Marina and Richard's Biggest Ever Argument

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2:00Hello and welcome to this episode of the Restless Entertainment Questions and Answers Edition. I'm Marina Hyde. And I'm Richard Osman. Hi, Marina. Hello, Richard. We are parted. I dislike it, but I'm happy to see you. I have to make 100 episodes of House of Games. Oh, God! No, I love it. I love it. You struggle for us, yeah. Yeah, I enjoy it very much, and they've been really, really good fun this time. We had a great day today. What are we talking about today in our Q &A? Have you got one for me? I have. A question from Az, surname to be fitted by you, I assume. I'm going to call him Az and the Plastic Population, the only way is up.

2:39Very good. Okay. Az and the Plastic Population says, do you think that reality TV can survive woke? The general consensus he or she thinks is that it's moving in a kind of more kind of positive direction and that everything's a more wholesome and it's not the kind of nasty place of before. Weirdly, reality TV is one of those hilarious things that people go, it's not about reality, though, is it? And funnily enough, I've always thought reality TV shows are reality far more than documentary of the 1960s. I think that my view has always been, you know, if you're making Big Brother, if you're making anything, I want nice people on.

3:13That's always, that's the kind of TV producer I am. If you do reality shows with nice people, you tend to do incredibly well. If you look at Bake Off, if you look at the success of Traitors and Race Across the World and things like that. Absolutely, the nicer people that you can have on television, the better. But those are American TV shows, the Real Housewives type shows. In fact, the American Traitors, they are very much more backstabby. They have people in it using, oh, we need characters. We need drama. We need conflict. And so I'm not quite sure what as means by woke, but certainly I think that we go through spells in reality TV of we want drama and we want difficult people and we want all those things but actually anytime someone comes up with a reality show where people are seen at their best those shows tend to really really really break through cable channels and smaller channels can get away with those sort of backbitey type shows where people want all of that drama but if you want a big mainstream reality television program it's really really in your interest to cast it with people who people are going to end up loving and people who've got interesting stories and people who have great relationships with other people you you can have the odd villain and lots of shows have and have deliberately chosen the odd villain yeah but shows with sort of 10 villains i mean but even in the in the villainy you know so if you watch the american traitors which i happen to love and everyone in that is sort of a villain because they're american they do it in such a knowing way they know they they know the game that they are playing and so actually it's it's not the kind of naked villainy that we used to see kind of you know 15 20 years ago when reality tv really was the wild west and it was you know a voyage to the bottom so you know i think voice of the bottom that's a good name for a reality show i think that reality tv however you want to define what reality TV is always, always thrives on showing the best of people.

5:12You know, I watched something like Glow Up on BBC Three, and I have no idea what they're talking about at any point. Everyone on that show is like 18 to 24. And every kind of guest judge comes on, they go, and our guest judge this week, and they'll just name a musician or an influencer you have never heard of. And the The whole cast is in absolute floods of tears that this person is in their room. They literally can't believe it. So I have no idea what that show is. I have no idea of what's going on on that show most of the time. But what I can tell is they've got nice people on it. And what I can tell is they've got people who are supportive of each other on it.

5:49And of course, there's tears. And of course, there's different things. But humanity is the thing that I think reality TV is very good at showing. Authenticity, which is now the absolute biggest currency of the 21st century, thanks to reality TV. I like it when we show authentically kind and nice people. That's the thing that I like. And ratings would suggest that so do lots of other people. I have a question for you, Marina, from Molly Coker. Thanks for the surname, Molly. She says, I sometimes find myself falling asleep with extremely really long credits rolling at the start of a movie. What's the longest ever starting credits to a movie?

6:25And is there any point in them being so long besides vanity? Well, that's interesting, Molly, because I actually think that in general, end credits have 100 % got longer, probably my more than 100 % past few years because over recent sort of decade and a half, because there's more and more post-production involved and there's just like thousands of people toiling away in the VFX minds and things like that. So when you would see those Marvel movies, they would put mid-credits sequences in and then end credits sequence. And you really had to wait around in the cinema for those. On television, yes.

