:00:13. > :00:15.Halo and welcome to The One Show, with Alex Jones.
:00:16. > :00:18.And halo to you too, Matt Baker!
:00:19. > :00:22.Tonight, in honour of one of our guests we are handing out the halos.
:00:23. > :00:29.We're giving one to a singer with a heavenly voice.
:00:30. > :00:32.It's Lianne La Havas, who'll be chatting and singing live
:00:33. > :00:40.She will be talking about her friend Prince.
:00:41. > :00:46.of the smallest and most intricate art you'll ever see.
:00:47. > :00:49.In fact, some of it is so small you can only view it
:00:50. > :00:52.All that to come - plus elephants, Einstein
:00:53. > :00:57.But, Matt - the guest who has inspired all
:00:58. > :01:00.this halo business - where is he?
:01:01. > :01:03.Don't worry, Al - he's on his way and is even giving a lift
:01:04. > :01:24.In the driving seat - it's the suave, sophisticated star
:01:25. > :01:28.of the classic 70s series Return of the Saint.
:01:29. > :01:32.And with him, the documentary maker who has met both saints and sinners
:01:33. > :01:36.in his quest to bring us the best stories from around the globe.
:01:37. > :01:58.Welcome, chaps. Welcome to the One Show. Have a seat. There you are.
:01:59. > :02:05.You were just driving in, you didn't realise that we have actually given
:02:06. > :02:12.notes and halos already this evening. You can see yours, it is
:02:13. > :02:18.behind you. You are wearing it beautifully. We might leave that on
:02:19. > :02:27.for the whole show. We Robert Lee won't. I think somebody's arm will
:02:28. > :02:29.get sore! You came in the original car from Return of the Saint. You
:02:30. > :02:35.have had problems with it this afternoon? My friend Michael
:02:36. > :02:38.discovered it in a barn in the Shetland Islands and has done a
:02:39. > :02:41.complete restoration. He said he drove it too fast and has done
:02:42. > :02:46.something terrible to it so it is no longer working, but it will again.
:02:47. > :02:53.Thy goodness we have a wonderful special effect steam, you would
:02:54. > :03:05.never have known! -- thank goodness we have a wonderful special effects
:03:06. > :03:11.team. There you go! Well done! You were a fan of the Saint? Eight is
:03:12. > :03:15.wonderful, my 70s childhood dream has been fulfilled. Now you will
:03:16. > :03:21.tell me that you were three! Five! We want you to nominate your own
:03:22. > :03:23.personal saints tonight. Someone who has gone
:03:24. > :03:25.above and beyond to help Send in your photos -
:03:26. > :03:31.tell us why they're a saint and we'll hand out some
:03:32. > :03:40.more halos later. We have got tonnes of them! You
:03:41. > :03:44.might well be one of those heading to the ballot box tomorrow to vote
:03:45. > :03:50.in a wealth of elections all over the UK. On the 23rd of June, no
:03:51. > :03:53.doubt you will be back to vote in the EU referendum. The subject has
:03:54. > :03:59.split opinion, in some cases, even within families.
:04:00. > :04:02.Brothers Nigel and Ian Baxter from Nottingham both followed their
:04:03. > :04:07.father into the freight industry and set up firms just across the road
:04:08. > :04:12.from each other. For the past 21 years, the siblings have been united
:04:13. > :04:19.in their approach to business. But now? For the first time, they
:04:20. > :04:26.are butting heads. It is all over the EU referendum and weather we
:04:27. > :04:35.should Leave or Remain. Who better to sorted this family
:04:36. > :04:43.feud? Me, of course! -- to sort out. We need your assistance. That is a
:04:44. > :04:51.big 10/4, what is your 20? I am on my way, put your pedal to the metal!
:04:52. > :04:56.I am doing it, man! Looks like we have a convoy!
:04:57. > :05:00.The brothers have taken over their local truckstop cafe today. They
:05:01. > :05:04.will both try to persuade passing drivers to vote their way in the
:05:05. > :05:09.referendum. I have come along to make sure things do not get messy.
:05:10. > :05:16.Why do you want to stay in? Fundamentally, the EU is a single
:05:17. > :05:20.free market of 500 million people, hugely important for trade. If we
:05:21. > :05:25.Leave, trade will be more difficult and uncertain, it will affect jobs
:05:26. > :05:30.and investment. Why do you want is to get out? We need to take back
:05:31. > :05:35.sovereignty of the UK Government, deal with the reams of legislation
:05:36. > :05:38.that have affected us. We will have the opportunity to trade properly
:05:39. > :05:43.with the rest of the world, take agreements and bring back control to
:05:44. > :05:49.the UK. The passionate pie dish out opposing views to the diners. A key
:05:50. > :05:53.topic for both its free trade in the single market. Ian's freight company
:05:54. > :05:58.manages the movement of goods across the EU. The process of exporting
:05:59. > :06:03.would be made more difficult if we leave. There would be customs
:06:04. > :06:07.clearance, there may be tariffs, documentation. That is difficult for
:06:08. > :06:11.British companies, especially small businesses. But that he would still
:06:12. > :06:17.want to trade with us, we are a massive customer for their goods? --
:06:18. > :06:21.but the EU would? But if it is easier for a car manufacturer to
:06:22. > :06:25.locate it is business inside the single market rather than outside,
:06:26. > :06:31.in the future I think that is the choice they will make. Big Brother
:06:32. > :06:35.Nigel's truck repair and servicing business deals with manufacturers in
:06:36. > :06:40.France, but he believes that trading will not be affected if we've vote
:06:41. > :06:43.Leave. I can't imagine a situation where we can continue to have a
:06:44. > :06:52.sensible trading well Asian ship. It is in that interest to do an
:06:53. > :06:58.arrangement with us. They are selling is virtually double what we
:06:59. > :07:02.export. Why is it better to be Out? We can open up trading agreements to
:07:03. > :07:06.the rest of the world, we have been hamstrung by the EU, which has
:07:07. > :07:09.failed in many cases to make trading agreements. The brothers have
:07:10. > :07:13.failed in many cases to make trading hour to impress, to which side of
:07:14. > :07:17.the table to these people sit on? We should stay on, safety in numbers,
:07:18. > :07:23.if you pull out you are on your own. Out. I could probably work a few
:07:24. > :07:28.more hours each week instead of Europe telling me I can only drive
:07:29. > :07:30.for nine hours of the day. I am. Anyon, it
:07:31. > :07:34.for nine hours of the day. I am. anyway. I think we should come out,
:07:35. > :07:41.people will not be able to anyway. I think we should come out,
:07:42. > :07:45.It seems the drivers are as divided as the brothers. Can Ian and Nigel
:07:46. > :07:49.see eye to eye on any of the issues surrounding the EU?
