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NCIS: LA showrunner Shane Brennan to reboot Australian TV

NCIS: Los Angeles showrunner Shane Brennan on set with Miquel Ferrer, Daniela Ruah and Eric Christian Olsen. 

 

NCIS: Los Angeles showrunner Shane Brennan is returning to Australia in a bid to fundamentally change the way productions are funded and developed in his home country.

Brennan, one Australia’s most successful television exports, has told IF he wants to kickstart a new era in Australia with a “unique system” and a “large amount of finance”.

Dubbed the hardest working man in Hollywood, he was showrunner of both NCIS and NCIS: Los Angeles for two years.

The 59-year-old Victorian, who left for the US in 2003, has executive produced more than 300 episodes of NCIS: Los Angeles and NCIS.

Brennan, whose Australian writing credits include A Country Practice, The Flying Doctors, Blue Heelers, Stingers and Mcleod’s Daughters, had more than 400 hours’ worth of production credits when he left for the US in 2003.

He is now into his seventh season as showrunner of NCIS: Los Angeles, and has just sold two dramas through his CBS Studios-based production company, Shane Brennan Productions.

The first, Freeman was to CBS, while CW bought Bob the Valkyrie. He also now waiting to hear from Fox on the Sylvester Stallone executive produced, The Expendables, based on the hit movie franchise.

The last of his four projects in development is an adaptation of Ian McDonald’s science fiction novel, Luna, which could be heading to Australia for production. Brennan will write the adaptation.

Now, as one of Australia’s most successful television writers, he is heading home in a bid to change a production funding and development model he sees as antiquated and producer-heavy.

“When I look at funding bodies in Australia, it reminds me that it hasn’t changed,” he said.

“The money is not going to the right people. Too much money goes to producers and the money is not being spent where it should be spent. Everything is slanted to the producer and that needs to change.”

Shane Brennan with LL Cool J and Chris O'Donnell on the set of NCIS: Los Angeles.

 

Brennan, who started his career as a journalist on the Bendigo Advertiser and then the ABC, said he wants to move the industry forward by helping Australians develop entertainment for a global market.

“I will make an announcement at the National Screen Writers’ Conference and the Australian Writers’ Guild will also be making an announcement about an interesting opportunity for the industry, which will have a unique structure and a large amount of finance,” he said.

“I am prepared to put some money back into the industry to try and kick start change. It’s a genuine attempt to try and move the industry forward. Nothing to my mind seems to have changed and we are missing an opportunity.

“If I can inject some money into the way we develop material and bring some expertise to that and make them think outside the box it might be enough to have the funding bodies think in that direction as well.”

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  1. This is great news but the issues don’t really lie with the funding bodies. The producers remain very much at the mercy of the broadcasters particularly the programmers and the commissioning editors. They should be the first to think outside the box but it rarely happens.

  2. Having worked with Shane on a few occasions, I reckon if anyone can shake the tree for a positive outcome, Mr Brennan can.

    All the best to Shane.

    Mark DeFriest
    Producer/Director (with no current affiliation with Shane… just an opinion)

  3. Let’s be very clear about this Shane. License fees from commercial broadcasters have stayed at the same dollar level for the past 25 years – which represents a decrease of about 50-60% in real dollars. At the same time, cast, crew, writers’ and directors’ rates and other production costs have gone up by about 50-60%. The squeeze is on production values and producers who are frequently expected to defer their own fees as an investment or gap funding. This has rendered the independent (non-foreign owned) production sector practically unviable. Many independent producers are closing their doors. No one is making much money out of the game anymore. And yet producers are the creators of job opportunities for all sectors. We welcome your return and fresh approach but please be informed of the realities we are dealing with.

  4. Thanks for your insights, Ewan. I believe we have an opportunity as an industry to tap into the world market because of the rapid and changing way in which content – both television and film – is being sampled. Time to stop focusing on just Australian networks and funding and look to the world market. I look forward to the opportunity of discussing future opportunities with you!

