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This season on the Celebrity Apprentice, | 0:00:02 | 0:00:03 | |
18 of the most well-known stars in the business | 0:00:03 | 0:00:05 | |
descended on New York City. | 0:00:05 | 0:00:07 | |
Master illusionist and Vegas superstar: | 0:00:07 | 0:00:11 | |
Pop icon: | 0:00:11 | 0:00:14 | |
Comedian and internet trailblazer: | 0:00:14 | 0:00:17 | |
I lost my virginity in a Regal. | 0:00:17 | 0:00:19 | |
Miss Universe: | 0:00:19 | 0:00:22 | |
Late night legend: | 0:00:22 | 0:00:25 | |
HE BARKS | 0:00:25 | 0:00:26 | |
Movie star and Grammy Award winner: | 0:00:26 | 0:00:30 | |
Rock star and Twisted Sister frontman: | 0:00:30 | 0:00:34 | |
The funniest woman in America, the queen of mean: | 0:00:34 | 0:00:39 | |
You're fired. You're fired. | 0:00:39 | 0:00:41 | |
Star of American Chopper: | 0:00:41 | 0:00:44 | |
International actress and philanthropist: | 0:00:44 | 0:00:48 | |
Best-selling author and First Daughter of the Mob: | 0:00:48 | 0:00:52 | |
Firing you is going to be very scary for me, Victoria. | 0:00:52 | 0:00:55 | |
IndyCar legend: | 0:00:55 | 0:00:58 | |
The original supermodel: | 0:00:58 | 0:01:02 | |
American Idol superstar: | 0:01:02 | 0:01:05 | |
I have been a runner-up before so I'm going to make sure | 0:01:05 | 0:01:07 | |
-it doesn't happen again. -Pop star: | 0:01:07 | 0:01:10 | |
The Incredible Hulk: | 0:01:10 | 0:01:13 | |
New Jersey's favourite Housewife: | 0:01:13 | 0:01:17 | |
And television icon, Star Trek's: | 0:01:17 | 0:01:21 | |
Live long and prosper! | 0:01:21 | 0:01:23 | |
Last week, Mr Trump got down to business, | 0:01:23 | 0:01:26 | |
giving the celebrities their first task. | 0:01:26 | 0:01:28 | |
You are going to be running a delicatessen. | 0:01:28 | 0:01:31 | |
The winning team makes the most money in sales and tips. | 0:01:31 | 0:01:35 | |
On the women's team, everyone wanted their voices to be heard. | 0:01:35 | 0:01:38 | |
You guys, I have an idea. Guys. | 0:01:38 | 0:01:40 | |
This was eight people at once doing, like, "Rah-rah-rah-rah-rah!" | 0:01:40 | 0:01:44 | |
But Patricia Velasquez rose above the chatter | 0:01:44 | 0:01:46 | |
and stepped up as the women's first project manager. | 0:01:46 | 0:01:50 | |
On the men's team, project manager Paul Teutul Sr put everything | 0:01:50 | 0:01:53 | |
on the line, promising to bring in the lion's share of the fundraising. | 0:01:53 | 0:01:57 | |
-Half a mil. -What'd you say? | 0:01:57 | 0:01:59 | |
On the day of the sales, the women's team was a member down. | 0:01:59 | 0:02:03 | |
Was everybody downstairs? | 0:02:03 | 0:02:04 | |
Victoria's not there which doesn't surprise me | 0:02:04 | 0:02:06 | |
cos she doesn't want anyone telling her what to do. | 0:02:06 | 0:02:09 | |
Both teams attracted a crowd. | 0:02:09 | 0:02:11 | |
What is going on out here? | 0:02:11 | 0:02:12 | |
But the women couldn't keep up with demand. | 0:02:12 | 0:02:15 | |
Oh, my God, look at the crowd. | 0:02:15 | 0:02:16 | |
And Debbie Gibson blamed Cheryl Tiegs. | 0:02:16 | 0:02:19 | |
Cheryl, we need to keep moving. Anything. Keep moving. | 0:02:19 | 0:02:22 | |
In the boardroom, Paul's big donor sealed the men's victory. | 0:02:22 | 0:02:26 | |
-The men's team raised a total of 367,120. -Yeah! | 0:02:26 | 0:02:32 | |
SHE MOUTHS | 0:02:32 | 0:02:33 | |
Left to face Mr Trump, the women turned on each other. | 0:02:33 | 0:02:37 | |
I did feel like Cheryl didn't move as quick as everybody else. | 0:02:37 | 0:02:41 | |
Victoria was an hour late for the task day. | 0:02:41 | 0:02:44 | |
She was on her phone with personal business. | 0:02:44 | 0:02:47 | |
I would check in to my children, as any mother would. | 0:02:47 | 0:02:49 | |
But in the end Mr trump questioned Cheryl's stamina. | 0:02:49 | 0:02:53 | |
Do you feel you have the energy to go on and just kick ass? | 0:02:53 | 0:02:57 | |
I don't know if this is right for me, to be honest with you. | 0:02:57 | 0:03:00 | |
Cheryl, you're fired. | 0:03:00 | 0:03:02 | |
Who do you guys think's going to go? | 0:03:10 | 0:03:13 | |
-Hm, I think it's going to be Cheryl. -Cheryl. | 0:03:13 | 0:03:15 | |
She just was not as quick as everybody else. | 0:03:15 | 0:03:18 | |
I think Victoria could also step up her game. | 0:03:18 | 0:03:21 | |
She knows everyone's onto her a little bit. | 0:03:21 | 0:03:24 | |
But you know what else, Debbie Gibson? You're very nice | 0:03:24 | 0:03:27 | |
but this whole thing about, | 0:03:27 | 0:03:28 | |
"I didn't make personal calls, only to my kids." | 0:03:28 | 0:03:31 | |
You know what? Don't make 'em to your kids during the day. | 0:03:31 | 0:03:33 | |
Yeah. | 0:03:33 | 0:03:35 | |
Here we are. | 0:03:36 | 0:03:37 | |
Oh, don't worry cos now I know who all y'all are. | 0:03:39 | 0:03:42 | |
-LAUGHTER -It's on, baby. | 0:03:42 | 0:03:45 | |
This girl and I, it's on. | 0:03:45 | 0:03:47 | |
When Victoria walked back in the room | 0:03:47 | 0:03:49 | |
I was a little scared at first, | 0:03:49 | 0:03:51 | |
if I'm going to be totally real with you. | 0:03:51 | 0:03:52 | |
Cos I said that she did some phone calls, etc, | 0:03:52 | 0:03:55 | |
and did some other things wrong. | 0:03:55 | 0:03:56 | |
You all better watch out. | 0:03:56 | 0:03:58 | |
So, I gotta say a little prayer and hope Victoria won't kill me | 0:03:58 | 0:04:01 | |
in my sleep. | 0:04:01 | 0:04:02 | |
That's fine, it's on, don't worry about it, it's on. | 0:04:05 | 0:04:07 | |
-I just thought it was because... -It was a gang-up. -No, no, no. | 0:04:07 | 0:04:11 | |
-Oh, please. -I didn't gang up. -It doesn't bother me. | 0:04:11 | 0:04:15 | |
Believe me. Moving forward it's dog eat dog, it's take no prisoners. | 0:04:15 | 0:04:18 | |
Women are different like that cos every last one of yous are bitches. | 0:04:18 | 0:04:22 | |
-You're behaving like bitches. -No, not at all. | 0:04:22 | 0:04:24 | |
-He asked me... -You're good people but you're behaving like bitches | 0:04:24 | 0:04:27 | |
when it comes down to it and that's not good. | 0:04:27 | 0:04:29 | |
We're not banding together. We're not. It's going to be tough. | 0:04:29 | 0:04:32 | |
The road... Down the road is going to be real tough. | 0:04:32 | 0:04:35 | |
When you come through something like this you know you have to | 0:04:35 | 0:04:38 | |
watch your back and it's not about friendship, | 0:04:38 | 0:04:41 | |
it's got nothing to do with friendship. | 0:04:41 | 0:04:42 | |
Women will turn on you quicker than a jack rabbit. | 0:04:42 | 0:04:46 | |
OK, no problem. No, in fact, bring it on. Bring it on, I'm ready. | 0:04:46 | 0:04:51 | |
# Money, money, money, money | 0:04:55 | 0:04:59 | |
# Money! | 0:04:59 | 0:05:00 | |
# Money, money, money, money | 0:05:00 | 0:05:03 | |
# Money! # | 0:05:04 | 0:05:05 | |
-BOY: -Well...he's floating away. | 0:05:11 | 0:05:14 | |
-Besides, it started trying to flap its wings. -Oh, he did? | 0:05:14 | 0:05:17 | |
I'm the mother of an 11-year-old son | 0:05:17 | 0:05:19 | |
with ALL leukaemia | 0:05:19 | 0:05:20 | |
and he's getting his wish granted today. | 0:05:20 | 0:05:23 | |
You see the leaves, how pretty they are? | 0:05:23 | 0:05:25 | |
-Yeah. -Gorgeous. | 0:05:25 | 0:05:27 | |
What are we looking at over here? | 0:05:27 | 0:05:30 | |
-Is your name Gabriel? -Yeah. -My name's Paul. -Hi, Paul. | 0:05:30 | 0:05:34 | |
'I'm here to meet Gabriel. He's from California | 0:05:34 | 0:05:36 | |
'and he wanted to see New York' | 0:05:36 | 0:05:38 | |
and I am going to be presenting him | 0:05:38 | 0:05:40 | |
a cheque for the Make-A-Wish foundation. | 0:05:40 | 0:05:42 | |
So, I have an envelope here. | 0:05:42 | 0:05:45 | |
I was able to raise money for the Make-A-Wish foundation | 0:05:45 | 0:05:49 | |
and we have a cheque here | 0:05:49 | 0:05:51 | |
and I'm very proud of this. | 0:05:51 | 0:05:53 | |
-It's for 495,000. -Wow! | 0:05:53 | 0:05:57 | |
And this money gives the opportunity | 0:05:57 | 0:05:59 | |
for more kids to make their wish also. | 0:05:59 | 0:06:02 | |
Thank you. | 0:06:02 | 0:06:04 | |
That foundation and the kids really touched my heart. | 0:06:04 | 0:06:06 | |
What do they got here? | 0:06:06 | 0:06:08 | |
'And it was an honour for me' | 0:06:08 | 0:06:10 | |
to hand them the cheque for half a million dollars. | 0:06:10 | 0:06:12 | |
'That's a wish come true.' | 0:06:12 | 0:06:14 | |
-There he is right here. See him right here? -Yeah, I see him. | 0:06:14 | 0:06:17 | |
I would like all the people that get to have a Make-A-Wish | 0:06:17 | 0:06:20 | |
to have a fun time because they had to go through all this hard stuff | 0:06:20 | 0:06:25 | |
that I would do. | 0:06:25 | 0:06:26 | |
They deserve to have a wish, too. | 0:06:26 | 0:06:28 | |
FANFARE | 0:06:45 | 0:06:47 | |
-Good morning. -ALL: Good morning. | 0:06:52 | 0:06:55 | |
Medieval Times, 40 years, great entertainment - jousting, | 0:06:55 | 0:06:59 | |
knights, all sorts of incredible things. | 0:06:59 | 0:07:03 | |
They've entertained so many millions of people over the years. | 0:07:03 | 0:07:07 | |
Really something exciting. | 0:07:07 | 0:07:09 | |
You will be creating a show for Medieval Times. | 0:07:09 | 0:07:14 | |
But first of all, you know the gentleman on my left. | 0:07:14 | 0:07:17 | |
He is a great, great guy. | 0:07:17 | 0:07:19 | |
James Lipton. | 0:07:19 | 0:07:22 | |
I've wanted to be in his show for years, Inside The Actors Studio. | 0:07:22 | 0:07:26 | |
James, it's great to have you. Do you have anything to say? | 0:07:26 | 0:07:28 | |
Well, you may be wondering why I qualify as an advisor? | 0:07:28 | 0:07:32 | |
It's because I happen to be a knight. | 0:07:32 | 0:07:35 | |
That's what this barrette signifies, | 0:07:35 | 0:07:37 | |
that I'm a Chevalier de l'Ordre des Arts et des Lettres. | 0:07:37 | 0:07:39 | |
I am a knight of the Republic of France. | 0:07:39 | 0:07:43 | |
As a matter of fact, this is my suit of armour. | 0:07:43 | 0:07:46 | |
And my horse is outside. | 0:07:46 | 0:07:49 | |
So if any of you would care to joust... | 0:07:49 | 0:07:53 | |
the gauntlet has been thrown. | 0:07:53 | 0:07:54 | |
I would pay money to see James Lipton stuffed into that | 0:07:54 | 0:07:58 | |
suit of armour. Top dollar. | 0:07:58 | 0:08:01 | |
Don, explain exactly what is the task. | 0:08:01 | 0:08:03 | |
You'll be putting on a 12 to 15-minute show for Medieval Times. | 0:08:03 | 0:08:07 | |
You'll be judged on your creativity and overall presentation | 0:08:07 | 0:08:10 | |
and entertainment value by audience votes, so it's in their hands. | 0:08:10 | 0:08:14 | |
All right, who is your project manager? Please pick. | 0:08:14 | 0:08:17 | |
-The historical diverse knowledge you have of this era... -Sure! | 0:08:20 | 0:08:24 | |
I think you're the... | 0:08:24 | 0:08:26 | |
Men's Team, who is your project manager? | 0:08:30 | 0:08:31 | |
-I believe it's me, Mr Trump. -Penn. | 0:08:31 | 0:08:34 | |
I believe I was the best choice because I'm the only one who is... | 0:08:34 | 0:08:38 | |
HE LAUGHS | 0:08:38 | 0:08:40 | |
..who is from show business of that kind, | 0:08:40 | 0:08:43 | |
and doing a show is something I've done before. | 0:08:43 | 0:08:46 | |
OK, ladies, who is your project manager? | 0:08:46 | 0:08:49 | |
-Lisa. -Lisa. | 0:08:49 | 0:08:51 | |
-Lisa! -Yeah! | 0:08:51 | 0:08:52 | |
I'm on stage an hour and a half a night all by myself. | 0:08:52 | 0:08:55 | |
I can do a freaking medieval show with a horse and a sword | 0:08:55 | 0:08:59 | |
and seven other broads. | 0:08:59 | 0:09:01 | |
So, you ever hear of Lady Godiva? | 0:09:01 | 0:09:03 | |
She rode nude through the streets. | 0:09:03 | 0:09:05 | |
HE LAUGHS | 0:09:05 | 0:09:07 | |
I'll be honest, Dayana, if you did | 0:09:07 | 0:09:09 | |
-I don't think the men would even do the chore, right? -No chance. | 0:09:09 | 0:09:13 | |
I will threaten to ride nude for money! | 0:09:13 | 0:09:16 | |
-It'll work. -That'd be a good story. -Nice. | 0:09:16 | 0:09:19 | |
Mr Trump mentioned, "Would you get naked?" | 0:09:19 | 0:09:22 | |
And Dayana said, "Yes, I would." | 0:09:22 | 0:09:24 | |
He spoon-fed that to her. | 0:09:24 | 0:09:25 | |
She gotta do it. | 0:09:25 | 0:09:27 | |
Now, Adam will not be with us. | 0:09:27 | 0:09:29 | |
He's agreed to host a wedding at his house in California. | 0:09:29 | 0:09:33 | |
Every once in a while things like this do happen. | 0:09:33 | 0:09:36 | |
The winning team is going to be getting 20,000 for your charity | 0:09:36 | 0:09:41 | |
and we're contributing another, through Medieval Times, 20,000. | 0:09:41 | 0:09:46 | |
So it's 40,000 to the winning project manager. | 0:09:46 | 0:09:49 | |
As always, the losing team will join me in the boardroom | 0:09:49 | 0:09:52 | |
and some celebrity, I'm sorry to say, will be fired. | 0:09:52 | 0:09:56 | |
Let's see what you can do. Showbiz. Good luck, everybody. | 0:09:56 | 0:10:00 | |
OK, listen. Guys, can you all hear us? | 0:10:05 | 0:10:08 | |
Yeah, we're listening. | 0:10:08 | 0:10:10 | |
I think it's a really good idea to be contemporary, | 0:10:10 | 0:10:12 | |
instead of taking some old story like King Lear. | 0:10:12 | 0:10:16 | |
-I agree. You know what I instantly thought... -OK. OK, you know what? | 0:10:16 | 0:10:19 | |
..possible to do a rock thing. | 0:10:19 | 0:10:22 | |
First of all, this is to everybody - I love you all, you're all great | 0:10:22 | 0:10:25 | |
but there's going to be no interrupting this task. | 0:10:25 | 0:10:30 | |
Lisa has a short fuse. | 0:10:30 | 0:10:31 | |
She's tough. I wouldn't want to be on her bad side. | 0:10:31 | 0:10:34 | |
I had a sentence and a half out and I was already interrupted. | 0:10:34 | 0:10:37 | |
I'm so sorry. It's very hard without the visual. | 0:10:37 | 0:10:40 | |
I thought you had completed the thought. | 0:10:40 | 0:10:42 | |
-Let's just really be conscious of that. -Great. | 0:10:42 | 0:10:44 | |
OK, Lisa, I had the idea of trying to be able to entertain that much people | 0:10:44 | 0:10:48 | |
-and all ages. -Dayana, hold on. -Just let Lisa finish. | 0:10:48 | 0:10:52 | |
How about when somebody's done with their thought you can say, | 0:10:52 | 0:10:55 | |
"I'm done." That way we know. | 0:10:55 | 0:10:57 | |
We do have to make sure that we have something creative and original - | 0:10:57 | 0:11:01 | |
for everyone, 12-year-old kids and adults. But Lisa is not listening. | 0:11:01 | 0:11:06 | |
OK, here's the deal. | 0:11:06 | 0:11:07 | |
Let's take something very current and spoof it in a medieval way. | 0:11:07 | 0:11:11 | |
And what's more current and what's more New Jersey than taking | 0:11:11 | 0:11:15 | |
The Real Housewives concept, doing Real Housewives Of Camelot? | 0:11:15 | 0:11:18 | |
I am one of the stars from The Real Housewives Of New Jersey | 0:11:18 | 0:11:21 | |
and right now one of the hottest shows | 0:11:21 | 0:11:23 | |
on TV is the New Jersey Housewives | 0:11:23 | 0:11:26 | |
