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Previously on the Celebrity Apprentice, | 0:00:00 | 0:00:02 | |
the celebrities had to sell wedding dresses for charity. | 0:00:02 | 0:00:06 | |
The one that makes the greatest profit will win. | 0:00:06 | 0:00:10 | |
-The women set out to keep their winning streak going. -Oh, my God! | 0:00:10 | 0:00:14 | |
He's going to buy a 10,000 wedding dress, you guys. | 0:00:14 | 0:00:18 | |
Project manager Tom Green failed to gain the respect of his team. | 0:00:18 | 0:00:22 | |
-Brian, can you help me with my zipper? -Absolutely not. | 0:00:22 | 0:00:27 | |
Vodka and cranberry. | 0:00:28 | 0:00:29 | |
Dennis' drinking binge derailed the team. | 0:00:29 | 0:00:32 | |
All he wanted to do was go around the neighbourhood, | 0:00:32 | 0:00:35 | |
having a little drink here and there. I don't know how that sells a wedding dress. | 0:00:35 | 0:00:39 | |
And sucked Tom into an all-night bender. | 0:00:39 | 0:00:42 | |
Are we going to go get a drink at the hotel? I'm ready. | 0:00:42 | 0:00:45 | |
The next morning, Tom got a wake-up call. | 0:00:47 | 0:00:50 | |
-Hey, mother -BLEEP -get the -BLEEP -up. | 0:00:50 | 0:00:53 | |
Our Project manager's still kind of little bit drunk. | 0:00:53 | 0:00:56 | |
What else could possibly go wrong? | 0:00:56 | 0:00:58 | |
Dennis's guy called, said he's having a lot of trouble | 0:00:58 | 0:01:01 | |
with his eyes and he's not going to come in. | 0:01:01 | 0:01:04 | |
With Tom hung-over and Dennis a complete no-show, | 0:01:05 | 0:01:08 | |
the team picked up the slack. | 0:01:08 | 0:01:10 | |
-You look damn good. -Why, thank you. | 0:01:10 | 0:01:13 | |
We said, "Let's go. We have a task to do. If it's going to be four of us, fine." | 0:01:13 | 0:01:17 | |
Athena's sales went off without a hitch. | 0:01:17 | 0:01:20 | |
-How much are you paying for a dress? 10,000. -10,000. | 0:01:20 | 0:01:25 | |
In the boardroom, the women scored yet another victory, | 0:01:25 | 0:01:29 | |
handing the men their third loss in a row. | 0:01:29 | 0:01:32 | |
Former playmate Brande Roderick became one of the biggest ever Apprentice money raisers. | 0:01:32 | 0:01:37 | |
You won 167,000 for your charity. | 0:01:37 | 0:01:42 | |
Tom and Dennis had their excuses but the team had had enough. | 0:01:42 | 0:01:45 | |
-Clint, who would you fire? -I'd fire both of them. | 0:01:45 | 0:01:48 | |
Frankly, you want to know the truth? | 0:01:48 | 0:01:50 | |
Tom, you were lousy last week, lousy this week. Tom, you're fired. Go. | 0:01:50 | 0:01:55 | |
-Try a little harder, will you, Dennis, please? -I will try. | 0:01:56 | 0:02:00 | |
-I will try. -Oh, my God. | 0:02:00 | 0:02:03 | |
-Tom got fired? -He fired Tom. -Oh, my God, that was brutal. -Dennis should have gone before Tom. | 0:02:10 | 0:02:17 | |
-Dennis. -Hey, what's up, what's up? -Survived another week. | 0:02:17 | 0:02:21 | |
-Oh, come on, man, it's all good. -That was hard to see. -Oh, that's easy. | 0:02:21 | 0:02:25 | |
I'm used to it, I'm used to it. | 0:02:25 | 0:02:27 | |
'There's three teams now.' | 0:02:27 | 0:02:29 | |
There's the girls' team, the guys' team, and my team. | 0:02:29 | 0:02:32 | |
That's what it seems to me. | 0:02:33 | 0:02:35 | |
And I think that one of the lessons that we all have to learn, | 0:02:35 | 0:02:38 | |
when you work for a boss you subordinate yourself to that boss. | 0:02:38 | 0:02:42 | |
He's your boss. You work for him. | 0:02:42 | 0:02:43 | |
And if we don't learn that on our team, | 0:02:43 | 0:02:46 | |
we're going to continue to lose. | 0:02:46 | 0:02:48 | |
A couple of these guys just don't understand what it is to work for a boss. | 0:02:48 | 0:02:53 | |
And I think that some of these guys | 0:02:53 | 0:02:56 | |
have been so in command of their own lives | 0:02:56 | 0:02:59 | |
and without a boss for so long that they don't get it yet. | 0:02:59 | 0:03:04 | |
We're not in our world. We're working for Donald Trump. | 0:03:04 | 0:03:07 | |
If I own a company and you work for me, I'm like this. | 0:03:07 | 0:03:10 | |
What do you want to tell me? What do you want to tell me? | 0:03:10 | 0:03:12 | |
If I were your boss and your eyes were bleeding, | 0:03:12 | 0:03:15 | |
I'd expect you to have three doctors tell me, or to show up anyway. | 0:03:15 | 0:03:19 | |
'The boys suck. They argue with each other.' | 0:03:19 | 0:03:22 | |
I don't know who's running the ship. | 0:03:22 | 0:03:24 | |
'And Dennis has some pretty difficult people to deal with on his team. Namely Clint Black.' | 0:03:24 | 0:03:29 | |
You can't work for me, right. I've got a company but you can't work for me for the way I am. | 0:03:29 | 0:03:33 | |
The men's team is falling apart | 0:03:33 | 0:03:35 | |
so we might be looking at another disaster about to happen. | 0:03:35 | 0:03:39 | |
You know what, you can't put me in a position with money and stuff. | 0:03:39 | 0:03:42 | |
You've got to put me in a position where I'm so good at it that this is what I do. | 0:03:42 | 0:03:46 | |
'Clint was trying to single me out. I'm used to being the black sheep.' | 0:03:46 | 0:03:50 | |
Even in the NBA, I was the one they would always target. | 0:03:50 | 0:03:53 | |
'Michael Jordan, greatest sports figure on the planet ever, he'll tell you,' | 0:03:53 | 0:03:57 | |
"Dennis will work with anybody." | 0:03:57 | 0:03:59 | |
So Clint can go to hell. | 0:03:59 | 0:04:01 | |
I could work for you. | 0:04:01 | 0:04:02 | |
I could work for you because if you were my boss I'd do whatever you tell me to do. | 0:04:02 | 0:04:06 | |
But I couldn't be your boss. | 0:04:06 | 0:04:07 | |
-I worked for harder guys than you, bro. -BLEEP -me. | 0:04:07 | 0:04:11 | |
I'll see you down the street. | 0:04:11 | 0:04:12 | |
# Money, money, money, money | 0:04:19 | 0:04:22 | |
# Money | 0:04:22 | 0:04:24 | |
# Money, money, money, money | 0:04:24 | 0:04:27 | |
# Money | 0:04:27 | 0:04:28 | |
# Some people got to have it | 0:04:28 | 0:04:32 | |
# Some people really need it | 0:04:34 | 0:04:37 | |
# Listen to me, y'all | 0:04:37 | 0:04:38 | |
# Do things, do things, do things, Bad things with it | 0:04:38 | 0:04:44 | |
# Dollar bills, y'all Come on | 0:04:46 | 0:04:49 | |
# That lean, oh, mean, mean green | 0:04:49 | 0:04:54 | |
# Almighty dollar | 0:04:54 | 0:04:57 | |
# Don't you know that, money | 0:04:57 | 0:05:01 | |
# Give me a nickel Brother, can you spare a dime? | 0:05:01 | 0:05:05 | |
# Money can drive some people out of their mind | 0:05:05 | 0:05:12 | |
# No good, no good | 0:05:12 | 0:05:16 | |
# Money, money, money, money | 0:05:16 | 0:05:19 | |
# Money. # | 0:05:19 | 0:05:21 | |
-Hi. -How are you? -I'm great. Thank you. -How you been? -Good. | 0:05:28 | 0:05:34 | |
I'm one of the celebrity advisers for California Police Youth Charities. | 0:05:34 | 0:05:39 | |
And I try to raise as much money as possible to bring programs to these children. | 0:05:39 | 0:05:44 | |
Like giving them scholarships, or taking them to a ball game | 0:05:44 | 0:05:47 | |
and going out there and cooking a hot dog for them. | 0:05:47 | 0:05:50 | |
And how are all the kids doing without me cooking their hot dogs for them? | 0:05:50 | 0:05:54 | |
There's complaints that the hot dogs aren't as good, but they miss you. | 0:05:54 | 0:05:59 | |
'Chris Eaton is the executive director of Californian Police Youth Charities. | 0:05:59 | 0:06:03 | |
'And he has an immense love for kids' | 0:06:03 | 0:06:06 | |
and really wants to do anything in his power to help them. | 0:06:06 | 0:06:09 | |
-So, there's something that I want to give you. -Uh-oh! | 0:06:09 | 0:06:13 | |
And this should be enough for hot dogs for a very, very long time. | 0:06:13 | 0:06:18 | |
-Can I look at this? -Yes, you can. | 0:06:18 | 0:06:21 | |
Oh, my God! Are you serious? | 0:06:21 | 0:06:25 | |
166,680. | 0:06:25 | 0:06:28 | |
That's unbelievable. | 0:06:28 | 0:06:30 | |
-Wow! -Isn't that cool? -Yeah! -Glad to do it. -Wow! | 0:06:30 | 0:06:36 | |
It was amazing, handing the cheque over. That's the reason I'm here. | 0:06:36 | 0:06:40 | |
So I can't wait to be able to go home and really see what that money's going to do. | 0:06:40 | 0:06:44 | |
Are you really going to eat that? | 0:06:44 | 0:06:46 | |
-Good morning. -Morning. | 0:06:58 | 0:07:02 | |
Welcome to Capitale, one of the great event spaces anywhere in New York City. | 0:07:02 | 0:07:06 | |
It's a terrific place and you're going to be working right here. | 0:07:06 | 0:07:10 | |
Athena, I understand that Joan will be gone all day. | 0:07:10 | 0:07:13 | |
She's in Dallas performing at a charity event | 0:07:13 | 0:07:16 | |
and she'll be back some time tomorrow. | 0:07:16 | 0:07:18 | |
I'm sure she'll be checking in with you. | 0:07:18 | 0:07:21 | |
Now, the telecommunications industry is a 1 trillion industry. | 0:07:21 | 0:07:27 | |
ACN is the largest distributor of video phones anywhere in the world. | 0:07:27 | 0:07:32 | |
They do half a billion dollars' worth of sales a year. | 0:07:32 | 0:07:35 | |
Very successful, very good guys. I've worked with them before. | 0:07:35 | 0:07:39 | |
To my right are Greg and Tony from ACN who will tell you what to do. | 0:07:39 | 0:07:43 | |
Greg. | 0:07:43 | 0:07:44 | |
We're very excited to be here, to have you help us | 0:07:44 | 0:07:47 | |
introduce to the world the new ACN videophone. | 0:07:47 | 0:07:51 | |
Your task is to launch this product to hundreds of ACN representatives. | 0:07:51 | 0:07:55 | |
They will vote for the team who conveys the highest excitement, | 0:07:55 | 0:07:59 | |
the highest level of energy, | 0:07:59 | 0:08:01 | |
and most importantly, the strongest emotional appeal for this product. | 0:08:01 | 0:08:05 | |
In other words, 500 salespeople from ACN are going to be judging you. | 0:08:05 | 0:08:10 | |
Whoever gets the most votes wins, all right? | 0:08:10 | 0:08:13 | |
Now, pick your project managers right now. | 0:08:13 | 0:08:15 | |
Brian, do you want it? All right. | 0:08:24 | 0:08:28 | |
Dennis, why aren't you in that group? You don't like this group. Why aren't you there? | 0:08:28 | 0:08:33 | |
-I'm right here. -Has Dennis had any influence picking the project manager? | 0:08:33 | 0:08:37 | |
No, they got it. They got it. | 0:08:37 | 0:08:39 | |
-He's a very independent person. OK. Who's the project manager? -Brian. | 0:08:39 | 0:08:43 | |
OK, Brian, I think you'll do a great job. | 0:08:43 | 0:08:45 | |
'I decided to be project manager because we've gotten our butts kicked. We have. | 0:08:45 | 0:08:50 | |
'This time we're staging an event.' | 0:08:50 | 0:08:52 | |
That's pretty much all my life for the last 20 years. | 0:08:52 | 0:08:55 | |
-OK, Athena, who is your project manager? -That'll be me. -Claudia. Very good. | 0:08:55 | 0:09:00 | |
'This task is probably suited to' | 0:09:00 | 0:09:03 | |
my capabilities and my strengths because I'm good at managing people. | 0:09:03 | 0:09:06 | |
Now, the project manager of the winning team | 0:09:06 | 0:09:10 | |
gets 20,000 for their charity. | 0:09:10 | 0:09:11 | |
All right? Don and Ivanka will be my eyes and ears. | 0:09:11 | 0:09:16 | |
They'll be following you, watching, reporting back. | 0:09:16 | 0:09:20 | |
OK? Now, the first thing you'll do is negotiate for which team will do their presentation first, | 0:09:20 | 0:09:25 | |
in the room where the event will take place. | 0:09:25 | 0:09:28 | |
Have a good time. Good luck, thank you. | 0:09:28 | 0:09:31 | |
It's an advantage to go second, you know that. | 0:09:34 | 0:09:38 | |
'After we got our task, the first thing we had to do | 0:09:38 | 0:09:40 | |
'was we had to negotiate' | 0:09:40 | 0:09:42 | |
for which time slot we would perform. | 0:09:42 | 0:09:44 | |
It was a little unusual because the boys were over off to the right. | 0:09:44 | 0:09:48 | |
And then Dennis Rodman was on the far left, sitting on the stairs, doing his own thing. | 0:09:48 | 0:09:52 | |
Team A, 11.30 presentation time. | 0:09:52 | 0:09:56 | |
We want to be B because I want the second presentation. | 0:09:56 | 0:09:59 | |
Shall we ask Dennis what he thinks? | 0:09:59 | 0:10:01 | |
Are you going to come help us or what? Come on. | 0:10:01 | 0:10:03 | |
Oh, you guys got it. Don't worry. | 0:10:03 | 0:10:05 | |
It's not what he does! | 0:10:05 | 0:10:07 | |
To represent us, we picked Annie. She is really tough. We picked her to go up against Clint. | 0:10:07 | 0:10:13 | |
Clint Black is like he's a dictator from hell. | 0:10:15 | 0:10:17 | |
-He is so clean living. He ain't gonna -BLEEP -with me. | 0:10:17 | 0:10:20 | |
-So what are you guys thinking? -We want this slot. | 0:10:20 | 0:10:23 | |
