Browse content similar to 15/03/2017. 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 | :00:16. | :00:17. | |
We don't want to make a song and dance about how | :00:18. | :00:25. | |
good tonight's show will be, but these guys | :00:26. | :00:27. | |
APPLAUSE APPLAUS That was amazing. | :00:28. | :01:03. | |
That was the cast of the classic West End musical, 42nd Street. | :01:04. | :01:06. | |
We've lots more fancy footwork coming up from them | :01:07. | :01:09. | |
Plus, we'll be chatting to their leading lady - | :01:10. | :01:12. | |
Sheena Easton is going to be here. There she is. Are you ready? | :01:13. | :01:26. | |
First though, prepare for lift-off because we're kicking | :01:27. | :01:28. | |
things off with the stars of the new sci-fi blockbuster, Life. | :01:29. | :01:31. | |
Please welcome Jake Gyllenhaal and Rebecca Ferguson! | :01:32. | :01:33. | |
Nice to see you, are you well? Come and have a seat. Lovely to have you | :01:34. | :02:00. | |
here. Lovely to be here. Jake, you have taken time out of your Broadway | :02:01. | :02:05. | |
schedule to join us tonight. You are in a new musical. We didn't realise | :02:06. | :02:11. | |
you were a singer as well. We heard your voice. It's fantastic. We have | :02:12. | :02:15. | |
footage. Have you been singing since you were a young lad? Yes. It's | :02:16. | :02:20. | |
better on stage live every night than it is there. I have been | :02:21. | :02:23. | |
singing since I was a kid. Impressive. How was opening night? | :02:24. | :02:28. | |
Amazing. We opened the show in a new theatre, the oldest newest theatre | :02:29. | :02:32. | |
on Broadway. We reopened it after 50 years. It was pretty amazing. Two | :02:33. | :02:37. | |
opening nights. A theatre where Elvis Presley would perform and | :02:38. | :02:42. | |
Barbara tries end performed for the first time ever. Iconic. I'm in | :02:43. | :02:50. | |
crazy company. I don't know how far you are into this filming process. | :02:51. | :02:58. | |
I'm completed they are continuing. It's with Hugh Jackman. The first | :02:59. | :03:04. | |
ever circus. I play the Sweding Nightingale. Singer. Performing for | :03:05. | :03:10. | |
the first time. Nerve-wracking. She's Swedish. Amazing. There | :03:11. | :03:14. | |
weren't recordings back in the day. I couldn't hear what she sounded | :03:15. | :03:18. | |
like. It's maybe a good thing. Right. Modern music, written by Paul | :03:19. | :03:29. | |
and Justin who got the Oscar for La La Land. That's my world. Ryan | :03:30. | :03:43. | |
Reynolds was meant to be with us today but he's been caught up in | :03:44. | :03:47. | |
that storm on the east coast. Is that him just frozen there? Does he | :03:48. | :03:55. | |
have a gun, too? What is that? Who knows. He didn't even wear shoes on | :03:56. | :04:04. | |
his appearance! You are here to talk about this new sci-fi film called, | :04:05. | :04:07. | |
Life, later on in the show we will do a One Show first. We will cross | :04:08. | :04:14. | |
live to this cinema in Dorset where more than 300 unsuspecting movie | :04:15. | :04:19. | |
lovers will be waiting for the 7. 50pm screening, not of your film, | :04:20. | :04:23. | |
another film... The trailers before the film. Would you believe it, they | :04:24. | :04:28. | |
are not showing a thriller of your film. Can you believe that audience. | :04:29. | :04:41. | |
Shocking. They look so upset. We thought we needed to surprise them | :04:42. | :04:45. | |
with a live trailer if you are up for it. Amazing. These things are | :04:46. | :04:50. | |
live. They it is always good fun. Now, there's no doubt | :04:51. | :04:57. | |
that there are a lot of challenging jobs out there - | :04:58. | :04:59. | |
being a Hollywood actor might even be one of them - | :05:00. | :05:02. | |
but at the moment few compare Reports of violence are up, | :05:03. | :05:04. | |
staff numbers are down and complaints about drug use | :05:05. | :05:08. | |
are widespread, but one officer has managed to overcome all that, | :05:09. | :05:11. | |
as Raphael Rowe's found out. Life in Britain's jails is under the | :05:12. | :05:18. | |
spotlight. Assaults on staff are now at their highest on record, there | :05:19. | :05:22. | |
are staff shortages and chronic overcrowding. Some critics believe | :05:23. | :05:31. | |
it's creating a toxic cocktail in a system that's in meltdown. In an | :05:32. | :05:34. | |
attempt to recruit more staff into the profession, the Government have | :05:35. | :05:38. | |
announced a pay rise for some officers in London and the | :05:39. | :05:41. | |
south-east, but with unsociable hours and the threat of violence, | :05:42. | :05:46. | |
the question is - who'd want to be a prison officer? Someone like | :05:47. | :06:00. | |
55-year-old Bernadette Hare she works at a prison in Oxfordshire. | :06:01. | :06:06. | |
Nice to meet you. And you. She has been patrolling the corridors for | :06:07. | :06:09. | |
ten years and I'm here to spend the day wither had. We have lifers, sex | :06:10. | :06:18. | |
offenders, drug dealers, burglars. What does it take to be a prison | :06:19. | :06:23. | |
officer? You have to find your gift, if you like, your special thing. | :06:24. | :06:31. | |
Mine is my yapping. I can talk. We have the swagger coming now. You | :06:32. | :06:35. | |
need to be confident. You can't show fear. That is one thing you can't do | :06:36. | :06:41. | |
in this job. Shut up! Having spent some time in prison myself, I'm | :06:42. | :06:47. | |
interested to know if Bernie faces additional challenges as a female | :06:48. | :06:50. | |
prison officer working in an all male prison? You know, a lot of | :06:51. | :06:58. | |
these I could be their mum or grandmum in some cases, | :06:59. | :07:01. | |
unfortunately. In all the badness that goes on, there is still the | :07:02. | :07:07. | |
female staff are more protective than the male staff. By? By the | :07:08. | :07:12. | |
other prisoners. Really? There is still an ethos of, you don't attack | :07:13. | :07:17. | |
a female member of staff. I've been saved by prisoners on more than one | :07:18. | :07:21. | |
occasion. I've had prisoners come to my head aid. The Justice Secretary | :07:22. | :07:26. | |
is calling for more people to become prison officers they are fearful | :07:27. | :07:29. | |
because of the violence they expect? What do you see? You see a lot of | :07:30. | :07:33. | |
stuff you don't want to see. People are high on drugs. They are violent. | :07:34. | :07:38. | |
Although we are not allowed to directly film any prisoners what | :07:39. | :07:42. | |
I've seen today is very different. We haven't caught it on camera, I | :07:43. | :07:47. | |
