:00:21. > :00:29.Hello? Hello? Oh, hello and welcome to the One Show with Angela Scanlon.
:00:30. > :00:33.And Matt Baker. Tonight, we have a spooky castle to celebrate an
:00:34. > :00:36.eagerly anticipated film. It's a tale as old as time involving a
:00:37. > :00:44.rose, a beautiful woman and a terrifying beast. We've got the
:00:45. > :00:47.rose, you are the beauty... So you are? The person doing the
:00:48. > :00:49.introductions. He's welcome the star of Beauty And The Beast, Dan
:00:50. > :01:23.Stevens! For now, you are fine. Wow! Thank
:01:24. > :01:29.you very much. This is your rose. Thank you. I should be bringing you
:01:30. > :01:36.roses. We went to see it today. We have been singing all of the songs.
:01:37. > :01:39.They are catchy, aren't they? I have had Be Our Guest in my head all day
:01:40. > :01:46.and I was hoping somebody would play it. I would hoping edge I was hoping
:01:47. > :01:53.you would sound like that in real life. Well, I can do. We were quite
:01:54. > :01:59.taken by your voice. It is obviously very resonant. How did that happen?
:02:00. > :02:05.Was there a lot of effect put on there? There is a thing that happens
:02:06. > :02:08.to a young man around age 11... Well, the Beast is big, there is a
:02:09. > :02:15.lot of resonance there. I was looking at different voices for him,
:02:16. > :02:19.like that, and it didn't work. They gave me some incredible fangs. It
:02:20. > :02:23.looked like I was born with them. I have my day once in at the moment.
:02:24. > :02:28.But these were big and they fitted perfectly. I didn't end up wearing
:02:29. > :02:31.them, but I had them to explore and take home and I got to freak the
:02:32. > :02:37.kids out and are used them on Halloween. I was trying to think how
:02:38. > :02:40.a posh, grumpy guy who was very vain who had been cursed with these
:02:41. > :02:43.hideous teeth would try and hide them, and I'd try and have
:02:44. > :02:48.conversations with my kids without giving away. My daughter knew
:02:49. > :02:54.something was up. She said, show me your teeth. I said, not going to do
:02:55. > :02:58.that. It started to stretch my larynx into this beastly voice. That
:02:59. > :03:08.is where it came from. Teeth. It's good. It has a big effect on the way
:03:09. > :03:16.you talk. And so you are singing in the same way. Exactly. And he has a
:03:17. > :03:21.lovely mournful ballad in this. It's a lovely song. It's written by the
:03:22. > :03:25.man who wrote the original score. We will talk more about that
:03:26. > :03:30.afterwards. Since we are on the subject of beauties and beasts, we
:03:31. > :03:32.are looking for pictures of the relationships in your life which
:03:33. > :03:36.represent the fairy tale of Beauty And The Beast. Ruck this could be
:03:37. > :03:42.awkward! Whether it is your partner or you and your pet, e-mail us a
:03:43. > :03:48.picture. Tell us which is which, because we could get it wrong. Are
:03:49. > :03:54.we supposed to judge or is that dangerous? Sam Cyr with litigation!
:03:55. > :03:58.Exactly. Over the years, Disney have gone to great lengths to entertain
:03:59. > :04:03.generations of children. Now it is the children's turn. He is Joe with
:04:04. > :04:08.a story guaranteed to put a smile on your face.
:04:09. > :04:14.A Monday morning in Bristol and two very different start to the day.
:04:15. > :04:23.These two worlds are about to collide. Is everybody strapped in
:04:24. > :04:27.and comfortable? Yes! These kids are off on a special trip to see some
:04:28. > :04:31.old friends. They have been making this journey to Osborne caught care
:04:32. > :04:40.home once a fortnight for the last four months. The idea here is
:04:41. > :04:44.simple, to bring generations together, and to give the young
:04:45. > :04:47.children a sense of community from an early age. Some of the kids are
:04:48. > :04:59.not quite sure how old the residents are. Four. 50 million thousandth.
:05:00. > :05:05.That's a bit old! First up, a bit of intergenerational pancake tossing.
:05:06. > :05:14.And afterwards it's time to get messy with arts and crafts. What a
:05:15. > :05:20.pretty drawing! What did you draw? Pancake. What colour is it? Green.