so she wanted to make that our theme. | 0:11:26 | 0:11:29 | |
I was honoured because it is about the show that I'm on. | 0:11:29 | 0:11:32 | |
-What if the knight we're all fighting over is Trump? -Yes. | 0:11:32 | 0:11:35 | |
Oh, my God, I will dress as Donald Trump, if you want to. | 0:11:35 | 0:11:39 | |
Work the hair. | 0:11:39 | 0:11:40 | |
-We'll kick those frickin' fire-breathing -BLEEP -in the nuts. | 0:11:40 | 0:11:43 | |
-Well said! -'We'll talk to you in a few minutes, OK?' -Bye-bye. -Bye. | 0:11:43 | 0:11:47 | |
What could be interesting, this Snooki character came forward... | 0:11:47 | 0:11:51 | |
And we go, "Wrong show, bitch." | 0:11:51 | 0:11:53 | |
The poor housewives end up killing each other | 0:11:53 | 0:11:55 | |
and then Snooki's sitting there and she goes, | 0:11:55 | 0:11:58 | |
"Guess it's just you and me." | 0:11:58 | 0:12:00 | |
FANFARE | 0:12:02 | 0:12:04 | |
-You guys got it figured out? -We got it pretty figured out. | 0:12:19 | 0:12:21 | |
We got some good jokes. | 0:12:21 | 0:12:23 | |
The task this week is to do a 15-minute show | 0:12:23 | 0:12:26 | |
at Medieval Times. | 0:12:26 | 0:12:28 | |
The team that creates the most original, | 0:12:28 | 0:12:31 | |
creative and entertaining show, as determined by audience vote, wins. | 0:12:31 | 0:12:36 | |
-Hello. -Good morning. -How are you? -Good, how are you? | 0:12:36 | 0:12:39 | |
Leigh Cordner. I'm the creative director for Medieval Times. | 0:12:39 | 0:12:42 | |
I made available the best fight choreographers, horse trainers, | 0:12:42 | 0:12:46 | |
sound and light technicians | 0:12:46 | 0:12:48 | |
and knights that the organisation has to offer. | 0:12:48 | 0:12:51 | |
They're going to be standing by to assist you with fight choreography, | 0:12:51 | 0:12:55 | |
working and handling the horses, | 0:12:55 | 0:12:57 | |
-weapons, along with the rest of the team. -OK. | 0:12:57 | 0:13:00 | |
Medieval Times is like being transported back to times | 0:13:00 | 0:13:04 | |
when there were horses and jousting and kings. | 0:13:04 | 0:13:06 | |
It's a wonderful production in sand in an arena. | 0:13:06 | 0:13:10 | |
I've been to Medieval Times more than I've been to LA strip clubs. | 0:13:10 | 0:13:15 | |
That's a lot! | 0:13:15 | 0:13:17 | |
The key to the success of the show for the last 28 years is action | 0:13:18 | 0:13:21 | |
and excitement. | 0:13:21 | 0:13:23 | |
What we like to do is recreate a moment in history with a nod to, | 0:13:23 | 0:13:27 | |
let's say, modern technology. | 0:13:27 | 0:13:29 | |
I have a question. | 0:13:29 | 0:13:30 | |
They come with their kids, correct? | 0:13:32 | 0:13:34 | |
Yes. They do. They come with their kids. | 0:13:34 | 0:13:36 | |
Children are very visual and our show is very visual. | 0:13:36 | 0:13:40 | |
When the all-ages thing came up I was kind of psyched | 0:13:40 | 0:13:42 | |
cos I wanted to prove to the world myself - cos I'm a dirty comic - | 0:13:42 | 0:13:46 | |
I want to do a whole show that doesn't have a curse in it. | 0:13:46 | 0:13:50 | |
Pleasure meeting you. Good luck. | 0:13:50 | 0:13:52 | |
Just in my mind I took it as a personal challenge - | 0:13:52 | 0:13:54 | |
let's make this thing clean but also funny, which is clearly possible. | 0:13:54 | 0:13:58 | |
Welcome to whatever, Real Housewives Of Camelot. | 0:13:58 | 0:14:01 | |
We bring out one housewife at a time. | 0:14:01 | 0:14:04 | |
Our concept is The Unreal Housewives Of Camelot. | 0:14:04 | 0:14:08 | |
All of us are playing housewives and we're vying for the affection | 0:14:08 | 0:14:11 | |
and attention of "the greatest man in all the land" Mr Trump. | 0:14:11 | 0:14:15 | |
Opens. She's Donald Trump. She comes out on the horse, grandiose. | 0:14:15 | 0:14:18 | |
She gives everyone the set-up of our show which is | 0:14:18 | 0:14:21 | |
The Real Housewives Of Camelot. | 0:14:21 | 0:14:22 | |
We set it up - boardroom, Donald Trump-style - | 0:14:22 | 0:14:25 | |
but with the setting of the Housewives. | 0:14:25 | 0:14:27 | |
-So then the girls... -I'm sorry, it's so hard, we're frustrated. | 0:14:27 | 0:14:31 | |
We're going to do something like that involving the housewives | 0:14:31 | 0:14:34 | |
and fighting for love... | 0:14:34 | 0:14:36 | |
The Housewives is the biggest show on TV. | 0:14:39 | 0:14:42 | |
It has almost five million viewers. | 0:14:42 | 0:14:45 | |
-Let me finish. -Let's hear this, guys. | 0:14:45 | 0:14:48 | |
Concept. No side conversations. Let her get it out. | 0:14:48 | 0:14:51 | |
-I might answer your question, just... -OK. | 0:14:51 | 0:14:53 | |
OK, so over there in this corner, here is Teresa, du-du-du-du-du, | 0:14:53 | 0:14:56 | |
however you want to remix the names, whatever. | 0:14:56 | 0:14:58 | |
'Aubrey was definitely second in command on this task.' | 0:14:58 | 0:15:02 | |
Lisa seemed to defer to her almost a little too much. | 0:15:02 | 0:15:06 | |
So if this is the audience we're playing to, you'd have the table, | 0:15:06 | 0:15:10 | |
we like the table cos Teresa can flip it, she's famous for that. | 0:15:10 | 0:15:12 | |
Dayana, because he had suggested the nude thing, | 0:15:12 | 0:15:15 | |
if we put you in a nude body suit, you're going to be the girl | 0:15:15 | 0:15:18 | |
on the horse that's always the presentation of the new scene. | 0:15:18 | 0:15:21 | |
Are you OK wearing a nude body suit with flowers here and here? | 0:15:21 | 0:15:24 | |
-Don't worry. -Awesome! | 0:15:24 | 0:15:26 | |
I'll do whatever my project manager assigns me to do | 0:15:26 | 0:15:29 | |
and if my project manager decides that wearing a nude body suit | 0:15:29 | 0:15:32 | |
is a good idea... | 0:15:32 | 0:15:34 | |
..I'll do it. | 0:15:36 | 0:15:38 | |
Tia's a really good actress and so is Patricia. | 0:15:38 | 0:15:40 | |
I should be the whore, she should be the queen. | 0:15:40 | 0:15:43 | |
I think Tia seems more of a whore. | 0:15:43 | 0:15:45 | |
LAUGHTER | 0:15:45 | 0:15:47 | |
I handed out the sexy roles, the glamorous roles, first. | 0:15:47 | 0:15:51 | |
Victoria would be reserved for the hardest job cos you need | 0:15:51 | 0:15:55 | |
a real tough-ass to run lights and sound. | 0:15:55 | 0:15:59 | |
What is Victoria going to do? | 0:15:59 | 0:16:02 | |
Victoria, she could be a stage director cos she's really tough | 0:16:02 | 0:16:06 | |
-and she'll say to that guy... -Victoria should be queen! | 0:16:06 | 0:16:09 | |
She should be queen. | 0:16:09 | 0:16:10 | |
Why don't you just put me in the closet? Put me in the closet. | 0:16:10 | 0:16:13 | |
'Lisa turned to me and said,' | 0:16:13 | 0:16:15 | |
"I'm giving you one of the most important tasks | 0:16:15 | 0:16:18 | |
"as creative director." | 0:16:18 | 0:16:19 | |
-And I remember thinking to myself, bull -BLEEP. | 0:16:19 | 0:16:22 | |
-Bull -BLEEP. | 0:16:22 | 0:16:24 | |
I think everybody had a role except for me. I was left out of it. | 0:16:24 | 0:16:27 | |
This is the way it'll go, in very broad strokes. | 0:16:30 | 0:16:33 | |
It will go, you coming out alone... | 0:16:33 | 0:16:37 | |
-On a horse. -With maybe some other horses around you. | 0:16:37 | 0:16:40 | |
Then battle between you two. | 0:16:40 | 0:16:42 | |
'The creative is essentially melodrama.' | 0:16:42 | 0:16:45 | |
Two men are fighting for the hand of the same woman. | 0:16:45 | 0:16:48 | |
Maiden enters. | 0:16:48 | 0:16:50 | |
Veil over the face. Hair down and all out. | 0:16:50 | 0:16:53 | |
My eyes look pretty good when they're all made up. | 0:16:53 | 0:16:56 | |
We got Dee Snider in drag and when the boy sees her up close | 0:16:56 | 0:17:00 | |
he decides instead to kill himself - | 0:17:00 | 0:17:02 | |
big and loud and fun. | 0:17:02 | 0:17:03 | |
I have... Listen to me. | 0:17:03 | 0:17:05 | |
I have a bike that has a saddle on it that's all white mesh. | 0:17:05 | 0:17:09 | |
-It's fitting to the tee. -Perfect. -It's fitting to the tee. | 0:17:09 | 0:17:14 | |
Perfect use of a motorcycle - it's very Medieval Times! | 0:17:14 | 0:17:16 | |
What I'm trying to do is underline where celebrities are. | 0:17:16 | 0:17:19 | |
I want every Clay Aiken fan to be thrilled about seeing Clay, | 0:17:19 | 0:17:23 | |
so we're having him sing. | 0:17:23 | 0:17:25 | |
I want every Star Trek fan to love seeing George. | 0:17:25 | 0:17:28 | |
I want every Arsenio fan to love seeing Arsenio. | 0:17:28 | 0:17:33 | |
-I'm just going to do this. -OK. | 0:17:33 | 0:17:35 | |
I'm even uncomfortable with this position. | 0:17:35 | 0:17:37 | |
Arsenio and I will host. | 0:17:37 | 0:17:39 | |
Arsenio has a kind, generous nature. | 0:17:39 | 0:17:43 | |
He's very easy to work with. | 0:17:43 | 0:17:45 | |
It's very easy to look good when you're talking to Arsenio. | 0:17:45 | 0:17:48 | |
Can we put it on hold and possibly think of something else? | 0:17:48 | 0:17:51 | |
LAUGHTER | 0:17:51 | 0:17:52 | |
Hey, how you doing? | 0:17:54 | 0:17:55 | |
I'm very well. And yourself? | 0:17:55 | 0:17:57 | |
-Oops. -Nice to meet you. I'm Erin. | 0:17:57 | 0:17:59 | |
OK, so what do we get to work with? | 0:17:59 | 0:18:01 | |
You basically have access to this rack here. | 0:18:01 | 0:18:03 | |
Once we decided on the idea | 0:18:03 | 0:18:05 | |
we got to go into the costume room | 0:18:05 | 0:18:07 | |
and there's no girl on Earth that doesn't like to play dress-up. | 0:18:07 | 0:18:09 | |
-That one's good for Teresa. -Oh, that's great. -This is perfect. | 0:18:09 | 0:18:12 | |
Patricia and Tia, | 0:18:12 | 0:18:14 | |
do either one of you feel strongly about which one plays the queen? | 0:18:14 | 0:18:17 | |
-I don't care. -Then you should have more royal... | 0:18:17 | 0:18:21 | |
OVERLAPPING CHATTER | 0:18:21 | 0:18:25 | |
-Patricia... -She needs a cape. | 0:18:25 | 0:18:27 | |
I need to eat lunch is what I need to do before I pass out. | 0:18:27 | 0:18:30 | |
I was like, "Are you kidding me? Did we not talk about this?" | 0:18:30 | 0:18:34 | |
Patricia... OVERLAPPING CHATTER | 0:18:34 | 0:18:36 | |
You want something that dangles off the horse | 0:18:36 | 0:18:38 | |
-cos it looks really pretty. -We're going to put this together. | 0:18:38 | 0:18:41 | |
I'm not here to teach you how to not be an interrupting pain in my ass. | 0:18:41 | 0:18:46 | |
-God, you -BLEEP -guys, seriously. | 0:18:46 | 0:18:48 | |
It's like I say a sentence | 0:18:49 | 0:18:51 | |
and you THEN break into other conversations. | 0:18:51 | 0:18:55 | |
Don't do it! | 0:18:57 | 0:18:58 | |
You're asking me if you want me to... | 0:18:58 | 0:19:00 | |
No, it's not just you! Come on! | 0:19:00 | 0:19:02 | |
How old are we?! | 0:19:02 | 0:19:04 | |
'Lisa lost it.' | 0:19:05 | 0:19:07 | |
It became like a school class - "You stop, you shut up. | 0:19:07 | 0:19:09 | |
"This is how I manage." I'm sorry, that's not the way to treat people. | 0:19:09 | 0:19:12 | |
She was running the show like a tyrant will do. | 0:19:12 | 0:19:15 | |
So can we do this? | 0:19:15 | 0:19:16 | |
FANFARE | 0:19:22 | 0:19:26 | |
Remember, Clay, it was just last year in 1042... | 0:19:26 | 0:19:31 | |
He should have won but he did not win. | 0:19:31 | 0:19:33 | |
You may remember Ruben Sandwich of Studdard. | 0:19:33 | 0:19:36 | |
LAUGHTER | 0:19:36 | 0:19:39 | |
Hello, how are you, sir? | 0:19:39 | 0:19:42 | |
-Gentlemen. -'Out of the corner of my eye I say James Lipton.' | 0:19:42 | 0:19:45 | |
James was great because I love James because I watch him on TV | 0:19:45 | 0:19:47 | |
all the time. He's like an icon. | 0:19:47 | 0:19:49 | |
I want to know why I was never invited to The Actors Studio. | 0:19:49 | 0:19:52 | |
LAUGHTER | 0:19:52 | 0:19:53 | |
An oversight! | 0:19:53 | 0:19:56 | |
It was Medieval Times and | 0:19:56 | 0:19:57 | |
James definitely gives off that sort of Shakespearian vibe. | 0:19:57 | 0:20:02 | |
-MIMICKING GEORGE: -Oh, I'm going into my George Takei. | 0:20:02 | 0:20:04 | |
-How's it going? -Really well. We're going to have a joust in the middle. | 0:20:04 | 0:20:08 | |
Those two are battling each other. | 0:20:08 | 0:20:09 | |
-He will win the hand of the fair maiden. -Really? | 0:20:09 | 0:20:12 | |
And we've got a little cross-dressing going on, too, | 0:20:12 | 0:20:15 | |
so it's going to be exciting. | 0:20:15 | 0:20:17 | |
They are using a lot of comedy. | 0:20:17 | 0:20:20 | |
The risk is of being not funny when you want to be funny. | 0:20:20 | 0:20:24 | |
'We'll see how they do.' | 0:20:24 | 0:20:25 | |
So then we can just cross it and, like, grr! | 0:20:27 | 0:20:30 | |
-Go round to the right. And go round to the left. -OK. | 0:20:30 | 0:20:33 | |
We have Teresa, the table-flipping housewife. | 0:20:33 | 0:20:36 | |
Keeping in mind that it is the audience that votes | 0:20:36 | 0:20:39 | |
who is the winner. | 0:20:39 | 0:20:40 | |
We are giving the people what they want. We're in New Jersey | 0:20:40 | 0:20:43 | |
and what's bigger than The Real Housewives Of New Jersey? | 0:20:43 | 0:20:45 | |
It's just going to bring the house down. We're playing to the crowd. | 0:20:45 | 0:20:48 | |
-I'm pressing charges. -I'm pressing charges! | 0:20:48 | 0:20:52 | |
Cos that's what she did, she pressed charges. | 0:20:52 | 0:20:54 | |
Yeah. I'll see you in court. | 0:20:54 | 0:20:56 | |
I'll see you in court! | 0:20:56 | 0:20:59 | |
I'll see you in court! | 0:20:59 | 0:21:00 | |
I'm actually performing with real actresses | 0:21:00 | 0:21:03 | |
so I really learned a lot and it was an amazing experience. | 0:21:03 | 0:21:06 | |
What should I say when you're saying that? | 0:21:06 | 0:21:08 | |
Bring it on, wench! | 0:21:08 | 0:21:10 | |
Oh, yeah. That's what I'll say. | 0:21:10 | 0:21:12 | |
Bring it on, wench! | 0:21:12 | 0:21:14 | |
I had to actually learn lines and it's not something I'm used to. | 0:21:14 | 0:21:18 | |
Like, on my show it's a reality TV show, you know, | 0:21:18 | 0:21:21 | |
I don't need to learn lines. | 0:21:21 | 0:21:23 | |
One of us pulls out, like, a chicken cutlet or something. | 0:21:23 | 0:21:26 | |
"I knew those weren't real!" | 0:21:26 | 0:21:27 | |
Or you could dig in and go, "Oh, those are real." | 0:21:28 | 0:21:32 | |
They're real, right? | 0:21:32 | 0:21:34 | |
Yeah, they're real. They're real. | 0:21:34 | 0:21:36 | |
She pulled something off of me, I pull something off her. | 0:21:36 | 0:21:39 | |
They're implants... | 0:21:39 | 0:21:41 | |
-"Spotlight on Trump figure," right? -Yeah. | 0:21:41 | 0:21:45 | |
We're trying to write the beats of the script down and write dialogue | 0:21:45 | 0:21:48 | |
-and Don Jr shows up. -Hello, ladies. | 0:21:48 | 0:21:50 | |
Maybe he can answer our question. | 0:21:50 | 0:21:53 | |
-Oh, yeah. -Is your father going to get offended | 0:21:53 | 0:21:56 | |
by me impersonating him in a wig? | 0:21:56 | 0:22:00 | |
No. | 0:22:00 | 0:22:01 | |
I think the boardroom may get tense but ultimately who wins is | 0:22:01 | 0:22:05 | |
still determined by the people in the audience. | 0:22:05 | 0:22:07 | |
