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'Previously on The Celebrity Apprentice... | 0:00:02 | 0:00:03 | |
'Mr Trump got medieval on the celebrities...' | 0:00:03 | 0:00:06 | |
You will be creating a show for medieval times. | 0:00:06 | 0:00:09 | |
'The women's team elected Lisa Lampanelli as project manager.' | 0:00:09 | 0:00:13 | |
-Lisa! -Yeah. | 0:00:13 | 0:00:14 | |
'But Aubrey O'Day quickly emerged as Lisa's right hand.' | 0:00:14 | 0:00:18 | |
She's Donald Trump, she comes out on the horse grandiose... | 0:00:18 | 0:00:21 | |
Aubrey was definitely second-in-command on this task. | 0:00:21 | 0:00:25 | |
'On the men's team, project manager Penn Jillette was in his element.' | 0:00:25 | 0:00:28 | |
We'll be this type. | 0:00:28 | 0:00:29 | |
'But his team grew impatient with Lou Ferrigno's lack of focus.' | 0:00:29 | 0:00:33 | |
-Yah! -Swing level. OK? | 0:00:33 | 0:00:35 | |
-He scares me, this -BLEEP -guy. | 0:00:35 | 0:00:37 | |
Sometimes it's difficult to pull Lou out of the narrow scope | 0:00:37 | 0:00:41 | |
that he's looking at. | 0:00:41 | 0:00:43 | |
'As the task progressed, frustrations grew on Team Forte.' | 0:00:43 | 0:00:46 | |
Victoria's really tough. | 0:00:46 | 0:00:48 | |
Why don't you just put me in the closest? | 0:00:48 | 0:00:50 | |
Maybe I should go and speak to Mr Trump | 0:00:50 | 0:00:53 | |
and ask to play on the men's team. | 0:00:53 | 0:00:55 | |
'And Dayana Mendoza felt sidelined.' | 0:00:55 | 0:00:57 | |
-We should go right now. -Let me say something... | 0:00:57 | 0:01:00 | |
I keep trying to get involved, but they keep pushing me back. | 0:01:00 | 0:01:04 | |
'On Team Unanimous, Dee Snider's suffered an injury | 0:01:04 | 0:01:07 | |
'that could send him out of the game.' | 0:01:07 | 0:01:09 | |
Broken finger. | 0:01:09 | 0:01:10 | |
BLEEP. | 0:01:10 | 0:01:12 | |
'But come showtime, both teams went all-out...' | 0:01:12 | 0:01:15 | |
It must be done. AAAAAAAH! | 0:01:15 | 0:01:18 | |
'In the boardroom, Mr Trump asked Penn a tough question...' | 0:01:20 | 0:01:23 | |
If you lose, who are you going to bring back? | 0:01:23 | 0:01:25 | |
That would be Mr Ferrigno and Mr Takei. | 0:01:25 | 0:01:29 | |
You play a power trip on me, and anybody, it's a power trip. | 0:01:29 | 0:01:32 | |
'But when Mr Trump announced the winning team....' | 0:01:32 | 0:01:34 | |
-The men's team wins. -Thank you. | 0:01:34 | 0:01:36 | |
'The women were left to fight it out in an epic battle between Lisa | 0:01:36 | 0:01:40 | |
'and Victoria.' | 0:01:40 | 0:01:41 | |
You know what, the task got away from you and you want to blame everybody else. | 0:01:41 | 0:01:45 | |
-Everybody panicked. -We lost this task because I had somebody who threatened to quit. | 0:01:45 | 0:01:48 | |
'And in the end, Mr Trump questioned Victoria's commitment.' | 0:01:48 | 0:01:53 | |
You said you were thinking about quitting, which I hate | 0:01:53 | 0:01:56 | |
-because I hate even the thought of that. -I'm not a quitter. | 0:01:56 | 0:01:58 | |
You thought about it. | 0:01:58 | 0:02:00 | |
Victoria, you're fired. | 0:02:00 | 0:02:01 | |
-Two weeks in a row, we thought we were going to win. -It's horrible. | 0:02:10 | 0:02:13 | |
-We have to win next week... -Hi, everybody. -ALL: Oooh! | 0:02:13 | 0:02:18 | |
That was fun. That was good time. | 0:02:18 | 0:02:22 | |
'Oh, my God. I am relieved.' | 0:02:22 | 0:02:26 | |
It's extremely difficult to survive a losing team as project manager. | 0:02:26 | 0:02:29 | |
'I'm not going to be project manager again until the finale.' | 0:02:29 | 0:02:33 | |
Let everybody else have their damn time. | 0:02:33 | 0:02:35 | |
Oh, my God, it was crazy. | 0:02:35 | 0:02:37 | |
It was not nice, it was not fun. | 0:02:37 | 0:02:40 | |
It completely sucked. I have nothing else to say. | 0:02:40 | 0:02:43 | |
'I am happy to be here but I'm ready' | 0:02:43 | 0:02:44 | |
to finally have my voice heard. | 0:02:44 | 0:02:46 | |
I'm ready to finally go - now, | 0:02:46 | 0:02:48 | |
'let's make things happen in a better way.' | 0:02:48 | 0:02:51 | |
Forte's got to win, we've got to beat these guys. | 0:02:51 | 0:02:53 | |
I hate them, they are the damn enemy. They're the problem. | 0:02:53 | 0:02:56 | |
'We got to kick those men's asses.' | 0:02:56 | 0:02:58 | |
They got eight dudes, we've got six chicks. | 0:02:58 | 0:03:01 | |
Get out of here. Stop hitting on Miss Universe. | 0:03:01 | 0:03:03 | |
Let's just forget our hair and make up and decide, | 0:03:03 | 0:03:06 | |
suck it up, Buttercup, it's time to freaking get down and dirty. | 0:03:06 | 0:03:09 | |
# Money, money, money, money | 0:03:14 | 0:03:16 | |
# Money | 0:03:17 | 0:03:19 | |
# Money, money, money, money | 0:03:19 | 0:03:22 | |
# Money | 0:03:22 | 0:03:24 | |
# Some people got to have it | 0:03:24 | 0:03:27 | |
# Yeah, yeah | 0:03:27 | 0:03:29 | |
# Some people really need it | 0:03:29 | 0:03:32 | |
# Huh, listen to me, y'all | 0:03:32 | 0:03:34 | |
# Do things, do things | 0:03:34 | 0:03:35 | |
# Bad things with it | 0:03:35 | 0:03:38 | |
# Dollar bills, y'all | 0:03:40 | 0:03:42 | |
# Come on | 0:03:42 | 0:03:44 | |
# That mean, oh mean | 0:03:44 | 0:03:47 | |
# Big green | 0:03:47 | 0:03:49 | |
# Almighty dollar | 0:03:49 | 0:03:52 | |
# Money | 0:03:52 | 0:03:55 | |
# Give me a nickel | 0:03:55 | 0:03:58 | |
# Brother, can you spare a dime? | 0:03:58 | 0:04:01 | |
# Money can drive some people | 0:04:01 | 0:04:04 | |
# Out of their mind | 0:04:04 | 0:04:06 | |
# Money, money | 0:04:06 | 0:04:07 | |
# No good, no good | 0:04:07 | 0:04:09 | |
# Money | 0:04:09 | 0:04:11 | |
# Money, money, money, money | 0:04:11 | 0:04:14 | |
# Money. # | 0:04:14 | 0:04:15 | |
-Hi, Penn. -Hi, how are you? | 0:04:24 | 0:04:27 | |
Good to see you, Benji. | 0:04:27 | 0:04:29 | |
Give him your famous handshake. Watch this one. | 0:04:29 | 0:04:32 | |
THEY LAUGH | 0:04:32 | 0:04:34 | |
My charity is Opportunity Village | 0:04:34 | 0:04:36 | |
that helps people with intellectual disabilities | 0:04:36 | 0:04:39 | |
get back into the workplace | 0:04:39 | 0:04:40 | |
and become part of our community. | 0:04:40 | 0:04:42 | |
So here's our beautiful artists. | 0:04:44 | 0:04:47 | |
Hi, may I join you here? | 0:04:47 | 0:04:49 | |
-Yes, you may. -OK. I'm doing this show called Celebrity Apprentice. | 0:04:49 | 0:04:53 | |
-Yeah. -You probably heard that. | 0:04:53 | 0:04:55 | |
The task was to put on a show in medieval times. | 0:04:55 | 0:04:58 | |
I won that challenge | 0:04:58 | 0:05:01 | |
so I've got some money here for Opportunity Village. | 0:05:01 | 0:05:04 | |
20,000. | 0:05:04 | 0:05:06 | |
This was from medieval times. 20,000. There you go. | 0:05:07 | 0:05:12 | |
We sure didn't expect Penn to walk in here with money today. | 0:05:14 | 0:05:17 | |
To have that money that we can use for our programmes, we are | 0:05:17 | 0:05:20 | |
so grateful for that. | 0:05:20 | 0:05:23 | |
Just because we're all here at Opportunity Village, | 0:05:23 | 0:05:25 | |
we're not brain-dead. | 0:05:25 | 0:05:27 | |
The people I'm playing for, all they want is the opportunity to | 0:05:27 | 0:05:31 | |
just get up in the morning | 0:05:31 | 0:05:32 | |
and do the stuff that you do... | 0:05:32 | 0:05:35 | |
HIS VOICE BREAKS | 0:05:35 | 0:05:36 | |
Without Opportunity Village... | 0:05:36 | 0:05:38 | |
we throw those people away. | 0:05:38 | 0:05:40 | |
It was here that the scarves for Elvis were made. | 0:05:41 | 0:05:45 | |
-Seriously? -Yeah. | 0:05:45 | 0:05:46 | |
Are you sure you're not just making that up for the camera? | 0:05:46 | 0:05:50 | |
Good morning. | 0:06:09 | 0:06:10 | |
ALL: Good morning. | 0:06:10 | 0:06:11 | |
Lisa, what was your feeling the other night at the boardroom? | 0:06:11 | 0:06:14 | |
-Erm, Mr Trump, I'm a fighter. -You are a fighter? | 0:06:14 | 0:06:17 | |
I'm the raging bull. | 0:06:17 | 0:06:18 | |
-You really fought hard, I give you a lot of credit. -Thank you. | 0:06:18 | 0:06:21 | |
All right. | 0:06:21 | 0:06:22 | |
We are standing in front of | 0:06:22 | 0:06:24 | |
the Ivanka Trump fine jewellery display in Trump Tower. | 0:06:24 | 0:06:28 | |
You'll be designing | 0:06:28 | 0:06:30 | |
and working on what you call a living window display. | 0:06:30 | 0:06:34 | |
-You know what that is? -Oh, yeah. | 0:06:34 | 0:06:36 | |
-Fun. -You're going to be using | 0:06:36 | 0:06:38 | |
the windows of the oldest department | 0:06:38 | 0:06:40 | |
stores and one of the most respected in the nation, Lord & Taylor. | 0:06:40 | 0:06:44 | |
I really didn't know what window-dressing was. | 0:06:44 | 0:06:47 | |
I thought it was somewhere between ranch and thousand island. | 0:06:47 | 0:06:50 | |
I didn't know if it was an actual job or | 0:06:50 | 0:06:53 | |
something you put on leafy greens. | 0:06:53 | 0:06:56 | |
You're going to create two each, two living window displays. | 0:06:56 | 0:07:01 | |
Don and Eric will be my advisers. | 0:07:01 | 0:07:03 | |
Ivanka, how will they be judged? | 0:07:03 | 0:07:05 | |
I will be judging this task with Scott Devine of Lord & Taylor. | 0:07:05 | 0:07:09 | |
We'll be judging these windows based on three criteria - | 0:07:09 | 0:07:12 | |
creativity, brand messaging and overall presentation. | 0:07:12 | 0:07:16 | |
The most compelling living window display | 0:07:16 | 0:07:19 | |
will ultimately be the winner. | 0:07:19 | 0:07:21 | |
Who are your project managers? | 0:07:21 | 0:07:24 | |
Fashion is my background. | 0:07:24 | 0:07:27 | |
-I went to school for fashion. -I would love to do it. | 0:07:27 | 0:07:30 | |
Do you mind if I do it? | 0:07:30 | 0:07:32 | |
-Is that OK? -I think Clay. | 0:07:32 | 0:07:33 | |
Why, because I'm gay? | 0:07:33 | 0:07:36 | |
How about you? | 0:07:36 | 0:07:38 | |
I'm game. I'm game. I like to think I've got good visual taste. | 0:07:38 | 0:07:42 | |
OK, how are we doing, folks? | 0:07:42 | 0:07:44 | |
-ADAM: -Well, we elected George for three reasons... | 0:07:44 | 0:07:48 | |
I'll admit it, he's gay. | 0:07:48 | 0:07:51 | |
But second, because he's gay and then third, gay. | 0:07:51 | 0:07:55 | |
Those were the top three. | 0:07:55 | 0:07:57 | |
Women, how are we doing? Teresa, who's your project manager? | 0:07:57 | 0:08:01 | |
I want to do it and Dayana wants to do it, so I don't know. | 0:08:01 | 0:08:05 | |
So who is it? | 0:08:05 | 0:08:07 | |
Dayana has worked in the industry for ten years | 0:08:07 | 0:08:09 | |
and she hasn't gotten to step up | 0:08:09 | 0:08:11 | |
to show her behind-the-scenes skills yet, | 0:08:11 | 0:08:13 | |
we think this would be a perfect opportunity for her to do that. | 0:08:13 | 0:08:15 | |
Debbie picked Dayana because she's Miss Universe. | 0:08:15 | 0:08:18 | |
What, the girl from Jersey can't get a chance? | 0:08:18 | 0:08:21 | |
-Are you going to be project manager? -If my team is fine with that. | 0:08:23 | 0:08:26 | |
Does the team want Teresa or Dayana? | 0:08:26 | 0:08:28 | |
I would like Dayana. | 0:08:28 | 0:08:30 | |
So, Dayana, congratulations, you're project manager. | 0:08:30 | 0:08:33 | |
If I win this task, this will help definitely to raise awareness for | 0:08:33 | 0:08:36 | |
the Latino Commission on AIDS, | 0:08:36 | 0:08:37 | |
make sure that in every corner of Latino communities, they help. | 0:08:37 | 0:08:41 | |
They help and they educate. | 0:08:41 | 0:08:42 | |
Men, who is your Project manager? | 0:08:42 | 0:08:44 | |
ALL: George! | 0:08:44 | 0:08:46 | |
George, that's a very good choice. | 0:08:46 | 0:08:48 | |
Despite the fact we have no design background as the women's team have, | 0:08:48 | 0:08:53 | |
we will boldly go where we haven't been before. | 0:08:53 | 0:08:56 | |
My charity is the Japanese American National Museum. | 0:08:56 | 0:09:00 | |
When World War II happened, me, together with my family, | 0:09:00 | 0:09:04 | |
were imprisoned in barbed wire internment camps. | 0:09:04 | 0:09:07 | |
This is a personal tribute and appreciation to my late parents. | 0:09:07 | 0:09:12 | |
The winning project manager will get 20,000 for your charity. | 0:09:12 | 0:09:17 | |
Go out, give us great, great displays. | 0:09:17 | 0:09:20 | |
It's very exciting, have fun. Thank you. ALL: Thank you. | 0:09:20 | 0:09:24 | |
-Hey, Amanda. Can we have the second meeting today? -'Yes, definitely. | 0:09:29 | 0:09:32 | |
-'It will be 10am.' -OK, hon, thank you. | 0:09:32 | 0:09:34 | |
Our task this week is to design two window displays. | 0:09:34 | 0:09:37 | |
The Ivanka Trump collection, Spring 2012. | 0:09:37 | 0:09:41 | |
Do you want the two windows to relate to each other? | 0:09:41 | 0:09:43 | |
I would like them to be related but to project different things | 0:09:43 | 0:09:47 | |
but that is still the same story, otherwise it will be... | 0:09:47 | 0:09:50 | |
What if we show a day in the life of a woman in power | 0:09:50 | 0:09:52 | |
-in all the times of the day, from day to night. -Like a clock. | 0:09:52 | 0:09:56 | |
You could show the bottom of a clock, and at the different times of the day you see who she is. | 0:09:56 | 0:10:01 | |
I love it. | 0:10:01 | 0:10:02 | |
'I first came up with the idea that' | 0:10:02 | 0:10:04 | |
we needed to use a clock to display | 0:10:04 | 0:10:08 | |
the time passing, and any given time | 0:10:08 | 0:10:09 | |
a women can achieve whatever she wants to become. | 0:10:09 | 0:10:12 | |
ALL SPEAK AT ONCE | 0:10:12 | 0:10:14 | |
You guys can create the four looks of what | 0:10:14 | 0:10:16 | |
we want to establish as every woman. | 0:10:16 | 0:10:19 | |
We were doing to do one, two, three, | 0:10:19 | 0:10:21 | |
four vignettes in the two windows | 0:10:21 | 0:10:23 | |
and I thought that was cool. | 0:10:23 | 0:10:25 | |
I really liked the concept. | 0:10:25 | 0:10:27 | |
Or we split it if they are smaller. | 0:10:27 | 0:10:29 | |
One, two, three, four. That's cleaner. | 0:10:29 | 0:10:30 | |
