00;00;00;16 - 00;00;25;01 VO Hello and welcome to Transformative Taskmaster, the podcast by fans, for fans and about fans. Today, TK is talking to Andy Cartwright and Andy Devonshire, the producer and director of Taskmaster. They're talking about the important issues this week, such as patatas, futur wellbeing and ad breaks on the YouTube uplands. 00;00;25;04 - 00;00;31;05 TK All right, welcome Andy and Andy to the Transformative Taskmaster podcast. 00;00;31;07 - 00;00;32;15 Andy D Thank you. Thank you for having us. 00;00;32;20 - 00;00;44;19 TK Yes, very exciting. So we have Andy Cartwright and Andy Devonshire. Hopefully I'm pronouncing that right at root. Great. Is that right? 00;00;44;22 - 00;00;48;11 Andy D Yeah. It's how you like Devonshire. 00;00;48;13 - 00;00;57;03 TK Sir. Okay. Because I would I, as an American, would pronounce it Devonshire. But that feels like too many syllables. 00;00;57;06 - 00;01;00;20 Andy D Yes. You can never have enough syllables. 00;01;00;22 - 00;01;26;19 TK Well. Sounds good. Okay, so. So first of all, we're just going to I'm going to have you to introduce yourselves and kind of a summary of your role in the day to day making of Taskmaster. So for me you are it's Cartwright first and then Devonshire second. So we'll go with we'll go with lunch right here. 00;01;26;21 - 00;02;04;19 Andy C And hello there. I am Andy Cartwright and the series producer of Taskmaster and have been for ten years. And it's pretty hard to describe the day to day role kind of do everything. Apart from direct with Andy and Alex from, everything from hiring the team, setting everything up from the start, signing up the cast, developing the tasks, doing everything right through to editing the show and signing off at the very end. 00;02;04;21 - 00;02;13;07 Andy C So it's, very exciting. Lovely job. Can get to be across every little part of the show, which is very nice. 00;02;13;09 - 00;02;15;28 TK Sweet. 00;02;16;00 - 00;02;40;02 Andy D That's. I just think I think they're very succinct and they, commenting, series director and executive on Taskmaster and yeah, as with Andy, I think there's the three of us with, and the Alex and Andy. We are across most of the most of everything that happens within the show. So we're here from start to finish with everything that we have to do. 00;02;40;03 - 00;03;05;01 Andy D I big difference with Dan is that I direct, the studio and the location. So, my responsibilities mainly visual staff. So we all work together to making the task, work with the team and help run the team and make the show what it is. So we know, for example, where at the moment, we're virtually editing the tasks for series 21, which goes to studio in September. 00;03;05;04 - 00;03;32;22 Andy D And we've just finished the studio edit for series 20, which goes out next year. Later on this year. We're basically across every aspect of the show, from start to finish. And like Andy, I mean, I made a film with Alex a couple years before Taskmaster and I helped pitch in the first place. So it's kind of ten, 12, ten years of working on it and 12 years of knowing about it, getting up and running. 00;03;32;22 - 00;03;48;04 Andy D So. Long time. Yeah, it's probably the the three of us had a drink a a a bottle of the best beer in the world from Belgium was one each back from Belgium. And we actually managed to do it and have an evening's drinking. It was a Monday. 00;03;48;07 - 00;03;52;06 Andy C It was a Monday and filled that day. 00;03;52;08 - 00;03;53;20 Andy D I should definitely. 00;03;53;22 - 00;04;09;08 Andy C Have. Our first drink was, a 10% beer. A second drink was a very, very strong whiskey that Andy had. And then the third drink was absinthe. Absinthe. Oh, and then we went out and that was, an and then the next day we went in to do some more. 00;04;09;11 - 00;04;10;28 Andy D The next day was not good. 00;04;11;00 - 00;04;12;16 TK I couldn't imagine. 00;04;12;18 - 00;04;18;19 Andy C But we don't we don't get to do it often enough. Nowhere near as much as we used to. Yeah. So it was very nice. 00;04;18;21 - 00;04;47;27 TK Yeah. It's lovely. So this most recent series that we've seen is series 19. And I just want to shout out the specifically Andy, the locations for series 19. Gorgeous. Super. I was like, I think this is the most pretty we've ever had. Like, like location tasks because every single new location we had in that series was just breathtakingly beautiful. 00;04;47;27 - 00;04;51;08 TK So that was really, really fun to watch. 00;04;51;10 - 00;05;08;07 Andy D I mean, Amy, who's our task producer, finds Jeremy, finds the locations that we were very lucky. I mean, it's a visual show. We want it to be a visual show. So we found that place and it just happened to have, like, the marketplaces all close to each other. So we're able to have great variety. That's a great part of it. 00;05;08;07 - 00;05;21;26 Andy D You know, it has to be a visual show. Then there's the low and funny somewhere like that. I mean, I call like the gritty, dirty places as well. You know, we've had such great serve. Thanks. Locations. It's also good to find places that are a bit clunky. 00;05;22;02 - 00;05;23;01 TK Yeah. 00;05;23;04 - 00;05;26;04 Andy D Yeah. Make them look beautiful at the beach. Would be lovely, right? 00;05;26;05 - 00;05;32;24 TK Yeah. Like the train station and the defunct, amusement park. 00;05;32;26 - 00;05;33;07 Andy D Yeah. 00;05;33;08 - 00;05;34;22 TK Super cool. Yeah, yeah. 00;05;34;28 - 00;05;38;00 Andy D It wasn't defunct. It was just off from off for winter. It's kind. 00;05;38;01 - 00;06;03;12 TK Of. It looks me like. I guess it looks defunct. If it's not active. And any amusement park does, I suppose. Yeah. It's true. So we don't often hear much about how the studio recordings work behind the scenes. So what's the difference in your respective roles when you're filming in the studio versus filming at the house? 00;06;03;14 - 00;06;30;25 Andy C Well, I guess studio for me is, I'm more across the scripts, and so I'm kind of running through the scripts with, It's the only time we get properly with Greg, so I spend a lot of my time with him. So it's, running through the scripts, doing any little tweaks with him, making sure it's all working okay, and doing his final thought at the end of the show. 00;06;30;28 - 00;06;47;12 Andy C And then he's mainly just kind of we do rehearsals or that's both of us together. We do the rehearsals with Alex doing, bits and studio task rehearsals with, some, some guys, and then. 00;06;47;15 - 00;07;10;24 Andy D It's actually one of the, one of the big ones is also the, sorting of the prize tasks. So there's always something going on with the prize tasks where we have to have there's obviously ten prize tasks per day so called to studios. So and they often is juggling and dealing with the changes of, studio, prize tasks, which quite frequently happens the morning off. 00;07;10;26 - 00;07;22;24 Andy D We have to change the sometimes the task to change, sometimes there at the prize a change, sometimes there. We just have to take new photos as well. So the admin for that is quite hefty. 