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May 25, 2011

What Would You Do -- If You Worked for Mario Batali?

5683807493_1a5d61d22f_z Monster.com has teamed up with Mario Batali as he searches for his new media production coordinator. That's right -- Monster and Mario Batali are hiring for the job of a lifetime, so competition is going to be fierce.

Batali is a critically acclaimed chef and restaurateur, an award-winning author, and a well-known television personality -- the person he hires to be his media production coordinator (whose duties include preparing for shoots, assisting with video production, and basically making sure Mario Batali is able to focus on his job as a superstar chef) will have to be able to think on his or her feet. So if you've applied for the job (or are about to), take a moment to tell us:

How would you handle each of these situations?

1. You’re on location in front of an urban produce stand to film a two-minute setup with Batali, but a large road-repair crew is making too much noise for you to film. You have only 30 minutes to get the segment. What would you do?

2. While reviewing a recipe segment in post-production, you realize that there are extraneous items on the cooking table that shouldn't be there during taping. It’s midnight, the three-minute segment is due by 7:30 a.m., and Batali is on an overnight flight to Rome. What would you do?

3. You’ve accidentally scheduled Batali to be in two places at once -- tapings for two high-profile TV shows: Rachel Ray's and Martha Stewart's. He’s supposed to be at one studio by 9:00 a.m. and the other by 10:00 a.m. It's now 7:30 a.m. How would you handle it?

4. Batali is minutes away from going on "Good Morning America" for a live segment in which he’ll prepare his famous pesto. A producer tells you that the llama from a previous segment ate all the basil leaves Mario was going to use. How would you handle it?

Share your solutions in the Comments section!

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Posted by Charles Purdy on May 25, 2011 at 07:14 PM | Permalink | Comments (29) | TrackBack (0)

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1. You’re on location in front of an urban produce stand to film a two-minute setup with Batali, but a large road-repair crew is making too much noise for you to film. You have only 30 minutes to get the segment. What would you do?

It sounds sexist, but I'm a cute, personable girl. I would walk over the group of road repair men/women and offer to buy them all a cold beverage to take a break for 30 minutes (or less if I can get it done quicker). If that doesn't work, I would probably work into the segment some off hand joke about it being an urban produce stand and clearly it's the real deal NYC since you can't film for 30 minutes without seeing a road repair crew.

2. While reviewing a recipe segment in post-production, you realize that there are extraneous items on the cooking table that shouldn't be there during taping. It’s midnight, the three-minute segment is due by 7:30 a.m., and Batali is on an overnight flight to Rome. What would you do?

I'd like to say I would never let something like that get shot with extra ingredients on the cooking table. IF it did, somehow, my choice would be to 1-Try to cut parts of the clip out that show the extraneous items. or 2- leave the items on the table and submit the clip as completely as possible. If viewers are listening to what he is putting in the dishes, and expecting Mr. Batali to be in a kitchen when prepping the dish, they will notice that there are ingredients that are being used that are not necessary to prep that particular dish. I'd also never make that mistake. :-)


3. You’ve accidentally scheduled Batali to be in two places at once -- tapings for two high-profile TV shows: Rachel Ray's and Martha Stewart's. He’s supposed to be at one studio by 9:00 a.m. and the other by 10:00 a.m. It's now 7:30 a.m. How would you handle it?

For the 9 am shoot, I would call the production managers and try to arrive a bit early to begin filming early if possible. I would obviously apologize profusely for the error, and tell the 10 am shooting that due to scheduling conflicts that we might be a bit late. Certainly this doesn't excuse the error, but certainly even those shows have scheduling conflicts. Further, I would have transportation waiting outside the 9 am location to whisk Mr. Batali away as soon as the first taping is done.

4. Batali is minutes away from going on "Good Morning America" for a live segment in which he’ll prepare his famous pesto. A producer tells you that the llama from a previous segment ate all the basil leaves Mario was going to use. How would you handle it?

You should always have extra on hand. But in case you don't, my first request would be is it possible to go to a nearby corner produce stand to grab some more. Since clearly this will be near impossible on such short notice, I would look around for any green vegetable and quickly blend it in the food processor...preferably, parsley, or cilantro since they most closely resemble basil when blended. This way the "basil" can already be "ready to be mixed" with the other pesto ingredients without giving away that the basil is MIA. I will quickly prep Mr. Batali that he will have to mention he already began the pesto during the break by blending the leaves in the food processor. Finally, I will yell at the llama.