The second presentation. | 0:10:23 | 0:10:25 | |
We both want the same thing. We have to flip a coin. | 0:10:25 | 0:10:27 | |
Is that what you've decided? | 0:10:27 | 0:10:29 | |
If you're not going to budge we'll flip a coin. | 0:10:29 | 0:10:32 | |
-We're not going to budge. -OK. We're going to flip a coin. | 0:10:32 | 0:10:34 | |
-OK. -I'll let Clint call it. How about that? | 0:10:34 | 0:10:38 | |
-Hey, Clint Black. This is your -BLEEP -now. | 0:10:38 | 0:10:40 | |
-I want to see how good he is now. I want to see how -BLEEP -good he is now. | 0:10:40 | 0:10:44 | |
Tails. | 0:10:44 | 0:10:47 | |
-Hey, Clint Black. Let's -BLEEP BLEEP -! | 0:10:50 | 0:10:52 | |
-You think you're the -BLEEP -? -Do you... | 0:10:54 | 0:10:56 | |
-No, you think you're the -BLEEP -right, bro? -Do you think... | 0:10:56 | 0:10:59 | |
-You think you're the -BLEEP -right, bro? -Oh, my God! | 0:10:59 | 0:11:02 | |
-Do you think this is going to help? -Oh, -BLEEP -you, man. | 0:11:02 | 0:11:05 | |
At first I thought he was joking. | 0:11:05 | 0:11:07 | |
Then, "Oh, my God, he's serious." | 0:11:07 | 0:11:08 | |
-Think you're a -BLEEP -dictator, you know every -BLEEP -thing. | 0:11:08 | 0:11:11 | |
-It's a team -BLEEP -game. It's a team game. | 0:11:11 | 0:11:15 | |
-BLEEP -this. I don't need this -BLEEP -show. | 0:11:15 | 0:11:17 | |
It's a team game. | 0:11:21 | 0:11:23 | |
I wasn't going to let him make me walk away when he's in my face. There's just no way. | 0:11:32 | 0:11:36 | |
I didn't think there was a chance he'd lay his hands on me, but I wasn't going to let him... | 0:11:36 | 0:11:41 | |
He was getting ready to. | 0:11:41 | 0:11:43 | |
'Dennis really got in my face' | 0:11:43 | 0:11:45 | |
but I really believed that this was more talk | 0:11:45 | 0:11:48 | |
and he wasn't interested in hurting me. | 0:11:48 | 0:11:50 | |
You notice how he got in the face of the smallest dude on the team? | 0:11:50 | 0:11:54 | |
-Just saying. -I'm the smallest? -I think you are. | 0:11:56 | 0:11:59 | |
-20 bucks he comes back again. -Dennis is a wild card. | 0:11:59 | 0:12:02 | |
Dennis could be very useful if he chose to be part of the team. | 0:12:02 | 0:12:05 | |
But Dennis would rather be in Dennis Land. | 0:12:05 | 0:12:08 | |
Do you guys want to call Dennis? | 0:12:09 | 0:12:12 | |
I don't see how I can utilise him, to be honest with you. I'm tired of holding his hand. | 0:12:14 | 0:12:19 | |
And I knew that if I was project manager, | 0:12:19 | 0:12:21 | |
there's nothing we can do to rein him in. | 0:12:21 | 0:12:24 | |
I mean, it's your call, but... | 0:12:24 | 0:12:27 | |
So after this morning, being confrontational, I don't want to deal with that. | 0:12:28 | 0:12:33 | |
'I don't want Dennis here. | 0:12:33 | 0:12:35 | |
'We don't have anyone to be a babysitter.' | 0:12:35 | 0:12:38 | |
We could have won by now if Dennis had focused | 0:12:38 | 0:12:40 | |
and become a part of the team, but Dennis is not a team player. | 0:12:40 | 0:12:43 | |
Dennis wasn't a team player at basketball, but he was an extraordinary player. | 0:12:43 | 0:12:47 | |
Unfortunately, we're not playing basketball. | 0:12:47 | 0:12:50 | |
PHONE RINGS | 0:12:54 | 0:12:56 | |
It's ringing. | 0:12:56 | 0:12:58 | |
-Hi. -What's up? How you doing? | 0:13:00 | 0:13:03 | |
I have your beautiful face in the whole big screen. | 0:13:03 | 0:13:06 | |
'Our task this week is to launch a really exciting videophone' | 0:13:08 | 0:13:11 | |
in front of 450 sales reps. | 0:13:11 | 0:13:13 | |
So that's going to be pretty exciting, and scary and daunting, because I'm project manager. | 0:13:13 | 0:13:18 | |
So we have to do well. | 0:13:18 | 0:13:19 | |
Hello. I'm Greg, nice to meet you. | 0:13:19 | 0:13:24 | |
Hi, Khloe, how are you? | 0:13:24 | 0:13:26 | |
We set up a meeting with two of the executives from ACN. | 0:13:26 | 0:13:30 | |
They joined us and that was our time to kind of pick their brains | 0:13:30 | 0:13:33 | |
and see what they want out of us. | 0:13:33 | 0:13:35 | |
We'd love to hear from you guys exactly what kind of message you're trying to get across. | 0:13:35 | 0:13:41 | |
What we would like is an exciting, high-energy launch of this product. | 0:13:41 | 0:13:45 | |
Why would I want to have this product in my home? | 0:13:45 | 0:13:48 | |
How can I reconnect with someone that I haven't seen for a while? | 0:13:48 | 0:13:52 | |
They'll never want to go back to the old way of communicating long-distance. | 0:13:52 | 0:13:56 | |
You want to see the person you're speaking to. | 0:13:56 | 0:13:59 | |
Especially if they look good. I'm just saying! | 0:13:59 | 0:14:02 | |
The main focus is the emotional appeal for the product. | 0:14:02 | 0:14:07 | |
How exciting of a launch can you create? | 0:14:07 | 0:14:09 | |
How much emotional appeal can you draw into this presentation, | 0:14:09 | 0:14:14 | |
is what is going to get you the most votes. | 0:14:14 | 0:14:18 | |
Well, thanks for the info, guys, we appreciate it. | 0:14:18 | 0:14:20 | |
We're excited to see what you do. | 0:14:20 | 0:14:22 | |
Once we got our marching orders, | 0:14:22 | 0:14:23 | |
I said, "We've got this." | 0:14:23 | 0:14:25 | |
See you tomorrow. Thanks a lot. | 0:14:25 | 0:14:28 | |
We got a task we can sink our teeth into, brothers. | 0:14:30 | 0:14:33 | |
Hey, let's get organised real quick, the four of us. | 0:14:33 | 0:14:36 | |
Here's the thing, product launches are product launches. | 0:14:36 | 0:14:40 | |
They're a spectacle. They always have some kind of added thing, like a concert, you know. | 0:14:40 | 0:14:45 | |
"Here's Mariah Carey!" But wouldn't you just rather see Brian McKnight? | 0:14:45 | 0:14:49 | |
You know. | 0:14:49 | 0:14:50 | |
'As soon as we got the task, I told Brian,' | 0:14:52 | 0:14:55 | |
"Dude, you're playing. On this task, you're playing live, doing a set." | 0:14:55 | 0:14:59 | |
You're the highlight, a live show. | 0:14:59 | 0:15:01 | |
Ladies and gentlemen, Brian McKnight. | 0:15:01 | 0:15:03 | |
# Doon doon jikky doon doon jikky doon HE BEATBOXES | 0:15:03 | 0:15:07 | |
# Every time... # And I sing my song. Are you with me? | 0:15:07 | 0:15:09 | |
Our objective is to get them excited about the product. | 0:15:09 | 0:15:13 | |
So what's better than Brian McKnight to sing a song for you, how about that? | 0:15:13 | 0:15:18 | |
That's it. I like it. | 0:15:18 | 0:15:19 | |
Hey, guys. Are we going to have a brainstorming session on the ideas? | 0:15:19 | 0:15:22 | |
Well, we're doing that right now. | 0:15:22 | 0:15:24 | |
'Brian really didn't delegate any of the creative stuff to me, he and Jesse' | 0:15:26 | 0:15:31 | |
seem to be working on what the creative direction would be | 0:15:31 | 0:15:35 | |
so I just stayed out of it. | 0:15:35 | 0:15:37 | |
I got another good one. | 0:15:37 | 0:15:39 | |
Why don't we go see if there's a National Guard armoury | 0:15:39 | 0:15:41 | |
around here and film there and have people connecting with the troops? | 0:15:41 | 0:15:47 | |
'I told Brian, I wanted to produce a little video | 0:15:47 | 0:15:50 | |
'showing the phone in action' | 0:15:50 | 0:15:52 | |
and I wanted to do something military. | 0:15:52 | 0:15:54 | |
Hey, it is Jesse James calling. | 0:15:54 | 0:15:57 | |
If I say I'll do something, I'll figure out a way to do it. | 0:15:57 | 0:16:00 | |
I got a whole editor, editing suite, everything. | 0:16:00 | 0:16:03 | |
So if we can make it all the way to West Point and back and film this... | 0:16:03 | 0:16:07 | |
It's 50 miles away. | 0:16:07 | 0:16:09 | |
Obviously, it doesn't make sense to go to West Point, right? | 0:16:12 | 0:16:16 | |
We've got time. | 0:16:17 | 0:16:19 | |
OK, OK! | 0:16:19 | 0:16:21 | |
We're trying to create a feeling of magic. | 0:16:29 | 0:16:32 | |
These are the phones of the future, they're here now. | 0:16:32 | 0:16:36 | |
Are we going to be wanting to use video testimonials or content of some sort? | 0:16:36 | 0:16:41 | |
-Oh, can we... -No, do you WANT to? Do we have the time to shoot and edit? | 0:16:41 | 0:16:44 | |
'The product launch had to be very exciting, emotional, energetic' | 0:16:44 | 0:16:51 | |
and a stage show. That was the big kicker, the stage show part. | 0:16:51 | 0:16:56 | |
-So we're on the same page, let's run down what'll happen. -Can you tell me the three things? -Yes, I can. | 0:16:56 | 0:17:02 | |
OK. First is a mother and her child. | 0:17:02 | 0:17:05 | |
Husband is on a business trip... Or wife is. Either one you think is more powerful, we'll go with. | 0:17:05 | 0:17:10 | |
'So to create an emotional presentation | 0:17:10 | 0:17:13 | |
'we decided to write scenes showing families using the videophone.' | 0:17:13 | 0:17:17 | |
Some of it was going to be actors on stage. | 0:17:17 | 0:17:19 | |
In the other part we'd have actors on video that we pre-recorded. | 0:17:19 | 0:17:24 | |
So Mom should open with the history of the phone. | 0:17:24 | 0:17:26 | |
-So the open... -With the details of it. -..Is JR. | 0:17:26 | 0:17:30 | |
-It's seven-inch high-resolution digital screen phone. -Right. | 0:17:30 | 0:17:34 | |
Even though Mom's not here today, she will be tomorrow. | 0:17:34 | 0:17:37 | |
My mom's role in this she's going to open the show with something funny | 0:17:37 | 0:17:40 | |
and then she's going to work the audience | 0:17:40 | 0:17:42 | |
in-between vignette changes. | 0:17:42 | 0:17:44 | |
I don't think there's anyone better to host our presentation than Joan Rivers. | 0:17:44 | 0:17:48 | |
-Good morning, Mom. -Good morning. | 0:17:48 | 0:17:51 | |
-Let me let you talk to Claudia for a sec, OK? -Anything you want. | 0:17:51 | 0:17:54 | |
Hey, Miss Joan. Maybe you can prepare, like, three minutes of material. | 0:17:54 | 0:17:58 | |
She's performing it. You know you'll be performing, right? | 0:17:58 | 0:18:01 | |
-Oh, -now -I know it. -OK, I'm sorry. | 0:18:01 | 0:18:03 | |
Joan is flying in in the morning. | 0:18:03 | 0:18:06 | |
We need her, she's our point person. She'll give the presentation. | 0:18:06 | 0:18:09 | |
Joan's a pro, I really, really trust her comedic timing and her sense of what's funny. | 0:18:09 | 0:18:14 | |
-Thank you so much and we'll look for the e-mail. -OK, I'll start working. | 0:18:14 | 0:18:17 | |
-OK. -OK, goodbye, goodbye. -ALL: Bye. | 0:18:17 | 0:18:20 | |
OK, let's get some clarity because half of us think we're doing a re-enactment, half think a video. | 0:18:20 | 0:18:25 | |
I want to ask a question. I kept getting confused. | 0:18:25 | 0:18:28 | |
So the baby and the mom is on tape but on the other end | 0:18:28 | 0:18:31 | |
is the dad on the stage or is he on video? So I can be clear. | 0:18:31 | 0:18:36 | |
I would like to be able to do the ones we can do live cos it's probably more impactful. | 0:18:36 | 0:18:40 | |
But I don't want to leave a family one out. | 0:18:40 | 0:18:42 | |
'I've been frustrated a lot in the brainstorm sessions | 0:18:42 | 0:18:45 | |
'cos it's just crazy. | 0:18:45 | 0:18:47 | |
'I thought the whole thing was going to be taped.' | 0:18:47 | 0:18:50 | |
Then it went to tape-then-live, all live. | 0:18:50 | 0:18:52 | |
It was just confusion so I had to go back and be like, | 0:18:52 | 0:18:56 | |
"OK, what are we doing again?" | 0:18:56 | 0:18:57 | |
While we're here, I just need to see what's on stage and what's on there. | 0:18:57 | 0:19:02 | |
Maybe it would be more impactful if they were, "I wish I could see..." | 0:19:02 | 0:19:07 | |
That whole vibe, "I wish I could see you." "No, no." | 0:19:07 | 0:19:11 | |
We started trying to brainstorm ideas, thinking of what we'd do and there was no structure | 0:19:11 | 0:19:17 | |
and we didn't really know what was going on. | 0:19:17 | 0:19:19 | |
We really needed Joan for this task. | 0:19:19 | 0:19:21 | |
She was going to do the opening. She'll do the comedy act. | 0:19:21 | 0:19:25 | |
We needed something to liven this act up | 0:19:25 | 0:19:28 | |
and she was the person to do it. | 0:19:28 | 0:19:29 | |
-Go and talk to her right now. -OK. Damn it. | 0:19:34 | 0:19:36 | |
'So Melissa gets a phone call from Joan.' | 0:19:36 | 0:19:39 | |
Turns out that she will not be back in time for the presentation. | 0:19:39 | 0:19:44 | |
-I know, this is not good. -What, her plane gets IN at 10:30? -Yes. | 0:19:44 | 0:19:47 | |
She's good but I don't think anyone's that good. | 0:19:47 | 0:19:50 | |
So let's try to prepare for a Plan B, unfortunately. | 0:19:50 | 0:19:55 | |
Right now we're like the Patriots at the Superbowl without Tom Brady. | 0:19:55 | 0:20:00 | |
We have no quarterback right now. I'm going to stay calm. | 0:20:00 | 0:20:04 | |
So we left and headed over to West Point. | 0:20:13 | 0:20:16 | |
