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Last time on All-Star Celebrity Apprentice, teams were tasked | 0:00:02 | 0:00:04 | |
with designing a luxury suite in Brooklyn's Barclays centre. | 0:00:04 | 0:00:07 | |
-Go, do a beautiful job, have fun. -OK, thank you. | 0:00:07 | 0:00:11 | |
On Plan B, Penn Jillette dug deep into his rolodex | 0:00:11 | 0:00:14 | |
for project manager Lisa Rinna. | 0:00:14 | 0:00:16 | |
-I will get Lisa Lampanelli. -I like that idea. | 0:00:16 | 0:00:18 | |
-You want Teller? -Yes, I want 'em all. | 0:00:18 | 0:00:21 | |
Penn has connections up the wazoo. | 0:00:21 | 0:00:23 | |
While on Team Power, project manager | 0:00:23 | 0:00:26 | |
Marilu Henner was consumed with the detail. | 0:00:26 | 0:00:29 | |
-The hell are you getting? -I'm getting a mirror. -OK. -I am. | 0:00:29 | 0:00:32 | |
Where you going to put a mirror at? | 0:00:32 | 0:00:33 | |
I'm going to put a mirror in here, I want one. | 0:00:33 | 0:00:35 | |
-You guys... -No, I got you, that's why I'm trying to keep you on track. | 0:00:35 | 0:00:39 | |
And Trace Adkins was at his wits' end. | 0:00:39 | 0:00:40 | |
Dude has seven more hours here! | 0:00:40 | 0:00:42 | |
Can't do this any more! | 0:00:42 | 0:00:45 | |
I feel like the substitute teacher who has the detention class. | 0:00:45 | 0:00:48 | |
Penn's big guns showed up for the party, and Plan B was a success... | 0:00:48 | 0:00:52 | |
Teller's east-Indian needle mystery! | 0:00:52 | 0:00:56 | |
..while Team Power played chess... | 0:00:56 | 0:00:59 | |
You know, what is better and more royal for a king than a chess game? | 0:00:59 | 0:01:03 | |
You don't normally see that at a hot, happening party. | 0:01:03 | 0:01:07 | |
..ensuring Lisa's second win as project manager. | 0:01:07 | 0:01:11 | |
Lisa, you're going to be very happy. | 0:01:11 | 0:01:12 | |
Your team did a far better job. | 0:01:12 | 0:01:14 | |
-Yes! -That's 100,000 for St Jude. | 0:01:14 | 0:01:16 | |
Left in the hot seat, Trace had to defend himself. | 0:01:16 | 0:01:20 | |
You should fire Trace. He was very curmudgeon-y. | 0:01:20 | 0:01:23 | |
He dropped out three tasks ago. | 0:01:23 | 0:01:25 | |
Trace...what's wrong with him? | 0:01:25 | 0:01:26 | |
Funny, they've used my ideas on the last three tasks. | 0:01:26 | 0:01:29 | |
But his time wasn't up yet. | 0:01:29 | 0:01:31 | |
They didn't like the suite, | 0:01:31 | 0:01:32 | |
they didn't like the chess, and you're the project manager. | 0:01:32 | 0:01:35 | |
Marilu, you're fired. | 0:01:35 | 0:01:36 | |
Now, the final four will have to battle each other, | 0:01:38 | 0:01:41 | |
because tonight, two will be left standing to face their final task. | 0:01:41 | 0:01:46 | |
Oh, my gosh. | 0:01:57 | 0:01:58 | |
Here's lookin' at you, kid. | 0:01:58 | 0:01:59 | |
Here's lookin' at you, kid. | 0:01:59 | 0:02:01 | |
We have made it as far as two people | 0:02:03 | 0:02:05 | |
ever have without a negative word about the other. | 0:02:05 | 0:02:08 | |
I hear Trace's voice, so it's Marilu. | 0:02:09 | 0:02:11 | |
-The final four, huh? -That's it. -Congratulations. | 0:02:13 | 0:02:16 | |
Congratulations. Congratulations, Trace. | 0:02:16 | 0:02:18 | |
-Congratulations. -I don't feel like I should be congratulated. | 0:02:19 | 0:02:22 | |
I made the final four. | 0:02:24 | 0:02:25 | |
Congratulations. | 0:02:25 | 0:02:27 | |
'To be with Trace Adkins, Penn Jillette and Lil Jon,' | 0:02:27 | 0:02:33 | |
I am proud. I think it's cool as can be. | 0:02:33 | 0:02:36 | |
Whoa, Marilu... She threw me under the bus, didn't she? | 0:02:36 | 0:02:41 | |
-Yeah. -"Fire him!" -Did she? | 0:02:41 | 0:02:42 | |
Yeah, she said, who do you think you should...? | 0:02:42 | 0:02:44 | |
Who do you, who would you fire? She said Trace. | 0:02:44 | 0:02:46 | |
-I'm a curmudgeon! -She also said crabby. Curmudgeon I understood, | 0:02:46 | 0:02:50 | |
crabby I went, "What is he, six?" | 0:02:50 | 0:02:51 | |
'I've been called a lot worse than a curmudgeon, | 0:02:51 | 0:02:55 | |
'but I'll say this.' | 0:02:55 | 0:02:57 | |
I didn't come up here to just dick around, I came up here to win. | 0:02:57 | 0:03:00 | |
PHONE RINGS | 0:03:00 | 0:03:02 | |
-Uh-oh, that's Mr Trump. -Yes? Should I answer it? | 0:03:02 | 0:03:04 | |
BLEEP. | 0:03:04 | 0:03:06 | |
-Hello. -'Mr Trump would like you all back in the boardroom right away.' | 0:03:10 | 0:03:14 | |
All right, we'll be right there. | 0:03:15 | 0:03:18 | |
Boys, Mr Trump would like to see us back in the boardroom. | 0:03:18 | 0:03:22 | |
You never want to go back in the boardroom on the same night! | 0:03:22 | 0:03:25 | |
Let's go. | 0:03:25 | 0:03:26 | |
And we just went, "Uh-oh, now what?" | 0:03:26 | 0:03:29 | |
# Money, money, money, money | 0:03:34 | 0:03:37 | |
# Money! | 0:03:38 | 0:03:39 | |
# Money, money, money, money | 0:03:39 | 0:03:41 | |
# Money! | 0:03:43 | 0:03:44 | |
# Some people got to have it | 0:03:44 | 0:03:47 | |
# Yeah | 0:03:47 | 0:03:49 | |
# Some people really need it | 0:03:49 | 0:03:52 | |
# Listen to me, y'all | 0:03:52 | 0:03:54 | |
# Do things, do things, do things, bad things, baby | 0:03:54 | 0:03:58 | |
# Dollar bills, y'all | 0:04:01 | 0:04:03 | |
# Come on | 0:04:03 | 0:04:04 | |
# That mean, old lean | 0:04:04 | 0:04:08 | |
# Mean green | 0:04:08 | 0:04:09 | |
# Almighty dollar! | 0:04:09 | 0:04:12 | |
# I know that money | 0:04:12 | 0:04:15 | |
# Give me a nickel, brother, can you spare a dime? | 0:04:15 | 0:04:20 | |
# Money can drive some people out of their minds | 0:04:20 | 0:04:28 | |
# No good, no good | 0:04:28 | 0:04:30 | |
# Money! | 0:04:30 | 0:04:31 | |
# Money, money, money, money | 0:04:31 | 0:04:33 | |
# Money! # | 0:04:34 | 0:04:36 | |
Congratulations, you're the final four. You've done an amazing job. | 0:05:02 | 0:05:06 | |
-Thank you. -There are no losers in this room. | 0:05:06 | 0:05:09 | |
Unfortunately, two of you will be fired. | 0:05:09 | 0:05:13 | |
Trace, why should you be in the finals? | 0:05:15 | 0:05:18 | |
Well, I believe there is a final task, | 0:05:18 | 0:05:21 | |
which, in a lot of years has been a fundraising task. | 0:05:21 | 0:05:25 | |
I brought two six-guns with me to this gunfight | 0:05:25 | 0:05:29 | |
and I may have fired five rounds. | 0:05:29 | 0:05:31 | |
What does that mean, exactly? You have to explain that. | 0:05:33 | 0:05:35 | |
I got some bullets left. | 0:05:35 | 0:05:36 | |
And you were the highest fundraiser | 0:05:36 | 0:05:39 | |
of anyone who sits in this room today. | 0:05:39 | 0:05:41 | |
Yes. | 0:05:41 | 0:05:43 | |
It's very impressive. | 0:05:44 | 0:05:46 | |
How did you do as project manager, Trace? | 0:05:46 | 0:05:48 | |
I won twice. | 0:05:48 | 0:05:50 | |
I think that... | 0:05:51 | 0:05:53 | |
How did you do overall? | 0:05:53 | 0:05:54 | |
Well, I was doing pretty dang good till I got over here on Power, | 0:05:54 | 0:05:59 | |
and then, uh, not so great. | 0:05:59 | 0:06:01 | |
You did five and five. | 0:06:02 | 0:06:04 | |
Lil Jon, why should you be in the finals? | 0:06:06 | 0:06:09 | |
Oh, because I'm a strong player, | 0:06:09 | 0:06:12 | |
I'm an excellent leader, | 0:06:12 | 0:06:14 | |
very creative, | 0:06:14 | 0:06:15 | |
excellent at marketing, branding, | 0:06:15 | 0:06:18 | |
and just, I'm really good at every aspect | 0:06:18 | 0:06:23 | |
-of this game. -I agree, but you had a very bad record. | 0:06:23 | 0:06:27 | |
-Right? -That's not totally my fault. -Well... | 0:06:27 | 0:06:28 | |
-I had one and one... -You were in | 0:06:28 | 0:06:30 | |
a bad team, but you did have a bad record. | 0:06:30 | 0:06:32 | |
-Right. -And as project manager you lost and won. -Yes. | 0:06:32 | 0:06:36 | |
I did. | 0:06:36 | 0:06:38 | |
-I mean, I'm pretty strong... -Should you remain in the room? | 0:06:38 | 0:06:40 | |
Definitely should remain in the room. | 0:06:40 | 0:06:42 | |
So, Lisa, why should you be in the final two? | 0:06:46 | 0:06:49 | |
Well, I believe I am the second highest earner | 0:06:49 | 0:06:53 | |
-at 505,000. -Correct. | 0:06:53 | 0:06:56 | |
And...I believe that I have fought hard and I am a great leader | 0:06:56 | 0:07:03 | |
and I have proven myself this time around. | 0:07:03 | 0:07:06 | |
I'm creative and I'm a fighter, | 0:07:06 | 0:07:09 | |
and I didn't give up, I came back here and I fought | 0:07:09 | 0:07:12 | |
and I'm sitting in this final four, | 0:07:12 | 0:07:15 | |
and I believe I deserve to be in the final two. | 0:07:15 | 0:07:17 | |
I am the second-highest earner. | 0:07:17 | 0:07:19 | |
Mr Trump, I think it is interesting to note that | 0:07:21 | 0:07:24 | |
although project managers Trace and Lisa | 0:07:24 | 0:07:27 | |
brought in the most money, | 0:07:27 | 0:07:29 | |
that I was their second when I wasn't project manager, | 0:07:29 | 0:07:32 | |
and, um, | 0:07:32 | 0:07:34 | |
I, uh... | 0:07:34 | 0:07:36 | |
I think that matters, that matters somewhat, too. | 0:07:36 | 0:07:40 | |
OK, fine. | 0:07:40 | 0:07:41 | |
And why should you be in the finals? | 0:07:41 | 0:07:43 | |
I don't think anyone handles pressure better than I do. | 0:07:43 | 0:07:45 | |
In my career with Teller, | 0:07:45 | 0:07:48 | |
we deal with, uh, | 0:07:48 | 0:07:50 | |
quite literally life-and-death situations | 0:07:50 | 0:07:53 | |
and I would, um, ask you | 0:07:53 | 0:07:56 | |
not to confuse, uh, | 0:07:56 | 0:07:59 | |
self-control and self-restraint with a lack of passion. | 0:07:59 | 0:08:02 | |
I want to do this as much as anyone, or more, | 0:08:02 | 0:08:05 | |
and I also think that being able to control one's self | 0:08:05 | 0:08:09 | |
is the first step, and I haven't had any conflict with anyone. | 0:08:09 | 0:08:15 | |
I think I've had some very good ideas, | 0:08:15 | 0:08:17 | |
and it seems like when it's tick-tock | 0:08:17 | 0:08:19 | |
and down to the last second, I don't tremble. | 0:08:19 | 0:08:22 | |
OK. | 0:08:24 | 0:08:26 | |
Trace... | 0:08:26 | 0:08:27 | |
..Lil Jon... | 0:08:28 | 0:08:30 | |
Lisa... | 0:08:30 | 0:08:32 | |
Penn... | 0:08:32 | 0:08:33 | |
you're the best of the best, and that's been a smart bunch. | 0:08:33 | 0:08:37 | |
But we're far from over. | 0:08:38 | 0:08:40 | |
And what I'm going to do right now is fire one person from each team. | 0:08:40 | 0:08:45 | |
You've all done a fantastic job, | 0:08:50 | 0:08:53 | |
and remember, there are no losers in this room. | 0:08:53 | 0:08:56 | |
-Ivanka? -I guess I'd be curious to hear from each of you | 0:08:58 | 0:09:01 | |
what you did differently this season relative to | 0:09:01 | 0:09:05 | |
the first one and how it worked for you. | 0:09:05 | 0:09:07 | |
-I mean, Lisa... -Especially you, Lisa! | 0:09:07 | 0:09:09 | |
-But it is interesting. -She made the greatest comeback by far. | 0:09:09 | 0:09:13 | |
Everyone else has done well, but she really made a comeback. | 0:09:13 | 0:09:15 | |
I'm sure everyone learns something, | 0:09:15 | 0:09:17 | |
-especially watching themselves. -It's a great question. | 0:09:17 | 0:09:19 | |
-I love that question. -Great question. Well, for me, uh, | 0:09:19 | 0:09:23 | |
I'm a different person than I was two years go, | 0:09:23 | 0:09:25 | |
I would say. | 0:09:25 | 0:09:27 | |
And I, I had to leave my fear at home. | 0:09:27 | 0:09:31 | |
I had to come here fearless. | 0:09:31 | 0:09:32 | |
-And I think that's probably... -Were you nervous coming the second time? | 0:09:32 | 0:09:35 | |
I was... I didn't want to come, | 0:09:37 | 0:09:39 | |
but I knew it was something that I needed to do. | 0:09:39 | 0:09:42 | |
-For myself... -Because you had a bad experience the first time. | 0:09:42 | 0:09:45 | |
I had a really bad experience, and it scarred me. | 0:09:45 | 0:09:47 | |
-Was that hard on you? -Yeah, it was. | 0:09:47 | 0:09:48 | |
-It was very hard. -You're fully recovered. -Well, I am now! | 0:09:48 | 0:09:51 | |
-You're a patient who has fully recovered. -I am now. | 0:09:51 | 0:09:53 | |
-A lot different, right? -A lot different. -Oh, I see, | 0:09:53 | 0:09:56 | |
-so that had a big impact, being so early out. -Yes, it did, actually. | 0:09:56 | 0:10:01 | |
-More than I realised. -I can understand that. | 0:10:01 | 0:10:04 | |
Did you take heat? | 0:10:04 | 0:10:05 | |
-Yes, I did. -Not from your husband, though. -No, of course not. | 0:10:07 | 0:10:10 | |
But, yeah, of course I took heat. | 0:10:10 | 0:10:12 | |
You did. Yeah, I can understand. | 0:10:12 | 0:10:13 | |
-I did. -Well, you won't be taking heat any longer. | 0:10:13 | 0:10:15 | |
How do you respond to that question, Penn? Ivanka's question. | 0:10:15 | 0:10:19 | |
You know, no-one has more experience collaborating than I do. | 0:10:21 | 0:10:24 | |
38 years working with Teller. | 0:10:24 | 0:10:27 | |
And I came in last time with so much experience | 0:10:27 | 0:10:31 | |
working in a group | 0:10:31 | 0:10:33 | |
and so little experience working with different people. | 0:10:33 | 0:10:36 | |
And I came in treating everyone like they were Teller. | 0:10:36 | 0:10:40 | |
And, uh, although, to me, that felt like respect, | 0:10:40 | 0:10:45 | |
it was also a little bit brusque and a little bit aggressive. | 0:10:45 | 0:10:50 | |
And this time I tried to keep the same amount of respect | 0:10:50 | 0:10:54 | |
but just not be quite as domineering. I mean, uh, | 0:10:54 | 0:10:59 | |
after 38 years, Teller and I can say anything to each other. | 0:10:59 | 0:11:03 | |
Four words in one idea, we can say, "That's no good", | 0:11:03 | 0:11:07 | |
and the other one understands everything, it's been a long time. | 0:11:07 | 0:11:11 | |
And now I realise this time, | 0:11:11 | 0:11:12 | |
I didn't change much, | 0:11:12 | 0:11:14 | |
except I tried to remember that everybody hadn't been | 0:11:14 | 0:11:17 | |