:07:50. > :07:54.see eye to eye on any of the issues membership of the EU is good value
:07:55. > :07:58.for money? Certainly not, we sent ?350 million a week to Brussels and
:07:59. > :08:02.we get roughly half of that back, we could have much better distribution
:08:03. > :08:09.of that money while saving ourselves. At Norway and Switzerland
:08:10. > :08:15.paid more in per capita than the UK does for full membership when they
:08:16. > :08:20.only have partial. They don't get a say over the rules. The cost is out
:08:21. > :08:26.of control, it is escalating, if we vote to Remain we can look forward
:08:27. > :08:30.to further escalation. We will have to contribute, even if we Leave, as
:08:31. > :08:34.part of negotiations around trade, so we will enter with a similar
:08:35. > :08:38.bill. With the diner drivers as split as the brothers on which
:08:39. > :08:40.bill. With the diner drivers as the referendum should go on June 23,
:08:41. > :08:45.bill. With the diner drivers as I reckon there was only
:08:46. > :08:47.bill. With the diner drivers as settle this. A good, armed -- good,
:08:48. > :08:55.old-fashioned arm wrestle! It is too host to call.
:08:56. > :09:01.-- too close. They are still going. You have to sort this out by the
:09:02. > :09:06.23rd of June, but we will leave you to it for now! Competitive.
:09:07. > :09:13.Epicentre of the studio is our very own Mr Referendum, Chris Mason. --
:09:14. > :09:17.at the centre of the studio. A month or so ago you
:09:18. > :09:19.at the centre of the studio. A month referendum out of it, how will you
:09:20. > :09:26.display your impartiality this evening? Starting with the socks, on
:09:27. > :09:32.the left but we have a union flag, strict BBC impartiality, so on the
:09:33. > :09:37.other is an EU flag. Then there is mai tai, 12 stars, normally on the
:09:38. > :09:45.EU flag, so we've have five hole once in two halves, six. But the new
:09:46. > :09:51.addition to the wardrobe, no halo for me, but a bowler hat. Strict BBC
:09:52. > :09:59.impartiality, the paint has just about dried! ABI should wear this on
:10:00. > :10:04.the news as well! We look forward to the next edition. -- maybe I should
:10:05. > :10:08.wear this. How do you think the brothers put forward their
:10:09. > :10:11.arguments? They were quite strong? Bye-bye strongly held views, it is
:10:12. > :10:19.an insight into the conversations people are having -- really strongly
:10:20. > :10:22.held views, it is an insight into the conversations people are having
:10:23. > :10:26.when they are thinking about it. I cannot work out whether to keep this
:10:27. > :10:31.on or take it off. I believe it for now. Part of it is the business
:10:32. > :10:37.around facts. Most people come to me and say what I want is facts, juicy,
:10:38. > :10:44.hard facts to make up my mind. Then you go the website of the two
:10:45. > :10:47.campaigns, in the bin campaign it says 3 million jobs are connected
:10:48. > :10:52.with trade with the EU. That could be quite a powerful argument. Then
:10:53. > :10:58.in the Out campaign they say, if we leave, we will be able to trade, it
:10:59. > :11:02.is fine. Neither of those are facts, they are both predictions. Nobody
:11:03. > :11:09.has ever left the EU before, it is changing hugely if we stayed in, so
:11:10. > :11:15.it is guessing. So are you saying go with your heart and guts? That will
:11:16. > :11:18.be a big part. All the statistics are being flung at as in leaflets
:11:19. > :11:22.through the door and people like me droning on in the news, from the
:11:23. > :11:28.campaigns, more and more, we will see the heart. The In campaign sake
:11:29. > :11:32.we would leave Europe, as if the EU would start drifting into the
:11:33. > :11:38.Atlantic, we would still be in Europe but outside of the club. The
:11:39. > :11:43.Out site say that we are a proud, independent nation and we are
:11:44. > :11:47.shackled to this beast called the EU and we can get rid of it. Both of
:11:48. > :11:52.those appeals to our hearts, people trying to get us to think about who
:11:53. > :11:56.we are as a country rather than statistical stuff which can feel
:11:57. > :12:06.scrappy and, let's whisper it, a goal nil-nil drawl. -- a dull,
:12:07. > :12:12.nil-nil. Nobody has ever left the EU, so how would the changes come
:12:13. > :12:17.about? Nobody has ever left, it is only expanded, so you have all these
:12:18. > :12:21.facts, in inverted commas, which are just predictions. If we vote to
:12:22. > :12:27.Leave, the next morning we will wake up and we will still be In, so it
:12:28. > :12:31.takes a while. This is a prediction. Some people say it takes ten years,
:12:32. > :12:35.some people say two. Nobody is certain because it has never
:12:36. > :12:40.happened. All sorts of questions would be asked if we were to Leave.
:12:41. > :12:42.But others say it is a massive decision to stay in, because the
:12:43. > :12:49.club is changing beyond all recognition. The danger is those
:12:50. > :12:55.that do not vote, some people are passionate about In and Out, and the
:12:56. > :13:00.floaters. When was the last time you ever saw a demonstration where
:13:01. > :13:05.people were saying, what do we want? The same! When do we wanted? Now!
:13:06. > :13:11.Some would argue that it is not the same to stay in, that some people on
:13:12. > :13:15.the In campaign are slightly fearful that very few people are passionate
:13:16. > :13:24.about the EU. Even if you're going to vote to stay in, people do not go
:13:25. > :13:28.round kissing their ties, they do not get that passionate. But if you
:13:29. > :13:33.are keen to Leave you would probably really get out there. It is another
:13:34. > :13:36.factor. We will see you again soon, thank you. I will keep working on
:13:37. > :13:42.the wardrobe, thank you for having me. No facts, just links, on the
:13:43. > :13:47.website to help you make up your mind on the EU vote.