6:59You know, sometimes it takes, you think, even though I love this theme tune or they've changed the theme tune slightly, how long am I going to get through the White Lotus titles? But there's so many different people. That's in television. You see that a lot. There's lots of different reasons that everyone wants credit. Sometimes they want credit whether they're in that episode or not. These things are hugely fought over by agents. How many people's names? Does your name appear on screen on its own? Or are you with sharing a card? Yes. Yes, if you're on above the credits, if you're in the first bit rather than the last bit, that's a huge negotiating thing for any agent.

7:33You could almost knock off some of your fee to say that you have your own card at the start of a show, your name is there by itself, or even with somebody. If you're at the start, because if you watch any show, you think, OK, there were 50 actors in that, and there are seven names at the beginning, maybe. Sometimes it might be eight names or whatever it is. and that is not they've just haven't just gone oh let's go down the cast list and put the first eight names in that is just such huge negotiations from every agent and every actor saying no the name has to be up front absolutely has to be up front and it's it's one of the most contentious things because the shorter the credits the better if you're a filmmaker but if you're someone involved in that show the longer the credits the better there isn't there is another thing which The sort of the pre-title sequence is the bit before you see the title of the movie.

8:23And some things like, I don't know, The Pink Panther or James Bond have always had really intricate ones of those. And there are some movies that you don't even see any titles. Some of those are real sort of pub trivia questions. There's a Dennis Hopper movie called The Last Movie. Oh, my God, which, by the way, would be. I mean, that would be a bonus episode. I don't know if you ever know the story. You've probably never seen it. The story of it is absolutely wild. OK, but that's a good story. It's like a meta-Western. Dennis Hopper directs it. I mean, quite a lot of people get involved in it.

8:54Phil Spector becomes involved. All these other people become involved in it. But anyway, that had 30 minutes of film before you saw the title on screen. But even things like The Departed, that comes in quite late, I think. But that might be about 20 minutes. It started to look modern, where they did the movie. You know, you actually saw a cold open and stuff happened. and there's a longest day, it was like a John Wayne, it's a war movie and they had nothing. They just started the movie and then the credits were all at the end and people thought it was really... Citizen Kane, which I watched the opening of that movie about once a month.

9:26The title just comes on and that's it. Talk me through why you watched the beginning of Citizen Kane once a month. I love it. I just think it's so... I just love it. I find it such a mood. The beginning? The whole movie's great. The shots all through the gates, him dying and the snow globe falling and him saying Rosebud, oh my God, I absolutely love it. And all the stuff and the animals that are around it, the menagerie, it's such a mood anyway. But you can see that that was regarded, Orson Welles, people thought that was really modern because it said Citizen Kane and that was it. And they used to be much longer, the ones that stopped.

9:58But I have to say, I just genuinely think that television ones are really, really long now. But most people watch them. I watched them once to see what's the vibe because they'll have obviously done something amazing with the titles. Unless it's something like Succession where I really loved it, I thought the music was so great, then I'd just watch it every time. And also I used to like it that they would change the headlines going around ATN and stuff like that, so there would always be stupid kind of Easter eggs hidden in there. Yeah, in general, a lot of people skip intro for the once they've done it once, but it does create a mood, doesn't it?

10:28I mean, I always want to see what they've done with it. But it's always worth thinking about the politics of the thing when you see names before a show and you think about who's in that thing. If it's alphabetical, that's interesting because that's been negotiated by somebody. If someone just has their name left to the end, then it's like, okay, it was alphabetical, but then we say, and, Robert De Niro. Because Robert De Niro's agent is saying, he ain't going alphabetical. He's not the lead. He's doing a really small supporting thing, but you're going to acknowledge that he's Robert De Niro by using the and, okay?