:05:21. > :05:30.Do they come out with some funny things? Yes, they do. Wood why do
:05:31. > :05:41.you like Frank? He's funny! Having a whale of a time. Frank is funny. We
:05:42. > :05:49.all like Frank, do we? I love children. The thing that seems to
:05:50. > :05:53.work so well is how relaxed it is. These little four-year-old
:05:54. > :05:57.chatterboxes have no fear, they have no formalities, they are willing to
:05:58. > :06:02.talk to everyone, and it works both ways. The residents want to listen
:06:03. > :06:05.and understand them, and that leads to quite a special closeness
:06:06. > :06:11.actually, and it's lovely to observe. The visits are the idea of
:06:12. > :06:17.nursery manager Lindsay, who saw a video online of a university -- a
:06:18. > :06:21.nursery in Seattle built into a residential home. I thought, why
:06:22. > :06:25.don't we see how it works, see if the children liked it, if it works
:06:26. > :06:31.for the residents, and we went out and tried to find a setting willing
:06:32. > :06:35.to take us and we found it here. Were there any unforeseen problems
:06:36. > :06:43.that you could have predicted? Absolutely. We had a child ask why
:06:44. > :06:46.somebody's skin was melting because their skin was different.
:06:47. > :06:54.Conversations like that can be awkward! Lindsay says the benefits
:06:55. > :06:59.are clear to see. Sometimes, residents are quiet, but today,
:07:00. > :07:02.Doris is holding hands with one of the children and talking really
:07:03. > :07:06.openly, and I think that's the first time that I have ever heard Doris
:07:07. > :07:18.speaking unless you ask her a direct question. The mulberry bush... I was
:07:19. > :07:24.very impressed with your singing. Thank you very much. I can remember
:07:25. > :07:32.doing that sort of thing way back in 1946, rather a long time ago! The
:07:33. > :07:34.kids are already discussing their activities for the next visit, and
:07:35. > :07:45.it looks like dressing up is popular. Can I take mine? Of course
:07:46. > :07:50.you can. We got some here. Chantal is the deputy manager of Osborne
:07:51. > :07:54.called. We tell the residents a couple of days before that they are
:07:55. > :08:04.coming and the mood changes. The morning before, everybody wants to
:08:05. > :08:12.be up at 6am. Cupcake! Do you want a cup? Say thank you. Research has
:08:13. > :08:16.shown at least 40,000 elderly people in care homes in England are living
:08:17. > :08:22.in social isolation, with more than a quarter of those without any
:08:23. > :08:28.family or friends to visit. Not everybody has family all visitors.
:08:29. > :08:33.So you don't really have any family visiting, is that right? They all
:08:34. > :08:37.live too far away. A lot of our residents don't have many children,
:08:38. > :08:45.and not everybody has ran errands, so it is nice to swap stories. --
:08:46. > :08:49.not everybody has grandparents. Then it is time for goodbye. What
:08:50. > :08:53.difference does it make having these children coming in? It makes the
:08:54. > :08:59.world of difference. They are marvellous, lovely. I know it's late
:09:00. > :09:07.but if any of those little people are up, thank you very much. Wasn't
:09:08. > :09:13.it lovely! That was great. You have young kids. Would they be into that?
