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THIS PROGRAMME CONTAINS SOME STRONG LANGUAGE | 0:00:02 | 0:00:06 | |
-I go quieter, the more nervous I get. -Rachel is 24, a drama school graduate, | 0:00:06 | 0:00:09 | |
with a promising acting career in front of her. | 0:00:09 | 0:00:13 | |
She's waiting for a phone call which will transform her life. | 0:00:13 | 0:00:17 | |
If I get it, I'm going to be amongst the best young actors in the country, | 0:00:17 | 0:00:21 | |
not like the best short actors in the country or the best dwarfs in the country, | 0:00:21 | 0:00:26 | |
just as a whole, the best actors in the country. | 0:00:26 | 0:00:29 | |
For many dwarfs, show business has been the main source of work for hundreds of years, | 0:00:31 | 0:00:36 | |
but most of the acting roles they're offered have limitations. | 0:00:36 | 0:00:40 | |
Stop smoking! | 0:00:40 | 0:00:42 | |
It's bad for your "elf". | 0:00:42 | 0:00:44 | |
DWARF COUGHS | 0:00:44 | 0:00:46 | |
I think every actor will say, short or tall, | 0:00:46 | 0:00:48 | |
it would be great to have more roles but being politically correct | 0:00:48 | 0:00:52 | |
and all of that stuff, actually is going to get in the way. | 0:00:52 | 0:00:55 | |
Somebody who's creative, who's writing, | 0:00:55 | 0:00:58 | |
you cant dictate to them what they create. | 0:00:58 | 0:01:01 | |
So what can the next generation do to break through the stereotypes? | 0:01:01 | 0:01:07 | |
I've often walked away from parts | 0:01:07 | 0:01:09 | |
because they just didn't feel appropriate for me. | 0:01:09 | 0:01:13 | |
I don't want to be the joke. | 0:01:13 | 0:01:14 | |
I want it to be, like I'm involved within it | 0:01:14 | 0:01:17 | |
and if I can't be in on the joke, I don't want to do it. | 0:01:17 | 0:01:20 | |
This film follows the fortunes of several talented young performers | 0:01:20 | 0:01:25 | |
who dream of being taken seriously. | 0:01:25 | 0:01:29 | |
The ultimate aim is to be a famous comedian, where my height | 0:01:29 | 0:01:34 | |
is not the primary thing that people think of. | 0:01:34 | 0:01:36 | |
But in an industry obsessed with image, | 0:01:36 | 0:01:39 | |
will their height always overshadow their talent? | 0:01:39 | 0:01:43 | |
PHONE RINGS | 0:01:43 | 0:01:45 | |
Hello. | 0:01:48 | 0:01:49 | |
Yeah, hello... | 0:01:49 | 0:01:51 | |
From a bungalow in Peterborough, | 0:01:58 | 0:02:00 | |
specialist actor's agency Willow is run by Peter Burroughs. | 0:02:00 | 0:02:04 | |
There's stunt training in Fieldsway Farm. | 0:02:04 | 0:02:07 | |
We have over 150 people on our books, that's worldwide. | 0:02:07 | 0:02:11 | |
That's from here, America, Sweden. | 0:02:11 | 0:02:15 | |
We've got plenty of jobs going on. | 0:02:15 | 0:02:17 | |
I've got projects going on, Snow White and The Huntsman... | 0:02:17 | 0:02:23 | |
Life's Too Short. | 0:02:23 | 0:02:25 | |
We've got a bit of BBC | 0:02:25 | 0:02:26 | |
and of course, we've got pantomimes coming up... | 0:02:26 | 0:02:29 | |
Willow was set up by Peter and his son-in-law Warwick Davies | 0:02:29 | 0:02:32 | |
to help get dwarfs equality of pay in show business. | 0:02:32 | 0:02:36 | |
Willow Management was started in 1995. | 0:02:37 | 0:02:40 | |
My father-in-law is also a short actor and we talked about how | 0:02:40 | 0:02:44 | |
if other short actors really came together | 0:02:44 | 0:02:49 | |
and stood and said, we won't do it for any less than... | 0:02:49 | 0:02:53 | |
..X amount of pounds, | 0:02:53 | 0:02:55 | |
then it would put us in a stronger position. | 0:02:55 | 0:02:58 | |
Could we stand together? How would you do that? | 0:02:58 | 0:03:02 | |
Let's create our own agency, and so that's what we did. | 0:03:02 | 0:03:06 | |
The agency was named after the movie Willow, | 0:03:06 | 0:03:09 | |
which gave Warwick his big break at only 17 years old. | 0:03:09 | 0:03:12 | |
George Lucas wrote the part for Warwick | 0:03:13 | 0:03:16 | |
after casting him in Star Wars. | 0:03:16 | 0:03:19 | |
He then built the most successful career of any short actor in the UK, | 0:03:22 | 0:03:26 | |
playing every creature role going. | 0:03:26 | 0:03:29 | |
Now, Warwick is about to star in Life's Too Short, | 0:03:29 | 0:03:32 | |
a fictional version of his life and work. | 0:03:32 | 0:03:35 | |
I've already done my dream role, in Life's Too Short. | 0:03:35 | 0:03:38 | |
I've had a desire for years to do comedy. | 0:03:38 | 0:03:42 | |
I've also had that desire to... | 0:03:42 | 0:03:44 | |
..just be able to walk into work on a film | 0:03:44 | 0:03:46 | |
and spend five minutes in make up, come out looking better than I did when I went in | 0:03:46 | 0:03:50 | |
and just wear regular clothes and it all came true. | 0:03:50 | 0:03:55 | |
I mean, it was the perfect role for me. | 0:03:55 | 0:03:57 | |
Life's Too Short | 0:03:57 | 0:03:59 | |
is the first time a short actor has played the lead role in major sitcom, | 0:03:59 | 0:04:03 | |
and directly confronts issues around height in show business. | 0:04:03 | 0:04:06 | |
The fact that the Warwick character I play in Life's Too Short | 0:04:06 | 0:04:10 | |
is short, I suppose... | 0:04:10 | 0:04:13 | |
It throws a different spin on the whole thing. | 0:04:15 | 0:04:19 | |
But I wouldn't say intrinsically he HAS to be short, as it were. | 0:04:19 | 0:04:23 | |
You know, the series is about a man's life | 0:04:23 | 0:04:27 | |
that is descending into chaos | 0:04:27 | 0:04:31 | |
and he just makes a lot of the wrong decisions... | 0:04:31 | 0:04:35 | |
But it's not anything to do with his height, | 0:04:35 | 0:04:37 | |
it's just the person that he is, do you know what I mean? | 0:04:37 | 0:04:40 | |
STAR WARS THEME RINGTONE | 0:04:40 | 0:04:43 | |
Hello, Willow Personal Management. | 0:04:43 | 0:04:46 | |
Hello, Rachel. How are you? | 0:04:46 | 0:04:49 | |
One of Willow's newest signings is Rachel Denning. | 0:04:49 | 0:04:53 | |
For three years, she's been searching for her big break as an actress | 0:04:54 | 0:04:58 | |
and is now hoping Willow can help. | 0:04:58 | 0:05:01 | |
It was only when I was 14, 15, | 0:05:02 | 0:05:04 | |
I decided that I wanted to do it seriously as a career. | 0:05:04 | 0:05:08 | |
I didn't think about how difficult it was going to be. | 0:05:08 | 0:05:11 | |
# Better not to light my fire... # | 0:05:11 | 0:05:15 | |
I think people try and unpick it a bit. | 0:05:15 | 0:05:18 | |
Everyone always seems to think actors have some hidden insecurity. | 0:05:18 | 0:05:22 | |
I don't feel I'm that insecure. | 0:05:22 | 0:05:25 | |
Maybe if I went down that route, | 0:05:25 | 0:05:27 | |
it would be because I was always stared at, | 0:05:27 | 0:05:29 | |
so I may as well be doing something, | 0:05:29 | 0:05:31 | |
if you're going to be staring at me anyway. | 0:05:31 | 0:05:34 | |
Also I guess that gives me control. Like, I want you to be staring at me. | 0:05:34 | 0:05:37 | |
A little boy I was working with the other day was really concerned. | 0:05:40 | 0:05:44 | |
And he's like, "Why are you so small?" | 0:05:44 | 0:05:47 | |
I kept telling him, I was just born small. | 0:05:47 | 0:05:50 | |
"But why are you a small adult?" | 0:05:50 | 0:05:53 | |
I said, I've just got a condition, I don't grow. | 0:05:53 | 0:05:56 | |
"Why don't you eat something? Have you tried eating?" | 0:05:56 | 0:06:00 | |
I said, "Yeah, I just grow that way." | 0:06:00 | 0:06:02 | |
He's like, "Hmm...." | 0:06:02 | 0:06:03 | |
Willow have sent me... "Ooh, Wil-low"! | 0:06:05 | 0:06:07 | |
They've sent me an application form. | 0:06:07 | 0:06:10 | |
There's the measurements, | 0:06:10 | 0:06:12 | |
so its obviously for costume work and things like that. | 0:06:12 | 0:06:15 | |
I haven't actually measured my height for a while. | 0:06:15 | 0:06:18 | |
It doesn't say that on there. | 0:06:18 | 0:06:19 | |
Rachel is the first short actress to graduate from her drama school. | 0:06:19 | 0:06:23 | |
On graduating, she signed with an average height agency, | 0:06:23 | 0:06:27 | |
but they've not been able to find her any work. | 0:06:27 | 0:06:30 | |
Very important inch. | 0:06:32 | 0:06:34 | |
Mountview gave me that inch. | 0:06:34 | 0:06:36 | |
I'd stopped growing for ages | 0:06:36 | 0:06:38 | |
and when I was doing all my movement work and stuff, | 0:06:38 | 0:06:41 | |
when I was doing Alexander technique, | 0:06:41 | 0:06:43 | |
I did something to my spine and I got another inch | 0:06:43 | 0:06:46 | |
and I hadn't grown for about four years up until then. | 0:06:46 | 0:06:50 | |
It was mad. OK. | 0:06:50 | 0:06:52 | |
Shoulders into wrist. | 0:06:52 | 0:06:54 | |
-Arms straighten. -The arms don't go straight. | 0:06:54 | 0:06:57 | |
My arms don't go straight. LAUGHS | 0:06:57 | 0:06:59 | |
