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From London, this is Strictly It
Takes Two. Please welcome your host, | 0:00:51 | 0:00:58 | |
Zoe Ball. | 0:00:58 | 0:00:59 | |
Hello and welcome to It Takes Two. | 0:00:59 | 0:01:01 | |
Believe it or not, it's
actually Halloween! | 0:01:01 | 0:01:07 | |
But, don't worry, there's no
nasty tricks in store - | 0:01:07 | 0:01:09 | |
only bonafide treats. | 0:01:09 | 0:01:11 | |
So, let's head straight
to the green room to see | 0:01:11 | 0:01:13 | |
who's joining us tonight. | 0:01:13 | 0:01:14 | |
My spidey senses are telling me
Joe and Katya are here! | 0:01:14 | 0:01:22 | |
Yes, they are. It was splendid on
Saturday. | 0:01:22 | 0:01:25 | |
Joining them, it's
the spellbinding Ruth and Anton! | 0:01:25 | 0:01:30 | |
What a quickstep! | 0:01:30 | 0:01:33 | |
But, before we chat to them,
it's time for round two | 0:01:33 | 0:01:35 | |
of Choreography Corner
with Darren and Lilia. | 0:01:35 | 0:01:45 | |
Darren and Lilia! | 0:01:52 | 0:01:56 | |
Can I just say, everyone is loving
having you back on the show. Darren, | 0:01:56 | 0:02:01 | |
let's talk about Aston and Janette's
said to you. Craig was saying that | 0:02:01 | 0:02:08 | |
Paso doble should not contain pop
and lock and hip-hop and street and | 0:02:08 | 0:02:16 | |
body ripples. Was it worth the risk?
We watched it back several times. | 0:02:16 | 0:02:21 | |
The speed of music gave the energy
they had in the dance. Jeannette | 0:02:21 | 0:02:29 | |
choreographed and amazing routine.
Great shaping he uses his body in | 0:02:29 | 0:02:32 | |
such a way. It could be misconstrued
as a bit of hip-hop. I just thought | 0:02:32 | 0:02:40 | |
it was probably the dance of the
night. It was for me as well. Well | 0:02:40 | 0:02:46 | |
done to both of them. Let's talk
about Pirate Johnnie and Oti next. | 0:02:46 | 0:02:53 | |
Shelley said it lacked body action
and some of the movements were not | 0:02:53 | 0:02:58 | |
co-ordinated. I have to agree. It
was disappointing. He has been doing | 0:02:58 | 0:03:03 | |
so well up till now. He was a bit
stiff and square. His body was so | 0:03:03 | 0:03:08 | |
far forward that his weight was
going forward. At this point we are | 0:03:08 | 0:03:16 | |
going to see a clip. As he is doing
it you can see how square he is. We | 0:03:16 | 0:03:21 | |
will pause it there. | 0:03:21 | 0:03:24 | |
It is demoed time. Off we go. | 0:03:29 | 0:03:32 | |
It is demoed time. Off we go. He
opens up as a piece. He has | 0:03:32 | 0:03:41 | |
shoulders, hips and knees. It is all
square. His hand is here. Craig | 0:03:41 | 0:03:48 | |
would say it is a spatula hand. I
would like him to isolate his body. | 0:03:48 | 0:03:56 | |
As he steps through, he isolates the
hand and then rotates. It is those | 0:03:56 | 0:04:04 | |
subtle differences. Let's talk about
Alexandra and Gorka and the zombie | 0:04:04 | 0:04:10 | |
tango. Darcey Bussell said it was
terrifyingly good. Surely when | 0:04:10 | 0:04:14 | |
spouse and said it was dead good for
them she did not give it four marks | 0:04:14 | 0:04:18 | |
because there were eight couple of
mistakes. One of the errors was | 0:04:18 | 0:04:24 | |
right down the camera lens. From
promenade position they go to a fall | 0:04:24 | 0:04:29 | |
away. She loses her 13th and all of
a sudden Gorka has to do what we | 0:04:29 | 0:04:35 | |
call in the trade, the grip and rip.
