:00:18. > :00:23.Hello and welcome to the One Show with Matt Baker And with Alex Jones.
:00:24. > :00:28.The studio is on fire tonight as we are welcoming three Hollywood stars
:00:29. > :00:35.who are going to be lighting up the big screen very shortly. I left you
:00:36. > :00:39.a path. Now only you can finish it. Is this supposed to be a challenge?
:00:40. > :00:51.A puzzle. Specifically designed for you. He created a plague. If the
:00:52. > :01:00.plague exists... This map, it's a trail. So I can find it. Come on,
:01:01. > :01:07.this way. But it will be Langdon. Please welcome the director and
:01:08. > :01:11.stars of Inferno, Ron Howard, Felicity Jones and Tom Hanks.
:01:12. > :01:24.CHEERING AND APPLAUSE
:01:25. > :02:02.What an opening. We were told by your crack staff of employees here.
:02:03. > :02:09.We have pyros outside. In America that means people who light fires
:02:10. > :02:13.for pleasure. I thought they were going to be throwing bottles of
:02:14. > :02:18.gasoline around. Fireworks. Right. They were hot when they went off
:02:19. > :02:25.Yes. They were. A lovely walk in. Great. The things they should have
:02:26. > :02:33.outside certain restaurants. Tea outside. Periodically blow up a jet
:02:34. > :02:36.exhaust on us. Good showmanship. We thought we would go all out,
:02:37. > :02:40.Hollywood as much as possible. Tom, we have it on good authority you are
:02:41. > :02:44.excited about coming to Britain I always love coming to Britain. You
:02:45. > :02:52.bet. I've never been here without being at the invitation of a movie.
:02:53. > :02:59.I alwayses... I never came as a tourist with a backpack and make the
:03:00. > :03:03.exchange rates... Somebody in the car has been telling me what to do
:03:04. > :03:10.and where I am the next and what have you the next night. Felicity
:03:11. > :03:14.you are on home turf. Where will you take the gentlemen? I feel a
:03:15. > :03:18.terrible responsibility knowing you have only been here for work. We
:03:19. > :03:26.have to go out on the town. Ron and I came in yesterday. We were talking
:03:27. > :03:29.about this great in bar in Embankment called Gordons. I don't
:03:30. > :03:35.know if you've been to that... It's fantastic. Get out of the M25, get
:03:36. > :03:42.North. Aisle I'll give you places to go. If you like cheese, cheese and
:03:43. > :03:49.wine. A sign on the motorway that says the North" " It's the place to
:03:50. > :03:53.be. It's a large place - The North. My wife and I came here after we got
:03:54. > :04:03.married. It was probably 1975. Maybe 76. I now realise I went shopping
:04:04. > :04:07.and I still have a great little tie from Harrods. It's thin I have a
:04:08. > :04:13.feeling it will be cool. It will come back into You are a fashion.
:04:14. > :04:17.Skinny tie kind of guy. We have three of the hottest guests right
:04:18. > :04:23.here on the planet - Literally after that entrance. Exactly. We have Tom,
:04:24. > :04:30.a a jazz genius. Gregory Porter is with us.
:04:31. > :04:39.# You've got a friend in # You've got a friend in me
:04:40. > :04:43.# When the road looks rough ahead # You've got a friend in me...
:04:44. > :04:50.# Plus.
:04:51. > :04:58.Great. I had to record that song like I knew how to sing. You did so
:04:59. > :05:05.well. You know. I could just say - I'm just a plastic cowboy toy. Don't
:05:06. > :05:06.expect the quality of that man. Gregory will be performing later in
:05:07. > :05:19.the show. Fantastic voice. With Christmas coming up fast,
:05:20. > :05:21.we're sure that loads of people will be putting a fancy new coffee
:05:22. > :05:24.machine on the top of their list. But when you find out just how hard
:05:25. > :05:28.it is to recycle those little pods, it might leave
:05:29. > :05:30.you with a bitter aftertaste. Lucy thinks it's time
:05:31. > :05:42.the manufacturers woke up It wasn't that long ago that making
:05:43. > :05:47.a cup of coffee meant reaching for a jar of instant, but now we've
:05:48. > :05:50.discovered real coffee and it seems there is no going back. Certainly
:05:51. > :05:56.not for me. Like many people I have developed a thing for real coffee.
:05:57. > :05:59.And, I've even been tempted by these, capsules. Sales of which are
:06:00. > :06:05.on the verge of outstripping instant. Last year us Brits drank
:06:06. > :06:11.more than 340 million of these a year. That's 110 million pounds
:06:12. > :06:15.worth. There is one thing about them that worries me, and that's the
:06:16. > :06:21.waste. Most of the pods sold here can't be recycled easily. Now I
:06:22. > :06:25.didn't know that. Does anyone else? To find out, I'm holding my own
:06:26. > :06:31.coffee morning here in Manchester. You are all invited. Do you have a
:06:32. > :06:41.coffee machine in your house? Yes, I have a Nespresso one. Taismo. Nice.
:06:42. > :06:47.. What do you do with the capsules? Recycle it them. The the a
:06:48. > :06:52.appropriate bin. The brown bin. Lovely. Putting them in the
:06:53. > :06:57.recycling bin may not be the answer. To find out why I'm meeting
:06:58. > :07:02.sustainable packaging experts Mike. These are difficult to recycle? They
:07:03. > :07:09.are unresigh Constable at the kerb side. Why is that? I will show you
:07:10. > :07:14.why. You have an alminimum foil top. Inside is the coffee. At the very
:07:15. > :07:21.bottom you have a fabric filter. That will massively hinder he the
:07:22. > :07:28.recycling of the alminimum. The plastic are as complex. Three layers
:07:29. > :07:33.of material. To separate them is so costly in terms of time and energy.
