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I'm not impressed with any of you. | 0:00:02 | 0:00:03 | |
This is a bloody shambles. You didn't follow the money. | 0:00:03 | 0:00:06 | |
I've got two teams here, and they're both rubbish. | 0:00:06 | 0:00:08 | |
You're fired. | 0:00:08 | 0:00:09 | |
You're fired. | 0:00:09 | 0:00:11 | |
You're fired. | 0:00:11 | 0:00:12 | |
CHEERING AND APPLAUSE | 0:00:12 | 0:00:13 | |
Good evening. | 0:00:27 | 0:00:29 | |
Good evening, and welcome to The Apprentice - You're Fired. | 0:00:29 | 0:00:31 | |
I'm Rhod Gilbert. | 0:00:31 | 0:00:33 | |
This week saw our candidates driving full-throttle | 0:00:33 | 0:00:35 | |
into the world of car advertising. | 0:00:35 | 0:00:37 | |
Tasked with launching a campaign for a brand-new model, | 0:00:37 | 0:00:40 | |
Team Vitality plumped for a zippy, twenty-something crowd, | 0:00:40 | 0:00:43 | |
while Graphene opted for an older target audience - | 0:00:43 | 0:00:45 | |
about 1,000 years older, as it happened. LAUGHTER | 0:00:45 | 0:00:48 | |
Later on and back in the present day, a reluctant Elizabeth | 0:00:48 | 0:00:52 | |
agreed to release one of the geese she'd taken from the Norman village. | 0:00:52 | 0:00:55 | |
I will let it go, but I feel it's a mistake. | 0:00:55 | 0:00:58 | |
LAUGHTER | 0:00:58 | 0:00:59 | |
Here to help us figure out who went from 0-60 in record time | 0:01:01 | 0:01:04 | |
and whose wheels fell off before they left the forecourt, | 0:01:04 | 0:01:08 | |
please welcome tonight's panel of Apprentice fans and guests - | 0:01:08 | 0:01:10 | |
advertising guru and CEO | 0:01:10 | 0:01:12 | |
of creative agency Above and Beyond Zaid Al-Zaidy, | 0:01:12 | 0:01:15 | |
TV presenter Gaby Roslin, | 0:01:15 | 0:01:17 | |
and comedian Katy Brand. Welcome to You're Fired. | 0:01:17 | 0:01:20 | |
CHEERING AND APPLAUSE | 0:01:20 | 0:01:21 | |
Zaid, welcome back. | 0:01:25 | 0:01:27 | |
How do you think it went this time? | 0:01:27 | 0:01:29 | |
Well, I think, in truth, buying a new car is a massive deal. | 0:01:29 | 0:01:32 | |
After a house, it's probably | 0:01:32 | 0:01:34 | |
the most important purchase you'll ever make. | 0:01:34 | 0:01:37 | |
Quite frankly, I don't think either team were able to create the appeal | 0:01:37 | 0:01:40 | |
or desire that I think you'd want to feel as a buyer. | 0:01:40 | 0:01:42 | |
-ALL: -Ooh! | 0:01:42 | 0:01:44 | |
Harsh straight out the blocks there from Zaid. | 0:01:45 | 0:01:48 | |
-Gaby, did you enjoy this week? -I really did. | 0:01:48 | 0:01:50 | |
I agreed with Lord Sugar at the end. | 0:01:50 | 0:01:52 | |
It sounded like a piece of stretchy underwear | 0:01:52 | 0:01:55 | |
that I might borrow, in a skin-tight black dress. | 0:01:55 | 0:01:57 | |
-You're talking Expando? -Expando, yes. | 0:01:57 | 0:02:00 | |
We will come on to Expando a little later. Katy? | 0:02:00 | 0:02:02 | |
I love tasks like this. | 0:02:02 | 0:02:03 | |
I always love a task on The Apprentice which is | 0:02:03 | 0:02:06 | |
kind of vaguely connected to what I do anyway, | 0:02:06 | 0:02:09 | |
-cos then I can the extra judgmental. -LAUGHTER | 0:02:09 | 0:02:11 | |
Just sort of really sit there tutting from my armchair. | 0:02:11 | 0:02:14 | |
-"I wouldn't do it like that." -LAUGHTER | 0:02:14 | 0:02:16 | |
So I've directed things, I work in TV and film and things like that, | 0:02:16 | 0:02:19 | |
so this was excellent - I could ramp up my judgmental to 11, | 0:02:19 | 0:02:22 | |
-and I certainly did. -LAUGHTER | 0:02:22 | 0:02:25 | |
We will be discussing this week's task in more detail | 0:02:25 | 0:02:28 | |
when we meet the seventh candidate to be fired. | 0:02:28 | 0:02:30 | |
But first... | 0:02:30 | 0:02:32 | |
BELL TOLLS | 0:02:32 | 0:02:33 | |
..in Apprentice news tonight, | 0:02:33 | 0:02:36 | |
Andrew is worried his new metal jumper will slow him down... | 0:02:36 | 0:02:40 | |
I'm just worried about...about the time. | 0:02:40 | 0:02:42 | |
LAUGHTER | 0:02:42 | 0:02:43 | |
..the hideous truth about Emmerdale finally dawns on Elizabeth... | 0:02:44 | 0:02:47 | |
Do you think this is a... | 0:02:47 | 0:02:49 | |
..pretend village? | 0:02:50 | 0:02:52 | |
LAUGHTER | 0:02:52 | 0:02:54 | |
..a cruel hypnotist primes James to go into a deep sleep | 0:02:56 | 0:03:00 | |
whenever he hears the words "let them walk all over you"... | 0:03:00 | 0:03:03 | |
Let them walk all over you. | 0:03:03 | 0:03:05 | |
LAUGHTER | 0:03:07 | 0:03:08 | |
..and Joanna puts in her entry for vaguest boast of the series. | 0:03:10 | 0:03:14 | |
I've also done a lot of doing. | 0:03:14 | 0:03:17 | |
LAUGHTER | 0:03:17 | 0:03:18 | |
And that's tonight's Apprentice news. | 0:03:20 | 0:03:22 | |
CHEERING AND APPLAUSE | 0:03:22 | 0:03:23 | |
So, despite Sajan's best efforts to drive off into the sunset, | 0:03:26 | 0:03:30 | |
roof down with this perfectly-coiffed quiff | 0:03:30 | 0:03:33 | |
stoically holding firm in the wind, | 0:03:33 | 0:03:35 | |
Lord Sugar decided he'd run out of gas and booked him a taxi home. | 0:03:35 | 0:03:39 | |
Sajan, in this task, I have not seen anything from you. | 0:03:39 | 0:03:44 | |
And so, Sajan... | 0:03:44 | 0:03:46 | |
you're fired. | 0:03:46 | 0:03:47 | |
I appreciate the opportunity. Thanks so much. | 0:03:47 | 0:03:50 | |
All the best, guys. | 0:03:50 | 0:03:51 | |
