Browse content similar to 18/11/2015. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Hello and welcome to your Wednesday One Show with Alex Jones. | :00:16. | :00:19. | |
Tonight we are joined by these three little boys. | :00:20. | :00:25. | |
One started life as Santa's little helper but grew up to be one of | :00:26. | :00:31. | |
The second started life in russia as a budding "tri-cyclist", | :00:32. | :00:36. | |
he's now one of the UK's richest media moguls. | :00:37. | :00:44. | |
And the last one clearly fancied a career in the armed forces, | :00:45. | :00:47. | |
but instead, he's just quickstepped his way out of Strictly. | :00:48. | :00:53. | |
Please welcome Rob Brydon, owner of the Independent newspaper, | :00:54. | :00:59. | |
Brilliant photos. And thanks to your families for sending them in. The | :01:00. | :01:19. | |
one in the tractor is very cute. Soviet tractor. Well, now, Rob, this | :01:20. | :01:27. | |
is a correction between yourself and Yevgeny. What is that? Well, he | :01:28. | :01:38. | |
hangs around outside my house. He is always dressed so smartly, I think | :01:39. | :01:42. | |
you should go somewhere. I said look, I'm doing The One Show. Why | :01:43. | :01:46. | |
don't you come. We did predict that would be that sort of answer. I am | :01:47. | :01:53. | |
joking of course. I'm going to be hosting the Evening Standard Theatre | :01:54. | :02:01. | |
Awards this Sunday, which Yevgeny is responsible for, because The | :02:02. | :02:05. | |
Standard is his. I have to say that, because he is here. But it is a big | :02:06. | :02:12. | |
show. We will talk about that later. Tonight it is about show business, | :02:13. | :02:17. | |
as well as the theatre awards and Strictly Come Dancing, we have a | :02:18. | :02:19. | |
performance from this lot. Their the cast of the China national | :02:20. | :02:43. | |
Peking Opera. It looks fantastic. Mesmerising. Now, the Home | :02:44. | :02:48. | |
Secretary, Theresa May, is pushing for an overhaul of online | :02:49. | :02:53. | |
surveillance laws in the form of a new legislation called the | :02:54. | :02:56. | |
Investigatory Powers Bill. It will require internet firms to keep a | :02:57. | :02:59. | |
record of the web-sites we visit for a year. But is increased | :03:00. | :03:06. | |
surveillance an invasion of privacy, or a compromise we have to live | :03:07. | :03:12. | |
with. It is over to Max Hastings and Shami Chakrabarti. | :03:13. | :03:19. | |
The only edge we have over terrorists is the fact we can | :03:20. | :03:26. | |
monitor what they're doing on the internet by telephone. And we have | :03:27. | :03:30. | |
got to use it. If we don't, how else are you going to find these people? | :03:31. | :03:36. | |
Our ultimate edge over the terrorists is our solidarity. We | :03:37. | :03:42. | |
need to trust each other and talk and we need human intelligence and | :03:43. | :03:48. | |
not just the collecti of greater amounts of sensitive data. It is not | :03:49. | :03:53. | |
likely the neighbours in a Muslim community say I think they're up to | :03:54. | :03:58. | |
no good. Unless the intelligence services can use electronic | :03:59. | :04:01. | |
surveillance, I can't see how those who want to to us harm can be | :04:02. | :04:06. | |
caught. The new Bill proposes hacking powers. If your system has | :04:07. | :04:10. | |
been hacked you will not know that that is the case. And that system or | :04:11. | :04:15. | |
device will then be vulnerable to subsequent hacks. Not by the | :04:16. | :04:20. | |
authorities this time. But by more malign powers. I am womening to | :04:21. | :04:24. | |
trust our government and the intelligence services that far to | :04:25. | :04:29. | |
give them access to my internet and telephones, because I can't see how | :04:30. | :04:35. | |
else they can protect us from harm. The authorities already have | :04:36. | :04:39. | |
enormous powers to look at our online data. Greater powers in the | :04:40. | :04:43. | |
UK than anywhere else in the free world. If you're looking for a | :04:44. | :04:48. | |
needle, don't keep building a bigger and big irhaystack. How else will we | :04:49. | :04:54. | |
find them, except by what the spooks call bulk data collection? I have | :04:55. | :05:03. | |
walked in GCHQs basement among five acres of computers which are looking | :05:04. | :05:08. | |
at our internet. Unless you trawl through a whole community, how on | :05:09. | :05:11. | |
earth are you going to find these people? If the police want to search | :05:12. | :05:15. | |
my home or office, they go to a magistrate. This is done all over | :05:16. | :05:20. | |
the country very quickly every day. What is being proposed is the ekwif | :05:21. | :05:28. | |
lent of - equivalent of planting cameras in even's bedroom. There is | :05:29. | :05:32. | |
no reason why those warrants shouldn't be signed off by judges. | :05:33. | :05:36. | |
It is not a perfect bill, what legislation ever is? But compared | :05:37. | :05:40. | |
with the risks we face we have got to be prepared to give the benefit | :05:41. | :05:43. | |
of doubt to the Security Services and give us these powers. This is a | :05:44. | :05:47. | |
moment to hold our nerve, not to rush through new powers. But to get | :05:48. | :05:51. | |
them right. We have an opportunity to make them fit for purpose in the | :05:52. | :05:59. | |
21st Century and to ensure that our privacy is proportionately | :06:00. | :06:08. | |
protected. Give yenny, your father worked for the K GB in Russia, do | :06:09. | :06:13. | |
you think there should be more or less surveillance here? That is a | :06:14. | :06:18. | |
bit too glamorous your description. He was a foreign intelligence | :06:19. | :06:22. | |
officer in London, but it was in the 80s so, less of the poisonous | :06:23. | :06:27. | |
umbrella poking and more of newspaper reading and reporting back | :06:28. | :06:32. | |
home. On a serious note, I think we possibly are facing the biggest | :06:33. | :06:38. | |
fight of our generations. Because or generation, because Isis is a threat | :06:39. | :06:44. | |
