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Barbeau: When I work on one film I’m closer to it — but after that, it’s finished. It’s the same with theatre.
I went to Lies right after the shooting of Kamouraska was finished. Kadar had seen the rushes of the film and asked me to work with him.
To work with Kadar for me was fantastic, ’'d seen Shop on Main Street and I thought the man had a lot to say. Also because he knew his business, he knew what it would look like on the screen. I think the film is successful. It has lots of atmosphere and a strong human quality.
Cinema Canada: What do you mean by atmosphere?
Barbeau: Perhaps it ‘is a vague word, but I like films that remind me of things. Lies is composed of all kinds of images I remember from childhood. The way people dressed, the colors of the walls — beige and drab. All the houses looked the same when I was young. I didn’t know then that it was because of the Depression.
One set in particular was easy for me to design; that was the backyard of the grandfather’s house. Do you remember it? Well, when I was a kid in Trois-Rivieres I used to go and play in the backyard of an old man, the town rag collector. His yard was full of boxes and baskets filled with empty bottles. Everything there was exciting to me and I used to run there whenever I got a chance. It was all the more fascinating because my parents didn’t want me to play there! I really enjoyed putting it back together for the film.
28/Cinema Canada
A courtyard scene from Eliza’s Horoscope; Barbeau was responsible for decor and ambience as well as for costumes
Generally sets were easy for Lies. We were dealing with old houses which we had to rebuild. I was working with Michel Proulx then and he understood right away what I wanted to produce.
Cinema Canada: There was a studio set in Lies, wasn’t there?
Barbeau: Yes, and I didn’t like working. in the studio. I fee: there is something about working on location, in a house where people have lived, which adds a quality to the film. Technically, there are problems with location shooting, the noise and so on, but I like to see outside when I look out a window.
Cinema Canada: But it should be possible to create the perfect set in the studio...
Barbeau: After working in theatre for as long as I have, I don’t think ‘perfect’ exists. No perfect sets, no perfect script, no perfect director. I’m used to taking advantage of the disadvantages.
Cinema Canada: Are you more interested in working in theatre than in film?
Barbeau: I love to do films but I really don’t need to do them, thank God. It’s a question of survival; if you waited for a film to come your way, you’d go hungry pretty fast. I can live from the theatre.