Browse content similar to 23/09/2013. Check below for episodes and series from the same categories and more!
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Join us tonight to see this historic beach transformed by volunteers to | :00:00. | :00:06. | |
mark the place where 9,000 fell. Hello and welcome to the show - | :00:06. | :00:29. | |
we'll be watching that amazing event which took place this weekend with | :00:29. | :00:33. | |
tonight's guest. He's a home-grown Hollywood star - but he can also do | :00:33. | :00:35. | |
this very well. # 16 coaches long | :00:36. | :00:54. | |
# That long black train took my baby back home... It's Hugh Laurie! | :00:54. | :01:09. | |
Welcome back to the UK. You have been away, working on the fantastic | :01:09. | :01:15. | |
House. Did you miss most about being away? So many things. The | :01:15. | :01:21. | |
weather... They don't really have weather over there. No seasons. I | :01:21. | :01:29. | |
miss beer, I know that is the kind of thing people say, because it is, | :01:29. | :01:33. | |
and I am saying it. But I really did miss it. I miss it. Budweiser does | :01:33. | :01:44. | |
not hit the spot. Are you back for good? If you will have me! I feel | :01:44. | :01:52. | |
there is a probationary period, let's see if you can remember which | :01:52. | :01:54. | |
there is a probationary period, side of the road we drive on, I will | :01:54. | :01:58. | |
see why can pass that! But it's wonderful to be back. We will have | :01:58. | :02:03. | |
you back every Monday! Later on we'll be introducing Hugh to a | :02:03. | :02:07. | |
virtuoso who can give any tune you like a classical make over. He's | :02:07. | :02:10. | |
even made a favourite children's TV theme sound like Tchaikovsky. | :02:10. | :02:22. | |
Intriguing. Now let's join Iwan on the sands of Normandy. | :02:22. | :02:39. | |
You are lying there, and thinking, what is going to happen? My personal | :02:39. | :02:52. | |
thoughts were, and my dead? And my sister, my girlfriend, you wonder if | :02:52. | :02:56. | |
you are ever going to see them again. When you see your mates go | :02:56. | :03:07. | |
down, and you can't stop them. 9000 losses of life in just a few hours | :03:07. | :03:12. | |
on the stretch of beach. Today two artists are going to create a visual | :03:12. | :03:18. | |
Robson station to show us that from scene. -- a visual representation. | :03:18. | :03:26. | |
On a simple level, we're going to draw out 9000 silhouettes to | :03:26. | :03:31. | |
represent the people who died, 24 hours of D-day. We are using premade | :03:31. | :03:36. | |
stencils, there are many figures we have drawn around, people using the | :03:36. | :03:42. | |
stencils to rake the sand, so we can show in stark contrast with the sun | :03:42. | :03:48. | |
shining. What we're doing as a piece artwork is an example of what | :03:48. | :03:53. | |
happens in the absence of peace. It is not a stencil of a figure in the | :03:53. | :03:57. | |
San, it is about a life that was lost, they will all be washed away | :03:57. | :04:02. | |
just as they were 70 years ago. How did this idea come about? In 2010, I | :04:02. | :04:09. | |
came to these beaches with my father, I did a tour of the landing | :04:09. | :04:15. | |
sites, and I thought, wait a minute, I am walking on sand. I am a sound | :04:15. | :04:20. | |
artist, and I'm obsessed with the Second World War. How can I produce | :04:20. | :04:22. | |
a piece of that combines the two? The artwork is being created on this | :04:22. | :04:36. | |
beach. This Normandy veteran has come along to see its creation. He | :04:36. | :04:41. | |
was in the second wave of troops to land and has never forgotten the | :04:41. | :04:42. | |
was in the second wave of troops to terrible scenes he saw that day. War | :04:42. | :04:48. | |
is war, and you appreciate people will get killed. When you mention | :04:48. | :04:51. | |
the number that was killed in the will get killed. When you mention | :04:51. | :04:54. | |
few hours, you can imagine what it was like. We lost quite a few. | :04:54. | :05:04. | |
