Browse content similar to 28/04/2014. Check below for episodes and series from the same categories and more!
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the teacher's family and the school and all the pupils to study there. | :00:00. | :00:00. | |
the teacher's family and the school Welcome to South East Today, I'm Rob | :00:00. | :00:07. | |
Smith. Tonight's top stories: UKIP Borchers | :00:08. | :00:16. | |
hit European election manifesto as hit European election manifdsto as | :00:17. | :00:20. | |
Nigel Farage says his party is a victim of a witchhunt. | :00:21. | :00:26. | |
One in ten schools are having to toilet train pupils, a survey | :00:27. | :00:29. | |
reveals, with some still in nappies as they go to secondary school. | :00:30. | :00:36. | |
In primary school, children as old as 11 are still having issuds being | :00:37. | :00:38. | |
clean and dry during the day and clean and dry during the dax and | :00:39. | :00:41. | |
night. I am in Brighton marking the | :00:42. | :00:44. | |
I am in Brighton marking thd centenary of World War I with a | :00:45. | :00:46. | |
special programme about the 1969 special programme about the 196 | :00:47. | :00:53. | |
film, Oh, What A Lovely War. Richard Attenborough's directorial | :00:54. | :00:58. | |
debut had a lasting legacy on the country. We are joined by the | :00:59. | :01:07. | |
original cast and screw `` crew for a special screening. | :01:08. | :01:16. | |
The south east MEP and UKIP leader Nigel Farage says his party is the | :01:17. | :01:27. | |
victim of a "witch hunt" by the media. UKIP has come under further | :01:28. | :01:30. | |
scrutiny this weekend, for comments made by a local councillor hn London | :01:31. | :01:32. | |
made by a local councillor in London who said the comedian Lenny Henry | :01:33. | :01:35. | |
should emigrate to a "black country", and compared Islal to the | :01:36. | :01:38. | |
Third Reich. Mr Farage launched the party's manifesto in the south east, | :01:39. | :01:40. | |
party's manifesto in the sotth east, ahead of the European elections. | :01:41. | :01:41. | |
ahead of the European electhons Juliette Parkin reports. A simple | :01:42. | :01:50. | |
photo call but this is a man who seems to court controversy. No one | :01:51. | :01:57. | |
in Britain have I come across such an attitude, I find it astonishing. | :01:58. | :02:03. | |
I have been kicked out of worst places. Embarrassingly typically | :02:04. | :02:07. | |
unfazed, a latest poll putting UKIP ahead of Labour and the Torhes shows | :02:08. | :02:11. | |
Nigel Farage has every reason to smile. | :02:12. | :02:16. | |
I want to cause an earthquake in British politics by saying to | :02:17. | :02:20. | |
people, join us against the establishment who are giving away | :02:21. | :02:25. | |
our borders and country. I believe we have a sporting chance. On the | :02:26. | :02:31. | |
campaign trail in Portsmouth, it is the UKIP crew who is rocking the | :02:32. | :02:33. | |
boat. Donna Edmunds recently said boat. Donna Edmunds recently said | :02:34. | :02:39. | |
that business owners should be able to refuse anyone, including women | :02:40. | :02:44. | |
and gay people. I regret my comments were taken out of context. There is | :02:45. | :02:48. | |
an element of the establishment an element of the establishment | :02:49. | :02:52. | |
desperate to find a witchhunt on UKIP. His party may be full of | :02:53. | :02:59. | |
colourful characters but the media circus is indicative of the interest | :03:00. | :03:04. | |
that has grown, it is packed with journalists. What we are seeing | :03:05. | :03:08. | |
that has grown, it is packed with journalists. What we are seding is a | :03:09. | :03:11. | |
continuation of the expenses scandal which infuriated people and has put | :03:12. | :03:13. | |
people off elected politici`ns. which infuriated people and has put | :03:14. | :03:16. | |
people off elected politicians. UKIP people off elected politici`ns. UKIP | :03:17. | :03:18. | |
has played well into this. On energy, Farage is pro`fracking. And | :03:19. | :03:24. | |
energy, Farage is pro`frackhng. And of course he wants out of Europe. | :03:25. | :03:29. | |