have witnessed prisoners hugging you. In my day that didn't happen. | :07:48. | :07:54. | |
Are you all right darling. Are you sure? Yeah. Good. You have to be a | :07:55. | :07:59. | |
nurse, teacher, psychologist and their mother. You have to be | :08:00. | :08:02. | |
everything. In fact, Bernie's approach has won the respect of many | :08:03. | :08:06. | |
inmates. How are you, are you all right? Yeah. Are you all right? If | :08:07. | :08:13. | |
you treat people the way you want to be treated, then it's resipcle. It's | :08:14. | :08:17. | |
really a rewarding job. People think it's all violence and everybody | :08:18. | :08:20. | |
stabbing each other and blah, blah, blah. It's not like that at all. It | :08:21. | :08:25. | |
does happen? Oh, it does happen. It happens an awful lot, more than we | :08:26. | :08:30. | |
would like it to happen. That is down to staff shortages, | :08:31. | :08:35. | |
unfortunately. Not rocket science, they cut staff, violent lens and | :08:36. | :08:38. | |
self-harm went up because we don't have enough time to spend with | :08:39. | :08:42. | |
prisoners. For the governor, Bernie is a valuable member of staff. She | :08:43. | :08:48. | |
has a good balance of being disciplined and friendly with | :08:49. | :08:51. | |
prisoners at the same time. Prisoners respect her. Most won't | :08:52. | :08:55. | |
play up around her, they don't want to let her down. What do you say to | :08:56. | :09:01. | |
people who believe what they read if you come into this job your life is | :09:02. | :09:04. | |
at risk? Sometimes they are difficult. They are good places to | :09:05. | :09:08. | |
work. It's a people job. You can have a real impact on people and | :09:09. | :09:12. | |
help people to change. Two-days later and it's a very different day | :09:13. | :09:18. | |
for Bernie. The prison has put her forward for an award at St James' | :09:19. | :09:24. | |
Palace in London. I'm out of my comfort zone. It's not me at all. | :09:25. | :09:29. | |
She is one of a number of people being honoured for dedication and | :09:30. | :09:34. | |
skill in her field. She doesn't know is that her outstanding contribution | :09:35. | :09:38. | |
has earnt her this year's top award. I have great pleasure in announcing | :09:39. | :09:45. | |
this year's Princess Royal's Prize goes to Bernadette Hare. I was | :09:46. | :09:48. | |
shocked. Absolutely shocked. I didn't know what to say. I was | :09:49. | :09:51. | |
shaking so much I thought I was going to drop it. I had no idea. I | :09:52. | :09:58. | |
was like, wow! Pretty much, wow. For Bernie and her husband, Dave, it's | :09:59. | :10:03. | |
the end to a perfect day. I actually said, you'll win it. She didn't | :10:04. | :10:08. | |
believe me. Good job her husband has faith! So lovely. Thank you so much | :10:09. | :10:15. | |
to Bernie for letting us spend the day with you. A round of applause. I | :10:16. | :10:20. | |
think she deserves it. Why not. Congratulations on your award. Jake, | :10:21. | :10:25. | |
you've worked with young people in prisons, haven't you, tell us about | :10:26. | :10:30. | |
that, what work were you doing? I got involved because I was doing | :10:31. | :10:38. | |
research for a film, I learnt about the prison system in California in | :10:39. | :10:42. | |
the States where I grew up. I went to a number of different prisons. I | :10:43. | :10:45. | |
ended up in a juvenile prison through a number of different people | :10:46. | :10:49. | |
that I met along the way and started working a little bit with juveniles | :10:50. | :10:55. | |
there and started working with the programmes going on there. It was | :10:56. | :10:58. | |
extraordinary. Really extraordinary. I bet. This is the thing with... I | :10:59. | :11:03. | |
mean both of your approaches to the way you take to acting the research | :11:04. | :11:09. | |
you do. Thinking of this new movie. It's incredibly real and life like | :11:10. | :11:14. | |
in one respect because it's life on the International Space Station and | :11:15. | :11:19. | |
really the broad span of astronauts out there reflects, it's very real | :11:20. | :11:24. | |
at the moment? Is do you want to start us off? I was listening to | :11:25. | :11:28. | |
you, the research you do is incredible. Yes. They are sending | :11:29. | :11:35. | |
drones to rs Mars. We are scraping the surface of this incredible, | :11:36. | :11:43. | |
vast, not knowing, we have no idea how big the universe is. Science is | :11:44. | :11:48. | |
remarkably beautiful and lovely. People ask me if I believe there is | :11:49. | :11:53. | |
life out there. We found water on the moon. If there are parasites | :11:54. | :12:01. | |
there will be an alien form. It's a realistic sci-fi movie we are | :12:02. | :12:04. | |
getting closer to what could possibly happen. How do each of your | :12:05. | :12:07. | |
characters fit into the film, how does it come about? I play Miranda | :12:08. | :12:16. | |
North, a micro biology gists. A crosser of T's and dotters of i's. | :12:17. | :12:23. | |
She has to make sure-fire walls are up. She has to imagine the worst | :12:24. | :12:28. | |
that can happen, the worst after that and after that. They then break | :12:29. | :12:34. | |
down. Who are you when all the stable routines disappear from you? | :12:35. | :12:39. | |
In essence it's about life out there. Let's just have a little look | :12:40. | :12:43. | |
at you in action. This is the moment that this alien life-form starts | :12:44. | :12:47. | |
showing its more sinister side. Here we go. Lowering oxygen, more carbon | :12:48. | :12:55. | |
dioxide. Are you sure it won't hurt it It's a very, very low volt age. | :12:56. | :13:00. | |
Look how fast it's growing. Every single cell is a muscle cell and a | :13:01. | :13:08. | |
nerve cell. All muscle, all brain. No. It's in between my fingers. It's | :13:09. | :13:13. | |
not letting go. Can I make a suggestion. Can I go in there and | :13:14. | :13:20. | |
get him and bring him back out. No of course you cannot. I can do this. | :13:21. | :13:26. | |
I can. APPLAUSE. It's like a crazy | :13:27. | :13:38. | |
possessed won ton. He has been stressed out all day. My heart. I | :13:39. | :13:42. | |
watched this morning, it's done something to me. It really has. I'm | :13:43. | :13:50. | |
sweating having watched that scene again. You are really are? I am. | :13:51. | :13:56. | |
He's shaking. I don't mean to laugh, I'm sorry. I was jumping out of my | :13:57. | :14:03. | |
skin. I know Rebecca we talked about how scary. Did you have the same | :14:04. | :14:09. | |
affect? Not the sweating. I'm still sweating for it. I saw it a week | :14:10. | :14:15. | |
ago, I think the music, the sound effects are so important for a film | :14:16. | :14:19. | |
