Browse content similar to 20/06/2016. Check below for episodes and series from the same categories and more!
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Hello and welcome to a rare glimpse of The One Show with Matt Baker. | :00:17. | :00:20. | |
referendum coverage we've found it hard to get a look in recently. | :00:21. | :00:30. | |
Awkward because when Dave opened up this morning he found one | :00:31. | :00:32. | |
of the world's leading a capella groups outside. | :00:33. | :00:35. | |
They'd flown in specially but the schedulers wouldn't be moved. | :00:36. | :00:42. | |
Then we told them someone had brought in an amazing machine that | :00:43. | :00:45. | |
But when we explained who was hammering at the door | :00:46. | :01:00. | |
demanding to sit on the sofa tonight they finally they gave in. | :01:01. | :01:02. | |
And great line-up to. This machine that makes breakfast. Do not call it | :01:03. | :01:17. | |
today Teasmade, what ever you do. -- do not call it a Teasmade, whatever | :01:18. | :01:23. | |
you do. Not that there's anything wrong with | :01:24. | :01:24. | |
a Teasmade. If you could invent an all in one | :01:25. | :01:30. | |
machine what would it do? Maybe a robot butler. They could | :01:31. | :01:43. | |
maybe get a machine that would dress you. Could they do that? We will | :01:44. | :01:46. | |
ask. This morning I went to interview | :01:47. | :01:47. | |
Britain's greatest ever She was the first British female | :01:48. | :01:49. | |
gymnast to win European, World and Olympic medals and in 2010 | :01:50. | :01:53. | |
she was given an MBE. But earlier this year her life | :01:54. | :01:55. | |
was turned upside down after agreeing to take part | :01:56. | :01:58. | |
in a celebrity TV challenge show. It involved a ski jump. For Beth | :01:59. | :02:11. | |
Tweddle it all started at the age of seven. In a career that spanned 13 | :02:12. | :02:16. | |
years, Beth won numerous titles. She was world champion three times and | :02:17. | :02:21. | |
after winning her Olympic medal she retired as the most successful | :02:22. | :02:23. | |
British gymnast in the history of the sport. Then, on the 7th of | :02:24. | :02:30. | |
February this year, tragedy struck. The Olympic gymnast Beth Tweddle has | :02:31. | :02:33. | |
had surgery on two fractured vertebrae in her neck. The gymnast | :02:34. | :02:38. | |
to won bronze in the London 2012 Olympics crashed into a barrier. Her | :02:39. | :02:42. | |
parents say early indications have been positive. She has been able to | :02:43. | :02:47. | |
move her hands and feet. Five months on and I am meeting up with Beth to | :02:48. | :02:53. | |
find out how her recovery is going. Beth, how you doing? Good, thanks. | :02:54. | :03:01. | |
Come and have a seat over here. Let's go back to the start. What was | :03:02. | :03:05. | |
it about The Jump that made you want to do it in the first place? For me, | :03:06. | :03:09. | |
it was another way to try new challenges. I was learning from some | :03:10. | :03:14. | |
of the best coaches in the world. Read you think about the possibility | :03:15. | :03:18. | |
of getting injured? I think you always think about that. -- did you | :03:19. | :03:24. | |
think. There is always a risk. What happened with that jump? The short | :03:25. | :03:30. | |
is, I did a jump, and I collided with a barrier. I fractured and | :03:31. | :03:34. | |
dislocated my neck. They took a small piece of bone from my hip, put | :03:35. | :03:39. | |
it between the two vertebrae, and I have a bolt and four screws in there | :03:40. | :03:43. | |
now and it is fusing back together. You have coped with a lot of | :03:44. | :03:47. | |
physical injury in your time, but this is a very different thing for | :03:48. | :03:51. | |
you all stop for me, it is still quite a hard thing to talk about. -- | :03:52. | :03:57. | |
different thing for you. That is why I am using a sports psychologist. | :03:58. | :04:02. | |
That is why I am processing the details. Your family have always | :04:03. | :04:06. | |
been by your side throughout your gymnastics career, all over the | :04:07. | :04:10. | |