which needs to be addressed. Especially in light of recent | :06:45. | :06:53. | |
events, the downing of the Russian plane, the events in Turkey and | :06:54. | :07:00. | |
Tunisia and Paris. Although I care about civil liberties, I think the | :07:01. | :07:04. | |
balance is tilting towards having more surveillance, because if the | :07:05. | :07:07. | |
surveillance can save lives, more surveillance, because if the | :07:08. | :07:12. | |
innocent lives of just people on the street, who ever they may be, | :07:13. | :07:17. | |
mothers, daughters, fathers, I think we must be able to allow the | :07:18. | :07:21. | |
mothers, daughters, fathers, I think surveillance if it saves people. You | :07:22. | :07:31. | |
agree with this Jeremy? It comes up on my show all the time. A lot of | :07:32. | :07:35. | |
listeners say, same sentence again and again, if you have got nothing | :07:36. | :07:40. | |
to hide, you have nothing to fear, but somebody will say, we had a | :07:41. | :07:43. | |
prosecution of the newspaper industry, because they were hacking | :07:44. | :07:47. | |
into phones. So people are very worried about | :07:48. | :07:47. | |
into phones. So people are very web search history tells people who | :07:48. | :07:53. | |
you are. If it is captured web search history tells people who | :07:54. | :08:03. | |
you. But events of the last few days web search history tells people who | :08:04. | :08:10. | |
everyone is now thinking afresh about this. From a broadcaster's | :08:11. | :08:17. | |
perspective, obviously these attacks, one of the reasons they | :08:18. | :08:21. | |
were doing it was to try and get some attention. How much | :08:22. | :08:25. | |
were doing it was to try and get do you think column inches | :08:26. | :08:28. | |
were doing it was to try and get time should be given to these kind | :08:29. | :08:31. | |
of acts, if their aim is to put it out there, how much should we cover | :08:32. | :08:35. | |
it? Well the information war is something they're very good at. I'm | :08:36. | :08:41. | |
afraid every day in news rooms editors have to take a decision on | :08:42. | :08:47. | |
how much coverage they would give to a particular act that has been | :08:48. | :08:53. | |
conducted. So when Steven Sotloff was beheaded, we decided not to put | :08:54. | :08:59. | |
a photograph of Jihadi John on the front-page, but a younger photograph | :09:00. | :09:04. | |
of Steven Sotloff. It is something that comes up every day. It is a | :09:05. | :09:10. | |
judgment that needs to be taken and on one hand we don't to give them | :09:11. | :09:16. | |
too much air time. But it has to be shown. I think news has its own | :09:17. | :09:21. | |
energy and it is difficult to decide what happened in Paris wasn't news | :09:22. | :09:25. | |
worthy, just saying that sounds absurd. So unfortunately they know | :09:26. | :09:30. | |
that the mechanism is they can claim your front-page by doing a terrible | :09:31. | :09:37. | |
thing. It is how you present it and how they choose to present it. Some | :09:38. | :09:42. | |
are undoubtedly more sensationalist, because they knee fear sells and | :09:43. | :09:46. | |
that is where I have a problem, where I see it presented almost not | :09:47. | :09:51. | |
as entertainment. But there is an element of it, where it is | :09:52. | :09:57. | |
sensationalised. That is scary. There was a student at Virginia Tech | :09:58. | :10:05. | |
in the United States who shoot students dead and he left a message | :10:06. | :10:12. | |
and some news outlets played the mess I felt queasy about that. | :10:13. | :10:15. | |
Because the next person knows they're going to get their message | :10:16. | :10:20. | |
played. If you can't interview the guy I don't think you should play | :10:21. | :10:22. | |
the message. Thank you for your comments on that. We are going to | :10:23. | :10:29. | |
move on, because I think... There is only one thing we disagree on. I | :10:30. | :10:34. | |
know what you mean. I can come into the studio it is freezing. Matt | :10:35. | :10:42. | |
arrives and he is sweating pints. I have to towel down. The crew is in | :10:43. | :10:46. | |
shorts half of the time. It is something we cannot agree on. Yes, | :10:47. | :10:54. | |
it seems the daily argument we call the thermospat extends beyond this | :10:55. | :10:59. | |
studio. Despite temperatures reaching 22 degrees in November the | :11:00. | :11:02. | |
first storms have arrived and winter is on the way and in many homes the | :11:03. | :11:13. | |
heating is on. A survey by you switch suggested there will be | :11:14. | :11:17. | |
millions of arguments about the thermostat. But could the arguments | :11:18. | :11:24. | |
be wrecking our domestic bliss. And who is in charge of the thermostat? | :11:25. | :11:29. | |
We have come to Northampton to find out. Hello there. We are from The | :11:30. | :11:33. | |
One Show. We are asking people about heating. Do you like a warm house. | :11:34. | :11:37. | |
Yes. Who would be in charge of that The wife. Who is in control of the | :11:38. | :11:45. | |
temperature? Me. Yes clam! Who decides? She is a woman obviously. | :11:46. | :11:50. | |
She is in charge. You pick your battles. Normally me. I wife likes | :11:51. | :12:00. | |
it up. Who comes out on top. It must be you. I pay the bill. Bill payer. | :12:01. | :12:07. | |
You have the power. Women are more likely to crank up the thermostat | :12:08. | :12:16. | |
than men. Men like a cooler agreement. But I like it toasty. Is | :12:17. | :12:23. | |
there any battle over the thermostat? I prefer it warmer. | :12:24. | :12:30. | |
Someone would turn it up more. No, if I do that, I tend to that if she | :12:31. | :12:34. | |
is not in. What she doesn't know doesn't hurt her. Until this goes | :12:35. | :12:42. | |
out. We are from The One Show. I walk in and think it is hot and then | :12:43. | :12:46. | |
switch it off. Does that cause arguments. I just get the look. You | :12:47. | :12:58. | |
turn it up? 25. I have it lower than 18. We spend a lot. I am conscious | :12:59. | :13:06. | |
of bill. Every degree you go up, you go up in price. Yes, it is all | :13:07. | :13:11. | |
