Browse content similar to 05/02/2016. Check below for episodes and series from the same categories and more!
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There was that swing to the left, followed by that huge swing | :00:28. | :00:32. | |
to the right, and then there was that enormous U-turn. | :00:33. | :00:34. | |
At least nobody lost their seat - eh, Jeremy? | :00:35. | :00:43. | |
Hello and welcome to The One Show, with Alex Jones. | :00:44. | :00:46. | |
And for his first time on this side of the sofa - | :00:47. | :00:50. | |
the only man we know who's mastered both the salsa and the swingometer - | :00:51. | :00:53. | |
APPLAUSE Thank you, everybody. So lovely to | :00:54. | :01:05. | |
have you here. We've waited such a long time. | :01:06. | :01:06. | |
You've just been in Glasgow filming Eggheads. | :01:07. | :01:12. | |
67 shows in two weeks, about five per day. Those quiz people who | :01:13. | :01:18. | |
answer everything, you always want them to lose. What is the trickiest | :01:19. | :01:25. | |
question of the season. The trickiest question we had, I think | :01:26. | :01:28. | |
the best question, what's the name of the purple Tellytubby? Hang on... | :01:29. | :01:48. | |
Tempo Mac? Tinky Winky. Correct. Two questions for you. | :01:49. | :01:51. | |
Which singer with an animal-inspired name will be performing her | :01:52. | :01:53. | |
What was Angellica holding earlier today that got her this reaction? | :01:54. | :02:04. | |
I've just had my lunch! I'm sorry, I apologise. I can't answer that. | :02:05. | :02:11. | |
We'll find out later on - but a little clue - | :02:12. | :02:14. | |
it does relate to our guests tonight. | :02:15. | :02:15. | |
They're two of the stars of the sensational drama that's | :02:16. | :02:18. | |
managed to bring Russian romance to sunday nights. | :02:19. | :02:20. | |
From War And Peace, it's Princess Marya and Sonya, | :02:21. | :02:22. | |
aka Jessie Buckley and Aisling Loftus! | :02:23. | :02:27. | |
APPLAUSE The Other | :02:28. | :02:36. | |
I don't normally get starch starstruck, but I am a bit tonight. | :02:37. | :02:45. | |
I've been watching this series and these episodes have been insanely | :02:46. | :02:49. | |
popular. Is the popularity a big shock to you? No. Good answer. I | :02:50. | :02:58. | |
think it's really great. I was a big fan, did not want to watch it in | :02:59. | :03:02. | |
advance or I've been watching it on a Sunday, and I've just been crying. | :03:03. | :03:13. | |
Not just at myself, but with Paul Dano, when he tumbles away with the | :03:14. | :03:19. | |
bomb, you know. I love it. I suppose it's because you haven't seen the | :03:20. | :03:24. | |
battle scenes. We just did piece, they did war. Very powerful. We will | :03:25. | :03:32. | |
talk all about it throughout the show tonight. | :03:33. | :03:34. | |
News this week that our roads could soon start to look very | :03:35. | :03:38. | |
different indeed - as research suggests that removing | :03:39. | :03:39. | |
the white lines would make us drive more slowly. | :03:40. | :03:41. | |
Good news for road safety - bad news for the men who make | :03:42. | :03:44. | |
But just who are these middle-of-the-road artists, anyway? | :03:45. | :03:53. | |
They cover thousands of miles of road every day, helping is get from | :03:54. | :04:00. | |
a to B and keep the traffic flowing. They are the heroes of the highway, | :04:01. | :04:06. | |
the white linemen. Dan and his apprentice, Dan, or the double Ds, | :04:07. | :04:12. | |
the white linemen. Dan and his as they are known in the job, set | :04:13. | :04:14. | |
How long have you been aligned off their | :04:15. | :04:26. | |
How long have you been aligned painter for? Six years. What were | :04:27. | :04:35. | |
you doing before that? Bricklaying, but the building trade went | :04:36. | :04:38. | |