You have to go solid, grit your | 0:04:35 | 0:04:43 | |
partner and rip them into the next
position. Even the girls have to do | 0:04:43 | 0:04:47 | |
that. | 0:04:47 | 0:04:50 | |
position. Even the girls have to do
that. Lilia had to do that for a | 0:04:50 | 0:04:55 | |
whole series would you can only do
that if you have a partner who has a | 0:04:55 | 0:05:01 | |
core and a centre and you can move
them where they need to go. If it is | 0:05:01 | 0:05:06 | |
all lose you cannot create that
movement. The great routine but just | 0:05:06 | 0:05:10 | |
a couple of mistakes. Moving on to
Susan and Kevin, the mother of all | 0:05:10 | 0:05:17 | |
the dragons for the Shelley said the
foxtrot is the Rolls-Royce of | 0:05:17 | 0:05:21 | |
dancers but they lacked grace and
elegance and gave them quite a hard | 0:05:21 | 0:05:25 | |
time what do you think? I have to
agree. Susan gives it 100% and | 0:05:25 | 0:05:31 | |
commits herself. Kevin is loving it
but he is having such a great time. | 0:05:31 | 0:05:40 | |
You can see she skips and hops a
bit. Not so much guiding and smooth | 0:05:40 | 0:05:47 | |
as a foxtrot should be thought that
they had such an amazing time. I | 0:05:47 | 0:05:52 | |
love watching her. I have convinced
Lilia now to watch Game of Thrones | 0:05:52 | 0:05:57 | |
after watching that. Things that you
see full stop we are making couples | 0:05:57 | 0:06:02 | |
happy all over. It is not quite like
that. Last but by no means least, | 0:06:02 | 0:06:13 | |
Gemma and Aljaz. Craig said it was a
little bit lumpy. Another one of | 0:06:13 | 0:06:18 | |
those technical terms, lumpy. For
me, what makes a stand out giant is | 0:06:18 | 0:06:24 | |
backs. Whilst the knees and the legs
are in the right position, they | 0:06:24 | 0:06:28 | |
don't actually pulse and move will
stop on the standing leg, it is bent | 0:06:28 | 0:06:33 | |
to stop it bounces up and down and
is continuous all the way through. | 0:06:33 | 0:06:39 | |
To demonstrate that, it is demoed
time. | 0:06:39 | 0:06:41 | |
For this, you are going to have to
join me, Zoe. I am nervous. We | 0:06:47 | 0:06:58 | |
actually demonstrate this to
children, so you will be fine. What | 0:06:58 | 0:07:01 | |
I wanted to do first of all, it is
all about having the body weight in | 0:07:01 | 0:07:05 | |
the right place. March on the spot.
Bring the knees up and we march. | 0:07:05 | 0:07:11 | |
That is what I want you to do. Bring
the body weight forward for a jive | 0:07:11 | 0:07:15 | |
position for that you can feel the
legs getting heavier. We work into | 0:07:15 | 0:07:20 | |
the floor. That means we start to
get bone and action as we move. The | 0:07:20 | 0:07:25 | |
body weight is forward. We have to
make sure we hop on the standing leg | 0:07:25 | 0:07:31 | |
and bone has to work. It has all
gone wrong now. It is just me doing | 0:07:31 | 0:07:39 | |
this, is it? What a treat it has
been. Good luck with Dancing With | 0:07:39 | 0:07:52 | |
The Stars in Ireland. | 0:07:52 | 0:07:56 | |
Time now to welcome my next guests. | 0:07:56 | 0:07:58 | |
They weaved their way
across the dancefloor | 0:07:58 | 0:07:59 | |
at the weekend and managed to catch
us all in a web with their | 0:07:59 | 0:08:03 | |
sensational Foxtrot. | 0:08:03 | 0:08:04 | |
It's Joe and Katya! | 0:08:04 | 0:08:05 | |
I really loved the energy and drive
you provided. A wonderful moments | 0:08:13 | 0:08:19 | |
when you sped up on the pivots. All
the translation from the character | 0:08:19 | 0:08:26 | |
and dance were very well executed. | 0:08:26 | 0:08:28 | |
Joe and Katya are here for that she
has brought her spider friends. She | 0:08:33 | 0:08:37 | |
will never give that up. Can I just
say, Joe, that was epic. You were | 0:08:37 | 0:08:45 | |
amazing. We all absolutely loved it.