One thing that we want in our presentation, | 0:20:16 | 0:20:18 | |
we wanted it to be real. | 0:20:18 | 0:20:20 | |
So Jesse and me contacted someone up there that could get us in | 0:20:20 | 0:20:24 | |
and get us an opportunity to meet with some of the cadets and that's the way we started. | 0:20:24 | 0:20:28 | |
-Dennis, he's got a lot of problems. -Oh, gee. | 0:20:35 | 0:20:39 | |
-But I smell a little fumes on him. -Yeah. | 0:20:39 | 0:20:43 | |
How can he drink all the time? | 0:20:43 | 0:20:46 | |
'Dennis was a liability in the last task.' | 0:20:46 | 0:20:48 | |
If Dennis shows up, | 0:20:48 | 0:20:50 | |
I think the first thing Brian needs to do is talk to him. | 0:20:50 | 0:20:54 | |
He's got to evaluate him. If he feels that Dennis will be a liability, | 0:20:54 | 0:20:57 | |
he has to decide that he can't be here. | 0:20:57 | 0:21:00 | |
If he thinks Dennis is here to work, and be a part of the team, | 0:21:00 | 0:21:03 | |
he has to bring him back. | 0:21:03 | 0:21:05 | |
Poor Dennis, I think he has a lot of problems. | 0:21:05 | 0:21:08 | |
OK, now we have a quiet room, let's try to prepare for Plan B. | 0:21:16 | 0:21:22 | |
Let's get another comedian. | 0:21:22 | 0:21:23 | |
I don't want to replace Joan, I want her to do it. | 0:21:23 | 0:21:26 | |
This is a major presentation and Joan, who is my star, | 0:21:26 | 0:21:29 | |
is not going to make it back on time so we don't really know if | 0:21:29 | 0:21:33 | |
she's going to be up to speed by the time we go on stage. | 0:21:33 | 0:21:37 | |
Who knows? Stress! | 0:21:37 | 0:21:38 | |
When do you think she'll get done? At midnight? | 0:21:38 | 0:21:41 | |
I have a private plane. | 0:21:45 | 0:21:48 | |
They do my private travel on tour. | 0:21:48 | 0:21:49 | |
I need you to send a plane. | 0:21:49 | 0:21:52 | |
'I call them up and said, I need to get Joan Rivers from Dallas' | 0:21:52 | 0:21:55 | |
to New York at 10:30pm, can you help me? | 0:21:55 | 0:21:58 | |
They said, no problem. We're on it. | 0:21:58 | 0:22:00 | |
Thank you, Natalie, you're a hero. | 0:22:00 | 0:22:02 | |
ALL: Hi! | 0:22:08 | 0:22:09 | |
That's the kind of reaction I like to get | 0:22:09 | 0:22:11 | |
from a room full of women, this is perfect. | 0:22:11 | 0:22:13 | |
Don Junior's always a welcome sight | 0:22:13 | 0:22:15 | |
because I feel like he always has good things to say about us. | 0:22:15 | 0:22:17 | |
It's fun when he comes in the room. We like flirting with him. | 0:22:17 | 0:22:21 | |
The problem with you is you're making my job difficult. | 0:22:21 | 0:22:24 | |
I come here, everything is perfect. The men are a total disaster. | 0:22:24 | 0:22:26 | |
That throwdown today? | 0:22:26 | 0:22:29 | |
Clint is so small. | 0:22:29 | 0:22:32 | |
I missed it. | 0:22:32 | 0:22:33 | |
Let's re-enact it. | 0:22:33 | 0:22:36 | |
You're Dennis and I'm Clint. | 0:22:36 | 0:22:38 | |
'Brande and Tionne were re-enacting | 0:22:38 | 0:22:40 | |
'this morning's crazy drama when Dennis Rodman' | 0:22:40 | 0:22:42 | |
totally screamed on little Clint Black. | 0:22:42 | 0:22:46 | |
You think you're all that, you think this is about you! | 0:22:46 | 0:22:50 | |
You think you're all that! | 0:22:50 | 0:22:55 | |
I'm sick of this BLEEP! | 0:22:55 | 0:22:56 | |
You think you're better than me? You ain't BLEEP! | 0:22:56 | 0:23:02 | |
'The men's team is falling apart so for us to blow it' | 0:23:02 | 0:23:06 | |
against a team that is clearly a shambles... | 0:23:06 | 0:23:09 | |
We just can't blow this one. | 0:23:09 | 0:23:11 | |
So, what's going on? | 0:23:11 | 0:23:12 | |
-We're just going over some rehearsals. -Very nice. | 0:23:12 | 0:23:16 | |
'They seem really loose, joking with me and having a good time.' | 0:23:16 | 0:23:19 | |
They really seem to be working together on it. | 0:23:19 | 0:23:22 | |
Play that beginning for me again. | 0:23:24 | 0:23:26 | |
You want that da-dic-a-da-dic-a-da? | 0:23:26 | 0:23:29 | |
No, give me that, that's what I want at the top. | 0:23:29 | 0:23:32 | |
The thing I sang to you. | 0:23:32 | 0:23:34 | |
Do this for me, give me the top of that with just the synths. | 0:23:34 | 0:23:39 | |
It's always fun to make music. | 0:23:39 | 0:23:42 | |
This was an opportunity for me to use my talent and get it done. | 0:23:42 | 0:23:45 | |
After four bars of that, give me the four on the floor with that. | 0:23:45 | 0:23:49 | |
Brian, a question from me. | 0:23:51 | 0:23:53 | |
You're making a track for when all this other stuff is going on | 0:23:53 | 0:23:57 | |
and you've already written it? | 0:23:57 | 0:24:00 | |
I've already written it. | 0:24:00 | 0:24:01 | |
Yeah? | 0:24:01 | 0:24:03 | |
-Cos... Huh? -Yes. I just played it, just now. | 0:24:03 | 0:24:06 | |
All right. You want to bounce it off anyone, I'm happy to... | 0:24:08 | 0:24:12 | |
'I know Clint had some ideas, | 0:24:16 | 0:24:18 | |
'but Clint's show comes from a different place' | 0:24:18 | 0:24:20 | |
and I wasn't sure how many country music fans are going to be there. | 0:24:20 | 0:24:24 | |
It's not a democracy. It is a dictatorship. | 0:24:24 | 0:24:28 | |
Hey, Clint - call the choreographer, we need four dancers. Female. | 0:24:28 | 0:24:33 | |
You could even tell them what we need, musically. | 0:24:33 | 0:24:36 | |
I don't want to deal with that. | 0:24:36 | 0:24:38 | |
PHONE RINGS | 0:24:38 | 0:24:41 | |
-'This is Dan.' -Dan, Clint Black. | 0:24:41 | 0:24:43 | |
-'Hey there.' -You're helping us out with our presentation tomorrow. | 0:24:43 | 0:24:47 | |
-'That's right.' -Hey, Clint - I need a motif. -We need a motif. | 0:24:47 | 0:24:52 | |
-Just make a list. -Sorry, Dan - we're just multi-tasking here. | 0:24:52 | 0:24:56 | |
'I think Brian utilised me' | 0:24:56 | 0:24:57 | |
for something that just about anyone can do. | 0:24:57 | 0:25:00 | |
I think just about any bonehead can make phone calls and line people up. | 0:25:00 | 0:25:05 | |
And so all I have to do in this task | 0:25:05 | 0:25:07 | |
is rise to the level of bonehead so far. | 0:25:07 | 0:25:10 | |
Now, uh... | 0:25:10 | 0:25:11 | |
-I need drums, bass, guitar. -Hey Dan, hang on one second. | 0:25:11 | 0:25:15 | |
'I've produced one show after another for 20 years on tour,' | 0:25:15 | 0:25:21 | |
but I've been kind of kept in my little box, just making phone calls. | 0:25:21 | 0:25:25 | |
I need smoke machines, microphones, the lighting board and the lights... | 0:25:25 | 0:25:30 | |
and we will need stuff here today. | 0:25:30 | 0:25:33 | |
'It was a well-oiled machine for this particular task.' | 0:25:33 | 0:25:36 | |
I think finally everyone is learning how to take direction | 0:25:36 | 0:25:40 | |
from the leader and the leader is leading. | 0:25:40 | 0:25:44 | |
Two pizzas with extra cheese and sausage on them. | 0:25:44 | 0:25:48 | |
-Sausage and extra cheese, you've got it. Bye. -There you go, buddy. | 0:25:48 | 0:25:53 | |
(Good Lord!) | 0:25:55 | 0:25:57 | |
Claudia, we're doing it this way. | 0:26:02 | 0:26:04 | |
We're also banking on a suspension of disbelief. | 0:26:04 | 0:26:06 | |
The whole idea is even if it doesn't logically makes sense and the guy walks in and says now, | 0:26:06 | 0:26:10 | |
the whole place is going to go (SHE GASPS). | 0:26:10 | 0:26:14 | |
And get caught up in the moment. The point is the emotional payoff. | 0:26:14 | 0:26:17 | |
My gut says... | 0:26:17 | 0:26:20 | |
I agree, but I also feel like we're taking away from the phone, | 0:26:20 | 0:26:22 | |
they'll be like what the BLEEP does that have anything to do with... | 0:26:22 | 0:26:27 | |
'I feel like we need to be a lot further along at this point. | 0:26:28 | 0:26:31 | |
'Our team is woefully behind. | 0:26:31 | 0:26:33 | |
I'm trying to get it done so we know | 0:26:33 | 0:26:34 | |
what we need to do and shoot and get some... | 0:26:34 | 0:26:38 | |
form to what we need to have ready for the presentation. | 0:26:38 | 0:26:43 | |
Here's what I came up with as the vignettes. | 0:26:43 | 0:26:47 | |
The first one is either, "Say goodnight, Daddy", | 0:26:47 | 0:26:50 | |
"baby steps" or a son recapping a game to his dad. | 0:26:50 | 0:26:54 | |
'I don't think Claudia was leading the team' | 0:26:54 | 0:26:57 | |
and I was getting crazy. | 0:26:57 | 0:26:58 | |
I don't mean to keep throwing out ideas, but don't tell me | 0:26:58 | 0:27:01 | |
till you can give it to me clearly and succinctly. | 0:27:01 | 0:27:03 | |
If I could say something as project manager? | 0:27:03 | 0:27:06 | |
I understand you produce a lot of things and I think that's why you're getting frustrated, | 0:27:06 | 0:27:10 | |
-cos it's not everything you want... -No... -Wait, wait, Melissa. | 0:27:10 | 0:27:14 | |
Every time we come close, you throw in something else and BLEEP. | 0:27:14 | 0:27:18 | |
-I'm not married to any of my ideas. -I'm not trying to disrespect you... | 0:27:18 | 0:27:21 | |
I feel like I'm the one who has the hands-on technical experience. | 0:27:21 | 0:27:27 | |
'Oh, Melissa, Melissa, Melissa.' | 0:27:28 | 0:27:30 | |
She didn't even have to tell me | 0:27:30 | 0:27:32 | |
she was an only child to know that she is definitely one. | 0:27:32 | 0:27:35 | |
'She's a spoiled brat, we know this. | 0:27:35 | 0:27:37 | |
'Her job today, I'm sorry, it's not to be the boss.' | 0:27:37 | 0:27:39 | |
'I'm just getting a little frustrated, because we're all getting so ethereal, | 0:27:39 | 0:27:43 | |
-'other than what's realistic and we can pull off.' -Here's the thing... | 0:27:43 | 0:27:47 | |
We got so far away from the skits and then you came in reading copy. | 0:27:47 | 0:27:49 | |
I'm sorry if I wrote too fast. I took the idea and ran with it. | 0:27:49 | 0:27:54 | |
You're too good. | 0:27:54 | 0:27:56 | |
'I had to like, put her in her place, | 0:27:56 | 0:27:58 | |
because we were trying to come up with a plan. She keeps talking - everyone's confused. | 0:27:58 | 0:28:03 | |
I saw the frustration on Chloe's face, Natalie's face... People are shaking their heads. | 0:28:03 | 0:28:07 | |
I felt like I was letting my team down. | 0:28:07 | 0:28:09 | |
So I had to stand up to Melissa and tell her basically, | 0:28:09 | 0:28:12 | |
"shut up, be quiet, hold on". | 0:28:12 | 0:28:13 | |
She did not like that one bit. | 0:28:13 | 0:28:15 | |
This is what I do for a living. This is what I DO. | 0:28:15 | 0:28:21 | |
And you really talked down to me... | 0:28:21 | 0:28:24 | |
-You think -I -talked down to YOU? | 0:28:24 | 0:28:27 | |
It was very, like... OK. | 0:28:25 | 0:28:27 | |
'Claudia was trying to completely cut me out.' | 0:28:29 | 0:28:32 | |
It felt so personal that I was shocked. Shocked. | 0:28:32 | 0:28:39 | |
-You attacked what I do for a living. -I'm not attacking... | 0:28:39 | 0:28:42 | |
-That's what it felt like. Let's just stop now, because I just want to do my work. -I want you to. | 0:28:42 | 0:28:48 | |
'I don't like her personality, I think she looks funny,' | 0:28:48 | 0:28:50 | |
she scares me - is she happy or sad or pissed off? | 0:28:50 | 0:28:53 | |
It's the same blank look in her eyes. | 0:28:53 | 0:28:56 | |
'The forehead doesn't move and... If Joan Rivers wasn't around, | 0:28:56 | 0:28:58 | |
'there would be no Melissa Rivers on television' | 0:28:58 | 0:29:01 | |
or producing or anything, and that's a fact. | 0:29:01 | 0:29:03 | |
I believe that he is going to pick it up and deliver it. All right. | 0:29:09 | 0:29:13 | |
Dan, let me just verify a little more info. | 0:29:13 | 0:29:16 | |
I just want to make sure I understand what all my costs are going to be. | 0:29:16 | 0:29:19 | |
Dan, can I call you back? | 0:29:28 | 0:29:30 | |
I play professional sports and you got to always help each other out, | 0:29:37 | 0:29:40 | |
no matter what the situation - good, bad, ugly, whatever. | 0:29:40 | 0:29:43 | |
You got to help them out, bro. | 0:29:43 | 0:29:46 | |
I'm trying to be a team player right now. I'm not that big an ass. | 0:29:46 | 0:29:49 | |
Yeah, I'm still working. I'm still on the team trying to help a brother. | 0:29:49 | 0:29:53 | |
-That bit I can put in, I put in. -Hey, Brian? | 0:29:53 | 0:29:57 | |
We have a team member who returned and that's something | 0:29:59 | 0:30:03 | |
you'll have to figure out how to deal with. | 0:30:03 | 0:30:06 | |
He's a loose cannon. I'd rather he stay downstairs, or some place else. | 0:30:06 | 0:30:10 | |
In the NBA I was the one they always target, | 0:30:10 | 0:30:14 | |
but I didn't win six championships for no reason. | 0:30:14 | 0:30:16 | |
I'll go up there and do my thing, | 0:30:16 | 0:30:18 | |
if they want to use me, great, | 0:30:18 | 0:30:20 | |
if they don't, that's fine, too. | 0:30:20 | 0:30:23 | |
