Browse content similar to 21/11/2017. Check below for episodes and series from the same categories and more!
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Hello and welcome to
The One Show with Alex Jones. | 0:00:15 | 0:00:18 | |
And Matt Baker.
People are saying our guests | 0:00:18 | 0:00:21 | |
tonight have just filmed
the worst movie ever made. | 0:00:21 | 0:00:26 | |
And, after seeing it myself today,
I see what they mean. | 0:00:26 | 0:00:32 | |
Action! You have to say a cloud, I
can't hear you. -- say it loud. | 0:00:32 | 0:00:42 | |
Action! I didn't hear you. Oh, hi,
Mark. Where are you looking? It | 0:00:42 | 0:00:52 | |
doesn't work if you're looking at
the camera. What? | 0:00:52 | 0:00:57 | |
They're brothers so let's see
if they blame each other! | 0:00:57 | 0:01:00 | |
It's James and David Franco. | 0:01:00 | 0:01:02 | |
Brilliant. | 0:01:02 | 0:01:07 | |
We should explain. | 0:01:07 | 0:01:12 | |
The action in your film, it is
hilarious, it's not often that I | 0:01:12 | 0:01:17 | |
laughed out loud. Did you say that
we were making a movie about the | 0:01:17 | 0:01:21 | |
worst movie? It is about a famously
bad movie made in 2003 called The | 0:01:21 | 0:01:26 | |
Room. Not to be compared with the
Brie Larson Oscar-winning film! | 0:01:26 | 0:01:34 | |
Which was great, incredible
performance, deserving the Oscar. | 0:01:34 | 0:01:38 | |
For a while, they had to say "The
Room, not the Brie Larson...". But | 0:01:38 | 0:01:47 | |
the director and star of The Room in
the film I star in that it out in | 0:01:47 | 0:01:55 | |
theatres for two weeks even though
nobody saw it, he paid for it | 0:01:55 | 0:02:00 | |
himself, so he would qualify for the
Academy Awards. Was never going to | 0:02:00 | 0:02:04 | |
happen, was it? It has cult status,
the original film. Since then. The | 0:02:04 | 0:02:11 | |
rituals that people have when they
see Ed, the cutlery? In a way it's | 0:02:11 | 0:02:15 | |
the new Rocky Horror picture show,
there is this audience | 0:02:15 | 0:02:21 | |
participation. It has gone on for 14
and a half years and there are | 0:02:21 | 0:02:26 | |
specific call-backs to the screen.
One thing people do, they bring | 0:02:26 | 0:02:29 | |
plastic spoons because in the film
there are these picture frames with | 0:02:29 | 0:02:34 | |
spoons in them. How did you notice
that? You've got to watch The Room | 0:02:34 | 0:02:41 | |
with people who have seen it a bunch
of times, there are a bunch of | 0:02:41 | 0:02:44 | |
Easter wrecks. When they made the
original movie they said to Tommy, | 0:02:44 | 0:02:51 | |
the director, shouldn't we have some
pictures on the wall, make it look | 0:02:51 | 0:02:53 | |
like people live here -- Easter
eggs. There were stock photos of | 0:02:53 | 0:03:03 | |
spoons and they said, Tommy, should
we put photos of the characters so | 0:03:03 | 0:03:06 | |
it looks like they live here? He
said, don't worry, if they are | 0:03:06 | 0:03:11 | |
looking at the spoons they are
looking at the wrong thing. 14 years | 0:03:11 | 0:03:16 | |
later, whenever the spoons come up,
people yell spoons in the theatre | 0:03:16 | 0:03:19 | |
and throw plastic spoons. It could
be real knives and forks which would | 0:03:19 | 0:03:26 | |
be more dangerous. We would like
photos of you with your brothers, | 0:03:26 | 0:03:32 | |
because we have James and Dave with
us. Tell us what you do together, | 0:03:32 | 0:03:36 | |
send us a photo and we will show you
at the end of the show. | 0:03:36 | 0:03:41 | |
In a moment we'll be meeting
a lurcher called Red | 0:03:41 | 0:03:44 | |
who is looking for a home.
