:00:17. > :00:18.Hello and welcome to The One Show with Matt Baker...
:00:19. > :00:22.And it's day two of our One Show Phone Plan -
:00:23. > :00:25.thanks to everyone who's been in touch - we've had some great
:00:26. > :00:32.suggestions to help us cut down on our mobile phone obsession.
:00:33. > :00:38.We have indeed... Alex, we think you've come up trumps with the best
:00:39. > :00:44.one so far? I've smashed it today, on the way to work! Your little face
:00:45. > :00:45.when you came into the office... I'm devastated!
:00:46. > :00:51.He put this sign up on his living room door to stop his daughter Hope
:00:52. > :00:56.constantly using her phone - but she doesn't take any notice.
:00:57. > :01:03.Karen O'Riordan, she takes the Wi-Fi box to work... Drastic! She takes it
:01:04. > :01:08.with her so her children do the chores. And Stuart says he used to
:01:09. > :01:11.turn his Wi-Fi off at night but he found out that their daughter,
:01:12. > :01:15.Hannah, would sit in the bath connected to the neighbour's Wi-Fi
:01:16. > :01:19.in the middle of the night! I'm not sure what the tip is to get you off
:01:20. > :01:22.the Internet, maybe a new lock on the bathroom door!
:01:23. > :01:24.And proof that this isn't just an issue
:01:25. > :01:28.Nigel sent this photo in of his 88-year-old dad Dennis -
:01:29. > :01:30.glued to his phone while watching the One Show.
:01:31. > :01:38.Look at his bookcase, his house is like Dixons! He doesn't just have
:01:39. > :01:40.one landline, he's got two! Keep those photos going in, we love to
:01:41. > :01:43.see them. And tonight's guest
:01:44. > :01:44.is already signed-up... He's actually banned his teenage
:01:45. > :02:03.daughter from getting APPLAUSE
:02:04. > :02:07.Hello! It's not exactly all my doing... Her mum was very
:02:08. > :02:14.instrumental in it, she's the real enforcer. So not so much... Mean by
:02:15. > :02:19.name... Mean by nature! How long will you hold out? How old is she?
:02:20. > :02:24.She is 12 years old, not far off... And you are sticking to it? Yeah. My
:02:25. > :02:31.wife did a lot of research about when the brain is fully formed, and
:02:32. > :02:34.the microwaves from the phone which can damage young brains, explained
:02:35. > :02:40.this in graphic detail... To my horrified daughter. She bought into
:02:41. > :02:43.it. Good! You should have bought your wife with you! We came up with
:02:44. > :02:48.the idea... in new figures given to us
:02:49. > :02:53.by Deloitte - 15.5 million people in the UK worry that they use
:02:54. > :02:56.their smartphones too much. It's affecting family life,
:02:57. > :02:58.how we interact with people around us and sometimes it's
:02:59. > :03:02.just downright dangerous. Take this man caught on CCTV
:03:03. > :03:08.in a hotel in the States... No doubt left with a few bruises -
:03:09. > :03:16.including his pride. Her phone probably wasn't up
:03:17. > :03:30.to much after that dunking! The best technique yet to get your
:03:31. > :03:32.youngsters off mobile phones! Put paddling pools everywhere you go!
:03:33. > :03:47.It's a familiar sight, on the street, in coffee shops, everywhere!
:03:48. > :03:53.They even have a name for it. Smartphones zombies! But this
:03:54. > :03:58.psychologist thinks the new phenomenon and is a real cause for
:03:59. > :04:02.concern. I'm guilty of looking at something on my phone as I'm walking
:04:03. > :04:07.one place to the next, I'm trying to save time. Is there any harm?
:04:08. > :04:11.Absolutely. You not paying attention to your surroundings. You could miss
:04:12. > :04:15.any number of things going on around you. To prove his point, Lee has
:04:16. > :04:20.come up with a special the one showed test. We are asking the
:04:21. > :04:24.smartphone lovers to search the answer to the same random
:04:25. > :04:30.question... How many golf balls are on the moon, and who put them there?
