Browse content similar to 17/07/2014. 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. | :00:19. | |
Tonight's guests are familiar faces from Walford but they've come up | :00:20. | :00:26. | |
West tonight and are practically unrecognisable - for a start he's | :00:27. | :00:29. | |
not wearing his trademark trilby and she's actually smiling! | :00:30. | :00:34. | |
Please welcome Rudolph Walker and Diane Parish. | :00:35. | :00:37. | |
Rudolph and Diane are going to be at the centre of a gripping storyline | :00:38. | :00:48. | |
next week and we'll chat to you both about it a bit later on. | :00:49. | :00:56. | |
This time last year newspapers were predicting that Britain would be | :00:57. | :01:00. | |
flooded with immigrants from Romania and Bulgaria due to changes | :01:01. | :01:01. | |
Tim Samuels has set out to discover if that was actually the case. | :01:02. | :01:14. | |
As working restrictions fell away from the start of January, there was | :01:15. | :01:24. | |
a prediction of a mass influx Ocean of Bulgarian 's and Romanians. This | :01:25. | :01:33. | |
intrigued me. Up to 28 million people, who want to come to this | :01:34. | :01:36. | |
country can. Freedom of workers who want to get on and work. We want our | :01:37. | :01:44. | |
country back. Will there be another wave of Eastern European immigrants | :01:45. | :01:50. | |
to add to the thousands of Polish people who came ten years ago. They | :01:51. | :02:05. | |
filled up the towns like Austen. It used to be a nice town, you could | :02:06. | :02:19. | |
understand what everybody was saying. If they work, I have no | :02:20. | :02:21. | |
objection. 1st of January, 2014 and we don't know if there is about to | :02:22. | :02:23. | |
be a flood of Romanians and Bulgarians or not. Where do you come | :02:24. | :02:25. | |
from? Italy. Is it your first time here? No, I live here. We have now | :02:26. | :02:31. | |
found a new person. A pig farmer who's coming for a better living. | :02:32. | :02:38. | |
His arrival has caused a media frenzy. What a crazy start? Yellow | :02:39. | :02:46. | |
macro maybe it is a good start. He heads off, his future uncertain. | :02:47. | :02:49. | |
What drives them to leave their homes and family to come here? I | :02:50. | :02:55. | |
travelled to Bucharest to meet this man. He invites me to meet his | :02:56. | :02:59. | |
family. Where do you live and sleep last remark him and as neighbours | :03:00. | :03:10. | |
dream of buying land to build better homes, but to do that they need | :03:11. | :03:14. | |
money. How much money will it cost to build the house? What will you | :03:15. | :03:25. | |
make it from? Like this. Breeze block? You can see why they are | :03:26. | :03:34. | |
willing to take a gamble. But with few skills and little English, will | :03:35. | :03:36. | |
he find work rush to mark in the UK, I need V to see how his first few | :03:37. | :03:44. | |
months have been. Today is my birthday. Today? How old are you? 30 | :03:45. | :03:50. | |
years old. the house with five others, paying | :03:51. | :03:59. | |
?300 a month the house with five others, paying | :04:00. | :04:05. | |
in construction and is pleased with what he is earning. I was working | :04:06. | :04:14. | |
in construction and is pleased with a labourer and was paid ?60. After I | :04:15. | :04:18. | |
went to another job, a labourer and was paid ?60. After I | :04:19. | :04:22. | |
with ?80. a labourer and was paid ?60. After I | :04:23. | :04:32. | |
him. He has arrived in London, chasing his dream of ?8,000 but he | :04:33. | :04:44. | |
has no work and nowhere to stay. Are you still full of hope you might be | :04:45. | :04:51. | |
able to turn this around? Things are looking grim. He has joined | :04:52. | :04:56. | |
London's rough sleepers. One in ten are said to be from Eastern Europe. | :04:57. | :05:02. | |
