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what I’m doing may come out to be exceptional. Even if it’s one chance out of a million, I need to have that feeling. When you're certain from the start you don’t have it, what is there too gain?” And then ironically, when Pouliot found himself immersed in a business venture meant to compensate for the films he wasn’t making—Eloda, a firm he helped create and launch which tracks television advertising campaigns and digitizes spots for clients who use the information to give them an edge on competitors—he read Seducing Doctor Lewis and wanted to do it very badly. Before Pouliot could even conclude a film deal with producer Roger Frappier, someone he deeply admires, he needed to get permission from Eloda’s shareholders and his partner in the company.
But once production of Seducing Doctor Lewis was underway on Harrington Harbour, Pouliot had “a sense it was my third feature, but I didn’t have time to do the first and second ones.” As an advertising director, he had spent more time on sets than many people who make theatrical movies and television films. Constructing innumerable 30-second narratives, he collected “a lot of tools in my toolbox.” On top of his commercial work, Pouliot wrote and developed scripts. He had the confidence and the educated reflexes to deal quickly with whatever the wind blew his way.
For Pouliot, a director’s most important tool is his flexibility. “He must have the essential image in his mind but make sure he doesn’t close it too early.” There are always surprises waiting on a set, so a “precise vague” idea of what will be on the screen is the best anyone can do. “You let it come into focus as the elements that can’t be changed appear to you.” When he was a young director,
‘need to
Pouliot had trouble “modifying what I had in my mind and I imposed,” he laughs, “extreme stress on reality.” As for connecting to an audience via comedy, Pouliot says, “People smile to make life more livable. That’s the true purpose of humour. Life is tough; it’s a question of survival. That’s also what is exciting about life. But it’s tough. And there are very, very difficult moments. I think Italian filmmakers like Federico Fellini and Guiseppe Tornatore (Cinema Paradiso) have shown more than anyone else how humour is part of our survival kit.”
Maurie Alioff is Take One's Associate Editor.
a Le SNe wi iG
Benoit Briére, left; and\Pierre Collin
———_ _ =
that somehow there isa CANCE that what I’m doing may
come Out to be
— Pouliot
TAKE ONE
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