world, where they with you at the time? They had flown out to watch me | :04:11. | :04:15. | |
that weekend. When I was given that information, you have broken your | :04:16. | :04:19. | |
neck, I had them by my side. My brother walked into the room, I just | :04:20. | :04:23. | |
started sobbing, I was just so happy to see him. The amount of support I | :04:24. | :04:30. | |
was getting from the general public, sending the messages, saying, we | :04:31. | :04:33. | |
have had the same injury as you, we know you will begin a dark place | :04:34. | :04:37. | |
right now, but we are now running marathons. That put a smile on my | :04:38. | :04:41. | |
face, thinking I am not the only one who has gone through this. As far as | :04:42. | :04:45. | |
regret is concerned, how do you feel about it on that front? If you could | :04:46. | :04:50. | |
take the accident out of it, of course I don't regret it, but it has | :04:51. | :04:55. | |
been a very hard road. I have been lucky to have say mini people to | :04:56. | :05:00. | |
support me on that road. -- so many people. Throughout this five months, | :05:01. | :05:05. | |
have you ever doubted the fight you had in yourself? I've been upset. I | :05:06. | :05:13. | |
kept saying to my parents, why am I doing this? This is so unfair. When | :05:14. | :05:17. | |
I was a gymnast, I don't remember that aspect. Where do you want to go | :05:18. | :05:23. | |
from here? I want to be able to go out there and do what I normally do. | :05:24. | :05:28. | |
Love working with children. Inspiring them to achieve their | :05:29. | :05:31. | |
dreams. I'm glad to say I pushed through it. You can tell it is still | :05:32. | :05:39. | |
really raw. She is an inspiration. Even just | :05:40. | :05:43. | |
hearing her talk. All of the physical injury she has had as a | :05:44. | :05:47. | |
gymnast, she's never had to cope with psychological issues like this. | :05:48. | :05:52. | |
She is fighting it and she will. How did she appear to you | :05:53. | :05:58. | |
off-camera? Unsettled. In a way that she's | :05:59. | :06:01. | |
coping with things she's never had to cope with before. But she's | :06:02. | :06:04. | |
getting through it. She will beat it. | :06:05. | :06:10. | |
Bill, you always said you will never take any part in any reality TV show | :06:11. | :06:13. | |
like this, and I imagine this hasn't changed your mind. Absolutely. There | :06:14. | :06:19. | |
are risks involved in everything. But that particular one was | :06:20. | :06:23. | |
particularly risky. A friend of mine, Marcus Brigstocke, he was | :06:24. | :06:28. | |
injured, as well. Of course. That extreme sport stuff is always risky. | :06:29. | :06:33. | |
I'm not going with it. Stick with your tour. | :06:34. | :06:37. | |
Stick with your stand-up. And we are going to talk about Limboland. It is | :06:38. | :06:43. | |
the longest or you've ever done. You have extended the dates. What have | :06:44. | :06:48. | |
you hit upon that people love so much? The jokes, they are always | :06:49. | :06:53. | |
handy. It is a traditional stand-up show. Shows I have done in the | :06:54. | :07:00. | |
recent past have been technical. I have had a lot of screens, films, | :07:01. | :07:05. | |
animation, projection, and it all got out of hand. At one stage I was | :07:06. | :07:08. | |
thinking, this is starting to look like some sort of gigantic | :07:09. | :07:13. | |
multimedia spectacle, not stand-up. I made a conscious effort to make | :07:14. | :07:19. | |
this might a cabaret show, the stand-up I started out doing. | :07:20. | :07:24. | |
Traditional elements such as stories, music, lots of audience | :07:25. | :07:29. | |
participation. It is a very family friendly show, as well, people can | :07:30. | :07:33. | |
bring the kids. Three generations can come to the show. We have a clip | :07:34. | :07:38. | |
of you on the Michael McIntyre shown. British happiness is | :07:39. | :07:42. | |
basically knowing that things could have been a lot worse. That is | :07:43. | :07:48. | |
British happiness. British happiness is, what was your weekend like? Not | :07:49. | :07:52. | |
