Browse content similar to 05/10/2012. Check below for episodes and series from the same categories and more!
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Hello and welcome to The One Show. On the 50th anniversary of the | :00:24. | :00:29. | |
first Bond film, I'm joined by odd- job himself, Mr Matt Allwright. | :00:29. | :00:37. | |
from Swansea With Love, Miss Funny- penny Jones. And we have a studio | :00:37. | :00:46. | |
of James Bonds, shaken not stirred. It's all to give a 007 welcome to | :00:46. | :00:56. | |
:00:56. | :00:56. | ||
the longest serving Bond, Mr Roger Moore. I'm better with this! | :00:56. | :01:01. | |
nice to have you back. The it's lovely to be back. Big Bond news | :01:01. | :01:05. | |
today because a del's Skyfall has gone straight in there at number | :01:05. | :01:09. | |
one. The first singer ever to have a number one with a Bond theme. | :01:09. | :01:14. | |
What do you make of it? I just heard it for the first time, which | :01:14. | :01:18. | |
is interesting because I'm going to an auction at Christie's after | :01:18. | :01:24. | |
words. A lot that I'm auctioning is the manuscript of a del's in her | :01:24. | :01:32. | |
own hand. That will be worth a fortune. I sincerely hope so! The | :01:32. | :01:37. | |
money goes to UNICEF, which is important. We are going to be | :01:37. | :01:42. | |
hearing that tune later. It is a big piano number. With as, pianist | :01:42. | :01:46. | |
Peter Mitchell will be playing some of the best-loved Bond themes at | :01:46. | :01:55. | |
the end of the show. Time now for an exclusive, with more than a bit | :01:55. | :01:59. | |
of a Bond twist. Cavers in Somerset have spent the past four years | :01:59. | :02:03. | |
gaining access to a huge underground cavern they've called | :02:03. | :02:07. | |
the Frozen Deep, perhaps occupied by a secret army commanded by a man | :02:07. | :02:14. | |
bent on world domination in a rotating chair with a white cat! | :02:14. | :02:18. | |
No. Yesterday we were the first camera crew to be allowed into the | :02:18. | :02:22. | |
caves. This is the story of how Miranda journeys into the deep and | :02:22. | :02:25. | |
actually reveals whether the diggers have found the biggest | :02:25. | :02:30. | |
underground cavern in Britain. What could be more relaxing than a jaunt | :02:30. | :02:33. | |
in the countryside in the Mendip Hills in Somerset? This is not | :02:33. | :02:39. | |
quite what I had in mind! Today, a few hundred metres from that famous | :02:39. | :02:44. | |
Cheddar gorge case, I'm joining a group whose remarkable subterranean | :02:44. | :02:49. | |
discovery could turn British cave- in on its head. You've got about | :02:49. | :02:52. | |
250 years' worth of caving experience between you today. I can | :02:52. | :02:59. | |
add about a day to that! Martin is part of Mendip cave rescue. Deep | :02:59. | :03:03. | |
underground, he and the team found a vast open chamber which could | :03:03. | :03:08. | |
prove to be Britain's biggest cava. This was found in the early 50s and | :03:08. | :03:13. | |
was just a drafting whole, a crack. Cavers then make it bigger and its | :03:13. | :03:17. | |
lead to what's beyond now. What is the main chamber called? The Frozen | :03:17. | :03:22. | |
Deep. When we're talking about big, how does this cave compared to the | :03:22. | :03:26. | |
rest of the caves in the UK? biggest chamber known in Britain is | :03:26. | :03:30. | |
Gaping Gill in Yorkshire. We don't know yet if it is bigger than that. | :03:30. | :03:38. | |
We hope to find out today. Have you seen the size of that?! My | :03:38. | :03:47. | |
goodness! Blimey! I hope it's not like this all the way. I'm OK at | :03:47. | :03:53. | |
the moment. This is a nice bit, says Gavin. There's a lot of | :03:53. | :03:58. | |
spiders appear. Caving isn't just intensely physical, it is | :03:58. | :04:01. | |
incredibly psychological as well. As I'm going to find out. It's what | :04:01. | :04:05. | |
you call a tight squeeze. They are so many twists and turns and | :04:05. | :04:09. | |
squeezes. Every time I get to where I think the chamber is, there's | :04:09. | :04:13. | |