right, but it is ex-tenest pensive and you can -- expensive and you put | :13:12. | :13:18. | |
on a jumper. You're a woman after my heart. She likes it warmer than you. | :13:19. | :13:26. | |
By far. Is there anything you could decrease this seasonal friction by | :13:27. | :13:31. | |
doing some other energy saving forms of insulation? Have a cuddle! In | :13:32. | :13:43. | |
your house? Is it you? No, it's Nicola, my wife. You three? I like | :13:44. | :13:52. | |
it cold. My father sits by the door. While the heating it full blast. No | :13:53. | :13:59. | |
heating until November. I was totally outvoted on it. My wife and | :14:00. | :14:04. | |
two daughter three to one against. The heating come on in October. | :14:05. | :14:12. | |
People wonder on you view. I'm Russian. For you this is barmy. I | :14:13. | :14:18. | |
keep it cold and then I have a vodka shot! I thought you might have a | :14:19. | :14:28. | |
blanket. A fur one. The coldest I have been in Moscow and I bought a | :14:29. | :14:35. | |
cagoule. It was minus 35. Unbelievable. As. Rob you mentioned | :14:36. | :14:49. | |
you and Yevgeny will present the Evening Standard Theatre Awards. I'm | :14:50. | :14:54. | |
presenting, he has a light night. He is not doing much. Just shaking | :14:55. | :15:00. | |
hands. He owns the paper. I don't own any papers. Other than actual | :15:01. | :15:04. | |
copies. Let's see some of the acts that are hoping to win. I'm Jess. | :15:05. | :15:11. | |
Jules. I want to be a songwriter. It's not | :15:12. | :15:28. | |
practical, girls don't write music. White | :15:29. | :15:34. | |
APPLAUSE This is taking place on Sunday, we | :15:35. | :15:54. | |
saw clips were many great musicals, like Gypsy, many which have come out | :15:55. | :16:00. | |
this year, actually. That is because it is the awards for this year. I | :16:01. | :16:07. | |
know that, but they are very new, that is what I'm saying. That is the | :16:08. | :16:16. | |
point of the awards, every time I come on the show, there is something | :16:17. | :16:23. | |
rudimentary I have got to explain her. " As you noticed with the | :16:24. | :16:31. | |
Oscars, it is always the films which come out in the last 12 months? " -- | :16:32. | :16:39. | |
have you noticed. They could have come out a year earlier and only | :16:40. | :16:45. | |
risen to prominence this year, OK? Anyway, you are not judging, so, | :16:46. | :16:52. | |
personal favourites? I saw Imelda Staunton in Gypsy, that great | :16:53. | :16:57. | |
performance, but I had never seen her in anything where she is not | :16:58. | :17:06. | |
amazing. It is true. I saw her in Guys And Dolls, she was off the | :17:07. | :17:12. | |
scale, and Sweeney Todd with Michael Ball, she was amazing. She is very | :17:13. | :17:18. | |
special. In terms of musicals, I would go with her. Yevgeny, you have | :17:19. | :17:23. | |
turned these awards into something special, why is Theatre is so | :17:24. | :17:29. | |
important for you? I grew up with Theatre, first in the Soviet Union | :17:30. | :17:36. | |
and then moving here. What are your memories? My most vivid memories was | :17:37. | :17:42. | |
the White guard, which was Stalin's most favourite play, and it was | :17:43. | :17:45. | |
actually onstage at the National Theatre recently. I remember it very | :17:46. | :17:53. | |
vividly, I was sick after eating caviar which had gone off, not that | :17:54. | :17:56. | |
I have had caviar caviar which had gone off, not that | :17:57. | :18:03. | |
we believe that... Seriously, I grew up watching Theatre, and Theatre is | :18:04. | :18:09. | |
very popular in Russia, it was popular in the Soviet Union. The | :18:10. | :18:14. | |
Soviet government realised it was a great propaganda tool, and there | :18:15. | :18:17. | |
were great propaganda tool, and there | :18:18. | :18:25. | |
here, London, the West End, great propaganda tool, and there | :18:26. | :18:28. | |
beyond West End, great propaganda tool, and there | :18:29. | :18:29. | |
theatre. Quite beautiful, throwing great propaganda tool, and there | :18:30. | :18:34. | |
flowers, and that appreciation. Russians do tend to show their | :18:35. | :18:39. | |
appreciation, giving flowers at every before 's and many curtain | :18:40. | :18:45. | |
calls. Do they actually listen to the content? There are mobile | :18:46. | :18:50. | |
telephones going off, but they do listen. If there is an important | :18:51. | :18:55. | |
person, coming, the performance can be held for an hour, waiting for his | :18:56. | :19:03. | |
arrival. In this country, I think we would only do that if it was Simon | :19:04. | :19:08. | |
Cowell. LAUGHTER May be. Let's talk about your | :19:09. | :19:14. | |
Theatre, musicals have been a big part of your life. Yes, when I was | :19:15. | :19:20. | |
younger. I was at Porthcawl, Trencin, this is where I met Ruth | :19:21. | :19:27. | |
Jones from Gavin and Stacy, and we were together in Guys And Dolls and | :19:28. | :19:31. | |
Carousel, West side story, but were together in Guys And Dolls and | :19:32. | :19:36. | |
never done one. I want to were together in Guys And Dolls and | :19:37. | :19:42. | |
I'm looking for the right one. We will take you back to | :19:43. | :19:48. | |
I'm looking for the right one. We and show you why you enjoyed it so | :19:49. | :19:52. | |
much, what do you remember about this? | :19:53. | :19:54. | |
much, what do you remember about # But she won't make a sissy out of | :19:55. | :19:57. | |
# APPLAUSE That is great. In musical terms, | :19:58. | :20:07. | |
that is called flat, that was from Carousel. And that is me dressed | :20:08. | :20:13. | |
like a David Essex tribute band. That was at the grand Pavilion. Yes, | :20:14. | :20:19. | |
on the seafront. This building? Yes, it is. Very pretty. Television | :20:20. | :20:29. | |
cameras are there, and a boy that we know, called Joe, he is | :20:30. | :20:32. | |
cameras are there, and a boy that we have you done? Rob, you will | :20:33. | :20:38. | |
recognise displays, what a grand Pavilion this is and I have been | :20:39. | :20:45. | |
