Starting From The Back of the Grid -With Kris Henley

In this exciting episode, I had the pleasure of interviewing Kris Henley, a seasoned freelance F1 television producer. Kris shared insights from his riveting book “Starting From The Back of the Grid”, which blends F1 expertise with his own intriguing life story. Already two-fifths through, I find it a captivating mix of professional insight and personal anecdotes, showcasing Kris as a charismatic figure in the F1 world. Don't miss this engaging chat with a true F1 insider! For those interested, here's a link to check out his compelling book.

https://www.amazon.co.uk/Starting-Back-Grid-Misadventures-Formula/dp/1801506477

Here’s Kris’ Instagram 

https://www.instagram.com/kris.henleyf1/

Hosted on Acast. See acast.com/privacy for more information.

## **Summary of the Podcast Episode Transcript:**

The podcast episode features an interview with Kris Henley, a seasoned freelance F1 television producer, who shares insights from his captivating book, "Starting From The Back Of The Grid." The book blends F1 expertise with intriguing personal anecdotes, showcasing Kris as a charismatic figure in the F1 world.

**1. Career and Role in Formula One:**
- Kris's journey into Formula One was somewhat accidental.
- He worked as a freelance TV producer for various channels, including Star TV, BskyB, Disney, ESPN, and Fox News, covering Formula One and other motorsports.
- As a smaller crew, they had to multitask and handle various responsibilities, from editing to interviewing drivers.

**2. The Glamour and Reality of F1 Production:**
- The glamorous perception of F1 production fades as Kris reveals the day-to-day challenges.
- The crew often deals with technical difficulties, limited information, and unexpected situations.
- Kris emphasizes the importance of problem-solving and adaptability in their roles.

**3. The Competitive Nature of F1 Media:**
- The gridwalk and interviews can be competitive, with TV crews vying for the best positions and questions.
- In the past, securing interviews was chaotic, with reporters elbowing each other to get access to drivers.
- However, recent changes by Liberty Media have made the process more organized and less aggressive.

**4. The Changing Relationship with Drivers:**
- The oversaturation of drivers in recent years has led to changes in the way interviews are conducted.
- Drivers now have to answer questions from multiple channels, often resulting in repetitive and brief responses.
- Kris highlights the challenges of asking intelligent questions and the occasional annoyance from drivers.

**5. Dealing with Difficult Drivers:**
- Kris acknowledges that some drivers are more challenging to interview than others.
- He recalls an instance where Lewis Hamilton gave him one-word answers due to the lack of interesting questions.
- However, Kris emphasizes that these drivers are incredibly talented and deserve respect for their achievements.

**6. The Power of Television Broadcasting:**
- As a TV producer, Kris discusses the immense power of broadcasting and the ability to influence the viewer's experience.
- He highlights the importance of being respectful and providing accurate information to the audience.
- Kris also mentions the challenges of live TV and the need to adapt quickly to unexpected events.

**7. The Evolution of F1 Broadcasting:**
- Kris reflects on the significant advancements in F1 broadcasting over the years.
- He contrasts the limited information and techniques available in the 1990s with the comprehensive coverage and graphics of today.
- Kris acknowledges the role of the director in selecting camera angles and the impact it has on the viewer's experience.

**8. The Role of TV Channels in F1 Broadcasting:**
- Kris explains that TV channels receive a live feed from the director on-site, which includes various camera angles and graphics.
- The channel's role is to enhance the coverage by adding commentary, interviews, and analysis.
- He mentions the collaboration with other channels in the pen to ensure fair and efficient access to drivers for interviews. ## **Navigating the Formula One World: A Conversation with Kris Henley**

In this engaging podcast episode, the host delves into the world of Formula One with Kris Henley, a seasoned freelance F1 television producer and author of the captivating book "Starting From The Back of the Grid."

### **Key Insights and Perspectives:**

- **The Dynamic Nature of F1 Broadcasts:** Kris sheds light on the dynamic nature of F1 broadcasts, emphasizing how the channel's focus can shift depending on the preferences of the broadcaster and the nationality of the drivers. He cites examples of how different channels prioritize coverage based on the popularity of drivers in specific countries.

- **The Role of Passion and Bias in F1 Commentary:** Kris discusses the role of passion and bias in F1 commentary, highlighting that while British viewers and listeners may be critical of British bias, other countries openly embrace their support for their home drivers. He emphasizes the importance of understanding cultural differences in broadcasting practices.

- **Kris' Unconventional Path to Formula One:** Kris shares his unconventional journey into Formula One, revealing that he initially pursued a career in banking before realizing his passion for television. He describes how a series of unexpected opportunities, including a mistaken identity, led him to a position in the F1 paddock.

- **The Importance of Adaptability and Seizing Opportunities:** Kris stresses the significance of adaptability and seizing opportunities in the competitive world of F1 production. He recounts instances where he had to quickly learn new skills, such as camerawork, to meet the demands of his role.

- **The Challenges of Breaking into the F1 Industry:** Kris acknowledges the challenges young people face when trying to break into the F1 industry, emphasizing that there is no clear-cut path to success. He advises aspiring individuals to create their own content, showcase their passion, and be ready to take advantage of opportunities when they arise.

- **The Humorous Side of Formula One:** Kris highlights the humorous side of Formula One, emphasizing the need for more humor in the sport. He shares an amusing anecdote about an incident involving a malfunctioning camera during a crucial race, which he skillfully managed to resolve.

### **Book Recommendation:**

- **"Starting From The Back of the Grid: Misadventures Inside Formula One's Flying Circus" by Kris Henley:** Kris' book offers a unique blend of F1 expertise and personal anecdotes, providing readers with an entertaining and informative look behind the scenes of the Formula One world.

### **Overall Message:**

The podcast emphasizes the importance of adaptability, passion, and seizing opportunities in the dynamic world of Formula One. It highlights the challenges faced by aspiring individuals trying to break into the industry and encourages them to create their own content and showcase their dedication. The episode also underscores the humorous side of Formula One, demonstrating that even in the midst of intense competition, there is room for laughter and lighthearted moments.