:07:34. > :07:37.What do our coffee connoisseurs think of these revelations? Does it
:07:38. > :07:40.surprise you that that pod is not recyclable in a norm Al household
:07:41. > :07:46.collection? Yes. I would expect it to be. Shocked. Yeah, shocked. It's
:07:47. > :07:49.not that we don't want to recycle, it's more convenient to be able to
:07:50. > :07:55.recycle at home with all the bins there. My primary concern is that
:07:56. > :08:00.this lot doesn't end up in landfill. We know there are coffee pod
:08:01. > :08:09.recycling schemes out there. Will they accept these? First up is
:08:10. > :08:13.Nespresso. It does offer a return service. You can request a
:08:14. > :08:18.collection or drop them off at one of 6,000 collection points across
:08:19. > :08:22.the country. They are taken to this recycling plant in Cheshire where
:08:23. > :08:33.the aluminium is melting down for reuse. Next up is market leader
:08:34. > :08:39.Tasimo. They have 268 sites across the UK where you can drop off your
:08:40. > :08:43.pods. They are run jointly with a recycling firm. They are not
:08:44. > :08:47.everywhere. If you live in Hereford your nearest drop-off is in
:08:48. > :08:52.Cheltenham. That's a round trip of 70 miles. In central London where
:08:53. > :09:05.there are more pod users than you can shake a stick at, there are
:09:06. > :09:12.precisely zero. What about will.i.am's favourite, Dolce Gusto,
:09:13. > :09:16.they have no recycling whatsoever. You have to take them back to the
:09:17. > :09:22.shop. You have to store them to a take them back to the shop. You
:09:23. > :09:29.don't fancy doing that? No. They should make more of an effort to
:09:30. > :09:35.recycle them. Tassimo acknowledge their recycling scheme wasn't enough
:09:36. > :09:45.and were discussing ways to expand it. Nestle who own Nespresso told us
:09:46. > :09:53.they were edges exploring ways to recycle capsules through council
:09:54. > :10:02.collections. They would trial easier options for recycling Doce Guto pods
:10:03. > :10:20.in the next few months. The CEO of Nespresso runs a company that runs
:10:21. > :10:24.does biodegradable products. We have a planet to take care of. To use
:10:25. > :10:32.plastic and aluminium is just foolish. Should we be insisting on
:10:33. > :10:37.pods we can compost in future? Mr Packaging, certainly thinks thens
:10:38. > :10:42.can can and must do better. Single material pack would be fantastic.
:10:43. > :10:47.Could we go aluminium. The answer is, we probably could. There is a
:10:48. > :10:52.window opportunity to take the heat of our ur o our beloved coffee pods.
:10:53. > :10:56.In reality it will take some consumer pressure to make these
:10:57. > :11:01.companies change their ways. I'll drink to that. Lucy, let me tell
:11:02. > :11:08.you, the discussion that film raised. Unbelievable. . The first
:11:09. > :11:12.time we have ever been informed of this important... You learn
:11:13. > :11:15.something. Always turn to the BBC. I'm glad it doesn't have
:11:16. > :11:25.commercials. APPLAUSE Because of that we can now
:11:26. > :11:29.talk about your film. Let us indeed talk about Inferno. It's based on
:11:30. > :11:36.the book by Dan Brown, the third in the trilogy. It evols around the
:11:37. > :11:41.death mask. It's pretty scary this. We hear on good authority... It's
:11:42. > :11:45.Mick Jagger's pre-death mask. He is alive and well. They have a new
:11:46. > :11:50.record coming out. This is how he looks when he sleeps. Looked good.
:11:51. > :11:56.Damn good. There are 15 of these in the world. They have flown one over
:11:57. > :12:01.very kindly. How does this mask fit into the story. Who would like to
:12:02. > :12:06.give us the premise? Professor Langdon... Well, first we have fo
:12:07. > :12:12.determine why we have to find it, right? We don't know. No. We have to
:12:13. > :12:19.determine where it's hidden. Right. Then we have to determine what's the
:12:20. > :12:27.point of finding it? Does that make sense? Yes. You are not Absolutely.
:12:28. > :12:32.Your usual self I'm suffering from sort of head injury that gives me
:12:33. > :12:37.bad headaches! It's a type of thing. We read, I said Ron, he is supposed
:12:38. > :12:42.to have a head injury. Can he have a headache every now and again. I
:12:43. > :12:45.can't remember anything! Amnesia. On that thought, here is the moment
:12:46. > :12:51.where Robert Langdon is trying to work out, trying to piece together
:12:52. > :12:58.what's happened to him. Was I given an injection? When? At the hospital?
:12:59. > :13:03.No, no you were into you baited. Anything you got came through the
:13:04. > :13:07.IV. Not at the hospital. It I was fully dressed.
:13:08. > :13:11.I was had in the back of some carat some point in the last two-days.
:13:12. > :13:19.Something was injected into my bloodstream. Now I'm showing signs
:13:20. > :13:28.of an illness. What if... What if what? What if I'm the carrier?
:13:29. > :13:30.Plagues plus
:13:31. > :13:38.I'm worried about you, my friend. I want to thank the crowd for that
:13:39. > :13:42.mercy applause. Hats off to your part-time staff here who made that
:13:43. > :13:45.happen. That's great. We saw you Felicity in that clip. It's a
:13:46. > :13:51.two-hander between the pair of you. The first time though that we've
:13:52. > :13:58.seen your character, Dr Sienna. Give us an idea of how she comes into the
:13:59. > :14:05.story? The first time that Langdon and Sienna meet is in an hospital
:14:06. > :14:09.ward. They bond immediately. There is a real sort of sense that they
:14:10. > :14:12.are both outsiders. They both feel like they were probably the child at
:14:13. > :14:16.school who wasn't in the cool gang who was a bit of a geek and a nerd.
:14:17. > :14:22.We find out in that first scene there is a real, kind of,
:14:23. > :14:28.intellectual and soulful affinity between them. What is it about this
:14:29. > :14:32.series, the Dan Brown series you love so much? Often you don't direct
:14:33. > :14:36.sequels. This is the third one? Tom has something to do with that. I
:14:37. > :14:42.love directing Tom. He loves this character. He is very good at it. I
:14:43. > :14:46.like making all kinds of movies, dramas... I know I talked to you
:14:47. > :14:52.about The Beatles documentary, kids films. I love all the genres.