:04:31. > :04:39.Text it to their contacts, see who gets the first reply. Ready,
:04:40. > :04:43.steady... Go! But what they don't know is while they are busy
:04:44. > :04:44.searching and sending, something out the ordinary will join them. Will
:04:45. > :05:01.they notice? I have a reply! Well done,
:05:02. > :05:05.congratulations. Task complete, but did the volunteers spot anything
:05:06. > :05:11.unusual? Did you see anything? Not a thing. I was busy messaging. You
:05:12. > :05:17.tuned it is nothing unusual? OK. There was a guy dressed in a gorilla
:05:18. > :05:22.suit...? In the experiment, only three of the ten mobile users caught
:05:23. > :05:26.sight of a gorilla, going some way to prove the point that many of us
:05:27. > :05:34.are easy Lee distracted by our phones. But what kind of effect that
:05:35. > :05:37.this have on us? What are the consequences of compulsive
:05:38. > :05:40.behaviour? I think we are just starting to understand those
:05:41. > :05:44.consequences, so in some research I've done, I've looked into
:05:45. > :05:46.cognitive failures. You forget people's names, and maybe where you
:05:47. > :06:10.left your keys, or a big one is people being clumsy.
:06:11. > :06:13.People bump into random objects and we've all seen examples of it
:06:14. > :06:15.happening on the street, people walking and texting walking into
:06:16. > :06:17.lamp posts, someone else... You engage in something quite demanding
:06:18. > :06:19.and you need to pay a lot of attention. Your attention is devoted
:06:20. > :06:22.here, so everything else receives less attention. That all sounds a
:06:23. > :06:24.little too familiar, but surely I'm not the only one with these
:06:25. > :06:27.symptoms? She's too busy, she's on the phone! Does being on the phone
:06:28. > :06:29.all the time affect your memory? I think you have a shorter attention
:06:30. > :06:32.span. You do not exercise your brain muscles as much as you should. You
:06:33. > :06:34.don't have to retain your information as it's on your phone
:06:35. > :06:37.constantly. First thing in the morning you pick it up and check
:06:38. > :06:47.what's happening in the world. Before you know it, 20 minutes have
:06:48. > :06:49.and you are late! So we admit that we are getting more easily
:06:50. > :06:52.distracted and forgetful, and this could all be because of our mobile
:06:53. > :06:56.phones. But this is supposed to make our lives easier! The good news is,
:06:57. > :07:00.we are not entirely to blame. James Williams is the co-founder of Time
:07:01. > :07:04.Well Spent, an organisation encouraging people to take control
:07:05. > :07:07.of their technology. Previously he spent ten years at Google and knows
:07:08. > :07:11.how hard big technology companies work to keep us glued to our
:07:12. > :07:17.screens... What tricks do they use to capture our attention? One thing
:07:18. > :07:25.you see in a lot of different apps is the infinite scrolling news feed.
:07:26. > :07:29.The psychology of this is the same psychology as slot machines, when
:07:30. > :07:32.you pull down to refresh the news feed, you pull down on an
:07:33. > :07:37.informational slot machine, in a sense. You now see autoplay videos,
:07:38. > :07:42.it grabs your attention more than a static image would. A common
:07:43. > :07:46.persuasive technique is a notification, you see the red pop-up
:07:47. > :07:52.of how many messages you have. And what happens to your brain when that
:07:53. > :07:55.happens? What happens physiologically? It is ultimately
:07:56. > :07:59.training us to watch the notification for the next red dot,
:08:00. > :08:05.or the e-mail inbox for the next message or the little noise. It's
:08:06. > :08:09.turned our lives into a continuous flow of rewards. When computers were
:08:10. > :08:12.at our desks and we could walk away, it was manageable. Now it is
:08:13. > :08:18.literally the first thing we look at when we wake up and the last thing
:08:19. > :08:21.before we sleep. We need to move from a world where technology
:08:22. > :08:26.maximises time spent with it to Time Well Spent. Only now do we've
:08:27. > :08:30.realise some of the negative consequences of our mobile phones.
:08:31. > :08:35.If technology companies get their way, this could just be the tip of
:08:36. > :08:39.the iceberg... STUDIO: James Williams, the
:08:40. > :08:41.co-founder of Time Well Spent, as you saw in the film, is with us now.