too bad. We thought it was going to be really bad, but we have dialled | :07:53. | :07:57. | |
it down to not as bad as we thought. We are measuring out our lives in | :07:58. | :08:00. | |
diminishing increments of diminishing expectation. Not too | :08:01. | :08:03. | |
bad. LAUGHTER | :08:04. | :08:12. | |
So true. You reflect on random decisions you | :08:13. | :08:15. | |
have made in your life. Looking back, which ones would have had the | :08:16. | :08:22. | |
most Matic effect on your life had he gone with them, because you | :08:23. | :08:25. | |
delivered cakes for a while, didn't you? I did. Dream job. | :08:26. | :08:32. | |
For many. Had I stuck with that things would have been very | :08:33. | :08:36. | |
different. Strange job. Sometimes the recipients were no longer there. | :08:37. | :08:40. | |
I would turn up, they would tell me they do not work here any more, I | :08:41. | :08:44. | |
would ask, what shall I do with the cake? They would say, you keep it. | :08:45. | :08:50. | |
So I lived off cake for a while. Music, maybe, I have been in music | :08:51. | :08:55. | |
bands... Review nearly became a music professor at one point, didn't | :08:56. | :09:04. | |
you? -- you nearly became. I did a diploma. The next step was a | :09:05. | :09:08. | |
teaching diploma. That is where I was headed. You have to have a lot | :09:09. | :09:11. | |
of patients to be a teacher. My attention span is too short. -- | :09:12. | :09:18. | |
patience. I love spoken word, as well, I love... You know... There, | :09:19. | :09:24. | |
the language, the English language, it is a rich language. I would have | :09:25. | :09:29. | |
been very frustrated if I was a teacher. Do you remember the first | :09:30. | :09:34. | |
time you made somebody laugh? Yes... It was... When I was a kid. It was | :09:35. | :09:39. | |
at a funeral, actually, for an elderly aunt who has passed away. | :09:40. | :09:43. | |
There was tea and sandwiches at the house. I was copying an old Les | :09:44. | :09:49. | |
Dawson routine. I grew up watching him. He was fantastic. He did this | :09:50. | :09:55. | |
routine where he played Tchaikovsky's piano concerto and got | :09:56. | :09:59. | |
it slightly wrong. I practised this routine. I was playing this while | :10:00. | :10:05. | |
people were commiserating. My dad was talking to an elderly relative, | :10:06. | :10:10. | |
jinking tea, then he just spat it out all over this tiny woman's hair. | :10:11. | :10:18. | |
Then my mother swore. She never swore. She dropped a piece of cake. | :10:19. | :10:23. | |
I call it a chaos bomb had gone off. That was the power of comedy. At an | :10:24. | :10:27. | |
early age I just thought there was an enormous power in comedy. | :10:28. | :10:28. | |
You can see Bill in "Limboland" until 10th July. | :10:29. | :10:32. | |
Love it or loath it - modern art certainly divides opinion. | :10:33. | :10:35. | |
I kind of like it, yeah, I do. Quite funny, some of it. | :10:36. | :10:44. | |
With the new Switch building at Tate Modern opening | :10:45. | :10:46. | |
last Friday in London - we sent the people behind its | :10:47. | :10:49. | |
construction to give their opinion on some of the art exhibits. | :10:50. | :10:51. | |
And let's just say their reactions are mixed! | :10:52. | :11:03. | |
And Sarah, I'm an electrician, I worked at the new Tate modern | :11:04. | :11:09. | |
extension. To be honest, I'm not sure what I think about modern art. | :11:10. | :11:17. | |
I'm John, I was a project manager on the external scaffolding. My | :11:18. | :11:21. | |
experience of modern Art is very little. I sometimes feel it is like | :11:22. | :11:26. | |
the Emperor's new clothes. The critics call it art, and maybe | :11:27. | :11:31. | |
nobody else sees it. My name is Claire. My job here at the Tate was | :11:32. | :11:36. | |
an assistant construction manager. As far as art goes, some is decent, | :11:37. | :11:40. | |
I like it, I keep an open mind, some of it, I'm not too fussed about. | :11:41. | :11:45. | |
CHUCKLES My name is Jason. I was a brickwork | :11:46. | :11:58. | |
