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Hello! Yes, it is Millie Inbetween, but not as you know it. | 0:00:30 | 0:00:34 | |
Cos I'm here. | 0:00:34 | 0:00:36 | |
I've left the CBBC office to come and give you guys the skinny | 0:00:36 | 0:00:39 | |
on everything you need to know about one of your favourite shows. | 0:00:39 | 0:00:43 | |
For 12 weeks this summer, Millie has been doing it all again. | 0:00:43 | 0:00:46 | |
Along with a team of 58 people, | 0:00:46 | 0:00:48 | |
she's hard at work filming Series Two. | 0:00:48 | 0:00:50 | |
And guess what? | 0:00:50 | 0:00:52 | |
She's invited me to come along and see how they do it. | 0:00:52 | 0:00:54 | |
We'll meet the cast. | 0:00:54 | 0:00:55 | |
It's really all glamour. | 0:00:55 | 0:00:57 | |
-We'll meet the crew. -Action! | 0:00:57 | 0:00:59 | |
We're going to see what happens | 0:00:59 | 0:01:00 | |
when things don't quite go according to plan | 0:01:00 | 0:01:04 | |
and we're going to spend a whole day with Millie behind the scenes. | 0:01:04 | 0:01:06 | |
Ah! | 0:01:06 | 0:01:08 | |
SHE YAWNS Oh, sorry. | 0:01:12 | 0:01:14 | |
I am literally never awake this early. | 0:01:14 | 0:01:17 | |
Anyway, this hotel is home away from home for Millie Innes | 0:01:17 | 0:01:20 | |
when she is filming. | 0:01:20 | 0:01:21 | |
Yes, that's right, her name actually is Millie, | 0:01:21 | 0:01:24 | |
and she's about to begin her working day. | 0:01:24 | 0:01:26 | |
PHONE RINGS | 0:01:26 | 0:01:28 | |
Hello. | 0:01:31 | 0:01:32 | |
Good morning, Millie. It's that time again. | 0:01:32 | 0:01:35 | |
-OK. Bye. -Bye. | 0:01:35 | 0:01:36 | |
We asked what you wanted to know about Millie Inbetween | 0:01:37 | 0:01:40 | |
and you've sent us literally hundreds of questions. | 0:01:40 | 0:01:45 | |
So, now that she's had a chance to wake up, | 0:01:45 | 0:01:47 | |
I think it's time we got some answers. | 0:01:47 | 0:01:49 | |
AmethystBrainyCat, along with others, wanted to know, | 0:01:49 | 0:01:53 | |
"When did you decide to become an actor?" | 0:01:53 | 0:01:56 | |
It all started for me when I was about three and, erm, | 0:01:56 | 0:01:59 | |
one day I was sitting on the sofa, | 0:01:59 | 0:02:01 | |
watching Tracey Beaker on the TV, sandwiched in between my mum and dad | 0:02:01 | 0:02:04 | |
and I said, "I'm going to be in a show like that." | 0:02:04 | 0:02:07 | |
Millie actually got the chance to work with her childhood heroine | 0:02:07 | 0:02:10 | |
Dani Harmer when she was only nine. | 0:02:10 | 0:02:13 | |
On my first day of Dani's House, I was freaking out. | 0:02:13 | 0:02:17 | |
I was so excited cos I'd watched the show for years. | 0:02:17 | 0:02:21 | |
Like, little nine-year-old me was all excited. | 0:02:21 | 0:02:24 | |
I kind of got over being a bit starstruck | 0:02:24 | 0:02:27 | |
after about the first week and then we all just became a massive family. | 0:02:27 | 0:02:32 | |
Working with the person who'd first inspired her | 0:02:32 | 0:02:34 | |
was a big deal for Millie, | 0:02:34 | 0:02:36 | |
but there was more inspiration to come. | 0:02:36 | 0:02:38 | |
I think the most inspirational person I've worked with would | 0:02:38 | 0:02:41 | |
have to be Jason Isaacs, | 0:02:41 | 0:02:43 | |
who's known for Harry Potter and Peter Pan and stuff. | 0:02:43 | 0:02:46 | |
I was in Case Histories with him, | 0:02:46 | 0:02:48 | |
and it's a series based on books by Kate Atkinson. It's a BBC drama. | 0:02:48 | 0:02:52 | |
So he taught me loads, and a lot of my work ethic now is to do with him. | 0:02:52 | 0:02:58 | |
I always have to remember that when I'm filming it is a job, | 0:02:58 | 0:03:01 | |
it's not a hobby. | 0:03:01 | 0:03:04 | |
It is fun, but we always have to get the scenes done. | 0:03:04 | 0:03:07 | |
BlushHappyFarmer wanted to know, | 0:03:07 | 0:03:10 | |
"Who looks after you when you're away filming?" | 0:03:10 | 0:03:12 | |
Jacqui Green is my chaperone and tutor. | 0:03:12 | 0:03:15 | |
She's basically the person that looks after me and is there for me. | 0:03:15 | 0:03:18 | |
24/7, when I'm on set, she's like my second mum | 0:03:18 | 0:03:22 | |
when I'm away filming. | 0:03:22 | 0:03:23 | |
The role of a chaperone, really, is to make sure | 0:03:23 | 0:03:26 | |
that the children are looked after properly. | 0:03:26 | 0:03:28 | |
