Browse content similar to 26/04/2012. 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. And Matt Baker. | :00:22. | :00:26. | |
Tonight's guest is a pearly king of the soaps. But how should we | :00:26. | :00:30. | |
summarise his character? What about a landlord who pulls pints and | :00:30. | :00:34. | |
barmaids, falls in love, breaks up, get back together, proposes, heads | :00:34. | :00:39. | |
off to Spain, ends up in prison, splits up, gets back together, | :00:39. | :00:44. | |
heads back east. And the Kat is away, so will he be tempted to | :00:44. | :00:50. | |
play? It is Alfie Moon himself, Shane Richie. Good to have a break | :00:50. | :00:56. | |
from the show. Me and my family just got back from Florida. We are | :00:56. | :01:01. | |
all a bit jet lag. We went to Universal and did the Harry Potter | :01:02. | :01:10. | |
ride. It is fantastic. I nearly wet myself. With fear? Fear. I was | :01:10. | :01:14. | |
sitting there with my five-year-old. He was screaming and my life -- my | :01:14. | :01:19. | |
wife was loving it. I didn't know what to expect. Then these dragons | :01:19. | :01:25. | |
start appearing. Really frightening. Good job you have been on holiday, | :01:25. | :01:31. | |
because it is a busy summer for you on BBC One. What role of the square | :01:31. | :01:37. | |
be playing? The EastEnders are getting very much involved. We have | :01:37. | :01:43. | |
a live episode around the time of the Olympics. That will be on a | :01:43. | :01:48. | |
Monday night. We record 25 minutes and then go live for five minutes | :01:48. | :01:51. | |
where the character who plays Billy Mitchell will be running around the | :01:51. | :01:56. | |
square with the actual torture. you allowed to say that? It is too | :01:57. | :02:02. | |
late now. There goes my job. -- he will be running with the Olympic | :02:02. | :02:10. | |
torch. We keep winding Perry up about it. What if he trips up? So | :02:10. | :02:14. | |
we are heavily involved with the Olympics and the Queen's Jubilee. | :02:14. | :02:18. | |
We will be finding out all about your scandalous story lines in a | :02:18. | :02:21. | |
bit and finding out whether it is the end of the road for Alfie and | :02:21. | :02:27. | |
Kat. Say it is not so! I can't tell you. We all know about the ins and | :02:27. | :02:31. | |
outs of what happens behind closed doors in the square, but I wonder | :02:31. | :02:34. | |
if Dave Pearson's neighbours realised what was going on behind | :02:34. | :02:38. | |
his. Your average terraced house in | :02:38. | :02:44. | |
Lancashire would normally set you back about �100,000. But a legacy | :02:44. | :02:49. | |
left in this house behind me, when its owner Dave Pearson died, saw | :02:49. | :02:58. | |
its value skyrocket. When Dave's close friends opened the door to | :02:58. | :03:02. | |
his art studio, they found an incredible 50 years' worth of art | :03:02. | :03:08. | |
were crammed inside. You can't get far enough away from this to give a | :03:08. | :03:12. | |
real impression of the quantity of stuff. For one of them, Bob, the | :03:13. | :03:19. | |
huge challenge they faced was clear. We are trying to create some order | :03:19. | :03:28. | |
out of his work and listing it. It is just the beginning of a process. | :03:28. | :03:32. | |
He hardly sold any work. He was largely unappreciated. And yet he | :03:32. | :03:36. | |
was an exceptional man. With the house fallen apart and no | :03:37. | :03:41. | |
instructions left by Dave, the future of some 50,000 artworks hung | :03:41. | :03:47. | |
in the balance. This is very different from four years ago. | :03:47. | :03:51. | |
is amazing what has happened in the meantime. For a start, you can see | :03:51. | :03:58. | |
the pictures. And you can walk through. This is what it is like | :03:58. | :04:01. | |
after you did the work. You must have put an incredible amount of | :04:01. | :04:07. | |
