Browse content similar to A Portrait of Jonathan Yeo. Check below for episodes and series from the same categories and more!
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They say your | 0:00:08 | 0:00:08 | |
They say your face | 0:00:08 | 0:00:09 | |
They say your face is | 0:00:09 | 0:00:09 | |
They say your face is your | 0:00:09 | 0:00:09 | |
They say your face is your fortune. | 0:00:09 | 0:00:11 | |
They say your face is your fortune. It | 0:00:11 | 0:00:12 | |
They say your face is your fortune. It is | 0:00:12 | 0:00:12 | |
They say your face is your fortune. It is your | 0:00:12 | 0:00:12 | |
They say your face is your fortune. It is your trademark. | 0:00:12 | 0:00:14 | |
They say your face is your fortune. It is your trademark. The | 0:00:14 | 0:00:15 | |
They say your face is your fortune. It is your trademark. The fronts | 0:00:15 | 0:00:15 | |
They say your face is your fortune. It is your trademark. The fronts you | 0:00:15 | 0:00:15 | |
It is your trademark. The fronts you present | 0:00:15 | 0:00:16 | |
It is your trademark. The fronts you present to | 0:00:16 | 0:00:16 | |
It is your trademark. The fronts you present to the | 0:00:16 | 0:00:16 | |
It is your trademark. The fronts you present to the world. | 0:00:16 | 0:00:18 | |
It is your trademark. The fronts you present to the world. And | 0:00:18 | 0:00:19 | |
It is your trademark. The fronts you present to the world. And no-one | 0:00:19 | 0:00:19 | |
It is your trademark. The fronts you present to the world. And no-one is | 0:00:19 | 0:00:19 | |
present to the world. And no-one is more | 0:00:19 | 0:00:20 | |
present to the world. And no-one is more aware | 0:00:20 | 0:00:20 | |
present to the world. And no-one is more aware of | 0:00:20 | 0:00:21 | |
present to the world. And no-one is more aware of this | 0:00:21 | 0:00:21 | |
present to the world. And no-one is more aware of this than | 0:00:21 | 0:00:22 | |
present to the world. And no-one is more aware of this than artist | 0:00:22 | 0:00:22 | |
more aware of this than artist Jonathan | 0:00:22 | 0:00:22 | |
more aware of this than artist Jonathan Yeo. | 0:00:22 | 0:00:25 | |
Jonathan Yeo. Part | 0:00:25 | 0:00:25 | |
Jonathan Yeo. Part of | 0:00:25 | 0:00:25 | |
Jonathan Yeo. Part of the | 0:00:25 | 0:00:26 | |
Jonathan Yeo. Part of the job | 0:00:26 | 0:00:26 | |
Jonathan Yeo. Part of the job is | 0:00:26 | 0:00:26 | |
Jonathan Yeo. Part of the job is to | 0:00:26 | 0:00:27 | |
Jonathan Yeo. Part of the job is to record | 0:00:27 | 0:00:27 | |
Jonathan Yeo. Part of the job is to record what | 0:00:27 | 0:00:27 | |
Jonathan Yeo. Part of the job is to record what is | 0:00:27 | 0:00:27 | |
Part of the job is to record what is on | 0:00:27 | 0:00:27 | |
Part of the job is to record what is on the | 0:00:27 | 0:00:28 | |
Part of the job is to record what is on the surface. | 0:00:28 | 0:00:28 | |
Part of the job is to record what is on the surface. Part | 0:00:28 | 0:00:28 | |
Part of the job is to record what is on the surface. Part of | 0:00:28 | 0:00:28 | |
Part of the job is to record what is on the surface. Part of it | 0:00:28 | 0:00:29 | |
Part of the job is to record what is on the surface. Part of it is | 0:00:29 | 0:00:29 | |
Part of the job is to record what is on the surface. Part of it is to | 0:00:29 | 0:00:29 | |
on the surface. Part of it is to work | 0:00:29 | 0:00:29 | |
on the surface. Part of it is to work out | 0:00:29 | 0:00:30 | |
on the surface. Part of it is to work out what | 0:00:30 | 0:00:30 | |
on the surface. Part of it is to work out what you | 0:00:30 | 0:00:30 | |
on the surface. Part of it is to work out what you don't | 0:00:30 | 0:00:31 | |
on the surface. Part of it is to work out what you don't see | 0:00:31 | 0:00:31 | |
work out what you don't see immediately, | 0:00:31 | 0:00:32 | |
work out what you don't see immediately, and | 0:00:32 | 0:00:32 | |
work out what you don't see immediately, and what | 0:00:32 | 0:00:32 | |
work out what you don't see immediately, and what people | 0:00:32 | 0:00:32 | |
work out what you don't see immediately, and what people maybe | 0:00:32 | 0:00:33 | |
immediately, and what people maybe don't | 0:00:33 | 0:00:33 | |
immediately, and what people maybe don't want | 0:00:33 | 0:00:33 | |
immediately, and what people maybe don't want to | 0:00:33 | 0:00:33 | |
immediately, and what people maybe don't want to show | 0:00:33 | 0:00:34 | |
immediately, and what people maybe don't want to show you. | 0:00:34 | 0:00:36 | |
don't want to show you. Ever | 0:00:36 | 0:00:37 | |
don't want to show you. Ever since | 0:00:37 | 0:00:39 | |
don't want to show you. Ever since he | 0:00:39 | 0:00:39 | |
don't want to show you. Ever since he captured | 0:00:39 | 0:00:39 | |
don't want to show you. Ever since he captured the | 0:00:39 | 0:00:40 | |
don't want to show you. Ever since he captured the world's | 0:00:40 | 0:00:40 | |
Ever since he captured the world's attention | 0:00:40 | 0:00:40 | |
Ever since he captured the world's attention with | 0:00:40 | 0:00:40 | |
Ever since he captured the world's attention with his | 0:00:40 | 0:00:41 | |
Ever since he captured the world's attention with his portrait | 0:00:41 | 0:00:41 | |
Ever since he captured the world's attention with his portrait of | 0:00:41 | 0:00:42 | |
Ever since he captured the world's attention with his portrait of Erin | 0:00:42 | 0:00:42 | |
attention with his portrait of Erin O?Connor, | 0:00:42 | 0:00:43 | |
attention with his portrait of Erin O?Connor, he | 0:00:43 | 0:00:43 | |
attention with his portrait of Erin O?Connor, he has | 0:00:43 | 0:00:43 | |
attention with his portrait of Erin O?Connor, he has attracted | 0:00:43 | 0:00:43 | |
attention with his portrait of Erin O?Connor, he has attracted a | 0:00:43 | 0:00:44 | |
attention with his portrait of Erin O?Connor, he has attracted a stream | 0:00:44 | 0:00:45 | |
O?Connor, he has attracted a stream of | 0:00:45 | 0:00:45 | |
O?Connor, he has attracted a stream of A-list | 0:00:45 | 0:00:45 | |
O?Connor, he has attracted a stream of A-list subjects. | 0:00:45 | 0:00:47 | |
O?Connor, he has attracted a stream of A-list subjects. From | 0:00:47 | 0:00:48 | |
O?Connor, he has attracted a stream of A-list subjects. From political | 0:00:48 | 0:00:48 | |
of A-list subjects. From political leaders, | 0:00:48 | 0:00:48 | |
of A-list subjects. From political leaders, to | 0:00:48 | 0:00:49 | |
of A-list subjects. From political leaders, to Hollywood | 0:00:49 | 0:00:50 | |
of A-list subjects. From political leaders, to Hollywood stars. | 0:00:50 | 0:00:52 | |
leaders, to Hollywood stars. I | 0:00:52 | 0:00:52 | |
leaders, to Hollywood stars. I have | 0:00:52 | 0:00:52 | |
leaders, to Hollywood stars. I have often | 0:00:52 | 0:00:52 | |
leaders, to Hollywood stars. I have often thought | 0:00:52 | 0:00:53 | |
leaders, to Hollywood stars. I have often thought that | 0:00:53 | 0:00:53 | |
leaders, to Hollywood stars. I have often thought that a | 0:00:53 | 0:00:53 | |
leaders, to Hollywood stars. I have often thought that a portrait | 0:00:53 | 0:00:54 | |
I have often thought that a portrait is | 0:00:54 | 0:00:54 | |
I have often thought that a portrait is really | 0:00:54 | 0:00:54 | |
I have often thought that a portrait is really a | 0:00:54 | 0:00:54 | |
I have often thought that a portrait is really a record | 0:00:54 | 0:00:54 | |
I have often thought that a portrait is really a record of | 0:00:54 | 0:00:55 | |
I have often thought that a portrait is really a record of an | 0:00:55 | 0:00:56 | |
I have often thought that a portrait is really a record of an encounter | 0:00:56 | 0:00:56 | |
is really a record of an encounter between | 0:00:56 | 0:00:57 | |
is really a record of an encounter between two | 0:00:57 | 0:00:57 | |
is really a record of an encounter between two people, | 0:00:57 | 0:00:57 | |
is really a record of an encounter between two people, the | 0:00:57 | 0:00:57 | |
is really a record of an encounter between two people, the question | 0:00:57 | 0:00:58 | |
is really a record of an encounter between two people, the question is | 0:00:58 | 0:00:58 | |
is really a record of an encounter whether it | 0:00:58 | 0:00:58 | |
is really a record of an encounter whether it tells | 0:00:58 | 0:00:58 | |
is really a record of an encounter whether it tells you | 0:00:58 | 0:00:59 | |
is really a record of an encounter whether it tells you more | 0:00:59 | 0:00:59 | |
is really a record of an encounter whether it tells you more about | 0:00:59 | 0:01:00 | |
is really a record of an encounter whether it tells you more about the | 0:01:00 | 0:01:00 | |
whether it tells you more about the sitter | 0:01:00 | 0:01:00 | |
whether it tells you more about the sitter or | 0:01:00 | 0:01:00 | |
whether it tells you more about the sitter or the | 0:01:00 | 0:01:00 | |
whether it tells you more about the sitter or the artist. | 0:01:00 | 0:01:03 | |
This | 0:01:20 | 0:01:20 | |
This year | 0:01:20 | 0:01:20 | |
This year is | 0:01:20 | 0:01:21 | |
This year is a | 0:01:21 | 0:01:21 | |
This year is a real | 0:01:21 | 0:01:22 | |
This year is a real milestone | 0:01:22 | 0:01:22 | |
This year is a real milestone for | 0:01:22 | 0:01:22 | |
This year is a real milestone for Jonathan. | 0:01:22 | 0:01:23 | |
This year is a real milestone for Jonathan. The | 0:01:23 | 0:01:24 | |
This year is a real milestone for Jonathan. The National | 0:01:24 | 0:01:24 | |
This year is a real milestone for Jonathan. The National Portrait | 0:01:24 | 0:01:24 | |
Jonathan. The National Portrait Gallery | 0:01:24 | 0:01:24 | |
Jonathan. The National Portrait Gallery has | 0:01:24 | 0:01:25 | |
Jonathan. The National Portrait Gallery has invited | 0:01:25 | 0:01:25 | |
Jonathan. The National Portrait Gallery has invited him | 0:01:25 | 0:01:25 | |
Jonathan. The National Portrait Gallery has invited him to | 0:01:25 | 0:01:25 | |
Jonathan. The National Portrait Gallery has invited him to put | 0:01:25 | 0:01:26 | |
Jonathan. The National Portrait Gallery has invited him to put on | 0:01:26 | 0:01:26 | |
Jonathan. The National Portrait Gallery has invited him to put on a | 0:01:26 | 0:01:26 | |
Gallery has invited him to put on a solo | 0:01:26 | 0:01:27 | |
Gallery has invited him to put on a solo show. | 0:01:27 | 0:01:31 | |
solo show. The | 0:01:31 | 0:01:31 | |
solo show. The majority | 0:01:31 | 0:01:31 | |
solo show. The majority will | 0:01:31 | 0:01:31 | |
solo show. The majority will be | 0:01:31 | 0:01:32 | |
solo show. The majority will be new | 0:01:32 | 0:01:32 | |
solo show. The majority will be new work, | 0:01:32 | 0:01:33 | |
solo show. The majority will be new work, which | 0:01:33 | 0:01:33 | |
The majority will be new work, which means | 0:01:33 | 0:01:34 | |
The majority will be new work, which means his | 0:01:34 | 0:01:34 | |
The majority will be new work, which means his Chelsea | 0:01:34 | 0:01:34 | |
The majority will be new work, which means his Chelsea studio | 0:01:34 | 0:01:35 | |
The majority will be new work, which means his Chelsea studio will | 0:01:35 | 0:01:35 | |
The majority will be new work, which means his Chelsea studio will be | 0:01:35 | 0:01:35 | |
means his Chelsea studio will be very | 0:01:35 | 0:01:36 | |
means his Chelsea studio will be very busy | 0:01:36 | 0:01:36 | |
means his Chelsea studio will be very busy this | 0:01:36 | 0:01:36 | |
means his Chelsea studio will be very busy this summer. | 0:01:36 | 0:01:39 | |
very busy this summer. This | 0:01:39 | 0:01:39 | |
very busy this summer. This morning, | 0:01:39 | 0:01:40 | |
very busy this summer. This morning, he | 0:01:40 | 0:01:40 | |
very busy this summer. This morning, he is | 0:01:40 | 0:01:40 | |
very busy this summer. This morning, he is preparing | 0:01:40 | 0:01:40 | |
very busy this summer. This morning, he is preparing for | 0:01:40 | 0:01:41 | |
This morning, he is preparing for the | 0:01:41 | 0:01:41 | |
This morning, he is preparing for the arrival | 0:01:41 | 0:01:41 | |
This morning, he is preparing for the arrival of | 0:01:41 | 0:01:42 | |
This morning, he is preparing for the arrival of a | 0:01:42 | 0:01:42 | |
This morning, he is preparing for the arrival of a new | 0:01:42 | 0:01:42 | |
This morning, he is preparing for the arrival of a new sitter. | 0:01:42 | 0:01:48 | |
the arrival of a new sitter. I | 0:01:48 | 0:01:48 | |
the arrival of a new sitter. I have | 0:01:48 | 0:01:48 | |
the arrival of a new sitter. I have learned | 0:01:48 | 0:01:49 | |
the arrival of a new sitter. I have learned over the | 0:01:49 | 0:01:49 | |
the arrival of a new sitter. I have learned over the years | 0:01:49 | 0:01:49 | |
the arrival of a new sitter. I have learned over the years that | 0:01:49 | 0:01:50 | |
I have learned over the years that people | 0:01:50 | 0:01:51 | |
I have learned over the years that people are | 0:01:51 | 0:01:52 | |
I have learned over the years that people are more | 0:01:52 | 0:01:52 | |
I have learned over the years that people are more nervous the first | 0:01:52 | 0:01:52 | |
people are more nervous the first time | 0:01:52 | 0:01:53 | |
people are more nervous the first time they | 0:01:53 | 0:01:53 | |
people are more nervous the first time they come. | 0:01:53 | 0:01:54 | |
people are more nervous the first time they come. That | 0:01:54 | 0:01:54 | |
people are more nervous the first time they come. That gradually | 0:01:54 | 0:01:55 | |
people are more nervous the first time they come. That gradually melts | 0:01:55 | 0:01:55 | |
time they come. That gradually melts away, | 0:01:55 | 0:01:55 | |
time they come. That gradually melts away, but | 0:01:55 | 0:01:56 | |
time they come. That gradually melts away, but there | 0:01:56 | 0:01:56 | |
time they come. That gradually melts away, but there is | 0:01:56 | 0:01:56 | |
time they come. That gradually melts away, but there is still | 0:01:56 | 0:01:56 | |
time they come. That gradually melts away, but there is still a | 0:01:56 | 0:01:57 | |
time they come. That gradually melts away, but there is still a part | 0:01:57 | 0:01:57 | |
time they come. That gradually melts away, but there is still a part of | 0:01:57 | 0:01:58 | |
away, but there is still a part of them | 0:01:58 | 0:01:58 | |
away, but there is still a part of them which | 0:01:58 | 0:01:59 | |
away, but there is still a part of them which is | 0:01:59 | 0:01:59 | |
away, but there is still a part of them which is represented | 0:01:59 | 0:01:59 | |
away, but there is still a part of them which is represented by | 0:01:59 | 0:01:59 | |
away, but there is still a part of them which is represented by that | 0:01:59 | 0:02:00 | |
them which is represented by that first | 0:02:00 | 0:02:00 | |
them which is represented by that first impression | 0:02:00 | 0:02:00 | |
them which is represented by that first impression and | 0:02:00 | 0:02:00 | |
them which is represented by that first impression and the | 0:02:00 | 0:02:01 | |
them which is represented by that first impression and the face | 0:02:01 | 0:02:01 | |
them which is represented by that first impression and the face they | 0:02:01 | 0:02:01 | |
first impression and the face they are | 0:02:01 | 0:02:01 | |
first impression and the face they are trying | 0:02:01 | 0:02:02 | |
first impression and the face they are trying to | 0:02:02 | 0:02:02 | |
first impression and the face they are trying to show | 0:02:02 | 0:02:02 | |
first impression and the face they are trying to show you | 0:02:02 | 0:02:03 | |
first impression and the face they are trying to show you when you | 0:02:03 | 0:02:03 | |
are trying to show you when you first | 0:02:03 | 0:02:03 | |
are trying to show you when you first meet. | 0:02:03 | 0:02:10 | |
first meet. Today's | 0:02:10 | 0:02:10 | |
first meet. Today's subject | 0:02:10 | 0:02:11 | |
first meet. Today's subject is | 0:02:11 | 0:02:11 | |
first meet. Today's subject is British | 0:02:11 | 0:02:12 | |
first meet. Today's subject is British actor | 0:02:12 | 0:02:12 | |
first meet. Today's subject is British actor Tom | 0:02:12 | 0:02:12 | |
Today's subject is British actor Tom Hollander. | 0:02:12 | 0:02:17 | |
Hollander. Sometimes | 0:02:17 | 0:02:17 | |
Hollander. Sometimes you | 0:02:17 | 0:02:17 | |
Hollander. Sometimes you use | 0:02:17 | 0:02:17 | |
Hollander. Sometimes you use these | 0:02:17 | 0:02:18 | |
Hollander. Sometimes you use these a | 0:02:18 | 0:02:18 | |
Hollander. Sometimes you use these a lot. | 0:02:18 | 0:02:18 | |
Sometimes you use these a lot. Sometimes | 0:02:18 | 0:02:19 | |
Sometimes you use these a lot. Sometimes you | 0:02:19 | 0:02:19 | |
Sometimes you use these a lot. Sometimes you don't | 0:02:19 | 0:02:19 | |
Sometimes you use these a lot. Sometimes you don't use | 0:02:19 | 0:02:19 | |
Sometimes you use these a lot. Sometimes you don't use them. | 0:02:19 | 0:02:20 | |
Sometimes you use these a lot. Sometimes you don't use them. In | 0:02:20 | 0:02:20 | |
Sometimes you don't use them. In case | 0:02:20 | 0:02:20 | |
Sometimes you don't use them. In case I | 0:02:20 | 0:02:21 | |
Sometimes you don't use them. In case I am | 0:02:21 | 0:02:21 | |
Sometimes you don't use them. In case I am working | 0:02:21 | 0:02:21 | |
Sometimes you don't use them. In case I am working on | 0:02:21 | 0:02:22 | |
Sometimes you don't use them. In case I am working on this | 0:02:22 | 0:02:22 | |
Sometimes you don't use them. In case I am working on this when | 0:02:22 | 0:02:22 | |
case I am working on this when you're | 0:02:22 | 0:02:22 | |
case I am working on this when you're not | 0:02:22 | 0:02:23 | |
case I am working on this when you're not here | 0:02:23 | 0:02:23 | |
case I am working on this when you're not here and | 0:02:23 | 0:02:23 | |
case I am working on this when you're not here and I | 0:02:23 | 0:02:23 | |
case I am working on this when you're not here and I want | 0:02:23 | 0:02:24 | |
case I am working on this when you're not here and I want to | 0:02:24 | 0:02:24 | |
you're not here and I want to remember | 0:02:24 | 0:02:24 | |
you're not here and I want to remember what | 0:02:24 | 0:02:24 | |
you're not here and I want to remember what you | 0:02:24 | 0:02:24 | |
you're not here and I want to remember what you were | 0:02:24 | 0:02:24 | |
you're not here and I want to remember what you were doing | 0:02:24 | 0:02:25 | |
you're not here and I want to remember what you were doing when | 0:02:25 | 0:02:25 | |
remember what you were doing when you | 0:02:25 | 0:02:26 | |
remember what you were doing when you were | 0:02:26 | 0:02:26 | |
remember what you were doing when you were happy, | 0:02:26 | 0:02:27 | |
remember what you were doing when you were happy, or | 0:02:27 | 0:02:27 | |
remember what you were doing when you were happy, or when | 0:02:27 | 0:02:27 | |
remember what you were doing when you were happy, or when you | 0:02:27 | 0:02:28 | |
remember what you were doing when you were happy, or when you were | 0:02:28 | 0:02:28 | |
you were happy, or when you were angry. | 0:02:28 | 0:02:30 | |
angry. I | 0:02:30 | 0:02:30 | |
angry. I was | 0:02:30 | 0:02:31 | |
angry. I was never | 0:02:31 | 0:02:31 | |
angry. I was never angry! | 0:02:31 | 0:02:31 | |
angry. I was never angry! Cool, | 0:02:31 | 0:02:32 | |
angry. I was never angry! Cool, thank | 0:02:32 | 0:02:32 | |
angry. I was never angry! Cool, thank you. | 0:02:32 | 0:02:34 | |
I was never angry! Cool, thank you. Tom | 0:02:34 | 0:02:35 | |
I was never angry! Cool, thank you. Tom Hollander | 0:02:35 | 0:02:35 | |
I was never angry! Cool, thank you. Tom Hollander is | 0:02:35 | 0:02:35 | |
I was never angry! Cool, thank you. Tom Hollander is a | 0:02:35 | 0:02:36 | |
I was never angry! Cool, thank you. Tom Hollander is a friend | 0:02:36 | 0:02:36 | |
I was never angry! Cool, thank you. Tom Hollander is a friend of | 0:02:36 | 0:02:36 | |
I was never angry! Cool, thank you. Tom Hollander is a friend of mine, | 0:02:36 | 0:02:37 | |
Tom Hollander is a friend of mine, known | 0:02:37 | 0:02:37 | |
Tom Hollander is a friend of mine, known him | 0:02:37 | 0:02:37 | |
Tom Hollander is a friend of mine, known him for | 0:02:37 | 0:02:38 | |
Tom Hollander is a friend of mine, known him for about | 0:02:38 | 0:02:38 | |
Tom Hollander is a friend of mine, known him for about 15 | 0:02:38 | 0:02:38 | |
Tom Hollander is a friend of mine, known him for about 15 years. | 0:02:38 | 0:02:39 | |
Tom Hollander is a friend of mine, known him for about 15 years. Can | 0:02:39 | 0:02:39 | |
Tom Hollander is a friend of mine, known him for about 15 years. Can I | 0:02:39 | 0:02:39 | |
known him for about 15 years. Can I get | 0:02:39 | 0:02:40 | |
known him for about 15 years. Can I get you | 0:02:40 | 0:02:40 | |
known him for about 15 years. Can I get you to | 0:02:40 | 0:02:40 | |
known him for about 15 years. Can I get you to move | 0:02:40 | 0:02:41 | |
known him for about 15 years. Can I get you to move the | 0:02:41 | 0:02:41 | |
known him for about 15 years. Can I get you to move the chair | 0:02:41 | 0:02:41 | |
known him for about 15 years. Can I get you to move the chair back | 0:02:41 | 0:02:41 | |
known him for about 15 years. Can I get you to move the chair back about | 0:02:41 | 0:02:42 | |
known him for about 15 years. Can I six inches. | 0:02:42 | 0:02:43 | |
known him for about 15 years. Can I six inches. Perfect. | 0:02:43 | 0:02:45 | |
known him for about 15 years. Can I six inches. Perfect. So | 0:02:45 | 0:02:45 | |
known him for about 15 years. Can I six inches. Perfect. So many | 0:02:45 | 0:02:46 | |
known him for about 15 years. Can I six inches. Perfect. So many things | 0:02:46 | 0:02:46 | |
six inches. Perfect. So many things will | 0:02:46 | 0:02:47 | |
six inches. Perfect. So many things will affect | 0:02:47 | 0:02:47 | |
six inches. Perfect. So many things will affect chemistry. | 0:02:47 | 0:02:48 | |
six inches. Perfect. So many things will affect chemistry. Everything is | 0:02:48 | 0:02:49 | |
will affect chemistry. Everything is alien | 0:02:49 | 0:02:49 | |
will affect chemistry. Everything is alien and | 0:02:49 | 0:02:49 | |
will affect chemistry. Everything is alien and strange. | 0:02:49 | 0:02:50 | |
will affect chemistry. Everything is alien and strange. You | 0:02:50 | 0:02:50 | |
will affect chemistry. Everything is alien and strange. You get | 0:02:50 | 0:02:50 | |
will affect chemistry. Everything is alien and strange. You get the | 0:02:50 | 0:02:50 | |
will affect chemistry. Everything is alien and strange. You get the fumes | 0:02:50 | 0:02:51 | |
alien and strange. You get the fumes and | 0:02:51 | 0:02:51 | |
alien and strange. You get the fumes and the | 0:02:51 | 0:02:52 | |
alien and strange. You get the fumes and the chemicals | 0:02:52 | 0:02:52 | |
alien and strange. You get the fumes and the chemicals can | 0:02:52 | 0:02:53 | |
alien and strange. You get the fumes and the chemicals can and | 0:02:53 | 0:02:53 | |
alien and strange. You get the fumes and the chemicals can and the | 0:02:53 | 0:02:53 | |
and the chemicals can and the paints. | 0:02:53 | 0:02:53 | |
and the chemicals can and the paints. The | 0:02:53 | 0:02:54 | |
and the chemicals can and the paints. The the | 0:02:54 | 0:02:54 | |
and the chemicals can and the paints. The the main | 0:02:54 | 0:02:54 | |
and the chemicals can and the paints. The the main thing | 0:02:54 | 0:02:54 | |
and the chemicals can and the paints. The the main thing is | 0:02:54 | 0:02:55 | |
and the chemicals can and the paints. The the main thing is to | 0:02:55 | 0:02:55 | |
and the chemicals can and the paints. The the main thing is to try | 0:02:55 | 0:02:55 | |
paints. The the main thing is to try and | 0:02:55 | 0:02:55 | |
paints. The the main thing is to try and get | 0:02:55 | 0:02:55 | |
paints. The the main thing is to try and get them | 0:02:55 | 0:02:56 | |
paints. The the main thing is to try and get them to | 0:02:56 | 0:02:56 | |
paints. The the main thing is to try and get them to take | 0:02:56 | 0:02:56 | |
paints. The the main thing is to try and get them to take their | 0:02:56 | 0:02:56 | |
paints. The the main thing is to try and get them to take their mind | 0:02:56 | 0:02:56 | |
paints. The the main thing is to try and get them to take their mind off | 0:02:56 | 0:02:57 | |
and get them to take their mind off what | 0:02:57 | 0:02:57 | |
and get them to take their mind off what they | 0:02:57 | 0:02:58 | |
and get them to take their mind off what they are | 0:02:58 | 0:02:58 | |
and get them to take their mind off what they are doing, | 0:02:58 | 0:02:58 | |
and get them to take their mind off what they are doing, really. | 0:02:58 | 0:03:00 | |
and get them to take their mind off what they are doing, really. Have | 0:03:00 | 0:03:01 | |
and get them to take their mind off what they are doing, really. Have a | 0:03:01 | 0:03:01 | |
what they are doing, really. Have a coffee | 0:03:01 | 0:03:01 | |
what they are doing, really. Have a coffee table. | 0:03:01 | 0:03:02 | |
what they are doing, really. Have a coffee table. Brilliant! | 0:03:02 | 0:03:03 | |
what they are doing, really. Have a coffee table. Brilliant! To | 0:03:03 | 0:03:04 | |
what they are doing, really. Have a coffee table. Brilliant! To try | 0:03:04 | 0:03:04 | |
what they are doing, really. Have a coffee table. Brilliant! To try and | 0:03:04 | 0:03:05 | |
coffee table. Brilliant! To try and allow | 0:03:05 | 0:03:05 | |
coffee table. Brilliant! To try and allow that | 0:03:05 | 0:03:06 | |
coffee table. Brilliant! To try and allow that person | 0:03:06 | 0:03:06 | |
coffee table. Brilliant! To try and allow that person to | 0:03:06 | 0:03:06 | |
coffee table. Brilliant! To try and allow that person to be | 0:03:06 | 0:03:06 | |
coffee table. Brilliant! To try and allow that person to be themselves | 0:03:06 | 0:03:06 | |
allow that person to be themselves and | 0:03:06 | 0:03:07 | |
allow that person to be themselves and see, | 0:03:07 | 0:03:07 | |
allow that person to be themselves and see, see | 0:03:07 | 0:03:07 | |
allow that person to be themselves and see, see if | 0:03:07 | 0:03:08 | |
allow that person to be themselves and see, see if it | 0:03:08 | 0:03:08 | |
allow that person to be themselves and see, see if it is | 0:03:08 | 0:03:08 | |
allow that person to be themselves and see, see if it is the | 0:03:08 | 0:03:08 | |
allow that person to be themselves and see, see if it is the same | 0:03:08 | 0:03:08 | |
and see, see if it is the same person | 0:03:08 | 0:03:09 | |
and see, see if it is the same person you | 0:03:09 | 0:03:09 | |
and see, see if it is the same person you find. | 0:03:09 | 0:03:18 | |
Jonathan's | 0:03:20 | 0:03:21 | |
Jonathan's studio | 0:03:21 | 0:03:21 | |
Jonathan's studio is a | 0:03:21 | 0:03:22 | |
Jonathan's studio is a private | 0:03:22 | 0:03:22 | |
Jonathan's studio is a private world | 0:03:22 | 0:03:22 | |
Jonathan's studio is a private world but | 0:03:22 | 0:03:22 | |
Jonathan's studio is a private world but normally, | 0:03:22 | 0:03:23 | |
Jonathan's studio is a private world but normally, only | 0:03:23 | 0:03:23 | |
Jonathan's studio is a private world but normally, only his | 0:03:23 | 0:03:23 | |
Jonathan's studio is a private world but normally, only his sitters | 0:03:23 | 0:03:24 | |
Jonathan's studio is a private world but normally, only his sitters get | 0:03:24 | 0:03:24 | |
but normally, only his sitters get to | 0:03:24 | 0:03:24 | |
but normally, only his sitters get to see | 0:03:24 | 0:03:25 | |
but normally, only his sitters get to see it. | 0:03:25 | 0:03:27 | |
to see it. But | 0:03:27 | 0:03:28 | |
to see it. But to | 0:03:28 | 0:03:28 | |
to see it. But to give | 0:03:28 | 0:03:28 | |
to see it. But to give us | 0:03:28 | 0:03:28 | |
to see it. But to give us an | 0:03:28 | 0:03:29 | |
to see it. But to give us an insight | 0:03:29 | 0:03:29 | |
to see it. But to give us an insight to | 0:03:29 | 0:03:29 | |
to see it. But to give us an insight to the | 0:03:29 | 0:03:30 | |
to see it. But to give us an insight to the way | 0:03:30 | 0:03:30 | |
But to give us an insight to the way he | 0:03:30 | 0:03:30 | |
But to give us an insight to the way he works | 0:03:30 | 0:03:31 | |
But to give us an insight to the way he works he | 0:03:31 | 0:03:31 | |
But to give us an insight to the way he works he has | 0:03:31 | 0:03:33 | |
But to give us an insight to the way he works he has allowed | 0:03:33 | 0:03:33 | |
But to give us an insight to the way he works he has allowed The | 0:03:33 | 0:03:33 | |
But to give us an insight to the way he works he has allowed The Culture | 0:03:33 | 0:03:33 | |
he works he has allowed The Culture Show | 0:03:33 | 0:03:33 | |
he works he has allowed The Culture Show to | 0:03:33 | 0:03:34 | |
he works he has allowed The Culture Show to film | 0:03:34 | 0:03:34 | |
he works he has allowed The Culture Show to film him | 0:03:34 | 0:03:34 | |
he works he has allowed The Culture Show to film him this | 0:03:34 | 0:03:34 | |
he works he has allowed The Culture Show to film him this summer. | 0:03:34 | 0:03:39 | |
Show to film him this summer. He | 0:03:39 | 0:03:39 | |
Show to film him this summer. He must | 0:03:39 | 0:03:40 | |
Show to film him this summer. He must be | 0:03:40 | 0:03:40 | |
Show to film him this summer. He must be making | 0:03:40 | 0:03:41 | |
Show to film him this summer. He must be making tiny | 0:03:41 | 0:03:41 | |
Show to film him this summer. He must be making tiny decisions | 0:03:41 | 0:03:41 | |
He must be making tiny decisions about | 0:03:41 | 0:03:42 | |
He must be making tiny decisions about whether | 0:03:42 | 0:03:42 | |
He must be making tiny decisions about whether to | 0:03:42 | 0:03:42 | |
He must be making tiny decisions about whether to do | 0:03:42 | 0:03:42 | |
He must be making tiny decisions about whether to do warts | 0:03:42 | 0:03:43 | |
He must be making tiny decisions about whether to do warts and | 0:03:43 | 0:03:43 | |
He must be making tiny decisions about whether to do warts and all | 0:03:43 | 0:03:43 | |
He must be making tiny decisions about whether to do warts and all or | 0:03:43 | 0:03:45 | |
about whether to do warts and all or whether | 0:03:45 | 0:03:46 | |
about whether to do warts and all or whether to | 0:03:46 | 0:03:46 | |
about whether to do warts and all or whether to let | 0:03:46 | 0:03:47 | |
about whether to do warts and all or whether to let someone | 0:03:47 | 0:03:47 | |
about whether to do warts and all or whether to let someone off. | 0:03:47 | 0:03:49 | |
about whether to do warts and all or whether to let someone off. He | 0:03:49 | 0:03:49 | |
about whether to do warts and all or whether to let someone off. He said | 0:03:49 | 0:03:49 | |
whether to let someone off. He said self-consciously! | 0:03:49 | 0:03:50 | |
whether to let someone off. He said self-consciously! At | 0:03:50 | 0:03:50 | |
whether to let someone off. He said self-consciously! At the | 0:03:50 | 0:03:51 | |
whether to let someone off. He said self-consciously! At the moment | 0:03:51 | 0:03:51 | |
whether to let someone off. He said self-consciously! At the moment I | 0:03:51 | 0:03:51 | |
whether to let someone off. He said self-consciously! At the moment I am | 0:03:51 | 0:03:52 | |
self-consciously! At the moment I am doing | 0:03:52 | 0:03:53 | |
self-consciously! At the moment I am doing a | 0:03:53 | 0:03:53 | |
self-consciously! At the moment I am doing a loose | 0:03:53 | 0:03:54 | |
self-consciously! At the moment I am doing a loose paint | 0:03:54 | 0:03:54 | |
self-consciously! At the moment I am doing a loose paint early | 0:03:54 | 0:03:55 | |
self-consciously! At the moment I am doing a loose paint early heavy | 0:03:55 | 0:03:55 | |
doing a loose paint early heavy handed | 0:03:55 | 0:03:55 | |
doing a loose paint early heavy handed clumsy | 0:03:55 | 0:03:56 | |
doing a loose paint early heavy handed clumsy study | 0:03:56 | 0:03:56 | |
doing a loose paint early heavy handed clumsy study to | 0:03:56 | 0:03:56 | |
doing a loose paint early heavy handed clumsy study to get | 0:03:56 | 0:03:56 | |
doing a loose paint early heavy handed clumsy study to get the | 0:03:56 | 0:03:57 | |
doing a loose paint early heavy handed clumsy study to get the sort | 0:03:57 | 0:03:57 | |
handed clumsy study to get the sort of | 0:03:57 | 0:03:57 | |
