's a lot,you know,so,so,so,so,I've seen
11:22this formationat thebeginning of myresearch,you know,because Iwanted to try tounderstand,
11:28because I wasalso I hadnot bein the filmtodaybecause I'dhave writtenbecause I'd
11:56have writtenthese cliches,you know,that'showyourinterest forthis milieu
12:03that hasappeared?Yeah.I thinkthat thebase,the subjectsare the
12:10subjectssocial,politicalof communityandthat aremal-represented,I think
12:15I'm already,I'ma traitto geta bit morestigmatized.And then,I'm going to
12:24after someafter the subjectsfeminine in generaland the subjectthat's,you know,I mean,I'm not a film
12:33on the sexualityif the sexualityme interest not.So, it'sthe carhuman,I'm interested,the car in society
12:42me interest.So,it's alreadythese subjectswho are,even mynext film,there's a
12:48line with thatalso,it's not thesame thingthat thefilm invisible,but,you know,
12:51a link alsowith thefemininity,I don'tsay femininity,but the feminineand with thecar,
12:59and especiallyof the subjectthat'sthat we're marginalizeand that'sI'm sure so.Is thatimportant for
13:09you,in fact,I don't knowI'mpretty these actors,but isthat personin a situation
13:15of handicapin the filmis a personin a situationof handicap?Is that theThe Traveyoroes of Sex in the film is a realTraveyoroose of Sex?
13:22Is it or not?In fact, there aremany people in a situationhandicap in the film,there's really three rolesprincipal, and there aresome role secondaire,and there's, like,
13:29there's, like,there's a crotty,like, kind?Not crotty,but it's, like,bad, bad,and mechance.Yeah, yeah,
13:36yeah, I'm like,crotty, excuse me,the accent,but it's,there's a rolenot, uh...Yeah, in fact,there's a person
13:43who's just peoplewho's just people,it's really people,it's reallypeople,in situations of handicap.All the world.And it's important in,
13:52you know, in myapproach to,I'm for talking topeople who are innot going toplay with people,people who areplaying with them
13:59to play.It's justrecreat the tabooto not,you know,the taboo toin fact, at part,one person that,
14:08in fact,we can't,the person whoused a handicap,is Stefan Kreit.And it's arole that is verycontroversial,
14:15we love,we don't,it, it's amanipulator,at the same time, he is fin.So I've tried to try a person in a situation of handicapfor joy this role, and I'vegiven a lot of difficulty,
14:24because it's a role just complex to play.Be and it's just complex to play.So, finally, I've decided to take Stefan Krettewho has, like, 35 years of experience,if it's not more,for it, and he's formed,also. I've made friendsin a person in suicide and handicapped,
14:40and there have viewed,we've had worked there.So, you know, we've worked thereBut if you know,all the otherpeople,we've reallycreated the
14:46scenes aroundtheir handicap,and we're reallyadapted, you know,all the scenesof sex, you know,and the personageof Floyd,
14:52by example,that's thehe's paralyzedat the complete.But, you know,I'm not,you know,he's not,
14:59so,he's got toadaptate thesexuality,we have adaptedall the scenesto him,even if he
15:06he's used apersonage,even,it's moredifficult towork withthese personsthat,
15:11that's just aadapt to,or the personwho's notreally in asituation ofhandicap,is what the
15:18mostthe most...In fact,it was...In fact,I'm reallyadapted the scenarioto the
15:23person to thetime, but Ihad that Ihad toI was...I wasI went toto say,
15:29I wasmade a supergoodfriend,and I'mthat I'mthat I'mgoing to
15:34find out ofyoursight,in vestmentswithoutthat you know,so,so I had
15:40mypaper, my scenarioon the side. And then, like, okay, Floyd,I'm going to make my mind there,I'm going to see if I'm going tomy own to your foothoil, you know,so, so, I'm trying,to try and, you know,
15:52it's going to, ah, it's not, so we're notso, we're not, so, I'm going to,like, I'm also, of some end ofthe same, or with, a other personage,in fact, Patrick,who is an other convoire, buthe has a paralysis cerebral,so, he has, you know, he has
16:05some, we have a difficultyto understand what he says,and, and, he, he,notnotforhe can'tdo you
16:12know,so therethere's amoment of thehe'she's placedon acuyer
16:18but it'she'sI'm going toI'm placerin aplace forbayserso that
16:23that'sit's likefinishedthe scenariobecausehe'she hadprobably probably
16:28probablywe'vewe'vetrieda bitallalladapted
16:33andyeahbut it'scoolthatthat'sit'slike
16:37we'refascinated byyour worklike, is itlike to bea productis like,is it
16:43like you're liketo be able toget a littlebecause they'relike the actorsdo that'syeah,Leonardo,
16:49I think ofthis example,he's going tofull tobe able tomake a plan ofbut Iknow,
16:53but you'rerealisattorsbut youwere,you'rerealizateor not?No,
16:59justsynaristand hewas abut Iknow thatbut I'min fact it's
17:03a choiceI meanbutit's acommon?Is ityoudo you
17:06think thatisI don't know if it's common.I don't know if it's common. I'm notnot sure. I'm not.You're not.Thank you.Thank you.
17:16But a way of,but a way of how muchtry to be able tobe able to be able toespecially if I partyingto these communities.You know, if I'dhave worked as to sex,
17:26well, I could bemaybe write someto be re-enceeingon many of thingseven if I thinkthat you knowto be inbecause it's
17:33it's a little bitbut I mean, I think it was the minimumto do, if I wanted to make a film like that,it was to be re-rengthenia the most possible.Yeah, but in doing, in any way,I've ever looked to go,I feel like, I'm going to be, you know,I'm a category, like,
17:49of more.Thank you.You're really honest.The personage handicapped,that I said,croted, disagree,disagreable.That's, what's, what's,
17:58why you've wanted to do,because a person like that?In situation of handicapped,that we don't,But, you know, in the society,when we talk to people who are nothandicapped,they attend to people
18:09aggrable,that's the worldaggrable,but there's the samein the communityof the personin a situation ofhandicap.
