Browse content similar to 20/03/2018. Check below for episodes and series from the same categories and more!
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Hello, and welcome to
The One Show, with Alex Jones. | 0:00:13 | 0:00:16 | |
And Matt Baker. | 0:00:16 | 0:00:17 | |
Tonight, we're remembering
Donald Campbell and his attempt | 0:00:17 | 0:00:20 | |
to break the world speed
record in 1967. | 0:00:20 | 0:00:23 | |
That's because his beloved Bluebird,
which sadly sank that day, | 0:00:23 | 0:00:26 | |
will very soon be taking
to the water again, | 0:00:26 | 0:00:29 | |
thanks to this man... | 0:00:29 | 0:00:33 | |
And his team. This is Will. -- Bild. | 0:00:33 | 0:00:39 | |
-- Bild. | 0:00:39 | 0:00:40 | |
He's with us tonight,
and so is Donald's daughter, Gina. | 0:00:40 | 0:00:43 | |
Now, to two peope who both
have a lot of love for | 0:00:43 | 0:00:45 | |
another year - 1993. | 0:00:45 | 0:00:48 | |
In the year that Spielberg
released Jurassic Park, | 0:00:48 | 0:00:52 | |
one of tonight's guests
met his comedy other-half in | 0:00:52 | 0:00:54 | |
a Tex-Mex restaurant in Cricklewood. | 0:00:54 | 0:00:56 | |
Romantic! | 0:00:56 | 0:00:59 | |
The other - well, that's
the year she was born. | 0:00:59 | 0:01:01 | |
LAUGHTER
Talk about making you feel old! | 0:01:01 | 0:01:06 | |
Fast forward to 2018,
and they're both starring | 0:01:06 | 0:01:07 | |
in Spielberg's latest epic -
Ready Player One. | 0:01:07 | 0:01:09 | |
It's Simon Pegg and Olivia Cooke! | 0:01:09 | 0:01:11 | |
APPLAUSE. | 0:01:11 | 0:01:15 | |
Welcome to you both, good evening! | 0:01:15 | 0:01:21 | |
It was the premier last night. | 0:01:21 | 0:01:24 | |
Simon, you just told us it was the
very first time that you've seen it. | 0:01:24 | 0:01:29 | |
I saved it up for that event. It's
nice when you are in a film, a | 0:01:29 | 0:01:34 | |
premier is kind of like work, it's
like going to work. So I thought I | 0:01:34 | 0:01:38 | |
would save the film and watch it
with my family, and it was | 0:01:38 | 0:01:42 | |
rectangular. What did your daughter
big? Because they will tell the | 0:01:42 | 0:01:47 | |
truth! She absolutely loved it. It's
interesting, she's eight, she's a | 0:01:47 | 0:01:51 | |
bit younger than Olivia, would you
believe it is and! --?!. She said, | 0:01:51 | 0:02:01 | |
badly, it's my second favourite film
after Titanic! There's no better | 0:02:01 | 0:02:06 | |
praise than that! She's all about
Jack and Rose! You know, there were | 0:02:06 | 0:02:11 | |
things in there that she wouldn't
pick up on, some of the references | 0:02:11 | 0:02:15 | |
to the past, but it didn't seem to
matter at all, you know, she was | 0:02:15 | 0:02:19 | |
just captivated the whole time. It
is a critique of the digital world. | 0:02:19 | 0:02:26 | |
There's a big backlash under way
today against probably the biggest | 0:02:26 | 0:02:28 | |
digital company of all -
Facebook. | 0:02:28 | 0:02:30 | |
Customers are leaving in droves.
Where do you both stand on this, are | 0:02:30 | 0:02:36 | |
you into social media? I'm not, I'm
a technophobe, I found it | 0:02:36 | 0:02:40 | |
terrifying. I have a pin to rest
board, I like looking at kitchens -- | 0:02:40 | 0:02:45 | |
I have a Pinterest board. But it's
just magnets! It's a big deal, and | 0:02:45 | 0:02:52 | |
the weird thing is, part of this
film is about a big corporate | 0:02:52 | 0:02:58 | |
company harvesting people's
identities for games! We have made | 0:02:58 | 0:03:01 | |
the most topical film of the year!
