:00:12. > :00:36.-- SCREAMING. Help low and welcome to the with
:00:37. > :00:41.Matt Baker And Michelle Ackerley. We are joined by three top Hollywood
:00:42. > :00:46.stars. Here is how happy they looked when they started promoting their
:00:47. > :00:53.new film in Vietnam. Exactly one year, one week and one day later,
:00:54. > :00:59.here's how they look on our sofa! APPLAUSE
:01:00. > :01:02.Please welcome from the new Kong movie, Skull Island, Samuel L
:01:03. > :01:07.Jackson, Brie Larson and Tom Hiddleston. It was the premier last
:01:08. > :01:11.night, how did it go. It was great. Went really well. Really surreal.
:01:12. > :01:16.Never been to a premier like that. I was blown away by the whole thing.
:01:17. > :01:25.Have you never been like a premier like that? No, independent films.
:01:26. > :01:29.Very small. Nobody ever really goes. First big premier, really? Yes, I'm
:01:30. > :01:35.serious. You are as surprised. Really? Yes. I'm brand new. Yes, you
:01:36. > :01:38.are. I mean, come on, you are brand new and you have every award that
:01:39. > :01:48.everybody wishes they could have. OK. Golden Globe, Oscars. Boom,
:01:49. > :01:52.boom, boom! The only one they wouldn't leave the country was the
:01:53. > :01:57.Baftas. They didn't think I was going to win, to be fair, because
:01:58. > :02:03.I'm American. Come on! You were in a groove. There was no way - I was so
:02:04. > :02:09.in the groove. You have everything. I I'll let it go now. Is it rubbing
:02:10. > :02:15.off a bit here. I was amazed to hear you have never won an Oscar, Samuel?
:02:16. > :02:21.Nominated once. I can't believe that. There is something wrong in
:02:22. > :02:27.that. Really? I can name six movies I should have won for. Too right.
:02:28. > :02:35.Another 100 I could name. There you are. You are the highest grossing
:02:36. > :02:40.actor all-time. I passed Harrison again, XXX. After this, it doesn't
:02:41. > :02:49.matter what Blade Runner does, I will be out there by myself. I've
:02:50. > :02:52.got him now. Thank you for being complimentary about our pre-titles
:02:53. > :02:58.and special effects. We are talking about Kong tonight. We will also be
:02:59. > :03:05.# Talking about the highs, I'm talking about the lows... #
:03:06. > :03:16.Yes, she is talking about the highs and the lows because our cast is
:03:17. > :03:21.joined by BRIT Award winner, Emeli Sande. Michelle and I were jumping
:03:22. > :03:24.out of our seats. You more than me. Some more than most. I tell you
:03:25. > :03:29.what, this movie, it's out next Thursday. We saw it first thing this
:03:30. > :03:33.morning. It's set in the 1970sty end of the Vietnam War when a scientific
:03:34. > :03:37.mission is despatched to Skull Island with the help of the US army.
:03:38. > :03:42.The aim is to map the area for the first time. Here is the moment they
:03:43. > :03:53.arrive, not knowing what to expect. Certainly not expecting this.
:03:54. > :04:19.Oh, my God! Does anybody know what that is?
:04:20. > :04:36.It's very tense, isn't it. It is a monkey, a very big one. The The
:04:37. > :04:39.characters in this fill vm their own agenda, don't they, talk us through
:04:40. > :04:47.your roles and where you all come from? Well, the setup is that there
:04:48. > :04:54.is John Goodman plays the leader of a government organisation who is
:04:55. > :04:59.taking an expedition to an undiscovered island in the South
:05:00. > :05:03.Pacific, 1973, satellites are beginning to photograph the earth
:05:04. > :05:08.from space. We don't have Google Earth and that kind of thing. Each
:05:09. > :05:16.of us are hired by the team to do different things. I play a former
:05:17. > :05:23.British SAS tracker who will lead the expedition through the jungle.
