Browse content similar to 16/04/2013. Check below for episodes and series from the same categories and more!
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with Matt Baker. And Alex Jones. Tonight we are joined by a couple we | 0:00:12 | 0:00:16 | |
did not expect to be working together. After all, he was not that | 0:00:16 | 0:00:23 | |
keen about her the last time he was on here. Lisa Riley? I have put her | 0:00:23 | 0:00:29 | |
just above. I don't know, I think she might be our sort of possible | 0:00:29 | 0:00:35 | |
comedy moment. Yeah, maybe!A sort of Ann Widdecombe thing. It is Craig | 0:00:35 | 0:00:45 | |
0:00:45 | 0:00:47 | ||
Revel Horwood and possible comedy Sorry, that was a bit of a... | 0:00:47 | 0:00:54 | |
proved them wrong! You get an absolutely fine now, like a house on | 0:00:54 | 0:00:59 | |
fire. Absolutely! It is really good. Have you seen all the Brucie news in | 0:00:59 | 0:01:04 | |
the paper? Please, he is leading entertainment in this country, do | 0:01:04 | 0:01:06 | |
you think he would miss the opportunity of performing live in | 0:01:06 | 0:01:11 | |
front of 4 million people just to son himself in Barbados? I don't | 0:01:11 | 0:01:18 | |
think so. It did say that he might come back to his Strictly duties. | 0:01:18 | 0:01:23 | |
really don't think so. I know he took one week off last year, but I | 0:01:23 | 0:01:28 | |
cannot see him leaving. He is the trademark for the programme, isn't | 0:01:28 | 0:01:34 | |
he? He is Strictly. He is the last of a dying breed, you know, he | 0:01:34 | 0:01:40 | |
really is, full long variety entertainer. There you go. You both | 0:01:40 | 0:01:43 | |
are still living the Strictly dream, and we will be revealing all later | 0:01:43 | 0:01:50 | |
on. All very exciting! Shortly we will be getting the latest on the | 0:01:50 | 0:01:53 | |
explosions in Boston, talking to Iwan Thomas, who is training for | 0:01:53 | 0:01:58 | |
London marathon, and a former police officer, Martin Bayfield. The police | 0:01:58 | 0:02:02 | |
used a whole array of techniques to track down perpetrators, and Marton | 0:02:02 | 0:02:09 | |
has been investigating one of the latest forensic techniques. | 0:02:09 | 0:02:12 | |
This trade in Stoke-on-Trent was the scene of a house fire that shocked | 0:02:12 | 0:02:17 | |
the local community. When the fire brigade arrived they discovered a | 0:02:17 | 0:02:20 | |
father and two children have escaped the blaze. Tragically, the mother | 0:02:20 | 0:02:30 | |
0:02:30 | 0:02:32 | ||
to firefighters how he had saved his two children and battled the flames | 0:02:32 | 0:02:36 | |
to rescue his wife Amanda from the loft bedroom, but it was to no | 0:02:36 | 0:02:42 | |
avail, she had died in the blaze. But like the recent high profile | 0:02:42 | 0:02:47 | |
Philpott case in which six children died, when the emergency services | 0:02:47 | 0:02:49 | |
started to investigate the fire, certain things just did not stack | 0:02:49 | 0:02:57 | |
up. The Fire Brigade went into the premises, and they realised her body | 0:02:57 | 0:03:03 | |
was not in a natural position. She had been incapacitated in some way, | 0:03:03 | 0:03:07 | |
and the fire had been tampered with. Tests showed that the blaze had not | 0:03:07 | 0:03:11 | |
killed Amanda. She was already dead when the fire began. This left | 0:03:11 | 0:03:18 | |
police with a number of questions, how and when had she died? | 0:03:18 | 0:03:20 | |
Throughout the day, more than a dozen text messages were sent from | 0:03:20 | 0:03:27 | |
her phone, the last one at 7:48pm in the evening. When family members | 0:03:27 | 0:03:30 | |
read the messages, they thought something was wrong. The text did | 0:03:30 | 0:03:35 | |
not look like they had been written by Amanda. Could they give a clue as | 0:03:35 | 0:03:41 | |
