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I'm Rhod Gilbert, stand-up comedian. People tell me I've got the toughest job, but I'm sure I'd find | 0:00:02 | 0:00:06 | |
other things far more difficult, so I'm ditching my job and trying something completely different. | 0:00:06 | 0:00:10 | |
This is my work experience. | 0:00:10 | 0:00:12 | |
And this week, I'm a male model. | 0:00:16 | 0:00:18 | |
I had no idea how to get into this glitzy world. The closest I've come to modelling anything is | 0:00:19 | 0:00:24 | |
trying on my girlfriend's underwear while she was at the dentist. | 0:00:24 | 0:00:27 | |
So I catwalked over to London to meet top fashion designer Julien Macdonald. | 0:00:27 | 0:00:30 | |
If there was a male Kate Moss strutting around inside me, Julien would find him. | 0:00:30 | 0:00:35 | |
-Hello, nice to meet you. -I know nothing about this world... | 0:00:35 | 0:00:39 | |
-Well... -And apparently, you do. | 0:00:39 | 0:00:41 | |
I know a lot about the world and the world you would like to | 0:00:41 | 0:00:44 | |
enter into is very, very difficult, very cut-throat, very competitive. | 0:00:44 | 0:00:50 | |
Most of the successful models in the world, the biggest models, | 0:00:50 | 0:00:54 | |
probably start when they're about 15, 16. | 0:00:54 | 0:00:57 | |
Right, I'm sort of 25 to 30 years late. | 0:00:57 | 0:00:59 | |
-You're a bit late. -That just makes it more of a challenge. | 0:00:59 | 0:01:02 | |
At least you've got hair. Some guys at 45 haven't even got hair. | 0:01:02 | 0:01:07 | |
All you can say about me is, "at least you've got hair". | 0:01:07 | 0:01:11 | |
I'm going to show you a picture that was me at that age | 0:01:11 | 0:01:14 | |
and you will probably have some idea of why I didn't go into modelling. | 0:01:14 | 0:01:17 | |
-Are you ready? -Facial hair is quite fashionable now! | 0:01:17 | 0:01:21 | |
Look at that moustache! | 0:01:21 | 0:01:23 | |
You're 6ft, skinny. You know what? You could have made it there. | 0:01:23 | 0:01:29 | |
-Oh, a flat top at some point in the '80s. -I'm quite impressed. | 0:01:29 | 0:01:33 | |
You've actually got a jaw line, you know, a chiselled jaw. | 0:01:33 | 0:01:36 | |
I'm amazed at how positive your reaction is to this. | 0:01:36 | 0:01:40 | |
-I thought you were going to be instantly sick on the spot. -When you were younger, I think | 0:01:40 | 0:01:43 | |
you actually could have been a male model. | 0:01:43 | 0:01:47 | |
You actually look quite Scandinavian, you look interesting. | 0:01:47 | 0:01:50 | |
I do not want to challenge your authority in this area, | 0:01:50 | 0:01:54 | |
but people viewing at home are not going to think he could have been a contender. | 0:01:54 | 0:01:58 | |
I'm not going to be looking at that screen now, going, | 0:01:58 | 0:02:01 | |
-"I think Julien is right." -Some men age better. Look at George Clooney. | 0:02:01 | 0:02:05 | |
Some guys, as they get older, they become more mature, more handsome, more desirable. | 0:02:05 | 0:02:11 | |
I don't think that's happened in your case, but... | 0:02:11 | 0:02:14 | |
RHOD LAUGHS | 0:02:14 | 0:02:17 | |
-Really? -To be honest! | 0:02:17 | 0:02:19 | |
'Julien had shrunk my ego to a size zero. | 0:02:19 | 0:02:21 | |
'I may have had a chiselled jaw in 1984, | 0:02:21 | 0:02:24 | |
'but it looked like someone had had a go at it with a lump hammer since. | 0:02:24 | 0:02:27 | |
'My looks hadn't just gone downhill, they were wedged in a fence at the bottom. | 0:02:27 | 0:02:31 | |
-'But ignoring the fact I was wearing clothes, Julien had a radical idea.' -We've talked about the way you look, | 0:02:31 | 0:02:36 | |
but how do you actually look in clothes? | 0:02:36 | 0:02:38 | |
-He's got it on. -It's too small! -That's model size. | 0:02:41 | 0:02:44 | |
Most male models are that size. One of the things, you've got to fit into actual model clothes. | 0:02:44 | 0:02:49 | |
If you don't fit in the clothes, you can't be a model. | 0:02:49 | 0:02:51 | |
Let's see how you would walk on the catwalk. Give us your best catwalk. | 0:02:51 | 0:02:56 | |
You must forget everything around you and you own the space, | 0:02:56 | 0:02:59 | |
you own the clothes. | 0:02:59 | 0:03:01 | |
And it's your...time to shine. | 0:03:01 | 0:03:04 | |
Own the space. | 0:03:04 | 0:03:07 | |
Don't do that! | 0:03:07 | 0:03:08 | |
Is it that? | 0:03:10 | 0:03:12 | |
-Is it that or is that...? -You've got to sell that red jacket. | 0:03:12 | 0:03:15 | |
-It's your job. -My job is to sell this red jacket. -Sell the red jacket. | 0:03:15 | 0:03:19 | |
Go on. Hit the runway. | 0:03:19 | 0:03:21 | |
Who's for the red jacket? Anyone want a red jacket? | 0:03:24 | 0:03:27 | |
Red jackets, five pound. | 0:03:27 | 0:03:29 | |
See? You've got to take it serious, without laughing! | 0:03:29 | 0:03:33 | |
-I can't. -You always laugh on the way back. | 0:03:33 | 0:03:36 | |
