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This season on The Celebrity Apprentice... | 0:00:03 | 0:00:05 | |
I've issued a challenge to 14 of the world's most successful celebrities | 0:00:05 | 0:00:10 | |
to prove that they have what it takes | 0:00:10 | 0:00:13 | |
to make it big in my world. | 0:00:13 | 0:00:16 | |
14 celebrities, 14 egos, and more drama | 0:00:17 | 0:00:21 | |
than even they can handle. | 0:00:21 | 0:00:22 | |
-Gone are their agents... -Where is the producer? -Gone are their assistants... | 0:00:24 | 0:00:28 | |
-Oh, don't tell me that. -Step right up, ladies and gentlemen! | 0:00:28 | 0:00:31 | |
This time, the battle is to raise money for their favourite charities. | 0:00:31 | 0:00:35 | |
-I present this cheque to you. -Are you kidding, 50,000? | 0:00:35 | 0:00:39 | |
Oh, my gosh! | 0:00:39 | 0:00:41 | |
For their first task, the celebrities were split between men and women... | 0:00:41 | 0:00:45 | |
You're going to be selling hot dogs. | 0:00:45 | 0:00:48 | |
..and use their celebrity Rolodexes to bring out the big dogs. | 0:00:48 | 0:00:52 | |
-5,000 for a water! -THEY SCREAM | 0:00:52 | 0:00:54 | |
This man is giving us 10,000 in cash, ladies and gentlemen! | 0:00:54 | 0:00:58 | |
-But when the results came in... -You raised a total of 52,286. | 0:00:58 | 0:01:04 | |
..the men handed the women an embarrassing loss. | 0:01:04 | 0:01:06 | |
-That's a drubbing. -..and Stephen's charity reaped the rewards. | 0:01:06 | 0:01:10 | |
The 69,324 is all going to go to your charity. | 0:01:10 | 0:01:15 | |
After a stunning defeat, Omarosa attacked Carol. | 0:01:16 | 0:01:19 | |
Now you're cowering from the fact that... | 0:01:19 | 0:01:21 | |
I'm not cowering at all, don't you ever even say that to me. | 0:01:21 | 0:01:24 | |
But Mr Trump was disappointed at Playboy Playmate Tiffany. | 0:01:24 | 0:01:28 | |
You didn't call Hugh Hefner. Forget about saving it for later, there is no later. | 0:01:28 | 0:01:32 | |
Tiffany, you're fired. | 0:01:32 | 0:01:35 | |
-We've got to make a pact before we go in there - we leave it in the boardroom. -Absolutely. | 0:01:42 | 0:01:46 | |
-Deal? -Yeah, absolutely. | 0:01:46 | 0:01:48 | |
Hello! I'm back! | 0:01:52 | 0:01:55 | |
OMAROSA LAUGHS | 0:01:55 | 0:01:57 | |
-Is Tiffany OK? -She was very sweet. | 0:01:57 | 0:02:00 | |
I think, in the end, what got her was that she held out | 0:02:00 | 0:02:04 | |
-with some of her contacts. -Did you guys get really mean? | 0:02:04 | 0:02:07 | |
We already made a pact to leave it in the boardroom. | 0:02:07 | 0:02:09 | |
We left it in the boardroom. | 0:02:09 | 0:02:11 | |
-You left it in the boardroom? I don't think so. -No, absolutely. | 0:02:11 | 0:02:16 | |
-Oh, Piers. -Oh, Omarosa. | 0:02:16 | 0:02:18 | |
Keep drinking. | 0:02:18 | 0:02:20 | |
-Tuck your shirt in. -Hey... | 0:02:20 | 0:02:22 | |
Omarosa... Omarosa, don't be personal, all right? | 0:02:22 | 0:02:26 | |
-You made it personal. -We hammered you today. | 0:02:26 | 0:02:29 | |
We beat you into the ground. | 0:02:29 | 0:02:32 | |
Omarosa, the gobby, self-confident creature we saw | 0:02:33 | 0:02:37 | |
in the first series of Apprentice, has been turned into a mutant. | 0:02:37 | 0:02:43 | |
Your breath, the alcohol coming from your breath is embarrassing. | 0:02:43 | 0:02:47 | |
Two glasses of wine, dearie. | 0:02:47 | 0:02:48 | |
I'm not going to argue with an alcoholic. | 0:02:48 | 0:02:51 | |
Oh, shut up, Omarosa, go to bed. | 0:02:51 | 0:02:53 | |
I actually feel quite sorry for Omarosa. She's now mixing it | 0:02:53 | 0:02:56 | |
with the big boys, and it ain't going to be pretty. | 0:02:56 | 0:02:59 | |
Embarrassing. | 0:02:59 | 0:03:01 | |
# Money, money, money, money | 0:03:10 | 0:03:13 | |
# Money | 0:03:14 | 0:03:15 | |
# Money, money, money, money | 0:03:15 | 0:03:18 | |
# Money | 0:03:19 | 0:03:21 | |
# Some people got to have it | 0:03:21 | 0:03:24 | |
# Hey, hey | 0:03:24 | 0:03:25 | |
# Some people really need it | 0:03:25 | 0:03:28 | |
# Hey, listen to me, y'all | 0:03:28 | 0:03:30 | |
# Do things, do things, do things | 0:03:30 | 0:03:33 | |
# Bad things with it | 0:03:33 | 0:03:34 | |
# Dollar bills, y'all, come on | 0:03:37 | 0:03:40 | |
# That mean | 0:03:40 | 0:03:41 | |
# Oh, mean | 0:03:41 | 0:03:43 | |
# Mean green | 0:03:43 | 0:03:46 | |
# Almighty dollar | 0:03:46 | 0:03:48 | |
# Don't you know that money | 0:03:48 | 0:03:51 | |
# Give me a nickel, brother Can you spare a dime? | 0:03:52 | 0:03:56 | |
# Money can drive some people out of their minds | 0:03:57 | 0:04:01 | |
# For the love of money | 0:04:03 | 0:04:04 | |
# No good, no good, money | 0:04:04 | 0:04:07 | |
# Money, money, money, money | 0:04:07 | 0:04:10 | |
# Money. # | 0:04:10 | 0:04:12 | |
How are you? Welcome. | 0:04:22 | 0:04:24 | |
-Cissy. Come around here, girls. -OK. | 0:04:24 | 0:04:26 | |
'After the first task, I was project manager. | 0:04:26 | 0:04:29 | |
'The funds raised were going to be given to the Carol Baldwin Breast Cancer Research Fund.' | 0:04:29 | 0:04:33 | |
For me, this cause is for my mother, she's a breast-cancer survivor. | 0:04:33 | 0:04:37 | |
'She's a very, very loving, caring woman.' | 0:04:37 | 0:04:40 | |
On behalf of Celebrity Apprentice... | 0:04:40 | 0:04:44 | |
..I present this cheque to you. | 0:04:44 | 0:04:47 | |
Oh. Oh, my gosh! | 0:04:52 | 0:04:56 | |
69,000... | 0:04:56 | 0:04:59 | |
Oh, that is so wonderful. | 0:04:59 | 0:05:00 | |
-Isn't that something? -Oh, that's something. | 0:05:00 | 0:05:03 | |
Isn't that great? | 0:05:03 | 0:05:04 | |
'I'm here to do my very best' | 0:05:06 | 0:05:08 | |
to raise funds and create more awareness to fight and battle breast cancer. | 0:05:08 | 0:05:12 | |
Oh, thank you so much. | 0:05:12 | 0:05:14 | |
I want to tell the Donald. I want to thank him. | 0:05:14 | 0:05:16 | |
You will. 'She loves what she does and I'm grateful to have an opportunity to support her in that.' | 0:05:16 | 0:05:22 | |