He was abandoned by hare | 0:03:44 | 0:03:46 | |
coursers, criminals who use
dogs to hunt wild hare. | 0:03:46 | 0:03:48 | |
The practice is illegal but,
as Matt Allwright's been finding | 0:03:48 | 0:03:51 | |
out, it's still flourishing,
particularly in Lincolnshire | 0:03:51 | 0:03:53 | |
where innocent farmers are powerless
to stop their fields being used | 0:03:53 | 0:04:02 | |
These men are taking part in the
hare coursing, placing bets on which | 0:04:02 | 0:04:06 | |
of their dogs will catch wild hare
in a chase to the death. Hare | 0:04:06 | 0:04:11 | |
coursing may now be illegal but that
hasn't stopped its popularity and | 0:04:11 | 0:04:15 | |
this is the perfect place for it.
Driven by the high-stakes gambling | 0:04:15 | 0:04:20 | |
of this blood sport, criminal gangs
are prepared to travel miles to | 0:04:20 | 0:04:24 | |
trust pass on farmland like this in
Lincolnshire. The rural policing | 0:04:24 | 0:04:28 | |
team is led by Chief Inspector Jim
Tiner. 2000 incidents last year, | 0:04:28 | 0:04:36 | |
this is what criminals do on their
day off, it is enjoyed by people | 0:04:36 | 0:04:40 | |
with links to organised crime. But
the police are now taking action to | 0:04:40 | 0:04:44 | |
stop it. I'm hitting the road with
wildlife crime officer Nick Willie | 0:04:44 | 0:04:53 | |
as part of a special operation to
stop the hare coursing. Often they | 0:04:53 | 0:04:56 | |
will drive through gates to stop us
because they know that our policy is | 0:04:56 | 0:04:59 | |
that we will arrest and sees dogs
and we cause. We get our first call. | 0:04:59 | 0:05:07 | |
Locals have spotted what they
suspect is a carload of hare courses | 0:05:07 | 0:05:11 | |
in a nearby fee. And sure enough, we
spot them too. The vehicle is just | 0:05:11 | 0:05:17 | |
up there on the right. Yes, I've got
the vehicle in front of me, whiskey | 0:05:17 | 0:05:23 | |
01. Going across fields at speed.
This gang clearly don't like being | 0:05:23 | 0:05:28 | |
hunted themselves. And they'll do
just about anything to avoid being | 0:05:28 | 0:05:34 | |
caught. Vehicle at speeds towards
you now. Move out of the way, let me | 0:05:34 | 0:05:39 | |
through, please. With the hare
course is willing to drive at high | 0:05:39 | 0:05:44 | |
speed through the village, Nick has
no choice but to call off the chase. | 0:05:44 | 0:05:48 | |
It is unsafe to continue. It is a
right. The Red Subaru was later | 0:05:48 | 0:05:56 | |
found burnt out over 100 miles away
on the board of Berkshire and | 0:05:56 | 0:06:00 | |
Surrey. But it's not just the hare
coursers' reckless driving that is | 0:06:00 | 0:06:07 | |
putting the blackness, threats of
violence and intimidation to farmers | 0:06:07 | 0:06:10 | |
are now at an all-time high. William
and his family have worked this land | 0:06:10 | 0:06:15 | |
for five generations. We put these
here to stop these guys coming on, | 0:06:15 | 0:06:22 | |
we're trying to barricade it and
keep them out but we are also | 0:06:22 | 0:06:25 | |
barricading ourselves in. The
makeshift security measures at this | 0:06:25 | 0:06:30 | |
2000 acre farm don't always keep out
the coursers, as William found to | 0:06:30 | 0:06:34 | |
his cost in July. Two came at me and
got hold of me and out of nowhere | 0:06:34 | 0:06:41 | |
another one had a wheel brace, got
out of his car and hit me, taking | 0:06:41 | 0:06:46 | |
off the end of my nose. Worrying
that that is their first course of | 0:06:46 | 0:06:50 | |
action, to clobber the farmer. Back
on the road there's been another | 0:06:50 | 0:06:54 | |
sighting of suspected hare coursers
on the other side of the county. | 0:06:54 | 0:07:00 | |
Another police vehicle here so we
suspect they are on the right. There | 0:07:00 | 0:07:06 | |
they are, moaning on -- running
across the field. An officer | 0:07:06 | 0:07:13 | |
approaches the men but they aren't