like this. When we were filming Daniel was having music on whilst | :14:20. | :14:24. | |
shooting the sequences. So much you don't think about that everyone adds | :14:25. | :14:29. | |
to this film to create what becomes that effect. Your character in the | :14:30. | :14:35. | |
film, you seem calm. You are dealing with the situations. You have got, | :14:36. | :14:39. | |
your character has a fascination with space, would prefer to be in | :14:40. | :14:45. | |
space than on Planet Earth? He's a medical doctor who is there to make | :14:46. | :14:48. | |
sure the crew stays healthy and if there is an emergency that needs to | :14:49. | :14:53. | |
be dealt with medically he can help with it. His first impression is not | :14:54. | :14:58. | |
Assad a scientists it's in awe of the thing. It becomes a type of | :14:59. | :15:03. | |
relationship, I think, with every single one of the... The creature | :15:04. | :15:10. | |
has a relationship to all of us. How we respond to it, it responds to us. | :15:11. | :15:16. | |
He finds it beautiful. It's quiet. That is what I liked about the | :15:17. | :15:20. | |
story. That is why you wanted to do it? There is a reason for you | :15:21. | :15:24. | |
wanting to do their movies there. Is an underlying message? | :15:25. | :15:31. | |
Yes. The creature does not release speak. I thought we would be | :15:32. | :15:37. | |
interesting if I did not speak that much either. I think it is | :15:38. | :15:41. | |
interesting. There's so much tension in movie. And our director casted so | :15:42. | :15:53. | |
beautifully. We have a character from Japan because the International | :15:54. | :15:56. | |
Space Station is multicultural. There is someone from the UK, the | :15:57. | :16:00. | |
United States, Russia. And because of that I think we all interact with | :16:01. | :16:05. | |
this thing in different way. And also because it is not set in the | :16:06. | :16:10. | |
future, the deals that could be happening. That is what makes it | :16:11. | :16:15. | |
scary. I'm all right now! Have some water! You probably deal with things | :16:16. | :16:21. | |
on the farm and you understand there may be some organisms that are not | :16:22. | :16:28. | |
always so helpful. That is why you are sweating! I'm fine now. And | :16:29. | :16:35. | |
let's move on to the bromance you had with Ryan Reynolds. Always happy | :16:36. | :16:40. | |
to talk about that! Good buddies. He is a wonderful man. I think in our | :16:41. | :16:46. | |
business it is rare when you meet someone who is a contemporary where | :16:47. | :16:48. | |
there are literally is no competition. You know. Just that | :16:49. | :16:55. | |
real love. It is just friends you meet is a certain time in your life. | :16:56. | :16:59. | |
We met a movie and just became close friends. And for me when I come | :17:00. | :17:06. | |
abroad there is already this hubristic side and it is very | :17:07. | :17:11. | |
welcome. It lightens up what could be a tense moment to film in because | :17:12. | :17:16. | |
it is a hard movie to shoot. But we laughed a lot. One of my favourite | :17:17. | :17:21. | |
moments was in that scene when Ryan turned around in the middle of a | :17:22. | :17:26. | |
shot. He was right on the front and we were watching on the back. He | :17:27. | :17:30. | |
turned around and said, we are all going to die! It just lightened the | :17:31. | :17:40. | |
mood a little bit. It is strange and dark humour but we know him for that | :17:41. | :17:45. | |
as well. And it is in the cinemas from next Friday. Still plenty of | :17:46. | :17:54. | |
time to see it. It is Friday, next Friday. And of course the latest in | :17:55. | :17:57. | |
a long line of great alien movies. We asked Lucy to boldy go | :17:58. | :18:01. | |
and seek out the good, the bad and the ugly | :18:02. | :18:03. | |
of our favourite on screen Here we go. | :18:04. | :18:15. | |
In our quest to explore the universe we have launched chimpanzees into | :18:16. | :18:19. | |
space, landed men on the moon and hurled a satellite out of the solar | :18:20. | :18:24. | |
system. But it is only thanks to a love the movies that we have been | :18:25. | :18:27. | |
introduced to a whole new universe aliens. | :18:28. | :18:32. | |
One of the cutest aliens to visitors did not have a bad bone in his body. | :18:33. | :18:39. | |
I'm not so sure about the finger. Because he is designed to look cute, | :18:40. | :18:46. | |
ugly, hideous, likeable, every single feature is maximised to be | :18:47. | :18:52. | |
cute. That is one of the reasons why he appealed so much to children. | :18:53. | :18:58. | |
These are shrouded in mist and they communicate in an non-linear form of | :18:59. | :19:03. | |
language transcending space and time. That is a proper introduction. | :19:04. | :19:07. | |
But have they got friendly intentions? We spent the whole film | :19:08. | :19:12. | |
trying to communicate with them and understand them, what they are | :19:13. | :19:14. | |
actually saying and the language they use. Things are more | :19:15. | :19:22. | |
straightforward with the aliens in the day the earth stood still. | :19:23. | :19:26. | |
Language was not the problem. We were the problem. | :19:27. | :19:36. | |
I took to the streets to find out what your favourite movie aliens are | :19:37. | :19:43. | |
and why. Mine is ET. I would quite like to wrap him up in a blanket. I | :19:44. | :19:49. | |
like the Klingons in Star Trek the pub they combine scariness with | :19:50. | :19:52. | |
slight sexiness which is kind of weird. The aliens in toy story. It | :19:53. | :20:01. | |
takes me back to when I used to watch it as a kid and great | :20:02. | :20:04. | |
catchphrase as well. Men in Black, that surprise when you expect the | :20:05. | :20:21. | |
dog to bark at its peak. That is freaky. Not all aliens are cute, | :20:22. | :20:21. | |
some are just born bad. This is the three times made things | :20:22. | :20:29. | |
from another world, well known for doing awful stuff. Infecting all | :20:30. | :20:34. | |
humanity. Tom Cruise met another deadly species of alien hidden | :20:35. | :20:39. | |
inside a machine in War of the world. We reached a point in cinema | :20:40. | :20:43. | |
history where we have the special effects know-how and technology to | :20:44. | :20:48. | |
detect the kind of large-scale devastation of the planet that we | :20:49. | :20:53. | |
all expect from interstellar wars. Pretty impressive. So I figured I | :20:54. | :20:57. | |
would take a look and see how it is done. These computer wizards are | :20:58. | :21:01. | |
responsible for creating the visual effects of the new sci-fi film, | :21:02. | :21:11. | |
