:00:00. > :00:00.With all our couples performing two routines in just two days,
:00:00. > :00:09.we've locked them away for some intense training sessions.
:00:10. > :01:05.Oh, wait a minute, Gleb, do you need a hand?
:01:06. > :01:10.Live from London, this is Strictly - It Takes two. Please welcome your
:01:11. > :01:13.host, Zoe Ball. We're with you, live,
:01:14. > :01:29.for the next half-an-hour. The Strictly Glam Squad are here,
:01:30. > :01:35.as we find out what's going on from the head,
:01:36. > :01:38.shoulders to the knees and toes, knees and toes, with our
:01:39. > :01:40.couples this weekend. And Robin Windsor does a routine
:01:41. > :01:42.inspection with Janette. But, first up tonight,
:01:43. > :01:48.with two routines to master, the heat is on in the training
:01:49. > :01:50.rooms! Let's see how Kellie's American
:01:51. > :02:07.Smooth is coming along. Our American Smooth is a foxtrot. If
:02:08. > :02:09.any of you have seen Fred and Ginger in an old movie, that is our
:02:10. > :02:13.routine. You are trying to do too much with
:02:14. > :02:20.the hand. My fear is that of time to rehearse.
:02:21. > :02:25.This is serious, two routines. Kevin reassures me it is fine. But I
:02:26. > :02:29.am someone who likes to feel prepared.
:02:30. > :02:34.I don't know how prepared I will feel this weekend.
:02:35. > :02:37.Are you all right? That is a bit scary.
:02:38. > :02:40.OK Fred. OK, Ginger.
:02:41. > :02:43.It's not only our couples who will be flat out with the two
:02:44. > :02:46.The Strictly costume department is going to be busier
:02:47. > :02:48.than Craig Revel-Horwood during panto season.
:02:49. > :03:15.Two looks for each couple this weekend.
:03:16. > :03:21.How does this change your designs and ideas?
:03:22. > :03:25.It is good, the Musicals Week is behind us.
:03:26. > :03:43.Just two dancers. Charleston it needed to be short and
:03:44. > :03:48.sexy. Like a swimsuit because of the era.
:03:49. > :03:56.She didn't want read again. But we persuaded her. It intrigues
:03:57. > :04:00.me because when we are using references, Lycra did not exist
:04:01. > :04:06.then. So I am interested more in how they were constructed.
:04:07. > :04:12.What was the reference? Kiss me Kate? That kind of feel, and
:04:13. > :04:16.hourglass figure, construction, fit over the hip.
:04:17. > :04:18.Would they have been wired underneath?
:04:19. > :04:26.In part. Lots of shape. We will be trying to
:04:27. > :04:31.cinch her in, give her a hip pad for shape.
:04:32. > :04:34.What would you do without Lycra? She will look amazing.
:04:35. > :04:43.It is stunning, very different for Kellie.
:04:44. > :04:49.Her concepts have been different so she hasn't really embraced the
:04:50. > :04:54.ballroom feel. She was excited this week to step into this.
:04:55. > :05:04.The proportions look strange. We will sort out the skirt position,
:05:05. > :05:10.you can see the stones running down. Tomorrow, we will move it. We
:05:11. > :05:16.haven't forgotten. It is not pretty!
:05:17. > :05:20.She will look stunning. That might go further down.
:05:21. > :05:25.Maybe further up. Lots more feathers.
:05:26. > :05:28.Can't wait to see what happens. This looks glorious.
:05:29. > :05:44.Gleb requested hot pink. It will be nice to see hot jewel colours, the
:05:45. > :05:50.combination will be good on her. There is a difference in the hem,
:05:51. > :05:56.Kellie has a full boa, but these sections are small pieces... You
:05:57. > :06:00.told me not to do it and I have done it.
:06:01. > :06:04.She did it. What is. Single sections of ostrich
:06:05. > :06:10.feathers glued individually and layered.
:06:11. > :06:17.Movement will be beautiful. All this detail. Chevron detail,
:06:18. > :06:19.Topaz, fuchsia stones, and going through the body.
:06:20. > :06:21.And it will look gorgeous, she always does.
:06:22. > :06:22.And, finally we have Georgia's cha-cha.
:06:23. > :06:37.We have two red dresses on the show, it can't be helped.
