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SOFT JAZZ MUSIC | 0:00:02 | 0:00:05 | |
He's just sitting there, right, completely confused. | 0:00:35 | 0:00:38 | |
Everybody's looking at him, but he hasn't got a clue what's going on. | 0:00:38 | 0:00:41 | |
And then the magician... Cheers, mate. | 0:00:41 | 0:00:44 | |
..he turns and slowly lifts back his sleeve, but then he says, | 0:00:44 | 0:00:49 | |
"That's not my watch. That's just a jam doughnut." | 0:00:49 | 0:00:52 | |
Do you get it? Because of what the magician said at the sta... | 0:00:56 | 0:01:00 | |
..the start of the joke. | 0:01:01 | 0:01:02 | |
Oh, right, the start of the joke, yeah. | 0:01:03 | 0:01:06 | |
I forget - was Tony Blair Prime Minister then, or...? | 0:01:06 | 0:01:10 | |
Oh, I'm joking. | 0:01:12 | 0:01:13 | |
Oh, sorry. It did go on a bit. | 0:01:15 | 0:01:18 | |
I think I was just trying to delay eating...this. | 0:01:18 | 0:01:21 | |
Yeah, it's pretty, um... | 0:01:21 | 0:01:23 | |
Grim? Grim! | 0:01:24 | 0:01:26 | |
Sorry. My mate, now ex-mate, Tim recommended it. | 0:01:26 | 0:01:30 | |
I was hoping for a sort of, | 0:01:30 | 0:01:32 | |
um, retro, cool, kind of Pulp Fiction-y type vibe, | 0:01:32 | 0:01:36 | |
instead of... A converted pub. Yeah. | 0:01:36 | 0:01:39 | |
Yeah. | 0:01:40 | 0:01:41 | |
MAN COUGHS | 0:01:41 | 0:01:43 | |
But, hey, I've got plenty more crap jokes, if you'd like. | 0:01:48 | 0:01:52 | |
Maybe you should save them for next time. | 0:01:52 | 0:01:55 | |
Oh. | 0:01:55 | 0:01:56 | |
So there's going to be another...date, so to speak? | 0:01:58 | 0:02:01 | |
Perhaps we should try and get through this one first, yeah? | 0:02:01 | 0:02:04 | |
Did you know a date, | 0:02:07 | 0:02:09 | |
which originates from the Latin term "tempus", meaning "time", | 0:02:09 | 0:02:12 | |
is actually a fairly recent construct of human evolution? | 0:02:12 | 0:02:16 | |
Yeah. It's an institution that's only really been introduced | 0:02:16 | 0:02:19 | |
in the last couple of centuries and, if you're asking me, | 0:02:19 | 0:02:22 | |
it's quite, um...emblematic of how we, as humans, have developed | 0:02:22 | 0:02:27 | |
from, you know, hunter-gatherers into more civilised beings. | 0:02:27 | 0:02:33 | |
Wikipedia. | 0:02:34 | 0:02:36 | |
No! No! SHE LAUGHS | 0:02:37 | 0:02:39 | |
PHONE BEEPS | 0:02:39 | 0:02:40 | |
I am merely a student of anthropology and sociology, | 0:02:40 | 0:02:43 | |
so to speak. Yep. | 0:02:43 | 0:02:44 | |
Sorry. | 0:02:44 | 0:02:45 | |
Oh, it's my mum. | 0:02:45 | 0:02:46 | |
Do you mind? Sorry. | 0:02:47 | 0:02:49 | |
WHITE NOISE BUILDS | 0:02:52 | 0:02:55 | |
HE SIGHS | 0:02:55 | 0:02:56 | |
LAUGHTER | 0:02:56 | 0:02:57 | |
Well done. Cos that's what really gets a girl going - | 0:02:59 | 0:03:03 | |
anthropology and reciting Wikipedia articles. | 0:03:03 | 0:03:06 | |
Piss off! Huh? | 0:03:06 | 0:03:07 | |
How was your meals? | 0:03:14 | 0:03:15 | |
Interesting. Lovely, thank you. | 0:03:15 | 0:03:18 | |
Who are you supposed to be, then? | 0:03:18 | 0:03:20 | |
Who do you think, love? | 0:03:20 | 0:03:22 | |
Er... | 0:03:22 | 0:03:23 | |
Peggy from EastEnders? SHE LAUGHS | 0:03:23 | 0:03:25 | |
Are you taking the...? Could we see the dessert menus, please? | 0:03:25 | 0:03:28 | |
