Tag Archives: Channel 4

Griff Rhys Jones Interview

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This summer, Griff Rhys Jones is hosting a brand new comedy panel show on Channel 4, A Short History of Everything Else. This six-part series uses brilliant, hilarious and downright weird archive clips to challenge contestants to remember key moments from our recent history, and provide new and irreverent perspectives on our past. Team captains are Marcus Brigstocke and Charlie Baker.

Here, Griff talks about the ageing process, his love of box sets, and the joys of filming indoors for a change.

You said in an interview a while back that you were always too busy because you couldn’t say no to things. How’s the work-life balance shaping up these days?

Not bad, actually. The trouble is, a long time ago, I started doing all sorts of different types of programme. I think if a finger had pointed at me and said “You will be brilliant at pulling faces and doing silent, exaggerated comedy, and everyone will admire you for that,” [like former comic partner Rowan Atkinson] I would have stuck doing that. But it didn’t quite work out like that. So I put myself about a bit. I do lots of different things, and that’s rather exciting. It’s given me a new lease of life. I’m happy to do it. But I don’t say ‘no’ very easily, it’s true. In fact, I rather like having work, because it gives me the opportunity to say no to things.

What was the attraction of doing A Short History of Everything Else?

I’ve always quite fancied doing what I’d call a desk job. I’ve spent quite a lot of time on the road. And they sent me a pilot they’d made, and it just worked. There are a lot of these comedy panel games, and many of them, I have to say, are based on false premises. Often they’re too complicated – people get themselves really worked up creating a complicated structure, and the audience doesn’t have the faintest idea what’s going on, and nor does anybody playing it. This is a very simple idea – to revisit fads, moments in our past, look at them again, and answer questions and see what we can remember, about everything from the whole ‘video nasties’ scare to Boris Yeltsin and his extraordinary drunken career. We show clips, and you watch them and go ‘Wow, I’d forgotten all about that!’ And when it all comes flooding back, it really gets people talking. It’s a sort of nostalgia piece. I suppose that’s why they chose an ancient figure, old enough to have forgotten everything, to introduce it.

The programme only deals with very recent history, doesn’t it?

Yes, because we use archive footage. I don’t think we go much further back that the 70s. I’m afraid I suffer from the affliction of being nearly 60, which means I find myself going ‘The 90s? That’s not history!’ They did a recent TV series about the 70s, and I watched it going ‘Wow! All of these things were going on, with the unions and everything, I don’t remember any of that. I remember it being rather dull and wet and grey for a lot of the 70s.

What recent period of history was your favourite?

My favourite era of recent history was about 1965 to 1970, because I was growing up then. I spent my time in an awestruck state, looking at people like Jimi Hendrix, wandering around thinking there was some sort of nirvana in central London that I was denied access to, because I lived in Brentwood. So the train out of Brentwood and into town was the sort of Yellow Brick Road. We’d get into this world where people wore funny sunglasses and had frizzed out hair. That was our dream, which we fulfilled by going to the Roundhouse and things like that. After that I became an adult, and realised that you get on with life, get married, have kids, grow up, try to follow a career, do things, and the tide of history is just washing past you. Which is one of the reasons why this series is fantastic, you can watch it and go ‘Oh yes! Was that really 20 years ago?’ I went to , and they read a piece by him and he said “as you get older, the most terrifying thing is how quickly it all goes – how it seems to all speed up.” And I do find that the last ten years have gone alarmingly quickly. I’m not ready for what it is I’m supposed to be ready for!

Are you quite pleased to be presenting a programme in a sharp suit rather than your anorak?