Of the moment! It really is, it's | 0:03:01 | 0:03:06 | |
like The One Show, it's that
topical! We will talk more about the | 0:03:06 | 0:03:11 | |
film. | 0:03:11 | 0:03:14 | |
Time now for that tale of a tragedy
that took place at 300mph. | 0:03:14 | 0:03:17 | |
And the story of a painstakingly
faithful restoration that's gone | 0:03:17 | 0:03:19 | |
at a much slower pace. | 0:03:19 | 0:03:24 | |
When I was a little lad in the
mid-19 60s, my friends and I all had | 0:03:24 | 0:03:28 | |
one of these. It's called the Tory's
model of -- be called the toy's | 0:03:28 | 0:03:36 | |
model of Campbell's land speed
Bluebird, winning the world record | 0:03:36 | 0:03:43 | |
in 1964. I remember the day that he
was killed on Coniston. Campbell had | 0:03:43 | 0:03:47 | |
long been a national hero. And the
news of his death said the country | 0:03:47 | 0:03:51 | |
into a state of national shock. --
sent the country. Donald Campbell, | 0:03:51 | 0:03:57 | |
the man who made the speed, is dead.
On the cold, still waters of Lake | 0:03:57 | 0:04:05 | |
Coniston, 45-year-old Campbell was
making an attempt on the world speed | 0:04:05 | 0:04:08 | |
record, which he held. | 0:04:08 | 0:04:14 | |
record, which he held. 5000 years
ago, they said, let us now praise | 0:04:15 | 0:04:16 | |
famous men. And in Lake Coniston now
lay the body of a famous man, who is | 0:04:16 | 0:04:21 | |
among the bravest of the brave. Bill
Smith and his team of polity are | 0:04:21 | 0:04:29 | |
engineers, craftsmen and enthusiasts
are about to finish a completed | 0:04:29 | 0:04:33 | |
faithful restoration of Donald
Campbell's jet powered hydra blade, | 0:04:33 | 0:04:40 | |
Bluebird G7 -- hydroplane. This
summer, it will be ready to go back | 0:04:40 | 0:04:43 | |
on the water for the first time in
more than 51 years. Why did you | 0:04:43 | 0:04:47 | |
become fascinated with Campbell and
Bluebird K7? It was a song. Which | 0:04:47 | 0:04:54 | |
song? It was out of this world. And
in the middle of this track, there's | 0:04:54 | 0:05:05 | |
a recorded loop, which is a complete
accident. And I read the lyric | 0:05:05 | 0:05:09 | |
sheet. This Campbell chap. Basically
all it meant to me as a diver was, | 0:05:09 | 0:05:17 | |
shipwrecked. In 2001, built and a
group of diving friends after | 0:05:17 | 0:05:23 | |
research lasting more than four
years located the wreck of Bluebird | 0:05:23 | 0:05:26 | |
and the remains of Donald Campbell.
What was the first indication that | 0:05:26 | 0:05:30 | |
you'd got that you'd found him? The
first visible one was a sonar image. | 0:05:30 | 0:05:35 | |
There was something in the right
place with a trail of bits coming | 0:05:35 | 0:05:38 | |
off it. We went to the bottom, and
my Finn went in piece of split | 0:05:38 | 0:05:43 | |
aluminium like that. It was like
somebody had grabbed my foot, and it | 0:05:43 | 0:05:49 | |
was this piece of material here.
Bill and his team raised the bird to | 0:05:49 | 0:05:54 | |
the surface. And nobody but Bill is
prepared to take on the mammoth job | 0:05:54 | 0:06:00 | |
of what was regarded as the
impossible restoration. It then | 0:06:00 | 0:06:07 | |
became our baby. It was, right, OK,
now we're going to main view. We | 0:06:07 | 0:06:12 | |
started stripping bits out and
looking in places that have looked | 0:06:12 | 0:06:15 | |
at in many years. In terms of the
condition, I was amazed by what good | 0:06:15 | 0:06:20 | |
condition it was in. This is the
original, the partially restored | 0:06:20 | 0:06:24 | |
tail fin. And, you know, to say it
has spent 34 years in 150 feet of | 0:06:24 | 0:06:32 | |
water in the bottle of Coniston, it
is remarkably well preserved. -- in | 0:06:32 | 0:06:35 | |
the bottom of Coniston. What
proportion of what we are looking at | 0:06:35 | 0:06:40 | |
here, Bill, is actually original?
Pretty much all of it. The | 0:06:40 | 0:06:44 | |
instruments are new. But for
example, these panels, all of this. | 0:06:44 | 0:06:48 | |
They are original? You've just
straightened it out and tidied it | 0:06:48 | 0:06:52 | |
up? Yes, from the scraps to the
path. And, Bill, where enough to | 0:06:52 | 0:06:57 | |
need go to buy a jet engine, or four
jet engines?! When they came from | 0:06:57 | 0:07:04 | |
Colorado, they lost the paperwork
and couldn't fly it. We bought | 0:07:04 | 0:07:08 | |
something from a guy who had his own
fleet of aircraft and this was a | 0:07:08 | 0:07:12 | |
spur, we did a deal with him.