handed clumsy study to get the sort of structure | 0:03:57 | 0:03:57 | |
handed clumsy study to get the sort of structure of | 0:03:57 | 0:03:58 | |
handed clumsy study to get the sort of structure of your | 0:03:58 | 0:03:58 | |
handed clumsy study to get the sort of structure of your face. | 0:03:58 | 0:03:59 | |
of structure of your face. I | 0:03:59 | 0:04:00 | |
of structure of your face. I am | 0:04:00 | 0:04:00 | |
of structure of your face. I am building | 0:04:00 | 0:04:00 | |
of structure of your face. I am building this | 0:04:00 | 0:04:01 | |
of structure of your face. I am building this up | 0:04:01 | 0:04:01 | |
of structure of your face. I am building this up in layers. | 0:04:01 | 0:04:02 | |
of structure of your face. I am building this up in layers. I | 0:04:02 | 0:04:02 | |
I am building this up in layers. I am | 0:04:02 | 0:04:02 | |
I am building this up in layers. I am doing | 0:04:02 | 0:04:03 | |
I am building this up in layers. I am doing this | 0:04:03 | 0:04:03 | |
I am building this up in layers. I am doing this as | 0:04:03 | 0:04:03 | |
I am building this up in layers. I am doing this as fast | 0:04:03 | 0:04:03 | |
I am building this up in layers. I am doing this as fast as | 0:04:03 | 0:04:03 | |
I am building this up in layers. I am doing this as fast as possible. | 0:04:03 | 0:04:04 | |
am doing this as fast as possible. People | 0:04:04 | 0:04:04 | |
am doing this as fast as possible. People come | 0:04:04 | 0:04:05 | |
am doing this as fast as possible. People come in | 0:04:05 | 0:04:05 | |
am doing this as fast as possible. People come in and | 0:04:05 | 0:04:05 | |
am doing this as fast as possible. People come in and say | 0:04:05 | 0:04:05 | |
am doing this as fast as possible. People come in and say do | 0:04:05 | 0:04:06 | |
am doing this as fast as possible. People come in and say do me | 0:04:06 | 0:04:06 | |
am doing this as fast as possible. People come in and say do me as | 0:04:06 | 0:04:06 | |
am doing this as fast as possible. People come in and say do me as I | 0:04:06 | 0:04:06 | |
People come in and say do me as I am. | 0:04:06 | 0:04:07 | |
People come in and say do me as I am. As | 0:04:07 | 0:04:07 | |
People come in and say do me as I am. As I | 0:04:07 | 0:04:07 | |
People come in and say do me as I am. As I am | 0:04:07 | 0:04:08 | |
People come in and say do me as I am. As I am when | 0:04:08 | 0:04:08 | |
People come in and say do me as I am. As I am when I | 0:04:08 | 0:04:09 | |
People come in and say do me as I am. As I am when I am | 0:04:09 | 0:04:09 | |
People come in and say do me as I am. As I am when I am looking | 0:04:09 | 0:04:09 | |
am. As I am when I am looking really good. | 0:04:09 | 0:04:10 | |
am. As I am when I am looking really good. As | 0:04:10 | 0:04:11 | |
am. As I am when I am looking really good. As I | 0:04:11 | 0:04:11 | |
am. As I am when I am looking really good. As I am | 0:04:11 | 0:04:12 | |
am. As I am when I am looking really good. As I am but | 0:04:12 | 0:04:12 | |
am. As I am when I am looking really good. As I am but somehow | 0:04:12 | 0:04:12 | |
am. As I am when I am looking really good. As I am but somehow heroic. | 0:04:12 | 0:04:16 | |
good. As I am but somehow heroic. What | 0:04:16 | 0:04:16 | |
good. As I am but somehow heroic. What is | 0:04:16 | 0:04:16 | |
good. As I am but somehow heroic. What is working | 0:04:16 | 0:04:17 | |
good. As I am but somehow heroic. What is working at | 0:04:17 | 0:04:17 | |
good. As I am but somehow heroic. What is working at the | 0:04:17 | 0:04:17 | |
good. As I am but somehow heroic. What is working at the moment, | 0:04:17 | 0:04:17 | |
good. As I am but somehow heroic. What is working at the moment, what | 0:04:17 | 0:04:18 | |
What is working at the moment, what are | 0:04:18 | 0:04:18 | |
What is working at the moment, what are you | 0:04:18 | 0:04:19 | |
What is working at the moment, what are you going | 0:04:19 | 0:04:20 | |
What is working at the moment, what are you going to | 0:04:20 | 0:04:20 | |
What is working at the moment, what are you going to do? | 0:04:20 | 0:04:22 | |
What is working at the moment, what are you going to do? Are | 0:04:22 | 0:04:23 | |
What is working at the moment, what are you going to do? Are you | 0:04:23 | 0:04:26 | |
What is working at the moment, what are you going to do? Are you doing | 0:04:26 | 0:04:26 | |
are you going to do? Are you doing Dylan | 0:04:26 | 0:04:26 | |
are you going to do? Are you doing Dylan Thomas | 0:04:26 | 0:04:26 | |
are you going to do? Are you doing Dylan Thomas Are | 0:04:26 | 0:04:27 | |
are you going to do? Are you doing Dylan Thomas Are you | 0:04:27 | 0:04:27 | |
are you going to do? Are you doing Dylan Thomas Are you going | 0:04:27 | 0:04:27 | |
are you going to do? Are you doing Dylan Thomas Are you going to | 0:04:27 | 0:04:28 | |
are you going to do? Are you doing Dylan Thomas Are you going to bulk | 0:04:28 | 0:04:28 | |
Dylan Thomas Are you going to bulk up | 0:04:28 | 0:04:28 | |
Dylan Thomas Are you going to bulk up for | 0:04:28 | 0:04:28 | |
Dylan Thomas Are you going to bulk up for it? | 0:04:28 | 0:04:29 | |
Dylan Thomas Are you going to bulk up for it? I | 0:04:29 | 0:04:29 | |
Dylan Thomas Are you going to bulk up for it? I am | 0:04:29 | 0:04:30 | |
Dylan Thomas Are you going to bulk up for it? I am going | 0:04:30 | 0:04:30 | |
Dylan Thomas Are you going to bulk up for it? I am going to | 0:04:30 | 0:04:30 | |
Dylan Thomas Are you going to bulk up for it? I am going to eat | 0:04:30 | 0:04:31 | |
up for it? I am going to eat everything | 0:04:31 | 0:04:31 | |
up for it? I am going to eat everything I | 0:04:31 | 0:04:32 | |
up for it? I am going to eat everything I don't | 0:04:32 | 0:04:32 | |
up for it? I am going to eat everything I don't allow | 0:04:32 | 0:04:32 | |
up for it? I am going to eat everything I don't allow myself. | 0:04:32 | 0:04:34 | |
everything I don't allow myself. Full | 0:04:34 | 0:04:34 | |
everything I don't allow myself. Full English | 0:04:34 | 0:04:35 | |
everything I don't allow myself. Full English breakfasts | 0:04:35 | 0:04:35 | |
everything I don't allow myself. Full English breakfasts every | 0:04:35 | 0:04:35 | |
everything I don't allow myself. Full English breakfasts every day. | 0:04:35 | 0:04:36 | |
Full English breakfasts every day. Shouldn't | 0:04:36 | 0:04:36 | |
Full English breakfasts every day. Shouldn't take | 0:04:36 | 0:04:36 | |
Full English breakfasts every day. Shouldn't take too | 0:04:36 | 0:04:37 | |
Full English breakfasts every day. Shouldn't take too long. | 0:04:37 | 0:04:41 | |
Shouldn't take too long. Quite | 0:04:41 | 0:04:41 | |
Shouldn't take too long. Quite a | 0:04:41 | 0:04:41 | |
Shouldn't take too long. Quite a lot | 0:04:41 | 0:04:42 | |
Shouldn't take too long. Quite a lot roufr | 0:04:42 | 0:04:42 | |
Shouldn't take too long. Quite a lot roufr portrait | 0:04:42 | 0:04:42 | |
Shouldn't take too long. Quite a lot roufr portrait the | 0:04:42 | 0:04:43 | |
Quite a lot roufr portrait the subject | 0:04:43 | 0:04:43 | |
Quite a lot roufr portrait the subject is | 0:04:43 | 0:04:43 | |
Quite a lot roufr portrait the subject is looking | 0:04:43 | 0:04:44 | |
Quite a lot roufr portrait the subject is looking directly | 0:04:44 | 0:04:45 | |
Quite a lot roufr portrait the subject is looking directly at | 0:04:45 | 0:04:45 | |
Quite a lot roufr portrait the subject is looking directly at the | 0:04:45 | 0:04:45 | |
subject is looking directly at the viewer. | 0:04:45 | 0:04:46 | |
subject is looking directly at the viewer. Does | 0:04:46 | 0:04:46 | |
subject is looking directly at the viewer. Does that | 0:04:46 | 0:04:46 | |
subject is looking directly at the viewer. Does that mean | 0:04:46 | 0:04:47 | |
subject is looking directly at the viewer. Does that mean I | 0:04:47 | 0:04:47 | |
subject is looking directly at the viewer. Does that mean I should | 0:04:47 | 0:04:47 | |
subject is looking directly at the viewer. Does that mean I should be | 0:04:47 | 0:04:47 | |
viewer. Does that mean I should be meeting | 0:04:47 | 0:04:48 | |
viewer. Does that mean I should be meeting your | 0:04:48 | 0:04:49 | |
viewer. Does that mean I should be meeting your gaze? | 0:04:49 | 0:04:49 | |
viewer. Does that mean I should be meeting your gaze? When | 0:04:49 | 0:04:49 | |
viewer. Does that mean I should be meeting your gaze? When they | 0:04:49 | 0:04:49 | |
viewer. Does that mean I should be meeting your gaze? When they are | 0:04:49 | 0:04:50 | |
viewer. Does that mean I should be meeting your gaze? When they are not | 0:04:50 | 0:04:50 | |
meeting your gaze? When they are not looking | 0:04:50 | 0:04:51 | |
meeting your gaze? When they are not looking at | 0:04:51 | 0:04:51 | |
meeting your gaze? When they are not looking at you, | 0:04:51 | 0:04:51 | |
meeting your gaze? When they are not looking at you, you | 0:04:51 | 0:04:52 | |
meeting your gaze? When they are not looking at you, you are | 0:04:52 | 0:04:53 | |
meeting your gaze? When they are not looking at you, you are a | 0:04:53 | 0:04:54 | |
meeting your gaze? When they are not looking at you, you are a spectator | 0:04:54 | 0:04:55 | |
looking at you, you are a spectator on | 0:04:55 | 0:04:55 | |
looking at you, you are a spectator on the scene | 0:04:55 | 0:04:55 | |
looking at you, you are a spectator on the scene rather | 0:04:55 | 0:04:55 | |
looking at you, you are a spectator on the scene rather than | 0:04:55 | 0:04:56 | |
looking at you, you are a spectator on the scene rather than involved | 0:04:56 | 0:04:56 | |
looking at you, you are a spectator on the scene rather than involved in | 0:04:56 | 0:04:56 | |
on the scene rather than involved in it. | 0:04:56 | 0:04:57 | |
on the scene rather than involved in it. Sometimes | 0:04:57 | 0:04:57 | |
on the scene rather than involved in it. Sometimes you | 0:04:57 | 0:04:57 | |
on the scene rather than involved in it. Sometimes you want | 0:04:57 | 0:04:57 | |
on the scene rather than involved in it. Sometimes you want to | 0:04:57 | 0:04:58 | |
on the scene rather than involved in it. Sometimes you want to feel | 0:04:58 | 0:04:58 | |
on the scene rather than involved in it. Sometimes you want to feel like | 0:04:58 | 0:04:59 | |
it. Sometimes you want to feel like they | 0:04:59 | 0:04:59 | |
it. Sometimes you want to feel like they are | 0:04:59 | 0:04:59 | |
it. Sometimes you want to feel like they are looking | 0:04:59 | 0:05:00 | |
it. Sometimes you want to feel like they are looking at | 0:05:00 | 0:05:00 | |
it. Sometimes you want to feel like they are looking at something | 0:05:00 | 0:05:00 | |
it. Sometimes you want to feel like they are looking at something they | 0:05:00 | 0:05:00 | |
they are looking at something they shouldn't | 0:05:00 | 0:05:01 | |
they are looking at something they shouldn't be | 0:05:01 | 0:05:01 | |
they are looking at something they shouldn't be looking | 0:05:01 | 0:05:01 | |
they are looking at something they shouldn't be looking at. | 0:05:01 | 0:05:06 | |
Jonathan | 0:05:16 | 0:05:16 | |
Jonathan bypassed | 0:05:16 | 0:05:17 | |
Jonathan bypassed the | 0:05:17 | 0:05:17 | |
Jonathan bypassed the traditional | 0:05:17 | 0:05:18 | |
Jonathan bypassed the traditional art | 0:05:18 | 0:05:18 | |
Jonathan bypassed the traditional art school | 0:05:18 | 0:05:18 | |
Jonathan bypassed the traditional art school route | 0:05:18 | 0:05:19 | |
Jonathan bypassed the traditional art school route and | 0:05:19 | 0:05:19 | |
Jonathan bypassed the traditional art school route and found | 0:05:19 | 0:05:19 | |
Jonathan bypassed the traditional art school route and found his | 0:05:19 | 0:05:19 | |
Jonathan bypassed the traditional art school route and found his own | 0:05:19 | 0:05:20 | |
art school route and found his own way | 0:05:20 | 0:05:20 | |
art school route and found his own way into | 0:05:20 | 0:05:20 | |
art school route and found his own way into painting. | 0:05:20 | 0:05:22 | |
way into painting. As | 0:05:22 | 0:05:22 | |
way into painting. As the | 0:05:22 | 0:05:23 | |
way into painting. As the son | 0:05:23 | 0:05:23 | |
way into painting. As the son of | 0:05:23 | 0:05:24 | |
way into painting. As the son of Tim | 0:05:24 | 0:05:24 | |
way into painting. As the son of Tim Yeo, | 0:05:24 | 0:05:24 | |
way into painting. As the son of Tim Yeo, a | 0:05:24 | 0:05:25 | |
As the son of Tim Yeo, a Conservative | 0:05:25 | 0:05:25 | |
As the son of Tim Yeo, a Conservative MP, | 0:05:25 | 0:05:25 | |
As the son of Tim Yeo, a Conservative MP, it | 0:05:25 | 0:05:26 | |
As the son of Tim Yeo, a Conservative MP, it is | 0:05:26 | 0:05:26 | |
As the son of Tim Yeo, a Conservative MP, it is no | 0:05:26 | 0:05:26 | |
As the son of Tim Yeo, a Conservative MP, it is no surprise | 0:05:26 | 0:05:27 | |
Conservative MP, it is no surprise his | 0:05:27 | 0:05:27 | |
Conservative MP, it is no surprise his first | 0:05:27 | 0:05:27 | |
Conservative MP, it is no surprise his first subjects | 0:05:27 | 0:05:28 | |
Conservative MP, it is no surprise his first subjects were | 0:05:28 | 0:05:28 | |
Conservative MP, it is no surprise his first subjects were political | 0:05:28 | 0:05:29 | |
his first subjects were political figures. | 0:05:29 | 0:05:32 | |
figures. I | 0:05:32 | 0:05:33 | |
figures. I love | 0:05:33 | 0:05:33 | |
figures. I love visiting | 0:05:33 | 0:05:34 | |
figures. I love visiting a | 0:05:34 | 0:05:34 | |
figures. I love visiting a painter's | 0:05:34 | 0:05:34 | |
figures. I love visiting a painter's studio. | 0:05:34 | 0:05:35 | |
I love visiting a painter's studio. They | 0:05:35 | 0:05:35 | |
I love visiting a painter's studio. They are | 0:05:35 | 0:05:36 | |
I love visiting a painter's studio. They are such | 0:05:36 | 0:05:36 | |
I love visiting a painter's studio. They are such personal | 0:05:36 | 0:05:37 | |
I love visiting a painter's studio. They are such personal spaces. | 0:05:37 | 0:05:37 | |
I love visiting a painter's studio. They are such personal spaces. It | 0:05:37 | 0:05:38 | |
They are such personal spaces. It feels | 0:05:38 | 0:05:38 | |
They are such personal spaces. It feels like | 0:05:38 | 0:05:39 | |
They are such personal spaces. It feels like you | 0:05:39 | 0:05:39 | |
They are such personal spaces. It feels like you are | 0:05:39 | 0:05:39 | |
They are such personal spaces. It feels like you are getting | 0:05:39 | 0:05:40 | |
They are such personal spaces. It feels like you are getting a | 0:05:40 | 0:05:40 | |
They are such personal spaces. It feels like you are getting a glimpse | 0:05:40 | 0:05:40 | |
feels like you are getting a glimpse inside | 0:05:40 | 0:05:41 | |
feels like you are getting a glimpse inside the | 0:05:41 | 0:05:41 | |
feels like you are getting a glimpse inside the artist's | 0:05:41 | 0:05:42 | |
feels like you are getting a glimpse inside the artist's head. | 0:05:42 | 0:05:44 | |
inside the artist's head. I | 0:05:44 | 0:05:44 | |
inside the artist's head. I I | 0:05:44 | 0:05:45 | |
inside the artist's head. I I do like | 0:05:45 | 0:05:46 | |
inside the artist's head. I I do like your | 0:05:46 | 0:05:46 | |
inside the artist's head. I I do like your royal | 0:05:46 | 0:05:46 | |
inside the artist's head. I I do like your royal memorabilia | 0:05:46 | 0:05:46 | |
I I do like your royal memorabilia mugs. | 0:05:46 | 0:05:46 | |
I I do like your royal memorabilia mugs. Is | 0:05:46 | 0:05:47 | |
I I do like your royal memorabilia mugs. Is this | 0:05:47 | 0:05:47 | |
I I do like your royal memorabilia mugs. Is this a | 0:05:47 | 0:05:48 | |
I I do like your royal memorabilia mugs. Is this a theme | 0:05:48 | 0:05:48 | |
I I do like your royal memorabilia mugs. Is this a theme in | 0:05:48 | 0:05:48 | |
I I do like your royal memorabilia mugs. Is this a theme in the | 0:05:48 | 0:05:48 | |
I I do like your royal memorabilia mugs. Is this a theme in the studio? | 0:05:48 | 0:05:49 | |
mugs. Is this a theme in the studio? Yes, | 0:05:49 | 0:05:50 | |
mugs. Is this a theme in the studio? Yes, started | 0:05:50 | 0:05:50 | |
mugs. Is this a theme in the studio? Yes, started by | 0:05:50 | 0:05:50 | |
mugs. Is this a theme in the studio? Yes, started by my | 0:05:50 | 0:05:50 | |
mugs. Is this a theme in the studio? Yes, started by my mum. | 0:05:50 | 0:05:51 | |
mugs. Is this a theme in the studio? Yes, started by my mum. She | 0:05:51 | 0:05:51 | |
mugs. Is this a theme in the studio? Yes, started by my mum. She buys | 0:05:51 | 0:05:51 | |
Yes, started by my mum. She buys them | 0:05:51 | 0:05:52 | |
Yes, started by my mum. She buys them in | 0:05:52 | 0:05:52 | |
Yes, started by my mum. She buys them in hearty | 0:05:52 | 0:05:52 | |
Yes, started by my mum. She buys them in hearty shops. | 0:05:52 | 0:05:53 | |
Yes, started by my mum. She buys them in hearty shops. What | 0:05:53 | 0:05:53 | |
Yes, started by my mum. She buys them in hearty shops. What I | 0:05:53 | 0:05:53 | |
Yes, started by my mum. She buys them in hearty shops. What I like | 0:05:53 | 0:05:54 | |
them in hearty shops. What I like about | 0:05:54 | 0:05:54 | |
them in hearty shops. What I like about these, | 0:05:54 | 0:05:54 | |
them in hearty shops. What I like about these, I | 0:05:54 | 0:05:55 | |
them in hearty shops. What I like about these, I imagine | 0:05:55 | 0:05:55 | |
them in hearty shops. What I like about these, I imagine the | 0:05:55 | 0:05:56 | |
them in hearty shops. What I like about these, I imagine the celebrity | 0:05:56 | 0:05:56 | |
about these, I imagine the celebrity sitters, | 0:05:56 | 0:05:56 | |
about these, I imagine the celebrity sitters, you | 0:05:56 | 0:05:56 | |
about these, I imagine the celebrity sitters, you give | 0:05:56 | 0:05:57 | |
about these, I imagine the celebrity sitters, you give them | 0:05:57 | 0:05:57 | |
about these, I imagine the celebrity sitters, you give them a | 0:05:57 | 0:05:57 | |
about these, I imagine the celebrity sitters, you give them a cup | 0:05:57 | 0:05:57 | |
about these, I imagine the celebrity sitters, you give them a cup of | 0:05:57 | 0:05:57 | |
about these, I imagine the celebrity sitters, you give them a cup of tea, | 0:05:57 | 0:05:58 | |
sitters, you give them a cup of tea, with | 0:05:58 | 0:05:58 | |
sitters, you give them a cup of tea, with really | 0:05:58 | 0:05:59 | |
sitters, you give them a cup of tea, with really ropey | 0:05:59 | 0:05:59 | |
sitters, you give them a cup of tea, with really ropey royal | 0:05:59 | 0:05:59 | |
sitters, you give them a cup of tea, with really ropey royal portrait | 0:05:59 | 0:05:59 | |
sitters, you give them a cup of tea, with really ropey royal portrait on | 0:05:59 | 0:06:00 | |
with really ropey royal portrait on the | 0:06:00 | 0:06:00 | |
with really ropey royal portrait on the side. | 0:06:00 | 0:06:00 | |
with really ropey royal portrait on the side. It | 0:06:00 | 0:06:01 | |
with really ropey royal portrait on the side. It is | 0:06:01 | 0:06:01 | |
with really ropey royal portrait on the side. It is like | 0:06:01 | 0:06:01 | |
with really ropey royal portrait on the side. It is like a | 0:06:01 | 0:06:02 | |
with really ropey royal portrait on the side. It is like a nice | 0:06:02 | 0:06:02 | |
the side. It is like a nice contrast, | 0:06:02 | 0:06:02 | |
the side. It is like a nice contrast, you | 0:06:02 | 0:06:02 | |
the side. It is like a nice contrast, you can | 0:06:02 | 0:06:03 | |
the side. It is like a nice contrast, you can say | 0:06:03 | 0:06:05 | |
the side. It is like a nice contrast, you can say don't | 0:06:05 | 0:06:05 | |
the side. It is like a nice contrast, you can say don't worry, | 0:06:05 | 0:06:06 | |
the side. It is like a nice you won't | 0:06:06 | 0:06:06 | |
the side. It is like a nice you won't end | 0:06:06 | 0:06:06 | |
the side. It is like a nice you won't end up | 0:06:06 | 0:06:07 | |
the side. It is like a nice you won't end up like | 0:06:07 | 0:06:07 | |
the side. It is like a nice you won't end up like that, | 0:06:07 | 0:06:08 | |
the side. It is like a nice hopefully not. | 0:06:08 | 0:06:08 | |
the side. It is like a nice hopefully not. Do | 0:06:08 | 0:06:08 | |
the side. It is like a nice hopefully not. Do you | 0:06:08 | 0:06:08 | |
the side. It is like a nice hopefully not. Do you feel | 0:06:08 | 0:06:09 | |
the side. It is like a nice hopefully not. Do you feel on | 0:06:09 | 0:06:09 | |
the side. It is like a nice hopefully not. Do you feel on home | 0:06:09 | 0:06:09 | |
hopefully not. Do you feel on home ground | 0:06:09 | 0:06:10 | |
hopefully not. Do you feel on home ground with | 0:06:10 | 0:06:10 | |
hopefully not. Do you feel on home ground with politics | 0:06:10 | 0:06:10 | |
hopefully not. Do you feel on home ground with politics because | 0:06:10 | 0:06:11 | |
hopefully not. Do you feel on home ground with politics because of | 0:06:11 | 0:06:11 | |
hopefully not. Do you feel on home ground with politics because of your | 0:06:11 | 0:06:12 | |
ground with politics because of your background? | 0:06:12 | 0:06:12 | |
ground with politics because of your background? I | 0:06:12 | 0:06:13 | |
ground with politics because of your background? I sort | 0:06:13 | 0:06:13 | |
ground with politics because of your background? I sort of | 0:06:13 | 0:06:13 | |
ground with politics because of your background? I sort of feel | 0:06:13 | 0:06:14 | |
ground with politics because of your background? I sort of feel a | 0:06:14 | 0:06:14 | |
ground with politics because of your background? I sort of feel a duty | 0:06:14 | 0:06:14 | |
ground with politics because of your background? I sort of feel a duty to | 0:06:14 | 0:06:15 | |
background? I sort of feel a duty to be | 0:06:15 | 0:06:15 | |
background? I sort of feel a duty to be sort | 0:06:15 | 0:06:15 | |
background? I sort of feel a duty to be sort of | 0:06:15 | 0:06:15 | |
background? I sort of feel a duty to be sort of knew | 0:06:15 | 0:06:16 | |
background? I sort of feel a duty to be sort of knew tral | 0:06:16 | 0:06:16 | |
background? I sort of feel a duty to be sort of knew tral on | 0:06:16 | 0:06:17 | |
background? I sort of feel a duty to be sort of knew tral on politics | 0:06:17 | 0:06:17 | |
be sort of knew tral on politics because | 0:06:17 | 0:06:18 | |
be sort of knew tral on politics because of | 0:06:18 | 0:06:18 | |
be sort of knew tral on politics because of the | 0:06:18 | 0:06:18 | |
be sort of knew tral on politics because of the background. | 0:06:18 | 0:06:19 | |
be sort of knew tral on politics because of the background. I | 0:06:19 | 0:06:20 | |
be sort of knew tral on politics because of the background. I tend | 0:06:20 | 0:06:20 | |
because of the background. I tend to, | 0:06:20 | 0:06:21 | |
because of the background. I tend to, I | 0:06:21 | 0:06:21 | |
because of the background. I tend to, I don't | 0:06:21 | 0:06:21 | |
because of the background. I tend to, I don't want | 0:06:21 | 0:06:21 | |
because of the background. I tend to, I don't want to | 0:06:21 | 0:06:21 | |
because of the background. I tend to, I don't want to sort | 0:06:21 | 0:06:22 | |
because of the background. I tend to, I don't want to sort of | 0:06:22 | 0:06:22 | |
because of the background. I tend to, I don't want to sort of look | 0:06:22 | 0:06:22 | |
to, I don't want to sort of look like | 0:06:22 | 0:06:22 | |
to, I don't want to sort of look like I | 0:06:22 | 0:06:23 | |
to, I don't want to sort of look like I am | 0:06:23 | 0:06:23 | |
to, I don't want to sort of look like I am taking | 0:06:23 | 0:06:23 | |
to, I don't want to sort of look like I am taking sides | 0:06:23 | 0:06:23 | |
to, I don't want to sort of look like I am taking sides on | 0:06:23 | 0:06:23 | |
to, I don't want to sort of look like I am taking sides on it. | 0:06:23 | 0:06:24 | |
to, I don't want to sort of look like I am taking sides on it. I had | 0:06:24 | 0:06:25 | |
like I am taking sides on it. I had seen | 0:06:25 | 0:06:25 | |
like I am taking sides on it. I had seen it | 0:06:25 | 0:06:25 | |
like I am taking sides on it. I had seen it up | 0:06:25 | 0:06:25 | |
like I am taking sides on it. I had seen it up close | 0:06:25 | 0:06:26 | |
like I am taking sides on it. I had seen it up close and | 0:06:26 | 0:06:26 | |
like I am taking sides on it. I had seen it up close and you | 0:06:26 | 0:06:26 | |
like I am taking sides on it. I had seen it up close and you tend | 0:06:26 | 0:06:27 | |
like I am taking sides on it. I had seen it up close and you tend to | 0:06:27 | 0:06:27 | |
seen it up close and you tend to realise | 0:06:27 | 0:06:27 | |
seen it up close and you tend to realise none | 0:06:27 | 0:06:28 | |
seen it up close and you tend to realise none of | 0:06:28 | 0:06:28 | |
seen it up close and you tend to realise none of then | 0:06:28 | 0:06:28 | |
seen it up close and you tend to realise none of then are | 0:06:28 | 0:06:28 | |
seen it up close and you tend to realise none of then are good | 0:06:28 | 0:06:28 | |
seen it up close and you tend to realise none of then are good or | 0:06:28 | 0:06:29 | |
realise none of then are good or bad. | 0:06:29 | 0:06:29 | |
realise none of then are good or bad. It | 0:06:29 | 0:06:29 | |
realise none of then are good or bad. It is | 0:06:29 | 0:06:30 | |
realise none of then are good or bad. It is much | 0:06:30 | 0:06:30 | |
realise none of then are good or bad. It is much more | 0:06:30 | 0:06:30 | |
realise none of then are good or bad. It is much more complicated. | 0:06:30 | 0:06:32 | |
bad. It is much more complicated. There | 0:06:32 | 0:06:33 | |
bad. It is much more complicated. There was | 0:06:33 | 0:06:33 | |
bad. It is much more complicated. There was a | 0:06:33 | 0:06:33 | |
bad. It is much more complicated. There was a time | 0:06:33 | 0:06:33 | |
bad. It is much more complicated. There was a time when | 0:06:33 | 0:06:33 | |
bad. It is much more complicated. There was a time when you | 0:06:33 | 0:06:34 | |
bad. It is much more complicated. There was a time when you could | 0:06:34 | 0:06:34 | |
bad. It is much more complicated. There was a time when you could take | 0:06:34 | 0:06:34 | |
There was a time when you could take the | 0:06:34 | 0:06:35 | |
There was a time when you could take the decision | 0:06:35 | 0:06:35 | |
There was a time when you could take the decision to | 0:06:35 | 0:06:35 | |
There was a time when you could take the decision to go | 0:06:35 | 0:06:35 | |
There was a time when you could take the decision to go to | 0:06:35 | 0:06:36 | |
There was a time when you could take the decision to go to art | 0:06:36 | 0:06:36 | |
There was a time when you could take the decision to go to art school | 0:06:36 | 0:06:36 | |
There was a time when you could take the decision to go to art school or | 0:06:36 | 0:06:36 | |
the decision to go to art school or not. | 0:06:36 | 0:06:37 | |
the decision to go to art school or not. You | 0:06:37 | 0:06:37 | |
the decision to go to art school or not. You didn't. | 0:06:37 | 0:06:38 | |
the decision to go to art school or not. You didn't. So | 0:06:38 | 0:06:38 | |
the decision to go to art school or not. You didn't. So you | 0:06:38 | 0:06:39 | |
the decision to go to art school or not. You didn't. So you are | 0:06:39 | 0:06:39 | |
the decision to go to art school or not. You didn't. So you are self | 0:06:39 | 0:06:39 | |
not. You didn't. So you are self taught. | 0:06:39 | 0:06:40 | |
not. You didn't. So you are self taught. How | 0:06:40 | 0:06:40 | |
not. You didn't. So you are self taught. How did | 0:06:40 | 0:06:40 | |
not. You didn't. So you are self taught. How did you | 0:06:40 | 0:06:41 | |
not. You didn't. So you are self taught. How did you go | 0:06:41 | 0:06:41 | |
not. You didn't. So you are self taught. How did you go about | 0:06:41 | 0:06:41 | |
taught. How did you go about teaching | 0:06:41 | 0:06:42 | |
taught. How did you go about teaching yourself | 0:06:42 | 0:06:42 | |
taught. How did you go about teaching yourself to | 0:06:42 | 0:06:42 | |
taught. How did you go about teaching yourself to paint, | 0:06:42 | 0:06:43 | |
taught. How did you go about teaching yourself to paint, in this | 0:06:43 | 0:06:43 | |
teaching yourself to paint, in this fashion? | 0:06:43 | 0:06:45 | |
teaching yourself to paint, in this fashion? I | 0:06:45 | 0:06:45 | |
teaching yourself to paint, in this fashion? I did | 0:06:45 | 0:06:45 | |
teaching yourself to paint, in this fashion? I did A-level | 0:06:45 | 0:06:46 | |
teaching yourself to paint, in this fashion? I did A-level at | 0:06:46 | 0:06:46 | |
teaching yourself to paint, in this fashion? I did A-level at school, | 0:06:46 | 0:06:47 | |
fashion? I did A-level at school, they | 0:06:47 | 0:06:47 | |
fashion? I did A-level at school, they encouraged | 0:06:47 | 0:06:47 | |
fashion? I did A-level at school, they encouraged us | 0:06:47 | 0:06:48 | |
fashion? I did A-level at school, they encouraged us to | 0:06:48 | 0:06:48 | |
fashion? I did A-level at school, they encouraged us to go | 0:06:48 | 0:06:49 | |
fashion? I did A-level at school, they encouraged us to go galleries | 0:06:49 | 0:06:49 | |
they encouraged us to go galleries and | 0:06:49 | 0:06:49 | |
they encouraged us to go galleries and look | 0:06:49 | 0:06:49 | |
they encouraged us to go galleries and look at | 0:06:49 | 0:06:50 | |
they encouraged us to go galleries and look at works | 0:06:50 | 0:06:50 | |
they encouraged us to go galleries and look at works and | 0:06:50 | 0:06:50 | |
they encouraged us to go galleries and look at works and try | 0:06:50 | 0:06:50 | |
they encouraged us to go galleries and look at works and try and | 0:06:50 | 0:06:51 | |
they encouraged us to go galleries and look at works and try and copy | 0:06:51 | 0:06:51 | |
and look at works and try and copy them. | 0:06:51 | 0:06:51 | |
and look at works and try and copy them. So | 0:06:51 | 0:06:52 | |
and look at works and try and copy them. So I | 0:06:52 | 0:06:52 | |
and look at works and try and copy them. So I think | 0:06:52 | 0:06:52 | |
and look at works and try and copy them. So I think my | 0:06:52 | 0:06:53 | |
and look at works and try and copy them. So I think my style | 0:06:53 | 0:06:53 | |
and look at works and try and copy them. So I think my style became | 0:06:53 | 0:06:54 | |
and look at works and try and copy them. So I think my style became a | 0:06:54 | 0:06:54 | |
them. So I think my style became a pastiche | 0:06:54 | 0:06:54 | |
them. So I think my style became a pastiche really | 0:06:54 | 0:06:55 | |
them. So I think my style became a pastiche really of | 0:06:55 | 0:06:55 | |
them. So I think my style became a pastiche really of the | 0:06:55 | 0:06:55 | |
them. So I think my style became a pastiche really of the work | 0:06:55 | 0:06:56 | |
them. So I think my style became a pastiche really of the work of | 0:06:56 | 0:06:56 | |
them. So I think my style became a pastiche really of the work of other | 0:06:56 | 0:06:57 | |
pastiche really of the work of other artists. | 0:06:57 | 0:06:57 | |
pastiche really of the work of other artists. It | 0:06:57 | 0:06:58 | |
pastiche really of the work of other artists. It happened to | 0:06:58 | 0:06:58 | |
pastiche really of the work of other artists. It happened to be | 0:06:58 | 0:06:58 | |
pastiche really of the work of other artists. It happened to be artists | 0:06:58 | 0:06:58 | |
pastiche really of the work of other artists. It happened to be artists I | 0:06:58 | 0:06:59 | |
artists. It happened to be artists I saw | 0:06:59 | 0:07:00 | |
artists. It happened to be artists I saw in | 0:07:00 | 0:07:00 | |
artists. It happened to be artists I saw in gallery, | 0:07:00 | 0:07:00 | |
artists. It happened to be artists I saw in gallery, rather | 0:07:00 | 0:07:00 | |
artists. It happened to be artists I saw in gallery, rather than | 0:07:00 | 0:07:00 | |
artists. It happened to be artists I saw in gallery, rather than who | 0:07:00 | 0:07:01 | |
artists. It happened to be artists I saw in gallery, rather than who were | 0:07:01 | 0:07:01 | |
saw in gallery, rather than who were teaching | 0:07:01 | 0:07:01 | |
saw in gallery, rather than who were teaching me. | 0:07:01 | 0:07:01 | |
saw in gallery, rather than who were teaching me. I | 0:07:01 | 0:07:02 | |
saw in gallery, rather than who were teaching me. I went | 0:07:02 | 0:07:03 | |
