Browse content similar to 12/12/2017. Check below for episodes and series from the same categories and more!
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Hello and welcome to
the One Show with Matt Baker. | 0:00:15 | 0:00:17 | |
And Alex Jones. | 0:00:17 | 0:00:19 | |
And tonight we're joined
by two of the stars | 0:00:19 | 0:00:22 | |
of the new Winston Churchill film,
Darkest Hour, | 0:00:22 | 0:00:24 | |
which had its premiere last night. | 0:00:24 | 0:00:26 | |
Two actors at the top of their game. | 0:00:26 | 0:00:28 | |
And they'd need to be
to put up with this. | 0:00:28 | 0:00:33 | |
You cannot reason with a tiger
when your head is in its mouth! | 0:00:33 | 0:00:37 | |
Please welcome Dame Kristin
Scott Thomas and Lily James. | 0:00:37 | 0:00:39 | |
APPLAUSE | 0:00:39 | 0:00:44 | |
So, incredibly, that was Gary Oldman
as Churchill, the premiere was last | 0:00:51 | 0:00:56 | |
night, darkest hour on the coldest
night! You must have been absolutely | 0:00:56 | 0:01:01 | |
freezing. She was incredibly brave.
Or stupid! For the dress, it was | 0:01:01 | 0:01:10 | |
worded. I did have a warm coat that
I threw one after the photos. I | 0:01:10 | 0:01:16 | |
can't understand it. That coat was
lovely. The red carpet is not funny | 0:01:16 | 0:01:29 | |
in this weather. We had these hand
warmers like tea bags! We were just | 0:01:29 | 0:01:37 | |
discussing how you have had a break
from films, you have done lots of | 0:01:37 | 0:01:40 | |
theatre, but this is only the second
film in quite a while. Yes, last | 0:01:40 | 0:01:47 | |
year, was it? I did The Party, which
I thought would be a good way to get | 0:01:47 | 0:01:53 | |
back into making films, because it
was only 12 days, and then Joe | 0:01:53 | 0:02:01 | |
Wright asked me to do this, and I
succumbed to his charm. You have | 0:02:01 | 0:02:05 | |
been asked to play the role a few
times, but we will get into that | 0:02:05 | 0:02:09 | |
shortly. Lots to talk about with our
guests, and we start with the second | 0:02:09 | 0:02:14 | |
part of our investigation into food
waste in the Scottish salmon | 0:02:14 | 0:02:18 | |
industry. Last night, we heard that
a quarter of farmed salmon in | 0:02:18 | 0:02:22 | |
Scotland die each year because of
disease or lies, and while it | 0:02:22 | 0:02:26 | |
doesn't affect the quality of salmon
in our shops, Joe is looking at | 0:02:26 | 0:02:31 | |
what, if anything, can be done to
fix it. | 0:02:31 | 0:02:33 | |
Last night we followed the dead
salmon run. | 0:02:33 | 0:02:40 | |
I can see some horrible fluid coming
out, it smells file. With millions | 0:02:40 | 0:02:44 | |
of farmed salmon being wiped out,
mostly due to sea lice and disease. | 0:02:44 | 0:02:49 | |
The scale of mortality in Scottish
salmon is huge. Figures published by | 0:02:49 | 0:02:56 | |
the Scottish Government show as many
as one in four farmed salmon are | 0:02:56 | 0:03:02 | |
dying. Critics claim wild fish are
suffering too, from the unnaturally | 0:03:02 | 0:03:07 | |
large numbers of sea lice in and
around some farms. Once they get | 0:03:07 | 0:03:14 | |
into the farms, they are a perfect
breeding reservoir for sea lice. Sea | 0:03:14 | 0:03:18 | |
lice emanating from salmon farms are
killing wild fish. Do they make it | 0:03:18 | 0:03:24 | |
much worse? They do, on the east
coaster and the north coast of | 0:03:24 | 0:03:28 | |
Scotland, we have still got
reasonably healthy populations of | 0:03:28 | 0:03:32 | |
wild salmon and sea trout. We
haven't got that in the West | 0:03:32 | 0:03:35 | |
Highlands and Islands, where we have
got salmon farms. I am keen to find | 0:03:35 | 0:03:40 | |
out more about how the industry
operates, so to hear their side of | 0:03:40 | 0:03:44 | |
the story, I have been invited to a
farm near Ullapool in the Scottish | 0:03:44 | 0:03:49 | |
islands. Farm manager Roddy is
showing me how welfare standards are | 0:03:49 | 0:03:53 | |
maintained here.