-OK. -You win them, even if it is too far, you can't get fired for it. | 0:22:07 | 0:22:10 | |
-That's true. -Do you want to hear what we're doing? -Let's hear it. | 0:22:10 | 0:22:13 | |
We're having the housewives compete for Donald's love | 0:22:13 | 0:22:16 | |
and it's going to be a fight to the end of who wins Donald. | 0:22:16 | 0:22:18 | |
We have tons of comedy. We're including the elements of Jersey. | 0:22:18 | 0:22:22 | |
we're playing to a more pop-culture, modern idea | 0:22:22 | 0:22:25 | |
-but still including the medieval time. -OK. | 0:22:25 | 0:22:27 | |
'I think the women's concept's actually great. I think to utilise' | 0:22:27 | 0:22:30 | |
one of the Real Housewives here at Medieval Times in New Jersey | 0:22:30 | 0:22:32 | |
is sort of a no-brainer. But I think people also show up | 0:22:32 | 0:22:35 | |
to Medieval Times for some action. If they can combine the right mix | 0:22:35 | 0:22:38 | |
of the two of those things, they got a pretty good formula going. | 0:22:38 | 0:22:41 | |
-So, where's Victoria? -At the store, shopping with Dayana. We figure | 0:22:41 | 0:22:45 | |
they both look like they like to spend money. Get them outta here. | 0:22:45 | 0:22:48 | |
There's a little tension, perhaps, with Victoria? | 0:22:48 | 0:22:50 | |
-I assigned actors and performers to play the women in the show. -Yeah. | 0:22:50 | 0:22:55 | |
Well, PS, the most important job is stage manager, | 0:22:55 | 0:22:57 | |
and she doesn't get how important that is. | 0:22:57 | 0:22:59 | |
There was definitely some tension from Lisa with her and Victoria. | 0:22:59 | 0:23:02 | |
It's always going to be tough to get along with Victoria. | 0:23:02 | 0:23:05 | |
That's a very strong personality. Lisa got a strong personality. | 0:23:05 | 0:23:07 | |
It's going to be an interesting clash eventually. | 0:23:07 | 0:23:10 | |
I have no freakin' patience, so I just go, | 0:23:10 | 0:23:12 | |
"Shopping, for these broads, is much better." | 0:23:12 | 0:23:14 | |
We've got three different size swords, and they're real. | 0:23:16 | 0:23:20 | |
Before we could actually get down to business, we met with | 0:23:20 | 0:23:22 | |
stunt coordinators that teach you sword fighting for the performance. | 0:23:22 | 0:23:25 | |
Yah! | 0:23:25 | 0:23:27 | |
-Yah! -Be careful. | 0:23:27 | 0:23:29 | |
Pay attention. | 0:23:29 | 0:23:31 | |
With Lou Ferrigno, what you see is what you get. | 0:23:31 | 0:23:34 | |
He's the Hulk, former Mr Universe. | 0:23:34 | 0:23:36 | |
In this task, Lou immediately saw that this is Medieval Times. | 0:23:36 | 0:23:42 | |
There were gladiators. There were fighters. There were knights. | 0:23:42 | 0:23:45 | |
They were powerful men. And he exemplifies the powerful man. | 0:23:45 | 0:23:49 | |
-En garde. -Yah! | 0:23:49 | 0:23:51 | |
Swing level. | 0:23:51 | 0:23:53 | |
-He scares me, this -BLEEP -guy. | 0:23:53 | 0:23:55 | |
I'm going to go after him because, you know, this is a fight. | 0:23:55 | 0:23:58 | |
And we're two macho men. | 0:23:58 | 0:24:00 | |
-Yah! -OK, -BLEEP! | 0:24:00 | 0:24:01 | |
And I want to give a good performance. Like David and Goliath. | 0:24:01 | 0:24:05 | |
-Do it slow. -That's not slow. What the -BLEEP? | 0:24:05 | 0:24:08 | |
LAUGHTER | 0:24:08 | 0:24:10 | |
Wait a minute. | 0:24:14 | 0:24:16 | |
No, listen to me. I go one, two, three, four. I'm charging. | 0:24:16 | 0:24:20 | |
And then you can back up three steps. | 0:24:20 | 0:24:23 | |
There's more involved in this production than just the fight. | 0:24:23 | 0:24:26 | |
We needed to do other things and Lou wanted to continue practising. | 0:24:26 | 0:24:30 | |
I think Lou would have practised that damn fight for all day. | 0:24:30 | 0:24:32 | |
Now step back. | 0:24:32 | 0:24:34 | |
They get another one in a minute. | 0:24:36 | 0:24:38 | |
We gotta go now. | 0:24:40 | 0:24:42 | |
Sometimes it's difficult to pull Lou out of the narrow scope | 0:24:42 | 0:24:46 | |
that he's looking at and to have him look at the fact | 0:24:46 | 0:24:49 | |
that everybody else has something that's important going on. | 0:24:49 | 0:24:52 | |
SWORD CLANGS | 0:24:52 | 0:24:53 | |
-En garde. -Strike. Up and over to the right. | 0:24:54 | 0:24:58 | |
Strike. | 0:24:58 | 0:24:59 | |
Strike to the head. Good. | 0:24:59 | 0:25:00 | |
Whoa. | 0:25:00 | 0:25:02 | |
Lisa, Victoria's our director, so maybe she could help you direct us | 0:25:02 | 0:25:05 | |
and everything with who should be doing what. We'd like to have | 0:25:05 | 0:25:08 | |
-Victoria come forward. -Really, my strong point is not directing. | 0:25:08 | 0:25:12 | |
-OK, so, why don't... -I just feel like I won't do you a good service. | 0:25:12 | 0:25:16 | |
No, we should take direction from you, | 0:25:16 | 0:25:18 | |
-and you could just... You want to try it? -What you want to do is... | 0:25:18 | 0:25:20 | |
Listen, if Victoria doesn't think it's her strong point, fine. | 0:25:20 | 0:25:23 | |
Learn how to fight. You too, Tia, then we'll figure that out later. | 0:25:23 | 0:25:26 | |
But let's not waste these guys' time, OK? | 0:25:26 | 0:25:28 | |
For me, you know, I welcome learning new things throughout this process, | 0:25:28 | 0:25:32 | |
so I would have thought maybe Victoria would have been intrigued | 0:25:32 | 0:25:35 | |
by having to kind of learn, on the spot, the stage-direction role, | 0:25:35 | 0:25:41 | |
but she didn't really take to it. | 0:25:41 | 0:25:43 | |
Strike to your opponent's head. | 0:25:43 | 0:25:45 | |
-Good. -Victoria has her Louis Vuitton bag while she's fighting. | 0:25:45 | 0:25:48 | |
-Are you -BLEEP -kidding me? | 0:25:48 | 0:25:50 | |
Victoria had her Louis Vuitton purse slung around her shoulder. | 0:25:53 | 0:25:57 | |
Now, I appreciate a messenger bag. | 0:25:57 | 0:25:59 | |
I wear a messenger bag all the time to cover up my left love handle. | 0:25:59 | 0:26:03 | |
But if there's any clear indication that you're not in the game, | 0:26:03 | 0:26:06 | |
it's carrying your purse while you're carrying a sword. | 0:26:06 | 0:26:09 | |
So I'm like, well, maybe she can help me | 0:26:09 | 0:26:11 | |
look up stuff or write things or something. | 0:26:11 | 0:26:14 | |
Do you want to start writing and I'll look up the Shakespearean... | 0:26:14 | 0:26:19 | |
-Lingo. -..slang. -Yeah, if Word will come up. | 0:26:19 | 0:26:21 | |
No, it's not "mid-evil." You've gotta spell it right. | 0:26:24 | 0:26:27 | |
'I look over and she's typing into one of the computers' | 0:26:27 | 0:26:30 | |
"mid" M-I-D, | 0:26:30 | 0:26:33 | |
dash "evil." E-V-I-L. | 0:26:33 | 0:26:36 | |
It's "medieval." | 0:26:36 | 0:26:39 | |
Spell it like it on the paper. | 0:26:39 | 0:26:40 | |
Basically, Victoria's wasting my time. | 0:26:42 | 0:26:44 | |
She can't even handle a simple task like using a computer. | 0:26:44 | 0:26:47 | |
The freaking stationery of Medieval Times is sitting right there | 0:26:47 | 0:26:50 | |
and you can't frickin' copy it. Bitch? | 0:26:50 | 0:26:53 | |
"This season on The Unreal Housewives Of Camelot, | 0:27:02 | 0:27:05 | |
"four ladies shall compete for the love of one man, | 0:27:05 | 0:27:08 | |
"yea, the most powerful man in all the kingdom - Sir Donald of Trump." | 0:27:08 | 0:27:13 | |
'I pretty much did not sleep last night.' | 0:27:13 | 0:27:16 | |
I wanted to be a part of this play. I wanted what everybody else got. | 0:27:16 | 0:27:20 | |
You have eight women, and you have one person that's given | 0:27:20 | 0:27:24 | |
absolutely nothing - no speaking parts, no roles, | 0:27:24 | 0:27:27 | |
no tasks, no nothing. | 0:27:27 | 0:27:29 | |
And I called Lisa this morning and said, | 0:27:29 | 0:27:32 | |
"You know what? Maybe I should go speak to Mr Trump | 0:27:32 | 0:27:36 | |
"and ask to play on the men's team. Maybe then I will be acknowledged, | 0:27:36 | 0:27:41 | |
"won't be invisible, and won't be put in the closet." | 0:27:41 | 0:27:45 | |
Um, Victoria, you're, like, the most important person today, because if | 0:27:45 | 0:27:49 | |
we F up our sound and lights... | 0:27:49 | 0:27:50 | |
Believe me, the guys aren't going to, with Penn in charge. | 0:27:50 | 0:27:53 | |
-So you're the man today. -OK. | 0:27:53 | 0:27:55 | |
'Victoria said she was going to walk out and join the men's team' | 0:27:55 | 0:27:58 | |
cos she was hurt. | 0:27:58 | 0:27:59 | |
That's still a girl thing, and we're not allowed to be girls in here. | 0:27:59 | 0:28:02 | |
But I said, "You know what? I got to make this Victoria | 0:28:02 | 0:28:05 | |
"be gangster in that booth up there with that lighting guy | 0:28:05 | 0:28:07 | |
"and make it work." Yesterday might have not been a heavy day for you, | 0:28:07 | 0:28:10 | |
-but today's going to be really heavy. -OK. | 0:28:10 | 0:28:13 | |
-What's up, brother? -Good to see you, brother. | 0:28:16 | 0:28:18 | |
-This guy's the Hulk. -How you been? -How you doing, man? -I'm Dee. | 0:28:18 | 0:28:22 | |
'When we arrived at Medieval Times,' | 0:28:22 | 0:28:24 | |
we went out to check out Paul Sr's really killer chopper. | 0:28:24 | 0:28:28 | |
Oh, man. | 0:28:28 | 0:28:30 | |
-Yeah! -Good lord. | 0:28:30 | 0:28:33 | |
You only see the back tyre, which is a 300. It's like this big, | 0:28:33 | 0:28:36 | |
but already you're just like, "Man, this is a cool motorcycle." | 0:28:36 | 0:28:39 | |
ENGINE STARTS | 0:28:39 | 0:28:42 | |
The bike had a medieval theme with swords, | 0:28:42 | 0:28:45 | |
it had axes on it, had chainmail exhaust pipes. | 0:28:45 | 0:28:49 | |
Even the paint job was done like scales on a dragon. | 0:28:49 | 0:28:52 | |
It was so perfectly designed for Medieval Times. | 0:28:52 | 0:28:56 | |
The audience is going to get into this. | 0:28:56 | 0:28:59 | |
Have a nice day. | 0:28:59 | 0:29:00 | |
If we're at 8 to 13 | 0:29:03 | 0:29:05 | |
I'll do two with Arsenio. | 0:29:05 | 0:29:08 | |
If we're lower than eight I'll do... Oh, my goodness. | 0:29:08 | 0:29:11 | |
Gentlemen. | 0:29:11 | 0:29:12 | |
Wow. | 0:29:12 | 0:29:14 | |
-You look perfect. -I am staying in character. | 0:29:14 | 0:29:17 | |
Good, please. | 0:29:17 | 0:29:19 | |
-You're going to stay in it all day? -I want to get used to it. The train. | 0:29:19 | 0:29:22 | |
George loved that costume. | 0:29:22 | 0:29:25 | |
He wore that costume like a five-year-old | 0:29:25 | 0:29:27 | |
with a Halloween costume they didn't ever want to take off. | 0:29:27 | 0:29:30 | |
Oh, we've got two hours. | 0:29:30 | 0:29:33 | |
The whole idea of a dress rehearsal | 0:29:33 | 0:29:36 | |
is to be able to handle your costume. | 0:29:36 | 0:29:39 | |
And so I think we should all be in our costume, and particularly Dee. | 0:29:39 | 0:29:44 | |
He's riding side-saddle. I hope that that doesn't throw him. | 0:29:44 | 0:29:49 | |
Should we call you Sir George the rest of the day? | 0:29:49 | 0:29:52 | |
You may call me that all the time. | 0:29:52 | 0:29:54 | |
LAUGHTER | 0:29:54 | 0:29:56 | |
Letteth the games begin! | 0:29:58 | 0:30:00 | |
Cue smoke. | 0:30:02 | 0:30:04 | |
Cue light on upper throne. | 0:30:04 | 0:30:06 | |
Up there. | 0:30:06 | 0:30:07 | |
We get into the dress rehearsal. | 0:30:07 | 0:30:09 | |
Victoria took over for a couple run-throughs, and I'm, like, | 0:30:09 | 0:30:12 | |
pretty confident. | 0:30:12 | 0:30:14 | |
I mean, I'm never confident in anybody. | 0:30:15 | 0:30:18 | |
I always think people are going to fall through. | 0:30:18 | 0:30:20 | |
-Lisa? -Yes. -One question. | 0:30:20 | 0:30:22 | |
When you move down from that throne up above and you're coming down... | 0:30:22 | 0:30:25 | |
It's on page... | 0:30:25 | 0:30:27 | |
-I have it. I think I have it, as you say... -Page three. | 0:30:27 | 0:30:31 | |
-"Mr Trump..." -Do you see it? | 0:30:31 | 0:30:33 | |
Is it where Mr Trump walks to the throne, stands on... | 0:30:33 | 0:30:35 | |
That's out, obviously. Um... | 0:30:35 | 0:30:38 | |
Do you guys have a current script? | 0:30:40 | 0:30:42 | |
That's what we're trying to figure out here. | 0:30:42 | 0:30:44 | |
The page should start, "This damsel has a song in her heart." | 0:30:44 | 0:30:47 | |
No, we don't have a current script. This is the one... | 0:30:47 | 0:30:49 | |
We don't have the current script. Where did that one come from? | 0:30:49 | 0:30:52 | |
Oh, my God. How do you print out the wrong one from the printer? | 0:30:53 | 0:30:56 | |
I don't get it. 'I don't like mistakes.' | 0:30:56 | 0:30:59 | |
God forbid those lights don't come on when they're supposed to | 0:30:59 | 0:31:01 | |
or the trumpets don't sound. | 0:31:01 | 0:31:03 | |
And I'm thinking I really should be the stage director, but I can't. | 0:31:03 | 0:31:07 | |
How much time do we got right now in the arena? | 0:31:11 | 0:31:14 | |
-We have, I believe, 50 minutes. -OK. We should go right now. | 0:31:14 | 0:31:20 | |
-Well, the guy has to programme the stuff in. -Let me say something. | 0:31:20 | 0:31:22 | |
I was talking right now, and I wanted to say we should go right now | 0:31:22 | 0:31:25 | |
and just run with it, guys. Lines, lights, and music without us here. | 0:31:25 | 0:31:29 | |
OK, what I was saying is we can't do that because they have to programme | 0:31:29 | 0:31:32 | |
everything right now. | 0:31:32 | 0:31:33 | |
-They asked us for ten minutes. -Then we won't have time to do that. | 0:31:33 | 0:31:37 | |
'I consider myself a creative person, and Aubrey and Lisa,' | 0:31:37 | 0:31:41 | |
they are not giving me a chance to either | 0:31:41 | 0:31:43 | |
have an opinion, be listened, or do anything else. | 0:31:43 | 0:31:47 | |
And I keep trying to get involved, but they keep pushing me back. | 0:31:47 | 0:31:51 | |
So I'm just going to do my thing on my horse and look pretty, | 0:31:51 | 0:31:55 | |
cos that's all they want me to do, and that'll be it. | 0:31:55 | 0:31:58 | |
-If -BLEEP -Dayana doesn't stop complaining about every -BLEEP | 0:31:58 | 0:32:01 | |
-thing... I can't -BLEEP -take her. | 0:32:01 | 0:32:03 | |
Guess what you're good at. | 0:32:03 | 0:32:05 | |
Sitting and looking good. That's it. | 0:32:05 | 0:32:07 | |
Oh! Oh! Oh! | 0:32:11 | 0:32:15 | |
-Is that great! -God! | 0:32:15 | 0:32:16 | |
-You're aggressive, you're really aggressive. -Darth Vader. | 0:32:16 | 0:32:20 | |
I don't like that joke. | 0:32:21 | 0:32:23 | |
Going into the dress rehearsal, I feel very confident. | 0:32:23 | 0:32:26 | |
I think the audience is going to like how we look. | 0:32:26 | 0:32:28 | |
I just can't wait, because I love performing. | 0:32:28 | 0:32:31 | |
Yeah, check one, two. One, two check. | 0:32:31 | 0:32:34 | |
-Is this -BLEEP -thing on? | 0:32:34 | 0:32:35 | |
Dee is used to wearing female clothes, professionally, | 0:32:35 | 0:32:39 | |
as Twisted Sister. | 0:32:39 | 0:32:40 | |
But as Lady Dee Dee, | 0:32:40 | 0:32:43 | |
he actually looked lovely. | 0:32:43 | 0:32:46 | |
Completely ready, Dee? | 0:32:46 | 0:32:47 | |