hanging around. We've got a blue | 0:07:13 | 0:07:19 | |
four-wheel drive heading down. A
police car tries to block their | 0:07:19 | 0:07:21 | |
path. Its stopping. It's gone past
the police vehicle. It's now coming | 0:07:21 | 0:07:28 | |
down our way. He's absolutely
flying. Brake, brake. In his haste | 0:07:28 | 0:07:36 | |
to escape justice the driver has
left one of his gang behind. We | 0:07:36 | 0:07:40 | |
think he's now in this group of the
trees. It isn't a big space. They | 0:07:40 | 0:07:48 | |
are going to use technology to see
if they can find him. With so much | 0:07:48 | 0:07:52 | |
ground to cover when one of the hare
coursers takes off on foot the team | 0:07:52 | 0:07:59 | |
uses drones to pinpoint their
whereabouts more quickly but after | 0:07:59 | 0:08:02 | |
an hour-long search, there's no sign
of him. The last person to see him | 0:08:02 | 0:08:08 | |
said they went in there. There's
definitely nothing in there. He may | 0:08:08 | 0:08:13 | |
have had a narrow escape on this
occasion but as police continue | 0:08:13 | 0:08:16 | |
their crackdown, next time he may
not be so lucky. With hare coursers | 0:08:16 | 0:08:22 | |
still at large, William continue to
feel deeply concerned for his | 0:08:22 | 0:08:25 | |
safety. What happened to me is bad
enough but I've a great fear that | 0:08:25 | 0:08:30 | |
someone could end up being killed by
hare coursers. | 0:08:30 | 0:08:36 | |
Rebecca Harper from the RSPCA is
here with a lurcher, Met, who wasn't | 0:08:36 | 0:08:41 | |
involved in that situation but is
from the area of Lincolnshire -- | 0:08:41 | 0:08:44 | |
Red. Tell me about Red and his
situation. Sadly his situation isn't | 0:08:44 | 0:08:51 | |
unusual, we come across it a lot. He
was found on a day when coursers had | 0:08:51 | 0:08:57 | |
been in the area, he was lucky to be
found by a member of the public late | 0:08:57 | 0:09:01 | |
in the afternoon on a remote road.
He was tied up to a bush with | 0:09:01 | 0:09:06 | |
plastic twine about this high, so he
couldn't lay down otherwise he would | 0:09:06 | 0:09:11 | |
have strangled himself and he had a
broken leg, which was just hanging. | 0:09:11 | 0:09:16 | |
They phoned us and we facilitated
getting him to a vet and he is care | 0:09:16 | 0:09:20 | |
has been taken on by the local
RSPCA. He is available for | 0:09:20 | 0:09:26 | |
re-homing, his leg has been
amputated and he has healed | 0:09:26 | 0:09:30 | |
brilliantly. When these dogs are no
longer an asset, they just get | 0:09:30 | 0:09:33 | |
dumped and left and picked up as
strays or abandon. I'm sure you'll | 0:09:33 | 0:09:40 | |
be inundated with people interested
in homing Red but what kind of | 0:09:40 | 0:09:45 | |
family would be ideal? As you can
see he is very chilled out. We | 0:09:45 | 0:09:51 | |
normally ask for homes without small
children because of the history | 0:09:51 | 0:09:53 | |
where they've come from but older
children and teenagers, he is great | 0:09:53 | 0:09:57 | |
with other dogs, he is well
socialised. Have to be careful with | 0:09:57 | 0:10:03 | |
small furry animals, the instinct is
to chase. That is what he had been | 0:10:03 | 0:10:06 | |
bred for. So, no cats or hamsters,
sometimes small dogs we'd be careful | 0:10:06 | 0:10:12 | |
with. Otherwise anyone who is
active, even though he only has | 0:10:12 | 0:10:17 | |
three legs he is very active and
very fast. Someone who can give him | 0:10:17 | 0:10:22 | |
love and affection. In your eyes,
what's the best way of trying to | 0:10:22 | 0:10:27 | |
tackle this? We saw the police
trying to be proactive but where is | 0:10:27 | 0:10:32 | |
it going to hit hardest as far as
the coursers are concerned? It's | 0:10:32 | 0:10:37 | |
difficult to say how it can be
solved easily but from the RSPCA | 0:10:37 | 0:10:42 | |
point of view we'd like, where there