Sorry, I didn't mean to... | 0:03:30 | 0:03:32 | |
She's spitting in my dessert now, isn't she? Probably. | 0:03:34 | 0:03:38 | |
But it was worth it. | 0:03:38 | 0:03:39 | |
On our first date, | 0:03:55 | 0:03:56 | |
he started wittering on about gluten-free waffles. | 0:03:56 | 0:03:59 | |
LAUGHTER You should've said "waffling on"! | 0:03:59 | 0:04:01 | |
Luckily, I didn't have to invite him in. | 0:04:01 | 0:04:03 | |
Told him I'd locked myself out | 0:04:03 | 0:04:04 | |
and that my dad was coming with a replacement key. | 0:04:04 | 0:04:07 | |
Not a very good tempus then, eh? | 0:04:07 | 0:04:09 | |
Made your minds up yet? Ladies first. | 0:04:16 | 0:04:19 | |
Oh, I just had a question about the Lady Baltimore cake. | 0:04:19 | 0:04:24 | |
Yeah? Does it contain nuts? Cos I'm allergic. | 0:04:24 | 0:04:27 | |
Well, the ingredients are on the menu. | 0:04:27 | 0:04:29 | |
Er, yeah, I know but... | 0:04:29 | 0:04:31 | |
I wouldn't have worried. Yeah, well, he's not exactly, um... | 0:04:31 | 0:04:34 | |
Oh, what's his name now? Ca.. Ca... Casanova? | 0:04:34 | 0:04:37 | |
..Christian Grey. LAUGHTER | 0:04:37 | 0:04:39 | |
Yeah, well, the fourth date was so dire, | 0:04:39 | 0:04:41 | |
I kissed him just to get him to shut up. Classy. | 0:04:41 | 0:04:44 | |
Still, he waited, like, four dates before making a move. | 0:04:44 | 0:04:48 | |
That's pretty gentlemanly. | 0:04:48 | 0:04:49 | |
Yeah, well, you know the saying, | 0:04:49 | 0:04:51 | |
"Good things come to those who wait"? | 0:04:51 | 0:04:53 | |
That's balls. | 0:04:53 | 0:04:54 | |
That bad? It felt like he was giving me a dental examination | 0:04:54 | 0:04:58 | |
with his tongue. | 0:04:58 | 0:04:59 | |
So did you...let Roger see the rabbit? | 0:04:59 | 0:05:02 | |
LAUGHTER CONTINUES God, no. | 0:05:02 | 0:05:03 | |
But after we broke up, he started seeing my sister. | 0:05:03 | 0:05:07 | |
I didn't know they were sisters! | 0:05:07 | 0:05:08 | |
I didn't know you were sisters! | 0:05:08 | 0:05:10 | |
# I didn't know you were sisters | 0:05:20 | 0:05:23 | |
# Sisters | 0:05:23 | 0:05:25 | |
# Bom-ba-bom... # | 0:05:25 | 0:05:27 | |
You know that song? | 0:05:27 | 0:05:29 | |
No? | 0:05:29 | 0:05:31 | |
Er... | 0:05:31 | 0:05:32 | |
I think we need a few more minutes to decide. | 0:05:32 | 0:05:35 | |
Thanks. | 0:05:37 | 0:05:38 | |
Oh, God, look at the time. | 0:05:41 | 0:05:43 | |
I really should be getting home. | 0:05:43 | 0:05:45 | |
Really? Yeah, you know, work tomorrow and a killer nine to five. | 0:05:45 | 0:05:49 | |
I'll walk you home. No, it's fine. | 0:05:51 | 0:05:54 | |
Please. | 0:05:54 | 0:05:55 | |
Er... | 0:05:57 | 0:05:58 | |
Right. | 0:05:58 | 0:06:00 | |
Sure. | 0:06:00 | 0:06:02 | |
Great. | 0:06:02 | 0:06:03 | |
Cheers. Uh-huh. | 0:06:12 | 0:06:13 | |
Uh-huh. | 0:06:13 | 0:06:14 | |
WIND HOWLS | 0:06:15 | 0:06:17 | |
Oh! Love, close that door! | 0:06:19 | 0:06:21 | |
Er, this is me. | 0:06:34 | 0:06:36 | |
Right. Great. | 0:06:36 | 0:06:38 | |
So, I had a great... Thanks for... | 0:06:39 | 0:06:41 | |
Oh. Ladies first. | 0:06:41 | 0:06:43 | |
Well, Karen, I had a really great... Whoa. Claire. | 0:06:45 | 0:06:50 | |
I'm sorry, what? Did he just say my...? | 0:06:50 | 0:06:52 | |