working with me for 38 years. | 0:11:17 | 0:11:18 | |
Lil Jon, respond to that question. | 0:11:20 | 0:11:22 | |
Um, I think this time I'm motivated for more personal reasons. | 0:11:22 | 0:11:27 | |
-Why? -My mother had a stroke due to diabetes | 0:11:27 | 0:11:32 | |
and I didn't even know she was still suffering with her diabetes. | 0:11:32 | 0:11:35 | |
I just remembered her having the diabetes | 0:11:35 | 0:11:37 | |
when I was younger and I thought | 0:11:37 | 0:11:38 | |
it went in remission. And a couple of weeks | 0:11:38 | 0:11:41 | |
before I'm supposed to come and do the show | 0:11:41 | 0:11:43 | |
she had a stroke and, due to complications, | 0:11:43 | 0:11:46 | |
like, it affected her recovery. | 0:11:46 | 0:11:48 | |
Like, she still isn't able to speak and she's not conscious, really. | 0:11:48 | 0:11:54 | |
So, I mean, I came, you know... | 0:11:55 | 0:11:57 | |
People don't know how bad diabetes can be. | 0:11:57 | 0:11:59 | |
Yeah, it's really bad. | 0:11:59 | 0:12:01 | |
-People just don't understand how bad. -I came back, | 0:12:01 | 0:12:03 | |
you know, I'm fighting for my mom, so I have a personal push, you know, | 0:12:03 | 0:12:09 | |
this time, you know, | 0:12:09 | 0:12:10 | |
I just have more personal motivation. | 0:12:10 | 0:12:12 | |
Trace, how would you respond to Ivanka's question? | 0:12:15 | 0:12:17 | |
I don't think I dramatically played the game any differently | 0:12:18 | 0:12:21 | |
than I played it the first season I was on here. | 0:12:21 | 0:12:24 | |
You know, I came in, I said I want to be project manager | 0:12:24 | 0:12:27 | |
on the first task, | 0:12:27 | 0:12:28 | |
and that's the way I started the game | 0:12:28 | 0:12:30 | |
and that's the way I've played it. I brought my A game to every task, | 0:12:30 | 0:12:33 | |
I've come up with the best ideas I could come up with, | 0:12:33 | 0:12:36 | |
but at the same time I never got sucked into any of the drama. | 0:12:36 | 0:12:39 | |
I kept my integrity. You know... | 0:12:39 | 0:12:42 | |
Honestly, I'd say that's true for everybody here. | 0:12:42 | 0:12:45 | |
I think you've all done amazingly and you've all kept your integrity. | 0:12:45 | 0:12:50 | |
Thank you. | 0:12:50 | 0:12:51 | |
Lil Jon, who would you fire? | 0:12:53 | 0:12:55 | |
Lisa or Penn? | 0:12:56 | 0:12:58 | |
Everybody here deserves to be here right now. | 0:12:58 | 0:13:01 | |
That's true, I agree. That's why they're here. | 0:13:01 | 0:13:03 | |
-Um... -Who would you fire? | 0:13:03 | 0:13:05 | |
I guess... | 0:13:05 | 0:13:06 | |
I've seen Penn do a lot and I think in the last task, | 0:13:06 | 0:13:09 | |
I wasn't in the room, so I don't know, I might be wrong, | 0:13:09 | 0:13:12 | |
but it seems like Penn took over the last task. | 0:13:12 | 0:13:14 | |
-He did very well. -So it seems like Lisa | 0:13:14 | 0:13:18 | |
might be the one I would go with, | 0:13:18 | 0:13:20 | |
because I just haven't seen her really just step out there | 0:13:20 | 0:13:22 | |
and do something, like, step up to be project manager or whatever. | 0:13:22 | 0:13:25 | |
Trace, who would you fire from that team? | 0:13:27 | 0:13:30 | |
Hm. | 0:13:30 | 0:13:31 | |
Uh, it would be... | 0:13:32 | 0:13:34 | |
-..Lisa, I would say. -Why? Why? | 0:13:37 | 0:13:41 | |
Just going forward, I'm looking at the last task | 0:13:41 | 0:13:44 | |
and I think you ought to have... | 0:13:44 | 0:13:48 | |
the two big guns going at it. | 0:13:48 | 0:13:50 | |
And, uh, if I was really just wanting to win | 0:13:50 | 0:13:54 | |
the game at all costs, | 0:13:54 | 0:13:56 | |
I'd say, you know, let me go up against Lisa. | 0:13:56 | 0:13:59 | |
But I want it to be a great show, | 0:13:59 | 0:14:00 | |
I want it to be fireworks. I want to go against Penn. | 0:14:00 | 0:14:04 | |
Lil Jon, do you think Penn is stronger than Lisa? | 0:14:06 | 0:14:08 | |
I don't really know their team like that, | 0:14:10 | 0:14:12 | |
but, I mean, from what it appears to me, | 0:14:12 | 0:14:14 | |
I think Penn is definitely super-strong. | 0:14:14 | 0:14:16 | |
But Lisa is very strong, too, I mean, to do, to stay this long | 0:14:16 | 0:14:20 | |
after what she went through the last time, | 0:14:20 | 0:14:23 | |
I've been commending her every day. | 0:14:23 | 0:14:25 | |
I've been very impressed with her, too, | 0:14:25 | 0:14:26 | |
the times I've got to work with her. | 0:14:26 | 0:14:28 | |
-Thank you. -I'm impressed with her, too. | 0:14:28 | 0:14:30 | |
-Your husband's going to be so proud of you, Lisa. -I know. | 0:14:30 | 0:14:33 | |
Boy, did you make a great decision. | 0:14:33 | 0:14:35 | |
You probably walked around for two years like a loser, right? | 0:14:35 | 0:14:37 | |
You made such a great decision. | 0:14:37 | 0:14:40 | |
No, is that true? Did you make a good decision coming back? | 0:14:40 | 0:14:43 | |
I made a great decision. | 0:14:43 | 0:14:44 | |
I made an excellent decision coming back, | 0:14:44 | 0:14:47 | |
and it wasn't an easy one, but I'm really glad I made it. | 0:14:47 | 0:14:49 | |
Hey, Lisa, I have a question for you. | 0:14:49 | 0:14:51 | |
Jon sort of alluded to it a little but, he said, | 0:14:51 | 0:14:53 | |
"Hey, I saw Penn sort of be the star the last time", even though | 0:14:53 | 0:14:56 | |
you were project manager. I mean, it sounded a little bit like he was | 0:14:56 | 0:14:59 | |
saying maybe you were riding on Penn's coat-tails. | 0:14:59 | 0:15:01 | |
What do you have to say to that? How do you answer that? | 0:15:01 | 0:15:03 | |
This is going to be a differentiator going forward. | 0:15:03 | 0:15:05 | |
I don't believe that to be true. | 0:15:05 | 0:15:06 | |
I believe we worked as a team, a very strong team. | 0:15:06 | 0:15:08 | |
So I disagree with that. | 0:15:08 | 0:15:10 | |
Forgive me for speaking up, | 0:15:10 | 0:15:11 | |
but she was project manager and acted that way. | 0:15:11 | 0:15:14 | |
I think I helped her an awful lot, | 0:15:14 | 0:15:17 | |
and I think it's undeniable that I worked as hard as I could | 0:15:17 | 0:15:22 | |
in every task regardless of who was project manager, | 0:15:22 | 0:15:25 | |
but she was the leader, she was not riding on my coat-tails. | 0:15:25 | 0:15:28 | |
Now, Lisa, you know that I've been your biggest booster. | 0:15:30 | 0:15:33 | |
I've been your biggest fan. | 0:15:33 | 0:15:35 | |
-Other than your husband, there's no bigger fan. -Thank you. | 0:15:35 | 0:15:38 | |
And I think you've done an amazing job, and you certainly are | 0:15:38 | 0:15:41 | |
the comeback player of the decade as far as | 0:15:41 | 0:15:44 | |
Celebrity Apprentice or Apprentice is concerned. | 0:15:44 | 0:15:47 | |
But Penn has really been the star so far, | 0:15:47 | 0:15:50 | |
and I really do want to see him in the final. | 0:15:50 | 0:15:53 | |
Lisa, you're fired. | 0:15:53 | 0:15:55 | |
And congratulations, great job. | 0:15:59 | 0:16:01 | |
-Thank you. -Thank you very much. -Thank you. -I'm so sorry, Lisa. | 0:16:01 | 0:16:03 | |
-Aw, it's OK, baby. Thank you very much. -DONALD JR: -Well done, Lisa. | 0:16:03 | 0:16:06 | |
-You really did a great job. -Thank you so much. | 0:16:06 | 0:16:08 | |
Congratulations. | 0:16:08 | 0:16:10 | |
-This has been awesome. -Thank you. | 0:16:10 | 0:16:12 | |
And don't forget, you've won 505,000 for your charity... | 0:16:12 | 0:16:15 | |
-Thank you. -..so you can be very, very proud. | 0:16:15 | 0:16:18 | |
-I am so proud. -Thank you. | 0:16:18 | 0:16:19 | |
-Great job, Lisa. -Thank you so much. | 0:16:19 | 0:16:21 | |
-Love you. -Love you. | 0:16:21 | 0:16:23 | |
I came so far. | 0:16:24 | 0:16:26 | |
To me it was such a win-win...win, win, win situation | 0:16:27 | 0:16:32 | |
in so many ways. And just the message that it puts out, | 0:16:32 | 0:16:36 | |
I think, to everyone. Not to give up, ever. | 0:16:36 | 0:16:40 | |
I mean, look at how far you can come if you set your mind to it. | 0:16:40 | 0:16:44 | |
-OK, so, Penn, congratulations. -Well thank you. | 0:16:51 | 0:16:54 | |
Trace, Lil Jon, | 0:16:56 | 0:16:59 | |
one of you will be fired. | 0:16:59 | 0:17:03 | |
Penn, who would you fire on the other team? | 0:17:13 | 0:17:16 | |
It would be Lil Jon. He's the only one I've not worked with, | 0:17:17 | 0:17:20 | |
So I don't have enough information, | 0:17:20 | 0:17:22 | |
and from ignorance I would go with Lil Jon. | 0:17:22 | 0:17:24 | |
What about Trace? | 0:17:24 | 0:17:25 | |
Uh, Trace, from the beginning, from the first day I met him, | 0:17:25 | 0:17:28 | |
I thought he was the strongest, he was fabulous. | 0:17:28 | 0:17:32 | |
But Lil Jon I've never worked with, so it's an unfair answer. | 0:17:32 | 0:17:35 | |
So, Trace, after admitting that you checked out for three weeks, | 0:17:35 | 0:17:40 | |
and you sort of did, | 0:17:40 | 0:17:41 | |
why should I choose you to be in the finals? | 0:17:41 | 0:17:44 | |
Marilu said I checked out, I didn't say I checked out, | 0:17:44 | 0:17:47 | |
I just said I wasn't in love with the ideas I'd come up with. | 0:17:47 | 0:17:50 | |
And I wasn't, I mean, it's not for lack of trying, | 0:17:50 | 0:17:53 | |
I just haven't hit home runs. | 0:17:53 | 0:17:54 | |
Should they have used your ideas? | 0:17:54 | 0:17:56 | |
Did they make a mistake in not using your ideas? | 0:17:56 | 0:17:58 | |
They did use my ideas. | 0:17:58 | 0:18:00 | |
They used my ideas on every task for the last four tasks, | 0:18:00 | 0:18:03 | |
they were always my ideas. | 0:18:03 | 0:18:05 | |
I just didn't think they were the best ones | 0:18:05 | 0:18:07 | |
I'd ever come up with, and that happens sometimes. | 0:18:07 | 0:18:09 | |
And tomorrow, maybe it'll be better, | 0:18:09 | 0:18:11 | |
you know, but you don't give up just because... | 0:18:11 | 0:18:13 | |
Why should I keep you over Lil Jon? | 0:18:13 | 0:18:14 | |
Well, uh... | 0:18:17 | 0:18:19 | |
..I just think that, going forward, | 0:18:20 | 0:18:23 | |
that I'm going to bring big guns to the last show, that's all I know. | 0:18:23 | 0:18:27 | |
I'm going to go out on that stage and put | 0:18:27 | 0:18:29 | |
a boot in somebody's ass. | 0:18:29 | 0:18:31 | |
That's what I've been playing towards the whole time. | 0:18:31 | 0:18:34 | |
Lil Jon, that's a very good answer. How do you respond to that? | 0:18:35 | 0:18:39 | |
I'm similar, like, um, | 0:18:39 | 0:18:41 | |
I look at myself as, when I'm put under pressure, | 0:18:41 | 0:18:44 | |
I can change direction if I need to and adjust | 0:18:44 | 0:18:47 | |
and adapt to the situation and roll with the punches | 0:18:47 | 0:18:52 | |
and still complete the task. | 0:18:52 | 0:18:54 | |
I feel I'm very strong, very intelligent, underestimated... | 0:18:54 | 0:18:57 | |
-And... -I don't think you're underestimated any more, | 0:18:57 | 0:19:00 | |
to be honest with you. | 0:19:00 | 0:19:02 | |
I think maybe in the first season, you may have been, years ago, | 0:19:02 | 0:19:05 | |
but you've proven yourself to me, | 0:19:05 | 0:19:06 | |
you've proven yourself to a lot of people. | 0:19:06 | 0:19:09 | |
-Thank you. -You're a smart guy, you've done an amazing job. | 0:19:09 | 0:19:12 | |
So we're going to have a big task next week. | 0:19:12 | 0:19:14 | |
Do you think you're going to bring in money, | 0:19:14 | 0:19:16 | |
do you think you're going to bring in star power? | 0:19:16 | 0:19:18 | |
-I can bring in money, I can bring in star power. -Who would the star power be that you'd bring in? | 0:19:18 | 0:19:22 | |
I don't know, it depends on what kind of task it is. | 0:19:22 | 0:19:24 | |
You have to kind of cater the celebrity | 0:19:24 | 0:19:26 | |
to the task that you're dealt. | 0:19:26 | 0:19:28 | |
Well, a lot of the victory is going to be who you bring in. | 0:19:28 | 0:19:31 | |
One of the reasons your team lost last time is because | 0:19:31 | 0:19:34 | |
-it wasn't the same as what Penn was able to bring in. -Right. | 0:19:34 | 0:19:37 | |
-You understand that. -Yeah. | 0:19:37 | 0:19:38 | |
I'm going to do everything in my power to bring celebrities | 0:19:38 | 0:19:43 | |
to whatever the event is. | 0:19:43 | 0:19:45 | |
I got some bullets left in my gun, too. | 0:19:45 | 0:19:47 | |
Who would you bring in, star power? | 0:19:48 | 0:19:50 | |
Who do you think you'd be able to bring in, Trace? | 0:19:50 | 0:19:52 | |
-Everybody I could, I mean... -They all want to be on the show. | 0:19:52 | 0:19:55 | |
I have all their phone numbers. | 0:19:55 | 0:19:56 | |
The good news is, it's easy. They all want to be on the show, | 0:19:56 | 0:19:59 | |
so in that sense it's really very easy. | 0:19:59 | 0:20:01 | |
Trace, you seem a little bit quiet, a little but more subdued. | 0:20:01 | 0:20:04 | |
You get the opportunity to talk about who you'd be bringing in, | 0:20:04 | 0:20:07 | |
isn't now the time to really impress? | 0:20:07 | 0:20:10 | |
I know everybody that's a star in Nashville. | 0:20:10 | 0:20:12 | |
I know 'em all. So I'll bring as many of em as I can possibly get. | 0:20:12 | 0:20:17 | |
I'm not going to limit myself or I'm not going to... | 0:20:17 | 0:20:20 | |
..make too grandiose a promise. | 0:20:22 | 0:20:24 | |
So, Lil Jon, what's Trace's biggest weakness? | 0:20:24 | 0:20:28 | |
I think Trace's weakness is | 0:20:28 | 0:20:31 | |
sometimes he's a little distant from the team. | 0:20:31 | 0:20:33 | |
Like, he doesn't show a lot of his weaknesses. | 0:20:33 | 0:20:36 | |
-If he has 'em, he doesn't show 'em all. -OK. | 0:20:36 | 0:20:38 | |
-That's good. -But I'm not scared of anyone. -I know you're not. | 0:20:38 | 0:20:40 | |
-I can go up against anyone. -I can see that. | 0:20:40 | 0:20:42 | |
I can, I can bet on that. | 0:20:42 | 0:20:44 | |
Trace, what do you think of what Lil Jon just said about you? | 0:20:44 | 0:20:47 | |