We could have six or four, depending on the window sizes, | 0:10:30 | 0:10:33 | |
and whatever you guys decide. | 0:10:33 | 0:10:35 | |
Aubrey is great and sharp and has ideas - | 0:10:35 | 0:10:37 | |
however, it was the Aubrey show. | 0:10:37 | 0:10:40 | |
Time limit. That's perfect. For the presentation... | 0:10:40 | 0:10:43 | |
OK, now, we've got to get started. | 0:10:45 | 0:10:47 | |
-We have four windows that we've got to fill. -Really? | 0:10:47 | 0:10:51 | |
-I thought we were doing two windows. -That's what I... Didn't he say? | 0:10:51 | 0:10:55 | |
It says here, each team has two Lord & Taylor storefront windows. | 0:10:55 | 0:10:58 | |
I thought he said four windows. | 0:10:58 | 0:11:00 | |
'I'm not 100% sure that | 0:11:00 | 0:11:02 | |
'George is aware of what's going on all the time.' | 0:11:02 | 0:11:05 | |
George is a little bit slower | 0:11:05 | 0:11:07 | |
to process information | 0:11:07 | 0:11:09 | |
and it's a bit tougher for George to keep up with things. | 0:11:09 | 0:11:12 | |
-I think we have to come up with what the theme is. -It's springtime. | 0:11:12 | 0:11:16 | |
-Those are the dresses that we see. -That's our theme, it's springtime? | 0:11:16 | 0:11:19 | |
Well, it's not autumn or winter. | 0:11:19 | 0:11:21 | |
Could we hire models that looked a lot alike? | 0:11:21 | 0:11:25 | |
We could find two fine twins in New York. | 0:11:25 | 0:11:28 | |
-There's twin modelling agencies. -Yeah, but we have to pay them. | 0:11:28 | 0:11:32 | |
-We have money. -GEORGE: -How much do they go for? | 0:11:32 | 0:11:35 | |
A night? | 0:11:35 | 0:11:37 | |
Erm... 45 minutes. | 0:11:37 | 0:11:39 | |
'There is no twins that magicians don't know about. | 0:11:43 | 0:11:45 | |
'We want to do something that we've never seen in a shop window.' | 0:11:45 | 0:11:49 | |
I've seen wind machines, smoke, | 0:11:49 | 0:11:51 | |
I've seen robot movement, | 0:11:51 | 0:11:55 | |
but I don't think I've seen twins. | 0:11:55 | 0:11:57 | |
-George. -Yes. | 0:11:57 | 0:11:59 | |
Why don't you sketch out what you'd like this thing to look like? | 0:11:59 | 0:12:02 | |
Draw two squares and how it's going to sit out. | 0:12:02 | 0:12:07 | |
I think once we see this space. I think the important thing is... | 0:12:07 | 0:12:12 | |
Sketch. | 0:12:12 | 0:12:14 | |
'George didn't exactly take the bull by the horns. | 0:12:14 | 0:12:17 | |
'He couldn't figure out what exactly the task was' | 0:12:17 | 0:12:21 | |
and... | 0:12:21 | 0:12:23 | |
I smell trouble. | 0:12:23 | 0:12:24 | |
We could get Cheryl Tiegs to be our celebrity. | 0:12:24 | 0:12:27 | |
Let me just say something. | 0:12:27 | 0:12:29 | |
-Everybody is bouncing all over the -BLEEP -place | 0:12:29 | 0:12:31 | |
and we don't have one certain thing we're going to do. | 0:12:31 | 0:12:34 | |
Hi, everyone. So is this the best task yet? | 0:12:42 | 0:12:45 | |
-Yes, it is. -I agree. I personally agree. | 0:12:45 | 0:12:49 | |
-So this is Scott. -Hello, everyone. | 0:12:49 | 0:12:51 | |
He's the genius behind the visual presentations at Lord & Taylor. | 0:12:51 | 0:12:55 | |
'The task this week is to create two living windows at Lord & Taylor' | 0:12:55 | 0:12:58 | |
to promote Ivanka Trump's clothing and accessories lines, | 0:12:58 | 0:13:02 | |
'so Ivanka and Scott came in. | 0:13:02 | 0:13:04 | |
'They were the executives for the task and we were really anxious | 0:13:04 | 0:13:08 | |
'to pick their brains.' | 0:13:08 | 0:13:09 | |
This task is not in any of our team members' wheelhouse | 0:13:09 | 0:13:14 | |
'and we needed direction.' | 0:13:14 | 0:13:15 | |
-The location of the two windows are on Fifth Avenue. -Yes. | 0:13:15 | 0:13:19 | |
It's almost like a 3-D billboard, so the opportunity to get | 0:13:19 | 0:13:23 | |
the brand, introduce it to the customer, is tremendous. | 0:13:23 | 0:13:27 | |
What are the most important parts of your brand? | 0:13:27 | 0:13:30 | |
Funny or edgy or anything? | 0:13:30 | 0:13:31 | |
Our customer is a sophisticated, working, aspirational woman. | 0:13:31 | 0:13:36 | |
'I definitely was in the dark. What do I know about fashion?' | 0:13:36 | 0:13:39 | |
Not a clue. Pair of boots, | 0:13:39 | 0:13:42 | |
underwear and socks - I'm good to go. | 0:13:42 | 0:13:44 | |
Who's your customer? How would you define and describe your customer? | 0:13:44 | 0:13:48 | |
The core demographic is 25 to 35, | 0:13:48 | 0:13:50 | |
so that's really the meat of our business. | 0:13:50 | 0:13:53 | |
Is there something you feel that is the statement? | 0:13:53 | 0:13:56 | |
My customer has the ability to really go from day to night, | 0:13:56 | 0:14:01 | |
-from the office to a cocktail party and then on a weekend. -We're on it. | 0:14:01 | 0:14:05 | |
As Ivanka was explaining what she wanted for her line, I think | 0:14:05 | 0:14:08 | |
everyone in the room was really excited because we knew what | 0:14:08 | 0:14:11 | |
we were brainstorming with was the right concept, the right idea. | 0:14:11 | 0:14:15 | |
Coral is another one. The colour coral. | 0:14:15 | 0:14:18 | |
That's the colour of our collections so you see it | 0:14:18 | 0:14:21 | |
in all of our packaging, our shoeboxes. | 0:14:21 | 0:14:24 | |
Ivanka made it clear that coral is their colour. | 0:14:24 | 0:14:27 | |
Of course we're going to use coral all over the place. | 0:14:29 | 0:14:31 | |
Naturally it has to be compelling. It has to be interesting. | 0:14:31 | 0:14:34 | |
I think if you do something very creative and risky, | 0:14:34 | 0:14:37 | |
just make sure it's consistent with the brand. | 0:14:37 | 0:14:41 | |
A circus sideshow could be compelling | 0:14:41 | 0:14:43 | |
and draw people over, | 0:14:43 | 0:14:44 | |
but that's not going to be consistent with the brand. | 0:14:44 | 0:14:47 | |
We have two windows. One could be Ivanka by day and Ivanka by night. | 0:14:49 | 0:14:54 | |
-She talked about that. -Yes. | 0:14:54 | 0:14:57 | |
Day is business and night you're going to a premiere. | 0:14:57 | 0:15:00 | |
You could do the red carpet. | 0:15:00 | 0:15:01 | |
Both ideas work hand in hand. | 0:15:01 | 0:15:03 | |
'We have our two windows | 0:15:03 | 0:15:04 | |
'and we're going with a day and night theme, and it requires twins.' | 0:15:04 | 0:15:09 | |
Where you can see a lady in the day and in the night at the same time. | 0:15:09 | 0:15:15 | |
'On one side it will be a business office theme. | 0:15:15 | 0:15:18 | |
'Then we have a night-time look, which is | 0:15:18 | 0:15:19 | |
'more like a premiere on the red carpet.' | 0:15:19 | 0:15:22 | |
-I'd love to be in the window. -I think Arsenio and Clay. | 0:15:22 | 0:15:26 | |
It also makes sense for him to be on the red carpet side | 0:15:26 | 0:15:29 | |
because he's recognisable in a Hollywood type away. | 0:15:29 | 0:15:34 | |
-You should let me be in the process of choosing the clothes. -All right. | 0:15:34 | 0:15:37 | |
I'm really good at dressing the women, I swear. | 0:15:37 | 0:15:40 | |
There is no doubt about that. | 0:15:40 | 0:15:42 | |
'Arsenio has elegance and style' | 0:15:42 | 0:15:45 | |
but he also has panache. | 0:15:45 | 0:15:48 | |
That man is amazing. | 0:15:49 | 0:15:50 | |
We need to design that set, so to speak. | 0:15:50 | 0:15:55 | |
I think maybe you and I should design that set. | 0:15:55 | 0:15:59 | |
Do you want me to help with the set design? | 0:15:59 | 0:16:02 | |
We have a design team. | 0:16:02 | 0:16:04 | |
I just want to say something, OK? I have a motor cycle... | 0:16:06 | 0:16:11 | |
LAUGHTER | 0:16:11 | 0:16:13 | |
I do have sophisticated equipment, so if you give me a design, | 0:16:13 | 0:16:19 | |
I'll send it back to my shop and I can have it done. | 0:16:19 | 0:16:23 | |
This is their brand signature. So, replicate this. | 0:16:23 | 0:16:27 | |
Excuse me, guys. | 0:16:27 | 0:16:28 | |
-I have to go to my doctor appointment. -Good luck to you. | 0:16:28 | 0:16:33 | |
You've got to focus on what is important. | 0:16:33 | 0:16:35 | |
I injured my finger in the course of doing a task. | 0:16:35 | 0:16:39 | |
I'm hoping I'll be available tomorrow | 0:16:39 | 0:16:41 | |
but my paranoid side sees it as a way for people to think, | 0:16:41 | 0:16:44 | |
"He can't be a 100% team member." I'm more concerned about how | 0:16:44 | 0:16:49 | |
this is going to affect what happens in the coming weeks. | 0:16:49 | 0:16:52 | |
All right, see you later, guys. | 0:16:52 | 0:16:54 | |
Dee is the one-armed man from The Fugitive, you know. | 0:16:54 | 0:16:56 | |
I'm not sure if he can play the game now. | 0:16:56 | 0:16:58 | |
I'm not sure he should continue this. | 0:16:58 | 0:17:01 | |
We can pick four models. | 0:17:03 | 0:17:05 | |
We need to use one team member in each window. | 0:17:05 | 0:17:07 | |
Dayana - obviously. | 0:17:07 | 0:17:09 | |
I don't mind doing a modelling thing either. | 0:17:09 | 0:17:11 | |
I feel like I'm an accessible woman. | 0:17:11 | 0:17:13 | |
Yeah, I'm just scared of the age range. | 0:17:15 | 0:17:19 | |
I play younger on TV. | 0:17:21 | 0:17:23 | |
Mr Trump is going to want her in the window for sure. | 0:17:26 | 0:17:28 | |
She's got to be in the window, are you kidding me? | 0:17:28 | 0:17:30 | |
But Aubrey will be in one window too. | 0:17:30 | 0:17:32 | |
'Aubrey and Dayana are going to be in the window and it's like, yes. | 0:17:32 | 0:17:36 | |
'We will not get called on for' | 0:17:36 | 0:17:38 | |
neglecting some of our talent. | 0:17:38 | 0:17:40 | |
'Debbie was not happy, but too bad, that is the way it is.' | 0:17:40 | 0:17:44 | |
You could do something super artsy | 0:17:44 | 0:17:45 | |
and maybe just a girl with a briefcase, open it up and | 0:17:45 | 0:17:47 | |
put a wind machine and the papers look like they're flying | 0:17:47 | 0:17:50 | |
and have all of her brand-new spring line on it. | 0:17:50 | 0:17:53 | |
That's kind of creative. | 0:17:53 | 0:17:54 | |
Debbie, we're going to need some of Ivanka's outfits, shoes, | 0:17:54 | 0:17:57 | |
bags, to take photos for to print and have them in that one window. | 0:17:57 | 0:18:02 | |
The idea is to shoot all these | 0:18:02 | 0:18:04 | |
photos with the models wearing Ivanka's outfit. | 0:18:04 | 0:18:07 | |
As many as possible, so we can have them in the window hanging. | 0:18:07 | 0:18:11 | |
Teresa, come with us shopping. | 0:18:11 | 0:18:13 | |
You're going to help us get the ideas for the models | 0:18:13 | 0:18:15 | |
and pick up the clothes. | 0:18:15 | 0:18:16 | |
-Do you want to Brooklyn? -Do you want to go with me? -Yeah, sure. | 0:18:16 | 0:18:19 | |
'Dayana sent Tia, Lisa and myself' | 0:18:19 | 0:18:23 | |
to go over to Brooklyn to build our sets. | 0:18:23 | 0:18:26 | |
We have to build it?! | 0:18:26 | 0:18:27 | |
Ohh, then we better change our clothes. | 0:18:27 | 0:18:30 | |
Adam, this is George. George? | 0:18:39 | 0:18:41 | |
Half of us went to start building the boxes for the set in the space. | 0:18:41 | 0:18:47 | |
The other half went to dress the models, | 0:18:47 | 0:18:50 | |
look at the apparel and so on and so forth. | 0:18:50 | 0:18:53 | |
I used to be a carpenter, so this wealth of cabinet building knowledge | 0:18:55 | 0:19:00 | |
that had been lain dormant for many years bubbled up to the surface. | 0:19:00 | 0:19:05 | |
I need another piece of this 1 x 3. | 0:19:05 | 0:19:07 | |
At the wood shop, Adam felt like he was in heaven, I think. | 0:19:07 | 0:19:11 | |
He just loved that stuff. | 0:19:11 | 0:19:14 | |
He built the door, which they probably could have done, | 0:19:14 | 0:19:17 | |
but he wanted to do it himself. | 0:19:17 | 0:19:19 | |
You guys can start painting this, I think. | 0:19:19 | 0:19:22 | |
One is going to say, cool office | 0:19:22 | 0:19:25 | |
and the other's going to say night-time. | 0:19:25 | 0:19:28 | |
Want to call George and double-check about the painting? | 0:19:28 | 0:19:30 | |
Hold on a sec. | 0:19:30 | 0:19:32 | |
They kept saying, "Adam, phone George," two or three times. | 0:19:32 | 0:19:35 | |
Adam hesitated to do that, | 0:19:35 | 0:19:36 | |
to make the phone call | 0:19:36 | 0:19:38 | |
because he was acting like he was the project manager. | 0:19:38 | 0:19:41 | |
All right, so there we go. | 0:19:41 | 0:19:43 | |
We want the display to look like the women got hit by a gust of wind | 0:19:43 | 0:19:47 | |
so there's going to be a fan hitting her. | 0:19:47 | 0:19:49 | |
Each of these are going to be pictures of her line. | 0:19:49 | 0:19:53 | |
The other idea I had was to put different pictures to create | 0:19:53 | 0:19:58 | |
the image as if a gust of wind had picked up, | 0:19:58 | 0:20:00 | |
a dreamer's idea of the line that | 0:20:00 | 0:20:03 | |
she's always wanted to create in life. | 0:20:03 | 0:20:06 | |
The biggest parts that you guys have to make are the clock. | 0:20:06 | 0:20:09 | |
It's only half of a clock. | 0:20:09 | 0:20:11 | |
Also, these are a lot smaller when you look at them. | 0:20:11 | 0:20:15 | |
We noticed the second we get inside | 0:20:15 | 0:20:17 | |
that these window displays were so much smaller than we thought. | 0:20:17 | 0:20:21 | |
Nothing is grosser than looking at a store window | 0:20:21 | 0:20:24 | |
that is just packed with junk. | 0:20:24 | 0:20:25 | |
You might as well go to the dollar store. | 0:20:25 | 0:20:27 | |
So, we were like, "Uh-oh, we've got to totally scrap | 0:20:27 | 0:20:29 | |
"half of our ideas and cut this down to size." | 0:20:29 | 0:20:33 | |
Debbie, these boxes are a lot smaller than they look, | 0:20:33 | 0:20:36 | |
'and dividing them in half, we have to really rethink, because...' | 0:20:36 | 0:20:40 | |
there is not room for much at all. | 0:20:40 | 0:20:43 | |
Lisa, is there a way that we can have one full window of the photos | 0:20:43 | 0:20:47 | |
directly by the other room in two? | 0:20:47 | 0:20:49 | |