told it has not changed much since you were here in the early 80s, | :20:46. | :20:48. | |
strutting your staff, you were on you were here in the early 80s, | :20:49. | :20:57. | |
this stage in a series of school productions, you have mentioned | :20:58. | :21:02. | |
Carousel. As a special surprise we have gathered together a few people | :21:03. | :21:10. | |
to share early memories of you from those days. I'm joined by Gordon | :21:11. | :21:15. | |
Ebsworth, your headmaster. Gordon, you introduce drop to the drama | :21:16. | :21:21. | |
department? Yes, I did. An excellent move. Unknown to me at that time, | :21:22. | :21:28. | |
but just think of the success that has followed him from that moment | :21:29. | :21:34. | |
on. He had a great voice? Very melodious. Your teacher, still | :21:35. | :21:40. | |
waxing lyrical. In the studio we have a photo, so have a look at | :21:41. | :21:48. | |
that, it is black and white, it is a bit grainy, but do you remember | :21:49. | :21:55. | |
this? Just to jog your memory, I will be Rob Brydon for a moment. I | :21:56. | :22:03. | |
have got his pout going on, any clues as to the production? That is | :22:04. | :22:09. | |
Debbie Nelson. Good Lord. LAUGHTER She was Sweet Charity, your leading | :22:10. | :22:15. | |
lady, what was it like to play against him? A lot of fun, he was | :22:16. | :22:22. | |
the consummate performer on stage, he based his character on a Woody | :22:23. | :22:29. | |
Allen and he had the Woody Allen glasses and backstage he carried on | :22:30. | :22:34. | |
being the backstage performer and he made us laugh all the time, it was a | :22:35. | :22:42. | |
lot of fun. He was doing impressions at an early date, no surprise. | :22:43. | :22:48. | |
Debbie is going to sing a line, see if you can answer it. LAUGHTER | :22:49. | :22:53. | |
You belong to me # I wish I could remember the song! | :22:54. | :23:01. | |
I know that you love being on stage, but I understand that you were | :23:02. | :23:07. | |
watching avidly from the wings, and watching avidly from the wings is | :23:08. | :23:13. | |
Cerys, who was in Carousel. You played Mrs Mullins and you had to be | :23:14. | :23:21. | |
a bit forward with him? Yes, I had to be romantic with him and put my | :23:22. | :23:28. | |
hands through his hair and I was very nervous. Every time we did the | :23:29. | :23:35. | |
scene I used to deflect and say to the teacher, should I stand stage | :23:36. | :23:42. | |
right? In the end, Roger said, are you ever going to be romantic with | :23:43. | :23:50. | |
him? And did you? Ask Rob. You were the man at the heart of all this, | :23:51. | :24:00. | |
you were his drama teacher, and he has spoken of you as being a pivotal | :24:01. | :24:08. | |
figure in his life. Yes, our friendship has developed over the | :24:09. | :24:14. | |
years. Very proud of him. You are still doing your job? Yes, it is | :24:15. | :24:22. | |
nice to think that we might find the next Rob Brydon. Finally, two more | :24:23. | :24:28. | |
guests, and if you do not recognise them you are in trouble, it is your | :24:29. | :24:34. | |
mother and father. LAUGHTER And you always know that he was | :24:35. | :24:41. | |
going to be a performer? Yes, from a very young age, at home, in church, | :24:42. | :24:49. | |
always very happy to entertain, but did not know what he would go on to. | :24:50. | :25:01. | |
He was a show off? He was indeed, I will not deny it. He says he gets | :25:02. | :25:12. | |
more like you as he gets older? Yes, I think so, he's very lucky, | :25:13. | :25:19. | |
actually. That is how his career is blossoming, he is copying me. There | :25:20. | :25:26. | |
is a hint for the family humour. Take a position on the stage, you | :25:27. | :25:33. | |
have all supported him in his early life, and a quick shout to Bridgend | :25:34. | :25:42. | |
youth Theatre. I know you are a big supporter of that. As Sweet Charity | :25:43. | :25:48. | |
sang, if only my friends could see you now, and the truth is, you will | :25:49. | :25:56. | |
level. -- the truth is, you will never, in. -- you will never walk | :25:57. | :26:04. | |
alone. You are lost for words? Cena yes, thank you, that's a lovely | :26:05. | :26:10. | |
thing do. It is great to see your face. For anybody who is thinking | :26:11. | :26:17. | |
about popping out to buy some sweets for a loved one, do not let this | :26:18. | :26:24. | |
film put you off. We are just saying that you might need to put in more | :26:25. | :26:31. | |
effort. For nearly 40 years, the most famous advertising character in | :26:32. | :26:35. | |
British TV history delivered chocolates to a mysterious lady. | :26:36. | :26:41. | |
Over the years he drove a sports car over a collapsing bridge and avoided | :26:42. | :26:46. | |
avalanches, or because the lady loves a box of chocolates. One of | :26:47. | :26:51. | |
the best remembered stunts involved the silent hero diving from a cliff | :26:52. | :26:57. | |
into shark infested waters, to deliver the chocolates to the | :26:58. | :27:01. | |
mysterious lady's yacht. Our stuntman is going to attempt to | :27:02. | :27:06. | |
recreate the legendary dive. But what is it about these adverts that | :27:07. | :27:13. | |
made them so popular? Kate from Saatchi Saatchi is the daughter of | :27:14. | :27:19. | |
copywriter Bob, the man who wrote that famous tag line, all because | :27:20. | :27:27. | |
the lady loves... It captured a time, and they became and I'm not | :27:28. | :27:40. | |
sure it happens so much now, but it became an event, because they did | :27:41. | :27:46. | |
very brave stance and impressive action and they almost had to better | :27:47. | :27:54. | |
themselves every time they did it, and it became something people look | :27:55. | :28:00. | |
forward to. Why does it work? He is obviously romantic, a fantasy escape | :28:01. | :28:05. | |
character, quite tongue in cheek, knowing my father, it was not | :28:06. | :28:11. | |
conceived as a serious play, and it is very elegantly delivered, the | :28:12. | :28:17. | |
idea, or because the lady loves Milk Tray, and they always knew that he | :28:18. | :28:24. | |
