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This is my boardroom. This is my money. The product sucks. You | :00:42. | :00:47. | |
screwed it up. Who's the waste of space? You're fired. You're fired. | :00:47. | :00:57. | |
:00:57. | :01:03. | ||
APPLAUSE Good evening. Welcome to The | :01:03. | :01:06. | |
Apprentice: You're Fired. It's week eight in Lord Sugar's search for | :01:06. | :01:09. | |
his business partner. Half the candidates have gone. Tonight we | :01:09. | :01:14. | |
cast an eye over the rest left in the fight for the investment. If | :01:14. | :01:18. | |
you watched last week, you've seen strategy, strategy, strategy was | :01:18. | :01:23. | |
the way to succeed in business. This week's Catchphrase was more | :01:23. | :01:28. | |
honest about what is most important. The only time I saw Tom was in deep | :01:28. | :01:32. | |
trouble was when he lost Pure Evil. The loss of Pure Evil was a big | :01:33. | :01:35. | |
mistake. Lovely, thank you Pure Evil and I'll see you tomorrow, | :01:36. | :01:40. | |
take care. There you go, Pure Evil, that's all you need to win the | :01:40. | :01:46. | |
apprentice. As ever, we had a potent mix of people on the panel, | :01:46. | :01:50. | |
gallery owner Lawrence Alkin, comedian Sarah Millican and | :01:50. | :01:52. | |
financial guru Alvin Hall, welcome to You're Fired. | :01:52. | :02:00. | |
APPLAUSE Tonight's task of selling urban art | :02:00. | :02:03. | |
led to one candidate being given the brush off. | :02:03. | :02:07. | |
Laura, you think you're a good sales person. You're certainly a | :02:07. | :02:11. | |
very good talker. I am. certainly not totally convinced | :02:11. | :02:15. | |
that you should remain in the process. Laura, you're fired. | :02:15. | :02:22. | |
Take care. Please welcome Laura Hogg. | :02:22. | :02:32. | |
:02:32. | :02:44. | ||
How are you? There's two things that immediately there, he went, | :02:44. | :02:50. | |
you're certainly a good talker and you went "yeah". And then take care. | :02:50. | :02:54. | |
No-one has ever said "Take care now. Safe home, you people look after | :02:54. | :02:58. | |
yourselves on the way home." I know it's just a situation where you | :02:58. | :03:03. | |
think oh, yeah, didn't know what to say. It's important. Take care now, | :03:03. | :03:08. | |
bye now. Like your aunt leaving now, don't be a stranger. I know. | :03:09. | :03:14. | |
think it was going to happen? think so, yeah. You see it all over | :03:14. | :03:19. | |
my face. I'd lost that bit of oomph in the boardroom. I knew I was | :03:19. | :03:23. | |
vulnerable. Yeah, I'm sure we'll talk about, it I didn't dot sales. | :03:23. | :03:30. | |
That's the thing. Let's remind ourselves what happened. Reading | :03:30. | :03:33. | |
some of the applications here, Laura claims sales is her best | :03:33. | :03:40. | |
skill. Yes. How are you doing? Enjoying it. Good stuff. How are | :03:40. | :03:46. | |
you getting on? Are you enjoying it? Yes, thank you. Good stuff. | :03:46. | :03:49. | |
test the water, let them have a lock around. Before you know it, | :03:49. | :03:56. | |
Adam's on them. I could do that for 180. I cannot take away anything | :03:56. | :04:00. | |
from Adam. He did a fantastic job. You'll probably admit that a lot of | :04:00. | :04:05. | |
it was blagging. I wouldn't say I blagged it. You reckon he was | :04:05. | :04:13. | |
blagging? He sold �2,280 worth, you sold �700. Yes, I can't pin point | :04:13. | :04:21. | |
what went wrong. Maybe you're not a good businessperson. Harsh. It's a | :04:21. | :04:26. | |
bit cruel. I looked at the sales process -- sales figures and you | :04:26. | :04:29. | |
were always second or third. This one you were fourth. You opened | :04:29. | :04:33. | |
yourself up to coming into the boardroom. I did. Why was it so | :04:33. | :04:36. | |
difficult to sell that night? if I'm honest with you, I did not | :04:36. | :04:40. | |
work smart on the night. It was very much like schmoozing the | :04:40. | :04:44. | |
customer. I was going around dooz a bit of schmoozing. By the time I | :04:44. | :04:48. | |
was getting round to it again, I would see somebody taking the money | :04:48. | :04:51. | |
and putting up the sold sign. It would be like oh, it's happened | :04:51. | :04:55. | |
