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Previously on Celebrity Apprentice, a new Trump joined the ranks. | 0:00:02 | 0:00:04 | |
To my right is Eric Trump. | 0:00:04 | 0:00:07 | |
Eric is a Georgetown graduate, | 0:00:07 | 0:00:09 | |
And he really knows construction. | 0:00:09 | 0:00:11 | |
The teams were tasked with creating | 0:00:11 | 0:00:13 | |
three live radio commercials for Clockwork Home Services. | 0:00:13 | 0:00:16 | |
Just go with me. | 0:00:16 | 0:00:17 | |
-Go on. -Here we get to open up and have fun. | 0:00:17 | 0:00:19 | |
Project Manager Bret Michaels took a risk and pushed the envelope. | 0:00:19 | 0:00:23 | |
"We know people like to crack a lot of jokes..." | 0:00:23 | 0:00:25 | |
You can't... | 0:00:25 | 0:00:26 | |
I think they won't like it. | 0:00:26 | 0:00:28 | |
The executives of the company wanted to avoid any cheap shots at plumbers. | 0:00:28 | 0:00:33 | |
If I'm wrong, I will take the sword. | 0:00:33 | 0:00:36 | |
While Tenacity had a problem of their own. | 0:00:36 | 0:00:39 | |
We're not feeling any input from us ladies. | 0:00:39 | 0:00:42 | |
And this is very important, | 0:00:42 | 0:00:43 | |
that you open yourself up to input on it. | 0:00:43 | 0:00:45 | |
OK, OK. | 0:00:45 | 0:00:47 | |
'There's a little bit of a different vibe with Tenacity.' | 0:00:47 | 0:00:49 | |
Let's face it, they can be a little bit bitchy. | 0:00:49 | 0:00:51 | |
And tensions flared when Maria Kanellis crossed battle lines. | 0:00:51 | 0:00:55 | |
Curtis is so mad right now. | 0:00:57 | 0:00:59 | |
-No. -For real. | 0:00:59 | 0:01:00 | |
Curtis thinks he's so hot. | 0:01:00 | 0:01:03 | |
At the live performance both teams went for broke, | 0:01:03 | 0:01:06 | |
as Cyndi Lauper stepped up to the mic. | 0:01:06 | 0:01:09 | |
# Call 888-333 | 0:01:09 | 0:01:12 | |
# 88-88 cos we are never late... # | 0:01:12 | 0:01:15 | |
And Bret went out on a limb. | 0:01:15 | 0:01:18 | |
Hi, I'm Ben, the punctual plumber. | 0:01:18 | 0:01:20 | |
We plumbers know people crack a lot of jokes at our expense, | 0:01:20 | 0:01:23 | |
but we take our job very seriously. | 0:01:23 | 0:01:25 | |
In the boardroom, | 0:01:25 | 0:01:26 | |
each team's execution was called into question. | 0:01:26 | 0:01:29 | |
If they explicitly said, | 0:01:29 | 0:01:31 | |
"Don't make jokes at the expense of the plumbers," | 0:01:31 | 0:01:34 | |
I couldn't really understand why you felt the need. | 0:01:34 | 0:01:36 | |
I don't want to be fired, but I would have to own up to that one. | 0:01:36 | 0:01:39 | |
Well, as far as Tenacity, | 0:01:39 | 0:01:41 | |
they thought you really packed too much | 0:01:41 | 0:01:43 | |
into too short of commercials. | 0:01:43 | 0:01:45 | |
In the end, playing it too safe cost Tenacity dearly. | 0:01:45 | 0:01:49 | |
-Rocksolid, you win. Bret - 40,000 to your charity. -Yes. | 0:01:49 | 0:01:53 | |
Thank you very much. | 0:01:53 | 0:01:54 | |
And when Mr Trump asked who should be fired on the other team... | 0:01:54 | 0:01:57 | |
Sharon, who do you think I should fire? | 0:01:57 | 0:01:59 | |
..Sharon Osbourne and Maria Kanellis didn't hold back. | 0:01:59 | 0:02:03 | |
Oh, Curtis. He's just too smug for me. | 0:02:03 | 0:02:06 | |
I do agree with Sharon. | 0:02:06 | 0:02:07 | |
I look at him and I'm like, "I want to punch you." | 0:02:07 | 0:02:10 | |
Left to face Mr Trump, | 0:02:10 | 0:02:12 | |
Cyndi's standout performance earned her a free pass. | 0:02:12 | 0:02:15 | |
Cyndi did everything I told her to do. | 0:02:15 | 0:02:17 | |
She worked extremely hard. | 0:02:17 | 0:02:19 | |
You're not going to be fired. Go. | 0:02:19 | 0:02:21 | |
And when Summer didn't fight for her life... | 0:02:21 | 0:02:24 | |
-You're having a hard time with it, right? -I am... | 0:02:24 | 0:02:26 | |
-Summer, you're having a hard time, right? -I'm saying Curtis because | 0:02:26 | 0:02:29 | |
I want to compete for my charity. | 0:02:29 | 0:02:31 | |
That's not a compelling reason, though. | 0:02:31 | 0:02:33 | |
..she paid the ultimate price. | 0:02:33 | 0:02:34 | |
You haven't given a very strong argument for you to stay. | 0:02:34 | 0:02:38 | |
Summer, you're fired. | 0:02:38 | 0:02:39 | |
I got to be honest. | 0:02:52 | 0:02:53 | |
I don't know why they'd let Summer go, man. She's a fighter. | 0:02:53 | 0:02:56 | |
-She ain't that way. -She is. | 0:02:56 | 0:02:57 | |
No, she said, "I'd have to say Curtis, cos it's not going to be me." | 0:02:57 | 0:03:01 | |
How did he kick you out? | 0:03:01 | 0:03:02 | |
How did you make an early departure? | 0:03:02 | 0:03:05 | |
'I didn't think it was so fair that Cyndi | 0:03:05 | 0:03:07 | |
'got a free pass out of the boardroom.' | 0:03:07 | 0:03:08 | |
I think I offended her by saying, "How come you're in here?" | 0:03:08 | 0:03:11 | |
I'm not going to throw myself under the bus | 0:03:11 | 0:03:13 | |
cos nobody sticks up for the gays. | 0:03:13 | 0:03:15 | |
What the hell did you just say? | 0:03:15 | 0:03:17 | |
-SHARON: -Nobody stands up for the gays. | 0:03:17 | 0:03:19 | |
-Well, they -BLEEP -don't! They can't even get married. | 0:03:19 | 0:03:22 | |
And it's OK to smoke pot and be a stoner. | 0:03:22 | 0:03:25 | |
-Thank God. -But if you love somebody, you can't | 0:03:25 | 0:03:27 | |
because somehow it upsets somebody. | 0:03:27 | 0:03:29 | |
'I figure nobody's perfect.' | 0:03:31 | 0:03:33 | |
But Holly, she's a control freak. | 0:03:33 | 0:03:35 | |
And she's a two-faced biatch. | 0:03:35 | 0:03:37 | |
I don't want to deal with her. | 0:03:37 | 0:03:38 | |
-That sucks. -Curtis. | 0:03:39 | 0:03:42 | |
'When Curtis came in, I was deflated. | 0:03:42 | 0:03:45 | |
'I felt really proud to be in the final six. That's great.' | 0:03:45 | 0:03:48 | |
But I was just hoping to see my girl come around that corner. | 0:03:48 | 0:03:51 | |
But she didn't. | 0:03:51 | 0:03:52 | |
Why did he fire her, just cos she was the Project Manager? | 0:03:52 | 0:03:55 | |
Yeah. He kept saying, "Why should I fire Curtis? | 0:03:55 | 0:03:57 | |
"You have to give me a reason." | 0:03:57 | 0:03:59 | |
-And? -She didn't really give him one. | 0:03:59 | 0:04:01 | |
'Pretty-boy Curtis seems so arrogant to me.' | 0:04:01 | 0:04:04 | |
I thought he was smug from the beginning. | 0:04:04 | 0:04:07 | |
'And I feel like he takes any opportunity he can | 0:04:07 | 0:04:10 | |
'to just push out someone else, just to further his needs.' | 0:04:10 | 0:04:13 | |
Here's to your charity, brother. | 0:04:13 | 0:04:15 | |
Hey, thank you so much. Cheers, man. Thank you. | 0:04:15 | 0:04:17 | |
For real. | 0:04:17 | 0:04:18 | |