Whilst she hopes Willow will find her more serious roles, | 0:06:59 | 0:07:02 | |
she knows that the majority of work available for dwarfs is costume work. | 0:07:02 | 0:07:08 | |
This can range from big budget Hollywood films, | 0:07:08 | 0:07:11 | |
to being handcuffed to party goers on stag and hen dos. | 0:07:11 | 0:07:15 | |
Waist, 26. | 0:07:15 | 0:07:16 | |
What kind of creatures do you think this is a suit for? | 0:07:18 | 0:07:21 | |
Gremlin. Goblin... | 0:07:21 | 0:07:23 | |
Cupid. LAUGHS | 0:07:25 | 0:07:27 | |
Fantasy stuff, fantasy films. | 0:07:27 | 0:07:30 | |
Ewok? | 0:07:30 | 0:07:31 | |
Would you want to do something like that? | 0:07:33 | 0:07:35 | |
I think I'd have to judge it on the job as and when it comes. | 0:07:35 | 0:07:39 | |
If it came, I don't think I could say whether I'd want to do it or not. | 0:07:39 | 0:07:43 | |
So it would have to depend what it was for, what company it was with. | 0:07:43 | 0:07:47 | |
If it was a promotional thing, I don't think I'd be up for it, | 0:07:47 | 0:07:51 | |
but if it was, if I got to fly off to New Zealand or something | 0:07:51 | 0:07:55 | |
and be in a costume, I think I'd be all right with that. | 0:07:55 | 0:07:58 | |
-14. -Is that right? | 0:07:58 | 0:08:00 | |
I thought we did waist before. | 0:08:00 | 0:08:02 | |
We've got waist twice. | 0:08:02 | 0:08:04 | |
Oh, wrist, that is. | 0:08:06 | 0:08:08 | |
I've got a 26-inch wrist! | 0:08:08 | 0:08:10 | |
Never seen a dwarf like that before. | 0:08:10 | 0:08:13 | |
THEY LAUGH | 0:08:13 | 0:08:15 | |
Do my wrist. | 0:08:15 | 0:08:16 | |
LOW GROANING NOISE | 0:08:22 | 0:08:23 | |
HE CACKLES | 0:08:25 | 0:08:27 | |
GIRL SCREAMS | 0:08:28 | 0:08:30 | |
HE CACKLES | 0:08:31 | 0:08:32 | |
That's my warm-up, really! | 0:08:32 | 0:08:35 | |
It's what I do. | 0:08:35 | 0:08:37 | |
Lovely day for it. | 0:08:38 | 0:08:40 | |
Another drama school graduate is 21-year-old Ben Goff. | 0:08:40 | 0:08:44 | |
Sweet Daddy B's ready to rock'n'roll. | 0:08:44 | 0:08:47 | |
Come this way, sir. I want to chop your head off. Oh, come on! | 0:08:47 | 0:08:51 | |
You big sissy pants. | 0:08:51 | 0:08:53 | |
He hopes to become a star of musical theatre. | 0:08:53 | 0:08:56 | |
-You can feel that, can't you? -Yes. -Yes, that's the blade. | 0:08:56 | 0:08:59 | |
But, at the moment, | 0:08:59 | 0:09:00 | |
his day job is chopping tourists' heads off. | 0:09:00 | 0:09:03 | |
..two, one, bye-bye! | 0:09:03 | 0:09:05 | |
It is quite dead at the moment, | 0:09:07 | 0:09:10 | |
but hopefully we will get some more people as the day goes on, | 0:09:10 | 0:09:13 | |
which is normal, about half-past eleven, | 0:09:13 | 0:09:16 | |
we have the big groups coming in. | 0:09:16 | 0:09:18 | |
It does get very busy. | 0:09:18 | 0:09:19 | |
What about you? Can I chop your head off? | 0:09:19 | 0:09:21 | |
Hello, you lot on the bus! | 0:09:21 | 0:09:24 | |
People do laugh at you and point at you | 0:09:24 | 0:09:28 | |
and they kind of take the mickey out of you. | 0:09:28 | 0:09:30 | |
It's not just me. Some of the guys across the road, Ross, | 0:09:30 | 0:09:34 | |
the guy over there, he's 7' 2", | 0:09:34 | 0:09:37 | |
and people kick him cos they think he's on stilts, | 0:09:37 | 0:09:41 | |
so he gets a bit bullied, I get bullied sometimes. | 0:09:41 | 0:09:44 | |
All right. Who's in charge? | 0:09:44 | 0:09:48 | |
GIRL SCREAMS | 0:09:48 | 0:09:49 | |
You big sissy pants. | 0:09:51 | 0:09:53 | |
Another day. Fresher and fun. | 0:09:56 | 0:09:59 | |
Over and yes! | 0:09:59 | 0:10:02 | |
One thing I do like is taking that wig off and letting my hair go... ah. | 0:10:02 | 0:10:07 | |
The only reason I'm doing this job | 0:10:09 | 0:10:12 | |
is to keep the bills being paid and stuff like that. | 0:10:12 | 0:10:15 | |
I kind of enjoy it, really. | 0:10:15 | 0:10:17 | |
But it's not something I desperately want to do, shall we say. | 0:10:17 | 0:10:21 | |
If you come back in five years, I hopefully will not be here. | 0:10:21 | 0:10:26 | |
Right, people. Loving you and leaving you. | 0:10:27 | 0:10:29 | |
Bye, Ben! See you! | 0:10:29 | 0:10:31 | |
Bye, Ben! | 0:10:31 | 0:10:33 | |
In great secrecy, I transported the entire population | 0:10:33 | 0:10:35 | |
of Oompa Loompas to my factory here. | 0:10:35 | 0:10:38 | |
Hey, Daddy! I want an Oompa Loompa! | 0:10:38 | 0:10:39 | |
I want you to get me an Oompa Loompa right away! | 0:10:39 | 0:10:42 | |
All right. I'll get you one before the day's out. | 0:10:42 | 0:10:44 | |
For many of us, Willie Wonka And The Chocolate Factory | 0:10:44 | 0:10:48 | |
provided one of the most iconic and enduring images of dwarfs on screen. | 0:10:48 | 0:10:52 | |
Ben's dad Rusty was one of the original Oompa Loompas. | 0:10:52 | 0:10:56 | |
-How long ago was this? -This was 40 years ago. Here we go. | 0:10:56 | 0:11:00 | |
# ..doo-ba-de-doo I've got another puzzle for you | 0:11:00 | 0:11:04 | |
# Oompa Loompa, doo-ba-de-dee... | 0:11:04 | 0:11:07 | |
-First. -# If you are wise You'll listen to me. # | 0:11:07 | 0:11:11 | |
When did you realise that your dad was an Oompa Loompa? | 0:11:11 | 0:11:14 | |
Um, I suppose it was that first time when I saw the film, | 0:11:14 | 0:11:19 | |
about five, six years old, something like that. | 0:11:19 | 0:11:21 | |
It was on over Easter or Christmas, one of those ones. | 0:11:21 | 0:11:24 | |
When Dad kind of mentioned that was him, | 0:11:24 | 0:11:28 | |
I just kind of got a bit star-struck really, I suppose. | 0:11:28 | 0:11:33 | |
Ah, my dad's one of the Oompa Loompas! | 0:11:33 | 0:11:35 | |
My name is Rusty Goff, I'm 4' 2". | 0:11:35 | 0:11:38 | |
I'm 62 years of age and I own him. | 0:11:38 | 0:11:42 | |
He owns me. | 0:11:42 | 0:11:44 | |
He loves it when I stop! | 0:11:44 | 0:11:46 | |
After 50 years in the business, Rusty's starred in everything | 0:11:46 | 0:11:50 | |
from Harry Potter to Are You Being Served. | 0:11:50 | 0:11:53 | |
-# The little green pig said... -It just can't be! | 0:11:56 | 0:11:59 | |
# He looks like a purple people-eater to me! # | 0:11:59 | 0:12:02 | |
Being an Oompa Loompa himself, | 0:12:02 | 0:12:04 | |
Rusty's aware of the potency of the on-screen stereotyping of dwarfs. | 0:12:04 | 0:12:09 | |
There are various things I would draw the line at. | 0:12:09 | 0:12:13 | |
Not for myself, but to protect people, who... | 0:12:13 | 0:12:17 | |
..there's dwarfs born every day. | 0:12:19 | 0:12:22 | |
75% of dwarfs are born to normal people | 0:12:22 | 0:12:25 | |
and these people suddenly, "Oh, God, what I have got here?" | 0:12:25 | 0:12:28 | |
Er... I want to protect those people. | 0:12:28 | 0:12:31 | |
-Back in the day, do you reckon you could've done it? -Yeah, I could do that bit... | 0:12:31 | 0:12:35 | |
Like his dad, Ben's a performer. | 0:12:35 | 0:12:38 | |
-But from then on, it's you. -No. -Turning, spins, no. | 0:12:38 | 0:12:42 | |
No. I can do spinning. | 0:12:42 | 0:12:45 | |
Ben got his break when he was 18, dancing with the Beat Freaks. | 0:12:45 | 0:12:49 | |
# Somebody's watching me... # | 0:12:49 | 0:12:51 | |
Whilst aware of their inherent USP, | 0:12:56 | 0:12:59 | |
Ben and Rusty wants to see more progressive casting. | 0:12:59 | 0:13:02 | |
All the dwarf actors around at the moment, | 0:13:02 | 0:13:05 | |
they just want to be treated as normal people. | 0:13:05 | 0:13:09 | |
Why can't a dwarf be a doctor? | 0:13:09 | 0:13:11 | |
It's happened in real life, why can't they portray it on the screen? | 0:13:11 | 0:13:15 | |
OK, so with the right script, why couldn't you be Superman? | 0:13:15 | 0:13:18 | |
-Spiderman? -Exactly. -Easy. | 0:13:18 | 0:13:21 | |
TRUMPET | 0:13:21 | 0:13:22 | |
For now, Ben's targeting the bright lights of the West End musicals, | 0:13:26 | 0:13:31 | |
competing for roles alongside average-height actors. | 0:13:31 | 0:13:34 | |
Tomorrow, I've got an audition for the Royal Shakespeare Company, | 0:13:37 | 0:13:42 | |
which I'm really excited about. | 0:13:42 | 0:13:44 | |
It's for their Christmas show, called The Heart of Robin Hood. | 0:13:44 | 0:13:48 | |
I've got an audition to play the character of Little John. | 0:13:48 | 0:13:52 | |
"I dare not go any faster in the storm, sir. | 0:13:52 | 0:13:54 | |
"This is Robin Hood country. | 0:13:54 | 0:13:56 | |
"We crash here, we come out with nothing." | 0:13:56 | 0:13:58 | |
Since leaving college, this is the biggest straight acting role I've had, | 0:13:58 | 0:14:04 | |
because it is the Royal Shakespeare Company, | 0:14:04 | 0:14:06 | |
everybody knows about the company itself. | 0:14:06 | 0:14:09 | |
So it's kind of an honour and a privilege | 0:14:09 | 0:14:12 | |
for somebody just starting out in the business, | 0:14:12 | 0:14:15 | |
