A couple of quick questions.   When a job advert says it closes ‘13th April’ would that be at 18:00 or 23:59? (do they need to get any application by EOP or can they do them after work this evening)   I have a team member who is interested in applying for a couple of 4Creative roles. VN811 & VN964.   These roles are listed as London roles, would you be able to let me know the HM for these 2 roles, so I could enquire as to the possibility fo these roles being based from the Leeds office as the staff member i

INTERVIEW WITH ALEX HORNE

Category: Press Pack Article

For those who know nothing about you and the band how would describe The Horne Section TV show?
I think it’s quite a silly, heartfelt comedy about a band made up of old friends who spend their lives trying to make each other laugh. We mainly wanted to be funny. There’s a lot of TV comedy programs that delve into deep issues, we don’t do that. It’s hopefully a funny show with music in it. I mean that’s sort of what we do with Taskmaster; we concentrate on trying to be funny and warm. Hopefully within that you get some other stuff as well, but the main idea is that every time we’re on screen we’re trying to make you laugh.


Episode One begins with a Taskmaster recording and Greg ridiculing you for not being the front man of your own show… how does it feel finally being the front man?
Well, there’s a lot in the show which is art imitating life I suppose - in the show I’m trying to get my own show, but even doing the press for it I’ve ended up being overshadowed by Greg all the time, which I really like. I hate being the front man and in the sitcom, it becomes apparent more and more that I don’t like it. It’s quite lonely being the front man and having all the weight on your shoulders. So, it’s quite true to life, I much prefer being with other people so I normally have Greg next to me, or the band - so it’s odd being nominally in charge but in reality I’m never in charge because there are always people undercutting me.


You and the band have done a range of live shows and tours, how does the series differ from what you’ve previously done?
The main difference is everything we’ve done before has been pretty much live and one take. Even when we’re doing stuff on 8 Out of 10 Cats Does Countdown, you have one go at it and it’s gone, and all our podcasts and live shows are always in the moment. So suddenly we had to be actors. We recorded about six minutes of the show per day, which is really slow, so we had to adjust to suddenly taking our time over things and doing things again and again. It took us about a week to understand the language of narrative telly but by the end we really loved it and it was quite a lot of fun, a different way of doing things. I think all musicians’ instinct is to perform it and then move on to the next bit and as a stand-up as well that’s my instinct, so that was a learning process, but we had the director, Babs Wiltshire who was really good at coaching us through that. We’re now at the point where we’re just desperate to have another go and do it all again next year, so fingers crossed.


Was it strange recording ‘as live’?
It’s quite complicated to do because there are bits of the show which are meant to be a live show, which we did have to perform in front of an audience - these were sort of the easy bits in a way, it was the acting that was the challenging part of it. It’s not the first time there’s been a show within a show, but it does make it quite complicated for the director and for us to understand, and also, we’re not used to not shooting things in order. I think we did the last scene first and so on, so that was all quite… we had to trust Babs a lot.


How did you imagine the show to look and what changed from the initial scripts?
Weirdly not a lot has changed, I mean it’s the first thing that I’ve written in terms of being a narrative thing and not a non-fiction thing. The first script I wrote was far too long, it was more like a movie, and I realised very quickly that less is more. In terms of from first script to this it’s just been pared right down but the subject matter’s the same. The idea’s the same as in I’m insisting on making a TV show in my house and it’s a sort of exaggerated version of my life where I’ve got too many children, I’ve got a wife who is keen to see me at times and things are spiralling out of control. I haven’t changed that much; it’s meant to be a reflection of how we the band live in our lives. We’ve just tried to make it distilled, a bit more of a concentrated version of it but there are still flights of fancy and each episode has hopefully got its own character. Pleasingly it hasn’t changed that much, in a similar way to Taskmaster it hasn’t changed in eight years to where it is now - I’m taking that as a good sign that we stuck to the original vision.


Are there any ridiculous requests that didn’t quite make the cut?
Well in the first script there was a 20-piece German brass band which I thought would be fun and that was the very first thing to go - they said you can have one person! But even stuff like… there’s a tribute band to The Horne Section and their lead singer is called Alan and I wanted him to skateboard out of a meeting but that would have taken health and safety officers and training, so we had to have him leaving on foot. There are things that have changed but every time, hopefully, any limitation is a chance to make it funnier in some way so there was nothing that I had to let go of that I was sad about. Also, the whole show is set in my house so that is useful, so it’s all in one location pretty much - that is a sensible starting point, we didn’t have to change locations every day.


Is that actually your house?
No, I wish it was my house. It’s a house of an incredible musician who appears in episode five of the show and she’s called Imogen Heap - it’s her house and she’s got a recording studio there. We went to all these location recces and just fell in love with it straight away. It’s sort of believable I could live there, I think, except I couldn’t in reality. It looks like the sort of place where children have lived (which they have!) and you can make music there. I think some people will assume it’s my house… Hopefully we’ll shoot more stuff there, it’s such a cool place. They’ve never shot a TV series there before so it’s a new location which is great. She’s (Imogen) won Grammys - in her recording studio she’s got a couple of Grammys up which I wanted to have in the background.