downhill. I had some friends who did this job, they told me about it and | :04:39. | :04:41. | |
it looked interesting. Still get satisfaction of a good job at the | :04:42. | :04:46. | |
end of it. Not a lot of variety, walking forward and painting lines. | :04:47. | :04:51. | |
Have I got that wrong? Yeah, there is a skill to it and it's quite | :04:52. | :04:55. | |
artistic. You have different designs and features. When you are doing | :04:56. | :04:59. | |
this, what are you thinking about? what I will have for dinner! | :05:00. | :05:05. | |
Wondering what the wife is up to. Are you happy to be out there on the | :05:06. | :05:09. | |
road? It can be quite dangerous. You don't always have the Road closed, | :05:10. | :05:13. | |
so you think, am I going home tonight? It dries in second, what's | :05:14. | :05:19. | |
the worst that can happen? Spelling something wrong. In my second year | :05:20. | :05:26. | |
working here we spells entry wrong twice in a row. Did you get a lot of | :05:27. | :05:32. | |
stick? I kept it quiet, didn't tell anybody. You sneakily went back and | :05:33. | :05:39. | |
changed it around so it was spelt correctly? You got away with it? | :05:40. | :05:41. | |
Yeah, I got away correctly? You got away with it? | :05:42. | :05:48. | |
people don't see this hard work. It's quite technical, you don't | :05:49. | :05:52. | |
people don't see this hard work. what's behind you all coming | :05:53. | :05:54. | |
forward. It's a job you are quite passionate about, but if they | :05:55. | :05:57. | |
decided to take away the white lines, you could be out of work. | :05:58. | :06:01. | |
They are there for safety reasons. You need the white lines to see | :06:02. | :06:04. | |
where you are going, how fast the roads are. It would be crazy to get | :06:05. | :06:10. | |
rid of them. I enjoy it, job satisfaction at the end of the day. | :06:11. | :06:13. | |
rid of them. I enjoy it, job You are driving around at the | :06:14. | :06:16. | |
weekend with your friend or partner, and you think, I did that! | :06:17. | :06:29. | |
I was watching that and thinking, Jessie, that's about as far away | :06:30. | :06:35. | |
from a job as an actor as you can get. I've actually done that! | :06:36. | :06:40. | |
LAUGHTER In my spare time I like to paint | :06:41. | :06:45. | |
white lines. It's quite artistic and creative. | :06:46. | :06:50. | |
The final episode of War and Peace is on Sunday - | :06:51. | :06:53. | |
before we speak to Jessie and Aisling, let's remind ourselves | :06:54. | :06:56. | |
A line each on your characters. Jessie first. I played Princess | :06:57. | :07:10. | |
Marya, the daughter of the prints, and she's in quite an impressive | :07:11. | :07:17. | |
relationship with her father, played by Jim Broadbent. As the story | :07:18. | :07:21. | |
progresses, she goes to ups and downs but finds strength and | :07:22. | :07:24. | |
happiness towards the end. Don't give it away! I play Sonya, and | :07:25. | :07:32. | |
she's the poor cousin who lives within the family, and she's madly | :07:33. | :07:46. | |
in love with her cousin, Nikolai. In the last episode, Nikolai makes | :07:47. | :07:51. | |
contact with Marya and we have a hint of a love triangle. I'm not | :07:52. | :07:55. | |
going to spoil it, it's always the man who makes the trouble! It's | :07:56. | :07:59. | |
going to get exciting. Maybe I should go like this. Everybody | :08:00. | :08:07. | |
should watch to see how it unfolds. Let's see where we are in terms of | :08:08. | :08:09. | |
that love triangle. I will never give you up, ever. We | :08:10. | :08:17. | |
will be married to no matter what anybody says. I'm not in a position | :08:18. | :08:23. | |
to promise you anything. I don't ask you to. I think you should consider | :08:24. | :08:30. | |
his proposal. I'm in love with Sonya and I want us to be married. I love | :08:31. | :08:37. | |