Posted by: Brittany | May 26, 2011 4:54:56 PM

1.) 1 of 2 things, either invite the road crew over and segway them into the shoot, or ask them to go on lunch for and hour and in return invite them for dinner at a later date that Mario would cook.

2.) Get to an editing bay and adjust accordingly........

3.) Rachel Ray's show would be priority #1, make that the first shoot, helicopter on standby for Martha at 10.....more importantly, i'd be sure this wouldn't happen in the first place....

4.) Send someone for Basil, back up plan, make an alternative Pesto,.....peas, green beans, cilantro, improvise....what's available ?

Posted by: Dennis Bottkol | May 26, 2011 5:10:47 PM

1. I would offer to buy the crew a round of coffee and donuts in exchange for 30 minutes of peace and quiet!
2. I would mask the objects out frame by frame! And then wish I saved some of that coffee from earlier.
3. First of all, I wouldnt schedule tapings at once! But if someone else did, I would call Mr. Batali and let him know about the mix-up. Then I'd call Martha and let her crew know that we are running a little early (Martha loves early birds!); then, I'd call Rachel and let her know that her Iron Chef co-star was running a little behind and he hopes she will forgive him.
4. I would laugh because llamas are funny and then book it to the UWS Citarella to grab a couple of bunches.

Posted by: Sally McReynolds | May 26, 2011 5:21:32 PM

1} I'd do one or all of three things, first i'd send a PA out to a store by them a case of beer, while the PA is gone i'd invite the creww to be in the segment as bacground, let Mario have some fun with them, then i'd offer them the food you cooked!
Now we've shot the segment and the crew has story to tell!


2}accidents do happen, so get used to it. Mario on plane means nothing to the solution. I look at the shots it appears in and either "zoom past it as we are shooting 1080i which gives great latidude in frame manipulation or i would "paint" the ingredient out or if it is in the background of the ingredients on the table i'd leave it alone. The quickest way to bring atention to a mistake is to solve it poorly. the veiwers at home probably won't even notice it.

3}First i'd tell them the truth. Then I would have the show that uplinks it show last reserve a black hole for to insert the segment after it is shot. I would procede to do the show with the tightest deadline. Much worse has happened to all these shows. easily fixed


4} B-Bque the llama... just kidding. i'm sure, on the fly, with ingredients on hand Mario could vamp. If he couldn't he just isn't that good. Who ever panic's loses.

Posted by: pete erickson | May 26, 2011 5:34:05 PM

1. I would have checked the work permits before hand to see what kind of work was scheduled. Usually with construction permits they are only allowed a certain window of time to complete their work. You could schedule the shoot around that. Or, I would contact the construction superintendent / company to see if they would accommodate our schedule in exchange for onetime air (publicity) and possibly food.

2. Start editing shots from different cameras that don't show the items you want to hide.

3. I would use a calendar or some kind of other scheduling tool to make sure he wasn't double booked. Confirming appearances with different networks is a way of getting them to help you stay organized. Or, I might work something out with the production managers to see if he could shoot at the beginning of Rachael's show, then shoot at the end of Martha's.

4. Always have back up. There should be another batch of basil stored for Mario to use. If not, see if there is an on-site kitchen or other nearby resources that may have a basil. If not, hey, it's live tv. Make a bit out of it...Mario style.

Posted by: Allen | May 26, 2011 5:37:12 PM

1. Tell them to shut up.
2. Tell Batali to change the recipe to what was shot.
3. Dress up myself as Batali and go on Martha Stewart myself.
4. Kill the llama and have Batali make llama steaks.

Posted by: Eric | May 26, 2011 5:41:29 PM

1.) buy them lunch, ask them to chill for a few, if not move that damn stand.
2.)block them off with one of those little censored blocks and add in something witty, or an ad. either way. Maybe even add a link to a webpage for the recipe
3.)call the producers, try to manage the times, call batali and apologize ask him if he were to chose one which would it be, close eyes and prepare to be reamed out :)
4.) book it to the nearest wherever that there is basil, if that isn't possible then we may have to change the segment to Mario's famous Llama al Forno :)

Posted by: dave | May 26, 2011 5:49:01 PM

1) Offer them meatballs in exchange for silence.
2) Take some espresso shots and start editing.
3) Apologize, arrange to film first segment earlier than scheduled, and then have driver on hand to hurry cross town.
4) Make the llama story public for some funny publicity and then improvise with whatever is on hand, or run to nearest Gristedes for extra basil. Better yet, have an intern stop at Eataly on the way to the studio.

