:00:15. > :00:16.Hello and welcome to The One Show with Alex Jones...
:00:17. > :00:20.And, joining me tonight because Matt is up to his neck in the lambing
:00:21. > :00:31.We've got two guests with us - one of whom is a film composer,
:00:32. > :00:34.so let's give both of them an introduction using some
:00:35. > :00:37.Tonight we're pleased to present the cinematic maestro who's written
:00:38. > :00:39.the soundtracks to over 100 Hollywood films.
:00:40. > :00:41.He's won two Golden Globes, four Grammys and he's
:00:42. > :00:46.Sharing the sofa is a comedian and West Bromwich Albion fan.
:00:47. > :00:49.He can play the banjo, and in 1998 he won the Rear
:00:50. > :01:06.Skinner - Zimmer, Zimmer - Skinner.
:01:07. > :01:12.Hans wrote the soundtrack to films like Pirates of the Caribbean,
:01:13. > :01:14.Gladiator, The Lion King, Thelma and Louise the list goes
:01:15. > :01:28.Basically, everyone that I could think of. I do actually write for
:01:29. > :01:30.the banjo. I don't actually play the banjo. It's the ukelele!
:01:31. > :01:46.I absolutely... Everybody has a favourite. Have you got one?
:01:47. > :01:49.Gladiator. Her voice does things to me, it is so beautiful. She is
:01:50. > :01:51.amazing. We'll talk more about Gladiator
:01:52. > :01:59.and all your other films later. But my favourite is the theme from
:02:00. > :02:03.Going For Gold. # It's time for you,
:02:04. > :02:15.for you to play your game This is fantastic. It takes you back
:02:16. > :02:27.to lunchtime. You did this? I absolutely dead. I have no shame. --
:02:28. > :02:28.absolutely did. The first time I went to Los
:02:29. > :02:35.absolutely did. The first time I first people I met was a chap that
:02:36. > :02:41.wrote half of the Michael Jackson albums, Thriller etc. And what was
:02:42. > :02:50.he going to do? Saying Going For Gold. Henry Kelly, he used to say, I
:02:51. > :03:00.arrived in London, on the 15th century, on the back of the raft,
:03:01. > :03:01.what am I? The bubonic plague! Later, Hans will be performing one
:03:02. > :03:04.of his classic themes. And from music to art,
:03:05. > :03:07.we'll hear all about Frank's search But first, some
:03:08. > :03:09.cutting edge science. Remember when the newest craze
:03:10. > :03:12.in computer games was the motion detectors, meaning we all had to get
:03:13. > :03:15.up from the sofa and start jumping Well that same technology
:03:16. > :03:19.is being used in all sorts of revolutionary ways,
:03:20. > :03:31.not just in gaming, There are more than 750,000
:03:32. > :03:38.wheelchair users in the UK. Including me. I've been using one of
:03:39. > :03:45.these for 12 years. It helps me get around quickly and independently. I
:03:46. > :03:49.am lucky, I can use my arms. But many disabled people have to rely on
:03:50. > :03:54.others to operate their wheelchair. But now all of that is about to
:03:55. > :03:56.change, thanks to a revolutionary new wheelchair that is not
:03:57. > :04:04.controlled by your hands, but by your eyes. This prototype chair is
:04:05. > :04:10.the brainchild of a neuro technologist from Imperial College
:04:11. > :04:14.London. We wanted to help people with movement disabilities. Of the 5
:04:15. > :04:18.million people in the UK who suffer from such disabilities, almost all
:04:19. > :04:24.have the ability to move their eyes. We wanted to convert seeing into
:04:25. > :04:29.moving. It was whilst playing a computer game that inspiration
:04:30. > :04:32.struck. He realised that the cameras on video game consoles, which track
:04:33. > :04:38.your body movement, can also be used to track your eye movement. One day
:04:39. > :04:41.I realised there is cheap and video game hardware cameras that we can
:04:42. > :04:47.transform into cameras that can record eye movement. That is what we
:04:48. > :04:53.did. To test them, he tried it out on a simple computer game. Two video
:04:54. > :05:00.cameras lock onto my eye, monitoring were it moves. As I move my eyes, I
:05:01. > :05:07.am moving the paddle up and down. Essentially, I am playing this
:05:08. > :05:10.entire game just with my eyes. Seeing is moving! Absolutely
:05:11. > :05:13.amazing. That was the great breakthrough. But how do you
:05:14. > :05:18.transfer the movement of a simple paddle into controlling a
:05:19. > :05:22.wheelchair? To go from a video game to real life, we needed to work out
:05:23. > :05:26.what I movement 's are meaningful for driving and which are
:05:27. > :05:29.distracting. You are telling the difference between a glance, looking
:05:30. > :05:36.at your friend as you are walking down the street, and looking in the
:05:37. > :05:42.direction you want to travel? After recording and studying irises over a
:05:43. > :05:48.five-year period, he built up a massive database of eye movements.