effort in. It has been an -- a full-time job for Bob and I. Some | :04:07. | :04:13. | |
of the work was damaged? The ones that were damaged were downstairs | :04:13. | :04:18. | |
next to a wall that had dry rot, so we had to throw them away in skips. | :04:18. | :04:22. | |
But we did photograph them first so that we have a record. What kind of | :04:22. | :04:30. | |
man was Dave? He was very open and generous. And usually quite easy- | :04:30. | :04:35. | |
going, but there was an intensity behind it. If he was such a great | :04:35. | :04:41. | |
artist, why isn't he better-known? He was not interested in champagne | :04:41. | :04:46. | |
receptions or being famous. He just wanted to get on with the work. It | :04:46. | :04:52. | |
was the love of his life. Dave considered his most significant | :04:52. | :04:57. | |
body of work the Byzantium series. It was also left gathering dust in | :04:57. | :05:02. | |
the house when he died. Not any more, because with the first | :05:02. | :05:07. | |
exhibition since his death, the Dave Pearson Art Trust hopes to | :05:07. | :05:12. | |
change that. It is here at the Bermondsey Project Arts face. What | :05:12. | :05:19. | |
are we seeing here? This is something incredibly detailed. | :05:19. | :05:24. | |
Everywhere you look, there is a different small mark. When you step | :05:24. | :05:29. | |
back from the picture, all those marks blend together to give a much | :05:29. | :05:36. | |
denser colour. Is he up their with the Damien Hirsts and the Francis | :05:36. | :05:40. | |
Bacons, the great modern British artists? Are I think he is better. | :05:40. | :05:47. | |
Better? I think he will be regarded as William Blake is regarded now. | :05:47. | :05:54. | |
That is as an extraordinary, eccentric artist who had an | :05:54. | :05:57. | |
enormously detailed imaginative world. With these paintings be | :05:57. | :06:02. | |
worth money on the market? May be these huge pictures would make | :06:02. | :06:05. | |
�100,000, something like that. I would not be surprised to see them | :06:05. | :06:10. | |
making millions. The price tag is just one measure of an artist's | :06:10. | :06:15. | |
work. Another is the impact it has on people who see it. From what I | :06:15. | :06:20. | |
know about Dave Pearson, I am guessing the -- that is the one | :06:20. | :06:27. | |
that would matter to him. Dave's work can be seen at the | :06:28. | :06:31. | |
Bermondsey Art Space in London until May, before it returns home | :06:31. | :06:38. | |
to Lancashire. Did you like that? think so. I would love to set our | :06:38. | :06:42. | |
was an art collector, but I have pictures of Minnie Mouse by a | :06:42. | :06:50. | |
three-year-old around my house. What would they find in your house? | :06:50. | :06:59. | |
I get embarrassed to say. Just a load of Planet Of the apes. | :06:59. | :07:06. | |
they would find soap awards. There are a few. It is this weekend, the | :07:06. | :07:13. | |
soap awards. You are up for Best actor. Best had, best actor and | :07:13. | :07:16. | |
nice fingernails. What would it mean to you to win for a third | :07:16. | :07:26. | |
time? Just been nominated, it is a great event and very popular. Just | :07:26. | :07:32. | |
being nominated his lovely. It can be nerve-racking because the | :07:32. | :07:37. | |
expectations are great. It is all about storylines as well. Sometimes | :07:38. | :07:42. | |
it is a popularity contest. Do people buy into the storyline of | :07:42. | :07:45. | |
the character you are doing? To call somebody a better actor than | :07:45. | :07:49. | |
somebody else, I am a bit uncomfortable with. It is more | :07:49. | :07:55. | |
about the storyline. How does what you are doing with EastEnders at | :07:55. | :07:59. | |
the moment it in? You have had an incredible career. Are you enjoying | :07:59. | :08:05. | |