The goal is to ultimately find a cure, and I believe that's possible. | 0:05:22 | 0:05:25 | |
-I love you guys. God bless. -Thank you. | 0:05:25 | 0:05:28 | |
-Good morning. -Morning. | 0:05:45 | 0:05:47 | |
On my right is Terry Lundgren. He's the head of Macy's. | 0:05:49 | 0:05:53 | |
When it comes to marketing, nobody knows it better. | 0:05:53 | 0:05:56 | |
Now, who loves animals? | 0:05:56 | 0:05:58 | |
Tito, no kidding? | 0:05:59 | 0:06:02 | |
Lennox... What do you like, pit bulls or what? | 0:06:02 | 0:06:04 | |
-Cats. -Cats, all right. | 0:06:06 | 0:06:08 | |
February is Pet Adoption Month. | 0:06:08 | 0:06:11 | |
Four million dogs are put into animal shelters every year. | 0:06:11 | 0:06:16 | |
Of the four million, only two million find a home. | 0:06:16 | 0:06:20 | |
Now, over here is Rob Leibowitz. | 0:06:20 | 0:06:24 | |
-He's with Pedigree - wonderful company. -Thank you, Mr Trump. | 0:06:24 | 0:06:28 | |
It's because of the four million dogs in shelters that we created the Pedigree Adoption Drive. | 0:06:28 | 0:06:34 | |
Your task is to create a 30-second TV ad for the Pedigree Adoption Drive, | 0:06:34 | 0:06:39 | |
and we'll judge you on message, originality, and creativity. | 0:06:39 | 0:06:43 | |
Rob is going to make the choice, but Terry, Ivanka and myself will be looking over his shoulder. | 0:06:45 | 0:06:50 | |
Now, we're going to do something a little different. | 0:06:50 | 0:06:53 | |
I'm going to ask you to choose your project manager right now. | 0:06:53 | 0:06:58 | |
Real quick, guys, can we just huddle up? | 0:07:01 | 0:07:03 | |
Empresario, who is your project manager? | 0:07:03 | 0:07:07 | |
-I'm the project manager, sir. -Oh, very good. | 0:07:07 | 0:07:09 | |
Lots of luck. | 0:07:09 | 0:07:11 | |
Thank you. | 0:07:11 | 0:07:12 | |
As a TV producer, I'm the queen of the Latino market. | 0:07:12 | 0:07:15 | |
I know that my style can win. | 0:07:15 | 0:07:17 | |
Hydra, who's your project manager? | 0:07:17 | 0:07:20 | |
-Gene Simmons. -That's a very logical choice. | 0:07:20 | 0:07:23 | |
-Oh, no! -He's a good marketer. | 0:07:23 | 0:07:26 | |
He's a real character, this one, I'll tell you. | 0:07:26 | 0:07:28 | |
He likes the women, though, don't you, Gene, huh? | 0:07:28 | 0:07:31 | |
-Are you hitting on your opponents, Gene? -Of course, it's my job. | 0:07:31 | 0:07:34 | |
That's your life! Forget about your job. | 0:07:34 | 0:07:36 | |
'My greatest strength as a project manager is, I see the big picture,' | 0:07:36 | 0:07:41 | |
I'm ruthless. | 0:07:41 | 0:07:43 | |
I'll fire anybody - I'll fire Donald Trump. | 0:07:43 | 0:07:46 | |
Due to the fact that we're not playing for money, the project manager of the winning team | 0:07:46 | 0:07:52 | |
is going to be given 20,000 for his or her favorite charity. | 0:07:52 | 0:07:56 | |
OK? | 0:07:56 | 0:07:58 | |
Good luck. Thank you. | 0:07:58 | 0:08:01 | |
Thank you, Mr Trump. | 0:08:01 | 0:08:03 | |
Can everybody stand up? | 0:08:18 | 0:08:21 | |
Can everybody just take big breaths, big, deep breaths in... | 0:08:21 | 0:08:24 | |
..and just imagine white light coming through all of you and white light coming out. | 0:08:25 | 0:08:31 | |
'Everybody's got their own style.' | 0:08:31 | 0:08:34 | |
Sometimes you're asked to take off your shoes, and everybody, | 0:08:34 | 0:08:37 | |
you know, touch the ground. | 0:08:37 | 0:08:39 | |
I live in Los Angeles, so you can imagine how some meetings start. | 0:08:39 | 0:08:42 | |
Everybody hold hands. | 0:08:42 | 0:08:44 | |
We're getting ready to do something really great for animals. | 0:08:44 | 0:08:48 | |
If Nely wants to stretch and yawn and kumbaya and meditate in the middle of a task, what can I say? | 0:08:51 | 0:08:56 | |
That's how she likes to lead. | 0:08:56 | 0:08:58 | |
I'm just really not into that existential bull BLEEP. | 0:08:58 | 0:09:00 | |
Thank you for seeing us so quickly. | 0:09:00 | 0:09:03 | |
First of all, we'd love to know what's the whole gist of what you're looking for... | 0:09:03 | 0:09:08 | |
We had a chance to meet with the client | 0:09:08 | 0:09:10 | |
to see what the client want for us to do. | 0:09:10 | 0:09:13 | |
What's really important is that you get in - when you buy Pedigree, | 0:09:13 | 0:09:17 | |
we make a donation to help dogs find loving homes. | 0:09:17 | 0:09:21 | |
Have you ever incorporated celebrities in your spots? | 0:09:21 | 0:09:24 | |
If you want to include celebrity in it, then that's great. | 0:09:24 | 0:09:27 | |
But what we really need are stories about dogs done in emotional, compelling ways | 0:09:27 | 0:09:33 | |
to get people to want to act. | 0:09:33 | 0:09:35 | |
'We sat with the client' | 0:09:35 | 0:09:36 | |
for a good half an hour, 45 minutes. | 0:09:36 | 0:09:38 | |
OK, I think we got it. | 0:09:38 | 0:09:41 | |
We so appreciate your time. 'And I think that was a really great idea.' | 0:09:41 | 0:09:44 | |
If we can get a finished 30-second commercial that's all done here, | 0:09:52 | 0:09:56 | |
you'll have enough time to show a dog, | 0:09:56 | 0:09:59 | |
to close in on a face, and very little else. | 0:09:59 | 0:10:01 | |
30 seconds is like nothing. | 0:10:01 | 0:10:03 | |
I made an executive decision - we're immediately going to the studio. | 0:10:03 | 0:10:07 | |
The war room is the battlefield. 'I didn't want to waste time meeting a Pedigree official.' | 0:10:07 | 0:10:12 | |
I had to optimise every single second we had. | 0:10:12 | 0:10:17 | |
We need to understand | 0:10:17 | 0:10:19 | |
what the commercial is before we know how to move forward. | 0:10:19 | 0:10:24 | |
I agree. 'The most important aspect of the challenge | 0:10:24 | 0:10:28 | |
'was to decide the concept for the film,' | 0:10:28 | 0:10:31 | |
because, in the end, the winner was going to be the team that came up with the best commercial. | 0:10:31 | 0:10:36 | |
Here's what I'd like to do - three celebrities, | 0:10:36 | 0:10:39 | |
boom, boom, boom, dog, dog, dog. | 0:10:39 | 0:10:41 | |
We have this dog - lonely, abandoned, needs a home. | 0:10:43 | 0:10:46 | |
