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METHOD ACTOR (p. 2 of 3)

1 | 2 | 3 | JUN '04

"If a film like The Barbarian Invasions is exportable," he continues, "our actors should be as well." Is this patriotic vision or self-interest speaking? At the moment, international careers for Quebec actors (like Marie-Josée Croze, who got the Cannes best actress nod for Invasions) are the exception rather than the rule. La Haye thinks he knows why. "Quebec performers tend to be satisfied with being local stars. I hate that attitude. I think it speaks to a serious lack of ambition on the part of our film industry. I may not have a huge international career yet, but at least I’m conscious of it and I’m working on it." The debate is clearly a hot-button issue for La Haye: "I’m fed up with the Quebec star system — the fact that we have one guy who had a major TV hit 10 years ago who still gets every leading role handed to him."

All this is to say that La Haye seems genuinely dedicated to changing the scope of his career, even if it has meant stepping down to take supporting roles abroad and agreeing to work on some less prestigious productions (the schlock-horror sequel Ginger Snaps Back comes to mind). For Quebec actors, the move to international sound stages involves plenty of red tape, due in part to restrictive local labour unions: "The only reason I did Timeline was to get my ACTRA card. You can’t imagine how protectionist our industry is when it comes to actors." But doesn’t it bother him to play small roles in admittedly small films? "Of course, I’m not always happy with the minor roles. But that’s the reality — the humility of an established actor starting almost from scratch. It all depends on the role: Lucien [the S&M dandy in Head in the Clouds] is a supporting character, but he’s vital to the narrative and was incredibly fun to play."

La Haye’s quest for international credits has been like running an obstacle course: constant travel to and from Europe, endless auditions, saying no to plum parts in Quebec to take smaller ones elsewhere. Is the sacrifice worth it? "I needed the visibility," he shrugs. "It gave me a bankable name in London and Paris, and it got me the part in New France." And he knows that the sacrifices will some day pay off. "Let’s face it: It’s harder to get a small role in California than to reach the top of Quebec’s star system. Quebec actors don’t get stopped on the street in Toronto, much less London or Paris. I’m not naive; an actor’s popularity needs to cross borders. Our microcosm is an integral part of the international film industry, but that means we’re in competition with the world. So let’s ditch this idea that Quebecers are protected by language and that it gives us some kind of cultural autonomy."

1 | 2 | 3 | JUN '04