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Previously on the Celebrity Apprentice... | 0:00:02 | 0:00:04 | |
Mr Trump separated project managers Selita Ebanks and Rod Blagojevich | 0:00:04 | 0:00:07 | |
from their teams. | 0:00:07 | 0:00:09 | |
Tomorrow morning you're going out to Teterboro Airport. | 0:00:09 | 0:00:11 | |
-You don't need a passport. -Celebrity Apprentice hasn't done this before. | 0:00:11 | 0:00:15 | |
En route to Orlando, Rod and Selita | 0:00:15 | 0:00:16 | |
were tasked with creating a three-dimensional display | 0:00:16 | 0:00:19 | |
for Universal Orlando's the Wizarding World Of Harry Potter. | 0:00:19 | 0:00:23 | |
You'll gather information about this new attraction. | 0:00:23 | 0:00:26 | |
You'll report your findings back to your team in New York City. | 0:00:26 | 0:00:29 | |
Back in New York, cracks began to form on Tenacity. | 0:00:29 | 0:00:33 | |
You'll be over here doing this, but that wasn't your task. | 0:00:33 | 0:00:35 | |
-I wouldn't butt in. -But you did. | 0:00:35 | 0:00:37 | |
'Holly's very bossy, sometimes she could be, like, a know-it-all,' | 0:00:37 | 0:00:42 | |
-but you shouldn't. -And Sharon Osbourne took a turn for the worse. | 0:00:42 | 0:00:46 | |
I didn't feel well, I was still seriously sick. | 0:00:46 | 0:00:50 | |
But the men had a glitch of their own. | 0:00:50 | 0:00:52 | |
If Rod has to send an e-mail today, | 0:00:55 | 0:00:57 | |
I sure as hell hope that there's a homing pigeon somewhere | 0:00:57 | 0:01:00 | |
to attach a note to. | 0:01:00 | 0:01:02 | |
After landing in Orlando, Selita rallied her troops. | 0:01:02 | 0:01:05 | |
I just need us all to work together as a team. | 0:01:05 | 0:01:07 | |
While Rod divided his team by giving Bret Michaels creative control. | 0:01:07 | 0:01:11 | |
Bret, you're in charge. | 0:01:11 | 0:01:13 | |
-I say we open this thing up and have no sides. -I'm a little lost. | 0:01:13 | 0:01:18 | |
This whole interior, everything, becomes the interior of a castle. | 0:01:18 | 0:01:23 | |
We have come all the way back to square one. | 0:01:23 | 0:01:25 | |
At the presentation, Selita went for an authentic approach. | 0:01:25 | 0:01:28 | |
-Wizards and muggles alike. -Muggles and wizards, muggles and wizards. | 0:01:28 | 0:01:34 | |
While Rod's execution was a little foggy. | 0:01:34 | 0:01:37 | |
Little more smoke. Little more. | 0:01:37 | 0:01:39 | |
We're not going to be able to breathe. | 0:01:41 | 0:01:42 | |
-And when the winner was announced. -Congratulations, the women win. | 0:01:42 | 0:01:46 | |
The women handed the men their third loss in a row. | 0:01:46 | 0:01:49 | |
Men, what's going on with you? | 0:01:49 | 0:01:51 | |
When faced with being fired, Curtis Stone turned on Bret. | 0:01:51 | 0:01:54 | |
Curtis, should Bret be brought back instead of you? | 0:01:54 | 0:01:57 | |
Bret would sign off on the creative design and tell us what it was. | 0:01:57 | 0:02:00 | |
Then ten minutes later he would describe something completely different. | 0:02:00 | 0:02:03 | |
But Rod campaigned in Bret's defence. | 0:02:03 | 0:02:05 | |
I don't believe we lost because of Bret. | 0:02:05 | 0:02:07 | |
-And when Mr Trump gave Rod a second chance... -OK, Governor. | 0:02:07 | 0:02:11 | |
-Will you be bringing Bret back to the boardroom? -I will not. | 0:02:11 | 0:02:15 | |
..the former governor of Illinois conceded. | 0:02:15 | 0:02:17 | |
I'm not going to throw him out of the bus. | 0:02:17 | 0:02:19 | |
Governor, I have great respect for you. But, Rod, you're fired. | 0:02:19 | 0:02:23 | |
When they have a dance party I'm going to kick your butts. | 0:02:34 | 0:02:36 | |
-When I start pulling it out... -Oh! | 0:02:36 | 0:02:39 | |
Congratulations, girls, that was awesome. | 0:02:41 | 0:02:43 | |
The truth is, the truth is, we've won three in a row being cohesive... | 0:02:43 | 0:02:47 | |
and respectful. | 0:02:47 | 0:02:49 | |
'We're three in a row for the last three tasks, | 0:02:49 | 0:02:51 | |
'but I don't underestimate Rocksolid.' | 0:02:51 | 0:02:54 | |
Sometimes when you get rid of a player the dynamic changes. | 0:02:54 | 0:02:58 | |
They could be stronger on so many levels. | 0:02:58 | 0:03:00 | |
Hold on, guys, hold on. Here we go. | 0:03:00 | 0:03:02 | |
Oh! | 0:03:02 | 0:03:05 | |
-CYNDI: -All right. Rod's gone. | 0:03:05 | 0:03:07 | |
So, Michael, this is what it feels like to come in here early? | 0:03:07 | 0:03:10 | |
I'm hammered now. I finally get to come in. | 0:03:10 | 0:03:14 | |
-Would you like some champagne? -We'll win the next one, buddy. | 0:03:14 | 0:03:16 | |
We've got to, we've got to, man. | 0:03:16 | 0:03:19 | |
We'll knock the next one out of the park. | 0:03:19 | 0:03:21 | |
'We are down to four guys. | 0:03:21 | 0:03:23 | |
'I think that we can work together as a team, | 0:03:23 | 0:03:25 | |
'it's just a matter of being more organised.' | 0:03:25 | 0:03:28 | |
But that is a personality thing, | 0:03:28 | 0:03:30 | |
some people don't have the ability to do that. | 0:03:30 | 0:03:32 | |
I don't think Bret has the ability to do that. | 0:03:32 | 0:03:34 | |
# Money, money, money, money | 0:03:41 | 0:03:43 | |
# Money | 0:03:44 | 0:03:45 | |
# Money, money, money, money | 0:03:45 | 0:03:48 | |
-# Money -# Some people | 0:03:49 | 0:03:52 | |
# Got to have it | 0:03:52 | 0:03:54 | |
# Yeah-eh | 0:03:54 | 0:03:56 | |
# Some people | 0:03:56 | 0:03:57 | |
# Really need it | 0:03:57 | 0:03:59 | |
# Hey, listen to me, y'all | 0:03:59 | 0:04:01 | |
# Do things, do things, do things | 0:04:01 | 0:04:03 | |
# Bad things with it | 0:04:03 | 0:04:05 | |
# Dollar bills, y'all | 0:04:07 | 0:04:08 | |
# Come on | 0:04:08 | 0:04:10 | |
# For that mean | 0:04:10 | 0:04:12 | |
# Oh, mean | 0:04:12 | 0:04:14 | |
# Mean green | 0:04:14 | 0:04:16 | |
# Almighty dollar | 0:04:16 | 0:04:19 | |
# For the love of that | 0:04:19 | 0:04:20 | |
# Money | 0:04:20 | 0:04:22 | |
# Give me a nickel, brother | 0:04:22 | 0:04:24 | |
# Can you spare a dime? | 0:04:24 | 0:04:26 | |
# Money can drive some people | 0:04:27 | 0:04:29 | |
# Out of their minds | 0:04:29 | 0:04:33 | |
# Money, money, money | 0:04:33 | 0:04:35 | |
-# No good, no good -Money! | 0:04:35 | 0:04:37 | |
# Money, money, money, money | 0:04:37 | 0:04:39 | |
# Money! # | 0:04:40 | 0:04:42 | |
'I came today to visit my dear friend Tiffany, | 0:04:54 | 0:04:56 | |
-'the director of Shine On Sierra Leone.' -Hi, Selita. -Hey! | 0:04:56 | 0:05:02 | |
'I chose Shine On Sierra Leone as my charity | 0:05:03 | 0:05:05 | |
'because in Sierra Leone,' | 0:05:05 | 0:05:07 | |
one in four children die before the age of five, | 0:05:07 | 0:05:10 | |
one in eight women die during childbirth. | 0:05:10 | 0:05:14 | |
-So, tell me, how is the new school? -It's wonderful. | 0:05:14 | 0:05:18 | |
If you remember, when we first started, | 0:05:18 | 0:05:20 | |
there were 416 students in three rooms in a roofless building. | 0:05:20 | 0:05:24 | |
We now have a total of eight classrooms | 0:05:24 | 0:05:27 | |
and so it is down to 60 students per room. | 0:05:27 | 0:05:30 | |
We need six more classrooms | 0:05:30 | 0:05:31 | |
and that would take it down to 30 students per room. | 0:05:31 | 0:05:34 | |
-You know I'm on the Celebrity Apprentice. -Yes. | 0:05:34 | 0:05:36 | |
Well, the other day I was project manager, and I won. This is for you. | 0:05:36 | 0:05:42 | |
SHE GASPS | 0:05:43 | 0:05:44 | |
SHE SQUEALS Selita! | 0:05:44 | 0:05:47 | |
-(Oh, my God!) -Isn't that great? It's amazing. | 0:05:49 | 0:05:51 | |
-We could do a lot with that. -We can do so much with this. -Yes. | 0:05:51 | 0:05:56 | |
The average wage in Sierra Leone | 0:05:56 | 0:05:59 | |
is about six dollars a week. | 0:05:59 | 0:06:01 | |
So you can see how far 20,000 is going to go. | 0:06:01 | 0:06:04 | |
-You won! -I could do a dance. -I'm so excited. | 0:06:05 | 0:06:09 | |
-Good morning. -Morning. -What do you think about losing the governor? | 0:06:29 | 0:06:33 | |
It was tough, Michael, huh? Wasn't easy? | 0:06:33 | 0:06:35 | |
-Yes, I thought it was pretty easy. -You are a nasty guy, Michael. | 0:06:35 | 0:06:38 | |
That's why we get along, sir. | 0:06:38 | 0:06:40 | |
Now, Sharon's not here, as we all know, | 0:06:41 | 0:06:44 | |
she has been sick as a dog, she has been having a hard time. Cyndi. | 0:06:44 | 0:06:48 | |
Mr Trump, my True Colours Fund | 0:06:48 | 0:06:51 | |
worked on the Matthew Shepard And James Byrd Jr Amendment | 0:06:51 | 0:06:56 | |
that's going into law today, | 0:06:56 | 0:06:58 | |
and I have to go to Washington today, | 0:06:58 | 0:07:01 | |
-I'm going to meet the president. -That's fine. | 0:07:01 | 0:07:03 | |
-Say hello to the president. OK? -Yeah, you know him. | 0:07:03 | 0:07:06 | |
-You know everybody, Donald. -I do, and I like him. | 0:07:06 | 0:07:09 | |
Today you'll be working with a really great company - | 0:07:09 | 0:07:13 | |
Right Guard. You'll be working with Dan and Eric from Right Guard. | 0:07:13 | 0:07:18 | |
Eric, tell the teams, what are they doing? | 0:07:18 | 0:07:20 | |
Your task is to introduce our best line of products ever. | 0:07:20 | 0:07:24 | |
New Right Guard Total Defence 5. | 0:07:24 | 0:07:27 | |
You will create a 30 second television commercial | 0:07:27 | 0:07:29 | |
and a 10 second internet commercial, | 0:07:29 | 0:07:32 | |
highlighting the benefits of our new product Right Guard Total Defence 5. | 0:07:32 | 0:07:36 | |
We want you to focus on the young male sports enthusiast. | 0:07:36 | 0:07:40 | |
You will be judged on three criteria - | 0:07:40 | 0:07:43 | |
your creativity, your brand integration | 0:07:43 | 0:07:45 | |
and your overall presentation. | 0:07:45 | 0:07:48 | |
On my right, George Ross, Ivanka, they'll be my eyes and ears. | 0:07:48 | 0:07:53 | |
So I want you to pick a project manager. Go ahead. | 0:07:53 | 0:07:56 | |
-Oh, Holly. -Yup. 'It kind of caught me off-guard to find out | 0:07:59 | 0:08:02 | |
'that we weren't going to have Sharon and Cyndi.' | 0:08:02 | 0:08:05 | |
But now the playing field is even and we'll see what happens. | 0:08:05 | 0:08:07 | |
-How we doing, fellas, who is it? -I am, Mr Trump. -Curtis. | 0:08:07 | 0:08:12 | |
'Course I'm competitive. I'd like to put the girls in their place | 0:08:12 | 0:08:15 | |
'and show them that we are here to compete. | 0:08:15 | 0:08:17 | |
'But I'm here for Feeding America,' | 0:08:17 | 0:08:19 | |
that's my purpose of being here. So here's my first real chance | 0:08:19 | 0:08:23 | |
to throw some love Feeding America's way. | 0:08:23 | 0:08:26 | |
So it's Curtis and Holly. | 0:08:26 | 0:08:28 | |
Now, Right Guard is the official deodorant of the NBA. | 0:08:28 | 0:08:33 | |
And you're going to be working with two of the all-time greats | 0:08:33 | 0:08:37 | |
in the NBA, Clyde Drexler and Scottie Pippen. | 0:08:37 | 0:08:40 | |
And you know, as I think of the great Scottie, | 0:08:40 | 0:08:43 | |
and the great Clyde, we're in this basketball court, and I have an idea. | 0:08:43 | 0:08:48 | |
We're going to have teams shoot baskets. | 0:08:48 | 0:08:51 | |
The first team that gets a basket is going to win, from me, | 0:08:51 | 0:08:55 | |
10,000 for that project manager's charity. | 0:08:55 | 0:08:59 | |
All right, give me a basket ball. OK. | 0:08:59 | 0:09:02 | |
CHEERING | 0:09:06 | 0:09:08 | |
-I hope you got it on camera. -'I could not believe it.' | 0:09:12 | 0:09:14 | |
I was just like get the...beep out of here. | 0:09:14 | 0:09:18 | |
OK, Selita. You're first. | 0:09:18 | 0:09:20 | |
'I don't want to go first.' | 0:09:20 | 0:09:24 | |
So then I start sweating, I'm like, "Oh, man, I got to make this." | 0:09:24 | 0:09:27 | |
-All right. -'Can't believe I missed that.' | 0:09:31 | 0:09:33 | |
And I know my dad is going to shake his head. Tsk, tsk, tsk, tsk. | 0:09:33 | 0:09:38 | |
Goldberg, come on up here. | 0:09:38 | 0:09:40 | |
-Go on! -You know, strong guys like this don't have touch. Let's go. | 0:09:40 | 0:09:44 | |
10,000, Goldberg. | 0:09:44 | 0:09:46 | |
Summer, that was a lousy shot. | 0:09:49 | 0:09:51 | |
I don't think he's going to do it. | 0:09:51 | 0:09:53 | |
I don't think so. | 0:09:53 | 0:09:55 | |
He's got it. Yup. OK, come on, Holly. Come on, Holly. | 0:09:55 | 0:10:02 | |
Rodney will never forgive you if you miss. | 0:10:02 | 0:10:05 | |
Come on, Michael. | 0:10:08 | 0:10:09 | |
The guys, they didn't even bounce off the freaking rim, | 0:10:13 | 0:10:16 | |
nothing, all air. | 0:10:16 | 0:10:17 | |
And here comes little Miss Maria in six inch stilettos. | 0:10:17 | 0:10:21 | |
CHEERING | 0:10:25 | 0:10:28 | |
'I'm so pissed at myself for missing that 10,000 hoop,' | 0:10:30 | 0:10:34 | |
