Rhaglen 21 Cofio


Rhaglen 21

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-# Remember

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-# Remember #

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-Welcome to Cofio.

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-Reminiscing with us tonight

-is a prominent Welsh actress.

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-She's a versatile actress

-and writer.

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-She's won two BAFTA awards

-in a career spanning 40 years.

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-Sharon Morgan.

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-I thought it might be suitable

-to start back in the late '70s...

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-..with that classic comedy,

-the rugby comedy, Grand Slam.

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-It's still fresh.

-People still remember the lines.

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-Some know the script off by heart!

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-I was in London, in Under Milk Wood

-at the Mayfair, when it was shown.

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-I missed all the fuss

-in Wales at the time.

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-I was doing four or five jobs, then

-and it was just one amongst many.

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-But, yes, it's amazing.

-It was innocent and funny.

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-You had Sion Probert,

-Dewi and Windsor.

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-The whole cast was excellent.

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-Here's some of that fun

-in our Grand Slam clip.

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-It's gone two!

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-It's gone two!

-

-Oui, it 'as been a very long night.

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-I gotta go.

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-I gotta go.

-

-What? What you mean, go?

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-Well, the match. Where's the field?

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-But you are not leaving

-your little butterfly?

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-Got to, bach, got a stand ticket.

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-But we 'ave so much to do again.

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-I know, you've been fantastic.

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-You've equalled the record.

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-Record?

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-Mmm.

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-You're a Triple Crown girl now.

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-Listen, tell you what.

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-If I come back here

-after the match...

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-..we could make it a Grand Slam,

-couldn't we?

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-But why go to match?

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-But why go to match?

-

-I got to go, bach. I got to see it.

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-But you can see it 'ere, wiz me.

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-Voila!

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-How did you, as a young actress,

-fit in with that whole group?

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-Marvellous. I had a wig

-to make me look really French.

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-My scenes weren't done in Paris

-but at the BBC Club in Newport Road.

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-Gwenlyn had scripted it in Welsh.

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-Gwynne D Evans translated it.

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-It was scripted and rehearsed,

-but we did ad-lib.

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-For example,

-we ad-libbed a lot in the bedroom.

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-Whilst watching the match...

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-..Dewi and I were ad-libbing.

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-It was innovative at that time.

-Many have since copied it.

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-And then, there was the camerawork,

-with lightweight cameras being used.

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-It had a natural look,

-fresh and new.

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-You had to do some nude scenes.

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-Was that a difficult experience

-for you, as a young actress?

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-John Hefin told me about that

-when he offered me the part.

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-I was worried about

-how I'd look, of course.

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-But it formed part of the period.

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-The pill had come in the late '60s.

-The new idea was sexual equality.

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-Some saw Odette as a prostitute,

-but she just liked this bloke...

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-..and wanted lovely uninhibited sex

-with him, on an equal footing.

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-I was a tad optimistic,

-because in this age now...

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-..naked women on cars

-are on the cover of FHM.

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-We haven't progressed

-as much as I'd have liked.

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-But no, it wasn't a moral problem...

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-..and I guess it was important

-and natural for the role.

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-I don't know why there was a fuss.

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-What did Mam-gu and Tad-cu say?

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-What did Mam-gu and Tad-cu say?

-

-We didn't tell them it was on!

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-At around the same time,

-you were also a presenter.

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-I've always been one who tries new

-things and pushes the boundaries.

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-I was doing Seren Wib,

-and getting paid some 36 a week.

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-That was a lot back then,

-in '76, '77.

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-Let's watch a clip of you

-in Seren Wib.

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-You're being taught how to get in

-and out of a car in a dignified way.

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-Getting in and out of a car

-is the next part of the course.

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-Judy, our trainer,

-reminds us of two points.

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-Legs last as you go in.

-Legs first as you come out.

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-It's Ceri's turn first.

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-Legs last.

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-And when stepping out...

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-..remember it's legs first,

-and a lovely smile for the cameras.

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-It's my turn now.

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-And the details? Legs last

-going in, and legs first coming out.

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-The idea of course is to do this...

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-..in as smooth and elegant

-a way as possible.

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-In, legs last.

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-Mmm, that could have been done

-a little better.

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-Out now, to face all those cameras.

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-By the way, this will be invaluable

-to you when you're rich and famous.

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-Did that help you?

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-No, but with paparazzi

-trying to get shots of knickers...

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-..as people get in and out of cars,

-it'd be handy for celebrities.

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-I loved that red boiler suit!

