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This may be my favourite television programme I ever made. | 0:00:02 | 0:00:05 | |
It's about small things - tiny, shortened, miniaturised. | 0:00:05 | 0:00:10 | |
-Good night. -MUSIC PLAYS | 0:00:10 | 0:00:12 | |
Ha-ha, small joke to begin with! | 0:00:12 | 0:00:15 | |
The overwhelming impulse to take everyday things | 0:00:30 | 0:00:32 | |
and shrink them down to a scale we can lord it over | 0:00:32 | 0:00:35 | |
is as old as the human race itself. | 0:00:35 | 0:00:38 | |
For example, have you ever seen any prehistoric cave paintings? | 0:00:38 | 0:00:42 | |
Well, apart from them being really amateurish, | 0:00:42 | 0:00:44 | |
just how big are the bison and woolly mammoths in them? | 0:00:44 | 0:00:47 | |
What, about that big? | 0:00:47 | 0:00:49 | |
Come on, troglodytes, who are you trying to kid? | 0:00:49 | 0:00:51 | |
I should imagine when they first had a showing | 0:00:51 | 0:00:54 | |
they invited guests who would've said, "Yeah, it's really nice. | 0:00:54 | 0:00:57 | |
"Bit little, though, aren't they?" And then one or two others, | 0:00:57 | 0:01:00 | |
probably cavewomen, will have said, "Oh, I don't know, I like them. | 0:01:00 | 0:01:04 | |
"They're sweet." And so the tricky concept of 'cute' was born. | 0:01:04 | 0:01:08 | |
Welcome to the real little Britain. | 0:01:08 | 0:01:10 | |
JOLLY MUSIC | 0:01:19 | 0:01:22 | |
A particular "well done" to the fella riding the tiny bike in that package. | 0:01:46 | 0:01:50 | |
He is experiencing everything life has to offer, in my book. | 0:01:52 | 0:01:56 | |
They say about Sir Christopher Wren | 0:01:56 | 0:01:58 | |
that if you want to see his monument, then look around you. | 0:01:58 | 0:02:01 | |
But what of the Dobbins brothers, | 0:02:01 | 0:02:03 | |
for my money the greatest architects this nation has ever produced. | 0:02:03 | 0:02:07 | |
How might we observe their legacy? | 0:02:07 | 0:02:10 | |
You'll have to start by getting down on your hands and knees. | 0:02:10 | 0:02:14 | |
The Dobbins brothers. Southport in '57, Great Yarmouth in '61, | 0:02:14 | 0:02:19 | |
and Babbacombe in Torquay in '63. | 0:02:19 | 0:02:21 | |
Very important that we change with the times, keep up with the times, | 0:02:23 | 0:02:26 | |
that we must keep advancing every day. | 0:02:26 | 0:02:29 | |
We look for the news and we watch for the... | 0:02:29 | 0:02:32 | |
different things that are happening. If it's in the papers today, | 0:02:32 | 0:02:35 | |
you can bet that it will be in the village here tomorrow. | 0:02:35 | 0:02:39 | |
People love the sense of humour here, but it, er... | 0:02:39 | 0:02:42 | |
it has times has got me into trouble, yes. | 0:02:42 | 0:02:44 | |
A few years ago, there was a little beach here | 0:02:44 | 0:02:47 | |
where quite a few people used to go on in the nude. | 0:02:47 | 0:02:51 | |
So we made a little beach and we put a few nudes on just to be topical. | 0:02:51 | 0:02:57 | |
A reverend rang me up, and two ladies rang me up, | 0:02:59 | 0:03:02 | |
and one or two people complaining, | 0:03:02 | 0:03:03 | |
they never thought the model village would sink so low. | 0:03:03 | 0:03:06 | |
Me neither! You know, I'm no prude | 0:03:06 | 0:03:08 | |
but those figures were all a bit too...accurate for my liking. | 0:03:08 | 0:03:12 | |
There's no need for it. | 0:03:12 | 0:03:14 | |
Living opposite an open-air swimming baths, as I do, | 0:03:14 | 0:03:16 | |
I see enough miniature shrunken sex organs, thank you very much, | 0:03:16 | 0:03:20 | |
and we shouldn't be encouraging such decadence among the minuscule. | 0:03:20 | 0:03:24 | |
It's no wonder they closed down that open sewer in Southport. | 0:03:24 | 0:03:27 | |
Southport was doomed. | 0:03:27 | 0:03:29 | |
When I realised that the Southport model village was going to cease, | 0:03:29 | 0:03:33 | |
not only cease but be wiped off the face of the earth, | 0:03:33 | 0:03:37 | |
I was very sad. | 0:03:37 | 0:03:39 | |
Safeway's now is built on the old site of the model village, | 0:03:39 | 0:03:44 | |
and when the wife and I now go down to Safeway's, which we do... | 0:03:44 | 0:03:49 | |
Oh, I-I feel terrible. | 0:03:49 | 0:03:52 | |
To think that the old model village is no longer there, | 0:03:52 | 0:03:56 | |
and Safeway's now is on top. | 0:03:56 | 0:03:58 | |
I'll never get over losing Southport. Never. | 0:03:58 | 0:04:01 | |
Never. No. | 0:04:01 | 0:04:03 | |
Well, perhaps you should have thought about that, my friend, | 0:04:05 | 0:04:08 | |
before you began painting the pants off the tiny townsfolk. | 0:04:08 | 0:04:11 | |
Oh, I know what you're all saying - | 0:04:11 | 0:04:13 | |