The sharp suits were very, very nice. Of course, I’d already been doing It’ll Be Alright on the Night, which had obviously been a huge success, because I got a nice suit out of that. I would also like to say that the red anorak that I wear in other shows is not just an anorak! It’s actually a jacket that was designed for the Italian racing drivers in the Mille Miglia in the 1950s, and it’s an object of great veneration. People write in to the manufacturers saying ‘Please, please make one for me – because Griff looks so good wearing his.’ It was made in limited edition, and I have two of them. But I must say, to be able to sit and wear a suit, and totter the journey from the dressing room to the studio is pretty good. There was a time when Mel and I were finishing off filming Smith and Jones together about 15 years ago, when being in a studio was my life. And as we finished, I thought ‘This is crazy. I’m really good at this. Changing out of a costume really quickly and getting on to the next set. I can really do that! Not many people can.’ And it’s quite nice being back in that environment. The only difference is that now I have to wear glasses to read the autocue. I did notice during filming that I look a bit like the old man from the film Up. I was really disappointed about that. That’s not my self-image at all.

Is there anything you enjoy about getting older?

Everything, absolutely everything. All that slightly furious business of peer pressure goes away. It’s fantastic. I’d really recommend it. I’m really glad that I’m still getting work. They’re probably desperate to fire me. My wife would like me to do less work – but in the last two weeks I’ve done less work, and now she wants me to work again. My wife and I were 26 when we got married. We had kids at the tremendously early age of 30. Most of my friends seem to have decided to wait until they were about 50. We go round and they’ve got toddlers everywhere, and they’ll go “Oh, oh, oh, Griff,” and hand me a child, and I’ll say “No, it’s okay, I’ve done that! I remember when you used to come round to my house and play loud music and stay up drinking til 3am while we were trying to get the kids into bed, and I don’t care about your kids!” I do a little bit of babysitting from time to time, and I have godchildren, but my kids have now fled the nest, and believe me, there’s no better time in life.”

You’re not tempted to go round to their houses and play loud music until 3am?

Luckily, that’s the other thing that happens. You suddenly think ‘Why did I ever go to stadium rock? Why did I do that? What was that about? Is there a less entertaining experience than sitting on one of those ridiculous bucket seats, peering at a sort of mini-picture of the Rolling Stones four miles away? Some of my friends still go to Glastonbury! I can’t think of anything worse. At the moment I’ve been trying to get into 40s jazz, because I’ve realised that some people are obsessed with 40s jazz, so there must be something in it. So I’m listening to a lot of that.

Back to A Short History of Everything Else – what sort of a host are you? Are you strict?

Yes, I’m quite schoolmasterly. No mucking around, please. It’s quite difficult getting them to shut up. We ran a programme which was part chatty and part quizzy – Marcus would go off on these long tangents, and Will Self, who’s a guest, was unbelievable. I’m no slouch in terms of yakking on in a non-stoppable way, but I found stopping people the most complicated thing. But I did have to be a bit schoolmasterly at times.

What’s it like being back in front of a studio audience?

Quite interesting, for me. It was quite a big transition. I was talking to Mel about this. We used to parody presenters, and then, when I started doing restoration, I had to talk to a camera. As an actor, I’d only ever looked into the camera in character, and suddenly I had to be me on camera. Now, of course, love it – I can’t go anywhere without a camera. And I now talk continually to the camera, which causes great problems for the editors, who wish I would shut up from time to time, and they could film me walking or looking at stuff. So that was quite a transition for me. And now I have to undergo another transition, being in front of a studio audience, and speaking more slowly, and getting the audience to join in.

Who are the guests you have on the show, and who would be your ideal guest?

The guests we had were all ideal guests! Robin Ince was brilliant, we had Kirstie Wark, and she was fantastic, absolutely marvellous. Not only did she have more knowledge about everything, but she was great on what I call the argy-bargy as well. Bob Mortimer was fantastic – very, very funny. And of course each guest brings a slightly different flavour. Bob was surreal, so he’d take the whole thing and push it off in a different direction. And, of course, as team captains, Charlie and Marcus were absolutely fantastic. Marcus is remarkable – his capacity to take the audience with him was really asomething – and he has such strong opinions. And Charlie was just very, very, very funny. But, to be honest, everyone was really good – it’s going to be very difficult to edit. I know it’s quite commonplace for these quiz shows to do long recordings, but we were doing three-and-a-half hour recordings, and they were pretty high energy all the way through. We’d walk off exhausted. I haven’t seen any of it, so I shall wait to see which of my gems has been cut, and then complain furiously.