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[01:41.720 -> 01:43.360] Hello, I'm Danny Pellegrino,
[01:43.360 -> 01:50.200] host of the Everything Iconic podcast. In this holiday season, I'm once again joined by my buddy,
[01:50.200 -> 01:51.840] writer and comedian Jenna Brister.
[01:51.840 -> 01:53.120] Jenna Brister Hey, Danny, happy holidays.
[01:53.120 -> 01:54.640] Danny Pellegrino Happy holidays. Is it too early?
[01:54.640 -> 01:55.640] Jenna Brister No, never.
[01:55.640 -> 01:58.120] Danny Pellegrino Never, never. That's right. And season five
[01:58.120 -> 02:03.320] of our holiday movie recap podcast, A Very Merry Iconic Podcast, we'll be covering all
[02:03.320 -> 02:05.040] of your Christmas favorites.
[02:05.040 -> 02:07.840] This year we're covering Christmas story, The Grinch.
[02:07.840 -> 02:08.840] The Grinch again.
[02:08.840 -> 02:09.840] Again.
[02:09.840 -> 02:10.840] Because we have more thoughts.
[02:10.840 -> 02:14.280] We always have more thoughts on that Grinch monster. Love him. That's right. We're breaking
[02:14.280 -> 02:19.600] down the seasonal films while taking plenty of detours along the way. So grab your cocoa.
[02:19.600 -> 02:20.600] Grab your peppermint schnapps.
[02:20.600 -> 02:26.360] Meet us by the fire. For our exact schedule, you can follow us on Instagram at a very merry iconic podcast.
[02:26.360 -> 02:27.880] It's finally that time.
[02:27.880 -> 02:32.160] So get in the holiday spirit with a very merry iconic podcast available wherever you listen
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[02:44.160 -> 02:53.200] Acast.com You are listening to Missed Apex Podcast.
[02:53.200 -> 02:56.200] We live F1.
[02:56.200 -> 03:10.780] Hi guys, do you want to get an insight into the world of F1 from the eyes and mouth of
[03:10.780 -> 03:15.860] someone who's worked as a freelance TV producer since the 90s, who's worked for people like
[03:15.860 -> 03:23.780] Star TV, BskyB, Disney, ESPN and Fox News, covering Formula One amongst other motorsports?
[03:23.780 -> 03:26.840] Yes, yes, it's someone promoting a book,
[03:26.840 -> 03:32.600] but listen to what Gunter Steiner had to say. Gunter Steiner said, it's with no swears,
[03:32.600 -> 03:38.040] he said, it's a hilarious story of how a most unlikely character succeeded in our crazy
[03:38.040 -> 03:43.880] world and said it provides a unique perspective on the flying circus and how it really works.
[03:43.880 -> 03:46.720] So get ready to buckle up and dive deep
[03:46.720 -> 03:51.600] as we speak to Chris Henley who is the mastermind behind the must-read book,
[03:51.600 -> 03:56.160] Starting From The Back Of The Grid, and today he's here to give us a front row ticket into
[03:56.160 -> 04:01.360] the heart-pounding world of Formula One. Hello Chris. Well thank you for that beautiful introduction,
[04:01.360 -> 04:05.180] really really appreciate it. Thank you, I wrote it down in advance.
[04:06.240 -> 04:08.720] Firstly, for our listeners, Chris, let's establish then,
[04:08.720 -> 04:11.560] what was your career, who were you working for,
[04:11.560 -> 04:14.160] what put you in the heart of Formula One?
[04:14.160 -> 04:16.960] Well, I kind of got to Formula One by accident
[04:16.960 -> 04:19.000] more than anything, which we talk about in the book,
[04:19.000 -> 04:22.160] but it's written by myself and my brother,
[04:22.160 -> 04:26.560] and it's the story of how I got to work in Formula One,
[04:26.560 -> 04:28.600] behind the scenes of what's happening in Formula One,
[04:28.600 -> 04:30.920] and a few stories for people that might not be
[04:33.120 -> 04:35.020] so up with what's happening.
[04:35.020 -> 04:37.640] They might be coming to Formula One for the first time,
[04:37.640 -> 04:41.000] and they're just little stories,
[04:41.000 -> 04:44.480] because Formula One is such an incredible sport,
[04:44.480 -> 04:45.200] and so many things have
[04:45.200 -> 04:48.960] happened over the years and it's an interesting place to be.
[04:49.840 -> 04:55.600] I bet I'm massively jealous and one of the best bits in your book gave us this kind of real
[04:55.600 -> 05:02.720] insight into not even the race itself but pre-race and post-race when you're the person who has to
[05:02.720 -> 05:05.360] bring that information to us. One of the things that struck
[05:05.360 -> 05:09.920] me in the book was how little information you actually had. Like sometimes, like you didn't
[05:09.920 -> 05:14.640] even know the result of the race and you suddenly write, now I have to go and speak to Lando Norris.
[05:15.440 -> 05:19.600] Well, yeah, I mean, obviously in Formula One, it depends what sort of team you're working with.
[05:20.560 -> 05:24.960] Sometimes you're working in a big team where everybody has their specific roles and you can
[05:24.960 -> 05:26.280] concentrate on one thing. If you're working for a big team where you everybody has their specific roles and you can concentrate on one thing
[05:26.280 -> 05:28.520] If you're working for a smaller team in Formula One
[05:29.360 -> 05:33.640] We mostly travel with three of us to all the races. We have a presenter
[05:34.440 -> 05:39.000] Myself as the producer and a cameraman. That's the most of the races that we do and
[05:39.520 -> 05:42.840] In that format you find yourselves doing all sorts of things
[05:42.840 -> 05:46.860] So, you know, you're not just sitting around telling people what to do.
[05:46.860 -> 05:47.880] There's hardly any of that.
[05:47.880 -> 05:51.000] It's more about problem solving than anything else.
[05:51.000 -> 05:58.040] The 2021 race between Lewis and Max, the most watched race in the history of Formula One,
[05:58.040 -> 06:02.480] I had to be the cameraman because our cameraman didn't make it because he didn't have the
[06:02.480 -> 06:07.360] right COVID, what do you call it?
[06:07.360 -> 06:08.560] The vaccinations.
[06:08.560 -> 06:13.600] The vaccinations. So he didn't have the right vaccinations, so I had to be the cameraman.
[06:13.600 -> 06:21.760] So you have to kind of step in and just do what's required to get the job done, basically.
[06:22.320 -> 06:25.480] So when you say TV producer for motorsport,
[06:25.480 -> 06:28.520] I think people are imagining Ed Harris in the Truman Show
[06:28.520 -> 06:30.120] where you've got this bank of monitors
[06:30.120 -> 06:32.760] and you're this benevolent, all powerful commander.
[06:32.760 -> 06:35.800] And it's like, no, you're the one actually fumbling around
[06:35.800 -> 06:38.640] with the battery packs, making sure that you've got,
[06:38.640 -> 06:40.840] you know, the right microphones, the right cables.
[06:40.840 -> 06:43.600] So the glamour kind of, as I was reading the book,
[06:43.600 -> 06:47.040] the glamour sort of seeps away gradually as we realise
[06:47.040 -> 06:51.760] what it is you have to do day to day. Yeah, of course. I've been in that position where
[06:52.080 -> 06:57.520] you're standing, sitting in front of all the monitors and you're directing what's going to
[06:57.520 -> 07:02.960] happen and what's going on to go onto screen. But as I say, with a smaller crew, you have the people
[07:02.960 -> 07:06.360] that are back in the studio making a lot of the decisions as well.
[07:06.360 -> 07:10.300] So you have to have a crew that can multitask really.
[07:10.300 -> 07:12.360] So sometimes you're editing.
[07:12.360 -> 07:17.060] That's what you mentioned about going up to Landon Norris and not having the right question
[07:17.060 -> 07:20.500] because you haven't seen the race, because you might be editing something while the race
[07:20.500 -> 07:23.260] is going on, not actually see what's happened.
[07:23.260 -> 07:26.920] And then something happens to the presenter who can't make it to the pen.
[07:26.920 -> 07:29.560] So you have to go and cover in the pen.