again. It kept happening. I didn't work smart. I was leaving people | :04:55. | :04:59. | |
too long. As the night went on, my confidence was dipping. I knew I | :04:59. | :05:05. | |
was behind on sales. I knew that could be a problem. Were you | :05:05. | :05:09. | |
conscious of this thing, I can push, but I can't push. There's a limit | :05:09. | :05:13. | |
to how well I can... I think so. It's a very personal thing, art. I | :05:13. | :05:17. | |
thought I can't make somebody take this. So I'll suss it out. I'll put | :05:17. | :05:23. | |
out the feelers and you know, it's a practice you have to I think | :05:23. | :05:27. | |
about. I wasn't comfortable with forcing it on people. It's bridal | :05:27. | :05:34. | |
wear thaw normally sell. Yes. main part of sales is perfecting | :05:35. | :05:43. | |
the "oh" face, which presumably you only have to find 40 times a day | :05:43. | :05:48. | |
"That is lovely on you." You can't really do that with art "That | :05:48. | :05:58. | |
painting on you... I'm going to cry." Yeah. No, I actually am quite | :05:58. | :06:05. | |
honest with my brides. Really? Are you? That's so mean. | :06:05. | :06:09. | |
Just lie. Do you think you walk in that shop and it's all you. Yeah, | :06:09. | :06:14. | |
it's a special day regardless. I'd hate if somebody was honest with me. | :06:14. | :06:18. | |
I don't give a toss what anybody else thinks. I just want to be told | :06:18. | :06:23. | |
I look like a Princess. We do that. I'm fine. I usually have my little | :06:23. | :06:27. | |
boy in the shop who tells people they look like Cinderella. That | :06:27. | :06:31. | |
usually works. Really? That is fantastic. You should have taken | :06:31. | :06:35. | |
him along to the art place. I like the big monster. Lawrence, the | :06:35. | :06:41. | |
selling of art is a difficult, it's not a simple challenge to engage | :06:41. | :06:45. | |
people without forcing it down their throat. From what I saw in | :06:45. | :06:49. | |
the clips, she was going up to people, they weren't looking at art | :06:49. | :06:54. | |
and saying "Are you having a good time, enjoying yourself?" To me, | :06:54. | :06:57. | |
selling art is very difficult, it's body language, how you approach | :06:57. | :07:01. | |
people. You have to make sure that people are interested before you go | :07:01. | :07:07. | |
and engage them. Don't try to close before they even look at something. | :07:07. | :07:12. | |
The awkward thing, you collect art, buy art. Yes, all the time. That's | :07:12. | :07:16. | |
the key, you look all the time. It's not like customer walks on the | :07:16. | :07:21. | |
lot and he wants to buy some art. A lot of the time you're just looking. | :07:21. | :07:27. | |
But you also want to be seduced. I don't need Laura to ask me how am I | :07:28. | :07:32. | |
enjoying this party. I want her to say "What do you think of this | :07:32. | :07:39. | |
work? What attracts you to this? If you like this, come over to this." | :07:39. | :07:42. | |
It's part of the seduction. You didn't do that. It didn't take | :07:42. | :07:45. | |
great advantage of your skill set. You didn't connect well with it at | :07:45. | :07:52. | |
all. It was like you were on holiday in Spain. Was it just a | :07:52. | :07:57. | |
tough night? People were arriving randomly into this thing. That's it. | :07:57. | :08:02. | |
The sales happened very quickly. Within the first 20 minutes we | :08:02. | :08:05. | |
probably did half our sales, seriously. People were in, they | :08:05. | :08:10. | |
spotted it, they were done and dusted. Again, I think that was | :08:10. | :08:15. | |
something that I wasn't aware was going to happen. Again, just didn't | :08:15. | :08:22. | |
click onto the right people at the right moment. There's always the | :08:22. | :08:25. | |
sort of feeding frenzy because they want the best things. They know | :08:25. | :08:31. | |
what they want. They come in and buy. The rest of it is "How are you | :08:31. | :08:36. | |
darling? Do you like this piece? I have more in the back I could show | :08:36. | :08:42. | |
you? No. This artist doesn't thrill you? No. Can I put it in a clip | :08:42. | :08:46. | |
frame, that's what I want to know. No darling. Would you take it out | :08:46. | :08:51. | |
