Browse content similar to 22/07/2016. Check below for episodes and series from the same categories and more!
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What have you got in store for me tonight, Al? | :00:26. | :00:27. | |
All I can tell you - we've got a really big guest. | :00:28. | :00:39. | |
Hello and welcome to The One Show, with Alex Jones. | :00:40. | :00:42. | |
And - back for the second time this week - it's Nina Wadia! | :00:43. | :00:49. | |
APPLAUSE Thank you. I wasn't expecting that. | :00:50. | :00:59. | |
Tonight's guest is a genuine giant of stage and screen. | :01:00. | :01:01. | |
Please welcome the Big Friendly Giant himself - Mark Rylance! | :01:02. | :01:22. | |
Nice to see you, take a seat. That's the best opening we've ever had to | :01:23. | :01:36. | |
the show. You have destroyed the set! | :01:37. | :01:38. | |
We'll be hearing all about your role | :01:39. | :01:45. | |
in the BFG later - but Mark, Nina - this isn't | :01:46. | :01:47. | |
We were doing the Scottish play... I do not say it, and I was playing the | :01:48. | :02:01. | |
first witch. How did I poison you, do you remember? You poured milk | :02:02. | :02:08. | |
into my mouth. From your mouth. It was quite a challenge. Poor Mark had | :02:09. | :02:15. | |
to suffer it for six months! Other things are more difficult to suffer | :02:16. | :02:19. | |
in that play. Did you promise to brush your teeth every night? I did! | :02:20. | :02:25. | |
Turning yourself into a giant isn't nearly as hard as you might think. | :02:26. | :02:28. | |
This is at the giant's Causeway. That's his girlfriend, wife, sister, | :02:29. | :02:38. | |
who knows, over his shoulder. Whether you took them on holiday, | :02:39. | :02:40. | |
or you're taking them especially for us tonight - | :02:41. | :02:44. | |
send them to the usual address. When you see Mark in the BFG you'll | :02:45. | :02:46. | |
see he looks exactly like the illustrations | :02:47. | :02:49. | |
in Roald Dahl's original book. We sent our own BFG to meet | :02:50. | :02:52. | |
the "phizz-whizzing" DRAMATIC MUSIC | :02:53. | :02:57. | |
SCREAMING I don't know why everybody is | :02:58. | :03:27. | |
screaming. I is the big friendly Gyles. SCREAMING | :03:28. | :03:39. | |
My adventure started yesterday. I was wondering around this town being | :03:40. | :03:49. | |
screamed at by people. Through somebody's window I started reading | :03:50. | :03:54. | |
this twiddly book. A man called Roald Dahl wrote it about a little | :03:55. | :03:58. | |
orphan called Sophie and the giant man she meets. They go on a | :03:59. | :04:03. | |
wonderful adventure to capture all the bad giants to stop them eating | :04:04. | :04:10. | |
human beings. He's amazing, I thought to myself. I want is to be | :04:11. | :04:19. | |
like him. So I went off to meet with the man who drew him, Quentin Blake. | :04:20. | :04:24. | |
I was commissioned to do 12 drawings for the book. I did them, and the | :04:25. | :04:29. | |
whole book was set and at the printers when they rang up and said, | :04:30. | :04:34. | |
he's not happy. The reason he wasn't happy was, there weren't enough | :04:35. | :04:41. | |
pictures! So Quentin drew a lot more and started changing how the BFG | :04:42. | :04:45. | |
looked. In the early pictures he's wearing boots and an apron. But they | :04:46. | :04:53. | |
said the apron got in the way, he didn't like it. So we invented a new | :04:54. | :04:59. | |
costume, a waistcoat, quite a big belt. It was only when we got to the | :05:00. | :05:04. | |
feet that we didn't know what to do. I went off home and a couple of days | :05:05. | :05:10. | |
later there was this BFG type parcel arrived, and it was one of Roald | :05:11. | :05:15. | |
Dahl's on Norwegian sandals. I realise they were closer together, | :05:16. | :05:19. | |
the author and character, then I realised. I met Roald Dahl a few | :05:20. | :05:24. | |
times and found him a bit frightening. What about you question | :05:25. | :05:28. | |
your low he was a formidable character. He knew how to be | :05:29. | :05:33. | |
bad-tempered. But he was also a benevolent person. But I don't think | :05:34. | :05:38. | |