So this is what you do every week | 0:03:53 | 0:04:01 | |
for the lice count? We take five
fish, you can see they range in | 0:04:01 | 0:04:11 | |
sizes, and you just... It is a
visual inspection, looking for any | 0:04:11 | 0:04:16 | |
signs of lice at all. If it brushes
off, it is just dirt. These two, no | 0:04:16 | 0:04:25 | |
signs of lice, lovely colour. We
will put them in this. You don't | 0:04:25 | 0:04:30 | |
like handling the fish, this is the
only time you do it? Yes, because | 0:04:30 | 0:04:35 | |
there is a danger you are wiping off
the mucus which helps protect them | 0:04:35 | 0:04:39 | |
from lice and diseases, part of
their natural defence system. How | 0:04:39 | 0:04:44 | |
the control lice on this farm? We
use natural cleaning fish, we put | 0:04:44 | 0:04:53 | |
them in before we get a problem with
the lice, and they will go and pick | 0:04:53 | 0:05:00 | |
them off. Have you had any problems
since you started using the cleaner | 0:05:00 | 0:05:05 | |
fish? No. These two are OK. This is
a small producer and as one of the | 0:05:05 | 0:05:12 | |
lowest ratios of salmon deaths in
the UK, but why do mortality rates | 0:05:12 | 0:05:15 | |
across the wider industry continue
to rise? You'll Ben Bradley is chair | 0:05:15 | 0:05:19 | |
of the Scottish salmon producers
organisation. -- Gilpin Bradley. Why | 0:05:19 | 0:05:27 | |
are so many salmon dying on farms?
In reality, the mortality rates are | 0:05:27 | 0:05:31 | |
in line with averages over the last
few years. They are the highest they | 0:05:31 | 0:05:37 | |
have ever been, January to September
this year of the worst figures on | 0:05:37 | 0:05:41 | |
record. Last year, 22,500 tonnes of
fish, hundreds of lorry loads of | 0:05:41 | 0:05:47 | |
dead salmon going across Scotland.
We are acutely aware of how bad the | 0:05:47 | 0:05:53 | |
situation is. It is out of control.