Please welcome, Sajan Shah. | 0:04:00 | 0:04:02 | |
CHEERING AND APPLAUSE | 0:04:02 | 0:04:03 | |
Grab a seat. CHEERING CONTINUES | 0:04:08 | 0:04:10 | |
Listen to that. | 0:04:10 | 0:04:12 | |
-Listen to that response. -It's good, isn't it? | 0:04:12 | 0:04:15 | |
That's got to feel good? | 0:04:15 | 0:04:17 | |
-It does. -That feels good, doesn't it? | 0:04:17 | 0:04:19 | |
There was no boos in there. | 0:04:19 | 0:04:20 | |
-You said you were gutted - are you gutted? -Yeah. | 0:04:20 | 0:04:23 | |
I still felt I had a longer way to go. | 0:04:23 | 0:04:25 | |
But definitely gutted to lose on a task that I thought, you know, | 0:04:25 | 0:04:28 | |
I tried to be creative. | 0:04:28 | 0:04:30 | |
LAUGHTER | 0:04:30 | 0:04:32 | |
I am creative. | 0:04:32 | 0:04:33 | |
LAUGHTER | 0:04:33 | 0:04:35 | |
And I did a good job on it, | 0:04:35 | 0:04:36 | |
-actually. -Do you think? -Yeah. No, no. | 0:04:36 | 0:04:39 | |
I'm blagging my way through this now. No, I didn't. I didn't. | 0:04:39 | 0:04:41 | |
I didn't think you would go this week, though. | 0:04:41 | 0:04:43 | |
Did you think you would go? | 0:04:43 | 0:04:45 | |
I didn't think so, because there was four of us that were brought | 0:04:45 | 0:04:48 | |
back into the bottom three, and I felt, "Oh..." | 0:04:48 | 0:04:50 | |
-LAUGHTER -Bottom four. | 0:04:50 | 0:04:52 | |
-I know what you mean. -Yeah, yeah. | 0:04:52 | 0:04:53 | |
-Same thing. -Four of you were in the bottom three this week. -Yeah. | 0:04:53 | 0:04:56 | |
Elizabeth being brought in, I was like, "Oh, here we go. | 0:04:56 | 0:04:58 | |
"Elizabeth, you're gone." And then, "Sajan, you're fired." | 0:04:58 | 0:05:01 | |
Cos at that point you must have thought, | 0:05:01 | 0:05:03 | |
"Great, there's more people here, I've got less chance of going." | 0:05:03 | 0:05:07 | |
Yeah. I became complacent, which is a bad thing in the boardroom. | 0:05:07 | 0:05:09 | |
Do you think you could have fought harder in the boardroom and stayed, then? | 0:05:09 | 0:05:13 | |
In hindsight, I wish I could have changed it a little bit. | 0:05:13 | 0:05:15 | |
But, you know, in that bottom three, | 0:05:15 | 0:05:17 | |
I fought what I could, and I said what I could do. | 0:05:17 | 0:05:19 | |
But, at that moment I was just like, "Sajan, say something. | 0:05:19 | 0:05:22 | |
-"I'm creative, Lord Sugar," and that was it. -LAUGHTER | 0:05:22 | 0:05:24 | |
That was the only thing that came out. | 0:05:24 | 0:05:26 | |
Zaid, did you think it was going to be a double, triple, | 0:05:26 | 0:05:28 | |
even quadruple firing? | 0:05:28 | 0:05:30 | |
Yeah, I thought a mass firing would have been fair. | 0:05:30 | 0:05:33 | |
I think James, quite frankly, got away with it. | 0:05:33 | 0:05:36 | |
He didn't lead the team at all. Happy to take the back seat. | 0:05:36 | 0:05:39 | |
I loved the way in the boardroom he said, "Look, I've done a great job | 0:05:39 | 0:05:42 | |
"by putting the experts in their various roles," | 0:05:42 | 0:05:44 | |
but, equally, he did nothing to coordinate the team, | 0:05:44 | 0:05:47 | |
join up the dots. He definitely deserved to go. | 0:05:47 | 0:05:49 | |
-Oh, thank you. -Gaby, four of them in there - were you surprised? | 0:05:49 | 0:05:52 | |
I was completely surprised. It was one of those times when I went... | 0:05:52 | 0:05:54 | |
-SHE GASPS -"No!" | 0:05:54 | 0:05:56 | |
I have to say, I completely agree with you as well - it was not... | 0:05:56 | 0:05:59 | |
-It shouldn't have been you. -Thank you. | 0:05:59 | 0:06:00 | |
-And you are creative - look at the way you're dressed. -I know. | 0:06:00 | 0:06:03 | |
-And the quiff? -The hair. | 0:06:03 | 0:06:05 | |
It's very good. | 0:06:05 | 0:06:06 | |
Katy, Sajan, week seven - that's not bad going. | 0:06:06 | 0:06:09 | |
How long do you reckon you'd last in there? | 0:06:09 | 0:06:11 | |
I feel like I'd be two extremes - | 0:06:11 | 0:06:14 | |
I'd either be gone in week one, or I'd win the whole thing. | 0:06:14 | 0:06:17 | |
LAUGHTER | 0:06:17 | 0:06:18 | |
And there's literally nothing in between. | 0:06:18 | 0:06:20 | |
Like, really nothing in between. | 0:06:20 | 0:06:22 | |
I'd like to thank you as well. I was slightly worried my shirt | 0:06:22 | 0:06:24 | |
-was a bit low-cut, but you've come out... -LAUGHTER | 0:06:24 | 0:06:27 | |
I feel a lot better about the whole thing, to be honest. | 0:06:27 | 0:06:29 | |
Mine's slightly bigger, though, as well. | 0:06:29 | 0:06:31 | |
Yeah, if anyone's going to be objectified here tonight, | 0:06:31 | 0:06:33 | |
it's going to be you. | 0:06:33 | 0:06:35 | |
-LAUGHTER -Thanks. | 0:06:35 | 0:06:37 | |
Sajan, you've been strong on negotiations - | 0:06:37 | 0:06:39 | |
really strong, I thought, over the weeks. | 0:06:39 | 0:06:41 | |
You got a chance to stretch your creative legs here, | 0:06:41 | 0:06:43 | |
and then Lord Sugar said you're not creative. | 0:06:43 | 0:06:46 | |
Do you know, I felt some of the boys have got on to this process | 0:06:46 | 0:06:48 | |
and quite far without showing that creative side. | 0:06:48 | 0:06:51 | |
At least I've tried to show it with the mood board. | 0:06:51 | 0:06:54 | |
-I mean, that was bad... -LAUGHTER | 0:06:54 | 0:06:56 | |
To be honest, I wouldn't have brought that up. | 0:06:56 | 0:06:58 | |
LAUGHTER | 0:06:58 | 0:07:00 | |
