France’s audiovisual sector was grappling with growing pains when Isabelle Degeorges was named president of Gaumont Television France in 2013. By then, local audiences were already gravitating toward slicker international formats burnished by glossy production standards, a shift that would only accelerate when the streamers arrived the following year.
So one of Degeorges’ first moves was to modernize Gaumont’s development processes to keep pace with rising expectations.
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“We no longer had just a domestic audience,” says Degeorges. “That meant rethinking everything — from writers’ rooms to lighting setups — to reconnect with viewers and redefine the DNA of French series.”
Gaumont found that
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