# Money, money, money, money | 0:04:24 | 0:04:27 | |
# Money! | 0:04:27 | 0:04:29 | |
# Money, money, money, money | 0:04:29 | 0:04:32 | |
# Money! | 0:04:32 | 0:04:34 | |
# Some people got to have it | 0:04:34 | 0:04:37 | |
# Ye-eah | 0:04:37 | 0:04:39 | |
# Some people really need it | 0:04:39 | 0:04:42 | |
# Hey, listen to me, y'all | 0:04:42 | 0:04:44 | |
# Do things, do things, do things Bad things with it | 0:04:44 | 0:04:48 | |
# Dollar bills, y'all Come on | 0:04:51 | 0:04:53 | |
# That mean, oh mean | 0:04:53 | 0:04:57 | |
# Mean green | 0:04:57 | 0:04:59 | |
# Almighty dollar | 0:04:59 | 0:05:02 | |
# You know that money... | 0:05:02 | 0:05:06 | |
# Give me a nickel, brother Can you spare a dime? | 0:05:06 | 0:05:10 | |
# Money can drive some people | 0:05:10 | 0:05:13 | |
# Out of their minds | 0:05:13 | 0:05:16 | |
# For the love of money No good, no good | 0:05:16 | 0:05:19 | |
# Money! | 0:05:19 | 0:05:20 | |
# Money, money, money | 0:05:20 | 0:05:24 | |
# Money! # | 0:05:24 | 0:05:25 | |
'This morning, we got a chance to see Mr Trump's apartment. | 0:05:44 | 0:05:47 | |
'I've never seen a view like that before in New York City.' | 0:05:47 | 0:05:52 | |
I think I saw Russia from Mr Trump's apartment. | 0:05:52 | 0:05:54 | |
'It has to be one of the greatest views in the entire world.' | 0:05:56 | 0:06:00 | |
But he has a very interesting sense of style - | 0:06:00 | 0:06:04 | |
gold and statued and fresco ceilings. | 0:06:04 | 0:06:09 | |
'Incredible opulence.' | 0:06:12 | 0:06:14 | |
You feel like you're in the high-rollers room | 0:06:14 | 0:06:16 | |
of Caesars Palace. | 0:06:16 | 0:06:17 | |
'I felt like we're going to have to take off our shoes.' | 0:06:19 | 0:06:21 | |
Then I figure he's going to dry-clean the rugs anyway. | 0:06:21 | 0:06:24 | |
-Good morning. -ALL: -Morning. | 0:06:26 | 0:06:28 | |
Curtis, at the last boardroom, | 0:06:28 | 0:06:30 | |
you said that Sharon and Maria didn't like you. | 0:06:30 | 0:06:33 | |
-Is that a correct statement? -I think you said that, but I agreed with you. | 0:06:33 | 0:06:37 | |
-You said they didn't like you because you didn't work together. -Right. | 0:06:37 | 0:06:40 | |
-You're now working together. Curtis, get over there. -Oh, no! Oh, please! | 0:06:40 | 0:06:43 | |
-Bret, you're going to the other team. -Oh, man! | 0:06:43 | 0:06:45 | |
'You never should show your hand, ever,' | 0:06:45 | 0:06:47 | |
if you're dealing with Donald Trump. | 0:06:47 | 0:06:49 | |
Because as soon as he knows | 0:06:49 | 0:06:51 | |
'what you don't like, | 0:06:51 | 0:06:52 | |
'he's going to give it to you.' | 0:06:52 | 0:06:54 | |
OK. You're standing in my apartment in Trump Tower, | 0:06:54 | 0:06:57 | |
one of the greatest apartments ever built. | 0:06:57 | 0:07:00 | |
Even Richard LeFrak, my great friend for many years | 0:07:00 | 0:07:03 | |
who builds apartments, likes the apartment. | 0:07:03 | 0:07:05 | |
And you better be very nice to Richard, | 0:07:05 | 0:07:07 | |
because Richard is going to be, along with Don, | 0:07:07 | 0:07:11 | |
my eyes and ears, all right? | 0:07:11 | 0:07:13 | |
You'll each be given a beautiful apartment, | 0:07:13 | 0:07:16 | |
and you'll refurbish this apartment appropriately | 0:07:16 | 0:07:19 | |
for use by visiting executives. | 0:07:19 | 0:07:21 | |
You're going to paint it and furnish it. | 0:07:21 | 0:07:23 | |
You're going to fix it and make it look beautiful. | 0:07:23 | 0:07:25 | |
And you'll decorate one of the rooms | 0:07:25 | 0:07:28 | |
using your own celebrity style | 0:07:28 | 0:07:30 | |
to give the apartment that "wow" factor. | 0:07:30 | 0:07:33 | |
Richard, what is the criteria for winning? | 0:07:33 | 0:07:36 | |
We're looking for originality, celebrity style, | 0:07:36 | 0:07:39 | |
your ability to stage the apartment to improve its value | 0:07:39 | 0:07:43 | |
and the overall quality of the renovation. | 0:07:43 | 0:07:45 | |
Don, who will be judging? | 0:07:45 | 0:07:47 | |
You're going to be judged by Lee Curtis of... | 0:07:47 | 0:07:50 | |
-BridgeStreeet. -You're going to be judged by Lee Curtis | 0:07:51 | 0:07:54 | |
-of BridgeStreeet Worldwide. -Say the whole thing again. | 0:07:54 | 0:07:56 | |
You blew it. The kid will never be his father. | 0:07:56 | 0:07:59 | |
I'm only kidding. | 0:07:59 | 0:08:01 | |
-Isn't that terrible? -Terrible! | 0:08:01 | 0:08:02 | |
You thought your kids had it bad, right? Believe me. | 0:08:02 | 0:08:05 | |
All right, go ahead. | 0:08:05 | 0:08:06 | |
You're going to be judged by Lee Curtis | 0:08:06 | 0:08:09 | |
of BridgeStreeet Worldwide, | 0:08:09 | 0:08:10 | |
as well as celebrity designer Jonathan Adler. | 0:08:10 | 0:08:14 | |
The winning Project Manager will get 20,000. | 0:08:14 | 0:08:18 | |
Pick your Project Managers, please. | 0:08:18 | 0:08:21 | |
I'll let you two decide on this one. | 0:08:21 | 0:08:22 | |
You don't want me designing anything. | 0:08:22 | 0:08:24 | |
Maybe you should take it, Cyn. | 0:08:24 | 0:08:25 | |
I don't know anything about that, and I don't know... | 0:08:25 | 0:08:28 | |
If you feel strong about it, take it. Let's win. | 0:08:28 | 0:08:30 | |
OK, come on. Let's go. Holly, who is your Project Manager? | 0:08:30 | 0:08:33 | |
-I am. -You again, Holly? Boy, you're really putting yourself out there. | 0:08:33 | 0:08:37 | |
I didn't necessarily want to be but, you know. | 0:08:37 | 0:08:39 | |
It's because of the task. I don't live like that, you know. | 0:08:39 | 0:08:42 | |
Who is your Project Manager? | 0:08:42 | 0:08:43 | |
-It's Sharon. -So you're going to get a chance to prove yourself. | 0:08:43 | 0:08:46 | |
Where's my paintbrush? I'm ready. | 0:08:46 | 0:08:48 | |
'Holly is a good Project Manager.' | 0:08:48 | 0:08:51 | |
She's very, very motivated. | 0:08:51 | 0:08:52 | |
'She's already won an awful lot of money. | 0:08:52 | 0:08:55 | |
'And I thought, | 0:08:55 | 0:08:56 | |
'"I've got to try and raise something for my charity."' | 0:08:56 | 0:08:59 | |
OK, let's go get them. Good luck. Thank you. | 0:08:59 | 0:09:02 | |
Thank you. | 0:09:02 | 0:09:03 | |
Thank you. | 0:09:03 | 0:09:05 | |
Holly, let me ask you this. | 0:09:13 | 0:09:14 | |
Yes or no, you want to be Project Manager on this? | 0:09:14 | 0:09:16 | |
Let's pretend we're deciding right now. | 0:09:16 | 0:09:18 | |
I just didn't feel like it was my "at bat". | 0:09:18 | 0:09:21 | |
Cyndi, do you want to do it? | 0:09:21 | 0:09:23 | |
Every time I'm Project Manager, | 0:09:23 | 0:09:25 | |
she got a problem with me. | 0:09:25 | 0:09:26 | |
'I did want the project a little, | 0:09:26 | 0:09:29 | |
'but I knew that Holly likes' | 0:09:29 | 0:09:32 | |
to do it Holly's way, | 0:09:32 | 0:09:33 | |
and so Holly might as well be the boss. | 0:09:33 | 0:09:35 | |
She and I, it's like oil and vinegar. | 0:09:35 | 0:09:38 | |
All right, look. I'll do it. | 0:09:38 | 0:09:39 | |
I have no problem doing it. I really don't. | 0:09:39 | 0:09:42 | |
I really don't. I just had to get in that mind frame. | 0:09:42 | 0:09:45 | |
That's all. I'm there. | 0:09:45 | 0:09:46 | |
'I felt forced into being Project Manager on this one. | 0:09:46 | 0:09:49 | |
'I thought for sure Cyndi was going to step up.' | 0:09:49 | 0:09:52 | |
I really wanted Cyndi to win for her True Colors Fund. | 0:09:52 | 0:09:54 | |
It's a great organisation, | 0:09:54 | 0:09:56 | |
and she believes very deeply in its mission. | 0:09:56 | 0:09:59 | |
I was thinking you could get, | 0:09:59 | 0:10:00 | |
like, a really tacky shag rug. | 0:10:00 | 0:10:03 | |
Right. | 0:10:03 | 0:10:04 | |
But, you know, I know tacky. | 0:10:04 | 0:10:06 | |