Hi, guys. How's it going, Brian? Everything going well? | 0:30:24 | 0:30:28 | |
Everything's going fine. I think because this is finally a task | 0:30:28 | 0:30:32 | |
that's a bit more on an even playing field. | 0:30:32 | 0:30:35 | |
Exciting things happening. Jesse's gone to film one thing, if we get that the right way... | 0:30:35 | 0:30:41 | |
-Hits home with everyone. It'll be awesome. -And Herschel... | 0:30:41 | 0:30:44 | |
-Is with Jesse. -OK. And that's it? | 0:30:44 | 0:30:47 | |
-I can't believe it. -That's it. | 0:30:47 | 0:30:50 | |
But we don't have a baby sitter. I don't know what to do with that. | 0:30:50 | 0:30:54 | |
I'll go and ask him what his thoughts are. | 0:30:54 | 0:30:57 | |
Dennis, why are you over there? | 0:30:57 | 0:30:59 | |
Come over and join the group. | 0:30:59 | 0:31:01 | |
'The boys, they are several men down.' | 0:31:03 | 0:31:05 | |
I think Brian should humble himself to a certain degree | 0:31:05 | 0:31:09 | |
and say Dennis, look, we can use you, I don't like you but we need you | 0:31:09 | 0:31:12 | |
and we'd appreciate you to actively join this task. | 0:31:12 | 0:31:17 | |
-Go help your team. -I offered earlier. He turned it back on me. | 0:31:17 | 0:31:21 | |
If they turn it back on me again, what do you want me to do? | 0:31:21 | 0:31:24 | |
Just sit here all day and do nothing? | 0:31:24 | 0:31:27 | |
Fair enough. | 0:31:27 | 0:31:28 | |
'If we lose this task, Brian can't blame it on me' | 0:31:28 | 0:31:32 | |
because when I came back | 0:31:32 | 0:31:34 | |
he took control of everything. | 0:31:34 | 0:31:37 | |
Good luck, hopefully you guys win. Take care. | 0:31:37 | 0:31:40 | |
I'm here as a team. So if anybody screwed this task up, | 0:31:40 | 0:31:46 | |
it's Brian, not Dennis Rodman. | 0:31:46 | 0:31:48 | |
-'This is Dan.' -Dan, Clint Black. What's the cash amount? | 0:31:50 | 0:31:55 | |
'The cash amount is 4821.19.' | 0:31:55 | 0:31:57 | |
OK, hang on. Brian, | 0:31:57 | 0:31:59 | |
we're being hit with a bill for about 4,800. | 0:31:59 | 0:32:02 | |
-For? -'Most of that is for the monitor system.' -Yeah. | 0:32:02 | 0:32:07 | |
About 4,800. | 0:32:10 | 0:32:11 | |
I can get the monitors if you want them. | 0:32:11 | 0:32:14 | |
-For free? -I can get them if you want them. -OK, hang on. | 0:32:14 | 0:32:18 | |
Brian, when Dennis speaks, | 0:32:18 | 0:32:21 | |
-he'll provide all that stuff without charging us? -Yep. | 0:32:21 | 0:32:25 | |
'I don't need the distraction. | 0:32:29 | 0:32:31 | |
'I didn't want him anywhere near here infecting our work site.' | 0:32:33 | 0:32:36 | |
I'm part of the team, I'm trying to help, brother, | 0:32:36 | 0:32:40 | |
so if you don't want to use my resources, fine. | 0:32:40 | 0:32:43 | |
If you go to a dictionary and look up drama | 0:32:43 | 0:32:46 | |
there is a picture of Dennis Rodman. | 0:32:46 | 0:32:47 | |
No definition necessary. | 0:32:47 | 0:32:50 | |
So I don't want Dennis here. | 0:32:50 | 0:32:51 | |
OK, this first piece, it's basically to show that this phone, | 0:32:51 | 0:32:55 | |
you can leave a video message. | 0:32:55 | 0:32:58 | |
So that's the first thing we have to film. | 0:32:58 | 0:33:00 | |
'So our team has decided' | 0:33:00 | 0:33:02 | |
to hire a production crew to shoot | 0:33:02 | 0:33:04 | |
part of the vignettes because it goes together | 0:33:04 | 0:33:07 | |
with what we'll be doing on stage. | 0:33:07 | 0:33:10 | |
BABY CRIES | 0:33:10 | 0:33:12 | |
So, as the saying goes in Hollywood, | 0:33:18 | 0:33:20 | |
never work with animals or babies. | 0:33:20 | 0:33:24 | |
So we're trying to get a kid to take two or three steps. | 0:33:24 | 0:33:27 | |
The clock is ticking, we don't have much time, and this kid is not co-operating. | 0:33:27 | 0:33:32 | |
I've already dealt with enough babies | 0:33:32 | 0:33:34 | |
and other words that begin with Bs on my team. | 0:33:34 | 0:33:38 | |
What's the matter? | 0:33:40 | 0:33:41 | |
'Oh my God, the room was chaos. | 0:33:43 | 0:33:48 | |
'The baby's screaming.' | 0:33:48 | 0:33:49 | |
And I'm just going, "What the hell is going on here?" | 0:33:49 | 0:33:52 | |
It was seriously like the seventh rung of hell! You know? | 0:33:52 | 0:33:57 | |
You want this? I'll be over here. | 0:33:57 | 0:34:01 | |
-Hey Khloe, why do you look stressed? -I'm not stressed. | 0:34:01 | 0:34:05 | |
I felt at that point this is going to be an embarrassing disaster. | 0:34:05 | 0:34:10 | |
OK, we're done. We're done with him. Let them go. Thank you. | 0:34:11 | 0:34:16 | |
It took us the better part of two hours to get up to West Point. | 0:34:18 | 0:34:22 | |
This is my way of working, | 0:34:22 | 0:34:25 | |
we don't know what we're going to do today and then we're at West Point. | 0:34:25 | 0:34:30 | |
Making it happen. | 0:34:30 | 0:34:32 | |
We could've easily said, screw it, | 0:34:32 | 0:34:34 | |
I don't want to go all the way up to West Point to film | 0:34:34 | 0:34:37 | |
but we've been getting spanked by the girls so we needed to do something | 0:34:37 | 0:34:41 | |
they can't do, and I guarantee none of them chicks | 0:34:41 | 0:34:45 | |
could get on this military base like I did. | 0:34:45 | 0:34:49 | |
It's pretty nice. | 0:34:54 | 0:34:57 | |
'Once we got there it kind of sucked | 0:34:57 | 0:35:00 | |
'because the place is so amazing' | 0:35:00 | 0:35:03 | |
but we had no time to check it out. | 0:35:03 | 0:35:05 | |
-How you doing? -How you doing? -Jesse James, nice to meet you. | 0:35:05 | 0:35:11 | |
'Once we got there I picked the one dude out to be the star | 0:35:11 | 0:35:14 | |
'cos he was the best looking dude of the bunch.' | 0:35:14 | 0:35:17 | |
-"OK, you're an actor now." -What do you think? | 0:35:17 | 0:35:21 | |
I think establishing the shot, he's at the angle. | 0:35:21 | 0:35:25 | |
-Here goes, guys. -Right. | 0:35:25 | 0:35:27 | |
Hi. How's it going? | 0:35:27 | 0:35:29 | |
-Good to see you, too, how are you doing? -Say, "I miss you". | 0:35:29 | 0:35:34 | |
-I miss you. -Now say, "Why did you sleep with my best friend?" | 0:35:34 | 0:35:37 | |
Now you're saying, "Why are you having Tyrone's baby?" | 0:35:39 | 0:35:42 | |
This could either look really cool, or really dumb, you never know. | 0:35:44 | 0:35:48 | |
But, hey, US Military West Point Academy cadets? | 0:35:48 | 0:35:52 | |
-You can't go wrong with that. -Did you enjoy it? | 0:35:52 | 0:35:55 | |
Clint, find out what's the biggest image we can project on the screen. | 0:36:01 | 0:36:06 | |
All right. | 0:36:06 | 0:36:08 | |
'We certainly could have used a fifth man' | 0:36:08 | 0:36:10 | |
but we needed a fifth man who was going to be productive | 0:36:10 | 0:36:13 | |
so I decided I'll just start prodding at him. | 0:36:13 | 0:36:17 | |
-What happened, Dennis? Where did we go wrong? -Doesn't even matter, buddy. | 0:36:17 | 0:36:23 | |
-I don't know where we went wrong. -A guy had a bad day | 0:36:23 | 0:36:27 | |
and he took it out on somebody. So what, that's it. | 0:36:27 | 0:36:31 | |
-Simple as that. You know? -You still taking me out to gay bars? | 0:36:31 | 0:36:35 | |
I'll take you anywhere you want to go, anywhere you want to go, bro! | 0:36:35 | 0:36:40 | |
'Dennis is kind of aloof but Dennis has a lot to offer' | 0:36:40 | 0:36:45 | |
and even if Dennis is making big mistakes | 0:36:45 | 0:36:48 | |
he can still pull a rabbit out of a hat. | 0:36:48 | 0:36:50 | |
Hey, it's Brande, I just want to let you know that we are on our way, OK? | 0:36:52 | 0:36:56 | |
So Brande and Tina, my homegirls, we're on our way to | 0:36:56 | 0:36:59 | |
the editing room, and Annie and Melissa and Khloe and Natalie | 0:36:59 | 0:37:04 | |
all went back to the space with the actors and the dancers. | 0:37:04 | 0:37:07 | |
They were going to run through it, | 0:37:07 | 0:37:08 | |
cos we have a taped out area on the stage. | 0:37:08 | 0:37:10 | |
'I cannot take any more of her little smug comments.' | 0:37:10 | 0:37:15 | |
"Guys, guys, I have 15 years experience of this. Guys, guys!" | 0:37:15 | 0:37:18 | |
-Why are you doing that? -That's how she BLEEP talks, | 0:37:18 | 0:37:21 | |
she doesn't move her bottom lip. | 0:37:21 | 0:37:22 | |
'OK, I'm really not that good at impressions | 0:37:22 | 0:37:25 | |
'but I think I got Melissa Rivers down.' | 0:37:25 | 0:37:28 | |
The eyes, nice and tight. | 0:37:28 | 0:37:31 | |
"Guys, guys, guys, guys." | 0:37:31 | 0:37:33 | |
She talks out of the side of her mouth, "Guys, guys, guys." | 0:37:33 | 0:37:37 | |
"Guys!" | 0:37:38 | 0:37:39 | |
"Guys." She never blinks either, did you notice that? | 0:37:39 | 0:37:42 | |
What the BLEEP is wrong with her? She never blinks. | 0:37:42 | 0:37:46 | |
She's like a ventriloquist, she never moves her mouth. "Guys." | 0:37:46 | 0:37:50 | |
You got me going there! | 0:37:50 | 0:37:52 | |
THEY CACKLE | 0:37:53 | 0:37:56 | |
So let's clear the chairs if you guys don't mind. | 0:37:57 | 0:38:01 | |
What happens is duh-duh-duh-du, 17 seconds. Joan, ta-dah! | 0:38:01 | 0:38:05 | |
Ladies, you are dismissed, then we have a two-minute monologue. | 0:38:05 | 0:38:09 | |
'Annie, Khloe, Natalie and myself wanted to walk through the show | 0:38:09 | 0:38:13 | |
'with the choreographer so that he can work' | 0:38:13 | 0:38:16 | |
with his dancers in the morning to get them tight and sharp. | 0:38:16 | 0:38:20 | |
The lights are going to drop. | 0:38:20 | 0:38:22 | |
MUSIC PLAYS | 0:38:22 | 0:38:24 | |
-And down. -OK, good, that's ten seconds. | 0:38:27 | 0:38:30 | |
The first part dancing is incredible. | 0:38:30 | 0:38:32 | |
'We really needed Melissa back on the task' | 0:38:32 | 0:38:35 | |
because she has all the experience at producing performances. | 0:38:35 | 0:38:39 | |
Khloe, don't you see how it flows better? | 0:38:39 | 0:38:42 | |
It's because of Melissa. | 0:38:42 | 0:38:44 | |
Thank God. | 0:38:44 | 0:38:45 | |
I am just working my ass off and doing the best | 0:38:47 | 0:38:49 | |
I can with what I'm allowed to do. | 0:38:49 | 0:38:51 | |
And you are, you're fine. | 0:38:51 | 0:38:53 | |
But I know I'm going to get attacked and it's just very, very hard | 0:38:53 | 0:38:57 | |
to stay motivated when you know that someone's going to attack you. | 0:38:57 | 0:39:01 | |
'Through this whole process I knew that | 0:39:17 | 0:39:20 | |
'I was going to get on that stage by myself.' | 0:39:20 | 0:39:22 | |
Once I got on stage whatever else didn't matter. | 0:39:22 | 0:39:24 | |
I knew I could have those people in the palm of my hand. | 0:39:24 | 0:39:27 | |
-Is this the dance floor for the dancers? -No. | 0:39:27 | 0:39:31 | |
-The dancers will be up here. -Is this everything? | 0:39:31 | 0:39:34 | |
'I'm 30 years in the entertainment business' | 0:39:34 | 0:39:36 | |
and I haven't been asked my opinion on any of the creative stuff. | 0:39:36 | 0:39:39 | |
I really do want to win, | 0:39:39 | 0:39:42 | |
but I really can't put myself into areas that I'm not asked about. | 0:39:42 | 0:39:45 | |
I'll see you all in the morning. I appreciate it. | 0:39:45 | 0:39:48 | |
Then I realised that I guess I'm fortunate | 0:39:48 | 0:39:51 | |
because I'm kind of enjoying my great lack of responsibilities. | 0:39:51 | 0:39:55 | |
It is now 4.40am, | 0:40:07 | 0:40:10 | |
I have just performed in Dallas this evening, | 0:40:10 | 0:40:12 | |
I got off stage at 11pm, | 0:40:12 | 0:40:14 | |
we got into the airport at 12, and here we are. | 0:40:14 | 0:40:17 | |
I'm going to be very cranky. | 0:40:18 | 0:40:20 | |
-I'm going to be... -SHE LAUGHS | 0:40:20 | 0:40:23 | |
..so bitchy. | 0:40:23 | 0:40:24 | |
Hi. | 0:40:36 | 0:40:37 | |
My mom has cue cards. | 0:40:37 | 0:40:39 | |
As long as you stand next to him, you're a unit. | 0:40:39 | 0:40:41 | |
Gorgeous. | 0:40:41 | 0:40:43 | |
This morning we got to Capitale | 0:40:43 | 0:40:46 | |
and I really didn't know Joan Rivers had made it back to New York. | 0:40:46 | 0:40:49 | |
When I saw her there, I was like, OK, this is going to be OK. | 0:40:49 | 0:40:52 | |
Joan Rivers, she's my ace in the hole. | 0:40:52 | 0:40:54 | |
One, two, one, two. | 0:40:54 | 0:40:56 | |
-Tell me when you're ready, Toni. -Ready, Joan? | 0:40:56 | 0:40:59 | |
I don't know which Greek philosopher said | 0:40:59 | 0:41:01 | |
that one picture speaks a thousand words, | 0:41:01 | 0:41:04 | |
but now thanks to the very new and very wonderful... | 0:41:04 | 0:41:07 | |
NOT YET! | 0:41:07 | 0:41:09 | |
That's the video. | 0:41:09 | 0:41:11 | |
And now I say... | 0:41:11 | 0:41:13 | |
FEEDBACK ON MICROPHONE | 0:41:13 | 0:41:17 | |
That's not good. | 0:41:17 | 0:41:19 | |
Nothing we can do. | 0:41:19 | 0:41:22 | |