:13:48. > :13:50.Louis, we are used to seeing you uncover lots of unusual stories from
:13:51. > :13:55.around the globe, but we think that we have found one that will be new
:13:56. > :13:59.to you. Here is the story of a young lady called Sheila who has packed
:14:00. > :14:02.her trunk and said goodbye to Belfast zoo. Over to Jennie Browne.
:14:03. > :14:05.On the night of the 7th of April 1941, a squadron of Luftwaffe
:14:06. > :14:07.bombers flew across the lough behind me to bring
:14:08. > :14:19.One of the most bombed parts of the city was North Belfast,
:14:20. > :14:24.At the time it was home to a collection of wild
:14:25. > :14:26.and potentially dangerous animals and locals worried what might happen
:14:27. > :14:35.One of the zoo's curators, Alan Cairns, explains.
:14:36. > :14:37.Were people afraid that all the animals would get loose
:14:38. > :14:44.The Ministry of Public Security decided a bomb could hit the zoo
:14:45. > :14:46.and many of the dangerous animals would escape.
:14:47. > :14:50.An order was given by the ministry for 33 animals to be put to sleep,
:14:51. > :14:56.to be shot, and that included wolves and polar bears.
:14:57. > :14:58.But one of the zookeepers, Denise Austin, pleaded for the life
:14:59. > :15:04.There was such a strong bond between Sheila the baby elephant...
:15:05. > :15:11.And Denise made the case at the time that this was just a baby
:15:12. > :15:17.elephant, it wasn't going to cause any problems.
:15:18. > :15:20.Sheila was spared the cull but Denise was still concerned
:15:21. > :15:24.about leaving her alone at night at the zoo amidst the bombing.
:15:25. > :15:28.So every evening, unbeknownst to her employers, she would secretly
:15:29. > :15:31.lead Sheila out of the zoo at Cave Hill, down the city streets,
:15:32. > :15:51.This extraordinary photograph shows Sheila here in her backyard in North
:15:52. > :16:01.I am hoping that Denise's cousin, David Ramsay, can answer a question
:16:02. > :16:06.Where exactly do you keep an elephant at your house?
:16:07. > :16:11.Denise's house, there was a large coach house to one side of it
:16:12. > :16:13.and Denise just found it convenient to park Sheila in that
:16:14. > :16:21.Initially, I think when the first time the elephant was seen outside
:16:22. > :16:23.of the zoo, they were a bit startled.
:16:24. > :16:25.And then they thought, well, that is Denise.
:16:26. > :16:28.And over a period of time, when the elephant was coming out
:16:29. > :16:31.of the zoo every night, they got quite used to it.
:16:32. > :16:34.In fact, some of the small children would have come along
:16:35. > :16:36.and Denise would have set them on the elephant's shoulders.
:16:37. > :16:40.Denise's daily elephant smuggling went well for three months.
:16:41. > :16:45.But then Sheila decided to chase after a neighbourhood dog.
:16:46. > :16:46.Denise thought she had got away with it.
:16:47. > :16:49.All seemed to be well, except a few hours later,
:16:50. > :16:52.some of the householders came up to the head keeper and asked
:16:53. > :16:54.what he was going to do about repairing their fences!
:16:55. > :17:01.The zoo changed the locks to Sheila's enclosure,
:17:02. > :17:05.putting an end to her extracurricular day trips.
:17:06. > :17:07.But the ever-faithful Denise visited the elephant every night
:17:08. > :17:11.during the bombing that spring to comfort her.
:17:12. > :17:13.And did you ever get to meet Sheila?
:17:14. > :17:22.As a small boy, it was one of the treats for me to be taken up
:17:23. > :17:25.to the zoo and then Denise would have called Sheila and Sheila
:17:26. > :17:28.would have spun round very quickly, put her trunk out and then proceeded
:17:29. > :17:30.to hoover Denise all over, just to check it was her.
:17:31. > :17:33.That just shows you that elephants never forget.
:17:34. > :17:37.Sheila saw out her days at Belfast Zoo and lived
:17:38. > :17:43.Today, the zoo is home to three beautiful Asian elephants who live
:17:44. > :17:48.It is kind of a retirement home for older elephants
:17:49. > :17:53.And this caring attitude is a legacy of Denise and the Belfast Blitz.
:17:54. > :18:12.STUDIO: What a lovely story. You don't often deal with an elephant in
:18:13. > :18:16.the garden, Louis, but often there is an elephant in the room in your
:18:17. > :18:21.documentaries. Slightly clunky. How do you approach them? There is
:18:22. > :18:30.always an elephant in the room. There is always something, the
:18:31. > :18:35.reason I'm there, basically. It is either some weird form of behaviour
:18:36. > :18:40.that on the face of it needs explanation, why someone chooses to
:18:41. > :18:45.do this with job, or a source of trauma, sensitive question,
:18:46. > :18:51.do this with job, or a source of is a case of being polite, really.