To dedicate one whole window to the best idea, | 0:20:49 | 0:20:52 | |
that is the way to do it, in my opinion. | 0:20:52 | 0:20:54 | |
There is a bunch of really vocal, strong women on this team. | 0:20:54 | 0:20:58 | |
You put us in two different places, | 0:20:58 | 0:21:00 | |
and it is like we have two extra project managers in a way. | 0:21:00 | 0:21:03 | |
That creates a problem. | 0:21:03 | 0:21:05 | |
I don't know... Like, I don't visualise how small that can be, yeah? | 0:21:05 | 0:21:08 | |
We are physically here. | 0:21:08 | 0:21:10 | |
This thing is small, these are both going to look really squished. | 0:21:10 | 0:21:15 | |
-Well, I mean... -Just trust us. | 0:21:15 | 0:21:18 | |
At some point, you have to trust the members of your team | 0:21:18 | 0:21:21 | |
that what they tell you is the truth. | 0:21:21 | 0:21:23 | |
That was a huge frustration of mine, | 0:21:23 | 0:21:26 | |
because right now, we are trying to help Dayana | 0:21:26 | 0:21:28 | |
so that we don't go down in flames. | 0:21:28 | 0:21:30 | |
We arrive at Lord & Taylor, | 0:21:40 | 0:21:42 | |
we see the window that we are actually going to dress, | 0:21:42 | 0:21:44 | |
and next to it, the other window that we are going to dress. | 0:21:44 | 0:21:47 | |
Is this it? | 0:21:47 | 0:21:49 | |
Three and four. They are not numbered, but this is it. | 0:21:49 | 0:21:52 | |
We go in Lord & Taylor. | 0:21:52 | 0:21:54 | |
They take us downstairs to the bowels, to the belly. | 0:21:54 | 0:21:57 | |
I had no idea, it was incredible. | 0:21:57 | 0:21:59 | |
These are on hydraulic lifts. | 0:21:59 | 0:22:01 | |
You will have a set built in here, 13 x 14. | 0:22:01 | 0:22:05 | |
You dress the window down in the basement of the store, | 0:22:05 | 0:22:08 | |
and a hydraulic lift raises you from the basement | 0:22:08 | 0:22:12 | |
to the sidewalk store level, | 0:22:12 | 0:22:15 | |
and then whatever you've built is in the window. | 0:22:15 | 0:22:18 | |
It is a really incredible system that has been around forever. | 0:22:18 | 0:22:21 | |
We feel, like, the office is there. | 0:22:21 | 0:22:23 | |
I feel like the red carpet is here. | 0:22:23 | 0:22:24 | |
So now we have to call them. We are doing two windows. | 0:22:27 | 0:22:30 | |
-We haven't seen the space yet. -I need to... I need to regroup. | 0:22:30 | 0:22:34 | |
-Take a breath. -Find the theme. I need to get that done. | 0:22:34 | 0:22:37 | |
By the time we got to Ivanka's showroom, | 0:22:37 | 0:22:39 | |
we needed to put it together, because our first idea | 0:22:39 | 0:22:42 | |
was to have four different situations happening in two windows. | 0:22:42 | 0:22:46 | |
But Lisa said that it was too much going on. | 0:22:46 | 0:22:49 | |
Ivanka has sketches of her clothing all over the place. | 0:22:49 | 0:22:53 | |
It looks beautiful, so we could do that. | 0:22:53 | 0:22:57 | |
'Then we can do the handbags and the shoes in the other window.' | 0:22:57 | 0:23:00 | |
We saw sketches in Ivanka's showroom. | 0:23:00 | 0:23:02 | |
We were going to try to make the story timeless in her career. | 0:23:02 | 0:23:06 | |
Now we have the sketches and now we have the real photos, | 0:23:06 | 0:23:08 | |
the real products coming out. | 0:23:08 | 0:23:10 | |
Having that part of her in our window was going to complete it. | 0:23:10 | 0:23:15 | |
Breathe for a second, for real. | 0:23:15 | 0:23:17 | |
Just bring it in. You're doing great. | 0:23:17 | 0:23:20 | |
Oh, lots of clothes. Hello, how are you? | 0:23:20 | 0:23:23 | |
Good to see you. Oh, the enemy is here. | 0:23:23 | 0:23:26 | |
The enemy is here. Hey, I'm Clay. Nice to meet you. | 0:23:26 | 0:23:29 | |
We know Amanda, of course. | 0:23:29 | 0:23:31 | |
'When we got to the Ivanka showroom, we were greeted by Amanda, | 0:23:31 | 0:23:34 | |
'who we all recognised from the lobby of the boardroom' | 0:23:34 | 0:23:38 | |
as Mr Trump's assistant, | 0:23:38 | 0:23:39 | |
but she also works for Ivanka's clothing line. | 0:23:39 | 0:23:41 | |
-Are you wearing Ivanka's pumps? -Yes, I am. | 0:23:41 | 0:23:44 | |
Cool. You know what I want to do? | 0:23:44 | 0:23:46 | |
I want to throw some colour on the shoe. | 0:23:46 | 0:23:49 | |
OK. | 0:23:49 | 0:23:51 | |
To go with this dress. | 0:23:51 | 0:23:52 | |
'This week, I did something' | 0:23:52 | 0:23:53 | |
that I know no-one else on my team could do or wanted to do. | 0:23:53 | 0:23:59 | |
That's a Betty White pump. | 0:23:59 | 0:24:02 | |
Yeah, I want to give her a piz-ump. | 0:24:02 | 0:24:04 | |
I want to give her a hiz-eel. | 0:24:05 | 0:24:08 | |
Everything is hotter in heels. | 0:24:08 | 0:24:10 | |
Hell, yeah. | 0:24:10 | 0:24:12 | |
I kind of like the Betty White shoe too. | 0:24:12 | 0:24:14 | |
That's cos you and Betty White went to elementary school together. | 0:24:14 | 0:24:18 | |
What do you think, Clay? | 0:24:18 | 0:24:19 | |
I know well enough to know that I don't know enough | 0:24:19 | 0:24:22 | |
to know what to know. | 0:24:22 | 0:24:23 | |
'Our gay team-mates weren't as much help as I expected.' | 0:24:23 | 0:24:29 | |
They're not that genre of gay men. | 0:24:29 | 0:24:31 | |
You know, as a matter of fact, | 0:24:31 | 0:24:33 | |
our gay team-mates rarely look at women, | 0:24:33 | 0:24:37 | |
'so if you only pay attention to how good men look, | 0:24:37 | 0:24:40 | |
'please let me handle this. | 0:24:40 | 0:24:42 | |
'Or else this will have' | 0:24:42 | 0:24:44 | |
this hotchpotch mixed agenda going on and it's going to be a mess. | 0:24:44 | 0:24:49 | |
Work it, girl. That's kicking ass and taking names right there. | 0:24:49 | 0:24:53 | |
What do you think, Mr T? | 0:24:53 | 0:24:54 | |
My taste is a little bit simpler than that. | 0:24:54 | 0:24:58 | |
-Afternoon, guys. -Hi, how are you? -How are you doing? | 0:25:01 | 0:25:03 | |
Good to see you, man. | 0:25:03 | 0:25:04 | |
-Good to see you as well. -George is our leader. | 0:25:04 | 0:25:06 | |
What's the actual concept? | 0:25:06 | 0:25:08 | |
The concept is Ivanka by day and Ivanka by night. | 0:25:08 | 0:25:12 | |
We have gotten three sets of twins. | 0:25:12 | 0:25:15 | |
In one scene, | 0:25:15 | 0:25:16 | |
they'll be working in an office with Clay as their assistant. | 0:25:16 | 0:25:19 | |
In the other scene, they'll be interviewed on the red carpet by Arsenio. | 0:25:19 | 0:25:22 | |
'Eric Trump came to visit us' | 0:25:22 | 0:25:24 | |
and he didn't say, "Don't do that." Or "That's not a good idea." | 0:25:24 | 0:25:28 | |
So we forged on ahead. | 0:25:28 | 0:25:29 | |
-How's it going? -It's going well. | 0:25:29 | 0:25:31 | |
When we got this task, we all kind of went, "Oh, crap." | 0:25:31 | 0:25:36 | |
But we've somehow figured out a way where people can | 0:25:36 | 0:25:38 | |
build on their strengths pretty well. | 0:25:38 | 0:25:41 | |
-Sure. -It's worked well. -How's he doing? | 0:25:41 | 0:25:44 | |
Why do I see a smile on your face? | 0:25:44 | 0:25:45 | |
Cos I'm happy all the time. | 0:25:45 | 0:25:47 | |
You're happy all the time, is that what that smile is? | 0:25:47 | 0:25:49 | |
We're a team. We're a good team. We pick up slack where we need to. | 0:25:49 | 0:25:52 | |
So you're saying that you're picking up slack. | 0:25:52 | 0:25:54 | |
I didn't say that specifically. | 0:25:54 | 0:25:56 | |
I just said we're all working together. | 0:25:56 | 0:25:58 | |
-Is he doing an OK job? -He is. | 0:25:58 | 0:26:00 | |
'I got some very interesting feedback on George. | 0:26:00 | 0:26:02 | |
'I could tell that there was something on Clay's mind' | 0:26:02 | 0:26:05 | |
that he wasn't saying, albeit that you could read his face | 0:26:05 | 0:26:07 | |
and tell instantly what he was thinking. | 0:26:07 | 0:26:10 | |
There's definitely a referendum on George. He's got to be a leader. | 0:26:10 | 0:26:13 | |
You've got a lot of different personality types - | 0:26:13 | 0:26:15 | |
he better lead this team otherwise the task is just going to unravel. | 0:26:15 | 0:26:19 | |
I know you're doing 8,000 things, | 0:26:19 | 0:26:20 | |
but we need to, like, line them up like a firing squad. | 0:26:20 | 0:26:24 | |
On three - one, two, three. | 0:26:24 | 0:26:26 | |
Next model. Next, next, next. | 0:26:26 | 0:26:28 | |
Let's make this as quick as possible. | 0:26:28 | 0:26:30 | |
'After we left Ivanka's showroom with all the clothing' | 0:26:30 | 0:26:32 | |
we went to the wardrobe to start with the models | 0:26:32 | 0:26:37 | |
and set up all the outfits and have all these photos taken | 0:26:37 | 0:26:40 | |
for our window. | 0:26:40 | 0:26:41 | |
'Hello?' | 0:26:43 | 0:26:44 | |
Ivanka, it's Deb Gibson. How are you? | 0:26:44 | 0:26:46 | |
'Hello, Deb, how's it going?' | 0:26:46 | 0:26:48 | |
Good. Good, good, good. | 0:26:48 | 0:26:49 | |
Listen, we don't have access to your jewellery for our display window. | 0:26:49 | 0:26:53 | |
It hit us to just call you directly and ask if we could borrow some. | 0:26:53 | 0:26:57 | |
We only had access to Ivanka's clothing line, not jewellery, | 0:26:59 | 0:27:02 | |
and I thought, "There is nothing illegal about going right to the source", so we did it. | 0:27:02 | 0:27:06 | |
OK, great. Thank you. | 0:27:08 | 0:27:10 | |
She was completely willing to help, just because we asked. | 0:27:10 | 0:27:14 | |
Can I have her for one second, just to try that again? | 0:27:17 | 0:27:20 | |
Hi, how are you? | 0:27:21 | 0:27:22 | |
Good to see you. We're good. | 0:27:22 | 0:27:24 | |
We are all working on Timeless Style by Ivanka Trump theme. | 0:27:24 | 0:27:28 | |
We were thinking that each window would be divided in two, | 0:27:28 | 0:27:31 | |
but now the boxes are too small for us to do that, and we are remaking. | 0:27:31 | 0:27:35 | |
So it's all getting a little crazy, but it's working very well. | 0:27:35 | 0:27:40 | |
'Don Jr came to the wardrobe' | 0:27:40 | 0:27:42 | |
and we're like, "Eee, yay! | 0:27:42 | 0:27:44 | |
"We're going to be fine." | 0:27:44 | 0:27:45 | |
What's the full concept, from start to finish? | 0:27:47 | 0:27:49 | |
What are you going to do in the two windows? | 0:27:49 | 0:27:51 | |
-Timeless. -Timeless Style by Ivanka Trump. | 0:27:51 | 0:27:54 | |
Aubrey came up with the idea of the clocks, that is amazing, | 0:27:54 | 0:27:58 | |
the fact that these women are 24/7. | 0:27:58 | 0:28:01 | |
What is a day in the life of a women? | 0:28:01 | 0:28:03 | |
The ladies think they have a theme, | 0:28:03 | 0:28:04 | |
but I have no idea what it really is yet. | 0:28:04 | 0:28:06 | |
The fact that they're just organising models | 0:28:06 | 0:28:08 | |
and kind of getting them maybe ready for some photo shoots | 0:28:08 | 0:28:11 | |
to me seems like they're a little behind the times. | 0:28:11 | 0:28:13 | |
There's definitely the appearance that Dayana doesn't have control. | 0:28:13 | 0:28:16 | |
-Whose idea was the concept? -Everybody has been helping a lot. | 0:28:16 | 0:28:19 | |
Any issues? Because you guys know that | 0:28:19 | 0:28:21 | |
if you can't win this one, you've got a problem, right? | 0:28:21 | 0:28:23 | |
Oh, God. | 0:28:23 | 0:28:25 | |
If you look at the X-rays here, you really did pull it out. | 0:28:34 | 0:28:37 | |
-See the way it's angulated here? -Yeah. | 0:28:37 | 0:28:39 | |
See the way it's bent back like that? | 0:28:39 | 0:28:41 | |
-But, more importantly, you see that spike sticking out here? -Yeah. | 0:28:41 | 0:28:44 | |
Not good. You need to have surgery to fix it. | 0:28:44 | 0:28:47 | |
It went from me thinking, | 0:28:47 | 0:28:49 | |
"I've got to go to the doctor | 0:28:49 | 0:28:51 | |
"and weigh up my options" to "you have A option - | 0:28:51 | 0:28:55 | |
"surgery, now." | 0:28:55 | 0:28:56 | |
What is my option in terms of delaying surgery? | 0:28:56 | 0:28:59 | |
Not good, because the bone can heal like that within about ten days. | 0:28:59 | 0:29:03 | |
-'Adam, this is George.' -George. | 0:29:07 | 0:29:10 | |
'Tell the set people that for the Ivanka night scene | 0:29:10 | 0:29:12 | |
'we want the back wall to be a midnight blue, | 0:29:12 | 0:29:16 | |
'because we want to suggest night.' | 0:29:16 | 0:29:18 | |
-Midnight blue. -'Yeah.' -OK. | 0:29:18 | 0:29:21 | |
'The concept was Ivanka by day, at the work place' | 0:29:21 | 0:29:26 | |
and then by night, you know, red carpet. | 0:29:26 | 0:29:29 | |
I actually had a middle one where she was taking a nap. | 0:29:29 | 0:29:32 | |
Maybe two o'clock, but they shot that one down. | 0:29:32 | 0:29:35 | |
Well, we're in the home stretch here. | 0:29:35 | 0:29:36 | |
We're getting the guys dressed, so once you guys wind up there, | 0:29:36 | 0:29:40 | |
you guys are finished for the day. | 0:29:40 | 0:29:42 | |
Right. | 0:29:42 | 0:29:44 | |
-OK. -Once we finish here, we're headed back to the hotel. | 0:29:45 | 0:29:48 | |
-All right. We'll see you in the morning. -Good. See you then. | 0:29:49 | 0:29:52 | |
-Great. -Bye. -Take care. | 0:29:52 | 0:29:54 | |
'Considering those guys got off a little bit earlier than we did, | 0:29:54 | 0:29:57 | |
'George could have come by and taken a look at what we were doing.' | 0:29:57 | 0:30:01 | |
It'll just be up to me to finish this. | 0:30:01 | 0:30:03 | |
Look how damn good I am. Would you look at that? Look at that. | 0:30:13 | 0:30:17 | |
That's a 16th of an inch. | 0:30:17 | 0:30:19 | |
You're amazing. | 0:30:19 | 0:30:21 | |
Don't let that Takei kick me off. You tell him, let's look at that. | 0:30:21 | 0:30:25 | |
I'm going to tell him you hit the edges perfect. | 0:30:25 | 0:30:27 | |
Look at that. | 0:30:27 | 0:30:29 | |
Michael basically does what good racers do, | 0:30:29 | 0:30:32 | |
which is he just tucks in behind you and drafts you. | 0:30:32 | 0:30:35 | |
At the end, he'll just slide out and take the chequered flag. | 0:30:35 | 0:30:38 | |
OK. | 0:30:43 | 0:30:44 | |
Me, personally, I feel that the midnight blue is a little too dark. | 0:30:44 | 0:30:48 | |
