Browse content similar to 30/03/2012. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Hello, friends, and welcome to another fine Friday One Show with | :00:19. | :00:24. | |
Alex Jones and Chris Evans. I am sorry, but it is all about the | :00:24. | :00:28. | |
girls tonight. We have two phenomenal women from two of the | :00:28. | :00:34. | |
biggest shows on TV. One of them is a music superstar who has sold | :00:34. | :00:38. | |
almost 3 million albums and 11 million singles. She is also | :00:38. | :00:42. | |
already so good on The Voice, she is even putting Tom Jones in the | :00:42. | :00:46. | |
shade. And the other successful woman is an author who has been | :00:46. | :00:51. | |
voted one of the 100 most powerful women in the world and sits on the | :00:51. | :00:55. | |
right hand of Lord Sugar. One of them is great at making the kitchen | :00:55. | :01:00. | |
MACRO, and the other sings about the "ba-bling, ba-bling". Jessie | :01:00. | :01:10. | |
:01:10. | :01:27. | ||
Please sit down. We have never had so many girls on the show at one | :01:27. | :01:33. | |
time. It is lovely in here. It is very bright. One week into The | :01:33. | :01:39. | |
Voice, what has the reaction been like? It has been amazing. I just | :01:39. | :01:42. | |
wanted to be myself and everyone seems to like it, which is better | :01:42. | :01:52. | |
than people not liking it. And The Apprentice is back. I saw you on TV | :01:52. | :02:00. | |
the other night and it was good. daughter will think I'm very cool. | :02:00. | :02:05. | |
Tonight, we have commissioned a special painting from the man | :02:05. | :02:09. | |
responsible for art like this. at these beautiful images from the | :02:09. | :02:14. | |
world of motor sport past and present. But there is a twist to | :02:14. | :02:18. | |
this very artistic tale. What is amazing about those paintings is | :02:19. | :02:23. | |
that not only are they brilliant, but they are also painted | :02:23. | :02:27. | |
exclusively by using radio- controlled cars. Look at this. | :02:27. | :02:36. | |
Isn't that brilliant? He only does it like this. How many of those do | :02:36. | :02:42. | |
we think he has? The radio- controlled cars? He has about 200 | :02:42. | :02:47. | |
outside. His name is Ian Cook and he is hard at it outside working on | :02:47. | :02:54. | |
a one-off cut for the One Show, which might not be car-related. How | :02:54. | :02:59. | |
are you doing? Really good. Have you experienced any nutters out | :02:59. | :03:05. | |
there? There was this strange guy, who used to have ginger-haired... | :03:05. | :03:10. | |
have no idea who he is talking about. Fingers crossed, that will | :03:10. | :03:16. | |
be ready by the end of the show. What happens if you do not have a | :03:16. | :03:20. | |
mentor like these two and you need a lesson in leadership? We sent | :03:20. | :03:25. | |
some familiar candidates who you might recognise to get tips on | :03:25. | :03:35. | |
:03:35. | :03:40. | ||
success from a man who was 10am, outside the boardroom. Carrie, | :03:40. | :03:45. | |
Lucy and six apprentices, all sacked by Lord Sugar, await a | :03:45. | :03:51. | |
special task. Working with Carrie, Stuart Baggs, and Gavin Winstanley. | :03:51. | :04:00. | |
With Lucy, Ralph Djetou, and barely Chris runs a team-building course | :04:00. | :04:05. | |
for city slickers. His company began six months ago. Among his | :04:05. | :04:14. | |
clients have been companies like IKEA. Good morning. Are you a sheep, | :04:14. | :04:20. | |
a shepherd or a dog? This is a very serious point. I can see how well | :04:20. | :04:25. | |
you communicate to each other, how well you can work as a team. | :04:25. | :04:34. | |
reveals the task. I used to look after 6500 sheep, me and two dogs. | :04:34. | :04:40. | |
So your task is simply to get the sheep into the pen. The teams, | :04:40. | :04:44. | |
brimming with confidence, head out into the fields to do battle. | :04:45. | :04:49. | |
Without a shadow of a doubt, I am a dog, and a pit bull dog, I will | :04:49. | :04:55. | |
chase people and coerce them into doing what I want them to do. | :04:55. | :04:58. | |
the shepherd and the dog on the same plateau. Neither is more | :04:58. | :05:03. | |
important. On that basis, either the door go all the shepherd is | :05:03. | :05:10. | |
what I am. But it is not exactly One man And his Dog. I'm quite sure | :05:10. | :05:14. | |
that the four of you, with some help, can work together to get the | :05:14. | :05:24. | |
:05:24. | :05:25. | ||
sheep into the 10th. So there is no dog. I AM the shepherd. So you are | :05:25. | :05:31. | |
project manager, which means if we fail, you take responsibility. | :05:31. | :05:37. | |
Lewsey's team has a leader, while Carrie's team has a boat. We have a | :05:37. | :05:43. | |
big question, which is who is going to take control. I am going to be | :05:43. | :05:53. | |
:05:53. | :06:10. | ||
They can run really fast. Oh, my We will see who wins later. We were | :06:10. | :06:15. | |
chatting. That was shorter than I thought it would be. So, Karren, | :06:15. | :06:19. | |
you became managing director of Birmingham City football club when | :06:19. | :06:24. | |
you were 23. How did you get that job? I saw an advert in the | :06:24. | :06:29. | |
Financial Times which said, football club for sale. I phoned up | :06:29. | :06:32. | |
and got the details. I went to my chairman and I said, there is a | :06:32. | :06:37. | |
football club for sale. Why don't you buy it and let me run it? He | :06:37. | :06:41. | |
said, football, very male dominated. You will have to be twice as good | :06:41. | :06:47. | |
as the men. I said, luckily, that is not difficult. Did you use that | :06:47. | :06:52. | |
voice? Yes. We bought it, and I remember there was a big press | :06:52. | :06:55. | |
conference. The press were interested in this young woman who | :06:55. | :07:04. | |
had turned up. Oh, my God, those photos! You looked fantastic. You | :07:04. | :07:14. | |
:07:14. | :07:15. | ||
had the boy is underneath you from day one. -- the boys. I remember | :07:15. | :07:19. | |
doing my press conference and I stood up and gave a very serious | :07:19. | :07:23. | |
presentation of all of the things I was going to do with the club. I | :07:23. | :07:28. | |
was 23 and desperate to look at least 25. I had shoulder-pads and | :07:28. | :07:32. | |
earrings. When I had finished my very serious presentation and I | :07:32. | :07:37. | |
said, any questions, a hand went up and I said, yes. He said, what are | :07:37. | :07:41. | |
