BBC Wimbledon, Remakes & Crew Catering

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1:26Hello and welcome to the Prestes Entertainment Questions Edition. Questions and Answers Edition. And you are? I'm Marina. Oh no, I really thought I got it. I'm Marina Hyde. And I'm Richard Osman. Right. Welcome everybody. Welcome to the professional zone. I have got a question to kick off straight away just to sort of finesse my way past that catastrophic intro once more. Charlie Ede says, how good or bad is location catering? And is there a pecking order on who goes first? Is it the stars, then the crew, or is it a free-for-all? Crew catering by and large is one of the greatest things in the world.

2:00I would say occasionally there'll be studios you go to where they have notoriously bad catering but by and large catering is great because you've got to keep everybody happy the two most important thing to crew what's catering like when do we finish yeah if you finish two minutes early it's like the greatest dream that there's there's ever been but catering is an absolute obsession to everybody working on any sort of set any tv show any film and it's completely different on certain shows if you're if you're making a big tv show and everyone is working at the same time then there's just a mad rush at the end of your mornings filming by and large the talent might go back to their dressing rooms and have catering brought to them it's brought yes it depends it's called craft services by the way in america in america what's cool and if you're making a show for an american money and they've paid the catering bill you're calling it craft services and you're pretty grateful on our set there's a permanent van they're giving you ginger shots there's snacks all the way through the day like homemade so it's amazing it's genuinely amazing and then you would typically break for half an hour lunch.

3:00By the way, if you're looking at actors on, you know, big movies and things like that, I mean, there are certain actors who people like Robert Downey Jr., you know, they've got a sort of sushi chef doing it all for them. They've got a compound. They're never going near any of this stuff. And then also not eating that food. I have heard, like, God, on a Wes Anderson movie, and I can't remember which one it was, he just said, we're not going to have lunch. We're just going to have it shoot continuously. But we'll just put soup on... Sorry, what? Sorry, what food product? Sorry, soup now? Soup now.

3:29There was such a revolt, a mutiny amongst the crew that in the end he was like, you know, I didn't realise if you're lugging huge bits of equipment around, they sort of want a steak, really. Yes, you want something you need a knife and fork for. Yeah, at night sometimes, if you're doing night shoots, people would rather get their food while they themselves feel they've got a slight break in proceedings and then take that extra half hour and not have to go home at 5.30 rather than 5.00. Yeah, it's exactly it. So on certain shows you'll have a mandated lunch hour, which is usually about an hour and 15.

3:56and there are certain days certainly when you're filming where if all of the heads of department agree you can do an hour and you can leave a little bit early but there are certain people who've been absolutely working their socks off all morning saying no i'm taking the full hour and 15 and if even one department says we only had half an hour oh really yeah well yeah that's a difference in tv and movies um but yeah on a movie or a sitcom set or anything like that certainly if you're out in the field there tend to be lovely big double-decker buses that tends to be the absolute classic catering thing is big old-fashioned london double-decker buses and there'll be like kind of hatches where you can go and get your food and then you take it onto the bus and you sit with whoever you're with there tends to be two buses one will be for supporting artists which is extras and so on and one will be for cast and crew which would be the kind of big members of the crew can sit on that bus by and large people do mix there is some mixing there are some actors who've had lots of reasons will stay in there winnebago because they've got a big scene that afternoon they want to learn it but lots of actors will go and sit with the crew because they enjoy that as well if an actor joins the queue by and large people go oh no you go in front and lots of actors will go oh no no no no no no i'm queuing up and saying where there are some actors will go oh that's very kind sorry because i just want to get back to the winning as soon as possible i can understand sometimes where when the director or producer sometimes they just want to get their food and head off because they do have work to do they work over lunch in the way that some of the departments don't it is fascinating there is a pecking order and some people will absolutely apply that pecking order.

5:23But often when people don't, you think, oh, that's interesting. You see a different side of people when they're very happy to stand wherever they are in the queue. And the craft services will get a credit in the credits of the TV show. Yeah, there are three or four really big catering companies who do these gigs and it's a really big industry. I remember there was someone called Gloria Wilde who used to do food for lots of shows. And I think her company was called Wild Food or something. And I always said, you should be called food, Gloria's food. would be an amazing name for it. It's an amazing industry, but it's incredible how much of creativity and any creative endeavour is absolutely...