is evidence, the stronger offence is | 0:10:42 | 0:10:45 | |
being prosecuted. Hunting with dogs,
and where applicable, the animal | 0:10:45 | 0:10:52 | |
welfare act. Offences that include
penalties of disqualification so | 0:10:52 | 0:10:58 | |
they are allowed to own dogs, solar
dogs that have been taken can be | 0:10:58 | 0:11:04 | |
kept permanently and they can be
billed for the cost of the dogs | 0:11:04 | 0:11:07 | |
being kept in kennels while the
matter goes through court. And if | 0:11:07 | 0:11:12 | |
they are disqualified, if the police
stopped them, even if they are doing | 0:11:12 | 0:11:16 | |
nothing criminal, if they are in
control of a dog it is a criminal | 0:11:16 | 0:11:19 | |
offence because they'll be breaching
the disqualification. The police can | 0:11:19 | 0:11:24 | |
take the dogs straightaway from
them, thereby stopping their source | 0:11:24 | 0:11:27 | |
of entertainment and money. These
dogs are used for betting large sums | 0:11:27 | 0:11:34 | |
of money, they become valuable, the
more they win the more valuable they | 0:11:34 | 0:11:38 | |
are. They are also used for breeding
and money comes from that as well. | 0:11:38 | 0:11:44 | |
So a small fine or criminal record
makes little difference but if we | 0:11:44 | 0:11:50 | |
can get the evidence for the
disqualify or a ban, that is better. | 0:11:50 | 0:11:58 | |
You have made good friends during
that. There is a good chance I'd | 0:11:58 | 0:12:04 | |
take this guy! I wish I could. I've
got two enormous cats. You are a cat | 0:12:04 | 0:12:10 | |
man. All animals. Tell you what,
your brother, got to watch him, he | 0:12:10 | 0:12:16 | |
is a right next because he told us
that in the past you had a cat | 0:12:16 | 0:12:24 | |
calendar -- he's a right snitch.
I've got to stop talking about my | 0:12:24 | 0:12:30 | |
cats in every interview but I don't
know, I'm an overbearing parent! | 0:12:30 | 0:12:39 | |
We've got a props Dave who helps out
at a local cat sanctuary and this is | 0:12:39 | 0:12:49 | |
their calendar. Going right to my
heart, man. I'll take it. Thank you, | 0:12:49 | 0:12:56 | |
Rebecca. | 0:12:56 | 0:13:00 | |
The Ashes get under way in Australia
at midnight tomorrow. | 0:13:00 | 0:13:04 | |
We don't want to typecast
you but we're guessing that | 0:13:04 | 0:13:07 | |
like many Americans you don't
really get cricket? | 0:13:07 | 0:13:12 | |
If anyone gets anything about it, he
does. I don't get much! Don't worry! | 0:13:12 | 0:13:22 | |
All you need to know is that England
started playing Australia in 1877 | 0:13:22 | 0:13:27 | |
and since then there has been
sporting warfare between the two | 0:13:27 | 0:13:30 | |
countries, OK? Joe went to find out
how a new form of the game has | 0:13:30 | 0:13:41 | |
inspired other players including
mighty Moeen Ali. | 0:13:41 | 0:13:46 | |
When talking about cricket one
immediately thinks of long summer | 0:13:46 | 0:13:49 | |
days playing on the manicured
village pitch, the sound of leather | 0:13:49 | 0:13:52 | |
on willow. But not here in stony
parks Hill, in Birmingham. This is | 0:13:52 | 0:14:01 | |
Street cricket. Street cricket was
pioneered in Karachi, Pakistan, in | 0:14:01 | 0:14:09 | |
the 60s. With a lack of proper
equipment or grounds, eager players | 0:14:09 | 0:14:14 | |
found a cheap and simple solution.
It is this, a tennis ball wrapped in | 0:14:14 | 0:14:21 | |
electrical tape. It gives it a
little bit more weight and a nice | 0:14:21 | 0:14:24 | |
grip, which means you get fantastic
speed. This is a quick game. Making | 0:14:24 | 0:14:30 | |
it perfect to play on tarmac streets
or clearings. How is it different? | 0:14:30 | 0:14:34 | |
You don't have to wear a helmet,
pads or loves. One team faces 20 | 0:14:34 | 0:14:42 | |
bowls. In professional cricket you
can score anywhere you want but in | 0:14:42 | 0:14:44 | |
this one you can only go straight.