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-Were you at ease being yourself,

-as a change from acting?

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-When I'm acting,

-I like being a different person...

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-..such as Odette in Grand Slam,

-and forgetting about myself totally.

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-That's the point of it, I think,

-escaping from oneself.

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-We've come on since those days

-of etiquette and being ladylike.

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-You're well known

-for supporting women's rights.

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-It's been very important for you.

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-It was only when I had my son,

-Steffan, in 1980, that I realized...

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-..what the reality of life

-is for women.

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-My own life had changed a lot,

-but not my partner's.

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-I feel that feminism

-passed us by in Wales.

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-All forms of activism were linked

-to the language and nationality.

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-Feminism was looked upon

-as an alien, English thing...

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-..and not relevant to Wales.

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-We've come far,

-but there's still a long way to go.

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-This next clip takes us back

-to 1981, to Greenham Common.

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-It's 1981, and the first women

-arrive at Greenham Common.

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-They had marched from Cardiff

-to Newbury to protest against...

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-..the storage of nuclear missiles

-at this military site.

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-Robust protesting followed

-and many were arrested...

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-..at confrontations

-near the infamous fence.

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-The protest lasted for 19 years.

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-The women put the topic of peace

-on the world's agenda.

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-That was an extremely

-strong clip, wasn't it?

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-They were badly treated,

-and one woman was killed.

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-We wouldn't see scenes

-like that today, of course.

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-It's quieter politically, but

-feminism has fed into our society.

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-Domestic violence,

-sexual abuse and other issues...

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-..wouldn't be considered as serious

-issues if it weren't for feminism.

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-Did you go to Greenham Common?

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-I didn't because I'd had a baby,

-and I was working at the time.

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-I haven't always been free to be

-a street protester in that way.

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-I've had jobs and children.

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-But I've tried to include this

-spirit in my acting and writing.

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-Setting up the Bara Caws group,

-for instance, was a political act.

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-As a sample of your acting work,

-you've asked for this next clip.

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-You were an alcoholic, Mary Murphy,

-in the series, Tair Chwaer.

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-Why this clip in particular?

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-Mary Murphy was a small part

-in Tair Chwaer...

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-..and she didn't speak much.

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-Every so often she'd go mad

-when the drink took over.

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-Here, you see her life,

-her hopes and her sadness.

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-She thinks of the things

-that she has been unable to achieve.

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-She's afraid, but she can be herself

-when she's alone with the piano.

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-Here's a clip of you at the piano.

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-# I was struck blind by the Devil

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-# He took me away to the stars

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-# I cried out all night

-for my darling

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-# But the windows

-were all locked and barred

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-# He took this young rose

-from the garden

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-# He tore it right out of the ground

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-# I traded my soul

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-# For a rainbow of gold

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-# But the rainbows

-came tumbling down #

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-You're going out, why?

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-Why are you going out?

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-I want to see someone.

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-I want to see someone.

-

-To see who?

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-Don't look so stupid.

-Who do you want to see?

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-Isn't it a fair question?

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-Who? Who d'you want to see?

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-You've been drinking.

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-No, I haven't been drinking.

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-I have not been drinking.

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-Of course, you won a BAFTA

-for playing that role.

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-Is it nice to get recognition

-for your acting work?

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-Yes, of course, especially when

-it comes from your peers.

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-It's an honour and a privilege.

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-You were with Ray Gravell there.

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-How did you feel beforehand

-about acting with Ray Gravell?

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-I had interviewed him

-for Seren Wib, as it happens.

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-It was a bit of a shock.

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-I thought to myself, "Oh, dear.

-How am I going to do this?"

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-But Ray had a direct

-access route to his heart.

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-He knew how to go for the emotions.

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-He hit the emotional bull's-eye

-when he was required to do so.

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-He had a difficult part too.

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-He played a gay man,

-a murderer, a very mixed-up man.

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-He was excellent, truly excellent.

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-He was wonderful company, of course.

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-I saw you watching yourself there.

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-Are you a harsh judge of yourself

-when you view such scenes?

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-Yes. You never reach

-where you'd like to get to.

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-Watching that now, it's as if

-I was somebody else completely.

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-I don't see me, I see Mary.

-I feel a sense of longing for her.

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-I recall the time I spent with her

-when she was part of my life.

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-You always hope, well, I do,

-that you've transformed yourself.

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-I expect to see someone completely

-different, but it never turns out...

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-..quite as you imagine

-when you're acting, it never does.