was going to embark on a ridiculous journey because the soundtrack | :28:25. | :28:29. | |
kicked off. That was the success, they were very smooth characters, | :28:30. | :28:35. | |
that always managed to go to extraordinary lengths and achieve | :28:36. | :28:40. | |
the seemingly impossible. There have been seven Milk Tray men, and Alan | :28:41. | :28:48. | |
Myers would play the character more than most, but it was someone else | :28:49. | :28:58. | |
who made the death-defying dive, his name was out of joint, the legendary | :28:59. | :29:06. | |
British stuntman who worked on numerous blockbuster films. His son | :29:07. | :29:17. | |
is at the YMCA where his dad trained. I remember dad saying he | :29:18. | :29:26. | |
got to the edge of the cliff and he looked down. There is a yacht in the | :29:27. | :29:34. | |
Bay. He only went halfway up the cliff, this cliff was 160 feet high, | :29:35. | :29:41. | |
and I thought, this is very dangerous, but I know what I'm | :29:42. | :29:44. | |
doing, he said, and so he dive. The first time it was 85 | :29:45. | :29:47. | |
degrees to deflect dive. The first time it was 85 | :29:48. | :29:58. | |
he did the dive again, and I don't dive. The first time it was 85 | :29:59. | :30:00. | |
know why, but he went in at 90 dive. The first time it was 85 | :30:01. | :30:07. | |
degrees and the impact of dive. The first time it was 85 | :30:08. | :30:11. | |
on his head crumbled his spine like an accordion and he was paralysed, | :30:12. | :30:16. | |
knocked unconscious, and he was rushed out of | :30:17. | :30:24. | |
Remember, our stunt men know what they're doing to stay way from any | :30:25. | :30:32. | |
cliffs. Now welcome Strictly's partner to the music that Jeremy has | :30:33. | :30:37. | |
been trying to forget since Sunday. It is Karen Clifton. Come on in, | :30:38. | :30:52. | |
take a seat. I missed you so much. Hello lovely. I had, you will | :30:53. | :30:59. | |
appreciate this, I got this Bluetooth boom box that can compare | :31:00. | :31:04. | |
with two phones, I saw it today and it was paired with Karen's phone. I | :31:05. | :31:11. | |
thought it is sad. We were devastated when you left. But there | :31:12. | :31:16. | |
has been a little bit of upset on social media hasn't there? Yes we | :31:17. | :31:22. | |
have had videos of kids crying. They haven't been able to go to sleep, | :31:23. | :31:27. | |
because Jeremy is out of competition. It | :31:28. | :31:32. | |
because Jeremy is out of harm-warming. One kid bought a | :31:33. | :31:32. | |
balloon and when they called us out, harm-warming. One kid bought a | :31:33. | :31:41. | |
he dropped his balloon. Is there anything you would like to say | :31:42. | :31:45. | |
he dropped his balloon. Is there the children. Somebody said her | :31:46. | :31:48. | |
child who was four asked to go to bed, because then at least Jeremy | :31:49. | :31:53. | |
won't stop dancing in my dreams. That sounds more like a nightmare to | :31:54. | :32:00. | |
me. But very young kids, we are in great shape and we will be friend | :32:01. | :32:04. | |
for life. I got eight weeks in. I thought I would be out in the first | :32:05. | :32:07. | |
week. This brilliant dancer kept me in. I believe it was all you Karen. | :32:08. | :32:15. | |
So I always think... I don't think anyone doubts that. So I don't think | :32:16. | :32:23. | |
the pros get the credit. She said, I have got to stop the dad dancing. | :32:24. | :32:29. | |
She said that the dad dancing, we are the same age, Rob, born in 65, | :32:30. | :32:34. | |
dad dancing is where you move everything. The dancing I'm going to | :32:35. | :32:39. | |
teach you is where you only move one thing. That is all I can remember of | :32:40. | :32:46. | |
the whole experience. What I learned instead of nodding down wards to | :32:47. | :32:51. | |
music. Nod up and you look like you're more in the beat. I had a | :32:52. | :32:58. | |
thing, I was shopping, and I should mention this, Karen, this person | :32:59. | :33:02. | |
came to me, a lady in a supermarket, and said, stop it... I'm nodding. | :33:03. | :33:12. | |
She just said, nice to see you on strict list I thought your | :33:13. | :33:18. | |
co-ordination was better by the end. I then knocked my glasses off. So it | :33:19. | :33:26. | |
not that good. I think you got better and you were underscored at | :33:27. | :33:32. | |
some points. The judges were a bit mean. Sometimes. They described you | :33:33. | :33:41. | |
as a spider. Dancing spider. The dancing is OK. The best one was a | :33:42. | :33:53. | |
stork being electrocuted. And Craig paused and said, you know the | :33:54. | :33:57. | |
problem really began when you started to dance. I thought... Well | :33:58. | :34:02. | |
I don't know what to take out of that. For me at the end of that | :34:03. | :34:08. | |
table having done the dance and they were opening up on you, I was loving | :34:09. | :34:13. | |
it and I was laughing all the way through. I didn't mind. That was | :34:14. | :34:18. | |
great. Does that mean that, are you content with what you have done? | :34:19. | :34:23. | |
Dancing, or is this a spring board... Oh yes, this is where it | :34:24. | :34:30. | |
begins. Even was done specifically for you. I mean specifically. | :34:31. | :34:37. | |
Including the horse. We have the horse. You were fabulous. These are | :34:38. | :34:43. | |
your best bits. Come on. OK. You're back. I'm back. Because I want to | :34:44. | :34:57. | |
# Together we will go our way! # thriller, thriller # # Putting on my | :34:58. | :35:19. | |
top hat, tying on white tie... # Splish, splash, I was taking a | :35:20. | :35:27. | |
bath... # Here is the shoe that I'm going to auction for charity. This | :35:28. | :35:32. | |
is your actual shoe. The reason it is interesting, because there is a | :35:33. | :35:39. | |
hole in the side and the costume department said, Jeremy, how have | :35:40. | :35:45. | |
you done that. I said it us the move that Karen clocked the clock, from | :35:46. | :35:50. | |
Grease, where you walk and lie on the floor and walk around in the | :35:51. | :35:57. | |