of the frame it was in and reframe it in a clip frame? Yeah, then I | :08:51. | :08:56. | |
could just buy the print. I wouldn't have to buy the frame. | :08:56. | :09:00. | |
Clip frames are really cheap and if you smash them you can replace them | :09:00. | :09:05. | |
easily. I'm sorry if I'm being practical about art. I apologise. | :09:05. | :09:09. | |
Lord Sugar said no-one was out of his comfort zone more than Adam. | :09:09. | :09:14. | |
Within 48 hours he went from philistine to fine art connoisseur. | :09:14. | :09:18. | |
One of the questions we was asked today was which medium does he use. | :09:18. | :09:22. | |
A medium to me is used o contact the other side. Am I getting it? I | :09:22. | :09:29. | |
got it. I wasn't certain the Adam dude completely knew what he was | :09:29. | :09:33. | |
talking about. It's the same, but it isn't the same. There's no need | :09:33. | :09:37. | |
to dress yourself up as an arty farty. Although there's two of | :09:37. | :09:42. | |
something, they're not always the same. Say that again? It was one of | :09:43. | :09:44. | |
them relationships that everything's right but it's gone | :09:44. | :09:54. | |
wrong. They're not always the same, that was my interpretation. Right. | :09:54. | :09:59. | |
Tom said no-one knows banksy's it ti -- identity. It's like the Stig | :09:59. | :10:05. | |
isn't he. You know what I mean? looking for the Turner Prize then, | :10:05. | :10:15. | |
:10:15. | :10:16. | ||
no. More like the turnip prize then. APPLAUSE | :10:16. | :10:20. | |
You've worked with banksy haven't you? I've sold a lot of banky. | :10:20. | :10:25. | |
you met banksy? I believe I have at time but not knowing it. I think | :10:25. | :10:31. | |
it's the line, taking apart the whole Banksy myth in one sentence, | :10:31. | :10:35. | |
you mean like the Stig. Oh, yeah that's all that is. He was cutting | :10:36. | :10:39. | |
the deals though, that's the important thing. He did very well | :10:39. | :10:43. | |
in a one night sale, if I had a sale and nothing was going and hi | :10:43. | :10:46. | |
no commitment to the artist, at the end of the night I'd probably be | :10:46. | :10:51. | |
selling like him to clear it. could be a career for him, you | :10:51. | :10:55. | |
bring him in at the end of the night. Yeah that's great. Like the | :10:55. | :10:59. | |
terminator, just clear the room of art. All this art, oh, yeah, gone | :10:59. | :11:03. | |
in ten minutes. Walk away now and don't ask any questions, the walls | :11:03. | :11:09. | |
will be cleared. Sales, he does throw himself into these things. | :11:09. | :11:13. | |
Yeah, he does. You'd only buy from him one time. If he had something | :11:13. | :11:17. | |
you really want and it was a bargain price, you'd buy and say | :11:17. | :11:22. | |
boy, I got one over on him. Otherwise you'd never come back for | :11:22. | :11:26. | |
a second time. But his skill set has shown the ability to expand | :11:26. | :11:29. | |
incredibly over the past eight programmes. He's done really well | :11:29. | :11:33. | |
showing different sides of him. I would never believe he that ability. | :11:33. | :11:38. | |
It is astonishing. He has comfort zones, he has no comfort zones at | :11:38. | :11:44. | |
all. He likes people. Constantly outside comfort zones. He was | :11:44. | :11:49. | |
knocking them down by 50% I was half expecting a bag of oranges | :11:49. | :11:56. | |
going in as well. He is still working on the stuff from the | :11:56. | :12:01. | |
previous week's task that he could sell. You do want somebody, you can | :12:01. | :12:05. | |
make your impression of it, you don't need somebody telling you | :12:05. | :12:09. | |
what the painting is about. Yes you do. You want somebody to reaffirm | :12:09. | :12:14. | |
that what you think is good. you just want somebody to go "What | :12:14. | :12:18. | |
you're thinking right now, you're right." I couldn't put it better | :12:18. | :12:22. | |
than what you're thinking right now. You and this painting belong | :12:22. | :12:25. | |
together. And I assume you would be in touch with a medium when you | :12:25. | :12:35. | |
:12:35. | :12:35. | ||
said that. You read my mind. you enjoying Adam? I wasn't so keen | :12:35. | :12:38. | |
