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It's coming down to the wire, as only two weeks remain | 0:00:05 | 0:00:07 | |
in the fight to become the Celebrity Apprentice. | 0:00:07 | 0:00:11 | |
I had colon cancer | 0:00:11 | 0:00:12 | |
'and then decided that I needed to give something back.' | 0:00:12 | 0:00:16 | |
Ohh! | 0:00:16 | 0:00:17 | |
So far, the game has brought some together... | 0:00:17 | 0:00:19 | |
How did Summer do? | 0:00:19 | 0:00:20 | |
I cannot tell you how inspired I was by these people. | 0:00:20 | 0:00:24 | |
You really love these people, don't you? | 0:00:24 | 0:00:26 | |
..and torn others apart. | 0:00:26 | 0:00:28 | |
You don't like Curtis very much. | 0:00:28 | 0:00:29 | |
Not a lot. | 0:00:29 | 0:00:30 | |
Why? | 0:00:30 | 0:00:31 | |
He's just too smug for me. | 0:00:31 | 0:00:33 | |
I do agree with Sharon. | 0:00:33 | 0:00:35 | |
I look at him and I'm like, "I want to punch you!" | 0:00:35 | 0:00:38 | |
And at times, the pressure has been too much to take. | 0:00:38 | 0:00:41 | |
Sharon's been sick, and she missed my entire task. | 0:00:43 | 0:00:47 | |
It takes a lot of wear and tear on you, and I was totally exhausted. | 0:00:47 | 0:00:50 | |
Darryl, do you want to be fired? | 0:00:50 | 0:00:52 | |
Yes. | 0:00:52 | 0:00:53 | |
All right. Darryl, you're fired. | 0:00:53 | 0:00:55 | |
So far, eight celebrities have been fired. | 0:00:55 | 0:00:58 | |
You're fired! You're fired! You're fired. | 0:00:58 | 0:01:00 | |
And only six remain. | 0:01:00 | 0:01:02 | |
Last week, the remaining celebrities were tasked with refurbishing | 0:01:02 | 0:01:06 | |
a corporate apartment. | 0:01:06 | 0:01:07 | |
You're going to paint it, you're going to furnish it, | 0:01:07 | 0:01:09 | |
you're going to make it look beautiful. | 0:01:09 | 0:01:11 | |
And Mr Trump mixed up the teams again, | 0:01:11 | 0:01:14 | |
sending Curtis Stone into enemy territory. | 0:01:14 | 0:01:17 | |
-Oh, no! -Curtis, get over there. -Oh, please! | 0:01:17 | 0:01:19 | |
Bret, you're going to the other team. | 0:01:19 | 0:01:21 | |
'Pretty boy Curtis...' | 0:01:21 | 0:01:22 | |
I thought he was smug from the beginning. | 0:01:22 | 0:01:25 | |
On Tenacity, reluctant project manager Holly Robinson Peete | 0:01:25 | 0:01:29 | |
went for an exotic theme... | 0:01:29 | 0:01:31 | |
This is looking really good in here, you guys. | 0:01:31 | 0:01:33 | |
..And tasked Cyndi to add her Lauper touch to the celebrity-themed room. | 0:01:33 | 0:01:38 | |
You say you want red, then pick a red. | 0:01:38 | 0:01:40 | |
I thought Cyndi would be perfect for this. | 0:01:40 | 0:01:42 | |
On Rock Solid, | 0:01:42 | 0:01:43 | |
project manager Sharon Osbourne went with a contemporary look. | 0:01:43 | 0:01:47 | |
This is a good bed. It's got storage underneath. | 0:01:47 | 0:01:50 | |
'I wanted modern because...' | 0:01:50 | 0:01:51 | |
it's non-offensive. | 0:01:51 | 0:01:53 | |
At the presentation, the judges were wowed by Cyndi's celebrity room... | 0:01:53 | 0:01:57 | |
-Nice with the patent leather. -Yes. | 0:01:57 | 0:02:00 | |
..and loved Sharon's modern approach. | 0:02:00 | 0:02:02 | |
We wanted to keep it clean lines. | 0:02:02 | 0:02:05 | |
But in the end, | 0:02:05 | 0:02:06 | |
it was Sharon's overall makeover that put her on top. | 0:02:06 | 0:02:10 | |
They thought Rock Solid was fantastic. | 0:02:10 | 0:02:12 | |
Oh! Dear God! | 0:02:12 | 0:02:14 | |
In the hot seat, Holly turned on Cyndi. | 0:02:14 | 0:02:16 | |
Should I fire Cyndi or should I fire you, Holly? | 0:02:16 | 0:02:20 | |
I think you've got to fire Cyndi. | 0:02:20 | 0:02:22 | |
But when Mr Trump gave Cyndi an out... | 0:02:22 | 0:02:24 | |
You came up with the best room of everybody. | 0:02:24 | 0:02:26 | |
No! She said, "Paint the room red." | 0:02:26 | 0:02:29 | |
Wait, you're saying that SHE said to paint it red? | 0:02:29 | 0:02:31 | |
She said she wanted a red room. | 0:02:31 | 0:02:33 | |
..Cyndi made a tactical error. | 0:02:33 | 0:02:35 | |
Why did you bring up the fact that it was Holly's idea? | 0:02:35 | 0:02:39 | |
Because it was true! | 0:02:39 | 0:02:40 | |
OK. Cyndi, you're fired. | 0:02:40 | 0:02:42 | |
All right. Who do you say? | 0:03:02 | 0:03:04 | |
He's going to fire Holly. | 0:03:04 | 0:03:06 | |
He can't let her go. | 0:03:06 | 0:03:08 | |
She's a ferocious competitor. | 0:03:08 | 0:03:10 | |
-I think Cyndi. -Do you? -Yeah. | 0:03:10 | 0:03:12 | |
I think he fired Cyndi. | 0:03:12 | 0:03:14 | |
Someone's about to come through. | 0:03:14 | 0:03:16 | |
-Yes! -Yay! -Yes! | 0:03:18 | 0:03:20 | |
SHE LAUGHS | 0:03:20 | 0:03:22 | |
'I hated that Cyndi had to go...' | 0:03:22 | 0:03:24 | |
but I felt she was sort of a loose cannon for a while now. | 0:03:24 | 0:03:27 | |
-Who did I fight to paint that room red? -You said, "Red." | 0:03:27 | 0:03:30 | |
She did not want to paint it red. | 0:03:30 | 0:03:32 | |
She's like, "She has to have a red room!" | 0:03:32 | 0:03:34 | |
And so they said, "Hold on, wait a second. | 0:03:34 | 0:03:36 | |
-"I thought the red room was all your idea!" -Oh no! | 0:03:36 | 0:03:40 | |
'So I felt bad that I had to be so...' | 0:03:40 | 0:03:42 | |
brutally honest in the boardroom about Cyndi. | 0:03:42 | 0:03:44 | |
'But in the end, I was sad to see Cyndi go,' | 0:03:44 | 0:03:46 | |
but I felt it was the right decision. | 0:03:46 | 0:03:48 | |
-I just got 40 grand! -Yes, you did! | 0:03:48 | 0:03:50 | |
I know! | 0:03:50 | 0:03:51 | |
Oww-oww! | 0:03:53 | 0:03:54 | |
My favourite bra ever! | 0:03:56 | 0:03:58 | |
'Sharon was letting loose. We might have started off a little rocky, | 0:04:01 | 0:04:04 | |
'but I've really grown to connect with Sharon.' | 0:04:04 | 0:04:07 | |
And she's so passionate about her charity. | 0:04:07 | 0:04:09 | |
So I wanted to see her in the finals. | 0:04:09 | 0:04:12 | |
-Whatever pills you're on, Sharon, I want some! -Oh, my God! | 0:04:12 | 0:04:15 | |
PHONE RINGS | 0:04:18 | 0:04:20 | |
'Me and Sharon were celebrating.' | 0:04:20 | 0:04:22 | |
We were partying. We're like, "Woo! We made it!" | 0:04:22 | 0:04:24 | |
'The next thing you know, it got silent.' | 0:04:24 | 0:04:27 | |
Hello? | 0:04:27 | 0:04:28 | |
Hi, yes. | 0:04:28 | 0:04:29 | |
We need you all to head back into the boardroom now. | 0:04:29 | 0:04:32 | |
OK. We will all come back directional. | 0:04:32 | 0:04:34 | |
Oh, that's not good for me. So folks... | 0:04:34 | 0:04:37 | |
Cheers, Holly! Cheers! | 0:04:37 | 0:04:39 | |
'Donald Trump threw me for a loop.' | 0:04:39 | 0:04:40 | |
It was strange, man. I didn't know what he was going to do. | 0:04:40 | 0:04:43 | |
Somebody's going. | 0:04:43 | 0:04:45 | |
Oh, jeez, Curtis! You're always in the bath! Don't do a deuce, Curtis! | 0:04:45 | 0:04:49 | |
-You nutter! -What do you think? -I think somebody's going. -Yeah. | 0:04:49 | 0:04:52 | |
No deucing us! | 0:04:52 | 0:04:53 | |
I absolutely think somebody's going. | 0:04:53 | 0:04:55 | |
-Nooo! -Yup. | 0:04:55 | 0:04:57 | |
Ugh! Stress. | 0:04:57 | 0:04:59 | |
All right. We're all going back in. | 0:04:59 | 0:05:00 | |
# Money, money, money, money | 0:05:07 | 0:05:11 | |
# Money | 0:05:11 | 0:05:12 | |
# Money, money, money, money | 0:05:12 | 0:05:15 | |
# Money | 0:05:15 | 0:05:16 | |
# Some people got to have it | 0:05:16 | 0:05:19 | |
# Some people really need it | 0:05:22 | 0:05:25 | |
# Listen to me, y'all | 0:05:25 | 0:05:26 | |
# Do things, do things, do things | 0:05:26 | 0:05:29 | |
# Bad things with it | 0:05:29 | 0:05:31 | |
# Dollar bills, y'all | 0:05:34 | 0:05:35 | |
# For that lean, old, mean | 0:05:35 | 0:05:40 | |
# Mean green | 0:05:40 | 0:05:42 | |
# Almighty dollar, money | 0:05:42 | 0:05:45 | |
# I know that money | 0:05:45 | 0:05:47 | |
# Give me a nickel | 0:05:48 | 0:05:49 | |
# Brother, can you spare a dime? | 0:05:49 | 0:05:52 | |
# Money can drive some people Out of their minds | 0:05:54 | 0:05:58 | |
# No good, no good | 0:06:01 | 0:06:02 | |
# Money | 0:06:02 | 0:06:03 | |
# Money, money, money, money | 0:06:03 | 0:06:05 | |
# Money. # | 0:06:07 | 0:06:08 | |
Congratulations. You're the final five. | 0:06:29 | 0:06:31 | |
That really is a great achievement. | 0:06:31 | 0:06:33 | |
You've handled pressure, you've raised a lot of money for | 0:06:33 | 0:06:36 | |
your charities. | 0:06:36 | 0:06:37 | |
So, really, you are to be congratulated. Great job. | 0:06:37 | 0:06:42 | |
That being said, I'm going to fire somebody right now. | 0:06:43 | 0:06:47 | |
And the remaining four will be interviewed by Joan Rivers, | 0:06:50 | 0:06:54 | |
my Celebrity Apprentice, and Bill Rancic, who was my number one | 0:06:54 | 0:06:58 | |
Apprentice from the first show. | 0:06:58 | 0:07:00 | |
Then, I'm going to fire two more people. | 0:07:00 | 0:07:02 | |
So, we're going to end up then, after tonight, | 0:07:04 | 0:07:07 | |
with two people who will | 0:07:07 | 0:07:09 | |
go head-to-head in the final task to become the Celebrity Apprentice. | 0:07:09 | 0:07:13 | |
All right. We want to start talking right now. | 0:07:15 | 0:07:17 | |
Holly, why shouldn't I fire you? | 0:07:17 | 0:07:19 | |
Because I'm focused, I'm dedicated, I'm committed to this. | 0:07:21 | 0:07:24 | |
I've been in every task, and I've put in a lot of sweat equity | 0:07:24 | 0:07:27 | |
for all of the other project managers I've worked for. | 0:07:27 | 0:07:30 | |
Bret, why should I not fire you? | 0:07:30 | 0:07:33 | |
You shouldn't fire me because I work hard, I'm bringing everything I got. | 0:07:33 | 0:07:37 | |
I'm extremely passionate. I am diabetic, I live with it. | 0:07:37 | 0:07:40 | |
And my charity chose me. | 0:07:40 | 0:07:41 | |
Curtis, you're the most low-key of the group. | 0:07:45 | 0:07:47 | |
Why shouldn't you be fired? | 0:07:47 | 0:07:49 | |
Cos I'm a natural leader, Mr Trump. | 0:07:50 | 0:07:52 | |
I travelled when I was 21-years-old and started working | 0:07:52 | 0:07:55 | |
in a restaurant for a guy that... I loved his work. | 0:07:55 | 0:07:57 | |
-A few years later, I was running his empire. -Why are you smirking, Maria? | 0:07:57 | 0:08:00 | |
-Because I think we all... -You're just like, "Give me a break!" | 0:08:00 | 0:08:03 | |
I think we all started very young, fighting for our dream. | 0:08:03 | 0:08:06 | |
So that's the only reason why I smirked when he said, "21." | 0:08:06 | 0:08:10 | |
I started modelling when I was 15. | 0:08:10 | 0:08:13 | |
Maria, should you be fired? | 0:08:13 | 0:08:15 | |
No, not at all. I'm not afraid of getting my hands dirty. | 0:08:15 | 0:08:18 | |
I'm not afraid of putting the work in, lifting stuff, | 0:08:18 | 0:08:20 | |
calling out and reaching out to my contacts. | 0:08:20 | 0:08:23 | |
And there are some people that I still expect a little dough from. | 0:08:23 | 0:08:26 | |
So I would like to, you know, put a little pressure on them as well. | 0:08:26 | 0:08:30 | |
So I just want to keep fighting. | 0:08:30 | 0:08:32 | |
-Who's our weakest player, Holly? -Weakest? | 0:08:35 | 0:08:37 | |
At the table, right now. Who's our weakest player? | 0:08:37 | 0:08:40 | |
Umm... | 0:08:46 | 0:08:48 | |
I'd only say Maria because Maria, I think, is the player | 0:08:48 | 0:08:52 | |
-that comes from the least purest place sometimes. -What does that mean? | 0:08:52 | 0:08:56 | |
-I mean that sometimes... -That's a hell of a statement! | 0:08:56 | 0:08:58 | |
-I know! I went a long way to get... -What does that mean? | 0:08:58 | 0:09:01 | |
Wow! OK. | 0:09:01 | 0:09:02 | |
-I'm just saying that sometimes... -Maria, that's a biggie! | 0:09:02 | 0:09:04 | |
No, no. I'm just saying that sometimes, I've seen in the boardroom | 0:09:04 | 0:09:07 | |
Maria stick up for herself | 0:09:07 | 0:09:08 | |
at the expense of someone else, just to do it. | 0:09:08 | 0:09:11 | |
Just to say it, without any provocation or anything. | 0:09:11 | 0:09:13 | |
So I think that's a weakness. | 0:09:13 | 0:09:14 | |
Does that make her weak or does she have a survival instinct | 0:09:14 | 0:09:17 | |
-that maybe other people lack? -In my eyes, it's a weakness. | 0:09:17 | 0:09:19 | |
In my eyes, there are other ways you can do it with integrity. | 0:09:19 | 0:09:22 | |
Maria, respond to that, please. | 0:09:22 | 0:09:23 | |
I never say anything that isn't supported. | 0:09:23 | 0:09:25 | |
There is support between everything I say. | 0:09:25 | 0:09:27 | |
What do you think of Holly? | 0:09:27 | 0:09:30 | |
Um... | 0:09:30 | 0:09:31 | |
I think she's had a rough... a rough life as a mother. | 0:09:31 | 0:09:35 | |
And I completely understand where she comes from in a lot of ways, | 0:09:35 | 0:09:38 | |
because of the fact she does have an autistic child. | 0:09:38 | 0:09:40 | |
I think that's a nice statement and probably a true statement. | 0:09:40 | 0:09:43 | |
-It's a very true statement. -It's tough. | 0:09:43 | 0:09:45 | |
-Definitely. -The autism thing is a tough thing. | 0:09:45 | 0:09:47 | |
It's devastating. There's an 80% divorce rate, | 0:09:47 | 0:09:49 | |
and there's a reason for that. | 0:09:49 | 0:09:50 | |
-It's rough. -It definitely thickened my skin. | 0:09:50 | 0:09:52 | |
-I've known so many people, it's just been brutal. -Yeah. -Yeah. | 0:09:52 | 0:09:56 | |
-So you can understand it? -Of course. | 0:09:56 | 0:09:58 | |
My Sharon, | 0:10:00 | 0:10:02 | |
you've all gotten to know each other very well. | 0:10:02 | 0:10:04 | |
Yeah. | 0:10:04 | 0:10:05 | |
Who do you think is not the strongest player at this table? | 0:10:05 | 0:10:09 | |
-In what category? -In every category. | 0:10:09 | 0:10:10 | |
-In what category? -Overall category. Life. | 0:10:10 | 0:10:12 | |
-Everything you've done so far. -Substance. | 0:10:12 | 0:10:14 | |
If you took a blend of all of it, who's the weakest player? | 0:10:14 | 0:10:18 | |
You know who that person is. You just have to. | 0:10:20 | 0:10:22 | |
-Honestly, Ivanka... -I can't believe it. | 0:10:22 | 0:10:23 | |
I honestly can't put anybody on the line. | 0:10:23 | 0:10:25 | |
Sharon, in your world, in your business as a music | 0:10:25 | 0:10:27 | |
manager and a talent manager, you'd be able to do this in | 0:10:27 | 0:10:30 | |
a second and give an answer. I mean, to me, it's almost | 0:10:30 | 0:10:32 | |
as though there's a lot of weakness coming from you that you | 0:10:32 | 0:10:34 | |
can't say one of these people is worse than the other. | 0:10:34 | 0:10:37 | |
-I mean, that's a major problem. -Oh! -BLEEP -it, then! Maria. | 0:10:37 | 0:10:39 | |
-But is that just arbitrary because I just said that, or is it... -No! | 0:10:41 | 0:10:44 | |
I mean, what's the logic behind it? | 0:10:44 | 0:10:46 | |
That's it! That's it! Because she's young. She's so enthusiastic. | 0:10:46 | 0:10:50 | |
She's so driven. | 0:10:50 | 0:10:51 | |
-And she's, like... bl-bl-bl-bl! -What do you think of Holly? | 0:10:51 | 0:10:54 | |