your vital statistics? I thought, this is going to be an interesting | :07:41. | :07:48. | |
career. Your new book, Strong Woman, it charts your career. It is about | :07:48. | :07:52. | |
taking over Birmingham. It is basically tips on how to be | :07:52. | :07:55. | |
independent and strong career women. What are the biggest obstacles that | :07:55. | :08:03. | |
face women? On International Women's Day, Number 10 host a party | :08:03. | :08:06. | |
for women who are doing well. I looked around and I noticed it is | :08:06. | :08:10. | |
the same women every year. Where are the new inventors, scientists, | :08:10. | :08:14. | |
politicians, campaigners? I thought I would write a book to get to the | :08:14. | :08:19. | |
heart of some of these issues and champion women to be successful. | :08:20. | :08:23. | |
And I think most of the issues are around having high quality, | :08:23. | :08:27. | |
affordable childcare. I think that is a real barrier. Flexibility. | :08:27. | :08:31. | |
Lots of companies say they are flexible but when it comes to what | :08:31. | :08:35. | |
they are not. Actually, it is really difficult to manage a career | :08:35. | :08:40. | |
and have a family. It is not easy. I do not get it right. I try to get | :08:40. | :08:44. | |
it more right than wrong but it is hard. We saw you at the beginning | :08:44. | :08:49. | |
of your footballing career. Let's have a look at Jessie at the | :08:49. | :08:59. | |
:08:59. | :09:01. | ||
beginning of her singing career. # I want to be baptised and I want | :09:01. | :09:05. | |
to be saved # I want to see my saviour face to | :09:05. | :09:09. | |
face # I want to feel the rapture, feel | :09:09. | :09:12. | |
the fire # I want to be taken to some place | :09:12. | :09:22. | |
:09:22. | :09:22. | ||
I thought that was lovely. I have not seen that before. That was a | :09:22. | :09:29. | |
new one. You were probably about nine. I think I was younger. That | :09:29. | :09:35. | |
was maybe just after I got into whistle Down the wind. All of the | :09:35. | :09:40. | |
kids on that clip were in the show. And now people see you as a really | :09:40. | :09:44. | |
strong woman, but you were bullied and you had confidence issues | :09:44. | :09:49. | |
growing up. I was 24 two days ago and I see myself as someone still | :09:50. | :09:54. | |
finding their feet in a crazy industry. I think everybody has | :09:54. | :09:58. | |
their struggle, everybody has something to push through. It is | :09:58. | :10:03. | |
about realising that you are not the only one. And you have to make | :10:03. | :10:07. | |
sure that you always push for what you want in life, not what other | :10:07. | :10:14. | |
people make you feel you want. come you are so balanced? I have | :10:14. | :10:23. | |
good parents. And there they are. You are the one in the middle. | :10:23. | :10:29. | |
is incredible how much you have changed from that photo. I was | :10:29. | :10:36. | |
about five. Do not show it again! As far as your image, you are quite | :10:36. | :10:43. | |
hands-on. This is all you. Yes, I thought I would turn it down today. | :10:43. | :10:46. | |
I feel like a pink wafer biscuit. Fashion has always been something | :10:46. | :10:51. | |
that I have loved, but I never wanted it to define me. But I am a | :10:51. | :10:56. | |
young girl. I will be in my car, driving around and going, like | :10:56. | :11:00. | |
those trainers. I am the same as everyone else. This is from Top | :11:00. | :11:07. | |
Shop. Just normal. We will be talking to these two all night. We | :11:07. | :11:12. | |
have some special previews of both of their shows on the way. | :11:12. | :11:15. | |
Yesterday we met our viewer Ken Williams, whose life was on hold | :11:15. | :11:19. | |
after being diagnosed with a life- threatening heart condition. | :11:19. | :11:24. | |
left him preparing to have pioneering surgery. Here is how he | :11:24. | :11:28. | |
got on. It is the morning of Ken Williams' | :11:28. | :11:32. | |
operation. He has opted for keyhole surgery to fix a dangerously | :11:32. | :11:38. | |
diseased valve in his heart. I just want to be fit again. I want to be | :11:38. | :11:44. | |
able to have my life back again. As soon as the option came to be well | :11:44. | :11:48. | |
again in three weeks, I had to take it. The key hole repair will be | :11:48. | :11:53. | |
complex. It is only performed by a handful of Surgeons in the UK, but | :11:53. | :12:00. | |
it means his recovery will take just weeks, instead of months. Some | :12:00. | :12:03. | |
of the string the tendons holding the vow of into the main pumping | :12:04. | :12:07. | |
chamber in his heart have broken loose. Left untreated, his heart | :12:07. | :12:17. | |
will fail. This is looking at the valve. We can see here that there | :12:17. | :12:22. | |
is a piece flicking up. That is the string that was meant to be keeping | :12:22. | :12:28. | |
it pulled down into his ventricle. You can see it there, flicking up. | :12:28. | :12:34. | |
In this picture, we have put colour in to look at the blood flow. You | :12:34. | :12:38. | |
can see that the blood is going back to the lungs. It needs to be | :12:38. | :12:43. | |
one way to get around the body, not back towards the lungs. The blood | :12:43. | :12:46. | |
from his heart and lungs is diverted into a bypass machine | :12:47. | :12:50. | |
which will feed his body with oxygen while his heart is shut down | :12:50. | :12:55. | |
for the next three hours. At this stage, the surgeon would normally | :12:55. | :13:00. | |
be cracking the chest open from here to here. Instead, they are | :13:00. | :13:05. | |
making a tiny cup tie. The camera will go through that, direct into | :13:05. | :13:13. | |
the heart. -- they are making a tiny cut. This is the camera, five | :13:13. | :13:19. | |
mm diameter. It makes a tiny hole. It goes through this five mm port. | :13:19. | :13:23. | |
We put that inside the heart. Because it is so narrow, it does | :13:23. | :13:28. | |
not get in the way of the operation, which is what we want. It suits our | :13:28. | :13:34. | |
needs. An injection of potassium brings his heart to a complete | :13:34. | :13:41. | |
standstill. There we go, it has stopped. The surgeon can now stop | :13:41. | :13:45. | |
the repair job through a keyhole incision between the ribs. -- he | :13:45. | :13:55. | |
:13:55. | :14:02. | ||
He is literally restraining the valve, replacing the damaged chords | :14:03. | :14:12. | |
:14:13. | :14:16. | ||
with loops are made of waterproof As an extra precaution, he will | :14:16. | :14:23. | |
also so a synthetic ring right around the mouth of the valve. | :14:23. | :14:28. | |