just more tunnel. This is because we are climbing? This is because | :04:13. | :04:17. | |
we're going down a drop. I will tighten it up for you. What is | :04:17. | :04:23. | |
interesting here is you remember this was dug in the 50s, they | :04:23. | :04:29. | |
stacked these boulders appeared using block and tackle. Some bodies | :04:29. | :04:33. | |
stacked all these boulders one on top of each other. They were | :04:33. | :04:38. | |
digging down at the same time and stacking the boulders or the way up. | :04:38. | :04:42. | |
Martin tells me that the main thing a caber looks for is the feeling of | :04:42. | :04:46. | |
a draft, indicating another chamber beyond and the right direction to | :04:46. | :04:52. | |
dig. It's so tight! This but I'm crawling through was literally a | :04:52. | :04:57. | |
only excavated a month ago. I'm one of the first people to have crawled | :04:57. | :05:00. | |
through it. There are literally only about 12 people who've been | :05:00. | :05:06. | |
through this little tunnel, and now me! We finally arrive. The Frozen | :05:06. | :05:12. | |
Deep is incredible. Wow! It's so huge. My light doesn't even reach | :05:12. | :05:16. | |
the back wall. It's brilliant. What I'd really like to do is give you | :05:16. | :05:20. | |
an idea of what it looks like all lit up. That's what we'd like to | :05:20. | :05:26. | |
see. Even with modern torch as it is just black in the distance. | :05:26. | :05:36. | |
:05:36. | :05:36. | ||
put the lights on, please. It looks just magical. It is amazing. It is | :05:36. | :05:40. | |
fascinating seeing it with the light on. We didn't expect to find | :05:40. | :05:44. | |
so many formations. And the size of them, the pillars, which are about | :05:44. | :05:49. | |
five metres, the stalactites coming out of the ceiling. And then these | :05:49. | :05:55. | |
20 metre below stones. Astonishing. That was formed naturally. Over | :05:55. | :05:59. | |
thousands and thousands of years. When it comes to caving, size is | :05:59. | :06:04. | |
everything. You all want to have the biggest cave. Who owns the | :06:04. | :06:08. | |
record at the moment? Gaping Gill in Yorkshire. But you are hoping to | :06:08. | :06:11. | |
have some measurements which make this possibly the biggest. We are, | :06:11. | :06:17. | |
but we don't know the results. I have the results. Slightly | :06:17. | :06:27. | |
ridiculously to bring an iPad down here. Gaping Gill has an area of | :06:27. | :06:35. | |
2729 square metres. The Frozen Deep is... 2981 square metres. | :06:35. | :06:40. | |
Yorkshire cavers are going to be annoyed. They will be really cross. | :06:40. | :06:47. | |
Congratulations. All you've got to do now is carry all this kicked out. | :06:47. | :06:52. | |
Frozen Deep, it does sounds like the title of a Bond film. He does. | :06:52. | :07:00. | |
We used to go caving on live Volette died in Jamaica. -- live or | :07:00. | :07:05. | |
let dive. We have lights up in this enormous bit which was part of | :07:06. | :07:14. | |
whether villain was. I was standing at the back in the dark. I came | :07:14. | :07:21. | |
forward very slowly from the dark behind the third assistant, who was | :07:21. | :07:27. | |
called A blade. He was about 6 ft 5 and had long, thin legs in little | :07:27. | :07:35. | |
shorts. I came up behind him and went... He went up! Most people | :07:35. | :07:44. | |
fall down. Or jump. He just collapsed. Unfortunately, we don't | :07:44. | :07:54. | |
:07:54. | :08:00. | ||
have a clip of that particular A, Mr Bond, there you are. You are | :08:00. | :08:10. | |
unexpected but most welcome. Two That was the second film I ever saw | :08:10. | :08:15. | |
in my life. After bedknobs and broomsticks. That was the real | :08:15. | :08:22. | |
cave? Half-and-half. That it was in the studio with the water, but most | :08:22. | :08:30. | |
of the other stuff we shot in the real cave. That was quite a nasty | :08:30. | :08:34. | |
bit of water. I think that was where I was taken up and I escaped | :08:34. | :08:43. | |
with Jane Seymour. Then we went in with the sharks. Just an ordinary... | :08:43. | :08:47. | |
