Browse content similar to 23/10/2017. Check below for episodes and series from the same categories and more!
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Hello. Welcome to The One Show with Alex Jones And my co-host for the | :00:17. | :00:23. | |
week, the whole week, it's Ore Oduba. Oh, the whole week, stand by | :00:24. | :00:27. | |
your hats, it's going to be a bumpy ride. I am happy to be here, | :00:28. | :00:30. | |
especially because like so many people I am a huge fan of tonight's | :00:31. | :00:34. | |
guest. He is one of our best-loved actors who at one time attracted | :00:35. | :00:38. | |
almost half the entire country to sit down in front of their tellies | :00:39. | :00:43. | |
and enjoy him delivering in his own words, zingers like this. One of my | :00:44. | :00:49. | |
most favouritist meals is duck ala orange but I don't know how to say | :00:50. | :01:00. | |
that in French. It's still genius, welcome to David Jason. | :01:01. | :01:03. | |
APPLAUSE AND CHEERING Thank you. You have written a new | :01:04. | :01:11. | |
memoir. It's not all about yourself this time, it's about the characters | :01:12. | :01:14. | |
that you have played over the years. Yeah. So we have some people in the | :01:15. | :01:19. | |
audience where it all started for you, they're the amateur dramatics | :01:20. | :01:25. | |
group you used to go to in Barnet. Welcome you guys. There they are. | :01:26. | :01:29. | |
That is where your acting career started? Yeah, Barnet. The Incognito | :01:30. | :01:37. | |
Theatre group. That's right. Go on, I will give you a plug! A big | :01:38. | :01:42. | |
welcome to you all and we will talk all things Granville, Pop Larkin, | :01:43. | :01:46. | |
detective Jack Frost and of course Del Boy throughout the show. First, | :01:47. | :01:50. | |
Nick has a story of inner city crime phenomenon that's spreading to the | :01:51. | :01:56. | |
countryside with alarming results. In small towns up and down Britain a | :01:57. | :02:02. | |
new wave of violent criminal networking is causing misery and | :02:03. | :02:06. | |
harm. My colleague's going to arrest you in a minute, you served up drugs | :02:07. | :02:09. | |
to an undercover police officer. Drugs gangs from the big cities are | :02:10. | :02:13. | |
setting up targeted supply chains of heroin and crack cocaine into rural | :02:14. | :02:19. | |
and coastal towns. The networks are known as County lines. They're | :02:20. | :02:23. | |
operated by senior gang members based in big cities. They send | :02:24. | :02:26. | |
runners out to rural towns where they deal drugs. And today the | :02:27. | :02:34. | |
police in Exeter are cracking down. Sergeant Barrett reveals some of the | :02:35. | :02:40. | |
gangs's brutal methods. We are talking knife crime, kidnapping and | :02:41. | :02:43. | |
other really serious offences and all of this is about turf war, it's | :02:44. | :02:47. | |
a different gang coming from further up in the UK that are trying to take | :02:48. | :02:54. | |
ownership of the sale and drugs and supply in Exeter. Gang members will | :02:55. | :02:58. | |
befriend vulnerable drug users or people with learning difficulties | :02:59. | :03:03. | |
and start operating out of their premises, a ruthless practice. We | :03:04. | :03:07. | |
are about to go and execute a raid at a premises within Exeter. Police | :03:08. | :03:12. | |
are going to a flat they think has been taken over by a gang. Police, | :03:13. | :03:16. | |
open the door! Or we will force entry. | :03:17. | :03:25. | |
The occupant asked to remain anonymous. There are no drug dealers | :03:26. | :03:29. | |
here but he tells officers he's recently been abused by them and is | :03:30. | :03:37. | |
fearful. How do they abuse you? Verbals... Force me to do drugs for | :03:38. | :03:43. | |
them. I am not in a position to say no. | :03:44. | :03:49. | |
Jason is another victim in the area. I have had experience with it, | :03:50. | :03:55. | |
basically they are taking over other people's flats, taking advantage of | :03:56. | :03:58. | |
addicts, hurting people. Putting knifes to people. Women have been | :03:59. | :04:03. | |
attacked. Several of my friends have been hurt. I am worried, sometimes a | :04:04. | :04:07. | |
