INTERVIEW – Olivier Delacroix: “Imposter syndrome never completely disappears”

Host of Through Olivier's eyes on France 2, present on YouTube with his channel Olivier Delacroix Officiel (more than 3,7 million views since November 2025), as well as on Twitch, TikTok and at the head of Live my life On NOVO19, Olivier Delacroix spoke at length to Interviews on the occasion of the release of his novel Imposter SyndromePublished on January 28th by Fayard, his book revisits the doubts that have plagued him throughout his career, the sometimes ruthless inner workings of the media, his commitment to the marginalized, and his vision of journalism in the digital age. A candid conversation with one of the most humane journalists in French broadcasting.

Aimé Kaniki: Even today, after more than thirty years in your career, in what situations do you experience this imposter syndrome that you talk about in your book?

Olivier Delacroix: You know, it's always there. Much less than before, but it's always there. I even think it never completely disappears. For a long time, I thought that one day I would finally feel legitimate, that one day the doubts would vanish. And then I realized that's not how it works. Imposter syndrome doesn't disappear overnight. It evolves with you. Today, I feel it most when I'm faced with something new. For example, right now, I'm writing my first screenplay. It's a completely new experience for me. Even though I've written the entire outline, even though I know the story, the characters, and the world they inhabit perfectly, there's always that little voice asking me, "Are you going to be up to the task?" I can feel exactly the same thing in my work as a journalist. I'm currently working with Jérôme Pierrat on a project about organized crime. Despite all these years of experience, despite hundreds of shows, documentaries, and reports, I can still wonder if I'll manage to contribute anything interesting or relevant. Just a few days ago, I was a guest on Europe 1 with Marie-Estelle Dupont. Before going on air, I was thinking, "She's so brilliant that I'm going to be terrible. I won't measure up." And then, in the end, the show went very well. But that doubt persists. The difference now is that I know it. I know how it works. I know it's there. I know it often spouts nonsense. So I listen to it less. Over time, you build stronger foundations. You learn to know yourself better. You understand your strengths and weaknesses. You become more emotionally stable. But that doubt remains. It simply takes up less space.

Has this imposter syndrome hindered your career more or, on the contrary, contributed to your success?

That's a very good question, and it's the first time I've been asked it. Thank you, by the way, because I find it particularly interesting. For a long time, I experienced it only as something negative. I mainly saw the times when it paralyzed me, when it prevented me from moving forward. Looking back, I realize that it was also an extremely powerful driving force. Because I lacked confidence, I needed to work harder. I needed to be better prepared. I needed to be impeccable. When you're afraid of being exposed, when you're afraid that one day someone will discover that you're not as competent as they imagine, you develop a very high standard for yourself. Before each new season of Through Olivier's eyesI wanted to prove that I was still capable of doing this job. That I was still legitimate. That I still had something to say. This internal pressure pushed me toward a form of excellence. But at the same time, it also cost me in some ways. I sincerely believe it prevented me from being bolder. There are probably projects I never launched. Ideas I didn't develop. Opportunities I didn't seize because I doubted myself too much. When you suffer from imposter syndrome, you spend a lot of time questioning yourself while others move forward without necessarily thinking as much. So yes, it held me back. But it also pushed me to work harder than I would have otherwise. That's the whole contradiction of this phenomenon.

"Behind some of the paths we admire, there are sometimes vulnerabilities that no one suspects."

In your novel, Théo sometimes accepts the unacceptable for fear of losing his place. Do you think that imposter syndrome leads some people to tolerate behaviors they would never accept in another context?