That includes where they're staying, | 0:03:28 | 0:03:31 | |
how many hours they work, | 0:03:31 | 0:03:33 | |
to make sure that they get their adequate tuition | 0:03:33 | 0:03:36 | |
and that they're very happy. | 0:03:36 | 0:03:38 | |
The studio is just a short walk from Millie's hotel. | 0:03:38 | 0:03:41 | |
It's still really early. | 0:03:41 | 0:03:42 | |
They haven't even had their breakfast yet, | 0:03:42 | 0:03:45 | |
but Millie and Co aren't the only early birds. | 0:03:45 | 0:03:48 | |
The make-up and wardrobe teams have to get the cast ready | 0:03:50 | 0:03:52 | |
for the first scene of the day. | 0:03:52 | 0:03:54 | |
Right, has anyone noticed | 0:03:54 | 0:03:56 | |
there isn't actually any wardrobes in here? | 0:03:56 | 0:03:58 | |
Like, seriously, not even one. | 0:03:58 | 0:04:00 | |
And I need to shave, cos I'm a real man. | 0:04:02 | 0:04:05 | |
So, I do that, then I get changed into my costume, | 0:04:05 | 0:04:09 | |
have some breakfast, | 0:04:09 | 0:04:11 | |
go on set and produce the magic. | 0:04:11 | 0:04:15 | |
It's all go, getting bed heads tamed before the actors hit | 0:04:15 | 0:04:18 | |
the studio floor. | 0:04:18 | 0:04:20 | |
The make-up department. | 0:04:20 | 0:04:21 | |
The perfect opportunity to gather some more intel | 0:04:21 | 0:04:24 | |
and get the answers to some of your questions. | 0:04:24 | 0:04:27 | |
Lots of you asked, | 0:04:27 | 0:04:28 | |
"What's the best thing about being an actor?" | 0:04:28 | 0:04:31 | |
The best things about being an actor | 0:04:31 | 0:04:33 | |
are being able to play a character | 0:04:33 | 0:04:36 | |
and truly lose yourself through performing | 0:04:36 | 0:04:39 | |
and getting to meet and work with such wonderful people. | 0:04:39 | 0:04:42 | |
It's honestly the only job I could see myself doing | 0:04:42 | 0:04:45 | |
and I love it with all my heart. | 0:04:45 | 0:04:46 | |
Another popular question was, | 0:04:46 | 0:04:48 | |
"Is Millie like her character?" | 0:04:48 | 0:04:50 | |
Some nights when I look at the scenes for the next day, | 0:04:50 | 0:04:53 | |
I see a scene and I understand where Millie's coming from completely, | 0:04:53 | 0:04:57 | |
whether it's a piece to MillieCam or she's just in a scene by herself, | 0:04:57 | 0:05:01 | |
or if it's a scene with Lauren, in particular, | 0:05:01 | 0:05:04 | |
I find that really easy to play because I know what Millie's feeling | 0:05:04 | 0:05:08 | |
or how to understand what she's saying. | 0:05:08 | 0:05:11 | |
And she's got a new necklace, which is, like, my favourite thing | 0:05:11 | 0:05:13 | |
in the whole wide world! | 0:05:13 | 0:05:15 | |
It says "Millie" with wee glasses on! | 0:05:15 | 0:05:18 | |
While the cast are getting their cossies and make-up on, | 0:05:18 | 0:05:20 | |
there's loads more going on behind the scenes. | 0:05:20 | 0:05:23 | |
Let's take a trip to the engine room to meet the people | 0:05:23 | 0:05:25 | |
who keep this show on the road. | 0:05:25 | 0:05:27 | |
Round here, they're called production. | 0:05:27 | 0:05:30 | |
There's so much organisation behind a show like this, | 0:05:30 | 0:05:33 | |
and here is where it all happens. | 0:05:33 | 0:05:35 | |
Whether you need cast, crew, equipment, scripts, | 0:05:35 | 0:05:38 | |
transport, they'll sort it. | 0:05:38 | 0:05:40 | |
And if the director absolutely has to have a pink elephant, | 0:05:40 | 0:05:43 | |
then production will do their very best to find one. | 0:05:43 | 0:05:46 | |
If there's a pink elephant with an agent, | 0:05:46 | 0:05:48 | |
then we get into negotiation | 0:05:48 | 0:05:50 | |
and then we have to work out how much the pink elephant costs | 0:05:50 | 0:05:53 | |
and exactly how we're going to get it into the studio. | 0:05:53 | 0:05:56 | |
Seriously, though, it takes so much organisation | 0:05:58 | 0:06:01 | |
to get this show into production and keep it running smoothly. | 0:06:01 | 0:06:05 | |
There is nothing left to chance. | 0:06:05 | 0:06:07 | |
All over the studio complex, the team is working to a carefully | 0:06:07 | 0:06:10 | |
worked-out timetable so everything will be ready | 0:06:10 | 0:06:13 | |
when the actors arrive on the studio floor. | 0:06:13 | 0:06:16 | |
And today, I get to join them. | 0:06:16 | 0:06:18 | |
Come on. We've just got time for a sneaky peak | 0:06:19 | 0:06:21 | |