What was your favourite music video to shoot?
Probably the first one, we shot one where we’re all in a car, it’s called ‘Is it the Police?’… It’s quite a magic house because every time we asked for something Imogen would go, ‘Yeah we’ve actually got a car in a barn out the back so you can shoot in there because it’s really old.’ I don’t know anything about cars but it’s a 1960s car and all six of us were crammed in, it’s the very first thing we shot in the whole sitcom, and it was a bit like the Blues Brothers which is my favourite film ever. Like us, it’s a band going round the country being badly behaved, so it was a nice way in and we were really happy with the outcome of it; it’s stupid, we wear sunglasses and it’s funny. Also we’ve not done this sort of thing before but there’s people outside the car windows holding blue flashing lights as if the police were going past and stuff and it’s just really exciting for us to suddenly be in this TV world.
It was all very homemade, the cameraman filming through the window… most of the shoot was really fun because it’s just me and my mates mucking about but luckily, we’re led by professionals


What is the typical creative process of writing the songs? Is it a case of improvisation or…?
A little bit of that but it’s quite unpredictable because there’s six of us. Basically, someone will have an idea, whether it’s me or a musician and either I’ll say alright I’ll write some lyrics, who wants to write the music, or they’ll say we will write the lyrics and the music, and you can stay out of it. I’m not musical at all so I try to make things funnier, but they do all the hard work. We tend to split off into little groups… lockdown was quite good for us because we learnt how to be a band but apart. We would send stuff round… someone would start with the guitar section, send it to the drummer and he’d put the rhythm on it and then we’d all add backing vocals and stuff, so it’s a team effort, but sort of separately. We’re very rarely all in the same place anymore because we’ve all got children and we all live in different places. There’s no pattern to it and inspiration strikes at the least expected time, you’ll be at a farm and see a duck behaving weirdly and think, ah there’s something in that. In the old days we used to all get together and rent a house and just see what happens, but children have stopped that and actually I think we’re better now, I think we’re more… efficient sounds the wrong word but we’re better at putting our stupid ideas into song form now.


You mention your inspiration…where do your most ridiculous ideas come… on a walk, in the bath, on the toilet?
It’s always the hardest question because there’s no set answer, it’s literally when something pops into your head… I’m originally a stand-up and it’s the same, you never know when a joke’s going to hit you, you just watch something and think that would work and it is often a bath or a long journey, it’s when you’re not trying. It’s sometimes when I’m hungover but it’s sometimes when I’m meant to be focusing on talking to my dad or something, it’s when you least expect it.


What would the first single from the theoretical Horne Section TV show album be and why?
We’re hoping it won’t be theoretical, we’ve always got ambitions for the band, but it would probably be the song in the second show which is called ‘Grandaddy’ and it’s a very innocent song about peas and pea farming. It’s definitely our biggest hit and I’d love it if that became an actual hit. We know a lot of kids who like us and who sing it to… there’s nothing wrong in the song but it’s quite rude as well. If I could choose a Christmas number one that would be the song. It’s sweet and innocent on the surface and it’s really catchy. When there’s a six-year-old singing it, it’s so funny.


If you couldn’t be the leading man for one night which band member would take your place and how would you decide who got the winning slot?
It’s a great question, I mean none of them could do it. They all have their own roles, so Mark is the band leader, he’s the grumpiest and the most organised who claims to never be late or ill, he’s always late and he’s always a bit ill. I think he would probably have to be at the front but because he never smiles it would be quite a hard gig for people, but I think he’s the only one. They’re such an odd group of people, Ed the pianist would rather not do anything, he’d rather stay at home and play computer games. I mean Joe could do it, Joe the trumpeter, but he’s too modest. I think Mark’s the one with the biggest ego so let’s say Mark, also he’s the strongest so he would just win in a wrestle.


You’re a self-declared non-musical stand-up, if there could only be one instrument in the band what would it be?
We sort of talk about it in the show. The Horne Section tribute band has only got a keyboard and two dancers, and I think that’s the way we’re going, you just need a keyboard. Keyboards are so good nowadays, just a laptop really. So, I think we’ll get rid of all the musicians, and I’ll just have my laptop and press play. That’s all you need, just those big, square buttons you can press for the drums. I think in 10 years’ time I’ll get rid of them all, we’ll still have the same name, but it’ll be me and my laptop and we won’t have to split everything six ways, it’ll be much better… obviously I don’t really mean that and genuinely, it’s so good hearing live music all the time. On the shoots as well, they’ve got their instruments with them so when we’re off-camera then we’ll just have a jam and it’s really nice for the crew as well. I think one of the reasons why we’re still going is because there aren’t many six-piece bands out there, especially comedy bands so even though it’s harder work to make it financially efficient we would never reduce… we would only make it bigger, I’d love a string section in there and this German brass band, one day.
…backing singers as well, we need backing singers.


