On July 26, during day 51 of filming for Indéfendable in Longueuil, my role as the “Shop Guy” gave me more than another professional credit. It also gave me the unexpected pleasure of working with Mathieu Baron again. Our paths had first crossed nearly two decades earlier at the Ateliers Danielle Fichaud in 2006–2007. Seeing him again today, with an established career and still remarkably generous and welcoming as a scene partner, was genuinely wonderful. Working with him was a real pleasure.
Controlled intensity: a production ecosystem at work
From the first hours of the day, the activity across the different locations — especially the body shop that served as my main set — revealed a tightly organized production. What strikes you on a series like this is the ability to combine the urgency of television production with real technical and artistic control. Under director Mariane McGraw, every department seemed to move in concert. From Amélie Douville’s cinematography to the work happening on the floor, there was a kind of collective intelligence serving the story. I simply had to step into that flow and be ready.
Acting opposite performers at that level is always revealing. It is not only about admiring their work; it is about paying attention to how they listen, how they inhabit the moment and how they adjust intensity. Whether it was the direct confrontation with Maxime or the tension underneath the exchanges with Costas, the job was to enter that reality and respond truthfully. That is exactly why arriving prepared matters so much. Knowing the text and having a clear sense of the character gives you the foundation to stay credible, available and confident once the scene begins to move.
The chemistry of the scene: partners who raise the stakes
The heart of the day, obviously, was the acting. And I was well served. Sharing scenes with Mathieu Baron as Maxime Dubois and Bruno Verdoni as Costa Papadopoulos was a highlight. Some of the material carried enough physical intensity that stunt performers and medical support were part of the planning, which added another layer of concentration to the work.
When you work opposite actors like Mathieu and Bruno, you can feel the intensity rise. Their commitment forces you to stay present, listen and react instead of simply delivering what you prepared. That is the part I love. It was demanding, energizing and genuinely fun to build those moments together, even when the role itself only had a handful of lines.
Working with the technology instead of against it
Television also asks the actor to adapt technically. Indéfendable often works with two cameras, which means you may be covered from more than one angle at the same time.
That requires consistency in movement, intention and energy. I do not see that as a restriction. It is simply part of the craft. The technology is there to serve the story and capture what is happening as efficiently and truthfully as possible.
The strength of the collective
What stayed with me beyond my own scenes was the feeling of being part of a genuine collective effort. A series like Indéfendable does not happen because of one department or one performer. Production, camera, sound, wardrobe, makeup, locations and everyone else are constantly working together to make the story possible. Leaving the set after a full day, I felt both satisfied and deeply respectful of the people who make that machine work.
What surprised me afterward was how many viewers wrote to say they enjoyed the Shop Guy, often describing him as cocky or abrasive. Some even wanted to know more about him — a character with no proper name who appeared in only two episodes. Realizing that such a small presence could still intrigue people was incredibly rewarding. It reminded me that every role counts.
Even a brief appearance can stay in someone’s imagination. That is part of the strange magic of fiction — and of acting.
