SHOWTIME! - FRANCE
Genre: Drama, Comedy, Musical / Original script / Format 6×60’ / Writer(s): Valérie Müller, Angelin Preljocaj / Producer(s): Didier Creste (Everybody on Deck) / Development stage: Bible / Tv channel in the country of origin: TBD / International Sales: TBD
To hide a 3 millions euro deficit he is responsible for, Karl Reiner, the Paris national Opera’s manager hired the choreographer Bibi Angelli in order to stage a contemporary and pop opera. Bibi is the only person able to gather around her the world famous group Mars Attack and the opera singer big star Anton Kutevitch who would guarantee this production popular success. But when Bibi appears in the Family Court, she explains that she is ready to quit her job to take care of her children. The judge grants Bibi an interim custody of her children and orders a social inquiry for the next months.
AUTHOR(S) PROFILE AND STATEMENT OF INTENT
When co-directing the feature film Polina, we felt that the unit format was too short to develop all aspects of stage creation. Soon, we wanted to create a story which could last several episodes. Thus, SHOWTIME! goes behind the Opera’s stage curtain to demystify the world which symbolizes elitism. Here, like in real life, the great premiere night of the show targets an educated and policed audience, however backstage, the whole creation process suffers from the hazard of human fervor.
GOALS AT THE EUROPEAN PROJECT AND TALENT FORUM
We consider the making of SHOWTIME ! in light of the current market by limiting the cost to a sole space: the Paris national Opera. Angelin Preljocaj has a sharp knowledge of all costs involved in production making and stage creation thanks to his experience working for his company Le Ballet Preljocaj making for a highly effective collaboration with us. We are also currently looking for one or more partners who could reinforce the European touch to our project with an international coproduction, a mise en abîme of Showtime! ’s coproduction.
Initially reunited to produce Bernard Rapp’s films in 2005, we have developed other projects since then. Today, EVERYBODY ON DECK keeps Bernard Rapp’s strong print ; what reunited the three of us then still informs the work the two of us do today. We are attentive to what artists have to say and to the ways they wish to say it. We thrive for new encounters in the artist world. Though we tend to follow our artistic tastes, we never forget audiences who always undoubtedly make the film possible.