Which is more difficult, being a contestant on a panel show, or being a host?

Well, they’re rather different. This has been a learning curve for me. What you’re involved with is what they call the housekeeping. If you’re a guest, there’s a lot of waiting around, and maybe a bit of preparation. But all the top guests and the top team captains don’t actually prepare anything – if you go on Have I Got News for You, Paul and Ian always tell you not to prepare stuff. They never do. They allow spontaneity to happen. One of the keys, whether you’re hosting or on the panel, is to be relaxed enough to let it happen – which is quite a challenge for me!

Does it feel like a comedy gig? Do you get heckled by the audience?

We did a lot of appeals to the studio audience. Actually, I remember Will Self heckling the studio audience, which was a bit frightening. He rounded on them and shouted “You voted for them!” I wondered whether they’d stay for the rest of the programme!

What makes you watch on TV at the moment?

I spend most of my time watching films and HBO. I’ll sit down and think ‘Oh good, they’ve made something called The Wire which goes on and on and on. And Mad Men as well. I’ll get annoyed because for some reason it takes a long time for Mad Men to come out on DVD now, which is the only way I can watch shows now. I can’t bear watching things on Sky Atlantic – it’s the principle that bothers me. You’ve paid a subscription and they’re putting in advertisements. If that’s the future of television, we’re all doomed. The future of television is being able to watch a long series one episode after another and have to say ‘Look, we cannot sit here in the middle of the afternoon and watch a fourth episode. We’ve really got to get out.’

A Short History of Everything Else is on Channel 4 on Wednesdays at 10pm from 13th June.

Cardinal Burns Video Interview

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Cardinal and Burns, the blokes behind E4 comedy Cardinal Burns, have a chat about, well, E4 comedy Cardinal Burns.

Cardinal Burns is a new comedy sketch show written and performed by Seb Cardinal and Dustin Demri-Burns. Catch it Tuesdays at 10:30pm on E4. It is brilliant. (Thank God they didn’t call it Cardinal Demri-Burns though).

Homeland Series Two Coming to Channel 4.

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If you have just watched the last episode of Homeland, you may not have heard the continuity announcer declare afterwards that Channel 4 signed the rights to show season 2 as well. You may have been hiding behind the sofa, rocking backwards and forwards, sobbing softly at the unbearable tension of it all. And now you’ll have to go through it all over again.

So there we have it. The brilliant first season of Homeland is at an end, and what an end it was. Who saw THAT coming? Nick Brody is actually a CIA agent/alien/woman. Carrie Mathison is David Estes’ brother/imaginary friend/car. And Saul Berenson’s beard ended up being made of high explosive/cheese/bees. (Okay, I’m writing this before watching the last episode, because call me old-fashioned, but I like watching stuff on the telly when it actually transmits).

Speaking of watching it on the telly, the British viewing public, in their infinite wisdom, have been tuning in in droves. A consolidated weekly figure of over 4 million watched the show (including figures from the Monday repeat). That’s 4 million heads that are fried, eight million eyes that have popped, and 40 million fingernails chewed down to nothing (80 million if it’s a very flexible 4 million viewers and they are chewing their toenails too. Or chewing each others’ toenails).

I think, when we start talking about toenail chewing, we can probably leave it there, don’t you?

Bye then.

 

[thanks to Channel 4]

2 Broke Girls Debuts with 1.1 million viewers

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It’s the biggest launch since Glee.

With zingy one-liners and two talented actresses in the lead roles, E4’s brand new smash hit US comedy 2 Broke Girls launched on E4 drawing an average audience of 1.1m,  more than doubling the 2012 slot average of 443k.

The programme attracted the biggest overnight  audience so far this year on E4, after The Big Bang Theory and the largest audience for a new title on the channel since Glee in 2010.

