Besoin d'amour, January 1996
Oh, but isn’t this a good look? And what about that beaded braid of hair?
Quebec talk-show presenters seem to be very keen on novel entrances. Guy A. and Roy get their crash helmets on to appear on the set on machines a little less impressive than Roy’s Harley. This is because Roy has just returned from his famous epic bike journey across Canada and the US, where he took time out to become a bit more philosophical. Guy asks him if he believes in God, but he says no, he believes in Man. They then discuss how competitive he is, and he says he regards his work as a kind of competition. Not for awards, but to have a pride in what he has done.
Guy asks him how he chooses his parts and he says it’s the script above all, and then other things like the people he’ll be working with. They then stop for a look at a clip from Screamers, which shows Becker licking his knife. When the camera comes back to them, Roy makes that dreadful face with his tongue out, and Guy A. ask if he’d like to lick his pen.
They discuss Screamers, and Roy emphasises to Guy A. that it’s a Quebecois production, not an American one, with a Quebec director, location and distributor. (He ignores Guy A.’s question about who financed it.) Guy A. asks how he got on with Mr Robocop and Roy says he helped him, particularly with his accent, and he suggested which bits of Shakespeare Becker should quote because of his extensive knowledge of the Bard.
Before the break Guy A. shows Roy a sketch from Un Gars une fille where Guy and another man are sitting reading newspapers at the breakfast table. The other man asks Guy if he thinks Roy Dupuis is cute and, in an attempt to sound totally objective on the subject, gets more and more involved in extolling his physical attributes. In the end he’s having doubts about his sexual orientation.
After the break, Guy A. and Roy are joined by Christian Duguay, (far and away Roy’s best looking director, and as far as I can see, the only one with a deep manly voice!) He tells about how they worked together when he directed Million Dollar Babies and the subject quickly diverts to the large number of screen children Roy has had. Then he speaks more about Screamers, the low budget, the fact that it’s a Philip K. Dick story, and the locations which were a sand quarry in Joliette and the inside of the Olympic Stadium. (Christian Duguay has also directed Scanners II and III, sequels from David Cronenberg’s Scanners (1981) )
Guy asks them both about their international career prospects and they point at each other to decide who answers first.
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