:05:24. > :05:34.Brie is an antiwar photographer called mason Weaver. I'm a
:05:35. > :05:39.troublemaker not meant to be there. Sam is a commander in the sky and
:05:40. > :05:43.I'm the commander on the ground. How much did you relish your roles.
:05:44. > :05:52.Samuel, you are a bit of a baddie there, aren't you? A bit! No, I
:05:53. > :05:56.wouldn't call him a baddie. Really? He's upset he lost some men. That
:05:57. > :06:01.this big giant ape is responsible for it. So he has to exact some
:06:02. > :06:07.revenge for his people that he's lost and save the ones that he still
:06:08. > :06:11.has. It takes a little determination and you can't be a nice guy when you
:06:12. > :06:17.want to do that. That is true. You can tell how determined he is, he
:06:18. > :06:23.stares out Kong a few times. He really goes for it. I had to give
:06:24. > :06:25.him the hard eye. Tom, real physicality in it. You play an
:06:26. > :06:33.action man, did you enjoy doing that? Is I enjoyed doing that. It's
:06:34. > :06:39.all my boyhood dreams come true. I love shooting action. It's
:06:40. > :06:45.choreographic and it's all stage and screen combat is about the, sort of,
:06:46. > :06:57.dancing with the camera. We have sharp objects I had to be pro cries
:06:58. > :07:06.-- r cries or the crew would have hair head chopped off. There is
:07:07. > :07:16.Black Bower, he is in the new 24. For those who remember the original
:07:17. > :07:20.there is a connection between King Kong, those who are romantic and a
:07:21. > :07:25.rose-tinted view of that original won't be disappointed. There is that
:07:26. > :07:29.human connection? Yes, if that is what you are looking for in this
:07:30. > :07:36.film you will be satisfied than that. You wear way more clothes than
:07:37. > :07:44.Faye? Is Wearing more clothes, stronger. Taller. More of a mouth
:07:45. > :07:47.popping off than her. Taller. She has the lost indestructible camera
:07:48. > :07:54.in cinematic history. That is a very good point. The last scene where you
:07:55. > :07:59.pick it up... It's still there! Nothing damages that camera. That's
:08:00. > :08:05.it. There are real emotive moments. It's a part with your character,
:08:06. > :08:10.Brie, and your character, Tom, with King Kong, the three of you
:08:11. > :08:13.together. It's CGI with Kong how do you get in that moment. You have a
:08:14. > :08:19.technique to get you in the mood and really kind of draw out the emotion?
:08:20. > :08:25.Well, it was mostly, I have to say, the thing I love about this film is
:08:26. > :08:28.that we shot it in real places. In Hawaii, Australia and Vietnam.
:08:29. > :08:31.Vietnam, particularly the most breath taking country. This
:08:32. > :08:35.particular scene with Brie and myself takes place on a mountain
:08:36. > :08:40.top, on a hill top. We get very close to Kong and because the
:08:41. > :08:47.movement of the camera needed to be very controlled we built the set. It
:08:48. > :08:52.was a big green screen, on a sound stage. It was quite... The
:08:53. > :08:56.atmosphere was quite dry andster rile and the whole scene is about
:08:57. > :09:00.interacting with this extraordinary creature. We shot it over two-days.
:09:01. > :09:06.We began it at the end of the first day. We both felt it was difficult
:09:07. > :09:12.to work out exactly where he was, how close he was, just to feel the
:09:13. > :09:15.weight of this enormous animal. The camera team didn't know when to move
:09:16. > :09:19.in and get close to Brie. So I thought about it over night.