Foreman. For me, brickwork is art. I like the name of the new building, | :11:59. | :12:02. | |
it is called the switch house after the old electricity power station | :12:03. | :12:05. | |
that used to be here. But I would say that because I am a sparky. When | :12:06. | :12:10. | |
I was last here, the galleries were empty. The artwork was not in place. | :12:11. | :12:16. | |
I would be interested to see what the artwork looks like. | :12:17. | :12:23. | |
I like it, but I don't know if I liked being this close to it. I | :12:24. | :12:31. | |
don't like spiders. No, not at all. I don't mind some sculptures. My | :12:32. | :12:38. | |
normal taste would be into painting, things like that, straightforward | :12:39. | :12:42. | |
stuff, to be honest with you. What was the artist trying to convey? | :12:43. | :12:52. | |
CHUCKLES waste management, reuse, recycle, | :12:53. | :12:55. | |
put products to some sort of use. I wouldn't have it in my house, if I | :12:56. | :13:00. | |
had a big enough house, no. That building is the most difficult job I | :13:01. | :13:08. | |
have ever built and I will ever build. No doubt. Construction | :13:09. | :13:14. | |
started in 2010. First they had to construct a huge steel skeleton. | :13:15. | :13:17. | |
Concrete panels were bolted onto those pieces of steel. We were the | :13:18. | :13:24. | |
last ones to clad all of it with brickwork. The main thing about | :13:25. | :13:28. | |
those bricks is they all look very similar, but they are not. It is | :13:29. | :13:33. | |
just like one huge jigsaw puzzle in the sky. When I stand here and look | :13:34. | :13:37. | |
at it now, it makes me feel really proud I built that. I'm not too sure | :13:38. | :13:42. | |
what is on the inside, but I am looking forward to having a look at | :13:43. | :13:43. | |
it. It is a raw material. Once that raw | :13:44. | :14:08. | |
material is used, I believe that becomes art. I'm not so sure I can | :14:09. | :14:15. | |
see that as art. That, that is a stack of bricks. If I could get my | :14:16. | :14:19. | |
Netherlands to do it like that I would be well happy. | :14:20. | :14:21. | |
CHUCKLES -- levellers. This is fairly simple. | :14:22. | :14:30. | |
Mirrors with holes in. When you look through it it is infinite. You can | :14:31. | :14:34. | |
see a number of holes going on forever. A lot of people will enjoy | :14:35. | :14:43. | |
this one as soon as they see it. It is more like it. Nice and big, nice | :14:44. | :14:48. | |
and bold, colourful, bit of fun. Not really bothered about trying to | :14:49. | :14:51. | |
understand what the artist is trying to say, it is just pleasing. I would | :14:52. | :14:57. | |
have that one on my wall at home, but it would need to be a bit | :14:58. | :14:59. | |
smaller. CHUCKLES | :15:00. | :15:06. | |
She has brought country life into the future, I think that is what | :15:07. | :15:10. | |
that one is. I think the artist is trying to show how communication has | :15:11. | :15:14. | |
evolved. Very interesting. I love radios, I listen to them all the | :15:15. | :15:18. | |
time. There are some fantastic pieces of art in here, but for me it | :15:19. | :15:22. | |
is the building, that is the work of art, that is modern art for me. | :15:23. | :15:27. | |
That little bees got a lot of people talking. She is talking! -- little | :15:28. | :15:39. | |
piece. A Mannus joins us now -- MA Mannus. You saw what the constructor | :15:40. | :15:46. | |
is said and it had quite a reaction. Certainly, as cultural events go, | :15:47. | :15:51. | |
this is a big deal. 143,000 people have visited since it opened, so a | :15:52. | :15:55. | |
lot of contemporary art lovers out there. What makes it different to | :15:56. | :15:59. | |
the Boilerhouse is that there is 60% more space, going global, they | :16:00. | :16:03. | |
believe that great contemporary art comes from all over the world, they | :16:04. | :16:07. | |
will have more women artists, I think Devon team percent when the | :16:08. | :16:13. | |
Tate first opened -- 17%. Really exciting. The first museum to have | :16:14. | :16:18. | |
