PARIS — Since its 2015 debut, Canal Plus’ prestige drama “The Bureau” has become the pay-tv service’s flagship series, winning critical acclaim and a loyal fan base at home, and selling bris…
” has become the pay-tv service’s flagship series, winning critical acclaim and a loyal fan base at home, and selling briskly to over 95 territories abroad., who co-created the workplace espionage thriller with his TOP The Oligarchs Production partner Alex Berger. When putting the series together, Rochant and Berger imported a U.S. production model – placing Rochant at the head of a streamlined infrastructure that could reliably source a ten-episode season per year while keeping a unified voice.
Generally speaking, those models are changing, becoming more adapted to each project. The writers that have worked on our series, for example, are becoming showrunners on their own projects. They saw how it worked on “The Bureau” and have been able to export those methodsAbove all, the many stages of production need to overlap. That’s important. You need to be able to shoot, write and edit concurrently. In order to do that all at the same time, you have to be organized and you have to delegate.
In France, there’s no formal training yet, but there could be. Training showrunners means training screenwriters – the ones who want to, of course — to go further into the production process, because the writing stage never actually stops. You’re writing in production, you’re writing in the editing room, you’re always writing. Being a showrunner, in contrast to being a screenwriter, means continuing to write after completing the screenplay.
This season explores questions of Russian hacking and introduces a new side plot involving Saudi Arabia. It even references the killing of Jamal Khashoggi, which happened while you were in pre-production. Do events like that force a shift in your focus?
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