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Desert Island Discs TIMECODE NAME Dialogue MUSIC 00.00.01 NARRATOR This is the BBC Academy Podcast, essential listening for the production, journalism and technology broadcast communities, your guide to everything from craft skills to taking your next step in the industry. 00.00.14 CHARLES Hello and welcome to the BBC Academy Podcast with me, Charles Miller, Radio 4’s Desert Island Discs recently celebrated its 75th Anniversary, with David Beckham appearing in the anniversary edition; today we’re going to be finding out about how the series is made, with its series producer, Cathy Drysdale, welcome Kathy. CATHY Nice to be here. 00.00.34 CHARLES Of course not many people are going to end up actually working on Desert Island Discs but I think anyone whose job involves booking and working with contributors, especially high profile ones would like to understand how the series works. So can I start off by asking you, what does your production team consist of? 00.00.50 CATHY I am the series producer and produce most of the programmes and I work four days a week, I have a producer on the team who works three days a week, she produces some of the programmes, but also produces sets of research notes for the series, and we have another assistant producer who also works three days a week who does the majority of the research. We have two days of a production coordinator who deals with the logistics, who sources the music and generally keeps the show on the road. 00.01.23 CHARLES So there actually isn’t a single person who’s working full time? CATHY No. CHARLES Amazing. 00.01.27 CATHY All three of the women who work on the programme we’re all mothers, we’ve all worked part time, we are really flexible as a team, sometimes we record two programmes a week’s sometimes you know we’re doing research interviews on days that we’re not scheduled to work so we’re a really flexible team and that really works. CHARLES So you’re producing forty-two programmes a year [yes], how far ahead do you know who is going to be on a programme? 00.01.53 CATHY Well with Marin Alsop the wonderful conductor we actually put a date in her diary a year before we recorded with her because we knew that she would be flying into the country, conducing a Prom, receiving an award and then she called in to our studio on her way back to Heathrow to fly out again. So with the calibre and profile of the people we are often recording with, we are often trying for them for years, but we will put dates in the diary at least a year ahead if that is what it will take to get them. CHARLES Now if you are sitting around as a production team and going through names and somebody comes up with a good idea, what is the best way of approaching them first, what form of communication would they receive? 00.02.44 CATHY It varies to be honest I mean we try and get as close to them as we www.bbc.co.uk/academy can, but almost invariably its via their publisher or their PR or their Agent, and we will either call them up or more often than not e- mail and introduce ourselves and say we would very much like X, Y or Z to be on the programme. Generally speaking almost always people know the programme, if they are an overseas guest and an American for example then we will always include an explanation of the programme, some examples, some relevant examples of previous guests that we’ve had on. 00.03.25 And explain a little bit about you know what is required. The key thing is that an awful lot of the people that we have on, they are used to very time limited interviews which are specifically to promote their latest film, book, album, whatever. That’s not the game we’re in and we’re asking for a minimum of ninety minutes of their time, which is enormous and we want them to come to us and sit in our studio and take part in an interview that is very different from the usual. So it’s a big ask. CHARLES And when you get an initial response do you normally get a yes or a no and that’s it or is there a lot of well maybe? 00.04.10 CATHY It’s rarely as; well no it is sometimes as straightforward as that. CHARLES If it’s a no what chance is there of overturning that? 00.04.18 CATHY It’s very difficult to know, sometimes people will just say, sorry no time, not in the country for long enough or not available or you’re asking for too much time or whatever. There’s no actual set pattern. CHARLES There are many programmes where people have to try and get big name people into studios or to do bits of filming or whatever, what are your sort of general bits of advice would you give for how to land a big name guest? 00.04.46 CATHY Well, we are really fortunate in that the profile of the programme and the format of the programme are so well known and so loved, so in many instances we’re pushing at an open door, otherwise I think it is to really try and be as flexible in terms of your logistics as you can be, I mean there’s so many things you can’t be flexible on, but if you can be flexible you know if you can start recording an hour earlier, if you can you know record on a different date, if you can fit the research around to suit them, I think that is the thing that will make a difference for people. CHARLES Don’t quite a lot of people say I’m too busy or it doesn’t fit into my schedule, just as a way of saying no politely? 00.05.32 CATHY What I can say about that is, some people are very hard to pin down, we’re very keen to get them and they’re very hard to pin down, and we will give it a few months and then I will say to their people, you know honestly we’re a really, really small team, we have limited resources and we really don’t want to waste your time or take up any more of your time than is absolutely necessary, is this something that whoever it is, is interested in doing but we just can’t find it, or actually would they really rather we left it? 00.06.07 And we’re happy to do that because that sort of chasing and I’m sure people listening will know thta you know it is very, it can be really soul destroying, keeping going back to people and saying, you know is this possible, have you got any more you know www.bbc.co.uk/academy possible dates for me and so on, we do cut our losses, we’re up front with them and say you know what, just let us know and we’ll move on. CHARLES And what about if they say well yeah, if it’s the agent, he or she is keen to do the programme but they’re very worried that you’re going to be asking about their first husband or first wife or some bankruptcy or something like that, what happens then? 00.06.45 CATHY There’s never any agreement, not to ask questions about anything, what we do do is that we’re mindful of sensitivities, and so it is helpful for us to know if there are particularly sensitive areas and we will handle them sensitively, I mean there’s no sort of template for this, but you know we’re not the Today programme, neither are we a TV chat show sofa, it’s a personal interview charting the key moments influences, people, events on that persons route to where they are today and therefore for the integrity of the programme and also for the guest, we need to ask the questions that the listeners would expect us to ask. 00.07.30 And that is how we explain it. But we also say, you know we will ask any question that we would like to, but obviously the guest is completely free to answer in whichever way they wish, as is obviously their right. But we don’t agree questions in advance. CHARLES Okay so if somebody says fine, I’d like to do it, I can do it on this particular date, from their point of view what happens between then and turning up in the studio? 00.07.56 CATHY Well we have a generic briefing document which lays out the format of the programme and our process and what to expect and times and places and so on. CHARLES Because they’ve got to choose their luxury and all of that sort of thing? 00.08.06 CATHY All of that sort of thing, so they get a briefing document on that, we’re obviously always happy to answer any questions they or their team have. But what will happen in general is that either Sarah or Christine, who do the research, will make a date in their diary to go and visit them to get their track choices and their reasons for choosing them and ask them any biographical detail that we don’t know about and answer any questions they have about the programme.
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