18:15So, just inwhen you're ina person who hasa handicap,but thatdoesn't know,it's justit's just to
18:23get to bejust the rentlike thatother.And, you know,if we,you know,when we're
18:28a person ina situation ofa disability,we're,oh,it's a goodperson,it has
18:31a goodvalue, you know, she, sheshe, she, she, she, she, I'ma little, you know,my two conseilierat the scenarioization, Floyd,in one, two, Floyd, he said,I'd like, I'd ever
18:43to see, bad ass, or, genre,or, like, a true of cue.We can't have a true of cuewho's an handicap?I was, because it exists,and it's just a stigmatizedthat the image that we haveof the person in social handicap
18:57who is all, and jolly,but no, there, there's a true ofAnd I gotI've gotalso the trotof cues,and they'reand they're like,
19:04hey boy.In thecard of the film?Well,yeah, in myresearch, I mean,I've seen,I interviewed,
19:09plenty of people,and there'sthat I'm notat least,there's alike, you know,he's not differentthan an other guy,
19:16yeah,yeah.So I was,like,justly,we'd,would beto show
19:20also,it's for that.In your,you know,you did,you did,you did,you did it
19:26deconstrued inthe cliches,let'swhat'syou'vedeconstruedthe plus,let's turn
19:33what I'mdoing themost?When you'renot thatwhen we'reassassinatedTando?
19:40Yeah.But,but stineme,Tontoyou canbe Mostinra.Something
19:47that Ideconstruedwell,in fact,justjust thatthework,
19:52oh,be,you go,you'veMostin,if you.thework of sex
19:57with thesepersons insituation ofhandicap,it's not differentof the workof sex witha person
20:02not in a situationof handicap.Yes,there are perhapsthings thatyou know,how you can'tuse a left
20:08person,how,how,I don't know,replace aperson who can'tbe able tobe able to
20:14be technical.But isnot differentthan another client,I mean,there existsthere are
20:21there are,thereThere existsthere's clientswho have40 yearsand whohave never
20:26made thelovebefore.It's notnot ahandicap,so.So,
20:31so,everythingI think,and I'mI thought,really,it'd be reallymore humble
20:38to be ajob of sexwith peoplein asituation ofhandicap,butthere exist
20:43there arein asituation ofpeople,because therethere'sthere'sthere's
20:46there'speople,but they're,I'm,they're,they're likea sort of something that'ssomething that they derange
20:54in their sexualityand they're notat least,all the finalit's the same jobit's the samejob of workof sex and I
21:03think thepeople say they'renot all the worldbut can't youhave to be ahierarchyand what they saythey're saying
21:11they're doingto do the putarchyI'm notbut it's thewords that they'reusing or of thehierarchy of puttit's like
21:18oh yeah you'rebetterso it's moreyour jobBut, you,view that yousee thatpeople in
21:23a child,it's notnot so muchwell,but there,you know,you know,the job
21:28of an otherfemale whodoes thatthat's,so that Ithink it'ssomething that Ireally destigmatized
21:34also.And there,where is wehave not thesame point ofview at theafter thatI'm,
21:39okay,I'm sure,that's,at that,level legality,I'm,I'm,because,
21:45like,because,because,that's notbecause,because,I'm,I'd say,
21:48I'd say,I'd have madethe,actually,the,at the sexualof the sexualof the
21:55because these peoplethey have really,like,not access,and it's thepeople,they're not,they're not
22:01going to be ina bar,and, you know,I'd say,I'd like,I'd like that,but afterthat,
22:09after that,I'd say,there's aperson who'son a handicapwho,who have beena sexuality,
22:13and that'sthat,and that'sthat,and it wouldI would have, again, create an etiquetteon where you have an handicap,so you're going to be a category different.
22:21And also, they'll rather haveto have the hierarchy of handicapped,because the personavugled, example,is not ascent-handicapedthan the person who doesn'tso, he wouldnot have access to
22:32that, but the otherwho doesn't haveaccess to...It's a...It's very complicated.So, you know,along me,and along many of the
22:42sex, is thatwe're going to decriminalizethe entirety of thesex,willing notto say thatthe workof sex,
22:51in fact,the exploitationjuvenile,it's notthe work of sex,or the exploitationof the person,it's not
22:57the work of sex,or the traithuman,which is notthe crime,the crime,it's that,is that,
23:01is that,decriminalized,just,just,to,to aid morethepeople are more
23:06moremorestigmatized,and havebeen more, there arethere aremany,
23:11there arean encodremant,plus,Well, you know, justthere's a lotwho's just, you know,Sonia meme say,
23:19I'm saying,I'm,if it'ssomething difficultfor me,I'm,I'm not,the police
23:23at the policewill notcome tohelp meend.Well,if we'redecriminalized,
23:29it's not a,you know,the clientis not crick,because,in fact,thepractice of sex
23:34in a timeshe,she is notcriminalizedfor her,but all thething iscriminalized,
23:39so the clientis criminalized,so the client isa chum,like a criminal, because it'sa proxenet.In fact,all of what's
23:46all thewholeis criminalized.So,in fact,they're working,these personsthat can
23:51work in their,they're insituations reallynot secureitarbecause just thatallotoris criminalizedand they're
23:57not.We're doingfor youtalk about,obviously,of ourphoneistererinternet
24:04preferer,who isOXio.Now,Liz,I just to say,before,I don't know
24:12if youdid that,but when you're inlogement,you know,do you know,you know,you know,
24:15to say,because yourmoney,you know,more than youget to get inyour money,and then you
24:20did it,you do youdo youdo you do,or it's notyou're doing that?I'm,I'm,
24:26how it's the, you pay that?You know,that's theway,I'm going tocontinue topay more,
24:31because I'm notthe goodto passtwo hourson the telephone.Oh,yeah,I'm,
24:34I'm not,I'm not,I'm not,I'm notI'm not thewant to havewant to beback.
