At the 64th Monte-Carlo Television Festival, one of the most anticipated guests was Canadian actor John Reardon, internationally known for the series Hudson & Rex. This year his role was different from usual: not in front of the camera, but as a member of the jury, called to evaluate productions from around the world. Reardon confessed how honored he felt to be part of a group of professionals he has admired for a long time and how this experience allowed him to grow by confronting different sensibilities and opening up to new perspectives on how to look at television. “Being included in the jury was such an honor, especially considering the level of the other members, people whose work I’ve admired for years,” he said. “It was a chance to grow professionally: discussing the projects and seeing how others perceive them opened up new perspectives that I will definitely carry with me.”

As an actor, Reardon admitted that his judgment is inevitably influenced by instinct and emotion, but during the jury’s work he naturally combined this sensitivity with the criteria shared with the other jurors. “My approach is a fusion between the sensibility of the actor and the criteria we all agreed upon. We had a structure for our discussions, but in the end, much of it came from the gut, from instinct.”

When asked how he separates personal taste from professional evaluation, Reardon was very clear: “I think it’s fairly easy to put aside personal opinion and look at things in a more universal way. I always ask why a story is being told. Is it meant to entertain, to shed light on social issues, or simply to celebrate writing and acting? That’s what helps you move beyond personal likes or dislikes.”

Looking at the works in competition, he noticed a recurring trend: “Many projects were based on true stories, but told from new perspectives. It feels like audiences today want reality, but filtered through original points of view.”

For Reardon, that’s also the strength of the Monte-Carlo festival: “We watched projects from eight different countries. It’s fascinating to notice the differences in storytelling but also to realize how similar we are. That’s what art is about in its deepest sense: human connection.”

When asked if he prefers cinema or television, he smiles and admits he couldn’t choose: “I love cinema because it’s a complete experience, a story consumed in one sitting. But I also love TV series because they evolve over time, they become a sort of time capsule that reflects the world as it changes season after season.”

The same balance of reason and instinct guides his choice of projects as an actor: “I always ask why a story should be told and who I would be working with. Working with inspiring, collaborative people is crucial. Of course, good writing is exciting, but in the end it comes down to gut feeling… and sometimes simply the need for a job,” he laughed.

Risk, however, remains a constant. “Taking risks is fundamental. In an era when ideas are often recycled, what truly fascinates audiences is the new, even if it’s an old concept reimagined from a different angle.”

Finally, he reflected on artificial intelligence, a topic now inescapable in the creative industry: “It’s a powerful and inevitable tool, but it has to be handled responsibly. It will allow us to tell stories in new ways, but we must never lose the human factor. That’s on all of us collectively. And no, it’s not Terminator: Judgment Day yet, so I’m staying optimistic.”

Through his words, John Reardon reveals himself as a thoughtful and curious observer of the audiovisual world, capable of moving between the passion of the actor and the critical eye of the juror. At the Monte-Carlo festival he brought not only his experience but also a clear philosophy: cinema and television thrive on risks, on innovation, and above all on authentic human connections.