he would want you to know that. When you are drawing, what's the most | :05:39. | :05:42. | |
important part? I don't draw from life, I just try to be the person. I | :05:43. | :05:48. | |
might be making the expression as well. It's a sort of organised form | :05:49. | :06:00. | |
of being spontaneous and how to speak like the BFG... Gobblefunk. I | :06:01. | :06:13. | |
had to go back to school to do it. Gyles, pick up your pencil. I can't | :06:14. | :06:15. | |
read or write, you write it down. You need to be really careful about | :06:16. | :06:30. | |
the nasty people like giants who eat people. You want to worry about | :06:31. | :06:40. | |
horrorgust. Those are horrible tasting things, like snozzcumbers. | :06:41. | :06:48. | |
You are speaking like him already. Something you don't want to do is | :06:49. | :06:56. | |
with popping. That's what happens when drink too much frobbscottle. | :06:57. | :07:08. | |
Wind comes out of your bottom. Have you drunk too much frobbscottle, | :07:09. | :07:15. | |
Gyles? I had! So now where ever I go human beans know that just like the | :07:16. | :07:23. | |
original, the best, the BFG, I am the big friendly Gyles! | :07:24. | :07:30. | |
STUDIO: He makes a really good BFG. He does, very good. | :07:31. | :07:35. | |
You can see Quentin Blake's unseen BFG illustrations | :07:36. | :07:37. | |
at the House of Illustration, in King's Cross in London. | :07:38. | :07:41. | |
Mark, we went to see your film and I took my kids with me. And for the | :07:42. | :07:50. | |
whole film, the whole way through, they had this expression on their | :07:51. | :07:56. | |
face... When you left the cinema and you could see the kids leaving, and | :07:57. | :08:00. | |
they were engrossed. It was incredible. They asked me and they | :08:01. | :08:06. | |
said, the giant is a real actor. But how can he be that big? I don't | :08:07. | :08:14. | |
understand. I work in telly, and I was still thinking, how did you film | :08:15. | :08:19. | |
it? It worked very well for Gyles in that film. They could have made it | :08:20. | :08:24. | |
cheaper! What is the process? Is it very complicated? It's a Biddle, | :08:25. | :08:30. | |
located but I will try to explain. You basically make a | :08:31. | :08:33. | |
three-dimensional space inside a computer. -- it is a little | :08:34. | :08:39. | |
complicated. You then make the same three-dimensional space inside a | :08:40. | :08:43. | |
studio. Whatever happens in one happens in the other. So if I wear | :08:44. | :08:48. | |
this funny Velcro suit, walking around and waving my arms in the | :08:49. | :08:52. | |
film set, the computer records it from also hides. Next-day Steven | :08:53. | :08:57. | |
Spielberg will take the Game Boy type console and put the camera | :08:58. | :09:01. | |
where ever he wants and films from where ever. It's like being in a | :09:02. | :09:06. | |
play rather than being in a film. It's quite strange because you don't | :09:07. | :09:11. | |
see it until it's on the screen. I never do. But this is the most | :09:12. | :09:14. | |
expensive make-up job I've ever done. That's a relief to me. I don't | :09:15. | :09:19. | |
particularly like seeing myself in films. We all grew up with the BFG, | :09:20. | :09:25. | |
a hugely popular book. How faithful is the film to the original story? I | :09:26. | :09:31. | |
think it's as faithful as a film can be. They are different things. There | :09:32. | :09:36. | |
is a whole bit in the book where he enjoyed the stuff about people going | :09:37. | :09:41. | |
to Panama because they like to eat children who taste a hat 's. They | :09:42. | :09:46. | |
get an Eskimo on a hot day and things like that. That's a literary | :09:47. | :09:50. | |
enjoyable thing but doesn't have enough action or movement for a | :09:51. | :09:54. | |
film. So some things are removed but nothing has really added. Steven has | :09:55. | :10:01. | |
focused on the relationship between the giant and the little girl. She | :10:02. | :10:08. | |
seems like a special actress. Ruby, yeah, she's fantastic, from | :10:09. | :10:12. | |