[07:29.560 -> 07:39.080] So you end up, you try to work your questions in order to be the most open as possible.
[07:39.080 -> 07:41.160] So you don't make a complete tool of yourself.
[07:41.160 -> 07:44.920] Excuse me, I'm not sure I can use that word.
[07:44.920 -> 07:47.000] So you don't make a complete idiot of yourself. Excuse me, I'm not sure I can use that word. So you don't make a complete idiot of yourself.
[07:47.000 -> 07:54.000] We have Joe Sayward in the shed all the time, Chris. I think we'll be okay. But I'm definitely familiar with this
[07:54.000 -> 08:01.000] because I have a mild form of facial recognition problem. So it takes a long time for a face to burn into my mind's eye.
[08:01.000 -> 08:09.040] So I'm also very used to when someone comes up and says, Oh, hello, you've got kind of a very open thing. And you did a great description in your book
[08:09.040 -> 08:16.480] about how you had a face that could cover all bases when suddenly coming upon a F1 driver.
[08:16.480 -> 08:27.400] Yeah, exactly. So it's funny because one of the other, Mariana from the Brazil TV, she sent me a couple of photos the other day
[08:27.400 -> 08:29.880] looking at my sad face and my happy face
[08:29.880 -> 08:31.820] as I was listening to the drivers speak.
[08:31.820 -> 08:34.600] So you have to, that's very interesting.
[08:34.600 -> 08:35.480] Oh no.
[08:35.480 -> 08:38.280] I have no idea what my next question is going to be.
[08:38.280 -> 08:40.640] But that's just one aspect of the job.
[08:40.640 -> 08:42.080] I mean, obviously talking to the drivers,
[08:42.080 -> 08:43.480] you have to do in a small crew
[08:43.480 -> 08:50.240] because sometimes when the main presenter can't get there, you have to cover. But obviously, I don't want to
[08:50.240 -> 08:58.400] make out that our channel is cowboys. It's just the most important stuff, the presenters covering.
[08:59.360 -> 09:03.120] Okay. Well, one of the things I did really like about the book, starting from the back of the
[09:03.120 -> 09:08.880] grid, is are you sure you're not being too honest in this book? Because you detail an awful lot of
[09:08.880 -> 09:14.400] your mistakes, whereas a lot of people in media tend to try and be very perfect, like the cat
[09:14.400 -> 09:19.920] that falls off the fence and then gets up as if nothing happened. I mean, you've laid bare a CV
[09:19.920 -> 09:25.600] of potential disasters. Yeah, I'm not sure whether I'm going to be working in television or in Formula One next
[09:25.600 -> 09:27.000] year, that's for sure.
[09:27.000 -> 09:34.540] But it kind of, you know, the whole book started as an idea of, I would say, Christmas with
[09:34.540 -> 09:36.440] my brother and my mother.
[09:36.440 -> 09:40.040] My mother wasn't very well at the time and I was telling them some stories about Formula
[09:40.040 -> 09:42.600] One and somebody said, you should write these down.
[09:42.600 -> 09:46.880] And I said, well, I have been over the years writing down these various stories.
[09:46.880 -> 09:50.600] And, but you know, I haven't made the next step to actually
[09:50.600 -> 09:51.960] decide to write a book about it.
[09:51.960 -> 09:53.680] So my brother was like, well, I can help you with that.
[09:53.680 -> 09:54.960] He's a lot older than me.
[09:55.440 -> 09:59.080] Uh, and, uh, you know, he's, um, he went to Cambridge,
[09:59.080 -> 10:00.440] very different personality.
[10:00.940 -> 10:03.680] So we, we kind of worked really well together because what
[10:03.680 -> 10:05.880] he could bring to the table,
[10:05.880 -> 10:12.000] he wasn't so familiar with Formula One, but he brought a certain aspect to the table and
[10:12.000 -> 10:16.960] we managed to get this project off the ground and write it.
[10:16.960 -> 10:20.960] For me anyway, it was about getting it in my mom's hand because she wasn't very well
[10:20.960 -> 10:26.480] at the time, but then she made this miraculous recovery and I just got sent her with the book in her hand.
[10:26.480 -> 10:31.560] So that was kind of like really why we wrote the book or at least why I wrote it.
[10:31.560 -> 10:36.960] I mean, I've always been trying to get published for many years, but it was more of a labor
[10:36.960 -> 10:42.400] of love and trying to focus on the positive side of Formula One within the paddock, but
[10:42.400 -> 10:43.800] making fun of myself.
[10:43.800 -> 10:45.920] Uh, that's, you know, really the idea.
[10:45.920 -> 10:51.440] So, you know, in answer to your question, yes, I definitely exposed myself in many ways,
[10:51.440 -> 10:58.560] but in the book, it's not just how I got into motor racing, how I got to Formula One.
[10:58.560 -> 11:01.580] It's also about, you know, things that have happened over the years and just a little
[11:01.580 -> 11:07.600] bit about the characters that are behind the scenes, because, the scenes because there's some great characters in the paddock.
[11:07.600 -> 11:12.680] Yeah, and I just like the, like I said, when you're competing with the other TV crews and
[11:12.680 -> 11:18.360] you see something like Martin Brondle's gridwalk and it does look really competitive.
[11:18.360 -> 11:23.400] At times he'll turn and he'll snarl and I'm expecting an Anchorman type scene where you
[11:23.400 -> 11:26.000] have ESPN turn up with pitchforks
[11:26.000 -> 11:28.280] versus Fox News.
[11:28.280 -> 11:30.120] How competitive is that for real?
[11:30.120 -> 11:37.080] Well I mean it's funny because nowadays after COVID actually, the pen for example where
[11:37.080 -> 11:43.520] all the drivers come after qualifying and the race, it's actually quite chilled out
[11:43.520 -> 11:46.360] now because of COVID
[11:46.360 -> 11:48.000] everybody had to be separated.
[11:48.000 -> 11:53.360] So they did, and then Liberty came on board and they, they, they, they made it so that
[11:53.360 -> 11:55.520] it was much more organized, I would say.
[11:55.520 -> 12:00.600] I mean, in Bernie Eccleston's days, it was far, it was a far more of a, of a bun fight.
[12:00.600 -> 12:05.920] I mean, you had to basically get in there and just grab whatever you could. I mean,
[12:05.920 -> 12:10.160] people were elbowing you out the way and pushing you. I mean, I remember when I first went to
[12:11.280 -> 12:16.160] Monaco for the first time in 1994, I think it was, and trying to get an interview with Schumacher
[12:16.160 -> 12:22.560] and just having no idea what it involved and just being in this situation where I was just like,
[12:22.560 -> 12:25.440] okay, Schumacher, we'll just do the interview over here.
[12:25.440 -> 12:27.600] And everybody looked at me like, who the hell is this guy?
[12:27.600 -> 12:29.600] He has no idea what he's doing.
[12:29.600 -> 12:30.600] I mean, because...
[12:30.600 -> 12:31.600] Hey, Mickey, come over here.
[12:31.600 -> 12:32.600] Yeah.
[12:32.600 -> 12:33.600] Yeah.
[12:33.600 -> 12:36.320] Because I was like, well, we're in a tent, but there's a nicer view of the boats outside
[12:36.320 -> 12:37.320] the tent.
[12:37.320 -> 12:38.320] Can we just pop outside?
[12:38.320 -> 12:43.560] And of course, you know, I, they looked at me like I was insane.
[12:43.560 -> 12:46.360] But that's the way it was, you know, back in those days, it was, it was, it
[12:46.360 -> 12:46.980] was crazy.
[12:46.980 -> 12:51.660] I mean, any interview you, you wanted to get outside the garages or, or in any
[12:51.660 -> 12:53.440] situation, it was always a fight.
[12:53.440 -> 12:57.060] So you had to sort of latch on and lock onto the people that you knew were going
[12:57.060 -> 12:58.000] to get the interviews.
[12:58.180 -> 12:59.340] So you could piggyback them.
[12:59.540 -> 13:04.980] Uh, you can, you know, like, uh, for, for, for many, well, at least two seasons, um,
[13:06.480 -> 13:06.560] can, you know, like, uh, for, for, for many, well, at least two seasons, um, I piggybacked,