Holly's a toughie because... | 0:10:55 | 0:10:57 | |
She's tough. | 0:10:57 | 0:10:59 | |
She's tough because she's good. | 0:10:59 | 0:11:02 | |
She's good at everything she does. | 0:11:02 | 0:11:05 | |
And Holly has a heart this big. | 0:11:05 | 0:11:09 | |
And there is nothing like a mother fighting for your child. | 0:11:09 | 0:11:13 | |
You're a lioness. She's a lioness. I've had cancer and survived. | 0:11:13 | 0:11:18 | |
I saw people die beside me. | 0:11:18 | 0:11:20 | |
But that, to me, still cannot compete with Holly looking at | 0:11:21 | 0:11:26 | |
her child every day. | 0:11:26 | 0:11:28 | |
-You cannot compete with that passion. -Can you compete with that? | 0:11:29 | 0:11:32 | |
-Nobody can. -Will you be able to beat Holly? | 0:11:32 | 0:11:34 | |
I don't know whether I want to. | 0:11:37 | 0:11:39 | |
Sharon, you said you didn't want to beat Holly. | 0:11:47 | 0:11:49 | |
What does that mean, "You didn't want to beat her"? | 0:11:49 | 0:11:51 | |
No, I said, "I don't know that I do," because being a mother, | 0:11:51 | 0:11:55 | |
I don't know what I'd do if I had a child that wasn't well. | 0:11:55 | 0:11:58 | |
I don't know what I would do. It's devastating. | 0:11:58 | 0:12:01 | |
It's just... It's taken over Holly's life. | 0:12:01 | 0:12:04 | |
And I don't know whether I would want to take that away from her. | 0:12:04 | 0:12:09 | |
I don't know whether I have the right to take that away from her. | 0:12:09 | 0:12:12 | |
But everyone's charity has great merit. | 0:12:14 | 0:12:16 | |
-It does! -And they each mean something to you differently and personally. | 0:12:16 | 0:12:20 | |
And as I say, you know... | 0:12:20 | 0:12:21 | |
And it's amazing what Holly has done to date, but it doesn't mean | 0:12:21 | 0:12:24 | |
that you shouldn't be fighting for your charity as well. | 0:12:24 | 0:12:26 | |
And I am. I am. I'm fighting for people. | 0:12:26 | 0:12:28 | |
As I said, I saw people die. | 0:12:28 | 0:12:30 | |
And, um, you know, we've all spent a long, long time together here. | 0:12:31 | 0:12:35 | |
And here you are. | 0:12:35 | 0:12:37 | |
We all know each other. And here we are. | 0:12:37 | 0:12:39 | |
-And do I have the right... -It's a long time. | 0:12:39 | 0:12:41 | |
-It's a long journey. It's not easy. -It's been a long journey. | 0:12:41 | 0:12:44 | |
People have no idea how tough this is. | 0:12:44 | 0:12:46 | |
-No, they don't. -It's a long ride. | 0:12:46 | 0:12:48 | |
And you should all be very proud of yourselves. | 0:12:48 | 0:12:50 | |
So, Curtis, who's the weakest player at the table right now? | 0:12:56 | 0:13:00 | |
Maria is. | 0:13:00 | 0:13:01 | |
You think Maria? Well, there goes THAT relationship! | 0:13:01 | 0:13:04 | |
You're just jumping on the bandwagon. That's OK. | 0:13:04 | 0:13:07 | |
-I'm not jumping on the bandwagon. -You think Maria is? -Absolutely. -Why? | 0:13:07 | 0:13:10 | |
She made some unfounded comments about me last week in the boardroom. | 0:13:10 | 0:13:13 | |
And you haven't forgotten it? | 0:13:13 | 0:13:14 | |
-But so did Sharon! -Of course I haven't forgotten it. | 0:13:14 | 0:13:17 | |
You don't just forget. | 0:13:17 | 0:13:18 | |
You don't say, "Oh, gee! Now we're friends. We won a task." | 0:13:18 | 0:13:20 | |
And it was founded. The reason why I said that you were so arrogant is | 0:13:20 | 0:13:23 | |
because you came in our dressing room and you took a crap | 0:13:23 | 0:13:27 | |
and left the stench in the room! | 0:13:27 | 0:13:29 | |
So that is the whole purpose of why I was upset! | 0:13:29 | 0:13:32 | |
-That's not exactly true. -It wasn't your room! -That's pretty gross! | 0:13:32 | 0:13:35 | |
-It wasn't your place to go! -Why is that arrogant, though? | 0:13:35 | 0:13:37 | |
It was complete... "Oh, like, this is my room, so I can do this | 0:13:37 | 0:13:41 | |
"wherever I want to!" | 0:13:41 | 0:13:43 | |
So, I mean, that was the whole thing! | 0:13:43 | 0:13:46 | |
I mean, it was completely founded. | 0:13:46 | 0:13:48 | |
-That is so random! -We don't need to go there. | 0:13:48 | 0:13:50 | |
That is so random. | 0:13:50 | 0:13:51 | |
We don't need to go there. | 0:13:51 | 0:13:52 | |
That's a little bit random, don't you think, as Holly would say? | 0:13:52 | 0:13:56 | |
Isn't that a little bit random, that statement? That's pretty tough. | 0:13:56 | 0:13:59 | |
I think it's a good depiction of your character. | 0:13:59 | 0:14:01 | |
It's a little bit below the belt, which, I think... | 0:14:01 | 0:14:03 | |
That is a little below the belt, Maria. | 0:14:03 | 0:14:05 | |
That's how you play the game. | 0:14:05 | 0:14:07 | |
That's a tough one. | 0:14:07 | 0:14:09 | |
That's a tough one. | 0:14:09 | 0:14:10 | |
Maria, do you sort of regret having said that? | 0:14:14 | 0:14:18 | |
He said it was unfounded. It was unfounded. There was a reason. | 0:14:18 | 0:14:21 | |
Did I say it in the last boardroom? No. | 0:14:21 | 0:14:23 | |
I just said that I thought it was a little arrogant to come into | 0:14:23 | 0:14:26 | |
our room and do that. But I... | 0:14:26 | 0:14:28 | |
-That's a little gross, right? -I don't regret anything. | 0:14:28 | 0:14:31 | |
Isn't it sort of gross, though, bringing that up? | 0:14:31 | 0:14:33 | |
That's, like, disgusting. | 0:14:35 | 0:14:36 | |
This is my boardroom. It's not a locker room. | 0:14:38 | 0:14:42 | |
Maria, you're fired. | 0:14:42 | 0:14:44 | |
Thank you for the opportunity. | 0:14:51 | 0:14:53 | |
Very nice to meet you. | 0:14:54 | 0:14:55 | |
'This experience that I've had on Celebrity Apprentice...' | 0:15:06 | 0:15:09 | |
was amazing up until ten minutes of it. | 0:15:09 | 0:15:12 | |
Ten minutes, that's it. | 0:15:13 | 0:15:15 | |
'It wasn't even like, "Oh, well, you screwed up a task."' | 0:15:15 | 0:15:18 | |
It was like, "Oh, I didn't like your comment." Just... | 0:15:18 | 0:15:22 | |
It's laughable. | 0:15:22 | 0:15:24 | |
OK. | 0:15:29 | 0:15:30 | |
Your interviews with Joan and Bill will be very important to me. | 0:15:30 | 0:15:34 | |
I'll listen carefully to what they say. | 0:15:34 | 0:15:37 | |
Then I'll make up my mind. | 0:15:37 | 0:15:39 | |
Two more of you will be fired. | 0:15:39 | 0:15:41 | |
The four of you wait outside. Thank you very much. | 0:15:46 | 0:15:48 | |
-Thank you. -Thank you very much. | 0:15:48 | 0:15:51 | |
It's a great group. | 0:16:00 | 0:16:01 | |
-It is a great group. -Yeah, a really solid group. | 0:16:01 | 0:16:03 | |
Glad to see the emotion finally come out of all of them. | 0:16:03 | 0:16:06 | |
Thank you, Curtis. | 0:16:09 | 0:16:11 | |
-Wooo! -Wow! | 0:16:11 | 0:16:13 | |
'At this point, this is all in our hands.' | 0:16:13 | 0:16:16 | |
So I felt really good about the opportunity to try to sell | 0:16:16 | 0:16:19 | |
myself to Bill and to Joan. | 0:16:19 | 0:16:21 | |
Yeah, congratulations, everybody. | 0:16:21 | 0:16:23 | |
Wow! | 0:16:23 | 0:16:24 | |
I was like, "What if these interviews go real bad for me?" | 0:16:25 | 0:16:28 | |
My demise could be a bad interview. | 0:16:28 | 0:16:30 | |
'And I was feeling pretty beat up. | 0:16:30 | 0:16:32 | |
He makes a decision, we go back in, and bam! | 0:16:32 | 0:16:36 | |
Curtis, they're ready for you. | 0:16:37 | 0:16:39 | |
Oh. | 0:16:39 | 0:16:40 | |
I guess, in this game, your neck's always on the line. | 0:16:41 | 0:16:44 | |
'But I'm going to keep focused and play it exactly how I always have. | 0:16:44 | 0:16:47 | |
'Be very honest and be a straight-shooter. | 0:16:47 | 0:16:49 | |
'And tell Joan and Bill anything they want to know about.' | 0:16:49 | 0:16:52 | |
-Go get them, Curtis! -Thanks, guys. | 0:16:52 | 0:16:54 | |
-Hello, Joan. Hello, Bill. -Good to see you. | 0:17:05 | 0:17:08 | |
So, Joan, what do you think of this guy? | 0:17:10 | 0:17:12 | |
You know, before we did Celebrity, we did regular Apprentice. | 0:17:12 | 0:17:15 | |
-Very smart. -And it became the number one show on television. | 0:17:15 | 0:17:17 | |
It was a monster! Good man? | 0:17:17 | 0:17:19 | |
-Very smart. -Yeah. | 0:17:19 | 0:17:20 | |
So what do you think of our ensemble? | 0:17:20 | 0:17:23 | |
Great group. | 0:17:24 | 0:17:25 | |
Tell me about Curtis. | 0:17:25 | 0:17:27 | |
-Curtis, I think... -Women like him, Joan. | 0:17:27 | 0:17:29 | |
-Women like him but... -Good-looking guy. | 0:17:29 | 0:17:31 | |
Yeah, but he's riding on it. | 0:17:31 | 0:17:33 | |
You've known lots of guys like that over the years? | 0:17:33 | 0:17:35 | |
Oh, I've known a lot of guys that walk past me like that. | 0:17:35 | 0:17:37 | |
I think the one thing that you'll be able to identify with Curtis is | 0:17:37 | 0:17:40 | |
the guy knows how to build a brand. | 0:17:40 | 0:17:42 | |
And you know better than anyone how important that is. | 0:17:42 | 0:17:45 | |
I guess my question is, why are you here? | 0:17:45 | 0:17:48 | |
Bill, I work with Feeding America, and have done for quite a while. | 0:17:48 | 0:17:50 | |
I'm super passionate about the charity. | 0:17:50 | 0:17:52 | |
They have food banks, and shelters where they cook for the homeless... | 0:17:52 | 0:17:56 | |
That's a canned answer. Why should you be here? | 0:17:56 | 0:17:58 | |
I should be here cos I'm a natural leader. I've done it all my life. | 0:17:58 | 0:18:00 | |
When you run busy kitchens, you're dealing with chefs from | 0:18:00 | 0:18:03 | |
all walks of life. | 0:18:03 | 0:18:04 | |
You know, front-of-house staff and different nationalities. | 0:18:04 | 0:18:07 | |
You've really got to know how to harness people's energy. | 0:18:07 | 0:18:10 | |
You've only stepped up as project manager once. | 0:18:10 | 0:18:12 | |
-And, to me, I've got to say that raises a red flag. -Sure. | 0:18:12 | 0:18:16 | |
You know, it's a little weak. | 0:18:16 | 0:18:18 | |
Yup, I understand that. Look, everything I've done, we've won. | 0:18:18 | 0:18:21 | |
-And then this last one... -Well, you've only done one. | 0:18:21 | 0:18:23 | |
-Yeah, that's right. -You know, that's going to come up. | 0:18:23 | 0:18:25 | |
Of course, my goal of being here is to raise money for Feeding America. | 0:18:25 | 0:18:29 | |
It doesn't hurt to sell some pots and pans and, you know, cookware. | 0:18:29 | 0:18:33 | |
Of course. | 0:18:33 | 0:18:34 | |
One of the major reasons that everyone comes onto this show | 0:18:34 | 0:18:37 | |
is to carry on building their profile, so that they can | 0:18:37 | 0:18:39 | |
increase their business potential. | 0:18:39 | 0:18:41 | |
Why should you win? | 0:18:41 | 0:18:43 | |
I should win because I'm so passionate about Feeding America. | 0:18:43 | 0:18:46 | |
But never mind the charity. Why should YOU win? | 0:18:46 | 0:18:49 | |
Because I'm the best leader. | 0:18:49 | 0:18:51 | |
Why did you defer to Bret so much? | 0:18:51 | 0:18:55 | |
Um, look, Bret's a real... He takes a long time to make a decision. | 0:18:55 | 0:18:58 | |
And he sidetracks himself. He gets sidetracked over the sidetrack. | 0:18:58 | 0:19:01 | |
So what I'd do with Bret was I'd give him a creative challenge, | 0:19:01 | 0:19:04 | |
and I'd set him off in that road because that way I got real, | 0:19:04 | 0:19:07 | |
tangible stuff from Bret. | 0:19:07 | 0:19:09 | |
And because a lot of these challenges are about | 0:19:09 | 0:19:11 | |
creativity, he really shone because I think I harnessed his | 0:19:11 | 0:19:14 | |
energy really well. | 0:19:14 | 0:19:15 | |
Who did you dislike the most? | 0:19:15 | 0:19:17 | |
Maria. Maria. | 0:19:17 | 0:19:19 | |
She'll not be on your Christmas card list? | 0:19:19 | 0:19:21 | |
She won't be on my Christmas card list! | 0:19:21 | 0:19:22 | |
What would you serve Maria for dinner? | 0:19:22 | 0:19:24 | |
Well, first, I'd make Maria use my bathroom because | 0:19:24 | 0:19:27 | |
I'd like to show her that I have a clean, nice-smelling | 0:19:27 | 0:19:29 | |
toilet at home! | 0:19:29 | 0:19:30 | |
-SHE LAUGHS -OK. | 0:19:30 | 0:19:32 | |
He's very secure in what he does. | 0:19:32 | 0:19:35 | |
And I'm sure what he does is brilliant. He's also very limited. | 0:19:35 | 0:19:38 | |
-Yeah, he's a one-trick pony. -You think? | 0:19:38 | 0:19:41 | |
I'm sure he's a very nice guy. | 0:19:41 | 0:19:42 | |
But I don't think he's got what it takes. | 0:19:42 | 0:19:45 | |
What about Sharon, Joan? | 0:19:45 | 0:19:47 | |
I just think Sharon wants this more, | 0:19:47 | 0:19:49 | |
probably, than anything she's ever wanted in her life. | 0:19:49 | 0:19:52 | |
I think she's out of gas. | 0:19:52 | 0:19:54 | |
I don't think she can go the distance to bring this thing home | 0:19:54 | 0:19:56 | |
and to deliver a finale. | 0:19:56 | 0:19:59 | |
-How are you doing? -Oh, really good. -Yeah? | 0:20:00 | 0:20:02 | |
I hear you've been sick for a good chunk of it. | 0:20:02 | 0:20:05 | |
-That's been the saga of this whole thing. -That's tough. | 0:20:05 | 0:20:09 | |
The finale, as you know, is brutal. | 0:20:09 | 0:20:12 | |
Are you up to the task, and is it fair to the others? | 0:20:12 | 0:20:15 | |
-Of course I can handle it. -But you've been sick. | 0:20:16 | 0:20:18 | |
Yeah, but I died and came back to life. | 0:20:18 | 0:20:20 | |
So if I can handle two years fighting cancer, I can handle this. | 0:20:20 | 0:20:26 | |
So, that's why you think you should be here now? | 0:20:26 | 0:20:29 | |
You know, I haven't been able to pull my weight, | 0:20:30 | 0:20:34 | |
but somehow... | 0:20:34 | 0:20:36 | |
I don't know if I stayed under the radar or just... | 0:20:36 | 0:20:40 | |
-I'm here. -You're here. | 0:20:40 | 0:20:41 | |
-So I can't complain. -But you clearly haven't raised the most money. | 0:20:41 | 0:20:46 | |
I deserve to be here as much as anyone else. | 0:20:46 | 0:20:50 | |
Are you a fighter, though, in the competition sense? | 0:20:50 | 0:20:53 | |
I know you're a fighter... | 0:20:53 | 0:20:54 | |
In my entire life, nobody has given me anything. | 0:20:54 | 0:20:56 | |
I've had to fight for everything. | 0:20:56 | 0:20:58 | |
And I love it because I owe nobody a damn thing. | 0:20:58 | 0:21:02 | |
You said something in the boardroom that I think is very interesting. | 0:21:04 | 0:21:08 | |
You said, "I wouldn't want to win over Holly." | 0:21:08 | 0:21:11 | |
-What if it's you and Holly? -I wouldn't feel, um... | 0:21:11 | 0:21:16 | |
-It's just that... -Yeah. | 0:21:20 | 0:21:22 | |
..when she's doing it for her child... | 0:21:22 | 0:21:25 | |
-..it just... -No, I get... | 0:21:26 | 0:21:28 | |
Sweetheart, I get it. | 0:21:29 | 0:21:31 | |
I never thought that I would be here anyway | 0:21:31 | 0:21:34 | |
because I thought that I was the big shot that could start a charity | 0:21:34 | 0:21:37 | |
and it'd be like Elton's, that everybody would want to be throwing | 0:21:37 | 0:21:41 | |
-money at me, but nobody gives a -BLEEP -about anybody's colon | 0:21:41 | 0:21:45 | |