Exactly where his candidates hope to be heading. | :03:30. | :03:32. | |
There are currently ten MEPs who represent the south east, five | :03:33. | :03:36. | |
Conservatives, two Liberal Democrats, and one MEP each from The | :03:37. | :03:42. | |
Greens, the Labour Party and UKIP. But, could that all change `fter | :03:43. | :03:46. | |
next months' vote? Simon Jones is in Dover now. Simon, | :03:47. | :03:55. | |
we heard Nigel Farage say that our ports need to be made more secure, | :03:56. | :03:58. | |
to clamp down on illegal immigration. Is his message | :03:59. | :04:03. | |
resonating with voters. Illegal immigration and migration | :04:04. | :04:07. | |
from Europe are certainly hot topics. UKIP is hoping to btild | :04:08. | :04:10. | |
from Europe are certainly hot topics. UKIP is hoping to build on | :04:11. | :04:11. | |
recent successes in areas lhke recent successes in areas like | :04:12. | :04:16. | |
panicked but some voters we spoke to said beyond immigration and | :04:17. | :04:19. | |
migration they are not sure what the party stands for. I believe in | :04:20. | :04:26. | |
voting for the major political parties as opposed to minority | :04:27. | :04:29. | |
parties, so, no, I would not vote for UKIP. | :04:30. | :04:32. | |
I am a bit torn because I do agree with a lot of their policies. But | :04:33. | :04:36. | |
then some of them are not so great. Some of them we don't. | :04:37. | :04:39. | |
The Conservatives are doing nothing for us at all. Criticising Labour | :04:40. | :04:42. | |
and other parliaments. They are doing nothing. UKIP will. | :04:43. | :04:47. | |
No, I won't be voting for UKIP, I shall be sticking with the party I | :04:48. | :04:50. | |
voted for before. I'm going to vote for UKIP, because | :04:51. | :04:52. | |
I believe in traditional Brhtish I believe in traditional British | :04:53. | :04:55. | |
values, and I have lost confidence in other parties. | :04:56. | :04:57. | |
I voted Labour before, but I in other parties. | :04:58. | :04:58. | |
I voted Labour before, but H will I voted Labour before, but H will | :04:59. | :05:02. | |
consider voting for UKIP. There's a lot of jobs we're not | :05:03. | :05:05. | |
getting, as British citizens, that are going to other kinds of people | :05:06. | :05:09. | |
so I would vote the them 100%. He makes the hair stand up on the | :05:10. | :05:13. | |
back of my neck, I can't stand the man. | :05:14. | :05:19. | |
The results for UKIP in the south`east are said to be hugely | :05:20. | :05:21. | |
south`east are said to be htgely significant. Nigel Farage has said | :05:22. | :05:23. | |
significant. Nigel Farage h`s said he will stand as an MP with hot | :05:24. | :05:26. | |
money being placed on Folkestone or Thanet. | :05:27. | :05:30. | |
And, in the run`up to the Etropean elections which take place on the | :05:31. | :05:34. | |
22nd of May, we'll be bringing you more details of the main parties in | :05:35. | :05:37. | |
the south east, and their c`mpaigns, plus giving you information about | :05:38. | :05:40. | |
all the other political parties asking for your vote. | :05:41. | :05:48. | |
A Kent head teacher says chhldren as old as 11 are wearing nappies or | :05:49. | :05:52. | |
pull`ups at her school. Annd`Marie pull`ups at her school. Anne`Marie | :05:53. | :05:53. | |
Middleton, deputy head of W`rden Middleton, deputy head of Warden | :05:54. | :05:56. | |
House Primary School in Deal, said she was aware of at least three | :05:57. | :06:00. | |
children all aged 11 going to school in nappies, or pull`ups. The | :06:01. | :06:02. | |
children all aged 11 going to school in nappies, or pull`ups. Thd news of | :06:03. | :06:02. | |
in nappies, or pull`ups. The news of pupils wearing nappies comes as | :06:03. | :06:04. | |
research released today revdaled research released today revealed | :06:05. | :06:06. | |
almost one in ten head teachers reported a child aged betwedn | :06:07. | :06:08. | |
almost one in ten head teachers reported a child aged between five | :06:09. | :06:08. | |
reported a child aged betwedn five and seven wearing a nappy to school. | :06:09. | :06:14. | |
