Browse content similar to 13/02/2017. 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. | :00:18. | :00:20. | |
It's only February but our guest tonight has already given | :00:21. | :00:24. | |
one of the most talked about performances of the year. | :00:25. | :00:31. | |
She's a home-grown movie star who has appeared in films such | :00:32. | :00:34. | |
as Pirates of the Caribbean, Mandela: The Long Walk | :00:35. | :00:36. | |
to Freedom and now, the eight times Oscar-nominated | :00:37. | :00:39. | |
Not forgetting giving James Bond a run for his Moneypenny | :00:40. | :00:44. | |
But every superstar has got to start somewhere... | :00:45. | :00:50. | |
If I have to eat any more sand wedge is, I will die of boredom. If she | :00:51. | :01:01. | |
had come to school today, she could have magic to a fish and chips | :01:02. | :01:05. | |
again. Fish and chips bring you out in spot. No they don't, they have | :01:06. | :01:09. | |
more vitamins C in them, so there. Naomie Harris! | :01:10. | :01:21. | |
APPLAUSE . You were so funny. I was about | :01:22. | :01:28. | |
nine. It was literally the first thing I did. What was your role in | :01:29. | :01:37. | |
it? I was Joyce, and a witch who came to school. All the kids knew | :01:38. | :01:42. | |
she was a witch, but the teachers didn't. What is your most vivid | :01:43. | :01:47. | |
memory of that time as a nine-year-old? I remember being so | :01:48. | :01:54. | |
excited. I had always wanted to be an actress, so even when I was four | :01:55. | :01:58. | |
years old I would be performing for everybody. I would spend hours in | :01:59. | :02:03. | |
front of the Mirror doing different accents. So finally, this was my big | :02:04. | :02:09. | |
moment. I loved being in front of the camera. You have gone from | :02:10. | :02:12. | |
strength to strength, you were at the BAFTAs, because Moonlight, it is | :02:13. | :02:17. | |
coming out on Friday has been nominated for Oscars and BAFTAs. | :02:18. | :02:23. | |
Crazy, it is a tiny movie, it was made with a small budget so nobody | :02:24. | :02:27. | |
expected it to do well. Barry Jenkins, the director talked about | :02:28. | :02:32. | |
the fact he expected just his friends and family to see it. Now | :02:33. | :02:37. | |
millions of people have seen it. Now hopefully millions more in the UK. | :02:38. | :02:43. | |
You look incredibly well and alive, considering... Did Iupati hard last | :02:44. | :02:52. | |
night? I am normally embed by 9:30 a.m., I am a lightweight. I was out | :02:53. | :03:02. | |
until 2am! We will talk more about Moonlight later. | :03:03. | :03:04. | |
Andy Kershaw's latest film might not win any awards, | :03:05. | :03:06. | |
but it features an intimidating cast of hundreds giving a strong, | :03:07. | :03:09. | |
powerful performance by digging really deep. | :03:10. | :03:10. | |
But it's the digging that's the problem for their next | :03:11. | :03:12. | |
Wild animals in a residential area isn't a good mixture. These are big | :03:13. | :03:29. | |
animals and be very strong. People have written of cars. Huge things, | :03:30. | :03:35. | |
ever so ugly. I have come to Gloucestershire the beautiful Forest | :03:36. | :03:39. | |
of Dean to investigate some very strange comings and goings. And | :03:40. | :03:44. | |
these are the culprits. Wild boars. They were hunted to extinction in | :03:45. | :03:50. | |
the 17th century, but in the 1980s were reintroduced onto farms as a | :03:51. | :03:58. | |
source of meat. In 2004, we thought a few were released, possibly | :03:59. | :04:01. | |
accidentally into the Forest of Dean, where they have been | :04:02. | :04:05. | |
multiplying. The population is estimated to be around 1500 and have | :04:06. | :04:11. | |
recently found a way into the nearby town of Cinderford. This butcher was | :04:12. | :04:17. | |
stunned to spot a one in the high street. He walked down the street, | :04:18. | :04:21. | |
had a nose about the place, crossed over the road, check out the bins. | :04:22. | :04:25. | |
He was just walking around and then just rolled off into the sunset. | :04:26. | :04:32. | |
Evelyn Smith came face with one of the animals in broad daylight. I was | :04:33. | :04:36. | |
walking down the green with my dog and one came behind me. People say | :04:37. | :04:41. | |
they won't hurt people, but I wouldn't like to take the chance. | :04:42. | :04:46. | |
And the vicar says they have even wandered into the local graveyard. | :04:47. | :04:50. | |