Between 21.00 and 21.30, E4 drew the biggest 16-34 share across all channels and was the top digital channel for individuals in both the slot and peak time (17.30-00.00). The channel also drew its second highest daily and peak share YTD for individuals and 16-34s.

Big Bang Theory continues to be a hit and drew its 3rd and 4th highest overnight audiences of 2012.

Making ‘Make-Do-And-Mend’ Sociable Again

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The make-do-and-mend movement is back. When the recession began, clever marketing people at John Lewis dug out and republished a 1943 governmental booklet on how to darn socks and re-patch roofs using wastepaper. World war two kitsch was duly rekindled there has been since 2009 an unrelenting stream ‘make do and mend’ media output. Channel 4 a launched a ‘Make Do And Mend’ TV show advising viewers on how to have fun with frozen vegetables. Joan Bakewell has recently joined the celebration of frugality with an article in last week’s Telegraph, describing valiant efforts to deliver parcels by hand.

 

Yet modern make-do-and-mend lacks the defining feature of its 1943 counterpart. The earlier version came out of the war effort and was predicated on a sense of community spirit born out of a need for help on the home front. Food was scare so city dwellers pulled together to turn parks into vegetable gardens. Clothes were rationed so women ran up their own or darned holes in what they had. However, these activities took place in the context of pre-existent community structures like church groups, knitting circles, the Women’s Institute, and the Women’s Royal Naval Service which made skill-sharing easier and reduced costs. The acquisition of a new skill takes not only time but patience and we are far more likely to succeed within a supportive social framework than of we go it alone. Watching someone whip up a pair of curtains on television is not the same as being shown how to do it first hand. At the very least, observes Joy Pite from the Wanstead Women’s institute, ‘in a social setting, there’s more incentive to complete the task’.

 

Modern make-do-and-mend is the DIY craze of the 90s clothed in rather more frayed robes, due to an absence of community space. Most neighbourhoods during World War 2 had thriving churches and community centres, which made for strong and intergenerational social networks. These days people are working longer hours, spending their free time online, moving around more and therefore feel a decreased sense of affiliation with those in their physical surroundings.

 

This is what the organisers at Heathrow Grow are trying to remedy in the London suburb of Sipson. Heathrow Grow is predicated on the idea that cost-efficient and sustainable living requires somewhere for people to meet regularly and face to face. ‘It’s a lot easier to demonstrate things to people than it is to explain them’ says Alex, one of the project’s architects, ‘and it’s a lot cheaper to organise things as a group’. Built on an acre of land that was once an abandoned plant nursery, Heathrow Grow consists of a thriving vegetable garden and two greenhouses that have been transformed into workshop space. Its organisers have set up free classes on the basic principles of growing food, how to maintain a bicycle and even how to weld.

 

The Heathrow Growers have worked hard to convince the people of Sipson that community spirit is the key to the making daily life not only cost-efficient but ecologically sustainable. They have promoted the project by handing out free vegetables at the village market and have successfully involved themselves in the local Residents’ Society, Allotment Society and Young People’s Society. Local residents frequently come by make use of the facilities on offer or just to hang out and the site has proven particularly attractive to “N.E.E.T.S” looking to pick up new skills. ‘It’s great here’, explains Dan, an unemployed resident of Sipson who has recently become involved with the project. ‘I help out with the gardening. And it’s nice to have somewhere to potter around’.

 

Although the political outlook held by most of the project’s participants does not cohere with that expressed by the current government, Heathgrow Grow actively embodies many of Cameron’s ‘Big Society’ values. According to the the government’s online mission statement, the ‘Big Society’ exists to ‘give individuals more power and responsibility and use it to create better neighbourhoods and services’. Since Heathrow Grow has done far much more than the make-do-and-mend-movement to make this happen, those of us hoping for not only more financially efficient households but also the revival of flagging community spirits look forward to seeing more like it.