5:59It's like Napoleon said, you know, his army marched on their stomach. And almost all TV shows are made on your stomach as well if you're not feeding people properly. And all morning, you're thinking, oh, when's lunch? Yeah. You could be doing the most emotional scene. You'll be watching any movie, and you could be watching just unbelievable acting, like a Tudor wife is breaking down because her husband has been murdered murdered and she's just found out that her brother has died in the you know a war overseas and she's just like absolutely falling to pieces and you know that not only is every single person behind the camera but she also in the head is going oh it's lunch after this yeah i've already had the whatsapp that's given me all the choices i've said what i want yeah and this is so exciting it's going to be waiting in a little polystyrene container when i get back to my trailer i just Scott Wade.

6:45Every single scene is in relation to when is lunch or when was lunch. So the scene before lunch is just everyone's like, I'm going to give us everything I've got and I'm not going to mess it up. You know the first scene of the day, sometimes you're like, oh, we're going to go again. Sorry. That was me. I absolutely went. Are we ready? Yeah. Okay, let's go again. Sorry, John. The scene before lunch, none of that. Yeah, I think we got it there. Yeah. Happy? Everyone happy? We all happy? Lights happy? Lights go? Yeah, I think you're happy, lights. Yeah, okay. Yeah, yeah. That's absolutely fine. The scene after lunch is always people are like, oh, God, just because they've just had a baked potato.

7:19My brother always says when Suede are in the studio, you can always tell the take that's just after lunch. They call it the baked potato take because suddenly you go, that's quite slow. That sounds quite leaden and plodding. Why is that? You think, well, because you've just had a baked potato. And on shows that film three or four or five shows a day, I can always tell if they've just had lunch or if they're just about to have lunch. And sitting in an edit as well. So if you're in an edit, you're there all day. you're absolutely stuck you're you're in the edit you're not going anywhere you're in a darkened room and all edit suites have runners who come and take lunch orders and you know then go and get the lunch and the single longest period in human history the most difficult time frame there is to endure is the time between you ordering your food and it's arriving because you're like oh i know the second you've ordered your food i can think about is all i can think about now whatever's happening on the screen you're like i'm not concentrating at all because i just every time like someone walks down the corridor you think is that it is that my nando's i wonder if that's my nando's you think oh that wasn't my nando's i always think the best thing on any catering because usually recordings start very early certainly if you're doing a movie or a you know a location shoot i love a location breakfast oh it's so terrific oh you just you turn up in a field it's like 7 a.m everyone's everyone's doing their job but there's just a hatch open and bacon rolls are being prepared.

8:42Oh, we still have people make you an omelette in front of you. That really is American money you've got there. God bless them. I'm heading down to the Thursday Mailer Club set for the first time next week. So I shall report back. Oh, that craft will be amazing. You would think so, right? Chris Columbus doesn't, he's not going to march on an empty stomach. It will be terrific. It's such a great question. So thank you, Charlie, because when I started answering, I was like, oh, yeah, I know something about this. And then you think, oh, no, hold on. That's everything. It's everything. If you scrimp on it at all, people will hate you so much really quickly.

9:12Yeah. And then after lunch, it's always, you know, it's never kind of, what do we think about this next scene? How are we going to, everyone goes, what did you have? Did you have the lasagna? Yeah. Or did you have the risotto? Yeah. But with the sweet potato, that's all anyone's talking about. That's what director's commentary should be. It should be, did we just have lunch? You'll notice we didn't have a great lunch here. So what had happened was that yesterday, but you can also see how any potential leftovers have been resubmitted and become part of new dishes. As is quite right, I'm a great lover of leftovers and the repurposing of leftovers.

9:44But you do sometimes see like things working their way through. And in the end, you're like, OK, I know what that soup is. That's from two days ago, just liquidized. But also the biggest nightmare on set is if the food for one of the main actors has not been delivered or is wrong. That's like, ah. And not, by the way, because people are divas, but because of that thing of food is so fetishised on a set that if that's the thing, you know that the actor has been going, oh, I can't wait. And suddenly if they're baked potatoes, got tuna instead of beans. But it should be said that some, of course, are huge divas.