the serious acting side more than other stuff? I love it. I look | :08:05. | :08:10. | |
forward to go in to work. I had a long break from the show, five | :08:10. | :08:15. | |
years. I did game shows and some other dramas and some theatre. But | :08:15. | :08:20. | |
I have come back with a different attitude. I have a young family. So | :08:20. | :08:24. | |
I do not take it home with me and I do not take it as seriously. When I | :08:24. | :08:28. | |
was first in the show, the whole Alfie Boe thing blow up. It was | :08:28. | :08:34. | |
incredible. But after a while, you step out and see it for what it is. | :08:34. | :08:39. | |
I am a jobbing actor. That is how I pay the bills. But your character | :08:39. | :08:44. | |
is immensely popular. But there is only one girl for Alfie, she is | :08:44. | :08:51. | |
always there, Kat. Looking at this, we have an inkling that we know | :08:51. | :08:58. | |
what is going to happen. How can he see it and you can't? I don't | :08:58. | :09:08. | |
:09:08. | :09:19. | ||
understand. I love you. I love you, Alfie Moon. Do you get it now? | :09:19. | :09:24. | |
a pleasure, working with Wheater as well. Hang on a minute. Alfie and | :09:24. | :09:28. | |
Roxy does not have the same ring to it as Kat and Alfie. Let's get that | :09:28. | :09:33. | |
straight. It is interesting about some of the publications which are | :09:33. | :09:38. | |
interested in soaps, how they have said, Alfie will go off with Roxy. | :09:38. | :09:42. | |
But as soon as he does that, he loses the high moral ground. I had | :09:43. | :09:47. | |
a meeting today about future storylines, and they are going to | :09:47. | :09:52. | |
be incredible, because Jessie Wallace is back at work. I can only | :09:52. | :09:55. | |
say that the stuff which happened last year is nothing compared to | :09:55. | :10:00. | |
what will happen over the next 12 months. It will be incredible. Will | :10:01. | :10:05. | |
there be an incredible Christmas special? Cap versus Roxy? Who says | :10:05. | :10:12. | |
it my be Roxy? My wife will be watching this | :10:12. | :10:16. | |
thinking, tell me more! But we can't keep going. You can see Shane | :10:16. | :10:23. | |
in EastEnders and about 90 minutes. Now, when Maggie Aderin-Pocock was | :10:23. | :10:26. | |
a little girl, she dreamed of becoming an astronaut. Luckily, she | :10:26. | :10:31. | |
grew up to be one of Britain's top space scientists. Her more recent | :10:31. | :10:36. | |
additions include putting on a hard hat and helping to blow up old | :10:36. | :10:41. | |
buildings. Dreams come true on The One Show. | :10:41. | :10:45. | |
This is the Oughtibridge paper mill in Sheffield. This chimney is a | :10:45. | :10:54. | |
local landmark. It can be seen for miles around. Built in the 1960s, | :10:54. | :10:58. | |
it was part of a power station and was crucial for the production of | :10:58. | :11:08. | |
:11:08. | :11:08. | ||
paper here. Perhaps I should have mentioned - the chimney had come to | :11:08. | :11:18. | |
:11:18. | :11:20. | ||
the end of its life, and today was There are many ways to bring down | :11:20. | :11:25. | |
structures. You can blow them up so that they fall in on themselves. Or | :11:25. | :11:34. | |
they can be taken apart bit by bit. Sometimes, you just have to pull | :11:34. | :11:40. | |
them down. What we saw here was a textbook example of what is called | :11:40. | :11:46. | |
the felling method. It is the method you use when the direction | :11:46. | :11:50. | |
of fall is the most important factor. This chimney had a river on | :11:50. | :11:53. | |
one side and an electricity sub- station on the other, leaving | :11:54. | :11:59. | |
little room for error. So how do you get a 16 metre chimney to fall | :11:59. | :12:03. | |
exactly where you want? The engineers started work a week | :12:03. | :12:08. | |
before the demolition. They removed three sections of the base. This is | :12:08. | :12:14. | |
