The Rest Is Entertainment - Movie Credits, Earpieces & Album Covers

Episode Date: July 17, 2024

How much negotiating goes into the order of names on TV and film credits? How do presenters concentrate when a producer is speaking in their ear from the gallery? How does Marina decided on her top 3 John Williams soundtracks? Your questions answered in this episode of The Rest Is Entertainment. Sign-up to The Rest Is Entertainment newsletter for more insights and recommendations - www.therestisentertainment.com Twitter: @restisents Instagram: @restisentertainment YouTube: @therestisentertainment Email: [e-mail] Producers: Neil Fearn + Joey McCarthy Executive Producers: Tony Pastor + Jack Davenport 🌏 Get our exclusive NordVPN deal here ➼ https://nordvpn.com/trie It’s risk-free with Nord’s 30-day money-back guarantee! ✅ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hello and welcome to this edition of the Restless Entertainment Questions edition. Wow, this edition of Restless Entertainment Questions edition. Questions and answers. Welcome. Remind me please of your name. I'm Marina Hyde. Excellent, I'm Richard Osmond. It's getting so much worse. It's funny isn't it, because it should be pretty slick by now. Theoretically I should improve, yeah. I've got no retentive memory.

I think it's good though, I think it's nice. It shows some humanity. But we are quite literally doing the show right here. Let's put it on. Yeah, we really are. Hit me with a question please. Okay, I have a question for you, Marie. It's a questions answer edition, lots and lots of lovely questions. Thank you so much for your questions everybody.

Thank you Michael Dolan. Big Mick says on many opening title sequences for TV shows certain actors are preceded with and or with what is the significance of this? Okay that's basically the same and or with. So we say name name name and that was to say and or with. Richard E Grant as the dog in Mars or whatever it is. That's actually when they named the character which is a whole separate thing we'll get to that in a second. Dogs on Mars by the way Netflix have been in touch with you know we talked about we made up Dogs on Mars, Netflix got in touch, not interested, we move on. Someone wasn't yeah. Yeah I've got Amazon Prime next

next Wednesday for us. Now what it really means and or with is you've got a major actor in not necessarily a minor role but not the lead role. Some people used to say it was villains and mentors. So, you know, and Alec Guinness as Obi-Wan Kenobi or whatever it is. I guess there's three times where your agent will really go out to bat for you, maybe getting you the role, deciding how much money you get for the role, and then in how you're credited for that role.

And that's very important. And there are all sorts of different ways. As you become more important, you know, it's called cards. When you see a name on a screen, you might be on a shared card when you're in a smaller role and you might see three actors' names or three writers' names or whatever it is. Pre-title is, as we all know, is obviously the big one in movies when you get that. People don't really have it in television. But it's really when an actor who is part of the core cast but isn't the lead role. So that's why you have Andal with. They used to have back in the old days it would say and introducing and that

would often be a young performer but people felt it was a kiss of death, it was a curse and that if they'd said that then you know you might be introduced and then we may never hear of you again. And some shows of course will just be alphabetical so then you're not really arguing about billing and that's often done but it's an ensemble gas you've got a loss of egos and that will just keep everybody happy. And that would be there's a thing in all television called favoured nations which is the way you are treated is the way everyone will be treated. There is not anybody on this show who will be treated better than you in terms of money or credit or whatever

it is and yet if you ever see a show that is not in alphabetical order, it has taken a very, very long time to get to the order of those credits. If it's an alphabetical order, you think, oh great, that's lovely and easy. It's nice and simple. If it is not in alphabetical order and it's not like a three-hander or something, then oh my God, just the work that's gone into that. Completely. There are some times when they have to come up with, and this is a very old example, but there are times when they have to come up with kind of creative things to do in the point break with

Keanu Reeves and Patrick Swayze, they started with their names on either side of the screen and then they end up sort of crossing in ripples. So it's like no one's really on the right hand or the left hand side of the screen because everyone's been on all the sides of the screen. Same with posters isn't it, if you're on the left hand side of the poster or the middle or the right hand side, it's everyone's one's really on the right hand or the left hand side of the screen because everyone's been on all the sides of the screen. Same with posters isn't it if you're on the left hand side of the poster or the middle or the right hand side it's everyone's got an opinion. And the size of your name on the poster and the size of the font, every single thing has been an argument for somebody but and or with mean the same thing and it's just major actor