to what had happened that day? Detectives began to question | 0:03:41 | 0:03:44 | |
Christopher's story. Could it be possible that he had murdered his | 0:03:44 | 0:03:48 | |
own wife and used her mobile phone to send text messages to cover his | 0:03:48 | 0:03:55 | |
tracks? Police needed expert help. So they came to linguistics | 0:03:55 | 0:03:59 | |
specialist Dr Tim Grant. When he is not teaching, he works with police | 0:03:59 | 0:04:03 | |
forces from all over the UK. He analyses the use of language and | 0:04:03 | 0:04:06 | |
written documents, everything from e-mails to letters to group who | 0:04:06 | 0:04:13 | |
wrote them. -- prove. Staffordshire police asked him to look at the text | 0:04:13 | 0:04:19 | |
sent from the phone. Could he establish who had written them? | 0:04:19 | 0:04:23 | |
first thing you need to do is establish what is consistent in each | 0:04:23 | 0:04:26 | |
of the text in styles, and you need a large collection of messages for | 0:04:26 | 0:04:31 | |
each of them. For Amanda, her phone was destroyed in the fire, so the | 0:04:31 | 0:04:35 | |
police had to collect those messages from friends and work colleagues and | 0:04:35 | 0:04:41 | |
family members, and they collected a set of 200 messages. We had a | 0:04:41 | 0:04:45 | |
similar set of 200 text messages from Christopher Berks. Tim got to | 0:04:45 | 0:04:50 | |
work scrutinising the text in styles used by Christopher and Amanda. So | 0:04:50 | 0:04:54 | |
we have got some examples of the disputed text messages that | 0:04:54 | 0:04:57 | |
Christopher claims Amanda sent. What is it about them that leads out to | 0:04:57 | 0:05:02 | |
you? We have got this first message, sent at about one o'clock. This | 0:05:02 | 0:05:10 | |
message says, not sure yet, I am just talking with Chris. We have the | 0:05:10 | 0:05:13 | |
spelling which is typical of Christopher's style. And we have the | 0:05:13 | 0:05:19 | |
spelling of with, which is also a Christopher style beach that only he | 0:05:20 | 0:05:24 | |
uses. So that was at one o'clock. We then roll on, the clock is ticking, | 0:05:24 | 0:05:33 | |
there is another text. This spelling is definitely a Christopher feature, | 0:05:33 | 0:05:41 | |
he only spells it that way. analysed more texts sent from | 0:05:41 | 0:05:44 | |
Amanda's bone that day. He concluded that Christopher probably wrote all | 0:05:44 | 0:05:50 | |
of them. Was there a time where suddenly they started to appear? | 0:05:50 | 0:05:54 | |
Yes, after 12:39pm there are no messages that you would attribute to | 0:05:54 | 0:06:01 | |
Amanda. So detectives believe that he probably killed his wife some | 0:06:01 | 0:06:03 | |
time before 12:39pm in the afternoon, and later that night he | 0:06:03 | 0:06:09 | |
set fire to the house to cover his tracks. Forensic linguistics was | 0:06:09 | 0:06:15 | |
crucial to helping police solve the case. It is important because it | 0:06:15 | 0:06:19 | |
shows a full picture of what happened. There was some sort of | 0:06:19 | 0:06:25 | |
planning post Amanda being murdered to try to cover his tracks. Although | 0:06:25 | 0:06:29 | |
he initially pleaded not guilty to murder, when prosecutors put all the | 0:06:29 | 0:06:33 | |
evidence to him, he changed his plea to guilty on the first day of his | 0:06:33 | 0:06:37 | |
trial. Christopher Berks must surely have thought he got away with | 0:06:38 | 0:06:42 | |
murder, but he was nailed by his own words and is now serving a minimum | 0:06:42 | 0:06:48 | |
of 19 years in prison. Proof that techniques like that are | 0:06:48 | 0:06:53 | |
vital, and all eyes will be on the capital for bomb threat this week, | 0:06:53 | 0:06:56 | |
but tech we sought there have been used to deal with previous threads, | 0:06:56 | 0:07:02 | |
