Paul Osborne

But ultimately you're trying to put everything in as much context as you possibly can to make sure that it is fair to all concerned.

Yeah.

I remember coming in one morning and Sky News were broadcasting live from outside of the studios.

That's probably the first sign that things were like snowballing.

The studios were right next to the house in Elstree.

And so I'm up in my office kind of like...

editing down the voiceover script and then suddenly there is a helicopter literally coming past the window.

Your first thought is, well, they can't see that because they can't have any contact with the outside world.

So you're kind of like, you know, getting the housemates inside the house and putting the shutters down, which you've seen in the program.

But yeah, that was when it became pretty clear that it was becoming a massive news story.

And obviously a lot of people involved in dealing with that.

At the same time, you're also rushing to get a show out in the manner that you normally do, which is you've got a viewing in the morning.

It gets finessed and edited down for the broadcast that evening.

Like I said, there's a voiceover script to edit and decisions to be made editorially.

But on top of all of that, you have the outside world having an impact on how you deal with what.

has been taking place in the House.

Again, I would say at some moments before it became quite vile, it wasn't unfamiliar that it was holding a mirror up to Britain in many ways.

I don't think anyone, I certainly wasn't thinking, oh, this is great, this is a hit.

Your main concern is for the housemates themselves.

And then secondary to that, you need to get a show out.