The thing is, that was about as interesting as a dull mat. | 0:03:37 | 0:03:42 | |
-You've got to be intriguing. -How am I supposed to be intriguing? | 0:03:42 | 0:03:45 | |
The thing is, you've got to be entertaining to people. | 0:03:45 | 0:03:49 | |
'I looked about as intriguing as Kris Akabusi in a cycling helmet | 0:03:49 | 0:03:52 | |
'and I just couldn't get the hang of it. I was trying my best, | 0:03:52 | 0:03:55 | |
'but even Julien's travel Doberman knew I was bad. I was dreading Julien's final assessment.' | 0:03:55 | 0:04:01 | |
Bottom line, do you want me as a male model? | 0:04:01 | 0:04:04 | |
-Can you do anything with me? -I don't think so. | 0:04:04 | 0:04:07 | |
I don't think so! | 0:04:09 | 0:04:11 | |
-Thank you for your honesty. -I don't think so! But perhaps somebody might. | 0:04:11 | 0:04:16 | |
-You might be somebody's cup of tea. -All right, I can take it. | 0:04:16 | 0:04:19 | |
You could be somebody's. | 0:04:19 | 0:04:20 | |
There's not even 'I WILL be somebody's' - I MIGHT be! | 0:04:20 | 0:04:24 | |
You never know. As a model, you spend most of your time being rejected. | 0:04:24 | 0:04:29 | |
-This is my first rejection. -Well, I'm sure you'll have a lot more. | 0:04:29 | 0:04:34 | |
'My first taste of the industry, a brutal rejection. | 0:04:34 | 0:04:37 | |
'But while Julien was 99.9% sure he didn't want me, he gave my career a last-minute reprieve. | 0:04:37 | 0:04:42 | |
'He agreed to put me through my paces in one of his charity shows. | 0:04:42 | 0:04:46 | |
'If I could pull this off, then who knows, Paris and Milan might beckon. | 0:04:46 | 0:04:50 | |
'All I had to do was show some potential in Julien's hometown, | 0:04:50 | 0:04:53 | |
'the fashion epicentre of Merthyr Tydfil.' | 0:04:53 | 0:04:57 | |
When I went to see him in London, in his swanky offices, | 0:04:57 | 0:05:00 | |
he told me that even if I was 20 years younger, even if | 0:05:00 | 0:05:02 | |
I got a dietician, a nutritionist, even if I lost weight, | 0:05:02 | 0:05:05 | |
started going to the gym, working out, even then, I'd have no chance of being a male model. | 0:05:05 | 0:05:10 | |
This is my chance to prove him wrong. | 0:05:10 | 0:05:12 | |
If I can't do it in Merthyr Tydfil Leisure Centre, then I give up. | 0:05:12 | 0:05:16 | |
'The hall would soon be rammed with 1,000 of Merthyr Tydfil's top fashion movers and shakers. | 0:05:16 | 0:05:21 | |
'I felt as out of place as Timmy Mallett in a documentary about Malcolm X.' | 0:05:21 | 0:05:25 | |
-How do you feel? -It's right up my street, this. | 0:05:27 | 0:05:29 | |
-My kind of music, my sort of scene. -SHE LAUGHS | 0:05:29 | 0:05:33 | |
Yup. Bang up for this! | 0:05:33 | 0:05:35 | |
'As rehearsals started, I was feeling increasingly self-conscious.' | 0:05:35 | 0:05:39 | |
Look to the front again, hold for two, and back off. | 0:05:39 | 0:05:42 | |
Are you all right with that? | 0:05:42 | 0:05:45 | |
-Go on, the more I do it, the easier I will find it. -It's... | 0:05:45 | 0:05:49 | |
# Man, I feel like a woman. # I think it was apt for what you've got on. Is that all right with you? | 0:05:49 | 0:05:54 | |
-Have you got 'Man, I Feel Like A Complete Dick'? -No, I haven't got that one. | 0:05:54 | 0:05:58 | |
'The boys from the Merthyr rugby team were loving it, but I was dying inside. | 0:05:58 | 0:06:01 | |
-'I'd already Tommy Hilfigered it out that this wasn't for me.' -Move your leg. Keep going. | 0:06:01 | 0:06:06 | |
# Bad boys! # | 0:06:06 | 0:06:08 | |
And walk. This time, clicking fingers. | 0:06:08 | 0:06:11 | |
-Hate it. -# Bad boys! Bad boys! # | 0:06:11 | 0:06:14 | |
Bad boys. | 0:06:14 | 0:06:16 | |
Bad boys. | 0:06:16 | 0:06:19 | |
'To make things worse, Julien was watching my lack of progress. | 0:06:19 | 0:06:22 | |
'A good model is supposed to be a clotheshorse. I felt like one that had been turned into pet food.' | 0:06:22 | 0:06:27 | |
-What are you expecting from me? -From you? -Yeah. | 0:06:27 | 0:06:31 | |
Everything that we taught you. Strong, confident, a modern man. | 0:06:31 | 0:06:35 | |
'As the lights went down, the cream of Merthyr Tydfil's fashion scene looked on. | 0:06:35 | 0:06:38 | |
'But I was feeling about as modern and confident as Ethelred the Unready. | 0:06:38 | 0:06:42 | |
'The thought of going out there made me as happy as Naomi Campbell's face.' | 0:06:42 | 0:06:47 | |
-There he is! -There's the main man! -There he is, the dick himself. | 0:06:47 | 0:06:51 | |
Apparently, we're on in about two or three minutes. | 0:06:51 | 0:06:54 | |
There's no time to complain, there's no time to...question it. | 0:06:54 | 0:06:59 | |
I guess that is the life of a male model. | 0:06:59 | 0:07:02 | |
Stick these Speedos on, get out there. | 0:07:02 | 0:07:06 | |
Well done! Break a leg! | 0:07:08 | 0:07:11 | |
Go, guys! Go! | 0:07:11 | 0:07:13 | |