circle so I wore a hole in my shoe. That was worth it. . You don't have | :35:58. | :36:05. | |
any regrets about the clock. No, it was great. You did me proud. Karen | :36:06. | :36:11. | |
you have got to keep dancing, you will be at Blackpool? Yes. We will | :36:12. | :36:18. | |
be doing all of our pro routines. I'm going to miss this guy. I'm | :36:19. | :36:25. | |
taking a friend up to Blackpool, I promised I would take this friend | :36:26. | :36:29. | |
even if I was out. No further back story required. An old university | :36:30. | :36:34. | |
friend. Sorry, I misunderstood. You know we are on air? I will be | :36:35. | :36:40. | |
cheering you on from the side looivens. Lines. Still to come a | :36:41. | :36:48. | |
special edition of Rob's comedy show, Would Yevgeny Lie To You? He | :36:49. | :36:55. | |
has been waiting for five minutes. Our next film is about love, | :36:56. | :37:01. | |
suffering and relationships, all set against the backdrop of sibling | :37:02. | :37:06. | |
rivalry. This is riverside in wary,shire. -- Warwick shire. The | :37:07. | :37:16. | |
River Trent is given to flooding and tidal bores, they push high waves up | :37:17. | :37:24. | |
stream a phenomenon the locals all the agar. In 1859 this river | :37:25. | :37:31. | |
inspired one of most celebrated books in English literature, The | :37:32. | :37:40. | |
Mill on the Floss by George Elliot. The novel tells the story of Maggie | :37:41. | :37:46. | |
and her brother Tom, who grow up on the river Floss. The banks seemed | :37:47. | :37:53. | |
like home. Maggie gathered the reeds, they wandered with a sense of | :37:54. | :37:59. | |
travel to see the rushing spring tide come up like a hungry monster. | :38:00. | :38:04. | |
Tom thought people were at a disadvantage, who lived on any other | :38:05. | :38:13. | |
spot of the globe. The author based Tom and Maggie on her own childhood | :38:14. | :38:22. | |
in Warwickshire. Vivienne Wood has studied the author's links to the | :38:23. | :38:26. | |
area. She lived with her mother and father and sister and her beloved | :38:27. | :38:31. | |
brother Isaac. She adored her brother. That is the key to | :38:32. | :38:36. | |
understanding George Elliot. Family life is at the heart of the Mill on | :38:37. | :38:41. | |
the floss, the author and her brother would fishes in a pond at | :38:42. | :38:46. | |
the bottom of the garden. They were on their way to the round pool that, | :38:47. | :38:51. | |
wonderful pool which the floods had made along wile ago. No one knew who | :38:52. | :38:57. | |
deep it was and it was mysterious too, but it should be almost a | :38:58. | :39:02. | |
perfect round. Why did she choose a male name? In many ways it was to | :39:03. | :39:08. | |
avoid the judgment of society. It was very difficult for women then to | :39:09. | :39:13. | |
publish. George Elliot did reveal she was a woman after the success of | :39:14. | :39:21. | |
her first novel Adam Bead, but some reviewers were not amoozed. -- | :39:22. | :39:26. | |
amused One said it was the vile outpourings of a lewd woman's mind. | :39:27. | :39:32. | |
Her creation Maggie also has a strong independent streak and | :39:33. | :39:36. | |
develops a relationship with the son of her father's enemy. Against the | :39:37. | :39:42. | |
wishes of her brother, she meets him in secret at Red Deeps, a wood based | :39:43. | :39:53. | |
on this wood. She held this place in deep awe. Visions of robbers and | :39:54. | :39:59. | |
fierce animal bes haunting every hollow. Maggie's meetings cause a | :40:00. | :40:05. | |
rift with her brother, Tom. Which only worsens after the St Ogg's | :40:06. | :40:13. | |
bizarre which is set here. This English scholar is an short on her | :40:14. | :40:20. | |
books. Her she receives the attention not only of Philip but her | :40:21. | :40:30. | |
cuss sin. She allows Steve on the take her on an ill advised boat trip | :40:31. | :40:35. | |
and they go too far and spend the night away and when they come back | :40:36. | :40:41. | |
she is regarded as a fallen woman. Her brother disowns her and she is | :40:42. | :40:47. | |
disgraced in the eyes of society. This rift between Maggie and Tom is | :40:48. | :40:55. | |
echoed in the real life story. In 1854 she moved in with a writer who | :40:56. | :41:01. | |
was still particularied to his previous -- married to his previous | :41:02. | :41:06. | |
partner. He cut off contact with her and told the family not to have | :41:07. | :41:10. | |
contact with her either. Elliot's The Mill on the Floss was published | :41:11. | :41:15. | |
in 1860 to instant success. After the end of novel Maggie rose to the | :41:16. | :41:19. | |
mill to save her brother from a flood. The two have a fleeting | :41:20. | :41:23. | |
reconciliation before the water overwhelms them. But there would be | :41:24. | :41:28. | |
no such reunion for George Elliot. She would never see her brother | :41:29. | :41:30. | |
again. Fantastic. Thank you Cerys. She would never see her brother | :41:31. | :41:41. | |
Now, as we She would never see her brother | :41:42. | :41:45. | |
presenting the Evening Standard Theatre Awards with Yevgeny. | :41:46. | :41:58. | |
presenting the Evening Standard are going to play Would Yevgeny Lie | :41:59. | :42:05. | |
To You. So how will it work. Yevgeny will read three sometimes statement | :42:06. | :42:12. | |
and they have to spot the lie. Karen you get the final say. Are we set? | :42:13. | :42:16. | |
When you're ready read out your statements. I will try and keep my | :42:17. | :42:27. | |
face straight. Sir Elton John once shaved off my beard and my eyebrows | :42:28. | :42:36. | |
for charity and vowed to go further the next year. I own a wolf called | :42:37. | :42:47. | |
Boris. OK. Statement three, I am going to be pressing the launch | :42:48. | :42:55. | |
button for major Tim Peake's trip to the space station. Who was the | :42:56. | :43:03. | |
third. Tim Peake the astronaut. That one had me going. The wolf thing is | :43:04. | :43:11. | |
no way to refer to our mayor is the first thing I would say. He has a | :43:12. | :43:15. | |