Yes, but I think it goes far beyond the media. We often tend to think that some environments are more toxic than others. The truth is, wherever there's power, money, fame, or strong hierarchical relationships, you find these mechanisms. In the media, of course. But also in finance, politics, fashion, film, and even in much more ordinary sectors. When someone holds some form of power over your future, your career, or your job, it sometimes becomes difficult to stand up to them. You might accept things you would never accept in another context. You might stay silent, you might adapt, you might tolerate certain behaviors because you're afraid of the consequences. Imposter syndrome can exacerbate this because it undermines your self-confidence. It sometimes makes you think you're lucky to even be where you are. That you have no right to complain. That if you lose your position, you'll never find another. But ultimately, what I describe in the book is primarily a question of power dynamics. And unfortunately, these power dynamics exist everywhere. What interested me about Théo was precisely showing how someone can gradually accept situations they initially consider unacceptable. Not because they are weak, not because they are cowardly, but because they are human. And because we are all capable of this kind of compromise when we are afraid of losing something that matters to us.

In your novel, you describe a media world where some personalities project a benevolent image on air but reveal a completely different side behind the scenes. Why was it important for you to depict this reality?

Because it was an integral part of the book's subject matter. When I started writing Imposter SyndromeI didn't just want to tell the story of a man lacking in self-confidence, but also the story of the environment in which he operates. Through the character of Théo, who discovers the media almost by chance, I inevitably recount some of what I've observed over thirty years in this profession. I love works, especially HBO series, that blend reality and fiction so effectively, when you can tell the author knows the world they're depicting perfectly. That's exactly what I wanted to do with this novel. My goal wasn't to write a diatribe against the media; that would be absurd, given how much they've given me and allowed me to pursue a career I deeply love. Instead, I wanted to portray certain realities. As in many high-profile sectors, there's sometimes a gap between the public image and reality. In this profession, I've met remarkable journalists, deeply human presenters, passionate producers, people who are the same in front of a camera as they are in real life. But I also encountered very different personalities once the cameras stopped rolling—people who champion important causes on air but whose private behavior doesn't always match their rhetoric, or who preach kindness while being extremely harsh with their colleagues. This isn't unique to the media; you find these contradictions everywhere. But since it's the world I know best, it's the one I chose to explore in this book.

The characters in your novel are inspired by real people you've encountered in the media. Did you hesitate before publishing this book?

No, never. Because from the very beginning, I knew exactly what I wanted to do. I didn't want to write a roman à clef where readers would spend their time trying to figure out who was behind each character. My ambition was quite different: to tell a human truth, an emotional truth, to talk about a lack of self-confidence, power dynamics, and certain mechanisms found in the media, but also in many other professional fields. I often say it: everything recounted in this book exists or has existed. There is practically no scene that comes entirely from my imagination. Everything is inspired by real events, observations, or situations. The characters are composites, built from several people, and some situations have been condensed or moved around in the narrative for the sake of storytelling. On the other hand, the mechanisms described are authentic. In fact, I thought the entire book promotion would revolve around a single question: "Who is who?" In the end, almost no one asked me that, which surprised me quite a bit. But even if that had been the case, I would never have responded. That wasn't the book's purpose. I didn't want to settle any scores, denounce anyone, or point the finger at individuals. Above all, I wanted to tell a story and, especially, shed light on that little inner voice that makes so many people doubt their legitimacy: imposter syndrome.

You say you've been feeling better for the past few years. What has actually changed in your life?

I think what I've learned most over the years is how to know myself. It sounds simple, but it's actually a huge undertaking. For a long time, I lived with my doubts without really understanding them. I experienced certain emotions, fears, and behaviors without being able to put words to them. Today, I understand much better what's going on inside me, why certain situations destabilize me, and why doubt sometimes creeps in. But once you identify your own mechanisms, you can start to regain control. One of the most important lessons I've learned is undoubtedly the art of saying no. It seems trivial, but for someone who suffers from imposter syndrome, it's extremely difficult. You're afraid of disappointing others, afraid of not being called back, afraid of being replaced, or afraid of losing your job. For a long time, I operated that way. Today, I'm much more capable of setting boundaries and protecting my equilibrium. I also did a lot of weeding out of my social circle. When you work in television or are in the media spotlight, you inevitably attract people who aren't always there for the right reasons. Over time, I realized that the most precious relationships were often those that existed before fame: childhood friends, longtime friends, people who truly know you and who were already there when no one else was interested. I learned to refocus on these connections, and it helped me enormously. Finally, there's also the positive weight of age. With age, you become more at peace. You understand that you can never please everyone, that you have the right to fail, that you have the right to be imperfect. This gradual self-acceptance doesn't completely eliminate imposter syndrome, but it makes it much less overwhelming and much easier to manage on a daily basis.