:18:52. > :18:51.do this with job, or a source of About approaching it sensitively and
:18:52. > :18:56.more often than not, people About approaching it sensitively and
:18:57. > :19:01.talk about whatever it is, the big secret, the trauma in their life. It
:19:02. > :19:06.is gaining their trust and going in there in a way in which they are
:19:07. > :19:10.happy to talk. These documentaries are a great example, one of them has
:19:11. > :19:16.gone out, extreme drinking, which I found, you are in a strange
:19:17. > :19:21.situation where you are doing these strange and heartfelt interviews,
:19:22. > :19:25.interviewing people heavily under the influence of alcohol. Did you
:19:26. > :19:33.find that extraordinary, that situation? I knew what I was going
:19:34. > :19:42.into when I started but what was different, we had a young man called
:19:43. > :19:46.Joe and in a sober state he was very well spoken and very nice and
:19:47. > :19:51.intelligent, but when he had been drinking he was just a mess,
:19:52. > :19:55.basically. For various reasons he did not have the support network
:19:56. > :19:59.around him, friends and family had felt they needed to keep their
:20:00. > :20:06.distance when he was drinking and it fell on my shoulders to do some of
:20:07. > :20:12.that emotional stuff. You could see that, you became like a father
:20:13. > :20:18.figure to him. This character Joe really got under people's skins,
:20:19. > :20:25.Ian, because his mother was also a alcoholic, how do you gain their
:20:26. > :20:27.trust but also keep a distance because you could tell that you
:20:28. > :20:32.really felt for joy when you wanted to look after him a bit more than
:20:33. > :20:37.just making the documentary -- for Joe. I don't know if his mother was
:20:38. > :20:42.an alcoholic, actually, but there was drinking in there somewhere. It
:20:43. > :20:47.is about spending time with people, showing them it is more than just
:20:48. > :20:53.making the programme, that there is a juicy of care, that we spend time
:20:54. > :20:54.after the show making sure that everything goes
:20:55. > :21:02.after the show making sure that duty of care. My director was
:21:03. > :21:07.superb, they make sure they kept in touch with Joe and they showed him
:21:08. > :21:15.the show, but emotionally it is not always easy. In the next documentary
:21:16. > :21:23.you deal with brain injuries. A very different and difficult subject.
:21:24. > :21:29.What did you find out yourself from making that documentary? I've always
:21:30. > :21:33.been fascinated by psychology and people whose brains work in
:21:34. > :21:38.different ways. What I discovered, with brain injury, not always but
:21:39. > :21:42.often, there are changes which go along with it, personality changes,
:21:43. > :21:47.and some of those are challenging for the person in question and he's
:21:48. > :21:55.or her family, they can be in polls of Ms, disinhibition. --
:21:56. > :22:01.impulsiveness. If you have got a husband or partner or kids, they are
:22:02. > :22:06.having to adapt and fit around that, as well. You have brought an
:22:07. > :22:11.exclusive clip and we can have a look at you are meeting Amanda and
:22:12. > :22:16.here she is with her husband after she has moved back into the family
:22:17. > :22:19.home. At the risk of asking an intrusive question, you have been
:22:20. > :22:29.together 22 years, were you happy together? Yes. We were a good team.
:22:30. > :22:33.Best buddies. It was good. It still is good, just different, for the
:22:34. > :22:41.time being. We will get there. LAUGHTER
:22:42. > :22:51.That is the plan. Yeah. Stop tapping. I know, drumming,
:22:52. > :22:59.constantly. Stop it. STUDIO: Gosh. Lovely couple, actually. Such raw
:23:00. > :23:03.material, but clearly there are complex, but there is also a lot of
:23:04. > :23:08.love and it is about finding the balance in the story. You must have
:23:09. > :23:13.had psychologists with you at certain times, because you did not
:23:14. > :23:16.want to go too deep. We did much of it under the umbrella of a group
:23:17. > :23:22.called the brain injury rehabilitation trust and actually it
:23:23. > :23:30.is brain injury week this week and it is a good time to talk about
:23:31. > :23:38.these subjects. We made sure that they were involved and we took their
:23:39. > :23:41.advice. Your new documentary, A Different Brain, is on BBC Two at
:23:42. > :23:48.nine o'clock on the 15th of May. Which photos, if any, do you share
:23:49. > :23:57.online? Do you take a picture of your dinner and then post it for
:23:58. > :24:02.everyone? Maybe you feel your timeline with little fluffy kittens.
:24:03. > :24:08.Maybe like Joan Collins, posting pictures of her shoes and then her
:24:09. > :24:13.puddles. Outside her house. Chances and you do not post pictures of
:24:14. > :24:16.piles of rubbish, but one man who wants to do just that is now finding
:24:17. > :24:22.himself in a battle with the social media giant. It is all over a four
:24:23. > :24:32.letter word. Tommy Sandhu explains. Telegram. For me? There is a man in
:24:33. > :24:37.Kent who has created an app called littergram, but he has been
:24:38. > :24:44.contacted by the noise of Facebook who own Instagram because they would
:24:45. > :24:54.like to change the company's name -- contacted by the lawyers. Danny
:24:55. > :25:00.Lucas, the littergram man. How does it work? It is free to download. You
:25:01. > :25:04.take a picture of litter and it knows exactly where you are, you
:25:05. > :25:09.share it and instantly goes to a receiving end for the local
:25:10. > :25:12.authority. They can message you back straightaway to say they will deal
:25:13. > :25:17.with it or they can say when they will deal with it and then notify it
:25:18. > :25:21.is done. We got a little traction towards the end of last year and we
:25:22. > :25:26.got the first UK Council on board and we wanted to protect our logo.
:25:27. > :25:38.When we did that, the lawyers from Facebook said you cannot use the
:25:39. > :25:45.word gram. Come on, Facebook, it is time you smelt up and -- woke up and
:25:46. > :25:50.smell the instant coffee. Before there were any filters and hashtags,
:25:51. > :25:56.the word gram was used for hundred A.D. In the dark ages, that is like
:25:57. > :26:09.1600 years before Instagram was even thought of. The word gram is old.
:26:10. > :26:19.Old like grandma. No more kissagram is, no more stripper grams. The same
:26:20. > :26:30.applies for you. Celebrities give back your Grammys. No more, sorry.
:26:31. > :26:36.Nothing is sacred. Mr parallelogram is now known as Mr rectangle. This
:26:37. > :26:42.means no more gramophones, diagrams, TV programmes, cardio grams,
:26:43. > :26:52.sonogram, mammogram, and potentially no more littergram. I have a copy of
:26:53. > :26:59.the letter. It says, "Our client appreciates the objectives behind
:27:00. > :27:02.littergram but they say using the name is not except a ball and they
:27:03. > :27:12.are giving you a few months to stop using the term gram -- is not accept
:27:13. > :27:20.double. You're not a threat to Instagram, that is celebrities
:27:21. > :27:25.taking selfies. Exactly. It is everyone's right to use social
:27:26. > :27:28.media? We are only using it as a means of getting the attention of
:27:29. > :27:30.the local authorities. We reached out to the team at Facebook and they
:27:31. > :27:49.gave us this comment. What would you like to see happen? I
:27:50. > :27:52.would like to see Facebook almost support what we are doing morally
:27:53. > :27:58.and said this is a great cause, and with their blessing, littergram can
:27:59. > :28:07.continue. You want to keep the gram? Yes. We hope it gets resolved, one
:28:08. > :28:11.way or another very soon. Ian, we can now talk about your book, your
:28:12. > :28:17.memoirs, Once A Saint. You took over from Roger Moore. As the wonderful
:28:18. > :28:22.Simon Templar. How did this come about, how did you get the part? My
:28:23. > :28:27.agent called me one day and said a man would like to have lunch with
:28:28. > :28:35.me, this was in the early 70s, and he said he bridges to the Saint with
:28:36. > :28:39.Roger Moore -- he produced. He said he thought I would make a good one,
:28:40. > :28:45.which was very nice of him. His wife had seen me in upstairs downstairs.