'My performance wasn't just ham-fisted, it was a head-to-toe ham onesie. | 0:07:13 | 0:07:17 | |
'Problem one, quick changes. | 0:07:17 | 0:07:20 | |
'Problem two, choreography. | 0:07:21 | 0:07:23 | |
'Problem three, the wrong clothes. | 0:07:25 | 0:07:27 | |
'Problem four, no clothes.' | 0:07:27 | 0:07:29 | |
Julien's not got a suit for me. | 0:07:29 | 0:07:32 | |
What I have got is a pair of boxer shorts and a dickie bow. | 0:07:32 | 0:07:36 | |
-We'll find some way out of it, I'm sure. -I like that. Sounds creative, sounds positive. | 0:07:36 | 0:07:41 | |
-Yeah. -Is it just total bollocks? -Yeah. | 0:07:41 | 0:07:43 | |
Just as I thought. | 0:07:43 | 0:07:46 | |
There's a guy over there in a suit. My life pretty much depends on me having that off him. | 0:07:46 | 0:07:50 | |
'Problem five, dealing with criticism.' | 0:07:50 | 0:07:53 | |
-You look like a bag of shite! -I look like a bag of shite, I know I do. | 0:07:53 | 0:07:57 | |
'Problem six, backstage divas.' | 0:07:57 | 0:07:59 | |
-Good crowd out there? -Yeah, good crowd. Gave me a real lift. | 0:08:03 | 0:08:08 | |
'I was really annoyed with myself. | 0:08:08 | 0:08:10 | |
'How was I going to do London Fashion Week if I couldn't even nail Merthyr Fashion Hour?' | 0:08:10 | 0:08:15 | |
Totally shit. That's how I would describe myself as a male model. | 0:08:15 | 0:08:20 | |
Total and utter shit. | 0:08:20 | 0:08:23 | |
'I knew this was the end of the runway for me with Julien. | 0:08:23 | 0:08:26 | |
'I'd never model for a superstar designer like him, but he'd told me to expect rejections, | 0:08:26 | 0:08:30 | |
'so I dusted myself off and lowered my sights a bit.' | 0:08:30 | 0:08:34 | |
There's plenty more fish in the sea and I'm going to tout myself around some modelling agencies. | 0:08:34 | 0:08:39 | |
I've put a little portfolio together with some shots I've had done over the years. | 0:08:39 | 0:08:43 | |
We'll see what happens. | 0:08:43 | 0:08:45 | |
I've come down to Hertfordshire to meet BMA Modelling Agency. | 0:08:47 | 0:08:52 | |
One of the top modelling agencies in the country. | 0:08:52 | 0:08:55 | |
And I'm going to get a second opinion. | 0:08:55 | 0:08:58 | |
That's what I'm going to do. | 0:08:58 | 0:09:00 | |
-Catwalk is out for you. You can't even go there. -Absolutely not? | 0:09:02 | 0:09:06 | |
-Absolutely not. -Unthinkable? Unimaginable? -Yeah. Unthinkable. | 0:09:06 | 0:09:10 | |
And you would be 100% sure that every model agency in the world | 0:09:10 | 0:09:15 | |
-would tell me the same thing? -In the world, yes. -In the world! | 0:09:15 | 0:09:18 | |
That sounds quite definitive! | 0:09:18 | 0:09:21 | |
'Agents Lyn and Jo were clear. I'd make the worst model | 0:09:21 | 0:09:24 | |
'since Morph was caught snorting Blu-Tack in Tony Hart's lunchbox. | 0:09:24 | 0:09:27 | |
'More rejection and this time I had nowhere else to turn.' | 0:09:27 | 0:09:31 | |
-I'm looking for anything. That's too desperate! -Well, he's cute. | 0:09:31 | 0:09:34 | |
-He's very cute! -The cow? -We'd sign him up! | 0:09:34 | 0:09:37 | |
-The cow is cute, yeah. -Right, lots of character. Very nice. -Yeah. | 0:09:37 | 0:09:42 | |
-Lots of character in these? -Lots of character. Very characterful face. | 0:09:42 | 0:09:48 | |
You're basically too real. | 0:09:48 | 0:09:50 | |
-What does that mean? -You're real. You're like everyone out there. | 0:09:50 | 0:09:54 | |
I can see you doing a commercial with something like spaghetti hoops, | 0:09:54 | 0:09:57 | |
that kind of fun...active. | 0:09:57 | 0:10:00 | |
I started out, I went to see Julien Macdonald. | 0:10:00 | 0:10:04 | |
And I've ended up as a possible spaghetti hoops commercial! | 0:10:04 | 0:10:08 | |
Have you any idea how crushing that is? | 0:10:08 | 0:10:12 | |
It does seem as though this is a big moment. | 0:10:12 | 0:10:14 | |
The door to my international male modelling catwalk career | 0:10:14 | 0:10:17 | |
has been firmly slammed in my face. | 0:10:17 | 0:10:21 | |
But there is hope because apparently I have a characterful face | 0:10:21 | 0:10:25 | |
and people are on the lookout for guys who just look like regular, | 0:10:25 | 0:10:29 | |
boring, dragged-in-off-the-street, utterly unremarkable people like me. | 0:10:29 | 0:10:33 | |
'I just needed to lower my sights a bit. Again. My real person's face | 0:10:33 | 0:10:37 | |
'would never grace the cover of Vogue, but it might work on a tin of spaghetti hoops. | 0:10:37 | 0:10:40 | |
'I was determined to prove Julien wrong and set off in search | 0:10:40 | 0:10:44 | |
'of someone who'd appreciate my tinned pasta face. | 0:10:44 | 0:10:47 | |
'I found a character modelling agency that could help, although its name didn't lift my spirits.' | 0:10:47 | 0:10:53 | |
Coming to a place called Ugly to get work, it doesn't feel weird? | 0:10:53 | 0:10:57 | |