Bluebird's restoration may be | 0:07:12 | 0:07:16 | |
inspiring a new generation of
engineers. Bill's daughter Emily, | 0:07:16 | 0:07:21 | |
for example. I would like to know
how to mend things like daddy and be | 0:07:21 | 0:07:25 | |
creative with it. What the next
thing that you are really looking | 0:07:25 | 0:07:29 | |
forward to with Bluebird? I'm
excited for August, because then we | 0:07:29 | 0:07:33 | |
can do a test on the water and see
if it's OK. This is a privilege. And | 0:07:33 | 0:07:39 | |
a boyhood dream fulfilled! Oh, boy!
Thank you very much. You're more | 0:07:39 | 0:07:46 | |
than welcome. Do you need a pilot?!
No! | 0:07:46 | 0:07:49 | |
LAUGHTER | 0:07:49 | 0:07:53 | |
Welcome, both. | 0:07:53 | 0:07:56 | |
We saw Andy fulfilling a childhood
dream, getting in and sitting in the | 0:07:56 | 0:08:00 | |
Bluebird. Of course, he is not going
to drive it. But who is, Bill? We | 0:08:00 | 0:08:06 | |
have a record breaker called Ted
Walsh, a very experienced man, he is | 0:08:06 | 0:08:11 | |
qualified for the job. It's
brilliant to see how far you've | 0:08:11 | 0:08:13 | |
come. I first met you both about
eight years ago in the midst of this | 0:08:13 | 0:08:18 | |
project. It's super to see how it is
coming along. Gina, I want to take | 0:08:18 | 0:08:21 | |
you back to the date when you heard
that bill had found a Bluebird, he | 0:08:21 | 0:08:28 | |
was 17 when you lost your father.
What was it like, all of that, | 0:08:28 | 0:08:31 | |
coming flooding back when you heard
that this was potentially going to | 0:08:31 | 0:08:35 | |
happen was blocked it was an amazing
feeling. You know, from that day on | 0:08:35 | 0:08:41 | |
this project has moved forward. Bill
and has wonderful dedicated | 0:08:41 | 0:08:45 | |
volunteers up in North Shields have
done a remarkable job in restoring | 0:08:45 | 0:08:49 | |
the boat. I mean, she's going to
look better when we see her next | 0:08:49 | 0:08:53 | |
time don't you probably ever looked
in her life. But for me it's going | 0:08:53 | 0:08:57 | |
to be, you know, you will have to
ask the upper time, Matt, make sure | 0:08:57 | 0:09:02 | |
that you come along, we will pick
some nice weather for you! Because I | 0:09:02 | 0:09:05 | |
don't know how I feel, you know,
until I see it, you know, having | 0:09:05 | 0:09:10 | |
seen my dad in there always, and
then to see Ted, whom I have huge | 0:09:10 | 0:09:15 | |
admiration for. It's going to be
amazing, actually, it's going to be | 0:09:15 | 0:09:20 | |
amazing, let's be positive. It can't
be easy to look at footage of your | 0:09:20 | 0:09:26 | |
dad. What is the next step of
getting Bluebird out onto the water? | 0:09:26 | 0:09:30 | |
We are off to Loch Fad NB Isle of
Bute to train the crew, because | 0:09:30 | 0:09:35 | |
nobody knows how to handle this
machine, we need to learn how to get | 0:09:35 | 0:09:39 | |
it on and off the water. Ultimately
we are hoping to display the boat at | 0:09:39 | 0:09:43 | |
speed on the water hope we at
Coniston as the final closing of the | 0:09:43 | 0:09:47 | |
Circle before she goes on public
display. That will be such a big day | 0:09:47 | 0:09:52 | |
or you, Bill, but also for you,
Gina. There must be a movie in this, | 0:09:52 | 0:09:56 | |
Simon! What is the not count for 300
mph, do you know that? It is 330. I | 0:09:56 | 0:10:07 | |
drove a speedboat on a film at 20
knots! | 0:10:07 | 0:10:11 | |
LAUGHTER
And it felt pretty fast! That felt | 0:10:11 | 0:10:18 | |
fast, absolutely! It was a twin
engine speed boat on the river | 0:10:18 | 0:10:22 | |
Seine, and it did feel fast. I can't
imagine what 300 mph on water must | 0:10:22 | 0:10:27 | |
feel like. If you jump out of the
boat at over 60 mph, you might just | 0:10:27 | 0:10:32 | |
as well jump out of a motorcar, you
will hit with the same impact. Out! | 0:10:32 | 0:10:38 | |
So, don't do it! Well, I was going
to do it tomorrow! I must call | 0:10:38 | 0:10:42 | |
someone and get that cancelled! Or
increase the insurance! How do you | 0:10:42 | 0:10:48 | |
put into context 22 years of your
life? Shortly, hopefully, it's going | 0:10:48 | 0:10:53 | |
to come to a magnificent end. It's
just been like a career, only | 0:10:53 | 0:10:58 | |
without any wages!