:05:49. > :05:52.He used a complex computer programme to sift through it, ignoring
:05:53. > :05:59.distracted glances. It is this piece of computer coding that transforms
:06:00. > :06:03.cheaper video game cameras into a wheelchair control system. So, will
:06:04. > :06:09.the camera be able to read my eye movements and let me control the
:06:10. > :06:24.chair? Time to put it to the test. Very amazing! Shall I keep going?
:06:25. > :06:28.Wow! Isn't it fun? So cool! All I have to do is look in the direction
:06:29. > :06:34.that I want to go. Signals captured from my eye movement are processed
:06:35. > :06:37.by a laptop in the back, which controls the motors and direction of
:06:38. > :06:41.the wheels. There are still some fine tuning to be done. This is the
:06:42. > :06:48.first time I have ever driven a chair without using my arms. Our
:06:49. > :06:51.technology allows you to be distracted, having this
:06:52. > :06:55.conversation, and still move forward, because you want to move
:06:56. > :06:59.forward. It's really interesting, as I am moving, I am looking around,
:07:00. > :07:05.but I will also keep going forward at the same time. It is still the
:07:06. > :07:08.early days of development. This relatively cheap system could be
:07:09. > :07:16.attached to any motorised wheelchair, improving the lives of
:07:17. > :07:22.all wheelchair users. Incredible! Brilliant piece of
:07:23. > :07:29.technology. You are here to appeal to viewers, anybody with an artistic
:07:30. > :07:35.talent? Tell us about the Sky Arts landscape and portrait Artist of the
:07:36. > :07:42.Year? I do a show with Dame Joan Bakewell, my hero. Members of the
:07:43. > :07:47.public send in art, there are two brunches, portrait and landscape. It
:07:48. > :07:55.is a show I am phenomenally proud of, I would watch it if I was not on
:07:56. > :07:59.it. Definitely. Thanks for agreeing! It's a beautiful programme. Watching
:08:00. > :08:03.people paint is fantastic. You can go to art galleries and see the
:08:04. > :08:08.finished item, but to see it happening, it would be like watching
:08:09. > :08:15.Hans composing. It is very exciting. We got the portrait artist show, and
:08:16. > :08:21.the entrants, it closes, it's the 4th of April. The landscape one is
:08:22. > :08:27.the 15th of April. Imagine how much talent will be watching this show
:08:28. > :08:33.now. You get 12 million, 15 million? Something like that, yes... Well, it
:08:34. > :08:37.is Tuesday. There are people out there, please, I want them to enter.