He's correct. He can't find my weakness. | 0:20:48 | 0:20:51 | |
You sort of said that, Lil Jon. It's OK, it's a complement. | 0:20:53 | 0:20:57 | |
What about Lil Jon, what's his weakness, Trace? | 0:20:57 | 0:21:01 | |
I just don't know if, going forward, he'll bring in the names. | 0:21:01 | 0:21:04 | |
I don't know, I mean, | 0:21:04 | 0:21:06 | |
it's not always as easy to get 'em here as you think it is. | 0:21:06 | 0:21:09 | |
That's interesting. | 0:21:09 | 0:21:11 | |
Penn, I guess I'd like to hear from you. You can't probably speak to | 0:21:14 | 0:21:17 | |
Lil Jon as quite as easily, but knowing you're friends with Trace, | 0:21:17 | 0:21:21 | |
what do you see as his biggest weakness? | 0:21:21 | 0:21:23 | |
Uh, I think that Trace's... | 0:21:23 | 0:21:27 | |
..biggest weakness is, uh, he, | 0:21:30 | 0:21:34 | |
he occasionally fades. | 0:21:34 | 0:21:36 | |
He is the smartest, he is the best player, he understands the game, | 0:21:36 | 0:21:41 | |
but occasionally he will pull back a little bit. | 0:21:41 | 0:21:44 | |
I don't know if that's strategy, I don't know if that's, uh... | 0:21:44 | 0:21:48 | |
emotional. | 0:21:48 | 0:21:50 | |
So I would say that that's the only weakness I saw and... | 0:21:50 | 0:21:54 | |
He has really good ideas. | 0:21:54 | 0:21:56 | |
He's really smart. | 0:21:56 | 0:21:58 | |
He really knows what's going on. | 0:21:58 | 0:22:00 | |
Lil Jon, how do I get over the fact | 0:22:00 | 0:22:02 | |
that you lost as project manager? | 0:22:02 | 0:22:05 | |
-Now, Trace was 2-0, he won both times as project manager... -Right. | 0:22:05 | 0:22:08 | |
..and as project manager you lost and won. | 0:22:08 | 0:22:11 | |
-Yes. -And you won 40,000, | 0:22:11 | 0:22:15 | |
he won 710,000, so that's a big difference. | 0:22:15 | 0:22:18 | |
-Well, I mean, he went first, he went first... -And he had a better team. | 0:22:18 | 0:22:22 | |
And he had a better team, he picked his team. | 0:22:22 | 0:22:24 | |
-By the way, which is a great tribute to him. -Right. | 0:22:24 | 0:22:27 | |
-He picked his team. -Um... | 0:22:27 | 0:22:29 | |
-I brought in... -Would you give him credit for picking that team, | 0:22:29 | 0:22:32 | |
which was a good team, that I took him away from his own team? | 0:22:32 | 0:22:34 | |
Yeah, I definitely can give him credit. | 0:22:34 | 0:22:36 | |
Would you give yourself credit for that, Trace? | 0:22:36 | 0:22:39 | |
The man that's left in here is the guy that I picked first. | 0:22:39 | 0:22:43 | |
Because I knew that he and I together | 0:22:43 | 0:22:45 | |
were going to be formidable. Unstoppable. | 0:22:45 | 0:22:49 | |
Lil Jon, how do I get over the fact | 0:22:53 | 0:22:55 | |
that he raised more money than anybody? | 0:22:55 | 0:22:58 | |
That he had a great record, | 0:22:58 | 0:23:00 | |
that he had a fantastic project manager record, undefeated, | 0:23:00 | 0:23:03 | |
and you WERE defeated? | 0:23:03 | 0:23:04 | |
-It's tough, right? -I mean, I've still been a tough player. | 0:23:04 | 0:23:07 | |
You can't judge me on my team. | 0:23:07 | 0:23:10 | |
If you're a superstar on a losing team, | 0:23:10 | 0:23:11 | |
you can't do nothing about that | 0:23:11 | 0:23:13 | |
-till they give you a good supporting cast. -That could be true. | 0:23:13 | 0:23:16 | |
I agree. Ivanka, go ahead. | 0:23:18 | 0:23:19 | |
-I think this is very difficult. -Very tough. | 0:23:21 | 0:23:23 | |
-I think that... -Very tough. -..you're both incredibly intelligent | 0:23:23 | 0:23:26 | |
and couldn't be more different in terms of style. | 0:23:26 | 0:23:29 | |
Yet you're both highly creative. | 0:23:29 | 0:23:31 | |
So, I think you bring a lot of the same skillset to the table | 0:23:31 | 0:23:36 | |
but you do so in a totally different way. | 0:23:36 | 0:23:39 | |
I agree! | 0:23:41 | 0:23:42 | |
Well, what I'm going to do is very tough for me, I'll be honest. | 0:23:42 | 0:23:46 | |
Because I think you're both outstanding. | 0:23:46 | 0:23:48 | |
I think Penn is outstanding, but I think you're both outstanding. | 0:23:48 | 0:23:51 | |
And... | 0:23:52 | 0:23:54 | |
we have to never lose sight of the fact | 0:23:54 | 0:23:57 | |
that the Celebrity Apprentice/Apprentice, | 0:23:57 | 0:24:01 | |
which is one of the most successful shows on television, | 0:24:01 | 0:24:03 | |
has great credibility, | 0:24:03 | 0:24:05 | |
and it is about winning, and it is about record. | 0:24:05 | 0:24:09 | |
And his record HAS been better than your record. | 0:24:10 | 0:24:13 | |
What I'm going to do is, because I believe so much | 0:24:13 | 0:24:15 | |
in what you're doing for diabetes, | 0:24:15 | 0:24:17 | |
I'm going to give you an extra 20,000. | 0:24:17 | 0:24:21 | |
-I think you are absolutely fantastic, Lil Jon. -Thank you. | 0:24:21 | 0:24:25 | |
But you're fired. | 0:24:25 | 0:24:26 | |
-Thank you. -You did a fantastic job, thank you. -Congratulations, bro. | 0:24:31 | 0:24:35 | |
-Thank you. -Congratulations. | 0:24:35 | 0:24:36 | |
Well done, Jon. | 0:24:38 | 0:24:39 | |
Good guy. | 0:24:49 | 0:24:50 | |
-He's a good man. -Great guy. | 0:24:50 | 0:24:52 | |
I wish I'd gotten to work with him. | 0:24:52 | 0:24:53 | |
I would have loved to have been in the final two, | 0:24:56 | 0:24:58 | |
I want to go in there and kick the boardroom table over, | 0:24:58 | 0:25:01 | |
because I'm supposed to be in the final two. | 0:25:01 | 0:25:03 | |
But, you know what? I played a great game | 0:25:03 | 0:25:05 | |
and I stepped up when needed, so, | 0:25:05 | 0:25:07 | |
you can tweet Mr Trump right now and tell him | 0:25:07 | 0:25:09 | |
I should have been in the final two. Why don't y'all do that? | 0:25:09 | 0:25:11 | |
Congratulations, you've done a fantastic job. | 0:25:14 | 0:25:17 | |
You're in the finals of Celebrity Apprentice All-Star. | 0:25:17 | 0:25:21 | |
You really competed against some very talented, wonderful people, | 0:25:21 | 0:25:25 | |
but some really talented people. | 0:25:25 | 0:25:27 | |
Smart people. | 0:25:27 | 0:25:28 | |
You're going to win a lot of money for your charity. | 0:25:28 | 0:25:31 | |
250,000 at least. That's big money. | 0:25:31 | 0:25:35 | |
And it could be substantially more than that. | 0:25:35 | 0:25:37 | |
So, good luck, go back to your suite. | 0:25:37 | 0:25:40 | |
I'll see you tomorrow morning at the Trump building at 40 Wall Street. | 0:25:40 | 0:25:44 | |
We're going to have some fun. | 0:25:44 | 0:25:45 | |
-All right. -Thank you. -Thank you so much. -Great going. -Well done, guys. | 0:25:45 | 0:25:49 | |
We're going to fight here first? No, you go ahead. | 0:25:50 | 0:25:53 | |
This is probably the biggest final you've ever had. | 0:25:56 | 0:25:59 | |
-Oh, by far. -By a lot! | 0:25:59 | 0:26:00 | |
200lb and about six inches! | 0:26:00 | 0:26:03 | |
-Good. -Let's go, baby. -Let's do it. | 0:26:03 | 0:26:06 | |
The biggest finalists there are, it's true. | 0:26:06 | 0:26:08 | |
I hate to say I told you so. | 0:26:08 | 0:26:10 | |
PENN LAUGHS | 0:26:10 | 0:26:12 | |
You love to say I told you so. | 0:26:12 | 0:26:14 | |
Ah. | 0:26:16 | 0:26:19 | |
This is the way I wanted it from day one, | 0:26:19 | 0:26:21 | |
A lot of champagne and two non-drinkers, huh? | 0:26:21 | 0:26:23 | |
Yes, how about that? | 0:26:23 | 0:26:25 | |
I wanted to go up against Penn. | 0:26:25 | 0:26:28 | |
That's the reason I picked him first to be on my team, because I knew | 0:26:28 | 0:26:31 | |
that he and I together could make it all the way to the end of this game. | 0:26:31 | 0:26:36 | |
Apple cider. | 0:26:36 | 0:26:38 | |
Uh, I sure hope the best man doesn't win! | 0:26:38 | 0:26:40 | |
To the finals. | 0:26:44 | 0:26:45 | |
I respect Trace, I consider now, after this, Trace a friend, | 0:26:45 | 0:26:49 | |
but I will be the All-Star Celebrity Apprentice. | 0:26:49 | 0:26:53 | |
Not just the Celebrity Apprentice, the All-Star Celebrity Apprentice! | 0:26:53 | 0:26:58 | |
Moi. | 0:26:58 | 0:26:59 | |
It's just like we're two old men, sitting on the porch. | 0:26:59 | 0:27:02 | |
PENN LAUGHS | 0:27:02 | 0:27:03 | |
'I'm going to the matts on this one.' | 0:27:03 | 0:27:06 | |
I'm going to bring everybody I can bring. | 0:27:06 | 0:27:08 | |
If I can everybody in Hollywood to this son of a bitch, I'd bring 'em! | 0:27:08 | 0:27:12 | |
Time to find some celebrities and some money. | 0:27:12 | 0:27:15 | |
Good luck. | 0:27:15 | 0:27:16 | |
There's no saving anything for tomorrow here. | 0:27:16 | 0:27:19 | |
I mean, this is it. | 0:27:19 | 0:27:21 | |
-Good morning. -Good morning. -Good morning. Oh, excuse me one second. | 0:27:46 | 0:27:50 | |
-Ah, very good. -I wanted you to remember that the good guy | 0:27:51 | 0:27:53 | |
will be in the white hat. | 0:27:53 | 0:27:55 | |
Very good. What do you think of that, huh? | 0:27:55 | 0:27:57 | |
I like it. All right. | 0:27:57 | 0:27:58 | |
Penn, Trace, great job. | 0:27:58 | 0:28:02 | |
Fired 12 people, smart people, talented people, | 0:28:02 | 0:28:05 | |
you're left. | 0:28:05 | 0:28:07 | |
Somebody's going to be the All-Star Celebrity Apprentice. | 0:28:07 | 0:28:10 | |
How do you feel about it, Penn? | 0:28:10 | 0:28:12 | |
I feel great, I'm having a great time, | 0:28:12 | 0:28:14 | |
and I couldn't have a better person to play with or against | 0:28:14 | 0:28:17 | |
than Trace, he's wonderful. | 0:28:17 | 0:28:18 | |
OK, now, | 0:28:18 | 0:28:20 | |
we're standing in one of the greatest buildings in New York. | 0:28:20 | 0:28:23 | |
It's called the Trump Building at 40 Wall Street. | 0:28:23 | 0:28:27 | |
One of my favourite tenants happens to be Duane Reade. | 0:28:27 | 0:28:32 | |
Duane Reade is owned by Walgreens, a fantastic company, a hot company, | 0:28:32 | 0:28:37 | |
and with me today from Walgreens... | 0:28:37 | 0:28:40 | |
-Joe? -Continuing its rich tradition of innovation, | 0:28:40 | 0:28:43 | |
Walgreens introduced Delish ice cream last year. | 0:28:43 | 0:28:46 | |
For your last and most challenging task, | 0:28:46 | 0:28:49 | |
you are going to create a unique flavour | 0:28:49 | 0:28:51 | |
of Walgreens Delish ice cream | 0:28:51 | 0:28:52 | |
which will be sold in over 8,000 Walgreens | 0:28:52 | 0:28:54 | |
and Duane Reade locations nationwide. | 0:28:54 | 0:28:57 | |
Oh, boy! | 0:28:57 | 0:28:58 | |
When I heard we were tasked with coming up with | 0:28:58 | 0:29:01 | |
a new flavour of ice cream, | 0:29:01 | 0:29:03 | |
I thought, "Penn eats a lot of ice cream". | 0:29:03 | 0:29:05 | |
Advantage Penn. | 0:29:05 | 0:29:07 | |
In addition to creating the new flavour, | 0:29:08 | 0:29:10 | |
you will design the packaging, you will create a promotional video | 0:29:10 | 0:29:12 | |
and you will also sell up to 50 tickets for a VIP event | 0:29:12 | 0:29:17 | |
that you will be hosting. | 0:29:17 | 0:29:18 | |
My advisors are Ivanka and the great Joan Rivers. | 0:29:19 | 0:29:22 | |
Now, Joan, you've won, you're a great winner. | 0:29:22 | 0:29:25 | |
If they win, one of them will, how are they going to feel? | 0:29:25 | 0:29:28 | |
For the rest of your life, people will say, | 0:29:28 | 0:29:30 | |
"I saw you and I wanted you to win on Celebrity Apprentice." | 0:29:30 | 0:29:33 | |
What it does for your charity, | 0:29:33 | 0:29:36 | |
you can't even feel it except in your heart, it's amazing. | 0:29:36 | 0:29:39 | |
It's just wonderful. | 0:29:39 | 0:29:41 | |
Ivanka? | 0:29:41 | 0:29:42 | |
You'll be judged based on the following criteria. | 0:29:42 | 0:29:45 | |
Your ice cream's flavour, | 0:29:45 | 0:29:46 | |
brand messaging and creativity of | 0:29:46 | 0:29:49 | |
both the video and the product packaging, | 0:29:49 | 0:29:52 | |
overall presentation and additional money raised through ticket sales. | 0:29:52 | 0:29:56 | |
OK. I think you're going to need some helpers. | 0:29:57 | 0:30:00 | |
Let's bring 'em up! | 0:30:00 | 0:30:01 | |
-Nice hat! -Thank you! -Is this good versus evil? -Good versus evil. | 0:30:05 | 0:30:09 | |
S'up, bro? | 0:30:10 | 0:30:11 | |
You're coming over here? I'm very glad to see that! | 0:30:13 | 0:30:17 | |
I'm great, thank you. | 0:30:17 | 0:30:19 | |
All right. I've picked your teams. | 0:30:19 | 0:30:21 | |
Trace, you've got Lil Jon, Gary and Marilu. | 0:30:21 | 0:30:26 | |
Penn, you've got Lisa, La Toya and Dennis. | 0:30:26 | 0:30:29 | |
How do you feel about your team? | 0:30:29 | 0:30:31 | |
I haven't worked with Dennis and La Toya, | 0:30:31 | 0:30:33 | |
so I'm thrilled to try that, | 0:30:33 | 0:30:35 | |
and I am SO, so glad I've got Lisa. | 0:30:35 | 0:30:37 | |
I can see that. That's why I gave Lisa to you. | 0:30:37 | 0:30:40 | |
Thank you. That's very kind of you. | 0:30:40 | 0:30:42 | |
That's all I worried about all last night. | 0:30:42 | 0:30:44 | |
-Trace, how do you feel about your team? -Feel good about it. | 0:30:44 | 0:30:46 | |
I've worked with Jon enough, and of course Marilu. | 0:30:46 | 0:30:49 | |
If we're going to have some kind of an event, | 0:30:49 | 0:30:52 | |
I've got the event goddess with me. | 0:30:52 | 0:30:55 | |
And then Gary, what can you say, you know, he's a legend. | 0:30:55 | 0:30:59 | |
Gary's doing great. | 0:30:59 | 0:31:01 | |
I picked the teams because | 0:31:01 | 0:31:02 | |
I really think they are going to be incredible, | 0:31:02 | 0:31:05 | |
and you have all done an amazing job. | 0:31:05 | 0:31:08 | |
There are no losers in this line, | 0:31:08 | 0:31:10 | |
that I can tell you. OK, the winner | 0:31:10 | 0:31:13 | |
is going to win 250,000 for your charity. | 0:31:13 | 0:31:18 | |
All right? Go get em. | 0:31:18 | 0:31:20 | |
OK, so this is our station. | 0:31:32 | 0:31:35 | |
These are all ingredients that we get to play with. | 0:31:35 | 0:31:37 | |
We can start with a base. You know, | 0:31:37 | 0:31:38 | |
