The illusion of an interview as a
cosy chat between two acquaintances is just that - an illusion.
In a studio both the interviewer and interviewee are nervous
as chickens in a fox den.
There are harsh lights glaring at
you, people telling you to sit this way and that, and everybody
except you is wearing a pair of headphones and is listening to
all sorts of private jokes about you.
And everybody is telling you to relax!
Cameras are horrid great lumps of
machinery, but they're driven by real human beings. Without making
a bit thing of it, say hello and introduce yourself to anyone
you meet in the studio. A sound man who clips on your microphone,
the floor manager, the cameraman who moves aside to let you get
to your chair. Two of the nicest people I've ever met in show
business, Wilfred Hyde-White and David Niven always made a point
of introducing themselves to everyone in every studio they entered.
It wasn't a posing thing, or done for any ulterior motive, but
it immediately got the whole atmosphere a thousand degrees warmer.
Lights and Cameras
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I know you'll find the lights glaring, but
try to ignore them. Consider - without them the air-conditioning
would make you shiver. So be glad. Spread yourself and
absorb the warmth. |
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You'll find a tendency to hide your eyes
from the light. Spectacle frames can do this very nicely.
Don't do it. Let your eyes be seen. |
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During the recording or transmission, try
to ignore the cameras. Whatever you do, don't look at one
during the interview. Have a good look beforehand and then
try to pretend that only you and the interviewer are in
the room. Easier said than done, I know . . . |
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At the end, thank everyone concerned and
say goodbye. |
Monitors and other distractions
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If, when you're looking at the interviewer,
you find your attention drawn to a monitor, ask for it
to be removed or turned away. |
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By all means have a look at yourself on
a monitor, but be aware of the limitations. That isn't
how you'll be seen - you'll be looking the other way, at
the interviewer. |
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Don't check your appearance or try to adjust
your tie by looking at a monitor. Remember it's not the
same as looking in a mirror - left is right and right is
left, for a start! |
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At the end, thank everyone concerned and
say goodbye. |
Microphones and things
There are three main kinds - a boom
or fishing rod wielded by one of the crew, a stand microphone
and the personal clip type. Only the personal one need worry
you.
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If you're asked to wear one, and nobody
puts it on for you, clip it to your clothing six inches
or so beneath your chin - central or on the side towards
the interviewer. |
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Men can use it as a tie clip, Ladies can
try it on the neckline of a dress. |
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If you're wearing a light pullover or thin
dress, you can ask the sound supervisor if he'd mind if
you try it underneath - clipped to a shirt or brassiere.
Whatever, it should be placed so it can't rub against anything
- the lapel of a jacket for instance. |
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When you (and the sound man) are happy with
its location, try to hide the wire. Men can undo a shirt
button or two, tuck in the wire and re-button. Then tuck
it into your belt until it reaches the side of the chair
out of sight. Ladies: however you can manage! |
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If you are wired like this, don't stand
up suddenly! |
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There's a variant on this kind of microphone
that uses a radio link instead of wires. Be sure to switch
it off before you visit the lavatory. |
And speaking of microphones and things,
a few thoughts, next, on the kinds of words and phrases you should
use.
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