Or a '70s look where they have the big eggs you could sit in. | 0:10:06 | 0:10:09 | |
-Yeah, yeah. -What about Zen? -Zen is cool. | 0:10:09 | 0:10:12 | |
-What's Zen? -Zen is very - it's very relaxed. | 0:10:12 | 0:10:15 | |
Zen is relaxed, Balinese, Buddhists. | 0:10:15 | 0:10:18 | |
-Oh, Buddhists. -I just don't know a lot about that look. | 0:10:18 | 0:10:21 | |
But can you have cool stuff in there... | 0:10:21 | 0:10:23 | |
-Oh, yeah. You can mix it... -Like a sofa that looks like lips? | 0:10:23 | 0:10:26 | |
'I like Holly, and I like Cyndi, | 0:10:26 | 0:10:29 | |
'but it is like walking into a really bad situation | 0:10:29 | 0:10:32 | |
'with two sisters that are just arguing' | 0:10:32 | 0:10:34 | |
and don't like anything that the other one likes. | 0:10:34 | 0:10:37 | |
This is going to be fun. | 0:10:37 | 0:10:38 | |
I was thinking of a disco kitchen. | 0:10:38 | 0:10:41 | |
Put a disco ball up in the kitchen, have a party. | 0:10:41 | 0:10:43 | |
Could be in the bathroom. | 0:10:46 | 0:10:47 | |
Disco ball could be in the bathroom, too. | 0:10:47 | 0:10:49 | |
All righty, then. | 0:10:53 | 0:10:55 | |
What is this? | 0:10:56 | 0:10:58 | |
'This is a massive task in a really short period of time. | 0:10:58 | 0:11:01 | |
'We've got to paint an entire apartment, | 0:11:01 | 0:11:03 | |
'shop for all the furniture, get it in, decorate it.' | 0:11:03 | 0:11:06 | |
I don't know how we'll get it finished. | 0:11:06 | 0:11:08 | |
-So this is the master bedroom, obviously, right? -Yes. | 0:11:08 | 0:11:11 | |
Oh, it's a disgusting colour on the wall | 0:11:11 | 0:11:14 | |
and there's no dressing room! | 0:11:14 | 0:11:16 | |
That's the celebrity room. | 0:11:16 | 0:11:17 | |
It's a celebrity that's seen better days! | 0:11:20 | 0:11:23 | |
It's a has-been room. | 0:11:23 | 0:11:25 | |
'The judges wanted one room | 0:11:27 | 0:11:30 | |
'that you could say was the "celeb" room.' | 0:11:30 | 0:11:33 | |
But it wasn't a bloody celebrity room. It was a cupboard. | 0:11:33 | 0:11:36 | |
'So I thought, | 0:11:36 | 0:11:37 | |
'"Let's make it our our celebrity media room."' | 0:11:37 | 0:11:41 | |
Do you want to start, um, measuring, | 0:11:42 | 0:11:44 | |
-like, just different areas? -Yeah. | 0:11:44 | 0:11:47 | |
'When Curtis came on our team, | 0:11:49 | 0:11:51 | |
'I'm thinking, "This is going to be a nightmare." | 0:11:51 | 0:11:53 | |
'I mean, Sharon and I both don't like this guy.' | 0:11:53 | 0:11:56 | |
Nothing creative seems to spark in him. | 0:11:56 | 0:11:59 | |
But we need him now. | 0:11:59 | 0:12:01 | |
-I would rather do a high table, though. -Definitely. | 0:12:01 | 0:12:05 | |
It gives it more individual style and then more room. | 0:12:05 | 0:12:08 | |
'Sharon and Maria don't like me. That's pretty evident. | 0:12:08 | 0:12:11 | |
'So if we lose this task, | 0:12:11 | 0:12:13 | |
'it'll be two against one in the boardroom. | 0:12:13 | 0:12:15 | |
'So I've got to be super focused on this.' | 0:12:15 | 0:12:17 | |
I'm going to turn them around. By the end of the challenge, | 0:12:17 | 0:12:19 | |
I'm going to have them liking me. | 0:12:19 | 0:12:21 | |
I love the Balinese look. | 0:12:32 | 0:12:34 | |
But let's embrace the city, but Zen it | 0:12:34 | 0:12:37 | |
so it's your escape within one of the biggest cities and most awesome... | 0:12:37 | 0:12:40 | |
-What do you want to call it? -New York Zen. | 0:12:40 | 0:12:42 | |
-That's what it is. -OK. OK. -New York Zen. -All right. Good. | 0:12:42 | 0:12:45 | |
'There's something about the Balinese style | 0:12:46 | 0:12:49 | |
'that just makes you feel relaxed, refreshed and renewed. | 0:12:49 | 0:12:52 | |
'So I wanted to do something a little bit different | 0:12:52 | 0:12:54 | |
'and play with colours that evoke | 0:12:54 | 0:12:57 | |
'a feeling of serenity and acceptance.' | 0:12:57 | 0:13:00 | |
Basically, a Balinese experience. | 0:13:00 | 0:13:02 | |
Holly, this is a big question for you. | 0:13:02 | 0:13:04 | |
What kind of paint do you see in the bedroom? | 0:13:04 | 0:13:07 | |
-A very sky, mellow... -For that bedroom? -Yeah. -OK. | 0:13:07 | 0:13:10 | |
-You want to make it like you're in the clouds in there? -No. | 0:13:10 | 0:13:13 | |
'I had no idea how this is going to work out | 0:13:14 | 0:13:17 | |
'with Cyndi, Bret and I.' | 0:13:17 | 0:13:18 | |
I mean, you couldn't have picked three more different people. | 0:13:18 | 0:13:21 | |
-Why not do the whole door full of door knockers? -OK. | 0:13:21 | 0:13:24 | |
I love peeing all over the carpet. My feet are always warm when I do it. | 0:13:24 | 0:13:28 | |
This isn't my strongest crew. Put it that way. | 0:13:28 | 0:13:31 | |
-I really think you should glaze this -BLEEP -wall. | 0:13:31 | 0:13:35 | |
-KNOCK ON DOOR -Hey. How you doing? -Good. | 0:13:35 | 0:13:38 | |
-Pleasure to meet you. -Lee Curtis. | 0:13:38 | 0:13:40 | |
-How are you? -Good. Good. -Hello! -Hi. -How are you? | 0:13:40 | 0:13:43 | |
-Lee Curtis, president of BridgeStreeet. -Nice to meet you. | 0:13:43 | 0:13:46 | |
-Pleasure. -Good to meet you. -Yes. -Fantastic apartment. | 0:13:46 | 0:13:49 | |
'Sharon says whatever comes into her mind | 0:13:49 | 0:13:50 | |
'and spits it out, like, "Oh, this is horrible!' | 0:13:50 | 0:13:53 | |
"Ew, what a bad design!" | 0:13:53 | 0:13:54 | |
And then the next minute, | 0:13:54 | 0:13:55 | |
the executive of the company walked through | 0:13:55 | 0:13:57 | |
and she said, "Lovely apartment!" | 0:13:57 | 0:14:00 | |
I know you met with Mr Trump this morning. | 0:14:00 | 0:14:02 | |
He gave you a little bit of the mission. | 0:14:02 | 0:14:03 | |
-I'll just maybe tell you a little more about who we are. -Thank you. | 0:14:03 | 0:14:06 | |
BridgeStreeet is a leading provider of furnished apartments. | 0:14:06 | 0:14:09 | |
Our clients are typically Fortune 500 executives. | 0:14:09 | 0:14:12 | |
Average length of stay, usually 60 to 90 days. | 0:14:12 | 0:14:15 | |
So these are longer-term stays. | 0:14:15 | 0:14:17 | |
'It hit me in that meeting - someone's going to be living there | 0:14:17 | 0:14:21 | |
'for maybe a couple weeks or maybe a month or two.' | 0:14:21 | 0:14:25 | |
And I realised that we got to make sure | 0:14:25 | 0:14:28 | |
that it still has all the things that a hotel would. | 0:14:28 | 0:14:31 | |
Our corporate mission is to make it easy | 0:14:31 | 0:14:34 | |
for our guests to stay with us. | 0:14:34 | 0:14:36 | |
What's that second bedroom? | 0:14:36 | 0:14:38 | |
-That's just a real fun... -What do you want it to be? | 0:14:38 | 0:14:40 | |
-That's just to go nuts with. -That's what I'm saying. | 0:14:40 | 0:14:43 | |
It's a place where you go wild, you walk in and have a whole other experience. | 0:14:43 | 0:14:46 | |
-OK. -As good as our product is, | 0:14:46 | 0:14:48 | |
I know we kind of go to the middle of the demographic | 0:14:48 | 0:14:51 | |
to make it functional for a lot of people. | 0:14:51 | 0:14:53 | |
You all, I think, can do a lot more to make it a lot more fun. | 0:14:53 | 0:14:56 | |
And taking into account the city that you're in, as well - | 0:14:56 | 0:14:58 | |