The name. Whose name? | 0:06:52 | 0:06:54 | |
He did. My name. | 0:06:54 | 0:06:56 | |
Is... Claire. ..Claire. | 0:06:57 | 0:07:00 | |
Yeah, Claire. I know. | 0:07:00 | 0:07:01 | |
What did I say? Karen. | 0:07:02 | 0:07:04 | |
Right. | 0:07:06 | 0:07:07 | |
Crap. It's fine. | 0:07:07 | 0:07:09 | |
No, I'm really sorry, it's just... It's fine. | 0:07:09 | 0:07:11 | |
Oh, man, that's brutal. | 0:07:11 | 0:07:13 | |
Weird. Yeah, talk about a mood killer. | 0:07:13 | 0:07:15 | |
Seriously, mate? | 0:07:15 | 0:07:17 | |
Yeah, you could say adios to being invited in. | 0:07:17 | 0:07:19 | |
Oh, will you just...?! | 0:07:19 | 0:07:21 | |
Sorry. | 0:07:23 | 0:07:24 | |
There's a lot going on in my head tonight. | 0:07:26 | 0:07:28 | |
Well... | 0:07:29 | 0:07:30 | |
..goodnight, then. | 0:07:31 | 0:07:33 | |
Actually, Claire, I just wanted to say... | 0:07:33 | 0:07:36 | |
..I had a really good time tonight. | 0:07:37 | 0:07:39 | |
You know, despite the crap food and even crapper jokes. | 0:07:39 | 0:07:43 | |
You're just really cool and easy to talk to, and you're insanely pretty. | 0:07:44 | 0:07:49 | |
Lovely contours and bone structure. | 0:07:50 | 0:07:54 | |
Sorry. I've literally no idea what I'm saying. | 0:07:54 | 0:07:57 | |
You're just really nice. | 0:07:59 | 0:08:00 | |
King of the adjectives! | 0:08:01 | 0:08:03 | |
Not bad, man. Oh, now I feel bad. | 0:08:03 | 0:08:06 | |
Oh, OK. It is pretty sweet. | 0:08:06 | 0:08:09 | |
Call me tomorrow? | 0:08:14 | 0:08:16 | |
Oh, kiss her! | 0:08:21 | 0:08:23 | |
Dude, just go for it, man! | 0:08:24 | 0:08:26 | |
Kiss her! | 0:08:27 | 0:08:28 | |
BOTH: Kiss her! | 0:08:30 | 0:08:32 | |
Kiss her! Just go for it, man! | 0:08:32 | 0:08:34 | |
Kiss her! | 0:08:34 | 0:08:35 | |
Well, goodnight, then. | 0:08:42 | 0:08:45 | |
Goodnight. | 0:08:46 | 0:08:47 | |
UPBEAT ROCK AND ROLL MUSIC | 0:08:59 | 0:09:03 | |
Well, what happened? | 0:09:14 | 0:09:16 | |
Another moron? Bet he was. | 0:09:16 | 0:09:17 | |
Did you... Let him kiss you? | 0:09:17 | 0:09:19 | |
THEY LAUGH AND CHEER | 0:09:20 | 0:09:22 | |
She said! She said! | 0:09:22 | 0:09:24 | |
You said we were going to give it another shot. | 0:09:26 | 0:09:29 | |
Pfft! | 0:09:29 | 0:09:30 | |
SLOW, ROMANTIC MUSIC | 0:09:34 | 0:09:39 | |
# There was no finer to buy her | 0:09:42 | 0:09:46 | |
# You can all just see | 0:09:46 | 0:09:49 | |
# She looks around her | 0:09:54 | 0:09:56 | |
# Profounder, would her smile not be? | 0:09:56 | 0:10:01 | |
# It took me hours when flowers is a simpler gift | 0:10:05 | 0:10:12 | |
# But, for my baby, there is nothing that I would not do | 0:10:17 | 0:10:23 | |
# Just see this work of art... # | 0:10:28 | 0:10:33 | |
Slate 45, take one. | 0:10:38 | 0:10:40 | |
As film-making trainee programme It's My Shout | 0:10:40 | 0:10:43 | |
begins a summer shooting, | 0:10:43 | 0:10:45 | |
we go behind the scenes of Tuesday At Jackie's. | 0:10:45 | 0:10:48 | |
First, how did these aspiring film-makers | 0:10:49 | 0:10:51 | |
approach the complexities of lighting? | 0:10:51 | 0:10:54 | |
Well, the trick is to gain access to the BBC's Pobol Y Cwm studios. | 0:10:54 | 0:10:58 | |
Yeah, so we're going for some low-key lighting. | 0:11:01 | 0:11:03 | |