income on the door, normally I would just answer it. Now I have to look | :04:08. | :04:12. | |
out the window before I answer it. They're ruthless people. Once you | :04:13. | :04:17. | |
owe them, then you are in trouble. But there is an even more shocking | :04:18. | :04:21. | |
side to this violent practice. I am about to meet the mother of a | :04:22. | :04:26. | |
13-year-old boy groomed by a gang to become one of their drug runners. | :04:27. | :04:29. | |
What was your son like before he came into contact with these gangs? | :04:30. | :04:34. | |
He was just a wonderful kid. He attended a top grammar school. Had | :04:35. | :04:38. | |
an absolutely rosy future ahead of him. It all just completely | :04:39. | :04:44. | |
disappeared. We started to see him go missing. We were advised by the | :04:45. | :04:49. | |
police that he was groomed by a gang well known to them for extreme | :04:50. | :04:53. | |
violence. You suddenly are seeing your little boy being pushed through | :04:54. | :04:58. | |
a horrible frightening dangerous adult world. Of stabbings, coercion | :04:59. | :05:04. | |
and debts. And you're just dreading that phone call that he's been | :05:05. | :05:12. | |
found, he's been stabbed. 80% of the police forces affected by County | :05:13. | :05:15. | |
lines have reported gangs using children as young as 12 as drug | :05:16. | :05:22. | |
runners. The Home Office is giving ?300,000 to the St Gyles Trust and | :05:23. | :05:26. | |
missing people charities to support youngsters who have been exploited. | :05:27. | :05:32. | |
This is a nationwide problem now. There is about 700 lines being run | :05:33. | :05:36. | |
at the moment, about 70% of police forces across England and Wales will | :05:37. | :05:42. | |
pick up this activity. With this backing, 25-year-old daisy is | :05:43. | :05:47. | |
mentoring at risk youngsters St Gyles Trust They're getting younger, | :05:48. | :05:51. | |
talking about ten, 11-year-olds. A lot of our young people are referred | :05:52. | :05:55. | |
from the hospital. I worked with a young person who was 14 years old | :05:56. | :05:59. | |
when she got stabbed. They're not aware of the risks. I am here to | :06:00. | :06:04. | |
deglam rice and demystify and tell them how it really is. And police | :06:05. | :06:09. | |
continue to work around the clock in this fight against County lines. | :06:10. | :06:13. | |
Children are easy soft targets for being given money to traffic drugs. | :06:14. | :06:19. | |
You are giving access to all of this lifestyle which appears very | :06:20. | :06:22. | |
glamorous on the front of it. I am worried about the increase of | :06:23. | :06:24. | |
violence. It's not something you want your children to be exposed to. | :06:25. | :06:33. | |
Thank you, Nick. David, your new book, Only Fools and Stories, | :06:34. | :06:36. | |
demonstrated beautifully here. It's all about how you brought to life | :06:37. | :06:40. | |
these famous roles. As we find out you didn't just play these roles but | :06:41. | :06:44. | |
really contributed and created them. Oh, yeah. You have to. That's part | :06:45. | :06:49. | |
of what you are asked to do. This part of the brief, I think. There is | :06:50. | :06:55. | |
a lot more that goes into creating a character than what you see on the | :06:56. | :07:02. | |
surface. You do get a lot of actors that are known for being what they | :07:03. | :07:07. | |
are, for example, I mean, the one that I always quote is John Wayne. | :07:08. | :07:12. | |
When John Wayne was a big American film star, used to go to the movies | :07:13. | :07:18. | |
to see John Wayne in, but you never went to see John Wayne playing a | :07:19. | :07:24. | |
character. Whereas I have always been interested more in creating a | :07:25. | :07:29. | |
different person rather than sort of just being myself, if you like. That | :07:30. | :07:35. | |
to me was the fascination. It's quite a complicated, it can be a | :07:36. | :07:39. | |
complicated process. You make it look easy. All the characters are | :07:40. | :07:43. | |
different. It's difficult to know really where to start. How about | :07:44. | :07:48. | |
with Granville. A reminder of the playfulness between him and uncle | :07:49. | :07:56. | |