:14:53. > :14:56.Thissent tans in different ways. What Dan Brown created is hard to
:14:57. > :15:02.compare to other movies. Elements of this, elements of that. It
:15:03. > :15:06.fascinates me. It's... The places that he takes you, the ideas that he
:15:07. > :15:09.deals with. The tension, the motion and this character at the centre of
:15:10. > :15:13.it, Lee Hsien Loong, it's interesting. By the way, they are a
:15:14. > :15:20.blast to make. Go to these places. They are fun. That clip was in the
:15:21. > :15:25.palaszzo vecchio and we had master places on the wall. We loved seeing
:15:26. > :15:28.these fantastic locations because you were in flors, Istanbul, all
:15:29. > :15:32.over the place. How much of a headache was that, it was peak time
:15:33. > :15:38.when you were filming, holidaymakers?
:15:39. > :15:44.At first it's great, you with a team of collaborators you are excited and
:15:45. > :15:49.they take you on the tour is that they don't think anybody else on and
:15:50. > :15:53.you got a historian fill you in. Thrilling. Then you get to the
:15:54. > :15:58.logistics, is what they will allow us to do, and the time they will
:15:59. > :16:02.allow you to have. I design we are shooting, a scene that would
:16:03. > :16:08.normally take a we've got like 90 minutes. It's up to these guys and
:16:09. > :16:11.the crew to get in there and create these combo painted scenes.
:16:12. > :16:18.Transporting the audience is fun these are audience movies. Dan Brown
:16:19. > :16:24.writes Page Turners. It's fun to go and see this on the big screen. The
:16:25. > :16:36.locations are perfect. We ruin some peoples holidays. I want to sit down
:16:37. > :16:42.on the step, mum! We look out all of the curses. We are not there for
:16:43. > :16:49.long. We say, hold on, folks, we will be out of here. Felicity, to
:16:50. > :16:53.see all those wonderful places, you must have been mesmerised.
:16:54. > :16:58.Absolutely, there were times when they would go, where are the cast?
:16:59. > :17:02.We disappeared and we would be in a museum looking at an amazing
:17:03. > :17:06.painting. It was a really cool experience. We are wonderful dinner
:17:07. > :17:10.party guests after these movies because we know so many things. We
:17:11. > :17:18.know about golden doors with codes in them and secret passageways and
:17:19. > :17:24.white Dante's death mask, where it was done... We know a good pub quiz.
:17:25. > :17:31.We'll take you after the show. You can see Inferno for yourself from
:17:32. > :17:38.this Friday. It's on the IMAX, in 3-D. That version is really cool. No
:17:39. > :17:42.glasses required. Sorry to break it to you, Ron, but Inferno isn't the
:17:43. > :17:53.only film with a high octane chase in it. Hang on a minute, lads, Gyles
:17:54. > :18:01.has an idea. Get the wheels in line! The Italian Job is full of 60s cool,
:18:02. > :18:07.unabashed Patrick Chisholm and often quoted one-liners. -- unabashed
:18:08. > :18:13.compatriot -ism. You are only supposed to blow the bloody doors
:18:14. > :18:18.off! Starring Michael Caine, it's one of the all-time great heist
:18:19. > :18:23.movies but, despite its cast, it's remembered above all for three very
:18:24. > :18:32.different stars, the red, white and blue mini Coopers used for the
:18:33. > :18:39.famous getaway C. -- scene. Filming this chase, the minis steal the
:18:40. > :18:43.show. In an escape sequence that lasts almost 20 minutes. Before the
:18:44. > :18:48.robbers complete their disappearing act by driving full speed into the
:18:49. > :18:54.back of a moving coach. And it's that seemed that today the One Show
:18:55. > :19:00.will try to recreate with its very own stuntmen. What made the film
:19:01. > :19:04.such a cult classic? 50 years old but probably only about 25 years or
:19:05. > :19:09.so that it's been in the public consciousness in the way it is now.
:19:10. > :19:15.At the time it didn't really work. Why? The film poster was of an
:19:16. > :19:21.Italian gangster sitting in an armchair with a Tommy gun. Nothing
:19:22. > :19:24.about the mini. So the advertising campaign didn't really do the job it
:19:25. > :19:31.should have done. It just does the normal round of the West End opening
:19:32. > :19:35.and in general release around the country and then disappears. And yet
:19:36. > :19:42.it does become successful over time. Why is it now a cult film? It
:19:43. > :19:48.becomes a staple of bank holiday afternoon TV screenings, Christmas,
:19:49. > :19:54.Boxing Day, Easter, and the regularity of its showing begins to
:19:55. > :19:58.make it seep into people's consciousness. Shot almost entirely
:19:59. > :20:03.on location in Turin, the stunts were masterminded by former French
:20:04. > :20:08.crossed motorbike champion. There was a young Brit working on the film
:20:09. > :20:17.as well, a 19-year-old champion by the name of David. I could drive
:20:18. > :20:25.before I could walk. I've always been around cars. How does a go
:20:26. > :20:30.karting champion it into the movies? Originally it was to be a stunt
:20:31. > :20:36.driver, and to supply the cars. It was the time of my life. Everything
:20:37. > :20:41.was worked out to the ultimate degree. It was practice time and
:20:42. > :20:48.time again. It was calculated and it had become a science. The big one is
:20:49. > :20:53.the jumping from roof to roof. That was the truly death-defying stunt
:20:54. > :20:58.which we only ever did once. The producer had a jet standing by ready
:20:59. > :21:01.to fly him out of the country in case somebody got killed because the
:21:02. > :21:12.producer would have been responsible. Wow. Did you get a line
:21:13. > :21:16.in the film? One. Should we synchronise our watches? Nuts to
:21:17. > :21:25.your watches! Unfortunately it was dubbed in the end. Oh no! 60 years
:21:26. > :21:32.on, the One Show has swapped the car. We will be using a lorry
:21:33. > :21:37.instead of a classic Bedford. The owner of the only original car we
:21:38. > :21:41.could find deemed the stunt too risky. If we were filming we would