haven't they? Yes, and Dr Tim Grant, who we sought there, was | 0:07:02 | 0:07:06 | |
called in by the police a few years ago to try to a nurse who was | 0:07:06 | 0:07:11 | |
responsible for a bomb threat in London. Police had a guy in custody, | 0:07:11 | 0:07:15 | |
Dhiren Barot, and they got hold of some plans, they thought this guy | 0:07:15 | 0:07:21 | |
was going to plant gas canisters in cars around the capital, but they | 0:07:21 | 0:07:25 | |
could not link the two. He got hold of some letters that he knew Dhiren | 0:07:25 | 0:07:29 | |
Barot had written, compared them with the plans that they had got. It | 0:07:29 | 0:07:33 | |
took him 36 hours to piece it all together and he said, in all | 0:07:33 | 0:07:37 | |
probability, he wrote those plans. The guy was found guilty, a crucial | 0:07:37 | 0:07:42 | |
part of it, piecing it altogether. It is going to be a particularly | 0:07:42 | 0:07:45 | |
busy day for the Metropolitan Police over the next few days with the | 0:07:45 | 0:07:48 | |
funeral tomorrow and the London Marathon on Sunday, are there | 0:07:48 | 0:07:53 | |
substantial measures in place to keep the capital safe? Well, there | 0:07:53 | 0:07:56 | |
will be. Listening to the Metropolitan Police commissioner, | 0:07:56 | 0:08:01 | |
they are putting more officers on the ground. There is huge experience | 0:08:01 | 0:08:05 | |
from the London Olympics. Of course. Baroness Thatcher's funeral as well. | 0:08:05 | 0:08:09 | |
But the big thing is, at the moment there is no specific threat, but | 0:08:09 | 0:08:13 | |
police are saying they will be doing everything they can to make sure | 0:08:13 | 0:08:16 | |
that the public is safe, but they are also asking the public to do | 0:08:16 | 0:08:20 | |
what they can to make their job a lot easier. So don't leave bags | 0:08:20 | 0:08:25 | |
lying around, don't cause trouble, don't drag policeman away for petty | 0:08:25 | 0:08:31 | |
problems when their aim is to make sure everyone is safe. Iwan, like | 0:08:31 | 0:08:35 | |
many others, you have been putting in enormous effort for the weekend, | 0:08:35 | 0:08:39 | |
are you worried? What was your reaction when you saw Boston? | 0:08:39 | 0:08:42 | |
Shock, devastation and sadness, my heart goes out to everyone in | 0:08:42 | 0:08:47 | |
Boston. I then thought, what about London? Will lightning strike | 0:08:47 | 0:08:52 | |
twice? I think we have got to stand strong as a nation, I am definitely | 0:08:52 | 0:08:56 | |
going to compete, I'm going to be there, I have trained so hard, I am | 0:08:56 | 0:09:00 | |
raising money for charity, and that is the sad thing. There is evil | 0:09:00 | 0:09:06 | |
people in this world, we have seen that in Boston, how can you police a | 0:09:06 | 0:09:11 | |
26.2 mile route? It is open.That is the joy of London, the people who | 0:09:11 | 0:09:16 | |
come out to support you, so, like Martin said, you need the public to | 0:09:16 | 0:09:20 | |
be vigilant, and hopefully people will not be deterred, and as a | 0:09:20 | 0:09:24 | |
nation we need to come together and be strong. What is the latest news | 0:09:24 | 0:09:29 | |
on a marathon? There is a campaign in place. The organisers have said | 0:09:29 | 0:09:33 | |
we are going to have a 32nd silence at the beginning, and everybody who | 0:09:33 | 0:09:39 | |
picks up their race pack will get a black ribbon to wear in memory and | 0:09:39 | 0:09:43 | |
respect of Boston. I've heard people don't buy Boston Red Sox tops, they | 0:09:43 | 0:09:47 | |
are all sold out, because want to show support. Sport is a great thing | 0:09:47 | 0:09:52 | |
to bring people together, and hopefully in London we can do Boston | 0:09:52 | 0:09:57 | |