saw in gallery, rather than who were teaching me. I went to | 0:07:03 | 0:07:03 | |
saw in gallery, rather than who were teaching me. I went to university, | 0:07:03 | 0:07:03 | |
teaching me. I went to university, because | 0:07:03 | 0:07:03 | |
teaching me. I went to university, because I | 0:07:03 | 0:07:03 | |
teaching me. I went to university, because I couldn't | 0:07:03 | 0:07:04 | |
teaching me. I went to university, because I couldn't think | 0:07:04 | 0:07:04 | |
teaching me. I went to university, because I couldn't think of | 0:07:04 | 0:07:04 | |
teaching me. I went to university, because I couldn't think of what | 0:07:04 | 0:07:04 | |
because I couldn't think of what else | 0:07:04 | 0:07:05 | |
because I couldn't think of what else to | 0:07:05 | 0:07:05 | |
because I couldn't think of what else to do. | 0:07:05 | 0:07:06 | |
because I couldn't think of what else to do. I | 0:07:06 | 0:07:06 | |
because I couldn't think of what else to do. I studied | 0:07:06 | 0:07:06 | |
because I couldn't think of what else to do. I studied film, | 0:07:06 | 0:07:07 | |
because I couldn't think of what else to do. I studied film, which | 0:07:07 | 0:07:07 | |
else to do. I studied film, which was | 0:07:07 | 0:07:07 | |
else to do. I studied film, which was fine, | 0:07:07 | 0:07:08 | |
else to do. I studied film, which was fine, but | 0:07:08 | 0:07:08 | |
else to do. I studied film, which was fine, but quickly | 0:07:08 | 0:07:08 | |
else to do. I studied film, which was fine, but quickly I | 0:07:08 | 0:07:09 | |
else to do. I studied film, which was fine, but quickly I realised | 0:07:09 | 0:07:10 | |
else to do. I studied film, which was fine, but quickly I realised I | 0:07:10 | 0:07:10 | |
was fine, but quickly I realised I was | 0:07:10 | 0:07:10 | |
was fine, but quickly I realised I was enjoying | 0:07:10 | 0:07:11 | |
was fine, but quickly I realised I was enjoying the | 0:07:11 | 0:07:11 | |
was fine, but quickly I realised I was enjoying the painting, | 0:07:11 | 0:07:11 | |
was fine, but quickly I realised I was enjoying the painting, so | 0:07:11 | 0:07:12 | |
was fine, but quickly I realised I was enjoying the painting, so I | 0:07:12 | 0:07:12 | |
was enjoying the painting, so I spent | 0:07:12 | 0:07:12 | |
was enjoying the painting, so I spent my | 0:07:12 | 0:07:13 | |
was enjoying the painting, so I spent my spare | 0:07:13 | 0:07:13 | |
was enjoying the painting, so I spent my spare time | 0:07:13 | 0:07:13 | |
was enjoying the painting, so I spent my spare time doing | 0:07:13 | 0:07:13 | |
was enjoying the painting, so I spent my spare time doing that. | 0:07:13 | 0:07:14 | |
was enjoying the painting, so I spent my spare time doing that. I | 0:07:14 | 0:07:14 | |
spent my spare time doing that. I got | 0:07:14 | 0:07:14 | |
spent my spare time doing that. I got ill. | 0:07:14 | 0:07:15 | |
spent my spare time doing that. I got ill. How | 0:07:15 | 0:07:15 | |
spent my spare time doing that. I got ill. How old | 0:07:15 | 0:07:15 | |
spent my spare time doing that. I got ill. How old were | 0:07:15 | 0:07:15 | |
spent my spare time doing that. I got ill. How old were you | 0:07:15 | 0:07:16 | |
spent my spare time doing that. I got ill. How old were you when | 0:07:16 | 0:07:16 | |
got ill. How old were you when that happened? | 0:07:16 | 0:07:17 | |
got ill. How old were you when that happened? 22, | 0:07:17 | 0:07:17 | |
got ill. How old were you when that happened? 22, I | 0:07:17 | 0:07:17 | |
got ill. How old were you when that happened? 22, I think. | 0:07:17 | 0:07:18 | |
got ill. How old were you when that happened? 22, I think. This | 0:07:18 | 0:07:19 | |
got ill. How old were you when that happened? 22, I think. This was | 0:07:19 | 0:07:19 | |
happened? 22, I think. This was Hodgkin?s | 0:07:19 | 0:07:19 | |
happened? 22, I think. This was Hodgkin?s disease? | 0:07:19 | 0:07:20 | |
happened? 22, I think. This was Hodgkin?s disease? Yes. | 0:07:20 | 0:07:21 | |
happened? 22, I think. This was Hodgkin?s disease? Yes. The | 0:07:21 | 0:07:21 | |
happened? 22, I think. This was Hodgkin?s disease? Yes. The kind | 0:07:21 | 0:07:21 | |
happened? 22, I think. This was Hodgkin?s disease? Yes. The kind of, | 0:07:21 | 0:07:21 | |
Hodgkin?s disease? Yes. The kind of, it | 0:07:21 | 0:07:22 | |
Hodgkin?s disease? Yes. The kind of, it is | 0:07:22 | 0:07:22 | |
Hodgkin?s disease? Yes. The kind of, it is cancer | 0:07:22 | 0:07:23 | |
Hodgkin?s disease? Yes. The kind of, it is cancer of | 0:07:23 | 0:07:24 | |
Hodgkin?s disease? Yes. The kind of, it is cancer of the | 0:07:24 | 0:07:24 | |
Hodgkin?s disease? Yes. The kind of, it is cancer of the lymphatic | 0:07:24 | 0:07:25 | |
it is cancer of the lymphatic system, | 0:07:25 | 0:07:25 | |
it is cancer of the lymphatic system, so | 0:07:25 | 0:07:25 | |
it is cancer of the lymphatic system, so it | 0:07:25 | 0:07:26 | |
it is cancer of the lymphatic system, so it meant | 0:07:26 | 0:07:26 | |
it is cancer of the lymphatic system, so it meant I | 0:07:26 | 0:07:26 | |
it is cancer of the lymphatic system, so it meant I had | 0:07:26 | 0:07:26 | |
it is cancer of the lymphatic system, so it meant I had to | 0:07:26 | 0:07:26 | |
it is cancer of the lymphatic system, so it meant I had to have | 0:07:26 | 0:07:27 | |
system, so it meant I had to have about | 0:07:27 | 0:07:27 | |
system, so it meant I had to have about a | 0:07:27 | 0:07:27 | |
system, so it meant I had to have about a year | 0:07:27 | 0:07:28 | |
system, so it meant I had to have about a year of | 0:07:28 | 0:07:28 | |
system, so it meant I had to have about a year of treatment, | 0:07:28 | 0:07:29 | |
system, so it meant I had to have about a year of treatment, of | 0:07:29 | 0:07:29 | |
system, so it meant I had to have about a year of treatment, of chemo | 0:07:29 | 0:07:31 | |
about a year of treatment, of chemo and | 0:07:31 | 0:07:31 | |
about a year of treatment, of chemo and radiotherapy, | 0:07:31 | 0:07:31 | |
about a year of treatment, of chemo and radiotherapy, and | 0:07:31 | 0:07:31 | |
about a year of treatment, of chemo and radiotherapy, and you | 0:07:31 | 0:07:32 | |
about a year of treatment, of chemo and radiotherapy, and you know, | 0:07:32 | 0:07:33 | |
about a year of treatment, of chemo and radiotherapy, and you know, at | 0:07:33 | 0:07:33 | |
and radiotherapy, and you know, at that | 0:07:33 | 0:07:33 | |
and radiotherapy, and you know, at that age, | 0:07:33 | 0:07:33 | |
and radiotherapy, and you know, at that age, anything | 0:07:33 | 0:07:34 | |
and radiotherapy, and you know, at that age, anything that | 0:07:34 | 0:07:34 | |
and radiotherapy, and you know, at that age, anything that comes | 0:07:34 | 0:07:34 | |
and radiotherapy, and you know, at that age, anything that comes along | 0:07:34 | 0:07:35 | |
that age, anything that comes along you | 0:07:35 | 0:07:35 | |
that age, anything that comes along you deal | 0:07:35 | 0:07:35 | |
that age, anything that comes along you deal with, | 0:07:35 | 0:07:36 | |
that age, anything that comes along you deal with, and | 0:07:36 | 0:07:36 | |
that age, anything that comes along you deal with, and I | 0:07:36 | 0:07:36 | |
that age, anything that comes along you deal with, and I don't | 0:07:36 | 0:07:36 | |
that age, anything that comes along you deal with, and I don't remember | 0:07:36 | 0:07:37 | |
you deal with, and I don't remember being | 0:07:37 | 0:07:37 | |
you deal with, and I don't remember being depressed | 0:07:37 | 0:07:37 | |
you deal with, and I don't remember being depressed about | 0:07:37 | 0:07:38 | |
you deal with, and I don't remember being depressed about anything, | 0:07:38 | 0:07:38 | |
you deal with, and I don't remember being depressed about anything, but | 0:07:38 | 0:07:38 | |
being depressed about anything, but it | 0:07:38 | 0:07:39 | |
being depressed about anything, but it does | 0:07:39 | 0:07:39 | |
being depressed about anything, but it does force | 0:07:39 | 0:07:40 | |
being depressed about anything, but it does force do | 0:07:40 | 0:07:40 | |
being depressed about anything, but it does force do you stop and | 0:07:40 | 0:07:40 | |
it does force do you stop and rethink | 0:07:40 | 0:07:41 | |
it does force do you stop and rethink your | 0:07:41 | 0:07:41 | |
it does force do you stop and rethink your life, | 0:07:41 | 0:07:41 | |
it does force do you stop and rethink your life, going | 0:07:41 | 0:07:41 | |
it does force do you stop and rethink your life, going from | 0:07:41 | 0:07:42 | |
it does force do you stop and rethink your life, going from the | 0:07:42 | 0:07:43 | |
rethink your life, going from the student | 0:07:43 | 0:07:43 | |
rethink your life, going from the student who | 0:07:43 | 0:07:43 | |
rethink your life, going from the student who -- | 0:07:43 | 0:07:43 | |
rethink your life, going from the student who -- whose | 0:07:43 | 0:07:44 | |
rethink your life, going from the student who -- whose main | 0:07:44 | 0:07:44 | |
rethink your life, going from the student who -- whose main mission | 0:07:44 | 0:07:44 | |
rethink your life, going from the student who -- whose main mission is | 0:07:44 | 0:07:44 | |
student who -- whose main mission is to | 0:07:44 | 0:07:44 | |
student who -- whose main mission is to get | 0:07:44 | 0:07:45 | |
student who -- whose main mission is to get out | 0:07:45 | 0:07:45 | |
student who -- whose main mission is to get out of | 0:07:45 | 0:07:45 | |
student who -- whose main mission is to get out of their | 0:07:45 | 0:07:46 | |
student who -- whose main mission is to get out of their head | 0:07:46 | 0:07:46 | |
student who -- whose main mission is to get out of their head and | 0:07:46 | 0:07:46 | |
student who -- whose main mission is to get out of their head and have | 0:07:46 | 0:07:47 | |
student who -- whose main mission is to get out of their head and have as | 0:07:47 | 0:07:47 | |
to get out of their head and have as much | 0:07:47 | 0:07:47 | |
to get out of their head and have as much fun | 0:07:47 | 0:07:49 | |
to get out of their head and have as much fun on | 0:07:49 | 0:07:50 | |
to get out of their head and have as possible. You | 0:07:50 | 0:07:50 | |
to get out of their head and have as possible. You have | 0:07:50 | 0:07:50 | |
to get out of their head and have as possible. You have this | 0:07:50 | 0:07:51 | |
to get out of their head and have as possible. You have this reality | 0:07:51 | 0:07:51 | |
possible. You have this reality shot, | 0:07:51 | 0:07:52 | |
possible. You have this reality shot, and | 0:07:52 | 0:07:53 | |
possible. You have this reality shot, and the, | 0:07:53 | 0:07:53 | |
possible. You have this reality shot, and the, there | 0:07:53 | 0:07:53 | |
possible. You have this reality shot, and the, there is | 0:07:53 | 0:07:54 | |
possible. You have this reality shot, and the, there is a | 0:07:54 | 0:07:54 | |
shot, and the, there is a possibility | 0:07:54 | 0:07:54 | |
shot, and the, there is a possibility you | 0:07:54 | 0:07:55 | |
shot, and the, there is a possibility you might | 0:07:55 | 0:07:55 | |
shot, and the, there is a possibility you might not | 0:07:55 | 0:07:56 | |
shot, and the, there is a possibility you might not survive | 0:07:56 | 0:07:56 | |
possibility you might not survive it, | 0:07:56 | 0:07:57 | |
possibility you might not survive it, it | 0:07:57 | 0:07:58 | |
possibility you might not survive it, it sounds | 0:07:58 | 0:07:58 | |
possibility you might not survive it, it sounds ridiculous, | 0:07:58 | 0:07:58 | |
possibility you might not survive it, it sounds ridiculous, but | 0:07:58 | 0:07:58 | |
possibility you might not survive it, it sounds ridiculous, but in | 0:07:58 | 0:07:59 | |
it, it sounds ridiculous, but in retrospect | 0:07:59 | 0:07:59 | |
it, it sounds ridiculous, but in retrospect it | 0:07:59 | 0:07:59 | |
it, it sounds ridiculous, but in retrospect it might | 0:07:59 | 0:07:59 | |
it, it sounds ridiculous, but in retrospect it might have | 0:07:59 | 0:08:00 | |
it, it sounds ridiculous, but in retrospect it might have been | 0:08:00 | 0:08:00 | |
it, it sounds ridiculous, but in retrospect it might have been the | 0:08:00 | 0:08:00 | |
retrospect it might have been the best | 0:08:00 | 0:08:00 | |
retrospect it might have been the best time | 0:08:00 | 0:08:00 | |
retrospect it might have been the best time that | 0:08:00 | 0:08:01 | |
retrospect it might have been the best time that could | 0:08:01 | 0:08:01 | |
retrospect it might have been the best time that could have | 0:08:01 | 0:08:02 | |
retrospect it might have been the best time that could have happened | 0:08:02 | 0:08:02 | |
best time that could have happened in | 0:08:02 | 0:08:02 | |
best time that could have happened in way. | 0:08:02 | 0:08:02 | |
best time that could have happened in way. It | 0:08:02 | 0:08:02 | |
best time that could have happened in way. It was | 0:08:02 | 0:08:03 | |
best time that could have happened in way. It was a | 0:08:03 | 0:08:03 | |
best time that could have happened in way. It was a time | 0:08:03 | 0:08:03 | |
best time that could have happened in way. It was a time when | 0:08:03 | 0:08:03 | |
best time that could have happened in way. It was a time when I | 0:08:03 | 0:08:03 | |
best time that could have happened in way. It was a time when I was | 0:08:03 | 0:08:04 | |
in way. It was a time when I was trying | 0:08:04 | 0:08:04 | |
in way. It was a time when I was trying to | 0:08:04 | 0:08:04 | |
in way. It was a time when I was trying to make | 0:08:04 | 0:08:04 | |
in way. It was a time when I was trying to make a | 0:08:04 | 0:08:05 | |
in way. It was a time when I was trying to make a decision | 0:08:05 | 0:08:05 | |
in way. It was a time when I was trying to make a decision about | 0:08:05 | 0:08:05 | |
in way. It was a time when I was trying to make a decision about who | 0:08:05 | 0:08:05 | |
trying to make a decision about who to | 0:08:05 | 0:08:05 | |
trying to make a decision about who to do | 0:08:05 | 0:08:06 | |
trying to make a decision about who to do with | 0:08:06 | 0:08:06 | |
trying to make a decision about who to do with my | 0:08:06 | 0:08:07 | |
trying to make a decision about who to do with my life, | 0:08:07 | 0:08:09 | |
trying to make a decision about who to do with my life, and | 0:08:09 | 0:08:09 | |
trying to make a decision about who to do with my life, and everyone | 0:08:09 | 0:08:09 | |
trying to make a decision about who to do with my life, and everyone was | 0:08:09 | 0:08:10 | |
to do with my life, and everyone was saying | 0:08:10 | 0:08:11 | |
to do with my life, and everyone was saying don't | 0:08:11 | 0:08:11 | |
to do with my life, and everyone was saying don't be | 0:08:11 | 0:08:11 | |
to do with my life, and everyone was saying don't be crazy, | 0:08:11 | 0:08:11 | |
to do with my life, and everyone was saying don't be crazy, don't | 0:08:11 | 0:08:11 | |
to do with my life, and everyone was saying don't be crazy, don't go | 0:08:11 | 0:08:12 | |
to do with my life, and everyone was saying don't be crazy, don't go into | 0:08:12 | 0:08:12 | |
saying don't be crazy, don't go into the | 0:08:12 | 0:08:12 | |
saying don't be crazy, don't go into the art, | 0:08:12 | 0:08:13 | |
saying don't be crazy, don't go into the art, there | 0:08:13 | 0:08:13 | |
saying don't be crazy, don't go into the art, there is | 0:08:13 | 0:08:13 | |
saying don't be crazy, don't go into the art, there is no | 0:08:13 | 0:08:14 | |
saying don't be crazy, don't go into the art, there is no money | 0:08:14 | 0:08:14 | |
saying don't be crazy, don't go into the art, there is no money in | 0:08:14 | 0:08:14 | |
saying don't be crazy, don't go into the art, there is no money in it. | 0:08:14 | 0:08:14 | |
the art, there is no money in it. That | 0:08:14 | 0:08:15 | |
the art, there is no money in it. That was | 0:08:15 | 0:08:15 | |
the art, there is no money in it. That was a | 0:08:15 | 0:08:16 | |
the art, there is no money in it. That was a nonsense | 0:08:16 | 0:08:16 | |
the art, there is no money in it. That was a nonsense idea | 0:08:16 | 0:08:16 | |
the art, there is no money in it. That was a nonsense idea that | 0:08:16 | 0:08:16 | |
the art, there is no money in it. That was a nonsense idea that the | 0:08:16 | 0:08:17 | |
That was a nonsense idea that the time. | 0:08:17 | 0:08:17 | |
That was a nonsense idea that the time. You | 0:08:17 | 0:08:17 | |
That was a nonsense idea that the time. You did | 0:08:17 | 0:08:17 | |
That was a nonsense idea that the time. You did survive | 0:08:17 | 0:08:18 | |
That was a nonsense idea that the time. You did survive it, | 0:08:18 | 0:08:18 | |
That was a nonsense idea that the time. You did survive it, you | 0:08:18 | 0:08:18 | |
That was a nonsense idea that the time. You did survive it, you came | 0:08:18 | 0:08:19 | |
time. You did survive it, you came through | 0:08:19 | 0:08:19 | |
time. You did survive it, you came through the | 0:08:19 | 0:08:19 | |
time. You did survive it, you came through the treatment. | 0:08:19 | 0:08:19 | |
time. You did survive it, you came through the treatment. This | 0:08:19 | 0:08:20 | |
time. You did survive it, you came through the treatment. This had | 0:08:20 | 0:08:20 | |
time. You did survive it, you came through the treatment. This had a | 0:08:20 | 0:08:21 | |
time. You did survive it, you came concentrating effect | 0:08:21 | 0:08:21 | |
time. You did survive it, you came concentrating effect on | 0:08:21 | 0:08:22 | |
time. You did survive it, you came concentrating effect on your | 0:08:22 | 0:08:22 | |
concentrating effect on your decision | 0:08:22 | 0:08:22 | |
concentrating effect on your decision making | 0:08:22 | 0:08:22 | |
concentrating effect on your decision making about | 0:08:22 | 0:08:22 | |
concentrating effect on your decision making about what | 0:08:22 | 0:08:23 | |
concentrating effect on your decision making about what you | 0:08:23 | 0:08:23 | |
decision making about what you wanted | 0:08:23 | 0:08:23 | |
decision making about what you wanted to | 0:08:23 | 0:08:23 | |
decision making about what you wanted to do, | 0:08:23 | 0:08:24 | |
decision making about what you wanted to do, in | 0:08:24 | 0:08:25 | |
decision making about what you wanted to do, in now | 0:08:25 | 0:08:25 | |
decision making about what you wanted to do, in now early | 0:08:25 | 0:08:25 | |
wanted to do, in now early adulthood. | 0:08:25 | 0:08:26 | |
wanted to do, in now early adulthood. It | 0:08:26 | 0:08:27 | |
wanted to do, in now early adulthood. It made | 0:08:27 | 0:08:27 | |
wanted to do, in now early adulthood. It made me | 0:08:27 | 0:08:28 | |
wanted to do, in now early adulthood. It made me very | 0:08:28 | 0:08:28 | |
wanted to do, in now early adulthood. It made me very stubborn | 0:08:28 | 0:08:28 | |
adulthood. It made me very stubborn and | 0:08:28 | 0:08:29 | |
adulthood. It made me very stubborn and self | 0:08:29 | 0:08:29 | |
adulthood. It made me very stubborn and self absorbed | 0:08:29 | 0:08:30 | |
adulthood. It made me very stubborn and self absorbed and | 0:08:30 | 0:08:30 | |
adulthood. It made me very stubborn and self absorbed and thinking, | 0:08:30 | 0:08:30 | |
and self absorbed and thinking, actually, | 0:08:30 | 0:08:30 | |
and self absorbed and thinking, actually, if | 0:08:30 | 0:08:31 | |
and self absorbed and thinking, actually, if I | 0:08:31 | 0:08:31 | |
and self absorbed and thinking, actually, if I am, | 0:08:31 | 0:08:32 | |
and self absorbed and thinking, actually, if I am, you | 0:08:32 | 0:08:32 | |
and self absorbed and thinking, actually, if I am, you know, | 0:08:32 | 0:08:32 | |
and self absorbed and thinking, actually, if I am, you know, just | 0:08:32 | 0:08:32 | |
and self absorbed and thinking, actually, if I am, you know, just in | 0:08:32 | 0:08:32 | |
actually, if I am, you know, just in case | 0:08:32 | 0:08:33 | |
actually, if I am, you know, just in case I | 0:08:33 | 0:08:33 | |
actually, if I am, you know, just in case I am | 0:08:33 | 0:08:33 | |
actually, if I am, you know, just in case I am not | 0:08:33 | 0:08:33 | |
actually, if I am, you know, just in case I am not round | 0:08:33 | 0:08:34 | |
actually, if I am, you know, just in case I am not round very | 0:08:34 | 0:08:34 | |
actually, if I am, you know, just in case I am not round very long, | 0:08:34 | 0:08:34 | |
actually, if I am, you know, just in case I am not round very long, I | 0:08:34 | 0:08:35 | |
actually, if I am, you know, just in case I am not round very long, I am | 0:08:35 | 0:08:35 | |
case I am not round very long, I am going | 0:08:35 | 0:08:35 | |
case I am not round very long, I am going to | 0:08:35 | 0:08:35 | |
case I am not round very long, I am going to spend | 0:08:35 | 0:08:35 | |
case I am not round very long, I am going to spend the | 0:08:35 | 0:08:36 | |
case I am not round very long, I am going to spend the time | 0:08:36 | 0:08:36 | |
case I am not round very long, I am going to spend the time doing | 0:08:36 | 0:08:36 | |
case I am not round very long, I am going to spend the time doing what | 0:08:36 | 0:08:36 | |
case I am not round very long, I am going to spend the time doing what I | 0:08:36 | 0:08:37 | |
going to spend the time doing what I want | 0:08:37 | 0:08:37 | |
going to spend the time doing what I want to | 0:08:37 | 0:08:37 | |
going to spend the time doing what I want to do. | 0:08:37 | 0:08:37 | |
going to spend the time doing what I want to do. And | 0:08:37 | 0:08:38 | |
going to spend the time doing what I want to do. And what | 0:08:38 | 0:08:38 | |
going to spend the time doing what I want to do. And what I | 0:08:38 | 0:08:38 | |
going to spend the time doing what I want to do. And what I enjoy | 0:08:38 | 0:08:39 | |
going to spend the time doing what I want to do. And what I enjoy more | 0:08:39 | 0:08:39 | |
want to do. And what I enjoy more than | 0:08:39 | 0:08:39 | |
want to do. And what I enjoy more than anything | 0:08:39 | 0:08:39 | |
want to do. And what I enjoy more than anything is | 0:08:39 | 0:08:39 | |
want to do. And what I enjoy more than anything is painting. | 0:08:39 | 0:08:46 | |
I | 0:08:50 | 0:08:50 | |
I have | 0:08:50 | 0:08:51 | |
I have known | 0:08:51 | 0:08:51 | |
I have known him | 0:08:51 | 0:08:51 | |
I have known him since | 0:08:51 | 0:08:51 | |
I have known him since he | 0:08:51 | 0:08:52 | |
I have known him since he arrived | 0:08:52 | 0:08:52 | |
I have known him since he arrived at | 0:08:52 | 0:08:52 | |
I have known him since he arrived at the | 0:08:52 | 0:08:53 | |
I have known him since he arrived at the school | 0:08:53 | 0:08:53 | |
I have known him since he arrived at the school I | 0:08:53 | 0:08:53 | |
I have known him since he arrived at the school I was | 0:08:53 | 0:08:53 | |
I have known him since he arrived at the school I was at, | 0:08:53 | 0:08:54 | |
I have known him since he arrived at the school I was at, Westminster, | 0:08:54 | 0:08:55 | |
I have known him since he arrived at the school I was at, Westminster, in | 0:08:55 | 0:08:55 | |
the school I was at, Westminster, in 1983. | 0:08:55 | 0:08:57 | |
the school I was at, Westminster, in 1983. We | 0:08:57 | 0:08:57 | |
the school I was at, Westminster, in 1983. We have | 0:08:57 | 0:08:58 | |
the school I was at, Westminster, in 1983. We have remained | 0:08:58 | 0:08:58 | |
the school I was at, Westminster, in 1983. We have remained like | 0:08:58 | 0:08:59 | |
the school I was at, Westminster, in 1983. We have remained like a | 0:08:59 | 0:09:00 | |
the school I was at, Westminster, in 1983. We have remained like a pair | 0:09:00 | 0:09:00 | |
1983. We have remained like a pair of | 0:09:00 | 0:09:01 | |
1983. We have remained like a pair of daft | 0:09:01 | 0:09:02 | |
1983. We have remained like a pair of daft prep | 0:09:02 | 0:09:02 | |
1983. We have remained like a pair of daft prep schoolboys | 0:09:02 | 0:09:02 | |
1983. We have remained like a pair of daft prep schoolboys ever | 0:09:02 | 0:09:02 | |
1983. We have remained like a pair of daft prep schoolboys ever since. | 0:09:02 | 0:09:05 | |
of daft prep schoolboys ever since. He | 0:09:05 | 0:09:05 | |
of daft prep schoolboys ever since. He is | 0:09:05 | 0:09:05 | |
of daft prep schoolboys ever since. He is as | 0:09:05 | 0:09:05 | |
of daft prep schoolboys ever since. He is as he | 0:09:05 | 0:09:06 | |
of daft prep schoolboys ever since. He is as he was | 0:09:06 | 0:09:06 | |
of daft prep schoolboys ever since. He is as he was when | 0:09:06 | 0:09:06 | |
of daft prep schoolboys ever since. He is as he was when he | 0:09:06 | 0:09:06 | |
of daft prep schoolboys ever since. He is as he was when he was | 0:09:06 | 0:09:06 | |
of daft prep schoolboys ever since. He is as he was when he was 14. | 0:09:06 | 0:09:08 | |
of daft prep schoolboys ever since. He is as he was when he was 14. He | 0:09:08 | 0:09:08 | |
He is as he was when he was 14. He is | 0:09:08 | 0:09:08 | |
He is as he was when he was 14. He is Aznar | 0:09:08 | 0:09:09 | |
He is as he was when he was 14. He is Aznar kick | 0:09:09 | 0:09:10 | |
He is as he was when he was 14. He is Aznar kick and | 0:09:10 | 0:09:10 | |
He is as he was when he was 14. He is Aznar kick and disrespectful | 0:09:10 | 0:09:11 | |
He is as he was when he was 14. He is Aznar kick and disrespectful of | 0:09:11 | 0:09:11 | |
is Aznar kick and disrespectful of all | 0:09:11 | 0:09:11 | |
is Aznar kick and disrespectful of all forms | 0:09:11 | 0:09:11 | |
is Aznar kick and disrespectful of all forms of | 0:09:11 | 0:09:11 | |
is Aznar kick and disrespectful of all forms of authority. | 0:09:11 | 0:09:12 | |
is Aznar kick and disrespectful of all forms of authority. He | 0:09:12 | 0:09:12 | |
is Aznar kick and disrespectful of all forms of authority. He is | 0:09:12 | 0:09:13 | |
is Aznar kick and disrespectful of all forms of authority. He is the | 0:09:13 | 0:09:13 | |
all forms of authority. He is the most | 0:09:13 | 0:09:13 | |
all forms of authority. He is the most vibrant | 0:09:13 | 0:09:13 | |
all forms of authority. He is the most vibrant and | 0:09:13 | 0:09:14 | |
all forms of authority. He is the most vibrant and alive | 0:09:14 | 0:09:14 | |
all forms of authority. He is the most vibrant and alive person | 0:09:14 | 0:09:14 | |
all forms of authority. He is the most vibrant and alive person you | 0:09:14 | 0:09:14 | |
most vibrant and alive person you could | 0:09:14 | 0:09:15 | |
most vibrant and alive person you could ever imagine. | 0:09:15 | 0:09:17 | |
could ever imagine. So | 0:09:17 | 0:09:17 | |
could ever imagine. So when | 0:09:17 | 0:09:18 | |
could ever imagine. So when you | 0:09:18 | 0:09:18 | |
could ever imagine. So when you were | 0:09:18 | 0:09:18 | |
could ever imagine. So when you were doing | 0:09:18 | 0:09:19 | |
could ever imagine. So when you were doing it | 0:09:19 | 0:09:19 | |
could ever imagine. So when you were doing it when | 0:09:19 | 0:09:19 | |
could ever imagine. So when you were doing it when I | 0:09:19 | 0:09:20 | |
So when you were doing it when I wasn't | 0:09:20 | 0:09:20 | |
So when you were doing it when I wasn't there, | 0:09:20 | 0:09:20 | |
So when you were doing it when I wasn't there, how | 0:09:20 | 0:09:20 | |
So when you were doing it when I wasn't there, how do | 0:09:20 | 0:09:20 | |
So when you were doing it when I wasn't there, how do you | 0:09:20 | 0:09:21 | |
So when you were doing it when I wasn't there, how do you remember | 0:09:21 | 0:09:21 | |
wasn't there, how do you remember what | 0:09:21 | 0:09:21 | |
wasn't there, how do you remember what I | 0:09:21 | 0:09:22 | |
wasn't there, how do you remember what I looked | 0:09:22 | 0:09:22 | |
wasn't there, how do you remember what I looked like? | 0:09:22 | 0:09:23 | |
wasn't there, how do you remember what I looked like? When | 0:09:23 | 0:09:24 | |
wasn't there, how do you remember what I looked like? When you | 0:09:24 | 0:09:24 | |
wasn't there, how do you remember what I looked like? When you were | 0:09:24 | 0:09:24 | |
what I looked like? When you were home | 0:09:24 | 0:09:25 | |
what I looked like? When you were home 1234 | 0:09:25 | 0:09:25 | |
what I looked like? When you were home 1234 Yes. | 0:09:25 | 0:09:25 | |
what I looked like? When you were home 1234 Yes. I | 0:09:25 | 0:09:26 | |
what I looked like? When you were home 1234 Yes. I know | 0:09:26 | 0:09:26 | |
what I looked like? When you were home 1234 Yes. I know what | 0:09:26 | 0:09:27 | |
what I looked like? When you were home 1234 Yes. I know what you | 0:09:27 | 0:09:27 | |
what I looked like? When you were home 1234 Yes. I know what you look | 0:09:27 | 0:09:27 | |
home 1234 Yes. I know what you look like. | 0:09:27 | 0:09:30 | |
like. Painting | 0:09:30 | 0:09:30 | |
like. Painting someone | 0:09:30 | 0:09:31 | |
like. Painting someone you | 0:09:31 | 0:09:33 | |
like. Painting someone you know | 0:09:33 | 0:09:33 | |
like. Painting someone you know is, | 0:09:33 | 0:09:33 | |
like. Painting someone you know is, it | 0:09:33 | 0:09:34 | |
like. Painting someone you know is, it is | 0:09:34 | 0:09:34 | |
Painting someone you know is, it is easier | 0:09:34 | 0:09:34 | |
Painting someone you know is, it is easier in | 0:09:34 | 0:09:34 | |
Painting someone you know is, it is easier in some | 0:09:34 | 0:09:35 | |
Painting someone you know is, it is easier in some ways. | 0:09:35 | 0:09:35 | |
Painting someone you know is, it is easier in some ways. Harder | 0:09:35 | 0:09:36 | |
Painting someone you know is, it is easier in some ways. Harder in | 0:09:36 | 0:09:36 | |
easier in some ways. Harder in others | 0:09:36 | 0:09:36 | |
easier in some ways. Harder in others because | 0:09:36 | 0:09:36 | |
easier in some ways. Harder in others because you | 0:09:36 | 0:09:36 | |
easier in some ways. Harder in others because you know | 0:09:36 | 0:09:37 | |
easier in some ways. Harder in others because you know more | 0:09:37 | 0:09:37 | |
easier in some ways. Harder in others because you know more of | 0:09:37 | 0:09:37 | |
easier in some ways. Harder in others because you know more of the | 0:09:37 | 0:09:38 | |
others because you know more of the range | 0:09:38 | 0:09:38 | |
others because you know more of the range of | 0:09:38 | 0:09:38 | |
others because you know more of the range of expressions, | 0:09:38 | 0:09:38 | |
others because you know more of the range of expressions, in | 0:09:38 | 0:09:39 | |
others because you know more of the range of expressions, in your | 0:09:39 | 0:09:39 | |
others because you know more of the range of expressions, in your mind | 0:09:39 | 0:09:39 | |
range of expressions, in your mind you | 0:09:39 | 0:09:40 | |
range of expressions, in your mind you have | 0:09:40 | 0:09:40 | |
range of expressions, in your mind you have a | 0:09:40 | 0:09:40 | |
range of expressions, in your mind you have a slightly | 0:09:40 | 0:09:41 | |
range of expressions, in your mind you have a slightly sort | 0:09:41 | 0:09:42 | |
range of expressions, in your mind you have a slightly sort of | 0:09:42 | 0:09:42 | |
range of expressions, in your mind composite image | 0:09:42 | 0:09:42 | |
range of expressions, in your mind composite image of | 0:09:42 | 0:09:43 | |
range of expressions, in your mind composite image of them | 0:09:43 | 0:09:43 | |
range of expressions, in your mind composite image of them as | 0:09:43 | 0:09:43 | |
range of expressions, in your mind composite image of them as long | 0:09:43 | 0:09:43 | |
range of expressions, in your mind composite image of them as long as | 0:09:43 | 0:09:44 | |
composite image of them as long as you | 0:09:44 | 0:09:44 | |
composite image of them as long as you have | 0:09:44 | 0:09:44 | |
composite image of them as long as you have known | 0:09:44 | 0:09:44 | |
composite image of them as long as you have known them. | 0:09:44 | 0:09:44 | |
composite image of them as long as you have known them. That | 0:09:44 | 0:09:44 | |
composite image of them as long as you have known them. That is | 0:09:44 | 0:09:45 | |
composite image of them as long as you have known them. That is why | 0:09:45 | 0:09:45 | |
composite image of them as long as you have known them. That is why you | 0:09:45 | 0:09:46 | |
you have known them. That is why you are | 0:09:46 | 0:09:46 | |
you have known them. That is why you are looking | 0:09:46 | 0:09:46 | |