Fiona Irving reports. Nappies for toddlers, but some | :06:15. | :06:16. | |
children are still in these when they go to school. It is a hidden | :06:17. | :06:21. | |
issue parents are too embarrassed to address. At this primary School, | :06:22. | :06:26. | |
three of their 11`year`olds are still wearing pull`ups. We are | :06:27. | :06:28. | |
still wearing pull`ups. We `re seeing in primary school children as | :06:29. | :06:33. | |
old as 11 are still having issues with being clean and dry. This is | :06:34. | :06:38. | |
continuing into secondary education. We know 15`year`olds | :06:39. | :06:43. | |
having similar problems. Once we are aware, it is about being a simple | :06:44. | :06:51. | |
problem to solve. Figures rdveal aware, it is about being a simple | :06:52. | :06:53. | |
problem to solve. Figures reveal 9% problem to solve. Figures reveal 9% | :06:54. | :06:53. | |
of senior staff have reportdd problem to solve. Figures rdveal 9% | :06:54. | :06:55. | |
of senior staff have reported a child aged between five and seven | :06:56. | :07:02. | |
wearing a nappy. 4% of pupils aged 7`11, despite those children having | :07:03. | :07:08. | |
no developmental reason to wear one. We have taken her out of pull`ups at | :07:09. | :07:12. | |
night because she is going to school. It is a little bit wrong. I | :07:13. | :07:19. | |
don't see why they need to have a nappy, they can go to the toilet. | :07:20. | :07:22. | |
Each to their own, I supposd. nappy, they can go to the toilet. | :07:23. | :07:24. | |
Each to their own, I suppose. My Each to their own, I supposd. My | :07:25. | :07:27. | |
little boy has been out of nappies for years and he is in the section. | :07:28. | :07:33. | |
Each child is different. A programme tackling the problem in Dover | :07:34. | :07:35. | |
Each child is different. A programme tackling the problem in Dovdr and | :07:36. | :07:35. | |
tackling the problem in Dover and deal is being extended across Kent. | :07:36. | :07:43. | |
The Government has today plddged to stamp out the number of illegal | :07:44. | :07:46. | |
stamp out the number of illdgal immigrants trying to get into | :07:47. | :07:52. | |
Britain via Calais. It follows a recent investigation by BBC South | :07:53. | :07:55. | |
East Today, which exposed the risks migrants are taking getting here. | :07:56. | :07:58. | |
Our special correspondent Colin Campbell has this update. | :07:59. | :08:07. | |
We exposed the desperate me`sures We exposed the desperate measures | :08:08. | :08:10. | |
and extremists migrants in Calais are taking. Today, the MP for Dover | :08:11. | :08:13. | |
said international action w`s needed to deal with the problems. Does the | :08:14. | :08:15. | |
Home Office Minister consider Home Office Minister considdr | :08:16. | :08:17. | |
supporting a joint initiative by Dover and Calais for the Frdnch | :08:18. | :08:19. | |
Dover and Calais for the French police to clear these camps, and | :08:20. | :08:22. | |
repatriate people or process their asylum claims, as the case lay be? | :08:23. | :08:24. | |
asylum claims, as the case may be? Visiting the migrant camps three | :08:25. | :08:25. | |
weeks ago, we took Charlie Elphicke weeks ago, we took Charlie Dlphicke | :08:26. | :08:27. | |
to Calais. We introduced him to the to Calais. We introduced hil to the | :08:28. | :08:32. | |
town's deputy mayor and showed him how migrants, mainly from Sxria | :08:33. | :08:34. | |
Afghanistan and Eritrea, were able to make numerous attempts to board | :08:35. | :08:38. | |
UK destined trucks. It is so brazen, they do it in plain sight. This was | :08:39. | :08:41. | |
the government response. He makes an important point, many have come into | :08:42. | :08:47. | |
the country willingly but illegally because they felt they were coming | :08:48. | :08:51. | |
for a better life and they have been exploited. We need to stamp this | :08:52. | :08:55. | |
out. The Home Office said today it works | :08:56. | :08:57. | |
The Home Office said today ht works very closely with French police, and | :08:58. | :09:00. | |
is looking to stamp out trafficking of illegal immigrants from Calais. | :09:01. | :09:02. | |