"Come on, Dan, it's only a model village. What's so wicked about that?" | 0:04:13 | 0:04:16 | |
Well, I take it you know what they use to thatch | 0:04:16 | 0:04:19 | |
those adorable reduced-sized roofs with? | 0:04:19 | 0:04:22 | |
Human hair! | 0:04:22 | 0:04:24 | |
It may strike one as unromantic to lop pieces off a lovely girl's hair, | 0:04:24 | 0:04:28 | |
moth-proof it and stick it on the roof, | 0:04:28 | 0:04:30 | |
but it's all in a good cause, and it looks decorative | 0:04:30 | 0:04:32 | |
as well as lifelike, when it's in position. | 0:04:32 | 0:04:35 | |
The thatch is made of Chinese human hair | 0:04:36 | 0:04:39 | |
but that costs over £7 a pound, so now we use plumber's hemp. | 0:04:39 | 0:04:44 | |
Hemp! | 0:04:44 | 0:04:45 | |
So know we can add narcotics to the temptations available | 0:04:45 | 0:04:48 | |
in these perverted pint-size plots. | 0:04:48 | 0:04:51 | |
Where will the debauchery end? | 0:04:51 | 0:04:53 | |
Well, happily, on such a scale, | 0:04:53 | 0:04:55 | |
at least we may be spared any crass phallic imagery. | 0:04:55 | 0:04:58 | |
If you've seen model villages, this is the daddy of them all. | 0:04:58 | 0:05:02 | |
Four acres of it, the biggest and best in the world. | 0:05:02 | 0:05:06 | |
'Oh, really! What have we become? Tom Thumb, you unspeakable satyr!' | 0:05:06 | 0:05:12 | |
As you can see, this is Toytown as Sodom and Gomorrah! | 0:05:12 | 0:05:16 | |
And they're death traps, too. Look! | 0:05:16 | 0:05:18 | |
If all that wasn't enough, some aspects of these | 0:05:22 | 0:05:25 | |
what I now like to call "Mayhem Villages" | 0:05:25 | 0:05:28 | |
are seemingly designed to send you insane. | 0:05:28 | 0:05:31 | |
In 1935, a Cotswold innkeeper, Mr Morris, | 0:05:31 | 0:05:34 | |
decided to transform his own vegetable garden. | 0:05:34 | 0:05:37 | |
But this time it wouldn't be a make-believe village | 0:05:37 | 0:05:40 | |
but a miniature replica of the real place where he lived, | 0:05:40 | 0:05:43 | |
Bourton-on-the-water in Gloucestershire. | 0:05:43 | 0:05:46 | |
A model village of a real village must feature a model of itself. | 0:05:46 | 0:05:50 | |
That model village, too, must have a model, and so on. | 0:05:50 | 0:05:54 | |
This is the moment, with only a few days to opening, | 0:05:58 | 0:06:00 | |
when welders, modellers and site workers | 0:06:00 | 0:06:03 | |
of all sorts are frantically putting the finishing touches | 0:06:03 | 0:06:06 | |
to something that's been a completely new experience for all of them. | 0:06:06 | 0:06:10 | |
It's always rather a tense moment | 0:06:10 | 0:06:12 | |
when one of the major pieces arrives. | 0:06:12 | 0:06:14 | |
And with the appearance of Westminster Hall, | 0:06:14 | 0:06:17 | |
due to take its rightful place next to the Houses of Parliament, | 0:06:17 | 0:06:20 | |
you begin to see why. | 0:06:20 | 0:06:22 | |
There must be some kind of jinx on Westminster Hall. | 0:06:22 | 0:06:26 | |
Somebody lobbed a bomb into the real one a couple of years ago, | 0:06:26 | 0:06:30 | |
and now...this. | 0:06:30 | 0:06:32 | |
-CREAKING AND MOANING -His bloody arm! | 0:06:32 | 0:06:34 | |
Get your arm out, mate. | 0:06:36 | 0:06:38 | |
SNAPPING AND CREAKING | 0:06:41 | 0:06:43 | |
-Don't drop it! -Get it out. | 0:06:46 | 0:06:49 | |
It's going to mean a major patch-up job. | 0:07:01 | 0:07:03 | |
You know, the Elephant Man took thousands of individual match-sticks | 0:07:03 | 0:07:06 | |
and created a magnificent model of a cathedral. | 0:07:06 | 0:07:09 | |
Those blokes appear to be working on the opposite idea. | 0:07:09 | 0:07:12 | |
Mr Alf Tabb of Kidderminster riding the smallest ride-able bicycle | 0:07:12 | 0:07:16 | |
in the world, with three-inch wheels and standing only five inches high. | 0:07:16 | 0:07:20 | |
Mr Tabb is a cycle maker by trade, and the miniatures are his hobby. | 0:07:20 | 0:07:24 | |
But his physical prowess is particularly remarkable, | 0:07:24 | 0:07:27 | |
especially when you consider his age. 75, believe it or not. | 0:07:27 | 0:07:30 | |
Mind you, he's been doing it for a few years now. | 0:07:30 | 0:07:33 | |
I'm joined by the Reverend Sir Peter Boothbury, | 0:07:33 | 0:07:36 | |
a lecturer in scale tensile engineering at the University of Chicago. | 0:07:36 | 0:07:39 | |
So, Peter, we've had some fun, | 0:07:39 | 0:07:41 | |
-but is there a precedent for the miniature in theology? -Well... | 0:07:41 | 0:07:44 | |
-PHONE RINGS -One second. | 0:07:44 | 0:07:46 | |
Yeah, hello? | 0:07:48 | 0:07:50 | |
Oh, sure, no problem. OK, sure. | 0:07:50 | 0:07:52 | |
That was the producer. | 0:07:52 | 0:07:54 | |
According to Twitter, nobody cares what you've got to say. | 0:07:54 | 0:07:56 | |