Arkwright. It all started when we had... You know I can't understand | :07:57. | :08:08. | |
morse code. You are playing alongside Ronnie Barker who you | :08:09. | :08:12. | |
credit as not just opening all hours but a lot of doors fou for you. | :08:13. | :08:17. | |
Exactly. One of the things with Ronnie, when I first was introduced | :08:18. | :08:24. | |
to Ronnie, he was looking for somebody who could fall over a lot. | :08:25. | :08:29. | |
You are perfect. Yeah, I spent a lot of my time in the theatre falling | :08:30. | :08:34. | |
over a lot. When you do farce there is a lot of falling over, funnily | :08:35. | :08:39. | |
enough. I sort of perfected the falling over. What happened was that | :08:40. | :08:44. | |
he was doing this show and he needed someone to fall over and the | :08:45. | :08:51. | |
character that he wanted me to do was a character called Abdul the | :08:52. | :08:57. | |
filthy and the reason he wanted me, he played this Sheikh and he was | :08:58. | :09:01. | |
eating bananas and my character was to back out from him and slip on the | :09:02. | :09:08. | |
banana skin. Because I could do it I could fall without breaking my silly | :09:09. | :09:15. | |
neck, I got to know him and he became very reliant on me because of | :09:16. | :09:20. | |
my comedy timing. So from that introduction of falling over a lot, | :09:21. | :09:25. | |
as he moved on into production, different productions, he always | :09:26. | :09:31. | |
made sure that he found a character for me to play and the 100-year-old | :09:32. | :09:42. | |
gardener, I played in Porridge, the 70-year-old Blanco, when I was about | :09:43. | :09:45. | |
35 and I was playing 70 then. There is a great picture. There you are, | :09:46. | :09:51. | |
you see. That tache came back. It was a BBC special. As soon as you | :09:52. | :09:56. | |
finished the show, straight off! And in the box. Didn't get much from the | :09:57. | :10:01. | |
Beeb, I tell you. In the note there is a lovely note from Ronnie about a | :10:02. | :10:06. | |
television listings. We have a picture of the note here. Your agent | :10:07. | :10:10. | |
is getting above himself, Ronnie. Yes. Well, what it was, it appeared | :10:11. | :10:20. | |
in the Radio Times. It was listing that, I think it was open all hours, | :10:21. | :10:27. | |
and it was - they say who was in it. Open all hours, watch it because so | :10:28. | :10:33. | |
and so is in it. It said, watch open all hours, starring David Jason. | :10:34. | :10:38. | |
Didn't mention Ronnie Barker at all. So as I just played the boy, you | :10:39. | :10:44. | |
know, I was just a subordinate, Ronnie wrote that to me. He was | :10:45. | :10:49. | |
worried. I was already on his case! We have to talk about Darling Buds | :10:50. | :10:53. | |
of May. You write a lot about Pop Larkin. It was your mum's favourite | :10:54. | :11:01. | |
series. Yeah. It would be, because if you remember any of it, it is | :11:02. | :11:08. | |
such a gentle wonderful nostalgic piece of the 50s and of course that | :11:09. | :11:12. | |
would have been my mother's sort of era, if you like, part of her era. | :11:13. | :11:20. | |
Probably the late 30s and 40s, but she remembered that sort of | :11:21. | :11:25. | |
gentleness that the characters brought out in Darling Buds of May. | :11:26. | :11:29. | |
That's one of the things about Darling Buds that resonates still I | :11:30. | :11:36. | |
think, that a lot of people still love it, it's because it is a story | :11:37. | :11:43. | |
of hope and people who love their life and live happily without all | :11:44. | :11:49. | |
the stress and strain and angst you get on dramas today. It was just, | :11:50. | :11:56. | |
it's just a joy. Not only was it a joy to play, but it was a joy to see | :11:57. | :12:00. | |
audiences react and respond to it. It was lovely on a Sunday night. | :12:01. | :12:06. | |
Let's just see your favourite scene from the Darling Buds of May. | :12:07. | :12:10. | |
MrSydney Larkin. That's me, Larkin by name, Larkin by nature. What can | :12:11. | :12:14. | |
I do for you? Nice weather. I am from the office of the inspector of | :12:15. | :12:18. | |