24:38Well, Oxio,it's thatthey're going todo they're notbecause they're nota contractfixed.Because it's not
24:45because it's nota new newpay more thanyou know,that's a fewthat's ayear to have aprice of price
24:51there's notno, there'sno, there'sno, that'sthat's like,oh, my,I'm not,you've got used
24:55the littlelittle littlelittle bit,a view,no business,no business,no business,no reason to
25:01just and durable.It's arelationship,it's aconfidencethat you battywith OXio.Really.
25:07And, me, that's reallysomething that'sreally somethingthat's reallyto pass twohours to payto negotiatethese prices.
25:13And I'myeah,you know,you'reyou're going topay morebecause you'rein the yoll.
25:17Exactly.So,the gangif you'lltry to tryfor thefirst monthand on
25:25OXIOCAwith thecodesex oral.So,so,thank
25:31OXioand good job.Isthatyou'vetalked tohaveto talk
25:35toto peopleof the governmentfor what'swhat they're doing?Why they've done?Why they've decidedthat's just
25:45she's correctbut in the factshe can't be able toher own?Is it a great question?Is it anquestion?There's a
25:54question?There's a new evolution thathas been,there's asomething or Iknow?There's beenI've had the
26:00impression thatwe'rewe're reculehey, it's aquestionand I'dfeel really malto respond to
26:09at the placeof thesex therebecause I'm notin thelot,it's just,it's when we
26:14think when wethink thegeneral publicwill oftenthink tothe womanthat'sthe woman,
26:22I'm generallybut there'sthere's awomanand all theperson who isthe personthat is obliged
26:27to bethat,it's oftenthis imagethat ofthe workof sexbut
26:32what youIt's a fewthere's not the work of sex, when there's a lot of exploitation and all that. So, and then, I think, I think, it's the government has to be the difficulty to do it, and it's not, and it's not a problem. And there's a lot, and we're doing it, like, to be it, like, we're doing, like, we're doing, like, we're doing, like, we're, pay his studies.They're paying hishis students,pay for hischildren,pay it,
27:05but it can alsofor thesevalues more noblein the guise,but it's notto us decidefor thesepeople,
27:12no,you'd have notto do youhave to buywith thatwith that,we can't decide forthe other
27:17but therethe governmenthe wouldlike thatfor thesepeople like.I'm trying.I'm
27:23what'swhat is,is thathas youhave a messagein particularthat youyou want to really pass
27:30with your film?I thinkit's,it's thatto make thelight onsome peoplethat we're
27:40not,and that'sjudge.You're addressedto them.Yeah,really,to be able
27:46to give thelight andthe power,and it'sfor that Ihave usedthesework of sex
27:52who have beenmyconciergeyto thepersonon thedisability,also,
27:57the concier ofthe scenario,becauseI wantedthat ittheir voicethat'stheir voice that
28:02pass away to see thebetter thanit's sureI'm sureI'm sureit's sureit's changed
28:08some point ofyour point ofyour point of viewthough.We're reallyI'm tryingI'mlike I'm
28:13because mypoint of viewis thatall rightwould beall rightall rightit's like
28:19a bit likea drugif weif we'reit'sall theeveryone alleveryone's
28:26a bit likea bit likea lot ofsexthere areplentywhen heHe will be more encodered,
28:31you know, and he will havemore of risk,more of thething, so.So,it's reallythat's reallyso,
28:36but is,is thatwhen you'reto turn,is,is you'reto have anold
28:42success?Whoa,that's aold,a six guy.No,but it'sstill,
28:47it's,it's all right,and you'reto come tohave, youhave,to arrive,to the Guadloop.
28:51Yeah,I arrivedto the Guadlo,I'm,I'm,I'm,a festivala new world
28:55there,a bar,No, in the senseI want toI want to bethat the filmbe viewedand I think
29:08the film isview.The view isthe fact that the filmvoyage,well,it's a subjectinternational,
29:15the travel of sexexistseverywhere.The personin a situationof handicapexistseverywhere,
29:20so it's asubject,it's nota subjectthatthat's justin Quebecthere.
29:23Yes,the filmisinin French,you know,in Quebecbut I mean, it's
29:28these subjectsuniversal.So I'm contentto be able tosee howthe different publicreactists?Everyone is a
29:34different.How do you...In Quebec,there are somedarkas,so in Quebec,it's rye,it's a rie
29:42in thetime during thefilm.You know,it's not justthe drama,and it's superserious.
29:47Yeah,it's seriousas serious asas subject,but it's notaboutabout itbut it's
29:51in Belgiumthey were morejened,so it'sRicaned,or in Guadloup,it was reallymore jenny.
29:58You know, it'sMalaised or?Oh, yeah,there are more people who arethere.There are plus of the worldin Guadlob.They're not
30:07a bit of course.To see that.Be, to see,of the sexualityof a manneralso crue,also,and it's a
30:11pretty fronautalwithout thatsort ofbut I'mthat there'sprettythat's areal,
30:18because therethere RobertCharleboawho iscoming tothe filmin Guadloupwith
30:22his family,and Imean,She said, she said,At the end of the film,I'd have beenthere's a fewwhen I was
30:30couldn't see.Because I wasable to be able.But the filmadvanced,the more Iwould have usedthe end up,
30:35and in fact,I said,I mean it'sreally liked that.Is itwhat?Is itsome of the penis?
