The Librarians: big in Mongolia

The third series of The Librarians is bigger than its predecessors. Miguel Gonzalez visited the Melbourne set of the cult ABC comedy.

Most of the time, the Melbourne Showgrounds are an exhibition and functions venue, but occasionally, they are also the home of the Middleton Interactive Learning Centre and her manager, head librarian Frances O’Brien. ABC TV’s comedy The Librarians – launched in 2007 – was originally shot at an old car dealership in Melbourne, but people kept trying to come in thinking it was a real library. Taking advantage of the fire that destroyed the original library in the first series, the show moved during its second season to building 13 at the Showgrounds, a much more private and spacious location.
Gristmill’s Robyn Butler and Wayne Hope – wearing their writing, producing and acting hats as Frances and her husband Terry – pitched the ABC their idea for a third series just as the second was about to go to air.
“We said to [ABC head of comedy] Debbie Lee, ‘If we’re going to do it, there’s no point in doing it in two years time because the audience would have possibly drifted,” explained Hope.
“We still thought that more life was to be had out of this show. We eventually made the decision based on when the Showgrounds location was available, and there was only a seven-week window,” added Butler.
The eight-week shoot was divided into two blocks: four weeks at the ‘library’, and four at locations in and around Melbourne – including a dance audition in a theatre, two weddings (one at the top of a cliff) and a scene at a crematorium.
“Since we only had four weeks shooting time at the Showgrounds, we had to write a lot of locations in, more than in previous years,” explained Butler.
This year, the number of episodes has increased from six to eight, with a “slightly” extended budget as a result. “Eight is the new six,” said Hope.
“There was a moment as the construction boys were building this set when I thought ‘we’re not doing six again, it’s stupid; it’s a lot of work for six episodes. Eight is fine, in terms of production and storytelling,” explained Butler.
The extension also allowed Hope, who had directed all previous 12 episodes, to share the responsibility with Tony Martin.
“We wanted to work with him in some way, and we knew there was a bigger storyline for [my character] Terry, so we called him to do two episodes,” explained Hope.

“They’re not self-contained episodes; it’s one long storyline, like a movie that has eight reels and they all have to match,” said Martin. “I know how Wayne and Robin think, so it’s not about coming from the outside to do two episodes and leave. I started during pre-production, so by the time we got to my episodes (five and eight), I knew how they do it and everyone was used to me being around.”
The location has a huge glass front, as seen on the show. The second series was shot during summer, but the third had to be shot during the winter, when, according to DOP Darrell Martin (new to this
production), “the light is different and at particular times the sun comes in from angles you don’t want. We’re losing daylight at 5pm, so we’ve been shooting a lot of day scenes at night”.
“But the light is funnier in winter,” said Hope.

“If I look at my favourite comedy films and ask myself ‘what do they look like?’ I can’t remember; all I remember is it’s a funny film.
“That been said, in comedy it is paramount to see the faces; this is not the show to start trying out your film noir lighting. It’s about flexibility and trying to get as much coverage as possible. It should look like it just happened and you’re just a fly on the wall,” explained Martin, who used the Sony HDW-F900 on this series.

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