LAUGHTER | 0:10:58 | 0:11:02 | |
We heard your daughter Emily, she's
been born into it and she's very | 0:11:02 | 0:11:06 | |
excited about this day in August
when all of your work is going to | 0:11:06 | 0:11:10 | |
come into fruition. I've got another
daughter called Lucy, she has never | 0:11:10 | 0:11:14 | |
had a Gaby on Saturday since she was
born, she is 12! -- a daddy. I might | 0:11:14 | 0:11:19 | |
get to retire eventually. And who is
this little teddy bear? It was my | 0:11:19 | 0:11:25 | |
dad's mascot. When we saw that fatal
run, he was tucked under my dad's | 0:11:25 | 0:11:32 | |
seat, but he popped to the surface,
he jumped ship straightaway, whereas | 0:11:32 | 0:11:37 | |
Bill didn't find my dad for many
decades later, but this little fella | 0:11:37 | 0:11:40 | |
was there. Will he be on board was
blog you know, one has to question | 0:11:40 | 0:11:46 | |
how lucky he really is! Maybe he
will watch from the sidelines! Watch | 0:11:46 | 0:11:53 | |
from the cafe! Sounds like a good
idea! It has been great to see you | 0:11:53 | 0:11:58 | |
both again, let's hope we can hook
up on that day, it will be | 0:11:58 | 0:12:01 | |
wonderful. | 0:12:01 | 0:12:02 | |
Now, Simon and Olivia,
time to talk about Ready Player One. | 0:12:02 | 0:12:06 | |
This should get us in the mood. | 0:12:06 | 0:12:07 | |
I just came here to escape. But I've
found something much bigger than | 0:12:07 | 0:12:11 | |
myself. I've found my friends. | 0:12:11 | 0:12:15 | |
I found love. And now, people have
lost their lives. No, no, no,. This | 0:12:18 | 0:12:28 | |
is war! Find him. Welcome to the
rebellion. Go APPLAUSE | 0:12:28 | 0:12:37 | |
Wow, so... | 0:12:37 | 0:12:40 | |
It's set in a future world
so horrible and messed up that | 0:12:40 | 0:12:43 | |
everyone uses virtual reality
to escape it. | 0:12:43 | 0:12:45 | |
Is set in 2045. But that's sort of
already happening! Absolutely! Aside | 0:12:45 | 0:12:53 | |
from the Cambridge Analytica thing,
it is very topical, because it | 0:12:53 | 0:12:56 | |
doesn't feel like science fiction to
me, it's more like future fact. I | 0:12:56 | 0:12:59 | |
think we will get to that point when
virtual reality is somewhere that we | 0:12:59 | 0:13:03 | |
can escape from the real world. If
we don't sort out the present, | 0:13:03 | 0:13:07 | |
that's where people are going to
want to go. But things are getting | 0:13:07 | 0:13:10 | |
there. We've got the virtual
reality, but it's the physical | 0:13:10 | 0:13:13 | |
injury should... -- interaction we
are going to have to figure out. My | 0:13:13 | 0:13:19 | |
watch just tapped me a second ago
when the full was on, I had a text | 0:13:19 | 0:13:23 | |
from my mum saying, I did know you
want The One Show! When that gets | 0:13:23 | 0:13:26 | |
even more advanced, shall be able to
punch me in the face! Olivia, you | 0:13:26 | 0:13:32 | |
play Artemis. As part of the plot,
your character is looking for | 0:13:32 | 0:13:36 | |
something specific, isn't she? Yes,
she is an Eric Hunter, which they | 0:13:36 | 0:13:44 | |
abbreviated to a name. -- an Eric
Hunter. She is infamous in the | 0:13:44 | 0:13:49 | |