Just another day! You will be able to regale everybody with your tales | :08:47. | :08:51. | |
of Bond because you are on tour, starting in Melbourne on Sunday. | :08:51. | :08:55. | |
It's called An Evening with Roger Moore. What can the audience | :08:55. | :09:03. | |
expect? If they come? They will, it sold out. We are trying to get them | :09:03. | :09:06. | |
in Southampton and Bournemouth and Basingstoke at the moment. What I | :09:06. | :09:14. | |
will do is talk about my life up to Bond. And then Bond. And my life | :09:14. | :09:19. | |
since Bond. Which has been terrible! Looking at some of the | :09:19. | :09:24. | |
pictures, I don't know how you survived. It has been hell. We will | :09:24. | :09:30. | |
talk a bit about the book as well later on. Sean Connery was the | :09:30. | :09:35. | |
first man to play Bond on the screen 50 years ago. But he very | :09:35. | :09:42. | |
nearly wasn't. Who stole my guitar? Larry Lamb meets the man who was a | :09:42. | :09:52. | |
:09:52. | :09:58. | ||
whisker away from playing the Sean Connery and James Bond. You | :09:58. | :10:02. | |
can hardly say one without thinking the other. But it wasn't always the | :10:02. | :10:06. | |
case. Things could have looked very different if the producers had | :10:06. | :10:13. | |
chosen somebody else. And in 1961, they very nearly did. Originally | :10:14. | :10:20. | |
the producers had somebody else in line to play the very first Bond. | :10:20. | :10:25. | |
50 years on, few remember him at The One Show has tracked him down. | :10:25. | :10:35. | |
:10:35. | :10:36. | ||
His name is Anthony. Peter Anthony. When the Bond producers Cubby | :10:36. | :10:40. | |
Broccoli and Larry swordsman first wanted to bring Flemming's book to | :10:40. | :10:43. | |
the big screen, they had a hard task ahead of them because Fleming | :10:43. | :10:50. | |
left a lot to the imagination as to what Bond actually looked like. | :10:50. | :10:54. | |
don't have many clues in the books as to Bond's physical appearance, | :10:54. | :10:58. | |
other than that he's quite tall and has dark hair. Beyond that there's | :10:58. | :11:03. | |
not much to go one. Producers were very keen to modernise Flemming's | :11:03. | :11:09. | |
character from a 1950s era into something that was more into the | :11:09. | :11:12. | |
social and cultural changes of the 1960s. They wanted somebody who | :11:12. | :11:16. | |
physically fit the bill, who looked as if he could hand hymns -- | :11:16. | :11:20. | |
Campbell himself in the action sequences. The producers were | :11:20. | :11:26. | |
originally reluctant to cast a known actor. So on 20th July 1961, | :11:26. | :11:31. | |
they deployed their secret weapon. After an unsuccessful series of | :11:32. | :11:35. | |
auditions, a national newspaper in collaboration with the studio run a | :11:35. | :11:39. | |
competition to find the first on- screen James Bond. Thousands of | :11:39. | :11:45. | |
people applied at one stood out above the rest. Peter Anthony. A | :11:45. | :11:49. | |
young model from London. And he didn't even know he'd been entered | :11:49. | :11:56. | |
into the contest! A friend of mine sent a photograph in and the nuns | :11:56. | :12:00. | |
to the. The next thing I know I get this letter saying had been | :12:00. | :12:06. | |
selected to have a screen test. Broccoli described him as a Gregory | :12:06. | :12:10. | |
Peck, and said he had an instantly arresting appearance. For him, | :12:11. | :12:15. | |
Peter Anthony was the face of James Bond. So he had the perfect look | :12:15. | :12:20. | |
but there was one thing missing. wasn't a dedicated actor. In fact, | :12:20. | :12:25. | |
I wasn't an actor at all. I've never been in the studio in my life. | :12:25. | :12:28. | |
I was fairly used to working in front of the camera but not a movie | :12:28. | :12:35. | |
camera. What happened next was I was invited round to Harry's office. | :12:35. | :12:40. | |
Do you remember what he said? Basically, well, you haven't got | :12:41. | :12:45. | |
the part. Really? We don't think you've got enough experience for | :12:45. | :12:50. | |
this role, which was obvious to me anyway. I'm happy that I did miss | :12:50. | :12:53. | |