:28:46. > :28:51.She fancied you. The character was very weedy, asexual. I wondered how
:28:52. > :28:56.she would make a connection between that character and the Saint, and
:28:57. > :29:01.the answer is because I looked a little bit like Roger Moore, and
:29:02. > :29:05.that is why I got the part. I never did an audition, I just walked
:29:06. > :29:07.straight into it, it could not have been any easier. We can have a look
:29:08. > :29:40.at you in full Saint mode. Look out! Are you all right? Yes,
:29:41. > :29:44.thank you. Mr? Simon Templar. APPLAUSE
:29:45. > :29:54.We have enjoyed watching that this afternoon. Are you surprised at how
:29:55. > :30:00.attitudes have changed since then? It is full of girls in bikinis,
:30:01. > :30:05.draped all over you. Sorry, attitudes have changed? What is
:30:06. > :30:11.wrong with girls in bikinis? Nothing. You are quite right, it has
:30:12. > :30:17.changed completely, and for the better, probably. Maybe less fun, a
:30:18. > :30:22.bit drier, but I don't thing in those days, feelings were very
:30:23. > :30:28.bruised and hurt and it is good that we have stopped it.
:30:29. > :30:33.You had fun with the reunion with the car, but there must have been so
:30:34. > :30:40.many pros and cons to playing the Saint. One of the prose was that she
:30:41. > :30:44.became a household name instantly. You could get a good table in a
:30:45. > :30:48.crowded restaurant instantly, but there was not much else. You two are
:30:49. > :30:54.very famous and you have probably made a lot of money, but I did not
:30:55. > :30:59.make money. It was very poorly paid. There were no foreign sales or
:31:00. > :31:05.residuals. The last money I saw from the Saint was a 1979. Your agent
:31:06. > :31:08.must have been rubbish, they did not negotiate that very well!
:31:09. > :31:18.LAUGHTER Either that or maybe I was too keen
:31:19. > :31:20.to take the part and they said, there is a sucker, here! Always
:31:21. > :31:23.pretend you are not keen! That was the sad thing. It was difficult
:31:24. > :31:30.being very famous or not having much money. Was it difficult for you to
:31:31. > :31:34.move on? It was, ibid. For a while, I did not really work on English
:31:35. > :31:37.television because they said, you are the Saint. I have been
:31:38. > :31:37.television because they said, you America for the past 26 years. The
:31:38. > :31:42.difference between America for the past 26 years. The
:31:43. > :31:43.English is that if they make you famous they think you are worth
:31:44. > :31:47.money and they will famous they think you are worth
:31:48. > :31:50.something else and exploit you. At that time in England, I hate Word
:31:51. > :31:52.typecasting because it that time in England, I hate Word
:31:53. > :31:55.really mean anything, but it meant that time in England, I hate Word
:31:56. > :31:57.that they would say, we can't use you, you are the Saint, that was
:31:58. > :31:59.sad. I did not do a lot after that. That lots of other
:32:00. > :32:07.stories in the book. You did lots of after that. That lots of other
:32:08. > :32:13.other television and theatre. But we were really confused, because this
:32:14. > :32:17.is on the cover. That is me in a play. Here is the thing about the
:32:18. > :32:21.cover of an autobiography, they always look the same, a
:32:22. > :32:21.cover of an autobiography, they black-and-white photograph of the
:32:22. > :32:22.person looking glamorous. I my publisher, I want a photograph
:32:23. > :32:31.that people will go, what the my publisher, I want a photograph
:32:32. > :32:34.is that? We did! If it is on the table with lots of other
:32:35. > :32:42.autobiographies, I want mine to be the one they up. Radiant. Ian's
:32:43. > :32:48.memoir, Once a Saint, is out tomorrow. Get ready to squint, soon
:32:49. > :32:52.we will be hearing at sculptures so tiny they are not visible to the
:32:53. > :32:56.naked eye. The first, Cerys Matthews travels to
:32:57. > :33:00.Liverpool to meet twins who specialise in another type of
:33:01. > :33:04.miniature art that requires the patience of a saint.
:33:05. > :33:08.For over 30 years, the Singh twins have been creating intricate art
:33:09. > :33:12.works using the tradition of Indian miniature painting. An ancient tech
:33:13. > :33:19.recombining very fine brush work with vibrant colour to create images
:33:20. > :33:23.of exquisite detail. And although work is created here in a shed
:33:24. > :33:30.studio in their family home, off this leafy street in Liverpool.
:33:31. > :33:35.Hello. Nice to meet you. Lovely to meet you. I have been calling you
:33:36. > :33:39.the Singh twins, it is not being rude, that is how you like to be
:33:40. > :33:43.referred to? Yes, it very much reflect the fact that we have always
:33:44. > :33:48.worked together and we never have individual ownership of any work.
:33:49. > :33:52.Icon from a bedtime when we have not been scribbling, painting or drawing
:33:53. > :33:58.on walls or books when we were very small. -- I can't remember a time.