[13:11.840 -> 13:13.020] um, uh, the BBC because I knew that they were going to come to all the drivers were going to come to the BBC.
[13:13.020 -> 13:16.160] So I would, we would put our camera right by them.
[13:16.160 -> 13:18.960] And of course, you know, if you're the BBC, you're like, who are these people?
[13:18.960 -> 13:23.100] They were, one side was us and the other side was the Japanese channel.
[13:23.100 -> 13:24.940] And we were all just trying to get the interviews.
[13:25.200 -> 13:32.320] us and the other side was the Japanese channel and we were all just trying to get the interviews and of course, you know, the questions would be asked and you could ask questions at that point,
[13:32.320 -> 13:36.640] but by the time all of the important questions being asked, it was impossible to think of
[13:36.640 -> 13:42.960] something that sounded intelligent. So you'd end up, you know, you could either say,
[13:42.960 -> 13:45.760] hi, how's your mom? Or you could just say nothing and just use
[13:45.760 -> 13:53.040] the questions from the other channels. But as I say, nowadays, it's a lot more chilled out and
[13:53.040 -> 13:57.360] it's a lot more easy to get the drivers. Okay, well, let's focus in on the drivers
[13:57.360 -> 14:03.040] because that's where the glamour is. So if you say it's a little bit harder in the olden days,
[14:03.040 -> 14:05.000] whereas now there's almost like a massive oversaturation of the drivers. So if you say it's a little bit harder in the olden days, whereas now there's almost
[14:05.000 -> 14:08.520] like a massive oversaturation of the drivers.
[14:08.520 -> 14:13.760] So if you're on your Twitter feed, you see the drivers answering the same question four
[14:13.760 -> 14:17.240] or five times with varying degrees of enthusiasm.
[14:17.240 -> 14:22.600] And then at one point, you'll get the Lance Stroll answers where he kicked off recently
[14:22.600 -> 14:23.600] in Qatar.
[14:23.600 -> 14:26.600] How much has that changed the characters themselves?
[14:26.600 -> 14:28.760] Yeah, I mean, of course, now you've got it
[14:28.760 -> 14:32.140] kind of split into the drivers have to come up
[14:32.140 -> 14:34.560] to every channel, or they're not every channel.
[14:34.560 -> 14:39.500] So in the pen right now, you'll have three probably.
[14:39.500 -> 14:42.500] So you'll have, like we, for example,
[14:42.500 -> 14:48.940] over the last years I've been working for Spanish TV, well, ESPN.
[14:48.940 -> 14:49.940] Spanish language, yeah.
[14:49.940 -> 14:55.780] Yeah, so we have the Spanish channel with us and then we have Fox.
[14:55.780 -> 15:00.200] So we split it between the three of us and everybody's got two questions.
[15:00.200 -> 15:04.660] So the first one will kick off and I'll ask their questions.
[15:04.660 -> 15:09.720] Because the driver's slightly looking at your camera, sometimes you have to ask the same
[15:09.720 -> 15:10.720] question again.
[15:10.720 -> 15:15.940] So, the cameras, the drivers will have to answer the same questions, even for those
[15:15.940 -> 15:21.320] three people, and then go on to the next channel and ask their three questions, because everybody
[15:21.320 -> 15:27.440] wants the driver looking at them down the lens of the camera. It's a bit of a giveaway if they're talking like a right angle,
[15:28.160 -> 15:29.840] away and off in a different direction.
[15:29.840 -> 15:34.720] But back in the day, back in the early day, I mean, you were happy to get that. You sometimes
[15:34.720 -> 15:40.640] get a shot of their ear. And the funny thing is, I don't think the viewer really cares too much
[15:41.600 -> 15:46.320] what the angle is, to be honest. But it's just become that way.
[15:46.320 -> 15:48.520] You want to get it all perfect.
[15:48.520 -> 15:50.760] You want to have the driver looking at you
[15:50.760 -> 15:54.080] and answering your questions and so forth.
[15:54.080 -> 15:56.760] So say, for example, a driver like Lewis Hamilton,
[15:56.760 -> 15:58.480] I think you can tell.
[15:58.480 -> 16:01.320] Obviously, we can't see who's the other side of the camera.
[16:01.320 -> 16:02.800] But you can tell when he's happy,
[16:02.800 -> 16:04.600] and you can tell when he's relaxed,
[16:04.600 -> 16:06.600] and when he doesn't really want to talk to that person.
[16:06.600 -> 16:11.160] So that kind of relationship with a driver over, and no offense to the way I say this,
[16:11.160 -> 16:16.360] over many, many, many, many years for you, Chris, you must have had some drivers where
[16:16.360 -> 16:19.480] you just go, I just, I never, I never clicked.
[16:19.480 -> 16:23.920] I never, every time he saw my face, he went, oh great, it's Henley.
[16:23.920 -> 16:24.920] Yeah, of course.
[16:24.920 -> 16:26.320] Well, of course, of course.
[16:26.320 -> 16:32.040] Well, Lewis is a good example because I mean, he's a lovely guy and he's, you know, he's
[16:32.040 -> 16:38.240] always never really been that bad to me, but I can remember in the early days, well, I
[16:38.240 -> 16:41.360] did Formula One in the 90s, but then I didn't do it for many years.
[16:41.360 -> 16:43.800] I came back in around 2011.
[16:43.800 -> 16:45.360] In those early, early years
[16:45.360 -> 16:50.480] of getting back into it and having to do all these interviews. Whenever Lewis came along, yeah,
[16:50.480 -> 16:54.640] it was a bit like, I've got to make this question intelligent or he's going to give me a one word
[16:54.640 -> 17:01.200] answer. And he definitely did that. And I don't blame him. If somebody's not asking an intelligent
[17:01.200 -> 17:06.680] question to you, I would do the same. You give them a two word answer and you'd leave.
[17:06.680 -> 17:13.320] I mean, I had the, uh, I had a one-to-one with him because the presenter couldn't make
[17:13.320 -> 17:14.320] it.
[17:14.320 -> 17:18.360] So I sat down with him and again, it's a, it's kind of scary kind of a thing to sit
[17:18.360 -> 17:22.720] down with him because you know, he's, he's such an incredible guy and he's, he's got
[17:22.720 -> 17:26.640] all these different, all these different interests.
[17:26.640 -> 17:27.840] Just you and Lewis in the room?
[17:27.840 -> 17:30.320] Yeah, just sitting down with Lewis.
[17:30.320 -> 17:34.680] And it was a, you know, I'd done a lot of preparation for it.
[17:34.680 -> 17:38.800] I only found out that I was doing it shortly before I was going to do it, but I still sat
[17:38.800 -> 17:41.120] down and did a lot of preparation for it.
[17:41.120 -> 17:45.720] And so my first four questions or so was about statistics.
[17:45.720 -> 17:50.840] So I opened my first question and he was like, well, I don't really have any interest in
[17:50.840 -> 17:51.840] statistics.
[17:51.840 -> 17:53.960] So I was like, well, that's my first four questions.
[17:53.960 -> 17:55.600] What else have you got?
[17:55.600 -> 17:56.600] What else have you got?
[17:56.600 -> 17:59.440] You know, nervously going down the list.
[17:59.440 -> 18:04.720] But then, you know, you just like anything, you relax and you get to talk to them about
[18:04.720 -> 18:06.420] their other interests.
[18:06.420 -> 18:10.380] And then he said, sort of came alive and started talking and, and, uh, it was,
[18:10.380 -> 18:14.200] it was lovely, you know, he's, he's, he's an incredible guy, but yeah, I've
[18:14.200 -> 18:18.360] definitely had a few, uh, one word answers off him and you mentioned Lance as well.
[18:18.360 -> 18:18.560] Yeah.
[18:18.980 -> 18:21.420] But I don't think that's a personal thing against me.
[18:21.420 -> 18:28.840] I think that, you know, Lance sometimes, uh, you know, doesn't answer fully, but when, especially when he's annoyed and I can understand
[18:28.840 -> 18:32.880] that too, I mean, if you're, you have to go to the pen and you have to answer
[18:32.880 -> 18:35.480] these questions and sometimes, well, what can you ask?