10:14And in the interest of accuracy, yes, I think they are. Yeah. But isn't that just life? Yeah. I mean, some teachers are huge divas, aren't they? I always think that actors being divas and showbiz people, because we do know plenty, and they are absolutely enabled. but I always think it's fascinating when you're in any other line of work to spot the person who, if they became a major movie star, would be an absolute nightmare. Everyone has one in their workplace, at least one. Yeah, the absolute diva. So, yeah, have a little think about your workplace and think if this person was a world-famous megastar, would they be an absolute nightmare or would they be a lovely Hugh Jackman figure?

10:49A question now from Sam Evans, a very topical one about Wimbledon. As it's summertime, this means Wimbledon is on. I read the BBC holds broadcasting rights until 2024. and so I ask and so I ask it's like Russell Crowe and Gladiator isn't he Sam or she might be a lady and so I ask what happens next if I'm correct the competition has to be shown on a free to air broadcast and does this mean it will go to the highest bidder between BBC ITV Channel 4 etc or would it be kept simple with BBC simply signing a new deal as they're considered the home of the sport that is a very good question Sam I think that it's the longest unbroken relationship I think it's 97 years in terms of rights holding.

11:29I don't think we even called it that. BBC and Wimbledon. BBC and Wimbledon. It is one of the crown jewels of sport. Now, these are the things that are listed by law and they are said to be of major importance to society. And that's Wimbledon, Grand National, the Derby, World Cup, the Euros, the FA Cup, the Scottish Cup finals, Rugby World Cup final, Rugby League Challenge Cup final, the Olympics, the Paralympics and Wimbledon. Now, obviously sport in this country, I mean, that's a whole separate entire podcast series forever. about how badly it's run. Really hard to words, Pete, who's the worst person at running sport in this country, but ECB, English Cricket Board, is definitely, for me, always up there.

12:05Cricket has not been listed since 1998. This is a big problem, Kate. I think the Ashes should definitely be listed. I think that should be on free-to-air. It was once nearly going to be relisted and the ECB spent hundreds and hundreds of thousands of pounds lobbying so that it wouldn't go back to free-to-air. And as a result, cricket audiences have really dwindled. But they say, oh, we want to reach children and all this. They say a lot of absolute rubbish. I can't remember what all their initiatives are called. They used to have something called Chance to Shine. They've got things like that. But that's going to come to your school for one day.

12:38What's going to reach children more? Is it Chance to Shine maybe coming to your school for one day? Or is it the chance to, when you haven't got much to do as a child, as a teenager, whatever, getting to watch a whole test series and just thinking, what is this? and actually against your better judgment or perhaps in favour of your better judgment, just becoming absorbed by it. I wish that they would get relisted. I think the Ashes should be relisted and it should become one of these crown jewels like Wimbledon is. Sorry, that was a bit of a soapbox. But what do we think is going to happen to Wimbledon?

13:07Do we have any insight? I can't see why on earth you would not go with the BBC. It's been so successful all that time. And unless that they were, you know, like the ECB felt like they could get more money for something worse, then I don't think that they would make that decision. I do think it's so associated with the BBC and I very much hope it sticks with the BBC because they've done a terrific job over the years. Come on. So yes, different sports have different equations to make, don't they, about whether they want more money for whether they want more exposure on a terrestrial channel. So Wimbledon has to be on a terrestrial channel.

13:35It's got this amazing relationship with the BBC. I think they understand that it feels like the most extraordinary thing. What a brand Wimbledon is. And the BBC has been a huge part in that. And they're super, super smart, the Wimbledon people. So I would be shocked if that went anywhere. You're quite right about cricket. I think when Channel 4 got the rights to show the last day of the Ashes and things like that, and it just opens it up to a huge new audience. And it was wonderful that Channel 4 went for that and did that, and I really wish we could see more. I wish by law the Ashes had to be on terrestrial.

