Ken Doherty

You just put in there, there's the microphone, there's your headset.

This is when you speak to the director, you know, what shot you want to show or you want to replay or you want to know whether the ball is on.

So you put on your laces, you speak to the director, the cameraman can hear you, you know.

But no, you're just thrown in there, given the microphone.

You play the game, you talk about what they're thinking about, and that's it.

But the beauty of, I think, when you're working with other guys like them, that you mentioned that, you can have that little conversation.

I think that's the way, because people like to hear that at home, that it's not just, oh, he's going to play this shot, he's going to play that shot, he's going to do this and do that.

John Virgo was brilliant at that, the way he could...

You know, set the tone, you know, create the drama in his voice, you know, and get excited.

But also just talk as if you were sitting on your couch at home.

It's great.

You know, and bringing the listener in, you know, and I just learned from him and Dennis and all the other guys that I've been sort of commentating with over the years.

And Stephen is the same, you know, we just...

We love those commentators because they make you feel relaxed and sort of help you along in a way.

No, no, no.

Do you get nervous doing it?

Oh, sometimes, yeah, sometimes.

You get excited about it, you know, without a shadow of a doubt, but you do get nervous on some matches and, you know, when it gets, like, you know, to a certain point in the match that you're, you know, you want to choose your words sort of carefully, you know what I mean, to create and sort of create the drama that's unfolding in front of your eyes, but

you know, bring in the listener along with you, you know what I mean?

I think that's, yeah, but you do get nervous, you know, about choosing it or the right words and stuff like that.