Rémi Faure: “We discussed with the producers of ‘Star Academy’ and ‘The Voice’ to find the most suitable candidates”

Addicted to audiences, Benjamin Rabier caught the television bug from a very young age. Televore and curious by nature, he can become passionate about a season of “The Voice”, a documentary, a debate on “C ce soir” or a sports competition. Another playing field: social networks.

Last October, puremedias.com met with the director of TF1’s streaming programs, during the final auditions for “The Voice 2024”.


He is in charge of the two most important television programs in France. A few days before the end of the “star academy“, TF1 launched yesterday, the thirteenth season of ‘The voice‘. After thirteen years of success, the program that revealed Kendji Girac, amir, louane and many others continues to be one of the pillars of the private channel grid. Last October, during the “final auditions” of “The Voice”, the last stage of the show’s casting where the TF1 staff discovered the casting carried out by Bruno Berbères and the ITV Studios France teams. puremedias.com spoke with Rémi Faure, director of streaming programs at TF1. Selected pieces.

Comments collected by Benjamin Rabier

puremedias.com: For two days you will discover the last 140 talents of the 2024 crop of ‘The Voice’. What exactly are these?final auditions“?
Rémi Faure : This is the last selection, the last step before the set and the blind auditions. The ITV Studios teams know the talents well but we at TF1 are going to discover them. For some, for example, we will change the music. My role at TF1 is to have the final photograph, to imagine what the season will be like. Everyone sings very well in ‘The Voice’ but my role is to ensure balance: to have enough songs in French, songs with rhythm, moments that encourage the coaches, that make them get out of their chair, that there is a little rap for bigflo and olisome B-side music for mikaso that it generates emotions and gives rise to surprising, moving, funny moments, etc… At this stage, there is still time to inform the ITV and Bruno Berbères teams to find a profile that we miss.

Do you often ask the casting director of “The Voice” to go scout for new talent?
In general we are very satisfied, but systematically a small adjustment must be made. Either we are too serious or we are missing one or two slightly more adult profiles, which will reach a wider audience. Overall, Bruno Berbères leaves with a very small roadmap to refine the selection given that there is a month between the final auditions and the blind auditions. For example, recently, when we did the final auditions for ‘La Voz Kids’ 2024, I found that the color of the season was too intense, dark for children. As it is a show with children under 16 years of age, care must be taken that the intensity does not take precedence over the pleasure of being there.

They have said

“A season of ‘The Voice’ can be won in 1, 2 or 3 profiles”

Rémi Faure


What do you think makes a good season of ‘The Voice’?
A good season of ‘The Voice’ involves a good cast and good coaches. We will discover this part on stage although this year, taking into account the coaches we have chosen, we do not have too many doubts about their alchemy and liveliness. On the other hand, we tell ourselves that magic is happening, that we have all the ingredients to have a good season. Honestly, we have our favorites, but a season of ‘The Voice’, like in its time of ‘New Star’ for example, can be won with 1, 2 or 3 profiles that will carry the complete edition and create a means of communication. and public enthusiasm. Sometimes we guess them here, during the final auditions. Sometimes not. Maelle, who won in 2018, for example, we didn’t see it coming. I went back to my notes after her win, because I always take notes during final auditions and Maelle was not at all among our favorites. It wasn’t obvious. On the contrary, Jim Bauer, as soon as we saw him here, we knew something was going to happen.

What are the differences in casting between ‘The Voice’ and ‘Star Academy’?
‘The Voice’, only the voice counts. This is the baseline of the show. We could do the casting by closing our eyes. On behalf of TF1, I do not ask any questions about the candidates’ stories. We don’t go any deeper into the personalities than that. It is really the artistic proposal, the voice that we validate. In the ‘Star Academy’ castings we want a voice with potential but that is not completely achieved or mastered. It’s much younger, bluer. We accept this potential. The cast is also younger. Personality matters in ‘Star Academy’. A casting of ‘Star Ac’ is the singing and the interview. The interview weighs a lot, not as much as the singing, but still in the final choice, it is important. The castings for ‘Star Ac’ will take place in June, those for ‘The Voice’ in October. Here I found some that I saw a few months ago at the ‘Star Academy’ casting. Because they are people who sing well and who want to make their way. They do both castings, so of course we talk to the producers to find the most suitable candidates.

They have said

“At one point we forgot to tell and retell the stories of the talents”

Rémi Faure


For several seasons, ‘The Voice’ has been looking for less professional talents, closer to the viewers. Why this change?
The desire is not to look for talents with atypical profiles but to count them better. At one point, we forgot to tell and retell the talents’ stories throughout the season. Unlike ‘Star Academy’, where casting is based on an age range of approximately seven years, on ‘The Voice’ there is no age limit. It’s infinitely more diverse people than any other show. For example in “Koh Lanta”, at a certain age it becomes complicated for such an adventure. In “The Voice” everything is possible and sometimes we lose that. We talked about it a lot in the portraits and then forgot about it as the season progressed.

Were you going to look for profiles that were too professional?
Could be. We had had shopkeepers before but we told it in the portrait and moved on. We wanted to tell the story of the chrysalis that becomes a star. This year we are going to put families backstage with the candidates. But not only in blind auditions. I want us to continue telling who these people are, their family members, their loved ones, etc… It says a lot about them too. We will also provide images of your profession along your journey. In the later phases of the season we will try to put up footage of what happened when they returned home after their blind audition, for example. We’re going to film his return home. What happens to them after the auditions? We are going to try to tell all this better because I think that is the great strength of the program.

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