30:42We know,we, we,we, we,we know,we, we,we,we,we,
30:47we,we,we're,we know,we're,we know,you,you,
30:51, you,, you,,We see the body, we see,we see,we see the penis, also.In fact, the mannerthat's been filmed,
31:02it's really been filmed in sortthat we see the actions,we see the movements,but we don'tnot on the part of the carif we have not beenon the pootrine,we will see the man
31:12that's on the pootrine,but is I need towant to make thejust the same, no, not,so the bus, it wasreally to see thecamera was reallyadapted to the
31:21mis in thein-s-in-since,in the porno,the pornoheterosexualmade by themen,what we're going
31:28to see,okay,we're goingfrom viewof the man,so onwe're doingthe same,
31:32we're doingthat's athing,or that'sthing,but thecamera hasnever been
31:37on thetop of theline of thecomedian,it has alwaysat theheart ofhis eyes
31:44or by onto theand it'sneverprioritizedto monitora partof the
31:49car if it'snot,but isto catchno,I'dnot,I'd try
31:53it was part of the scenes.And the actors,is that the person in socialhandicap,is there,there had to the difficultyto turn to this genreor there,
32:06there's been,there's still,there's still,there's,there's,it's quite,there's,there's just a lot-al-a-laise
32:13and that you hadfelt,to have,we,we've really,in fact,we've had,a coordinator
32:19of intimacyity,a counselor,a intimacy,and we have alsoa,that's, like, passedall the scenes,you know,
32:26that's like,that's the same,I mean,et cetera.In the sense,it's sure that'snot the storyof all the
32:31story of thecharacter of Elizabeth.Not all thewhole wholewould have madethe sameway.It's really a
32:37point of view,but she hasreally lookedall thethings, shehad notmade the same,so we're
32:43having beenso we'vedone the point ofthe point ofthe work ofthe sex,to what'swhat she
32:45has donereally,and it'severythingit's madeon the plateto turnage,it's
32:51closed set,the plateausof thefact,there's nothad beenthere's notthere's
32:56I mean,it's noteasy tonecessarily to turnthese scenesthat.It's not,I mean, it's
33:03not like whenall theteam is there,you know,you know,you know,it's reallyrespect the
33:08rules ofthe scenesof ourpeople,who arestrict.Well,that's the
33:13regular.Well,there werethere'splenty ofrepetions.We hadexposed our
33:17limits,we had reallyreallydiscussedthere'svery,very clear,there was
33:21a lot of transparency. And on the plateau oftournage, well, in thecell, there were, we'llsay, the two comedians, comedienes,the director photo, who is at the camera,the preeneer of sound, you know, whohe had a perche, and even me, I wasnot at the coat, often, we'd
33:35be a lot, and then, theway, and the, the focus,but, these four, he'd be in the placard,you know, he'd even, Pohl,so, when I'd say, when I'd say,Couped, well, the twopersons, so returne directly,we covered the people.
33:53And after that,we'd see the comedians,comedians, if all the peoplewere there, if there weresomething to express,if there were a result,then after that,it was correct,
34:02there, I could say,I could give my notesof the game, and,et cetera,and continue the tournage.So it's very,very strict, there,there's no improvisation.
34:09And there's zero improvisation.I mean,there had threebizu on the shoe,it was three bisu on the juice.It's not two,it's not four.It's three.
34:18It was very encodered.Okay.And is that,if it's not for this filmthat,I'm going tohave been,so in this
34:28or one other,a scene of sexthat finallythe actorhas said,hey, do you know,I'm not-a-leased,
34:36finally.And then you're like,there's a filmthat's-what's,what the...Well,there's not
34:43there's notthe personor the personor someonehas said,oh,I've gotcould
34:48have beenput upthat, but we'rethere's away, there'sthere's abecause legallythe person
34:54would say,ah,finally I'mreally,because I'mgoing to findto say asex,
34:58or have togo, and you'relike,there's acontract that'sthere's athing,but I'm
35:03saying, you'renot obligingto do youhave acase, andfinally,I mean,it's for
35:08that alsothat existsthere'sthere'sthere's acontract,but therealso the
35:13the restantof the person,it's moreimportant,you know,I mean,So he,he's
35:21he'swith the actorsand he'sthis person thatwho comeshe's reallyreally with therealisator or the
35:29realisattress alsoit's reallya linkbetween all theworld forin facthe canhelp
35:36the realisatoror therealizatriceto arrive athis finof away thatmaybe will
35:42be perhapsmaybe therealizatricehas notthoughttohe willpropose
35:46somethingokay, but this manner, that, it'sa way that, it's actuallya lot of the same.So, no, no,it's really a facilitator,but really for the twobars, and also
35:54for protect,also the, you know,at the base,it's always beento protect thecomedians, but it'sreally in the two directions.You know,
36:02it's not justfor protect thecomedians, it'sreally for thatthe filmbe made,and all-a-in all-a-a-
36:09in all-a-a-in all-a-a-I'm a littlethat's a coordinator.A cordonat-init,yeah.You've seenthat?
36:18Someone who did that?In the film?Yeah,yeah.Well,don't know.Well,if you've got
36:26done to havethis filmthat,who's beenwith you,like you,like you,have,
36:31um,yeah,I think,yeah,I think,yeah,I thinkthe moments,
36:38say,preferer,it was,uh,there were,uh,by example,in the cinema
36:45Beauby.someone,the first personwho hasa person whowas a personin a situationhandicap and said
36:52I'm finallyreally contentto be able tosee a filmwho herepresent.And after thatthere's a
36:58sex who hashad put theparole,she hadthe microand shesaid,I'm in
37:04this filmthere,and all rightafter,there's aone ofthere'sthere's
37:08there'sthere's like,there'sthere'sthere's likeit's likeit's likeSonia
37:13that'swith Sonia,in cinema,Beau Bien.And then thepeople,these women,these people,
37:19are coming tohave to live thehand in saying,I'm saying,I'm also,I don't knowhow manythere's a
37:25sex in thecell,you know,I don'tthat,and there werethere's quitemany,
37:30and it's allsome of thepeople,I know,I don't,I know,I know,I know,
37:36I know,and in fact,it's,they were not,and they'dbe the personthat I'mrepresent to the
37:42film that,I'mme viewthere,even if it'snot myhistory.So I
37:47have youhave beenwhen it'ssome peopleof these communitieswho arethat's avalidate.