not in a lead role. Sometimes you talk to actors and you know you're like god it took like a month and a half to sign off that credit you go What yeah, I can get out of it. Happy. I'm right. Yes, exactly. And sometimes they're even telling the truth Okay, here's one for you chatter in the air Michael a city asks how much chatter is there in a game show hosts earpiece Is it distracting? It's a lot of Michaels. writing in today. Did we say that last week? I forgot we did that. So earpieces that you wear they used to be kind of they'd be sort of tied on a

big sort of elastic band to your belt and now you have something called a whizzy which is entirely wireless so you just you put it in your ear you cannot see it it's it's absolutely invisible. So I have one on House of Games, I have one on Pointless. Whenever I go on a TV show and I don't have a Wizzy, I always reach up to my ear as if I've forgotten something. There are two types of talk back really. So what the Wizzy is doing is it's connecting you

to every single member of production who has a microphone and a button that they can press. That would be the director. If you're on House of Games, it would be the question editor. And the producer as well would have a route through to you and anyone else who needed to talk to you can use their routes but basically they're the only people allowed to talk to you. If you are in a news environment or a sports

environment so if you've got you know Gary Lineker and the guys they will often be on open talk back. Now open talk back means you can hear the whole of the gallery, you hear every single thing that is going on, you hear the director calling the shots, you say we're on camera 4 thing that is going on. You hear the director calling the shots. You're saying, well, camera four, okay, we're on camera five now, we're camera two. You hear the vision mixer cutting the shots. You hear the producer talking about what's just happened.

You would hear- This is an anxiety dream. I know, but some people love it. That's the thing. And listen, we're all wired differently. But also you hear, by the way, gossip. You hear just people chatting. You hear someone saying, oh, did you see the match last night? You hear everything.

And some people like having that in their area, especially if they're a solo presenter sometimes. They like knowing that something's going on. I'm on what you call switchable, which is you only hear when people actually want to talk to you. So what do you hear? Different for different shows, of course. So on House of Games, let's say, for example, if there's a camera move, there's been a mistake or a light, and someone says, oh just stop there. Literally allows you to stop and say to the contestants, oh we're just taking two seconds, so that's super easy. Because on House of Games I never know what the questions are or the answers, so I don't know anything that's coming up, there'll be tiny little things like the questions editors, which would be Tom or Abby, who both speak in my ear. Usually a question comes up on screen and I'll read it out, but sometimes it's a song comes up or a picture. And of

course, I didn't know that before it comes up. So they'll just say in my ear, and who is this? Or, and what is this song? So I know before the thing comes up, so I can just say that without having to worry about an edit. So they'll say things like that. If a question is contentious or interesting, and we're all talking about the answer, they might give me a bit of extra information. I will often say, oh, I'm going to, someone upstairs will help us with that. And they will talk to me. Occasionally, if they're being very kind and there's a big laugh in the gallery, the director or the producer will press their button so I can hear everyone's laughing. That's nice. But occasionally it gets stuck on open. Sometimes

I would just leave it on open because it's interesting to me occasionally. It sort of blows your mind, but it's nice to hear and it makes me feel incredibly nostalgic for the days when I was in a- You were one of those people. Gallery. Yeah. Now lots of shows I could not be on open

because the gallery is absolute chaos. Just like shouting and cameras and this out of the other and you know, it's just awful. But if you have a, on House of Games, a guy called John Smith, who directs and, and is such a calm presence and that's a lovely calm gallery. And if you are stuck on open, you get an occasional and three and just pulling on three, please. No, I'm fine.

Thank you. I did. Oh, actually I will. Yes. With one sugar. So you're, you're, you're essentially listening to that, which is lovely. But for a news presenter, they're getting an awful lot. Just, you know, and so I've done, you know,

if I do the one show, which I love to host, you're getting countdowns in your ear, which is a huge thing. So I don't have to have that on House of Games. There's no kind of- What, the VT package or something like that? A VT package or a graphic coming up and you go, and in five, four, or, you know, the end of an interview

and, you know, wrap it up in 10, and they will literally, they're counting down 10 to one. And when you see someone like Alex Jones just going, and that's all we have time for today. Tomorrow we will be talking to Rula Lensker. We are also gonna be having Bonzo the dog from Dogs on Mars is gonna be coming to see us, right in the studio, right here.