:08:42. > :08:45.And if you want to know the answer to the question "how many golf balls
:08:46. > :08:47.are there on the moon" - it's two!
:08:48. > :08:57.Yes, it is to! It's easy to blame these companies but, to be honest,
:08:58. > :09:02.nobody forces everyone to go onto their phones, and in a lot of
:09:03. > :09:06.respects, they help a lot of people. But do the companies have a sense of
:09:07. > :09:10.responsibility, that what they are creating is very addictive?
:09:11. > :09:16.??FORCEDBLUE sure, no person is ultimately to blame for this
:09:17. > :09:20.situation we are in. The system makes it valuable for companies to
:09:21. > :09:24.capture as much of our attention as they can, they call it an attention
:09:25. > :09:30.economy. It is the primary business model of the Internet now. Our
:09:31. > :09:34.phones are designed to be the most interesting things in our lives. By
:09:35. > :09:39.no surprise we find ourselves gravitating towards that rather than
:09:40. > :09:45.deeper human interactions that we value. You are a guru though, how do
:09:46. > :09:50.we spend less time on our phones. We need tips! I think one way is by
:09:51. > :09:56.managing the notification is that we get. We all get tonnes of
:09:57. > :10:02.notifications every day. Not all of them are as valuable as others, what
:10:03. > :10:06.we recommend in the Time Well Spent campaign, only accept notifications
:10:07. > :10:12.from people and not machines. If somebody messages or e-mails you, as
:10:13. > :10:15.opposed to your Twitter, saying, follow this person... Set those
:10:16. > :10:21.notifications right. Another is hiding apps that distract you
:10:22. > :10:30.personally. You could put them a fuse swipes away on your phone, give
:10:31. > :10:34.yourself a nudge to not use them. And search by typing in the text bar
:10:35. > :10:39.to navigate, you can cut down that way. One problem a lot of people
:10:40. > :10:44.have with phones is using them late at night. The blue light of the
:10:45. > :10:49.phone tells our brains that it is daytime. One thing we recommend is
:10:50. > :10:52.charging your phone in a room other than the bedroom, and get a
:10:53. > :11:01.stand-alone alarm clock. A stand-alone alarm clock?! I think
:11:02. > :11:07.they still make them... Do they? What is your personal motivation for
:11:08. > :11:11.doing this? You seem into technology, to me? My motivation is
:11:12. > :11:15.when I was working in the USA in the technology industry, I felt there
:11:16. > :11:20.was more technology in my life than ever, but it was getting harder to
:11:21. > :11:23.do what I wanted to do. I have been researching these issues on
:11:24. > :11:27.attention and persuasion over the last few years at Oxford, and I
:11:28. > :11:35.think it's a big moral and political question. To do anything worthwhile
:11:36. > :11:37.in life, we need to give attention to what matters but what is
:11:38. > :11:39.happening is these devices are taking away our ability to give
:11:40. > :11:44.attention to what matters. I hope we can steer it into the right
:11:45. > :11:47.direction and align the design with deeper human needs. And I think we
:11:48. > :11:51.need to put etiquette and manners into our plan. In a social situation
:11:52. > :11:58.the last thing you want is someone looking down at a phone. It is
:11:59. > :12:05.manners. You wouldn't put your elbows on the table, why put your
:12:06. > :12:10.phone? Yes Axel James, thank you. I understood about 10% of what you
:12:11. > :12:16.said... I'm completely out of the loop with that. The notifications, I
:12:17. > :12:21.get very few of them. You don't sign up to the apps in the first place,
:12:22. > :12:27.that is the best thing. What are they for? But some are brilliant.
:12:28. > :12:36.When we download, do we ask them? The motivation to get out will be
:12:37. > :12:42.that book called The Circle. It's great. You need to talk to Matt, you
:12:43. > :12:45.are both on the same page... I think it is important to look at the
:12:46. > :12:52.important things in life. Good pointers from James.
:12:53. > :12:54.But we want to hear what works for you.
:12:55. > :12:57.So do get in touch in the usual ways.
:12:58. > :12:59.We'll put them altogether into our One Show phone plan and ask
:13:00. > :13:02.the Farnworth family - who we met last night -
:13:03. > :13:04.to try them out over the summer and report back to us.
