
Browse content similar to 20/06/2017. Check below for episodes and series from the same categories and more!
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Hello, and welcome to the one Show with Matt Baker. | :00:16. | :00:28. | |
He's the double Oscar winning actor who's appeared | :00:29. | :00:30. | |
in classics like seven, The Usual Suspects | :00:31. | :00:32. | |
He's also the star of hit political thriller - | :00:33. | :00:38. | |
House of Cards - who, only last week, hosted | :00:39. | :00:43. | |
And it's fair to say, he made a real song and dance of it. | :00:44. | :01:02. | |
# My career is shattered on the ground | :01:03. | :01:08. | |
# Broadway # This is the 71st annual Tony | :01:09. | :01:15. | |
From Broadway to the BBC - It's Kevin Spacey! | :01:16. | :01:25. | |
APPLAUSE . | :01:26. | :01:34. | |
Come and have a seat. My word. I was back there, in the very tiny Green | :01:35. | :01:39. | |
Room you have, and I didn't know why you were giggling through your | :01:40. | :01:43. | |
entire opening, are you all right? Yes, it was fine. He is very | :01:44. | :01:49. | |
unprofessional. I knew the old Blue Peter days. I was warping up I was | :01:50. | :01:56. | |
back there, in the very tiny Green Room you have, and I didn't know why | :01:57. | :01:59. | |
you were giggling through your entire opening, are you all right? | :02:00. | :02:01. | |
Yes, it was fine. He is very unprofessional. I knew the old Blue | :02:02. | :02:04. | |
Peter days. I was warping up by going "Classics like seven". I | :02:05. | :02:06. | |
thought it Was Like Anchorman any way we were blown away Kevin by | :02:07. | :02:09. | |
that. I had such a great time. Unbelievable. It wasn't really | :02:10. | :02:15. | |
expected. Is that what drew you to do it. You have to understand the | :02:16. | :02:21. | |
context, I was about the 15th person they asked to host the Tonies, so, | :02:22. | :02:26. | |
they asked all these other people and there have been articles written | :02:27. | :02:29. | |
they couldn't find a host, finally they asked me and I said yes, so | :02:30. | :02:34. | |
that opening number was a journey I took the audience through of them | :02:35. | :02:38. | |
not wanting me, me not being the right host, they didn't want me, and | :02:39. | :02:43. | |
becoming the host and that is where their dance... You owned it. Rob | :02:44. | :02:52. | |
Ashford choreographed that. As you know from my 12 years at the Old Vic | :02:53. | :02:56. | |
I am a theatre rat. So the opportunity to be be able to | :02:57. | :03:02. | |
celebrate Broadway, the season Broadway had, of which Groundhog Day | :03:03. | :03:07. | |
was one of the shows that got lots of nomination, it was a great | :03:08. | :03:11. | |
thrill.? We will talk about your honorary knighthood later on as well | :03:12. | :03:16. | |
as House of Cards. Cards.. You can call me Sir space alot. | :03:17. | :03:25. | |
What a way to start the day. There was air con. Brilliant. It has taken | :03:26. | :03:30. | |
many years to find two people who are willing to go on camera to share | :03:31. | :03:35. | |
two sides of the story. This is what happened when Tim and Cameron's | :03:36. | :03:37. | |
paths crossed in 2011. My name is Tim. I am married with | :03:38. | :03:54. | |
children. My name is Khamran, I am lucky to be able to get married. | :03:55. | :03:59. | |
Hoping to open our own daycare centre. In August 2011, I had been | :04:00. | :04:03. | |
out after work with some friends, I was making my way home on the train, | :04:04. | :04:09. | |
when I dozed off, I woke up, and assumed I had missed my stop. So I | :04:10. | :04:13. | |
got up and got off the train at the next station. This one night, I was | :04:14. | :04:19. | |
sat in the car, I was having an argument over text messages with my | :04:20. | :04:24. | |
ex-girlfriend. Made my way out, on to the platform, waiting for another | :04:25. | :04:28. | |
train to take me home. I couldn't handle the pressure of argument. I | :04:29. | :04:32. | |
seen a man walking around on his own. Hovering near the train | :04:33. | :04:36. | |