It is very distressing for families when they come to visit a grave and | :04:51. | :04:55. | |
they encountered this damage. Wild boar is coming to town looking for | :04:56. | :04:59. | |
food. When foraging, they dig and this is what causes the damage. Di | :05:00. | :05:06. | |
Martin is a local councillor. This is astonishing, and this was a | :05:07. | :05:11. | |
children's play area, when did this happen? Last weekend, but it's not | :05:12. | :05:16. | |
the first time. It has happened several times and the residents have | :05:17. | :05:20. | |
had enough. What is being done to tackle the problem? The Forest of | :05:21. | :05:24. | |
Dean comes under the responsibility of the forestry committee. Kevin is | :05:25. | :05:30. | |
their deputy surveyor. The numbers have grown very rapidly over the | :05:31. | :05:35. | |
last few years. Whilst the Forestry Commission killing of wild boar has | :05:36. | :05:39. | |
got bigger with each passing year, the number still outpaces our | :05:40. | :05:44. | |
ability to reduce them. Our responsibility only goes up to our | :05:45. | :05:49. | |
boundary. Here at this question Centre, Alistair Frazier keeps a | :05:50. | :05:54. | |
number of boars in captivity. He has a suggestion. They have all been | :05:55. | :05:59. | |
given contraception and we have had no young. How could that be extended | :06:00. | :06:04. | |
to the wild population living in the forest? Is it feasible? It is | :06:05. | :06:10. | |
absolutely feasible. When you dart of the animals, they didn't even | :06:11. | :06:16. | |
stop eating. The Department for the environment says the responsibility | :06:17. | :06:18. | |
for control of the wild boar lies with individual land owners and | :06:19. | :06:24. | |
managers. But there is no requirement by law for them to meet | :06:25. | :06:28. | |
that responsibility. The town is divided on what to do about the | :06:29. | :06:33. | |
boars. Wildlife photographer, Robin Jones believes there is a way to | :06:34. | :06:38. | |
live alongside the animals. Wild boar aren't the problem, but people | :06:39. | :06:43. | |
refuse to coexist with them. There is no education in place. Wild boars | :06:44. | :06:49. | |
are largely nocturnal and difficult to spot during the day. But Robin | :06:50. | :06:54. | |
and I give it a go. We soon spotted the tell-tale signs that boars had | :06:55. | :07:00. | |
been here. They are keen on digging? They are, they are turning over the | :07:01. | :07:04. | |
soil which makes the plants grow better. Keep voices down, we don't | :07:05. | :07:09. | |
want to startle them. We searched high and low. Elusive little | :07:10. | :07:15. | |
blighters, aren't they? But that boars were well hidden. Perhaps they | :07:16. | :07:20. | |
have gone to town. Not had much success this morning, trying to find | :07:21. | :07:25. | |
a wild boar in the forest. With decisions about wild animals left to | :07:26. | :07:30. | |
the local community and landowners, some of the town and officials have | :07:31. | :07:34. | |
agreed to get together to try to find a solution. There are places | :07:35. | :07:39. | |
where the public could help by not feeding them. The recommendation is | :07:40. | :07:45. | |
offence that is barbed up the top and bottom and electrified. It | :07:46. | :07:50. | |
doesn't look good round the church. Groups have been formed to deal with | :07:51. | :07:57. | |
the problem. We have got to work together to try to get an answer to | :07:58. | :08:03. | |
it. Whilst it seems there aren't any instant solutions, the fact locals | :08:04. | :08:06. | |
are getting together to discuss a bollard bits of these is progress. | :08:07. | :08:10. | |
It may be the start of a conversation which finally reaches | :08:11. | :08:14. | |
some answers. Andy in Gloucestershire. You have a | :08:15. | :08:24. | |
film coming up about wild animals let loose in the city, so we put | :08:25. | :08:31. | |
that feature on for you. Thank you. Let's talk about Moonlight. We have | :08:32. | :08:35. | |
both seen it, had the privilege of seeing it. The story is based on | :08:36. | :08:43. | |
this young boy. Is it based the director and the writer's combined | :08:44. | :08:48. | |
story? Yes, they grow up close to each other and had a similar | :08:49. | :08:52. | |
upbringing, so they had mothers who were crack addicts and contracted | :08:53. | :08:56. | |
