Rick Steves' Europe

HI, I'M RICK STEVES,

BACK WITH MORE OF THE BEST OF EUROPE.

THIS TIME, WE'RE IN ITALY,

NOT YESTERDAY'S ITALY, BUT TODAY'S ITALY.

WE'RE -- WHERE ARE WE THIS TIME?

MILANO, RICK.

THIS TIME, WE'RE GOING TO SHOW YOU

HOW WE ACTUALLY MAKE RICK STEVES' EUROPE.

THANKS FOR JOINING US.

OKAY, LET'S TRY IT AGAIN, RICK.

MILANO IS TODAY'S ITALY,

AND NO ITALIAN TRIP IS COMPLETE WITHOUT VISITING THIS CITY...

WHEN I CROSS A BORDER AND PEOPLE ASK ME WHAT'S MY OCCUPATION,

I SAY "TEACHER,"

AND FOR 20 YEARS, I WAS A TOUR GUIDE,

AND I STILL FANCY MYSELF AS A TOUR GUIDE,

AND I'M JUST TAKING A LOT MORE PEOPLE THAN EVER

TRAVELING VICARIOUSLY THROUGH PUBLIC TELEVISION.

SINCE 1990, WE'VE PRODUCED A NEW SERIES EVERY TWO YEARS.

SO THAT'S AN AVERAGE OF 13 SHOWS EVERY TWO YEARS.

THERE ARE THE THREE PHASES.

THERE'S PRE-PRODUCTION, FIELD PRODUCTION,

AND POST-PRODUCTION.

AND THE PRE-PRODUCTION, WE --

CAN GET EXTENDED OVER A FEW MONTHS,

MAKING ALL THE ARRANGEMENTS, GETTING ALL THE PERMISSIONS,

MAKING ALL THE CONTACTS.

IT'S A TINY TEAM.

IT'S BASICALLY RICK, A SHOOTER LIKE KAREL,

AND MYSELF IN THE FIELD.

SOME PEOPLE WOULD SAY, "SHOULDN'T YOU HAVE A SOUND MAN?"

THE CAMERAMAN WEARS THE SOUND MAN'S HAT.

"WHAT ABOUT YOUR GRIP -- THE GUY WHO CARRIES ALL THE GEAR?"

WELL, SIMON CARRIES THE GEAR, THE PRODUCER,

OR THE CAMERA MAN, OR OCCASIONALLY I'LL CARRY IT.

IT IS SO IMPORTANT THAT WE ARE ABLE TO TURN ON A DIME.

WE'RE A SMALL CREW.

WE FIT INTO ONE CAR.

I REALLY LIKE THAT.

WE HAVE REALLY GOT A SYSTEM DOWN.

WE REALLY TRAVEL EXTREMELY LIGHTLY.

IT'S ABOUT AS BARE-BONES, I THINK,

AS ALMOST ANY TELEVISION CREW GOES,

AND ESPECIALLY NOW THAT WE'RE SHOOTING IN HIGH-DEFINITION

IT'S A STRIPPED-DOWN PRODUCTION.

WE PACK LIGHTLY PERSONALLY,

WE PACK LIGHTLY PROFESSIONALLY,

BUT WE TRY TO BE PREPARED FOR --

YOU KNOW, FOR MOST SITUATIONS.

PART OF THE REASON THAT WE CAN PRODUCE THIS SHOW

IN SIX DAYS IN THE FIELD: IS BECAUSE IT'S A SUPER-EFFICIENT PRODUCTION.

THE WAY THIS PRODUCTION WORKS

RIGHT FROM THE BEGINNING: ALL THE WAY THROUGHOUT THE WHOLE PROCESS

IS VERY, VERY COLLABORATIVE.

I MEAN, RICK HAS THE VISION.

HE KNOWS THE CONTENT.

HE KNOWS THE LOCATION: AND THE SHOW THAT HE WANTS TO PRODUCE,

BUT THEN IT'S VERY MUCH A TEAM EFFORT.

TO ME, THE EXCITING CHALLENGE FROM A CREATIVE POINT OF VIEW

IS THE COLLABORATION HERE.

AND OVER THE LAST DECADE I HAVE GAINED SUCH AN APPRECIATION

BY THE COMMITMENT OF EVERYBODY ON OUR CREW

TO MAKING THIS SHOW AS GOOD AS IT CAN POSSIBLY BE.

I MEAN, IT'S REASONABLE THAT I WOULD WORK REALLY HARD

BECAUSE MY NAME'S ON IT,

BUT WHAT ENDLESSLY IMPRESSES ME IS HOW BOTH SIMON AND KAREL

OR WHOEVER'S SHOOTING THE SHOW

WILL WORK EVERY BIT AS HARD AS ME FROM BEGINNING TO END

TO MAKE THIS SHOW AS GOOD AS IT CAN POSSIBLY BE.

I WOULDN'T TRADE MY T.V.

CREW: FOR ALL OF NBC, CBS, AND ABC.

