:00:19. > :00:26.Well, hello and welcome to a new week on the One Show with Michelle
:00:27. > :00:32.Ackerley. And Matt Baker. Tonight we have a performance good enough to
:00:33. > :00:36.stop traffic from the cast of running wild. They have made their
:00:37. > :00:42.way across town and they will be through into the One Show studio
:00:43. > :00:51.before we know it. We just saw the zebra crossing! Also with us is an
:00:52. > :00:53.actress whose latest role is arguably her finest. It is Gemma
:00:54. > :01:01.Arterton. APPLAUSE
:01:02. > :01:05.How are you doing? Seeing those animals must have brought back
:01:06. > :01:10.memories for your first-ever acting role because you played an ox? I was
:01:11. > :01:14.given the role of the Ox in the school nativity which at the time I
:01:15. > :01:22.was quite gutted about because I obviously wanted to be Mary, so I
:01:23. > :01:29.made my ox be the best ox. What did you have to do? I just had to come
:01:30. > :01:33.on and be an ox and then I was in the chorus so I was singing but I
:01:34. > :01:38.sang really, really loudly. I was about five, I would say. I do
:01:39. > :01:45.remember the teacher saying you were very loud, went to? You made a mark!
:01:46. > :01:49.Perfect. It is now you have moved onto rabbits because you are going
:01:50. > :01:56.to be part of the new remake of Watership Down. What can we expect?
:01:57. > :01:59.It is really exciting. We are updating Watership Down. It will be
:02:00. > :02:10.an Netflix at Christmas. It has an amazing cast with Ben McEvoy,
:02:11. > :02:18.Nicholas Houghton and Olivia Colman. It is the same as dial of animation
:02:19. > :02:22.-- style of animation. Quite relevant for these times. And we
:02:23. > :02:27.will be chatting about your new movie. But first, more than 5000
:02:28. > :02:32.police officers from all over the country gathered in London this
:02:33. > :02:37.morning for the funeral of police Constable Keith Palmer who died
:02:38. > :02:44.during the terrorist attack at Westminster. One man had a special
:02:45. > :02:48.role to play. His name is Sidney Mackay and this is his story.
:02:49. > :02:53.I felt compelled to make this journey because I want to be there,
:02:54. > :03:02.as a retired police officer, showing my support for the family and the
:03:03. > :03:07.sacrifice that Keith has made. Today I am going to go to the National
:03:08. > :03:16.Police Memorial in The Mall and update the memorial remembrance
:03:17. > :03:22.book. I am a former Metropolitan Police officer. We are policing
:03:23. > :03:33.family. My son is in the police. My daughter was in the police. Nina had
:03:34. > :03:38.always wanted to go into the police. I wasn't particularly enthusiastic
:03:39. > :03:41.for her to do it. In fact, I tried to dissuade her, but she was quite
:03:42. > :03:53.determined and she was successful. She loved it. She and other officers
:03:54. > :03:56.were tasked to go to a house to arrest an individual. An assailant
:03:57. > :04:09.stabbed her through the chest when the door opened. She did not
:04:10. > :04:16.survive. Nina is in our thoughts every day. The slightest nuance such
:04:17. > :04:23.as a female voice saying behind me, dad, will still today turn my head
:04:24. > :04:28.in the expectation that she is there. I think with Keith's family
:04:29. > :04:36.that they will be going through a similar sort of thinking process. We
:04:37. > :04:40.are so immensely proud to have it made a more formal process. I am
:04:41. > :04:51.very touched. It can be quite emotional. We have now got some 4000
:04:52. > :04:57.officers who have died on duty. Ladies and gentlemen, if we could
:04:58. > :05:11.have a moment's silence in memory of fallen police officers?