cos it's up your arse and nobody cares, it's not sexy. | 0:21:45 | 0:21:48 | |
I made a deal, | 0:21:49 | 0:21:52 | |
-that I would give back and I haven't done very -BLEEP -well so far | 0:21:52 | 0:21:57 | |
and if I can bring attention about this cancer, | 0:21:57 | 0:22:01 | |
then I've... | 0:22:01 | 0:22:03 | |
..I've made my part of the deal, you know? | 0:22:05 | 0:22:09 | |
Right, right. | 0:22:09 | 0:22:10 | |
I couldn't even think of a colour for a ribbon, Joan. | 0:22:10 | 0:22:13 | |
-Unfortunately, you could. -Anyway... | 0:22:14 | 0:22:17 | |
Sharon Osbourne didn't take care of her husband's career, | 0:22:17 | 0:22:21 | |
and her kids' career, and decide she wanted a career | 0:22:21 | 0:22:24 | |
and got one at her age, by being wishy-washy. | 0:22:24 | 0:22:28 | |
-That tells you something. -She's a very tough lady. -I agree. | 0:22:28 | 0:22:31 | |
She's tough and sweet. | 0:22:31 | 0:22:33 | |
-It's been very tough for her. -It's tough for her. | 0:22:33 | 0:22:36 | |
How do you think this cast compares to your cast last year? | 0:22:38 | 0:22:41 | |
-Not as volatile. -Without a doubt. | 0:22:41 | 0:22:44 | |
They've all been very capable, very smart. Really good players. | 0:22:44 | 0:22:48 | |
What do you think of Bret? | 0:22:48 | 0:22:50 | |
I don't know, he's got that fire in his belly, he's got the passion. | 0:22:50 | 0:22:54 | |
And he was up front. | 0:22:54 | 0:22:55 | |
He owned up and said, "I made mistakes." | 0:22:55 | 0:22:57 | |
I like that in someone. I think that says a lot about who they are | 0:22:57 | 0:23:00 | |
as a person and their character. | 0:23:00 | 0:23:01 | |
You're in the final four, which I think is a great accomplishment. | 0:23:01 | 0:23:04 | |
Some of your team-mates may have accused you of being a little | 0:23:04 | 0:23:07 | |
scattered, not being able to focus. | 0:23:07 | 0:23:09 | |
Are you going to be able to kind of focus in | 0:23:09 | 0:23:12 | |
-and hone in on what you need to do? -Absolutely. | 0:23:12 | 0:23:15 | |
There's one side of me that is completely, | 0:23:15 | 0:23:17 | |
100% this creative person. | 0:23:17 | 0:23:20 | |
There's another side of me that is absolutely driven to succeed, right? | 0:23:20 | 0:23:23 | |
I've been a human pin-cushion with over 250,000 injections | 0:23:23 | 0:23:27 | |
in my body since I was six years old. That can boil the blood sometimes. | 0:23:27 | 0:23:31 | |
And I am here for one reason, | 0:23:31 | 0:23:33 | |
so that somebody else won't have to go through what I go through. | 0:23:33 | 0:23:36 | |
One of the things Mr Trump's looking for is a leader who's agile, | 0:23:36 | 0:23:41 | |
and someone who can change up the game plan along the way. | 0:23:41 | 0:23:45 | |
How have you been agile in this competition? | 0:23:45 | 0:23:48 | |
I roll with every punch you give me. | 0:23:48 | 0:23:50 | |
I have lived a life of ups and downs and sideways | 0:23:50 | 0:23:52 | |
and you've got to roll with the punches and also field the ball. | 0:23:52 | 0:23:57 | |
The fact that that ball comes at you 18 zillion different ways | 0:23:57 | 0:24:00 | |
and I've been able to field them all and manage a career for 22 years | 0:24:00 | 0:24:04 | |
in which I've signed every cheque, I can get it done. | 0:24:04 | 0:24:07 | |
-So, you don't just show up? -No. | 0:24:07 | 0:24:08 | |
I've found that the harder I worked, the luckier I got. | 0:24:08 | 0:24:11 | |
How did you apply what you learnt from the longevity | 0:24:11 | 0:24:16 | |
in your career into what you just did here? | 0:24:16 | 0:24:18 | |
My whole entire life has been about two things - about focusing | 0:24:18 | 0:24:22 | |
and finishing on getting done, taking care of my business | 0:24:22 | 0:24:25 | |
so I can take care of my passion. | 0:24:25 | 0:24:27 | |
What were the weaknesses you found out about yourself? | 0:24:27 | 0:24:29 | |
One of my weaknesses is I live on musician and/or rock-star time. | 0:24:29 | 0:24:34 | |
-Time was like something you just didn't get? -Yes. | 0:24:34 | 0:24:36 | |
I've been my own boss since I've been 18, 19 years old, | 0:24:36 | 0:24:40 | |
for better or worse. But strong. I could occasionally be a little late. | 0:24:40 | 0:24:44 | |
And it's not because I want to be, I know I need to do this | 0:24:44 | 0:24:47 | |
but I was running on the first week on one hour's sleep. | 0:24:47 | 0:24:49 | |
-That's how I started this. -Everyone says how nice you are. | 0:24:49 | 0:24:52 | |
How nice you are. | 0:24:52 | 0:24:54 | |
Do you think you can? Don't you have to be a fighter? | 0:24:54 | 0:24:56 | |
-Don't you have to be tough? -I am extremely tough. | 0:24:56 | 0:24:59 | |
-How? You haven't shown it yet. -Here's how. | 0:24:59 | 0:25:02 | |
Don't ever mistake my kindness for weakness. | 0:25:02 | 0:25:04 | |
I've found in my life, I have gotten way more bees with honey | 0:25:04 | 0:25:07 | |
than vinegar and I genuinely like people, I'm not a malicious person. | 0:25:07 | 0:25:11 | |
I want to win because I won, | 0:25:11 | 0:25:13 | |
not because I threw somebody under the bus. | 0:25:13 | 0:25:15 | |
Bret, I think, very creative. | 0:25:15 | 0:25:18 | |
He's an artist, there's no question about it. | 0:25:18 | 0:25:21 | |
And I know he wants it and he feels it. | 0:25:21 | 0:25:23 | |
But I didn't see the fire in him. | 0:25:23 | 0:25:26 | |
I don't know. He's passionate, he was very honest. | 0:25:26 | 0:25:29 | |
He's personally affected by the disease and now his child is, | 0:25:29 | 0:25:33 | |
and he's going to do whatever he needs to do | 0:25:33 | 0:25:36 | |
-to deliver for you in the finale. -Tell me about Holly. | 0:25:36 | 0:25:39 | |
Holly is living this because she's not going to walk out of here | 0:25:39 | 0:25:45 | |
and it's over. | 0:25:45 | 0:25:47 | |
She's going home to autism and I think that's making her | 0:25:47 | 0:25:51 | |
so strong and so focused. | 0:25:51 | 0:25:53 | |
Bill, what do you think of Holly? | 0:25:53 | 0:25:55 | |
She's got two losses under her belt as a project manager. | 0:25:55 | 0:25:58 | |
I think that's a big problem. | 0:25:58 | 0:26:00 | |
Although she raised a lot of money in one task, she lost two others. | 0:26:00 | 0:26:03 | |
And, at the end of the day, it's about delivering results. | 0:26:03 | 0:26:06 | |
-It's a tough battle, isn't it? -Oh, my! Who knew? -Yeah, well. | 0:26:06 | 0:26:09 | |
Who knew the endurance was going to be such a factor? | 0:26:09 | 0:26:12 | |
-I know what you're going through, believe me. -Thanks. | 0:26:12 | 0:26:14 | |
I hear you've raised a lot of money. | 0:26:14 | 0:26:16 | |
I did, I set a record and I'm so proud of that. | 0:26:16 | 0:26:19 | |
I raised 350,000 for the HollyRod Foundation, for autism. | 0:26:19 | 0:26:23 | |
No-one can take away the amount of money you raised, | 0:26:23 | 0:26:25 | |
-but do you deserve to go to the next level? -Absolutely. Absolutely. | 0:26:25 | 0:26:29 | |
Not just cos I raised a boat-load of money, because I'm here. | 0:26:29 | 0:26:32 | |
Let's be clear, it wasn't so much about fundraising, | 0:26:32 | 0:26:35 | |
it was about staying up all night and doing it. | 0:26:35 | 0:26:37 | |
It was my dedication in doing it. And also it's my passion. | 0:26:37 | 0:26:41 | |
But the reality is, I'm multi-dimensional | 0:26:41 | 0:26:44 | |
and I'm not worried at all if I go forward here | 0:26:44 | 0:26:46 | |
and the task has something to do and it's not fundraising. | 0:26:46 | 0:26:49 | |
I have to bring this up. I know you've got two losses and one win. | 0:26:49 | 0:26:54 | |
How do you explain that? | 0:26:54 | 0:26:55 | |
You've got the most losses out of anyone who's still standing. | 0:26:55 | 0:26:58 | |
I also have the most at-bats at project manager, | 0:26:58 | 0:27:01 | |
-which should say something. -Yes, but you've got to deliver a win. | 0:27:01 | 0:27:04 | |
Absolutely. But in the end, I'm still here for a reason. | 0:27:04 | 0:27:07 | |
Coming out of this, | 0:27:07 | 0:27:09 | |
what are you going to look back on and be most proud of? | 0:27:09 | 0:27:14 | |
What have you found out about yourself? | 0:27:14 | 0:27:16 | |
I learned that I'm a lot more resilient than I thought I was. | 0:27:16 | 0:27:18 | |
I knew there was a moment where I was going to break down | 0:27:18 | 0:27:21 | |
and say, "I've got to go home, I want to be with my kids." | 0:27:21 | 0:27:23 | |
But every time I had that moment, I picked myself back up, | 0:27:23 | 0:27:25 | |
got ready for another task delivery and just got on with it. | 0:27:25 | 0:27:29 | |
Do you think you could walk on the street and bump into Maria? | 0:27:29 | 0:27:32 | |
Maria, yes. Cyndi, not so sure. | 0:27:32 | 0:27:35 | |
She's a little mad, | 0:27:35 | 0:27:36 | |
and Carol Leifer, I think she's got my picture on a dartboard somewhere. | 0:27:36 | 0:27:39 | |
But in the end, this is not personal, it's business. | 0:27:39 | 0:27:42 | |
And I'm glad to be here on that behalf. | 0:27:42 | 0:27:44 | |
Holly is a mother, and I want this for my child, | 0:27:44 | 0:27:49 | |
and you guys, look out. | 0:27:49 | 0:27:51 | |
Don't cross a mother and her cub. | 0:27:51 | 0:27:53 | |
Holly's an ass kicker. | 0:27:53 | 0:27:54 | |
She's very good. | 0:27:54 | 0:27:55 | |
I'd like to see her go against Sharon. | 0:27:55 | 0:27:59 | |
That's two strong, connected women... | 0:27:59 | 0:28:00 | |
That's very interesting. | 0:28:00 | 0:28:02 | |
..that CARE about their charities. | 0:28:02 | 0:28:04 | |
Sharon sat and cried. | 0:28:04 | 0:28:07 | |
But I think Bret is connected even more so because | 0:28:07 | 0:28:10 | |
not only does it affect him, but now his child. | 0:28:10 | 0:28:13 | |
I think Bret's terrific. | 0:28:13 | 0:28:15 | |
Of course he cares, my Lord! | 0:28:15 | 0:28:17 | |
But I'd like to see Bret just say, "Look out!" | 0:28:17 | 0:28:21 | |
Joan, Bill, thank you very much. I love you both. | 0:28:21 | 0:28:24 | |
-We've had a lot of fun. -Love you so much. | 0:28:24 | 0:28:26 | |
Amanda, let them in. | 0:28:40 | 0:28:42 | |
Yes, sir. | 0:28:42 | 0:28:43 | |
Mr Trump is ready for you in the boardroom. | 0:28:43 | 0:28:46 | |
-Oh! -Thank you, Amanda. -Here we go. | 0:28:46 | 0:28:48 | |
This has been an awesome journey already, so... | 0:28:51 | 0:28:53 | |
It has. | 0:28:53 | 0:28:55 | |
Sit down, please. | 0:29:01 | 0:29:04 | |
First of all, amazing job. We're down to now four. | 0:29:09 | 0:29:13 | |
Four lonely, beautiful people. | 0:29:13 | 0:29:16 | |
And you really should be very proud of yourselves. | 0:29:16 | 0:29:18 | |
Your families should be proud. | 0:29:18 | 0:29:19 | |
And your charities should be proud, most of all, because you | 0:29:19 | 0:29:22 | |
really have done a great job. | 0:29:22 | 0:29:24 | |
So, there's no loser. | 0:29:24 | 0:29:26 | |
Two people are going to be fired right now, but there's | 0:29:26 | 0:29:29 | |
no loser here, and I want you to understand that. | 0:29:29 | 0:29:32 | |
-Sharon, you met with Joan Rivers and Bill Rancic. -Yes. | 0:29:32 | 0:29:35 | |
How were your interviews? What did you think? | 0:29:35 | 0:29:38 | |
I thought they went really well. They did. | 0:29:38 | 0:29:41 | |
Who did you feel better about, Joan or Bill? | 0:29:41 | 0:29:44 | |
Probably Joan, because Bill's hard to read. | 0:29:44 | 0:29:47 | |
He has a great poker face. | 0:29:47 | 0:29:50 | |
Joan liked you very much. She really felt very strongly about you. | 0:29:50 | 0:29:54 | |
But tell me, why should I choose you? | 0:29:54 | 0:29:57 | |
I can only say that I need it really badly. | 0:30:00 | 0:30:03 | |
I need it really, really badly. | 0:30:03 | 0:30:05 | |
-Need it where? -For my charity. -In your heart, in your head? | 0:30:05 | 0:30:09 | |
For my charity. I made a commitment | 0:30:09 | 0:30:13 | |
and I have to see it through. | 0:30:13 | 0:30:15 | |
So, Bret, how did the interviews go for you? | 0:30:17 | 0:30:21 | |
I thought they went great, | 0:30:21 | 0:30:22 | |
and I thought that Joan and Bill both had completely different | 0:30:22 | 0:30:26 | |
questions, took a completely different approach. | 0:30:26 | 0:30:29 | |
Joan, I felt very personable with, | 0:30:29 | 0:30:32 | |
and with Bill, he was very direct but I got a good feeling. | 0:30:32 | 0:30:34 | |
It forced me to give direct answers | 0:30:34 | 0:30:36 | |
and I felt good about that. | 0:30:36 | 0:30:38 | |
Why should I keep you, Bret? | 0:30:38 | 0:30:39 | |
-I think that I bring a lot to the table. -Like what? | 0:30:39 | 0:30:42 | |
I think I'm creative. I think that I'm very focused. | 0:30:42 | 0:30:45 | |
I can get it done. I'm a hard worker. | 0:30:45 | 0:30:47 | |
And I've lived with this disease my entire life. | 0:30:47 | 0:30:49 | |
And I'm here fighting for a cause so other children, | 0:30:49 | 0:30:52 | |
hopefully we'll find a cure | 0:30:52 | 0:30:53 | |
and they'll not have to go through what I went through. | 0:30:53 | 0:30:56 | |
Holly, what'd you think of the interviews? | 0:30:56 | 0:30:59 | |
Oh, they were both good. Bill was tough. | 0:30:59 | 0:31:01 | |
I thought Bill was very tough. | 0:31:01 | 0:31:03 | |
I was more comfortable with Joan. | 0:31:03 | 0:31:05 | |
But, in the end, both of them I thought did a great job. | 0:31:05 | 0:31:07 | |
Holly, why should I keep you? | 0:31:07 | 0:31:09 | |
-Passion. -But they all have passion, Holly. | 0:31:09 | 0:31:12 | |
Everybody at this table has passion. | 0:31:12 | 0:31:13 | |
Differing degrees, and I think I have passion. | 0:31:13 | 0:31:16 | |
I have the other stuff, too. | 0:31:16 | 0:31:18 | |
But passion and drive, ambition and consistency. | 0:31:18 | 0:31:21 | |
How important is this to you, Holly? | 0:31:21 | 0:31:23 | |
Very important. Very important. | 0:31:23 | 0:31:25 | |
Curtis, how'd you feel about the interviews? | 0:31:26 | 0:31:30 | |
I thought they went well. | 0:31:30 | 0:31:31 | |
Who did you like, from your standpoint, | 0:31:31 | 0:31:33 | |
in terms of the interview? | 0:31:33 | 0:31:34 | |
-I probably enjoyed the interview with Bill more, I think. -Why? | 0:31:34 | 0:31:38 | |
He asked more questions about business, where Joan | 0:31:38 | 0:31:41 | |
was a little bit more personal. Personal questions. | 0:31:41 | 0:31:44 | |
So, Curtis, what about yourself? | 0:31:44 | 0:31:46 | |
-I think I'm the best leader in the group. -Why do you say that? | 0:31:46 | 0:31:49 | |
I mean, you had two people that couldn't stand you before. | 0:31:49 | 0:31:52 | |
-Why do you say you're the best leader? -But he won us over. He did. | 0:31:52 | 0:31:55 | |
Yeah, you put me in a really awkward position, Mr Trump. | 0:31:55 | 0:31:57 | |
You made me go to a team where both people came and said that | 0:31:57 | 0:32:00 | |
they didn't like me, and I had to literally start from the ground up. | 0:32:00 | 0:32:03 | |
