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-'Previously...' -You'll be travelling to QVC in Pennsylvania. | 0:00:02 | 0:00:06 | |
'The task was to produce a live ten-minute segment.' | 0:00:06 | 0:00:09 | |
-If I saw that, I'd call immediately. -'On Hydra, Marilu Henner took charge.' | 0:00:09 | 0:00:13 | |
-That, to me, was the must-have item. -'While Lennox Lewis had trouble staying awake.' | 0:00:13 | 0:00:18 | |
Lennox had no sleep and he has worked out the best way to avoid getting fired | 0:00:18 | 0:00:22 | |
is to be unaccountable for anything. | 0:00:22 | 0:00:24 | |
-'Meanwhile...' -Can I break the payments up over several months? | 0:00:24 | 0:00:28 | |
-'..Empresario's leader Stephen Baldwin made a crucial discovery.' -We have Easy Pay. -Really? | 0:00:28 | 0:00:33 | |
-'When Team Empresario went live...' -Do your thing! | 0:00:33 | 0:00:36 | |
-'..host Trace Adkins was unflappable.' -The lack of energy is almost confidence. | 0:00:36 | 0:00:41 | |
-'On Hydra...' -This was such a must-have for me. I said, "I have to sell it!" | 0:00:41 | 0:00:44 | |
'..Marilu showed incredible passion.' | 0:00:44 | 0:00:47 | |
She's got great enthusiasm but she talks a lot. | 0:00:47 | 0:00:50 | |
-'In the boardroom...' -You were very enthusiastic but sold less units for less money. | 0:00:50 | 0:00:54 | |
'..it was a victory for Team Empresario.' | 0:00:54 | 0:00:56 | |
I congratulate all of you and as you know, Stephen, you're going to get 20,000 additional for your charity. | 0:00:56 | 0:01:03 | |
-You're doing very well. -'Leaving Hydra to face Mr Trump.' -Who would you fire? -Sleepy boy. | 0:01:03 | 0:01:07 | |
-'And Piers went after Lennox.' -Lennox, when he's had sleep, is great | 0:01:07 | 0:01:12 | |
and when he hasn't, he doesn't contribute very much. | 0:01:12 | 0:01:14 | |
-'But it was Marilu's over-zealousness that got the best of her.' -Let's put it this way... | 0:01:14 | 0:01:19 | |
Stop talking so much! That's why you lost. You talk too much. | 0:01:19 | 0:01:23 | |
And it hurts me to say this, but Marilu, you're fired. | 0:01:23 | 0:01:27 | |
-Did everybody see Piers sweating in there? -Oh, no! -Sleepy boy is back! -Sleepy boy's back. | 0:01:38 | 0:01:44 | |
THEY LAUGH | 0:01:44 | 0:01:48 | |
Can you believe that? I did nothing. It was silly. | 0:01:48 | 0:01:51 | |
I didn't understand what they were talking about, I was sleepy. | 0:01:51 | 0:01:55 | |
Lennox may not like being called Sleepy Boy | 0:01:55 | 0:01:58 | |
but that's what I would rename him if he was fighting tomorrow. | 0:01:58 | 0:02:02 | |
-I can't believe you threw Lennox under the bus. -Don't worry about it. | 0:02:02 | 0:02:06 | |
He was throwing you under the bus! Have you got some tyre marks on you? HE LAUGHS | 0:02:06 | 0:02:11 | |
Lennox spent the entire day trying to position himself in a way that he wouldn't get blamed. | 0:02:11 | 0:02:15 | |
And he does that well, but I'm on his case. | 0:02:15 | 0:02:18 | |
-I'm not apologising. -No, I'm not saying apologise, I just can't believe you did that. -Why? | 0:02:18 | 0:02:23 | |
-That was terrible. -Leave it in the boardroom. This is our team. | 0:02:23 | 0:02:26 | |
-It's done. It's over. -HE LAUGHS | 0:02:26 | 0:02:28 | |
Where you going? Aww! | 0:02:28 | 0:02:31 | |
Piers wants to win at all costs. It doesn't matter what he does. This is war for him. | 0:02:31 | 0:02:36 | |
He doesn't care. The main thing for him to do is win. | 0:02:36 | 0:02:41 | |
# Money, money, money, money | 0:02:48 | 0:02:51 | |
# Money | 0:02:52 | 0:02:53 | |
# Money, money, money, money | 0:02:53 | 0:02:55 | |
# Money | 0:02:57 | 0:02:58 | |
# Some people got to have it | 0:02:58 | 0:03:01 | |
# Yeah, yeah, yeah | 0:03:01 | 0:03:03 | |
# Some people really need it | 0:03:03 | 0:03:06 | |
# Listen to me, y'all | 0:03:06 | 0:03:08 | |
# Do things, do things, do things, bad things with it | 0:03:08 | 0:03:13 | |
# Dollar bills, y'all, come on | 0:03:15 | 0:03:17 | |
# That mean, oh, mean | 0:03:17 | 0:03:21 | |
# Mean green | 0:03:21 | 0:03:23 | |
# Almighty dollar | 0:03:23 | 0:03:26 | |
# Oh, that money | 0:03:26 | 0:03:30 | |
# Give me a nickel, brother, can you spare that? | 0:03:30 | 0:03:34 | |
# Money can drive some people out of their minds | 0:03:35 | 0:03:40 | |
# No good, no good, money | 0:03:42 | 0:03:45 | |
# Money, money, money, money | 0:03:45 | 0:03:48 | |
# Money | 0:03:48 | 0:03:50 | |
PHONE RINGS | 0:04:01 | 0:04:04 | |
-"Hello?" -Is this Carol Baldwin? | 0:04:04 | 0:04:08 | |
"This is Carol Newcomb Martineau Baldwin." | 0:04:08 | 0:04:12 | |
Yeah. Do you know who this is? | 0:04:12 | 0:04:14 | |
"Stephen! The Flea!" | 0:04:14 | 0:04:17 | |
The Flea, right. That's my nickname. | 0:04:17 | 0:04:19 | |
Well, guess what, honey? | 0:04:19 | 0:04:22 | |
'I'm here for my mom and her organisation, The Carol Baldwin Breast Cancer Research Fund.' | 0:04:22 | 0:04:27 | |
She's a crusader for breast cancer. She's a survivor of 12 years. | 0:04:27 | 0:04:31 | |
'For me, this is personal, and that's why I'm taking it so seriously.' | 0:04:31 | 0:04:35 | |
Remember when you came to New York and I gave you a little something from The Donald? | 0:04:35 | 0:04:41 | |
-"Oh, yeah. I didn't send The Donald a thank you note, but I will." -OK. | 0:04:41 | 0:04:46 | |
-Well, you might have to send him another one. -"How come?" | 0:04:46 | 0:04:49 | |
-Cos I have a cheque in my hand again. -"Oh, that's wonderful!" | 0:04:49 | 0:04:56 | |
We won another 20,000. | 0:04:56 | 0:05:00 | |
"That's awesome! Awesome! | 0:05:00 | 0:05:02 | |
"You helping and The Donald helping, | 0:05:02 | 0:05:05 | |
-"we will find something to stop breast cancer, we will." -That's right. That's right, Mom. | 0:05:05 | 0:05:10 | |
Having the title as two-time victor as a project manager, | 0:05:10 | 0:05:15 | |
yes, it's cool, and if push comes to shove in the future | 0:05:15 | 0:05:17 | |