OASIS, an online virtual world that
everybody escapes too, for being | 0:13:49 | 0:13:52 | |
quite ruthless in her hand. She is
trying to stop by why, this | 0:13:52 | 0:13:58 | |
corporate company, from winning this
egg which will help them gain | 0:13:58 | 0:14:01 | |
control of the OASIS -- she is
trying to stop a corporate company. | 0:14:01 | 0:14:04 | |
They want to. Taxing and charging
everybody to enter this free haven. | 0:14:04 | 0:14:12 | |
The key to tracking down that Easter
egg is hidden in the memories | 0:14:12 | 0:14:15 | |
of the creator of the game played
by Mark Rylance. | 0:14:15 | 0:14:19 | |
And Simon, it's in those
memories that we find your | 0:14:19 | 0:14:20 | |
character, Ogden Morrow. | 0:14:20 | 0:14:21 | |
Let's take a look. | 0:14:21 | 0:14:22 | |
Like an invention comes with
responsibilities you didn't ask for. | 0:14:22 | 0:14:24 | |
All right, if you make something
people want or need, it's up to you | 0:14:24 | 0:14:27 | |
to set the limits. You have to make
some rules. I don't want to make any | 0:14:27 | 0:14:32 | |
more rules. I'm a dreamer. I build
world's. We created something | 0:14:32 | 0:14:41 | |
beautiful, Jim, but it's changed,
it's not a game any more. Are we | 0:14:41 | 0:14:44 | |
finished? I liked how things were
when they were, when it was a game. | 0:14:44 | 0:14:50 | |
CHEERING AND APPLAUSE | 0:14:50 | 0:14:56 | |
Interesting hearing you talk there.
It is amazing to work with Mark | 0:14:57 | 0:15:03 | |
Rylance, here's a great actor.
Steven Spielberg directed this, and | 0:15:03 | 0:15:07 | |
we understand that scene was a
problem for him. There are so many | 0:15:07 | 0:15:11 | |
things going on. In that scene, the
character is in an archive of the | 0:15:11 | 0:15:21 | |
life of James Halliday, the inventor
of the Oasis, and he is trying to | 0:15:21 | 0:15:24 | |
set his life for clues. And there
are lots of moments from security | 0:15:24 | 0:15:28 | |
cameras that he can go back through.
And Steven wanted to shoot the scene | 0:15:28 | 0:15:32 | |
as if it could be scrolled and moved
and zoomed in on like on a tablet. | 0:15:32 | 0:15:37 | |
So he went on holiday to the
weekend, he went to Italy on a boat | 0:15:37 | 0:15:41 | |
or something, like he does. He is
Steven Spielberg. And he came up | 0:15:41 | 0:15:48 | |
with the idea to shoot the scene
with an ellipse of eight cameras | 0:15:48 | 0:15:51 | |
running at the same time onto macro
different sides. There was a close | 0:15:51 | 0:15:54 | |
and a wide and these eight cameras
in a semicircle. Mark and I did the | 0:15:54 | 0:15:58 | |
scene however many times, and then
digitally, they stitched all the | 0:15:58 | 0:16:02 | |
images together so you can spin it
around and see it like this. And | 0:16:02 | 0:16:06 | |
that was him at the weekend, coming
up with that. Gosh. So your | 0:16:06 | 0:16:12 | |
character, this old bloke, is he a
Jobs or a Wozniak? He is kind of a | 0:16:12 | 0:16:19 | |
Jobs. There are elements of the
Wozniak thing. James Halliday and | 0:16:19 | 0:16:24 | |
Ogden Morrow like Wozniak and Jobs.