They just want to see more Alf Tabb footage. | 0:07:56 | 0:07:59 | |
Model maker Bill has been building ships in his flat for over ten years. | 0:08:04 | 0:08:09 | |
The ship that's really taken over Bill's life and flat is the Corsair. | 0:08:09 | 0:08:13 | |
a 25-foot scale model of the luxury steam yacht | 0:08:13 | 0:08:17 | |
takes up so much room there isn't space to swing a cat-o'-nine-tails. | 0:08:17 | 0:08:21 | |
What do you do when you have company, Bill? | 0:08:21 | 0:08:23 | |
-I don't have any company. -You don't bother? -I don't bother with company. | 0:08:23 | 0:08:26 | |
Bill's not given to dewy-eyed romanticism. | 0:08:26 | 0:08:29 | |
He chose the Corsair not for its luxury, its opulence or its history, | 0:08:29 | 0:08:33 | |
but because, when it was finished, it would be the right width. | 0:08:33 | 0:08:37 | |
And it had dimensions... | 0:08:37 | 0:08:39 | |
sufficient to allow it to go through the window. | 0:08:39 | 0:08:42 | |
-Now, how wide is your window? -It is 35 inches. -Exactly? -Yes. | 0:08:42 | 0:08:46 | |
-And how wide is the yacht? -It is 31½ inches. | 0:08:46 | 0:08:51 | |
-31½? So you've actually got 3½ inches... -I've got quite a few, yes. | 0:08:51 | 0:08:55 | |
You're absolutely sure about that? | 0:08:55 | 0:08:58 | |
There is the tape measure behind you. | 0:08:58 | 0:09:01 | |
So you found a boat with exactly the right width, | 0:09:01 | 0:09:03 | |
-but what about the length? -Well, that sort of crept up on me. | 0:09:03 | 0:09:07 | |
How did you feel when it started to creep into the bathroom? | 0:09:07 | 0:09:10 | |
As I say, I was committed then. I'd built one half of it, | 0:09:10 | 0:09:12 | |
I couldn't leave a half a boat, so I just carried on. | 0:09:12 | 0:09:16 | |
I see you've had to make one or two not-so-fancy alterations to the flat. | 0:09:16 | 0:09:21 | |
This was my own cupboard structures, | 0:09:21 | 0:09:24 | |
which I hammered out to accommodate the bridge. | 0:09:24 | 0:09:27 | |
Have you been able to calculate how many man-hours have gone into that? | 0:09:27 | 0:09:31 | |
About 20,000, I should think. | 0:09:31 | 0:09:33 | |
If Bill remains out of work, | 0:09:33 | 0:09:35 | |
he reckons he can finish the Corsair in 18 months. | 0:09:35 | 0:09:39 | |
If he finds a job, it'll take ten years, working evenings and weekends. | 0:09:39 | 0:09:45 | |
A job would be ideal coming at the end of this, really, | 0:09:45 | 0:09:48 | |
because then I could probably borrow the firm's lorry, | 0:09:48 | 0:09:51 | |
if I drove a lorry or something, and it would be equally... | 0:09:51 | 0:09:55 | |
I could take it in two halves, join it up on the lake and sail it. | 0:09:55 | 0:09:57 | |
For those of you thinking, "He should get out more," he can't. | 0:09:57 | 0:10:01 | |
But how could that man be unemployed? | 0:10:01 | 0:10:03 | |
My wife's been waiting for me to level up the legs on our kitchen table for three years. | 0:10:03 | 0:10:08 | |
He built an oceangoing liner in two. | 0:10:08 | 0:10:10 | |
Then again, I live in a house, not a dry dock. | 0:10:10 | 0:10:14 | |
Who could put up with that? Well, not many, is the answer, | 0:10:14 | 0:10:17 | |
and thus a good deal of our dedicated model-makers | 0:10:17 | 0:10:20 | |
appear to be solely married to their craft. | 0:10:20 | 0:10:23 | |
They live with balsa wood brides, which can be easier. | 0:10:23 | 0:10:27 | |
Not so many awkward questions. | 0:10:27 | 0:10:29 | |
-That's very fine work, Ken. -Yes, it is very fine work. | 0:10:29 | 0:10:33 | |
-It's a very fine-edge file. -Need a good pair of eyes for that job. | 0:10:33 | 0:10:37 | |
Oh, you've got to have very good eyes. | 0:10:37 | 0:10:39 | |
If you've got no eyes, you can't do the job at all. | 0:10:39 | 0:10:42 | |
-Ken, everything you make is wood? -Everything is wood. | 0:10:42 | 0:10:46 | |
The pinpoint detail of the tiny engines at Banbury Sheds | 0:10:47 | 0:10:51 | |
is repeated on a grander scale in Ken Rotherham's masterpiece, | 0:10:51 | 0:10:55 | |
his seven-foot long by four-foot wide model of Paddington Station, | 0:10:55 | 0:10:59 | |
headquarters of the old Great Western Railway. | 0:10:59 | 0:11:02 | |
-This facade is magnificent, Ken, isn't it? -Yes, it is. | 0:11:05 | 0:11:09 | |
-You started when you were 16. -Yes. -You're 41 now... -And I'm 41 now. | 0:11:09 | 0:11:14 | |
-..and you've been working on it ever since? -And I've been working on it ever since. | 0:11:14 | 0:11:18 | |
I think of it while I'm at work, | 0:11:18 | 0:11:21 | |
and, er, when I get home, tea's ready, | 0:11:21 | 0:11:25 | |
sometimes I have not got time to even eat my tea | 0:11:25 | 0:11:28 | |