Joan Rivers said, "He's a really handsome guy. | 0:32:03 | 0:32:07 | |
"He's a wonderful guy, sort of a somebody that's limited, | 0:32:07 | 0:32:11 | |
"and he lacks a certain passion." | 0:32:11 | 0:32:13 | |
I was a little surprised at that. | 0:32:13 | 0:32:15 | |
Yeah, so am I. I'm extremely passionate, Mr Trump. | 0:32:15 | 0:32:17 | |
Bill sort of stated that you were a one-trick pony. | 0:32:17 | 0:32:20 | |
-You know what a one-trick pony is, right? -Mm-hm. | 0:32:20 | 0:32:22 | |
And I was a little bit surprised at that. | 0:32:22 | 0:32:23 | |
But they came out pretty strongly... | 0:32:23 | 0:32:25 | |
-Hey, look, they're very opinionated people to start off with. -Right. | 0:32:25 | 0:32:28 | |
But they did come out pretty strongly, Curtis. | 0:32:28 | 0:32:31 | |
How do you respond to that? | 0:32:33 | 0:32:34 | |
I think that I've proven that I'm not a one-trick pony. I can lead. | 0:32:34 | 0:32:37 | |
I was a project manager on a task where I knew very little about | 0:32:37 | 0:32:40 | |
what we were doing, when we were filming the 30-second commercial. | 0:32:40 | 0:32:43 | |
I played great support to both Bret, Holly | 0:32:43 | 0:32:46 | |
and Sharon in three different tasks. | 0:32:46 | 0:32:47 | |
I mean, the problem I have is that Joan Rivers and Bill Rancic won. | 0:32:47 | 0:32:51 | |
They did a fantastic job. They were great winners. | 0:32:51 | 0:32:56 | |
And they've done very well since. | 0:32:56 | 0:32:57 | |
So, I have to listen to them. Do you agree with that? | 0:32:59 | 0:33:02 | |
Curtis, you're fired. | 0:33:04 | 0:33:05 | |
-I have no choice. -Fair enough. | 0:33:11 | 0:33:13 | |
They really were very, very strong in that way. | 0:33:13 | 0:33:15 | |
-And get the hell out of here. -Mr Trump, | 0:33:15 | 0:33:18 | |
thank you very much for the opportunity. | 0:33:18 | 0:33:19 | |
-Thank you very much. -I appreciate it. -Thank you very much, Curtis. | 0:33:19 | 0:33:23 | |
-Great job. -Curtis, congratulations. -Thanks. Good luck. -Love you, Curtis. | 0:33:23 | 0:33:26 | |
-Love you, Curtis. -Love you, too, guys. | 0:33:26 | 0:33:28 | |
'I've never been fired before in my life. | 0:33:35 | 0:33:37 | |
'I was really disappointed,' | 0:33:37 | 0:33:39 | |
because I wanted to raise | 0:33:39 | 0:33:41 | |
a whole lot more money for Feeding America. | 0:33:41 | 0:33:42 | |
'But that being said, I think that I've played a pretty good game, | 0:33:42 | 0:33:45 | |
'and I've represented myself quite well.' | 0:33:45 | 0:33:47 | |
What's up, buddy? | 0:33:47 | 0:33:48 | |
'And if you're going to be fired,' | 0:33:48 | 0:33:50 | |
you might as well get fired by Donald Trump, right? | 0:33:50 | 0:33:52 | |
-Nice guy. -Very nice. -Very nice guy. -He's a gentleman. He is. -Yeah. | 0:33:56 | 0:34:00 | |
OK, one more of you will be fired. | 0:34:00 | 0:34:04 | |
Holly, who would you choose if you were me? | 0:34:04 | 0:34:07 | |
Would you fire Sharon? | 0:34:07 | 0:34:08 | |
-Between these two? -Or Bret? -Probably Bret. -Why? | 0:34:08 | 0:34:11 | |
Only because I just feel like Sharon's passion has | 0:34:11 | 0:34:14 | |
really come out in the last couple of tasks. | 0:34:14 | 0:34:16 | |
Yeah, but she's gone a long way before it came out. | 0:34:16 | 0:34:18 | |
But she worked it. She made up for it, and I feel like she's | 0:34:18 | 0:34:22 | |
a real strong player, and I feel like she's just a passionate person. | 0:34:22 | 0:34:25 | |
Look at her. I mean, she really feels this. | 0:34:25 | 0:34:28 | |
-No, she has felt it. There's no question about it. -Yeah. | 0:34:30 | 0:34:33 | |
Bret, who would you fire if you were me? | 0:34:33 | 0:34:35 | |
We're down to three people. Two are going to leave here. | 0:34:35 | 0:34:38 | |
We're going to have a hell of a final. | 0:34:38 | 0:34:40 | |
You know, who would you fire if you were me, Bret? | 0:34:40 | 0:34:43 | |
You know, I would fire Holly. | 0:34:47 | 0:34:48 | |
Why would you fire Holly? | 0:34:50 | 0:34:51 | |
My reasons are very simple. | 0:34:51 | 0:34:53 | |
One, I think she is a strong player... | 0:34:53 | 0:34:56 | |
Excuse me. Sharon, why are you crying? Don't cry, Sharon. | 0:34:56 | 0:35:00 | |
You don't have to... | 0:35:00 | 0:35:01 | |
I mean, you're doing so well, there's no reason to cry. | 0:35:01 | 0:35:04 | |
You should be proud of yourself, Sharon. Why are you crying? | 0:35:04 | 0:35:07 | |
I don't want to be a loser. | 0:35:07 | 0:35:10 | |
It's a tough ordeal. | 0:35:12 | 0:35:15 | |
People don't realise what you've been through. | 0:35:15 | 0:35:17 | |
Nobody has an idea unless you've done this. | 0:35:17 | 0:35:19 | |
You don't understand this passion at all. | 0:35:19 | 0:35:22 | |
Sharon, who would you fire between Holly and Bret, if you were me? | 0:35:25 | 0:35:29 | |
I can't. | 0:35:33 | 0:35:35 | |
You have to, Sharon. I mean, you have to. That's part of it. | 0:35:35 | 0:35:38 | |
-I know. But it's... -You have to. | 0:35:38 | 0:35:40 | |
It's just that the three of us are so emotionally involved, | 0:35:40 | 0:35:44 | |
because it directly affects us. | 0:35:44 | 0:35:46 | |
I think of everybody here, the three of you | 0:35:46 | 0:35:48 | |
-are the most emotionally involved. -Mm-hm. | 0:35:48 | 0:35:50 | |
-It's personal. -Yes. -Which makes it tougher for me. | 0:35:50 | 0:35:53 | |
It's not business, it's personal. | 0:35:53 | 0:35:55 | |
Yes. | 0:35:55 | 0:35:56 | |
And, um, it's so tough. | 0:35:56 | 0:36:00 | |
I mean, I see Bret giving himself injections | 0:36:00 | 0:36:04 | |
so many times a day. | 0:36:04 | 0:36:06 | |
I see what Holly goes through. | 0:36:06 | 0:36:08 | |
I know my guilt about what I go through. | 0:36:08 | 0:36:12 | |
You know, who needs it more? Who should be the one? | 0:36:12 | 0:36:16 | |
I could never make that decision. | 0:36:16 | 0:36:18 | |
Sharon, do you think you can compete with, let's say, Holly, | 0:36:20 | 0:36:23 | |
if you ended up in the finals? | 0:36:23 | 0:36:25 | |
She's been so solid, such a great leader, and raised, I believe, | 0:36:25 | 0:36:29 | |
more money than anybody. | 0:36:29 | 0:36:31 | |
And Bret's been a winner in every sense of the word. | 0:36:31 | 0:36:34 | |
He's won always as project manager. | 0:36:34 | 0:36:37 | |
Do you think you have the energy to compete with, let's say, | 0:36:37 | 0:36:41 | |
Holly, or, let's say, Bret? | 0:36:41 | 0:36:43 | |
I said this to Bill, he asked me the very same question, | 0:36:44 | 0:36:47 | |
and I said to him, "I died and came back." | 0:36:47 | 0:36:51 | |
-And, um... -Yeah. -I'm strong enough. | 0:36:52 | 0:36:55 | |
Yeah, I'm strong. I'm a fighter. | 0:36:57 | 0:36:59 | |
You're more than strong. I mean, you're amazing. | 0:36:59 | 0:37:01 | |
-I'm a fighter. -I know you're a fighter. | 0:37:01 | 0:37:04 | |
-It's going to be tough to compete with these two, though. -I know that. | 0:37:04 | 0:37:07 | |
-Because we're all fighters. -Absolutely. | 0:37:07 | 0:37:09 | |
And we all want it really, really badly. | 0:37:09 | 0:37:12 | |
And we want our charities to have the exposure that | 0:37:12 | 0:37:16 | |
this show can give. | 0:37:16 | 0:37:18 | |
But Bill felt strongly that you, in this current time, | 0:37:18 | 0:37:22 | |
cannot compete with these two. | 0:37:22 | 0:37:24 | |
You think that he's wrong about that? | 0:37:24 | 0:37:26 | |
It's his opinion, and I said to him, "You don't know me. | 0:37:26 | 0:37:31 | |
"But I know me, and I've gone through much worse than this | 0:37:31 | 0:37:34 | |
"in my life, and I come back." | 0:37:34 | 0:37:37 | |
Well, I think you're fantastic, Holly. | 0:37:41 | 0:37:44 | |
I really think you're fantastic. | 0:37:44 | 0:37:46 | |
Bret, I think you're fantastic. | 0:37:46 | 0:37:48 | |
And, you know, Sharon, I love you. | 0:37:48 | 0:37:50 | |
You're really a special woman. | 0:37:50 | 0:37:53 | |
But, Sharon, you're fired. | 0:37:56 | 0:37:59 | |
Thank you very much. | 0:38:03 | 0:38:04 | |
You've done an amazing job. I appreciate it. | 0:38:04 | 0:38:06 | |
Thank you, Mr Trump. I have had such an amazing experience here, | 0:38:06 | 0:38:12 | |
and I thank you so much for letting me be a part. | 0:38:12 | 0:38:14 | |
-It's been a great experience for me. Thank you, Sharon. -Thank you. | 0:38:14 | 0:38:18 | |
Love you, Mama. | 0:38:19 | 0:38:22 | |
All this crying. I don't cry. | 0:38:24 | 0:38:27 | |
Not easy. Good woman. | 0:38:27 | 0:38:30 | |
Love you, Sharon. | 0:38:30 | 0:38:32 | |
-Love you, too. Thank you. -Thank you, Sharon. Thank you. | 0:38:32 | 0:38:34 | |
-Your children are a delight. -Thank you very much. | 0:38:34 | 0:38:37 | |
Great job. Amazing. | 0:38:37 | 0:38:39 | |
All right, here we go. | 0:38:43 | 0:38:45 | |
You win some, you lose some. | 0:38:48 | 0:38:51 | |
'I was horribly emotional,' | 0:38:51 | 0:38:53 | |
and Mr Trump went - whack! - "See ya!" | 0:38:53 | 0:38:57 | |
Sharon, it's that elevator. | 0:38:57 | 0:38:58 | |
Oh, do I have to? Damn elevator. | 0:38:58 | 0:39:01 | |
'I'm just like, "Will you stop' | 0:39:01 | 0:39:04 | |
-" -BLEEP -crying, you silly old bat?" It's like, "Enough!" | 0:39:04 | 0:39:08 | |
You've got me! | 0:39:08 | 0:39:11 | |
Holly, Bret, congratulations. | 0:39:19 | 0:39:21 | |
-Thank you. -You're the final two. -Thank you. | 0:39:21 | 0:39:23 | |
You beat out a lot of very, very capable people. | 0:39:23 | 0:39:26 | |
The final is going to be absolutely a monster. | 0:39:26 | 0:39:29 | |
It's going to be amazing, and one of you will become | 0:39:29 | 0:39:32 | |
the Celebrity Apprentice. | 0:39:32 | 0:39:33 | |
-Yes! -Go back to your suite at Trump Tower, | 0:39:33 | 0:39:35 | |
enjoy yourselves tonight, because tomorrow, nice and early, | 0:39:35 | 0:39:38 | |
I'm going to give you a task. | 0:39:38 | 0:39:40 | |
It'll be fantastic. Have a good time. Congratulations. Your family, | 0:39:40 | 0:39:43 | |
your charity, everybody's very proud of you. | 0:39:43 | 0:39:46 | |
-Thank you, Mr Trump. -I'm very proud of you. -Thanks. | 0:39:46 | 0:39:49 | |
You've been through a lot. Go ahead. | 0:39:49 | 0:39:50 | |
Mr Trump, thank you. | 0:39:50 | 0:39:51 | |
Great job. | 0:39:51 | 0:39:53 | |
Woo! | 0:39:53 | 0:39:55 | |
Sorry I have to kill you tomorrow, but right now, let's party! | 0:39:57 | 0:40:00 | |
Woo! Hell, yeah. Come on, I'm pouring. | 0:40:05 | 0:40:09 | |
-Hell, yeah. -I'm going to get you drunk and hung over, | 0:40:09 | 0:40:11 | |
so you can't win nothing! | 0:40:11 | 0:40:13 | |
Am I bringing it on? The running man? Is that how I roll? | 0:40:13 | 0:40:16 | |
Uh-huh. | 0:40:16 | 0:40:18 | |
I can't do it. I won't do it. I just did it. | 0:40:18 | 0:40:20 | |
'I am so pumped up right now, it's unbelievable.' | 0:40:23 | 0:40:26 | |
I came in here as the complete underdog. | 0:40:26 | 0:40:28 | |
No-one thought I was even going to get out of bed. | 0:40:28 | 0:40:30 | |
You know what everyone's mistake was, honestly? | 0:40:30 | 0:40:32 | |
-Underestimating you. -They so underestimated me. | 0:40:32 | 0:40:34 | |
They're like, "This guy ain't going to wake up." | 0:40:34 | 0:40:36 | |
What I kept getting was, I'm too serious. | 0:40:36 | 0:40:38 | |
'I will not underestimate Bret Michaels at all.' | 0:40:38 | 0:40:41 | |
If I win, it's 250,000 for the HollyRod Foundation | 0:40:41 | 0:40:44 | |
'and the title of being Celebrity Apprentice. | 0:40:44 | 0:40:47 | |
'I came here to win this.' | 0:40:47 | 0:40:48 | |
I want to beat Bret Michaels. | 0:40:48 | 0:40:50 | |
I want to beat that unskinny bop. | 0:40:50 | 0:40:52 | |
-Congratulations. -Congratulations. Cheers. And I want to say this. | 0:40:52 | 0:40:56 | |
All is fair in love, war, and raising money for our charities. | 0:40:56 | 0:40:59 | |
-Yeah. -Love you. -That's what it's all about. -Love you. Cheers. -Cheers. | 0:40:59 | 0:41:02 | |
Good morning and congratulations. | 0:41:30 | 0:41:32 | |
You've done a fantastic job. | 0:41:32 | 0:41:34 | |
Holly, how do you feel? | 0:41:34 | 0:41:35 | |
Invigorated. Just happy and honoured to be here. | 0:41:35 | 0:41:38 | |
-Bret? -I'm ready to rock. | 0:41:38 | 0:41:40 | |
Are you surprised, Bret? | 0:41:40 | 0:41:41 | |
Not in myself. I think a lot of people are surprised. | 0:41:41 | 0:41:44 | |
-They counted me out from the beginning... -People are surprised. | 0:41:44 | 0:41:47 | |
Yes, I believed in myself. | 0:41:47 | 0:41:48 | |
-But you really have been amazing. -Thank you. -Both of you. | 0:41:48 | 0:41:51 | |
So now we're down to our final task, | 0:41:51 | 0:41:54 | |
and it's going to be a really big one. | 0:41:54 | 0:41:57 | |
In fact, it's a combination of everything you've done so far | 0:41:57 | 0:42:01 | |
in this competition. | 0:42:01 | 0:42:03 | |
You'll be working with a really great company - Snapple. | 0:42:03 | 0:42:07 | |
-Yes! -Wonderful people, wonderful product. | 0:42:07 | 0:42:10 | |
I drink it all the time. | 0:42:10 | 0:42:12 | |
-I love it. You like Snapple, Holly? -Love it. | 0:42:12 | 0:42:14 | |
-You better say that, Holly. -I do! Grape is my favourite flavour. | 0:42:14 | 0:42:18 | |
OK. Very good. | 0:42:18 | 0:42:19 | |
With me is the chief executive officer of Snapple, Larry Young. | 0:42:19 | 0:42:24 | |
-Larry? -Thank you. You will create a new flavour of Snapple tea. | 0:42:24 | 0:42:27 | |
You will extend our advertising campaign | 0:42:27 | 0:42:30 | |
with a new television commercial and print advertisement. | 0:42:30 | 0:42:34 | |
And you will launch your product at an event filled with | 0:42:34 | 0:42:38 | |
Snapple employees, distributors, and, most importantly, | 0:42:38 | 0:42:42 | |
our passionate Snapple tea fans. | 0:42:42 | 0:42:45 | |
Joining me today to help us with the task is Andrew Springate, | 0:42:45 | 0:42:48 | |
our senior vice president of brand marketing. | 0:42:48 | 0:42:51 | |
So, you'll be judged on the following - originality, | 0:42:51 | 0:42:54 | |
creativity, incorporating your charity's mission and message, | 0:42:54 | 0:42:58 | |
and, most important, maintaining the essence and the spirit | 0:42:58 | 0:43:01 | |
of the Snapple brand across all you do. | 0:43:01 | 0:43:03 | |
'Once I heard that we were able to incorporate our charity, | 0:43:03 | 0:43:06 | |
'that got me really excited,' | 0:43:06 | 0:43:08 | |
because HollyRod Foundation is my fifth child. | 0:43:08 | 0:43:11 | |
And Snapple's going to raise the stakes even further. | 0:43:11 | 0:43:14 | |
Your new Snapple tea product will be sold across the country. | 0:43:14 | 0:43:17 | |
Good luck. | 0:43:17 | 0:43:19 | |
The winner will receive 250,000 | 0:43:19 | 0:43:24 | |
for Holly or Bret's charity. | 0:43:24 | 0:43:26 | |
And all across the country, people will be able to buy | 0:43:26 | 0:43:30 | |
the Snapple products you create. | 0:43:30 | 0:43:32 | |
