Jess Greenberg
Three takes, two rounds of direction and one simple rule: everything around a self-tape should serve the acting. My workshop with casting director Jess Greenberg.
Martin Blais
Tom Todoroff
How I discovered Tom Todoroff’s approach, and what it changed in the way I read, prepare and approach text as an actor.
Jean Asselin
I am offering a rose that does not exist. The exercise belongs to what Jean Asselin calls figures of courtesy: I must look at my partner, shift my weight, allow the body to transform, and present the form without thrusting it toward him like a blunt object. Everything seems almost right. Almost. Jean asks to […]
Casse-Gueule
In Casse-Gueule, I played Agent Fred, a forensic identification officer whose silent scene unexpectedly transformed in the middle of a night shoot.
Réal Bossé
Making rather than waiting for emotion: three days of on-camera work with Réal Bossé, exploring the body, breath, action, scene partners and the joy of acting.
Alertes
Looking back on Sergeant Reid in Alertes: the preparation, a rewarding day on set, a last-minute change in direction — and a scene that ultimately did not survive the final edit.
STAT
A day on the set of STAT as Simon, a foster-family member: MELS studios, scene partners and a close-up look at the scale and rhythm of one of Quebec television’s major productions.
Indéfendable
I look back on playing the “Shop Guy” in Indéfendable, working opposite Mathieu Baron and Bruno Verdoni, and the intensity of a full shooting day in Longueuil.
Ricochets
How I built Luc in Ricochets, a demanding role developed with Mathieu Dodier, from deep character preparation to the film’s festival screenings.
Classé Secret
My appearance in Classé Secret as the “Burner Phone Man,” a spy whose job was to slip a phone into a journalist’s coat without anyone noticing.