Of the hour we had, it took us about 45 minutes | 0:41:22 | 0:41:25 | |
to get through the fricking thing once. | 0:41:25 | 0:41:28 | |
The feedback alone was just like, yeoooooow! | 0:41:28 | 0:41:30 | |
You know, in your ear and, oh! | 0:41:30 | 0:41:32 | |
Hi, sweetheart, it's me. | 0:41:32 | 0:41:35 | |
Cue actor. | 0:41:35 | 0:41:37 | |
Cue actor! Actor! | 0:41:37 | 0:41:40 | |
-ACTOR! -Come on, say something. | 0:41:40 | 0:41:43 | |
'That rehearsal was a nightmare. | 0:41:43 | 0:41:45 | |
'Claudia had to take control' | 0:41:45 | 0:41:47 | |
because that was going nowhere and it was never going to go anywhere | 0:41:47 | 0:41:50 | |
unless someone made sure that the chaos got under control. | 0:41:51 | 0:41:53 | |
I'm just nervous having seen the show. | 0:41:53 | 0:41:55 | |
Right now, the problems are the technical problems. That's them. | 0:41:55 | 0:41:59 | |
I just wish it was simpler, I wish the show were simpler. | 0:41:59 | 0:42:02 | |
It's really complicated, | 0:42:02 | 0:42:03 | |
there's lots of things to go wrong. | 0:42:03 | 0:42:05 | |
I was just like, oh, my God, this is a disaster. | 0:42:05 | 0:42:07 | |
OK, positions, please. | 0:42:07 | 0:42:09 | |
At the end, everyone on stage, even the actors. | 0:42:09 | 0:42:12 | |
Let's go, let's go, let's go! | 0:42:12 | 0:42:14 | |
'It's so confusing, there's so many different things happening. | 0:42:14 | 0:42:17 | |
'It's hard to keep up. | 0:42:17 | 0:42:19 | |
'I think our eyes are bigger than our stomach.' | 0:42:19 | 0:42:21 | |
We have many amazing ideas | 0:42:21 | 0:42:22 | |
with such a short amount of time to put them in. | 0:42:22 | 0:42:24 | |
So we should take that furniture off at the start | 0:42:24 | 0:42:27 | |
and have the dancers just on the stage. | 0:42:27 | 0:42:29 | |
-Yes. -I don't think it makes sense. -Yes. -Is that what we're doing? | 0:42:29 | 0:42:32 | |
I don't know, but you're right. | 0:42:32 | 0:42:34 | |
That's why I sat down. | 0:42:34 | 0:42:36 | |
I really couldn't care less at this point. | 0:42:36 | 0:42:39 | |
'It's frustrating to work with someone like Khloe, because as task manager, | 0:42:39 | 0:42:43 | |
'sure you're responsible for the task,' | 0:42:43 | 0:42:46 | |
not micro-managing grown women. | 0:42:46 | 0:42:49 | |
If we were all like Khloe, we'd get nothing done | 0:42:49 | 0:42:51 | |
and we wouldn't have won three in a row. | 0:42:51 | 0:42:53 | |
Everybody in positions, please. | 0:42:53 | 0:42:57 | |
18 minutes until we go on, everybody, 18 minutes. | 0:42:57 | 0:43:00 | |
Everyone's like this, happy happy, you all line up... | 0:43:00 | 0:43:03 | |
And take your bow, and then I say... | 0:43:03 | 0:43:05 | |
-..And then everyone leaves, you take your last bow and goodbye. -OK. | 0:43:05 | 0:43:10 | |
'We were very sceptical about' | 0:43:10 | 0:43:12 | |
how this was going to turn out, none of us had much hope at all, | 0:43:12 | 0:43:16 | |
and then something amazing happened. | 0:43:16 | 0:43:19 | |
Melissa put on her producing hat and started directing | 0:43:19 | 0:43:24 | |
and it started getting exciting. | 0:43:24 | 0:43:27 | |
I truly thought that we had a shot at this. | 0:43:27 | 0:43:31 | |
OK, guys, let's do it. | 0:43:31 | 0:43:33 | |
MUSIC | 0:43:33 | 0:43:36 | |
And, Mum, you clear yourself. Did it look OK from the front? | 0:43:47 | 0:43:51 | |
-It looks great. -OK, because I only have this much cord, | 0:43:51 | 0:43:54 | |
-so I can't see. -No, it's good. | 0:43:54 | 0:43:56 | |
'Melissa was good as a stage director,' | 0:43:56 | 0:43:59 | |
she loves being bossy, and why not use her strongest quality? | 0:43:59 | 0:44:02 | |
Creatively, no, not so much, | 0:44:02 | 0:44:05 | |
but telling people what to do? That's all Melissa. | 0:44:05 | 0:44:08 | |
Does everyone know where they're supposed to be and when - can I breathe? | 0:44:08 | 0:44:11 | |
Can I get my stage people to reset for number one? Thank you. | 0:44:11 | 0:44:17 | |
CHEERING AND APPLAUSE | 0:44:27 | 0:44:31 | |
Recently a friend of mine came up to see me, and he wanted to know, | 0:44:31 | 0:44:36 | |
"How do you stand there and speak to tens of thousands of people?" | 0:44:36 | 0:44:40 | |
And I said, "I hate the question, because I don't think about it, | 0:44:40 | 0:44:44 | |
"cos all it's going to do is make you a nervous wreck." | 0:44:44 | 0:44:47 | |
Now, Claudia and Brian, when they get up in front of ACN, | 0:44:47 | 0:44:51 | |
they know what they're doing, they're performers. | 0:44:51 | 0:44:54 | |
Actually, they're great performers, they're not even thinking about it. | 0:44:54 | 0:44:58 | |
-Everybody in position. -I need my mic. | 0:44:58 | 0:45:01 | |
Everybody in position, on my side of the stage? | 0:45:01 | 0:45:04 | |
Thank you, very much, thank you. | 0:45:07 | 0:45:08 | |
Sit down, everybody. OK, here's the story - | 0:45:08 | 0:45:11 | |
we have a men's team and a women's team, | 0:45:11 | 0:45:15 | |
and what I want you to do is pick the presentation | 0:45:15 | 0:45:20 | |
that you like better for the ACN videophone, | 0:45:20 | 0:45:24 | |
and you're going to vote at the end, | 0:45:24 | 0:45:26 | |
and you're going to determine which team wins and which team loses. | 0:45:26 | 0:45:31 | |
Then I'm going to take the team that loses | 0:45:31 | 0:45:33 | |
and fire the ass off somebody, OK? | 0:45:33 | 0:45:37 | |
Have a good time, everybody, thank you. | 0:45:37 | 0:45:40 | |
APPLAUSE AND CHEERING | 0:45:40 | 0:45:42 | |
Live, from the Ballroom Capitale, | 0:45:46 | 0:45:49 | |
Joan Rivers! | 0:45:49 | 0:45:52 | |
APPLAUSE | 0:45:52 | 0:45:55 | |
Hello, everybody, it's wonderful to meet you. | 0:46:01 | 0:46:04 | |
CHEERING | 0:46:04 | 0:46:06 | |
Fabulous, fabulous, fabulous. | 0:46:06 | 0:46:09 | |
I am privileged to stand here today and say thank you | 0:46:09 | 0:46:12 | |
to ACN for their new Iris 3000 videophone, it is so terrific! | 0:46:12 | 0:46:18 | |
CHEERING | 0:46:18 | 0:46:19 | |
It's a great phone, it's easy, it's terrific, | 0:46:19 | 0:46:22 | |
and we're going to show you what real people think about it, | 0:46:22 | 0:46:26 | |
so watch this first vignette - | 0:46:26 | 0:46:29 | |
real people, with a real, wonderful videophone at last. | 0:46:29 | 0:46:34 | |
Come here, baby. | 0:46:40 | 0:46:41 | |
Let's call Daddy, let's call Daddy. | 0:46:43 | 0:46:46 | |
'The first vignette was Baby Steps, | 0:46:46 | 0:46:48 | |
'and we had a pre-tape to make it a little bit easier.' | 0:46:48 | 0:46:51 | |
Let's go call Daddy. | 0:46:51 | 0:46:53 | |
'We showed a regular mum playing at home with the baby' | 0:46:53 | 0:46:56 | |
and wanting to share baby's first steps with the dad, | 0:46:56 | 0:46:59 | |
he's out of town on business. | 0:46:59 | 0:47:01 | |
-Oh, my God, he's so beautiful! -Say hi. | 0:47:01 | 0:47:04 | |
'It was cute, the baby messing up the phone, it made it endearing.' | 0:47:04 | 0:47:08 | |
I love you, bye! I've got to go. | 0:47:08 | 0:47:10 | |
OK, isn't that nice? Wait till he finds out it's not his kid. | 0:47:11 | 0:47:17 | |
But nonetheless... | 0:47:17 | 0:47:18 | |
That'll be another phone call in video. | 0:47:18 | 0:47:21 | |
'Joan Rivers is a true professional.' | 0:47:21 | 0:47:23 | |
If our team wins I owe a lot to Joan Rivers. | 0:47:23 | 0:47:26 | |
It has truly changed my life. | 0:47:26 | 0:47:28 | |
Let me just tell you, I am so non-techy, | 0:47:28 | 0:47:31 | |
but now because of you, | 0:47:31 | 0:47:32 | |
I can never ever again have to go to the gynaecologist - | 0:47:32 | 0:47:36 | |
do you know how wonderful that is? | 0:47:36 | 0:47:38 | |
LAUGHTER | 0:47:38 | 0:47:40 | |
He can examine me over the damn phone, I mean, this is fabulous! | 0:47:40 | 0:47:44 | |
LAUGHTER AND APPLAUSE | 0:47:44 | 0:47:47 | |
And seriously, let me tell you, I am so thrilled from now on | 0:47:48 | 0:47:53 | |
when I speak to people they can see my face - | 0:47:53 | 0:47:56 | |
I have spent 150,000 on this face. | 0:47:56 | 0:47:59 | |
LAUGHTER AND APPLAUSE | 0:47:59 | 0:48:03 | |
But, you know something? | 0:48:05 | 0:48:06 | |
Even if you've spent nothing on your face, | 0:48:06 | 0:48:08 | |
there's always someone that wants to see that face. | 0:48:08 | 0:48:11 | |
Watch this. | 0:48:11 | 0:48:14 | |
'I love Joan, she's rad, but you know,' | 0:48:14 | 0:48:16 | |
that presentation needed to | 0:48:16 | 0:48:18 | |
'get people's attention. I just don't see it happening.' | 0:48:18 | 0:48:21 | |
Hi, sweetheart, I need to talk to you right now, | 0:48:21 | 0:48:25 | |
so I've got a car downstairs for you, and I need you to get in it | 0:48:25 | 0:48:28 | |
and go wherever it takes you. | 0:48:28 | 0:48:31 | |
'We had a really dramatic scene with Brande getting | 0:48:31 | 0:48:34 | |
'a message from her boyfriend,' | 0:48:34 | 0:48:36 | |
"I need to see you now," | 0:48:36 | 0:48:37 | |
and she's not knowing if it's good or bad. | 0:48:37 | 0:48:39 | |
'The video ended with her being right in the audience.' | 0:48:39 | 0:48:42 | |
Hi, surprise, sweetheart. | 0:48:42 | 0:48:45 | |
What is going on? | 0:48:45 | 0:48:47 | |
I don't want to spend another minute without you. | 0:48:47 | 0:48:50 | |
I know this is a shock and not how I planned it originally, | 0:48:50 | 0:48:53 | |
but I figured it's a perfect time. | 0:48:53 | 0:48:55 | |
Will you make me the happiest man in the world and be my wife? | 0:48:55 | 0:48:59 | |
Yes! Yes! | 0:48:59 | 0:49:00 | |
CHEERING AND APPLAUSE | 0:49:00 | 0:49:02 | |
When our actor went to propose to Brande, I heard the audience erupt, | 0:49:02 | 0:49:07 | |
and the reaction | 0:49:07 | 0:49:08 | |
was all I needed to see to know that we nailed this. | 0:49:08 | 0:49:11 | |
CHEERING | 0:49:11 | 0:49:15 | |
Congratulations! Oh, that's so fabulous! | 0:49:18 | 0:49:21 | |
A Greek philosopher once said that one picture is worth 1,000 words. | 0:49:21 | 0:49:28 | |
Well now, thanks to the new Iris 3000, | 0:49:28 | 0:49:31 | |
that picture is worth a million words. | 0:49:31 | 0:49:35 | |
Come on up, everybody! | 0:49:35 | 0:49:37 | |
CHEERING AND APPLAUSE | 0:49:37 | 0:49:41 | |
'After the stage show I was like, "We won, period." | 0:49:50 | 0:49:54 | |
'Like, I don't know what the boys could do to beat that.' | 0:49:54 | 0:49:57 | |
What are they going to pull out of their ass to beat Joan Rivers? | 0:49:57 | 0:50:01 | |
-Killed it. -Great, great. | 0:50:01 | 0:50:05 | |
I know Melissa's probably going to take all the credit | 0:50:05 | 0:50:08 | |
for the success of this, she was good with managing the time, | 0:50:08 | 0:50:11 | |
but vision, any of that stuff - not her. | 0:50:11 | 0:50:14 | |
Perfect. | 0:50:14 | 0:50:15 | |
We have a ten-minute presentation to give to almost 500 sales associates | 0:50:26 | 0:50:31 | |
so we do our objective which is to give a demonstration | 0:50:31 | 0:50:34 | |
of the product, to get them excited about it. | 0:50:34 | 0:50:37 | |
I need it black to begin. OK, here we go. | 0:50:37 | 0:50:41 | |
TECHNO MUSIC | 0:50:48 | 0:50:52 | |
CHEERING AND APPLAUSE. | 0:51:03 | 0:51:05 | |
That's absolutely an advantage of going second. | 0:51:05 | 0:51:08 | |
When you go second, you're the last impression. | 0:51:08 | 0:51:12 | |
It's always best to close the show. | 0:51:12 | 0:51:16 | |
Good afternoon, ladies and gentlemen. I'm Clint Black. | 0:51:20 | 0:51:25 | |
Welcome to a very special event. The ACN videophone | 0:51:25 | 0:51:28 | |
is bringing our worlds together! | 0:51:28 | 0:51:30 | |
To me, to serve in the military is to express my patriotism | 0:51:32 | 0:51:36 | |
for my country and how proud I am to be an American. | 0:51:36 | 0:51:40 | |
This product will allow me to not only hear my family and friends | 0:51:40 | 0:51:43 | |
-but also see them up close and personal. -Hi, baby. | 0:51:43 | 0:51:47 | |
I think the video looked pretty good. | 0:51:47 | 0:51:50 | |
For less than 24 hours, to crank out something like that, edit it, | 0:51:50 | 0:51:55 | |
we got it done and I think it's cool. | 0:51:55 | 0:51:57 | |
I'll talk to you later. I love you. | 0:51:57 | 0:52:00 | |
My name is cadet captain Rich Kubu, I'm from Brookville, Maryland. | 0:52:00 | 0:52:04 | |
Keep it going, everybody. Welcome to the stage Mr Brian McKnight! | 0:52:09 | 0:52:15 | |
Are you ready for the future?! | 0:52:22 | 0:52:24 | |
If you're ready for the future, say yeah! | 0:52:24 | 0:52:27 | |
My name is Brian McKnight and I am so proud to be here with you today. | 0:52:27 | 0:52:32 | |
'This is what I do, I get on stage every night | 0:52:32 | 0:52:34 | |
'so I'm going to get up and be Brian McKnight today' | 0:52:34 | 0:52:38 | |