00;07;22;26 - 00;07;24;12 Andy C Yeah. 00;07;24;15 - 00;07;52;07 Andy D And then I work out how we record it, how we, how we film it. So just, running through with the crew about how we obviously there's, there's a set piece where we record things in many ways, but also we always like to change it up and have different ways of looking at that task. Can we run through the CO2 and to make sure we can film them in a different, interesting song so that because we're trying to straight stick another camera in every now in. 00;07;52;08 - 00;07;54;14 TK Something right. 00;07;54;16 - 00;08;06;13 Andy C But also because, because we're across all the vertices and who knows what's going to happen at the end of each team who's going to react to it. So he's so he needs to relay all of that to the cameras. 00;08;06;15 - 00;08;07;14 TK 00;08;07;17 - 00;08;15;12 Andy C They know what's going to happen, who's going to react badly or. Well. So the end of each, each thing that we play in the studio, 00;08;15;14 - 00;08;34;21 Andy D It's all about the story. So we're always, just always keeping an eye on what, what we want. You know, what we want to tell how we want to reflect the what happened during the day. Because obviously we've lived for those tasks for months beforehand. So some work out how do we best reflect those in the studio rather than just have a have a lock off of people reacting and going with it? 00;08;34;21 - 00;08;39;10 Andy D We're trying to sort of always editorialize it through the visuals. 00;08;39;13 - 00;08;57;13 TK In series 19, there was a bit where Jason, like, chucked something at a camera person in a in a van and he's like, I don't think of them as people. And and then Greg says something like, I'd love it if you were out of focus for the rest of the episode. And then it just hard cuts to his feet. 00;08;57;16 - 00;09;00;08 TK Yeah, that was amazing. 00;09;00;10 - 00;09;10;23 Andy D I mean, it's just it's we're lucky to be able to mess around with that kind of thing. We we, Because because we're free and flexible to do that kind of stuff. Then we we do that. It looks bad and out of focus, to be honest. 00;09;10;25 - 00;09;14;00 TK Right. So it's not a mistake. Yeah. Yeah for sure. 00;09;14;00 - 00;09;15;21 Andy C Without like with any racing. 00;09;15;23 - 00;09;44;05 TK It's actually now in the filming at the house task or in, in person tasks for Andy. See it seems like you cameo in a lot of the tasks. Like we see you more in a front facing because you like you play guitar for several contestants, we've seen you play guitar for Morgana and for Fatiha, and then we've seen you being an Alex doppelganger for some of the tasks. 00;09;44;07 - 00;09;45;01 TK And you were there. 00;09;45;04 - 00;09;46;17 Andy D For fun fact. 00;09;46;19 - 00;09;48;24 TK Is, it. 00;09;48;27 - 00;09;54;01 Andy D Insistent they wouldn't do the job on the one. 00;09;54;03 - 00;09;57;09 Andy C Well, I guess. 00;09;57;11 - 00;09;58;09 TK Well. 00;09;58;12 - 00;10;17;12 Andy C Because we needed a guitar, I played guitar, and so I did that for a couple of times when they asked if anyone played guitar and then for some reason, because of I've got a beard. If there's anyone that's meant to slightly look like Alex, then I'm. I'm called upon, but, Yeah, it's been a few times across the series. 00;10;17;12 - 00;10;19;27 Andy C It's quite nice to do it occasionally, but not too much. 00;10;19;27 - 00;10;41;23 TK Yeah, yeah. For the for those of us who are, I don't want to use the phrase hardcore fans, because that makes it seem like we're better than other fans, which I'm not trying to say, but it's always nice to be like it's a handy, like, I know that guy. Hey, because otherwise, you know, if you're like a casual watcher or something, you don't necessarily know that. 00;10;41;23 - 00;10;48;08 TK Like, that's one of the executive producers of the show, just kind of showing up. So I have to find. 00;10;48;11 - 00;10;50;14 Andy C I'll do a secret hand signal next time just for. 00;10;50;14 - 00;11;21;20 TK You. Yeah. Sounds good. Now I want to talk specifically just a little bit about Matt Benton's yogurt task, because there was there was like a lineup of people there watching him do it, which I assume was all just people in the crew, including you. So because that was so specifically intense, did you have to ask for crew members? 00;11;21;20 - 00;11;31;21 TK That would be, like, comfortable with that kind of thing, like watching it? Or was everybody kind of like, yeah, well, you know, this is whatever we've seen weirder stuff. 00;11;31;24 - 00;11;49;26 Andy C Yeah, I think, I think nobody was up that traumatized by it. And I also I think it was just whoever was available. He wanted it. He wanted everyone that was there to be signed by. So I think that was everyone that wasn't holding a camera or. Yeah, I think that was everyone, wasn't it, Andy? 00;11;49;29 - 00;12;06;24 Andy D Pretty much. Yeah, because it was after lunch and I was out getting lunch. But yeah, he just wanted it to be as as traumatic as possible. So everyone came in and thankfully, well, our team knowing very well what's going on with the show. So I don't think they're that shocked about. 00;12;06;27 - 00;12;08;19 TK All that's good, I guess. 00;12;08;22 - 00;12;12;27 Andy C I think and it was quite weird, this this was a year ago for us, right. More than. 00;12;13;04 - 00;12;26;16 TK Okay. Yeah. So now you're having to deal with the what the heck is happening. Yeah. Reaction that all of us are. Exactly. Yeah, yeah. From what we've set up. 00;12;26;18 - 00;12;33;23 Andy C I was just gonna say. Yeah, because we've made series 20 and we nearly finished 21 and. But everyone's talking about 19. You have to. 00;12;33;28 - 00;12;34;26 TK Come. 00;12;34;28 - 00;12;36;12 Andy C And rewind your head. 00;12;36;14 - 00;12;37;20 TK Yeah. 00;12;37;23 - 00;13;09;12 Andy D And particularly because quite often because the, because that show was slightly delayed. So that went out in May normally goes out March. So we had even longer between record and you know because I you know I've seen that. But we've seen each episode 20 times before we, we come to it. So sometimes when it's only a couple of months later where you can always recount it word by word, whereas actually having another couple of months after it was actually much more enjoyable to watch your back because you, you've forgotten not not forgotten, you naive. 00;13;09;14 - 00;13;17;08 Andy D Yeah. It was a lot more, more time that passed between you and between then and when you actually recorded it. So it's actually more fun. 00;13;17;13 - 00;13;41;03 TK Yeah, it's good. So going back to the studio recordings, we know that Greg and Alex wear earpieces in the studio and they refer to presumably you guys, like, especially in the outtakes and stuff where, you know, the gallery is saying to move on and the gallery is telling us that they have this picture ready for us and stuff. 00;13;41;05 - 00;13;54;00 TK So, is it is it just you two on the other end, or is it other people? And then what do you generally use those to communicate about? 