How good was it for you? It was | 0:08:45 | 0:08:50 | |
good, being Halloween and all. A
fantastic concept. They are not all | 0:08:50 | 0:08:58 | |
good. I feel like I am in really
safe hands. It went much better than | 0:08:58 | 0:09:02 | |
it had been in rehearsals, didn't
it? You did not love the dance but | 0:09:02 | 0:09:08 | |
you did a good job. Ballroom is
difficult because you are stuck | 0:09:08 | 0:09:12 | |
together. If you're fit goes wrong
it is very obvious because you are | 0:09:12 | 0:09:16 | |
meant to be mirroring each other. I
keep doing this step. If you keep | 0:09:16 | 0:09:21 | |
stepping on me it is wrong. You are
going through the knees or round the | 0:09:21 | 0:09:29 | |
knees. That is the thing. I loved
some of the stuff you did like when | 0:09:29 | 0:09:35 | |
you are twisting. It did not look
easy. It was not too difficult. It | 0:09:35 | 0:09:42 | |
was allocating the jobs. I said when
your job will be to turn and I will | 0:09:42 | 0:09:47 | |
be pulling. On Wednesday was a
little bit Pawnee. I had no energy. | 0:09:47 | 0:09:54 | |
-- poorly. It is good you have a
partnership like that. That is what | 0:09:54 | 0:10:00 | |
it is. I reckon someone is trying
move on the kitchen floor right now. | 0:10:00 | 0:10:09 | |
How much fun to June have putting
this together? It is Halloween. It | 0:10:09 | 0:10:15 | |
is brilliant. We lose a little bit
the feeling of, we got to do it | 0:10:15 | 0:10:20 | |
properly and gracefully you can go a
little more ugly in a way. It is | 0:10:20 | 0:10:24 | |
spider. Coming down the main Black
widow is brilliant. All the | 0:10:24 | 0:10:30 | |
costuming and make up, a fantastic
job. This is putting together the | 0:10:30 | 0:10:35 | |
thing is, what would spider do? That
is what I wanted to keep coming back | 0:10:35 | 0:10:40 | |
to it. That was off-screen that
happens. It is fun. You did break | 0:10:40 | 0:10:51 | |
the roller coasters curse. AIDS
across the board. We have had a | 0:10:51 | 0:10:59 | |
couple of weeks where it has gone
well and hopefully it will continue | 0:10:59 | 0:11:03 | |
because it was up and down and I
thought that was the way it would be | 0:11:03 | 0:11:07 | |
foot of it is not a nice feeling
when it went did the week before and | 0:11:07 | 0:11:10 | |
then it does not. This week you have
a dream dance. You have the | 0:11:10 | 0:11:17 | |
charleston. I love it, do you? You
can throw yourself into it and it is | 0:11:17 | 0:11:23 | |
full of character. There are a lot
of steps and that has been my | 0:11:23 | 0:11:29 | |
downfall in the past, remembering
the steps. And it is vast. Normally | 0:11:29 | 0:11:34 | |
the trouble is not enough time for
Joe to think ahead if the track is | 0:11:34 | 0:11:39 | |
fast. I cannot think what is next.
That will be the challenge which we | 0:11:39 | 0:11:45 | |
hope... To rise to. I am finishing
your sentences. We spend 900 hours a | 0:11:45 | 0:11:54 | |
week together. It is like being
married. Almost. Richard Road got | 0:11:54 | 0:12:02 | |
really looking forward to your
charleston. Note Tanya will have a | 0:12:02 | 0:12:06 | |
killer routine and that you will
thrill for England and Scotland. Who | 0:12:06 | 0:12:11 | |
is Tanya? I think he means Katya. My
mum is Tanya. Obviously you're | 0:12:11 | 0:12:21 | |
cramming as because you have your
day job. Do you have a little | 0:12:21 | 0:12:26 | |
practice? We have been dancing
around. They are all like to teach | 0:12:26 | 0:12:30 | |
us some moves. Now I have some
skills, a little bit. That is lovely | 0:12:30 | 0:12:37 | |
but you are passing it on. I am
paying it forward. Shall we have a | 0:12:37 | 0:12:42 | |
look? Yes. It is nice on this floor.