:13:05. > :13:08.We'll be talking about Colm's new play in a minute -
:13:09. > :13:11.but away from the West End stage - his CV's littered with
:13:12. > :13:13.all-action blockbusters like Con Air and Under Siege.
:13:14. > :13:15.So he knows better than most how important a good
:13:16. > :13:18.Unfortunately - getting the professionals in doesn't
:13:19. > :13:23.guarantee things will run smoothly...
:13:24. > :13:33.I have two main passions in life, motocross and martial arts. That's
:13:34. > :13:37.pretty much how I got into the film industry. My name is Olivia Jackson
:13:38. > :13:45.and I've worked as a stunt double for loads of lead actresses, like
:13:46. > :13:48.Rosie Huntington-Whiteley, Karen Gillan, and Lizzie Olsen, on Mad
:13:49. > :13:53.Max: Fury Road, the avengers, and a lot of other films. I worked for
:13:54. > :13:59.Guardians of the Galaxy in 2013. Me and my husband Dave, he is also a
:14:00. > :14:03.stunt man. I doubled for a character with a shaved head, she wasn't very
:14:04. > :14:09.attractive, but they must have liked my personality! We were living the
:14:10. > :14:12.dream, sharing common interests, working on amazing films. Everything
:14:13. > :14:18.was perfect, really. After we got married, I took on a film shooting
:14:19. > :14:22.in South Africa at the time. Resident Evil, it was supposed to be
:14:23. > :14:27.a really fun job but it ended up changing my life. On the first day
:14:28. > :14:32.of filming, I had to do a motorbike stunt, where you drive in a straight
:14:33. > :14:38.line towards an oncoming camera vehicle. It was supposed to lift the
:14:39. > :14:44.camera up and over me, but it didn't. It did not lift in time, so
:14:45. > :14:49.it slammed into my head. I was working in Malta at the time on
:14:50. > :14:54.Assassin's Read, I was out the night before, it was my birthday. It all
:14:55. > :15:00.changed in an instant. My heart stopped. It's a phone call as a
:15:01. > :15:05.stunt performer that you never expect. The left-hand side of my
:15:06. > :15:09.face was completely torn away. My shoulder, on the left-hand side, was
:15:10. > :15:14.pulled back and all of the nerves were ripped out of my spinal-cord. I
:15:15. > :15:19.dropped to my knees and was devastated because of what happened
:15:20. > :15:26.to her. I was in a coma for nearly three weeks, and when I woke up from
:15:27. > :15:30.it, the first person I saw was Dave. We had only been married four
:15:31. > :15:34.months, and it was a very intense situation, thinking I was going to
:15:35. > :15:40.lose her before our lives had even started together. I could not walk,
:15:41. > :15:44.I can look in The Mirror so I had no idea how my face looked. But what I
:15:45. > :15:49.could see was my arm, I could not move it. They told me it was
:15:50. > :15:54.paralysed. The amount of operations she had, the production company's
:15:55. > :15:58.insurance ran out very quickly. Since then we have had to self fund,
:15:59. > :16:03.luckily the film community have got behind us. When you don't have the
:16:04. > :16:08.support committee have people who understand and help along the way.
:16:09. > :16:12.Obviously, paralysis of the arm and intense pain that she is in...
:16:13. > :16:17.Living with the armour, the dead weight, it's really hard. I had a
:16:18. > :16:24.really big decision to make. I was so badly injured that I decided to
:16:25. > :16:25.amputate the arm. She has an incredible attitude. If it's not
:16:26. > :16:37.going to work, I don't want it. So I have to cut all the sleeves off
:16:38. > :16:44.all my tops off, even my jackets, I have had to cut the sleeves off. I
:16:45. > :16:50.have had to learn to do things in a new, inventive way. One day Dave
:16:51. > :16:54.came home and I was trying to cook. I asked her to make sure she
:16:55. > :16:58.actually cleaned her feet, that was all! I haven't really had time to be
:16:59. > :17:05.angry or too depressed about it, I have been focussed on trying to get
:17:06. > :17:19.better. Everything's changed. We had dreams of riding our motorbikes, but
:17:20. > :17:21.we do cruise driving. My car has been adapted to drive with one arm,
:17:22. > :17:28.it gives me independence and confidence. So I have been able to
:17:29. > :17:31.go back and to martial arts. The hardest part was to make my brain
:17:32. > :17:35.work together with my body again. On this bit of paper is an invite to a
:17:36. > :17:38.martial arts tournament. We are going to enter you into that
:17:39. > :17:43.tournament. Against able-bodied people, I think it will be fantastic
:17:44. > :17:47.for to you do. Despite obviously the challenges that she faces every day,
:17:48. > :17:51.she attacks it the same as she attacked everything before.