you have known them. That is why you are looking younger | 0:09:46 | 0:09:47 | |
you have known them. That is why you are looking younger because | 0:09:47 | 0:09:47 | |
you have known them. That is why you are looking younger because in | 0:09:47 | 0:09:47 | |
you have known them. That is why you are looking younger because in my | 0:09:47 | 0:09:47 | |
are looking younger because in my mind | 0:09:47 | 0:09:48 | |
are looking younger because in my mind you | 0:09:48 | 0:09:48 | |
are looking younger because in my mind you are | 0:09:48 | 0:09:48 | |
are looking younger because in my mind you are younger | 0:09:48 | 0:09:49 | |
are looking younger because in my mind you are younger than | 0:09:49 | 0:09:50 | |
are looking younger because in my middle-aged man sitting | 0:09:50 | 0:09:50 | |
are looking younger because in my middle-aged man sitting in | 0:09:50 | 0:09:50 | |
are looking younger because in my middle-aged man sitting in front | 0:09:50 | 0:09:51 | |
are looking younger because in my middle-aged man sitting in front of | 0:09:51 | 0:09:51 | |
middle-aged man sitting in front of me. | 0:09:51 | 0:09:57 | |
me. Jonny's | 0:09:57 | 0:09:58 | |
me. Jonny's manner | 0:09:58 | 0:09:58 | |
me. Jonny's manner is | 0:09:58 | 0:09:58 | |
me. Jonny's manner is flirty. | 0:09:58 | 0:10:00 | |
me. Jonny's manner is flirty. He | 0:10:00 | 0:10:01 | |
me. Jonny's manner is flirty. He flirts | 0:10:01 | 0:10:01 | |
Jonny's manner is flirty. He flirts with | 0:10:01 | 0:10:01 | |
Jonny's manner is flirty. He flirts with anything, | 0:10:01 | 0:10:02 | |
Jonny's manner is flirty. He flirts with anything, old | 0:10:02 | 0:10:02 | |
Jonny's manner is flirty. He flirts with anything, old people, | 0:10:02 | 0:10:02 | |
Jonny's manner is flirty. He flirts with anything, old people, dead | 0:10:02 | 0:10:03 | |
with anything, old people, dead people, | 0:10:03 | 0:10:03 | |
with anything, old people, dead people, his | 0:10:03 | 0:10:03 | |
with anything, old people, dead people, his manner | 0:10:03 | 0:10:03 | |
with anything, old people, dead people, his manner is | 0:10:03 | 0:10:04 | |
with anything, old people, dead people, his manner is just, | 0:10:04 | 0:10:04 | |
with anything, old people, dead people, his manner is just, it | 0:10:04 | 0:10:04 | |
with anything, old people, dead people, his manner is just, it is | 0:10:04 | 0:10:04 | |
with anything, old people, dead people, his manner is just, it is a | 0:10:04 | 0:10:05 | |
people, his manner is just, it is a version | 0:10:05 | 0:10:05 | |
people, his manner is just, it is a version of | 0:10:05 | 0:10:05 | |
people, his manner is just, it is a version of charm, | 0:10:05 | 0:10:05 | |
people, his manner is just, it is a version of charm, he | 0:10:05 | 0:10:06 | |
people, his manner is just, it is a version of charm, he is | 0:10:06 | 0:10:06 | |
people, his manner is just, it is a version of charm, he is a | 0:10:06 | 0:10:06 | |
people, his manner is just, it is a version of charm, he is a charming | 0:10:06 | 0:10:06 | |
version of charm, he is a charming bloke. | 0:10:06 | 0:10:07 | |
version of charm, he is a charming bloke. When | 0:10:07 | 0:10:07 | |
version of charm, he is a charming bloke. When he | 0:10:07 | 0:10:08 | |
version of charm, he is a charming bloke. When he has | 0:10:08 | 0:10:08 | |
version of charm, he is a charming bloke. When he has painted | 0:10:08 | 0:10:09 | |
version of charm, he is a charming bloke. When he has painted me | 0:10:09 | 0:10:09 | |
version of charm, he is a charming bloke. When he has painted me it | 0:10:09 | 0:10:09 | |
version of charm, he is a charming bloke. When he has painted me it is | 0:10:09 | 0:10:10 | |
bloke. When he has painted me it is strange | 0:10:10 | 0:10:10 | |
bloke. When he has painted me it is strange watching | 0:10:10 | 0:10:10 | |
bloke. When he has painted me it is strange watching him. | 0:10:10 | 0:10:11 | |
bloke. When he has painted me it is strange watching him. Purse | 0:10:11 | 0:10:12 | |
bloke. When he has painted me it is strange watching him. Purse his | 0:10:12 | 0:10:12 | |
bloke. When he has painted me it is strange watching him. Purse his lips | 0:10:12 | 0:10:12 | |
strange watching him. Purse his lips and | 0:10:12 | 0:10:13 | |
strange watching him. Purse his lips and do | 0:10:13 | 0:10:13 | |
strange watching him. Purse his lips and do that thing. | 0:10:13 | 0:10:14 | |
strange watching him. Purse his lips and do that thing. I | 0:10:14 | 0:10:14 | |
strange watching him. Purse his lips and do that thing. I feel, | 0:10:14 | 0:10:15 | |
strange watching him. Purse his lips and do that thing. I feel, no, | 0:10:15 | 0:10:16 | |
strange watching him. Purse his lips and do that thing. I feel, no, it | 0:10:16 | 0:10:16 | |
strange watching him. Purse his lips and do that thing. I feel, no, it is | 0:10:16 | 0:10:16 | |
and do that thing. I feel, no, it is Jonny, | 0:10:16 | 0:10:17 | |
and do that thing. I feel, no, it is Jonny, he | 0:10:17 | 0:10:17 | |
and do that thing. I feel, no, it is Jonny, he just | 0:10:17 | 0:10:17 | |
and do that thing. I feel, no, it is Jonny, he just wants | 0:10:17 | 0:10:18 | |
and do that thing. I feel, no, it is Jonny, he just wants to | 0:10:18 | 0:10:18 | |
and do that thing. I feel, no, it is Jonny, he just wants to paint | 0:10:18 | 0:10:18 | |
and do that thing. I feel, no, it is Jonny, he just wants to paint me. | 0:10:18 | 0:10:20 | |
Jonny, he just wants to paint me. There | 0:10:20 | 0:10:21 | |
Jonny, he just wants to paint me. There is | 0:10:21 | 0:10:21 | |
Jonny, he just wants to paint me. There is a | 0:10:21 | 0:10:21 | |
Jonny, he just wants to paint me. There is a level at | 0:10:21 | 0:10:22 | |
Jonny, he just wants to paint me. There is a level at which, | 0:10:22 | 0:10:22 | |
Jonny, he just wants to paint me. There is a level at which, even | 0:10:22 | 0:10:22 | |
Jonny, he just wants to paint me. There is a level at which, even if | 0:10:22 | 0:10:22 | |
There is a level at which, even if you | 0:10:22 | 0:10:23 | |
There is a level at which, even if you are | 0:10:23 | 0:10:23 | |
There is a level at which, even if you are being | 0:10:23 | 0:10:23 | |
There is a level at which, even if you are being painted | 0:10:23 | 0:10:24 | |
There is a level at which, even if you are being painted by | 0:10:24 | 0:10:24 | |
There is a level at which, even if you are being painted by one | 0:10:24 | 0:10:24 | |
There is a level at which, even if you are being painted by one of | 0:10:24 | 0:10:24 | |
There is a level at which, even if you are being painted by one of your | 0:10:24 | 0:10:25 | |
you are being painted by one of your best | 0:10:25 | 0:10:25 | |
you are being painted by one of your best friends, | 0:10:25 | 0:10:25 | |
you are being painted by one of your best friends, really, | 0:10:25 | 0:10:26 | |
you are being painted by one of your best friends, really, I | 0:10:26 | 0:10:27 | |
you are being painted by one of your best friends, really, I want | 0:10:27 | 0:10:27 | |
you are being painted by one of your best friends, really, I want to | 0:10:27 | 0:10:27 | |
you are being painted by one of your best friends, really, I want to look | 0:10:27 | 0:10:28 | |
best friends, really, I want to look young, | 0:10:28 | 0:10:28 | |
best friends, really, I want to look young, thin | 0:10:28 | 0:10:29 | |
best friends, really, I want to look young, thin and | 0:10:29 | 0:10:29 | |
best friends, really, I want to look young, thin and handsome. | 0:10:29 | 0:10:33 | |
The | 0:10:45 | 0:10:46 | |
The great | 0:10:46 | 0:10:46 | |
The great for | 0:10:46 | 0:10:47 | |
The great for traitist | 0:10:47 | 0:10:47 | |
The great for traitist of | 0:10:47 | 0:10:47 | |
The great for traitist of the | 0:10:47 | 0:10:47 | |
The great for traitist of the past | 0:10:47 | 0:10:48 | |
The great for traitist of the past would | 0:10:48 | 0:10:48 | |
The great for traitist of the past would do | 0:10:48 | 0:10:49 | |
The great for traitist of the past would do five or | 0:10:49 | 0:10:49 | |
The great for traitist of the past would do five or six | 0:10:49 | 0:10:49 | |
The great for traitist of the past would do five or six sittings | 0:10:49 | 0:10:49 | |
The great for traitist of the past would do five or six sittings a | 0:10:49 | 0:10:50 | |
The great for traitist of the past would do five or six sittings a day | 0:10:50 | 0:10:51 | |
would do five or six sittings a day and | 0:10:51 | 0:10:51 | |
would do five or six sittings a day and Jonathan's | 0:10:51 | 0:10:51 | |
would do five or six sittings a day and Jonathan's schedule | 0:10:51 | 0:10:51 | |
would do five or six sittings a day and Jonathan's schedule is | 0:10:51 | 0:10:52 | |
would do five or six sittings a day and Jonathan's schedule is just | 0:10:52 | 0:10:53 | |
would do five or six sittings a day and Jonathan's schedule is just as | 0:10:53 | 0:10:53 | |
and Jonathan's schedule is just as busy. | 0:10:53 | 0:10:54 | |
and Jonathan's schedule is just as busy. -- | 0:10:54 | 0:10:54 | |
and Jonathan's schedule is just as busy. -- portraitist. | 0:10:54 | 0:10:56 | |
busy. -- portraitist. Tom | 0:10:56 | 0:10:56 | |
busy. -- portraitist. Tom Hollander | 0:10:56 | 0:10:56 | |
busy. -- portraitist. Tom Hollander is | 0:10:56 | 0:10:57 | |
busy. -- portraitist. Tom Hollander is due | 0:10:57 | 0:10:57 | |
busy. -- portraitist. Tom Hollander is due back | 0:10:57 | 0:10:57 | |
busy. -- portraitist. Tom Hollander is due back in | 0:10:57 | 0:10:57 | |
busy. -- portraitist. Tom Hollander is due back in the | 0:10:57 | 0:10:58 | |
Tom Hollander is due back in the studio | 0:10:58 | 0:10:58 | |
Tom Hollander is due back in the studio for | 0:10:58 | 0:10:58 | |
Tom Hollander is due back in the studio for a | 0:10:58 | 0:10:59 | |
Tom Hollander is due back in the studio for a second | 0:10:59 | 0:10:59 | |
Tom Hollander is due back in the studio for a second sitting. | 0:10:59 | 0:11:01 | |
studio for a second sitting. The | 0:11:01 | 0:11:01 | |
studio for a second sitting. The portrait | 0:11:01 | 0:11:01 | |
studio for a second sitting. The portrait has | 0:11:01 | 0:11:02 | |
studio for a second sitting. The portrait has been | 0:11:02 | 0:11:02 | |
studio for a second sitting. The portrait has been developing | 0:11:02 | 0:11:03 | |
The portrait has been developing layer | 0:11:03 | 0:11:03 | |
The portrait has been developing layer by | 0:11:03 | 0:11:04 | |
The portrait has been developing layer by layer | 0:11:04 | 0:11:04 | |
The portrait has been developing layer by layer in | 0:11:04 | 0:11:04 | |
The portrait has been developing layer by layer in his | 0:11:04 | 0:11:04 | |
The portrait has been developing layer by layer in his absence. | 0:11:04 | 0:11:08 | |
layer by layer in his absence. At | 0:11:08 | 0:11:08 | |
layer by layer in his absence. At this | 0:11:08 | 0:11:08 | |
layer by layer in his absence. At this stage | 0:11:08 | 0:11:09 | |
layer by layer in his absence. At this stage I | 0:11:09 | 0:11:09 | |
layer by layer in his absence. At this stage I am | 0:11:09 | 0:11:09 | |
layer by layer in his absence. At this stage I am trying | 0:11:09 | 0:11:09 | |
layer by layer in his absence. At this stage I am trying to | 0:11:09 | 0:11:09 | |
layer by layer in his absence. At this stage I am trying to make | 0:11:09 | 0:11:10 | |
At this stage I am trying to make sure | 0:11:10 | 0:11:10 | |
At this stage I am trying to make sure it | 0:11:10 | 0:11:10 | |
At this stage I am trying to make sure it is | 0:11:10 | 0:11:11 | |
At this stage I am trying to make sure it is working | 0:11:11 | 0:11:11 | |
At this stage I am trying to make sure it is working proportionately, | 0:11:11 | 0:11:11 | |
sure it is working proportionately, I | 0:11:11 | 0:11:12 | |
sure it is working proportionately, I am | 0:11:12 | 0:11:12 | |
sure it is working proportionately, I am trying | 0:11:12 | 0:11:12 | |
sure it is working proportionately, I am trying to | 0:11:12 | 0:11:12 | |
sure it is working proportionately, I am trying to get | 0:11:12 | 0:11:13 | |
sure it is working proportionately, I am trying to get the | 0:11:13 | 0:11:13 | |
sure it is working proportionately, I am trying to get the right | 0:11:13 | 0:11:13 | |
sure it is working proportionately, I am trying to get the right balance | 0:11:13 | 0:11:14 | |
I am trying to get the right balance between | 0:11:14 | 0:11:14 | |
I am trying to get the right balance between structure | 0:11:14 | 0:11:15 | |
I am trying to get the right balance between structure and | 0:11:15 | 0:11:15 | |
I am trying to get the right balance between structure and precision, | 0:11:15 | 0:11:16 | |
I am trying to get the right balance between structure and precision, and | 0:11:16 | 0:11:16 | |
between structure and precision, and also | 0:11:16 | 0:11:16 | |
between structure and precision, and also leave | 0:11:16 | 0:11:17 | |
between structure and precision, and also leave some | 0:11:17 | 0:11:17 | |
between structure and precision, and also leave some areas | 0:11:17 | 0:11:18 | |
between structure and precision, and also leave some areas a | 0:11:18 | 0:11:18 | |
between structure and precision, and also leave some areas a bit | 0:11:18 | 0:11:18 | |
between structure and precision, and also leave some areas a bit vague, | 0:11:18 | 0:11:19 | |
also leave some areas a bit vague, abstract. | 0:11:19 | 0:11:20 | |
abstract. There | 0:11:20 | 0:11:20 | |
abstract. There is | 0:11:20 | 0:11:20 | |
abstract. There is still | 0:11:20 | 0:11:21 | |
abstract. There is still a | 0:11:21 | 0:11:21 | |
abstract. There is still a few | 0:11:21 | 0:11:21 | |
abstract. There is still a few things | 0:11:21 | 0:11:22 | |
abstract. There is still a few things to | 0:11:22 | 0:11:23 | |
There is still a few things to resolve. | 0:11:23 | 0:11:23 | |
There is still a few things to resolve. I | 0:11:23 | 0:11:23 | |
There is still a few things to resolve. I have | 0:11:23 | 0:11:23 | |
There is still a few things to resolve. I have done | 0:11:23 | 0:11:23 | |
There is still a few things to resolve. I have done each | 0:11:23 | 0:11:24 | |
There is still a few things to resolve. I have done each eye | 0:11:24 | 0:11:24 | |
There is still a few things to resolve. I have done each eye on | 0:11:24 | 0:11:25 | |
resolve. I have done each eye on different | 0:11:25 | 0:11:25 | |
resolve. I have done each eye on different day, | 0:11:25 | 0:11:25 | |
resolve. I have done each eye on different day, so | 0:11:25 | 0:11:26 | |
resolve. I have done each eye on different day, so they | 0:11:26 | 0:11:26 | |
resolve. I have done each eye on different day, so they need | 0:11:26 | 0:11:26 | |
resolve. I have done each eye on different day, so they need to | 0:11:26 | 0:11:26 | |
resolve. I have done each eye on different day, so they need to be | 0:11:26 | 0:11:26 | |
different day, so they need to be brought | 0:11:26 | 0:11:26 | |
different day, so they need to be brought together | 0:11:26 | 0:11:27 | |
different day, so they need to be brought together so | 0:11:27 | 0:11:27 | |
different day, so they need to be brought together so they | 0:11:27 | 0:11:27 | |
different day, so they need to be brought together so they match | 0:11:27 | 0:11:27 | |
different day, so they need to be brought together so they match up. | 0:11:27 | 0:11:29 | |
brought together so they match up. Tom | 0:11:29 | 0:11:30 | |
brought together so they match up. Tom has | 0:11:30 | 0:11:30 | |
brought together so they match up. Tom has been | 0:11:30 | 0:11:31 | |
brought together so they match up. Tom has been working | 0:11:31 | 0:11:31 | |
brought together so they match up. Tom has been working hard. | 0:11:31 | 0:11:33 | |
brought together so they match up. Tom has been working hard. At | 0:11:33 | 0:11:33 | |
Tom has been working hard. At getting | 0:11:33 | 0:11:34 | |
Tom has been working hard. At getting into | 0:11:34 | 0:11:34 | |
Tom has been working hard. At getting into his | 0:11:34 | 0:11:34 | |
Tom has been working hard. At getting into his new | 0:11:34 | 0:11:35 | |
Tom has been working hard. At getting into his new role | 0:11:35 | 0:11:35 | |
Tom has been working hard. At getting into his new role as | 0:11:35 | 0:11:36 | |
Tom has been working hard. At getting into his new role as Dylan | 0:11:36 | 0:11:36 | |
getting into his new role as Dylan Thomas. | 0:11:36 | 0:11:40 | |
Thomas. Hi. | 0:11:40 | 0:11:42 | |
Thomas. Hi. How | 0:11:42 | 0:11:42 | |
Thomas. Hi. How are | 0:11:42 | 0:11:42 | |
Thomas. Hi. How are you? | 0:11:42 | 0:11:44 | |
Thomas. Hi. How are you? Hi. | 0:11:44 | 0:11:47 | |
Thomas. Hi. How are you? Hi. So, | 0:11:47 | 0:11:47 | |
Thomas. Hi. How are you? Hi. So, I | 0:11:47 | 0:11:48 | |
Thomas. Hi. How are you? Hi. So, I was | 0:11:48 | 0:11:48 | |
Hi. How are you? Hi. So, I was wondering | 0:11:48 | 0:11:48 | |
Hi. How are you? Hi. So, I was wondering how | 0:11:48 | 0:11:49 | |
Hi. How are you? Hi. So, I was wondering how much | 0:11:49 | 0:11:49 | |
Hi. How are you? Hi. So, I was wondering how much you | 0:11:49 | 0:11:49 | |
Hi. How are you? Hi. So, I was wondering how much you would | 0:11:49 | 0:11:49 | |
Hi. How are you? Hi. So, I was wondering how much you would be | 0:11:49 | 0:11:50 | |
Hi. How are you? Hi. So, I was wondering how much you would be have | 0:11:50 | 0:11:50 | |
wondering how much you would be have put | 0:11:50 | 0:11:50 | |
wondering how much you would be have put on | 0:11:50 | 0:11:51 | |
wondering how much you would be have put on weight. | 0:11:51 | 0:11:52 | |
wondering how much you would be have put on weight. How | 0:11:52 | 0:11:52 | |
wondering how much you would be have put on weight. How fat | 0:11:52 | 0:11:53 | |
wondering how much you would be have put on weight. How fat I | 0:11:53 | 0:11:53 | |
wondering how much you would be have put on weight. How fat I was | 0:11:53 | 0:11:53 | |
wondering how much you would be have put on weight. How fat I was going | 0:11:53 | 0:11:54 | |
put on weight. How fat I was going to | 0:11:54 | 0:11:54 | |
put on weight. How fat I was going to be. | 0:11:54 | 0:11:55 | |
put on weight. How fat I was going to be. I | 0:11:55 | 0:11:55 | |
put on weight. How fat I was going to be. I am | 0:11:55 | 0:11:56 | |
put on weight. How fat I was going to be. I am a | 0:11:56 | 0:11:56 | |
put on weight. How fat I was going to be. I am a bit | 0:11:56 | 0:11:56 | |
put on weight. How fat I was going to be. I am a bit disappointed. | 0:11:56 | 0:11:57 | |
put on weight. How fat I was going to be. I am a bit disappointed. I | 0:11:57 | 0:11:57 | |
to be. I am a bit disappointed. I can't | 0:11:57 | 0:11:57 | |
to be. I am a bit disappointed. I can't put | 0:11:57 | 0:11:58 | |
to be. I am a bit disappointed. I can't put on | 0:11:58 | 0:11:58 | |
to be. I am a bit disappointed. I can't put on weight. | 0:11:58 | 0:11:58 | |
to be. I am a bit disappointed. I can't put on weight. I | 0:11:58 | 0:11:58 | |
to be. I am a bit disappointed. I can't put on weight. I have | 0:11:58 | 0:11:58 | |
to be. I am a bit disappointed. I can't put on weight. I have put | 0:11:58 | 0:11:59 | |
to be. I am a bit disappointed. I can't put on weight. I have put on | 0:11:59 | 0:11:59 | |
to be. I am a bit disappointed. I can't put on weight. I have put on a | 0:11:59 | 0:11:59 | |
can't put on weight. I have put on a stone, | 0:11:59 | 0:11:59 | |
can't put on weight. I have put on a stone, but | 0:11:59 | 0:12:00 | |
can't put on weight. I have put on a stone, but it | 0:12:00 | 0:12:00 | |
can't put on weight. I have put on a stone, but it is | 0:12:00 | 0:12:00 | |
can't put on weight. I have put on a stone, but it is in | 0:12:00 | 0:12:00 | |
can't put on weight. I have put on a stone, but it is in all | 0:12:00 | 0:12:01 | |
can't put on weight. I have put on a stone, but it is in all the | 0:12:01 | 0:12:01 | |
can't put on weight. I have put on a stone, but it is in all the wrong | 0:12:01 | 0:12:01 | |
stone, but it is in all the wrong places. | 0:12:01 | 0:12:05 | |
places. Are | 0:12:05 | 0:12:05 | |
places. Are you | 0:12:05 | 0:12:06 | |
places. Are you availing | 0:12:06 | 0:12:06 | |
places. Are you availing yourself | 0:12:06 | 0:12:06 | |
places. Are you availing yourself of | 0:12:06 | 0:12:07 | |
places. Are you availing yourself of the | 0:12:07 | 0:12:07 | |
Are you availing yourself of the magic | 0:12:07 | 0:12:07 | |
Are you availing yourself of the magic of booze. | 0:12:07 | 0:12:08 | |
Are you availing yourself of the magic of booze. I | 0:12:08 | 0:12:08 | |
Are you availing yourself of the magic of booze. I may | 0:12:08 | 0:12:08 | |
Are you availing yourself of the magic of booze. I may have | 0:12:08 | 0:12:08 | |
Are you availing yourself of the magic of booze. I may have to | 0:12:08 | 0:12:09 | |
Are you availing yourself of the magic of booze. I may have to resort | 0:12:09 | 0:12:09 | |
magic of booze. I may have to resort to | 0:12:09 | 0:12:09 | |
magic of booze. I may have to resort to that. | 0:12:09 | 0:12:10 | |
magic of booze. I may have to resort to that. Beer | 0:12:10 | 0:12:10 | |
magic of booze. I may have to resort to that. Beer is | 0:12:10 | 0:12:10 | |
magic of booze. I may have to resort to that. Beer is good. | 0:12:10 | 0:12:11 | |
magic of booze. I may have to resort to that. Beer is good. I | 0:12:11 | 0:12:11 | |
magic of booze. I may have to resort to that. Beer is good. I don't | 0:12:11 | 0:12:11 | |
magic of booze. I may have to resort to that. Beer is good. I don't know, | 0:12:11 | 0:12:11 | |
to that. Beer is good. I don't know, the | 0:12:11 | 0:12:11 | |
to that. Beer is good. I don't know, the problem | 0:12:11 | 0:12:12 | |
to that. Beer is good. I don't know, the problem is | 0:12:12 | 0:12:12 | |
to that. Beer is good. I don't know, the problem is I | 0:12:12 | 0:12:12 | |
to that. Beer is good. I don't know, the problem is I would | 0:12:12 | 0:12:12 | |
to that. Beer is good. I don't know, the problem is I would love | 0:12:12 | 0:12:13 | |
to that. Beer is good. I don't know, the problem is I would love to | 0:12:13 | 0:12:13 | |
to that. Beer is good. I don't know, the problem is I would love to give | 0:12:13 | 0:12:13 | |
the problem is I would love to give myself | 0:12:13 | 0:12:13 | |
the problem is I would love to give myself over | 0:12:13 | 0:12:14 | |
the problem is I would love to give myself over to | 0:12:14 | 0:12:14 | |
the problem is I would love to give myself over to booze | 0:12:14 | 0:12:14 | |
the problem is I would love to give myself over to booze but | 0:12:14 | 0:12:14 | |
the problem is I would love to give myself over to booze but I | 0:12:14 | 0:12:15 | |
the problem is I would love to give myself over to booze but I can't | 0:12:15 | 0:12:15 | |
myself over to booze but I can't learn | 0:12:15 | 0:12:15 | |
myself over to booze but I can't learn my | 0:12:15 | 0:12:15 | |
myself over to booze but I can't learn my lines if | 0:12:15 | 0:12:16 | |
myself over to booze but I can't learn my lines if I | 0:12:16 | 0:12:16 | |
myself over to booze but I can't learn my lines if I am | 0:12:16 | 0:12:17 | |
myself over to booze but I can't learn my lines if I am drunk. | 0:12:17 | 0:12:18 | |
learn my lines if I am drunk. I | 0:12:18 | 0:12:18 | |
learn my lines if I am drunk. I mean | 0:12:18 | 0:12:18 | |
learn my lines if I am drunk. I mean it | 0:12:18 | 0:12:19 | |
learn my lines if I am drunk. I mean it is | 0:12:19 | 0:12:19 | |
learn my lines if I am drunk. I mean it is funny, | 0:12:19 | 0:12:19 | |
learn my lines if I am drunk. I mean it is funny, helping | 0:12:19 | 0:12:20 | |
learn my lines if I am drunk. I mean it is funny, helping yourself | 0:12:20 | 0:12:20 | |
I mean it is funny, helping yourself to | 0:12:20 | 0:12:20 | |
I mean it is funny, helping yourself to a | 0:12:20 | 0:12:20 | |
I mean it is funny, helping yourself to a large | 0:12:20 | 0:12:21 | |
I mean it is funny, helping yourself to a large glass | 0:12:21 | 0:12:22 | |
I mean it is funny, helping yourself to a large glass of | 0:12:22 | 0:12:22 | |
I mean it is funny, helping yourself to a large glass of whisky | 0:12:22 | 0:12:22 | |
I mean it is funny, helping yourself to a large glass of whisky saying, | 0:12:22 | 0:12:23 | |
to a large glass of whisky saying, "I | 0:12:23 | 0:12:25 | |
to a large glass of whisky saying, "I am | 0:12:25 | 0:12:25 | |
to a large glass of whisky saying, "I am working." | 0:12:25 | 0:12:30 | |
to a large glass of whisky saying, "I am working." "Still | 0:12:30 | 0:12:30 | |
to a large glass of whisky saying, "I am working." "Still working. | 0:12:30 | 0:12:32 | |
to a large glass of whisky saying, "I am working." "Still working. More | 0:12:32 | 0:12:32 | |
"I am working." "Still working. More work." | 0:12:32 | 0:12:35 | |
"I am working." "Still working. More work." What | 0:12:35 | 0:12:36 | |
"I am working." "Still working. More work." What sort | 0:12:36 | 0:12:36 | |
"I am working." "Still working. More work." What sort of | 0:12:36 | 0:12:36 | |
"I am working." "Still working. More work." What sort of expression | 0:12:36 | 0:12:37 | |
"I am working." "Still working. More work." What sort of expression are | 0:12:37 | 0:12:37 | |
work." What sort of expression are you | 0:12:37 | 0:12:37 | |
work." What sort of expression are you going | 0:12:37 | 0:12:38 | |
work." What sort of expression are you going for? | 0:12:38 | 0:12:38 | |
work." What sort of expression are you going for? Worried? | 0:12:38 | 0:12:39 | |
work." What sort of expression are you going for? Worried? Heroic? | 0:12:39 | 0:12:41 | |
you going for? Worried? Heroic? Anxious? | 0:12:41 | 0:12:43 | |
you going for? Worried? Heroic? Anxious? Hopefully | 0:12:43 | 0:12:43 | |
you going for? Worried? Heroic? Anxious? Hopefully a | 0:12:43 | 0:12:43 | |
you going for? Worried? Heroic? Anxious? Hopefully a bit | 0:12:43 | 0:12:44 | |
you going for? Worried? Heroic? Anxious? Hopefully a bit of | 0:12:44 | 0:12:44 | |
you going for? Worried? Heroic? Anxious? Hopefully a bit of all | 0:12:44 | 0:12:45 | |
you going for? Worried? Heroic? Anxious? Hopefully a bit of all of | 0:12:45 | 0:12:45 | |
Anxious? Hopefully a bit of all of those | 0:12:45 | 0:12:45 | |
Anxious? Hopefully a bit of all of those things. | 0:12:45 | 0:12:48 | |
those things. I | 0:12:48 | 0:12:48 | |
those things. I am | 0:12:48 | 0:12:48 | |
those things. I am looking | 0:12:48 | 0:12:48 | |
those things. I am looking at | 0:12:48 | 0:12:48 | |
those things. I am looking at what | 0:12:48 | 0:12:49 | |
those things. I am looking at what is | 0:12:49 | 0:12:49 | |
those things. I am looking at what is on | 0:12:49 | 0:12:49 | |
those things. I am looking at what is on the | 0:12:49 | 0:12:50 | |
those things. I am looking at what is on the wall | 0:12:50 | 0:12:50 | |
I am looking at what is on the wall and | 0:12:50 | 0:12:50 | |
I am looking at what is on the wall and realising | 0:12:50 | 0:12:50 | |
I am looking at what is on the wall and realising that | 0:12:50 | 0:12:50 | |
I am looking at what is on the wall and realising that is | 0:12:50 | 0:12:51 | |
I am looking at what is on the wall and realising that is your skill, | 0:12:51 | 0:12:51 | |
and realising that is your skill, isn't | 0:12:51 | 0:12:52 | |
and realising that is your skill, isn't it, | 0:12:52 | 0:12:52 | |
and realising that is your skill, isn't it, of | 0:12:52 | 0:12:52 | |
and realising that is your skill, isn't it, of showing | 0:12:52 | 0:12:53 | |
and realising that is your skill, isn't it, of showing many people | 0:12:53 | 0:12:54 | |
and realising that is your skill, isn't it, of showing many people in | 0:12:54 | 0:12:54 | |
isn't it, of showing many people in one | 0:12:54 | 0:12:54 | |
isn't it, of showing many people in one person. | 0:12:54 | 0:12:57 | |
one person. Having | 0:12:57 | 0:12:58 | |
one person. Having a | 0:12:58 | 0:12:58 | |
one person. Having a pressure | 0:12:58 | 0:12:58 | |
one person. Having a pressure of | 0:12:58 | 0:12:59 | |
one person. Having a pressure of doing | 0:12:59 | 0:12:59 | |
one person. Having a pressure of doing a | 0:12:59 | 0:12:59 | |
one person. Having a pressure of doing a show, | 0:12:59 | 0:13:00 | |
Having a pressure of doing a show, having | 0:13:00 | 0:13:00 | |
Having a pressure of doing a show, having to | 0:13:00 | 0:13:00 | |
Having a pressure of doing a show, having to churn | 0:13:00 | 0:13:00 | |
Having a pressure of doing a show, having to churn out | 0:13:00 | 0:13:01 | |
Having a pressure of doing a show, having to churn out a | 0:13:01 | 0:13:01 | |
Having a pressure of doing a show, having to churn out a lot | 0:13:01 | 0:13:01 | |
Having a pressure of doing a show, having to churn out a lot of | 0:13:01 | 0:13:02 | |
Having a pressure of doing a show, having to churn out a lot of stuff, | 0:13:02 | 0:13:02 | |
having to churn out a lot of stuff, churn | 0:13:02 | 0:13:03 | |
having to churn out a lot of stuff, churn out | 0:13:03 | 0:13:03 | |
having to churn out a lot of stuff, churn out perhaps | 0:13:03 | 0:13:03 | |
having to churn out a lot of stuff, churn out perhaps not | 0:13:03 | 0:13:04 | |
having to churn out a lot of stuff, churn out perhaps not the | 0:13:04 | 0:13:04 | |
having to churn out a lot of stuff, churn out perhaps not the right | 0:13:04 | 0:13:04 | |
churn out perhaps not the right expression. | 0:13:04 | 0:13:05 | |
churn out perhaps not the right expression. That | 0:13:05 | 0:13:05 | |
churn out perhaps not the right expression. That is | 0:13:05 | 0:13:06 | |
churn out perhaps not the right expression. That is probably | 0:13:06 | 0:13:06 | |
churn out perhaps not the right expression. That is probably exactly | 0:13:06 | 0:13:06 | |
expression. That is probably exactly the | 0:13:06 | 0:13:07 | |
expression. That is probably exactly the right. | 0:13:07 | 0:13:08 | |
the right. That | 0:13:08 | 0:13:08 | |
the right. That is | 0:13:08 | 0:13:08 | |
the right. That is the | 0:13:08 | 0:13:09 | |
the right. That is the thing | 0:13:09 | 0:13:09 | |
the right. That is the thing you | 0:13:09 | 0:13:09 | |
the right. That is the thing you get | 0:13:09 | 0:13:10 | |
the right. That is the thing you get a | 0:13:10 | 0:13:10 | |
the right. That is the thing you get a lot | 0:13:10 | 0:13:10 | |
That is the thing you get a lot done. | 0:13:10 | 0:13:12 | |
That is the thing you get a lot done. Most | 0:13:12 | 0:13:12 | |
That is the thing you get a lot done. Most of | 0:13:12 | 0:13:12 | |
That is the thing you get a lot done. Most of the | 0:13:12 | 0:13:12 | |
That is the thing you get a lot done. Most of the paintings | 0:13:12 | 0:13:13 | |
That is the thing you get a lot done. Most of the paintings will | 0:13:13 | 0:13:13 | |
done. Most of the paintings will have | 0:13:13 | 0:13:14 | |
done. Most of the paintings will have happened in | 0:13:14 | 0:13:14 | |
done. Most of the paintings will have happened in the | 0:13:14 | 0:13:14 | |
done. Most of the paintings will have happened in the last | 0:13:14 | 0:13:14 | |
done. Most of the paintings will have happened in the last nine | 0:13:14 | 0:13:15 | |
have happened in the last nine months. | 0:13:15 | 0:13:16 | |
have happened in the last nine months. I | 0:13:16 | 0:13:16 | |
have happened in the last nine months. I find | 0:13:16 | 0:13:17 | |
have happened in the last nine months. I find the | 0:13:17 | 0:13:17 | |
have happened in the last nine months. I find the most | 0:13:17 | 0:13:17 | |
have happened in the last nine months. I find the most productive | 0:13:17 | 0:13:18 | |
have happened in the last nine place to | 0:13:18 | 0:13:18 | |
have happened in the last nine place to be | 0:13:18 | 0:13:19 | |
have happened in the last nine place to be is | 0:13:19 | 0:13:19 | |
have happened in the last nine place to be is not | 0:13:19 | 0:13:20 | |
have happened in the last nine place to be is not comfortable | 0:13:20 | 0:13:21 | |
place to be is not comfortable Exactly. | 0:13:21 | 0:13:22 | |
place to be is not comfortable Exactly. You | 0:13:22 | 0:13:22 | |
place to be is not comfortable Exactly. You get, | 0:13:22 | 0:13:22 | |
place to be is not comfortable Exactly. You get, you | 0:13:22 | 0:13:22 | |
place to be is not comfortable Exactly. You get, you come | 0:13:22 | 0:13:23 | |
place to be is not comfortable Exactly. You get, you come up | 0:13:23 | 0:13:23 | |