00;13;54;02 - 00;14;03;10 Andy D It's Mandy and basically it's in there. It's an Alex and Greg's contract for us and whisper compliments to them all the way through the show. So that's what we do. 00;14;03;12 - 00;14;03;28 TK Amazing. 00;14;03;28 - 00;14;14;18 Andy D Or whenever they refer, I mean, whenever they refer to us through the earpiece, they're just making it up to make themselves look bigger. We're just telling them comfortable. It's all the way through. 00;14;14;21 - 00;14;19;29 TK Pretty good. So as Mandy said them. 00;14;20;01 - 00;14;23;12 Andy C I do also use us to make excuses, right? 00;14;23;14 - 00;14;28;24 TK Yeah, I definitely have clocked that before. 00;14;28;27 - 00;14;31;12 Andy D So I think the one thing in particular that. 00;14;31;14 - 00;14;32;28 TK Yeah. 00;14;33;00 - 00;14;37;28 Andy C Yeah, maybe. But yeah, it's fair enough. 00;14;38;00 - 00;15;08;10 TK And then so I assume, Andy, you're more in charge of this than Andy. See, because you mentioned kind of having clips ready like pre ready for Greg that you think he might want to watch again. Or are there instances where, you know, Greg is watching the back and you have to kind of think about what he's going to want to see a repeat of. 00;15;08;10 - 00;15;12;26 TK And then you have that in the can, or you kind of just do it on the fly. 00;15;12;28 - 00;15;27;27 Andy D We can do a lot of them on the fly. Quite often we do them on the fly, but sometimes we have a few things preselected from him or from from us that we we know he's going to go on to repeat. The actual process is quite straightforward. So that's actually an easy bit. 00;15;27;29 - 00;15;28;27 TK 00;15;28;29 - 00;15;52;27 Andy D So we're quite flexible in terms of because we want it to be free flowing organic. We normally have we normally just get stuff and anything they want or anything that comes out because often, sometimes moments become bigger in the room than they actually are. So we quite often pull stuff out on the fly, if you like. 00;15;52;29 - 00;15;57;05 TK Let's go do that. You do it that fast enough. Yeah. 00;15;57;07 - 00;16;20;18 Andy C But most of the time we've got James Cordell, who's, EVs. So he's, he sets up all the videos and get some ready to plane in studio. But he's also he can he can be playing in something. And then Greg or Alex might say, could you, could you grab that little bit of that, that look that somebody did so you could be watching it and prep it and get it ready for when they call it up. 00;16;20;18 - 00;16;28;29 Andy C And then he's, he's very he's very nifty and ready to bam throw it in. Many wants it nice when they. 00;16;29;01 - 00;16;37;23 TK And then who does somebody keep track of the scores as you go along to update the the portraits. 00;16;37;25 - 00;16;38;22 Andy C Yeah. 00;16;38;24 - 00;16;39;18 TK Yeah. 00;16;39;20 - 00;16;58;29 Andy C So we've got a graphics. We've got a graphics person who does his bit in putting those in all the time, and they have a member of our team sitting with them who we swap about. So it's either Andrew or Jenny or Amy or Gabby. Somebody will sit with them and all Terrence and flick through it and, adding up the scores. 00;16;58;29 - 00;17;05;24 Andy C And so we just so that we've definitely all got it right. So, yeah, I think he's gone wrong. 00;17;05;24 - 00;17;08;01 TK Once. 00;17;08;04 - 00;17;11;28 Andy C But, yeah, it's actually good. 00;17;12;01 - 00;17;20;00 TK And then is it so is it James that controls the votes or does somebody else do that? 00;17;20;02 - 00;17;28;01 Andy C James has them read. Well, you can probably explain a bit around the signs and, yeah, I mean. 00;17;28;03 - 00;17;49;29 Andy D I bring them on to bring them on the drive. We put them in, we put them in and it's the system. And then between James and Bex, he's the, script supervisor. They chop them up and put them into an order throughout the scripts. You then queue them within the script. There's then each, vat is queued and it has, it's running time, things like that. 00;17;50;00 - 00;18;13;01 Andy D And Bex, the, the a script supervisor is always an account. So in the rehearsal we'll go through a clip. So the clips three minutes long. So we'll say right, there's a pre-roll. In a few seconds he'll line up ready to go. So and Suzanne, it goes like that. Then we play it. It goes in, it plays. And then back to me counting everyone out for the floor manager to queue applause and for all the cameras to get ready. 00;18;13;01 - 00;18;19;15 Andy D And for us to sort of adjust and be ready for reaction. What have coming out of the the vat. 00;18;19;17 - 00;18;20;15 TK All right. 00;18;20;17 - 00;18;38;03 Andy D So we have, you know, the 20 clips or so, how many clips are per episode all lined up beforehand and then they're queued and prompted by between X and James. Very cool. I mean, they do them off and then they play them and we count them out. 00;18;38;06 - 00;18;51;19 TK So are is everyone in the studio more or less just kind of taking a break, as it were, during when the VTI is rolling? Or are you kind of doing other stuff as that's. 00;18;51;19 - 00;19;09;07 Andy D Happening stuff to everyone. And part of the thing is quite often the crew, because there's a couple of the members of the crew who've been shooting events anyway, everyone's watching what's going on. So, we're there for to remind you to come back in checks as they come in the clips and they're enjoying the voices and watching what's going on. 00;19;09;07 - 00;19;09;16 Andy D So. 00;19;09;17 - 00;19;10;05 TK Yeah. 00;19;10;07 - 00;19;19;02 Andy D Well, we've always got stuff to do. Voice line stuff are all just, you know, watching what's going on and seeing how people are reacting and seeing what's next. 00;19;19;02 - 00;19;41;04 TK Ready? And then for going back to the kind of giving direction to the camera people in studio, is that something that you do or is it something that, like, you have a special like radio channel four and you're like, hey, we're going to cut to so-and-so instead of this other person because something came up. 00;19;41;07 - 00;20;01;20 Andy D I mean, we all have comms. I'm on open comms to everyone on the floor, so I just call the cameras when we're the cameras between cameras and lighting, sound, if there's any changes. So I'm open mic. So if I swear everyone can hear it. But basically. Yeah, just talk to the crew, the cameras, and, and I'll say what's coming up. 00;20;01;20 - 00;20;15;04 Andy D But then during a conversation, I'll also switch cameras in terms of if someone's getting flustered or we want to follow the reaction from someone or know that, you know, want to see Jason's feet of the elephant. That's right. That's the plan. 00;20;15;04 - 00;20;41;23 TK Really cool. Okay, so we're going to switch gears a little bit here because I'm dying to know. And it might not be either of you, but maybe you know who it is. So the whole Greg and Alex relationship thing, like somebody made the decision, the active decision to lean into that for the social media aspect. And just a lot of the scripts in the show itself. 