Browse content similar to 31/10/2011. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Hello and welcome to The One Show with Count Baker. And Countess | :00:24. | :00:29. | |
Jones. On a bona chilling Hallowe'en night, we need a guest | :00:29. | :00:36. | |
to help warm things up. He he is not frightening, he isn't even that | :00:36. | :00:40. | |
strange and hopefully it won't make any of us go bump in the night, | :00:40. | :00:50. | |
:00:50. | :00:55. | ||
please enter Lenny Henry! Happy Hallowe'en! Happy Hallowe'en! There | :00:55. | :01:01. | |
really did say, mind your coat as you go in there. A we have moved | :01:01. | :01:10. | |
our studio outside. It's not our usual home. Talk about BBC cuts! It | :01:10. | :01:16. | |
is disgraceful, what are we paying our licence fee on - give them a | :01:16. | :01:23. | |
studio! There's a little as something on the side for you, if | :01:23. | :01:32. | |
you fancy it. You can get more dressed up. In the meantime we will | :01:32. | :01:37. | |
take a look at these, David Turner made these pumpkins earlier and he | :01:37. | :01:42. | |
is working on at Lenny Henry creation as we speak. I am going to | :01:42. | :01:48. | |
be in a pumpkin? I love the show! Where else could you be in a | :01:48. | :01:54. | |
pumpkin! Where else could you get an audience like this? Look how | :01:54. | :01:57. | |
scary they are. We would like to see you at home if you are dressed | :01:57. | :02:03. | |
up in honour Hallowe'en costumes, get your foot rose to us. Lenny | :02:03. | :02:11. | |
Henry it will pick his favour at a later on. We're also going to be | :02:11. | :02:14. | |
talking about Lenny's new play by the man who brought us Hubble, | :02:14. | :02:19. | |
bubble, toil and trouble. But before all that, Angelica Bell is | :02:19. | :02:26. | |
hearing voices from be on the grave. Or is she? | :02:26. | :02:29. | |
By the mid- 80 hundreds, the explosion of scientific research in | :02:29. | :02:35. | |
many areas began to present serious challenges to age old certainties. | :02:35. | :02:38. | |
At the same time, there was a growing interest in proving the | :02:38. | :02:42. | |
existence of life after death. Spiritualism, the belief that we | :02:42. | :02:46. | |
can contact the dead, developed a popular following in the United | :02:46. | :02:51. | |
States. In the mid- 19th century, spiritualism was introduced into | :02:51. | :02:56. | |
Britain from America. Right at the centre of Victorian spiritualism | :02:56. | :02:59. | |
was the seance which seemed to offer practical evidence of contact | :02:59. | :03:04. | |
with the after life in an almost scientific way. It attracted a wide | :03:04. | :03:07. | |
range of intellectuals, public figures and scientists. In those | :03:08. | :03:13. | |
days, this was a predominantly Christian society and everyone | :03:13. | :03:17. | |
accepted life after death as a reality so when Darwin published in | :03:17. | :03:23. | |
1859, the origin of the species, then this really caused huge | :03:23. | :03:26. | |
disruption. Suddenly there was another explanation for how we got | :03:27. | :03:31. | |
here and it didn't rely on us being got's special creation. Many of the | :03:31. | :03:36. | |
great thinkers of the day were taken end by this brutalist | :03:36. | :03:42. | |
movement. Sir Arthur Conan Doyle and many schemas scientists. | :03:42. | :03:47. | |
seances became more popular, audiences grew and so did this | :03:47. | :03:57. | |
:03:57. | :03:57. | ||
potential for or strange behaviour. What was it about the sales that | :03:57. | :04:02. | |
worked so well for Victorian mediums? I think they stumbled on a | :04:02. | :04:06. | |
great formula for playing tricks on people's minds. You are in complete | :04:06. | :04:09. | |
darkness, there is the fear associated with contacting the dead, | :04:09. | :04:14. | |
so it is a wonderful setting for being filled. What was a Victorian | :04:14. | :04:18. | |
seance really like and what we still be susceptible to their | :04:18. | :04:23. | |
tricks today? The professor is going to recreate the seance and | :04:23. | :04:27. | |
using basic tricks, he will try to fill our volunteers into believing | :04:27. | :04:31. | |