dedicated space for performance art and digital. If you like things like | :16:19. | :16:26. | |
Matisse's Smale, there is something for you. Give yourself a day to get | :16:27. | :16:32. | |
around it. Saying that, there are many people who are not huge fans of | :16:33. | :16:36. | |
modern Art and trying it for the first time. Is there a section that | :16:37. | :16:41. | |
they should try the first time? They have the start room which is really | :16:42. | :16:44. | |
an introduction but if you want to go to a room that epitomises what | :16:45. | :16:48. | |
they are about, go to the Sheila Goudie room, she has a piece called | :16:49. | :16:55. | |
Behold, it is car bumpers suspended on four kilometres of human hair. | :16:56. | :17:01. | |
What? Human hair! It is like being at a hairdresser. She would love | :17:02. | :17:10. | |
you, Bill? It epitomises the celebration of global art and women. | :17:11. | :17:17. | |
It is exciting, you will walk around thinking, what is this? In one room, | :17:18. | :17:22. | |
the start room, there is a Sainsbury's shopping list behind the | :17:23. | :17:27. | |
Perspex glass and I thought... But you realise what the art is. That's | :17:28. | :17:32. | |
what's fun, you don't have to connect with everything. Stay with | :17:33. | :17:35. | |
us because we are going to have a test for you both. If you want to | :17:36. | :17:39. | |
see Brenda's programme, it is an iPlayer now. Bill, it is time for | :17:40. | :17:46. | |
you to get some breakfast now. Finally I get something! If you've | :17:47. | :17:52. | |
just started watching, we have a machine, that is in the corner, it | :17:53. | :17:56. | |
will do toast can boil an egg, make a cup of tea, and then it will clear | :17:57. | :18:02. | |
up after you, in one go. That is the star prize. Pete Browne and Murphy | :18:03. | :18:06. | |
get are standing by with their invention now. -- | :18:07. | :18:15. | |
there are strings attached. You may have heard the story of the young | :18:16. | :18:19. | |
boy who put a pair of glasses into an art medium in San Francisco and | :18:20. | :18:26. | |
people started taking photos of it. We're going to test you, four | :18:27. | :18:30. | |
pictures and you have two Guess which ones are real art exhibits and | :18:31. | :18:36. | |
which ones are fake. We have four, let's have a closer look. This is | :18:37. | :18:43. | |
the first one called Clean Sweep. OK, some of them you have mocked up? | :18:44. | :18:52. | |
Yes, the question is whether Swan Bifocal is real? This glass on a | :18:53. | :19:02. | |
shelf is called An Oak Tree. And we have this one called Memories. They | :19:03. | :19:07. | |
all look real to me, is it a trick question? Would you have gone to be | :19:08. | :19:17. | |
trouble to put out those brooms? No. Look at the bricks that were laid | :19:18. | :19:21. | |
out. The swan, maybe. The glass looks real, that is real. We like | :19:22. | :19:27. | |
that and then, what do you think, the dustpan and brush or the brooms? | :19:28. | :19:33. | |
I'd go for the brooms. Real or fake? You are saying two and four. Number | :19:34. | :19:41. | |
one, you are right, it is real art, A Clean Sweep by Lucien Smith, | :19:42. | :19:47. | |
inspired by the changing streets of his home City of New York. The | :19:48. | :19:54. | |
second one was created by our props department! The third one which you | :19:55. | :20:00. | |
said it was real, you are right, it is An Oak Tree by the conceptual | :20:01. | :20:05. | |
artist Michael Craig-Martin. Meaning that Memories was a prop, and here | :20:06. | :20:12. | |
is the proof! You mentioned the boiled egg earlier on. Would you | :20:13. | :20:16. | |
like to win it? It is all to play for, Bill. The question is this, | :20:17. | :20:28. | |
which landscape photo was sold for ?2.7 million in 2011? Which one is | :20:29. | :20:37. | |
it? Was it this one? OK, that's just somebody out in their car. Or this | :20:38. | :20:43. | |
one Weston these are just iPhone photos! 2.7 million, surely not. | :20:44. | :20:55. | |
Which one? Are we looking for the real one? I think the first one. | :20:56. | :21:09. | |