being asked to perform for them. | 0:14:15 | 0:14:18 | |
But it's also quite nerve-wracking as well. | 0:14:18 | 0:14:21 | |
You think, OK, I've got to be good here. | 0:14:21 | 0:14:23 | |
"Sir, these horses are newly broken, | 0:14:23 | 0:14:26 | |
"they won't take to roughness." | 0:14:26 | 0:14:28 | |
"Sir! These horses are newly broken. | 0:14:29 | 0:14:31 | |
"They won't take to roughness." | 0:14:31 | 0:14:34 | |
-What's the date today? -That should be in date. | 0:14:37 | 0:14:41 | |
Like most people with dwarfism, | 0:14:41 | 0:14:43 | |
the rest of Rachel's family is of average height. | 0:14:43 | 0:14:46 | |
Gareth is 6' 4" and Joe is 5' 7", so Rachel's the.... | 0:14:46 | 0:14:52 | |
-The special one. -The special one, yes! | 0:14:52 | 0:14:54 | |
We don't know where she came from! | 0:14:54 | 0:14:56 | |
I didn't know Rachel was achondroplastic when she was born. | 0:14:56 | 0:15:00 | |
I took her to the paediatrician. | 0:15:00 | 0:15:03 | |
He said, "Well, you know what's wrong with her?" | 0:15:03 | 0:15:05 | |
I said, "Well, I didn't know there was anything wrong with her," | 0:15:05 | 0:15:09 | |
he said, "She's an achondroplastic," and I said, "What's that?", | 0:15:09 | 0:15:12 | |
and he said, "Oh, it's like the people in a circus." | 0:15:12 | 0:15:16 | |
Erm, you know, you just don't... it's not very good bedside manner. | 0:15:16 | 0:15:21 | |
Turns out, 24 years later, I don't have the skills to be in the circus! | 0:15:22 | 0:15:27 | |
I wouldn't mind that, I might be working! | 0:15:29 | 0:15:32 | |
MUM LAUGHS | 0:15:32 | 0:15:33 | |
I think short people have always been seen as...the funny ones. | 0:15:33 | 0:15:39 | |
Like, I think that goes way back in history | 0:15:39 | 0:15:43 | |
with entertainers and...clowns and stuff like that. | 0:15:43 | 0:15:48 | |
So, I think that makes it difficult | 0:15:48 | 0:15:50 | |
when you're looking for serious acting roles as well | 0:15:50 | 0:15:53 | |
because, traditionally, you were the funny character. | 0:15:53 | 0:15:57 | |
Rachel has always applied for parts which specify her size, | 0:15:58 | 0:16:02 | |
but after several recalls, she's so far been disappointed. | 0:16:02 | 0:16:06 | |
When a part comes along that's about a four-foot blonde girl | 0:16:06 | 0:16:12 | |
and then if you don't get it, you're like... | 0:16:12 | 0:16:15 | |
but that's me? What else would I get? | 0:16:15 | 0:16:19 | |
Now she's decided to broaden her search | 0:16:20 | 0:16:22 | |
to include roles that don't specify her look. | 0:16:22 | 0:16:25 | |
Old Vic are looking for the next lot for the 24 Hour Plays. | 0:16:26 | 0:16:30 | |
I think it would be really good to work on | 0:16:30 | 0:16:32 | |
cos you're working with new directors. | 0:16:32 | 0:16:34 | |
You're all in the same boat, young directors | 0:16:34 | 0:16:37 | |
and, erm, producers and writers. | 0:16:37 | 0:16:41 | |
They never specified height, but it says, | 0:16:41 | 0:16:44 | |
"Please indicate whether you consider yourself to have a disability." | 0:16:44 | 0:16:48 | |
I chop and change with that. | 0:16:48 | 0:16:50 | |
some forms I'll say no, | 0:16:50 | 0:16:53 | |
and some forms I say yes. | 0:16:53 | 0:16:55 | |
Like, there's no actual official register, really. | 0:16:55 | 0:16:59 | |
I think, in a way, short people aren't seen as disabled when they are | 0:16:59 | 0:17:04 | |
and I think that's overlooked a lot by society in general. | 0:17:04 | 0:17:08 | |
It's like we're not disabled, we're just short. | 0:17:08 | 0:17:10 | |
Like, so you can laugh at them. | 0:17:10 | 0:17:12 | |
"I have restricted growth and since graduating | 0:17:12 | 0:17:14 | |
"I have found roles limited and I see this as an opportunity to have fun | 0:17:14 | 0:17:18 | |
"and to showcase my acting skills that I do not often get to display." | 0:17:18 | 0:17:22 | |
I sometimes feel like I'm writing to Jim'll Fix It, | 0:17:22 | 0:17:24 | |
"Please give me a chance, I want to be on the stage!" | 0:17:24 | 0:17:28 | |
It's like that sort of thing. It's like, "Ugh." | 0:17:28 | 0:17:32 | |
But, erm, I've tried everything else, though! | 0:17:32 | 0:17:35 | |
Rachel dreams of being taken seriously as an actress... | 0:17:36 | 0:17:40 | |
..and Hollywood is a place where dreams can come true. | 0:17:41 | 0:17:46 | |
On the surface, a superficial town... | 0:17:49 | 0:17:52 | |
..but Los Angeles is teeming with ideas, optimism | 0:17:54 | 0:17:58 | |
and the potential to make lots of money. | 0:17:58 | 0:18:01 | |
28-year-old Nic Novicki is making a name for himself in Hollywood, | 0:18:06 | 0:18:10 | |
he recently starred in Martin Scorsese's Boardwalk Empire. | 0:18:10 | 0:18:14 | |
-What's with you? -I'm done, Carl, we all are. No more midget shit! | 0:18:14 | 0:18:19 | |
Midget shit is what they are paying us for. | 0:18:19 | 0:18:21 | |
It's a huge show, everybody loves the show | 0:18:21 | 0:18:24 | |
and to be a part of that is amazing. | 0:18:24 | 0:18:26 | |
What if I can get us a raise? | 0:18:26 | 0:18:29 | |
'I've definitely put a lot of blood sweat and tears into my career, | 0:18:29 | 0:18:34 | |
'so it was nice to have a little gratification' | 0:18:34 | 0:18:36 | |
of being a part of something like that | 0:18:36 | 0:18:39 | |
and that they keep bringing me back, so, it feels good. | 0:18:39 | 0:18:43 | |
I've worked more out of New York recently, with Boardwalk Empire, | 0:18:46 | 0:18:50 | |
but Hollywood is Hollywood. | 0:18:50 | 0:18:52 | |
There's no place in the world that you can... | 0:18:52 | 0:18:56 | |
get as many opportunities as you can in LA. | 0:18:56 | 0:19:01 | |
Especially if you're short, I think there's more opportunities cos there's more projects. | 0:19:01 | 0:19:05 | |
-'Nic, what's going on?' -Hey, what's going on, man? | 0:19:05 | 0:19:09 | |
Despite his success as an actor, | 0:19:09 | 0:19:11 | |
Nic also getting involved in other areas of the industry | 0:19:11 | 0:19:14 | |
as a budding producer. | 0:19:14 | 0:19:16 | |
What we'd need to do is I'd have to lock you guys | 0:19:16 | 0:19:18 | |
into a developmental contract. | 0:19:18 | 0:19:20 | |
-'All right...' -All right, buddy, talk to you soon. Bye-bye. | 0:19:20 | 0:19:23 | |
What were you trying to sell there, Nick? | 0:19:26 | 0:19:28 | |
That was a reality show about a... | 0:19:28 | 0:19:32 | |
a guy who, er, forecloses houses. | 0:19:32 | 0:19:36 | |
Who knows, it could be a comedy or could be a drama, docu-drama. | 0:19:36 | 0:19:40 | |
Have you sold that kind of thing before? | 0:19:42 | 0:19:44 | |
Erm, no, I've never, I honestly still haven't sold anything. | 0:19:44 | 0:19:48 | |
I make all my money acting, erm... | 0:19:48 | 0:19:51 | |
but most of it I just put into other projects... | 0:19:51 | 0:19:56 | |
to try to sell. | 0:19:56 | 0:19:58 | |
I've been close, a lot, I once... | 0:19:58 | 0:20:00 | |
This, er... | 0:20:03 | 0:20:04 | |
with a handicap sticker, you don't have to pay for parking in LA. | 0:20:04 | 0:20:08 | |
God bless California! | 0:20:08 | 0:20:11 | |
-KNOCKS ON DOOR Yo, yo! -Hey. | 0:20:12 | 0:20:15 | |
Along with his business partner, Azel, | 0:20:15 | 0:20:17 | |
they've managed to get Scorsese's support on one their film ideas... | 0:20:17 | 0:20:21 | |
..and they are also pitching an idea | 0:20:21 | 0:20:23 | |
about a match-maker who's a little person. | 0:20:23 | 0:20:26 | |
Two minutes with each person, after two minutes, circle yes or no | 0:20:26 | 0:20:29 | |
if you feel there's a connection with them. | 0:20:29 | 0:20:31 | |
Yeah, everybody likes her, you know? All the networks, but it's just... | 0:20:31 | 0:20:35 | |
-You have to find a fit, I guess. -Right now a dating show is not it. | 0:20:35 | 0:20:38 | |
There's a lot of little people shows and they feel it's saturated. | 0:20:38 | 0:20:41 | |
Me and the boys want a raise to work the Celtic dinner... | 0:20:41 | 0:20:45 | |
Nic's worked tirelessly for the last ten years | 0:20:45 | 0:20:47 | |
to get his break on Boardwalk Empire | 0:20:47 | 0:20:49 | |
and he feels that his height has been an advantage to get him noticed. | 0:20:49 | 0:20:53 | |
-What do you call it? -Show business. | 0:20:53 | 0:20:55 | |
But in the most competitive place in the world, | 0:20:55 | 0:20:58 | |
Hollywood's inherent optimism does have its limits. | 0:20:58 | 0:21:02 | |
It is, it's hard. | 0:21:02 | 0:21:03 | |
You know, I think starting out, it's better to be a little person | 0:21:03 | 0:21:06 | |
cos there's not as many people and it's so easy to get in to, | 0:21:06 | 0:21:09 | |
you know, to get in to a huge room. | 0:21:09 | 0:21:11 | |
Like, being in a room with, you know, mega producers, | 0:21:11 | 0:21:15 | |