whole thing is dilated, bigger than it needs to be because of the leak | :14:28. | :14:33. | |
that it has had for such a long time. We need to shrink it down to | :14:33. | :14:38. | |
a normal size, and that is what the ring does. To test his handiwork | :14:38. | :14:46. | |
for leaking, he puts salience solution straight into the vow of. | :14:46. | :14:53. | |
-- saline solution into the valve. It looks like it has been fixed, | :14:53. | :14:57. | |
but nobody can say for sure until his heart stops beating again. It | :14:57. | :15:03. | |
is a critical moment. -- starts beating. As his heart is gently | :15:03. | :15:13. | |
:15:13. | :15:18. | ||
eased back into action, the team You can see the circles there. This | :15:18. | :15:23. | |
thickened tissue is the valve. Remember how we saw lots here.... | :15:23. | :15:27. | |
And nothing. Nothing! We cannot see anything at all. | :15:27. | :15:34. | |
Perfect! Ten out of ten. Wow, that I would call a result. | :15:34. | :15:39. | |
So are you pleased with it? Extremely pleased. Not as pleased | :15:40. | :15:44. | |
as Ken will be, though. It's been the most amazing day in theatre | :15:44. | :15:51. | |
here. If it is medical's carpentry, this has got to be surgical | :15:51. | :15:57. | |
embroiderry. And the good news is that Ken is here with the surgeon. | :15:57. | :16:01. | |
How are you both? Fine, thank you. What are the big advantages of | :16:01. | :16:06. | |
doing the surgery, as opposed to opening up? Compared to openening | :16:06. | :16:12. | |
the front of the chest, which is associated with a three-month | :16:12. | :16:16. | |
recovery, keyhole surgery is something patients can recover from | :16:16. | :16:23. | |
in three weeks. The second benefit would be a cosmetic benefit. For | :16:23. | :16:28. | |
ladies you can hide the scar under the right breast. You can never | :16:28. | :16:34. | |
really tell the patient has had open-heart surgery. We have to say, | :16:34. | :16:40. | |
that operation was just 17 days ago. You look very well. How do you | :16:40. | :16:46. | |
feel? Fine. Do you feel fine enough to be back on the golf course? | :16:46. | :16:56. | |
:16:56. | :16:56. | ||
You have been back? I carried on Tuesday. I had an electric trolley. | :16:57. | :17:05. | |
I walked up the 18, 6,500 yards. Brilliant. | :17:05. | :17:11. | |
What are your plans for the tueure? I just want to get become -- | :17:11. | :17:17. | |
future? I I just want to get back to my normal life. I would like to | :17:17. | :17:25. | |
thank the Liverpool Heart and Chest Hospital and all the staff. It is | :17:25. | :17:31. | |
so humbling when you meet guys like Paul. And his super team. How is | :17:31. | :17:40. | |
your heart sitting next to these lovely ladies? Boom-boom. | :17:40. | :17:49. | |
realised you had an irregular heart beat? It affected me. I was in and | :17:49. | :17:53. | |
out of Great Ormond Street as a child. I have to adapt my lifestyle. | :17:53. | :17:59. | |
Obviously I would never - that's incredible, like - I'm so inspired | :17:59. | :18:05. | |
by like people like yourselves, just that you can do that. It is | :18:05. | :18:11. | |
fascinating. Did you write poetry about being in hospital? Yes. I | :18:11. | :18:15. | |
wrote about being in Great Ormond Street and a little boy opposite me | :18:15. | :18:22. | |
in the ward. He had heart surgery and did not survive. It was me not | :18:22. | :18:28. | |
understanding, I saw him pray the night before. It is something I | :18:28. | :18:33. | |
wanted to sing about. It's a very humbling experience to kind of go | :18:33. | :18:38. | |
things like that when you're a child. It makes you realise how | :18:38. | :18:46. | |
amazing life is and how precious it is. For once you were out of | :18:46. | :18:50. | |
control - how did that feel? understand when you are faced with | :18:50. | :18:54. | |
something like that how people change their lives radically. You | :18:54. | :19:00. | |
realise life is very precious and very, very short. Also, very | :19:00. | :19:04. | |
similar, I had keyhole surgery. It is where they feeled the aneurysm | :19:04. | :19:08. | |
with coils, as opposed to opening you up and clip it. The recovery | :19:08. | :19:14. | |
time was shorter. The result was fantastic for me. It makes you | :19:14. | :19:18. | |
realise in life, whatever you do, the talent and dedication of | :19:18. | :19:23. | |
medical teams and staff and their live's work is seen in the results | :19:24. | :19:28. | |
you get. No-one like them? And you write about it in the book, don't | :19:28. | :19:35. | |
you? Yes. Earlier on we had some Apprentices in - what about | :19:35. | :19:39. | |
something for Jessie J now and the biggest new talent show on the | :19:39. | :19:46. | |
telly, The Voice. This VT is brilliant. The Voice has lots of | :19:46. | :19:52. | |
spinning chairs. We invited people from her Essex to combine the two. | :19:52. | :19:55. | |
# Seems like everybody's got a price | :19:55. | :20:00. | |
# I wonder how they sleep tonight # When the truth comes second | :20:00. | :20:10. | |
# Stop for a minute and smile # Why is everybody so serious | :20:10. | :20:13. | |
# Heels so high # Have a good time | :20:13. | :20:18. | |
# Everybody look to the left # Everybody look to their left | :20:18. | :20:24. | |
# Can you feel that # It's not about the money | :20:25. | :20:28. | |
# We don't need your money, money, money | :20:28. | :20:31. | |
# We just want to make the world dance | :20:32. | :20:39. | |
# Forget about the price tag # It ain't about the ka-ching, ka- | :20:39. | :20:43. | |
ching # Not about the ba-bling, ba-bling | :20:43. | :20:48. | |
# Forget about the price tag # It's not about the money, money, | :20:48. | :20:52. | |
money # We just want to make the world | :20:52. | :21:02. | |
:21:02. | :21:07. | ||
dance Thanks to all our Essex singers. A | :21:07. | :21:15. | |
brilliant job. Was that better with the -- than the original? We should | :21:15. | :21:21. | |
have him at the end. You should audition next year. The Voice | :21:21. | :21:24. | |
launched successfully last Saturday. Who were your favourite acts? Can | :21:24. | :21:28. | |
you say that? I don't talk about favouritism. It is very early | :21:28. | :21:33. | |
stages. I am not a fan of favouritism. I believe in hard work | :21:33. | :21:37. | |
and that is what pays off. I am a coach on the show to just go, this | :21:37. | :21:41. | |
isn't going to be easy and I am here to give you tough love, let's | :21:41. | :21:48. | |
have tough love at the same time. Do you get the finger out a lot? | :21:48. | :21:53. | |