[18:35.480 -> 18:39.520] I mean, the guy, uh, not necessarily Lance, but whoever it is, you know, might
[18:39.520 -> 18:48.200] have crashed, he just had, uh, had his engineers tell him that he's, he's an idiot and, an idiot and the team boss is annoyed at him
[18:48.200 -> 18:53.160] and he's got to go and deal with all that stuff and you've got some idiot asking you
[18:53.160 -> 18:57.040] a question about why he didn't do that corner better.
[18:57.040 -> 18:58.040] I mean, it's understandable.
[18:58.040 -> 18:59.040] I mean, these guys are-
[18:59.040 -> 19:06.160] Someone who's never stepped foot in a Grand Prix car or any kind of race car, but you have to ask,
[19:06.160 -> 19:09.520] you have to go, how can you bend it into the wall, you dunce?
[19:09.520 -> 19:15.440] Yeah, exactly. Exactly. But it's hard. I mean, sometimes, and there's, you know, it's difficult
[19:15.440 -> 19:20.080] to be able to gauge how you say it, because if you come across like, oh, you poor thing,
[19:20.880 -> 19:27.380] they don't like it. You come across as, you come across as a matter of fact about it, they don't like it.
[19:27.380 -> 19:33.400] If you're in that situation, these guys, there's 20 Formula One seats available.
[19:33.400 -> 19:39.180] I mean, if you're a football player, you can play in a hundred, thousands of teams around
[19:39.180 -> 19:44.520] the world, but these guys, these are 20 of the best of the best of the best.
[19:44.520 -> 19:46.120] And they are dealing with everything. These guys, these are 20 of the best of the best of the best.
[19:46.120 -> 19:47.360] They are dealing with everything.
[19:47.360 -> 19:49.400] They're dealing with the press.
[19:49.400 -> 19:52.920] Sometimes they're speaking two or three, four languages.
[19:52.920 -> 19:56.840] They've just come off a circuit driving at incredible speeds.
[19:56.840 -> 20:00.840] They're sitting down low in the car so they can't really see what's going on.
[20:00.840 -> 20:05.360] I mean, it's an incredibly difficult job and only a few people can do it.
[20:05.360 -> 20:10.480] So it's very easy to criticize any of the drivers, but really, realistically, they are
[20:10.480 -> 20:16.560] incredible people, all of them. And they deserve to be there, all of them, and they deserve the
[20:16.560 -> 20:21.760] merit. So having some dunce asking them a stupid question, you can understand why they don't like
[20:21.760 -> 20:27.040] it. I really fear if any of them listen to any podcast, I really, really why they don't like it. I really fear, like if any of
[20:24.560 -> 20:29.840] them listen to any podcasts, I really
[20:27.040 -> 20:32.560] really hope they don't, because like as
[20:29.840 -> 20:33.800] an armchair pundit, you kind of, you
[20:32.560 -> 20:35.920] have to talk about the things that went
[20:33.800 -> 20:38.320] right and wrong, but we have so little
[20:35.920 -> 20:41.120] authority to be speaking on it, and on
[20:38.320 -> 20:43.080] top of that, when things go well, it's
[20:41.120 -> 20:44.680] kind of boring. So all the talking points
[20:43.080 -> 20:47.080] tend to be around when things go wrong,
[20:44.680 -> 20:49.120] and so there's quite a lot of negativity. I'm like, oh, please, for their own sake,
[20:49.120 -> 20:54.400] for everyone's sake, F1 drivers, never listen to a podcast. But then, so we have a guy,
[20:54.400 -> 20:59.960] a tech guy, Matthew Summerfield, for motorsport.com, he comes on here occasionally. And he did
[20:59.960 -> 21:05.400] a tweet about Alonso, and he got an angry tweet back from Fernando Alonso.
[21:05.400 -> 21:09.320] So you go, these are humans who look and see this stuff.
[21:09.320 -> 21:13.800] So if you want to build a relationship with them, there has to be an element of kid gloves
[21:13.800 -> 21:14.800] in the reporting.
[21:14.800 -> 21:19.440] You have to be nice, as if they're going to come around for tea.
[21:19.440 -> 21:20.440] Well yeah, that's the thing.
[21:20.440 -> 21:23.800] I mean, television is, you have to remember that television is a very different beast
[21:23.800 -> 21:30.960] than well, podcasting or journalism or other things. I mean if you go, if you are face to face with
[21:30.960 -> 21:38.720] the drivers on a regular basis and you're trying to get a good answer from them and you need to
[21:38.720 -> 21:46.560] have, you need to be respectful. Whereas if you are, I don't know, I don't want to name any newspapers,
[21:46.560 -> 21:51.120] but a newspaper that needs something sensational, obviously you're going to ask the more difficult
[21:51.120 -> 21:55.600] questions. I mean, I have a lot of respect for the journalists that go in there and say,
[21:55.600 -> 22:01.760] you know, you're not doing your job. I think that's great, but it's not my place to do
[22:01.760 -> 22:06.320] that because you have to come up against them the next day.
[22:06.320 -> 22:11.200] You have to, I mean, for a journalist, perhaps getting an angry comment is great for them
[22:11.200 -> 22:18.200] that day, and then having that kind of feeling the next time is also good for them because
[22:18.200 -> 22:22.960] the more annoyed they are, the better, the more clicks, the better the piece that they
[22:22.960 -> 22:27.160] get for their newspaper report.
[22:27.160 -> 22:30.440] I understand it, but they're very different beasts.
[22:30.440 -> 22:35.180] Television is more about trying to, you know, being respectful and trying to get them to
[22:35.180 -> 22:39.480] tell the viewers, you know, in the best possible way and give them the most information.
[22:39.480 -> 22:42.640] Yeah, you're our eyes, really, aren't you?
[22:42.640 -> 22:45.360] So you're our eyes and in a small way, you're a mouthpiece for us to go, really, aren't you? So you're our eyes, and in a small way, you're a
[22:45.360 -> 22:50.400] mouthpiece for us to go, hey, what happened there? So it must be an interesting decision
[22:50.400 -> 22:56.400] as a TV producer to kind of go, right, well, what story, what images, what interviews,
[22:56.400 -> 23:02.880] what am I transmitting back to the viewer? You've got an awful lot of power over our experience.
[23:03.920 -> 23:05.840] Yeah, I mean, it's funny.
[23:05.840 -> 23:06.840] Television has that way.
[23:06.840 -> 23:10.400] I remember that, I mean, this has got nothing to do with Formula One, but I remember doing
[23:10.400 -> 23:12.160] a piece for...
[23:12.160 -> 23:17.840] You remember the Tanya Harding, the ice skaters, when they had that, you know, and I remember
[23:17.840 -> 23:22.760] cutting a piece to this and I remember thinking, well, I can cut it in one way and I can be
[23:22.760 -> 23:26.580] clearly talking about that I'm favoring one person. If I cut it another way, I'm clearly it in one way and I can, I can be clearly talking about that. I I'm favoring one person.
[23:26.580 -> 23:29.200] If I cut it another way, I'm clearly favoring the other person.
[23:29.380 -> 23:31.060] And you do have that power in TV.
[23:31.380 -> 23:35.420] So you can have all the preparation in the world in, you know, all of the best
[23:35.420 -> 23:40.100] intentions to do, uh, uh, whatever you, you think should go into the show.
[23:40.100 -> 23:41.820] Like you can pre edit something.
[23:41.820 -> 23:44.860] You can have this incredible piece, you know, it's got all these beautiful
[23:44.860 -> 23:51.600] images, slow-mo's, great music, and something happens on the race and it becomes irrelevant.
[23:51.600 -> 24:00.160] So you have to be ready to drop every idea you had prior, all the preparation that you had,
[24:00.160 -> 24:07.400] and just go with what happened. Suddenly somebody announces know, I don't know, Sebastian Vettel's going to retire from Formula 1,
[24:07.400 -> 24:09.000] and that becomes the story.
[24:09.000 -> 24:11.700] You know, everything else that you did becomes irrelevant.