:21:42. > :21:45.have had a rehearsal days and a long time to prep so considering we have
:21:46. > :21:47.come here today, rehearsed it this morning and shooting this afternoon,
:21:48. > :22:00.we'd better crack on. You were only supposed to blow the
:22:01. > :22:06.bloody doors off! CHEERING
:22:07. > :22:17.Very good. You are all in show business! We look forward to seeing
:22:18. > :22:24.the second half of that. Let's talk about stunts. We have heard today
:22:25. > :22:28.that ?1.6 million, a Disney production company being sued
:22:29. > :22:36.because of Harrison ford's accident. Ron, how an edge are you on those
:22:37. > :22:39.stunt days? I love directing actors. That's my favourite. But I like
:22:40. > :22:45.movies and sometimes they have stunts. You can use digital effects
:22:46. > :22:50.to make them safer, but it still comes down to an element of real
:22:51. > :22:55.risk. I haven't had any serious injuries. I've done a lot of action
:22:56. > :22:59.scenes, fire, cars, all kinds of things. The only real injuries I've
:23:00. > :23:04.had have been around horses. They are unpredictable. No matter how
:23:05. > :23:12.many times you reverse, something could go wrong. We heard, Tom, that
:23:13. > :23:17.sometimes you get your brother to do your stunts. We resemble each other
:23:18. > :23:25.closely. Which is me and which is my brother? That's us. We were shooting
:23:26. > :23:29.Forrest Gump. We had multiple units and one of them had to get Forrest
:23:30. > :23:34.running across the country and so I said, well, they were going to get a
:23:35. > :23:40.double, and I said get my brother, we look the same. That is me
:23:41. > :23:44.running. But, he had to go up to Montana and South Dakota and parts
:23:45. > :23:49.of America, he'd fly off and have wonderful vacations where all that
:23:50. > :23:58.was expected of him was to run. I had the flu that day. You were sick
:23:59. > :24:03.as a dog! So you only had to run half the length that we thought. My
:24:04. > :24:07.brother and I have arguments over who was in what shot. There was a
:24:08. > :24:11.shot in a cornfield and we each insist it is us. We still look at it
:24:12. > :24:16.and say, no, you didn't, we shot that in New Hampshire. No, we shot
:24:17. > :24:23.it in Nebraska, you were doing something else. And he does the
:24:24. > :24:27.voice of Woody? He does the computer games. The punishment that goes
:24:28. > :24:33.along with resembling each other is that we sound like each other, too.
:24:34. > :24:37.We both have this nasal voice. Felicity, you have been doing quite
:24:38. > :24:44.a bit of, well, kung fu, shall we say. That is an Rogue One, the new
:24:45. > :24:50.Star Wars film. Guests, when we were shooting Inferno in Budapest, we
:24:51. > :24:56.started doing some initial kung fu training, just for an hour to start
:24:57. > :25:01.off. It was a wonderful experience. But there is a lot of sort of jerky
:25:02. > :25:07.movements that you have to get used to. And trying, particularly trying
:25:08. > :25:14.to look like, sometimes when you are doing a stunt, the stunt person will
:25:15. > :25:17.do the death-defying act and then suddenly there will be a close on
:25:18. > :25:22.you where have to look like you have been doing the stunt and do
:25:23. > :25:25.something really aggressive with your face. Sometimes that is the
:25:26. > :25:31.hardest thing. When you are standing still but you have to show it all in
:25:32. > :25:35.your face. I am the guy who gets beaten up in stunts. There is no
:25:36. > :25:41.training for that. You just get beaten up. We found a kung fu stunt
:25:42. > :25:53.that happened on Happy Days. Weirdly, it was you! That's right.
:25:54. > :26:00.There we go. Was that you? I put this in. I said, is there anyway he
:26:01. > :26:06.can... Costume are not bad! That's it.
:26:07. > :26:17.There you go. That's real, ladies and gentlemen.
:26:18. > :26:28.APPLAUSE I tell you what, that looked convincing. I didn't even
:26:29. > :26:33.think that was my brother. I like the guy in the background with the
:26:34. > :26:36.crop top. Starting university is scary for many but imagine how
:26:37. > :26:41.daunting it must be for somebody with Asperger's syndrome. We are
:26:42. > :26:44.about to point out, because our old friend Rosie King is taken us with
:26:45. > :26:50.her as she embarks on a new life away from home.
:26:51. > :26:55.I can just get so stressed sometimes. I get these little cakes.
:26:56. > :27:04.I sometimes scream for no reason at all. -- these little ticks. I will
:27:05. > :27:11.suddenly be sad and people don't understand. That was me when I was
:27:12. > :27:16.13, making some TV shows for the BBC about my condition. I've got
:27:17. > :27:22.Asperger's. I'm on the autistic spectrum. It means my brain is wired
:27:23. > :27:27.a bit differently. I find it quite difficult to socialise and to deal
:27:28. > :27:33.with things under pressure. I'm quite prone to panic attacks. At the
:27:34. > :27:41.positives, I've got quite a vivid imagination and I can communicate
:27:42. > :27:47.with my friends who are severely affected. My younger brother, many,
:27:48. > :27:52.is 14. He has classic autism. My younger sister, Daisy, as another
:27:53. > :28:01.syndrome. And she has autistic traits. School wasn't great. I did
:28:02. > :28:05.experience some bullying. I felt for the first time very different and
:28:06. > :28:11.quite isolated. I wasn't in a good place. Now I have a nice group of
:28:12. > :28:17.friends. A lot of them are very understanding about different needs.
:28:18. > :28:25.Everyone is a little bit weird! We don't all totally fit in. But we can
:28:26. > :28:31.be isolated together. I'm about to go to university. I'm going to study
:28:32. > :28:36.creative writing. I love any kind of literature. I can't wait to study it
:28:37. > :28:44.and hopefully create some of my own. I've never lived away from home
:28:45. > :28:50.before so this is a very new, very exciting but also very, very scary.