Don't do it out of hours. We are not | 0:12:42 | 0:12:58 | |
sure you're covered with insurance.
Joe does great when he is in | 0:12:58 | 0:13:03 | |
character. We are playing wooden
soldiers that come out of the cuckoo | 0:13:03 | 0:13:09 | |
clock. Very stiff but we break out
of it immediately. Hopefully. Coming | 0:13:09 | 0:13:20 | |
out of the cuckoo clock, it cannot
get any more bonkers. We even tried | 0:13:20 | 0:13:26 | |
the costumes. It has been very
interesting. Will it be the famous | 0:13:26 | 0:13:31 | |
charleston move, the flappy bird? We
don't actually have that. We can do | 0:13:31 | 0:13:36 | |
it for you now, if you want. Is it
demonstration time? I don't actually | 0:13:36 | 0:13:44 | |
know how to do it. Look at that!
That is the flappy bird. It is | 0:13:44 | 0:13:56 | |
getting good. You did mention at
some point there might be kilt | 0:13:56 | 0:14:03 | |
wearing. I would love there to be
kilt wearing. We got baby steps. | 0:14:03 | 0:14:08 | |
Maybe you could wear a kilt here for
us. Now? There is the kilt. I would | 0:14:08 | 0:14:17 | |
love to sort that out. Maybe not in
the charleston. I am a true | 0:14:17 | 0:14:25 | |
Scotsman. On that note, good luck
with the charleston on Saturday. Joe | 0:14:25 | 0:14:29 | |
and Katya. | 0:14:29 | 0:14:33 | |
Now, last weekend we saw our
couples thrashing it out | 0:14:33 | 0:14:35 | |
on the dance floor to Tom Jones,
Kylie and Queen... | 0:14:35 | 0:14:37 | |
But what bangers will they be
strutting their stuff to | 0:14:37 | 0:14:40 | |
this week? | 0:14:40 | 0:14:41 | |
Let's find out -
it's time for Tunes on | 0:14:41 | 0:14:43 | |
Tuesday! | 0:14:43 | 0:14:44 | |
MUSIC: "Music" by Madonna | 0:14:44 | 0:14:48 | |
CHEERING AND APPLAUSE | 0:14:51 | 0:14:52 | |
Load's of amazing tunes
this week, let's see | 0:14:52 | 0:14:54 | |
what's up first. | 0:14:54 | 0:14:57 | |
It it! | 0:14:57 | 0:14:58 | |
MUSIC: "I Got The Music In Me"
by Marcia Hines | 0:14:58 | 0:15:01 | |
It's I Got the Music
in Me by Marcia Hines... | 0:15:01 | 0:15:06 | |
You may never have heard of her...