And at the end, it finds a home in the arms of a naked Lennox Lewis. | 0:10:46 | 0:10:51 | |
Here's what I'm thinking, now, see. You start out, he's holding the dog. | 0:10:53 | 0:10:57 | |
-He's got on silk gloves. You don't know who this is. -Hold on! | 0:10:57 | 0:11:00 | |
And you're going to pull back so slowly... | 0:11:00 | 0:11:02 | |
Here's my vision... | 0:11:02 | 0:11:04 | |
It's going to be a 30-second continuous shot. | 0:11:04 | 0:11:07 | |
I don't buy that visual, but I don't want this to turn... | 0:11:07 | 0:11:09 | |
You don't buy that visual?! May... | 0:11:09 | 0:11:12 | |
May I speak? | 0:11:12 | 0:11:15 | |
-Because I've worked in film for 20 years. -Have you? -Yeah. | 0:11:15 | 0:11:18 | |
So I believe the commercial is - | 0:11:18 | 0:11:21 | |
international championship superstar Lennox Lewis loves animals. | 0:11:21 | 0:11:27 | |
-If we film him holding a puppy, that's heartstrings. -I like that. | 0:11:27 | 0:11:31 | |
'For me, celebrity is a currency, so however I can use that - selling' | 0:11:31 | 0:11:36 | |
hot dogs, whatever - I believe that you should maximise that potential. | 0:11:36 | 0:11:40 | |
Just really quickly, guys, I need to know from the project manager, | 0:11:40 | 0:11:44 | |
-who is directing the commercial? -Erm, it looks to be you. | 0:11:44 | 0:11:48 | |
-Is that agreed? -Yes. -OK. | 0:11:48 | 0:11:51 | |
I said, "If you make me director, then I'm just going to go... and get it going." | 0:11:51 | 0:11:55 | |
'This isn't rocket science.' | 0:11:55 | 0:11:58 | |
Once we have the 30-second done, we can start mapping out a view. | 0:11:58 | 0:12:03 | |
-Well, hello. -Hello. -Ah, hello. | 0:12:04 | 0:12:07 | |
-Project manager. -Are we hiring you to be our spokeswoman for...? | 0:12:07 | 0:12:13 | |
-Not this one. -I see. -Yeah. -Should we be sharing something with you? | 0:12:13 | 0:12:17 | |
Do you have a concept yet? | 0:12:17 | 0:12:19 | |
Let me finish the thought. She'll wait. | 0:12:21 | 0:12:24 | |
Can we tell Ivanka the concept, because she's keen to know? | 0:12:24 | 0:12:26 | |
Lennox is a world heavyweight champion superstar. He's also an unlikely guy | 0:12:26 | 0:12:32 | |
to use in a commercial like this, so there's a surprise factor. | 0:12:32 | 0:12:35 | |
-Just a second, no side conversations. Piers... -OK. | 0:12:35 | 0:12:40 | |
We're using a lot of time. Listen, we think it's terrific you're here, but we've got work to do. | 0:12:40 | 0:12:45 | |
What wasn't smart was Gene Simmons to say I'll wait when I asked a question. | 0:12:45 | 0:12:50 | |
Being the female of the species yourself does not mean that you | 0:12:50 | 0:12:55 | |
are going to be talking to your sisters about what we talked about? | 0:12:55 | 0:12:59 | |
To the women, because I'm a woman? | 0:12:59 | 0:13:01 | |
-Yes. -No, I have no interest in doing that. 'That was not so smart.' | 0:13:01 | 0:13:05 | |
I think that was probably not a strategically intelligent thing to do, as I found it rather rude. | 0:13:05 | 0:13:11 | |
Take your fingers, Lennox, and kind of pet right between her eyes. | 0:13:19 | 0:13:24 | |
All right, hold on, Gene. Gene, Gene, Gene! | 0:13:26 | 0:13:28 | |
'The goal for us in this week's task was to create | 0:13:30 | 0:13:34 | |
'a 30-second community service ad' | 0:13:34 | 0:13:36 | |
within an extremely tight time constraint. | 0:13:36 | 0:13:40 | |
Good girl! All right, cut. We got it. That's great, that's great. | 0:13:44 | 0:13:48 | |
Is there an option to take Lennox to the shelter, photograph a dog, | 0:13:48 | 0:13:53 | |
-where Lennox goes into the cage, takes it out...? -No. | 0:13:53 | 0:13:56 | |
-No? -No. | 0:13:56 | 0:13:58 | |
Gene and Stephen were the producer and director, | 0:13:58 | 0:14:00 | |
they made it clear to all of us they wanted to do everything on their own. | 0:14:00 | 0:14:04 | |
I need to go outside with Lennox Lewis right away. B cameras ready? | 0:14:04 | 0:14:07 | |
I need the leash for the dog and Lennox. | 0:14:07 | 0:14:10 | |
'Our director wanted a scene' | 0:14:10 | 0:14:11 | |
-of Lennox walking the dog happily down the street. -Ready - roll the camera! | 0:14:11 | 0:14:16 | |
-Action! -'When we went out on the street, traffic stopped.' | 0:14:19 | 0:14:23 | |
I need everybody out of my shot right now. Back up, guys. | 0:14:23 | 0:14:27 | |
Cars started to honk. | 0:14:27 | 0:14:29 | |
-HORNS BLARE -All right, here we go! | 0:14:29 | 0:14:32 | |
OK, closing it up. Come on... | 0:14:32 | 0:14:34 | |
It was Vinny on one end and myself on the other, trying to hold back the public. | 0:14:35 | 0:14:41 | |
Your guys are killing me. | 0:14:41 | 0:14:43 | |
-It was a bit naive to think that we could get a scene going on location. -Lennox, go. | 0:14:43 | 0:14:49 | |
Come on, Vinny. | 0:14:49 | 0:14:51 | |
As the producer, I made the smart decision - stay inside the studio. | 0:14:51 | 0:14:56 | |
You can control noise. As soon as you leave there, you don't have any controls. | 0:14:56 | 0:15:00 | |
Here's my suggestion. | 0:15:00 | 0:15:02 | |
Go upstairs together and make an overview of the different shots. | 0:15:02 | 0:15:06 | |
For whatever reason, Gene said, "Get out of here now," without any explanation. | 0:15:06 | 0:15:10 | |
I don't mean to be a jerk, but I really think that it's going to come back and bite him on his backside. | 0:15:10 | 0:15:16 | |
I'm ready, we're ready. | 0:15:16 | 0:15:18 | |
You guys, shoot, shoot. It's so good, just shoot it! | 0:15:18 | 0:15:22 | |
Nely, do you need help with that? | 0:15:23 | 0:15:26 | |
I got it. 'I know what I need to do to keep from being fired.' | 0:15:26 | 0:15:30 | |
It was very strategic on my behalf not to get involved in the creative. | 0:15:30 | 0:15:34 | |
That's it, move on, we've got it. | 0:15:34 | 0:15:36 | |
When we got to the studio and we started taping, clearly, I took over. | 0:15:36 | 0:15:41 | |
-That's great. -That's beautiful, perfect. | 0:15:41 | 0:15:43 | |