and I've got to wield that title here and there just to psyche some people out, | 0:05:17 | 0:05:22 | |
-oh, yeah, I'll throw that sucker if I have to. -HE LAUGHS | 0:05:22 | 0:05:26 | |
"Tell The Donald I love him | 0:05:26 | 0:05:29 | |
"and thank him so much for helping me." | 0:05:29 | 0:05:32 | |
-I will, honey. Love you. -"Love you." -God bless. | 0:05:32 | 0:05:36 | |
Pretty good. | 0:05:37 | 0:05:39 | |
-Good morning. -ALL: Morning. | 0:05:58 | 0:06:01 | |
We're standing in the lobby of Hearst Tower, | 0:06:01 | 0:06:03 | |
a wonderful, beautiful, brand-new building, | 0:06:03 | 0:06:06 | |
and it's going to be a landmark in New York City. | 0:06:06 | 0:06:09 | |
You are going to be doing something that is very, very interesting. | 0:06:09 | 0:06:15 | |
Dial Soap, a soap I happen to use, is doing an ad campaign. | 0:06:15 | 0:06:19 | |
The ad campaign is going to run in the pages of Redbook Magazine. | 0:06:19 | 0:06:24 | |
-We have our executive from Redbook. -Stacy Morrison, editor of Redbook. | 0:06:24 | 0:06:29 | |
-And our executives from Dial. -Scott Moffat, vice president, general manager. | 0:06:29 | 0:06:33 | |
-My name is Doug Waites, I'm the vice president of marketing. -And the task? | 0:06:33 | 0:06:37 | |
Your objective for today is to create a four-page photo essay or photo layout | 0:06:37 | 0:06:43 | |
to promote our newest product, Dial Nourising Yogurt Bodywash. | 0:06:43 | 0:06:47 | |
It will be judged by the three of us based on three criteria. | 0:06:47 | 0:06:51 | |
Creativity, integration of the brand and overall message and content. | 0:06:51 | 0:06:55 | |
Each of you will be given a photographer and a full photo studio to complete your task. | 0:06:55 | 0:07:01 | |
The winning project manager will get 20,000 for his or her favourite charity. | 0:07:01 | 0:07:06 | |
Let's pick your project managers right now. | 0:07:06 | 0:07:10 | |
I caution you, project managers have a pretty good chance of being fired, | 0:07:10 | 0:07:15 | |
although, in this particular series, that hasn't happened much. | 0:07:15 | 0:07:19 | |
But project managers, you really are on the line. So I... | 0:07:19 | 0:07:23 | |
Empresario, who is going to be your project manager? | 0:07:31 | 0:07:35 | |
-I was just PM, like, a week ago. -Hold on. Trace, you cool with Tito? | 0:07:35 | 0:07:40 | |
-If you want it. -That's fine. -I'll support you. | 0:07:40 | 0:07:43 | |
-I will, sir. -Tito? -Yes, sir. -Wow! For Dial Soap? | 0:07:45 | 0:07:48 | |
-Yes. -OK. | 0:07:48 | 0:07:50 | |
-Hydra, who's your project manager? -Carol. | 0:07:50 | 0:07:53 | |
-Despite what I just... -I feel it's best for me to step forward because I've been in this role a long time. | 0:07:53 | 0:07:59 | |
'Everything about my career makes this handcrafted for me as a PM manager. | 0:07:59 | 0:08:03 | |
'I've been on the cover of Redbook five times. | 0:08:03 | 0:08:06 | |
If I don't take this, I would expect to be fired for being a chicken. | 0:08:06 | 0:08:11 | |
I don't want to be ridiculed because there are no women left, OK? | 0:08:11 | 0:08:14 | |
Mr Trump, you know as well as anybody, you don't get fired if you win. | 0:08:14 | 0:08:18 | |
-You think you're going to win? -Absolutely. -OK. | 0:08:18 | 0:08:21 | |
George and Ivanka, they'll be my eyes and ears. | 0:08:21 | 0:08:25 | |
Good luck. It's going to be very interesting. | 0:08:25 | 0:08:28 | |
-In the end, someone from the losing team will be fired. Thank you. -ALL: Thank you. | 0:08:28 | 0:08:34 | |
-Hi! -Good to see you. -Carol's the boss. -Oh, you're the team leader? -Yes, I am. | 0:08:37 | 0:08:43 | |
'I have found, in all of these tasks, you can make a mistake right off the bat | 0:08:43 | 0:08:48 | |
'and go off in a way different direction, so the meeting with the executive | 0:08:48 | 0:08:53 | |
is the most important meeting. | 0:08:53 | 0:08:55 | |
You're creating a photo-essay advertorial | 0:08:55 | 0:08:59 | |
that supports both of our core brand values. | 0:08:59 | 0:09:01 | |
What I'll be looking at is are you capturing who our Redbook reader is? Are you speaking to her? | 0:09:01 | 0:09:09 | |
-Have you changed demographics at all? It used to be an older demographic. -The average age is 37. -37. | 0:09:09 | 0:09:15 | |
How racy could we be before we cross a line with Dial? | 0:09:15 | 0:09:18 | |
I don't think we have a list of things that we won't do. | 0:09:18 | 0:09:21 | |
-But I think taste and good judgement are always important. -Thank you very much. | 0:09:21 | 0:09:27 | |
'It was quite obvious what they wanted.' | 0:09:27 | 0:09:30 | |
We're talking about women in their 30s who've had lots of sex. | 0:09:30 | 0:09:33 | |
-You know about this stuff? -Mm-hm. -Could've been scripted for you. -So I stepped forward. | 0:09:33 | 0:09:38 | |
-I think we keep it very simple. -Yeah. | 0:09:38 | 0:09:42 | |
Very sexy, very beautiful. | 0:09:42 | 0:09:44 | |
-We need to tell a story. -We need to tell a whole story with a woman | 0:09:44 | 0:09:48 | |
-and we should do well-rounded things in her life. -So we have to think about family. -Exactly. | 0:09:48 | 0:09:53 | |
So there's one page, maybe it's a baby's hand holding her hand. | 0:09:53 | 0:09:56 | |
Then the next page can be her in her bath tub. And then it's in the evening, her and her man. | 0:09:56 | 0:10:02 | |
Buying homes, having babies, getting married and having great sex with her husband. | 0:10:02 | 0:10:06 | |
-Every aspect of her life. -I think it's four great moments in a woman's life. | 0:10:06 | 0:10:11 | |
-The last one has to be pure sex. -Things are looking good. | 0:10:11 | 0:10:15 | |
Piers is letting people talk and interject and ask questions | 0:10:15 | 0:10:19 | |
and he's not rabbiting on. He doesn't have diarrhoea of the mouth. | 0:10:19 | 0:10:22 | |
-I think we're onto something here. -We are, mate. -I like it. -Let's boogie. | 0:10:22 | 0:10:27 | |