crowd. Good luck on Sunday, and thank you again. Very quickly, what | 0:09:57 | 0:10:06 | |
time are you going for? Oh! Between 3.40 and four hours. Go for it! | 0:10:06 | 0:10:09 | |
the next two days Ruth Goodman will be going on a very moving real-life | 0:10:09 | 0:10:15 | |
journey into the past. She will be hearing the story of people who were | 0:10:15 | 0:10:20 | |
treated in ways that would now be thought of as barbaric. | 0:10:20 | 0:10:23 | |
It is views like these that make the Brecon Beacons in south Wales a | 0:10:23 | 0:10:26 | |
popular holiday spot, but this stunning landscape was once seen | 0:10:26 | 0:10:31 | |
through very different eyes. Between 1922 and 1959, hundreds and hundreds | 0:10:31 | 0:10:34 | |
of children were brought here, separated from their families not | 0:10:34 | 0:10:39 | |
just for days or weeks, but in some cases for years on end. All in the | 0:10:39 | 0:10:47 | |
name of a duo. -- AQ. This Castle was a sanatorium, a remote haven | 0:10:47 | 0:10:50 | |
where children were taken to recuperate from tobacco loses, a | 0:10:50 | 0:10:54 | |
disease that was killing tens of thousands of people in the early | 0:10:54 | 0:10:59 | |
20th century. -- tuberculosis. Sanatorium's were often the only | 0:10:59 | 0:11:07 | |
option before antibiotics. You were placed in an environment where you | 0:11:08 | 0:11:11 | |
could be able to heal. The big problem is that you are isolating | 0:11:11 | 0:11:14 | |
people from their families and friends, perhaps for years at a | 0:11:14 | 0:11:24 | |
time. Over 40 years, hundreds of children were treated here. Roy | 0:11:24 | 0:11:28 | |
spent 18 months at the Castle. He arrived here when he was three. | 0:11:28 | 0:11:32 | |
was such a long journey, it seemed to take all day. I remember when I | 0:11:32 | 0:11:36 | |
got out of the vehicle and I saw the side of this Castle, it was a bit | 0:11:37 | 0:11:42 | |
frightening, you know, it was a big building. Ann Peters was 11 when she | 0:11:42 | 0:11:47 | |
came and spend two years. I was put to bed, my mother said goodbye and | 0:11:47 | 0:11:52 | |
she was gone and that was it. not believe she was going to go. My | 0:11:52 | 0:11:55 | |
mother started saying, I will have to go back and look after your | 0:11:55 | 0:12:05 | |
0:12:05 | 0:12:05 | ||
brothers. I was in Ward two, it was a huge room. When I first went in, I | 0:12:06 | 0:12:10 | |
was behind the door, I couldn't see anything, I didn't like it there. | 0:12:10 | 0:12:16 | |
were the same group all the time, now and again a new person would | 0:12:16 | 0:12:19 | |
come in. Sometimes someone would pass away in the night, you would | 0:12:19 | 0:12:25 | |
say, where has Dave gone? They would say, his mum came for him. With no | 0:12:25 | 0:12:31 | |
queue up for TV, the treatments, while at the ministered with the | 0:12:31 | 0:12:37 | |
best of intentions, were undeniably harsh. -- cue for TV. They included | 0:12:37 | 0:12:39 | |
immobilisation, forcing active children to lie flat on backs day | 0:12:39 | 0:12:47 | |
and night. Pamela was eight years old when she was admitted. I have | 0:12:47 | 0:12:52 | |
plaster of Paris from my head to my feet so I could not move. I could | 0:12:52 | 0:12:57 | |
move my hands, that was it for two and a half years. I had to lie flat | 0:12:57 | 0:13:04 | |
on my back, I did venture up on my elbow one day, and the doctor found | 0:13:04 | 0:13:07 | |
me and said, if she caught me doing it again, I would be put in plaster | 0:13:07 | 0:13:12 | |
of Paris and taken upstairs to be looked after in her room. She | 0:13:12 | 0:13:17 | |
frightened me so much I never sat up. Cold, fresh air was thought to | 0:13:17 | 0:13:20 | |
be curative, so the sickest children actually lived outside on the | 0:13:21 | 0:13:25 | |