37:53Now I thinkthat's likeI think thejob hasbeen perhapsthat's beenmaybe thejob has been
37:59let's golet's be itthis nightis who ison a platformon this moment?Nownow he
38:04achieveto be incellwe'reon it'son trying tolook forthe platforms
38:10it'sbut therein somemomentbecause he'sstillinternational, he's notstill on
38:16all right onon thebut it's onit's onit's onNetflix.Netflix isperhaps a
38:24bit more more,there's alot of signof nudity,of sexualityI don't knowReval Shabrohathat,
38:29the rivalry,it's on CraveIt's onCrave, well,Crave de bar.Well,we'll apply Crave.Crave,
38:37I know,contact.Crave?Crave.Well,yeah.We're notthis podcast, which is surely extremely
38:44good, for you talk to somethingthat's more important,which is our show of 4 September,so a little rappel,Laskar, for youprocure the billets.We'll do a showat the amphitheat,
38:55which is the mostshow that we've madeof all the time,which is thefour thousand people.We're going to bethe amphitheatCogéco at
39:01Three Riviers.We'll haveMatthew Dufourwho will be withus all thenight,and MagaliSt. Vincent
39:08and Pascal Marino.We're reallyvery excited.the last time, therehad to haveopenedon thegason,
39:14so we'vebeen sold toour beerrapidly.So if youwant to beany other,depaise
39:18you,we're reallyreally supera heartto live thatwith you.And plenty ofsurprises
39:24for you'refor you know.There arethere'ssome.There's afilmed inthe real
39:34new places,there's gotthere's beenthe wayto just likethenew,just the
39:39as in personage,to not recreatethesenew places,but really,to go toget in theplace,
39:43it's notthat's,so that,so it,so,yeah,the Wiggle Roomwhich is
39:49the placemythicBurlesquein Quebec,to Canada,gere bya womanalso,
39:56we've turnedto Wiggle Roomthat'sfor somefor somefor somecertainBurlesque,
40:02so yeah,I, I'mwanted todo theseplacesthat,they're tryingthese
40:08realplace forthat we'rereally,and we'renot justtrying tocreate
40:12some of thecharacterwe're not in theperson of theperson's realisecan you knowcan youtalk about you
40:21talk about thisuniverse?Yeah.And you'reform at thisagainformal.I've got to
40:27I'm nota lot of...I've intervieweda lot ofbecause it's also amilieumarginalisedthat we
40:31know not,you know,we're comingto knowthe dragto moremore, youwe know,
40:36but theburlesqueit's still underground,and the burlesque,of what I've discovered,you know,you know,you're,
40:44you're,we're getting the cachesMamelon,and we can't,you know,the string,you know,you can't
40:50a little,and it's reallyvery empowering.It's,you're at nueon scene,but in away to control
40:58your public,the publicyou're applauded,so,where you come,can't,you know,you know,
41:03your form,you know,keep,,style also. You know, there's amore classic, a littlemore, you know,that's, you know,
41:13the burlesque withthe frou-frou,the be able to beaulessthat's more harshor who is humoristicthat we'recalled the neo-burlesque.So I've really
41:24wanted toplay with themediumartistic of the burlesquebecause, youcan tell themcommunicate of thingsat the time,
41:34it's in the car.And, again,sothat'sall thecar,and I'mwhat we're
41:39I'm aI'm aco-chroffalso,I'm nota artistburlesqueso I'm
41:42reallyworking withthe artistsburlesquefor createthechoreography,but I
41:46think it'sa wayof expressionextraordinaryand therealso thereartistsburlesques
41:51who arealsothat'syou havedone aformationand it'sfor that
41:56we'rethere,ourour nameouranothercomedianNadia
41:59Shadisheshehas donehe hadofferedsomecourse Burlesque. I even
42:04made some of herwith hershe's practiced.She'spractised and thenafter that youhave been likethe choreographies
42:10and it'sthe artistburlesque andwe've gotchoreographiedand wehad doneafter it
42:16so there'sthere's a jobthat aboutthat.Is wetalk aboutthe processof your
42:22comedian?How do youdo youhave chosen?Is ithas beento havea number
42:27burlesqueand youknow howit'sno?No,in factthere
42:31hadbeenauditioned. And the auditioned, and theauditioned, the person who did theline, you know, to respond to thecomedian, it was Floyd, who isa person in a situation of handicap who used in the film.So, before, I wanted that,
42:46that's, they'd be that'd be able towhat's it, to play with a person insituation of handicap, that I can understand,it can, sometimes be destabilizing, atthe beginning. So I'd want to be thatso, I'd want to be able to bethen we didthe audition
43:00and thenyou were thereyou were thereyou were atyou were at allyouyeah I didI did all
43:06I did put thecastingand then Idid you makethe person in thecameraand theproducer and
43:11if there wasthere was aone toone witheach comedianwho hadauditionedto see
43:17how he'sshe sentis,is thatis shewas ablewithFloyd
43:21just rightand whatwhat'swhat wejust tojust toseejust to see
43:24just seeshejust toseeAnd I'm...And I was doing thatwith each one.Because it's important.