platform and I just wanted to lash out and hurt somebody. It was very | :04:37. | :04:42. | |
quiet. There was nobody round. I reached over into the back seat, I | :04:43. | :04:48. | |
grabbed my baseball bat. I asked my friend. I followed man. The next | :04:49. | :04:53. | |
thing I woke up on the floor, being shouted at and demands being made of | :04:54. | :05:00. | |
me. Then I took his stuff. Like nothing had happened. I looked down | :05:01. | :05:06. | |
at my clothes and my trousers and shoes and shirt were covered in | :05:07. | :05:12. | |
blood. It dawned on me that this whirlwind occurred. I used to hang | :05:13. | :05:17. | |
round with a dodgy crowd. Beat people up for no reason. The night | :05:18. | :05:21. | |
after we attacked the man at the station, we were out looking for | :05:22. | :05:26. | |
trouble again, got a bit cocky, and a police car noticed my car and it | :05:27. | :05:29. | |
fitted the description so they followed up. The police found the | :05:30. | :05:34. | |
man's wallet and his keys in my drawer. I got sentenced to a four | :05:35. | :05:40. | |
year custodial sentence, I served 20 months inside, it is probably the | :05:41. | :05:42. | |
best thing that could have happened to me at that time. I heard about | :05:43. | :05:47. | |
this course called restorative justice that gives you a chance to | :05:48. | :05:51. | |
meet your victim. I wanted to do it because I wanted to say sorry to | :05:52. | :05:57. | |
Tim. When I first met Khamran, we talked about writing a letter from | :05:58. | :06:01. | |
Khamran to Tim. When I plucked up the courage to open it and read it, | :06:02. | :06:05. | |
it was very clear in the first two or three sentences that this was | :06:06. | :06:11. | |
something that Khamran had written by himself, and expressed his | :06:12. | :06:16. | |
remorse. Are the bottom of my heart I am so sorry for the things I put | :06:17. | :06:20. | |
you through. I don't know how else to say it. I am seriously sorry. | :06:21. | :06:26. | |
That made it very simple for me to agree to meet Khamran. | :06:27. | :06:29. | |
For me it was about the opportunity to meet the person that had | :06:30. | :06:34. | |
assaulted me, and maybe understand some reasoning, and what the motives | :06:35. | :06:39. | |
were. I didn't know how he was going to react. I didn't know if he was | :06:40. | :06:43. | |
angry, if he was going to attack me. They were both given time to talk | :06:44. | :06:47. | |
about what happened, the impact it had. I just opened up to him and | :06:48. | :06:52. | |
told him my life story and what led to that point. I knew immediately it | :06:53. | :06:56. | |
wasn't a personal attack. I happened to be in the wrong place at the | :06:57. | :07:01. | |
wrong time. He wished me the best of luck for the future, he told me he | :07:02. | :07:04. | |
wanted me to make something out of my life. Tim said to Khamran, I'm | :07:05. | :07:11. | |
not a religious man f, if I were I would give you my blessing. It Ian | :07:12. | :07:16. | |
toss that doing this you get to see the best of human beings. | :07:17. | :07:22. | |
First time I have been back stood on the station, since that night. Still | :07:23. | :07:27. | |
remember how I was, not just the night I attacked you, but the way I | :07:28. | :07:32. | |
was at a person. Talking to you, in this environment is strange, but it | :07:33. | :07:38. | |
is useful. It is a way of, you know helping to kind of round that | :07:39. | :07:42. | |
circle. I am getting on with my family, I am drug free, so I wanted | :07:43. | :07:47. | |
to say thanks, I appreciate. I am glad to have been a small part in | :07:48. | :07:51. | |
that. Strangely a very small part in that process. The consequences of | :07:52. | :07:54. | |
our choices sometimes are last longer than we know at the time, but | :07:55. | :07:59. | |
that, I don't think that should mean that you are bound by those choices | :08:00. | :08:08. | |
for the rest of your life. Thank you to Tim and Khamran for sharing what | :08:09. | :08:14. | |
must have been straition strange motion, to be standing there where | :08:15. | :08:20. | |
that happened. For give it is a powerful thing. I | :08:21. | :08:26. | |