for the first time I've been here. | 0:52:38 | 0:52:40 | |
Are you ready to get down? | 0:52:40 | 0:52:41 | |
Woah! Come on! | 0:52:44 | 0:52:46 | |
# Every time we're close | 0:52:48 | 0:52:50 | |
# Feels like I'm burning with desire | 0:52:53 | 0:52:57 | |
# Feels like you've set my soul on fire. # | 0:53:04 | 0:53:08 | |
I was in the crowd doing the presentation with the audience | 0:53:10 | 0:53:14 | |
and they thoroughly enjoyed it because they got into it right away. | 0:53:14 | 0:53:18 | |
# Baby you got what I want Baby, you got what I need | 0:53:20 | 0:53:25 | |
# Baby it's all I've been waiting for, for sure... # | 0:53:25 | 0:53:29 | |
I've never bought a Brian McKnight album but that was pretty awesome. | 0:53:35 | 0:53:39 | |
I think Brian hit it out of the park today. | 0:53:39 | 0:53:41 | |
Up there on the stage pumping that crowd up, how can you not like that? | 0:53:41 | 0:53:45 | |
# Please believe me | 0:53:48 | 0:53:49 | |
# I've never felt nothin' like | 0:53:50 | 0:53:54 | |
# When you're lovin' me... # | 0:53:54 | 0:53:58 | |
My point of view? I think Brian thinks | 0:53:58 | 0:54:00 | |
this is an opportunity to sell records, and make him shine now. | 0:54:00 | 0:54:05 | |
That's what I think. I've nothing to do with it. | 0:54:05 | 0:54:07 | |
Brian thinks that he's Quincy Jones, so knock yourself out! | 0:54:07 | 0:54:13 | |
# When you're lovin' me. # | 0:54:13 | 0:54:17 | |
Thank you so much. Everybody! | 0:54:24 | 0:54:27 | |
Come on now, put your hands in the air. | 0:54:27 | 0:54:31 | |
Come on now. Everybody now. | 0:54:31 | 0:54:34 | |
I think the men's team staged an incredible concert. | 0:54:43 | 0:54:47 | |
I think our show had more emotion and more heart and was real. | 0:54:47 | 0:54:52 | |
I'm not sure if dancing around | 0:54:52 | 0:54:54 | |
and going like this at the phone is selling the product. | 0:54:54 | 0:54:58 | |
I give to you ACN videophones. God bless you. | 0:54:58 | 0:55:04 | |
We pumped them up for their company | 0:55:12 | 0:55:14 | |
so much that they chanted their company's three letters. | 0:55:14 | 0:55:18 | |
That's pretty good, I think. | 0:55:19 | 0:55:21 | |
CHEERING | 0:55:21 | 0:55:25 | |
Boy! They have a tough call to make, don't they? | 0:55:27 | 0:55:32 | |
The second one has excitement, which is the music. | 0:55:32 | 0:55:35 | |
The beginning of it was really bold. | 0:55:35 | 0:55:38 | |
If they took Joan's presentation instead of the stage vignette, | 0:55:38 | 0:55:41 | |
put in the real video from the other one, | 0:55:41 | 0:55:44 | |
it would make hers look more professional and then hers would've been perfect. | 0:55:44 | 0:55:48 | |
A tough choice. | 0:55:48 | 0:55:49 | |
MUSIC BUILDS | 0:56:10 | 0:56:17 | |
-Claudia, how do you think you did? -I think we did a good job. | 0:56:18 | 0:56:21 | |
-Do you think you won? -I certainly hope so, especially today. | 0:56:21 | 0:56:24 | |
Why do you think you won? | 0:56:24 | 0:56:26 | |
Well, I feel that the point was made that it was important to evoke some kind of emotion | 0:56:26 | 0:56:30 | |
and I feel like we did that in our presentation. | 0:56:30 | 0:56:34 | |
-Brian, how do you think your team did? -I thought we did great. | 0:56:34 | 0:56:38 | |
-Really great. -You think you won? -I think we won. | 0:56:38 | 0:56:40 | |
-You sure? You've been getting trounced, right, by the women? -We have. | 0:56:40 | 0:56:44 | |
We've gotten our asses handed to us every time. | 0:56:44 | 0:56:47 | |
But, I think, this time... | 0:56:47 | 0:56:48 | |
-Did you work as a team? -Most of us. | 0:56:48 | 0:56:50 | |
What does that mean? | 0:56:52 | 0:56:54 | |
Something happened yesterday with Dennis and Clint. | 0:56:54 | 0:56:56 | |
-I'm not sure what it was. -Clint? | 0:56:56 | 0:56:59 | |
You know, I tried to reach out an olive branch to Dennis. | 0:56:59 | 0:57:03 | |
Just be playful and let him know that I'm not taking that stuff seriously. | 0:57:03 | 0:57:07 | |
Whatever he had going on toward me wasn't going to stick with me | 0:57:07 | 0:57:11 | |
and make any difference on how I treated him. | 0:57:11 | 0:57:13 | |
Did it work? Did you and Dennis bond a bit? | 0:57:13 | 0:57:16 | |
I think Dennis and I are going to hit the gay bars again, yeah. | 0:57:16 | 0:57:19 | |
MUTED LAUGHTER | 0:57:19 | 0:57:21 | |
I'm not sure about this. Now, Dennis. How did you get along with Clint? | 0:57:23 | 0:57:27 | |
Easy. I told him, we're going to be friends no matter what, brother. | 0:57:27 | 0:57:31 | |
-How do you get along with Brian? -I get along with Brian. -I heard you didn't. | 0:57:31 | 0:57:36 | |
Or I heard Brian didn't want to use you. At all. | 0:57:36 | 0:57:39 | |
-I don't know why. -Why didn't you want to use Dennis, Brian? | 0:57:39 | 0:57:42 | |
Once Dennis got confrontational with Clint yesterday morning, | 0:57:42 | 0:57:46 | |
we don't have enough people to have a babysitter for Dennis. I needed everybody to do the task. | 0:57:46 | 0:57:50 | |
-You actually think he needs a babysitter? -Sometimes, yes. | 0:57:50 | 0:57:55 | |
Brian, what was the origin of the original conflict? | 0:57:55 | 0:57:57 | |
-Why did Denis walk away to begin with? -I have no idea. | 0:57:57 | 0:58:01 | |
When the coin toss happened and Annie and Clint were there, | 0:58:01 | 0:58:04 | |
the next thing I know Dennis's hands were in Clint's face | 0:58:04 | 0:58:07 | |
and he was violating Clint's personal space, almost to the point where they were about to fight. | 0:58:07 | 0:58:13 | |
-I don't think Clint was worried, were you? -I almost got on a chair and decked him, I have to say. | 0:58:13 | 0:58:18 | |
What was the origin of that, though? | 0:58:18 | 0:58:20 | |
What specifically did you do to Dennis or vice versa to cause the outburst? | 0:58:20 | 0:58:26 | |
-Dennis will have to explain it. -Dennis, explain it. What happened? | 0:58:26 | 0:58:30 | |
It was nothing. You know me as well as anybody, Donald. | 0:58:30 | 0:58:34 | |
I never fought anybody at NBA. Never. Never laid a hand on anybody at NBA. | 0:58:34 | 0:58:39 | |
Do I get along well with people? Very, very well. I think my record shows that. | 0:58:39 | 0:58:44 | |
Clint, if your team lost, who's to blame? | 0:58:44 | 0:58:47 | |
-that's a good question. -That's why I asked it! -Yeah. It's... | 0:58:47 | 0:58:50 | |
I don't have a great answer, but... | 0:58:50 | 0:58:54 | |
-Dennis is raising his hand. -I think... Oh. -Go ahead, Dennis. | 0:58:54 | 0:58:57 | |
-If you don't have a great answer, we don't want to hear it. -Mediocre. -Good. Dennis. | 0:58:57 | 0:59:02 | |
If we lost this whole task, you know what? | 0:59:02 | 0:59:04 | |
Everyone is going to see that they going to point it at me. | 0:59:04 | 0:59:08 | |
-Guess what? I wasn't involved. -No, no. | 0:59:08 | 0:59:09 | |
You have such a persecution complex. Nobody is pointing at you. | 0:59:09 | 0:59:14 | |
I just asked a question. | 0:59:14 | 0:59:16 | |
-Let's go back to Clint. -All right. -Who's to blame? | 0:59:16 | 0:59:20 | |
I think that Brian really took command of where this presentation was going. | 0:59:20 | 0:59:25 | |
-He delegated. -For better or worse. -For better or worse, he delegated. | 0:59:25 | 0:59:28 | |
OK, so you'd blame Brian as well as give him credit. | 0:59:28 | 0:59:31 | |
I don't think I'd blame Brian, I think Brian would take responsibility for the task. | 0:59:31 | 0:59:36 | |
-You think that's true, Brian? -Absolutely. -If you lost, should I fire you? -Absolutely. | 0:59:36 | 0:59:41 | |
-Not Dennis because he was a little difficult? -It was my decision not to involve Dennis. -OK. | 0:59:41 | 0:59:46 | |
That's brave, but obviously you think you won so you're not worried about it. Herschel? | 0:59:46 | 0:59:50 | |
What do you think of the team? | 0:59:50 | 0:59:52 | |
I think the team came together. | 0:59:52 | 0:59:54 | |
You may be the only one who could take Dennis in a fight. You know that, Herschel? | 0:59:54 | 1:00:00 | |
-I never worry about it. -You're a pretty tough cookie. | 1:00:00 | 1:00:04 | |
-I don't know, Jesse is looking up. -I'll fight him right now. -What do you think? | 1:00:04 | 1:00:08 | |
-Do you think you could handle him? -Hell, yeah. I know his weak spot. | 1:00:08 | 1:00:13 | |
-OK. Who was the star of your team, Claudia? -Joan Rivers. -Do you think? | 1:00:13 | 1:00:17 | |
She wasn't around for much of the brainstorming but she just got it immediately. | 1:00:17 | 1:00:23 | |
-I had no worries about her being able to perform. -And I heard Melissa | 1:00:23 | 1:00:27 | |
was very strong and talented in many ways also. | 1:00:27 | 1:00:30 | |
She has experience in this field so she has some strong opinions. | 1:00:30 | 1:00:32 | |
-Was she fully utilised in the right capacity given that's what she does for a living? -I think she was. | 1:00:32 | 1:00:38 | |
Melissa, what do you have to say? | 1:00:38 | 1:00:41 | |
I don't think I was fully utilised in that capacity. | 1:00:41 | 1:00:43 | |
I have 15 years of experience doing this | 1:00:43 | 1:00:46 | |
and, not taking anything away from Claudia, | 1:00:46 | 1:00:50 | |
but sometimes you have to say, "you know what you're doing, you organise it, you go, | 1:00:50 | 1:00:53 | |
"and you oversee everything." | 1:00:53 | 1:00:55 | |
-Annie. What do you think? -It was total chaos. Definitely the most chaotic task that we've done. | 1:00:55 | 1:01:00 | |
If you lose, whose fault is it? | 1:01:00 | 1:01:04 | |
Given how incredibly chaotic the room was, | 1:01:04 | 1:01:06 | |
I would have to say that, in this case, it would be the project manager. | 1:01:06 | 1:01:09 | |
Claudia, how do you respond? | 1:01:09 | 1:01:12 | |
I expect this because the way I thought would make this more harmonious, | 1:01:12 | 1:01:17 | |
which I think is important in our team which is why we've been winning, | 1:01:17 | 1:01:21 | |
was to keep the temperament good. | 1:01:21 | 1:01:22 | |
-So, who was your biggest problem? -Melissa. | 1:01:22 | 1:01:25 | |
I feel like there's two ways of looking at it. | 1:01:25 | 1:01:28 | |
You can look at Melissa and say she's a good leader | 1:01:28 | 1:01:32 | |
-or you say she was out of bounds. -Can I just say something? | 1:01:32 | 1:01:34 | |
Let me finish. | 1:01:34 | 1:01:36 | |
Did I not come back immediately and say to you, I've been out of bounds, I am sorry, | 1:01:36 | 1:01:39 | |
and say, "You are my executive producer and I will do everything you ask me to do 100%." | 1:01:39 | 1:01:44 | |
I completely rolled over and said, lead me. | 1:01:44 | 1:01:48 | |
-Just like when we were trying to get things done, it's this kind of jumping in. -She's a strong person. | 1:01:48 | 1:01:54 | |
-She is. And I give her props. -It would be hard for you to produce a weak child, don't you think? | 1:01:54 | 1:02:00 | |
-Go ahead. -I feel like every time I went to tell her something, she cannot take criticism at all. | 1:02:00 | 1:02:06 | |
-You tell her something and it's like she's not even listening. -Oh my God! Claudia! | 1:02:06 | 1:02:09 | |
-She goes and tells... -This is so... Such bull BLEEP. | 1:02:09 | 1:02:13 | |
It's not because she is my child, | 1:02:16 | 1:02:19 | |
I'm being very honest. The weakest link in this group is Claudia. | 1:02:19 | 1:02:24 | |
Claudia is a musher. | 1:02:24 | 1:02:26 | |
She's not direct, she doesn't take hold, she doesn't get what's important at the moment. | 1:02:26 | 1:02:32 | |
That's what a leader has to do. | 1:02:32 | 1:02:34 | |
She's a very nice girl. She's mushy. She spent the day... | 1:02:34 | 1:02:37 | |
-Joan, no disrespect but you weren't there yesterday. -I'm talking about today. | 1:02:37 | 1:02:41 | |
-Somebody had to get the show on its feet. -Let me talk. | 1:02:41 | 1:02:44 | |
Claudia, who called the show? Melissa. | 1:02:44 | 1:02:47 | |
Who got the things going? Melissa. | 1:02:47 | 1:02:49 | |
Who told everybody, we have to take the timing? Melissa. | 1:02:49 | 1:02:53 | |
Who lined the BLEEP show up and did it? Melissa. | 1:02:53 | 1:02:56 | |
She became the stage manager. | 1:02:56 | 1:02:58 | |
Melissa is good with technical things. That's the only way... OK. I need to say something. | 1:02:58 | 1:03:02 | |
I wrote the whole freaking show, basically. | 1:03:02 | 1:03:04 | |
Can I speak? This is how it was! | 1:03:04 | 1:03:05 | |
-Dennis, do you believe this? Do you believe this? -Yes, I do. | 1:03:05 | 1:03:09 | |
I've been waiting for it. | 1:03:09 | 1:03:11 | |
Can I say one thing? | 1:03:11 | 1:03:12 | |
-It's sort of fun, Dennis, isn't it? -I love it, baby. | 1:03:12 | 1:03:16 | |
-Natalie, do you think the team won? -I don't know. | 1:03:16 | 1:03:19 | |