HIV, both of them as a result of their addiction and abuse of drugs. | :08:57. | :08:59. | |
But they didn't know each other, even though they grew up in the same | :09:00. | :09:03. | |
neighbourhood and went to the same school. This is in Miami? Yes, | :09:04. | :09:13. | |
Miami. Set in the 1980s. You play Paula, who is a drug addicted | :09:14. | :09:17. | |
mother, but you are quite hesitant to take on the role? Yes, first of | :09:18. | :09:24. | |
all I had no experience of addiction of any form. And I don't drink | :09:25. | :09:29. | |
alcohol. I have never even been drunk, so how am I going to inhabit | :09:30. | :09:33. | |
and attacked. You have never been drunk? No, because I don't drink! He | :09:34. | :09:42. | |
is finding it hard to believe. I just thought you may have had some | :09:43. | :09:46. | |
drinking experience and then decide to go teetotal. I just don't like | :09:47. | :09:52. | |
the smell of alcohol, it has always put me off. Anyway, partly that and | :09:53. | :09:56. | |
then also I won't be able to inhabit the role of an addict. And I always | :09:57. | :10:01. | |
thought, I want to portray positive images of women and black women in | :10:02. | :10:06. | |
particular. I thought playing an addict didn't fall into that. That | :10:07. | :10:11. | |
is why I was hesitant. I sat down with Barry Jenkins, the director and | :10:12. | :10:15. | |
he persuaded me. He said this is based on my mother's story. I | :10:16. | :10:20. | |
realised he had a vested interest in making sure she wasn't just a | :10:21. | :10:25. | |
one-dimensional character. It was my hesitation, I didn't want her to be | :10:26. | :10:29. | |
portrayed as just her addiction, I wanted her to have her humanity. It | :10:30. | :10:36. | |
does come across in the film, let's have a look. Why didn't you come | :10:37. | :10:42. | |
home like you were supposed to? Who is you? Nobody. I found him | :10:43. | :10:57. | |
yesterday. Found him in a whole. Yes, some boys chased him, wouldn't | :10:58. | :11:02. | |
tell me where he lived this morning. Thanks for saying to him. He can | :11:03. | :11:06. | |
usually take care of himself. He is good that way. Little man. | :11:07. | :11:18. | |
APPLAUSE . The tempo of it draws you in. But | :11:19. | :11:26. | |
you were parachuted in, all in three days? Yes, and that clip shows me at | :11:27. | :11:32. | |
the start of the addiction when she is managing to hold down a job and | :11:33. | :11:37. | |
being a good mother at that stage. She has a handle on her addiction | :11:38. | :11:41. | |
and then it gets dark. She loses herself to the point where she is | :11:42. | :11:46. | |
incredibly abusive to her son. We were chatting and your accent is | :11:47. | :11:53. | |
perfect. You are London born and bred, but doing this American | :11:54. | :11:58. | |
accent. The weird thing is, I am not good at accents, it requires a lot | :11:59. | :12:02. | |
of work. I have to work with an accent coach, do sessions with him | :12:03. | :12:08. | |
over the Internet. And I stay in the accent, I go shopping in it, | :12:09. | :12:12. | |
interact with people pretending I am from Miami. It is the only way to do | :12:13. | :12:17. | |
it, you have to stay in it all the time. Immerse yourself in it. For | :12:18. | :12:24. | |
what it is work, you are so worth all your nominations. It is | :12:25. | :12:27. | |
definitely worth the watch and it is released on Friday nationwide. But | :12:28. | :12:36. | |
Naomi is also familiar with the world of gadgets and gizmos. But | :12:37. | :12:43. | |
what Marty has discovered is something better than what Q could | :12:44. | :12:47. | |
have come up with. Fancy a levitating car. In 2015I was blown | :12:48. | :12:52. | |
away by a new technique that can make objects levitate, using nothing | :12:53. | :12:59. | |
but sound. It was developed by scientists at Bristol University. | :13:00. | :13:03. | |
Since then, they have made huge progress and the technology is even | :13:04. | :13:07. | |
more like science fiction. I cannot wait to see it. It was right, up and | :13:08. | :13:21. | |
then left. Now the scientists have come up with a way to move objects | :13:22. | :13:28. | |
around in midair. Look at that, left and right, up and down, all over the | :13:29. | :13:34. | |
place. That is quite spooky. How are they able to take it onto this new | :13:35. | :13:40. | |
stage, just with the power of sound? The genius of it is they are taking | :13:41. | :13:45. | |
