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Tag Archives: Shelina Permalloo

what we don’t see is what we don’t get

had an interesting twitter discussion afer the MC final on thurs, with BDGTtT commenter @zone_styx, about the issue of all the hidden elements in masterchef:

zs: curious about the timeframes with Masterchef generally – competitors sometimes seem to improve by magic mastering super technical skills they haven’t been exposed to; dramatically more complex palettes out of nowhere do they get intensive research/brainstorming periods? help from series researchers?

self: working as sou-chef under the “mentors” = intensive research/techniquestorming surely? the winners are v fast at picking stuff, and the palate doesn’t come out of “nowhere”; the confidence under pressure is the real (showmanship) element. These three [eg the winners] all every evidently had better latent palate and skills from early on; just unfocused and (in koj’s case) anxious

zs: it’s prob just the compression of editing & missed a lot of this series, BUT am often surprised at disparity btwn hopeless task performances etc, then sudden rabbit-out-of-hat elimination dishes. would have to go back and find you examples really — maybe the schedule leaves them time to ‘woodshed’ in american phrase in between eps.

self: one of the things i find interesting is that you VERY rarely get a shot of anyone working from notes, yet clearly they can’t all be working purely from memory and improvisation.

zs: yes! one shot of *very* long itemized to do list tonight: several A4 pages! (Andrew’s).

self: aki tweeted that one big difference between what we see and the actual kitchen is NO MUSIC: it’s very quiet. my guess is also that in the “task” sections, they actually get a lot more coaching and advice, from professionals, than we see. now it’s over may actually quiz some of the contestants on twitter about such production details for the food-on-telly blog

in the interests of dialectic i am perhaps repping somewhat over-strongly here for the programme’s “integrity” as a genuine competition, but i entirely agree that the intensity of the demands of watchable (hour-long) drama over 12 weeks leaves a lot of mysteries, when you step back and think about it. Obviously you can’t go from untried amateur to in-reach-of-a-michelin-star in half a day: so how long does it take to shoot? How much off-camera time do they have? People reading is dull TV: it’s only fair to let people practice (which to start with means fail) off-camera. But is there a lot of talking — teaching basically — that we don’t get to see?

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