And in doing so, they'll be supporting your charities. | 0:43:32 | 0:43:35 | |
-Ooh. -How do you feel about that? -That's incredible. That's awesome. | 0:43:35 | 0:43:38 | |
All right. That's going to be a lot of money and, Holly, | 0:43:38 | 0:43:41 | |
you've already been pouring the money in. | 0:43:41 | 0:43:43 | |
How much have you won so far for your charity? | 0:43:43 | 0:43:45 | |
-350,000. -And Bret? | 0:43:45 | 0:43:47 | |
-140,000. -All right. Well, very good. Congratulations. | 0:43:47 | 0:43:51 | |
You're going to have help, but I'll send them to you in a little while. | 0:43:51 | 0:43:55 | |
Go do your thing. Good luck. | 0:43:55 | 0:43:57 | |
-Thank you very much. -Thank you. | 0:43:57 | 0:43:59 | |
You ready? Let's rock. | 0:43:59 | 0:44:00 | |
'I'm going to go over to the Snapple mixology laboratory' | 0:44:12 | 0:44:15 | |
and I'm going to make sure | 0:44:15 | 0:44:17 | |
that when I get to meet my other team-mates, | 0:44:17 | 0:44:19 | |
'I had it all laid out. | 0:44:19 | 0:44:21 | |
'I had a plan. I was going to get this done.' | 0:44:21 | 0:44:23 | |
Good morning, good morning, everybody. Oh, there's nobody here. | 0:44:23 | 0:44:27 | |
There's no birthday party in here for me. | 0:44:27 | 0:44:30 | |
'I start laying out the computers, the pencils, the pens, the phones,' | 0:44:33 | 0:44:37 | |
and I'm saying to myself, "Bret, I've learned a lot | 0:44:37 | 0:44:39 | |
"on Celebrity Apprentice on how to organise." | 0:44:39 | 0:44:42 | |
-Hello. -We're back! | 0:44:47 | 0:44:48 | |
Oh, geez! Oh, man, what's happening? | 0:44:48 | 0:44:52 | |
-What's up? -I can't believe you beat me in my task. | 0:44:52 | 0:44:56 | |
-Are you my team? -We're your team. -Come on, then. Get in here. | 0:44:56 | 0:44:59 | |
'Mr Trump sent in the helpers, and here comes Darryl Strawberry' | 0:44:59 | 0:45:02 | |
and Summer Sanders. And I'm like, "Yes!" | 0:45:02 | 0:45:04 | |
-What's the task? -It's Snapple tea. -Right. | 0:45:04 | 0:45:06 | |
-We got to come up with a flavour that we love. -OK. | 0:45:06 | 0:45:09 | |
We've got to shoot a commercial. | 0:45:09 | 0:45:10 | |
I'm going to give you this right now so you have it. | 0:45:10 | 0:45:12 | |
Look, I'm organised. Summer, which would you rather have? | 0:45:12 | 0:45:15 | |
-Perfect. -There you go. | 0:45:15 | 0:45:17 | |
-And there's the other one. -Look at you! | 0:45:17 | 0:45:19 | |
-look at me all prepped. -Stapled or unstapled? | 0:45:19 | 0:45:21 | |
'Our task today is really,' | 0:45:21 | 0:45:24 | |
when you think about it, | 0:45:24 | 0:45:25 | |
a culmination of all of the tasks to date. | 0:45:25 | 0:45:27 | |
'I think this is a really, really hard task to walk into | 0:45:27 | 0:45:30 | |
'after being gone for so long.' | 0:45:30 | 0:45:32 | |
You let us know if you want us to throw ideas out. | 0:45:32 | 0:45:34 | |
-You know I do. -It's got to be something that you feel good about. | 0:45:34 | 0:45:37 | |
-Done. -'To be able to come back' | 0:45:37 | 0:45:39 | |
'after going home and getting some rest,' | 0:45:39 | 0:45:41 | |
I wanted to come back and redeem myself. | 0:45:41 | 0:45:43 | |
Finding a flavour that we love, that's all that matters, | 0:45:43 | 0:45:46 | |
and then we can taste test it at the mall today. | 0:45:46 | 0:45:48 | |
Today, of course, I got a cold sore on my lip, | 0:45:48 | 0:45:50 | |
so now I got to go to the mall and do a taste test thing. | 0:45:50 | 0:45:53 | |
So, you may have to be the front person. "Here, try this." | 0:45:53 | 0:45:55 | |
-They're like, -"BLEEP -you! I'm not drinking that! | 0:45:55 | 0:45:58 | |
"Anything you didn't touch?" It's just from stress. | 0:45:58 | 0:46:01 | |
It's not from kissing all those groupies, huh? | 0:46:01 | 0:46:03 | |
-No, no. Nothing at all. -Whatever! | 0:46:03 | 0:46:05 | |
It's just stress. | 0:46:05 | 0:46:06 | |
'So I'm all alone in my Snapple war room,' | 0:46:16 | 0:46:19 | |
trying to figure out who's going to come and help me on this task. | 0:46:19 | 0:46:23 | |
'I'm really hoping to get Summer Sanders, that's my homey, | 0:46:23 | 0:46:26 | |
'and I just feel like we're really connected.' | 0:46:26 | 0:46:28 | |
We're your new team. I'm sorry that I'm not Summer! | 0:46:30 | 0:46:34 | |
I'm sorry. | 0:46:34 | 0:46:35 | |
'In comes Curtis and Maria...' | 0:46:35 | 0:46:38 | |
But at this point, I'm just happy to have help. | 0:46:38 | 0:46:40 | |
We have to create and launch a new Snapple tea. | 0:46:40 | 0:46:43 | |
OK. | 0:46:43 | 0:46:44 | |
-We have to create a commercial, a print ad campaign... -Mm-hm. | 0:46:44 | 0:46:48 | |
And then we have to present it in front of bunch of | 0:46:48 | 0:46:51 | |
Snapple executives, like a big presentation. | 0:46:51 | 0:46:53 | |
-OK. -We have three days to do this. -'I thought to myself,' | 0:46:53 | 0:46:56 | |
Thank God we have three days. | 0:46:56 | 0:46:58 | |
'But at the same time, three days is' | 0:46:58 | 0:47:01 | |
a short amount of time compared to how much we have to do. | 0:47:01 | 0:47:04 | |
"Made from the best stuff on Earth." | 0:47:04 | 0:47:06 | |
So why not incorporate an Earth logo? | 0:47:06 | 0:47:08 | |
I don't want to get too far ahead of ourselves, but tomorrow's | 0:47:08 | 0:47:10 | |
basically the creative stuff. | 0:47:10 | 0:47:12 | |
Well, here's my initial thought... | 0:47:12 | 0:47:14 | |
Maria, tomorrow's the creative stuff. Today is about the tea. | 0:47:14 | 0:47:17 | |
'Curtis and I,' | 0:47:18 | 0:47:20 | |
were trying. But then again we don't want to step on Holly's toes, | 0:47:20 | 0:47:23 | |
because this is her baby. | 0:47:23 | 0:47:24 | |
'If you can't win, you might as well be a person that's there' | 0:47:24 | 0:47:28 | |
supporting someone that can win. | 0:47:28 | 0:47:30 | |
So what are your thoughts for the commercial? | 0:47:30 | 0:47:32 | |
Do you think you want to go the humour route, | 0:47:32 | 0:47:36 | |
like they usually do? | 0:47:36 | 0:47:38 | |
Today is really about the flavours. | 0:47:48 | 0:47:49 | |
-Tomorrow is basically the creative stuff. -Mm-hm. | 0:47:49 | 0:47:52 | |
So we can focus just on creating our drink | 0:47:52 | 0:47:54 | |
-and then, today, we're going to take it over to a mall... -Mm-hm. | 0:47:54 | 0:47:56 | |
..and we're going to do a taste test with people. | 0:47:56 | 0:47:59 | |
The goal of the first day is just to create the new Snapple tea. | 0:47:59 | 0:48:02 | |
If you drink Snapple and you're having fun, | 0:48:02 | 0:48:04 | |
and it's made from the best stuff on Earth, | 0:48:04 | 0:48:06 | |
and all that kind of stuff | 0:48:06 | 0:48:08 | |
so, why not have it "Snapple, bringing you out of your shell"? | 0:48:08 | 0:48:11 | |
I think "shell" might not be the actual... | 0:48:11 | 0:48:13 | |
But the concept is very, very powerful. | 0:48:13 | 0:48:15 | |
'I thought to myself, I'm going to help Holly with whatever' | 0:48:15 | 0:48:18 | |
she needs, and it's not worth me fighting for things, | 0:48:18 | 0:48:21 | |
'because it's not my task this time, and she's the project manager.' | 0:48:21 | 0:48:24 | |
And I've already been fired, | 0:48:24 | 0:48:26 | |
so I'm going to let her make the decisions, | 0:48:26 | 0:48:28 | |
and I'm not going to argue with her. | 0:48:28 | 0:48:30 | |
-Hi. -Hi, I'm Holly. -Megha Gandhi. | 0:48:32 | 0:48:35 | |
-I'm going to be your Snapple development scientist today. -Good. | 0:48:35 | 0:48:38 | |
-Fabulous. -We need you. -Great. -This is Curtis. | 0:48:38 | 0:48:41 | |
'Our R&D specialist came in. She's lovely. | 0:48:41 | 0:48:43 | |
'And now it's just a matter of picking that flavour' | 0:48:43 | 0:48:46 | |
that is going to be marketable. | 0:48:46 | 0:48:48 | |
'But Bret and I have to have totally different flavours. | 0:48:48 | 0:48:51 | |
'So we had to split them down the middle, and we had to negotiate | 0:48:51 | 0:48:54 | |
'for which flavours I could have and which flavours Bret could have.' | 0:48:54 | 0:48:57 | |
Feel free to start tasting. I have some cups for you. | 0:48:57 | 0:48:59 | |
-All right, cheers. -Salut. | 0:48:59 | 0:49:02 | |
'Diet tropical mixed with the coconut kicker.' | 0:49:02 | 0:49:05 | |
Ooh, that's good. | 0:49:07 | 0:49:09 | |
'For me, being diabetic,' | 0:49:09 | 0:49:10 | |
it was very, very important for me | 0:49:10 | 0:49:12 | |
that I was handling the Diet Snapple. I didn't even want to | 0:49:12 | 0:49:15 | |
'try to make a sugar drink.' | 0:49:15 | 0:49:16 | |
-Coconut added to anything reminds me of the summer. -I hate coconut. | 0:49:16 | 0:49:19 | |
Coconut's too much for me. | 0:49:19 | 0:49:20 | |
OK, this is lychee coconut. | 0:49:20 | 0:49:22 | |
Mm, that's not bad. | 0:49:22 | 0:49:24 | |
I think vanilla's good. | 0:49:24 | 0:49:26 | |
-Reminds me of a snow cone. -Yeah, that's a good adder. | 0:49:26 | 0:49:28 | |
-I want to taste this fig. -What's your favourite spice? -Ooh, no! | 0:49:28 | 0:49:32 | |
Nutmeg we should use. You know why? | 0:49:32 | 0:49:34 | |
Because, you know, nutty rocker. | 0:49:34 | 0:49:36 | |
If this is a drink that's coming out in summer, you can start | 0:49:36 | 0:49:38 | |
eliminating winter fruits, like apple and pear. | 0:49:38 | 0:49:41 | |
Yeah, that's done. They're boring. | 0:49:41 | 0:49:43 | |
'I definitely have an advantage with Curtis on the whole palate thing.' | 0:49:43 | 0:49:46 | |
He's going to use his kitchen skills for good. | 0:49:46 | 0:49:49 | |
Passing on the plum. | 0:49:49 | 0:49:51 | |
-Ooh, that's good. -What? | 0:49:51 | 0:49:53 | |
I'll make you one. | 0:49:53 | 0:49:54 | |
Will you write down these ingredients - | 0:49:56 | 0:49:59 | |
diet passion, thank you. | 0:49:59 | 0:50:00 | |
Mix that with cinnamon. | 0:50:00 | 0:50:02 | |
So that's a huge breakthrough for diabetes right now, | 0:50:02 | 0:50:05 | |
is that cinnamon lowers and maintains your low blood sugars. | 0:50:05 | 0:50:08 | |
'I wanted to get cinnamon in there,' | 0:50:08 | 0:50:10 | |
and then I wanted the passion fruit, | 0:50:10 | 0:50:11 | |
because I already had this rock'n'roll passion theme | 0:50:11 | 0:50:14 | |
'spinning in my brain.' | 0:50:14 | 0:50:15 | |
-It tastes good, doesn't it? -With sexy cinnamon, diet passion. | 0:50:15 | 0:50:18 | |
Open up your inner rocker, the passion in you. | 0:50:18 | 0:50:21 | |
-Taste it. -Thanks. strawberry something. | 0:50:21 | 0:50:24 | |
-Passion fruit. -Mm. I like it. | 0:50:24 | 0:50:26 | |
I think it smells so fragrant. | 0:50:26 | 0:50:28 | |
Passion berry. Berry passionate. | 0:50:28 | 0:50:31 | |
-It tastes very good, actually. -Yeah. | 0:50:31 | 0:50:33 | |
'I need the passion fruit. we love the idea of' | 0:50:33 | 0:50:37 | |
taking our passion fruit | 0:50:37 | 0:50:39 | |
and making it into a "compassion berry" - | 0:50:39 | 0:50:40 | |
mixing it with strawberry, | 0:50:40 | 0:50:42 | |
'because part of what the HollyRod Foundation does is provide | 0:50:42 | 0:50:45 | |
'compassionate care for people.' | 0:50:45 | 0:50:47 | |
These are the ones we need - coconut, tropical, passion fruit. | 0:50:47 | 0:50:49 | |
Strawberry, too. | 0:50:49 | 0:50:51 | |
-We've got to do something with those four. -Yeah. | 0:50:51 | 0:50:54 | |
Summer and Darryl, I got to do my negotiating. | 0:50:54 | 0:50:57 | |
-You need to fight for cinnamon and passion fruit. -OK. | 0:50:57 | 0:51:00 | |
So you have to figure out, like... | 0:51:00 | 0:51:02 | |
I don't think you want to play your hand. | 0:51:02 | 0:51:05 | |
Is there two girls, two guys? There's two guys for the ad. | 0:51:05 | 0:51:08 | |
No, no. This is just... We have to negotiate for the flavours. | 0:51:08 | 0:51:11 | |
Oh, that's the right... Oh, man. | 0:51:11 | 0:51:13 | |
I'm already on the wrong day. OK. | 0:51:13 | 0:51:15 | |
'Before Bret went into the negotiation, | 0:51:15 | 0:51:17 | |
'I talked to him about this.' | 0:51:17 | 0:51:19 | |
I said, "What is your number one flavour?" | 0:51:19 | 0:51:21 | |
The two we really wanted were passion fruit and cinnamon. | 0:51:21 | 0:51:23 | |
'That was my big concern.' | 0:51:23 | 0:51:25 | |
So, let's say that she's like, "No, I want these two." | 0:51:25 | 0:51:28 | |
Which one would you give up? | 0:51:28 | 0:51:29 | |
-So, passion is your number one, right? -Have to have the passion. | 0:51:29 | 0:51:32 | |
-OK, so that's what you know to fight for. -That's the fighter. -OK. | 0:51:32 | 0:51:35 | |
So, first priority is to try to get that passion fruit, right? | 0:51:35 | 0:51:38 | |
-Yeah. -We'll all be thinking positive. | 0:51:38 | 0:51:41 | |
You want to negotiate? | 0:51:41 | 0:51:43 | |
-I'll negotiate. -You will? | 0:51:43 | 0:51:45 | |
-I'll wipe the floor with Bret. -OK. | 0:51:45 | 0:51:48 | |
'Initially, I was going to negotiate with Bret' | 0:51:49 | 0:51:51 | |
to get the flavours that we wanted. | 0:51:51 | 0:51:53 | |
But then it just hit me like a tonne of bricks - | 0:51:53 | 0:51:55 | |
'Curtis has worked with Bret a lot. | 0:51:55 | 0:51:57 | |
'He knows Bret a lot better than me, and he was like,' | 0:51:57 | 0:51:59 | |
"Piece a cake." | 0:51:59 | 0:52:01 | |
-Just confuse him. -Yeah. That won't be hard. | 0:52:01 | 0:52:04 | |
-Oh, I love you, Bret. -Oh, I love Bret. | 0:52:05 | 0:52:08 | |
He does all that, "Go with it now. | 0:52:08 | 0:52:09 | |
-"Feel me out here." -This could take a long time, this negotiation. | 0:52:09 | 0:52:13 | |
I'm just saying. | 0:52:13 | 0:52:14 | |
Good luck, Curtis! | 0:52:14 | 0:52:16 | |
I might be back by Tuesday. | 0:52:16 | 0:52:18 | |
Bring me back the passion fruit! | 0:52:18 | 0:52:20 | |
Summer and Darryl, I've got to do my negotiating. | 0:52:29 | 0:52:32 | |
-You need to fight for cinnamon and passion fruit. -OK. | 0:52:32 | 0:52:35 | |
Let's say she's like, "You know what, Bret? | 0:52:35 | 0:52:37 | |
"I want passion fruit and I want cinnamon. | 0:52:37 | 0:52:39 | |
"So you can pick one of those, and I'll take the other one." | 0:52:39 | 0:52:42 | |
I think I'd have to have the passion. | 0:52:42 | 0:52:44 | |
-So that's what you know to fight for. -That's the fighter. -Right. | 0:52:44 | 0:52:48 | |
When I got Summer, that's Holly's BFF, | 0:52:48 | 0:52:50 | |
I thought, "This is going to be bad. She's a spy." | 0:52:50 | 0:52:52 | |
I figured she'd just lay under the table | 0:52:52 | 0:52:54 | |
'and sleep. But Summer has been absolutely awesome for me. | 0:52:54 | 0:52:58 | |
'She is smart and strong.' | 0:52:58 | 0:53:00 | |
Bye, guys. See you later. | 0:53:00 | 0:53:02 | |
-See you in a bit. -See you in a bit. | 0:53:02 | 0:53:03 | |
Let negotiations begin. | 0:53:03 | 0:53:06 | |
-All right, Michaels. -Ugh, no! | 0:53:07 | 0:53:10 | |
What's going on? | 0:53:10 | 0:53:13 | |
-How are you, buddy? -I'm doing good, man. How you doing? | 0:53:13 | 0:53:15 | |
-Are you the negotiator? -They sent me up. -Oh, good. | 0:53:15 | 0:53:18 | |