advantage of an intriguing way that sound waves behave. When they | :13:46. | :13:50. | |
collide, they do something very strange. Let me show you. I have got | :13:51. | :13:57. | |
two speakers. If I turn on this speaker over here so it produces a | :13:58. | :14:04. | |
pure, continuous note. Then I turn on this speaker over here, so it | :14:05. | :14:09. | |
produces the same continuous note... You would expect that when I go from | :14:10. | :14:16. | |
one to two speakers, the volume of noise would simply increase | :14:17. | :14:19. | |
everywhere. But watch what happens when I measure the volume in | :14:20. | :14:22. | |
different areas of the room with this microphone. I get to about | :14:23. | :14:30. | |
their, it is actually quite quiet. If I go a little bit this way, it | :14:31. | :14:38. | |
suddenly gets louder. And then... Quieter again. And then... That is | :14:39. | :14:47. | |
really loud, just there is really loud. The loud areas are created | :14:48. | :14:56. | |
when the peak of the sound waves meets another. They combine and the | :14:57. | :15:02. | |
sound gets louder. But when a peak meets a trough, they can sell out | :15:03. | :15:10. | |
and so it gets quieter. This means that with just two speakers, I can | :15:11. | :15:16. | |
create a pattern of noisy areas and quieter spots. But Bruce has 64 | :15:17. | :15:23. | |
speakers and so he can make a far more elaborate, 3-D pattern. If we | :15:24. | :15:28. | |
look on the screen, you'll see the simulation of what is going on. So | :15:29. | :15:33. | |
these blue blobs of a loud bits and every thing else is quiet? The sound | :15:34. | :15:38. | |
landscape is a force field so the quiet region is a place where there | :15:39. | :15:42. | |
is no force and the loud is where there is a high force. If the | :15:43. | :15:46. | |
particle tries to get out of the quiet region, it is blasted back | :15:47. | :15:49. | |
into the quiet region by the loud sound. So, Bruce can move the bead | :15:50. | :15:56. | |
around by changing the position of the quiet and loud areas. He does | :15:57. | :16:00. | |
this by controlling the output of individual speakers. This is not | :16:01. | :16:05. | |
just a bit of fun in the lab, it does have the potential to help | :16:06. | :16:12. | |
tackle serious challenges. You can already imagine this, add bigger | :16:13. | :16:17. | |
version as a production line, so imagine if it was dangerous or a | :16:18. | :16:21. | |
dangerous chemical or something that was incredibly sensitive to | :16:22. | :16:25. | |
contamination and you wanted to move it around in a noncontact way. I | :16:26. | :16:30. | |
think this is wonderful technology and the potential applications are | :16:31. | :16:35. | |
really exciting. They go beyond just handling dangerous chemicals. It | :16:36. | :16:39. | |
could one day be used in medicine to move things inside the body without | :16:40. | :16:41. | |
breaking the skin. Did you follow that, Michelle? I | :16:42. | :16:56. | |
might have to watch it again. First, we have to talk about bond. What is | :16:57. | :17:03. | |
happening? What can you tell us? I have an exclusive for you! Know, I | :17:04. | :17:08. | |
don't know anything. Will you be in it? I hope so! It would be awful if | :17:09. | :17:17. | |
I wasn't. Wasn't it Lois Maxwell who played the role for 25 years? That | :17:18. | :17:23. | |
is what I'm hoping for. I want to break that record, in fact. Go, | :17:24. | :17:32. | |
girl! There is something in the production line at the moment. The | :17:33. | :17:39. | |
working title is Bond 25. Did you not know that? Well, we tried, but | :17:40. | :17:42. | |
all we could get from them was that. Confirming the suspicions of older | :17:43. | :17:47. | |
brother and sisters everywhere, research from Edinburgh University | :17:48. | :17:49. | |
has recently shown that first-born children could be more intelligent | :17:50. | :17:51. | |
than their siblings. Sounds great to me! I don't believe | :17:52. | :17:57. | |
a word of it! Apparently it's all to do | :17:58. | :18:04. | |
with them getting more mental stimulation from their parents | :18:05. | :18:06. | |
in their early years. Jean's been in Edinburgh putting | :18:07. | :18:08. | |
the theory to the test. Don't even bother putting it on! | :18:09. | :18:19. | |
It is all about sibling rivalry today on The One Show. If I told you | :18:20. | :18:24. | |