14:06I will say this about it, which is interesting, that something like cricket, you have to clear a schedule. I know, and I know it's hard. For a test match, and that actually is very, very difficult for the BBC. And if I am the ECB, I know that Sky can have an entirely dedicated channel showing the entire thing, showing every single moment. Same, you know, you watch the snooker and, you know, now with the iPlayer, they can show every single minute of every single game. But, you know, it's hard for a terrestrial channel to clear the schedules. You can use something like UBT3 for it during the day.

14:36Yes, exactly. But people, weirdly, people, that's almost like having it on Sky because people just won't go and find it. People are furious if they get to 5.59 and they go, oh, we're leaving the snooker now. But it continues on iPlayer. Honestly, a huge amount of the audience will not go over to iPlayer. So a sport like darts, for example, is one of the few examples where you think, I mean, that has been made by Sky. Yeah. By the fact that Sky, it's great for Sky because it can fill Tuesday nights, Wednesday nights, you know, whenever you want. A tournament can go on all week. You know, it gives them loads and loads of content.

15:08It's great for darts because people can watch every single episode of it. And it's not something that you're going to, you know, put across five hours on BBC2. so that's kind of perfect it's got exactly the audience Darts wants Darts makes a fortune by selling out big live venues which absolutely have the same demographic as that Sky Sports audience but something like Wimbledon something like the World Snooker that idea of just being a fixture which is the sort of thing that only terrestrial TV can give you is an absolute dream but yeah so I would also be shocked if Wimbledon moves from the BBC of course ITV Channel 4 could buy it if they wished.

15:47I think it's such a perfect marriage of a sport, a medium. And the one thing with Wimbledon is they're very, very, very good with their legacy. And there's absolutely zero reason if ITV offered 15 % more. I think that the All England Club are absolutely the sort of organisation that would go, do you know what? We're fine. It's always the US Masters, the people in charge of that tournament, would not even let the channel show the first six holes or show the first three or four hours on a Thursday. They were like, no. The contempt for the audience. Sorry, I'm not going to put the score up. We're not how de classe do you think we are.

16:25I mean, they're the worst. The contempt for the viewer there. And then you've got to watch, oh, there's that awful ceremony at the end when you get the green jacket and some gassy little cabin and some man hands it to you. The butler's cabin, you're saying it's a gassy little cabin. Yeah, I am. I'm saying it's dreadful. The greatest cabin in all of sport. Okay. So yes, Wimbledon, I would put a large bet on it staying. Of course, I wouldn't put a large bet on anything these days because it's now frowned upon. Yeah. Shall we go to a break, Richard? Let's do exactly that. Eczema isn't always obvious, but it's real.

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18:56Welcome back, everybody. Greg Reader has a question. Greg asks, I enjoyed hearing your recent best movie sequels selections. I wonder if you could choose your three favourite movie remakes, ideally ones that improve on the original. Marina, what do you think? I understand that I need to do it in reverse order. So I'm just going to mention a load of them at the start that maybe didn't make the cut, because that's what I want to do. And I am making this format of my own to some extent. Casino Royale, the original one with David Niven, that reinvented the whole of Bond. But I'm not putting it at number three, I just want to say that.

19:28Some good ones that I like. It, that's a very good remake. Okay, and this is hot. And Cape Fear, the original is also brilliant, so I'm unsure about that. Okay, I will now do the three. What we call the business end. What we call the business end. At number three, it is Scarface, the Al Pacino remake. Is that a remake? Yes, that is a remake. Didn't know that. Number two, The Fly, the Jeff Goldblum. Yeah. And number one, which I might have mentioned this before because I just think it's so interesting, is the Maltese Falcon, which you all know the Humphrey Bogart version of it. It is so interesting because Warner Brothers made three versions of that film between 1931 and 1941.

20:08And it's just a useful example of how in those days when they were spending money on all these sorts of things, you could do that with a property that you own. They would just think, well, that wasn't quite right. Let's have another go. They put a sort of Latin lover in it once. And then in the end, it's such an example of how if you get the right writers, the star, the right talent, all of these things, then finally it comes together and you're like, oh of course it's a Humphrey Bogart movie and it's the Maltese Falcon so I like it for that that it's just so extraordinary the idea nowadays it's unthinkable that you'd see the same property remade three times in a decade by the same studio but it's sort of amazing that they did that and that the final one you're like oh I see that's what it's supposed to be but it's true it also shows you how difficult it is to adapt anything because everyone on all of those versions was absolutely trying their best you know sometimes sometimes it comes good worst ever remake I would say I did not enjoy the Italian Job remake yeah why would you do it?