No, I'm 6ft 6, without heels. And today, I'm about 6ft 10. | 0:10:57 | 0:11:01 | |
So the average agency doesn't specialise in the different look, | 0:11:01 | 0:11:05 | |
it's more your generic look. These guys, they do everything. | 0:11:05 | 0:11:09 | |
-Tall, short, fat, thin. -Let's have a look. | 0:11:09 | 0:11:11 | |
All right. | 0:11:11 | 0:11:13 | |
I feel such a wimp! | 0:11:14 | 0:11:17 | |
Ugly's just a name. It doesn't define the company. | 0:11:17 | 0:11:21 | |
It's just the name and everyone's unique and everyone's an individual. | 0:11:21 | 0:11:26 | |
-Do you think I'll get any work? -No. | 0:11:26 | 0:11:29 | |
You're very...generic. | 0:11:29 | 0:11:32 | |
Generic, boring, bland. | 0:11:32 | 0:11:35 | |
'Julien hadn't been joking about this hard-nosed industry. Too characterful for the catwalk, | 0:11:35 | 0:11:39 | |
'now I might be too bland for character modelling. | 0:11:39 | 0:11:42 | |
'As I went in for my audition, I was feeling pretty pessimistic.' | 0:11:42 | 0:11:45 | |
Yeah, give me a bit of a fake laugh. | 0:11:45 | 0:11:48 | |
If you can kind of pop your eyes open a bit wider than what you're doing. | 0:11:48 | 0:11:52 | |
-Big eyes and smiling? -Yeah, big eyes and big laughter. | 0:11:52 | 0:11:56 | |
That's it. That's good. | 0:11:56 | 0:12:00 | |
'I was determined to do whatever it took to get on Mark and Coxy's books.' | 0:12:00 | 0:12:04 | |
Yes! Come on! Yes! Yes! Woo! | 0:12:04 | 0:12:07 | |
If you can give us an angry alphabet, so then we've got your mouth moving all different shapes. | 0:12:07 | 0:12:12 | |
What possible scenario will I have to do an angry alphabet? | 0:12:12 | 0:12:16 | |
A, B, C, D, E, F, G, | 0:12:16 | 0:12:19 | |
H, I, J, PISSING P! | 0:12:19 | 0:12:22 | |
P? Doesn't come after J! | 0:12:22 | 0:12:24 | |
'They'd Hugo Bossed me around and I waited patiently for another rejection.' | 0:12:24 | 0:12:28 | |
I think you've got a really good, character face. | 0:12:28 | 0:12:31 | |
The more weathered you are, I mean, if anything, | 0:12:31 | 0:12:33 | |
-I'd like you a bit more battered really. -RHOD LAUGHS | 0:12:33 | 0:12:38 | |
A few more late nights and a little bit more... | 0:12:38 | 0:12:41 | |
Believe me, I can't do it any later or drink any more or look | 0:12:41 | 0:12:44 | |
after myself any less than I do now. | 0:12:44 | 0:12:47 | |
We've got plenty of beautiful sort of 6ft models, they're boring to us. | 0:12:47 | 0:12:51 | |
-Someone with character in their face. -I've got webbed... | 0:12:51 | 0:12:56 | |
-Aquaman, that's good. -Aquaman, yeah. I've got webbed fingers. | 0:12:56 | 0:13:00 | |
That's what it's all about, being something unique and different. | 0:13:00 | 0:13:03 | |
It sets you against the rest of them, the rest of the norm. | 0:13:03 | 0:13:06 | |
'Maybe I wasn't too bland after all. A lived-in face could be an asset and let's face it, mine | 0:13:06 | 0:13:11 | |
'looked like it had been squatted. My weathered looks and all-weather hands were now the way forward.' | 0:13:11 | 0:13:16 | |
That's it. I've given them my photos, I am on their books. | 0:13:16 | 0:13:20 | |
Webbed fingers crossed. Let's see what they come up with. | 0:13:20 | 0:13:23 | |
'As one Christian Dior had closed, another one had opened. | 0:13:23 | 0:13:27 | |
'I'd taken the beatings but refused to stay down and my tenacity had paid off. | 0:13:27 | 0:13:30 | |
'The catwalk wanted beauties like Elle 'The Body' Macpherson, but | 0:13:30 | 0:13:34 | |
'maybe there was other work for Rhod 'The Battered Spaghetti Face' Gilbert. | 0:13:34 | 0:13:38 | |
'But weeks later, without so much as a Stella McCartney | 0:13:40 | 0:13:43 | |
'from my agents, it was all feeling hopeless again.' | 0:13:43 | 0:13:47 | |
The first sort of week, ten days, I was really optimistic. | 0:13:47 | 0:13:53 | |
I was positive that something was going to come of it, | 0:13:53 | 0:13:57 | |
but that hope has now faded. | 0:13:57 | 0:13:59 | |
'The modelling world was as tough as it was glamorous. I needed to be Ross Kemp | 0:13:59 | 0:14:02 | |
'and Kate Moss all rolled into one. I considered changing my name to Ross Moss. | 0:14:02 | 0:14:06 | |
'I called my agents again instead.' | 0:14:06 | 0:14:08 | |
Just wondering if there's any news. | 0:14:08 | 0:14:12 | |
Um, we've been putting you out there. We've been sending your pictures around | 0:14:12 | 0:14:16 | |
and putting you forward as one of our new faces. | 0:14:16 | 0:14:19 | |
Lukewarm reception, some positive feedback from some, some not so positive from others. | 0:14:19 | 0:14:24 | |
-I do appreciate you checking in. That's what a good model should do. -Yeah. | 0:14:24 | 0:14:27 | |
But obviously, don't check in too much or else you'll start to piss us off a bit. | 0:14:27 | 0:14:31 | |
Didn't sound great, did it? | 0:14:31 | 0:14:34 | |
Lukewarm responses. | 0:14:34 | 0:14:37 | |