Victor has been more fortunate and his girlfriend has come to visit. | :05:03. | :05:07. | |
Victor has been more fortunate and How are you doing? V, what jobs have | :05:08. | :05:12. | |
you been doing? I am working two jobs. | :05:13. | :05:27. | |
you been doing? I am working two citizens have moved to the UK each | :05:28. | :05:36. | |
year. But the citizens have moved to the UK each | :05:37. | :05:45. | |
working in the UK has fallen. It seems | :05:46. | :05:51. | |
working in the UK has fallen. It any Romanian is free to follow their | :05:52. | :05:53. | |
dream here, just like V. You can see | :05:54. | :06:08. | |
The Great Big Romanian Invasion in Alp Mehmet joins others. Do you | :06:09. | :06:30. | |
accept it hasn't happened? Others may have read it did it, and we said | :06:31. | :06:36. | |
over the next five years it would average out over the five years. We | :06:37. | :06:43. | |
are pretty sure we are going to be right. As far as how many have come | :06:44. | :06:47. | |
here already, there is something close to 50,000. That is not the | :06:48. | :06:54. | |
issue. It is not the fact nice Romanians are coming here as we have | :06:55. | :06:58. | |
just seen, we want steady, managed migration. They are playing into | :06:59. | :07:06. | |
something at the moment that is a little bit out of control. If that | :07:07. | :07:12. | |
continues, what are your fears? Migration at the present rate, | :07:13. | :07:18. | |
between 2012 and 2013, we had 400 thousand more in our population than | :07:19. | :07:25. | |
we did a year before. It is a lot of people! You have to find homes for | :07:26. | :07:31. | |
people, kids need schools. You need services to provide for them. That | :07:32. | :07:34. | |
is the longer term impact of uncontrolled migration and that is | :07:35. | :07:40. | |
what we would like to see lowered. Not stopping immigration. I am an | :07:41. | :07:48. | |
immigrant myself. But we want sensible, managed migration. How do | :07:49. | :07:56. | |
you put a stop to it? What measures do you put in place? The government, | :07:57. | :08:01. | |
with regard to non-EU migration has done pretty well. They have brought | :08:02. | :08:08. | |
levels down, so it is possible. We then get into another story | :08:09. | :08:18. | |
altogether when we look at EU migration. Countries like Romania | :08:19. | :08:32. | |
and Bulgaria, a lot of people will want to come here. We have seen in | :08:33. | :08:37. | |
that clip of film, for a better way of life. Why not. It is a case of | :08:38. | :08:45. | |
being aware of that so we have the right number of school places and if | :08:46. | :08:47. | |
possible, bring it down. Rudolph, was that your reason for coming to | :08:48. | :08:49. | |
England, a better way of life? As an actor, there was no opportunities in | :08:50. | :08:55. | |
Trinidad. I have no regrets. I could have gone to America. But I have no | :08:56. | :09:02. | |
regrets, I have made a contribution and I have children and | :09:03. | :09:07. | |
grandchildren. Is it true to say lots of people are a bit scared to | :09:08. | :09:10. | |
vocalise their thoughts on immigration because they may be | :09:11. | :09:14. | |
labelled as racist. When in fact they don't have a problem with the | :09:15. | :09:19. | |
migrants, but they have a problem with the amount of people, like | :09:20. | :09:24. | |
yourself? It is absolutely right. If you ask most people, I am an | :09:25. | :09:30. | |
immigrant and when I meet people I hope they don't say, this is a nasty | :09:31. | :09:37. | |
individual. But if you ask people what their biggest concern is, as | :09:38. | :09:42. | |
recent polls showed, 75% of them think immigration is even more | :09:43. | :09:48. | |
important to them than the economy. That is really only to be expected, | :09:49. | :09:53. | |