they are witnessing a paranormal event. He begins by passing around | :04:31. | :04:34. | |
objects of which he says he will used to channel the spirits. He | :04:34. | :04:40. | |
lowers the lights and changes his boys. If you are there, we want you | :04:40. | :04:47. | |
to make your presence known. To drift back through time and join us. | :04:47. | :04:51. | |
It is absolutely terrifying in the dark. I cannot see a thing and I | :04:51. | :04:55. | |
have no idea what will happen next. Suddenly, strange things start to | :04:55. | :05:05. | |
:05:05. | :05:05. | ||
happen. Excellent! The ball appears to shoot up of the table and float | :05:05. | :05:12. | |
around the room. There are sceptics here, show them the ball! Hang on a | :05:12. | :05:22. | |
:05:22. | :05:23. | ||
minute, who is that in the corner? Drop the ball! A well-documented | :05:23. | :05:27. | |
technique in fake seances was to hide an assistant who cannot be | :05:27. | :05:33. | |
seen. The assistant hides behind the curtain bidding us to work out | :05:33. | :05:39. | |
what has just happened. Did anyone believe there was a spread in | :05:39. | :05:45. | |
there? Yes, it was very scary. you go in believing that these | :05:45. | :05:50. | |
things are real, the effects would be very convincing. I do believe in | :05:50. | :05:55. | |
the afterlife but I did also look for a string in the ball when it | :05:55. | :06:00. | |
could be on the shoulders! But I couldn't find any. There are is no | :06:00. | :06:03. | |
scientific evidence to suggest it is possible to contact the dead | :06:03. | :06:05. | |
through the medium but some Victorians were drawn into | :06:05. | :06:10. | |
believing that seances real just like those Victorians, our | :06:10. | :06:13. | |
volunteers were equally susceptible to display a clever tricks and the | :06:13. | :06:19. | |
dark. Before we judge the Victorians for their beliefs in | :06:19. | :06:22. | |
spiritualism, we should put ourselves in their shoes and wonder, | :06:22. | :06:32. | |
are we any better today than telling truth from fantasy? | :06:32. | :06:36. | |
It is really strange that through that film, that light started | :06:36. | :06:41. | |
flashing with no help from anyone, that is incredible. Oh, for | :06:41. | :06:48. | |
goodness sake! He is just joining in with the spread of the programme. | :06:48. | :06:52. | |
Before we talk about your new Shakespeare play, let's talk about | :06:52. | :06:58. | |
your new comedy special, The One Lenny, coming up soon. That was | :06:58. | :07:08. | |
:07:08. | :07:08. | ||
just a firework. We're alright! OK, carry on. Yes, The One Lenny is a | :07:09. | :07:18. | |
:07:19. | :07:21. | ||
comedy programme. I think Jasper Carrot is doing one and mind is on | :07:21. | :07:25. | |
later this year. I do some old characters, some new characters and | :07:25. | :07:31. | |
we believe we are going to see a clip from something special. It is | :07:31. | :07:38. | |
a spoof of twilight with a guest appearance from Ronnie Ancona. | :07:38. | :07:43. | |
You are impossibly strong, her eyes change colour and sometimes you | :07:43. | :07:47. | |
speak as if you are from a different world. Europe skin is | :07:47. | :07:56. | |
pale white, yet black! I know where you're from. Go on? You are from | :07:56. | :08:06. | |
Birmingham. Is it that obvious! Brilliant! My daughter loves | :08:06. | :08:11. | |
twilight so that was for her. now has a blood dripping from his | :08:11. | :08:16. | |
lips. That is very apt for Shakespeare because you are now in | :08:16. | :08:22. | |
a second Shakespeare play? Yes, I am doing a comedy of errors at the | :08:22. | :08:27. | |
National Theatre. We still have week for at rehearsals. There are | :08:27. | :08:32. | |
26 of us in the cast. We're on a massive stage so they are making us | :08:32. | :08:38. | |
run around a lot. I have to go to the gym every day to keep fit and | :08:38. | :08:42. | |
we have lots of students in their pants eating crisps and I am | :08:42. | :08:46. | |
working really hard but every morning, I am there to try and keep | :08:46. | :08:52. | |
up with these young people on the show. It is called the Comedy of | :08:52. | :08:58. | |