forgive you from making the transition from that to what we are | :08:27. | :08:32. | |
talking about. It is your work. As we said we saw it. You saw Baby | :08:33. | :08:37. | |
Driver. Enjoyed it. There was air con in the cinema so it was really | :08:38. | :08:42. | |
good. Some people have described it as Gone in 60 Seconds meets La La | :08:43. | :08:45. | |
Land Gone in 60 Seconds meets La La Land. I think that is a good | :08:46. | :08:50. | |
description. Are you sure they weren't drinking to? Let us give you | :08:51. | :08:56. | |
a chance to sum it up. It's a heist film. Edgar Wright who you know from | :08:57. | :09:02. | |
his incredible body of work, the Shaun of the Dead film, what he does | :09:03. | :09:08. | |
remarkably is uses music, he chooses the soundtrack, every track he wants | :09:09. | :09:12. | |
to have in all the scenes before he shoots the film. So when I got the | :09:13. | :09:18. | |
script, there was a CD, and I could put on this is the music we will | :09:19. | :09:24. | |
play in this scene. And I did it, it a wild way to read a screenplay. | :09:25. | :09:29. | |
Then you take it a step further on set, he plays the music, prior to | :09:30. | :09:33. | |
you shooting a scene, in some scene, those are in the film, you have to | :09:34. | :09:39. | |
do your physical action to the Ritz -- rhythm of the sock playing. There | :09:40. | :09:42. | |
is someone in particular I put down wads of money but I had to do it on | :09:43. | :09:46. | |
the beat. So were they playing the music? In | :09:47. | :09:55. | |
my ear. I bet that helped. Let us see some of it. Let's talk it. The | :09:56. | :10:01. | |
target is an armoured truck. 10am sharp. Questions. | :10:02. | :10:17. | |
Playing along as you were going, it is infectious. Baby is a wonderful | :10:18. | :10:24. | |
actor, he has an ear situation, so he needs to play music to drown that | :10:25. | :10:29. | |
out or has a constant buzzing so music drives the film. Actually, if | :10:30. | :10:33. | |
it wasn't for your character, the film wouldn't be taking place at | :10:34. | :10:36. | |
all, would it. I don't know how much you want to give away, what do you | :10:37. | :10:40. | |
want to say about the character? I am the Michael Caine of this film. | :10:41. | :10:44. | |
This is part Michael Caine would have played. What is funny I don't | :10:45. | :10:50. | |
play him as Michael Caine and I could. Very good. That is a good way | :10:51. | :10:56. | |
to describe it. But there, the I amazing driving scene, they take | :10:57. | :11:02. | |
your breath away, unluckily your character doesn't get in a car, can | :11:03. | :11:07. | |
we say that? I don't get in a car, I do however roll over a car. True. | :11:08. | :11:16. | |
You do. At a very fast velocity, to a cool soundtrack. It is true that | :11:17. | :11:24. | |
Edgar, put the actors in the cars and made them drive at high speed, | :11:25. | :11:29. | |
to get proper real reaction. No actors were harmed in the filming of | :11:30. | :11:36. | |
this movie. But they did, it wasn't green screened, you can tell. No we | :11:37. | :11:43. | |
had very skilled stunt men and women who do the real stuff. It literally | :11:44. | :11:47. | |
took my breath away. We have a moment of one of the car chases we | :11:48. | :11:53. | |
are talking about. Here we are. You have been my driver for every | :11:54. | :11:56. | |
job, you are the best in the business. | :11:57. | :12:05. | |
I will need you behind the wheel again. One more job and I'm done. | :12:06. | :12:13. | |
One more job and we're straight. The core graph few, the way that it just | :12:14. | :12:18. | |
blends with the music, I love that, there is an opening sequence where | :12:19. | :12:22. | |
one of the lead characters is walking along. It is is a bit dance. | :12:23. | :12:29. | |
As far as your natural rhythms are concerned, what songs do you like to | :12:30. | :12:35. | |
listen to Hotel California. I have this memory of driving to Arizona | :12:36. | :12:41. | |
when I was 18, in a car with a speaker in my lap, listening to | :12:42. | :12:45. | |
Supertramp # Even in the quiet moments | :12:46. | :12:48. | |