Steve Wozniak was the brains, | 0:16:24 | 0:16:33 | |
Steve Wozniak was the brains, and
Jobs is the face. So we are like | 0:16:34 | 0:16:36 | |
that. But there are elements of
both. The writer of the book took | 0:16:36 | 0:16:44 | |
those as well as Bill Gates as
inspiration. Olivia, let's see you | 0:16:44 | 0:16:50 | |
in action. You are running from the
evil corporation we were talking | 0:16:50 | 0:16:55 | |
about. This leads right to the
alley. You first. I'm behind you, go | 0:16:55 | 0:17:02 | |
now. Wait, the Oasis needs you. I'm
going to delay them. You will | 0:17:02 | 0:17:12 | |
forgive me for this, I promise. | 0:17:12 | 0:17:14 | |
Lots of actors in the film couldn't
believe how brilliant your American | 0:17:24 | 0:17:27 | |
accent was. Well! Is it true that
Steven Spielberg kept throwing | 0:17:27 | 0:17:35 | |
little lines at you that you had not
rehearsed, going, can you throw this | 0:17:35 | 0:17:39 | |
in? I had a wonderful dialect coach
called Tom Jones, not the Tom Jones. | 0:17:39 | 0:17:44 | |
And we worked tirelessly on the
accent. But the script was | 0:17:44 | 0:17:53 | |
ever-changing and Steven Spielberg
would be like, say this. And then | 0:17:53 | 0:17:57 | |
one day, it is on in the film any
more, but he decided to add this | 0:17:57 | 0:18:00 | |
commercial in which was an 80s
commercial from America where he | 0:18:00 | 0:18:04 | |
wanted me to do a southern American
accent to this jingle for a candy | 0:18:04 | 0:18:09 | |
bar. And I was like, Steven, I'm
from Oldham. That is difficult for | 0:18:09 | 0:18:18 | |
me. I can't just pull it out of my
bum. That Oldham thing comes out all | 0:18:18 | 0:18:24 | |
the time. But it is great. How would
you describe Steven Spielberg's | 0:18:24 | 0:18:28 | |
said? Growing up as aspiring actors,
one of the ultimate things is to be | 0:18:28 | 0:18:34 | |
directed by Steven Spielberg. So how
does he direct you? It's just the | 0:18:34 | 0:18:40 | |
greatest place on earth for me. I
grew up watching Steven's movies. I | 0:18:40 | 0:18:45 | |
saw Raiders when I was ten. That was
the first Steven Spielberg film I | 0:18:45 | 0:18:49 | |
saw. I hugged him a little too much.
He is a hugger, but I kind of follow | 0:18:49 | 0:18:59 | |
him around. In between shots, he
will say, I will say what was it | 0:18:59 | 0:19:07 | |
like making Jaws, and he would just
tell you. And he has stories that | 0:19:07 | 0:19:11 | |
are mind-blowing because he has
things from premises of your | 0:19:11 | 0:19:14 | |
favourite movies. And he is a lovely
human being. Do you have a little in | 0:19:14 | 0:19:19 | |
with him, because he would make a
great guest. He is such a raconteur. | 0:19:19 | 0:19:24 | |
All his stories are amazing. We will
talk later. Ready Player One is in | 0:19:24 | 0:19:31 | |
cinemas from next Thursday. | 0:19:31 | 0:19:33 | |
Towards the end of last year,
the Dollery family emailed us to ask | 0:19:33 | 0:19:37 | |
for help in highlighting a problem
they were facing in dealing | 0:19:37 | 0:19:39 | |
with what they saw as
hard-hearted bureaucracy. | 0:19:39 | 0:19:41 | |
This is what happened next. | 0:19:41 | 0:19:49 | |
Dad was a very intelligent, very
kind, very thoughtful, unbelievably | 0:19:50 | 0:19:57 | |
understanding man. He was my buddy,
my best friend. We just liked to be | 0:19:57 | 0:20:01 | |
with each other. A few weeks before
he died, I remember saying to him | 0:20:01 | 0:20:06 | |
how contented I felt with my life.
On the 18th of June 2015, Andrea | 0:20:06 | 0:20:13 | |
Dollery and her husband Ian were
getting ready to go on holiday. | 0:20:13 | 0:20:16 | |
Their daughter Grace had returned
home to look after the house while | 0:20:16 | 0:20:19 | |
they were away. That evening, Ian
went to his garage to let the dogs | 0:20:19 | 0:20:24 | |
out when they heard a scream. We ran
to the back of the house, where my | 0:20:24 | 0:20:30 | |
dad was, and my dad had collapsed.
And the attacker was stood over him. | 0:20:30 | 0:20:37 | |
Andrea immediately threw herself at
the attacker, but he turned on her. | 0:20:37 | 0:20:42 | |
I stumbled backwards and fell over,
and he was over me with the knife. I | 0:20:42 | 0:20:48 | |
had grabbed a broom after I heard my
dad scream. Have I not, Mum probably | 0:20:48 | 0:20:52 | |
wouldn't be here. Grace managed to
fight off the attacker with the | 0:20:52 | 0:20:57 | |
broom. Ian died from multiple stab
wounds on his way to hospital. It | 0:20:57 | 0:21:03 | |
was an unprovoked random attack in
their own home by a complete | 0:21:03 | 0:21:09 | |
stranger to them. I mean, to take
everything away from someone in a | 0:21:09 | 0:21:14 | |
matter of minutes for no reason...