:06:38. > :06:43.We are running orange through the base. There will be fire opal, half
:06:44. > :06:47.red, half orange. In the skirt, we may insert a little
:06:48. > :06:53.bit of orange. Shape wise will be brilliant, this
:06:54. > :06:58.section will be read and covered elastic so we don't get any
:06:59. > :07:01.restriction. I love this lacing down the side,
:07:02. > :07:05.amazing. One week to go. She is doing amazing
:07:06. > :07:07.work. Best of luck for the
:07:08. > :07:09.weekend, Vicky Gill! Now, we've already seen
:07:10. > :07:11.Robin Windsor doing a routine But now, he's turning his attention
:07:12. > :07:32.to another man. Thank you for joining me. We are
:07:33. > :07:36.here to talk about choreography. You have been doing bringing the, how do
:07:37. > :07:42.you start? For me, it is about the music which
:07:43. > :07:46.guides me, the lyrics, even the melody. From there, I create the
:07:47. > :07:52.story and concept and expression, the emotion.
:07:53. > :07:57.That leads into the steps. I would like you to do two spins.
:07:58. > :08:02.You come in with something on Monday and start teaching, and immediately
:08:03. > :08:05.you think, it won't work, so it changes straightaway.
:08:06. > :08:10.We don't have to spend. It would be nice.
:08:11. > :08:12.I want something more explosive. Where'd you get your inspiration
:08:13. > :08:16.from? Everyday things, if I see a scenario
:08:17. > :08:20.which would be a good idea for a dance. I'd tap into my life, my
:08:21. > :08:25.past. I old classics coming musical
:08:26. > :08:38.theatre films. Gene Kellie, Fred Astaire, they are iconic.
:08:39. > :08:43.What do you use for inspiration? This year, with Peter, he has this
:08:44. > :08:48.pop star quality about him. All the routines I create a beam
:08:49. > :08:53.call, whereas Jake. He was a big surprise. He was quite
:08:54. > :08:59.silly, he didn't take himself seriously so our routines were
:09:00. > :09:02.cheesy and funny. Then Julian, my first partner, I
:09:03. > :09:08.don't know how to describe him. Full of sparkle.
:09:09. > :09:14.I don't think he ever really learned the routines.
:09:15. > :09:18.I am sure you have had many great movements with Peter, tell me your
:09:19. > :09:20.favourite? Our Charleston.
:09:21. > :09:28.That week was brilliant. Amazing.
:09:29. > :09:31.The first time we did any lists, I love lists.
:09:32. > :09:38.Because I am so small. You have no fear. I have seen you do
:09:39. > :09:43.the craziest things in the world. Another one this series was the fox
:09:44. > :09:48.trot, I drilled Peter on getting the right foot work.
:09:49. > :09:56.I loved your footwork. You worked on that. Going back, from the heel.
:09:57. > :10:03.He said, I did you proud. My biggest concern is storytelling.
:10:04. > :10:06.You want to say hi, scared, but knowledge me.
:10:07. > :10:09.I want to create a scene so the dance makes sense and at the
:10:10. > :10:15.routines, we come back to how we began.
:10:16. > :10:20.I like dancing a little, mini book. Hopefully with a happy ending.
:10:21. > :10:20.Thank youth are telling me about your choreography.
:10:21. > :10:23.Thank you. Earlier, we saw what some
:10:24. > :10:25.of our Strictly stars will look like from the neck
:10:26. > :10:27.down this weekend. But what on Earth is going
:10:28. > :10:30.on from the neck up, Lots of condiments on your dancing
:10:31. > :10:55.last week. How does this weekend's
:10:56. > :11:05.two dances per couple For us, ideally you want to start
:11:06. > :11:10.with the slower one because it is easy to add and to take away. Also
:11:11. > :11:15.you want to complement both dancers and colours. You look at the dresses
:11:16. > :11:20.and combine something which will work across both.
:11:21. > :11:21.Tricky. Some are really soft, others are very lively.
:11:22. > :11:24.Well, let's take a look at some of the looks we'll be
:11:25. > :11:40.With the waltz, it is so beautiful. That is the only thing you can
:11:41. > :11:45.describe it. Beautiful, glassy eyed, lots of lashes, lovely flick, glossy
:11:46. > :11:50.lips. For the waltz, you can do that because the hair is up, otherwise
:11:51. > :11:54.you get glass all over. It marks your face. You can go
:11:55. > :11:55.glossy, beautiful, quite clean, not much later.
:11:56. > :12:07.Soft hair, Platz at the back, braids. And take it into a wig.
:12:08. > :12:11.Next up is Aliona's second look for her Charleston.
:12:12. > :12:20.Lovely, soft hair, tighten it to her head with grips, a cap, and get this
:12:21. > :12:25.on quickly. How quickly can you do that?