it in some respects. I feel I've been so lucky in my life. | :12:53. | :13:00. | |
regrets? No regrets at all. In the end the part went to a young, up- | :13:00. | :13:04. | |
and-coming actor named Sean Connery. To date there have been more than | :13:04. | :13:09. | |
20 Bond bills and six official incarnations of the secret agent on | :13:09. | :13:16. | |
the big screen. Today the story of Peter Anthony, the first faint -- | :13:16. | :13:20. | |
the first phase of James Bond, has all but faded from memory. But in | :13:20. | :13:23. | |
these celebrity obsessed times it's nice to meet someone who came very | :13:23. | :13:28. | |
close to fame but harbours no regrets. So, 50 years on, here is | :13:28. | :13:35. | |
our one show salute to what could have been. But a Martini, shaken | :13:35. | :13:45. | |
:13:45. | :13:52. | ||
What do you think, do you think Peter Anthony would have made a | :13:52. | :13:59. | |
good Bond? He has aged better than I have! I remember that competition. | :13:59. | :14:03. | |
I'd never heard of this story but I remember there was a competition | :14:03. | :14:13. | |
:14:13. | :14:13. | ||
going on in the Daily Express. They said that, after I started Bond, | :14:13. | :14:18. | |
they said that Ian Fleming had me in mind. But Ian Fleming was dead | :14:18. | :14:28. | |
:14:28. | :14:44. | ||
The outfits are fantastically stylish - did you get to keep them? | :14:44. | :14:48. | |
Some of them. But I cannot wear them. The ones that I managed to | :14:48. | :14:55. | |
keep, I cannot wear them, because my waistline has changed somewhat. | :14:55. | :15:04. | |
But there was one particularly beautiful suit. It was done last | :15:04. | :15:08. | |
day of this particular sequence, and I was looking forward to taking | :15:08. | :15:16. | |
this suit home. And Cubby Broccoli was up a ladder, and he said, is | :15:16. | :15:22. | |
that it, boys? Everybody said, yes, Mr broccoli. And he hit me with a | :15:22. | :15:28. | |
whole bucket of paste. This beautiful suit. Because he knew you | :15:28. | :15:37. | |
wanted it so much. There was a double suit. Daniel Craig, he did | :15:37. | :15:41. | |
not take home those famous blue swimming trunks, because they have | :15:41. | :15:49. | |
been auctioned today. He has got a lovely physique, you have to say. | :15:49. | :15:52. | |
But at think you're the most handsome Bond there has been. Were | :15:52. | :15:57. | |
the producers particular about how you looked? Well, they said there | :15:57. | :16:05. | |
was a little overweight, my hair was too long. So, every day I would | :16:05. | :16:13. | |
staff and run for half a mile, fast! And then they would cut your | :16:13. | :16:18. | |
hair. Finally I said to them, why did you not get a bald-headed man, | :16:18. | :16:27. | |
who was nice and skinny, and saved me all of this grief? I look as | :16:27. | :16:35. | |
though I have had my hair cut now, don't I? It disappears. You look | :16:35. | :16:41. | |
good, you can carry it off, Roger. I had double pneumonia earlier this | :16:41. | :16:45. | |
year, I had a tremendous amount of antibiotics, and since then, my | :16:45. | :16:52. | |
hair has been falling out. Every day. And yet you still got more | :16:52. | :17:02. | |
than me. Have I? Yes, it is going at the back. Anyway, moving on... | :17:02. | :17:06. | |
You have been quite close to a few Bond girls, but you were a bit | :17:06. | :17:16. | |
:17:16. | :17:41. | ||
harsh with some of them. Let's just I did nothing! You will never guess | :17:41. | :17:49. | |
what - Caroline Munro, who played that Bond girl, in The Spy Who | :17:49. | :17:54. | |
Loved Me, is with us now. Even though Roger actually killed you, | :17:54. | :18:00. | |
what did you make of working with him? Well, what can I say, he is | :18:00. | :18:05. | |
always my Bond, nobody does it better. What can I say? His sense | :18:05. | :18:14. | |
of humour, obviously, it goes without saying. But what a waste! I | :18:14. | :18:20. | |
mean, a waste to kill you. I know. I think it was Barbara, I think she | :18:20. | :18:30. | |
:18:30. | :18:33. | ||