10:58And that's just how we're playing it today. Bobby, don't do alphabetical. The other thing now, of course, is the negotiation about whose name is still on screen when you have pressed skip intro. Because if you see at the end of a skip intro, there will usually still be two names on screen, which are maybe the director and maybe the writer. But that's a huge place to be because you cannot skip those people. You'll skip everyone else, but you can't skip them. Now, this is a really good one by Calvin Kaplan. A great name. Good name, Calvin. We're going to have to get into question, though. Respect.

11:28My wife and I have been watching the first series of Adam Richman Eats Britain, and we have questions about logistics of food reality TV. Do they generally have to shut down the restaurants for filmings? The kitchens don't look nearly as hectic as the bear. What does? And do they get compensated? Calvin would also like to know. Calvin, it's a great question. I love Adam Richman. I love all of his man versus food and all sorts of things that he did. So I thought actually when this question came in, rather than answer it myself, because I do not know the answer, I thought I would ask Adam Richman.

11:57So Calvin and wife Adam Richman himself is answering your question. Here he is. So here's the deal. There's no one-size-fits-all approach, and it varies from show to show, country to country, location to location. I can say from my own standpoint and in my own show, number one, I have never and would never ask for money from a restaurant in order to film there. I think a lot of these places are mom-and-pop shops that don't have a budget for marketing, and I would rather elevate them. And I believe high tide should float all boats. So no, no one's ever paid me to film somewhere. sometimes a place will have an ancillary prep kitchen that's not their main kitchen so that it could just be me and the chef at a relaxed pace but many times that's not an option so sometimes what we'll do is the crew will grab the b-roll very early in the morning and then I'll come in and we'll film but sometimes there's no way around it all right thank you that's a good that's a great answer from adam thank you so much adam as much appreciated and just in case anyone's wondering b-roll is is essentially those cutaways of kind of steaks frying and you know people tossing onions and people you know just diners the stuff that doesn't involve the host and you sort of cut in to the edit so that that's the b-roll he's talking about but um oh i love that thank you so much adam much appreciated and i hope that uh that answered your question perfectly.

13:26Right, thank you Kevin. Shall we now go to a break? Yeah, come on.

13:34This podcast is brought to you by Sky, where you can watch season three of And Just Like That, the next chapter in the Sex and the City story. What is Carrie Bretter up to now, Marina? Well, she has said goodbye to her beloved apartment. She's moved into a townhouse in Gramercy Park. New chapter, new book. She is writing you'll love this, she's writing romanticy Richard. Yes, that genre we have already pretended to understand for this podcast. Just romance and fantasy. Listen, it's what I'm doing next. The Thursday Romanticy Club. Now Miranda's adjusting to post-shay life. Charlotte is navigating family life while reliving her 30s alongside younger colleagues.

14:10And Carrie, she is still catastrophically allergic to stability, but trying. Watch the brand new season of And Just Like That, available 30th of May on Sky. This episode is brought to you by Progressive Insurance. Do you ever find yourself playing the budgeting game? Well, with the name Your Price tool from Progressive, you can find options that fit your budget and potentially lower your bills. Try it at Progressive.com. Progressive Casualty Insurance Company and Affiliates. Price and coverage match limited by state law. Not available in all states.

14:54Welcome back, everybody. Marina, a question for you from Harriet Bateson. Harriet says, I'm obsessed with Stranger Things. I was wondering what happens to the money child actors get paid. Do their parents get the money? Who are the best paid child actors? Oh, right. Well, I mean, yeah. I think we know from entertainment history is that sometimes their parents take the money, whether they should do or not. The Stranger Things children, the sort of quartet of the boys, Finn Wolfhard, Gaten Matarazzo, Noah Schnappen, Caleb McLaughlin, they, for seasons one and two, which, you know, you do your deal for seasons one and two, they got$25 ,000 per episode.

15:33By season three, this is a real entertainment story, by the way, always, if you get to season three, everyone's contracts go nuts in American television. And they then were earning about$250 ,000 an episode. So it was 10 times as much. That is a lot of Panini stickers. It's not clear how much exactly Millie Bobby Brown gets, but I think she was on a million an episode. She's got some sort of overall deal with Netflix, so it's not entirely clear how the money works there. And they're very, very secretive about what they pay her, but she's a huge star for Netflix. But then, you know, there were all those stories where Drew Barrymore got a million for E.T.