that the older sibling was the smartest, what would you say to | :18:25. | :18:30. | |
that? I think yes. Do you think it is true? So you are admitting that | :18:31. | :18:34. | |
your big sister is a smarter than you. Since you two are quite evenly | :18:35. | :18:40. | |
matched, let's put the theory to the test. Two beautiful sisters here. | :18:41. | :18:44. | |
Have you heard that the elder sister is the smartest. What do you think | :18:45. | :18:46. | |
about that? Not true. We have a game right here to | :18:47. | :19:02. | |
put it to the test. All you have to do is build me a cube, ladies. May | :19:03. | :19:05. | |
the best sibling when. Three, two, one, go! It is hard to judge. They | :19:06. | :19:13. | |
are both as bad as each other, but I am going to be a bit naughty and | :19:14. | :19:17. | |
give this round to the younger sibling. I'm going to have to give | :19:18. | :19:22. | |
it to the younger sibling. I will have to announced Charlie the | :19:23. | :19:27. | |
winner. Not exactly a box, but a really good effort. | :19:28. | :19:34. | |
I will list this cloth to reveal six items. You must memorise them and | :19:35. | :19:38. | |
tell them back to me. You have 20 seconds. | :19:39. | :19:55. | |
Glasses... Candle... I forgot. So Charlie got three, and Emma league | :19:56. | :20:07. | |
at all six. So round to go Hannah. So who ever answers correctly is | :20:08. | :20:12. | |
officially the smartest sibling. It is a riddle, so listen up. If you've | :20:13. | :20:18. | |
got it, you can't share it, and if you've shared it, you haven't got | :20:19. | :20:30. | |
it. What am I? A secret? Well done! Congratulations. That means that, | :20:31. | :20:35. | |
after all, your youngest sibling is smarter than you. What begins with E | :20:36. | :20:41. | |
and ends with letter Echo and contains one letter? Yellow man -- I | :20:42. | :20:53. | |
have to announce that you are the smartest sibling. It is envelope! | :20:54. | :21:00. | |
How far can you run into the woods? I am so impressed you got that. | :21:01. | :21:06. | |
Emily, you have proved the theory that the eldest child is smarter in | :21:07. | :21:13. | |
this case. We kind of guest by your reaction, | :21:14. | :21:20. | |
Naomie, that you are the eldest. Here is a family photo. Your brother | :21:21. | :21:24. | |
is on the left, and then your sister. And my stepdad and my mum. | :21:25. | :21:30. | |
Who is the cleverest out of the three of you? Strangely enough, I | :21:31. | :21:35. | |
was! I think it's more about the pressure that is put on the first | :21:36. | :21:42. | |
child. All that pressure to get a A in the exam. By the youngest sister | :21:43. | :21:47. | |
they were like, do what you want. All actors - even Oscar-nominated | :21:48. | :21:53. | |
ones like Naomie - have one man to thank | :21:54. | :21:55. | |
for revolutionising But you might not hear his name | :21:56. | :21:56. | |
in their acceptance speeches. So we've left it to the shy and | :21:57. | :22:00. | |
retiring Simon Callow to big him up. Picture a night at the theatre. The | :22:01. | :22:18. | |
lights go down, the audience is hushed, and each and every eye is | :22:19. | :22:22. | |
fixed on the world unfolding before them. It's a world I've been part of | :22:23. | :22:30. | |
since I took my first role, working in the box office at the National | :22:31. | :22:35. | |
Theatre. I watched the actors rehearsing, and realised I wanted to | :22:36. | :22:39. | |
dedicate my life to this noble craft. But the theatre hasn't always | :22:40. | :22:44. | |
been the world we recognise today. A great deal of what I love about it | :22:45. | :22:49. | |
was brought into existence by one extraordinary man in the 18th | :22:50. | :22:54. | |
century. Somewhat of a hero in my eyes. In 1741, a young actor from | :22:55. | :23:04. | |
Lichfield stepped into the limelight. His name was David | :23:05. | :23:06. | |
Garrick, and he was about to change the world of theatre forever. When | :23:07. | :23:11. | |
he first stepped onto the stage, he was about to change it. Quinn was | :23:12. | :23:20. | |
the biggest actor at the time, and he was slow and stiff in his | :23:21. | :23:24. | |
delivery. David Garrick was different. He brought his characters | :23:25. | :23:29. | |
to life, transforming before the audience's eyes. No one had seen | :23:30. | :23:34. | |
anything like it before. It was a new kind of acting, that even Quinn | :23:35. | :23:41. | |