I would recommend maybe a lighter colour, | 0:30:50 | 0:30:52 | |
but George wanted midnight blue, | 0:30:52 | 0:30:54 | |
so when the project manager | 0:30:54 | 0:30:56 | |
decides on something, you have to go with what the project manager said. | 0:30:56 | 0:30:59 | |
George definitely should have came over here | 0:30:59 | 0:31:02 | |
and got a look at what's going on here. | 0:31:02 | 0:31:04 | |
Good. Sideways again. | 0:31:14 | 0:31:15 | |
Good, that's good. | 0:31:15 | 0:31:16 | |
Do you want her to put it on? | 0:31:18 | 0:31:20 | |
Turn sideways more. | 0:31:20 | 0:31:22 | |
We need to shoot some bags, and that's it. | 0:31:22 | 0:31:25 | |
And maybe some shoes. | 0:31:25 | 0:31:27 | |
Small feet model, please. | 0:31:27 | 0:31:29 | |
I'm very worried, because we're running out of time. | 0:31:29 | 0:31:32 | |
We should have been sending these photos about an hour ago, | 0:31:32 | 0:31:34 | |
and we're still shooting them. | 0:31:34 | 0:31:36 | |
Is there anything else that needs to be done right now? | 0:31:36 | 0:31:38 | |
We need to give them the pictures so they can be printed. | 0:31:38 | 0:31:41 | |
We have ten minutes. | 0:31:41 | 0:31:43 | |
I'm seeing that we're running out of time. We don't have those pictures. | 0:31:43 | 0:31:47 | |
They need them at the printers. | 0:31:47 | 0:31:48 | |
So I am very concerned, because | 0:31:48 | 0:31:51 | |
I want Dayana to succeed so badly. | 0:31:51 | 0:31:54 | |
We are both Venezuelans. We represent the Latin community. | 0:31:54 | 0:31:57 | |
She's like a little sister or something. | 0:31:57 | 0:32:00 | |
Here's the deal, what do we need, like five pictures? | 0:32:00 | 0:32:02 | |
Why don't we get five off and running, boom, | 0:32:02 | 0:32:04 | |
so we know we're covered? | 0:32:04 | 0:32:05 | |
So let's just pick, like, a handbag, a pair of shoes | 0:32:05 | 0:32:08 | |
and three outfits, for now. | 0:32:08 | 0:32:09 | |
Just for now. | 0:32:09 | 0:32:11 | |
Being a model and making windows is two different things. | 0:32:11 | 0:32:14 | |
I don't think Dayana had a clear vision of exactly what she wanted. | 0:32:14 | 0:32:17 | |
She kept changing her mind. I felt like we were all over the place. | 0:32:17 | 0:32:21 | |
Wow, really, project manager is a lot of work. | 0:32:24 | 0:32:26 | |
Hello, people. | 0:32:35 | 0:32:36 | |
Wish me luck. | 0:32:36 | 0:32:38 | |
'I'm about to go into surgery, | 0:32:38 | 0:32:40 | |
'and it is just completely surreal at this point.' | 0:32:40 | 0:32:42 | |
I really didn't want it to get in the way of being on the show. | 0:32:42 | 0:32:46 | |
I'm here for my charity, and I don't whimper and I don't give up. | 0:32:46 | 0:32:50 | |
-OK, pleasant dreams. -Trump! | 0:32:52 | 0:32:54 | |
This is your fault, Trump. | 0:32:56 | 0:32:57 | |
Good morning. How are you, guys? | 0:33:20 | 0:33:22 | |
Good to see you again. | 0:33:22 | 0:33:23 | |
This morning, we split up into two groups. | 0:33:26 | 0:33:28 | |
Most of us are going to the basement. | 0:33:28 | 0:33:30 | |
Deb and Lisa are going to pick up sketches | 0:33:30 | 0:33:34 | |
and photographs of the collection that were shot the previous day. | 0:33:34 | 0:33:38 | |
Oh, the guys are on the right, is that what it is? | 0:33:38 | 0:33:41 | |
Oh, my God, that's beautiful. | 0:33:43 | 0:33:45 | |
-This is our... Where's our...? -Coral, that's the coral. | 0:33:46 | 0:33:50 | |
Oh, look at the grey. Look at how good the grey is looking. | 0:33:50 | 0:33:53 | |
Oh, wow. I love it, I love it. | 0:33:54 | 0:33:56 | |
It is amazingly stressful to be project manager. | 0:33:56 | 0:34:00 | |
I'm nervous and I'm scared, | 0:34:00 | 0:34:02 | |
because we don't have the photos or the sketches yet. | 0:34:02 | 0:34:06 | |
-Do you know what time the printing is getting here? -Eight o'clock. | 0:34:06 | 0:34:09 | |
OK, it's eight right now. Where are they at? | 0:34:09 | 0:34:12 | |
-Watch your step. Look at that. -This looks great. | 0:34:12 | 0:34:14 | |
-Isn't that beautiful? -Yeah. | 0:34:14 | 0:34:16 | |
So it's the morning of the presentation | 0:34:16 | 0:34:18 | |
and we arrive at Lord & Taylor, and we've got a lot of stuff to do. | 0:34:18 | 0:34:21 | |
The sets have been placed into the window | 0:34:21 | 0:34:23 | |
and we are ready to install the big Ivanka Trump signs. | 0:34:23 | 0:34:26 | |
We've got plenty of room on the other... | 0:34:29 | 0:34:31 | |
We've got a mounting issue. | 0:34:31 | 0:34:33 | |
First thing I realise when we got to Lord & Taylor is that | 0:34:33 | 0:34:36 | |
Paul's guys had misinterpreted something that Paul had sent them. | 0:34:36 | 0:34:41 | |
No, it's cool the way it is. | 0:34:41 | 0:34:43 | |
-No, it's not. -OK, what's the problem? | 0:34:43 | 0:34:46 | |
The problem is, I wanted the sign hanging, floating. | 0:34:46 | 0:34:49 | |
These brackets won't mount to this sideways. | 0:34:49 | 0:34:52 | |
We're going to the side of this. | 0:34:52 | 0:34:54 | |
Listen, I love Paul, but I drew it out for him five times. | 0:34:54 | 0:34:57 | |
We wanted our sign front and centre, | 0:34:57 | 0:34:59 | |
but we didn't want to see posts coming down to the ground. | 0:34:59 | 0:35:01 | |
We wanted our posts not to be here, | 0:35:01 | 0:35:06 | |
we wanted our posts to be here. | 0:35:06 | 0:35:08 | |
I'm doing the finger right now, America. Yeah. | 0:35:08 | 0:35:12 | |
We'll make it work. | 0:35:12 | 0:35:13 | |
We may crush a model, but they're a dime a dozen in this town. | 0:35:14 | 0:35:17 | |
Wear the black dress under, | 0:35:18 | 0:35:20 | |
and then we put on heels. | 0:35:20 | 0:35:22 | |
Is this looking right from far away? | 0:35:23 | 0:35:25 | |
-Cool, right? -Yeah, it's good. | 0:35:27 | 0:35:29 | |
I'm waiting for the sketches and the photos to arrive, so I was placing | 0:35:29 | 0:35:33 | |
paper towels in all of the spots where I thought photos should go. | 0:35:33 | 0:35:37 | |
I was trying to basically design the look of it. | 0:35:37 | 0:35:39 | |
Do you like the way this is looking? | 0:35:39 | 0:35:41 | |
I'm just placing right now. It's not the sizes, just locations. | 0:35:41 | 0:35:44 | |
Yeah, put one down here too. | 0:35:44 | 0:35:46 | |
Right here? | 0:35:46 | 0:35:47 | |
PHONE RINGS | 0:35:49 | 0:35:50 | |
'Dayana?' | 0:35:50 | 0:35:52 | |
-It's Patricia. You need Dayana? -Yes, we do. | 0:35:52 | 0:35:54 | |
Hey, what's happened? | 0:35:54 | 0:35:56 | |
'OK, here's the deal. | 0:35:56 | 0:35:57 | |
'We're stuck in horrendous traffic trying to get to you.' | 0:35:57 | 0:36:00 | |
-We will be stuck in traffic, Dayana, for an hour. -How close are you? | 0:36:00 | 0:36:04 | |
Close to you, but we're crawling. | 0:36:04 | 0:36:06 | |
'Lisa and I picked up these sketches that I photographed | 0:36:06 | 0:36:09 | |
'in Ivanka's showroom' | 0:36:09 | 0:36:10 | |
that are for one window, | 0:36:10 | 0:36:11 | |
and photographs that we took of the models wearing Ivanka's clothing | 0:36:11 | 0:36:15 | |
for the other window, which at this point is the centre of our theme, | 0:36:15 | 0:36:19 | |
so we have got to get these photos over to Lord & Taylor now. | 0:36:19 | 0:36:23 | |
-All I'm saying is those windows go up at 11am. -Ah! | 0:36:23 | 0:36:28 | |
It's hilarious. | 0:36:28 | 0:36:29 | |
Hey, guys, we have 55 minutes. 55 minutes. | 0:36:30 | 0:36:33 | |
If we can put this on here, would that work? | 0:36:33 | 0:36:37 | |
No. We could put a... No, we need to whack this off, | 0:36:37 | 0:36:40 | |
because we've got to get it through here anyway. | 0:36:40 | 0:36:42 | |
-Yes, OK. So let's just whack it off. -This is going to work. | 0:36:42 | 0:36:46 | |
Once I realised those brackets were completely off | 0:36:46 | 0:36:49 | |
and that we were going to have to fabricate on the fly, | 0:36:49 | 0:36:53 | |
Paul and I had to put on our troubleshooting, | 0:36:53 | 0:36:56 | |
fabrication caps and wrap our minds around what we were doing. | 0:36:56 | 0:37:00 | |
We're going to have to plumb this straight from here. | 0:37:00 | 0:37:03 | |
Adam, do we need to measure the height of the window? | 0:37:03 | 0:37:06 | |
Because once this goes up later, I mean, we can't fix it. | 0:37:06 | 0:37:10 | |
That piece is going to hit that. You're flush right there. | 0:37:10 | 0:37:12 | |
Hold on, Lou, Lou, I don't want to be rude, but... | 0:37:12 | 0:37:16 | |
'It was like me and Paul were on a date and Lou was chaperoning.' | 0:37:16 | 0:37:20 | |
I just wanted to get up Paul's sweater. | 0:37:20 | 0:37:22 | |
I wasn't going all the way with him, | 0:37:22 | 0:37:24 | |
I just needed five minutes in the back of that car with Paul. | 0:37:24 | 0:37:27 | |
We wanted more room in here. | 0:37:27 | 0:37:29 | |
Lou was trying to help a lot. | 0:37:30 | 0:37:33 | |
It became the point where you could see | 0:37:33 | 0:37:35 | |
there was too many cooks in the kitchen. | 0:37:35 | 0:37:37 | |
Watch yourself, there, Lou. | 0:37:37 | 0:37:38 | |
Get out of the way, man. Why you gotta be so big? | 0:37:38 | 0:37:41 | |
Hello. You got that? | 0:37:41 | 0:37:43 | |
Uh-huh, I got it, I got it, I got it. | 0:37:43 | 0:37:44 | |
No, no, no. Yes. | 0:37:47 | 0:37:49 | |
OK, leave that. | 0:37:49 | 0:37:50 | |
We get to Lord & Taylor in the nick of time | 0:37:50 | 0:37:52 | |
to really start working on stuff. | 0:37:52 | 0:37:54 | |
Patricia, this is clearly urgent. | 0:37:54 | 0:37:57 | |
He didn't print any of the photos you gave him, he just printed these. | 0:37:57 | 0:38:01 | |
We needed the sketches, clearly, for window one. | 0:38:04 | 0:38:08 | |
Window two was supposed to be the photographs that Patricia had | 0:38:08 | 0:38:12 | |
saved on disk and sent off to the printers the day before. | 0:38:12 | 0:38:16 | |
Those pictures were nowhere to be found. | 0:38:16 | 0:38:17 | |
Aubrey, the photos that Patricia took are not here. | 0:38:17 | 0:38:20 | |
When you went in that box, did you open a box of photos? | 0:38:20 | 0:38:24 | |
There was just a box. | 0:38:24 | 0:38:26 | |
I opened it up and I lined up all three of what was in that box. | 0:38:26 | 0:38:29 | |
'Basically, we have 15 minutes to figure out how to save | 0:38:29 | 0:38:32 | |
'an entire window display' | 0:38:32 | 0:38:33 | |
that we have no pictures for. | 0:38:33 | 0:38:35 | |
I'm totally pissed, I don't understand why they aren't here. | 0:38:35 | 0:38:38 | |
I don't understand what went wrong. I'm totally freaking out. | 0:38:38 | 0:38:41 | |
Where are the photos? Where are the original photos? | 0:38:41 | 0:38:44 | |
So they're not coming? | 0:38:47 | 0:38:49 | |
I called him, no-one is answering. | 0:38:49 | 0:38:51 | |
Our idea that was amazing is a wrap. | 0:39:02 | 0:39:04 | |
Now we just have to go to a different idea, | 0:39:04 | 0:39:06 | |
cos there's nothing we can do to fix it. | 0:39:06 | 0:39:08 | |
The sketches arrived, but the pictures are nowhere to be found. | 0:39:08 | 0:39:11 | |
Somebody messed up and we don't have the pictures here. | 0:39:11 | 0:39:14 | |
I know that this isn't going to be a good thing for Dayana to handle, | 0:39:14 | 0:39:18 | |
because we have ten minutes to fix it, | 0:39:18 | 0:39:20 | |
and we all know that Dayana is not going to be able to do that, | 0:39:20 | 0:39:23 | |
so we need to come up with a Plan B instantly. | 0:39:23 | 0:39:26 | |
Listen, here's the remix. Just listen if you like this idea. | 0:39:26 | 0:39:29 | |
You know how in a runway show how all the models walk out | 0:39:29 | 0:39:31 | |
and they clap for the designer and then she's like, | 0:39:31 | 0:39:33 | |
"Thank you so much, these are my designs, thank you"? Whatever, OK? | 0:39:33 | 0:39:37 | |
The models are standing there in all of her latest looks and it goes from | 0:39:37 | 0:39:40 | |
these were her images and ambition | 0:39:40 | 0:39:42 | |
to now she finished her first runway show. | 0:39:42 | 0:39:45 | |
Can we just do that? | 0:39:45 | 0:39:47 | |
Cos it's a mess-up in the ninth inning and we have to just fix it. | 0:39:47 | 0:39:50 | |
-It's a good idea. -Can we do that? | 0:39:50 | 0:39:52 | |
Three seconds goes by, and Aubrey's like, "Plan B - here's what we do." | 0:39:52 | 0:39:56 | |
Instead of the photos, it's live models, | 0:39:56 | 0:39:59 | |
let's get two of the girl models, put them in outfits. | 0:39:59 | 0:40:03 | |
I'm like, "Oh, wow, she's good." | 0:40:03 | 0:40:04 | |
Hair and make-up is set up here. | 0:40:08 | 0:40:10 | |
-OK. -And your name? -Jennifer. -Jennifer. | 0:40:10 | 0:40:13 | |
So, these two need to look as identical as possible | 0:40:13 | 0:40:17 | |
and these two need to look as identical as possible. | 0:40:17 | 0:40:19 | |
Genetics has done a lot of your work for you. | 0:40:19 | 0:40:22 | |
LAUGHTER | 0:40:22 | 0:40:23 | |
There I was on the 11th floor of Lord & Taylor | 0:40:24 | 0:40:27 | |
with the models and the hair and make-up people. | 0:40:27 | 0:40:30 | |
It was a beehive of activity. | 0:40:30 | 0:40:33 | |
-Anything I can do for you over here? -I think I'm good. | 0:40:33 | 0:40:35 | |
-Are you OK? -Yeah, I'm fine. | 0:40:35 | 0:40:38 | |
If you ruin one twin, then you're going to throw off the whole set. | 0:40:38 | 0:40:41 | |
Arsenio, Penn and myself, we jumped right into it, steaming the clothes | 0:40:41 | 0:40:45 | |
and getting everything set up and getting the women | 0:40:45 | 0:40:47 | |
-done up. -I'm going to pin it a quarter of an inch there | 0:40:47 | 0:40:51 | |
and a quarter of an inch there. | 0:40:51 | 0:40:52 | |
And George didn't really make himself useful, in any way. | 0:40:52 | 0:40:55 | |
Can we get the ladies started now, make-up people? | 0:40:55 | 0:40:59 | |
Girl models! We need three girl models! | 0:41:10 | 0:41:12 | |
-We've got to go out on the street. -OK, let's go. | 0:41:12 | 0:41:16 | |