I think we won. Can I just say that? I think we won. | 1:03:19 | 1:03:22 | |
-Why? -I thought it was fantastic. | 1:03:22 | 1:03:25 | |
If you didn't win, your husband is going to be damned pissed off at you. Was that an actor? | 1:03:25 | 1:03:30 | |
-Yes, I hired a cute boy to play my husband. -He gave you a pretty hard kiss, didn't he? | 1:03:30 | 1:03:35 | |
That's OK with me. | 1:03:35 | 1:03:37 | |
-Your husband is not going to like what he saw. -Sorry, honey. | 1:03:37 | 1:03:40 | |
I saw those lips lock and you looked like you were enjoying it. | 1:03:40 | 1:03:45 | |
Ivanka, what were some of the comments made about the teams? | 1:03:46 | 1:03:51 | |
These are some of the comments from the sales force at ACN about the boys' team. | 1:03:51 | 1:03:55 | |
"Hot girls dancing with our videophones. Nuff said." | 1:03:55 | 1:04:00 | |
Another comment was, "Brian McKnight, need I say more?" | 1:04:00 | 1:04:04 | |
A third comment was, "second presentation rocked." | 1:04:04 | 1:04:09 | |
What did you hear? | 1:04:09 | 1:04:11 | |
The men were very entertaining but they didn't focus enough on the product. | 1:04:11 | 1:04:15 | |
They couldn't tell what the men were selling. | 1:04:15 | 1:04:18 | |
"Joan was funny, engaging and had several examples of the video in use." | 1:04:18 | 1:04:23 | |
"Not shocked at all." Another, "Joan Rivers is awesome!" | 1:04:23 | 1:04:27 | |
That's nice. | 1:04:27 | 1:04:28 | |
OK. Are you ready? | 1:04:28 | 1:04:31 | |
Yes. | 1:04:31 | 1:04:33 | |
The people that watched you, a large audience, | 1:04:37 | 1:04:40 | |
voted almost 85% in favour of one team. | 1:04:40 | 1:04:47 | |
So it wasn't even close. Wasn't even close. | 1:04:47 | 1:04:49 | |
The men absolutely easily defeated the women. | 1:04:51 | 1:04:56 | |
They were great. I watched the presentations. | 1:04:56 | 1:04:59 | |
You were great, Brian. The whole team was terrific | 1:04:59 | 1:05:02 | |
so, the men were really outstanding. | 1:05:02 | 1:05:05 | |
And Brian, as you know, for your charity, what is your charity? | 1:05:05 | 1:05:09 | |
It's YouthBuild USA. | 1:05:09 | 1:05:11 | |
It's an agency that puts kids into group homes and foster care. | 1:05:11 | 1:05:15 | |
-Well, that sounds great and you're getting 20,000, OK? -OK. | 1:05:15 | 1:05:19 | |
Go to your suite at Trump Tower. | 1:05:19 | 1:05:21 | |
And, if you want, you can watch what's going to happen. | 1:05:21 | 1:05:24 | |
MAN MIAOWS | 1:05:24 | 1:05:27 | |
Sadly, somebody's going to be fired. | 1:05:31 | 1:05:34 | |
Too much! | 1:05:40 | 1:05:41 | |
I'm going to pop open some champagne on our first win | 1:05:41 | 1:05:44 | |
after three weeks of this losing. | 1:05:44 | 1:05:46 | |
I knew, when I saw how many women | 1:05:46 | 1:05:49 | |
were in that audience, I had them right here, baby! | 1:05:49 | 1:05:52 | |
'This week our team won the task and I get money for my charity,' | 1:05:52 | 1:05:55 | |
which is YouthBuild USA. | 1:05:55 | 1:05:57 | |
They provide foster care. | 1:05:57 | 1:05:59 | |
The kids we've helped in the past are adults. | 1:05:59 | 1:06:02 | |
They'd have different lives, if not for this programme. | 1:06:02 | 1:06:04 | |
So it's great to have a hand in the life of a young person. | 1:06:04 | 1:06:08 | |
I'll drink to that! | 1:06:08 | 1:06:11 | |
-Can we turn the volume up? -This will be funny. | 1:06:11 | 1:06:14 | |
So, to be specific, the numbers were 386 to 61, Claudia. | 1:06:14 | 1:06:20 | |
-It's pretty big. -It's horrible. -That's a big difference. | 1:06:20 | 1:06:23 | |
You know, it's tough when it's close | 1:06:23 | 1:06:25 | |
and you really don't have a winner but have to pick a winner. | 1:06:25 | 1:06:29 | |
This one wasn't close and the men did a fantastic job | 1:06:29 | 1:06:32 | |
but with Clint and with Brian... | 1:06:32 | 1:06:34 | |
I don't know, maybe they had an advantage, but they were fantastic. | 1:06:34 | 1:06:38 | |
I thought that with Clint and Brian you have veteran performers | 1:06:38 | 1:06:42 | |
who have mounted large-scale multimedia performances before. | 1:06:42 | 1:06:47 | |
-They had working knowledge at their fingertips. -Yes. They were great. | 1:06:47 | 1:06:51 | |
-We had a pro director, baby! -Ha! | 1:06:51 | 1:06:53 | |
They were at a gross disadvantage this time. I'm just saying! | 1:06:53 | 1:06:58 | |
There was only four of us but we had Brian McKnight. | 1:06:58 | 1:07:02 | |
-So, are you surprised, Annie? -This morning I was 100% sure we'd lose. | 1:07:02 | 1:07:06 | |
When I saw how great Joan was I became much less sure | 1:07:06 | 1:07:11 | |
and thought we had a chance to win. | 1:07:11 | 1:07:13 | |
The thing is that, | 1:07:13 | 1:07:15 | |
as much as I didn't have much to do with the production, | 1:07:15 | 1:07:18 | |
I felt it was getting scattered | 1:07:18 | 1:07:20 | |
because these vignettes were just too much to get a focus. | 1:07:20 | 1:07:23 | |
They had lost the concept that it was a product launch, in the end. | 1:07:23 | 1:07:27 | |
The vignettes were so cheesy! | 1:07:27 | 1:07:28 | |
All the comments reinforced this idea that the vignettes were boring | 1:07:28 | 1:07:32 | |
but Joan was phenomenal. | 1:07:32 | 1:07:33 | |
Whose idea was it to do a vignette, as opposed to a film as the men did? | 1:07:33 | 1:07:37 | |
We were all kind of on the same page about that. | 1:07:37 | 1:07:41 | |
Tionne, do you take responsibility for this, | 1:07:41 | 1:07:44 | |
in that the two great singers on the men's team helped | 1:07:44 | 1:07:48 | |
and you're a great singer and you lost? Do you take any responsibility for this loss? | 1:07:48 | 1:07:53 | |
If it was about putting up a concert, I would have loved to. | 1:07:53 | 1:07:56 | |
I thought it was more concentrating on the emotion. | 1:07:56 | 1:08:00 | |
I love your music. It's great. | 1:08:00 | 1:08:02 | |
Claudia, why didn't you have Tionne sing? | 1:08:02 | 1:08:04 | |
Because we thought the focus should be on creating something | 1:08:04 | 1:08:08 | |
people could relate to in the audience. So the vignettes were a reflection of that. | 1:08:08 | 1:08:13 | |
Each and every person could take away something from that. | 1:08:13 | 1:08:16 | |
What did you think of it, Melissa? | 1:08:16 | 1:08:18 | |
I was so removed from the creative process... | 1:08:18 | 1:08:22 | |
not by choice. | 1:08:22 | 1:08:24 | |
And, trying to be the good soldier, I stopped voicing opinions | 1:08:24 | 1:08:28 | |
on the creative end of it | 1:08:28 | 1:08:30 | |
and just tried to technically get something on its feet | 1:08:30 | 1:08:33 | |
and I got it moving and I got the lights up and got everyone | 1:08:33 | 1:08:38 | |
from point A to point B. | 1:08:38 | 1:08:39 | |
Honestly, the day started off | 1:08:39 | 1:08:41 | |
so unorganised but after Claudia and Melissa had their dispute, | 1:08:41 | 1:08:45 | |
Melissa really tried to watch her boundaries | 1:08:45 | 1:08:48 | |
and that's really hard for Melissa, who's been in this business so long. | 1:08:48 | 1:08:52 | |
Everyone was stressed out. | 1:08:52 | 1:08:54 | |
It sucks to lose, doesn't it? | 1:08:54 | 1:08:55 | |
They were all happy, loving each other, blah, blah, blah! | 1:08:55 | 1:08:59 | |
-It's not fun. -Let me ask you. | 1:08:59 | 1:09:00 | |
You have very strong women at the table. | 1:09:00 | 1:09:04 | |
Who is the toughest of the women at the table? Annie, what do you think? | 1:09:04 | 1:09:09 | |
-You can pick between Joan, Melissa and me. -You think? | 1:09:09 | 1:09:12 | |
And what about the rest? | 1:09:12 | 1:09:14 | |
Um...I take tough to be something different than a strong player. | 1:09:14 | 1:09:18 | |
-I'm not saying it in a bad sense. -No, I know. -I'm saying strong people. | 1:09:18 | 1:09:21 | |
I think that Natalie is quietly an incredibly strong player as well. | 1:09:21 | 1:09:25 | |
Absolutely. | 1:09:25 | 1:09:26 | |
I think there are people who believe in what they do | 1:09:26 | 1:09:29 | |
and can bring it behind it | 1:09:29 | 1:09:31 | |
and who believe they can do something and aren't bringing it. | 1:09:31 | 1:09:34 | |
And, honestly, I would put Claudia in that category. | 1:09:34 | 1:09:37 | |
I think she feels a stronger player than she was and the chaos | 1:09:37 | 1:09:40 | |
that developed was great evidence of that. She could not take control of anyone in the room. | 1:09:40 | 1:09:45 | |
Melissa really wanted to help and I sat by her today and she did an amazing job. | 1:09:45 | 1:09:50 | |
Was Melissa obnoxious, or was she...? | 1:09:50 | 1:09:53 | |
I can't say about the early part of the day. | 1:09:53 | 1:09:55 | |
There was obnoxiousness on both sides, to be honest. | 1:09:55 | 1:09:58 | |
But she really did put her head down. | 1:09:58 | 1:10:00 | |
If you could have seen her by the stage during rehearsals, | 1:10:00 | 1:10:03 | |
trying to pull this disaster together into something... | 1:10:03 | 1:10:08 | |
-So you give Melissa a lot of positive credit? -Absolutely. | 1:10:08 | 1:10:13 | |
I felt she put her head down and just wanted to make it work | 1:10:13 | 1:10:16 | |
and did an amazing job. Had we won, | 1:10:16 | 1:10:18 | |
I would have given equal credit to Joan and Melissa for winning. | 1:10:18 | 1:10:22 | |
Claudia, in retrospect, what would you have done different | 1:10:22 | 1:10:27 | |
and what triggered this disharmony? | 1:10:27 | 1:10:29 | |
Well, that's clearly a personality clash between Melissa and I. | 1:10:29 | 1:10:34 | |
Do you think you mishandled it? | 1:10:34 | 1:10:36 | |
I probably should have stood up to her more but she's very, | 1:10:36 | 1:10:39 | |
very, very loud and very obnoxious. | 1:10:39 | 1:10:42 | |
And I feel like I can't finish a thought. | 1:10:42 | 1:10:45 | |
I am not discounting her talent. I am not. | 1:10:45 | 1:10:48 | |
She has told me many times she's a producer. It's just that... | 1:10:48 | 1:10:53 | |
-Can I step in? -No, let me finish. Let me finish, please! | 1:10:53 | 1:10:56 | |
This is exactly how it is and, you know, | 1:10:56 | 1:10:59 | |
as project manager there is only so much I can do. I can't whip her. Slavery's over. | 1:10:59 | 1:11:04 | |
But she will not listen. | 1:11:04 | 1:11:06 | |
And I feel it's because she doesn't like me and that's the thing. | 1:11:06 | 1:11:09 | |
Do you not like her, Melissa? | 1:11:09 | 1:11:11 | |
I really do like Claudia. | 1:11:11 | 1:11:13 | |
No, you don't. Very sarcastic too. | 1:11:13 | 1:11:15 | |
And it's like I felt like I was kissing your ass extra, | 1:11:15 | 1:11:18 | |
so I could make it peaceful. | 1:11:18 | 1:11:20 | |
As for producing, I call myself a producer... | 1:11:20 | 1:11:23 | |
This is why I got upset - because it became a personal attack. | 1:11:23 | 1:11:27 | |
I'm sorry you think I'm obnoxious. | 1:11:27 | 1:11:28 | |
-My humour is sarcastic. -Me too. -I understood it. | 1:11:28 | 1:11:33 | |
I am sorry you think I do not like you. I cover things with sarcasm. | 1:11:33 | 1:11:36 | |
For that, if I've been misinterpreted, I am sorry. | 1:11:36 | 1:11:40 | |
I do like you. That's number one. | 1:11:40 | 1:11:41 | |
Number two, comments like, "She says she's a producer". | 1:11:41 | 1:11:45 | |
Let me just start with, did you ever watch those big two-hour | 1:11:45 | 1:11:49 | |
red-carpet extravaganzas in the last 12 years? | 1:11:49 | 1:11:51 | |
-Not too many. -OK. I did produce those. -Congratulations(!) | 1:11:51 | 1:11:56 | |
-So I do have a legitimate resume. -OK, but no-one need hear that. | 1:11:56 | 1:12:00 | |
Claudia, you just said, "You claim to be a producer." | 1:12:00 | 1:12:02 | |
I have no choice but to say, here's what I do. | 1:12:02 | 1:12:07 | |
This is some bull BLEEP. I'm not the only one to have problems with Melissa, OK? | 1:12:07 | 1:12:10 | |
-Then speak up. -No-one's going to cos no-one wants to go home. | 1:12:10 | 1:12:13 | |
-It's easy to put it on me. -Is it only Melissa? | 1:12:13 | 1:12:16 | |
The only person you've faulted is Melissa. A lot of people think she's doing a good job. | 1:12:16 | 1:12:20 | |
But then why didn't Melissa step up to be the project manager? | 1:12:20 | 1:12:24 | |
That's what I said. They elected the project manager, so speak up. | 1:12:24 | 1:12:27 | |
So is there any other person here | 1:12:27 | 1:12:30 | |
that you think is somewhat responsible for the loss? | 1:12:30 | 1:12:33 | |
From a creative standpoint, | 1:12:33 | 1:12:36 | |
listening to the comments of the salespeople | 1:12:36 | 1:12:39 | |
who are judging you on this task? Or is it only Melissa? | 1:12:39 | 1:12:42 | |
I'm not putting it on Melissa. | 1:12:42 | 1:12:44 | |