:09:20. > :09:23.I thought - what if we played a piece of music that somehow could
:09:24. > :09:29.evoke that sense of there being another presence in the room. It
:09:30. > :09:33.became this, kind of, little ballet between us and this imaginary thing
:09:34. > :09:39.and the camera guys it worked out, I think, I hope. Well, it did. It was
:09:40. > :09:43.very convincing. Sam, is it right, is it right that you have something
:09:44. > :09:49.written in your contract when you do a movie that you have to have time
:09:50. > :09:54.out to play golf? I have a little golf clause in my contract. We
:09:55. > :09:57.picked it up on the One Show. We have a golf course at the end of the
:09:58. > :10:06.studio. We like to look after our guests. Oh. We are going to a film.
:10:07. > :10:10.I'm going to embarrass myself missing a putt. I can stroll over.
:10:11. > :10:28.Whenever you feel like it. Put a couple in. Do it. It These are
:10:29. > :10:40.Here is All-star Apes. The first is Tarzan. He ran off seat and a dog
:10:41. > :10:44.was sent to retrieve him. It if you think American politics has gone
:10:45. > :10:49.bananas recently you should have gone to the cinema in the 1950s. A
:10:50. > :10:54.chimp acted alongside future president Ronald Reagan in this
:10:55. > :10:59.movie. In it, Reagan atvrments to teach humour more ales to the ape.
:11:00. > :11:05.Perhaps we will see a chimp running for President. In the past, as
:11:06. > :11:11.portrayed in the fit am, 2001, skilled mimele actors and dancers
:11:12. > :11:15.were used to portray the moment apes use weapons for the first time. Who
:11:16. > :11:25.needs a weapon when you have a friendly orang-utan. The orang-utan
:11:26. > :11:34.grabbed Clint while he was driving a truck. Try putting cold water in.
:11:35. > :11:37.Thank you, Matt. Is on that point, as far as the technology and how it
:11:38. > :11:43.advance in movies, how impressed were you when you saw the finished
:11:44. > :11:48.thing. It's not just Kong there are giant animals. How surprised were
:11:49. > :11:53.you, Tom? Amazing. We spent five months imagining these
:11:54. > :12:01.monsters. We picked the tallest tree on the horizon and pretend it was
:12:02. > :12:07.something. Scary. That was the question every day - where is it?
:12:08. > :12:16.What is it? How big is it? How fast is it? You are asking about the
:12:17. > :12:22.thing, when it ate a camera we said, where is it and how fast it is? The
:12:23. > :12:26.camera was supposed to be going off, we are supposed to be shooting it
:12:27. > :12:30.and following it. Everyone is pointing guns at each other. We'll
:12:31. > :12:36.kill each other. Where is it? Eight people were giving us answers. We
:12:37. > :12:40.decided to not aim at anybody, aim another way. A lot of looking
:12:41. > :12:44.around. Pick a tree, pick a tree. For me, I swear to God, by the time
:12:45. > :12:49.the movie came out, when I saw it for the first time, it was never
:12:50. > :12:57.that big! Really? Never that big. I'm tell you. Nobody ever said, he's
:12:58. > :13:03.that big. If you thought he was going to be that big you would be
:13:04. > :13:08.more surprised. They would say he's leaping from that mountain over
:13:09. > :13:12.there. He can do that, where is he hiding on this island? There's no
:13:13. > :13:16.way he would be on this island and we can't find him. Where does he
:13:17. > :13:22.sleep at night, that we can't find him? It's a big old island. You are
:13:23. > :13:32.part of another big movie franchise we are talking about the Marvel
:13:33. > :13:37.films. Brie this is you at Comic Con. This is Samuel talking about
:13:38. > :13:48.Nick Fury. Looking cool. Tom, this is how you turned up. That is super
:13:49. > :13:55.keen. I like to dress up for Comic Con. I've come a long way! Go for
:13:56. > :14:03.it. You said that role was life-changing for you? It was. No
:14:04. > :14:07.question. It's an amazing park. He's the God of Mischief it's my
:14:08. > :14:11.professional obligation to turn up and have the best time I can have.
