The Rest Is Entertainment - The Secrets Of I’m A Celeb

Episode Date: December 5, 2024

Marina & Richard reveal those who test run the trials on I’m A Celebrity and the work that goes into each moment of TV gold. We dig into the stats as to which is the most successful chair to be sat in on House of Games. Why are dates given in Roman Numerals at the end of shows and how do you get on the Hollywood Walk Of Fame? Your questions answered on The Rest Is Entertainment with Richard Osman & Marina Hyde. Join The Rest Is Entertainment Club for ad free listening and access to bonus episodes: www.therestisentertainment.com Sign up to our newsletter: www.therestisentertainment.com Twitter: @‌restisents Instagram: @‌restisentertainment YouTube: @‌therestisentertainment Email: [e-mail] Producers: Neil Fearn + Joey McCarthy Executive Producers: Tony Pastor + Jack Davenport Learn more about your ad choices. Visit podcastchoices.com/adchoices

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Donate today at unitedwaygt.org. Hello and welcome to this episode of the Rest is Entertainment Questions and Answers edition. I'm Marina Hyde. And I'm Richard Osmond. Hello, Marina. Hello, Richard. How are you? I'm really well.

Lots of lovely questions today. We start with a little bit of any other business I think. We do. We've had an email which says, hello, I am a journalist at Reach PLC. I just wanted to get in touch after your recent podcast about Reach and its article volume targets, by the way, you might remember this is the one where there are about 507 stories about Martin Lewis on Reach in one day. And the journalists are forced to sort of hit certain targets and this

We just sort of went through the process of how that doesn't seem to be the most financially viable way of running a business To resume the letter a colleague of mine asked why we haven't heard our editors bang one about article volume as much in the Last few weeks and apparently it's all thanks to you Following the podcast episode there was apparently an internal meeting with the big guns some Some newsrooms that have a reputation even within the company is publishing pure rubbish. Brackets Birmingham Live really got the stake. That's the brackets are in the letter. I didn't say that myself, although you know, it falls to me. I understand our central network team still have a high article volume expectation, but smaller regional newsrooms are no longer encouraged to look at what is doing well across the Reach network and just take it. I know so many of us that work at Reach felt so embarrassed following your podcast episode. It's funny that it took Richard Osmond and Marina Hyde saying this is a ridiculous approach over the hundreds of journalists that have raised concerns at Reach for it to actually

get casually scrapped. All the best, Anon. Anon. I'm so pleased because we've said time and again, it's not the journalists. You work in the industry that you can work in. It's the people running those enterprises that are the issue. So it's great that journalists are finally being freed. But also, so often on this podcast, we'll say something and it'll be on one of those reach things. But this is a story that didn't make it onto Birmingham Live. Richard Osman slams reach bosses for inability to understand industry. I love it when you look like a headline. Shall we get on with some questions? This is a question from Abby and Jack Bishop. I love it when you look like a headline. Should we get on with

some questions? This is a question from Abby and Jack Bishop. I wonder if they did one letter at a time. We'll find out. I'm a celebrity is a highlight in our household this time of year. Absolutely. And while watching we noticed they often show preview clips of the trials featuring individuals already completing them. Who are these people and how do they get them to agree to participate? Right. somebody else asked this question as well actually. First of all I would say that the trials on I'm a Celebrity are more produced as a sort of entity than quite a lot of actual whole shows on television and how it works is that months and months out from the show actually airing the producers get together and pitch a load of trials and about 20 of them are signed off.

We call them the trials team. On these shows. We used to have one with Big Brother and stuff like that as well. The people who do those set pieces. They are dedicated to that particular bit of the show and it's huge. Then they go to the art department, these trials, because then you've got to kind of come up with all the concepts of them and actually make those things work. The producers go to Australia, they're basically there from September for I'm a Celebrity, which as you know goes out in the middle of November or whatever.