key to the felling method. To see why this works, we have recruited | :12:14. | :12:18. | |
the help of engineers at the University of Sheffield. We built | :12:18. | :12:22. | |
our own Mini chimney. We are going to simulate blowing out the base of | :12:22. | :12:28. | |
the tower. OK, guys, poll. Not quite the direction will control we | :12:28. | :12:33. | |
want. We need to only remove the base from the side we want it to | :12:33. | :12:40. | |
fall, a bit like phoning a tree. The guys have just taken out cans | :12:40. | :12:48. | |
here. This is called pre- weakening. Now we will take out the front to | :12:48. | :12:58. | |
:12:58. | :13:03. | ||
Wow, that was brilliant. It falls in the direction of where a base | :13:03. | :13:12. | |
support has been removed. Using the same principle, the engineers on | :13:12. | :13:15. | |
site have pre- weakened the chimney by measuring the weight and | :13:16. | :13:19. | |
circumference. They have calculated that they can remove a third of the | :13:19. | :13:24. | |
base. This pre- weakening means they can use the minimum amount of | :13:24. | :13:29. | |
explosives, just eight kilograms, to bring down this 1000 tonne | :13:29. | :13:34. | |
chimney. Now preparations are complete. Locals have come to see | :13:34. | :13:40. | |
the chimney's demolition. It is the end of an era. The time has come. | :13:40. | :13:50. | |
:13:50. | :13:52. | ||
think it will be missed. It is an icon. Not long to go. Three, two, | :13:52. | :14:02. | |
:14:02. | :14:17. | ||
That was impressive. There was an initial burst of energy when they | :14:17. | :14:21. | |
got the explosive going. But the actual fall in was quite graceful. | :14:21. | :14:26. | |
I would like to see that again! Thanks to our multiple cameras, we | :14:26. | :14:32. | |
can see how the chimney naturally broke up on the way down. If it had | :14:32. | :14:35. | |
come down in one piece, it could have caused huge vibrations which | :14:35. | :14:39. | |
might have disrupted the milk's electricity supply. I thought it | :14:39. | :14:47. | |
was going to thump, but it sort of curls around. Yes. Metal would | :14:47. | :14:52. | |
flood, but it is breaking up as it comes down. We are pleased. This | :14:52. | :14:59. | |
demolition took just a few seconds. But they were a very well thought | :14:59. | :15:09. | |
:15:09. | :15:12. | ||
Remarkable. Sue see these towers and they are gone in seconds. | :15:12. | :15:16. | |
was graceful. There was a pause and it tumbled down. It would be great | :15:17. | :15:21. | |
if you could do it like Jenga. Everyone stands around and you pull | :15:21. | :15:26. | |
a brick out. Funny you say that, we might have something for you in a | :15:26. | :15:30. | |
while! Maggie, you have the best job in in the world. You will be | :15:30. | :15:36. | |
blowing up a number of buildings. In the next few months. I don't | :15:37. | :15:42. | |
know what's coming up. Some of the demlations are scheduled quite late. | :15:42. | :15:46. | |
There will be something with a metal structure. I think there's a | :15:46. | :15:56. | |
:15:56. | :15:57. | ||
tower block and a bridge. They have my number. It is reMacable the | :15:57. | :16:02. | |
cloud cover can affect this? wouldn't think the weather would | :16:02. | :16:05. | |
affect a demolition. The cloud can act as a cap over the demolition | :16:05. | :16:09. | |
and help focus the energy. One of the things with demolitions on you | :16:09. | :16:14. | |
don't want the energy going outsideways. It could blow out | :16:15. | :16:19. | |
windows on other buildings. If you have heavy cloud cover it will | :16:19. | :16:23. | |
direct the downforce and affect other things. Often, you want a | :16:23. | :16:27. | |
clear day. Thankfully, there's no cloud cover in the studio. Shane, | :16:27. | :16:32. | |