because I long to get on my model. | 0:11:28 | 0:11:30 | |
And sometimes I can't sleep cos it's a worry on my mind. | 0:11:30 | 0:11:34 | |
Don't you ever take a holiday from it, Ken? | 0:11:34 | 0:11:37 | |
Well, when I go on holiday, I take it with me, and sit on the beach. | 0:11:37 | 0:11:41 | |
-Well, wh... -And I take it shopping with me. | 0:11:41 | 0:11:44 | |
What does the missus think with you going along with her, you know, | 0:11:44 | 0:11:47 | |
-with a bit of wood? -Well, at one time she used to get annoyed. | 0:11:47 | 0:11:51 | |
Every time we were going out, I'd say, "Wait a minute," | 0:11:51 | 0:11:53 | |
and she said, "If we've got to wait for you, we'll wait all day long. | 0:11:53 | 0:11:56 | |
"You'll never get away from that at all. I'll be glad when you've finished it." | 0:11:56 | 0:12:00 | |
Well, in another three years, anyway, you'll have finished it. | 0:12:00 | 0:12:03 | |
What are you going to do then? | 0:12:03 | 0:12:05 | |
Well, that's often crossed my mind, | 0:12:06 | 0:12:08 | |
and I don't know what I'm going to do with it. | 0:12:08 | 0:12:11 | |
As, er, my wife says, it's too big. | 0:12:11 | 0:12:15 | |
At the end of the show, there will be a phone number for anybody | 0:12:15 | 0:12:18 | |
who has been affected by the issues raised in tonight's programme. | 0:12:18 | 0:12:21 | |
We'd particularly like to hear from other men whose wives | 0:12:21 | 0:12:24 | |
won't let them bring Paddington Station on holiday with them. | 0:12:24 | 0:12:28 | |
Obsessive modelling is nothing to be ashamed of. | 0:12:28 | 0:12:30 | |
We want you to know you're not alone. | 0:12:30 | 0:12:32 | |
Although, actually, you probably are. | 0:12:32 | 0:12:35 | |
So, what is it about the allure of little locomotives in particular | 0:12:35 | 0:12:39 | |
that so governs the male senses? | 0:12:39 | 0:12:41 | |
Yes, you. | 0:12:45 | 0:12:46 | |
How long is this programme? | 0:12:46 | 0:12:49 | |
Because, if you ask me a question like that, | 0:12:51 | 0:12:53 | |
I can go on quite happily for the next 3½ hours. | 0:12:53 | 0:12:56 | |
Oh, I see. These hams are only economical with material | 0:12:56 | 0:13:00 | |
when it comes to hammering away at the hobby. | 0:13:00 | 0:13:02 | |
The layout represents part of the old Great Western line | 0:13:03 | 0:13:07 | |
in South Devon, as it was about 1935. | 0:13:07 | 0:13:11 | |
Great Western was described, probably by Brunel, rather aptly, | 0:13:11 | 0:13:16 | |
as a line built by gentlemen for gentlemen. | 0:13:16 | 0:13:18 | |
It isn't so much a question of playing trains here. | 0:13:18 | 0:13:21 | |
We operate an actual timetable, | 0:13:21 | 0:13:24 | |
taken from the Great Western's operating timetable of 1938. | 0:13:24 | 0:13:30 | |
Of course! Otherwise the whole thing would be pointless. | 0:13:30 | 0:13:34 | |
We work it, as far as we possibly can, | 0:13:34 | 0:13:37 | |
to the actual signalling regulations | 0:13:37 | 0:13:40 | |
that the Great Western were running under in 1938. | 0:13:40 | 0:13:44 | |
The signalling apparatus is simple enough. | 0:13:44 | 0:13:47 | |
These two are double line absolute block instruments, | 0:13:47 | 0:13:50 | |
these are the bells relating to them. | 0:13:50 | 0:13:53 | |
If we were going to have a trip out, we were offering a stopping train forward. | 0:13:53 | 0:13:57 | |
We should call the signalman's attention with one beat on the bell. | 0:13:57 | 0:14:00 | |
That would be answered by a single beat. | 0:14:00 | 0:14:02 | |
Then, we should describe the train - | 0:14:02 | 0:14:05 | |
in this case a stopping passenger - | 0:14:05 | 0:14:08 | |
three beats, with a pause and one beat. | 0:14:08 | 0:14:10 | |
BELL RINGS THREE TIMES | 0:14:10 | 0:14:12 | |
BELL RINGS | 0:14:12 | 0:14:13 | |
And then, he would give us the "line clear" on his instrument. | 0:14:13 | 0:14:17 | |
I shall have to do it. | 0:14:17 | 0:14:18 | |
We have an interesting problem in that the LMS have offered us | 0:14:19 | 0:14:23 | |
the Aberdeen sleepers, approximately two hours behind time. | 0:14:23 | 0:14:27 | |
Very well. Geoff? | 0:14:28 | 0:14:30 | |
Hello, Ted? | 0:14:30 | 0:14:32 | |
Aberdeen's two hours down. | 0:14:32 | 0:14:33 | |
And I've got a stopping freight through for you. | 0:14:35 | 0:14:38 | |
Can you take it as a 341? | 0:14:38 | 0:14:41 | |
OK, Ted. | 0:14:41 | 0:14:42 | |
I'll put it online to you as that. | 0:14:42 | 0:14:44 | |
BELLS RING | 0:14:46 | 0:14:48 | |
Things are a little more complicated here | 0:14:54 | 0:14:56 | |
because we don't work to ordinary time. | 0:14:56 | 0:15:00 | |
Obviously we can't spend 24 hours in here working | 0:15:00 | 0:15:02 | |