like Jerry Bruckheimer and stuff, or like CSI, when you're two years in. | 0:21:15 | 0:21:20 | |
You know, that doesn't happen for most average-height people, | 0:21:20 | 0:21:24 | |
but then when you get to a certain level, like where I am | 0:21:24 | 0:21:27 | |
and other, you know, established little people actors are, | 0:21:27 | 0:21:30 | |
then it's hard because you don't get... | 0:21:30 | 0:21:33 | |
-It's hard to just keep getting. -Like, a lead, like a leading role. | 0:21:33 | 0:21:37 | |
The break-out roles, cos there's just not that many for little people. | 0:21:37 | 0:21:41 | |
Really good supporting roles, there's always supporting roles, | 0:21:41 | 0:21:45 | |
but it's never, like, that lead role, you know. | 0:21:45 | 0:21:47 | |
Sometimes it is, but it's like, "I'll fight for that," | 0:21:47 | 0:21:51 | |
somebody's going to die! | 0:21:51 | 0:21:52 | |
-You know, if you get that far! I mean, seriously... -I got a gun! | 0:21:52 | 0:21:56 | |
..if a little person, you know, lead role came out, | 0:21:56 | 0:21:58 | |
big studio film, it would be blood in the streets. | 0:21:58 | 0:22:02 | |
It would be, like, Nic and three dudes that he knows, | 0:22:02 | 0:22:04 | |
they would be fighting. | 0:22:04 | 0:22:06 | |
It's really just a hustle until you get that one thing. | 0:22:06 | 0:22:10 | |
I mean everything, as an actor, as a producer, it's a hustle, | 0:22:10 | 0:22:14 | |
You got to just keep going, keep going, keep fighting, | 0:22:14 | 0:22:18 | |
stay in the ring until you can... until you get that shot in. | 0:22:18 | 0:22:21 | |
The most successful short actor in the US is Peter Dinklage. | 0:22:24 | 0:22:28 | |
He starred in The Station Agent. | 0:22:28 | 0:22:30 | |
The lead role was written for him and the film built around him. | 0:22:30 | 0:22:34 | |
It took nearly 9 million at the box office, | 0:22:34 | 0:22:38 | |
proving, to the amazement of Hollywood, | 0:22:38 | 0:22:40 | |
that a short actor can be a bankable star. | 0:22:40 | 0:22:44 | |
'I think Peter Dinklage is well on his way.' | 0:22:44 | 0:22:46 | |
Peter has really climbed the ranks. He is so incredibly talented. | 0:22:46 | 0:22:52 | |
He has carried feature films, he was nominated for an Emmy, | 0:22:53 | 0:22:57 | |
his performance in Station Agent was so quiet, but brilliant, | 0:22:57 | 0:23:02 | |
he's like a magnet, you want to see what he's going to do next. | 0:23:02 | 0:23:06 | |
Did you take these? | 0:23:07 | 0:23:08 | |
'He's the real deal.' | 0:23:10 | 0:23:13 | |
Once you get past the fact that he's four-foot and change, 4' 6", | 0:23:13 | 0:23:17 | |
nobody cares, cos you're so captivated by his acting ability. | 0:23:17 | 0:23:21 | |
I looked through it. | 0:23:21 | 0:23:23 | |
This is a theatre group and on Tuesday nights, put on shows. | 0:23:25 | 0:23:29 | |
It's fun, keeps you sharp. | 0:23:29 | 0:23:32 | |
It's like going to the gym for acting. | 0:23:32 | 0:23:34 | |
Nic's following in the footstep of Peter Dinklage | 0:23:34 | 0:23:37 | |
but he's also realistic about their potential in Hollywood. | 0:23:37 | 0:23:40 | |
'It's a business.' | 0:23:40 | 0:23:42 | |
This is above all else a business, they want to make money. | 0:23:42 | 0:23:45 | |
I don't think there will ever be a little person that's, like, | 0:23:47 | 0:23:50 | |
a bankable movie star in terms of 20 million a picture. | 0:23:50 | 0:23:55 | |
Peter Dinklage is definitely a great actor and he works a lot, but... | 0:23:55 | 0:23:59 | |
he's not making 20 million a picture | 0:23:59 | 0:24:01 | |
and he's not carrying a, you know, studio movie. | 0:24:01 | 0:24:04 | |
You know, I think he can, but... | 0:24:04 | 0:24:08 | |
you know, in terms of bankability it's tough, you know? | 0:24:08 | 0:24:13 | |
-What d'you do with the money? -It's in the safe, 943. | 0:24:13 | 0:24:19 | |
'I try to be really realistic with things, | 0:24:19 | 0:24:22 | |
'I don't live this fantasy, like | 0:24:22 | 0:24:25 | |
"I'm going to be at the Oscars next year and I'm going to be there." | 0:24:25 | 0:24:28 | |
I kind of know, like, I have, you know, short term goals | 0:24:28 | 0:24:32 | |
of what I want to do and what I think I can do in terms of my career | 0:24:32 | 0:24:38 | |
and I don't really try to think about myself being the next Tom Cruise, | 0:24:38 | 0:24:43 | |
because I don't think I'm going to be, you know, | 0:24:43 | 0:24:46 | |
but I can be the next character actor that works all the time, you know. | 0:24:46 | 0:24:50 | |
Oh, wow, it's you guys. Come on in. | 0:24:53 | 0:24:57 | |
Back in London, another short performer trying to make a name for himself is Gareth Morinan. | 0:24:57 | 0:25:02 | |
Mind out for the mess. | 0:25:02 | 0:25:04 | |
He's quit his job as a government statistician | 0:25:04 | 0:25:06 | |
to try to carve out a career in the notoriously hostile world | 0:25:06 | 0:25:10 | |
of stand-up comedy. | 0:25:10 | 0:25:11 | |
So, yes, welcome to my office! | 0:25:11 | 0:25:15 | |
There is also a chair. | 0:25:15 | 0:25:17 | |
Do you want me to close the window? That's better. | 0:25:17 | 0:25:21 | |
I am 4' 10", I have a condition called... | 0:25:21 | 0:25:27 | |
Spondo-b-l-dysplasia-coja-na-na! | 0:25:27 | 0:25:32 | |
I do not have dwarfism. | 0:25:32 | 0:25:34 | |
Dealing with being unusually short | 0:25:34 | 0:25:36 | |
has inspired Gareth to move into comedy. | 0:25:36 | 0:25:39 | |
The ultimate aim is to be a famous comedian, | 0:25:39 | 0:25:43 | |
where my height is not the primary thing people think of. | 0:25:43 | 0:25:48 | |
They don't think, "Gareth Morinan, oh, that short guy." | 0:25:48 | 0:25:51 | |
Erm...but having said that, I am happy to exploit my height | 0:25:51 | 0:25:56 | |
to get to that position, or help me get to that position | 0:25:56 | 0:25:58 | |
cos I know in this world, you've got to exploit anything you've got. | 0:25:58 | 0:26:02 | |
Doing stand-up's interesting, because I can go on stage | 0:26:02 | 0:26:06 | |
and I know that I can basically say nothing, right, | 0:26:06 | 0:26:11 | |
and people will be laughing already | 0:26:11 | 0:26:13 | |
and in a way I, sort of, resent the audience at large for that. | 0:26:13 | 0:26:18 | |
So, that's, sort of, why, personally, I aim to do something | 0:26:18 | 0:26:22 | |
a bit different, a bit more innovative. | 0:26:22 | 0:26:24 | |
This is the sea of cables, which I have... | 0:26:24 | 0:26:27 | |
Gareth has spent four years on the stand-up circuit, | 0:26:27 | 0:26:30 | |
but he's written a new show, | 0:26:30 | 0:26:32 | |
using a PowerPoint presentation and political satire. | 0:26:32 | 0:26:36 | |
He's planning to take it to the Edinburgh Festival. | 0:26:37 | 0:26:41 | |
This piece is called Fruit Conga, yeah? | 0:26:41 | 0:26:45 | |
It's one of my pieces about Xenophobia, erm... | 0:26:45 | 0:26:47 | |
and here is the Yes Bee, which is the, sort of, promotional crux | 0:26:47 | 0:26:52 | |
of my marketing campaign for Edinburgh. | 0:26:52 | 0:26:55 | |
You don't need to, sort of, have credentials and credits, | 0:26:55 | 0:26:59 | |
or whatever, or your face on the flyer, | 0:26:59 | 0:27:01 | |
you just need a big bee saying, "Yes!" | 0:27:01 | 0:27:04 | |
So, the Yes Bee is one of my more shallower pieces, really, | 0:27:04 | 0:27:07 | |
it doesn't have a lot of depth, | 0:27:07 | 0:27:09 | |
but you know, hopefully people will, erm, be keen on it. | 0:27:09 | 0:27:13 | |
Erm, right, I need to grab some more stuff from upstairs... | 0:27:13 | 0:27:17 | |
The Edinburgh Fringe is like Mecca for the top stand-ups | 0:27:17 | 0:27:20 | |
and discerning comedy audiences too. | 0:27:20 | 0:27:22 | |
Gareth hopes his new material will be well suited to this environment. | 0:27:24 | 0:27:29 | |
I really enjoy performing, that's why I do it | 0:27:29 | 0:27:31 | |
and I enjoy putting on my own show, | 0:27:31 | 0:27:33 | |
which is why I enjoy doing Edinburgh. | 0:27:33 | 0:27:35 | |
So having my own show, where I'm basically in complete control | 0:27:35 | 0:27:38 | |
and put my own mark on it and people have gone away entertained by me, | 0:27:38 | 0:27:42 | |
I love that, right. | 0:27:42 | 0:27:43 | |
Er, but then there a whole other aspect to the comedy scene | 0:27:43 | 0:27:48 | |
and there's a lot of comedy clubs are just, sort of... | 0:27:48 | 0:27:52 | |
You know, if Edinburgh is there, the level of the comedy clubs is, | 0:27:52 | 0:27:56 | |
like, here, right? | 0:27:56 | 0:27:58 | |
It's people going for a night out on a Friday or a Saturday, | 0:27:58 | 0:28:01 | |
they're getting drunk and...there is a different standard there, | 0:28:01 | 0:28:06 | |
you know, the broadest appeal thing wins in those kind of situations | 0:28:06 | 0:28:11 | |