on set before the cameras roll. | 0:06:21 | 0:06:22 | |
Even though it might look it, none of this is real. | 0:06:32 | 0:06:35 | |
Somebody had to imagine Millie's world | 0:06:35 | 0:06:37 | |
and then create it completely from scratch. | 0:06:37 | 0:06:40 | |
OK, so welcome to Millie's mum's house. | 0:06:45 | 0:06:48 | |
And this is actually the set of the upstairs bit | 0:06:48 | 0:06:50 | |
and this is Millie's bedroom | 0:06:50 | 0:06:53 | |
that she shares with Lauren, of course, | 0:06:53 | 0:06:55 | |
and it's amazing. | 0:06:55 | 0:06:57 | |
It actually just looks like any teenager's bedroom. | 0:06:57 | 0:07:00 | |
Millie's diary. | 0:07:01 | 0:07:03 | |
I don't know if I'm allowed to touch this, but I've just gone for it. | 0:07:03 | 0:07:06 | |
Shouldn't look at that. It's probably private! | 0:07:06 | 0:07:08 | |
I like that we've got a fictional band up on the wall there | 0:07:08 | 0:07:11 | |
called The Temper Hearts. | 0:07:11 | 0:07:12 | |
Unless they're a real band and I'm not cool enough to know them. | 0:07:12 | 0:07:15 | |
Maybe they are. | 0:07:15 | 0:07:17 | |
The attention to detail in these sets | 0:07:17 | 0:07:19 | |
are absolutely incredible. There is just so much stuff. | 0:07:19 | 0:07:23 | |
Something which I really love is the photos all around the set. | 0:07:25 | 0:07:29 | |
That's baby Lauren, which is actually baby Tallulah from | 0:07:29 | 0:07:32 | |
when she was really, really little. | 0:07:32 | 0:07:34 | |
How cute is her hair? | 0:07:34 | 0:07:36 | |
OK, let's, er, have a look at what's downstairs. | 0:07:37 | 0:07:40 | |
Nothing! | 0:07:43 | 0:07:44 | |
There's nothing down here. It's just set. | 0:07:44 | 0:07:47 | |
Right, guys, just give me a second cos I just need to use the toilet. | 0:07:48 | 0:07:51 | |
All right? I'll be two... What? Don't use the toilet? | 0:07:51 | 0:07:54 | |
What? It's not real? | 0:07:54 | 0:07:56 | |
Ha-ha! | 0:07:56 | 0:07:57 | |
That could have been embarrassing! | 0:07:57 | 0:07:59 | |
OK, guys. Eight o'clock. Thank you. Everyone on the floor, please. | 0:07:59 | 0:08:02 | |
Dario, send me the cast straight away. | 0:08:02 | 0:08:04 | |
And now it's time for me to go to set. | 0:08:06 | 0:08:08 | |
Morning, everybody. | 0:08:11 | 0:08:13 | |
OK? How are you doing? | 0:08:13 | 0:08:15 | |
Ever wondered what someone means | 0:08:15 | 0:08:16 | |
when they say they're calling the shots? | 0:08:16 | 0:08:19 | |
Well, you're about to find out. | 0:08:19 | 0:08:20 | |
Dez the director is breaking the scene down. | 0:08:20 | 0:08:23 | |
He explains what each shot will be, what the actors are doing, | 0:08:23 | 0:08:26 | |
and what the crew should prepare for. | 0:08:26 | 0:08:28 | |
You just appear right in shot, yeah? | 0:08:28 | 0:08:30 | |
It should be wide enough to see her go to the bed. | 0:08:30 | 0:08:33 | |
Everyone then gets a chance to rehearse | 0:08:33 | 0:08:35 | |
before the cameras roll for real. | 0:08:35 | 0:08:37 | |
Go out with you, loser. | 0:08:37 | 0:08:40 | |
OK, so, Millie for mics, please. Thank you very much. | 0:08:40 | 0:08:43 | |
Let's set for that now, please. Thank you. | 0:08:43 | 0:08:46 | |
..rest of the script, and, again, | 0:08:46 | 0:08:48 | |
get right in before you go "A date?" | 0:08:48 | 0:08:49 | |
You're still saying it on the move. | 0:08:49 | 0:08:52 | |
-It's a cut point. -Thank you. | 0:08:52 | 0:08:54 | |
Now the director has given his feedback, | 0:08:54 | 0:08:56 | |
let's see how the take goes. | 0:08:56 | 0:08:59 | |
OK, take one. First scene of the day. | 0:09:01 | 0:09:04 | |
And action! | 0:09:04 | 0:09:05 | |
Ooh! Double chin prop! What's the matter? | 0:09:09 | 0:09:12 | |
If you must know, it's Fran. | 0:09:12 | 0:09:15 | |
She set me up on a date. | 0:09:15 | 0:09:16 | |
On a date?! With a boy? | 0:09:18 | 0:09:21 | |
The director keeps a careful eye on every aspect of the scene | 0:09:21 | 0:09:25 | |
and if anything isn't right, | 0:09:25 | 0:09:27 | |
they have to do it all over again. | 0:09:27 | 0:09:30 | |
And you're welcome. | 0:09:30 | 0:09:31 | |
OK, I'm going to cut and go one more time, please. | 0:09:34 | 0:09:37 | |
In dramas, like Millie Inbetween, | 0:09:39 | 0:09:41 | |
the actors have to do the scene over and over and over again. | 0:09:41 | 0:09:45 | |