She is the best! Katya! | 0:15:06 | 0:15:19 | |
This disco stomper
was originally released | 0:15:19 | 0:15:22 | |
by the Kiki Dee band
back in 1974, since | 0:15:22 | 0:15:24 | |
then the track has
been covered by some | 0:15:24 | 0:15:26 | |
of the world's biggest
divas including... | 0:15:26 | 0:15:27 | |
Tina Turner, Cher, Jlo,
Aretha Franklin and | 0:15:27 | 0:15:29 | |
Celine Dion. | 0:15:29 | 0:15:33 | |
Well, it it's good
enough for Celine, it's | 0:15:33 | 0:15:35 | |
good enough for me! | 0:15:35 | 0:15:36 | |
But who'll be shaking
their tush to this at | 0:15:36 | 0:15:38 | |
the weekend? | 0:15:38 | 0:15:45 | |
CHEERING | 0:15:45 | 0:15:46 | |
It's Alexandra &
Gorka, and they'll be | 0:15:46 | 0:15:48 | |
dancing the Cha Cha Cha! | 0:15:48 | 0:15:49 | |
Right, what's next? | 0:15:49 | 0:15:51 | |
MUSIC: "The Shady Dame From Seville" | 0:15:51 | 0:16:01 | |
Oh! | 0:16:04 | 0:16:08 | |
Excuse me! | 0:16:08 | 0:16:09 | |
Have you quite finished yet? | 0:16:09 | 0:16:17 | |
This flamenco inspired song
is called The Shady Dame of Seville | 0:16:17 | 0:16:20 | |
and is taken from the oscar
nominated musical Viktor Victoria | 0:16:20 | 0:16:22 | |
starring Julie Andrews. | 0:16:22 | 0:16:27 | |
Geography fans might be interested
to know that Seville is the city | 0:16:27 | 0:16:30 | |
with most orange trees
in the world... | 0:16:30 | 0:16:32 | |
Fascinating stuff. | 0:16:32 | 0:16:33 | |
But who will be
hoping to impress the | 0:16:33 | 0:16:35 | |
judges with this...? | 0:16:35 | 0:16:41 | |
Regarde! | 0:16:41 | 0:16:44 | |
CHEERING | 0:16:44 | 0:16:45 | |
It's Ruth & Anton! | 0:16:45 | 0:16:51 | |
What a treat! What a treat! | 0:16:51 | 0:16:54 | |
Ole! | 0:16:54 | 0:16:57 | |
Ole! | 0:16:57 | 0:16:59 | |
APPLAUSE | 0:16:59 | 0:17:01 | |
We've got time for one more song... | 0:17:01 | 0:17:05 | |
I'm loving tonight, you can tell
it's Halloween. | 0:17:05 | 0:17:07 | |
MUSIC: " I Got a Feeling"
by The Black Eyed Peas | 0:17:07 | 0:17:10 | |
Yes! | 0:17:10 | 0:17:12 | |
Time to party it's -
I've Got a Feeling by | 0:17:12 | 0:17:14 | |
the Black Eyed Peas. | 0:17:14 | 0:17:19 | |
Someone's gone crazy with the glow
sticks. | 0:17:19 | 0:17:21 | |
This song became the
first single to sell | 0:17:21 | 0:17:24 | |
more than one million
downloads in the | 0:17:24 | 0:17:27 | |
UK - not bad for a song
that supposedly | 0:17:27 | 0:17:29 | |
only took one hour to write! | 0:17:29 | 0:17:33 | |
But who will be dancing
to this, I hear you cry! | 0:17:33 | 0:17:39 | |
Who's going to be dancing to this! | 0:17:39 | 0:17:44 | |
It's Debbie & Giovanni -
I've got a feeling | 0:17:44 | 0:17:46 | |
that this is going to be a goody! | 0:17:46 | 0:17:50 | |
Carry on people, carry on. | 0:17:50 | 0:17:52 | |
To find out the rest
of the songs, head to | 0:17:52 | 0:17:54 | |
the Strictly website. | 0:17:54 | 0:17:57 | |
Now Here at It Takes
Two we never need | 0:17:57 | 0:17:59 | |
an excuse to get all
glammed up - so we | 0:17:59 | 0:18:02 | |
sent our cameras straight
to Strictly's glam | 0:18:02 | 0:18:03 | |
squad, to find out
how you can do too! | 0:18:03 | 0:18:06 | |
I'm Lisa Armstrong, make up designer
on Strictly. | 0:18:11 | 0:18:15 | |
And I'm Lisa, the head supervisor.