:05:12. > :05:19.Today will demonstrate to Keith's family that the police force are
:05:20. > :05:24.there to support. There will be lots of other members of families there
:05:25. > :05:31.who have lost a loved one while serving in the police. There to show
:05:32. > :05:37.their solidarity with the family who are going through this tragic time
:05:38. > :05:42.in their lives. Sidney joins us now in his capacity
:05:43. > :05:50.as chairman of the police role of one trust and Lucy is here. You went
:05:51. > :05:59.on to PC Palmer's funeral -- the police role of honour trust. There
:06:00. > :06:03.were police officers from all across the country and indeed from Chicago
:06:04. > :06:09.and New York. The Canadian Royal mounted police were there. It was
:06:10. > :06:18.quite poignant, in that I never expected there to be so many police
:06:19. > :06:23.officers and of course, the lining of the route was impressive from
:06:24. > :06:27.Southwark to Westminster. Hundreds of police officers involved. But
:06:28. > :06:32.more importantly I think for the police and the family was the
:06:33. > :06:37.support of the public which has been demonstrated for the last nigh on
:06:38. > :06:45.two weeks, in a variety of ways, an outpouring of sympathy for the poor
:06:46. > :06:52.family that really had to witness an media the loss of a husband, in such
:06:53. > :07:00.a cruel way. So it really was quite a poignant day and very reminiscent
:07:01. > :07:07.of what happened to me nigh on 20 years ago. And incredibly emotional?
:07:08. > :07:13.It was emotional and times like these are emotional and I have to be
:07:14. > :07:18.careful I do trigger into words that caused me some distress. We will
:07:19. > :07:22.leave it there, we do not need to go into any more detail, but Lucy, if
:07:23. > :07:25.you could give us some numbers of the number of police officers who
:07:26. > :07:30.have lost their lives in the line of duty this year? This year very sadly
:07:31. > :07:38.five serving police officers have died will stop two of those have
:07:39. > :07:46.been entered into the Roll of Honour today. Said beautifully described PC
:07:47. > :07:52.Keith Palmer's funeral today. The other name that was entered was PC
:07:53. > :07:57.Gareth Browning. He was hit by a car in November 2013 while executing his
:07:58. > :08:02.duty, and he very tragically died on Saturday the 1st of April this year
:08:03. > :08:12.aged 36. So entering those two names onto the role of -- Roll of Honour
:08:13. > :08:17.brings that to nearly 1500 names of police officers who have lost their
:08:18. > :08:23.lives in the line of duty. That Roll of Honour was started in the year
:08:24. > :08:29.2000. Thank you. Much appreciated. Gemma, we are going to be speaking
:08:30. > :08:34.to you very shortly about your new film Their Finest. And you play a
:08:35. > :08:41.woman working in Amman's world fighting to be recognised? Yes. We
:08:42. > :08:45.will get there shortly but first, is Emma Dabiri talking about a woman
:08:46. > :08:48.working in a man's world, who went to extreme measures not to be
:08:49. > :08:54.recognised. Women are now an integral part of
:08:55. > :09:00.the Royal Navy and it is 100 years since the women's Royal Mable
:09:01. > :09:04.service or Wrens officially recruited female sailors -- the
:09:05. > :09:10.Women's Royal Naval Service. The story of women in the Navy did not
:09:11. > :09:14.Berlin in 1917. I have come to see a precious document which shows a very
:09:15. > :09:20.different story of women in the Navy. Historian Joe 's Stanley is
:09:21. > :09:30.showing me the 1815 ships register of HMS Queen Charlotte. I am curious
:09:31. > :09:33.about this particular entry, William Brown, dismissed for being a female.
:09:34. > :09:39.This is totally exciting. This is proof that there was a one called
:09:40. > :09:44.William Brown sailing in 1815 on the Queen Charlotte. She was 21 years
:09:45. > :09:49.old. She was from grenade in the Caribbean. There is writing that in
:09:50. > :09:54.this column about why people were discharged and it says, being a
:09:55. > :09:58.female. The incident drew the attention of the Times newspaper.
:09:59. > :10:02.Brown is described as about five foot four with considerable strength
:10:03. > :10:11.and all the traits of a British sailor. One of the things that cross
:10:12. > :10:13.stressed women sailors did which was as well as chewing tobacco which
:10:14. > :10:16.meant they had awful teeth and adopting a rolling gait, they did a
:10:17. > :10:19.lot of drinking because they had to seem like one of the guys say this
:10:20. > :10:26.is what William was reported as doing. There are conflicting reports
:10:27. > :10:31.about how long Brown served, either 11 years or more likely, just a few
:10:32. > :10:36.weeks. I would imagine I would stand out a lot on a Navy ship, how did
:10:37. > :10:41.she go undiscovered, this black woman in the 1800 's? She got on
:10:42. > :10:44.fine as far as colour was concerned because there were nine people from
:10:45. > :10:50.the West Indies on board and a couple of Africans. It was quite
:10:51. > :11:03.normal for a ship to have as much as 30% non-British crew.