Correct, it is by Andreas Gursky. Put the egg on, it's going to | :21:10. | :21:16. | |
happen! Listening to Bill, quite a reminder of how important our voices | :21:17. | :21:21. | |
are to our identity. There was a clip of Bill talking on the radio | :21:22. | :21:24. | |
and you would recognise who he was, but our science man has been to meet | :21:25. | :21:27. | |
somebody facing the reality of losing his voice. Thanks to | :21:28. | :21:33. | |
technology, he will still be heard. The sound of your voice is unique. | :21:34. | :21:37. | |
It is as individual as your face or fingerprints. My voice is a very | :21:38. | :21:42. | |
important part of me, instantly recognisable to the people who know | :21:43. | :21:46. | |
me. So imagine having a disease where you are not only losing the | :21:47. | :21:49. | |
voice of your arms and legs, but your speech as well. Your ability to | :21:50. | :21:53. | |
communicate with the people you love. This is the dire prospect for | :21:54. | :21:59. | |
thousands of people with motor neurone disease. It is an Injera | :22:00. | :22:04. | |
ball, degenerative disorder that causes muscle wastage and often | :22:05. | :22:10. | |
leaves to -- leads to speech loss for the music teacher Malcolm Dowie | :22:11. | :22:16. | |
was diagnosed four years ago. Having music is my life, I have been a | :22:17. | :22:20. | |
singer, I have been on stage, a teacher, I need my voice to | :22:21. | :22:26. | |
communicate with people. I need my voice to cause trouble, it is me, it | :22:27. | :22:30. | |
is my identity. Can you imagine him without his voice? Not really! Is | :22:31. | :22:37. | |
not really. He has always been a very vocal person. Professor Stephen | :22:38. | :22:42. | |
Hawking has one of the most recognised computerised voices on | :22:43. | :22:52. | |
the planet. The accent is describable and everyone can | :22:53. | :22:57. | |
understand it. But in fact it is an off-the-shelf generic voice, one of | :22:58. | :23:01. | |
only a handful available to motor neurone sufferer 's. Scientists at | :23:02. | :23:09. | |
the Andy Raleigh clinic in Edinburgh are pioneering a way to give back | :23:10. | :23:14. | |
motor neurone sufferer is with the -- their voice. This speech | :23:15. | :23:22. | |
therapist is leading the study. So the voice bank project is aiming to | :23:23. | :23:26. | |
create personalised voices for people to use in communication aids | :23:27. | :23:29. | |
rather than the generic ones you might get pre-installed. Malcolm is | :23:30. | :23:34. | |
one of 100 people taking part in the voice banking trial. Today he's | :23:35. | :23:39. | |
going to record his voice before it is lost for ever. Here we go, when | :23:40. | :23:44. | |
the writing turns Reid, will you say that for me. Physicists have found | :23:45. | :23:50. | |
it is not reflection but refraction by the raindrops that causes | :23:51. | :23:55. | |
rainbows. Sorry. That's OK, we will try again. It would take too long to | :23:56. | :23:59. | |
record every word in the English language. To build a personalised | :24:00. | :24:04. | |
synthetic voice you need about ten hours of speech which was somebody | :24:05. | :24:07. | |
with a condition like motor neurone disease can be exhausting. Malcolm | :24:08. | :24:12. | |
will only need to record one hour of speech, which will then be | :24:13. | :24:15. | |
supplemented with recordings from a database. It will be matched and | :24:16. | :24:20. | |
blended with voices of a similar accent, tone and pitch. We all have | :24:21. | :24:28. | |
our egos and don't want to lose. The advantage of this system is that | :24:29. | :24:31. | |
they only need to take fragments of a voice, so even those patients | :24:32. | :24:34. | |
whose condition has deteriorated can be helped. In some ways, it is very | :24:35. | :24:41. | |
poignant, listening to him now. It is, yeah. To think that the | :24:42. | :24:46. | |
wonderful boys is going to go. Unfortunately that is the reality | :24:47. | :24:49. | |
for a lot of people, yes -- wonderful voice. It can take weeks | :24:50. | :24:55. | |
