This week, Philippe Falardeau confirmed to the Newspaper that, after having spent the past 23 years to realize feature films, he also prepared his very first tv series, All take the raspberries, a comedy-drama rural, written by Florence Longpré (hear Me-you ?) and Suzie Bouchard (ALT). The man behind the left half of The fridge (2000), Congorama (2006) and Monsieur Lazhar (2011) turn this fiction of 10 episodes for Club illico next year.
Falardeau has come to swell the ranks of a growing group of directors who work so well in television as in cinema.
“In Quebec, it is very difficult to survive by doing only the cinema, stresses Gabriel Pelletier on the phone. When you do film, you can expect to make a film for three, four, five years. Most of the developers must work with both sides to earn their living. “
Philippe Falardeau was a rare bird. A glance at the directory of quebecois filmmakers still active is enough to see how hard it is to find who devote themselves exclusively to the seventh art Denys Arcand (The decline of the american empire, The barbarian invasions), Émile Gaudreault (Liar, De père en flic) and Bernard Émond (The novena, Against all hope) are part of the select club.
Even Xavier Dolan, intimately soldered to the cinema since I killed my mother (2009), despite two trips to the realm of the music video for College Boy Indochine, in 2013, and Hello to Adele, in 2015, is preparing a miniseries. The darling of the Cannes film Festival is working on the adaptation of a play by Michel Marc Bouchard, The night when Laurier Gaudreault woke up, reported The Press last fall.
We must look to the Quebecers who are also working in the United States to find examples of” exclusivity cinematic “, like Denis Villeneuve (Polytechnique, Blade Runner 2049) and Ken Scott (Starbuck, The extraordinary journey of the fakir). How long before they can emulate Jean-Marc Vallée and realize their own Big Little Lies (Little secrets, big lies) and Sharp Objects (On my skin) ?
“The real pure and hard, there is not a lot, says Gabriel Pelletier of the ARRQ. To succeed in the cinema, it is necessary that you have a commercial success. Because funding films, it is made increasingly difficult. “
By contrast, the examples of directors who alternated between film and series abound. The Louise Archambault (It was raining birds vs Too), Podz (Mafia inc. vs 19-2), Mariloup Wolfe (Jouliks vs My son) and Ricardo Trogi (1981 vs. Home-Blue) pour on both sides for several years.
In the United States, the phenomenon is less widespread, but does not prevent. In recent years, a few american filmmakers of the renowned have realized of the series. One thinks in particular of David Fincher (House of Cards , and Mindhunter for Netflix), Spike Lee (She’s Gotta Have It) and Andrea Arnold (Big Little Lies 2).
The end of the snobbery
The end of the snobbery surrounding television also helps to nourish this phenomenon. It was not that long ago, the sets were considered as minor works compared to feature films. In 2020, this bias is far behind.
“Now, the most interesting things are almost all on television,” observes Gabriel Pelletier. Independent cinema, auteur cinema… It has moved to the tv. The stories are often more human to the height of a man. The tv is closer to the real world. “
In interview to the Newspaper, Philippe Falardeau says he sees more differences between the two mediums. “It is the grammar of the image. It is the direction of the actors. This is what I love above all. “
“Over the past 10 years, the series are taking over,” adds the director. There are series which are even more cinematic than some movies. “