if you allow it to get out of control like it has been in the | :09:54. | :09:57. | |
recent past. Thanks for that, we will leave it there. Nick and | :09:58. | :10:03. | |
Margaret from the apprentice have been looking into it. John Dolan who | :10:04. | :10:15. | |
was once homeless is making a name for himself as an artist, but is at | :10:16. | :10:23. | |
risk of being upstaged by his dog. From sleeping rough, to the darling | :10:24. | :10:29. | |
of the artwork, but this man has made the transition thanks to a | :10:30. | :10:33. | |
little bit of help from man's best friend. In the aged 19, John was | :10:34. | :10:40. | |
trapped in a cycle of homelessness, present and drugs ending up on the | :10:41. | :10:49. | |
streets of East London. My life revolves around shoplifting in the | :10:50. | :10:54. | |
daytime. Then you would be phoning drug dealers and hanging about on | :10:55. | :10:56. | |
street corners. It was either change or kill myself. How did this man | :10:57. | :11:01. | |
turn his life around, from homeless drug addicts who celebrated artist? | :11:02. | :11:06. | |
It is all down to George, a Staffordshire bull terrier with a | :11:07. | :11:12. | |
big personality. Some friends gave the dog to me. One moment I have no | :11:13. | :11:19. | |
responsibilities, next I have the responsibility of an animal. How did | :11:20. | :11:24. | |
George help you turn your life around? I was touring pictures of | :11:25. | :11:28. | |
the buildings across the road. Then a lady asked me to draw a picture of | :11:29. | :11:36. | |
my dog, so I did and she bought it off me. You started to behave | :11:37. | :11:41. | |
differently? I started to take myself seriously as an Ardis. There | :11:42. | :11:48. | |
was a buzz going around Shoreditch, and people would come and wish me | :11:49. | :11:54. | |
luck. Gallery owner, Richard Howard Griffin discovered John on the | :11:55. | :11:58. | |
streets of Jordan -- Shoreditch. It is quite a leap of faith seeing | :11:59. | :12:04. | |
somebody on the streets and thinking you wanted to work with them. What | :12:05. | :12:10. | |
was it about his art? There is an honesty and realism. If you look at | :12:11. | :12:15. | |
his architectural studies, there is a great deal of detail and | :12:16. | :12:20. | |
refinement. What is in this new exhibition. This is his home aged to | :12:21. | :12:27. | |
George the dog. We have created his old pitch. This is the box he used | :12:28. | :12:33. | |
to sit at with George. Obviously we are surrounded by hundreds of | :12:34. | :12:41. | |
pictures of George. Those people who bought a picture of George did well, | :12:42. | :12:48. | |
only ?10. They are selling for up to ?3000, which is an increase from ?10 | :12:49. | :12:54. | |
and I am sure it is a price that will go up as he becomes more | :12:55. | :12:59. | |
relevant. So, as the great and the good of the artwork celebrate | :13:00. | :13:04. | |
Hoxton's latest hit, George has in the spotlight to look forward to. | :13:05. | :13:12. | |
George is going to have an easy life. He has been sat outside in the | :13:13. | :13:15. | |
cold long enough, it is about time he put his feet up. Cute little dog. | :13:16. | :13:33. | |
You have been on the show for eight and a half years. I have been on six | :13:34. | :13:41. | |
and three quarters. You are having a great time as an actress? Yes, | :13:42. | :13:49. | |
material is so rich. One minute you can be incarcerated in a cellar by a | :13:50. | :13:53. | |
serial killer, the next you are having bust ups in the Vic. I love | :13:54. | :14:01. | |
working with Rudolph. I really feel fortunate. It is reciprocated. Your | :14:02. | :14:07. | |
characters are very close and you are close in real life but you are | :14:08. | :14:13. | |
at the centre of a sensitive storyline? Can you explain what | :14:14. | :14:19. | |