It seems there is a long wax to go It seems there is a long way to go | :09:03. | :09:04. | |
before the problem is stampdd out. As part of our ongoing | :09:05. | :09:08. | |
commemorations marking 100 years commemorations marking 100 xears | :09:09. | :09:13. | |
since the start of the First World War, we're hosting a special event | :09:14. | :09:16. | |
in Brighton this evening, a screening of the controvershal 968 | :09:17. | :09:17. | |
screening of the controversial 1968 film Oh, What A Lovely War. It was | :09:18. | :09:23. | |
filmed in the city, and Polly is there now. Polly. | :09:24. | :09:30. | |
Welcome to the historic Dukd Of York's Picture House in Brighton. | :09:31. | :09:35. | |
Why historic? Well, this is the oldest cinema in the country | :09:36. | :09:36. | |
Why historic? Well, this is the oldest cinema in the countrx that's | :09:37. | :09:41. | |
been continuously in use. Tonight, it's the location for our special | :09:42. | :09:44. | |
screening of Richard Attenborough's Oh, What A Lovely War. We're | :09:45. | :09:47. | |
screening of Richard Attenborough's Oh, What A Lovely War. We'rd joined | :09:48. | :09:48. | |
Oh, What A Lovely War. We're joined here, not just by stars of the film | :09:49. | :09:51. | |
itself, but people who were crew, extras, or who just watched the film | :09:52. | :09:53. | |
being shot just down the ro`d on extras, or who just watched the film | :09:54. | :09:55. | |
being shot just down the road on the sea front. We will be talking to | :09:56. | :09:57. | |
some of them in a moment. But, some of them in a moment. But, | :09:58. | :10:01. | |
first, as we mark the passing of 100 years since the start of World War | :10:02. | :10:05. | |
One, Robin Gibson has been uncovering the part Brighton played | :10:06. | :10:09. | |
in this iconic movie. # When this lousy war is ovdr. | :10:10. | :10:21. | |
No more soldiering for me. It had to be a film about World War | :10:22. | :10:25. | |
One like no other that had gone before. Richard Attenborough, famous | :10:26. | :10:27. | |
actor, wanted his first director's actor, wanted his first dirdctor's | :10:28. | :10:32. | |
cut to be remembered. If one can find a method which has | :10:33. | :10:36. | |
not been seen, then it will add a freshness, and a special impact, to | :10:37. | :10:39. | |
the content. He hit on the idea of World War One | :10:40. | :10:42. | |
as an end`of`the`pier show. Where better to come and film it? So we | :10:43. | :10:47. | |
see Brighton station. The Stssex see Brighton station. The Sussex | :10:48. | :10:55. | |
Downs. Even the waste disposal tip enlisted into service. Most | :10:56. | :11:00. | |
memorable was what Brighton had in those days, two piers. | :11:01. | :11:10. | |
On the pier, all the people recruited were persuaded to go to | :11:11. | :11:13. | |
war going through the turnstiles, and into the war. We make the pier | :11:14. | :11:16. | |
glittering and wonderful, so everybody wants to get onto the | :11:17. | :11:20. | |
pier, into the war. That was my idea. | :11:21. | :11:23. | |
It has its own atmosphere, Brighton. I think that came over in the film. | :11:24. | :11:27. | |
Definitely. It is most unsatisfactory. Where are | :11:28. | :11:31. | |
the Sherwood Foresters? This is the latest position. Whisky, | :11:32. | :11:36. | |
sir? The worst pier was on its way to | :11:37. | :11:39. | |
The worst pier was on its w`y to collapse. But you wouldn't have | :11:40. | :11:50. | |
known. It's rather like a room with concrete disease behind the | :11:51. | :11:53. | |
wallpaper, but the wallpaper was all right so you thought you were all | :11:54. | :11:56. | |
right, standing on these boards. We've lost another day. But it's | :11:57. | :11:59. | |
understandable, we had some bad weather. | :12:00. | :12:03. | |
If the weather could be unpredictable, Brighton offered an | :12:04. | :12:04. | |
unpredictable, Brighton offdred an army of willing film extras. | :12:05. | :12:12. | |
Richard Attenborough contacted the university, and asked if he could | :12:13. | :12:16. | |
use some of the students as film extras. I was a suffragette on the | :12:17. | :12:24. | |
