The Rise of Streaming Series: A Director’s Outlook
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The television landscape has dramatically shifted. Streaming platforms have redefined how audiences consume content, leading to a surge in series production and a new set of challenges for filmmakers. The documentary “Cinéastes en serial,” broadcast in January 2025, offers a interesting glimpse into this evolving world, highlighting the stark differences between directing for the screen and the small screen.
Cédric Klapisch, director of the hugely popular series “Dix pour cent,” revealed that each episode he helmed attracted over six million viewers—a figure dwarfing the box office success of his theatrical releases like “L’auberge Spanish” and “Russian Dolls.” This underscores the immense reach of television series in today’s media habitat.
However, the allure of massive viewership comes with its own set of constraints. Klapisch, along with other directors featured in the documentary, points to the inherent differences between filmmaking for the big screen and the small screen. “Each scene must advance the story,” Klapisch notes, unlike films which allow for moments of slower pacing.The pressure to maintain audience engagement is palpable.
The infamous “cliffhanger,” a staple of serialized television, also drew criticism. Klapisch expressed his frustration with the pressure to artificially create suspense to compel viewers to watch the next episode, frequently enough resorting to contrived plot devices. Eric Judor, another director, succinctly summarized the issue: “We eat lukewarm on the platforms,” he stated, implying that the attempt to appeal to everyone results in a diluted, uninspired product.
Denis Rabaglia, director of the 2025 series “On the High Seas,” echoed these sentiments. He found the expectation of a dramatic twist at the end of each episode overly restrictive. He observed, “At the cinema, as we cannot leave the theater, we can give the viewer a good twenty minutes to see where the film is going to take them. Not in series! We are more in the mode of ‘convince me to watch your series to the end from the first episode or else I’m out!’ So everyone is excited about the first episode.”
rabaglia also discussed the unique challenges of staging a series. For “On the High Seas,” he approached the production with a cinematic mindset, utilizing the bulk carrier setting to its full potential. However, the accelerated pace of series production demanded adjustments to his workflow. He had to prioritize efficiency, focusing on scenes requiring less elaborate staging to meet deadlines.
The demanding schedule is a recurring theme. Delphine Lehéricey, director of ”Indociles” (2023), noted the significantly higher daily output compared to film production. this intense pressure leads to burnout, as highlighted by Katell Quillévéré in “Serial Filmmakers”: “The series is the place of burn-out!”
Despite the challenges, Lehéricey found the rewards worthwhile. She chose to direct “Les indociles” because of the possibility to develop characters over an extended narrative. “The series offers this possibility of really developing them over time,especially on a project which unfolds a story over several decades,” she explained.
Behind the Scenes of Swiss Television: A Director’s Divided Opinions
The world of television production is rarely straightforward, and a recent documentary, “Serial Filmmakers,” highlights this complexity through the experiences of directors working on series filmed in French-speaking Switzerland. The film reveals a stark contrast in opinions among filmmakers, both Swiss and international, regarding the creative process and their overall satisfaction with the experience.
Some directors found the collaborative environment rewarding. Pierre Monnard, such as, thrived in the structured setting, successfully balancing adherence to a pre-defined framework with the ability to leave his unique creative imprint on the project. his positive experience speaks to the potential for fulfilling creative partnerships within a series format.
Though, not all directors shared Monnard’s enthusiasm. The documentary features Michel Gondry, known for his work on the series “Kidding,” who expressed a significantly different perspective. His words paint a picture of creative frustration: “I never felt considered as a filmmaker,but rather as a technician under the orders of a showrunner who had defined everything in advance. Between watching series and making them, there is a gap that I had not imagined,” he reveals.
Gondry’s comments highlight a crucial tension often present in large-scale television productions. The balance between creative freedom and adherence to a pre-established vision is a delicate one, and the experience can vary dramatically depending on the individual director’s working style and the overall production environment. This tension mirrors similar debates within the American television industry, where the role of the showrunner and the creative autonomy of individual directors are frequently discussed.
The contrasting experiences of Monnard and Gondry offer valuable insight into the challenges and rewards of series production. Their perspectives underscore the importance of clear communication, defined roles, and a shared creative vision to ensure a positive and productive experience for all involved. The documentary serves as a compelling case study, relevant to both international and domestic television production.
Listen to the full interview from “Our series made in French-speaking Switzerland” (3/5) from Vertigo, published December 25, 2024.
The insights from “Serial Filmmakers” offer a valuable lens through which to examine the creative process in television, highlighting the diverse experiences and perspectives of those who bring these stories to life.
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World-Today-News.com Senior Editor Eleanor Jones speaks with renowned television and film director, Jean-Pierre Mé delays, about the changing landscape of television production and the unique challenges faced by directors in the age of streaming.
Eleanor Jones: Jean-Pierre, thank you for joining us today. Your recent interview in the documentary “Serial Filmmakers” provided a fascinating look into the world of television directors. Let’s delve into that experience. Can you tell us about the biggest differences you’ve noticed between directing for film and directing for television, particularly in the context of streaming series?
Jean-Pierre Médelay: it’s a good question, and one that many of us in the industry grapple with. The most immediate difference is the pace. Series demand a much faster turnaround than films. We’re talking about delivering episodes on a tight schedule, often with multiple episodes in various stages of production simultaneously. This can be incredibly demanding on the director, the crew, and the actors.
EJ: The documentary also touched upon the creative limitations imposed by the episodic format, particularly the need for constant cliffhangers and high-drama endings. How has that affected your approach to storytelling?
JPM: Honestly, it can be quite a challenge. While I understand the desire to keep viewers hooked, sometimes forcing dramatic twists at the end of each episode feels artificial, almost manipulative.It can rob a story of its natural rhythm and prevent you from exploring more nuanced character growth.
EJ: “Serial Filmmakers” showcased several directors expressing frustration with this pressure to constantly escalate the plot. Have you found ways to navigate this tension while still creating a compelling narrative?
JPM: It’s a constant balancing act.I try to find ways to introduce intrigue and suspense without sacrificing the integrity of the story. Sometimes that means focusing on character-driven conflicts rather than relying solely on external plot devices.
EJ: The documentary highlighted the contrasting experiences of directors like Katell Quillévéré, who expressed burnout due to the intense demands of series production, and Delphine Lehéricey, who found the extended narrative format rewarding. What has been your own experience working in this habitat?
JPM: It’s certainly demanding, that’s without a doubt. But like Delphine, I’ve also found the opportunity to develop characters and storylines over multiple episodes to be incredibly fulfilling.There’s a depth you can achieve in a series that’s often difficult to capture in a two-hour film.
EJ: Looking towards the future of television, what do you see as the biggest challenges and opportunities for directors?
JPM: The rapid growth of streaming platforms brings both excitement and uncertainty. There’s a hunger for fresh, original content, which opens up new possibilities for storytellers. But, the competition is also fierce, and standing out in a crowded marketplace is a constant struggle. Ultimately, I believe the key to success lies in staying true to your vision, telling stories that resonate with audiences, and finding a balance between creative freedom and the demands of the industry.
EJ: Jean-pierre, thank you for sharing your insights. Your perspective provides a valuable glimpse into the behind-the-scenes world of television production and the challenges and rewards of being a director in this ever-evolving landscape.
JPM:* My pleasure. It’s a fascinating time to be working in television.