It is certainly not out of control. | 0:05:53 | 0:05:58 | |
You have to recognise the incredible
investment that is going into | 0:05:58 | 0:06:02 | |
finding solutions. As salmon farming
become too intensive in Scotland? | 0:06:02 | 0:06:08 | |
The level of intensity for farmers
today is probably as low as it has | 0:06:08 | 0:06:12 | |
ever been, but what do you do when
an unusual event happens? These | 0:06:12 | 0:06:17 | |
challenges are largely caused by
changing environmental conditions, | 0:06:17 | 0:06:21 | |
and in no way are they affecting the
delicious product we are producing. | 0:06:21 | 0:06:26 | |
Do you accept that lice from farms
are killing wild fish? That is | 0:06:26 | 0:06:33 | |
pretty evocative language. Our
operational practices are all geared | 0:06:33 | 0:06:35 | |
around minimising the impact that we
have, and that is why there is an | 0:06:35 | 0:06:40 | |
enormous investment going into
finding better and better ways of | 0:06:40 | 0:06:42 | |
dealing with sea lice. Why doesn't
the industry produced figures on a | 0:06:42 | 0:06:49 | |
farm by farm basis? In future, we
will be doing that, and it is | 0:06:49 | 0:06:53 | |
important. The farmers recognise it
is very important to be as | 0:06:53 | 0:06:57 | |
transparent as possible, and if
there has been any losses or | 0:06:57 | 0:07:00 | |
particular health issues, that will
be in the public domain. Well, Joe | 0:07:00 | 0:07:06 | |
is here now, as we were hearing,
things are being done, and we have | 0:07:06 | 0:07:11 | |
also said that the Scottish salmon
in our shops is not affected, but | 0:07:11 | 0:07:14 | |
what is the Government doing about
the fact that so many fish are not | 0:07:14 | 0:07:18 | |
getting onto the shelves? The
Government, the Scottish Government | 0:07:18 | 0:07:22 | |
have just announced they will work
with the industry to come up with a | 0:07:22 | 0:07:25 | |
framework to come up with new
measures to improve the welfare of | 0:07:25 | 0:07:29 | |
farmed fish, but the big news that
people may not know is that next | 0:07:29 | 0:07:36 | |
year there will be a Parliamentary
inquiry, and that has come at a very | 0:07:36 | 0:07:39 | |
good time. There has been a lot of
pressure for it, but there are lots | 0:07:39 | 0:07:43 | |
of environmental factors, water
seems to be getting warmer, there | 0:07:43 | 0:07:46 | |
are disease outbreaks cropping up,
one has just happened off the coast | 0:07:46 | 0:07:51 | |
of Skye that they have not seen
since the late 1990s. It seems a | 0:07:51 | 0:07:54 | |
good time for the industry and
critics to come together. Salmon and | 0:07:54 | 0:08:01 | |
trout conservationists have lobbied
for this inquiry, they would like to | 0:08:01 | 0:08:06 | |
see statutory enforcement, statutory
protection for wild fish, or | 0:08:06 | 0:08:10 | |
inspectors to be able to order a
cull and things get out of control. | 0:08:10 | 0:08:20 | |
They would like to see the code of
conduct made compulsory. On top of | 0:08:20 | 0:08:29 | |
what the government doing, the farms
are trying to solve the problems | 0:08:29 | 0:08:31 | |
themselves. Yes, if we just take sea
lice, they have been a huge problem, | 0:08:31 | 0:08:39 | |
and farms are constantly trying to
conquer this, but there are always | 0:08:39 | 0:08:43 | |
limitations. You can feed the salmon
a treatment that goes in their food | 0:08:43 | 0:08:48 | |
and includes a toxic chemical that
the sea lice do not like and it | 0:08:48 | 0:08:51 | |
kills them off. It can be very
effective, but the toxic chemical | 0:08:51 | 0:08:56 | |
can also affect the wildlife on the
sea bed, like crabs and lobsters, | 0:08:56 | 0:09:01 | |
things like that. And the lice seem
to be getting more resistant, so | 0:09:01 | 0:09:06 | |
that is not always the answer. You
have got things that are more | 0:09:06 | 0:09:11 | |
mechanical, a machine that sucks up
the sea salmon, the lice do not like | 0:09:11 | 0:09:20 | |
