Lionel Abbo: "Thierry Ardisson read Talk Chaud before his death"

Published on May 21st by Écrin publishers, Hot Talk is the latest project conceived with Thierry Ardisson. Initially designed as a television series, this thriller plunges the reader into the inner workings of media power at a pivotal time when the internet, Facebook, and YouTube were beginning to revolutionize the audiovisual industry. A former collaborator with Shine, Endemol, and Banijay, Lionel Abbo returns for Interviews on the genesis of this novel and on his collaboration with the man in black.

Aimé Kaniki: How did your meeting with Thierry Ardisson come about, and at what point did the idea of Hot Talk Has it ever been born?

Lionel Abbo: Thierry Ardisson and I collaborated when I worked at Shine. He approached us because we produced formats sold worldwide and he wanted to develop some of his ideas internationally. We worked on several projects together, including The Big Blind Test, presented by Laurence Boccolini on TF1 and then adapted in several countries. We got along very well right away. He even nicknamed me "Doctor" because he thought my serious demeanor and glasses made me look like a general practitioner. One day, he contacted me because he wanted to write a series about the world of television. Since he knew I was familiar with that world and that I wrote regularly, he offered me a job. Initially, Hot Talk It was a series. But when we considered pitching it, Michel Denisot had just released a film about the world of television that hadn't found its audience. We felt it wasn't the right time to champion a similar project. So the series was never pitched. Frustrated to leave the story undeveloped, I suggested adapting it into a novel. He agreed, and that's how the book came about.

After Thierry Ardisson's death, what convinced you that this story should still be told in the form of a novel?

This is a story that was very dear to both of us. I hesitated for a long time before finally going ahead with the project. Then one day, I mustered up my courage and sent a message to Audrey Crespo-Mara to explain the situation. She was fully aware of the project; Thierry had told her about it. She encouraged me to continue and told me there was no problem with the book being published. For me, it's also a way to pay tribute to him. Thierry Ardisson was someone I admired greatly. He's also the one who inspired me to work in television and probably the one who inspired many people of my generation. His creativity was extraordinary. Releasing this novel a few weeks before the anniversary of his passing was therefore very meaningful.

The story takes place in 2006, at a time when Facebook, YouTube, and new digital practices were beginning to emerge. Why did this period seem particularly interesting to explore?

Because it's a period I know very well. I was already working in television at that time and witnessed this revolution firsthand. What's interesting is that, at the same time, the television world continued its battles between channels, presenters, and producers. Yet, in parallel, several revolutions were already underway with the arrival of Facebook, YouTube, and the iPhone. Looking back, I find it fascinating to recount this world, which continues its usual rivalries while it's undergoing a transformation without really realizing it.

In the novel, you heavily feature a power struggle between two major figures in television. What does this duel reveal about the real workings of the television world?

This duel pits two visions of television against each other. The first is embodied by Thierry Walter, who represents 1990s television. At that time, a presenter was enough to make a show a success. The concept itself mattered very little. Viewers tuned in primarily to see a personality. This was the era of Patrick Sabatier, Patrick Sébastien, and Jean-Pierre Foucault. Facing him, Marco Pinto represents a more modern television, focused on concepts and formats. This evolution is particularly evident in shows like Loft Story ou The Voicewhere the format sometimes becomes more important than the presenter himself. I wanted to tell the story of this transition through the clash between these two characters.

You've worked for major audiovisual groups like Shine, Endemol, and Banijay. To what extent did your personal experience influence the writing of Talk Chaud?

Absolutely. I poured a lot of memories into this novel, memories accumulated during my fifteen years in the audiovisual industry. Some scenes are directly inspired by real events. For example, the meeting with Naomi Campbell mentioned in the book corresponds to a meeting we actually arranged at the time. Of course, other elements are more fictional, but I wanted to stay as close as possible to the reality of that world and what I experienced there.

The book describes a world where audience ratings seem to dictate all decisions. Does this power of audience ratings still exist, or has it been replaced by other indicators?

No, it still exists. Even today, there's that very particular moment the following morning when the ratings are released. For a producer, it often remains a decisive moment. The future of a show can depend on these figures. Replay viewing has certainly gained importance and can now influence certain decisions. But from an advertising perspective, the audience figures achieved during the television broadcast remain by far the most important. The next day's ratings are therefore still extremely significant.

Behind the thriller, Hot Talk It also questions our fascination with celebrities and their downfalls. Why are we so captivated by both the successes and failures of media personalities?

I think it's due to the close relationship we have with the presenters. Unlike a movie star or a singer, a presenter often seems much more approachable. Everyone knows they can't sing like Johnny Hallyday or act like Jean Dujardin. A presenter, on the other hand, seems like a normal person. When you think of personalities like Denis Brogniart or Jean-Luc Reichmann, you almost feel like they could come over for dinner. You feel like you know them. It's probably this closeness that explains why we're as interested in their successes as in their difficulties.

If Thierry Ardisson could read Hot Talk What do you think his reaction would be today upon discovering the final result of this project imagined together?

In fact, he read it before he passed away. The novel already existed, and he loved it. It was a project he was very passionate about. It's important to know that Thierry Ardisson played a significant role in my writing career, as he was the one who enabled me to publish my first novel. He notably put me in touch with Plon publishers in 2019. He appreciated my writing style and how I had transformed the screenplay we had conceived together into a novel. My writing style and this adaptation suited him perfectly. So I know he was pleased with the final result and happy to see this project come to fruition.