You will see as the episode goes along. I am the harcore coach. I am | :21:53. | :21:58. | |
so passionate that I am just like, this is an amazing opportunity, you | :21:58. | :22:01. | |
guys need to embrace it and remember every minute of it. How it | :22:01. | :22:05. | |
works for people who did not see last Saturday, is you as coaches | :22:05. | :22:11. | |
will have ten each, won't you? Is it hard when you sit there and | :22:11. | :22:16. | |
think, I have three. Should I.... What's going through your mind? | :22:16. | :22:21. | |
is tough, because when the audience see it at home, they know what they | :22:21. | :22:26. | |
look like. They know what they do for a living. All we hear is | :22:26. | :22:30. | |
footsteps and hear them sing. Sometimes I think it is a boy and I | :22:30. | :22:35. | |
turn around and it's a female. It is not what we expected. If we like | :22:35. | :22:39. | |
it, we push the buzzer and turn around. If one coach turns around, | :22:39. | :22:44. | |
the artist has to go with that person. If say myself, Will and | :22:44. | :22:49. | |
Daniel turn around, we have to pitch to the artist, and the artist | :22:49. | :22:55. | |
has the control. That is the funniest bit. You have been | :22:55. | :22:59. | |
successful? In the first episode. We have a bit of tomorrow today. | :22:59. | :23:02. | |
This is an exclusive clip. We don't know what it is, but we cannot wait | :23:02. | :23:07. | |
to see it. Here is Graham with a quick result. | :23:08. | :23:12. | |
We have William, who likes walks on the beach. He likes to make beats | :23:12. | :23:22. | |
:23:22. | :23:26. | ||
late at night. In second, we've got Tomothy - Tomio - Tomilicious. He | :23:26. | :23:34. | |
sings about sex bombs. We have Danny.... The light-hearted | :23:34. | :23:42. | |
Irish man who loves to tell the girls "You're gorgeous." We have | :23:42. | :23:52. | |
:23:52. | :23:55. | ||
All that, as you said, you filmed that, that is all prerecorded. | :23:55. | :24:00. | |
Where are you now? You have your ten. Are you mentoring them now? | :24:00. | :24:05. | |
work with them, very, very closely. We have filmed the battle grounds, | :24:05. | :24:09. | |
where the ten get teamed up in pairs. They have to sing a song | :24:09. | :24:13. | |
together. We have to decide who we want to take through. It's not easy. | :24:13. | :24:16. | |
I think I didn't think how emotionally attached I get to them. | :24:17. | :24:22. | |
I understand how they feel. You are reluctant to say the word "judge." | :24:22. | :24:27. | |
But you are picking people and saying to other people, "no." It is | :24:27. | :24:31. | |
judging? There is a difference between saying I don't like that | :24:31. | :24:36. | |
and this was not my cup of tea and this is why. There is a thin line | :24:36. | :24:40. | |
between being rude and constructive. It is not my place to judge someone | :24:40. | :24:46. | |
on how they look and how they sing. There are hundreds of again -- | :24:46. | :24:50. | |
genres in the world. There is something I might not buy that Tom | :24:50. | :24:55. | |
would love. Judge is not a word I would associate with what I'm doing. | :24:55. | :25:00. | |
Karren, you watched it with your daughter. What did you think of it? | :25:00. | :25:04. | |
I thought it was lovely when you didn't turn around to somebody | :25:04. | :25:10. | |
because you said "I don't think I could help you, the n the way | :25:10. | :25:14. | |
others can." That is a genuine honesty. It comes through. Where | :25:14. | :25:21. | |
did you watch the first episode? my mum and dad's house, with my dad | :25:21. | :25:27. | |
come men taiting. Did you have a takeaway? We were sitting down. We | :25:27. | :25:37. | |
:25:37. | :25:37. | ||
had a barbecue. My nephew stayed up. He's very little. He was going | :25:37. | :25:43. | |
"Jessie." Very confused. Was this while Simon Cowell was getting | :25:44. | :25:47. | |
burgled? I don't know. The Voice will be back on tomorrow at 7pm on | :25:47. | :25:54. | |
BBC One. I cannot wait for that. Ian Cook is working hard, creating | :25:54. | :25:58. | |
a special painting using radio- controlled cars. He's been here | :25:58. | :26:02. | |
since 11am. We have half an hour left on the programme. To you think | :26:02. | :26:10. | |
you will be finished on time? Hopefully. I need help. If the | :26:10. | :26:14. | |
ladies on the sofa want to come down. I can come and help, if you | :26:14. | :26:19. | |
like. It is all right. We had enough earlier. Whatever! | :26:19. | :26:23. | |
We will be with him at the end of the show. With Easter around the | :26:23. | :26:27. | |
corner there can only be one food choice for Jay's feature tonight.... | :26:27. | :26:31. | |
Chocolate. Chocolate! | :26:31. | :26:34. | |
Chocolate CHEERING | :26:34. | :26:39. | |
CHEERING And | :26:39. | :26:40. | |
And we | :26:40. | :26:40. | |
And we dare | :26:40. | :26:40. | |
And we dare you | :26:40. | :26:46. | |
And we dare you not to drool during this film! | :26:46. | :26:51. | |
Chocolate, we can't get enough of the stuff. | :26:51. | :26:56. | |
Over Easter, we'll gorge ourselves on more than 100 million chocolate | :26:56. | :27:00. | |
eggs. We all have our favourite bars. We all have memories of | :27:00. | :27:04. | |
chocolate as a kid. Today, I'm meeting a man who thinks we can do | :27:04. | :27:12. | |
so much better. Tame myian is a chocolate maker who | :27:12. | :27:17. | |
believes the taste is lost in conventional bars. Usually it is | :27:17. | :27:22. | |
mixed with dairy fat to produce the chocolate bars we know. He does it | :27:22. | :27:27. | |
differently. So, you don't generally put dairy | :27:27. | :27:33. | |
fats in your chocolate, do you? We have taken them out. Why? So we | :27:33. | :27:39. | |
can taste the chocolate. I think of cream as a heavy blanket on top of | :27:39. | :27:43. | |
flavour. It has its own flavour. It is very rich. If I add that on top | :27:43. | :27:48. | |
of the chocolate it will change whatever the chocolate is. When you | :27:48. | :27:52. | |
get up to fine chocolate, when we get to chocolate which has the | :27:52. | :27:57. | |
complexity of a �50 bottle of wine, that kind of level, we need to use | :27:57. | :28:01. | |
a different liquid because the cream will change its flavour. | :28:01. | :28:05. | |
Unusually there is no milk in his recipe. He mixes his pure chocolate | :28:05. | :28:09. | |
with water and it's from a local spring. The water, it's an | :28:09. | :28:14. | |
important part of the recipe. It needs to be pure. Everything I use | :28:14. | :28:17. | |