# I wish I knew # What I had to do. # | :12:49. | :12:53. | |
I was driving the car, I thought I was the coolest guy ever. Are you a | :12:54. | :13:00. | |
good driver? I am an extremely good driver. Today I hit many mirrors | :13:01. | :13:07. | |
driving down a very narrow street. Anybody who has mirrors... We want | :13:08. | :13:13. | |
to watch the tennis today and they are very narrow streets. There will | :13:14. | :13:17. | |
be some insurance claims coming through. I think not. Baby Driver, a | :13:18. | :13:22. | |
fantastic fame is out on the 28th June. Shortly we will talk about how | :13:23. | :13:29. | |
House of Cards, but first we will talk about politics closer to home. | :13:30. | :13:34. | |
But first, we're looking at politics closer to home. | :13:35. | :13:36. | |
After the recent general election one question on everyone's lips is | :13:37. | :13:39. | |
So we've enlisted two comedians for a unique take on the party | :13:40. | :13:44. | |
who've suddenly found themselves in the spotlight. | :13:45. | :13:46. | |
The following film has been given an official rating of "satire". | :13:47. | :14:00. | |
Hello I am Tim McGarry. I am Colin Murphy. We make a show that pokes | :14:01. | :14:09. | |
fun at anything. I will instil in you a love of the Irish language. | :14:10. | :14:16. | |
That is brilliant. Any way hello and welcome to Northern Ireland. We used | :14:17. | :14:21. | |
to be in the news a bit with the bombs and the IRA and the peace | :14:22. | :14:24. | |
process but then you forgot about it. Well, we are back. And it is | :14:25. | :14:31. | |
thanks to the Democratic Unionist Party. A lot of people if Britain | :14:32. | :14:35. | |
had never heard of them and they Googled it and thought you must be | :14:36. | :14:40. | |
joking. A lot of the reaction was way over the top and showed a total | :14:41. | :14:46. | |
ignorance of Northern Ireland. You would think we were a different | :14:47. | :14:48. | |
country. So who is Theresa May getting into | :14:49. | :14:58. | |
bed with? It is not the DUP leader, they don't approve of that sort of | :14:59. | :15:10. | |
thing. Here is the bluffer's guide. Ian Paisley formed the party, you'll | :15:11. | :15:14. | |
remember him, firebrand preacher that love shouting. We say never! | :15:15. | :15:22. | |
Never! Never! Today, it is led by Arlene Foster. She is at the centre | :15:23. | :15:27. | |
of a scandal involving a botched renewable heat incentive scheme that | :15:28. | :15:33. | |
could cost up to ?490 million. It is all a bit complicated. If you want | :15:34. | :15:40. | |
to know more, just Google RHI and chickens. The DUP is true to its | :15:41. | :15:47. | |
Protestant roots, a somewhat pro-Unionist party and Eurosceptic. | :15:48. | :15:54. | |
DUP voters are very partial to a flag and a march. They are socially | :15:55. | :16:00. | |
very conservative. DUP MP Sammy Wilson does not believe in climate | :16:01. | :16:05. | |
change, so he was made Northern Ireland Minister for the | :16:06. | :16:06. | |
environment, obviously. If you do bump into any DUP MPs, there are | :16:07. | :16:11. | |
some dos and don'ts. Never show them photographs of the gay wedding you | :16:12. | :16:15. | |
were at last weekend. Probably best not to say that the BBC licence fee | :16:16. | :16:22. | |
is worth every penny. Feel free to say Donald Trump is some crack. | :16:23. | :16:26. | |
Despite the peace process, it is still a divided place. If we want to | :16:27. | :16:30. | |
know how many Protestants and Catholics there are, we don't have a | :16:31. | :16:36. | |
census, we have an election. The DUP mailing represents Protestants, and | :16:37. | :16:39. | |
Sinn Fein mainly represents Catholics. Because of recent | :16:40. | :16:42. | |
developments, Sinn Fein are not happy. That makes the DUP very | :16:43. | :16:43. | |
happy! People here agree that the Theresa | :16:44. | :16:54. | |
May and DUP deal could lead to some financial benefits for Northern | :16:55. | :16:58. | |
Ireland. Now, we don't know exactly what has been agreed. What we can | :16:59. | :17:04. | |