Posted by: Chrissy @ www.myfarefoodie.com | May 26, 2011 5:52:06 PM

1: silent film + voiceovers in the van
2: add an on screen "info box" to cover the items
3: head to RR and call MS and tell her Chelsea Market is a great place to shoot a remote segment
4: use the sun dried tomatoes we had as decor and make sun dried tomato pesto instead. yum!

Posted by: Renee | May 26, 2011 6:00:52 PM

1: silent film + voiceovers in the van
2: add an on screen "info box" to cover the items
3: head to RR and call MS and tell her Chelsea Market is a great place to shoot a remote segment
4: use the sun dried tomatoes we had as decor and make sun dried tomato pesto instead. yum!

Posted by: Renee | May 26, 2011 6:00:53 PM

1)Shoot the spot as is and have Mario record his voice in a recorder after shooting is done so I can dub it over the clip in the editing room.

2)Cut out as much of the extraneous materials as possible and hope for the best. This can only best be answered by actually looking at the footage and seeing what has been filmed.

3) Call production managers of both shows to change Mario's call times. The studios are only 10 min away from each other. We'd be just fine to get to the studios at appropriate times.

4) Substitute spinach leaves for the basil and make sure it is chiffonade or chopped before the segment starts so no one will know the difference (except Mario, the producer & me)

Posted by: Nikki | May 26, 2011 6:08:23 PM

1. Road work happens and we all know it. What would be more authentic than roadwork next to a roadside stand while one is tryin to calmly select items to cook with. Make a joke of it. And not all roadwork is everlasting. The workers have to take breaks; be ready to shoot and be ready for a few takes.

2. Extra items in a kitchen? (mockingly gasps!) it's not the end of the world. The dish was prepared with Mr. Batali explaining it. Extra ingredients only serve to make the set more like home!

3. Double bookings happen due to negligence. However, a simple phone call to each producer explaining my error and asking to flex their schedule to make both appearances happen is a daily occurrence. If the show producers cannot make it happen then some creative driving will have to happen get to each set.

4. If you have video of the llama eating the basil, start the package with that. That's just funny! Then have Mr Batali explain the necessity of having enough ingredients on hand to account for and fix problems such as wild animals eating your produce. (of course there would already be extra on hand) "plan for the worst to get the best results"

Posted by: Pete | May 26, 2011 6:58:26 PM

1) I would approach the road crew and ask how long their job will be. Ask politely if there is any chance for a quick break for our shoot and invite them over to watch the segment shooting. If they cannot lower the loud road work I would shoot the segment sans sound and add a MB voice over of the visit in post-production. Being nice about everything. They have a job to do and so do we.

2) I would edit in any additional footage we have from the shoot to eliminate the unwanted extras. I would splice in shots of the MB products used in the recipe to fill the in the time gap.

3) Contact both shows and try to find a way to get MB to both shoots. Can Martha or Rachel move MB's segment earlier or later to accommodate for the mixup. Are the studios close? Can we do both within the time line? If we cannot I would make Martha a priority. I would ask to reschedule Rachel for a later date and ask if we can send the show a fun quick video (all shot, edited & uploaded with my iPhone 4) the from MB in Eataly, A personal message or some achieved footage of MB product so we can still have a presence on both shows for the day.

4) First, laugh. I didn't know Llamas had a taste for basil. I would ask MB if he could improvise a recipe with the remanning pine nuts, garlic and parm into a pasta or bruschetta. I would see if in the time to the segment we could send someone to he nearest market to grab more fresh basil. Can someone make it up to Food Emporium on Broadway before we go live?

Posted by: Andrew J Switzer | May 26, 2011 8:20:48 PM

1. You’re on location in front of an urban produce stand to film a two-minute setup with Batali, but a large road-repair crew is making too much noise for you to film. You have only 30 minutes to get the segment. What would you do?
I would be there early enough to check what was going on around me first. Then I would walk over to the supervisor and explain to them what was going on and ask for a 45 minute breaktime. If that person was understanding, I would buy the crew coffee after the shoot.