had to acknowledge. He said, if this young man is right, we have all been | :23:42. | :23:48. | |
wrong. But Garrick wasn't just a revolutionary act. As the manager of | :23:49. | :23:52. | |
the Drury Lane Theatre, he set out to transform how things will run off | :23:53. | :23:58. | |
the stage as well. This theatre historian is an expert on Garrick's | :23:59. | :24:05. | |
life. We are standing outside where Garrick's theatre would have been. | :24:06. | :24:11. | |
It would have been a different theatre? People would have pushed in | :24:12. | :24:16. | |
closer to each other, sat on the stage and in the auditorium, jostled | :24:17. | :24:22. | |
and argued. What did Garrick do to change all that? He moved the | :24:23. | :24:27. | |
audience off the stage, so this stage becomes a special area that | :24:28. | :24:33. | |
they want to watch. Step-by-step, he moved the theatre towards what we | :24:34. | :24:39. | |
know now. Actors have a lot to thank Garrick fall, and I want the next | :24:40. | :24:42. | |
generation to be as passionate about his legacy as I am. So these | :24:43. | :24:51. | |
students from the National Theatre of performing one of Garrick's | :24:52. | :25:00. | |
greatest hits, Romeo and Juliet. I do bite my son, Sir! Fight if UB | :25:01. | :25:15. | |
men! Absolutely fantastic. Thrilling. In the physical | :25:16. | :25:19. | |
excitement of what you are doing with your bodies, just don't lose | :25:20. | :25:26. | |
what they are thinking. When you say, for example, these heartless | :25:27. | :25:31. | |
Hyden is, that isn't as much of a blow as punching someone in the | :25:32. | :25:36. | |
face. It needs to go right to the destination. David Garrick would be | :25:37. | :25:40. | |
surprised to see Romeo and Juliet be done like that, but I think he would | :25:41. | :25:46. | |
know it was true. I believed all the violence in that, and that's the | :25:47. | :25:49. | |
thing that Garrick would have thought about. But what do these | :25:50. | :25:56. | |
budding young actors know of Garrick? I'm going to think of my | :25:57. | :26:01. | |
performing differently having heard that. I wasn't familiar with his | :26:02. | :26:08. | |
story until today, so it was great to sit down and listen. To see how | :26:09. | :26:12. | |
his story and teachings are living today is great. It was 1779 when the | :26:13. | :26:23. | |
curtain finally fell on Garrick's remarkable life, but his name lives | :26:24. | :26:27. | |
on, not only in the world of theatre, but in the fabric of London | :26:28. | :26:32. | |
itself. A remark of respect for one of the most influential figures the | :26:33. | :26:36. | |
theatre had ever seen, and perhaps ever will. | :26:37. | :26:47. | |
Who knew it was David Garrick? Really interesting! | :26:48. | :26:50. | |
So Simon Callow, world-renowned actor of stage and screen, | :26:51. | :26:52. | |
once worked in a box office selling theatre tickets. | :26:53. | :26:54. | |
That got us thinking about your fellow actors | :26:55. | :26:57. | |
did for a career before they hit the big time. | :26:58. | :27:00. | |
I was acting since the age of nine, so I haven't really done much else. | :27:01. | :27:14. | |
But I did have a little stint working in a call centre. I was the | :27:15. | :27:20. | |
tech support for a mobile phone company. That's very interesting | :27:21. | :27:24. | |
because I am a complete Luddite and don't know how to work phones or | :27:25. | :27:32. | |
anything technological at all! Here we go. We will show you a silhouette | :27:33. | :27:34. | |
of a celebrity. Our first celebrity | :27:35. | :27:36. | |
started out life working in making dog treats such as | :27:37. | :27:38. | |
pup tarts and pup cakes. MS Dhoni? Absolutely right! Well | :27:39. | :28:06. | |
done! -- Emma Stone. This person was a bricklayer before they were famous | :28:07. | :28:11. | |
and said they could build a wall more quickly than anyone on her | :28:12. | :28:12. | |
team. Was it would be Goldberg? It was. | :28:13. | :28:14. | |
How about this one? This celebrity worked | :28:15. | :28:29. | |
in an amusement park in Southend and their job was to try | :28:30. | :28:31. | |
and encourage people to try out I don't know. Judi Dench? No, it was | :28:32. | :28:34. | |
Helen Mirren! Thanks to Naomie - | :28:35. | :28:48. | |
You can see her on the big screen Adam Hills will be here, | :28:49. | :28:51. | |
and we'll have a special Valentine's | :28:52. | :28:57. |