They've got lead producers for each trial and they're supervising all the builds of the sets and they've got various teams for every trial. Within the trials team is the other teams, they've got the animal team, the lighting team, the arts team, you know. So you've got all of those people, technical rig, anything like that. And I'm talking about slightly about the food in a minute. That's the Bush Tucker shortly. The mechanics of the trials have to work. And so the crew and people who work on the show are those people as you see

doing the trials in advance. All the people you see are people, they literally, if you're on the trials team, you, you've got to do the trial. You spend three months doing trials, but also you do the versions of the trials that don't really work. Yeah, when you actually ingest 15 cockroaches. Yeah, you do that. Sometimes people do also talk about, I know there's been in previous years a bit a little bit of a sort of thing saying, oh, the contestants are told about the trials in advance. Okay, they're not, they don't do any rehearsal of the trial, anything like

that. What they might do is if there's a trial that's kind of complicated, it's got lots of padlocks or something like that in, we spend all this money and it's primetime TV and we all want to watch it. If they're like, I can't get them here. They think I don't understand how the padlock works. Then that's something of a waste and not very good television. Yeah. So yeah, in that situation, someone would get briefed and that is because the trials team have done it a hundred times and 90 times it's worked and 10 times they go, oh, don't forget a couple of times we had the thing where we couldn't, the, the, didn't fit in the padlock properly, but you have to turn it around.

And so with those, it just got, okay, just for that 2% chance, this is what happens. You'll, yeah, you'll, you'll do a briefing with the contestant just to talk about some of the things that they might encounter. The food, the bush tucker trials are a separate thing. They've got a head chef for that. Yeah, it's amazing. the bush tucker trials are a separate thing. They've got a head chef for that. Yeah, it's amazing. One of the things they know always is that portion sizes are very important. We all know this, don't we? They ideally like to make it three bites per dish. Okay. And the head chef tests all of them multiple, multiple, multiple times. And they have to pitch it at just the right

level of nauseating. Because if it is an honest, like a media gag, like actual vomit reflex, then it's sort of genuinely quite exorcist and gross and it's gone too far and you can't really do the trial. So they have to find the happy balance between, you know, that's a restaurant I wouldn't go to. Absolutely. The happy balance. Yeah, the happy balance between, you know, way too nauseating and not quite nauseating enough. So three bites and just at the right level of how emetic it is. So that, yeah, so it's a huge, each one of those trials is a huge production in itself. Yeah, and funny enough, that team, a lot of the shows that I've worked on in the 90s and

noughties, big game shows, big physical game shows, the total wipeouts and things like that of this world. So many of those producers go on to these teams and do the big tasks on I'm a celebrity because it firstly, it takes enormous technical expertise to make them. But secondly, you do need a really good quiz show game show mind, you got to think of the rules. I always there's a lovely guy is to work with called Matt Wilkinson and the only times I ever see Matt Wilkinson are either yes, sort of up to his ears in cockroaches in some sort of coffin or talking to Jose Mourinho on the touchline at soccer aid. I love I love seeing where people people have gone. But those task teams that's not like a junior gang of people going out there and mucking about. That's

one of the biggest parts of that entire show because so much of the content of that show is incredible trials and so much of the clippable stuff from those shows. So these trials where extraordinary things happen, but it can't just be you're throwing cockroaches onto somebody, it has to be something clever. You have to move it on a tiny little bit. And so yeah, that's, that's one of the biggest gigs on the whole thing. But yeah, those poor unfortunate people on that trial team, that is, have done them all multiple times. They have done them all multiple times. The good news is they get to do the celebrity

cyclone from the end as well, which makes up for the months and months of nausea. I've got one for you, Richard, from Chris Alcorn, who says, can you explain how the Hollywood Walk of Fame works? Who decides who gets a star on it? What are the criteria to get a star? How are the slots for the stars allocated, as in who goes where? Surely when it started, they had no idea quite how many stars they would end up with.