2. While reviewing a recipe segment in post-production, you realize that there are extraneous items on the cooking table that shouldn't be there during taping. It’s midnight, the three-minute segment is due by 7:30 a.m., and Batali is on an overnight flight to Rome. What would you do?
Go into editing and try to angle the shot to keep the items out. I'd also take advantage of any room on the bottom to to put a tag line about the shot.

3. You’ve accidentally scheduled Batali to be in two places at once -- tapings for two high-profile TV shows: Rachel Ray's and Martha Stewart's. He’s supposed to be at one studio by 9:00 a.m. and the other by 10:00 a.m. It's now 7:30 a.m. How would you handle it?
I would call the 10am first to see if they can move the time up at all. I would send an assistant over asap to get set up. I would be sure to thank whoever was helpful with this situation.

4. Batali is minutes away from going on "Good Morning America" for a live segment in which he’ll prepare his famous pesto. A producer tells you that the llama from a previous segment ate all the basil leaves Mario was going to use.
Since basil makes a great table prop, I would have plenty on hand and kept away from any critters that would be on the set. That extra cooler "crash kit" always comes in handy.I try to reserach any area that I would be in so I would know what was available at the closet markets if a quick run is necessary. I always try to have a plan B. I would then congratulate myself after the shoot for not choking the llama handler.

Posted by: Traci A. | May 26, 2011 9:02:56 PM

1. Those produce stands are all portable. If it was possible to move a block or two away and still be covered by our location permit, I would do that. If not, I would politely ask the repair crew if they would take a short break, get them something cold to drink and a snack from the produce stand, and film the setup in 15 minutes or less. I wouldn't delay the workers for any longer than that because they might be on a deadline and it wouldn't be right if we caused them to have to work late.

2. It depends on what the extra items are. If we've got a giant red tub of MSG or a copy of Mein Kampf, there is a big problem. Most food-related items would probably be okay. If it was really necessary to get the extra items out of the shot, I would first see what other footage was available. Maybe there would be some good B-roll I could cut to while retaining the audio of Mr. Batali explaining the recipe. If there weren't any other acceptable shots (which is very unlikely if there was proper coverage on the shoot), I would either cover the space with Mr. Batali's logo or some such graphic or, as a last resort, crop the footage to remove the offending items.

3. First I would apologize to Mr. Batali and explain the situation. I would suggest to him that I call both studios and inquire if we could shoot Mr. Batali's portions of the show at the beginning of the first taping and at the end of the second. If this was impossible I would still try to get him to both shoots on time, and to expedite the process, I would send a team member to each studio to prep everything in advance. I would also make sure there were the appropriate people on hand (in the car if necessary) to get Mr. Batali TV-ready, so that he could simply walk onto the set and start shooting. The actual travel time between the studios would probably be minimal, and as long as that time was used to prep Mr. Batali, I'm sure that everything would go smoothly.

4. It depends how much time there was. If there was enough time to run out and get basil, I would definitely do that. Grocery stores are scarce in that neighborhood, but Pret and 'wichcraft are both within walking (or running!) distance and would probably be happy to spare some basil for Mr. Batali. If there wasn't enough time to do that, I would see if there were other ingredients on hand that Mr. Batali could use instead. Maybe he could do a seasonal pesto for summer with parsley and lemon zest or for fall/winter with escarole or fennel fronds. If there was no way to get any other ingredients, I think it would be best for Mr. Batali to explain to viewers that sometimes llama-accidents happen, and then proceed to make a different dish with the remaining ingredients from the doomed pesto, such as spaghetti aglio e olio with toasted pinoli nuts and black pepper.

Posted by: Kate Previte | May 26, 2011 9:11:42 PM

I'm not applying for the position. My answers are just for fun:

(1) You’re on location in front of an urban produce stand to film a two-minute setup with Batali, but a large road-repair crew is making too much noise for you to film. You have only 30 minutes to get the segment. ANSWER: I'd get the attention of the road repair crew by approaching them with a confident and charming HEY,smile (hi fellas...) and tell them what's going on and offer them a platter of sliced salumi and tell them to enjoy their 30-min break and watch while the segment is filmed with success!