taxes. Inspector of what? Taxes. Inland Revenue. No, you must have | :12:19. | :12:30. | |
come to the wrong house. We have to move on to Jack Frost. It's hard to | :12:31. | :12:33. | |
go through it in a short space of time, but you were worried about | :12:34. | :12:37. | |
being typecast and understandably so, after playing Del Boy for so | :12:38. | :12:42. | |
long, but is it true that it was John Thaw's transition from The | :12:43. | :12:45. | |
Sweeney to playing Inspector Morse is what helped you and inspired you | :12:46. | :12:49. | |
and you thought this is going to work? It did in a way, what happened | :12:50. | :12:58. | |
was that I was a keen follower of drama series of detectives, the | :12:59. | :13:05. | |
genre. John Thaw played that character in The Sweeney and then as | :13:06. | :13:09. | |
you rightly said, he moved on to Morse. Because I loved the genre so | :13:10. | :13:18. | |
much I realised that he had made the transition between this tough hard | :13:19. | :13:24. | |
nut, if you like, into a more soft and more appreciative sort of, a | :13:25. | :13:28. | |
lover of classical music, for example, which was sort of the | :13:29. | :13:32. | |
opposite of what he played in The Sweeney. So, when that opportunity | :13:33. | :13:39. | |
arose for me it was a challenge because I loved the idea of a | :13:40. | :13:47. | |
detective series and then playing Derek Trotter and moving into a | :13:48. | :13:51. | |
tough environment, the detective genre was going to be a big | :13:52. | :13:55. | |
challenge. I have always been up for a big challenge. It was a risk. It | :13:56. | :13:59. | |
was dangerous. But it paid off. It paid off. It went on for years. Del | :14:00. | :14:05. | |
Boy's still to come. Now here is proof that a long country walk is | :14:06. | :14:08. | |
perfect if you are looking for inspiration. Yes, Marty has the | :14:09. | :14:12. | |
story of a brilliantly simple invention that's saving lives around | :14:13. | :14:18. | |
the world. Today vaccines for once fatal | :14:19. | :14:22. | |
conditions such as polio are saving the lives of thousands around the | :14:23. | :14:27. | |
world. However, a common fate often awaits these medicines on their | :14:28. | :14:30. | |
far-flung journeys to the people that need them most. It's important | :14:31. | :14:37. | |
to store vaccines within a tightly controlled temperature range. | :14:38. | :14:40. | |
Normally between 2 and eight degrees Celsius. Any hotter or colder and | :14:41. | :14:45. | |
their life-preserving qualities are destroyed. | :14:46. | :14:51. | |
Electricity isn't reliable in some parts of the world. Without reliable | :14:52. | :14:58. | |
fridges many vaccines are spoiled. A British engineer has come to the | :14:59. | :15:04. | |
rescue with a pioneering invention. It's a fridge but with a difference. | :15:05. | :15:12. | |
Because while the interior of the fridge is at about four degrees, | :15:13. | :15:16. | |
it's not plugged in. It hasn't been for days. | :15:17. | :15:22. | |
Soho is it possible for this fridge to stay as cold as a conventional | :15:23. | :15:31. | |
one for to ten days without electricity? Inventor Ian Tansley | :15:32. | :15:34. | |
got his inspiration during a frosty walk with some friends in the Welsh | :15:35. | :15:38. | |
mountains. Walking past a frozen lake, they started to discuss the | :15:39. | :15:43. | |
unique physics of water. I started to explain to my friends while ice | :15:44. | :15:48. | |
was sitting on top of the lake and not sinking to the bottom and they | :15:49. | :15:50. | |
were saying surely as things get colder, they get heavier and more | :15:51. | :15:56. | |
dense and the ice should be at the bottom of the lake? The reason as to | :15:57. | :16:06. | |
why ice floats instead of sinks set him on the journey to invent his | :16:07. | :16:09. | |
fridge. Ian's friends were partly right. As water gets colder, it does | :16:10. | :16:11. | |
get denser and heavier as the molecules pack together but | :16:12. | :16:15. | |
remarkably, this process reverses just before it freezes. As the water | :16:16. | :16:21. | |
is on its way to turning into eyes, those molecules begin to spread out | :16:22. | :16:27. | |