one of the greatest cities in the world | 0:14:58 | 0:15:00 | |
and there's a funk and a vibe to the city | 0:15:00 | 0:15:02 | |
-that would probably make sense to think about as well. -Got it. | 0:15:02 | 0:15:06 | |
'From what he said, one of those two bedrooms we've got to give | 0:15:06 | 0:15:09 | |
'a really awesome celebrity style to.' | 0:15:09 | 0:15:11 | |
He wants it so when they come in, they feel this warmth. | 0:15:11 | 0:15:14 | |
Yet at the same time, it has a different feel. | 0:15:14 | 0:15:17 | |
-Unless you need me, I will let you do your magic. -Thank you so much. | 0:15:17 | 0:15:19 | |
All right, thank you very much. | 0:15:19 | 0:15:21 | |
-Good luck. Have fun. -Thanks. | 0:15:21 | 0:15:23 | |
I'm really picturing that celebrity room red. | 0:15:23 | 0:15:26 | |
So that's that eclectic, crazy-ass room | 0:15:26 | 0:15:28 | |
-that I think you could really help me with, Cyn. -All right. | 0:15:28 | 0:15:31 | |
Something off the beaten path. Something a little different. | 0:15:31 | 0:15:34 | |
Holly, she let me have a room, | 0:15:34 | 0:15:36 | |
the cuckoo room, the room I could have fun in. | 0:15:36 | 0:15:38 | |
'Then I started to think of what I could do | 0:15:38 | 0:15:41 | |
'to make it, like, really nutty fun. | 0:15:41 | 0:15:44 | |
'I'm sick of having everything so normal.' | 0:15:44 | 0:15:47 | |
You say you want red. Then pick a red. | 0:15:47 | 0:15:49 | |
-I'm trying. I'm picking seven colours at once. -I know, sweetie. | 0:15:49 | 0:15:52 | |
-Like your nails would be great. -Hold on. Let her make that decision. | 0:15:52 | 0:15:56 | |
'I had no idea if Bret would be effective or not. | 0:15:56 | 0:15:59 | |
'But he was very organised. And he was diplomatic.' | 0:15:59 | 0:16:03 | |
I just need it to be kind of a Zen... | 0:16:03 | 0:16:04 | |
-Holly, can I cut to the chase? -Yeah. | 0:16:04 | 0:16:06 | |
Just make a decision. You make it, we'll go get it. | 0:16:06 | 0:16:09 | |
I like the way he managed Cyndi and I, actually. | 0:16:09 | 0:16:12 | |
-What are you going to do here? -How you doing, guys? I'm Bret. | 0:16:12 | 0:16:15 | |
-Mitch. -Nice to meet you. How you doing? | 0:16:15 | 0:16:17 | |
-Do you know what we're doing? -Decorating this place. | 0:16:17 | 0:16:20 | |
-Trying to. -We're trying to do it overnight. | 0:16:20 | 0:16:22 | |
-We're here to give you a hand. -'Our handyman came.' | 0:16:22 | 0:16:24 | |
I was pleased to see strapping young men willing to paint my walls. | 0:16:24 | 0:16:27 | |
I was OK with that. | 0:16:27 | 0:16:29 | |
All right, so my colours are picked out | 0:16:29 | 0:16:31 | |
-but they're going to get the paint. -No. -I'm going to the prop house. | 0:16:31 | 0:16:35 | |
Cyn, are you going with me to the prop house? | 0:16:35 | 0:16:37 | |
And you two can go together to Janovic, right? | 0:16:37 | 0:16:40 | |
-And Ace. -And Ace. -OK. You got it. | 0:16:40 | 0:16:43 | |
I love this pillow. On its own, it's great, | 0:16:49 | 0:16:52 | |
but with that other stuff, it's not. | 0:16:52 | 0:16:54 | |
'Maria, Curtis, and I went to the Bo furniture store,' | 0:16:54 | 0:16:58 | |
which we'd had a line of credit with. | 0:16:58 | 0:17:01 | |
It's nice stuff. Yeah. | 0:17:02 | 0:17:04 | |
I like it. | 0:17:06 | 0:17:07 | |
'I wanted modern, clean lines because it's non-offensive. | 0:17:07 | 0:17:12 | |
'If you're trying to do a corporate apartment | 0:17:12 | 0:17:14 | |
'and a businessman comes in | 0:17:14 | 0:17:15 | |
'and there's all these tchotchkes everywhere,' | 0:17:15 | 0:17:18 | |
it's like oppressive. | 0:17:18 | 0:17:19 | |
Sharon, I love this mirror back here because it definitely... | 0:17:19 | 0:17:24 | |
-No. -But I do love these pillows right here. | 0:17:24 | 0:17:27 | |
That looks like something you'd get from a truck stop. | 0:17:27 | 0:17:30 | |
I like this. | 0:17:30 | 0:17:31 | |
I'm so anti that wood look. I hate it. | 0:17:31 | 0:17:35 | |
'I was like, "Why don't we do this? Why don't we do that?"' | 0:17:35 | 0:17:38 | |
But Sharon kept saying, "No." | 0:17:38 | 0:17:41 | |
I really do think we're going to get criticised | 0:17:41 | 0:17:44 | |
-for not pushing it. -Rubbish. | 0:17:44 | 0:17:46 | |
It takes time to learn how to decorate. | 0:17:46 | 0:17:49 | |
'In the time that I've been with my husband, | 0:17:49 | 0:17:51 | |
'we have lived in 20 properties, so I have all that experience. | 0:17:51 | 0:17:57 | |
'But Maria's a kid.' | 0:17:57 | 0:17:59 | |
-This is a good bed. It's got storage underneath. -Yeah. | 0:17:59 | 0:18:02 | |
I've got the full-length mirror here | 0:18:02 | 0:18:05 | |
-that just goes up against the wall over there. -Leans up against it. | 0:18:05 | 0:18:08 | |
-I've got the same thing at my house. -Me too. | 0:18:08 | 0:18:11 | |
We ran around the showroom. We picked out all these things. | 0:18:11 | 0:18:14 | |
And I think that Sharon and I made a real connection. | 0:18:14 | 0:18:17 | |
And we worked well together. | 0:18:17 | 0:18:19 | |
When you've got somebody like Jonathan Adler | 0:18:19 | 0:18:22 | |
-coming to judge... -You don't want him to come in and say, "That's tacky." | 0:18:22 | 0:18:25 | |
No. The thing is, Maria, she's got truck-stop taste. | 0:18:25 | 0:18:29 | |
'I've never heard of a truck-stop style, | 0:18:29 | 0:18:32 | |
'but I understand what she means when she says it.' | 0:18:32 | 0:18:35 | |
-So, Maria, we want you to go to the paint store now. -OK. | 0:18:35 | 0:18:39 | |
She felt more comfortable with Maria running off | 0:18:39 | 0:18:41 | |
and grabbing the paint and me helping her with the furniture. | 0:18:41 | 0:18:45 | |
So all you need to do there is get this. | 0:18:45 | 0:18:49 | |
'They knew that I would go and do the dirty work. | 0:18:49 | 0:18:52 | |
'Curtis is stealing my spot - master manipulator.' | 0:18:52 | 0:18:56 | |
Maybe that creeped me out from the beginning. Something did. | 0:18:56 | 0:18:59 | |
Something bothered me about this man from the very beginning. | 0:18:59 | 0:19:02 | |
I would start in this room. I picked these two rooms. | 0:19:12 | 0:19:15 | |
So when they come in with all that crap, | 0:19:15 | 0:19:17 | |
they don't screw you up. | 0:19:17 | 0:19:18 | |
Let's rock, man. We're good to go. | 0:19:18 | 0:19:20 | |
'Holly put me in charge of the crew and I got the crew moving.' | 0:19:20 | 0:19:24 | |
Oh, that's killer. | 0:19:27 | 0:19:29 | |
'But the one thing I knew that the executives said | 0:19:29 | 0:19:31 | |
'is bring in a piece of this awesome city of New York,' | 0:19:31 | 0:19:34 | |
and so I just grabbed the camera and started shooting pictures | 0:19:34 | 0:19:37 | |
of absolutely what I think New York is. | 0:19:37 | 0:19:39 | |
'I'm going to put these big shots all over the place | 0:19:39 | 0:19:41 | |
'and make you feel like, "I'm in a New York state of mind."' | 0:19:41 | 0:19:44 | |
With a cowboy hat, of course. | 0:19:44 | 0:19:46 | |
Franco? Hi. | 0:19:53 | 0:19:56 | |
-You're doing a theme party? -Well, no, we're actually... | 0:19:56 | 0:19:59 | |