a base like vanilla, chocolate, peanut butter. | 0:31:38 | 0:31:40 | |
What flavour you thinking of, homie? | 0:31:40 | 0:31:42 | |
What's your flavour? | 0:31:42 | 0:31:45 | |
'This is the real deal. We are tasked with' | 0:31:45 | 0:31:48 | |
coming up with an ice cream flavour | 0:31:48 | 0:31:50 | |
and then we make a 60-second commercial about it... | 0:31:50 | 0:31:54 | |
-Jon, you're going to direct the video. -Really?! | 0:31:54 | 0:31:56 | |
'..and then we have to have an event' | 0:31:56 | 0:31:59 | |
to present this new ice cream flavour to the public. | 0:31:59 | 0:32:02 | |
We all need to start trying to determine | 0:32:02 | 0:32:05 | |
how many tickets we're each going to need. | 0:32:05 | 0:32:07 | |
Each ticket has to go for as much as we can get. | 0:32:07 | 0:32:10 | |
Right. | 0:32:10 | 0:32:11 | |
I'm going to sell mine from anywhere | 0:32:11 | 0:32:13 | |
from 5,000 to a quarter of a million dollars apiece. | 0:32:13 | 0:32:17 | |
Hey, Nancy, hi! | 0:32:19 | 0:32:21 | |
I'm good, did you get my message? | 0:32:22 | 0:32:24 | |
At the end of this task, the winner is going to receive, | 0:32:24 | 0:32:28 | |
in addition to what you raised on your own, | 0:32:28 | 0:32:31 | |
another quarter of a million dollars. | 0:32:31 | 0:32:34 | |
And if I win, the money goes to the American Red Cross. | 0:32:34 | 0:32:38 | |
Last year I was out of town when my house burned, | 0:32:38 | 0:32:41 | |
and the Red Cross was there when I couldn't be there. | 0:32:41 | 0:32:44 | |
They looked after the, uh, | 0:32:44 | 0:32:48 | |
the emotional and physical wellbeing of my family | 0:32:48 | 0:32:51 | |
after a house fire, and I was 2,000 miles away. | 0:32:51 | 0:32:56 | |
There is no more noble... | 0:32:58 | 0:33:01 | |
..charity in this country than the American Red Cross. | 0:33:02 | 0:33:05 | |
It's not even an option. | 0:33:05 | 0:33:07 | |
-Losing is not even an option in this deal. -I know. | 0:33:07 | 0:33:10 | |
-Oh, look at this! -Oh, it's a kitchen! | 0:33:12 | 0:33:14 | |
It's a kitchen! How exciting! | 0:33:14 | 0:33:17 | |
We're going to be working here, look at all the products. | 0:33:17 | 0:33:19 | |
Penn, these are the ingredients we're going to be working with. | 0:33:19 | 0:33:22 | |
It's a whole different kind of feeling on the final task. | 0:33:22 | 0:33:26 | |
What's your favourite flavour of ice cream, Dennis? | 0:33:26 | 0:33:28 | |
The typicals. | 0:33:28 | 0:33:30 | |
I hate to say this, but I'm a chocolate and vanilla guy. | 0:33:30 | 0:33:33 | |
It's a game up until now, and now for the final task | 0:33:33 | 0:33:36 | |
it really is about the charity, | 0:33:36 | 0:33:38 | |
and when I win, that's another quarter million | 0:33:38 | 0:33:41 | |
that'll go to Opportunity Village, | 0:33:41 | 0:33:43 | |
and I want to give them that money, I really do. | 0:33:43 | 0:33:45 | |
I think I can, I have a good shot. I get Vegas. | 0:33:45 | 0:33:48 | |
Vegas can beat Nashville, right? Sure! | 0:33:48 | 0:33:50 | |
Can I take a moment with your attention? | 0:33:50 | 0:33:52 | |
My charity is Opportunity Village. | 0:33:52 | 0:33:54 | |
-OK. -And in the early '60s, Wayne Newton, Elvis Presley | 0:33:54 | 0:33:59 | |
and Colonel Parker | 0:33:59 | 0:34:01 | |
were very concerned about people with intellectual disabilities. | 0:34:01 | 0:34:05 | |
The idea of Opportunity Village | 0:34:05 | 0:34:07 | |
was to take these people, and they'd build kitchens | 0:34:07 | 0:34:11 | |
and they'd build restrooms and teach them | 0:34:11 | 0:34:14 | |
-to do jobs. -Oh, how sweet. -And they'd go out into society. | 0:34:14 | 0:34:18 | |
The jobs that you would never take are the jobs they desperately want. | 0:34:18 | 0:34:22 | |
Penn sat us down and really shared with us | 0:34:22 | 0:34:25 | |
the genesis of Opportunity Village. | 0:34:25 | 0:34:29 | |
The fact that Elvis started this | 0:34:29 | 0:34:31 | |
and that Wayne Newton is a part of it, | 0:34:31 | 0:34:33 | |
these are, like, icons. | 0:34:33 | 0:34:35 | |
-It's Elvis' charity, man. -Wow. -That's wonderful. | 0:34:35 | 0:34:37 | |
Think about every one of those scarves, | 0:34:37 | 0:34:39 | |
every one of those scarves was made at Opportunity Village. | 0:34:39 | 0:34:43 | |
They would be sewed by them and Elvis would kiss it | 0:34:43 | 0:34:46 | |
and it went out to the fans. | 0:34:46 | 0:34:48 | |
I'm sorry, this makes me cry. I mean, | 0:34:48 | 0:34:50 | |
the pride of someone who has a job... | 0:34:50 | 0:34:52 | |
Excuse me. ..working in a kitchen is greater than the pride of | 0:34:53 | 0:34:57 | |
winning an Academy Award. | 0:34:57 | 0:34:59 | |
Excuse me, I'm so sorry. | 0:34:59 | 0:35:01 | |
Don't cry. | 0:35:01 | 0:35:02 | |
To see him get vulnerable, | 0:35:02 | 0:35:04 | |
that's what it's all about. That's why we're here. | 0:35:04 | 0:35:07 | |
I love that, I didn't know that's what it was. | 0:35:07 | 0:35:09 | |
So that's what Opportunity Village is. | 0:35:09 | 0:35:11 | |
And...it's Elvis' charity! | 0:35:11 | 0:35:14 | |
I know! | 0:35:14 | 0:35:16 | |
And...it's Elvis' charity! | 0:35:16 | 0:35:18 | |
Trace is going to do down home. | 0:35:30 | 0:35:31 | |
Yeah, and you gotta go the other way. | 0:35:31 | 0:35:33 | |
I would really like to tie it in with Vegas and with magic. | 0:35:33 | 0:35:37 | |
We've got to design an ice cream flavour. | 0:35:37 | 0:35:40 | |
So the one flavour has to be presented by six o'clock. | 0:35:40 | 0:35:44 | |
And that's going to be based on what the customers like better. | 0:35:44 | 0:35:47 | |
Then we have to also make an up to 60-second video | 0:35:47 | 0:35:51 | |
launching our ice cream flavour. | 0:35:51 | 0:35:54 | |
What Teller and I are known for, you know, is Vegas. | 0:35:54 | 0:35:57 | |
I think that in the commercial we're going to use Penn & Teller. | 0:35:57 | 0:36:02 | |
And four showgirls. | 0:36:02 | 0:36:04 | |
Shut up! | 0:36:04 | 0:36:05 | |
We then have to host the whole thing, raising money, | 0:36:05 | 0:36:09 | |
selling 50 tickets to this ice cream social | 0:36:09 | 0:36:12 | |
to make as much money as we can. | 0:36:12 | 0:36:13 | |
It's an ice cream social. | 0:36:13 | 0:36:15 | |
Ice cream social, Vegas-style. | 0:36:15 | 0:36:18 | |
Ice cream social, Vegas-style. Excellent. | 0:36:18 | 0:36:19 | |
Now, uh, door prizes, | 0:36:19 | 0:36:22 | |
you got any great door prizes? | 0:36:22 | 0:36:24 | |
I would think, like, a sports door prize? | 0:36:24 | 0:36:27 | |
-This is where I come in at. -I would think! | 0:36:27 | 0:36:29 | |
'Trace has a good, solid plan.' | 0:36:29 | 0:36:31 | |
He's not going to make dirt ice cream. | 0:36:31 | 0:36:33 | |
He's not going to just plain screw the pooch. | 0:36:33 | 0:36:34 | |
So there's a lot to do. | 0:36:34 | 0:36:36 | |
Oh, boy! She's got ice cream! | 0:36:36 | 0:36:38 | |
Oh, that's some good eatin'. | 0:36:38 | 0:36:41 | |
-You want a big spoon! -What are you doing? | 0:36:41 | 0:36:43 | |
We have such a lovely ice cream wizard and her name is Katie, | 0:36:44 | 0:36:49 | |
and I like the idea that we have a wizard, | 0:36:49 | 0:36:51 | |
because Penn is all about magic. | 0:36:51 | 0:36:54 | |
Penn is really passionate about the macadamia nuts. | 0:36:54 | 0:36:56 | |
-And the caramel. -And the caramel. | 0:36:56 | 0:36:58 | |
-Butter pecan is really good. -I love that! -But I'm thinking Sin City. | 0:36:58 | 0:37:02 | |
Yeah, yeah, I like that. | 0:37:02 | 0:37:03 | |
We get to do two flavours, then you get to pick one. | 0:37:03 | 0:37:06 | |
Sin City, buttery, pecan... | 0:37:06 | 0:37:09 | |
is one of them. | 0:37:09 | 0:37:10 | |
This is Sin City without a gamble. | 0:37:10 | 0:37:13 | |
-That's good. -'But the second flavour of ice cream, | 0:37:13 | 0:37:15 | |
'we're struggling with it.' | 0:37:15 | 0:37:17 | |
Vegas Magic Gold. | 0:37:17 | 0:37:18 | |
We have a little chocolate piece that looks like a turtle. | 0:37:18 | 0:37:22 | |
Oh, they're cute, look at... They're like little baby turtles! | 0:37:22 | 0:37:26 | |
They are! | 0:37:26 | 0:37:27 | |
-And it's filled with caramel. -Caramel chocolate in vanilla? | 0:37:27 | 0:37:30 | |
Chocolate makes a difference. It's vanilla base, chocolate swirl... | 0:37:30 | 0:37:36 | |
-Or revel. -..and Turtle pieces. -And Turtle pieces. | 0:37:36 | 0:37:38 | |
Is that the one with the swirl? | 0:37:38 | 0:37:39 | |
Cos we could name it Vegas Magic Swirtle! | 0:37:39 | 0:37:42 | |
-Swirtle! -Swirtle! | 0:37:42 | 0:37:44 | |
What a cute idea! | 0:37:44 | 0:37:46 | |
We could name it Vegas Magic Swirtle! | 0:37:46 | 0:37:47 | |
It's the one with the swirl! | 0:37:47 | 0:37:49 | |
-Swirtle! -Swirtle! -Swirtle! | 0:37:49 | 0:37:51 | |
-Swirtle, it's a swirtle! -You are a genius! | 0:37:51 | 0:37:54 | |
-Swirtle! -Swirtle! | 0:37:54 | 0:37:57 | |
When La Toya said "swirtle", | 0:37:57 | 0:37:59 | |
which was the swirl of the chocolate, | 0:37:59 | 0:38:01 | |
with the -rtle of the turtle, I was thrilled to pieces. | 0:38:01 | 0:38:04 | |
I think that might be my new favourite word. | 0:38:04 | 0:38:06 | |
Swirtle! | 0:38:06 | 0:38:08 | |
I think we all do our happy dance. | 0:38:08 | 0:38:11 | |
Dennis, can you play our little happy dance? | 0:38:11 | 0:38:13 | |
-No. -No! | 0:38:13 | 0:38:15 | |
We had two things going on, but with magic swirtle I felt | 0:38:16 | 0:38:19 | |
the groove, I felt the needle go...and just fall right in there. | 0:38:19 | 0:38:23 | |
I'm loving the swirtle. | 0:38:23 | 0:38:24 | |
What if we get to our taste test and people go, "I hate this"? | 0:38:24 | 0:38:28 | |
We kill ourselves. | 0:38:28 | 0:38:29 | |
LAUGHTER | 0:38:29 | 0:38:30 | |
Let's just go all, just as decadent as we can be. | 0:38:35 | 0:38:39 | |
We've got peanut butter, the chocolate, the caramel, | 0:38:39 | 0:38:42 | |
the strawberry, peanut butter, uh, buttercream... | 0:38:42 | 0:38:45 | |
'We had our dedicated ice cream wizard, Logan.' | 0:38:45 | 0:38:50 | |
Logan was there to help us develop | 0:38:50 | 0:38:53 | |
the flavour that we wanted to do. | 0:38:53 | 0:38:55 | |
If we're going to go dairy, let's go dairy. | 0:38:55 | 0:38:57 | |
Load it up with that buttercream. | 0:38:57 | 0:38:59 | |
-It's butter fat. -Yeah, you could do buttercream... -Just put fat in it. | 0:38:59 | 0:39:02 | |
They said we gotta choose two options for the flavour. | 0:39:03 | 0:39:07 | |
'We have to create two different ice cream flavours' | 0:39:07 | 0:39:10 | |
and then we're going to let the public try 'em out | 0:39:10 | 0:39:13 | |
later in the day. Whichever one the public picks | 0:39:13 | 0:39:15 | |
is the one we'll go with. | 0:39:15 | 0:39:17 | |
You know those maple nut candies? | 0:39:17 | 0:39:20 | |
-Yup. -That's my favourite candy. | 0:39:20 | 0:39:23 | |
-OK. -What about red velvet? -Yup. -You've got red velvet stuff? | 0:39:23 | 0:39:26 | |
We've got red velvet background flavour, | 0:39:26 | 0:39:28 | |
we've got red velvet caramel, so we can really build you | 0:39:28 | 0:39:30 | |
-a lot of red velvet. -I like red velvet cake. -Awesome. | 0:39:30 | 0:39:33 | |
Yeah, let's do that. We do red velvet | 0:39:33 | 0:39:35 | |
-and we do maple nut, blah, blah, blah. -OK. | 0:39:35 | 0:39:38 | |
'We've come down to two of my own personal favourite things. | 0:39:38 | 0:39:41 | |
'I like red velvet cake.' | 0:39:41 | 0:39:44 | |
-What is that? -That's your red velvet. | 0:39:44 | 0:39:46 | |
Red velvet, look. | 0:39:46 | 0:39:48 | |
And my favourite candy is maple nut candy, | 0:39:48 | 0:39:52 | |
so we went with those two things. | 0:39:52 | 0:39:53 | |
I haven't tasted ice cream like this, ever. | 0:39:53 | 0:39:55 | |
I had a little, teeny, tiny, tiny little | 0:39:58 | 0:40:01 | |
minuscule scoop just to be able to taste to it. | 0:40:01 | 0:40:04 | |
Gary had his own pint, Gary, he was | 0:40:04 | 0:40:06 | |
our champion taste-tester on our team. | 0:40:06 | 0:40:09 | |
May the spoon be with you! | 0:40:09 | 0:40:11 | |
Especially when you have Delish ice cream. | 0:40:11 | 0:40:15 | |
# Maple Macadamia, Maple Macadamia | 0:40:17 | 0:40:20 | |
# Maple Macadamia, get one today! # | 0:40:20 | 0:40:23 | |
Gary was definitely on a sugar rush for a while. | 0:40:23 | 0:40:26 | |
Woo! | 0:40:26 | 0:40:27 | |
But what comes up must come down. | 0:40:29 | 0:40:31 | |
-Um... -SNORING | 0:40:31 | 0:40:33 | |
I just put elephant tranquiliser in Gary's ice cream sample. | 0:40:33 | 0:40:36 | |
I'm going to the pet store tonight and getting a shocking collar. | 0:40:38 | 0:40:42 | |
For Gary. | 0:40:42 | 0:40:43 | |
Well, I don't know what you agree on, | 0:40:53 | 0:40:55 | |
-cos it seems really good to me. -Woo! | 0:40:55 | 0:40:57 | |
Final task is a whopper! | 0:40:57 | 0:40:59 | |
I need tickets given out to where? | 0:40:59 | 0:41:02 | |
It's heavily celebrity-driven. | 0:41:02 | 0:41:05 | |
You get 50 tickets to sell for however much you want. | 0:41:05 | 0:41:09 | |
-You have people, Lisa? -OK, oh, my God, it rang. | 0:41:09 | 0:41:12 | |
You have exactly what we need. | 0:41:12 | 0:41:14 | |
So, we gotta get a lot of celebrities, a lot of people here. | 0:41:14 | 0:41:17 | |
Thinking about my jersey and a Derek Jeter jersey. | 0:41:17 | 0:41:19 | |
And we've got to get ka-ching ka-ching. | 0:41:19 | 0:41:22 | |
OK, so, what we want to do is, we want to see our images. | 0:41:22 | 0:41:26 | |
I can't look at these right now, but I'll call Wayne Newton, | 0:41:26 | 0:41:28 | |
that should not be too long of a call. | 0:41:28 | 0:41:31 | |
'As far as money is concerned,' | 0:41:31 | 0:41:32 | |
Trace can cast a very wide net. | 0:41:32 | 0:41:34 | |
-'Hello.' -Hello, can I speak to Wayne Newton, please? | 0:41:34 | 0:41:37 | |