-Hello. How are you? -Hi. Stacy Morrison. Great to meet you. | 0:10:31 | 0:10:35 | |
-Pleasure to meet you. -Pleasure. | 0:10:35 | 0:10:38 | |
This task was difficult because we weren't just catering to Dial, | 0:10:38 | 0:10:42 | |
we had to also appeal to the executives at Redbook, | 0:10:42 | 0:10:45 | |
think about their demographic and incorporate that into our ad. | 0:10:45 | 0:10:49 | |
For starters, the Dial brand is known for healthy skin, | 0:10:49 | 0:10:53 | |
it's trusted, it's an all-family brand, | 0:10:53 | 0:10:57 | |
-it is straightforward and honest. -Redbook is 104 years old | 0:10:57 | 0:11:03 | |
and the thing that's very special and unique about Redbook, we have a very deep connection | 0:11:03 | 0:11:07 | |
-to the middle of the country and they love you. -THEY LAUGH | 0:11:07 | 0:11:11 | |
Country Weekly may be the only magazine that uses more country artists on the cover than you do. | 0:11:11 | 0:11:17 | |
-Do you love us for that? -I do. -THEY LAUGH | 0:11:17 | 0:11:20 | |
-Except for the fact that you haven't called me yet. -Not yet. | 0:11:20 | 0:11:24 | |
-You called that old, ugly Tim McGraw. -THEY LAUGH | 0:11:24 | 0:11:27 | |
He's just kidding! He's just kidding. | 0:11:27 | 0:11:30 | |
The girl from Redbook really was articulate in our meeting about how the audience of women | 0:11:30 | 0:11:35 | |
that are Redbook love Trace Adkins. | 0:11:35 | 0:11:37 | |
-I think we're using you in the ad again, bro. -No way! | 0:11:39 | 0:11:43 | |
Honky-tonky-donky-donk, bro! Just photos of you in a bath tub with your cowboy hat on | 0:11:43 | 0:11:49 | |
and chicks just squirting Dial Yogurt all over you. | 0:11:49 | 0:11:52 | |
-Wow! That's good! -Just you with your guitar with your boots sticking out. | 0:11:52 | 0:11:58 | |
-THEY LAUGH -He's turning red! | 0:11:58 | 0:12:00 | |
He's turning red! | 0:12:00 | 0:12:02 | |
STEPHEN LAUGHS | 0:12:02 | 0:12:05 | |
Trace is going to be a commercial star and a TV star | 0:12:05 | 0:12:08 | |
and a supermodel by the time this is all over. God bless him. | 0:12:08 | 0:12:12 | |
-Is it going to be a bubble bath? -STEPHEN LAUGHS | 0:12:12 | 0:12:16 | |
-Honky-tonky-donky-donk! -STEPHEN LAUGHS | 0:12:16 | 0:12:20 | |
-Hi, how you doing? -How you doing? -Carol Alt, nice to see you. | 0:12:29 | 0:12:33 | |
-Piers Morgan. -This is our photographer. | 0:12:33 | 0:12:35 | |
The task was to do a four-page advertorial | 0:12:35 | 0:12:39 | |
that would incorporate Dial Yogurt Natural Bodywash and Redbook. | 0:12:39 | 0:12:44 | |
The target range is 20 to 50 with an emphasis on 37. | 0:12:44 | 0:12:49 | |
-Do you know how young the models are? -Young 20s. | 0:12:49 | 0:12:52 | |
This is what I thought. They're too young. To me, it is absolutely obvious that we should use Carol | 0:12:52 | 0:12:57 | |
as the front woman for our images. | 0:12:57 | 0:13:00 | |
When Piers mentioned that he thought I should be the model, I was totally against it because Donald said, | 0:13:00 | 0:13:06 | |
"The project manager most likely will be fired." I didn't want modelling to interfere with my PMship.' | 0:13:06 | 0:13:12 | |
-What do you think? -That puts many hats on my head. -I know. | 0:13:12 | 0:13:16 | |
-How you doing? -Omarosa. What's your name? -Alex. | 0:13:27 | 0:13:30 | |
-Hi, Alex. Tito Ortiz. -You're the photographer! -I am! Hey! | 0:13:30 | 0:13:34 | |
The project manager is supposed to be Tito Ortiz | 0:13:34 | 0:13:38 | |
but Tito needs lots of help and guidance. | 0:13:38 | 0:13:40 | |
So, the concept I want you to come with is... | 0:13:41 | 0:13:44 | |
The concept is that we're going with a product that's good for you and healthy and natural | 0:13:46 | 0:13:52 | |
and we're going to set that in an environment of country and cowboy and cowgirl. | 0:13:52 | 0:13:58 | |
-Work for you, Trace? -Yep. -That works for me. | 0:13:58 | 0:14:01 | |
Yeah, thumbs up from Lady O. | 0:14:01 | 0:14:03 | |
Stephen is really driving this ship, | 0:14:05 | 0:14:08 | |
but the guys have won with all of these off-the-wall, bizarre, strange concepts. | 0:14:08 | 0:14:14 | |
So I'm going to let them continue to do what they usually do, which is win. | 0:14:14 | 0:14:19 | |
Here we go, guys. Everybody look to the camera. | 0:14:19 | 0:14:21 | |
Rotate yourself this way. | 0:14:23 | 0:14:25 | |
I have an innate understanding of how the camera sees things. | 0:14:25 | 0:14:28 | |
That's gorgeous, man! Let's see that last one. Look at that! Wow! | 0:14:28 | 0:14:33 | |
'And I've always been told I've got a great mindset for advertising.' | 0:14:33 | 0:14:38 | |
Beautiful. 'And I've had people say I could run a studio in Hollywood just cos of the way I think.' | 0:14:38 | 0:14:43 | |
-Trace, your thoughts? -Daddy likey. | 0:14:45 | 0:14:47 | |
It's just not fair being on a team of all men! | 0:14:47 | 0:14:50 | |
Sing her a song! | 0:14:50 | 0:14:52 | |
Tito was letting me roll and do my thing cos, in the end, it was all an effort for the team. | 0:14:52 | 0:14:57 | |
Beautiful! I'm loving this! | 0:14:57 | 0:15:00 | |
I frickin' love it, dude! That's the shot! | 0:15:00 | 0:15:04 | |
We could put one of the girls into the tub | 0:15:08 | 0:15:11 | |
-and just shoot her from the back and see her reading papers in the tub. -It should be you. -You sure? -Yes. | 0:15:11 | 0:15:16 | |
Carol was hesitant about being the model, | 0:15:16 | 0:15:19 | |
but the idea we'd use a very young model of 20 | 0:15:19 | 0:15:21 | |
to appeal to the core audience of Redbook - ridiculous! | 0:15:21 | 0:15:25 | |
-Do you want to be in a position where we lose this... -Because we didn't use a supermodel. | 0:15:25 | 0:15:30 | |
I just needed you to convince me. Cos when I get in the boardroom tomorrow | 0:15:30 | 0:15:33 | |
and they say, "Why did you step up for PM when there's only two women left?" | 0:15:33 | 0:15:37 | |
-I'm going to say, "I rose to the challenge." -Exactly. | 0:15:37 | 0:15:41 | |