Yeah it's quite a neat thing isn't it? It's one of those just sort of artificially created landmarks. It is, you have to be nominated, so you have to be nominated by a third party, but that could be your agent, so really you could just say to your agent, could you nominate me for her? So you sort of can nominate yourself, but you have to be nominally nominated by a third party and then there's like a shadowy committee who go through all the applications and decide who gets put on the Hollywood Walk of Fame. I think there's 2,700 names there at the moment. So it's really, really big, but it can say, you know, Hollywood's big so it can go on

forever. Lots of people have declined being nominated. So there's lots of big stars who aren't on the Hollywood Walk of Fame. Julia Roberts isn't there, Bruce Springsteen, Leonardo DiCaprio is not there. There's all sorts of people who aren't there. Why? Do they think it's all sort of commercialised? Yeah, exactly. They're like, you work in big budget entertainment films.

Well, a lot of people don't like being walked on. They say a lot of the time, the Hollywood Walk of Fame people say that the major reason they get for not wanting to be on there is they don't like being walked on. They say a lot of the time the Hollywood Walk of Fame people say that the major reason they get for not wanting to be on there is they don't like being walked on. There is only one star on the Hollywood Walk of Fame that you cannot walk on. And that is Muhammad Ali, who's up on a walk. He said, I definitely want a star, but I don't want to be walked on. You can be nominated in lots of different categories. So you know, you can be nominated for, you know, entertainment for music for film. So lots of people have multiple stars. Gene Autry, who used to sing all their cowboy songs and read off the Red Nose Reindeer.

He's got five stars on the, like a Michelin restaurant. Gene Autry's got five stars on the Hollywood Walk of Fame, which is the most. Do you want to know who's going to be on the Hollywood Walk of Fame this year? Yeah. Who has been nominated this year and is about to go in? I always thought they really liked it. When they do the pictures of them, everyone always seems so so that it's so moving when they get their star and blah blah. I think most people do but you can it's like getting knighted isn't it

there's all sorts of people who turn that down. Yeah if you let people know that you've turned it down then you didn't turn it down. This year Michelle Yeoh is getting a star Chris Pine is getting a star. Chris Pine's getting a star on the Hollywood Walk of Fame. Yeah. Bloody hell. You know what I think? He's been in a lot of things. Yeah, he's been in a lot of things.

No offence. I mean, no offence to Chris Pine. Can we do a Restless Entertainment Walk of Fame where people can submit names to us and we start our own Walk of Fame? Well, you know, all I ever want to do is say yes, no. Yeah. This person can't be let in and this person can be. But we'll be a committee and it has to get both of us to say yes to be let into the rest

of the entertainment hall of fame. Absolutely. But you would say Chris Pine, no, due to? Due to he's not a big enough star. Sorry. So you ring his agent? Yeah, I mean, I'm not going to do it right now after the show because I'm quite busy. But if I run into Chris Pine's agent, I'd say, tell me the process.

Who was the one who nominated him? Was it you? Okay, for next week, just send us in some names and we'll say yes or no and we'll start our wrestlers' entertainment hall of fame. Also this year, Gwen Stefani, would you let her in? She's got one song, but carry on. Talking of songs, Def Leppard, I'll get your star. Okay, fine.

That's fair enough, isn't it, Def Leppard? Come on. Dr. Dre. Yeah. And Christina Ricci as star. Okay, fine. That's fair enough, isn't it, Def Leopard? Come on, Dr. Dre. Yeah, all right. And Christina Ricci as well. Yes, fine. Happy, just the only people not getting in there, well, Chris Pine and maybe Gwen Stefani.

Stefani's not getting in. What's she have on, like, the American Voice or something? She's getting it from that and the one song. Yeah, but Sweet Escape with Akon, I'd give her a star just for that. Oh, right, you're just giving it out for collabs? Yes, a great song though. And Akon just is the woohoo woohoo. Gwen Stefani's carrying a lot of that. So that's the Hollywood Walk of Fame.