That's to make sure that it is perfect. | 0:09:45 | 0:09:48 | |
CeriseWizzingRose asked, "Is the director very strict?" | 0:09:48 | 0:09:52 | |
I think the director has to be, to get everything done, | 0:09:52 | 0:09:55 | |
to get all the scenes done by the end of the day, | 0:09:55 | 0:09:58 | |
but Dez isn't too strict. | 0:09:58 | 0:10:00 | |
-Sh! -Only sometimes. -Don't say that. -No, he's not. | 0:10:00 | 0:10:03 | |
Don't say that. I am strict. I am strict. | 0:10:03 | 0:10:06 | |
-Yeah, you are. -I'm strict in a nice way. | 0:10:06 | 0:10:08 | |
In a not a strict way. | 0:10:08 | 0:10:09 | |
THEY LAUGH | 0:10:09 | 0:10:11 | |
Right, thank you. Here we go, then. Action! | 0:10:11 | 0:10:14 | |
I wonder what Jake's doing today. I might give him a call. | 0:10:16 | 0:10:19 | |
Cut! Thank you. Much better. | 0:10:23 | 0:10:25 | |
That went well, but do you know what? | 0:10:25 | 0:10:28 | |
It doesn't always go that smoothly. | 0:10:28 | 0:10:30 | |
I'll get Mike and Craig out of the way | 0:10:30 | 0:10:32 | |
and then we can get Miss Knope out of here. | 0:10:32 | 0:10:36 | |
THEY LAUGH | 0:10:36 | 0:10:37 | |
-Do you know what? I think I'm going to go for a walk. -Fine. | 0:10:39 | 0:10:42 | |
Totally missed me. | 0:10:42 | 0:10:44 | |
THEY LAUGH | 0:10:44 | 0:10:45 | |
I shall have to shatter it with the power of my mouth. | 0:10:47 | 0:10:52 | |
LAUGHING | 0:10:52 | 0:10:53 | |
CRASHING | 0:10:57 | 0:10:59 | |
That didn't go as planned. | 0:10:59 | 0:11:01 | |
I'm just going to scout out over here. | 0:11:01 | 0:11:04 | |
You know, just check it out a little. | 0:11:04 | 0:11:06 | |
Whatever, Mill. | 0:11:06 | 0:11:08 | |
Can you just stop giving me that attitude, please? | 0:11:08 | 0:11:11 | |
Here, I got you these. | 0:11:11 | 0:11:13 | |
Sorry. | 0:11:16 | 0:11:17 | |
Ninja! | 0:11:22 | 0:11:24 | |
They didn't work. | 0:11:25 | 0:11:26 | |
-Chrissie! -Hello, Justin! | 0:11:30 | 0:11:32 | |
-MUFFLED: -What are you doing here? Sorry! | 0:11:32 | 0:11:35 | |
Well, they do say you should never speak with your mouth full! | 0:11:35 | 0:11:39 | |
Another popular question was, | 0:11:39 | 0:11:41 | |
"What's the best thing about being on Millie Inbetween?" | 0:11:41 | 0:11:44 | |
The best thing about being an actor on Millie Inbetween | 0:11:44 | 0:11:47 | |
would probably be everyone on the set. | 0:11:47 | 0:11:50 | |
Everyone's just really amazing. | 0:11:50 | 0:11:52 | |
Right, guys, nice and quiet now. | 0:11:52 | 0:11:54 | |
My special starter, tower of salad! | 0:11:54 | 0:11:57 | |
Being able to see yourself on TV, it's kind of like, | 0:11:57 | 0:12:00 | |
"Wow, I did that." | 0:12:00 | 0:12:02 | |
It's a lot of hard work, but it's fun at the same time. | 0:12:03 | 0:12:06 | |
Like the experience and the people who you meet - | 0:12:07 | 0:12:10 | |
Millie, Mya, Tallulah. | 0:12:10 | 0:12:13 | |
All the crew on this know each other really well | 0:12:13 | 0:12:15 | |
and, obviously, for most of the cast it's the second year running, | 0:12:15 | 0:12:18 | |
so, like, I go and see films with Theo and Hannah, | 0:12:18 | 0:12:20 | |
or I've gone bowling with Jeremy, | 0:12:20 | 0:12:22 | |
or, you know, we've had a few nights | 0:12:22 | 0:12:25 | |
round at Richard's and that sort of thing, | 0:12:25 | 0:12:26 | |
where we've all had food together. | 0:12:26 | 0:12:28 | |
OK, time for some Millie Inbetween stats. | 0:12:28 | 0:12:31 | |
How many lights do you think there are between Mum's house | 0:12:31 | 0:12:34 | |
and Dad's flat? | 0:12:34 | 0:12:35 | |
68 plus 12, | 0:12:35 | 0:12:36 | |
that's 100 and 2 over there. | 0:12:36 | 0:12:39 | |
Do you know what? It's 200. | 0:12:39 | 0:12:41 | |
I didn't really count them all. The lighting director told me. | 0:12:41 | 0:12:44 | |
How many cups of tea and coffee will the crew drink during the shoot? | 0:12:44 | 0:12:47 | |
There'll be 8,640. You're welcome! | 0:12:47 | 0:12:51 | |
Do you know how many breakfasts | 0:12:51 | 0:12:53 | |
and lunches will be eaten during Series Two? | 0:12:53 | 0:12:56 | |
Yes, Lauren. Yes, I do. Looked into that for you. | 0:12:56 | 0:12:58 | |
-Great! -Turns out it's, er, 5,759. | 0:12:58 | 0:13:02 | |
-Wow. -Lunch! | 0:13:02 | 0:13:03 | |
I'm about to make that 5,760. | 0:13:05 | 0:13:08 | |
That's lunch, then, and you so don't want to see Theo eating! | 0:13:08 | 0:13:11 | |