We will see you tomorrow. And that's absolutely set to the music of 10 9 8 7 and so it's a that's a great score and it's a really kind of lovely thing to do but there's a practice before you go out there for the first time you do a lifetime of watching television and that's it you understand the rhythm yeah you absolutely get it yeah absolutely get if you were presenting the one show and they said you got eight seconds out, you go that's all from us, join us tomorrow, we'll see that you've got a few things on screen you can say and it has been absolutely lovely to see you all. I think it's pretty clear from the intro to this episode that I would struggle to present the one show. Honestly,

I assumed you were on talkback and someone was talking in your ear throughout because I couldn't see you. No one could possibly be making those mistakes. So sometimes I'd love to have an earpiece in real life because by and large you only hear from it if someone's helping you or if someone's praising you. Yeah. And what a lovely thing to have that would be. That would be, yeah, really, okay, I think that's extraordinary.

I couldn't listen to all that chatter chatter I don't think. For the news people and that sort of stuff it is amazing you know and then this because news as well in a live environment. For breaking if it's a breaking story I don't know like the story of the obviously the massive story at the weekend with Trump how much is going into your ear in that? Well you've got two things there because you've got a computer screen in front of you where you know feeds are coming through and scripts are coming through from the from the newsroom you're absolutely being told constantly oh Gary O'Donoghue is standing by but it's

going to be three minutes I'll let you know when Gary is there meanwhile you know can you cross to so-and-so read out the statement on the screen now you are just being constantly bombarded with things to do and things to say. And so if you ever see a presenter in that environment and they always look incredibly cool, they are being told five different things all at once. And you know, the second you do cross to a VT, sometimes you are interviewing that person. So there's still no break. Sometimes it's a VT and you can actually, you've got two minutes just to sort of catch your breath and someone will literally come in and you can actually, you've got two minutes just to sort of catch your breath and someone will literally come in and you can then talk to you face to face but other than that

you are you're sort of stranded like in a sort of moon capsule just with Houston talking in your ear and you're trying not to crash. Yeah and talking of the Trump thing there's been lots of questions on Twitter right afterwards to both of us about whether shows are tagged with key words so that you can work out whether to pull something from the schedule when a big news story happens. We talked a little bit about before, but specifically in this... Yes, this is... Channel 4 pulled an episode, that scheduled episode of The Simpsons, which is Lisa, the Icon of Class, which I can't remember what that's from, maybe season seven

or something like that. But it has got a sort of rooftop assassination attempt in it. This happens quite often. There was a Dr Who episode which had a beheading in it, and when James Foley was beheaded by ISIS they pulled that episode. And there was an IT crowd episode that had a bomb threat in it, and that maybe as a repeat was pulled with a Glasgow Airport attack. They're very sensitive to this, but it is a collaborative thing as always. This is another thing that compliance departments really do.

So every show and every episode obviously has to be signed off by a huge number of people. This is how you know things like, oh, there might be strobe lighting coming up in this episode. There's a whole checklist of things that you have to answer. That's a standardized form mostly for every single thing that might ever appear on television. Bad language from the very beginning. Yeah from the outset. From the outset. Yeah. That's where I like my

bad language. Yeah that's me too. Don't make me wait. And unless someone's shouting the C word in the first frame then I'm like that's not that bad. Everyone's just like oh oh, relax. Anyway, so dogs on Mars, we should start absolutely with you. That is the first word of the show. Two dogs barking at each other, like for a minute and a half. Absolutely fuming with each other. We've got to hold the golf with this show because I have not, we've not tied up the deal with Amazon yet. By the way, I just heard from Amazon, they are a no.

We go to Apple. Wow, this is going to be like one of those things, all the people who passed on that show. They're going to be furious when it's a no. We go to Apple. Wow, this is gonna be that one of those things all the people who passed on that show. Are they gonna be furious when it's like Hugh Titt on Pets TV? Yeah. Well anyway, when it is, we will have had to have filmed out a form for every single one of the episodes.

And also things like, does this program require a counter program if that program would be subject to say impartiality? So then it becomes a sort of searchable database. When something like the Trump assassination attempt happens, it's such a big news event that it's the type that would affect. So you go through everything on the schedule

and you can see what, you've got the ready-made records. So it isn't like one giant great big list of everything, but it's a database that you can search. Which interestingly, the streamers don't have to do because they've got such a huge library. It seems, you know, with, if you're BBC and ITV, you're scheduled something, you're putting something in front of people. Quite right. And therefore, you know, it's you have to be very delicate. No one's gonna say why is this, why is Day of the Jackal still on Netflix? It's like, yeah, because it is. Yeah. And with that, I think we should go to a break.

