Robert Lepage has made so many CDs, STRIPs, SCOREs, and HONKs, that you have to wonder if he has some secret power-breakfast. He gets up very early to compose music for TV series (Urgences, Belphégor) before stealing away to the pool to stretch out lengthways (he wouldn’t do it anywhere else). By 9 o’clock he is back in the studio with other musicians to create music for the stage, for dance (Lucie Grégoire’s Hatysa) and for documentaries (Werner Vokmer’s Roussil, Manon Barbeau’s Les Enfants du Refus global). In the afternoon, he watches full-length films for which he will record new music the next day (Bernard Émond’s 20h17 rue Darling, Rodrigue Jean’s Yellowknife). He sometimes gets together with colleagues later in the afternoon to improvise or to talk about the music they want to do or collaborate on. He even puts on the occasional show in which his compositions share the stage with his strange, original ideas. Don’t miss him on these occasions or else you’ll have to try the pool.