and I don't really like that. | 0:28:11 | 0:28:13 | |
So...after doing that for a while, I thought, you know, | 0:28:13 | 0:28:16 | |
fuck the bigger clubs, I don't want a life performing to pissed-up, | 0:28:16 | 0:28:21 | |
you know...stag dos, or whatever, | 0:28:21 | 0:28:24 | |
who are shouting out very obvious jokes about my height | 0:28:24 | 0:28:29 | |
because they think it's hilarious. Erm...so there are different levels. | 0:28:29 | 0:28:33 | |
But with Edinburgh looming, Gareth has no choice | 0:28:34 | 0:28:37 | |
but to hone his craft in a room above a pub. | 0:28:37 | 0:28:40 | |
GARETH SINGS | 0:28:40 | 0:28:41 | |
-Hello, everyone, welcome! -APPLAUSE | 0:28:43 | 0:28:46 | |
Welcome to the show, welcome to the wonderful preview of the Disc. | 0:28:46 | 0:28:50 | |
Thank you for coming out... | 0:28:50 | 0:28:51 | |
'Erm, so this is my show, | 0:28:51 | 0:28:53 | |
'it's called The Truth Explained In Doodles, | 0:28:53 | 0:28:55 | |
'so I'm actually an artist...' | 0:28:55 | 0:28:57 | |
# They've got small bodies And small minds | 0:28:58 | 0:29:02 | |
# They're all small fry And small time | 0:29:02 | 0:29:06 | |
# They're the lowest of the low... # | 0:29:06 | 0:29:08 | |
Size and comedy have always been intrinsically linked. | 0:29:08 | 0:29:13 | |
# And they like it down there. # | 0:29:13 | 0:29:15 | |
From our first experiences of dwarfs, | 0:29:15 | 0:29:17 | |
we are conditioned to find them funny. | 0:29:17 | 0:29:19 | |
He's little man and he's got a yellow hat and he's really stupid, | 0:29:19 | 0:29:23 | |
we don't know where he is? CHILDREN SHOUT EXCITEDLY | 0:29:23 | 0:29:26 | |
And over the years, | 0:29:26 | 0:29:27 | |
on-screen representations have made much use of the obvious height gags. | 0:29:27 | 0:29:31 | |
-Oh, hello, Paul. -Hi, I have the form right here... | 0:29:33 | 0:29:36 | |
But writers and comedians have also used size | 0:29:36 | 0:29:39 | |
to explore other prejudices. | 0:29:39 | 0:29:41 | |
You know Paul, everyone knows Paul. Erm... | 0:29:41 | 0:29:45 | |
Shoulder length brown hair, | 0:29:45 | 0:29:48 | |
wears a lot of jewellery... | 0:29:48 | 0:29:49 | |
..looks up a lot, | 0:29:51 | 0:29:52 | |
gets his clothes from Mothercare. | 0:29:52 | 0:29:54 | |
That's it, the Oompa Loompa. | 0:29:54 | 0:29:57 | |
He says go straight up. | 0:30:00 | 0:30:01 | |
In the US, competition for parts is just as fierce. | 0:30:04 | 0:30:07 | |
Meredith Eaton was the first short actress | 0:30:12 | 0:30:15 | |
to score a lead role in a mainstream TV series. | 0:30:15 | 0:30:18 | |
Danny? It's me, Bethany. Bethany Horowitz. | 0:30:18 | 0:30:22 | |
Such a pleasure to meet you. | 0:30:22 | 0:30:24 | |
She played William Shatner's girlfriend in Boston Legal for three series. | 0:30:24 | 0:30:28 | |
Bethany, this isn't working out. | 0:30:29 | 0:30:32 | |
What? | 0:30:32 | 0:30:34 | |
You never indicated to me that you were... | 0:30:34 | 0:30:37 | |
..Jewish. | 0:30:38 | 0:30:40 | |
'That was such a vote of confidence for me and my career.' | 0:30:41 | 0:30:45 | |
That was a dream role that came true for me. | 0:30:45 | 0:30:48 | |
What was she like otherwise? | 0:30:48 | 0:30:51 | |
Attractive head, nice breasts, | 0:30:51 | 0:30:54 | |
and that was it. Breasts and a head. | 0:30:54 | 0:30:56 | |
I didn't want to leave things on a bad note. | 0:30:58 | 0:31:01 | |
It was a role that addressed height through comedy | 0:31:01 | 0:31:04 | |
in a way she felt comfortable with. | 0:31:04 | 0:31:06 | |
When you called me a midget in a crowded restaurant, you caused me emotional distress... | 0:31:06 | 0:31:10 | |
'Comedy is certainly an avenue to push boundaries.' | 0:31:10 | 0:31:14 | |
If you're making people think about their own beliefs | 0:31:14 | 0:31:17 | |
and challenging them in a way that they've never thought about before, | 0:31:17 | 0:31:23 | |
and that makes them laugh, that works. | 0:31:23 | 0:31:27 | |
I hope I didn't hurt her. | 0:31:27 | 0:31:28 | |
My mother taught me how to tackle. | 0:31:30 | 0:31:32 | |
'If it's gratuitous and doesn't lend to any teaching opportunity, | 0:31:32 | 0:31:36 | |
'it doesn't work.' | 0:31:36 | 0:31:37 | |
She better watch her back! | 0:31:37 | 0:31:39 | |
You have to think about what you're doing and why are you doing it? | 0:31:40 | 0:31:44 | |
Are you doing it to make fun of yourself | 0:31:44 | 0:31:46 | |
or are you doing it to make fun of the people that think you're funny? | 0:31:46 | 0:31:49 | |
That's how you discern whether it's funny or not. | 0:31:49 | 0:31:52 | |
Her first big break in Unconditional Love, starring opposite Kathy Bates, | 0:31:53 | 0:31:58 | |
was in a role written for an average-height actor. | 0:31:58 | 0:32:01 | |
Since then, she's taken a hard line against the mythical creature roles. | 0:32:01 | 0:32:06 | |
'Discrimination is discrimination, whether it's based on height, | 0:32:06 | 0:32:10 | |
'the colour of your skin, your sexuality.' | 0:32:10 | 0:32:13 | |
So I won't compromise my beliefs | 0:32:13 | 0:32:15 | |
by portraying a character that would make me feel | 0:32:15 | 0:32:19 | |
that I was perpetuating a stereotype about little people | 0:32:19 | 0:32:22 | |
that I've worked so hard to move away from. | 0:32:22 | 0:32:25 | |
I've often walked away from parts | 0:32:25 | 0:32:28 | |
and there's been an actress right behind me that's happy to take that part. | 0:32:28 | 0:32:32 | |
That's fine if it works for them. But for me, it doesn't. | 0:32:32 | 0:32:36 | |
Back in London, | 0:32:39 | 0:32:41 | |
and Rachel is still trying to find out where her line lies. | 0:32:41 | 0:32:45 | |
On set. Been up since five, so I'm wired. | 0:32:45 | 0:32:49 | |
It's her first job with Willow and it's her first ever commercial. | 0:32:49 | 0:32:53 | |
It seems like a good, fun project that's interesting. | 0:32:53 | 0:32:59 | |
I haven't done a commercial before. | 0:32:59 | 0:33:02 | |
I thought it would be quite good experience, good fun. | 0:33:02 | 0:33:05 | |
Everyone seems really nice and really honest, trustworthy. | 0:33:05 | 0:33:10 | |
She'll be working with another short actor, Max. | 0:33:10 | 0:33:14 | |
The costume? It's not too bad actually. A little bit draughty! | 0:33:14 | 0:33:19 | |
You wouldn't actually go to war in it, would you? | 0:33:21 | 0:33:23 | |
THEY LAUGH | 0:33:23 | 0:33:25 | |
Come and get me! | 0:33:25 | 0:33:26 | |
-INTERVIEWER: -Have you had to make up many short actors, then? | 0:33:26 | 0:33:31 | |
I've probably done maybe three in a 15-year career. | 0:33:31 | 0:33:36 | |
First up, they're shooting some stills. | 0:33:38 | 0:33:41 | |
The advertising campaign is for the Budapest Short Film Festival. | 0:33:41 | 0:33:46 | |
-This pose is great. -We'll get some blow on the hair in this one. | 0:33:51 | 0:33:55 | |
It's looking great. | 0:33:55 | 0:33:57 | |
We just wanted to recreate the posters but with smaller people, that's all. | 0:33:57 | 0:34:03 | |
It's just a little idea that we had. | 0:34:03 | 0:34:05 | |
It's pretty straightforward. | 0:34:05 | 0:34:08 | |
I don't think I need to say why it's funny. | 0:34:08 | 0:34:11 | |
Hang on. | 0:34:13 | 0:34:15 | |
That's great. | 0:34:15 | 0:34:17 | |
With the stills shot, the main part of the shoot | 0:34:17 | 0:34:19 | |
is a mock-umentary style viral video for the internet. Highly original(!) | 0:34:19 | 0:34:24 | |
You know, I've never held a sword before. | 0:34:24 | 0:34:27 | |
It's really heavy but I'm getting really into it now. | 0:34:27 | 0:34:31 | |
CAMERA CREW CHUCKLE | 0:34:31 | 0:34:34 | |
That's great. That's really good. | 0:34:34 | 0:34:37 | |
'It was a lot of fun.' | 0:34:37 | 0:34:38 | |
It's the first commercial I've done, | 0:34:38 | 0:34:41 | |
so it's actually good to have something to gauge stuff by. | 0:34:41 | 0:34:44 | |
The more experience I get, the more I know what I'm comfortable with | 0:34:44 | 0:34:48 | |
and what I'm not comfortable with. | 0:34:48 | 0:34:50 | |
-So you didn't feel like they were laughing at you? -No. | 0:34:50 | 0:34:54 | |
-And you didn't find it demeaning in any way? -No. | 0:34:55 | 0:34:59 | |
No, I felt, yeah, really comfortable. | 0:35:00 | 0:35:05 | |
Ben Goff has been in panto since he was nine years old. | 0:35:05 | 0:35:09 | |
Freshly graduated, he's keen to avoid being one of Snow White's seven little helpers this year. | 0:35:09 | 0:35:15 | |
When I was with my dwarf agency, | 0:35:15 | 0:35:17 | |
I was getting the typical dwarf roles, shall we say? | 0:35:17 | 0:35:20 | |
Always at Christmas, always Snow White And The Seven Dwarfs. | 0:35:20 | 0:35:24 | |
Which was great, because I do love pantomime, I do love seeing the kids' reactions. | 0:35:24 | 0:35:29 | |