OK, guys, we just have, like, two minutes left. | 0:41:16 | 0:41:19 | |
-Come on, we've got to hurry. -OK, you do that. | 0:41:20 | 0:41:24 | |
Dayana, come get some jewellery, real quick. | 0:41:24 | 0:41:27 | |
Everybody just got stuff going on. | 0:41:27 | 0:41:28 | |
They got the handbags on the thing, got the girls posed, | 0:41:28 | 0:41:31 | |
tried to mop up a little sweat and we were out the door. | 0:41:31 | 0:41:34 | |
SCREAMING | 0:41:34 | 0:41:35 | |
Let's go! | 0:41:36 | 0:41:38 | |
Dayana! | 0:41:38 | 0:41:40 | |
Thank you guys so much. This is the best thing ever. | 0:41:40 | 0:41:43 | |
Yeah, that's good. You look really good with a feather duster. | 0:41:49 | 0:41:53 | |
We were kicking ass downstairs. | 0:41:53 | 0:41:55 | |
We were really cranking and the models came in, | 0:41:55 | 0:41:58 | |
of course you always want to see the models. | 0:41:58 | 0:42:00 | |
I think, at that point, everybody realised it was game on. | 0:42:00 | 0:42:06 | |
Let's put you stage left | 0:42:06 | 0:42:08 | |
and let's put you closest to our star, | 0:42:08 | 0:42:11 | |
so we're now going blonde, black, red. | 0:42:11 | 0:42:14 | |
I've always believed that you can work yourself into a job | 0:42:14 | 0:42:17 | |
or you can work yourself out of a job. | 0:42:17 | 0:42:19 | |
And George really gave away so much authority that | 0:42:19 | 0:42:22 | |
he really had no purpose anymore. | 0:42:22 | 0:42:24 | |
Yeah, this is good. The way you have it now. | 0:42:24 | 0:42:26 | |
-I think so. -Yeah. -It's just, I can't see both at once. | 0:42:26 | 0:42:30 | |
-You're with us. -I'm with you. That's solidarity. | 0:42:31 | 0:42:35 | |
-Are you sure you're all right, though? -Eh... | 0:42:35 | 0:42:38 | |
-Oh! -Four pins. I needed surgery. | 0:42:38 | 0:42:41 | |
-Hey, he's here. -Four pins! | 0:42:41 | 0:42:44 | |
Four pins in one finger. | 0:42:44 | 0:42:47 | |
-The doctor said, "You've got to go in surgery now." -Two minutes left. | 0:42:47 | 0:42:51 | |
I know, get going. I'm out. | 0:42:51 | 0:42:53 | |
I was surprised to see Dee walk in, because I assumed that | 0:42:53 | 0:42:56 | |
because he was getting the surgery, he'd probably pull himself out | 0:42:56 | 0:42:59 | |
of the show or something. | 0:42:59 | 0:43:01 | |
I'm not sure how you can do this show with one hand. | 0:43:01 | 0:43:05 | |
All right, get ready, we're going to go up. | 0:43:07 | 0:43:09 | |
We're going up. | 0:43:09 | 0:43:11 | |
Daytime has said good luck to Evening. | 0:43:11 | 0:43:14 | |
Evening has said good luck back. | 0:43:14 | 0:43:16 | |
They didn't really, but I'll lie for them. | 0:43:16 | 0:43:19 | |
CHEERING | 0:43:27 | 0:43:31 | |
-Wow. -Wow. | 0:43:31 | 0:43:32 | |
Standing there on 5th Avenue, waiting for our cue, | 0:43:32 | 0:43:36 | |
full of anxiety. | 0:43:36 | 0:43:37 | |
There's that excitement, there's that tension. | 0:43:37 | 0:43:42 | |
That's the thing that makes you most nervous, the unknown. | 0:43:42 | 0:43:45 | |
A big cheer, everybody. A big cheer. | 0:43:46 | 0:43:48 | |
CHEERING | 0:43:48 | 0:43:51 | |
CHEERING | 0:43:58 | 0:44:00 | |
They look great. | 0:44:00 | 0:44:01 | |
Here they come. | 0:44:04 | 0:44:06 | |
Here they come. Uh-oh. | 0:44:06 | 0:44:08 | |
Hi, everyone. How's it going? | 0:44:08 | 0:44:10 | |
Good to see you. I heard you were manager. How's it going? | 0:44:10 | 0:44:15 | |
It's an honour to have worked on marketing your... | 0:44:15 | 0:44:19 | |
I am very, very excited. | 0:44:19 | 0:44:22 | |
It's Ivanka Trump By Day. | 0:44:22 | 0:44:24 | |
We wanted to show the whole spectrum and this is the professional, | 0:44:25 | 0:44:28 | |
elegant and sophisticated look. | 0:44:28 | 0:44:31 | |
We have our...Arsenio... | 0:44:33 | 0:44:36 | |
We have... | 0:44:36 | 0:44:37 | |
-Clay Aiken... -Mm-hm. | 0:44:37 | 0:44:39 | |
'As we're sitting in the window,' | 0:44:39 | 0:44:41 | |
I'm not able to hear what George is saying. | 0:44:41 | 0:44:43 | |
I hope George is able to convey to Scott and Ivanka | 0:44:43 | 0:44:47 | |
what it is that these two displays are actually showing us. | 0:44:47 | 0:44:51 | |
Now, did you bring in the models or were they...? | 0:44:51 | 0:44:54 | |
Yes, we brought in the models and you'll notice, when you look | 0:44:54 | 0:44:57 | |
-in the other window, that they are twins. -Ah. | 0:44:57 | 0:45:00 | |
This is By Day and then, on the other side, we have By Night. | 0:45:00 | 0:45:05 | |
So all three of them are twins. Got it! | 0:45:05 | 0:45:07 | |
Twins, suggesting that the same woman can transform herself | 0:45:07 | 0:45:11 | |
and, at night, she becomes someone involved in charity affairs, | 0:45:11 | 0:45:16 | |
opening nights on Broadway, cultural events at the Lincoln Centre. | 0:45:16 | 0:45:20 | |
-And we have Arsenio working this window. -Ah! | 0:45:20 | 0:45:22 | |
He's an interviewer at a red carpet event. | 0:45:22 | 0:45:25 | |
We should put some reflective tape or something on Arsenio. | 0:45:25 | 0:45:28 | |
The guy has a black cap on. | 0:45:30 | 0:45:32 | |
The window was a midnight blue, which unfortunately, got washed out | 0:45:32 | 0:45:36 | |
with the reflection of the glass. | 0:45:36 | 0:45:38 | |
You know, it's something I guess we didn't anticipate | 0:45:38 | 0:45:40 | |
and it didn't read as well as we would have liked it. | 0:45:40 | 0:45:43 | |
Who came up with the idea of using the twins to have...? | 0:45:43 | 0:45:46 | |
-Our magician here. -Oh! | 0:45:46 | 0:45:48 | |
I think that you are always going to double-take twins. | 0:45:48 | 0:45:51 | |
Yeah, I think the twins element was very, very creative. | 0:45:51 | 0:45:54 | |
A clever idea. Who did the styling? Who picked the actual pieces? | 0:45:54 | 0:45:57 | |
-Arsenio. -Arsenio, he's the stylist. | 0:45:57 | 0:46:00 | |
I heard that he was very quick in determining what looks... | 0:46:00 | 0:46:03 | |
He has another side to him. | 0:46:03 | 0:46:06 | |
I wouldn't have seen Arsenio as being the obvious one for that. | 0:46:06 | 0:46:09 | |
No, I wouldn't have thought so, either. | 0:46:09 | 0:46:11 | |
So, I noticed the signifier and the logo. | 0:46:11 | 0:46:14 | |
How difficult was it to have that made in such a short period of time? | 0:46:14 | 0:46:17 | |
-Well, this is the man who produced it. -OK! -Paul. | 0:46:17 | 0:46:19 | |
Whipped that right up, right? | 0:46:19 | 0:46:21 | |
Wow, a good job. That's very good. That's very hard to do. | 0:46:21 | 0:46:23 | |
-Gorgeous detail. -It's very, very elegant. -Paul did a great job. | 0:46:23 | 0:46:27 | |
It's very exciting, because most people are like Lou. | 0:46:27 | 0:46:31 | |
You know, they're not involved... | 0:46:31 | 0:46:34 | |
Erm... | 0:46:34 | 0:46:36 | |
He certainly fessed up early on that that's not his thing. | 0:46:36 | 0:46:40 | |
When George mentioned my name, I was kind of surprised and shocked | 0:46:40 | 0:46:43 | |
because I gave 110%. | 0:46:43 | 0:46:45 | |
I thought, "unprofessional." And I basically didn't want to hear | 0:46:45 | 0:46:48 | |
the big insult to me. | 0:46:48 | 0:46:50 | |
Very impressive. Well, thank you, guys. | 0:46:51 | 0:46:53 | |
-Thank you very much. -Congratulations. Thank you. | 0:46:53 | 0:46:55 | |
-We appreciate... -Thank you. Thanks so much. | 0:46:55 | 0:46:59 | |
Once everything came into place | 0:47:01 | 0:47:02 | |
and we looked at it, it was like, "That's pretty cool. | 0:47:02 | 0:47:05 | |
I can't believe we pulled this off." | 0:47:05 | 0:47:07 | |
-We actually might have a shot at winning this thing. -We got it. | 0:47:07 | 0:47:12 | |
We got it. They were all over that BLEEP logo. They were all over it. | 0:47:12 | 0:47:17 | |
-They're coming now! -SCREAMING | 0:47:19 | 0:47:21 | |
-Suerte! -Guys, I'm going to pee my pants. | 0:47:21 | 0:47:24 | |
No, Those are white, you can't pee in those pants. | 0:47:25 | 0:47:28 | |
OK, stand to attention, stand to attention. You can look afterwards. | 0:47:29 | 0:47:33 | |
-Hi, everyone! -Hello. -ALL: Hi! -Great to see you all. | 0:47:33 | 0:47:36 | |
-Thank you, beautiful. -Oh, thank you. -Oh, that's so lovely. | 0:47:36 | 0:47:40 | |
Hi, everyone. Welcome to Ivanka Trump 2012 Spring Collection. | 0:47:40 | 0:47:45 | |
We are thrilled to give you a small glimpse inside her | 0:47:45 | 0:47:48 | |
first-ever apparel line. | 0:47:48 | 0:47:50 | |
Sophisticated, modern fashion is timeless. | 0:47:50 | 0:47:54 | |
Aspiration to leadership is timeless. | 0:47:54 | 0:47:57 | |
Welcome to Ivanka Trump Timeless Style. | 0:47:57 | 0:48:00 | |
Yay! | 0:48:02 | 0:48:04 | |
Looks great. | 0:48:06 | 0:48:08 | |
I notice our gorgeous Dayana, looking very beautiful | 0:48:08 | 0:48:11 | |
in one of my dresses. | 0:48:11 | 0:48:14 | |
When I saw Ivanka and Scott coming, I was looking at them | 0:48:14 | 0:48:17 | |
from the corner of my eye and I was saw her going... | 0:48:17 | 0:48:20 | |
I think she liked it. | 0:48:21 | 0:48:23 | |
So this is a bit of a before and after feel? | 0:48:23 | 0:48:26 | |
Aspiration to leadership. | 0:48:26 | 0:48:29 | |
It's the culmination of your sketches. | 0:48:29 | 0:48:33 | |
And how did you select the products that you pulled for the windows? | 0:48:33 | 0:48:36 | |
I think Dayana picked most of them. | 0:48:36 | 0:48:38 | |
-A lot of them are based on the colour scheme... -Dayana and I. | 0:48:38 | 0:48:41 | |
I love that you are all wearing the clothing, as well. | 0:48:41 | 0:48:43 | |
Yes, you all look lovely. | 0:48:43 | 0:48:45 | |
How about Aubrey? How did you decide to have her... Obviously, Dayana. | 0:48:45 | 0:48:48 | |
How did you come about that decision? | 0:48:48 | 0:48:50 | |
She just seems to be the demographic. | 0:48:50 | 0:48:52 | |
24, you know, the age group, the hip factor. | 0:48:52 | 0:48:54 | |
Plus also she has that classic elegance, too. | 0:48:54 | 0:48:57 | |
It's a combination of everything. | 0:48:57 | 0:48:59 | |
You don't even see the shoes. I should have worn my own shoes. | 0:48:59 | 0:49:02 | |
-We're going to get in trouble for that. -Yes. | 0:49:02 | 0:49:04 | |
I am so nervous. | 0:49:04 | 0:49:06 | |
Ivanka's a hard read. She has a super poker face. | 0:49:06 | 0:49:10 | |
But, if we lose, I have no fear of going into the boardroom, | 0:49:10 | 0:49:13 | |
because I think the entire team knows what a strong player I am. | 0:49:13 | 0:49:17 | |
-The presentation is beautiful. Great job. -Great job. | 0:49:18 | 0:49:21 | |
-Thank you so much. -Thank you. -Thank you. | 0:49:21 | 0:49:24 | |
Oh, my God! Could she be cooler? | 0:49:25 | 0:49:27 | |
-So, what did you think, Scott? -I thought both teams did a great job. | 0:49:27 | 0:49:31 | |
It was impressive to see what they accomplished in such a short | 0:49:31 | 0:49:33 | |
period of time. You know, the men's | 0:49:33 | 0:49:35 | |
was very well executed - the detail. | 0:49:35 | 0:49:37 | |
It was very impressive, the signage the men put together. | 0:49:37 | 0:49:40 | |
It was brand specific, it was great | 0:49:40 | 0:49:42 | |
and it was a large size, so it really caught your eye. | 0:49:42 | 0:49:45 | |
I love the concept of the twins. | 0:49:45 | 0:49:46 | |
I love the idea of showing the women at work and the women out at night. | 0:49:46 | 0:49:51 | |
The only caveat to that is I think the eveningwear | 0:49:51 | 0:49:54 | |
wasn't particularly evening. | 0:49:54 | 0:49:55 | |
I mean, this is the challenge, I guess, when a man's styling a woman. | 0:49:55 | 0:49:58 | |
-Yes. -The woman, they themselves were gorgeous. | 0:49:58 | 0:50:01 | |
The women's styling was beautiful. | 0:50:01 | 0:50:04 | |
They did a very, very good job. | 0:50:04 | 0:50:06 | |
My only criticism of the women's window was the fan | 0:50:06 | 0:50:10 | |
that you could see from 5th Avenue. | 0:50:10 | 0:50:13 | |
-It didn't look particularly good. -The little detail, right? | 0:50:13 | 0:50:15 | |
And also the shoes. | 0:50:15 | 0:50:17 | |
Because of the coral border, you actually only saw half the shoe. | 0:50:17 | 0:50:19 | |
I agree, absolutely. | 0:50:19 | 0:50:21 | |
-Scott, we have a very difficult decision to make. -We do. | 0:50:21 | 0:50:24 | |
-So we'll have to go talk to my father. -OK, sounds good. | 0:50:24 | 0:50:27 | |
-Dayana. -Hi. -What was your concept? | 0:50:52 | 0:50:55 | |
Our concept... | 0:50:57 | 0:50:58 | |
We based everything on Ivanka's... | 0:51:00 | 0:51:04 | |
Erm... | 0:51:04 | 0:51:05 | |
Her way that... | 0:51:07 | 0:51:09 | |
Dayana, this isn't like you. You're usually so quick. | 0:51:09 | 0:51:11 | |
-I'm so nervous now. -Are you nervous? -Yes, I am. -Why are you nervous? | 0:51:11 | 0:51:14 | |
She wants to say it in Spanish, I can feel her. | 0:51:14 | 0:51:17 | |
Why? She speaks such great English. What happened to you, Dayana? | 0:51:17 | 0:51:20 | |
-I'm shocked. -It's a big deal, so... | 0:51:20 | 0:51:21 | |
-You look beautiful. -Thank you. -But go ahead. | 0:51:21 | 0:51:24 | |
We based everything Ivanka's willing to transform her personality | 0:51:24 | 0:51:27 | |
and career into a style. | 0:51:27 | 0:51:30 | |
And so, we did a little bit of... | 0:51:30 | 0:51:32 | |
An everyday chicness, glamour and sophistication in our windows. | 0:51:32 | 0:51:37 | |
-Do you think you did a good job? -Oh, my God, yes! | 0:51:37 | 0:51:40 | |
-Do you think you won? -Yes. | 0:51:40 | 0:51:42 | |
-Do you think beat George's team? -Yes. -I don't know. | 0:51:42 | 0:51:44 | |
-I believe so, yes. -OK, good. | 0:51:44 | 0:51:46 | |
So, Teresa, how was she as a project manager? | 0:51:46 | 0:51:50 | |
-She was great. -Really good? -Yeah. | 0:51:50 | 0:51:51 | |
Anybody disagree? | 0:51:51 | 0:51:53 | |
Tia, how do you feel about things? | 0:51:55 | 0:51:57 | |
I think the most amazing thing about our team this week, | 0:51:57 | 0:52:00 | |
in sharp contrast to the past two weeks, | 0:52:00 | 0:52:02 | |