:09:14. > :09:21.Anybody who wants to take my kids for a few hours... We were surprised
:09:22. > :09:24.that your two-year-old was partly inspiring for you for this
:09:25. > :09:27.particular character. He was certainly around when were making
:09:28. > :09:31.this film. If anybody has ever met a two-year rolled or has won in their
:09:32. > :09:38.vicinity, they might know something called the terrible twos, which is
:09:39. > :09:46.as close as I have ever seen a human being be to truly animal. Totally
:09:47. > :09:50.irrational behaviour, it is like a wild sort of weird thing. You get
:09:51. > :09:55.through it and it gets better and he is a lovely lad now. When I was
:09:56. > :10:00.prepping the Beast, I would come home every night and there would be
:10:01. > :10:04.this beast in my living room. Demanding things, or just screaming
:10:05. > :10:07.and howling. So I started to look at this and I thought, what an
:10:08. > :10:14.interesting thing, what if this could go on for ever. Who would let
:10:15. > :10:19.thy become if he was a prince? -- who would that guy become. You take
:10:20. > :10:24.what is in your environment and in my environment was this irrational
:10:25. > :10:28.beast. A lot of us grew up watching Beauty And The Beast and have
:10:29. > :10:32.carried those messages through, and I guess it is a big responsibility
:10:33. > :10:38.to be that person claimed that character, that's kind of defining
:10:39. > :10:41.role in this fairy tale. It is a great responsibility to be a
:10:42. > :10:46.torchbearer of a fairy tale. Every time you retell it, it's a
:10:47. > :10:50.responsibility, a bit like those old people with the kids. It's about
:10:51. > :10:54.what you pass down, the songs you teach them. There is no Abby
:10:55. > :11:02.full-back, it is just an old person saying, it was a nice song. -- no
:11:03. > :11:04.Abby for that. Every generation that comes with a fairy tale sees
:11:05. > :11:09.something in it and bring something new out and I guess with our
:11:10. > :11:13.version, what excites me with creating the Beast is we are using a
:11:14. > :11:19.technology that has never been used before for this kind of Terry tell
:11:20. > :11:23.-- fairy tale, where a human actor can play a six foot ten beast and
:11:24. > :11:27.get some emotional connection and subtlety. It isn't just freaky
:11:28. > :11:33.monsters that we are using this technology for. It is lead roles.
:11:34. > :11:40.Let's have a look at you as the Beast, asking Belle to dinner in an
:11:41. > :11:46.unconventional way. Join me for dinner. That's not a request.
:11:47. > :11:51.Gently, master, the girl lost her father and freedom in one day. She
:11:52. > :11:58.is probably scared to death. Exactly.
:11:59. > :12:12.Just a minute! You see, there she is. Be gentle. Kind. Suite. And when
:12:13. > :12:21.she opens the door give her a dashing smile. Come, come, give me
:12:22. > :12:25.the smile. What a transformation! You watch that and you wonder, how
:12:26. > :12:31.much of that is you and how much of it is CGI? Starting at the top and
:12:32. > :12:37.working down. The point we have got to do with the technology, it is all
:12:38. > :12:41.me now, so the body capture was done with traditional motion capture. I
:12:42. > :12:44.was in a giant lycra muscle suit on ten inch stilts and all the
:12:45. > :12:51.orientation was done on set and there was no further in mime mask,
:12:52. > :12:58.-- no further, no latex mask. Every week, I would go into a facility
:12:59. > :13:04.they set up and I would have my face sprayed with dots and I would sit in
:13:05. > :13:09.a cage, with ultraviolet light, 27 cameras around me, and anything I
:13:10. > :13:12.have been doing the previous week, eating, sleeping, singing, I would
:13:13. > :13:18.do it again with my face. I took a lot with my hands but I couldn't use
:13:19. > :13:22.them. They get in the way. They would take everything on my face,
:13:23. > :13:30.they would morph it into the Beast and map it into the Beast's body. It
:13:31. > :13:37.is a fusion of performances. So was your co-stars there, behind all the
:13:38. > :13:45.gear? Emma wasn't forced up a lot of imagination! How did you waltz?
:13:46. > :13:48.Quite an undertaking! It was a great way to get to know Emma Watson,
:13:49. > :13:53.being thrown into dance rehearsals on day one. She doesn't really know
:13:54. > :14:00.me and this guy could break her toes! Three months dance training
:14:01. > :14:04.and I obviously learned on the ground first, because I always tell
:14:05. > :14:08.my kids, if you think you can fly, tried to take off from the ground.