Life is not life, it's just an | 0:21:14 | 0:21:22 | |
existence. I don't even really want
it. Blameless victims like Grace and | 0:21:22 | 0:21:29 | |
Andrea are entitled to compensation
from the state from the Criminal | 0:21:29 | 0:21:33 | |
Injuries Compensation Authority, or
see ICA, to claim costs. For a crime | 0:21:33 | 0:21:42 | |
such as this, they could expect to
receive payments from the CICA of | 0:21:42 | 0:21:47 | |
£20,000 to £30,000 each. However,
research shows that what the CICA | 0:21:47 | 0:21:51 | |
pays out in compensation has
dramatically reduced in recent | 0:21:51 | 0:21:54 | |
years. In 2012, they paid out £450
million. Last year, that went down | 0:21:54 | 0:22:02 | |
to £143 million. That is three times
less. Grace and Andrea began the | 0:22:02 | 0:22:06 | |
complicated process of claiming
compensation following Ian's death, | 0:22:06 | 0:22:10 | |
but they were soon overwhelmed with
frustration at a system they felt | 0:22:10 | 0:22:15 | |
was working against them. They
seemed to take no account of the | 0:22:15 | 0:22:20 | |
mental state that we have been in.
The CICA claimed they did not have | 0:22:20 | 0:22:26 | |
the paperwork, sending things out
twice or asking for the same | 0:22:26 | 0:22:33 | |
information again. Not only that,
they say for each separate part of | 0:22:33 | 0:22:36 | |
the claim, they had to speak to a
different person. That means | 0:22:36 | 0:22:41 | |
explaining the murder to every
single person you speak to. It is | 0:22:41 | 0:22:44 | |
giving out the dates when he
witnessed your dad being murdered | 0:22:44 | 0:22:48 | |
over and over again. They are
totally lacking in any compassion, | 0:22:48 | 0:22:54 | |
empathy or humanity. Three years
have passed since Ian's death and | 0:22:54 | 0:22:59 | |
they are still waiting for some
payments, said today we have | 0:22:59 | 0:23:02 | |
arranged for them to meet Baroness
Newlove. In her role as victims | 0:23:02 | 0:23:06 | |
commissioner, she promotes the
interests of victims and witnesses, | 0:23:06 | 0:23:09 | |
and she has the power to influence
government. How are you feeling? | 0:23:09 | 0:23:15 | |
Determined. Baroness Newlove's
husband Gary was killed by a gang of | 0:23:15 | 0:23:19 | |
youths outside their home in 2007.
She is launching a review into the | 0:23:19 | 0:23:24 | |
CICA and wants to hear from victims
about their experiences. I was upset | 0:23:24 | 0:23:30 | |
and angry that I have to go through
all of this to prove that I have | 0:23:30 | 0:23:34 | |
mental injuries. Mum is one of the
strongest people I have ever known. | 0:23:34 | 0:23:37 | |
She threw herself at my dad's
attacker there handed, and she is | 0:23:37 | 0:23:42 | |
struggling with it. This meant to be
a system that is working in your | 0:23:42 | 0:23:47 | |
favour, and yet it is like they are
battling. There are more and more | 0:23:47 | 0:23:50 | |
people writing to me with the same
kind of emotion that Grace and | 0:23:50 | 0:23:53 | |
Andrea are showing here. It saddens
me to sit here, but it also makes me | 0:23:53 | 0:23:57 | |
more passionate to get involved with
all the other victims and to make it | 0:23:57 | 0:24:02 | |
better. The Grace, something that
would help is a single point of | 0:24:02 | 0:24:09 | |
contact at the CICA. It's just
common sense. It is very common | 0:24:09 | 0:24:14 | |
sense, so that is why I am
passionate about an advocate who | 0:24:14 | 0:24:17 | |
would be that individual contact who
would take the baton right the way | 0:24:17 | 0:24:20 | |
through. I am really glad I made the
effort to come on the show and do | 0:24:20 | 0:24:25 | |
something about it, because... We
feel we have been let down a lot and | 0:24:25 | 0:24:30 | |
this is the first sign we have seen
that something might change. I'm not | 0:24:30 | 0:24:35 | |
asking for a medal or any
recognition, I'm just asking for a | 0:24:35 | 0:24:40 | |
bit of money so that I can get on
with my life. That is what this | 0:24:40 | 0:24:45 | |
money is meant to be full, it's so
that it can help you carry on. So | 0:24:45 | 0:24:50 | |
why are they making you fight for
it? It means that those people who | 0:24:50 | 0:24:53 | |
don't have the fight in them aren't
going to get anywhere. And how is | 0:24:53 | 0:24:58 | |
that fair? | 0:24:58 | 0:25:00 | |
Well, Andrea and Grace have had
something of a breakthrough | 0:25:00 | 0:25:02 | |
since we filmed with them. | 0:25:02 | 0:25:04 | |
Andrea has now received an offer
for the maximum payment possible | 0:25:04 | 0:25:09 | |
for mental health injuries. | 0:25:09 | 0:25:10 | |
Grace is in the final
stages of her claim, | 0:25:10 | 0:25:13 | |
and hopes to receive an offer soon. | 0:25:13 | 0:25:14 | |
We have a statement from the CICA,
who send their deepest sympathies | 0:25:14 | 0:25:17 | |
to the Dollery family. | 0:25:17 | 0:25:18 | |
They told us they've worked hard
to speed up their system, | 0:25:18 | 0:25:21 | |
including bringing more of it online
and employing in-house | 0:25:21 | 0:25:23 | |
psychologists.