I've been brought up in the panto world. | 0:35:29 | 0:35:32 | |
But I got to about 14, 15, where I'd done a lot of Snow Whites. | 0:35:32 | 0:35:36 | |
I went, "Right, I'm bored with this now." | 0:35:36 | 0:35:39 | |
That's kind of why I was thinking I'd leave the dwarf roles. | 0:35:39 | 0:35:43 | |
While I'm still young, just try different things out. | 0:35:43 | 0:35:47 | |
Today, Ben has his audition for the Royal Shakespeare Company. | 0:35:53 | 0:35:56 | |
It's for their Christmas show, | 0:35:56 | 0:35:58 | |
but it's directed by an Icelandic director known for his bold productions, | 0:35:58 | 0:36:03 | |
so Ben feels confident that he's in with a chance. | 0:36:03 | 0:36:06 | |
I think I've got about ten or 15 minutes before the audition. | 0:36:11 | 0:36:15 | |
I'm feeling pretty confident, actually. | 0:36:15 | 0:36:18 | |
I spent most of last night just going over and over the script and things. | 0:36:18 | 0:36:23 | |
I already kind of warmed up my trumpet before I set out. | 0:36:23 | 0:36:28 | |
Did your dad give you some tips last night? | 0:36:28 | 0:36:32 | |
He just said, "Relax. Enjoy yourself, really. | 0:36:32 | 0:36:34 | |
"If you get it, fantastic. If not, don't put a downer on it. | 0:36:34 | 0:36:39 | |
"Think of it as an opportunity. | 0:36:39 | 0:36:41 | |
"How many other people would love to audition for this company?" | 0:36:41 | 0:36:44 | |
Just putting a bit of valve oil on my valves here | 0:36:47 | 0:36:51 | |
so they don't get stuck, really. | 0:36:51 | 0:36:54 | |
What's the worst thing that could happen in your audition? | 0:36:56 | 0:37:00 | |
The worst thing that could happen in the audition for me | 0:37:00 | 0:37:04 | |
is to probably pass out. That's the worst scenario for me. | 0:37:04 | 0:37:11 | |
I get so excited and nervous and the adrenaline is just pumping so I just go splat. | 0:37:11 | 0:37:17 | |
I've had quite a lot of water to drink today | 0:37:17 | 0:37:21 | |
and I've eaten and stuff like that. | 0:37:21 | 0:37:23 | |
So hopefully that won't happen. | 0:37:23 | 0:37:25 | |
But just before I start, | 0:37:25 | 0:37:28 | |
I'll just close my eyes for two or three seconds | 0:37:28 | 0:37:31 | |
or turn my back and then go into the script. | 0:37:31 | 0:37:35 | |
It's what I learned at college, really. | 0:37:35 | 0:37:39 | |
That also relaxes you, it relaxes them. | 0:37:39 | 0:37:42 | |
It goes, "Right. This is ready." And then we go off to it. | 0:37:42 | 0:37:46 | |
-Hi, Ben. How are you? -Very good, thank you. | 0:37:52 | 0:37:55 | |
-Nice to meet you. -You, too. -Would you like to come through? -Yes. | 0:37:55 | 0:37:58 | |
Lead the way. | 0:38:00 | 0:38:01 | |
Hi. | 0:38:08 | 0:38:09 | |
Um, been a bit of a strange day today. | 0:38:09 | 0:38:14 | |
I'm fine! | 0:38:14 | 0:38:16 | |
But I had a text from Willow, my new agency I'm with. | 0:38:16 | 0:38:24 | |
Um, basically they're offering me a part in panto this winter. | 0:38:24 | 0:38:29 | |
They asked me if I'd want to do it. | 0:38:29 | 0:38:31 | |
And I'm really confused | 0:38:31 | 0:38:34 | |
and I really don't know whether I want to do it or not. | 0:38:34 | 0:38:38 | |
It's not that I don't want to do it, | 0:38:38 | 0:38:40 | |
but then a part of me does and a part of me doesn't. | 0:38:40 | 0:38:43 | |
Obviously it's playing one of the dwarfs. | 0:38:43 | 0:38:46 | |
I've never played a dwarf before. | 0:38:46 | 0:38:48 | |
And basically, I just think it would contradict everything that I've said | 0:38:48 | 0:38:54 | |
and worked towards. | 0:38:54 | 0:38:57 | |
Now, just because of being offered work, just to go, | 0:38:57 | 0:39:00 | |
"Actually, yeah, forget all that. Let's do it." | 0:39:00 | 0:39:04 | |
Even though I do think... | 0:39:04 | 0:39:06 | |
I don't know. I do think it would be fun. | 0:39:06 | 0:39:10 | |
It's difficult enough to be seen for not short roles. | 0:39:10 | 0:39:15 | |
It's difficult enough to have castings for non-dwarf roles, | 0:39:15 | 0:39:21 | |
without having done that. | 0:39:21 | 0:39:25 | |
I'm worried that if I get into that, | 0:39:25 | 0:39:28 | |
then it would be even harder to get out of | 0:39:28 | 0:39:32 | |
and back into mainstream TV and theatre, which is what I want to do. | 0:39:32 | 0:39:38 | |
I'm in a bit of a pickle. | 0:39:38 | 0:39:40 | |
In Edinburgh, Gareth's on his way to open his first official solo show. | 0:39:44 | 0:39:49 | |
Here, you have to drum up your own audience in any way you can. | 0:39:52 | 0:39:56 | |
I'm Gareth. I'm doing a show called The Truth Explained In Doodles. | 0:39:56 | 0:39:59 | |
-I trained in analysis statistics... -That should be helpful! | 0:39:59 | 0:40:04 | |
After a couple of media interviews, | 0:40:04 | 0:40:06 | |
Gareth hits the streets with his marketing campaign. | 0:40:06 | 0:40:09 | |
Free comedy! Free comedy every day, 4:15. | 0:40:09 | 0:40:12 | |
Say yes to the Yes Bee. Comedy in under an hour on Cowgate. | 0:40:12 | 0:40:17 | |
Their show's starting in an hour. Same as me. Clashes. It is a pity. | 0:40:17 | 0:40:22 | |
Say yes to the Yes Bee. Don't say yes to the Yes Bee. Say no to it. | 0:40:22 | 0:40:26 | |
-Say yes to the Yes Bee. -Yes. -Cheers! | 0:40:26 | 0:40:29 | |
Shit! That was my fault. Just go, go. Enjoy your life. | 0:40:29 | 0:40:34 | |
This is the Yes Bee. It's a message about positivity. | 0:40:34 | 0:40:39 | |
Why are you small? | 0:40:39 | 0:40:41 | |
Because I have a genetic condition | 0:40:41 | 0:40:44 | |
that makes me smaller than the average person. | 0:40:44 | 0:40:47 | |
-Can I see that? -You can have it. | 0:40:47 | 0:40:48 | |
Er, yes, because different people have different abnormalities | 0:40:50 | 0:40:54 | |
and abnormality is a fact of life. | 0:40:54 | 0:40:57 | |
Free comedy promoted by children! Free comedy promoted by children. | 0:40:57 | 0:41:02 | |
OK, let us go to the venue | 0:41:02 | 0:41:05 | |
because the show is going to start very, very soon. Um, right... | 0:41:05 | 0:41:10 | |
-INTERVIEWER: -Are you gearing yourself up? | 0:41:10 | 0:41:12 | |
I've been gearing myself up for the last six months! | 0:41:12 | 0:41:15 | |
The Yes Bee and curiosity about his height | 0:41:22 | 0:41:25 | |
has helped him stand out from the crowd. | 0:41:25 | 0:41:27 | |
It's the guy who you saw earlier! | 0:41:27 | 0:41:29 | |
And he's managed to get a pretty decent audience for his first show. | 0:41:29 | 0:41:33 | |
So welcome, welcome again to the show. Hi, I'm Gareth. | 0:41:33 | 0:41:39 | |
This is the show. This is the actual show. | 0:41:39 | 0:41:41 | |
As we can see, the contents orbit the show. | 0:41:41 | 0:41:44 | |
It's not conventional. You can't really read it. | 0:41:44 | 0:41:46 | |
The first section is context, then judgement. | 0:41:46 | 0:41:50 | |
We'll start with the context section... | 0:41:50 | 0:41:52 | |
Now I'm just rambling. The show has officially ended now. Thank you. | 0:41:52 | 0:41:56 | |
THEY CHEER | 0:41:56 | 0:41:59 | |
25 pounds and 34 pence. | 0:42:04 | 0:42:10 | |
Not bad for a first day. | 0:42:10 | 0:42:12 | |
'Right. That is the first show down and 21 more to do.' | 0:42:12 | 0:42:18 | |
Three people left quite early. | 0:42:18 | 0:42:20 | |
I don't know whether maybe they didn't understand or find it funny | 0:42:20 | 0:42:24 | |
or it wasn't what they were expecting. | 0:42:24 | 0:42:26 | |
For a first show, given I did a bit of ad hoc flyering just now, | 0:42:26 | 0:42:32 | |
it was all right. | 0:42:32 | 0:42:34 | |
It was good. More work needs to be done, | 0:42:34 | 0:42:38 | |
but I'm confident that in a week's time, the show will be very slick. | 0:42:38 | 0:42:42 | |
Well, the show will be slick. | 0:42:42 | 0:42:44 | |
In two weeks' time, the show will be very slick. | 0:42:44 | 0:42:47 | |
Lovely day, isn't it? Lovely. | 0:42:51 | 0:42:54 | |
It's now five weeks since Ben's audition. | 0:42:54 | 0:42:57 | |
And he's still cutting the tourists' heads off. | 0:42:58 | 0:43:02 | |
A far cry from the RSC. | 0:43:04 | 0:43:06 | |
Feel better? No? Didn't think so. | 0:43:06 | 0:43:10 | |
Here we go. How about you, sir? | 0:43:10 | 0:43:14 | |
Can I chop your head off, chippy-choppy? | 0:43:14 | 0:43:17 | |
I haven't heard any news about my audition, unfortunately. | 0:43:17 | 0:43:20 | |
Bit of a shame, really, | 0:43:20 | 0:43:22 | |
because in weather like this I'd rather be inside. | 0:43:22 | 0:43:25 | |
I'm just keeping everything crossed at the moment. | 0:43:25 | 0:43:28 | |
Fingers, toes, keep touching wood and things like that. | 0:43:28 | 0:43:31 | |
Touch wood. Touch wood. I'm doing all that superstition stuff. | 0:43:31 | 0:43:36 | |
HE SIGHS | 0:43:37 | 0:43:39 | |
Lovely weather. | 0:43:41 | 0:43:42 | |