[24:11.700 -> 24:14.200] So you just have to, especially in live TV,
[24:14.200 -> 24:16.300] and you have all these things coming in all the time,
[24:16.300 -> 24:19.200] you know, obviously now more so than back in the 90s,
[24:19.200 -> 24:21.700] but you have all this information that's coming to you.
[24:21.700 -> 24:25.520] So it's more about, you know, reacting to what's happening in order to give the most up-to-date information to the person that's coming to you. So it's more about reacting to what's happening in order
[24:25.520 -> 24:31.600] to give the most up-to-date information to the person that's listening. I'm going to get nosy
[24:31.600 -> 24:36.800] in a second and I feel like I'm entitled to because I say a good third of the book is you
[24:36.800 -> 24:43.760] laying yourself to bear during your Formula One career. But when it comes to what we see at home,
[24:48.240 -> 24:54.400] career. But when it comes to what we see at home, we're so spoilt now with the world feeds that we see, that when the director lingers on the crowd a little bit too long, or they play too many
[24:54.400 -> 24:59.120] replays when actually we want to be watching, we suddenly we're up in, ah, the broadcast awful
[24:59.120 -> 25:05.940] today. But then you go, actually, just go, just sneak back and watch a 90s broadcast and see how little
[25:05.940 -> 25:10.360] information they had and how all the techniques have changed.
[25:10.360 -> 25:15.700] The power of broadcasting now is so much more and you must have just seen, was it gradual
[25:15.700 -> 25:17.560] or did that hit you in the face?
[25:17.560 -> 25:27.280] Well, I mean, for me, being in that environment, I mean, I can remember in 94 when sitting, I wasn't at the race,
[25:27.280 -> 25:31.760] the first race I went to was Monaco, but the race prior to that, we were in the studio, you know,
[25:31.760 -> 25:36.080] you mentioned about being in front of all the monitors and making those decisions, you know,
[25:36.960 -> 25:41.600] in that situation when Erdene Senna died, you know, you're looking at all these screens and
[25:42.880 -> 25:47.000] where do you go? You've got the one camera that was focusing on him and his car.
[25:47.360 -> 25:51.000] Uh, you've got, you can go back to the studio and you can hear, you know,
[25:51.000 -> 25:53.560] your, your, the presenters talking about it.
[25:54.000 -> 25:54.900] What do you choose?
[25:54.900 -> 25:56.440] That was pretty much what it was.
[25:56.440 -> 26:02.280] And I can remember, uh, vividly when, when he died, of course we stay on the
[26:02.280 -> 26:05.560] images until, you know, and we just stay on that camera because
[26:05.560 -> 26:11.040] the director, you have to remember that when you're a TV channel, you have all of this
[26:11.040 -> 26:12.040] information coming in.
[26:12.040 -> 26:14.360] I mean, now you've got all the graphics, you've got everything.
[26:14.360 -> 26:15.360] That's given to you.
[26:15.360 -> 26:16.600] That's the live feed.
[26:16.600 -> 26:23.600] So your job as a channel at the races is to, you know, to enhance it, to talk to the people
[26:23.600 -> 26:26.120] there, but you're getting this massive package
[26:26.120 -> 26:28.560] and it's incredible what they do.
[26:28.560 -> 26:30.680] You have all the graphics, you have all the onboards,
[26:30.680 -> 26:32.680] you have all these different angles and stuff,
[26:32.680 -> 26:34.560] but back in the 90s, there was none of that.
[26:34.560 -> 26:37.200] So it was very, very simple to make that choice.
[26:37.200 -> 26:41.320] Nowadays, it's also being done for you a little bit
[26:41.320 -> 26:42.920] because the director that's on site
[26:42.920 -> 26:45.040] is choosing between those cameras.
[26:45.040 -> 26:47.560] So how much do you get to choose as a channel?
[26:47.560 -> 26:51.240] Because I spent a part of last year in Spain, so I was watching DazNF1.
[26:51.240 -> 26:55.280] DazN, yeah, that's who we are next to in the pen, yeah.
[26:55.280 -> 26:56.280] Oh, right.
[26:56.280 -> 27:00.960] And I wish my Spanish was better because I seemed to enjoy it and it was very lively
[27:00.960 -> 27:04.400] and stuff, but you just go, wow, there's quite a different viewing experience.
[27:04.400 -> 27:09.640] So I just wondered, how much does the channel get dictated to by the world feed?
[27:09.640 -> 27:16.160] Well, and you've used a great example because, you know, Dazen is interested in Alonzo.
[27:16.160 -> 27:22.600] I mean, you know, obviously signs also, but Alonzo is their go-to man.
[27:22.600 -> 27:28.960] Everybody loves him. So they are obviously doing everything they can to give the information about
[27:29.600 -> 27:34.140] Fernando and, uh, you know, other channels will focus on Lewis, you know, obviously
[27:34.140 -> 27:37.680] Sky, well, Sky have got so many British drivers.
[27:37.680 -> 27:39.380] It's, it's easy to, for them.
[27:39.380 -> 27:48.480] But, uh, if you've got one, for example, now in, um, in Disney, ESPN Disney, we don't have an Argentinian driver.
[27:48.480 -> 27:54.560] The closest we have is Checo Perez. Back in the day, we had Maldonado. I mean,
[27:55.520 -> 28:02.320] I remember having to do all these interviews with Maldonado because, yeah, maybe the rest of the
[28:02.320 -> 28:05.480] world isn't interested, but for us, it was a huge thing because he's a lot.
[28:05.480 -> 28:07.160] Yeah, well, you got to interview him early a lot.
[28:07.160 -> 28:08.520] So that was convenient.
[28:08.520 -> 28:10.600] You could get that interview done early and in the can.
[28:10.600 -> 28:11.600] Couldn't you?
[28:11.600 -> 28:12.600] Exactly, exactly, exactly.
[28:12.600 -> 28:20.040] Well, in 2012, we were in the pit, you know, after he won in Barcelona in 2012, we were
[28:20.040 -> 28:27.940] in the pits where actually we'd done Pastor and we were doing Claire Williams in the pits where actually we'd done Pastor and we were doing Claire Williams in the pits.
[28:27.940 -> 28:30.940] Everybody was celebrating and then the whole of the pits, well the garage.
[28:30.940 -> 28:31.940] Crowd fire.
[28:31.940 -> 28:33.480] Yeah, it blew up.
[28:33.480 -> 28:36.500] So there's a chapter in the book about that kind of angle.
[28:36.500 -> 28:38.500] It comes later in the book.
[28:38.500 -> 28:42.580] So yeah, but Pastor, yeah, he came to us first.
[28:42.580 -> 28:45.440] When someone like that wins, obviously the first people he
[28:45.440 -> 28:51.280] comes to in the pen is us, whereas Lewis would go to Sky or the BBC.
[28:51.840 -> 28:57.840] Sorry, I just need to clarify this for the British viewers and listeners. In other countries,
[28:57.840 -> 29:02.320] you're allowed to support the home driver. It's only in Britain where it's a problem,
[29:02.320 -> 29:09.640] and we get yelled at for British bias. Ziggo doesn't worry about Dutch bias. Desmond Dazs NF1 doesn't worry about Spanish bias.
[29:09.640 -> 29:11.600] So that's quite an interesting one in itself.
[29:11.600 -> 29:17.880] Yeah, no, totally. I mean, I've been in Buenos Aires now, in Argentina for 25 years more
[29:17.880 -> 29:25.400] or less, and it's quite shocking to see people so biased. I mean, even in obviously when Argentina won the World Cup, you know,
[29:25.400 -> 29:31.760] you can, it's understandable, but any kind of football, a football or any sport, it's
[29:31.760 -> 29:36.000] very, very obvious the bias, whereas in the UK, yeah, it's, you know, they're not allowed
[29:36.000 -> 29:41.160] to do that, which, you know, I like that, but it's also, you know, the passion. Some
[29:41.160 -> 29:44.680] people just can't hold themselves back. And I suppose if they're just transmitting to
[29:44.680 -> 29:50.080] that particular country, it doesn't matter. Yes. Well, I suppose for Sky, it goes out to a