it, they will let go of the fish,
but it has been linked to quite high | 0:09:20 | 0:09:24 | |
mortality events itself. We heard in
the film about cleaner fish, that is | 0:09:24 | 0:09:29 | |
a great solution that seems to work
really well there, but it is not the | 0:09:29 | 0:09:33 | |
complete answer. If the whole
industry did this, where do all the | 0:09:33 | 0:09:37 | |
fish come from? You can only take so
many from the wild, they are trying | 0:09:37 | 0:09:41 | |
to breed them, but they do not seem
to have the same taste for sea lice | 0:09:41 | 0:09:48 | |
as the wild wrasse. So, ultimately,
campaigners would like to see closed | 0:09:48 | 0:09:52 | |
containment, where salmon are farmed
in big tanks that flowed out at sea | 0:09:52 | 0:09:55 | |
or on land, but there is a physical
barrier between the farmed fish and | 0:09:55 | 0:10:00 | |
the wider environment, but that is a
long way off. Advice away from my | 0:10:00 | 0:10:05 | |
greater re-routes. For large-scale
farming, that is complicated. -- | 0:10:05 | 0:10:11 | |
away from my greater most people
don't have choice about where this | 0:10:11 | 0:10:19 | |
is coming from. If you want to buy
wild fish, we don't have a | 0:10:19 | 0:10:23 | |
sustainable stock in the UK, you
will be buying frozen Alaskan fish. | 0:10:23 | 0:10:28 | |
If you want fresh fish,
realistically, it is coming from | 0:10:28 | 0:10:32 | |
farms. So this inquiry, to bring it
back to that, it is a good chance | 0:10:32 | 0:10:36 | |
for consumers to get what they want,
for the industry and campaigners to | 0:10:36 | 0:10:41 | |
come together and find a viable way
forward. There are big problems that | 0:10:41 | 0:10:45 | |
we have seen but everyone is united
in wanting to make it better. You | 0:10:45 | 0:10:49 | |
will never take disease out of the
equation altogether. We are going to | 0:10:49 | 0:10:53 | |
be talking to Kristin and Lily in a
moment, but first an epic tale of | 0:10:53 | 0:11:01 | |
our own. Yes, the story of the
greatest glasshouse in the world and | 0:11:01 | 0:11:08 | |
the long journey to bring it back to
its best. This is the largest | 0:11:08 | 0:11:14 | |
Victorian greenhouse in the world.
Christine is getting the first view | 0:11:14 | 0:11:22 | |
of the Azores of a five-year long
restoration of this stunning | 0:11:22 | 0:11:26 | |
building. -- of the results. It was
needed to stop the structure from | 0:11:26 | 0:11:31 | |
falling down and to make it more
efficient. We have got a building | 0:11:31 | 0:11:36 | |
management system now, all the
windows open automatically when the | 0:11:36 | 0:11:39 | |
temperature gets too hot. We think
they had problems where it was too | 0:11:39 | 0:11:46 | |
hot on the outside and cold in the
middle. Christine has re-potted a | 0:11:46 | 0:11:54 | |
few plans in time, but here the
staff have had to do 500, some of | 0:11:54 | 0:11:58 | |
them very rare. 1300 cubic metres of
soil, the same base layer | 0:11:58 | 0:12:06 | |
throughout, then we are adding
different top dresses. Today she is | 0:12:06 | 0:12:11 | |
on under as some of them moved back
in, to be joined by thousands more. | 0:12:11 | 0:12:15 | |
Each continent is given its own
section. The Southend has got | 0:12:15 | 0:12:20 | |
Africa, in the centre block we have
got Australia, New Zealand, the | 0:12:20 | 0:12:25 | |
Americas, as well as the island
flora. In the north end, we have got | 0:12:25 | 0:12:32 | |
age, a round the world stripping
metres. -- Asia. Some of the plans | 0:12:32 | 0:12:39 | |
are so large that they need a
forklift. A lot of digging, a lot of | 0:12:39 | 0:12:46 | |
soil. Massive plant! This tree
doesn't want to go where Scott wants | 0:12:46 | 0:12:51 | |
it to. Just the balance wasn't quite
right, always when you lift things, | 0:12:51 | 0:13:00 | |
you have to lift it a few times. You
are not quite sure where the weight | 0:13:00 | 0:13:05 | |
is in the root ball. What is this?