:14:12. > :14:18.Going to Comic Con it was mad because nobody knew I was coming and
:14:19. > :14:24.it was just... There were 7,000 people out there and I'd never
:14:25. > :14:29.played Loki life, it's in front of the faithful, I had intended to give
:14:30. > :14:33.a, sort of, protospeech about how I wanted them to chant my name. I
:14:34. > :14:42.walked out and they just started chanting it. Amazing. I had to keep
:14:43. > :14:46.it together. Channelled you. Comic Con is the most surreal experience
:14:47. > :14:51.can have in your life. I mean, I've been going for a long time, since
:14:52. > :14:59.episode 1, I remember looking ought out my hotel window one night, full
:15:00. > :15:04.on light saber battle in the park. That was my first year going. I was
:15:05. > :15:08.backstage and in the Marvel holding room and sitting to talking to
:15:09. > :15:13.people and she was like - honey why are you here? I was like, I'm in it
:15:14. > :15:24.now. No-one had any idea, including the rest of the cast of the HMRC
:15:25. > :15:30.marvel films. They thought I was in the wrong room. Have they given you
:15:31. > :15:36.any advice? No. You have to work it out for yourself. You have a handle
:15:37. > :15:40.on it. Depending on your costume, make sure you get air conditioning.
:15:41. > :15:45.Very wise. They didn't tell you that. Make sure there is a thing you
:15:46. > :15:50.can plug into that pumps cool air into your costume. I'm concerned
:15:51. > :15:53.about going to the bathroom. Be concerned about that. Do be
:15:54. > :16:01.concerned. That is where we're going to leave it.
:16:02. > :16:04.Here's Anita with a classic underdog tale and if it was ever turned
:16:05. > :16:07.into a film, it would be a dead-cert at the Oscars.
:16:08. > :16:14.Ration al tensions were running high in Britain when one woman took on
:16:15. > :16:20.the establishment and nearly brought it its needs. Jayaben Desai led the
:16:21. > :16:23.fight for workers right and uniting the white dominated male world of
:16:24. > :16:35.the trade movement. Jayaben Desai was born in India and
:16:36. > :16:42.then moved to the UK. She found a job in a factory in Brent in London,
:16:43. > :16:48.in this very spot. Her son also worked at the factory in the
:16:49. > :16:52.sweltering summer of 1976. It was a hot summer. Outside the temperatures
:16:53. > :16:57.were searing and the working conditions were not comfortable. Pay
:16:58. > :17:04.was low with long hours and compulsory overtime. This all came
:17:05. > :17:08.to a head in August when Jayaben Desai, her son and three others
:17:09. > :17:14.walked out to join an unfairly sacked employee. Four foot ten
:17:15. > :17:20.Jayaben Desai squared up to her 6-foot manager and these were her
:17:21. > :17:29.words. What you are running is the factory -- not a factory but a zoo.
:17:30. > :17:38.The Lions roared. Three days after walking, her fellow workers began to
:17:39. > :17:43.join her on the picket line. We are talking about the 1970s. Migrant
:17:44. > :17:50.women in a racist Britain doing what she did. Where did that come from?
:17:51. > :17:54.It was not very hard for her to see the unfairness of others. They
:17:55. > :18:00.picked on someone who was not just going to go away. She was advised to
:18:01. > :18:06.find a union to back the strike. Apex stepped in. With their backing
:18:07. > :18:10.came strike pay and the ability to continue the fight. Other unions
:18:11. > :18:17.then answered the call to support the action. Postal workers refused
:18:18. > :18:19.to deliver mail. Steelworkers, miners, dockers, printers,
:18:20. > :18:25.journalists, even members of parliament came out in huge numbers
:18:26. > :18:29.all to support Jayaben Desai and her fellow strikers. The dispute
:18:30. > :18:35.escalated. Mass pickets were organised and the universally white
:18:36. > :18:43.male workers Britain flooded the streets to show solidarity. 321,
:18:44. > :18:47.20,000 union and nonunion members took to the streets around the
:18:48. > :18:51.factory. Jayaben Desai kept the strike momentum going for two years
:18:52. > :19:02.before support started to drift away. There's an exhibition about
:19:03. > :19:08.it. This shows how people of different races and backgrounds can
:19:09. > :19:15.be united. It was really the first time that a predominantly white and
:19:16. > :19:24.male trade union movement had expressed support for a dispute led
:19:25. > :19:28.by Asian workers. How they are fighting for the rights, that is
:19:29. > :19:36.what I saw with my own eyes. I did not believe it and I saw that. It
:19:37. > :19:39.was really tremendous. She passed away in 2010. The courage and
:19:40. > :19:44.resilience she showed sent a clear message that workers were to be
:19:45. > :19:48.valued. Remarkably, this tiny Asian woman in her sari true strength of
:19:49. > :19:53.character, determination and will power brought together all these
:19:54. > :19:57.different groups, united in fighting injustice. To me she is an absolute
:19:58. > :20:03.hero and a true British beam our pioneer.