00;20;41;26 - 00;20;47;04 TK Can you tell us more about that? Because they're dynamic is fascinating. 00;20;47;07 - 00;20;55;05 Andy D I'm just we're we're just seven covering love. We're just documentary makers. 00;20;55;07 - 00;20;56;09 TK I mean, yeah. 00;20;56;12 - 00;20;59;12 Andy D So the the and in charge. 00;20;59;14 - 00;21;20;10 Andy C I'm trying to think I mean that the, the relationship is just developed naturally and then I think at some point probably putting a script at the end of part, they kiss. And then they did that. And then after that. So it became a thing. But I think. 00;21;20;10 - 00;21;29;13 Andy D It's just part of the ongoing playfulness of the show that they can, you know, do what they like. And Greg's Greg sort of opinion changes quite frequently throughout the show or throughout the series. 00;21;29;13 - 00;21;37;24 Andy C I definitely think that I remember way back, I don't know, there were a series two, three, 4 or 5 that there was. 00;21;37;26 - 00;21;38;16 Andy D Yeah. 00;21;38;19 - 00;22;07;14 Andy C We could wait because they because Greg's generally mean to Alex. We thought we started to make it a thing that at the end of the series, Greg would be nice to Alex in some way, just to say, I've done all that. But, Ashley, I really like you and so to be some kind of nice, perhaps wrapped up in nasty ending to each one and then and then it just became fun to have them being affectionate to each other as well. 00;22;07;14 - 00;22;18;04 Andy C So yeah, there's there has been a bit more of that popped in there. And then and then when fanfiction came along, I think Greg finds that quite fun to play with as well. 00;22;18;05 - 00;22;34;28 TK So yeah, that was wild to I had to pause the first time I watched series 14. I think it was or 15 when Alex brought it up and I was like, what? 00;22;35;00 - 00;22;40;01 Andy C Greg, that was the one that found out about him busy googling himself. 00;22;40;04 - 00;22;54;23 TK Well, then we we had Alex on the podcast a while ago, and he said that he, he was Googling Greg and Alex and he just fumbled upon it and was like, oh, well, okay. 00;22;54;23 - 00;23;02;13 Andy C Then that. Yeah. So it was inevitable. 00;23;02;16 - 00;23;18;06 Andy D I think it's a very funny consequence of, you know, something that, yeah, the relationship is genuine in so many ways and, and it's playfulness and it's given this chance to foster and develop on telly. So it's natural, as I said in ways it's doesn't something's right. It's quite funny. 00;23;18;09 - 00;23;19;15 TK Yeah. Yeah. 00;23;19;17 - 00;23;25;05 Andy C It's Bert and Ernie or Ren and Stimpy or yeah, whoever you want it to be. 00;23;25;07 - 00;23;54;21 TK Well, it's incredibly fascinating to watch unfold. Okay. Let's go back to the Taskmaster house. So it's quite a small space we know. And we've, we were talking before we started recording that. It's that you've really made up your own over the years with all the, all the knickknacks and, and stuff like that and the art and from our understanding, it's still being rented. 00;23;54;21 - 00;24;10;02 TK Is that correct? Yeah. So do you have to, like, call up your landlord to be like, hey, we want to do this with the house, or are you operating on more of a ask for forgiveness rather than permission philosophy? 00;24;10;04 - 00;24;12;11 Andy D I mean, we haven't blown up yet. 00;24;12;13 - 00;24;13;14 TK It's just, you know. 00;24;13;17 - 00;24;28;08 Andy D We're we're just, you know, we just we'll make good when we when we, when we return it to the landlord. I mean, I think he know nothing. We look, I think we look after the house pretty well. Yeah. I mean, obviously something that you can try to bring. Yeah. 00;24;28;10 - 00;24;34;23 TK Yeah. Is is still on the roof. His little cutout. Right. 00;24;34;25 - 00;24;38;16 Andy D It blew down. I did leave it there for a while, but it was a yeah. 00;24;38;18 - 00;24;42;25 TK A crow got to step. 00;24;42;27 - 00;24;52;16 Andy D So I'm I'm listening. I'm also I've just got been been chased for the photos for series 20, which I've been trying to do for about six months. Feels like. 00;24;52;19 - 00;24;54;19 TK The, the that's are last. 00;24;54;19 - 00;24;55;18 Andy D Year twice. 00;24;55;20 - 00;25;11;12 TK Oh I was like 20 the portrait then series 20. We saw a sneak peak of for the for the trailer. Yeah. And so this is the first time that we see Alex and a portrait, which is really exciting. 00;25;11;14 - 00;25;13;14 Andy D Because this series 20 is a celebration. 00;25;13;17 - 00;25;46;02 TK Yeah, very cool. Nice. So. Okay, where. All right. Let's next questions. What? So what sort of briefing are the crew given for how much they can or should participate in a task while it's happening? So we we've obviously got like the sneaky wardrobe people like putting tasks on people's backs or the sound guy adjusting something, and then you know, swapping something around. 00;25;46;04 - 00;26;06;26 TK But on the flip side of that, we've got like Rosie Jones nicking money from the cameraman's wallet and stuff like that, where like they're not necessarily, or like, any time the crew are involved for like, oh, let's, we need to get as many golden rings onto this thing as we can. So I'm gonna ask all the crew for their wedding rings. 00;26;06;28 - 00;26;22;16 TK So is crew involvement like that something that is generally encouraged? Or do you not really give the contestants like, boundaries for them, or do you? Or how does that work? 00;26;22;19 - 00;26;24;21 Andy D It's case by case basis. 00;26;24;23 - 00;26;34;07 Andy C Yeah. Organic as it's always as organic as it can be. I mean, everyone is really. 00;26;34;09 - 00;26;35;19 Andy D Everyone knows Neil. 00;26;35;22 - 00;26;40;18 Andy C Neil has money for doing his wallet. 00;26;40;20 - 00;27;01;19 Andy D Yeah. I mean, it's it's it's a case by case basis because obviously we don't want them to, to interfere. I mean, we don't need to sort of in-joke, but I think it's kind of you can very quickly saying to them with a nod or a frown, whether someone participates or not, we can we stop people if we think it's going to fail the show and we keep it going if we want it to be part of it. 00;27;01;19 - 00;27;23;10 Andy D Really. But actually it's the whole point about the show is to make it as real as possible. As Andy says in this. So the moment they open the task and they get on with it, then and if anything goes, I mean, within reason, this is the I don't know if it's actually the first one we did because the, the first things we put into them. 00;27;23;12 - 00;27;24;19 TK Yeah, we don't. 00;27;24;22 - 00;27;41;12 Andy D Into the, into the green room. This is the only instructions for the, for the, cast. And they come in nice. So tell us about the rules. You must not discuss any of the tasks with your fellow competitors. You must not break the law. The task masters word is final. So that's basically that's the law in the show. 00;27;41;14 - 00;27;56;11 Andy D So we so they don't you know, it's it's if it was, if they were going to do something that we didn't want them to, then I'll just stop them. And then I it's always one of these. It's quite straightforward set up really. 