Welcome back everybody. Marina, I have a top three for you. I'm just doing these like there's no tomorrow now. Very excited to see what all you do them in. Maybe you'll start with number two this week, who knows? Could be anything. The question comes from Bradley Travis. Could you reflect on John Williams influence on Hollywood and give your top three of his film scores? So there's two things there, so top three three but also a nice open-ended question. Yeah, John Williams is the composer, we people probably know him best for lots of his Steven Spielberg and George Lucas movies. John Williams is amazing, he's the most

wonderful, if you've ever heard him interviewed or watched him interviewed he is the most extraordinary, lovely, humble man. When he sort of he started out, lots of people in the 60s people used lots of pop records really because they thought oh we can sell the LPs of these as movie soundtracks and he kind of returns to a much more sort of symphonic classical way of scoring movies that was really back to the 30s and 40s, the real golden age of Hollywood. It almost feels like a live accompaniment. Yeah, yeah. So Jaws, I mean, so many of his ones are completely memorable. Spielberg and Lucas,

I guess they define that kind of blockbuster era. And maybe that's why, and he worked so often with them. In terms of a top three, I'll tell you what was a missed opportunity, I do think, is that Harry Potter, I think he only did the first three movies because a lot of what he did because he worked often on these franchise movies was that he goes on and develops, people get their own themes, all sorts of things. So each movie kind of accrues the musical influence and the score kind of resonates even more. And I think actually if they'd kept him all the way through, they would be doing better. This isn't making the top three but I wish it were the top four. Close Encounters, that five note it's part of the score but it's

also the communications signal from the extra treasures. It's so simple and it seems obvious but it's not obvious. Like the four note Channel 4 logo, which the guy got paid a fortune for. Anyway, the fight, John Williams. So I think Close Encounters was also number four in your Spielberg, this didn't make the top three. I know, I know. Well, he's amazing. I mean, he's done so much on Williams. I think he's the second most nominated living person

anyway in Oscar's history. But Jaws is the first big budget movie in a long while to use it. First of all, we know it's this kind of in popular legend, the first blockbuster opens coast to coast all at the same time in thousands of theaters. But it's the first one to go back to a classical soundtrack. And when he played it to Spielberg, which he did it on the piano, and it was like just, you know, it's those two notes and then, you know, a couple more notes.

And Spielberg was like, no, but you're not actually serious. And he was like, well, you know, I think that when we've got the cellists and the bassists doing this, and maybe we've got Contrabassoon, Timpani and Spielberg's like, okay, if you think. I mean, because on the piano, that is literally what you do if you sit down at a piano and you can't play the piano. Yeah, yeah, yeah. They did it like this. But he does, but he it's that leitmotif thing that and he got that from Wagner and Tchaikovsky and you know he really reaches back right into classical music. I think that's very interesting and then those motifs build up and the way he uses them in film scores and they return in

different ways. So okay number three speaking of sort of returning things. So Jaws wasn't number three? No it wasn't. Okay so that's outside the top three as well. That was an adjunct. Jaws is one. Are you kidding me? Are you actually kidding me? I did it wrong again. I did it wrong again.

If you didn't hear that it's because I put my head in the desk. I'm so sorry, I've done it wrong again. I'm not my working partner. Did you not at any point while you were talking about Jaws then, which by the way- Because I was getting excited. I was genuinely so interested. I found that so interesting and I thought well if this is where we are a number three imagine how interesting number one is going to be. You know what I'm gonna make my number two my number

no you're not no I'm gonna make my number two my number one okay number three is the Empire Strikes Back I've literally done it in two three I can't believe this okay number three is the Empire Strikes Back you get the classic Sower theme yeah which we all know but then you get the Imperial March and I think that's his favorite thing he ever, Darth Vader's theme. I think he says that's his favorite piece that he's ever composed. And you get Yoda's theme and there's some sort of hand and layer love story. So that would, okay. Two is Jaws, although it isn't really, is it? It's number one. Listen, let's just do number two. Okay, number two is ET because the final 15 minutes of that are almost all musically

scored and what he tried to do is he tried to sort of work with the cut that Spielberg had showed him and he couldn't quite get it and in the end Spielberg said, forget this, you compose the music and I will recut the ending to your score because if it's not working in your score then maybe there's something not quite and it is so amazingly held together those that climactic final 15 minutes of that movie and it is so beautifully done and it's beautifully orchestrated I just put you all puns intended and so he recuts the end of the film to fit the music

and then it all works and it hangs together in that beautiful way. Yeah, so that is it. And then I'm going to do my number one once more. And it is yours. What's this gonna be? Because. Wow.