we have a real treat for you. You'll need these! My wife's going | :16:32. | :16:38. | |
to go mental. You're going to mess my hair up! You're going to topple | :16:38. | :16:42. | |
over that tower of tins but they have to land on the target. There | :16:42. | :16:48. | |
must be some skill involved. What has to land on the target? We've | :16:48. | :16:53. | |
cleared the studio. Put a nice cover on our TV. We're get egg | :16:54. | :17:01. | |
behind the sofa! Everyone's cleared out. I'm on me own! Pull it as hard | :17:01. | :17:10. | |
as you can. Maggie's giving you the countdown. Three, two, one... | :17:10. | :17:17. | |
at that. Absolute classic. Shane, come around here and have a look at | :17:17. | :17:25. | |
this slo-mo. There's the pole. As graceful as you can, it happens. | :17:25. | :17:32. | |
Square on. That's an absolute classic. Beans for tea, everyone. | :17:32. | :17:41. | |
You look like the YMCA. When Phil Tufnell called to us say he'd | :17:41. | :17:48. | |
filled med a cow -- filmed a cow standing on the top of a cafe we | :17:48. | :17:52. | |
thought it was another tale. It's true. You can't miss it, they said. | :17:52. | :17:58. | |
They said when you do see it, I'd probably do a double take. It is on | :17:58. | :18:07. | |
the A90 between Perth and Dundee. What could it be? Blimey, that's | :18:07. | :18:13. | |
something you don't see every day. A cow on a roof. This is the Horn | :18:13. | :18:18. | |
mill m bar. Even without a plastic cow on the roof, it is a remarkable | :18:18. | :18:24. | |
building. It is a classic 1960s milk bar. Banana milkshake, please. | :18:24. | :18:29. | |
I can imagine this, Jerry and the Pacemakers on the Duke box. Full of | :18:29. | :18:36. | |
Mods, scooters in the car park. Kenny is the owner. Why a cow on | :18:36. | :18:45. | |
the roof? My background's agricultural my mum and dad started | :18:45. | :18:49. | |
a Malik bar 50 years ago. We used the cow as an icon. It's done the | :18:49. | :18:58. | |
job. What do the Moor iss think of it? Some people love it. The patron | :18:58. | :19:03. | |
of the A90. People come to take pictures of cow. We took it doing a | :19:03. | :19:07. | |
couple of months ago. We didn't realise people would miss it. We | :19:07. | :19:13. | |
took it down, repainted it, took it down for a refurb. It is now back | :19:13. | :19:16. | |
in its position again and everyone's happy again. | :19:16. | :19:21. | |
The cow was designed by Kenny himself. Its success gave him an | :19:21. | :19:26. | |
idea. He now runs a business sideline. If you want an artificial | :19:26. | :19:30. | |
animal of any type, he's your man. Kenny has a full range of life- | :19:30. | :19:36. | |
sized creatures. But his real specialism remains his original | :19:36. | :19:41. | |
inspiration, the cow. Would you say the cow's your masterpiece? It is. | :19:41. | :19:46. | |
This cow is based on the eedeel cow. If you took this along to your | :19:46. | :19:52. | |
agricultural show ,ed ee -- I'd expect you to win first prize. | :19:52. | :19:59. | |
cow starts off looking like this. That's down to artist Ann Nicholls. | :19:59. | :20:02. | |
Ann works 40 minutes in the hills from the milk bar. She gets the | :20:02. | :20:06. | |
animals out of a mould and turns them into what people want. | :20:06. | :20:11. | |
Customers range from farm shops to those seeking and unusual gift. Ann, | :20:11. | :20:18. | |
how long does it take to to paint a cow. How long is a piece of string? | :20:18. | :20:24. | |
It depends on what you're doing. Some take ages. I have to find out | :20:24. | :20:27. | |
the right colours and work out the designs. This is reasonably | :20:27. | :20:32. | |
straightforward. I don't know too much about cows but this is green? | :20:32. | :20:37. | |
It's green! Why? Because the firm want it green. I suppose they are | :20:37. | :20:44. | |