This is Penn, Penn Jillette of Penn & Teller. | 0:41:37 | 0:41:39 | |
'I'm not wishing I'm going to win, I'm not hoping I'm going to win,' | 0:41:39 | 0:41:42 | |
I am working as hard as I can so I will win | 0:41:42 | 0:41:45 | |
250,000 to a charity that is close to my heart. | 0:41:45 | 0:41:49 | |
Wonderful. I am here with | 0:41:50 | 0:41:52 | |
Lisa Rinna, La Toya Jackson | 0:41:52 | 0:41:54 | |
and Dennis Rodman, I think all of whom you know. | 0:41:54 | 0:41:57 | |
-ALL: -Hi, Wayne! | 0:41:59 | 0:42:00 | |
I am a finalist for Opportunity Village, which, of course, | 0:42:00 | 0:42:02 | |
is your charity, | 0:42:02 | 0:42:04 | |
and if you would come and deliver a big cheque from Caesars | 0:42:04 | 0:42:08 | |
and try some ice cream and give, you know, Mr Las Vegas | 0:42:08 | 0:42:11 | |
a little run in New York City. Can you do that for us Monday? | 0:42:11 | 0:42:14 | |
'I mean, I'm asking an awful lot' | 0:42:29 | 0:42:32 | |
of Wayne, an awful lot. | 0:42:32 | 0:42:34 | |
Well, we hope you can make it, man. We'll look forward to seeing you. | 0:42:34 | 0:42:37 | |
I wasn't confident that Wayne Newton could make it. | 0:42:39 | 0:42:42 | |
The more famous the Vegas showperson is | 0:42:42 | 0:42:47 | |
'the less likely they are to be hanging out in New York.' | 0:42:47 | 0:42:50 | |
Thanks a lot, Wayne. | 0:42:50 | 0:42:51 | |
-BOTH: -Bye, Wayne! | 0:42:51 | 0:42:53 | |
-Bye-bye. -Oh, he'll come. | 0:42:55 | 0:42:56 | |
Team Trace! | 0:43:12 | 0:43:14 | |
-Hey, hi! -Hello, hello, hello! | 0:43:14 | 0:43:16 | |
-It smells great. -How you doing? | 0:43:16 | 0:43:18 | |
Hello, my darling. | 0:43:18 | 0:43:19 | |
'Joan Rivers. She's a feminine mystery | 0:43:19 | 0:43:22 | |
'and a feminine magical powerhouse.' | 0:43:22 | 0:43:25 | |
She fixed her hair up like she came from another galaxy. | 0:43:25 | 0:43:29 | |
She goes for the jugular when it's necessary. | 0:43:29 | 0:43:32 | |
That's what I respect about her. She doesn't pull punches. | 0:43:32 | 0:43:35 | |
-And my darling. -How are you, love? | 0:43:35 | 0:43:39 | |
This is, oh, look at this, this is why I'm glad I'm not in this team. | 0:43:39 | 0:43:44 | |
Indulge. | 0:43:44 | 0:43:45 | |
-Where are you along the line? -We are either going with | 0:43:45 | 0:43:48 | |
a Maple Macadamia or... | 0:43:48 | 0:43:51 | |
red velvet is my favourite cake, so we went with the red velvet cupcake. | 0:43:51 | 0:43:55 | |
They're going to be....civilians tasting this stuff. | 0:43:55 | 0:44:00 | |
We'll watch their faces. | 0:44:00 | 0:44:01 | |
We'll just watch their faces and see what kind of reaction we get. | 0:44:01 | 0:44:04 | |
-There's three distinct parts, kind of here. -Right. | 0:44:04 | 0:44:07 | |
The product, the video, which means your presentation... | 0:44:07 | 0:44:12 | |
-Right. -..and then it's the big party. -Right. | 0:44:12 | 0:44:14 | |
They probably have a leg up, just because... | 0:44:14 | 0:44:17 | |
Penn's got the biggest rolodex, ever. | 0:44:17 | 0:44:19 | |
Penn's got the biggest rolodex I've ever seen. | 0:44:19 | 0:44:21 | |
So, are you sitting down now and going through your rolodexes | 0:44:21 | 0:44:24 | |
-and saying... -Yes. -Who do you think you can get? | 0:44:24 | 0:44:27 | |
We're trying to do that. | 0:44:27 | 0:44:28 | |
So, who have you called on? | 0:44:28 | 0:44:30 | |
Tim McGraw turned me down, Blake Shelton. Toby's doing Leno that day, | 0:44:30 | 0:44:35 | |
so he's turned me down. | 0:44:35 | 0:44:37 | |
'Any time you're doing a fundraising task' | 0:44:37 | 0:44:39 | |
you're going to worry whether the donors | 0:44:39 | 0:44:42 | |
and the celebrities are going to show up, | 0:44:42 | 0:44:44 | |
'but I think I can probably compete with Penn.' | 0:44:44 | 0:44:48 | |
I wanted Big Show, the biggest wrestler I know, to come, | 0:44:48 | 0:44:51 | |
but he's in Spain. | 0:44:51 | 0:44:53 | |
It's very tough. | 0:44:53 | 0:44:54 | |
It is tough. | 0:44:54 | 0:44:55 | |
I think Team Trace doesn't have the star access | 0:44:55 | 0:45:00 | |
that Penn's team has. | 0:45:00 | 0:45:02 | |
I mean, country and western, Marilu, | 0:45:02 | 0:45:05 | |
half of her friends are dead already. | 0:45:05 | 0:45:08 | |
Gary Busey, I don't think his Christmas card list is gigantic. | 0:45:08 | 0:45:11 | |
-See you at the party. -Yeah. -Yes, ma'am. -Bye. | 0:45:11 | 0:45:15 | |
OK, now we really have to do this. | 0:45:18 | 0:45:20 | |
What are the images we want? | 0:45:31 | 0:45:33 | |
Las Vegas, top hat, bunny. | 0:45:33 | 0:45:36 | |
-There's no mystery here. -OK. | 0:45:36 | 0:45:38 | |
But in the bottom of the container - poof, it's gone. | 0:45:38 | 0:45:44 | |
Cute! | 0:45:44 | 0:45:46 | |
-I know I am, but it's also a good idea. -Cute! | 0:45:46 | 0:45:48 | |
-I know I am but it's also a good idea. -Cute! | 0:45:48 | 0:45:51 | |
Super-cute. Super-good. | 0:45:51 | 0:45:55 | |
One of those extra touches that you just go... | 0:45:55 | 0:45:58 | |
Poof, it's gone! | 0:45:58 | 0:45:59 | |
Or disappeared or whatever. | 0:45:59 | 0:46:01 | |
Those are those beautiful creative moments in advertising | 0:46:01 | 0:46:04 | |
and branding that just might come through you. | 0:46:04 | 0:46:07 | |
Poof, it's gone. | 0:46:07 | 0:46:08 | |
THEY LAUGH | 0:46:08 | 0:46:11 | |
'I think Penn is a genius writer. It just comes through him.' | 0:46:11 | 0:46:14 | |
He's better than anybody at it. | 0:46:14 | 0:46:16 | |
-Ta-da. -Hello, Joan! | 0:46:17 | 0:46:20 | |
So are you all just dying cos of calories? | 0:46:20 | 0:46:23 | |
Takes more calories than you have just to keep me alive for a day. | 0:46:23 | 0:46:27 | |
Team Penn. | 0:46:27 | 0:46:29 | |
I love Joan Rivers. She's been there, she's done it. | 0:46:29 | 0:46:32 | |
To have the only female that's won Celebrity Apprentice come in | 0:46:32 | 0:46:37 | |
with her wisdom, I mean, please - Joan knows how to work it | 0:46:37 | 0:46:42 | |
like nobody's business and I admire her greatly. | 0:46:42 | 0:46:45 | |
Dennis, you know, is very flamboyant. | 0:46:45 | 0:46:47 | |
He's like a black Liberace. | 0:46:47 | 0:46:49 | |
LAUGHTER | 0:46:49 | 0:46:51 | |
-But we had great times working together. -We sure did. We sure did. | 0:46:51 | 0:46:56 | |
Dennis, what you see is not what you get. | 0:46:56 | 0:46:59 | |
-That's right. -Yeah, I know. | 0:46:59 | 0:47:01 | |
-So, happy, not happy? -Deliriously happy, I think. | 0:47:01 | 0:47:05 | |
We are doing a Vegas magic theme. | 0:47:05 | 0:47:08 | |
-Which means? Calories disappear? -Yeah, exactly. -Yeah! | 0:47:08 | 0:47:12 | |
We have a delicious new vanilla chocolate magic "swirtle" ice cream. | 0:47:12 | 0:47:17 | |
And swirtle is a combination, | 0:47:17 | 0:47:19 | |
a little turtle candy with a swirl of chocolate. | 0:47:19 | 0:47:22 | |
The other one is sin city, then we got Wayne Newton coming in. | 0:47:22 | 0:47:25 | |
-To the party? -Yes. -That's amazing! | 0:47:25 | 0:47:29 | |
There is a small problem. | 0:47:29 | 0:47:32 | |
Wayne Newton said on the phone, "Count on me," | 0:47:32 | 0:47:36 | |
BUT he as a parade in Arizona. | 0:47:36 | 0:47:40 | |
He said, "Count on me..." | 0:47:40 | 0:47:41 | |
This task, they want celebrities, | 0:47:41 | 0:47:44 | |
so the wheels are turning and you're going, | 0:47:44 | 0:47:47 | |
"Wow, is Wayne Newton going to make it?" | 0:47:47 | 0:47:50 | |
-You just don't know. -I'll probably have, on top of that, | 0:47:50 | 0:47:54 | |
Debbie Harry, Dick Cavett, a few other friends coming in. | 0:47:54 | 0:47:57 | |
-You're all friends? -Just like you love all the other comics. | 0:47:57 | 0:48:00 | |
I love all the other comics(!) | 0:48:00 | 0:48:02 | |
LAUGHTER | 0:48:02 | 0:48:04 | |
-So you guys are in very good shape, then? -Yeah, we think so. | 0:48:04 | 0:48:07 | |
We think so. | 0:48:07 | 0:48:09 | |
You know, we were originally called Plan B and as you know, | 0:48:09 | 0:48:13 | |
things always crash and burn and talk to me tomorrow when | 0:48:13 | 0:48:15 | |
Wayne Newton's fallen through. | 0:48:15 | 0:48:17 | |
I think Penn's magic, Vegas concept is...brilliant. | 0:48:17 | 0:48:22 | |
The only negative I saw, really, | 0:48:22 | 0:48:25 | |
in Penn's group was that we all know celebrities say yes, yes, yes, | 0:48:25 | 0:48:29 | |
and then suddenly, "Well, I couldn't make it." | 0:48:29 | 0:48:31 | |
It's wonderful, great, I look forward to the party. | 0:48:31 | 0:48:35 | |
Yeah, and the ice cream. Which you will eat, what, like a half a spoon? | 0:48:35 | 0:48:38 | |
Whatever they put in their mouths, I would put in my mouth. | 0:48:38 | 0:48:42 | |
-And that's your rule for life, isn't it? -That's my rule for life. | 0:48:42 | 0:48:45 | |
LAUGHTER | 0:48:45 | 0:48:47 | |
# Let's go | 0:48:57 | 0:48:58 | |
# Feeling good | 0:48:58 | 0:49:00 | |
# Don't believe | 0:49:00 | 0:49:01 | |
# What you would | 0:49:01 | 0:49:03 | |
# Do if you didn't have the Maple Macadamia Nut | 0:49:03 | 0:49:06 | |
# Hey, hey... # | 0:49:06 | 0:49:08 | |
HE SINGS INCOHERENTLY | 0:49:08 | 0:49:10 | |
OK, Gary, come on, you and I gotta go to the taste test thing. | 0:49:10 | 0:49:14 | |
OK. | 0:49:14 | 0:49:15 | |
Trace decided that he and Gary would go to do the taste test. | 0:49:15 | 0:49:19 | |
Really, really look at their faces. | 0:49:19 | 0:49:21 | |
-You know? -Yeah. That'll give us a good signal what to do. -Mm-hm. | 0:49:21 | 0:49:27 | |
So he and Gary went and I said, "Make sure you look at their faces. | 0:49:27 | 0:49:31 | |
"When somebody tastes the ice cream, make sure you're getting | 0:49:31 | 0:49:33 | |
"the reaction from the way they're responding to it." | 0:49:33 | 0:49:37 | |
We're going to Duane Reade, | 0:49:37 | 0:49:40 | |
we're going to watch them taste our ice cream. | 0:49:40 | 0:49:43 | |
-OK, we want to watch their faces. -Yeah, and see which one they prefer. | 0:49:43 | 0:49:46 | |
I'm really good at watching people's faces, no matter what they're doing, | 0:49:46 | 0:49:50 | |
to get an expression off of that that I can use in | 0:49:50 | 0:49:52 | |
my improvisational spontaneity creative art. | 0:49:52 | 0:49:55 | |
-Repeat that. -No. | 0:49:56 | 0:49:58 | |
GARY LAUGHS | 0:49:58 | 0:50:00 | |
-SHOUTING: -We have an ice cream tasting contest! | 0:50:01 | 0:50:05 | |
Right back here in the corner of the store! | 0:50:05 | 0:50:08 | |
When it came time for us to go to the location and do | 0:50:08 | 0:50:12 | |
the actual taste test, | 0:50:12 | 0:50:14 | |
there wasn't even a question in my mind | 0:50:14 | 0:50:16 | |
I was going to take Gary with me. | 0:50:16 | 0:50:18 | |
-SHOUTING: -Feel free to come and eat some free ice cream! | 0:50:18 | 0:50:22 | |
And your face will tell us how you like it! | 0:50:22 | 0:50:25 | |
-TRACE LAUGHS -OK. Good. | 0:50:25 | 0:50:29 | |
'I was already fairly certain which one I was going to go with, | 0:50:29 | 0:50:33 | |
'but I wanted to see' | 0:50:33 | 0:50:35 | |
the reaction of these people. | 0:50:35 | 0:50:37 | |
Keep control of yourself. Come on, folks. | 0:50:37 | 0:50:39 | |
This is Red Velvet and this is Maple Macadamia Nut. | 0:50:39 | 0:50:43 | |
Isn't that good? | 0:50:43 | 0:50:45 | |
-I like it. -That's one! -Yummy, creamy. | 0:50:45 | 0:50:48 | |
When you walk through the streets, tell people how good | 0:50:48 | 0:50:51 | |
Delish maple ice cream is. | 0:50:51 | 0:50:53 | |
-Well, they can't have that yet. -Huh? -They can't get that yet. | 0:50:53 | 0:50:56 | |
-Why can't they? -They just can't. | 0:50:56 | 0:50:58 | |
-Why? -Cos we just invented it. -Oh, we just invented it. | 0:50:58 | 0:51:00 | |
-You did not really just invent it. -Yeah, we did, too. -Liars. | 0:51:00 | 0:51:03 | |
Yeah, we did. Another Maple Macadamia. | 0:51:03 | 0:51:06 | |
Come on up, those who want a free punch of ice cream! | 0:51:06 | 0:51:10 | |
Which one do you like? | 0:51:10 | 0:51:11 | |
-Maple. -See? All right, good. -OK. | 0:51:11 | 0:51:16 | |
OK, get ready. | 0:51:16 | 0:51:18 | |
Change. | 0:51:18 | 0:51:19 | |
-That's pretty good. -Mark down maple! | 0:51:21 | 0:51:23 | |
-What's your favourite? -I like this one. | 0:51:23 | 0:51:26 | |
-You like the Red Velvet? -You like Red Velvet. -Mm-hm. | 0:51:26 | 0:51:28 | |
-She's a Red Velvet fan. -OK. Red Velvet. | 0:51:28 | 0:51:31 | |
One woman came in, very attractive, | 0:51:31 | 0:51:34 | |
and she had the honest, authentic look of a Red Velvet queen. | 0:51:34 | 0:51:40 | |
She liked Red Velvet. Everyone else went for Maple Macadamia. | 0:51:40 | 0:51:46 | |
It's the Maple Macadamia. 9-1. 9-1 over Red Velvet. | 0:51:46 | 0:51:51 | |
-Yeah, that's the one we're going with. -OK. All right, bye. | 0:51:51 | 0:51:56 | |
Yay! | 0:51:56 | 0:51:58 | |
# Maple Macadamia | 0:51:58 | 0:51:59 | |
# Maple Macadamia, get one today! # | 0:51:59 | 0:52:02 | |
I know you're in a hurry but it'll take two seconds just to sample it | 0:52:05 | 0:52:08 | |
-and tell me what you think. -Let me give it a shot. -OK, great. | 0:52:08 | 0:52:11 | |
Hold on, sorry, Melissa... | 0:52:11 | 0:52:13 | |
Oh. Dennis. How we doing? | 0:52:13 | 0:52:16 | |
Dennis and I went over to Walgreens. | 0:52:16 | 0:52:19 | |
We want to test the people and see which flavour they prefer - | 0:52:19 | 0:52:22 | |
Sin City or the Magic Swirtle. | 0:52:22 | 0:52:25 | |
-Can you tell me what you like about it? -I like the fudge. | 0:52:25 | 0:52:29 | |
"I love the fudge." | 0:52:29 | 0:52:31 | |
Would you like to sample some ice cream? | 0:52:31 | 0:52:33 | |
-Is there a whopper in there? -The swirtle is mixed with chocolate. | 0:52:33 | 0:52:36 | |
-It's so good. -Right, right? | 0:52:36 | 0:52:38 | |
Can I just take the whole tub or...? | 0:52:38 | 0:52:40 | |
Everybody likes the chocolate. | 0:52:40 | 0:52:42 | |