:17:52. > :17:53.Ultimately, it's about creating our new future together, I am sure
:17:54. > :18:00.whatever it is it will be amazing. So, we will get through it.
:18:01. > :18:03.Really inspiring attitude there. Olivia went into hospital today for
:18:04. > :18:10.another operation on her collar bone. We wish her all the best with
:18:11. > :18:13.her continued recovery. Colm, with the world you work in stunt
:18:14. > :18:18.performers are there all the time and make films look so great. What
:18:19. > :18:22.are your experiences with stunt doubles or performers or risky
:18:23. > :18:27.moments on set? Yeah, you are reliant on a really good stunt
:18:28. > :18:34.co-ordinator to say what the level of risk is. Some things are beyond,
:18:35. > :18:39.you know, I mean the danger level is so high that you shouldn't be doing
:18:40. > :18:44.it. That's happened on a number of occasions. Anything other than a
:18:45. > :18:49.walk across the room to me is a stunt. Absolutely. No, no, I am not
:18:50. > :18:54.one of these guys who does, I do my own stunts, you know. Not at all. I
:18:55. > :19:01.am always happy to bring the stunt person in. But I do remember one -
:19:02. > :19:08.it wasn't considered a stunt but on the film Con Air, with John Cusack,
:19:09. > :19:12.we were in the helicopter with two marine pilots, and we were doing
:19:13. > :19:18.this, at Salt Lake City airport, doing this take-off and going very
:19:19. > :19:22.close to a building. Oh! And then, I remember, I said to the pilot at one
:19:23. > :19:25.stage, are we going close to the building? He said, yeah, actually,
:19:26. > :19:31.yeah, I am glad my flight instructor is not here to see that because he
:19:32. > :19:37.would not allow that at all. LAUGHTER
:19:38. > :19:44.Why are you doing it? And I mean... Sure, yeah. But directors will want
:19:45. > :19:50.to get... They push it. Get closer into that and we actually when we
:19:51. > :19:57.got back down to the ground, we said we are not going that close ever
:19:58. > :20:01.again ever. No stunts in Cat On A Hot Tin Roof. It's at the Apollo
:20:02. > :20:04.Theatre in London. You have been rehearsing and today you did the
:20:05. > :20:10.second run-through. How is it shaping up? Well, you know, usually
:20:11. > :20:18.you have four to six weeks rehearsal before you open a show, this is a
:20:19. > :20:23.big play. It's a classic. Tennessee Williams at his best. And we are -
:20:24. > :20:30.this is our 4th week of rehearsal, going into the 5th. We are at that
:20:31. > :20:34.terrifying point where you are just off the book, you think you know the
:20:35. > :20:42.lines and you start running the play. It's sort of just it really
:20:43. > :20:48.is, they're nerve-racking moments, you suddenly think, because you have
:20:49. > :20:52.been rehearsing the play in pieces for weeks, you know, this five pages
:20:53. > :20:57.there and whatever. Now you take a deep breath and do the whole thing,
:20:58. > :21:04.which is like 70-odd pages. It's terrifying. We had our second
:21:05. > :21:09.run-through today. Did it go well? Yesterday, the first run-through was
:21:10. > :21:15.terrific. Today was, for me, particularly, was a bit more... A
:21:16. > :21:19.bit rocky. Because I had to come to see you guys, I got out of the
:21:20. > :21:22.rehearsal room quick, I haven't spoke to the director yet, I am sure
:21:23. > :21:29.I will get notes in the morning. The role that you are playing, it kind
:21:30. > :21:33.of revolves around you. You are playing Big Daddy. How does he
:21:34. > :21:38.compare to the other characters that you played? Hollywood, gangster,
:21:39. > :21:41.comedy, you have done the lot. Yeah, I haven't done a play for ten years
:21:42. > :21:45.either, by the way, which is a long time not to do a play. There is a