Patrick is going through? The producers from EastEnders did get | :14:20. | :14:26. | |
you on here to talk about this. We did this thing it a spoiler, but | :14:27. | :14:31. | |
they are very keen did this thing it a spoiler, but | :14:32. | :14:35. | |
important. I will blame you if I get the sack tomorrow! Patrick suffered | :14:36. | :14:43. | |
a stroke and it the sack tomorrow! Patrick suffered | :14:44. | :14:49. | |
signs, what the producers want to put out there, the slightest problem | :14:50. | :14:57. | |
or indication that put out there, the slightest problem | :14:58. | :15:00. | |
wrong, you should have it checked out. It is better to be safe than | :15:01. | :15:14. | |
sorry. Even a younger, visiting the hospital, you realise there are | :15:15. | :15:15. | |
sorry. Even a younger, visiting the people at the age of 40. But there | :15:16. | :15:22. | |
are signs you should not ignore. We can see those signs in a clip that | :15:23. | :15:25. | |
we have from tomorrow night's episode. | :15:26. | :15:58. | |
Powerful. It is powerful stuff, and it's a big responsibility as an | :15:59. | :16:05. | |
actor to depict somebody that is suffering from a stroke. You were | :16:06. | :16:09. | |
watching him doing the scene on the other day and he looked shattered | :16:10. | :16:13. | |
because of the concentration. How much help have you had from your | :16:14. | :16:16. | |
producers in terms of the brief and how to deal with this sort of | :16:17. | :16:21. | |
storyline? I haven't really been briefed as much as Rudy. He is the | :16:22. | :16:31. | |
protagonist. From my point of view, it's being a carer, being thrust, | :16:32. | :16:37. | |
suddenly finding herself having the responsibility to look after | :16:38. | :16:41. | |
Patrick. You know, everybody seems to have been touched by an illness | :16:42. | :16:45. | |
like this in some way or another. In my family, we have been as well. So, | :16:46. | :16:51. | |
you know, it is the stripping down of somebody after they have had a | :16:52. | :16:55. | |
stroke. I think what it signified for me was that Patrick is a strong, | :16:56. | :17:04. | |
able, fun character. And it gives you a different perspective on your | :17:05. | :17:08. | |
work when you know that some in the people out there could potentially | :17:09. | :17:11. | |
benefit? Absolutely. One of the things I tend to do, I have visited | :17:12. | :17:16. | |
the stroke hospital and I've gotten involved with this situation, if I | :17:17. | :17:23. | |
can be helpful, if I can be the voice, I can gladly do that. You are | :17:24. | :17:28. | |
quite right, it has been a strenuous challenge. Isn't it fantastic to get | :17:29. | :17:33. | |
something so challenging on the show? As much as you can, we look | :17:34. | :17:39. | |
forward to seeing what is to come. What happens, yes. Today, we heard | :17:40. | :17:48. | |
that Oscar-winning film-maker Ron Howard is to direct a documentary | :17:49. | :17:50. | |
about the early years of the Beatles. A Hard Day's Night is bound | :17:51. | :17:58. | |
to feature, and Carrie has been to meet the people that starred | :17:59. | :18:00. | |
alongside the boys in their first feature film. | :18:01. | :18:05. | |
In 1964, Beatlemania was in full swing. The record company bosses | :18:06. | :18:12. | |
looked for ways to cash in on the new phenomenon and came up with a | :18:13. | :18:16. | |
tried and tested formula. Elvis had done it, and now it was the Beatles | :18:17. | :18:23. | |
turn to make a movie. 50 years ago, cameras started rolling here, | :18:24. | :18:32. | |
London's Mala bone station. The film is a fictional day in the life of | :18:33. | :18:36. | |
the biggest pop band in the world as they travel to London for a TV | :18:37. | :18:41. | |
performance. Richard Lester shot the film in a documentary style, with | :18:42. | :18:44. | |
