WEBVTT - Bonus: Wine with Ab Rogers

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<v Speaker 1>Ruthie's Table four is now a book. Paul McCartney, Michael

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<v Speaker 1>ka Kamala Harris, David Beckham, Tina fey Elton John and

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<v Speaker 1>many more. It's full of stories, beautifully designed, and a

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<v Speaker 1>celebration of the way food connects us all. It's available

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<v Speaker 1>now wherever you buy your books. Ruthie's Table four brought

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<v Speaker 1>to you by Sky and Montclair. I know from a

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<v Speaker 1>very early age, going with you to Italy, you were

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<v Speaker 1>really interested in the vineyard, in the vineyard. Yeah, you

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<v Speaker 1>know that vineyards were part of you know, exploration for you,

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<v Speaker 1>getting to know people who made wine, how they made

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<v Speaker 1>the wine, whether it was in Greek Island or whether

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<v Speaker 1>it was in Chianti or whether it was in Piamonte.

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<v Speaker 1>That your interest in wine came from the very from

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<v Speaker 1>the from the grape. So would you like to talk

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<v Speaker 1>about what your relationship with wine.

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<v Speaker 2>I mean for me when you make a tajin, I

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<v Speaker 2>find it really fascinating because you can't stir it in

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<v Speaker 2>a way that for me, it's very different from Italian

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<v Speaker 2>So you have to you have to imagine all the

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<v Speaker 2>different layers and you're going to put it in the

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<v Speaker 2>fire for four hours and how those layers are going

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<v Speaker 2>to be interacted during the time, and wine is kind

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<v Speaker 2>of like that. You need to imagine all the things

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<v Speaker 2>that's going to happen to that wine when you pick it.

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<v Speaker 2>How ripe the grapes are, Are you going to let

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<v Speaker 2>them stay on there? Are you going to allow the

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<v Speaker 2>skin to kind of to stay on a little bit,

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<v Speaker 2>what it's going to sit in and all the way

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<v Speaker 2>through them. The wine takes memories from those moments. But

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<v Speaker 2>maybe the most important is the soil that it's grown in.

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<v Speaker 2>And I think we see in this. You know, it's

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<v Speaker 2>amazing what world wine is doing. But for me in

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<v Speaker 2>Australia and in California, we had these really rich soil

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<v Speaker 2>and I think the grape's going to a bit lazy.

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<v Speaker 2>It's like, God, this is really easy to grow. And

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<v Speaker 2>so you know, I'm just going to see here and

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<v Speaker 2>sure I can be high alcohol and I can be round,

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<v Speaker 2>and I can get many points, but there's no tension,

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<v Speaker 2>there's no there's no fight. You know, when you're on

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<v Speaker 2>a volcano, particularly like Lapama, which is erupted, and you

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<v Speaker 2>have an incredible wine making there called Victoria, you have

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<v Speaker 2>these these grapes that are growing against all odds. You know,

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<v Speaker 2>they're they're fighting through the volcanic soil and the volcanic

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<v Speaker 2>ash to make their foundations, and they're really working hard.

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<v Speaker 2>And when the grape comes out and it's been got

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<v Speaker 2>trade winds blowing on it, it's this incredible grape that

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<v Speaker 2>has fought through all of this. And then you kind

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<v Speaker 2>of put it in, you know, in glass rather than oak,

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<v Speaker 2>so you're kind of really holding on to the to

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<v Speaker 2>the to the flavors, and you know, you this one

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<v Speaker 2>woman runs around these twenty different parcels. She has no employers.

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<v Speaker 2>She's kind of her backgrounder is art history, and she's

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<v Speaker 2>in Lapama, that's kind of one of the smallest Canary islands.

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<v Speaker 2>Like Legs the Anchor and these these kind of ancient

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<v Speaker 2>these ancient breaks also very very old old roots, and

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<v Speaker 2>the whole influence of the of the volcanic soil makes

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<v Speaker 2>it's very very mineral wines. I mean like in Etna

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<v Speaker 2>there's Envenette who do really interesting wine on the other islands.