Are you shooting? Because it's fabulous. | 0:15:44 | 0:15:47 | |
I'm very comfortable in that space. I've been doing that many years. | 0:15:47 | 0:15:50 | |
And unless Gene Simmons pulls some rabbit out of the hat, we should win. | 0:15:50 | 0:15:54 | |
Put her on your lap. | 0:15:54 | 0:15:56 | |
Kiss him a little bit. OK, that's... | 0:15:56 | 0:15:59 | |
We don't have to tongue-kiss the dog! That's a bit much. | 0:15:59 | 0:16:02 | |
Most people look at dogs in shelters and go, "I don't want to take that dog home." | 0:16:02 | 0:16:07 | |
So I wanted to show that those dogs were fabulous dogs that | 0:16:07 | 0:16:10 | |
circumstantially were brought to this place. | 0:16:10 | 0:16:12 | |
OK, Nadia, I definitely am going to need a medium and a small cage. | 0:16:14 | 0:16:18 | |
OK, that's more important than the music. | 0:16:20 | 0:16:23 | |
Music, we could do at six o'clock. | 0:16:23 | 0:16:24 | |
'Nadia was not used to working for anybody. Whatever I would tell her to do, she did,' | 0:16:24 | 0:16:28 | |
but she didn't execute any of the things I told her to do very well. | 0:16:28 | 0:16:32 | |
I just want to feed these people. Is the food not here? They all told me they don't know about the food. | 0:16:32 | 0:16:36 | |
'I was supposed to order the food for the actors and the crew' | 0:16:36 | 0:16:41 | |
and to be sure that everybody on the set was happy. | 0:16:41 | 0:16:43 | |
Just be there, supporting the team. | 0:16:43 | 0:16:45 | |
Because we need to feed the crew. OK. | 0:16:48 | 0:16:50 | |
In the real world, if I felt that Nadia wasn't good, I'd be like, "You've got to go." | 0:16:50 | 0:16:55 | |
I want to hear colour in your voice, but the whole tone | 0:16:57 | 0:17:00 | |
of the commercial is, like, sad. You know what I'm saying? | 0:17:00 | 0:17:03 | |
'Nely has asked me to sort of assist her in the writing, the directing, | 0:17:03 | 0:17:08 | |
the producing, and I'm going to be helping her with the actors.' | 0:17:08 | 0:17:12 | |
I'm Max, I... | 0:17:12 | 0:17:13 | |
No, don't act, don't act. You had it when we were here before, yeah. | 0:17:13 | 0:17:17 | |
'They did not sound right at all,' | 0:17:17 | 0:17:19 | |
so I knew that I was going to really have to work. | 0:17:19 | 0:17:22 | |
I was a beauty queen in my day, but as I got... | 0:17:22 | 0:17:25 | |
No - in my day, I was a beauty queen. | 0:17:25 | 0:17:27 | |
I was a beauty queen in my day. | 0:17:27 | 0:17:29 | |
I don't want to hear acting or, like, singsong. | 0:17:29 | 0:17:32 | |
I just want to hear it just really simple. | 0:17:32 | 0:17:35 | |
'I had really no time to finesse their performances,' | 0:17:35 | 0:17:38 | |
but hopefully, we'll be able to figure out some way to make it work. | 0:17:38 | 0:17:43 | |
Let's record, Trace. Everyone needs a champ in their life - someone that loves them and cares for them. | 0:17:55 | 0:18:00 | |
-Take a beat after "dogs"... -..find a loving home. | 0:18:00 | 0:18:04 | |
-OK. -Stephen decided that Trace was invariably going to be our voice. | 0:18:04 | 0:18:08 | |
Sadly, there are two million homeless dogs in America waiting to be adopted. | 0:18:08 | 0:18:14 | |
As soon as I heard Trace's voice, it sounded | 0:18:14 | 0:18:17 | |
like the voice of God. | 0:18:17 | 0:18:18 | |
Sadly, there are two million... That's great stuff. | 0:18:18 | 0:18:21 | |
OK, that's my favourite, too. | 0:18:21 | 0:18:23 | |
You're out of here - let me say goodbye to the guys. | 0:18:23 | 0:18:26 | |
-Gene, will we get to see the finished product before everybody else sees it? -That's a mistake. | 0:18:26 | 0:18:32 | |
'When we hit the editing room,' | 0:18:32 | 0:18:35 | |
the entire team was asked to leave, go home, relax, watch cartoons, | 0:18:35 | 0:18:40 | |
'and Stephen and I are going to stay there and put this thing together.' | 0:18:40 | 0:18:43 | |
Before we disperse, | 0:18:43 | 0:18:45 | |
could we just go through how you guys now visualise the commercial? | 0:18:45 | 0:18:50 | |
-Probably not a good idea. -'Gene and Stephen sent us home.' | 0:18:51 | 0:18:55 | |
I'm always wary when that happens, | 0:18:55 | 0:18:57 | |
because if things don't go brilliantly, they can turn round | 0:18:57 | 0:19:00 | |
and say, "Well, we were deserted by the other five." | 0:19:00 | 0:19:04 | |
OK, so, let's start with that. 'When we got in the editing room, | 0:19:14 | 0:19:18 | |
'you know, we had very limited time.' | 0:19:18 | 0:19:20 | |
So, with all of that, you've got to push your brain | 0:19:20 | 0:19:22 | |
-to channel something fabulous. -Don't we have an alternative dog? | 0:19:22 | 0:19:26 | |
Because of the foam, I'm just saying, does he look appealing to...? | 0:19:26 | 0:19:30 | |
You don't like it because he's slobbering? | 0:19:30 | 0:19:32 | |
-I don't know that much about Saint Bernards, they just... -They drool. | 0:19:32 | 0:19:35 | |
'When Nely did the close shots of the dog,' | 0:19:35 | 0:19:38 | |
doesn't look very good in a commercial. | 0:19:38 | 0:19:40 | |
-It's Beethoven, everyone loves him. -I don't know why you guys don't like it. | 0:19:40 | 0:19:44 | |
You don't have time to whine or complain or whatever, you just have to make something happen. | 0:19:44 | 0:19:49 | |
Max, Lady, and Sam are all good dogs, and one of them may be right for you... | 0:19:49 | 0:19:54 | |
OK, so, grab that piece. | 0:19:54 | 0:19:56 | |
'Originally, we set up the commercial to be three different dog stories' | 0:19:56 | 0:20:00 | |
and you see them get adopted | 0:20:00 | 0:20:02 | |
and then I come on and say, you know, "Dogs rule." | 0:20:02 | 0:20:05 | |
I'm Marilu Henner. Adopt a dog today. | 0:20:05 | 0:20:08 | |
Everything's too big. Yeah, it's too big. | 0:20:08 | 0:20:11 | |
But what happened was the tones of the two pieces were so different that it was kind of jarring. | 0:20:11 | 0:20:16 | |
I can do it as a voice-over, even if you never see me. | 0:20:16 | 0:20:20 | |
-Yeah, that's what we're going to do at the end. -What time is it? | 0:20:20 | 0:20:23 | |