You have to be nominated. You have to have hard carried Akon in one song. Exactly. The cost of maintaining a star each year, it's about $50,000. $50,000 covers the installation and the upkeep and the ongoing maintenance as well. So I think it's a one-off payment. But if you're Gene Autry, it adds up, doesn't it? I bet Gene Autry wasn't, back in the day, wasn't charged quite that much. Yeah, he probably also, he probably finds, like, buy one, get one for you, doesn't he? He lived back in the years where there was an American state.

And actually the American state, even in the state state of California would have paid for those stars Chris Pine knows what it's like to grow up without a safety net and you know he's gonna have to pay for his own star. I knew we were going to talk about the decline of the American state. We're always going to talk about small government. Yeah. When we get into the questions. We always end up. Greg Wallace small government, Hollywood Walk of Fame small government. Shall I ask you a question? Yes please. Absolute textbook. Rest is entertainment question from Alice Bentley. Thank you Alice. Why at the end of BBC News

broadcast do they show the date in Roman numerals? We noticed this the other day and can't understand why they don't just write the date in a more obvious way. This is the sort of copyright notice that comes at the end of the credits. Everything you see on a screen anywhere has one of those sort of copyright notices. So it's MMCXM. Yeah, yeah, MMCXM. Yeah. Originally the movie studios in Hollywood used to do it.

Everyone's sort of taken their lead almost from them because they were the first people putting actual screened entertainment out. And they used to write the date in normal, what you call Arabic numerals, as in, you know, 1937. But they changed. Yeah, you know, 1937. But they changed. Yeah, I know numbers. Yeah, so, well, some people might not know

they call Arabic numals. I tell you what, you can slag off Queen Stefani, but now you're trying to explain to us what numbers are. Right. Wow. Okay. They thought it was classy, the Hollywood studios, which is why they changed it to Roman numals.

Oh, okay. But also what they always want to do, and this is a huge part of why we still do all this stuff now, is they wanted to be obscure about when it was actually released, because they want people to feel that they're watching new product. That's clever. Which they didn't call it product at the time. Yes.

Or they did treat it as product, but they didn't talk about it like that. And this is the same with the BBC, which used normal Arabic numerals until 1976, and then switched over to the Roman things. I agree with you on the news, on the news it doesn't matter because you know you're watching that Disney, none of us is watching the box set of the news if you are by the way, I can tell you some really bad things have happened in recent years. Sorry for the spoilers. Don't watch season 17. But actually it's primarily in a funny kind of way, used to look classy, now it's a lot about deception and they

don't want you to know when it's good. Because't work out that's clever that's like magazines you know they'll release the magazine that comes out on september the 15th will be the october edition just so for the whole month it looks like you've got this month's magazine yeah yeah i didn't know that yeah oh that's very clever and they changed really quite late in the day i mean 1976 is pretty late yeah or mm yeah that thing If only I knew Latin. Yeah. Alice, thank you so much for that because I didn't know the answer to that. That's very interesting. Right, shall we now go to a break? I'd love that. I love that for us and for the listeners and for the advertisers. Like everybody wins I think.

Yeah. Welcome back, everybody. Welcome back, everyone. Apart from our AAA club members, who literally has just been a continuum. Well, this question can only be, you are literally the best place human to answer this question. Well, is it about reaching something from a high shelf? It could be, but it's not. It's from Thomas and Tanya Hebert. Getting a lot of questions from couples. Yes, which I love. I love that for us.