balcony. They were never brought indoors, and some spent years | 0:13:25 | 0:13:31 | |
outside in all weathers. At the front there was a railing and a | 0:13:31 | 0:13:37 | |
glass roof and Nottingham, just the elements. It was so cold, I can only | 0:13:37 | 0:13:44 | |
remember the cold and the wind. Rain, shine, snow, everything, you | 0:13:44 | 0:13:49 | |
would have a tarpaulin to put over your bed to keep it dry. The birds | 0:13:49 | 0:13:53 | |
used to come in, robins and sparrows. You would throw crumbs to | 0:13:53 | 0:14:03 | |
0:14:03 | 0:14:03 | ||
them, they would just come onto the bed, they would hop on your hand. | 0:14:03 | 0:14:07 | |
Nurses and doctors, I had a big smile on my face, they say I loved | 0:14:07 | 0:14:13 | |
it, but I hated it! In hindsight, we know that none of the treatments | 0:14:13 | 0:14:21 | |
were really very helpful. That is quite a sad thing to have to admit. | 0:14:21 | 0:14:24 | |
Today an active tuberculosis infection can be treated with a | 0:14:24 | 0:14:27 | |
course of antibiotics, but the powerful memories of those were | 0:14:27 | 0:14:33 | |
experienced a very different treatment are still with us, and it | 0:14:33 | 0:14:37 | |
is not just memories that survive. The Castle still stands today, and | 0:14:37 | 0:14:40 | |
tomorrow we will be going inside with some of the former patients who | 0:14:40 | 0:14:44 | |
were treated here. We will hear more fascinating stories from a radically | 0:14:44 | 0:14:54 | |
0:14:54 | 0:15:10 | ||
I love anything like that. I've just done Waterloo Road and my | 0:15:10 | 0:15:16 | |
character has TB. You are back on the road with a brand new show | 0:15:16 | 0:15:21 | |
about Strictly, but give us an idea about how the show goes? People go | 0:15:21 | 0:15:25 | |
to the tour, but what people don't know is what goes on behind the | 0:15:25 | 0:15:32 | |
scenes. You two were in it, you know everything. We do! We are | 0:15:32 | 0:15:36 | |
going to lift the lid on that. very much - it's your personal | 0:15:36 | 0:15:40 | |
journey and you are playing yourself in this and Craig, this | 0:15:40 | 0:15:45 | |
was your idea? I thought it could go on another journey. I know we | 0:15:45 | 0:15:50 | |
use that word a lot, but you've had a fantastic and amazing and | 0:15:50 | 0:15:54 | |
incredible life as well and you had to deal with your mother's death | 0:15:54 | 0:15:58 | |
two weeks before you went on to do Strictly and you don't shy away | 0:15:58 | 0:16:02 | |
from that. You don't shy away from that then? No, when the show was | 0:16:02 | 0:16:06 | |
going on, I didn't want it mentioned at all. It was in the | 0:16:06 | 0:16:11 | |
papers, but I wouldn't want anyone to think to vote for me because of | 0:16:11 | 0:16:16 | |
my mum and she would have hated that. I did it in a courageous way | 0:16:16 | 0:16:22 | |
and thanks to Craig's writing we will embrace my mum's life through | 0:16:22 | 0:16:31 | |
dance and music. It's a dance spectacular that has a gear to it. | 0:16:31 | 0:16:34 | |
It gives the professional dancers, and Ian Waite, who people haven't | 0:16:34 | 0:16:39 | |
seen on the telly for a year or so and it's great to see him with | 0:16:39 | 0:16:46 | |
Natalie and they'll do all the ballroom and Artem, who is going to | 0:16:46 | 0:16:50 | |
be your Robin Windsor. It's not a bad thing. They've tried the | 0:16:51 | 0:16:55 | |
dancing and it's great. We have a lot of ten fantastic performers, | 0:16:55 | 0:17:00 | |
five of which play the instruments and sing and dance and they act. | 0:17:00 | 0:17:06 | |
It's going to be interesting seeing Artem doing his acting. They've all | 0:17:06 | 0:17:10 | |
got dialogue and it's telling their life story of how he grew up in | 0:17:10 | 0:17:14 | |