:20:04. > :20:11.Samuel, you are a well known civil rights campaigner.
:20:12. > :20:20.This kind of story must resonate with you. Yes. We were taken by the
:20:21. > :20:26.fact that she was out there for two years and gave up all to the cause.
:20:27. > :20:34.Bike a lot of things, she was ground down by the system, unfortunately.
:20:35. > :20:38.It does not have the most happy ending that work conditions changed
:20:39. > :20:46.and she was improved by it. But the Iron will of the people is something
:20:47. > :20:52.that really resonates right now. All over the world. People are fighting
:20:53. > :20:57.for rights, job rights, equal rights for women are fighting against
:20:58. > :21:05.religious prosecution. All kinds of stuff. But, the fact that she wanted
:21:06. > :21:09.to stand up and the fact that she stood up and encouraged so many
:21:10. > :21:14.people is what is inspiring. It is not always about the result but it
:21:15. > :21:18.is about giving people hope and letting people know that when you
:21:19. > :21:25.use your voice, there is something that can be done. People can be made
:21:26. > :21:26.aware. We could sit here and talk all night long but we are a live
:21:27. > :21:31.show. Very soon Emeli Sande will be
:21:32. > :21:34.showing us why she's the deserved winner of her fourth Brit award
:21:35. > :21:37.when she performs for us live. But first we have a very
:21:38. > :21:39.dramatic film that needs Would you three do
:21:40. > :21:43.the honours, please? This is a film about a giant,
:21:44. > :22:10.hundreds of feet high. The salt marshes of the North Kent
:22:11. > :22:14.coast are home to some spectacular nature. But there is one man-made
:22:15. > :22:22.feature that dominates the skyline here. Grain power station. Its
:22:23. > :22:28.chimney is one of the tallest freestanding structures in the UK.
:22:29. > :22:33.But it is almost all that remains of what was once Europe's largest oil
:22:34. > :22:39.fired power station. New environmental laws means it is too
:22:40. > :22:46.dirty, so it has reached the end of its life. It is time for it to go.
:22:47. > :22:52.That means explosions. This is the tallest structure ever to be
:22:53. > :23:00.demolished in the UK. It is huge. The base alone is 30 metres across.
