‘People will be furious if we finish there’: Is a third season on the cards for Colin From Accounts?

Colin From Accounts is back for a second season, with episodes spooling out each Thursday on BINGE like the appointment television of old.

Created, starring, and written by Aussie husband-and-wife team Patrick Brammall and Harriet Dyer, Colin from Accounts is a romantic comedy that is open-hearted, well-written and hilarious. It aired on BBC Two in the UK, is streaming in Paramount + in the US, and took out three Logies earlier this year — Most Outstanding Comedy Program, plus the Most Outstanding Actress and Most Outstanding Actor for the two leads.

In part one of this conversation, Dyer and Brammall spoke to Mumbrella about the reaction to season one, working with a major American studio, and the pressures of following up an unqualified success.

The first three episodes are now streaming on BINGE, with a new episode out each Thursday, at noon.

You wrote Colin From Accounts together; you also star in it, so it’s your baby, so to speak. When you’re on the set, how are you in terms of passing off authority to other people, like the director, and other actors, without letting it slip out of the grasp of what you wanted it to be?

Dyer: It’s funny, like, the director has to take charge of the set – but if we feel like it’s not going the right way, we just step in and go, ‘Oh, we actually kind of saw this over here’, or ‘a bit lighter’ – but we hand the set over to all the people. This is a team sport, you know?

Brammall: Yeah, it’s a proper collaboration. But also, we’re show-runners in that American sense, which we don’t do a lot of here, which is: it’s like-

Dyer: Everything goes through us.

Brammall: We’re the executive producers, and we’re on set all the time. So, we will let people to do their thing, and if we saw it differently, or if we want to try something else, we’ll ask for it – and we’ll do it.

Dyer: It’s quite nice to hand it over, because we’re still looking at emails every minute about, you know, a costume fitting for someone in episode 7, and, you know, casting for someone in episode 8, and then, ‘we can’t afford that song, you’ve got to pick another song’. Soo if there’s anything that we can hand over, we actually like to.

Brammall: Yeah, because when we’re on set, we really need to focus on the acting part of it.

Dyer: Yeah, Patty’s better at putting his phone away, and I’m just like, looking at emails in between takes. It can get a bit too much, you know? But, in terms of the other actors, we’re always like, ‘Hey, if the words don’t feel right in your mouth, just change them’. We’re pretty good at that – unless the offer doesn’t sound as good, then we might have to be like, ‘Hey, let’s just get one “as scripted”.

Brammall: One of our prime focuses when we’re on set is making it a fun, enjoyable workspace. You know, everybody works very hard — I mean, Australian crews do anyway, and actors — but we do make a concerted effort to make sure everyone’s having a good time, you know? So, we keep it light, we keep it funny, we try not to take it too seriously, when we don’t have to.

And you mentioned before that the edit is very important. Did you make any major changes in either the first season or the second season based on being in the edit and going, ‘Actually, this works much better’? Or was it all pretty much set in stone when you wrote it?

Dyer: Yeah, I think we’ve done a few things in each season where we’ve flipped scene orders. There’s nothing that really would be that massive to an audience member, but we’ve definitely flipped a few scenes, or cut bits that were just not working. Sometimes it’s really hard when you’ve got to cut someone that was a guest actor, and that was their only bit. Then we have to send an email and say ‘sorry!’ But if it was slowing down the show, we can’t just keep things in for the sake of it.

Brammall: When you make a show, you’re making it three times. First, when you’re writing it, then you’re shooting it, then you’re editing it. And so by the time we get to the edit, everything is in service of the best show. So, we’ll be cutting our own lines, someone else’s lines, scenes. We’ll be changing stuff, just to make the show as good as it can be. And we know how hard it can be as an actor when your stuff is cut, or a line or a scene that you thought was really good doesn’t make the cut. But as showrunners, ultimately, we have to service what we think is the best show. So, you know, it’s kind of unrelenting, in a way, but it’s the best thing for everybody in the end, if the show is good.

The first season wrapped up in a way where, if you didn’t get a second season, it wouldn’t have mattered. It wraps up nicely. But now that you’ve had success, are you thinking beyond the second season? Like, are you thinking there could be a six series arc, or is that just too far ahead?

Dyer: No, we definitely didn’t plot more than one season at a time, but we definitely left season two open for a season three.

Brammall: Yeah, we’ve done that. And I think we left season one open for a season two, but also it would have been okay. It could have been fine.


Brammall: It definitely was a nice moment to end on. It’s like: Oh, and off they go to get their dog back, and we assume that they’ll be fine. But, season two is almost an after-the-credits kind of a season. It’s like: What is the happily ever after, you know? And it’s heaps of fun exploring that. But Harri’s right, we don’t go more than one season in advance, except the end of season two is… yeah, I think it needs something more.

Dyer: Yeah, now people will be furious if we finish it there.

Brammall: If we finish there, that’s true. Yeah.

So it’s on the networks to pick up season three then?

Brammall: Yeah. Ideally!


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