Alexis Rey-Millet 2:00 p.m., June 04, 2022

Former professional racing driver, author, comedian and actor, Stéphane De Groodt explains to Isabelle Morizet's microphone his need to work with someone else in his projects.

In "There is not just one life in life", the Belgian actor tells in particular how Maïtena was a "masterpiece" of his chronicles on Canal +.

INTERVIEW

"I can't function alone".

After having worked on numerous books, plays, films and chronicles, Stéphane De Groodt realizes, at the microphone of Isabelle Morizet in 

There is only one life in life,

 his need to be accompanied by "an accomplice" on his various projects.

Former columnist on the show 

Le Supplément

, the latter discusses the importance of Maïtena Biraben, at the time host of the show, in the smooth running of her television appearances.

>> LISTEN - 

Stéphane De Groodt: "I am faithful to the dream I had when I was 20"

"Like the White Clown and the Augustus"

Asked about a potential film "signed Stéphane De Groodt", the Belgian author announces a project in writing for several years now.

He nevertheless regrets not having been able to concentrate “200%” on the latter, letting go “the pen according to the projects”.

Working alone until then on the writing of his film, Stéphane De Groodt nevertheless explains how meeting a co-screenwriter made him realize his need to work with "someone else".

A need that manifests itself in his writing process, but not only.

He explains: "I need an accomplice in everything. I could not do alone on stage, I need to exchange with the other. It's like the white clown and the august."

A "triangular mechanism"

And yet, during his chronicles in the program 

Le Supplément 

hosted by Maïtena Biraben, Stéphane De Groodt engaged in frenzied monologues, wielding puns and puns alone over the sentences.

But for him, he was not alone in his exercise, benefiting from the simple presence of his co-host in front of him.

"Maïtena absolutely contributed to making these chronicles work," he says.

The Belgian actor evokes a triangular mechanism at the center of his interventions: "There was Maïtena, there was the public and there was me. Of course Maïtena was a key part of this cog."