:08:38. > :08:41.The more people that enter, the better the show. It is they
:08:42. > :08:45.fantastic, life changing experience. What do they win? They normally get
:08:46. > :08:59.an enormous commissioned to paint somebody. The first one painted
:09:00. > :09:07.Hilary Mantell. Christian Hook painted Alan Cumming. One of the
:09:08. > :09:10.directors of the National Gallery in Scotland brought out a book of 100
:09:11. > :09:16.masterpieces in Scottish galleries. There were not many modern ones. And
:09:17. > :09:21.his painting is in that book. It is not about money, but he is now doing
:09:22. > :09:26.paintings, getting about ?75,000. Because it is a prestigious
:09:27. > :09:34.competition. That is more than we are getting tonight! You are finding
:09:35. > :09:39.genuine talent. Painting a landscape is one thing, a portrait, people can
:09:40. > :09:43.answer back. Well, they get to choose one. If five people line up
:09:44. > :09:47.and paint a celebrity, we have had Ian McKellen and all sorts of
:09:48. > :09:51.people. There is a moment when I say, please turn your canvas, they
:09:52. > :09:57.turn it around and then you see the face of the person. They do their
:09:58. > :10:02.best to hide horror, disappointment, rage... But you can see it, it is
:10:03. > :10:09.the corners of the mouth. While they are having the painting done, they
:10:10. > :10:18.can answer back? Yes. This was a four our competition of storing
:10:19. > :10:24.apples, your method would be the same? -- painting apples. Yes,
:10:25. > :10:29.really. I've never been compared to a bowl of Apple 's! The apples are
:10:30. > :10:39.more straightforward, they don't move... They don't flirt! You stay
:10:40. > :10:44.out of this! Brilliant. If you need somebody to sit, I'm available. You
:10:45. > :10:50.would be great! Do you have to be silent? You can talk, as long as you
:10:51. > :10:56.don't move your lips. You were in the paper, painting a landscape
:10:57. > :11:00.yourself? I live near Hamstead College of Art. They were having a
:11:01. > :11:02.big open day and they said, would you do a landscape? I said, I can't
:11:03. > :11:07.paint. They said, that's great! you do a landscape? I said, I can't
:11:08. > :11:10.all about everybody joining in. I thought, in the spirit of
:11:11. > :11:15.all about everybody joining in. I I will. I painted a landscape
:11:16. > :11:17.painting. We've got it here. Is this the one you painted? I'll
:11:18. > :11:21.painting. We've got it here. Is this what happened,
:11:22. > :11:23.painting. We've got it here. Is this of the Camden Journal. I thought my
:11:24. > :11:28.painting was OK. They of the Camden Journal. I thought my
:11:29. > :11:34.photoshopped in a better of the Camden Journal. I thought my
:11:35. > :11:43.That is my hand. We have got the original. It's all right! It's not
:11:44. > :11:47.terrible... The naive style. The School of infantile art! I know it
:11:48. > :11:55.looks like a pancake in a field, but at least it's mine. I don't know who
:11:56. > :11:59.painted the one on the cover of the paper, I apologise if you are
:12:00. > :12:03.watching. They should enter. I think I should. I have taken some
:12:04. > :12:10.commissions on the strength of that painting. The Sky Arts Portrait and
:12:11. > :12:12.Landscape Artist of the Year competition is open now, details are
:12:13. > :12:13.on the website. Frank apparently first
:12:14. > :12:15.discovered his love of making people laugh by drawing moustaches
:12:16. > :12:27.on photos in school art class. It is a tradition that has died out.
:12:28. > :12:32.We have Hans, me and Anita. Fill your boots! Are you OK with that?
:12:33. > :12:41.Have you got a grey 14 Hans? Joe has travelled all the way
:12:42. > :12:44.to Gdansk in Poland to see how an extraordinary team of artists
:12:45. > :12:53.are creating a movie about one The remarkable artist Vincent Van
:12:54. > :13:00.Gogh said the truth is that we cannot speak other than by our
:13:01. > :13:05.paintings. He was an expressionist, a struggling artist who famously cut
:13:06. > :13:09.off his year in torment. Now his paintings are
:13:10. > :13:15.off his year in torment. Now his distinct style is going to be used
:13:16. > :13:20.to create a work about his life. That is why I've come here, to
:13:21. > :13:23.Gdansk in Poland, where artists from across Europe have been called upon
:13:24. > :13:26.to create the first ever painted animated film.