on the meatball episode. He let himself down with a lot of value | :12:38. | :12:43. | |
tins of things. He didn't seem to know what quality food was. He | :12:43. | :12:47. | |
didn't care whether it was good quality or not. He let himself down | :12:47. | :12:51. | |
that week. He picked up this week. I was surprised that he could turn | :12:51. | :12:55. | |
his hand to this. I didn't think he would be able to. I was impressed. | :12:55. | :13:00. | |
We want to get you onto who should have and who you were competing | :13:00. | :13:05. | |
against. Tom has been sure footed, winning in week four, but he nearly | :13:05. | :13:11. | |
came acropper this week. We didn't get Pure Evil. Why didn't you get | :13:11. | :13:20. | |
Pure Evil? I'm a big fan of space invader, banksy, the West Coast... | :13:20. | :13:24. | |
Lecturing somebody and telling them how clever you are, winds people up | :13:24. | :13:30. | |
a bit. Is that Pure Evil? I'm going to sterling. I think he's mental | :13:30. | :13:33. | |
for going with them. What did do you then? I decided to roll the | :13:33. | :13:43. | |
:13:43. | :13:45. | ||
dice and go with James. They were so big. People have got | :13:45. | :13:49. | |
big wallets and even bigger front rooms. If we sell one piece, we can | :13:49. | :13:54. | |
win it. You sold none of his stuff. The loss of Pure Evil and the | :13:54. | :14:01. | |
choosing of James, two massive, big flaws. | :14:01. | :14:11. | |
:14:11. | :14:11. | ||
APPLAUSE Should you have spoken up about | :14:11. | :14:17. | |
going with James Jessop? The issue was we were getting a bit blinded | :14:17. | :14:21. | |
by what we were selling, a bit greedy. I think we were thinking if | :14:21. | :14:25. | |
we managed to sell one, we'll absolutely yeah romp home with the | :14:25. | :14:31. | |
win. Yeah, that just wasn't the right decision. I don't know what | :14:31. | :14:36. | |
it is, me and Tom didn't seem to have an issue with the size of them. | :14:36. | :14:42. | |
You saw that Adam and Jade when they saw them were like "what". | :14:42. | :14:45. | |
put that on your chimney-breast for example, where would you put your | :14:45. | :14:52. | |
clock? How about on your wrist. yeah. They should have put a clock | :14:52. | :14:58. | |
in one, that would have been better. A tea maker as well? Oh, that would | :14:58. | :15:02. | |
be lovely. How functional should it have been, a monster with a gap for | :15:02. | :15:07. | |
your telly? Now you're talking. the problem with picking something | :15:07. | :15:11. | |
like that, it's a one-night sale and a one-night sale you're | :15:11. | :15:14. | |
unlikely to find the serious collector. He's not urban art in | :15:14. | :15:20. | |
the way others are. No he's not. Also, on one night you're not going | :15:20. | :15:25. | |
to sell a big piece like that. It's highly unlikely. Did Tom came | :15:25. | :15:31. | |
across as a tiny bit arrogant at times. More than a little arrogant. | :15:31. | :15:36. | |
He went beyond that little boy going "I know that artist." He gave | :15:36. | :15:39. | |
a litany of everybody he knew. As an artist you're thinking, he | :15:39. | :15:43. | |
doesn't care about me, he cares about himself. You wonder if that | :15:43. | :15:47. | |
thing will trip him up later on. He's a little ahead of himself for | :15:47. | :15:53. | |
a 23-year-old. The way to deal with an artist, presumably, but as | :15:53. | :15:58. | |
performance really, if we met somebody and said you're a comic, I | :15:58. | :16:03. | |
know comedy, and listed other comics, you'd go - screw you. There | :16:03. | :16:08. | |
is literally one comic I wanted to hear you talk about and it is me. | :16:08. | :16:12. | |
Do you think it's the same? Somebody came up to me after a gig | :16:12. | :16:18. | |
and said you know who else I like you and Bernard Man. Really? Now I | :16:18. | :16:21. | |
don't even like me any more, now that you've compared me to Bernard | :16:21. | :16:27. | |
Manning. We always like to reveal unseen footage on this show. Thank | :16:27. | :16:36. | |
you for this. I used to be a magician. Really? | :16:36. | :16:41. | |
Yeah, magic, I actually was a runner up in Scottish young | :16:41. | :16:44. | |
