anthony: all right, travel minute, right now. 1, 2, 3. say when. josh: ah, the travel minute. nick: travel minute. erik: the travel minute essentially was an extra deliverable that cnn wanted. josh: almost like a preview of the show. anthony: indonesia. new jersey. asturias. japan. toby: he would basically distill and encapsulate a place in a minute. anthony: the scottish highlands. one of the most savagely beautiful places on earth. toby: it was like his absolute, like the antithesis of what he was all about. todd: he hated these. anthony: tropical wonderland. the beaches. did i mention the beaches? josh: tony was a little hesitant. anthony: it s only a travel minute. you can t encourage them with quality. tom: it promotes the show, it s for us. it s not like a snap-in that nobody is ever going to see except in romania. anthony: here we go, travel minute. all non-essential personnel can leave. todd: set up the shot, he starts talking about uru
this unbelievable support structure to take chances. lydia: doing the same thing every week was frightening to him. and i think it was always a challenge, like can you take this idea, which may seem shocking, and actually convey it in a very artistic way? nick: as long as we could get it past standards and practices. josh: the tokyo episode is a great example of that. chris: yeah, i had no idea what tentacle porn was, so nick: this is the first season with cnn, and they were surprised at what we brought back. sandy: there was spitting in the mouth, nipple clamps. you know, there were a lot of things that cnn wouldn t normally put on air. mo: i think we didn t know
kind of where the boundaries and limits were. i think cnn didn t know, either. helen: if he thought your shows were mediocre, that was the end. that was the magic of the show, too, it just pushed all of us to do something weird. like, the korea episode. todd: the camera department was really given free reign. helen: zach and todd decided to come up with this new camera system. nari: so these cameras, they were very small. which you think would be great, except zach: it had to be attached to a giant backpack. todd: we looked like the ghostbusters. zach: at that point in time, that s all we had. but it was breakthrough for what it was. helen: tony found them innovative. he was excited by how it was different.
something culpaluit shot or italian snim we did a trailer for the french alps episode, like a john trailer. going, ah! ah! ah! why would we do it on cnn, we re showing this? we did things on the show that were unbelievable. but that can get expensive. are we talking about budgets? next question. what s a budget? tony had no concept of what our budgets were like. budget? he didn t know what a budget was. tony never thought about a budget. no. no. not for a second. a how much is it? is it expensive enough? oh, yes. the budget only stayed at a certain level, but it created push. it was greater. it was greater. when i first started working on these shows, it was essentially a case and a half of
show. mustafa: adventure. horror. [ screaming ] todd: you know, i don t know, it s hard for me to say what parts unknown was because i was so immersed in it, that it was i mean, it was definitely more than a job. it was like such an incredible experience. tom: what is parts unknown is actually a really easy question because it was tony. anthony: oh, yeah. that is can i say tumescent on cnn? yeah, i m pretty sure i can. erik: i m often asked the question what was tony like? i feel like it s the first question everyone asks. steed: what you saw onscreen, it was and is that man. helen: that was the magic of tony i think is that people who never even met him, they would feel like they would know him. todd: he was this