It is from northern Australia. It is | 0:13:05 | 0:13:11 | |
desperate to go in the ground, it
will be happier when it is down and | 0:13:11 | 0:13:15 | |
can start to grow properly. The work
here is almost on schedule, but | 0:13:15 | 0:13:23 | |
there is just one tiny discovery
that has slowed things down. While | 0:13:23 | 0:13:29 | |
doing the restoration work, we have
discovered the original underfloor | 0:13:29 | 0:13:35 | |
heating pipes. What?! Yes, they were
ripped out in the 1970s, but they | 0:13:35 | 0:13:41 | |
must have left a small section,
archaeologists have done full | 0:13:41 | 0:13:45 | |
surveys, they have been cataloguing
it. Returning here will be the | 0:13:45 | 0:13:50 | |
world's most important plant
collection, including specimens that | 0:13:50 | 0:13:54 | |
are almost instinct. This is from
New Zealand, and in the 1980s, the | 0:13:54 | 0:14:01 | |
population of this plant was really
low. Can I pinch it?! You are not | 0:14:01 | 0:14:09 | |
allowed to, are you?! Christine is
giving it away! | 0:14:09 | 0:14:17 | |
The restoration of this greenhouse
is vital for the world's flora. Here | 0:14:17 | 0:14:23 | |
at Kew, they conserve plants that
are endangered and rare. Without | 0:14:23 | 0:14:27 | |
research, we may not know that the
very molecules in this plans could | 0:14:27 | 0:14:31 | |
cure some of the world's nastiest
illnesses. Super work being done | 0:14:31 | 0:14:38 | |
there, very much looking forward to
Christine meeting | 0:14:38 | 0:14:48 | |
Now the Darkest Hour about
Churchill's first weeks in office. | 0:14:54 | 0:14:58 | |
We touched on it, you have been
offered the role many times, but | 0:14:58 | 0:15:02 | |
have turned it down. What was it
about this version that you enjoyed | 0:15:02 | 0:15:10 | |
reading? The thing about Clementine,
I thought who is the woman who is | 0:15:10 | 0:15:19 | |
married to Churchill, I want to know
about her and what it is like to | 0:15:19 | 0:15:24 | |
wake up next to this man who is
about to save the world and it bad | 0:15:24 | 0:15:31 | |
tempered and gambles and it is very
funny and wicked and has a great | 0:15:31 | 0:15:36 | |
sense of humour. I wanted that to
come across in the film and to see a | 0:15:36 | 0:15:41 | |
sort of domestic side to their, to
this couple. Wives of important men | 0:15:41 | 0:15:49 | |
are usually sort of shoved into the
back ground. In this case without | 0:15:49 | 0:15:54 | |
Clemmie, I think we would have a
very different Winston Churchill. | 0:15:54 | 0:16:00 | |
That is why I succumbed to this one.
Was it worth coming back after that | 0:16:00 | 0:16:06 | |
long break? Yes. Working with Gary,
I mean, it was so thrilling. What is | 0:16:06 | 0:16:15 | |
striking about it, it is a film
about war, but there is no war in | 0:16:15 | 0:16:19 | |
it. It is all about the words and
the relationship and the magic in | 0:16:19 | 0:16:23 | |
there. There is so many wonderful
quotes, but there is one that sums | 0:16:23 | 0:16:31 | |
it up, borrowed from JFK, he has
mobilised the English language and | 0:16:31 | 0:16:38 | |
sent it into battle. This is where
your character comes, she is his | 0:16:38 | 0:16:47 | |
secretary. Yes she was with him as
he is creating the speeches and | 0:16:47 | 0:16:53 | |
writing it down as it comes, all
through the night, Churchill worked | 0:16:53 | 0:17:00 | |
ridiculous hours at 4.30 trying to
keep her eyes open. I think it is | 0:17:00 | 0:17:03 | |
incredible. It is a real woman I
play who worked with him throughout | 0:17:03 | 0:17:09 | |
the war. To be that close to this
great man as he was, like you said, | 0:17:09 | 0:17:15 | |
saving the future of... Of our
country. It is all coming from him. | 0:17:15 | 0:17:19 | |
It is not like he has a bunch of
scriptwriters. And you're just going | 0:17:19 | 0:17:24 | |