Errors, is it funny even today? writing is 400 years and it is | :08:58. | :09:02. | |
incredibly resonant. It is all about money and credit and it is | :09:02. | :09:06. | |
set in modern-day London. It is about transplanting people from one | :09:06. | :09:11. | |
culture to another and it is about two sets of twins looking for each | :09:11. | :09:15. | |
other and not finding it other until the very end. There are lots | :09:15. | :09:25. | |
:09:25. | :09:27. | ||
of cases of false identity. It is a wonderful play, there is lots of | :09:27. | :09:33. | |
laughter in rehearsals and we are enjoying it. You could get a jumbo | :09:33. | :09:38. | |
jet in the rehearsal room, it is extraordinary. We start in mid- | :09:38. | :09:44. | |
November and it is going to be on until March. Very exciting. | :09:44. | :09:48. | |
Comedy Of Errors starts on 22nd November at the National Theatre in | :09:48. | :09:55. | |
London and look out for The One Lenny which is on later this year. | :09:55. | :10:00. | |
At a television set near you, viewers! Also coming up his | :10:00. | :10:04. | |
Children in Need night on 18th November and to help raise money | :10:04. | :10:07. | |
for disadvantaged children across the UK, I will be pedalling from | :10:07. | :10:12. | |
Edinburgh to London on a rickshaw. Why are you doing that? To raise | :10:12. | :10:21. | |
money. Of course. On a rickshaw? Will you be wearing a hat? | :10:21. | :10:28. | |
hammered for most of it, I think. It is going to require blood, | :10:28. | :10:38. | |
:10:38. | :10:42. | ||
sweat... Just say the lines. Here is much in training. Mad has been | :10:42. | :10:48. | |
training incredibly hard but things are a got -- about to get tougher. | :10:48. | :10:53. | |
I know it is a very different experience from a normal bike and | :10:53. | :10:58. | |
today is the first day I will get a chance to ride at. Here she is then, | :10:58. | :11:07. | |
the beauty. Gavin will be putting mad through his paces. You can see | :11:07. | :11:12. | |
how quickly it turns around. feels like a circus vehicle. With a | :11:12. | :11:18. | |
passenger, it will weigh up to 25 stone, the equivalent of a female | :11:18. | :11:24. | |
grizzly bear but Pudsey Bear will do for starters! Matt's children | :11:24. | :11:31. | |
are here to see him off. Today, he is attempting at Trent mile | :11:31. | :11:34. | |
training as a put it on the challenge he will be doing up to 70 | :11:34. | :11:42. | |
miles a day. You got it stages, some are mountain stages. It is | :11:42. | :11:47. | |
like a mini Tour de France. Downhill is brilliant, we are | :11:47. | :11:54. | |
hitting 15 miles an hour. But it is not downhill for long. Oh! Even | :11:54. | :12:01. | |
this, it's hardly a hill. Matt will face over 60 Hills during the days. | :12:01. | :12:06. | |
Added together, they are nearly as high as Mount Everest. O'Grady, | :12:06. | :12:12. | |
another hill. His highest hill will be in County Durham, an | :12:13. | :12:17. | |
excruciating five mile uphill Croll it will take nearly one art. | :12:17. | :12:25. | |
thought of doing 80 miles a day, it is awful. The fatigue will build | :12:25. | :12:30. | |
and that is when even the smaller hills it all seemed big. Much will | :12:30. | :12:35. | |
also have to carry extra weight. How will he do with his first | :12:35. | :12:45. | |
:12:45. | :12:48. | ||
passenger? We are actually going slower than a walking pace. From | :12:48. | :12:53. | |
Ikea, I can't take in the use of the English countryside. It has | :12:53. | :12:57. | |
taken up Matt three hours to do just 10 miles. At this rate, is | :12:57. | :13:01. | |
going to have to cycle 24 hours a day to complete the journey from | :13:01. | :13:06. | |
Edinburgh to London. In mid- November, it will be cold, wet and | :13:06. | :13:13. | |
very dark. The sheer scale of it is finally dawning on that. I know how | :13:13. | :13:17. | |
horrendous it will be when I'm going up the hill and you just have | :13:17. | :13:21. | |
to prepare yourself for that and take one step at a time were one | :13:21. | :13:27. | |
tiny cycle at a time. It will be hard work, painful, but I'll do my | :13:27. | :13:35. | |
best, that's all I can do. To support Matt's rickshaw | :13:35. | :13:45. | |