Manchester. There is a lovely warmth between you that springs off the | :10:13. | :10:17. | |
screen. We were good friends. Of all the directors in the world, Steven | :10:18. | :10:23. | |
Spielberg is the one who can direct children. It was fun to be watching | :10:24. | :10:27. | |
them all the time developing their relationship, and how he directed | :10:28. | :10:32. | |
her. I think it's only fair that we let everybody at home have a little | :10:33. | :10:36. | |
look at the film. This is the moment the BFG explains to Sophie why he | :10:37. | :10:42. | |
had to take her with him. I had to take you. The first thing you would | :10:43. | :10:49. | |
be doing is scuttling around, yodelling the news you are seeing a | :10:50. | :10:52. | |
giant. And there and there would be a great rumple dumpus, and all the | :10:53. | :11:02. | |
human beans would be looking around, and locking me up in a cage to be | :11:03. | :11:12. | |
looked at with all the Zeppo dumplings and then there would be a | :11:13. | :11:21. | |
giant hunt for all the boys. It's really strange, but people say they | :11:22. | :11:24. | |
can't quite understand the language of the BFG. I had no problem at all. | :11:25. | :11:29. | |
I get every single word of it! You must have found it difficult to | :11:30. | :11:34. | |
learn words like that. It's easier than Shakespeare! When you were | :11:35. | :11:42. | |
younger, I have read interviews before, and you mentioned you had a | :11:43. | :11:46. | |
problem with language and speech at a young age. Did you find there was | :11:47. | :11:51. | |
some kind of similarity between this giant character? I still have a | :11:52. | :11:56. | |
problem with language, really. I think when I was five or six, the | :11:57. | :12:01. | |
way I got out of it was pretending to be other people. Lots of | :12:02. | :12:07. | |
characters I saw on television, shows like Star Trek and the wild | :12:08. | :12:15. | |
wild West. This is dating me! But they gave you characters you could | :12:16. | :12:24. | |
play like Spock or Captain Kirk. Me and my friends would act for hours, | :12:25. | :12:28. | |
making up Star Trek episodes. That helped meters big. But people | :12:29. | :12:32. | |
couldn't understand what I was saying. I don't think I knew how to | :12:33. | :12:43. | |
use my consonants. This is the second Spielberg film. It was funny. | :12:44. | :12:49. | |
I remember meeting a kid later when I was maybe 12, and he had been in | :12:50. | :12:53. | |
nursery school with me, and he said to me, I remember you come you | :12:54. | :12:56. | |
didn't say anything for the whole year! I was so tired of people | :12:57. | :13:02. | |
saying, pardon, pardon, and getting angry with me. But I had a long | :13:03. | :13:08. | |
period of quiet. I have made up for it since! It's nice that the | :13:09. | :13:14. | |
character chimed with you. Don't you find that, you know the right word | :13:15. | :13:19. | |
but don't get it quite right? Every day, every single show. We made up a | :13:20. | :13:30. | |
word in Goodness Gracious Me called chuddies, and it ended up in the | :13:31. | :13:35. | |
dictionary, it means knickers. It sounds like knickers though, maybe | :13:36. | :13:37. | |
than knickers. Chudley 's. This is the second Spielberg film | :13:38. | :13:48. | |
you have done after Bridge of Spies. You turned him down for a while. | :13:49. | :13:53. | |
Especially in the 80s. He was wearing chuddies in those days. He | :13:54. | :14:01. | |
wears Y fronts now. Why did you turn him down originally? I don't know. | :14:02. | :14:05. | |
It was a hard decision but I was offered a job in a theatre by Mike | :14:06. | :14:11. | |
Arfield. I knew it would be enjoyable to work with him. I took | :14:12. | :14:18. | |
that job instead. After consulting the dice. The Chinese do it with | :14:19. | :14:27. | |
sticks, but you can also do it with coins. You make six readings which | :14:28. | :14:34. | |
make a hexagram of a broken line or solid line, 64 variations, and they | :14:35. | :14:38. | |
give you a reading of what might come in the future. This one for the | :14:39. | :14:43. | |
theatre said it was to do with me moving into a community. I met my | :14:44. | :14:48. | |
