Whether he has become a reference in recordings, performing both comedy shows (Martin Petit, Claudine Mercier, PA Méthot) and concerts (Céline Dion, Paul McCartney, Sting, Ben Harper, Jean-Pierre Ferland, Richard Séguin) as well as galas ( Jutras), Olivier) or major events (Cirque Éloize, Fête Nationale), Pierre Séguin has made a name for himself through diversity.
Some remember Métropolis, others Studio-Libre or Pleasure grow with use. This was done by creating the VHS supplements of Mondays of Ha!Ha! that he meets Claude Meunier. He would be at the forefront of the creation of “La petite vie,” which would become the biggest hit on Quebec television.
Thirty years later, he happily answers “present” when Claude brings his characters back to life. A journey through time that he welcomes as a great privilege.
Pierre Séguin Photo provided by Productions Chaumont
The Paré family was immediately adopted. What is the basis of Claude Meunier’s genius?
Claude’s genius lies in having brought together a dysfunctional family in which everyone can recognize themselves. Everyone has a Lison or a Rénald in their family. An uncle, an aunt, a cousin. But it’s never the rest of us! We saw family stories in all the big shows: “Les Plouffe”, “Quelle famille!”, “Le clan Beaulieu”. Claude was able to talk about it on the first level with the slapstick side, on the second level by exploring family relationships and on the third level with references to Quebec society. This is passed down from generation to generation. As we get older, we become proficient at all levels. Claude is a performer. The sitcom in front of an audience was essential. He knew how to build a real force like Splendid’s in France. A real family quickly emerged.
The series was filmed in front of an audience in the same way as it was 30 years ago, chronologically. Was it a necessity?
You don’t change a formula for success. During the pandemic, 800,000 people watched the show in reruns. There was a willingness to offer to contribute to anyone on the technical team at the time if they wanted to be part of the project. The four cameras are cameramen who were there 30 years ago. It was a real journey through time. And it was touching to see the audience, real fans.
Thirty years later, what has been retained and what has been improved?
The technology has improved, but it’s the same relationship to the lens, the same lighting. We made sure that everything can be mixed. We flipped the exterior and reused the original credits. This is the original decor that we have retouched. It’s the same lamps, the same sofas that we just refreshed. The rolling phone in the kitchen has changed, but we are still in the retro style. As the characters grew older, their hairstyles became white. We still have completely crazy accessories like Rénald’s pacemaker, which is the size of an amplifier. Worthy of the 1960 space program. And wait until you see Thérèse’s Gadfly Tournedos (the insect). Unusual.
Have the characters developed further? Did the actors adapt to it as well as they did back then?
The Paré are people who idolize each other but don’t know how to say it to each other. Réjean is still a cross-country player, Thérèse still has her psychiatric problems but now has access to medical care. Lison is an influencer. Rénald is heartbroken. Popa is on Timber (Tinder). We are in continuity. From the first reading, the actors found the same instinct as back then. Everything was easier. They’ve known their characters for a long time because they’ve been talking about them for 30 years. We have actors of exceptional quality. There are fewer mishaps than in the beginning because they know how they will react. The two Marcs (Messier and Labrèche) know that they cannot look each other in the eye without laughing.
Serge Thériault finally put his Moman hat back on for a scene. How did that happen ?
We were in the same studio. Without an audience. It was a closed sentence. Only Claude, Josée Fortier (director), Monique Lamoureux (producer), two cameramen, a boom pole, Serge and I were there. He was happy to be there, ready, remembering people and asking for news. We did four takes. This is the second one you will see. It was really touching for us to see him, to see him putting his jacket back on. It was a great privilege to work on “La petite vie” again.
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