This is the problem. This is why I got fired. | 0:07:00 | 0:07:02 | |
I bring the wrong creative ideas to the table. | 0:07:02 | 0:07:04 | |
In sixth form, my drama teacher said, "Sajan, you're not creative." | 0:07:04 | 0:07:08 | |
But I didn't listen. | 0:07:08 | 0:07:10 | |
What, just out of the blue? LAUGHTER | 0:07:10 | 0:07:11 | |
Just passing you outside the school, "You're not creative, mate." | 0:07:13 | 0:07:17 | |
-I used to do... -What a strange thing for a teacher to tell you. | 0:07:17 | 0:07:20 | |
I did a lot of acting, right? And when we used to do acting | 0:07:20 | 0:07:24 | |
I used to like to be really creative with it, | 0:07:24 | 0:07:27 | |
and some people never understood it. | 0:07:27 | 0:07:29 | |
LAUGHTER | 0:07:29 | 0:07:31 | |
-There's quite a lot of people now. -Yeah. | 0:07:31 | 0:07:33 | |
LAUGHTER | 0:07:33 | 0:07:34 | |
-They're mounting up, aren't they, the people who...? -Yeah, yeah. | 0:07:34 | 0:07:37 | |
Despite Sajan's thrilling directorial debut, | 0:07:37 | 0:07:40 | |
Team Graphene's Norman conquest came unstuck, | 0:07:40 | 0:07:43 | |
and their campaign hits the skids. | 0:07:43 | 0:07:44 | |
Less William the Conqueror, and more Ethelred the Unready. | 0:07:44 | 0:07:47 | |
Let's see where it all went wrong. | 0:07:47 | 0:07:49 | |
-Sajan, you were supposed to be the director. -That's correct. | 0:07:49 | 0:07:52 | |
OK, God knows what that was supposed to be. | 0:07:52 | 0:07:55 | |
As director, I will let him know, "You need to give me the free reins | 0:07:55 | 0:07:58 | |
"to make sure that I execute this well." | 0:07:58 | 0:08:00 | |
First we want this wide shot, just to set the scene where we are. | 0:08:00 | 0:08:04 | |
Four scenes to be shot this morning, four only. | 0:08:04 | 0:08:08 | |
I think we've got 20-plus. | 0:08:08 | 0:08:09 | |
I do like this shot. It is a nice shot. | 0:08:09 | 0:08:12 | |
That's just a shot of the environment. | 0:08:12 | 0:08:14 | |
Right, you need to tell me what we are doing, cos I'm not sure. | 0:08:14 | 0:08:16 | |
I'm good at being creative. | 0:08:16 | 0:08:18 | |
-And, actually, I did it... -You can't just say it | 0:08:18 | 0:08:21 | |
because you fancy saying it. | 0:08:21 | 0:08:22 | |
I could say I'm good at brain surgery, but I'm not. | 0:08:22 | 0:08:25 | |
LAUGHTER | 0:08:25 | 0:08:27 | |
So the location wasn't the quaint chocolate box sort of village | 0:08:27 | 0:08:30 | |
that you were maybe expecting. | 0:08:30 | 0:08:32 | |
What went through your mind when you rocked up at that place? | 0:08:32 | 0:08:35 | |
I genuinely felt like I hit puberty. I had no idea what to do. | 0:08:35 | 0:08:38 | |
LAUGHTER | 0:08:38 | 0:08:39 | |
No idea what to do. | 0:08:39 | 0:08:41 | |
I genuinely had no idea what to do. | 0:08:41 | 0:08:43 | |
Are those the two times in your life...? | 0:08:45 | 0:08:47 | |
Two times in your life you've not known what to do - | 0:08:48 | 0:08:50 | |
one, hitting puberty, "I remember that day well," | 0:08:50 | 0:08:53 | |
-two, rocking up at that Norman village. -Yeah. | 0:08:53 | 0:08:56 | |
Honestly, I didn't even look at Elizabeth, | 0:08:56 | 0:08:58 | |
I didn't even look at James, | 0:08:58 | 0:09:00 | |
I looked out the window and thought, "What are we going to do with this?" | 0:09:00 | 0:09:02 | |
Bearing in mind I was going to be the director, | 0:09:02 | 0:09:06 | |
I had a set I can work with. | 0:09:06 | 0:09:08 | |
You could bring the best director from Hollywood, | 0:09:08 | 0:09:10 | |
he still wouldn't know what to do with it. Yeah? | 0:09:10 | 0:09:12 | |
Steven Spielberg might have an issue with that. | 0:09:12 | 0:09:14 | |
LAUGHTER | 0:09:14 | 0:09:16 | |
May I just ask something? | 0:09:16 | 0:09:18 | |
There was the bit where you were looking through pictures, | 0:09:18 | 0:09:20 | |
and one of the pictures was the Norman village with a shield | 0:09:20 | 0:09:23 | |
at the front and a dead body hanging on... | 0:09:23 | 0:09:26 | |
Did you not know that the picture meant that you might go there? | 0:09:26 | 0:09:30 | |
LAUGHTER | 0:09:30 | 0:09:32 | |
I kind of left it in Elizabeth's hand. | 0:09:34 | 0:09:36 | |
I wasn't the project manager - James should have made a call on that | 0:09:36 | 0:09:39 | |
and said, "Do you know what? We shouldn't be going there." | 0:09:39 | 0:09:41 | |
Elizabeth was the one setting out the storyline, so she should have | 0:09:41 | 0:09:45 | |
potentially pointed out, actually, the storyline wouldn't work here. | 0:09:45 | 0:09:48 | |
Especially when she said, you know, she's a mother leaving the house. | 0:09:48 | 0:09:52 | |
I kind of had to work with it. | 0:09:52 | 0:09:53 | |
She talked about being a mother leaving the house. | 0:09:53 | 0:09:56 | |
Before they went there, Katy, | 0:09:56 | 0:09:57 | |
-Elizabeth said, "We're doing a family car ad, we've got to be in a family home." -Yup. | 0:09:57 | 0:10:01 | |
Do you think it mattered that the family had moved out 1,000 years earlier? | 0:10:01 | 0:10:04 | |
I thought when they turned up, are they going to embroider an advert | 0:10:05 | 0:10:08 | |
and add it to the Bayeux tapestry? Is that the plan? | 0:10:08 | 0:10:10 | |
They did try to go with humour, though. | 0:10:10 | 0:10:13 | |
You're a comedian, you've directed comedies... | 0:10:13 | 0:10:15 | |
