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Richard Arnold, who have embraced the hectic nature and constant work- load and whose on-screen chemistry (working without autocue), con- tributes greatly to the show’s success.
“It’s very natural,” admits Messenger, currently presenting while seven months pregnant. “It’s really fluid. I love the way you can have an idea on the spur of the moment and just go with it, because it’s a live show.”
Adds Arnold, “We’re not afraid to have fun.”
“Fat is where it’s at,” she sings. “Don’t need no gym.” The song is faded down and there is a ripple of polite applause from whoever hap- pens to be on the set.
Visiting songstress Aneta Gordon smiles and she prepares for another rehearsal. Another young man is getting a dapper makeover. He is going from an average, casual look into a “chap”, courtesy of a set of guests who run a magazine for old- fashioned, well-groomed men. His
hair is slicked down with gel and he climbs rather gingerly into a tweed suit and grabs his cane. He looks rather good.
Shot on Philips LDK100 cameras and utilising Fujifilm digital betacam stock, Loose Lips took over a small corner of a Chiswick studio facility. Rather unusually, the show is shot not in the actual studio, but in the scene dock, giving it a greater sense of space and mobility, but losing out on the solidity a studio brings.
“It’s a tricky studio to operate in,” mulls cameraman Paul Denny. The 30- year-old tends to handle camera two, which is on a pedestal and is the guest close-up. “I find it quite a small studio, especially when you do the music numbers.”
“Saying that, the favourite moment for me was filming The Rat Pack, from the West End musical singing ‘That’s Life’.”
With four cameras and frequently a jib, the musical numbers have become one of the centrepieces of the show.
“It’s challenging, though,” Denny continues. “There is a huge amount packed into the show and often there are very different styles of items. You could have music and an interview and then within ten minutes, there is a live demonstration, or cooking.”
“I have done similar shows before, but Loose Lips is unique. It’s the atmosphere, everything is kept on a constant buzz.”
Regular showbiz gossipers Sophie and Mel spill a story about the diva- like behaviour of Britney Spears, as Richard and Melinda laugh uproarious- ly. The VT operator gets ready to play in a vox pop of people shouting out praise to US sitcom Will And Grace.
The producer clicks through the flurry of emails and selects the best for the presenters to read out at the start of the next part. The director prepares to do the live music number. The series editor (handling gallery producing duties) and the P.A. work out whether they are going to have to cut down the final interview of the day. The competition winner is waiting on the phone. All is well in the state of Loose Lips.
“Although we are a niche channel, we are playing on the same field as the big boys,” says Paul Flexton. “We cre- ate something really different and I think we have a higher profile than
some of the other shows that are simi- lar to us on terrestrial channels.”
“Having celebrated 150 shows,” (the team enjoyed a night out at the dogs as a reward) he says, “it’s amaz- ing to think we created the format, piloted the show and have now made over one hundred and fifty hours of television, all within a year. It’s a pret- ty incredible achievement.” When the run is finished, there will have been over 170 shows.
“And my proudest moment? My proudest moment is not any one partic- ular guest, or item, but it’s going to work and it not really feeling like work.”
The end slate comes up on the mon- itors. The live show is finished. Aneta Gordon signs some autographs. The audience filters out into the October night. Competition winner Joanne is called and told that her prize will be shipped out to her forthwith. Melinda Messenger heads to her car, bound for Swindon. The lights are turned off in the gallery, as scripts are gently tossed into the recycling bin. The Loose Lips rest for another day. ■ BEN IRVING
Loose Lips was originated on Fujifilm Digital Betacam videocassette
“Talking
“Talking
The Talk”
The Talk”
Behind the scenes on LivingTV’s Loose Lips
Fuji Motion Picture And Professional Video • Exposure • 15