Wounded, killed. And you know, that's the emotional part of it. | :05:04. | :05:13. | |
Every year, there is hundreds of us. It used to be thousands, become | :05:13. | :05:20. | |
the honour pilgrimage. We visit the graves, we lay crosses, Reeves. | :05:20. | :05:25. | |
During the day, it is a very solemn occasion but in the evening, we have | :05:25. | :05:29. | |
a few beers because we know they are with us. Can I stop a minute? | :05:29. | :05:40. | |
100 volunteers worked nonstop to help create this piece of work. Even | :05:40. | :05:44. | |
100 volunteers worked nonstop to with it's only half complete, the | :05:44. | :05:47. | |
images are already starting to have an impact. It's really strange. Out | :05:47. | :05:56. | |
images are already starting to have of respect, I am tiptoeing, almost | :05:56. | :06:02. | |
like I am in a graveyard. You don't want to trade, because it is no | :06:02. | :06:05. | |
longer sounds to me. I am looking at them as people, it is bizarre. The | :06:05. | :06:15. | |
volunteers have only been working for an hour, and it's just | :06:15. | :06:17. | |
unbelievable, the amount of bodies for an hour, and it's just | :06:17. | :06:23. | |
on the ground. Just here, that someone's son, someone's brother, it | :06:23. | :06:27. | |
could have been me or you. That is someone's life that was taken. Just | :06:27. | :06:33. | |
remarkable. Why did you feel the need to come and help out today? I | :06:33. | :06:37. | |
lost my son in Afghanistan last year. I wanted to come and take part | :06:37. | :06:41. | |
lost my son in Afghanistan last in this. It's so emotional, just | :06:41. | :06:48. | |
thinking about it. It really is. I came in memory of my dad, he is a | :06:48. | :06:53. | |
veteran, he died last September. This is where he landed. Well, quite | :06:53. | :07:05. | |
a scene. You did the 9000. Yes, we achieved what we set out to do. Now, | :07:05. | :07:12. | |
I don't know, the event has hit me. I'm feeling a little bit drained but | :07:12. | :07:18. | |
what struck me is it is very quiet. Seems to me, a lot of people are | :07:18. | :07:20. | |
just looking and thinking, probably Seems to me, a lot of people are | :07:20. | :07:24. | |
in shock, really. To me, I am looking up there and inking, that is | :07:24. | :07:32. | |
a lot... A lot for the mind, the eyes and the heart today Kim. -- to | :07:32. | :07:40. | |
take in. Now I am just going to die just what we have done. -- digests. | :07:40. | :07:50. | |
That must be one of the most extraordinary aerial shots we have | :07:50. | :07:54. | |
shown. It sends a chill down the spine. Absolutely amazing. | :07:54. | :08:02. | |
Incredible, brilliant idea. Thanks to all the volunteers. Last time you | :08:02. | :08:12. | |
were here, it was quite a while ago. 1971! Yes, you were talking about | :08:12. | :08:21. | |
your first blues album. You seemed a bit nervous at the time, almost with | :08:21. | :08:25. | |
an actor with a bit of a sideline, you didn't know how well it would be | :08:25. | :08:29. | |
received, but it became a really big success, were you shocked? I was | :08:29. | :08:35. | |
stunned, still am. I didn't think of it as my first album, but I thought | :08:35. | :08:37. | |
of it as my blues album, that would it as my first album, but I thought | :08:37. | :08:42. | |
be the end of it. Nice try, Sony, back in your box! The fact that it | :08:42. | :08:47. | |
went well, people seem to like it and they liked the shows | :08:47. | :08:49. | |
went well, people seem to like it turned up was so amazing. To be able | :08:50. | :08:54. | |
to say, my second blues album, is just an amazing thing! Your first | :08:54. | :09:00. | |
sold over a million, it did incredibly well. Here you are with | :09:00. | :09:05. | |
the second, your barbecue really focused on this. What are you | :09:05. | :09:12. | |
focusing on this time around? It's focused on this. What are you | :09:12. | :09:20. | |
all different! I just wanted to keep going on this journey. I think | :09:20. | :09:23. | |