Thank you, Rhod, thank you. | 0:10:15 | 0:10:16 | |
-Did you find it funny? -I did, actually. | 0:10:16 | 0:10:18 | |
I have to say, I might be entirely alone on this, | 0:10:18 | 0:10:21 | |
-but I rather liked your advert. -Thank you. | 0:10:21 | 0:10:23 | |
I thought you did a good job. | 0:10:23 | 0:10:25 | |
Zaid, advertising expert. | 0:10:25 | 0:10:26 | |
Car ads are often a little bit out there, a little bit surreal, | 0:10:26 | 0:10:29 | |
sometimes more playing on emotional things | 0:10:29 | 0:10:31 | |
rather than the practicalities of a car. | 0:10:31 | 0:10:33 | |
If you think, you know, the average car probably costs £15,000, | 0:10:33 | 0:10:36 | |
you want to feel like you're buying something for £15,000, | 0:10:36 | 0:10:40 | |
so surrealism is used to project a really aspirational world, | 0:10:40 | 0:10:43 | |
to draw you in. I think the only thing... | 0:10:43 | 0:10:46 | |
In this sense, this wasn't surrealism, it was one big mistake. | 0:10:46 | 0:10:50 | |
AUDIENCE GASPS | 0:10:50 | 0:10:51 | |
I don't think you get people to spend 15 grand | 0:10:51 | 0:10:55 | |
through that kind of comedy. | 0:10:55 | 0:10:57 | |
I think you need to create some kind of appeal, | 0:10:57 | 0:11:00 | |
and I'm afraid you just didn't achieve it. | 0:11:00 | 0:11:02 | |
You got really into the directing, it has to be said. | 0:11:02 | 0:11:04 | |
The mise en scene, you were talking about, you got really into it. | 0:11:04 | 0:11:08 | |
When we got there, I realised whatever we'd planned initially | 0:11:08 | 0:11:11 | |
might not be funny any more, so instead of doing eight shots, | 0:11:11 | 0:11:15 | |
I did 26 to try and get more about the car, | 0:11:15 | 0:11:19 | |
and less about the village. | 0:11:19 | 0:11:21 | |
But, somehow, the village still kept staying there in the background, | 0:11:21 | 0:11:25 | |
-it didn't move away. -Yeah. | 0:11:25 | 0:11:27 | |
Well, Sajan may have got himself fired, but there was one person | 0:11:27 | 0:11:30 | |
who got herself everything else-d on this task. | 0:11:30 | 0:11:33 | |
-May I suggest that there's a woman on the TV advert? -Yes. | 0:11:35 | 0:11:39 | |
-Elizabeth, you came up with the conceptual idea. -Yeah. | 0:11:39 | 0:11:43 | |
Then you were the lead actress. | 0:11:43 | 0:11:45 | |
Right, so, let me set the scene. | 0:11:45 | 0:11:47 | |
I'm completely stressed, trying to get to work, | 0:11:47 | 0:11:49 | |
I've got a business trip to go on. | 0:11:49 | 0:11:51 | |
Get out of the way, get out of the way! | 0:11:51 | 0:11:53 | |
I've got an idea with the music as well. | 0:11:53 | 0:11:55 | |
And then it goes dum-de-dum, du-du-du-du! It goes like that. | 0:11:55 | 0:11:58 | |
I can smell Elizabeth all over this. | 0:11:58 | 0:11:59 | |
The failure of the task clearly was the video, and if she took on every | 0:11:59 | 0:12:02 | |
single role of that then clearly she's responsible. | 0:12:02 | 0:12:05 | |
Different day, same reliable car. | 0:12:05 | 0:12:08 | |
Do you want me to do it as well and try between us? | 0:12:08 | 0:12:11 | |
Stop, cut it there, and go to boom, boom, boom-ba-boom boom! | 0:12:11 | 0:12:15 | |
It wasn't the Elizabeth show, Lord Sugar, I-I... | 0:12:15 | 0:12:17 | |
Well, it sounds like it was. | 0:12:17 | 0:12:19 | |
-Was it the Elizabeth show? -100%. | 0:12:21 | 0:12:23 | |
LAUGHTER | 0:12:23 | 0:12:25 | |
So, what was it like working with her? | 0:12:25 | 0:12:27 | |
She is an interesting character. | 0:12:27 | 0:12:29 | |
She is who she is. | 0:12:29 | 0:12:30 | |
It kind of works in her industry where she's selling flowers | 0:12:30 | 0:12:34 | |
because she can basically force people to buy her flowers. | 0:12:34 | 0:12:37 | |
But she can be quite hard work sometimes. | 0:12:37 | 0:12:40 | |
Gaby, Joanna said, "I can smell Elizabeth on all of this." | 0:12:40 | 0:12:42 | |
Very happy to smell Elizabeth anywhere, quite frankly. | 0:12:42 | 0:12:45 | |
-I think she's wonderful. -Do you? | 0:12:45 | 0:12:47 | |
She makes me laugh. | 0:12:48 | 0:12:50 | |
And she wasn't too much of a bully. | 0:12:50 | 0:12:53 | |
Just a little bit bullish. | 0:12:53 | 0:12:55 | |
You know, she wants her idea to get across, but I thought she was great, | 0:12:55 | 0:13:00 | |
and I loved the way you two worked together. | 0:13:00 | 0:13:02 | |
I just wanted James to say something and do something, | 0:13:02 | 0:13:05 | |
and bring the two groups together. | 0:13:05 | 0:13:06 | |
James was supposed to be project managing this, Katy. | 0:13:06 | 0:13:09 | |
But Elizabeth was sort of like a heckler. | 0:13:09 | 0:13:12 | |
Yes, well, usually the advice is when you're heckled | 0:13:12 | 0:13:15 | |
to sort of invite the heckler to participate. | 0:13:15 | 0:13:17 | |
Nothing will shut a heckler up quicker | 0:13:17 | 0:13:19 | |
than offering them the microphone. | 0:13:19 | 0:13:21 | |
I feel in Elizabeth's case, that probably wouldn't work. | 0:13:21 | 0:13:24 | |
James became project manager, | 0:13:24 | 0:13:26 | |
and then immediately forgot he was project manager, | 0:13:26 | 0:13:29 | |
so he almost seemed quite happy to let her take over. | 0:13:29 | 0:13:32 | |
I'm a fan of Elizabeth as well. | 0:13:32 | 0:13:33 | |
You don't think she was the one that got away this week? | 0:13:33 | 0:13:36 | |
No, I don't think she was. I was sort of amazed | 0:13:36 | 0:13:37 | |