-but -BLEEP -the girls. I'm so sick of them. | 0:10:34 | 0:10:36 | |
They've beaten us again, and again, and again. | 0:10:36 | 0:10:38 | |
And then they beat us at throwing hoops(!) I mean, please. Ah! | 0:10:38 | 0:10:43 | |
Great shot. Holly, come on over. Your charity, what is it, Holly? | 0:10:43 | 0:10:46 | |
HollyRod Foundation, | 0:10:46 | 0:10:48 | |
we raise money for families dealing with autism. | 0:10:48 | 0:10:50 | |
-Well, you got yourself 10,000. -Thank you, Maria. | 0:10:50 | 0:10:54 | |
Let's talk about a couple of things, | 0:11:01 | 0:11:03 | |
one is the whole concept of skewing this towards young men. | 0:11:03 | 0:11:07 | |
And the first thing I thought of was my son who is like 12, 13, | 0:11:07 | 0:11:11 | |
and all of a sudden he comes home and he noticed that funk. | 0:11:11 | 0:11:14 | |
-Maybe it's the girls... -Cheerleaders. | 0:11:14 | 0:11:16 | |
-Walk up and go... -"Oh, dear." -So we have to show that he is funky. | 0:11:16 | 0:11:22 | |
'It's funny, sometimes you get like thinker's block, | 0:11:22 | 0:11:25 | |
'you cannot conceptualise.' | 0:11:25 | 0:11:27 | |
But this concept of the first moments of funk came to me like that. | 0:11:27 | 0:11:31 | |
Can you run through the concept, just so I know, | 0:11:35 | 0:11:37 | |
-it starts in the kitchen. -Yes, mom gives him a hug and notices a funk. | 0:11:37 | 0:11:41 | |
Somewhere in that scene appears our NBA player and he is like, | 0:11:41 | 0:11:45 | |
"I'm your dude, I'm your fairy, funky fairy godfather." | 0:11:45 | 0:11:48 | |
We should write that down. | 0:11:48 | 0:11:49 | |
His funky godfather. | 0:11:49 | 0:11:51 | |
-I love it. -That's hilarious. | 0:11:51 | 0:11:54 | |
Holly was onto something really great | 0:11:56 | 0:11:59 | |
and I think the four of us were doing a really good job, | 0:11:59 | 0:12:02 | |
there's just a good vibe in there. | 0:12:02 | 0:12:03 | |
-Holly. -Yeah? -I think we got a great concept. -I love it, I love it. | 0:12:05 | 0:12:08 | |
Here they are, how are you doing? Curtis Stone, pleasure to meet you. | 0:12:10 | 0:12:15 | |
'Today is a really tough challenge. | 0:12:15 | 0:12:16 | |
'Two commercial spots in not even half a day.' | 0:12:16 | 0:12:20 | |
So, soon as the executives arrived we picked their brains | 0:12:20 | 0:12:23 | |
about the demographic and what they're looking for. | 0:12:23 | 0:12:25 | |
We're looking for target consumers | 0:12:25 | 0:12:27 | |
-between the age of 12 and 18 years old. -Yes. | 0:12:27 | 0:12:30 | |
Do you want the 10 second internet spot | 0:12:30 | 0:12:33 | |
to be related to the 30 second TV spot? | 0:12:33 | 0:12:35 | |
Obviously there's a different approach in 10 seconds. | 0:12:35 | 0:12:39 | |
So you have to think about how people consume film | 0:12:39 | 0:12:42 | |
in the different mediums. | 0:12:42 | 0:12:43 | |
Whether you use humour, serious, organic. | 0:12:43 | 0:12:46 | |
Whatever technique you decide to use, the takeaway to the consumer - | 0:12:46 | 0:12:50 | |
high performance. | 0:12:50 | 0:12:51 | |
-OK. -And then it is a Right Guard branded commercial. | 0:12:51 | 0:12:55 | |
The consumer for this category starts using it | 0:12:57 | 0:13:00 | |
around the age of 12. | 0:13:00 | 0:13:02 | |
How important is it to target the moms in charge | 0:13:02 | 0:13:07 | |
who do all of the buying and all the purchasing? | 0:13:07 | 0:13:09 | |
Even though a lot of times moms or significant others | 0:13:09 | 0:13:14 | |
make the purchase, | 0:13:14 | 0:13:15 | |
the influence on what to purchase is the actual boy or man. | 0:13:15 | 0:13:20 | |
So we ultimately want to make sure | 0:13:20 | 0:13:21 | |
that he's the one wanting the product. | 0:13:21 | 0:13:24 | |
The most important thing | 0:13:24 | 0:13:25 | |
is how do you appeal to that target demographic? | 0:13:25 | 0:13:28 | |
As a mom, Holly wanted to use the young boy | 0:13:28 | 0:13:33 | |
starting to get his first little smell of funk. | 0:13:33 | 0:13:37 | |
And I thought it was a great idea. | 0:13:37 | 0:13:40 | |
But I hope we're on the right track and hitting the right demographic. | 0:13:40 | 0:13:43 | |
So I think that we are on the right track, | 0:13:43 | 0:13:46 | |
I think it's relatable to the moms who are going to buy this. | 0:13:46 | 0:13:48 | |
We're feeling good about our concept. | 0:13:48 | 0:13:50 | |
All right. We just have to really keep focus today, | 0:14:02 | 0:14:04 | |
I reckon this is the toughest one yet. | 0:14:04 | 0:14:06 | |
'I've been looking forward | 0:14:06 | 0:14:08 | |
'to being project manager for a while and I got to do it. | 0:14:08 | 0:14:10 | |
'Now, Sharon is sick and Cyndi is not around, | 0:14:10 | 0:14:13 | |
'so that makes four against four.' | 0:14:13 | 0:14:15 | |
So the first time in a little while | 0:14:15 | 0:14:16 | |
we're now on even playing fields with the girls, | 0:14:16 | 0:14:19 | |
so I think we can win this. | 0:14:19 | 0:14:20 | |
-Bret, do you have any ideas right now? -I have some great ideas. -Yeah? | 0:14:20 | 0:14:24 | |
Yes. I would go humour, I'll make it fast. All right? | 0:14:24 | 0:14:26 | |
I need you beside me, you have to do a little acting with me. | 0:14:26 | 0:14:29 | |
So I asked Bret for a couple of creative ideas. | 0:14:29 | 0:14:32 | |
Then he wants to act it out. This is just Bret world again. | 0:14:32 | 0:14:35 | |
We're back in Bret Michaels' world. | 0:14:35 | 0:14:38 | |
We're watching TV, doorbell rings. Be the doorbell. | 0:14:38 | 0:14:41 | |
-Ding-dong. -Hey, I'm your guy for the day. | 0:14:44 | 0:14:47 | |
They won him in a contest. | 0:14:47 | 0:14:49 | |
First thing you see, he gets hit in the stomach with a basketball. | 0:14:49 | 0:14:52 | |
-He's down. -'Bret's brain works in an abstract kind of a way. | 0:14:52 | 0:14:55 | |
'He'll keep babbling on, and on and on.' | 0:14:55 | 0:14:57 | |
And you're like, "Bret, shut up or get to the point." | 0:14:57 | 0:15:00 | |
Lay on the ground a second. I'll act this out. | 0:15:00 | 0:15:02 | |
You're down. Watch. | 0:15:02 | 0:15:04 | |
-HE SNIFFS -Nothing. | 0:15:04 | 0:15:06 | |
Boom! OK, give us 100 push-ups. | 0:15:06 | 0:15:09 | |
-His briefcase spills over and he's got all the brands in it. -I like it. | 0:15:09 | 0:15:14 | |
I think there's elements of it that really work. | 0:15:14 | 0:15:17 | |
'You know, the way he tries to articulate his ideas takes a while,' | 0:15:17 | 0:15:21 | |
but then what happens is he spits out something brilliant at the end of it. | 0:15:21 | 0:15:25 | |
So you learn to be patient with him and sort of just try and extract | 0:15:25 | 0:15:28 | |
what you need in the fastest time possible. | 0:15:28 | 0:15:30 | |
-All right, so that's it in a little nutshell. -I like that. | 0:15:30 | 0:15:33 | |
I think it's really good. | 0:15:33 | 0:15:34 | |
I think it'd be hilarious if I had on a pair of frickin' mom jeans. | 0:15:35 | 0:15:38 | |
I just want to have a funny visual. And basically, the NBA player... | 0:15:38 | 0:15:42 | |
-Hello! -Hi. Hi, everyone. -CHEERING | 0:15:42 | 0:15:46 | |
Trust me, you got the better team, I'm just saying. | 0:15:46 | 0:15:51 | |
'Each team had the opportunity to work with an NBA great. | 0:15:51 | 0:15:54 | |
'And we were very excited when Scottie Pippen' | 0:15:54 | 0:15:56 | |
came to announce he was now part of team Tenacity. | 0:15:56 | 0:15:59 | |
We welcomed him with open arms. | 0:15:59 | 0:16:01 | |
We're doing a concept called the first moments of funk. | 0:16:01 | 0:16:05 | |
OK, we like that reaction. | 0:16:07 | 0:16:09 | |
So, when you realised you were funky. You would be his funky godfather. | 0:16:09 | 0:16:15 | |
'So we have our concept, we have our creative' | 0:16:16 | 0:16:19 | |
and our fabulous NBA player and it's time to get busy. | 0:16:19 | 0:16:22 | |
I'll go straight over and meet you guys when we're done with crafts. | 0:16:24 | 0:16:28 | |
Call us if you need anything. Bye, you guys. | 0:16:28 | 0:16:30 | |
Here he is. | 0:16:33 | 0:16:34 | |
Hey! | 0:16:34 | 0:16:35 | |
-How you doing? Curtis Stone. -Pleasure to meet you. | 0:16:35 | 0:16:38 | |
Pleasure to meet you. | 0:16:38 | 0:16:39 | |
We come up with this idea and we're all feeling pretty good about it. | 0:16:39 | 0:16:42 | |
You know? And all of sudden Clyde The Glide comes walking in | 0:16:42 | 0:16:45 | |
and I instantly get a great vibe from him. | 0:16:45 | 0:16:48 | |
Oh, this is a heck of a crew here. How can you not win with these two? | 0:16:48 | 0:16:53 | |
-You're going to help us win. -Absolutely. I'm here to help. | 0:16:53 | 0:16:58 | |
I've known Clyde for a few years, | 0:16:58 | 0:16:59 | |
we were on some Olympic teams together, he's a great guy. | 0:16:59 | 0:17:02 | |
I was really pleased when we got him | 0:17:02 | 0:17:04 | |
because I felt like this particular ad that we put together | 0:17:04 | 0:17:07 | |
was better suited to Clyde than Scottie. | 0:17:07 | 0:17:09 | |
Michael... | 0:17:09 | 0:17:10 | |
-Huh? -Which team did Clyde play on? -Oh. | 0:17:13 | 0:17:18 | |
-I don't want to be the most ignorant person in the world. -Houston. | 0:17:18 | 0:17:22 | |
You've got to forgive me I'm a foreigner. | 0:17:22 | 0:17:24 | |
Look, I'm a stupid Aussie, OK? | 0:17:25 | 0:17:27 | |
When Clyde Drexler was a huge hero I wasn't in this country. | 0:17:27 | 0:17:30 | |
So I don't even know who he is. | 0:17:30 | 0:17:32 | |
It's so embarrassing for me because I know he's a huge star. | 0:17:32 | 0:17:36 | |
-You're forgiven. -I'm the minority here. -It's all right, it's all right. | 0:17:36 | 0:17:40 | |
Hey, Chris. It's Holly Robinson Peete, | 0:17:49 | 0:17:52 | |
-how are you doing? -'I'm doing well.' | 0:17:52 | 0:17:53 | |
Listen, I'm going to quickly explain to you what we're doing. | 0:17:53 | 0:17:56 | |
'We called Chris Paul, he's an NBA superstar | 0:17:56 | 0:17:59 | |
'and the spokesperson for Right Guard.' | 0:17:59 | 0:18:02 | |
And so we thought, "Who better to tell us | 0:18:02 | 0:18:04 | |
"if we are on the right track or not?" | 0:18:04 | 0:18:07 | |
And Scottie is playing the funky godfather, basically... | 0:18:07 | 0:18:11 | |
CHRIS LAUGHS | 0:18:11 | 0:18:13 | |
-'Yeah, that sounds real good.' -We appreciate it, we love you, Chris. | 0:18:13 | 0:18:17 | |
-Take care. -'OK, thank you.' | 0:18:17 | 0:18:18 | |
Chris Paul loved our concept | 0:18:18 | 0:18:20 | |
and thought we were totally on the right track. | 0:18:20 | 0:18:24 | |
Yeah, this is a whole different energy when they are not here. | 0:18:24 | 0:18:27 | |
-It's very... -Cyndi was... | 0:18:27 | 0:18:28 | |
She's here, she said, "Listen, buddy. Listen, youse. | 0:18:28 | 0:18:30 | |
"Listen, kid. What's the task again?" | 0:18:30 | 0:18:33 | |
So we'll be like, "Cyndi..." | 0:18:35 | 0:18:38 | |
-PHONE RINGS -BLEEP -Here she is. Listen to this. | 0:18:38 | 0:18:43 | |
-Cynd? -'Holly?' -Hey. | 0:18:43 | 0:18:44 | |
I'm here. I'm here about to go and be with the president. | 0:18:44 | 0:18:49 | |
I'm so excited. | 0:18:49 | 0:18:50 | |
-Say hello to Scottie Pippen, he can hear you. -Hello, Cyndi. -'OK. | 0:18:50 | 0:18:54 | |
'Hey, how are you? Thanks for joining our team!' | 0:18:54 | 0:18:57 | |
Thank you, I'm enjoying it. | 0:18:57 | 0:18:58 | |
'It's really exciting.' | 0:18:58 | 0:19:00 | |
'I appreciate that Cyndi was trying to help from the White House. | 0:19:00 | 0:19:04 | |
'I really did want to give Cyndi something to do.' | 0:19:04 | 0:19:06 | |
I decided to charge her | 0:19:06 | 0:19:08 | |
with writing a testimonial about her son Declan | 0:19:08 | 0:19:10 | |
and when she discovered his first moments of funk. | 0:19:10 | 0:19:14 | |
OK. I'll call you right after I get out, OK? | 0:19:14 | 0:19:18 | |
All right, baby, have a good one. Tell the president, hi. OK, bye. | 0:19:18 | 0:19:22 | |
-OK, this might wear me out. You have to help me. -Do what? | 0:19:22 | 0:19:26 | |
You got to manage Cyndi for me. | 0:19:26 | 0:19:28 | |
-Yeah. -Yeah, that's great, I'm packing up everything. | 0:19:40 | 0:19:43 | |
I'm making a two second phone call to my daughter. | 0:19:43 | 0:19:46 | |
'I'm in the war room and I'm really pumped up and I get this text' | 0:19:46 | 0:19:49 | |
and it was to call my daughter Raine. | 0:19:49 | 0:19:52 | |
'And when I made the call my heart just sank.' | 0:19:52 | 0:19:55 | |
Hey, guys. | 0:19:56 | 0:19:58 | |
Curtis, Clyde, everybody, | 0:19:58 | 0:20:00 | |
I just want to tell you guys I'm in a serious situation. | 0:20:00 | 0:20:03 | |
Last night my daughter had blood sugar spill into her urine | 0:20:05 | 0:20:09 | |
and they're testing her for diabetes. | 0:20:09 | 0:20:12 | |
I got to be honest, I'm freaking out. So my brain is a little... | 0:20:16 | 0:20:19 | |
