23/10/2017 The One Show

Hello. Welcome to The One Show with Alex Jones And my co-host for the

week, the whole week, it's Ore Oduba. Oh, the whole week, stand by

your hats, it's going to be a bumpy ride. I am happy to be here,

especially because like so many people I am a huge fan of tonight's

guest. He is one of our best-loved actors who at one time attracted

almost half the entire country to sit down in front of their tellies

and enjoy him delivering in his own words, zingers like this. One of my

most favouritist meals is duck ala orange but I don't know how to say

that in French. It's still genius, welcome to David Jason.

APPLAUSE AND CHEERING Thank you. You have written a new

memoir. It's not all about yourself this time, it's about the characters

that you have played over the years. Yeah. So we have some people in the

audience where it all started for you, they're the amateur dramatics

group you used to go to in Barnet. Welcome you guys. There they are.

That is where your acting career started? Yeah, Barnet. The Incognito

Theatre group. That's right. Go on, I will give you a plug! A big

welcome to you all and we will talk all things Granville, Pop Larkin,

detective Jack Frost and of course Del Boy throughout the show. First,

Nick has a story of inner city crime phenomenon that's spreading to the

countryside with alarming results. In small towns up and down Britain a

new wave of violent criminal networking is causing misery and

harm. My colleague's going to arrest you in a minute, you served up drugs

to an undercover police officer. Drugs gangs from the big cities are

setting up targeted supply chains of heroin and crack cocaine into rural

and coastal towns. The networks are known as County lines. They're

operated by senior gang members based in big cities. They send

runners out to rural towns where they deal drugs. And today the

police in Exeter are cracking down. Sergeant Barrett reveals some of the

gangs's brutal methods. We are talking knife crime, kidnapping and

other really serious offences and all of this is about turf war, it's

a different gang coming from further up in the UK that are trying to take

ownership of the sale and drugs and supply in Exeter. Gang members will

befriend vulnerable drug users or people with learning difficulties

and start operating out of their premises, a ruthless practice. We

are about to go and execute a raid at a premises within Exeter. Police

are going to a flat they think has been taken over by a gang. Police,

open the door! Or we will force entry.

The occupant asked to remain anonymous. There are no drug dealers

here but he tells officers he's recently been abused by them and is

fearful. How do they abuse you? Verbals... Force me to do drugs for

them. I am not in a position to say no.

Jason is another victim in the area. I have had experience with it,

basically they are taking over other people's flats, taking advantage of

addicts, hurting people. Putting knifes to people. Women have been

attacked. Several of my friends have been hurt. I am worried, sometimes a

income on the door, normally I would just answer it. Now I have to look

out the window before I answer it. They're ruthless people. Once you

owe them, then you are in trouble. But there is an even more shocking

side to this violent practice. I am about to meet the mother of a

13-year-old boy groomed by a gang to become one of their drug runners.

What was your son like before he came into contact with these gangs?

He was just a wonderful kid. He attended a top grammar school. Had

an absolutely rosy future ahead of him. It all just completely

disappeared. We started to see him go missing. We were advised by the

police that he was groomed by a gang well known to them for extreme

violence. You suddenly are seeing your little boy being pushed through

a horrible frightening dangerous adult world. Of stabbings, coercion

and debts. And you're just dreading that phone call that he's been

found, he's been stabbed. 80% of the police forces affected by County

lines have reported gangs using children as young as 12 as drug

runners. The Home Office is giving ?300,000 to the St Gyles Trust and

missing people charities to support youngsters who have been exploited.

This is a nationwide problem now. There is about 700 lines being run

at the moment, about 70% of police forces across England and Wales will

pick up this activity. With this backing, 25-year-old daisy is

mentoring at risk youngsters St Gyles Trust They're getting younger,

talking about ten, 11-year-olds. A lot of our young people are referred

from the hospital. I worked with a young person who was 14 years old

when she got stabbed. They're not aware of the risks. I am here to

deglam rice and demystify and tell them how it really is. And police

continue to work around the clock in this fight against County lines.

Children are easy soft targets for being given money to traffic drugs.

You are giving access to all of this lifestyle which appears very

glamorous on the front of it. I am worried about the increase of

violence. It's not something you want your children to be exposed to.

Thank you, Nick. David, your new book, Only Fools and Stories,

demonstrated beautifully here. It's all about how you brought to life

these famous roles. As we find out you didn't just play these roles but

really contributed and created them. Oh, yeah. You have to. That's part

of what you are asked to do. This part of the brief, I think. There is

a lot more that goes into creating a character than what you see on the

surface. You do get a lot of actors that are known for being what they

are, for example, I mean, the one that I always quote is John Wayne.