that she was brought back into the boardroom like that. | 0:13:37 | 0:13:40 | |
I thought through the episode that she would say a suggestion, | 0:13:40 | 0:13:43 | |
she does say it forcefully, which some people have an issue with, | 0:13:43 | 0:13:47 | |
and then she'd say, "All right, if you want to do that. I think | 0:13:47 | 0:13:49 | |
you're completely wrong, but let's just shut up and get on with it." | 0:13:49 | 0:13:52 | |
I think she's pretty good. | 0:13:52 | 0:13:54 | |
I feel like I've been Elizabeth in many circumstances, | 0:13:54 | 0:13:56 | |
so I have a bit of a soft spot. | 0:13:56 | 0:13:58 | |
She's like my spirit animal, Elizabeth. | 0:13:58 | 0:14:00 | |
In the pitch, when the client asked about the disconnect | 0:14:00 | 0:14:03 | |
between the TV ad and the poster ads, | 0:14:03 | 0:14:06 | |
Elizabeth for the first time was quite happy to go, over to you! | 0:14:06 | 0:14:09 | |
There's a lovely moment. Let's have a look at Bushra's reaction. | 0:14:09 | 0:14:14 | |
It's more Bushra to answer this question. | 0:14:14 | 0:14:16 | |
That was brilliant. It was like she was looking to see | 0:14:19 | 0:14:22 | |
who the next person along the line was to pass the buck to. | 0:14:22 | 0:14:24 | |
Zaid, Lord Sugar said that, as project manager, | 0:14:24 | 0:14:28 | |
James was like a passenger in a taxi who knew it was going the wrong way. | 0:14:28 | 0:14:32 | |
What do you do in business, if you find yourself in that situation? | 0:14:32 | 0:14:36 | |
I think as a good business leader you need to have 360 degree vision. | 0:14:36 | 0:14:40 | |
You have got to be a couple of steps ahead of where you are, | 0:14:40 | 0:14:42 | |
you've got to be able to look behind, | 0:14:42 | 0:14:44 | |
look at your team players, and keep your eye on the ball. | 0:14:44 | 0:14:47 | |
I think he was just an arbiter, a peacemaker, | 0:14:47 | 0:14:51 | |
he was facilitating everyone's point of view. | 0:14:51 | 0:14:53 | |
He never stood his ground, and he never moved the decision-making | 0:14:53 | 0:14:56 | |
in the right way, he never moved the project forward. | 0:14:56 | 0:15:00 | |
Let's talk about the branding, and the name and the car a little bit. | 0:15:00 | 0:15:04 | |
-It was Joanna's idea to call it Expando. -Oh, no! | 0:15:04 | 0:15:09 | |
It sounds like a packet of condoms. | 0:15:09 | 0:15:11 | |
LAUGHTER | 0:15:11 | 0:15:14 | |
Wow! | 0:15:14 | 0:15:15 | |
-Gaby, you didn't like the name Expando? -Oh, no! Expando?! | 0:15:17 | 0:15:21 | |
"What's your new car?" I bought an Expando! | 0:15:21 | 0:15:25 | |
I mean, it is sexual, it's just strange! | 0:15:25 | 0:15:28 | |
-Zaid, were you a fan of the name Expando? -Not really. | 0:15:28 | 0:15:32 | |
I think, again, you want to create a sense of desire. | 0:15:32 | 0:15:35 | |
It sounded pretty off-putting to me. | 0:15:35 | 0:15:37 | |
They were trying to get the idea of an expanded family, I guess. | 0:15:37 | 0:15:40 | |
I think this idea of putting a mirror up to people | 0:15:40 | 0:15:42 | |
and going, "You have a dreadful life, this is going to help | 0:15:42 | 0:15:45 | |
you deal with your life", is such an uninspiring kind of approach. | 0:15:45 | 0:15:48 | |
I wanted something with a bit more lift, a bit more energy. | 0:15:48 | 0:15:51 | |
Did you prefer the other concept, | 0:15:51 | 0:15:53 | |
-a zippy, getaway for the 20-something, Miami? -I did. | 0:15:53 | 0:15:55 | |
In a way, it was a bit cheesy, | 0:15:55 | 0:15:57 | |
but at least it was aiming for something big. | 0:15:57 | 0:15:59 | |
It was trying to take you away from the everyday. | 0:15:59 | 0:16:01 | |
The idea that you'll go somewhere better in this vehicle I think | 0:16:01 | 0:16:04 | |
spoke to the target audience well, it was a bit more aspirational. | 0:16:04 | 0:16:07 | |
Definitely going the right way. | 0:16:07 | 0:16:09 | |
Katy, what do you look for in a car when you're buying a car? | 0:16:09 | 0:16:12 | |
Cup-holders. | 0:16:12 | 0:16:14 | |
No, I am really, really keen on there being an individual | 0:16:14 | 0:16:17 | |
cup-holder for every possible person in the car. | 0:16:17 | 0:16:20 | |
I don't want to share cup-holders. | 0:16:20 | 0:16:23 | |
All my cars have been second-hand, including the one I drive now. | 0:16:23 | 0:16:26 | |
I basically totally missed out | 0:16:26 | 0:16:28 | |
on about two decades' worth of car technology. | 0:16:28 | 0:16:30 | |
If it's got a CD player, I'm excited! | 0:16:30 | 0:16:33 | |
Sajan, a lot of the feedback was that the TV ad, the Norman village, | 0:16:33 | 0:16:38 | |
and the poster campaign with the building blocks, didn't marry up. | 0:16:38 | 0:16:42 | |
No, I completely agree, and that probably | 0:16:42 | 0:16:44 | |
comes from the fact that there was a lack of leadership. | 0:16:44 | 0:16:46 | |
Expando was very different to what we showed in the video. | 0:16:46 | 0:16:49 | |
The video's different to what the slogan was showing... | 0:16:49 | 0:16:51 | |
Yeah. It was bollocks, is what you're trying to say. | 0:16:51 | 0:16:53 | |
LAUGHTER | 0:16:53 | 0:16:56 | |
-Yes... -Sometimes you've got to summarise in this job. | 0:16:56 | 0:16:59 | |
Well, back at the house, | 0:16:59 | 0:17:01 | |
the boys share grooming tips in front of the mirror most mornings. | 0:17:01 | 0:17:04 | |