magician of the year in 1998. There you go. | :16:44. | :16:49. | |
Well, well. We always remember the 1998 heats of Scottish young | :16:49. | :16:51. | |
magician of the year being a particularly hard fought one. | :16:51. | :16:59. | |
yes. That guy who won in '99 he had no idea how lucky he was. If only | :16:59. | :17:09. | |
:17:09. | :17:32. | ||
we had footage of this and courtesy APPLAUSE | :17:32. | :17:41. | |
Wow. Let us hear what Lord Sugar and your former colleagues had to | :17:41. | :17:47. | |
say about you. This particular task lends itself very closely to what | :17:47. | :17:51. | |
Laura does for a day job. She's got a wedding dress business. She | :17:51. | :17:57. | |
hardly sold anything. Laura went and agreed, I presume, with Tom | :17:57. | :18:02. | |
buying the massive great big paintings for the wall. I felt that | :18:02. | :18:06. | |
my expertise and knowledge took over. She took the back seat. When | :18:06. | :18:12. | |
it came to sales she wasn't as strong. I felt Laura didn't really | :18:12. | :18:17. | |
shine in this task. She does a lot of talking but she doesn't do much | :18:17. | :18:21. | |
delivering. That's the reason why I fired Laura. | :18:21. | :18:28. | |
What is your reaction to that? know, fair enough. All valid points | :18:28. | :18:33. | |
in the sense of the sales suffered, hands up. I do disagree with | :18:33. | :18:37. | |
similar what I do in a day job. I don't sell monstrosities like that. | :18:37. | :18:42. | |
I hope not. What have you learned in general? What we achieved in the | :18:42. | :18:47. | |
task from day one to the day I was fired, what we were doing with such | :18:47. | :18:53. | |
tight time scales and under the level of stress, I've always been a | :18:53. | :18:55. | |
positive thinker, but truly I'm moving forward thinking whatever | :18:55. | :19:00. | |
you put your mind to you can really achieve, you can really get some | :19:00. | :19:05. | |
great results. We're at the halfway point as far as the number of | :19:05. | :19:08. | |
candidates is concerned. Eight have gone and eight remain. We thought | :19:08. | :19:13. | |
it was the ideal moment to assess those who are left and find out who | :19:13. | :19:19. | |
you would like to see becoming Lord Sugar's business partner. These are | :19:19. | :19:22. | |
Sugar's business partner. These are the candidates ready to race. The | :19:22. | :19:26. | |
positions are in at the moment relate to the number of tasks they | :19:26. | :19:30. | |
have won so far. The two that have won the most are Stephen and Nick. | :19:30. | :19:34. | |
And at the back here is Jade on three. I will get your opinion as | :19:34. | :19:39. | |
to how this will work. I will leave Adam for a second. Adam is going on | :19:39. | :19:42. | |
quite an interesting journey I think over the course of this show. | :19:42. | :19:46. | |
I want to see what people feel about that. Gabrielle, currently in | :19:46. | :19:51. | |
about joint fourth at the moment. However, how far do you think she's | :19:51. | :20:01. | |
going to go? Forward. I think she's a good person, but I don't think | :20:01. | :20:04. | |
she has the courage to leave bodies behind her along the way. I'm going | :20:05. | :20:11. | |
to pitch her here as a marker, well here. Happy with that? It's just a | :20:12. | :20:21. | |
:20:22. | :20:24. | ||
marker! Right Jade, where do you think Jade will do? We don't think | :20:24. | :20:32. | |
Jade will do well? Stick her where she was. Jenna, strong candidate? | :20:32. | :20:42. | |
:20:42. | :20:46. | ||
like Jenna. I'm going to pitch her here. Is that right? Here? All | :20:46. | :20:54. | |
right, Nick? Do we think Nick is a favourite? Nick a favourite? It's | :20:54. | :21:00. | |
that Justin Bieber hair cut. For that alone, do we think | :21:00. | :21:08. | |
probably among the front runners? OK grand. Now, Ricky Martin. At the | :21:08. | :21:12. | |
very start of this, I would have pitched him all the way back here. | :21:12. | :21:18. | |
But Ricky's good. He can talk, you know. He won't move forward or back. | :21:18. | :21:24. | |
I think he'll stay where he is. Really? O he's in the middle. He | :21:24. | :21:27. | |
jumps on everybody else's ideas. Even to here maybe? No, back. | :21:27. | :21:37. | |