-You need to get made up. -We need all our people in here. -OK, crew's coming. All right. | 0:15:41 | 0:15:46 | |
It wants a little softness around the face but pretty much pulled back. | 0:15:50 | 0:15:54 | |
All the pressure in the world is on me as project manager in this | 0:16:04 | 0:16:07 | |
because this is my world, so if any mistakes are made, it's me. | 0:16:07 | 0:16:11 | |
It's absolutely me and I can't pass the buck. | 0:16:11 | 0:16:13 | |
Tito! She might have an idea. I don't know if it's a good one. | 0:16:23 | 0:16:28 | |
This is catering to 99.9 percent women. | 0:16:28 | 0:16:32 | |
-OK. -So here's my idea. | 0:16:32 | 0:16:35 | |
What you have is Trace with his shirt off and the models, as well. | 0:16:35 | 0:16:39 | |
Just to have it and just play a bit. | 0:16:39 | 0:16:42 | |
Guys, can I see you all for just a moment? | 0:16:42 | 0:16:44 | |
This is the best job ever! | 0:16:44 | 0:16:47 | |
'I have tried really hard to keep the team focused on the fact that this is appealing to women.' | 0:16:48 | 0:16:55 | |
Women want to see hot men, they want to have this fantasy. | 0:16:55 | 0:17:00 | |
Trace, we need you. | 0:17:00 | 0:17:02 | |
You're going to be an awesome model right now. Take your shirt off. | 0:17:02 | 0:17:06 | |
You want me in this with these two dudes? | 0:17:06 | 0:17:08 | |
-Get the -BLEEP -out of here, man! | 0:17:08 | 0:17:11 | |
'I've got the tan of a vampire at this point.' | 0:17:13 | 0:17:16 | |
-I pretty much look like a cadaver right now and it's not going to look good naked. -Whoo! | 0:17:16 | 0:17:22 | |
-Lord! -You look good. -Shut up! -TITO LAUGHS | 0:17:22 | 0:17:25 | |
'This is for all you sophisticated ladies out there.' | 0:17:25 | 0:17:29 | |
Right on! | 0:17:29 | 0:17:32 | |
Whoo! | 0:17:33 | 0:17:36 | |
-Right there. Perfect. -Hallelujah! | 0:17:36 | 0:17:39 | |
Perfect, bro. | 0:17:41 | 0:17:43 | |
# There's one thing you just can't avoid | 0:17:43 | 0:17:47 | |
# Ladies love country boys | 0:17:47 | 0:17:51 | |
-I love this! -It's making the girls smile so we're doing something right. Getting all giddy for no reason. | 0:17:51 | 0:17:56 | |
-This is all for charity, Trace. -Hallelujah! | 0:17:57 | 0:18:01 | |
-That's phenomenal! -That's hot. -So that was my creative contribution. | 0:18:01 | 0:18:05 | |
-There is it, look at that. We got it. -Yeah, I think we got it. -Way to go, boys! | 0:18:05 | 0:18:10 | |
-Trace, you little stud muffin! -Whoa. -SHE LAUGHS | 0:18:10 | 0:18:15 | |
-Hi, Ivanka. -Hi! How's it going? So what are you all doing here? -We went country. | 0:18:15 | 0:18:19 | |
-I can see that! -Ooh! -That I'm shocked by. -That was just messing around. | 0:18:19 | 0:18:26 | |
'Empresario was doing the country theme. | 0:18:26 | 0:18:30 | |
'The visuals do look good. | 0:18:30 | 0:18:32 | |
'Trace is in the shot. Let's see how that plays with the Dial execs.' | 0:18:32 | 0:18:36 | |
-Good luck, guys. I look forward to seeing it come together. -Thanks for coming by. -Good to see you. | 0:18:37 | 0:18:42 | |
Enjoy. Bye. Good to see you. | 0:18:42 | 0:18:44 | |
-I believe we are done with the models. -Yes, we are. | 0:18:44 | 0:18:48 | |
-Good job, everybody. Couldn't have done it without you. -Thanks. -Awesome. Thank you so much. Beautiful shots. | 0:18:48 | 0:18:53 | |
Does that baby look real life to you? | 0:19:02 | 0:19:04 | |
-Yeah. -The back of the head looks great. Oh! Perfect! -Yeah. | 0:19:04 | 0:19:08 | |
Lennox had the job of art director, as he likes to call it. | 0:19:08 | 0:19:12 | |
And Lennox has had a good night's sleep, so he's a bit perkier. | 0:19:12 | 0:19:15 | |
Slowly turn your lips around to the baby. | 0:19:19 | 0:19:21 | |
Oh, that's perfect! Yeah, like that! | 0:19:21 | 0:19:24 | |
-Beautiful. -Yeah, that's it. That's the one I like. | 0:19:24 | 0:19:28 | |
He's changed dramatically and it's quite transparent. | 0:19:28 | 0:19:31 | |
He now believes that he's got within sniffing distance of victory | 0:19:31 | 0:19:35 | |
and so it's time to get into fight mode. And that's fine. | 0:19:35 | 0:19:38 | |
That's enough. Come and look at the shots. | 0:19:38 | 0:19:41 | |
-Look at that! -Yeah. Beautiful. | 0:19:42 | 0:19:45 | |
-Yes, we did it. -This is the kind of image, OK? | 0:19:45 | 0:19:47 | |
Hop in the bed, please. | 0:19:47 | 0:19:50 | |
-The guy's going to be coming from this angle. -SHE LAUGHS | 0:19:50 | 0:19:54 | |
We pressed executives on how sexy we should get, and they were like, "Don't overdo it | 0:19:55 | 0:20:00 | |
"but a bit of suggestion that Redbook girls like to have sex, | 0:20:00 | 0:20:04 | |
-"not a problem at all." -OK, let's work it. | 0:20:04 | 0:20:07 | |
-Nice! Ooh! -Someone's getting into it! | 0:20:09 | 0:20:12 | |
-Yeah, baby! -Are you sure I shouldn't be in this, Carol? | 0:20:12 | 0:20:16 | |
-Look at that picture! Oh, get that one! -That's the money shot, baby! | 0:20:18 | 0:20:23 | |
We got the money shot ready! | 0:20:23 | 0:20:25 | |
There's only one word for that photo shoot - wow! | 0:20:25 | 0:20:29 | |
They've got Omarosa and we've got Carol Alt. Not a fair fight really, is it? | 0:20:29 | 0:20:35 | |
Go on, get in here. You just come in behind like you want to get some, too. | 0:20:35 | 0:20:38 | |
THEY LAUGH | 0:20:38 | 0:20:42 | |
-No. -Lennox, I know what you're used to, mate. | 0:20:42 | 0:20:45 | |
LAUGHTER | 0:20:46 | 0:20:48 | |
I think the first image has to really be a wow. | 0:20:51 | 0:20:55 | |
-Let me just tell you something. That's wow. -It's wow for you. | 0:20:55 | 0:20:59 | |
-It doesn't do jack for me and I'm the demographic. -You don't think that's a beautiful woman? | 0:20:59 | 0:21:05 | |
She's all right, but I'm not getting the magazine to look at her. I want to see Trace with his shirt off. | 0:21:05 | 0:21:10 | |
'The shot of Trace with the two male models is the type of shot | 0:21:10 | 0:21:14 | |