"If Dans les yeux d'Olivier has lasted for fifteen seasons, it is undoubtedly because human stories remain universal and timeless."

For over twenty years, you have given a voice to people facing often devastating situations. What still motivates you to reach out to them today?

I think it stems from something very deep within me. Since the beginning of my career, I've always been interested in those who are least heard, those who don't have access to the media and no platform to share their experiences. When we talk about the media, we often think of politicians, celebrities, business leaders, or influencers. Yet, the reality of a country isn't limited to these visible figures. It's also made up of millions of ordinary people who sometimes go through extraordinary ordeals. I often think back to Monique, the cleaning woman whose story we recently told. Her daughter committed suicide at 22 after enduring years of psychological abuse. This mother carries immense suffering, and yet, in the media, she hardly interests anyone. For me, it's precisely these people who interest me. I firmly believe that our job also involves giving a voice to those who have never had one. From my first documentaries, I naturally gravitated towards subjects that resonate with me: violence against women, violence against children, poverty, addiction, and discrimination. All these issues concern people who often remain invisible to the general public, even though they are fully integrated into our society. I find something profoundly noble in listening to someone whom no one usually listens to. This is precisely what makes this profession so extraordinary: we have the opportunity to meet others, to try to understand their journeys, their wounds, their hopes, and how they rebuild their lives. It's an immense privilege. After all these years, I haven't lost any of that curiosity. I remain deeply fascinated by human beings, by their capacity to withstand hardship, to fall and then get back up. The more time passes, the more I believe that this is what I'm most passionate about: understanding what allows people to keep moving forward despite life's difficulties.

Fifteen seasons after its debut, what is your perspective on Through Olivier's eyes ?

A lot of gratitude, first and foremost. When I look back on how far we've come, I realize how lucky we've been. We've just finished the fifteenth season of Through Olivier's eyes And, in today's French media landscape, achieving such longevity has become rare. Television is going through a particularly complex period: viewing habits are changing, audiences are fragmenting, and competition has never been fiercer. Despite this, the program continues to exist, which means there is still an audience willing to take the time to listen to human stories. I believe this program perfectly represents what I love about my job. It is deeply rooted in a public service mission. It doesn't seek sensationalism or controversy, but simply tries to understand life journeys and share stories respectfully. This is a value to which I am extremely attached. I am also very proud of the teams who work on this program. We often talk about the presenter because he is visible on screen, but behind him, nearly forty people work throughout the year: journalists, directors, editors, producers, and researchers. It's first and foremost a collective adventure, and if the show is still around today, it's thanks to their commitment. What particularly touches me is when viewers still come to talk to me, sometimes years later, about a story or testimony that resonated with them. Some remember with precision someone they met on the show, a story they've never forgotten. This means that these stories have left their mark, and that's undoubtedly the greatest reward a journalist can receive. In fact, over time, I've come to see myself less as a journalist of personal accounts and more as a facilitator. A facilitator of stories, a confidant, someone to whom men and women agree to entrust a part of their lives. When someone agrees to share their story, they grant you something very precious: their trust. This trust carries an obligation and an immense responsibility. I believe that's also what explains the longevity of Through Olivier's eyesPeople sense that we are genuinely trying to respect their words. We are not here to judge, nor to distort the stories entrusted to us. We are here to listen, understand, and pass them on. And, ultimately, that's probably what I'm most proud of today.

"On YouTube and Twitch, I've rediscovered a freedom that television doesn't always allow."