place to be is not comfortable Exactly. You get, you come up with | 0:13:23 | 0:13:23 | |
Exactly. You get, you come up with things | 0:13:23 | 0:13:24 | |
Exactly. You get, you come up with things you | 0:13:24 | 0:13:24 | |
Exactly. You get, you come up with things you wouldn't | 0:13:24 | 0:13:24 | |
Exactly. You get, you come up with things you wouldn't have | 0:13:24 | 0:13:25 | |
Exactly. You get, you come up with things you wouldn't have and | 0:13:25 | 0:13:25 | |
Exactly. You get, you come up with things you wouldn't have and you | 0:13:25 | 0:13:25 | |
Exactly. You get, you come up with things you wouldn't have and you are | 0:13:25 | 0:13:26 | |
things you wouldn't have and you are forced | 0:13:26 | 0:13:26 | |
things you wouldn't have and you are forced to | 0:13:26 | 0:13:27 | |
things you wouldn't have and you are forced to find | 0:13:27 | 0:13:27 | |
things you wouldn't have and you are forced to find solution | 0:13:27 | 0:13:27 | |
things you wouldn't have and you are forced to find solution in | 0:13:27 | 0:13:28 | |
things you wouldn't have and you are forced to find solution in new | 0:13:28 | 0:13:28 | |
forced to find solution in new places. | 0:13:28 | 0:13:31 | |
Jonathan | 0:13:45 | 0:13:46 | |
Jonathan still | 0:13:46 | 0:13:46 | |
Jonathan still has | 0:13:46 | 0:13:47 | |
Jonathan still has several | 0:13:47 | 0:13:48 | |
Jonathan still has several campuses | 0:13:48 | 0:13:48 | |
Jonathan still has several campuses to | 0:13:48 | 0:13:48 | |
Jonathan still has several campuses to complete | 0:13:48 | 0:13:49 | |
Jonathan still has several campuses to complete before | 0:13:49 | 0:13:49 | |
Jonathan still has several campuses to complete before his | 0:13:49 | 0:13:49 | |
Jonathan still has several campuses to complete before his exhibition | 0:13:49 | 0:13:49 | |
to complete before his exhibition opens. | 0:13:49 | 0:13:50 | |
to complete before his exhibition opens. But | 0:13:50 | 0:13:51 | |
to complete before his exhibition opens. But he | 0:13:51 | 0:13:51 | |
to complete before his exhibition opens. But he will | 0:13:51 | 0:13:51 | |
to complete before his exhibition opens. But he will not | 0:13:51 | 0:13:52 | |
to complete before his exhibition opens. But he will not let | 0:13:52 | 0:13:52 | |
to complete before his exhibition opens. But he will not let it | 0:13:52 | 0:13:52 | |
to complete before his exhibition opens. But he will not let it stand | 0:13:52 | 0:13:52 | |
opens. But he will not let it stand in | 0:13:52 | 0:13:52 | |
opens. But he will not let it stand in the | 0:13:52 | 0:13:53 | |
opens. But he will not let it stand in the wake | 0:13:53 | 0:13:53 | |
opens. But he will not let it stand in the wake of | 0:13:53 | 0:13:53 | |
opens. But he will not let it stand in the wake of his summer | 0:13:53 | 0:13:54 | |
opens. But he will not let it stand in the wake of his summer break. | 0:13:54 | 0:13:56 | |
opens. But he will not let it stand in the wake of his summer break. He | 0:13:56 | 0:13:56 | |
in the wake of his summer break. He is | 0:13:56 | 0:13:56 | |
in the wake of his summer break. He is off | 0:13:56 | 0:13:57 | |
in the wake of his summer break. He is off to | 0:13:57 | 0:13:57 | |
in the wake of his summer break. He is off to the | 0:13:57 | 0:13:57 | |
in the wake of his summer break. He is off to the art | 0:13:57 | 0:13:57 | |
in the wake of his summer break. He is off to the art fair | 0:13:57 | 0:13:58 | |
in the wake of his summer break. He is off to the art fair calm | 0:13:58 | 0:13:58 | |
in the wake of his summer break. He is off to the art fair calm fashion | 0:13:58 | 0:13:58 | |
is off to the art fair calm fashion show | 0:13:58 | 0:13:58 | |
is off to the art fair calm fashion show which | 0:13:58 | 0:14:00 | |
is off to the art fair calm fashion show which is | 0:14:00 | 0:14:00 | |
is off to the art fair calm fashion show which is the | 0:14:00 | 0:14:01 | |
is off to the art fair calm fashion show which is the Venice | 0:14:01 | 0:14:01 | |
is off to the art fair calm fashion show which is the Venice Biennale. | 0:14:01 | 0:14:05 | |
show which is the Venice Biennale. -- | 0:14:05 | 0:14:05 | |
show which is the Venice Biennale. -- -- | 0:14:05 | 0:14:05 | |
show which is the Venice Biennale. -- -- cum. | 0:14:05 | 0:14:09 | |
show which is the Venice Biennale. -- -- cum. It | 0:14:09 | 0:14:09 | |
show which is the Venice Biennale. -- -- cum. It is | 0:14:09 | 0:14:09 | |
show which is the Venice Biennale. -- -- cum. It is the | 0:14:09 | 0:14:09 | |
show which is the Venice Biennale. -- -- cum. It is the place | 0:14:09 | 0:14:09 | |
show which is the Venice Biennale. -- -- cum. It is the place to | 0:14:09 | 0:14:10 | |
-- -- cum. It is the place to be seen. | 0:14:10 | 0:14:13 | |
-- -- cum. It is the place to be seen. It | 0:14:13 | 0:14:13 | |
-- -- cum. It is the place to be seen. It is | 0:14:13 | 0:14:14 | |
-- -- cum. It is the place to be seen. It is highbrow | 0:14:14 | 0:14:14 | |
-- -- cum. It is the place to be seen. It is highbrow on | 0:14:14 | 0:14:14 | |
-- -- cum. It is the place to be seen. It is highbrow on the | 0:14:14 | 0:14:14 | |
-- -- cum. It is the place to be seen. It is highbrow on the surface, | 0:14:14 | 0:14:15 | |
seen. It is highbrow on the surface, but | 0:14:15 | 0:14:16 | |
seen. It is highbrow on the surface, but mostly | 0:14:16 | 0:14:16 | |
seen. It is highbrow on the surface, but mostly it | 0:14:16 | 0:14:16 | |
seen. It is highbrow on the surface, but mostly it is | 0:14:16 | 0:14:17 | |
seen. It is highbrow on the surface, but mostly it is an | 0:14:17 | 0:14:17 | |
seen. It is highbrow on the surface, but mostly it is an excuse | 0:14:17 | 0:14:18 | |
seen. It is highbrow on the surface, but mostly it is an excuse to | 0:14:18 | 0:14:18 | |
seen. It is highbrow on the surface, but mostly it is an excuse to have | 0:14:18 | 0:14:18 | |
but mostly it is an excuse to have fun | 0:14:18 | 0:14:19 | |
but mostly it is an excuse to have fun and | 0:14:19 | 0:14:19 | |
but mostly it is an excuse to have fun and bump | 0:14:19 | 0:14:19 | |
but mostly it is an excuse to have fun and bump into | 0:14:19 | 0:14:19 | |
but mostly it is an excuse to have fun and bump into people | 0:14:19 | 0:14:20 | |
but mostly it is an excuse to have fun and bump into people you | 0:14:20 | 0:14:20 | |
but mostly it is an excuse to have fun and bump into people you do | 0:14:20 | 0:14:20 | |
but mostly it is an excuse to have fun and bump into people you do not | 0:14:20 | 0:14:20 | |
fun and bump into people you do not bother | 0:14:20 | 0:14:21 | |
fun and bump into people you do not bother to | 0:14:21 | 0:14:22 | |
fun and bump into people you do not bother to see | 0:14:22 | 0:14:22 | |
fun and bump into people you do not bother to see back | 0:14:22 | 0:14:22 | |
fun and bump into people you do not bother to see back at | 0:14:22 | 0:14:23 | |
fun and bump into people you do not bother to see back at home. | 0:14:23 | 0:14:25 | |
fun and bump into people you do not bother to see back at home. I | 0:14:25 | 0:14:26 | |
fun and bump into people you do not bother to see back at home. I am | 0:14:26 | 0:14:26 | |
bother to see back at home. I am also | 0:14:26 | 0:14:26 | |
bother to see back at home. I am also here | 0:14:26 | 0:14:26 | |
bother to see back at home. I am also here in | 0:14:26 | 0:14:27 | |
bother to see back at home. I am also here in my | 0:14:27 | 0:14:27 | |
bother to see back at home. I am also here in my capacity | 0:14:27 | 0:14:27 | |
bother to see back at home. I am also here in my capacity as | 0:14:27 | 0:14:28 | |
bother to see back at home. I am also here in my capacity as an | 0:14:28 | 0:14:28 | |
bother to see back at home. I am also here in my capacity as an art | 0:14:28 | 0:14:28 | |
also here in my capacity as an art critic. | 0:14:28 | 0:14:30 | |
also here in my capacity as an art critic. He | 0:14:30 | 0:14:30 | |
also here in my capacity as an art critic. He has | 0:14:30 | 0:14:30 | |
also here in my capacity as an art critic. He has invited | 0:14:30 | 0:14:31 | |
also here in my capacity as an art critic. He has invited me | 0:14:31 | 0:14:31 | |
also here in my capacity as an art critic. He has invited me to | 0:14:31 | 0:14:31 | |
also here in my capacity as an art critic. He has invited me to join | 0:14:31 | 0:14:32 | |
critic. He has invited me to join him | 0:14:32 | 0:14:32 | |
critic. He has invited me to join him at | 0:14:32 | 0:14:33 | |
critic. He has invited me to join him at the | 0:14:33 | 0:14:33 | |
critic. He has invited me to join him at the hottest | 0:14:33 | 0:14:33 | |
critic. He has invited me to join him at the hottest party | 0:14:33 | 0:14:33 | |
critic. He has invited me to join him at the hottest party in | 0:14:33 | 0:14:33 | |
critic. He has invited me to join him at the hottest party in town. | 0:14:33 | 0:14:40 | |
him at the hottest party in town. The | 0:14:40 | 0:14:41 | |
him at the hottest party in town. The hosts | 0:14:41 | 0:14:41 | |
him at the hottest party in town. The hosts is | 0:14:41 | 0:14:41 | |
him at the hottest party in town. The hosts is Victor | 0:14:41 | 0:14:41 | |
him at the hottest party in town. The hosts is Victor Pinchuk, | 0:14:41 | 0:14:43 | |
him at the hottest party in town. The hosts is Victor Pinchuk, an | 0:14:43 | 0:14:43 | |
The hosts is Victor Pinchuk, an extremely | 0:14:43 | 0:14:44 | |
The hosts is Victor Pinchuk, an extremely wealthy | 0:14:44 | 0:14:45 | |
The hosts is Victor Pinchuk, an extremely wealthy Ukrainian | 0:14:45 | 0:14:45 | |
The hosts is Victor Pinchuk, an extremely wealthy Ukrainian art | 0:14:45 | 0:14:45 | |
extremely wealthy Ukrainian art collector. | 0:14:45 | 0:14:50 | |
extremely wealthy Ukrainian art collector. Everyone | 0:14:50 | 0:14:50 | |
extremely wealthy Ukrainian art collector. Everyone with | 0:14:50 | 0:14:50 | |
extremely wealthy Ukrainian art collector. Everyone with an | 0:14:50 | 0:14:50 | |
collector. Everyone with an interest | 0:14:50 | 0:14:50 | |
collector. Everyone with an interest in | 0:14:50 | 0:14:51 | |
collector. Everyone with an interest in art | 0:14:51 | 0:14:51 | |
collector. Everyone with an interest in art is | 0:14:51 | 0:14:51 | |
collector. Everyone with an interest in art is here, | 0:14:51 | 0:14:52 | |
collector. Everyone with an interest in art is here, from | 0:14:52 | 0:14:52 | |
collector. Everyone with an interest in art is here, from Elton | 0:14:52 | 0:14:52 | |
interest in art is here, from Elton John, | 0:14:52 | 0:14:53 | |
interest in art is here, from Elton John, to | 0:14:53 | 0:14:53 | |
interest in art is here, from Elton John, to Damien | 0:14:53 | 0:14:53 | |
interest in art is here, from Elton John, to Damien Hirst, | 0:14:53 | 0:14:55 | |
interest in art is here, from Elton John, to Damien Hirst, sporting | 0:14:55 | 0:14:55 | |
interest in art is here, from Elton John, to Damien Hirst, sporting a | 0:14:55 | 0:14:56 | |
John, to Damien Hirst, sporting a jaunty | 0:14:56 | 0:14:57 | |
John, to Damien Hirst, sporting a jaunty captain's | 0:14:57 | 0:14:57 | |
John, to Damien Hirst, sporting a jaunty captain's cap. | 0:14:57 | 0:15:01 | |
John, to Damien Hirst, sporting a jaunty captain's cap. For | 0:15:01 | 0:15:01 | |
John, to Damien Hirst, sporting a jaunty captain's cap. For a | 0:15:01 | 0:15:01 | |
jaunty captain's cap. For a portrait | 0:15:01 | 0:15:02 | |
jaunty captain's cap. For a portrait painter | 0:15:02 | 0:15:02 | |
jaunty captain's cap. For a portrait painter like | 0:15:02 | 0:15:02 | |
jaunty captain's cap. For a portrait painter like Jonathan | 0:15:02 | 0:15:03 | |
jaunty captain's cap. For a portrait painter like Jonathan it | 0:15:03 | 0:15:03 | |
portrait painter like Jonathan it is | 0:15:03 | 0:15:03 | |
portrait painter like Jonathan it is not | 0:15:03 | 0:15:04 | |
portrait painter like Jonathan it is not just | 0:15:04 | 0:15:04 | |
portrait painter like Jonathan it is not just about | 0:15:04 | 0:15:04 | |
portrait painter like Jonathan it is not just about networking. | 0:15:04 | 0:15:07 | |
portrait painter like Jonathan it is not just about networking. For | 0:15:07 | 0:15:07 | |
is not just about networking. For someone | 0:15:07 | 0:15:08 | |
is not just about networking. For someone fascinated | 0:15:08 | 0:15:08 | |
is not just about networking. For someone fascinated by | 0:15:08 | 0:15:09 | |
is not just about networking. For someone fascinated by faces, | 0:15:09 | 0:15:10 | |
is not just about networking. For someone fascinated by faces, it | 0:15:10 | 0:15:10 | |
is not just about networking. For someone fascinated by faces, it is | 0:15:10 | 0:15:10 | |
someone fascinated by faces, it is the | 0:15:10 | 0:15:10 | |
someone fascinated by faces, it is the ideal | 0:15:10 | 0:15:11 | |
someone fascinated by faces, it is the ideal place | 0:15:11 | 0:15:11 | |
someone fascinated by faces, it is the ideal place to | 0:15:11 | 0:15:12 | |
someone fascinated by faces, it is the ideal place to study the | 0:15:12 | 0:15:12 | |
someone fascinated by faces, it is the ideal place to study the games | 0:15:12 | 0:15:13 | |
the ideal place to study the games we | 0:15:13 | 0:15:13 | |
the ideal place to study the games we play. | 0:15:13 | 0:15:19 | |
the ideal place to study the games we play. There | 0:15:19 | 0:15:20 | |
the ideal place to study the games we play. There are | 0:15:20 | 0:15:20 | |
the ideal place to study the games we play. There are lots | 0:15:20 | 0:15:20 | |
the ideal place to study the games we play. There are lots of | 0:15:20 | 0:15:20 | |
we play. There are lots of different | 0:15:20 | 0:15:21 | |
we play. There are lots of different performances | 0:15:21 | 0:15:21 | |
we play. There are lots of different performances going | 0:15:21 | 0:15:22 | |
we play. There are lots of different performances going on | 0:15:22 | 0:15:22 | |
different performances going on with | 0:15:22 | 0:15:23 | |
different performances going on with people | 0:15:23 | 0:15:23 | |
different performances going on with people who | 0:15:23 | 0:15:23 | |
different performances going on with people who are | 0:15:23 | 0:15:24 | |
different performances going on with people who are here | 0:15:24 | 0:15:24 | |
different performances going on with people who are here to | 0:15:24 | 0:15:24 | |
different performances going on with people who are here to be | 0:15:24 | 0:15:24 | |
different performances going on with people who are here to be seen | 0:15:24 | 0:15:24 | |
with people who are here to be seen and | 0:15:24 | 0:15:25 | |
with people who are here to be seen and people | 0:15:25 | 0:15:25 | |
with people who are here to be seen and people who | 0:15:25 | 0:15:26 | |
with people who are here to be seen and people who are | 0:15:26 | 0:15:26 | |
with people who are here to be seen and people who are new | 0:15:26 | 0:15:26 | |
with people who are here to be seen and people who are new to | 0:15:26 | 0:15:27 | |
with people who are here to be seen and people who are new to it | 0:15:27 | 0:15:27 | |
and people who are new to it who are | 0:15:27 | 0:15:27 | |
and people who are new to it who are trying | 0:15:27 | 0:15:28 | |
and people who are new to it who are trying not | 0:15:28 | 0:15:28 | |
and people who are new to it who are trying not to | 0:15:28 | 0:15:28 | |
and people who are new to it who are trying not to look | 0:15:28 | 0:15:28 | |
and people who are new to it who are trying not to look new | 0:15:28 | 0:15:29 | |
and people who are new to it who are trying not to look new to | 0:15:29 | 0:15:29 | |
and people who are new to it who are trying not to look new to it. | 0:15:29 | 0:15:30 | |
are trying not to look new to it. There | 0:15:30 | 0:15:30 | |
are trying not to look new to it. There are | 0:15:30 | 0:15:30 | |
are trying not to look new to it. There are old | 0:15:30 | 0:15:30 | |
are trying not to look new to it. There are old hands, | 0:15:30 | 0:15:31 | |
are trying not to look new to it. There are old hands, trying | 0:15:31 | 0:15:31 | |
are trying not to look new to it. There are old hands, trying to | 0:15:31 | 0:15:31 | |
are trying not to look new to it. There are old hands, trying to look | 0:15:31 | 0:15:31 | |
There are old hands, trying to look like | 0:15:31 | 0:15:32 | |
There are old hands, trying to look like they | 0:15:32 | 0:15:32 | |
There are old hands, trying to look like they do | 0:15:32 | 0:15:32 | |
There are old hands, trying to look like they do not | 0:15:32 | 0:15:33 | |
There are old hands, trying to look like they do not care | 0:15:33 | 0:15:33 | |
There are old hands, trying to look like they do not care too | 0:15:33 | 0:15:33 | |
There are old hands, trying to look like they do not care too much. | 0:15:33 | 0:15:33 | |
like they do not care too much. There | 0:15:33 | 0:15:33 | |
like they do not care too much. There is | 0:15:33 | 0:15:34 | |
like they do not care too much. There is a | 0:15:34 | 0:15:35 | |
like they do not care too much. There is a lot of | 0:15:35 | 0:15:35 | |
like they do not care too much. There is a lot of posing | 0:15:35 | 0:15:35 | |
like they do not care too much. There is a lot of posing going | 0:15:35 | 0:15:36 | |
like they do not care too much. There is a lot of posing going on. | 0:15:36 | 0:15:38 | |
There is a lot of posing going on. People | 0:15:38 | 0:15:38 | |
There is a lot of posing going on. People are | 0:15:38 | 0:15:39 | |
There is a lot of posing going on. People are putting | 0:15:39 | 0:15:40 | |
There is a lot of posing going on. People are putting on | 0:15:40 | 0:15:40 | |
There is a lot of posing going on. People are putting on masques. | 0:15:40 | 0:15:41 | |
There is a lot of posing going on. People are putting on masques. You | 0:15:41 | 0:15:41 | |
People are putting on masques. You do | 0:15:41 | 0:15:41 | |
People are putting on masques. You do notice | 0:15:41 | 0:15:42 | |
People are putting on masques. You do notice people | 0:15:42 | 0:15:43 | |
People are putting on masques. You do notice people giving | 0:15:43 | 0:15:43 | |
People are putting on masques. You do notice people giving things | 0:15:43 | 0:15:43 | |
People are putting on masques. You do notice people giving things away | 0:15:43 | 0:15:44 | |
do notice people giving things away unintentionally | 0:15:44 | 0:15:44 | |
do notice people giving things away unintentionally when | 0:15:44 | 0:15:44 | |
do notice people giving things away unintentionally when they | 0:15:44 | 0:15:45 | |
do notice people giving things away unintentionally when they think | 0:15:45 | 0:15:45 | |
do notice people giving things away unintentionally when they think the | 0:15:45 | 0:15:46 | |
unintentionally when they think the spotlight | 0:15:46 | 0:15:46 | |
unintentionally when they think the spotlight is | 0:15:46 | 0:15:46 | |
unintentionally when they think the spotlight is not | 0:15:46 | 0:15:47 | |
unintentionally when they think the spotlight is not on | 0:15:47 | 0:15:47 | |
unintentionally when they think the spotlight is not on them. | 0:15:47 | 0:15:49 | |
unintentionally when they think the spotlight is not on them. You | 0:15:49 | 0:15:49 | |
unintentionally when they think the spotlight is not on them. You are | 0:15:49 | 0:15:49 | |
spotlight is not on them. You are attuned | 0:15:49 | 0:15:50 | |
spotlight is not on them. You are attuned to | 0:15:50 | 0:15:50 | |
spotlight is not on them. You are attuned to those | 0:15:50 | 0:15:50 | |
spotlight is not on them. You are attuned to those things. | 0:15:50 | 0:15:51 | |
spotlight is not on them. You are attuned to those things. Maybe | 0:15:51 | 0:15:51 | |
spotlight is not on them. You are attuned to those things. Maybe we | 0:15:51 | 0:15:52 | |
spotlight is not on them. You are can all | 0:15:52 | 0:15:52 | |
spotlight is not on them. You are can all read | 0:15:52 | 0:15:52 | |
spotlight is not on them. You are can all read a | 0:15:52 | 0:15:53 | |
spotlight is not on them. You are can all read a human | 0:15:53 | 0:15:53 | |
spotlight is not on them. You are can all read a human face | 0:15:53 | 0:15:54 | |
spotlight is not on them. You are can all read a human face but | 0:15:54 | 0:15:54 | |
spotlight is not on them. You are can all read a human face but you | 0:15:54 | 0:15:54 | |
can all read a human face but you are | 0:15:54 | 0:15:55 | |
can all read a human face but you are processing | 0:15:55 | 0:15:55 | |
can all read a human face but you are processing at. | 0:15:55 | 0:15:56 | |
can all read a human face but you are processing at. I | 0:15:56 | 0:15:56 | |
can all read a human face but you are processing at. I think | 0:15:56 | 0:15:57 | |
can all read a human face but you are processing at. I think we | 0:15:57 | 0:15:57 | |
can all read a human face but you are processing at. I think we are | 0:15:57 | 0:15:58 | |
are processing at. I think we are aware | 0:15:58 | 0:15:58 | |
are processing at. I think we are aware of | 0:15:58 | 0:15:58 | |
are processing at. I think we are aware of body | 0:15:58 | 0:15:59 | |
are processing at. I think we are aware of body language. | 0:15:59 | 0:16:02 | |
are processing at. I think we are aware of body language. I | 0:16:02 | 0:16:03 | |
are processing at. I think we are aware of body language. I have | 0:16:03 | 0:16:03 | |
are processing at. I think we are aware of body language. I have had | 0:16:03 | 0:16:03 | |
are processing at. I think we are to work | 0:16:03 | 0:16:03 | |
are processing at. I think we are to work out | 0:16:03 | 0:16:04 | |
are processing at. I think we are to work out what | 0:16:04 | 0:16:04 | |
are processing at. I think we are to work out what it | 0:16:04 | 0:16:04 | |
are processing at. I think we are to work out what it is about | 0:16:04 | 0:16:04 | |
to work out what it is about certain | 0:16:04 | 0:16:05 | |
to work out what it is about certain facial | 0:16:05 | 0:16:05 | |
to work out what it is about certain facial movements | 0:16:05 | 0:16:06 | |
to work out what it is about certain facial movements that | 0:16:06 | 0:16:06 | |
to work out what it is about certain facial movements that give | 0:16:06 | 0:16:07 | |
certain facial movements that give things | 0:16:07 | 0:16:08 | |
certain facial movements that give things away | 0:16:08 | 0:16:08 | |
certain facial movements that give things away unintentionally. | 0:16:08 | 0:16:09 | |
certain facial movements that give things away unintentionally. If | 0:16:09 | 0:16:10 | |
certain facial movements that give things away unintentionally. If you | 0:16:10 | 0:16:10 | |
things away unintentionally. If you are | 0:16:10 | 0:16:11 | |
things away unintentionally. If you are constructing | 0:16:11 | 0:16:11 | |
things away unintentionally. If you are constructing a | 0:16:11 | 0:16:11 | |
things away unintentionally. If you are constructing a portrait, | 0:16:11 | 0:16:12 | |
things away unintentionally. If you are constructing a portrait, you | 0:16:12 | 0:16:12 | |
are constructing a portrait, you can | 0:16:12 | 0:16:13 | |
are constructing a portrait, you can think | 0:16:13 | 0:16:13 | |
are constructing a portrait, you can think to | 0:16:13 | 0:16:13 | |
are constructing a portrait, you can think to yourself | 0:16:13 | 0:16:14 | |
are constructing a portrait, you can think to yourself specific | 0:16:14 | 0:16:14 | |
can think to yourself specific things, | 0:16:14 | 0:16:15 | |
can think to yourself specific things, such | 0:16:15 | 0:16:15 | |
can think to yourself specific things, such as | 0:16:15 | 0:16:15 | |
can think to yourself specific things, such as tilting | 0:16:15 | 0:16:16 | |
can think to yourself specific things, such as tilting ahead, | 0:16:16 | 0:16:16 | |
can think to yourself specific things, such as tilting ahead, if | 0:16:16 | 0:16:16 | |
can think to yourself specific things, such as tilting ahead, if a | 0:16:16 | 0:16:17 | |
things, such as tilting ahead, if a woman | 0:16:17 | 0:16:18 | |
things, such as tilting ahead, if a woman looks | 0:16:18 | 0:16:18 | |
things, such as tilting ahead, if a woman looks upwards, | 0:16:18 | 0:16:19 | |
things, such as tilting ahead, if a woman looks upwards, like | 0:16:19 | 0:16:19 | |
things, such as tilting ahead, if a woman looks upwards, like a | 0:16:19 | 0:16:20 | |
woman looks upwards, like a coquette, | 0:16:20 | 0:16:21 | |
woman looks upwards, like a coquette, if | 0:16:21 | 0:16:21 | |
woman looks upwards, like a coquette, if a | 0:16:21 | 0:16:21 | |
woman looks upwards, like a coquette, if a man | 0:16:21 | 0:16:21 | |
woman looks upwards, like a coquette, if a man grins, | 0:16:21 | 0:16:23 | |
woman looks upwards, like a coquette, if a man grins, it | 0:16:23 | 0:16:23 | |
woman looks upwards, like a coquette, if a man grins, it can | 0:16:23 | 0:16:23 | |
woman looks upwards, like a coquette, if a man grins, it can be | 0:16:23 | 0:16:24 | |
coquette, if a man grins, it can be aggressive. | 0:16:24 | 0:16:25 | |
coquette, if a man grins, it can be aggressive. You | 0:16:25 | 0:16:25 | |
coquette, if a man grins, it can be aggressive. You can | 0:16:25 | 0:16:25 | |
coquette, if a man grins, it can be aggressive. You can affect | 0:16:25 | 0:16:26 | |
coquette, if a man grins, it can be aggressive. You can affect how | 0:16:26 | 0:16:27 | |
aggressive. You can affect how people | 0:16:27 | 0:16:27 | |
aggressive. You can affect how people will | 0:16:27 | 0:16:27 | |
aggressive. You can affect how people will appear | 0:16:27 | 0:16:28 | |
aggressive. You can affect how people will appear for | 0:16:28 | 0:16:28 | |
aggressive. You can affect how people will appear for posterity | 0:16:28 | 0:16:29 | |
people will appear for posterity after | 0:16:29 | 0:16:29 | |
people will appear for posterity after they | 0:16:29 | 0:16:29 | |
people will appear for posterity after they have | 0:16:29 | 0:16:29 | |
people will appear for posterity after they have gone. | 0:16:29 | 0:16:31 | |
people will appear for posterity after they have gone. You | 0:16:31 | 0:16:31 | |
after they have gone. You are shaping | 0:16:31 | 0:16:31 | |
after they have gone. You are shaping that. | 0:16:31 | 0:16:32 | |
after they have gone. You are shaping that. For | 0:16:32 | 0:16:33 | |
after they have gone. You are shaping that. For them | 0:16:33 | 0:16:33 | |
after they have gone. You are shaping that. For them to | 0:16:33 | 0:16:34 | |
after they have gone. You are shaping that. For them to have | 0:16:34 | 0:16:34 | |
shaping that. For them to have longevity, | 0:16:34 | 0:16:35 | |
shaping that. For them to have longevity, it | 0:16:35 | 0:16:35 | |
shaping that. For them to have longevity, it has | 0:16:35 | 0:16:36 | |
shaping that. For them to have longevity, it has to | 0:16:36 | 0:16:36 | |
shaping that. For them to have longevity, it has to be | 0:16:36 | 0:16:36 | |
shaping that. For them to have longevity, it has to be intriguing | 0:16:36 | 0:16:37 | |
longevity, it has to be intriguing when | 0:16:37 | 0:16:37 | |
longevity, it has to be intriguing when you | 0:16:37 | 0:16:37 | |
longevity, it has to be intriguing when you have | 0:16:37 | 0:16:37 | |
longevity, it has to be intriguing when you have looked | 0:16:37 | 0:16:38 | |
longevity, it has to be intriguing when you have looked at | 0:16:38 | 0:16:38 | |
longevity, it has to be intriguing when you have looked at it | 0:16:38 | 0:16:38 | |
longevity, it has to be intriguing when you have looked at it for | 0:16:38 | 0:16:38 | |
longevity, it has to be intriguing when you have looked at it for a | 0:16:38 | 0:16:39 | |
when you have looked at it for a few | 0:16:39 | 0:16:39 | |
when you have looked at it for a few times. | 0:16:39 | 0:16:39 | |
when you have looked at it for a few times. It | 0:16:39 | 0:16:40 | |
when you have looked at it for a few times. It is | 0:16:40 | 0:16:40 | |
when you have looked at it for a few times. It is not | 0:16:40 | 0:16:40 | |
when you have looked at it for a few times. It is not a | 0:16:40 | 0:16:41 | |
when you have looked at it for a few times. It is not a snapshot, | 0:16:41 | 0:16:42 | |
few times. It is not a snapshot, you | 0:16:42 | 0:16:42 | |
few times. It is not a snapshot, you come | 0:16:42 | 0:16:43 | |
few times. It is not a snapshot, you come back | 0:16:43 | 0:16:43 | |
few times. It is not a snapshot, you come back to | 0:16:43 | 0:16:43 | |
few times. It is not a snapshot, you come back to it | 0:16:43 | 0:16:43 | |
few times. It is not a snapshot, you come back to it again | 0:16:43 | 0:16:44 | |
few times. It is not a snapshot, you come back to it again and | 0:16:44 | 0:16:44 | |
few times. It is not a snapshot, you come back to it again and again. | 0:16:44 | 0:16:44 | |
you come back to it again and again. The | 0:16:44 | 0:16:45 | |
you come back to it again and again. The enigmatic | 0:16:45 | 0:16:45 | |
you come back to it again and again. The enigmatic sense | 0:16:45 | 0:16:45 | |
you come back to it again and again. The enigmatic sense of | 0:16:45 | 0:16:46 | |
you come back to it again and again. The enigmatic sense of the | 0:16:46 | 0:16:46 | |
you come back to it again and again. The enigmatic sense of the painting | 0:16:46 | 0:16:46 | |
The enigmatic sense of the painting is | 0:16:46 | 0:16:47 | |
The enigmatic sense of the painting is almost | 0:16:47 | 0:16:48 | |
The enigmatic sense of the painting is almost like | 0:16:48 | 0:16:48 | |
The enigmatic sense of the painting is almost like the | 0:16:48 | 0:16:48 | |
The enigmatic sense of the painting is almost like the secret | 0:16:48 | 0:16:48 | |
The enigmatic sense of the painting is almost like the secret of | 0:16:48 | 0:16:49 | |
is almost like the secret of eternal | 0:16:49 | 0:16:49 | |
is almost like the secret of eternal life | 0:16:49 | 0:16:49 | |
is almost like the secret of eternal life in | 0:16:49 | 0:16:50 | |
is almost like the secret of eternal life in art. | 0:16:50 | 0:16:50 | |
is almost like the secret of eternal life in art. Yes, | 0:16:50 | 0:16:52 | |
is almost like the secret of eternal life in art. Yes, one | 0:16:52 | 0:16:52 | |
is almost like the secret of eternal life in art. Yes, one of | 0:16:52 | 0:16:52 | |
eternal life in art. Yes, one of them. | 0:16:52 | 0:16:58 | |
them. What | 0:16:58 | 0:16:58 | |
them. What you | 0:16:58 | 0:16:59 | |
them. What you want | 0:16:59 | 0:16:59 | |
them. What you want at | 0:16:59 | 0:16:59 | |
them. What you want at the | 0:16:59 | 0:16:59 | |
them. What you want at the end | 0:16:59 | 0:17:00 | |
them. What you want at the end of | 0:17:00 | 0:17:00 | |
them. What you want at the end of the | 0:17:00 | 0:17:00 | |
What you want at the end of the night | 0:17:00 | 0:17:01 | |
What you want at the end of the night is | 0:17:01 | 0:17:01 | |
What you want at the end of the night is not | 0:17:01 | 0:17:01 | |
What you want at the end of the night is not to | 0:17:01 | 0:17:01 | |
What you want at the end of the night is not to be | 0:17:01 | 0:17:01 | |
What you want at the end of the night is not to be at | 0:17:01 | 0:17:02 | |
What you want at the end of the night is not to be at an | 0:17:02 | 0:17:02 | |
What you want at the end of the night is not to be at an organised | 0:17:02 | 0:17:02 | |
night is not to be at an organised event, | 0:17:02 | 0:17:02 | |
night is not to be at an organised event, but | 0:17:02 | 0:17:03 | |
night is not to be at an organised event, but to | 0:17:03 | 0:17:04 | |
night is not to be at an organised event, but to sit | 0:17:04 | 0:17:04 | |
night is not to be at an organised event, but to sit down, | 0:17:04 | 0:17:04 | |
night is not to be at an organised event, but to sit down, debrief, | 0:17:04 | 0:17:06 | |
event, but to sit down, debrief, have | 0:17:06 | 0:17:06 | |
event, but to sit down, debrief, have a | 0:17:06 | 0:17:06 | |
event, but to sit down, debrief, have a cocktail | 0:17:06 | 0:17:07 | |
event, but to sit down, debrief, have a cocktail and | 0:17:07 | 0:17:07 | |
event, but to sit down, debrief, have a cocktail and have | 0:17:07 | 0:17:07 | |
event, but to sit down, debrief, have a cocktail and have energy | 0:17:07 | 0:17:07 | |
event, but to sit down, debrief, have a cocktail and have energy for | 0:17:07 | 0:17:07 | |
have a cocktail and have energy for the | 0:17:07 | 0:17:08 | |
have a cocktail and have energy for the art | 0:17:08 | 0:17:08 | |