When John Wayne was a big American film star, used to go to the movies

to see John Wayne in, but you never went to see John Wayne playing a

character. Whereas I have always been interested more in creating a

different person rather than sort of just being myself, if you like. That

to me was the fascination. It's quite a complicated, it can be a

complicated process. You make it look easy. All the characters are

different. It's difficult to know really where to start. How about

with Granville. A reminder of the playfulness between him and uncle

Arkwright. It all started when we had... You know I can't understand

morse code. You are playing alongside Ronnie Barker who you

credit as not just opening all hours but a lot of doors fou for you.

Exactly. One of the things with Ronnie, when I first was introduced

to Ronnie, he was looking for somebody who could fall over a lot.

You are perfect. Yeah, I spent a lot of my time in the theatre falling

over a lot. When you do farce there is a lot of falling over, funnily

enough. I sort of perfected the falling over. What happened was that

he was doing this show and he needed someone to fall over and the

character that he wanted me to do was a character called Abdul the

filthy and the reason he wanted me, he played this Sheikh and he was

eating bananas and my character was to back out from him and slip on the

banana skin. Because I could do it I could fall without breaking my silly

neck, I got to know him and he became very reliant on me because of

my comedy timing. So from that introduction of falling over a lot,

as he moved on into production, different productions, he always

made sure that he found a character for me to play and the 100-year-old

gardener, I played in Porridge, the 70-year-old Blanco, when I was about

35 and I was playing 70 then. There is a great picture. There you are,

you see. That tache came back. It was a BBC special. As soon as you

finished the show, straight off! And in the box. Didn't get much from the

Beeb, I tell you. In the note there is a lovely note from Ronnie about a

television listings. We have a picture of the note here. Your agent

is getting above himself, Ronnie. Yes. Well, what it was, it appeared

in the Radio Times. It was listing that, I think it was open all hours,

and it was - they say who was in it. Open all hours, watch it because so

and so is in it. It said, watch open all hours, starring David Jason.

Didn't mention Ronnie Barker at all. So as I just played the boy, you

know, I was just a subordinate, Ronnie wrote that to me. He was

worried. I was already on his case! We have to talk about Darling Buds

of May. You write a lot about Pop Larkin. It was your mum's favourite

series. Yeah. It would be, because if you remember any of it, it is

such a gentle wonderful nostalgic piece of the 50s and of course that

would have been my mother's sort of era, if you like, part of her era.

Probably the late 30s and 40s, but she remembered that sort of

gentleness that the characters brought out in Darling Buds of May.

That's one of the things about Darling Buds that resonates still I

think, that a lot of people still love it, it's because it is a story

of hope and people who love their life and live happily without all

the stress and strain and angst you get on dramas today. It was just,

it's just a joy. Not only was it a joy to play, but it was a joy to see

audiences react and respond to it. It was lovely on a Sunday night.

Let's just see your favourite scene from the Darling Buds of May.

MrSydney Larkin. That's me, Larkin by name, Larkin by nature. What can

I do for you? Nice weather. I am from the office of the inspector of

taxes. Inspector of what? Taxes. Inland Revenue. No, you must have

come to the wrong house. We have to move on to Jack Frost. It's hard to

go through it in a short space of time, but you were worried about

being typecast and understandably so, after playing Del Boy for so

long, but is it true that it was John Thaw's transition from The

Sweeney to playing Inspector Morse is what helped you and inspired you

and you thought this is going to work? It did in a way, what happened

was that I was a keen follower of drama series of detectives, the

genre. John Thaw played that character in The Sweeney and then as

you rightly said, he moved on to Morse. Because I loved the genre so

much I realised that he had made the transition between this tough hard

nut, if you like, into a more soft and more appreciative sort of, a

lover of classical music, for example, which was sort of the

opposite of what he played in The Sweeney. So, when that opportunity

arose for me it was a challenge because I loved the idea of a

detective series and then playing Derek Trotter and moving into a

tough environment, the detective genre was going to be a big

challenge. I have always been up for a big challenge. It was a risk. It

was dangerous. But it paid off. It paid off. It went on for years. Del

Boy's still to come. Now here is proof that a long country walk is

perfect if you are looking for inspiration. Yes, Marty has the

story of a brilliantly simple invention that's saving lives around

the world. Today vaccines for once fatal

conditions such as polio are saving the lives of thousands around the

world. However, a common fate often awaits these medicines on their

far-flung journeys to the people that need them most. It's important

to store vaccines within a tightly controlled temperature range.