say is that just because the DUP have Theresa May over a barrel, we | :17:05. | :17:09. | |
hope they don't use it to extort every single last penny they can. | :17:10. | :17:17. | |
It's Arlene Foster. Hello? Colin, do you fancy a hospital or a motorway? | :17:18. | :17:23. | |
One of each! One of each. That's cleared that up! We are going | :17:24. | :17:35. | |
to continue with politics and talk about the massively successful House | :17:36. | :17:39. | |
of Cards. The hit political drama, where you play the President, Frank | :17:40. | :17:42. | |
Underwood, a very scheming President. The thing is, how hard is | :17:43. | :17:48. | |
it? How much do you feel for the writers? You have just finished the | :17:49. | :17:52. | |
fifth series. Trying to come up with something as compelling as what is | :17:53. | :17:56. | |
actually happening? Well, we have never felt an obligation to compete | :17:57. | :18:00. | |
with the real world. We believe we are an alternative universe, we are | :18:01. | :18:05. | |
the alternative reality President. As opposed to the reality television | :18:06. | :18:14. | |
President! I think that makes sense. We feel that as long as we are true | :18:15. | :18:17. | |
to the story we want to tell, the runway we want to tell it on, the | :18:18. | :18:21. | |
most exciting part about doing the show is how much fun we have. What | :18:22. | :18:26. | |
generally seems to happen, and it has happened through every season, | :18:27. | :18:30. | |
including this one, we start writing one year before we start shooting. | :18:31. | :18:36. | |
We will come up with storylines and plot devices, new characters and all | :18:37. | :18:39. | |
sorts of things we want to explore. Then we will write them, then we | :18:40. | :18:43. | |
will shoot them. Some time between when we shoot them and when the | :18:44. | :18:50. | |
series drops, one, two, three, five or six things we ventured into, | :18:51. | :18:54. | |
described unplayed, happen in the real world. We always think people | :18:55. | :18:58. | |
will think we stole it from the headlines, but it is the other way | :18:59. | :19:02. | |
round. It's quite scary, thinking about what you have written, if you | :19:03. | :19:06. | |
are putting number six down to paper at the moment? Is not unusual for an | :19:07. | :19:14. | |
actor to become a President. But House of Cards, you have a huge | :19:15. | :19:18. | |
insight into the White House. Does it appeal to you more or less in | :19:19. | :19:22. | |
real life to have a career in politics? My particular problem with | :19:23. | :19:27. | |
ever considering a career in politics is that I really, really | :19:28. | :19:31. | |
enjoy having a goal and achieving it. I think it's so very difficult | :19:32. | :19:39. | |
to accomplish anything. You know, those presidents that have been able | :19:40. | :19:43. | |
to do so, I tip my hat to them. But it is an extremely divisive | :19:44. | :19:50. | |
situation. I'm afraid I would end up murdering people. Like Frank | :19:51. | :19:53. | |
Underwood does, just to get stuff done. He is quite effective, he does | :19:54. | :19:59. | |
get stuff done. How real does it feel on set? You were saying to me | :20:00. | :20:04. | |
before we came back that you've been to the real White House. The | :20:05. | :20:08. | |
similarities there? We work with a large amount of consultants, people | :20:09. | :20:12. | |
that work in the White House, people that do an enormous amount of work | :20:13. | :20:16. | |
in government. Even if we are pushing the boundaries artistically, | :20:17. | :20:19. | |
we want to make sure it feels genuine, it feels like this could | :20:20. | :20:22. | |
genuinely happen. We do a lot of checking and make sure we are not on | :20:23. | :20:29. | |
some totally polar universe. I made this joke, he didn't really say | :20:30. | :20:34. | |
this, but I like saying it as if he did, President Clinton once said, I | :20:35. | :20:37. | |
love that House of Cards. It's so good! 99% of what they do on that | :20:38. | :20:46. | |
show is real. The 1% they got wrong, you could never get an education | :20:47. | :20:50. | |