Where a bereaved relative claims | 0:25:23 | 0:25:24 | |
for mental injury, they are required
to obtain a clinical prognosis | 0:25:24 | 0:25:29 | |
before awarding compensation,
which can lead to delays | 0:25:29 | 0:25:31 | |
beyond their control.
Ultimately, they say their aim | 0:25:31 | 0:25:33 | |
is to ensure victims receive
the maximum compensation they're | 0:25:33 | 0:25:35 | |
entitled to, and their needs remain
at the heart of everything they do. | 0:25:35 | 0:25:43 | |
Please go to our website if you have
had an experience with the CICA. | 0:25:46 | 0:25:51 | |
Baroness Newlove would like to hear
from you. | 0:25:51 | 0:25:58 | |
Olivia, I would love to talk to you
about Vanity Fair. You play Becky | 0:25:58 | 0:26:02 | |
Sharp, a sassy, manipulative social
climber. What can you tell us? Just | 0:26:02 | 0:26:10 | |
like you! I play me, really! It is
on in the autumn. The last I heard, | 0:26:10 | 0:26:15 | |
it would be on in September on ITV,
prime-time Sunday night telly. My | 0:26:15 | 0:26:20 | |
mum is dead happy. What accent are
you using for that? Received | 0:26:20 | 0:26:26 | |
pronunciation. Is that harder or
easier? Harder. With a northern | 0:26:26 | 0:26:33 | |
accent, it is easier to access the
American accent. But you speak more | 0:26:33 | 0:26:37 | |
towards the front of your mouth for
a posh voice, which is hard for me. | 0:26:37 | 0:26:45 | |
We shall see. You use your lips a
lot more. Yes, I do. And Simon, you | 0:26:45 | 0:26:55 | |
are producing these days. You have a
production company with Nick Frost. | 0:26:55 | 0:26:59 | |
Yes, we have a film coming out later
this year called slaughterhouse | 0:26:59 | 0:27:03 | |
rules, which is a horror comedy
directed by Crispian Mills who was | 0:27:03 | 0:27:07 | |
in Pulisic and is the grandson of
John Mills and the son of Hayley | 0:27:07 | 0:27:10 | |
Mills. And we are writing a show
called Truth Seekers, which is a | 0:27:10 | 0:27:15 | |
paranormal investigation comedy.
Come back soon. And bring Steven | 0:27:15 | 0:27:21 | |
Spielberg with you. Fax to both of
you. It's been lovely. We will be | 0:27:21 | 0:27:29 | |
back tomorrow with Michael Sheen and
Nicola Adams. | 0:27:29 | 0:27:33 | |
Just before we go, tomorrow
is World Down's Syndrome Day. | 0:27:33 | 0:27:35 | |
And we think this is
all you need to know. | 0:27:35 | 0:27:43 | |
# And all along I believed
I would find you | 0:27:50 | 0:27:52 | |
# Time has
brought your heart to me | 0:27:52 | 0:28:01 | |
# I have loved you
for a thousand years | 0:28:01 | 0:28:07 | |
# I'll love you for a thousand
more | 0:28:07 | 0:28:15 | |
# One step closer | 0:28:20 | 0:28:28 | |
# One step closer | 0:28:29 | 0:28:37 | |
# I have died every day
waiting for you | 0:28:38 | 0:28:42 | |
# Darling,
don't be afraid | 0:28:42 | 0:28:46 | |
# I have loved
you for a thousand years | 0:28:46 | 0:28:52 | |
# I'll love
you for a thousand more | 0:28:52 | 0:28:59 | |
# And all along I believed
I would find you | 0:28:59 | 0:29:03 | |
# Time has
brought your heart to me | 0:29:03 | 0:29:07 | |
# I have
loved you for a thousand years | 0:29:07 | 0:29:12 | |
# I'll love you for a thousand more. | 0:29:12 | 0:29:20 |