:14:09. > :14:12.And then I graduated to the stilts, and that was it and I was away and I
:14:13. > :14:21.never trod on her toes. I am proud of that. Good work! Would I be more
:14:22. > :14:22.proud if I had trodden on her toes? I don't think so. It opens tomorrow
:14:23. > :14:24.in cinemas. Back in the real world, away
:14:25. > :14:26.from the Beast's opulent palace, The Bank of England has 400,000
:14:27. > :14:29.of these gold bars safely tucked away in its vaults,
:14:30. > :14:36.worth more than ?100 billion. Good job! Nice props. These ones are
:14:37. > :14:53.safely enabled. But during World War Two Churchill
:14:54. > :14:55.feared our gold could have fallen into the hands of the Nazis
:14:56. > :14:58.and decided to hide it. When a crack team make
:14:59. > :15:11.off with a fortune. And if they find gold,
:15:12. > :15:17.it's even better. This is only a small bar of gold
:15:18. > :15:25.but it's worth a cool ?35,000. In 1940, as Britain faced
:15:26. > :15:28.Germany's military might, an audacious secret mission
:15:29. > :15:33.was put into action. Bars of gold worth an estimated
:15:34. > :15:39.?23 billion in today's money were to be moved from Britain's
:15:40. > :15:45.vaults right under Hitler's nose. And the man behind the plan wasn't
:15:46. > :15:47.some criminal mastermind but the Prime Minister,
:15:48. > :15:52.Winston Churchill. And it proved to be the largest
:15:53. > :15:55.transportation of wealth Most of the gold was shipped
:15:56. > :16:05.from here on the Clyde. Dr Peter Catterall is
:16:06. > :16:08.an economic historian. The great fear was that Hitler
:16:09. > :16:16.would get his hands on the British gold so they had to get it out
:16:17. > :16:19.of the country so he couldn't use So it was a gold heist
:16:20. > :16:23.on a grand scale? And the getaway vehicle
:16:24. > :16:28.was equally super scaled. Samay Cronin's father,
:16:29. > :16:36.Eric, was an engineer It wasn't until my father
:16:37. > :16:48.handed me his memoirs when he was 76 years old and I was reading it
:16:49. > :16:52.and discovered that he played a role There was a huge amount of activity
:16:53. > :17:04.with the ship being unloaded of all the ammunition,
:17:05. > :17:09.ready for the mystery cargo. And the ship's crew were issued
:17:10. > :17:14.with tropical uniforms and they were then sent off at 30
:17:15. > :17:17.knots out into the Atlantic But it soon became apparent to Eric
:17:18. > :17:26.and all aboard the ship that the tropical uniforms
:17:27. > :17:34.were a deliberate subterfuge. Nine days later, Eric
:17:35. > :17:36.and the Emerald berthed at the top secret location of Halifax,
:17:37. > :17:55.Nova Scotia. The heist had been successful
:17:56. > :17:59.but this was just the beginning. All the gold had to be shipped
:18:00. > :18:02.across the Atlantic. The risks got bigger
:18:03. > :18:07.and so did the cargoes. Belgium had already fallen
:18:08. > :18:09.to the Germans, Holland had already And Britain is looking like it
:18:10. > :18:16.might be the next victim. Anything that the British
:18:17. > :18:22.could sell in North America. Shares, bonds, those
:18:23. > :18:24.kinds of things. It showed Churchill's
:18:25. > :18:34.very real concerns about But also his determination to have a
:18:35. > :18:42.Plan B if the unthinkable happened. By the end of that summer,
:18:43. > :18:46.almost all of Britain's gold reserves and securities were shipped
:18:47. > :18:50.to the safety of Canada. Aboard the Emerald, Eric Coleman
:18:51. > :18:54.completed the mission to hide When you look back on that,
:18:55. > :18:59.you must be enormously proud of him? We are incredibly
:19:00. > :19:01.proud of my father. But also his modesty in not talking
:19:02. > :19:04.about such an important And in 1945 the British gold
:19:05. > :19:13.and securities were returned. But how did they know that none
:19:14. > :19:16.of the bullion was missing? The answer is on a simple
:19:17. > :19:23.piece of paper. All the bars were accounted
:19:24. > :19:26.for and here is a copy of a receit. Carrie's here now and you've got
:19:27. > :19:46.some more tales of grand plans to transport gold -
:19:47. > :19:49.but these ones didn't go so well. Hitler is thought to have amassed
:19:50. > :19:52.a hoard of ?100 million in gold and art during WWII,
:19:53. > :19:57.but it has never been found. Last year a British diver called
:19:58. > :20:09.Phil Sayers said he believes it is in a shipwreck
:20:10. > :20:14.at the bottom of the Baltic Sea. The vessel is the MV
:20:15. > :20:16.Wilhelm Gustloff which was sunk by the Soviets
:20:17. > :20:18.in January 1945 killing Wilhelm Gustloff now has
:20:19. > :20:24.international war grave status, meaning diving is forbidden
:20:25. > :20:32.within 500 metres of the ship. So nobody knows if the gold is there
:20:33. > :20:38.or not. Yes, it could be buried. And now to another story.