Oh, no. | 0:17:04 | 0:17:06 | |
Let's see what goes on behind the closed doors | 0:17:06 | 0:17:08 | |
of the sanctuary that is The Apprentice bathroom. | 0:17:08 | 0:17:11 | |
To be honest... | 0:17:17 | 0:17:18 | |
LAUGHTER | 0:17:18 | 0:17:20 | |
..so I thought I'd do a nice face mask tonight, | 0:17:20 | 0:17:22 | |
do my hair really nice in the morning... | 0:17:22 | 0:17:24 | |
Do you think we should do Jarjue before she goes on? | 0:17:24 | 0:17:27 | |
What, facemask, bath, nails... | 0:17:27 | 0:17:29 | |
If this doesn't scream professionalism, | 0:17:29 | 0:17:31 | |
I don't know what does. | 0:17:31 | 0:17:33 | |
APPLAUSE | 0:17:33 | 0:17:37 | |
Er, can I just apologise to my mum and dad first? | 0:17:40 | 0:17:44 | |
Do you know what? We had to bond. Um... | 0:17:46 | 0:17:49 | |
OK! Let's talk about the other team, Vitality, a little bit. | 0:17:50 | 0:17:55 | |
Anisa said that she wanted a creative task this week, | 0:17:55 | 0:18:00 | |
-she certainly got one. -She's great at what she does. | 0:18:00 | 0:18:03 | |
She's nice, she comes across great I guess, as well, but she's smart. | 0:18:03 | 0:18:07 | |
Zaid, Sarah said Anisa was a bit too PR, a bit too waffly. | 0:18:07 | 0:18:11 | |
-Did you think that was fair? -I didn't think it was fair at all. | 0:18:11 | 0:18:14 | |
She was trying to galvanise the room into contributing good ideas, | 0:18:14 | 0:18:17 | |
and I think in every creative process there's | 0:18:17 | 0:18:21 | |
a moment where you need to think big and you need to go on a bit | 0:18:21 | 0:18:24 | |
but, equally, you need to know when to stop and focus it in | 0:18:24 | 0:18:26 | |
and the other guys just weren't interested, | 0:18:26 | 0:18:28 | |
so I think it was a bit unfair. | 0:18:28 | 0:18:30 | |
Yeah, but, as you said, she had loads of ideas in that room, | 0:18:30 | 0:18:32 | |
she was practically making her way around the whole of the wall, | 0:18:32 | 0:18:35 | |
I thought she would go round the whole office writing things down. | 0:18:35 | 0:18:38 | |
But it's when she got into the pitch when she admitted her mistakes. | 0:18:38 | 0:18:42 | |
That quite threw me. | 0:18:42 | 0:18:43 | |
"No, you're right, that was rubbish." | 0:18:43 | 0:18:46 | |
It was hilarious. | 0:18:46 | 0:18:47 | |
Did anybody find that they thought was a car rental? Yes, they did! | 0:18:47 | 0:18:52 | |
LAUGHTER | 0:18:52 | 0:18:53 | |
Did anybody say they thought it was for a holiday? Yes, they did! | 0:18:53 | 0:18:56 | |
Did you enjoy the pitch? | 0:18:56 | 0:18:58 | |
I found her weirdly charming. | 0:18:58 | 0:19:00 | |
It was so non... So unexpected in this process | 0:19:00 | 0:19:04 | |
to see people just doing that. | 0:19:04 | 0:19:06 | |
It was like she wasn't aware that she was in The Apprentice. | 0:19:06 | 0:19:09 | |
Like she'd sort of wandered in. | 0:19:09 | 0:19:11 | |
And as if she'd completely forgotten any role she'd had in it | 0:19:11 | 0:19:13 | |
up to that point. | 0:19:13 | 0:19:15 | |
It was like she was just seeing it fresh and going, "Yes, awful!". | 0:19:15 | 0:19:18 | |
"Wow, who the hell did this?! Shall we have a drink?" | 0:19:18 | 0:19:22 | |
It was literally, like... | 0:19:22 | 0:19:24 | |
-She was very human in that moment. -Yeah, I really liked it. | 0:19:24 | 0:19:27 | |
She did seem to yes, forget what her role was supposed to be. | 0:19:27 | 0:19:30 | |
Backstage, of course, behind the scenes, | 0:19:30 | 0:19:32 | |
the others watching her, sort of not quite... | 0:19:32 | 0:19:35 | |
At one point, I think someone said, "Someone take her down."! | 0:19:35 | 0:19:38 | |
LAUGHTER | 0:19:38 | 0:19:40 | |
Which seems a bit extreme. | 0:19:40 | 0:19:42 | |
Michaela, Zaid, she project managed Vitality this week. | 0:19:42 | 0:19:47 | |
Is she one to watch, do you think? | 0:19:47 | 0:19:49 | |
Yeah, I've been watching her progress through the competition, | 0:19:49 | 0:19:52 | |
and I've generally been on her side. | 0:19:52 | 0:19:55 | |
This time, I heard her shut down Andrew quite a lot | 0:19:55 | 0:19:59 | |
because she perceived him to not be part of the bull's-eye | 0:19:59 | 0:20:02 | |
target market, therefore why should I listen to you? | 0:20:02 | 0:20:05 | |
I thought that was a bit controlling and a bit unfair. | 0:20:05 | 0:20:07 | |
I think she admitted that he was beginning to wind her up, | 0:20:07 | 0:20:10 | |
-so I thought it was more convenient for her just to sideline him. -Yes. | 0:20:10 | 0:20:13 | |
While Graphene chose family, | 0:20:13 | 0:20:15 | |
Team Vitality went for fun-loving twenty-somethings | 0:20:15 | 0:20:18 | |
with Andrew and his lady chums, roof back, sunglasses on, | 0:20:18 | 0:20:21 | |
and heading for a beach over 4,000 miles away. | 0:20:21 | 0:20:24 | |
Ooh, what about Miami? | 0:20:24 | 0:20:27 | |
# Party in the city where the heat is on | 0:20:27 | 0:20:29 | |
# All night on the beach till the break of dawn | 0:20:29 | 0:20:31 | |
-# Welcome to... #. -Miami. | 0:20:31 | 0:20:33 | |
# Bienvenidos a Miami | 0:20:33 | 0:20:35 | |
# Bouncin' in the club where the heat is on | 0:20:35 | 0:20:37 | |
# All night, on the beach till the break of dawn | 0:20:37 | 0:20:40 | |
-# I'm going... # -To Miami. | 0:20:40 | 0:20:42 | |
-# Welcome to... # -Miami. | 0:20:42 | 0:20:44 | |