43:30And after that...There arehow many?How manythat we've auditioned?15,maybe.There are many
43:38who are notgoing toauditionedalso because, Imean,it's thesescenes withmany nudity,
43:43it's thesetheseare veryveryvindicatrists,you know,it's notall the
43:49people.I thought it'swhen youdid the,I've made,I've made,I've made,I've made,
43:54there,comedian, but that finally,they'd want to, or, by example,I'd express very clearlythe way that I wantedthat was filmed, you know,I'd say, he'd havebe a nudity, and we
44:04had one who hadalso very interestingfor the role,and that she hadreally, for example,these limitsvery valid, by example,I don't want
44:14that my mom,on, so I'mthat's beenmore than five seconds,which is very correct,because it'skind of his image,and this film
44:21will exist forfor always after that.So,So, I mean, it was notin my manner to film and toshow me, because the bus was not toshow a mableon.It was really to show a manor
44:33that would be, I don't know,10 seconds at the screen,well, if it valetthe pen that dur,I'd be not restrainbecause we've signed iton the contract.So, you know,
44:42we're not going tobe auditioned.In fact, she'd havebeen auditioned for the roleof the colloqu,that's the protagonistprincipal,and she, she,
44:53I would have been auditioned also for therole principal,I feel really.I said,well,yes,and she said,she,
45:01it was really,she, it's,for me,it's,it's, okay,I'd like,I'd like thatthat's said,
45:06and then wehad played acoffeeand we'vediscussed,and then I'mthen I'mthen I'm proposing
45:11the role.How?What'swhat'swhat you'vebeen inher forthis role,
45:18a sincerity.Yeah.Yeah.A,a gamevery simple. I'm veryvery close to mymanner of film. I'm often in
45:28a great plan. I'm very pleased to be comediansand comedians. AndI'm really need to thegame is very simple and very insubtility.AndI've seenat her also. It's, you know,
45:42to see, watchbecause, without she,, it's not sayingthat she, it's notnot even, you know,we can exprimed a lot,but in doing veryI think she
45:51She thought thatshe had this abilityand really intournage alsosometimes we'dmake a pieceand she saidshe'd be a
45:58she'd be notshe'd be notshe'd be goodokay I'm gonnado it soonshe sheshe sheshe she
46:04she had sheshe hadneed really verya wordand she'dlike thatshe'd likeshe she'll
46:10yeahso wehad agoodcomprehensionthat ofthatshe was
46:15is itis youryou've hadhadhad severalfilmbefore theit's my first
46:21long-metrage.But I'vemade ashort-metragebefore.How did youhave donethat to do
46:26do you knowa long-metrage?Fatigant.Yeah.And it'sa pretty timealso?Well,
46:32you know,the tournagea fewyears,like threearound,like,maybe a
46:38bit alittle more.And itwas alsoon differentseasons.In thefilm,
46:42we're notjust init'sit's beena longperiodof time,you know,
46:46for theprocessusof theprotagonistAnd we're going to be in Quebec.So in Quebec, we havethe snow, we have to the autumn,we have to the winter.
46:53And there's a lot ofall. So, it'salso turn in differentseasons.Oh, my God.I thinkthat's the instantanityof the social.
47:01They're like,as a projectis long,I'm so muchso it's really toughto not havethe result ofall right now.
47:10A long-metrage,you know,just the timeto it's just the timeto write.It's true.I'm in researchfor my
47:15prochin.But, you know,can youdo you andYou can continue what you'd say about, I'm excuse.No, no, but I'm finished.No, but I'm finished.The next, in fact, I have two.
47:28One, one, that's written, but one,the one, the way that's developed in research,it's a trait human.But the trait human,by the trait sexual of the women.So, again, asubject is feminine.But this time, really,
47:44contrary to invisible,reallyon the otherside,180degreeand theother bar,
47:50really,the womenare,especially thewomen,who are,who arepart of the
47:57trait human,and Ihave alreadyto getto getto bemany ofso,
48:02so I'mthere,I'm noteven,I can'teven saybecause I'mstill in
48:09the time,and I'mthink thatmore challengingthan whatyou'dYou're
48:26Because the problem is that, in making these research, I've discovered all the treat that is made on themental. I've nottotalk about,I'min situationsin asituation of
48:49handicap.I've notnot made,I'mnot made,I'm notI'm going toI've been
48:57a moment,but I'mat a momentI'm going tosay,I'm going tosay,but when we
49:01do thiswe'rewe're doingall,we'rein thecountry,so it's
49:06sure it'svery,it's veryveryit's asubjectdifficult,but
49:12it's apresent,everywhere.He's atpresent inin thehe's presentin the way,
49:16it's not,but for thatI thinkthat's right,it's not thatit's not quitebecause it'sto be able to
49:20people whothere's inbecause we'rehaving a viewone,I've seena film,and I've
49:25never remitthis film that,the word ofthe movie,Taborois,it's a storyreal,the guy,
49:30he hassaved all thepeople,he has beenbut this filmthat he has beennot beenpast
49:37because it'sthe truth,it's thethe Unitedthetriteof thechildren that
49:43have beenmade.But,uh,yeah,I'm alsothere's away of
49:49way to makea way of courseto make sure,you know,I'm notto talk abouta subject,and not
49:54invisible.When I'mwhen I'mtalking about thesex and thepeople insituations ofhandicap,
49:59we'rethey see,the scenes ofsexuality.It's not,like, okay,there's aend of the
50:04end, you know,the tradeof thetime,it's perhaps,it's so,so,so,
50:07so,so,so,I'm like the difficulty to meto be,yeah.So,we're like
50:11my anglefor the momentagain,it's morethe trait ofsexual,to see,to see,
50:16how I'mgoing tothat.How do youthese womenlike,because yousee,
50:24they're inperson?Often,in fact,for invisible,that there,it's aearie also,
50:30and it's alsoI do,I do,I do,I've doneto tellassociation.Well,
50:35I'm talkingthe association.Hello,I'm present,tat-a-tita-tata.Is theresome people whowould be able to
50:41to be able totalk about,it's abut it's likethe job ofterrain, youit's not juston the internet,
50:47it's sure thatI mean,I'm sure that'sI'm at apoint ofsometimes I'msometimesfor the
50:55people, so you'regoing toget to theperson.And therethere are somethere'sthere's
51:00also try withwith theresearchists,now,now that I'mmade along-metragelike that,
51:05I'mprobablywith moreof person for the research, but Iagree that when I goby me even, you know,you know, you know, you'retalking about your proposal, you know,
51:13your view, you know,you know, you're doingto do that at your place,is, is ityour, is yourfirst long-metragethat you've doneto want to
51:22to try tothis idea thatthat made to be,or it's alreadya plan that youhave?Good question.I think that
51:30yes,yes, it'sthis firstlong-metrage.In fact, Iwas, I think,I was inan event
51:36of TDS,of Traveillanceof the sexandit's surethat in myresearch ofwork on my
51:46research of workto work withthe exploitationI've heard ofplenty ofthings,I mean,there's plenty
51:52of subjects,there,there,there's a,but I thinkthat,yeah,it's a
51:58part of,yeah,I've got,I,I had not,I've beendecidedbefore,
52:02yeah.In fact,there willalso,I've hadto liateAnd it's also at thevulture of
52:10of vulture of vultureof vows of the womenalso there'sa market.It's really a marketthat's a marketthat's it.It's a lot of
52:19it's like a marketillegal tovent,there's alsoa market of spermthere.Just the spermis a little
52:26more easyto be procuredbecause theperson justto crossyand themows of theovule of
52:31the same,you have toget thethings chemiqueforproducemore offor then medically
52:36and they retireit's ait's ait's amore complexand it'smuch morethere's more
52:39there'sthere's morethere'sso oftenthe womenwe're doingall thepeople, I mean,
52:50in healththe womenare more,there's moreof researchthat's beenthere's beenthere too
52:55alsoso it'sagainso it'sagainthat'sin yourin your
53:01in thethe nextlong-metrageIt would be in front of the segmentis my segment preferreand there's his companyand we've askedon your consentment
53:12and she said,yes.We've consentedto consentment.Yes, you haveconsented,well, I'm really content.So, our segment
53:20in the front,is that question,verity or action,okay?Verity,if you chooseverity,you'll geter
53:26a lubricianand if youchoose actionand that youdo the action,you will begoing to gaina vibrator.