:33:59. > :34:01.Ernst is covering a shared love of miniature art as teenagers, they
:34:02. > :34:07.have painted together every day, often working for hours on the same
:34:08. > :34:13.tiny piece. It can take 50 hours to 1000 hours. You often have to hold
:34:14. > :34:18.your breath to make sure the lines are straight. You are siblings, do
:34:19. > :34:25.you never disagree? I don't think we would be normal if you did not
:34:26. > :34:27.argue, that we are very much in chewed with each other. Indian
:34:28. > :34:34.miniature paintings have appeared in manuscript since the 14th century,
:34:35. > :34:38.where they were used to decorate religious texts and mythological
:34:39. > :34:44.epics. By the 18th-century they were India's dominant art form. The
:34:45. > :34:48.twins' worker updates the tradition to reflect modern tradition. Their
:34:49. > :34:53.Indian miniature is included Princess Diana, the beckons and even
:34:54. > :34:58.Liverpool footballers. -- Liverpool football supporters. Their work is
:34:59. > :35:03.owned by galleries worldwide and they were recently awarded an MBE by
:35:04. > :35:08.the Queen. They are bravely allowing me to put the finishing touches to a
:35:09. > :35:12.brand-new painting we are creating for a future Liverpool gallery
:35:13. > :35:17.exhibition. You can do a small bit of the top of this figure. You see
:35:18. > :35:23.the flowers on her top, we have left a few of them incomplete. That is
:35:24. > :35:30.it. You are there. This is so exquisite. It is fine. No, I am
:35:31. > :35:37.doing rubbish. That was absolutely terrifying. Luckily for me, this is
:35:38. > :35:41.just one part of this many layered artwork, inspired by the twins'
:35:42. > :35:46.personal fascination with the history of the Indigo dyed trade
:35:47. > :35:49.between India and Britain. Hidden in the painting are a multitude of
:35:50. > :35:58.objects and art from local Devoto museums. Her husband is the one who
:35:59. > :36:04.put a monopoly on indigo in India at that time. She is associated with
:36:05. > :36:11.the city where the Taj Mahal is. It was built as a mausoleum. Where does
:36:12. > :36:15.Queen Elizabeth come in? She ran a commission for the English merchants
:36:16. > :36:19.to trade with India, she is woven into the carpet design at the bottom
:36:20. > :36:23.of the painting. Quite often you incorporate your home city of
:36:24. > :36:30.Liverpool into your work, and we have a pair of Liverpool genes.
:36:31. > :36:37.Flemings was the first company to manufacture denim in the Liverpool
:36:38. > :36:41.area. Denim originates in India. Fascinating, we can't look at denim
:36:42. > :36:45.in the same way. All of these objects can together in the final
:36:46. > :36:51.artwork, for which the twins are mixing tradition with technology is
:36:52. > :36:56.gunning in each individual miniature painting to create a digital
:36:57. > :37:00.masterpiece. -- by scanning in. We have scanned it in and we are
:37:01. > :37:04.dragging it across to the final image, where we put in the final
:37:05. > :37:10.piece of the jigsaw. Absolutely stunning. I love how your eye is
:37:11. > :37:14.just drawn to this indigo blue world. It is all the more beautiful
:37:15. > :37:18.knowing the amount of work at the weeks of preparation that have gone
:37:19. > :37:24.into it. The Singh twins' paintings might be miniature, but their
:37:25. > :37:29.artistic ambition, combining Indian history and modern day Britain, is
:37:30. > :37:32.truly giant. The Singh twins, making beautiful
:37:33. > :37:40.art. We have another miniature artist with us, John Good. Welcome.
:37:41. > :37:47.You have a steady hand! I hope so. This is mesmerising. When and why
:37:48. > :37:52.did you decide to start drawing so intricately? This is all pencil,
:37:53. > :37:57.coloured and lead pencil? I have always painted, but they were mostly
:37:58. > :38:02.on a large scale. My style of painting has always been to have
:38:03. > :38:06.detail. A number of years ago, when I saw the Royal miniature Society
:38:07. > :38:10.asking artists to submit work for the exhibition, I thought that it
:38:11. > :38:15.sounds like me when I looked at the work that was on offer in the
:38:16. > :38:21.exhibition. Trying to get detail into a small area, that appeal to
:38:22. > :38:26.me. There is an amazing amount of detail. How long would it take to
:38:27. > :38:31.complete one of these and how wrong is it to go wrong? For me, they
:38:32. > :38:35.generally take longer than a big painting because of the effort
:38:36. > :38:41.involved in it. It can take, for one of these, 30 or 40 hours, maybe.
:38:42. > :38:45.Yes, things can go wrong. With painting, it is not too bad, but
:38:46. > :38:53.with pencil work you really do not have a second chance, if you make a
:38:54. > :38:57.mistake it is too hard to rub out. When we rehearsed this section you
:38:58. > :39:02.were telling me that you sharpen your pencil with sandpaper? That's
:39:03. > :39:08.right, literally a couple of lines at a time, re-sounding. The irony is
:39:09. > :39:13.that the smaller it is, the more you look at it. From miniature art to
:39:14. > :39:21.microscopic arts, made by MBE Willard Wigan. Willard, thank you.
:39:22. > :39:26.Remarkable. You are doing art in the eye of a needle? Correct. This blew
:39:27. > :39:34.our minds this afternoon. I can't get my head around this. You are
:39:35. > :39:41.looking at a standard sewing needle. Show it to the camera, if you would?
:39:42. > :39:48.There is a standard sewing needle. In the eye of the needle, you will
:39:49. > :39:55.see William Shakespeare. Now! Yes. Look at that.
:39:56. > :40:04.With the words to see or not to see? How do you go about creating
:40:05. > :40:09.something like this? What is he made of and what tools do you use? This
:40:10. > :40:16.type of work requires excessive skill. You have to have this
:40:17. > :40:20.obsessive type of skill. It is almost like trying to put a pin
:40:21. > :40:25.through a bubble, I had to train my heart rate to do it. I work at
:40:26. > :40:31.night. It is something I have done since I was five, it started when I
:40:32. > :40:38.used to build houses as a kid. -- houses for an is as a kid. A dog
:40:39. > :40:41.destroyed the ads' nests, so I felt sorry for the ants and I started
:40:42. > :40:46.making houses and furniture for them. My mother told me that if I
:40:47. > :40:51.went smaller, my name would get bigger. That is what I have done. I
:40:52. > :40:58.have done the smallest man made sculptures in the world, handmade.