16:10and by the time she was about 14, she was earning millions. That little boy in Young Sheldon, he got$30 ,000 per episode for season one. But by the end of season five, I think he was on much more than a million per season. But there are laws to deal, which, by the way, are not at all always observed in the US for dealing with child actor fees. Children have to get a minimum of 50 % of all adult minimum fees and payments rather than saying, yeah, we're going to give Winona Ryder this. She's in it a lot less than you, but sorry, boys and stranger things. Here's some pocket money and an ice cream and some, you know, panini stickers.

16:47So I think that it's 15 % or something has to be put into something called a Coogan account. Oh, yeah. I would never put any money into a Coogan account because I never know what it would get spent on. You have no idea what it could be spent on. But anyway, that's a special trust account and it's supposed to be held till the child turns 18. Yes, that come from Jackie Coogan. He played alongside Charlie Chaplin. and I think even in those days he had earned$4 million and it was all spent by his mother and stepfather and he had absolutely nothing left. There are all sorts of rules, by the way, governing child actors and they have to have chaperones and they have to have certain breaks built in that you wouldn't necessarily have to have with adult actors.

17:23And if your school attendance is affected by work, then they've got to put a tutor in place. By the way, another reason we should be talking about this anyway because it's really interesting is that they've got their three children for the HBO Harry Potter. they've announced the casting of Harry, Ron and Hermione. Now that production, everything I'm hearing about it is absolutely crazy. They're building effectively pretty much a school because there's so many children on set for something like that. And as I always say, you can expand Leavisden seemingly infinitely every time I ever go and work on a new thing there.

17:58It's a former airfield and they just like double it in size. So I guess, yeah, they're going to have a school. So that's interesting anyway. But the first Harry, Ron and Hermione, I think they got a million dollars each. for the first Harry Potter movies. But obviously it does go wrong and people's parents ripped them off like Jackie Coogan's parents did. Macaulay Culkin took his parents, from Home Alone, he took his parents' name off his trust and found an executor. And then everyone said he's divorced his parents, which I think he felt was not technically what had happened. Many of these children end up absolutely hating their parents.

18:30Aaron Carter, I think he'd made something like$200 million before he was 18. but he owed a huge amount of taxes. He was declared bankrupt. His parents didn't put the required amount of money in his Coogan account. There's so many dreadful stories. I don't know if you've ever seen this thing. My daughter's watched this a load of time. She was in iCarly and... Yes, I remember iCarly very well from my children's upbringing. Well, Jeanette McCurdy, who was one of the people in that, her book is called I'm Glad My Mum Died. There's a picture of her on the front of it. She's holding an urn and it's like confetti's coming out of it.

19:04anyway she said it was absolutely dreadful that her mother just forced her to work the entire time um she didn't want to do it she had terrible eating disorders she made a show about it so there is terrible resentment among some people will wheaton do you remember will wheaton he's in stand by me star trek big bang theory but he said i remember telling my mother every day that i just wanted to be a kid and how would she dismiss it and come up with these ways of saying or no, but actually you love doing this. It really reminded me actually when I was watching that documentary about Piper Rockell, the young YouTube star.

19:38I mean, you know, we're seeing it now and you can see it happening almost, I mean, you can see it in these family YouTube things all the time, that the children are the most kind of winsome aspect of it, but the parents are the ones who really want the money. They should be putting that YouTube money nowadays in a Coogan account, whether or not they do, as we've seen lots of people, it doesn't always happen, but there are supposed to be laws governing it. But the thing about something like YouTube, which, sorry, I've gone all around the houses now, but that is so unregulated and it's just not really watched over.

20:06The actual sort of legacy entertainment industry is pretty well regulated. But you can never legislate for the fact that these parents want to put their children on the stage when they probably are not to be. And they want to do it for their own financial benefit. But the basic principle is they will get roughly half what an adult actor will get. And that's good money. and obviously the second something is actually a hit and you are a star in it, then actually you're treated like an adult. You'll get, you know, whatever money you can get. And to bring it back to Stranger Things, the show is all about the kids.