Today we're really excited to | 0:18:15 | 0:18:19 | |
recreate one of our favourite looks,
the glitter look. It emerges curls, | 0:18:19 | 0:18:28 | |
and glitter. Perfect for a night
out. We start with the eyes, people | 0:18:28 | 0:18:33 | |
always ask me how do you keep the
glitter in place? What you need to | 0:18:33 | 0:18:37 | |
do is use a cream eye shadow
underneath. Just blend it across the | 0:18:37 | 0:18:43 | |
eye, nice and soft, working into the
socket line. Any colour? Yes, any | 0:18:43 | 0:18:49 | |
colour. Some people like to use nude
so the glitter shines through but | 0:18:49 | 0:18:54 | |
because we are going for gold
glitter I think it works well with | 0:18:54 | 0:18:59 | |
the soft brown underneath. Just a
little bit of highlighter, which | 0:18:59 | 0:19:03 | |
opens up the eye. Now it's time for
the glitter. Just hold that popped | 0:19:03 | 0:19:09 | |
for me please. Top tip, get a clean
piece of case you, pray sit | 0:19:09 | 0:19:16 | |
underneath the eye, pop your finger
into the glitter, shake it off and | 0:19:16 | 0:19:20 | |
then tap it. Onto the eye. You can
see how that is just sticking to the | 0:19:20 | 0:19:30 | |
eye shadow. Now with a clean
brush... Gorgeous. You can blend | 0:19:30 | 0:19:36 | |
that end, making sure you have no
harsh edges. Now we are going to add | 0:19:36 | 0:19:41 | |
the eyelash to make it a full on
Strictly glittery look. Take the | 0:19:41 | 0:19:50 | |
lash and place the blue. Wait a few
seconds, give it a little waft and | 0:19:50 | 0:20:02 | |
in a diagonal motion downwards,
attached to the eye. You have to get | 0:20:02 | 0:20:06 | |
right into the base of the lash
line. Now over to the hair. | 0:20:06 | 0:20:13 | |
For Amy's hair today, to match the
glitter look, we're going to go big | 0:20:13 | 0:20:17 | |
and glamorous, like a salsa look you
to see on strictly. Give the hair a | 0:20:17 | 0:20:25 | |
bit of a spray because it will:
better. We're going to take the | 0:20:25 | 0:20:29 | |
wonder and take small sections and
wrap it around in different | 0:20:29 | 0:20:34 | |
directions, to create a wilder look.
Follow this all the way round in | 0:20:34 | 0:20:39 | |
sections. It's going to take a
while. You might want to get someone | 0:20:39 | 0:20:46 | |
to help you with this. As you can
see, we've made some progress. We | 0:20:46 | 0:20:50 | |
are going to use clip in hair for
volume. We have clips that easily go | 0:20:50 | 0:20:57 | |
into the woods. Make a parting, a
little backcomb at the roots, making | 0:20:57 | 0:21:04 | |
the pieces easier to stay. Pop the
clip in. Then just softly break the | 0:21:04 | 0:21:13 | |
hair up, just gently open up the
curls. To get some root lift, Matt | 0:21:13 | 0:21:22 | |
fine powder. Just sprinkle it in
like that and give it a little | 0:21:22 | 0:21:26 | |
backcomb. You can see instantly you
have a little more volume. That | 0:21:26 | 0:21:29 | |
powder will help them volume to
stay, so your hair won't drop. | 0:21:29 | 0:21:36 | |
Finish it with a little bit of
glitter. Just sprinkle some glitter | 0:21:36 | 0:21:39 | |
into your hair. That looks so nice!
