Premieres and the red carpet: thirty seconds at the kerb, and why we rehearse them
A premiere gives you about thirty seconds at the kerb, in front of cameras, on a road that is half closed. It looks effortless when it is done right and mortifying when it is not. So we treat the drop-off as choreography: which side the door opens, where the car goes after, and how it gets back to you when the carpet is packed away.
What we actually do
The thirty seconds, rehearsed. We know which side the cameras are, which door to open, and how long the car can hold before it is waved on. You step out into the right frame, not the traffic.
The road closures, worked out. Leicester Square and the West End close and divert on premiere nights. We know the live approach and the drop the marshals will actually allow.
The car after the drop. Once you are on the carpet the car cannot linger; we hold on a worked-out loop and come back on your call, not on a circle of the block.
Short notice, handled. Premieres firm up late. We take bookings on forty-eight hours and reshuffle the drop when the closures change on the day.
How we prepare
Honestly, though
You do not need us to circle the block. Once you are inside, a car crawling the West End burning the meter helps no one. We hold somewhere sensible and come back when you call; that is cheaper and it works better.
The carpet side is your choice. Some people want the cameras, some want the quiet door. Tell us which; we will not put you in front of a lens you did not ask for.
Tell us the venue and the time, even at short notice, and we will plan the drop, the side and the pickup, with a fixed price back.