This is what being a male model is all about - | 0:14:37 | 0:14:41 | |
not being a male model. That's what it's all about. | 0:14:41 | 0:14:44 | |
Being a male model is all about not being a male model. | 0:14:44 | 0:14:48 | |
'The modelling world's focus on appearance was unsettling. | 0:14:48 | 0:14:51 | |
'Now, even character work was out. I was desperate. | 0:14:51 | 0:14:54 | |
'Ideas ricocheted round my mind like a sequined rat in a microwave, but then one went ping. | 0:14:54 | 0:14:58 | |
'Days later, I found myself outside a community centre in East London.' | 0:14:58 | 0:15:02 | |
I've had no luck so far with my modelling career | 0:15:02 | 0:15:06 | |
so I thought I'd come along here, | 0:15:06 | 0:15:08 | |
where I know they're looking for models. | 0:15:08 | 0:15:11 | |
'I'd had more doors slammed in my face than a second-hand meat salesman. | 0:15:11 | 0:15:14 | |
'I had to prove Julien wrong. These were desperate times and for someone as shy as me, | 0:15:14 | 0:15:18 | |
'these were desperate measures, but at least, here, they wouldn't judge me on my looks. | 0:15:18 | 0:15:23 | |
'As I contemplated what I was about to do, I retreated further and further into my own insecurity.' | 0:15:24 | 0:15:31 | |
I don't think I've ever been this nervous in my life. | 0:15:31 | 0:15:35 | |
'The group took a break and Lydia tried to get my heart rate back within EU guidelines.' | 0:15:35 | 0:15:40 | |
You don't have to be nervous, you have just to be proud | 0:15:40 | 0:15:43 | |
because you will be part of a piece of art because every people here, | 0:15:43 | 0:15:47 | |
they are just producing a piece of art with their own mark. | 0:15:47 | 0:15:51 | |
Possibly, you will not have the same experience again in your life. | 0:15:51 | 0:15:54 | |
I wasn't intending to have this experience ever in my life. | 0:15:54 | 0:15:58 | |
These people, they make me feel beautiful. They make me feel important. | 0:15:58 | 0:16:02 | |
When I see their drawings, their paintings, it's just...wow! | 0:16:02 | 0:16:06 | |
'I listened to Lydia's passionate, artistic | 0:16:06 | 0:16:08 | |
'and personal experience of life modelling, then ran like shit. | 0:16:08 | 0:16:11 | |
'But she cut me off on the stairs, determined to help me fulfil my modelling ambitions.' | 0:16:11 | 0:16:16 | |
-I don't think I can do it. -I think that you can and I think that you will enjoy also. | 0:16:16 | 0:16:21 | |
I'm definitely not going to enjoy it. | 0:16:21 | 0:16:24 | |
-Why? Why do you think that you can't? -I can't! I'm too embarrassed. | 0:16:24 | 0:16:28 | |
-A lot of men, they have a problem when they model the first time about erection. -Yes! | 0:16:28 | 0:16:32 | |
I'm worried for an erection! I'm worried for a not erection! | 0:16:32 | 0:16:36 | |
If I have an erection as well, | 0:16:36 | 0:16:38 | |
then that takes me into a different plane of worry. | 0:16:38 | 0:16:42 | |
You're part of the community, doing something artistic. | 0:16:42 | 0:16:45 | |
I think it is something beautiful. | 0:16:45 | 0:16:48 | |
Part of the community, I will do neighbourhood watch, | 0:16:48 | 0:16:50 | |
all sorts of community work I can do, | 0:16:50 | 0:16:53 | |
without getting my dick out. | 0:16:53 | 0:16:55 | |
Again, but why are you so busy thinking about your dick? | 0:16:55 | 0:16:59 | |
Why do you think I'm so busy thinking about my dick? We think about it every seven seconds. | 0:16:59 | 0:17:03 | |
And that's when you haven't got it out in front of a hundred people. | 0:17:03 | 0:17:06 | |
How many things do you do during your day | 0:17:06 | 0:17:08 | |
and you don't think about your dick? | 0:17:08 | 0:17:10 | |
Yeah, but almost all of them I do with pants on. | 0:17:10 | 0:17:14 | |
So we're going to start with some quicker poses. | 0:17:14 | 0:17:17 | |
The first pose is going to be for five minutes. | 0:17:17 | 0:17:20 | |
Got nothing to say. | 0:17:20 | 0:17:21 | |
There is nothing in this life that I can think of that is less | 0:17:23 | 0:17:26 | |
appealing right now. | 0:17:26 | 0:17:28 | |
'But I hadn't come this far for nothing. | 0:17:31 | 0:17:34 | |
'I thought of all the rejection, the verbal batterings I'd taken. | 0:17:34 | 0:17:37 | |
'This might be my last chance to say I'd worked as a model.' | 0:17:37 | 0:17:40 | |
Look first at the motif, the person or the object you're drawing. | 0:17:44 | 0:17:49 | |
And then to other elements in the space. | 0:17:50 | 0:17:54 | |
All those details, they make up the space. | 0:17:54 | 0:17:57 | |
'I'd failed. At the last second, I'd bottled out of going naked. | 0:17:59 | 0:18:03 | |
'It was a hashtag epic schlong fail. | 0:18:03 | 0:18:04 | |
'But Lydia wasn't going to let me get away so easily. | 0:18:04 | 0:18:07 | |
'Determined to help me benefit from an enriching experience, | 0:18:07 | 0:18:10 | |