that the Redbook reader wants to see. | 0:21:14 | 0:21:17 | |
Every woman in that room swooned as soon as he took his shirt off | 0:21:17 | 0:21:21 | |
and stepped up there to pose. | 0:21:21 | 0:21:23 | |
I think Trace being shirtless is awesome, I really do. | 0:21:23 | 0:21:27 | |
How often does Redbook like that type of an image in their magazine? | 0:21:27 | 0:21:32 | |
I'm just saying, I think it's a risk, and I'd rather play is safe. | 0:21:32 | 0:21:35 | |
Trying to lead Omarosa and Stephen is really hard. | 0:21:37 | 0:21:40 | |
She's kind of like a diva. Controlling, bossy and it's her way. | 0:21:40 | 0:21:44 | |
And Stephen is a verbal bully who is very overbearing. | 0:21:44 | 0:21:49 | |
But I have the last say cos I'm project manager. | 0:21:49 | 0:21:51 | |
The last call is mine. | 0:21:51 | 0:21:53 | |
Here's the four words that came out of the mouth of the Dial executive. | 0:21:53 | 0:21:57 | |
Clean, healthy, trusted, family. | 0:21:57 | 0:22:01 | |
Tito, if the other team goes wholesome and family | 0:22:01 | 0:22:06 | |
and they win, we were wrong. | 0:22:06 | 0:22:08 | |
-Good morning. -ALL: Good morning. | 0:22:28 | 0:22:30 | |
We met you guys and we listened hard to your readership demographic of Redbook Magazine. | 0:22:30 | 0:22:36 | |
We thought long and hard about who we could get to front this. | 0:22:36 | 0:22:41 | |
You asked us to delight and surprise. | 0:22:41 | 0:22:44 | |
We believe you will be most delighted by our choice of front woman for Dial. | 0:22:44 | 0:22:51 | |
There she is, Mr Trump. Miss Carol Alt. | 0:22:52 | 0:22:55 | |
And I would argue that the celebrities, when they fit the brand perfectly, sell like a dream. | 0:22:55 | 0:23:01 | |
This is the first page of our four-page advertorial. We've come up with a slogan for you. | 0:23:02 | 0:23:07 | |
"Good for me, great for my skin." | 0:23:07 | 0:23:10 | |
Because it implies health which you're getting from the yogurt, which is the main point of it. | 0:23:10 | 0:23:15 | |
Why yogurt? It's a question you're going to ask. | 0:23:15 | 0:23:18 | |
You turn the page and find out. | 0:23:18 | 0:23:22 | |
Yogurt facts here. You've got to tell the reader what they're getting here. | 0:23:22 | 0:23:26 | |
That's the detail. There's Carol at the end of this busy day | 0:23:26 | 0:23:30 | |
lying in her luxurious bath, making her feel radiant and relaxed. | 0:23:30 | 0:23:35 | |
All this is great. It's touched every moment of her life, | 0:23:36 | 0:23:39 | |
but there's one she really wants it to touch. | 0:23:39 | 0:23:41 | |
-Her man. Because, ultimately, it's great... -Is he biting her? | 0:23:43 | 0:23:47 | |
-It looks like he's biting her. -He's just so entranced by the aroma | 0:23:47 | 0:23:52 | |
and the feel of her skin, that he could literally eat her. | 0:23:52 | 0:23:55 | |
In conclusion, we think if you put that in Redbook, | 0:23:55 | 0:23:58 | |
-you would have a fantastic response from Redbook readers to this. -OK. | 0:23:58 | 0:24:04 | |
-Thank you. -Thanks very much. -Thank you. Good job. | 0:24:04 | 0:24:07 | |
OK, next, Empresario. | 0:24:07 | 0:24:10 | |
-Don't fight him. Do not fight him. -THEY LAUGH | 0:24:17 | 0:24:20 | |
-Morning. -OK, go ahead. | 0:24:20 | 0:24:22 | |
Women's lives are hectic. They have to find time to balance work and home. | 0:24:23 | 0:24:29 | |
How do you incorporate a beauty product that can help combat dehydration, | 0:24:29 | 0:24:33 | |
dry skin, itchy skin? | 0:24:33 | 0:24:35 | |
Women have to find ways to do this | 0:24:35 | 0:24:39 | |
and we've found a product that can help. | 0:24:39 | 0:24:42 | |
So we're going to go over our pitch of Dial yogurt-based... | 0:24:42 | 0:24:47 | |
-Bodywash. -Bodywash. | 0:24:47 | 0:24:49 | |
With aloe vera. And, of course, we'll continue on. | 0:24:49 | 0:24:53 | |
One of the things we were trying to get across | 0:24:54 | 0:24:56 | |
was kind of a country...desert, erm... | 0:24:56 | 0:25:02 | |
Kind of a country-desert feeling to it, the reason why is, that's when the skin's the driest. | 0:25:02 | 0:25:06 | |
And then you can see, our model has beautiful, glowing skin. | 0:25:06 | 0:25:10 | |
Naturally beautiful skin has no boundaries. | 0:25:10 | 0:25:13 | |
And the boundaries you can see, from the horizon, it keeps going and going and going. | 0:25:13 | 0:25:18 | |
'I got a really hot shot of Trace, but it didn't make the cut. | 0:25:19 | 0:25:24 | |
'If we lose, the responsibility will fall on Tito.' | 0:25:24 | 0:25:27 | |
The project manager just completely did not deliver. | 0:25:27 | 0:25:31 | |
Of course, we used Trace. The reason why we used Trace, | 0:25:31 | 0:25:35 | |
cos the demographics that we did have were from ladies ranging from the age of 20... Excuse me, 30 to 59, | 0:25:35 | 0:25:42 | |
which most country folk ladies that will love Trace's, er... Kind of push the product. | 0:25:42 | 0:25:48 | |
We also wanted to be conscious that it was uniform to the Redbook Magazine | 0:25:49 | 0:25:54 | |
and not do something that was way too outside the box that wouldn't conform with Redbook. | 0:25:54 | 0:25:59 | |
So finally, the bodywash that you've been dreaming of. | 0:25:59 | 0:26:03 | |
Dial. | 0:26:03 | 0:26:05 | |
-It's the natural choice. -It is the natural choice. | 0:26:05 | 0:26:08 | |
-Very good job. -Nice job. -Thank you. We enjoyed ourselves. -Until next time, or we see it in the magazine. | 0:26:08 | 0:26:14 | |
-THEY LAUGH Thank you. -Thanks. -Thank you very much. | 0:26:14 | 0:26:17 | |
-How did you like Hydra? -I felt that they had a message that was very warm | 0:26:19 | 0:26:24 | |
and was about a woman's whole life | 0:26:24 | 0:26:27 | |
-and those are certainly things that are very important to Redbook readers. -Doug? | 0:26:27 | 0:26:33 | |
They did a very nice job of answering the question, "Why buy a bodywash with yogurt?" | 0:26:33 | 0:26:37 | |