wanting to show the cocoa-ness of the farm shop. It is something a | :20:44. | :20:48. | |
bit different. Suits me fine. other weird and wonderful ones have | :20:48. | :20:53. | |
you done? I've done one for an anniversary present for someone who | :20:53. | :21:01. | |
was married in Mistique. We did the island with little hearts autumn | :21:01. | :21:07. | |
over it. What about the won in the garden? He's a bright fael la? | :21:07. | :21:10. | |
Wonderful colours. The fun there was choosing the colours that go | :21:10. | :21:15. | |
beside each other just to get it all to come together. I think some | :21:15. | :21:20. | |
poor lady will have that as a surprise present for an anniversary. | :21:20. | :21:25. | |
The animals, the cows in particular, are not just used for decorative | :21:25. | :21:30. | |
purposes. They have an educational benefit too. We're doing the story | :21:30. | :21:35. | |
about what sort of cow this is. This school brings them in to teach | :21:35. | :21:43. | |
the kids about farming. How does the fafrpler get the milk out? He | :21:43. | :21:48. | |
squeezes the udders. Very good. They use Kenny's invention, a | :21:48. | :21:53. | |
special milking mechanism. Imagine you had to do that to get milk out | :21:53. | :22:00. | |
twice a day. Farmers had to do that all the time. I like it. I like it. | :22:00. | :22:06. | |
It's black and white. I like the part it didn't moo at all. It gives | :22:06. | :22:11. | |
me headaches. It may just look like a quaint restaurant with a cow on | :22:11. | :22:21. | |
its roof but the Horn milk bar is a real icon to the moo-torist! Get | :22:21. | :22:31. | |
:22:31. | :22:33. | ||
it! This is a fresian! He's always wanted a cow. | :22:33. | :22:40. | |
Pretty good there, good technique? You did a one-off, Jim'll Fix It. | :22:40. | :22:47. | |
The hopes of the nation's childrens are pinned on you, Shane. Will you | :22:47. | :22:52. | |
do any more. Sadly we lost Sir Jimmy when I did it. It was a | :22:52. | :22:58. | |
tribute to him. It did really well.. It is trying to find time round the | :22:58. | :23:04. | |
shedual. A wonderful honour to be asked to do it? I was really | :23:05. | :23:08. | |
nervous about doing it. I'm so used to playing the character. Now going | :23:08. | :23:12. | |
in stepping into them shoes and the chair they made for me with all the | :23:12. | :23:20. | |
gadgets. Kids wrote N you think times have changed but kids have | :23:20. | :23:23. | |
that magical approach to television and you can make dreams come true. | :23:23. | :23:28. | |
I'd quite like to do it again. year, I jumped on to a rickshaw and | :23:28. | :23:36. | |
set off from Edinburgh. 485 miles and eight days later I reached | :23:36. | :23:41. | |
London. Despite vowing never to get on a rickshaw again, Matt was | :23:41. | :23:46. | |
tempted out of retirement for a special mission. As you can see, | :23:46. | :23:51. | |
I'm back on board the rickshaw. I have to be honest, it's bringing | :23:51. | :23:54. | |
back mixed emotions. My challenge was one of the many events which | :23:54. | :23:58. | |
took place last year to raise money for Children In Need. The reason | :23:58. | :24:03. | |
that Pudsey and I are back on board the three-wheel wonder is we're off | :24:03. | :24:07. | |
to see how some of the money raised is being used. Are you happy back | :24:07. | :24:11. | |
there, Sir? Very good. The mar low opportunity playgroup | :24:11. | :24:14. | |
in Buckinghamshire caters for children with a variety of physical | :24:14. | :24:18. | |
and learning difficulties. But it needs money to help with staffing | :24:18. | :24:22. | |
costs. I'm here to pass on some good news on behalf of you generous | :24:22. | :24:29. | |
One Show viewers. Hello everybody. Hello. I'm looking for Jane. Is | :24:29. | :24:37. | |
Jane around? Hello, Jane. Please to meet you. Surprised to see you here. | :24:37. | :24:43. | |