[29:50.080 -> 29:54.720] lot of countries, so maybe they're under a bit more scrutiny with that. Right. I've kept you
[29:54.720 -> 29:59.280] for longer than I said, and I'm just going to burst through and just risk annoying you.
[29:59.280 -> 30:07.220] So this is what I love about the book. It's sandwiched your life experience in between then talking about like specific
[30:07.420 -> 30:11.320] Times and events within Formula One, but it really in a lot of ways
[30:11.320 -> 30:14.300] it's about the main character Chris who I
[30:15.000 -> 30:21.960] Recognize quite a bit because it's just a young idiot with an idea in their brain, but not quite that final
[30:22.760 -> 30:26.840] Application you like you never got that final crossing to follow your dream.
[30:26.840 -> 30:28.720] So you took quite a diversion.
[30:28.720 -> 30:30.960] So starting from the back of the grid,
[30:30.960 -> 30:33.680] you basically went from not doing particularly well
[30:33.680 -> 30:34.640] in education.
[30:34.640 -> 30:37.320] You did better than me because you got an actual grade.
[30:37.320 -> 30:41.280] I was invited to leave at the same stage of education.
[30:41.280 -> 30:44.920] So how did you end up from wandering nowhere,
[30:44.920 -> 30:47.280] this quite elongated path around the
[30:47.280 -> 30:51.680] world to eventually coming into Formula One? Well, I mean, I knew I wanted to work in
[30:51.680 -> 30:56.000] television from a very, very early age. I mean, I was once on the set of Bergerac,
[30:56.000 -> 31:01.840] because I'm from Jersey, the Channel Islands, and I was looking around this kind of scenario,
[31:01.840 -> 31:08.120] and everything made sense to me. But in Jersey, unfortunately, there's only one position that you could go for in
[31:08.120 -> 31:14.520] television at the time, maybe it's the same now, um, and, uh, I went for that
[31:14.520 -> 31:17.760] job and I didn't get it, somebody else got it, who did pass their A-levels.
[31:18.120 -> 31:21.520] And, um, after that, I was like, well, where do I go from here?
[31:21.520 -> 31:24.760] So I decided to just work in a bank for a year and just save up
[31:24.760 -> 31:26.000] enough money to go traveling.
[31:26.000 -> 31:29.520] And then that became exciting and fun
[31:29.520 -> 31:32.560] and just ended up, oh, five years passed.
[31:32.560 -> 31:34.520] And then I was like, well, what about my career?
[31:34.520 -> 31:37.080] Whoops, I think I have to try and do something
[31:37.080 -> 31:39.160] to get back into television.
[31:39.160 -> 31:41.300] So I went back and went back to college
[31:41.300 -> 31:44.260] at the late age of 24 or something.
[31:44.260 -> 31:48.840] And so in that period, I started applying for the BBC and
[31:48.840 -> 31:51.960] everybody, and everybody was like, well, yeah, it's way too late for you.
[31:52.320 -> 31:53.260] Sorry about that.
[31:53.280 -> 31:55.920] So, you know, yeah, there's no chance you're getting into TV now
[31:55.920 -> 31:59.640] because you're too old and, uh, uh, and you don't have any experience.
[31:59.640 -> 32:02.440] So somebody suggested I went to Hong Kong.
[32:02.520 -> 32:04.960] Uh, and so I went out to Hong Kong.
[32:02.440 -> 32:02.520] Somebody suggested I went to Hong Kong.
[32:04.960 -> 32:05.360] Uh, and so I went out to Hong Kong.
[32:11.000 -> 32:13.880] So I, I, I got this phone call one day from this lovely woman called Sam and she called me up and she said, Oh, you're the expert on formula one, aren't you?
[32:14.480 -> 32:16.920] And I, I mean, I didn't know what she was talking about.
[32:17.000 -> 32:21.520] And, uh, so I, uh, I mean, I found out later what it was, what happened was
[32:21.520 -> 32:27.720] the guy that fired me had put F in red letters and an exclamation mark in his Rolodex.
[32:28.280 -> 32:33.760] And, um, that F, uh, I don't know whether it was for fired or something a bit, bit
[32:33.760 -> 32:38.320] stronger, but she presumed it was from, for, cause I, I was the person to call for
[32:38.320 -> 32:38.760] F1.
[32:39.160 -> 32:42.360] So she called me up and, uh, I was like, yeah, that's me.
[32:42.360 -> 32:43.920] I'm the expert of formula one.
[32:43.920 -> 32:47.720] So she took me in for an interview and I got along really well with her.
[32:47.880 -> 32:52.200] Obviously the real story came out in the end and, you know, I didn't deceive her,
[32:52.360 -> 32:54.440] but that was the reason how I got back in.
[32:54.440 -> 32:59.360] And that was the transition from nothing to a path on the way to the paddock.
[32:59.680 -> 33:01.200] See, that's the universe, man.
[33:01.240 -> 33:05.440] But when those opportunities come along, especially if you're like an outsider,
[33:05.440 -> 33:07.400] these industries are so hard to break into,
[33:07.400 -> 33:08.960] you just have to take them.
[33:09.880 -> 33:12.920] I used to do like a bunch of carting commentary,
[33:12.920 -> 33:14.920] but that came about from someone just making a mistake
[33:14.920 -> 33:18.100] and going, oh, I've been told you're a race commentator.
[33:18.100 -> 33:20.920] And I was just thinking, I just quit my engineering job.
[33:20.920 -> 33:23.520] I went, yes, yes, I am.
[33:23.520 -> 33:25.160] And they go, okay, well, we're offering this much.
[33:25.160 -> 33:30.000] Can you turn up at Milton Keynes? You go, yup. And you go, right. How do you do commentary?
[33:30.000 -> 33:32.760] And then you just have to watch a bunch of commentary to see if you can do it.
[33:32.760 -> 33:37.500] Yeah. I mean, that's life, isn't it? I mean, you have to take advantages of these things
[33:37.500 -> 33:43.240] that are thrown up. The point, I guess, is you mentioned about it being a little bit
[33:43.240 -> 33:45.960] about life story because it's kind of intertwined in that.
[33:45.960 -> 33:53.420] I mean, there's a theme in the book that's about the Lewis and Max, how that particular
[33:53.420 -> 34:08.160] race for Max's first world championship, I mean, all tiny little things that, you know, nine times, the hunt, 999 times
[34:08.160 -> 34:13.420] out of a hundred or a thousand or whatever it is, they wouldn't go that way.
[34:13.420 -> 34:17.220] But you know, this tiny thing, you know, a little bit of dust on the, on the wheel of
[34:17.220 -> 34:19.560] Latifi's car.
[34:19.560 -> 34:21.760] And then suddenly it's a different, different thing.
[34:21.760 -> 34:22.960] And that's what I was talking about.
[34:22.960 -> 34:28.240] You know, you have to be ready to change when things change.
[34:28.240 -> 34:33.120] You have to be in the, you have to be, if a story comes out in F1, you have to be there
[34:33.120 -> 34:37.460] and ready to focus on that because that's what becomes important.
[34:37.460 -> 34:38.460] And I think that's what it is.
[34:38.460 -> 34:42.280] You took advantage of your situation with the commentary.
[34:42.280 -> 34:44.280] You didn't say, no, no, no, no, that's not me.
[34:44.280 -> 34:45.640] You said, well, let's try it.
[34:46.040 -> 34:47.120] And that's what leads you.
[34:47.200 -> 34:49.000] That's what leads you in life, I guess.
[34:49.000 -> 34:49.960] And it's all lost.
[34:49.960 -> 34:51.960] That it's their mistake, isn't it?
[34:52.080 -> 34:53.800] And it's not your mistake.
[34:53.840 -> 34:55.120] So you just go for it.
[34:55.120 -> 35:00.200] But, um, the problem, I think when, if you're a young person and you go, right, I
[35:00.200 -> 35:02.880] do want to get into TV production, I do want to get in the F1 pan.
[35:03.160 -> 35:06.400] When you speak to a lot of people like you, nobody's got the same
[35:06.400 -> 35:08.160] story of how they got into it.
[35:08.160 -> 35:12.280] There's no route one, which can make it very, very intimidating and make it
[35:12.280 -> 35:15.360] feel like a brick wall that's not for you.
[35:16.280 -> 35:18.520] Well, a young kid called me the other day.
[35:18.520 -> 35:19.640] He was 19.