Very serious, I've had it my whole life. | 0:20:20 | 0:20:22 | |
This is what I'd love to do, let's stay focused with this | 0:20:22 | 0:20:26 | |
and occasionally I'm going to step out to make phone calls. | 0:20:26 | 0:20:29 | |
I'll deal with my situation. | 0:20:29 | 0:20:30 | |
You let us know if there's anything we can do. Do what you have to, | 0:20:30 | 0:20:33 | |
that's much more important than anything we are doing. | 0:20:33 | 0:20:36 | |
My daughter, all my life I've shown her I take the insulin injections. | 0:20:37 | 0:20:40 | |
And she's asking me today, | 0:20:40 | 0:20:42 | |
she said, "Dad, do I have to take shots... | 0:20:42 | 0:20:44 | |
HE SOBS | 0:20:44 | 0:20:47 | |
"..like you do?" | 0:20:50 | 0:20:52 | |
You know, she just asked me if she had to take shots like I do. | 0:20:52 | 0:20:55 | |
HE SOBS | 0:20:55 | 0:20:57 | |
I don't want to do no more of the interview. | 0:20:57 | 0:20:59 | |
-In here? -Yup. -Come on, Mr Scottie. | 0:21:14 | 0:21:16 | |
-OK, this is where we are shooting our commercial. -This is where we start? | 0:21:17 | 0:21:21 | |
This is it. All of our tasks have been a blank slate. | 0:21:21 | 0:21:25 | |
Now when I look at it, I don't get... | 0:21:25 | 0:21:27 | |
I won't go, "Oh, my God, there's nothing in here!" | 0:21:27 | 0:21:29 | |
'Maria and Summer went to get our props, Selita, Scottie and I' | 0:21:29 | 0:21:33 | |
went to our studio space to check it out and get started. | 0:21:33 | 0:21:36 | |
Where's our DP, is he here yet? | 0:21:38 | 0:21:39 | |
'We had all kinds of people there that needed direction. | 0:21:39 | 0:21:43 | |
'We had hair, make-up crew, grips, gaffers, and our actors.' | 0:21:43 | 0:21:48 | |
So, I think for the purposes of this commercial, you would be more | 0:21:48 | 0:21:53 | |
appropriate for our guy who is actually the funky boy - no offence. | 0:21:53 | 0:21:56 | |
-None taken! -OK. | 0:21:56 | 0:21:58 | |
We had such a limited amount of time, because Scottie had to catch a plane. | 0:21:59 | 0:22:03 | |
-So, I say we go with the green screen. -OK. -And time matters. -Yeah. | 0:22:03 | 0:22:07 | |
-How much time do you have? -Well, he leaves, we are going to shoot... | 0:22:07 | 0:22:11 | |
He's got to get on a plane, so we've got to get him out of here. | 0:22:11 | 0:22:14 | |
-Less than four hours. -OK, less than four hours. | 0:22:14 | 0:22:16 | |
-But you'll work your creative magic on us. -No pressure, Joe! | 0:22:16 | 0:22:19 | |
Let's look around and see what we got. | 0:22:29 | 0:22:31 | |
Guys, spread out, find anything that remotely looks like an apartment. | 0:22:31 | 0:22:36 | |
If not, we should talk, really quickly. | 0:22:36 | 0:22:37 | |
I don't think we've got anything. | 0:22:37 | 0:22:39 | |
'My brain is already scattered from my daughter with the diabetes, | 0:22:39 | 0:22:43 | |
'it was one of those days, right? And I'm looking at this room,' | 0:22:43 | 0:22:47 | |
and I was positive that the studio | 0:22:47 | 0:22:49 | |
would already have an apartment-esque area, | 0:22:49 | 0:22:51 | |
but we get in there and it is a big, cold and empty studio. | 0:22:51 | 0:22:56 | |
'I had no clue this was all they had here.' | 0:22:57 | 0:23:00 | |
Curtis, I'm going to say something, don't hate me, | 0:23:00 | 0:23:02 | |
it's just words. To build this stuff, it changes everything. | 0:23:02 | 0:23:07 | |
We haven't got time to start rethinking it. | 0:23:07 | 0:23:09 | |
We've just got to act on it. | 0:23:09 | 0:23:11 | |
I reckon the best thing for you guys to do is to head towards | 0:23:11 | 0:23:13 | |
the prop shop, OK? And then we'll keep in touch. | 0:23:13 | 0:23:16 | |
I suddenly got concerned about the time, | 0:23:16 | 0:23:18 | |
I was like, wow, we need to get our arses into gear! | 0:23:18 | 0:23:21 | |
So I quickly sent Goldberg and Michael | 0:23:21 | 0:23:23 | |
straight to the prop house and told them, | 0:23:23 | 0:23:25 | |
write a list on the way, I'll call you with other stuff that we need. | 0:23:25 | 0:23:29 | |
-I'm Chris, I'm the DP. -Hey, Chris. | 0:23:29 | 0:23:30 | |
Curtis Stone, how are you? What are your thoughts? | 0:23:30 | 0:23:33 | |
You know, because of the time constraints, | 0:23:33 | 0:23:36 | |
we're going to be pumping and pushing. It's going to be a reach. | 0:23:36 | 0:23:39 | |
-But you're saying we can achieve it? -For real? -We'll do what we can. | 0:23:39 | 0:23:44 | |
You're giving us false hope that we're going to achieve this for you. | 0:23:47 | 0:23:51 | |
-At the end of this, you're like, what the -BLEEP -did you just -BLEEP -get me to do? | 0:23:51 | 0:23:54 | |
I don't even know what this is. | 0:23:54 | 0:23:56 | |
-It's... I'm just... -OK, so tell me, what is the other idea? | 0:23:56 | 0:23:59 | |
We start back here, boom! I'm tracking in on you, right here. | 0:23:59 | 0:24:04 | |
We start pushing in on you, 30 seconds, boom! | 0:24:04 | 0:24:06 | |
And at the very end, he says, | 0:24:06 | 0:24:07 | |
"When I take it to the hoop, I never sweat it." | 0:24:07 | 0:24:09 | |
You know, you're put in a really awkward position - | 0:24:09 | 0:24:13 | |
do I start again, or do we carry on with something and not get to | 0:24:13 | 0:24:17 | |
the end, and then have someone turn round and say, "Told you so"? | 0:24:17 | 0:24:20 | |
OK, we'll change it. | 0:24:24 | 0:24:26 | |
I'm doing this for you, and Curtis, | 0:24:27 | 0:24:29 | |
-throw me under a -BLEEP -bus and back over me tomorrow. | 0:24:29 | 0:24:32 | |
Let's do it, let's do it. | 0:24:32 | 0:24:33 | |
'We had a limited amount of time to get these shots done, | 0:24:33 | 0:24:35 | |
'and the time clock is running out.' | 0:24:35 | 0:24:37 | |
So I'm glad that Curtis trusts me and he went with my new | 0:24:37 | 0:24:40 | |
idea, because I don't think we had time to shoot the other one. This is the way to go. | 0:24:40 | 0:24:44 | |
Please back over me tomorrow if this fails. | 0:24:44 | 0:24:46 | |
-I'm begging you to. -Let's do it. | 0:24:46 | 0:24:48 | |
LOUD ROCK MUSIC PLAYS | 0:24:57 | 0:25:00 | |
No, that's not right. | 0:25:00 | 0:25:02 | |
SLOW, MELLOW MUSIC No, too sad. | 0:25:02 | 0:25:05 | |
We had such a limited amount of time and we had so much to do. | 0:25:05 | 0:25:10 | |
But this is my first big job as project manager. | 0:25:10 | 0:25:13 | |
And I wanted it to be great. | 0:25:13 | 0:25:16 | |
-ATMOSPHERIC COUNTRY MUSIC -That's cool. | 0:25:16 | 0:25:18 | |
That sounds like something that you would...when you're funky... Yeah. | 0:25:18 | 0:25:22 | |
What about this, Selita? | 0:25:22 | 0:25:24 | |
# Funky Godfather... # | 0:25:24 | 0:25:27 | |
That's hilarious! | 0:25:28 | 0:25:30 | |
# Funky Godfather | 0:25:30 | 0:25:32 | |
# Funky Godfather... # | 0:25:33 | 0:25:36 | |
I'm loving our cute jingle. | 0:25:36 | 0:25:39 | |
# Funky Godfather... # | 0:25:39 | 0:25:41 | |
It's really powerful and catchy. | 0:25:41 | 0:25:44 | |
Kind of has this, like, 1970s Blaxploitation kind of vibe. | 0:25:44 | 0:25:48 | |
"Every kid has his first moment of funk. | 0:25:48 | 0:25:51 | |
"When yours comes, I'm here for you. Right? Because I'm your..." | 0:25:51 | 0:25:56 | |
# Funky Godfather... # | 0:25:56 | 0:25:58 | |
Yes! You're a genius! | 0:25:58 | 0:26:02 | |
I hope my words go with it. | 0:26:02 | 0:26:04 | |
I kept thinking, oh, please don't let the guys do this. | 0:26:04 | 0:26:07 | |
Because when we decided to come up with the jingle, | 0:26:07 | 0:26:09 | |
I think we felt like we had the advantage. | 0:26:09 | 0:26:11 | |
MOBILE PHONE RINGS | 0:26:11 | 0:26:13 | |
-Hey, chica! -Hey, mama, where you at? | 0:26:13 | 0:26:16 | |
I'm still trying to leave right now, there was a lot of stuff to pack up. | 0:26:16 | 0:26:19 | |
-Oh, wow. -Tell them that Scottie wants to get on a plane at 6.30. | 0:26:19 | 0:26:23 | |
-Scottie has to get on a plane at 6.30. -Yes, I know. | 0:26:23 | 0:26:26 | |
We already have everything that we want, it just takes them | 0:26:26 | 0:26:30 | |
for ever to add things up and stuff. | 0:26:30 | 0:26:32 | |
-Just give us a call when you are on your way. -OK, great, no problem. | 0:26:32 | 0:26:36 | |
I'm shorthanded, Selita, I got one girl at the White House, | 0:26:36 | 0:26:40 | |
one girl out sick, two girls out in the field. | 0:26:40 | 0:26:43 | |
-I know, and we are still going to freakin' win. -We better win! | 0:26:43 | 0:26:47 | |
I'm going to get on the phone and start changing all the other... | 0:26:48 | 0:26:51 | |
Tell them to hold. Stay right at the prop house, | 0:26:51 | 0:26:53 | |
because I'm going to need stuff. | 0:26:53 | 0:26:55 | |
Curtis, I need one 10 foot basketball hoop. | 0:26:55 | 0:26:57 | |
We'll be lucky to get one at this point. | 0:26:57 | 0:27:00 | |
'So, Michael and Bill have gone off to get the props. | 0:27:00 | 0:27:02 | |
'We briefed the guys on exactly what they need to find | 0:27:02 | 0:27:04 | |
'and then Bret manages to convince me that it's not possible,' | 0:27:04 | 0:27:08 | |
we're not going to be able to do it. | 0:27:08 | 0:27:10 | |
So I have to call Bill and Michael and tell them what to get. | 0:27:10 | 0:27:13 | |
PHONE RINGS | 0:27:13 | 0:27:14 | |
-Hey, buddy. -I'm sorry to do this to you. | 0:27:14 | 0:27:16 | |
I've got to do a complete 180 on you. | 0:27:16 | 0:27:18 | |
Bret doesn't think we'll be able to shoot the ad in the timeframe. | 0:27:18 | 0:27:22 | |
So we're going to do a completely new creative. | 0:27:22 | 0:27:25 | |
-So, we need a basketball ring. -I think we can buy a basketball goal. | 0:27:25 | 0:27:31 | |
-We don't have time to -BLEEP -around with it, we got to get going, | 0:27:31 | 0:27:34 | |
-you know? That's the thing that I'm stressed about. -OK. | 0:27:34 | 0:27:38 | |
Bret, we can't do it. | 0:27:38 | 0:27:41 | |
I think we're going to have to go with what we initially started, dude. | 0:27:41 | 0:27:43 | |
Just go back to the first plan, dude, | 0:27:43 | 0:27:46 | |
-I'm just too stressed that we won't get the right stuff. -You got it. | 0:27:46 | 0:27:50 | |
Bret had a different concept again. | 0:27:50 | 0:27:52 | |
We have to stick to a plan and enact it immediately | 0:27:52 | 0:27:56 | |
and we have to make it as simplistic as possible. | 0:27:56 | 0:27:58 | |
We've said that every single time but it seems as if | 0:27:58 | 0:28:00 | |
-we go back to trying to fit as much -BLEEP -in this bag as possible. | 0:28:00 | 0:28:05 | |
Curtis, I may have your idea. What if we did a back and forth thing? | 0:28:05 | 0:28:09 | |
He's at one end, the kids are on the couch at the other. You ready? | 0:28:09 | 0:28:13 | |
No, let's just stick to something. | 0:28:13 | 0:28:15 | |
We just wasted one hour on this whole kerfuffle about which idea | 0:28:15 | 0:28:18 | |
we are going to go with. That can crush us! | 0:28:18 | 0:28:21 | |
-This is just a -BLEEP -day, it's going from one mistake to another. | 0:28:21 | 0:28:25 | |
The other thing is impossible. | 0:28:25 | 0:28:26 | |
I'm begging you on my knees not to try to shoot the other thing. | 0:28:26 | 0:28:29 | |
-We can't keep changing our mind. -I agree with Curtis. | 0:28:29 | 0:28:32 | |
'I'm trying to be as creative as I can, | 0:28:32 | 0:28:34 | |
'but at the same time, I'm really in a whole other headspace right now.' | 0:28:34 | 0:28:38 | |
How is Rainbow doing? | 0:28:38 | 0:28:40 | |
She thinks she's going to end up being like me | 0:28:42 | 0:28:44 | |
and taking four shots a day, she's going to freak out. | 0:28:44 | 0:28:47 | |
My daughter is scared right now and I'm scared for her. And I feel... | 0:28:47 | 0:28:52 | |
It's awful, it sucks. | 0:28:52 | 0:28:55 | |
But do not freak her out, OK? | 0:28:55 | 0:28:58 | |
OK, thanks. | 0:28:58 | 0:28:59 | |
'It's tough to hold in. | 0:28:59 | 0:29:00 | |
'At a couple of points, I went into the bathroom, | 0:29:00 | 0:29:02 | |
'just quietly, by myself, punch a few things,' | 0:29:02 | 0:29:04 | |
smash my head into the mirror, you know, cry a little bit. | 0:29:04 | 0:29:07 | |
-I think you're going through a world of -BLEEP, -I really do. | 0:29:07 | 0:29:10 | |
-Let's just go with each other, OK? -I'm in, I'm in, I got your back. | 0:29:10 | 0:29:12 | |
-And that's why I'm so upset, because I got your back. -I know you have. | 0:29:12 | 0:29:16 | |
I got your back and I'm mad at myself for pushing for this thing... | 0:29:16 | 0:29:19 | |
-Let's just do what we can, let's just get what we can down. -OK. | 0:29:19 | 0:29:22 | |
When you put life in perspective, the show is fantastic, | 0:29:22 | 0:29:26 | |
but if my daughter is diagnosed with diabetes, | 0:29:26 | 0:29:28 | |
I would have to tell my team | 0:29:28 | 0:29:30 | |