I thought Holly was coming in to negotiate with me, | 0:53:18 | 0:53:21 | |
and she sent up Curtis. | 0:53:21 | 0:53:22 | |
'He is the celebrity chef. You know, it's going to be tough.' | 0:53:22 | 0:53:27 | |
The first one I would love is passion fruit | 0:53:27 | 0:53:29 | |
with a little kicker of cinnamon, | 0:53:29 | 0:53:31 | |
and vanilla and black pepper, possibly. | 0:53:31 | 0:53:33 | |
-Um... -How are you there? | 0:53:33 | 0:53:37 | |
-I've got a bit of a problem. -Oh, you bastard! | 0:53:37 | 0:53:41 | |
What's your second choice? | 0:53:41 | 0:53:43 | |
-We've got pear, plum, nutmeg. -OK. | 0:53:43 | 0:53:46 | |
And then I've got, the other one was the tropical fruit, | 0:53:46 | 0:53:49 | |
the coconut with the vanilla kicker. | 0:53:49 | 0:53:50 | |
'He had a couple of strange combinations in there,' | 0:53:50 | 0:53:54 | |
like vanilla and tropical fruits | 0:53:54 | 0:53:56 | |
and a couple of things that I was like, "Really? OK." | 0:53:56 | 0:53:59 | |
If we could get the passion fruit and strawberry, | 0:53:59 | 0:54:03 | |
then I'd totally be prepared to give you the vanilla. | 0:54:03 | 0:54:05 | |
-How about if YOU take vanilla... -Yeah. | 0:54:05 | 0:54:09 | |
-I'll take the passion fruit. -Um... | 0:54:09 | 0:54:11 | |
'Curtis walks in, the first thing he says,' | 0:54:11 | 0:54:13 | |
"I want passion fruit." | 0:54:13 | 0:54:14 | |
I'm like, "Oh, no, you don't. that's what I'm getting." | 0:54:14 | 0:54:16 | |
If you took my passion fruit, you took my A game. | 0:54:16 | 0:54:19 | |
You kicked me right in the nards. You understand what I'm saying? | 0:54:19 | 0:54:22 | |
-Yep. -So that's why I feel that unless I get the other things, | 0:54:22 | 0:54:25 | |
-I don't even have a game. -Um... | 0:54:25 | 0:54:27 | |
Give me your A game. Let's see what you've got. | 0:54:27 | 0:54:31 | |
All the ones that you said, we're looking for the same stuff. | 0:54:31 | 0:54:34 | |
'I had to pull a couple of swift ones on Bret.' | 0:54:34 | 0:54:36 | |
I had to tell him that everything that was on his list | 0:54:36 | 0:54:39 | |
was exactly what I wanted. that wasn't quite the truth. | 0:54:39 | 0:54:41 | |
-I could let you walk with all... -All this? | 0:54:41 | 0:54:44 | |
Pear. Plum. Was that your second choice? | 0:54:44 | 0:54:46 | |
And I gave up the cinnamon. | 0:54:46 | 0:54:48 | |
The passion's the killer. | 0:54:48 | 0:54:50 | |
So, you're not happy with what you've got now? | 0:54:50 | 0:54:52 | |
My key with Bret was to get in and out fast. | 0:54:52 | 0:54:55 | |
'To avoid him getting to the bottom of the problem, | 0:54:55 | 0:54:57 | |
'you've got to move quick. I was like, "Come on, mate.' | 0:54:57 | 0:54:59 | |
"You've got what you want. I've got what I want. | 0:54:59 | 0:55:01 | |
"Let's call it a day. No need to keep thinking." | 0:55:01 | 0:55:03 | |
If you take the passion fruit and leave me with this... | 0:55:03 | 0:55:06 | |
-You've got nothing. -..then I can't even make a drink, you've fleeced me. | 0:55:06 | 0:55:10 | |
-I want to do the right thing by you. -I've got you. -We're old mates. | 0:55:10 | 0:55:12 | |
Hold on a second here. | 0:55:12 | 0:55:15 | |
I've got Goldberg waiting in the hallway in case. | 0:55:15 | 0:55:17 | |
Oh, no! Is he out there? | 0:55:17 | 0:55:18 | |
'He wasn't going to budge, and I was thinking,' | 0:55:18 | 0:55:21 | |
if he ain't going to budge, I'll be here two hours. | 0:55:21 | 0:55:24 | |
I need to make a drink that's great. | 0:55:24 | 0:55:25 | |
You know what I'm going to do? | 0:55:28 | 0:55:29 | |
It's taking my A-game away, but you know what? | 0:55:29 | 0:55:32 | |
I need to get on with my game. | 0:55:32 | 0:55:34 | |
So I'm going to give you this. I'm going to give you this. | 0:55:34 | 0:55:37 | |
-So, you're good? -Take that passion fruit. Let's get this thing done. | 0:55:37 | 0:55:40 | |
You've got it, man. Good luck, mate. | 0:55:40 | 0:55:41 | |
'I think Bret gave it up a bit easy.' | 0:55:41 | 0:55:43 | |
If I was Bret, and I wanted passion fruit, I would | 0:55:43 | 0:55:46 | |
have fought for it a bit harder. | 0:55:46 | 0:55:47 | |
But who knows? Maybe he didn't. Maybe he bluffed me. | 0:55:47 | 0:55:49 | |
All right, now I got to rethink this. | 0:55:49 | 0:55:52 | |
-Sucker! -I heard you say, "Sucker!" -Ha-ha! | 0:55:55 | 0:55:59 | |
I never wanted passion fruit to begin with, so he can have it. | 0:56:00 | 0:56:04 | |
All right. I'm lying, I did. | 0:56:06 | 0:56:08 | |
Ooh! | 0:56:10 | 0:56:11 | |
What we got? What we got? What we got? | 0:56:11 | 0:56:13 | |
Uh-oh. That was not a good face. | 0:56:13 | 0:56:15 | |
I feel bad for what I just did. | 0:56:15 | 0:56:16 | |
-Uh-oh. What'd you do? -It was like taking candy from a baby. | 0:56:16 | 0:56:19 | |
Oh, God! What do we got? Show me something. | 0:56:19 | 0:56:22 | |
-His first choice was passion fruit. And there it is. -Oh, yes! | 0:56:22 | 0:56:25 | |
Sorry, Bret! Yes! | 0:56:25 | 0:56:28 | |
What?! That's two! | 0:56:28 | 0:56:29 | |
Oh, my God, you got... How did you do that!? | 0:56:29 | 0:56:34 | |
-How did you do that? -Good job! | 0:56:34 | 0:56:37 | |
Curtis came back down. He had all the juices we needed, | 0:56:37 | 0:56:39 | |
'all the juices we wanted. He got everything on my list.' | 0:56:39 | 0:56:43 | |
I sent the right man up there. | 0:56:43 | 0:56:45 | |
Hi! How was negotiating? | 0:56:46 | 0:56:49 | |
It was OK. Here's...Here's what didn't go good for me. | 0:56:49 | 0:56:53 | |
What didn't go good is they were firm on the passion fruit. | 0:56:53 | 0:56:55 | |
-Uh-oh. -All right, firm... It's OK. | 0:56:55 | 0:56:57 | |
I was going to be up here, we weren't budging. | 0:56:57 | 0:56:59 | |
So we would have been here for hours. | 0:56:59 | 0:57:01 | |
'I can't wait to see the video of the actual' | 0:57:01 | 0:57:04 | |
"negotiation" of Bret going, | 0:57:04 | 0:57:06 | |
"I want passion fruit," and Curtis going, "No!" | 0:57:06 | 0:57:09 | |
Bret saying, "OK". | 0:57:09 | 0:57:11 | |
They stole our passion. | 0:57:11 | 0:57:13 | |
They didn't steal our passion. Just stole our passion fruit. | 0:57:13 | 0:57:15 | |
Maybe have to go back and rethink this. | 0:57:15 | 0:57:18 | |
'I don't know how the negotiation went. I know we've ended up' | 0:57:18 | 0:57:21 | |
very vulnerable. | 0:57:21 | 0:57:22 | |
So now we just put together what we want to be our two drinks. | 0:57:26 | 0:57:30 | |
-OK. -This was unbelievably great together. | 0:57:30 | 0:57:32 | |
-OK. -Then we can decide whether we want the vanilla or cinnamon. | 0:57:32 | 0:57:35 | |
-So, this is where I would go. -OK. -OK. | 0:57:35 | 0:57:37 | |
-And then our second drink should be just this. -OK. | 0:57:37 | 0:57:40 | |
'We developed two drinks:' | 0:57:43 | 0:57:44 | |
one was Pear Plum Nutty, which also | 0:57:44 | 0:57:46 | |
'worked with the diabetes.' | 0:57:46 | 0:57:48 | |
"Pear Plum Nutty with a sinfully delicious kicker." | 0:57:48 | 0:57:50 | |
-I think it's great, you guys. -That's it. | 0:57:50 | 0:57:54 | |
I love this taste, man. It's good. | 0:57:54 | 0:57:56 | |
'And the other drink was simply called Trop-a-rocka.' | 0:57:56 | 0:57:59 | |
-I like that drink. -Wow. -It's good. | 0:57:59 | 0:58:02 | |
I sent Darryl off to the mall to do a taste test,' | 0:58:02 | 0:58:05 | |
cos you got to find out what the people love, | 0:58:05 | 0:58:07 | |
what the consumer wants, right? | 0:58:07 | 0:58:09 | |
I'm out, guys. | 0:58:09 | 0:58:10 | |
How bummed are we going to be if they come back and say, | 0:58:10 | 0:58:13 | |
"No-one likes the Pear Plum Nutmeg"? | 0:58:13 | 0:58:17 | |
It doesn't matter. It will just be my executive choice. | 0:58:17 | 0:58:21 | |
So, which one do you want to do first? | 0:58:21 | 0:58:23 | |
Let's try our compassion and strawberry. | 0:58:23 | 0:58:25 | |
Passion fruit, strawberry? | 0:58:25 | 0:58:27 | |
Technical, eh? | 0:58:29 | 0:58:30 | |
Ladies and gentlemen, Compassion Berry. | 0:58:30 | 0:58:32 | |
Ooh, it smells delicious. | 0:58:32 | 0:58:34 | |
It does, doesn't it? | 0:58:34 | 0:58:36 | |
There's something about passion fruits that just get you going. | 0:58:36 | 0:58:39 | |
We like the idea of morphing the names of passion fruit | 0:58:39 | 0:58:44 | |
and strawberry into Compassion Berry. | 0:58:44 | 0:58:46 | |
'But, was the actual tea going to taste good? | 0:58:46 | 0:58:49 | |
'And then when we blended it with our R&D specialist, we loved it.' | 0:58:49 | 0:58:52 | |
I'm loving that one, you guys. I say we pick that one. | 0:58:52 | 0:58:54 | |
Do you think it needs a spice? | 0:58:54 | 0:58:56 | |
-What kind of spice do you think it needs? -I don't know. | 0:58:56 | 0:58:59 | |
-I'm just... I'm just curious. -Did we get sweet basil? | 0:58:59 | 0:59:03 | |
-Yeah. -Try the sweet basil in there. | 0:59:03 | 0:59:04 | |
'You've got pepper and nutmeg, | 0:59:04 | 0:59:06 | |
'and things that you'd never imagine' | 0:59:06 | 0:59:07 | |
would be in a Snapple drink. | 0:59:07 | 0:59:10 | |
Yet, one little hit of these | 0:59:10 | 0:59:12 | |
'changes the whole flavour.' | 0:59:12 | 0:59:13 | |
-See what that brings to it. -Thank you. | 0:59:13 | 0:59:16 | |
-That's very good. -I like it. -Mm-hm. | 0:59:18 | 0:59:22 | |
Why don't we do the passion, strawberry, basil and see if | 0:59:22 | 0:59:25 | |
-people have a reaction to the basil or not? -Sure. | 0:59:25 | 0:59:28 | |
'We did decide we were going to take two flavours out:' | 0:59:28 | 0:59:30 | |
one with sweet basil, and one without. | 0:59:30 | 0:59:33 | |
'What we're really concerned about is how does the sweet basil | 0:59:33 | 0:59:36 | |
'affect our passion fruit, strawberry tea?' | 0:59:36 | 0:59:39 | |
# Roll, roll, roll your Snapple gently out the door... # | 0:59:39 | 0:59:44 | |
'I really wish' | 0:59:44 | 0:59:45 | |
we could have came up with two completely different teas, | 0:59:45 | 0:59:48 | |
'so the public would have been able to tell us | 0:59:48 | 0:59:50 | |
'which one they liked.' | 0:59:50 | 0:59:51 | |
That's not bad, actually. 'But Holly does this.' | 0:59:51 | 0:59:53 | |
Holly gets something in her mind, and then that's it. | 0:59:53 | 0:59:56 | |
You're not going to change her mind. | 0:59:56 | 0:59:58 | |
All right, here we go! | 0:59:58 | 0:59:59 | |
-Beautiful! -'It could be a huge mistake if nobody likes this drink.' | 0:59:59 | 1:00:03 | |
All right. So, what are we doing here? | 1:00:05 | 1:00:07 | |
Let's take one last look at that sucker. | 1:00:07 | 1:00:09 | |
"The best ingredients make the best drinks with zero calories. | 1:00:09 | 1:00:11 | |
"So pop that top, and make that sucker pucker. | 1:00:11 | 1:00:15 | |
"I guarantee it's going to rock your world." | 1:00:15 | 1:00:17 | |
"Incorporation of your charity's mission and message." | 1:00:17 | 1:00:20 | |
So, we haven't done that in there yet. | 1:00:20 | 1:00:22 | |
And it has to be in the label? Within the label? | 1:00:22 | 1:00:25 | |
-I don't know. -We have a little room still, right? | 1:00:25 | 1:00:29 | |
-It's just oversaturated with words. -What's going on? -Doing good. | 1:00:29 | 1:00:34 | |
-How are you doing? I'm sorry. -Good to see you. | 1:00:34 | 1:00:36 | |
-I was so engrossed. -Oh, listen, that's cool. | 1:00:36 | 1:00:38 | |
-Show me what you got. -Look at those colours. | 1:00:38 | 1:00:40 | |
Got the red, you throw a little guitar, a little hint | 1:00:40 | 1:00:42 | |
of stuff, the fruits. | 1:00:42 | 1:00:43 | |
-So, what's the flavour? -Pear Plum Nutty. -How's the taste? | 1:00:43 | 1:00:47 | |
-Taste is unbelievable. -Really? | 1:00:47 | 1:00:49 | |
Cos it just doesn't seem like a combo I'd ever want to drink, but... | 1:00:49 | 1:00:52 | |
-Hello there. -How are you? -How's everything going? | 1:01:01 | 1:01:04 | |
It's going good so far. | 1:01:04 | 1:01:06 | |
-I got my... -Oh, going barefoot and everything! | 1:01:06 | 1:01:08 | |
I got my shoes off. | 1:01:08 | 1:01:10 | |
We're doing a hybrid of passion fruit and strawberry. | 1:01:10 | 1:01:13 | |
We're calling it "Compassion Berry tea". | 1:01:13 | 1:01:15 | |
-So, this is where we are now. -Good integration of the autism. | 1:01:15 | 1:01:18 | |
-Yeah. Yeah, you know? -In there with the puzzle pieces. | 1:01:18 | 1:01:21 | |
'I love that he got that our label incorporated' | 1:01:21 | 1:01:23 | |
the puzzle pieces, and the puzzle pieces are the symbol of autism. | 1:01:23 | 1:01:27 | |
We wanted to be able to do this Compassion Berry, and we | 1:01:27 | 1:01:30 | |
couldn't do the Compassion Berry piece without the passion fruit, | 1:01:30 | 1:01:33 | |
or the strawberry. | 1:01:33 | 1:01:34 | |
Is passion fruit, though, Middle America? | 1:01:34 | 1:01:36 | |
Um... It's not, but the strawberry sort of brings it down and makes it | 1:01:36 | 1:01:39 | |
a little bit more recognisable. | 1:01:39 | 1:01:41 | |
-Yeah. -It's a different-looking fruit. | 1:01:41 | 1:01:43 | |
'It's interesting. Because they put so much stock in the fact | 1:01:43 | 1:01:46 | |
'that this is the compassion fruit,' | 1:01:46 | 1:01:48 | |
really linking the tea to the flavour and to the name. | 1:01:48 | 1:01:50 | |
I think Holly could have troubles if people don't like the taste. | 1:01:50 | 1:01:54 | |
If the taste test goes awry, | 1:01:54 | 1:01:55 | |
'it's going to be an issue for her.' | 1:01:55 | 1:01:58 | |
No small task, huh? | 1:01:58 | 1:02:00 | |
Guess what? We found better stuff. | 1:02:03 | 1:02:07 | |
-Hey, Darryl. What's happening? -All right. How you doing? -Good. -Good. | 1:02:07 | 1:02:11 | |
Are you ready for some Snapple? | 1:02:11 | 1:02:13 | |
'I went with Maria over to the mall,' | 1:02:13 | 1:02:15 | |
and we took some of our new concoction over | 1:02:15 | 1:02:16 | |
'to give people to try.' | 1:02:16 | 1:02:19 | |
-This is strawberry, passion fruit and basil. -Basil? | 1:02:19 | 1:02:23 | |
That's really good. | 1:02:23 | 1:02:25 | |
-Oh, it's so yummy and refreshing. -The best thing I've ever tried. | 1:02:25 | 1:02:29 | |
-Awesome. -The best thing you ever tried? Good man. | 1:02:29 | 1:02:31 | |
Step right up, step right up. We're coming up with a new Snapple line. | 1:02:31 | 1:02:34 | |
Trying to figure out which tastes better. | 1:02:34 | 1:02:36 | |
Taste was very important in this task, | 1:02:36 | 1:02:38 | |
'for Bret to be able to know what drink he needs to make.' | 1:02:38 | 1:02:41 | |
-No? Which one you like? -I like the vanilla one. | 1:02:41 | 1:02:45 | |
That's tropical vanilla. Tell me what you think. | 1:02:45 | 1:02:48 | |
-It tastes like dessert. -Is it good? | 1:02:48 | 1:02:50 | |
How could you go wrong with vanilla and cinnamon? | 1:02:50 | 1:02:52 | |
-Mm. -Like that? -Mm-hm. -Yes. | 1:02:52 | 1:02:56 | |
This is pear, plum, nutmeg, and, um...cinnamon. No? | 1:02:56 | 1:02:59 | |
No good. | 1:02:59 | 1:03:01 | |
No good, no good. You got to drink a little bit more. | 1:03:01 | 1:03:03 | |