is that we pulled together, cleared our channels. | 0:52:02 | 0:52:05 | |
And, on top of that, we were | 0:52:05 | 0:52:06 | |
so resilient to the many things that changed conceptually through | 0:52:06 | 0:52:10 | |
the whole process to the last moment before we hoisted the windows. | 0:52:10 | 0:52:14 | |
-And you thought Dayana did a good job? -Yes, absolutely. Fantastic. | 0:52:14 | 0:52:18 | |
How do you like Ivanka's product? | 0:52:18 | 0:52:20 | |
-Love! -We're sporting it! | 0:52:20 | 0:52:22 | |
And she's amazing and we really embodied her natural style - | 0:52:24 | 0:52:27 | |
sophistication, modern grace - | 0:52:27 | 0:52:30 | |
-in both of our boxes, both of our displays. -OK. | 0:52:30 | 0:52:34 | |
Tia, let me ask you this question, | 0:52:34 | 0:52:36 | |
who is the weakest player, would you say, in your team? | 0:52:36 | 0:52:40 | |
Oh, jeez! I am so proud of our team. | 0:52:40 | 0:52:43 | |
-We are stronger than ever. -Yes. | 0:52:43 | 0:52:46 | |
OK, I don't need to hear any more. | 0:52:46 | 0:52:48 | |
Teresa, who is the weakest player in your team? | 0:52:48 | 0:52:51 | |
I have to agree with everyone else. I mean, this... | 0:52:51 | 0:52:53 | |
OK, enough with the lovefest. | 0:52:53 | 0:52:55 | |
Dayana, if you lose, who are you bringing back? | 0:52:55 | 0:52:57 | |
-Because you've got to bring back two people. -I'm very sorry. | 0:52:57 | 0:53:00 | |
My heart doesn't let me say that, because everybody worked so hard. | 0:53:00 | 0:53:03 | |
-It would be very unfair. -So are you be coming back by yourself | 0:53:03 | 0:53:06 | |
-if you lose? -It will be very unfair if I mentioned somebody when... | 0:53:06 | 0:53:11 | |
But, Dayana, if you lose, who are you going to bring back? | 0:53:11 | 0:53:14 | |
We won. | 0:53:14 | 0:53:16 | |
You know you have to answer the question, | 0:53:16 | 0:53:19 | |
-otherwise... -Otherwise what? | 0:53:19 | 0:53:21 | |
You come back by yourself and that doesn't leave many options. | 0:53:21 | 0:53:24 | |
Otherwise, you go back to modelling. | 0:53:24 | 0:53:25 | |
It's just very hard, Mr Trump. | 0:53:25 | 0:53:28 | |
All right, well. OK. | 0:53:28 | 0:53:31 | |
Aubrey, you're very outspoken and very strong and Dayana | 0:53:31 | 0:53:34 | |
refused to give me the answer. | 0:53:34 | 0:53:36 | |
Which two people would you choose, | 0:53:36 | 0:53:38 | |
if your team loses, to come back and potentially get fired? | 0:53:38 | 0:53:42 | |
Well, thankfully, that's up to Dayana this time. | 0:53:42 | 0:53:44 | |
When I'm project manager, I will be able to answer all | 0:53:44 | 0:53:47 | |
of those questions for you. | 0:53:47 | 0:53:48 | |
But I haven't specifically been a leader in this environment | 0:53:48 | 0:53:51 | |
and been able to truly assess people's strengths and weaknesses. | 0:53:51 | 0:53:54 | |
-Oh, let's just waterboard her and get something out of her. -Adam! | 0:53:54 | 0:53:58 | |
-I'm with you, Adam. -This is killing me. | 0:53:58 | 0:54:01 | |
You've had a chance to observe people over three tasks now. | 0:54:01 | 0:54:04 | |
I mean, you have to have a feeling of who you want to be on your team | 0:54:04 | 0:54:06 | |
going forward and who you would rather go without. | 0:54:06 | 0:54:10 | |
I absolutely would want Lisa on my team, moving forward. | 0:54:10 | 0:54:13 | |
I think Patricia is amazing. She has amazing connections | 0:54:13 | 0:54:17 | |
-and she is constantly bringing... -And a great style. | 0:54:17 | 0:54:19 | |
-And a great style. And I would say... -Lisa, would you say that | 0:54:19 | 0:54:23 | |
-Patricia has great style? -Unbelievable. | 0:54:23 | 0:54:24 | |
But she couldn't do what you do. | 0:54:24 | 0:54:26 | |
-I couldn't do what she does. -She couldn't destroy men verbally. | 0:54:26 | 0:54:30 | |
She could do it physically, but not verbally. | 0:54:30 | 0:54:33 | |
Mr Trump, Lisa is one of the most talented human beings | 0:54:33 | 0:54:37 | |
-I have ever met in my life. -She's all right. -No, she is. | 0:54:37 | 0:54:42 | |
-There's just this incredible human soul. -Thank you. | 0:54:42 | 0:54:45 | |
-She really is a great person. -She is a good person. -Don't cry! | 0:54:45 | 0:54:47 | |
I won't! Not this time, not this time! | 0:54:47 | 0:54:49 | |
Have you recovered from your stint as project manager? | 0:54:49 | 0:54:52 | |
Yeah, I didn't need recovery. I had fun in here. | 0:54:52 | 0:54:55 | |
Who would have said that Lisa...? | 0:54:55 | 0:54:56 | |
If you would have told me that Lisa was going to be crying, | 0:54:56 | 0:54:59 | |
-I would have said there was no way. -Hey, I got choked up! I didn't cry. | 0:54:59 | 0:55:02 | |
You held it back. OK, you held it back. Great answer. | 0:55:02 | 0:55:05 | |
All right. | 0:55:05 | 0:55:07 | |
Well, you know, we have a pretty brave person in the room | 0:55:07 | 0:55:10 | |
and I really respect Dee. Look at you, Dee! | 0:55:10 | 0:55:13 | |
-Wow! -He's going to dazzle that cast. | 0:55:13 | 0:55:16 | |
-You wouldn't miss a minute, would you? -Absolutely not. | 0:55:16 | 0:55:19 | |
Everyone is telling me that Dee had an operation. Tell me what happened. | 0:55:19 | 0:55:23 | |
I saw a doctor and he told me, the minute he saw my finger, | 0:55:23 | 0:55:26 | |
-I had to have surgery immediately. -You had to have a pin. | 0:55:26 | 0:55:29 | |
-I believe I have four. -Wow! | 0:55:29 | 0:55:31 | |
So, I had to go immediately and it was, kind of, a shock. | 0:55:31 | 0:55:34 | |
And, yeah, so... | 0:55:34 | 0:55:37 | |
I think it's great. You're here. Somebody else would give up. | 0:55:37 | 0:55:39 | |
Right, Lou? They'd give up. You wouldn't give up. | 0:55:39 | 0:55:42 | |
-Never. -Arsenio wouldn't give up. -Maybe. -Erm... | 0:55:42 | 0:55:45 | |
-George, you'd never give up. -Never, never. | 0:55:45 | 0:55:47 | |
-What you talking about, Louis?! -Come here. | 0:55:47 | 0:55:50 | |
He's been busting my balls all day. | 0:55:50 | 0:55:53 | |
That's all right. So how is it? How is the finger? | 0:55:53 | 0:55:55 | |
It's going to be ten days of this. Stitches come out in three weeks | 0:55:55 | 0:55:59 | |
-and another test. -Do you think it will affect you? | 0:55:59 | 0:56:01 | |
I respect you being here, I'll be honest with you, | 0:56:01 | 0:56:03 | |
because I heard it was very serious. | 0:56:03 | 0:56:05 | |
The doctors say he may never wear pirate jewellery again. | 0:56:05 | 0:56:08 | |
I'll tell you, when he told me I wasn't going to be able to do this | 0:56:08 | 0:56:11 | |
if I didn't get surgery, I said, "I've got to get this surgery!" | 0:56:11 | 0:56:14 | |
-Well, I have a lot of respect for the fact you're here... -Thank you. | 0:56:14 | 0:56:17 | |
..and what she went through. That was a tough one. | 0:56:17 | 0:56:19 | |
Really. | 0:56:19 | 0:56:21 | |
And he, literally, tried to help while he was under propofol, | 0:56:21 | 0:56:25 | |
-like going under. -I heard you were really trying. | 0:56:25 | 0:56:28 | |
He called me and then he said, "Goodnight..." | 0:56:28 | 0:56:31 | |
All right. So, George, how did your team do? | 0:56:32 | 0:56:36 | |
We feel very confident that we did an outstanding presentation. | 0:56:36 | 0:56:41 | |
We are very happy and we think we will leave happy. | 0:56:41 | 0:56:45 | |
What did the individual team members do? | 0:56:45 | 0:56:48 | |
How did you delegate, what did they do? | 0:56:48 | 0:56:50 | |
Well, Penn came up with the idea of using twins. | 0:56:50 | 0:56:54 | |
So, that was a great idea. | 0:56:54 | 0:56:56 | |
-Branding was very important. -Who did the branding? | 0:56:56 | 0:56:58 | |
The signage was done by the most unexpected person. | 0:56:58 | 0:57:01 | |
Which was? | 0:57:01 | 0:57:03 | |
-I was determined... -Who was that? | 0:57:03 | 0:57:05 | |
It was Paul's idea of bringing... | 0:57:05 | 0:57:07 | |
Not that surprising. I mean, he does the most incredible choppers | 0:57:07 | 0:57:10 | |
-that I've ever seen. -Exactly... | 0:57:10 | 0:57:12 | |
A big part of his business is, frankly, branding. | 0:57:12 | 0:57:14 | |
I mean, if I look at your shirt right now, you've got the OCC | 0:57:14 | 0:57:17 | |
-logo right there. -This one right here. | 0:57:17 | 0:57:19 | |
He's good at branding and he said my shop could produce the signs. | 0:57:19 | 0:57:24 | |
-Is that where the signs were made, Paul? -Yes, sir. | 0:57:24 | 0:57:26 | |
They must have been beautiful signs. | 0:57:26 | 0:57:28 | |
By the way, in talking to Ivanka, she likes them so much | 0:57:28 | 0:57:31 | |
she wants to get them for her shop. | 0:57:31 | 0:57:33 | |
Very good. | 0:57:34 | 0:57:36 | |
Good job. | 0:57:36 | 0:57:38 | |
OK, so, Clay, how was George as a project manager? | 0:57:38 | 0:57:42 | |
I think George did a perfectly fine job. I think he did a good job. | 0:57:44 | 0:57:46 | |
Really? | 0:57:46 | 0:57:48 | |
Hm. But didn't you discuss with Eric that you weren't that happy | 0:57:51 | 0:57:55 | |
with George as a leader? | 0:57:55 | 0:57:58 | |
Eric, what happened with what Clay said about George? | 0:57:58 | 0:58:02 | |
I asked how George was doing and Clay, quite frankly, | 0:58:02 | 0:58:04 | |
started laughing. So, obviously, that's never a good sign. | 0:58:04 | 0:58:07 | |
-That's not so good. -It was not that he didn't do a good job, | 0:58:07 | 0:58:10 | |
I think this task was the most difficult we've had so far. | 0:58:10 | 0:58:14 | |
We had two teams in two places and so the communication | 0:58:14 | 0:58:18 | |
became really difficult. | 0:58:18 | 0:58:20 | |
And George spent a lot of time on the phone between where we were at, | 0:58:20 | 0:58:23 | |
Lord and Taylor, and where they were, in Brooklyn. And so... | 0:58:23 | 0:58:26 | |
Arsenio, what did you think? | 0:58:26 | 0:58:29 | |
I loved working for George, because he let me do my thing | 0:58:29 | 0:58:32 | |
and he left me alone, as opposed to having a lot of | 0:58:32 | 0:58:34 | |
-cooks in the kitchen. -Was he a good project manager? | 0:58:34 | 0:58:37 | |
For my style, yes. | 0:58:39 | 0:58:41 | |
Well, if I may say, when I recognise strong people | 0:58:41 | 0:58:45 | |
with a special talent, I respect that. | 0:58:45 | 0:58:47 | |
And I delegate them to do their job. | 0:58:47 | 0:58:51 | |
Arsenio, was he perhaps too lax in managing you guys? | 0:58:51 | 0:58:53 | |
If you lose, will it be because he wasn't necessarily on you | 0:58:53 | 0:58:56 | |
saying this is what I need you to do? He let you do your thing | 0:58:56 | 0:58:59 | |
but is that enough to get everything finished? | 0:58:59 | 0:59:01 | |
That's a good point. | 0:59:01 | 0:59:04 | |
If what I did sucks, he shouldn't have let me alone. | 0:59:04 | 0:59:06 | |
Maybe he shouldn't have been so trusting of me | 0:59:06 | 0:59:09 | |
choosing the clothes on the models. | 0:59:09 | 0:59:11 | |
That's true. | 0:59:11 | 0:59:14 | |
But I think I did a good job. I think what he gave me was my forte. | 0:59:14 | 0:59:18 | |
OK. | 0:59:21 | 0:59:22 | |
So, Penn, what did you think of George as you project manager? | 0:59:22 | 0:59:25 | |
I thought he did a great job. | 0:59:25 | 0:59:27 | |
He was just continuing... Mr Teutul started the whole style of | 0:59:27 | 0:59:31 | |
telling people something once and then trusting them. | 0:59:31 | 0:59:34 | |
And I tried to continue that and then George continued that too. | 0:59:34 | 0:59:38 | |
I think that successful businesses don't run on micromanaging. | 0:59:38 | 0:59:41 | |
-OK. -I think George continued the same style. | 0:59:41 | 0:59:44 | |
-So, you thought he was good? -I thought he was great, yeah. | 0:59:44 | 0:59:47 | |
OK. That's very good. | 0:59:47 | 0:59:49 | |
So, Dayana, they sound very positive. | 0:59:49 | 0:59:52 | |
-Right? -Good for them, good. -Are you a little bit...? | 0:59:52 | 0:59:55 | |
After hearing what they did, are you a little nervous? | 0:59:55 | 0:59:58 | |
A little bit, yes. | 0:59:58 | 1:00:01 | |
All right, so, Don, tell me what | 1:00:01 | 1:00:03 | |
were the pros and cons for the women. | 1:00:03 | 1:00:06 | |
Scott and Ivanka really liked the attention to detail. | 1:00:06 | 1:00:10 | |
The use and integration of the logo throughout | 1:00:10 | 1:00:12 | |
and not just in one place, in terms of signage. | 1:00:12 | 1:00:15 | |
They really liked the focus on the living aspect | 1:00:15 | 1:00:17 | |
of the window, that it really was a vibrant play-like scene. | 1:00:17 | 1:00:20 | |
A clear understanding of the demographic, you really got that. | 1:00:20 | 1:00:23 | |
I think, frankly, most of you are the demographic. | 1:00:23 | 1:00:25 | |
What they didn't like was, perhaps, the electronic fan. | 1:00:25 | 1:00:28 | |
It made it look a little bit staged. It wasn't really a photo shoot, | 1:00:28 | 1:00:32 | |
it was a living scene. So, the fact you could see that from the street | 1:00:32 | 1:00:36 | |
was a little bit difficult. | 1:00:36 | 1:00:37 | |
And the shoes, the way you set up, the borders were recessed | 1:00:37 | 1:00:40 | |
very far back that, from the street, you lost a lot of visibility | 1:00:40 | 1:00:43 | |
of the shoe, in terms of positioning that product. | 1:00:43 | 1:00:46 | |
OK. Eric, tell me the pros and cons, please, of the men's team. | 1:00:46 | 1:00:51 | |
Well, Paul, as Don said, they loved your sign. | 1:00:51 | 1:00:54 | |
Ivanka is blown away. She wants to use it in the store. | 1:00:54 | 1:00:57 | |
-So she really loved it. -Awesome. | 1:00:57 | 1:00:59 | |
Penn, in terms of the twins, they really thought that was an | 1:00:59 | 1:01:02 | |
incredibly creative idea. | 1:01:02 | 1:01:03 | |
Arsenio, they really liked you in the scene, | 1:01:03 | 1:01:06 | |
they thought you were perfect for that. | 1:01:06 | 1:01:08 | |
Overall, they really thought the brand messaging was great. | 1:01:08 | 1:01:11 | |
There was a lot of signage, very, very prominent. | 1:01:11 | 1:01:14 | |