have a cocktail and have energy for the art the | 0:17:08 | 0:17:09 | |
have a cocktail and have energy for the art the next | 0:17:09 | 0:17:09 | |
have a cocktail and have energy for the art the next day. | 0:17:09 | 0:17:10 | |
have a cocktail and have energy for the art the next day. It | 0:17:10 | 0:17:10 | |
have a cocktail and have energy for the art the next day. It sounds | 0:17:10 | 0:17:11 | |
the art the next day. It sounds good. | 0:17:11 | 0:17:12 | |
the art the next day. It sounds good. It | 0:17:12 | 0:17:12 | |
the art the next day. It sounds good. It is | 0:17:12 | 0:17:12 | |
the art the next day. It sounds good. It is an | 0:17:12 | 0:17:13 | |
the art the next day. It sounds good. It is an aspiration, | 0:17:13 | 0:17:13 | |
the art the next day. It sounds good. It is an aspiration, rather | 0:17:13 | 0:17:14 | |
good. It is an aspiration, rather than | 0:17:14 | 0:17:14 | |
good. It is an aspiration, rather than a | 0:17:14 | 0:17:14 | |
good. It is an aspiration, rather than a firm | 0:17:14 | 0:17:15 | |
good. It is an aspiration, rather than a firm commitment, | 0:17:15 | 0:17:17 | |
good. It is an aspiration, rather than a firm commitment, as | 0:17:17 | 0:17:17 | |
than a firm commitment, as politicians | 0:17:17 | 0:17:17 | |
than a firm commitment, as politicians say! | 0:17:17 | 0:17:27 | |
After | 0:17:39 | 0:17:40 | |
After Venice, | 0:17:40 | 0:17:41 | |
After Venice, it | 0:17:41 | 0:17:41 | |
After Venice, it is | 0:17:41 | 0:17:41 | |
After Venice, it is back | 0:17:41 | 0:17:41 | |
After Venice, it is back to | 0:17:41 | 0:17:41 | |
After Venice, it is back to work. | 0:17:41 | 0:17:44 | |
After Venice, it is back to work. It | 0:17:44 | 0:17:44 | |
After Venice, it is back to work. It has | 0:17:44 | 0:17:45 | |
After Venice, it is back to work. It has been | 0:17:45 | 0:17:45 | |
After Venice, it is back to work. It has been three | 0:17:45 | 0:17:46 | |
After Venice, it is back to work. It has been three months since | 0:17:46 | 0:17:46 | |
It has been three months since Jonathan | 0:17:46 | 0:17:48 | |
It has been three months since Jonathan began | 0:17:48 | 0:17:48 | |
It has been three months since Jonathan began the | 0:17:48 | 0:17:48 | |
It has been three months since Jonathan began the Tom | 0:17:48 | 0:17:48 | |
It has been three months since Jonathan began the Tom Hollander | 0:17:48 | 0:17:48 | |
Jonathan began the Tom Hollander portrait. | 0:17:48 | 0:17:49 | |
Jonathan began the Tom Hollander portrait. Today | 0:17:49 | 0:17:50 | |
Jonathan began the Tom Hollander portrait. Today is | 0:17:50 | 0:17:50 | |
Jonathan began the Tom Hollander portrait. Today is the final | 0:17:50 | 0:17:50 | |
portrait. Today is the final sitting. | 0:17:50 | 0:17:54 | |
portrait. Today is the final sitting. You | 0:17:54 | 0:17:54 | |
portrait. Today is the final sitting. You can | 0:17:54 | 0:17:56 | |
portrait. Today is the final sitting. You can almost | 0:17:56 | 0:17:56 | |
portrait. Today is the final sitting. You can almost see | 0:17:56 | 0:17:56 | |
portrait. Today is the final sitting. You can almost see the | 0:17:56 | 0:17:56 | |
sitting. You can almost see the time | 0:17:56 | 0:17:56 | |
sitting. You can almost see the time that | 0:17:56 | 0:17:57 | |
sitting. You can almost see the time that has | 0:17:57 | 0:17:57 | |
sitting. You can almost see the time that has gone | 0:17:57 | 0:17:57 | |
sitting. You can almost see the time that has gone into | 0:17:57 | 0:17:58 | |
sitting. You can almost see the time that has gone into it | 0:17:58 | 0:17:58 | |
sitting. You can almost see the time that has gone into it with | 0:17:58 | 0:17:58 | |
time that has gone into it with some | 0:17:58 | 0:17:59 | |
time that has gone into it with some of | 0:17:59 | 0:17:59 | |
time that has gone into it with some of the | 0:17:59 | 0:17:59 | |
time that has gone into it with some of the paint | 0:17:59 | 0:17:59 | |
time that has gone into it with some of the paint dry | 0:17:59 | 0:18:00 | |
time that has gone into it with some of the paint dry and | 0:18:00 | 0:18:00 | |
time that has gone into it with some of the paint dry and some | 0:18:00 | 0:18:00 | |
time that has gone into it with some of the paint dry and some of | 0:18:00 | 0:18:01 | |
some of the paint dry and some of it | 0:18:01 | 0:18:01 | |
some of the paint dry and some of it still | 0:18:01 | 0:18:01 | |
some of the paint dry and some of it still worked. | 0:18:01 | 0:18:02 | |
some of the paint dry and some of it still worked. There | 0:18:02 | 0:18:02 | |
some of the paint dry and some of it still worked. There is | 0:18:02 | 0:18:02 | |
some of the paint dry and some of it still worked. There is guesswork | 0:18:02 | 0:18:03 | |
it still worked. There is guesswork because | 0:18:03 | 0:18:03 | |
it still worked. There is guesswork because you | 0:18:03 | 0:18:03 | |
it still worked. There is guesswork because you do | 0:18:03 | 0:18:04 | |
it still worked. There is guesswork because you do not | 0:18:04 | 0:18:04 | |
it still worked. There is guesswork because you do not know | 0:18:04 | 0:18:04 | |
it still worked. There is guesswork because you do not know until | 0:18:04 | 0:18:05 | |
it still worked. There is guesswork because you do not know until it | 0:18:05 | 0:18:05 | |
because you do not know until it has | 0:18:05 | 0:18:05 | |
because you do not know until it has dried | 0:18:05 | 0:18:06 | |
because you do not know until it has dried how | 0:18:06 | 0:18:06 | |
because you do not know until it has dried how it | 0:18:06 | 0:18:07 | |
because you do not know until it has dried how it will | 0:18:07 | 0:18:07 | |
because you do not know until it has dried how it will level | 0:18:07 | 0:18:07 | |
because you do not know until it has dried how it will level out. | 0:18:07 | 0:18:09 | |
has dried how it will level out. This | 0:18:09 | 0:18:09 | |
has dried how it will level out. This will | 0:18:09 | 0:18:10 | |
has dried how it will level out. This will be | 0:18:10 | 0:18:10 | |
has dried how it will level out. This will be the | 0:18:10 | 0:18:10 | |
has dried how it will level out. This will be the first | 0:18:10 | 0:18:11 | |
has dried how it will level out. This will be the first time Tom | 0:18:11 | 0:18:11 | |
This will be the first time Tom Hollander | 0:18:11 | 0:18:11 | |
This will be the first time Tom Hollander has | 0:18:11 | 0:18:11 | |
This will be the first time Tom Hollander has seen | 0:18:11 | 0:18:12 | |
This will be the first time Tom Hollander has seen the | 0:18:12 | 0:18:12 | |
This will be the first time Tom Hollander has seen the painting | 0:18:12 | 0:18:12 | |
This will be the first time Tom Hollander has seen the painting and | 0:18:12 | 0:18:13 | |
Hollander has seen the painting and glimpsed | 0:18:13 | 0:18:13 | |
Hollander has seen the painting and glimpsed himself | 0:18:13 | 0:18:14 | |
Hollander has seen the painting and glimpsed himself through | 0:18:14 | 0:18:14 | |
Hollander has seen the painting and glimpsed himself through the | 0:18:14 | 0:18:14 | |
Hollander has seen the painting and glimpsed himself through the eyes | 0:18:14 | 0:18:15 | |
glimpsed himself through the eyes of | 0:18:15 | 0:18:15 | |
glimpsed himself through the eyes of Jonathan. | 0:18:15 | 0:18:19 | |
glimpsed himself through the eyes of Jonathan. I | 0:18:19 | 0:18:19 | |
glimpsed himself through the eyes of Jonathan. I warn | 0:18:19 | 0:18:20 | |
glimpsed himself through the eyes of Jonathan. I warn you | 0:18:20 | 0:18:21 | |
glimpsed himself through the eyes of Jonathan. I warn you that | 0:18:21 | 0:18:21 | |
glimpsed himself through the eyes of Jonathan. I warn you that my | 0:18:21 | 0:18:22 | |
of Jonathan. I warn you that my response | 0:18:22 | 0:18:22 | |
of Jonathan. I warn you that my response might | 0:18:22 | 0:18:22 | |
of Jonathan. I warn you that my response might be | 0:18:22 | 0:18:23 | |
of Jonathan. I warn you that my response might be silence. | 0:18:23 | 0:18:23 | |
of Jonathan. I warn you that my response might be silence. And | 0:18:23 | 0:18:23 | |
of Jonathan. I warn you that my response might be silence. And then | 0:18:23 | 0:18:24 | |
response might be silence. And then I | 0:18:24 | 0:18:24 | |
response might be silence. And then I might | 0:18:24 | 0:18:24 | |
response might be silence. And then I might like | 0:18:24 | 0:18:25 | |
response might be silence. And then I might like to | 0:18:25 | 0:18:25 | |
response might be silence. And then I might like to be | 0:18:25 | 0:18:26 | |
response might be silence. And then I might like to be left | 0:18:26 | 0:18:26 | |
response might be silence. And then I might like to be left alone | 0:18:26 | 0:18:26 | |
response might be silence. And then I might like to be left alone with | 0:18:26 | 0:18:26 | |
I might like to be left alone with it | 0:18:26 | 0:18:27 | |
I might like to be left alone with it for | 0:18:27 | 0:18:27 | |
I might like to be left alone with it for a | 0:18:27 | 0:18:27 | |
I might like to be left alone with it for a couple | 0:18:27 | 0:18:27 | |
I might like to be left alone with it for a couple of | 0:18:27 | 0:18:28 | |
I might like to be left alone with it for a couple of hours, | 0:18:28 | 0:18:28 | |
I might like to be left alone with it for a couple of hours, a | 0:18:28 | 0:18:28 | |
it for a couple of hours, a narcissistic | 0:18:28 | 0:18:29 | |
it for a couple of hours, a narcissistic reverie. | 0:18:29 | 0:18:29 | |
it for a couple of hours, a narcissistic reverie. I | 0:18:29 | 0:18:30 | |
it for a couple of hours, a narcissistic reverie. I would | 0:18:30 | 0:18:30 | |
it for a couple of hours, a narcissistic reverie. I would just | 0:18:30 | 0:18:30 | |
narcissistic reverie. I would just like | 0:18:30 | 0:18:31 | |
narcissistic reverie. I would just like to | 0:18:31 | 0:18:31 | |
narcissistic reverie. I would just like to be | 0:18:31 | 0:18:31 | |
narcissistic reverie. I would just like to be on | 0:18:31 | 0:18:32 | |
narcissistic reverie. I would just like to be on my | 0:18:32 | 0:18:32 | |
narcissistic reverie. I would just like to be on my own | 0:18:32 | 0:18:32 | |
narcissistic reverie. I would just like to be on my own with | 0:18:32 | 0:18:32 | |
narcissistic reverie. I would just like to be on my own with the | 0:18:32 | 0:18:32 | |
like to be on my own with the picture. | 0:18:32 | 0:18:34 | |
like to be on my own with the picture. It | 0:18:34 | 0:18:35 | |
like to be on my own with the picture. It is | 0:18:35 | 0:18:35 | |
like to be on my own with the picture. It is at | 0:18:35 | 0:18:35 | |
like to be on my own with the picture. It is at an | 0:18:35 | 0:18:36 | |
like to be on my own with the picture. It is at an interesting | 0:18:36 | 0:18:36 | |
picture. It is at an interesting stage. | 0:18:36 | 0:18:37 | |
picture. It is at an interesting stage. It | 0:18:37 | 0:18:37 | |
picture. It is at an interesting stage. It is | 0:18:37 | 0:18:37 | |
picture. It is at an interesting stage. It is almost | 0:18:37 | 0:18:38 | |
picture. It is at an interesting stage. It is almost there, | 0:18:38 | 0:18:38 | |
picture. It is at an interesting stage. It is almost there, I | 0:18:38 | 0:18:38 | |
picture. It is at an interesting stage. It is almost there, I can | 0:18:38 | 0:18:38 | |
stage. It is almost there, I can see | 0:18:38 | 0:18:38 | |
stage. It is almost there, I can see a | 0:18:38 | 0:18:39 | |
stage. It is almost there, I can see a couple | 0:18:39 | 0:18:39 | |
stage. It is almost there, I can see a couple of | 0:18:39 | 0:18:40 | |
stage. It is almost there, I can see a couple of things | 0:18:40 | 0:18:40 | |
stage. It is almost there, I can see a couple of things still | 0:18:40 | 0:18:40 | |
stage. It is almost there, I can see a couple of things still wrong | 0:18:40 | 0:18:40 | |
see a couple of things still wrong with | 0:18:40 | 0:18:40 | |
see a couple of things still wrong with it. | 0:18:40 | 0:18:42 | |
see a couple of things still wrong with it. I | 0:18:42 | 0:18:42 | |
see a couple of things still wrong with it. I cannot | 0:18:42 | 0:18:42 | |
see a couple of things still wrong with it. I cannot quite | 0:18:42 | 0:18:43 | |
see a couple of things still wrong with it. I cannot quite work | 0:18:43 | 0:18:43 | |
see a couple of things still wrong with it. I cannot quite work out | 0:18:43 | 0:18:44 | |
with it. I cannot quite work out how | 0:18:44 | 0:18:44 | |
with it. I cannot quite work out how to | 0:18:44 | 0:18:44 | |
with it. I cannot quite work out how to fix | 0:18:44 | 0:18:44 | |
with it. I cannot quite work out how to fix them. | 0:18:44 | 0:18:45 | |
with it. I cannot quite work out how to fix them. If | 0:18:45 | 0:18:46 | |
with it. I cannot quite work out how to fix them. If it | 0:18:46 | 0:18:46 | |
with it. I cannot quite work out how to fix them. If it is | 0:18:46 | 0:18:46 | |
with it. I cannot quite work out how to fix them. If it is all | 0:18:46 | 0:18:46 | |
with it. I cannot quite work out how to fix them. If it is all right | 0:18:46 | 0:18:46 | |
how to fix them. If it is all right with | 0:18:46 | 0:18:47 | |
how to fix them. If it is all right with you, | 0:18:47 | 0:18:47 | |
how to fix them. If it is all right with you, come | 0:18:47 | 0:18:47 | |
how to fix them. If it is all right with you, come and | 0:18:47 | 0:18:47 | |
how to fix them. If it is all right with you, come and have | 0:18:47 | 0:18:47 | |
how to fix them. If it is all right with you, come and have a | 0:18:47 | 0:18:48 | |
how to fix them. If it is all right with you, come and have a look. | 0:18:48 | 0:18:59 | |
I | 0:19:03 | 0:19:03 | |
I am | 0:19:03 | 0:19:04 | |
I am just... | 0:19:04 | 0:19:05 | |
I am just... That | 0:19:05 | 0:19:05 | |
I am just... That is | 0:19:05 | 0:19:05 | |
I am just... That is me. | 0:19:05 | 0:19:06 | |
I am just... That is me. That | 0:19:06 | 0:19:06 | |
I am just... That is me. That is | 0:19:06 | 0:19:06 | |
I am just... That is me. That is me. | 0:19:06 | 0:19:08 | |
I am just... That is me. That is me. You | 0:19:08 | 0:19:08 | |
I am just... That is me. That is me. You do | 0:19:08 | 0:19:08 | |
I am just... That is me. That is me. You do not | 0:19:08 | 0:19:08 | |
I am just... That is me. That is me. You do not have | 0:19:08 | 0:19:09 | |
I am just... That is me. That is me. You do not have to | 0:19:09 | 0:19:09 | |
I am just... That is me. That is me. You do not have to say | 0:19:09 | 0:19:09 | |
I am just... That is me. That is me. You do not have to say anything | 0:19:09 | 0:19:09 | |
You do not have to say anything about | 0:19:09 | 0:19:10 | |
You do not have to say anything about it. | 0:19:10 | 0:19:12 | |
You do not have to say anything about it. No, | 0:19:12 | 0:19:13 | |
You do not have to say anything about it. No, that | 0:19:13 | 0:19:13 | |
You do not have to say anything about it. No, that is | 0:19:13 | 0:19:14 | |
You do not have to say anything about it. No, that is definitely | 0:19:14 | 0:19:14 | |
You do not have to say anything about it. No, that is definitely me. | 0:19:14 | 0:19:14 | |
about it. No, that is definitely me. I | 0:19:14 | 0:19:15 | |
about it. No, that is definitely me. I think | 0:19:15 | 0:19:16 | |
about it. No, that is definitely me. I think maybe | 0:19:16 | 0:19:16 | |
about it. No, that is definitely me. I think maybe my | 0:19:16 | 0:19:16 | |
about it. No, that is definitely me. I think maybe my chin | 0:19:16 | 0:19:16 | |
about it. No, that is definitely me. I think maybe my chin is | 0:19:16 | 0:19:16 | |
about it. No, that is definitely me. I think maybe my chin is not | 0:19:16 | 0:19:18 | |
about it. No, that is definitely me. I think maybe my chin is not quite | 0:19:18 | 0:19:18 | |
I think maybe my chin is not quite as | 0:19:18 | 0:19:18 | |
I think maybe my chin is not quite as keen | 0:19:18 | 0:19:18 | |
I think maybe my chin is not quite as keen macro. | 0:19:18 | 0:19:19 | |
I think maybe my chin is not quite as keen macro. My | 0:19:19 | 0:19:19 | |
I think maybe my chin is not quite as keen macro. My hair, | 0:19:19 | 0:19:20 | |
I think maybe my chin is not quite as keen macro. My hair, there | 0:19:20 | 0:19:20 | |
I think maybe my chin is not quite as keen macro. My hair, there is | 0:19:20 | 0:19:20 | |
as keen macro. My hair, there is much | 0:19:20 | 0:19:21 | |
as keen macro. My hair, there is much less | 0:19:21 | 0:19:21 | |
as keen macro. My hair, there is much less of | 0:19:21 | 0:19:21 | |
as keen macro. My hair, there is much less of it. | 0:19:21 | 0:19:22 | |
as keen macro. My hair, there is much less of it. -- | 0:19:22 | 0:19:23 | |
as keen macro. My hair, there is much less of it. -- cleft. | 0:19:23 | 0:19:24 | |
as keen macro. My hair, there is much less of it. -- cleft. The | 0:19:24 | 0:19:24 | |
much less of it. -- cleft. The demeanour | 0:19:24 | 0:19:25 | |
much less of it. -- cleft. The demeanour seems | 0:19:25 | 0:19:25 | |
much less of it. -- cleft. The demeanour seems familiar | 0:19:25 | 0:19:25 | |
much less of it. -- cleft. The demeanour seems familiar and | 0:19:25 | 0:19:26 | |
much less of it. -- cleft. The demeanour seems familiar and that | 0:19:26 | 0:19:26 | |
demeanour seems familiar and that is | 0:19:26 | 0:19:26 | |
demeanour seems familiar and that is the | 0:19:26 | 0:19:27 | |
demeanour seems familiar and that is the thing | 0:19:27 | 0:19:27 | |
demeanour seems familiar and that is the thing you | 0:19:27 | 0:19:27 | |
demeanour seems familiar and that is the thing you have | 0:19:27 | 0:19:27 | |
demeanour seems familiar and that is the thing you have got, | 0:19:27 | 0:19:28 | |
demeanour seems familiar and that is the thing you have got, which | 0:19:28 | 0:19:28 | |
is the thing you have got, which seems | 0:19:28 | 0:19:29 | |
is the thing you have got, which seems very | 0:19:29 | 0:19:29 | |
is the thing you have got, which seems very accurate. | 0:19:29 | 0:19:32 | |
is the thing you have got, which seems very accurate. To | 0:19:32 | 0:19:32 | |
is the thing you have got, which seems very accurate. To me, | 0:19:32 | 0:19:33 | |
is the thing you have got, which seems very accurate. To me, what | 0:19:33 | 0:19:33 | |
is the thing you have got, which seems very accurate. To me, what is | 0:19:33 | 0:19:34 | |
seems very accurate. To me, what is missing | 0:19:34 | 0:19:34 | |
seems very accurate. To me, what is missing still, | 0:19:34 | 0:19:35 | |
seems very accurate. To me, what is missing still, it | 0:19:35 | 0:19:35 | |
seems very accurate. To me, what is missing still, it is | 0:19:35 | 0:19:35 | |
seems very accurate. To me, what is missing still, it is more, | 0:19:35 | 0:19:35 | |
seems very accurate. To me, what is missing still, it is more, I | 0:19:35 | 0:19:35 | |
seems very accurate. To me, what is missing still, it is more, I think, | 0:19:35 | 0:19:38 | |
missing still, it is more, I think, more | 0:19:38 | 0:19:38 | |
missing still, it is more, I think, more looking | 0:19:38 | 0:19:38 | |
missing still, it is more, I think, more looking more | 0:19:38 | 0:19:39 | |
missing still, it is more, I think, more looking more serious. | 0:19:39 | 0:19:41 | |
missing still, it is more, I think, more looking more serious. There | 0:19:41 | 0:19:41 | |
missing still, it is more, I think, more looking more serious. There is | 0:19:41 | 0:19:42 | |
more looking more serious. There is something | 0:19:42 | 0:19:42 | |
more looking more serious. There is something in | 0:19:42 | 0:19:42 | |
more looking more serious. There is something in the | 0:19:42 | 0:19:42 | |
more looking more serious. There is something in the mouth. | 0:19:42 | 0:19:45 | |
more looking more serious. There is something in the mouth. You | 0:19:45 | 0:19:45 | |
more looking more serious. There is something in the mouth. You have | 0:19:45 | 0:19:46 | |
something in the mouth. You have got | 0:19:46 | 0:19:46 | |
something in the mouth. You have got a | 0:19:46 | 0:19:46 | |
something in the mouth. You have got a smile. | 0:19:46 | 0:19:47 | |
something in the mouth. You have got a smile. It | 0:19:47 | 0:19:48 | |
something in the mouth. You have got a smile. It is | 0:19:48 | 0:19:48 | |
something in the mouth. You have got a smile. It is a | 0:19:48 | 0:19:49 | |
something in the mouth. You have got a smile. It is a fine balance. | 0:19:49 | 0:19:50 | |
got a smile. It is a fine balance. If | 0:19:50 | 0:19:50 | |
got a smile. It is a fine balance. If people | 0:19:50 | 0:19:50 | |
got a smile. It is a fine balance. If people smile | 0:19:50 | 0:19:51 | |
got a smile. It is a fine balance. If people smile too | 0:19:51 | 0:19:51 | |
got a smile. It is a fine balance. If people smile too much, | 0:19:51 | 0:19:51 | |
got a smile. It is a fine balance. If people smile too much, they | 0:19:51 | 0:19:52 | |
got a smile. It is a fine balance. If people smile too much, they can | 0:19:52 | 0:19:52 | |
If people smile too much, they can look | 0:19:52 | 0:19:53 | |
If people smile too much, they can look back | 0:19:53 | 0:19:53 | |
If people smile too much, they can look back US | 0:19:53 | 0:19:53 | |
If people smile too much, they can look back US and | 0:19:53 | 0:19:53 | |
If people smile too much, they can look back US and one-dimensional. | 0:19:53 | 0:19:55 | |
look back US and one-dimensional. That | 0:19:55 | 0:19:56 | |
look back US and one-dimensional. That has | 0:19:56 | 0:19:56 | |
look back US and one-dimensional. That has got | 0:19:56 | 0:19:56 | |
look back US and one-dimensional. That has got an | 0:19:56 | 0:19:57 | |
look back US and one-dimensional. That has got an appropriate | 0:19:57 | 0:19:57 | |
That has got an appropriate mixture... | 0:19:57 | 0:19:59 | |
That has got an appropriate mixture... Of | 0:19:59 | 0:19:59 | |
That has got an appropriate mixture... Of embarrassment. | 0:19:59 | 0:20:01 | |
That has got an appropriate mixture... Of embarrassment. And, | 0:20:01 | 0:20:03 | |
mixture... Of embarrassment. And, almost, | 0:20:03 | 0:20:03 | |
mixture... Of embarrassment. And, almost, amusement, | 0:20:03 | 0:20:03 | |
mixture... Of embarrassment. And, almost, amusement, and, | 0:20:03 | 0:20:06 | |
mixture... Of embarrassment. And, almost, amusement, and, a | 0:20:06 | 0:20:06 | |
mixture... Of embarrassment. And, almost, amusement, and, a certain | 0:20:06 | 0:20:07 | |
almost, amusement, and, a certain sadness. | 0:20:07 | 0:20:09 | |
almost, amusement, and, a certain sadness. Is | 0:20:09 | 0:20:09 | |
almost, amusement, and, a certain sadness. Is it | 0:20:09 | 0:20:09 | |
almost, amusement, and, a certain sadness. Is it different | 0:20:09 | 0:20:09 | |
almost, amusement, and, a certain sadness. Is it different from | 0:20:09 | 0:20:10 | |
almost, amusement, and, a certain sadness. Is it different from what | 0:20:10 | 0:20:10 | |
sadness. Is it different from what you | 0:20:10 | 0:20:10 | |
sadness. Is it different from what you expected? | 0:20:10 | 0:20:13 | |
sadness. Is it different from what you expected? No. | 0:20:13 | 0:20:13 | |
sadness. Is it different from what you expected? No. I | 0:20:13 | 0:20:14 | |
sadness. Is it different from what you expected? No. I genuinely | 0:20:14 | 0:20:15 | |
sadness. Is it different from what you expected? No. I genuinely think | 0:20:15 | 0:20:15 | |
you expected? No. I genuinely think it | 0:20:15 | 0:20:15 | |
you expected? No. I genuinely think it is | 0:20:15 | 0:20:16 | |
you expected? No. I genuinely think it is a lovely | 0:20:16 | 0:20:16 | |
you expected? No. I genuinely think it is a lovely picture. | 0:20:16 | 0:20:18 | |
you expected? No. I genuinely think it is a lovely picture. I | 0:20:18 | 0:20:19 | |
you expected? No. I genuinely think it is a lovely picture. I think | 0:20:19 | 0:20:19 | |
you expected? No. I genuinely think it is a lovely picture. I think you | 0:20:19 | 0:20:19 | |
it is a lovely picture. I think you have | 0:20:19 | 0:20:19 | |
it is a lovely picture. I think you have done | 0:20:19 | 0:20:20 | |
it is a lovely picture. I think you have done very | 0:20:20 | 0:20:20 | |
it is a lovely picture. I think you have done very well. | 0:20:20 | 0:20:28 | |
have done very well. With | 0:20:28 | 0:20:28 | |
have done very well. With a | 0:20:28 | 0:20:29 | |
have done very well. With a month | 0:20:29 | 0:20:30 | |
have done very well. With a month until | 0:20:30 | 0:20:30 | |
have done very well. With a month until the | 0:20:30 | 0:20:30 | |
have done very well. With a month until the exhibition | 0:20:30 | 0:20:30 | |
With a month until the exhibition opens, | 0:20:30 | 0:20:31 | |
With a month until the exhibition opens, the | 0:20:31 | 0:20:32 | |
With a month until the exhibition opens, the studio | 0:20:32 | 0:20:32 | |
With a month until the exhibition opens, the studio is | 0:20:32 | 0:20:32 | |
With a month until the exhibition opens, the studio is filling | 0:20:32 | 0:20:32 | |
With a month until the exhibition opens, the studio is filling up | 0:20:32 | 0:20:33 | |
opens, the studio is filling up with | 0:20:33 | 0:20:33 | |
opens, the studio is filling up with the | 0:20:33 | 0:20:33 | |
opens, the studio is filling up with the many | 0:20:33 | 0:20:34 | |
opens, the studio is filling up with the many faces | 0:20:34 | 0:20:34 | |
opens, the studio is filling up with the many faces of | 0:20:34 | 0:20:34 | |
opens, the studio is filling up with the many faces of Jonathan | 0:20:34 | 0:20:34 | |
opens, the studio is filling up with the many faces of Jonathan Yeo. | 0:20:34 | 0:20:37 | |
with the many faces of Jonathan Yeo. As | 0:20:37 | 0:20:37 | |
with the many faces of Jonathan Yeo. As well | 0:20:37 | 0:20:38 | |
with the many faces of Jonathan Yeo. As well as | 0:20:38 | 0:20:39 | |
with the many faces of Jonathan Yeo. As well as finishing | 0:20:39 | 0:20:39 | |
with the many faces of Jonathan Yeo. As well as finishing the | 0:20:39 | 0:20:39 | |
with the many faces of Jonathan Yeo. As well as finishing the canvases, | 0:20:39 | 0:20:41 | |
As well as finishing the canvases, Jonathan | 0:20:41 | 0:20:41 | |
As well as finishing the canvases, Jonathan needs | 0:20:41 | 0:20:41 | |
As well as finishing the canvases, Jonathan needs to | 0:20:41 | 0:20:41 | |
As well as finishing the canvases, Jonathan needs to plan | 0:20:41 | 0:20:42 | |
As well as finishing the canvases, Jonathan needs to plan the | 0:20:42 | 0:20:42 | |
As well as finishing the canvases, Jonathan needs to plan the final | 0:20:42 | 0:20:43 | |
Jonathan needs to plan the final list | 0:20:43 | 0:20:43 | |
Jonathan needs to plan the final list and | 0:20:43 | 0:20:43 | |
Jonathan needs to plan the final list and layout. | 0:20:43 | 0:20:44 | |
Jonathan needs to plan the final list and layout. It | 0:20:44 | 0:20:46 | |
Jonathan needs to plan the final list and layout. It is | 0:20:46 | 0:20:46 | |
Jonathan needs to plan the final list and layout. It is not | 0:20:46 | 0:20:46 | |
Jonathan needs to plan the final list and layout. It is not just | 0:20:46 | 0:20:46 | |
Jonathan needs to plan the final list and layout. It is not just his | 0:20:46 | 0:20:47 | |
list and layout. It is not just his decision. | 0:20:47 | 0:20:49 | |
list and layout. It is not just his decision. His | 0:20:49 | 0:20:49 | |
list and layout. It is not just his decision. His assistant | 0:20:49 | 0:20:49 | |
list and layout. It is not just his decision. His assistant has | 0:20:49 | 0:20:50 | |
list and layout. It is not just his decision. His assistant has been | 0:20:50 | 0:20:50 | |
decision. His assistant has been liaising | 0:20:50 | 0:20:50 | |
decision. His assistant has been liaising with | 0:20:50 | 0:20:50 | |
decision. His assistant has been liaising with the | 0:20:50 | 0:20:51 | |
decision. His assistant has been liaising with the National | 0:20:51 | 0:20:51 | |
decision. His assistant has been liaising with the National Portrait | 0:20:51 | 0:20:51 | |
liaising with the National Portrait Gallery | 0:20:51 | 0:20:51 | |
liaising with the National Portrait Gallery about | 0:20:51 | 0:20:52 | |
liaising with the National Portrait Gallery about their | 0:20:52 | 0:20:52 | |
liaising with the National Portrait Gallery about their preferences. | 0:20:52 | 0:20:54 | |
Gallery about their preferences. That | 0:20:54 | 0:20:54 | |
Gallery about their preferences. That is | 0:20:54 | 0:20:55 | |
Gallery about their preferences. That is the | 0:20:55 | 0:20:55 | |
Gallery about their preferences. That is the first. | 0:20:55 | 0:20:56 | |
Gallery about their preferences. That is the first. These | 0:20:56 | 0:20:56 | |
Gallery about their preferences. That is the first. These are | 0:20:56 | 0:20:57 | |
Gallery about their preferences. That is the first. These are the | 0:20:57 | 0:20:57 | |
That is the first. These are the secondary | 0:20:57 | 0:20:57 | |
That is the first. These are the secondary choices. | 0:20:57 | 0:21:00 | |
That is the first. These are the secondary choices. A | 0:21:00 | 0:21:01 | |
That is the first. These are the secondary choices. A list | 0:21:01 | 0:21:01 | |
That is the first. These are the secondary choices. A list and | 0:21:01 | 0:21:01 | |
That is the first. These are the secondary choices. A list and B | 0:21:01 | 0:21:01 | |
secondary choices. A list and B list. | 0:21:01 | 0:21:06 | |
secondary choices. A list and B list. We | 0:21:06 | 0:21:06 | |
secondary choices. A list and B list. We have | 0:21:06 | 0:21:06 | |
secondary choices. A list and B list. We have a | 0:21:06 | 0:21:07 | |
secondary choices. A list and B list. We have a variety | 0:21:07 | 0:21:07 | |
secondary choices. A list and B list. We have a variety of | 0:21:07 | 0:21:08 | |
secondary choices. A list and B list. We have a variety of situs, | 0:21:08 | 0:21:08 | |
list. We have a variety of situs, there | 0:21:08 | 0:21:08 | |
list. We have a variety of situs, there is | 0:21:08 | 0:21:09 | |
list. We have a variety of situs, there is plenty | 0:21:09 | 0:21:09 | |
list. We have a variety of situs, there is plenty to | 0:21:09 | 0:21:10 | |
list. We have a variety of situs, there is plenty to choose | 0:21:10 | 0:21:10 | |
list. We have a variety of situs, there is plenty to choose from. | 0:21:10 | 0:21:11 | |
list. We have a variety of situs, there is plenty to choose from. -- | 0:21:11 | 0:21:11 | |
there is plenty to choose from. -- sitters. | 0:21:11 | 0:21:16 | |
there is plenty to choose from. -- sitters. Nice | 0:21:16 | 0:21:17 | |
there is plenty to choose from. -- sitters. Nice to | 0:21:17 | 0:21:17 | |
there is plenty to choose from. -- sitters. Nice to see | 0:21:17 | 0:21:17 | |
there is plenty to choose from. -- sitters. Nice to see you. | 0:21:17 | 0:21:19 | |
there is plenty to choose from. -- sitters. Nice to see you. Will | 0:21:19 | 0:21:19 | |
there is plenty to choose from. -- sitters. Nice to see you. Will any | 0:21:19 | 0:21:20 | |
sitters. Nice to see you. Will any of | 0:21:20 | 0:21:20 | |
sitters. Nice to see you. Will any of these | 0:21:20 | 0:21:20 | |
sitters. Nice to see you. Will any of these be | 0:21:20 | 0:21:20 | |
sitters. Nice to see you. Will any of these be in | 0:21:20 | 0:21:20 | |
sitters. Nice to see you. Will any of these be in the | 0:21:20 | 0:21:21 | |
sitters. Nice to see you. Will any of these be in the show? | 0:21:21 | 0:21:22 | |
sitters. Nice to see you. Will any of these be in the show? It | 0:21:22 | 0:21:23 | |
sitters. Nice to see you. Will any of these be in the show? It depends | 0:21:23 | 0:21:23 | |
of these be in the show? It depends on | 0:21:23 | 0:21:23 | |
of these be in the show? It depends on whether | 0:21:23 | 0:21:23 | |
of these be in the show? It depends on whether I | 0:21:23 | 0:21:24 | |
of these be in the show? It depends on whether I get | 0:21:24 | 0:21:24 | |
of these be in the show? It depends on whether I get everything | 0:21:24 | 0:21:24 | |
of these be in the show? It depends on whether I get everything done | 0:21:24 | 0:21:24 | |
of these be in the show? It depends on whether I get everything done in | 0:21:24 | 0:21:25 | |
on whether I get everything done in time. | 0:21:25 | 0:21:31 | |
on whether I get everything done in time. This | 0:21:31 | 0:21:31 | |
on whether I get everything done in time. This is | 0:21:31 | 0:21:31 | |
on whether I get everything done in time. This is Idris | 0:21:31 | 0:21:31 | |
on whether I get everything done in time. This is Idris Elba. | 0:21:31 | 0:21:33 | |