I'm so sorry, I'm going to go and take care of my family. | 0:29:30 | 0:29:32 | |
We need the rest of the girls. | 0:29:44 | 0:29:46 | |
We need all four of us. Come on. To go. | 0:29:48 | 0:29:51 | |
We actually need, like, 12 of us, | 0:29:53 | 0:29:54 | |
but four is going to have to do today. | 0:29:54 | 0:29:57 | |
-Oh, my God! -Girls in need of help! -OK, let's look at this. | 0:29:57 | 0:30:02 | |
Just don't go too fast, it's a little slick, OK? | 0:30:03 | 0:30:06 | |
Hey, Mr Pippen, I'm covering this up, OK? | 0:30:11 | 0:30:13 | |
'Here I am, carrying a sink and a fridge and this and that,' | 0:30:18 | 0:30:23 | |
but Selita disappeared on me. | 0:30:23 | 0:30:26 | |
-What do you want to drink? -Any one of those Snapples. | 0:30:26 | 0:30:28 | |
-Oh, this blanket's not so bad. -For charity. Autism, baby, autism! | 0:30:28 | 0:30:34 | |
-How is it? Is it to your liking? -Oh, it's great. -Great. | 0:30:34 | 0:30:37 | |
All the women seem to be doing very well, | 0:30:37 | 0:30:39 | |
they are working very hard on this task. With one exception - Selita. | 0:30:39 | 0:30:43 | |
I don't know what she's doing. | 0:30:43 | 0:30:45 | |
Did you want some ice? You OK? | 0:30:45 | 0:30:48 | |
Watch out. | 0:30:48 | 0:30:50 | |
That girl is strong! Sorry? | 0:30:51 | 0:30:54 | |
-You all right, baby? -I'm good. | 0:30:54 | 0:30:56 | |
Where are you, Selita? Selita? | 0:30:56 | 0:30:59 | |
Go, go, go, go! All right, let's do this, let's get it up there. | 0:31:07 | 0:31:11 | |
Our props are here, guys. | 0:31:11 | 0:31:13 | |
All of a sudden, here comes Bill and Michael with all the props. | 0:31:13 | 0:31:15 | |
And everybody jumped on, I mean, we are grabbing stuff, | 0:31:15 | 0:31:18 | |
let's make it look as best as we can and let's go, we've got to | 0:31:18 | 0:31:21 | |
get this done or we'll to have no commercial to edit. | 0:31:21 | 0:31:24 | |
And the next time, I feel like... Nothing! How about you? Nothing! | 0:31:31 | 0:31:35 | |
So, Ivanka came to visit, and I knew that it Bret had gotten into it | 0:31:35 | 0:31:38 | |
with her right then, that would have wasted even more of my time, | 0:31:38 | 0:31:41 | |
and every second I had was super precious at that point. | 0:31:41 | 0:31:44 | |
-Do you just want to start setting up the next shot? Thanks. -Absolutely. | 0:31:44 | 0:31:48 | |
So, we've gone with an older demographic, and... | 0:31:48 | 0:31:51 | |
'To be perfectly honest, I just tried to keep Ivanka happy' | 0:31:51 | 0:31:54 | |
and tell her that everything was great, when it wasn't. | 0:31:54 | 0:31:57 | |
Everything was a disaster and falling down around me. | 0:31:57 | 0:31:59 | |
Why haven't you started filming yet? | 0:31:59 | 0:32:01 | |
-We've shot two scenes, we're just about to shoot a third. -OK, good. | 0:32:01 | 0:32:03 | |
'I wasn't telling the truth. She was like, why haven't you | 0:32:03 | 0:32:06 | |
'started shooting? I was like, we've done two shots.' | 0:32:06 | 0:32:08 | |
I told Ivanka what she wanted to hear so I could keep moving. | 0:32:08 | 0:32:11 | |
But you can narrow that storyline and narrative into the 30 seconds? | 0:32:13 | 0:32:17 | |
-Yeah. Yeah, I'm comfortable. -OK, good. | 0:32:17 | 0:32:20 | |
I was impressed by the level of calm, which isn't easy | 0:32:20 | 0:32:25 | |
when you've had this many concurrent losses. | 0:32:25 | 0:32:27 | |
'I think Curtis had a strong sense of what he wanted to accomplish.' | 0:32:27 | 0:32:31 | |
-So, you're going to win? -Yeah, absolutely. | 0:32:31 | 0:32:33 | |
Good. Good attitude! | 0:32:33 | 0:32:34 | |
Matthew Shepard, James Byrd Jr, | 0:32:37 | 0:32:41 | |
Hate Crime Prevention Act is the law of the land after today! | 0:32:41 | 0:32:45 | |
I'm here in Washington to take time out to listen to what | 0:32:45 | 0:32:48 | |
the President has to say about this Hate Crime Prevention Act. | 0:32:48 | 0:32:55 | |
I get all choked up when I'm saying it, | 0:32:55 | 0:32:56 | |
because I've been working years to get this together. | 0:32:56 | 0:32:59 | |
And as of today, it will be the law of the land. | 0:32:59 | 0:33:03 | |
MOBILE PHONE RINGS I have the BlackBerry. | 0:33:06 | 0:33:10 | |
Hi, it's me, Cyn. | 0:33:10 | 0:33:11 | |
Oh, hi! Listen, you know, I was thinking about what you guys said, | 0:33:14 | 0:33:19 | |
and my son realised in his locker room... | 0:33:19 | 0:33:22 | |
CYNDI DROWNED OUT BY CHATTER | 0:33:22 | 0:33:27 | |
..And the kids call it The Big P - puberty, they call The Big P. | 0:33:27 | 0:33:31 | |
So, we'll have to fly in that cart at one point, Summer. | 0:33:31 | 0:33:35 | |
..And when the boys realised that their locker room was really | 0:33:35 | 0:33:38 | |
stinky and they needed some deodorant... | 0:33:38 | 0:33:41 | |
Hello? | 0:33:44 | 0:33:46 | |
'Did you hear that, any of this?' | 0:33:48 | 0:33:50 | |
Yeah, we heard all of it, it was great. | 0:33:50 | 0:33:52 | |
-All right, thanks, do great, I know you will. -OK, bye. OK. | 0:33:54 | 0:34:00 | |
I'm sad that I'm missing it, but Holly, | 0:34:01 | 0:34:04 | |
she don't listen to anyone anyway! Unless it's Summer. | 0:34:04 | 0:34:07 | |
-Honestly, in the real world, I'd never -BLEEP -work with her. | 0:34:07 | 0:34:11 | |
-OK, thanks so much. -Thank you so much. | 0:34:11 | 0:34:13 | |
OK, so let's get our first shot. Will you call action for me? | 0:34:15 | 0:34:18 | |
And roll cameras. Action! | 0:34:18 | 0:34:21 | |
-Hey, Mom. -Hey, baby, how you doing? | 0:34:21 | 0:34:24 | |
-OK. -That's good, that was good. -Can we do a playback? | 0:34:31 | 0:34:34 | |
-Want to see our first scene here? -Yes, I do. -Come here, George. | 0:34:34 | 0:34:37 | |
That's great. | 0:34:37 | 0:34:40 | |
George, Mr Stern Face, he even chuckled. | 0:34:42 | 0:34:45 | |
So, if we can get George to smile, | 0:34:45 | 0:34:47 | |
I know we've got another task in the bucket. Man! | 0:34:47 | 0:34:52 | |
OK, let's get going, guys, we've got to move, we've got to move. | 0:34:52 | 0:34:55 | |
-Selita, how are we doing? -It's five o'clock. -OK, thank you. BLEEP! | 0:34:55 | 0:35:00 | |
-And action! -What's up, fellas? | 0:35:06 | 0:35:10 | |
I'm Clyde Drexler and I'm yours for the... Oof! | 0:35:10 | 0:35:13 | |
-Oh, dude, you got hit real -BLEEP! -Here we go again, are we ready? | 0:35:13 | 0:35:18 | |
It's good, but let's do it again! | 0:35:18 | 0:35:21 | |
Clyde Drexler is a champion. I love the man. | 0:35:21 | 0:35:24 | |
Hey, you guys, I'm Clyde Drexler and I'm yours for the day... Oof! | 0:35:24 | 0:35:28 | |
Oof! Oof! Oof! Oof! | 0:35:28 | 0:35:32 | |
What a guy. Such a sweetheart, | 0:35:32 | 0:35:33 | |
absolutely nothing was too much trouble. | 0:35:33 | 0:35:36 | |
In his pit, get up in his pit, not his nipple! | 0:35:36 | 0:35:38 | |
We don't want any kinky BLEEP going on. | 0:35:38 | 0:35:41 | |
-He literally let us do anything to him. I really respect him. -Action! | 0:35:41 | 0:35:45 | |
-Nothing. -Right Guard Total Defense 5, man. | 0:35:47 | 0:35:50 | |
-That is so good. -Curtis is the man. | 0:35:51 | 0:35:53 | |
-I'm just the one -BLEEP -it up for him. | 0:35:53 | 0:35:55 | |
-You're not -BLEEP -anything up, we're in this together. | 0:35:55 | 0:35:58 | |
We ain't done our 10 second. Want to stick with that same concept? | 0:36:08 | 0:36:11 | |
I don't know. | 0:36:11 | 0:36:12 | |
'So, after we felt we'd shot everything for the 30-second ad,' | 0:36:12 | 0:36:15 | |
we had to quickly move on to our 10 second ad, | 0:36:15 | 0:36:17 | |
-because time was running out. -This is what I got, all right? | 0:36:17 | 0:36:21 | |
So, you got Clyde and the kid playing basketball. | 0:36:21 | 0:36:23 | |
The kid steals the basketball from Clyde. | 0:36:23 | 0:36:25 | |
Then Clyde says, "That was good defence, | 0:36:25 | 0:36:28 | |
-"but you need Total Defense." -Done! -10 seconds. -Yeah, I like it. | 0:36:28 | 0:36:32 | |
We're rolling. Everyone settle. Action! | 0:36:32 | 0:36:37 | |
That was good defence, but... Phew! | 0:36:37 | 0:36:40 | |
..what you really need is Right Guard Total Defense 5. | 0:36:40 | 0:36:44 | |
That's good! The more exaggerated it is, the better it reads. | 0:36:44 | 0:36:48 | |
-What do you think? -I think we're good. | 0:36:48 | 0:36:50 | |
Everyone, thank you so much. This has been awesome. | 0:36:50 | 0:36:53 | |
-Thank you, mate. -'When we wrapped, I felt good. | 0:36:53 | 0:36:55 | |
'I felt that we had got the shots we needed. | 0:36:55 | 0:36:58 | |
'It was very tough to pull off that much stuff in that short | 0:36:58 | 0:37:01 | |
'amount of time, but Curtis stuck to his guns and he was right. | 0:37:01 | 0:37:05 | |
'It's horrible to have to admit you're wrong, it kills me,' | 0:37:05 | 0:37:08 | |
but I'm admitting it. | 0:37:08 | 0:37:10 | |
OK, we've got to go, we've got to go, we lose Scottie very shortly. | 0:37:14 | 0:37:18 | |
We don't get finished, somebody get fired. | 0:37:18 | 0:37:21 | |
Feeling definite time pressure crunches, | 0:37:21 | 0:37:23 | |
because we lose Scottie in half an hour. | 0:37:23 | 0:37:24 | |
I feel OK, a little nervous though. | 0:37:24 | 0:37:27 | |
-Are you going to already have your hand up there? -All right. | 0:37:27 | 0:37:30 | |
-OK, rolling. -Up higher, a little higher. Good, and action! | 0:37:30 | 0:37:33 | |
-My God, that's awesome! -This is going to be real good for you, little boy. | 0:37:36 | 0:37:41 | |
THEY LAUGH Awesome! That was great. | 0:37:41 | 0:37:46 | |
-What about the 10-second shot? -Oh, yes. | 0:37:46 | 0:37:49 | |
We need to do what we just did with each one of the boys and roll | 0:37:49 | 0:37:52 | |
-that into our 10-second. -They're going to hang on the bar... | 0:37:52 | 0:37:55 | |
They're going to hang on the bar, you just keep swiping those boys. | 0:37:55 | 0:37:58 | |
-Let's go. -Yeah. Action! | 0:37:58 | 0:38:01 | |
Love that. Next! Come on, little man. And, action! Let go. | 0:38:03 | 0:38:10 | |
-Pull your knees up, honey. -Pull your knees up, let's see those legs. | 0:38:10 | 0:38:13 | |
Oh, yeah! Good. Good one, good one. | 0:38:13 | 0:38:15 | |
-Thank you so very much. -Thank you, ladies. | 0:38:15 | 0:38:19 | |
OK, y'all give it up for Mr Scottie Pippen! | 0:38:19 | 0:38:21 | |
THEY CHEER | 0:38:21 | 0:38:23 | |
-Bye-bye. Good luck to you guys. -Thank you. | 0:38:23 | 0:38:25 | |
-I look forward to seeing the ad. -You're the best, thank you so much. | 0:38:25 | 0:38:28 | |
Scottie Pippen was just a super-duper star for us today. | 0:38:28 | 0:38:32 | |
'But we felt a little rushed, we were crunched for time, | 0:38:32 | 0:38:35 | |
'so the perfectionist in me is stressing.' | 0:38:35 | 0:38:39 | |
-I don't even know if we've got all this. -No! Give it to me. | 0:38:39 | 0:38:43 | |
Of course it does, we could change things. | 0:38:43 | 0:38:46 | |
There's nothing you can do, it's gone now. | 0:38:46 | 0:38:49 | |
-You know what, it's going to be funny. -Oh, my God. | 0:38:49 | 0:38:53 | |
-OK, let's get to the edit. -I'm ready. | 0:38:55 | 0:38:57 | |
After we finished everything at the studio, | 0:38:59 | 0:39:02 | |
we headed over to the edit bay. | 0:39:02 | 0:39:04 | |
Remember, you've got to edit two pieces. | 0:39:06 | 0:39:08 | |
-We got three hours, two more hours in the morning. -We'll start on that. | 0:39:08 | 0:39:12 | |
'We get into the van and everyone's kind of talking, | 0:39:12 | 0:39:14 | |
'and I went into a vacuum. | 0:39:14 | 0:39:16 | |
'All their voices went into, like, an echo chamber.' | 0:39:16 | 0:39:18 | |
And I just couldn't hold it no more. | 0:39:18 | 0:39:20 | |
So, I was talking about the presentation. | 0:39:20 | 0:39:23 | |
And those jerseys, is that the plan, wearing those tomorrow? | 0:39:23 | 0:39:26 | |
Wear the jerseys, yeah. | 0:39:26 | 0:39:27 | |
I keep picturing my little girl taking four shots a day, man, | 0:39:32 | 0:39:35 | |
I just keep...picturing it. And I feel like I did it. | 0:39:35 | 0:39:40 | |
-Oh, man, don't do that. -Listen... -Don't do that, bro. | 0:39:40 | 0:39:44 | |
I'm sorry, man, I don't cry, man, I just don't do it. | 0:39:46 | 0:39:50 | |
-We are here for the whole BLEEP reason. -I know, it just sucks, man. | 0:39:50 | 0:39:55 | |
Raising awareness and money for that charity. | 0:39:55 | 0:39:59 | |
So if there is ever any good karma out there, | 0:39:59 | 0:40:02 | |
-it's at your door right now, buddy. -I know. | 0:40:02 | 0:40:05 | |
You guys have just put up with me, you've been great. | 0:40:05 | 0:40:07 | |
And I mean this, man, I mean, sincerely, I never thought I'd be... | 0:40:07 | 0:40:10 | |
I mean, I say a prayer every day that my kids are not diabetic. | 0:40:10 | 0:40:13 | |
And man, to have your daughter... Sorry. | 0:40:13 | 0:40:19 | |