 

 

Plans to build a third runway through Sipson threaten Heathrow Grow’s continued existence. Its fate will be determined at Central London County Court on 18th and 19th June 2012. Sign their petition at: http://www.transitionheathrow.com/grow-heathrow

 

Into The Abyss: A Tale Of Death, A Tale Of Life by Daniel McCarthy

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With an output rate that would make Woody Allen envious and a string of classics ranging across four decades, the prolific German filmmaker Werner Herzog has built up a devoted international following and critically gilded canon of work that most directors can only aspire to. This includes a recent spate of documentaries that look with awe at the power of nature such as last year’s brilliant Cave Of Forgotten Dreams. Herzog is fascinated however with the sometimes cataclysmic clash of nature and man, both fictional and factual, from the likes of Aguirre Wrath Of God and to Grizzly Man. Now Herzog has taken a more definitive step towards the flawed nature of man with his latest work Into The Abyss, a calm yet unflinching examination of the death penalty in America shown through the prism of one particular crime. Many of Herzog’s films can claim to look into an abyss, whether it is literal or metaphorical. Whichever way you view this latest work, it is arguably one of his strongest pieces yet.
In October of 2001 Michael Perry and Jason Burkett, two teenagers with troubled backgrounds living in Texas, broke into the house of a fifty year old nurse Sandra Stotler with the intention of stealing her sports car.

The crime ended with her death, as well as that of her son and his friend who were ambushed upon their return to the house, led into a wooded area and killed in order to gain possession of the remote control device needed to open the gates of the housing community where they lived. It is a crime noticeable for both its callousness and stupidity. Perry and Burkett where arrested days later after a shootout with police and proceeded to blame each other for the events that took place. Burkett was sentenced to life imprisonment whilst Perry was sentenced to death. The sentence was carried out in the summer of 2010. Herzog interviews the two men at their respective prisons (Perry was only eight days from execution during his interview) as well as members of the victims’ families and some of those directly involved with the process of state executions.

From the outset Herzog makes his views clear to the two men and to the viewer; ‘I don’t have to like you, but I don’t think human beings should be executed.’ His view is a humanist one, not political despite its release coming just ahead of the Republican presidential nomination in America. Despite not shunning away from the horror of the crimes committed, judgement is not heaped upon the convicted men. The conversations with them are quietly unnerving; despite having claimed his innocence Perry views his impending death with serene calm whilst Burkett discusses the troubled relationship with his father who is also imprisoned in an adjunct prison ward for a separate crime. Their pasts and backgrounds are referenced but are not used as an excuse. Instead a complex tableau is woven on both sides with family members of the victims revealing how they have been affected by the tragedy and whether or not they feel the execution will heal their pain whilst Burkett’s father holds himself responsible for his son’s wayward lifestyle. Compared to the pacing of Herzog’s fictional work and some of the documentaries, there is a unique stillness to the imagery and the tone that is tremendously sombre and effecting. The camera roves effortlessly and holds on the smallest of details; the scattered, rural landscape that prisoners pass through on their way to the ‘Death House’, the faces of interviewees left hanging at the end of questioning and not given the mercy of a quit cutaway. Rather than adhere to standard rules of documentary film-making, Herzog is drawn to what he refers to an ‘ecstatic truth’. The point is made not through a deluge of facts and figures but instead a hidden narrative construct takes us on a journey through the incredible true story and in doing so deepens the emotional response.

There’s plenty of emotion on display here. The tale is tragic on both sides and the interviews are to the point, precise and devastating. Herzog’s trademark accented narration is toned right down and he never appears directly onscreen. There is a stillness in both the one to one and interviews and the establishing shots between them as though the camera itself is respectfully treading away from anything exploitive. Crime scene footage is seen but never lingered over. Out of the remnants of the tragedy, it is the small fleeting moments of humanity that move the deepest. An anecdote about squirrels on a golf course manages to evoke tears from a prison chaplain whilst a former captain of the ‘execution team’ recalls the exact moment when he realized he could no longer carry on with his job. The film is separated into individual chapters covering the crime, the aftermath and the debate surrounding capital punishment. The last chapter is optimistically titled ‘The Urgency Of Life’, and we focus on the acceptance of the various parties involved as they discuss how the execution has and has not restored equilibrium to the situation. Rather than end on a bleak epilogue Herzog pulls off an odd, vaguely amusing and hopeful vignette. One of the final shots is a phone screen capture of an ultrasound scan revealing a child. To say anymore may rob its power, but it’s a beautiful little grace note that only this director could pull off.