to build a complete synthetic voice but the team are giving Alchemy | :24:56. | :24:58. | |
preview of what is customised computer voice will sound like. -- | :24:59. | :25:03. | |
giving Malcolm a preview. Now we will see what it sounds like, do you | :25:04. | :25:09. | |
want to type something in? OK. My new voice. Another wonderful way of | :25:10. | :25:18. | |
causing trouble. LAUGHTER What do you reckon? It is quite | :25:19. | :25:23. | |
emotional because it is part of him. It is quite reassuring and it gives | :25:24. | :25:29. | |
me that confidence. I think it is fantastic that this kind of | :25:30. | :25:33. | |
technology is going to mean I'm able to communicate, it gives me the | :25:34. | :25:40. | |
opportunity Kameni date -- to communicate using my own voice. | :25:41. | :25:46. | |
Outstanding. Wonderful. That's the most remarkable technology. Isn't | :25:47. | :25:50. | |
it? We have a bit of a technology theme this evening. Bill is waiting | :25:51. | :25:56. | |
for his breakfast. To bring you up to date, his tea has been brewed, | :25:57. | :26:00. | |
poured out and the livered as well. It is a beautiful colour. -- and the | :26:01. | :26:11. | |
livered. A beautiful colour, yes. -- and delivered. The verdict? | :26:12. | :26:22. | |
Delicious. We have the presenter of Britain's Most Spectacular Backyard | :26:23. | :26:27. | |
Builds, Piers Taylor with us. When you are looking for inventors, what | :26:28. | :26:32. | |
were you looking for? We were looking for projects that married | :26:33. | :26:36. | |
real artistry with invention but at the same time, were amateur in their | :26:37. | :26:40. | |
nature and all of these inventions are really set the breaking the | :26:41. | :26:46. | |
amateur. There we are! The amateur spirit that exists up and down the | :26:47. | :26:49. | |
country. Merv and Pete, it is mind-boggling. Tell us what is | :26:50. | :26:55. | |
happening. We didn't expect this, did we? Good save! Nobody saw that! | :26:56. | :27:08. | |
The egg is being delivered by the crane, as you can see, carefully | :27:09. | :27:14. | |
delivered. It will be the perfect egg delivered. There we go. It has | :27:15. | :27:20. | |
got a face on it. I'm going to grab it, there we go. Ooh! | :27:21. | :27:24. | |
APPLAUSE Well done. Where is it | :27:25. | :27:33. | |
APPLAUSE The whole thing is built around this | :27:34. | :27:36. | |
spoon, it started off in Peter's wife, Andrea's kitchen. We had the | :27:37. | :27:43. | |
idea of doing it, we wanted to hold the egg. How do you do that, eight | :27:44. | :27:48. | |
spoon. He took the silver one out of the draw, he bent it into that shape | :27:49. | :27:53. | |
and from that, the whole machine was built around it. Andrei didn't get | :27:54. | :27:59. | |
her spoon back. You are going to do the clearing away as we say goodbye? | :28:00. | :28:04. | |
That's remarkable, it is all we've got time for. Britain's Most | :28:05. | :28:10. | |
Spectacular Backyard Builds is on tomorrow at 8pm on BBC Two. And | :28:11. | :28:15. | |
thanks so much to Bill Bailey. Some more dates have been added to his | :28:16. | :28:18. | |
limb Colantuono, which goes until the 10th of July. We are off there | :28:19. | :28:23. | |
for the next two days because of the football but we will be back on | :28:24. | :28:28. | |
Thursday with Holly Willoughby. Not long until the EU referendum and | :28:29. | :28:32. | |
here is our last word on the subject from Gobsmacked! Chuck it away! | :28:33. | :28:39. | |
# And then you've got to slow it down | :28:40. | :28:44. | |
# Cos if you believe that a love can | :28:45. | :28:47. | |
# And soon you will find that there comes a time | :28:48. | :28:52. | |
# Don't let others change your mind | :28:53. | :29:08. | |
# If I stay there will be double | :29:09. | :29:21. | |
# Should I stay or should I go? | :29:22. | :29:25. | |
# You're happy when I'm on my knees | :29:26. | :29:36. | |
# One day is fine and next it's black | :29:37. | :29:38. | |
# Come on and let me know | :29:39. | :29:42. | |
# If I stay there will be double | :29:43. | :29:57. |