with it. Yes and it was so thrilling
with me working with Gary and it | 0:17:24 | 0:17:30 | |
felt like Churchill pacing behind me
and I was hoping I wasn't going to | 0:17:30 | 0:17:36 | |
screw it up. Do you remember the
first day when he came into | 0:17:36 | 0:17:40 | |
rehearsal, all the cast were sitting
around the huge table and Gary | 0:17:40 | 0:17:44 | |
arrives in full Winston... In the
whole thing? There was a sort of | 0:17:44 | 0:17:52 | |
hush, no one could believe that
Churchill has come back. It is | 0:17:52 | 0:17:57 | |
uncanny. People stood up. He said it
was his toughest role because of the | 0:17:57 | 0:18:05 | |
prosthetics he had to put on. It
took three or four hours. And two | 0:18:05 | 0:18:10 | |
hours to get it off. And the fact he
can still convey through that mask | 0:18:10 | 0:18:16 | |
such honest like thoughts and
impression -- expression. And a | 0:18:16 | 0:18:26 | |
Golden Globe nomination. This is the
moment your character feets him for | 0:18:26 | 0:18:31 | |
the first time. Did he shout at you.
No. He can be a brute. I think you | 0:18:31 | 0:18:37 | |
were nervous and he has a knack for
drawing out the worst in people. He | 0:18:37 | 0:18:45 | |
is a man like any other. I have
noticed a deterioration in your | 0:18:45 | 0:18:49 | |
manner. You're not as kind as you
used to be. You have become rough. | 0:18:49 | 0:18:56 | |
And sarcastic and overbearing and
rude. Is this about the new girl? If | 0:18:56 | 0:19:01 | |
the king asks you to be Prime
Minister, I don't want you to be | 0:19:01 | 0:19:04 | |
disliked. More than I already am?
Among all the serious issues in | 0:19:04 | 0:19:13 | |
there there is a huge amount of
humour in it, which is a joy. Is | 0:19:13 | 0:19:18 | |
that something that you expected
when you initially started making | 0:19:18 | 0:19:21 | |
this movie that it would be so funny
in parts? Well I knew Churchill had | 0:19:21 | 0:19:31 | |
this extravagant sense of humour,
but when I watched it I was | 0:19:31 | 0:19:36 | |
surprised my how much it made me
laugh. In my part, when I read the | 0:19:36 | 0:19:42 | |
part, I always looked for a bit of
humour and wit and there was so much | 0:19:42 | 0:19:46 | |
warmth between the two of them and
the teasing of each other and you | 0:19:46 | 0:19:52 | |
feel the old relationship in the
writing, it was there on the page. | 0:19:52 | 0:19:57 | |
So it didn't surprise me. I'm
thrilled it is getting across. Your | 0:19:57 | 0:20:09 | |
character wrote a book and described
him adds impatient, kind, irritable, | 0:20:09 | 0:20:17 | |
crushing, generous, inspiring,
difficult, considerate. Could you | 0:20:17 | 0:20:22 | |
both work for a man like that? I may
already have done that. Or be | 0:20:22 | 0:20:34 | |
married to a man like that, imagine
that? Even worse. It is so timely | 0:20:34 | 0:20:39 | |
with everything that is going on and
all the negotiations that are | 0:20:39 | 0:20:42 | |
happening now and really just the
amount of sacrifice that happened | 0:20:42 | 0:20:47 | |
and that remind, needs to be taken
note for people on the opposite side | 0:20:47 | 0:20:55 | |
of the table with our European
allies, did you have have a sense of | 0:20:55 | 0:21:00 | |
that? Yes I found I'm so lost in the
moment when I'm making it, that I'm | 0:21:00 | 0:21:06 | |
doing and investing in Elizabeth and
I loved her book. You can't not be | 0:21:06 | 0:21:11 | |
aware of the greater impact of the
story and how people might respond. | 0:21:11 | 0:21:15 | |
People will be looking forward to
see it. When can we see it. You will | 0:21:15 | 0:21:21 | |
have to wait until 12th January. It
is well worth the wait. Something to | 0:21:21 | 0:21:26 | |
look forward to after Christmas. To
another form of story telling. | 0:21:26 | 0:21:37 | |
Sometimes my work is commissioned.
