Keshet Intl.’s Atar Dekel, Elephant’s Sandra Ouaiss Break Down Propulsive TF1 Espionage Thriller ‘State of Alert’

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Marking a significant return, the captivating spy series “State of Alert” on TF1, featuring renowned French artist Patrick Bruel in his debut television role, is set to make its global debut on March 27 at Series Mania.

The grand event, attended by fellow actors and filmmakers, is scheduled to occur at the exact same film festival where Keshet International’s head of drama, Atar Dekel, first presented the series as a potential Israeli production back in 2018 after initial development.

In this gripping tale that unfolds across the vibrant backdrops of Paris and the breathtaking Negev Desert in Southern Israel, “State of Alert” begins with a taxi journey 43 kilometers outside of Paris. A Russian journalist named Anatoly receives a phone call on his cellphone. Upon answering, the taxi abruptly stops at a railway crossing. As a train roars towards the vehicle, the taxi doors are locked remotely.

It’s highly likely that the assassination utilized a virus-sending software created by Israeli intelligence, capable of remotely controlling a vehicle via a phone call. If this software were stolen, it potentially could be employed against bigger targets.

Three days from now, the U.S. President will be in Paris. Veteran Israeli intelligence officer Zeev Abadi is summoned back to duty by Unit 8200, an arm of the Israeli military, and tasked with finding the traitor who stole their software within a 72-hour timeframe. In Paris, Abadi will collaborate with Fleur Giroud, a French anti-terrorism officer portrayed by Natacha Lindinger (Sam, Coco Chanel & Igor Stravinsky), who is probing a baffling disappearance at Charles de Gaulle airport.

Leora Kamenetzky, a writer from “Fauda” and co-creator of “False Flag,” along with David Dusa (known for “Flowers of Evil” and “Amin”) and Negar Djavadi (“Jacqueline Sauvage,” “Mon Ange”), who took on the role of the main writer, developed the series “State of Alert.” This series was inspired by Dov Alfon’s bestselling novel, “A Long Night in Paris” (originally titled “Unité 8200”). The rights for this novel were optioned by Dekel.

Under the direction of Dan Sachar (“Line in the Sand”), “State of Alert” is a production from Elephant International of France, known for hit series like “Desperate Parents” and “The Intern,” which air on France Televisions and TF1 respectively, as well as “Killer by the Lake” produced for TFI through Keshet International.

Newen Connect disseminates ‘State of Alert’ globally. This gripping espionage drama serves as a relentless ticking clock. With a skilled production crew, an acclaimed showrunner, and an exceptional ensemble cast, it is a title that Studio TF1 takes pride in offering. We eagerly anticipate presenting this to potential buyers during Series Mania,” expressed Rodolphe Buet, CEO of Newen Content.

In the production of Elephant, Sandra Ouaiss serves as the producer. The series is overseen by executive producers Avi Nir and Karni Ziv from Keshet Media Group, along with Keren Shahar and Atar Dekel from KI.

State of Alert” is set to premiere on TF1 by the end of 2015. EbMaster recently interviewed Ouaiss and Dekel, the head of global drama and co-productions at KI, about one of TF1’s highly anticipated series for 2025 during Series Mania.

The manner in which this series has been constructed offers insights into the way Keshet develops their products, and it also speaks to certain aspects of Elephant International.

Atar Dekel: Primarily, our goal is to bring Israeli storytelling into the limelight of the global media sector. Keshet has made a significant mark with its English-language productions like “Homeland” and “The A-Word.” Having spent some time in the U.S., I returned to Israel with a determination to ensure our relevance not just in regions where we have physical offices, but also in those where we don’t. We believe that our style of storytelling can strike a chord with international audiences beyond English-speaking territories, and given the rich cultural exchange between Israel and France, it seemed a natural fit to explore opportunities there as well.

And when was that?

In 2017, the novel “A Long Night in Paris” (known as “Unité 8200” in Israel) was published, which immediately caught my attention due to its resemblance to the kind of intellectual property we’re renowned for. What intrigued me even more was that it was set in Paris, making it an appealing prospect for me to adapt as Keshet. Although it is an Israeli book, the adaptation has evolved into primarily a French production and narrative. The entire process has been fascinating, taking considerable time, yet feeling like seven years.