53:33So,what's what youyou? Well, I'm, I'm going to say, I want to say, I want the vibrator.She said, I love. I love it. I love it. But at the same time, you have a question,I'm going to ask you. I'll ask you. Okay. Just because it's a good question. Okay, it's aokay, attention. There are two things in the same time that will be. I'll ask you.I'll ask you the question, and you will you. Okay. Okay. Okay. One, two, go. Okay. It'sOkay, it's me who turn.
54:00Okay, one, two, three, go.What's it?Ah, it's what?It's a foet.No, but it's in a sense.It's a foeat!You don't know, see what the shock?Yes, it's not the shock.
54:15Because the baby will noton the plateau, and we don't want to do you.While you're going to do you fwet,I'd like, I'd like, you'd say,it's what the first scene,non-pornographic that you have turned on?Ah!I can't do foet there?
54:29The scene non-pornographicthat's a sign non-pornographic who turned on.No pornographic.Excuse me.But it'sthat?You know, I mean that.Oh, my God,
54:38me too, I meanthat's a littleor a littleor a little?No.No.Oh,you're not
54:45She's just onhis arms.I'm notto say,hey, we're fullon.I hope.I hope
54:51I hopeI'm anrelationship.Yes.No, butthearms.The
54:54arms,it can beerotic.Yeah,she can beso far foote.No, no,but it's
54:57not,no,she'll beOkay, repose meto question.The scenenon-eroticthat turned on.
55:05The firstscene non-eroticthat turned on inthe table.It's normallyhard asquestion.Non-erotic
55:10non-eroticthat's turn on.Non-pornographic.No pornographicin a film?Yeah.That's for thatI was going to
55:15pose pastiri-al-zatrice.Check, Iwant to give theSimba in theRoy-Lionwho he marchon thething, and he
55:23turns to the crinierand he'dturn to be a greenerand he doesn'tdo you can'trelate.I relate.I relate.
55:29Okay.So, so something in style that.Okay.Elvis Graton who turned thegirl on his penis in helicopter.Ah!Oh, well, it's a little erotic, that.Yeah, but it's not pornographic.
55:39I think,I like that,when...Okay, it's all right.It's all right.We're going to ask.We're sayingwhen they're saying
55:50between women.We're going toit's so muchfilm and it'sIt's so muchmoremore thanthe realisators
55:58men,sorry,the realisatorswomen,you're goodalso,I'm notagainst you.
56:04But you'renot.But we'rethat when yourealize,these films,and thatthey're
56:09the relationsbetweenwomen,it's,it'smaybe,maybemaybe I'm
56:12maybe,because wedon't know,that they want,the goodaffairs,the goodand the good
56:20just, againa point of view,the page,that,a little classic,there,it,the sensuality,
56:25thebuild-up.Yeah.I like a...I like that.It's a goodresponse.But,
56:30I'm not aminute.You're notI'm going togive you.Because you'reanswering a questionalso.
56:35So you'reall the lubriciaand Ross,and you'regoing to havethat you'reseeing, andyou're going to
56:40get to somethingof external.All right.It's thevoyagerwhich is avibratorPulsion
56:45air,which is aso likepulsion airon onyour chitorisis incredibleit's
56:50can'tit'scan'tit'sthemore oftheI'm not.
56:58But I'm sorry.But I wanted tobut I'd saybut I'dbut I'd saywell,I'm sorrywell,
57:05yeah,well,thank youand myand my lubricifianthank youBravo.Thank you to
57:12thank youto you.We're all.We're justthis is morea questionuh,theory
57:17yeah,yeah,uh,is that when youwhen you do youdo you're like,when you'relike,
57:23all repose onyou, we don'tnot,but yeah,and on thea lot of thebut onit's the
57:29it's kind ofto be thequestion,I'm gonna bethe cost,you know,it's like thatyeah,
57:36it's so,it's gonnait's apretty,it's apretty,is it's atime that you're
57:42in a rowthat,that's,finally,the peoplethat'sthat's thatthat's
57:46that'sthat'sthat,they serveto meto say,no,you can't
57:50not to do that. And I'm, II'm going to reallydo that. They're saying, well, he says, but it'stoo hard. So, like, I'm going tofind a solution for itfor the same. I'm going tonot share.Okay, so you check me.