More than that. We got to win, you got to help us. | 0:19:59 | 0:20:01 | |
We're decorating an entire apartment. | 0:20:01 | 0:20:03 | |
'Cyndi and I went to the prop store and Franco was fabulous.' | 0:20:03 | 0:20:06 | |
We told him about our Balinese/Zen theme | 0:20:06 | 0:20:09 | |
and he said, "Great. I've got great pieces." | 0:20:09 | 0:20:11 | |
-So, there is our Buddha. -She's awesome. | 0:20:13 | 0:20:15 | |
I like her. I think we definitely need to take her. | 0:20:15 | 0:20:17 | |
-I love the screen. -Yeah, right? | 0:20:17 | 0:20:19 | |
Yeah, we can put that somewhere against one of those walls. | 0:20:19 | 0:20:22 | |
CYNDI GASPS | 0:20:22 | 0:20:23 | |
Shopping with Cyndi was like shopping with one of my children. | 0:20:23 | 0:20:26 | |
This was just eye candy for her. | 0:20:26 | 0:20:29 | |
Isn't that fun? | 0:20:29 | 0:20:31 | |
'Cyndi was sort of like a gnat on a swamp in that place.' | 0:20:31 | 0:20:33 | |
Oh, my God! Disco! | 0:20:33 | 0:20:35 | |
I mean, she was just flitting from one side to the next. | 0:20:35 | 0:20:38 | |
-Should I get a bigger one? -I think the little one's good. | 0:20:38 | 0:20:41 | |
You don't want to make it too crazy. | 0:20:41 | 0:20:43 | |
-Why not? -OK, let's make it crazy. | 0:20:43 | 0:20:45 | |
Are you sure you don't want to do this? | 0:20:45 | 0:20:48 | |
I think it's too grand for that little space. | 0:20:48 | 0:20:50 | |
'I was sick and tired | 0:20:50 | 0:20:52 | |
-'of Holly being so -BLEEP -damn conservative. | 0:20:52 | 0:20:56 | |
I hate that. | 0:20:56 | 0:20:57 | |
'You need colour. You have to have some romance. | 0:20:57 | 0:21:00 | |
'Let your freak flag fly.' | 0:21:00 | 0:21:03 | |
Live your fantasy. | 0:21:04 | 0:21:06 | |
Really fantastic and fab... fabulous. | 0:21:06 | 0:21:09 | |
When you walk in, you're just transported. | 0:21:09 | 0:21:11 | |
You see her, you see this. You put the luscious pillows there. | 0:21:11 | 0:21:15 | |
-And you're in another world. -No. | 0:21:15 | 0:21:17 | |
Holly will go the Thai feel, cos that's what she's into. | 0:21:20 | 0:21:24 | |
'Sharon expected Tenacity to do an Asian theme,' | 0:21:24 | 0:21:27 | |
Buddhas and, you know, all that sort of stuff. | 0:21:27 | 0:21:29 | |
Hi. Props for today? | 0:21:32 | 0:21:33 | |
Could you please tell me what sort of props | 0:21:33 | 0:21:36 | |
you have for rental? | 0:21:36 | 0:21:37 | |
Do you think it's possible | 0:21:40 | 0:21:41 | |
for you to take a picture and send it to me? | 0:21:41 | 0:21:44 | |
Oh, thank you. Yes. | 0:21:47 | 0:21:48 | |
Oh, you did? Did you have Holly in there? | 0:21:51 | 0:21:54 | |
Oh, they're doing the Balinesian. Oh, fantastic. | 0:21:57 | 0:22:00 | |
'This nice lady on the other end of the phone' | 0:22:01 | 0:22:04 | |
is just chatty, chatty, chatty, | 0:22:04 | 0:22:05 | |
telling me everything they're doing. | 0:22:05 | 0:22:07 | |
Did she manage to get the Balinese bed | 0:22:07 | 0:22:10 | |
so I don't need to get it for her? | 0:22:10 | 0:22:12 | |
-Exactly. -All right. | 0:22:12 | 0:22:14 | |
'I just feel that the Balinese theme | 0:22:14 | 0:22:17 | |
'is not right for a corporate apartment.' | 0:22:17 | 0:22:19 | |
It's too eclectic to have a theme as strong as that. | 0:22:19 | 0:22:23 | |
'You need to be neutral.' | 0:22:23 | 0:22:25 | |
OK, thank you so much. Bye-bye. | 0:22:25 | 0:22:28 | |
-I knew it. -We said it, right? | 0:22:28 | 0:22:31 | |
-We said it right from the word go. -I feel like a spy now. | 0:22:31 | 0:22:34 | |
Hey, Holly. Listen, I've got to leave. | 0:22:44 | 0:22:47 | |
I'm already a half-hour late. | 0:22:47 | 0:22:48 | |
-I'll see you guys back in the morning. -'OK, Bret.' | 0:22:48 | 0:22:51 | |
'I need to leave today to do a concert. | 0:22:51 | 0:22:53 | |
'But I'm going to fly back tonight. I'm going to get on it tomorrow.' | 0:22:53 | 0:22:56 | |
I'm going to have no sleep. | 0:22:56 | 0:22:58 | |
But I am here for Holly, man. | 0:22:58 | 0:22:59 | |
I'm going to get it done. I want to win. | 0:22:59 | 0:23:01 | |
Holly? I got something amazing happening right now. | 0:23:01 | 0:23:04 | |
-'OK.' -I have this amazing panoramic shot | 0:23:04 | 0:23:07 | |
of the skyline and the Chrysler Building. | 0:23:07 | 0:23:09 | |
It looks really cool with the clouds. | 0:23:09 | 0:23:11 | |
And when you turn that all to grey scale or black-and-white, | 0:23:11 | 0:23:13 | |
-it's going to look amazing. -I love that, Bret. You know what? | 0:23:13 | 0:23:17 | |
I like you on my team a lot better than you on the other team. | 0:23:17 | 0:23:20 | |
I just have to say that. | 0:23:20 | 0:23:21 | |
'Bret is a way stronger team-mate than I thought he was. | 0:23:21 | 0:23:24 | |
'This guy comes to play.' | 0:23:24 | 0:23:25 | |
So I'm a little distressed that he's leaving right now. | 0:23:25 | 0:23:28 | |
But he's got a gig, and he's got to go. | 0:23:28 | 0:23:30 | |
You know the chandelier? Should I get one? | 0:23:30 | 0:23:33 | |
For the red room, you can do what you want. | 0:23:33 | 0:23:35 | |
We're doing the whole apartment, | 0:23:35 | 0:23:36 | |
but there has to be one fun celebrity room. | 0:23:36 | 0:23:38 | |
So I had the perfect place to be a nut job. | 0:23:38 | 0:23:41 | |
Hey, Holly. | 0:23:41 | 0:23:43 | |
I want to put one of these in the room | 0:23:43 | 0:23:45 | |
so they can feel it's really rock-'n'-roll. | 0:23:45 | 0:23:47 | |
Cyndi, what is this room? | 0:23:47 | 0:23:49 | |
It's a rock-'n'-roll room that you can lounge in. | 0:23:49 | 0:23:51 | |
-It's a guest bedroom, but it's... -It's a rock-'n'-roll lounge. -Yeah. | 0:23:51 | 0:23:55 | |
OK. OK. | 0:23:55 | 0:23:56 | |
-I think it should be a black sofa. -That would really work well | 0:23:56 | 0:23:59 | |
-with the black chandelier. -Right, it'd be strong. | 0:23:59 | 0:24:01 | |
'I'm just learning to love Cyndi this task.' | 0:24:01 | 0:24:04 | |
But Cyndi's a creative hurricane. | 0:24:04 | 0:24:06 | |
-SHE GASPS -Holly! For the kitchen! | 0:24:06 | 0:24:09 | |
Oh, my gosh! And Bret could be behind it. | 0:24:09 | 0:24:13 | |
-And you put your two tables there. -Bret could be behind it! | 0:24:13 | 0:24:16 | |
'When you realise that you're in the eye of the hurricane,' | 0:24:16 | 0:24:19 | |
you just stay there and ride it out. | 0:24:19 | 0:24:22 | |
'That's how I feel about Cyndi. I rode out her creative hurricane.' | 0:24:22 | 0:24:26 | |
Cyndi Lauper, I am your auntie! | 0:24:26 | 0:24:28 | |
I feel like we're a same-sex couple shopping. | 0:24:28 | 0:24:31 | |
-"Oh, yes, Holly." -THEY LAUGH | 0:24:31 | 0:24:34 | |
'I actually made Holly laugh.' | 0:24:34 | 0:24:36 | |
You know, I kept telling her, "Sweetie, darling, | 0:24:36 | 0:24:39 | |
"this new life we're going into is fabulous. | 0:24:39 | 0:24:41 | |
"We're going to share this fabulous apartment." | 0:24:41 | 0:24:44 | |
'She actually - she was laughing. We were having fun.' | 0:24:44 | 0:24:47 | |
I love my new life. OK. | 0:24:47 | 0:24:49 | |
-I'm so glad we got married. -I'm so glad we got married. | 0:24:49 | 0:24:53 | |
Let's just go. | 0:24:56 | 0:24:58 | |
Let's just go, cos we've got a place to decorate! | 0:24:58 | 0:25:01 | |