:11:04. > :11:06.Black, no problem, woman, big problem! How many women were there?
:11:07. > :11:09.I am thinking this is not very common. I have found 44 women who
:11:10. > :11:12.cross stressed to go to sea. 20 were in the Royal Navy. Dressing as a man
:11:13. > :11:15.might have pulled the other sailors when they were on deck but surely
:11:16. > :11:23.William Brown might have been rumbled when it came to Bath time?
:11:24. > :11:28.Victoria Ingles is the curator of the Naval Museum in Portsmouth. By
:11:29. > :11:31.modern standards people are not washing as much as we do today said
:11:32. > :11:36.they are not changing their clothes in front of each other so there are
:11:37. > :11:40.less opportunities to notice. But equally, on board ship there would
:11:41. > :11:44.have been a lot of boys, said she would not have stood out necessarily
:11:45. > :11:49.if she did not have a big strong physique. What would be appealing
:11:50. > :11:51.about a woman going to see? Might be the romance and a chance to see the
:11:52. > :12:09.world and it was probably the chance to escape from something at
:12:10. > :12:12.home as well. By disguising yourself as a man, you are immediately
:12:13. > :12:15.opening up the possibility of earning a lot more money than you
:12:16. > :12:17.could have done as a woman. Even after being dismissed for being a
:12:18. > :12:19.female, it was reported that William Brown was so drawn to the sea she
:12:20. > :12:22.declared an intention to keep volunteering for the Navy. 200 years
:12:23. > :12:24.after the curious Case of William Brown, and 100 years after the
:12:25. > :12:30.establishment of the Wrens, the Royal Navy is a very different
:12:31. > :12:36.place. Would you say there is a quality at see? 100% quality if not
:12:37. > :12:38.treated a bit better. Males and females do the same thing. What was
:12:39. > :12:55.it about the Navy that made you want to
:12:56. > :12:57.join? I wanted to join purely for the travel but also my dad was in
:12:58. > :13:00.the Navy, and listening to him telling stories about when he was
:13:01. > :13:03.away, really appealed to me. So I thought, why not give it a go? What
:13:04. > :13:06.places have you seen? Just Scotland so far! The other women on board
:13:07. > :13:10.become like your sisters and best friends. You spend all your time
:13:11. > :13:16.with them and they literally are your family. Gemma, you were just
:13:17. > :13:20.saying that your Nan was a really keen sailor? She was, she lived on a
:13:21. > :13:26.boat and she sailed across the world. She and her partner just went
:13:27. > :13:34.off and sailed everywhere. How often did you see her? Whenever she was
:13:35. > :13:38.docked in Ramsgate! What a life! Very inspiring but it is
:13:39. > :13:43.interesting, talking about inspirational women, it is like a
:13:44. > :13:46.golden age for TV drama at the moment, we have semi-fantastic
:13:47. > :13:52.female writers, Sally Wainwright, Heidi Thomas, K Mellor, but what are
:13:53. > :13:58.your opinions about the film industry? Is it lagging behind at
:13:59. > :14:02.all? I think there is so much room for improvement, it is definitely
:14:03. > :14:07.better than it was. Our film is written by a one and it is something
:14:08. > :14:12.that, I have set up a production company, it is something we are
:14:13. > :14:16.conscientious about, giving a voice to female writers. Last year I was
:14:17. > :14:22.on the Venice film Festival's Drury and there was only one film written
:14:23. > :14:28.by a woman in the competition. -- the jury. What are you trying to do?
:14:29. > :14:35.It is giving an opportunity. There are so mini women trying to write.