Life. What qualities do you need question not something that you can | :21:12. | :21:14. | |
relate to. Talk about how you develop the creature filled up when | :21:15. | :21:19. | |
you get the character you add physicality, you take the parameters | :21:20. | :21:22. | |
for the kind of materials, some kind of fleshy skin. And you add stiff | :21:23. | :21:34. | |
ill it is or how stretchy. CGI is pretty but if you need scary aliens | :21:35. | :21:38. | |
you need to go back to the rubber suit and slime technology that | :21:39. | :21:41. | |
creates the alien from the alien franchise. | :21:42. | :21:56. | |
I think I prefer ET. Thanks, Lucy. | :21:57. | :22:09. | |
I just keep checking our new! We have got a Scaryometer. Calvin is | :22:10. | :22:16. | |
the name of the alien in your movie. So this is the scale. From nice to | :22:17. | :22:22. | |
be be evil. To be fair I'm kind of over here. Would it not be a | :22:23. | :22:33. | |
process? I think. That is true. When he is named. I think that we start | :22:34. | :22:36. | |
there. He has multiple personalities. He is basically an | :22:37. | :22:46. | |
actor. Put in there for the majority but actually he goes off the scale! | :22:47. | :23:08. | |
We will put that down there. We like playing that game! No. Anyway... | :23:09. | :23:10. | |
Samuel L Jackson sat here a few weeks ago and we were speaking about | :23:11. | :23:11. | |
Kong and he was so surprised by size when it came out. How surprised Wii | :23:12. | :23:16. | |
U at what Calvin looked like when you saw him? -- how surprised where | :23:17. | :23:28. | |
you. Pretty surprised. I loved that we did not have anything to work | :23:29. | :23:32. | |
from when we shot the film. Why was that? I think that Daniel the | :23:33. | :23:39. | |
director wanted us to use our own imagination and be afraid of what | :23:40. | :23:44. | |
ever we were afraid. I think that was what is so great about Daniel, | :23:45. | :23:48. | |
he did that all over the place and allowed us to interact with the | :23:49. | :23:53. | |
alien the way we would be actually afraid. And in the end he created, I | :23:54. | :23:57. | |
considered actually the creature to be a bit like Daniel sometimes. | :23:58. | :24:03. | |
Because he was speaking to us in the scenes all the time, saying, it is | :24:04. | :24:08. | |
moving up to you. He would direct you where to look. So he was | :24:09. | :24:14. | |
manipulating us in that way. And sometimes you could see Calvin | :24:15. | :24:19. | |
through the eyes of other people. My character, as he has behind glass | :24:20. | :24:23. | |
because she's always behind the firewall. I'd also she would see the | :24:24. | :24:30. | |
beauty. Loving this creature. I think she experienced beauty through | :24:31. | :24:35. | |
seeing what others thought in Calvin. You can attack it from | :24:36. | :24:40. | |
different angles. As actors I think you've both been involved in very | :24:41. | :24:45. | |
physical films, Mission Impossible, Jarhead, you really have to dedicate | :24:46. | :24:48. | |
yourself to learning the lines but also your bodies. How was the | :24:49. | :24:59. | |
training for Life? It is hard-core, wire training, acrobatics. We had | :25:00. | :25:05. | |
this incredible movement coach, Alexander Reynolds. What is hardest | :25:06. | :25:08. | |
is creating your own personal movement. You were part of this | :25:09. | :25:14. | |
spaceship was a much longer than my character because she came last. I | :25:15. | :25:18. | |
could be a little bit bumpy and graceful and that would be accepted. | :25:19. | :25:25. | |
You are very graceful and athletic. She made some pretty strong moves. | :25:26. | :25:29. | |
One of the interesting things about the movie, the women in the movie | :25:30. | :25:34. | |
are incredibly strong. Physically and intellectually, emotionally. It | :25:35. | :25:40. | |
is rare in a movie when you really, it is unfortunate but it is more | :25:41. | :25:44. | |
rare than having a man be like that. And to watch the women be the | :25:45. | :25:47. | |
strongest characters really, is awesome. And all some to play! An | :25:48. | :25:58. | |
interesting fact about you, Rebecca, and I imagine in this film there are | :25:59. | :26:01. | |
confined spaces for filming but you also get claustrophobic. And you | :26:02. | :26:08. | |
have a fear of heights. Bring it on! Arachnophobia! We have an | :26:09. | :26:13. | |
interesting guest in the studio tonight and we think you will be | :26:14. | :26:18. | |
impressed and could potentially use him as a stunt person in future | :26:19. | :26:27. | |
films. Adrenaline junkie Fraser Corsan will | :26:28. | :26:30. | |
attempt to break for world record in the extreme sport of wingsuit | :26:31. | :26:35. | |
diving. And he is here to tell us why on earth he is doing it. So | :26:36. | :26:41. | |
first of all, he he is obviously suspended from the studio roof. Are | :26:42. | :26:48. | |
you all right up there? It is a real joy. Well we have the ability with | :26:49. | :26:53. | |
the camera to get underneath, give us an idea of how you fly in his | :26:54. | :26:57. | |
suit and how it works. So I'm inside the wingsuit, it acts purely as a | :26:58. | :27:04. | |
wing so I put tension into it at the moment. The leading edge is | :27:05. | :27:09. | |
high-density done so it is efficient because naturally the arm shape is | :27:10. | :27:12. | |
not efficient. It is also pretty huge. I will be travelling around | :27:13. | :27:21. | |
160 miles an hour. For every metre fall I will go forward is about | :27:22. | :27:26. | |
three meters. That is the glide ratio. But I'm doing 164. Foreword. | :27:27. | :27:36. | |
I'm going to hold onto your chest like this. You guys will know all | :27:37. | :27:40. | |
about this getting people in and out wires. | :27:41. | :27:47. | |
Just give us an idea of these world records you are trying to break. | :27:48. | :27:52. | |
We're going for four records, time, distance, speed and altitude. The | :27:53. | :27:56. | |
longest time in freefall freefall flight, around ten minutes. And then | :27:57. | :28:00. | |
going for speed, as fast as I can go, we aim for about 250 miles an | :28:01. | :28:08. | |
hour. How much of a concept of speed to you get when you are up there, | :28:09. | :28:13. | |
obviously at a great height. Because you're not passing things. Well | :28:14. | :28:16. | |
we're pushing the limits for just about everything. If the clouds I | :28:17. | :28:25. | |
can see fields and general topography flying by. I have | :28:26. | :28:31. | |
previously raced cars on motorways and you can pass the cars. So after | :28:32. | :28:37. | |