00;27;56;13 - 00;27;57;07 TK 00;27;57;09 - 00;28;18;18 Andy D And then, you know, the crew, a lot of the crew, returning a lot of the crew here all the time, you know, the the team behind the scenes, the camera crew are all, we very, very rarely have crew virgins in, so they know what to expect. And, you know, as I say, you can easily stop them from doing something with the shake of the head or whatever. 00;28;18;20 - 00;28;25;10 Andy D If if I don't want them to do something that to be part of it. But basically anything goes because it's fun. 00;28;25;13 - 00;28;26;14 TK Yeah. Yeah. 00;28;26;17 - 00;28;31;12 Andy C I remember it was pretty nerve wracking getting the, the task onto their backs. The for that. 00;28;31;14 - 00;28;32;19 TK Yeah. 00;28;32;21 - 00;28;37;15 Andy C That was, that was done in the corridor by, makeup. Chrissy. 00;28;37;20 - 00;28;38;11 TK 00;28;39;01 - 00;28;46;27 Andy C And it was so devious. They all do those things whenever the network. 00;28;47;00 - 00;29;07;29 Andy D I mean, that's one of the things on the show already. Sometimes when you we put things in that we think are so obvious, we think they're going to clock on to it straight away or, notice if we, you know, you try and do something that's unexpected or whatever. And, we were really terrified that they'll see something in the moment will be gone. 00;29;08;04 - 00;29;08;22 TK 00;29;08;25 - 00;29;26;22 Andy D Because I've, they'll be spoiled if, they just saw the task. But having said that, if someone had just gone like that when they came in, we'd go with it. We wouldn't. We won't pretend. I'm saying that we would go with the real moments because that's you know, that's funny. 00;29;26;24 - 00;29;27;28 TK Yeah. 00;29;28;00 - 00;29;50;28 Andy D Probably because it's not scripted. It's not. Yeah. It's not it's not a set up show. It's not like it is a sort of improv show in its essence I would say. So we just go with it. You know, the improv extends beyond the, the people in front of the camera to people on the camera, just coping with it and learning to it and just cover up the bruises from getting hit by balls from Jason. 00;29;51;00 - 00;30;26;24 TK Yeah. It's, I mean, obviously Jason was destroyed, like, everything was his goal. We I heard something, and I'm not sure where I heard this from, so I'm not sure if it's correct, but I feel like somebody said something like you had made sure to put Jason last in the live the live test the the in person tasks filming so that if he wanted to break something, he could and it wouldn't really affect the other contestants. 00;30;26;24 - 00;30;28;26 TK Is that true? 00;30;28;28 - 00;30;33;16 Andy D It wasn't quite true. It was lucky that it happened a couple of times. 00;30;33;18 - 00;30;35;04 TK Yeah. 00;30;35;07 - 00;30;54;05 Andy C I mean happen. So it happened like that because of his. We had to get him over into solid blocks. Whereas other people's days are all scattered about. And he had to fly in, right? Yeah. He's fly back and try and do three days fly back. So probably it work out that way. 00;30;54;08 - 00;31;05;11 Andy D Thankfully I think day three and location time are the last ones. I think everything else was mixed up with that. But he didn't destroy everything. 00;31;05;13 - 00;31;13;05 TK So out of the stuff that he did break, how much of it was actually beyond repair. 00;31;13;07 - 00;31;22;23 Andy D There was still three scars on them on the, on the far end of the stage from him that we had to repair and glue at the moment. 00;31;22;26 - 00;31;24;15 TK Oh my gosh. 00;31;24;17 - 00;31;30;11 Andy D So it's when he upended everything and ripped the stage. It was kind of it's quite an expensive repair, so. 00;31;30;19 - 00;31;31;07 TK Oh man. 00;31;31;08 - 00;31;32;27 Andy D Just made it. 00;31;33;00 - 00;31;37;24 Andy C Yeah. What's in the box was definitely. That was the end of those boxes. 00;31;37;29 - 00;31;41;11 TK 00;31;41;14 - 00;31;45;01 Andy C City break. 00;31;45;03 - 00;31;51;26 TK I threw a whole chest of drawers. Oh, yeah. Stevie Scott. Yeah, yeah. 00;31;51;29 - 00;31;58;10 Andy D Yeah. Okay. And then back. 00;31;58;12 - 00;32;02;23 Andy C Yeah. No, nothing was broken that was needed. 00;32;02;25 - 00;32;28;04 TK That's good. We were. We were, we were kind of a fridge for potatoes because we were like, I don't know what's she's gonna do, but fortunately, you know, he didn't rip him apart, which was nice. But that kind of got us thinking, like, how many spares of him do you have? And are you aware? No. Yeah. 00;32;28;04 - 00;32;35;14 TK Of Jason, of potatoes. And are you aware that he's now gone out of production? Yeah. 00;32;35;17 - 00;32;41;13 Andy D He hasn't got out production. We just bought all of them. We've got a whole warehouse full of good. 00;32;41;15 - 00;32;44;27 TK Good. That's what we like to hear. 00;32;45;00 - 00;32;49;07 Andy D Now. He's, Yeah, he's been through worse. You went through worse than series four. 00;32;49;09 - 00;32;50;03 TK That's true. 00;32;50;05 - 00;32;51;16 Andy D Yeah. He's blended. 00;32;51;18 - 00;32;54;03 TK Yeah, he's really gone through it. Yeah. 00;32;54;06 - 00;32;56;01 Andy C For the whole years now as well. 00;32;56;05 - 00;33;18;17 TK Yeah, yeah. He's an old man. Yeah. Now, we've heard that contestant teams for a given series are usually chosen based purely on availability and scheduling. But are there any teams you've ever tried to put together for a specific reason? 00;33;18;19 - 00;33;25;11 Andy C Well, that's that might be the only way the teams go sometimes, but I'd say most of the time we do get to choose. 00;33;25;14 - 00;33;26;15 TK Okay. 00;33;26;18 - 00;33;31;07 Andy C And, I think we quite like the idea of the sous. 00;33;31;10 - 00;33;32;10 TK 00;33;32;12 - 00;33;40;07 Andy C Series 16. Yeah. And then a few series, we thought it would be good to have, 00;33;40;09 - 00;33;46;28 Andy D Like, take down the deal and go together. It's, you know, I mean, a lot of themselves suggesting. 00;33;47;01 - 00;33;47;10 TK And, you. 00;33;47;10 - 00;33;57;03 Andy D Know, either complementary or contrasting styles. So. Yeah, I mean, it lets you choose the series, then the other team makes himself. 00;33;57;03 - 00;33;58;08 TK Right. 00;33;58;11 - 00;34;17;17 Andy D So there's always a reason to have them and then the reason to change them often is availability first because you can't undo something. But then mostly we just say, have we really get everyone to see this person and this personal? Yeah. Something, series 14. 00;34;17;17 - 00;34;36;19 Andy C We never realized until after the studio record and nobody has said anything that it was, Joe, John Kearns, Dara Breen and, Fern Brady were an Englishman, a Scotsman, an Irishman, and should have realized so. I would probably say that we did that on purpose. 00;34;36;22 - 00;34;37;10 TK Yeah. 00;34;37;12 - 00;34;38;11 Andy D We do now. 00;34;38;13 - 00;35;03;03 TK Yeah. You know, that's fun. There. Okay, so going back to series 19, there were really, really long versions of a task hidden underneath the table, and they were different for each contestant. Is are those ever going to be released anywhere? Though? We couldn't read the full things. 