“Brilliant”, “enthusiastic”, “hardworking”, “talented”, “fell like Obélix into the magic potion”: Fabienne Larouche receives nothing but praise and applause when she talks about Marie-Andrée Labbé, author of STAT, who she considers herself nothing less than her spiritual heir, to whom she wants to bequeath the reins of her company Aetios (which produces series like STAT, Le bonheur, À cœur beating, Sans rendez-vous, this new project by Luc Dionne, etc. more), when it’s time for them to retire.
“I can definitely see her taking my place at Aetios,” Fabienne Larouche said in an interview with Showbizz.net. “She wants this!” She has an enthusiasm, she’s passionate…”
It must be said that Marie-Andrée Labbé indeed gives the impression of following in the footsteps of the famous Fabienne, with soon three seasons of Sans Rendez-vous and a whole year of STAT, not to mention her years as the author of the lyrics from the comedy Trop, the web series Lourd, the one-woman show by Valérie Blais and how many galas and variety shows (Drôles de Véronic, Brassard en direct d’Aujourd’hui, Et si?, le Bye Bye, etc.). At the moment, the creator is busy completing the final intrigues of Sans Rendez-vous and restarting the machine for the second season of STAT, filming of which will begin in July. Something reminiscent of the rich years of screenwriter Fabienne Larouche (also STAT screenwriter) who once chained together Virginia, Fortier, Music-Hall, A Dead Man, Trauma and 30 Lives as a solo artist at a spectacular pace and always with the approval of the audience behind her, after signing other major works of the 1990s with Réjean Tremblay, including “The Scoop”, “Miséricorde”, “Urgence”, “Innocence”, “Paparazzi” and “Le masque”, which attracted the attention of television viewers and the film industry were equally celebrated. tv
“She’s fit. It was a super positive experience. She didn’t take much vacation!”, Fabienne Marie-Andrée went on to specify and described as a “mission” the work pace required by a company like STAT, which is based on 120 half hours per year , at a rate of 36 pages of text per episode, four times per week, for a total of 150 pages per week.
“But when it is positive and works well, you forget a lot. It’s like a baby; Birth hurts, but when you see the baby afterwards, you forget the pain. It was exciting, it was fun. It was spontaneous and unusual in our lives. We made it! We did our job, the spectators joined in. “Job done”! exclaimed a delighted Fabienne Larouche.
Finally, let’s tease Fabienne Larouche, who has often described herself as a supposed hypochondriac, a little about her love of hospitals, which she loves to stage in the projects she directs. After Urgence (1996) and Trauma (2010), she again praises doctors and nurses in STAT. The main prospect smiles a little when the point is raised.
“I have something to do with it, don’t I think so?” (laughs) But I take care of myself! It’s an exciting environment. They are heroes, larger than life people who go beyond their own pleasure and life to heal and find solutions in others, in the lives of others. There are many heroes in there. who also have their problems. It’s a microcosm of ups, downs, pluses and minuses. For an author it is rich. It’s rich characters and fabulous stories. Marie-Andrée went with these characters and made them more real than real. That’s an author’s talent! »
Normand D’Amour, whose character Pascal St-Cyr caused quite a stir on STAT this year, tells us here that we’re very excited to see what his character has in store for the fall sequel. Lou-Pascal Tremblay commented here on the finale, which showed us a previously unknown facet of his character, Jacob.