A decade has passed since the gripping espionage thriller “The Bureau” revolutionized the television landscape in France by adopting a format traditionally favored by American authors. French-American producer Alex Berger continues to bask in the accolades resulting from this groundbreaking series, which set a new standard for storytelling in the industry.

During the Canneseries, where he promoted the opening night screening of “The Company,” an adaptation produced by George Clooney, Berger reflected on his journey and the significant impact he has had within the television sector. He vividly recalled how France was initially unaccustomed to producing shows with the pacing and innovative structure that his team aspired to implement.

When Berger mentions “we,” he is referring to himself and the multi-talented showrunner of “The Bureau,” Éric Rochant. In 2008, they co-founded the independent production company The Originals Productions and honed their craft following the success of their acclaimed series. They developed a unique methodology called Structured Writing Workshop, which seamlessly blends the best practices from both the French and American television industries, leveraging the strengths of the French system alongside American creativity and efficiency.

“In France, major broadcasters typically produce around six to eight shows every 24 to 36 months,” he explained. “Our ambition was to produce at least 10 shows annually, and that was the model we aimed to establish. We sought to incorporate what we had learned in the U.S. — specifically the concept of the writers’ room and the role of the showrunner. We had to navigate the legalities to ensure that this could operate within the confines of France’s labor laws. This strategic approach allowed us to produce a season each year and establish what is now recognized as writing rooms in France, with remarkable execution.”

“The Bureau” has achieved remarkable global reach, being sold in over 120 markets. The announcement of a sequel/spin-off titled “The Bureau: Africa” last year and the adaptation into the American series is a testament to the original show’s enduring legacy. Showtime’s “The Company,” produced by George Clooney and Grant Heslov, features a stellar cast including Michael Fassbender, Jeffrey Wright, Jodie Turner-Smith, and Richard Gere, with the talented brother duo Jez and John-Henry Butterworth serving as showrunners. The series premiered last November and was quickly renewed for a second season shortly thereafter. The production for Season 2 has just commenced in London, with writers actively crafting scripts for Season 3.

Berger praised Jez and John-Henry Butterworth for their exceptional work on the adaptation. “They respected the essence of what we created while also reimagining it in a compelling manner.” He noted that the primary distinction between producing “The Bureau” in France and “The Company” in the U.S. lies in the remarkable scale of production in the latter.

“We produced the first season of ‘The Bureau’ with a budget of €15 million (approximately $19.8 million) back in 2013, whereas the first season of ‘The Company’ boasts a budget that exceeds ten times that amount,” the producer noted. “The ambition and vision that Paramount and Showtime possess are aimed at establishing a highly successful franchise based on a property that has already proven its worth. They have successfully done it before with ‘Homeland’ and pride themselves on assembling the best talent to execute the highest quality work.”

Berger revealed that there was a fierce “bidding war” between Apple TV+ and Paramount for the rights to adapt the French series. Ultimately, it was Paramount’s offer to involve David Glasser, the producer behind “Yellowstone” and “Tulsa King,” that clinched the deal. “They expressed a desire to develop this project at the highest level possible, emphasizing that they did not want to alter anything fundamentally,” Berger recalled. Even though Rochant opted out of the adaptation process, he still felt compelled to maintain the integrity of the original creation while allowing Paramount the freedom to craft an original narrative.

Berger has also collaborated with Apple TV+, albeit on a different project. The fashion drama “La Maison” debuted on the platform last year to critical acclaim, although Berger faced challenges regarding the marketing strategies employed by the American streaming service for his show.

“Marketing shapes a show’s success,” he asserted. “Apple, for example, excels in marketing its products like iPhones but struggles immensely with television marketing. This presented significant challenges for us with ‘La Maison.’ We produced an excellent show that achieved tremendous success in France and various other European countries, yet it was never properly promoted. This lack of marketing drove me absolutely crazy.”

When asked why he chose to partner with Apple TV+ despite his concerns about their marketing approach, Berger replied simply: “Hope. We had hope.”

“Apple TV+ had never produced a show in France, nor had they truly ventured into the European market,” he explained. “‘Slow Horses’ began in the U.K., but it was primarily a U.S. operation. I hoped to influence their approach. We became frustrated at times, feeling as if they were undermining their own efforts. I believe Apple TV+ represents the premium experience that comes with owning an iPhone. It’s a closed, exclusive membership that remains relatively small. While they are creating some remarkable shows, my critique is not focused on the creative side—where they are ambitious and financially supported—but rather on the fact that many of these shows often go unseen, which is truly unfortunate.”

The producer concluded his thoughts by reflecting on the outdated notion that “if we build it, they will come,” asserting that this belief no longer holds true in today’s entertainment landscape. “There is an overwhelming amount of shows, films, books, exhibitions, and art vying for attention. To stand out, you must be truly unique.”