To help it stay in, finish with a | 0:21:39 | 0:21:46 | |
tiny bit of hairspray and that will
keep the glitter where it needs to | 0:21:46 | 0:21:50 | |
be. There we go, are glitter look is
complete, along with glitter in the | 0:21:50 | 0:21:58 | |
hair and eyes, with ready to party! | 0:21:58 | 0:22:01 | |
Huge thanks to the Lisas! | 0:22:02 | 0:22:06 | |
They are great! | 0:22:06 | 0:22:07 | |
Time now to welcome my final guests. | 0:22:07 | 0:22:09 | |
Their quickstep certainly
put a spell on us | 0:22:09 | 0:22:11 | |
at the weekend - it's
the 'bewitching' Ruth | 0:22:11 | 0:22:13 | |
and Anton. | 0:22:13 | 0:22:15 | |
It lacked any style. I thought it
was too heavy and too sloppy. You | 0:22:22 | 0:22:27 | |
went on the wrong foot but managed
to recover and you completed the | 0:22:27 | 0:22:32 | |
dance. You have made a wonderful
improvement, so be proud. CHEERING | 0:22:32 | 0:22:36 | |
AND APPLAUSE | 0:22:36 | 0:22:41 | |
Oooh hello gorgeous! | 0:22:41 | 0:22:45 | |
What a cheeky little quickstep! | 0:22:45 | 0:22:48 | |
You looks like you are having so
much fun, did you enjoy it? It was | 0:22:48 | 0:22:53 | |
wonderful, being Samantha from this
series that I loved as a kid and I | 0:22:53 | 0:22:58 | |
enjoyed it. I know I made mistakes
and I'm still nervous, but I'm not | 0:22:58 | 0:23:02 | |
terrorised any more. I actually
think, I'm quite enjoying this now, | 0:23:02 | 0:23:06 | |
which I never thought I'd hear
myself say. It just shows it gets | 0:23:06 | 0:23:11 | |
into the heart of you. I think I was
watching, we like you enjoying it is | 0:23:11 | 0:23:16 | |
glorious. When you watch someone
enjoying it, you don't feel | 0:23:16 | 0:23:20 | |
uncomfortable. When you watch
someone like I was in the waltz week | 0:23:20 | 0:23:24 | |
on, not so much. Everyone is upset
with your hair! Every week I have | 0:23:24 | 0:23:32 | |
good hair! | 0:23:32 | 0:23:35 | |
Amanda wrote online, "I'm bewitched
by Anton's rabbit bum!!" | 0:23:35 | 0:23:38 | |
It was very cute. Are you enjoying
the attention? I enjoyed enormously. | 0:23:38 | 0:23:49 | |
I had to get down behind the table
for the trick, and up we come. | 0:23:49 | 0:23:56 | |
Billy, from wardrobe, popped my tail
on it. A couple of poppers, he | 0:23:56 | 0:24:05 | |
popped it on. As I lent down, I
brushed it against the sideboard. As | 0:24:05 | 0:24:11 | |
you do stop by if you are a rabbit!
So I knocked it off. As I'm dancing | 0:24:11 | 0:24:18 | |
round it was just one proper and I
could feel it bouncing around. It | 0:24:18 | 0:24:22 | |
was sort of disconcerting after a
while. I wasn't sure what was going | 0:24:22 | 0:24:25 | |
on! I enjoyed it enormously and I
thought that Ruth did a great job. I | 0:24:25 | 0:24:33 | |
think she moves beautifully.
APPLAUSE | 0:24:33 | 0:24:36 | |
Yes, come on! Going be shy, enjoy
yourself! I just thought the way | 0:24:36 | 0:24:46 | |
Ruth moves across the floor in the
quick step, and the tango before, | 0:24:46 | 0:24:50 | |
her coverage is tremendous. I'm
really impressed by that. It's about | 0:24:50 | 0:24:54 | |
moving and sweeping across the
floor. From that perspective I | 0:24:54 | 0:24:57 | |
thought Ruth was tremendous. I've
been meaning to tell you all day! | 0:24:57 | 0:25:03 | |
What was it like being lowered
in on the broom at the start? | 0:25:03 | 0:25:06 | |
A little scary. Anton asked if I was
OK with heights and I said why? He | 0:25:06 | 0:25:14 | |
said, and think you're flying you
in. I went to Elstree on Friday and | 0:25:14 | 0:25:18 | |
they took me up and it's a lot
higher than I thought and quite a | 0:25:18 | 0:25:21 | |
small platform you are holding onto.