10 o'clock. We have two hours left. | 0:20:23 | 0:20:25 | |
-Yeah, absolutely. I think that's brilliant. -Hi. | 0:20:29 | 0:20:32 | |
Hi. How are you doing? | 0:20:32 | 0:20:33 | |
-I'm doing great. How are y'all doing? -Good. | 0:20:33 | 0:20:36 | |
-Good to see you. -Nice to see you, too. So, how's it going? -We're very pleased. | 0:20:36 | 0:20:40 | |
What was the most important thing you think the client was looking for? | 0:20:40 | 0:20:44 | |
The client wanted three things - | 0:20:44 | 0:20:45 | |
very strong messaging, he wanted it to be creative and original, | 0:20:45 | 0:20:49 | |
and he wanted an authenticity and a realness to it. | 0:20:49 | 0:20:52 | |
We decided to take a very emotional approach to the storytelling. | 0:20:52 | 0:20:56 | |
I want to hear the last takes of Trace's voice-over. | 0:21:01 | 0:21:05 | |
'A hero they can look up to. Someone that will protect...' | 0:21:05 | 0:21:08 | |
Start again. | 0:21:08 | 0:21:10 | |
They're both terrific. You're good. | 0:21:12 | 0:21:14 | |
I have been... | 0:21:14 | 0:21:16 | |
given a gift. | 0:21:16 | 0:21:17 | |
Time check. | 0:21:21 | 0:21:23 | |
-One hour. -We're good, we're good. | 0:21:23 | 0:21:25 | |
After we went back to the hotel room, I started getting a little worried. | 0:21:26 | 0:21:31 | |
This is a teamwork thing, and I think all of us should have an idea of what's going to be shown | 0:21:31 | 0:21:36 | |
because if we lose, one of us is going home. | 0:21:36 | 0:21:38 | |
-From the beginning of the commercial... -'I walked in. | 0:21:41 | 0:21:44 | |
'Gene didn't know I was coming. Stephen didn't know I was coming. | 0:21:44 | 0:21:48 | |
'Seeing the expression on Gene and on Stephen's face,' | 0:21:48 | 0:21:52 | |
-well, they were surprised. -OK, stop. | 0:21:52 | 0:21:54 | |
-I got a call... I got a call... -We have 40 minutes. | 0:21:54 | 0:21:56 | |
You understand this, correct? | 0:21:56 | 0:21:58 | |
Don't distract us, or we won't make it on time. You have to step out and let us finish. | 0:21:58 | 0:22:02 | |
-I sat back and let you guys do it, but he's been the Project Manager... -We're wasting time. -Then let's see. | 0:22:02 | 0:22:06 | |
'I wasn't worried when the other members showed up.' | 0:22:06 | 0:22:08 | |
If I'm the director, then I'm the guy that everybody's working for. | 0:22:08 | 0:22:12 | |
So I said, "Guys, this is the agreement. We're going to screw up if we don't stick by that." | 0:22:12 | 0:22:17 | |
We can't have this kind of committee. We got 40 minutes to finish this. | 0:22:17 | 0:22:21 | |
You must let us finish. | 0:22:21 | 0:22:22 | |
'I'm very serious about this cos this is about my charity and I want to try to win. | 0:22:22 | 0:22:27 | |
'I want to make sure that we stay solid throughout' | 0:22:27 | 0:22:30 | |
and I felt like we were kind of being left in the dark. | 0:22:30 | 0:22:32 | |
Under normal circumstances, let me tell you something. I'd say, "Get the BLEEP out of here." | 0:22:32 | 0:22:37 | |
-They left. -It's completely uncalled for. | 0:22:37 | 0:22:39 | |
I don't want to go home because of something that was wrong. | 0:22:39 | 0:22:42 | |
I run a multi-billion dollar company. We do commercials. | 0:22:42 | 0:22:45 | |
We do exactly the same stuff. | 0:22:45 | 0:22:47 | |
Let's be honest here - we came down here because we thought there was a problem. | 0:22:47 | 0:22:50 | |
I couldn't sleep. I wouldn't be able to sleep all night. | 0:22:50 | 0:22:53 | |
I'm not going to leave my life in their hands. | 0:22:53 | 0:22:55 | |
I'm a businessman and my business model is making sure everything's right. | 0:22:55 | 0:22:59 | |
I don't trust Gene. I don't trust Stephen. | 0:22:59 | 0:23:02 | |
I had enough. | 0:23:02 | 0:23:04 | |
Good morning, gentlemen. | 0:23:26 | 0:23:27 | |
Good morning. I'm looking forward to seeing what you have. | 0:23:27 | 0:23:30 | |
We're so ready, Rob. I mean, we really listened to you yesterday. | 0:23:30 | 0:23:34 | |
We decided to create my true dog story. | 0:23:34 | 0:23:38 | |
Our big push is multi-platform. | 0:23:38 | 0:23:41 | |
The number one place we thought we could get connectivity for you is on the web. | 0:23:41 | 0:23:45 | |
We can create ads. We also just... | 0:23:48 | 0:23:50 | |
We threw in a radio spot. | 0:23:50 | 0:23:52 | |
I want to see the commercial! | 0:23:52 | 0:23:55 | |
OK? Let's go. Let's see the commercial. | 0:23:55 | 0:23:58 | |
I'm Max. I used to live in a beautiful house, but my family moved away. | 0:23:59 | 0:24:04 | |
'We really killed ourselves coming up with a concept,' | 0:24:04 | 0:24:06 | |
writing a great piece of work, editing it well. | 0:24:06 | 0:24:09 | |
'We worked like dogs. We did a great job.' | 0:24:09 | 0:24:12 | |
'Love a good dog.' | 0:24:12 | 0:24:14 | |
I love it. I love it! THEY LAUGH | 0:24:16 | 0:24:18 | |
-Really good job. Thank you very much. -Thank you. | 0:24:18 | 0:24:22 | |
I think we're going to beat the guys because we went after heart, | 0:24:22 | 0:24:25 | |
-and women are usually better at that than men. -Good morning. | 0:24:25 | 0:24:29 | |
-Good morning. -Glad to see you. | 0:24:29 | 0:24:31 | |
We didn't spend a lot of time together yesterday, so what we're about to see | 0:24:34 | 0:24:37 | |
is kind of a bit foreign to me. | 0:24:37 | 0:24:39 | |
Concerned that you might have missed the mark because we didn't have a chance to talk that much. | 0:24:39 | 0:24:43 | |
I decided to forgo this location completely. | 0:24:43 | 0:24:48 | |
If you go to Sun Tzu, "The Art of War"... | 0:24:48 | 0:24:52 | |
-SunZi. -Well, I was doing the Mandarin version, but thank you. | 0:24:52 | 0:24:56 | |
It's embarrassing when he does that little cock up with the "Z. | 0:24:56 | 0:24:59 | |
-Thank you for correcting him. -Please, it was nothing. | 0:24:59 | 0:25:03 | |
What he correctly identifies in his "Art of War" is battlefield is where the war room is. | 0:25:03 | 0:25:09 | |