Get a little bit more taste to it. | 1:03:03 | 1:03:05 | |
-I don't want to. -Why...? -It tastes like my grandpa. -Yeah, yeah. | 1:03:05 | 1:03:08 | |
'This drink, pear, plum, nutmeg, and' | 1:03:08 | 1:03:11 | |
a little cinnamon...and most people didn't like that. | 1:03:11 | 1:03:13 | |
Most of them picked the Trop-a-rocka. | 1:03:13 | 1:03:15 | |
-That's a home run for you, right? -Right. -Delicious. | 1:03:15 | 1:03:19 | |
-Yeah, I like it better. -Hang on. | 1:03:19 | 1:03:21 | |
'I wanted to get a little taste of what,' | 1:03:26 | 1:03:28 | |
uh...Bret had to offer. | 1:03:28 | 1:03:30 | |
-Try this. -What is it? Pear? Plum? | 1:03:30 | 1:03:33 | |
-It's not good. -Gross. | 1:03:35 | 1:03:36 | |
This tastes horrible. It tastes like Christmas bottled up. | 1:03:36 | 1:03:40 | |
'I think it's like Bret's taste. | 1:03:40 | 1:03:41 | |
'He's not too picky when it comes to...' | 1:03:41 | 1:03:43 | |
women, | 1:03:43 | 1:03:45 | |
so, you know, he just tests them all and tastes them all. | 1:03:45 | 1:03:48 | |
Well, this is like the whole brood of Rock Of Love all in one drink. | 1:03:48 | 1:03:53 | |
And let me just say, all together, not delicious. | 1:03:53 | 1:03:56 | |
Absolutely disgusting. | 1:03:56 | 1:03:59 | |
It was gross. | 1:03:59 | 1:04:00 | |
Would you like to try some of the good stuff? | 1:04:00 | 1:04:02 | |
Hey, Darryl, what you finding out? | 1:04:09 | 1:04:11 | |
They liked the tropical, vanilla and cinnamon. They love it. | 1:04:11 | 1:04:16 | |
'We were really shocked to learn that the taste-testers | 1:04:16 | 1:04:18 | |
'loved the Trop-a-rocka.' | 1:04:18 | 1:04:19 | |
The whole creative was around the Pear Plum Nutty. | 1:04:19 | 1:04:22 | |
That may change us up a little bit, but I have to make | 1:04:22 | 1:04:24 | |
an executive decision on which way to go. | 1:04:24 | 1:04:26 | |
All right. I'm on my way back now. | 1:04:26 | 1:04:28 | |
I'll see you in a few minutes. Thank you. | 1:04:28 | 1:04:30 | |
Now we're just going to have to obviously change this up. | 1:04:30 | 1:04:33 | |
And then we'll call it Trop-a-rocka underneath. | 1:04:33 | 1:04:36 | |
'I always feel that the people know what the people want.' | 1:04:36 | 1:04:38 | |
And, uh...we found out they wanted Trop-a-rocka. | 1:04:38 | 1:04:41 | |
'Of course, I made the artwork for all the other stuff. | 1:04:41 | 1:04:44 | |
'So, we flipped it all around.' | 1:04:44 | 1:04:46 | |
"Bret's blend tea: Trop-a-rocka - it'll rock your world." | 1:04:46 | 1:04:50 | |
Now it comes together. | 1:04:50 | 1:04:53 | |
-Good night. -Isn't that amazing how that works? | 1:04:53 | 1:04:56 | |
-Do we have to shoot the TVC tomorrow? -Uh-huh. | 1:04:56 | 1:04:59 | |
I'm trying to get a little jump on tomorrow. | 1:04:59 | 1:05:01 | |
Tomorrow's going to be kind of a rough day. | 1:05:01 | 1:05:03 | |
'To shoot a 30-second commercial, and to create a three-page' | 1:05:03 | 1:05:06 | |
advertisement, I think is a very, very, very, tall task. | 1:05:06 | 1:05:10 | |
We need to talk to our prop house. | 1:05:10 | 1:05:13 | |
'We have to make sure we get all the props that we need.' | 1:05:13 | 1:05:15 | |
I want to get them lined up tonight. | 1:05:15 | 1:05:18 | |
So, I asked Curtis to call the prop house. | 1:05:18 | 1:05:21 | |
Amanda, it's Curtis Stone calling from, uh, what are we? | 1:05:23 | 1:05:28 | |
I'm so sorry to call you after hours. | 1:05:28 | 1:05:30 | |
Are you working tomorrow at the prop shop? | 1:05:30 | 1:05:33 | |
Wonderful. | 1:05:33 | 1:05:35 | |
'I'm looking at the time, I'm like, I think this prop house is closed.' | 1:05:35 | 1:05:38 | |
He calls this...and a young lady answers and says, "Hey, you!" | 1:05:38 | 1:05:41 | |
"Hey, you!"? Not, "Prop house! May I help you?" | 1:05:41 | 1:05:45 | |
He called the girl's cellphone. After hours. | 1:05:45 | 1:05:49 | |
He had the full-on bat line for this girl. | 1:05:49 | 1:05:52 | |
So, yeah, I think I'll come in tomorrow. | 1:05:54 | 1:05:56 | |
We're in our final challenge, so this is the big finale. | 1:06:09 | 1:06:12 | |
We won the last one, yeah, thanks to your great propping. | 1:06:16 | 1:06:19 | |
'The girl seemed overwhelmed that Curtis was calling, | 1:06:19 | 1:06:21 | |
'just giving her a little bit of his time.' | 1:06:21 | 1:06:24 | |
And, she goes, "Oh, my God, I didn't know you won! | 1:06:24 | 1:06:26 | |
"You didn't tell me you won, silly." | 1:06:26 | 1:06:28 | |
And it's so funny, I notice Curtis did not mention that he didn't win. | 1:06:28 | 1:06:32 | |
-Bye. -'OK. That's how he's rolling.' | 1:06:32 | 1:06:35 | |
Everyone, Summer, Darryl, come here and take a look at this, | 1:06:35 | 1:06:40 | |
because we need to send this pretty soon. | 1:06:40 | 1:06:42 | |
OK. "My new tea is taste- bud-tested and rocker-approved. | 1:06:42 | 1:06:45 | |
"I chose those ingredients not only because they taste great, | 1:06:45 | 1:06:48 | |
"but as a lifelong type-one diabetic, pears, mango, peaches, | 1:06:48 | 1:06:51 | |
"and cinnamon have helped me to maintain good blood-sugar levels. | 1:06:51 | 1:06:55 | |
"I drink it cos I love it. It'll rock your world." | 1:06:55 | 1:06:57 | |
-Perfect. -That's real. -Oh, man. -Swish! Woo! Aha! We did it. | 1:06:57 | 1:07:04 | |
Tomorrow's going to be a crazy day. | 1:07:04 | 1:07:06 | |
Without a doubt, tomorrow's going to be insane. | 1:07:06 | 1:07:08 | |
You going to put your head around your concept? | 1:07:08 | 1:07:10 | |
-Do you have it, like... -I am. | 1:07:10 | 1:07:12 | |
'Going into tomorrow, I am a little' | 1:07:12 | 1:07:14 | |
bit confident, a little bit nervous. | 1:07:14 | 1:07:16 | |
'We have to shoot a commercial. | 1:07:16 | 1:07:18 | |
'We have to get our three-page ad together. | 1:07:18 | 1:07:20 | |
'And we also have to get a PowerPoint.' | 1:07:20 | 1:07:22 | |
If he's going to win, he's going to win cos of tomorrow. | 1:07:22 | 1:07:24 | |
If he's going to lose it, | 1:07:24 | 1:07:26 | |
'he's going to lose it because of tomorrow.' | 1:07:26 | 1:07:28 | |
Boom. Thank you. | 1:07:28 | 1:07:29 | |
Ooh! That's nice. | 1:07:38 | 1:07:39 | |
I'm going to be honest, you got good jeans on. | 1:07:39 | 1:07:41 | |
-Those are good butt jeans right there. -Thank you. | 1:07:41 | 1:07:44 | |
Let's start right now at the funniness of this funniness. | 1:07:44 | 1:07:46 | |
'Today, we've got to shoot the print ad. | 1:07:46 | 1:07:48 | |
'We've got to shoot the commercial.' | 1:07:48 | 1:07:50 | |
There is no doubt that I'm feeling a lot of pressure. | 1:07:50 | 1:07:52 | |
And I'm trying to keep my cool. | 1:07:52 | 1:07:54 | |
-Like, how do you do a diabetes ad that's funny? -You don't! | 1:07:54 | 1:07:57 | |
-But I'm going... -It doesn't have to be in-your-face. | 1:07:57 | 1:08:01 | |
Bret was just torn, you know, | 1:08:01 | 1:08:02 | |
how to get his diabetes message across, | 1:08:02 | 1:08:05 | |
'and be funny at the same time.' | 1:08:05 | 1:08:06 | |
I say we shoot two ads. | 1:08:06 | 1:08:08 | |
I say we shoot the one that's sincere, and then we shoot | 1:08:08 | 1:08:11 | |
that one that's funny. | 1:08:11 | 1:08:13 | |
And I said, "You know what we gave you? | 1:08:13 | 1:08:15 | |
"We were so good with our time management, that I made two ads." | 1:08:15 | 1:08:18 | |
Can you imagine in the middle of a Snapple ad, I'm talking about cancer? | 1:08:18 | 1:08:22 | |
You will get so many people mad, it would be silly. | 1:08:22 | 1:08:24 | |
-Right. -I say we do two completely different ads. | 1:08:24 | 1:08:27 | |
'To shoot one commercial in the timeframe' | 1:08:27 | 1:08:29 | |
we had was extraordinary. | 1:08:29 | 1:08:31 | |
'So to shoot two was insane. | 1:08:31 | 1:08:33 | |
'I knew today was going to be absolutely overwhelming. | 1:08:33 | 1:08:36 | |
'There was entirely too much to do.' | 1:08:36 | 1:08:38 | |
Oh, we need the ad! | 1:08:38 | 1:08:40 | |
-Somebody's got to work on that three-page ad from 12-8. -BLEEP! | 1:08:40 | 1:08:43 | |
Who shoots a 30-second commercial | 1:08:43 | 1:08:45 | |
-and a three-page ad in the same day? -I know. | 1:08:45 | 1:08:47 | |
Hello? | 1:08:47 | 1:08:49 | |
Oh! This is where all the magic happens. | 1:08:52 | 1:08:54 | |
'This is the morning of our big photo shoot, our video for our | 1:08:54 | 1:08:57 | |
'commercial, and Curtis and Maria went to the prop house to get | 1:08:57 | 1:09:00 | |
'all the things that I need. | 1:09:00 | 1:09:02 | |
'Last night, I really struggled creatively.' | 1:09:02 | 1:09:04 | |
My creative juices were just all dried up. | 1:09:04 | 1:09:08 | |
'But, this morning, things are sort of coming to me.' | 1:09:08 | 1:09:11 | |
I did stay up late last night, | 1:09:11 | 1:09:12 | |
and I started to write out a script that I liked. | 1:09:12 | 1:09:15 | |
I knew I would have to tweak it, but I was hoping that it would | 1:09:15 | 1:09:18 | |
morph into what was going to become our 30-second commercial. | 1:09:18 | 1:09:21 | |
So, I need to cast this commercial. | 1:09:21 | 1:09:23 | |
If you could e-mail me photos, that'd be terrific. | 1:09:23 | 1:09:26 | |
-OK, so, we're going to get the giant globe, lab table... -Potion vials. | 1:09:28 | 1:09:33 | |
Potion vials, of course. And lab coats. OK. | 1:09:33 | 1:09:35 | |
'Well, first thing in the morning, both myself and Maria' | 1:09:35 | 1:09:38 | |
ran around to the prop shop | 1:09:38 | 1:09:39 | |
'to pick up various bits and pieces.' | 1:09:39 | 1:09:41 | |
-Amanda! -Hello! How are you? | 1:09:41 | 1:09:44 | |
Thank you so much for taking my call yesterday. How you doing? | 1:09:44 | 1:09:47 | |
-Hi, good. -Good to see you. -Good to know that you made it this far. -Yes. | 1:09:47 | 1:09:51 | |
It's so funny seeing the women swoon. | 1:09:51 | 1:09:54 | |
'They just get so excited to see their very pretty,' | 1:09:54 | 1:09:58 | |
Aussie chef coming up. And, they get so, like, | 1:09:58 | 1:10:01 | |
'mesmerised by him.' | 1:10:01 | 1:10:02 | |
So, let me tell you what we're doing. | 1:10:02 | 1:10:05 | |
Look at that! Hello, Trop-a-rocka. | 1:10:05 | 1:10:08 | |
Oh, whoa! That is cool-looking! | 1:10:08 | 1:10:11 | |
Look at this delicious new Snapple we've created. | 1:10:11 | 1:10:13 | |
'Our label looked awesome. There's no denying | 1:10:13 | 1:10:16 | |
what our message is and how we're going to make this unique. | 1:10:16 | 1:10:19 | |
-Hey, guys! -Stop it! | 1:10:19 | 1:10:21 | |
-Look what I got. -Oh, man! | 1:10:21 | 1:10:23 | |
-I got the real one. -You got the man. | 1:10:23 | 1:10:25 | |
-Arthur, this is Bret. -Nice to meet you. I'm Bret, man. | 1:10:25 | 1:10:28 | |
So, we were given one Snapple character to work with. | 1:10:28 | 1:10:31 | |
Arthur, when he walked into our room, I literally took | 1:10:31 | 1:10:34 | |
one look at him and was laughing so hard. | 1:10:34 | 1:10:37 | |
'Cos you've seen the Snapple commercials, | 1:10:37 | 1:10:39 | |
'and you know how funny he is. And then when you see him' | 1:10:39 | 1:10:42 | |
walking into your studio, it was hilarious. | 1:10:42 | 1:10:44 | |
We'll hold the drink like this. You're holding it with me. | 1:10:44 | 1:10:47 | |
We're like this, just looking forward, and everyone's | 1:10:47 | 1:10:49 | |
telling us what to be, right? | 1:10:49 | 1:10:52 | |
For the funny commercial, | 1:10:52 | 1:10:53 | |
the concept is simply for me and Arthur to be | 1:10:53 | 1:10:55 | |
'two bad actors hired to do a Snapple commercial.' | 1:10:55 | 1:10:58 | |
We just look, back. | 1:10:58 | 1:10:59 | |
There's the ad rep, the director, the agent, | 1:10:59 | 1:11:02 | |
'and the model are standing there staring at us at the other end' | 1:11:02 | 1:11:06 | |
while shooting this commercial. | 1:11:06 | 1:11:08 | |
-But we need a businesswoman. -Hot-looking businesswoman. -OK. | 1:11:08 | 1:11:11 | |
Double-D blonde. | 1:11:11 | 1:11:13 | |
Or brunette, doesn't matter to me either way. | 1:11:13 | 1:11:15 | |
Who else, Bret, do we want to come audition? | 1:11:15 | 1:11:18 | |
Darryl, you have to be in the ad. | 1:11:18 | 1:11:20 | |
Darryl's got to be the director. Darryl's got to come out in a beret. | 1:11:20 | 1:11:24 | |
But one of those berets that's too small. | 1:11:24 | 1:11:25 | |
-Will you do it, Darryl? -Yeah, I will. | 1:11:25 | 1:11:27 | |
'I was shocked myself, you know,' | 1:11:27 | 1:11:29 | |
but Bret wanted me to participate | 1:11:29 | 1:11:30 | |
in the commercial. And be a part of it. | 1:11:30 | 1:11:32 | |
So, I mean, like I said, you do whatever it takes, you know? | 1:11:32 | 1:11:35 | |
'Anytime you volunteer to participate, | 1:11:35 | 1:11:36 | |
'you give your best effort.' | 1:11:36 | 1:11:38 | |
Why don't you have Darryl call the talent company? | 1:11:38 | 1:11:41 | |
Let's get on the talent, and let's look at them. | 1:11:41 | 1:11:43 | |
Maybe ask where you can go online to check the actors. | 1:11:43 | 1:11:46 | |
-Yeah, OK. -'It is a full-time job' | 1:11:46 | 1:11:47 | |
to make sure that he knows | 1:11:47 | 1:11:48 | |
this is what we have to do and this is the task at hand. | 1:11:48 | 1:11:51 | |
'I mean, his creative energy is all over the place. | 1:11:51 | 1:11:53 | |
'So part of it's getting him to focus.' | 1:11:53 | 1:11:55 | |
Here's our schedule. | 1:11:55 | 1:11:56 | |
Oh, I love you. Look at you. | 1:11:56 | 1:11:58 | |
Oh, cool! | 1:12:02 | 1:12:04 | |
Oh, this looks great! Yay! | 1:12:04 | 1:12:06 | |
-That looks very cool. Very good. -OK, good. Well, that's step one. | 1:12:06 | 1:12:10 | |
Jim is one of the Snapple characters. | 1:12:10 | 1:12:12 | |
Um...I don't do nudity. | 1:12:12 | 1:12:14 | |
-Just want to let you know that. -Oh, OK. All right. -No nudity. | 1:12:14 | 1:12:17 | |
All right, I'll be back. I've got to come up with a different idea. | 1:12:17 | 1:12:20 | |
He's a hilarious guy, and I was really happy to be able | 1:12:20 | 1:12:23 | |
to have Jim as one of my actors. He sells lines | 1:12:23 | 1:12:25 | |
'like I have never seen.' | 1:12:25 | 1:12:27 | |
-We're going to have three actors in a "laboratory". -Mm-hm. | 1:12:27 | 1:12:30 | |
Putting together the Snapple flavour. | 1:12:30 | 1:12:33 | |
The concept is the tea makes people feel for others. | 1:12:33 | 1:12:35 | |
'The reason why this task is big is because not only do you' | 1:12:35 | 1:12:38 | |
have to actually pick actors, but you have to audition them. | 1:12:38 | 1:12:41 | |
-Hi. -Hi! -Are you Holly? -I am. | 1:12:41 | 1:12:44 | |
-How'd I guess? Kenan. -Nice to meet you. | 1:12:44 | 1:12:45 | |
'So, I called the agency. I got a bunch of actors in.' | 1:12:45 | 1:12:49 | |
So, I'd love to hear a couple of you guys just read them down. | 1:12:49 | 1:12:52 | |
-How's your stuff? -Oh, the best stuff on Earth. | 1:12:52 | 1:12:55 | |
-Hey, how's your stuff? -My stuff is better. It just got better. | 1:12:55 | 1:12:57 | |