And when Sandra did you board “State of Alert”?

Sandra Ouaiss: Back in 2018, I was searching for initiatives to kick off with the newly established company, Elephant International, under the umbrella of Elephant Group.

I recently got introduced to Atar, and I must say, I thoroughly enjoyed collaborating with her and her crew. This show is set in France, and its premise intrigued me so much that I immediately agreed to be a part of it, telling Atar, “Count me in!

At approximately the same time, “Fauda” was generating quite a buzz. Dekel said, “There was definitely an interest in such programs. I believe Sandra saw its potential, especially with the French aspects. And she was absolutely correct.

One important aspect is Leora Kamenetzky, whom we pitched at Series Mania alongside you. Can you tell me how David became involved in the project development?

To progress the Bible project beyond our Series Mania presentation, we opted to collaborate with a French author. While he is predominantly French, he also carries Hungarian roots and communicates fluently in English. It was crucial to select someone who could converse effortlessly in English with the team and Leora.

And Negar Djavadi?

She initially stepped in as the primary French author and ultimately served as the showrunner for the entire series. David and Leora penned the initial scripts for the first two episodes. When TF1 commissioned the remainder of the series, it was crucial to have someone well-versed in France who could authentically portray the French police force. Therefore, I recruited Negar to take over. The first two episodes served as a foundation for the season, and Negar rewrote them and penned the rest of the episodes with the assistance of Bruno Fay, a journalist and writer with whom she often collaborates. We aimed to preserve the unique tone that mirrors the style of a graphic novel, featuring larger-than-life characters. For instance, the hit woman introduces an almost fantastical element to the series.

During my conversation with Ferdinand Dohna, Beta Film’s head of content & co-production, regarding Series Mania’s Seriesmakers, he mentioned that crime isn’t the only genre that consistently succeeds in series; family relations and relational dramas are also successful, encompassing a wide variety of interconnected individuals. It seems to me that you have indeed fortified the familial bonds between Zeev Abadi and Fleur Giroud…

In our adaptation of the story, instead of Abadi traveling to Paris to see his parents, we changed it so that he has a daughter living there. The narrative then revolves primarily around this character named Fleur.

Regarding the Keshet model, as discussed earlier, it involves leveraging Israeli intellectual property, artistic skills, and acting talents to collaborate with potential co-producers. My question is: At what point in this process did you initiate contact with TF1?

Upon joining the team, we revamped a new version of the Bible, following the work done by David and Leora. Afterward, we took this updated version to TF1.

TF1 found the concept appealing. They were keen on a high-end series and open to collaborating with Keshet. The book, which became extremely popular in France, served as their inspiration. With the scripts for the initial episodes, we sought actors. TF1 suggested that perhaps Patrick Bruel might take interest in it. We sent him the first two episodes; we didn’t anticipate much, but he adored them and expressed a desire to join the cast. This unexpected turn of events significantly impacted the project – likely affecting aspects like scale, ambition, budget, characters, or possibly everything.

When we landed a major star who is making their television debut in the leading role, it was an enormous coup for Sandra and her crew, significantly altering the landscape, and undeniably strengthened Tf1’s dedication.

Patrick acquired proficiency in Hebrew, though his original tongue is French. Initially, the program was designed to be equally balanced between French and Israeli content, but over time, it has shifted heavily towards French elements.

Simultaneously, we brought on board Dan Sachar to direct us, a professional who had climbed up the ladder within Keshet International. Notably, he was responsible for the Visual Effects in “When Heroes Fly”, a series that triumphed at the inaugural Canneseries.

Jane: He was responsible for “Line in the Sand.” His background in Visual Effects (VFX) is clearly seen in his work on this series, making him well-equipped to handle a production of this scale. It’s also clear that he has been nurtured by us.

To ensure authenticity in our portrayal of “Unit 8200”, it remained crucial for us to retain an Israeli director, even as the series evolved more into a French production. This was to prevent any potential distortion caused by presenting events related to this Israeli unit from a French perspective.

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2025-03-27 12:48