WE ROCK.

IT'S HIGHLY COLLABORATIVE, AND I REALLY APPRECIATE THAT.

IT'S BOTH A PLEASANT EXPERIENCE

TO BE PART OF A COLLABORATIVE TEAM

WHERE THE WHOLE IS GREATER THAN THE SUM OF THE PARTS,

AND ALSO, THERE'S THIS VERY --

I THINK VERY FRUITFUL CREATIVE TENSION THAT --

THAT SUSTAINS US,

AND THAT HAS TO DO WITH THE FACT

THAT RICK COMES FROM A GUIDE-BOOK PERSPECTIVE.

AND HE TENDS TO EQUATE VALUE WITH CONTENT.

SO IN RICK'S EYES,

THE MORE CONTENT THAT FITS INTO THE SHOW,

THE MORE VALUE THE SHOW HAS.

TO ME, IT'S A RESPONSIBILITY TO TAKE AIRTIME WITH THE SHOW,

AND I DON'T JUST WANT TO GIVE A BUNCH OF WHAT SOME PRODUCERS CALL "EYE CANDY."

I'M COMMITTED TO THE CONTENT.

AND FROM OUR PERSPECTIVE,

PART OF THE VALUE OF THE SHOW IS IN CONVEYING

THE EMOTIONAL IMPACT OF THE PLACES WE TRAVEL TO,

WHICH IS REFLECTED IN HAVING THESE BEAUTIFUL IMAGES

THAT AREN'T NECESSARILY ACCOMPANIED BY DIALOGUE

BUT JUST MUSIC AND THE BEAUTY OF THE PLACE.

Steves: SIMON AND THE CAMERAMEN ARE COMMITTED

TO THE BEAUTIFUL ASPECT OF IT AND HOW VIEWABLE IT IS.

I'M COMMITTED TO THE CONTENT.

I WANT TO PUT THAT SCRIPT IN A CENTRIFUGE,

AND HAVE IT SPIN AROUND AND THERE'D STILL BE A LOT OF CONTENT THERE

WHEN IT'S ALL DONE.

Griffith: AS A PRODUCER, ESPECIALLY IN THE FIELD,

I'M SORT OF TORN BETWEEN THESE TWO NEEDS,

BECAUSE RICK, ON ONE HAND,

HE HAS SO MUCH INFORMATION.

HE'S JUST A WALKING ENCYCLOPEDIA OF KNOWLEDGE

OF ALL THESE IN YEARS IN EUROPE,

AND THEN HIS LOVE OF -- OF HISTORY

AND HIS KNOWLEDGE OF ART,

AND HE JUST WANTS TO JUST TELL IT ALL.

IF I GOT MY WAY ALL THE TIME ON THE SCRIPT,

THE SHOW WOULD BE A WONDERFUL GUIDE BOOK.

BUT, YEAH, CERTAINLY, IN TERMS OF TELEVISION,

IT'S NOT A GUIDE BOOK, AND WE HAVE --

I LIKE TO SORT OF SAY, "LET THE IMAGES TELL THE STORY."

I'M A HISTORY STUDENT.

ALL MY FRIENDS AT MY WORK SAY I'M SO INTO DEAD THINGS.

YOU KNOW, I JUST LOVE DEAD THINGS,

BUT WE'VE GOT TO MAKE EUROPE LIVE, YOU KNOW?

I'M THE TOUR GUIDE, AND I REALLY KNOW TRAVEL,

BUT THESE GUYS ARE THE ARTISTS,

AND THE CAMERAMAN WOULD KNOW THE ART OF COMPOSING THE SHOTS

AND GETTING THE VERY BEST PHOTOGRAPHY,

AND OF COURSE, SIMON KNOWS HOW TO TAKE ALL OF THIS

AND MAKE IT INTO GOOD TELEVISION.

PEOPLE JUST DON'T APPRECIATE ROMANTICISM LIKE THEY SHOULD.

IT TAKES US SIX DAYS: TO PRODUCE A HALF-HOUR EPISODE,

AND THAT'S REALLY SCRAMBLING.

I EVEN HESITATE TO SAY THAT BECAUSE BY INDUSTRY STANDARDS,

I THINK THAT'S VERY, VERY FAST, AND PEOPLE WOULD WONDER,

"HOW CAN YOU DO THAT? "

WE USUALLY COME OVER HERE TO DO TWO OR THREE SHOWS DURING A SHOOT.

THAT'S 12 OR 18 DAYS.

OCCASIONALLY WE TRY TO DO MORE SHOWS ON ONE TRIP.

THE JOB CERTAINLY HAS ITS REWARDS,

BUT IT IS A LOT OF WORK.

IT'S CERTAINLY NOT LIKE JUST GOING ON VACATION

WITH A VIDEO CAMERA.

IT'S -- THE WORK LOAD IS PRETTY SUBSTANTIAL.