It's not in a boardroom. | 0:25:09 | 0:25:10 | |
But Rob was not happy. | 0:25:10 | 0:25:12 | |
I had to make a decision and I stand by our product. | 0:25:12 | 0:25:15 | |
With all due respect, we would rather do less of our talking | 0:25:15 | 0:25:20 | |
and be judged by what it is that's up on that screen, respectfully. | 0:25:20 | 0:25:25 | |
'Everyone needs a champ in their life. | 0:25:31 | 0:25:33 | |
'Someone that loves them and cares for them.' | 0:25:33 | 0:25:36 | |
'When I saw the commercial, I was surprised.' | 0:25:36 | 0:25:39 | |
I went from being kind of a frown face to a smile. | 0:25:39 | 0:25:43 | |
I felt a lot better. And I really felt that they did their job. | 0:25:43 | 0:25:47 | |
'It takes a big heart to be a champion.' | 0:25:47 | 0:25:50 | |
You look good there, Lennox. | 0:25:50 | 0:25:51 | |
-Thank you. -Very good. OK. Thanks, fellas. See you later. | 0:25:51 | 0:25:54 | |
Thank you. | 0:25:54 | 0:25:56 | |
They both did really well, but one was fantastic. | 0:26:00 | 0:26:03 | |
So, you really liked them both, but you loved one. | 0:26:03 | 0:26:06 | |
So much so that we'll run one of these spots in the Westminster Kennel Club Dog Show in early 2008. | 0:26:06 | 0:26:13 | |
-On network television? -On network television. -Wow. That's big. | 0:26:13 | 0:26:16 | |
I really think they liked it. | 0:26:18 | 0:26:19 | |
If we lose, and I don't think there's a chance of that, | 0:26:33 | 0:26:36 | |
it was the right decision to forgo the war room, shaking hands. We had a job to do. | 0:26:36 | 0:26:41 | |
Rob from Pedigree thought both teams did a really good job, | 0:27:12 | 0:27:18 | |
but I have to say he felt somewhat slighted | 0:27:18 | 0:27:21 | |
by the fact that you guys didn't go over and really talk to him. | 0:27:21 | 0:27:24 | |
He had also said that he thought that Gene was a little bit abrasive. | 0:27:24 | 0:27:28 | |
I have to say, just sitting here, I felt you were as well. I came to observe you. | 0:27:28 | 0:27:33 | |
I asked about the content of the commercial, | 0:27:33 | 0:27:36 | |
to which you said to Stephen, "She'll wait." | 0:27:36 | 0:27:38 | |
You asked me also when I was leaving if I was going to go | 0:27:38 | 0:27:41 | |
and tell the female because of some sort of sisterhood bond | 0:27:41 | 0:27:44 | |
-what you had been doing and what your general strategy was. -Who said that to you, Gene? | 0:27:44 | 0:27:49 | |
Gene, did you insult my daughter? Huh? | 0:27:49 | 0:27:52 | |
-What did I say to you? -Nobody insults my daughter! -You said, "She'd wait." | 0:27:52 | 0:27:56 | |
Omarosa, what do you think of Gene's disrespect for Ivanka? | 0:27:56 | 0:28:01 | |
-It wasn't just the disrespect. He questioned your integrity. -Nice(!) | 0:28:01 | 0:28:05 | |
And that, to me, is the most offensive part of what he did. | 0:28:05 | 0:28:08 | |
It was just unnecessary. You could have almost said nothing. | 0:28:08 | 0:28:11 | |
You're absolutely right, so I sincerely apologise... | 0:28:11 | 0:28:13 | |
-I appreciate that. -..for any shortsightedness I may have had. | 0:28:13 | 0:28:16 | |
If you don't mind, I'd like to take another run. I want to see each ad. Empresario first. | 0:28:21 | 0:28:26 | |
I'm Max. I used to live in a beautiful house, but my family moved away. | 0:28:28 | 0:28:31 | |
Now I'm here. I'm a good dog. Why'd they leave me here? | 0:28:31 | 0:28:36 | |
They call me Lady. I was a beauty queen, but as I got older, I got heavier. | 0:28:36 | 0:28:41 | |
I'm a good dog. If I were thinner, would someone love me? | 0:28:41 | 0:28:43 | |
Sam's my name. My homelife was happy until the baby started sneezing. | 0:28:43 | 0:28:47 | |
-I hope there's another family that wants me. -I'm a good dog. | 0:28:47 | 0:28:50 | |
When you buy Pedigree Food, we make a donation to help good dogs find loving homes. | 0:28:50 | 0:28:56 | |
Love a good dog. | 0:28:56 | 0:28:57 | |
-Gene, what did you think? Better than yours? -Absolutely not. | 0:29:01 | 0:29:05 | |
Do you believe yours is better? Do you really believe that? | 0:29:05 | 0:29:08 | |
-We're convinced of it. -Let me just see the Hydra ad, please. | 0:29:08 | 0:29:12 | |
Everyone needs a champ in their life. | 0:29:16 | 0:29:18 | |
Someone that loves them and cares for them. | 0:29:18 | 0:29:22 | |
Sadly, there are two million homeless dogs in America waiting to be adopted. | 0:29:23 | 0:29:28 | |
When you buy Pedigree, | 0:29:28 | 0:29:30 | |
we make a donation to help dogs find a loving home. | 0:29:30 | 0:29:34 | |
It takes a big heart to be a champion. | 0:29:34 | 0:29:38 | |
Have you got one? | 0:29:38 | 0:29:40 | |
Nely, what did you think? | 0:29:43 | 0:29:45 | |
Very good, very professional, but, hands down, we won. | 0:29:45 | 0:29:49 | |
Omarosa, you were laughing. | 0:29:49 | 0:29:51 | |
I thought it was just hilarious because he's such a big, tough guy | 0:29:51 | 0:29:54 | |
and to see him cuddling with this little dog... | 0:29:54 | 0:29:56 | |
The kind of reaction Omarosa just gave us, that's what we wanted. | 0:29:56 | 0:30:00 | |
-Because I think you're hot. That's...yeah, but you're married! -She does like you. | 0:30:00 | 0:30:04 | |
-She does like you a lot. -Like a brother, like a brother. | 0:30:04 | 0:30:08 | |
And he's a big star. Why didn't you use your star power? | 0:30:08 | 0:30:12 | |
-You have stars here. Why didn't you use your star power? -Marilu's face is very familiar, | 0:30:12 | 0:30:16 | |
and I think putting her face in front of the ad would bring that last connection. | 0:30:16 | 0:30:19 | |
Well, we did use Marilu's voice. | 0:30:19 | 0:30:22 | |
-There's plenty of commercials with the voice of a celebrity. -But nobody really knows Marilu's voice. | 0:30:22 | 0:30:27 | |
I'm really sticking by what we did. | 0:30:27 | 0:30:30 | |
-I think it's really good work. -Having said that, Lennox, | 0:30:30 | 0:30:32 | |
I know who you are, but not everybody knows, particularly women, | 0:30:32 | 0:30:35 | |