Um, we've got a few different light sources | 0:11:03 | 0:11:07 | |
that are kind of integral to the set already. | 0:11:07 | 0:11:09 | |
We've got these, you know, the zebra crossing over here. | 0:11:09 | 0:11:13 | |
We've got some street lamps and then also, | 0:11:13 | 0:11:18 | |
what with it being, you know, a ready-made set, | 0:11:18 | 0:11:20 | |
you've got a rail running across where the door to the flat is, | 0:11:20 | 0:11:25 | |
which gives us options of rigging up lights there. | 0:11:25 | 0:11:28 | |
Are you happy for me to...? | 0:11:28 | 0:11:29 | |
Having to shoot the main diner sequence in the Pobol Y Cwm bar | 0:11:29 | 0:11:33 | |
helped resolve one of the team's creative dilemmas. | 0:11:33 | 0:11:36 | |
So, yeah, originally, we had this major idea, | 0:11:36 | 0:11:39 | |
we were going to get a Pulp Fiction sort of cafe, sort of thing. | 0:11:39 | 0:11:43 | |
American diner, big, huge, neon everywhere. | 0:11:43 | 0:11:46 | |
We had that on one side and on the other side we had, like, | 0:11:46 | 0:11:49 | |
the idea that the place would be a rundown pub | 0:11:49 | 0:11:52 | |
converted into a sort of American diner. | 0:11:52 | 0:11:56 | |
So, with a ready-made set to hand, it was a no-brainer. | 0:11:57 | 0:12:01 | |
They went with the converted pub idea. | 0:12:01 | 0:12:03 | |
MAN COUGHS | 0:12:06 | 0:12:08 | |
Professional lighting technician Robin | 0:12:12 | 0:12:15 | |
has worked on shows like Doctor Who | 0:12:15 | 0:12:17 | |
and found the production's limited lighting set-up... | 0:12:17 | 0:12:20 | |
well, let's just say "stimulating". | 0:12:20 | 0:12:23 | |
Um, I think...it's... | 0:12:23 | 0:12:25 | |
If you're look for Doctor Who lighting effects, | 0:12:25 | 0:12:28 | |
then you go to a Doctor Who studio. | 0:12:28 | 0:12:30 | |
Trying to work within this sort of environment, | 0:12:30 | 0:12:32 | |
you've always got limitations - | 0:12:32 | 0:12:34 | |
you know, you've always got to work with what's around, | 0:12:34 | 0:12:37 | |
what's available to you. | 0:12:37 | 0:12:39 | |
Not big money involved, so it's always a compromise. | 0:12:39 | 0:12:43 | |
Just make it work, make it happen. | 0:12:43 | 0:12:44 | |
You've got bounce light. | 0:12:44 | 0:12:47 | |
Basically, throwing light off the back here. | 0:12:47 | 0:12:49 | |
It's gone really well. It's been really fun | 0:12:49 | 0:12:51 | |
experiencing all the atmosphere and everything. | 0:12:51 | 0:12:53 | |
'It's been really great learning from Robin, | 0:12:53 | 0:12:55 | |
'who's the lighting mentor. | 0:12:55 | 0:12:56 | |
'He's got a lot of knowledge to pass on, | 0:12:56 | 0:12:58 | |
'so it's been really good learning all that.' | 0:12:58 | 0:12:59 | |
The streetlight's coming in. | 0:12:59 | 0:13:01 | |
With everything set up and under control, | 0:13:02 | 0:13:04 | |
director Alex can explore the creative possibilities | 0:13:04 | 0:13:07 | |
of lighting effects. | 0:13:07 | 0:13:09 | |
Basically, this is a stylised approach | 0:13:09 | 0:13:13 | |
to the real world, an imagined world of this short film. | 0:13:13 | 0:13:17 | |
I thought it would be quite fun to... | 0:13:17 | 0:13:20 | |
yeah, basically use dramatic lighting cues to, kind of, | 0:13:20 | 0:13:24 | |