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<v Speaker 2>But also it's what the wine's put in. I mean,

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<v Speaker 2>oak makes our wine very rich. But let's you know,

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<v Speaker 2>we go back to the Romans and they're putting in

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<v Speaker 2>terra cotta, and you know, it's like the way you

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<v Speaker 2>put clay against plastic and it looks like plastic. When

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<v Speaker 2>you put the wine in the terra cotta, it takes

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<v Speaker 2>on this very matte influences. And so you get these

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<v Speaker 2>you know, I like wines which I like, I don't

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<v Speaker 2>like the really heavy and I love Spanish wine. The

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<v Speaker 2>modern wine I find the old rocket can be a

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<v Speaker 2>little bit too heavy. Piermonti is fantastic for the for

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<v Speaker 2>the for the reds.

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<v Speaker 1>And so when you go to cook and you're you know,

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<v Speaker 1>you're spending this time in the market thinking about how

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<v Speaker 1>you're going to cook a whole fish, how are you

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<v Speaker 1>going to you know, make the vegetables in a certain way.

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<v Speaker 1>Are you thinking at that point of the wine that

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<v Speaker 1>you're going.

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<v Speaker 2>To be drinking? Definitely, I'm thinking, you know, and I

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<v Speaker 2>think how you know, to have a volcanic red with

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<v Speaker 2>a turb it's fantastic because it kind of that it's

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<v Speaker 2>very very savory insult. You've all the sea, the salt

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<v Speaker 2>from the sea blowing onto the grapes, and this kind

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<v Speaker 2>of slightly salty, savory light red wine really cuts perfectly

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<v Speaker 2>with this with that kind of mulsified fats that you

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<v Speaker 2>have in the turbots.

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<v Speaker 1>I know that when you're coming into the River caf

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<v Speaker 1>you really take great care of the wine that you're

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<v Speaker 1>going to have with your food. When you come to

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<v Speaker 1>our house, go downstairs, and you really come up and say, Ruthie,

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<v Speaker 1>this is what we should be drinking tonight. This wine

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<v Speaker 1>is something that will make the food taste different, and

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<v Speaker 1>you know the food will take the wine.

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<v Speaker 2>Also. I think it's interesting the stress when you're cooking

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<v Speaker 2>for certain people and how that's you know, how that

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<v Speaker 2>affects you.

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<v Speaker 1>Do you think cooking is a performance? Does it matter

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<v Speaker 1>to you very much how the audience reacts to what

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<v Speaker 1>you're for me?

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<v Speaker 2>Cooking is, yeah, definitely a part of performance, but it's

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<v Speaker 2>a kind of an It's a way of expressing your love,

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<v Speaker 2>I think to the people that you're cooking for or

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<v Speaker 2>to an extent, and I cook behind a counter and

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<v Speaker 2>I put food out as I'm cooking, and then someone

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<v Speaker 2>might be peeling peas or doing doing something on the

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<v Speaker 2>on the other side. But that energy that is going

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<v Speaker 2>into it, the energy of the room, completely defies how

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<v Speaker 2>the food comes out. I think to an extent, and

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<v Speaker 2>if there's there's this kind of very positive spirit and

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<v Speaker 2>the food comes out much more, you know, perfectly to

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<v Speaker 2>an extent. And sometimes you can get nervous, and when

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<v Speaker 2>you get nervous, then your kind of sixth sense goes

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<v Speaker 2>goes out. And I think partly because have been dyslexic,

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<v Speaker 2>I can lie in bed and you know, melt. I

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<v Speaker 2>melt colors together and look at things, but also very

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<v Speaker 2>much foods and smells and tastes and think about how

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<v Speaker 2>things might go together or the things that I want

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<v Speaker 2>to try or to do, and the kind of chemistry

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<v Speaker 2>of these different fish fats or you know with some

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<v Speaker 2>Thai fish oil or these kind of emulsifications and how

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<v Speaker 2>they they go for me. That's you know, thinking of

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<v Speaker 2>you know, spend the last two days preparing for this.

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<v Speaker 2>The opportunity just to be thinking about food, I find it,

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<v Speaker 2>you know. Yes, I had a big design meeting and

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<v Speaker 2>I found myself bicycling and just thinking about food, and

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<v Speaker 2>I stop. You need to be thinking about design