There’s a brilliant mix of guests involved in the series, how did you convince them to get involved and was there anyone that you wanted that couldn’t make it work?
It’s a weird one this bit and it’s the same in most TV shows when you’re trying to persuade people to be in it when it’s a brand-new thing, even though the Horne Section’s been around people don’t know if you’re going to take the p*ss out of them. I mean there’s elements of Ricky Gervais’s Extras, I suppose. We wanted people to come on and be an exaggerated version of themselves and they were being controlled. Martin Kemp and Anneka Rice did the pilot, and they were so good we were desperate to have them back - luckily, they enjoyed it too, so they were easy ones. I wanted Greg Davies to be in it because it makes sense in the narrative, and he’s the funniest… well, him and Tim Key are the funniest people I know so I was always desperate for them to do it. Having Imogen Heap was just amazing, we wanted a proper musician… I think you’ve either heard of her or you haven’t but if you have, you’ll be amazed that she’s on our stupid show. It was quite a long process and I think now we’ve done it hopefully it’ll be easier in future, but we’ve got Big Zuu, Dr Ranj Singh, John Oliver who is in every episode and he’s enormous in America, he’s won a million Emmys! So that’s odd, he said yes straight away, it’s an odd ensemble but hopefully it’s always unpredictable. We didn’t want it to be the sort of show you look at and think, oh it’s the same old faces.


How did that work with John Oliver on the laptop calling through, how was that filmed and set up?
We had to be really clever with that, I had a day with him over Zoom and we had to record everything. We had to go through every script and lots of costume changes, we had to improvise quite a bit and then we had to fit round his bits in the room. So, we had to pretend he was there, someone had to press play, that was really odd, but it worked, and you can definitely… hopefully I think when you’re watching it you presume that he’s actually there but he’s a man that doesn’t have much free time. He also nailed everything first time so yeah, it’s an odd element to it, he was always in America and never here but hopefully… We’re all so used to people being on Zoom now and you don’t really bat an eyelid, I think.


A lot of 90s and early 00s late-night chat shows did have more of a live music element than those of today, did you pull inspiration from any of these?
Yeah, there was a bit of that. We talked about Jools Holland a lot, he’s kind of the only music show that’s still there on terrestrial telly and I love the idea that people go to Jools and perform. I think my character of ‘Alex Horne in the show’, wants to be the new Jools Holland, wants to have all these famous people coming to his house and have a party. There’s also a bit of Noel’s House Party in there and naffness as well. There was stuff like The Word when I was growing up, that was really cool because it was live, and you never knew what was going to happen. TFI Friday was a big thing when I was 18, you’d always watch that with a few beers and then go out. We were trying to harness a bit of old school rock and roll TV programs which I think don’t exist anymore.


You say Alex Horne in the show, how different is Alex Horne in the show compared to Alex Horne in real life?
I think he’s quite a lot different. He’s definitely got a bigger ego and he thinks he deserves to have his own show. I think I’m more modest in real life, but maybe it’s not that different. It’s probably just me times two in the same way that he’s got five children in the show and he’s just about to have a couple more which is not far off from the truth. It’s definitely me but just an ever-so-slightly more monstrous version. We never wanted it to go too cartoony so it’s hopefully believable but in the show I eventually… I don’t want to give things away but there’s a clash with the band and I’m definitely a lot odder in the show than I am in real life. I’m very boring in real life.


Who from the band is most likely to succeed going solo?
Well, Joe and Will. Joe’s the trumpeter but he’s also the banjo player, Will is the basest and they actually have got their own project, a project called Splinter because they’ve formed a splinter group. They are the ones to watch, they attempted to do their own Edinburgh show and that sort of thing so I don’t think there’s going to be a solo artist but those two will form their own little country and western band at some point. but they’ll always come back to the fold.


What was your main ambition in creating The Horne Section TV Show?
We’ve tried to be quite ambitious with each episode in that we’ve mucked about with the genre a bit, so there’s one which I narrate the whole thing and there’s one where we have words on the screen, like we’ve split it up into chapters. We’re just trying to make each episode slightly surprising for the viewer because this is our one chance. It’s pretty amazing to have your own sitcom so we’ve chucked everything at it I suppose, we’ve tried to not regret anything. On that front I would say we really like it, so we’re really happy. No matter how it goes we don’t really mind but it’s very strange thinking this is what we wanted to make. If people don’t like it I don’t know what that says about our sense of humour because this is exactly our sense of humour, which I guess is the name of the game, but it is very exposing. Normally, because we’re a live band, if something doesn’t go well, we know and we do something else whereas if this doesn’t go well, we are saddled with it. So, it’s quite an exciting, scary time.