(2) While reviewing a recipe segment in post-production, you realize that there are extraneous items on the cooking table that shouldn't be there during taping. It’s midnight, the three-minute segment is due by 7:30 a.m., and Batali is on an overnight flight to Rome. ANSWER: As Mario Batali's media production coordinator, I would have access to the studio at anytime so I could remove the unnecessary items and make everything look perfect before the 7:30 a.m. filming. Fun!

(3) You’ve accidentally scheduled Batali to be in two places at once -- tapings for two high-profile TV shows: Rachel Ray's and Martha Stewart's. He’s supposed to be at one studio by 9:00 a.m. and the other by 10:00 a.m. It's now 7:30 a.m. ANSWER: Over scheduling is prevented by FIRST reviewing Mario's calendar. A good coordinator KNOWS what her boss's calendar looks like. Communicate. If this accident did happen, I would contact Rachel's show and bump the time either earlier or later depending on Mario's schedule. Note to self: Rachel's more easy to work with than Martha Stewart and would be more willing to make a change. The confident, powerful, charming communication skills of a media production coordinator would make everything work so Mario would have a smooth stress-free morning. Everybody's happy. Ciao!

(4) Batali is minutes away from going on "Good Morning America" for a live segment in which he’ll prepare his famous pesto. A producer tells you that the llama from a previous segment ate all the basil leaves Mario was going to use. ANSWER: There is a place right outside for me to run and pick up some beautiful basil leaves so Mario can prepare his famous pesto. Here you go Chef. Bon Appetit!

Good luck everyone! =)

Posted by: Liz | May 27, 2011 12:02:15 AM

1. Actually, this happened once while I was working as a production assistant. I politely approached the crew and asked if they could take a 15-minute break so we could tape the segment, offering them doughnuts and coffee from our craft services table. It's important to get approval from the site manager, though, so you don't get in trouble. All in all, the shot went off without a hitch, and the construction workers enjoyed a free coffee break.

2. Given the time frame, I'd try to edit the segment to incorporate the shots with unnecessary ingredients as least as possible. If it's a YouTube video, where resolution is more flexible, I'd go into Final Cut and crop the shot a bit, cutting out the unnecessary items.

3. First, call the segment producer at Rachael Ray's and carefully request to film earlier, due to the demands of Mr. Batali's schedule. I wouldn't mention Martha's show, as she's a competitor, and that would give the producer little incentive to change the time. I'd talk to Batali, explaining the tight time frame, and see if he can shoot at the Rachael Ray Show at 8 or 8:15, giving us enough time to race to Martha at 10.

4. Working calmly and quickly is key here. Using my smartphone, I'd call the nearest grocery store and ask them to set aside some basil as I raced over (Dean & Deluca is less than a quarter mile from GMA). I'd run back, give the basil a quick rinse and set it in a glass of water with a bag covering it so the leaves don't wilt.

Posted by: Candace B. | May 27, 2011 11:48:09 AM

1. I'd always carry gift certificates to free lunch or dinners to one of the Batali restaurants. I'd offer these to the gentlemen if they carry on quietly during the filming and give them AFTER this was done.
2. I stay until the job was done perfectly to edit out and edit in the right images until the job was done.
3. I would quid pro quo for Martha or Rachel a segment in the future to reschedule and keep Mr. Batali on track.
4.I would have always gone to Chelsea Market weekly to keep my cooler messenger bag supplied with whatever he is supposed to use when he is scheduled to do a segment. Back up is just being prepared.
Annie

Posted by: Spokannie | May 27, 2011 1:05:10 PM

To address the situations would be something that any production coordinator could face. To handle the situations I would do the following.

1. First, arrive early and talk to the crew. If a break is not possible be ready to do an audio dub over later on. If there is conversation between someone who works the stand along with the master chef both would have to do an audio dub; however it would be more preferable if the crew could take a break. It may also be an advantageous venture to have Batali and the stand owner walk and show some of the nice background while talking about the produce. Maybe take a few pieces to talk about specifically. Since the finished piece will only be 2 minutes long it is possible that an alternate could be workable.