:12:26. > :12:30.Quite quickly, I have an assistant. We are pulling pins out, working
:12:31. > :12:36.together. We can turn it around quickly in five minutes.
:12:37. > :12:44.The equivalent of a pit stop. Clear, you go. We do dress run it.
:12:45. > :12:47.Especially for special days like the semifinal and final when we have
:12:48. > :12:52.four changes, we have to work quickly.
:12:53. > :12:55.How will you change her make-up for the second?
:12:56. > :13:04.Beautiful and soft. Then stronger on the icon and a really dark lip.
:13:05. > :13:09.Smoky eyes. With letter. We work really well
:13:10. > :13:13.together. When I am in the middle, I say when second, then she will put
:13:14. > :13:17.the wig on, then I carry on. Do you knock each other out with
:13:18. > :13:21.your elbows. Vicandi hard when you are putting
:13:22. > :13:26.make-up on the rise. This if you would like to come with
:13:27. > :13:29.me. Over here, we have a special
:13:30. > :13:31.guest waiting for us. She is wearing Georgia's looks
:13:32. > :13:35.for the weekend. Half of her face is her cha-cha,
:13:36. > :13:51.and half is her Viennese waltz. Look at that. Lisa, what we've do
:13:52. > :13:56.with her head? You would literally pull out the
:13:57. > :13:59.grips from how it has been. This is her Viennese waltz. Put
:14:00. > :14:03.everything This is her Viennese waltz. Put
:14:04. > :14:12.help it. And This is her Viennese waltz. Put
:14:13. > :14:17.Only when it goes into my brain. With the pins. Do you do it on
:14:18. > :14:20.purpose! You are changing her hair into a
:14:21. > :14:29.second look. How do you change her make-up?
:14:30. > :14:38.I have got her to take off her lips. This is a warts, much softer. --
:14:39. > :14:44.I have got her to take off her lips. Watts. As taking a much stronger.
:14:45. > :14:46.Lots more glitter under the eye. While Lisa does that, I will do a
:14:47. > :15:03.really bright How is the Christmas show coming
:15:04. > :15:09.along with Harry? Great. It's like being at the dentist. Fantastic. How
:15:10. > :15:13.long does it take to do all of that? Sometimes we get five minutes, but
:15:14. > :15:17.the only thing is, glitter is a bit of a nightmare because we have to
:15:18. > :15:22.use a lot of tissue and that is when the dancers help, we can put their
:15:23. > :15:25.head back while it is being told and we spray glitter or right do the
:15:26. > :15:31.lips and sometimes we only get five minutes to change. Do you ever get
:15:32. > :15:41.bits in your eye? Do you have to be brave? It's OK. I squint. You are
:15:42. > :15:47.good at answering questions when you cannot move your lips. This is it
:15:48. > :15:50.usually. It would normally be more organised. I would have an
:15:51. > :15:56.assistant. Do you want me to hold your clips? I have some kind of use.
:15:57. > :16:03.You are bringing that up on the side. She looks almost perfect. So,
:16:04. > :16:09.so good. I would normally be securing this a lot better. Do you
:16:10. > :16:17.feel secure, Joe? Yeah. Scott Mills is in tomorrow. Good luck at the
:16:18. > :16:21.weekend, aren't they marvellous? The gorgeous Jo Clifton. I don't think
:16:22. > :16:25.I'm a very good hair assistant. Now, it isn't only the ladies
:16:26. > :16:39.who can get tips for their hair, My trick of the trade is this matte
:16:40. > :16:45.powder. We dried hair, and then we pop it into the roots like this we
:16:46. > :16:52.literally rub it into the roots and it helps to hold the hairstyle in
:16:53. > :16:56.place. After that, you and the wax and hairspray. That is my trick of
:16:57. > :16:58.the trade, how to keep the Strictly hair in place.
:16:59. > :17:03.Our Strictly statisticians have been reading up on one of our handsome
:17:04. > :17:06.But do they know him better than he knows himself?
:17:07. > :17:17.Yes, it's Strictly Spotlight, the quiz that's got our professional
:17:18. > :17:23.dancers quaking in their cuban heels.
:17:24. > :17:26.And going under the Spotlight is Pasha Kovalev!
:17:27. > :17:30.We've missed you here, how much have you missed us?
:17:31. > :17:38.I know, I have been busy. Still dancing. Getting ready for
:17:39. > :17:42.Christmas. Who you dancing within the Christmas special? Lisa Snowdon.
:17:43. > :17:42.Legs up to here. Let's get on with this.
:17:43. > :17:44.You've got 90 seconds to answer as many questions as possible
:17:45. > :17:56.Your time is up when you hear this noise.