her. It's strange things turn out | :08:38. | :08:43. | |
sometimes, isn't it? Yes, it is. STUDIO: Yellow like it's too late, | :08:44. | :08:48. | |
Leo Tolstoy has written it, but I don't think either of you should | :08:49. | :08:52. | |
trust Nikolai, I think he's winding you both up. Our Sonya and a rear | :08:53. | :08:59. | |
set to collide? We can't tell you. -- and Marya. Jessie, when I see it, | :09:00. | :09:09. | |
you are often crying in it. I know that on set they call you Tears On | :09:10. | :09:15. | |
Tap. I would like to point out that I was one of the happiest people on | :09:16. | :09:20. | |
set. I go from bursting out laughing to crying. That's what the job | :09:21. | :09:29. | |
description requires. Do all actors have to be at to cry at I've seen | :09:30. | :09:38. | |
how some people get themselves to cry. They get out the vapour rub and | :09:39. | :09:44. | |
things like that. When you see somebody do that, you think, you are | :09:45. | :09:48. | |
not proper, you are phoning it in. You didn't go to drama school, did | :09:49. | :09:53. | |
you? I suppose it's all about, something like War and Peace, and we | :09:54. | :10:00. | |
had Lily James and James on before Christmas, and they talked about the | :10:01. | :10:04. | |
job of reading this epic book. It's all about feeling it, and that's how | :10:05. | :10:08. | |
you can get into the characters. Did you both get to the end of it? Of | :10:09. | :10:15. | |
the book? I've tried three times and failed. Did you read it? Yeah, I | :10:16. | :10:24. | |
did. It's like in school, yeah, yeah. I listened to some of it on an | :10:25. | :10:31. | |
audio book. I got to Russia and thought, I haven't finished it. So I | :10:32. | :10:36. | |
put it on double-time, double speed on an audio book. So I got through | :10:37. | :10:44. | |
the battles and stuff. Was everybody speaking in a Donald Duck voice? It | :10:45. | :10:51. | |
was a comic kind of twist to it. We look forward to the final episodes | :10:52. | :10:54. | |
on Sunday and it's been a joy to watch. | :10:55. | :10:57. | |
So, Princess Marya and Sonya's worlds are set to collide | :10:58. | :10:59. | |
Here's Gyles with the story of a donkey who had his day in court | :11:00. | :11:06. | |
and sparked an animal rights revolution. | :11:07. | :11:07. | |
This is the story of how one man not only made legal history by producing | :11:08. | :11:17. | |
a donkey as a witness in a British court, but was also the founder of | :11:18. | :11:24. | |
animal rights. In the early 1800 's, cruelty to animals was a common, | :11:25. | :11:28. | |
everyday occurrence, especially among London traders, who were | :11:29. | :11:33. | |
notorious for mistreating horses and donkeys. That was until an eccentric | :11:34. | :11:38. | |
MP by the name of Colonel Richard Martin, held himself up to ridicule | :11:39. | :11:41. | |
with the idea that animals could have rights too. But this wasn't | :11:42. | :11:47. | |
your typical animal lover. Peter Phillips was the biographer. Martin | :11:48. | :11:53. | |
was a champion due list of Ireland. He was known as hairtrigger Dick in | :11:54. | :12:00. | |
his youth. He owned the biggest estate in the British Isles, it's an | :12:01. | :12:03. | |
absolute wilderness right on the West Coast of Ireland. He lived in | :12:04. | :12:12. | |
the middle of it, to put 30 miles of bog between him and various | :12:13. | :12:16. | |
creditors. On the other hand, he was a great celebrity and orator in | :12:17. | :12:19. | |
Georgian Society, a speaker in the House of Commons and a personal | :12:20. | :12:24. | |
friend of the Prince Regent. Despite his sharpshooting and sharp tongued | :12:25. | :12:28. | |
reputation, Martin had a softer side. Animal rights were | :12:29. | :13:02. | |
In 1822 he succeeded in pushing through the cruel treatment animals | :13:03. | :13:09. | |