Rachel has decided not to take the pantomime job | 0:43:49 | 0:43:52 | |
and she's had some good news. | 0:43:52 | 0:43:54 | |
She's got a unique opportunity to audition for the Old Vic 24 Hour Plays, | 0:43:54 | 0:43:59 | |
an annual event for emerging young talent. | 0:43:59 | 0:44:02 | |
I'm nearly too old for this. | 0:44:02 | 0:44:05 | |
How old do you have to be? | 0:44:05 | 0:44:07 | |
18 to 25. I'm 25 in a few weeks. | 0:44:07 | 0:44:10 | |
I wasn't nervous before I got in here. It's the waiting, isn't it? | 0:44:10 | 0:44:15 | |
All right, guys. | 0:44:15 | 0:44:17 | |
It's one of the biggest shows a young actor can audition for. | 0:44:17 | 0:44:21 | |
The actors have to perform a short monologue. | 0:44:21 | 0:44:23 | |
If successful, they and the writers | 0:44:23 | 0:44:26 | |
have 24 hours to write, rehearse and perform a play | 0:44:26 | 0:44:29 | |
in front of 1,500 people at the Old Vic. | 0:44:29 | 0:44:32 | |
Argh! I look incredible. | 0:44:32 | 0:44:38 | |
Tracy's shit. A shit name. | 0:44:38 | 0:44:41 | |
Steve Winter is the director | 0:44:41 | 0:44:42 | |
and has worked on all six of the 24 Hour Plays. | 0:44:42 | 0:44:46 | |
'This is an interesting project because we're looking for interesting actors to write for.' | 0:44:46 | 0:44:50 | |
Of course, they can be different backgrounds, different skill sets, | 0:44:50 | 0:44:54 | |
different accents, different shapes and sizes. | 0:44:54 | 0:44:56 | |
This project is unique because the roles don't exist yet. | 0:44:56 | 0:44:59 | |
The last two weeks we've seen about 1,700 people | 0:44:59 | 0:45:03 | |
and we're looking for a company of 50 people. | 0:45:03 | 0:45:06 | |
Rachel will be the first short person we've seen for this project | 0:45:06 | 0:45:10 | |
and this project's been going for six years. | 0:45:10 | 0:45:12 | |
We've probably seen 6,000 people. | 0:45:12 | 0:45:14 | |
Rachel next, please. | 0:45:14 | 0:45:16 | |
I am looking for love. I am actively looking for love. | 0:45:21 | 0:45:27 | |
You know those traffic light parties | 0:45:27 | 0:45:29 | |
where you wear red if you're not available, | 0:45:29 | 0:45:32 | |
amber if you might be and green if you absolutely are? | 0:45:32 | 0:45:35 | |
Well, I'm on green...constantly. | 0:45:35 | 0:45:38 | |
I'd say I was a feminist. | 0:45:38 | 0:45:40 | |
Probably not in front of a boyfriend, though. Not that sexy really, is it? | 0:45:40 | 0:45:47 | |
Great. Let's see a bit of that again, if that's all right? | 0:45:48 | 0:45:52 | |
-Who do you think she is? -I think she's desperate for a boyfriend. | 0:45:52 | 0:45:56 | |
I think she wants to be seen as one of these people - | 0:45:56 | 0:45:58 | |
"if I could describe myself in three words, | 0:45:58 | 0:46:00 | |
"it'd be bubbly, outgoing..." | 0:46:00 | 0:46:02 | |
But I think she just likes sitting at home | 0:46:02 | 0:46:05 | |
with a cup of tea, watching Corrie. A bit like me! | 0:46:05 | 0:46:07 | |
THEY LAUGH | 0:46:07 | 0:46:09 | |
Let's solve the problem. Let's get a boyfriend up there. | 0:46:09 | 0:46:12 | |
Let's have a boyfriend for Rachel. Someone jump up. | 0:46:12 | 0:46:15 | |
I am actively looking for love. | 0:46:15 | 0:46:18 | |
You know those traffic light parties where you wear red if you're not available, | 0:46:18 | 0:46:23 | |
amber if you might be and green if you absolutely are? | 0:46:23 | 0:46:26 | |
Well, I'm on green...constantly. I like a lot of things. | 0:46:26 | 0:46:30 | |
'I thought Rachel did great. | 0:46:30 | 0:46:32 | |
'What's interesting is for a lot of actors to take direction, | 0:46:32 | 0:46:35 | |
'to be given a different motivation,' | 0:46:35 | 0:46:37 | |
it can kind of throw them off track a little bit. | 0:46:37 | 0:46:41 | |
The ones that work best for me are the ones that can take direction, | 0:46:41 | 0:46:45 | |
try something, whether that works or not. | 0:46:45 | 0:46:47 | |
It just shows us they're eager to be involved in something like this project. | 0:46:47 | 0:46:52 | |
For Rachel, I thought she really went with it and used the actor. | 0:46:52 | 0:46:57 | |
She was engaging and had fun, which is the most important thing, I suppose. | 0:46:57 | 0:47:01 | |
I like Facebook a lot. I've got it as an app on my iPhone. | 0:47:01 | 0:47:07 | |
Which I sort of hate, | 0:47:07 | 0:47:08 | |
because I like to think of myself as an arty type of person, | 0:47:08 | 0:47:11 | |
bit of a free spirit, you know. | 0:47:11 | 0:47:13 | |
LAUGHTER | 0:47:13 | 0:47:15 | |
It sounds so cheesy, but if you knew me you wouldn't think it was so blah. | 0:47:15 | 0:47:19 | |
I'm a bit sort of cartwheely. A bit out there, you know. | 0:47:19 | 0:47:22 | |
Sometimes I just buy a ticket to wherever and just sit on the train | 0:47:22 | 0:47:26 | |
and chat to whoever I'm sat next to. | 0:47:26 | 0:47:28 | |
'It was good fun, actually. It was fine. I enjoyed it. | 0:47:28 | 0:47:31 | |
'I liked it when he did the thing' | 0:47:31 | 0:47:34 | |
with getting that guy up and stuff. I think it made the speech better. | 0:47:34 | 0:47:38 | |
I felt I was getting something from it, rather than just showing them something. | 0:47:38 | 0:47:42 | |
This is one of those auditions where I'll just get it done and go, | 0:47:42 | 0:47:47 | |
and if anything happens from it, great. | 0:47:47 | 0:47:49 | |
I've enjoyed today and I don't think I messed it up. | 0:47:49 | 0:47:54 | |
I think it will literally be if they're looking for it or not. | 0:47:54 | 0:47:57 | |
What really made me want to get it is when he was saying | 0:47:57 | 0:48:01 | |
that he's choosing actors that are interesting | 0:48:01 | 0:48:04 | |
for new writers to write for. | 0:48:04 | 0:48:06 | |
They will literally be writing for you, | 0:48:06 | 0:48:09 | |
which I think is a brilliant opportunity, | 0:48:09 | 0:48:11 | |
because I don't usually fit into generic roles, really. | 0:48:11 | 0:48:16 | |
Well, I do, but apparently I don't. | 0:48:16 | 0:48:19 | |
Yeah, so it will be nice to have new writers writing for different actors and stuff. | 0:48:19 | 0:48:25 | |
In Edinburgh, the gruelling festival is drawing to a close. | 0:48:28 | 0:48:33 | |
Gareth's been trying out his brand of comedy now for four weeks | 0:48:33 | 0:48:36 | |
and it seems to be hitting the spot. | 0:48:36 | 0:48:39 | |
Yeah, I've got two reviews, both four stars. | 0:48:39 | 0:48:43 | |
One of them was really, really complimentary. | 0:48:43 | 0:48:47 | |
"Original, intelligent and funny. Gareth Morinan is going places." It's a nice tagline. | 0:48:47 | 0:48:53 | |
A good quote to take away. | 0:48:53 | 0:48:55 | |
Everyone is really, really desperate | 0:48:55 | 0:48:57 | |
to get back to their lives at the end of the Fringe. | 0:48:57 | 0:49:00 | |
It's just such a tiring month. | 0:49:00 | 0:49:02 | |
Yeah, just bring on home basically. | 0:49:02 | 0:49:06 | |
Truth Explained In Doodles. Starting upstairs here in 20 minutes. | 0:49:08 | 0:49:13 | |
-Thank you! -That's a great pleasure. You must come and see it. -I must indeed. | 0:49:15 | 0:49:19 | |
Guys, you can come in now. The house is open. | 0:49:19 | 0:49:24 | |
His final show is standing room only. | 0:49:25 | 0:49:27 | |
It looks like he's managed to find his audience and create a buzz. | 0:49:27 | 0:49:32 | |
There might be standing room. How many of you are there? Six of you? That's a large number. | 0:49:32 | 0:49:37 | |
Someone's offering to have someone sit on their lap. | 0:49:37 | 0:49:40 | |
But anyway... Oh, I know. | 0:49:42 | 0:49:44 | |
Don't worry, I will be back next year with an extended, improved version of the show. | 0:49:44 | 0:49:49 | |
Thanks, everybody. I've been Gareth Morinan. Good night. | 0:49:49 | 0:49:52 | |
AUDIENCE CHEER AND APPLAUD | 0:49:52 | 0:49:54 | |
You see that is what I wanted today. A good show. | 0:50:01 | 0:50:05 | |
Because once you've got the critical mass of everyone in a room, | 0:50:05 | 0:50:08 | |
everyone thinks it's amazing, | 0:50:08 | 0:50:10 | |
instead of some people thinking it's amazing and others thinking you're mental. | 0:50:10 | 0:50:14 | |
But yeah, it was a good show and... | 0:50:14 | 0:50:16 | |
Yeah, that's it, that's it's done and dusted. | 0:50:17 | 0:50:21 | |
See you later, guys. | 0:50:21 | 0:50:23 | |
With £100 in takings, Gareth can now return to London. | 0:50:25 | 0:50:29 | |
But he'll be back next year with his act more refined | 0:50:29 | 0:50:32 | |
and hoping to fill a much larger venue. | 0:50:32 | 0:50:35 | |
Fucking...look at this. | 0:50:35 | 0:50:37 | |
This is ridiculous. | 0:50:37 | 0:50:40 | |
I mean, well, it's not ridiculous, but it is... | 0:50:40 | 0:50:42 | |
I thought it would be fine. | 0:50:42 | 0:50:44 | |