-Completely ready, Penn. -OK, let's go, Michael! | 0:32:47 | 0:32:50 | |
-Lock and load, rock and roll! -Ready. Go! | 0:32:50 | 0:32:53 | |
You guys will be up next. The horse comes flying first, though. | 0:32:59 | 0:33:02 | |
Please welcome the greenest knight of land, | 0:33:02 | 0:33:06 | |
the good and... | 0:33:06 | 0:33:08 | |
..incredible... | 0:33:10 | 0:33:12 | |
Sir Lou of Hulk. | 0:33:12 | 0:33:14 | |
-George... -Enough of this... -Wait, wait, wait, wait, wait. Wait, wait. | 0:33:14 | 0:33:19 | |
You understand that that line, "enough of these..." | 0:33:19 | 0:33:21 | |
I did it there, which I shouldn't. I should have done that here. | 0:33:21 | 0:33:24 | |
The problem with George not getting his script exactly right | 0:33:24 | 0:33:27 | |
is that I had written into the script very specific cues | 0:33:27 | 0:33:30 | |
for the lighting and sound department, | 0:33:30 | 0:33:32 | |
and they were very reliant on George hitting specific lines. | 0:33:32 | 0:33:36 | |
And now it is time for the final frontier. | 0:33:36 | 0:33:40 | |
-Not yet it isn't! It sure isn't. -It is not? -No, it's not. | 0:33:40 | 0:33:43 | |
-Oh, that's right. -I have a little something I want to do first. | 0:33:43 | 0:33:46 | |
I jump on your act. | 0:33:46 | 0:33:48 | |
Yeah. George is not... Yeah. | 0:33:48 | 0:33:51 | |
-George, you're going to have to follow the script. -I will. | 0:33:51 | 0:33:55 | |
Even if you have to hold it up, because the lighting... | 0:33:55 | 0:33:58 | |
It just happened there. | 0:33:58 | 0:33:59 | |
No, no, no, no. It's happened like four times. | 0:33:59 | 0:34:02 | |
'I think it was difficult for George to grasp' | 0:34:02 | 0:34:04 | |
we don't need you to get it perfect right now. | 0:34:04 | 0:34:08 | |
We need you to hit the marks so everybody else can do something. | 0:34:08 | 0:34:11 | |
-Are we going again? -We sure are. -Good. | 0:34:11 | 0:34:14 | |
-Everybody ready right away. -All right, we get the leg over. | 0:34:14 | 0:34:17 | |
-Fix the cape on the other side, guys. -As soon as George starts | 0:34:17 | 0:34:20 | |
-talking again, go for it. -And now... -Go, go. | 0:34:20 | 0:34:22 | |
-At last, at last. And now I'm... -I broke a finger. Aah. | 0:34:28 | 0:34:33 | |
-You all right? -You OK? -I may have broken a finger. | 0:34:34 | 0:34:38 | |
# She's broke a nail Oh, how that sucks. # | 0:34:38 | 0:34:41 | |
No - finger. Finger! Finger! | 0:34:41 | 0:34:43 | |
-# She broke a finger Damn, that's worse. # -Yep. | 0:34:43 | 0:34:47 | |
The horse was acting very skittish | 0:34:47 | 0:34:50 | |
and I lost my balance. | 0:34:50 | 0:34:52 | |
My finger, as I went down, caught underneath the saddle. | 0:34:52 | 0:34:57 | |
Is there a first aid? Find him. | 0:34:57 | 0:35:00 | |
Are we going to get a doctor or something? | 0:35:00 | 0:35:02 | |
Oh, red shirt right there. | 0:35:02 | 0:35:04 | |
No, not that one. Ring. | 0:35:04 | 0:35:06 | |
As I look at my hand, I know my finger's messed up. | 0:35:06 | 0:35:10 | |
And the EMT's telling me that I need to go to a hospital. | 0:35:10 | 0:35:13 | |
I don't know what we're going to do cos if I've got to leave, | 0:35:13 | 0:35:16 | |
we're screwed. It's showtime. | 0:35:16 | 0:35:17 | |
-Oh, -BLEEP -yeah. | 0:35:17 | 0:35:20 | |
-You all right, man? -Not really. | 0:35:20 | 0:35:23 | |
-How's your finger? -Feels... It's numb. | 0:35:43 | 0:35:46 | |
So I'll go and get it X-rayed. | 0:35:46 | 0:35:48 | |
'I've never had a broken finger. It was pretty excruciating,' | 0:35:48 | 0:35:52 | |
but I am not leaving the show. | 0:35:52 | 0:35:54 | |
I'll worry about it later. I'll go to the hospital later. | 0:35:54 | 0:35:57 | |
I'm ready to get back in the game, in my dress and tiara. | 0:35:57 | 0:36:00 | |
I think you look better as a woman than a man. | 0:36:00 | 0:36:03 | |
If you were on the women's team, you're at least tying a few of them. | 0:36:03 | 0:36:06 | |
LAUGHTER | 0:36:06 | 0:36:09 | |
Are we ready? All right. Let's do it. | 0:36:18 | 0:36:20 | |
My lords, my ladies, welcome to Medieval Times! | 0:36:27 | 0:36:33 | |
CHEERING | 0:36:33 | 0:36:35 | |
How you doing? My name is Penn Jillette | 0:36:38 | 0:36:41 | |
and this is my partner, Arsenio. We are Penn and Arsenio. | 0:36:41 | 0:36:44 | |
And are you ready to have some fun at Medieval Times, huh?! | 0:36:44 | 0:36:48 | |
CHEERING | 0:36:48 | 0:36:50 | |
My partner is used to a silent partner. | 0:36:50 | 0:36:55 | |
-But he's going to let me ask you this one question. -Tell it! Tell it! | 0:36:55 | 0:36:58 | |
Art my hounds in the castle here tonight? | 0:36:58 | 0:37:04 | |
THEY WHOOP | 0:37:04 | 0:37:05 | |
'This is a cheesy melodrama. 'We stuck with broad comedy.' | 0:37:05 | 0:37:10 | |
I have children, you know, and a minute and a half is all they want | 0:37:10 | 0:37:13 | |
to watch of something. | 0:37:13 | 0:37:14 | |
Light something on fire. Bring out a motorcycle. Now there's horses. | 0:37:14 | 0:37:19 | |
Big and gross and loud and fast and fun. | 0:37:19 | 0:37:22 | |
What kind of chapstick do you use? | 0:37:22 | 0:37:24 | |
I use weapons-grade chap stick. | 0:37:24 | 0:37:27 | |
LAUGHTER | 0:37:27 | 0:37:29 | |
-George, take it away! -The good and incredible... | 0:37:29 | 0:37:34 | |
Sir Lou of Hulk! | 0:37:34 | 0:37:38 | |
CHEERING | 0:37:38 | 0:37:40 | |
Even though we struggled throughout the dress rehearsals, | 0:37:43 | 0:37:46 | |
when we got down to brass tacks, | 0:37:46 | 0:37:47 | |
George picked up his script and he read from it. | 0:37:47 | 0:37:49 | |
He said, "I'm going to do it this way so that we don't have | 0:37:49 | 0:37:52 | |
-"any mess-ups." -His adversary... | 0:37:52 | 0:37:54 | |
Sir Paul, the Orange County Senior. | 0:37:54 | 0:37:59 | |
ENGINE ROARS What's that sound? | 0:37:59 | 0:38:02 | |
What's that sound? That's not a horse! | 0:38:02 | 0:38:04 | |
That's not a horse! | 0:38:09 | 0:38:11 | |
Patiently waiting for the battle for her beauteous hand... | 0:38:15 | 0:38:19 | |
Lady Dee Dee | 0:38:19 | 0:38:21 | |
of Twisted Godiva. | 0:38:21 | 0:38:25 | |
Accompanied by her trusty troubadour, | 0:38:25 | 0:38:29 | |
Clay of Aiken! | 0:38:29 | 0:38:33 | |
# He-e-e-e-e-e-e-e-y | 0:38:33 | 0:38:35 | |
# Y-y-y-y-y-yeah, yeah | 0:38:35 | 0:38:37 | |
# Ye-a-a-a-a-ah! # | 0:38:37 | 0:38:43 | |
Our show is not supposed to have any real plot. | 0:38:43 | 0:38:47 | |
We're mostly putting together the fact that it's a celebrity team. | 0:38:47 | 0:38:50 | |
Whether that is the right choice, I don't know, but I hope that | 0:38:50 | 0:38:54 | |
if they like us, they'll like us. | 0:38:54 | 0:38:56 | |
Looks like he's winning! Looks like Lou's winning! | 0:38:56 | 0:38:58 | |
These are incredible athletes! Look at those guys! | 0:38:58 | 0:39:01 | |
His sword is down! | 0:39:06 | 0:39:07 | |
Oh! He threw sand in his eyes! Ah! | 0:39:09 | 0:39:12 | |
He's cut! He's cut! My guy's cut! | 0:39:12 | 0:39:16 | |
Sir Lou of Hulk, | 0:39:19 | 0:39:21 | |
you have won the hand | 0:39:21 | 0:39:23 | |
of the fairest maiden in all the land. | 0:39:23 | 0:39:27 | |
'But the old saying, a man has to do what a man has to do.' | 0:39:31 | 0:39:34 | |
You may now kiss your prize. | 0:39:34 | 0:39:38 | |
What's happening?! | 0:39:43 | 0:39:45 | |
-Oh! -Lou has killed himself! | 0:39:45 | 0:39:47 | |
-He's down! He killed himself! -Oh, my! | 0:39:47 | 0:39:51 | |
That's Dee Snider from Twisted Sister! | 0:39:56 | 0:39:58 | |
That's Clay Aiken of American Idol! | 0:39:58 | 0:40:01 | |
'We took a risk in doing the comedic thing,' | 0:40:01 | 0:40:04 | |
but I believe and I'm hoping, | 0:40:04 | 0:40:06 | |
by audience reaction, that it paid off. | 0:40:06 | 0:40:08 | |
But if we were to lose, I think that that could end up being a problem | 0:40:08 | 0:40:12 | |
for Penn, because this was very much a Penn Jillette project. | 0:40:12 | 0:40:16 | |
My name is Penn Jillette! That's Michael Andretti! | 0:40:17 | 0:40:20 | |
Enjoy the rest of the show! Thank you so much! | 0:40:20 | 0:40:23 | |
CHEERING | 0:40:23 | 0:40:26 | |
-OK, everybody get as ready as you can. Get on your horses. -Here we go. | 0:40:30 | 0:40:34 | |
We were backstage. It was almost showtime. | 0:40:34 | 0:40:36 | |
And at that point, we were as ready as we were ever going to be. | 0:40:36 | 0:40:39 | |
All right, guys, you ready? You have your script, right? | 0:40:41 | 0:40:44 | |
CHEERING | 0:40:46 | 0:40:48 | |
Lights up. | 0:40:57 | 0:40:58 | |
While Dayana is led out on a horse, I had to narrate. | 0:41:04 | 0:41:08 | |
Supposed to wait for the trumpet. | 0:41:08 | 0:41:11 | |
Big trumpet. | 0:41:11 | 0:41:12 | |
And I'm waiting for the trumpet. | 0:41:12 | 0:41:15 | |
And for some reason, like, something's not happening, really. | 0:41:19 | 0:41:22 | |
So I had to create the trumpet sound in my own head cos it wasn't | 0:41:22 | 0:41:26 | |
coming from that freakin' sound booth. | 0:41:26 | 0:41:28 | |
SHE IMITATES FANFARE | 0:41:28 | 0:41:30 | |
Friends and countrymen, | 0:41:30 | 0:41:32 | |
I am Sir Donald of Trump, your king! | 0:41:32 | 0:41:37 | |
CHEERING | 0:41:37 | 0:41:38 | |
I am here with the most fearsome, | 0:41:38 | 0:41:42 | |
awe-inspiring creatures on the planet... | 0:41:42 | 0:41:46 | |
The Unreal Housewives Of Camelot! | 0:41:46 | 0:41:51 | |
Tonight, one of them shall win | 0:41:51 | 0:41:54 | |
the most coveted prize on the planet - | 0:41:54 | 0:41:58 | |
the gift of my love. | 0:41:58 | 0:42:02 | |
'During the performance itself, I caught a look at Don Jr' | 0:42:02 | 0:42:06 | |
out of my eye, and he was laughing and having a good time. | 0:42:06 | 0:42:08 | |
I said, "OK, everything's fine." | 0:42:08 | 0:42:11 | |
Archduchess Autotune, | 0:42:11 | 0:42:13 | |
what do you have that could win this competition for my heart? | 0:42:13 | 0:42:17 | |
# What I do bring is that I sing | 0:42:17 | 0:42:21 | |
# My voice so fair, it fills the air | 0:42:21 | 0:42:24 | |
# You have great h-a-a-a-a-air... # | 0:42:24 | 0:42:28 | |
Silence! | 0:42:28 | 0:42:30 | |
I can take no more. | 0:42:30 | 0:42:32 | |
CHEERING | 0:42:32 | 0:42:36 | |
En garde! | 0:42:36 | 0:42:38 | |
One thing our team really had going for it is the fact that there are | 0:42:42 | 0:42:44 | |
a bunch of beautiful women on the team. | 0:42:44 | 0:42:47 | |
THEY GRUNT | 0:42:47 | 0:42:48 | |
But I apparently used a little more sex appeal than I intended. | 0:42:50 | 0:42:54 | |
I may have showed the audience a little more than I wanted to. | 0:42:54 | 0:42:58 | |
Aah! | 0:42:59 | 0:43:00 | |
CHEERING | 0:43:02 | 0:43:04 | |
The show is super corny. | 0:43:06 | 0:43:07 | |
But Medieval Times audiences love a lot of excitement. They love action. | 0:43:07 | 0:43:13 | |
They're not going to sit bored when women grab swords and are duelling | 0:43:13 | 0:43:16 | |
and doing splits and backflips and stuff like that. There's no way. | 0:43:16 | 0:43:20 | |
Don't call me "honey", honey! | 0:43:20 | 0:43:23 | |
Is "wench" better? Here we go! | 0:43:23 | 0:43:26 | |
You sting me! | 0:43:31 | 0:43:32 | |
I have won the battle. Have I won your heart? | 0:43:39 | 0:43:42 | |
You have kicked some serious booty. However, you are disqualified. | 0:43:42 | 0:43:48 | |
-What?! -You're fired! | 0:43:48 | 0:43:51 | |
-I can't be fired! -You're fired! | 0:43:51 | 0:43:54 | |
SHE YELLS | 0:43:54 | 0:43:57 | |
I ended up flipping the table and they loved | 0:43:57 | 0:44:00 | |
that moment on the Real Housewives Of New Jersey. | 0:44:00 | 0:44:02 | |
And when I did it I was really, you know, upset and angry, | 0:44:02 | 0:44:06 | |
and there was, like, a lot of emotions. | 0:44:06 | 0:44:08 | |
So, you know, I felt like a real actress. | 0:44:08 | 0:44:11 | |
Alas, I am alone again. | 0:44:11 | 0:44:15 | |
Wah! | 0:44:15 | 0:44:17 | |
Oh, no! Jersey! | 0:44:19 | 0:44:22 | |
All right. | 0:44:22 | 0:44:23 | |
The character played by Aubrey comes out. It was sort of a spoof | 0:44:23 | 0:44:27 | |
-on the character from the Jersey Shore. -Oh! | 0:44:27 | 0:44:30 | |
Bet you guys liked that one, huh? | 0:44:32 | 0:44:35 | |
It's iconic to have the Housewives, | 0:44:35 | 0:44:37 | |
iconic to have Jersey Shore references. | 0:44:37 | 0:44:40 | |
We played to Jersey. | 0:44:40 | 0:44:42 | |
Donald, you're my knight in shining armour. | 0:44:42 | 0:44:45 | |
-You're hired! -Yay! | 0:44:46 | 0:44:49 | |
I'm feeling pretty good about the performance. | 0:44:51 | 0:44:54 | |
We had a bomb-ass script. | 0:44:54 | 0:44:56 | |
We had a really cute theme. | 0:44:56 | 0:44:58 | |
This is going to come down to the overall sentiment of the crowd | 0:44:58 | 0:45:02 | |
and what theme they liked better. | 0:45:02 | 0:45:04 | |
They're the ones who have all the say whether we live or die. | 0:45:04 | 0:45:07 | |
-Hello, Lisa. -Hi. -How did you do? -I think we did really well. | 0:45:33 | 0:45:37 | |
-The finished product was amazing. -What was the product? | 0:45:37 | 0:45:40 | |
We did a parody of The Real Housewives, so that was called | 0:45:40 | 0:45:43 | |
The Unreal Housewives Of Camelot. And we based it upon our own best | 0:45:43 | 0:45:47 | |
natural resource on our team, little Miss Teresa, | 0:45:47 | 0:45:49 | |
who is a Real Housewife of New Jersey. | 0:45:49 | 0:45:52 | |
-That's true. Any nudity? -Absolutely. | 0:45:52 | 0:45:55 | |
-Who? -Oh, well, come on. Please. Dayana. | 0:45:55 | 0:45:59 | |
Well, it could be almost anybody on this team. | 0:45:59 | 0:46:02 | |
Tia wasn't afraid to shake it when she came in on the horse. | 0:46:02 | 0:46:05 | |
She looked quite good. They all looked fetching, I must say. | 0:46:05 | 0:46:08 | |
-They really did. They were all gorgeous. -We all showed boobies. | 0:46:08 | 0:46:11 | |
-Yeah. There were some boobies hanging out. -That sells. | 0:46:11 | 0:46:13 | |
-It does. -You think you won? | 0:46:13 | 0:46:15 | |
You know what? I learned last week, never underestimate your opponent. | 0:46:15 | 0:46:18 | |
Because honestly, who would have thought Paul would have a friend | 0:46:18 | 0:46:21 | |
with 300 grand? He can't even buy shirt sleeves. So you know what? | 0:46:21 | 0:46:24 | |
LAUGHTER | 0:46:24 | 0:46:26 | |
I figure, you know what? You can never say in this business. | 0:46:26 | 0:46:29 | |
-That's good. -We're confident but not cocky. -OK, good. | 0:46:29 | 0:46:32 | |
Victoria, what did you think of Lisa as project manager? | 0:46:32 | 0:46:36 | |
I think she was on... She's strict. | 0:46:36 | 0:46:41 | |
She is strict. She is strict. | 0:46:41 | 0:46:43 | |
-And, um, you know... -Was she a good leader? | 0:46:43 | 0:46:47 | |
-Yeah. -Did you agree with her ideas? | 0:46:48 | 0:46:51 | |
Well, it was different because I had different roles... | 0:46:51 | 0:46:53 | |
-Doesn't sound like a great endorsement. -I know! -No, no, no, no, | 0:46:53 | 0:46:56 | |
no, no. No, no, not at all. Not at all. | 0:46:56 | 0:46:59 | |