I thought they integrated it in a manner that felt sensual but not over-the-top. | 0:26:37 | 0:26:41 | |
-I liked that. -What didn't you like a Hydra? | 0:26:41 | 0:26:45 | |
I wasn't sure I loved the last image, the image in bed. | 0:26:45 | 0:26:49 | |
-The biting. -Yeah, it was a little provocative, | 0:26:49 | 0:26:52 | |
attention-getting, but unnecessary. | 0:26:52 | 0:26:55 | |
So what did you think in terms of Empresario? | 0:26:55 | 0:26:58 | |
Better job? Not such a good job? Tell me, what did you think? | 0:26:58 | 0:27:01 | |
I thought the photographs for Empresario were beautiful. | 0:27:01 | 0:27:04 | |
It was a very highly-produced environment and it took me somewhere else. | 0:27:04 | 0:27:08 | |
I think they did a nice job of showing the contrast of why you have dry skin | 0:27:08 | 0:27:13 | |
and why this product can help address that. | 0:27:13 | 0:27:15 | |
They used as outdoor, dry setting as a metaphor for dry skin. | 0:27:15 | 0:27:20 | |
I didn't think that worked all that effectively. | 0:27:20 | 0:27:23 | |
I felt there wasn't really a consistent message. | 0:27:23 | 0:27:25 | |
-I didn't think the text worked together. It didn't have a consistent thread. -All right. | 0:27:25 | 0:27:29 | |
But you liked both. Tell me, who did you like more? | 0:27:29 | 0:27:33 | |
-Tito, how did you think you did? -I think we did very well. | 0:28:01 | 0:28:04 | |
I think we got our point across and we really sold Dial | 0:28:04 | 0:28:08 | |
the way that the United States wants to see Dial, the new yogurt product that they're selling. | 0:28:08 | 0:28:14 | |
You know the thing that surprised me? I've watched you fight many times | 0:28:15 | 0:28:20 | |
and you don't look nervous. You rip somebody apart and you don't look nervous. | 0:28:20 | 0:28:24 | |
But you looked very nervous at that presentation. | 0:28:24 | 0:28:28 | |
I just want to make sure that I represent Team Empresario the right way | 0:28:28 | 0:28:32 | |
-and you make me a little nervous cos I want to be perfect on everything I do in front of you. -OK. | 0:28:32 | 0:28:37 | |
-Carol, how do you think you did? -I am very confident we did very well. -Why? | 0:28:37 | 0:28:41 | |
Because I think we hit the demographics that Redbook has | 0:28:41 | 0:28:44 | |
and that is obviously the demographics that Dial is looking for because they're in that magazine. | 0:28:44 | 0:28:50 | |
And I believe that we delivered a clean, fresh and sensational presentation. | 0:28:50 | 0:28:55 | |
-I warned you not to be project manager. -Yes, but I would rather be fired by standing up to a challenge | 0:28:55 | 0:29:00 | |
-than running away from one. -That's a good line of crap. | 0:29:00 | 0:29:03 | |
-Yeah, I like it. -If it was crap, I wouldn't have stood up, but I did. | 0:29:03 | 0:29:07 | |
I was a little bit curious, the photo of the guy on your back biting you. | 0:29:07 | 0:29:13 | |
-Mm-hm. -Or it looked like biting. Was that supposed to be biting? -A playful bite. | 0:29:13 | 0:29:18 | |
-But was that supposed to be a biting picture? -It was a playful bite. | 0:29:18 | 0:29:21 | |
You're spun over and he's standing on top... Tito's going crazy cos he gets bitten all the time. | 0:29:21 | 0:29:26 | |
THEY LAUGH Maybe at home. | 0:29:26 | 0:29:30 | |
It was... I was really surprised. Do you think that was good? | 0:29:30 | 0:29:35 | |
I think we pushed the envelope a bit, but it was interesting | 0:29:35 | 0:29:38 | |
and it definitely surprised them and delighted them. | 0:29:38 | 0:29:41 | |
-Have you seen each other's campaign? -No. -I'd like to show it. Ivanka, would you give them the campaigns? | 0:29:41 | 0:29:49 | |
Thank you. | 0:29:49 | 0:29:51 | |
These are the campaigns that your competing team did. | 0:29:51 | 0:29:55 | |
Study them, take your time. I'd like to know what you think. | 0:29:55 | 0:29:59 | |
Tito, you see what I'm talking about with that one picture? | 0:29:59 | 0:30:02 | |
We had a similar thing. We had Trace with his T-shirt off with two guys behind him holding bottles | 0:30:02 | 0:30:08 | |
-and we didn't want to take that step. We thought... -Wait, does Trace look good with his T-shirt off? | 0:30:08 | 0:30:13 | |
-Yes. -Actually, for his age... -Hey! Hey, boy! | 0:30:13 | 0:30:17 | |
For a man to say that, I train all the time... | 0:30:17 | 0:30:20 | |
-Why didn't you do it? -Because I think it was a little risque for that type of magazine. | 0:30:20 | 0:30:26 | |
-You think so? -No. It was all about sex. | 0:30:26 | 0:30:29 | |
-You say he looks good without the T-shirt. -Wonderful. -Women will like that, and some men, OK? | 0:30:29 | 0:30:34 | |
There are some men out there that will like that, too. OK. | 0:30:34 | 0:30:37 | |
Piers, what do you think of the ad? | 0:30:37 | 0:30:40 | |
I think it's boring, amateurish and does not hit the right demographic. | 0:30:40 | 0:30:45 | |
-Other than that, you liked it? -I love Trace, but I don't think I'd use him as... | 0:30:45 | 0:30:50 | |
-Compared to our guy... -Why would you not use Trace? I could see using Trace. | 0:30:50 | 0:30:54 | |
He's had 23 hit singles. I'd say Trace is really good. | 0:30:54 | 0:30:58 | |
-Or you could've used Omarosa. What about her? -I don't object to it... | 0:30:58 | 0:31:02 | |
-Do you think Omarosa would've been better than Trace? -Only in a graveyard scene. | 0:31:02 | 0:31:07 | |
Mr Trump, the executive from Redbook even said the words in our meeting, | 0:31:07 | 0:31:11 | |
"Trace, you are perfect to our demographic. A lot of our people..." | 0:31:11 | 0:31:16 | |
-Is that why you did it? -Well, it was a big part of it, sure. | 0:31:16 | 0:31:20 | |
Omarosa, what do you think of their ad? | 0:31:20 | 0:31:23 | |
-The biting is a bit edgy for me. -It's not biting, it's nibbling. | 0:31:23 | 0:31:27 | |
-What do you think? -I think it's great. But we wanted to do something creatively | 0:31:29 | 0:31:33 | |