'she wrapped herself around me like a sex burrito. We were entwined like an erotically charged Curly Wurly. | 0:18:10 | 0:18:16 | |
'Ten minutes later, I'd silently recited every bus timetable in mainland Europe.' | 0:18:16 | 0:18:22 | |
Thank you very much, guys. OK, a round of applause, please, for our models. | 0:18:22 | 0:18:26 | |
THEY APPLAUD | 0:18:26 | 0:18:28 | |
'I had enormous respect for the models, but it wasn't for me. | 0:18:31 | 0:18:34 | |
'We saw life through very different filters. Theirs was artistic, experiential and profound, | 0:18:34 | 0:18:39 | |
'and I'm just a repressed clown.' | 0:18:39 | 0:18:41 | |
That was physically harder than it looked. | 0:18:41 | 0:18:45 | |
I felt very intense and vulnerable, but ultimately I failed. | 0:18:45 | 0:18:51 | |
Because I was trying to be a life model...and who is going to | 0:18:51 | 0:18:55 | |
pay a life model if you don't get to see his wang? | 0:18:55 | 0:18:59 | |
'I admitted defeat. Julien had been right. I was no-one's cup of tea. | 0:19:01 | 0:19:04 | |
'I'd given it a damn good shot, dusted myself off more times | 0:19:04 | 0:19:08 | |
'than Miss Havisham's health visitor, but it just wasn't to be.' | 0:19:08 | 0:19:12 | |
PHONE RINGS | 0:19:12 | 0:19:14 | |
-Hello. -Hello, Rhod. It's Coxy. -Hiya, mate. How are you doing? | 0:19:14 | 0:19:19 | |
-I've got some good news, actually. -Yeah? | 0:19:19 | 0:19:21 | |
We've been sending out your pictures to some of our clients | 0:19:21 | 0:19:25 | |
-and today we had a call-back for one of them. -Yeah. | 0:19:25 | 0:19:28 | |
Seems we have a bite. They like the look of your hands. | 0:19:28 | 0:19:33 | |
RHOD LAUGHS I know! | 0:19:33 | 0:19:35 | |
Have they seen the dicky one? | 0:19:35 | 0:19:39 | |
Yes, absolutely. | 0:19:39 | 0:19:41 | |
We've shown them the hands and, for some reason, | 0:19:41 | 0:19:44 | |
that's what they want for this specific shoot. | 0:19:44 | 0:19:47 | |
-I'll be in touch with your details. -Cheers, pal. Thanks, Coxy. Ta-ra! | 0:19:47 | 0:19:53 | |
Woo-hoo! | 0:19:53 | 0:19:56 | |
These little beauties! | 0:19:59 | 0:20:01 | |
My little webbed hands have got me... I feel a bit tearful. | 0:20:01 | 0:20:08 | |
Genuinely feel a little tear coming. | 0:20:08 | 0:20:11 | |
I can't even wipe them away. I don't want to over-moisturise. | 0:20:11 | 0:20:16 | |
'I had to lower my sights again. As a complete package, | 0:20:16 | 0:20:19 | |
'I'd got nowhere, but my four-clawed sea mitten had landed a job. | 0:20:19 | 0:20:22 | |
'I went to meet someone who knew all there was to know about hand modelling. | 0:20:22 | 0:20:26 | |
'Nina's hands were the face of some of our most familiar faces's hands. | 0:20:26 | 0:20:29 | |
'From pens to, I don't know, maybe an egg. You name it, she'd held it.' | 0:20:29 | 0:20:33 | |
And these are the hands! I was very aware of shaking your hand. | 0:20:33 | 0:20:38 | |
-I shook it quite firmly. -You're allowed! | 0:20:38 | 0:20:41 | |
-Is that OK? -Yeah, course it is. -I don't want to break it. | 0:20:41 | 0:20:44 | |
-Well, they are insured actually. -How much are they insured for? | 0:20:44 | 0:20:47 | |
It's a seven-figure sum. | 0:20:47 | 0:20:49 | |
-A seven-figure sum! So millions. -Something like that. | 0:20:49 | 0:20:52 | |
Where would I know your hands from? | 0:20:52 | 0:20:54 | |
Billboards, sides of buses, magazines, TV adverts with Kate Moss. | 0:20:54 | 0:20:58 | |
-So are these Kate Moss's hands? -Yes. | 0:20:58 | 0:21:01 | |
-Are they? -Well, no. They're my hands, obviously. -Yeah. | 0:21:01 | 0:21:05 | |
But yeah, they stand in for Kate's. | 0:21:05 | 0:21:07 | |
I'm very aware that we're standing here with me holding your hands. | 0:21:07 | 0:21:10 | |
I've only just met you! So we may be, sort of... | 0:21:10 | 0:21:13 | |
I sort of work with the product, but the way it's edited | 0:21:13 | 0:21:16 | |
-and cut makes it look like it's Kate picking up the product. -So, are you there like this? | 0:21:16 | 0:21:20 | |
-When Kate Moss is there, do you go like this? -Sometimes. Yes. Something like that. | 0:21:20 | 0:21:25 | |
-Something like that. -That's awesome! -Yeah. So, there you go. | 0:21:27 | 0:21:31 | |
I mean, it's one part of my job really and I've been able to | 0:21:31 | 0:21:35 | |
make a whole career out of this for over ten years. | 0:21:35 | 0:21:38 | |
'With my hand model job just a few days away, | 0:21:38 | 0:21:40 | |
'Nina gave my all-weather Donald Duck love gloves a full examination.' | 0:21:40 | 0:21:44 | |
-Do you know what? You've actually got a nice finger shape. -Have I? -Yes. | 0:21:44 | 0:21:49 | |
With male hand modelling, thumbs are very important. | 0:21:49 | 0:21:52 | |
-Here they are, at the end. -I know you've got them. | 0:21:52 | 0:21:55 | |
-Oh. -But it's the way they look that's quite important. | 0:21:55 | 0:21:58 | |
-There's more to it. -Yeah, there is a little bit more to it. | 0:21:58 | 0:22:01 | |