Um, I had a different role, so it didn't really matter at that point, | 0:46:59 | 0:47:03 | |
but everybody else seemed to, and she was, you know... | 0:47:03 | 0:47:06 | |
They all got great vibes from her and it worked. It all gelled. | 0:47:06 | 0:47:10 | |
Now, there was some tension between you and Lisa early on, Victoria. | 0:47:10 | 0:47:13 | |
Can you talk a little bit about that and what happened? | 0:47:13 | 0:47:16 | |
Um... | 0:47:16 | 0:47:18 | |
Where should we start? Where should we start? | 0:47:22 | 0:47:25 | |
Well, um, in the beginning of day one, it's rushed, | 0:47:25 | 0:47:28 | |
it's crazy, and the first thing I did was pick out which women | 0:47:28 | 0:47:32 | |
should play roles, acting roles. | 0:47:32 | 0:47:34 | |
And we'd be crazy not to put into the acting roles people who have | 0:47:34 | 0:47:37 | |
acted and who are serious performers. | 0:47:37 | 0:47:39 | |
We needed a singer, so that's Debbie. We picked actresses. That's fine. | 0:47:39 | 0:47:44 | |
And I think Victoria felt pushed aside, even though I literally... | 0:47:44 | 0:47:48 | |
By Lisa? | 0:47:48 | 0:47:49 | |
-I literally had chosen her to be stage manager. -Victoria, by Lisa? | 0:47:49 | 0:47:52 | |
I felt that, like, everybody had a costume and a position | 0:47:52 | 0:47:56 | |
in that play and out on that stage, and I did not have anything, | 0:47:56 | 0:48:00 | |
any task, anything to do. | 0:48:00 | 0:48:02 | |
And I was really hurt. I was disappointed | 0:48:02 | 0:48:05 | |
cos I felt it wasn't setting a good precedent or atmosphere | 0:48:05 | 0:48:10 | |
for the other girls. | 0:48:10 | 0:48:11 | |
I almost felt like it was saying that, you know, I didn't matter. | 0:48:11 | 0:48:14 | |
So you're not one 100% happy. | 0:48:14 | 0:48:16 | |
-That's why you gave me the answer you gave me before. -No. Uh, no. | 0:48:16 | 0:48:19 | |
I think she did a fabulous job. Not at all. | 0:48:19 | 0:48:22 | |
-We had our, you know...but we're square and... -OK. Fine. | 0:48:22 | 0:48:27 | |
-So, Teresa, you played a housewife. -Mm-hm. | 0:48:27 | 0:48:31 | |
Very appropriate, especially in New Jersey. So, how did that work out? | 0:48:31 | 0:48:35 | |
Um, you know what? | 0:48:35 | 0:48:37 | |
It was a challenge for me, because I had to play parts that on my show | 0:48:37 | 0:48:41 | |
when I, you know, what actually happened had, you know, | 0:48:41 | 0:48:45 | |
a lot of feelings behind it. I was angry. I was upset. | 0:48:45 | 0:48:48 | |
So, I had to remember those emotions and act on them. | 0:48:48 | 0:48:51 | |
-Aubrey, how did she do? -She's great. -You like her? -Yes, I love her. | 0:48:51 | 0:48:55 | |
-She's different than I watched on television. -Mm-hm. | 0:48:55 | 0:48:58 | |
I see her on the show, and it looks like the real deal, but so far, | 0:48:58 | 0:49:01 | |
-you're different. -I only attack when I'm attacked. | 0:49:01 | 0:49:04 | |
-And you do attack when you're attacked. -Yes. -You certainly do. | 0:49:04 | 0:49:09 | |
-May I say something? -Yes. Go ahead. | 0:49:10 | 0:49:12 | |
When I was asked to do this, I was very pleased, | 0:49:12 | 0:49:15 | |
especially when I heard the theme. I was extremely pleased, | 0:49:15 | 0:49:18 | |
and also because I have considerable affection for Donald. | 0:49:18 | 0:49:21 | |
But I always thought when I watched the show that this is a kind of | 0:49:21 | 0:49:24 | |
a playful gig, a show. You know, what you do in your off time | 0:49:24 | 0:49:28 | |
and that it was a casual - it isn't. | 0:49:28 | 0:49:30 | |
-No! -There is nothing casual about it. | 0:49:30 | 0:49:33 | |
And what impressed me most was the conscientiousness, | 0:49:33 | 0:49:36 | |
the sincerity, and the fervour of all of you. I didn't expect that. | 0:49:36 | 0:49:39 | |
It was a total surprise. And I must say it made me respect this show | 0:49:39 | 0:49:43 | |
and it made me respect all of you people. Hats off to all of you. | 0:49:43 | 0:49:46 | |
-VARIOUS: -Thank you! | 0:49:46 | 0:49:48 | |
And by the way, I really think that's a great comment, and it's | 0:49:48 | 0:49:51 | |
appropriate, and I think you've done an amazing job. | 0:49:51 | 0:49:54 | |
-Thank you. -Thank you. -OK. | 0:49:54 | 0:49:56 | |
-Dee, are you OK? -Sort of. Yeah. | 0:49:56 | 0:49:59 | |
-I know you hurt your finger pretty badly. -Yeah. -How is it? | 0:49:59 | 0:50:02 | |
-Um, it's severely fractured. -It is severely fractured. | 0:50:02 | 0:50:07 | |
-That's what I heard. -I need to get a pin put in probably on Monday. -Wow. | 0:50:07 | 0:50:10 | |
-You didn't count on that, huh? -No, I didn't. | 0:50:10 | 0:50:13 | |
And then if you get fired tonight, that would be even worse. | 0:50:13 | 0:50:16 | |
Keep that in mind when you're considering that. | 0:50:16 | 0:50:19 | |
"We got good news and bad news, Dee. | 0:50:19 | 0:50:21 | |
"Surgery won't be a problem cos you won't be here." | 0:50:21 | 0:50:23 | |
No, that's called bad news and bad news. So, how is it? | 0:50:23 | 0:50:26 | |
Was it very painful when it happened? | 0:50:26 | 0:50:28 | |
Uh, it was pretty surreal when it happened. | 0:50:28 | 0:50:30 | |
When I came off the horse I looked | 0:50:30 | 0:50:32 | |
-and my finger was at a 45-degree angle. -Really? -Yeah. | 0:50:32 | 0:50:37 | |
-So, uh... Did you see this happen, Paul? -No. | 0:50:37 | 0:50:40 | |
-Did anybody see it happen? -I did. -What did you think, George? | 0:50:40 | 0:50:43 | |
I was on the platform when Lady Dee Dee came out on her horse, | 0:50:43 | 0:50:47 | |
-and then suddenly... -Oh. | 0:50:47 | 0:50:50 | |
..the horse reared and Dee slipped. | 0:50:50 | 0:50:54 | |
-Was it the horse's fault, would you say? -No, no, no. | 0:50:54 | 0:50:56 | |
The horse heard something it wasn't familiar with. | 0:50:56 | 0:50:59 | |
-It was a tambourine. -Oh. Who did that? Who was with the tambourine? | 0:50:59 | 0:51:02 | |
-That was me. That was me. -He may have to sue you. -The inside job! | 0:51:02 | 0:51:06 | |
-He may have to sue you. -I bought the tambourine! So I did myself in. | 0:51:06 | 0:51:10 | |
Of course. | 0:51:10 | 0:51:12 | |
-So, the horse got spooked. -It got spooked. And they taped it. | 0:51:12 | 0:51:15 | |
-So, did you perform even though you had a broken finger? -Yeah. -Wow. | 0:51:15 | 0:51:18 | |
-They just taped it. -That's pretty good. | 0:51:18 | 0:51:20 | |
-So, that shows courage, Paul, right? -Absolutely. | 0:51:20 | 0:51:22 | |
So, he had a broken finger, pretty badly. | 0:51:22 | 0:51:24 | |
-It's fractured, actually, right? -Yeah, it snapped at the base. -Wow. | 0:51:24 | 0:51:28 | |
-So, they think I may need a pin. -Wow. -Well, I hope you don't. | 0:51:28 | 0:51:31 | |
Don't listen to the doctor. Just let it heal. All right. | 0:51:31 | 0:51:34 | |
Paul, how did you like Penn as the project manager? | 0:51:34 | 0:51:37 | |
-Phenomenal. -Whoa, that's a big statement. Michael? -I totally agree. | 0:51:40 | 0:51:44 | |
-Why? Why, Michael? -He was a leader. | 0:51:44 | 0:51:46 | |
I mean, he had control from the moment he took... | 0:51:46 | 0:51:49 | |
People are respecting this man. | 0:51:49 | 0:51:50 | |
-They're all respecting him. -He's a great guy. | 0:51:50 | 0:51:53 | |
He's going to drop his partner pretty soon. | 0:51:53 | 0:51:55 | |
-You know, he's going to say, like, uh... -It's already been announced in | 0:51:55 | 0:51:58 | |
-the Vegas papers that we've split up. -No, no, I can see it. | 0:51:58 | 0:52:01 | |
Lou, what did you think of Penn? | 0:52:01 | 0:52:03 | |
-What did you think of your project manager? -Excellent. | 0:52:03 | 0:52:05 | |
Very informative, a good leader. And we gave 110%, whatever he said. | 0:52:05 | 0:52:09 | |
-And the guy was great. -Who is your star, Lou? Who do you think... | 0:52:09 | 0:52:13 | |
You have a group of eight great guys, including yourself. | 0:52:13 | 0:52:17 | |
-Who is your star? -I would say the team was the star. | 0:52:17 | 0:52:20 | |
Was there any one person that was fabulous? | 0:52:20 | 0:52:22 | |
-It's hard to say, because... -Really the project manager.. | 0:52:22 | 0:52:25 | |
-He's a renaissance man with so many talents. -Yeah. | 0:52:25 | 0:52:29 | |
A take-charge guy with great ideas. | 0:52:29 | 0:52:32 | |
And still, he's humble. | 0:52:32 | 0:52:34 | |
-Hey, hey, hey, now, wait a minute. Humble? -Humble. Yes. | 0:52:34 | 0:52:38 | |
-Do you think you're humble? -Uh, I have plenty to be humble about. | 0:52:38 | 0:52:42 | |
-Did you enjoy being project manager? -Uh, yeah. -Not easy, though, right? | 0:52:42 | 0:52:45 | |
No, it's not particularly easy, although this is a group that needs | 0:52:45 | 0:52:49 | |
no strong control. | 0:52:49 | 0:52:52 | |
You pretty much say something once, and it is done. | 0:52:52 | 0:52:56 | |
-That'll change. You know that. -OK. | 0:52:56 | 0:52:58 | |
As you get to know each other and as you start to lose, that will change. | 0:52:58 | 0:53:02 | |
I can't see the future, but so far it's great. | 0:53:02 | 0:53:05 | |
All right, well, we'll see what happens. Now, let me ask you this. | 0:53:05 | 0:53:08 | |
If you lose, who are you going to bring back? | 0:53:08 | 0:53:11 | |
-I think I respect you enough not to dodge that question. -Go ahead. | 0:53:14 | 0:53:18 | |
I'll say very quickly that no-one should come back. Everyone was great. | 0:53:18 | 0:53:22 | |
So you think if you lose you're just going to bring yourself back? | 0:53:22 | 0:53:24 | |
I do not think so. I'll play by the rules. | 0:53:24 | 0:53:26 | |
-Cos that would mean you'd get fired. -Yeah, I know. | 0:53:26 | 0:53:28 | |
-And you don't want to do that. -I'm not going to do that. No. | 0:53:28 | 0:53:31 | |
OK. So, who would you bring back? | 0:53:31 | 0:53:33 | |
Uh... | 0:53:35 | 0:53:37 | |
-..that would be Mr Ferrigno and Mr Takei. -Ooh. Whoa. | 0:53:40 | 0:53:44 | |
Lou and George. | 0:53:46 | 0:53:48 | |
-Yes. -I see. And why is that? | 0:53:48 | 0:53:50 | |
Because they are such phenomenal actors and such good stars, | 0:53:50 | 0:53:54 | |
and I'm not sure that every challenge we do will use those features, | 0:53:54 | 0:53:57 | |
and other people seem to be, uh... | 0:53:57 | 0:54:00 | |
have talents that I don't know about yet and may be more versatile. | 0:54:00 | 0:54:03 | |
Lou, what do you think of what Penn said? | 0:54:03 | 0:54:06 | |
I was a little bit surprised with your name and George's name, | 0:54:06 | 0:54:08 | |
to be honest. What do you think? | 0:54:08 | 0:54:10 | |
I think it was unfair he underestimated me | 0:54:10 | 0:54:12 | |
-because I feel I gave 110%. -He certainly did. | 0:54:12 | 0:54:15 | |
Wait a minute. And I feel that... | 0:54:15 | 0:54:17 | |
You see, I came from nothing. | 0:54:17 | 0:54:19 | |
I killed myself my whole life. There's nothing I can't do. | 0:54:19 | 0:54:22 | |
And I give 110%. | 0:54:22 | 0:54:23 | |
-I feel it's an insult to all of us. -It is. It is. I'm sorry about that. | 0:54:23 | 0:54:28 | |
You can say whatever you want. | 0:54:28 | 0:54:30 | |
-I will. -You play a power trip on me and everyone. It's a power trip. | 0:54:30 | 0:54:34 | |
Penn has the impression because we're actors, George and I, | 0:54:34 | 0:54:37 | |
he doesn't realise that we have better work ethic, and I could | 0:54:37 | 0:54:40 | |
work twice as hard as he did. But he's wrong when he said | 0:54:40 | 0:54:43 | |
basically he's favouring the other people because he feels that | 0:54:43 | 0:54:46 | |
the fact that we don't know enough about business. | 0:54:46 | 0:54:48 | |
But one thing about myself I learned as I go along, I give 110% | 0:54:48 | 0:54:51 | |
-as a team effort, and I think you're wrong. -I am. -Yeah. | 0:54:51 | 0:54:55 | |
-I am wrong. -Yeah. | 0:54:55 | 0:54:57 | |
It's an impossible choice to make, | 0:54:57 | 0:54:59 | |
-and I had to make it, and I did say... -So will you take that back? | 0:54:59 | 0:55:02 | |
I would... I cannot take it back. | 0:55:02 | 0:55:05 | |
So you wouldn't take it back, so therefore you're not wrong. | 0:55:05 | 0:55:08 | |
-So you shouldn't say you're wrong. -I, I, I... -Ha! | 0:55:08 | 0:55:11 | |
He's saying, "I gave up millions of dollars to be abused like this." | 0:55:11 | 0:55:14 | |
I'm not being abused at all. | 0:55:14 | 0:55:16 | |
Ha! Clay? | 0:55:16 | 0:55:17 | |
What he said breaks my heart and he did a perfect job and he... | 0:55:17 | 0:55:23 | |
I still don't understand. Why did you bring him back? | 0:55:23 | 0:55:25 | |
Because you ask me who I would bring back if I had to. | 0:55:25 | 0:55:28 | |
I didn't think I was going to have to. | 0:55:28 | 0:55:29 | |
I think we have a very good chance of winning this. | 0:55:29 | 0:55:32 | |
And if we win, I'm sure Lou will be a complete team player. | 0:55:32 | 0:55:36 | |
-I'm sure he will completely forgive me. -Lou, are you upset with him? | 0:55:36 | 0:55:40 | |
-Yeah. -Why? -Because he's not giving me a chance and giving George and I | 0:55:40 | 0:55:43 | |
a chance because he's wrong, because he feels | 0:55:43 | 0:55:45 | |
that, as actors, like, we're inferior. | 0:55:45 | 0:55:48 | |
He's a fabulous actor and a fabulous star | 0:55:48 | 0:55:49 | |
and I enjoyed every moment of it. | 0:55:49 | 0:55:52 | |
The Incredible Hunk! | 0:55:52 | 0:55:54 | |
Did you just say "The Incredible Hunk"? | 0:55:54 | 0:55:56 | |
Yeah, yeah! | 0:55:56 | 0:55:57 | |
Cos I heard that... | 0:55:57 | 0:55:58 | |
No, I said, "The Incredible Hulk", all right? Hulk! | 0:55:58 | 0:56:01 | |
I think you had a Freudian slip there. | 0:56:01 | 0:56:03 | |
No, but that was such a huge show. | 0:56:03 | 0:56:05 | |
But there is something beyond the body. | 0:56:05 | 0:56:07 | |
It had to do with the science, it had to do with the psychology. | 0:56:07 | 0:56:09 | |
And the truth, that's why I'm sorry for saying this, because I'm honest. | 0:56:09 | 0:56:12 | |
-I know. -I'll say it right to your face. I'm not one of those guys | 0:56:12 | 0:56:15 | |
-BLEEP -around pretending everything's all right. -I know. | 0:56:15 | 0:56:18 | |
You're wrong because, for me, I work twice as hard as you do. | 0:56:18 | 0:56:20 | |
Lou, you can beat the crap out of him if you want. Are you concerned that he's a big guy? | 0:56:20 | 0:56:24 | |
-No. -Not too much, right? -I'm not a big guy. | 0:56:24 | 0:56:27 | |
I'm also a coward, so that makes it a little easier. | 0:56:27 | 0:56:30 | |
Yeah, but I just thought Lou's response was very strong. | 0:56:30 | 0:56:32 | |
So, tell me, George, what did you think of what Penn said about you? | 0:56:34 | 0:56:39 | |
-He picked you and Lou. -My sense is different from Lou's. | 0:56:39 | 0:56:41 | |
-Go ahead. -I, my admiration and respect for Penn | 0:56:41 | 0:56:46 | |
just grows and grows. | 0:56:46 | 0:56:48 | |
First of all, he's got a painfully difficult decision to make. | 0:56:48 | 0:56:52 | |
I agree. Do you think your team won? | 0:56:52 | 0:56:54 | |
