the (very) good recipes of a successful series – L’Express

The camera on the shoulder, an anguished breathing, a file bearing the words “this operation does not exist. In the eyes of France, you do not exist”. And a setting recognizable among thousands: an oval table, blue walls, lowered blinds, digital clocks set to the time zones of Moscow, Paris or Beijing. In a few images, the reference is obvious: we are in the world of Bureau of Legends. Behind this advertisement broadcast on social networks, hides the launch of a novel by Fleuve Editions inspired by the universe of the successful series. Since its first broadcast, Alex Berger, the producer, long associated with Eric Rochant, has tried to make the “brand” flourish by surfing on the public’s recognition. The Seagullsthe book by Thomas Cantaloube, in bookstores since August 29, is the ultimate variation of this strategy designed to increase the revenue generated by Malotru and his cronies.

With its five seasons broadcast between 2015 and 2020, The Bureau of Legends is, with Ten percent And HPIone of the three French successes of the last decade in terms of series. Inspired by the American methods that made the success of Sopranoof the Mad Men or some breaking Badby imposing a showrunner who orchestrates the authors, by filming at the rate of one season per year, unheard of at the time for a French series, Alex Berger and Eric Rochant, united at the time in The Oligarchs Productions (TOP), have left their mark. The characters of Malotru (Mathieu Kassovitz), Marina Loiseau (Sara Giraudeau) or Henri Duflot (Jean-Pierre Darroussin) and expressions like the “right to know” have entered the imagination of the French. But to amortize the series, more is needed. International sales, local adaptations, derivative products.

In this matter, The Bureau of Legends is far from having been undeserved. The series, acquired in more than 100 countries, is considered by the National Center for Cinema and the Animated Image (CNC) as the “major export success of recent years”. It is difficult to find in the production company’s accounts the precise share of revenue generated by The Bureau of Legendsother series included, but, according to Alex Berger, they total 120 million euros for a cost ranging from 15 to 22 million per season. Another indication of its popularity, even though there have been no new episodes since 2020, The Office still ranks in the top 5 videos on demand (VOD) on Canal +, which holds exclusive broadcasting rights.

If Eric Rochant rejects the term “brand”, preferring that of work on one side and merchandising on the other hand, Alex Berger does not have these nuances: “I create brands with strong emotional engagement. The idea is that when we watch a recurring series, our endorphins make us want to find the characters again.” More prosaically, it is about maintaining around the universe of Bureau of Legends a little music, a background noise that feeds the viewer’s desire. The competition between series is such, the financial stakes so important that it is crucial to remain desirable as long as possible when you have a success in your hands. But without distorting it so as not to demonetize it.

Riding the wave of success without parasitizing it

The Seagulls, which benefit from a release of 15,000 copies, are fully part of this strategy. Nothing has been left to chance to ride the wave of success without parasitizing it. To write it, it was necessary to find someone who was legitimate enough on espionage and geopolitics without being a superstar whose fame would risk overshadowing the series. This will be Thomas Cantaloube, author of a remarkable trilogy in the Série noire at Gallimard, whose plot takes place in the Gaullist services at the time of decolonization.

In the process of writing, The Originals Productions, the new name of the structure, co-publisher, validates the coherence of the universes. “For example, I wanted to send the director of the Action department into the field, I was told that it was not possible. I also reviewed the character of Marie-Jeanne Duthilleul that I described as tougher than they imagined”, says Thomas Cantaloube. And if some characters from the Bureau of Legends run through the background of the novel, the bulk of the plot takes place in the Action department with new protagonists. “This is not a novel based on the series,” emphasizes Julie Cartier, director of Fleuve Editions. “It is also not a sequel because the production company wanted to keep the possibility of developing new episodes without there being new characters or narrative arcs that would have to be taken into account.”

The author also sifted his plot through the sieve of three former members of the real Action service, tasked with detecting what doesn’t add up: “I followed them on two thirds of their remarks, such as this obligation to return to Paris between two missions, and I took liberties for the rest, for the needs of the fiction, such as the fact that the same team does not leave for a different zone”, continues Thomas Cantaloube. Anecdotal? Crucial on the contrary. Because The Bureau of Legends has built its success on credibility, if not on the accuracy of its statements. With the unofficial but benevolent support of DGSE officials. Former Director General Bernard Emié, for example, told the magazine International politics : “If I had wanted to obtain the same results, in terms of communication, I would have had to invest hundreds of thousands of euros.” The recognition was also media: “Probably the most intelligent and credible series in the world”, declared the New York Times when he classified The Office third best international series behind the Israeli one Hatufim (which inspired Homeland) and the British Sherlockbut in front The Crown and the adventures of the Windsors.