and so I think it could have been enhanced by a little caption there - | 0:30:35 | 0:30:39 | |
"Lennox Lewis, heavyweight champion of the world." | 0:30:39 | 0:30:42 | |
I've walked down a few streets of New York with Lennox Lewis. | 0:30:42 | 0:30:46 | |
-Everybody knows who he is. -You're wrong about that. | 0:30:46 | 0:30:48 | |
Let's get down to decision time. | 0:30:51 | 0:30:54 | |
The executives of Pedigree felt that both teams really worked hard, | 0:30:54 | 0:30:58 | |
but they really loved the ad from one team. | 0:30:58 | 0:31:03 | |
And the ad they loved... | 0:31:03 | 0:31:04 | |
..is Hydra. | 0:31:08 | 0:31:10 | |
They thought it was terrific. | 0:31:11 | 0:31:13 | |
Pedigree felt that Hydra did the better ad. | 0:31:13 | 0:31:17 | |
-I disagree with them. -Nely, it doesn't matter. -No, you're right. | 0:31:17 | 0:31:21 | |
It wasn't my decision, but I agree with it. I agree with it. | 0:31:21 | 0:31:24 | |
I thought they really did a great job. | 0:31:24 | 0:31:26 | |
I think using Trace and that incredible voice of this guy was genius. | 0:31:26 | 0:31:32 | |
Now, listen, congratulations, Hydra. Two wins in a row. | 0:31:32 | 0:31:35 | |
Go back to your war room. Have fun. Congratulations. | 0:31:38 | 0:31:41 | |
So far, ladies, it's not looking so good. | 0:31:41 | 0:31:44 | |
You guys got to understand, they can't touch us. | 0:31:46 | 0:31:48 | |
Ooh! | 0:31:48 | 0:31:51 | |
-We smashed them. -Yeah, did them again, guys. | 0:31:51 | 0:31:54 | |
By the way, boys, puffing again. Yay! HE CHEERS | 0:31:54 | 0:31:59 | |
Congratulations, guys. Great job. | 0:31:59 | 0:32:01 | |
One, two, three...Hydra! | 0:32:01 | 0:32:04 | |
-The client thought you had too many dogs. -We did our homework. | 0:32:12 | 0:32:15 | |
We really did our job. I guarantee you, we worked harder than they did. | 0:32:15 | 0:32:20 | |
I do think that you spent a lot of time preparing. | 0:32:20 | 0:32:23 | |
The only thing I was worried about in the editing room was whether | 0:32:23 | 0:32:26 | |
you had enough time to actually execute your vision. | 0:32:26 | 0:32:30 | |
The voice-overs, your voice was great, but I don't recognise your voice. I recognise your face. | 0:32:30 | 0:32:34 | |
I don't recognise your voice. | 0:32:34 | 0:32:35 | |
The voice-overs, the first voice-over was terrible! | 0:32:35 | 0:32:38 | |
Who directed the voice-overs? Who was the person in charge? | 0:32:38 | 0:32:41 | |
-I was the person in charge of the voice-overs. -That's not good. | 0:32:41 | 0:32:44 | |
You could have used your own voices. | 0:32:44 | 0:32:47 | |
My voice has an accent. | 0:32:47 | 0:32:48 | |
No, your voice maybe we won't use, OK? In all fairness, unless we're looking at going international. | 0:32:48 | 0:32:53 | |
But I think you went overboard. | 0:32:53 | 0:32:55 | |
Even in your presentation, you come up with, "We have a radio ad for you, we have an internet ad." | 0:32:55 | 0:33:01 | |
They didn't ask for that. And by the way, everybody, Terry, | 0:33:01 | 0:33:04 | |
Ivanka, myself, we really liked the other commercial better. | 0:33:04 | 0:33:07 | |
The ad was so beautiful with Lennox. He looked so natural. | 0:33:07 | 0:33:11 | |
You couldn't have picked a better actor no matter where you went. | 0:33:11 | 0:33:14 | |
Hey, big man! You're the new Marlon Brando! | 0:33:14 | 0:33:18 | |
Nely, you've been very quiet, but you were the Project Manager, so... | 0:33:20 | 0:33:24 | |
You know, I think Marilu and I really worked on the creative. | 0:33:24 | 0:33:28 | |
I think we did a really good job. | 0:33:28 | 0:33:30 | |
Obviously, it didn't work. I have to take responsibility. | 0:33:30 | 0:33:33 | |
Nely, you were very carried away at the presentation. | 0:33:33 | 0:33:36 | |
You just kept going and going and nobody could breathe. | 0:33:36 | 0:33:39 | |
-Jennie, what did you do? -I was in charge of research, the client, and taking care of the talent. | 0:33:39 | 0:33:44 | |
If you were me, who would you fire? | 0:33:44 | 0:33:47 | |
Nadia. | 0:33:54 | 0:33:57 | |
Come on. | 0:33:57 | 0:33:58 | |
I don't know. We worked so hard together as a team. | 0:34:00 | 0:34:03 | |
It would be either... | 0:34:03 | 0:34:05 | |
..maybe Nadia or Carol. | 0:34:06 | 0:34:08 | |
Why Nadia? | 0:34:08 | 0:34:10 | |
I just don't think Nadia was given a specific task. | 0:34:11 | 0:34:14 | |
Why Carol? Carol had nothing to do with this one. Maybe that's why. | 0:34:14 | 0:34:18 | |
-So, Carol, who would you fire? -I would think Nadia. | 0:34:19 | 0:34:22 | |
-Why? -Because the people weren't fed when we got to the location. | 0:34:22 | 0:34:26 | |
-Nadia, how do you respond? -That's not true because we got to the studio, | 0:34:26 | 0:34:30 | |
and the first thing I did, I got a menu and I ordered for everybody. | 0:34:30 | 0:34:34 | |
I mean, you could more blame Marilu for directing an incorrect concept. | 0:34:34 | 0:34:39 | |
Nely, you know that you're going to bring back two people. | 0:34:39 | 0:34:43 | |
Somebody's going to be fired. | 0:34:43 | 0:34:44 | |
I feel badly. The women are getting beaten quite badly, quite handily. | 0:34:44 | 0:34:48 | |
I'm going to bring back Nadia and I'm going to bring back Carol, even though I hate to, but... | 0:34:50 | 0:34:55 | |
OK. | 0:34:55 | 0:34:56 | |
So Nadia, Carol, everyone out, but you're coming back with Nely. Thank you. | 0:34:56 | 0:35:02 | |
-Ivanka, what do you think? -I think it's interesting. | 0:35:20 | 0:35:23 | |
I think that Carol shouldn't be here. | 0:35:23 | 0:35:25 | |
I can't decide between Nely or between Nadia. | 0:35:25 | 0:35:28 | |
-Terry, what do you think? -First of all, I agree with Carol. | 0:35:28 | 0:35:31 | |
I don't understand why she's here. And Nadia was a world champion. Maybe the best gymnast ever. | 0:35:31 | 0:35:37 | |
Where's her competitive spirit firing up and showing leadership here? | 0:35:37 | 0:35:41 | |
My businesses are run by me. We have a lot of heads here. | 0:35:41 | 0:35:44 | |