-I am absolutely confident... -Cos then it doesn't matter. | 0:56:54 | 0:56:57 | |
..this is a hypothetical question you're asking. | 0:56:57 | 0:56:59 | |
I thought he did as good a job... | 0:56:59 | 0:57:01 | |
Look, I'm demanding that he give me two. | 0:57:01 | 0:57:03 | |
So it's not like, "Oh, I'm not going to name them now, Mr Trump", | 0:57:03 | 0:57:06 | |
because then he probably gets fired, right? So I'm demanding. | 0:57:06 | 0:57:09 | |
I thought he did as nice a job, Lou, in all fairness, | 0:57:09 | 0:57:11 | |
as you possibly can do. | 0:57:11 | 0:57:13 | |
Me, I underlined that neither of them did anything wrong | 0:57:13 | 0:57:17 | |
and there were no mistakes whatsoever. | 0:57:17 | 0:57:19 | |
And it was a difficult hypothetical. | 0:57:19 | 0:57:21 | |
And I do think we'll win, and I hope, | 0:57:21 | 0:57:24 | |
if and when we win, that they'll be able to forgive me and move on. | 0:57:24 | 0:57:28 | |
OK. So, Arsenio, if you were me and your team loses, who would you fire? | 0:57:29 | 0:57:36 | |
-I don't think we're going to lose. -That's OK. | 0:57:36 | 0:57:39 | |
But if we lose, fire the guy that created it and ran the whole show. | 0:57:39 | 0:57:42 | |
So you fire the project manager. | 0:57:42 | 0:57:44 | |
-Yeah, fire Spielberg with the ponytail over there. -LAUGHTER | 0:57:44 | 0:57:47 | |
-How about we will fire the guy that fell off the horse? -No! | 0:57:47 | 0:57:50 | |
Fire the guy with the tambourine! | 0:57:50 | 0:57:53 | |
LAUGHTER | 0:57:53 | 0:57:54 | |
I just love firing Dee because, look, | 0:57:56 | 0:57:58 | |
he broke his finger badly and then we fire him. | 0:57:58 | 0:58:01 | |
It's just a horrible night, right? | 0:58:01 | 0:58:02 | |
You know, just, it's life. Like that. | 0:58:02 | 0:58:05 | |
So, Lisa, if your team loses, tell me, who are you going to bring back? | 0:58:07 | 0:58:13 | |
This is hard, as it always is. | 0:58:14 | 0:58:17 | |
I'm a little bit on the fence about a couple of people. | 0:58:17 | 0:58:21 | |
Um, the one definitely going back is Victoria | 0:58:21 | 0:58:24 | |
because she let her emotions get in the way. | 0:58:24 | 0:58:26 | |
-She didn't wait for her assignment, which... -Second time in a row. | 0:58:26 | 0:58:30 | |
Well, it was... To me, I run shows. | 0:58:30 | 0:58:33 | |
The most important job is stage director. | 0:58:33 | 0:58:35 | |
So I thought it would be great to grab the toughest | 0:58:35 | 0:58:38 | |
woman on the team, who could give orders... | 0:58:38 | 0:58:40 | |
And you think the toughest woman is who? | 0:58:40 | 0:58:42 | |
-Victoria. -And you still believe she's the toughest woman? | 0:58:42 | 0:58:45 | |
-Um... -What about Teresa? I've seen her. She's pretty tough. | 0:58:45 | 0:58:47 | |
Teresa was already in the show. She couldn't be the stage manager. | 0:58:47 | 0:58:51 | |
Were you happy with Teresa? | 0:58:51 | 0:58:52 | |
Oh, my God. I loved it. She was phenomenal. | 0:58:52 | 0:58:54 | |
You're doing very well, Teresa. I'm telling you, your career is over. | 0:58:54 | 0:58:58 | |
Yeah, so, because of various things, discipline and threats to quit the team etc... | 0:58:58 | 0:59:05 | |
-OK. -..I'd bring back Victoria. -Did Victoria threaten the team? | 0:59:05 | 0:59:08 | |
She didn't threaten the team, she threatened to quit the team. | 0:59:08 | 0:59:11 | |
And I thought that was inappropriate. | 0:59:11 | 0:59:12 | |
I asked her to be stage manager and her initial response was, | 0:59:12 | 0:59:15 | |
"I don't do that well." | 0:59:15 | 0:59:17 | |
-That's not true. -Were there other people that saw that? | 0:59:17 | 0:59:20 | |
-Yes, a whole table full of people. -Who's telling the truth? | 0:59:20 | 0:59:24 | |
Aubrey, you nodded, so... | 0:59:24 | 0:59:26 | |
Victoria did say that she didn't want to be director. | 0:59:26 | 0:59:28 | |
And she didn't feel that was where she was best placed. | 0:59:28 | 0:59:31 | |
I said, "I don't know what to do, if you'll tell me. | 0:59:31 | 0:59:33 | |
-You look very good tonight, Aubrey. -Thank you. -I have to say. | 0:59:33 | 0:59:35 | |
Do you mind if I say it here? Is that sexist? | 0:59:35 | 0:59:37 | |
I finally get a "pretty girl" comment? | 0:59:37 | 0:59:39 | |
-Yes! -Penn, is that sexist? | 0:59:39 | 0:59:40 | |
I think, by definition, yes, but not necessarily wrong. | 0:59:40 | 0:59:43 | |
All right, well, OK. | 0:59:43 | 0:59:45 | |
So, Lisa, you're not a big fan of Victoria and the job she did, right? | 0:59:45 | 0:59:50 | |
As far as Victoria is concerned, the fact is, | 0:59:50 | 0:59:53 | |
I saved the toughest job for her and | 0:59:53 | 0:59:55 | |
yet she emotionally felt left out, and it's not my job to babysit you. | 0:59:55 | 0:59:59 | |
It's not my job to be coddling you. I like you as a person. | 0:59:59 | 1:00:03 | |
We'll hang out after we all leave this place, | 1:00:03 | 1:00:05 | |
but don't expect me to be your mother. | 1:00:05 | 1:00:07 | |
Whoa! Tough statement. | 1:00:07 | 1:00:10 | |
That was very tough. So you say Victoria. Who else? | 1:00:11 | 1:00:16 | |
-I felt, um, with Dayana, she didn't seem to have... -Dayana?! | 1:00:16 | 1:00:21 | |
-..she, as a team player... -Whoa! Dayana?! | 1:00:21 | 1:00:23 | |
..she didn't seem to have the skill set that it required to do | 1:00:23 | 1:00:26 | |
-anything in additional to shopping and general tasks. -Whoa! | 1:00:26 | 1:00:30 | |
It's really funny, because I kept trying to give opinions | 1:00:30 | 1:00:34 | |
and nobody ever heard me, and I tried to keep my hands | 1:00:34 | 1:00:38 | |
as busy as possible, but she never allowed me to. | 1:00:38 | 1:00:41 | |
I was just told to be pretty on a horse. | 1:00:41 | 1:00:44 | |
-Can I say something? -Go ahead. | 1:00:46 | 1:00:49 | |
I wanted to say before, you know, you announce, | 1:00:49 | 1:00:51 | |
and I think, if the other girls can give their opinion also, it was very | 1:00:51 | 1:00:56 | |
clear for us that, if we were to lose, it was because of the concept. | 1:00:56 | 1:01:01 | |
-And most of the people... -And who came up with the concept? | 1:01:01 | 1:01:04 | |
-Two people came with the concept. -Who? | 1:01:04 | 1:01:06 | |
The project manager and it was Aubrey. | 1:01:06 | 1:01:08 | |
Oh, Aubrey, you're going to get fired tonight. | 1:01:08 | 1:01:11 | |
-That's absolutely not true. -I came up with the concept. -You did? | 1:01:11 | 1:01:15 | |
And if that is the problem with the performance... | 1:01:15 | 1:01:17 | |
-But, bigger than that, everyone agreed with her. -Excuse me. | 1:01:17 | 1:01:21 | |
-The second I mentioned the concept... -Fangs coming out! | 1:01:21 | 1:01:24 | |
..there was a unanimous, "Oh, my God, that's great, using our natural resource of Teresa." | 1:01:24 | 1:01:28 | |
She loved the idea. | 1:01:28 | 1:01:30 | |
We never did. We never did. | 1:01:30 | 1:01:31 | |
When I got there that day, first of all, we had no say in that concept. | 1:01:31 | 1:01:35 | |
There were only two leaders. And I don't need a mother, by the way. | 1:01:35 | 1:01:38 | |
I don't need mothering from, certainly not you. | 1:01:38 | 1:01:40 | |
You did this week. | 1:01:40 | 1:01:42 | |
Mr Trump, she had a few meltdowns. It was a big nightmare. | 1:01:43 | 1:01:47 | |
-I did not care... -Meltdown is threatening to quit the team. | 1:01:47 | 1:01:51 | |
Quitting the team, I said, "Perhaps, I have no task here. | 1:01:51 | 1:01:53 | |
"I don't belong here. Perhaps I should go play for the men." | 1:01:53 | 1:01:56 | |
-That's what I said, Lisa, and you know that. -Here's the thing. | 1:01:56 | 1:01:59 | |
The theme of what's happening here is kind of what's happened in this task. | 1:01:59 | 1:02:02 | |
If you notice, there's five of us not saying much. | 1:02:02 | 1:02:06 | |
-What did happen was... -Just one second. One more thing. | 1:02:06 | 1:02:09 | |
The creative director, by the way, in the end, was not me, Mr Trump. | 1:02:09 | 1:02:12 | |
It was given to Aubrey, OK? | 1:02:12 | 1:02:13 | |
It wasn't creative, it was stage. | 1:02:13 | 1:02:15 | |
It was given to Aubrey, and when I went back there... | 1:02:15 | 1:02:17 | |
Aubrey, are you two holding hands? | 1:02:17 | 1:02:19 | |
-Yeah. -Why? | 1:02:19 | 1:02:21 | |
Because I think, of the two reality stars of this group, | 1:02:21 | 1:02:23 | |
we are saying the least. I think it's just so catty. | 1:02:23 | 1:02:26 | |
I hate all the, "Oh, I love you, girl, you're so great." | 1:02:26 | 1:02:29 | |
Then in the boardroom it's, "She, she, she," and "That, that, that." | 1:02:29 | 1:02:32 | |
You know I've seen that happen before. | 1:02:32 | 1:02:34 | |
It's business. You cannot take it emotionally. | 1:02:34 | 1:02:36 | |
It is business. You always say that it's not personal. | 1:02:36 | 1:02:38 | |
Here's the tricky part. | 1:02:38 | 1:02:40 | |
Teresa, you've seen this before, right? | 1:02:40 | 1:02:42 | |
-Yeah, we've seen it a lot. -Gets worse and worse. Here's the thing. | 1:02:42 | 1:02:45 | |
-You may have won. -Yeah, this is true. Because we should have. | 1:02:45 | 1:02:47 | |
Now, the audience was amazing | 1:02:47 | 1:02:50 | |
and much, much larger than we thought. | 1:02:50 | 1:02:52 | |
Now, James, how did the men do, and what did you think of the team? | 1:02:52 | 1:02:57 | |
I thought the men did very well. | 1:02:57 | 1:02:59 | |
I went home last night and I did what I do for a living - | 1:02:59 | 1:03:01 | |
-I made some blue cards, and, erm, and I wrote... -That's a lot of notes. | 1:03:01 | 1:03:06 | |
We could be here for long. No, that's OK. | 1:03:06 | 1:03:09 | |
What are some of your thoughts, James? | 1:03:09 | 1:03:11 | |
I thought that the men's show had enormous energy | 1:03:11 | 1:03:15 | |
and it started with Penn and with Arsenio. | 1:03:15 | 1:03:19 | |
From the moment they came out, bang, there was | 1:03:19 | 1:03:21 | |
this energy that was really palpable and I admired that enormously. | 1:03:21 | 1:03:26 | |
I thought that the men's team played to their strengths and skills. | 1:03:26 | 1:03:31 | |
Penn ate fire, he juggled, he drove the action. | 1:03:31 | 1:03:33 | |
Arsenio fed constant comments. | 1:03:33 | 1:03:35 | |
Clay sang very well. | 1:03:35 | 1:03:37 | |
George used his classical training beautifully. | 1:03:37 | 1:03:40 | |
Lou used his physicality very well and then, at the end, | 1:03:40 | 1:03:44 | |
Penn did something that impressed me very much. | 1:03:44 | 1:03:47 | |
As you all passed and left the arena, | 1:03:47 | 1:03:49 | |
Penn identified every one of his cast to that audience, | 1:03:49 | 1:03:53 | |
who didn't necessarily know everything that was going on. | 1:03:53 | 1:03:57 | |
I liked that very much and that impressed me. Didn't surprise me. | 1:03:57 | 1:04:01 | |
-Thank you. -And that, I think, is very important. | 1:04:01 | 1:04:03 | |
I enjoyed that. I thought that was great. | 1:04:03 | 1:04:07 | |
OK, so, James, what were the audience comments? | 1:04:07 | 1:04:09 | |
Audience comments, erm, "Funny and all-round entertaining. | 1:04:09 | 1:04:12 | |
"The men did a great job casting." | 1:04:12 | 1:04:13 | |
I agree. | 1:04:13 | 1:04:15 | |
"The men had great energy | 1:04:15 | 1:04:16 | |
"and did a great job getting the crowd involved." | 1:04:16 | 1:04:18 | |
-I couldn't agree more. -OK. | 1:04:18 | 1:04:20 | |
That's very good. So, how many votes did the men get? | 1:04:20 | 1:04:25 | |
Well, Donald... | 1:04:25 | 1:04:27 | |
ladies and gentlemen... | 1:04:27 | 1:04:29 | |
the men's team received 558 votes. | 1:04:29 | 1:04:33 | |
That's very good. Good job, fellas. | 1:04:35 | 1:04:37 | |
Thank you. | 1:04:37 | 1:04:38 | |
Don, the women's team? | 1:04:38 | 1:04:40 | |
Well, some of the audience comments... | 1:04:40 | 1:04:42 | |
primarily, they loved incorporating the New Jersey Housewives. | 1:04:42 | 1:04:45 | |
They really thought that was incredible. | 1:04:45 | 1:04:47 | |
They loved seeing Teresa flip the table. | 1:04:47 | 1:04:49 | |
Actually, one person said that actually made her life complete. | 1:04:49 | 1:04:52 | |
LAUGHTER | 1:04:52 | 1:04:53 | |
It's a pretty bold statement. | 1:04:53 | 1:04:55 | |
-They really liked... -Did you do that, Teresa? | 1:04:55 | 1:04:57 | |
-Yeah. -You flipped a table? | 1:04:57 | 1:04:59 | |
-Oh, yeah. -That's very cute. That's cute. I want to see this. Go ahead. | 1:04:59 | 1:05:02 | |
And the girls looked hot, | 1:05:02 | 1:05:04 | |
which was very much in the direction that you were channelled. | 1:05:04 | 1:05:07 | |
I think that's pretty good. | 1:05:07 | 1:05:09 | |
OK, so it's the moment of truth. | 1:05:10 | 1:05:13 | |
Don, tell me, how did the women's team do in terms of the votes? | 1:05:13 | 1:05:17 | |
All in all... | 1:05:20 | 1:05:21 | |
..they got 363 votes from the audience. | 1:05:23 | 1:05:26 | |
Which means the men's team wins. | 1:05:26 | 1:05:27 | |
-Thank you, Mr Trump. -You win 20,000. | 1:05:27 | 1:05:30 | |
Plus...plus... | 1:05:30 | 1:05:33 | |
..as you know, Medieval Times is going to match that with another 20. | 1:05:34 | 1:05:38 | |
-So you win 40,000 for your charity. -Congratulations, man. | 1:05:38 | 1:05:42 | |
What is your charity? | 1:05:42 | 1:05:43 | |
My charity is called Opportunity Village. | 1:05:43 | 1:05:46 | |
And it helps people with intellectual disabilities | 1:05:46 | 1:05:49 | |
to enter the workforce. | 1:05:49 | 1:05:50 | |
People with IQs maybe 70 to 90 | 1:05:50 | 1:05:53 | |
and all they want to do is be part of society | 1:05:53 | 1:05:56 | |
and not be warehoused and not be forgotten. | 1:05:56 | 1:05:58 | |
OK, great. Fantastic. | 1:05:58 | 1:06:00 | |
-Again, congratulations, men's team. -Thank you. -Great job. | 1:06:00 | 1:06:02 | |
OK, go back to your suite. Enjoy it. | 1:06:02 | 1:06:05 | |
Have a good time. Turn on your television. | 1:06:05 | 1:06:08 | |
You can watch what happens with the women. | 1:06:08 | 1:06:10 | |
-Have fun. -Congratulations. Great job. Lou, congratulations. | 1:06:10 | 1:06:15 | |
-Thank you. Very nice meeting you. -You did a great job. -Thank you. | 1:06:15 | 1:06:18 | |
-All of you did a great job. -I'm very sorry. I'm very sorry. | 1:06:18 | 1:06:21 | |
-Survived again. Still winning. -Women, stay here. | 1:06:22 | 1:06:26 | |
Sadly, one of you will be fired. | 1:06:26 | 1:06:28 | |
I wasn't sure whether Lou was acting. | 1:06:32 | 1:06:35 | |
-He was serious. He was serious. -He's honest. Lou... | 1:06:35 | 1:06:37 | |
-What's the problem? -No, no, no, no, no. | 1:06:37 | 1:06:39 | |
You know, I got to say something to all of you. | 1:06:39 | 1:06:41 | |
-We're a team here. -We are. | 1:06:41 | 1:06:43 | |
I was insulted that you mentioned my name. | 1:06:43 | 1:06:45 | |
I worked twice as hard as you. I can work three times as hard as you. | 1:06:45 | 1:06:47 | |
OK, but the point is respect everyone. | 1:06:47 | 1:06:50 | |
-I'm a fighter. You underestimate me. -You are. | 1:06:50 | 1:06:52 | |