Believe me! | 0:13:11 | 0:13:13 | |
So, let's look instead at something that happened earlier this week | 0:13:13 | 0:13:17 | |
when Millie Inbetween went on location. | 0:13:17 | 0:13:19 | |
Everything from the studio had to be carefully transported here - | 0:13:19 | 0:13:23 | |
lights, cameras, monitors, make-up, | 0:13:23 | 0:13:26 | |
costume props and sound equipment. | 0:13:26 | 0:13:29 | |
It's died! | 0:13:29 | 0:13:30 | |
Cut. | 0:13:34 | 0:13:35 | |
The crew faced many challenges while filming an episode in the woods. | 0:13:35 | 0:13:39 | |
-Forget it! -Craig, if you fall down and break both your legs, | 0:13:39 | 0:13:41 | |
don't you come running to me! | 0:13:41 | 0:13:43 | |
Just look at what they had to do to get one simple shot | 0:13:43 | 0:13:47 | |
of Theo up a tree! | 0:13:47 | 0:13:48 | |
Stand by. | 0:13:54 | 0:13:55 | |
Action! | 0:13:55 | 0:13:57 | |
You sort it out! | 0:13:57 | 0:13:59 | |
Isn't that an ants' nest up there? | 0:13:59 | 0:14:00 | |
Whah! | 0:14:00 | 0:14:03 | |
-Got ya! -Cut! | 0:14:03 | 0:14:05 | |
Let's go back to the studio for another one of your questions. | 0:14:05 | 0:14:09 | |
So, loads of you guys wanted to know what I do | 0:14:09 | 0:14:12 | |
when I'm not in front of the camera. | 0:14:12 | 0:14:14 | |
Well, you'll never guess where I'm going next. | 0:14:14 | 0:14:17 | |
This is my school away from school. | 0:14:18 | 0:14:20 | |
So, I don't get let off easy when I'm away filming. | 0:14:20 | 0:14:23 | |
I need to keep up with my schoolwork. | 0:14:23 | 0:14:25 | |
Let's go over again, Robert Louis Stephenson. | 0:14:29 | 0:14:32 | |
Millie's chaperone, Jacqui, has two jobs on this show. | 0:14:32 | 0:14:35 | |
She's also the on-set tutor for all of the younger actors, | 0:14:35 | 0:14:39 | |
making sure they keep up with the schoolwork, too. | 0:14:39 | 0:14:41 | |
Children can be on set for 9½ hours. | 0:14:41 | 0:14:44 | |
4½ hours of that can be in front of camera. | 0:14:44 | 0:14:47 | |
And then we have to give them three hours' tuition every single day. | 0:14:47 | 0:14:51 | |
At a film set, it's really not a holiday. | 0:14:51 | 0:14:54 | |
They have to cover their English, their maths, their science, | 0:14:54 | 0:14:57 | |
their geography, history... | 0:14:57 | 0:14:58 | |
everything that they're doing at school they also do here. | 0:14:58 | 0:15:02 | |
So, when they go back, | 0:15:02 | 0:15:03 | |
they just slot in and become a part of their school again. | 0:15:03 | 0:15:06 | |
And speaking of learning things, | 0:15:06 | 0:15:08 | |
there are a few tips I want to pick up from Richard, | 0:15:08 | 0:15:11 | |
who plays Millie's on-screen dad. | 0:15:11 | 0:15:14 | |
So, Richard, I've heard that you're a bit of an air-guitar hero? | 0:15:14 | 0:15:17 | |
Air guitar King of Rock! | 0:15:17 | 0:15:18 | |
Really? Can I be the Queen of Rock? | 0:15:18 | 0:15:20 | |
-Do you want the secrets? -I want all the secrets! | 0:15:20 | 0:15:22 | |
-Step this way. -Yes! | 0:15:22 | 0:15:23 | |
-We're going to do The Windmill. Feet apart. -OK. | 0:15:23 | 0:15:25 | |
You need a bit of space, you don't take someone out behind you! | 0:15:25 | 0:15:28 | |
Don't want to do that. | 0:15:28 | 0:15:29 | |
-And, round! Whoa, whoa, whoa! -Yes! Yes! | 0:15:29 | 0:15:32 | |
-Good girl. -Yeah, like it! | 0:15:32 | 0:15:34 | |
Second move, The Caveman. The Cavewoman! | 0:15:34 | 0:15:36 | |
You get one down on the guitar, and whey! | 0:15:36 | 0:15:39 | |
After three. One, two, three... | 0:15:39 | 0:15:40 | |
Whey! | 0:15:40 | 0:15:43 | |
And finally, Queen of Rock, I salute you, The Hop. Are you ready? | 0:15:43 | 0:15:46 | |
The Hop? OK! | 0:15:46 | 0:15:48 | |
-That's the Windmill, a Caveman, and out. -Right, OK. | 0:15:48 | 0:15:50 | |
-One, two three! -Windmill! | 0:15:50 | 0:15:52 | |
-Caveman! -Caveman! | 0:15:52 | 0:15:53 | |
And Hop! | 0:15:53 | 0:15:54 | |
Whey! | 0:15:54 | 0:15:55 | |
CHEERING | 0:15:55 | 0:15:57 | |
So, a lot of our fans want to know what age we all were | 0:15:58 | 0:16:02 | |
when we started acting. | 0:16:02 | 0:16:03 | |
So, what age were you? | 0:16:03 | 0:16:05 | |
I was about 16 when it first occurred to me that it was | 0:16:05 | 0:16:08 | |
something that I wanted to do. | 0:16:08 | 0:16:10 | |