A lot of women are heads of their own business, and that makes a huge difference. | 0:35:44 | 0:35:49 | |
But the guy who wants the biggest light has to take the biggest responsibility. | 0:35:49 | 0:35:53 | |
Nely, you have to be a bit embarrassed by what's taken place. | 0:36:16 | 0:36:19 | |
This is your thing. You do reality shows. You do videos. | 0:36:19 | 0:36:22 | |
You know what I think, truthfully? | 0:36:22 | 0:36:24 | |
I was too ambitious in trying to do great work. | 0:36:24 | 0:36:27 | |
-I wanted to outdo myself. -Do you think you should be fired? | 0:36:27 | 0:36:30 | |
I think that I should take responsibility for my actions. | 0:36:30 | 0:36:34 | |
Nely, it doesn't really sound like you're giving us any reason not to fire YOU, in a lot of ways. | 0:36:34 | 0:36:39 | |
I don't understand. You brought Carol back. I don't get Carol. | 0:36:39 | 0:36:42 | |
I do get Nadia, to a certain extent. Why Carol? | 0:36:42 | 0:36:45 | |
Well, I had to bring two people back. | 0:36:45 | 0:36:47 | |
But Marilu should have been back with you, not Carol. | 0:36:47 | 0:36:49 | |
-Carol, you're not going to be fired unless something crazy happens. -Thank you. | 0:36:49 | 0:36:53 | |
-But she shouldn't be here. -Can I say something? -Nadia, go ahead. | 0:36:53 | 0:36:57 | |
-We went the wrong direction, and I mentioned that many times. -Whose fault is that? | 0:36:57 | 0:37:02 | |
-It's hard to say that's somebody wrong. -It's not hard to say. | 0:37:02 | 0:37:05 | |
You know whose fault. Whose fault is it? | 0:37:05 | 0:37:07 | |
If we go the wrong direction, it's the producer, so... | 0:37:07 | 0:37:10 | |
Meaning the Project Manager? | 0:37:10 | 0:37:13 | |
Carol, do you think Nadia could lead a team? | 0:37:13 | 0:37:15 | |
I...I don't think so. | 0:37:15 | 0:37:18 | |
I found that she didn't have any contingency plans. | 0:37:18 | 0:37:21 | |
Nadia, do you think you could be a Project Manager? | 0:37:21 | 0:37:24 | |
It's unbelievable to me because I watched you win the Olympics. | 0:37:24 | 0:37:28 | |
-You're highly competitive. You're this incredible person. -I like to win. | 0:37:28 | 0:37:32 | |
You don't have to convince me cos I know a lot about sports and about athletes and about everything. | 0:37:32 | 0:37:37 | |
If I don't know what I'm supposed to do, I step back. | 0:37:37 | 0:37:42 | |
Sometimes you have to say, "I'm not being told what to do. This is how I make myself an asset to my team." | 0:37:42 | 0:37:47 | |
-But I always said that we should use the celebrity from the beginning and nobody listened. -Did she say that? | 0:37:47 | 0:37:53 | |
We did decide to use Marilu and when we were in the editing room, what Marilu shot didn't work. | 0:37:53 | 0:37:58 | |
Why isn't Marilu back here, then? | 0:37:58 | 0:38:00 | |
She was the director of a failed deal, right? | 0:38:00 | 0:38:03 | |
Marilu is not, in a team, the weakest link. | 0:38:04 | 0:38:08 | |
Why should I keep you versus Nadia? | 0:38:08 | 0:38:10 | |
Because I'm exceptional. | 0:38:10 | 0:38:12 | |
I said that if we're going to lose it's because we didn't use a celebrity. | 0:38:12 | 0:38:16 | |
-That's a big statement. -After we shot it. -After we shot? | 0:38:16 | 0:38:20 | |
-Did you say it before you shot? -No, after we shot. | 0:38:20 | 0:38:23 | |
Well, that doesn't do any good. What good does it do? It's over. | 0:38:23 | 0:38:26 | |
Nadia, do you think you have the ability to lead? | 0:38:26 | 0:38:29 | |
-They both say you can't. -I can, but I wasn't given a chance yet. | 0:38:29 | 0:38:32 | |
But do you want a chance? | 0:38:32 | 0:38:35 | |
Did you want to be the leader of this task? | 0:38:35 | 0:38:37 | |
-Of this one? -Yes. | 0:38:37 | 0:38:39 | |
I would've done everything athletic because this is what I know. | 0:38:39 | 0:38:43 | |
Well, athletic, unfortunately, at a certain level, ends. | 0:38:43 | 0:38:46 | |
And I mean that with the greatest respect because very few people can lead themselves. | 0:38:46 | 0:38:51 | |
Most people are losers, you know. I know a lot of people. | 0:38:51 | 0:38:54 | |
Most people are losers. You're a winner. Nadia, why should I keep you versus Nely? | 0:38:54 | 0:38:59 | |
-Well, um, she... -Come on, Nadia. Come on, you got to... -Wait. OK! | 0:39:00 | 0:39:05 | |
This is no longer a gymnasium. This is now a boardroom. | 0:39:05 | 0:39:07 | |
Look, look. First of all, here's the problem I have. | 0:39:07 | 0:39:11 | |
OK. | 0:39:11 | 0:39:12 | |
I think Nely has tremendous ability. She was, like, the star of the team. | 0:39:12 | 0:39:16 | |
Carol, you would say it. Everybody. | 0:39:16 | 0:39:18 | |
They just think she was great. And I think she had a very, very bad day. | 0:39:18 | 0:39:23 | |
As far as Nadia is concerned, | 0:39:24 | 0:39:27 | |
I think you're an amazing leader of yourself, and I think | 0:39:27 | 0:39:31 | |
that's the ultimate tribute, if you want to know the truth. | 0:39:31 | 0:39:34 | |
I don't see you being able to lead the team. | 0:39:34 | 0:39:37 | |
So, look, I think you are extraordinary. | 0:39:37 | 0:39:41 | |
I am a huge fan of yours. | 0:39:41 | 0:39:43 | |
I watched you win the Olympics. I watched you win so many contests. | 0:39:43 | 0:39:47 | |
I love you, but, Nadia, you're fired. | 0:39:47 | 0:39:50 | |
-Thank you. -Thank you very much. Thank you. | 0:39:53 | 0:39:56 | |
So sorry. | 0:40:08 | 0:40:09 | |
My two little bees. | 0:40:11 | 0:40:12 | |
You're the mama bee. | 0:40:14 | 0:40:16 | |
-That was tough. -That was as tough as it gets, but you made the right decision. | 0:40:22 | 0:40:26 | |
I don't think I should've been fired because I could've been a good asset to the team. | 0:40:58 | 0:41:03 | |
I was playing for The Special Olympics International. | 0:41:03 | 0:41:07 | |
I'm disappointed, but I know that everything that's going | 0:41:07 | 0:41:10 | |
to be won here is going to go to some other charity. | 0:41:10 | 0:41:13 | |
Subtitles by Red Bee Media Ltd | 0:41:15 | 0:41:18 | |
E-mail [email protected] | 0:41:18 | 0:41:21 |