And there's literally no signs on this road saying where... | 0:50:44 | 0:50:48 | |
you know, saying what the deal is. | 0:50:48 | 0:50:50 | |
MOBILE RINGS | 0:50:54 | 0:50:59 | |
Hello? | 0:50:59 | 0:51:00 | |
Meanwhile, Rachel hears back from the old Vic after her audition. | 0:51:00 | 0:51:05 | |
'..and we'd like to invite you to the second stage of the audition weekend.' | 0:51:05 | 0:51:10 | |
Oh, brilliant. Thank you. | 0:51:10 | 0:51:12 | |
I got a recall! | 0:51:12 | 0:51:14 | |
That's for the... | 0:51:14 | 0:51:16 | |
Old Vic, 24 Hour Plays. And I've got through to the second round. | 0:51:16 | 0:51:23 | |
And it's this Saturday, I didn't realise it'd be that soon. | 0:51:23 | 0:51:26 | |
Don't even know what I'm doing this Saturday, but I have to do that now. | 0:51:26 | 0:51:29 | |
That's brilliant. I'm really pleased with that. | 0:51:29 | 0:51:33 | |
I'm nervous now. | 0:51:33 | 0:51:34 | |
And I was like, "Thank you...wait a minute, | 0:51:34 | 0:51:37 | |
"did you just call me a midget? | 0:51:37 | 0:51:38 | |
"You really think I look like Justin Timberlake?" | 0:51:40 | 0:51:42 | |
At Hollywood's Comedy Store, | 0:51:42 | 0:51:44 | |
actor and producer Nic Novicki | 0:51:44 | 0:51:46 | |
is taking the opportunity to get a few things off his chest. | 0:51:46 | 0:51:50 | |
Getting called a midget is very offensive to little people. | 0:51:50 | 0:51:53 | |
It's like getting called a spic, a chink, a nigger, a Dyke, a kyke. | 0:51:53 | 0:51:56 | |
It's just offensive. But I'm jealous of other minorities. | 0:51:56 | 0:51:59 | |
Like black people. I am jealous of you guys because you guys can take that n-word | 0:51:59 | 0:52:03 | |
which is an evil and terrible word, change a couple of letters around | 0:52:03 | 0:52:07 | |
and empower it, like, "What's up, that's my dog, that's my nigga." | 0:52:07 | 0:52:11 | |
Little people, we can't do that. | 0:52:11 | 0:52:13 | |
All right, I can't be like, "Yo, what's up, midga." | 0:52:13 | 0:52:17 | |
Even for the most talented, the industry is tough. | 0:52:17 | 0:52:21 | |
But this is America and the watchword is optimism. | 0:52:21 | 0:52:24 | |
'I could see there being a breakout, a little person.' | 0:52:24 | 0:52:28 | |
Hey, maybe me, you know? | 0:52:28 | 0:52:31 | |
No, but you never know who's... | 0:52:31 | 0:52:34 | |
who... | 0:52:34 | 0:52:35 | |
the next generation, 20 years from now, there could be a kid | 0:52:35 | 0:52:39 | |
right now who's five years old who, you know, could be a huge star. | 0:52:39 | 0:52:44 | |
The progression has to come from us. | 0:52:44 | 0:52:47 | |
It's our responsibility. | 0:52:47 | 0:52:50 | |
Of course, I'd love to say at the end of the day | 0:52:50 | 0:52:52 | |
I wish people would stop taking roles that perpetuate myths | 0:52:52 | 0:52:56 | |
and stereotypes, but that's not going to happen. | 0:52:56 | 0:52:59 | |
If that did happen, that would be a very quick way for little people | 0:52:59 | 0:53:04 | |
to send a very strong message about what's acceptable and what's not. | 0:53:04 | 0:53:07 | |
I mean, I can't expect that. | 0:53:09 | 0:53:10 | |
I could just do that in my life, which is what I do. | 0:53:10 | 0:53:13 | |
Um... The progression is going to come from education. | 0:53:13 | 0:53:17 | |
And exposure to the positive roles. | 0:53:17 | 0:53:21 | |
To... | 0:53:21 | 0:53:22 | |
..to the new ideas and... | 0:53:23 | 0:53:27 | |
the people that are willing to take a chance. | 0:53:27 | 0:53:30 | |
In a rehearsal studio in London, | 0:53:32 | 0:53:34 | |
some of the most talented young actors in the country | 0:53:34 | 0:53:37 | |
are gathered for the Old Vic 24 Hour Plays recall. | 0:53:37 | 0:53:40 | |
And Rachel is among them. | 0:53:40 | 0:53:43 | |
Stop the shouting, calm down. | 0:53:43 | 0:53:45 | |
The best thing for all of our safety is to knock him clean out. | 0:53:45 | 0:53:49 | |
We've had 1,700 applicants. | 0:53:49 | 0:53:52 | |
We're getting down to 100 for this weekend, | 0:53:52 | 0:53:54 | |
so anybody's who's here this weekend in our view could do the project. | 0:53:54 | 0:53:58 | |
From that 100, | 0:53:58 | 0:53:59 | |
a panel of experts will monitor them throughout the day | 0:53:59 | 0:54:03 | |
and finally whittle them down to a company of 50. | 0:54:03 | 0:54:07 | |
Why did you take Rachel through to the next phase? | 0:54:07 | 0:54:10 | |
Because she stood out, I think. | 0:54:10 | 0:54:12 | |
By standing out you've got to be able to show your skill set | 0:54:12 | 0:54:15 | |
in a very, very brief moment. | 0:54:15 | 0:54:17 | |
And she has skills we're looking for. We need comic actresses. | 0:54:17 | 0:54:21 | |
We need someone who's relatable, who's funny, who's warm, | 0:54:21 | 0:54:24 | |
and we could hear her on stage, | 0:54:24 | 0:54:26 | |
so, all those things that you need to be a good actor. | 0:54:26 | 0:54:28 | |
It's a dry run for the show itself. | 0:54:30 | 0:54:32 | |
Whilst the team of writers write bespoke plays for the actors, | 0:54:32 | 0:54:37 | |
the actors themselves run through a variety of performances | 0:54:37 | 0:54:41 | |
in front of the panel of judges. | 0:54:41 | 0:54:43 | |
..your loud laughing and your migraine-inducing beats. | 0:54:43 | 0:54:47 | |
A friend is getting married, we just rented the house. | 0:54:47 | 0:54:50 | |
Everyone's really good but I like it. | 0:54:50 | 0:54:55 | |
I'm hoping that I must be as good as them | 0:54:56 | 0:54:59 | |
so when you're watching it, you're like, right, OK, | 0:54:59 | 0:55:02 | |
this is like something quite big and quite serious. | 0:55:02 | 0:55:05 | |
But everyone's really good | 0:55:05 | 0:55:07 | |
and you can tell everyone really wants it as well. | 0:55:07 | 0:55:10 | |
I've usually got one on me. | 0:55:10 | 0:55:13 | |
The climax of the day is to perform the play with only an hour to rehearse. | 0:55:13 | 0:55:18 | |
Rachel is cast in a supporting role in a play about a group of friends. | 0:55:18 | 0:55:23 | |
-I started at 12! -Really? | 0:55:23 | 0:55:24 | |
I was really early. Had my first one in the 11 Plus exam. | 0:55:24 | 0:55:28 | |
The role makes no reference to her height | 0:55:30 | 0:55:32 | |
and the experience of the audition has given Rachel some hope. | 0:55:32 | 0:55:36 | |
Do you feel like potentially that some of the boundaries | 0:55:38 | 0:55:42 | |
are coming down for short actors? | 0:55:42 | 0:55:44 | |
Yeah. No, I do. | 0:55:44 | 0:55:46 | |
A part of me thinks that some of it is not all out of my hands either. | 0:55:48 | 0:55:53 | |
I think a lot of it is in my control. | 0:55:53 | 0:55:55 | |
A lot of it's not in my control, | 0:55:55 | 0:55:56 | |
but it's certainly some of my responsibility | 0:55:56 | 0:55:59 | |
and it's about getting yourself out there | 0:55:59 | 0:56:02 | |
and putting yourself forward for it. | 0:56:02 | 0:56:04 | |
I can see things. I can see things happening, | 0:56:04 | 0:56:08 | |
like, they may be happening slowly | 0:56:08 | 0:56:10 | |
but I'm seeing, like, movement and stuff, | 0:56:10 | 0:56:13 | |
and yeah, and I think I'm feeling really positive. | 0:56:13 | 0:56:17 | |
What? We're all still keeping secrets? | 0:56:17 | 0:56:21 | |
APPLAUSE | 0:56:21 | 0:56:22 | |
Right, everyone. That's it. | 0:56:26 | 0:56:27 | |
Thank you so much. | 0:56:27 | 0:56:29 | |
Please stay in touch with each other and us. | 0:56:29 | 0:56:31 | |
It's been really nice to meet you all. Thank you very much. | 0:56:31 | 0:56:34 | |
APPLAUSE | 0:56:34 | 0:56:35 | |
The thing about being short, people often say to me, | 0:56:51 | 0:56:54 | |
"If you could live your life again, would you want the same?" | 0:56:54 | 0:56:57 | |
and I certainly would, you know. | 0:56:57 | 0:57:00 | |
Being different to the average population is fun, is exciting. | 0:57:01 | 0:57:08 | |
People will pierce their nose or dye their hair pink just to stand out. | 0:57:08 | 0:57:14 | |
I don't have to do that. | 0:57:14 | 0:57:15 | |
It's fun being different. | 0:57:15 | 0:57:18 | |
As the world gets more and more populated, | 0:57:18 | 0:57:21 | |
I think it's going to be more advantageous to be slightly different. | 0:57:21 | 0:57:25 | |
MOBILE PHONE RINGS | 0:57:25 | 0:57:28 | |
Hello? | 0:57:31 | 0:57:33 | |
Yeah. Hello. | 0:57:33 | 0:57:35 | |
I'm all right. How are you? | 0:57:37 | 0:57:40 | |
Yeah, I loved it. Thank you. It was a really good day. Tiring. | 0:57:43 | 0:57:48 | |
OK. All right, then. Well, thank you for phoning. | 0:57:54 | 0:57:57 | |
All right. Bye. Bye. | 0:57:57 | 0:57:59 | |
I didn't get it. | 0:58:01 | 0:58:03 | |
Oh, well. | 0:58:10 | 0:58:12 | |
It's fine. | 0:58:14 | 0:58:16 | |
Subtitling by Red Bee Media Ltd | 0:58:23 | 0:58:25 | |
E-mail [email protected] | 0:58:25 | 0:58:29 |