You are on the air today on NOVO19 with Live my life And you also launched your YouTube channel and your Twitch streams. What made you want to explore these new formats?

Actually, I don't see this as a break from what I've done so far. Rather, I feel like I'm continuing what I've always done, but on different platforms. When NOVO19 offered me this new format of Live my lifeI immediately understood that it was a continuation of my career path. For more than twenty years, my work has consisted of telling human stories, meeting people who live particular experiences, understanding their daily lives and making them available to the public. Live my life It rests precisely on this philosophy. What also convinced me was the team. I already knew several people involved in the project and had had the opportunity to work with some of them. So I had real confidence in their vision of television and their way of telling stories. I also liked the idea of ​​a channel that focuses more on regions, territories, and journeys that don't necessarily originate in Paris. I identified with this editorial line. As for YouTube and Twitch, there again, it was the human element that attracted me. On Twitch, in particular, I do what's called... Just chattingWe discuss current events, everyday concerns, relationships, work, and family. It reminds me a lot of the open-mic format I experienced at Europe 1, with its direct connection to people. But there's a major difference: today, I have complete freedom. I can choose the topics I cover, take the time to develop them, and go wherever my curiosity leads me. This editorial freedom has become extremely valuable to me and is undoubtedly one of the reasons why I enjoy exploring these new formats so much.

You often talk about freedom when discussing YouTube or Twitch. How do you see the future of media in the coming years?

I think we need to be realistic: digital media will continue to gain ground in the years to come. When I observe the younger generations, I see that their consumption habits have very little in common with those of their parents. My daughter is 22 and she practically never watches traditional television. She mainly consumes content on YouTube, on-demand videos, programs she chooses herself at a time that suits her. This evolution reflects a profound transformation in our relationship with the media. However, I don't believe television is going to disappear. I think there will always be a place for live broadcasts, major sporting events, or certain programs capable of bringing together a large audience at the same time. But it's clear that digital media will occupy an increasingly central place. This realization is also what led me to invest seriously in YouTube. My goal isn't simply to post a few videos occasionally. I want to build a real channel, with an editorial vision and a long-term strategy. In a way, I'm thinking like a program director these days. I want to develop different formats: interviews, short documentaries, profiles, original concepts, and maybe even, one day, a game. My ambition is to create a coherent universe that can stand the test of time. What's encouraging is that we've already racked up several million views in just a few months. Yet, I feel like this is just the beginning. I'm taking a patient approach, building a solid project that can continue to evolve for many years to come.

"The ideal media outlet is a loyal media outlet."

If you had the opportunity to reform one aspect of the French media landscape tomorrow, what would be your priority?

I believe I would return to a very simple value: loyalty. For me, the ideal media outlet isn't a perfect one, because perfect media doesn't exist. However, I deeply believe in loyal media. Loyal media is media that reports the facts as faithfully as possible, that doesn't distort information to fit a predetermined narrative, and that doesn't twist reality to serve an ideology or artificially create sensationalism. When we learn journalism, we are taught a fundamental principle: to seek out information and present it as honestly as possible. This seems simple in theory, but it's much more difficult in practice. Yet, I think it's toward this ideal that we must constantly strive. I also believe that there are still many media outlets and programs that try to operate according to this requirement. When I watch certain programs like Correspondent, Complément d'enquête, On the front ou As an asideI find in it this desire to recount reality with honesty and rigor. Through Olivier's eyesWe strive to pursue the same ambition. When someone agrees to tell us their story, our responsibility is immense. We must respect their words, avoid distorting them, and convey their account as faithfully as possible. For me, that is precisely what journalistic integrity is. And I am convinced that the journalism of tomorrow must uphold this standard, regardless of the medium: television, radio, print media, YouTube, or Twitch. Because ultimately, technologies evolve, platforms proliferate, and usage patterns are constantly changing. But one thing remains essential: public trust. And this trust can only be sustained if the media remain loyal to those they inform.

Interview by Aimé Kaniki