I love that for us. I'm not saying they are a couple. No, they could be brother and sister. Like brother and sister, but there's two of them. OK, there's two of them. That's what I'm saying. They both ask, having just seen Larry Ricard and Michael Ball do so well on House of Games, my wife and I noticed how much of the success is by players in the seat nearest to yourself. Wow, mega conspiracy incoming. Could

it be that contestants closer to you, Richard, are getting an advantage? Thank you, Thomas and Tanya. Absolute classic case of confirmation bias. This because once you spot something yourself, you never spot anything else. There's a brilliant guy called, if you want to follow him on Twitter, Daniel Mark Hurst, who has the entire database of every single result ever in House of Games history. Every game we've ever played, every prize we've ever given away, the whole thing. Even the production team use him from time to time. So using his database in fact, I can tell you exactly which seat is an advantage to be in. And if you'd ask me, I would have said seat four for reasons I will get on to. The average episode score, seat one which according to Thomas and Tanya is the best seat 6.8, seat two that's the points you score per episode, seat

two 6.8 also exactly the same, seat three 6.4, seat four 7.8. Shut the front door. Seat four is the biggest advantage seat seat to be in, I would say. Now what might be the reason for that? The seat four is the best. Seat four is traditionally the one people say it's best to be in seat four. Quite often on that show, it's sort of like a dinner party, that show. Before the show starts, we sit down with everyone, have a little chat, we do a little quiz.

When I'm working, by the way, you know this, when I'm working and if I do I'm working in the evening ever and I'm not at home, the entire rest of my family watches that with an iPad propped up on the table, which would never be allowed by the way when I'm at home. So it is genuinely a dinner party for the rest of my family. I'm very glad to hear it. When I'm working, believe me, that doesn't happen at any other time. So beforehand, we meet the four people and then myself and Breach and Tamara the producers we work out who do we want in what seats and we're just thinking about how it's gonna play out Across the week who feels maybe they're a tiny bit more nervous who'd be funny sitting next to each other seat four is quite far away So who do we know just absolutely they'll be alright in seat four. They can look after themselves

Yeah, the plasma very occasion, you Very occasionally enough to make a statistical difference. The person you can put in the seat four is the person you know is a good quizzer. And so you know doesn't need sort of things explained or doesn't, you know, you just know you can leave them be and they'll be absolutely fine. Where would you put me? Where, if you want, it depends who you're on with. If you're on with H from Steps, Well, if you want, it depends who you're on with. If you're on with H from Steps, Paul Chuckle, and one of the cheeky girls, I put you seat three. I'm having H from Steps next to me.

I'm having Paul Chuckle next to him because that's fun. And then I'm having you and the cheeky girl on seat three and seat four. And so she is just the most, if it's Gabriella, the one who went out with Lembert over here, she is the most, just a pick a cheeky. She is the most confident and can just fly by the seat of her pants out there on the wing. You know, if you're putting people around a table for a dinner party, there's certain people you know, you can put on a wing, you know, they can just sort of, they'll be a right further away. I'm that person. I'm always put next to someone's difficult aunt or uncle at a wedding, because I can deal with it.

Yeah, well, that's the problem. But that's why again, I wouldn't put you I put you somewhere in the middle because then you're going across I'm running interference between poor chuckle and Gabriella if there is interference. Of course, of course there be interference to run I'll be running it. You'll be running it. It's funny for the first couple of series I think I think we always sped up the the men and the women so So it was always man, woman, man, woman, or woman, man, woman, man. And it was after about two series, I just thought, oh, I don't understand why we're doing that. Doesn't make any good, but every show

that's ever been made always does it. And I thought, I didn't understand why we're doing that. So we absolutely made a conscious decision to just go on this, put people where we want them to be at any given time. So yeah, it's an inexact science, and sometimes we change it right at the last minute. But it's me, I've got to spend the whole day next to the person in seat one and they've got to spend

the whole time next to me. The person in seat four, as I say, has to feel sort of the whole day, they're not being slightly left out and the people in the middle can kind of, there's just exactly like a wedding plan or a dinner party plan. It's just working out who's going to work where and how and why, which people will work well together, which people can kind of hang out by themselves, which people like to feel in the center of it. So it's entirely sort of based personality based. But I think that thing of seat four being slightly the best place to be a must come from that thing of sometimes correlated. It's not a cause of it. It's correlated. I think so. I think it comes from sometimes if someone is a maybe slightly older, a very good quizzer. And I think,. I think it comes to sometimes if someone is maybe slightly older, a very