the speed and then distance. That is glide path so maximising that and | :28:38. | :28:43. | |
going as far as we can. But it is a huge workload on the body, your arms | :28:44. | :28:47. | |
start to tire and fatigue comes in. You need to keep strong. A huge | :28:48. | :28:53. | |
amount of core strength, shoulder and arm strength so a lot of gym | :28:54. | :29:16. | |
sessions and endurance. Why are you doing this, is it just because you | :29:17. | :29:17. | |
love it. I love to fly. But fundamentally there is fantastic | :29:18. | :29:17. | |
charity, the armed forces charity, and we are raising awareness and | :29:18. | :29:18. | |
funds for them. And these guys look after 60,000 people a year in terms | :29:19. | :29:19. | |
of treatment. Whether X or serving. We are targeting ?1 million. People | :29:20. | :29:27. | |
can see the details of how to support it online. And we're doing | :29:28. | :29:30. | |
that to raise awareness. You must have a very understanding family. We | :29:31. | :29:33. | |
wish all the best. Very impressive. That was cool. | :29:34. | :29:42. | |
Superhuman. He is. And he has style, too. He looks like a monk. Back to | :29:43. | :29:53. | |
earth now, this weekend is the anniversary of an event that | :29:54. | :29:57. | |
threatened to change the Cornish coastline beyond recognition. Here's | :29:58. | :30:04. | |
Miranda. On the 18th March, 1967, our shores witnessed the worst | :30:05. | :30:07. | |
environmental disaster in British history. A supertanker, the Torrey | :30:08. | :30:16. | |
Canyon, carrying nearly 120,000 tonnes of crude oil, hit rocks off | :30:17. | :30:21. | |
the coast of Cornwall and started sinking. No-one was prepared for | :30:22. | :30:24. | |
this kind of disaster or its aftermath. As the oil spread to the | :30:25. | :30:31. | |
beaches, Charles Brett, now 97, the surveyor for a local council, who | :30:32. | :30:35. | |
was one of the first people to deal with the clean-up operation. How did | :30:36. | :30:39. | |
you feel seeing that sight? These beautiful beaches? It was quite | :30:40. | :30:46. | |
appalling. One of the most beautifully areas, the sea was | :30:47. | :30:51. | |
covered that looked iebg chocolate moose. The authorities decided to | :30:52. | :30:56. | |
spray the oil with strong detergent in an attempt to clean-up the | :30:57. | :31:00. | |
coastline. Charles was a keen amateur film-maker and has footage | :31:01. | :31:08. | |
of the operation. That is horrible. I spent all my time walking | :31:09. | :31:14. | |
up-and-down the coast advising on what quantityies were required. | :31:15. | :31:21. | |
Nobody questioned me about how much to use. The detergent is a quick-fix | :31:22. | :31:31. | |
to get rid of the oil, that has a long lasting effect on the wildlife? | :31:32. | :31:35. | |
Yes. After a week, the Tory canyon, which was snagged on rocks, began | :31:36. | :31:40. | |
breaking up, leaking out more oil. A decision was made to sink it, bombs | :31:41. | :31:47. | |
were dropped, rockets were fired and even kerosene was used to burn off | :31:48. | :31:55. | |
the oil. Stephen Hawkins, aged 11, remembers watching the TV coverage. | :31:56. | :31:59. | |
It was quite exciting but at the same time it was quite scary. The | :32:00. | :32:02. | |
bombing seemed to be a neat solution. It probably made matters | :32:03. | :32:08. | |
worse in the long run. He is a professor of natural sciences and | :32:09. | :32:11. | |
has been studying the damage the clean-up operation had around the | :32:12. | :32:16. | |
shores of west Cornwall. These detergents weren't like what you use | :32:17. | :32:23. | |
to wash up at home, they were quite toxic solvents they killed the | :32:24. | :32:31. | |
grazing organisms. This has a damage being effect on the whole ecosystem | :32:32. | :32:35. | |
and can take an enormous amount of time to recover. It was not all bad | :32:36. | :32:42. | |
news. The Torrey Canyon was the grubby start of something beautiful | :32:43. | :32:51. | |
for ex-soldier Paul and cafe worker Petunia. We tried to clean the | :32:52. | :32:55. | |
beaches. We didn't know how to to. Nobody advised us how to do. We were | :32:56. | :33:00. | |
told to spread detergent as best we could. It brought the two of you | :33:01. | :33:08. | |
together, tell me how you met? I sold him an ice-cream. He came back | :33:09. | :33:13. | |
and had a coffee and said, can I ask you out? The cleaning came to an end | :33:14. | :33:17. | |
for us. Paul said, I'm leaving tomorrow and I want to take you with | :33:18. | :33:22. | |
me. So I said, is that a proposal in a roundabout sort of way? That was | :33:23. | :33:26. | |
it, we got married. Five months later. Five months later. Since then | :33:27. | :33:34. | |
the Torrey Canyon disaster lessons have been learned. Stephen's | :33:35. | :33:39. | |
research and that of other scientists has showned that the | :33:40. | :33:47. | |
beaches took over 10 years to recover when detergent was spread on | :33:48. | :33:51. | |
them. For those who didn't, it took two years. If oil comes ashore the | :33:52. | :33:56. | |
best thing to do is let nature take its course. Waves are good | :33:57. | :34:01. | |
dispersants. Crude oil is a natural compact. Oil will naturally get | :34:02. | :34:06. | |
degraded and the shore will get back to normal after a couple of A | :34:07. | :34:12. | |
two-days of years. Bombing the Torrey Canyon sank. Spillages still | :34:13. | :34:16. | |
occur on a regular basis all around the world. Thankfully, now a days we | :34:17. | :34:21. | |
are better equipped at dealing with this disasters than all those years | :34:22. | :34:26. | |
ago. For the sake of our coastline and our wildlife I dearly hope we | :34:27. | :34:29. | |
never have to see this sort of thing again. Thank you very much indeed. | :34:30. | :34:35. | |
Miranda. Earlier on in the show we saw this cinema in Christchurch in | :34:36. | :34:40. | |
Dorset. These unsuspecting movie fans. We will look inside. They are | :34:41. | :34:46. | |
all waiting to see a film in just a few minutes time. There are people | :34:47. | :34:52. | |
there, apparently! The thing, is the cinema wasn't planning of showing a | :34:53. | :35:00. | |
trailer of your new movie, Life. Some people are getting great | :35:01. | :35:03. | |
advertising. The house lights rum. It's packed. We will crash the | :35:04. | :35:08. | |
trailers and it's over to you two to convince them to watch your film. | :35:09. | :35:16. | |
Wow. Shall we do it now? Let's crash the cinema, in 3, 2, 1. Here we go. | :35:17. | :35:23. | |
Hello to you all at the rowing end centre cinema in Christchurch, you | :35:24. | :35:27. | |
are live on the One Show. There you go. APPLAUS Very nice. We are sorry | :35:28. | :35:36. | |