But very often I make work solely | 0:21:41 | 0:21:48 | |
more my own pleasure and I don't
have any object of selling them. In | 0:21:48 | 0:21:53 | |
fact in some cases I wouldn't want
to sell them, because they mean so | 0:21:53 | 0:21:57 | |
much to me. I'm Paul Johnson and
make special one of a kind pop up | 0:21:57 | 0:22:03 | |
books. I'm a paper engineer. A paper
engineer cuts paper to make usually | 0:22:03 | 0:22:12 | |
three-dimensional forms, it could be
a pop up book or a piece of | 0:22:12 | 0:22:16 | |
sculpture. This is a good example of
a book. It has over 300 separate | 0:22:16 | 0:22:21 | |
parts. When I open the clasp, it
becomes a carousel pop up book. And | 0:22:21 | 0:22:29 | |
you can see all the pages without
opening them. It is about a lady who | 0:22:29 | 0:22:35 | |
lives in the house. This is her
house here. This is her garden and | 0:22:35 | 0:22:40 | |
if I turn it to the back, you can
also see the rear of the house and | 0:22:40 | 0:22:46 | |
the covers of the book as well.
Today, I'm going to make a special | 0:22:46 | 0:22:49 | |
pop pup book on the theme of
Christmas for The One Show. It is | 0:22:49 | 0:22:57 | |
based on Dylan Thomas's a Child's
Christmas in Wales. I start by | 0:22:57 | 0:23:04 | |
taking a large sheet of paper and
soak it and bleed on to the wet | 0:23:04 | 0:23:12 | |
paper brilliant textile dyes. Once
I've dyed the paper and the paper is | 0:23:12 | 0:23:23 | |
dry, have to cut out the shapes I
need. In this particular pop up | 0:23:23 | 0:23:28 | |
there are 20 pieces. Most of the
books that I make sell in America. | 0:23:28 | 0:23:37 | |
The most expensive piece I've made
is about £4,000, but that is three | 0:23:37 | 0:23:45 | |
months work. How I learned to love
working with paper growing up in the | 0:23:45 | 0:23:50 | |
40s was on the back of corn flake
packs there were models you could | 0:23:50 | 0:23:57 | |
make like castles, and I would look
forward to finishing off the packet | 0:23:57 | 0:24:02 | |
of corn flakes. Another 19 pieces to
go. The pop up book I'm making for | 0:24:02 | 0:24:14 | |
the One Show has taken about 30
hours to make. The actual assembly | 0:24:14 | 0:24:20 | |
will take about 20 minutes. All the
single units that make up my pop up | 0:24:20 | 0:24:25 | |
books are joined together with dove
tail joints. But they all have go in | 0:24:25 | 0:24:31 | |
in a certain order. | 0:24:31 | 0:24:39 | |
Here is Dylan Thomas's a Child's
Christmas in Wales. Specially for | 0:24:44 | 0:24:48 | |
The One Show. Looking through my
bedroom window out into the | 0:24:48 | 0:24:56 | |
moonlight and the unending smoke
coloured snow, I could see the | 0:24:56 | 0:25:00 | |
lights in the windows and hear the
music rising from them up the long, | 0:25:00 | 0:25:06 | |
steadily falling night. I turned the
gas down. I got into bed. I said | 0:25:06 | 0:25:14 | |
some words to the close and holy
darkness. And then I slept. | 0:25:14 | 0:25:20 | |
Well Paul and I were engrossed in
that. What a story. And you have | 0:25:22 | 0:25:29 | |
popped up here. It is fascinating
how you turned this life from pacts. | 0:25:29 | 0:25:40 | |
I started about 30 years ago. It was