ONE WOULD THINK: THAT IT'S THIS FANTASY KIND OF A PROFESSION,

AND IN SOME WAYS, IT IS, BUT IT'S EXHAUSTING.

IT'S NOT A VACATION: BY ANY STRETCH OF THE IMAGINATION.

IT IS HARD TO KEEP UP WITH RICK'S PACE.

IT'S SAFE TO SAY HE WORKS HARDER

THAN ANYBODY ELSE I KNOW, WITHOUT A DOUBT.

I'M PRETTY DISCIPLINED WHEN I'M WORKING.

I'M AWAY FROM HOME A LOT,

AND I SORT OF FEEL LIKE I OWE IT TO MY FAMILY

THAT IF I'M OVER HERE, I BETTER BE WORKING ALL THE TIME.

HE'S EXTRAORDINARY,

HOW MUCH ENERGY HE -- HE GETS FROM THE PROCESS.

HE LOVES IT.

HE -- HE'S SO PASSIONATE ABOUT IT.

TO HIM, HE COULD JUST BE GOING ALMOST DAY AND NIGHT,

AND I THINK HIS TENDENCY IS: TO WANT US TO GO DAY AND NIGHT.

WE TRY HARD TO KEEP UP, BUT, YOU KNOW,

IT'S -- IT'S AWFULLY DIFFICULT

BECAUSE HE JUST SEEMS TO GET REFUELED.

THE MORE, THE BETTER.

YEAH, LET'S GO!

YOU KNOW, IT'S A BIT LIKE

HOLDING ON TO A BULL BY THE TAIL.

YOU'RE JUST -- YOU -- YOU HANG ON.

WHEN I'M PRODUCING T.V., MAN, I AM JUST --

I CHARGE OUT OF BED EVERY MORNING,

AND I'M ALSO INSPIRED BY HOW HARD OUR CREW WORKS.

RICK'S THE ENERGIZER BUNNY OF TRAVEL,

AND HE WILL JUST GO AND GO AND GO,

AND SO ANOTHER ROLE SIMON PLAYS

IN THE DYNAMIC OF THE THREE OF US

IS HE CAN KIND OF REIN HIM IN.

"RICK, IT'S TIME FOR A COFFEE BREAK."

LITTLE COFFEE BREAK GOES A LONG WAY.

OR EVEN BETTER, "TIME FOR A GLASS OF WINE AND A MEAL."

SO I'M VERY GRATEFUL TO SIMON FOR --

FOR PUTTING ON THE BRAKES AT THOSE IMPORTANT MOMENTS.

IF THE CREW'S PERFORMING PROPERLY,

WE ALLOW A SHORT BREAK FOR LUNCH.

THIRTY SECONDS.

I HAVE TO SAY, HE'S NOT LUGGING THE GEAR AROUND EITHER.

HAVE YOU EVER SEEN A PRODUCER/DIRECTOR

WHO CARRIES THE TRIPOD?

THIS IS AN UNUSUAL -- A VERY UNUSUAL MAN.

SIMON IS THE PRODUCER,

BUT HE'S ALSO ENORMOUSLY STRONG.

AND HE CARRIES, LIKE A MULE,

WAY MORE THAN HIS SHARE, AND, YOU KNOW,

I'VE GOT THE CAMERA,

AND I SOMETIMES CARRY THE TRIPOD, BUT BASICALLY,

SIMON IS THE PACK HORSE OF THE OPERATION.

FOR WHICH I'M ETERNALLY GRATEFUL.

SEEMS TO BE MY ROLE.

I NEED SOME MORE COFFEE.

NO, NO, NO, NO, NO, NO, NO!

LET'S GO!

[ laughs ]

WE CAN JUST PARK THE GEAR,

BECAUSE I'D LIKE TO SHOW ME WITH THE BAG

ACTUALLY GETTING ON THE TRAIN, BECAUSE THAT'S WHAT PEOPLE DO.

I WORK A LONG DAY WITH THE CREW,

AND THEN I'M GLAD THAT THE CREW

HAS A LITTLE BETTER PAIN/PLEASURE RATIO THAN I DO.

AND I GO TO MY ROOM AFTER DINNER

AND I PRETTY EAGERLY HIT THE COMPUTER

AND MAKE THAT SCRIPT RIGHT UP-TO-DATE

SO SIMON GETS A FRESH DRAFT THE NEXT MORNING.

AT THE END OF THE DAY -- AND IT CAN BE LONG DAYS --

THE CAMERAMAN AND I ARE READY FOR A BREAK,

AND RICK, WE KNOW,

IS JUST STILL UP IN HIS HOTEL ROOM.

HE HAS HIS COMPUTER OUT.

HE HAS A GLASS OF ORANGE JUICE,

AND HE'S JUST BANGING AWAY.

HE'S WRITING E-MAILS BACK TO THE OFFICE.

HE'S -- HE'S RE-WORKING THE SCRIPT.

HE HAS HIS LITTLE PRINTER,

AND HE'S -- HE'S PRINTING UP NEW VERSIONS OF THE SCRIPT.