all different! I just wanted to keep if people will let me do it, I sort | :09:24. | :09:28. | |
of see ten of these, stretching out into the future. Someone will surely | :09:28. | :09:33. | |
of see ten of these, stretching out blow the whistle and say enough! But | :09:33. | :09:37. | |
these are the songs I have loved since I was very young. We go a bit | :09:37. | :09:44. | |
later, we start earlier and finish later, so it's a broader | :09:44. | :09:48. | |
chronology, and we also get a different places. We have an | :09:49. | :09:54. | |
Argentinian tango, and we have songs from different parts of the country. | :09:54. | :09:59. | |
It's more of a mixture of sounds and atmospheres. We also have two | :09:59. | :10:09. | |
wonderful female singers on it as well and I personally think it's | :10:09. | :10:14. | |
more romantic. I was going to say sexier, I bailed out and said | :10:14. | :10:20. | |
romantic! Know it is sexy, but I thought it was you singing, this is | :10:20. | :10:27. | |
you performing the latest single, it is called Junco Partner. | :10:27. | :10:37. | |
# He had friends all over town # Well now he's broke, broken and | :10:37. | :10:51. | |
busted # And there ain't no friends to be | :10:51. | :10:52. | |
found. So you are telling the story | :10:52. | :11:03. | |
blues throughout history, and there is a reason you wanted to go and | :11:03. | :11:07. | |
sing live on the Queen Mary Lynagh. There is, it is a bit of a holy | :11:07. | :11:18. | |
place for me, that was the scene of the rebirth of Professor long-hair. | :11:18. | :11:23. | |
It is actually Paul McCartney, he had a party there, he was in the | :11:23. | :11:25. | |
middle of the tour, he said, where had a party there, he was in the | :11:25. | :11:34. | |
up will we have it? And we headed on the Queen Mary. He arranged to have | :11:34. | :11:36. | |
Professor long-hair and the Meters, the Queen Mary. He arranged to have | :11:36. | :11:46. | |
who both made records that night. The professor had really vanished | :11:46. | :11:49. | |
from the scene, they found him sweeping up in a shop in New | :11:49. | :11:54. | |
Orleans, no one knew where he had disappeared to. It was largely tanks | :11:54. | :11:59. | |
to that record, certainly in my life, that he came back into the | :11:59. | :12:03. | |
public realm and was properly anointed as the king of New Orleans | :12:03. | :12:09. | |
piano. You might be playing him on Radio 2 now! You have a new series | :12:09. | :12:15. | |
on that now. Is this your chance to educate the listeners about these | :12:15. | :12:20. | |
music and bring it into the main team -- mainstream? I would not | :12:20. | :12:26. | |
presume to educate the listeners of Radio 2, who are very savvy bunch. I | :12:26. | :12:30. | |
just hope they enjoy the records we play. But one of the things we have | :12:30. | :12:36. | |
done is take a single song, we do a mystery train, and also with Stagger | :12:36. | :12:42. | |
Lee, which is a song hundreds of mystery train, and also with Stagger | :12:42. | :12:47. | |
people have done, and we follow the progress of that song, the way the | :12:47. | :12:52. | |
story of it has changed as well as the feel of it, and we see the | :12:52. | :12:54. | |
story of it has changed as well as different treatments. We wonder why | :12:54. | :12:57. | |
a song like that survives in a way different treatments. We wonder why | :12:57. | :12:59. | |
that all sorts of other cultural different treatments. We wonder why | :12:59. | :13:04. | |
things vanish. Space hoppers, for example, we don't see them these | :13:04. | :13:11. | |
days! Which is a shame! I would love to commute on a space hopper! But a | :13:11. | :13:16. | |
song like Stagger Lee, no matter what you do, it won't go away. There | :13:16. | :13:18. | |
was something about it that speaks what you do, it won't go away. There | :13:18. | :13:23. | |
to us, musicians keep discovering it and going back to it, there is | :13:23. | :13:26. | |