:17:57. > :17:59.Karen Clifton scored an impressive six.
:18:00. > :18:12.Well, I have a problem with memory, especially about myself. Good luck.
:18:13. > :18:15.Here we go. In 2013, which week
:18:16. > :18:21.were you eliminated with Rachel What is the lowest score you have
:18:22. > :18:34.ever received from the judges? 13. Yes, we've Carol Kirkwood for
:18:35. > :18:43.the Rumba. You hold the record for the most 10s
:18:44. > :18:46.ever awarded on Strictly, For which of your partners did
:18:47. > :18:57.Craig say this about - "I thought you were wriggling around
:18:58. > :19:09.like a slug in salt"? Who did he say that about? Wow, I
:19:10. > :19:10.don't remember that comment. It was actually your lovely girlfriend,
:19:11. > :19:12.Rachel Riley. How could he? You are the only professional dancer
:19:13. > :19:14.to make the final three times. You were in the dance off last
:19:15. > :19:20.series with Caroline Flack but which other couple
:19:21. > :19:32.were you up against? I want to say... I am going to have
:19:33. > :19:37.to put -- push you. I'm not giving you any clues. It was Alison and Ali
:19:38. > :19:39.Ash. For which dance in 2013 did
:19:40. > :19:43.you and Rachel wear these costumes? Who has received the most
:19:44. > :19:49.perfect scores of 40, Any time, love. May. It is you. That
:19:50. > :20:16.means you scored five points. Now, I was flicking
:20:17. > :20:24.through my diary and realised I have an important
:20:25. > :20:45.date tomorrow at 6. The very tasty Ainsley Harriott will
:20:46. > :20:46.be back at Elstree Studios to bring this the preshow gossip. We discover
:20:47. > :20:54.how to do the perfect samba with Karen Clifton. And the legend that
:20:55. > :21:01.is Bryan Adams will be here to perform. Live every Friday at six.
:21:02. > :21:03.Their performance to Cell Block Tango failed to impress
:21:04. > :21:06.Craig at the weekend, but you guys voted and gave them
:21:07. > :21:12.a get out of jail free card so they avoided the dance off.
:21:13. > :21:36.Congratulations on getting into the semifinal. You have changed, what a
:21:37. > :21:48.shame. Much better. You look gorgeous. You
:21:49. > :21:53.looked incredible on Saturday. Drop-dead gorgeous. Look at you. It
:21:54. > :21:58.was incredible. You were loving the training last week although it was
:21:59. > :22:02.hard. How much did you love that? I loved everything about it. The
:22:03. > :22:09.attitude, the character, the outfit, the hair and make-up. His outfit,
:22:10. > :22:12.the whole thing. Dancing with extra girls, and being able to bring that
:22:13. > :22:16.sassiness. It was brilliant. I would love it every week. I think that is
:22:17. > :22:26.one of my favourites. That was something special. That is a girl
:22:27. > :22:31.song as well. The crowd go crazy for you. It must give you a great boost.
:22:32. > :22:35.It is amazing, right? That's the most important thing, we do it for
:22:36. > :22:40.the people and the audience and we do it for us and we live that
:22:41. > :22:43.moment. It is the best thing when you take the audience on your
:22:44. > :22:48.journey with you and make them feel what you are feeling at that time.
:22:49. > :22:51.That is the best. It is the most important thing for us, and last
:22:52. > :22:54.week was evidence of that. You mentioned we were at the bottom of
:22:55. > :22:57.the leaderboard, and just because the audience and the votes and
:22:58. > :23:03.people at home backed us, we got through. I cannot even express how
:23:04. > :23:07.that makes me feel. It is overwhelming. It makes you want to
:23:08. > :23:12.work even harder. We must discuss the scores. Craig gives you a six.
:23:13. > :23:19.What did you make the scores. Craig gives you a six.