'So, for this task, I had an idea.' | 0:25:01 | 0:25:03 | |
If I can call a bunch of my friends | 0:25:03 | 0:25:04 | |
'in the housewares industry and ask them | 0:25:04 | 0:25:07 | |
'to hook me up with some free stuff, basically, | 0:25:07 | 0:25:09 | |
'that could work, so I did.' | 0:25:09 | 0:25:10 | |
Oh, God, I love these things. Gorgeous! | 0:25:10 | 0:25:14 | |
'We probably walked out of there | 0:25:14 | 0:25:16 | |
'with about ten-grand worth of stuff.' | 0:25:16 | 0:25:18 | |
Nothing like a day of shopping. | 0:25:20 | 0:25:22 | |
'I called a very good friend of mine' | 0:25:25 | 0:25:28 | |
and I'm like, "Where can I go to in the city | 0:25:28 | 0:25:30 | |
"where they will let me take everything out of their shop?" | 0:25:30 | 0:25:34 | |
Anything in here that you need is all yours. | 0:25:34 | 0:25:37 | |
-That would be just a godsend for us right now. -OK. | 0:25:37 | 0:25:41 | |
'It's fabulous to be Sharon Osbourne. People are so terribly generous' | 0:25:41 | 0:25:46 | |
to what they perceive as a celebrity. | 0:25:46 | 0:25:48 | |
-Could we have this one, too? -Yes. | 0:25:48 | 0:25:51 | |
And also the black-and-white print. | 0:25:51 | 0:25:54 | |
'We literally walked around and said, "One of those,' | 0:25:54 | 0:25:56 | |
'"one of those, two of those."' | 0:25:56 | 0:25:58 | |
And I got to see Sharon in fine form. | 0:25:58 | 0:26:00 | |
That one would be so perfect. | 0:26:04 | 0:26:06 | |
And we got 140,000 worth of free stuff. | 0:26:08 | 0:26:11 | |
Curtis, can I get you a drink? | 0:26:11 | 0:26:13 | |
-Maybe a coffee, like a latte. -OK. | 0:26:13 | 0:26:16 | |
Would Sharon make a good sugar mama? | 0:26:16 | 0:26:18 | |
Abso-bloody-lutely. | 0:26:18 | 0:26:19 | |
-Hello there! -Hi. How are you? How you doing? | 0:26:21 | 0:26:24 | |
-Good to see you. -How you doing? -Very good. -Here we are. | 0:26:24 | 0:26:26 | |
Does this remind you of that beautiful apartment we were in this morning? | 0:26:26 | 0:26:29 | |
-Um, no. -No, no, no? -It's a little different. | 0:26:29 | 0:26:33 | |
'When Mr LeFrak comes by, I'm there by myself. | 0:26:33 | 0:26:36 | |
'And he's looking around going,' | 0:26:36 | 0:26:38 | |
"Um, nothing is done." | 0:26:38 | 0:26:40 | |
And I'm like, "But don't look over there! Look here! Yes!" | 0:26:40 | 0:26:43 | |
I was, like, flashing my boobs. | 0:26:43 | 0:26:45 | |
We're going to do a media room in here - | 0:26:45 | 0:26:47 | |
a couple of big, comfy leather couches. | 0:26:47 | 0:26:50 | |
-Of course, the big-screen TV. -What do you think of that? | 0:26:50 | 0:26:53 | |
I think we could push it more. So we'll see. | 0:26:53 | 0:26:56 | |
I wanted to make sure that he knew my feelings | 0:26:57 | 0:27:00 | |
about the celebrity room, | 0:27:00 | 0:27:01 | |
that he knew that I didn't necessarily agree with it | 0:27:01 | 0:27:04 | |
'so when we got to the boardroom, I was covered.' | 0:27:04 | 0:27:07 | |
And then in the living area, we have a low table. | 0:27:07 | 0:27:11 | |
We're also going to get some chandelier | 0:27:11 | 0:27:13 | |
to hang from over here. | 0:27:13 | 0:27:15 | |
'I got a complete verbal description' | 0:27:15 | 0:27:17 | |
of what they were doing, but the rooms were pretty empty. | 0:27:17 | 0:27:20 | |
So right now, it's just an idea, | 0:27:20 | 0:27:23 | |
and it hasn't really taken shape yet. | 0:27:23 | 0:27:25 | |
'And they better hurry up.' | 0:27:25 | 0:27:27 | |
-Good luck. -Well, thank you very much. -We'll see you later. | 0:27:27 | 0:27:29 | |
Thank you. You take care. | 0:27:29 | 0:27:31 | |
What do you think? | 0:27:43 | 0:27:44 | |
-Oh, that's pretty. -Oh, it's beautiful. | 0:27:44 | 0:27:46 | |
Oh, the paint looks good. I love the colour. | 0:27:46 | 0:27:49 | |
It's bright and red, and I love it. I think it'll look really cool | 0:27:49 | 0:27:52 | |
with the furniture Cyndi picked out. | 0:27:52 | 0:27:54 | |
Cyndi and I got back to the apartment. | 0:27:54 | 0:27:56 | |
Bret had done a great job getting that painting started. | 0:27:56 | 0:27:58 | |
So I felt like I could start decorating. | 0:27:58 | 0:28:01 | |
You good? | 0:28:04 | 0:28:06 | |
'I did a lot of manual labour, a lot of lifting, | 0:28:06 | 0:28:09 | |
'a lot of carrying things that were heavy.' | 0:28:09 | 0:28:12 | |
I had some fun. I worked really hard, though. | 0:28:12 | 0:28:14 | |
Please tell me that's not broken. | 0:28:20 | 0:28:22 | |
I really hope they come back soon. | 0:28:27 | 0:28:29 | |
I've got lots of questions. | 0:28:29 | 0:28:31 | |
'There was so much to do. Me by myself with these two guys.' | 0:28:32 | 0:28:37 | |
There was no way to get it done without some extra help. | 0:28:37 | 0:28:41 | |
PHONE RINGS | 0:28:41 | 0:28:43 | |
-Hello? -Hello? | 0:28:43 | 0:28:45 | |
Hi, Maria. The purple wall is... | 0:28:45 | 0:28:48 | |
I think we should go with the dark grey in the living room. | 0:28:48 | 0:28:52 | |
OK. Shoot. I started painting it purple. | 0:28:52 | 0:28:55 | |
And so you want dark grey in the living room, though. | 0:28:55 | 0:28:58 | |
Yeah. | 0:28:58 | 0:28:59 | |
'I was thinking about the colour combinations all day,' | 0:28:59 | 0:29:03 | |
and I just thought, "Grey isn't offensive." | 0:29:03 | 0:29:05 | |
And so many other colours | 0:29:05 | 0:29:08 | |
work great with it. | 0:29:08 | 0:29:10 | |
So it was like, "Nah, we got to go grey." | 0:29:10 | 0:29:13 | |
And we're running low on time for painting this place, | 0:29:13 | 0:29:17 | |
and so I didn't know if you wanted to try and hire some painters. | 0:29:17 | 0:29:20 | |
OK. Bye-bye. Bye. | 0:29:20 | 0:29:23 | |
I can probably get a couple of my friends to come and help us paint. | 0:29:23 | 0:29:26 | |
PHONE RINGS | 0:29:26 | 0:29:28 | |
-'Hello?' -Have you got plans tonight, buddy? | 0:29:28 | 0:29:30 | |
I might need you to come and be a painter with me, | 0:29:30 | 0:29:32 | |
paint the apartment. We've got to paint an apartment tonight. | 0:29:32 | 0:29:35 | |
And maybe you're going to have to bring your wife, too. | 0:29:35 | 0:29:38 | |
'I called everyone I knew, | 0:29:38 | 0:29:40 | |
'pretty much everyone I knew in New York | 0:29:40 | 0:29:42 | |
-'and asked, begged them, to come down and help.' -Taylor? | 0:29:42 | 0:29:45 | |
Can you come and paint for us? | 0:29:45 | 0:29:48 | |
There's just no way that we are going to get all this - | 0:29:48 | 0:29:52 | |
we need help. We're just not going to get through it. | 0:29:52 | 0:29:54 | |
Oi oi oi! | 0:29:54 | 0:29:55 | |
-Hi! -How are you? | 0:30:08 | 0:30:10 | |
-A little giddy. -Yeah. | 0:30:10 | 0:30:11 | |
From the smell. Lovely. | 0:30:11 | 0:30:13 | |
-Nice little contact high. -Yeah, for sure. | 0:30:13 | 0:30:15 | |
But, you know, we're doing pretty good. | 0:30:15 | 0:30:17 | |
-I've got painter Cyndi. -That is a hot look. | 0:30:17 | 0:30:20 | |
It's very hot. | 0:30:20 | 0:30:21 | |
We're doing a New York Zen look. | 0:30:21 | 0:30:24 | |
The special celebrity room is going to be all Cyndi's, just... | 0:30:24 | 0:30:28 | |
-Fun room. -Cyndi, show me. -Cyndi's explosion. | 0:30:28 | 0:30:30 | |