pushed the bottom. Yes, I never had much time for her. What I would | :18:33. | :18:40. | |
like to know was, off-screen, off camera, did Sir Roger ever raised | :18:40. | :18:50. | |
:18:50. | :18:51. | ||
his eyebrows at you in that way? certainly did. He does it so | :18:51. | :19:01. | |
beautifully. I wish I could do it. Will you do the eyebrows to camera | :19:01. | :19:08. | |
four? There Wiggo. It is the best. We think that nobody does the | :19:08. | :19:18. | |
:19:18. | :19:22. | ||
eyebrows better, so we put it to the public test. How do I do this? | :19:22. | :19:32. | |
:19:32. | :19:54. | ||
I think he looks really good, just like 007. Without the Aston Martin. | :19:54. | :19:58. | |
What a lovely couple, but nobody is as good as you, Roger. To explain | :19:58. | :20:06. | |
the science behind people's eyebrow raising antics is a consultant | :20:06. | :20:14. | |
surgeon, Carrie Newlands. Well, the human face has around 14 pairs of | :20:14. | :20:18. | |
muscles, the highest concentration of muscles in the whole of the | :20:18. | :20:22. | |
human body. We use them to convey expression to other people, and it | :20:22. | :20:26. | |
is one important way of interacting with people. When we raised two | :20:26. | :20:31. | |
eyebrows, we are generally demonstrating surprise, and when we | :20:31. | :20:36. | |
raised one, like Roger, we are sometimes conveying a question. It | :20:36. | :20:40. | |
is thought to be genetic. People have a genetic ability, and they | :20:40. | :20:44. | |
learn to do it as a child and they carry it on into adulthood. Have | :20:44. | :20:53. | |
you seen anyone better at it than Roger? I think he is the best. | :20:53. | :20:58. | |
sad thing about the eyebrow is that, I was under contract to MGM back in | :20:58. | :21:07. | |
the 1950s, and they said, keep your face static, because you're 60 foot | :21:07. | :21:11. | |
high on the screen, and if you raise your eyebrows, it will go up | :21:11. | :21:18. | |
20 feet. So, all my MGM years, I sat with a face like this. And then | :21:18. | :21:26. | |
finally, when I started the St, and nobody ever told me what to do, I | :21:26. | :21:33. | |
maybe raised an eyebrow, and then I ended up saying, yes, as an actor, | :21:33. | :21:38. | |
I had three expressions - left eyebrow, right eyebrow, and it | :21:38. | :21:45. | |
stuck with me. Well, it has done you very well. When John Sergeant | :21:45. | :21:49. | |
heard that Roger was coming into night, he could not resist doing | :21:49. | :21:52. | |
his best impression of a secret agent. Unfortunately, in John's | :21:52. | :21:58. | |
world, that involves wearing a tweed hat. In the world of | :21:58. | :22:04. | |
espionage, spies, like those who work for the Secret Service, have | :22:04. | :22:07. | |
always been worried about how their secrets are communicated. If you're | :22:07. | :22:11. | |
going to be a spy, you have got to know about secret messages and | :22:11. | :22:16. | |
invisible ink. From as early as Roman times, spies, like children | :22:16. | :22:20. | |
across the world today, have used lemon juice to keep their secrets | :22:20. | :22:26. | |
hidden, only to be revealed when heated. But in 1915, British | :22:26. | :22:31. | |
officials intercepted a sheet of music posted by a suspected German | :22:31. | :22:36. | |
spy, and this time, it was not heat that was required to reveal the | :22:36. | :22:41. | |
message, it was a chemical. This was no longer child's play. It was | :22:41. | :22:48. | |
the work of a top spy. He had a strange background - born in | :22:48. | :22:51. | |
Austria, he became a British musical entertainer. After he was | :22:51. | :22:58. | |
caught he was locked up for eight years in Dartmoor. I am at the | :22:58. | :23:02. | |
Imperial War museum in London to meet Roderick, an expert on | :23:03. | :23:07. | |
invisible ink. We have got a secret message here - how is it encoded on | :23:07. | :23:13. | |
the paper? He has written his message behind a musical score. He | :23:13. | :23:18. | |
has done it using an agent, invisible ink. This is then only | :23:18. | :23:22. | |
revealed by applying another agent, to react with the ink, making it | :23:22. | :23:27. | |