It's very interesting when people try the ice cream, | 0:52:42 | 0:52:44 | |
everyone's palate is different. | 0:52:44 | 0:52:46 | |
-Ice cream... -This one, it's called the swirtle. | 0:52:46 | 0:52:48 | |
-Did an excellent job making it. -Thank you. | 0:52:48 | 0:52:51 | |
-It's creamy and delicious. -Look at this guy. | 0:52:51 | 0:52:53 | |
All the people, everyone loved the Magic Swirtle. | 0:52:53 | 0:52:56 | |
-Did you make these? -Yes, we did. -Today. | 0:52:56 | 0:52:59 | |
-A new profession for you? -Yes. | 0:52:59 | 0:53:01 | |
LAUGHTER | 0:53:01 | 0:53:02 | |
-I like the swirtle. -You like the swirtle? | 0:53:02 | 0:53:04 | |
I thought Magic Swirtle was absolutely great and that was | 0:53:04 | 0:53:07 | |
my choice. I knew it would win everything. | 0:53:07 | 0:53:10 | |
-So who's the winner? -Who do you think? | 0:53:10 | 0:53:13 | |
You can see it - the swirtle. | 0:53:13 | 0:53:14 | |
I should call them and let them know. | 0:53:14 | 0:53:17 | |
-'Hello?' -Hi, Penn? | 0:53:17 | 0:53:19 | |
-Yes. -Basically, everybody loves the swirtle. OK. | 0:53:19 | 0:53:23 | |
Put a couple on there. | 0:53:23 | 0:53:25 | |
Everybody loved the swirtle more than the other. | 0:53:25 | 0:53:28 | |
They loved it for being crunchy and creamy. | 0:53:28 | 0:53:30 | |
Report back was that people loved the swirtle. | 0:53:30 | 0:53:33 | |
They were digging the swirtle. They were down with the swirtle. | 0:53:33 | 0:53:35 | |
They were chillin' with the swirtle. | 0:53:35 | 0:53:37 | |
The big problem on this is it's a little hard to understand | 0:53:37 | 0:53:41 | |
-"swirtle" if you don't know "turtle". -I know. | 0:53:41 | 0:53:44 | |
But, you know, you don't want to eat something you don't know what it is. | 0:53:44 | 0:53:47 | |
I don't think we have as strong a name as we thought we did. | 0:53:47 | 0:53:50 | |
-I hope we have really good ice cream and really a lot of money. -Yeah. | 0:53:50 | 0:53:53 | |
All of a sudden I got really worried | 0:53:53 | 0:53:55 | |
that swirtle would be too mysterious. | 0:53:55 | 0:53:58 | |
-Swirtle's cute, but I'm a little... -It is. -It's cute. | 0:53:58 | 0:54:02 | |
Still felt like that swirtle was hanging out there all pink and naked | 0:54:02 | 0:54:05 | |
and I didn't want people to be confused. | 0:54:05 | 0:54:08 | |
What do you think would be stronger? | 0:54:08 | 0:54:10 | |
If I do think of something stronger right now I'll just kill myself. | 0:54:13 | 0:54:17 | |
-Don't do that. -I mean, that's... We're stuck with swirtle. | 0:54:17 | 0:54:21 | |
Have we come up with any names? | 0:54:27 | 0:54:30 | |
Either "ravishing" or something, or something...Maple Macadamia Medley. | 0:54:30 | 0:54:34 | |
'I like to think of the final task as the greatest hits task. | 0:54:34 | 0:54:38 | |
'The first day was the ice cream flavour, | 0:54:38 | 0:54:40 | |
'the second was the commercial and the third was the party. | 0:54:40 | 0:54:44 | |
'So we had a lot to do in a very short period of time. | 0:54:44 | 0:54:46 | |
'And Trace knew Lil Jon was going to deliver on the commercial.' | 0:54:46 | 0:54:50 | |
It was just, what's the commercial going to be? | 0:54:50 | 0:54:52 | |
And of course that started with the flavour. | 0:54:52 | 0:54:54 | |
Maple Macadamia Medley. Or Mashup. | 0:54:54 | 0:54:57 | |
Maple Macadamia Mashup. | 0:54:57 | 0:55:01 | |
-That's what you said? -Yeah, Maple Macadamia Mashup. | 0:55:01 | 0:55:05 | |
That's not bad. | 0:55:05 | 0:55:07 | |
-Match up? -Mashup is like a mashup, | 0:55:07 | 0:55:09 | |
it's like, it's two things put together. | 0:55:09 | 0:55:11 | |
They put two totally different songs together... | 0:55:11 | 0:55:13 | |
-What about mix and match...? -..mashing 'em up. | 0:55:13 | 0:55:16 | |
Mashup - where you take two flavours, | 0:55:16 | 0:55:18 | |
two songs or whatever and blend them together. | 0:55:18 | 0:55:20 | |
Or two anything and blend them together. | 0:55:20 | 0:55:23 | |
It...sounds like potatoes when I hear it. | 0:55:23 | 0:55:26 | |
It's not. Not to a younger crowd. | 0:55:26 | 0:55:28 | |
I think Marilu said mashup or Lil Jon said mashup. | 0:55:28 | 0:55:32 | |
Yeah, that's cool. It's perfect, actually, | 0:55:32 | 0:55:35 | |
because of social media, the youth element, it's perfect. | 0:55:35 | 0:55:40 | |
Think it should be you getting filmed on the viral video. | 0:55:40 | 0:55:44 | |
Like, people will tweet you doing something with the ice cream... | 0:55:44 | 0:55:47 | |
to the next person. I just think that makes sense. | 0:55:47 | 0:55:49 | |
Especially after the dog thing. | 0:55:49 | 0:55:52 | |
I definitely know how to utilise Gary to the fullest. | 0:55:54 | 0:55:57 | |
When I heard we had to do a video concept, I was like, | 0:55:57 | 0:56:00 | |
"We gotta use Gary in it." | 0:56:00 | 0:56:01 | |
What if he's eating a ice cream and he does it - Gary's eating | 0:56:01 | 0:56:05 | |
the ice cream and he starts to do the Busey dance. | 0:56:05 | 0:56:08 | |
Because he likes the ice cream so much. | 0:56:08 | 0:56:10 | |
And then it turns into a craze. | 0:56:10 | 0:56:12 | |
I can make up the Busey dance. | 0:56:12 | 0:56:14 | |
It will scare you and make you laugh. | 0:56:14 | 0:56:17 | |
"Whoa, God, what is that?!" | 0:56:17 | 0:56:20 | |
It's definitely realistic for him to be doing something crazy, | 0:56:20 | 0:56:24 | |
and that's a viral video. | 0:56:24 | 0:56:26 | |
You should start working on some moves. | 0:56:26 | 0:56:29 | |
Let me go out here. | 0:56:31 | 0:56:33 | |
I like that. | 0:56:40 | 0:56:42 | |
We want Gary to do some kind of goofy dance. | 0:56:44 | 0:56:47 | |
And then all of a sudden it becomes a viral thing that catches on, | 0:56:47 | 0:56:51 | |
like Gangnam, that kind of thing. | 0:56:51 | 0:56:54 | |
I want to put him in Speedo, myself. | 0:56:54 | 0:56:57 | |
Or a thong! | 0:56:57 | 0:56:59 | |
Oh, don't worry, it's going to come. | 0:56:59 | 0:57:01 | |
Oh, my goodness. | 0:57:01 | 0:57:03 | |
What do you say, you want to dance with me? | 0:57:03 | 0:57:06 | |
Not yet. I don't think you've hit on it yet. | 0:57:06 | 0:57:08 | |
It's day two of the final task. | 0:57:17 | 0:57:19 | |
-So this is our room. -Hello, everybody. -Very nice. | 0:57:19 | 0:57:23 | |
And the task is to design, create an ice cream, | 0:57:23 | 0:57:26 | |
do all the packaging for the ice cream, | 0:57:26 | 0:57:28 | |
do a video about the ice cream, and then invite a bunch of people to | 0:57:28 | 0:57:32 | |
the event to pay ridiculous amounts of money to be around the ice cream. | 0:57:32 | 0:57:36 | |
-American Atheists coming through. -Good. | 0:57:36 | 0:57:39 | |
And we made really good ice cream. | 0:57:39 | 0:57:42 | |
-Where's...? -Here we go. -I like it. | 0:57:42 | 0:57:46 | |
After I had the name, Vanilla Chocolate Magic Swirtle, | 0:57:46 | 0:57:50 | |
I was worried people would say, "What is a magic swirtle?" | 0:57:50 | 0:57:54 | |
So I decided to hang a lantern on that, | 0:57:54 | 0:57:56 | |
which is what you always do in magic and comedy. | 0:57:56 | 0:57:59 | |
"What is a swirtle? It's a good, delish, sweet and salty, | 0:57:59 | 0:58:02 | |
"creamy and crunch, rich Madagascar vanilla ice cream | 0:58:02 | 0:58:04 | |
"with a sea salt chocolate swirl and chunks of chocolate caramel candy." | 0:58:04 | 0:58:08 | |
So I put in, "What is a magic swirtle?" as our kind of slogan. | 0:58:08 | 0:58:12 | |
When you have something you really don't want and you're | 0:58:12 | 0:58:15 | |
insecure about, you make sure you put it right out in the front | 0:58:15 | 0:58:18 | |
so no-one else can bust you on it. | 0:58:18 | 0:58:20 | |
I like it. | 0:58:20 | 0:58:21 | |
'It's as easy as that.' | 0:58:21 | 0:58:23 | |
And people will be sucking it down like it were black tar heroin. | 0:58:23 | 0:58:27 | |
Wow. | 0:58:27 | 0:58:29 | |
Ah. There's Teller. | 0:58:29 | 0:58:31 | |
-You're in the right place. -Oh, great. -And show folk. | 0:58:31 | 0:58:34 | |
The showgirls! | 0:58:34 | 0:58:36 | |
-How you been? -Great. -Hi, I'm La Toya. | 0:58:36 | 0:58:39 | |
'The idea of this commercial, | 0:58:39 | 0:58:41 | |
'which is the magic and the Las Vegas theme' | 0:58:41 | 0:58:43 | |
with Penn and Teller, his partner, and of course the Vegas showgirls. | 0:58:43 | 0:58:47 | |
It's all come together as one, as a swirtle. | 0:58:47 | 0:58:49 | |
What we need to do is get some idea of what your outfits look like. | 0:58:49 | 0:58:53 | |
Wonderful. Let's take a look. | 0:58:53 | 0:58:55 | |
Oh, look at you girls! You look beautiful! | 0:58:55 | 0:58:58 | |
I love it! Oh, my gosh! | 0:58:58 | 0:59:00 | |
Vegas versus Nashville at just about anything, Vegas wins. | 0:59:00 | 0:59:05 | |
I hope that Mr trump says, "OK, they're not kidding around!" | 0:59:05 | 0:59:09 | |
HE LAUGHS | 0:59:09 | 0:59:11 | |
Cos look at that. | 0:59:11 | 0:59:12 | |
I'm excited because I've never seen a showgirl close and personal | 0:59:12 | 0:59:16 | |
and if I was gay, I would have jumped through the roof. | 0:59:16 | 0:59:19 | |
Really. | 0:59:19 | 0:59:21 | |
Penn? It's fantastic. | 0:59:21 | 0:59:23 | |
And on the monitor it's un-BLEEP-believable. | 0:59:23 | 0:59:27 | |
The visual of having four showgirls with Penn and Teller sold it. 100%. | 0:59:27 | 0:59:33 | |
This is like a morning TV show. | 0:59:33 | 0:59:34 | |
LAUGHTER | 0:59:34 | 0:59:37 | |
This is it, yep. | 0:59:40 | 0:59:42 | |
Oh, it is. Oh, so, yeah. | 0:59:42 | 0:59:43 | |
We have a lot to do. I mean, we have very little time to do it in and if | 0:59:43 | 0:59:47 | |
I was managing I would be getting | 0:59:47 | 0:59:50 | |
nervous right about now, but... | 0:59:50 | 0:59:52 | |
You know, a cowboy's in charge. | 0:59:52 | 0:59:54 | |
So, first set up - couch, grandfather, granddaughter. | 0:59:54 | 0:59:59 | |
She explains the mashup to him. | 0:59:59 | 1:00:02 | |
And he goes, "Oh! | 1:00:02 | 1:00:04 | |
"You mean like combining a new dance and an old dance?" | 1:00:04 | 1:00:07 | |
And then he goes, "Oh, so mashup is like combining those two things?" | 1:00:07 | 1:00:11 | |
And then he does it and she goes, "Wait, wait! Stop!" | 1:00:11 | 1:00:13 | |
She grabs her phone, says, "Do it again!" | 1:00:13 | 1:00:16 | |
He does it again. That's where it goes viral. | 1:00:16 | 1:00:18 | |
That's when her friends start picking it up. | 1:00:18 | 1:00:21 | |
-You feeling me? -Mm-hm. | 1:00:21 | 1:00:23 | |
Huh? How about that what I just said? | 1:00:23 | 1:00:25 | |
-That was -BLEEP, -right, huh? Are you feeling me? | 1:00:25 | 1:00:27 | |
We had a concept but we didn't have the dance, | 1:00:27 | 1:00:30 | |
which was going to be the important part of the commercial, | 1:00:30 | 1:00:33 | |
because the dance is what's supposed to be | 1:00:33 | 1:00:36 | |
so fabulous that it goes viral. | 1:00:36 | 1:00:38 | |
You should probably go stretch. | 1:00:38 | 1:00:40 | |
-Yeah. -Go stretch. | 1:00:40 | 1:00:43 | |
GARY GROANS | 1:00:48 | 1:00:51 | |
Trace tells Gary at one point, | 1:00:53 | 1:00:55 | |
"Gary, go ahead on over there | 1:00:55 | 1:00:57 | |
"and stretch so you can be ready." | 1:00:57 | 1:00:59 | |
And Gary is on this crazy stretching regimen | 1:00:59 | 1:01:03 | |
and doing all these stretches and talking to himself. | 1:01:03 | 1:01:06 | |
Whoosh! | 1:01:06 | 1:01:08 | |
Sometimes something's so off-the-wall, | 1:01:08 | 1:01:11 | |
we think of as out of the box. | 1:01:11 | 1:01:13 | |
Gary just thinks of it as normal. | 1:01:13 | 1:01:16 | |
OK? | 1:01:16 | 1:01:17 | |
GARY RAMBLES AND GROANS | 1:01:17 | 1:01:21 | |
Sometimes, those kinds of ideas can be pure genius, | 1:01:30 | 1:01:37 | |
and that's how you win. | 1:01:37 | 1:01:39 | |
HE GROANS | 1:01:39 | 1:01:41 | |
All right, Jon, that's good. Are we ready to shoot? | 1:01:51 | 1:01:54 | |
We've got to write the script. | 1:01:54 | 1:01:56 | |
Trace's task this week is to create a new ice-cream flavour | 1:01:56 | 1:02:01 | |
for the Walgreens Delish brand. | 1:02:01 | 1:02:06 | |
The dialogue he does at the top with her | 1:02:06 | 1:02:09 | |
-is about it. -And that's where we establish the product, too. | 1:02:09 | 1:02:13 | |
We have only three days to come up with the ice cream, | 1:02:13 | 1:02:18 | |
shoot a commercial and put on a launch event. | 1:02:18 | 1:02:21 | |
That's a lot of pressure, people. | 1:02:21 | 1:02:23 | |
How does your dance look, Jon? | 1:02:23 | 1:02:25 | |
I think we're still tweaking it. | 1:02:25 | 1:02:27 | |
Still figuring it out. | 1:02:27 | 1:02:28 | |
My main duty in this task was to get this video shot and edited, | 1:02:28 | 1:02:33 | |
because that is one of the main criteria we're getting judged on. | 1:02:33 | 1:02:37 | |
So I had to really nail it. | 1:02:37 | 1:02:38 | |
We've got to figure how you can dance with something in your hands. | 1:02:38 | 1:02:41 | |
Maybe it should be something with your shoulders? | 1:02:41 | 1:02:44 | |
Elbows. Shoulders or some elbows. | 1:02:44 | 1:02:46 | |
Can you do this? You're turning up, Gary. | 1:02:50 | 1:02:53 | |
Mashup was good, because that's what live is. | 1:02:53 | 1:02:55 | |
Live is a mashup, | 1:02:55 | 1:02:57 | |
because, in truth, you never know | 1:02:57 | 1:02:58 | |
where you're going to go. | 1:02:58 | 1:03:00 | |
Everybody has mashup in them, you know? | 1:03:00 | 1:03:02 | |
And that's why it'll be a top seller on the show for Walgreens. | 1:03:02 | 1:03:06 | |
We ought to do something. | 1:03:11 | 1:03:14 | |
Gary, just going through | 1:03:15 | 1:03:17 | |
all these different dance moves | 1:03:17 | 1:03:19 | |
and stuff is pretty classic. | 1:03:19 | 1:03:21 | |
It's pretty damn funny, | 1:03:21 | 1:03:23 | |
seeing Gary Busey dancing to a hip-hop beat. | 1:03:23 | 1:03:26 | |