act. He got the law onto the statute book, but it implemented? All the | :13:10. | :13:16. | |
animal rights in the world now stem back to that one piece of | :13:17. | :13:20. | |
legislation. Did the act have teeth? It wasn't long before it was put to | :13:21. | :13:25. | |
the test. Milburn, a fruit and vegetable seller, was accused of | :13:26. | :13:34. | |
cruelty to his donkey. -- Bill Byrne. During the trial it was | :13:35. | :13:37. | |
apparent that Tempo Mac had mistreated his donkey. But it was | :13:38. | :13:43. | |
apparent to Martin that his new law wasn't taken seriously. And that | :13:44. | :13:47. | |
Bill Byrne would be let off the hook. He led the beating and big | :13:48. | :13:52. | |
drag old donkey into the courtroom. The stunt was a success. The wounds | :13:53. | :13:59. | |
inflicted on the animal were plain for all to see. The judge finds the | :14:00. | :14:08. | |
man under the new Martin's law. The scene was immortalised in this | :14:09. | :14:10. | |
painting, and there was a song written about it entitled If I Had A | :14:11. | :14:18. | |
Donkey and it was heard bellowing from the musicals of the city. | :14:19. | :14:28. | |
Hairtrigger Dick was now humanity Dick. Despite this early victory, he | :14:29. | :14:35. | |
knew the job wasn't quite finished, especially when he saw the | :14:36. | :14:39. | |
conditions in Smithfield market, the largest meat market in London. David | :14:40. | :14:46. | |
is from the RSPCA. Every time he came to the House of Commons passed | :14:47. | :14:50. | |
here, he saw conditions hadn't improved, so he realised that you | :14:51. | :14:52. | |
couldn't just pass laws, you need couldn't just pass laws, you need | :14:53. | :14:55. | |
something to enforce them. That's why he set up the Society for the | :14:56. | :15:00. | |
prevention of cruelty to animals. Since the law was passed almost 200 | :15:01. | :15:05. | |
years ago, millions of animals have been saved from the so-called wanton | :15:06. | :15:10. | |
barbarity that was taken for granted before. What do you say to that, | :15:11. | :15:11. | |
handsome? STUDIO: An amazing story - | :15:12. | :15:14. | |
and Gyles joins us now. Gyles, this isn't the only time | :15:15. | :15:16. | |
an animal's been called It happens now and again. The French | :15:17. | :15:27. | |
were particularly keen on bringing animals into court. A case in 2008 | :15:28. | :15:32. | |
with a murder trial, witness to the murder of a woman was a dog. Two and | :15:33. | :15:38. | |
a half years later, the dog was brought into court, having been in | :15:39. | :15:41. | |
the room when the woman was murdered. The dog was on the witness | :15:42. | :15:46. | |
stand, and when he saw the accused, he barked furiously and wildly. Did | :15:47. | :15:51. | |
they believe him? The judge didn't believe it was conclusive evidence. | :15:52. | :15:54. | |
But did agree the dog was a good witness. The French are keen on | :15:55. | :15:56. | |
this. The accused was invited to weld a | :15:57. | :16:08. | |
bat towards the Labradors. One of the Labradors had been previously | :16:09. | :16:13. | |
attacked. The hope was there would be evidence - whichever Labrador | :16:14. | :16:15. | |
reacted would tell be evidence - whichever Labrador | :16:16. | :16:19. | |
They were not interested in French justice at this time. They did not | :16:20. | :16:25. | |
co-operate. Aisling, since I am sitting next to | :16:26. | :16:30. | |
you, can I accuse you since we are in court when it comes to animals of | :16:31. | :16:36. | |
perhaps telling a white lie to get this wonderful gig on War And Peace. | :16:37. | :16:41. | |
You and your horse riding. I did lie... Yes! Live television... The | :16:42. | :16:46. | |
judge and jury are watching now. What did you lie about? What did | :16:47. | :16:50. | |