again, so it gets less dense and that is why ice floats on top of | :16:28. | :16:34. | |
water. So ice is lighter than liquid water because the molecules are | :16:35. | :16:38. | |
actually more spread out. Interesting in itself but Ian's real | :16:39. | :16:42. | |
breakthrough was to realise that when there is ice on top of water, | :16:43. | :16:47. | |
the water below is in a constant cycle. It rises and falls as it | :16:48. | :16:51. | |
changes temperature and this circulation means the water is | :16:52. | :16:55. | |
continually cooling itself. It is similar to what happens in a normal | :16:56. | :17:00. | |
fridge. There you have a coolant which is pumped around the pipes to | :17:01. | :17:07. | |
absorb the heat from inside. But unlike a fridge, which takes a | :17:08. | :17:09. | |
constant input of electricity to keep it cold, this system remains | :17:10. | :17:16. | |
cold without any extra input of electricity, so long as there is a | :17:17. | :17:21. | |
layer of ice on top. With Ian's fridge, some electricity is required | :17:22. | :17:26. | |
to form the ice at the top in the first place. It is so well | :17:27. | :17:29. | |
insulated, that it will last for ten days, even in the tropics. But once | :17:30. | :17:35. | |
in place, the water will circulate on its own and keep the inside of | :17:36. | :17:40. | |
the fridge chilled. It took Ian a year of development but he finally | :17:41. | :17:45. | |
got a working model in 2011. So when you got your first prototype up and | :17:46. | :17:50. | |
running, how was that? That was amazing. It took quite a long time | :17:51. | :17:54. | |
and quite a few experiments to get the technology write and understand | :17:55. | :17:58. | |
it, but once I understood how it worked and how we could exploit that | :17:59. | :18:01. | |
property of water, that was incredible. But for three years, Ian | :18:02. | :18:06. | |
couldn't get people excited about his idea, until he was contacted by | :18:07. | :18:10. | |
the Bill Gates foundation, founded by the richest man on the planet, to | :18:11. | :18:15. | |
cure disease in the developing world. Gates loved Ian's technology | :18:16. | :18:20. | |
and helped him bring it to the market. Today, 4,000 Ian's fridges | :18:21. | :18:26. | |
is chilling vaccines in 44 countries around the globe, saving countless | :18:27. | :18:30. | |
lives in the process, and there are plans to make a version for your | :18:31. | :18:33. | |
home, saving you money on your electricity bill. | :18:34. | :18:43. | |
We have moved over now, then, to our Only Fools and Horses area and we | :18:44. | :18:48. | |
have talked about how you created some of your other characters from | :18:49. | :18:52. | |
scratch but with Del Boy, you actually based him on somebody, | :18:53. | :18:56. | |
didn't you? That man must have been a bit of a legend. He was. I mean, | :18:57. | :19:03. | |
it is a well-known fact that when I was working as an electrician, my | :19:04. | :19:10. | |
partner and I, we were desperate for work and we went around all through | :19:11. | :19:17. | |
London, the West End, the East End, to knock out all of the builders' | :19:18. | :19:23. | |
doors and see if they could give us some work. And we knocked out one | :19:24. | :19:27. | |
door down in the East End and it was called William Hockley and son | :19:28. | :19:33. | |
builders and we were shown into this office and they said, come and meet | :19:34. | :19:38. | |
Eric Hockley, and this guy came out to meet us and I will never forget | :19:39. | :19:45. | |
him -- Derek Hockley. He was dressed absolutely immaculately. I mean, | :19:46. | :19:51. | |
everything about him was perfect, except you could cut his accent with | :19:52. | :19:57. | |
a knife. You never saw an East End or a Londoner that would talk like | :19:58. | :20:03. | |
that, he was really right out, like that, but they were always costas | :20:04. | :20:09. | |
and a rough clothes and flat hats and all that, and he was Derek | :20:10. | :20:15. | |
Hockley, looking like a lord... This is the man himself. And he talks | :20:16. | :20:22. | |
like a costermonger. And it so fascinated me that many, many years | :20:23. | :20:26. | |
later when I was constructing the character of Derek Trotter, I think | :20:27. | :20:31. | |