through a 24-hour schedule. | 0:15:02 | 0:15:04 | |
So, we have a clock which has been doctored to run eight | 0:15:04 | 0:15:07 | |
times as fast as any normal clock. | 0:15:07 | 0:15:10 | |
We work to this. | 0:15:10 | 0:15:12 | |
This gives us a schedule of 180 train movements within 24 hours, | 0:15:12 | 0:15:16 | |
within a compass of three hours of actual time. | 0:15:16 | 0:15:19 | |
Meanwhile, back at the font, newborn babies are having to christen | 0:15:19 | 0:15:22 | |
themselves because Casey Jones there has got a loose caboose. | 0:15:22 | 0:15:26 | |
Still, it can't be a carefree life knowing your entire universe | 0:15:26 | 0:15:30 | |
is always just one power cut away from total paralysis. | 0:15:30 | 0:15:34 | |
Then there are the natural hazards any major network has to face. | 0:15:34 | 0:15:37 | |
Always a good train this, all the way from Glasgow. | 0:15:40 | 0:15:42 | |
Now going up through St Pancras. | 0:15:46 | 0:15:49 | |
What's happening now? | 0:15:51 | 0:15:53 | |
Got a train stuck at St Pancras. | 0:15:53 | 0:15:56 | |
Have to go up there and see what's wrong. | 0:15:56 | 0:15:58 | |
You do get these things go wrong sometimes | 0:15:58 | 0:16:01 | |
and here's one gone wrong now. | 0:16:01 | 0:16:03 | |
I think we'd better go and have a look at it. | 0:16:04 | 0:16:07 | |
Think it might be a crash? | 0:16:07 | 0:16:09 | |
-No. -Derailment? | 0:16:09 | 0:16:10 | |
No, it wouldn't be a derailment. It might be mice. | 0:16:10 | 0:16:13 | |
Blooming mice with their flipping insistence on the empirical - | 0:16:13 | 0:16:17 | |
denying the otherwise obvious | 0:16:17 | 0:16:18 | |
reality of the 9.25 from Glasgow Central to London, St Pancras. | 0:16:18 | 0:16:23 | |
Calling at the kitchen, the downstairs toilet, | 0:16:23 | 0:16:25 | |
the back porch and that little cupboard under the stairs. | 0:16:25 | 0:16:28 | |
I mean he had the hat on and everything. Mice! | 0:16:28 | 0:16:30 | |
I bet it was that stuck up Angelina Ballerina and her friends. | 0:16:30 | 0:16:33 | |
Them and all their exquisitely furnished homes. | 0:16:33 | 0:16:37 | |
Dennis Hillman lives in Sussex, his wife goes out to work | 0:16:37 | 0:16:40 | |
and he works at home, all alone. | 0:16:40 | 0:16:43 | |
A Louis XIV commode, oak frame, veneered with Makassar Ebony and | 0:16:43 | 0:16:47 | |
panels of padauk, | 0:16:47 | 0:16:49 | |
lined with ofara and inlaid with tulipwood, | 0:16:49 | 0:16:52 | |
rosewood and iron. | 0:16:52 | 0:16:54 | |
Marble top and ormolu mounts. | 0:16:54 | 0:16:56 | |
A little drawer at the back to hold the keys in case they get lost. | 0:16:56 | 0:17:00 | |
The chevron veneer is the most difficult to do, | 0:17:00 | 0:17:02 | |
as one is bending it against its will. | 0:17:02 | 0:17:05 | |
Of course, it didn't reckon with Dennis Hillman. | 0:17:06 | 0:17:09 | |
I suddenly realised, when I was holding a piece in my hand, | 0:17:09 | 0:17:13 | |
that the models are not miniature to me, but are in fact full-size. | 0:17:13 | 0:17:20 | |
His pieces fetch between £60 and £1,200. | 0:17:20 | 0:17:24 | |
But if you bought one, you would get something that would last. | 0:17:24 | 0:17:28 | |
And it's not even glued yet. | 0:17:31 | 0:17:33 | |
Not even Dennis Hillman would try to sit in one of his chairs. | 0:17:34 | 0:17:38 | |
In the world of infinitesimal fixtures and fittings, | 0:17:38 | 0:17:41 | |
putting your full weight on a piece is the acid test | 0:17:41 | 0:17:44 | |
to see if you have a genuine Dennis Hillman. | 0:17:44 | 0:17:47 | |
That one's a fake. | 0:17:53 | 0:17:54 | |
The studio seems to be full of miniature animals today, | 0:17:54 | 0:17:57 | |
because a few weeks ago, Megan and Gwyneth Northwood of Warwickshire | 0:17:57 | 0:18:01 | |
wrote to us to tell us about a very rare breed of miniature cow. | 0:18:01 | 0:18:04 | |
Tell me, is Nicky old enough to be milked yet? | 0:18:04 | 0:18:07 | |
No. | 0:18:07 | 0:18:08 | |
How old will she have to be before you can give your dad a hand | 0:18:08 | 0:18:12 | |
-to milk her? -Erm...two. | 0:18:12 | 0:18:14 | |
You'll be able to give your dad a hand when he does the milking. | 0:18:14 | 0:18:16 | |
Will he use a machine or will he use his hands? | 0:18:16 | 0:18:18 | |
He'll use his hands. | 0:18:18 | 0:18:20 | |
You'll be able to have a go at doing that, won't you? | 0:18:20 | 0:18:22 | |
Have you any idea why a milking stool has only got three legs? | 0:18:22 | 0:18:25 | |
Shall I tell you? | 0:18:25 | 0:18:27 | |
Because the cow's got the "udder". | 0:18:27 | 0:18:29 | |
-Get it? -Who the hell is this rube? | 0:18:29 | 0:18:31 | |
Anyway... | 0:18:31 | 0:18:33 | |