00;35;03;05 - 00;35;10;22 Andy D We don't know where they came from, but I think the part of the table that we bought for the for the, for the series that I where they came from. 00;35;10;25 - 00;35;13;14 TK Five very specific tasks. 00;35;13;16 - 00;35;15;02 Andy D Did you watch through today Andy. 00;35;15;05 - 00;35;23;16 Andy C I did okay. Yeah. So they we received a cut of it today and gave little notes. And so you will be seeing that soon. 00;35;23;20 - 00;35;26;26 TK Awesome. That's exciting. 00;35;26;29 - 00;35;28;25 Andy C It's a very long beat. 00;35;28;27 - 00;36;04;01 TK I bet. Yeah. Now, as we know, every series has a different theme. So it's, you know, we've got nautical theme in series 18 and the science theme and series 19. So what elements are taken into account when planning outside of just the sets and the props, like we're talking the music and the visuals? And also, do you ever have any tasks that are specifically theme based? 00;36;04;03 - 00;36;08;04 TK A question. Yeah. 00;36;08;06 - 00;36;11;17 Andy C I got I'm trying to think of it. I've been. 00;36;11;20 - 00;36;11;26 TK Not. 00;36;11;28 - 00;36;14;00 Andy D Really for my seasonal book, isn't it? 00;36;14;02 - 00;36;33;03 Andy C It's the look we don't the music, the look is one thing, but we don't really. You I mean, we use the set that we've got from tasks, but we don't base it on it. Generally the tasks all are already being developed before we've got the set. 00;36;33;05 - 00;36;54;18 Andy D I mean, it's the backdrop. It's the setting is a character of the show that the themes, I think if we. If we had very specific ones, quite often felt like there's one. In fact, there's one that we're dropping from this series that should have been in series 18. You know, the set of ones. I think the the setting is is part of the show. 00;36;54;18 - 00;37;09;05 Andy D I think, we don't theme the tasks so much to fit those, to fit the theme. It's just an interesting setting, you know, if we just have the same if you imagine if you look at my series, one of those if we'd kept it all the same. 00;37;09;07 - 00;37;09;27 TK Right, it. 00;37;09;27 - 00;37;24;20 Andy D Would be quite. I mean, yeah, it's an interesting way and it's, it's a way to enrich and refresh the show. Every series we start off with artists and now we've got sort of more broader themes, and we sort of have the options to play with loads of different settings. 00;37;24;23 - 00;37;26;18 Andy C And now we've run out. 00;37;26;20 - 00;37;33;27 Andy D That's it. Yeah. So, I mean, well, and also things like you didn't see the underpass on Thursday on YouTube. 00;37;34;00 - 00;37;35;18 TK That's correct. 00;37;35;21 - 00;37;55;22 Andy D Yeah. So what you're missing out on it is biggest this time. They are the hardest. There's a huge amount of work that goes into every end department spot. Because every end of it starts apart is different and distinct. Because in series one, I thought, oh, that's too silly. Let's do a nice thing with Alex trying to break and doing that and waving and whatever. 00;37;55;22 - 00;38;15;21 Andy D So we had him opening, closing the door as would be simple and straightforward. And now we have have to because I want everything to look different. Everything's be feel different, everything to be fresh and different every series. Now we just go to loads of elaborate extremes to try and work out how to have him do that or that or that or that. 00;38;15;23 - 00;38;25;17 Andy D But it's ten different ways a series, 30 to 40 different ways to series. Yeah. And then and then it turns 20 series. So yeah, you're missing out over there. You have. 00;38;25;17 - 00;38;42;01 TK To. Yeah, we really are. And it's very upsetting because not only are we missing out on the interstitial footage, but we're also missing out on the throws to add breaks with Greg and Alex because they do some wild stuff during those throws. And I don't trust Masterclass. 00;38;42;01 - 00;38;48;26 Andy D Are they, task, a supermax class, are they the seamless versions as well. 00;38;48;28 - 00;38;50;20 Andy C In this as well. 00;38;50;22 - 00;39;24;11 TK So. Well, there's there's one video on YouTube from the official Taskmaster YouTube channel and it's called like Lost Links or something like that. And it was from a recent series and they it's basically like just the, the bits that are cut that like we don't see, and but like I, I have a friend who they do have access to like all of the, the cut bits in series 18. 00;39;24;11 - 00;39;50;13 TK Okay. We have access to the cut bits. So they, they do like little compilation videos for us so that we can actually see all of the interstitials and the ad breaks and stuff. But I think it would be I mean, I don't know how much control over this you have, but I think it would be fun to have more of those go up under lost links on the YouTube channel because I'm. 00;39;50;13 - 00;40;06;23 Andy D Mean, 62,000 views. That's from series 18. Yeah, yeah. So that's that's what you're missing out on. So every I think of the pain that we have to go through to shoot those in the past half past. Oh we did that. We did. 00;40;06;25 - 00;40;09;15 Andy C To write and course. 00;40;09;17 - 00;40;20;13 Andy D Yeah. This is the one where we used. We used them in one of these. We used the, May Martin. May Martin. That's. 00;40;20;15 - 00;40;23;07 TK Oh, yeah. The puppets. So cool. Yeah. 00;40;23;09 - 00;40;29;08 Andy D So I made Sam underneath the table for putting license plates. 00;40;29;11 - 00;40;30;25 Andy D Let's say ages. 00;40;30;27 - 00;40;36;08 TK All right, now, I assume you two don't run the YouTube channel. 00;40;36;10 - 00;40;39;08 Andy D We were. Yeah, we were across it. 00;40;39;10 - 00;40;43;23 TK Well, so make it happen. Bring them back. 00;40;43;26 - 00;40;51;05 Andy D It's just time, though. Yeah, they're so busy. Jack and Dan and Aaron are so busy doing things. They do. 00;40;51;12 - 00;40;52;26 TK Right? 00;40;52;28 - 00;41;07;00 Andy C Yeah, and that's 600 into part. Start part and links 600 and a part. Start a part. Break at bumpers. 00;41;07;02 - 00;41;15;26 TK Well, maybe, maybe I can. Maybe I can get my friend in touch with you guys because they've basically done all of them, 00;41;15;28 - 00;41;19;21 Andy C Not being not very helpful. 00;41;19;23 - 00;41;45;23 TK Yeah. I'll set you up. So. Okay, so obviously a lot of work goes into those and, like, the visuals for it are really, really pretty. Do you guys plan those or does Alex have ideas for those? Because mostly it's him doing the holding up the fingers and stuff like that, but like who? Who's in charge of actually planning? 00;41;45;23 - 00;41;50;00 TK Like, okay, here's what we're going to do. We're going to use balloons this time. 00;41;50;02 - 00;41;51;09 Andy C Nothing is mainly. 00;41;51;12 - 00;41;53;00 Andy D Basically. 