to be interrupting your night out tonight. There is one key trailer | :35:37. | :35:40. | |
missing from tonight's proceedings. We wanted to rectify that mistake | :35:41. | :35:44. | |
everyone. We did us. With us in the studio tonight are two very special | :35:45. | :35:49. | |
guests who have a film they would like you to see. Give a cheer and a | :35:50. | :35:56. | |
round of applause for stars of the new sci-fi thriller, Life, it's Jake | :35:57. | :36:04. | |
Gyllenhaal and Rebecca Ferguson. APPLAUS You have the audience in the | :36:05. | :36:07. | |
palm of your hands you can get them to do whatever you want. Do you have | :36:08. | :36:12. | |
thoughts, what do you fancy? Maybe we should give them a taste of this | :36:13. | :36:16. | |
film. Do you fancy doing that. What a great idea. Let us roll the | :36:17. | :36:21. | |
trailer. You take it away. Here we go. Coming soon to cinemas across | :36:22. | :36:30. | |
the UK, including the rowing end centre in Christchurch in set we | :36:31. | :36:35. | |
bring be you. Life A terrifying sci-fi thriller about a team of | :36:36. | :36:40. | |
scientists aboard the International Space Station whose mission of | :36:41. | :36:44. | |
discovery turns out to be one of primal fear. They discover the first | :36:45. | :36:50. | |
signs of life beyond Earth. The rapidly changing life form is more | :36:51. | :36:55. | |
intelligent than imagined. It quickly evolves to threaten the crew | :36:56. | :37:00. | |
and the future of humanking Assad we know it. Fr those of you who ever | :37:01. | :37:07. | |
warned if life exists beyond this planet BE WARNED! Please be warned. | :37:08. | :37:12. | |
Take a cushion, you will be sweating by the end of it. Ask Matt, if you | :37:13. | :37:24. | |
want to get sweaty, go. Thank you. Thank you to our lovely cinema | :37:25. | :37:29. | |
people. Thank you, enjoy your movie. Thank you for being involved in the | :37:30. | :37:33. | |
One Show. Good night to one and They seemed a all. Bit confused, I have | :37:34. | :37:38. | |
to say. When you said us they were like - OK. You did good. Sheena | :37:39. | :37:47. | |
Easton will be here in a few minutes to tell us about her new musical. | :37:48. | :37:52. | |
First a fellow Glaswegian a photographer with a habit of getting | :37:53. | :37:54. | |
up close and personal. I've come to Glasgow, I joined the | :37:55. | :38:34. | |
army straight out of school. When I left I sold cars then I got into | :38:35. | :38:40. | |
photography seriously ten years ago. I read about how the life expectancy | :38:41. | :38:48. | |
in Kensington Chelsea. But in Glasgow it's 54 for men. I took the | :38:49. | :38:54. | |
pictures of people in both places catching them at traffic lights, | :38:55. | :38:59. | |
shooting through the window. Knightsbridge is like another world. | :39:00. | :39:02. | |
The people in, there the money floating about. It's unreal. The | :39:03. | :39:07. | |
average asking price for a property around here is about ?2.5 million. I | :39:08. | :39:15. | |
mean ?2.5 million quid. You read the statistic about London property | :39:16. | :39:17. | |
prices and it's boom time again. That is what they tell us again. If | :39:18. | :39:22. | |
you go to Glasgow and tell them Britain is blood blooming they laugh | :39:23. | :39:30. | |
their heads off at you. I think Dougie is the best street | :39:31. | :39:35. | |
photographer working at the moment. Worldwide. A street photographer | :39:36. | :39:39. | |
needs to be very curious about people. Although they are taking | :39:40. | :39:45. | |
pictures that are sometimes a little cruel, they are not doing it out of | :39:46. | :39:50. | |
cruelty. They are actually doing it out of curiosity. As far as | :39:51. | :40:07. | |
photographers go my, I had a big influence from Martin. Nice. Very | :40:08. | :40:13. | |
sharp that, isn't it. Crikey. Double flash arrests it a little bit. | :40:14. | :40:18. | |
Double flash. Yeah, one at the top and one at the bottom. There aren't | :40:19. | :40:24. | |
any shadows, really. Seven skins he is wearing. Crikey. Do people say, | :40:25. | :40:28. | |
I'm going to call the police and all that stuff? You get that sometimes. | :40:29. | :40:39. | |
I give them the number, 999. It's an occupational hazard, isn't it? | :40:40. | :40:43. | |
Definitely. The first thing you have to be when you are going so close to | :40:44. | :40:47. | |
people is absolutely bold and confident. You know, it's street | :40:48. | :40:53. | |
life, isn't it? They are always here. Watch my toes. It's in your | :40:54. | :40:59. | |
face, brash, loud therefore it's absolutely appropriate for the times | :41:00. | :41:09. | |
we live in. The new money people in the Ferraris they seem to hate | :41:10. | :41:12. | |
getting their picture taken. They don't stop to chat. Some of the old | :41:13. | :41:18. | |
eccentrics I snap, they don't seem to mind so much. Do you like the | :41:19. | :41:31. | |
photograph? I'm not telling you. You are showing it as it is. The | :41:32. | :41:34. | |
arrogant English people who went there. That generation is dying out | :41:35. | :41:39. | |
now. Now it's a different wealth from different countries, isn't it? | :41:40. | :41:47. | |
It's an art format. Do you kiss a dog? Oh. Look it | :41:48. | :42:00. | |
doesn't want kissed, look. A great photographer. An interesting person, | :42:01. | :42:06. | |
and someone I think who will be around for a long time. Hello. Can I | :42:07. | :42:12. | |
take your picture? That would freak me out, do you | :42:13. | :42:24. | |
reckon. It's a bit much, isn't it? Wow. You can see more of Dougie and | :42:25. | :42:34. | |
his portfolio of photos in What Do Artists Do All Day tomorrow night at | :42:35. | :42:40. | |
8. 8.30pm on BBC Four. Now from bond themes to duets with Kenny Rodgers | :42:41. | :42:45. | |
and Prince, our next guest has truly made her musical mark. | :42:46. | :42:51. | |
# My maybe baby catches the morning train | :42:52. | :42:58. | |
# He works from... # My one and only... | :42:59. | :43:05. | |
# Who needs tomorrow # We've got tonight, babe | :43:06. | :43:11. | |
# You've got the hook # Cooking in my book | :43:12. | :43:16. | |
# Your face is jamming # Your body is slamming | :43:17. | :43:20. | |
# If love is good # Let's get... # | :43:21. | :43:25. | |
We are head popping or swaying. What a selection, please welcome to the | :43:26. | :43:29. | |
one show, Sheena Easton. APPLAUSE. What a collection. What a | :43:30. | :43:37. | |
collection. Which brought back the happiest memory when you were | :43:38. | :43:41. | |
watching that? It wasn't the bad perm and the boiler suit one. When | :43:42. | :43:48. | |