I had the good fortune to see Into The Abyss at a preview screening followed by a live stream Q and A session with Herzog himself. It was a fascinating experience to hear the man give insight into his method and viewpoint on his work and how he tackled the more stressful aspects of the production. The film is being released as a companion series, On Death Row screens on Channel 4. Though at time of writing I have only seen half of the episodes, it has all the merits of the main work itself; sombre, thoughtful and astonishingly balanced in approach to its subject. With these projects Herzog is staring death in the face. And death stares straight back.

Frost Loves | New Girl & Zooey Deschanel

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The last episode of New Girl that I watched had the truest relationship between women I have seen on TV for as long as I remember. I laughed in recognition of how a women really insults another women, in a subtle way that men think is a complement. How sometimes we just don’t get along because we think we have nothing in common, but really, we are more like each other than we will ever know. Dessert person or not.

Some of the press has been quite unfair to Jess, Zooey Deschanel’s character, for being ditzy and different. And I am not quite sure why. It is an actress in a lead role with her own TV show. She is not playing someone’s girlfriend or mother. She may be a kooky and different, but I have friends like Jess. She’s an endearing character who, granted, can be a bit annoying sometimes. But she cares about people, she is loyal to her friends, she is a good person. So to all of the people who think she is a bad role model I say; screw ’em.

Channel 4 revealed that New Girl has topped the 4oD chart for a second month, with an increase in VoD views to an impressive 3.3m.

Channel 4’s archive and catch up content attracted 45 million views throughout February, across all platforms on which 4oD is available, bringing total YTD views to 93 million.

The main 4oD platform, 4oD on Channel 4.com, drew 4.3 million average monthly unique users.

Britons are prouder of their history, NHS and army than of the Royals.

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While 2012 celebrates the Diamond Jubilee and London hosting the Olympics, it is history that makes people most proud to be British.

A survey commissioned by Channel 4 from Ipsos MORI found that more people (45%) are proud to be British due to the country’s history than they are because of the Royal Family (28%). And more people cite the NHS (37%) and the armed forces (36%) as a source of pride than they do the Royals. British sports teams come in at a lowly 10%. Bringing up the bottom of the table is British business, with only 4%.

Overall, which two or three of the following, would you say makes you most proud to be British?

1. Our history (45%)

2. The NHS (37%)

3. British Army / armed forces (36%)

4. The Royal Family (28%)

5. Our culture and arts (24%)

6. Our system of democracy (22%)

7. Having a free press / media (15%)

8. British sports teams (10%)

9. Our position in the world (5%)

10. British business (4%)

Timed to coincide with, Make Bradford British, a documentary series exploring what it means to be British, the survey also found that a ‘good sense of humour’ (45%) topped the poll when people were asked what are the best characteristics of British people, followed by friendly (34%) and tolerant to all sections of society (30%).

But while being funny may be the best British characteristic, of those surveyed, half (50%) said the worst was drinking too much. Ignorance of other cultures (33%) and complaining too much (23%) were also cited. And a fifth of respondents thought the worst characteristic was being lazy (20%).

Tea topped the poll not only as people’s favourite drink (38%) but also what they thought was the country’s national drink (65%) proving that we are a nation of tea lovers.

While fish and chips is seen as the national dish by four in ten Britons (41%) just one in ten (9%) say it is their favourite food. Roast beef and Yorkshire pudding tops the poll as the nation’s favourite dish (33%).

And while 15% enjoy a curry as their meal of choice, only 8% think it’s the national dish.

Make Bradford British continues on Thursday 8 March at 9pm on Channel 4