I mean, sincerely, I'm sorry, man, I don't, I don't cry about nothing. | 0:40:19 | 0:40:22 | |
We're there for you, just like you're there for us. | 0:40:27 | 0:40:30 | |
-Sending positive vibes for you, bro. -Thank you. I need that. | 0:40:31 | 0:40:35 | |
OK, give me five or something, please. | 0:40:35 | 0:40:38 | |
So, I need to find the best take of this one? | 0:40:56 | 0:40:59 | |
Find the best take of this one first, | 0:40:59 | 0:41:01 | |
this is pretty much our opening master. Hey, son! | 0:41:01 | 0:41:03 | |
So, we finished up on our soundstage | 0:41:03 | 0:41:05 | |
and immediately came over to piece it together in an edit room. | 0:41:05 | 0:41:08 | |
It's the moment of truth, really. | 0:41:08 | 0:41:10 | |
So, that's number one, let's mark that. | 0:41:10 | 0:41:12 | |
-I like the one where he's a bit higher. -OK, here's another one. | 0:41:12 | 0:41:15 | |
-I like that better. -I'm Scottie Pippen and I'm your... | 0:41:15 | 0:41:18 | |
# Funky Godfather! # | 0:41:18 | 0:41:21 | |
Raise up the "Funky Godfather" a little bit more. | 0:41:21 | 0:41:25 | |
Well, we're not sound editing now. We're just fitting it in. | 0:41:25 | 0:41:30 | |
'Maria is a very aggressive woman, when it comes to a lot of things. | 0:41:30 | 0:41:34 | |
'She always has her two cents, or her input.' | 0:41:34 | 0:41:37 | |
The grab is weak. I'm sorry. The grab is a little... | 0:41:37 | 0:41:41 | |
'She is always twitching her little leg | 0:41:41 | 0:41:43 | |
'and then she kind of spaces out cos she is, in her mind, | 0:41:43 | 0:41:46 | |
'those little wheels are turning and she is literally plotting. | 0:41:46 | 0:41:48 | |
'She is trying to figure out her next move. | 0:41:48 | 0:41:50 | |
'She is constantly thinking about the boardroom.' | 0:41:50 | 0:41:53 | |
-'New Right Guard Total Defense 5.' -Bang! | 0:41:53 | 0:41:57 | |
-Yes, new Right Guard Total Defense 5. -Bang. -Yes. -Cut. | 0:41:57 | 0:42:01 | |
'Hey, what's up, fellas? I'm Clyde Drexler and I am yours for the...! | 0:42:03 | 0:42:07 | |
'First off we started with a 30-second commercial. | 0:42:07 | 0:42:09 | |
'It seemed like all the pieces were there, you know? | 0:42:09 | 0:42:12 | |
'I was a little bit surprised.' | 0:42:12 | 0:42:14 | |
I was worried he'd say, "Oh, we missed that shot." | 0:42:14 | 0:42:16 | |
'But we're pretty happy with it.' | 0:42:16 | 0:42:18 | |
Look at that nice light movement we did on that. | 0:42:18 | 0:42:21 | |
Good work, Rock. | 0:42:21 | 0:42:22 | |
Look at that. Look at that! | 0:42:22 | 0:42:25 | |
If there is one thing I know it is the edit bay. | 0:42:25 | 0:42:27 | |
'And those two kids acting and Clyde, man, it was making me laugh hard. | 0:42:27 | 0:42:32 | |
'In some way the task kind of saved me | 0:42:32 | 0:42:34 | |
'because it took my mind off my daughter for just a minute.' | 0:42:34 | 0:42:38 | |
-Nothing. -Told you. -Right Guard Total Defense 5. Works every time. | 0:42:38 | 0:42:43 | |
It's funny! You like it? | 0:42:43 | 0:42:45 | |
-Looks good. -Watch it a few times. | 0:42:45 | 0:42:48 | |
-We're getting close. -Dude, this is great. | 0:42:48 | 0:42:51 | |
-But we still have a lot to do on the other one. -Oh, yeah. | 0:42:51 | 0:42:53 | |
The other one is going to be cake. | 0:42:53 | 0:42:55 | |
'So in the morning we have to finish the 10-second spot.' | 0:42:55 | 0:42:57 | |
A lot of work but it is achievable and I am feeling good about it. | 0:42:57 | 0:43:00 | |
BRET: That's good. That's good! | 0:43:00 | 0:43:03 | |
-Good morning, Bret! -Good morning, Billy. How you doing? | 0:43:16 | 0:43:20 | |
Doing good, partner, you? | 0:43:20 | 0:43:21 | |
First thing this morning we all got in the van | 0:43:21 | 0:43:24 | |
and headed to the edit bay because we had two hours with the editor | 0:43:24 | 0:43:27 | |
but the most important thing, for all of us, | 0:43:27 | 0:43:29 | |
was to hear how Bret's little girl was. | 0:43:29 | 0:43:31 | |
-How are you, Bret? -I am OK. I'm good. | 0:43:31 | 0:43:34 | |
We are just going to keep positive that it is going to come back | 0:43:34 | 0:43:36 | |
and everything will be great. | 0:43:36 | 0:43:38 | |
'My daughter is getting tests done.' | 0:43:38 | 0:43:40 | |
I do not know when we will get results. | 0:43:40 | 0:43:42 | |
It could be days, a couple of weeks. I do not know but I am anxious. | 0:43:42 | 0:43:45 | |
Like I said, unfortunately, she has all the symptoms. | 0:43:45 | 0:43:48 | |
The thirst, the weight loss. So... | 0:43:48 | 0:43:51 | |
Well, all our thoughts are with you. | 0:43:51 | 0:43:54 | |
Yes, I know, thank you very much. | 0:43:54 | 0:43:57 | |
Hands in for Curtis. Let's do it, men. | 0:43:57 | 0:44:00 | |
Ready? One, two, three, Rocksolid! | 0:44:00 | 0:44:03 | |
Bust it, man. Today we are winning it. | 0:44:03 | 0:44:06 | |
Hi. OK, Cyndi has not seen this. | 0:44:11 | 0:44:14 | |
Cyndi is back and my fear is that Cyndi will come at the 11th hour, | 0:44:14 | 0:44:19 | |
when we have made the decisions, and start making suggestions. | 0:44:19 | 0:44:22 | |
LAUGHTER, AD PLAYS | 0:44:23 | 0:44:27 | |
-I'm your... -# Funky Godfather. # -And I'm here for you. | 0:44:27 | 0:44:30 | |
Can you double that? | 0:44:30 | 0:44:32 | |
If you double it, triple it, | 0:44:32 | 0:44:33 | |
you make that sound like a girl-group thing. | 0:44:33 | 0:44:37 | |
We talked about that yesterday. | 0:44:37 | 0:44:38 | |
-He is all set for you. -He can double it? -Yes. -I will sing with you. | 0:44:38 | 0:44:42 | |
We're not singing, we are just tweaking it. | 0:44:42 | 0:44:45 | |
Oh, doubling it with the machine? Oh. OK. | 0:44:45 | 0:44:48 | |
Cyndi underestimates me. | 0:44:48 | 0:44:50 | |
Cyndi does not have a clue what I have done in the business. | 0:44:50 | 0:44:53 | |
She is not the only one in the entertainment field. | 0:44:53 | 0:44:56 | |
# Funky Godfather. # | 0:44:56 | 0:44:58 | |
That's even better. That's a double? | 0:44:58 | 0:45:00 | |
# Funky Godfather. # | 0:45:00 | 0:45:03 | |
Yeah, if I overdub real quick with that, | 0:45:03 | 0:45:05 | |
I think it will sound more natural. | 0:45:05 | 0:45:07 | |
-Let me just do that, since I'm not doing anything. -I'll let you. | 0:45:07 | 0:45:11 | |
'The more you do, the better you get at it | 0:45:11 | 0:45:13 | |
'and I just happen to be a musician working in the field 20-30 years.' | 0:45:13 | 0:45:18 | |
I know about sound. | 0:45:18 | 0:45:19 | |
OK! | 0:45:19 | 0:45:20 | |
CYNDI DOES VOCAL EXERCISES | 0:45:20 | 0:45:25 | |
# Funky Godfather. # | 0:45:25 | 0:45:27 | |
All right. | 0:45:27 | 0:45:28 | |
Ready? Here we go. | 0:45:28 | 0:45:31 | |
# Funky Godfather. # | 0:45:31 | 0:45:35 | |
CYNDI HARMONISES | 0:45:35 | 0:45:39 | |
We knew this was going to happen because she's too in her element. | 0:45:42 | 0:45:45 | |
We want to make sure we hear it. Holly, I am not going to let... | 0:45:45 | 0:45:49 | |
Your voice was great. | 0:45:49 | 0:45:50 | |
Tiny bit less. Tiny. Yes. | 0:45:50 | 0:45:54 | |
So, come listen to it and then we'll just... | 0:45:54 | 0:45:56 | |
If all of us go and do it and get it done... | 0:45:56 | 0:45:59 | |
# Funky Godfather, yeah. # | 0:45:59 | 0:46:06 | |
I don't hear you at all. | 0:46:06 | 0:46:07 | |
I am just the hair. OK, turn me up just a little. | 0:46:07 | 0:46:10 | |
Like, two percent. | 0:46:10 | 0:46:13 | |
# Funky godfather, yeah. # | 0:46:13 | 0:46:17 | |
-That last part was good. -Yes, that's cool. That's great. | 0:46:17 | 0:46:21 | |
-You can't really tell it is me singing. -It is great. | 0:46:21 | 0:46:24 | |
-It's got texture. -That is all it was supposed to do. OK. -Thank you, Cyn. | 0:46:24 | 0:46:27 | |
Approved! We have got to start mixing. | 0:46:27 | 0:46:31 | |
Let's do the 10. Here we go. | 0:46:33 | 0:46:36 | |
That was good defence but, man, wooh! | 0:46:36 | 0:46:38 | |
'We have got to finish off the edit, | 0:46:38 | 0:46:40 | |
'completely do the 10-second spot.' | 0:46:40 | 0:46:42 | |
Then fine-tune our presentation. So we are in a pretty good place. | 0:46:42 | 0:46:45 | |
What do you think about going in a different direction | 0:46:45 | 0:46:48 | |
and just using the outtakes? | 0:46:48 | 0:46:50 | |
Let us find a few more of him going "wooh!" | 0:46:50 | 0:46:52 | |
-Just a couple more of those. -Gotcha. | 0:46:52 | 0:46:55 | |
'In a 10-second spot, you know, it is the internet.' | 0:46:55 | 0:46:58 | |
So it is a little bit looser, you can have a bit more fun with it. | 0:46:58 | 0:47:01 | |
Wooh! | 0:47:01 | 0:47:03 | |
-That is great. -Like that? -Yes. | 0:47:04 | 0:47:06 | |
'Goldberg and I are working on the presentation. | 0:47:11 | 0:47:15 | |
'The presentation needed to be a bit of a show | 0:47:15 | 0:47:18 | |
'and just looking around at the four of us, we all did have stories.' | 0:47:18 | 0:47:21 | |
I thought it would be a good idea to include that in the presentation. | 0:47:21 | 0:47:25 | |
You want to talk about pressure? | 0:47:25 | 0:47:27 | |
Put yourself in my shoes for a minute as a professional wrestler. | 0:47:27 | 0:47:29 | |
Put yourself in my underwear for a second, | 0:47:29 | 0:47:32 | |
which I have to run around in the ring wearing. | 0:47:32 | 0:47:34 | |
If anybody sweats, it is me. | 0:47:34 | 0:47:36 | |
I can contribute with conviction, | 0:47:36 | 0:47:38 | |
-as opposed to sitting there like a broken -BLEEP -dog or something. | 0:47:38 | 0:47:42 | |
-Here we come. Right. -Here it comes. | 0:47:42 | 0:47:45 | |
That was good defence but, man, wooh! | 0:47:45 | 0:47:50 | |
You want a great defence? Right Guard Total Defense 5. | 0:47:50 | 0:47:55 | |
-It is pretty good. -I like it. -It is not going to get better than that. | 0:47:55 | 0:47:59 | |
Yes, it is good. | 0:47:59 | 0:48:01 | |
This was a very tough task for our team | 0:48:01 | 0:48:03 | |
and I think that Curtis really pulled it together and did a great job | 0:48:03 | 0:48:07 | |
and now I'm ready to go into the presentation | 0:48:07 | 0:48:09 | |
and I'm ready to kick some ass. | 0:48:09 | 0:48:11 | |
Guys, for the first time, we have finished before the task ended. | 0:48:11 | 0:48:15 | |
-That is unbelievable! -I'm going to go get drunk! | 0:48:15 | 0:48:17 | |
We can have a coffee! | 0:48:17 | 0:48:19 | |
You said you wanted the locker scene for the 10-second spot, right? | 0:48:22 | 0:48:26 | |
-Yes. -OK. So just the locker scene. | 0:48:26 | 0:48:28 | |
'Initially, my 10-second spot was going to be totally different | 0:48:28 | 0:48:32 | |
'from my 30-second spot.' | 0:48:32 | 0:48:34 | |
But I really think the middle portion of our 30-second piece | 0:48:34 | 0:48:37 | |
is so strong and funny that alone, in 10 seconds, it'll be a winner. | 0:48:37 | 0:48:41 | |
Do you guys want to go in a different room, | 0:48:41 | 0:48:43 | |
-so that way she can play loud? -I will keep an eye on this. | 0:48:43 | 0:48:47 | |
Thank you, babe. I have confidence in you. | 0:48:47 | 0:48:50 | |
I trust Maria to cut together the 10-second spot | 0:48:50 | 0:48:53 | |
and I will be in a corner putting together my presentation. | 0:48:53 | 0:48:55 | |
That window looks dirty. Could you go over there? | 0:49:01 | 0:49:04 | |
That plant looks like it needs to be fed. | 0:49:04 | 0:49:07 | |
Nothing is worse as a project manager | 0:49:07 | 0:49:09 | |
than when someone walks up and says, "I don't have anything to do." | 0:49:09 | 0:49:11 | |
It is, like, find something to do. | 0:49:11 | 0:49:14 | |
Look around, there has got to be something! | 0:49:14 | 0:49:17 | |
15 minutes to go. Feeling good about this, you guys. | 0:49:17 | 0:49:20 | |
-Want to come and see this? -Nope. I am sure it is great. | 0:49:20 | 0:49:22 | |
I was in the room, by myself. | 0:49:22 | 0:49:25 | |
Four women were outside. | 0:49:25 | 0:49:27 | |
One could have come and helped. | 0:49:27 | 0:49:29 | |
No? OK, fine. | 0:49:29 | 0:49:30 | |
I think it is that last visual. | 0:49:30 | 0:49:33 | |
AD PLAYS | 0:49:37 | 0:49:38 | |
That is not where "upgrade your defence" goes. | 0:49:38 | 0:49:42 | |
-It goes right there. -One minute! | 0:49:42 | 0:49:44 | |
It goes in the silent part. | 0:49:44 | 0:49:46 | |
That is why we put it in there, because of the air. | 0:49:46 | 0:49:49 | |
'I am listening to the commercial and the audio sounds funny.' | 0:49:49 | 0:49:53 | |
That "upgrade your defence" is not where we just put it. What happened? | 0:49:53 | 0:49:56 | |
Why have we changed that? | 0:49:56 | 0:49:58 | |
-Why did we change that? -I do not know. I did not change it. | 0:49:58 | 0:50:02 | |
I guess I should have come back in. | 0:50:02 | 0:50:04 | |
I don't know why we changed that. | 0:50:04 | 0:50:06 | |