:28:51. > :28:55.My main concerns rusher my main concerns are around her doting
:28:56. > :29:00.friendships, being outside her comfort zone, the routine, her
:29:01. > :29:04.family. There are so many other things that Rosie has to take on
:29:05. > :29:11.board in a social environment. To some extent, she is still relatively
:29:12. > :29:15.naive in those aspects. I think I'm a lot more confident than I was in
:29:16. > :29:20.high school but I still have fears that people will accept me. I'm
:29:21. > :29:24.worried I'll miss my family. I'm worried about the workload. I'm
:29:25. > :29:32.worried I'll get lost. Pretty much name anything, I'm probably worried
:29:33. > :29:38.about it! I've got an app called Brame Enhanced. If I'm having a
:29:39. > :29:45.panic attack, I can go on my phone and it will come up with a list of
:29:46. > :29:52.solutions. Rosie has preprogrammed all the advice so it is specific to
:29:53. > :29:55.her needs. Before I had the app I wasn't very independent and I
:29:56. > :30:00.couldn't use public transport by myself. My mum used to have to drive
:30:01. > :30:08.me everywhere which wasn't very good. I can take the bus no problem
:30:09. > :30:11.now, which is magic. Rosie has described having access to the app
:30:12. > :30:18.as having an older and wiser version of herself on hand in her pocket and
:30:19. > :30:22.then, as a back-up system, there is a red button she can press to speak
:30:23. > :30:27.to somebody and somebody gets back to her within half an hour. When she
:30:28. > :30:32.goes to uni, she's going to blossom so much. She is wonderful. Get past
:30:33. > :30:42.the first couple of months and I think that will be it. This is where
:30:43. > :30:48.I'm going to be for the next two years. -- three years. It's really
:30:49. > :30:51.pretty and I am super excited but also really nervous.
:30:52. > :31:01.This is my room. I've been using the app quite a lot this week. It's been
:31:02. > :31:05.helping me get around. I've been super home sick and I get really
:31:06. > :31:09.lonely, but I've made a lot of new friends. Which is something I
:31:10. > :31:12.thought I'd really struggle with. It's making me feel like
:31:13. > :31:19.everything's going to be OK. So that's good.
:31:20. > :31:26.Rosie is here with mum Sharon. Obviously, still doing creative
:31:27. > :31:31.writing. A lot in common with our guests tonight. Rosie, going back to
:31:32. > :31:33.that app. How are things going. You have been at university for six
:31:34. > :31:40.weeks, are you finding that you are using it less? I've been using it
:31:41. > :31:45.less and less as I've been getting more comfortable with the situation.
:31:46. > :31:54.I'm really enjoying it now. It's something that I thought I'd really
:31:55. > :31:57.struggle with. I've had that extra difficulty, but I feel like you can
:31:58. > :32:02.do things at your own certain pace. You don't have to do everything at
:32:03. > :32:06.the same time as everyone else. My little sister didn't learn to walk
:32:07. > :32:10.until she was five. She can still walk perfect now. Just because she
:32:11. > :32:15.had to learn to walk a little bit later in a different way to most
:32:16. > :32:19.other children, it doesn't mean she can't learn how to walk. That's the
:32:20. > :32:25.same with... Same principle, isn't it? Anybody with a different ability
:32:26. > :32:31.or general struggle can do anything that they put their mind to, that
:32:32. > :32:35.they want to do. Absolutely. For you Sharon, as your mum, it US NUS be
:32:36. > :32:39.fantastic to see her go off, go to uni and make new friends and be able
:32:40. > :32:45.to be independent. Is that something at a stage you thought you would get
:32:46. > :32:51.to? If in one hand it's terrible, I've lost my best friend. On the
:32:52. > :32:55.other hand to see her fulfilling her potential is wonderful. It's
:32:56. > :33:01.exciting for me as a mum. Not only have we Rosie's needs who are
:33:02. > :33:04.milled. We have Daisy and Lenny with severe needs as well. The thinking
:33:05. > :33:08.behind children with additional needs is changing to support them,
:33:09. > :33:13.to give them the right support to fulfil their potential. For me, as a
:33:14. > :33:18.mum, it's just so exciting. Wonderful. You brought your new
:33:19. > :33:21.friends with you tonight. They are here in the audience. Why you are
:33:22. > :33:28.here you might ask about creative writing. Is there anything you want
:33:29. > :33:31.to ask this lot? How? ! You're doing it, you write. It's like anything. I
:33:32. > :33:35.thought so. You practice and it builds. Rewrite it again, rewrite
:33:36. > :33:40.it. You know, the first sentence is just the beginning. That's all it
:33:41. > :33:44.is. Thank you. Rosie, wonderful to see you again and you too Sharon.
:33:45. > :33:49.Thank you for coming and making such a wonderful film. Thank you. Good
:33:50. > :33:57.luck with the rest of uni. Change the world! Check it out. Tell those
:33:58. > :34:01.stories, we need them. We need good stories. Gregory Porter will be
:34:02. > :34:04.singing for us live outside in just a little while. We will be out there
:34:05. > :34:09.shortly. We will indeed. One of Tom's first roles
:34:10. > :34:19.was as a cross-dressing advertising executive in a sitcom called Bosum
:34:20. > :34:23.Buddies. can you believe, was
:34:24. > :34:32.cancelled after two seasons. But, you could say, things
:34:33. > :34:51.turned out OK in the end. We have a problem, Houston. My name
:34:52. > :34:58.is Forrest, Forrest Gump. Our objective is to win the war. Wilson!
:34:59. > :34:59.My mum always said, life is like a box of chocolates, you never know
:35:00. > :35:27.what you're going to get. Shall we? I appreciate the films you left out
:35:28. > :35:33.of that clip package. Thank you very much. You You went coy there and a
:35:34. > :35:37.little bit embarrassed? You know what, the thing about the movies, I
:35:38. > :35:42.see them once, but then they don't change. They are the same thing over
:35:43. > :35:45.and over. If there is a painful clunker in those movies, every time
:35:46. > :35:50.it comes up you have to make sure you are outside of the room. I have
:35:51. > :35:52.seen Sleepless in Seattle... That tells me something about you,
:35:53. > :35:59.doesn't it? High expectations of love, I tell you. I'm telling you.