Normally between 2 and eight degrees Celsius. Any hotter or colder and

their life-preserving qualities are destroyed.

Electricity isn't reliable in some parts of the world. Without reliable

fridges many vaccines are spoiled. A British engineer has come to the

rescue with a pioneering invention. It's a fridge but with a difference.

Because while the interior of the fridge is at about four degrees,

it's not plugged in. It hasn't been for days.

Soho is it possible for this fridge to stay as cold as a conventional

one for to ten days without electricity? Inventor Ian Tansley

got his inspiration during a frosty walk with some friends in the Welsh

mountains. Walking past a frozen lake, they started to discuss the

unique physics of water. I started to explain to my friends while ice

was sitting on top of the lake and not sinking to the bottom and they

were saying surely as things get colder, they get heavier and more

dense and the ice should be at the bottom of the lake? The reason as to

why ice floats instead of sinks set him on the journey to invent his

fridge. Ian's friends were partly right. As water gets colder, it does

get denser and heavier as the molecules pack together but

remarkably, this process reverses just before it freezes. As the water

is on its way to turning into eyes, those molecules begin to spread out

again, so it gets less dense and that is why ice floats on top of

water. So ice is lighter than liquid water because the molecules are

actually more spread out. Interesting in itself but Ian's real

breakthrough was to realise that when there is ice on top of water,

the water below is in a constant cycle. It rises and falls as it

changes temperature and this circulation means the water is

continually cooling itself. It is similar to what happens in a normal

fridge. There you have a coolant which is pumped around the pipes to

absorb the heat from inside. But unlike a fridge, which takes a

constant input of electricity to keep it cold, this system remains

cold without any extra input of electricity, so long as there is a

layer of ice on top. With Ian's fridge, some electricity is required

to form the ice at the top in the first place. It is so well

insulated, that it will last for ten days, even in the tropics. But once

in place, the water will circulate on its own and keep the inside of

the fridge chilled. It took Ian a year of development but he finally

got a working model in 2011. So when you got your first prototype up and

running, how was that? That was amazing. It took quite a long time

and quite a few experiments to get the technology write and understand

it, but once I understood how it worked and how we could exploit that

property of water, that was incredible. But for three years, Ian

couldn't get people excited about his idea, until he was contacted by

the Bill Gates foundation, founded by the richest man on the planet, to

cure disease in the developing world. Gates loved Ian's technology

and helped him bring it to the market. Today, 4,000 Ian's fridges

is chilling vaccines in 44 countries around the globe, saving countless

lives in the process, and there are plans to make a version for your

home, saving you money on your electricity bill.

We have moved over now, then, to our Only Fools and Horses area and we

have talked about how you created some of your other characters from

scratch but with Del Boy, you actually based him on somebody,

didn't you? That man must have been a bit of a legend. He was. I mean,

it is a well-known fact that when I was working as an electrician, my

partner and I, we were desperate for work and we went around all through

London, the West End, the East End, to knock out all of the builders'

doors and see if they could give us some work. And we knocked out one

door down in the East End and it was called William Hockley and son

builders and we were shown into this office and they said, come and meet

Eric Hockley, and this guy came out to meet us and I will never forget

him -- Derek Hockley. He was dressed absolutely immaculately. I mean,

everything about him was perfect, except you could cut his accent with

a knife. You never saw an East End or a Londoner that would talk like

that, he was really right out, like that, but they were always costas

and a rough clothes and flat hats and all that, and he was Derek

Hockley, looking like a lord... This is the man himself. And he talks

like a costermonger. And it so fascinated me that many, many years

later when I was constructing the character of Derek Trotter, I think

it is a well-known fact, that John Sullivan, I asked him how he saw the

character and he said that he saw him with a flat Cap and a pot belly,

a beer belly and rough trousers and scruffy and I said, no, I don't see

him like that and John said, how do you mean? And I said I'd met this

character years ago and he has stuck in my mind and why can't he be an

immaculate dresser but, you know, still be a Cockney, still be a

Londoner? Because he had big ideas, didn't he? So that suited him. Yeah,

so that is how I went and John Sullivan said if that makes you

happy and you feel comfortable like that, let's go with that. So I then

constructed the character around Derek Trotter who was always a sharp

macro you know, Jack the Lad. And the other thing was the body

language is very important in the characters that I play and the thing

that fascinated me again is when you construct a character, you draw on

real-life. I drew on real-life and one of the things that fascinated me

and you can still see them today, is the Jack the Lads. I have this body

language, you know? And when they walked, a swing from the shoulders.