Street cricket has become so | 0:14:44 | 0:14:48 | |
successful it has produced a number
of international cricketers and | 0:14:48 | 0:14:52 | |
there are three of them over there.
Forget Edgbaston, this is your home | 0:14:52 | 0:15:00 | |
ground? It is, this is where I
started my career, really. What is | 0:15:00 | 0:15:05 | |
it about this version of the game?
What skills does it give people? You | 0:15:05 | 0:15:10 | |
learn so much about angles. You
ended up hitting a lot more balls, | 0:15:10 | 0:15:16 | |
bowling a lot more yorkers than you
do at a club. He's hit that! It | 0:15:16 | 0:15:21 | |
helped Moeen Ali get started and now
it has backing from the England and | 0:15:21 | 0:15:24 | |
Wales Cricket board. Is there still
and image problem, people think | 0:15:24 | 0:15:31 | |
about the village green? Yes, we are
proud that it is traditional, but it | 0:15:31 | 0:15:36 | |
is more than that, a game anyone can
play. They don't need the pads and | 0:15:36 | 0:15:41 | |
equipment. A great opportunity for
talented youngsters to pick up the | 0:15:41 | 0:15:45 | |
bat and potentially go into a more
traditional pathway and take the | 0:15:45 | 0:15:50 | |
game into more urban areas. | 0:15:50 | 0:15:55 | |
Larsson what do you make of this
form of the game? It is great fun, | 0:15:55 | 0:16:00 | |
it is good to be involved, it is
free and easy and you do not need | 0:16:00 | 0:16:04 | |
much equipment. You have crates and
bins on the side. People think | 0:16:04 | 0:16:09 | |
cricket is an expensive game, but
you see this today and it is so easy | 0:16:09 | 0:16:14 | |
and everyone gets involved. These
guys have got some skills. Watching | 0:16:14 | 0:16:19 | |
from the sides you do not realise
how quick it is until you get in the | 0:16:19 | 0:16:24 | |
firing line. Street cricket is not
about winning, it is the taking | 0:16:24 | 0:16:28 | |
part. Anyone can have a go, even me.
This feels like a fibre for cricket. | 0:16:28 | 0:16:37 | |
For us there are quite a few lads
who get into the park and it is a | 0:16:37 | 0:16:42 | |
good way that communities come
together. Would it give us the | 0:16:42 | 0:16:47 | |
English stars of tomorrow? You'll
yes, it will. Moeen Ali started here | 0:16:47 | 0:16:52 | |
and he has ended up being one of the
best players in the world. That is | 0:16:52 | 0:16:58 | |
where he started. You have had a
blistering summer, you must be quite | 0:16:58 | 0:17:01 | |
excited about going to play for
England in the winter. I am excited, | 0:17:01 | 0:17:07 | |
I know it is going to be hard. I am
staying as calm as I can and | 0:17:07 | 0:17:12 | |
forgetting about what is happening
and taking the confidence from the | 0:17:12 | 0:17:15 | |
summer and going out to Australia
and performing well for the team. | 0:17:15 | 0:17:21 | |
Hey!
We need to get a tennis ball and | 0:17:21 | 0:17:30 | |
wrap it in electrical tape and give
it to him for Christmas. I know you | 0:17:30 | 0:17:35 | |
will do that! | 0:17:35 | 0:17:35 | |
I know you will do that! | 0:17:35 | 0:17:37 | |
If you're a night owl,
Test Match Special will provide | 0:17:37 | 0:17:39 | |
ball-by-ball commentary of all Tests
on BBC Radio 5 live sports extra. | 0:17:39 | 0:17:42 | |
Let's talk about The Disaster
Artist. Between you you have got a | 0:17:42 | 0:17:49 | |
back catalogue. 127 Hours. The
Spiderman franchise. You watched the | 0:17:49 | 0:18:04 | |
movie. You have been in bad
neighbours, 21 jump St, but you have | 0:18:04 | 0:18:13 | |
never done a major movie together.