-that was more original. We wanted to create something that was a little more interesting. -More edgy. | 0:31:33 | 0:31:39 | |
But you're probably not more edgy because they do the biting picture. | 0:31:39 | 0:31:43 | |
-We were leaning... -The biggest thing was telling the story. -The photo-essay part. | 0:31:43 | 0:31:47 | |
Am I missing something? What is the story here, other than a woman lies in a bath and Trace sings a song? | 0:31:47 | 0:31:53 | |
-What's the story? -Read the words. -I can't read anything. It's tiny. | 0:31:53 | 0:31:57 | |
-I mean, from a purely professional point of view. -Do you have your specs? | 0:31:57 | 0:32:01 | |
I was a newspaper editor for ten years. This would not pass first base. | 0:32:01 | 0:32:04 | |
-This is journalistic amateur hour. -Where's your specs? | 0:32:04 | 0:32:08 | |
-Piers. -I observe you professionally as amateurish. | 0:32:08 | 0:32:11 | |
-I can't read it. -Put on your specs. | 0:32:11 | 0:32:13 | |
-Country something something. -Put on your specs, mate. -Unreadable, mate. | 0:32:13 | 0:32:19 | |
-STEPHEN LAUGHS -OK. Trace, what did you think of their ad? | 0:32:19 | 0:32:22 | |
Well, Carol's a stunning woman. | 0:32:22 | 0:32:25 | |
-It's a great looking shot, right? -Yeah, it is. | 0:32:25 | 0:32:28 | |
-I love the first shot. I'm not sure I like the rest of it too much. -Yeah. | 0:32:28 | 0:32:32 | |
-You see, what I like doesn't matter -Yes. -Because it doesn't matter. -I knew this was coming. | 0:32:32 | 0:32:38 | |
I sort of like theirs, I like yours. And she said, "Here it comes." What I like didn't matter. | 0:32:38 | 0:32:43 | |
But I can tell you that the executives thought that | 0:32:43 | 0:32:48 | |
the ad done by Piers and Carol and Lennox | 0:32:48 | 0:32:52 | |
was fantastic and therefore the winner is Hydra. | 0:32:52 | 0:32:56 | |
So, Carol, you were project manager. Your charity is going to get another 20,000. | 0:33:01 | 0:33:07 | |
-They're doing very well. Again, the charity? -The Tony Alt Memorial Foundation Inc. | 0:33:07 | 0:33:12 | |
-And this time you didn't cry. -I didn't cry. -You really did a good job. | 0:33:12 | 0:33:16 | |
-Get the hell out of here. -Thank you very much. | 0:33:16 | 0:33:19 | |
They really thought it was fantastic. | 0:33:19 | 0:33:23 | |
-Hydra! -TRACE LAUGHS | 0:33:24 | 0:33:27 | |
I'm sure that makes you feel horrible. | 0:33:27 | 0:33:29 | |
This is the dream team. I know it. I can feel it. I never had any doubt we'd win today. | 0:33:29 | 0:33:35 | |
-This is the best performance we've had so far and there's three of us. -Here we go, it's on. | 0:33:35 | 0:33:40 | |
Do you think a woman should've been project manager? This is a tough one. | 0:33:40 | 0:33:43 | |
You're a fighter. You make a lot of money physically fighting. We all fight. | 0:33:43 | 0:33:47 | |
I think you're 100 percent correct. When we first found out we were going to have the task, Omarosa said, | 0:33:47 | 0:33:53 | |
-"I'll do it". -I wanted it. -OK, it's good that you wanted to do that. | 0:33:53 | 0:33:57 | |
-Then when it came down to a decision, they pushed it on me. -Pushed it on you? | 0:33:57 | 0:34:00 | |
You said, "Tito, you should be..." Did you not say that? Don't lie. | 0:34:00 | 0:34:04 | |
-I looked at you. -This is television. Don't lie. | 0:34:04 | 0:34:08 | |
-Tito, I stepped up immediately and said I wanted this. -You did not say, "You should do it"? | 0:34:08 | 0:34:13 | |
-I don't ever pass off my responsibility. -Look me in the eye. | 0:34:13 | 0:34:16 | |
You tell me you did not say that. | 0:34:16 | 0:34:19 | |
-Tito, don't try to intimidate me. -I'm not. -I'm not one of your opponents. | 0:34:19 | 0:34:23 | |
-You said you would take it and when it came to... -I said I wanted this. | 0:34:23 | 0:34:27 | |
-My charity is yet to win money. -Excuse me. | 0:34:27 | 0:34:30 | |
But in the end, which is the only time that counts, did you push it on Tito? | 0:34:30 | 0:34:34 | |
-We went back and forth. -Did you push it on Tito? -I did surrender to his decision. | 0:34:34 | 0:34:39 | |
Don't you have the marketing background? I heard you say that. | 0:34:39 | 0:34:42 | |
-Absolutely. I said that. -This was as much a marketing task as you could possibly have. | 0:34:42 | 0:34:47 | |
-Why didn't you step up and do it? -We've learned in the past that the project manager gets bogged down | 0:34:47 | 0:34:52 | |
with all the other responsibilities that they have and they don't get to focus on the actual project. | 0:34:52 | 0:34:59 | |
But on a personal note, you can't really win money for your charity unless you are the project manager, | 0:34:59 | 0:35:04 | |
-other than the end result, which is the big one. -She's toast. | 0:35:04 | 0:35:08 | |
I don't know how I'm going to cope. SHE LAUGHS | 0:35:08 | 0:35:10 | |
-How did you do previously as project manager? -I'm zero and two | 0:35:10 | 0:35:15 | |
and I want to win, I want to be a PM. | 0:35:15 | 0:35:18 | |
I may have to leave the room. It may get too emotional for me. | 0:35:18 | 0:35:22 | |
Kick her out! | 0:35:22 | 0:35:25 | |
The first thing I did with Tito was to sit him down and help him understand | 0:35:26 | 0:35:31 | |
the background positioning for Redbook. | 0:35:31 | 0:35:33 | |
They have a mature audience. These are woman who've made it. | 0:35:33 | 0:35:36 | |
They have families, they want to learn about fashion, to travel, to learn about health issues. | 0:35:36 | 0:35:42 | |
It seems you were concentrating so much on Redbook when it's a Dial product. | 0:35:42 | 0:35:46 | |
-Why yogurt? -There was no concept. -Why wasn't there a concept? | 0:35:46 | 0:35:51 | |
Whose fault is it that there was no concept? That's a big statement, there's no concept. | 0:35:51 | 0:35:56 | |
-There's two people that I would focus on. -Who? -Tito and Stephen. | 0:35:56 | 0:36:00 | |
-Stephen was picking up the slack for Tito. He was technically the project manager. -Is that good or bad? -Bad. | 0:36:00 | 0:36:05 | |