:36:00. > :36:06.Real-life doesn't match We screwed up up. A lot of men's lives. For me,
:36:07. > :36:11.Forrest Gump. All the way. Ron, you have known Tom for a hibg heck of a
:36:12. > :36:16.long time since Splash, another classics. This will be really
:36:17. > :36:20.embarrassing for you now... You called it a "classic" - that's all I
:36:21. > :36:25.need. I've won as far as I'm concerned. What is it then about
:36:26. > :36:32.Tom, Ron, that makes him so brilliant to work with? I'm going to
:36:33. > :36:38.read through this script. From the very first experience working with
:36:39. > :36:42.him. Coming fresh off that show where he wore a lady's wig. He came
:36:43. > :36:48.in and had confidence, he had creativity going. He's a hard
:36:49. > :36:53.worker. He's never really changed. He has gained more and more
:36:54. > :36:58.experience. You love Forrest Gump. The first time I saw that movie, he
:36:59. > :37:04.had a silent moment when the bus was pulling away. You saw so many
:37:05. > :37:07.emotions on his face. I thought my friend has really become a powerful
:37:08. > :37:11.screen actor. It's great when you can do things with words, it's's
:37:12. > :37:16.another thing when you can fill up a moment like that. After that we did
:37:17. > :37:21.Apollo 13. I could see it for myself as a director. He is a lot of
:37:22. > :37:30.laughs, very creative. He's the opposite of high strung. I would say
:37:31. > :37:36.he's low strung! Like a double bass. I'm low strung! That's a good thing.
:37:37. > :37:41.OK. Is there medication you can take for that? Tom mansion to make
:37:42. > :37:47.anything seem really cool and chilled out and effortless.
:37:48. > :37:50.Particularly also I loved Sleepless in Seattle with Meg Ryan, you were
:37:51. > :37:55.so easy. It was like jazz, so relaxed. You and Meg we only work
:37:56. > :38:01.one day together. All the day she is there. My days off she was working -
:38:02. > :38:06.Don't spoil it. You are best friends! It's all right. Splash, I
:38:07. > :38:10.remember directing him, he was anxious. It was his first job. It
:38:11. > :38:16.was important for me, my second studio film. I'm a couple years
:38:17. > :38:19.older, I had this leadership role. I went through and was controlling
:38:20. > :38:25.this and controlling that. When I went to the editing room and started
:38:26. > :38:29.to watch the scenes, I literally said to myself - if I ever get to
:38:30. > :38:35.work with Tom again I will make him more of of a collaborator less than
:38:36. > :38:44.someone I'm telling what to do. The creativity was there. He edges
:38:45. > :38:53.tended it from comedy into drama. We made several movies together, Apollo
:38:54. > :38:57.13, Splash... We did Backdraft, Parenthood, I wasn't that. A
:38:58. > :39:01.beautiful... You started young, the three of you. Felicity we heard you
:39:02. > :39:05.before we saw you in something that is close to the nation's hearts,
:39:06. > :39:09.didn't we? In the Archers. I don't know if you haves willened to it...
:39:10. > :39:21.Why arele we just hearing about this now? Fantastic radio
:39:22. > :39:29.Where did that transition from radio to Hollywood come? Well, gosh, it's
:39:30. > :39:34.always, I don't know. It was very gradual. I started off doing the
:39:35. > :39:39.Archers when I was about 16. I think the first scene was falling off a
:39:40. > :39:45.church roof. Early stunts, even on radio. Can we recreate that right
:39:46. > :39:48.now? Everybody close their eyes... Listen to radio. Say something like
:39:49. > :39:55.one of the Archers would? I would have to shout. I was with Ed Grundy
:39:56. > :40:04.the character I was like, "oh, no, Ed, I've just fallen off the roof!"
:40:05. > :40:13.APPLAUSE You have got a lovely voice, Felicity. Thank you. When you
:40:14. > :40:17.left the world of acting and decided to concentrate on directing, why did
:40:18. > :40:24.that happen? When did that come to you? What was wrong with Happy Days?
:40:25. > :40:29.I was a child actor. I started when I was four years old. I loved
:40:30. > :40:33.everything about the whole process. I loved hanging around with the
:40:34. > :40:37.camera people. At a certain point I realised the director got to hang
:40:38. > :40:42.out and play with everybody. Eventually, particularly like the
:40:43. > :40:47.movie the Graduate, it was the first movie I studied by the late, great
:40:48. > :40:50.Mike Nichols. It's not just directing traffic and telling people
:40:51. > :40:55.to move here, talk now. There is this other theme going on which is
:40:56. > :41:01.the hand of the storyteller. I became passionate about it. By the
:41:02. > :41:05.way, actors often get thrown into situations where they are miserable.
:41:06. > :41:10.They don't get to wear the right coat for the weather... Wet. They
:41:11. > :41:15.are wet. And ultimately they do have to defer to the director. I realised
:41:16. > :41:19.I've enough of a control freak to want to do it, make decisions. I
:41:20. > :41:24.wanted to tell the story. We like to do a bit of research when we have
:41:25. > :41:28.guests on the One Show. We love it when we uncover something that is
:41:29. > :41:35.fascinating. Tom we know that you love typewriters? Yes. How many do
:41:36. > :41:44.you have? Where best can I invest my money? Nothing quite like worthless
:41:45. > :41:54.machines. I bought some of them for as much as $100 to $150 and they are
:41:55. > :41:58.worth $20 a piece. I view them as a combination of engineering and art.