  5. Australia needs to finds it’s voice and identity – something distinctive that international audiences want and have to watch. We still slavishly follow the UK and USA , yet we are very different to both. Congrats to Shane, but apart from knowing how to work the “system”, I don’t see much pioneering spirit in NCIS. It’d not FARGO, or RAY DONOVAN…

  6. Shane I hope you will open it up to really new writers and producers not just those with credits already. That is what is so wrong with the funding bodies system here. You can’t get any funding unless you have already been successful. That is ridiculous. By the way I absolutely love NCIS L.A, Linda Hunt is extraordinary. Also Kostas M he never said the NCIS’s were ground breaking. And we should be making series like that here unfortunately according to ratings whenever we do they don’t rate. Australian people only want soap opera drama like Winners and Losers and Packed to the Rafters. And yes the kind of shows, Shane use to make. At least he didn’t let that hold him back.

  7. It is disgraceful the Australian television networks (except the ABC) have no respect whatsoever for the hard work that goes into the making of a quality film or a television program and continue to interrupt the viewing experience of their audiences with continual ads at the bottom right hand side of the screen for up and coming programs as if yours does not matter (this is in addition to all the usual commercial breaks from which the TV networks are making money). No wonder viewers are turning-off commercial channels in their droves! Writers and producers and their industry representative should insist on their hard work being broadcast free of such rude and disrespectful interruptions so that the “product” can be properly enjoyed. We do not see “Honda” or “Ford” commercials rudely interrupted with ads for some other product or program so why should writers, producers, directors, actors, crew and everyone who work in the industry and make the industry tolerate their quality shows and programs being rudely interrupted with “ads” during the broadcast of their work? Without these quality programs the television networks could not survive and could not attract the advertising dollar so it is about time that writers and producers insisted on ad-free broadcasts!

  8. Very glad to see someone is riding in on a white horse and telling the uphill and impoverished that there is water on the other side of the hill. Streaming services have changed everything (just ask Chelsea Handler). Australia is yet to catch up. Some colleagues and i tried to pitch a show to Netflix and Youtube Red last year but couldn’t even find a query email address. I hope Shane leads us all to opportunity which will inevitably lead to a better industry economy and more jobs and projects for all involved. Australia has the writers. We just don’t have a HBO style network to break through the glass ceiling. Never assume that Australia’s aren’t ready for a certain style of television. We are tuning in to international shows, dark shows, irreverent shows, boundary breaking shows on streaming services every day of our lives. Australia need not pander to the conservative viewing habits of the past. We’ve grown out of A Country Practice (bless it). And have been tuning into far broader themes for years now. Good on Shane Brennan for giving back. The funding bodies work hard, as do all the practitioners. But the system is stifling, particularly to emerging writers and directors. They all end up taking up jobs as TVC directors (where the money is) and on it goes. Our film festivals are vibrant and ground breaking but they’re niche. We’re in the golden age of television, internationally. Thank you Shane for letting the light shine on Australia.

  9. Dear Mr Brennan,
    I just wanted to say how much I am a fan of your creation NCIS Los Angeles. The production values, acting and writing are world-class. Each episode is like a little movie and the dialogue is so funny and smart it always makes me laugh. I am an Australian like you and the best of luck with your new venturers with Sylvester Stallone and your Sci-Fi movie here. We need you badly. I am also a huge fan of the acting skills of your actress Rene’e Felicity Smith!, who plays Nell in your creation. I wanted to express my adoration for her skills but my lap-top Mac running OS Serria said the email address was invalid. I would love to hear from you but I guess you are way above my pay-grade.
    Yours with the greatest respect,
    Ass. Prof. (Dr)) Michael Slater, Senior Research Fellow, the University of Sydney Medical School,
    NH&MRC Industry Fellow, email michaelslater1950@gmail.com

  10. Dear Mr Brennan,
    I believe I said in my salutation to you that I was way above your pay-grade. Of course I meant I was far lower than your talent and pay-grade, My bad,
    (Dr) Michael Slater

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