difficult job. But it is not easy. You know how shy he is. The wolf, I | :43:16. | :43:23. | |
think the wolf... I was thinking the facial hair. I can't picture him | :43:24. | :43:27. | |
without facial hair. I don't think I have ever seen him without the | :43:28. | :43:32. | |
beard. Can we ask questions. Where is your wolf kept? In an enclosure | :43:33. | :43:40. | |
behind a fence. He is hesitating there. That is made up. Where is the | :43:41. | :43:47. | |
fence? It is up on the hill. We can see where this is going. Where is | :43:48. | :43:56. | |
the hill? It's part of a mountain. What is the name of the mountain? It | :43:57. | :44:11. | |
is called... Mount TeTso. Which is the lie? The Elton thing... I can | :44:12. | :44:18. | |
kind of... The wolf thing. The wolf fell apart. The rocket pressing the | :44:19. | :44:23. | |
launch I can believe that. But I don't think you would allow your | :44:24. | :44:32. | |
eyebrows. Let's ask the captain. What do you think. I think the wolf | :44:33. | :44:38. | |
was destroyed. One is true. What about the the wolf? Let's go with | :44:39. | :44:45. | |
the eyebrows. I think the space rocket with the wolf. The wolf. No | :44:46. | :44:55. | |
I'm afraid it is not. You don't even know where it is. The lie was? I was | :44:56. | :45:03. | |
pressing the launch button. We did shave awe off your beard and | :45:04. | :45:11. | |
eyebrows. Yes. Do you walk your wolf? I do sometimes. The neighbours | :45:12. | :45:18. | |
are not too scared. Very good. Thank you. Now we say thank you to Yevgeny | :45:19. | :45:27. | |
for joining us. Now, you're free to go and walk your wolf. Now then. | :45:28. | :45:35. | |
Wasn't it a good game? So many questions. Now adverts. Rob you done | :45:36. | :45:42. | |
a few adverts. One or two. There was one at the start of your career that | :45:43. | :45:46. | |
you thought would help you hit the big time, but it didn't. No. This | :45:47. | :45:50. | |
was... Let's have a look at it. That is my dear friend, we were | :45:51. | :46:04. | |
penniless young actors, and we got this job, and we went for this | :46:05. | :46:09. | |
advert at Pinewood Studios, the same studio that we now do our | :46:10. | :46:13. | |
programming, and Steve took out a bank loan and the strength of that | :46:14. | :46:16. | |
advert and how much money was going to make him when it ran, and they | :46:17. | :46:22. | |
never went to air. Yeah. It was for a chocolate bar? Can I say the name? | :46:23. | :46:29. | |
You have said it once already. It is orange and crispy. It had toffee in | :46:30. | :46:34. | |
it. LAUGHTER Gyles Brandreth is looking at a | :46:35. | :46:38. | |
classier piece of advertising history tonight. We can see how he's | :46:39. | :46:43. | |
getting on, recreating a famous Todd performed just for a box of | :46:44. | :46:50. | |
chocolates. -- famous stunt. In the early 70s, Cadburys made one of | :46:51. | :46:53. | |
their most memorable TV adverts and sought stuntman Alf joined dive 163 | :46:54. | :47:00. | |
feet into the sea below. He made quite a splash. With the Alf Joint | :47:01. | :47:12. | |
Syriza -- seriously injuring himself commit his friend was waiting in the | :47:13. | :47:16. | |
boat below. It was headfirst, which was very dangerous, and water is | :47:17. | :47:20. | |
like hitting this table, if you get it wrong. He risked his life for a | :47:21. | :47:28. | |
box of chocolates? Yeah, virtually. The director of the company said if | :47:29. | :47:34. | |
we don't have the shot, can you do it? I said, yes. I was waiting for | :47:35. | :47:41. | |
him to come back, at 1030, the first assistant said we have got the shot, | :47:42. | :47:48. | |
it's OK. How do you rate Alf Joint as a stuntman? He was a great, he | :47:49. | :47:52. | |
has a lot of courage and guts, and he was also very well trained, you | :47:53. | :47:56. | |
knew what he was doing, and I would say he is one of the greats, really. | :47:57. | :48:03. | |
On the 25th of July 2005 Alf Joint died at the age of 77, and today The | :48:04. | :48:07. | |
One Show would like to honour his most famous stunt. Our stuntman Theo | :48:08. | :48:15. | |
Molton needs a minimum of five metres water depth to make the dive | :48:16. | :48:20. | |
safely from the 43 foot cliff face. He and Jamie must find an entry | :48:21. | :48:25. | |
point. While up above, to give Theo every chance of clearing the rocks | :48:26. | :48:29. | |
below, we have brought a team of professional stunt riggers to | :48:30. | :48:34. | |
construct an aluminium platform. There is mention of their being a 3 | :48:35. | :48:37. | |
metre distance out from the cliff which I had to clear, because it is | :48:38. | :48:43. | |
very shallow. Going up to the top initially, it was quite | :48:44. | :48:45. | |
intimidating, you cannot see under the water. If you overcook it by a | :48:46. | :48:50. | |
couple of degrees, you will slap on your shins and if you go under that | :48:51. | :48:57. | |
you will smack your front. Our safety team are in place, in and out | :48:58. | :49:00. | |
of the water, ready to respond should he harm himself. And with | :49:01. | :49:05. | |
this in mind, Theo has decided to make a feet first entry before | :49:06. | :49:07. | |
attempting the dive. Entering the water feet first pales | :49:08. | :49:27. | |
in comparison to the physical demands on your upper body during a | :49:28. | :49:32. | |
dive. Theo is ready, but something is not quite right. I think the lady | :49:33. | :49:38. | |
might be disappointed with Theo delivering the chocolates, surely it | :49:39. | :49:47. | |
is all the girls the ladies love is Gyles Brandreth... | :49:48. | :50:10. | |
APPLAUSE Well done. Well, Gyles Brandreth is | :50:11. | :51:06. | |
here this evening. Here he comes. Wow. All right. That was quite | :51:07. | :51:17. | |
something. Still wet, as well. And all because the lady loves... Look | :51:18. | :51:25. | |
at this. Thank you. Low and sugar, but high and water. -- on sugar. | :51:26. | :51:37. | |
Remarkable, and there is a new milk Tray man. Yes, he is back, because | :51:38. | :51:43. | |
Mr Alger cells, and you thought it was sex and violence which sold, you | :51:44. | :51:49. | |