-There's nothing to see except colour! -Colour? -We did a red room. | 0:30:30 | 0:30:33 | |
Wow. And that's seriously red. | 0:30:33 | 0:30:35 | |
So we're going very aggressive. I like it. | 0:30:35 | 0:30:37 | |
-No, but it's fun. -Yeah. -And I got an Eiffel Tower. | 0:30:37 | 0:30:41 | |
We got an Eiffel Tower, and it's a little French. It's good. | 0:30:41 | 0:30:45 | |
I've never seen a greater mismatch than what Cyndi's done | 0:30:45 | 0:30:48 | |
versus what Holly's doing with the rest of the apartment. | 0:30:48 | 0:30:50 | |
They're actually allowing Cyndi to be Cyndi. | 0:30:50 | 0:30:53 | |
She's an eclectic person. She's got very, you know, wild taste | 0:30:53 | 0:30:56 | |
and they're letting her run with that. We'll have to see how the judges perceive it. | 0:30:56 | 0:30:59 | |
-We're going for a green bedroom. -Oh, yeah? | 0:30:59 | 0:31:03 | |
All these colours are supposed to evoke some sort of Zen energy. | 0:31:03 | 0:31:06 | |
-OK. -Are you feeling it? -I am. | 0:31:06 | 0:31:08 | |
That's just the... Yeah, it's the fumes, I think, but... | 0:31:08 | 0:31:11 | |
I look forward to seeing it tomorrow. | 0:31:11 | 0:31:13 | |
-Thanks for coming. -We will see you soon. -OK, Don. | 0:31:13 | 0:31:15 | |
-Thank you, Curtis. -You're welcome. | 0:31:23 | 0:31:25 | |
Right, you go, brother. | 0:31:28 | 0:31:31 | |
Hello, my darling. | 0:31:31 | 0:31:34 | |
My God. Look how much paint. | 0:31:34 | 0:31:36 | |
'I was a bit surprised when we got back. | 0:31:36 | 0:31:38 | |
'There wasn't a hell of a lot done. I didn't have crazy expectations,' | 0:31:38 | 0:31:41 | |
but you get back and are like, "Oh, wow! We've still got a lot to do." | 0:31:41 | 0:31:46 | |
I'm trying to get two more guys here. | 0:31:46 | 0:31:48 | |
So I think the best thing to do | 0:31:48 | 0:31:50 | |
is just get killing it with the paint. | 0:31:50 | 0:31:52 | |
'Sharon and Curtis were looking around, | 0:31:52 | 0:31:55 | |
'wondering why more wasn't done.' | 0:31:55 | 0:31:56 | |
And I'm like, "What did you guys expect? | 0:31:56 | 0:31:59 | |
"I'm busting my ASS!" | 0:31:59 | 0:32:01 | |
-Brought you a present, Maria. -'Two boys are here.' | 0:32:01 | 0:32:04 | |
I'm so glad you came! | 0:32:04 | 0:32:06 | |
We have so much work to do! | 0:32:06 | 0:32:08 | |
'I'd been feeling like,' | 0:32:08 | 0:32:10 | |
"I hope somebody comes in here soon, | 0:32:10 | 0:32:13 | |
"cos I'm going to be in big-time trouble." | 0:32:13 | 0:32:15 | |
-To the rescue! -The cavalry's just arrived. | 0:32:18 | 0:32:21 | |
'But then Maria's friends came over. | 0:32:21 | 0:32:25 | |
'I had some friends come over. Curtis had some friends. | 0:32:25 | 0:32:29 | |
'And I just felt things were definitely getting better.' | 0:32:29 | 0:32:32 | |
You all right? You all right? Come on. | 0:32:32 | 0:32:34 | |
You want a hug? You want a hug? You want a hug and a kiss? | 0:32:34 | 0:32:37 | |
Oh, God, we need that. | 0:32:37 | 0:32:39 | |
'It was a really jovial atmosphere. It was fun. | 0:32:40 | 0:32:43 | |
'I felt like I was at college | 0:32:43 | 0:32:45 | |
'and we were painting our dorm room. | 0:32:45 | 0:32:47 | |
'Everybody destroyed their clothes. We got a couple of beers. | 0:32:47 | 0:32:50 | |
'We ate some pizza and painted.' | 0:32:50 | 0:32:52 | |
It was like the proper college party. | 0:32:52 | 0:32:54 | |
OK, so let's finish this up. | 0:32:54 | 0:32:56 | |
I think the metal gold, | 0:33:02 | 0:33:03 | |
like, bronze over there | 0:33:03 | 0:33:05 | |
and over there would be nice. | 0:33:05 | 0:33:07 | |
'Cyndi and I are holding it down. So I feel good about where we are.' | 0:33:07 | 0:33:10 | |
But I am looking forward to Bret coming back. | 0:33:10 | 0:33:12 | |
-I want to show you the windowsill. -OK. Hold on one sec. | 0:33:12 | 0:33:15 | |
'Cyndi's vision will come together. | 0:33:15 | 0:33:17 | |
'I just know how it's frustrating for Cyndi | 0:33:17 | 0:33:20 | |
'to be creative under the gun. So it's hard for her' | 0:33:20 | 0:33:23 | |
to really just say, "OK, this is what I want." | 0:33:23 | 0:33:27 | |
-It's red. -Yeah, it's red. | 0:33:27 | 0:33:29 | |
The Eiffel Tower will look great in there. | 0:33:29 | 0:33:31 | |
It will. You pick up that gold. | 0:33:31 | 0:33:34 | |
'If it's a rock-'n'-roll room, you got to push it. | 0:33:34 | 0:33:37 | |
'Cos that's where you're going to go and kick back.' | 0:33:37 | 0:33:39 | |
God, this has got to be fun. | 0:33:39 | 0:33:42 | |
You know what, I want to take a picture of this now, | 0:33:42 | 0:33:44 | |
because tomorrow we're going to pull this thing together. | 0:33:44 | 0:33:47 | |
After all the tasks that we've done, | 0:33:47 | 0:33:49 | |
I believe in being able | 0:33:49 | 0:33:51 | |
to turn this stuff around at the last minute. | 0:33:51 | 0:33:53 | |
'It was a little bit of a rough start to this task.' | 0:33:53 | 0:33:55 | |
I went in thinking I wasn't going to be Project Manager | 0:33:55 | 0:33:59 | |
'but I'm glad I was Project Manager because I started to see the apartment coming together, | 0:33:59 | 0:34:03 | |
'and I was like, "I'm proud of this."' | 0:34:03 | 0:34:05 | |
-We're in good shape. -I think so. -I had my doubts. | 0:34:05 | 0:34:07 | |
-You were worried for a minute, but now you're OK? -For a couple of minutes. | 0:34:07 | 0:34:11 | |
But you came through, Holly. | 0:34:11 | 0:34:12 | |
OK. Thanks so much, Kate. | 0:34:24 | 0:34:26 | |
'OK. No problem.' | 0:34:26 | 0:34:27 | |
Speak to you later. OK. Bye. | 0:34:27 | 0:34:29 | |
'It's getting towards the end of the night, and we get a phone call from the furniture store.' | 0:34:29 | 0:34:33 | |
Sharon, there's another truck still coming. | 0:34:33 | 0:34:36 | |
We got so much furniture. | 0:34:36 | 0:34:38 | |
-'We got way too much stuff.' -Don't be silly. | 0:34:38 | 0:34:41 | |
It's not a joke. | 0:34:41 | 0:34:42 | |
'I really wanted to take a little bit of control | 0:34:47 | 0:34:49 | |
'over what was coming off the trucks' | 0:34:49 | 0:34:51 | |
and making sure it was placed appropriately | 0:34:51 | 0:34:54 | |
so that the next day we could get that stuff upstairs. | 0:34:54 | 0:34:56 | |
She just went and spent more... | 0:34:56 | 0:34:59 | |
..on decking out this apartment | 0:35:00 | 0:35:03 | |
than most people spend on their apartment. | 0:35:03 | 0:35:05 | |
'When you unload three sofas, you could have just unloaded one' | 0:35:05 | 0:35:08 | |
and then done a great job of setting it up, as opposed to unload three | 0:35:08 | 0:35:12 | |
and then do a really rushed job of setting that one up. | 0:35:12 | 0:35:14 | |
'That wasted even more time, and every second was super precious.' | 0:35:14 | 0:35:18 | |
Even the one thing I thought she said "No" to, she got. | 0:35:18 | 0:35:21 | |
Oh, she's crazy. | 0:35:21 | 0:35:22 | |
-Maria? -Yes? | 0:35:23 | 0:35:25 | |
Now I'm worried about the colours in here | 0:35:25 | 0:35:27 | |
-because the -BLEEP -kitchen's beige and brown. | 0:35:27 | 0:35:32 | |
And I'm now worried. | 0:35:32 | 0:35:34 | |
'The wall changed from purple to grey | 0:35:34 | 0:35:36 | |