This is the first time. Why has it | 0:18:13 | 0:18:17 | |
taken so long? That is on me. When I
first started my career I did not | 0:18:17 | 0:18:27 | |
have a choice to go off on my own in
terms of work because I did not want | 0:18:27 | 0:18:36 | |
to pick my own path and I wanted to
stand on my own two feet. But he is | 0:18:36 | 0:18:42 | |
my brother and this felt like the
right timing and the right project. | 0:18:42 | 0:18:46 | |
We need the right dynamic between
these characters and we really | 0:18:46 | 0:18:51 | |
understood that relationship and I
am glad I said yes because it has | 0:18:51 | 0:18:53 | |
been one of the more enjoyable times
I have had onset. Did you ask him to | 0:18:53 | 0:18:59 | |
do it? I came to the whole thing
through the book that the other | 0:18:59 | 0:19:07 | |
actor in That Room wrote. Before I
was halfway done with that book I | 0:19:07 | 0:19:14 | |
knew a few things. I knew I wanted
to play Tommy and I wanted my | 0:19:14 | 0:19:18 | |
brother to play Greg. I thought,
this is the one. He will say yes. I | 0:19:18 | 0:19:25 | |
knew we had the right dynamic for
it. It is perfect. They had this | 0:19:25 | 0:19:32 | |
very unusual, close friendship like
they were almost like brothers. And | 0:19:32 | 0:19:38 | |
thank God my own brother said yes.
The main characters Tommy and Greg | 0:19:38 | 0:19:44 | |
failed to take off in LA, so after
another rejection a plan, why not | 0:19:44 | 0:19:50 | |
make their own film? This is when
Tommy presents the script to Greg. | 0:19:50 | 0:19:57 | |
That Room. Yes, nobody has read it
yet. You will be the first one. I | 0:19:57 | 0:20:05 | |
cannot believe it, man, that you did
this. You will play Mark. You want | 0:20:05 | 0:20:12 | |
me to play Mark. It is a big role.
Certainly it is, you want me to play | 0:20:12 | 0:20:20 | |
it? Johnny Depp did not want it. It
is like you say, Hollywood rejects | 0:20:20 | 0:20:29 | |
us, so we do it on our own. You have
got prosthetics on there. I have got | 0:20:29 | 0:20:38 | |
a lot, my cheeks, my nose, chin,
eyelids, awake and contact lenses. | 0:20:38 | 0:20:46 | |
Is it right that you were doing it
in character? I did. How did that | 0:20:46 | 0:20:53 | |
work? It was very strange.
Technically he stayed in character | 0:20:53 | 0:21:03 | |
while directing. But that does not
mean he adopted Tommy Wiseau's | 0:21:03 | 0:21:08 | |
personality. He was still James, but
he was speaking to us through this | 0:21:08 | 0:21:14 | |
voice and the prosthetics. That does
not make it any less weird. It got a | 0:21:14 | 0:21:21 | |
bit confusing sometimes because I
would say, OK, we go again. Then | 0:21:21 | 0:21:26 | |
they would ask is that Tommy James?
Tommy says he is from America. He is | 0:21:26 | 0:21:33 | |
clearly not, he has a European
accent, but nobody knows hardly | 0:21:33 | 0:21:37 | |
anything about this guy who financed
this film with £6 million. Of his | 0:21:37 | 0:21:41 | |
own money. That is the beauty of
Tommy. There are three mysteries, | 0:21:41 | 0:21:48 | |
where he is from, because he sounds
like Eastern Europe, but he says he | 0:21:48 | 0:21:52 | |
is a New Orleans all-American guy
and he stuck to that. He was at | 0:21:52 | 0:21:58 | |
least in his late 40s when he made
the film but he said he was in his | 0:21:58 | 0:22:02 | |
20s. And, yes, where he got the
money from. He had a denim retail | 0:22:02 | 0:22:08 | |
store in San Francisco. Really? He
told the a few weeks ago, James, I | 0:22:08 | 0:22:16 | |
got it selling Levi jeans. You do
not know anything about retailing! | 0:22:16 | 0:22:22 | |
So he has seen the movie? He loves
it, he has seen our movie three | 0:22:22 | 0:22:28 | |
times. He says he approves 99.9%.
