Selected Television Work (TV-ography)
- Le Parc des Braves (The Park of the Brave) (1984–88; episode in 1987)
- Les enfants de la rue: Danny (Children of the Street: Danny) (1987)
- L'Héritage (The Inheritance) (1987–90; episode in 1987)
- L'amour avec un grand A (1985–95): Hélène et Alexis (1988)
- Lance et Compte (He Shoots, He Scores) (1986–89): Tous Pour Un (All for One --"téléfilm" based on the tv series)
- Le Grand Jour (The Big Day) (1988)
- La Maison Deschênes (The House of Deschênes) (1987-89: episode in 1989)
- Les Filles de Caleb (Caleb's Daughters) (1990–91)
- Scoop (1991–95)
- Emilie (1992)
- Blanche (1993)
- Dark Eyes (Pilot) (1994)
- Million Dollar Babies (1994) (1994)
- Urgence (Emergency Call: Hospital Code 66) (1995)
- Heritage Minutes (Minutes du patrimoine) : Louis Riel and Maurice "Rocket" Richard (1997)
- Les Beaux Dimanches (Beautiful Sundays): Maurice Richard: Histoire d'un Canadien. (1999)
- La Femme Nikita (1997–2001); dir. episode 506: "The Evil That Men Do" (2001)
- Le Dernier Chapitre (The Last Chapter) (2002)
- Le Dernier Chapitre: La Vengeance (The Last Chapter: II: The War Continues) (2003)
- Les Règles du jeu: Roy Dupuis (The Name of the Game: Roy Dupuis) (2005)
- Un monde sans pauvreté: Agissons! (A World without Poverty: Take Action!) (2005) Public-service voiceover (in collaboration with Pascale Montpetit) sponsored by the Québécois section of Make Poverty History (Abolissons La Pauvreté) on behalf of Global Call to Action Against Poverty
- Les Rescapés (2010)
Read more about this topic: Roy Dupuis
Famous quotes containing the words selected, television and/or work:
“She was so overcome by the splendor of his achievement that she took him into the closet and selected a choice apple and delivered it to him, along with an improving lecture upon the added value and flavor a treat took to itself when it came without sin through virtuous effort. And while she closed with a Scriptural flourish, he “hooked” a doughnut.”
—Mark Twain [Samuel Langhorne Clemens] (1835–1910)
“Photographs may be more memorable than moving images because they are a neat slice of time, not a flow. Television is a stream of underselected images, each of which cancels its predecessor. Each still photograph is a privileged moment, turned into a slim object that one can keep and look at again.”
—Susan Sontag (b. 1933)
“Say what you will, making marriage work is a woman’s business. The institution was invented to do her homage; it was contrived for her protection. Unless she accepts it as such—as a beautiful, bountiful, but quite unequal association—the going will be hard indeed.”
—Phyllis McGinley (1905–1978)