:13:27. > :13:34.to create the first ever painted never something feature length. It
:13:35. > :13:38.is the brainchild of a Polish painter and director, and British
:13:39. > :13:40.director Hugh Welchman, he won an Oscar for Best animated Short film
:13:41. > :13:50.in 2000 and seven. He thought that the story
:13:51. > :13:56.beautiful and she wanted to bring his stories to life.
:13:57. > :13:59.beautiful and she wanted to bring UK. Most of the live-action shooting
:14:00. > :14:03.took place in East London. We shoot the actors on a green screen and
:14:04. > :14:07.stage, so we can cut them out, compositor them together with
:14:08. > :14:11.Vincent style backgrounds in the computer. Then we project it onto
:14:12. > :14:15.the canvases for it to be painted over, frame frame. Unimportant
:14:16. > :14:30.manlike Van They will go through 3000 litres of
:14:31. > :14:34.paint to paint the 62,000 frames in the film. We had to create a whole
:14:35. > :14:39.team from scratch. We could not find animators that had the skills for
:14:40. > :14:42.doing the painting that we needed. We had to get painters and teach
:14:43. > :14:53.them enough animation to be able to do the film. One of them is here. On
:14:54. > :15:00.the right, we have a prepared image. We projected onto the canvas. That
:15:01. > :15:03.is your guide, for every frame and movement, what happens? The
:15:04. > :15:09.projector automatically project another frame. So that would be my
:15:10. > :15:14.next frame to paint, I would have to scrape over those pieces of
:15:15. > :15:19.shoulders, replace the eyes and nose. How long will it take to get
:15:20. > :15:20.to the next frame? With one character, plain background, about
:15:21. > :15:34.one hour and 20 minutes. They have allowed me to have a go.
:15:35. > :15:42.When I look at yours, I can see confident brushstrokes. That comes
:15:43. > :15:46.with practice. Trying to connect the highlights with the previous colour.
:15:47. > :15:53.Will this be part of the film or will you get rid of this? It all
:15:54. > :15:57.depends! He is going to cut me out! Were not copying Vincent, we are
:15:58. > :16:03.reimagining his paintings in the medium of film and we currently
:16:04. > :16:05.halfway through. The film is set to be finished in August and has
:16:06. > :16:12.attracted a wealth of talent, the cast includes Aidan Turner, sushi
:16:13. > :16:19.Ronan and Douglas Booth. What did he ever do for us? In this age of
:16:20. > :16:23.filters on photographs, could you not have done this on a computer?
:16:24. > :16:29.Several people have said they could do this on a computer and I always
:16:30. > :16:31.say, show me. People can see the difference, there is something
:16:32. > :16:37.magical about seeing it moved before your eyes. Vincent had a complete
:16:38. > :16:41.breakdown after failing at three careers and at the age of 28 he
:16:42. > :16:46.starts drawing for the first time and within nine years he transforms
:16:47. > :16:50.modern art and that is an amazing story. I am sure that I will convert
:16:51. > :16:57.many more people to Vincent through this film. Lovely. I think that I
:16:58. > :17:07.need to APPLAUSE.
:17:08. > :17:19.Go on, Frank! That looks like me before I had shaved! I think this
:17:20. > :17:25.really suits you. Conchita? Rise Like A Phoenix! Something to look
:17:26. > :17:27.forward to later on! That is how Frank got started.
:17:28. > :17:31.How did you get started doing film scores?
:17:32. > :17:39.Because I cannot do anything else. I used to put some fictitious detente
:17:40. > :17:43.of this, when I was six I started playing music but I started making
:17:44. > :17:50.noises as far back as I can remember and the operative word is play. And
:17:51. > :17:54.the advantages are you never have to grow up and I still do what I was
:17:55. > :18:02.doing as a kid and just so happens I like telling stories. This is a
:18:03. > :18:09.breakthrough. In terms of Hollywood. It is not Going for Gold again? This
:18:10. > :18:15.is epic! This is Gladiator. My name is maximus. Commander of the armies
:18:16. > :18:21.of the North, general of the legions. Loyal servant to the true
:18:22. > :18:26.emperor, Marcus really is. Father to a murdered son, husband to a
:18:27. > :18:27.murdered wife. And I will have my vengeance.