I'm just saying her attitude caused us... The conflict was between us. | 1:12:44 | 1:12:48 | |
You seem to take the emotional side, | 1:12:48 | 1:12:50 | |
that you don't like her, as opposed to her effectiveness on the task. | 1:12:50 | 1:12:53 | |
Who was the least effective person in the group, or people? | 1:12:53 | 1:12:56 | |
Again, it seems everyone is backing up Melissa. It's what she does. | 1:12:56 | 1:13:00 | |
-You were very sarcastic just now. -I'm annoyed now. -I understand that. | 1:13:00 | 1:13:04 | |
You don't like Melissa. | 1:13:04 | 1:13:06 | |
-I don't think Melissa likes you and that's OK. -I can admit it. | 1:13:06 | 1:13:09 | |
-Who was least effective? -Khloe. -Khloe, | 1:13:09 | 1:13:11 | |
-what did you do? -I was waiting to be told what to do and helping out. | 1:13:11 | 1:13:15 | |
A lot of people were on the road doing things, | 1:13:15 | 1:13:18 | |
I was waiting and trying not to step on people's toes. | 1:13:18 | 1:13:22 | |
There was so much drama and chaos going on, there wasn't like... | 1:13:22 | 1:13:25 | |
It was so unorganised that everyone was stressed out. | 1:13:25 | 1:13:29 | |
Do you hedge a little bit against making decisions or giving insight | 1:13:29 | 1:13:33 | |
that may lead the team to a win? Seems like you're busy | 1:13:33 | 1:13:36 | |
but not necessarily doing anything that determines a win or loss. | 1:13:36 | 1:13:40 | |
I mean, I try to give my advice but there's so many strong personalities. | 1:13:40 | 1:13:44 | |
I feel like all my things kind of get shot down. | 1:13:44 | 1:13:48 | |
-Annie, what do you think of Khloe? -You know, I think she doesn't step up | 1:13:48 | 1:13:53 | |
and volunteer for the big jobs or the leadership roles. | 1:13:53 | 1:13:56 | |
So the question on this task is, | 1:13:56 | 1:13:58 | |
she was definitely lost by the end of the night and today she was | 1:13:58 | 1:14:01 | |
kind of wandering around, like "I don't even know what my job is." | 1:14:01 | 1:14:05 | |
This is something I defer to you. | 1:14:05 | 1:14:06 | |
Is that Khloe's fault or Claudia's fault as she's managing her? | 1:14:06 | 1:14:10 | |
Maybe it's both. | 1:14:10 | 1:14:11 | |
Khloe, if you were me, who would you fire? | 1:14:12 | 1:14:15 | |
Claudia. She's project manager. From the start there was no control | 1:14:15 | 1:14:19 | |
and everyone kept putting their personal issues | 1:14:19 | 1:14:23 | |
involved in everything, so it kept getting screwed up. | 1:14:23 | 1:14:26 | |
Everyone was flustered all day. | 1:14:26 | 1:14:28 | |
-Joan, who do you think is the least effective person? -Claudia. | 1:14:28 | 1:14:31 | |
Claudia's been that since day one. | 1:14:31 | 1:14:33 | |
-OK, Melissa, I won't ask you cos I think... -Claudia. | 1:14:33 | 1:14:36 | |
-I don't want to bore... -Sorry. She mushes. | 1:14:36 | 1:14:39 | |
-She doesn't direct. She doesn't take hold. -OK. -She's a musher. | 1:14:39 | 1:14:42 | |
Brande, who would you fire? | 1:14:42 | 1:14:45 | |
Not easy, not as easy as it seems. Who would you fire, Brande? | 1:14:49 | 1:14:52 | |
It is very hard to say because from what I saw, I was very into my thing. | 1:14:52 | 1:14:57 | |
Yes, kissing that good-looking guy. | 1:14:57 | 1:14:59 | |
He's dead, I'm telling you. | 1:14:59 | 1:15:01 | |
-He's dead. -He's in trouble. -And you thought you won. -Yes, I did! | 1:15:01 | 1:15:04 | |
-I was just focussing and didn't see the fights. -Oh! | 1:15:04 | 1:15:08 | |
Did he know you were married when he stuck his tongue down your throat? | 1:15:08 | 1:15:11 | |
-No, he did not! -Does he know who you're married to? | 1:15:11 | 1:15:15 | |
-He kissed me on the cheek but I do try. -OK. That's not what I saw. | 1:15:15 | 1:15:19 | |
OK. Natalie, what happened? | 1:15:19 | 1:15:22 | |
There was so much friction and we were not able to get past that | 1:15:22 | 1:15:25 | |
and really put on a good performance. | 1:15:25 | 1:15:27 | |
Natalie, who would you fire? | 1:15:27 | 1:15:29 | |
Claudia. The person at the top. | 1:15:29 | 1:15:31 | |
When the company goes down, the CEO gets blamed. | 1:15:31 | 1:15:34 | |
Claudia, it's time. You've got to pick two people. | 1:15:35 | 1:15:39 | |
You've got to bring them back to the boardroom with you. | 1:15:39 | 1:15:42 | |
And out of that group somebody is going to be fired. | 1:15:42 | 1:15:45 | |
-Who are the two people? -Um, Melissa and Khloe. | 1:15:45 | 1:15:47 | |
OK. Thank you very much. Go back. I'm going to call you three back. | 1:15:50 | 1:15:56 | |
All right? Thank you. | 1:15:56 | 1:15:57 | |
-Oh, she shouldn't have done that. -Wow. | 1:16:00 | 1:16:03 | |
That may have been, that may have been dangerous. To do that. | 1:16:03 | 1:16:07 | |
It's on like the break of dawn. | 1:16:07 | 1:16:09 | |
What are you thinking about? | 1:16:14 | 1:16:16 | |
I think it's sad to see what happened to the team. | 1:16:16 | 1:16:19 | |
They were a unified force up until this task. | 1:16:19 | 1:16:21 | |
Not any more. What do you think? | 1:16:21 | 1:16:23 | |
I think Claudia's letting her emotions and dislike for Melissa override her | 1:16:23 | 1:16:27 | |
business decisions of who to bring to the boardroom. I think Khloe needs to explain | 1:16:27 | 1:16:31 | |
why she just sat around needing to be told what to do. | 1:16:31 | 1:16:34 | |
All right. Amanda, bring them in. | 1:16:34 | 1:16:36 | |
Yes, sir. | 1:16:36 | 1:16:37 | |
Claudia, your task was to excite and engage the audience. | 1:16:51 | 1:16:55 | |
-What happened? -I thought we did... | 1:16:55 | 1:16:58 | |
excite the audience, engage the audience. I thought Joan had great jokes. | 1:16:58 | 1:17:02 | |
Ah, I guess the weak part was the vignettes. | 1:17:02 | 1:17:06 | |
Why did you bring Melissa in, why did you bring Khloe in? | 1:17:06 | 1:17:09 | |
Khloe, I just felt that on this one, you know, | 1:17:09 | 1:17:12 | |
I didn't see her doing much. I know she did do things. I'm not saying she didn't. | 1:17:12 | 1:17:17 | |
But as house manager I'm responsible for the event | 1:17:17 | 1:17:20 | |
but people still have to take initiative. | 1:17:20 | 1:17:23 | |
And Melissa is effective and she's a strong player in the team. | 1:17:23 | 1:17:26 | |
But I feel like her personality is disruptive. Offends people and at the end of the day this is a team. | 1:17:26 | 1:17:32 | |
It's not Melissa Incorporated. | 1:17:32 | 1:17:33 | |
And until it is, we need to be able to work together and I feel like | 1:17:33 | 1:17:37 | |
some of her antics, that personality problem's caused disruption on the team. | 1:17:37 | 1:17:42 | |
Melissa? | 1:17:42 | 1:17:43 | |
-Yes? -What do you have to say? | 1:17:43 | 1:17:45 | |
Number one, again it's become sort of a character assassination | 1:17:45 | 1:17:50 | |
and a personality conflict. | 1:17:50 | 1:17:53 | |
And if people think that I am offensive or rude or whatever. | 1:17:53 | 1:17:57 | |
I'm sorry, I don't like the personality of a lot of people I work with | 1:17:57 | 1:18:01 | |
but if they get the job done. | 1:18:01 | 1:18:03 | |
Bottom line is you know in a crunch situation you can say, "Do this" | 1:18:03 | 1:18:08 | |
and it's done and it's one less thing off your plate. | 1:18:08 | 1:18:11 | |
-No-one's saying that. -That was going to be my point, that I've even worked for people | 1:18:11 | 1:18:15 | |
that I can't stand, but I suck it up. I go do my job and I go home. | 1:18:15 | 1:18:19 | |
Like that's, I think there's so much chaos because people... | 1:18:19 | 1:18:22 | |
-People are confusing work with personalities. That should not matter. -Whose fault was the chaos? | 1:18:22 | 1:18:27 | |
Team leader? | 1:18:27 | 1:18:29 | |
-In my opinion, yeah. -Which is Claudia. | 1:18:29 | 1:18:32 | |
Let me tell you, we did have chaos | 1:18:32 | 1:18:34 | |
because there's too many cooks in the kitchen. | 1:18:34 | 1:18:37 | |
Right? And then when I... | 1:18:37 | 1:18:39 | |
-As team leader, you have to solve that. -This is what I'm getting to. -You're supposed to be the boss. | 1:18:39 | 1:18:44 | |
Conflict with people throwing out ideas, we didn't know what to do and then Melissa came in. | 1:18:44 | 1:18:49 | |
She was disruptive and I saw the look of frustration on Khloe's face | 1:18:49 | 1:18:52 | |
as well as the other team members like, do something. | 1:18:52 | 1:18:55 | |
-So I said, Melissa. -Not like that you didn't. | 1:18:55 | 1:18:58 | |
It's not time for that right now. And she's like, really frustrated. | 1:18:58 | 1:19:01 | |
"I have 15 years experience!" | 1:19:01 | 1:19:02 | |
And that's when I said yes, we know you're a producer and I said | 1:19:02 | 1:19:06 | |
but that is not the time. You're bringing chaos to the group. We're almost there. | 1:19:06 | 1:19:10 | |
-Claudia. -So we are trying to... Let me finish, damn. | 1:19:10 | 1:19:12 | |
-Shut up for five seconds. -Well then, stop lying! -I'm not lying! | 1:19:12 | 1:19:16 | |
-You are flat-out lying. -I'm not! -I didn't know what was going on. | 1:19:16 | 1:19:19 | |
-You attacked me, "We all know, Melissa." -That's how I said it? | 1:19:19 | 1:19:22 | |
-Yes. -Really? OK. -The tape. -No. | 1:19:22 | 1:19:24 | |
Whatever. | 1:19:24 | 1:19:26 | |
She's really difficult to deal with. | 1:19:26 | 1:19:28 | |
I understand what you're saying exactly - except the entire team backed up Melissa. | 1:19:28 | 1:19:32 | |
-They're on Melissa's side. -Why? -Because the politics of it. -Because I came through! | 1:19:32 | 1:19:36 | |
-She did, but it's easy now to say this. -You admit she came through? | 1:19:36 | 1:19:40 | |
-She did. I never said she didn't. -Why is she in the boardroom? | 1:19:40 | 1:19:43 | |
-Because... -She likes me less. | 1:19:45 | 1:19:47 | |
It seems like you really let your emotional dislike override the business sense. | 1:19:47 | 1:19:50 | |
The logic being project manager. You brought Melissa back as you didn't like her. | 1:19:50 | 1:19:55 | |
Not because she was ineffective or won't stand up. | 1:19:55 | 1:19:57 | |
You brought her back because you didn't like her. That's a problem from a company perspective. | 1:19:57 | 1:20:02 | |
OK. I can see your point with that. | 1:20:02 | 1:20:04 | |
So Khloe, if you were me, what would you do? | 1:20:05 | 1:20:07 | |
Fire project leader. | 1:20:09 | 1:20:11 | |
Melissa, if you were me, what would you do? | 1:20:11 | 1:20:14 | |
Claudia. | 1:20:14 | 1:20:16 | |
-Claudia. -I'd fire Khloe. | 1:20:17 | 1:20:20 | |
Khloe, did you do anything on this task? | 1:20:20 | 1:20:23 | |
Look, I'm going to tell you something right now. | 1:20:23 | 1:20:26 | |
I really don't like people who don't take initiative. You didn't do anything. | 1:20:26 | 1:20:30 | |
I think I did do stuff. I really do. I think I was trying to bring peace. | 1:20:30 | 1:20:35 | |
I was trying to separate certain situations so we could, you know, actually be useful with our time. | 1:20:35 | 1:20:40 | |
And then every other challenge I've done a great job, raised money. | 1:20:40 | 1:20:44 | |
I've been helpful. I just don't feel I should be fired. But... | 1:20:44 | 1:20:47 | |
OK, listen. I'm a fan of Claudia. | 1:20:49 | 1:20:53 | |
A lot of people are fans of Claudia | 1:20:53 | 1:20:55 | |
and I also feel that as a project manager you have a huge burden on your shoulders | 1:20:55 | 1:21:00 | |
when you're the head of a losing team. | 1:21:00 | 1:21:02 | |
Melissa may be difficult and maybe in a certain sense obnoxious to some. | 1:21:02 | 1:21:06 | |
Certainly she is to you. | 1:21:06 | 1:21:08 | |
But she did a good job according to everybody | 1:21:08 | 1:21:12 | |
and everybody sort of pointed the finger at you. | 1:21:12 | 1:21:16 | |
I believe you have an amazing future. You're beautiful. | 1:21:16 | 1:21:19 | |
You're going to be a big star, but I'm sorry, Claudia, you're fired. | 1:21:19 | 1:21:23 | |
Go. Thank you. | 1:21:26 | 1:21:28 | |
That's too bad. I really liked her. | 1:21:53 | 1:21:55 | |
I thought she was terrific in so many ways. | 1:21:55 | 1:21:57 | |
She is, but here, I don't think you had a choice. | 1:21:57 | 1:22:00 | |
It really sucks to be the first woman fired. | 1:22:26 | 1:22:30 | |
And to be project manager of the first task that the women lost | 1:22:30 | 1:22:35 | |
because we were on a roll. | 1:22:35 | 1:22:37 | |
I definitely lost control of my group. I had difficult people to work with. | 1:22:37 | 1:22:41 | |
I guess that shouldn't be an excuse. | 1:22:41 | 1:22:43 | |
At the end of the day as project manager it falls on me | 1:22:43 | 1:22:46 | |
and you know what, you win some, you lose some. | 1:22:46 | 1:22:49 | |
Subtitles by Red Bee Media Ltd | 1:23:28 | 1:23:30 |