is non-flavoured. The only thing with flavour is the chocolate. It's | :28:17. | :28:22. | |
so beautiful, I don't want to mess with it. If I do, we'll use it. | :28:22. | :28:26. | |
talk about them as if they are supermodels? People would think of | :28:26. | :28:31. | |
dark chocolate as bitter, intense, strong, heavy, rich, whereas when | :28:31. | :28:37. | |
you taste these chocolates, I think you will think of light, refreshing, | :28:37. | :28:44. | |
clean and beautiful. Oh, how I love my job. Time for a | :28:44. | :28:48. | |
chocolate tasting lesson. It is serious stuff. He believes you | :28:48. | :28:51. | |
should appreciate good chocolate like a fine wine. These pieces are | :28:51. | :28:56. | |
sourced from the Congo in Africa. The first thing I look for is | :28:56. | :29:02. | |
acidity. Is your mouth watering? little bit. That is from the | :29:02. | :29:08. | |
fermentation stage. Now you should taste fruit. I am. Blackberry - | :29:08. | :29:15. | |
kind of violet. And then there's a longer end to it - a dark note. | :29:15. | :29:21. | |
I'm having a moment. A really good chocolate moment. | :29:21. | :29:26. | |
I think his water-based chocolates are fabulous. The British pallet is | :29:26. | :29:33. | |
used to something else. The biggest selling chocolate bar is Dairy Milk. | :29:33. | :29:40. | |
20 minimum solids, co-co-and milk. Time to 236 the people of Tunbridge | :29:40. | :29:46. | |
Wells a treat. Which will they go for? Would you like to try one of | :29:46. | :29:50. | |
our higher end chocolates, made with water instead of cream. It is | :29:50. | :29:55. | |
nice. It is bitter. It is serious, isn't it? Proper chocolate. Do you | :29:55. | :30:01. | |
think you would give up maltesers for those or would it be a case of | :30:01. | :30:07. | |
both? I am afraid it would always be a case of both. Kit Kat and twix, | :30:07. | :30:13. | |
I would spend my pocket money on that. | :30:13. | :30:21. | |
Do you want to give it a go? See if it brings back memories. | :30:21. | :30:31. | |
:30:31. | :30:32. | ||
My grandparents used to work for Cadbury's. I remember opening their | :30:32. | :30:36. | |
sideboard and getting covered in an avalanche of Cadbury's cream eggs | :30:36. | :30:40. | |
and the stuff they used to bring home from the factory. Have one of | :30:40. | :30:47. | |
these, a memory of childhood. have not had one for 15 years. | :30:47. | :30:54. | |
Lovely, strong. Maltesers are like comfort food. This is sophisticated. | :30:54. | :30:59. | |
Not everyone can be persuaded to swap their traditional bars for | :30:59. | :31:06. | |
Damien's chocolate. The Mars Bar. Was that to full-on? I have tasted | :31:06. | :31:12. | |
and looked at loads of chocolate, and I have loads left. What could | :31:12. | :31:22. | |
:31:22. | :31:22. | ||
be wrong with a day that ends in that way? Would you give us your | :31:22. | :31:32. | |
:31:32. | :31:34. | ||
last one? No. I have to be honest. Are you fans of chocolate?, yes! | :31:34. | :31:39. | |
But you did tweet yesterday that you need to stop eating chocolate. | :31:39. | :31:44. | |
Dairy is not good for your throat, so why do not eat any six hours | :31:44. | :31:53. | |
before singing. Yesterday, I went in. You went off on one. She has a | :31:53. | :31:57. | |
chocolate draw in make-up, packed with chocolate. We have moved it | :31:57. | :32:03. | |
because people were eating them. was wondering where it had gone. I | :32:03. | :32:10. | |
went ferreting in your chocolate draw. We have these chocolates that | :32:10. | :32:17. | |
you have tasted, without milk, just water. No, these are different | :32:17. | :32:20. | |
chocolates, made at the chocolate festival on the South Bank this | :32:20. | :32:26. | |
weekend in London. There is a chocolate festival? Why am I not | :32:26. | :32:32. | |
singing there? We want you to work out what flavour they are. Tell us | :32:32. | :32:39. | |
about the big one. This is made by a brilliant man called William | :32:39. | :32:43. | |
Curley. It is enormous, weighs 50 kilos and was sold at an auction | :32:43. | :32:50. | |
for charity for �7,000. You are in love with that. I cannot believe | :32:50. | :33:00. | |
how big it is. That was �7,000. Imagine if somebody pushed it off. | :33:00. | :33:10. | |
:33:10. | :33:11. | ||
We could melt it and make a little one. How heavy are you? About 56-57. | :33:11. | :33:21. | |
:33:21. | :33:21. | ||
No way! The good news is that chocolate is slimming, apparently. | :33:21. | :33:27. | |
Don't get too excited. There has been a scientific study in America | :33:27. | :33:31. | |
which seems to show that if people eat a lot of chocolate, they are | :33:31. | :33:34. | |
thinner than those who do not. But there could be lots of reasons | :33:34. | :33:39. | |
behind it. I would say that the chocolate diet is not necessarily | :33:39. | :33:42. | |
here to stay. The report is not backed by chocolate manufacturers, | :33:42. | :33:50. | |
but it seems to show a thrilling things. We have been tricked! That | :33:50. | :34:00. | |
one is mustered. And is that prawns? It smells like it. | :34:00. | :34:06. | |
It might be the tomato flavour of baked beans that you're getting. | :34:06. | :34:14. | |
you want it? I did not realise. some of them are an acquired taste. | :34:14. | :34:18. | |
We have all of these lovely things but we do not have time to talk | :34:18. | :34:22. | |
about them. They came from the brand Museum and these are a | :34:22. | :34:26. | |
reminder of the fabulous different types of the history of chocolate | :34:26. | :34:30. | |
brands in this country, from the KitKat that started in the 1930s, | :34:30. | :34:33. | |
through the Mars bar, not named after the planet but after Forrest | :34:34. | :34:40. | |
Mars, the family. Flake, nobody has managed to make one just like that. | :34:40. | :34:44. | |
It is not just chocolate that can evoke memories. Sometimes the | :34:44. | :34:49. | |
adverts are just as memorable. We have some stars from great | :34:49. | :34:54. | |
chocolate adverts, but Jessie, can you tell us who they are? What is | :34:54. | :35:04. | |
:35:04. | :35:15. | ||
in the box? We love Milky Bar. It's the Milky Bar Kid. The Milky | :35:15. | :35:23. | |
Bars are on me. So, that was the advert, but who is the Milky Bar | :35:23. | :35:30. | |
Kid? My name is Tom and I am from Essex. My name is dead, from | :35:30. | :35:37. | |
Watford. My name is Simon, from Bromley. Who is the original Milky | :35:37. | :35:47. | |
Bar Kid? I think it is number three because of his cheeky smile. I will | :35:47. | :35:57. | |