:18:28. > :18:36.APPLAUSE. That is such a memorable piece of
:18:37. > :18:43.cinema and that rising music adds to the speech at what comes first? The
:18:44. > :18:49.pictures or the music? It depends. With this one, Ridley Scott phoning
:18:50. > :18:54.me at nine o'clock in the morning because he knows I am vulnerable, I
:18:55. > :18:58.don't get up before noon because I am a musician and he said do you
:18:59. > :19:03.want to do a Gladiator movie and I was laughing, thinking about men in
:19:04. > :19:07.skirts. And it was just the tone of voice, it is not that sort of
:19:08. > :19:12.Gladiator. He started telling me the story and that is a great luxury, so
:19:13. > :19:18.money films, they tell me the story and as they tell me the story I
:19:19. > :19:21.started hearing songs and we sit down and look at paintings and
:19:22. > :19:29.especially with somebody like Ridley Scott, an amazing artist. Napkins
:19:30. > :19:37.getting drawn on. And he literally draws out every single scene. And
:19:38. > :19:42.once he starts having the right themes and sending them over, the
:19:43. > :19:45.scene with the Tigers, that was supposed to take just one day and it
:19:46. > :19:53.took two weeks because the Tigers had gone to sleep! I was like the
:19:54. > :20:00.entertainment, sending the music. And finally, he moved into my studio
:20:01. > :20:11.with the editors and we just made it up. We collaborated and made it up.
:20:12. > :20:15.OK, because the second part of him phoning me that ten o'clock in the
:20:16. > :20:24.morning, my wife said, what did you talk about? It is a Gladiator movie.
:20:25. > :20:30.You boys! I suddenly thought, my ambition is going to be that women
:20:31. > :20:33.will love this movie, it is not just an action movie and we talked about
:20:34. > :20:39.this a lot. Ridley Scott came up with the idea and I had a number in
:20:40. > :20:49.Australia, do you want to do this movie? Yes. Who is in it? Russell
:20:50. > :20:55.Crowe. She said, I cannot do this. We persuaded her anyway and I asked
:20:56. > :21:04.why she turned us down and she had done another movie, The Insider, and
:21:05. > :21:09.I was sinking, every time Russell Crowe is on screen, I am singing.
:21:10. > :21:14.You have done hundreds of films but you are about to do something but
:21:15. > :21:17.have never done before, touring. How much of a challenge is it,
:21:18. > :21:25.recreating this epic pieces of music? Absolute madness. Why have I
:21:26. > :21:28.not done this before? Because I have bad stage fright and it is sort of
:21:29. > :21:34.impossible but I think I have figured it out. I did a couple of
:21:35. > :21:38.test runs a couple of years ago that the Hammersmith Apollo. And I had
:21:39. > :21:44.this very the Hammersmith Apollo. And I had
:21:45. > :21:53.all friends of mine. Some of the people I started working with 30
:21:54. > :21:56.years ago. I have got Johnny Marr. It is going to be epic. I will come
:21:57. > :22:02.to see you, Hans. Please do! Hans will be playing one his famous
:22:03. > :22:05.pieces from the film Inception in a few minutes time,
:22:06. > :22:08.and you can see him and his full orchestra on tour
:22:09. > :22:10.from the 6th April. Now, Dan Donnelly has been
:22:11. > :22:12.investigating how criminals have been duping innocent
:22:13. > :22:13.workers into handing It's a bold scam, and it's hitting
:22:14. > :22:24.British companies hard. Small and medium-sized firms make up
:22:25. > :22:30.the bulk of UK businesses. Under the combined turnover of some 1500
:22:31. > :22:36.billion pounds every year, they make a tempting target for cyber crooks.