[35:19.640 -> 35:21.920] He was doing his, he's trying to get into Formula One.
[35:21.920 -> 35:25.520] And we, I had a, like a a little one of these sessions with him.
[35:32.080 -> 35:36.400] And he was looking for advice and that kind of thing. And I said to him, I am not the person to give you any advice. Of course, it's just about putting yourself out there.
[35:36.400 -> 35:40.720] Really? Read my book and you'll quickly realize, do not take any life advice from me.
[35:40.720 -> 35:47.460] Exactly. Whatever you do, don't listen to me. That was the most important message for the guy, but, um, you know, very, very
[35:47.460 -> 35:51.940] nice guy and I'm sure he'll do very well, but the, you know, my advice to him was
[35:51.940 -> 35:56.580] don't do what I do, but just get, be, be in that area and just produce your own
[35:56.580 -> 35:57.040] content.
[35:57.220 -> 36:00.740] I mean, like you're, you're doing, I listened to your fantastic podcast, uh,
[36:01.060 -> 36:06.600] on after the Las Vegas race you were talking about and great super
[36:06.600 -> 36:11.520] interesting you put yourself in it you found a place for yourself in this
[36:11.520 -> 36:14.800] thing who knows maybe next year you'll be in the paddock and you'll be doing my
[36:14.800 -> 36:19.720] job because I won't work in TV anymore. Not after everyone reads this yeah.
[36:19.720 -> 36:23.960] Yeah exactly. No, no I did I do what you're doing that's what I would say to
[36:23.960 -> 36:26.320] anybody I mean you look at your set.
[36:26.320 -> 36:29.720] I mean, apart from the guy in the top right-hand corner.
[36:29.720 -> 36:30.720] It looks lovely.
[36:30.720 -> 36:31.720] It looks lovely.
[36:31.720 -> 36:32.720] Yeah.
[36:32.720 -> 36:36.000] It's very professional and carry on doing things like that.
[36:36.000 -> 36:38.240] I mean, again, it's passion, isn't it?
[36:38.240 -> 36:40.920] It's what you're interested in.
[36:40.920 -> 36:46.080] So I've taken loads of your time, but we are here talking about the book. So the book is
[36:46.080 -> 36:52.360] starting from the back of the grid, and that refers to you, Misadventures Inside Formula
[36:52.360 -> 36:57.440] One's Flying Circus. I know people need to buy the book, but I'm going to ask you,
[36:57.440 -> 37:01.280] can you tease us, what's your favourite story from that that we should look out for?
[37:01.280 -> 37:14.000] Well, I mean, it's kind of intertwined many, many different themes. So to pick one is difficult, but I'd probably go to the start of the book,
[37:14.000 -> 37:21.280] which the book opens with me being the cameraman. If you think I have no idea what I'm doing as a
[37:21.280 -> 37:26.320] producer, I have even less as a cameraman. a cameraman. So, um, I think it was
[37:26.320 -> 37:33.280] coming to the most watched Formula One race in the history with Max and Lewis, uh, both on the same
[37:33.280 -> 37:40.560] points miraculously after the season, the season ending race. And, um, I was put into the position
[37:40.560 -> 37:45.720] where I had to be the cameraman. And just before we were going to air, which we, to put into the position where I had to be the cameraman. And just before we were going to air, which we, to put into perspective,
[37:45.720 -> 37:48.760] we were going to air across all of Latin America,
[37:48.760 -> 37:52.880] Spanish speaking USA, apart from Brazil and Mexico,
[37:52.880 -> 37:55.600] we were covering, covering, well actually Mexico at the time
[37:55.600 -> 37:58.780] because I was working for Fox as well.
[37:58.780 -> 38:00.960] So they were all ready to see this thing
[38:00.960 -> 38:03.920] and I picked up the camera and as I picked up the camera,
[38:03.920 -> 38:11.680] the camera slid off the top of the tripod. And it's kind of, that's kind of where the book starts because
[38:11.680 -> 38:15.360] it kind of, my life flashed in front of me. It's like, well, this is the end of my career.
[38:15.360 -> 38:21.160] This is, it's all over now. And, um, it kind of bookends the book bookends that way. And
[38:21.160 -> 38:30.160] we see what happens a little bit in the middle of the book and then at the end. But it's that kind of feeling of, well, I got all this, I got this far and it's
[38:30.160 -> 38:35.040] all going to end this way. And then it tells the story, obviously, of what happened in that
[38:35.040 -> 38:40.560] incredible race. Well, of course, we'll include a link in the show notes for this episode. And
[38:40.560 -> 38:46.360] I believe Waterstones even stock it in real life for people who like going outside.
[38:46.360 -> 38:49.200] But how did you get Gunter Steiner then
[38:49.200 -> 38:50.720] to write your forward?
[38:50.720 -> 38:52.120] What did it cost you?
[38:52.120 -> 38:54.120] Did he extract some blood?
[38:54.120 -> 38:55.840] Did he make you buy him a new door?
[38:55.840 -> 38:58.160] No, well, I mean, obviously, Gunter's such a lovely guy.
[38:58.160 -> 39:01.080] And I mean, he's made, you know, he's made really,
[39:01.080 -> 39:04.160] not single-handedly, but he was one of the big reasons
[39:04.160 -> 39:05.360] why so many
[39:05.360 -> 39:08.600] people came to Formula One, characters like him.
[39:08.600 -> 39:16.720] I think he sort of saw maybe in it that it's coming from a humorous angle.
[39:16.720 -> 39:20.840] He's always said that he thinks that Formula One needs more humor in it.
[39:20.840 -> 39:25.100] So this is, so it kind of went hand in hand and he'd written his own
[39:25.100 -> 39:29.240] book obviously, so he knows what it's like to write a book. So it just went together
[39:29.240 -> 39:30.240] really, really well.
[39:30.240 -> 39:35.120] I love it. I'm enjoying it. I'm about two fifths of the way through and I am not a reader
[39:35.120 -> 39:40.040] ever since Netflix came along in general. I've abandoned books, but I love the way that
[39:40.040 -> 39:45.760] you, the younger you, is really painted as a character that we're following through
[39:45.760 -> 39:50.320] the book. And it's a bit of a spoiler speaking to you now, because I'm like, is this guy
[39:50.320 -> 39:54.440] going to survive? And obviously, you know, you have. So you're there, you're walking
[39:54.440 -> 39:58.040] and you're talking. Chris, good luck with your book. I hope we can bring you on at some
[39:58.040 -> 40:02.000] time again to just talk about general stuff in F1, because you've got such a wealth of
[40:02.000 -> 40:07.280] experience. But everybody go and buy the book, starting from the back of the grid, Misadventures Inside
[40:07.280 -> 40:10.960] Formula One's Flying Circus. The title's too long but thanks for your time Chris
[40:10.960 -> 40:14.440] Henley. Spandex thank you so much for having me I really appreciate it it was
[40:14.440 -> 40:30.000] lovely to meet you. ♪♪
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[42:33.040 -> 42:37.400] This is Christopher Kimball from Milk Street Radio. Our show covers everything and anything in the world of food and this holiday season we're exploring a
[42:37.400 -> 42:44.160] Welsh tradition that involves... horses skulls, toffee making, strange Celtic
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[42:45.160 -> 42:48.520] We go to Belgium for a lesson on gingerbread and waffles.
[42:48.520 -> 42:51.960] It always frustrates me because there is no Belgian waffle.
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[42:53.680 -> 42:55.480] brittle waffles, soft waffles.
[42:55.480 -> 42:57.720] I mean, there's a waffle of every occasion, basically.
[42:57.720 -> 43:00.200] And we learn about hot drinks with names like
[43:00.200 -> 43:03.780] Huggle My Buff or Huckle My Butt.
[43:03.780 -> 43:09.720] Join us for recipes and stories this holiday season on Milk Street Radio wherever you get your podcasts
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