wife Clare on the first day of rehearsals. It was meant to be. It | :14:49. | :14:54. | |
was, but I thought it was goodbye to Steven and films. But look at you | :14:55. | :14:58. | |
now! And apparently you are doing another two. I am, I know. Be sure | :14:59. | :15:07. | |
to mention my name, please. He's gone from somebody you don't want to | :15:08. | :15:14. | |
work with to your BFF. Of all the films I've ever worked on, he has | :15:15. | :15:18. | |
the most wonderful community onset. He doesn't have the word director on | :15:19. | :15:24. | |
his chair, he has father or daddy, his kids gave him that. He has that | :15:25. | :15:32. | |
character, very much. I tried to take a picture of Steven Spielberg | :15:33. | :15:35. | |
wants and fell over a hedge on to his table. But that's a different | :15:36. | :15:39. | |
story. The BFG is in cinemas right now. | :15:40. | :15:42. | |
As we've got a giant guest, we needed a giant game | :15:43. | :15:45. | |
later, it is Giants versus Sophies and the winning team wins the right | :15:46. | :15:53. | |
Mark, are you up for joining Team Giant? | :15:54. | :15:58. | |
Before that, time to see the world through someone else's window | :15:59. | :16:03. | |
in the first of a new series of films A Room With A View. | :16:04. | :16:07. | |
To kick it off, a man who sees more than a shed when he looks out | :16:08. | :16:11. | |
My name is William and this is my view. How you interpret the view is | :16:12. | :16:25. | |
more important than the view itself. I see a flagpole and a big garage. | :16:26. | :16:37. | |
It encloses you. What I seek out there is a forest and I can see | :16:38. | :16:42. | |
wildlife in the countryside, even though I am not. I am an engineer. | :16:43. | :16:52. | |
After you have done a long day your mind is working and you lock the | :16:53. | :17:00. | |
door. You want to clear the nonsense going on in your head. You want to | :17:01. | :17:08. | |
feel human. The flags are Buddhist flags, not because I am a Buddhist, | :17:09. | :17:12. | |
but I believe in many of their fundamentals. You have to experience | :17:13. | :17:21. | |
life. I hand-painted my car bright orange and to me colour is more | :17:22. | :17:28. | |
vibrant than anything else. I have had the flags for seven years. They | :17:29. | :17:36. | |
were less visible before. My brother-in-law died and he was a | :17:37. | :17:42. | |
Buddhist monk and I felt that was a message, so I then put them up | :17:43. | :17:47. | |
relatively high. In that nervous wait, you worry about what people | :17:48. | :17:52. | |
will think about what you believe. The flags are flying to show how | :17:53. | :18:03. | |
much I care about the whole world. I am not just in this house, I am | :18:04. | :18:09. | |
wherever I want to be. It is known in the area as the flag has. It | :18:10. | :18:16. | |
makes people smile. When you are happy with your home, you are | :18:17. | :18:21. | |
relaxed. Allow yourself to be different. That is what my view | :18:22. | :18:28. | |
tells everybody else and teaches everybody else. There is no shame in | :18:29. | :18:32. | |
being open and honest about what you are. | :18:33. | :18:36. | |
Somewhere you always find yourself excited to get back to? | :18:37. | :18:41. | |
If you've got your own Room With A View, we want to | :18:42. | :18:44. | |
Get in touch via the usual e-mail address. | :18:45. | :18:48. | |
In the studio we have got some of the dream jars. How did your dream | :18:49. | :18:56. | |
end up in a jar and what is it all about? It is an actual dream I had. | :18:57. | :19:03. | |
I am sitting outside a glasshouse and inside the glass house there is | :19:04. | :19:08. | |
a merry-go-round with a carousel. Where can people see these? I think | :19:09. | :19:14. | |
that is a Westminster Square. They are dotted around the country? I | :19:15. | :19:19. | |
think so. Stephen has done one and Ruby has done one. They will get | :19:20. | :19:25. | |
auctioned off. Sophie Dahl did a beautiful one with a cottage by the | :19:26. | :19:29. | |
seaside and a mermaid. And they get auctioned off? How much for yours? I | :19:30. | :19:39. | |