:13:45. | :13:59. | ||
Heavy going number Lenny Henry? I had a surprise for you, I've got | :13:59. | :14:09. | |
:14:09. | :14:10. | ||
the amount you have raised so far. �$41.60 Sana'a and 23. | :14:10. | :14:16. | |
Congratulations! Thank you so much for your donations and keep them | :14:16. | :14:26. | |
:14:26. | :14:31. | ||
Trick or treat! Right, trick or treat. Let's turn the telly off. | :14:31. | :14:39. | |
Hello, you lot. How are things? we don't want tricks, do we Matt? | :14:39. | :14:46. | |
But Lenny has lots of treats, so, Peter, how will you scare us. | :14:46. | :14:53. | |
tell a scary jokes. Why don't mummies take holidays? Why? They | :14:54. | :15:03. | |
:15:04. | :15:07. | ||
Now, how are you going to scare Henny? I am going to give him a | :15:07. | :15:11. | |
scary face. OK, look into the camera and pull | :15:11. | :15:15. | |
your scary face. Terrifying! Very good. | :15:15. | :15:19. | |
Go on, get yourself a treat. You deserve one for that. Now, then, | :15:19. | :15:27. | |
Freddie, what are you going to do? I'm going to howl, like a wolf. | :15:27. | :15:29. | |
Very good! Brilliant stuff. Thank you very much. | :15:29. | :15:33. | |
Now, then, of course, Hallowe'en would not be Hallowe'en without | :15:33. | :15:38. | |
scary sounds. Of course! There they are. | :15:38. | :15:43. | |
Argh! Now, then, these guys are showing us how some of the earie | :15:43. | :15:49. | |
tunes are created for the movies, but first, Carrie Grant has been | :15:49. | :15:59. | |
:15:59. | :16:02. | ||
finding out why some chords lead to dischord! These surroundings at | :16:02. | :16:06. | |
King's College Chapel in London are magnificent, but that music is | :16:06. | :16:09. | |
setting my teeth on edge. And that's because of something | :16:09. | :16:19. | |
known as the the devil's chord! This arrangement of notes which | :16:19. | :16:23. | |
when combined sound unsettling appeared in the scariest sequence | :16:23. | :16:33. | |
:16:33. | :16:35. | ||
in the scariest film ever made. Argh! And the devil's chord is | :16:35. | :16:41. | |
reckoned by some to be at the heart of what gives heavy metal music its | :16:41. | :16:49. | |
unique appeal. Indeed, Black Sabbath's Osie Osbourne remembers | :16:49. | :16:55. | |
it having a great effect on their audience. | :16:55. | :17:01. | |
P would scare people out. We probably here the devil's chord | :17:01. | :17:08. | |
used as an accompaniment to drama, whether it is on stage, cinema or | :17:08. | :17:17. | |
television. Sam Watts writes music for TV. He uses the devil's chord | :17:17. | :17:22. | |
to write the characters for the Dr Who spin-off. | :17:22. | :17:26. | |
We had a Charles Kennedy called Spelman who dressed up as a | :17:26. | :17:30. | |
ringmaster. There is something about those | :17:30. | :17:34. | |
melodies that sound slightly wrong, almost? It is funny to use that | :17:34. | :17:39. | |
word wrong in music, but it does sound wrong? Yes, because I think | :17:39. | :17:44. | |
that the devil's chord is not a traditional harm ony it does sway | :17:44. | :17:50. | |
things to feeling slightly wrong. So, what exactly is the devil's | :17:51. | :17:56. | |
chord? It got its name after tales that the medieval church would | :17:56. | :18:04. | |
excommunicate musicians that used I need an expert to explain the | :18:04. | :18:09. | |
musical technicalities. Professor John Deathridge knows it by its | :18:09. | :18:13. | |
proper flame. The interval is the distorlted | :18:13. | :18:17. | |
version of the five-note scale. Which then if you lower the top | :18:17. | :18:23. | |
note it becomes... The devil's interval. That does not sound too | :18:23. | :18:31. | |
threatening, however if you do it like this... It sounds more | :18:31. | :18:36. | |
sinister. So, give examples of it being used | :18:36. | :18:42. | |
in music? One of the best examples is in The Ring by Wagner. He | :18:42. | :18:46. | |
created one of the most evil characters, the way he did it was | :18:46. | :18:56. | |
:18:56. | :18:58. | ||
to give him the devil's interval. That does sound sufficiently eeily, | :18:58. | :19:08. | |
:19:08. | :19:24. | ||
doesn't it? It does. Oh! Pure evil! It's evil and | :19:24. | :19:29. | |