20:57I've got to say I did see the Steven Spielberg West Side Story which was almost like a sort of shot for shot version of why would you remake the original West Side Story I have no idea why he did it when I watched that literally Ingrid within two seconds she cried from the first note of the first song to the final note of the final song it was an absolute delight to see and I've never seen the original the remake I mean I like the principles I just didn't know why you do it especially if you're Steven Spielberg it seemed to be an odd thing to do I'll tell him he's coming over soon I'll say Steve no always Mr.

21:33Spielberg not to me I'll say what I want well we'll see yeah we'll see Sir Stephen you'll come back and you'll say I just called him Steve the whole time you absolutely missed it the whole way through listen Stevie I've got someone who would like to meet you who's got an opinion for you about your West Side Story movie that you're very very proud of and that you've worked incredibly hard at would you like to no she's here now I think he's aware of how people felt about that movie I am going to introduce you to Spielberg. By the way, I love all your other ones. Oh, no, hold on. Actually, now I think about it, there's a couple.

22:03Well, let's do, if someone could ask us the question, we shouldn't really answer that. Best three Spielberg movies. Oh, yes, please ask me that. How do I do that? Right, can someone ask this for next week, because I really want to do that. I have some, any other business that's reminding me of, two bits of any other business that have come up from our question and answer thing. We talked about TV studio audiences. I said that Question of Sport had the longest waiting list for an audience. I got a message from, I don't know if you've heard of him, Jeremy Clarkson. And he said, so, Question of Sport at its height had a waiting list, I think, of 25 years.

22:35Jeremy Clarkson said, there's two messages about 10 hours apart. Right. Okay. The first one is this. Question of Sport had the longest waiting list for the audience. I'm imagining tone. Question of Sport had the longest waiting list for the audience. Ha! Top Gear at its height had a waiting list, as I recall, of 80 years. Oh, that's incredible. Ten hours later. Or was it 18? It was really long either way. So listen, if it was 80 years, then it's a longer waiting list. He's bought a pub now. Yeah, but also his brewery is one of the fastest-grown businesses in the UK, I saw the other day. I saw that as well, yeah.

23:10I also had a message. Josh Widdecombe very kindly sent us a message last week about why comedians introduce themselves. And he gave what sounded like the definitive answer. However, it was not the definitive answer. And I tell you, he gave me the definitive answer, Dara O 'Brien. and by the way it doesn't mention Josh at all but this is a real kick in the nuts for Josh this is a real John Steel crotch from O 'Brien he's saying hey join the podcast that's how you start a text innit Clarkson didn't say that you know you're about to get a ticking off yes exactly that is an intro that just says I'm about to tick off for something you said on it I'm enjoying the podcast I kind of see the point of it yeah love Marina that's what anyone ever says to me if they talk about the podcast oh my god Marina is so brilliant there we go and you go have you heard of try and do a rundown of a top 10 faultless this week you were you were to be fair enjoy the podcast we do a live intro each night because that way we can localise it otherwise we'd have to record 160 separate versions with a different theatre name in each one there itch scratched so that's essentially saying to Widdicombe what you said was nonsense which is oh it's just there's no one else around to do it and he goes on to say I now want to hire Alan Dedicote he's the great BBC announcer to just sit in a room all day and say done firmly in Alhambra Watford Coliseum as the camera slowly pulls out but yeah that makes sense right and why did Whittacombe not come up with that?

24:29I think there's ways they can both be right. Josh if you're listening that's a real shot across the bowels from Dara O 'Breen I would say. I should point out they are very good friends but only one of them can be right Sorry can I just cut this off with a question about football? Of course you can. I think just tactically Tom Heaps Richard why do pitch side football pundits use handheld microphones rather than lapel mics like their studio colleagues. Thank you, Tom. Tom Heaps. Do you like Tom? Tom Heaps. Yeah. A lapel mic you would use by and large in a studio where there's no wind, there's no noise, there's no crowd noise or anything like that.