-I'll fight to the -BLEEP -death. -Absolutely. | 1:06:52 | 1:06:54 | |
Having to have a winning team and to do a good show | 1:06:54 | 1:06:56 | |
and then to have to name two people on that winning team | 1:06:56 | 1:06:59 | |
is completely heartbreaking. | 1:06:59 | 1:07:01 | |
I don't appreciate in the future that anybody does that again | 1:07:01 | 1:07:04 | |
because this is about a team. | 1:07:04 | 1:07:05 | |
-It's negativity. Got to be positive. -Lou, I just want to say something. | 1:07:05 | 1:07:08 | |
-I'm just saying how I feel. -Yes, and we respect that. | 1:07:08 | 1:07:11 | |
But we think that Penn handled it in a gentlemanly and kind way. | 1:07:11 | 1:07:15 | |
And if he had gone to me, I would have reacted like George did. | 1:07:15 | 1:07:19 | |
Lou did not deserve to be treated that way. | 1:07:19 | 1:07:22 | |
And George did not deserve to be treated that way. | 1:07:22 | 1:07:24 | |
I was playing by the rules, and I did what I thought was best, | 1:07:24 | 1:07:28 | |
and I have no idea if it was correct. | 1:07:28 | 1:07:29 | |
-I'm so sorry. And I do respect you. -Right, no problem. | 1:07:29 | 1:07:32 | |
-Please, please, try to forgive me. -OK. All right. | 1:07:32 | 1:07:35 | |
Can you forgive me? | 1:07:35 | 1:07:36 | |
-Yeah. -Thank you. -Hey, guys, let's watch the women. | 1:07:37 | 1:07:40 | |
Lisa, what happened? | 1:07:43 | 1:07:45 | |
I don't know. | 1:07:46 | 1:07:47 | |
I'm just glad to hear we didn't lose because of the concept of the show. | 1:07:47 | 1:07:50 | |
-Are you surprised? -Um, no. | 1:07:50 | 1:07:52 | |
It could have gone either way, 50-50. | 1:07:52 | 1:07:54 | |
And it's unfortunate the way it turned out. | 1:07:54 | 1:07:56 | |
Don, why do you think they lost? | 1:07:58 | 1:08:00 | |
Well, I think it was a little bit too one-sided. | 1:08:00 | 1:08:02 | |
I think you appealed to the men in the crowd, | 1:08:02 | 1:08:04 | |
but it probably wasn't diverse enough for the audience, | 1:08:04 | 1:08:08 | |
which was, you know, at least a quarter to half children. | 1:08:08 | 1:08:10 | |
-Understood. -So I think even the women got it. You know, they... | 1:08:10 | 1:08:13 | |
-Is that correct, Dayana? -Thank you. | 1:08:13 | 1:08:16 | |
That's something that I tried to make a statement at the table... | 1:08:16 | 1:08:19 | |
So they don't appreciate a beautiful woman. | 1:08:19 | 1:08:22 | |
The four-year-old next to me, he liked the motorcycle. | 1:08:22 | 1:08:24 | |
He didn't like seeing Dayana on a horse, | 1:08:24 | 1:08:26 | |
which I thought was a major mistake on his part. | 1:08:26 | 1:08:28 | |
He'll regret that in the future, but... | 1:08:28 | 1:08:30 | |
-All right, so, Dayana, you felt you weren't utilised enough. -No. | 1:08:30 | 1:08:34 | |
-Whose fault is that? -It is totally the project manager's fault. | 1:08:34 | 1:08:38 | |
I...I gave her more ideas. I gave her tools. | 1:08:38 | 1:08:42 | |
I kept my hands busy 100% of the time, | 1:08:42 | 1:08:45 | |
and she herself told me, | 1:08:45 | 1:08:46 | |
"I don't need you to do this. I don't need you to do that. | 1:08:46 | 1:08:49 | |
"I don't need you to do this." | 1:08:49 | 1:08:50 | |
Tia, why are you nodding? | 1:08:52 | 1:08:53 | |
I... This whole process just... | 1:08:53 | 1:08:57 | |
This is the worst part of it, | 1:08:57 | 1:08:58 | |
because I thought we did an amazing job, | 1:08:58 | 1:09:00 | |
and I think everybody here was involved, | 1:09:00 | 1:09:03 | |
whether they were given a task or not. | 1:09:03 | 1:09:05 | |
I mean, Dayana was sewing and gluing | 1:09:05 | 1:09:08 | |
and buying the bras and spray-painting. | 1:09:08 | 1:09:10 | |
Patricia did an amazing fight. | 1:09:10 | 1:09:12 | |
She did double cartwheels. She did a backflip. | 1:09:12 | 1:09:15 | |
Victoria, although she wasn't given a task initially, | 1:09:15 | 1:09:17 | |
she went up and she was like, | 1:09:17 | 1:09:19 | |
"Let me help you go and shop for this stuff." | 1:09:19 | 1:09:21 | |
Do you think Victoria did a good job? | 1:09:21 | 1:09:22 | |
Absolutely. I think she sewed everything. | 1:09:22 | 1:09:24 | |
Because Lisa's not a huge fan...of Victoria. | 1:09:24 | 1:09:26 | |
-I'm a fan of Victoria. -Not at all. She told me. | 1:09:26 | 1:09:29 | |
I'm not a fan of missed cues. | 1:09:29 | 1:09:31 | |
There was an uncomfortable silence | 1:09:31 | 1:09:33 | |
after the horse came out with Dayana on it. | 1:09:33 | 1:09:36 | |
That is because I was waiting backstage to announce, | 1:09:36 | 1:09:38 | |
and there's supposed to be a trumpet flourish. | 1:09:38 | 1:09:40 | |
Written in bold-face, highlighted, bold, 16-point type - | 1:09:40 | 1:09:44 | |
"trumpet flourish". | 1:09:44 | 1:09:46 | |
-It didn't happen. -Aubrey, can you tell the truth? | 1:09:46 | 1:09:48 | |
Whose fault is that? | 1:09:48 | 1:09:49 | |
-Oh, it's always my fault. -No, she was given... | 1:09:49 | 1:09:51 | |
I told her her whole job was the most important job of the whole task. | 1:09:51 | 1:09:54 | |
Victoria, do you think you should be fired? | 1:09:54 | 1:09:57 | |
No, because, Donald, I was on my hands and knees the entire day, OK? | 1:09:57 | 1:10:01 | |
Sewing costumes, doing hair. | 1:10:01 | 1:10:03 | |
-Don't stand there and tell me that I did nothing. -Everyone did a job. | 1:10:03 | 1:10:08 | |
What happened was... | 1:10:08 | 1:10:09 | |
I think Debbie wants to say something. | 1:10:09 | 1:10:11 | |
-She hasn't been able to speak at all. -Debbie, go ahead. | 1:10:11 | 1:10:13 | |
I'm going to be really, really candid. | 1:10:13 | 1:10:17 | |
I think Lisa was slightly overwhelmed cos she took on a lot. | 1:10:17 | 1:10:20 | |
She didn't realise that Aubrey was very vocal, and again, it's... | 1:10:20 | 1:10:24 | |
I think it's just a nuance thing with Aubrey. | 1:10:24 | 1:10:26 | |
She's young and excited. | 1:10:26 | 1:10:28 | |
But there's a nuance | 1:10:28 | 1:10:29 | |
to including the team in a little better way. | 1:10:29 | 1:10:31 | |
She asked me to do everything that I did. | 1:10:31 | 1:10:33 | |
It's a constructive criticism. It is not an attack. | 1:10:33 | 1:10:36 | |
I think that several people... | 1:10:36 | 1:10:37 | |
..their style of doing things... | 1:10:39 | 1:10:40 | |
Deborah, if you were me, who would you fire? | 1:10:40 | 1:10:42 | |
Your team lost. If you were me... | 1:10:42 | 1:10:44 | |
And I was very surprised to see Victoria, | 1:10:44 | 1:10:46 | |
who I've known for a long time, with the tears. | 1:10:46 | 1:10:48 | |
I've never seen that from you, Victoria. | 1:10:48 | 1:10:50 | |
You do have a heart. | 1:10:50 | 1:10:52 | |
-Oh, yeah, she does. -You do have a heart. | 1:10:52 | 1:10:54 | |
-Of course she does. -She's amazing. -She's a great woman. | 1:10:54 | 1:10:56 | |
Why do you take that so hard, though? | 1:10:56 | 1:10:58 | |
Because... | 1:10:58 | 1:11:00 | |
This is teamwork. | 1:11:04 | 1:11:06 | |
This is about teamwork. We're a team. | 1:11:06 | 1:11:08 | |
I showed up there yesterday morning with the greatest attitude. | 1:11:08 | 1:11:11 | |
And, Donald, I did whatever it took, | 1:11:11 | 1:11:14 | |
from shovelling horse manure... | 1:11:14 | 1:11:15 | |
-Pinning the costumes and everything. -..anything I could... | 1:11:15 | 1:11:18 | |
-She did? -She was doing so much yesterday. | 1:11:18 | 1:11:20 | |
I made them look great and anything they wanted me to do, | 1:11:20 | 1:11:23 | |
-I would do, and the day before. -Yesterday. Day one, nothing. | 1:11:23 | 1:11:26 | |
-Donald, she wasn't included the day before. -It's not true. | 1:11:26 | 1:11:28 | |
She was included by being asked to be stage director. | 1:11:28 | 1:11:31 | |
-The day before, she did step up. -Excuse me. | 1:11:31 | 1:11:33 | |
The most fantastic job, the most difficult job. | 1:11:33 | 1:11:36 | |
When I am out doing my shows on the road, | 1:11:36 | 1:11:38 | |
I have a guy upstairs, doing what she does, | 1:11:38 | 1:11:40 | |
that gets paid a lot of money to call those cues... | 1:11:40 | 1:11:43 | |
-You didn't give that to Aubrey. -Excuse me. | 1:11:43 | 1:11:44 | |
There were several cues that were missed. | 1:11:44 | 1:11:46 | |
-Then she got it together... -That screws with the show from the beginning. | 1:11:46 | 1:11:50 | |
And like I said, it's not the only reason we lost to the men. | 1:11:50 | 1:11:54 | |
But when there are mistakes, | 1:11:54 | 1:11:56 | |
it wasn't in the script that was written. | 1:11:56 | 1:11:58 | |
It was in stuff that was... | 1:11:58 | 1:12:00 | |
The ball was dropped by several people, | 1:12:00 | 1:12:04 | |
and that's not OK. | 1:12:04 | 1:12:06 | |
-Damn, Lisa! -You know James Lipton is like, | 1:12:06 | 1:12:08 | |
-"What in the hell is this?!" -Oh, my God! | 1:12:08 | 1:12:10 | |
They don't fight like this on Inside The Actors Studio. | 1:12:10 | 1:12:13 | |
-He's never seen anything like that. -LAUGHTER | 1:12:13 | 1:12:16 | |
And, also, Mr Trump, I will tell you honestly, | 1:12:16 | 1:12:18 | |
I was raised by a really tough Italian mother, | 1:12:18 | 1:12:20 | |
and my management style isn't for everybody, | 1:12:20 | 1:12:23 | |
but it gets the job done. | 1:12:23 | 1:12:25 | |
And you know what? If I don't have time to listen | 1:12:25 | 1:12:27 | |
to eight women screaming at the same time, | 1:12:27 | 1:12:30 | |
which is what this group did all last week on Patricia's watch | 1:12:30 | 1:12:33 | |
and wasn't going to do on mine... | 1:12:33 | 1:12:34 | |
We were in a costume room at one point. | 1:12:34 | 1:12:36 | |
There was an outpouring of, | 1:12:36 | 1:12:38 | |
"Oh, my God, I look good in this, in this!" | 1:12:38 | 1:12:40 | |
-I'm like, "Calm down." -Not true. -Yes, it is! -No, Lisa. | 1:12:40 | 1:12:43 | |
-Cursing out your team does not help. -That is not true. | 1:12:43 | 1:12:45 | |
We went to see the costume person, and we did... | 1:12:45 | 1:12:48 | |
And no-one would let this woman talk. | 1:12:48 | 1:12:50 | |
Was everyone screaming, Aubrey, or not? | 1:12:50 | 1:12:53 | |
-Everyone was very loud in the costume area. -Why? | 1:12:55 | 1:12:57 | |
Because there's all these beautiful costumes, | 1:12:57 | 1:13:00 | |
and everybody was excited about trying things on | 1:13:00 | 1:13:03 | |
and getting their costumes. | 1:13:03 | 1:13:04 | |
There was a lack of organisation in that room, it was difficult... | 1:13:04 | 1:13:07 | |
You blame that on your project manager? | 1:13:07 | 1:13:09 | |
-It should be. -No, everybody's... -I was the one who quieted them down. | 1:13:09 | 1:13:12 | |
It sounds like you're all guilty of just wanting to look better, | 1:13:12 | 1:13:15 | |
and it got a little girlie. | 1:13:15 | 1:13:16 | |
-Well, it has no point in business. -I don't disagree. | 1:13:16 | 1:13:20 | |
If there was one thing that was done last week, | 1:13:20 | 1:13:23 | |
I made sure everybody had a task assigned, | 1:13:23 | 1:13:25 | |
and I made sure everybody was playing to their strengths. | 1:13:25 | 1:13:28 | |
She was a great project manager. She listened to everybody. | 1:13:28 | 1:13:30 | |
When I went to visit you yesterday, though... | 1:13:30 | 1:13:33 | |
-She didn't give us... -..I didn't get to see Victoria | 1:13:33 | 1:13:35 | |
and I didn't get to see Dayana, because you guys were out shopping. | 1:13:35 | 1:13:38 | |
-Mm-hm. -But it seemed like when I was there and talking with you guys and everyone else... | 1:13:38 | 1:13:42 | |
everyone else had a defined task. They knew what they were doing. | 1:13:42 | 1:13:45 | |
They got the direction. No-one voiced any complaints. | 1:13:45 | 1:13:48 | |
-We didn't get direction. -That's not what you told me. | 1:13:48 | 1:13:50 | |
You were told to practise your sword-fighting, | 1:13:50 | 1:13:53 | |
-practise your lines... -And we did. -OK, OK, OK. | 1:13:53 | 1:13:56 | |
-Patricia. -Yes, sir. -Your team lost. -Yes, unfortunately. | 1:13:58 | 1:14:02 | |
If you were me, who would you fire? | 1:14:02 | 1:14:04 | |
It's really hard to ask...say this question, | 1:14:07 | 1:14:10 | |
because I think Lisa is an amazing, | 1:14:10 | 1:14:13 | |
um...at...at following, but I think... | 1:14:13 | 1:14:14 | |
-That's usually the kill, Lisa. You know that. -That's OK. | 1:14:14 | 1:14:17 | |
-No, no... -Good luck. -Not like that. -Go ahead. | 1:14:17 | 1:14:19 | |
But Lisa has so much talent in the writing and the things, | 1:14:19 | 1:14:24 | |
and she does one thing that is very important. | 1:14:24 | 1:14:26 | |
Although she's in the middle of the craziness, | 1:14:26 | 1:14:28 | |
she's not intentional about it. | 1:14:28 | 1:14:30 | |
Who would you fire? | 1:14:30 | 1:14:32 | |
Victoria. | 1:14:32 | 1:14:34 | |
Oh, Victoria. Meh. | 1:14:34 | 1:14:35 | |
I thought you were getting all set to do the Lisa thing. | 1:14:35 | 1:14:38 | |
-You would fire Victoria. -Yes. -OK. Why Victoria? | 1:14:38 | 1:14:42 | |
Victoria stepped up the second day, | 1:14:42 | 1:14:44 | |
and I think that she should have come up from the beginning | 1:14:44 | 1:14:47 | |
and said, "I'm in. We've given me a second chance. | 1:14:47 | 1:14:50 | |
-"Whatever you want me to do." -OK. | 1:14:50 | 1:14:52 | |
So, Aubrey, let me ask you this. If you were me, who would you fire? | 1:14:52 | 1:14:58 | |
I will say the least-utilised woman in this task, and that's Dayana. | 1:14:58 | 1:15:03 | |
-Man. -I think she's so insecure. | 1:15:03 | 1:15:05 | |
I don't think she likes being not the prettiest one on the cast. | 1:15:05 | 1:15:08 | |
Are you saying that Dayana's prettier than Aubrey? | 1:15:08 | 1:15:11 | |
-I'm saying Victoria's prettier than Aubrey. -Ooh! | 1:15:11 | 1:15:14 | |
LAUGHTER | 1:15:14 | 1:15:16 | |
OK, so, Dayana, if you were me, who would you fire? | 1:15:19 | 1:15:25 | |
Um... | 1:15:25 | 1:15:27 | |
Lisa, you're amazing, you're a great writer. | 1:15:29 | 1:15:32 | |
I enjoyed my time with you. | 1:15:32 | 1:15:34 | |
But, Lisa, you were the project manager. | 1:15:34 | 1:15:36 | |
-I agree. -We didn't lose because of anything I did, sir. | 1:15:38 | 1:15:40 | |
And we had no vote in it. | 1:15:40 | 1:15:42 | |
The concept was complimented by the audience several times. | 1:15:42 | 1:15:44 | |
We're going to find out. You're going to pick two people. | 1:15:44 | 1:15:47 | |
-Fantastic. -You'll bring them back to the boardroom. | 1:15:47 | 1:15:49 | |
Somebody will be fired. Who are the two you're bringing back? | 1:15:49 | 1:15:52 | |
I will take Victoria and Dayana. | 1:15:57 | 1:16:01 | |
OK. Everybody, right now, go outside. | 1:16:02 | 1:16:06 | |
You three, come back in a few minutes. | 1:16:06 | 1:16:07 | |
-Well, that wasn't smart, cos she knows Dayana's against her. -Yeah. | 1:16:13 | 1:16:16 | |
You got one girl that'll kill you with her beauty | 1:16:16 | 1:16:18 | |
and another one that'll kill you with her family. | 1:16:18 | 1:16:21 | |
I've never felt more not needed or wanted in my life, ever. | 1:16:23 | 1:16:27 | |