58:00You're playing a lotwith the...There's a lot.There's a lot.Not that it was not.But if we had madethat, someone whohad tried the manner
58:11to do it, tat, tat, tat, tat,you know, all the yearsthat's me who they'vehad been, I've gotI just like towear a lot ofchaperfor so
58:20to save themoney.And you know,there's ascene that'salso filmed byexample,on the
58:28most bigon thewe're notnot to saythe key,but it'snot quitepretty,
58:35you know,I,you know,I'd say,well,it wouldwe'dthat we'd
58:39be able tobe able toplay onthe plateauof tournagethatbecause it's avery
58:44greatplateau oftournage.And Isaid,no,no,we're
58:46turn it.Yeah, but Yuna,you haveto find outbefore II've seentried to getall the plans
58:53A,all themanner ofto have toseeto find B.I do youcould be
58:58to searchBif you want.It's,it's, ithas beento go tolook,
59:04there,you know,that'syou loo theplateau?Foh,that Idon't,
59:08I'dnot,I'dnot,that'sall ofall peopleto ask,
59:12but howit'snot,if you'rejoke.And isthesous
59:20after howit can'tit canbe able toget ayears,it'sto get
59:24to getthat orin factwe're notreally amoney withthat'syou know, we
59:30don'twe're inQuebec.You're inQuebec.You're inyou'reworking
59:35for sevenonsomething.I'mI'mto QuebecI'm notI'm,
59:39you know,thewhat'swhat'swhat'scan'twhat'sa comedian
59:44avery, very, very, very, very connew, who isalready known by all the world,who has a role principal.It's a realtor, realistice,who is already very, very,connew and all that.I mean, I'm not
59:56still very, very, veryconned, but I mean,I'm, I'm, I'm,my way, and then,and all that, I'm content,but I'm not,and, in plus,we have a subject
01:00:07that has, that nudity,who has,who treat the communitysuper stigmatized,and that has a pointto view,hyper-reventicator,it doesn't have a
01:00:15to have a subjectgrand public.Even if,at the publiche's had verywell used,and there's beenthere's a lot,
01:00:22and there's beenreally like that.But,don't know,I've got cachedthe casasfor me facilitationthe thing.
01:00:28But it's notfor that'snot for thatbecause ifwhile seven years,because if,while you live,it's where
01:00:34your money?I'm,I can't,how you do,how you do,you have noquestion.I'm not,
01:00:42but I'm notI'm also realizatrice.I do a pub.I do videoclip.Okay.You're a...You're a...You're a...
01:00:47...you're a...I continue towork as a scenaristand realizatrice also.It's just...A long-metrage, it's long.But I do other projects,also, like...
01:00:57Okay.Access.So, so...You're not just...I don't...I...I'm......trived...
01:01:02...that......the......it's......it......it......it... ...the......the... ...the-the-the-the-the-re...The next film, we'll apply to, we'll apply to some
01:01:10because now I'm more thanI'm more than, because there's a lot, becausethere will be a budget supplementary.It's not, it's not, it's not, there'sthere, there, there's not.It's all that, it's going to be for the next project.So, I hope that it will goto the more and more, and that will not be
01:01:25to take a film.Have you read these critics a little?Have you seen, there's articles that are set upto the film, and how youreceive the reception?Well,the receptionis kind of
01:01:38good.Yeah.Yeah.So,you know,I mean,there aresome sort of
01:01:43the press,theDevoire,theSo,oh, my God,my baby.Oh, my chance,
01:01:50I'm sorry.You know,you know,that's onhis feet.Oh,oh,it's bono.
01:01:56But,but toend upto know,he's like,he hadony toparticipate,
01:02:00yeah,Oh, my daughter.Because he'sgross, yeah.Yeah, yeah.You could have to37seven, that's it?
01:02:10Go.Today.It would be the first.We could livea good moment,all together.Yeah,on the boat.
01:02:17I'd like,I'm a good place.I'm, I'm sorry.I'm, I'm sorry.We're just fun.Look,it would be super cinematographicthat would match up with the film.
01:02:28It's what the question?It's a...Yeah, the reception.Yeah, the reception is good.The reception is good.I mean,everything is not perfect,but the critics,
01:02:40it's a rest of the critics.Generally,generally, it's a verygood return.I'm content.I think it'sI thought.I think it's perhaps
01:02:51more controversial than that.But it'scontent.The Quebec hasbeen many of the default,but there'sIt's kind of an accuethere's a
01:02:58anan overtureBut I'vefound thatin a greatgreatan open upof the
01:03:03spirit,maybe morethan otherotherend of theplace,so there'sthere are
01:03:06there'sthere'sthere's already,but ina future,yeah,and really,and really,
01:03:13plus anLGBTQ alsomore thanother thanthere's abecause ithas triedalso
01:03:17of thatthe filmyeah,yeah,you're reallyreally hot tohave tohave to
01:03:22get thethe way,thefun,it's, it's, it'spassionate.I'm super hardto see it.
01:03:30I'm very hot tosee what youwill be surewe're doing thedescription.Is it on thesocial?Yes, we
01:03:39can see the filminvisible,and also mypage,my differentpages also.All right,see the page
01:03:45invisible becauseit's away, it willhelpfor that canbe able tomake a littlefor the
01:03:48project,Crave.Crave!Crave!Community.Crave!Crave!That's it's bizarre,
01:03:53we're going toyou'rearranged this.It'sRadis big chummy with others.Well, I don'ttear any offiscals,
01:03:59but I'msure.Is itan little15 minuteto pass tomore with uson the
01:04:05on thepeople,who are inrecourseof serviceof thewhat's theother word?
01:04:14Theassistantfor theassistance.Yes,the assistancesexual.Is it the
01:04:20voeyerism,the peoplewho arepeople who willbe able toseeyour filmof a point
01:04:24of viewmore voyeuristthere are youhave youhave tohave youhave tohave you
01:04:27I'mI'm notwe're doingon thepanoson thepanoson the
01:04:31patriauhthank youdon'tthank youthank youall youthank you
01:04:36thank youvery muchthank you tohave beenvery good
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