The 1% if he does not like the way I | 0:22:28 | 0:22:35 | |
depict him throwing a football
because I do not throw it very well. | 0:22:35 | 0:22:38 | |
He thinks he is better? Yes, he is
an all-American guy. But his | 0:22:38 | 0:22:47 | |
original gripe with the movie... He
said 99.1%. You would think he would | 0:22:47 | 0:22:58 | |
say I never did this or I never did
that. But he said, James, I think | 0:22:58 | 0:23:03 | |
you should have a look at the
lighting at the beginning of the | 0:23:03 | 0:23:06 | |
film. But you just remembered this
today, he was wearing sunglasses | 0:23:06 | 0:23:12 | |
when he was watching the felon. It
was a bit dodgy. You will never get | 0:23:12 | 0:23:19 | |
your brother back, his voice has
changed. | 0:23:19 | 0:23:21 | |
changed. | 0:23:21 | 0:23:22 | |
The Disaster Artist is released
in selected cinemas from 1st | 0:23:22 | 0:23:25 | |
of December and nationwide from 6th
December and if you're in London | 0:23:25 | 0:23:28 | |
this week you can see the original
film The Room at The Prince Charles | 0:23:28 | 0:23:31 | |
Cinema until Friday. | 0:23:31 | 0:23:34 | |
Take your spoons. Exactly. | 0:23:34 | 0:23:35 | |
Exactly. | 0:23:35 | 0:23:38 | |
What's it like, I'm
wondering, having a job that | 0:23:38 | 0:23:40 | |
sends people to sleep. | 0:23:40 | 0:23:41 | |
I've no idea, Alex! | 0:23:41 | 0:23:44 | |
But what I do know is that there
is predicted to be a shortage | 0:23:44 | 0:23:47 | |
of anaesthetists in the not too
distant future and Kevin Fong | 0:23:47 | 0:23:50 | |
wants to put that right. | 0:23:50 | 0:23:55 | |
I have spent my career sending
people to sleep, not because I am | 0:23:55 | 0:24:00 | |
dull, but because I am a consultant
anaesthetist. It is one of the most | 0:24:00 | 0:24:05 | |
misunderstood specialities in
medicine. I have come to the Royal | 0:24:05 | 0:24:09 | |
United Hospital in Bath to follow a
couple of trainees around for the | 0:24:09 | 0:24:13 | |
day. We have got Jamie who has only
just finished his second year. Can | 0:24:13 | 0:24:19 | |
we have a quick listen to your
heart? And Robert who has done just | 0:24:19 | 0:24:25 | |
18 months of training. The stakes
are high. Anaesthetists deal with | 0:24:25 | 0:24:30 | |
the sickest patients and the most
potent drugs. It will take them | 0:24:30 | 0:24:34 | |
eight years to fully qualified.
Getting through that training is one | 0:24:34 | 0:24:38 | |
of the toughest things I have ever
done. Today Rob is working in | 0:24:38 | 0:24:43 | |
elective surgery. Can you open your
mouth? His first operation with Mary | 0:24:43 | 0:24:49 | |
is not going to be easy. Less than
straightforward case for Rob today. | 0:24:49 | 0:24:56 | |
This lady has arthritis which
affects the way her neck moves, she | 0:24:56 | 0:25:00 | |
has problems with her breathing, her
heart does not pump as efficiently | 0:25:00 | 0:25:04 | |
as it should and all of that affects
all of the drugs they need to give | 0:25:04 | 0:25:08 | |
the anaesthetic and that is why this
case will be relatively minor | 0:25:08 | 0:25:12 | |
surgery with a major anaesthetic.
You have got a drug to get the | 0:25:12 | 0:25:17 | |
patient off to sleep and pain relief
and anti-sickness medication and we | 0:25:17 | 0:25:22 | |
are using a muscle relaxant to keep
the patient still during surgery. | 0:25:22 | 0:25:26 | |
Rob has to get the doses exactly
right. A slight miscalculation could | 0:25:26 | 0:25:30 | |
be fatal and there has to be a
careful balance of drugs injected as | 0:25:30 | 0:25:35 | |
well as inhaled and that is where
the skill lies. Anaesthetic gases | 0:25:35 | 0:25:39 | |
have been used since the 1800 's,
but it has taken over a century of | 0:25:39 | 0:25:45 | |
careful experimentation to learn how
to use them safely. But bizarrely we | 0:25:45 | 0:25:49 | |
still do not know precisely how
those gases work. We are getting | 0:25:49 | 0:25:56 | |
recovery. What we do know is they
bind to proteins in the brain and | 0:25:56 | 0:26:01 | |
temporarily disable new rounds,
allowing us to control | 0:26:01 | 0:26:03 | |
consciousness. Open your eyes, keep
them open. The drugs work quickly, | 0:26:03 | 0:26:11 | |
within seconds Mary is unconscious.
