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Pierre Tremblay

Si nous aimons rire d'un certain cinéma déviant, nous sommes très loin de mépriser les hommes et les femmes qui s'y sont impliqués ou compromis. Il nous a ainsi paru enrichissant de faire raconter le nanar et son univers par les gens qui l'ont vécu de l'intérieur. La diversité des intervenants et de leurs réponses nous a rendu encore plus proches du cinéma que nous aimons : vous découvrirez, au fil des entretiens que ces différentes vedettes ont bien voulu nous accorder, des informations précieuses pour le cinéphile et le cinéphage, des anecdotes cocasses et, en esquisse, le portrait attachant de personnages souvent hauts en couleur.
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Pierre Tremblay (page 3)

In the 80s I mostly learned the 'audio' side of media with dubbing, radio and voice-overs. But the 90s allowed me to broaden my knowledge and learn more of the 'production' side of television, as presenter in front of the camera and producer behind, as well as reporting and doing chronicles.

It started in 1991 when I was presenter on ATV-World for a 13 episode weekly half-hour series called 'L'Art de Vivre', badly translated in English as 'Good Living the French Way'. It was sponsored by the French Consulate and was meant to highlight the French presence in Hong Kong through it's luxury products and cultural activities. It was the most criticized show by British journalists of the day, and the most watched by the Chinese public. I wasn't only presenting, I was also scripting, finding the guests, and since there was so much French involved, I was also assisting editing and production. That was also the year I started interviewing Beijing Rock stars passing through Hong Kong for local radio, and I was invited to write a chronicle on the Chinese market for a magazine that no longer exists. That allowed me to be invited by MTV-Asia to go to Beijing to interview the stars in 1993, then after 1995 as a regular 'stringer', ie free-lance journalist. That means I told the cameraman the shots I wanted, lighting and everything, I interviewed the musicians from behind the camera (neither my face nor my voice were broadcast); I basically did everything except the editing, which was done in Singapore.

In 1994 I was invited to act in the series 'All In The Family'. It was with RTHK, Radio Television Hong Kong, where I was presenting and producing specialist music shows since 1989. My Cantonese was better, I felt more comfortable in front of the camera, and it was well received by the Cantonese public. So well received that a second series was made in 1996, of which one episode was shot in Shanghai. This time I made an effort to learn to act better, but the series ended much too early.

In the meantime I was still working as 'stringer' for MTV-Asia, but only in Hong Kong till 1997; I also worked for some time as Hong Kong correspondant for Manila TV; I filmed a mini-documentary on VHS to accompany a book; I even wrote an article on China's rock market for Billboard's special China edition of November 1998 ; and at the same time I started presenting and producing current affairs reports on everything from the economy to politics, security and health in Hong Kong, for radio at RTHK.

It was also at this time I believe, around the year 2000, that I met Chow Yun-Fat in the Hong Kong MTR. It was in the 'Central' station at the D2 exit which leads to a trendy period Chinese clothes shop called 'Shanghai Tang', a reference to the Shanghai of the 1930s by it's owner David Tang, who put his name in English (Tang instead of Tan), and a reference to the 80s TV series whose main star was Chow Yun-Fat. He was at that time an international star and famous in Hollywood; he was coming down the steps, I was going up them.
He immediately recognized me and greeted me, asking me how I was doing ! Surprised, I gave him a quick resume of my activities and thanked him for
giving me 'so much face'. We parted under the bemused eyes of the crowd. Six months or one year later, still in the same 'Central' station, D2 exit, I met him again. Only this time it was the reverse : I was coming down, he was going up, and he was wearing a baseball cap, pulled down to hide his face. I recognized him immediately but I respected his obvious wish for anonymity. I kept on walking without saying a word.

To end this 'Bund' theme, I have one last piece of unflattering information I wish to tell you myself. Some time in 2000, TVB released a VCD collection of the first 'Bund' TV series. I was so surprised to discover all my scenes were cut ! There were barely a few verbal references by some actors to the French consul 'Mr. Pierre'. Then I remembered my scenes with my beginner's Cantonese, and one scene in particular where my face had the same expression as in the torture scene in Tsui Hark's movie, with my eyes bulging out. I had to admit, I would've done the same. But not you.

Does your website annoy me ? At the start, yes. Who likes to be laughed at ? Then with time I got used to it, and I have to admit that my photos are funny. So I'm laughing too.

Also with time I came to believe that to act well an actor has to really know the emotion he portrays, especially his facial expression. I now knew what I wanted, could I do it ?

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