Behind the scenes of HPI, screenwriter Alice Chegaray Breugnot tells the reasons for a success

She is the author of HPI, her name is Alice Chegaray Breugnot, the daughter of Pascale Breugnot, the ex-popess of television in the 80s, the creator of Psycho Showof Gym Tonicof Lost view with Jacques Pradel, Everything is possible with Jean-Marc Morandini.

What initially interested Alice Breugnot, her daughter, with HPI was to initially create a popular character:

“Me, I really wanted this character, and I had thought about this character even before the series, even before she was a cop, even before all that. This popular character, very free, there are so many little to fiction. It’s almost absurd because at the beginning, people say to me: oh yes, it’s Marlot, because there is only one popular character in French fiction, so we necessarily compare him. It’s very sad actually to have to compare characters that have nothing to do with each other, but just because they’re both precarious and popular characters.”

Alice Breugnot also wanted to modify the codes of traditional detective series:

“I wanted to reverse the classic duo. In general, when there is a tandem of investigators, the man carries the comedy, the fantasy, and the woman carries the seriousness, the one who calls to order, and who is everything time annoyed by his partner. And I wanted to really reverse that dynamic to create originality, but also comedy.”

Alice Breugnot

at franceinfo

10 million viewers on average per week in season 1, after confinement, but also in season 2, this year. The reasons for HPI’s success are inscrutable. Even if Alice Breugnot has her own idea:

“I think the mix of genres partly explains the success. This character who starts out as a cleaning lady, who goes from odd jobs to odd jobs, who gets fired all the time and who finally finds her place in society, that too tells something, her side so uninhibited, which makes you want to be her at times, to be able to say shit to your banker. And that is very enjoyable and very liberating.

And then there is Audrey Fleurot: “So Audrey, she does a lot of improvisations. There are a lot of things that she adds at the end of the scene and which are little nuggets that we manage to nab. She also puts a lot of childhood in the character”.

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Participate in the consultation initiated as part of the European project De facto on the Make.org platform. Franceinfo is the partner


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