something about that story that they can't let go full stop it's going to | :13:26. | :13:37. | |
be a brilliant sequence -- series. So you're making this film with | :13:37. | :13:41. | |
George Clooney. George Clooney is making a film with me! Disney have | :13:41. | :13:47. | |
George Clooney. George Clooney is sent us this synopsis, it is top | :13:47. | :13:50. | |
secret. Can you read it for us, because we couldn't quite work out | :13:50. | :13:55. | |
what it says? It's the official one! Really? Bound by a shared destiny, a | :13:55. | :14:06. | |
bright, optimistic teen bursting with scientific curiosity and a | :14:06. | :14:09. | |
former boy-genius inventor jaded by disillusionment embark on a | :14:09. | :14:12. | |
danger-filled mission to unearth the secrets of an enigmatic place | :14:12. | :14:14. | |
somewhere in time and space that exists in their collective memory as | :14:14. | :14:16. | |
Tomorrowland. Do you recognise that? That was | :14:16. | :14:41. | |
very cleverly done. They have given you nothing. I went out on the | :14:41. | :14:46. | |
streets to see whether our left the audience could make a head or tail | :14:46. | :14:57. | |
of it. Tomorrowland is... Well... It seems good but something you | :14:57. | :15:08. | |
cannot understand. I think... I will be honest, it makes no sense | :15:08. | :15:16. | |
battle. There we are. That was brilliantly done! I cannot wait to | :15:16. | :15:21. | |
see it either. I have not got a clue what it is about. That to the | :15:21. | :15:31. | |
music. His album has been out since May. -- back. | :15:31. | :15:42. | |
to stop people from playing music too loud or drinking dodgy cider in | :15:42. | :15:48. | |
a certain part of town. But an ASBO that bans someone from a whole | :15:48. | :15:51. | |
country, that's a new one on us. Miranda is here. | :15:51. | :16:01. | |
With bird numbers in decline, egg collecting was eventually made | :16:01. | :16:10. | |
illegal in 1954. By 2000, it carried a jail sentence. Despite | :16:10. | :16:16. | |
the heavy penalties, illegal egg collectors still target the UK's | :16:16. | :16:22. | |
nesting bird colonies. This Hebridean island is an important | :16:22. | :16:27. | |
site for nesting seabirds, including the largest colony of | :16:27. | :16:32. | |
shearwaters. With only 40 people living on the island, one egg beef | :16:32. | :16:39. | |
hoped his illicit activities would go unnoticed. -- -- thief. I | :16:39. | :16:59. | |
spotted a man going into the genes. I started to watch him through my | :16:59. | :17:04. | |
telescope. I could see him with eggs in his hand. He darted off | :17:04. | :17:10. | |
after around 20 minutes. He went into a black house close to the | :17:10. | :17:15. | |
ruined bothy. I did not see him at all after that. Ali reported this | :17:15. | :17:19. | |
ruined bothy. I did not see him at to the police. They received a | :17:19. | :17:23. | |
second description of a man acting strangely. It immediately raised | :17:23. | :17:28. | |
the suspicions of a national wildlife crime officer. We caught a | :17:28. | :17:31. | |
the suspicions of a national ferry and, as we were crossing to | :17:31. | :17:36. | |
the island, we got a radio transmission to say he was actually | :17:36. | :17:41. | |
on the jetty waiting to catch the ferry boat we were going to be a | :17:41. | :17:48. | |
lighting off. We approached him. I identified myself as a police | :17:49. | :17:54. | |
officer. I asked him his name. He said Matthew gone sure. I recognise | :17:54. | :18:00. | |
that name. I said, I think we have our boy caused the of he was | :18:00. | :18:04. | |
already known to the police as a notorious aches thief. -- we have | :18:04. | :18:13. | |
got our boy. All the artefacts on the table have come out of his bag? | :18:13. | :18:22. | |
Yes, that is right. The small cakes are willow warbler and pipit eggs. | :18:22. | :18:28. | |
Police had enough evidence to charge him with illegal possession | :18:28. | :18:32. | |
of wild bird aches. They wanted proof he had taken them. -- eggs. | :18:32. | :18:46. | |