:23:01. > :23:04.That enormous size gives the demolition experts some serious
:23:05. > :23:11.problems. A working electricity substation is just 200 metres away
:23:12. > :23:16.and being 244 metres high, it is essential that the tower does not
:23:17. > :23:23.fall in the direction of the substation. Fortunately, you can
:23:24. > :23:32.control the direction of toppling tower. Back in the TV demolition man
:23:33. > :23:36.Fred Dibnah was a master. His time honoured method did not rely on
:23:37. > :23:41.explosives. It was a simpler science. Just replace some of the
:23:42. > :23:46.bricks on one side of the base of the tar with wooden supports, build
:23:47. > :23:54.a fire at the base. As the wooden supports burn away, it topples over
:23:55. > :23:57.in a controlled direction. Easy! While the demolition engineers here
:23:58. > :24:03.use more modern technology. They rely on the same principle to get
:24:04. > :24:09.the direction right. This monstrous tower is made of 40,000 tonnes of
:24:10. > :24:15.concrete, the shakier problem remains. Neal Wright is the man in
:24:16. > :24:19.charge. If the chimney were to come down in one big piece, the whole
:24:20. > :24:26.chimney would impact of the ground at a high lost city. The vibrations
:24:27. > :24:29.would damage the substation. The power supplied to the whole
:24:30. > :24:34.south-east of England could be at risk. The team has had to come up
:24:35. > :24:40.with an alternative solution. They are putting in some explosives about
:24:41. > :24:45.halfway up here. They will set them off first which will bring down the
:24:46. > :24:49.top of the tower is pretty much vertically and then they will set of
:24:50. > :24:52.some explosives towards the bottom almost immediately afterwards and
:24:53. > :24:58.that will bring this part of the tower in a more traditional way.
:24:59. > :25:02.This is what is called a progressive collapse and that should keep
:25:03. > :25:08.vibrations to a minimum. 4000 holes have been drilled into the chimney.
:25:09. > :25:15.A tonne of explosives have been crammed in. There is just one chance
:25:16. > :25:26.to get this right. Three, two, one...
:25:27. > :25:34.Wow! That was quite astonishing. You could feel the shock waves that hit
:25:35. > :25:40.you in your gut and through your feet as well. The first explosion
:25:41. > :25:44.causes 100 metres of chimney to drop, almost perfectly vertically.
:25:45. > :25:52.The second explosion make sure the bottom half goes away from the
:25:53. > :25:58.substation. And with the chimney coming down in two sections, it
:25:59. > :26:03.doesn't hit the ground all at once so vibrations are reduced. But, was
:26:04. > :26:09.it sufficient to protect the substation? Everything has come back
:26:10. > :26:11.as positive. We have no issues. Everything is good. Well done. I can
:26:12. > :26:19.smile now. Thank you very much
:26:20. > :26:22.to Tom Hiddleston, Brie Larson and Samuel L Jackson
:26:23. > :26:25.for joining us tonight. Kong: Skull Island opens
:26:26. > :26:30.next Thursday 9th March. But right now, singing us
:26:31. > :26:33.out with Highs and Lows from the album Long Live the Angels,
:26:34. > :26:36.this is Emeli Sande. # Just pack our bags
:26:37. > :26:41.and run as fast as we can # We hold the future
:26:42. > :26:43.in the palm of our hands # I know you hear me
:26:44. > :26:55.but do you understand? # I'm talking 'bout the highs
:26:56. > :27:11.I'm talking 'bout the lows # I'm giving you forever,
:27:12. > :27:17.baby, it's yours # I'm talking 'bout the highs
:27:18. > :27:21.I'm talking 'bout the lows # When we're gray
:27:22. > :27:24.and we're old # And we run out of
:27:25. > :27:28.all the silver and gold # Will you still wanna
:27:29. > :27:32.be my someone to hold? # See, I'd tell you
:27:33. > :27:37.but you already know # I'm talking 'bout the highs
:27:38. > :27:45.I'm talking 'bout the lows # I'm sticking by your side
:27:46. > :27:53.No way I'm letting go # I'm talking 'bout
:27:54. > :28:02.forever, baby # I'm certain that there's
:28:03. > :28:04.no other # It's banging
:28:05. > :28:06.in my heart like thunder # I know
:28:07. > :28:07.I was made to love you # No way I'm letting go
:28:08. > :28:16.I'll be there for the highs # I'm giving you forever,
:28:17. > :28:52.baby, it's yours # I'm talking 'bout the highs I'm
:28:53. > :29:08.talking 'bout the lows.# We're going to bond by finding out
:29:09. > :29:20.whether Paula was really From one mother to another,
:29:21. > :29:24.leave it alone.