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We see Roy entering the National Theatre School building and then entering a classroom with the interviewer. H: It’s the first time you’ve returned to the school? R: …That I returned here (to this space?), yes. I left in ‘84-‘86… H: After several years? R: Yes. H: And this is an important room, the André Paget Room, is that it? R: It’s the room where we made our first presentation to the public. It wasn’t until after the second year that we did our first performances for the public (other than for teachers and students). Only in the third year were we allowed to perform for the public – our mothers, uncles, friends. H: When you look back at what you did, do you have good memories of this place? R: Very good memories. It was one of the most important periods of my life, that’s for sure. Where I think I learned the most about my craft. For me it was a big thing.
Voiceover: (while we see Roy walking through the corridors of the school) To be a theatre student was not a great ambition. The story – today, almost a legend – was that Roy accompanied a friend for their audition at the National Theatre School, a detour which, remarked on by the Director of the School, Michelle Rossignol, revealed an immense talent - albeit crude - possessed by the young actor. A veritable benediction - but she scolded him for his total lack of preparation! H: All you discovered here was totally new for you. Also culturally, and the discipline, also? R: Yes. The texts we read, the plays we read…(laughs) the ballet lessons I did, the dance… H: You spent the whole day in tights! R: …We didn’t just do that…well, a day at school started at 8:30 sharp – you had to be there – you could not be late. If you were late once you had to be evaluated. If it happened twice, you had to go to the office! H: That’s alarming, isn’t it? R: It was important to have discipline. If a theatre piece is missing a small portion and the actor didn’t read it…(shrugs and shakes his head “no”) It’s a link in the chain. So that rigorous schedule is essential for acquiring information quickly. H: Were you a rigorously disciplined young man? R: Yes (laughs)…yes… it depended for what, if it interested me, yes, or …if it didn’t interest me, then, no. H: Was it a shock when you arrived here? R: Not really, in the end. I met very interesting people. Generally unpretentious, they were a very good group, people from everywhere – very diversified. H: It sounds like a family. R: It became a type of family, clearly. It wasn’t just “9 to 5” – we lived together, went out together…four years with the same sixteen people (well, not always the same ones) but, the work we did was very intimate. We researched the human condition, we revealed ourselves doing scenes - we had no choice - and we were too, too… H: Exposed? R: Completely! H: Regarding that: A question about psychoanalysis. You did these psychoanalytical exercises - the quest started here? Through the work of an actor, you went through that portal? R: Sure, certainly. We researched all we knew, all one experienced as a human being, what caused fear, our strengths, our weaknesses. Each evaluation designed by Michelle Rossignol was very good. They pushed buttons. H: What kind of buttons did Michelle Rossignol use to decide: this one has succeeded or this one still has work to do. R: Often the same buttons – to stop using one’s charms…and… H: So, you were conscious of that? R: No! Wait…at my last evaluation at the end of the third year… H: You were unaware of your charm? R: Yes. H: Seriously? R: Yes, like everyone… (interviewer smiles, looks skeptical, and shakes his head “no”) Well, innocent of (laughs)…I would want to please a particular person…No, I wasn’t… No! Hey, the majority of girlfriends that I had – the first time I saw them – I thought I couldn’t get them. H: They were inaccessible? R: They were unattainable for me. Then, two or three months later…meeting from time to time… H: You utilized your charm? R: (laughs)…No, but… it’s just if someone knows they have charm, they go after them… H: Not you? R: No, I couldn’t, never! But…after my last evaluation, Michelle Rossignol said to me: “I apologize for all the criticism regarding charm…I was wrong.” Voiceover: (while we see Roy walking down a hall with Brigitte Haentjens) With Roy’s distinctive debut on television, and quickly then in film, one must not forget that he was fundamentally a man of the theatre through his career treading the boards, then, in a notable role as “Jay” in “Le Chien”. It was the beginning of a productive partnership with Brigitte Haentjens, who discovered Dupuis by chance. (We now see Brigitte Haentjens and Roy sitting across from the Host) Brigitte: – It was unbelievable, that meeting, because I was sitting in the rehearsal hall - Roy came in - I didn’t know who he was, I thought he was someone waiting for a friend and I said: “That’s Jay.” H: You didn’t even know if Roy was an actor? B: No, I didn’t know and I didn’t know what connection there was between the role and his life! I didn’t know he came from Ontario, Sudbury! (That’s where the play is situated) It was crazy! It was a bizarre meeting – it was like magic but… it happens like that sometimes. (A scene from Le Chien is shown)
Voiceover: (a scene of a rehearsal for the play Blasté is shown) In fourteen years the demands of the screen vaulted Roy out of the heart of the theatre - a period that he particularly regretted because of his affection for the rehearsal process. In 2008 the film star returned to the stage in the audacious play Blasté – a difficult performance, accompanied by his life partner, Céline Bonnier, under the direction of Brigitte Haentjens. (Back to Roy and Brigitte across from the Host) H: When you met again for Blasté – He had gone through a lot – did he seem the same? His attitude on the stage, to which he had been conditioned, now that he had become a star, had it changed? What was your perception of him? B: In my opinion, I don’t believe so... H: In his way of presenting himself? B: No. H: He hadn’t changed? B: Yes, he had changed. Listen, I’d known him for twenty years, yes, he’d changed, of course, for sure. R: I hope so! B: …Always expressive, but differently so. He was still like he’d been, in places. He was a real “wildman” – we got along – we were both wild! (she laughs) But, it’s like that – we see life differently. My perception is that, today, Roy sees more who he really is – that’s normal at this point – but, he’s better, he has much more experience, much more confidence, at the same time. I don’t know if people always watching him has changed him… (she looks at Roy) I guess it must, really. I always notice others watching him. (she stares at Roy) I find it a bit suffocating – what people project onto Roy (sighs). I think: “My God, I couldn’t live with that all alone – it’s a heavy load”. R: (*this is a bit garbled - talking at the same time as Brigitte*) I think he says: “I go to the country.” (or he says) “That’s why I live in the country.” (A scene from Blasté with Roy and Céline is shown) H: Has his instrument changed? B: No. H: Thirteen or fourteen years later? B: Not at all. He has a capacity to risk himself – a capacity to reveal himself, to give a hint of his true self – a way to expose himself – it hasn’t changed. H: Is that rare? B: Yes, it’s rare because, basically, it’s a thoughtful approach to acting. To ply one’s craft, to do one’s work – but, to risk things – to share each time – some have it and some don’t.
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