:40:59. > :41:02.What tools do you use? As you can see, the tools are made
:41:03. > :41:09.individually. There is a little hook, a blade, they are individually
:41:10. > :41:14.made. It is not the type of thing you can make easily, the tools
:41:15. > :41:17.themselves can be a work of art. It is a punishing process. As you work
:41:18. > :41:21.on it you are not enjoying it, but you enjoy it when you finish. It is
:41:22. > :41:27.the slowing up the heart beat and making sure you do not make a
:41:28. > :41:34.mistake, if you do, it is all over. You have inhaled your art before?
:41:35. > :41:37.Yes, I have. He would be devastated! I was working on the Alice in
:41:38. > :41:44.Wonderland story and I inhaled Alice. I managed to make another
:41:45. > :41:51.Alice which was better than the one I inhaled. That was the right wrong
:41:52. > :41:56.thing, it was a lot better. It is utterly mesmerising to look at. This
:41:57. > :42:05.one here is my brother, I brought him down to size a little bit. Such
:42:06. > :42:10.lovely detail, thank you so much. One more for luck. This is a
:42:11. > :42:14.pinhead, incredible. I have made our house. And a forest.
:42:15. > :42:20.Look that bad. APPLAUSE
:42:21. > :42:30.. Thank you, we'll art. -- look at that. You can see John 's work, and
:42:31. > :42:39.will's work is being exhibited at the Central Library of Manchester.
:42:40. > :42:45.Here is Esther with another dilemma. Dear Esther, my ex-husband sent me a
:42:46. > :42:48.photo of this together on a beach from a holiday we went on in happier
:42:49. > :42:55.times. But we have been divorced four years. Is this a good thing of
:42:56. > :43:01.a bad thing? Should I just ignore it? We will get advice from the
:43:02. > :43:05.people of Portsmouth. She should just ignore rich. Or tell
:43:06. > :43:09.him to stop sending her those kind of pictures. I would probably reply
:43:10. > :43:13.him to stop sending her those kind with a nice message and hope that
:43:14. > :43:17.they are OK. I think I would just walk away. Throw it in the bin. The
:43:18. > :43:21.God I would evaluate it, see what the problem is, see if it is
:43:22. > :43:26.solvable. Do you want to have problems or want to be in love? I
:43:27. > :43:31.would rather be in love. He is adorable, but he has not grasped the
:43:32. > :43:37.point, has he? If he is doing bad, he's not worth bothering about. Just
:43:38. > :43:43.getting on with your life and enjoying it. Maybe give it another
:43:44. > :43:47.go and relive the holiday. What do you think? I agree, because I am
:43:48. > :43:53.going along with the wife. Have you no mind of your run? I just agree
:43:54. > :43:54.and do my own thing. Did you know he was doing that?
:43:55. > :44:02.LAUGHTER was doing that?
:44:03. > :44:06.She does now. Why have you sent this photograph,
:44:07. > :44:10.how would you explain yourself? I am trying to make a jealous, show her
:44:11. > :44:18.how much of a good time I am without her. Oh, the photo is with her?
:44:19. > :44:21.how much of a good time I am without is getting there! Aston we split up,
:44:22. > :44:28.you send that to me. May be a reminder to say how much I still
:44:29. > :44:31.love her. He is sweet. I know how you would respond. You would go
:44:32. > :44:37.crazy? I would rip it up and sent it you would respond. You would go
:44:38. > :44:43.back to him. I just ripped everything up and put it in the bin.
:44:44. > :44:53.Thrown anything out of the window? Plenty of times, lumps and all
:44:54. > :44:56.sorts. Lumps. He is reaching out to her, he should probably get back
:44:57. > :45:01.into her chair and CSA could spark at the old flame. You are much nicer
:45:02. > :45:07.about this than the women I have spoken to. They are all tough. You
:45:08. > :45:13.could say I am a romantic at heart. She should not be absurd. She can
:45:14. > :45:17.either take that as a sign from him, or she can just think, actually, I
:45:18. > :45:21.will not think anything of it, I will just think about that every
:45:22. > :45:27.time we hadn't forget about it -- she should not be upset. He must
:45:28. > :45:32.want her back. Sending a reminder of what you are missing. I suppose it
:45:33. > :45:35.depends why they split up. If he did something wrong, just ignore it
:45:36. > :45:40.because he is not worth the time of day. Here's something I never knew,
:45:41. > :45:46.women are much tougher than men. Funny, that. There you are, I have
:45:47. > :45:50.only been around for 75 years and I had no idea!
:45:51. > :46:04.STUDIO: That is a dilemma, it depends on the exes, I suppose. You
:46:05. > :46:11.probably have more. LAUGHTER I'm just saying it! If you have a
:46:12. > :46:17.dilemma and you would like to take to the streets of Britain, get in
:46:18. > :46:21.touch through the usual ways, and we will get Esther Rantzen on the case.
:46:22. > :46:32.Sorry, I've lost my mind, I feel very bad. We can now talk to Lianne
:46:33. > :46:40.La Havas. You are a guest on Coldplay's world tour, very
:46:41. > :46:48.exciting. How is that? Amazing. It has been so... I've never played in
:46:49. > :46:55.stadiums before, and it is absolutely amazing. We got back from
:46:56. > :47:04.Latin America. I'd never been there. I'd never played music there before,
:47:05. > :47:16.it was unbelievable. We have shots of you in Mexico. You have this
:47:17. > :47:27.incredibly soulful and relaxing worldly voice, where does that come
:47:28. > :47:36.from? I don't know. Your dad is Greek. Yes, my parents parents were
:47:37. > :47:43.from Greece and Jamaica. Grease on my father's side and Jamaica on my
:47:44. > :47:51.mother's side -- Greece. And they made me! I like to think my style
:47:52. > :47:54.and music is very eclectic and I think I owe that to my parents and
:47:55. > :48:01.grandparents, for the eclectic taste. Prince was very impressed
:48:02. > :48:11.with your style, and you worked with him and you became friends, how did
:48:12. > :48:22.that come about? He basically phoned me. Out of the blue. He said, I,
:48:23. > :48:31.this is Prince? Yes. He had seen you somewhere? I think he heard my music
:48:32. > :48:37.when I released my first EP in 2011. One day I got a message from my
:48:38. > :48:40.management saying that Prince would like to have a phone call with me,
:48:41. > :48:47.we did not know when it would happen. I just had to have my phone
:48:48. > :48:54.on me. How did you feel at that point when it was him on the other
:48:55. > :49:00.end? Completely ridiculous. The most surreal phone call I've ever had. It
:49:01. > :49:06.gets weirder, he ended up in your flat, performing. Right at the
:49:07. > :49:17.beginning was the phone call, and after we spoke, we stayed in touch
:49:18. > :49:21.ever since. We became friends. He basically e-mailed me one day and
:49:22. > :49:28.said, I've got this idea and I want to do a press conference in your
:49:29. > :49:36.living room. What did you said your flatmate? LAUGHTER
:49:37. > :49:46.I said, so, Prince is coming round tonight. It was just amazing. Any
:49:47. > :49:51.time that I spent with him was amazing. He had his way of making it
:49:52. > :49:59.feel like it was your birthday or the time. We are very sorry you have
:50:00. > :50:05.lost a dear friend. You must be very jealous, you are a big fan? It would
:50:06. > :50:13.have been amazing, what was he like? Was he quite normal? He seems so
:50:14. > :50:18.otherworldly. He was otherworldly and he seems to maintain that even
:50:19. > :50:24.when we just hanging out. -- he seemed. He was absolutely lovely.