hand-held cameras and thick cuts between shots. The station has | :18:45. | :18:56. | |
changed since the 60s. But expert Richard Porter knows all about its | :18:57. | :19:06. | |
role in the film. In the film, they are supposed to be travelling from | :19:07. | :19:09. | |
Liverpool lime Street to London. But there was a lack of budget, so they | :19:10. | :19:16. | |
had to use this station twice, for their departure and arrival. What | :19:17. | :19:19. | |
would it have been like for the fans? They knew what the Beatles | :19:20. | :19:25. | |
were going to be before they even knew. You had all of the extras, but | :19:26. | :19:30. | |
you also have the real fans turning up. It does feel chaotic at times? | :19:31. | :19:40. | |
It does, it showed how claustrophobic it was for the | :19:41. | :19:46. | |
Beatles. It was going to be called Beatlemania? It was. Ringo Starr | :19:47. | :19:52. | |
slumped into a chair, he said, it's been a hard day. They realised it | :19:53. | :19:57. | |
was my time. They said, it's been a hard day's night. They said, that | :19:58. | :20:02. | |
the title we want. The anarchic style set the film apart from rock | :20:03. | :20:07. | |
'n' roll movies of the 60s. Alan Nolan's script played on their | :20:08. | :20:16. | |
cheeky ad-libs. How did you find America? It's right next to | :20:17. | :20:21. | |
Greenland. Ringo escapes from the spotlight and goes for a walk along | :20:22. | :20:22. | |
the towpath. Have you got a license for that? | :20:23. | :20:36. | |
Don't be so stroppy! We were handed this white script with no title. I | :20:37. | :20:39. | |
was sitting, wondering what it was. When we opened the page it said, | :20:40. | :20:46. | |
John, Paul, George and Ringo. What was your thoughts? Oh, my God! What | :20:47. | :20:52. | |
was it like filming with Ringo Starr? He did seem a little bit | :20:53. | :20:58. | |
nervous. At one part we were walking along and going through the dialogue | :20:59. | :21:01. | |
committee said, it's all right for him, he knows what he's doing. | :21:02. | :21:11. | |
Charlie! What were the reactions to your getting the role? My rating | :21:12. | :21:15. | |
went up a little bit at school. I wasn't short of girlfriends for a | :21:16. | :21:24. | |
while. A Hard Day's Night premiered at the London Pavilion in 19 system | :21:25. | :21:29. | |
for and brought Piccadilly Circus to a standstill. It wasn't a day too | :21:30. | :21:33. | |
soon for these three fans. It's the first time we saw them walking and | :21:34. | :21:40. | |
talking, moving continuously. Do I snore? Yes, the windows rattle. We | :21:41. | :21:47. | |
go home and pretend we came from Liverpool, talking without Liverpool | :21:48. | :21:53. | |
accent. They didn't pretend, they didn't try to be somebody else and | :21:54. | :21:55. | |
you thought you could be somebody else. They still make me laugh and | :21:56. | :22:03. | |
it's stood up to the test of time. Rudy has just spent the last four | :22:04. | :22:06. | |
menace reminiscing of his student days. You have both had lots of jobs | :22:07. | :22:11. | |
on Albert Square. But you have worked at the same place for a | :22:12. | :22:13. | |
period of time, the Minute Mart. Home sweet home! We are going to | :22:14. | :22:22. | |
test your knowledge of what happened in that beautiful place. We have a | :22:23. | :22:31. | |
basket full of cans. We've been doing our shopping. It's quite | :22:32. | :22:36. | |
heavy, they are full hands. Those are more products than we have | :22:37. | :22:40. | |
there. We'll ask you to pick one and will ask you a question. With the | :22:41. | :22:45. | |
help of the voice of the original talking till... Would you like to | :22:46. | :22:55. | |
continue? By coincidence, she was in Eastenders at one point. Do you want | :22:56. | :23:00. | |