base your careers on that. -- nostalgia sells. All research tells | :51:50. | :51:54. | |
us that is what people go for, especially in difficult times, | :51:55. | :51:59. | |
people like the security of knowing relationships, this happened after | :52:00. | :52:02. | |
9/11 and the financial crisis, and it might be happening now. People | :52:03. | :52:06. | |
like what they know, they want to walk back to happiness, hence | :52:07. | :52:13. | |
adverts like Milk Tray. Adverts when people are walking up cobbled | :52:14. | :52:16. | |
streets, even the world of politics, maybe the arrival of Jeremy Corbyn, | :52:17. | :52:20. | |
because we are looking statically to the era of old-fashioned socialism. | :52:21. | :52:27. | |
-- looking nostalgically. I saw the new James Bond film and it was like | :52:28. | :52:30. | |
going back in time. I'm actually younger than Sean Connery, and | :52:31. | :52:40. | |
taller... And more handsome. Anyway, the cat is back, driving his old | :52:41. | :52:44. | |
Aston Martin, that is going on as it used to be, and they are great | :52:45. | :52:48. | |
films, Jurassic Park, Star Wars, with the original cast. There they | :52:49. | :52:54. | |
are again. Harrison Ford, Mark Hamill, Carrie Fisher. Star Wars is | :52:55. | :52:59. | |
coming back? You never thought it had coming back -- it was coming | :53:00. | :53:10. | |
back? I had never heard of it. You were a Star Wars groupie? Yes, we | :53:11. | :53:14. | |
wrote a stage version, which we did in Swansea and I played Luke | :53:15. | :53:19. | |
Skywalker because I was in charge. We had a tinfoil door for the storm | :53:20. | :53:22. | |
troopers to burst through and we had Poyet light sabres, it was good for | :53:23. | :53:29. | |
its time. -- we had toy. I would like to say we have the cast back | :53:30. | :53:34. | |
together for that, but we haven't. I wouldn't be surprised if you had. | :53:35. | :53:39. | |
Suddenly I was ten again, it was amazing, the power of that advert, | :53:40. | :53:45. | |
when was it last on? In the 80s, it began in the late 60s, but it is | :53:46. | :53:49. | |
evocative, it is an era where we felt safe and secure, or because the | :53:50. | :53:52. | |
lady loves... Thank you so much. Delivered beautifully. I got work to | :53:53. | :54:01. | |
do, ladies all over London, I'm double booked. On a serious note, | :54:02. | :54:11. | |
have a safe trip home. Thank you. Unbelievable. How does he do it? One | :54:12. | :54:18. | |
of the things many of you are keen to know because you love it is when | :54:19. | :54:22. | |
this year's festive virtual choirs coming back, and we have some good | :54:23. | :54:26. | |
news. We can finally answer that question. Carrie Grant has the | :54:27. | :54:35. | |
details. Last Christmas we made something a bit special, a virtual | :54:36. | :54:39. | |
choirs of One Show viewers, hundreds of you took part by filming | :54:40. | :54:42. | |
yourselves in the comfort of your own homes, and then we combined your | :54:43. | :54:46. | |
videos to create a stunning virtual carol concert, that united the UK in | :54:47. | :54:58. | |
song. I absolutely loved it, this was your choir, performing to an | :54:59. | :55:02. | |
audience of millions, and I loved the way you got dressed up in your | :55:03. | :55:06. | |
festive costumes and hats, and so it is time to do it all over again. But | :55:07. | :55:19. | |
this time, it is vintage pop. It was all sharp suits and when it's | :55:20. | :55:22. | |
released sleigh sleigh ride in 1960 through, and we are giving their | :55:23. | :55:32. | |
classic a 21st-century makeover. Our musicians have been creating vintage | :55:33. | :55:36. | |
shouts for you to sing too. It is all being taken very seriously and | :55:37. | :55:43. | |
the all being taken very seriously and | :55:44. | :55:46. | |
for your videos, to help you sing it we have drafted in five guide | :55:47. | :55:54. | |
vocalists. Next challenge is, there are a few different king Alleyne. -- | :55:55. | :56:03. | |
King and Ling. You can throw that in with any consonant, right? I love | :56:04. | :56:08. | |
the delivery. You sound like you are from the 60s, it has that lovely... | :56:09. | :56:16. | |
LAUGHTER Everything is ready for our | :56:17. | :56:18. | |
Christmas extravaganza, and all we need now is you. Go to The One Show | :56:19. | :56:23. | |
website and follow the link to our virtual choir page. This is one of | :56:24. | :56:30. | |
our vocalists to show you how to do your performance. It is very easy, | :56:31. | :56:35. | |
I've gone onto my laptop which I have propped up on this book, so I | :56:36. | :56:40. | |
can watch. I have my earphones here, which I will plug into my laptop so | :56:41. | :56:44. | |
only I can hear the track, which is really important, by phone to fill | :56:45. | :56:49. | |
myself, but you can use any smart the vice or tablet, as long as you | :56:50. | :56:54. | |
film it horizontally like a television screen. Smart device. | :56:55. | :57:00. | |
Play the guide track. # Just hear the sleigh bells | :57:01. | :57:07. | |
ringing... # It is a lovely time to have a | :57:08. | :57:10. | |
sleigh ride together with you # We would like you to go to town | :57:11. | :57:19. | |
with your videos. We have a choreography, as well, you can just | :57:20. | :57:22. | |
make up your own moves, as well, anything goes. When you are | :57:23. | :57:26. | |
finished, upload your video, anyone can take part, so get singing. Join | :57:27. | :57:34. | |
the Virtual vintage quiet which is uniting the UK in song this | :57:35. | :57:37. | |
Christmas where ever you are -- choir. That sounds lovely. All the | :57:38. | :57:43. | |
details on the website, you have until midnight to apply. Thank you | :57:44. | :57:49. | |
to all of our guests, what not has been. Now we can enjoy the China | :57:50. | :57:55. | |
National Peking Opera company as they perform the Warrior Women of | :57:56. | :58:00. | |
Yang. You can see them in London at Sadler 's Wells from Sunday until | :58:01. | :58:03. | |
Thursday. Goodbye. | :58:04. | :58:10. |