I had a very good drama teacher at school who really helped me develop | 0:16:10 | 0:16:15 | |
and I went to drama school at 18, came out when I was 21, | 0:16:15 | 0:16:18 | |
and worked ever since. And that was about two years ago! | 0:16:18 | 0:16:21 | |
SHE GASPS | 0:16:21 | 0:16:23 | |
THEY LAUGH | 0:16:23 | 0:16:24 | |
-How old are you? -I was two. | 0:16:24 | 0:16:27 | |
-No, how old are you now? -Oh, I'm 12. | 0:16:27 | 0:16:28 | |
I was 12. | 0:16:28 | 0:16:30 | |
My first big thing was with the National Youth Music Theatre. | 0:16:30 | 0:16:34 | |
I did a few years with them and loved it, so have very much | 0:16:34 | 0:16:36 | |
come from a theatre background and I just loved it. | 0:16:36 | 0:16:39 | |
12 years old. What were you doing at two - Pampers ads? | 0:16:39 | 0:16:42 | |
-No, I was doing... -That's not acting! | 0:16:42 | 0:16:44 | |
..Absolutely Fabulous! | 0:16:44 | 0:16:45 | |
You're not acting at two! You're just running around! | 0:16:45 | 0:16:47 | |
THEY LAUGH | 0:16:47 | 0:16:49 | |
We all want to know, who is the funniest person on set? | 0:16:49 | 0:16:52 | |
Hello, hello. | 0:16:52 | 0:16:54 | |
I'm number one. Cos I've got watermelons on my shirt. | 0:16:54 | 0:16:57 | |
Canals. | 0:16:58 | 0:16:59 | |
They float my boat! | 0:16:59 | 0:17:00 | |
SHE LAUGHS | 0:17:00 | 0:17:02 | |
Nailed it. | 0:17:02 | 0:17:03 | |
HE LAUGHS | 0:17:03 | 0:17:05 | |
Come on! That was comedy gold! | 0:17:05 | 0:17:07 | |
I don't know! Who's the funniest? | 0:17:07 | 0:17:09 | |
Just speak your mind. Just say the truth! | 0:17:09 | 0:17:12 | |
All right, Theo. He's the funniest. | 0:17:12 | 0:17:13 | |
Do-do-do-do-do-do do! | 0:17:13 | 0:17:15 | |
It was great, should have been there! | 0:17:15 | 0:17:17 | |
I think that Craig is one of the funniest characters | 0:17:17 | 0:17:20 | |
in the series, absolutely! | 0:17:20 | 0:17:21 | |
Craig takes after Mike, so... | 0:17:21 | 0:17:24 | |
He takes after Mike, yeah, all of bit of that... | 0:17:24 | 0:17:26 | |
Very slow, and then a bit manic at times. | 0:17:26 | 0:17:29 | |
-Oh, oh, I've done some sketches for the kids' outfits! -Oh, lovely! | 0:17:29 | 0:17:32 | |
We set up so we sit in the same way, | 0:17:32 | 0:17:34 | |
we move the same way just to show we've got that father-and-son type. | 0:17:34 | 0:17:38 | |
We actually put a lot of work... We do, we actually do, don't we? | 0:17:38 | 0:17:43 | |
HE SIGHS | 0:17:43 | 0:17:44 | |
But, sometimes, it's funny when it's not meant to be. | 0:17:44 | 0:17:48 | |
Action! | 0:17:48 | 0:17:49 | |
-No way! -Shh! | 0:17:49 | 0:17:51 | |
-LOUD THUD -Argh! | 0:17:51 | 0:17:53 | |
Well, I'm not at one with schools. | 0:17:56 | 0:17:59 | |
Every time I go in one, I feel reminded of a... | 0:17:59 | 0:18:02 | |
And I'm not at one with... | 0:18:02 | 0:18:04 | |
SHE LAUGHS | 0:18:04 | 0:18:06 | |
Not at one with your lines, either! | 0:18:06 | 0:18:09 | |
Let me bring up my tactical teacher spreadsheet. | 0:18:09 | 0:18:13 | |
You have a teacher spreadsheet? | 0:18:13 | 0:18:15 | |
THEY LAUGH | 0:18:15 | 0:18:17 | |
And, action! | 0:18:17 | 0:18:19 | |
Yeah, sorry? | 0:18:21 | 0:18:22 | |
SHE LAUGHS | 0:18:24 | 0:18:26 | |
Action! | 0:18:26 | 0:18:27 | |
I mean, how could you mess it up? | 0:18:29 | 0:18:30 | |
I did. I mean, it's unbelievable. | 0:18:30 | 0:18:33 | |
Dad used to think it was cute. | 0:18:33 | 0:18:35 | |
Why are you putting ketchup on a cracker? | 0:18:35 | 0:18:37 | |
LAUGHTER | 0:18:38 | 0:18:39 | |
Are you sure? | 0:18:41 | 0:18:43 | |
Look, he even has a thing. | 0:18:43 | 0:18:44 | |
Can't go from...something! | 0:18:47 | 0:18:48 | |
It was! You was the one that wouldn't let me have it. | 0:18:48 | 0:18:50 | |
That's so appalling, why is she even talking to me like I'm not... | 0:18:50 | 0:18:55 | |
It's not "you was", it's "you were"! | 0:18:55 | 0:18:57 | |
THEY LAUGH | 0:18:57 | 0:18:58 | |
How am I raising you? | 0:18:58 | 0:19:00 | |
I'm sorry! | 0:19:00 | 0:19:01 | |
Oh! | 0:19:02 | 0:19:03 | |
Oh, I am sorry - I'm just not used to getting up that early. | 0:19:03 | 0:19:07 | |
Anyway, if they were a real family, | 0:19:07 | 0:19:09 | |
this is where they'd watch TV together. | 0:19:09 | 0:19:12 | |
Imagine if they were real, | 0:19:12 | 0:19:14 | |
and Millie Inbetween was still on the TV. | 0:19:14 | 0:19:16 | |