Their worst DNA of the Gulf family and Shearwater. -- there was DNA. | :18:46. | :18:50. | |
Their worst DNA of the Gulf family This was enough to issue a warrant | :18:50. | :18:59. | |
to raid his East London flat. It included excerpts from some of the | :18:59. | :19:07. | |
rarest birds. -- eggs. At the hearing the prosecution noted that | :19:08. | :19:13. | |
a significant number of the eggs had large untidy holes in them, | :19:13. | :19:17. | |
suggesting they were stolen and blend days before hatching. He | :19:17. | :19:22. | |
would have killed the developing chick in order to preserve the | :19:22. | :19:28. | |
shelf. He was sentenced to six months in prison and to a further | :19:28. | :19:32. | |
six months by the sheriff court in Inverness. They were not his first | :19:32. | :19:38. | |
convictions. The courts needed a new approach to stop this | :19:38. | :19:42. | |
compulsive trophy hunter. In addition to his imprisonment and, | :19:42. | :19:47. | |
in an unprecedented move for a wildlife crime, he was issued with | :19:47. | :19:51. | |
an antisocial behaviour order by English and Scottish courts. The | :19:51. | :19:54. | |
ASBO banned him for life for English and Scottish courts. The | :19:54. | :19:58. | |
entering Scotland during breeding season. It increased penalties for | :19:58. | :20:02. | |
any future crime he may commit, raising the fine from £5,000 to | :20:02. | :20:11. | |
£20,000, and the jail term to five years. Two breeding seasons on and | :20:11. | :20:16. | |
he has not reoffend it. It seems the ASBO may have finally stamped | :20:16. | :20:20. | |
out this crawl and very destructive hangover of a Victorian pastime. -- | :20:20. | :20:27. | |
this April. What is the incentive for this? There is no money | :20:27. | :20:33. | |
involved. We're all shaking our heads. It seems the most pointless | :20:33. | :20:38. | |
thing to do. You cannot show it off as a be cannot boast your friends | :20:38. | :20:44. | |
or display it in any way. -- show it off. You cannot boast to your | :20:44. | :20:55. | |
friends. It is a trophy? Absolutely. The RSPB had been building up a | :20:56. | :20:59. | |
profile of people they have caught stealing eggs. They believe it is | :20:59. | :21:04. | |
the thrill of the chase - evading the police. Climbing the tree and | :21:04. | :21:08. | |
scaling down the mountain. People died doing this. It is a crazy | :21:08. | :21:15. | |
thing. There is Hope at hand. Using things like social media it means | :21:15. | :21:19. | |
wildlife crime officers and bird lovers can get together a spread | :21:19. | :21:24. | |
the word about looking after this rare nesting bird. There is at some | :21:24. | :21:31. | |
positive news as well. In a moment, you are going to treat us to a jam | :21:31. | :21:41. | |
session, tinkling the ivories. First, Richard Mainwairing shows us | :21:41. | :21:45. | |
how you can make classical music out of classic children's telly. 40 | :21:45. | :21:52. | |
years ago, a group of quirky characters, determined to | :21:52. | :21:54. | |
years ago, a group of quirky Wimbledon Common, became a TV | :21:54. | :21:59. | |
phenomenon. The Wombles also had a musical impact for their | :21:59. | :22:03. | |
distinctive sound. There is a real snobbery about children's | :22:03. | :22:07. | |
television programmes. Some dismiss them as trivial but I think they | :22:07. | :22:12. | |
should be celebrated on musical merit. I have always loved the | :22:12. | :22:17. | |
theme to the Wombles. Mike Batt has been one of the most successful | :22:17. | :22:24. | |
songwriters, creating a Winter's Tale and Bright Eyes was that his | :22:24. | :22:28. | |
Korea First to cough when he was asked to write the theme to the | :22:28. | :22:34. | |
Wombles. -- his career first took off. The characters had to be | :22:34. | :22:42. | |
somewhere in the music. That thing where you don't... It had that kind | :22:42. | :22:48. | |
of jolly quality that eyesore in the Wombles. The team was | :22:48. | :22:53. | |