Because of the simplicity and the terror of it and the way that you hear that music, those two, I suppose because of the pure simplicity of it, it's still two or three notes and you hear it in the back of your head at moments of like, oh, hang on, I've got to watch out for something here. Everyone's like, no, no, no, no, in their head all the time. How did John Williams play that for Spielberg? Any stories on that?

It's good though. Okay. Listen, I tell you what, there was some good detail there and it maybe didn't come in the right order, but you got it. Not my best work, but know what all of I find all of his right it was his that was incredibly hard to rank I mean it seemed hard to rank yeah as you're reading it out one three two with one and two changing places at various points that's the that's a much more interesting way to do it it's crazy it'll catch on yeah it'll it it may catch on it may catch on. Do you have anything for me?

I can, if you, you can give me an order if you want, I'll do a top seven. Okay a question about potentially one of the top three greatest TV series ever, Horrible Histories. Oh yes, very much so. Lisa Sivers, Colt's sister. Ah, you're related to Colt, you don't seem to see that. Yeah you don't see so many, yeah, yeah, Full Gal, the full gal the full gown my kids and I absolutely love horrible histories rightly. She didn't say that That's me and my kids especially know all the songs by heart. The parody songs are absolutely wonderful And as part of my kids education, we like to compare the original music video to the parody versions. Wow. Well done That's good parenting. Do these obvious... That sounded sarcastic but it's not. No I'm just thinking I've never done this and yet I have put my children in front of

the show for about seven years of their lives. Do these obvious song parodies have to pay royalties to the original artist at all? The world of parodies is quite an interesting one. We've talked before about the money you have to pay if you have songs you have to pay to quote lyrics in things and yeah but if you were doing a parody um you can get away with it pretty much and certainly with their parodies which are not the original song they're just sort of changing it bit by bit i spoke to ben will bond from horrible histories and ghosts and a million brilliant things he's wonderful he's listening to this podcast hi ben if you're

listening i wonder what you made of the order in which you read out the john williams things he's probably honestly i i would have respected it he's my friend and he'd have liked it. Yeah, he really would have liked it. Yeah, he would not have undermined me. Yeah. And made it so that next week I will potentially just walk to pieces completely on a top three. I mean, if that wasn't perhaps arguably was falling to pieces. Ben says the short answer is no, the songs are a deliberate parallel. But as long as they don't copy any chords, there is no breach of copyright. Richie Webb was the composer

for all the music during my time. He is the master of all those songs and managed to sell very close to the win. So it's by doing a sort of close copy, you get away with it. Top three Richie Webb songs? I'm joking. Let's not get into it.

Look at the panic on your face. So number seven for me would be... Thank you very much Ben and thank you very much Lisa for the question as well. It's interesting with that parody song and recently they changed the rules so you can take pretty much any footage you want. And so long as you're doing a parody, you don't have to pay for it, which is why there's so many more incredible kind of memes and parodies of real footage. You're sort of covered by law now that you can pretty much do what you want. Well they were fighting a real losing battle on that one with just the way that media has gone and social media particularly that they spent so long

trying to sort of gatekeep every single thing but there is actually no point and it does enhance the original. But lovely to have a shout out for Horrible Histories which is generally one of those things that you think it's it is improved a whole generation to see them go on to ghosts I want to have a shout out for Horrible Histories, which is generally one of those things that you think it is improved a whole generation. To see them go on to ghosts. I want to do a proper talk about ghosts, the global domination of ghosts at some point. But to see that group do that show, which is so full of joy and so full of skill and talent, it's so funny. And to have a generation growing up with them. It is possible to improve the world if you are a writer and performer. And have a brilliant time while they're doing it. I was talking to Loli Adafopi about it and she's like it was my it was just the best cast ever on Ghost because they just loved it so much. We had Laurence Ricard on House

of Games recently and it's so funny when you have people on because everyone was just in awe. Yeah. I mean it was it was it's brilliant it's so so great and it couldn't happen to a nicer bunch of people as well. I have a question for you from Chris Mills which I've chosen because I don't know the answer to it and I thought it was rather interesting. Chris asks, why is it that in music album covers generally do not change from the day a record is released through all the many re-releases in different formats, whereas book covers do all the time? That is a very good question. Album artwork has always been regarded as artwork and it's part of the concept of the album and it stays the same always. And the thing about music

is that you, sounds so obvious, but you come to it audibly and that's your first encounter with it almost normally. Unlike, you know, you're not like me buying a bottle of wine looking up based on the label, like, well, I quite like this, the cover of this, I'll buy this album. This doesn't work like that anymore anyway. So you've got much more license in lots of ways to create something that is in keeping

or enhances the album's concept or whatever it is. Whereas books, almost always, even now when people are going through Amazon rather than they're going into a book store itself, you come to it visually and you see the cover. You have less license because you want to sell it and people come to it that way. They have also... And far more of an impulse purchase sometimes, books.