pier, with Vanessa Redgrave. I waved a banner over her head, sayhng, "Our | :12:25. | :12:26. | |
a banner over her head, saying, "Our men are being sacrificed in vain". | :12:27. | :12:30. | |
With a great big hat with ydllow sunflowers on, you can't miss me. | :12:31. | :12:33. | |
Before I talk to you, I should sunflowers on, you can't miss me. | :12:34. | :12:35. | |
Before I talk to you, I shotld like Before I talk to you, I shotld like | :12:36. | :12:40. | |
to read a letter. Brighton looks like the perfect film | :12:41. | :12:41. | |
location, but it wasn't alw`ys Brighton looks like the perfect film | :12:42. | :12:48. | |
location, but it wasn't always easy. Take, for example, the moving final | :12:49. | :12:58. | |
scene sweeping across the Downs We must have filmed that about 20 | :12:59. | :13:01. | |
times during the five months that we were there, and everyone had to get | :13:02. | :13:06. | |
up at five in the morning. It had to be in the dawn as the sun w`s | :13:07. | :13:08. | |
up at five in the morning. Ht had to be in the dawn as the sun was coming | :13:09. | :13:08. | |
be in the dawn as the sun w`s coming in, with the light. We did get | :13:09. | :13:12. | |
terribly wet and very cold. The price of perfection, the price | :13:13. | :13:13. | |
The price of perfection, thd price of fame. | :13:14. | :13:14. | |
Granny? Granny, what did Daddy do in the | :13:15. | :13:16. | |
war? A number of the extras are with us | :13:17. | :13:30. | |
in the auditorium. This is the original upstairs bar of the | :13:31. | :13:32. | |
original upstairs bar of thd theatre. And, tonight, it's playing | :13:33. | :13:38. | |
host to a VIP reception, including cast members and their families. | :13:39. | :13:44. | |
Through here is the balcony where I am joined by actors Angela Thorne | :13:45. | :13:48. | |
and Maurice Roeves who were in the original line`up. Angela, this was | :13:49. | :13:49. | |
your first film. And here we are, original line`up. Angela, this was | :13:50. | :13:51. | |
your first film. And here wd are, 45 your first film. And here we are, 45 | :13:52. | :13:53. | |
years later, still talking about it. Could you have possibly havd | :13:54. | :13:56. | |
imagined that? Yes, I did, because I thought it was | :13:57. | :14:03. | |
a wonderful film. It was just so special. Yes, I thought it had been | :14:04. | :14:11. | |
very long life. What were your standout memories of Brighton? | :14:12. | :14:18. | |
Endless. The very first shot was all of us in the theatre watching Maggie | :14:19. | :14:20. | |
Smith doing her bit on Mond`y, of us in the theatre watching Maggie | :14:21. | :14:27. | |
Smith doing her bit on Monday, go Smith doing her bit on Mond`y, go | :14:28. | :14:31. | |
out with a sailor, you know. I was absolutely transfixed. Absolutely | :14:32. | :14:34. | |
wonderful. Maurice was your co`star. Here you | :14:35. | :14:35. | |
Maurice was your co`star. Hdre you are in the film, a very dapper young | :14:36. | :14:41. | |
man. Thank you for joining us. What's your favourite memorx of that | :14:42. | :14:43. | |
What's your favourite memory of that extraordinary time? | :14:44. | :14:46. | |
I remember the theatre. I had backed I remember the theatre. I had backed | :14:47. | :14:49. | |
a horse in the Grand Nation`l which a horse in the Grand National which | :14:50. | :14:53. | |
was running that day. Richard had paused everything so we could get | :14:54. | :14:58. | |
the result. I was the only one that had it, 20`1. Did you make a lot of | :14:59. | :15:11. | |
money? Not a lot. I do 25`1 bets. What do you remember about Dickie | :15:12. | :15:15. | |
directing? A rookie director but experienced in the cinema. He was | :15:16. | :15:21. | |
wonderful, wasn't he? And wd experienced in the cinema. He was | :15:22. | :15:23. | |
wonderful, wasn't he? And we were wonderful, wasn't he? And wd were | :15:24. | :15:28. | |
very patient! He was an absolute darling to work with. Being an | :15:29. | :15:33. | |
actor, he understood us. We were all very nervous to begin with. He | :15:34. | :15:35. | |
completely puts us at our ease come completely puts us at our e`se come | :15:36. | :15:37. | |