originally composed and a keyboard. When it was recorded for the album, | :22:53. | :22:57. | |
he used the full range of orchestral instruments, from | :22:57. | :23:02. | |
strings to French horns will start I was passionate about the | :23:02. | :23:07. | |
orchestra. -- French horns. You have it going to you unconsciously | :23:07. | :23:11. | |
as part of your upbringing. Did you ever think this was wasted on a | :23:11. | :23:17. | |
children's television theme? They are young adults. They have very | :23:17. | :23:22. | |
receptive brains. I have the advantage of being a bit of a kid. | :23:22. | :23:26. | |
I wanted it to be something that was of interest to them and also of | :23:26. | :23:32. | |
interest to me. They had eight hit singles and four gold albums. | :23:32. | :23:37. | |
Inspired by my chat with Mike and the success of the Wombles, I had | :23:37. | :23:42. | |
an idea. Can I take some of my favourite television tunes and see | :23:42. | :23:45. | |
an idea. Can I take some of my if they stand up to this treatment? | :23:45. | :23:51. | |
First, the Banana Splits in the style of Mozart. | :23:51. | :24:00. | |
I think that really works. How about the Magic Roundabout in the | :24:00. | :24:07. | |
style of Strauss. Yes, I love that one. But he is the | :24:07. | :24:27. | |
challenge. I have come to Leeds Town Hall for a special performance. | :24:27. | :24:33. | |
I have arranged the Wombles theme in the style of Tchaikovsky for the | :24:33. | :24:37. | |
National Children's Orchestra. Well an audience recognise the tune or | :24:37. | :24:45. | |
appreciate its musical nuances? You are in for a bit of a treat. A | :24:45. | :24:51. | |
well-known piece of music arranged especially for tonight's | :24:52. | :24:55. | |
performance. We hope you really, really enjoy it. | :24:55. | :25:21. | |
It has gone from being the Wombles to the Nutcracker now. | :25:21. | :25:43. | |
That was fabulous. Job done! I loved it. What did the audience | :25:43. | :26:13. | |
think? Did you enjoy it? The Wombles was superb. What did you | :26:13. | :26:19. | |
think of it? It was fabulous. Up did you know what style and was | :26:19. | :26:27. | |
trying to copy? Which composer? Tchaikovsky. Next time you listen | :26:27. | :26:29. | |
to a children's television theme, Tchaikovsky. Next time you listen | :26:29. | :26:34. | |
listen a bit closer. It might just be a classic. | :26:34. | :26:44. | |
Richard, in your words, this and closer, it might be a classic. | :26:44. | :26:54. | |
Richard, in your words, this and believe that was to be see but I am | :26:54. | :27:09. | |
not quite sure. -- Debussy. That was Rhubarb and Custard. In your | :27:09. | :27:21. | |
honour, Hugh, Richard has rearranged the theme from House, | :27:21. | :27:24. | |
which I have to say was pretty special to start with. | :27:24. | :27:45. | |
It is so great to see you play. You saw the piano and you're right, I | :27:45. | :28:22. | |
need to sit back and play. That has nothing on you two. Now we just | :28:22. | :28:27. | |
have enough time for the obligatory Stephen Fry question. There is | :28:27. | :28:36. | |
always a Stephen Fry question. I have a couple as well. You are | :28:36. | :28:40. | |
going to be working together on an Oscar Wilde story that stuck we are. | :28:40. | :28:45. | |
We started recording the voice for an animated film of an Oscar | :28:45. | :28:51. | |
Wilde's story. The Canterbury ghost. It is a very funny script. We are | :28:51. | :28:57. | |
barely adequate but the script is terrific and the animation is | :28:57. | :29:00. | |
terrific and I think it will be really good. It is out in 2015. | :29:00. | :29:06. | |
Plenty of time to work on that one. Anything before then? We are always | :29:06. | :29:12. | |
talking about it but we are doing more talking than doing. The | :29:12. | :29:17. | |
talking is fun. Thank you very much. Thank you for being such a great | :29:17. | :29:25. | |
sport. You can see footage from that series on the red button in a | :29:25. | :29:30. | |
few minutes. Tomorrow, we have James | :29:30. | :29:30. |