And what bothers me is that that person | 1:16:27 | 1:16:30 | |
just can't step up and admit it. | 1:16:30 | 1:16:31 | |
SHE MOUTHS | 1:16:32 | 1:16:34 | |
How would you feel if everybody made you part of a show and...? | 1:16:47 | 1:16:50 | |
-And asked me to be the most important person there? -Oh, God. | 1:16:50 | 1:16:53 | |
It's the most important role. That you can't see that... | 1:16:53 | 1:16:55 | |
Check your ego at the door. It's not about you. | 1:16:55 | 1:16:57 | |
-I did check my ego at the door. -You didn't, you refused to do the work. -Oh, I did. | 1:16:57 | 1:17:01 | |
I'm not arguing with you, because you're inarguable, | 1:17:01 | 1:17:03 | |
you have lies made up in your head. | 1:17:03 | 1:17:05 | |
-Oh, God, please, Lisa. -So enjoy the delusion of your life. | 1:17:05 | 1:17:07 | |
Yeah. | 1:17:07 | 1:17:09 | |
-What do you think, Don? -I think it's a tough call. | 1:17:10 | 1:17:13 | |
I think it's probably between Lisa and Victoria, | 1:17:13 | 1:17:15 | |
because I don't like when someone effectively quits | 1:17:15 | 1:17:17 | |
cos they don't like the job they've been assigned. | 1:17:17 | 1:17:19 | |
At the same time, the project manager still lost the task. | 1:17:19 | 1:17:22 | |
I think Dayana really has no business being in here. | 1:17:22 | 1:17:24 | |
Not easy. | 1:17:24 | 1:17:26 | |
Amanda, bring them back in. | 1:17:26 | 1:17:28 | |
Yes, sir. | 1:17:28 | 1:17:29 | |
-Mr Trump is ready for you. -Thanks. | 1:17:29 | 1:17:32 | |
(Let's go.) | 1:17:32 | 1:17:33 | |
-So, Lisa, here you sit. -Yeah. | 1:17:50 | 1:17:52 | |
Why did you bring Victoria back in? | 1:17:52 | 1:17:54 | |
First of all, asking her to step up to the most important job | 1:17:56 | 1:18:00 | |
on day one, she refused to do so | 1:18:00 | 1:18:02 | |
and threatened to walk out on the room. | 1:18:02 | 1:18:04 | |
-Is that true, Victoria? -Secondly... -No, it's not, Donald. | 1:18:04 | 1:18:06 | |
Well, we heard it from Aubrey. She agreed. | 1:18:06 | 1:18:08 | |
What had happened was she told me after I approached her | 1:18:08 | 1:18:12 | |
and said, "Well, what about me? What task do I have?" | 1:18:12 | 1:18:14 | |
She said, "I have no time for you. I have no time for this." | 1:18:14 | 1:18:17 | |
-No, Victoria. -OK. Let me finish, please. -No. -Let me finish. | 1:18:17 | 1:18:20 | |
-Because the lies are flowing... -Mr Trump... -..and that is not appropriate in front of Mr Trump. | 1:18:20 | 1:18:24 | |
Oh, please. You know what happened? | 1:18:24 | 1:18:26 | |
Your task got away from you, and you want to blame everybody else, Lisa. | 1:18:26 | 1:18:29 | |
-Everybody else. -No, that's not true. I asked her to do it. | 1:18:29 | 1:18:32 | |
She said, "I'm not good at that." | 1:18:32 | 1:18:34 | |
Now, I don't know if you've experienced an employee actually saying to you, | 1:18:34 | 1:18:38 | |
"No, Mr Trump, I'm not going to do that. I'm not good at it." | 1:18:38 | 1:18:40 | |
I think your employees know enough to say yes. | 1:18:40 | 1:18:42 | |
-But did Victoria quit? -No, I did not. No, I did not. | 1:18:42 | 1:18:45 | |
She said, "I will just go and talk to Mr Trump and join the men's team", | 1:18:45 | 1:18:48 | |
-and I said, "That's inappropriate." -I said, "I may as well go to the men's team, cos you're | 1:18:48 | 1:18:52 | |
"putting me in a closet. What is your problem?" | 1:18:52 | 1:18:54 | |
-That's what I said to her. -Stage director is not a closet. | 1:18:54 | 1:18:57 | |
That's the most important job, as I know, running shows. | 1:18:57 | 1:18:59 | |
To add to the list, Mr Trump, I said... | 1:18:59 | 1:19:02 | |
After she refused to be stage manager, | 1:19:02 | 1:19:05 | |
She came back, and I said, | 1:19:05 | 1:19:06 | |
"Why don't you help me look up medieval terminology?" | 1:19:06 | 1:19:09 | |
So when I wrote the script, it could be in medieval language. | 1:19:09 | 1:19:12 | |
-And I didn't do it, right? -No, you didn't. | 1:19:12 | 1:19:14 | |
-You spelled it, as a writer... -I didn't do it?! -Excuse me. | 1:19:14 | 1:19:16 | |
-I didn't do it? -Yes! Yes! | 1:19:16 | 1:19:19 | |
You spelled it "M-I-D dash E-V-I-L". Are you a writer? | 1:19:19 | 1:19:22 | |
-Oh, please. Oh, please. -That was no help to me, sir. | 1:19:22 | 1:19:25 | |
I apologise. Medieval Times stationery was sitting there. | 1:19:25 | 1:19:28 | |
And if you can't google a simple phrase... I grabbed the computer from her... | 1:19:28 | 1:19:31 | |
But you didn't lose for that reason, Lisa. | 1:19:31 | 1:19:33 | |
-Sir... -You didn't lose for that reason. | 1:19:33 | 1:19:35 | |
I'm being blamed for underutilising her. | 1:19:35 | 1:19:37 | |
So I'm explaining why. You know how it is. | 1:19:37 | 1:19:39 | |
If you have employees who don't do the job, you have to wrest it | 1:19:39 | 1:19:42 | |
-away from them for time's sake. -So you say Victoria did not do the job? | 1:19:42 | 1:19:45 | |
She did a terrible job, until day two. | 1:19:45 | 1:19:48 | |
But then that ended when it was time to call the lights and the sound. | 1:19:48 | 1:19:53 | |
It's showtime, baby. And those cues were completely off. | 1:19:53 | 1:19:56 | |
-And that is off-putting to an audience. -Oh, yeah. | 1:19:56 | 1:19:58 | |
I do this for a living. I don't like shows that don't run perfectly. | 1:19:58 | 1:20:01 | |
-Why weren't you in there, then? -Because I volunteered to stage direct, and everybody said... | 1:20:01 | 1:20:06 | |
-I told you I knew nothing about it. -I once again had to impersonate you | 1:20:06 | 1:20:09 | |
and once again be the joke of the show. | 1:20:09 | 1:20:11 | |
So I am sorry, sir! And I am sorry to be emotional! | 1:20:11 | 1:20:15 | |
This is how she lost it twice, OK? | 1:20:15 | 1:20:16 | |
-Wait, Victoria. You did the same thing earlier. -You did it too! | 1:20:16 | 1:20:19 | |
Right, but I wasn't leading the girls. | 1:20:19 | 1:20:21 | |
We didn't lose this task because we had our gimmicks. | 1:20:21 | 1:20:23 | |
-Everybody panicked. -We lost this task | 1:20:23 | 1:20:25 | |
because I had somebody who threatened to quit. | 1:20:25 | 1:20:28 | |
-I have been in the business for 21 years. -You're right. | 1:20:28 | 1:20:31 | |
-Everything was on me. -And I have never had an employee say, "No". | 1:20:31 | 1:20:35 | |
And I am sorry I am emotional. I'm sorry I'm loud. But guess what? | 1:20:35 | 1:20:40 | |
Somehow, in a man's business, I've made it work! | 1:20:40 | 1:20:43 | |
I'm one of the top three women comedians today. | 1:20:43 | 1:20:47 | |
And I guarantee you, I go home, I wish them luck. | 1:20:47 | 1:20:51 | |
If the concept lost us the task or my temper did, God bless. | 1:20:51 | 1:20:54 | |
I would literally fall on my own sword, | 1:20:54 | 1:20:57 | |
as they would in Medieval Times. | 1:20:57 | 1:20:58 | |
But guess what? I wasn't the problem. | 1:20:58 | 1:21:01 | |
You don't think the concept is to blame? | 1:21:01 | 1:21:03 | |
No, according to your son... | 1:21:03 | 1:21:04 | |
Seemed to be one of the big winning points, | 1:21:04 | 1:21:07 | |
based on the audience. | 1:21:07 | 1:21:08 | |
Dayana, what happened? | 1:21:08 | 1:21:11 | |
What happened here... | 1:21:11 | 1:21:13 | |
Regarding them, the first day, Aubrey was there. | 1:21:13 | 1:21:17 | |
-I had no... Mr Trump, she did not want me there. -Because she refused to do it. -You did not want me. | 1:21:17 | 1:21:21 | |
-You said, "Aubrey." I was there. -Mr Trump, I did not refuse to do it. | 1:21:21 | 1:21:25 | |
-She refused! -I said I am a... | 1:21:25 | 1:21:26 | |
You said, "I don't want to do it." | 1:21:26 | 1:21:28 | |
I can swear to you on anything in the world, | 1:21:28 | 1:21:31 | |
I was given that position late that night | 1:21:31 | 1:21:34 | |
-at nine o'clock in the car ride home. -I was there at two o'clock on the first day, | 1:21:34 | 1:21:37 | |
-so only a couple hours after you got the task. -Right. | 1:21:37 | 1:21:39 | |
-And you weren't there. You had left already. -Right. -I was with Dayana. | 1:21:39 | 1:21:42 | |
And everyone in the room, all five members of the women's team | 1:21:42 | 1:21:45 | |
-who are not here right now... -Right. | 1:21:45 | 1:21:47 | |
..all said that this had already transpired, | 1:21:47 | 1:21:49 | |
that you tried...Lisa tried to give you that position. | 1:21:49 | 1:21:51 | |
-You didn't want it. -Right. -You wanted to be an actress. | 1:21:51 | 1:21:55 | |
Chronologically, please, Don - that was day one, OK? | 1:21:57 | 1:22:00 | |
-I only... -Well, that's what I'm saying. | 1:22:00 | 1:22:01 | |
My point is that I heard this, meaning I'm verifying Lisa's story | 1:22:01 | 1:22:04 | |
-based on five other members of the team... -Day one. Day one. | 1:22:04 | 1:22:07 | |
..who are not in the room, on day one, which is... | 1:22:07 | 1:22:09 | |
Day one. Correct. | 1:22:09 | 1:22:10 | |
-Correct, but that's very early in the task. -James... OK. | 1:22:10 | 1:22:13 | |
James, what do you have to say? | 1:22:13 | 1:22:15 | |
I would like to say to you | 1:22:15 | 1:22:17 | |
that one of the most important words in the English language, | 1:22:17 | 1:22:20 | |
which we try to instil into our students | 1:22:20 | 1:22:22 | |
at the Actors Studio drama school, of which I am the founding dean, | 1:22:22 | 1:22:25 | |
can be expressed in seven syllables. | 1:22:25 | 1:22:27 | |
I think Lisa possessed it in great abundance. | 1:22:27 | 1:22:30 | |
P-A-S-S-I-O-N. | 1:22:32 | 1:22:39 | |
-My hat's off to you for that. I'll tell you that. -Thank you, sir. | 1:22:40 | 1:22:43 | |
-So what did you just say? -Passion. -Passion. | 1:22:48 | 1:22:52 | |
I will fight to the death to stay here, | 1:22:52 | 1:22:54 | |
-and I'm not kidding you. -And so will I. | 1:22:54 | 1:22:57 | |
If you were me, what would you do? | 1:22:57 | 1:22:59 | |
First of all, thank God I'm not you - | 1:23:00 | 1:23:04 | |
with two exceptions. | 1:23:04 | 1:23:05 | |
I'm a pilot. I'd like your airplane. | 1:23:05 | 1:23:07 | |
And I'm in television. I'd like some of your ratings. | 1:23:07 | 1:23:09 | |
But apart from that, I think some of what's being said is important | 1:23:09 | 1:23:13 | |
and it's emotional, but it may not be the most pertinent thing here. | 1:23:13 | 1:23:17 | |
But whose fault is that, James, of these three? | 1:23:17 | 1:23:20 | |
-I have no idea. -It's not Dayana's fault. | 1:23:20 | 1:23:23 | |
I mean, Dayana's like... | 1:23:23 | 1:23:24 | |
I think Lisa's mistake was perhaps bringing in Dayana, | 1:23:24 | 1:23:26 | |
who basically did what we basically told her to do | 1:23:26 | 1:23:29 | |
at the beginning of the task, which is look beautiful on a horse, so... | 1:23:29 | 1:23:32 | |
You said that was something... | 1:23:32 | 1:23:33 | |
Lisa should have actually brought someone who was an advocate. | 1:23:33 | 1:23:36 | |
Perhaps Aubrey should have been here. | 1:23:36 | 1:23:38 | |
-She would never do that. -I actually would. | 1:23:38 | 1:23:40 | |
Victoria, don't presume to talk for me. | 1:23:40 | 1:23:42 | |
Even against... | 1:23:42 | 1:23:43 | |
Sadly, Dayana probably shouldn't be here. | 1:23:43 | 1:23:45 | |
She was underutilised, but I would have loved to hear, | 1:23:45 | 1:23:47 | |
"I can do this for you," instead of, "What can I do?" | 1:23:47 | 1:23:51 | |
-Honey, I said... -Wait...no. | 1:23:51 | 1:23:52 | |
You have to bring up to me what your talent is, and I will say, "You can do that." | 1:23:52 | 1:23:55 | |
Lisa, you've got to understand on the table, when we were brainstorming, | 1:23:55 | 1:23:58 | |
most of the team started saying, | 1:23:58 | 1:24:01 | |
all of those things, I said. | 1:24:01 | 1:24:04 | |
-So now you're not allowed to tell me... -I know. | 1:24:04 | 1:24:06 | |
..that you're telling me that I don't have anything else to give. | 1:24:06 | 1:24:09 | |
Dayana, that's why... | 1:24:09 | 1:24:10 | |
I was just sticking up for that you did not deserve to be fired | 1:24:10 | 1:24:14 | |
because you did not do... | 1:24:14 | 1:24:15 | |
-Dayana, let me ask you a question. -..anything exceedingly wrong other than explain your talents. | 1:24:15 | 1:24:19 | |
-Hold it, Lisa. -I'm sorry, sir. I'm sorry. | 1:24:19 | 1:24:22 | |
Let me ask you a question, Dayana. | 1:24:22 | 1:24:24 | |
Who do you think has more talent between these two women? | 1:24:24 | 1:24:26 | |
DAYANA SIGHS | 1:24:26 | 1:24:29 | |
Talking about two strong women, two very emotional women. | 1:24:29 | 1:24:33 | |
Going forward, who would you rather see on the team? | 1:24:33 | 1:24:37 | |
I think Lisa has been shown more and she has stepped up more, | 1:24:44 | 1:24:48 | |
and she has been trying to be here more than Victoria. | 1:24:48 | 1:24:53 | |
And you think she has more energy? | 1:24:56 | 1:24:57 | |
She has more energy. | 1:25:00 | 1:25:01 | |
I think she's got amazing energy. | 1:25:04 | 1:25:06 | |
Yeah. | 1:25:06 | 1:25:07 | |
The way I look at it, | 1:25:07 | 1:25:09 | |
and it's a very, very complex, difficult situation for me, | 1:25:09 | 1:25:12 | |
because I like all three of you very much. | 1:25:12 | 1:25:14 | |
But Dayana said that Lisa is the harder worker. | 1:25:14 | 1:25:19 | |
And I think you have confirmed that. | 1:25:19 | 1:25:21 | |
Victoria, you were late with many of the signals | 1:25:22 | 1:25:25 | |
and many of the events, and it did probably cause the show | 1:25:25 | 1:25:29 | |
not to go on very smoothly. | 1:25:29 | 1:25:31 | |
-Would you agree with that? -Yes, sir, I would. | 1:25:31 | 1:25:34 | |
And the thing I'm most concerned about is | 1:25:34 | 1:25:37 | |
that there's no question in my mind | 1:25:37 | 1:25:39 | |
that you said you were thinking about quitting, Victoria, | 1:25:39 | 1:25:42 | |
which I hate, because I hate even the thought of quitting. | 1:25:42 | 1:25:45 | |
-I'm not a quitter. -You thought about it. | 1:25:45 | 1:25:46 | |
You didn't quit. You're never going to quit. But you did think about it. | 1:25:46 | 1:25:49 | |
And when you add everything all up, | 1:25:49 | 1:25:52 | |
Victoria, you're fired. | 1:25:52 | 1:25:53 | |
All right, go ahead. Thank you. | 1:25:59 | 1:26:01 | |
-Thank you, sir. -Thank you. | 1:26:01 | 1:26:03 | |
Bye, Victoria. | 1:26:18 | 1:26:20 | |
Give me a hug. | 1:26:20 | 1:26:21 | |
Wow, that was very tough. | 1:26:37 | 1:26:39 | |
I do not envy you. | 1:26:39 | 1:26:41 | |
What I just witnessed in that boardroom terribly shocked me. | 1:27:15 | 1:27:20 | |
To make me take full responsibility for my team losing | 1:27:20 | 1:27:23 | |
was such a laugh, because I had absolutely no task. | 1:27:23 | 1:27:28 | |
What Lisa said in there was absolute, abject lies. | 1:27:30 | 1:27:34 | |
So... But you know what? | 1:27:34 | 1:27:36 | |
My attitude is Lisa has to live with that, not me. | 1:27:36 | 1:27:38 | |
She may have succeeded now, but it will come back to haunt her. | 1:27:38 | 1:27:42 |