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-That's it for now. Thanks, Sharon.

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-Join us again in Part Two,

-for a protest and a strike.

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-# Remember #

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-.

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-888

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-888

-

-888

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-# Remember #

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-Welcome back,

-and we'll start the second half...

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-..in a very exciting period,

-the late '60s.

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-Sharon, you were involved

-in the excitement and the protests.

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-I was at the university in Cardiff

-from '67 to '70.

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-It was the time of the Investiture

-and Welsh Language Society demos.

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-But I never went to jail.

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-Apparently, about 2,000

-were imprisoned during that period.

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-They should all receive

-an honour, in my view.

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-They made a sacrifice.

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-Were you aware of

-the great shift taking place?

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-No, not at the time.

-You didn't realize.

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-Certainly, the developments during

-that period involving Plaid Cymru...

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-..and Gwynfor Evans being elected...

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-..all contributed

-towards creating modern Wales.

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-Without them, we wouldn't have

-a Senedd building.

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-I still can't believe it's there!

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-That period laid the foundations

-for today's democratic Wales.

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-We'll have a clip

-of the protests at Cilmeri next.

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-The Welsh Language Society

-also gained notoriety in 1969...

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-..for its anti-Investiture stance.

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-Protest meetings were held, one

-in Caernarfon on St David's Day...

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-..and another in Cilmeri,

-just before the Investiture.

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-# Farewell, the bended knee

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-# And licking English boots

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-# Farewell, onerous serfdom

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-# We'll sing in one true voice

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-# To the fields, we'll take our song

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-# Whilst shouting as we're seen

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-# Wales is now on fire

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-# And we'll paint

-the whole world green

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-# We'll paint

-the whole world green, boys

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-# We'll paint the whole world green

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-# Wales is now on fire, boys

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-# We'll paint the whole world green

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-# We'll paint

-the whole world green, boys

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-# We'll paint the whole world green

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-# Wales is now on fire, boys

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-# We'll paint

-the whole world green #

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-It's incredible how much

-we take for granted now, isn't it?

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-I'm thinking of the language.

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-Yes, we've come a long way.

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-I'm very proud, watching that clip,

-of the extent of the activism.

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-It was a happy time, a fun time.

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-There was forever a protest

-or a march to attend.

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-We would also gather

-outside prisons to support people.

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-It was exciting and, of course,

-we knew we were right.

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-We knew we were right,

-and we were all young.

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-We were students mainly, although

-older people also played their part.

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-We went to Cilmeri in a baby Austin.

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-It belonged to Gruffydd Miles,

-I think.

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-I went with boys from the Dyniadon

-group, who were fellow students.

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-At Pontrhydfendigaid that same

-night, a noson lawen was held.

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-At pop concerts, protest leaders

-such as Dafydd Iwan performed songs.

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-There was a homogenous

-and integrated feel to it all.

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-You felt you belonged

-to a big, strong group of people.

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-There was nothing to stop it.

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-There was a shared ideology.

-We'll now move on to the Strike.

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-This took place 15 years later,

-the Miners' Strike.

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-Aren't you from a mining family?

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-Yes, Tad-cu was an Amman Valley

-collier, as were other relatives.

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-Coal mining is part of my heritage.

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-Let's watch the prominent role

-played by women at this time.

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-First of all,

-are there any apologies?

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-Glenys?

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-Glenys and Mair, is it?

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-Most of the work entails collecting

-money and distributing food...

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-..to all Cynheidre families.

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-There are nearly 750 in all.

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-The bill comes

-to some 3,000 a week.

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-We collect between

-1,000 and 1,500.

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-I don't think these women

-are behind the miners...

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-..or next to the miners.

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-I think they're half a mile

-ahead of the miners.

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-They deserve our sincere thanks.

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-This is from the Stratford Footplate

-Staff Social and Welfare Club.

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-Dear colleagues, I am pleased

-to inform you that the committee...

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-..have agreed that 300

-should be donated to you...

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-..so that the children can have

-a few presents at Christmas.

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-That man hit the nail on the head...

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-..when he described

-the women's response at that time.

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-They were unbelievable,

-and the hardships were awful.

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-I had great respect for them.

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-It transformed the lives

-of many of them.

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-Many of them went back to education.

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-Sian James, the MP,

-is an example of one who changed.

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-Some positives emerged,

-but there was terrible anguish.

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-In the same year as the Strike,

-you were playing a dumb blonde.

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-That was in Magnificent Evans,

-with Ronnie Barker.