We've got a chance to compare this one with a full-size cow - | 0:18:33 | 0:18:36 | |
it's not a Guernsey, | 0:18:36 | 0:18:37 | |
but it is another Channel Island breed called a Jersey, | 0:18:37 | 0:18:40 | |
and we have Gwyneth's sister coming in now, this is Megan with Delilah. | 0:18:40 | 0:18:45 | |
# My, my, my, Delilah. # | 0:18:45 | 0:18:47 | |
Isn't she gorgeous? | 0:18:47 | 0:18:49 | |
Now, Megan, what about her? Is she being milked at the moment? | 0:18:49 | 0:18:52 | |
-Yes. -How many gallons of milk a day does she give? | 0:18:52 | 0:18:55 | |
-About five. -Do you get lots of cream from her? -Yes. | 0:18:55 | 0:18:58 | |
Well, they're both tucking in, aren't they? | 0:18:58 | 0:19:00 | |
Do you get nice Jersey cream? | 0:19:00 | 0:19:02 | |
Yes. | 0:19:02 | 0:19:04 | |
What does your mum make with the cream? | 0:19:04 | 0:19:06 | |
Can you turn round this way? Then we can see you. | 0:19:06 | 0:19:08 | |
What does she make with the cream? | 0:19:08 | 0:19:10 | |
Milkshake. | 0:19:10 | 0:19:11 | |
Wonderful - Jersey cream milkshakes. That's tremendous. | 0:19:11 | 0:19:14 | |
Thanks for coming along. | 0:19:14 | 0:19:16 | |
Now, we've got time for the dressing up.... | 0:19:21 | 0:19:24 | |
I'll get it right in a moment. | 0:19:24 | 0:19:26 | |
Simon Groom putting the udder into shudder there. | 0:19:26 | 0:19:30 | |
Every presenter's worst nightmare. | 0:19:30 | 0:19:32 | |
Time suddenly standing still - except it didn't. | 0:19:32 | 0:19:36 | |
In those drowning moments before the next segment seemed to bring | 0:19:36 | 0:19:39 | |
the sweet release of death, there was enough time to count out | 0:19:39 | 0:19:42 | |
a heavyweight boxer - watch. | 0:19:42 | 0:19:44 | |
One, two, three, four, five, | 0:19:44 | 0:19:48 | |
six, seven, eight, nine, ten! | 0:19:48 | 0:19:51 | |
-You're out - that's it. -Some news about the... | 0:19:51 | 0:19:54 | |
dressing up which I was telling you about earlier... | 0:19:54 | 0:19:57 | |
Somebody wasn't paying attention at the read-through, were they? | 0:19:57 | 0:20:00 | |
"Simon? Simon? | 0:20:00 | 0:20:02 | |
"Are you getting all this?" "Yep, yep. | 0:20:02 | 0:20:04 | |
"Little cows, cute kids, | 0:20:04 | 0:20:05 | |
"the gag about the stool - it's all in here, got it." | 0:20:05 | 0:20:08 | |
Then come showtime, yes, the miniature beef but | 0:20:08 | 0:20:11 | |
what about the MASSIVE egg - and all over his face! | 0:20:11 | 0:20:15 | |
Attention to detail, Simon, that's the name of the game. | 0:20:15 | 0:20:18 | |
Just look at her. | 0:20:20 | 0:20:22 | |
Isn't she a thing of delicacy and beauty? | 0:20:22 | 0:20:24 | |
I know. De-lickassy. I've never heard it pronounced that way. | 0:20:24 | 0:20:28 | |
And I've heard polo ponies pronounced "poloponies". | 0:20:28 | 0:20:31 | |
But we can overlook that peculiar delivery | 0:20:31 | 0:20:33 | |
because that man is the titan of the titchy, | 0:20:33 | 0:20:36 | |
the Maharaja of the model kit - Mr Bob Symes, | 0:20:36 | 0:20:39 | |
whose TV career covered anything and everything | 0:20:39 | 0:20:42 | |
that came in a kit form and simultaneously | 0:20:42 | 0:20:45 | |
assembled himself a sizable set of simian stalwarts along the way. | 0:20:45 | 0:20:50 | |
Roy Dealy is using me as a subject for one of his military models. | 0:20:50 | 0:20:54 | |
Roy, is this pose all right? | 0:20:54 | 0:20:56 | |
Yes, that's fine, Bob. Hold it right there. | 0:20:56 | 0:20:58 | |
What I'm doing now, I've got the pose | 0:20:58 | 0:21:01 | |
and I'm going to apply your beard. | 0:21:01 | 0:21:05 | |
And this we put on with a liquid plastic. | 0:21:05 | 0:21:08 | |
It does take a little while to harden off. | 0:21:08 | 0:21:11 | |
Once it's hard, it is, in effect, | 0:21:11 | 0:21:13 | |
welded onto the base plastic and becomes part of it. | 0:21:13 | 0:21:17 | |
The hobby now has developed to such an extent | 0:21:17 | 0:21:20 | |
that it is a true art from. | 0:21:20 | 0:21:21 | |
For instance, this model of the Western Front in 1916. | 0:21:21 | 0:21:26 | |
You can actually show people what it was like to be there. | 0:21:26 | 0:21:29 | |
Let's turn to the lesser horrors of the Second World War's battlefields. | 0:21:29 | 0:21:33 | |
Well, there's your finished self, Bob. | 0:21:33 | 0:21:35 | |
Yes, I wish I was as slim as that nowadays. | 0:21:35 | 0:21:37 | |
Well, let's put you back into the mid-war years in the Western Desert. | 0:21:37 | 0:21:41 | |
Go and have a cup of tea with some of the boys. | 0:21:41 | 0:21:46 | |
I suppose I look slightly out of place amongst all these soldiers, | 0:21:46 | 0:21:48 | |
but I was there all right. | 0:21:48 | 0:21:51 | |