to start us off? I'm very excited, I get to scan it. Lovely. Your | :23:01. | :23:08. | |
question, when you worked in the Minute Mart, what colour apron did | :23:09. | :23:15. | |
you wear? Oh, I'm colour-blind! It has to be British, burgundy... -- | :23:16. | :23:23. | |
read. I'll write the scores down. Any can. OK, what vegetable did you | :23:24. | :23:43. | |
say that Ian talks to? Mane aubergine! I'll never forget that. | :23:44. | :23:50. | |
Time for one more. Go for it. Ready? What award did Heather get while | :23:51. | :24:02. | |
working in the shop with you? We can both work that one. With me? You can | :24:03. | :24:07. | |
work that out together, it's the last question. I can't remember. | :24:08. | :24:15. | |
Hurry up, there is a queue behind you. Employee of the month. Card | :24:16. | :24:28. | |
declined! You got one each. You can take those for your tea, we don't | :24:29. | :24:36. | |
know what is in them. You'll be pleased to know that Mr Papadopoulos | :24:37. | :24:37. | |
will be here tomorrow answering questions about the launderette. | :24:38. | :25:11. | |
Things get tense in Albert Square, punch-ups are ten a penny. According | :25:12. | :25:13. | |
to Miranda, that's not the only place where you can place with an | :25:14. | :25:14. | |
enemy. Spending a gentle afternoon poking around in a rock pool is one | :25:15. | :25:15. | |
of life's pleasures. For the creatures that live in a rock pool, | :25:16. | :25:16. | |
life is far from being a gentle affair. | :25:17. | :25:16. | |
They are constantly changing and life is a real battle. Animals have | :25:17. | :25:17. | |
to be willing to fight for resources. One of my favourite rock | :25:18. | :25:25. | |
pool inhabitants are hermit crabs. Sometimes they take a shell from | :25:26. | :25:31. | |
another hermit crab. If you notice the one that you are holding, the | :25:32. | :25:38. | |
shell is too small for that crab. So yours will want to take the shell | :25:39. | :25:45. | |
from mine. Mine notices the better shell immediately. So, it's hiding | :25:46. | :25:56. | |
inside the shell. Can you see he's grabbing the little one? He's | :25:57. | :26:01. | |
literally going to pull him out? There's one thing he has to do | :26:02. | :26:05. | |
before that's going to happen. Which is that. That is shell wrapping. The | :26:06. | :26:14. | |
harder and faster he hits it, the more likely he is able to get him | :26:15. | :26:38. | |
out of it. It's a demonstration of stamina. The small crab has been | :26:39. | :27:11. | |
injected. The big one doesn't waste a lot of time. No hermit crab wants | :27:12. | :27:38. | |
to stay without a shelf along, at least this loser has a consolation | :27:39. | :28:14. | |
prize. As the tide recedes, rock The limp are not the only | :28:15. | :28:48. | |
on the side. It is quite aggressive and it drives the starfish. They | :28:49. | :28:51. | |
stomp on the starfish and it often drives it away. Look at it going | :28:52. | :28:58. | |
down. It is incredibly energetic behaviour. The feisty limpets will | :28:59. | :29:06. | |
live to see another day. Up here it all seems calm, but under the | :29:07. | :29:10. | |
surface, the watery world of rock pools is one of drama. Animals | :29:11. | :29:16. | |
literally fight for survival. Thank you Miranda. Thanks to Rudolph | :29:17. | :29:20. | |
and Diane Blood joining others. Good luck with the storyline, it is | :29:21. | :29:27. | |
something we all identify with. We will be talking about space food | :29:28. | :29:31. | |
with Heston Blumenthal and astronaut, Tim Peake. | :29:32. | :29:32. | |
Goodbye. I'm not going to carry on | :29:33. | :29:50. | |
as if nothing has happened. I'm afraid there's not much | :29:51. | :29:51. | |
we can do. # Not giving in... # ..how would you fight | :29:52. | :29:56. | |
to get her back? This is wrong. | :29:57. | :29:59. |