visible. This is quite typical of the secret world. The first thing | :23:27. | :23:32. | |
he says it is, can you send me some money. So, he does not really care | :23:32. | :23:35. | |
so much about the naval secrets which come later, it is, I want my | :23:35. | :23:43. | |
money. That's typical, isn't it? Absolut key. This began what became | :23:43. | :23:47. | |
the invisible ink equivalent of the arms race. No sooner had the other | :23:47. | :23:51. | |
side discovered the recipe, then it would change again. German spies | :23:51. | :23:58. | |
also took to hiding their ink in ingenious ways. Soap, antiseptic, | :23:58. | :24:03. | |
toothpaste and even their own clothing were used. We have a pair | :24:03. | :24:08. | |
of socks which belonged to a German spy, was instructions were to | :24:08. | :24:13. | |
dampen the socks and squeeze them, to get the ink out, which he then | :24:13. | :24:17. | |
what used to write his messages. 1918, the Germans were ready to | :24:17. | :24:22. | |
forget their socks, and they invented the ultimate secret ink | :24:22. | :24:26. | |
formula. In America, they thought it was so dangerous, they only | :24:26. | :24:30. | |
released the details last year. I am meeting a chemist to find out | :24:30. | :24:35. | |
why. The science, the chemistry, is complicated. We have got all sorts | :24:35. | :24:42. | |
of things in here. The alcohol has to be at 90 degrees, so it is quite | :24:42. | :24:47. | |
complicated to do. But the most clever part of this method is that | :24:47. | :24:51. | |
this complex chemistry was only required when the message reached | :24:51. | :24:56. | |
the German laboratory. All this by has to do is to have a tablet of | :24:56. | :25:06. | |
aspirin, and some water. The beauty of this is that it is so simple. | :25:06. | :25:12. | |
if you catch the spy, all he says is, I have got some aspirin, what's | :25:12. | :25:15. | |
wrong with that? The development of invisible ink did not go any | :25:15. | :25:20. | |
further because there was only so much information any spy could | :25:20. | :25:24. | |
laboriously right down. By the end of World War II, espionage had | :25:24. | :25:27. | |
embraced photographic techniques, which meant the messages could now | :25:27. | :25:32. | |
be made up of images as well as text. By the end of the war, secret | :25:32. | :25:37. | |
messages can be compressed into tiny dots, which were then | :25:37. | :25:43. | |
disguised as full stops in ordinary documents. Now, the Internet has | :25:43. | :25:46. | |
joined the spying Game, with messages buried inside otherwise | :25:46. | :25:54. | |
innocuous looking images. Secret messages have even been discovered | :25:54. | :26:01. | |
on popular online auction sites. Their contents have only been | :26:01. | :26:09. | |
unlocked when there Spy supplies the right code word. Aspirin, who | :26:09. | :26:16. | |
would have known? Exactly. As we said earlier, the new Bond theme, | :26:16. | :26:21. | |
sung by Adele, was released today, and went straight to the top of the | :26:21. | :26:31. | |
:26:31. | :26:41. | ||
# Let the sky fall # We will stand tall and face it all together. | :26:41. | :26:51. | |
:26:51. | :26:55. | ||
# We will stand tall. # Let the sky fall # Let the sky fall! It is a | :26:55. | :27:02. | |
brilliant song. It is beautiful. That is out on 26th October - are | :27:02. | :27:06. | |
you looking forward to seeing the new film? Yes, but I will not be | :27:06. | :27:11. | |
there, because I shall be in Basingstoke. Do they not have | :27:11. | :27:18. | |
cinemas in Basingstoke? I am doing my one-man bit. How does it feel to | :27:18. | :27:23. | |
see another man play Bond - is it strange for you these days? | :27:23. | :27:32. | |
Humiliating. No, they are all so damn good. But nobody does it | :27:32. | :27:42. | |
:27:42. | :27:49. | ||
better. How clever! And in this film, the character Q is back - do | :27:49. | :27:57. | |
we know who is playing him? always had a lovely Desmond, who is | :27:57. | :28:04. | |
Welsh, by chance! All the best ones are, Sir boccia. Anyway, good luck | :28:04. | :28:07. |