I had a car just like this and I wish I still had it. | 0:21:51 | 0:21:54 | |
Unfortunately, I wrote mine off at Silverstone some time ago. | 0:21:54 | 0:21:58 | |
These radio-controlled model racing cars hit speeds of more | 0:21:58 | 0:22:02 | |
than 60 miles per hour, | 0:22:02 | 0:22:03 | |
which if you scaled it up, | 0:22:03 | 0:22:05 | |
would be well in excess of 400 miles per hour. | 0:22:05 | 0:22:08 | |
The accidents look horrific but, of course, they're never fatal. | 0:22:11 | 0:22:14 | |
Well, that was pretty exciting. | 0:22:15 | 0:22:17 | |
When we talked about this place, it seemed to have real, | 0:22:17 | 0:22:19 | |
live people in it. | 0:22:19 | 0:22:21 | |
Yes, over the course of building we have, in fact, | 0:22:21 | 0:22:23 | |
-built up a real living community. -Have you got a mill? | 0:22:23 | 0:22:26 | |
Yes, the mill's no longer working, I'm afraid, now. | 0:22:26 | 0:22:29 | |
Old Mr Hobbs passed away a few days ago. | 0:22:29 | 0:22:31 | |
I see you have some sheep in the pen in your goods yard. | 0:22:32 | 0:22:35 | |
They've been recently sold, have they? | 0:22:35 | 0:22:37 | |
Yes, Quibble and Cuss, the auctioneers, | 0:22:37 | 0:22:40 | |
sold them to the local abattoir. | 0:22:40 | 0:22:42 | |
Now, along the railway line, next to the station, you've got Hobbs. | 0:22:42 | 0:22:46 | |
It's now been taken over by the son of Hobbs, the miller, | 0:22:46 | 0:22:50 | |
-as a transport business. -It's got a good position for that. | 0:22:50 | 0:22:54 | |
And right behind Hobbs is the church | 0:22:54 | 0:22:56 | |
and I see the grave-digger is digging away there. | 0:22:56 | 0:23:00 | |
-You've had a recent bereavement. -Yes, Mr Hobbs, the Miller. | 0:23:00 | 0:23:03 | |
Oh, that's sad, but I presume his son is carrying on the business. | 0:23:03 | 0:23:06 | |
Yes, he is indeed. | 0:23:06 | 0:23:07 | |
In the days when Dr Beeching chopped off branch lines | 0:23:07 | 0:23:10 | |
with a blunt axe, I tried to resurrect one of them, | 0:23:10 | 0:23:13 | |
the Waverley line, the line that runs between Carlisle and Edinburgh. | 0:23:13 | 0:23:17 | |
Unfortunately, nothing came of it. | 0:23:17 | 0:23:19 | |
Well, Bob, you said bushes so now let's put in some trees. | 0:23:19 | 0:23:23 | |
The prescription for trees, | 0:23:23 | 0:23:24 | |
some hairy string from your friendly newsagent. | 0:23:24 | 0:23:27 | |
-Just ordinary string. -Just ordinary, hairy string. | 0:23:27 | 0:23:30 | |
-And there is your tree. -I think that is quite remarkable. | 0:23:31 | 0:23:36 | |
OK, boys, lower it in. | 0:23:36 | 0:23:37 | |
WINCH SQUEAKS | 0:23:37 | 0:23:40 | |
Well, there it is. | 0:23:43 | 0:23:45 | |
The great Bob Symes, who, at his peak, was selling | 0:23:45 | 0:23:47 | |
20,000 boxes of his beard in kit form every week. | 0:23:47 | 0:23:51 | |
Indeed, so popular an accessory did it prove that in 1971, | 0:23:51 | 0:23:55 | |
his facial hair-construction sets surpassed the sales of similar | 0:23:55 | 0:23:59 | |
replica beards of James Robinson Justice | 0:23:59 | 0:24:01 | |
and post-Beatle Paul McCartney combined. | 0:24:01 | 0:24:03 | |
It wasn't until Christmas four years later, that he was toppled from | 0:24:03 | 0:24:07 | |
his perch as the nation's favourite dealer in the undersized, | 0:24:07 | 0:24:10 | |
when a pair of shrunken sporting sensations began to sprawl | 0:24:10 | 0:24:13 | |
across Britain's carpeting, Scalextric and Subbuteo. | 0:24:13 | 0:24:18 | |
Go! | 0:24:18 | 0:24:19 | |
-Yours is off. -Where's yours? -Mine's off! | 0:24:21 | 0:24:23 | |
You've got it the wrong way round. | 0:24:26 | 0:24:28 | |
As a product showcase, this couldn't be going better, could it? | 0:24:32 | 0:24:35 | |
Is yours going, Val? | 0:24:35 | 0:24:37 | |
-Which track am I on? -I will play four then. | 0:24:37 | 0:24:40 | |
-Down the bottom there. -Who's winning, by the way? -I am. | 0:24:40 | 0:24:44 | |
At least you could blame the props there. | 0:24:44 | 0:24:47 | |
Everything you are about to see can only be classified as human error. | 0:24:47 | 0:24:52 | |
-There's the Welsh team, playing with flippers, by the looks of it. -Yes! | 0:24:52 | 0:24:56 | |
Bella, come on! | 0:24:56 | 0:24:58 | |
It's a game of delicate skill, | 0:24:58 | 0:25:00 | |
speed and mental ability. | 0:25:00 | 0:25:03 | |
Who do you want to avoid in the draw? | 0:25:03 | 0:25:05 | |
Only McGiffen. | 0:25:08 | 0:25:09 | |
By the second day of the competition, the two fiercest | 0:25:09 | 0:25:12 | |
rivals in Subbuteo had been drawn to face each other. | 0:25:12 | 0:25:16 | |
Carl Young is the maverick of the British game, highly | 0:25:16 | 0:25:19 | |