they ask you at the audition when you filled out the form? I think | :16:51. | :16:54. | |
everyone tells the lie. You say you have loads of skills you haven't got | :16:55. | :16:58. | |
and then they work around it. I said I could ride a horse. And I | :16:59. | :17:05. | |
couldn't. And they like stood and someone was crouched beneath the | :17:06. | :17:10. | |
horse holding it for me. Can I say - you ride a horse brilliantly! You | :17:11. | :17:16. | |
couldn't until you got the job. I am a liar and a Aprilant horse rider! | :17:17. | :17:22. | |
-- brilliant horse rider. I have lied about riding a horse! | :17:23. | :17:27. | |
We have some pictures which are part of this story. You recognise that | :17:28. | :17:36. | |
wonderful creature. He's called Maruto. He's a monkey and that | :17:37. | :17:41. | |
picture was taken with a camera belonging to David Slater. The | :17:42. | :17:46. | |
monkey picked up the camera and that is a selfie of a monkey. It went | :17:47. | :17:51. | |
viral. It went all over the world and David Slater made a lot of money | :17:52. | :17:57. | |
out of that charity and a charity, PETA, they felt that maybe the money | :17:58. | :18:01. | |
should go to the monkey - didn't he have a right in his own image? He | :18:02. | :18:08. | |
took the picture. The court ruled that the photographer owns the | :18:09. | :18:14. | |
rights because he owned the camera. Now photobombing by a donkey. We | :18:15. | :18:19. | |
have a man and his son aged three. They won a ?2,000 hole dai because | :18:20. | :18:26. | |
they were photobombed by that beautiful horse. The owner said, I | :18:27. | :18:32. | |
trained that horse to open its mouth like that and I should get a share | :18:33. | :18:35. | |
of the booty. In fact the judge, well the ruling is they are on | :18:36. | :18:39. | |
public land and they own the camera and the horse gets no rights. You | :18:40. | :18:43. | |
don't have a right in your own image. You two walking down the | :18:44. | :18:47. | |
street, I can take a snap of you, the picture belongs to me and not to | :18:48. | :18:51. | |
you. I cannot do that. That is the difference. That is a skill! | :18:52. | :18:57. | |
I have spoken to your wife, you can do it. You don't know that you are | :18:58. | :19:03. | |
doing it at the time. There is some gentle snoring going on - I will | :19:04. | :19:04. | |
bring you in the selfie next week! Sticking animals, Foxes will perform | :19:05. | :19:14. | |
for us shortly. First, an incredible film about some music of a very | :19:15. | :19:17. | |
different nature. Here is Richard Mainwaring with the story of a | :19:18. | :19:24. | |
pianist who claims the inspiration for her come positions came from | :19:25. | :19:29. | |
beyond the grave. Beethoven's Symphony No. 9, completed three | :19:30. | :19:35. | |
years before his death was to be his last - or was it? Well, not | :19:36. | :19:41. | |
according to a dinner lady from Balham in South London. It was in | :19:42. | :19:46. | |
this house in 1969 that the quiet and unassuming rosemary Brown came | :19:47. | :19:50. | |
to public attention. She claimed to be a musical medium, acting as a | :19:51. | :19:56. | |
supernatural scribe for hundreds of new works written by the long-dead | :19:57. | :20:01. | |
giants of classical music. In her prolific body of work, what she | :20:02. | :20:06. | |
claimed to be Beethoven's 10th and 11th symphonies. I was very nervous | :20:07. | :20:15. | |
of Beethoven. He looked very fierce. She was also in psychic tune with | :20:16. | :20:22. | |
other composers. Could this and other melodies really have come from | :20:23. | :20:27. | |
beyond the grave? I found that the composers are often with me when I | :20:28. | :20:31. | |
am actually shopping or doing some of the house work. One thing we do | :20:32. | :20:37. | |