:14:36. > :14:40.Our film is about a female screenwriter. It is about getting
:14:41. > :14:45.them made and, it is tricky getting films made in general but it is
:14:46. > :14:50.about making female centric movies with women behind them as writers is
:14:51. > :14:54.what we are trying to do but it is tricky!
:14:55. > :15:01.It does link nicely to your current film, a young screenwriter in a
:15:02. > :15:08.man's world, is that why you became attracted to the role? She is
:15:09. > :15:11.strong, but this film is set during the Blitz in World War II, and this
:15:12. > :15:16.was such an interesting time for women, because the majority of the
:15:17. > :15:20.men were away, so there was this gap, and women were needed. They'd
:15:21. > :15:23.never be needed in this way before, so suddenly women were driving
:15:24. > :15:29.buses, going into munitions factories and making, working, doing
:15:30. > :15:33.manual labour, and suddenly there was an influx of work. And what I
:15:34. > :15:39.liked about my character that she only gets the job, she think it is a
:15:40. > :15:46.secretarial job, but you only get it because she is there to write the
:15:47. > :15:51.slop, the women's dialogue in films, basically. Her voice comes, and she
:15:52. > :15:56.gets confident through the experiences that she has. But yeah,
:15:57. > :16:00.it was a time for women that is not necessarily that she is strong in a
:16:01. > :16:04.kind of typical sense, it is something that emerges within her,
:16:05. > :16:08.and I think that is why I was attracted to it. Let's have a look
:16:09. > :16:13.at your character, one of the moments she realises she has got
:16:14. > :16:17.more about. I might say that we'll be the first clever thing April has
:16:18. > :16:31.ever done in her life. Do you see? Just a -- just a word -- of humour.
:16:32. > :16:34.Excuse me. It is just that the caption at the end is going to be
:16:35. > :16:37.coming he is not listening, but the enemy might be, it is a joke for
:16:38. > :16:41.women who think their husbands never pay attention. If you start
:16:42. > :16:53.answering, the caption will not make sense. I wrote it. I will be in my
:16:54. > :16:57.dressing room if anyone needs me. APPLAUSE
:16:58. > :17:05.Great partnership with Bill Nighy, and your accent as well.
:17:06. > :17:09.It is great! Thank you! I am used to working with somebody was quite a
:17:10. > :17:17.strong Welsh accent so... We did actually listen to her when I was
:17:18. > :17:21.trying to get it! She was in there, then on Thursday, I was doing her
:17:22. > :17:25.accent, and the producer, I remember being answered, all these heads were
:17:26. > :17:32.looking around, I was worried, and they said, I think we need to tone
:17:33. > :17:39.it down a bit. Just like the One Show, it is bang on! Interestingly,
:17:40. > :17:42.you were very enchanted by the year of the 1940s as well, not just the
:17:43. > :17:48.fashion but everything that it stood for. Yeah, it was a really
:17:49. > :17:53.interesting time, because it was a war zone in London, and people were
:17:54. > :17:57.losing people daily, their houses were being destroyed, and yet they
:17:58. > :18:01.had this sense of pride in the way they presented themselves to the
:18:02. > :18:07.world. It was like a way of saying, we are still going. The way that the
:18:08. > :18:11.dress was... I mean, all of my clothes were original 1940s, all of
:18:12. > :18:20.ours were. There was a real pride in the way that they looked after
:18:21. > :18:24.themselves, very chic. It is all encompassed in the title, Their
:18:25. > :18:30.Finest is out on April the 21st. Soon we will be meeting the Thiem
:18:31. > :18:38.behind War Horse, who are bringing a new cast of characters to life. That
:18:39. > :18:42.is after we meet a man who's going one better, storing the power of
:18:43. > :18:47.flight two birds who would never otherwise fly again. -- restoring. A