Russia and got to America and finally ended up on the series and | 0:17:14 | 0:17:19 | |
what happens back stage. They get nervous. Does Artem get to do what | 0:17:19 | 0:17:29 | |
0:17:29 | 0:17:33 | ||
Robin did so fantastically. Let's # You better think | 0:17:33 | 0:17:43 | |
0:17:43 | 0:17:44 | ||
# What you're going to do to me... APPLAUSE | 0:17:44 | 0:17:48 | |
It took us a while to get there. Does eget to jump into your arms? | 0:17:48 | 0:17:53 | |
He will be jumping in my arms, yeah. It's that exact routine. I can't | 0:17:53 | 0:17:58 | |
wait to see the transfer. That's why we have called it Strictly | 0:17:58 | 0:18:04 | |
Confidential. It's confidential information about the personal | 0:18:04 | 0:18:09 | |
lives and it comes to a head in a series of dance routines. It's not | 0:18:09 | 0:18:15 | |
ballroom and Latin, but All That Jazz and musical theatre. Yeah. | 0:18:15 | 0:18:19 | |
It's loaded? Shakespeare. It's going to be great fun. You have | 0:18:20 | 0:18:24 | |
outfits on display. All of that. That's live on stage. That is the | 0:18:24 | 0:18:30 | |
cha-cha one. Any excuse for the costumes. We love the sparkle.Good | 0:18:30 | 0:18:35 | |
luck with it all. Thank you.For years, the professional dancers on | 0:18:35 | 0:18:41 | |
Strictly have worked their magic, teaching certain contestants how to | 0:18:41 | 0:18:47 | |
appear graceful and in time. Not me, I was a natural, wasn't I Craig? | 0:18:47 | 0:18:53 | |
You were indeed. How do you get the same result out of a horse? | 0:18:53 | 0:18:56 | |
Brilliant. Cheers, Bruno. That was fantastic. | 0:18:56 | 0:19:00 | |
LAUGHTER For thousands of years, controlling | 0:19:00 | 0:19:06 | |
a horse in battle was a matter of life or death. A single wrong step | 0:19:06 | 0:19:14 | |
would spell disaster. As such, porst manship -- horsemanship | 0:19:14 | 0:19:21 | |
involved into an armform. But as the centuries passed, these knights | 0:19:21 | 0:19:26 | |
on horseback became wealthy courtiers and it symbolised not | 0:19:26 | 0:19:31 | |
just a riders talent as a soldier, but his status as a gentleman. The | 0:19:31 | 0:19:35 | |
leaps and bounds that had once saved a soldier's neck now drew | 0:19:35 | 0:19:41 | |
excited gasps from the Lords and ladies. So, what began as a water- | 0:19:41 | 0:19:45 | |
time survival, slowly transformed into a more peaceful performance, | 0:19:45 | 0:19:50 | |
known today as dressage. It was at the London 2012 Games that the | 0:19:50 | 0:19:54 | |
British public witnessed the climax to this journey of animal mastery, | 0:19:54 | 0:20:04 | |
0:20:04 | 0:20:08 | ||
when the UK won gold. It was here in Derbyshire during the 17th | 0:20:08 | 0:20:12 | |
century that the art of horsemanship first made its way off | 0:20:12 | 0:20:16 | |
the battlefields and on to the lawns of the English country house. | 0:20:16 | 0:20:22 | |
Boll sover was rebuilt by William Cavendish, the Duke of Newcastle. | 0:20:22 | 0:20:27 | |
As horse master to King George II, he was a great lover of the animals | 0:20:27 | 0:20:33 | |
and devoted his home to their training. This is now just one of | 0:20:33 | 0:20:37 | |
four schools of classical dressage in the world. This is not your aver | 0:20:37 | 0:20:41 | |
rang riding arena? It's so impressive. If you step further | 0:20:41 | 0:20:46 | |
back, you can get an even more fantastic view of it. Look at the | 0:20:46 | 0:20:50 | |
size of it. It's one of the grandest stables you can imagine. | 0:20:50 | 0:20:55 | |
Tell me did Cavendish. He sounds colourful. How can one describe | 0:20:55 | 0:21:01 | |
him? Fantastic. Born into an age in 1593 and grew up being trained in | 0:21:01 | 0:21:09 | |
the arts, art of riding horses, and he took it one stage further and | 0:21:09 | 0:21:13 | |
