Richard Osman

And, you know, I think lots of bands have someone like that to pass the time.

Well, I think also, you know, you're living through sort of a golden era with friends and you're doing something that you never imagined you would be doing and it's sort of extraordinary and you want to document that.

And so long as there's one person in your band or in your entourage or in your crew who is doing that, then that footage exists.

But I do think – Adam Curtis' worries aside –

I mean, the documentaries they're going to be making in 15 years' time about stuff that's happening now, I mean, the footage is going to be insane.

And so it's just in terms of, yeah, maybe it's all kind of... Maybe it's all been put out there.

I've also had a business idea, which is, you know, if you go to a school nativity play...

A school nativity play is probably the most covered theatrical production in the whole of history because you've essentially got an ISO camera on every single performer, including in the course, including every single one of the sheep.

Every single actor is being covered by an individual camera.

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.