# Bouncin' in the club where the heat is on | 0:20:44 | 0:20:45 | |
# All night, on the beach till the break of dawn | 0:20:45 | 0:20:47 | |
-# I'm... # -Going to Miami. | 0:20:47 | 0:20:49 | |
# Welcome to Miami... # | 0:20:49 | 0:20:51 | |
Does it have to be so literal with the name? | 0:20:51 | 0:20:53 | |
The car name is Miami. | 0:20:53 | 0:20:55 | |
LAUGHTER AND APPLAUSE | 0:20:55 | 0:20:56 | |
-Katy, Siobhan said of Michaela, it's her way or the highway. -Mmm. | 0:20:59 | 0:21:02 | |
-Is she difficult to work with, do you think? -Well, I don't know. | 0:21:02 | 0:21:05 | |
I like Michaela, and I thought we saw this sort of glimmer of humility | 0:21:05 | 0:21:08 | |
at the end where she talked about how she knows her accent's very broad, | 0:21:08 | 0:21:11 | |
and she's worried about how that would come across, | 0:21:11 | 0:21:13 | |
and these little bits of vulnerability. | 0:21:13 | 0:21:15 | |
I find the glasses confusing, I'm not going to lie. | 0:21:15 | 0:21:18 | |
Why confusing? | 0:21:18 | 0:21:19 | |
Well, is it deliberate, is it like a costume? | 0:21:19 | 0:21:22 | |
I think she's really professional. | 0:21:22 | 0:21:24 | |
It didn't really bother me, her shutting the others down, to some extent, | 0:21:24 | 0:21:28 | |
because I think on this particular task | 0:21:28 | 0:21:29 | |
she rightly identified their target market. | 0:21:29 | 0:21:32 | |
So when the other idea came in about the boy in the house, | 0:21:32 | 0:21:35 | |
it was like, my immediate reaction was, why are we having a boy | 0:21:35 | 0:21:37 | |
at the centre of this when this is a car marketed at women? | 0:21:37 | 0:21:40 | |
And she, rightly I think, brought it back - | 0:21:40 | 0:21:42 | |
the focus on the woman buying the car, not the boy. | 0:21:42 | 0:21:45 | |
-Did they under-use Andrew, did you think, Gaby? -I really like Andrew. | 0:21:45 | 0:21:48 | |
I wish he'd been listened to a bit more. | 0:21:48 | 0:21:51 | |
But a night out with Michaela and Elizabeth, please! | 0:21:51 | 0:21:55 | |
Oh, thanks! | 0:21:55 | 0:21:57 | |
LAUGHTER | 0:21:57 | 0:22:00 | |
All right, Sajan! | 0:22:00 | 0:22:03 | |
-You can come too. -It's Gaby, Elizabeth, Michaela and you. | 0:22:04 | 0:22:09 | |
-Thank you. -Jade has an interesting technique for visualising things. | 0:22:09 | 0:22:13 | |
Yes, it was quite incredible, wasn't it? | 0:22:13 | 0:22:16 | |
"I've just got to visualise things.". | 0:22:16 | 0:22:18 | |
Do you have to do that all the time?! | 0:22:18 | 0:22:20 | |
The best bit was when, at the end, | 0:22:20 | 0:22:22 | |
one of the others said, "Turn on surround sound", | 0:22:22 | 0:22:25 | |
-she was like... -LAUGHTER | 0:22:25 | 0:22:28 | |
Are you unable to function, unless you can visualise...? | 0:22:28 | 0:22:31 | |
If she ever does get fired, he's going to say, "You're fired," | 0:22:31 | 0:22:34 | |
and she'll go... | 0:22:34 | 0:22:35 | |
LAUGHTER AND APPLAUSE | 0:22:35 | 0:22:38 | |
Just sort of acting it all out! | 0:22:39 | 0:22:41 | |
In the advertising world where you work with creatives, | 0:22:41 | 0:22:44 | |
you must see a lot of that kind of... | 0:22:44 | 0:22:46 | |
I actually, to date, haven't seen an lot of it, to be honest. | 0:22:46 | 0:22:48 | |
I think it takes body language to a whole new level. | 0:22:48 | 0:22:52 | |
Are you a fan of the Harrison, Gaby? | 0:22:52 | 0:22:54 | |
Actually, I was quite disappointed with him this week. | 0:22:54 | 0:22:57 | |
I want to see more from him, and I think he's got more to give. | 0:22:57 | 0:23:00 | |
That's frustrating. I actually do talk at the screen. | 0:23:00 | 0:23:03 | |
I don't know if anybody else does, but every time it's on | 0:23:03 | 0:23:06 | |
I have a whole conversation with them and they can't hear me. | 0:23:06 | 0:23:09 | |
And I was telling him, "Do more! Come on! A bit more, Harrison." | 0:23:09 | 0:23:12 | |
He didn't hear me, funnily enough. | 0:23:12 | 0:23:15 | |
Harrison certainly wouldn't be the first to pose an eyebrow raiser | 0:23:15 | 0:23:18 | |
in this series of The Apprentice, | 0:23:18 | 0:23:20 | |
but he certainly joined their ranks this week, and it was a belter. | 0:23:20 | 0:23:24 | |
Bye, good luck. | 0:23:26 | 0:23:28 | |
Gone Medieval. | 0:23:28 | 0:23:30 | |
They didn't have cars then, did they? | 0:23:30 | 0:23:32 | |
Unfortunately, Lord Sugar's decided not to invest in you, | 0:23:34 | 0:23:38 | |
but he does have this advice for your future. | 0:23:38 | 0:23:40 | |
Sajan, I think you have to take your hat off to him, | 0:23:42 | 0:23:45 | |
he quit his job in HR to come and join the process | 0:23:45 | 0:23:49 | |
cos he was so confident that he would do well. | 0:23:49 | 0:23:51 | |
But he put himself forward as a creative genius, | 0:23:51 | 0:23:54 | |
but he produced a chaotic television advert. | 0:23:54 | 0:23:58 | |
What I noticed of Sajan throughout the process | 0:23:58 | 0:24:00 | |
was that he's not short of coming up with ideas | 0:24:00 | 0:24:03 | |
and putting things forward, which is a good thing. | 0:24:03 | 0:24:06 | |
But what he would need to learn to do in business | 0:24:06 | 0:24:08 | |
is to make sure that he can adapt when situations change. | 0:24:08 | 0:24:12 | |
Mixed review, some nice stuff, a bit chaotic, lots of good ideas. | 0:24:13 | 0:24:17 | |