THEN I HAVE THE JOY OF SOMETIMES NOT HEARING

AND SOMETIMES JUST IGNORING A LITTLE SOUND LATE AT NIGHT

WHERE I HEAR THIS LITTLE SCRIPT

COMING IN UNDERNEATH MY DOOR,

AND RICK WILL ASK ME AT BREAKFAST TIME

IF I'VE REVIEWED THE SCRIPT YET.

I MEAN, I'M JUST ASTOUNDED.

HE HAS...

PHENOMENAL ENERGY.

AND IT'S DIFFICULT TO KEEP UP WITH IT AT TIMES,

BUT WE TRY.

I WRITE A LOT OF DIFFERENT THINGS,

AND I THINK PERHAPS THE MOST CHALLENGING

AND MOST REWARDING WRITING I DO IS THE SCRIPT.

I USED TO THINK THAT THE SCRIPT SHOULD BE ALL

SET IN STONE WHEN YOU LEFT HOME, IF YOU'RE WELL-PREPARED.

AND I'VE REALLY LEARNED OVER THE LAST 15 YEARS

OF PRODUCING THESE T.V.

SHOWS: THAT THE SCRIPT IS A WORK IN PROGRESS.

Griffith: MOST OF THE SEGMENTS HAVE BEEN PLANNED,

AND CERTAINLY IN TERMS OF APPOINTMENTS

AND ARRANGEMENTS, THEY'VE ALL BEEN MADE,

BUT WE'RE ALWAYS, ALWAYS OPEN

FOR -- FOR CHANGE.

YOU GET YOUR POSITIVE SERENDIPITY,

AND YOU GET YOUR NEGATIVE SERENDIPITY.

AND IF SOMETHING DOESN'T PAN OUT, THAT'S FINE,

SOMETHING ELSE WILL FILL IN: TO SOMETHING THAT YOU DIDN'T EXPECT.

SO WE REALLY RUN WITH WHAT WORKS OVER HERE.

IT'S THREE BLOCKS THERE AND OVER TO THE RIGHT.

SO SAN ZANALI --: SO WE GO STRAIGHT UP THE STREET UNTIL SAN ZANALI.

I LOVE BEING A TOUR GUIDE, AND WHEN YOU'RE A TOUR GUIDE,

ONE OF THE FUNDAMENTAL ISSUES

IS HOW DO YOU GET THE MOST OUT OF YOUR TIME?

AND WHEN WE'RE TRAVELING AS A FILM CREW,

I ENJOY THE RESPONSIBILITY OF BEING THE TOUR GUIDE

AS FAR AS HOW WE'RE GOING TO GET THE SCRIPT COVERED

IN FIVE OR SIX DAYS.

LET'S WALK RIGHT NOW TO SANTA MARIA DELLE GRAZIE.

THEN WE'LL TAKE A TAXI DOWN TO THE CENTER,

AND THIS IS JUST BIM, BIM, BIM, BIM, BIM, RIGHT IN A ROW.

RICK IS AN AMAZING ORGANIZER.

EVERY MORNING, WE GET TOGETHER AT BREAKFAST,

HE PULLS OUT THE SCRIPT: THAT HE'S REWRITTEN THE NIGHT BEFORE,

AND WE GO THROUGH THE DAY, AND, YOU KNOW,

WE START WITH THE APPOINTMENTS THAT ARE UNCHANGEABLE,

AND THEN FILL IN THE GAPS.

ALL RIGHT, WE'RE GOOD.

WE'RE LEGAL IN THE... LA SCALA AT 3:00.

GOOD!

IT'S A FASCINATING CHALLENGE: BECAUSE YOU'VE GOT SO MANY ISSUES OUT OF YOUR CONTROL,

MOST IMPORTANT, THE WEATHER.

AND IT'S STARTING TO RAIN OUT THERE.

IT'S NOT JUST GRAY.

IT'S RAINING NOW.

WE GOT PROBLEMS HERE.

MAN, WE WERE ON TOP OF THINGS YESTERDAY.

NOW WE'RE GOING TO BE DIGGING OUT.

DAY ONE: BEAUTIFULLY SUNNY.

WE'RE ON TOP OF THINGS.

DAY TWO: WE'VE BEEN DOING ALL THE INDOOR SITES.

WE'RE OKAY, BUT WE'D BETTER GET GOOD WEATHER TOMORROW.

YOU KIND OF GET YOUR BAD-WEATHER CARDS.

IF IT'S BAD WEATHER, YOU CAN DO ONE OF THE INDOOR SITES.

BUT YOU DON'T WANT TO SPEND ALL YOUR BAD-WEATHER CARDS

IN THE FIRST HALF OF THE SHOW BECAUSE THEN YOU'RE OUT OF CARDS

AND IF THE WEATHER'S BAD IN THE LAST HALF OF THE SHOW,

YOU'RE SHOOTING STUFF THAT IS WEATHER-CRITICAL.