SHE YAWNS | 0:19:16 | 0:19:17 | |
You know, and they're all sat around, like, watching it... | 0:19:17 | 0:19:21 | |
Oh, this sofa is comfy. | 0:19:21 | 0:19:23 | |
Meanwhile, in Glasgow, | 0:19:26 | 0:19:28 | |
the Whittle family is watching its favourite show. | 0:19:28 | 0:19:31 | |
And tonight it's all about young love. | 0:19:31 | 0:19:33 | |
Oh, can we watch this? I quite like this show. | 0:19:33 | 0:19:36 | |
Nice pigtails! | 0:19:36 | 0:19:37 | |
Shut up! No-one can ever see this! | 0:19:37 | 0:19:39 | |
This is, er, this is Justin. | 0:19:39 | 0:19:41 | |
He's my new mate. | 0:19:42 | 0:19:44 | |
Oh, he looks like a young Michael Bubbles! | 0:19:44 | 0:19:46 | |
He's got lovely hair! | 0:19:46 | 0:19:47 | |
Do you think I'd suit a fringe? | 0:19:47 | 0:19:49 | |
Nice to meet you all. | 0:19:49 | 0:19:50 | |
Oh, rabbit in the headlights. There she goes again! | 0:19:52 | 0:19:54 | |
Will someone please just tell her that boys are not the answer? | 0:19:54 | 0:19:57 | |
Well, that depends on the question. | 0:19:57 | 0:19:59 | |
You see, there's nothing wrong with the concept of boyfriends. | 0:19:59 | 0:20:02 | |
They were very big in the '60s! | 0:20:02 | 0:20:04 | |
Boyfriends? | 0:20:04 | 0:20:05 | |
Yeah, I had lots and lots! | 0:20:05 | 0:20:08 | |
She means fringes. | 0:20:08 | 0:20:09 | |
Oh! | 0:20:09 | 0:20:11 | |
Craig would be much your style. I mean, look at his room! | 0:20:11 | 0:20:14 | |
So, here I've got my bed... | 0:20:14 | 0:20:16 | |
Yeah, the whole looking-like-a-bed thing was a giveaway. | 0:20:16 | 0:20:18 | |
I just kind of lay here and...sleep. | 0:20:18 | 0:20:22 | |
-Are those plates... -Hairy? | 0:20:22 | 0:20:25 | |
BOTH: Urgh! | 0:20:25 | 0:20:27 | |
Oh, they should open up some windows, let some fresh air in, | 0:20:27 | 0:20:30 | |
sitting around on your face pads all day. | 0:20:30 | 0:20:32 | |
Can't be hygienic! | 0:20:32 | 0:20:34 | |
That boy needs a healthy hobby. | 0:20:34 | 0:20:36 | |
Like cross-country running! | 0:20:36 | 0:20:39 | |
Or hill-walking! | 0:20:39 | 0:20:41 | |
BOTH: Or...bell-ringing! | 0:20:41 | 0:20:44 | |
Ding, dong, ding, dong, ding! | 0:20:44 | 0:20:45 | |
What a family! | 0:20:45 | 0:20:47 | |
Ding, dong, ding, dong! | 0:20:47 | 0:20:49 | |
Lauren? | 0:20:49 | 0:20:50 | |
Lauren? | 0:20:50 | 0:20:51 | |
-Hi? -Lauren? | 0:20:51 | 0:20:53 | |
-Lauren. -Lauren. | 0:20:53 | 0:20:55 | |
No, you're Lauren! | 0:20:55 | 0:20:57 | |
We need the sofa for the next scene. | 0:20:57 | 0:21:00 | |
Well, that was a weird dream. I am so tired! | 0:21:00 | 0:21:03 | |
But look at all this lot, they're still working. | 0:21:03 | 0:21:06 | |
It's very busy, there's still lots to do today. | 0:21:06 | 0:21:08 | |
But I did manage to grab chat with Millie and Mya between scenes. | 0:21:08 | 0:21:14 | |
So, guys, how's today going? It looks amazing. | 0:21:14 | 0:21:16 | |
Today's been really good, yeah. | 0:21:16 | 0:21:18 | |
It's been quite busy for me, | 0:21:18 | 0:21:20 | |
because this morning I ran four scenes back-to-back, | 0:21:20 | 0:21:23 | |
and there was blocking and it was all very hectic, but we got it done. | 0:21:23 | 0:21:28 | |
And what's it like for you two? Cos, obviously, in the first series | 0:21:28 | 0:21:31 | |
you two were brand-new, didn't know each other well. What's it like now? | 0:21:31 | 0:21:36 | |
-We are besties! -We are best friends! | 0:21:36 | 0:21:38 | |
-This is just so sweet, I love it! -Yeah! | 0:21:38 | 0:21:41 | |
Loads of you wanted to know what these young actors miss | 0:21:41 | 0:21:44 | |
when they're away filming. | 0:21:44 | 0:21:45 | |
I miss everyone that I know. | 0:21:45 | 0:21:47 | |
Like my friends, and my family. | 0:21:47 | 0:21:50 | |
Oh, and my dog. She counts as my family, though. | 0:21:50 | 0:21:53 | |
I think the person in my family that I miss the most is my | 0:21:54 | 0:21:56 | |
little brother, Oscar, who's two. | 0:21:56 | 0:21:59 | |
Because whenever I go home he's always saying, "My-My, I love you", | 0:21:59 | 0:22:03 | |
and, like, he's just so cute and I miss him so much. | 0:22:03 | 0:22:07 | |
It's been a really, really long day, | 0:22:07 | 0:22:10 | |
but, finally, they are shooting their last scene. | 0:22:10 | 0:22:13 | |
And...action! | 0:22:13 | 0:22:15 | |
Don't take it now, we're eating. | 0:22:15 | 0:22:17 | |