:35:57. | :36:02. | ||
say No. 1. Police reveal yourself. -- please. Yes! You do not look old | :36:02. | :36:08. | |
enough. I am probably not. Well, you can win a little bit of this | :36:08. | :36:16. | |
for being here. I will take the whole thing. No. Two, please. | :36:16. | :36:26. | |
:36:26. | :36:32. | ||
# Only the crumbly us, fully cueist chocolate tastes like chocolate | :36:32. | :36:42. | |
:36:42. | :36:47. | ||
never tasted before. # Who was the original flake lady? | :36:47. | :36:57. | |
:36:57. | :37:01. | ||
am Janis, from Utopia. I am Chantelle. I am from west London. | :37:01. | :37:08. | |
Who was the original Flake woman? Definitely number one. I will let | :37:08. | :37:18. | |
:37:18. | :37:22. | ||
them decide. Please reveal yourself. The original Flake girl. What have | :37:22. | :37:28. | |
you done since that famous advert? That got me a TV show with Pierce | :37:28. | :37:31. | |
Brosnan which led to a contract with NBC and they lived in | :37:31. | :37:35. | |
Hollywood for many years working in film and TV. And now I have a hair | :37:35. | :37:44. | |
replacement company and a gorgeous daughter in the audience. Let's go | :37:44. | :37:54. | |
:37:54. | :38:12. | ||
to adverts number three. What is in Have a break, have a KitKat. Isn't | :38:12. | :38:22. | |
:38:22. | :38:24. | ||
this great? The KitKat man is one of these. Brian Stanley, Hanwell. | :38:24. | :38:34. | |
:38:34. | :38:34. | ||
am thinking Crimewatch. Robert, from Hove. Tim, from London. | :38:34. | :38:42. | |
sounded like you were going to say something else. Who was the KitKat | :38:42. | :38:52. | |
:38:52. | :38:58. | ||
man? I just loved number two. you please reveal yourself? It is | :38:58. | :39:06. | |
the KitKat man. You were brilliant in that advert. And you never got | :39:06. | :39:12. | |
to see the panda. We were shot separately. Do you get money and | :39:12. | :39:16. | |
chocolate forever? I have not had any sense, because I ate so many. | :39:16. | :39:21. | |
They had someone with a bucket so that I could spit it out, but I | :39:21. | :39:26. | |
just ate all of them. Thank you for being here tonight, the KitKat man, | :39:26. | :39:33. | |
the Milky Bar Kid and the Flake girl. Well, it is the end of | :39:33. | :39:41. | |
Balloon Week, everybody. It is a very sad day. Don't be too deflated, | :39:41. | :39:46. | |
for the last film, Marty Jopson has been flying high over a modern | :39:46. | :39:50. | |
engineering miracle, the Len Goodman bridge. Why do we call it | :39:50. | :40:00. | |
:40:00. | :40:02. | ||
that? Because it crosses the River Crossing vast natural obstacles as | :40:02. | :40:06. | |
always tested human ingenuity, but it was the arrival of the railways | :40:06. | :40:09. | |
in the 1800s that presented engineers with challenge after | :40:09. | :40:12. | |
challenge, as they attempted to connect the country with a railway | :40:12. | :40:17. | |
lines. As a result, over the past two centuries we have become rather | :40:17. | :40:22. | |
good at the art of bridge-building. And the greatest of its time was | :40:22. | :40:26. | |
the first Severn Bridge, which to this day is still an international | :40:26. | :40:31. | |
engineering icon. What is it that makes the Severn Bridge unique? | :40:31. | :40:37. | |
Well, the span between the pillars measures 987 metres. The steel in | :40:37. | :40:44. | |
the cabling weighs 4600 tons. These figures might sound fast, but for | :40:44. | :40:50. | |
its size, this bridge is remarkably light. It is a trait true of all of | :40:50. | :40:54. | |
the bridges that followed this ingeniously efficient design. But | :40:54. | :40:59. | |
the pinnacle of bridge design, in my opinion, is the suspension | :40:59. | :41:03. | |
bridge. The way it works is that the DEC is suspended and the weight | :41:03. | :41:09. | |
on the deck is suspect -- is transferred to this cable and then | :41:09. | :41:14. | |
to the towers. And that means that you can make a really long bridge | :41:14. | :41:21. | |
that is incredibly light. Like this one. But what is so special about | :41:21. | :41:26. | |
the Severn Bridge? Well, it is not the tallest. That would be a bridge | :41:26. | :41:32. | |
in Mexico. It is not even the longest in Britain. Yet it is an | :41:32. | :41:37. | |
engineering icon and it marks the first of its kind. The difference | :41:37. | :41:41. | |
may be subtle to the untrained eye, but this bridge is the result of a | :41:41. | :41:46. | |
total rethink in the way suspension bridges should be constructed. But | :41:46. | :41:50. | |
why did they follow that route when tried and tested heavier designs | :41:50. | :42:00. | |
:42:00. | :42:00. | ||
would have worked? It goes back to 1940, a disaster. The bridge in the | :42:00. | :42:04. | |
state of Washington had been open less than one year when, despite | :42:04. | :42:08. | |
its strength, it was ripped apart by the wind. This was to prove a | :42:08. | :42:12. | |
problem particular to suspension bridges, but it was not the | :42:12. | :42:16. | |
severity of the storm that led to the collapse, but the specific wind | :42:16. | :42:22. | |
conditions which hit the resonant frequency and created a phenomenon | :42:22. | :42:27. | |
known as aero elastic flutter. First observed in aircraft wings, | :42:27. | :42:32. | |
aero elastic flutter is vibration caused by the wind. If I warble | :42:32. | :42:37. | |
this piece of wood at the right frequency, like this, I hit the | :42:37. | :42:44. | |
resonant frequency of the red blob. If I slow it down a little bit, I | :42:44. | :42:47. | |
hit the resonant frequency of the green one. If the Vibration is | :42:47. | :42:53. | |
allowed to escalate, it can have disastrous consequences. And so the | :42:53. | :42:56. | |
designers of the Severn Bridge had to come up with a revolutionary | :42:56. | :43:01. | |
design, aerodynamic enough to avoid flutter. From the ground, the | :43:01. | :43:05. | |
Severn Bridge just looks big, but from the air, in our balloon, you | :43:06. | :43:09. | |
can truly appreciate its lightweight design and structural | :43:09. | :43:14. | |
efficiency. Who better to join me than John Evans, Bridge Engineer, | :43:14. | :43:18. | |
involved in the construction of the Severn Bridge. What stops the | :43:18. | :43:25. | |
Severn Bridge from moving? The deck is extremely modern and it is very | :43:25. | :43:30. | |
stiff, so it acts like an aeroplane wing. But it also offers very | :43:30. | :43:37. | |
little aerodynamic resistance. super thin design, compared to the | :43:37. | :43:41. | |