good quizzer, and I think, you know what, they'll be absolutely fine where they are. I think it might be something to do with that. But yeah, definitely seat one is not the best place to be. But yeah, seat four is the kind of, that's like the Grand Prix one. But then again, since I knew that from a few seasons in, I try and switch that up as well a little bit more as well. So you do kind of think, oh, maybe, so it's maybe those stats will come together a bit closer. But yeah, Thomas and Tanya, there is no advantage to being in seat one other than being able

to chat to me in all the recording breaks, which is a dream. Marina, one for you. Carl asks, when a season ends on a cliffhanger, do they record the start of the new season right away or set up the scene again? We had that question about Sweet Pea as well. For example, at the end of season five of Game of Thrones, when Jon Snow redacted, do they have to wait a few months to reset the season for the first season of season six or do they record it after he has been redacted? The answer to that is no, they redo the whole thing

if they're gonna pick up from the end because even if you've got, in the case of Game of Thrones and they're doing it off books that either existed or George R. R. Martin has a plan for how they were all going to turn out and is quite an ornery creator and has got quite a lot of views about how it's going to pan out

even if he hasn't actually got around to writing the book yet. No, you always will start all over again. I know it sounds sort of like, oh my god, thank you for your service, but to get a season of television actually onto the screens and to even get it to the point where the scripts are surrendered for production, they're never, scripts are never finished by the way, they're just sort of surrendered to production, there's no way they know how the next season is going to start, even on something like that

where you've got source material. There's lots of different reasons the show might not come back. Audience reception is a big thing, whether or not the people who make the TV will tell you that it is, and they say, we don't pay any attention to what the fans say, they do pay attention.

You might, on whatever show you're doing, you might decide, okay, let's have a time jump at the start of the next season. You just do not know. No show has got the next season script. I mean, actually, Will Smith vs Slow Horses, he was in a situation where they were writing the next season while they were still filming the other ones. But that was because they have Mick Heron's brilliant books. And it was a kind of crazy production schedule for that show. But but in general just getting to the end of that one is beyond what most people can manage they have no idea what the first words of the next scene and even if they pick up they will reset that

whole thing you will all go back to wherever it was that Jon Snow was X and you will do the whole thing all over again because you simply don't know. I get the question from Carl absolutely which is is, you know, given that we talk a lot about how the setups are the expensive things or, you know, booking the studios the expensive things, once everyone's there, but presumably at the start of the next series, say for example the season ends on a sort of snowy hillside with lots of bodies everywhere, you would have footage that you could cut into the very beginning of the next season. You can have stuff you can cut, yes, but actually you're going to have to go back.

You probably won't pick up at the exact moment. I know in that season, I know what else happens in the next season, what else happens with Jon Snow. So they've got all sorts of kind of things, thinking how are we going to pull that off in the case of this particular character's storyline. Everyone is going back to the table and there's going to be a long writers room. They're miles away even at the end of the writers room of deciding exactly what the first bit of the next season will be. They haven't even worked that out. Just getting it to the end of the show. And no one in that scene can have a haircut or put on weight or anything like that. No, well if they have then you better make sure that you're starting the next season

adapted to that because that's what you're starting the next season adapted to that, because that's what you're going to have going forward. So that is another sort of part of it, that if people do look slightly different or whatever, you're going to have to shoot around this or that, you'll be starting with what you've got going forward for the next,

however many months, 10 months it's going to take to shoot the next season of Greyman Throne. Ah. A final question, Richard, about Desert Island Discs. Aidan McCarter says, how are the castaways selected for Desert Island discs? Are they interviewed and or vetted to make sure they will make an interesting program? Has anyone not proceeded past this point? How much assistance if any do guests get in compiling their list of discs? That's one of those ones so many TV shows your