OpalCrazySilkworm, and loads of others, | 0:22:17 | 0:22:20 | |
asked the cast what advice they would give | 0:22:20 | 0:22:22 | |
for young aspiring actors. | 0:22:22 | 0:22:24 | |
The thing that you need to have is a passion and a stubbornness | 0:22:24 | 0:22:29 | |
and the desire just to go and do it. | 0:22:29 | 0:22:32 | |
I think the reason that we don't see enough representation | 0:22:32 | 0:22:34 | |
of different backgrounds and that sort of thing in the industry | 0:22:34 | 0:22:38 | |
is that kids are told that you're not going to make enough money. | 0:22:38 | 0:22:42 | |
And that's a stupid reason not to take up acting, | 0:22:42 | 0:22:44 | |
so, I would recommend it. | 0:22:44 | 0:22:46 | |
I think if it's something that you want to do, | 0:22:46 | 0:22:49 | |
let your passion for it show. | 0:22:49 | 0:22:51 | |
Join the clubs that you can. | 0:22:51 | 0:22:52 | |
Even if it's, like, you know, | 0:22:52 | 0:22:53 | |
you're just doing, like, theatre down the road, who cares? | 0:22:53 | 0:22:56 | |
You're doing something that you love and as long as you're happy, | 0:22:56 | 0:22:59 | |
that's good. | 0:22:59 | 0:23:00 | |
I wouldn't be anything without all the experiences that I'd had | 0:23:00 | 0:23:03 | |
in all those theatre groups - those are where you practice | 0:23:03 | 0:23:06 | |
and learn and you're doing it, essentially, | 0:23:06 | 0:23:09 | |
because you enjoy it, rather than just wanting to become famous. | 0:23:09 | 0:23:12 | |
Whatever dream you have... | 0:23:12 | 0:23:14 | |
do your dream. | 0:23:14 | 0:23:16 | |
Memorise it, and do it. | 0:23:16 | 0:23:19 | |
Thank you, guys. That's a wrap, everyone. Thank you very much. | 0:23:19 | 0:23:22 | |
We'll see you all again tomorrow morning. Thank you. | 0:23:22 | 0:23:25 | |
It's hard work making Millie Inbetween, | 0:23:25 | 0:23:27 | |
but it's also a lot of fun. | 0:23:27 | 0:23:29 | |
That's horrible! | 0:23:45 | 0:23:47 | |
But, for Millie Innes, the day is not quite done. | 0:24:01 | 0:24:04 | |
She's got to learn ten pages of script, | 0:24:04 | 0:24:06 | |
so that she's ready to do it all again tomorrow. | 0:24:06 | 0:24:09 | |
I think Millie Inbetween connects with millions of people, | 0:24:09 | 0:24:14 | |
and I have people messaging me saying, | 0:24:14 | 0:24:17 | |
this is exactly like my family, | 0:24:17 | 0:24:19 | |
or, my mum and dad are going through the same thing. | 0:24:19 | 0:24:22 | |
Real life is full of a mixture of tears and laughter | 0:24:22 | 0:24:25 | |
and that's what we're trying to represent on this show. | 0:24:25 | 0:24:28 | |
In no way is this show kind of dumbed down for kids. | 0:24:28 | 0:24:31 | |
You have all that emotional stuff, as well as all this comedy, | 0:24:31 | 0:24:34 | |
it's a really, really nice balance. | 0:24:34 | 0:24:36 | |
Final question from AmethystSewingClownfish, | 0:24:36 | 0:24:39 | |
"Where do you see yourself in ten years' time?" | 0:24:39 | 0:24:42 | |
I'm obviously wanting to take time out for school and exams, | 0:24:42 | 0:24:46 | |
and if I want to go to university, or drama school, | 0:24:46 | 0:24:49 | |
or whatever it is I find myself doing, | 0:24:49 | 0:24:52 | |
I think I will always go back to acting, | 0:24:52 | 0:24:53 | |
no matter what I do in between. | 0:24:53 | 0:24:56 | |
I really love it and I wouldn't change it for the world. | 0:24:56 | 0:25:00 | |
You've all seen what it takes to make Millie Inbetween, | 0:25:01 | 0:25:04 | |
but this episode couldn't have happened without all of you lot. | 0:25:04 | 0:25:08 | |
So, for sending in your brilliant questions, | 0:25:08 | 0:25:12 | |
thank you to LimeKitePrimrose, ScarletFizzySatsuma, | 0:25:12 | 0:25:16 | |
PurpleTalkativeMango, LilacCrispyZook... | 0:25:16 | 0:25:19 | |
Do you know what? There's loads of you, just read it for yourself! | 0:25:20 | 0:25:23 | |
You have made this episode of Millie Inbetween extra special, | 0:25:23 | 0:25:26 | |
and I hope we've shown you guys a little bit about what | 0:25:26 | 0:25:29 | |
it's like behind the scenes. | 0:25:29 | 0:25:31 | |
Now, I've had the best day ever, but, I must admit, | 0:25:31 | 0:25:34 | |
I am more tired than I think I've ever been in my entire life. | 0:25:34 | 0:25:37 | |
So, I think that's a wrap. Roll the credits! | 0:25:37 | 0:25:40 |