They have got the swagger, haven't they? Swagger, that is it. You can

do it, he has got it. Just a click of the neck. That was certainly not

worth a clap. It certainly wasn't! Here we are surrounded by this only

falls and horses memorabilia and you write in the book about some of the

touches you added to make it even more humorous, things like adding

plastic covering to the sofa. Which I love and I am going to do it

at home! It is not for her baby, she has a

wonderful husband called Charlie. But, yes... Just got it. You added

all of these trinkets. How that came about was again the fact that we

realised there was a lot of stuff that kept moving through the flat.

In other words, Del Boy was a mover and shaker and stuff that fell off

the back of a lorry or whatever and he would do a deal and then shifted

and more stuff would come in. -- shift it. So I thought, if we do

that, why don't we do it with the furniture? So we had new furniture

come in and we kept the plastic on it so that when they moved it, we

didn't stain it. So we did that for a while, then removed the furniture.

The furniture changed. We were in a sort of constant change and you are

always looking for things that you can give to an audience that they

can enjoy without actually telling them, that if you put the plastic,

as we did, on the furniture, what we did is, I would say, don't say

anything, we don't have to say anything, just do it and let the

audience do some work. And to me, it's always been very important that

when you are doing a comedy show, particularly a comedy show, you've

got to leave spaces for the audience to do some work. In other words,

they have got to sit there and go, did you see that? Look, they have

moved the furniture, he's got plastic on the furniture. And they

enjoy it. Audiences enjoy that. So I knew that about what audiences liked

and so I've always peppered my work with human moments that I think

people will enjoy, they have to look for it and get the reward. They

definitely enjoyed it. Let's make the audience work, shall

we? What better on Monday that is a bit

miserable than a few classic clips from Only Fools and Horses?

We have got a few clips, some of the famous ones. Any ideas what you

would like us to show? Chandelier! General shouting from the audience.

I think I heard chandelier. Let's hear the chandelier?

APPLAUSE It is lovely to see your face,

because you still have a little chuckle yourself. Yes, because I

know how it was constructed. The thing about that, of course, you

didn't show it because you can't afford it, was the build-up to it

and a lot of the gags of in the shape of the construction, again

making the audience work, so what we did with that one was that when we

had the blanket holding underneath the chandelier, you will notice, and

I said this technique when we were recording it, I'll tell you what

we've got to do, is to say Brace yourself, Rodney, Brugge herself,

because it will come down. I can't remember the exact words. The reason

was to take your audience's eyes to get them to work out what was going

to happen. What they thought was "Brace yourself, Rodney," and the

audience thought, it is going to come down and they will fall off the

ladders. And they were so busy working all that out, when he goes

like that than the one behind... That takes them by complete surprise

and that is the joke and that is what makes it fun. We are just going

to have one more. What do you want? It is a no-brainer, it is the bar.

I think we are on a winner here, trig, all right? Play it nice and

cool, Sun, nice and cool, you know what I mean?

CHEERING It is all in the eye line, right?

Thank you so much for all of those, the trips down memory lane,

brilliant. Let's take a look now at a film that

you have made for us, which was very kind of you.

In July, we asked viewers who love wildlife to film something which

summed up the summer. Then it was just a question of finding the right

music. # Fish in the sea

# You know how I feel # River running three

# You know how I feel # Blossom on the tree

# You know how I feel # It's a new dawn, it's a new day

# It's a new life # For me

# And I'm feeling good # Dragonfly out in the sun

# You know what I mean, don't you know?

# Butterflies all having fun # You know what I mean

# Sleep in peace when day is done # That's what I mean

# And this old world is a new world # And a bold world

# For me # Freedom is mine

# And I know how I feel # It's a new dawn, it's a new day

# It's a new life # For me

# And feeling good that was absolutely lovely. Doesn't

it bring back the summer? Apart from the frog.

And the snake, it is the circle of life. But we have the producer of

Blue Planet To coming in next week, that the viewers are taking their

jobs. Thank you for coming in David, it has been a real pleasure.

Sir David Jason, everyone. CHEERING

Only Fools and Stories is out on the 5th of October.

And tomorrow, Ore and I will be joined by the one and only Michael

Ball and his sidekick Alfie Boe. See you tomorrow.