:20:39. > :20:42.When four men stole gold worth nearly ?1 million in today's money
:20:43. > :20:45.from three boxes on board a train travelling from
:20:46. > :20:53.They get to Paris and they open the boxes but inside is lead shot. How
:20:54. > :21:06.they did it, it was very clever. He watched how gold
:21:07. > :21:09.was transported for a long time. He involved a train guard
:21:10. > :21:12.and a station master to help him and managed to make copies
:21:13. > :21:15.of the keys to the safes. On one occasion sending some gold
:21:16. > :21:17.to himself so he could see where the keys were kept
:21:18. > :21:20.in the station at Folkestone. Once he had the keys, all they had
:21:21. > :21:23.to do was board the train, open the safes and replace the gold
:21:24. > :21:26.with lead shot they'd been hiding in London Bridge
:21:27. > :21:31.in a series of carpet bags. Did they get away with it? He asked
:21:32. > :21:34.the co-conspirator to give some money to his wife, but the
:21:35. > :21:40.co-conspirator didn't do that. But not much of the money, was ever
:21:41. > :21:46.recovered, only ?200,000. I have one which happened last year, in New
:21:47. > :21:51.York. What an opportunity. He is not even trying to hide. He grabs what
:21:52. > :21:56.he can see and the delivery guy is delivering something and one of the
:21:57. > :22:00.cards is at the front of the van. This guy takes a bucket, it weighs a
:22:01. > :22:08.tonne. He is running, struggling with the weight. He puts it down. It
:22:09. > :22:16.weighs so much, it has golden flakes which are worth ?1.2 million, in a
:22:17. > :22:23.bucket. He was arrested in Ecuador, he is now awaiting trial. The gold
:22:24. > :22:28.has never been found. He got as far as Ecuador with that bucket?
:22:29. > :22:32.LAUGHTER If you can get that far with that
:22:33. > :22:36.bucket, you are welcome to it. Keep your eyes peeled.
:22:37. > :22:39.Parking is the bane of many a motorists' life -
:22:40. > :22:42.and you won't be surprised to hear that according to a recent survey
:22:43. > :22:48.drivers spend the equivalent of four days a year looking for a space.
:22:49. > :22:51.But as Matt's been finding out, even when you've found a space -
:22:52. > :22:59.there may not actually be enough of it!
:23:00. > :23:06.There are 1800 car park prangs everyday in Britain. And where there
:23:07. > :23:11.is one of those, there is often an insurance claim, ?1.4 billion of
:23:12. > :23:20.them every year according to a leading insurance company. The way
:23:21. > :23:24.people park is never central and it would be good if everyone could park
:23:25. > :23:29.central to the bay, but they don't, and so you are always short on one
:23:30. > :23:35.side. You inevitably banged the car next door with your door? I try not
:23:36. > :23:38.to, but sometimes it is hard not to. If you have one vehicle which is
:23:39. > :23:42.parking too close to one side and goes over the white line, you have
:23:43. > :23:49.the concertina effect where everyone else has two park in a different
:23:50. > :23:53.way. We did a survey of 19,000 lives, 51% said their car had been
:23:54. > :23:57.damaged in some way in a car park and the most common place was the
:23:58. > :24:05.supermarket. This is all good news for Karen who runs this coach works
:24:06. > :24:11.place in Surrey. How many are here because of damage in car parks?
:24:12. > :24:15.Every day we receive 4-5 telephone enquiries from customers who have
:24:16. > :24:19.had cars damaged in car parks. Much of this is not concentrating after a
:24:20. > :24:24.long day at work, we see this where they parked the car at the train
:24:25. > :24:28.station and then get off the train, and then get back in the car, it is
:24:29. > :24:34.dark, and then they reverse into something. Many drivers say the
:24:35. > :24:39.spaces are to blame, the standard size is just too small. What is a
:24:40. > :24:46.standard car park in space? Is there such a thing? Since 1994 a
:24:47. > :24:56.standardised car parking space in the UK is 4.8 metres long by 2.4
:24:57. > :25:02.metres wide. About the width of an average garden shed. However, cars
:25:03. > :25:08.and not remained a standard size, and on average they have grown by
:25:09. > :25:13.25% in the past 25 years, often to comply with strict EU safety rules.