-Hey, how's your stuff? -My stuff is better. It just got better! | 1:12:57 | 1:13:02 | |
One more time, and switch the parts around. | 1:13:02 | 1:13:04 | |
Maybe, Bill, you could read the end. Like, the tag line. | 1:13:08 | 1:13:10 | |
-That would be good. -How's your stuff? -Best stuff on Earth. | 1:13:10 | 1:13:13 | |
-Hey, how's YOUR stuff? -Oh! My stuff is better! | 1:13:13 | 1:13:16 | |
Mmm, this IS the best stuff on Earth. | 1:13:16 | 1:13:18 | |
'I hate casting,' | 1:13:18 | 1:13:19 | |
and hiring and firing. | 1:13:19 | 1:13:21 | |
'As an actress, I don't like judging' | 1:13:21 | 1:13:24 | |
other actors. It makes me very uncomfortable. | 1:13:24 | 1:13:27 | |
Can you fire them for me? | 1:13:27 | 1:13:29 | |
Who do you want to fire? You tell me. | 1:13:30 | 1:13:32 | |
I know which ones I want. It's Lauren, Natalie and Mike. | 1:13:32 | 1:13:36 | |
-OK. Where are they all? -I feel so bad. | 1:13:36 | 1:13:39 | |
'I made Curtis do the firing,' | 1:13:39 | 1:13:41 | |
because Curtis is cute and he has that cute little Australian accent. | 1:13:41 | 1:13:45 | |
'And, somehow saying, "you're fired," in an Aussie accent doesn't' | 1:13:45 | 1:13:48 | |
come off as harsh. | 1:13:48 | 1:13:50 | |
-Tell them thanks for coming, and I love them. -I will. | 1:13:50 | 1:13:52 | |
-But those are my three. -Hi, guys. -Hi! -How are you? | 1:13:52 | 1:13:56 | |
-I see she made you be the bad guy. -She has. | 1:13:56 | 1:13:58 | |
She's made me be the bad guy. 'You know what? I just got fired,' | 1:13:58 | 1:14:01 | |
so I had a little bit in me. | 1:14:01 | 1:14:02 | |
I was ready to fire someone else. I didn't mind it. | 1:14:02 | 1:14:04 | |
Well, so, the three people that we are going to go with are Lauren, | 1:14:04 | 1:14:07 | |
Natalie and Mike. | 1:14:07 | 1:14:09 | |
-I thought I was in this. -I think you're in it. | 1:14:09 | 1:14:11 | |
-You guys throwing me out, or...? -I think you're in it regardless. | 1:14:11 | 1:14:14 | |
-Nice to meet you. -Night. Lovely to meet you. | 1:14:14 | 1:14:16 | |
Thank you for coming down. | 1:14:16 | 1:14:17 | |
'I've got to work on this.' | 1:14:17 | 1:14:19 | |
My casting skills are great. | 1:14:19 | 1:14:20 | |
My firing skills...well, let's just say I'm no Mr Trump. | 1:14:20 | 1:14:25 | |
Curtis, you're a female wrestler? Is that right? | 1:14:25 | 1:14:28 | |
-I'm not the female wrestler. -He's the chef! | 1:14:28 | 1:14:30 | |
If he can line these guys up, then he can get them going while | 1:14:36 | 1:14:39 | |
you're shooting the first commercial. | 1:14:39 | 1:14:40 | |
'Summer and Darryl are in charge' | 1:14:40 | 1:14:42 | |
of hiring all of the actors and models. | 1:14:42 | 1:14:44 | |
But what about the other girl, as well? | 1:14:44 | 1:14:46 | |
The girl with the real crazy hair? | 1:14:46 | 1:14:48 | |
My whole thing is if they're funny. | 1:14:48 | 1:14:50 | |
She doesn't need to be funny. | 1:14:50 | 1:14:52 | |
-She needs to be like... -She's got to be funny. | 1:14:52 | 1:14:54 | |
She's sending two funny girls. | 1:14:54 | 1:14:55 | |
-Is she sending her? -No. -Send her. | 1:14:55 | 1:14:58 | |
'No matter what,' | 1:14:58 | 1:15:00 | |
Bret needed the hot chicks. | 1:15:00 | 1:15:02 | |
-Hello! -Hi. | 1:15:02 | 1:15:04 | |
-I'm Bret. -Tracy. -Nice to meet you, Tracy. | 1:15:04 | 1:15:06 | |
This is going to be awesome. We're having a lot of fun. | 1:15:06 | 1:15:08 | |
OK. Just have you hang out in make-up and wardrobe. | 1:15:08 | 1:15:11 | |
-Yeah, I'll be there. -I'll walk you back. | 1:15:11 | 1:15:12 | |
This isn't one of those uptight... Although I'm nuts. | 1:15:12 | 1:15:15 | |
Yeah, look at that. | 1:15:15 | 1:15:17 | |
-I'm Bret. Nice to meet you, Natasha. -Nice to meet you. | 1:15:17 | 1:15:19 | |
This is Darryl. That's Summer. | 1:15:19 | 1:15:21 | |
I'll be directing, with my crew, this gaggle-fest | 1:15:21 | 1:15:24 | |
that we're shooting today. | 1:15:24 | 1:15:25 | |
So, come on back. I'll let you relax and...how you doing today? All good? | 1:15:25 | 1:15:28 | |
-I'm doing well. -Good. You look awesome. I'm doing great. | 1:15:28 | 1:15:31 | |
'This was about ordering cute girls' | 1:15:31 | 1:15:32 | |
to be in his commercial, because he's a rocker. | 1:15:32 | 1:15:35 | |
-Hi, how are you doing? -I'm good. How are you? | 1:15:35 | 1:15:37 | |
-Good. I'm Bret. -Lauren. Nice to meet you. -Hi, Lauren. | 1:15:37 | 1:15:40 | |
-Nice to meet you. You want to bring your stuff? -Sure. | 1:15:40 | 1:15:42 | |
'When the girls walk in,' | 1:15:42 | 1:15:44 | |
they are a major distraction for him. | 1:15:44 | 1:15:46 | |
'And you have to try to keep him on course.' | 1:15:46 | 1:15:49 | |
As soon as he... I just need Bret to come over here and look at this. | 1:15:49 | 1:15:52 | |
'I have to have this PowerPoint approved.' | 1:15:52 | 1:15:55 | |
I can't pull Bret away. | 1:15:55 | 1:15:56 | |
'I have lots of questions creating this ad, making sure' | 1:15:56 | 1:15:59 | |
it's exactly the way he wants it. A lot of it is about his charity. | 1:15:59 | 1:16:02 | |
-Go ahead. -Look how professional I am. -That's hot. -Done. | 1:16:02 | 1:16:05 | |
My first issue of Playboy ruined me, cos it was the business issue, | 1:16:05 | 1:16:08 | |
and it's the hottest. It ruined me. | 1:16:08 | 1:16:11 | |
I'll have to look this way while addressing you cos it's really hot. | 1:16:11 | 1:16:16 | |
I'm just saying. All right. | 1:16:16 | 1:16:17 | |
'I was sort of unpacking the props that we brought.' | 1:16:25 | 1:16:28 | |
I probably had the vision of how that set should look. | 1:16:28 | 1:16:30 | |
'I pretty much took on the responsibility of building the set. | 1:16:30 | 1:16:33 | |
'Making sure it looked colourful' | 1:16:33 | 1:16:35 | |
and fun, and loads of Snapple everywhere. | 1:16:35 | 1:16:37 | |
-These are real passion fruits? -Yeah. | 1:16:37 | 1:16:39 | |
I had every chef in the country scouring for passion fruits. | 1:16:39 | 1:16:42 | |
'I don't know where he found' | 1:16:42 | 1:16:43 | |
all that passion fruit. Apparently, it's out of season. | 1:16:43 | 1:16:46 | |
'Curtis doesn't wait for you to tell him to do something, he does it.' | 1:16:46 | 1:16:49 | |
I really felt relieved that I had Curtis there. | 1:16:49 | 1:16:52 | |
OK, let's try one. See what happens. | 1:16:52 | 1:16:55 | |
-Quiet, please. -OK, ready? | 1:16:55 | 1:16:57 | |
We're rolling. | 1:16:57 | 1:16:58 | |
'I would imagine that Snapple would put months, | 1:16:58 | 1:17:00 | |
'maybe even a year, into something like this.' | 1:17:00 | 1:17:02 | |
And we only had a couple days. | 1:17:02 | 1:17:04 | |
-And cut. -One more? -Yeah, one more. | 1:17:04 | 1:17:06 | |
One more like this, and then we're going to move on. | 1:17:06 | 1:17:08 | |
The time pressures are so intense right now. | 1:17:08 | 1:17:11 | |
He shouldn't be looking right at camera. | 1:17:11 | 1:17:13 | |
Uh, we should do both. | 1:17:13 | 1:17:14 | |
Usually, there's a distant look. | 1:17:14 | 1:17:18 | |
Holly's trying to have her head in two places at once. | 1:17:18 | 1:17:20 | |
'If I let her concentrate on the 30-second spot, | 1:17:20 | 1:17:22 | |
'I could take a bit of' | 1:17:22 | 1:17:23 | |
the pressure off her and do the still shoots. | 1:17:23 | 1:17:25 | |
Do you think maybe a little bit, him where his body's | 1:17:25 | 1:17:28 | |
pointing in a different direction, or...? | 1:17:28 | 1:17:30 | |
Maybe just a little bit awkward. | 1:17:30 | 1:17:31 | |
Like a little bit... I like that. | 1:17:31 | 1:17:33 | |
-Yeah. Go back. -I love that. | 1:17:33 | 1:17:35 | |
I love that. | 1:17:35 | 1:17:36 | |
Holly's direction was to go quite a long way down that autism road. | 1:17:36 | 1:17:39 | |
'So the double-page spread is going to be a map of the world, | 1:17:39 | 1:17:42 | |
'then we're going to have puzzle pieces on it. | 1:17:42 | 1:17:44 | |
'And then we're going to have the kid standing on | 1:17:44 | 1:17:47 | |
'one of the puzzle pieces that's missing.' | 1:17:47 | 1:17:48 | |
And the idea of that is to try and demonstrate, somehow, | 1:17:48 | 1:17:52 | |
that Snapple has come together with the HollyRod Foundation, | 1:17:52 | 1:17:55 | |
'and helping to slowly put the pieces of this puzzle together.' | 1:17:55 | 1:17:59 | |
-Yeah, maybe you're looking at the Snapple bottle. -Powerful shot, hey? | 1:17:59 | 1:18:03 | |
It's like got it all in there, right? Everything you need. | 1:18:03 | 1:18:05 | |
Very quiet, please. And, action! | 1:18:05 | 1:18:08 | |
'I learned from the last commercial I shot for Right Guard, I would' | 1:18:08 | 1:18:12 | |
rather overshoot and have too much to choose from, than undershoot. | 1:18:12 | 1:18:15 | |
-Action! -How's your stuff? -My stuff? The best stuff on Earth. | 1:18:15 | 1:18:18 | |
-Oh, yeah! And I got new stuff! -So, how's your stuff? | 1:18:18 | 1:18:21 | |
-My stuff is new! It just got better! -What's your stuff? | 1:18:21 | 1:18:24 | |
What's your new, better stuff? | 1:18:24 | 1:18:26 | |
The best stuff on Earth and it did just get better! | 1:18:26 | 1:18:28 | |
And cut. Very good. | 1:18:28 | 1:18:30 | |
'Autism is not funny,' | 1:18:30 | 1:18:32 | |
but the Snapple ads are very funny. | 1:18:32 | 1:18:34 | |
And very memorable. | 1:18:34 | 1:18:35 | |
'I thought it was best to go in a funny direction, and basically' | 1:18:35 | 1:18:38 | |
just tag the commercial with the fact that Snapple was | 1:18:38 | 1:18:42 | |
'supporting this autism cause.' | 1:18:42 | 1:18:44 | |
-How's your stuff? -My stuff? The best stuff on Earth! | 1:18:44 | 1:18:46 | |
This is the best stuff on Earth, and it DID just get better! | 1:18:46 | 1:18:49 | |
-Great. Cut. -Oh, my gosh. She is... You are fun-ny! | 1:18:49 | 1:18:54 | |
-OK, Summer? -Yes, yes, yes? | 1:18:56 | 1:18:58 | |
Can you help me just write this script so me and Arthur can | 1:18:58 | 1:19:01 | |
-shoot our first thing immediately? -You got it! | 1:19:01 | 1:19:03 | |
'So I decided I need to shoot' | 1:19:03 | 1:19:04 | |
two different commercials - | 1:19:04 | 1:19:06 | |
one that leans a little more serious, | 1:19:06 | 1:19:08 | |
and one that leans a lot more fun, | 1:19:08 | 1:19:09 | |
but still gets the message across. | 1:19:09 | 1:19:11 | |
"Hi, I'm Bret Michaels. And I'm Arthur." | 1:19:11 | 1:19:13 | |
And we say, "Normally, we have lot of fun doing these commercials, | 1:19:13 | 1:19:17 | |
"but we decided to take a much more serious approach." Right. | 1:19:17 | 1:19:20 | |
'For the serious commercial, the concept is simply for me and Arthur' | 1:19:20 | 1:19:23 | |
just to stand there, hold the bottle like this, dolly in, | 1:19:23 | 1:19:27 | |
a big push in on us, and voiceover all the way in, saying, | 1:19:27 | 1:19:30 | |
'"Snapple's a great drink, this is about diabetes."' | 1:19:30 | 1:19:33 | |
You set dolly track on a 30-second push... | 1:19:33 | 1:19:36 | |
And you push 30 seconds, so when that dolly track stops moving, | 1:19:36 | 1:19:39 | |
-I better be done talking, that's the end of my commercial. -Right. | 1:19:39 | 1:19:42 | |
Dolly tracks are basically like railroad tracks that I can | 1:19:42 | 1:19:45 | |
set the cameras up on with skateboard wheels, and just | 1:19:45 | 1:19:48 | |
kind of push it in slow, and it doesn't bobble. | 1:19:48 | 1:19:51 | |
-I'm Bret. -Joe. | 1:19:51 | 1:19:52 | |
Nice to meet you, man. Nice to meet you. | 1:19:52 | 1:19:54 | |
What we want to do is set up a dolly track coming this way. | 1:19:54 | 1:19:58 | |
They don't have a dolly here? | 1:19:58 | 1:20:00 | |
If you want a dolly, you need to figure out | 1:20:00 | 1:20:03 | |
-where to get it and pick it up. -You got it. I'll do it now. | 1:20:03 | 1:20:06 | |
I'm trying to keep my cool right now. | 1:20:06 | 1:20:07 | |
It's ridiculous they would not have a dolly track. | 1:20:07 | 1:20:10 | |
'When I got here and didn't have proper equipment, I thought is, | 1:20:10 | 1:20:13 | |
"This is bad. | 1:20:13 | 1:20:14 | |
"I need to fix this problem right away. | 1:20:14 | 1:20:16 | |
'"And, I'm hoping I have enough time to do it."' | 1:20:16 | 1:20:18 | |
All right, here we go. It would be one doorway dolly. | 1:20:18 | 1:20:21 | |
No worries. | 1:20:25 | 1:20:29 | |
I appreciate your time. | 1:20:30 | 1:20:32 | |
-That just wasted my -BLEEP -time. All right. So, here we go. | 1:20:33 | 1:20:38 | |
I want this dolly track. | 1:20:38 | 1:20:39 | |
And for me, dolly track is so important, because without it | 1:20:39 | 1:20:42 | |
'I do not have my shot.' | 1:20:42 | 1:20:44 | |
How long will it take to get it here? | 1:20:44 | 1:20:46 | |
-They're going to send you it. -Let me take it. | 1:20:47 | 1:20:51 | |
OK, here's my deal. | 1:20:51 | 1:20:53 | |
I don't...I don't need it. We're good. Thanks. | 1:20:53 | 1:20:56 | |
I don't have the time. So thank you. | 1:20:56 | 1:20:59 | |
-This is a -BLEEP. -It'll be another two-hour nightmare. | 1:20:59 | 1:21:02 | |
I've been through it before. | 1:21:02 | 1:21:03 | |
-'Bret was about to lose his -BLEEP -absolutely.' | 1:21:03 | 1:21:05 | |
And I can understand that, cos when you get this visual in your | 1:21:05 | 1:21:08 | |
head, and this is what I'm doing, and then, like, the main part of | 1:21:08 | 1:21:11 | |
that visual cannot happen for you, it's actually kind of panic mode. | 1:21:11 | 1:21:15 | |
It's the best stuff on Earth, and it did just get better! | 1:21:17 | 1:21:20 | |
Cut. Great. | 1:21:22 | 1:21:24 | |
Thank you, actors! You all were terrific. It was excellent! | 1:21:24 | 1:21:27 | |
'We just finished up with all the actors. | 1:21:27 | 1:21:30 | |
'We're wrapping our actors, | 1:21:30 | 1:21:31 | |
'we're wrapping our model for our print campaign.' | 1:21:31 | 1:21:33 | |
That was the easy stuff, and now the hard work starts | 1:21:33 | 1:21:36 | |
in editing. | 1:21:36 | 1:21:37 | |
'Little bit of a time crunch. Still feeling very positive.' | 1:21:37 | 1:21:40 | |
I'm shooting, again, this commercial today. | 1:21:40 | 1:21:43 | |
I just need to get this stuff here yesterday, if you know what I mean. | 1:21:43 | 1:21:46 | |
-Their insurance won't cover it. They got to get their -BLEEP -agent. | 1:21:51 | 1:21:54 | |
-This is a -BLEEP. | 1:21:54 | 1:21:56 | |
They're, "My company won't release it." | 1:21:56 | 1:21:58 | |
"We'll hold it in the hallway till we get all the paperwork." | 1:21:58 | 1:22:01 | |
It's a nightmare. It's a nightmare. OK. | 1:22:01 | 1:22:04 | |
They're giving me a technical glitch right now that I can't fix. | 1:22:04 | 1:22:07 | |
Look, we haven't shot anything yet. Where's the dolly track? | 1:22:09 | 1:22:12 | |
If I don't get this dolly, we have screwed this up so badly, | 1:22:12 | 1:22:15 | |
I'm telling you, we are going to lose. | 1:22:15 | 1:22:17 | |
Subtitles by Red Bee Media Ltd. | 1:22:29 | 1:22:32 |