You would never be in a record store, look at 20 records and like the look of a cover and just go up by that. Nobody does that. Whereas with a book you've got the nice quotes on, you've got a little bit of information and you've got the cover and that it's... Yeah, it's like a magazine cover. You need to be selling that thing. And also obviously publishers use the many changing covers

to, I don't know, refresh the idea and think, oh, that's such an ancient cover. We can make this look new again and relevant, or we can say, oh, there's been a movie adaptation, so let's have the picture from the movie on the front of it. Then also, I mean, obviously, your books have started a big trend. What you also want to say is, this isn't quite the same,

but it's like the Thursday Murder cover. It's like, because you want people to think, oh, it's the sort of halo effect of that particular aesthetic. I know what I'm getting here, and I would like to pick up some of those. Yeah, it's an interesting one because I've, I love that things then come up in Penguin classics,

but if you've got Ian McEwan or something, John Self on Twitter, who I love on books, he's absolutely brilliant, but he's also very good at showing different versions of books over the years and how they've changed and how the covers have changed. And every sort of five years or so, you will try and reinvigorate a back catalog by changing the covers. It means you can go out to bookshops again and

say look we've got this you know new edition of five IMAQUA novels with different covers it just means that you've got a slightly different selling point. I don't like having different covers on things. You're in a position where you don't have to. You can stay don't know you can you can stay the same but with the movie. For example they will want to do they will definitely need to I in front cover. I don't want to what you think about that. Why not what about your you're all about the audience if the audience wants it maybe they want to. I just like it to be what it is like an album the book the book is the book is the book.

I guess there's no come on in 15 years you you don't think they'll change the car well they'll say it's yeah they will do it will bring people different people I don't like it though when you see a front cover book that you love and suddenly you know it's the TV show Tom Hiddleston's on the front of it yeah I know it's a way to ruin it but you know what I mean that's yeah anyway listen this it's a fight that I will lose but a fight I'm going to have. The second you see Pierce Brosnan and Helen Mirren on the front cover of Thursday Motor Club,

just refer me back to this and tell me I'm a sellout. Yeah, okay. It's interesting they wouldn't re-release albums with different covers, but I guess it's just different, isn't it? It is really an expression of the art. And I think that they never have done that for a reason. And they become iconic and they say,

maybe that's more your sensibility and you wish to stay iconic in that way. No but all I wish Marina is to stay iconic it's all I've ever wished. And you are iconic you're in my top three icons and I'm going to tell you which particular order. What number 14. That by the way Chris and all the questions have been great but that's a really interesting question I've never ever thought of it before and I'm going to think of it far more as well. We had some AOB, didn't we, about the question about the studios at the Euros. And then we were talking about how the studios were going to be in Paris. Yes. We're not talking about the Euros any further for obvious reasons.

We are looking ahead to the Olympics. Now, Dan Hearn, who works for Arena Stadium Solutions, says, read the settings for the Euros and the question around settings for the Olympics. Now Dan Hearn who works for Arena Stadium Solutions says, read the settings for the Euros and the question around settings for the Olympics. My company is building the TV broadcast studios for Paris so I can tell you exactly where they are. Nestle just behind the Musée Nationale de la Marine de Paris and the Musée de l'Architecture in Trocadero. So it's a temporary multi-story building that's going to be taken down after the games. We talked about those but the backdrop for all the TV stations will be the

Parisian vista of the Eiffel Tower, the Seine and beyond. All I was waiting for throughout the whole answer was Eiffel Tower. I knew it was coming. Listen, it sounded great and the French was great, but we were all waiting to hear Eiffel Tower, weren't we? Yes, we were. Thank you, Dan. Thank you, Marina.

Thank you so much. I am going off to top three boot camp now and I will return next week leaner, meaner and perhaps hungrier for more mistakes. And in order. Yeah. Well, let's not be too hasty. But listen, the email address to send in your questions is therestisentertainment at gmail.com. We'll see you next Tuesday. See you next Tuesday. See you next Tuesday.