:18:48. > :19:00.raptor demonstrating a bird's mastery of flight. The secret is in
:19:01. > :19:03.their bones. Bird skeletons are as light as possible so they can get
:19:04. > :19:08.airborne with a minimum of effort. The bones need to be strong enough
:19:09. > :19:13.to take flight but they need a very light construction to enable
:19:14. > :19:19.take-off. Two pieces of bone have been cut in half here, this is from
:19:20. > :19:24.a mammal, a fox. This is from a bird, a Peregrine file can, and you
:19:25. > :19:27.can see the differences. The bird bone has a much thinner
:19:28. > :19:31.cross-section and looks as though it is hollow inside. The strong but
:19:32. > :19:37.lightweight bird bones come at a cost. If the bird injures itself,
:19:38. > :19:42.often the bones just shatter. And shattered bone is extremely
:19:43. > :19:44.difficult to repair. Every year, millions of birds break limbs
:19:45. > :19:53.colliding with cars, pylons and buildings. Accidents that would
:19:54. > :19:58.normally lead to death. But orthopaedic vet Neil is on a mission
:19:59. > :20:04.to experiment with a revolutionary technique. Metal supports both
:20:05. > :20:10.inside and outside the bone keep the fragments fixed precisely in place
:20:11. > :20:15.until they have healed. So who have we got here? This is an injured wild
:20:16. > :20:19.buzzard that was brought in with a fractured forearm, the break is just
:20:20. > :20:23.underneath here, I am checking how it is doing. This is a brilliant
:20:24. > :20:29.technique, inside and outside scaffolders. Yes, we have a number
:20:30. > :20:32.of rods, one in the middle of the bone, others from the outside, and
:20:33. > :20:38.they are all bolted together, and that gives us a really rigid repair,
:20:39. > :20:42.which allows us to get them back in the air afterwards. Neil is doing
:20:43. > :20:48.this work as a passion project, as he believes it could help some of
:20:49. > :20:54.the world's rarest birds. But for now, his latest patient is another
:20:55. > :20:58.buzzard, found injured on the M25. So can this operation restore the
:20:59. > :21:05.bird's flight and even return it to the wild? The whole principle now is
:21:06. > :21:08.to repair the bone so well that the bird can move its joints and move
:21:09. > :21:16.its wings within 48 hours of surgery to prevent stiffening occurring. So
:21:17. > :21:22.what we have to do is get two pins in either end piece, in order to
:21:23. > :21:29.achieve proper stability. Cutting off the sharp end is now, there we
:21:30. > :21:33.are. Six weeks after surgery, we are back disease of the buzzard is
:21:34. > :21:38.getting on at the international centre for birds of prey with Holly,
:21:39. > :21:43.who has been caring for it. How is he doing? Really well, we're so
:21:44. > :21:48.pleased with his progress. And he wasn't an easy patient. Certainly
:21:49. > :21:52.not easy, we got infection in the bone, but we got him on the right
:21:53. > :21:58.antibiotics, and four and a half weeks afterwards we could take the
:21:59. > :22:02.pins out. Was case case of buzzard physio? Yes, we did a little bit of
:22:03. > :22:09.physio when we were handling him, and then he can fly in here, do his
:22:10. > :22:16.own physio, extend his wings. Is he ready for release? Absolutely, yeah.
:22:17. > :22:21.For Neil, this is a big moment - has the wing healed well enough for
:22:22. > :22:26.flying in the wild? I am quite excited, how does it feel for you
:22:27. > :22:30.releasing him? This is the very first time I have released a bird
:22:31. > :22:37.that I have fixed, I am really quite emotional about it. Let's go for it.
:22:38. > :22:48.Right, Mr Buzzard, good luck, sweetheart!
:22:49. > :22:58.I cannot believe it is already sparring with another buzzard.
:22:59. > :23:02.Absolutely fantastic! Stooping and soaring, aeronautical acrobatics
:23:03. > :23:10.just for the sheer fun of it. I am thrilled. All that is left now is to
:23:11. > :23:13.wish our bus good luck. -- our buzzard.