he was lovely. Did you sense completely puts us at our ease come | :15:38. | :15:39. | |
he was lovely. Did you sensd he completely puts us at our e`se come | :15:40. | :15:39. | |
he was lovely. Did you sense he was he was lovely. Did you sense he was | :15:40. | :15:45. | |
nervous at all? No, did you? It is a man's thing! I was going through a | :15:46. | :15:51. | |
divorce at the time, horrendous stuff. Richard and Sheila wdre | :15:52. | :15:53. | |
divorce at the time, horrendous stuff. Richard and Sheila were very | :15:54. | :15:55. | |
good, they gave me a good t`lking good, they gave me a good t`lking | :15:56. | :16:01. | |
to. They were the most lovely people to work with. We couldn't whsh for | :16:02. | :16:04. | |
to work with. We couldn't wish for more. When you watch the film, do | :16:05. | :16:10. | |
you find it moving? Incredibly moving. Not only because of the | :16:11. | :16:15. | |
past, having gone through the making of the film which took nearly five | :16:16. | :16:20. | |
months to make. And all the memories I had. The film itself, the song at | :16:21. | :16:24. | |
the end. Thank you both verx I had. The film itself, the song at | :16:25. | :16:28. | |
the end. Thank you both very much. Earlier, I spoke to Michael | :16:29. | :16:31. | |
Attenborough, Lord Attenborough's Attenborough, Lord Attenborough's | :16:32. | :16:35. | |
son, and who is an acclaimed theatre director in his own right. He was 18 | :16:36. | :16:39. | |
at the time of the shoot, and he remembers it well. He began by | :16:40. | :16:42. | |
telling me how his father's good friend, John Mills, brought the | :16:43. | :16:45. | |
script to Richard in the first instance. | :16:46. | :16:47. | |
His gut instinct knowing Dad very well, was it was a subject that | :16:48. | :16:52. | |
would appeal to him. He picked up a phone, "Dick, I've been asked to do | :16:53. | :16:54. | |
phone, "Dick, I've been askdd to do a film version of Oh, What A | :16:55. | :16:56. | |
phone, "Dick, I've been asked to do a film version of Oh, What @ Lovely | :16:57. | :16:56. | |
a film version of Oh, What A Lovely War, I can't. I think you would do | :16:57. | :17:00. | |
it brilliantly. Dad said, I've never directed a film before, are you | :17:01. | :17:04. | |
crazy? He said, look, just read the script and if you fall in love with | :17:05. | :17:08. | |
it, I think you would do it beautifully. John walked down | :17:09. | :17:11. | |
Richmond Hill with the script, gave it to him. Dad said, yes, I'm going | :17:12. | :17:15. | |
to to do it, it is thrilling. BRASS BAND PLAYS. | :17:16. | :17:21. | |
How did he sell such an avant`garde concept to the studio, to get | :17:22. | :17:22. | |
concept to the studio, to gdt funding? | :17:23. | :17:25. | |
He went to distributors, single`handedly performing all the | :17:26. | :17:26. | |
single`handedly performing `ll the songs and dances. I'd love to have | :17:27. | :17:32. | |
been there. And tried to persuade them it would be a hugely | :17:33. | :17:35. | |
entertaining film. He sensed they were not convinced. He thought, I | :17:36. | :17:43. | |
know, they are waiting to find out who is going to be in it. Hd reeled | :17:44. | :17:45. | |
who is going to be in it. He reeled off this incredibly impresshve list | :17:46. | :17:47. | |
of actors he said would be in the of actors he said would be in the | :17:48. | :17:52. | |
film. That clearly won them over. As it happens, he hadn't got agreement | :17:53. | :17:59. | |
from any of them. You've got Michael Redgrave, John | :18:00. | :18:03. | |
Gielgud, Ralph Richardson. Huge names in English theatre and screen. | :18:04. | :18:07. | |
Why did they do it? I think it was personal fridndship | :18:08. | :18:09. | |
I think it was personal friendship as much as anything. Olivier, | :18:10. | :18:16. | |
Gielgud, Richardson, John Mhlls Dirk Bogard, Susannah York, Ian | :18:17. | :18:19. | |
Holme, they were all very good friends, they had worked with dad. | :18:20. | :18:26. | |
# The Army and tje Navy need attention. | :18:27. | :18:28. | |
The outlook isn't healthy you'll admit. | :18:29. | :18:34. | |