So I'm going to do the twist, and then I'm going to go... | 1:03:26 | 1:03:29 | |
That way, you can watch everything in your body. | 1:03:33 | 1:03:36 | |
What did you do? Did you just fart? | 1:03:36 | 1:03:37 | |
Did I?! | 1:03:37 | 1:03:39 | |
That means she did this. | 1:03:39 | 1:03:40 | |
Mashup, two dances, | 1:03:40 | 1:03:42 | |
an old dance and a new dance, | 1:03:42 | 1:03:44 | |
together. Two is tandem. | 1:03:44 | 1:03:47 | |
Two is powerful. | 1:03:47 | 1:03:49 | |
Two is one with your God. | 1:03:49 | 1:03:51 | |
Is Gary awake? | 1:03:58 | 1:04:00 | |
HE SNORES | 1:04:00 | 1:04:02 | |
-Marilu? -Yes? | 1:04:02 | 1:04:04 | |
Can you help me get our actor on the set? | 1:04:04 | 1:04:08 | |
Yes, I can. | 1:04:08 | 1:04:10 | |
Gary? | 1:04:10 | 1:04:11 | |
Mr Busey, can you please come to the set? | 1:04:11 | 1:04:15 | |
-What? -We're going to have a take, OK? | 1:04:15 | 1:04:17 | |
-HE COUGHS -Are you OK? Are you OK? | 1:04:17 | 1:04:19 | |
-Be quick, Gary. -We're ready for your dance. | 1:04:19 | 1:04:21 | |
-Oh, God... -We're ready for your close-up, Mr DeMille(!) | 1:04:21 | 1:04:25 | |
Can we get Gary's ice cream ready? | 1:04:25 | 1:04:27 | |
OK... OK! | 1:04:27 | 1:04:29 | |
Hi. We're Penn and Teller. | 1:04:31 | 1:04:33 | |
We're also known as sweet and salty. | 1:04:33 | 1:04:35 | |
Fresh and creamy... | 1:04:35 | 1:04:37 | |
It's like cream, sugar... | 1:04:37 | 1:04:39 | |
I need cue cards. | 1:04:39 | 1:04:41 | |
-You need cue cards? -Yeah. -OK. | 1:04:41 | 1:04:43 | |
Yeah. Cos I don't want to memorise this one thing | 1:04:43 | 1:04:45 | |
-above everything else. -Let's do it. | 1:04:45 | 1:04:47 | |
I can guarantee you that Trace is doing a great job, | 1:04:47 | 1:04:50 | |
so I can't screw up. | 1:04:50 | 1:04:52 | |
Have you seen any pieces of cardboard that could be used | 1:04:52 | 1:04:54 | |
as cue cards around? | 1:04:54 | 1:04:56 | |
You don't have any whiteboard, do you? | 1:04:56 | 1:04:58 | |
I actually called Walgreens the wrong name. | 1:04:58 | 1:05:01 | |
I'm going to try not make the mistake this time. | 1:05:01 | 1:05:04 | |
So I decided to write on the back of Walgreens' signs. | 1:05:04 | 1:05:07 | |
OK. | 1:05:07 | 1:05:08 | |
Someone has the hardest job in the world doing these cue cards for me. | 1:05:08 | 1:05:12 | |
-I can do it. -Yeah. | 1:05:12 | 1:05:13 | |
Penn felt more comfortable | 1:05:13 | 1:05:15 | |
having cue cards. | 1:05:15 | 1:05:16 | |
-Can you see it? Is it level? -Uh...no. | 1:05:16 | 1:05:18 | |
So I then became the cue card girl. | 1:05:18 | 1:05:21 | |
"Sugar! Madagascar vanilla!" | 1:05:21 | 1:05:24 | |
You've got to go faster on that one. | 1:05:24 | 1:05:26 | |
"Do try this at home." | 1:05:26 | 1:05:28 | |
You were behind me on a lot of them. | 1:05:28 | 1:05:30 | |
I'm very sorry. Was I behind you? | 1:05:30 | 1:05:32 | |
-OK. -You don't have the right card. | 1:05:32 | 1:05:33 | |
I do... I took the wrong one, sorry! | 1:05:33 | 1:05:35 | |
'I've never held cue cards.' | 1:05:35 | 1:05:37 | |
There is an art to it. | 1:05:37 | 1:05:39 | |
The way they write them and hold them. | 1:05:39 | 1:05:41 | |
-Do you want to do it on the chair? Would it be easier for you? -No. | 1:05:41 | 1:05:44 | |
Well, what I need is someone next to me to hand off to. | 1:05:44 | 1:05:47 | |
"We better show you the secret of | 1:05:47 | 1:05:49 | |
"delicious crunchy vanilla-chocolate Magic Swirtle." | 1:05:49 | 1:05:53 | |
That was perfect. | 1:05:53 | 1:05:54 | |
It was challenging, but I got it down. | 1:05:54 | 1:05:57 | |
That's good. OK. | 1:05:57 | 1:05:58 | |
The same spot we were talking about. | 1:06:02 | 1:06:05 | |
Action, Gary. | 1:06:07 | 1:06:09 | |
Grandpa, I just found this new ice cream. | 1:06:09 | 1:06:12 | |
It's delish. Try it. | 1:06:12 | 1:06:14 | |
-"Maple Macadamia Mashup"? What is a mashup? -Hmm... | 1:06:14 | 1:06:17 | |
And cut! | 1:06:17 | 1:06:19 | |
The first set-up is where the main part | 1:06:19 | 1:06:22 | |
of our commercial happens, | 1:06:22 | 1:06:24 | |
so of course we are going to be there longer. | 1:06:24 | 1:06:27 | |
OK! | 1:06:30 | 1:06:32 | |
And we've got to get all the different camera angles | 1:06:34 | 1:06:36 | |
and, you know, POVs | 1:06:36 | 1:06:38 | |
and reverses. | 1:06:38 | 1:06:40 | |
Sometimes you shoot 10, 20 takes. | 1:06:40 | 1:06:43 | |
So that's pretty tough, especially for Gary. | 1:06:48 | 1:06:51 | |
Cut! | 1:06:51 | 1:06:53 | |
You can space out a little bit, cos this is wide. | 1:06:53 | 1:06:55 | |
-Yeah. -So we've got a wide framing? | 1:06:55 | 1:06:58 | |
-Yeah. -What size do you have on? | 1:06:58 | 1:06:59 | |
-I'm shooting at an 8mm... -Thanks very much. That's why. | 1:06:59 | 1:07:03 | |
So, yeah. | 1:07:03 | 1:07:04 | |
There are no words to describe Gary Busey. | 1:07:04 | 1:07:06 | |
He's hilarious and he comes up with | 1:07:06 | 1:07:08 | |
so many crazy things, | 1:07:08 | 1:07:10 | |
but when you get him in his right element, | 1:07:10 | 1:07:13 | |
oh, my gosh, he's a genius. | 1:07:13 | 1:07:14 | |
-GARY: -I was doing this... | 1:07:14 | 1:07:16 | |
..and then twist. | 1:07:18 | 1:07:20 | |
And now I'm thinking this, twist. | 1:07:20 | 1:07:23 | |
Yeah, that's better. That's better. | 1:07:23 | 1:07:24 | |
We'll quicken it. That'll give you time to get in there. | 1:07:24 | 1:07:27 | |
-All right. Are you all ready? -Thank you very much. | 1:07:27 | 1:07:30 | |
And he threw himself into this whole dance idea, | 1:07:30 | 1:07:32 | |
and then you really got to see him act as well. | 1:07:32 | 1:07:36 | |
'It was great to see that brilliance being used.' | 1:07:36 | 1:07:40 | |
-Lil Jon! -Yes, sir! | 1:07:40 | 1:07:41 | |
Do we need Rachel holding an ice cream? | 1:07:41 | 1:07:44 | |
No. Uh...yeah. | 1:07:44 | 1:07:46 | |
She's got to start from there. | 1:07:46 | 1:07:48 | |
-You got her dance into frame. -Yeah. | 1:07:48 | 1:07:50 | |
When he's given an opportunity to shine | 1:07:50 | 1:07:52 | |
in the things that he does well, he's the brightest star. | 1:07:52 | 1:07:56 | |
-TRACE: -OK, that's a wrap. | 1:07:56 | 1:07:57 | |
Ladies and gentlemen, that's a wrap on Gary. | 1:07:57 | 1:08:00 | |
Great! Whoo! | 1:08:00 | 1:08:02 | |
Yeah. All right. Thank you, everybody. | 1:08:02 | 1:08:04 | |
What is a Magic Swirtle? | 1:08:10 | 1:08:12 | |
Well, let's tell you. | 1:08:12 | 1:08:13 | |
-We're Penn and Teller, also known as sweet and salty. -Looks good. | 1:08:13 | 1:08:16 | |
We're working with Walgreens | 1:08:16 | 1:08:18 | |
to create and launch | 1:08:18 | 1:08:19 | |
an ice-cream flavour. | 1:08:19 | 1:08:21 | |
This is, like, the biggest task of all, | 1:08:21 | 1:08:23 | |
because the commercial is the major part of the judging criteria. | 1:08:23 | 1:08:27 | |
We have to make sure that we get it right. | 1:08:27 | 1:08:29 | |
Let's try that again so I know what I'm doing. | 1:08:29 | 1:08:31 | |
'Teller and I had a pretty good idea.' | 1:08:31 | 1:08:33 | |
We are going to do a magic trick, | 1:08:33 | 1:08:35 | |
and the problem was, | 1:08:35 | 1:08:37 | |
how to turn the ingredients into the finished ice cream. | 1:08:37 | 1:08:39 | |
It's better if we show you how you make it. | 1:08:39 | 1:08:41 | |
You start with the freshest ingredients, | 1:08:41 | 1:08:43 | |
a little bit of cream and a little bit of salted... | 1:08:43 | 1:08:45 | |
'I said to Teller, | 1:08:45 | 1:08:47 | |
'we've got to change the ingredients into ice cream.' | 1:08:47 | 1:08:49 | |
What kind of switch do you want to do? | 1:08:49 | 1:08:51 | |
We had several choices. | 1:08:51 | 1:08:53 | |
One was called the duck pan we were going to use, | 1:08:53 | 1:08:55 | |
one was called the temple screen. | 1:08:55 | 1:08:57 | |
We decided to do a Slydini lapping version, | 1:08:57 | 1:09:00 | |
although lapping is never done with liquid, | 1:09:00 | 1:09:02 | |
because lapping involves dropping stuff into your lap. | 1:09:02 | 1:09:05 | |
So we may need someone down there to catch. | 1:09:05 | 1:09:07 | |
We need Dennis. Or somebody. | 1:09:07 | 1:09:09 | |
Just someone to play the part of Dennis. | 1:09:09 | 1:09:11 | |
-Come over here, Dennis. -Dennis! Come! | 1:09:11 | 1:09:14 | |
I thought, well, I don't know sports, | 1:09:14 | 1:09:17 | |
but I know that Dennis Rodman is able to catch stuff. | 1:09:17 | 1:09:20 | |
When I show the whole commercial, | 1:09:20 | 1:09:22 | |
we'll say, "Penn and Teller and the showgirls starred in that. | 1:09:22 | 1:09:24 | |
"What you probably didn't realise, we also had Dennis Rodman." | 1:09:24 | 1:09:27 | |
Then we'll tip it at the actual party, too. | 1:09:27 | 1:09:29 | |
We'll do the whole commercial and then a final after-punch. | 1:09:29 | 1:09:32 | |
Penn wanted to use me | 1:09:32 | 1:09:33 | |
in a different kind of way, | 1:09:33 | 1:09:35 | |
which I didn't really care. | 1:09:35 | 1:09:36 | |
I wasn't doing anything anyway, so why not get messy? | 1:09:36 | 1:09:38 | |
You've got to get low. | 1:09:38 | 1:09:40 | |
-Probably lying down. -Like this? | 1:09:40 | 1:09:41 | |
Yeah. You're right between their legs, Dennis. | 1:09:41 | 1:09:44 | |
-We're going to drop this on you. -You're going to drop... -OK? | 1:09:44 | 1:09:47 | |
Dennis was probably in hog heaven, | 1:09:47 | 1:09:49 | |
lying on the floor looking up at those showgirls. | 1:09:49 | 1:09:51 | |
Da-da-da-dum. | 1:09:51 | 1:09:53 | |
Ba-ba-ba-bum! | 1:09:53 | 1:09:55 | |
And... | 1:09:55 | 1:09:56 | |
That's what it's going to look like. | 1:09:56 | 1:09:59 | |
That was very easy, | 1:09:59 | 1:10:00 | |
I tell you that real quick! | 1:10:00 | 1:10:02 | |
And then the magic happens. | 1:10:02 | 1:10:04 | |
See, Teller has made it appear | 1:10:04 | 1:10:06 | |
and we will make it disappear. | 1:10:06 | 1:10:09 | |
-BLEEP. -Can we get a towel for Dennis? | 1:10:09 | 1:10:11 | |
He needs help? | 1:10:11 | 1:10:13 | |
Here, I got it. | 1:10:13 | 1:10:15 | |
Oh, Dennis. Look at you. | 1:10:15 | 1:10:17 | |
Dennis got ice cream spilled all over him, | 1:10:17 | 1:10:19 | |
but creaming his pants | 1:10:19 | 1:10:21 | |
was about the best visual ever. | 1:10:21 | 1:10:23 | |
You know you have one of the best NBA rebounders catching your... | 1:10:23 | 1:10:28 | |
THEY LAUGH | 1:10:28 | 1:10:30 | |
I'm not having a good day, am I? | 1:10:30 | 1:10:31 | |
-Do you want to shoot me now? -Yeah. -OK. | 1:10:34 | 1:10:36 | |
Our thing's, like, we're backstage, or something? | 1:10:36 | 1:10:39 | |
Yeah. We're going to shoot... I know we're losing light. | 1:10:39 | 1:10:42 | |
Yeah. It's going to be dark in a little while. | 1:10:42 | 1:10:44 | |
-Oh... -Don't worry about it. | 1:10:44 | 1:10:45 | |
So it could be night. | 1:10:45 | 1:10:46 | |
-OK. -Yeah. | 1:10:46 | 1:10:48 | |
To do what we do, | 1:10:48 | 1:10:49 | |
it takes some people a week. | 1:10:49 | 1:10:52 | |
We're doing all of this stuff in five, six hours. | 1:10:52 | 1:10:55 | |
Coming up with the concept, | 1:10:55 | 1:10:57 | |
writing the script | 1:10:57 | 1:10:59 | |
and shooting the commercial, | 1:10:59 | 1:11:00 | |
and then editing the commercial, | 1:11:00 | 1:11:02 | |
so we're doing a lot in a short, short, short amount of time, | 1:11:02 | 1:11:06 | |
with no room for error. | 1:11:06 | 1:11:07 | |
Camera set? | 1:11:07 | 1:11:09 | |
Action. | 1:11:09 | 1:11:10 | |
THEY LAUGH | 1:11:10 | 1:11:12 | |
-Good. -Great. | 1:11:14 | 1:11:15 | |
-Now, audio. -Cut! | 1:11:15 | 1:11:17 | |
I'm going to go ahead and go to the edit studio | 1:11:17 | 1:11:20 | |
with Gary Busey. Lil Jon's directing, | 1:11:20 | 1:11:23 | |
and they just keep getting stuff done | 1:11:23 | 1:11:25 | |
and send it to me, and hopefully I can have it pretty much done | 1:11:25 | 1:11:28 | |
when they get there. | 1:11:28 | 1:11:29 | |
You've only got one minute to set this up. | 1:11:29 | 1:11:31 | |
I don't want this on my waist. | 1:11:31 | 1:11:33 | |
You're just going to have to put it... | 1:11:33 | 1:11:34 | |
Cos you won't see it. You're going to be on the couch. | 1:11:34 | 1:11:37 | |
I don't want it there. | 1:11:37 | 1:11:38 | |
It pulls funny and it's got a weird kind of thing. | 1:11:38 | 1:11:40 | |
I want to put it up on my bra. | 1:11:40 | 1:11:42 | |
Just put it next to the other one. | 1:11:42 | 1:11:44 | |
Marilu's saying she's trying to make | 1:11:44 | 1:11:45 | |
all these changes. I'm like, | 1:11:45 | 1:11:47 | |
"Marilu, no." | 1:11:47 | 1:11:49 | |
This light has got to fly in in 30 seconds or we're not going to | 1:11:49 | 1:11:52 | |
use it, like, for real. | 1:11:52 | 1:11:54 | |
"We've got to shoot this right now | 1:11:54 | 1:11:55 | |
"so you just get your little ice cream, eat it... | 1:11:55 | 1:11:59 | |
"and we're rolling the damn camera." | 1:11:59 | 1:12:02 | |
Three, two, one. | 1:12:02 | 1:12:03 | |
Roll! | 1:12:03 | 1:12:05 | |
What is that thing in the lower right-hand corner? | 1:12:05 | 1:12:07 | |
-That's the, uh... -Oh, I see. | 1:12:07 | 1:12:09 | |
Do you want me closer? | 1:12:09 | 1:12:10 | |
-No, let's go over there. -What? Oh, you're going to move. | 1:12:10 | 1:12:14 | |
Sit in the corner of the couch, | 1:12:14 | 1:12:15 | |
-like where you was at. -Way back? | 1:12:15 | 1:12:17 | |
-Yeah. -But I want to be able to get up easily. | 1:12:17 | 1:12:19 | |
-Don't you want me up? -You don't have to get up. | 1:12:19 | 1:12:22 | |
I'm not dancing?! | 1:12:22 | 1:12:23 | |
-Well, I mean, I don't know how we're going to shoot it right there. -OK. | 1:12:23 | 1:12:27 | |
I'm not about to be stressing over putting a couch | 1:12:27 | 1:12:30 | |
a little to the right or to the left. | 1:12:30 | 1:12:32 | |
Put a lamp. Put a lamp right here. | 1:12:32 | 1:12:33 | |
We didn't have a good lamp. | 1:12:33 | 1:12:35 | |
