The spy miniseries 9/12, featuring multiple characters and intertwined destinies, invites us to enter the dark world of anti-terrorism imagined by author DOA, and to discover a romantic and different Paris, reinvented by Laetitia Masson in her adaptation and direction. Florence Dormoy, producer at Scarlett Production, and Randall Broman, Head of Distribution — Scripted at Mediawan Rights, talk about the singularities of this program with its prestigious cast and its distinct international ambitions.
Unifrance: How did the project come about?
Florence Dormoy: Laetitia Masson proposed this mini-series project to me in the form of a pre-bible adapted from DOA's eponymous book.
The novel and promising alliance between Laetitia's romantic, feminine, and, sensitive cinematographic universe, and the violent, ultra-realistic, and dark world of espionage conjured up by DOA's writing deeply appealed to me.
Could you pitch the series, in a few sentences?
FD: Shortly after the September 11 attacks in New York, Paris is subjected to a major terrorist threat just a few months out from the presidential election. Information about it circulates in the most secret circles of power: barrels of VX, a highly toxic product, are being transported by Islamists from Iraq to France. This deadly gas had been sold years ago by France to Iraq.
The different secret services get into action, without consulting each other, to dismantle the terrorist cells, intercept the barrels, and save not only lives but also France's honor. At the same time, the Islamist milieu of a Paris neighborhood, of which Karim is an undercover agent, is being decimated, man by man, by a mysterious Lynx, and the authorities don't seem to be fooled by these deaths, which are supposedly mere coincidences. Then the press gets involved. Amel, a young graduate, has convinced Rougeard to take her under his wing and investigate this Islamic milieu.
What makes 9/12 special? What are its particular strengths that will appeal to an international audience?
FD: The 9/12 mini-series offers a strong aesthetic, through astonishing, impressive, and, for some, emblematic Paris settings, but also thanks to the lighting based an intense and saturated color palette.
The singularity of this series also stems from Laetitia Masson's desire to divert the classic codes of series and spy films. We find ourselves close to the main protagonists, who, beyond their function and their mission, are prey to contradictions, personal torments, and the obligation to protect the State and the country at the cost of their own moral integrity.
Last but not least, the prestigious cast adds to the series' breadth and dramatic intensity.
Randall Broman : It's a truly unique series in its narrative intensity, and also in the way we quickly become attached to the characters and their destiny. These unique aspects will make the series attractive internationally. It's also a spy thriller involving terrorist threats in the aftermath of the September 11 attacks, immersing audiences in an easily identifiable geopolitical context.
What are your ambitions for the program internationally?
RB: Our ambitions are high, given the quality of the series, with streaming platforms in our sights... but we're not excluding linear sales that may take place in some countries.
You presented the series at the pitch session of Coming Next from France, which took place during the Series Mania Forum. What are your impressions after this session? Do you already have contacts or leads for exporting the series?
RB: These presentations play an important role. They allow us to make the series known at a moment when communication and international prospection begin. And yes, as always, we get quick feedback from some clients who want to know more and are looking forward to watching the first episodes as soon as they're ready.