I have a perfect dream of a new recruiting scheme which I think is | :18:35. | :18:40. | |
absolutely it. What is the legacy of the film in | :18:41. | :18:43. | |
What is the legacy of the fhlm in terms of the way it shaped public | :18:44. | :18:46. | |
opinion, and the reaction it had? The phrase, shaped public opinion, | :18:47. | :18:49. | |
is an accurate one. That's how he felt. It was telling an important | :18:50. | :19:02. | |
story. And, although there `re astonishing acts of bravery, there | :19:03. | :19:05. | |
was very little that was heroic about mass slaughter. That's the | :19:06. | :19:09. | |
story he wanted to tell. To say there's very little glorious about | :19:10. | :19:14. | |
war, hence the irony of the title. Michael Attenborough watched the | :19:15. | :19:17. | |
film being made. He even met his first wife, Jane Seymour, on set. | :19:18. | :19:20. | |
But his sister, Charlotte Attenborough, was actually in the | :19:21. | :19:23. | |
film, and is here with us now! You say the famous final line, "What did | :19:24. | :19:27. | |
Daddy do in the war?" How exciting an experience was it for a | :19:28. | :19:30. | |
nine`year`old girl? I didn't really start in it, I was | :19:31. | :19:36. | |
in at the end. A little girl called Kathleen played Emma throughout the | :19:37. | :19:40. | |
film. But at the end of the film, that little girl had grown tp. | :19:41. | :19:43. | |
film. But at the end of the film, that little girl had grown up. I | :19:44. | :19:43. | |
that little girl had grown tp. I remember daddy asking me if I would | :19:44. | :19:46. | |
like to play her at the end and I felt very honoured to be part. It | :19:47. | :19:53. | |
was an epic scene when the camera draws back over the South Downs | :19:54. | :19:58. | |
Brighton was a recurring backdrop to your father's life. He starred in | :19:59. | :20:02. | |
Brighton Rock in the '40s. He became Chancellor of the Universitx of | :20:03. | :20:03. | |
Chancellor of the University of Sussex. | :20:04. | :20:08. | |
Both my brothers also went to Sussex University. I broke the pattern and | :20:09. | :20:11. | |
went to Bristol. But I did a drama went to Bristol. But I did a drama | :20:12. | :20:18. | |
course there. Your brother is in South Africa to | :20:19. | :20:20. | |
accept an award for one of xour accept an award for one of xour | :20:21. | :20:27. | |
fathers's film Majak Daw, Cry Freedom set in South Africa. `` | :20:28. | :20:37. | |
father's films. Daddy always chose films he was | :20:38. | :20:45. | |
passionate about. The pacifhst philosophy of Gandhi. He was | :20:46. | :20:52. | |
passionate about trying to make his own little mark to fight ap`rtheid | :20:53. | :20:55. | |
own little mark to fight apartheid in South Africa. | :20:56. | :21:01. | |
We are also joined by Haylex Mills. Thank you for joining us. Your | :21:02. | :21:08. | |
father Sir John, was a good friend of Dickie's. Your father took the | :21:09. | :21:14. | |
script to Richard Attenborotgh. He did indeed. | :21:15. | :21:15. | |
He had been working on it with Len He had been working on it with Len | :21:16. | :21:20. | |
Deighton who wrote the script. He was considering at one point he | :21:21. | :21:29. | |
might direct it. And then, he got an offer for a very lucrative | :21:30. | :21:33. | |
television series in Hollywood. And he decided that he should do that, | :21:34. | :21:40. | |
and that was more familiar ground. So he handed it over to Richard. | :21:41. | :21:46. | |
Thank you for talking to us. Let's go through to the audhtorium. | :21:47. | :21:48. | |
Let's go through to the auditorium. We have here the last artef`cts from | :21:49. | :21:55. | |
the film. The original puppdts who feature in one special scene. | :21:56. | :21:58. | |
Watching the film tonight in the auditorium, we have lots of people | :21:59. | :22:01. | |
who were involved in the film. The production manager, the lady who | :22:02. | :22:03. | |
production manager, the ladx who doubled as Angela Thorne. Even a | :22:04. | :22:06. | |
lady who served the Attenborough family in her parents' deli. | :22:07. | :22:14. | |
Peter Vaughan, you were in the film, you were an extra. How did you come | :22:15. | :22:16. | |