20:37Without them, it's absolutely nothing and they're remunerated accordingly and no matter how quickly they, how much they grow up because there's three years between series. I mean, they'll be about 30 when we see the next season, but... If you look on the Sunday Times rich list and you see now what Daniel Radcliffe, Emma Watson and Rupert Grint are worth, that you can work out what they were getting paid by the final Harry Potter movies. Yeah. It was good money. Deservedly so. And their parents didn't rip them off, which is great. Yeah, absolutely. That's what we like. Our sponsors, Vauxhall, who are all about embracing a bit of chaos when it comes to a family road trip, have asked us a very apt question, Marina.

21:13What is the most chaotic moment you have had on a production? Time for What A Stitch. Okay. Okay, this isn't on an actual production, but it was while I was writing a story during the World Cup once, in the 2006 World Cup, and I was sent by my newspaper to the German-Polish border to a service station, which had been the scene of big fan clashes. What could possibly go wrong here? And I went with this brilliant photographer, and we got there, and the policeman was there saying, I'll tell you what, when they get here, it will kick off, basically. It's going to go nuts. Last time, these two fans clashed with each other.

21:50They did it right here in this car park, and actually they bought their own doctors. Each side bought their own doctors. What couldn't escape our attention was that there was absolutely no one there. It was like tumbleweed only. Also, our transport had packed up. And we had to then get back to Berlin. And I was thinking, how are we actually going to do this? And who should eventually drive in? I don't know if they were in a Vauxhall, but they should have been. Let's say they were. Let's say they were. It was two really lovely but absolutely nutty Poland fans called Peter and Mariusz. The things blaring everywhere, all the Polish anthems playing the whole way.

22:24And we had to say to them, I'm so sorry, but we're stuck here. And it doesn't seem like there's like a fan battle. Would you mind driving us to Berlin? And they were like, we'd be very happy to. And so I drove all the way listening to absolutely crazy Polish football anthems. All these flags flying everywhere. But they couldn't have been lovelier. So it was chaotic, but they saved us. The perfect road trip. Didn't start like the perfect road trip, but ended like one. Yeah, so that is just, there you have it. a little insight into how wrong things can go when you're just trying to be in the business of delighting people.

22:54Absolutely. And anyone who's planned a family trip knows they can have just as many hiccups. Luckily, Vauxhall's new Frontier is built for just that, with storage for days, seven seats for chaos control and tech to keep the drama on screen. Vauxhall has also teamed up with Disney's Lilo and Stitch, which is in cinemas right now, doing unbelievable business as well. And they are giving you the chance to win a five-night off-screen family adventure to Hawaii. the film's iconic setting. Pop into your local Vauxhall retailer and check out the new Frontera for your chance to win a Hawaiian adventure.

23:26And maybe there'll be some Polish football fans there, if you're lucky. Right, question for you, Richard, from the absolutely adorably named Honey Clark. Oh, great. Honey says, My friends and I often have this debate, so I wonder what you both think. How many films per year would you say is reasonable for people to be watching? Do not be unreasonable. I typically watch around 300 films a year, but would accept that 52, one per week a year, is reasonable for most people. Anything less than 45 should be a crime. Honey, I love the way you talk like me. Come your revolution, honey, I'm just executing people for watching 43 films in one year only.

24:04I love the fact that 52 is reasonable but any less than 45 should be a crime. That's not a big window Honey's given us there. What do I think about that? Firstly, I think 300 films a year, I'm going to go on record as saying that's too many. when there's also television programs and sports to watch, and outdoors, I suppose you can go out at some point, although I do not recommend it. 300 a year is too many. 52 won a week. Okay. Well, isn't that interesting? Because do we count really high-end television that's two hours long as a film? Because that's taking up a lot of my film time. I agree. It's difficult, isn't it?