know about her is she did have some piano lessons as a child. | :20:38. | :20:42. | |
Rosemary's works were committed to record and performed in public | :20:43. | :20:45. | |
across the country. She even played some of the more simple pieces | :20:46. | :20:51. | |
herself. I want to see what a modern concert pianist can make of her | :20:52. | :20:57. | |
music. I sent Cyril a piece of Beethoven's music as transcribed by | :20:58. | :21:01. | |
Rosemary, but without telling him where it came from. I think somebody | :21:02. | :21:07. | |
needs to have a solid background in understanding music theory to write | :21:08. | :21:11. | |
something like this. It is complete. It has that restlessness of | :21:12. | :21:15. | |
Beethoven. It is actually Rosemary Brown, who is a psychic. She claimed | :21:16. | :21:22. | |
that Beethoven wrote it through her. It was written through... | :21:23. | :21:26. | |
Extraordinary! I can not believe that, actually. That's... It is | :21:27. | :21:32. | |
really quite incredible. I did this is really nicely written. | :21:33. | :21:37. | |
It is beautiful and it is worth to be played. Yes, absolutely. In 1969, | :21:38. | :21:44. | |
her unique talent brought her to the attention of the BBC. A film | :21:45. | :21:50. | |
director, Peter Dawling got to know her well. There with me and the | :21:51. | :21:54. | |
soundman and cameraman and not laugh or giggle. She said I cannot | :21:55. | :22:01. | |
guarantee that Beethoven will come. So we were able to sit and wait. We | :22:02. | :22:06. | |
got everything ready, as I say - the finger on the button. Where in the | :22:07. | :22:11. | |
room is he? He's besides me. I hope he comes out on the cameras, but I | :22:12. | :22:17. | |
don't expect there's much hope. And you can hear him? I can hear him. It | :22:18. | :22:22. | |
is not like this is all in easy keys. Indeed. She was a genuinely | :22:23. | :22:29. | |
nice person, not trying to fool anyone and not trying to make any | :22:30. | :22:31. | |
money out of it. She was not interested in that. It with us the | :22:32. | :22:36. | |
talk of the news room. Peter's documentary brought worldwide | :22:37. | :22:42. | |
attention to Rosemary's peculiar talents and she won fans among | :22:43. | :22:47. | |
musicians. Uncomfortable in the spotlight she soon disappeared from | :22:48. | :22:53. | |
view. Rose marry Brown died in 2001. But there may be another explanation | :22:54. | :23:00. | |
for how this was creatured. An experts in creativity on the brain | :23:01. | :23:04. | |
explains. We absorb information from the world around us all the time. I | :23:05. | :23:10. | |
believe her talent was in music, not a paranormal one. If you think, | :23:11. | :23:16. | |
things go wrong. You have to let your none conscience control go on. | :23:17. | :23:20. | |
And people are amazed. It is clever. People should praise her for that | :23:21. | :23:25. | |
ability. It is a shame, in my opinion, that it is attributed to | :23:26. | :23:31. | |
Beethoven and not Rosemary Brown. That is more amazing. How is she | :23:32. | :23:36. | |
doing it? She's so nice and genuine. There's no trickery. She was | :23:37. | :23:42. | |
ordinary, so charmingly ordinary. We may never know how Rosemary truly | :23:43. | :23:48. | |
composed her music. What we do know is she left a body of varied and | :23:49. | :23:51. | |
prolific work for us all to enjoy. I believe Rosemary. I believe! What | :23:52. | :24:08. | |
other explanation? It is the ghost of Beethoven. We don't know that for | :24:09. | :24:13. | |
a fact, actually. On last Sunday's War And Peace there was an | :24:14. | :24:18. | |
unexpected appearance... It has been causing a stir in the press all week | :24:19. | :24:21. | |
long and we wanted to know what you thought. Here is Angellica. I will | :24:22. | :24:30. | |
