Hollywood’s Talent Whisperer: Inside Brendan Kenney’s Film and TV Mad Delusion Kingdom

Brendan Kenney is an accomplished film and television producer at Mad Delusion with over a decade of experience in film and television development and production. He has collaborated with industry heavyweights like Reese Witherspoon working on critically acclaimed projects including Wild, Hot Pursuit, and Big Little Lies.

Kenney has established relationships with major studios and networks including FOX, MGM, HBO, and Amazon. He currently collaborates with production companies like Fifth Season, Made Up Stories, and John Wells Productions.

He shares his insights on Mad Delusion, the current state of the business, and what screenwriters should know about it.

What is the current slate for Mad Delusion in terms of what you are making?

As cliché as it may sound, we’re genre agnostic — but our focus is always on character-driven stories. We’re drawn to narratives told from a distinct perspective, stories that can resonate globally. Personally, I gravitate toward thrillers, mysteries, and comedy, but the projects that excite me most are the ones that feel fresh and unfiltered.

Are there any genres/formats/platforms that you are not looking for right now?

Not really — we’re open across the board. Our slate includes scripted film and TV, as well as non-scripted and documentary projects. I’m especially excited about growing in the digital space; I just signed my first digital client, and it’s been thrilling to explore the possibilities there.

How do you typically access new scripts/writers?

I judge at a handful of festivals and universities, which is always a great way to see emerging talent. I also get a lot of referrals from clients. But honestly, I’m an avid reader and always hunting for that undiscovered gem — whether it’s a script, a novel, an article, or a piece of digital content, I want to see work that surprises me.

Describe your ideal writer client.

Someone who writes prolifically — at least three scripts a year, preferably five. They don’t all have to be perfect; I enjoy developing heavily with my clients, and it’s useful to bounce between projects when you hit a wall. Above all, they have to be kind. Making a film or TV show is a marathon, and life is too short to spend years dealing with a bad attitude.

Apart from great scripts, how can writers better market themselves and their projects?

Get out into the world. Join writer groups, play volleyball, basketball. Do anything that gets you meeting people and experiencing life. Those experiences feed your writing and expand your network. And never underestimate assistants — they’re often the future decision-makers, so treat everyone with respect.

What are your thoughts on the current state of the business and where it might go in terms of formats, story types, genres, and platforms?

The spec market has made a noticeable comeback, which is exciting. Independent film feels more vibrant than ever. Vertical content is a major conversation because so much of our attention is on phones. And globally, the market is exploding — the industry has never been more international.

Where are some less conventional opportunities for screenwriters to break in?

Short stories, journalism, any form of writing—you can’t limit yourself. Opportunities are everywhere if you keep creating and experimenting.

What’s the worst advice you’ve seen or heard offered to writers?

That once you get a manager or agent, all doors open. That’s just not true. You need a rep who believes in you as much as—or more than—you believe in yourself, and even then, you have to hustle relentlessly for your own career.

How do you feel about the advice “Write what you know”?

It’s solid advice, but don’t take it as a cage. If you want to write about something unfamiliar, do your research, immerse yourself, and learn everything you can. Great writing comes from curiosity and effort.

What recent films and TV shows have defined the business lately?

On the TV side, Adolescence has really set the tone — stylistically bold and culturally resonant. On the theatrical side, Wicked has reminded the industry that event cinema, especially musical adaptations with built-in audiences, can still make a massive impact.

by Staff Writer

From our in-house editorial team.