people show these montages they show it. I had a few other bad choices | :43:49. | :43:53. | |
back then. You were happy with that, that was all right for you? That was | :43:54. | :43:57. | |
better than some you could have shown. It started back in 1980. You | :43:58. | :44:05. | |
were on a reality T V show called Big Time presented by Esther | :44:06. | :44:08. | |
Rantzen. With reality TV shows they are ten a penny. It was so different | :44:09. | :44:12. | |
then. Do you think it kick-started your career? Oh, totally. Back then | :44:13. | :44:16. | |
it wasn't so. A reality show it was a documentary. | :44:17. | :44:20. | |
It was a one hour documentary. It was part of six. The concept was - | :44:21. | :44:25. | |
let's get a young girl, take her to a record company if she passes an | :44:26. | :44:29. | |
addition you can make a single. We will show the public how a single is | :44:30. | :44:34. | |
made. It ended up the record company signed me on-the-spot for a | :44:35. | :44:39. | |
long-term deal. It totally changed my life. Honestly, I think we all | :44:40. | :44:43. | |
know that you can practice your craft. I was in drama school, | :44:44. | :44:48. | |
working on my craft, singing in bands at night. No matter how much | :44:49. | :44:53. | |
talent or ability you have, you need the first thing that opens the door | :44:54. | :44:57. | |
that gives you your shot. That was such a huge blessing for me. | :44:58. | :45:05. | |
And I then did you have a plan, you have done an eclectic mix of music. | :45:06. | :45:15. | |
What was the thing for you, music in a band, rock? It was one of those | :45:16. | :45:20. | |
things, I was the youngest of six and I used to sneak in and steal | :45:21. | :45:24. | |
everyone's records to play on the record player. They all had | :45:25. | :45:30. | |
different musical styles. My brother was listening to Genesis, my sister | :45:31. | :45:34. | |
was listening to Joni Mitchell, someone else listen to Shirley | :45:35. | :45:38. | |
Bassey and Mike dad had another collection. So I grew up absorbing | :45:39. | :45:44. | |
all those styles. Of course when I first joined my first band H 17 at | :45:45. | :45:50. | |
drama school, I was supporting myself and I just sang anything to | :45:51. | :45:55. | |
pay the rent. I just kind of listen to Radio 1, of course! Then I would | :45:56. | :46:05. | |
just practice it. Someone would yell thing, whatever, and you just had to | :46:06. | :46:12. | |
go into it. It was good training but it left me with a lab for every | :46:13. | :46:16. | |
style of music. And to this day I perform with my band and go out and | :46:17. | :46:20. | |
do my shows and do the hits. But I spent a lot of time working with | :46:21. | :46:28. | |
symphonies. I do a varied programme with different symphonies and all | :46:29. | :46:31. | |
kinds of music. You are in Las Vegas at the moment. I've lived there 12 | :46:32. | :46:38. | |
or 13 years. It was not a plan to go and live in Las Vegas, I went there | :46:39. | :46:43. | |
and did eight shows a week for two years. My babies were aged five and | :46:44. | :46:50. | |
six bed and started school and then when I decided the cake, I can leave | :46:51. | :46:54. | |
now, they did not want to give up their friends at school. So of | :46:55. | :47:12. | |
course you go for Ukip want to go and I stayed in crazy Las Vegas and | :47:13. | :47:17. | |
watched it grow into what it is today. It has changed so much. And | :47:18. | :47:21. | |
now you're back in London to perform 42nd Street. What is your role and | :47:22. | :47:25. | |
tap dancing? Well I had a vague idea about the show but I looked it up on | :47:26. | :47:29. | |
Wikipedia! That is great to do! When I read about the show it described | :47:30. | :47:33. | |
my character as an over the hill diva who has not had a hit in ten | :47:34. | :47:39. | |
years and is legendary for her ability -- inability to dance. I | :47:40. | :47:44. | |
thought it has got my name all over it! Who could turn that down, do not | :47:45. | :47:49. | |
even need to act. So she's fabulous, she comes in and she flounces around | :47:50. | :47:55. | |
and sweeps across the stage, a bit like a darling, Darling cut the | :47:56. | :48:01. | |
person. I'm surrounded by these beautifully talented dancers. I | :48:02. | :48:08. | |
think the largest number of dancers ever, 42. The producers made a | :48:09. | :48:12. | |
commitment to make it one of the biggest spectaculars that has ever | :48:13. | :48:16. | |
been on the stage either here or back in New York. They put so much | :48:17. | :48:20. | |
into the set and the costumes and every part of it. We are rehearsing | :48:21. | :48:27. | |
right now getting ready for the previews on Monday. Instead of | :48:28. | :48:30. | |
sitting having a cup of tea I cannot tear myself away from the wings, I | :48:31. | :48:34. | |
need to see these other scenes because there's just this beautiful | :48:35. | :48:39. | |
stuff forming in front of me. I wish I could be out in the audience one | :48:40. | :48:43. | |
night watching it. And just have physically and mentally exhausting | :48:44. | :48:50. | |
is it? I'm told I'm pretty mentally exhausting to be times! But for the | :48:51. | :48:56. | |
dancers, it is very demanding. When you see them, their athletes, they | :48:57. | :49:00. | |
can do this easily without breaking a sweat. We spoke about them think | :49:01. | :49:06. | |
the Argentine tango and that is a love of yours. It is and I've also | :49:07. | :49:11. | |
tried tap dancing. It was not really my thing. But I think body awareness | :49:12. | :49:17. | |
and acting goes hand in hand. But it is hard and exhausting. The | :49:18. | :49:23. | |
Argentinian tango is very essential and it really tells a relationship. | :49:24. | :49:29. | |
Have you tried it? No one would ever ask me to try it! You are no | :49:30. | :49:41. | |
stranger to a bit of a work-out. I am just sweating! But to be fair | :49:42. | :49:48. | |
some of the physical roles that you have taken on in the past, fitness | :49:49. | :49:56. | |
just must take over your life. You made that sound like it was such a | :49:57. | :50:03. | |
tragedy! To me it always starts from a place of what is this skill set, | :50:04. | :50:07. | |
what is the thing you're doing and can you learn something. Then | :50:08. | :50:12. | |
eventually obviously if you work hard enough you end up that your | :50:13. | :50:18. | |
body and your persona, although things are shaped to it. It is the | :50:19. | :50:23. | |
physical world display shows you you can get in shape but my mind, even | :50:24. | :50:28. | |