They really liked that. | 1:01:14 | 1:01:15 | |
The negatives - it was hard to see the second window. | 1:01:15 | 1:01:19 | |
They really thought the room felt empty. In terms of the office scene, | 1:01:19 | 1:01:22 | |
they didn't like the colour on the back wall. | 1:01:22 | 1:01:24 | |
They thought it was a little bit bland. | 1:01:24 | 1:01:26 | |
They didn't feel like the clothing was appropriate for the setting. | 1:01:26 | 1:01:29 | |
It didn't depict who Ivanka really is. | 1:01:29 | 1:01:32 | |
Overall, they just didn't think the team took risks. | 1:01:32 | 1:01:35 | |
It, kind of, lacked a bit of creativity. | 1:01:35 | 1:01:38 | |
All right. I want to show you the pictures of the women's team. | 1:01:38 | 1:01:42 | |
I want to show you.... Thank you, Eric. | 1:01:42 | 1:01:45 | |
-Take a look. -Can everybody see? | 1:01:45 | 1:01:48 | |
I'd really like to hear, perhaps, your opinions | 1:01:48 | 1:01:51 | |
and if your confidence level is the same as it was before. | 1:01:51 | 1:01:54 | |
-I have an opinion. -What's your opinion, Patricia? | 1:01:54 | 1:01:57 | |
The clothing... | 1:01:57 | 1:01:59 | |
You were a model before you became an actress, right? | 1:01:59 | 1:02:02 | |
I became famous because I was the first Latina supermodel. | 1:02:02 | 1:02:06 | |
-You were a great model. -For many, many years... | 1:02:06 | 1:02:08 | |
So, go ahead. Patricia, tell me. | 1:02:08 | 1:02:10 | |
As an actress, if I am working, | 1:02:10 | 1:02:12 | |
I don't want to have a guy giving me orders. | 1:02:12 | 1:02:15 | |
Ivanka will be giving the orders, because she's strong, confident. | 1:02:15 | 1:02:19 | |
So you don't like that. Dayana, what do you think of the pictures? | 1:02:19 | 1:02:23 | |
This store is Ivanka and I wouldn't have to sit | 1:02:23 | 1:02:26 | |
with a gentleman on the desk. | 1:02:26 | 1:02:28 | |
She's a businesswomen. She accomplishes everything in life. | 1:02:28 | 1:02:31 | |
Everything she wants to do, she makes it happen. | 1:02:31 | 1:02:33 | |
Do men tell you what to do, Dayana? | 1:02:33 | 1:02:35 | |
No. I fight a lot. | 1:02:35 | 1:02:37 | |
You toy with men. She toys with men. | 1:02:37 | 1:02:41 | |
That still misrepresents that, I believe. | 1:02:41 | 1:02:44 | |
Clay was also playing it in a subservient role. | 1:02:44 | 1:02:46 | |
Clay, don't let women push you around, you understand that? | 1:02:46 | 1:02:49 | |
Don't let it happen. | 1:02:49 | 1:02:51 | |
That was my job in this... | 1:02:51 | 1:02:53 | |
Our concept was for me to be in a subservient role to the women. | 1:02:53 | 1:02:57 | |
Why did you pick Clay? | 1:02:57 | 1:02:58 | |
-Because Clay is the youngest. -Why not Lou? | 1:02:58 | 1:03:02 | |
Lou is mature. He is physically imposing. | 1:03:02 | 1:03:06 | |
To say the least. | 1:03:06 | 1:03:08 | |
It was not appropriate for the visual image | 1:03:08 | 1:03:10 | |
that we wanted to create. | 1:03:10 | 1:03:11 | |
-Clay did a good job. -He did a great job. | 1:03:11 | 1:03:13 | |
Do you have any other comments on their pictures? Lisa? | 1:03:15 | 1:03:18 | |
I think it's such a cute thing with the twins, but, yeah, | 1:03:18 | 1:03:21 | |
it's almost a rookie mistake, because they are not women | 1:03:21 | 1:03:24 | |
and they can't help not being women. | 1:03:24 | 1:03:27 | |
OK. | 1:03:27 | 1:03:28 | |
So, men, what do you think of the women's pictures? | 1:03:28 | 1:03:31 | |
-They're confusing. -Yeah, I don't understand. | 1:03:31 | 1:03:33 | |
-It's very busy. -I didn't know what was going on. | 1:03:33 | 1:03:37 | |
As the second Latina supermodel, I can say that... | 1:03:37 | 1:03:39 | |
Second or first? | 1:03:39 | 1:03:42 | |
Obviously, Patricia's the first, but, as the second... | 1:03:42 | 1:03:47 | |
-Go ahead. -I thought it looked very colourful | 1:03:47 | 1:03:50 | |
and I thought there was a lot going on. | 1:03:50 | 1:03:53 | |
I just couldn't figure out what was going on. | 1:03:53 | 1:03:55 | |
OK. What do you think, Michael? | 1:03:55 | 1:03:58 | |
Well, I don't understand if they are supposed to be Ivanka. | 1:03:58 | 1:04:01 | |
Ivanka is a redhead in one and a brunette in the other. | 1:04:01 | 1:04:06 | |
We were symbolising her as a strong women, in general. | 1:04:06 | 1:04:09 | |
Not every woman looks like Ivanka, so we wanted to play to all markets | 1:04:09 | 1:04:13 | |
and just show the symbol of what she represents. | 1:04:13 | 1:04:15 | |
I look at this, it makes me want to go on a picnic. | 1:04:15 | 1:04:17 | |
OK. THEY TALK OVER EACH OTHER | 1:04:19 | 1:04:21 | |
When I look at yours, it makes me want to vomit. | 1:04:21 | 1:04:24 | |
-All right. -So, would you like to be won? | 1:04:26 | 1:04:29 | |
-Yes. -OK. | 1:04:29 | 1:04:31 | |
Well, Scott, from Lord & Taylor, | 1:04:32 | 1:04:36 | |
and Ivanka, my daughter, who is very talented, | 1:04:36 | 1:04:41 | |
felt very, very strongly that the | 1:04:41 | 1:04:45 | |
women's team did a better job. | 1:04:45 | 1:04:47 | |
CHEERING | 1:04:47 | 1:04:49 | |
OK. So congratulations. | 1:04:51 | 1:04:52 | |
Congratulations. | 1:04:52 | 1:04:54 | |
Dayana, I know that was no pressure. | 1:04:55 | 1:04:59 | |
But, look at you, Dayana. I've never seen you this way. | 1:04:59 | 1:05:01 | |
I watched her win Miss Universe and she was cool. | 1:05:01 | 1:05:04 | |
I'm sweating. My hands are sweating. | 1:05:04 | 1:05:05 | |
So, Dayana, let me ask you your charity. Because, as you know, | 1:05:05 | 1:05:08 | |
-you're getting 20,000 for your charity. -Thank you so much. | 1:05:08 | 1:05:11 | |
-What is your charity? -The Latino Commission On AIDS. | 1:05:11 | 1:05:14 | |
-They raise awareness of HIV/AIDS. -You can't do better than that. | 1:05:14 | 1:05:17 | |
You go back to the suite, turn on the television. | 1:05:17 | 1:05:19 | |
If you'd like, you can watch what's going to happen. Congratulations. | 1:05:19 | 1:05:23 | |
-Really, a great job. -Thank you, Mr Trump. -Get out of here. | 1:05:23 | 1:05:27 | |
-Great job. -Thank you. -Congratulations. Great job. | 1:05:27 | 1:05:30 | |
-Teresa, great job. -Thank you. | 1:05:30 | 1:05:32 | |
Good going, Lisa. | 1:05:38 | 1:05:41 | |
GASPING AND CHEERING | 1:05:41 | 1:05:43 | |
Now we finally get to drink Champagne. | 1:05:43 | 1:05:47 | |
I'm so proud of you guys! | 1:05:47 | 1:05:49 | |
Gentleman, stay here. One of you will be fired. | 1:05:49 | 1:05:52 | |
Wow! Cheers, everybody. | 1:05:57 | 1:06:00 | |
-Congratulations, Dayana! -To our win next week too. | 1:06:00 | 1:06:04 | |
This is a win we really needed. | 1:06:04 | 1:06:06 | |
We already lost the first two tasks and we're ready to keep on winning. | 1:06:06 | 1:06:10 | |
Finally, we can sit and drink and watch these guys. | 1:06:10 | 1:06:13 | |
For me, the most important part is that we won | 1:06:14 | 1:06:17 | |
20,000 for my charity, the Latino Commission On AIDS. | 1:06:17 | 1:06:21 | |
This is going to change people's lives and give them | 1:06:21 | 1:06:23 | |
more knowledge of how to take care of themselves and their loved ones. | 1:06:23 | 1:06:26 | |
It's going to make a huge difference. | 1:06:26 | 1:06:28 | |
Here, let's watch the guys. | 1:06:28 | 1:06:31 | |
George, what happened? | 1:06:35 | 1:06:37 | |
Well, we thought we had a very good presentation, both windows. | 1:06:37 | 1:06:43 | |
Yes, it's true that the name Ivanka Trump in the night version, | 1:06:43 | 1:06:45 | |
the name just disappeared. But the logo... | 1:06:45 | 1:06:49 | |
That's a big thing. Whose fault was it that it disappeared? | 1:06:49 | 1:06:53 | |
Mr Trump, that was a fabrication | 1:06:53 | 1:06:54 | |
that something came up about midnight blue. | 1:06:54 | 1:06:57 | |
I said to Adam, "Please call George. I've got a feeling that | 1:06:57 | 1:07:00 | |
"midnight blue is too dark." | 1:07:00 | 1:07:02 | |
So, Adam called George, because I respect that George is the | 1:07:02 | 1:07:06 | |
project manager, he should've signed off on it. | 1:07:06 | 1:07:08 | |
I'll tell you honestly, we had discussed midnight blue | 1:07:08 | 1:07:11 | |
and what was on the wall was midnight blue. | 1:07:11 | 1:07:13 | |
So I said to George, "George, I've got midnight blue on the wall," | 1:07:13 | 1:07:16 | |
-you would have said... -I was the overseer. | 1:07:16 | 1:07:19 | |
..I wouldn't have been able to do what I was doing. | 1:07:19 | 1:07:21 | |
It was midnight blue. That's what we'd discussed. | 1:07:21 | 1:07:23 | |
That's what was on the wall. I was doing 100 different things. | 1:07:23 | 1:07:26 | |
How come you guys weren't able to adjust on the fly | 1:07:26 | 1:07:29 | |
when you knew it was going to be a little bit dark, to make it lighter | 1:07:29 | 1:07:32 | |
-and really highlight that branding? -Let's be honest here. | 1:07:32 | 1:07:35 | |
You have no simulation of what it's going to | 1:07:35 | 1:07:37 | |
be like up on the street level. | 1:07:37 | 1:07:39 | |
Once we got up there and there was glass and glare... | 1:07:39 | 1:07:42 | |
The woman had the same problem. I mean, Adam, | 1:07:42 | 1:07:44 | |
-the women were under the same restraint. -It's luck of the draw. | 1:07:44 | 1:07:47 | |
They could have screwed the pooch, just like us. | 1:07:47 | 1:07:49 | |
But they didn't. Maybe they knew what they were doing. | 1:07:49 | 1:07:53 | |
Who picked the outfits? | 1:07:53 | 1:07:55 | |
The outfits were picked by Arsenio. | 1:07:55 | 1:07:58 | |
It was his taste and I thought he brought some panache to it. | 1:07:58 | 1:08:02 | |
Not very elegant for a red carpet event. | 1:08:02 | 1:08:05 | |
The black dress was very elegant. | 1:08:06 | 1:08:10 | |
It's the kind of thing we've seen Ivanka wearing. | 1:08:10 | 1:08:13 | |
Arsenio, why did you choose trench coats? | 1:08:13 | 1:08:16 | |
I think my purpose for choosing that | 1:08:16 | 1:08:18 | |
was to show the diversity of the line. | 1:08:18 | 1:08:20 | |
I just wanted to show the line's longitude. | 1:08:20 | 1:08:23 | |
How do you feel about that, Lou? | 1:08:24 | 1:08:25 | |
I feel when I look at the clothing, | 1:08:25 | 1:08:27 | |
I think Arsenio could have done a better job picking the clothing. | 1:08:27 | 1:08:30 | |
-Of course... -So, you would fire Arsenio? | 1:08:30 | 1:08:33 | |
-Yep. -If you were me? -Yep. | 1:08:33 | 1:08:36 | |
But doesn't the project manager also have responsibility for, like, | 1:08:36 | 1:08:39 | |
"I don't like the clothing, Arsenio." | 1:08:39 | 1:08:41 | |
George, wouldn't you say that? | 1:08:41 | 1:08:43 | |
Absolutely. | 1:08:43 | 1:08:45 | |
All right. Paul, if you were me, who would you fire? | 1:08:45 | 1:08:49 | |
I'm going to say George | 1:08:49 | 1:08:51 | |
and the only reason I'm going to say George is, | 1:08:51 | 1:08:53 | |
the communication wasn't that great, I felt. | 1:08:53 | 1:08:56 | |
Even though we were two separate teams, | 1:08:56 | 1:08:58 | |
I would have made sure that I went over to that other team | 1:08:58 | 1:09:01 | |
and made sure everybody was on the same page | 1:09:01 | 1:09:03 | |
and that, whatever it is that we were supposed to do, got done. | 1:09:03 | 1:09:08 | |
George didn't do that? | 1:09:08 | 1:09:10 | |
I was in touch telephonically and I made the assignment to Adam. | 1:09:10 | 1:09:15 | |
He was to be the lead on the construction of the set | 1:09:15 | 1:09:19 | |
and selection of the props. | 1:09:19 | 1:09:21 | |
I got from him a complete report on what was being done. | 1:09:21 | 1:09:24 | |
The colour he gave me and I approved that, | 1:09:24 | 1:09:28 | |
because that is what we discussed in our boardroom conference. | 1:09:28 | 1:09:32 | |
You look like you're holding back. Who's at fault? | 1:09:32 | 1:09:34 | |
I'm thinking, I'd rather be on the couch at American Idol. | 1:09:34 | 1:09:37 | |
At least they tell you who's cut and then you get to go. | 1:09:37 | 1:09:40 | |
Go ahead. | 1:09:40 | 1:09:42 | |
It's painful to me, especially, | 1:09:42 | 1:09:43 | |
because George has been, personally, someone who I've looked up to | 1:09:43 | 1:09:47 | |
for a long time. | 1:09:47 | 1:09:48 | |
He's been an advocate for the gay rights movement for a long time. | 1:09:48 | 1:09:52 | |
So, it's difficult for me to say. | 1:09:52 | 1:09:54 | |
He's not always present in what's happening. | 1:09:54 | 1:09:58 | |
George didn't necessarily delegate to Adam or anyone what to do. | 1:09:58 | 1:10:03 | |
People found their strength and I think that might | 1:10:03 | 1:10:07 | |
have hurt us this time. | 1:10:07 | 1:10:09 | |
Penn, how do you feel about this? | 1:10:09 | 1:10:12 | |
I was self marginalised. | 1:10:14 | 1:10:17 | |
I have a very bad eye. I have always had Teller | 1:10:17 | 1:10:20 | |
make all the visual decisions on our show. | 1:10:20 | 1:10:23 | |
He's essentially the director, he's the lighter... | 1:10:23 | 1:10:26 | |
You're very nice to him. Do you notice how respectful he is? | 1:10:26 | 1:10:29 | |
He is. | 1:10:29 | 1:10:31 | |
Yet everybody respects him so much. That's pretty good. | 1:10:31 | 1:10:34 | |
-He's a good man, Teller, he's good? -He's the best there is. -Wow. | 1:10:34 | 1:10:38 | |
But I will say that, I wasn't privy to a lot of the information. | 1:10:38 | 1:10:42 | |
My skills in design are non-existent. | 1:10:42 | 1:10:45 | |
-If you'd put me in Brooklyn, I would have failed. -I understand. | 1:10:45 | 1:10:48 | |
Dee, you were injured, so you didn't get to see too much? | 1:10:48 | 1:10:51 | |
Do you think we should, sort of, give Dee a pass on this one? | 1:10:51 | 1:10:55 | |
-I think we should. -He's brave, he's back. | 1:10:55 | 1:10:57 | |
Most guys would have said, "I want to take two/three weeks off. | 1:10:57 | 1:11:00 | |
"I'll come back." So, we're going to give you a pass. | 1:11:00 | 1:11:02 | |
-We're not going to let you bring him back. Is that OK? -That certainly is. | 1:11:02 | 1:11:05 | |