critical of Subbuteo's rulers and by his own admission, highly strung. | 0:25:19 | 0:25:23 | |
By contrast, the McGiffens are Subbuteo's first family, | 0:25:26 | 0:25:29 | |
part of the game's establishment. | 0:25:29 | 0:25:30 | |
John is among the top six in the world | 0:25:30 | 0:25:32 | |
and the man who has helped put him there is his father, Bob, former | 0:25:32 | 0:25:36 | |
player, now international referee and elder statesman of Subbuteo. | 0:25:36 | 0:25:39 | |
By the morning of the game though, | 0:25:39 | 0:25:41 | |
Bob McGiffen stood accused of trying to sort out his son's opponent, | 0:25:41 | 0:25:44 | |
man-to-man, and Carl Young was furious. | 0:25:44 | 0:25:47 | |
In front of a coachload of people, | 0:25:47 | 0:25:48 | |
as I got on the coach with him, | 0:25:48 | 0:25:50 | |
he started spitting at me, pushing me down the aisle | 0:25:50 | 0:25:53 | |
so as I sat down, he put two fingers... | 0:25:53 | 0:25:55 | |
tried to poke my eyes out and as he got off the coach, | 0:25:55 | 0:25:58 | |
he elbowed me in the back of the head. | 0:25:58 | 0:26:00 | |
Witnesses confirmed Carl Young's story | 0:26:00 | 0:26:03 | |
but Mr McGiffen was having none of it. | 0:26:03 | 0:26:05 | |
I don't know how he can say that. | 0:26:05 | 0:26:06 | |
After the evening meal last night, we had a bit of... | 0:26:06 | 0:26:10 | |
good-humoured banter that he didn't want to participate in. | 0:26:10 | 0:26:14 | |
OK, I will declare a disinterest here. | 0:26:14 | 0:26:16 | |
The only thing that leaves me colder than Subbuteo are blokes who | 0:26:16 | 0:26:20 | |
play Subbuteo. Haven't they noticed there is no game there? | 0:26:20 | 0:26:23 | |
All that ridiculous apparatus and you could just as easily | 0:26:23 | 0:26:27 | |
waste the same time with a pea and two matchboxes. | 0:26:27 | 0:26:30 | |
But such a football junkie am I, that even with this wee nonsense, | 0:26:30 | 0:26:34 | |
I just have to know how this big weeing contest turns out. | 0:26:34 | 0:26:38 | |
We join it at 2-2. | 0:26:38 | 0:26:41 | |
-He's in the shooting area. -Yes. -With a gap. | 0:26:41 | 0:26:44 | |
-And takes full advantage of it. -Absolutely good goal. | 0:26:46 | 0:26:49 | |
No shouting now. It's all concentration. | 0:26:49 | 0:26:51 | |
-No time now for McGiffen. It's all over. -That's it. | 0:26:55 | 0:26:58 | |
Carl, jubilant with victory there. | 0:26:58 | 0:27:00 | |
Heard Carl Young shouting 'justice' there. | 0:27:02 | 0:27:04 | |
Well, these two had a score to settle and it has been settled in favour | 0:27:06 | 0:27:11 | |
of the Welsh boy, Carl Young. John McGiffen doesn't want to know. | 0:27:11 | 0:27:15 | |
Well, there has been bad blood between these two. | 0:27:15 | 0:27:18 | |
Let's hope now it's settled once and for all. | 0:27:18 | 0:27:20 | |
HE SIGHS | 0:27:20 | 0:27:23 | |
People of Earth, you can | 0:27:23 | 0:27:25 | |
pray to whatever God you like but is there any better example | 0:27:25 | 0:27:28 | |
that as long as blokes run this planet, there will never be peace? | 0:27:28 | 0:27:32 | |
So, how now to retrieve what should've been the nicest show in this series? | 0:27:32 | 0:27:37 | |
Well, I had to look back into my distant past and under regression, | 0:27:37 | 0:27:41 | |
try to find why it was that the prospect of parading | 0:27:41 | 0:27:44 | |
miniature creations tonight so warmed my heart. And I found it. | 0:27:44 | 0:27:48 | |
A little series that acted upon me as a child, | 0:27:48 | 0:27:51 | |
like wrapping my newborn mind in a velvet blanket - | 0:27:51 | 0:27:55 | |
Tales From The Riverbank - | 0:27:55 | 0:27:57 | |
tiny world, tiny props, tiny cast. | 0:27:57 | 0:28:00 | |
It's been a huge pleasure. Good night. | 0:28:00 | 0:28:03 | |
Guinea pig appears on the scene. | 0:28:08 | 0:28:10 | |
Well, fellas, you've wandered a little far from home, haven't you? | 0:28:13 | 0:28:17 | |
The guinea pig suggests that perhaps he could give them | 0:28:17 | 0:28:20 | |
a ride back home in his car. Hammy accepts immediately. | 0:28:20 | 0:28:25 | |
Hammy has a terrible job trying to get into the car. He's so excited. | 0:28:25 | 0:28:30 | |
What a fuss. | 0:28:30 | 0:28:32 | |
Please can we start? | 0:28:32 | 0:28:34 | |
Oh, dear me. I wish they'd go. | 0:28:37 | 0:28:40 | |
Now, that's what I call a good run. | 0:28:53 | 0:28:56 | |
# Driving that train | 0:28:56 | 0:28:59 | |
# High on cocaine | 0:28:59 | 0:29:01 | |
# Casey Jones is ready | 0:29:01 | 0:29:04 | |
# Watch your speed | 0:29:04 | 0:29:06 | |
# Trouble ahead | 0:29:06 | 0:29:08 | |
# Trouble behind | 0:29:08 | 0:29:10 | |
# And you know that notion | 0:29:10 | 0:29:13 | |
# Just crossed my mind. # | 0:29:13 | 0:29:16 |