It is now up to Rob to keep her | 0:26:11 | 0:26:17 | |
alive. Now we are beginning to
artificially support her breathing | 0:26:17 | 0:26:23 | |
and artificially support her
circulation. He has to constantly | 0:26:23 | 0:26:28 | |
monitor Mary and the amount of
anaesthetic in her system to keep a | 0:26:28 | 0:26:31 | |
safely unconscious. We can tell how
much of the gas is inside the | 0:26:31 | 0:26:37 | |
patient. We can infer how deeply
asleep they are. But anaesthetists | 0:26:37 | 0:26:42 | |
are not only critical for surgery.
On the other side of the hospital | 0:26:42 | 0:26:47 | |
Jamie has just been called to attend
a patient in A&E. What is happening? | 0:26:47 | 0:26:53 | |
A 15-year-old has fallen from a tree
from a height. They are on their way | 0:26:53 | 0:26:57 | |
into us and I do not know much more
than that. Two thirds of people are | 0:26:57 | 0:27:03 | |
treated by an anaesthetist when they
go to hospital and that is because | 0:27:03 | 0:27:08 | |
of their skills in resuscitation and
life support, making us the experts | 0:27:08 | 0:27:12 | |
at saving lives. We are needed
everywhere, critical care, maternity | 0:27:12 | 0:27:18 | |
and A&E. One minute Jamie is in
intensive care looking after the | 0:27:18 | 0:27:23 | |
sickest patients in the hospital,
the next he is sent to deal with an | 0:27:23 | 0:27:27 | |
emergency. Early indications are
that they are conscious and | 0:27:27 | 0:27:34 | |
breathing. I will let you get on.
Thank you. Fortunately that patient | 0:27:34 | 0:27:39 | |
made a full recovery. Back on the
surgical wards, Mary's operation is | 0:27:39 | 0:27:45 | |
over. You look fantastic. I feel
much more relaxed than I thought I | 0:27:45 | 0:27:54 | |
would, which is good. Thanks to the
skills of Rob and his team the | 0:27:54 | 0:28:00 | |
anaesthetic has gone well and it is
on to his next patient. A big thanks | 0:28:00 | 0:28:07 | |
to Mary and hello if you are
watching. And a big thank you to all | 0:28:07 | 0:28:11 | |
of you who have been sending in
pictures of brothers. We will go | 0:28:11 | 0:28:16 | |
through a few here. This is Harry
and his baby brother. Their | 0:28:16 | 0:28:23 | |
favourite thing is getting into
mischief together. Come on, Dave, | 0:28:23 | 0:28:27 | |
what mystery did your big Brother
get you into growing up? Oh, man. He | 0:28:27 | 0:28:33 | |
is seven years older than me so it
was more him imposing mischief on | 0:28:33 | 0:28:38 | |
me. It was not really a team thing.
His main thing was zipping me up in | 0:28:38 | 0:28:44 | |
a sleeping bag and torturing me from
the outside so I am kicking and | 0:28:44 | 0:28:48 | |
screaming and I cannot get out. This
is Dave and his little brother Phil | 0:28:48 | 0:28:53 | |
and they love going on holiday in
Wales and they shared the same | 0:28:53 | 0:28:57 | |
birthday. Where did you have your
most memorable holiday? We used to | 0:28:57 | 0:29:03 | |
go to a place called Hilton head
Island and our grandmother had a | 0:29:03 | 0:29:07 | |
place there and we used to go on
Sundays and play golf. I was not | 0:29:07 | 0:29:11 | |
very good. This is dark and Mark.
Doug likes birds and MARKER: 'S man | 0:29:11 | 0:29:18 | |
United, Doug is tidy and welcome is
not. What are you offices of? He is | 0:29:18 | 0:29:25 | |
very tidy and I am learning how to
be tidy. Thank you very much to you | 0:29:25 | 0:29:31 | |
both for joining us tonight. | 0:29:31 | 0:29:35 | |
Thanks to James and Dave for joining
us tonight The Disaster Artist | 0:29:35 | 0:29:38 | |
is released in selected cinemas
from 1st of December | 0:29:38 | 0:29:40 | |
and nationwide from 6th December. | 0:29:40 | 0:29:41 | |
Katherine Ryan and Richard Osman
will be providing the laughs | 0:29:41 | 0:29:43 |