bill passed that fast. Thank you very much. | :20:51. | :20:58. | |
You know that Frank Underwood is a very ambitious bloke. We heard that | :20:59. | :21:08. | |
you are equally as ambitious. The story of how you got your first big | :21:09. | :21:12. | |
break, the audition for your first big break? You are talking about the | :21:13. | :21:17. | |
dreaded stealing of an invitation? Yes, it actually happened. I wanted | :21:18. | :21:22. | |
desperately to play Jack Lemmon's Sun in a production going to | :21:23. | :21:26. | |
Broadway. I went to a series of lectures that the director was | :21:27. | :21:31. | |
giving. It was Jonathan Miller, all of the great British directors. An | :21:32. | :21:34. | |
elderly woman was sitting next to me asleep. She was rather fashionable, | :21:35. | :21:40. | |
very well put together, and sticking out of her bike I noticed there was | :21:41. | :21:45. | |
an invitation to a cocktail reception that was going to happen | :21:46. | :21:48. | |
after the lecture. I thought, well, she is tired. How old were you? I | :21:49. | :21:58. | |
was 25. I thought, she probably knows everybody anyway. Very | :21:59. | :22:06. | |
elegantly dressed. I swiped the invite. I made a beeline to the | :22:07. | :22:10. | |
party and I ended up meeting Doctor Miller. He ended up giving me an | :22:11. | :22:14. | |
audition two days later and I ended up winning the role. I now like you | :22:15. | :22:21. | |
even more. I constantly thank that woman, who I never met. But I bless | :22:22. | :22:25. | |
her. I am not encouraging thievery, but occasionally... You got to do | :22:26. | :22:29. | |
what you've got to do. The next film isn't | :22:30. | :22:30. | |
a Hollywood blockbuster, It's a love story with a difference | :22:31. | :22:32. | |
starring George McGavin. It's about a beetle that goes | :22:33. | :22:35. | |
on the ride of his life and, before you ask, he did | :22:36. | :22:38. | |
do his own stunts. Britain's Wildflower meadows are | :22:39. | :22:52. | |
bursting into life and they are the perfect place to come face-to-face | :22:53. | :22:56. | |
with an alien like insect that is on a mission impossible. I'm on the | :22:57. | :23:02. | |
trail of the oil beetle, and I really want to witness its | :23:03. | :23:05. | |
extraordinary survival strategy, which all comes down to it being | :23:06. | :23:12. | |
able to hitch a piggyback ride on a bee. To see this remarkable | :23:13. | :23:17. | |
behaviour, I've come to Devon to meet naturalist Jon Walters. Using | :23:18. | :23:23. | |
the latest macro lenses, we are going to reveal the life cycle of | :23:24. | :23:28. | |
this bizarre beetle. There she is! The object of all our attention. | :23:29. | :23:32. | |
That is obviously a female, she is really quite big. What makes them so | :23:33. | :23:37. | |
fascinating? When I first saw one, it looked like some kind of alien | :23:38. | :23:41. | |
creature. I thought, it's got to do something weird. It can't be a | :23:42. | :23:45. | |
normal beetle, with normal behaviour. It is one of the | :23:46. | :23:55. | |
strangest British beetles. If I hold her gently, she will secrete from | :23:56. | :24:00. | |
home is a tiny blob of oil. That is what she gets her name from. It is | :24:01. | :24:04. | |
toxic, it tastes vile and are protected from being eaten by birds | :24:05. | :24:12. | |
or any other insects. She has to find a mate, that's the next thing | :24:13. | :24:16. | |
for her. The female beetle releases pheromone scents into the spring | :24:17. | :24:19. | |
air. It's not long before she attracts a mate. He is smaller than | :24:20. | :24:32. | |
her, so he uses special hooked on -- looks to hold her in a lovers | :24:33. | :24:35. | |
embrace. But she is not done with him yet. She drags her mate around | :24:36. | :24:44. | |
for over an hour, which ensures that tens of thousands of eggs she will | :24:45. | :24:46. | |
lay through the meadow are fertilised by him. She needs to lay | :24:47. | :24:52. | |
so many because the chances of any of them surviving what is coming | :24:53. | :25:01. | |
next are slim. When they emerge, they instinctively crawl at the | :25:02. | :25:02. | |