only five years ago that I started | 0:25:40 | 0:25:47 | |
making sculpture pieces that open
and the pop up book is inside. That | 0:25:47 | 0:25:51 | |
is something else! The stories are
made up as I go along. I don't know | 0:25:51 | 0:26:20 | |
And here you have worked out our
Christmas decorations. I think our | 0:26:38 | 0:26:48 | |
guests will enjoy looking at all
these beautiful books and I don't | 0:26:48 | 0:26:54 | |
know what you think, but it is
remarkable to be part of a pop up | 0:26:54 | 0:26:58 | |
book. Well the resemblance is
uncanny. Gosh! They would be lovely | 0:26:58 | 0:27:12 | |
for your grandson. Now Mamma Mia,
Lily, Here We Go Again. That was a | 0:27:12 | 0:27:25 | |
dream role, the sequel. Yes I had
the best time, just an insane amount | 0:27:25 | 0:27:32 | |
of fun. Is that how you hurt your
foot, did you end up with a broken | 0:27:32 | 0:27:39 | |
toe. I have a broken toe. I ran into
a lighting stand. Is that you and | 0:27:39 | 0:27:48 | |
the cast. Yes. They do wear boots
very similar to those. It is a big | 0:27:48 | 0:27:56 | |
singing role, are there many songs
left after the first film? You would | 0:27:56 | 0:28:01 | |
be surprised. There is bangers. I
bet. A lot of the original songs are | 0:28:01 | 0:28:09 | |
repeated and I probably should stop
there before I get murdered for | 0:28:09 | 0:28:14 | |
seeing too much. When is it out. I
think July next year. A summer film. | 0:28:14 | 0:28:22 | |
Kristin, you have been making
another Tomb Raider film. Yes, but | 0:28:22 | 0:28:26 | |
I'm not allowed to say anything. I
have been doing it. Is it the case | 0:28:26 | 0:28:35 | |
that you have been tempted back into
films after your sort of... Break. | 0:28:35 | 0:28:41 | |
You could say that. I do love it. I
do really love it. I love making | 0:28:41 | 0:28:46 | |
films. I love being on a film set
and the whole thing with the cameras | 0:28:46 | 0:28:52 | |
and lots of lights and having to put
your chin that way to say something | 0:28:52 | 0:28:56 | |
and stand on this mark. I love that.
We have talked about the break and | 0:28:56 | 0:29:02 | |
you did a lot of theatre within that
did you, you felt you had to go back | 0:29:02 | 0:29:07 | |
to theatre to find that love of
acting. I was spending a lot of time | 0:29:07 | 0:29:14 | |
wearing something else's heads and
saying somebody else's words, rather | 0:29:14 | 0:29:20 | |
than being myself. And working on
stage you manage to evacuate it | 0:29:20 | 0:29:24 | |
don't you think? You go on stage and
you have two or three hours every | 0:29:24 | 0:29:28 | |
day and you get it done. In and out.
And it is sort of gone and is Ute of | 0:29:28 | 0:29:34 | |
you. Filming it is more insidious
and lurks around. | 0:29:34 | 0:29:42 | |
That's it for tonight - thanks
to our guests Kristin and Lily. | 0:29:42 | 0:29:45 | |
Darkest Hour will be in cinemas
on the 12th of January and expect | 0:29:45 | 0:29:48 | |
to see a lot more of them
come awards season. | 0:29:48 | 0:29:52 | |
Tomorrow night, Sarah Millican
will be here with the stars | 0:29:52 | 0:29:54 | |
of the new Star Wars -
Andy Serkis and Domnhall Gleeson. | 0:29:54 | 0:29:58 | |
Until then... | 0:29:58 | 0:29:59 |