So I am looking at Maria, like, OK, you have been listening to this. | 0:50:07 | 0:50:10 | |
Why didn't you catch this? And I was pissed off at Maria. | 0:50:10 | 0:50:14 | |
-OK, let's go. We are leaving. It's done. -I know. I have to deal with it. | 0:50:15 | 0:50:21 | |
-I have just got to put my clothes on here. -I'm sorry. I'm sorry. | 0:50:21 | 0:50:25 | |
You cannot tell me something is wrong at the very last minute. | 0:50:25 | 0:50:28 | |
I asked you to come in, I asked you to come and see it, | 0:50:28 | 0:50:30 | |
ten minutes prior and you did not. | 0:50:30 | 0:50:32 | |
'If you snap at me too often, too much, | 0:50:32 | 0:50:35 | |
'I am going to come back at you.' | 0:50:35 | 0:50:37 | |
-I don't care any more. -Yes, you do. -No, I don't. You know. | 0:50:37 | 0:50:42 | |
-I don't care, I don't care. -Of course you do. | 0:50:42 | 0:50:45 | |
-Good afternoon, Eric and Dan. How are you guys doing today? -Good. | 0:51:00 | 0:51:03 | |
I am Bret Michaels, rock star at large, lifelong user of Right Guard. | 0:51:03 | 0:51:07 | |
'The presentation is one of the judging criteria.' | 0:51:08 | 0:51:10 | |
So it is really important | 0:51:10 | 0:51:12 | |
because it might be the difference between a win and a loss in this. | 0:51:12 | 0:51:16 | |
And nobody puts on a more high-performance show | 0:51:16 | 0:51:19 | |
and no-one sweats like I do. | 0:51:19 | 0:51:20 | |
All right, golden boy. | 0:51:20 | 0:51:22 | |
I spent 11 years as an athlete training every day in Texas, | 0:51:23 | 0:51:27 | |
where it is as hot as you know what. | 0:51:27 | 0:51:29 | |
I challenge anybody to tell me about sweating and pressure. | 0:51:29 | 0:51:34 | |
Yeah, yeah, we get it. You are fast. | 0:51:34 | 0:51:35 | |
But, let's face it, it only takes you 20 seconds to do 200 metres. | 0:51:35 | 0:51:39 | |
When chefs cook, they are in the kitchen for 16 or 17 hours a day. | 0:51:39 | 0:51:42 | |
We know what being in a sticky spot is all about. | 0:51:42 | 0:51:45 | |
Those are very compelling stories, ladies. | 0:51:45 | 0:51:48 | |
You want to talk about pressure? | 0:51:48 | 0:51:49 | |
Let's talk about being a professional wrestler, | 0:51:49 | 0:51:52 | |
in front of millions of people, on live television, in your underwear. | 0:51:52 | 0:51:57 | |
Now, we have all got reasons to find ourselves in sticky situations | 0:51:57 | 0:52:01 | |
but there is nothing to fear | 0:52:01 | 0:52:03 | |
because underneath it all we have got Right Guard. | 0:52:03 | 0:52:07 | |
It is not a full strip show, just half. | 0:52:07 | 0:52:10 | |
So we shot a 30-second commercial which we are about to show you. | 0:52:10 | 0:52:13 | |
We got a couple of kids and they won Clyde The Glide for a day, | 0:52:13 | 0:52:16 | |
so let's see what they did with him. | 0:52:16 | 0:52:18 | |
-He ain't coming. -Dude, I won the contest. He is coming. | 0:52:18 | 0:52:21 | |
Hey, what's up, fellas? I am Clyde Drexler and I am yours for the...dah! | 0:52:23 | 0:52:27 | |
-Nothing. -I knew it. -222. Oh! | 0:52:27 | 0:52:31 | |
If the executives' reaction is any indication of whether | 0:52:31 | 0:52:34 | |
we will win or lose, we just got our butts kicked. | 0:52:34 | 0:52:37 | |
-Works every time. -Never get caught off guard. | 0:52:37 | 0:52:40 | |
It was a look of confusion and stoicness. | 0:52:40 | 0:52:44 | |
Sto-fusion is what was going on. | 0:52:44 | 0:52:46 | |
Let's see the 10-second spot. | 0:52:46 | 0:52:49 | |
That's good defence. | 0:52:49 | 0:52:50 | |
That was good defence but, man, wooh! Wooh! | 0:52:50 | 0:52:54 | |
Oh! You want a great defence? Right Guard Total Defense 5. | 0:52:54 | 0:52:58 | |
There you go. We had the pleasure of working with incredible athletes | 0:52:58 | 0:53:01 | |
and representing a great brand, so thank you for the opportunity. | 0:53:01 | 0:53:04 | |
We hope you enjoyed it. | 0:53:04 | 0:53:06 | |
Listen, our acting may stink. Our armpits do not. | 0:53:06 | 0:53:09 | |
That is all we are going to say. | 0:53:09 | 0:53:11 | |
Hello, good afternoon. How are you? | 0:53:16 | 0:53:18 | |
The moment the task was handed out, | 0:53:18 | 0:53:20 | |
I instantly recalled the first day | 0:53:20 | 0:53:23 | |
I realised my 12-year-old son needed to begin wearing deodorant. | 0:53:23 | 0:53:28 | |
In the Peete House we lovingly refer to that day | 0:53:28 | 0:53:31 | |
as his first moments of funk. | 0:53:31 | 0:53:33 | |
So now I would like to introduce Team Tenacity's own Cyndi Lauper | 0:53:33 | 0:53:38 | |
to share her own personal experience with her own first moments of funk. | 0:53:38 | 0:53:42 | |
-Cyndi? -Thank you, Holly. | 0:53:42 | 0:53:44 | |
Hey, how you doing? | 0:53:44 | 0:53:46 | |
My son had come home and I took notes. | 0:53:46 | 0:53:50 | |
So, anyway, he came back. | 0:53:50 | 0:53:53 | |
'Cyndi fumbled all over it.' | 0:53:54 | 0:53:57 | |
I am kind of a little nervous | 0:53:57 | 0:53:59 | |
because that is part of the presentation. | 0:53:59 | 0:54:01 | |
Blah, blah! My own son was thrilled about the "big P". | 0:54:01 | 0:54:07 | |
Puberty. We are thrilled about having the other big P with us, | 0:54:07 | 0:54:12 | |
Scottie Pippen, who is here on this screen to fix the funk. | 0:54:12 | 0:54:17 | |
So enjoy. | 0:54:17 | 0:54:19 | |
-Hey, Mum. -Hey, son. | 0:54:19 | 0:54:21 | |
Every kid has his first moment of funk. | 0:54:21 | 0:54:24 | |
I am Scottie Pippen and I am your... | 0:54:24 | 0:54:26 | |
# Funky godfather. # | 0:54:26 | 0:54:30 | |
I am here for you. | 0:54:30 | 0:54:31 | |
'I think our concept relates to everyone. | 0:54:31 | 0:54:34 | |
'Men who can remember that time for them, that first funky moment. | 0:54:34 | 0:54:38 | |
'The young men experiencing it...' | 0:54:38 | 0:54:39 | |
I don't know, I think we hit it out of the park. | 0:54:39 | 0:54:41 | |
This is going to be real good for you, little boy. | 0:54:41 | 0:54:44 | |
-# Funky godfather. -# | 0:54:44 | 0:54:45 | |
Introducing new Right Guard Total Defence 5 - | 0:54:45 | 0:54:48 | |
for your first moment of funk. | 0:54:48 | 0:54:51 | |
We also created an ultra-cool 10-second spot. | 0:54:51 | 0:54:53 | |
Every kid has his first moment of funk. | 0:54:53 | 0:54:55 | |
I am Scottie Pippen and I'm your... | 0:54:55 | 0:54:57 | |
# Funky Godfather. # | 0:54:57 | 0:54:59 | |
Introducing new Right Guard Total Defence 5 - for your first moment of funk. | 0:54:59 | 0:55:03 | |
So those are our two spots | 0:55:03 | 0:55:04 | |
-and we really had a good time and I think it showed. -Thank you, we appreciate your hard work. | 0:55:04 | 0:55:09 | |
They all sing: # Funky Godfather! # | 0:55:09 | 0:55:11 | |
Eric, Dan, how did they do? | 0:55:26 | 0:55:28 | |
Well, Mr Trump, both teams did exceptionally well. | 0:55:28 | 0:55:31 | |
-We had a really tough decision. -What did you like most? | 0:55:31 | 0:55:34 | |
Well, the men's team really seemed to get what we were going after. | 0:55:34 | 0:55:39 | |
Total Defense 5 is a product that is all about high-performance. | 0:55:39 | 0:55:42 | |
They really got that message. | 0:55:42 | 0:55:44 | |
What was really strong about the women's team, | 0:55:44 | 0:55:46 | |
the commercial itself was highly entertaining. | 0:55:46 | 0:55:49 | |
They used Scottie Pippen in a really clever, interesting way. | 0:55:49 | 0:55:52 | |
They developed their own jingle. | 0:55:52 | 0:55:54 | |
I did think, though, | 0:55:54 | 0:55:55 | |
the guys focused specifically on the 13-to-18-year-olds. | 0:55:55 | 0:55:59 | |
That is a stronger place to go than to go to a mum. | 0:55:59 | 0:56:02 | |
What did you not like? | 0:56:02 | 0:56:05 | |
The men's team, their ad simply was not as entertaining, | 0:56:05 | 0:56:08 | |
to where it would really resonate with consumers | 0:56:08 | 0:56:10 | |
and break through the clutter. | 0:56:10 | 0:56:11 | |
With the women's team, the difference between the 30-second commercial | 0:56:11 | 0:56:15 | |
and 10-second commercial, | 0:56:15 | 0:56:16 | |
they simply did an editorial cut down, | 0:56:16 | 0:56:19 | |
as opposed to looking at a different way of using the internet | 0:56:19 | 0:56:22 | |
versus a TV commercial. | 0:56:22 | 0:56:24 | |
So, overall, you thought they were both terrific. | 0:56:24 | 0:56:27 | |
-Yes. -But you had a preference? -Yes. -And who is the winner? | 0:56:27 | 0:56:30 | |
-Hi. -Hi. -I'm here to see Mr Trump. -OK. Mr Trump? | 0:56:37 | 0:56:42 | |
-Mr Johnson is here to see you. Step right in. -Thank you. | 0:56:42 | 0:56:47 | |
-Hi, Michael. -Hi, Mr Trump, how are you? -Sit down. -Thank you. | 0:56:48 | 0:56:52 | |
Unfortunately I have some bad news. I have a family personal situation. | 0:56:52 | 0:56:56 | |
I have to head back to San Francisco and take care of my son. | 0:56:56 | 0:56:59 | |
-Is your son OK? -Yes, he is fine. -What is the problem? | 0:56:59 | 0:57:03 | |
-Fighting with the wife? -It is just a personal issue. | 0:57:03 | 0:57:07 | |
-So this was a total surprise to you? -Yes, absolutely. | 0:57:07 | 0:57:11 | |
Wow! That is a big one. | 0:57:11 | 0:57:13 | |
If this was avoidable, I would certainly stay with these guys. | 0:57:13 | 0:57:18 | |
I am hoping I can come back. | 0:57:18 | 0:57:19 | |
I should know when I get there and get on the ground. | 0:57:19 | 0:57:22 | |
All right. I don't think it helps if you come back | 0:57:24 | 0:57:27 | |
because I think you will have missed too much time. | 0:57:27 | 0:57:29 | |
You will not be able to compete. | 0:57:29 | 0:57:31 | |
It is not fair to the other people | 0:57:31 | 0:57:32 | |
because people will be fired in between. | 0:57:32 | 0:57:35 | |
-I think that is not fair to the rest of the team. -You are exactly right. | 0:57:35 | 0:57:39 | |
All right. Well, good luck to your son and good luck to you. | 0:57:39 | 0:57:42 | |
-Thank you. -Take care of yourself. | 0:57:42 | 0:57:44 | |
-You are leaving now? -Yes. | 0:57:52 | 0:57:55 | |
Michael told us he had some really personal family issues going on | 0:57:55 | 0:57:59 | |
and he does not want to get into it with us | 0:57:59 | 0:58:01 | |
and I completely respect that but, as a team, | 0:58:01 | 0:58:04 | |
we are there for him and as his friends we are there for him. | 0:58:04 | 0:58:08 | |
-Thank you. Let me know what happens. -I will, for sure. | 0:58:08 | 0:58:11 | |
-Good luck. -Thank you. | 0:58:12 | 0:58:14 | |
'We are a great team. | 0:58:14 | 0:58:16 | |
'This is a bunch of guys that really enjoy working together. | 0:58:16 | 0:58:20 | |
'I would love to stay but I am a family man | 0:58:20 | 0:58:22 | |
'and they mean everything to me.' | 0:58:22 | 0:58:24 | |
Reality is what it is. | 0:58:24 | 0:58:25 | |
I have got, you know, to get back and handle my situation. | 0:58:25 | 0:58:30 | |
We are going to miss you. This is not the way we want you to go. | 0:58:34 | 0:58:36 | |
-Take care of your family. -Rocksolid. -Rocksolid, man. | 0:58:36 | 0:58:41 | |
Take care of your family. | 0:58:41 | 0:58:43 | |
Rocksolid is down to three people but, you know what, | 0:58:43 | 0:58:45 | |
'I am here to raise money and awareness for the Diabetes Foundation. | 0:58:45 | 0:58:50 | |
'This just makes me fight even harder...' | 0:58:50 | 0:58:52 | |
because my heart and soul is in doing this. | 0:58:52 | 0:58:54 | |
Gentlemen, we have stepped into the surreal. | 0:58:54 | 0:58:57 | |
Michael had to leave. He had a problem. It was a family problem. | 0:59:31 | 0:59:35 | |
I asked whether or not this was something | 0:59:35 | 0:59:37 | |
he could have predicted before he got involved with this whole thing. He said no. | 0:59:37 | 0:59:41 | |
It is too bad he had to leave, but I wish him the best of luck. | 0:59:41 | 0:59:45 | |
Goldberg, what do you think? Are you surprised he left? | 0:59:45 | 0:59:48 | |
If Michael Johnson left, I know the competitor he is, | 0:59:48 | 0:59:51 | |
there was a damn good reason for it. | 0:59:51 | 0:59:53 | |
OK. How do you think your team did, Curtis? | 0:59:55 | 0:59:59 | |
We had a really tough time with this challenge, Mr Trump. | 0:59:59 | 1:00:02 | |
We had a couple of personal things happen with the team. | 1:00:02 | 1:00:05 | |
-Both Michael went through a lot... -What else? | 1:00:05 | 1:00:09 | |
Bret has also had a tough time the last couple of days with some | 1:00:09 | 1:00:12 | |
personal issues, not that that meant he was not with us. | 1:00:12 | 1:00:15 | |
-He was still with us. -But he is still here. -Absolutely. | 1:00:15 | 1:00:19 | |
Is it anything you can discuss? What is the problem? | 1:00:19 | 1:00:22 | |
My oldest daughter is nine. | 1:00:22 | 1:00:23 | |
She has been feeling sick and lost weight | 1:00:23 | 1:00:26 | |