it is a well-known fact, that John Sullivan, I asked him how he saw the | :20:32. | :20:34. | |
character and he said that he saw him with a flat Cap and a pot belly, | :20:35. | :20:43. | |
a beer belly and rough trousers and scruffy and I said, no, I don't see | :20:44. | :20:50. | |
him like that and John said, how do you mean? And I said I'd met this | :20:51. | :20:54. | |
character years ago and he has stuck in my mind and why can't he be an | :20:55. | :20:59. | |
immaculate dresser but, you know, still be a Cockney, still be a | :21:00. | :21:04. | |
Londoner? Because he had big ideas, didn't he? So that suited him. Yeah, | :21:05. | :21:10. | |
so that is how I went and John Sullivan said if that makes you | :21:11. | :21:14. | |
happy and you feel comfortable like that, let's go with that. So I then | :21:15. | :21:18. | |
constructed the character around Derek Trotter who was always a sharp | :21:19. | :21:27. | |
macro you know, Jack the Lad. And the other thing was the body | :21:28. | :21:32. | |
language is very important in the characters that I play and the thing | :21:33. | :21:38. | |
that fascinated me again is when you construct a character, you draw on | :21:39. | :21:43. | |
real-life. I drew on real-life and one of the things that fascinated me | :21:44. | :21:47. | |
and you can still see them today, is the Jack the Lads. I have this body | :21:48. | :21:55. | |
language, you know? And when they walked, a swing from the shoulders. | :21:56. | :21:59. | |
They have got the swagger, haven't they? Swagger, that is it. You can | :22:00. | :22:06. | |
do it, he has got it. Just a click of the neck. That was certainly not | :22:07. | :22:15. | |
worth a clap. It certainly wasn't! Here we are surrounded by this only | :22:16. | :22:19. | |
falls and horses memorabilia and you write in the book about some of the | :22:20. | :22:24. | |
touches you added to make it even more humorous, things like adding | :22:25. | :22:27. | |
plastic covering to the sofa. Which I love and I am going to do it | :22:28. | :22:31. | |
at home! It is not for her baby, she has a | :22:32. | :22:37. | |
wonderful husband called Charlie. But, yes... Just got it. You added | :22:38. | :22:44. | |
all of these trinkets. How that came about was again the fact that we | :22:45. | :22:48. | |
realised there was a lot of stuff that kept moving through the flat. | :22:49. | :22:52. | |
In other words, Del Boy was a mover and shaker and stuff that fell off | :22:53. | :22:57. | |
the back of a lorry or whatever and he would do a deal and then shifted | :22:58. | :23:05. | |
and more stuff would come in. -- shift it. So I thought, if we do | :23:06. | :23:09. | |
that, why don't we do it with the furniture? So we had new furniture | :23:10. | :23:13. | |
come in and we kept the plastic on it so that when they moved it, we | :23:14. | :23:19. | |
didn't stain it. So we did that for a while, then removed the furniture. | :23:20. | :23:24. | |
The furniture changed. We were in a sort of constant change and you are | :23:25. | :23:29. | |
always looking for things that you can give to an audience that they | :23:30. | :23:37. | |
can enjoy without actually telling them, that if you put the plastic, | :23:38. | :23:43. | |
as we did, on the furniture, what we did is, I would say, don't say | :23:44. | :23:46. | |
anything, we don't have to say anything, just do it and let the | :23:47. | :23:51. | |
audience do some work. And to me, it's always been very important that | :23:52. | :23:56. | |
when you are doing a comedy show, particularly a comedy show, you've | :23:57. | :23:59. | |
got to leave spaces for the audience to do some work. In other words, | :24:00. | :24:02. | |
they have got to sit there and go, did you see that? Look, they have | :24:03. | :24:08. | |
moved the furniture, he's got plastic on the furniture. And they | :24:09. | :24:14. | |
enjoy it. Audiences enjoy that. So I knew that about what audiences liked | :24:15. | :24:19. | |
and so I've always peppered my work with human moments that I think | :24:20. | :24:25. | |
people will enjoy, they have to look for it and get the reward. They | :24:26. | :24:30. | |