wings of an aircraft, is upside down, so rather than creating lift, | :43:41. | :43:51. | |
:43:51. | :43:53. | ||
it is forced downwards on to its All modern suspension bridges | :43:53. | :43:57. | |
follow this trend now, but it is still the most beautiful and most | :43:57. | :44:01. | |
perfectly proportioned of all suspension bridges. Even compared | :44:01. | :44:04. | |
to the much more modern second crossing, built 30 years after the | :44:04. | :44:09. | |
first one, the difference is clear. This is the bridge that broke the | :44:09. | :44:16. | |
mould. What a good bridge. It might be | :44:16. | :44:20. | |
nearly six miles to cross it, but it is good. They are better rides, | :44:20. | :44:25. | |
but not as necessary. Apprentice is back for its eighth | :44:25. | :44:30. | |
series. Not a good start for the women. They lost the first task and | :44:30. | :44:35. | |
the second task, so we are a bit disappointed about that. Last week | :44:35. | :44:39. | |
they had to come up with a gadget to be useful in the home. The girls | :44:39. | :44:43. | |
design something to stick in the bath as a screen. What did you | :44:43. | :44:48. | |
think about it? I did not think it was very good. They did not have | :44:48. | :44:54. | |
many ideas. It was more of a toy than a gadget. I kept thinking - I | :44:54. | :44:58. | |
have two kids - if you put it between yourself and the baby and | :44:58. | :45:01. | |
something happened, you would not be able to get quickly enough, if | :45:01. | :45:06. | |
there was a problem in the bath. It was badly thought out. Do you think | :45:06. | :45:13. | |
it is because they do not have kids? They did. Do you think Lord | :45:13. | :45:18. | |
Sugar is making the right decisions so far? Of course. You have to say | :45:18. | :45:25. | |
that, don't you? Of course. Next week, they have to come up with a | :45:25. | :45:35. | |
:45:35. | :45:43. | ||
Presumably it is going for the Italian feel? It translates as | :45:43. | :45:49. | |
beautiful. There is a spelling mistake - it should have two Ls. | :45:49. | :45:53. | |
They have made the sauce. They had the sample. The deal was in their | :45:53. | :45:58. | |
sights. What has let them down is the spelling. I am not impressed. | :45:58. | :46:06. | |
If you ask a stockist to but your good in their store, you've got to | :46:06. | :46:11. | |
get it right. It must be frustrating. Sometimes you see you | :46:11. | :46:18. | |
in a shot and your face says it all. Is it to not step in and say - look | :46:18. | :46:26. | |
this is what you need to do? They might say I disagree. So we are | :46:26. | :46:30. | |
taking notes all of the time. It's interesting, because there are so | :46:30. | :46:34. | |
many cameras around that you never know if you are on screen or not. | :46:34. | :46:41. | |
What you see from us is our genuine reactions. I think our emotions are | :46:41. | :46:47. | |
sometimes very often written on our faces. We can see you nodding there. | :46:47. | :46:52. | |
In agreement. I am so honest with my face. Let's stop you there | :46:52. | :46:55. | |
because we have film here. It is both about your expressions a lot | :46:55. | :47:00. | |
of the time on the programmes and pictures speak louder than words so | :47:00. | :47:05. | |
often in life. We have compared both your different styles of | :47:05. | :47:11. | |
frustration and excitement. Mine's going to be worse. Please enjoy | :47:11. | :47:21. | |
:47:21. | :47:39. | ||
each other! Both as powerful, but different in | :47:39. | :47:44. | |
style. Mine are a little more childish. Mine are a bit more | :47:45. | :47:50. | |
severe. I suspect you can raise your left eyebrow? Interesting when | :47:50. | :48:00. | |
I watch it I think I scare myself. Give me the death stair. -- stare. | :48:00. | :48:04. | |
Earlier we left Carrie, Lucy and Apprentice candidates in the middle | :48:04. | :48:11. | |
of a field in Wiltshire about to round up some sheep, or to learn | :48:11. | :48:17. | |
some team work skills. Time to see who turned out to be a Shepherd's | :48:17. | :48:21. | |
Delight. And to see who turned out to be a rock between a hard place. | :48:21. | :48:26. | |
The first team to get their flock into the team wins. They don't have | :48:26. | :48:33. | |
a sheepdog. Success will depend on planning, excellent team work and a | :48:33. | :48:38. | |
cool, calm approach. Difficult when Baggs is on your team. | :48:38. | :48:43. | |
He has run off on his own. So, now we have three Apprentice people and | :48:43. | :48:53. | |
:48:53. | :48:58. | ||
Let's walk really slowly. Gavin's technique gets the sheep on the | :48:58. | :49:03. | |
move.... Again. You've got no strategy. You have not discussed | :49:03. | :49:07. | |
what you'll do. Stuart you went running off. We have strategy. | :49:07. | :49:11. | |
have an opinion. You don't have a strategy. So long as we box off | :49:11. | :49:18. | |
this area we are fine. In the field next door Lucy is | :49:18. | :49:24. | |
trying out her animal psychology skills. Why don't you get down like | :49:24. | :49:27. | |
a dog? Ellie would rather be a sheep. | :49:28. | :49:35. | |
They can run really fast. Oh, my God! | :49:35. | :49:40. | |
He's driving them further away. You need to make eye contact. You need | :49:40. | :49:48. | |
to take your glasses off. As for the sheep they find it impossible | :49:49. | :49:56. | |
to see eye-to-eye. They've escaped! Over in Carrie's field, Baggs is | :49:56. | :50:03. | |
determined to get the sheep into the field alone. I will push them | :50:03. | :50:07. | |
that way. I see some technique evolving. I'll jump the other side | :50:07. | :50:17. | |
:50:17. | :50:24. | ||
Most of Lucy's flock have gone AWOL. What of the remaining five? | :50:24. | :50:29. | |
Look at that! All but that one.... We've got four | :50:29. | :50:34. | |
of them in there, which is a huge victory. I think that means we win, | :50:34. | :50:41. | |
by the way. Over in Carrie's field - all hope of a victory is slipping | :50:41. | :50:49. | |
away. We hoped we might win this, but I cannot see it will happen. | :50:49. | :50:59. | |
:50:59. | :50:59. | ||
Even the blaeting doesn't help. We have failed more abizally than | :50:59. | :51:08. | |
We have both teams here. Very quickly, Stuart, how did this task | :51:08. | :51:12. | |
compare to the ones Lord Sugar set you? I think we were keen to prove | :51:12. | :51:19. | |
we were not rejects. We did a great job to show we are useless at | :51:19. | :51:23. | |
business and useless at rounding up sheep. I did not want to be | :51:23. | :51:27. | |