:21:46. > :21:52.sort of a tradition in the theatre, if you go seven years, you never do
:21:53. > :22:00.a play again. Right. Are you entering into this with tredpidation
:22:01. > :22:04.then? What seems to happen is every ten years or so, because you get
:22:05. > :22:12.offered a few place, but a play comes along that you can't resist,
:22:13. > :22:15.you know. It's like the last one was with Kevin Spacey at the Old Vic, it
:22:16. > :22:25.was a classic of the American theatre. This comes along, you know,
:22:26. > :22:30.you can't dodge it. To play Big Daddy is probably every character
:22:31. > :22:33.actor's ambition in his career. It's an offer I couldn't refuse. Some
:22:34. > :22:38.people won't know the story, it's set in the deep south in the 1950s
:22:39. > :22:46.but it's got really up to date themes. Very much so. People may be
:22:47. > :22:51.familiar, older audiences, with the original with Paul Newman and
:22:52. > :22:59.Elizabeth Taylor and then there's been many TV versions made. Loads of
:23:00. > :23:02.adaptations. And over the years, but the play itself, it's always, I
:23:03. > :23:06.think, been a bit sort of muted when it's been brought to the screen. The
:23:07. > :23:12.play is very, very raw. When it was written in the early 50s, I mean, it
:23:13. > :23:20.was way ahead of its time. It deals with this, I play the character Big
:23:21. > :23:25.Daddy and Jack oh conplays my son who is drinking his life away
:23:26. > :23:30.because of some disappointment we can't quite get at and his wife is
:23:31. > :23:38.trying to get him off the bottle and trying to get him to have a kid. And
:23:39. > :23:42.his wife is played by Sienna Miller and their relationship is the
:23:43. > :23:48.central relationship of the play really. But to find out why is this
:23:49. > :23:53.guy drinking himself to death, what is going on here, it's really, the
:23:54. > :23:58.play wades into that. It's to do with his friendship with his college
:23:59. > :24:04.friend and it's to do with the fact that some people thought it was
:24:05. > :24:09.maybe a homosexual relationship. All that is the suppression of all of
:24:10. > :24:15.that. That may seem to make the play dated but despite the fact that we
:24:16. > :24:21.have gay marriage and equality, there's still a lot of people who
:24:22. > :24:23.repress. This is about, not just sexual repression, but repression of
:24:24. > :24:32.so many levels and dysfunctional families. It's a brilliant play. It
:24:33. > :24:33.really is. It's at the Apollo Theatre, it's only on for 12 weeks,
:24:34. > :24:39.get your tickets quick. If you had to pick out a leading
:24:40. > :24:42.actor from the natural world - you'd probably choose the great ape
:24:43. > :24:45.or maybe the brown bear - which hopefully you'll be coming
:24:46. > :24:47.face to face with this summer, But if it's depth and range you're
:24:48. > :25:06.after, there's no better character Here is the proof.
:25:07. > :25:11.Dartmoor in Devon. 368 quash smiles of rolling hills. Wooded valleys and
:25:12. > :25:18.rugged Moorland. This dramatic landscape is also home
:25:19. > :25:24.to a true master of disguise. Hidden somewhere in this picturesque meadow
:25:25. > :25:28.is a species that manages to hide in an ingeneral outside way. It's
:25:29. > :25:34.evolved to look like something else and John Walters has been studying
:25:35. > :25:41.it for the last 21 years. To film this elusive insect the cameraman is
:25:42. > :25:45.using specialist camera equipment. At first glance, the insect we are
:25:46. > :25:52.after looks like a bee but don't be fooled. It's a moth. A narrow
:25:53. > :25:57.boreded bee hawk-moth to be precise. It's having a rest. It's warm at the
:25:58. > :26:00.moment. It's actually too warm for them, they often sit around for a
:26:01. > :26:06.while and as it cools they'll start to feed again.