you were an extra. How did xou come to be involved? I was driving on the | :22:17. | :22:24. | |
seafront and I saw a crowd on the Esplanade. I saw them filming the | :22:25. | :22:29. | |
sea. I saw Richard Attenborough and I asked for a job. He said, go and | :22:30. | :22:35. | |
see that guy over there. It happened to be the union wrap. I was sent a | :22:36. | :22:39. | |
telegram the following day and to be the union wrap. I was sent a | :22:40. | :22:41. | |
telegram the following day `nd the rest is history. That was bold as | :22:42. | :22:47. | |
brass. Being a taxi driver, I was flexible with time. And you add a | :22:48. | :22:50. | |
bit of money. What did you dnd up bit of money. What did you dnd up | :22:51. | :22:59. | |
doing in the film? `` earned. The only uniform I could fit in, when we | :23:00. | :23:06. | |
were assembled, they asked hf anyone had military experience and I put my | :23:07. | :23:12. | |
hand up. He got me out front to drill the people and get them into | :23:13. | :23:16. | |
drill the people and get thdm into order. I dismiss the parade, Richard | :23:17. | :23:20. | |
said, this is your chance. I order. I dismiss the parade, Richard | :23:21. | :23:26. | |
said, this is your chance. H had a speaking part, a shouting part | :23:27. | :23:30. | |
really, to dismiss the parade at the end of the film. Where you nervous? | :23:31. | :23:33. | |
No, by that time, it was grdat fun. No, by that time, it was grdat fun. | :23:34. | :23:36. | |
After a couple of weeks of that, No, by that time, it was great fun. | :23:37. | :23:39. | |
After a couple of weeks of that, it came naturally. All the nerves had | :23:40. | :23:47. | |
gone. Thanks you for talking to us. It is nice and cosy in here. But | :23:48. | :23:49. | |
bright and sunny outside. Time now for the weather, with | :23:50. | :23:57. | |
Rachel. It has been glorious today with lots | :23:58. | :24:08. | |
of sunshine. Earlier, we had one or two showers, plenty of sunshine. | :24:09. | :24:13. | |
With the risk of showers into tonight. Temperatures should stay | :24:14. | :24:17. | |
mild. There were showers further west. Tonight, there is the risk of | :24:18. | :24:24. | |
a shower but mostly staying dry. a shower but mostly staying dry | :24:25. | :24:27. | |
Plenty of cloud, temperatures down Plenty of cloud, temperaturds down | :24:28. | :24:32. | |
to eight degrees. An overcast start to tomorrow. Very light winds from | :24:33. | :24:36. | |
the north east. A chilly field. By the north east. A chilly fidld. By | :24:37. | :24:40. | |
afternoon, 13 degrees. `` feel. the north east. A chilly field. By | :24:41. | :24:45. | |
afternoon, 13 degrees. `` fdel. One or two brighter spells. Tomorrow | :24:46. | :24:52. | |
night, similar to tonight, eight degrees, rain by Thursday. | :24:53. | :25:00. | |
The evening is getting under way in the auditorium. We'll leave you now | :25:01. | :25:06. | |
with the choir from Brighton's British Institute Of Modern Music. | :25:07. | :25:09. | |
And a First World War song sung by troops at the time, and featured in | :25:10. | :25:11. | |
the film. Goodnight. # When I get my civvy clothes on. | :25:12. | :25:42. | |
Oh, how happy I shall be. No more church parades on Sunday. | :25:43. | :25:47. | |
No more putting in for leavd. No more putting in for leavd. | :25:48. | :25:55. | |
I shall kiss the sergeant major. Europe. A community of nations | :25:56. | :26:23. | |
which can do no wrong. A perfect brotherhood | :26:24. | :26:28. | |
in which we all share. the benefits are obvious to | :26:29. | :26:31. | |
being in... Hampering a British recovery | :26:32. | :26:36. | |
and harping on about climate change. It's time to get out, | :26:37. | :26:43. | |
it's time to get... It's almost 20 years | :26:44. | :26:46. | |
since we won Eurovision, We need to hang out with Europe, | :26:47. | :26:50. | |
share a coffee, The EU are getting honest | :26:51. | :26:55. | |
British bangers to move aside Europe is holding us back, | :26:56. | :27:01. | |
making us pay... ..vastly reasonable prices for | :27:02. | :27:07. | |
all the much better goods | :27:08. | :27:12. |