transition between the two worlds... | 0:13:24 | 0:13:27 | |
Turnover! | 0:13:27 | 0:13:28 | |
I wouldn't have worried. | 0:13:28 | 0:13:30 | |
Yeah, well, he's not exactly, um... Oh, what's his name now? | 0:13:30 | 0:13:33 | |
Ca... Ca... Casanova? ..Christian Grey. | 0:13:33 | 0:13:36 | |
..and spotlighting the ex-girlfriends, | 0:13:36 | 0:13:40 | |
just to add some style and to make the film stand out. | 0:13:40 | 0:13:45 | |
WHITE NOISE BUILDS | 0:13:47 | 0:13:50 | |
Later, obviously, we're going to be shooting outside. | 0:13:50 | 0:13:53 | |
Very much, sort of, totally different lighting effect. | 0:13:53 | 0:13:57 | |
You know, we've got to mimic the fact you've got the moon, | 0:13:58 | 0:14:00 | |
you've got streetlights, um... | 0:14:00 | 0:14:03 | |
We're not doing a huge amount of shots outside, | 0:14:03 | 0:14:06 | |
and they do seem to be, inverted commas, "relatively easy ones", | 0:14:06 | 0:14:09 | |
so we'll wait and see. | 0:14:09 | 0:14:11 | |
Having the Pobol Y Cwm backlot available | 0:14:13 | 0:14:15 | |
meant they could make the most of the film's exterior scenes. | 0:14:15 | 0:14:19 | |
So the third act of the film, on the doorstep outside, | 0:14:19 | 0:14:22 | |
that was really the premise of the whole film. | 0:14:22 | 0:14:24 | |
Actually, Claire, I just wanted to say... | 0:14:24 | 0:14:27 | |
..I had a really good time tonight. | 0:14:28 | 0:14:30 | |
It started with them walking down a street, | 0:14:30 | 0:14:33 | |
and it ended with the cut ends now, | 0:14:33 | 0:14:35 | |
but I think three night shoots outside, | 0:14:35 | 0:14:39 | |
you know, in the harsh Welsh weather, | 0:14:39 | 0:14:41 | |
maybe wasn't appealing to most. | 0:14:41 | 0:14:43 | |
At quarter to one in the morning, how is producer Lemarl feeling? | 0:14:45 | 0:14:49 | |
Terrible! | 0:14:49 | 0:14:50 | |
They're doing a lot better than I am, | 0:14:50 | 0:14:52 | |
but, no, I think the energy's still up at the moment. | 0:14:52 | 0:14:56 | |
You can feel it's dropping a little bit, | 0:14:56 | 0:14:58 | |
but, er, hopefully, if that becomes a problem, | 0:14:58 | 0:15:01 | |
we'll just get in and wake everyone up! | 0:15:01 | 0:15:03 | |
As filming comes to an end | 0:15:05 | 0:15:06 | |
for It's My Shout's first production of the summer, | 0:15:06 | 0:15:09 | |
the crew celebrate a successful three days of filming | 0:15:09 | 0:15:12 | |
at the BBC studios and on location in Caerphilly. | 0:15:12 | 0:15:15 | |
And, for some, who knows - | 0:15:15 | 0:15:17 | |
the beginning of a career in the film industry. | 0:15:17 | 0:15:20 | |
'You've tried everything.' | 0:15:34 | 0:15:36 | |
Does it hurt you to touch the control? Yeah. | 0:15:36 | 0:15:38 | |
'There's nowhere else to turn.' | 0:15:38 | 0:15:39 | |
To sign my name would be an incredible thing. | 0:15:39 | 0:15:42 | |
'Graham needs a better way to communicate. | 0:15:42 | 0:15:45 | |
'What if the best brains in Britain could help to fix your life?' | 0:15:45 | 0:15:48 | |
My challenge is immense. | 0:15:48 | 0:15:49 | |
You know you're doing it for the right reasons, so you keep going. | 0:15:49 | 0:15:52 | |
Gah! Did it just work? It's life-changing. | 0:15:52 | 0:15:55 | |
I can't thank you enough. | 0:15:55 | 0:15:58 |