:23:14. > :23:19.We have seen some animal releases on this show, that was a good one! From
:23:20. > :23:22.flying wild to Running Wild, a spectacular show based on Michael
:23:23. > :23:26.Morpurgo's book of the same name in which a young child is saved from a
:23:27. > :23:31.tsunami by escaping on the back of an elephant. It might sound like
:23:32. > :23:35.fiction, but Amber is real, and she is here tonight, along with the
:23:36. > :23:39.puppets director of the show, Toby Olie. Your story is amazing, but
:23:40. > :23:44.talk us through what you remember about the day. On the morning it
:23:45. > :23:48.happened, we felt an earthquake, and we went down to the hotel, but we
:23:49. > :23:53.didn't think anything had happened. I went to play with the elephants, I
:23:54. > :23:58.was riding the elephant on the beach, just walking along, the sea
:23:59. > :24:03.had gone really far back, and it was picking up all the fish, putting
:24:04. > :24:09.them in the bat, then the elephant steered to safety. He carried on
:24:10. > :24:13.walking, then all of a sudden the tsunami came rushing in, I was on
:24:14. > :24:22.his back, we ran off to a high stage, and then I was put in safety.
:24:23. > :24:25.Wow. Toby, the story was picked up by Michael Morpurgo, it is now on
:24:26. > :24:33.stage with all of these beautiful puppet characters, talk us through,
:24:34. > :24:40.how is the elephant working? Are you all right, Gemma?! We have got four
:24:41. > :24:45.property is on Oona, and they synchronise the elephant's, and they
:24:46. > :24:55.all have a different emotional indicator. -- or puppeteers. One is
:24:56. > :24:59.vocalising the nostrils of the elephant, James is operating the
:25:00. > :25:04.head, he has got bicycle brakes to operate the years, he is in charge
:25:05. > :25:10.of the eyeliner and the mouth. So she can open her mouth! Gary is in
:25:11. > :25:13.the chest of the elephant, he is in charge of the breath, bending his
:25:14. > :25:21.knees to tune into the emotional state. And Scarlet is in the mind of
:25:22. > :25:28.Oona, in charge of the tail, very important! It is so complex, just
:25:29. > :25:33.how challenging is it, taking a puppets like this on tour? We are
:25:34. > :25:36.touring most major cities in the country, and it is a challenge, I
:25:37. > :25:41.often referred to the puppets being more like musical instruments, they
:25:42. > :25:47.need fine-tuning, bits of them wear, some of them need tightening. All of
:25:48. > :25:51.them have a dedicated stage manager to look at them. Amber, how much
:25:52. > :25:56.were you into elephants before your holiday? And what is it like to have
:25:57. > :26:00.your story on stage? I really liked elephants, but I had never seen them
:26:01. > :26:04.before, but I fell in love with them on holiday. It is amazing, the book
:26:05. > :26:09.and the play are amazing, I feel honoured to be part of the
:26:10. > :26:14.inspiration behind it. It is remarkable, really, Toby, how we
:26:15. > :26:25.have got into this state of ignoring, in the nicest possible
:26:26. > :26:29.way, the puppeteers. Absolutely, we can direct them in the rehearsal
:26:30. > :26:35.room, so if Oona wants to be aggressive, or anxious... Can she
:26:36. > :26:40.say goodbye? We need to leave you to get into position and get ready for
:26:41. > :26:44.your performance. Gemma, you are coming with us! That is all we have
:26:45. > :26:49.got time for, Their Finest is in cinemas from April the 21st. We are
:26:50. > :26:54.going to be back tomorrow with funnyman Micky Flanagan. Two and a
:26:55. > :26:55.show, this is when Amber was saved by Oona the elephant, this is
:26:56. > :27:09.Running Wild. Oh, hello, orangutan! What is your
:27:10. > :27:16.game? Are you following us? Don't think I haven't seen you watching
:27:17. > :27:27.me! It is all right. I am not going to hurt you. I promise. See? I am
:27:28. > :27:32.your friend. Whoever you are, you are beautiful. Yes, Oona, you are
:27:33. > :28:11.quite pretty too! Oona, watch out! No! No, get away,
:28:12. > :28:35.get away. Oona, please get away, Oona!
:28:36. > :28:43.Oona, you saved my life - again! You did it, you just stood up to the
:28:44. > :28:48.biggest killer in the world! He didn't stand a chance. You are the
:28:49. > :28:55.smartest elephant, the Queen of the Jungle! We have to find my mum, we
:28:56. > :28:58.will go back to the coast and find her, both of us.
:28:59. > :29:09.CHEERING AND APPLAUSE CHILD: This is
:29:10. > :29:14.a major scientific breakthrough.