The theme of the game is the situation in 2004, when a young woman, Rebecca Loos, stated that she had an affair with the most famous footballer of her time, David Beckham. British media and public relations adviser Max Clifford has decided to turn the small odds into the scandal of the century and keep it on the front page of the world press for weeks.
Clifford played by Plesl, Beckham’s secretary played by Elizaveta Maximová, in other roles tabloid journalists, collaborators or their victims, viewers will see Miroslav Hanuš, Kryštof Hádek, Bob Klepl, Zuzana Stavná or Lucia Pernetová.
“It just caught our attention at the time. Above all, Max’s slogan “True nothing”. He was phenomenal, and even a tenth of his dramatized life was spent on good comedy and thrilling plots,” he said of Zelenka’s comedy inspiration. Clifford was behind the biggest scandal of his time. For more than 30 years, he has cynically conjured up intimate information from the lives of world celebrities. He helped one to rise and glory, the other to prison.
Jaroslav Plesl
Photo: Studio DVA
In production, Zelenka tries to come to terms with what drives a man who lacks anything sacred. “Besides, I can rub a bit of a boring game with a spotty leather ball, and conversely, I can defend the boulevard a bit. “Just bring the world back in balance, that’s what Max does,” he says exaggerating. Although he bases his writing on the case at hand, he This gives a lot of room for his imagination, so even though it is based on real events, this is not a documentary drama on stage.
Director, screenwriter and playwright Zelenka is one of the most original Czech film and theater creators, and her plays celebrate great success abroad. Her debut Stories of Ordinary Madness, made in collaboration with the Dejvice Theatre, was also given film form. The comedy series Dabing Street was created several years ago from the play of the same name, which Zelenka also wrote for Dejvice Theater.
Zelenka’s films almost achieved cult fame. Beginning with the debut of Buttonmakers in 1997, in addition to absurd humor and human perversion, disrespect for institutions, established interpretations of history, social consensus, and national myths are the hallmarks of his work.
