Marc Daigle’s career began with the production of Colombine (1970/short film) and C’est ben beau l’amour (1971/feature film), described as a “clear-eyed look at the lives of CEGEP students”. In 1971, Marc participated in the founding of ACPAV and decided to focus on film production. Since then, he has spent his entire career at ACPAV, apart from a brief period (1977-1980) working on a contractual basis with the National Film Board.
“Marc Daigle produces films by some of the most representative directors of the 1970s/1980s generation, including Jean Chabot (Une nuit en Amérique, 1974); Jean-Guy Noël (Tu brûles… tu brûles, 1973; Ti-Cul Tougas, 1976; Tinamer, 1987); Paul Tana (Day by Day, 1980; Caffe Italia Montreal, 1985; La Sarrasine, 1991; Mr. Aiello, 1998); and Hubert-Yves Rose (La ligne de chaleur, 1989). He has also collaborated with Bernadette Payeur, most notably on films directed by Pierre Falardeau (The Party, 1989; October, 1994; Miracle in Memphis, 1999); by Bernard Émond (The Woman Who Drinks, 2000; The Legacy, 2008); and by Benoît Pilon (The Necessities of Life, 2006). In 2003, he produced Immortals, Paul Thinel’s first fictional feature. He has also delved into the world of documentaries with Suzanne Guy and Jean-Claude Coulbois’ pair of films, Un miroir sur la scène. He has served as ACPAV president since 1990 and sits on the board of directors of the AQPM (Quebec media production association). In the course of his career, Daigle has primarily helped to explore new pathways in Quebec’s fictional film sector.”* (P.V.)
Marc is the Quebec producer of Laurent Salgues’ Buried Dreams, a France/Canada co-production screened at Venice Days (2006) and Sundance (World Cinema Dramatic Competition/2007).
Marc recently co-produced Sébastien Pilote’s The Salesman with Bernadette Payeur (Sundance, World Cinema Dramatic Competition, 2011) and Le Démantèlement (The Auction) (Semaine de la critique, Festival de Cannes 2013). He also served as executive producer for Julie Hivon’s Tromper le silence (FFM Competition 2010). He is currently working on Sophie Deraspe’s third feature Les loups (The Pack) (her first two films were Missing Victor Pellerin, 2007; and Vital Signs, 2009).
*Filmography adapted from the Dictionnaire du cinéma québécois, Michel Coulombe and Marcel Jean, Boréal, 2006
Bernadette Payeur’s debut production was Pierre Falardeau and Julien Poulin’s short film Elvis Gratton. She went on to produce two more Gratton-themed shorts, culminating in the cult favourite Elvis Gratton, le king des kings.
In 1983, she produced Léa Pool’s first feature A Woman in Transit, followed by Michel Langlois’ fictional short Sortie 234 in 1988. In 1989, she continued her collaboration with Pierre Falardeau with The Party, as well as with Michel Langlois on Lettre à mon père (1992) and Cap Tourmente (1993). In 1992 and 1993, she produced two documentaries by Bernard Émond: Ceux qui ont le pas léger meurent sans laisser de traces and L’instant et la patience. In 1994, Pierre Falardeau’s October finally saw the light of day following numerous difficulties. Bernadette then produced a two-part documentary, Jean-Claude Coulbois’ Un miroir sur la scène (1995-1997). This was followed in 1998 by a five-episode TV series, Les Artisans du cinéma by Serge Giguère and, in association with Marc Daigle, Mr. Aiello by Paul Tana.
In 1999, Bernadette produced the documentary Forest Alert (directed by Richard Desjardins and Robert Monderie) and Miracle in Memphis: Elvis Gratton II (directed by Pierre Falardeau). In 2000, she simultaneously produced Pierre Falardeau’s February 15, 1839 and The Woman Who Drinks, Bernard Émond’s first fiction feature. In 2002, she produced Bernard Émond’s second film, 8:17 p.m. Darling Street. In 2004, she produced La Vengeance d’Elvis Wong (directed by Pierre Falardeau) and, in 2005, Bernard Émond’s luminous film The Novena. In 2006, she produced Benoît Pilon’s first full-length feature, The Necessities of Life, based on Bernard Émond’s screenplay, in conjunction with Summit Circle, the second part of Bernard Émond’s trilogy (beginning with The Novena); The Legacy, the final part of the trilogy, appeared in 2008. In 2011, on Bernard Émond’s enthusiastic recommendation, Bernadette produced The Salesman (Sundance, World Cinema Dramatic Competition, 2011), directed by young filmmaker Sébastien Pilote. Also in 2011, she produced Bernard Émond’s sixth feature, All That You Possess and Jean-Claude Coulbois’ documentary Mort subite d’un homme-théâtre. In 2012, she produced Sébastien Pilote’s most recent film The Auction. She also has a hand in Bernard Émond’s new film, Katia, which is currently in development.
Robert Lacerte received his degree in film production from Montreal’s Concordia University in 1986. Under the banner of his production company (Les Films Lacerte), he has produced a number of successful short films that have been screened at some of the world’s most prestigious festivals. They include Le retraité (based on a short story by Boris Vian), which was directed by Yves Bélanger in 1994 and won best screenplay at Belgium’s Huy Festival; Le lépidoptère, directed by Chloë Mercier in 1996, which won first prize at Quebec’s Ste-Thérèse Festival; Meanwhile, directed by Ghyslaine Côté in 1998, which won the grand prize at New York’s Stony Brook Film Festival (it was also nominated for a Jutra award and a Genie award and was screened at Sundance). In addition to festivals, these short films have been shown in commercial theatres before main features and have been broadcast on Canadian television. Robert also produced a number of series of short TV programs for Canal Famille (now VRAK.TV). These series have received great acclaim in foreign markets.
In parallel with his career as producer, Robert has worked on various feature films and documentaries as production director.
From 2005 to 2010, Robert worked as a financial analyst for three film financing organizations (SODEC, Telefilm Canada and the Canada Media Fund).
In 2012, Robert joined ACPAV’s production team. He develops feature film projects addressing hard-hitting topics geared towards a broad audience, such as Tout est permis (screenplay by Mario Bolduc). He is also presently associated with the production of Les loups (The Pack)[G1] (Sophie Deraspe) and is working on the development of Les amoureux orphelins (Michel D. T. Lam) and Iqaluit(Benoît Pilon).
Claudette Dubé, administrator
Ginette Lavigne, coordinator