have no idea. Can I ask, Roald Dahl -based the big friendly giant on his | :19:40. | :19:47. | |
builder. Wally. I met his daughter. You tend to base some of your | :19:48. | :19:50. | |
characters on real-life people as well. When you work in Wolf Hall, | :19:51. | :19:58. | |
who is it that you -based Oliver Cromwell on? Usually characters are | :19:59. | :20:05. | |
based on a number of different people, particularly like Oliver | :20:06. | :20:09. | |
Cromwell who changes a lot. There is a poet in Brixton, Jim, who came | :20:10. | :20:14. | |
down to London when he was 14, arriving at King's Cross and not | :20:15. | :20:17. | |
wanting to go into an orphanage he lived on the streets for two years | :20:18. | :20:22. | |
in Soho I think. He is a wonderful guy, a black poet. He reminded me of | :20:23. | :20:28. | |
Cromwell who ran away when he was 14 and lived in Europe and number of | :20:29. | :20:33. | |
years as a renegade child. So there was something that the two shared. | :20:34. | :20:45. | |
Will poll is a brilliant series. We are going to have a look at giant | :20:46. | :20:51. | |
pictures people at home have taken. -- Wolf Hall. | :20:52. | :21:02. | |
This is one of my favourites, from 01 and June in the world. This is | :21:03. | :21:14. | |
from Pete in Edinburgh. This has been sent in by Chris, his son | :21:15. | :21:17. | |
Robert with his daughter I laugh. When I was in the midst | :21:18. | :21:24. | |
of my Hell On High Seas challenge there is one moment | :21:25. | :21:26. | |
I will never forget. When Olympic gold medallist | :21:27. | :21:29. | |
Sir Ben Ainslie sailed past This weekend Ben's team will be | :21:30. | :21:31. | |
competing in the Portsmouth leg of the America's Cup, | :21:32. | :21:37. | |
so Marty has been to see just The America's Cup is sailing's | :21:38. | :21:50. | |
ultimate challenge for man and machine. Known as fighter jets on | :21:51. | :21:58. | |
water, yachts in this elite competition fly above the sea, | :21:59. | :22:02. | |
travelling more than twice as fast down the wing. 20 years ago, boats | :22:03. | :22:08. | |
travel at around eight knots, ten miles an hour. These days they need | :22:09. | :22:11. | |
to be going something more like 50 miles an hour. Sir Ben Ainslie is a | :22:12. | :22:19. | |
four-time Olympic medal winner who is taking on the challenge of | :22:20. | :22:22. | |
bringing the cup to the UK for the first time ever. I was fortunate | :22:23. | :22:28. | |
enough to be with the American team which won the last cup in 2013. It | :22:29. | :22:34. | |
was fantastic to be a part of, but lifting the America's Cup, thinking | :22:35. | :22:39. | |
why is this not a British team? It is a design race and a sailing race. | :22:40. | :22:46. | |
We aim for our race boats to be the fastest ever. To give themselves the | :22:47. | :22:52. | |
best chance, the team is fine tuning the engineering. How do you go about | :22:53. | :22:56. | |
designing the well's fastest yacht? One of the keys is to do with how | :22:57. | :23:01. | |
they are powered along. Many people think that yachts or sailboats are | :23:02. | :23:06. | |
moved forward when the wind catches in their sales and pushes them | :23:07. | :23:10. | |
forwards. But that is the slowest way you can sail. To go faster you | :23:11. | :23:15. | |
need to use the same principles that keep aeroplanes in the air. | :23:16. | :23:20. | |
Aeroplane wings are kept up thanks to what happens when air flows over | :23:21. | :23:26. | |
their surface. I will show you. If I take a piece of paper like this and | :23:27. | :23:34. | |
I blow across the curved surface. It is sucked upwards. The air I blow | :23:35. | :23:40. | |
creates an area of low pressure above the paper than below it and as | :23:41. | :23:46. | |
the two sides try to equalise, the paper is sucked upwards. It is | :23:47. | :23:51. | |
called lift. How do you apply that to the water? You turn your wings | :23:52. | :23:57. | |
sideways to create a sale, only this time the pressure difference sucks | :23:58. | :24:01. | |
the yacht forward. Simon Schofield is the team's design manager. I take | :24:02. | :24:10. | |