:50:25. > :50:37.Where was your flat? I'm trying to visualise it. It was a terraced
:50:38. > :50:48.house and it was in Leighton. -- Leyton. Did you make him tea or
:50:49. > :50:56.coffee? We made him build a's T. -- builders do. You will be back in the
:50:57. > :51:03.UK, performing? We will be back on the road from the 24th of May.
:51:04. > :51:09.Lovely. Lianne will be performing for us shortly. Albert Einstein
:51:10. > :51:14.pointed out in 1905 that time is relative. It is so true. If you are
:51:15. > :51:19.ever struggling to understand the theory of relativity we have one
:51:20. > :51:24.scientist with crazy white hair to explain the theories of another. We
:51:25. > :51:30.are all familiar with the regular tick and talk of a clock, as it
:51:31. > :51:37.measures out time. But what if time was not regular? Suppose it could go
:51:38. > :51:46.faster or slower. What sort of world would that be? The idea that time
:51:47. > :51:51.can speed up and slow down came out of the most important science idea
:51:52. > :51:56.of the 20th century, the theory of relativity, invented by the great
:51:57. > :52:09.Albert Einstein. I will explain it using a tennis ball, torch and a
:52:10. > :52:14.train. I'm throwing this ball around ten mph and the ball is travelling
:52:15. > :52:21.at that speed. Right? Not so, says Einstein. Imagine there is somebody
:52:22. > :52:28.watching from outside the train. Here comes the train. I told the
:52:29. > :52:38.driver to go at ten mph. I'm looking for some bloke playing catch. There
:52:39. > :52:46.he is. Right. The ball went past me at 20 mph and that makes sense,
:52:47. > :52:53.because the speed of the ball was ten mph plus the speed of the train
:52:54. > :52:59.itself. For me, on the platform, the ball was moving at 20 miles an hour.
:53:00. > :53:04.But for me on the train, the ball is travelling at ten miles an hour and
:53:05. > :53:08.that is relativity. The ball does not have just one speed, only a
:53:09. > :53:14.speed relative to where you measure it from. But now things get really
:53:15. > :53:18.weird. Einstein was interested in the speed of light, is mathematical
:53:19. > :53:22.calculation is leading to a startling conclusion. The speed of
:53:23. > :53:31.light is always the same, no matter where you measure it. Let me show
:53:32. > :53:38.you why this is weird. This time I have got a beam of light. The speed
:53:39. > :53:44.of light measured on this train is about 186,000 miles a second, what
:53:45. > :53:51.happens if I shine a light out of the window, though? You might think
:53:52. > :53:56.that it would be the same as with a tennis ball, the speed of light plus
:53:57. > :54:00.the speed of the train. But if you measure the speed of the light beam
:54:01. > :54:06.from the platform it is exactly the same speed as the light beam on the
:54:07. > :54:13.train. No matter how fast the train goes, the speed of light is always
:54:14. > :54:17.constant. Cup of tea, please. Light is constant and speed is relative,
:54:18. > :54:23.but what about time? Einstein proved that time, just like speed, was
:54:24. > :54:29.relative, anchored speed up and slow down depending on how fast you were
:54:30. > :54:34.travelling -- and code. This meant a clock on a fast moving train runs
:54:35. > :54:42.very slightly slower than the one left behind at the station. This is
:54:43. > :54:47.the National physical laboratory in Teddington, their atomic clocks are
:54:48. > :54:54.some of the most accurate in the world, accurate to one second in 150
:54:55. > :55:00.million years. With clocks this accurate, Einstein's weird ideas
:55:01. > :55:05.about time can be tested. In 1971. The Joseph from Saint Louis but
:55:06. > :55:11.three seats on an aeroplane, one for him and two from Mr Clarke, Mr
:55:12. > :55:17.Clarke was an atomic clock and they also left an identical clock at
:55:18. > :55:24.home. Mr clock food wise around the world, East first of all like this,
:55:25. > :55:29.and then all the way West bash flew twice around the world. They then
:55:30. > :55:35.compared the clocks and the times were different. It was only a
:55:36. > :55:39.minuscule difference, but they exactly matched Einstein's
:55:40. > :55:43.predictions. Einstein's genius was to take a simple idea and to run
:55:44. > :55:50.with it, and it took him some strange places. But he changed the
:55:51. > :56:00.way we think about time for ever. STUDIO: Thank you. We have time for
:56:01. > :56:06.a few of the saints. This is Margaret, a real-life saint, that is
:56:07. > :56:12.because she spends her time caring for the community young and old.
:56:13. > :56:20.Sally sent this photo of her bone marrow donor. He saved her life
:56:21. > :56:29.seven years ago. Give him a halo. And this was sent in by her husband
:56:30. > :56:33.Matt, she has been looking after him because he has man flu.
:56:34. > :56:38.We'll be back tomorrow night with comedian Susan Calman.
:56:39. > :56:42.Now, playing us out with Tokyo from her album Blood -