Defenders of democracy or stubborn investigators, journalists are also fictional characters. Their multiple incarnations have often changed the public’s view, but what about that of the main stakeholders? In series 7e art and 4e power, The duty gives the floor to journalists from all backgrounds to find out their perception of the profession through cinema.
During his university studies, Hugo Meunier dreamed of becoming a writer, but after his bachelor’s degree in French studies at the University of Montreal in the early 2000s, certain down-to-earth realities caught up with him, and led him towards journalism . After a stint in regional weeklies and Montreal Journalhe made his entry to The Press in 2005, which allowed him to develop his style, keen to give voice to those whom society relegates to oblivion. Where does he find them? In department stores, swingers’ clubs, in Afghanistan or among the itinerant, Hugo Meunier likes to infiltrate where he is least expected. Even if it means getting your foot in the door when he’s not invited, like at Justin Trudeau’s wedding or at an extravagant party organized by Guy Laliberté. After his departure from The Press in 2016 and a brief stint as director of digital content at Quebecor, he returned to his notebook and the field by joining the team ofUrbania in 2019. Since then, his youthful dream has come true, since he has become the author of several novels, some of which have an autobiographical flavor like The boss (Stanké, 2019) or Infiltrate Hugo Meunier (Lux, 2017).
How do you describe your relationship with cinema?
Compulsive, obsessive, and passionate! I’m a big movie buff, even though at the time of my baccalaureate, I read a lot. My love of cinema somewhat killed my taste for reading, but it was also my studies in literature that got me drunk on literature. There was a lot of snobbery in this environment, we turned our noses up at everything that was popular. People judged me for liking Stephen King, but I always had a side underdog. The position was the same with regard to cinema: nothing good except Citizen Kane [d’Orson Welles, 1941] And The battleship Potemkin [de Sergueï Eisenstein, 1925]. I clearly prefer popular culture, the world of Quentin Tarantino for example, and that comes across in almost everything I do, including my novels.
Of all the films you watch, what do you think of those that feature journalists?
I’m not a big admirer of journalists’ films. In general, I find them very caricatured. They always seem like a group of tiring people, a bit vultured, a bit aggressive. It seems like film and television people have had nothing but bad experiences with journalists…
None find favor in your eyes?
One of the rare films that depicts our reality in a coherent manner is Spotlight [de Tom McCarthy, 2015]. For me, it is a masterpiece that makes you want to do investigative journalism. I was also very impressed by State of Play [de Kevin Macdonald, 2009], with Russell Crowe. So much so that for a time, I adopted his style of clothing: both badass And sloppy ! His character does a lot more serious journalism than me, but be careful: I’m on my own business. When I infiltrate Wal-Mart for three months to take a close look at working conditions, I’m not cheating.
This wasn’t your first journalism experience immersion. Some films describe this practice: do they correspond to yours?
If we want to talk about Fear and Loathingin Las Vegas [de Terry Gilliam, 1998], I will only say one thing: I would be in prison if I did everything we see in this film! When I’m at Wal-Mart or in another context, I have to invent a character, or I take inspiration from certain actors to develop a particular attitude. In Afghanistan I was riding around in an armored vehicle [de l’armée canadienne]and I imagined that I was Tom Hanks in Saving Private Ryan [de Steven Spielberg, 1998] ! When I was afraid of getting kidnapped, I comforted myself by telling myself that it couldn’t be worse than what we see in Midnight Express [d’Alan Parker, 1978]. Or, if I’m covering the Montebello Rockfest, I think about Almost Famous [de Cameron Crowe, 2000] : I dream of seeking the same proximity as that of the young journalist with the music group he follows on tour.
This film is remarkable, but today, which media, particularly in Quebec and in the current economic context, has the means to send on the road a journalist, inexperienced, for weeks, to do this type reporting?
I call myself a dreamer, so I believe it’s possible. I often make crazy interview requests in the hope that it works out, like Eddie Vedder of Pearl Jam — I’m a die-hard fan. Getting on the road with them on tour would be my ultimate dream, and I don’t want that to happen too soon: I wouldn’t have any goals afterward. But if someone tells me yes, I drop everything and leave. Immediately. Moreover, Cameron Crowe, who draws inspiration from his own experiences in Almost Famoushas already made a documentary on Pearl Jam [Pearl Jam Twenty, 2011] : like what “everything is in everything”!
Does television give, to In your opinion, a fairer image of journalistic work? At early 1990s, the admission applications have exploded in journalism departments during the series’ run Scoop.
The students of that era must have been disappointed! There is a huge gap between the image of the journalist on television and in the cinema compared to reality. Let’s say it: having blank page syndrome, talking on the phone, being in the office, it’s boring! When I started in the profession, I quickly understood that we don’t go to war every morning. This is why I loved the series The Wire, very credible on the work of journalists who cover the drug cartels in Baltimore. I also really liked the series Afterlife, with Ricky Gervais. He plays a news reporter who doesn’t care about everything, including what he hears, and has to deal with his wife who is suffering from cancer.
If one of your novels was adapted in the cinema, which one would you like to see?
Without hesitation, Olivia Vendetta (Stanké, 2021), a revenge story where the main character settles scores with his former tormentors from high school during a conventum. In fact, it is Carrie [de Brian de Palma, 1976] encounter Kill Bill [de Quentin Tarantino, 2003] ! I also had the actress Uma Thurman in mind as an inspiration while writing the book, and I could very well see Gabrielle Boulianne-Tremblay playing her in the cinema; she would be great. Discussions have already begun with producers as well as the directors of Turbo Kid And Summer of 84 [François Simard, Anouk Whissell et Yoann-Karl Whissell]. The book addresses both a universal subject, that of revenge in adolescence, and another in the spirit of the times, transidentity.
It is enough to read you occasionally to know that you worship Die Hard (1988), by John McTiernan, starring Bruce Willis, memorable in this role. What inspires you so much affection?
It’s a perfect film, and by the way, it’s also a Christmas film — we can’t say that enough! All the recipes here are very well done. Yes, I love Bruce Willis, who doesn’t take himself seriously at all, but what can we say about Alan Rickman, a great actor who inspired confidence. I know very well that it is not a masterpiece, but it is excellent entertainment. On certain occasions and with certain people, when people start talking to me about the grain and the mule [d’Abdellatif Kechiche, 2007]I tend to bring the conversation back to Die Hard !