entire difficulty is getting good bookings. The celeb booker's job is not a happy one the whole thing is we need bigger book getting good bookings. The celeb booker's job is not a happy one. The whole thing is winning bigger bookings, better bookings. If you book Desert Island Discs, it's one of the few things where everybody says yes. And also, by the way, where you can get a cancer specialist from Imperial College and put them on and have one of the best ever episodes

you're ever gonna have. So for a celeb booker, it's the absolute dream because everybody you ask says yes. Because I did Desert Island Discs and I don't know what it's like for other people. I think because I even think that we understand when you do that. Growing up when you think what would my Desert Island Discs be? You just think I'm just going to choose my eight favorite songs. And the second they ask you to go on, you realize how many times over the years you've listened to Desert Island Discs and you realize that it's a story, a journey through your life.

And so you have to pick songs that represent different parts of your life rather than just me picking the entire first side of bandwagon-esque by teenage fan club. You do have to go, do you know what? This is about when I was a child. This is about when I was at university. This is about when I had kids. This is about this job I did that was memorable. This is about, you know, when I was at university, this is about when I had kids, this is about, you know, this job I did that was memorable. This is about my wife, you know, you realize you want to pick songs that, that means something to you. So the actual songs you end up picking

are very, very different from the songs you've listed in your head over the years. But yeah, they don't give you any help at all. I wonder if, if you did pick just eight songs by teenage fan club, someone might step in and say, I wonder if we could maybe, because we might want to talk to you about this part of your life. We might want to talk to you about the part where you're a hostage in Beirut.

So if it's all teenage fan club, I don't know how we get in to that part of your life. I'm not absolutely sure. So maybe they have that, but no, it's you. I mean, just kind of tearing your hair out thinking but I it does have to represent me But also I want those songs to be good and you know if you'd show me the eight songs I chose even five years before I thought you'd absolutely lost your mind So for example my kids you just think okay I need a song where I can think about my kids being young songs

That I would always listen to. So for that I had two choices really. Fiona Apple is now very cool. And my daughter said to me, you know, everyone loves Fiona Apple, but I sort of really know her. I said, yeah, I used to listen to you endlessly and used to love Fiona Apple. So I thought maybe Extraordinary Machine or the first cool song they ever liked was Yoshimi Battles the Pink Robots by Flaming Lips. So it was going to be one of those two, which again, neither of those are probably one of my eight favorite songs in the world, but they reminded me of a certain time in my life. So choose that. Yeah, I had the snooker theme tune just because

it was about me as a boy. By the way, Richard's episode is wonderful. You can go and listen to it. It's so good. Well, Lauren is a fantastic host on that. It's a lovely show to go on because you are able to open up. I told you when the first meeting I ever had with Chris Columbus, we were talking about music, he's a huge music fan. And he was saying, Oh man, you're on desert island is this that's my dream. I said, but they would love for you to go on desert island. So that we've got that hookup in. Oh, great. Yeah, hopefully Chris will be on that, that that fairly soon. But yeah, it's one of those things when nobody

says no, nobody is prescriptive about what you can say and what you can't say. You know, they'll have a little chat with you and say, we've maybe talk about this, maybe talk about that. And that makes you think maybe about songs that you might choose. But yeah, it's possible that if you chose a certain group of songs, they might intervene. But I think people understand what it is they're being asked. But if you if at home, you've got your list of eight songs for Desert Island Dix, have a little think about if they rang you tomorrow and said, oh, but we're going to talk about this

and this and this, whether you might change some of those and what you might change them to. But yeah, it was a really lovely thing to be asked to do. But one of the reasons it's such a good show is they do give you absolute freedom. That's wonderful. There's so many of these questions we could do a whole episode on on its own but do please keep them coming. The address is therestersentertainment at gmail.com and we'll see you again of course next Tuesday. Don't forget you've got the Resters Entertainment Club at

therestersentertainment.com if you want to sign up for ad free, if you want to sign up for our bonus episodes, anything like that. You want to join the gang, it's a newsletter, all sorts of things like that, you would be very, very welcome. And on that note, see you next Tuesday. See you next Tuesday.