:23:20. > :23:22.were fuming. It's fine. I guess, at this stage, it depends on
:23:23. > :23:25.judges, what are they looking at. If judges, what are they looking at. If
:23:26. > :23:28.they are going to mark me on judges, what are they looking at. If
:23:29. > :23:33.technique and my feet, I am going to need at least another four or five
:23:34. > :23:39.years. Not the 11 weeks I have had. That is the truth of it. But if they
:23:40. > :23:43.are looking at overall whatever, the choreography, what we bring and the
:23:44. > :23:46.fact I give my heart and soul. But we like those comments because we
:23:47. > :23:50.take it on board and we go to the studio and work on it. This week we
:23:51. > :23:55.have the foxtrot and we will spend a lot of time working on the heel
:23:56. > :24:01.turns, the frame and everything, so we will see. Just talk quickly about
:24:02. > :24:07.how you felt when you knew you weren't in dance off. Your faces, it
:24:08. > :24:12.was incredible. You must have been so emotional. You cried with joy. I
:24:13. > :24:17.couldn't believe it. I remember backstage he said we needed a
:24:18. > :24:23.miracle and I thought, we have got the miracle! It is a miracle. It is
:24:24. > :24:29.the British public are the miracle. I think I turned to camera and said
:24:30. > :24:35.I love you. You should hug people in the supermarket. It is a really
:24:36. > :24:47.heart-warming, positive feeling, because it is a tough 13 weeks now.
:24:48. > :24:48.12. OK, 12. Plus the bit at the beginning. But people are backing us
:24:49. > :24:53.now and it really boost you. For your Foxtrot you're
:24:54. > :25:09.dancing to? this! How is it to be dancing this foxtrot
:25:10. > :25:14.to New York, New York? The song is brilliant. We are working hard on
:25:15. > :25:18.the foxtrot. And it's a great feeling. As soon as you hear the
:25:19. > :25:20.music it makes you feel something. Hopefully combined with the dancing,
:25:21. > :25:23.people will feel happy. I've heard you have called one
:25:24. > :25:37.of the moves in the dance We renamed it today. What is it? It
:25:38. > :25:42.is the happy spin. Does that mean you have perfected it? Ask me on
:25:43. > :25:49.Saturday. If you call the death spin, you would be terrified. I love
:25:50. > :25:52.it. I can't wait to see it. When you practice you hide your special moves
:25:53. > :25:52.so we can't show it, which is a good thing to do.
:25:53. > :26:05.And on to your Salsa, which is to?this!
:26:06. > :26:16.Absolutely. There is the choreography there. That is crazy.
:26:17. > :26:22.When I knew I was doing Strictly, I was obsessed with take on me by aha.
:26:23. > :26:26.He said there was nothing you can dance to that with. But it has got
:26:27. > :26:34.the Sample in it. Dreams do come true. How is all of the hip action
:26:35. > :26:42.going? The arms? It's good. There we go. What has been the trickiest part
:26:43. > :26:49.of the dance? Pretty much all of it. It is fast. You have to stick to the
:26:50. > :26:53.music and keep your rhythm on your feet and at the same time you have
:26:54. > :27:00.to try and enjoy it and be aware of what is happening. Every week has
:27:01. > :27:03.been hard, since the first week, everything has been pretty full on,
:27:04. > :27:09.but I think he has saved something special. Really? Pulling something
:27:10. > :27:14.out the bag, and we will all say wow. In the footage we saw, you are
:27:15. > :27:18.keeping up. She is getting the hang of it. You are so good, and neater.
:27:19. > :27:25.You have never been top of the leaderboard. How much would that
:27:26. > :27:31.mean to you? To be at the top? For me, just be the semifinals, I cannot
:27:32. > :27:35.think of it in terms of the leaderboard because the standard is
:27:36. > :27:40.so good. And we have had such varied comments and for me it is just about
:27:41. > :27:44.being able to the best I can do. That is it. As long as I can pull
:27:45. > :27:50.off these two fantastic dances I have been planning and we've been
:27:51. > :27:54.working on, I'm happy. And then you could be in the final. You are no
:27:55. > :27:57.working on, I'm happy. And then you stranger to the finals, Gleb. You
:27:58. > :28:01.were in the finals of the Russian version of Strictly. Check this out.
:28:02. > :28:10.It looks slightly different affair. Gleb, look at your hair, Mr Darcy, I
:28:11. > :28:15.am undone. What dances that? It was an American smooth, Viennese waltz
:28:16. > :28:22.and the character is from the movie. Movie week. I love the way he says
:28:23. > :28:28.movie. How confident are you feeling, Anita? I just want to
:28:29. > :28:31.enjoy. Confident, I don't know, but I want to go out and do what I do
:28:32. > :28:37.from the beginning which is have a great time. Go and get them. Anita
:28:38. > :28:42.and Gleb, brilliant. That's it for to night. Thank you to all of our
:28:43. > :28:45.guests. Tune in tomorrow at 6pm when Georgia and Giovanni will be here.
:28:46. > :28:47.Kelly and Kevin, and the delightful Ainsley Harriott is at Elstree
:28:48. > :29:01.Studios. Plus, the legendary
:29:02. > :29:02.Bryan Adams is singing live!