on whether I get everything done in time. This is Idris Elba. In | 0:21:33 | 0:21:33 | |
on whether I get everything done in time. This is Idris Elba. In the | 0:21:33 | 0:21:33 | |
time. This is Idris Elba. In the The | 0:21:33 | 0:21:33 | |
time. This is Idris Elba. In the The Wire. | 0:21:33 | 0:21:35 | |
time. This is Idris Elba. In the The Wire. It | 0:21:35 | 0:21:36 | |
time. This is Idris Elba. In the The Wire. It needs | 0:21:36 | 0:21:36 | |
time. This is Idris Elba. In the The Wire. It needs more. | 0:21:36 | 0:21:37 | |
time. This is Idris Elba. In the The Wire. It needs more. He | 0:21:37 | 0:21:37 | |
time. This is Idris Elba. In the The Wire. It needs more. He has | 0:21:37 | 0:21:38 | |
The Wire. It needs more. He has tattoos. | 0:21:38 | 0:21:38 | |
The Wire. It needs more. He has tattoos. It | 0:21:38 | 0:21:39 | |
The Wire. It needs more. He has tattoos. It is interesting. | 0:21:39 | 0:21:40 | |
The Wire. It needs more. He has tattoos. It is interesting. It | 0:21:40 | 0:21:40 | |
tattoos. It is interesting. It would | 0:21:40 | 0:21:40 | |
tattoos. It is interesting. It would be | 0:21:40 | 0:21:40 | |
tattoos. It is interesting. It would be nice | 0:21:40 | 0:21:41 | |
tattoos. It is interesting. It would be nice to | 0:21:41 | 0:21:41 | |
tattoos. It is interesting. It would be nice to have | 0:21:41 | 0:21:41 | |
tattoos. It is interesting. It would be nice to have that | 0:21:41 | 0:21:42 | |
tattoos. It is interesting. It would be nice to have that in | 0:21:42 | 0:21:42 | |
tattoos. It is interesting. It would be nice to have that in it. | 0:21:42 | 0:21:44 | |
would be nice to have that in it. He | 0:21:44 | 0:21:44 | |
would be nice to have that in it. He is | 0:21:44 | 0:21:44 | |
would be nice to have that in it. He is massive. | 0:21:44 | 0:21:45 | |
would be nice to have that in it. He is massive. He | 0:21:45 | 0:21:45 | |
would be nice to have that in it. He is massive. He is | 0:21:45 | 0:21:46 | |
would be nice to have that in it. He is massive. He is absolutely | 0:21:46 | 0:21:46 | |
He is massive. He is absolutely ripped. | 0:21:46 | 0:21:46 | |
He is massive. He is absolutely ripped. You | 0:21:46 | 0:21:47 | |
He is massive. He is absolutely ripped. You feel | 0:21:47 | 0:21:48 | |
He is massive. He is absolutely ripped. You feel tiny | 0:21:48 | 0:21:48 | |
He is massive. He is absolutely ripped. You feel tiny in | 0:21:48 | 0:21:48 | |
He is massive. He is absolutely ripped. You feel tiny in the | 0:21:48 | 0:21:49 | |
He is massive. He is absolutely ripped. You feel tiny in the room | 0:21:49 | 0:21:49 | |
ripped. You feel tiny in the room next | 0:21:49 | 0:21:49 | |
ripped. You feel tiny in the room next to | 0:21:49 | 0:21:49 | |
ripped. You feel tiny in the room next to him. | 0:21:49 | 0:21:49 | |
ripped. You feel tiny in the room next to him. I | 0:21:49 | 0:21:50 | |
ripped. You feel tiny in the room next to him. I am | 0:21:50 | 0:21:50 | |
ripped. You feel tiny in the room next to him. I am getting | 0:21:50 | 0:21:50 | |
ripped. You feel tiny in the room next to him. I am getting that, | 0:21:50 | 0:21:51 | |
ripped. You feel tiny in the room next to him. I am getting that, but | 0:21:51 | 0:21:51 | |
next to him. I am getting that, but I | 0:21:51 | 0:21:51 | |
next to him. I am getting that, but I want | 0:21:51 | 0:21:51 | |
next to him. I am getting that, but I want to | 0:21:51 | 0:21:52 | |
next to him. I am getting that, but I want to feel | 0:21:52 | 0:21:52 | |
next to him. I am getting that, but I want to feel the | 0:21:52 | 0:21:53 | |
next to him. I am getting that, but I want to feel the massive | 0:21:53 | 0:21:53 | |
next to him. I am getting that, but I want to feel the massive physical | 0:21:53 | 0:21:53 | |
I want to feel the massive physical presence. | 0:21:53 | 0:21:57 | |
I want to feel the massive physical presence. This | 0:21:57 | 0:21:59 | |
I want to feel the massive physical presence. This one | 0:21:59 | 0:21:59 | |
I want to feel the massive physical presence. This one is | 0:21:59 | 0:21:59 | |
I want to feel the massive physical presence. This one is Grayson. | 0:21:59 | 0:22:00 | |
I want to feel the massive physical presence. This one is Grayson. I | 0:22:00 | 0:22:01 | |
presence. This one is Grayson. I started | 0:22:01 | 0:22:01 | |
presence. This one is Grayson. I started it | 0:22:01 | 0:22:01 | |
presence. This one is Grayson. I started it years | 0:22:01 | 0:22:02 | |
presence. This one is Grayson. I started it years ago. | 0:22:02 | 0:22:04 | |
presence. This one is Grayson. I started it years ago. I | 0:22:04 | 0:22:04 | |
presence. This one is Grayson. I started it years ago. I never | 0:22:04 | 0:22:04 | |
started it years ago. I never finished. | 0:22:04 | 0:22:05 | |
started it years ago. I never finished. I | 0:22:05 | 0:22:06 | |
started it years ago. I never finished. I was | 0:22:06 | 0:22:06 | |
started it years ago. I never finished. I was not | 0:22:06 | 0:22:07 | |
started it years ago. I never finished. I was not sure | 0:22:07 | 0:22:07 | |
started it years ago. I never finished. I was not sure how | 0:22:07 | 0:22:07 | |
started it years ago. I never finished. I was not sure how to | 0:22:07 | 0:22:07 | |
finished. I was not sure how to finish. | 0:22:07 | 0:22:08 | |
finished. I was not sure how to finish. Maybe | 0:22:08 | 0:22:08 | |
finished. I was not sure how to finish. Maybe I | 0:22:08 | 0:22:08 | |
finished. I was not sure how to finish. Maybe I do | 0:22:08 | 0:22:09 | |
finished. I was not sure how to finish. Maybe I do not | 0:22:09 | 0:22:09 | |
finished. I was not sure how to finish. Maybe I do not need | 0:22:09 | 0:22:09 | |
finished. I was not sure how to finish. Maybe I do not need to. | 0:22:09 | 0:22:10 | |
finished. I was not sure how to finish. Maybe I do not need to. He | 0:22:10 | 0:22:10 | |
finish. Maybe I do not need to. He is | 0:22:10 | 0:22:10 | |
finish. Maybe I do not need to. He is in | 0:22:10 | 0:22:10 | |
finish. Maybe I do not need to. He is in the | 0:22:10 | 0:22:11 | |
finish. Maybe I do not need to. He is in the room | 0:22:11 | 0:22:12 | |
finish. Maybe I do not need to. He is in the room in | 0:22:12 | 0:22:12 | |
finish. Maybe I do not need to. He is in the room in his | 0:22:12 | 0:22:12 | |
finish. Maybe I do not need to. He is in the room in his house, | 0:22:12 | 0:22:13 | |
finish. Maybe I do not need to. He is in the room in his house, which | 0:22:13 | 0:22:13 | |
is in the room in his house, which he | 0:22:13 | 0:22:14 | |
is in the room in his house, which he devotes to | 0:22:14 | 0:22:14 | |
is in the room in his house, which he devotes to Claire, | 0:22:14 | 0:22:15 | |
is in the room in his house, which he devotes to Claire, his | 0:22:15 | 0:22:15 | |
is in the room in his house, which he devotes to Claire, his alter | 0:22:15 | 0:22:16 | |
is in the room in his house, which he devotes to Claire, his alter ego. | 0:22:16 | 0:22:19 | |
he devotes to Claire, his alter ego. It | 0:22:19 | 0:22:19 | |
he devotes to Claire, his alter ego. It is | 0:22:19 | 0:22:20 | |
he devotes to Claire, his alter ego. It is reminiscent | 0:22:20 | 0:22:20 | |
he devotes to Claire, his alter ego. It is reminiscent of | 0:22:20 | 0:22:21 | |
he devotes to Claire, his alter ego. It is reminiscent of a | 0:22:21 | 0:22:21 | |
he devotes to Claire, his alter ego. It is reminiscent of a schoolgirl, | 0:22:21 | 0:22:22 | |
It is reminiscent of a schoolgirl, in | 0:22:22 | 0:22:22 | |
It is reminiscent of a schoolgirl, in her | 0:22:22 | 0:22:22 | |
It is reminiscent of a schoolgirl, in her bedroom. | 0:22:22 | 0:22:26 | |
It is reminiscent of a schoolgirl, in her bedroom. We | 0:22:26 | 0:22:26 | |
It is reminiscent of a schoolgirl, in her bedroom. We have | 0:22:26 | 0:22:27 | |
It is reminiscent of a schoolgirl, in her bedroom. We have possibly | 0:22:27 | 0:22:27 | |
in her bedroom. We have possibly Idris | 0:22:27 | 0:22:27 | |
in her bedroom. We have possibly Idris Elba, | 0:22:27 | 0:22:28 | |
in her bedroom. We have possibly Idris Elba, Grayson. | 0:22:28 | 0:22:29 | |
in her bedroom. We have possibly Idris Elba, Grayson. Kevin | 0:22:29 | 0:22:30 | |
in her bedroom. We have possibly Idris Elba, Grayson. Kevin Spacey. | 0:22:30 | 0:22:32 | |
Idris Elba, Grayson. Kevin Spacey. This | 0:22:32 | 0:22:32 | |
Idris Elba, Grayson. Kevin Spacey. This is | 0:22:32 | 0:22:33 | |
Idris Elba, Grayson. Kevin Spacey. This is him | 0:22:33 | 0:22:33 | |
Idris Elba, Grayson. Kevin Spacey. This is him as | 0:22:33 | 0:22:33 | |
Idris Elba, Grayson. Kevin Spacey. This is him as Richard | 0:22:33 | 0:22:33 | |
Idris Elba, Grayson. Kevin Spacey. This is him as Richard III. | 0:22:33 | 0:22:35 | |
Idris Elba, Grayson. Kevin Spacey. This is him as Richard III. He | 0:22:35 | 0:22:35 | |
Idris Elba, Grayson. Kevin Spacey. This is him as Richard III. He is | 0:22:35 | 0:22:35 | |
This is him as Richard III. He is one | 0:22:35 | 0:22:36 | |
This is him as Richard III. He is one of | 0:22:36 | 0:22:36 | |
This is him as Richard III. He is one of the | 0:22:36 | 0:22:36 | |
This is him as Richard III. He is one of the most | 0:22:36 | 0:22:36 | |
This is him as Richard III. He is one of the most exciting | 0:22:36 | 0:22:37 | |
This is him as Richard III. He is one of the most exciting actors | 0:22:37 | 0:22:37 | |
This is him as Richard III. He is one of the most exciting actors I | 0:22:37 | 0:22:37 | |
one of the most exciting actors I have | 0:22:37 | 0:22:38 | |
one of the most exciting actors I have seen. | 0:22:38 | 0:22:39 | |
one of the most exciting actors I have seen. There | 0:22:39 | 0:22:39 | |
one of the most exciting actors I have seen. There is | 0:22:39 | 0:22:39 | |
one of the most exciting actors I have seen. There is an | 0:22:39 | 0:22:40 | |
one of the most exciting actors I have seen. There is an underlying | 0:22:40 | 0:22:40 | |
have seen. There is an underlying power | 0:22:40 | 0:22:40 | |
have seen. There is an underlying power to | 0:22:40 | 0:22:41 | |
have seen. There is an underlying power to everything | 0:22:41 | 0:22:41 | |
have seen. There is an underlying power to everything he | 0:22:41 | 0:22:41 | |
have seen. There is an underlying power to everything he does. | 0:22:41 | 0:22:43 | |
have seen. There is an underlying power to everything he does. I | 0:22:43 | 0:22:43 | |
have seen. There is an underlying power to everything he does. I can | 0:22:43 | 0:22:44 | |
power to everything he does. I can see | 0:22:44 | 0:22:44 | |
power to everything he does. I can see a | 0:22:44 | 0:22:44 | |
power to everything he does. I can see a very | 0:22:44 | 0:22:45 | |
power to everything he does. I can see a very big | 0:22:45 | 0:22:46 | |
power to everything he does. I can see a very big painting | 0:22:46 | 0:22:46 | |
power to everything he does. I can see a very big painting of | 0:22:46 | 0:22:46 | |
power to everything he does. I can see a very big painting of Damien | 0:22:46 | 0:22:46 | |
see a very big painting of Damien Hirst. | 0:22:46 | 0:22:46 | |
see a very big painting of Damien Hirst. It | 0:22:46 | 0:22:47 | |
see a very big painting of Damien Hirst. It has | 0:22:47 | 0:22:47 | |
see a very big painting of Damien Hirst. It has a | 0:22:47 | 0:22:47 | |
see a very big painting of Damien Hirst. It has a knowing | 0:22:47 | 0:22:48 | |
see a very big painting of Damien Hirst. It has a knowing smile | 0:22:48 | 0:22:48 | |
see a very big painting of Damien Hirst. It has a knowing smile on | 0:22:48 | 0:22:48 | |
Hirst. It has a knowing smile on his | 0:22:48 | 0:22:49 | |
Hirst. It has a knowing smile on his face, | 0:22:49 | 0:22:50 | |
Hirst. It has a knowing smile on his face, wearing, | 0:22:50 | 0:22:51 | |
Hirst. It has a knowing smile on his face, wearing, what | 0:22:51 | 0:22:52 | |
Hirst. It has a knowing smile on his face, wearing, what is | 0:22:52 | 0:22:52 | |
his face, wearing, what is he wearing? | 0:22:52 | 0:22:54 | |
his face, wearing, what is he wearing? I | 0:22:54 | 0:22:54 | |
his face, wearing, what is he wearing? I want | 0:22:54 | 0:22:55 | |
his face, wearing, what is he wearing? I want people | 0:22:55 | 0:22:55 | |
his face, wearing, what is he wearing? I want people to | 0:22:55 | 0:22:55 | |
his face, wearing, what is he wearing? I want people to be | 0:22:55 | 0:22:56 | |
his face, wearing, what is he wearing? I want people to be not | 0:22:56 | 0:22:56 | |
wearing? I want people to be not sure. | 0:22:56 | 0:22:56 | |
wearing? I want people to be not sure. It | 0:22:56 | 0:22:57 | |
wearing? I want people to be not sure. It is | 0:22:57 | 0:22:57 | |
wearing? I want people to be not sure. It is a | 0:22:57 | 0:22:58 | |
wearing? I want people to be not sure. It is a chemical dry | 0:22:58 | 0:22:58 | |
wearing? I want people to be not sure. It is a chemical dry suit, | 0:22:58 | 0:22:59 | |
sure. It is a chemical dry suit, which | 0:22:59 | 0:22:59 | |
sure. It is a chemical dry suit, which used | 0:22:59 | 0:23:00 | |
sure. It is a chemical dry suit, which used to | 0:23:00 | 0:23:00 | |
sure. It is a chemical dry suit, which used to make | 0:23:00 | 0:23:00 | |
sure. It is a chemical dry suit, which used to make his | 0:23:00 | 0:23:01 | |
sure. It is a chemical dry suit, which used to make his formaldehyde | 0:23:01 | 0:23:01 | |
which used to make his formaldehyde pieces. | 0:23:01 | 0:23:03 | |
which used to make his formaldehyde pieces. I | 0:23:03 | 0:23:04 | |
which used to make his formaldehyde pieces. I thought | 0:23:04 | 0:23:04 | |
which used to make his formaldehyde pieces. I thought he | 0:23:04 | 0:23:04 | |
which used to make his formaldehyde pieces. I thought he looked | 0:23:04 | 0:23:06 | |
which used to make his formaldehyde pieces. I thought he looked like | 0:23:06 | 0:23:06 | |
which used to make his formaldehyde pieces. I thought he looked like an | 0:23:06 | 0:23:07 | |
pieces. I thought he looked like an art | 0:23:07 | 0:23:07 | |
pieces. I thought he looked like an art world | 0:23:07 | 0:23:07 | |
pieces. I thought he looked like an art world Henry | 0:23:07 | 0:23:07 | |
pieces. I thought he looked like an art world Henry VIII | 0:23:07 | 0:23:08 | |
pieces. I thought he looked like an art world Henry VIII on | 0:23:08 | 0:23:08 | |
pieces. I thought he looked like an art world Henry VIII on the | 0:23:08 | 0:23:08 | |
pieces. I thought he looked like an art world Henry VIII on the throne, | 0:23:08 | 0:23:08 | |
art world Henry VIII on the throne, perhaps | 0:23:08 | 0:23:08 | |
art world Henry VIII on the throne, perhaps jovial, | 0:23:08 | 0:23:09 | |
art world Henry VIII on the throne, perhaps jovial, but | 0:23:09 | 0:23:10 | |
art world Henry VIII on the throne, perhaps jovial, but also | 0:23:10 | 0:23:10 | |
art world Henry VIII on the throne, perhaps jovial, but also powerful | 0:23:10 | 0:23:10 | |
perhaps jovial, but also powerful and | 0:23:10 | 0:23:11 | |
perhaps jovial, but also powerful and potentially | 0:23:11 | 0:23:12 | |
perhaps jovial, but also powerful and potentially to | 0:23:12 | 0:23:12 | |
perhaps jovial, but also powerful and potentially to radical. | 0:23:12 | 0:23:13 | |
perhaps jovial, but also powerful and potentially to radical. But | 0:23:13 | 0:23:13 | |
and potentially to radical. But there | 0:23:13 | 0:23:14 | |
and potentially to radical. But there is | 0:23:14 | 0:23:14 | |
and potentially to radical. But there is a | 0:23:14 | 0:23:14 | |
and potentially to radical. But there is a hint | 0:23:14 | 0:23:15 | |
and potentially to radical. But there is a hint of | 0:23:15 | 0:23:15 | |
and potentially to radical. But there is a hint of a | 0:23:15 | 0:23:15 | |
and potentially to radical. But there is a hint of a smile | 0:23:15 | 0:23:15 | |
and potentially to radical. But there is a hint of a smile and | 0:23:15 | 0:23:15 | |
and potentially to radical. But there is a hint of a smile and it | 0:23:15 | 0:23:16 | |
there is a hint of a smile and it is | 0:23:16 | 0:23:16 | |
there is a hint of a smile and it is a | 0:23:16 | 0:23:16 | |
there is a hint of a smile and it is a piece | 0:23:16 | 0:23:17 | |
there is a hint of a smile and it is a piece of | 0:23:17 | 0:23:17 | |
there is a hint of a smile and it is a piece of play | 0:23:17 | 0:23:17 | |
there is a hint of a smile and it is a piece of play acting. | 0:23:17 | 0:23:18 | |
there is a hint of a smile and it is a piece of play acting. He | 0:23:18 | 0:23:18 | |
there is a hint of a smile and it is a piece of play acting. He is | 0:23:18 | 0:23:19 | |
is a piece of play acting. He is very | 0:23:19 | 0:23:19 | |
is a piece of play acting. He is very aware | 0:23:19 | 0:23:20 | |
is a piece of play acting. He is very aware of | 0:23:20 | 0:23:20 | |
is a piece of play acting. He is very aware of how | 0:23:20 | 0:23:20 | |
is a piece of play acting. He is very aware of how he | 0:23:20 | 0:23:21 | |
is a piece of play acting. He is very aware of how he is | 0:23:21 | 0:23:21 | |
is a piece of play acting. He is very aware of how he is seen | 0:23:21 | 0:23:21 | |
is a piece of play acting. He is very aware of how he is seen and | 0:23:21 | 0:23:21 | |
is a piece of play acting. He is very aware of how he is seen and he | 0:23:21 | 0:23:21 | |
very aware of how he is seen and he is | 0:23:21 | 0:23:22 | |
very aware of how he is seen and he is good | 0:23:22 | 0:23:22 | |
very aware of how he is seen and he is good at | 0:23:22 | 0:23:22 | |
very aware of how he is seen and he is good at playing | 0:23:22 | 0:23:22 | |
very aware of how he is seen and he is good at playing up | 0:23:22 | 0:23:23 | |
very aware of how he is seen and he is good at playing up to | 0:23:23 | 0:23:23 | |
very aware of how he is seen and he is good at playing up to it. | 0:23:23 | 0:23:24 | |
is good at playing up to it. Amplifying | 0:23:24 | 0:23:25 | |
is good at playing up to it. Amplifying it | 0:23:25 | 0:23:25 | |
is good at playing up to it. Amplifying it for | 0:23:25 | 0:23:25 | |
is good at playing up to it. Amplifying it for comic | 0:23:25 | 0:23:27 | |
is good at playing up to it. Amplifying it for comic effect | 0:23:27 | 0:23:27 | |
is good at playing up to it. Amplifying it for comic effect all | 0:23:27 | 0:23:27 | |
Amplifying it for comic effect all confounding | 0:23:27 | 0:23:28 | |
Amplifying it for comic effect all confounding people's | 0:23:28 | 0:23:28 | |
Amplifying it for comic effect all confounding people's expectations. | 0:23:28 | 0:23:37 | |
confounding people's expectations. Most | 0:23:37 | 0:23:37 | |
confounding people's expectations. Most of | 0:23:37 | 0:23:37 | |
confounding people's expectations. Most of the | 0:23:37 | 0:23:37 | |
confounding people's expectations. Most of the sitters | 0:23:37 | 0:23:37 | |
confounding people's expectations. Most of the sitters are | 0:23:37 | 0:23:38 | |
confounding people's expectations. Most of the sitters are people | 0:23:38 | 0:23:38 | |
confounding people's expectations. Most of the sitters are people who | 0:23:38 | 0:23:38 | |
Most of the sitters are people who have | 0:23:38 | 0:23:39 | |
Most of the sitters are people who have chosen to | 0:23:39 | 0:23:39 | |
Most of the sitters are people who have chosen to be | 0:23:39 | 0:23:40 | |
Most of the sitters are people who have chosen to be in | 0:23:40 | 0:23:40 | |
Most of the sitters are people who have chosen to be in the | 0:23:40 | 0:23:40 | |
Most of the sitters are people who have chosen to be in the public | 0:23:40 | 0:23:40 | |
Most of the sitters are people who have chosen to be in the public eye, | 0:23:40 | 0:23:41 | |
have chosen to be in the public eye, but | 0:23:41 | 0:23:41 | |
have chosen to be in the public eye, but for | 0:23:41 | 0:23:41 | |
have chosen to be in the public eye, but for this | 0:23:41 | 0:23:44 | |
have chosen to be in the public eye, but for this exposition | 0:23:44 | 0:23:44 | |
have chosen to be in the public eye, but for this exposition -- | 0:23:44 | 0:23:44 | |
but for this exposition -- exhibition, | 0:23:44 | 0:23:45 | |
but for this exposition -- exhibition, he | 0:23:45 | 0:23:45 | |
but for this exposition -- exhibition, he was | 0:23:45 | 0:23:45 | |
but for this exposition -- exhibition, he was keen | 0:23:45 | 0:23:45 | |
but for this exposition -- exhibition, he was keen to | 0:23:45 | 0:23:47 | |
but for this exposition -- exhibition, he was keen to include | 0:23:47 | 0:23:47 | |
exhibition, he was keen to include more | 0:23:47 | 0:23:48 | |
exhibition, he was keen to include more reluctant | 0:23:48 | 0:23:48 | |
exhibition, he was keen to include more reluctant celebrities. | 0:23:48 | 0:23:50 | |
exhibition, he was keen to include more reluctant celebrities. For | 0:23:50 | 0:23:50 | |
more reluctant celebrities. For Doreen | 0:23:50 | 0:23:51 | |
more reluctant celebrities. For Doreen Lawrence, | 0:23:51 | 0:23:51 | |
more reluctant celebrities. For Doreen Lawrence, it | 0:23:51 | 0:23:51 | |
more reluctant celebrities. For Doreen Lawrence, it has | 0:23:51 | 0:23:51 | |
more reluctant celebrities. For Doreen Lawrence, it has been | 0:23:51 | 0:23:51 | |
more reluctant celebrities. For Doreen Lawrence, it has been a | 0:23:51 | 0:23:53 | |
Doreen Lawrence, it has been a momentous | 0:23:53 | 0:23:53 | |
Doreen Lawrence, it has been a momentous summer. | 0:23:53 | 0:23:53 | |
Doreen Lawrence, it has been a momentous summer. It | 0:23:53 | 0:23:54 | |
Doreen Lawrence, it has been a momentous summer. It is | 0:23:54 | 0:23:54 | |
Doreen Lawrence, it has been a momentous summer. It is 20 | 0:23:54 | 0:23:54 | |
Doreen Lawrence, it has been a momentous summer. It is 20 years | 0:23:54 | 0:23:57 | |
momentous summer. It is 20 years since | 0:23:57 | 0:23:57 | |
momentous summer. It is 20 years since her | 0:23:57 | 0:23:58 | |
momentous summer. It is 20 years since her son | 0:23:58 | 0:23:58 | |
momentous summer. It is 20 years since her son Stephen | 0:23:58 | 0:23:58 | |
momentous summer. It is 20 years since her son Stephen was | 0:23:58 | 0:23:58 | |
momentous summer. It is 20 years since her son Stephen was killed | 0:23:58 | 0:23:59 | |
momentous summer. It is 20 years since her son Stephen was killed in | 0:23:59 | 0:23:59 | |
since her son Stephen was killed in a | 0:23:59 | 0:24:00 | |
since her son Stephen was killed in a racist | 0:24:00 | 0:24:00 | |
since her son Stephen was killed in a racist attack. | 0:24:00 | 0:24:00 | |
since her son Stephen was killed in a racist attack. A | 0:24:00 | 0:24:01 | |
since her son Stephen was killed in a racist attack. A campaigner, | 0:24:01 | 0:24:02 | |
since her son Stephen was killed in a racist attack. A campaigner, she | 0:24:02 | 0:24:02 | |
a racist attack. A campaigner, she has | 0:24:02 | 0:24:03 | |
a racist attack. A campaigner, she has recently | 0:24:03 | 0:24:03 | |
a racist attack. A campaigner, she has recently been | 0:24:03 | 0:24:04 | |
a racist attack. A campaigner, she has recently been made | 0:24:04 | 0:24:04 | |
a racist attack. A campaigner, she has recently been made a | 0:24:04 | 0:24:04 | |
a racist attack. A campaigner, she has recently been made a peer. | 0:24:04 | 0:24:06 | |
a racist attack. A campaigner, she has recently been made a peer. But | 0:24:06 | 0:24:06 | |
has recently been made a peer. But a | 0:24:06 | 0:24:08 | |
has recently been made a peer. But a portrait | 0:24:08 | 0:24:08 | |
has recently been made a peer. But a portrait was | 0:24:08 | 0:24:08 | |
has recently been made a peer. But a portrait was a | 0:24:08 | 0:24:08 | |
has recently been made a peer. But a portrait was a more | 0:24:08 | 0:24:09 | |
has recently been made a peer. But a portrait was a more uncertain | 0:24:09 | 0:24:09 | |
a portrait was a more uncertain undertaking. | 0:24:09 | 0:24:11 | |
a portrait was a more uncertain undertaking. When | 0:24:11 | 0:24:12 | |
a portrait was a more uncertain undertaking. When I | 0:24:12 | 0:24:12 | |
a portrait was a more uncertain undertaking. When I was | 0:24:12 | 0:24:12 | |
a portrait was a more uncertain undertaking. When I was first | 0:24:12 | 0:24:13 | |
a portrait was a more uncertain undertaking. When I was first asked, | 0:24:13 | 0:24:13 | |
undertaking. When I was first asked, I | 0:24:13 | 0:24:14 | |
undertaking. When I was first asked, I felt, | 0:24:14 | 0:24:16 | |
undertaking. When I was first asked, I felt, and | 0:24:16 | 0:24:16 | |
undertaking. When I was first asked, I felt, and I | 0:24:16 | 0:24:16 | |
undertaking. When I was first asked, I felt, and I pin | 0:24:16 | 0:24:16 | |
undertaking. When I was first asked, I felt, and I pin white | 0:24:16 | 0:24:16 | |
undertaking. When I was first asked, I felt, and I pin white person? | 0:24:16 | 0:24:17 | |
undertaking. When I was first asked, I felt, and I pin white person? You | 0:24:17 | 0:24:17 | |
I felt, and I pin white person? You have | 0:24:17 | 0:24:17 | |
I felt, and I pin white person? You have an | 0:24:17 | 0:24:17 | |
I felt, and I pin white person? You have an idea | 0:24:17 | 0:24:18 | |
I felt, and I pin white person? You have an idea of | 0:24:18 | 0:24:18 | |
I felt, and I pin white person? You have an idea of what | 0:24:18 | 0:24:19 | |
I felt, and I pin white person? You have an idea of what it | 0:24:19 | 0:24:19 | |
I felt, and I pin white person? You have an idea of what it is | 0:24:19 | 0:24:19 | |
I felt, and I pin white person? You have an idea of what it is to | 0:24:19 | 0:24:19 | |
I felt, and I pin white person? You have an idea of what it is to sit | 0:24:19 | 0:24:19 | |
I felt, and I pin white person? You have an idea of what it is to sit - | 0:24:19 | 0:24:20 | |
have an idea of what it is to sit - - | 0:24:20 | 0:24:21 | |
have an idea of what it is to sit - - -- | 0:24:21 | 0:24:23 | |
have an idea of what it is to sit - - -- am | 0:24:23 | 0:24:23 | |
have an idea of what it is to sit - - -- am I | 0:24:23 | 0:24:23 | |
have an idea of what it is to sit - - -- am I the | 0:24:23 | 0:24:23 | |
have an idea of what it is to sit - - -- am I the right | 0:24:23 | 0:24:24 | |
have an idea of what it is to sit - - -- am I the right person? | 0:24:24 | 0:24:24 | |
have an idea of what it is to sit - - -- am I the right person? There | 0:24:24 | 0:24:25 | |
- -- am I the right person? There is | 0:24:25 | 0:24:25 | |
- -- am I the right person? There is this | 0:24:25 | 0:24:25 | |
- -- am I the right person? There is this and | 0:24:25 | 0:24:26 | |
- -- am I the right person? There is this and rigid | 0:24:26 | 0:24:26 | |
- -- am I the right person? There is this and rigid thing, | 0:24:26 | 0:24:26 | |
- -- am I the right person? There is this and rigid thing, you | 0:24:26 | 0:24:27 | |
- -- am I the right person? There is this and rigid thing, you have | 0:24:27 | 0:24:27 | |
is this and rigid thing, you have to | 0:24:27 | 0:24:27 | |
is this and rigid thing, you have to sit still. | 0:24:27 | 0:24:28 | |
is this and rigid thing, you have to sit still. It | 0:24:28 | 0:24:28 | |
is this and rigid thing, you have to sit still. It has | 0:24:28 | 0:24:29 | |
is this and rigid thing, you have to sit still. It has not | 0:24:29 | 0:24:29 | |
is this and rigid thing, you have to sit still. It has not been | 0:24:29 | 0:24:29 | |
is this and rigid thing, you have to sit still. It has not been like | 0:24:29 | 0:24:29 | |
to sit still. It has not been like that. | 0:24:29 | 0:24:30 | |
to sit still. It has not been like that. It | 0:24:30 | 0:24:30 | |
to sit still. It has not been like that. It has | 0:24:30 | 0:24:30 | |
to sit still. It has not been like that. It has been | 0:24:30 | 0:24:31 | |
to sit still. It has not been like that. It has been quite | 0:24:31 | 0:24:32 | |
to sit still. It has not been like that. It has been quite a | 0:24:32 | 0:24:32 | |
to sit still. It has not been like that. It has been quite a relaxed | 0:24:32 | 0:24:32 | |
that. It has been quite a relaxed atmosphere. | 0:24:32 | 0:24:34 | |
that. It has been quite a relaxed atmosphere. Perhaps | 0:24:34 | 0:24:34 | |
that. It has been quite a relaxed atmosphere. Perhaps that | 0:24:34 | 0:24:35 | |
that. It has been quite a relaxed atmosphere. Perhaps that is | 0:24:35 | 0:24:36 | |
that. It has been quite a relaxed atmosphere. Perhaps that is how | 0:24:36 | 0:24:36 | |
atmosphere. Perhaps that is how Johnny | 0:24:36 | 0:24:36 | |
atmosphere. Perhaps that is how Johnny is | 0:24:36 | 0:24:36 | |
atmosphere. Perhaps that is how Johnny is himself. | 0:24:36 | 0:24:41 | |
atmosphere. Perhaps that is how Johnny is himself. When | 0:24:41 | 0:24:42 | |
atmosphere. Perhaps that is how Johnny is himself. When you get | 0:24:42 | 0:24:42 | |
atmosphere. Perhaps that is how Johnny is himself. When you get to | 0:24:42 | 0:24:42 | |
Johnny is himself. When you get to this | 0:24:42 | 0:24:42 | |
Johnny is himself. When you get to this stage, | 0:24:42 | 0:24:44 | |
Johnny is himself. When you get to this stage, you | 0:24:44 | 0:24:44 | |
Johnny is himself. When you get to this stage, you are | 0:24:44 | 0:24:45 | |
Johnny is himself. When you get to this stage, you are fine-tuning | 0:24:45 | 0:24:45 | |
Johnny is himself. When you get to this stage, you are fine-tuning and | 0:24:45 | 0:24:45 | |
this stage, you are fine-tuning and concentrating | 0:24:45 | 0:24:46 | |
this stage, you are fine-tuning and concentrating hard. | 0:24:46 | 0:24:47 | |
this stage, you are fine-tuning and concentrating hard. The | 0:24:47 | 0:24:48 | |
this stage, you are fine-tuning and concentrating hard. The early | 0:24:48 | 0:24:48 | |
concentrating hard. The early stages, | 0:24:48 | 0:24:49 | |
concentrating hard. The early stages, it | 0:24:49 | 0:24:49 | |
concentrating hard. The early stages, it is | 0:24:49 | 0:24:49 | |
concentrating hard. The early stages, it is looser. | 0:24:49 | 0:24:52 | |
concentrating hard. The early stages, it is looser. When | 0:24:52 | 0:24:52 | |
concentrating hard. The early stages, it is looser. When I | 0:24:52 | 0:24:52 | |
concentrating hard. The early stages, it is looser. When I first | 0:24:52 | 0:24:53 | |
stages, it is looser. When I first looked | 0:24:53 | 0:24:53 | |
stages, it is looser. When I first looked at | 0:24:53 | 0:24:53 | |
stages, it is looser. When I first looked at it | 0:24:53 | 0:24:53 | |
stages, it is looser. When I first looked at it this | 0:24:53 | 0:24:54 | |
stages, it is looser. When I first looked at it this morning, | 0:24:54 | 0:24:54 | |
stages, it is looser. When I first looked at it this morning, I | 0:24:54 | 0:24:54 | |
looked at it this morning, I thought, | 0:24:54 | 0:24:55 | |
looked at it this morning, I thought, that | 0:24:55 | 0:24:55 | |
looked at it this morning, I thought, that is | 0:24:55 | 0:24:56 | |
looked at it this morning, I thought, that is me. | 0:24:56 | 0:24:56 | |
looked at it this morning, I thought, that is me. I | 0:24:56 | 0:24:56 | |
looked at it this morning, I thought, that is me. I did | 0:24:56 | 0:24:57 | |
looked at it this morning, I thought, that is me. I did not | 0:24:57 | 0:24:57 | |
looked at it this morning, I thought, that is me. I did not feel, | 0:24:57 | 0:24:59 | |
thought, that is me. I did not feel, where | 0:24:59 | 0:24:59 | |
thought, that is me. I did not feel, where his | 0:24:59 | 0:24:59 | |
thought, that is me. I did not feel, where his knee | 0:24:59 | 0:25:00 | |
thought, that is me. I did not feel, where his knee in | 0:25:00 | 0:25:00 | |
thought, that is me. I did not feel, where his knee in all | 0:25:00 | 0:25:00 | |
thought, that is me. I did not feel, where his knee in all of this? | 0:25:00 | 0:25:01 | |
thought, that is me. I did not feel, where his knee in all of this? I | 0:25:01 | 0:25:01 | |
where his knee in all of this? I still | 0:25:01 | 0:25:02 | |
where his knee in all of this? I still feel | 0:25:02 | 0:25:02 | |
where his knee in all of this? I still feel as | 0:25:02 | 0:25:03 | |
where his knee in all of this? I still feel as if | 0:25:03 | 0:25:04 | |
where his knee in all of this? I still feel as if my | 0:25:04 | 0:25:04 | |
where his knee in all of this? I still feel as if my cheeks | 0:25:04 | 0:25:04 | |
where his knee in all of this? I still feel as if my cheeks are | 0:25:04 | 0:25:05 | |
where his knee in all of this? I still feel as if my cheeks are too | 0:25:05 | 0:25:05 | |
still feel as if my cheeks are too fat. | 0:25:05 | 0:25:06 | |
