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Donald Pilon radiates casual confidence. And why shouldn’t he? One of Québec’s biggest stars, he may well become the first male star in Canada as well. Pilon’s history is straight out of Hollywood fan magazines — he was “discovered” while working at Expo by Gilles Carle. Since then, he has appeared in Le Viol d’Une Jeune Fille Douce, Deux Femmes en Or, Léopold Z, Les Males, La Vraie Nature de Bernadette, Bulldozer, The Pyx, Les Corps Célestes, Child Under A Leaf, and most recently the CBC’s Collaborators series. An excellent actor, he has won the Meritas Award for Best Actor in 1971 for Les Males as well as the Etrog for Best Supporting Actor in 1972 for Bernadette. Pilon started this interview with a smile, followed by “I have nothing to tell you people...” ; (Interviewed by Stephen Chesley and A Ibranyi-Kiss.) “Child Under a Leaf’’ must have been an enormous challenge for you as an actor — you had an extremely demanding role
Yeah ... That was a toughie. I’m very happy with what I did in that movie — for me, personally, it’s a success. A lot of credit goes to George Bloomfield. I had full confidence in George and I really leaned right back on him. That script is a very personal thing with him. There’s not that much of me in that picture — there’s a lot of George. We became very close
40 Cinema Canada
friends. He was there all the way and directed me as a director should direct a male character.
Everything would be ready and he would put me in the situation. He would talk about Joseph and his life and build it up — and that would bring back memories of things in my life which had hurt me very much. I was so close to him that I lived his hurt and misery. I could make myself very much like Joseph but never completely lose myself... It was more like Donald Pilon understanding very, very much the hurt of that fellow. That was the type of feeling. That’s what I discovered in this movie. It was another step, like Les Males was another step. That’s one of my favourites because that’s when I discovered I could start being somebody else. A little bit. I could see that happening. That’s what I mean by discovering, because I’ve never been to theatre school. I started making movies in 1967 when I was twenty-eight years old. Before, I was doing many things, but they were jobs to make money. To survive. Making films opened new horizons for me, a world I didn’t know anything about. I discovered I could do something I really enjoyed that I couldn’t even call ““work”. I’ ve been relatively happy since I’ve been making films.
And you’ve been working very regularly since then... Well, I started with Gilles Carle on his first film outside the