it this is the sale? It is similar to an aeroplane wing in that you can | :24:11. | :24:15. | |
control the flat at the back which controls the amount of lift that you | :24:16. | :24:20. | |
have. They can set the wing up to be optimal shape for any condition, up | :24:21. | :24:24. | |
wind or downwind, and it gives the sailors a lot more control. But lift | :24:25. | :24:32. | |
has one more trick to play when it comes to super-speed yachts. It is | :24:33. | :24:36. | |
not only used above the water, but below it as well. The real secret to | :24:37. | :24:44. | |
making the boat fly IDs, the dagger boards. This is another wing? | :24:45. | :24:52. | |
Exactly. It is underwater. It produces enough lift to lift the | :24:53. | :24:57. | |
boat out of water, enough to lift four Times, the equivalent of a | :24:58. | :25:02. | |
London taxi. By lifting the yacht out of the water, the contact with | :25:03. | :25:07. | |
the water is reduced, meaning less resistance. Making the use of lift | :25:08. | :25:11. | |
both above and below the water means the team can add fractions of knots | :25:12. | :25:16. | |
to their speed and give them the vital edge to win next year's cup. I | :25:17. | :25:26. | |
am off on a test run. It's amazing! As we sail several feet above the | :25:27. | :25:30. | |
water at a top speed of nearly 50 miles an hour, it feels more like | :25:31. | :25:37. | |
being on a motorbike. We have lifted right out of the water. It is flying | :25:38. | :25:41. | |
along, quite literally. In the hands of the crack sailors is yacht can | :25:42. | :25:47. | |
maximise the power of the win. Today the wind measured only 17 miles an | :25:48. | :25:51. | |
hour, our top speed was more than double that at 48 miles an hour. | :25:52. | :25:57. | |
With a bit of scientific know-how, engineering brilliance and awesome | :25:58. | :26:01. | |
crewing this British team could yet bring the cup home. | :26:02. | :26:10. | |
It is incredible and the British team are currently numbered two, so | :26:11. | :26:16. | |
good luck to them. I giant show needs a giant finale and this is | :26:17. | :26:22. | |
ours. It is food diets. This is the well's biggest dartboard. What is | :26:23. | :26:30. | |
the idea? We have got the well's first football theme park which is | :26:31. | :26:34. | |
based at Bluewater shopping centre and goes on until the 21st of | :26:35. | :26:40. | |
August. Anyone can take place. Is there reprise? For the highest score | :26:41. | :26:45. | |
it is ?1000 at the end of the weeks. We will have a go. We were appalling | :26:46. | :26:53. | |
earlier. We were worse than appalling. You were better, but we | :26:54. | :27:02. | |
had the wrong football on. It was a bit unfair to be playing with these. | :27:03. | :27:08. | |
Team giant are about to go head to head with Team Sophie. The prize is | :27:09. | :27:16. | |
to sit on this magnificent chair. But if you win, we cannot give you a | :27:17. | :27:21. | |
leg up, you will have to help yourself. | :27:22. | :27:30. | |
We have called the Tall Persons Club to come along to help us play. It is | :27:31. | :27:40. | |
our 25th anniversary and if anyone wants any information, they can go | :27:41. | :27:46. | |
to our website. Is there a maximum height messy-mac no, not at all. How | :27:47. | :27:57. | |
tall are you? I am six foot eight,. I am seven foot. There are three | :27:58. | :28:04. | |
goes each. In a line and when you are ready, off you go. | :28:05. | :28:15. | |
Giants, off you go. Stuart, here we go. And one more. That is what | :28:16. | :28:35. | |
happens when you are a giant playing football. What is the score? The | :28:36. | :28:48. | |
winners are the Sophie team with 33. Good fun? Brilliant. | :28:49. | :28:51. | |
That's all for tonight, thanks, Nina. | :28:52. | :28:54. | |
You can see him in The BFG in cinemas right now and | :28:55. | :29:00. | |
there's a documentary, The Marvellous World Of Roald Dahl, | :29:01. | :29:03. | |
tomorrow night at eight o'clock on BBC Two. | :29:04. | :29:05. | |
Matt and Angela Scanlon will be here on Monday with Sir | :29:06. | :29:07. |