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-What was it like to work with him?

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-It was delightful, in all honesty.

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-I questioned beforehand

-whether I should do the job.

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-My friend Ifan Huw Dafydd remarked

-that actors had played Hitler.

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-Karl Francis said, "You don't

-choose the car, you just drive it."

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-I decided not to tell Ronnie,

-who was a bit right wing...

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-..about feminism,

-socialism or nationalism!

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-I feared I'd create a problem.

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-But I was in every scene with him

-for four months.

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-You can't work that closely

-with someone and not be yourself.

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-We had many interesting chats.

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-Weren't you filming

-in front of a live audience?

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-We filmed in mid Wales

-for a lengthy period.

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-The studio stuff was done

-at Television Centre in London.

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-I had done live audience work

-here in Wales, of course.

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-I remember the first studio session,

-and he was very nervous.

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-I asked him why he was so nervous.

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-"I've a lot to lose," he replied.

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-He did one other series after that,

-but I think he was ready to retire.

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-We have a clip of you

-with Ronnie Barker here.

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-Hey, I tell you what,

-I've got a present for you.

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-Come and try it on.

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-I couldn't wear that.

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-Well, just on early closing days

-around the house.

0:20:440:20:47

-D'you think I could?

0:20:480:20:49

-D'you think I could?

-

-'Course you could!

0:20:490:20:51

-By such devices

-are the depressions...

0:20:520:20:55

-..commonly associated

-with middle age kept at bay.

0:20:550:20:59

-I'm not middle-aged.

0:20:590:21:00

-I'm not middle-aged.

-

-No, but I am though, aren't I?

0:21:000:21:02

-My mam would die if she heard

-I was wearing a blonde wig.

0:21:040:21:08

-Suits you.

0:21:080:21:09

-Suits you.

-

-Especially if it suits me.

0:21:090:21:10

-Nobody in my family ever wore

-a blonde wig, except Uncle Teilo...

0:21:110:21:15

-..who went to be a steward

-in the Merchant Navy.

0:21:150:21:19

-Yes, I remember him, yes.

0:21:200:21:22

-Shirley Temple, we used to call him.

0:21:220:21:25

-You mentioned that you worked

-with him for four months.

0:21:270:21:31

-You got to know him well.

0:21:310:21:33

-Yes, I did, and he was a lovely man.

0:21:340:21:36

-He was so lovely and supportive.

0:21:360:21:39

-I remember early on thinking,

-"My God, this is Ronnie Barker!"

0:21:390:21:43

-It was difficult...

0:21:440:21:46

-..but he made you feel relaxed.

0:21:460:21:48

-I learnt a lot

-about comedy and about acting.

0:21:480:21:52

-He would debate with the director

-about how best to do a scene.

0:21:520:21:56

-Timing was important

-to a perfectionist like him.

0:21:560:22:00

-I was very fond of that dear man.

0:22:000:22:02

-I have happy memories of the series.

0:22:020:22:04

-You've looked back

-at your career tonight.

0:22:050:22:08

-You're also in the middle

-of writing your autobiography.

0:22:080:22:13

-Yes, I've reached 1985

-or thereabouts!

0:22:130:22:16

-It takes up a lot of time,

-but it's an interesting process.

0:22:160:22:20

-Is it a cathartic process?

0:22:210:22:23

-Perhaps it is. Yes, in a way.

0:22:230:22:25

-One tends to forget about things.

0:22:250:22:28

-Reverting to my diaries

-has been useful...

0:22:280:22:31

-..but I don't always

-know to whom I'm referring!

0:22:310:22:35

-Yes, it's been very interesting,

-and you see things differently now.

0:22:350:22:40

-You think, "That's why," and you

-wonder why you thought otherwise.

0:22:400:22:45

-It's extremely interesting.

0:22:450:22:47

-Does upsetting others bother you?

0:22:470:22:50

-That's some responsibility,

-the portrayal of other people.

0:22:500:22:54

-It's a major dilemma,

-because you want to be honest.

0:22:550:22:58

-At the same time,

-you don't wish to hurt anyone.

0:22:580:23:01

-It's a very difficult thing.

0:23:020:23:04

-Thank you for tonight, Sharon.

-It's been most interesting.

0:23:040:23:08

-That's all for this evening.

-Goodnight.

0:23:080:23:11

-# Remember

0:23:180:23:19

-# Remember #

0:23:290:23:32

-S4C Subtitles by Simian 04 Cyf.

0:23:330:23:35

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0:23:350:23:36

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