:22:37. > :22:43.Scores of UK companies are now being targeted by fraudsters posing as the
:22:44. > :22:52.bosses of the very companies they are trying to rip off. Diouf employs
:22:53. > :22:57.60 people at his engineering firm near Hastings in East Sussex. The
:22:58. > :22:59.company staff are also shareholders so if the business is hit by fraud,
:23:00. > :23:13.everybody suffers. a couple of years ago with this scam
:23:14. > :23:18.e-mail saying, change the back account and put it here and it
:23:19. > :23:23.seemed OK, the names were OK so we sent the money and the turnout not
:23:24. > :23:29.to be. Being conned out of ?20,000 put the firm on high alert. But the
:23:30. > :23:34.scammers are persistent. John Staplehurst is the Finance Director.
:23:35. > :23:38.He is well used to dealing with urgent requests to transfer large
:23:39. > :23:46.amounts of company money. The e-mail arrived on my computer from the CEO
:23:47. > :23:55.asking for a payment of ?8,000 to be made that day. As he was working
:23:56. > :23:59.off-site, John e-mailed David Black. The person asked for the payment
:24:00. > :24:03.immediately that day. And I said I could not do that without
:24:04. > :24:07.verification. He could not give me that until later in the day, until
:24:08. > :24:11.the payment could be made and that made me think that this is not
:24:12. > :24:17.right. John noticed the e-mail was signed David, something the real
:24:18. > :24:24.boss never calls himself. And that was sent from an iPhone, Dave does
:24:25. > :24:27.not own one. John had spotted a new phenomenon, CEO fraud. It has been a
:24:28. > :24:33.wake-up phenomenon, CEO fraud. It has been a
:24:34. > :24:37.have lost the company money. Cyber crooks had created an e-mail that
:24:38. > :24:43.appeared to come from Dave's genuine account. Fake e-mails have been
:24:44. > :24:47.around for years. But e-mails pretending to be the boss putting
:24:48. > :24:54.pressure on staff to make payments is something new. And the 40s are
:24:55. > :24:58.seriously worried. Detective Superintendent Matt Bradford leads
:24:59. > :25:06.the national fraud intelligence bureau. It has had 1000 reports of
:25:07. > :25:12.CEO fraud in six months, costing firms ?32 million. In one case a
:25:13. > :25:16.company in Scotland last ?18 million. That hasn't devastating
:25:17. > :25:22.impact on the employees, the share million. That hasn't devastating
:25:23. > :25:28.price, the person said the button is not a victimless crime. To date,
:25:29. > :25:33.only 1 million of the ?32 million lost to this type of fraud has been
:25:34. > :25:38.retrieved. What is being done to stop this new breed of corporate
:25:39. > :25:43.conman? In February, the government set up a new task force of
:25:44. > :25:48.detectives and financial and computer specialists. The security
:25:49. > :25:54.minister says it will have CEO fraud in its sights. What is it task force
:25:55. > :25:59.going to achieve? It will bring people together, government and
:26:00. > :26:02.businesses, banks, to do our best to confront fraud and resisted. What
:26:03. > :26:08.are the chances of catching these people? One of the things we will do
:26:09. > :26:13.is highlight the list of the most serious fraudsters, we want to find
:26:14. > :26:17.out who they are, where they are coming from and the patterns of
:26:18. > :26:21.behaviour. Then we can catch and convicted them. Having twice been
:26:22. > :26:25.targeted by e-mail scammers, John and Dave believe that size is a key
:26:26. > :26:31.advantage when it comes to spotting the crooks. We are a small company
:26:32. > :26:36.and we know each other, there is no big command chain and we know
:26:37. > :26:39.everyone in the company and that is what saved us, relationships.
:26:40. > :26:42.Thank you, Dan, and thank you to tonight's guests
:26:43. > :26:47.Richard Madeley will be here tomorrow with Elaine C Smith,
:26:48. > :26:54.Arabella Weir and Alan Jones. But now over to Hans with one
:26:55. > :26:56.of the pieces he wrote for the movie Inception,
:26:57. > :27:02.this is "Time". MUSIC: "Time" by Hans
:27:03. > :28:56.Zimmer (Instrumental)