-How would you rate them out of ten? -Well, the nails are an issue. So you need time with that. | 0:22:01 | 0:22:05 | |
'I was desperate to hold something, or at least just pick something up. | 0:22:05 | 0:22:09 | |
'But Nina said I wasn't ready and deep down, I knew she was right. | 0:22:09 | 0:22:12 | |
'My hands still looked like I lived in a tree.' | 0:22:12 | 0:22:14 | |
My beauty regime starts and ends with me | 0:22:14 | 0:22:16 | |
-washing my hands after I've been to the toilet. -Nice. OK. | 0:22:16 | 0:22:20 | |
-That's a good start, but I think we need to... -It's more basic hygiene. | 0:22:20 | 0:22:23 | |
-Yeah. -What's your hand regime? | 0:22:23 | 0:22:27 | |
At a basic, what I do for my regime is I moisturise about 40 times a day. | 0:22:27 | 0:22:31 | |
-40 times a day, you moisturise your hands? -Yeah. Did you say you wanted to be a hand model? | 0:22:31 | 0:22:35 | |
Cos you know you're going to have to start doing that. | 0:22:35 | 0:22:38 | |
'I made a mental note to pick up some...moisture on the way home. My hands were finally ready. | 0:22:38 | 0:22:43 | |
'Nina would teach me everything, from basic grabbing | 0:22:43 | 0:22:45 | |
'to the techniques of the French master holders.' | 0:22:45 | 0:22:48 | |
-Try one where you're just resting it. -Pepper nestling in the cradle. | 0:22:48 | 0:22:52 | |
Yeah, let's try one of those. | 0:22:52 | 0:22:54 | |
We don't want to see the inside of the hand. | 0:22:54 | 0:22:57 | |
Just cradling it and just giving people a bit of stalk. | 0:22:57 | 0:23:00 | |
I feel like I'm selling it. | 0:23:00 | 0:23:02 | |
Good! Do you know what? That's what it's got to feel like. | 0:23:02 | 0:23:04 | |
Am I supposed to be on the phone, or am I just holding the phone? | 0:23:04 | 0:23:08 | |
-You're a hand model! -OK. -Don't forget! | 0:23:08 | 0:23:10 | |
-I feel like that top finger's working it quite subtly. -OK. | 0:23:10 | 0:23:13 | |
Kink in the thumb, check that out. | 0:23:13 | 0:23:15 | |
And then this index finger might just rest on the corner there. | 0:23:15 | 0:23:19 | |
And the thumb here, that can vary. See the thumb? | 0:23:19 | 0:23:22 | |
-Now, you can either have it straight... -Or bent a bit. | 0:23:22 | 0:23:25 | |
Ever so slightly. | 0:23:25 | 0:23:27 | |
'Nina and I had worked intensively on my holding, but I could hardly | 0:23:27 | 0:23:30 | |
'believe my ears when she said I was ready to do an action shot. | 0:23:30 | 0:23:33 | |
'This was where the thumbs Nina had found on the end of my hands would come in.' | 0:23:33 | 0:23:37 | |
So, the thumb is the hero now. | 0:23:37 | 0:23:39 | |
Remember these fingers around here as well. Don't forget about these ones cos you've lost that now. | 0:23:39 | 0:23:43 | |
I think it's going really well. I think I've learned a lot | 0:23:43 | 0:23:46 | |
and the before and after photographs speak for themselves. | 0:23:46 | 0:23:50 | |
It's hard. There's a lot more to it than you realise, but I'm really getting quite into it. | 0:23:50 | 0:23:54 | |
'Like a two-inch tall De Niro, my one-take wonder thumb had nailed it. | 0:23:54 | 0:23:58 | |
'As a final treat, Nina let my hands pose with hers. I was on cloud nine. | 0:23:58 | 0:24:02 | |
'How many people can say their hands have worked with hands that people think are Kate Moss's hands?' | 0:24:02 | 0:24:07 | |
-My hand's nervous. -Just hold the rose. -OK. | 0:24:07 | 0:24:10 | |
There's a lot more to this than you would ever imagine. | 0:24:10 | 0:24:14 | |
-Are our hands working as a team? -They're working very well as a team. | 0:24:14 | 0:24:18 | |
-Very good. -I'm giving you plenty of hand, but I'm not detracting from the rose. | 0:24:18 | 0:24:23 | |
Just thinking, this is the maddest, weirdest thing I've ever done in my life. | 0:24:23 | 0:24:27 | |
It is, but it's a job. It is. It's a career. | 0:24:27 | 0:24:31 | |
Well, good job. | 0:24:31 | 0:24:34 | |
Oh, I don't want to...just in case. What if I break them? | 0:24:34 | 0:24:37 | |
-That's a million-quid claim. -Do it softly. There you go. -There we go. | 0:24:37 | 0:24:40 | |
I don't want to ruin your no claims bonus. | 0:24:40 | 0:24:43 | |
'After Nina's hand boot camp, I'm feeling pretty good.' | 0:24:43 | 0:24:46 | |
I'm going to take these babies home and pamper them | 0:24:46 | 0:24:49 | |
and give it my best shot. I'm now feeling pretty confident. | 0:24:49 | 0:24:52 | |
'That night, I started to get in shape. | 0:24:54 | 0:24:57 | |
'I had one gig in my diary, but this was a competitive world and Julien's words still haunted me. | 0:24:57 | 0:25:01 | |
'I was up against guys who were 25 years younger than me, 25 years fitter, stronger. | 0:25:01 | 0:25:06 | |
'I had a few hours to turn back the clock.' | 0:25:06 | 0:25:09 | |
