Quote Originally Posted by sheffield hatter View Post
I've got a theory that all the train interior shots are done on the same train, maybe going up and down the same line on a carriage they've booked out. (The absence of screaming kids is one giveaway; and the horrible Manc that I came across last week who called me a dickhead just because he was sitting in the bicycle space, where I wanted to put my bike.) He's got the script for the whole series, so all he has to do is remember it's the "red jacket, blue trousers" for episode 1, "yellow jacket, green trousers" for 2, etc. Then they drive thje shole production crew to the appropriate station and film him walking along a platform in bright sunshine as a train pulls out. Again, the absence of screaming kids and that annoying cyclist (or the bloke calling him a dickhead) are a giveaway.

The other thing that annoys me (not just Michael Portillo) is when all non-fictional prpogrammes have this fictionalised narrative. I mean when they film at location A, then location B, then location C, then it's "meanwhile back at location A". When you know damn well they've only sent a film crew and reporter to location A one time and one time only. No one has gone "back" there. Now feature writers in the Guardian (and who knows, perhaps other newspapers too) are doing the same. Even if they've done telephone interviews, or just emailed a few friends, and friends of friends, there's always a "meanwhile back at location A". Give us a break!
I suspect that the content is completely out of MP's hands., Your other comments are simply a reflection on the way TV programmes are edited today (on all channels). They start up with a "coming up" section which us repeated in any commercial breaks. This is all done to save money as it's basically repeat material within an original programme.