sheepish. If anyone wants to give me a job as a shepherd, please give | :51:27. | :51:35. | |
it to Raef, not me. They were good. They took direction well. We had a | :51:35. | :51:40. | |
bit of an advantage - Stuart was on the other team! | :51:40. | :51:45. | |
You're fired. Get out! You can't do that bit. How did your | :51:45. | :51:49. | |
team perform? Were you happy? they worked together, they would | :51:49. | :51:54. | |
have been fine. Stuart wouldn't have that. There is a common theme | :51:54. | :51:59. | |
as to why it failed. I got to week 11. Everybody else got to week, | :51:59. | :52:03. | |
three, four - I don't know. I forget. Time to find out who is | :52:03. | :52:06. | |
winning. We have champagne for the winners and nothing much for the | :52:06. | :52:16. | |
:52:16. | :52:20. | ||
losers. Chris, over to you - who How are you feeling? I feel proud | :52:20. | :52:25. | |
and privileged to be part of this team. You're a good leader. Harry, | :52:25. | :52:35. | |
:52:35. | :52:36. | ||
I am so sorry. Where's the wheely case? Not the wheely case!? Chris, | :52:36. | :52:46. | |
:52:46. | :52:47. | ||
you need to fire somebody. With regret, Felicity. | :52:47. | :52:54. | |
You can still bring in the wheely case. We're sorry. Off you go. | :52:54. | :52:59. | |
thought you'd be used to it. There will be a black taxi downstairs for | :52:59. | :53:05. | |
you. You have to pay for it though. Goodbye. | :53:05. | :53:11. | |
Loser! Soon, we'll be revealing the masterpiece created by radio- | :53:11. | :53:17. | |
controlled car artist. Phil Tufnell has unearthed a hugely important | :53:17. | :53:22. | |
piece of impressionalism hanging on a wall in Birmingham. | :53:22. | :53:25. | |
Painting has been evolving for thousands of years. The 19th | :53:25. | :53:31. | |
century saw the emerge gapbs of one of the most significant and well | :53:31. | :53:34. | |
loved styles - impressionalism. You can find them all over the country. | :53:34. | :53:39. | |
Today, we're going to be looking at one of the most important. It's not | :53:39. | :53:47. | |
where you might think you'll find it. The Barber Institute is on the | :53:47. | :53:52. | |
University of Birmingham. It is a concert and activity centre. It has | :53:52. | :54:01. | |
a remarkable art collection. It was set up in memory of Sir Barber, a | :54:01. | :54:07. | |
property developer from the 1930's. It is a world-class gallery. You | :54:07. | :54:13. | |
will find works by Van Gogh and Turner. It is this painting by | :54:13. | :54:19. | |
Degar which pulls the crowds and splits opinion. It is all because | :54:19. | :54:27. | |
of a pole. Professor Sumner is the director of the Barber Institute. | :54:27. | :54:33. | |
It looks unfinished. The first thing that strikes you is this | :54:33. | :54:40. | |
starting pole. This is the starting poment. It looks fleeting as if it | :54:40. | :54:48. | |
is a moment in time. It is careful. He used wooden models of horses in | :54:48. | :54:51. | |
his studio. People come to see it from all over the world because it | :54:51. | :54:55. | |
is so unusual. Look at the wonderful colour in the sky, the | :54:55. | :55:01. | |
way it is reflected in the jackets and this fantastic red splash. | :55:01. | :55:08. | |
would have done the pole a bit smaller. This is a remarkable | :55:08. | :55:15. | |
example of Degas and his craft. It has been called one of the most | :55:15. | :55:18. | |
important paintings in Britain. I am not sure about it! It is that | :55:19. | :55:25. | |
pole 789 I need to find out why he painted it like that. One import | :55:25. | :55:35. | |
fascinated him was a print from Japan. This is a print. His prints | :55:35. | :55:40. | |
would have come over to Paris in the 1860s. They would have been | :55:40. | :55:47. | |
ground-breaking. He liked the way they come easyed poir prints. | :55:47. | :55:54. | |
are remarkable -- he composed the prints. There are remarkable | :55:54. | :55:59. | |
similarities. The horse is obscured here, just as this target obscures | :55:59. | :56:04. | |
that background. There is more than eastern influence. There was a new | :56:04. | :56:07. | |
invention in the 19th century which would transform the art world. It | :56:07. | :56:10. | |
was an art form in itself - that was photography. | :56:10. | :56:16. | |
Smile, boys! Robert Gibb is an expert on how | :56:16. | :56:26. | |
:56:26. | :56:27. | ||
photography influences artists. It looks like a snapshot from a camera. | :56:27. | :56:33. | |
It looks like real because of that amateurness about his construction. | :56:33. | :56:36. | |
It is really carefully controlled and breaking the conventions of the | :56:36. | :56:41. | |
time. When people look at that and some of the other materials around | :56:41. | :56:46. | |
here in terms of come position, you think carefully composed and here | :56:46. | :56:50. | |
is somebody breaking that. It looks like a frozen moment in time. You | :56:50. | :56:54. | |
can imagine five seconds later the horse is gone, and everything has | :56:54. | :56:58. | |
moved. The pole would still be there but everything else would be | :56:58. | :57:01. | |
different. This is radical because people are not used to seeing | :57:01. | :57:06. | |
images constructed like this. seems love it or loath it, this | :57:06. | :57:10. | |
painting tells us a lot about the way art in the 19th century was | :57:10. | :57:14. | |
evolving. It's not the job of art to be safe or cosy. This particular | :57:14. | :57:19. | |
painting is a very challenging one. It is one of the most popular in | :57:19. | :57:24. | |
the gallery, but also one of the most disliked. I think he would | :57:24. | :57:29. | |
have liked that. I personally don't like the pole. That painting is | :57:29. | :57:36. | |
setting people up the pole. Thank you Phil, and thank you | :57:36. | :57:40. | |
Birmingham. Ian Cook paints all his paintings with radio-controlled | :57:40. | :57:46. | |
cars. Hundreds of them. Tyre worked involved. He has been working on a | :57:46. | :57:52. | |
secret project. He has created this today. Are we ready to see what he | :57:52. | :58:02. | |
:58:02. | :58:06. | ||
has created. Three, two, one... Have you got a wall big enough? | :58:06. | :58:14. | |
am going to put it on my fridge! A round of applause for the artist. | :58:14. | :58:20. | |
How did you get into radio- controlled painting? I was an | :58:20. | :58:24. | |
enthusiast. I was given a remote controlled car for Christmas and | :58:24. | :58:28. | |
told not to get paint on it. took nine hours to do. In a moment | :58:28. | :58:33. |