and they did a preliminary test and think she may be diabetic. | 1:00:26 | 1:00:30 | |
And it is hereditary? | 1:00:30 | 1:00:32 | |
That runs in families? | 1:00:32 | 1:00:35 | |
Yes, if the father has it, there is a 50% chance that | 1:00:35 | 1:00:38 | |
-one of my kids might have it. -So sad. | 1:00:38 | 1:00:41 | |
Now, does that make you feel even stronger about fighting | 1:00:41 | 1:00:43 | |
for your charity? Or do you think you would like to leave? | 1:00:43 | 1:00:46 | |
I think you know that I do not want to leave here | 1:00:48 | 1:00:50 | |
but for my charity I would fight to the end and especially now. | 1:00:50 | 1:00:53 | |
However, if she was really sick I would never say I want to leave | 1:00:53 | 1:00:57 | |
but I would leave to take care of my daughter. | 1:00:57 | 1:00:59 | |
-OK. Holly, how did your team do? -I thought we did really well. | 1:01:02 | 1:01:06 | |
We certainly enjoyed ourselves. | 1:01:06 | 1:01:08 | |
We were a couple of men, or women, short but we had a good time. | 1:01:08 | 1:01:14 | |
How is Sharon doing? | 1:01:14 | 1:01:15 | |
I do not think she is doing too well. | 1:01:15 | 1:01:18 | |
She has been really under the weather. | 1:01:18 | 1:01:20 | |
I cannot believe what I'm seeing here. | 1:01:20 | 1:01:22 | |
First, Darryl quits, then Michael leaves | 1:01:22 | 1:01:25 | |
and now we are having this situation with Sharon. | 1:01:25 | 1:01:28 | |
Do you think this is a way of Sharon saying, | 1:01:28 | 1:01:30 | |
"Let me escape a couple of tasks and keep going?" | 1:01:30 | 1:01:33 | |
No, I know she is really ill. | 1:01:33 | 1:01:35 | |
We have been keeping in contact with her. | 1:01:35 | 1:01:37 | |
I do not think there is anything behind it. | 1:01:37 | 1:01:40 | |
I understand people get sick | 1:01:40 | 1:01:42 | |
but I cannot let this go on too much longer. | 1:01:42 | 1:01:44 | |
It is not really fair to the rest of you who are here. | 1:01:44 | 1:01:48 | |
Holly, who did the least on your team? Who was the least productive? | 1:01:48 | 1:01:51 | |
Oh, Cyndi, but she had to go see a man named President Obama. | 1:01:51 | 1:01:55 | |
-Well, that is a good excuse. -And I came back this morning and I worked. | 1:01:55 | 1:01:58 | |
-Did you like the President? -He was awesome. Very smart. | 1:01:58 | 1:02:02 | |
It was an awesome, surreal day. | 1:02:02 | 1:02:05 | |
Good. Let's watch the ads. We'll start with the men. | 1:02:05 | 1:02:10 | |
-He ain't coming. -Dude, I won the contest, he's coming. | 1:02:12 | 1:02:16 | |
Hey, what's up, fellas? | 1:02:16 | 1:02:18 | |
I'm Clyde Drexler and I'm yours for the day... Oh! | 1:02:18 | 1:02:22 | |
-Nothing. -222! | 1:02:22 | 1:02:25 | |
-He's down. -Smell him. -Nothing. -Told you. | 1:02:25 | 1:02:30 | |
-Clyde, how about 1,000 jumping jacks? -He's been going for like an hour. | 1:02:30 | 1:02:34 | |
-Smell him. -Nothing. -Told ya! | 1:02:34 | 1:02:36 | |
Right Guard Total Defense 5 - works every time. | 1:02:36 | 1:02:40 | |
Never get caught off guard. | 1:02:40 | 1:02:43 | |
Now we'll do the ten second ad. | 1:02:47 | 1:02:49 | |
That's good defence. | 1:02:49 | 1:02:51 | |
That was good defence but man! Wooh! Man! You want a great defence? | 1:02:51 | 1:02:56 | |
Right Guard Total Defense 5. | 1:02:56 | 1:02:59 | |
All right, now for the women's ad. Let's see what we have. | 1:03:01 | 1:03:05 | |
-Hey, Mom. -Hey, son! -Every kid has his first moment of funk. | 1:03:06 | 1:03:11 | |
-I'm Scottie Pippen and I'm your... -# Funky Godfather! # | 1:03:11 | 1:03:16 | |
I'm here for you. | 1:03:16 | 1:03:19 | |
-Hey. -Oh, hey. | 1:03:19 | 1:03:20 | |
New Right Guard Total Defense 5. Upgrade your defence. | 1:03:20 | 1:03:26 | |
This is going to be real good for you, little boy. | 1:03:26 | 1:03:30 | |
Introducing new Right Guard Total Defense 5, | 1:03:30 | 1:03:33 | |
for your first moment of funk. | 1:03:33 | 1:03:35 | |
-Good job, girls. -That's good too. | 1:03:35 | 1:03:39 | |
Every kid has his first moment of funk. | 1:03:39 | 1:03:42 | |
-I'm Scottie Pippen, and I'm your... -# Funky Godfather! # | 1:03:42 | 1:03:45 | |
Introducing new Right Guard Total Defense 5 | 1:03:45 | 1:03:48 | |
for your first moment of funk. | 1:03:48 | 1:03:50 | |
All right, Bret, whose ad was better? | 1:03:50 | 1:03:53 | |
I think they did a good job but I thought ours was funnier | 1:03:53 | 1:03:56 | |
with a lot more set-ups and a lot more originality. | 1:03:56 | 1:03:59 | |
Goldberg, what did you think? | 1:03:59 | 1:04:01 | |
I thought the part where Scottie Pippen picked the kid up in the air was hilarious. | 1:04:01 | 1:04:05 | |
Other than that, I think ours was better. | 1:04:05 | 1:04:08 | |
So, Cyndi, you weren't here so can you actually disassociate yourself | 1:04:09 | 1:04:14 | |
with your team for a second and be impartial? Whose ad was better? | 1:04:14 | 1:04:19 | |
Honestly? No offence, I didn't think it was that funny, your ad. | 1:04:19 | 1:04:24 | |
I didn't know what to expect from your ad. | 1:04:24 | 1:04:27 | |
I did. I thought it was very funny. I never laugh at anything. | 1:04:27 | 1:04:31 | |
I'm not a person that laughs a lot. I thought it was funny. | 1:04:31 | 1:04:35 | |
I don't know why, he gets hit with the ball, | 1:04:35 | 1:04:37 | |
what's funny about that, but I laughed. | 1:04:37 | 1:04:40 | |
-Maria, whose ad was better? -Ours was definitely better. | 1:04:41 | 1:04:47 | |
You really didn't create two separate platforms. | 1:04:47 | 1:04:50 | |
You really just shortened one. | 1:04:50 | 1:04:52 | |
We do wish that we had two separate | 1:04:52 | 1:04:54 | |
and originally we did have two separate. | 1:04:54 | 1:04:57 | |
We did have two separate ads but... | 1:04:57 | 1:04:58 | |
You have to give them credit for that. They had two different ads. | 1:04:58 | 1:05:02 | |
Who decided not to use the second ad? | 1:05:02 | 1:05:05 | |
-That's trouble if you lose. -You know, that's the truth. | 1:05:07 | 1:05:11 | |
What am I going to do, lie? | 1:05:11 | 1:05:14 | |
Holly, was that you singing the jingle? | 1:05:14 | 1:05:17 | |
-It was, with a little bit of Cyndi underneath. -Cyndi, wow! | 1:05:17 | 1:05:21 | |
I knew how to do that so when I heard it I went and sweetened it. | 1:05:21 | 1:05:24 | |
I sang it and Cyndi came in and helped me layer the vocal. | 1:05:24 | 1:05:29 | |
Can you sing it for me now, Cyndi? | 1:05:29 | 1:05:31 | |
# Funky Godfather | 1:05:31 | 1:05:36 | |
# Funky Godfather | 1:05:36 | 1:05:40 | |
# Funky Godfather! Ey! # | 1:05:40 | 1:05:44 | |
-Nice trill at the end. -It's very good. | 1:05:47 | 1:05:51 | |
OK, Ivanka, what did the executives think of the men's team, | 1:05:51 | 1:05:55 | |
-pro and con? -They thought some of the pros were your presentation. | 1:05:55 | 1:06:00 | |
The thought is was phenomenal, cohesive, | 1:06:00 | 1:06:02 | |
everyone did a great job and everyone participated. | 1:06:02 | 1:06:04 | |
They thought in terms of the commercial | 1:06:04 | 1:06:06 | |
that you did a very good job articulating the brand | 1:06:06 | 1:06:09 | |
and specifically what this deodorant does which is about endurance. | 1:06:09 | 1:06:14 | |
It's about the performance of the actual deodorant. | 1:06:14 | 1:06:17 | |
The con was they thought the viral video, the 10 second video, | 1:06:17 | 1:06:20 | |
wasn't going to go viral. They thought it wasn't funny enough. | 1:06:20 | 1:06:26 | |
OK, George, what about the women? | 1:06:26 | 1:06:29 | |
The executives thought the first moment of funk was creative, funny | 1:06:29 | 1:06:33 | |
and certainly original. | 1:06:33 | 1:06:35 | |
They thought it was a very creative use of Scottie Pippen. | 1:06:35 | 1:06:39 | |
They thought it was good physical comedy. | 1:06:39 | 1:06:42 | |
Pippen holding the boy in the air, | 1:06:42 | 1:06:44 | |
they thought that was a really clever touch. | 1:06:44 | 1:06:46 | |
As far as the cons were concerned, | 1:06:46 | 1:06:48 | |
the 10 second internet spot doesn't stand alone on the market as well. | 1:06:48 | 1:06:53 | |
Another con - the focus was on the mom | 1:06:53 | 1:06:55 | |
when the target market is not the mom but the 13 to 18-year-old boy. | 1:06:55 | 1:07:00 | |
OK, let's find out who won. | 1:07:03 | 1:07:07 | |
The fact is that the executives ultimately thought both teams | 1:07:11 | 1:07:16 | |
did a great job. Really great job. | 1:07:16 | 1:07:19 | |
They liked the job that the women did. | 1:07:19 | 1:07:23 | |
There is one problem. | 1:07:27 | 1:07:30 | |
Your team lost. They loved the men's commercial. | 1:07:30 | 1:07:34 | |
They liked your commercial | 1:07:34 | 1:07:36 | |
but they absolutely loved the men's commercial | 1:07:36 | 1:07:40 | |
and Right Guard's going to be using it all over the place. | 1:07:40 | 1:07:43 | |
They really thought it was fantastic and by the way, | 1:07:43 | 1:07:45 | |
I have to tell you, I agree with them, so congratulations. | 1:07:45 | 1:07:49 | |
Curtis, you win 20,000 for your charity. What is it? | 1:07:49 | 1:07:51 | |
It's Feeding America. There's a lot of people out there | 1:07:51 | 1:07:55 | |
-that are going to be very happy about it. -Excellent, very good. | 1:07:55 | 1:08:00 | |
OK, have a good time. Thank you. | 1:08:00 | 1:08:02 | |
-Congratulations. -It feels a lot better to win that, right? | 1:08:02 | 1:08:06 | |
Feels good, doesn't it, Goldberg? Look at these guys. | 1:08:07 | 1:08:11 | |
Don't squeeze him too hard, Goldberg. He'll be dead. | 1:08:11 | 1:08:15 | |
We needed the morale back, bro. Woo! | 1:08:15 | 1:08:20 | |
-I knew it, I could feel it, dude. -We're back! | 1:08:20 | 1:08:22 | |
They had no resolve to the funk. | 1:08:22 | 1:08:24 | |
The commercial was funny, but it had no resolve. | 1:08:24 | 1:08:28 | |
-Remember what I said? "Let's get back to that -BLEEP -product, man!" | 1:08:28 | 1:08:32 | |
OK, women. Unfortunately, somebody will be fired. | 1:08:32 | 1:08:35 | |
-So stoked! -Rocksolid, back at it. -Cheers. | 1:08:43 | 1:08:49 | |
I'm here playing for Feeding America. | 1:08:49 | 1:08:51 | |
There's one in eight Americans still have to face hunger. | 1:08:51 | 1:08:54 | |
It's a crazy statistic and to be honest, | 1:08:54 | 1:08:56 | |
it's a complete honour just to represent them. | 1:08:56 | 1:08:58 | |
I'm so close to my charity and to be able to give them 20 grand | 1:08:58 | 1:09:02 | |
makes me so happy right now. | 1:09:02 | 1:09:03 | |
It's an incredible charity. | 1:09:03 | 1:09:05 | |
They just do so much for so many different people | 1:09:05 | 1:09:08 | |
so to think about 20,000 and what that can do, it's amazing. | 1:09:08 | 1:09:11 | |
Let's watch him hammer a few people here. | 1:09:11 | 1:09:15 | |
Holly, what happened? | 1:09:15 | 1:09:18 | |
Well, I think we were all very confident. | 1:09:18 | 1:09:21 | |
In our 30 seconds, we did shoot footage for a separate viral. | 1:09:21 | 1:09:26 | |
-Too bad you didn't use it. -True. | 1:09:26 | 1:09:29 | |
It had a big impact on the decision. | 1:09:29 | 1:09:32 | |
It was a decision I made to make a really cool product in the 30 | 1:09:32 | 1:09:36 | |
and then we'll cut down our funniest part to go viral. | 1:09:36 | 1:09:40 | |
Whose idea was the jingle? | 1:09:40 | 1:09:44 | |
Mine. | 1:09:44 | 1:09:45 | |
-They loved it. -Hallelujah! -They loved it, Holly! | 1:09:45 | 1:09:48 | |
Glad they loved something! | 1:09:48 | 1:09:52 | |
It's not a question of loving something, | 1:09:52 | 1:09:55 | |
it's a question of degree. | 1:09:55 | 1:09:57 | |
-They liked it. -It was catchy. | 1:09:57 | 1:10:00 | |
You're taking a lot of responsibility | 1:10:00 | 1:10:02 | |
so obviously you were a very dominant project manager, | 1:10:02 | 1:10:05 | |
but the problem with having such a dominant personality | 1:10:05 | 1:10:08 | |
when you're a project manager, | 1:10:08 | 1:10:10 | |
it almost seems like you're a one-woman show | 1:10:10 | 1:10:12 | |
and you just happened to have a team. | 1:10:12 | 1:10:14 | |
That's not true. I delegated, we talked about everything. | 1:10:14 | 1:10:17 | |
-I just don't agree that it's a one-woman show. -Is that true, Summer? | 1:10:17 | 1:10:21 | |
Yeah. | 1:10:21 | 1:10:23 | |
Maria, who was the weak link on your team? | 1:10:24 | 1:10:28 | |
Um, gosh... | 1:10:30 | 1:10:32 | |
I hate doing it, I really do. | 1:10:35 | 1:10:38 | |
Maria's going to throw someone under the bus. | 1:10:40 | 1:10:43 | |
Watch out for Maria. | 1:10:43 | 1:10:46 | |
I'm really sorry and everything, but I would have to say Selita. | 1:10:46 | 1:10:51 | |
When I was screaming and hollering to get someone | 1:10:51 | 1:10:53 | |
to help me carry all the stuff in, you came. | 1:10:53 | 1:10:58 | |