:41:59. > :42:01.These machines that are limited. A limited number of usages, you can
:42:02. > :42:05.change the world with one of those things. I'm going to send one to
:42:06. > :42:10.Rosie, as a matter-of-fact... Isn't that lovely. I have English machines
:42:11. > :42:15.that have the pound instead of the dollar. Did you hear that? I will
:42:16. > :42:21.send you one. What you do, it ends up you think - you are locked-in
:42:22. > :42:25.because you can't change it erase it. It frees you. You don't bother
:42:26. > :42:30.with the mistake you made, you move on to the next idea. I use them
:42:31. > :42:35.every day. I send out letters, memos and love notes to my wife. I do it
:42:36. > :42:41.all. Tom, you are not the only one who loves #24e78 them. We have found
:42:42. > :42:49.the type of people - get it - Ah! I love that. I started collecting
:42:50. > :42:52.typewriters approximately 10 years ago because I love them and because
:42:53. > :42:58.I worked with them for so many years. Then I watched them being
:42:59. > :43:03.thrown in skips and I thought - there is history going down the pan
:43:04. > :43:10.there. Once they are gone, they are gone. I'm the proud owner of over
:43:11. > :43:18.200 typewriters. One machine which came from the tip the first portable
:43:19. > :43:31.typewriter made. The most prized typewriter I have is the Little
:43:32. > :43:44.Royaltyite from the man who carried out the awe autopsy on Tutankhamun.
:43:45. > :43:50.We had a typing session erday. We had to wear gas masks. Twice a week
:43:51. > :43:55.we had to type to music. 1, 2, 3, space. 1, 2, 3, space. A bell rang
:43:56. > :43:59.at the end of the line. Had you to push the carriage like
:44:00. > :44:04.this. You were doing this and that again. I had only been on a course
:44:05. > :44:08.three months when I had a slip asking me to go for an interview to
:44:09. > :44:13.Number Ten. I was seconded downstairs to the Churchill rooms
:44:14. > :44:19.underground. It was all-action. We did in fact type the battle orders
:44:20. > :44:24.for D-Day. People often ask me about how we felt about it? You are just a
:44:25. > :44:29.cog in a massive machine. Everybody is doing something. I just happened
:44:30. > :44:33.to be doing that. My typewriter stood me in the most tremendous
:44:34. > :44:38.stead. When I think back to my choice of wanting to be a nurse. I
:44:39. > :44:45.say, your parents do get it right sometimes. I'm George Blackman being
:44:46. > :44:52.I have been repairing typewriters since I was 16 years of age. I'm now
:44:53. > :44:55.77. I have a pride in the work. When I look at a typewriter I first of
:44:56. > :45:00.all do not get the screw drivers out. I actually look at it and then
:45:01. > :45:06.I put my hands on it and feel all the moving parts. Then we start with
:45:07. > :45:12.the tools. When you are a young engineering you get the plyers out.
:45:13. > :45:16.You musn't do that. I've done typewriters servicing and repair for
:45:17. > :45:19.a few famous people. One of the most famous was Winston Graham. He was
:45:20. > :45:27.very keen on keeping that same machine. I was the man that helped
:45:28. > :45:31.to finish Poldark. Princess 300. That's my favourite. They can trace
:45:32. > :45:37.two at the moment. One is in a museum in Germany. One is in my
:45:38. > :45:43.shop. Even the springs and the type bars and type face are all plated in
:45:44. > :45:47.gold. It's just amazing. Ual know, even to look at, they are lovely
:45:48. > :45:49.things. A computer is a pretty boring thing to look at. I've got no
:45:50. > :46:01.use for them! Well, we had a full running
:46:02. > :46:05.commentary from Tom Hanks! He's got a typewriter room. That's amazing.
:46:06. > :46:08.We've talked to you about Inferno but you three are massively busy
:46:09. > :46:16.with a schedule of stuff coming up. We'll start talking about Rogue One.
:46:17. > :46:22.Your character, Jyn Erso, tell us a bit more about her. I've been really
:46:23. > :46:26.lucky this last year, playing some fantastic female roles. She is
:46:27. > :46:33.incredibly determined. She's a strong minded woman. And beautifully
:46:34. > :46:41.written on the page. I've been very lucky. So this is a stand-alone Star
:46:42. > :46:47.Wars movie. How long did it take to film? There is a lot of special
:46:48. > :46:51.effects to the movie in total was about six to seven months of
:46:52. > :46:55.shooting and going to San Francisco, where they do the effects. So it's
:46:56. > :47:00.always a surprise when you are watching scenes back after it's been
:47:01. > :47:04.done with the effects and you suddenly, you were in the middle of
:47:05. > :47:09.a studio and then you are in hyperspace and you look around and
:47:10. > :47:16.think, wow, the power of a computer. Then you turn around after your
:47:17. > :47:20.stunt. We have to talk about Sully, this pilot who landed this
:47:21. > :47:27.commercial plane on the Hudson River. Yes, he did the right thing
:47:28. > :47:32.and 155 people survived something they probably wouldn't have, were it
:47:33. > :47:37.not for his instincts and expertise. It landed on the Hudson. What a day.
:47:38. > :47:42.Imagine you are in New York City going about your business and you
:47:43. > :47:46.look out of the window and you see a passenger airliner low against the
:47:47. > :47:52.sky. I have spoken to people and said, what did you think? They
:47:53. > :48:00.thought it was 9/11 again. It was 2009. It feels more recent. The
:48:01. > :48:07.imagery is power. Directed by Clint Eastwood. How did that to compare,
:48:08. > :48:18.him and Ron? Oh, dear! I'm going to do you... Run, OK, let's go! OK,
:48:19. > :48:24.machines! Ready to go! Remember! Remember you are being chased! Ready
:48:25. > :48:34.and, three, two, one, action!! That's the way Ron direct. This is
:48:35. > :48:43.how Clint Eastwood directs. All right, go ahead. I'm not kidding.
:48:44. > :48:50.That's how he does it. When you are done, he said, OK, that's enough. I
:48:51. > :48:57.tell you what I'm really excited about your next project, Splash.
:48:58. > :49:03.With Channing Tatum as a merman. I wouldn't say it's my next project.