THE WEATHER REPORT IS RAIN, RAIN, RAIN, FOR THE NEXT THREE DAYS

SO WE'RE FLIP-FLOPPING,

AND WE'RE GOING RIGHT UP TO THE LAKES NOW.

SO WE'RE CERTAIN TO GET: THIS GORGEOUS, ROMANTIC SUNSHINE IN LAGO DI COMO.

WHEN IT'S SUNNY, WE'VE GOT TO BE SHOOTING EXTERIORS

BECAUSE IT'S VITAL TO HAVE THAT SUNLIGHT

HELPING THE COLORS POP AND THE SHADOWS TO BE GREAT,

AND THE PEOPLE TO BE OUT AND EVERYTHING IS MORE LIVELY AND VIBRANT.

THIS IS KIND OF, UH, PANIC MODE IN A CERTAIN SENSE.

RUN-AND-GUN.

SINCE WE GOT HERE TO THE LAKES,

IT'S GONE VERY, VERY WELL.

WHEN IT'S SUNNY LIKE THIS,

YOU CAN JUST GET SHOTS VERY QUICKLY.

THE WHOLE THING JUST SEEMS TO --

JUST -- IT'S MUCH MORE EFFORTLESS.

WILL YOU HOLD THIS FOR ME?

...REALLY FEEL THE ROMANCE OF ITALY.

THE WEATHER WORKING WITH US MAKES A GREAT DAY.

SO JUST DON'T LOOK AT THE CAMERA AND YOU'RE PART OF THE SHOW!

I'M SHOOTING, AND THEY'RE EATING.

TRAIN BACK TO MILAN.

GOOD DAY.

Steves: SEEING THE LAST SUPPER,

ONE THE GREATEST WORKS IN ART HISTORY,

IS WELL WORTH THE HASSLE.

LEONARDO PORTRAYS THE LAST DINNER

JESUS HAD WITH HIS DISCIPLES BEFORE HE WAS CRUCIFIED.

ONE OF THE GREAT CHALLENGES: AND ONE OF THE GREAT OPPORTUNITIES THAT WE HAVE

IN PRODUCING THE SHOW IS TO FILM THE MOST BEAUTIFUL ART

FROM WESTERN CIVILIZATION AND BRING IT HOME

SO PEOPLE CAN ENJOY IT IN THEIR LIVING ROOMS.

Griffith: ONE OF THE STRENGTHS, I THINK, OF THE SHOW,

IS NOT ONLY WHAT GREAT ART THAT WE SHOOT

BUT HOW WE SHOOT IT: AND ALSO RICK'S WAY OF DISCUSSING IT

AND TALKING ABOUT THE ART.

"THIS UNFINISHED STATUE IS UNIQUE

"IN THAT IT SHOWS THE GENIUS OF MICHELANGELO

MIDWAY THROUGH A MAJOR RE-WORK."

YOU FIND YOURSELF IN FRONT OF SOME OF THE MOST BEAUTIFUL

MASTERPIECES OF ART IN WESTERN CULTURE,

AND THOUGH MOST OF THE SHOW IS SHOT, ABSOLUTELY,

FROM THE PERSPECTIVE OF A TOURIST,

ONE OF THE EXCEPTIONS TO THAT RULE

CAN BE WITH MUSEUMS BECAUSE OFTEN,

MUSEUMS LIKE THE LOUVRE OR THE UFFIZI IN FLORENCE

WON'T ALLOW US TO GO IN WITH OUR CAMERA AND TRIPOD

WHEN THE MUSEUM'S OPEN TO THE PUBLIC.

AND INSTEAD, WE PAY A SIGNIFICANT FEE

AND THEN GO IN ON THE DAY: THAT THE MUSEUM'S CLOSED TO THE PUBLIC,

AND WE GO AND SHOOT THE ART ALONE, ESSENTIALLY,

AND IT'S A GREAT PRIVILEGE TO BE STANDING ALONE

IN FRONT OFTHE MONA LISA OR BOTTICELLI'S VENUS OR ANY NUMBER OF -- OF UNBELIEVABLE MASTERPIECES.

SO BEAUTIFUL.

I MEAN, IT'S SO COOL TO BE HERE JUST ALONE.

IT'S ONE OF THE PERKS OF THE JOB, I HAVE TO SAY.

BUT IN THE CASE OF THE LAST SUPPER, YOU HAVE, ESSENTIALLY, A VERY SPARE ROOM

WITH THIS INCREDIBLE, LARGE FRESCO

THAT EVERYBODY KNOWS: BUT THAT I'D NEVER SEEN IN PERSON

ADORNING THE END OF IT.

SO YOU STAND THERE, DWARFED BY THIS THING

AND JUST -- I LIKE TO TAKE A PERSONAL MOMENT,

YOU KNOW, AMID THE FLURRY OF PRODUCTION,

JUST TO APPRECIATE THE MAGNITUDE OF THE WORK,

WHEREVER IT IS.