Summer was carrying stuff in with me and Selita wasn't. | 1:10:58 | 1:11:01 | |
I was there at the time and it surprised me quite a bit | 1:11:01 | 1:11:04 | |
because this is a contest so you really have to put out a little more. | 1:11:04 | 1:11:08 | |
I love Selita, but she is the weak link. | 1:11:10 | 1:11:13 | |
Let me ask you, Selita, how you would respond to that? | 1:11:15 | 1:11:19 | |
You know, there's a lot of work that goes into putting into a production. | 1:11:19 | 1:11:23 | |
Holly was doing the creative aspect | 1:11:23 | 1:11:25 | |
and I was organising every other aspect of this task. | 1:11:25 | 1:11:29 | |
-This lovefest, we got to break this -BLEEP -up. -It's just been broken. | 1:11:29 | 1:11:33 | |
-This lovefest is going to end. -It's just been broken. | 1:11:33 | 1:11:37 | |
Summer, if you were me, who would you fire? | 1:11:37 | 1:11:40 | |
Well, there's two obvious. | 1:11:40 | 1:11:42 | |
The people that weren't there, Cyndi and Sharon. | 1:11:42 | 1:11:45 | |
-Let's leave them alone for now. -Cindy was there! | 1:11:45 | 1:11:47 | |
One's sick and the other's with the president. What am I going to do? | 1:11:47 | 1:11:50 | |
It's tough, right? Let's assume we have to leave them alone. | 1:11:50 | 1:11:54 | |
Holly, pick two people to come back with you into the boardroom. | 1:11:54 | 1:11:59 | |
Someone will be fired. Who are they going to be? | 1:11:59 | 1:12:04 | |
-Can I ask you a question? -Yes. -Cyndi was actually... | 1:12:04 | 1:12:08 | |
Cyndi was with the president. | 1:12:08 | 1:12:10 | |
I won't fire her, bring her back if you want. | 1:12:10 | 1:12:13 | |
We're going to give Sharon a pass for a little while longer. | 1:12:14 | 1:12:18 | |
-As long as you all think she's really sick. -OK. | 1:12:18 | 1:12:22 | |
You think she's really sick, Holly? | 1:12:22 | 1:12:25 | |
Yeah, absolutely. | 1:12:25 | 1:12:27 | |
If you think she's really sick, she has a pass at least for tonight. | 1:12:27 | 1:12:31 | |
All right, then I have to bring Selina and Maria. | 1:12:31 | 1:12:36 | |
Why Maria? | 1:12:36 | 1:12:38 | |
The only thing that happened | 1:12:38 | 1:12:40 | |
that I can even point any kind of finger at Maria | 1:12:40 | 1:12:43 | |
is we had a little glitch with our edit at the last minute | 1:12:43 | 1:12:47 | |
that cost us some valuable time. | 1:12:47 | 1:12:49 | |
And I asked you to come in 10 minutes earlier. | 1:12:49 | 1:12:53 | |
When I last left the editing bay, there was something that was in. | 1:12:53 | 1:12:57 | |
When I returned to the editing bay, it was out. | 1:12:57 | 1:13:00 | |
Maria was there when we heard it was out. | 1:13:00 | 1:13:03 | |
-She never mentioned anything about it. -I asked you... | 1:13:03 | 1:13:06 | |
-It's apples and oranges. -Can I say something? | 1:13:06 | 1:13:09 | |
You're not going to like me for this, but I got to say it. | 1:13:09 | 1:13:12 | |
Cyndi, you're not even coming back in, you're not even coming back in. | 1:13:12 | 1:13:15 | |
-Thanks, Mom, but listen. -You weren't even here. | 1:13:15 | 1:13:19 | |
You were here last minute and went in to do sound editing | 1:13:19 | 1:13:23 | |
and putting yourself on the vocal and that's what you did. | 1:13:23 | 1:13:26 | |
You didn't even hear me on the vocal, we heard you. | 1:13:26 | 1:13:29 | |
I told you I didn't hear you and asked you to turn it up | 1:13:29 | 1:13:31 | |
and you said, "Turn it up two notches." | 1:13:31 | 1:13:33 | |
That's neither here nor there. It's hard for me to say any of you ladies. | 1:13:33 | 1:13:38 | |
-Holly ain't going to take no -BLEEP. | 1:13:38 | 1:13:40 | |
-She won't take any -BLEEP -from anybody. | 1:13:40 | 1:13:42 | |
She's a strong woman. She'll stick with her conviction. | 1:13:42 | 1:13:45 | |
Cyndi, do you think I should fire Holly? | 1:13:45 | 1:13:49 | |
I can't say that, I'm just telling you what happened. | 1:13:57 | 1:14:00 | |
You got pretty animated for a minute there so you obviously believe... | 1:14:00 | 1:14:03 | |
Actually animated. Not a lot of liking for Holly, it seemed. | 1:14:03 | 1:14:07 | |
I think you do have the fortitude and strength | 1:14:07 | 1:14:10 | |
to be able to answer that question. | 1:14:10 | 1:14:12 | |
You're not loving Holly. | 1:14:12 | 1:14:14 | |
It's just that... I can't, I can't do it. | 1:14:15 | 1:14:20 | |
Summer? Who should I fire? | 1:14:20 | 1:14:24 | |
-Come on, Summer. -Are you kidding me? -You're supposed to be so tough. | 1:14:24 | 1:14:27 | |
I don't think you're so tough. Who should I fire? | 1:14:27 | 1:14:30 | |
-You've got three great girls there. -Who's the weakest of the three? | 1:14:30 | 1:14:34 | |
The strongest is Holly. I know you asked me who the weakest was. | 1:14:36 | 1:14:42 | |
-Who's the weakest? -I can't answer that. I wish I could but I can't. | 1:14:42 | 1:14:47 | |
You two go to your suite. Everybody out. Somebody is going to be fired. | 1:14:47 | 1:14:52 | |
You'll be right back, thank you very much. | 1:14:52 | 1:14:54 | |
Do you feel like you're in an interrogation? | 1:14:58 | 1:15:00 | |
-I shouldn't open my big -BLEEP -mouth. | 1:15:00 | 1:15:04 | |
I promised myself I wasn't going to get "black girl," but two seconds away. | 1:15:05 | 1:15:09 | |
Sometimes you've got to do it. | 1:15:13 | 1:15:15 | |
I wish I had some Right Guard! | 1:15:15 | 1:15:17 | |
Ivanka, what do you think? | 1:15:32 | 1:15:33 | |
Holly has such a strong personality and she was such a leader | 1:15:33 | 1:15:36 | |
that it's hard not to fire her. | 1:15:36 | 1:15:38 | |
With that said, Selita just doesn't show any energy. | 1:15:38 | 1:15:41 | |
-I'd like to see her defend herself. -George, what do you think? | 1:15:41 | 1:15:45 | |
My personal feeling is that when you come to the boardroom, | 1:15:45 | 1:15:48 | |
you have to be ready to fight. | 1:15:48 | 1:15:50 | |
OK. Amanda, let them in. | 1:15:50 | 1:15:53 | |
Ladies, you can head back in. | 1:15:53 | 1:15:56 | |
Sit down, please. | 1:16:08 | 1:16:10 | |
-It's a lot of pressure, isn't it? -Yeah, but I'm just really bummed. | 1:16:15 | 1:16:19 | |
I wanted to make money for my charity and that's why I came. | 1:16:19 | 1:16:22 | |
-Do you think you should be fired? -I really don't. | 1:16:22 | 1:16:25 | |
-I think I'm a strong player. -And you think who should be fired? | 1:16:25 | 1:16:29 | |
It's interesting. | 1:16:29 | 1:16:30 | |
I really feel like Selita has been such a strong player | 1:16:30 | 1:16:36 | |
but George saw something in Selita that was weak. | 1:16:36 | 1:16:40 | |
I think Maria is an amazing player | 1:16:40 | 1:16:42 | |
-but sometimes I'd seen her do some things. -Like what? | 1:16:42 | 1:16:46 | |
In the boardroom, I've seen her call people out... | 1:16:46 | 1:16:49 | |
Try to throw people off the subway. | 1:16:52 | 1:16:55 | |
She lives in a pretty tough world. | 1:16:55 | 1:16:57 | |
I get that and I understand it's a wrestler thing, I don't know. | 1:16:57 | 1:17:00 | |
-I'm just saying... -Do you think she'll do that to you? -Absolutely. | 1:17:00 | 1:17:04 | |
You almost want to get rid of her so she doesn't throw you...? | 1:17:04 | 1:17:07 | |
I don't want to get rid of her, I just want to stay. | 1:17:07 | 1:17:10 | |
I don't want to go. | 1:17:10 | 1:17:11 | |
-Maria, do you think it's fair that you were brought back? -No. | 1:17:11 | 1:17:14 | |
-You don't see it? -No. -Why did she bring you back? | 1:17:14 | 1:17:17 | |
I don't know, maybe she blames me a little bit | 1:17:17 | 1:17:20 | |
for what happened with the editing, but at the end of the day, | 1:17:20 | 1:17:24 | |
I gave her two opportunities to come back and look at it. | 1:17:24 | 1:17:27 | |
-That's not true. -The thing of the matter is - let me finish - | 1:17:27 | 1:17:30 | |
is that I did give her opportunities. She didn't take them. | 1:17:30 | 1:17:34 | |
She said, "You got this." I did have it. | 1:17:34 | 1:17:36 | |
-You were very ineffective in that room... -Ineffective! | 1:17:36 | 1:17:40 | |
When I was in the room, Maria, you walked up to me and said, | 1:17:40 | 1:17:44 | |
"You need to look at this again." I said, "No, I'm good with it." | 1:17:44 | 1:17:47 | |
Why? Because I was working on my presentation. | 1:17:47 | 1:17:49 | |
You know what's bothering me a little bit and very off topic, | 1:17:49 | 1:17:53 | |
but Selita, Maria basically undermines you. | 1:17:53 | 1:17:57 | |
She told us if you were weak, that you should be the one to be fired. | 1:17:57 | 1:18:00 | |
That's fair, everyone's entitled to their opinion. | 1:18:00 | 1:18:04 | |
-It's fair that she said that? -Are you weak? | 1:18:04 | 1:18:08 | |
I'm absolutely not weak because if I was weak | 1:18:08 | 1:18:10 | |
-I would not have won 20,000 for my charity. -True. | 1:18:10 | 1:18:12 | |
I think I'm a woman who wears many hats, extremely talented, | 1:18:12 | 1:18:15 | |
and I think my greatest attribute is that I'm able to be a team player. | 1:18:15 | 1:18:19 | |
You know, Selita, if somebody attacked me | 1:18:19 | 1:18:21 | |
and said I wasn't doing something, I would get furious. | 1:18:21 | 1:18:24 | |
I would defend - please - I would defend myself. | 1:18:24 | 1:18:27 | |
-That got a lukewarm response. -Absolutely. | 1:18:27 | 1:18:30 | |
The players in this situation basically have to be very strong, | 1:18:30 | 1:18:33 | |
have to defend themselves. | 1:18:33 | 1:18:35 | |
That concerns me for the future. | 1:18:35 | 1:18:38 | |
It just seems to me that Holly and Maria | 1:18:41 | 1:18:44 | |
are much stronger in terms of their abilities. | 1:18:44 | 1:18:47 | |
Their personalities, I'm sure, absolutely. | 1:18:47 | 1:18:49 | |
Quite frankly, I think Maria is a very strong woman | 1:18:49 | 1:18:52 | |
but I think at times she can be a bit abrasive. | 1:18:52 | 1:18:53 | |
If you were me, who would you fire of these two, Selita? | 1:18:53 | 1:18:57 | |
I would have to fire Maria, only because Maria was given | 1:19:00 | 1:19:04 | |
the responsibility of making sure that the editing gets done. | 1:19:04 | 1:19:08 | |
Please let me finish. Excuse me. | 1:19:08 | 1:19:12 | |
When all of this chaos happens, | 1:19:12 | 1:19:14 | |
there she is trying to throw Holly under the bus... | 1:19:14 | 1:19:17 | |
That wasn't the situation though. | 1:19:17 | 1:19:20 | |
Furthermore, I walked back into that room | 1:19:20 | 1:19:22 | |
and I heard something that was wrong on our audio. | 1:19:22 | 1:19:26 | |
It played four times and I said, "What is that?" | 1:19:26 | 1:19:29 | |
At no point did Maria ever hear it. | 1:19:29 | 1:19:30 | |
She didn't hear it because she wasn't observant? | 1:19:30 | 1:19:33 | |
She didn't hear because she didn't know it was wrong. | 1:19:33 | 1:19:35 | |
Hey, I don't know, maybe she wanted... | 1:19:35 | 1:19:38 | |
You don't seem to think that Maria's a very loyal team player. | 1:19:38 | 1:19:41 | |
-No. -This has come up... | 1:19:41 | 1:19:43 | |
Oh, I'm sorry, I only won 10,000 for your charity! | 1:19:43 | 1:19:46 | |
You sunk a basket, I'm happy about that! | 1:19:46 | 1:19:48 | |
Here's the problem I have. | 1:19:48 | 1:19:51 | |
I'm looking at Holly as a strong, tough, smart woman. | 1:19:51 | 1:19:56 | |
I'm looking at Maria and she's a strong, smart, tough woman. | 1:19:58 | 1:20:05 | |
I'm looking at Selita and I don't see the same fire. | 1:20:05 | 1:20:10 | |
Therefore I have no choice. Selita, you're fired, go. | 1:20:10 | 1:20:15 | |
I would just like to thank you for the opportunity, | 1:20:16 | 1:20:18 | |
and bringing awareness to my charity | 1:20:18 | 1:20:20 | |
and for the opportunity of winning 20,000. | 1:20:20 | 1:20:22 | |
And you've done very well, thank you very much. | 1:20:22 | 1:20:25 | |
I love you so much. Call me, bye. Maria, I respect you so much. | 1:20:34 | 1:20:40 | |
-I respect you too. -You're fierce and...watch out for her! | 1:20:40 | 1:20:45 | |
Thanks for the advice, I will! | 1:20:45 | 1:20:47 | |
-Hello. How do you pronounce your name? -Adrian. -Nice to meet you. | 1:20:51 | 1:20:55 | |
-Ivanka, I felt fine about that. -You were right on about the fire. | 1:21:01 | 1:21:04 | |
-Seems like she didn't have it. -Absolutely. | 1:21:04 | 1:21:06 | |
I just thought it was sort of an easy one. | 1:21:06 | 1:21:09 | |
My only advice is watch out for that little conniving... | 1:21:43 | 1:21:46 | |
Did I say that out loud? Maria. | 1:21:46 | 1:21:48 | |
I work with some of the biggest divas in the world, honey. | 1:21:48 | 1:21:51 | |
We are all cut from different cloths | 1:21:51 | 1:21:54 | |
and you don't have to be a negative person to get ahead. | 1:21:54 | 1:21:57 | |
Tacky. | 1:21:57 | 1:21:59 | |
Subtitles by Red Bee Media Ltd | 1:22:04 | 1:22:07 |