# Every little bit of my heart is true | 0:25:10 | 0:25:15 | |
# This is where I belong | 0:25:15 | 0:25:18 | |
# Every little bit of my heart's for you | 0:25:18 | 0:25:22 | |
# So long | 0:25:22 | 0:25:26 | |
# Every little bit | 0:25:26 | 0:25:28 | |
# Every little bit of my heart. # | 0:25:28 | 0:25:31 | |
Come on! One and two, and one and two! Come on! You can do it! | 0:25:31 | 0:25:35 | |
Feel the burn, come on, you horrible little amphibious shit! Come on! | 0:25:35 | 0:25:39 | |
Feel the burn! Work it! One and two! And one and two! | 0:25:39 | 0:25:42 | |
Julien Macdonald told me I would never get work as a male model, | 0:25:43 | 0:25:47 | |
but I've proved him wrong. Today, my hands are my golden ticket. | 0:25:47 | 0:25:51 | |
They've landed me my first big hand job. | 0:25:51 | 0:25:54 | |
It's time to put everything Nina taught me into practice. | 0:25:54 | 0:25:57 | |
My hands are pumped, they're psyched up, I've cleansed, toned, | 0:25:57 | 0:26:00 | |
I've moisturised 97 times in the last 20 minutes. My hands are so up for this, | 0:26:00 | 0:26:04 | |
they haven't slept a wink. They've been excited all night. It's time...to nail this! | 0:26:04 | 0:26:09 | |
'This was it. I was going to be a model. | 0:26:09 | 0:26:11 | |
'I'd prepared and done everything I could to make sure this hand job had a happy ending. | 0:26:11 | 0:26:15 | |
'But when I met photographer Hazel and head of PR Julia, they dropped an almighty hand grenade.' | 0:26:15 | 0:26:20 | |
We have a great range of products we would like you to model for us | 0:26:20 | 0:26:23 | |
with your hands. Secateurs, a watering can, some seeds. | 0:26:23 | 0:26:27 | |
Most of all, we would like you to do it all wearing our gloves, | 0:26:27 | 0:26:30 | |
our new range of gloves that we've brought in for this season. | 0:26:30 | 0:26:34 | |
-Got a range of colours, pink or blue. -Gloves? -Gloves. -Yeah. | 0:26:34 | 0:26:38 | |
'Gloves. The hand model's Kryptonite. | 0:26:38 | 0:26:42 | |
'I felt like I'd been stabbed in the back...with the secateurs. | 0:26:42 | 0:26:45 | |
'This was the cruellest rejection of them all.' | 0:26:45 | 0:26:49 | |
I am disappointed. | 0:26:49 | 0:26:51 | |
I'm trying to think positively about it, but it's hard. | 0:26:51 | 0:26:55 | |
Cos I've been quite psyched about getting this job | 0:26:55 | 0:26:58 | |
and it was two fingers to Julien. He said I could never do it and I had. | 0:26:58 | 0:27:02 | |
And then now...this is a job, this is a profession | 0:27:02 | 0:27:06 | |
and I've got to somehow...my hands have got to sparkle through this. | 0:27:06 | 0:27:09 | |
And not show the disappointment that they're feeling. | 0:27:09 | 0:27:12 | |
Lovely! | 0:27:12 | 0:27:14 | |
Anyone behind me, watching this... What the...? | 0:27:16 | 0:27:19 | |
Just gently sprinkle. | 0:27:25 | 0:27:28 | |
I always have very dark thoughts whenever anybody puts something like this in my mind. | 0:27:28 | 0:27:32 | |
I just imagined cutting my own nipples off. | 0:27:32 | 0:27:34 | |
I think we'll just focus on the rose bush today, if that's OK. | 0:27:34 | 0:27:37 | |
-I probably won't do it, almost certainly. But it does go through my mind. -OK. | 0:27:37 | 0:27:40 | |
-Yes. -That's it. -Yes! -Just relax your fingers. -Yes. | 0:27:40 | 0:27:44 | |
I won't tell you... In my mind's eye, I've already cut it off. | 0:27:45 | 0:27:49 | |
'My hands had put on a brave face and my clients seemed happy. | 0:27:51 | 0:27:54 | |
'When I got home, I'd ensure my flippers and, if the harsh world of modelling ever got too much, | 0:27:54 | 0:27:59 | |
'at least I'd have free breakdown cover.' | 0:27:59 | 0:28:02 | |
And I did it. I made it. I got a job. All right, it might not be Paris or Milan. | 0:28:02 | 0:28:06 | |
It's a garden centre near Cardiff. And OK, I might have had to wear gloves throughout the whole | 0:28:06 | 0:28:11 | |
shoot, but these were my hands. | 0:28:11 | 0:28:13 | |
I've taken the rejection, I've got back up again. | 0:28:13 | 0:28:16 | |
I never made it as a catwalk model, I didn't make it as a life model, but I took the rejection | 0:28:16 | 0:28:22 | |
and I got back up and I didn't give in and I got work. I'm a male and I've modelled. | 0:28:22 | 0:28:28 | |
Those are my hands that are going to be used in that campaign. | 0:28:28 | 0:28:32 | |
And that, I think, is a success. | 0:28:32 | 0:28:35 | |
I'm happy with it, anyway. | 0:28:35 | 0:28:37 | |
# This is where I belong | 0:28:37 | 0:28:41 | |
# Every little bit of my heart's for you | 0:28:41 | 0:28:45 | |
# So long... # | 0:28:45 | 0:28:47 | |
If you could just take the tits for me. | 0:28:48 | 0:28:51 | |
-Shall I take the pair? -Yeah, the pair. Lovely. | 0:28:51 | 0:28:54 | |
-Just perch yourself on the side of the table. -By the balls? | 0:28:54 | 0:28:58 | |
-That's it, lovely. -I've got a head in my arse. | 0:28:58 | 0:29:02 | |
Subtitles by Red Bee Media Ltd | 0:29:02 | 0:29:04 |