:49:04. > :49:08.I'm currently directing a ten hour series about the life of Albert
:49:09. > :49:14.Einstein starring Geoffrey Rush. But this is something that Channing
:49:15. > :49:23.Tatum, Brian Grazer and I, and it's an idea... To kind of flip the whole
:49:24. > :49:32.thing on its tail, pardon the pun. Let's grown a little bit. That was
:49:33. > :49:36.inexcusable. Sorry. Channing Tatum and Gillian love working together
:49:37. > :49:43.and she loves that movie. We said, why don't you be Daryl Hannah and
:49:44. > :49:48.I'll be Tom Hanks. See you are not going to be the love interest. I
:49:49. > :49:53.would like to reprise my role and fall in love with Channing Tatum and
:49:54. > :49:58.find happiness at last where we both accept who we really are. That would
:49:59. > :50:04.be a worthwhile revival. But you agree that it's happening. Really, I
:50:05. > :50:10.think it's... It's a really interesting idea. Everybody seems
:50:11. > :50:14.excited about it. Brian Grazer have heard a million examples of what you
:50:15. > :50:17.could do with Splash as a reboot and that's the first time we thought,
:50:18. > :50:24.that's how courageous enough to give it a try. Now then, we noticed on
:50:25. > :50:28.social media when we were researching that you like, for some
:50:29. > :50:35.reason, taking pictures of lost property. Why is that? It is little
:50:36. > :50:40.urban stories. I am walking around and I stumble across things and I
:50:41. > :50:44.think, how did this get in the middle of the ocean? Who lost this
:50:45. > :50:50.glove? Is it sad because it misses its mate? Little visual poems that
:50:51. > :50:56.remind us that the world is a gossamer place and we have to take
:50:57. > :51:01.care of each other. Tom, we have some helpful viewers and we ask them
:51:02. > :51:06.to send in pictures. Yesterday, we asked them to send in pictures of
:51:07. > :51:13.things... So they are walking around and they see this thing? Exactly. I
:51:14. > :51:16.don't know if you want to pinch a movie to Ron but these dentures were
:51:17. > :51:23.found by Kerry on a road in Sittingbourne. -- to pitch. All
:51:24. > :51:29.you've got this option, this boot found by Roy in the middle of a
:51:30. > :51:40.Bobby Moore in Yorkshire. OK. -- a boggy more. The denture one, I have
:51:41. > :51:50.a title for that movie. I don't know how you spell it, but that is how...
:51:51. > :51:58.I don't know. Channel your inner arch, 16-year-old. Is that a tower
:51:59. > :52:11.you would fall off? It's more like, Where's My Boot. I would call it,
:52:12. > :52:16.The Long Hot Whole. Four. Earlier, we saw Gyles preparing to recreate
:52:17. > :52:21.one of the famous car scenes from The Italian Job. He is revved up and
:52:22. > :52:25.ready to go. Can he become a fully paid-up member of the self
:52:26. > :52:28.preservation society? The One Show has assembled a team of
:52:29. > :52:36.professional stuntmen to recreate one of the most iconic moment in
:52:37. > :52:39.British cinema history. Our team is made up of stunt coordinator Jamie
:52:40. > :52:44.Edgell and stunt drivers Andy and Danny. We have challenged ourselves
:52:45. > :52:51.to complete the stand in just one day, that is reversing and driving
:52:52. > :52:55.three minis into the back of a driving truck. As each rehearsal
:52:56. > :53:02.increases in speed, the difficulties are becoming clear. On that one,
:53:03. > :53:06.Jamie, a bit more difficult. A bit of a panic situation. The ramp moved
:53:07. > :53:12.over four or five inches before we came onto it. What you could have
:53:13. > :53:16.done with is a camera, just so you had a visual of what he's doing.
:53:17. > :53:23.Wood for the production team the first obstacle was finding three
:53:24. > :53:29.mini Cooper's. But they found three Italian job aficionados willing to
:53:30. > :53:33.put their pride and joys at risk. It's become part of a family so much
:53:34. > :53:38.that my children have meant it. No doubt the guys will be experts but
:53:39. > :53:45.that is still my little motor. Hitting the Minis Reddy has not been
:53:46. > :53:49.easy. A couple of weeks ago it was in bits and last night it was still
:53:50. > :53:55.up on the ramps at 10pm. It's been a rush. Excited to see my car do
:53:56. > :53:59.something I watched as a kid and scared because my pride and joy,
:54:00. > :54:03.watching somebody drive it full pelt into the back of a lorry. After the
:54:04. > :54:11.morning of rehearsal, how are Jamie and Gary reeling about the stunt?
:54:12. > :54:20.Unforeseen, the white car has got wider wheels and we are only getting
:54:21. > :54:25.about an inch clearance up the ramp. Once you commit, no room for error.
:54:26. > :54:33.With the final stunt approaching, the best way to capture the sequence
:54:34. > :54:41.is causing debate. He's going to accelerate altogether. Up to the
:54:42. > :54:45.ramp. If we get Yewtree to come up in formation up to the ramp, the
:54:46. > :54:51.worst thing to do is to rush this. -- if we get you two to come up in
:54:52. > :55:12.formation. Perhaps it's time I took the lead.
:55:13. > :55:58.# This is the self preservation society...
:55:59. > :56:10.I don't know what all of the fuss was about. Sweet, man. He did get!
:56:11. > :56:14.What a golden way to end a fabulous programme. A very big thank you to
:56:15. > :56:27.all of our guests night. CHEERING. We'll be back tomorrow.
:56:28. > :56:32.Finally, taken from his brand-new album, Take Me To The Alley, this is
:56:33. > :56:33.Gregory Porter. # Sitting on the top of the roof,
:56:34. > :56:36.the bridge is all mine # The bridges fall down
:56:37. > :56:40.and so do my dreams # If the bridges fall down,
:56:41. > :56:47.Don't lose your head of steam # And whoa, young man,
:56:48. > :56:56.I'm counting on you # But baby you are
:56:57. > :57:00.the family star # If the bridges fall down,
:57:01. > :57:17.Don't lose your head of steam # And whoa, young man,
:57:18. > :57:27.I'm counting on you # But do me this do
:57:28. > :57:59.Don't lose your head of dreams # And whoa, young man,
:58:00. > :59:02.I'm counting on you # Don't let them get you down
:59:03. > :59:15.# I'm counting on you # Don't you lose your head of dreams
:59:16. > :59:24.# Don't you lose your head of dreams Hello, I'm Tina Daheley
:59:25. > :59:26.with your 90 second update. MPs have been arguing in Parliament
:59:27. > :59:30.that they should be able to vote