Let me play devil's advocate. If we fired him, wouldn't it really | 1:11:05 | 1:11:09 | |
-give a chance for him to heal, know what I mean? -The sacrificial lamb. | 1:11:09 | 1:11:14 | |
He may get fired, but not this week. | 1:11:14 | 1:11:16 | |
-I'm thinking of you and your hand and your kids. -Thanks so much, Adam! | 1:11:16 | 1:11:20 | |
Arsenio, if you were me... I'm going to fire somebody. | 1:11:20 | 1:11:24 | |
If you were me, who would you fire? | 1:11:24 | 1:11:25 | |
If my team feels that the clothes on the models caused us to lose, | 1:11:28 | 1:11:33 | |
maybe I failed them. | 1:11:33 | 1:11:38 | |
I didn't think I could lose by choosing | 1:11:38 | 1:11:40 | |
anything from your daughter's collection | 1:11:40 | 1:11:42 | |
because it all was wonderful and it's all part of her collection. | 1:11:42 | 1:11:46 | |
Yeah, but you've got to style things and put them together, | 1:11:46 | 1:11:49 | |
like you guys did. | 1:11:49 | 1:11:50 | |
He just threw himself under the bus. | 1:11:50 | 1:11:52 | |
How amazing is to sit here and not have to be in there? | 1:11:52 | 1:11:55 | |
And to be scared and worried and sweaty and mouth dry. | 1:11:55 | 1:11:58 | |
Adam, who would you fire? | 1:11:59 | 1:12:01 | |
I will say that nobody dropped the ball. | 1:12:01 | 1:12:05 | |
Some did better than others. but we all tried and busted our ass. | 1:12:05 | 1:12:09 | |
Then, it just becomes a de facto, we have to fire our leader, | 1:12:11 | 1:12:14 | |
because there's no-one else to fire. | 1:12:14 | 1:12:17 | |
Penn, do you feel the same way? | 1:12:19 | 1:12:22 | |
I... | 1:12:25 | 1:12:27 | |
-You respect George a lot, don't you? -Very much so. | 1:12:27 | 1:12:31 | |
-And you hate to see this happen? -I'm not enjoying this moment very much. | 1:12:31 | 1:12:36 | |
Everybody loves George. I mean, it's not a matter... | 1:12:37 | 1:12:41 | |
He's an elegant man, I agree with you. | 1:12:41 | 1:12:44 | |
Everyone loves George. | 1:12:44 | 1:12:46 | |
How do you feel about this, George? | 1:12:46 | 1:12:48 | |
Well... Do you want to pick two people? | 1:12:48 | 1:12:51 | |
-And it's not easy. -It's not easy, at all. | 1:12:51 | 1:12:54 | |
Who are the two people? Who are they? | 1:12:54 | 1:12:56 | |
Given the discussion, I have to make some assessments. | 1:12:59 | 1:13:04 | |
I think Arsenio is the one that was responsible for selecting | 1:13:04 | 1:13:09 | |
the dresses, so, in that context, I will have to name Arsenio. | 1:13:09 | 1:13:13 | |
-Arsenio, number one? -Number one. -Who else? | 1:13:13 | 1:13:16 | |
And also, I tried to find a role for Lou, | 1:13:16 | 1:13:20 | |
but Lou misunderstands directions often. | 1:13:20 | 1:13:23 | |
So, are you telling me you want to bring back Lou and Arsenio? | 1:13:23 | 1:13:27 | |
I'll name those two. | 1:13:27 | 1:13:29 | |
OK, then, George, Lou, Arsenio, | 1:13:29 | 1:13:33 | |
you go out, everybody go out, | 1:13:33 | 1:13:36 | |
you go out to the suite, you guys are coming back in. | 1:13:36 | 1:13:39 | |
Somebody will be fired, sorry. | 1:13:39 | 1:13:41 | |
-Thank you. -Thank you. | 1:13:41 | 1:13:43 | |
Ladies, turn off the television, please, right now. | 1:13:51 | 1:13:54 | |
-Poor George! -So, it's George, Lou and Arsenio. | 1:13:54 | 1:13:57 | |
I think Arsenio had a strong role in this problem, though, | 1:13:57 | 1:14:01 | |
-because those clothes were really bad. -Yeah, I know. | 1:14:01 | 1:14:04 | |
This is part of the rules of the game, as in life. | 1:14:04 | 1:14:09 | |
-You know me, man. -Yes, I know you. -I'm not trippin'. | 1:14:09 | 1:14:12 | |
Well, I thought you brought a great sense of style... | 1:14:12 | 1:14:15 | |
-Gave it everything I had, everything a man has to offer, I gave. -Yup. | 1:14:15 | 1:14:21 | |
If Ivanka thinks I didn't do a good job, she's the expert, | 1:14:21 | 1:14:25 | |
because it's her line. I take the break. | 1:14:25 | 1:14:28 | |
It's not too easy done, huh? | 1:14:39 | 1:14:41 | |
Yeah, this was a little bit of a tricky one. | 1:14:41 | 1:14:43 | |
There seems like a lot of people who could have been brought back in. | 1:14:43 | 1:14:46 | |
-Amanda, bring them in. -Yes, sir. | 1:14:46 | 1:14:49 | |
Gentlemen, you can head back into the boardroom now. | 1:14:49 | 1:14:52 | |
Lou, why are you here? Was George right bringing you back? | 1:15:06 | 1:15:10 | |
-No. -Why? | 1:15:10 | 1:15:11 | |
I feel that I gave 110%, and here's what happened, | 1:15:11 | 1:15:16 | |
I asked him what I could do and I just started, on myself, | 1:15:16 | 1:15:18 | |
to jump on the bus with the other guys, | 1:15:18 | 1:15:20 | |
because I'm very good in construction and, as soon as | 1:15:20 | 1:15:23 | |
I saw that midnight blue, I said, "We're in trouble, it's too dark." | 1:15:23 | 1:15:27 | |
-I told Adam Carolla and he called George. -Did he say that, Arsenio? | 1:15:27 | 1:15:30 | |
-He wasn't with me. -He was with us. | 1:15:30 | 1:15:33 | |
You did say it before and Adam didn't deny that you did mention | 1:15:33 | 1:15:35 | |
that, so, there seems to be truth to it. | 1:15:35 | 1:15:37 | |
I was trying to make a suggestion and every time I made | 1:15:37 | 1:15:39 | |
a suggestion, I even mentioned it to George, I was just being ignored. | 1:15:39 | 1:15:42 | |
Lou is very enthusiastic and he is eager to pitch in, | 1:15:42 | 1:15:46 | |
but he did get in the way of work that needed to be done, | 1:15:46 | 1:15:50 | |
and I was asked by one of the members of the team | 1:15:50 | 1:15:55 | |
if we could have Lou pull back a little bit. | 1:15:55 | 1:15:59 | |
So, that was an executive decision... | 1:15:59 | 1:16:01 | |
Well, he's a very enthusiastic guy, he wants it so badly. | 1:16:01 | 1:16:04 | |
-He is a worker, do you agree with that? -Absolutely. -And I... | 1:16:04 | 1:16:07 | |
And I'm not saying that should be the end-all - | 1:16:07 | 1:16:10 | |
you have the donkey and the racehorse, | 1:16:10 | 1:16:11 | |
they both go around the track, one does it in half the time, | 1:16:11 | 1:16:14 | |
that doesn't mean the donkey is the winner, right? | 1:16:14 | 1:16:18 | |
-Believe me, it is difficult... -But he is a worker. | 1:16:18 | 1:16:20 | |
You know, I may be hard of hearing and I ask questions, | 1:16:20 | 1:16:23 | |
but I'm there to work - if you tell me how to do something, I will be out there. | 1:16:23 | 1:16:26 | |
-I give no excuse for that. -You are, you're always there. -Here is my opinion - | 1:16:26 | 1:16:29 | |
you're not aggressive enough to be a project manager. | 1:16:29 | 1:16:32 | |
You should take more of a charge. You let Adam handle everything with the construction, | 1:16:32 | 1:16:36 | |
you should have been stronger. These people that have better communication - | 1:16:36 | 1:16:39 | |
"Why do you want to be in control of...?" That's what you are as a project manager. | 1:16:39 | 1:16:45 | |
If you had been more aggressive, I think we would have had a better performance. | 1:16:45 | 1:16:49 | |
I appreciate that critique. | 1:16:51 | 1:16:53 | |
Arsenio, what do you think that Lou did wrong? | 1:16:55 | 1:16:58 | |
Well, here's the problem with you having to flush this whole | 1:16:58 | 1:17:01 | |
thing out. Our team was divided into two places. | 1:17:01 | 1:17:04 | |
Our leader really doesn't know what went on in that other place. | 1:17:04 | 1:17:07 | |
Neither do I. I was with him. | 1:17:07 | 1:17:10 | |
George stood and watched me | 1:17:10 | 1:17:11 | |
and George didn't get to where they were. And I... | 1:17:11 | 1:17:15 | |
And that's a mistake by George. | 1:17:15 | 1:17:17 | |
Well, yeah, because I don't think he could even tell you what | 1:17:17 | 1:17:20 | |
went on in the other location, much less critique something | 1:17:20 | 1:17:24 | |
-and eliminate something that is improper. -That's not good. | 1:17:24 | 1:17:27 | |
I don't know how far it was, | 1:17:27 | 1:17:29 | |
but we have great phones that send pictures and video, | 1:17:29 | 1:17:32 | |
maybe we could have circumvented the problem in that way. | 1:17:32 | 1:17:35 | |
Um, when Lou says, "I was sent here, I was sent there," | 1:17:35 | 1:17:39 | |
understand what they are trying to explain to you. | 1:17:39 | 1:17:42 | |
There are elements of our team that, kind of, didn't want Lou there. | 1:17:42 | 1:17:47 | |
If we have someone in our team that people have to send other places, | 1:17:47 | 1:17:52 | |
so they can be effective, that's a huge problem. | 1:17:52 | 1:17:55 | |
But Arsenio, let me ask you this. | 1:17:55 | 1:17:57 | |
You said that all of Ivanka's clothing was really great, | 1:17:57 | 1:18:00 | |
but why put a trenchcoat on the red carpet? | 1:18:00 | 1:18:03 | |
That was her assistant, | 1:18:03 | 1:18:05 | |
and it was an assistant with a star. | 1:18:05 | 1:18:09 | |
And I honestly... I noticed that she had two of those in her line. | 1:18:09 | 1:18:15 | |
It was something I wanted to show. | 1:18:15 | 1:18:17 | |
Because I think the line has a tremendous diversity... | 1:18:17 | 1:18:19 | |
He wanted to show the range of Ivanka's... | 1:18:19 | 1:18:21 | |
But George, that wasn't clear. Arsenio, it just wasn't clear. | 1:18:21 | 1:18:25 | |
-That she was the lady's assistant? -Why didn't you utilise Ivanka? | 1:18:25 | 1:18:28 | |
You had, perhaps, the ultimate consultant on this task | 1:18:28 | 1:18:31 | |
at your fingertips, but it doesn't seem like you | 1:18:31 | 1:18:33 | |
utilised her, otherwise those decisions - because the line | 1:18:33 | 1:18:36 | |
is great - but it probably just wasn't used in the right context. | 1:18:36 | 1:18:39 | |
Well, you could also say, Don is right, but George should have | 1:18:39 | 1:18:42 | |
been the one dealing with Ivanka, much more so than Arsenio. | 1:18:42 | 1:18:45 | |
Would you agree with that, Lou? | 1:18:45 | 1:18:47 | |
-Yes. -I would agree with that, too. | 1:18:47 | 1:18:49 | |
I had no idea that we had that kind of access to her. | 1:18:49 | 1:18:53 | |
George, as a project manager, did you ask that question, | 1:18:53 | 1:18:56 | |
if you could utilise Ivanka a little bit more? | 1:18:56 | 1:18:58 | |
I did not. That is my fault. | 1:18:58 | 1:19:00 | |
Now, I will say this, the women called Ivanka | 1:19:00 | 1:19:03 | |
-and got her jewellery and got lots of advice. -I see. | 1:19:03 | 1:19:05 | |
Why didn't you call her, Arsenio? Why didn't you call Ivanka? | 1:19:05 | 1:19:10 | |
I did what I was told by my leader. | 1:19:11 | 1:19:14 | |
-OK, that's a good answer. -He did. He did do that. | 1:19:14 | 1:19:16 | |
-Including the clothing. -Right. | 1:19:16 | 1:19:18 | |
Whether to have the trenchcoat or not the trenchcoat, | 1:19:18 | 1:19:20 | |
-ultimately, George, that's your responsibility. -That's right. | 1:19:20 | 1:19:23 | |
By the way, that would take some of the burden off Arsenio, | 1:19:23 | 1:19:26 | |
-wouldn't you say, George? -Yes, it would. | 1:19:26 | 1:19:29 | |
So, George, who would you fire? You are the project manager. | 1:19:29 | 1:19:32 | |
If you were me, who would you fire? | 1:19:32 | 1:19:35 | |
I've been listening to all the discussion. | 1:19:35 | 1:19:38 | |
Yes, ultimately, the leader has to take the responsibility. | 1:19:38 | 1:19:42 | |
I would like to preface that by saying | 1:19:42 | 1:19:45 | |
this has been, as excruciating as this process is, | 1:19:45 | 1:19:48 | |
one of the richest experiences that I have had. | 1:19:48 | 1:19:52 | |
I have met some extraordinary individuals, | 1:19:52 | 1:19:55 | |
-who I hope I can continue to be in contact with... -I understand. | 1:19:55 | 1:19:59 | |
..and perhaps have friendships grow. | 1:19:59 | 1:20:01 | |
So, are you assuming that you are going to be fired? | 1:20:01 | 1:20:05 | |
That's all that I can assume now, at this point. | 1:20:05 | 1:20:08 | |
Is that because you think, on the merits, you should be fired? | 1:20:08 | 1:20:11 | |
Well, I had the responsibility... | 1:20:11 | 1:20:13 | |
By the way, in no way are you quitting, I fully understand that. | 1:20:13 | 1:20:16 | |
-I am not quitting. -You are not a quitter. | 1:20:16 | 1:20:18 | |
-You are tough, you are strong, you are amazing. -Absolutely. | 1:20:18 | 1:20:21 | |
In a certain way, you were a great project manager. | 1:20:21 | 1:20:24 | |
-Lou, you have a lot of respect for George? -Yes, very much. | 1:20:24 | 1:20:27 | |
Arsenio, a lot of respect for George? | 1:20:27 | 1:20:29 | |
A wonderful, bright, dignified man. | 1:20:29 | 1:20:32 | |
You know who else has the most respect for you, George? | 1:20:32 | 1:20:35 | |
-Who is that? -Donald Trump. -Well, thank you very much. | 1:20:35 | 1:20:38 | |
But, George, you're fired. | 1:20:38 | 1:20:39 | |
Thank you, thank you very much. | 1:20:44 | 1:20:46 | |
-Thank you for this opportunity. -And you are a terrific man. | 1:20:46 | 1:20:48 | |
I am only regretful that | 1:20:48 | 1:20:50 | |
I couldn't do more for the Japanese-American National Museum. | 1:20:50 | 1:20:54 | |
-But thank you. -Goodbye. | 1:20:54 | 1:20:56 | |
-Thank you. -Thank you. | 1:20:56 | 1:20:58 | |
Stay in touch. And you too. You, too, Lou. | 1:21:09 | 1:21:12 | |
Keep in touch. | 1:21:12 | 1:21:13 | |
-I'll miss you. -And you, too. | 1:21:13 | 1:21:16 | |
He's a very high-quality person. It's never easy. | 1:21:26 | 1:21:30 | |
No, definitely amazing. | 1:21:30 | 1:21:32 | |
Donald Trump is a very rare individual | 1:22:05 | 1:22:09 | |
and to be invited by him | 1:22:09 | 1:22:11 | |
to participate was a thrilling experience. | 1:22:11 | 1:22:16 | |
Being fired is no fun. It is excruciating. | 1:22:16 | 1:22:20 | |
But I was the project manager. | 1:22:20 | 1:22:22 | |
I held the responsibility for the success or failure of our team. | 1:22:22 | 1:22:27 | |
We failed and I have to make my peace with it. | 1:22:27 | 1:22:32 |