00;41;53;02 - 00;41;53;05 TK Like. 00;41;53;08 - 00;42;03;11 Andy C Yeah, yeah, I think I used to do it more, but I think, no suggestion. I think Andy comes up with most of them because, yeah, they're usually based on the tasks from the show. 00;42;03;13 - 00;42;04;26 TK Yeah. 00;42;04;28 - 00;42;18;03 Andy D And then all the he spends on it depends. But yeah. Any suggestions? Great receipts every time because, you know, they sent us especially when we. Yeah we do one based on test then drop it. 00;42;18;06 - 00;42;20;26 TK Yeah. Yeah yeah yeah. 00;42;21;01 - 00;42;25;22 Andy D It's mostly me because I just get to mess around with the camera. So that's basically what happens. 00;42;25;24 - 00;42;33;20 TK So is it mostly just you and Alex and you, you know chunk a bit of time out for for filming those. 00;42;33;22 - 00;42;46;24 Andy D It's mainly me and the crew. And then I'll grab Alex and we'll do it. And then, you know, if anyone else goes. Suggestion we use it, obviously, but, we pretty much fit it around. So we're like, we're planning a couple tomorrow and going forwards. 00;42;46;26 - 00;42;49;03 TK So. 00;42;49;05 - 00;43;08;18 Andy D It's just another one of those things as the list in terms of what we need to do in as part of our normal days. And obviously there's a couple of days that I have shooting beauty shots and, and, set up shots for the show and series and we do some as part of those, like, I mean, they had like melting ice numbers on the, on the weather vane, stuff like that. 00;43;08;25 - 00;43;09;21 TK 00;43;09;23 - 00;43;22;27 Andy D So the ones I try and, you know, obviously the ones with Alex, we try and do as efficient as possible within the body and the showing, you know, filming and it's just. Yeah, it's just part of the father the shot list. Really. 00;43;23;00 - 00;43;42;04 TK Now, Greg used to be in quite a few of the interstitials, but seemed to stop around series ten. So was that just a choice that you made, or did Greg just become kind of too busy to come do them or was it a creative choice or. 00;43;42;06 - 00;43;45;12 Andy D Just perhaps busy? 00;43;45;14 - 00;43;46;15 TK Yeah. 00;43;46;17 - 00;43;50;21 Andy C He fit. Yeah. He's had some really big projects on. And then. 00;43;50;23 - 00;43;52;11 Andy D Series ten. 00;43;52;14 - 00;44;11;18 Andy C Yeah, we've got, we've got such a small window of opportunity. So we'll say can you come on one of these three days. And if you can't then we don't. We definitely still like having to do them. I don't know if it'll odd now suddenly having Greg throw Alex in a bin over a fence. 00;44;11;21 - 00;44;14;09 Andy D I'll be fine, but, well, he'll be back. 00;44;14;11 - 00;44;22;26 TK Good. It'll be well if you can put Alex in, portrait in a series portrait, then you can put Greg back in the interstitials. 00;44;22;28 - 00;44;25;17 Andy D It's just. It's just chance and opportunity. 00;44;25;20 - 00;44;26;15 TK Yeah. 00;44;26;17 - 00;44;30;25 Andy D Because he'd love to use it. I missed coming down the other day, so we'll get him back. 00;44;30;27 - 00;44;49;17 TK Yeah. Good to hear. We were talking about time lapse earlier. Because I know some some footage, especially for interstitials and task intros, have utilized time lapse. What would you say is the longest you've ever had a camera setup? Recording? 00;44;49;20 - 00;44;50;10 Andy D Four days. 00;44;50;14 - 00;44;54;09 TK Four days? What was it? Which thing was it for? 00;44;54;11 - 00;44;55;18 Andy D I didn't make it. 00;44;55;20 - 00;44;58;00 TK Oh, no. 00;44;58;02 - 00;45;25;23 Andy D It was, I've had quite a few. I mean, we've never to buy about because it's me. Leave my camera around. But, I did a let's try to get star Lapse of the stars over the over Taskmaster house. And, sort of like, arranged thing where I had mains power battery, and then it ran for days and then some of it for some to work, but it wasn't as good as it should be. 00;45;25;23 - 00;45;58;19 Andy D I mean, basically the time lapse. So I need to I mostly hate doing the manually. I think as soon as you start leaving them too long without supervision, then yeah, you have to adjust the exposure. You know, you can leave a little time. It doesn't quite work. So, I often they're, you know, many days, many long days and hours and, I had one my most recent camera casualty, because I've lost quite a few cameras in the course of the show. 00;45;58;21 - 00;46;17;07 Andy D Well, I missed one, a time that's kind of got picked up by Fox. Oh, shucks. A fox picked it up, and, and we. I only knew this because I got back in the morning and, it was in the middle of the road or middle of the, pathway. And basically we only needed because it was on time that. 00;46;17;07 - 00;46;28;16 Andy D So I didn't have any of what happened on. I just had shots of different changing angles and basically, a fox picked up and dropped it in the middle of the, pathway, smashed the lens. 00;46;28;16 - 00;46;29;28 TK Oh. 00;46;30;01 - 00;46;39;04 Andy D So it was so annoying because if it been on video, then we've got an action of it being picked up and taken across. But right as in time, that's 10s later was destroyed. 00;46;39;08 - 00;46;42;05 TK Oh, man, that's too bad. 00;46;42;08 - 00;46;44;29 Andy D Yeah, I've been through quite a few cameras. 00;46;45;01 - 00;46;51;10 TK But any crow related camera accidents? 00;46;51;13 - 00;46;59;27 Andy D One of my favorite ones was, a crow taking off the head of a Alex and Greg. 00;46;59;29 - 00;47;02;13 TK Snowman. 00;47;02;15 - 00;47;09;27 Andy D Had them set up in front of the caravans. Little Alex and Greg made a snow, and then I put bread on top of them. And then one of them came through and not Greg set off like. 00;47;09;27 - 00;47;12;23 TK Wow, that's an. 00;47;12;26 - 00;47;29;04 Andy D I mean, it's you know, we're really lucky. It can be a playground for. Visual stars because I'm here all the time. Then I've got a time lapse going on and I'm because the cameras were really good. In fact, I probably I might kind of stop. 00;47;29;07 - 00;47;30;26 TK Yeah. Let's go. 00;47;30;28 - 00;47;47;29 Andy D Yeah. It's the ability, the flexibility because of here all the time that I can do extra shots. I've been filming some stuff today for next series. It's just the opportunity to do so in the alongside doing everything else that we're doing. So. I was bring my bag of cameras in the dark around. 00;47;48;01 - 00;47;50;05 Andy C So always the tinkering. 00;47;50;07 - 00;47;51;08 Andy D Is always a. 00;47;51;10 - 00;48;04;24 TK Very cool. I feel like there was, 360 lens related questions somewhere that. That I'm not kind. 00;48;04;27 - 00;48;06;12 Andy D Of tracking 4 or 5 of those. 00;48;06;19 - 00;48;09;07 TK Oh, it's a lot. 00;48;09;09 - 00;48;12;13 Andy D Yeah. 00;48;12;15 - 00;48;41;05 TK So there must be so much stuff cut on the editing room floor, particularly in studio discussions and chatter that sometimes makes it into the outtakes. But what are the chances that we'll ever get to see more than whatever we see in the outtakes? Or, for example, what we call an XL episode? 00;48;41;07 - 00;48;42;22 Andy D Very good question. 