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Speaker 1: Thank God you're here is on seventh Day, night on

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Speaker 1: ten and going through the door is Ross Noble.

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Speaker 2: He's with us now there are I think, god you

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Speaker 2: hear no, whoa there?

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Speaker 3: We're just have flash back literally watch the costume my

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Speaker 3: normal blood?

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Speaker 2: Yeah? Why not?

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Speaker 1: Can you give us any hints as to what you

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Speaker 1: might find behind the blue door tonight?

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Speaker 3: Okay? You know what I'm so sworn to secret. Yeah,

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Speaker 3: I'm not allowed to give too much away, but it's

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Speaker 3: what can I say? I'll tell you what I can

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Speaker 3: say is that they pulled out all the stops with them. Yeah,

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Speaker 3: there was a certain something, there was a certain surprise

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Speaker 3: that happened there towards the end. I was not expecting

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Speaker 3: at all. And yeah, and got a particular reaction from

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Speaker 3: the audience, half of them kind of going whoa and

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Speaker 3: the other half going.

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Speaker 4: Yes, good fisherman got us on the line. They mine

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Speaker 4: what how do you normally write your improv mind? What

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Speaker 4: are you? You're pretty confident with it generally.

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Speaker 3: I mean it's you know, it's bought me a house.

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Speaker 2: Helps if it's your craft?

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Speaker 3: Yeah, you know. The thing with thank God here is

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Speaker 3: that it's I mean, I'm not just saying this because

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Speaker 3: it's because it is on TV tonight on it's the

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Speaker 3: fact that it is genuinely is genuinely the most fun

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Speaker 3: TV s were to do. Like yeah, because I mean, look,

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Speaker 3: I'm not saying that it's because you turn up and

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Speaker 3: there's absolutely zero preparation for it. I mean, I have

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Speaker 3: something to do with it. But it's just the fact

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Speaker 3: that like it's the whole thing, Like it's it's massive,

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Speaker 3: Like I don't think people realize like how much goes

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Speaker 3: into like what you say on TV is obviously you're

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Speaker 3: focused on you know, you're focused on the comic going

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Speaker 3: through the door and you know what they're doing. But

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Speaker 3: the but the backstage stuff is like all of those sets,

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Speaker 3: they're basically they're the quality of set that you would

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Speaker 3: have for like a movie or a beansic, TV drama

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Speaker 3: or something, but they used for one scene and then

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Speaker 3: they're gone and then you know and the actors who

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Speaker 3: are you know, who were in the scene. The improvisers. Again,

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Speaker 3: it's one of those things where it's one take. There's

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Speaker 3: no you know, like if you were you know, if

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Speaker 3: that was a scene in a movie or whatever, you

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Speaker 3: would spend you would spend at least the day, you know,

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Speaker 3: twelve hours working on it when it's real time, and

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Speaker 3: everything you say because there's a live audience, there's no

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Speaker 3: faking it. And you know, backstage and everything, each of

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Speaker 3: those sets they're all on wheels so they you don't

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Speaker 3: even see it, like everything's covered up, everything secret, and

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Speaker 3: then they wheel it into positions so you genuinely have

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Speaker 3: no idea. And it's the sort of I keep saying

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Speaker 3: they should make a documentary about the logistics of how they.

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Speaker 1: Make behind the Door. I've always said that, yeah, improv

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Speaker 1: separates the men from the boys, if I'm allowed to

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Speaker 1: use that expression anymore, because you know, because there's one

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Speaker 1: thing to have a script, rass, it's another thing not to.

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Speaker 3: Yeah. But then but then you could argue that when

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Speaker 3: you've got a script, you've got to learning that takes

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Speaker 3: more effort than just going, oh, this thing's going on

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Speaker 3: my mind. If here that you know, so you could

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Speaker 3: see that it's yeah, it's more work having to you know.

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Speaker 3: And then if if you haven't written it, then the

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Speaker 3: person that's written it or the director go, actually, can

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Speaker 3: you just can you just hear that? Can we try that? Like? Yeah?

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Speaker 3: Whereas when you literally go there's a red light on

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Speaker 3: that camera.

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Speaker 1: Do it faster of your own domain.

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Speaker 4: It's one take no safety in it, in the danger

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Speaker 4: that you can do what you do well and take

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Speaker 4: it out on the tangent.

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Speaker 3: Yeah. And then also as well, like the fact that

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Speaker 3: there's you know, when you you know, you got your

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Speaker 3: own scene and then at the end of the at

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Speaker 3: the end of the show, everybody's in together and that's

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Speaker 3: and again that's one of those things where because you've

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Speaker 3: got you've got the other random nature of you know,

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Speaker 3: obviously there's a the you know, the improvisors that are

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Speaker 3: in the seat, but then because you've got the other

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Speaker 3: comics in there as well, quite sure whether they're going

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Speaker 3: to go or how that's going to affect it. So

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Speaker 3: it's yeah, it's just this sort of Yeah, it's funny

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Speaker 3: because it's like to some people like they would say

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Speaker 3: that's been like absolutely terrifying, or you could look at

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Speaker 3: it as here is the most expensive dressing up box

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Speaker 3: anybody else, Yeah, and then here go on figure figure out.

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Speaker 1: All right, well you can see what happens in the

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Speaker 1: most expensive dress up box. Thank god you're here at

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Speaker 1: seven thirty tonight on ten and ten plays as rus said, right,

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Speaker 1: we didn't get a chance to talk about it. But

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Speaker 1: also check out Apple TV. Plus you're in T Time band.

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Speaker 3: It's not cool but yeah, which is similar to thank

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Speaker 3: God here, but on a Hollywood style. Butget yes, it's

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Speaker 3: a bigger dress up, you know what it would have been.

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Speaker 3: The only difference is is that when I walked through

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Speaker 3: the door for that, Lisa Kudri was sat there.

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Speaker 2: It's different, very good. The feeling that the start he

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Speaker 2: was he's a bit of a lazy bugger to roll

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Speaker 2: up okay.

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Speaker 1: Well the thing is though, I mean it's okay for

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Speaker 1: him because he has a lot of stuff in his mind,

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Speaker 1: a natural added But for a lot of people you

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Speaker 1: plug them down and don't give them a script. I

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Speaker 1: mean you've seen the oscars, haven't.

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Speaker 2: You, Yes, very well.

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Speaker 1: Tear actors cannot work without a script.

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Speaker 2: It happens on people who use a Q and they

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Speaker 2: get on telephone.