I thought, no, it's all right, I can | 0:25:21 | 0:25:24 | |
do this. Did it three or four times
in rehearsals, but then because the | 0:25:24 | 0:25:29 | |
studio audience come in and use the
everyone. Hadn't told Jack and amen | 0:25:29 | 0:25:34 | |
I was doing it. As I started to go
up, the whole audience went oooh. | 0:25:34 | 0:25:41 | |
Which made me nervous. I couldn't
look at anybody. You're kind of | 0:25:41 | 0:25:44 | |
level with the balcony at that
point, I thought, don't look, just | 0:25:44 | 0:25:47 | |
keep calm. It feels like a long
time. It wasn't, 30 seconds or | 0:25:47 | 0:25:51 | |
something. But it looked great and I
flew on Halloween week. Amazing. The | 0:25:51 | 0:25:58 | |
great thing with you two is we can
always count on you to have fun in | 0:25:58 | 0:26:01 | |
the training room. 1234... Two,
three, four, four. I can't do your | 0:26:01 | 0:26:13 | |
stupid counting! Ruth is an
intelligent woman but the counting | 0:26:13 | 0:26:19 | |
seems to be foxing her somewhat. 7,
8... No, no. I don't know what I'm | 0:26:19 | 0:26:25 | |
doing! LAUGHTER
What I doing at the end? I don't | 0:26:25 | 0:26:32 | |
know. One, two, three, four and
then... Two, one, two... LAUGHTER | 0:26:32 | 0:26:39 | |
CHEERING AND APPLAUSE
Ridiculous | 0:26:39 | 0:26:45 | |
CHEERING AND APPLAUSE
Ridiculous. Counting is the most of | 0:26:45 | 0:26:47 | |
the thing I've ever heard in my
life. One week it's two, three, four | 0:26:47 | 0:26:52 | |
and then five, 7, 8. The only thing
we've established as there is no 9. | 0:26:52 | 0:26:58 | |
At least we know that! Lovely to
have so much support. Denise, Stacey | 0:26:58 | 0:27:03 | |
and your TV son Rylan. Lovely to
have then they're better that make | 0:27:03 | 0:27:10 | |
you more scared? No, especially not
Denise, she has done strictly macro, | 0:27:10 | 0:27:16 | |
so she has given me loads of tips.
She knows what it's like. There is a | 0:27:16 | 0:27:20 | |
brilliant thing on Twitter of the
three of them when the judges were | 0:27:20 | 0:27:24 | |
giving their marks and they're all
going "No! To!" . We really want | 0:27:24 | 0:27:33 | |
Rylan to come on the show. Have a
word! I will order him. Tell him. | 0:27:33 | 0:27:42 | |
This week, paso doble. I think this
is going to be a goodie for you two. | 0:27:42 | 0:27:50 | |
I'm looking forward to seeing you
give it all be show stuff. And | 0:27:50 | 0:27:56 | |
another bit of that and one of them
down there. We're not doing any of | 0:27:56 | 0:28:02 | |
that cape malarkey. It gets on my
nerves. You are the cape! We don't | 0:28:02 | 0:28:10 | |
need a double cape. You want to
slosh about a bit. Then I'm going to | 0:28:10 | 0:28:14 | |
do... What you do with their cape,
I'm going to chuck you and you will | 0:28:14 | 0:28:20 | |
slam. I might break a hip! Not
height, just slide across the floor. | 0:28:20 | 0:28:29 | |
The | 0:28:29 | 0:28:30 | |
chuck and slide! We can't wait. | 0:28:30 | 0:28:33 | |
Good luck for Saturday,
Ruth and Anton everyone! | 0:28:33 | 0:28:35 | |
CHEERING AND APPLAUSE | 0:28:35 | 0:28:36 | |
That's all we have time for tonight! | 0:28:36 | 0:28:40 | |
Join me tomorrow at 6:30pm
when I'll be chatting to | 0:28:40 | 0:28:43 | |
Davood & Nadiya and Aston & Janette. | 0:28:43 | 0:28:44 | |
Plus, Ian Waite is back
for another Warm-Up and we'll | 0:28:44 | 0:28:47 | |
be joined by Mr meany himself -
Craig Revel Horwood. | 0:28:47 | 0:28:49 | |
Goodnight. | 0:28:49 | 0:28:50 |