There is no question of letting a detail spoil this credit. Alex Berger watches over it to the point of obsession. goodies are reduced to the bare minimum: half a dozen very specific products, such as the camera cover, sold very confidentially. There is also no question of leaving the field open to those who would like to use the image of the Bureau of LegendsIn 2018, the company sued for infringement a book that used an image from the series under the title. Politics of secrecy. Views on “The Bureau of Legends” (PUF). It had been rejected, but the cover was changed and the message got across: “Our goal was to say: do not use our image without permission,” insists Alex Berger, who wants to be the guardian and guarantor of the spirit of the series.

He gave the green light to a escape game nestled in the heart of Paris. Three to six players spend two hours in a “legends’ office” situation, with actors playing roles inspired by the series, in sets recovered from the filming. The place is very successful, welcoming 20,000 people per year. The exhibition on spies at the Cité des sciences et de l’industrie also attracted many fans before being stopped by Covid. Same success with theSecret Intelligence Atlas led by historian Bruno Fuligni at Gründ, whose third edition is coming out on September 5. The book is illustrated with photos from the series, but the main thing is to put the world of intelligence into maps and figures. “I try to do quality popularization, with this label Bureau of Legends which disinhibits readers who might be afraid of a book intended for specialists,” explains Bruno Fuligni. Each of the first two editions sold 5,000 copies, according to Edistat.

On the other hand, other attempts such as role-playing, children’s books and Dictionary of espionage have not benefited from the aura of the series, proof that the exercise is not so simple. “Exploiting a brand beyond the work itself allows you to generate other revenues, to create a longer lifespan for it and to increase the producer’s reputation. But if animation actors have been succeeding for fifteen to twenty years, with a constantly renewing audience of children, it is less easy with an adult audience”, notes Valérie Bourgoin, former audiovisual director at the CNC, now a trainer.

“Notoriety all over the world”

For The Bureau of Legendsone of the tests will be the reception of the American remake, the rights to which have been bought by Paramount. Produced by George Clooney, currently filming in London with stars including Michael Fassbender and Richard Gere, The Agency is expected to air in 2025. The remake is not expected to boost The Originals Productions’ revenue in the short term, as revenue is traditionally paid out in the form of royaltiesonce production costs have been amortized.

On the other hand, it can create a new appetite for the work or for other projects. “There are adaptations that are better known than the originals and can have a catalytic effect on remake projects in other countries,” confirms Xavier Rambert, head of studies at Glance-Médiamétrie, who cites the Japanese series Motherwhich achieved worldwide success after a remake in Türkiye. “We saw it with Hatufim And Homeland Or BeTipul And In therapyadaptations revive interest; each series feeds the other,” says Serge Hayat, an entrepreneur in the audiovisual sector.

But the team holding the rights to the Bureau of Legends is aware that only new episodes in France will allow the series to be maintained in the medium term, and monetized. The departure of Eric Rochant, against a backdrop of disagreements with Alex Berger, has slowed down developments. With his new structure, Maui Productions, Eric Rochant has several projects: Bandi with his daughter for Netflix, Sunday afternoons should be banned for Arte and a series on cyberespionage. Under these conditions, there is no question of diving back in as an author, even if he recognizes that The Office brought him “worldwide fame and self-confidence.”

Many had hoped that Jacques Audiard, director of the last two episodes of season 5, would take over, but the graft did not take and the outcome aroused perplexity, sometimes rejection, among fans. A new project is launched, The Africa Officewith Tarik Saleh, the Swedish director of Egyptian origin, as showrunner The Cairo Conspiracy and of Cairo Confidential. The profile is appealing, but he wants to finish his film trilogy before returning to writing the series. No reason to hope for a broadcast before 2026. Until then, The Seagulls and the American remake have the difficult task of maintaining the passion for the “right to know”. Without disappointing. Mission impossible?