OUR CHALLENGE AS CAMERAMEN: IS TO ADDRESS A PIECE WITH A CAMERA IN SUCH A WAY

THAT WE CONVEY -- THAT WE BRING BACK TO THE SCREEN

ITS -- ITS POWER AND ITS BEAUTY.

AND WE CAN FOCUS ON THE DETAILS

THAT RICK TALKS ABOUT IN THE SCRIPT

BECAUSE A LOT OF THE COVERAGE OF FINE ART

IS IN THE DETAILS: IN GROUPINGS,

IN COMPOSITION, IN COLOR,

IN PERSPECTIVE.

YOU KNOW, IT WOULD BE GOOD TO HAVE A STILL

OF EACH OF THE GROUPS OF THREE.

AND -- OR PUSHING IN ON JESUS' FACE.

WE WORKS WITH US TO MAKE SURE

THAT KAREL'S GETTING SOME LITTLE DETAIL

WHICH YOU MAY NOT EVEN BE AWARE OF.

BUT BY THE TIME THE CAMERAMAN'S, YOU KNOW,

FOCUSING AND ISOLATING IT IN THE FRAME,

YOU KNOW, YOU REALLY GET TO APPRECIATE THE ART IN A --

AT A DIFFERENT LEVEL.

I LOVE THIS.

Steves: IT'S INTERESTING TO ME THAT WE HAVE TO ACTUALLY FACTOR IN

"WHAT ART CAN WE SHOW BACK HOME?"

WE GO TO PALACES, WE GO TO GALLERIES,

WE GO TO CHURCHES WHERE GORGEOUS ART,

CLASSICAL ART HAS BEEN APPRECIATED FOR CENTURIES,

AND BECAUSE IT'S TOO FLESHY: FOR EARLY-21st-CENTURY AMERICAN TASTES

WE HAVE TO WONDER, "CAN WE ACTUALLY SHOW THIS ON T.V.

IN THE UNITED STATES?"

Griffith: IT'S A VERY ODD SITUATION TO FIND YOURSELF IN.

YOU'RE LOOKING AT ALL THIS INCREDIBLE ART

THAT CAN SPAN 2,000 YEARS,

YOU CAN -- 2,500 YEARS PEOPLE HAVE ENJOYED THIS,

IT'S PUBLIC ART, AND SUDDENLY,

SOMEHOW OR OTHER HERE IN THE 21st CENTURY

IN THE UNITED STATES, IT HAS BEEN DEEMED INAPPROPRIATE.

EACH OF OUR 30-MINUTE PROGRAMS

IS COMING OUT OF A SEVEN-PAGE SCRIPT,

AND EACH SCRIPT IS MADE UP OF VOICE-OVER AND ON-CAMERAS.

THE VOICE-OVER IS WHEN YOU HEAR MY VOICE

BEHIND THE BEAUTIFUL PICTURES, AND WHEN WE HAVE A TOUGH TIME

COVERING SOMETHING WITH BEAUTIFUL PICTURES,

SOME SORT OF A CONCEPT OR SOME KIND OF HISTORY,

IT'S MORE APPROPRIATE FOR ME: TO STAND IN FRONT OF THE CAMERA AND SAY THAT.

THOSE ARE CALLED THE ON-CAMERAS.

WHEN WE DO RICK'S ON-CAMERAS -- WHICH IS ANOTHER PLACE

WHERE I REALLY RESPECT RICK'S ABILITY,

FIRST OF ALL, TO MEMORIZE HIS LINES.

...OF THE FOUNDING FATHERS OF MODERN ITALY.

USUALLY, JUST RIGHT ON THE LOCATION,

WHEN WE KNOW WE'RE THERE: AND WE'RE LOOKING AT WHERE WE'RE GOING TO SHOOT IT,

WE RE-TWEAK THE LINES TO MAKE SURE

THAT IT'S WHAT HE WANTS TO SAY AND HOW HE WANTS TO SAY IT.

SO THAT'S THE THIRD STEP.

THEN HE GOES OFF ON HIS OWN, AND HE MEMORIZES THESE LINES.

I MEAN, HE'S EXTRAORDINARY AT IT.

IN THE 1500s, THE ENTIRE CITY WAS ENCIRCLED

BY A STATE-OF-THE-ART WALL...

IT IS SUCH A FUN CHALLENGE TO DO THESE ON-CAMERAS

BECAUSE, NUMBER ONE, I HAVE TO REMEMBER MY LINES.

...HE WAS A PAINTER, SCULPTOR, ARCHITECT, ENGINEER, MUSICIAN, SCIENTIST --

HE COULD DO IT ALL AND REALLY WELL.

I USUALLY KNOW WHAT KAREL'S GOT PLANNED

OR SOMETHING PRETTY CLOSE TO WHAT HE'S SEEING.

AND THEN I LISTEN AND LET RICK DO A FEW TAKES.

THEY SAY FOR EVERY CHURCH IN ROME,

THERE'S A BANK IN MILAN.