I think we're good on the intensity there. | 1:12:35 | 1:12:36 | |
We have nothing? No lamp? | 1:12:36 | 1:12:38 | |
Come on, Marilu, let's go! | 1:12:38 | 1:12:39 | |
We've got ten minutes. Let's shoot. Let's shoot. | 1:12:39 | 1:12:42 | |
That's good. Let's roll. | 1:12:42 | 1:12:44 | |
Marilu definitely gets caught up on tiny little details | 1:12:44 | 1:12:48 | |
that the average person is not going to see. | 1:12:48 | 1:12:51 | |
And that's a wrap on Marilu, and everybody else in this. | 1:12:51 | 1:12:54 | |
CHEERING AND APPLAUSE | 1:12:54 | 1:12:56 | |
Can I see the girls' positions? | 1:12:59 | 1:13:01 | |
Final looks. | 1:13:01 | 1:13:02 | |
-Lisa, we look good? -Yeah. | 1:13:02 | 1:13:04 | |
38 years Penn and Teller | 1:13:04 | 1:13:05 | |
have been together. | 1:13:05 | 1:13:08 | |
To watch them work together | 1:13:08 | 1:13:09 | |
is mesmerising. | 1:13:09 | 1:13:10 | |
Presto! | 1:13:10 | 1:13:12 | |
So, to see Penn and Teller together | 1:13:12 | 1:13:14 | |
is seeing them in their greatness. | 1:13:14 | 1:13:16 | |
Let's reset and do it once more. | 1:13:16 | 1:13:18 | |
But now we've got it. | 1:13:18 | 1:13:19 | |
I need for the girls, just before he says "presto", | 1:13:19 | 1:13:22 | |
when he gets the ice cream... | 1:13:22 | 1:13:24 | |
What's the word before your "presto", | 1:13:24 | 1:13:26 | |
when you have the ice cream? | 1:13:26 | 1:13:28 | |
Say that line. | 1:13:28 | 1:13:30 | |
That's when he does the ice cream. T-Tsch! | 1:13:30 | 1:13:32 | |
Because I need for you guys... | 1:13:32 | 1:13:34 | |
When they see that, get ready for "presto". | 1:13:34 | 1:13:36 | |
Yeah, get ready for your cue. | 1:13:36 | 1:13:38 | |
Dennis and La Toya don't know the whole back tory | 1:13:38 | 1:13:42 | |
of Penn and Teller, | 1:13:42 | 1:13:43 | |
and they don't know that Teller doesn't speak. | 1:13:43 | 1:13:46 | |
Yeah. On "presto", as La Toya said, | 1:13:46 | 1:13:49 | |
you know, give us a "presto". | 1:13:49 | 1:13:52 | |
That's the whole thing. He never speaks. | 1:13:52 | 1:13:55 | |
They had no clue. | 1:13:55 | 1:13:56 | |
We are done on this set. | 1:13:56 | 1:13:58 | |
-Thank you all so much. I believe we are going over to edit. -Oh. | 1:13:58 | 1:14:02 | |
He kills me the way he whispers all the time. | 1:14:02 | 1:14:04 | |
'I think Teller is so adorable.' | 1:14:04 | 1:14:07 | |
He reminds me of a little baby | 1:14:07 | 1:14:09 | |
because he never talks. | 1:14:09 | 1:14:11 | |
He just wants to...smile. | 1:14:11 | 1:14:12 | |
Just to be clear, | 1:14:12 | 1:14:14 | |
if you trust us on the edit, | 1:14:14 | 1:14:16 | |
you can be done for the day. | 1:14:16 | 1:14:18 | |
-It's up to you. -Yeah. You're welcome to. | 1:14:18 | 1:14:20 | |
The decision to let Dennis head home was not a big decision. | 1:14:20 | 1:14:24 | |
Dennis wants to be dressed rather flamboyantly tomorrow. | 1:14:24 | 1:14:27 | |
I want to give him some time to do that. | 1:14:27 | 1:14:30 | |
And I'm thrilled that I did. | 1:14:30 | 1:14:31 | |
Are you always this quiet, Teller? | 1:14:31 | 1:14:33 | |
-Teller doesn't speak. -What, he doesn't say a word? -No! | 1:14:33 | 1:14:36 | |
-I learned that early on. -You did? -Mm-hm. | 1:14:36 | 1:14:40 | |
That gives Penn more time to speak. | 1:14:40 | 1:14:42 | |
It does that. | 1:14:42 | 1:14:44 | |
It's interesting that Teller never speaks | 1:14:44 | 1:14:47 | |
but Penn talks all the time, | 1:14:47 | 1:14:49 | |
so I think it's a dynamic | 1:14:49 | 1:14:50 | |
that works for them. | 1:14:50 | 1:14:52 | |
After all, it's been 30 years, hasn't it? | 1:14:52 | 1:14:54 | |
-Dennis is great. -Yeah. | 1:14:54 | 1:14:55 | |
And then he has that incredible thing where he's able to turn | 1:14:55 | 1:14:58 | |
into Teller at will. | 1:14:58 | 1:15:00 | |
THEY LAUGH | 1:15:00 | 1:15:02 | |
I love how that happened. | 1:15:02 | 1:15:03 | |
'Cut!' | 1:15:16 | 1:15:17 | |
A very important part of the project is the editing. | 1:15:17 | 1:15:21 | |
Me in a task, | 1:15:24 | 1:15:26 | |
it's automatic, focus on the situation in hand. | 1:15:26 | 1:15:31 | |
You know I have those little black things that are about that long | 1:15:31 | 1:15:33 | |
and about that wide, and you go, "Tch!" And he goes, | 1:15:33 | 1:15:35 | |
"Eee-yee-yee!" and has a little tone on the top, | 1:15:35 | 1:15:39 | |
and you... | 1:15:39 | 1:15:41 | |
HE RAMBLES INCOHERENTLY | 1:15:41 | 1:15:43 | |
No more nose hair. | 1:15:43 | 1:15:45 | |
It's called scrambled eggs between the ears. | 1:15:45 | 1:15:48 | |
Man! | 1:15:48 | 1:15:49 | |
I feel like I can control Gary | 1:15:49 | 1:15:52 | |
about as good as anybody can control Gary, you know? | 1:15:52 | 1:15:55 | |
Am I not wanted any more? | 1:15:55 | 1:15:57 | |
If you're trying to make him do something he don't want to do, | 1:15:57 | 1:15:59 | |
you're going to have trouble. | 1:15:59 | 1:16:01 | |
-You want to go? -Well, I'm ready. | 1:16:01 | 1:16:04 | |
-All right. -Our job was in front of the camera. | 1:16:06 | 1:16:08 | |
Your job is in the back of the camera. | 1:16:08 | 1:16:10 | |
-All right. -Trace, God bless you. Love you. | 1:16:10 | 1:16:13 | |
So, I had pretty much made my mind up that I was going to send | 1:16:13 | 1:16:17 | |
Gary home for the day. | 1:16:17 | 1:16:19 | |
-You're an excellent dancer. -Thank you, sir. | 1:16:19 | 1:16:21 | |
GARY CHUCKLES | 1:16:23 | 1:16:25 | |
I've got a couple of phone calls that I need to make. | 1:16:25 | 1:16:29 | |
I'm concentrating on celebrities and donors | 1:16:29 | 1:16:33 | |
and selling these tickets. | 1:16:33 | 1:16:35 | |
This is going to be critical for me to get as many celebrities | 1:16:38 | 1:16:42 | |
and as much money as I possibly can, | 1:16:42 | 1:16:45 | |
because I'm going up against Penn Jillette, | 1:16:45 | 1:16:47 | |
and Penn has an extensive Rolodex, | 1:16:47 | 1:16:50 | |
knows everybody. | 1:16:50 | 1:16:51 | |
He works for Caesars, for God's sakes. | 1:16:51 | 1:16:54 | |
PHONE RINGS OUT | 1:16:54 | 1:16:56 | |
-You know what? -BLEEP -him, man. | 1:16:56 | 1:16:59 | |
If I don't at least match Penn | 1:16:59 | 1:17:02 | |
with the amount of money that he raises, | 1:17:02 | 1:17:05 | |
you know, I could lose again. | 1:17:05 | 1:17:07 | |
He ain't answering the damn phone. | 1:17:07 | 1:17:10 | |
Nice to see you again, sir. | 1:17:15 | 1:17:17 | |
Have you got everything loaded in? | 1:17:17 | 1:17:18 | |
-Yeah. -We're heading to the edit suite now. | 1:17:18 | 1:17:21 | |
I feel really good about what we shot. | 1:17:21 | 1:17:22 | |
The second take of the wide shot, | 1:17:22 | 1:17:24 | |
I say "cut", and Dennis Rodman stands up. | 1:17:24 | 1:17:29 | |
'It's good! It's good!' | 1:17:29 | 1:17:32 | |
That's actually part of the bit. | 1:17:32 | 1:17:34 | |
Teller was perfect. Lisa was perfect. La Toya was perfect. | 1:17:34 | 1:17:37 | |
And Dennis was perfect. And I'd done a pretty good job. | 1:17:37 | 1:17:40 | |
I feel pretty good about it. | 1:17:40 | 1:17:41 | |
We're not planning on this taking a long time. | 1:17:41 | 1:17:44 | |
-It's pretty much laid out, won't you say? -Yeah. | 1:17:44 | 1:17:46 | |
-Oh! -So let's take that take, | 1:17:46 | 1:17:48 | |
pop in real tight on... | 1:17:48 | 1:17:50 | |
Your close-up, when you bring it up... | 1:17:50 | 1:17:52 | |
Yeah. And that's all I really need for close-ups, for sure. | 1:17:52 | 1:17:56 | |
Her crotch is too much. | 1:17:56 | 1:17:59 | |
-It -BLEEP -it up. | 1:17:59 | 1:18:00 | |
I mean, I love a bedazzled crotch more than anyone, | 1:18:00 | 1:18:03 | |
but I don't think it belongs with Walgreens. | 1:18:03 | 1:18:06 | |
-That's trouble right there. -It's too prominent. | 1:18:06 | 1:18:09 | |
Just let me see it for a moment, | 1:18:09 | 1:18:11 | |
and then do a digital zoom | 1:18:11 | 1:18:13 | |
and come in tighter on that. | 1:18:13 | 1:18:14 | |
In order to get a shot of the sugar going in, | 1:18:14 | 1:18:17 | |
we had two spangled showgirl crotches behind us. | 1:18:17 | 1:18:22 | |
If you're going to do anything, you show the ice-cream container | 1:18:22 | 1:18:25 | |
-and that's it. -Let's take that out and call that a bad idea. | 1:18:25 | 1:18:28 | |
That scene, well, to me, wonderful. | 1:18:28 | 1:18:30 | |
But maybe not exactly right for Good & Delish. | 1:18:30 | 1:18:33 | |
This is about to be hilarious. | 1:18:38 | 1:18:40 | |
Check this out. Look at Gary. | 1:18:40 | 1:18:42 | |
TRACE GUFFAWS | 1:18:44 | 1:18:46 | |
Gary had so many good reactions to eating the ice cream, | 1:18:49 | 1:18:52 | |
I kind of missed that. | 1:18:52 | 1:18:53 | |
Are you kidding me? This is what they want. | 1:18:53 | 1:18:56 | |
I always want the best for what we're doing. | 1:18:56 | 1:18:58 | |
Maybe there's a better take to sell the story. | 1:18:58 | 1:19:01 | |
I hear you, but we don't have that luxury. | 1:19:01 | 1:19:05 | |
We should get that good reaction, though. | 1:19:05 | 1:19:07 | |
Marilu, I hear you but we just don't have time of day for it. | 1:19:07 | 1:19:10 | |
That's the only thing I'm saying. | 1:19:10 | 1:19:12 | |
Marilu can get stuck in a groove, | 1:19:12 | 1:19:15 | |
like an old 33-and-a-third LP record. | 1:19:15 | 1:19:19 | |
Oh, that's weird. Did you see that? | 1:19:19 | 1:19:21 | |
And you...and you...and you... | 1:19:21 | 1:19:25 | |
We need lots of reaction. | 1:19:25 | 1:19:26 | |
-We've got a lot of stuff to do. -OK. Fine, fine, fine. | 1:19:26 | 1:19:30 | |
You have to kind of bump the needle a little bit. | 1:19:30 | 1:19:33 | |
You've got to, "Pssh!", get her on past that. | 1:19:33 | 1:19:35 | |
I think that music makes it sound creepy. | 1:19:35 | 1:19:37 | |
Kids today have no idea what that reference means. | 1:19:37 | 1:19:40 | |
We get to the end of the day, I feel really good | 1:19:45 | 1:19:48 | |
about the commercial | 1:19:48 | 1:19:49 | |
because we achieved what we tried to achieve. | 1:19:49 | 1:19:52 | |
We came up with an entertaining piece. | 1:19:52 | 1:19:55 | |
THEY LAUGH | 1:19:55 | 1:19:57 | |
I can't afford to slack off | 1:19:57 | 1:19:59 | |
because we have to have an event to present this new ice-cream flavour | 1:19:59 | 1:20:04 | |
to the public. | 1:20:04 | 1:20:06 | |
You've never seen anybody happier than Gary was to go home | 1:20:06 | 1:20:09 | |
-a while ago. -Aw. | 1:20:09 | 1:20:11 | |
-He was ready to go. -When he sees this final product, | 1:20:11 | 1:20:13 | |
he's going to be like, "This was so worth it." | 1:20:13 | 1:20:16 | |
Wait till you see him sing Fade Away tomorrow night. | 1:20:16 | 1:20:19 | |
Um... | 1:20:19 | 1:20:21 | |
So I decided that using tomorrow night, | 1:20:21 | 1:20:24 | |
let him sing a Buddy Holly song | 1:20:24 | 1:20:27 | |
because I want people to just feel like dancing, cos that's our thing. | 1:20:27 | 1:20:31 | |
He may be just completely uncontrollable at that point. | 1:20:31 | 1:20:35 | |
I just hope he doesn't die. | 1:20:35 | 1:20:38 | |
It could be like his... | 1:20:38 | 1:20:40 | |
-Wow. -Damn, Marilu, what's up with... -Why do you have to go there? | 1:20:40 | 1:20:45 | |
Why do you have to...you know? | 1:20:45 | 1:20:48 | |
You could see this, like, blaze of glory. | 1:20:48 | 1:20:50 | |
'Gary is a brilliant actor,' | 1:20:50 | 1:20:52 | |
but he's not the kind of person | 1:20:52 | 1:20:53 | |
that you want to give a lot | 1:20:53 | 1:20:55 | |
of responsibility to. | 1:20:55 | 1:20:56 | |
We're ready. | 1:20:56 | 1:20:58 | |
Because you have no idea how it's going to turn out. | 1:20:58 | 1:21:00 | |
You did a great job, you guys. | 1:21:00 | 1:21:02 | |
So good. So, so good. | 1:21:02 | 1:21:03 | |
This is either going to be crazy good or just crazy. | 1:21:03 | 1:21:06 | |
All right. Good job. | 1:21:06 | 1:21:07 | |
-Good luck. -Thank you. | 1:21:07 | 1:21:09 | |
By the time I grab the goblet, it has to be in one shot. | 1:21:20 | 1:21:24 | |
'It's good! It's good!' | 1:21:26 | 1:21:28 | |
And he drank it. That's so cute. | 1:21:30 | 1:21:31 | |
-Where are we now? -1.12. | 1:21:31 | 1:21:33 | |
After we've cut it, it's put together. | 1:21:38 | 1:21:40 | |
We're timing it. | 1:21:40 | 1:21:41 | |
Something happened in that timing. | 1:21:41 | 1:21:44 | |
We're longer than 60 seconds. We're in trouble. | 1:21:44 | 1:21:47 | |
When it goes to the carton, | 1:21:47 | 1:21:49 | |
let's come back and take out... | 1:21:49 | 1:21:51 | |
We might be able to take out a second or two there. | 1:21:51 | 1:21:53 | |
We've got to cut it, | 1:21:53 | 1:21:55 | |
but to cut 12 seconds of a product, | 1:21:55 | 1:21:58 | |
of the shots that you've done? | 1:21:58 | 1:22:00 | |
Impossible. | 1:22:00 | 1:22:01 | |
1:09:15. | 1:22:01 | 1:22:04 | |
1:09:15? | 1:22:04 | 1:22:05 | |
OK. We've got to be under 60. | 1:22:05 | 1:22:07 | |
That's a lot to cut out. | 1:22:07 | 1:22:09 | |
We were sunk. Terrible. | 1:22:09 | 1:22:10 | |
We were long, and there was no way | 1:22:10 | 1:22:12 | |
to do that with little cutting. | 1:22:12 | 1:22:14 | |
And you have to play the magic kind of in one take. | 1:22:14 | 1:22:18 | |
When you've got magic, | 1:22:18 | 1:22:20 | |
if you move the camera this much, | 1:22:20 | 1:22:22 | |
if you cut once, | 1:22:22 | 1:22:23 | |
the entire house of cards falls apart. | 1:22:23 | 1:22:27 | |
So we... Big, big, big, big, big trouble, | 1:22:27 | 1:22:30 | |
when we're over, trying to go back to a minute. | 1:22:30 | 1:22:33 | |
I really, really want to win. | 1:22:33 | 1:22:36 | |
I want to win a real lot, | 1:22:36 | 1:22:38 | |
but you can't get that idea down to a minute. We're in trouble. | 1:22:38 | 1:22:43 | |
OK. We can take out... | 1:22:43 | 1:22:45 | |
We can go to product. We can go to close-up... | 1:22:45 | 1:22:50 | |
We're done. | 1:22:50 | 1:22:52 |