Look, Lord Sugar is the reason I entered this process, | 0:24:17 | 0:24:20 | |
I wanted to learn from a mentor, so I'll take his advice on board. | 0:24:20 | 0:24:23 | |
Yeah. What was your business plan? | 0:24:23 | 0:24:25 | |
My business plan was a photo booth business. | 0:24:25 | 0:24:28 | |
However, I now run a recruitment agency. | 0:24:28 | 0:24:30 | |
Lord Sugar made his decision, | 0:24:30 | 0:24:32 | |
but does our panel feel it was the right one? Zaid? | 0:24:32 | 0:24:35 | |
The wrong decision for me. James was really smooth in the boardroom. | 0:24:35 | 0:24:38 | |
-That's what saved him. I think they should have kept you on. -Thank you. | 0:24:38 | 0:24:42 | |
-Gaby? -Wrong decision. | 0:24:42 | 0:24:45 | |
-It should have been James. -Katy? | 0:24:45 | 0:24:47 | |
I agree with the rest of the panel. It was the wrong decision. | 0:24:47 | 0:24:50 | |
I think you did adapt to a really weird new situation and did the | 0:24:50 | 0:24:53 | |
best you could with that advert, and you did an all right job. | 0:24:53 | 0:24:55 | |
Interesting from the panel. Time to see what the audience thinks. | 0:24:55 | 0:24:59 | |
If you agree with Lord Sugar, hold up "fired". | 0:24:59 | 0:25:01 | |
If you disagree, hold up "hired". Now, please. | 0:25:01 | 0:25:04 | |
Oh, wow! | 0:25:04 | 0:25:06 | |
Wow, look at that! | 0:25:06 | 0:25:07 | |
Look at that. | 0:25:07 | 0:25:09 | |
Sajan, I tell you what... | 0:25:09 | 0:25:11 | |
Big mistake, Lord Sugar. | 0:25:11 | 0:25:12 | |
That is as green as it gets. You are hired! Wow! It is green. | 0:25:16 | 0:25:21 | |
APPLAUSE | 0:25:21 | 0:25:23 | |
So, as you know, nobody leaves here, Sajan, empty-handed. Now then. | 0:25:26 | 0:25:31 | |
I thought I would get you a lovely hamper. | 0:25:31 | 0:25:35 | |
-Unfortunately, we let James order it and he's got you a Medieval... -Oh! | 0:25:35 | 0:25:39 | |
LAUGHTER AND APPLAUSE | 0:25:39 | 0:25:41 | |
A Medieval hamper. There is a turnip. | 0:25:41 | 0:25:44 | |
We've got some mead, look at that. | 0:25:44 | 0:25:46 | |
You've got a 1000-year-old loaf of bread. | 0:25:46 | 0:25:48 | |
We've got some lovely ointments here. | 0:25:48 | 0:25:51 | |
Look at this, this is goose faeces hair gel. | 0:25:51 | 0:25:54 | |
You can use that, absolutely. That is made of genuine goose faeces. | 0:25:56 | 0:25:59 | |
-Is it? -Yes. -Urgh! | 0:25:59 | 0:26:01 | |
LAUGHTER | 0:26:01 | 0:26:03 | |
This is weasel juice. Weasel juice with a hint of stoat saliva. | 0:26:03 | 0:26:08 | |
"Well-known to stimulate the right hemisphere of the brain | 0:26:08 | 0:26:11 | |
"to unlock creativity." | 0:26:11 | 0:26:13 | |
That'll come in handy! | 0:26:14 | 0:26:15 | |
Sajan, thanks for coming on the show, you've been a great sport. | 0:26:15 | 0:26:18 | |
Let's have a look at your highlights. | 0:26:18 | 0:26:20 | |
I smell like success and a bit of money. | 0:26:20 | 0:26:24 | |
That is some serious swag. | 0:26:24 | 0:26:25 | |
If anyone can sell it, Saj can sell it! | 0:26:25 | 0:26:28 | |
Sajan is amazing. | 0:26:28 | 0:26:30 | |
He is the nicest guy I've ever met in my life. | 0:26:30 | 0:26:34 | |
Less. | 0:26:34 | 0:26:35 | |
Come on, we have to get a good price! | 0:26:35 | 0:26:38 | |
He's brilliant, he is absolutely hysterical. | 0:26:38 | 0:26:41 | |
What's eleven times three? | 0:26:41 | 0:26:42 | |
My reputation as a vegetarian has just gone down the drain. | 0:26:42 | 0:26:45 | |
I absolutely love Saj. | 0:26:45 | 0:26:48 | |
He never gets stressed out. He's just a blessing. | 0:26:48 | 0:26:51 | |
I gave them the fruits, it's now up to them to make the juice. | 0:26:51 | 0:26:54 | |
Take two! Oh! | 0:26:54 | 0:26:56 | |
I mean, I can't imagine ever living without Saj again. | 0:26:56 | 0:26:59 | |
Ohhh! | 0:27:02 | 0:27:03 | |
Ladies and gentlemen, Sajan Shah! | 0:27:03 | 0:27:06 | |
CHEERING AND APPLAUSE | 0:27:06 | 0:27:08 | |
And please also thank tonight's Apprentice fans and guests, | 0:27:10 | 0:27:13 | |
Zaid Al-Zaidy, Gaby Roslin, and Katy Brand. | 0:27:13 | 0:27:15 | |
APPLAUSE | 0:27:15 | 0:27:18 | |
Next week sees our candidates taking over a doggy day-care. | 0:27:19 | 0:27:22 | |
Who's going to be best in show, and who will end up in the doghouse? | 0:27:22 | 0:27:26 | |
I've organised for you to take over a doggy day-care centre. | 0:27:26 | 0:27:31 | |
-Look at the little one! -Oh, he's loving it. -Are you all right, mate? | 0:27:32 | 0:27:36 | |
Poo...bag. Put the two together and clean up! | 0:27:36 | 0:27:39 | |
Urgh, oh, God! | 0:27:39 | 0:27:40 | |
-Don't clump it in, though, we'll not get it back out! -I can't help it! | 0:27:40 | 0:27:43 | |
Spin round. Yeah! | 0:27:43 | 0:27:44 | |
I've just done his bottom. | 0:27:44 | 0:27:46 | |
You're not having a slice of my pizza later. | 0:27:46 | 0:27:48 | |
-I'm doing all the work, you're just standing there. -Do you want to swap? | 0:27:48 | 0:27:51 | |
-Yes! -Andrew, can you actually physically do it? | 0:27:51 | 0:27:54 | |
No, we're not able to do it. | 0:27:54 | 0:27:55 | |
-We'll come from here to here. -Go! Go on. | 0:27:55 | 0:27:58 | |
Oh! | 0:27:58 | 0:28:00 | |
Oh, oh! | 0:28:00 | 0:28:01 | |
Sit. Cry. | 0:28:02 | 0:28:04 | |
Here! Massive poos! Massive poos! Loads of them! | 0:28:04 | 0:28:07 | |
Join me next Wednesday at 10pm for more You're Fired. Good night. | 0:28:09 | 0:28:13 |