still feel as if my cheeks are too fat. -- | 0:25:06 | 0:25:06 | |
still feel as if my cheeks are too fat. -- where | 0:25:06 | 0:25:07 | |
still feel as if my cheeks are too fat. -- where his me? | 0:25:07 | 0:25:09 | |
still feel as if my cheeks are too fat. -- where his me? I | 0:25:09 | 0:25:09 | |
still feel as if my cheeks are too fat. -- where his me? I think | 0:25:09 | 0:25:10 | |
still feel as if my cheeks are too fat. -- where his me? I think he | 0:25:10 | 0:25:11 | |
still feel as if my cheeks are too has captured | 0:25:11 | 0:25:11 | |
still feel as if my cheeks are too has captured me. | 0:25:11 | 0:25:14 | |
still feel as if my cheeks are too has captured me. The | 0:25:14 | 0:25:14 | |
still feel as if my cheeks are too has captured me. The portrait | 0:25:14 | 0:25:15 | |
still feel as if my cheeks are too has captured me. The portrait is | 0:25:15 | 0:25:15 | |
has captured me. The portrait is the | 0:25:15 | 0:25:15 | |
has captured me. The portrait is the last | 0:25:15 | 0:25:16 | |
has captured me. The portrait is the last work | 0:25:16 | 0:25:16 | |
has captured me. The portrait is the last work to | 0:25:16 | 0:25:16 | |
has captured me. The portrait is the last work to be | 0:25:16 | 0:25:16 | |
has captured me. The portrait is the last work to be completed | 0:25:16 | 0:25:16 | |
has captured me. The portrait is the last work to be completed for | 0:25:16 | 0:25:17 | |
the last work to be completed for the | 0:25:17 | 0:25:17 | |
the last work to be completed for the show | 0:25:17 | 0:25:17 | |
the last work to be completed for the show and | 0:25:17 | 0:25:17 | |
the last work to be completed for the show and it | 0:25:17 | 0:25:18 | |
the last work to be completed for the show and it will | 0:25:18 | 0:25:18 | |
the last work to be completed for the show and it will only | 0:25:18 | 0:25:18 | |
the last work to be completed for the show and it will only just | 0:25:18 | 0:25:19 | |
the last work to be completed for the show and it will only just make | 0:25:19 | 0:25:19 | |
the show and it will only just make the | 0:25:19 | 0:25:19 | |
the show and it will only just make the deadline. | 0:25:19 | 0:25:23 | |
the show and it will only just make the deadline. With | 0:25:23 | 0:25:23 | |
the show and it will only just make the deadline. With three | 0:25:23 | 0:25:23 | |
the show and it will only just make the deadline. With three days | 0:25:23 | 0:25:24 | |
the show and it will only just make the deadline. With three days to | 0:25:24 | 0:25:24 | |
the show and it will only just make the deadline. With three days to go | 0:25:24 | 0:25:25 | |
the deadline. With three days to go before | 0:25:25 | 0:25:25 | |
the deadline. With three days to go before the | 0:25:25 | 0:25:25 | |
the deadline. With three days to go before the exhibition | 0:25:25 | 0:25:26 | |
the deadline. With three days to go before the exhibition opens, | 0:25:26 | 0:25:26 | |
the deadline. With three days to go before the exhibition opens, the | 0:25:26 | 0:25:27 | |
before the exhibition opens, the canvas | 0:25:27 | 0:25:27 | |
before the exhibition opens, the canvas is | 0:25:27 | 0:25:28 | |
before the exhibition opens, the canvas is needed | 0:25:28 | 0:25:28 | |
before the exhibition opens, the canvas is needed at | 0:25:28 | 0:25:29 | |
before the exhibition opens, the canvas is needed at the | 0:25:29 | 0:25:29 | |
before the exhibition opens, the canvas is needed at the National | 0:25:29 | 0:25:29 | |
canvas is needed at the National Portrait | 0:25:29 | 0:25:30 | |
canvas is needed at the National Portrait Gallery as | 0:25:30 | 0:25:30 | |
canvas is needed at the National Portrait Gallery as soon | 0:25:30 | 0:25:30 | |
canvas is needed at the National Portrait Gallery as soon as | 0:25:30 | 0:25:30 | |
Portrait Gallery as soon as possible. | 0:25:30 | 0:25:31 | |
Portrait Gallery as soon as possible. The | 0:25:31 | 0:25:32 | |
Portrait Gallery as soon as possible. The only | 0:25:32 | 0:25:32 | |
Portrait Gallery as soon as possible. The only option | 0:25:32 | 0:25:33 | |
Portrait Gallery as soon as possible. The only option is | 0:25:33 | 0:25:33 | |
Portrait Gallery as soon as possible. The only option is to | 0:25:33 | 0:25:34 | |
possible. The only option is to frame | 0:25:34 | 0:25:34 | |
possible. The only option is to frame it | 0:25:34 | 0:25:35 | |
possible. The only option is to frame it while | 0:25:35 | 0:25:35 | |
possible. The only option is to frame it while it | 0:25:35 | 0:25:35 | |
possible. The only option is to frame it while it is | 0:25:35 | 0:25:36 | |
possible. The only option is to frame it while it is still | 0:25:36 | 0:25:36 | |
possible. The only option is to frame it while it is still wet. | 0:25:36 | 0:25:38 | |
possible. The only option is to frame it while it is still wet. Can | 0:25:38 | 0:25:38 | |
frame it while it is still wet. Can they | 0:25:38 | 0:25:38 | |
frame it while it is still wet. Can they take | 0:25:38 | 0:25:39 | |
frame it while it is still wet. Can they take a | 0:25:39 | 0:25:39 | |
frame it while it is still wet. Can they take a break | 0:25:39 | 0:25:40 | |
frame it while it is still wet. Can they take a break early and | 0:25:40 | 0:25:40 | |
frame it while it is still wet. Can they take a break early and get | 0:25:40 | 0:25:41 | |
they take a break early and get back | 0:25:41 | 0:25:41 | |
they take a break early and get back at | 0:25:41 | 0:25:41 | |
they take a break early and get back at half | 0:25:41 | 0:25:42 | |
they take a break early and get back at half past? | 0:25:42 | 0:25:42 | |
they take a break early and get back at half past? Perfect. | 0:25:42 | 0:25:43 | |
they take a break early and get back at half past? Perfect. See | 0:25:43 | 0:25:43 | |
they take a break early and get back at half past? Perfect. See you | 0:25:43 | 0:25:43 | |
back at half past? Perfect. See you in | 0:25:43 | 0:25:44 | |
back at half past? Perfect. See you in a | 0:25:44 | 0:25:44 | |
back at half past? Perfect. See you in a bit. | 0:25:44 | 0:25:48 | |
back at half past? Perfect. See you in a bit. Ideally, | 0:25:48 | 0:25:49 | |
back at half past? Perfect. See you in a bit. Ideally, I | 0:25:49 | 0:25:49 | |
back at half past? Perfect. See you in a bit. Ideally, I would | 0:25:49 | 0:25:49 | |
back at half past? Perfect. See you in a bit. Ideally, I would have | 0:25:49 | 0:25:50 | |
in a bit. Ideally, I would have done | 0:25:50 | 0:25:50 | |
in a bit. Ideally, I would have done this | 0:25:50 | 0:25:51 | |
in a bit. Ideally, I would have done this weeks | 0:25:51 | 0:25:51 | |
in a bit. Ideally, I would have done this weeks ago, | 0:25:51 | 0:25:53 | |
in a bit. Ideally, I would have done this weeks ago, but | 0:25:53 | 0:25:53 | |
in a bit. Ideally, I would have done this weeks ago, but Doreen | 0:25:53 | 0:25:54 | |
in a bit. Ideally, I would have done this weeks ago, but Doreen was | 0:25:54 | 0:25:54 | |
done this weeks ago, but Doreen was away | 0:25:54 | 0:25:54 | |
done this weeks ago, but Doreen was away and | 0:25:54 | 0:25:55 | |
done this weeks ago, but Doreen was away and I | 0:25:55 | 0:25:55 | |
done this weeks ago, but Doreen was away and I did | 0:25:55 | 0:25:55 | |
done this weeks ago, but Doreen was away and I did not | 0:25:55 | 0:25:55 | |
done this weeks ago, but Doreen was away and I did not want | 0:25:55 | 0:25:55 | |
done this weeks ago, but Doreen was away and I did not want to | 0:25:55 | 0:25:56 | |
done this weeks ago, but Doreen was away and I did not want to finish | 0:25:56 | 0:25:56 | |
done this weeks ago, but Doreen was without her | 0:25:56 | 0:25:57 | |
done this weeks ago, but Doreen was without her here, | 0:25:57 | 0:25:57 | |
done this weeks ago, but Doreen was without her here, I | 0:25:57 | 0:25:58 | |
done this weeks ago, but Doreen was without her here, I wanted | 0:25:58 | 0:25:58 | |
done this weeks ago, but Doreen was without her here, I wanted her | 0:25:58 | 0:25:58 | |
done this weeks ago, but Doreen was without her here, I wanted her in | 0:25:58 | 0:25:58 | |
without her here, I wanted her in the | 0:25:58 | 0:25:58 | |
without her here, I wanted her in the show, it | 0:25:58 | 0:25:59 | |
without her here, I wanted her in the show, it would | 0:25:59 | 0:25:59 | |
without her here, I wanted her in the show, it would have | 0:25:59 | 0:26:00 | |
without her here, I wanted her in the show, it would have been | 0:26:00 | 0:26:00 | |
without her here, I wanted her in the show, it would have been a | 0:26:00 | 0:26:00 | |
without her here, I wanted her in the show, it would have been a big | 0:26:00 | 0:26:01 | |
the show, it would have been a big gap | 0:26:01 | 0:26:01 | |
the show, it would have been a big gap on | 0:26:01 | 0:26:01 | |
the show, it would have been a big gap on the | 0:26:01 | 0:26:01 | |
the show, it would have been a big gap on the wall. | 0:26:01 | 0:26:03 | |
the show, it would have been a big gap on the wall. Also, | 0:26:03 | 0:26:03 | |
the show, it would have been a big gap on the wall. Also, it | 0:26:03 | 0:26:04 | |
the show, it would have been a big gap on the wall. Also, it is | 0:26:04 | 0:26:05 | |
the show, it would have been a big gap on the wall. Also, it is a | 0:26:05 | 0:26:05 | |
gap on the wall. Also, it is a balance | 0:26:05 | 0:26:05 | |
gap on the wall. Also, it is a balance of | 0:26:05 | 0:26:05 | |
gap on the wall. Also, it is a balance of personalities. | 0:26:05 | 0:26:13 | |
gap on the wall. Also, it is a balance of personalities. We | 0:26:13 | 0:26:13 | |
balance of personalities. We decided | 0:26:13 | 0:26:13 | |
balance of personalities. We decided we | 0:26:13 | 0:26:14 | |
balance of personalities. We decided we wanted | 0:26:14 | 0:26:14 | |
balance of personalities. We decided we wanted to | 0:26:14 | 0:26:15 | |
balance of personalities. We decided we wanted to focus | 0:26:15 | 0:26:16 | |
balance of personalities. We decided we wanted to focus on | 0:26:16 | 0:26:16 | |
balance of personalities. We decided we wanted to focus on his | 0:26:16 | 0:26:17 | |
decided we wanted to focus on his portraits | 0:26:17 | 0:26:18 | |
decided we wanted to focus on his portraits because | 0:26:18 | 0:26:18 | |
decided we wanted to focus on his portraits because he | 0:26:18 | 0:26:18 | |
decided we wanted to focus on his portraits because he is | 0:26:18 | 0:26:19 | |
decided we wanted to focus on his portraits because he is an | 0:26:19 | 0:26:19 | |
decided we wanted to focus on his portraits because he is an eminent | 0:26:19 | 0:26:19 | |
portraits because he is an eminent portrait | 0:26:19 | 0:26:20 | |
portraits because he is an eminent portrait painters | 0:26:20 | 0:26:21 | |
portraits because he is an eminent portrait painters -- | 0:26:21 | 0:26:22 | |
portraits because he is an eminent portrait painters -- painter | 0:26:22 | 0:26:22 | |
portraits because he is an eminent portrait painters -- painter in | 0:26:22 | 0:26:22 | |
portraits because he is an eminent portrait painters -- painter in his | 0:26:22 | 0:26:22 | |
portrait painters -- painter in his early | 0:26:22 | 0:26:23 | |
portrait painters -- painter in his early forties. | 0:26:23 | 0:26:25 | |
portrait painters -- painter in his early forties. He | 0:26:25 | 0:26:25 | |
portrait painters -- painter in his early forties. He has | 0:26:25 | 0:26:25 | |
portrait painters -- painter in his early forties. He has done | 0:26:25 | 0:26:25 | |
portrait painters -- painter in his early forties. He has done exciting | 0:26:25 | 0:26:26 | |
early forties. He has done exciting work | 0:26:26 | 0:26:26 | |
early forties. He has done exciting work that | 0:26:26 | 0:26:26 | |
early forties. He has done exciting work that reflects | 0:26:26 | 0:26:27 | |
early forties. He has done exciting work that reflects the | 0:26:27 | 0:26:27 | |
early forties. He has done exciting work that reflects the people | 0:26:27 | 0:26:27 | |
early forties. He has done exciting work that reflects the people of | 0:26:27 | 0:26:27 | |
work that reflects the people of our | 0:26:27 | 0:26:28 | |
work that reflects the people of our times. | 0:26:28 | 0:26:29 | |
work that reflects the people of our times. It | 0:26:29 | 0:26:30 | |
work that reflects the people of our times. It is | 0:26:30 | 0:26:30 | |
work that reflects the people of our times. It is extraordinary | 0:26:30 | 0:26:30 | |
work that reflects the people of our times. It is extraordinary he | 0:26:30 | 0:26:31 | |
our times. It is extraordinary he has | 0:26:31 | 0:26:32 | |
our times. It is extraordinary he has persuaded | 0:26:32 | 0:26:32 | |
our times. It is extraordinary he has persuaded a | 0:26:32 | 0:26:32 | |
our times. It is extraordinary he has persuaded a range | 0:26:32 | 0:26:32 | |
our times. It is extraordinary he has persuaded a range of | 0:26:32 | 0:26:33 | |
our times. It is extraordinary he has persuaded a range of subjects | 0:26:33 | 0:26:33 | |
has persuaded a range of subjects to | 0:26:33 | 0:26:33 | |
has persuaded a range of subjects to sit | 0:26:33 | 0:26:33 | |
has persuaded a range of subjects to sit for | 0:26:33 | 0:26:33 | |
has persuaded a range of subjects to sit for him. | 0:26:33 | 0:26:38 | |
has persuaded a range of subjects to sit for him. With | 0:26:38 | 0:26:39 | |
has persuaded a range of subjects to sit for him. With his | 0:26:39 | 0:26:39 | |
has persuaded a range of subjects to sit for him. With his famous | 0:26:39 | 0:26:40 | |
to sit for him. With his famous faces | 0:26:40 | 0:26:40 | |
to sit for him. With his famous faces finally | 0:26:40 | 0:26:40 | |
to sit for him. With his famous faces finally in | 0:26:40 | 0:26:41 | |
to sit for him. With his famous faces finally in place, | 0:26:41 | 0:26:42 | |
to sit for him. With his famous faces finally in place, there | 0:26:42 | 0:26:42 | |
to sit for him. With his famous faces finally in place, there is | 0:26:42 | 0:26:42 | |
faces finally in place, there is just | 0:26:42 | 0:26:43 | |
faces finally in place, there is just time | 0:26:43 | 0:26:43 | |
faces finally in place, there is just time for | 0:26:43 | 0:26:44 | |
faces finally in place, there is just time for final | 0:26:44 | 0:26:44 | |
faces finally in place, there is just time for final adjustments | 0:26:44 | 0:26:45 | |
just time for final adjustments before | 0:26:45 | 0:26:45 | |
just time for final adjustments before the | 0:26:45 | 0:26:45 | |
just time for final adjustments before the opening | 0:26:45 | 0:26:45 | |
just time for final adjustments before the opening night. | 0:26:45 | 0:26:52 | |
just time for final adjustments before the opening night. Can | 0:26:52 | 0:26:52 | |
just time for final adjustments before the opening night. Can that | 0:26:52 | 0:26:53 | |
before the opening night. Can that be | 0:26:53 | 0:26:53 | |
before the opening night. Can that be focused | 0:26:53 | 0:26:53 | |
before the opening night. Can that be focused down? | 0:26:53 | 0:26:55 | |
before the opening night. Can that be focused down? The | 0:26:55 | 0:26:55 | |
before the opening night. Can that be focused down? The floodlights | 0:26:55 | 0:26:55 | |
before the opening night. Can that be focused down? The floodlights on | 0:26:55 | 0:26:56 | |
be focused down? The floodlights on the | 0:26:56 | 0:26:56 | |
be focused down? The floodlights on the walls, | 0:26:56 | 0:26:56 | |
be focused down? The floodlights on the walls, if | 0:26:56 | 0:26:57 | |
be focused down? The floodlights on the walls, if you | 0:26:57 | 0:26:57 | |
be focused down? The floodlights on the walls, if you took | 0:26:57 | 0:26:57 | |
be focused down? The floodlights on the walls, if you took them | 0:26:57 | 0:26:57 | |
be focused down? The floodlights on the walls, if you took them down, | 0:26:57 | 0:26:58 | |
the walls, if you took them down, what | 0:26:58 | 0:26:58 | |
the walls, if you took them down, what would | 0:26:58 | 0:26:58 | |
the walls, if you took them down, what would happen? | 0:26:58 | 0:27:01 | |
the walls, if you took them down, what would happen? We | 0:27:01 | 0:27:01 | |
the walls, if you took them down, what would happen? We will | 0:27:01 | 0:27:01 | |
the walls, if you took them down, what would happen? We will be | 0:27:01 | 0:27:01 | |
the walls, if you took them down, what would happen? We will be in | 0:27:01 | 0:27:02 | |
what would happen? We will be in total | 0:27:02 | 0:27:02 | |
what would happen? We will be in total darkness | 0:27:02 | 0:27:02 | |
what would happen? We will be in total darkness in | 0:27:02 | 0:27:02 | |
what would happen? We will be in total darkness in a | 0:27:02 | 0:27:03 | |
what would happen? We will be in total darkness in a minute! | 0:27:03 | 0:27:09 | |
It is | 0:27:13 | 0:27:13 | |
It is a | 0:27:13 | 0:27:14 | |
It is a strange | 0:27:14 | 0:27:14 | |
It is a strange feeling, | 0:27:14 | 0:27:14 | |
It is a strange feeling, really. | 0:27:14 | 0:27:15 | |
It is a strange feeling, really. In | 0:27:15 | 0:27:16 | |
It is a strange feeling, really. In some | 0:27:16 | 0:27:16 | |
It is a strange feeling, really. In some ways, | 0:27:16 | 0:27:17 | |
It is a strange feeling, really. In some ways, it | 0:27:17 | 0:27:17 | |
It is a strange feeling, really. In some ways, it looks | 0:27:17 | 0:27:17 | |
It is a strange feeling, really. In some ways, it looks better | 0:27:17 | 0:27:18 | |
It is a strange feeling, really. In some ways, it looks better than | 0:27:18 | 0:27:18 | |
It is a strange feeling, really. In some ways, it looks better than I | 0:27:18 | 0:27:18 | |
some ways, it looks better than I expected. | 0:27:18 | 0:27:20 | |
some ways, it looks better than I expected. They | 0:27:20 | 0:27:20 | |
some ways, it looks better than I expected. They look | 0:27:20 | 0:27:20 | |
some ways, it looks better than I expected. They look very | 0:27:20 | 0:27:21 | |
some ways, it looks better than I expected. They look very different | 0:27:21 | 0:27:22 | |
expected. They look very different when | 0:27:22 | 0:27:22 | |
expected. They look very different when they | 0:27:22 | 0:27:22 | |
expected. They look very different when they are | 0:27:22 | 0:27:22 | |
expected. They look very different when they are up. | 0:27:22 | 0:27:23 | |
expected. They look very different when they are up. People | 0:27:23 | 0:27:24 | |
expected. They look very different when they are up. People who | 0:27:24 | 0:27:24 | |
expected. They look very different when they are up. People who have | 0:27:24 | 0:27:24 | |
when they are up. People who have seen | 0:27:24 | 0:27:24 | |
when they are up. People who have seen the | 0:27:24 | 0:27:25 | |
when they are up. People who have seen the pictures | 0:27:25 | 0:27:25 | |
when they are up. People who have seen the pictures along | 0:27:25 | 0:27:25 | |
when they are up. People who have seen the pictures along the | 0:27:25 | 0:27:25 | |
when they are up. People who have seen the pictures along the way, | 0:27:25 | 0:27:27 | |
seen the pictures along the way, they | 0:27:27 | 0:27:27 | |
seen the pictures along the way, they will | 0:27:27 | 0:27:27 | |
seen the pictures along the way, they will feel, | 0:27:27 | 0:27:27 | |
seen the pictures along the way, they will feel, I | 0:27:27 | 0:27:28 | |
seen the pictures along the way, they will feel, I think | 0:27:28 | 0:27:28 | |
seen the pictures along the way, they will feel, I think people | 0:27:28 | 0:27:29 | |
seen the pictures along the way, they will feel, I think people will | 0:27:29 | 0:27:29 | |
they will feel, I think people will be | 0:27:29 | 0:27:30 | |
they will feel, I think people will be surprised | 0:27:30 | 0:27:30 | |
they will feel, I think people will be surprised about | 0:27:30 | 0:27:30 | |
they will feel, I think people will be surprised about how | 0:27:30 | 0:27:31 | |
they will feel, I think people will be surprised about how different | 0:27:31 | 0:27:31 | |
be surprised about how different they | 0:27:31 | 0:27:31 | |
be surprised about how different they look. | 0:27:31 | 0:27:33 | |
be surprised about how different they look. Things | 0:27:33 | 0:27:33 | |
be surprised about how different they look. Things look | 0:27:33 | 0:27:34 | |
be surprised about how different they look. Things look more | 0:27:34 | 0:27:34 | |
they look. Things look more finished, | 0:27:34 | 0:27:36 | |
they look. Things look more finished, they | 0:27:36 | 0:27:36 | |
they look. Things look more finished, they look | 0:27:36 | 0:27:38 | |
they look. Things look more finished, they look much | 0:27:38 | 0:27:38 | |
they look. Things look more finished, they look much more | 0:27:38 | 0:27:39 | |
finished, they look much more grown-up, | 0:27:39 | 0:27:39 | |
finished, they look much more grown-up, really. | 0:27:39 | 0:27:53 | |
grown-up, really. As | 0:27:53 | 0:27:53 | |
grown-up, really. As the | 0:27:53 | 0:27:54 | |
grown-up, really. As the doors | 0:27:54 | 0:27:54 | |
grown-up, really. As the doors open | 0:27:54 | 0:27:54 | |
grown-up, really. As the doors open on | 0:27:54 | 0:27:54 | |
grown-up, really. As the doors open on more | 0:27:54 | 0:27:54 | |
grown-up, really. As the doors open on more than | 0:27:54 | 0:27:55 | |
grown-up, really. As the doors open on more than a | 0:27:55 | 0:27:57 | |
As the doors open on more than a decade | 0:27:57 | 0:27:57 | |
As the doors open on more than a decade of | 0:27:57 | 0:27:57 | |
As the doors open on more than a decade of hard | 0:27:57 | 0:27:57 | |
As the doors open on more than a decade of hard work, | 0:27:57 | 0:27:58 | |
As the doors open on more than a decade of hard work, I | 0:27:58 | 0:27:58 | |
As the doors open on more than a decade of hard work, I am | 0:27:58 | 0:27:59 | |
As the doors open on more than a decade of hard work, I am not | 0:27:59 | 0:27:59 | |
As the doors open on more than a decade of hard work, I am not sure | 0:27:59 | 0:27:59 | |
decade of hard work, I am not sure whether | 0:27:59 | 0:28:00 | |
decade of hard work, I am not sure whether there | 0:28:00 | 0:28:00 | |
decade of hard work, I am not sure whether there are | 0:28:00 | 0:28:00 | |
decade of hard work, I am not sure whether there are more | 0:28:00 | 0:28:00 | |
decade of hard work, I am not sure whether there are more famous | 0:28:00 | 0:28:01 | |
decade of hard work, I am not sure whether there are more famous faces | 0:28:01 | 0:28:01 | |
whether there are more famous faces on | 0:28:01 | 0:28:01 | |
whether there are more famous faces on the | 0:28:01 | 0:28:02 | |
whether there are more famous faces on the walls, | 0:28:02 | 0:28:02 | |
whether there are more famous faces on the walls, or | 0:28:02 | 0:28:02 | |
whether there are more famous faces on the walls, or whether | 0:28:02 | 0:28:03 | |
whether there are more famous faces on the walls, or whether they | 0:28:03 | 0:28:03 | |
whether there are more famous faces on the walls, or whether they are | 0:28:03 | 0:28:04 | |
on the walls, or whether they are in | 0:28:04 | 0:28:04 | |
on the walls, or whether they are in the | 0:28:04 | 0:28:04 | |
on the walls, or whether they are in the crowd. | 0:28:04 | 0:28:07 | |
on the walls, or whether they are in the crowd. Anyone | 0:28:07 | 0:28:07 | |
on the walls, or whether they are in the crowd. Anyone commissioning | 0:28:07 | 0:28:07 | |
in the crowd. Anyone commissioning a | 0:28:07 | 0:28:08 | |
in the crowd. Anyone commissioning a portrait | 0:28:08 | 0:28:08 | |
in the crowd. Anyone commissioning a portrait once | 0:28:08 | 0:28:08 | |
in the crowd. Anyone commissioning a portrait once a | 0:28:08 | 0:28:09 | |
in the crowd. Anyone commissioning a portrait once a particular | 0:28:09 | 0:28:11 | |
a portrait once a particular artists | 0:28:11 | 0:28:12 | |
a portrait once a particular artists -- | 0:28:12 | 0:28:12 | |
a portrait once a particular artists -- artist. | 0:28:12 | 0:28:14 | |
a portrait once a particular artists -- artist. They | 0:28:14 | 0:28:15 | |
a portrait once a particular artists -- artist. They won | 0:28:15 | 0:28:15 | |
a portrait once a particular artists -- artist. They won a | 0:28:15 | 0:28:15 | |
artists -- artist. They won a skills, | 0:28:15 | 0:28:15 | |
artists -- artist. They won a skills, their | 0:28:15 | 0:28:16 | |
artists -- artist. They won a skills, their track | 0:28:16 | 0:28:16 | |
artists -- artist. They won a skills, their track record, | 0:28:16 | 0:28:16 | |
artists -- artist. They won a skills, their track record, and | 0:28:16 | 0:28:17 | |
skills, their track record, and also | 0:28:17 | 0:28:17 | |
skills, their track record, and also a | 0:28:17 | 0:28:18 | |
skills, their track record, and also a good | 0:28:18 | 0:28:18 | |
skills, their track record, and also a good process. | 0:28:18 | 0:28:20 | |
skills, their track record, and also a good process. Johnny | 0:28:20 | 0:28:20 | |
skills, their track record, and also a good process. Johnny is | 0:28:20 | 0:28:20 | |
skills, their track record, and also a good process. Johnny is good | 0:28:20 | 0:28:21 | |
also a good process. Johnny is good at | 0:28:21 | 0:28:21 | |
also a good process. Johnny is good at making | 0:28:21 | 0:28:21 | |
also a good process. Johnny is good at making it | 0:28:21 | 0:28:21 | |
also a good process. Johnny is good at making it known | 0:28:21 | 0:28:22 | |
also a good process. Johnny is good at making it known he | 0:28:22 | 0:28:22 | |
also a good process. Johnny is good at making it known he is | 0:28:22 | 0:28:23 | |
also a good process. Johnny is good at making it known he is a | 0:28:23 | 0:28:23 | |
also a good process. Johnny is good at making it known he is a good | 0:28:23 | 0:28:23 | |
at making it known he is a good processor. | 0:28:23 | 0:28:26 | |
at making it known he is a good processor. The | 0:28:26 | 0:28:26 | |
at making it known he is a good processor. The exhibition | 0:28:26 | 0:28:27 | |
at making it known he is a good processor. The exhibition is | 0:28:27 | 0:28:27 | |
at making it known he is a good processor. The exhibition is billed | 0:28:27 | 0:28:27 | |
processor. The exhibition is billed as | 0:28:27 | 0:28:28 | |
processor. The exhibition is billed as a | 0:28:28 | 0:28:28 | |
processor. The exhibition is billed as a neat | 0:28:28 | 0:28:28 | |
processor. The exhibition is billed as a neat career | 0:28:28 | 0:28:28 | |
processor. The exhibition is billed as a neat career retrospective. | 0:28:28 | 0:28:29 | |
processor. The exhibition is billed as a neat career retrospective. I | 0:28:29 | 0:28:29 | |
as a neat career retrospective. I have | 0:28:29 | 0:28:29 | |
as a neat career retrospective. I have a | 0:28:29 | 0:28:30 | |
as a neat career retrospective. I have a feeling | 0:28:30 | 0:28:31 | |
as a neat career retrospective. I have a feeling that | 0:28:31 | 0:28:31 | |
as a neat career retrospective. I have a feeling that this | 0:28:31 | 0:28:32 | |
as a neat career retrospective. I have a feeling that this is | 0:28:32 | 0:28:32 | |
as a neat career retrospective. I have a feeling that this is the | 0:28:32 | 0:28:32 | |
have a feeling that this is the summer | 0:28:32 | 0:28:32 | |
have a feeling that this is the summer Jonathan | 0:28:32 | 0:28:32 | |
have a feeling that this is the summer Jonathan Yeo | 0:28:32 | 0:28:33 | |
have a feeling that this is the summer Jonathan Yeo comes | 0:28:33 | 0:28:33 | |
have a feeling that this is the summer Jonathan Yeo comes of | 0:28:33 | 0:28:33 | |
have a feeling that this is the summer Jonathan Yeo comes of age. | 0:28:33 | 0:28:37 | |
have a feeling that this is the summer Jonathan Yeo comes of age. I | 0:28:37 | 0:28:37 | |
summer Jonathan Yeo comes of age. I wanted | 0:28:37 | 0:28:37 | |
summer Jonathan Yeo comes of age. I wanted one | 0:28:37 | 0:28:37 | |
summer Jonathan Yeo comes of age. I wanted one more | 0:28:37 | 0:28:38 | |
summer Jonathan Yeo comes of age. I wanted one more thing, | 0:28:38 | 0:28:38 | |
summer Jonathan Yeo comes of age. I wanted one more thing, to | 0:28:38 | 0:28:38 | |
summer Jonathan Yeo comes of age. I wanted one more thing, to give | 0:28:38 | 0:28:39 | |
summer Jonathan Yeo comes of age. I wanted one more thing, to give you | 0:28:39 | 0:28:39 | |
wanted one more thing, to give you a | 0:28:39 | 0:28:39 | |
wanted one more thing, to give you a hug. | 0:28:39 | 0:28:42 | |
wanted one more thing, to give you a hug. It | 0:28:42 | 0:28:43 | |
wanted one more thing, to give you a hug. It is | 0:28:43 | 0:28:43 | |
wanted one more thing, to give you a hug. It is amusing, | 0:28:43 | 0:28:44 | |
wanted one more thing, to give you a hug. It is amusing, everybody | 0:28:44 | 0:28:44 | |
a hug. It is amusing, everybody says | 0:28:44 | 0:28:45 | |
a hug. It is amusing, everybody says Johnny, | 0:28:45 | 0:28:45 | |
a hug. It is amusing, everybody says Johnny, he | 0:28:45 | 0:28:45 | |
a hug. It is amusing, everybody says Johnny, he is | 0:28:45 | 0:28:46 | |
a hug. It is amusing, everybody says Johnny, he is such | 0:28:46 | 0:28:46 | |
a hug. It is amusing, everybody says Johnny, he is such a | 0:28:46 | 0:28:46 | |
a hug. It is amusing, everybody says Johnny, he is such a nice | 0:28:46 | 0:28:46 | |
a hug. It is amusing, everybody says Johnny, he is such a nice guy. | 0:28:46 | 0:28:48 | |
says Johnny, he is such a nice guy. That | 0:28:48 | 0:28:48 | |
says Johnny, he is such a nice guy. That was | 0:28:48 | 0:28:49 | |
says Johnny, he is such a nice guy. That was my | 0:28:49 | 0:28:49 | |
says Johnny, he is such a nice guy. That was my experience | 0:28:49 | 0:28:50 | |
says Johnny, he is such a nice guy. That was my experience spending | 0:28:50 | 0:28:50 | |
That was my experience spending part | 0:28:50 | 0:28:50 | |
That was my experience spending part of | 0:28:50 | 0:28:50 | |
That was my experience spending part of the | 0:28:50 | 0:28:51 | |
That was my experience spending part of the summer | 0:28:51 | 0:28:51 | |
That was my experience spending part of the summer with him. | 0:28:51 | 0:28:52 | |
That was my experience spending part of the summer with him. His | 0:28:52 | 0:28:52 | |
part of the summer with him. His paintings | 0:28:52 | 0:28:53 | |
part of the summer with him. His paintings reflect | 0:28:53 | 0:28:53 | |
part of the summer with him. His paintings reflect that, | 0:28:53 | 0:28:53 | |
part of the summer with him. His paintings reflect that, they | 0:28:53 | 0:28:54 | |
part of the summer with him. His paintings reflect that, they are | 0:28:54 | 0:28:54 | |
paintings reflect that, they are charming, | 0:28:54 | 0:28:55 | |
paintings reflect that, they are charming, they | 0:28:55 | 0:28:55 | |
paintings reflect that, they are charming, they do | 0:28:55 | 0:28:55 | |
paintings reflect that, they are charming, they do not | 0:28:55 | 0:28:56 | |
paintings reflect that, they are charming, they do not necessarily | 0:28:56 | 0:28:56 | |
charming, they do not necessarily flatter, | 0:28:56 | 0:28:57 | |
charming, they do not necessarily flatter, but | 0:28:57 | 0:28:57 | |
charming, they do not necessarily flatter, but his | 0:28:57 | 0:28:57 | |
charming, they do not necessarily flatter, but his gift, | 0:28:57 | 0:28:58 | |
charming, they do not necessarily flatter, but his gift, as | 0:28:58 | 0:28:59 | |
charming, they do not necessarily flatter, but his gift, as well as | 0:28:59 | 0:29:00 | |
flatter, but his gift, as well as capturing | 0:29:00 | 0:29:00 | |
flatter, but his gift, as well as capturing a | 0:29:00 | 0:29:00 | |
flatter, but his gift, as well as capturing a lightness, | 0:29:00 | 0:29:01 | |
flatter, but his gift, as well as capturing a lightness, he | 0:29:01 | 0:29:02 | |
flatter, but his gift, as well as capturing a lightness, he makes | 0:29:02 | 0:29:02 | |
flatter, but his gift, as well as capturing a lightness, he makes the | 0:29:02 | 0:29:03 | |
capturing a lightness, he makes the sitter | 0:29:03 | 0:29:03 | |
capturing a lightness, he makes the sitter and | 0:29:03 | 0:29:03 | |
capturing a lightness, he makes the sitter and the | 0:29:03 | 0:29:03 | |
capturing a lightness, he makes the sitter and the viewer | 0:29:03 | 0:29:03 | |
capturing a lightness, he makes the sitter and the viewer feel | 0:29:03 | 0:29:04 | |
capturing a lightness, he makes the sitter and the viewer feel good | 0:29:04 | 0:29:04 | |
sitter and the viewer feel good about | 0:29:04 | 0:29:05 | |
sitter and the viewer feel good about themselves. | 0:29:05 | 0:29:14 |