ask the good people here if they are offended in anyway. I was thinking | :24:31. | :24:33. | |
that War And Peace was much longer than that. | :24:34. | :24:42. | |
OK... He was born like that I would probably have quite enjoyed that. It | :24:43. | :24:46. | |
is a human figure. It is inappropriate. It is all about art. | :24:47. | :24:52. | |
I have nothing against it. It is inappropriate. Why? Because children | :24:53. | :24:56. | |
want to watch that then you show go want to watch that then you show go | :24:57. | :25:00. | |
to channels where you want to watch it. It does not bother me. If you | :25:01. | :25:06. | |
understand the book you would understand that is contextual. I | :25:07. | :25:09. | |
would not want to see a boy or a girl like that. I think it is too | :25:10. | :25:14. | |
much. Been brought up Vy to say anything after the watershed someone | :25:15. | :25:17. | |
can be naked and swear, whatever else. I thought the purpose of the | :25:18. | :25:22. | |
9pm watershed was so show things you would not show beforehand. I have | :25:23. | :25:29. | |
just had my lunch! I apologise. Is it deshl that it is passed | :25:30. | :25:34. | |
without a -- terrible that it passed without a flinch in my house? What | :25:35. | :25:41. | |
was it like in the locations? What was the thing? It was a moment. A | :25:42. | :25:46. | |
bit of nudity. Nothing to worry about. Sorry! | :25:47. | :25:51. | |
Lily when she came on talked about how amazing it was to fill in the | :25:52. | :25:56. | |
opera house in St Petersburg and the rest of it. What were your | :25:57. | :26:03. | |
highlights? For me it was where they shot the beautiful ballroom scene | :26:04. | :26:07. | |
and they had an orbing chest from the opera house. I had nothing to do | :26:08. | :26:15. | |
with it. I was like crying, I am like, oh, my God, I am part of this. | :26:16. | :26:20. | |
I was fascinated by the battlefields where so many soldiers, were they | :26:21. | :26:28. | |
all CGI-ed? They were in training camp when we were filming in | :26:29. | :26:31. | |
Lithuania, there was hundreds of lads. We look forward to the final | :26:32. | :26:36. | |
one on Sunday. That is all we've got time for. Matt and I will be back | :26:37. | :26:43. | |
next week with Stephen Fry, Cuba Gooding Junior and Ben Miller. | :26:44. | :26:50. | |
Foxes is playing us out with her new track Amazing. | :26:51. | :26:59. | |
# It keeps letting me down # I know | :27:00. | :27:26. | |
# With you tonight # It will be amazing | :27:27. | :27:31. | |
# Be amazing # I'm scared to death | :27:32. | :27:37. | |
# Still I'm stood here waiting # Here waiting | :27:38. | :27:40. | |
# What you want # Do what you want | :27:41. | :27:43. | |
# Take a hold of me # Do what you want | :27:44. | :27:47. | |
# Cause my heart keeps saying # Do what you want | :27:48. | :27:52. | |
# That you're All I Need # All I Need | :27:53. | :28:02. | |
Should be running away tonight # I should be finding a place to | :28:03. | :28:05. | |
hide # But I'm starting to feel alive | :28:06. | :28:09. | |
# And I know, with you, tonight could be | :28:10. | :28:15. | |
# Oh, should be running away tonight # Should be finding a place to hide | :28:16. | :28:21. | |
# But I'm starting to feel alive # And I | :28:22. | :28:30. | |
# But I'm starting to feel alive could be | :28:31. | :28:31. | |
# I know # With you, tonight could be amazing | :28:32. | :28:41. | |
# I'm scared to death # Still I'm stood her waiting | :28:42. | :28:46. | |
# Do what you want # Do what you want | :28:47. | :28:50. | |
# Take ahold of me # Do what you | :28:51. | :28:53. | |
# Take ahold of me # My heart | :28:54. | :28:56. | |
# Take ahold of me # Do what you want | :28:57. | :28:57. | |
# You're All I Need # All I | :28:58. | :29:03. | |
# You're All I Need A touch will bring me back to life | :29:04. | :29:13. | |
# I'm rising | :29:14. | :29:14. |