00;48;42;24 - 00;49;20;18 Andy C And we've long talked about it. I think it's yeah, I think it's mainly because our gear is so compacted. We've we had, we just we did studio and then after we had full edit running for the studio shows and basically the whole thing was edited. The whole series was edited and finished off in about 4 or 5 weeks, and then straight back on to filming this and to do extended cuts, it would need more time. 00;49;20;20 - 00;49;22;06 Andy C And I think. 00;49;22;07 - 00;49;23;16 Andy D It's. 00;49;23;18 - 00;49;25;27 Andy C And we we'd like it but. 00;49;25;29 - 00;49;44;04 Andy D I sort of think it's more existential than that. And as, as we've frequently discussed, time is one thing, but you could also because but they also spend their lives really cutting those shows and, and it might not necessarily improve them in terms of there is extra stuff that's in there. And we cry every time because we're always cutting lovely bits out. 00;49;44;04 - 00;50;07;04 Andy D But there is also a limit to and obviously, you know, we appreciate this. There's a great fanbase out there that are interested in these things, but there's also a fine line. There's I think there's always a balance between overstaying your welcome and making something the best it possibly can be. You know, we always literally cry because we know we have to lose some amazing stuff, but then there's always the world for that. 00;50;07;04 - 00;50;23;24 Andy D In outtakes, I think there's a very different experience when you're in the room sharing the time with the cast and the rest of the audience, and being carried on the momentum and the funny and the sort of the rejects, the work in the room that don't work on TV. 00;50;23;25 - 00;50;24;24 TK 00;50;24;27 - 00;50;36;19 Andy D Because, you know, it's about being part of a community. It's like, you know, Greg often does and he calls up when he wants to see a funny moment again, like Stevie running across the floor. 00;50;36;23 - 00;50;37;15 TK 00;50;37;17 - 00;50;55;13 Andy D He'll call that five times. And it's really funny in the room. But if you then did it on the show you then have to cut out. So much else to not have those bits back. And it's about being in the moment at the right. So there's few things like that. And also the sort of extended chats, you know, we like to think we get the funniest and best bits. 00;50;55;16 - 00;51;05;20 Andy D Obviously we always get it right, but I think it's making the show as good as it possibly can be. And I think part of that is there is the, you know, the edit to reduce the time. 00;51;05;22 - 00;51;07;13 TK Yeah. 00;51;07;15 - 00;51;23;03 Andy D So I think sometimes, you know, if you saw a 2.5 hour standup show, it's probably not quite as funny as the two hours on that show, because even though you're bombarded by brilliant gags, there is a sort of there is a limit to how much you actually want to be there. 00;51;23;03 - 00;51;26;24 TK So I think, yeah, yeah, you are, you are. 00;51;26;26 - 00;51;40;23 Andy C You are missing out on stuff. But it is. Yeah. It would need you'd need to make it work for a new tie, a specific time. I think it's it's not it's not as simple as a long cut of the show unfortunately. 00;51;40;26 - 00;51;42;16 TK 00;51;42;18 - 00;51;47;18 Andy C But it's, Yeah. I mean, the first cut we see is usually, what, about 50. 00;51;47;20 - 00;51;49;23 Andy D 53, 52. 00;51;49;26 - 00;51;55;04 Andy C Three. So that could be kind of one option. 00;51;55;06 - 00;52;23;24 Andy D But then, then, you know, for then we cut it down and make it better. I mean, you know, I think we could often have a 50 minute show on, say, and it wouldn't be that. Different. I mean, I don't know, it's it's really hard. I mean, yes, a perfect world. We'd have a sort of different system. But then I would guarantee that if we, if we deliver the 16 of the XL that so bits where someone says, oh, there's this big okay. 00;52;23;27 - 00;52;29;24 Andy D And whenever anyone says, oh, why didn't you put this outtake in the show? It's like, well then which bit would you have taken out? 00;52;29;24 - 00;52;30;05 TK Right. 00;52;30;07 - 00;52;49;23 Andy D And also that outtake. Yeah, just something that great moments have to be earned within the body of a show. You can't just, you know, just sometimes they work as clips in the great other times it's about the context. It's not the build of the show and about how it how you got to that point. It's not just the payoff of the funny line. 00;52;49;28 - 00;52;50;22 TK Yeah. 00;52;50;25 - 00;52;55;12 Andy D If it got to that time. So if you need to put five minutes in to get a punchline, this, you know, that's not for like. 00;52;55;18 - 00;52;56;20 TK 00;52;56;22 - 00;52;57;21 Andy C Yeah. 00;52;57;23 - 00;53;02;15 TK Well, maybe just post some more outtakes. There's your solution. 00;53;02;18 - 00;53;04;02 Andy C I think there are more coming. 00;53;04;04 - 00;53;31;10 TK Awesome. Very good. We love to hear that. Well, I want to be cognizant of your time. And we do have so many more questions for you. So I'd love to have you to back at some point. Obviously doesn't have to be right away. I'm actually going to Poland soon, until August, so my, my first time in Europe, which I'm excited about, 00;53;31;12 - 00;53;32;26 Andy D We're in Poland, waiting in Poland. 00;53;32;28 - 00;54;00;02 TK I met a who is now a very close friend through the Taskmaster fandom, and they live in Poland. And yeah, they've done a lot of really gorgeous art. Like fan art and stuff. And, I've, like, had Greg and Alex sign it and everything, and it's very cool. So because I went to the New York City premiere of series 19, so I got to run into them for that. 00;54;00;04 - 00;54;22;22 TK But yeah, so we're we're going to go over and, hang out with them for like ten days. So it's going to be a good time. But yeah, I mean, it's really I love the I love the Taskmaster fandom section that I'm in because I have made so many really, really close friends who live all over the world, which is incredible. 00;54;22;25 - 00;54;31;17 TK And it's like, if it wasn't for Taskmaster, I wouldn't be going to Poland in a couple weeks. So it was pretty cool. Yeah. Pretty good. Yeah. All right. 00;54;31;20 - 00;54;36;24 Andy D Mean, you know, you should find like minded people. And, you know, if the show brings you to. That's even. That's brilliant. Yeah. He's here. 00;54;36;29 - 00;54;49;29 TK Yeah. That's very fun. All right, well I will ooh. And a here. And we'll hopefully have you two back for a part two sometime soon. 00;54;50;01 - 00;54;51;17 Andy D Beloved, thanks for having us. 00;54;51;20 - 00;54;52;02 TK All right. 00;54;52;02 - 00;54;53;06 Andy D Keep on enjoying the show. 00;54;53;11 - 00;54;54;24 TK Thank you. 00;54;54;27 - 00;54;56;09 Andy C And in Poland. 00;54;56;12 - 00;54;59;24 Andy D Yeah. Happy. Poland. 00;54;59;27 - 00;55;16;29 VO And once again, that was Andy Cartwright and Andy Devonshire having a fun little chat about the show. Don't forget to visit our Patreon, where members get first pick for questions as well as exclusive content. And don't forget to subscribe on your platform of choice so you never miss an episode.