I parked my rickshaw in your car park. I'm acting as a mess jer | :24:43. | :24:47. | |
today. You applied for a grant. did, in October. I'm here with good | :24:47. | :24:53. | |
news and a friend. I hope you don't mind. Listen up, everyone, here's | :24:53. | :25:02. | |
Pudsey Bear with a cheque for �28,854. What about that? Jane is | :25:02. | :25:05. | |
the playgroup leader at marl owe. I'm keen to know how your money | :25:05. | :25:09. | |
will be spent. It will make an amazing difference. All the | :25:09. | :25:13. | |
children coming here have special needs. They need more support. We | :25:13. | :25:19. | |
provide that with them with the staffing by providing one-to-one or | :25:19. | :25:22. | |
one-to-two. We have specialist equipment, specialist toys and | :25:22. | :25:27. | |
activities. To get a big sum of money in like this will mean we can | :25:27. | :25:30. | |
really put our emphasis on the children rather than fund-raising | :25:30. | :25:37. | |
continually. Hopefully, Children In Need will enable the playgroup to | :25:37. | :25:41. | |
continue its great work. Last year, Ofsted rated the charity's early | :25:41. | :25:45. | |
provision as outstanding. So, what do the parents who bring their | :25:45. | :25:50. | |
children here think of it? This is is a bell. She's two-and-a-half and | :25:50. | :25:54. | |
she's deaf. She's also delayed in her development. Coming here has | :25:54. | :26:02. | |
made her so much more social and commune ative. -- commune I can | :26:02. | :26:07. | |
ative. It is great that they can be a child and play and get mess yes. | :26:07. | :26:14. | |
The centre makes sure the children receive the same experiences as | :26:14. | :26:18. | |
children in mainstream playgroups. How many mornings a week? Three | :26:18. | :26:22. | |
mornings a week since he was three Monday's old. So children are | :26:22. | :26:26. | |
brought in as young as that? think he was the youngest thech' | :26:26. | :26:33. | |
ever taken. -- they've ever taken. They take siblings too. So you can | :26:33. | :26:37. | |
all join in and have fun? That's right. What difference has this | :26:37. | :26:41. | |
place made to your lives? A real difference. We didn't realise there | :26:41. | :26:49. | |
were challenges with Toby. As he got older, we realised he was | :26:49. | :26:54. | |
slower. He have difficult things like writing off tor stpaiplt of | :26:54. | :27:01. | |
educational needs. This is brilliant. It is so welcoming, even | :27:01. | :27:06. | |
pour Pudsey. I'm so impressed by the commitment and enthusiasm from | :27:06. | :27:12. | |
the staff I wanted to offer some help of my own. We're all set. | :27:12. | :27:19. | |
Sorry, Pudsey, mate, you'll have to walk, I'm full, mate. Let's go. | :27:19. | :27:23. | |
We're not asking for any more money. We wanted to show you where the | :27:23. | :27:29. | |
money was going. You've been signing thank you cards. Yes. | :27:29. | :27:33. | |
Speaking of Children In Need, Matt was brave. Potentially you were | :27:33. | :27:43. | |
braver. You channelled your inner George Michael. There we go. | :27:43. | :27:49. | |
Powering it out. There was even a power grab. If you see closely, | :27:50. | :27:59. | |
:28:00. | :28:00. | ||
nana Moon is down the front. You do have a pant,th preludes. -- The | :28:00. | :28:08. | |
Prelude. We've loads of gigs coming up. I grew up in clubs and music is | :28:08. | :28:16. | |
part of my life. What music? We're writing original stuff. Imagine | :28:16. | :28:25. | |
Kings of Lee Lyon meets... It is really finding time around | :28:25. | :28:32. | |
EastEnders. We That's all wech' time for tonight. Can I go? I have | :28:32. | :28:38. | |
to open up a pub and we're on in about a minute-and-a-half? See you | :28:38. | :28:44. | |
Foulkes. I have to go and open up. I have to bottle up. Chris and I | :28:44. | :28:50. |