-Stephen, what do you think of that? -Mr Trump, I thought the team did its very best to work together. | 0:36:05 | 0:36:10 | |
-And looking at that ad, their ad was better. Do you agree? -It was different. | 0:36:10 | 0:36:14 | |
-Don't you think it was better? -We made a call conceptually. We were wrong. -It doesn't matter. | 0:36:14 | 0:36:20 | |
-You called it wrong. -We were wrong. -Trace, you've been a quiet star | 0:36:20 | 0:36:24 | |
and you've done really well. If you were me, who would you fire? | 0:36:24 | 0:36:28 | |
I would have to say that I will stick up a little bit for Omarosa. | 0:36:30 | 0:36:36 | |
She made suggestions too, but nobody listened. | 0:36:36 | 0:36:39 | |
And I think, for that very reason, and I love the man to death, | 0:36:39 | 0:36:44 | |
but I would have to say Tito is responsible because he did let Stephen take charge of this. | 0:36:44 | 0:36:49 | |
-And did Stephen not do a good job? -Stephen did... | 0:36:49 | 0:36:53 | |
What's beautiful about Stephen is, when he has a target, he focuses in on that | 0:36:53 | 0:36:58 | |
and you almost have to just break his concentration physically to get him to listen to you. | 0:36:58 | 0:37:04 | |
He's always been very overbearing but I'm not a person... | 0:37:04 | 0:37:08 | |
-Is he overbearing? -Of course. Without a doubt. | 0:37:08 | 0:37:10 | |
He's a much different guy than I thought. He's a strong guy. | 0:37:10 | 0:37:14 | |
If he believes that Stephen Baldwin was overbearing, he's gone, he's dead, he's toast. | 0:37:14 | 0:37:19 | |
Omarosa, what were the ideas you had that weren't used? | 0:37:19 | 0:37:22 | |
One of my ideas was the male models that we used as a backdrop | 0:37:22 | 0:37:26 | |
-and with Trace with his shirt off and a guitar. I thought it was edgy, creative. -Would've been more edgy. | 0:37:26 | 0:37:32 | |
-And the... -Why wasn't that done, Tito? It could've been very good. | 0:37:32 | 0:37:35 | |
-Stephen pretty much shut that down cos he said it was too risque. -But you're project manager. | 0:37:35 | 0:37:40 | |
-Omarosa, who should be fired, in your opinion? -I'd have to say Tito. | 0:37:42 | 0:37:49 | |
But it was Stephen's idea to have Trace be, like, boring. | 0:37:51 | 0:37:55 | |
And I say that with all due respect, Trace, cos you would've been more exciting, | 0:37:55 | 0:37:59 | |
you wouldn't have excited me, but you would've excited some women, maybe. | 0:37:59 | 0:38:03 | |
-Omarosa was excited about that picture. -I really was! -Without the shirt? -Yes, sir. | 0:38:03 | 0:38:08 | |
-How would you have felt doing it without the shirt? -I was a little uncomfortable. | 0:38:08 | 0:38:12 | |
-I've been in this cave now... -I wanted that picture also and I kept saying, "Let's do it". | 0:38:12 | 0:38:17 | |
-Omarosa, in my defence, did I say, "Let's do it"? -You did and you put it in the layout. | 0:38:17 | 0:38:22 | |
-Why wasn't it done? -Stephen was adamant against it. | 0:38:22 | 0:38:24 | |
He said, "I do not want it. We should play it safe. Let's be conservative." | 0:38:24 | 0:38:29 | |
-I'm not going to fight with Stephen. -Would it have made any difference? -Yes! This is a woman's magazine! | 0:38:29 | 0:38:35 | |
You know, Stephen, it might have made a difference. Honestly. | 0:38:35 | 0:38:38 | |
They had edge and they had beauty. You didn't have either. | 0:38:38 | 0:38:41 | |
And at least this way you would've had some edge. | 0:38:41 | 0:38:44 | |
Tito, I'm not going to ask you to do this, but if I did, who would you exonerate? | 0:38:44 | 0:38:50 | |
I won't ask you to, because you have four people. | 0:38:51 | 0:38:55 | |
Who would you send out, though, if I told you to do that? | 0:38:55 | 0:39:00 | |
Since the beginning of this show, I've always gone on about people who work the hardest. | 0:39:03 | 0:39:07 | |
-I'm going on that line. -Who worked the hardest? -Omarosa. | 0:39:07 | 0:39:10 | |
-She worked the hardest? -Yes. | 0:39:10 | 0:39:13 | |
OK. I think it's so amazing that you said that Omarosa shouldn't be fired | 0:39:13 | 0:39:18 | |
and probably she shouldn't be, and actually, Trace came through for you unbelievably and I was surprised, | 0:39:18 | 0:39:24 | |
but he said they wouldn't use your ideas, et cetera. | 0:39:24 | 0:39:27 | |
That leaves you, Tito, and Stephen. | 0:39:27 | 0:39:30 | |
And Tito, as much as it pains me, I told you the project manager's neck was on the line. | 0:39:32 | 0:39:40 | |
So, Tito, you're fired. But I will tell you, you are really special. | 0:39:40 | 0:39:45 | |
-It's been an honour to work for you. -I think you're so incredible that personally, out of my own account, | 0:39:45 | 0:39:50 | |
I'm going to give you 50,000 for St Jude's, OK? It's a terrific group. They do a great job. | 0:39:50 | 0:39:56 | |
But I want to watch you do things beyond the fighting | 0:39:56 | 0:39:59 | |
-because, boy, you have talent. -Thank you. -Get out of here. | 0:39:59 | 0:40:03 | |
That Tito is a special person. | 0:40:11 | 0:40:14 | |
He really is. And what you did was terrific. | 0:40:14 | 0:40:17 | |
You hear so much about fighters, and this is like a whole different thing | 0:40:17 | 0:40:21 | |
and yet he's the best there is. It's an amazing thing. | 0:40:21 | 0:40:23 | |
This is all my charity time to give back. | 0:40:55 | 0:40:57 | |
And St Jude Children's Research Hospital is what this was all about. And I had fun. | 0:40:57 | 0:41:02 | |
I wouldn't take back anything at all. The only regret is maybe I should have worked a little harder. | 0:41:02 | 0:41:07 | |
I met some great people on this show and it was nice to work with Mr Trump. | 0:41:07 | 0:41:12 | |
So, in the long run, watch me in the octagon kick some ass. | 0:41:12 | 0:41:17 | |
Subtitles by Red Bee Media Ltd | 0:41:19 | 0:41:23 | |
E-mail [email protected] | 0:41:23 | 0:41:27 | |
. | 0:41:27 | 0:41:27 |