Screen Australia’s Deirdre Brennan Talks Australian Creativity & Resilience

Numerous Australian TV series have found fans around the world, including Neighbours, Home and Away and Wentworth, just to name a few. Screen Australia is the government agency responsible for supporting the development, production and distribution of Australian drama and documentary screen content. As CEO, Deirdre Brennan oversees investments in Australian film, television and online titles and games. She speaks with TV Drama about the state of Australia’s drama industry, sustaining its multifaceted creative community and navigating the challenges affecting the global business.

TV DRAMA: Tell us about Screen Australia’s recently released Drama Report for 2024/25.
BRENNAN: Although it captures narrative [drama] production only, the Drama Report, now in its 35th year, is an important indicator of the health of the Australian industry. The 2024/25 results saw drama production expenditure in Australia reach an all-time high of A$2.7 billion, a 43 percent increase overall. This reflects the strength of a competitive screen ecosystem where both domestic and international productions provide economic benefits, infrastructure and employment opportunities. However, the findings also highlight a complex relationship between production value and content volume, with ongoing shifts in commissioning and rising budgets. These are ongoing challenges for the global industry, including Australia, but they also present an opportunity to seek out new areas of collaboration.

TV DRAMA: How is Screen Australia overcoming the challenges facing the drama market?
BRENNAN: Australia’s screen practitioners are resilient, creative innovators. They’re also incredible problem-solvers in the face of any challenge. Our role is to evolve as an organization to deliver the support they need to thrive. Our new purpose is clear—to help build a vibrant, viable sector that reflects the depth of Australian stories and experiences. Our priorities are to empower economically sustainable businesses, deliver insights-based market and audience intelligence, explore new funding sources and drive cultural export opportunities.

TV DRAMA: What makes Australian companies such good co-production partners for international drama projects?
BRENNAN: Australia brings enormous value to the table that goes well beyond our world-class incentives (and they really are world-class). Global partners are struck by the creative talent and a point of view shaped by our distance, our First Nations storytellers, the remarkable landscape and local communities. Our screen practitioners are courageous and resourceful, with a unique ability to pivot quickly. Australia is also home to outstanding facilities and locations, with postproduction and VFX companies delivering groundbreaking, quality work on the international stage.

TV DRAMA: Do you agree with the saying that crises can spur creativity?
BRENNAN: How we respond to this moment in time will define storytelling and its role in shaping society for decades to come. I agree that creativity can be found in all circumstances, and current industry challenges are no exception. Strong, long-term talent development combined with a deeper understanding of contemporary audiences is the most important ingredient to ensure our ongoing success. I also encourage creators to take inspiration from other industries, including sport, tourism and science. What can you learn about community building from the games industry? What are the hurdles faced in the worlds of publishing and music that could inspire you to think differently about your own work? We don’t live or work in isolation, and now is the time to broaden our scope of experience.

TV DRAMA: Do you feel the international drama industry is headed toward a “new normal”? And, if so, can you envision some of the characteristics the new normal will have?
BRENNAN: The screen industry has experienced more change in the last five years than in the previous 50, so it’s hard for anyone to say what a “new normal” might look like. The only certainty is rapid change. Within that environment, adaptability and diversification have to be in the mix. Screen Australia’s approach embodies this thinking; we aim to future-proof the local industry by strengthening an informed culture of flexibility and excellence. We’re working hard to ensure our sector has the tools to tackle the challenges of today, as well as seizing the opportunities of tomorrow (whether they are foreseeable or otherwise).

TV DRAMA: Are there upcoming projects you can mention?
BRENNAN: From documentaries to games, unscripted formats and narrative stories across film, TV and direct-to-audience platforms, the Australian pipeline is prolific and distinct. There are too many outstanding creative projects coming this year to single out just a few, but as a self-declared research advocate, I am anticipating the upcoming release of our Screen Currency 2026 report.

TV DRAMA: How are screen and games IP created and valued in Australia? And who benefits from this effort in an ever-evolving audience landscape? BRENNAN: These are the kinds of questions we want to answer with this landmark research project—one of the largest of its kind undertaken in Australia.

Screen Currency will explore the economic, cultural and social impact of Australian content through a range of intersecting research methodologies. It will examine audience behavior and perception, content pipelines, contemporary screen businesses and financial measures as we seek to understand what value our screen and games industry delivers to individuals, communities, culture and the economy.

It’s never been easier to enter the industry, but it’s also never been harder to be successful. This is the type of in-depth insights work that will generate discussion and potentially shape decisions for the years ahead… and there’s more to come. That’s certainly something we’re excited about.