[ sneezes ]

THE ROMANS CALLED THIS PLACE "MEDIOLANUM,"

"THE CENTRAL PLACE," AND IT WAS --

"AND BY THE 4th CENTURY."

SORRY.

...HOUSING FRENCH, SPANISH, AND ITALIAN TROOPS.

BUT THEY WEREN'T ITALIAN.

THEY WERE AUSTRIAN.

[ laughs ]

AND FOR ME, JUST, "LEARN YOUR LINES, STEVES."

FRENCH, SPANISH, AND AUSTRIAN TROOPS.

THEN CAME SEAS OF STUDENTS,

AND IT BECAME SORT OF A FIELD-TRIP DESTINATION,

AND IT WAS NEVER THE SAME.

THOSE INVOLVE ALL KINDS OF CHALLENGES,

FROM FACTORS WE CAN CONTROL, SUCH AS THE FRAMING

AND WHAT KIND OF MOVE WE'RE GOING TO INVOLVE,

WHETHER RICK'S GOING TO STAND IN ONE PLACE

OR WALK TOWARD THE CAMERA,

HOW MUCH OF THE BACKGROUND WE WANT TO SHOW

AND WHAT PARTS,

TO THE ELEMENTS WE CAN'T CONTROL.

AND I'M ROLLING.

[ traffic rumbles ]

WE HAVE AUDIO PROBLEMS.

WE HAVE A JACKHAMMER.

WE HAVE A STREET SINGER.

WE'VE GOT PEOPLE STARING AT US FROM BEHIND.

...IN ABOUT 1500 WITH THE FRENCH CONQUEST.

THIS KICKED OFF --: USUALLY I GET HIM TO SORT OF LIGHTEN UP A LITTLE

BECAUSE IT TAKES CONCENTRATION TO GET HIS LINES,

AND THEN WHEN IT FEELS LIKE WE HIT THE RIGHT TONE

AND IT WORKED FOR ME --: AND THEN I USUALLY LOOK TO KAREL

TO MAKE SURE THAT IT WORKS FOR HIM

IN TERMS OF HIS FRAMING --: AND IF HE GIVES ME THE LITTLE HEAD NOD

AND I WAS HAPPY WITH THE TONE THAT RICK SEEMED TO STRIKE,

I USUALLY SAY, "THAT'S GOOD.

THAT'S A KEEPER."

THAT'S GOOD.

THAT'S GOOD.

WE GOT HIM.

VERY EVOCATIVE ON-CAMERA.

SIMON AND I HAVE DEVELOPED: A WONDERFUL LITTLE EXTRA STAGE OF THE PRODUCTION

CALLED SCRUBBING THE SCRIPT.

"A SHORT TRAM RIDE AWAY TAKES YOU

"TO PERHAPS THE BIGGEST COLLECTION OF STATUES IN ALL OF ITALY.

STATUES OF A DIFFERENT KIND, IN FACT, PERHAPS A..."

"MY FAVORITE COLLECTION OF STATUES."

NOPE.

[ chuckles ]

JUST SCRUBBING EVERY SENTENCE IN THAT SCRIPT

TO MAKE SURE THAT EVERY WORD EARNS ITS KEEP.

IT REALLY IS SORT OF A DYNAMIC PROCESS,

AND IT'S VERY ORGANIC.

I MEAN, WE ALL SORT OF SIT AROUND

AND JUST WATCH IT FORM.

MARKETS.

MARKETS.

MARKETS.

YEAH.

SPEAKING FROM A CAMERAMAN'S PERSPECTIVE,

IT'S WONDERFUL FOR US AS CAMERAMEN

TO HAVE THE OPPORTUNITY TO CONTRIBUTE TO THE SCRIPT

AT A VERBAL LEVEL.

PART OF THE SCRUBBING OF THE SCRIPT

IS CORRELATING WHAT WE'VE SHOT

WITH WHAT'S BEING WRITTEN.

YOU'VE GOT THAT STUFF.

YOU CAN SAY "WEEPING WIDOW," "HEARTBROKEN ANGEL."

SO WE KNOW WE HAVE FOOTAGE: TO COVER WHAT THE WORDS SUGGEST.

YEAH, "TRUMPETS."

"THUNDERS."

"THUNDERS FASCISM."

OH, YEAH, THAT'S NICE.

WHOO...

AND THEN PART OF IT IS JUST A VERBAL PROCESS

WHERE WE'RE BATTING VOCABULARY BACK AND FORTH,

AND, YOU KNOW, RICK IS FAMOUS FOR HIS WRITING STYLE.

"EVERYTHING IS IMPECCABLE,

FROM THE STAFF TO THE PORCINI MUSHROOMS."

WHEN HE WRITES SOMETHING, YOU KNOW HE'S WRITTEN IT,

AND IT'S USUALLY INFORMAL, AND IT'S USUALLY FUNNY.