:21:37. | :21:38. | ||
fine. Stephen? BOO APPLAUSE | :21:38. | :21:48. | |
:21:48. | :21:50. | ||
Well! We should have turned this into the mob from week one. Boo, no, | :21:50. | :21:55. | |
back. Tom? CHEERING | :21:55. | :21:58. | |
Would I be safe to say Tom here just to add the tension or even | :21:59. | :22:03. | |
forward? Really, Tom is the favourite of the room? What do you | :22:03. | :22:10. | |
think? When he answers a question, he talks, he ends the sentence and | :22:10. | :22:14. | |
he doesn't come back. He's really good at that. I think that's a | :22:14. | :22:17. | |
benefit. Everybody else overtalks each other. I've left one person | :22:17. | :22:23. | |
out. I have left one person out... He's my black sheep at the moment. | :22:23. | :22:26. | |
Frankly, as long as we keep him out of his comfort zones... | :22:26. | :22:29. | |
LAUGHTER Always out of his comfort zones. | :22:29. | :22:33. | |
Would I say he's looking as if he could do very well in this? Really? | :22:33. | :22:43. | |
:22:43. | :22:45. | ||
As well as Nick? No. There? Still interesting, would I be right in | :22:45. | :22:51. | |
saying those four stand out more than the others? That's the | :22:51. | :22:54. | |
prediction then. Don't you feel Lord Sugar has a special place in | :22:54. | :23:00. | |
his heart for Adam that he identifies with Adam more than | :23:00. | :23:04. | |
anybody else. The market trader. Yes, you can see it. It's a | :23:04. | :23:14. | |
bromance. APPLAUSE | :23:14. | :23:18. | |
That is roughly how the crowd that Is that will work ou. That's how we | :23:18. | :23:23. | |
think the ending will be. You heard think the ending will be. You heard | :23:23. | :23:25. | |
it here first. Gabrielle was the winning project | :23:26. | :23:30. | |
manager this week, but almost blew it when she basically missed an | :23:30. | :23:35. | |
open goal. Do you have any other questions for us? I think that's it. | :23:35. | :23:40. | |
They have missed vital questions, the most vital of all is "What's | :23:40. | :23:44. | |
your budget". Here you find a piece like this for �500, their budget | :23:44. | :23:54. | |
was actually �10,000. That's news to me actually. I just witnessed a | :23:54. | :23:57. | |
master class in how not to treat a corporate client, you invite them | :23:57. | :24:01. | |
to an event. When they turn up, you ignore them. You don't introduce | :24:01. | :24:06. | |
the rest of your team. Would you like a glass of wine or anything? | :24:06. | :24:11. | |
We were hoping for a gin and tonic. I wish. You forget to say goodbye | :24:11. | :24:20. | |
when they are leaving. Did they buy anything in the end? No. Zero? | :24:20. | :24:24. | |
have acted as curator for corporate clients? Yes. How bad was this? | :24:24. | :24:28. | |
budget question was one of the basic questions you have to ask. | :24:28. | :24:33. | |
Find out where they want to put, where they have places they want to | :24:33. | :24:38. | |
put pieces. That's obvious. They were the two obvious questions. | :24:38. | :24:42. | |
was shocking to me, as I was watching that. I could barely not | :24:42. | :24:48. | |
want to grab her and shake her to say, you have the artist in the | :24:48. | :24:52. | |
gallery. Wait till the corporate client comes in and then have the | :24:52. | :24:56. | |
artist do a work with the corporate client there and say, we can do a | :24:56. | :24:59. | |
piece like this for your space and have the client connect with the | :24:59. | :25:04. | |
artist. It was a mindless easy thing to do. I think she was just | :25:04. | :25:09. | |
focused on making everybody happy. Were you shocked? Especially when | :25:09. | :25:14. | |
in the boardroom when she said she didn't ask that question on purpose, | :25:14. | :25:18. | |
it was so obviously back pedalling. No, no, I didn't want to know. I | :25:18. | :25:22. | |
didn't care about them at all. Even I knew that was quite a basic | :25:22. | :25:29. | |
question. And the fact that Stephen went "Oh, that's news to us" As if | :25:29. | :25:32. | |
it was west from him. Don't tell Stephen all this. He should have | :25:32. | :25:36. | |
asked her to ask the question. That's the part that was | :25:36. | :25:40. | |
