Richard Osman

So you just get all that footage together and you imagine the edit of a nativity play.

Every single reaction shot you want is already there.

No retakes.

You've got everything.

Have you got Shepard 7 just at the end of this line?

Oh, yeah, I've got Shepard Seven.

Shepard Seven's dad has recorded it.

That feels like a multi-billion dollar industry.

Oh, that's true.

But that feels like something I couldn't do because I would have to work out how to do that.

Yes.

But thank you so much, Michael Hart.

I know we've recommended the Kylie documentary before, but if you haven't seen it, it really, really is terrific stuff.

But yeah, the archive stuff, it really, really makes it, because it feels very real and personal.

Funny enough, Michael Hart is saying that Kylie had seen almost none of the footage before the final edit, because again, like lots of stuff we film, we don't watch back, especially if we're sort of on a tour and people are filming and filming.

So it was the first time she'd seen a lot of that footage.

The Paul McCartney Man on the Run documentary about his time with Wings and with Linda and the beautiful place up in Scotland.

So we're watching this thing and it's beautiful, but loads and loads of home video stuff.

Again, there's always someone hanging around a van who's filming stuff.

But so many people were sort of just turning and watching Paul watching because he's watching, you know, himself.