"EXCLUSIVE AND ELUSIVE PENTHOUSE APARTMENTS

WITH ROOF GARDENS OVERSEE THE SHOPPING ACTION."

HE'S A MASTER AT CONDENSING HISTORY AND ART AND RELIGION

AND WEAVING THEM INTO A COHESIVE WHOLE

IN VERY FEW WORDS, AND YET SOMETIMES

WE FEEL LIKE WE NEED TO REIN: SOME OF THE VERBAL EXCESSES BACK A LITTLE BIT.

"FOR HIGH-FASHION EDIBLES..."

I'M SO THANKFUL THAT SIMON AND KAREL

ARE REALLY STRONG WITH ME WHEN IT COMES TO DEBATING.

"TAKES YOU TO PERHAPS" -- OH, I LIKE THAT.

IT'S GOT TO BE "THE BIGGEST."

HE LOVES ALLITERATION,

USING SENTENCES WHERE THREE OR FOUR WORDS

IN THE SENTENCE START WITH THE SAME LETTER.

SOMETIMES IT'S GREAT, AND SOMETIMES --

SOMETIMES WE LIKE TO PULL THE BRAKES.

IT'S A WONDERFUL CREATIVE PROCESS,

AND WE GO HEAD-ON-HEAD THERE: TO DEBATE THESE THINGS IN THE SCRIPT.

"FASHIONISTAS"?

FASHIONISTAS --: DOES THAT WORD WORK?

SURE.

"FASHIONISTAS," REALLY?

[ laughs ]

Griffith: YOU ALMOST DON'T RECOGNIZE

THE SCRIPT THAT WE COME UP WITH AT THE END.

IT'S DEFINITELY A MUCH, MUCH STRONGER SHOW

FROM WHERE WE BEGAN.

OKAY, VERY GOOD.

I LIKE THAT.

AND THEN YOU COME TO THE ON-CAMERA.

WE LOVE YOUR SHOWS.

ARE YOU HAVING A GOOD TIME?

THIS IS GREAT.

WELL, NICE TO SEE YOU AGAIN.

ALL RIGHT, BYE NOW.

ONE OF MY FAVORITE THINGS ABOUT WORKING OVER HERE IN EUROPE

TO PRODUCE THESE SHOWS IS MEETING PEOPLE WHO WATCH THE SHOWS

AND THEN ARE TRAVELING BECAUSE OF THE SHOWS.

IT LIGHTENS OUR DAY AS WE'RE DOING OUR WORK AND WE SEE PEOPLE CONSTANTLY,

"HEY, RICK, LOVE THE SHOW," YOU KNOW.

IN MACON, GEORGIA.

IN GEORGIA?

AND WHETHER THEY'RE FROM HOUSTON OR DELAWARE

OR MISSISSIPPI OR CALIFORNIA,

ALL OVER THE UNITED STATES, PEOPLE ARE WATCHING THIS SHOW,

BEING INSPIRED TO TRAVEL, PICKING UP SOME PRACTICAL TIPS,

GETTING AN IDEA OF WHERE THEY WANT TO GO.

WE'D LOVE TO GET SOME ORLANDO --

ARE YOU FROM ORLANDO?

ORLANDO VIEWERS IN OUR SHOW.

COME THIS WAY, I'LL SHOW YOU WHAT TO DO.

AND IT COMES IN VERY HANDY, TOO,

BECAUSE SOMETIMES WE NEED A LITTLE HELP

TO HAVE SOMEBODY WALK AROUND A CORNER

OR HAVE AN ICE-CREAM CONE: OR ENJOY A PIECE OF ART IN THE MUSEUM,

AND MANY, MANY TIMES, WE HAVE SOME OF OUR VIEWERS

MAKING LITTLE CAMEOS THAT WAY.

WE NEED A GOOD-LOOKING COUPLE

TO SHOW HOW ROMANTIC THIS LITTLE WALK IS.

DO WE HAVE TO MAKE OUT?

YOU HAVE TO MAKE OUT, YEAH.

I'VE NEVER RUN A MARATHON, AND I DON'T THINK I EVER WILL,

BUT I HAVE A LITTLE FEELING OF THE EXHILARATION

THAT A MARATHON RUNNER HAS WHEN THEY FINISH THE RACE SUCCESSFULLY

BECAUSE AFTER MY CREW AND I HAVE FINISHED

ONE OF OUR SHOWS, THE SCRIPT IS COVERED,

THE LAST ON-CAMERA IS IN THE CAN,

IT'S SORT OF A VERY GRATIFYING HIGH-FIVE MOMENT.

I REALIZE THAT THIS SHOW BRINGS THE WORLD

INTO PEOPLE'S LIVING ROOMS WHO COULDN'T OTHERWISE TRAVEL.

AND TO ME, THAT'S A BEAUTIFUL THING.

UNTIL NEXT TIME, KEEP ON TRAVELING.

CIAO.

OKAY, WE'RE GOLDEN.

I THINK THAT WAS A GOOD ONE, TOO.

GOOD WORK!