splendid at the same time! I don't know about that! Much of the evil | :19:29. | :19:33. | |
power of the devil's chord is because of its association with | :19:33. | :19:40. | |
scary stuff. For example in Hollywood tpw you | :19:40. | :19:47. | |
wanted a -- if you wanted a film with Boris Karloff in it, you would | :19:47. | :19:52. | |
use this music. The interval can be used for a | :19:52. | :19:56. | |
benign reason, it can be the most beautiful sound in the world. The | :19:56. | :20:06. | |
:20:06. | :20:09. | ||
famous song, Maria. But despite friendly uses of the | :20:09. | :20:18. | |
devil's chord, it has not lost its power to unnerve and unsettle. | :20:18. | :20:27. | |
Don't have nightmares... Will you?! Well, as we mentioned before that | :20:27. | :20:34. | |
film, we have Kevin and James from the Purcell Music School in | :20:34. | :20:38. | |
Hertfordshire, they are here to create some bold chilling sounds. | :20:38. | :20:42. | |
You have a variety of instruments, James is, we hope, playing dead | :20:42. | :20:46. | |
here. So, what have you got there, Kevin? | :20:46. | :20:51. | |
We thought we would go to the disused oil refinery. It is big, | :20:51. | :20:58. | |
dirty, smelly, slippery, and, Matt... We're going in! Fair enough. | :20:59. | :21:08. | |
:21:09. | :21:10. | ||
Oh! That is earie. Oh, gosh! Then! Right? The awful | :21:10. | :21:18. | |
moment... The hanging! Oh, I felt a chill in my bottom area then. | :21:18. | :21:24. | |
Then he wakes up the assistant to give us some wind through the | :21:24. | :21:34. | |
:21:34. | :21:34. | ||
broken window. Come on, James. | :21:34. | :21:44. | |
What about that? Horror of horrors, she falls! I'll get that | :21:44. | :21:48. | |
I'll get that, don't worry. This is supposed to be serious! | :21:48. | :21:53. | |
Sorry, I was interpretting the door bell! Very good. Thank you very | :21:53. | :22:00. | |
much. Are you awake now? Alive? Now, voices from the depths of your | :22:00. | :22:06. | |
rubbish bin! No! Oh, yes. Phil Tufnell has been finding out | :22:06. | :22:11. | |
about a new way to exercise the litter-throwing demon that may lurk | :22:11. | :22:20. | |
inside of you. Getting popular celebrities of the | :22:20. | :22:26. | |
day to sing about the virtues of throwing away your rubbish is not | :22:26. | :22:30. | |
new. Nice T-shirts, guys. | :22:30. | :22:39. | |
Rubbish! But being sung to when you do it is something different all | :22:39. | :22:47. | |
together. Introducing the new singing, | :22:47. | :22:54. | |
talking and even burping bins! When you chuck a can into one of these | :22:54. | :22:59. | |
fellows mouths there is a recorded greeting from a celebrity. | :23:00. | :23:05. | |
It may be Amanda Holden. I'm Amanda Holden that was rubbish! | :23:05. | :23:11. | |
Or Kenny Logan. Or, even me! That was straight in! Every year we drop | :23:12. | :23:16. | |
more than 30 tonnes of litter on our streets. The cost of what we | :23:16. | :23:21. | |
throw out of our pockets will be hitting us as the council spends | :23:21. | :23:24. | |
over �855 million per year cleaning up after us. | :23:24. | :23:29. | |
Collette has been working on the talking bins campaign. She thing it | :23:29. | :23:32. | |
is is time to get tough on the littler bugs. | :23:32. | :23:37. | |
In New York, where I am from, if you drop litter, 20 people will tap | :23:37. | :23:42. | |
you on the shoulder and tell you not to do that. You can travel for | :23:42. | :23:48. | |
a month in Manhattan and almost see none, but in this capital city, you | :23:48. | :23:51. | |
can walk 20 steps before encountering the next piece of | :23:51. | :23:54. | |
litter. Who should be blamed? Well, I | :23:54. | :23:58. | |
really think we have to blame the councils. The answer is not having | :23:58. | :24:04. | |
more street cleaners, it is time for the councils to slap on some | :24:04. | :24:09. | |
fines. We are issues people with fixed penalty notes, which is like | :24:09. | :24:13. | |
a parking fine. We would rather warn people to ask them to pick it | :24:13. | :24:17. | |
up themselves and ask them not to do it again. | :24:17. | :24:22. | |
OK it is time to come clean, I have a vested interest. If you come down | :24:22. | :24:27. | |
