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lydia: geography, history. ruffino: it wasn t a travel 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 ....
[ lightning strikes ] and so, we were always trying to do it within our budget. steed: so, the miami episode, i got one note from tony. he s like the great beauty, watch it. mo: the party scene in that movie is aolutely extraordiny and massive in scale. steed: we have a certain amount of money to make the show and that s like a high-high production value, so immediately the mind s like how are we gonna do this? mo: there s a scene with a woman dancing in the great beauty and so we needed to kind ....
Actually telling someone what to say. chris: attempt to manipulate, yes. direct, no. tom: can we just put a little piece of green behind you? anthony: no. erik: you were a director on a parts unknown episode because you were a directing everything around tony, but you were never directing tony. tom: so production vehicles should not park in front of the restaurants. let s let the motorcycles park in front of the restaurant. steed: did you want to be able to tell tony, like, could you just could you get to this point please because, you know, we really do want to get to this point. josh: it was all freefom. true documentary filmmaking. toby: i would have about 15-30 seconds to kind of go over the main points. jared: just don t say action. don t say cut. anthony: they actually said action to me on the last shoot. ....
A moronic inferno, questioning the greatness of your nation, maybe you should come here. here are your purple mountains majesty. steed: i think when we really hit it right, and why i think it s timeless, it s tony s voice. that s why people responded so well to it, right? they wanted to hear what this man had to say about the world. anthony: europeans first reached west africa in the mid-15th century, bringing with them the usual things an industrialized slave trade, subjugation, the rule of the many by the very few. mustafa: the moment that tony s voice actually gets into a show, all of a sudden you have full picture. you have the full prospective of this man who has an angle, you know? he knows how to point out the story. anthony: the first question ....
jared: there s this misconception that directing is actually telling someone what to say. chris: attempt to manipulate, yes. direct, no. tom: can we just put a little piece of green behind you? anthony: no. erik: you were a director on a parts unknown episode because you were a directing everything around tony, but you were never directing tony. tom: so production vehicles should not park in front of the restaurants. let s let the motorcycles park in front of the restaurant. steed: did you want to be able to tell tony, like, could you just could you get to this point please because, you know, we really do want to get to this point. josh: it was all freeform. true documentary filmmaking. toby: i would have about 15-30 seconds to kind of go over the main points. jared: just don t say action. don t say cut. anthony: they actually said action to me on the last shoot. ....