definitely enjoyed it. Let's make the audience work, shall | :24:31. | :24:33. | |
we? What better on Monday that is a bit | :24:34. | :24:38. | |
miserable than a few classic clips from Only Fools and Horses? | :24:39. | :24:42. | |
We have got a few clips, some of the famous ones. Any ideas what you | :24:43. | :24:50. | |
would like us to show? Chandelier! General shouting from the audience. | :24:51. | :24:56. | |
I think I heard chandelier. Let's hear the chandelier? | :24:57. | :25:04. | |
APPLAUSE It is lovely to see your face, | :25:05. | :25:11. | |
because you still have a little chuckle yourself. Yes, because I | :25:12. | :25:16. | |
know how it was constructed. The thing about that, of course, you | :25:17. | :25:19. | |
didn't show it because you can't afford it, was the build-up to it | :25:20. | :25:30. | |
and a lot of the gags of in the shape of the construction, again | :25:31. | :25:32. | |
making the audience work, so what we did with that one was that when we | :25:33. | :25:37. | |
had the blanket holding underneath the chandelier, you will notice, and | :25:38. | :25:42. | |
I said this technique when we were recording it, I'll tell you what | :25:43. | :25:47. | |
we've got to do, is to say Brace yourself, Rodney, Brugge herself, | :25:48. | :25:53. | |
because it will come down. I can't remember the exact words. The reason | :25:54. | :25:59. | |
was to take your audience's eyes to get them to work out what was going | :26:00. | :26:03. | |
to happen. What they thought was "Brace yourself, Rodney," and the | :26:04. | :26:08. | |
audience thought, it is going to come down and they will fall off the | :26:09. | :26:11. | |
ladders. And they were so busy working all that out, when he goes | :26:12. | :26:16. | |
like that than the one behind... That takes them by complete surprise | :26:17. | :26:20. | |
and that is the joke and that is what makes it fun. We are just going | :26:21. | :26:27. | |
to have one more. What do you want? It is a no-brainer, it is the bar. | :26:28. | :26:34. | |
I think we are on a winner here, trig, all right? Play it nice and | :26:35. | :26:38. | |
cool, Sun, nice and cool, you know what I mean? | :26:39. | :26:42. | |
CHEERING It is all in the eye line, right? | :26:43. | :26:51. | |
Thank you so much for all of those, the trips down memory lane, | :26:52. | :26:54. | |
brilliant. Let's take a look now at a film that | :26:55. | :26:58. | |
you have made for us, which was very kind of you. | :26:59. | :27:01. | |
In July, we asked viewers who love wildlife to film something which | :27:02. | :27:04. | |
summed up the summer. Then it was just a question of finding the right | :27:05. | :27:05. | |
music. # Fish in the sea | :27:06. | :27:20. | |
# You know how I feel # River running three | :27:21. | :27:25. | |
# You know how I feel # Blossom on the tree | :27:26. | :27:30. | |
# You know how I feel # It's a new dawn, it's a new day | :27:31. | :27:34. | |
# It's a new life # For me | :27:35. | :27:38. | |
# And I'm feeling good # Dragonfly out in the sun | :27:39. | :27:53. | |
# You know what I mean, don't you know? | :27:54. | :27:56. | |
# Butterflies all having fun # You know what I mean | :27:57. | :28:03. | |
# Sleep in peace when day is done # That's what I mean | :28:04. | :28:09. | |
# And this old world is a new world # And a bold world | :28:10. | :28:18. | |
# For me # Freedom is mine | :28:19. | :28:25. | |
# And I know how I feel # It's a new dawn, it's a new day | :28:26. | :28:29. | |
# It's a new life # For me | :28:30. | :28:34. | |
# And feeling good that was absolutely lovely. Doesn't | :28:35. | :28:48. | |
it bring back the summer? Apart from the frog. | :28:49. | :28:51. | |
And the snake, it is the circle of life. But we have the producer of | :28:52. | :28:58. | |
Blue Planet To coming in next week, that the viewers are taking their | :28:59. | :29:02. | |
jobs. Thank you for coming in David, it has been a real pleasure. | :29:03. | :29:08. | |
Sir David Jason, everyone. CHEERING | :29:09. | :29:10. | |
Only Fools and Stories is out on the 5th of October. | :29:11. | :29:14. | |
And tomorrow, Ore and I will be joined by the one and only Michael | :29:15. | :29:18. | |
Ball and his sidekick Alfie Boe. See you tomorrow. | :29:19. | :29:20. |