astonishing. They all stood there and looked like, oh, OK. We got | :25:40. | :25:43. | |
everything that we need. Nobody mentioned the money. Stephen is one | :25:43. | :25:47. | |
for coming up with ideas, like many great artists he's oven | :25:47. | :25:51. | |
misunderstood. How are you? What I want to do is talk to you about an | :25:51. | :25:56. | |
idea I've had. OK. What I was thinking is maybe Nathan does his | :25:56. | :26:02. | |
live art out the back. Nobody actually sees Nathan? What do you | :26:02. | :26:10. | |
think? See you later guys. Take care. | :26:10. | :26:15. | |
He said it was way out of the box. It was way, way out of the box and | :26:15. | :26:22. | |
into another box called "crap". It's a trick yiling one. I just | :26:22. | :26:27. | |
think, he was trying, but he really didn't know what he was doing. Any | :26:27. | :26:31. | |
idea that sort of inventive that echoes somebody else must be neat. | :26:31. | :26:37. | |
He was just clueless. How offended would an artist be by that? They | :26:37. | :26:41. | |
would be pretty offended. You might as well have it on the other side | :26:41. | :26:47. | |
of town. You might as well not do it at all. Anybody would be | :26:47. | :26:51. | |
offended, can I take you out to dinner, but I want you behind a | :26:51. | :26:56. | |
wall. It's in the a compliment. you sure you're not just printing | :26:56. | :27:02. | |
these off the internet. The guy is downloading jpegs and put them in | :27:02. | :27:06. | |
clip oort and going oh, yeah he did them back there, you can't see him | :27:06. | :27:10. | |
though. What have you thought of Stephen through the series? To be | :27:10. | :27:14. | |
truthful, I don't like Stephen. There's something about the way he | :27:14. | :27:21. | |
holds his mouth when he starts to talk that puts me completely off. | :27:21. | :27:26. | |
You can tell the half truth is forming. You can see it coming. I | :27:26. | :27:36. | |
:27:36. | :27:37. | ||
just don't trust him. I think he's a wanna bee. I can't see him | :27:37. | :27:39. | |
getting near the final. Hose all mouth. I think he comes up with | :27:39. | :27:42. | |
suggestions because he wants people to listen to them. None of them | :27:42. | :27:46. | |
have been good so far. People are starting to shut down on him I | :27:46. | :27:51. | |
think. To the vote now. Do you think Lord Sugar was right to fire | :27:51. | :27:57. | |
Laura? Yes, on the balance of things yes, he was. Sarah? I didn't | :27:57. | :28:01. | |
think it was fair that Laura's team lost, but given that they did, I | :28:01. | :28:08. | |
think he was right, sorry flower. think you have an amazing ability | :28:08. | :28:11. | |
to learn new information, but you underperformed on this and you | :28:11. | :28:15. | |
should have been fired. Let's turch to the audience here. If you agree | :28:15. | :28:24. | |
with -- let's turn to the audience here. If you agree hold up fired if | :28:24. | :28:28. | |
you disagree hold up hired. Yes that's fired. People have a bad day. | :28:28. | :28:32. | |
Bad day at the office. That's unfortunate. It's a tight | :28:32. | :28:35. | |
competition. We wanted to give you something to remind you of your | :28:36. | :28:41. | |
time here. You know, it might not look like, yeah, it is actually you, | :28:41. | :28:45. | |
but we've gone via a number of different artists to create what we | :28:45. | :28:46. | |
feel is the look that best represents... | :28:46. | :28:56. | |
LAUGHTER I love it. | :28:56. | :29:02. | |
Don't put it up in the bride's changing room. It's a bad vibe. | :29:02. | :29:07. | |
Eight wonderful weeks, here are your highlights. Let's go. | :29:07. | :29:12. | |
So what was I going to say? I've got the sales ability. Please come | :29:12. | :29:18. | |
and take this furniture off of me. I have the presentation skills. I | :29:18. | :29:24. | |
have the work edgic. I'm a go getter, a risk taker. I've got the | :29:24. | :29:28. | |
guts. Is there any way along a bath we could set like a screen. Why has | :29:28. | :29:33. | |
nobody thought of this sooner. Great girl. Loved her as a roommate. | :29:34. | :29:43. | |
Lovely, funny. Woo-hoo. Give me a penny and it's yours. Ladies and | :29:44. | :29:53. | |
:29:54. | :29:55. |