here and use this bin in Soho, you will be in for a Phil Tufnell | :24:27. | :24:31. | |
surprise! Having a recorded message is one thing, but wigging up one | :24:31. | :24:38. | |
that talks back, now that sounds more fun! -- but rigging one up | :24:38. | :24:42. | |
that talks back, that is so much more fun. | :24:42. | :24:47. | |
Thank you very much for putting your rubbish in the bin. Hello, | :24:47. | :24:51. | |
what is your name? Mark. Do you think there should be more | :24:51. | :24:56. | |
bins in London? Yeah! You know what you have made it when you are the | :24:56. | :25:02. | |
voice of a rubbish bin. Help! I'm in the bin! Help! Hello, boys! | :25:02. | :25:07. | |
Where are you going? Stay for a while, have a chat. Don't go! I | :25:08. | :25:12. | |
need rubbish. I'm hungry. Hello, are you having a good day? Yeah. | :25:12. | :25:16. | |
Do you think there are enough rubbish bins in London? | :25:16. | :25:21. | |
Should we have more on the street corners and stuff? Definitely. | :25:21. | :25:25. | |
Talking bins may be the hi-tech way to solve the problem, but some | :25:25. | :25:31. | |
people prefer the good old fashioned way, just pick it up. Tim | :25:31. | :25:35. | |
Barnes was so annoyed about the state of the litter around his home, | :25:35. | :25:39. | |
he began to pick it up himself and set up a website to encourage | :25:39. | :25:43. | |
others to do the same. We are betting to the limit to what | :25:43. | :25:49. | |
the council can do. It is easy, it takes 15 pins -- minutes to pick up | :25:49. | :25:53. | |
the litter on my street. I don't see why others don't do that. | :25:53. | :25:58. | |
Education and direct action are a way of tackling our nation's litter | :25:58. | :26:01. | |
problem, but I still like my talking bin. | :26:01. | :26:07. | |
Oi, it is the talking bin here. Anyone got anything to eat. I'm | :26:07. | :26:12. | |
feeling hungry. Hello, do you think we need more talking bins? | :26:12. | :26:16. | |
definitely think so. Especially in areas like this. | :26:16. | :26:20. | |
It is a bit of social conscious? Yeah, we should be proud of it. | :26:20. | :26:27. | |
Yeah, keeping the country tidy. Yeah, keep Britain tidy, alright! | :26:27. | :26:32. | |
Lovely. What a random conversation to | :26:32. | :26:36. | |
finish on, but thank you very much. Lenny is looking a little worse for | :26:36. | :26:42. | |
wear. I don't feel well! Lenny... This is | :26:42. | :26:49. | |
hour lieu ie Walsh wakes up every day. | :26:49. | :26:53. | |
David Turner has been carving pumpkins all day, now he has | :26:53. | :26:57. | |
finished one of you. Let's have a look. | :26:57. | :27:06. | |
Oh, brilliant! Oh, my goodness. Isn't that fantastic!? Can he take | :27:06. | :27:12. | |
it home? I don't want to take it home! Are you nuts. | :27:12. | :27:16. | |
Also, thank you very much for the photos you have been sending of you | :27:16. | :27:23. | |
in your Hallowe'en attire. Lenny, what do you have there? | :27:23. | :27:27. | |
is Rosie from Dundee and Ellie from Swansea. | :27:27. | :27:34. | |
I'm calling Social Services! I have Louise, Becky, Maddie, Scarlett, | :27:34. | :27:38. | |
all off to scare the people of Bristol. | :27:38. | :27:44. | |
Look at Amelia here. She has broken her arm, dressed up as a pumpkin. | :27:44. | :27:52. | |
That is all the way from Leicester. This is from 11 week old daughter | :27:52. | :28:02. | |
of Amanda, Marlie. This is a little 16-month-old | :28:02. | :28:09. | |
getting into the swing of things. This is Lisa Downie getting dressed | :28:09. | :28:14. | |
So, lots of characters, Lenny, you have had 30 years in the business | :28:14. | :28:18. | |
if you could choose one character, what is your favourite? It would | :28:18. | :28:22. | |
have to be Delbert Wilkins. It started off as a character talking | :28:22. | :28:31. | |
about the Brixton riots and suddenly he has his own TV V series, | :28:31. | :28:37. | |
-- TV series. Get me! Oh, no, the door bell. | :28:37. | :28:43. | |
We haven't any sweets left, Lenny has eaten them! Lenny, thank you | :28:43. | :28:47. | |
very much for joining us and all of the bes with -- best with the The | :28:47. | :28:53. |