really provided a transitional period from being a battle | 0:21:13 | 0:21:16 | |
manoeuvre into something much more refined and a gentleman's pursuit. | 0:21:16 | 0:21:20 | |
It's more than 300 years since classical dressage has been | 0:21:20 | 0:21:23 | |
performed publicly here at the castle, but all that is about to | 0:21:24 | 0:21:29 | |
change. As a world-famous riding school re-opens its doors to the | 0:21:29 | 0:21:34 | |
public. Preparing for that is the modern-day horse master, Alan | 0:21:34 | 0:21:44 | |
Larson. Menage as it was known then or dressage as it is known now, is | 0:21:44 | 0:21:48 | |
the ultimate co-operation between the horse and rider. In the 15th | 0:21:48 | 0:21:53 | |
and 16th centuries it had been all about breaking the horse's spirit. | 0:21:53 | 0:21:59 | |
There had been ridiculous techniques involving hedgehogs on | 0:21:59 | 0:22:05 | |
the end of polls and using them to provoke the course. Cavendish | 0:22:05 | 0:22:09 | |
worked with the horse. His methods were about empathy with the horse. | 0:22:09 | 0:22:13 | |
He writes about the way in which you pet a horse, or certain words | 0:22:13 | 0:22:21 | |
that you use with it. It is said that when he entered the stables | 0:22:21 | 0:22:26 | |
his horses would whinney in delight as he recognised him. How on earth | 0:22:26 | 0:22:30 | |
can something so beautiful evolve from what was happening on the | 0:22:30 | 0:22:35 | |
battlefield? A lot of modern manoeuvres in dressage, even a | 0:22:35 | 0:22:40 | |
simple half-pass, or being able to turn, was incredibly helpful in | 0:22:40 | 0:22:44 | |
getting the drop on your opponent. Today, especially for the One Show | 0:22:44 | 0:22:48 | |
and ahead of the grand re-opening, this is the first time that | 0:22:48 | 0:22:51 | |
classical dressage is going to be performed at the castle for over | 0:22:51 | 0:23:01 | |
0:23:01 | 0:23:10 | ||
300 years. Thank you very much. Today, thanks to no small part to | 0:23:10 | 0:23:14 | |
William Cavendish, the Duke of Newcastle, horsemanship have moved | 0:23:14 | 0:23:21 | |
from battlefield to big screen, a sport for kings gone global. I can | 0:23:21 | 0:23:28 | |
see you doing that. I love a bit.I like the dancing. We can do it in | 0:23:28 | 0:23:32 | |
the opening. Lovely.The poor horse. Having me on it. It's not fair! | 0:23:32 | 0:23:36 | |
Well, guess what, though, horses aren't the only animals that can | 0:23:36 | 0:23:41 | |
dance. It's true.If you would like to give some scores and comments on | 0:23:41 | 0:23:44 | |
the following performances, that would be much appreciated. First up, | 0:23:45 | 0:23:50 | |
what about this bird of paradise, wielding its cape in the paso doble. | 0:23:50 | 0:23:53 | |
I'm loving the cape action, darling. You can't deny that. The woman | 0:23:53 | 0:24:01 | |
should be the cape and that lovely bird is being a fantastic matador. | 0:24:01 | 0:24:06 | |
I think the technique there is absolutely sensational and it does | 0:24:06 | 0:24:10 | |
remind me of some your dancing actually. Thank you, Craig. I | 0:24:10 | 0:24:16 | |
thought it was brilliant. Next, dancing the foxtrot we have a | 0:24:16 | 0:24:22 | |
delightful pair of Clarks Grebes. Look at that. Look at the posture. | 0:24:22 | 0:24:29 | |
High in the chest. Beautiful. All the heel leads. I thought about | 0:24:29 | 0:24:33 | |
Alex here. You and James. fantastic unison. That is what it's | 0:24:33 | 0:24:42 | |
all about. Grace, style, elegance and beauty. You've got all. | 0:24:42 | 0:24:48 | |
Matching costumes. If only I was as good the the goose. It's not a | 0:24:48 | 0:24:54 | |
goose. I tell you what, this is my favourite. What about this flai | 0:24:54 | 0:25:03 | |
buoyant creature? -- flamboyant creature? Oh, no.Is that you? | 0:25:03 | 0:25:10 | |