:25:14. > :25:16.This is a Fiat 500, one of the smallest cars, compare this to its
:25:17. > :25:31.1970s alternative. Cars are too big and spaces need to
:25:32. > :25:34.be made bigger. But some drivers think the simple solution is for
:25:35. > :25:39.everyone to be more careful and considerate. You are on the end
:25:40. > :25:44.space here, and that means you are able to access your car easily. That
:25:45. > :25:49.is something you have thought about? It is, yes, especially with the
:25:50. > :25:54.kids. I don't want them to bank the other cars. What is the answer?
:25:55. > :26:00.People should not be allowed to buy those big Chelsea cars. That is to
:26:01. > :26:05.Coney on. You want to get rid of everything unless you are an
:26:06. > :26:13.agricultural worker? -- that is to Coney on. Absolutely. In Dallas,
:26:14. > :26:24.Texas the average width of a car park space is 2.6 metres. Imagine
:26:25. > :26:35.that. 2.6, wow. 5000 miles is a long way to go to find a space. STUDIO:
:26:36. > :26:38.Thanks, Matt. As we know, Beauty and the Beast is famous for the
:26:39. > :26:43.inanimate objects in the castle coming to life, like the teapots,
:26:44. > :26:49.clocks, the candelabra. What is this? I'm pleased you are sitting on
:26:50. > :26:54.me tonight, you are lovely, unlike some of the people wearing out my
:26:55. > :27:00.springs. Tom Hanks trousers didn't half chafe and do not get me started
:27:01. > :27:04.on Cameron Diaz. Those man-made fibres played havoc with my sinuses.
:27:05. > :27:10.At least you can say you have the best seat in the house. APPLAUSE
:27:11. > :27:18.And that was all live. It worked quite well. Is he there every night?
:27:19. > :27:24.Apparently. He is actually there every single night. We are going to
:27:25. > :27:28.move on. Thanks for the Beauty and the Beast pictures you have been
:27:29. > :27:36.sending in. This is Lisa in Bristol and her gorgeous beast. This is
:27:37. > :27:44.Kayleigh, and her -based Marilyn. Jenny's beauty. Her two-year-old
:27:45. > :27:50.daughter. This is Amy Yang her father Jimmy. They can't decide
:27:51. > :27:59.which is the beauty and which is the beast -- and her father Jimmy. So,
:28:00. > :28:03.Beauty and the Beast is out tomorrow, very exciting. Looking
:28:04. > :28:09.ahead, it is had a controversial launch. This is the first Disney
:28:10. > :28:14.film with a character which is struggling a bit with sexuality. I
:28:15. > :28:21.don't know about that, have you watched Disney films closely?
:28:22. > :28:25.LAUGHTER It's had an amazing reaction all
:28:26. > :28:31.over the world. I've been right around the planet and people are mad
:28:32. > :28:39.for this film, amazing. Also, we had Hugh Bonneville. Stalking us. He was
:28:40. > :28:45.out there. I'm going to go and find him in a minute. It brings us onto
:28:46. > :28:51.the Downton Abbey film, which are potentially be making an appearance
:28:52. > :28:58.as a CGI ghost? I could play the furniture. No, I haven't heard about
:28:59. > :29:05.it. Apparently it is happening. I will go and ask Hugh Bonneville.
:29:06. > :29:09.Would you? Would you, could you, it depends if they have a role for me.
:29:10. > :29:16.It would be you as a ghost. Presumably. Some sort of reanimated
:29:17. > :29:22.corpse, it could get very sci-fi. Yes. The last time we were talking
:29:23. > :29:26.about the decision to leave, but it has been the right decision, you
:29:27. > :29:29.have five films coming out. Over the next couple of years. Anyway, thanks
:29:30. > :29:31.for coming in. That's all we've got
:29:32. > :29:33.time for tonight. APPLAUSE
:29:34. > :29:42.CHEERING Beauty and the Beast opens
:29:43. > :29:44.in cinemas tomorrow. I'll be back tomorrow
:29:45. > :29:45.with Michael Ball They're calling it an
:29:46. > :30:06.entertainment extravaganza