2. To have ingredients that are not going to be used should not be happening in the first place. Arrive early to make sure the right ingredients are on the table. Always be sure to have a list of what is necessary. Not to mention call ahead and see if the people on that end have the right ingredients. It would be wise to have a contingency plan in place by speaking with Batali beforehand. For example, before any work is done run some scenarios by him and see how he would prefer it be handled. Since it is his name, he should have a say early on in how things work. I would then try to see if the segment could be run at a later date. If all else fails try to edit without making the shots look bad; it may mean that in the end it has to run as is.

3. Scheduling should always have a backup location. Pen/paper and electronic version. In this case it would be in which the shows were originally booked. The first booked gets the priority appearance. The other show would be called and asked if filming could begin a bit later due to a conflict (of course apology is necessary) Based on where the studios are it may work out just fine. However, it is important not to appear upset or upset the other end of the line. Usually shows are not aired live so a situation like this could be accommodated, even if some segments are filmed out of order it is possible to still not have any issues.

4.First, okay have a laugh, because a llama eating the basil would be funny. But seriously it would be an issue of always being ready for anything. All ingredients should be backed up by bringing a set of your own. Or if that is not possible leave enough time where you can stop and get a fresh ingredient. In this type of situations a humor and cool head are needed.

Posted by: Mandy | May 27, 2011 3:32:24 PM

1 - "Please" and "thank you" from this Southern girl, who comes bearing rewards/comps in return for temporary reprieve.

2 - Pan and/or zoom + creative cuts where possible. Lower thirds and graphics if desperate. All hope lost: What's the budget for CGI? Most important: Be thankful you got Mario a pillow for the flight.

3 - Worst case, I'd suggest a tongue-in-cheek Skype session (Batali as chef tutor and Ray as sous). Don't be late for Martha.

4 - No problem, I brought my own basil.

Posted by: Stephanie | May 27, 2011 6:46:45 PM

1) It is all about interpersonal communications, relationships and inclusion. Interact and ask how they can help you and in turn ask how you can help them.

2) AVID. Otherwise realize that viewers will be concentrating on what Mr. Batali’s instructions are and what the recipe guide on the web states to use

3) Again, interpersonal communications and exploring available options with the other show’s producers. It is critical that the segments come off authentic and unrushed – so whatever the best solutions you can negotiate to keep the segments solid, entertaining and informative

4) Audiences love and can relate to mishaps – it happens at home for them all the time. Unless the studio commissary has some available, improvise; laugh and share the reality with the audience.

Posted by: Mr. Batali's Media Production Coordinator | May 28, 2011 3:22:23 PM

1. I would go to the road-repair crew and ask nicely if they could take a 30 minute break when Batali gets to the location. If that doesn't work, I would offer beverages and snacks as a bribe. And if that doesn't work, I'd beg.

2. I would attempt to edit that segment so that the items were not as obvious. I would mention the mistake to Mr. Batali as soon as I could so that he could make decisions about the use of the segment. I would apologize when the mistake was mentioned.

3. I would make sure I was at Rachael Ray's show as early as I could be to ensure that everything was set up so that we could move as quickly as their schedule would allow. I would also have transportation at the ready so that we could move as quickly as possible to Martha Stewart's. I would make sure that all the set up at Martha Stewart's show was completed to make the most of our time there, as well. I would also contact Martha Stewart's show runners to let them know that we may be late, to allow them to make any changes they may need to so that they can keep their show moving smoothly and efficiently.

4. I would find another green, leafy herb or vegetable (like bay, spinach, parsley, oregano) to replace it with and have it pre-chopped. There should be a completed (and correct) pesto ready for the hosts to taste, so mixing the wrong thing in during the demonstration would not be catastrophic.

Posted by: Kristen Britt | May 30, 2011 9:52:40 AM

If he is that famous I guess you can earn big time with him.
I would recommend that you do just what he thinks is fine.

Posted by: interview coaching | May 31, 2011 4:39:43 AM

1) take produce from said stand and start throwing produce at said construction workers and have them chase me for 0.5 hour.

2) get rid of whatever isn't necessary (possibly make a midnight snack).

3) give rachael ray a laxative and fax martha a beer. everybody is late, everybody is (marginally) happy.

4) reach inside the llama, you pick the side, and physically retrieve the basil.

Posted by: victor | May 31, 2011 4:41:04 PM

thanks for the post

Posted by: margie | May 31, 2011 11:14:38 PM

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