in like that, I believed stupidly that I was in fact a boxer in that | :50:29. | :50:35. | |
period of time. So you take yourself there or do you have people around | :50:36. | :50:38. | |
you that they get up, go for a jog, or are you very dedicated? I put in | :50:39. | :50:46. | |
a little -- put on a little shirt and I can run for ever. That is the | :50:47. | :50:52. | |
truth. You can put on a little shirt any time! Are you enjoying being | :50:53. | :50:57. | |
back in London? I'm loving it, I had forgotten so much about this city. I | :50:58. | :51:02. | |
lived here when I first started out, I had an apartment for a year and | :51:03. | :51:06. | |
I'm enjoying having Sundays off and walking round inevitably in the rain | :51:07. | :51:11. | |
and getting to know the areas again. I'm really looking forward to | :51:12. | :51:15. | |
spending some time and getting to know the city again. Lovely to have | :51:16. | :51:20. | |
you here and Sheena is in 42nd Street from Monday at the Theatre | :51:21. | :51:25. | |
Royal in Drury Lane in London's West End. | :51:26. | :51:26. | |
We've talked lots about aliens on the show tonight and some | :51:27. | :51:29. | |
of you will believe and some of you won't. | :51:30. | :51:31. | |
Which is why we'd like to show you this film from George. | :51:32. | :51:34. | |
For all you naysayers out there, maybe it's time to take a look | :51:35. | :51:37. | |
at what's moving around in your back garden? | :51:38. | :51:44. | |
Humankind has always had a fascination with the unknown. | :51:45. | :51:50. | |
Haunted by visions of the Apocalypse, they have taken many | :51:51. | :51:56. | |
forms. But killer plans that move, preposterous! Or is it? | :51:57. | :52:06. | |
Ever since the ancient Greeks botanist have observed how plants | :52:07. | :52:11. | |
grow and also how they can move independently, it comes from a Greek | :52:12. | :52:17. | |
word, tropism meaning to turn. Everyday plants can display | :52:18. | :52:21. | |
extraordinary movements. The Venus fly trap is activated by trigger | :52:22. | :52:25. | |
hair is along its traps shutting its deadly leaves tight. This | :52:26. | :52:33. | |
sensitivity is rather less threatening in the shame planet. | :52:34. | :52:37. | |
Here the slightest touch of a finger causes areas of the stem to release | :52:38. | :52:43. | |
water displacing compounds and the affected cells collapse. And another | :52:44. | :52:50. | |
tropism has fascinated scientists from thousands of years ago. The | :52:51. | :52:58. | |
tropism. Here the toad Flax starts off as is sun-seeker and then hearts | :52:59. | :53:03. | |
-- then heads towards the dark crevices to planted seeds. And stems | :53:04. | :53:06. | |
of the funds are tracks unlike during the day, turning with the | :53:07. | :53:11. | |
light. Doctor Jim is a science historian from the University of | :53:12. | :53:14. | |
Sussex. Everyone knows if you keep the plant as a windowsill eventually | :53:15. | :53:20. | |
it moves toward the sun. How does that happen? The plant produces a | :53:21. | :53:23. | |
hormone which is diffused down the stem and causes cells on the shady | :53:24. | :53:29. | |
side to grow longer. And so relative to the other side that makes it | :53:30. | :53:34. | |
curve. And only in the 20th century we have really seen that because of | :53:35. | :53:41. | |
voter lapse photography that they developed mechanisms over the course | :53:42. | :53:43. | |
of evolution to find light quickly. So even the growth of plants fits in | :53:44. | :53:47. | |
with the Darwin theory of everything. Darwin spent more time | :53:48. | :53:54. | |
on plans than anything else and published six books just on | :53:55. | :53:58. | |
botanical topics. He was fascinated by plants. In 1880 Derby that Darwin | :53:59. | :54:03. | |
was at a disadvantage because without time-lapse photography how | :54:04. | :54:06. | |
could he record the movement of plants. At the original glass house | :54:07. | :54:11. | |
here in Kent we challenged Gardner Christina to track the movement of | :54:12. | :54:16. | |
the Pelargonium replicating the exact experiment that Darwin did | :54:17. | :54:21. | |
write here over a century ago. He did not have all this sophisticated | :54:22. | :54:26. | |
technology we have today and had to rely on basic tools. He placed a | :54:27. | :54:31. | |
glass element on the leaf blade and that is the point I will trace as | :54:32. | :54:36. | |
the leaf is moving. The plant is then placed behind a sheet of glass | :54:37. | :54:41. | |
with a fixed reference point. Christina will mark a doctor for | :54:42. | :54:46. | |
every hour of some Ides over the next 24 hours tracing the daily | :54:47. | :54:51. | |
movement of belief. I have proposed Dollman technique, a time-lapse | :54:52. | :54:54. | |
camera set to track every movement of the plant at 2.5 minute | :54:55. | :55:00. | |
intervals. So while Christina sits and watches and marks, I'm off and | :55:01. | :55:05. | |
we'll come back later to see what has happened. How will 24 hours of | :55:06. | :55:12. | |
observations compare using the Darwin methods and my own? OK, | :55:13. | :55:19. | |
George, so finally with a piece of paper over the glass sheet we can | :55:20. | :55:23. | |
trace the movement of the plant after connecting all the dots. We | :55:24. | :55:28. | |
can see that belief was busy moving all day today, hunting for the | :55:29. | :55:35. | |
light. You can see the loop it created. This corresponds to the | :55:36. | :55:40. | |
results that Darwin himself had. It is quite a special thing to think | :55:41. | :55:45. | |
that Charles Darwin sat here doing exactly this. It is quite special. | :55:46. | :55:51. | |
We've seen the work of Darwin in action but what does Mike time-lapse | :55:52. | :55:56. | |
show? Ready for this? I am indeed. Look at that. Fantastic. Now we can | :55:57. | :56:05. | |
see in real time what Darwin never could. Plans are on the move. Not | :56:06. | :56:15. | |
science fiction. Science fact. Thank you, George! | :56:16. | :56:18. | |
Thanks to our guests Jake and Rebecca - | :56:19. | :56:21. | |
And thanks too to Sheena - 42nd Street starts | :56:22. | :56:25. | |
Tomorrow Dan Stevens, the star of the new Beauty | :56:26. | :56:31. | |
and the Beast film, will be our guest. | :56:32. | :56:34. | |
But now, it's over to 42nd Street to play us out in style. | :56:35. | :56:41. | |
Good night, everyone. # Those dancing feet. | :56:42. | :56:48. | |
# I am taking you to 42nd Street. # They're side by side, | :56:49. | :57:02. | |
they're glorified. # Where the underworld | :57:03. | :57:12. | |
can meet the elite. Hello, I'm Sangita Myska | :57:13. | :57:16. | |
with your 90 second update. | :57:17. | :59:25. |