Sadly. This is for international os procyst. This is boogy for -- | 0:25:10 | 0:25:17 | |
osteoporosis and this is the campaign, boogy for the campaign. - | 0:25:17 | 0:25:21 | |
- Boogie for the campaign. It's the hairstyle. Look at that. You've | 0:25:21 | 0:25:26 | |
been very honest, so you have to give a mark for yourself out of ten. | 0:25:26 | 0:25:31 | |
Well, ten obviously. You know I'm always honest. Speaking of tens, | 0:25:31 | 0:25:34 | |
tomorrow morning from 10am the world's media will broadcast the | 0:25:34 | 0:25:39 | |
funeral of former, Baroness Thatcher. -- Prime Minister, | 0:25:39 | 0:25:43 | |
Baroness Thatcher. Tonight we catch a different side of the Iron Lady, | 0:25:43 | 0:25:47 | |
one from behind the cameras. Richard Stone and I've painted Lady | 0:25:47 | 0:25:54 | |
Thatcher's pore trait six times. -- portrait six times. This is the | 0:25:54 | 0:26:02 | |
last portrayal. This sitting took place in a in the garden of the | 0:26:02 | 0:26:06 | |
Royal Hospital Chelsea, where her ashes will be scattered. We decided | 0:26:06 | 0:26:12 | |
to work with the title Retirement. She did give me one of her sort of | 0:26:12 | 0:26:17 | |
steely gazes and said, "Retirement?". It's not the | 0:26:17 | 0:26:24 | |
portrait of a Prime Minister any more. This is a portrait of an | 0:26:24 | 0:26:29 | |
elderly lady in her twilight years but I think it captures that aspect | 0:26:29 | 0:26:39 | |
0:26:39 | 0:26:40 | ||
of Lady Thatcher that very few people ever saw. The first time I | 0:26:40 | 0:26:44 | |
met Lady Thatcher, of course, I was nervous. The very fact that I | 0:26:44 | 0:26:48 | |
didn't spill paint on the carpet and I was on time. We got along | 0:26:48 | 0:26:54 | |
then. Actually, the conversations that we Peteed itself so often was | 0:26:54 | 0:27:02 | |
the joys of home cooking. I took along my wife's recipe for we'll sh | 0:27:02 | 0:27:07 | |
rarebit and we include beer in ours and Lady Thatcher thought for a | 0:27:07 | 0:27:11 | |
moment and said, "I don't think we have any beer in the house. Will it | 0:27:11 | 0:27:21 | |
0:27:21 | 0:27:22 | ||
still work with gin?". There was more serious talk about the | 0:27:22 | 0:27:28 | |
violence and she was trying to explain the SAS invasion at the | 0:27:28 | 0:27:32 | |
Falklands. She would get the teapots and cups on the table and | 0:27:32 | 0:27:35 | |
she would get extremely emotional and there would be a catch in her | 0:27:35 | 0:27:45 | |
voice and sometimes close to tears, recalling the very difficult times. | 0:27:45 | 0:27:48 | |
Here's a photograph of the very first picture. I wanted to get | 0:27:48 | 0:27:55 | |
really the fire behind the ierz. It was that sort of -- eyes. It was | 0:27:56 | 0:28:01 | |
that sort of steeliness that one wanted to get. He pleased he hugely | 0:28:01 | 0:28:05 | |
when she took a long look at the picture and said, "It is at one | 0:28:05 | 0:28:13 | |
would like to be remembered." What a hell of a compliment. That is a | 0:28:13 | 0:28:17 | |
compliment. Thank you so much, Richard. You two have both sat for | 0:28:17 | 0:28:22 | |
portraits yourselves, haven't you? I did mine in drag. Of course. Have | 0:28:23 | 0:28:29 | |
you got it at home? It's at my mum's house. In which room?In the | 0:28:29 | 0:28:34 | |
livingroom, above the fire place. Where else would it be with me | 0:28:34 | 0:28:39 | |
looking delicious? What about you? They did me as Audrey Hepburn, the | 0:28:39 | 0:28:43 | |
famous picture and it was my face. I really enjoyed it and it was nice | 0:28:43 | 0:28:48 | |
to see it. Is it a photograph or a painting? A painting. It's at my | 0:28:48 | 0:28:53 | |
house. Not above the fire place. Well, that's it for tonight. | 0:28:53 | 0:28:58 |