nearby stems and had to the flowers. For those that get to the top, it is | :25:03. | :25:12. | |
not the flower they are after. It is what is what it attracts. A solitary | :25:13. | :25:20. | |
mining bee. They are visiting flowers on their incessant search | :25:21. | :25:29. | |
for pollen. The beetles lie in wait, hoping for the ride of their lives. | :25:30. | :25:33. | |
This is the critical point. The survival of the species depends on | :25:34. | :25:40. | |
the young oil beetles being able to piggyback on one of them. They have | :25:41. | :25:43. | |
only got seconds. If they get it wrong, it's game over. They crawl | :25:44. | :25:51. | |
onto the bee's back. Many get knocked off, but a few will keep a | :25:52. | :25:57. | |
hold as it flies back to the nest. The bees unwittingly carried a few | :25:58. | :26:05. | |
that survive underground. These holes of the entrance to the nest. | :26:06. | :26:12. | |
This is where the young oil bluffer mission ends. In that there are the | :26:13. | :26:20. | |
bee eggs and stockpiles of pollen. It is these that the beetles after. | :26:21. | :26:29. | |
The successful ones will feast on them and turn into adults. Of the | :26:30. | :26:33. | |
50,000 eggs that are laid, only a handful will make it this far. Next | :26:34. | :26:37. | |
spring, a new generation of adult beetles will emerge. One of | :26:38. | :26:41. | |
Britain's most remarkable life cycles will begin all over again. | :26:42. | :26:46. | |
I love the lengths that he goes to to take us into other worlds. Wasn't | :26:47. | :26:53. | |
that wonderful? Well, it's what he does. You can do the same thing into | :26:54. | :27:04. | |
that lens in a moment, watch. Since we last saw you been awarded with an | :27:05. | :27:08. | |
honorary knighthood for your services to culture and British | :27:09. | :27:11. | |
theatre. There you are, with Prince Charles, looking very dapper. That | :27:12. | :27:18. | |
was remarkable. Normally, the way it happens, it is announced. There was | :27:19. | :27:21. | |
one day when the Queen herself gives these awards out. Unfortunately, I | :27:22. | :27:26. | |
was shooting in America and I couldn't do it. Normally what | :27:27. | :27:30. | |
happens after that is that they may lead to you. Prince Charles, I | :27:31. | :27:33. | |
happened to have been an ambassador for his foundation, The Prince's | :27:34. | :27:39. | |
Trust, for many years. He said, no, no, I want to give it to him. | :27:40. | :27:49. | |
Mother... So proud... Anyway, we went to Clarence House and have this | :27:50. | :27:55. | |
wonderful morning last year, where he awarded me that. It means so much | :27:56. | :28:01. | |
to me. My parents were Anglophiles and I spent a good part of my | :28:02. | :28:04. | |
childhood learning about England, learning about this country, | :28:05. | :28:07. | |
learning about the theatre, going to do theatre. For me to have | :28:08. | :28:10. | |
transplanted myself here, my mother knew that I was doing before I | :28:11. | :28:15. | |
passed away, she knew I was taking on the old Vic. She always said | :28:16. | :28:22. | |
things like that. I said, they can't, I'm an American, I don't | :28:23. | :28:25. | |
think it's going to happen. She always knew. You put so much of your | :28:26. | :28:31. | |
self into your work in the West End. Do you have plans to return? I'd | :28:32. | :28:36. | |
love to. As long as I'm doing House of Cards, it's difficult in terms of | :28:37. | :28:39. | |
the amount of time, the commitment. I did a play at the Old Vic, a | :28:40. | :28:44. | |
one-man show, and I just did it at Arthur Ashe Stadium, where they | :28:45. | :28:49. | |
normally play the US open. I played to 5000 people a night. It was a | :28:50. | :28:55. | |
remarkable experience to re-purpose a space that had never been used as | :28:56. | :28:59. | |
a theatre space. That was pretty remarkable. I do that as much as I | :29:00. | :29:04. | |
can. Thank you so much for your company. Baby Driver is out on the | :29:05. | :29:07. | |
28th of June. We'll be joined by Cold Feet star | :29:08. | :29:12. | |
John Thompson and we have | :29:13. | :29:17. |