:26:07. > :26:10.Unlike most moths, this species only flies in the daytime. They're able
:26:11. > :26:15.to beat their wings 100 times a second, twice as fast as some
:26:16. > :26:19.hummingbirds. Our footage has been slowed down by
:26:20. > :26:25.more than 50 times to show the wing beats. These moths are able to hover
:26:26. > :26:29.whilst feeding so they can make a hasty retreat from predators and the
:26:30. > :26:33.nectar they feed on is particularly important. They have a high octane
:26:34. > :26:39.lifestyle, they need a lot of energy. It's a fat body there and
:26:40. > :26:43.they have to power that body around the meadow. Not only do bee
:26:44. > :26:46.hawk-moth bear a striking resemblance to their namesake but
:26:47. > :26:52.they even fly quickly like a bee making their less vulnerable to
:26:53. > :26:56.predators whilst on the wing. And they're so convincing, even the most
:26:57. > :27:03.experienced naturalist can become confused. This is perfected, so much
:27:04. > :27:09.so, that people watch this moth for 21 years, I still get fooled by it.
:27:10. > :27:15.The open grass land here peppered with flowers is the perfect habitat
:27:16. > :27:18.for these nectar hungry bee impersonators. For the few weeks
:27:19. > :27:22.they're active they'll scour the meadow for most of the day. In the
:27:23. > :27:27.spring the males will be looking for a mate. They can pick up the scent
:27:28. > :27:31.of a female from around 50 metres away.
:27:32. > :27:34.They'll make a beeline straight for her, and once located, they'll mate
:27:35. > :27:40.for around 30 minutes, which isn't unusual for a moth.
:27:41. > :27:49.In a few days' time, the female will lay her eggs. Her work is now done.
:27:50. > :27:56.She makes way for the next generation of bumblebee imitators.
:27:57. > :28:05.In a few weeks' time the eggs will hatch, the caterpillars emerge, and
:28:06. > :28:13.the whole thing will have come full sieshgle. -- circle.
:28:14. > :28:18.Thank you, Miranda. Many surprising facts in that. What are you
:28:19. > :28:23.referring to? Something different. Let's have a word on The Journey.
:28:24. > :28:28.You are playing Martin McGuinness with Timothy Spall playing Ian
:28:29. > :28:33.Paisley. The likeness is incredible with you and Martin McGuinness.
:28:34. > :28:38.Yeah. The film is out at the moment, it was an extraordinary experience.
:28:39. > :28:42.Often you don't get a family am where you have two actors just
:28:43. > :28:48.basically in a car talking to each other for quite a large chunk of the
:28:49. > :28:52.film. Working with Tim, he is a brilliant actor and we are very
:28:53. > :28:57.proud of the film. It's not so very - it's also funny. There is a lot of
:28:58. > :29:02.humour. These two guys became known as The Chuckle Brothers. There is
:29:03. > :29:06.actually a lot of and I was relieved when I read the script there was a
:29:07. > :29:11.lot of humour. To lighten it a bit. It's set at the time when McGuinness
:29:12. > :29:14.made his move into politics and it's based around a fictional car journey
:29:15. > :29:22.where they begrudgingly took together. Let's look at a clip.
:29:23. > :29:28.OK. I do know your face. Who are you really? This is Dr Ian Paisley.
:29:29. > :29:35.Leader of the Democratic Unionist Party, founder and moderator of the
:29:36. > :29:44.Free Presbyterian Church. Cool. And you, Sir? This is Martin McGuinness,
:29:45. > :29:50.former Chief of Staff of the Irish Republican Army. Allegedly. There is
:29:51. > :29:57.an interesting story about the earpiece. Yeah, the earpiece,
:29:58. > :30:04.Freddie playing the driver, he is actually an MI5 plant in the story.
:30:05. > :30:08.He is driving us to the airport and they also have video surveillance on
:30:09. > :30:14.us, as well. They've sort of set this up hoping that we will talk to
:30:15. > :30:19.each other. Back at base you have Tony Blair and the Irish Prime
:30:20. > :30:23.Minister Bertie Ahern and MI5's top man played by John Hurt. That's
:30:24. > :30:27.where we will leave it. It's out now.
:30:28. > :30:32.Tomorrow Angela and I will be joined by Sarah Millican and Joanna Lumley.