'and now Sharon doesn't like the grey on the wall.' | 0:35:36 | 0:35:38 | |
We don't have time to be changing our mind | 0:35:38 | 0:35:40 | |
on the wall colours over and over | 0:35:40 | 0:35:42 | |
and over and over and over again. | 0:35:42 | 0:35:43 | |
Decide on something and make it work. | 0:35:43 | 0:35:45 | |
I, like, don't even want to look at that wall now. | 0:35:45 | 0:35:48 | |
And this is patchy. | 0:35:48 | 0:35:49 | |
'Nobody wants to hear after you've' | 0:35:49 | 0:35:51 | |
wasted all that time working on a colour | 0:35:51 | 0:35:55 | |
and then somebody goes, | 0:35:55 | 0:35:56 | |
"Sorry, don't want it now. Change." | 0:35:56 | 0:35:58 | |
'But everything was on the line for me. | 0:35:58 | 0:36:01 | |
'I didn't want to lose.' | 0:36:01 | 0:36:02 | |
I'm now panicking about the colour of the hall and the living room. | 0:36:02 | 0:36:05 | |
-Look at Curtis looking at me like, "She's -BLEEP -mad." | 0:36:05 | 0:36:10 | |
'There's still so much work to do.' | 0:36:10 | 0:36:12 | |
We haven't even gotten close to finish painting, | 0:36:12 | 0:36:14 | |
'and it's Sharon's fault. | 0:36:14 | 0:36:16 | |
'I don't know what we're going to do. It's a disaster.' | 0:36:16 | 0:36:19 | |
'On the second morning, | 0:36:36 | 0:36:37 | |
'Maria had the task of going to Bed Bath & Beyond, | 0:36:37 | 0:36:40 | |
'and Curtis and I went to the apartment.' | 0:36:40 | 0:36:43 | |
-Oh, my... -God. | 0:36:43 | 0:36:45 | |
Well, it doesn't smell too bad. I was worried about the smell. | 0:36:49 | 0:36:53 | |
'I didn't know whether I wanted to cry or just laugh,' | 0:36:53 | 0:36:56 | |
cos it was so daunting. | 0:36:56 | 0:36:58 | |
It was so like, | 0:36:58 | 0:36:59 | |
-"Oh -BLEEP, -where do we begin?" | 0:36:59 | 0:37:02 | |
What are we going to do about that red wall? | 0:37:03 | 0:37:05 | |
Probably give it a second coat. | 0:37:05 | 0:37:07 | |
Oh, no, we don't want it now, no. | 0:37:07 | 0:37:09 | |
'Sharon decided to paint over the red.' | 0:37:09 | 0:37:12 | |
At this point, in my opinion, it's too late to change. | 0:37:12 | 0:37:14 | |
But Sharon's the Project Manager, so if she wants to change, | 0:37:14 | 0:37:17 | |
I'll go along with it. | 0:37:17 | 0:37:19 | |
-Oh, -BLEEP -me! | 0:37:19 | 0:37:22 | |
-We're -BLEEP! | 0:37:22 | 0:37:24 | |
-Absolutely -BLEEP -out of time. | 0:37:24 | 0:37:26 | |
Everywhere I look, there's another wall that needs painting. | 0:37:26 | 0:37:29 | |
-This is quite possibly one of the most monumental -BLEEP -ups | 0:37:29 | 0:37:33 | |
that I've ever been involved in. | 0:37:33 | 0:37:35 | |
We've just got so much to do. | 0:37:35 | 0:37:37 | |
Can we move this out the way, please? | 0:37:39 | 0:37:42 | |
'I went down to the holding area where all the furniture was, | 0:37:42 | 0:37:46 | |
'and I was trying to work out in my head' | 0:37:46 | 0:37:50 | |
which one, which one, which one do we take up? | 0:37:50 | 0:37:53 | |
I need some advice. | 0:37:53 | 0:37:55 | |
We've got really big pieces that won't fit in the elevator. | 0:37:55 | 0:38:00 | |
How do we do it? | 0:38:00 | 0:38:01 | |
There's no other freight elevator? | 0:38:01 | 0:38:04 | |
-All the elevators that are used for people are just...? -Yeah. -OK. | 0:38:04 | 0:38:08 | |
'A lot of stuff didn't fit in the elevators, | 0:38:08 | 0:38:11 | |
'so we had to physically carry it up.' | 0:38:11 | 0:38:14 | |
All of those that are wrapped up, they're really heavy. | 0:38:14 | 0:38:17 | |
'So it was very difficult.' | 0:38:17 | 0:38:19 | |
I was ready to just go lock myself in a cupboard | 0:38:19 | 0:38:23 | |
and start hitting my head on the wall. | 0:38:23 | 0:38:25 | |
I felt, "Any minute, I'm going to do it." Oy! | 0:38:25 | 0:38:28 | |
-I'm -BLEEP -knackered! | 0:38:28 | 0:38:30 | |
-Is this us? -Yes. -There's no more than this? This is all there was? | 0:38:36 | 0:38:40 | |
OK, let me take it up. This is much smaller than the... | 0:38:40 | 0:38:44 | |
I had like a whole wall. | 0:38:44 | 0:38:46 | |
'Last night, I played a show, flew all the way back, | 0:38:46 | 0:38:49 | |
'got here at four in the morning, slept for two hours. | 0:38:49 | 0:38:51 | |
'I'm on a new team with Holly and Cyndi' | 0:38:51 | 0:38:53 | |
and I just want to prove to them I'm going to give 1,000%. | 0:38:53 | 0:38:56 | |
'So I'd snapped all these really interesting photos.' | 0:38:56 | 0:38:59 | |
Now, this is perfect, but it's a little small. | 0:38:59 | 0:39:02 | |
You remember Spinal Tap, | 0:39:02 | 0:39:04 | |
when he wanted it 12 foot high and it came 12 inches? | 0:39:04 | 0:39:08 | |
'This is a disaster. They're supposed to be seven foot and eight foot,' | 0:39:08 | 0:39:12 | |
and these photographs are wallet-size, man. | 0:39:12 | 0:39:15 | |
This is... This is bad. | 0:39:15 | 0:39:16 | |
'All right, I'm going to hide these so Holly doesn't freak out.' | 0:39:16 | 0:39:19 | |
I need to fix this problem right away, | 0:39:19 | 0:39:21 | |
and I'm hoping I have enough time to do it. | 0:39:21 | 0:39:24 | |
I know it's going to be horrible, but you know what? | 0:39:24 | 0:39:26 | |
Just see if you can punch me out an eight-by-four. | 0:39:26 | 0:39:29 | |
'What's your drop-dead time?' | 0:39:31 | 0:39:32 | |
-As soon as you can get... yesterday. -'OK.' | 0:39:32 | 0:39:35 | |
-Thank you so much. Bye-bye. -'You're welcome. Bye-bye.' | 0:39:35 | 0:39:38 | |
We've already got towels. | 0:39:41 | 0:39:43 | |
I grabbed an ironing board and an iron. | 0:39:43 | 0:39:46 | |
I'm grabbing a rug for the front door. | 0:39:46 | 0:39:49 | |
-I'm trying to get out of here as soon as I can. -'OK, be in touch.' | 0:39:49 | 0:39:52 | |
All right. I will. Bye-bye. | 0:39:52 | 0:39:54 | |
'Why am I by myself all the time? Here I am at Bed Bath & Beyond. | 0:39:56 | 0:40:01 | |
'But this is so much fun for me, | 0:40:01 | 0:40:03 | |
'because now I get to go shopping while Sharon and Curtis, | 0:40:03 | 0:40:05 | |
'they get to do the manual labour,' | 0:40:05 | 0:40:07 | |
which I'm really excited for. | 0:40:07 | 0:40:09 | |
-Hi! -Hi! | 0:40:09 | 0:40:11 | |
How are you doing? It's good to see you! | 0:40:11 | 0:40:14 | |
I was like, "I know nobody else has those jeans but my girl." | 0:40:14 | 0:40:16 | |
Yeah, well, these jeans actually are working jeans. | 0:40:16 | 0:40:19 | |
We got about four hours to go | 0:40:19 | 0:40:21 | |
till we have to present our corporate apartment. | 0:40:21 | 0:40:24 | |
You know what I was thinking? Can't I get some lace or something? | 0:40:24 | 0:40:28 | |
'Working within time frames is difficult for Cyndi, | 0:40:28 | 0:40:30 | |
'but I was trying to keep her on task.' | 0:40:30 | 0:40:33 | |
-Buddy, this is better than that. -For what? -For the curtains. | 0:40:33 | 0:40:38 | |
-But you can't put tablecloths up for curtains. -They're not going to know. | 0:40:38 | 0:40:42 | |
You won't be able to throw a tablecloth up as curtains. | 0:40:42 | 0:40:45 | |
OK. I give. | 0:40:45 | 0:40:46 | |
'Now that we're, you know, married | 0:40:46 | 0:40:48 | |
'and decorating our apartment together, | 0:40:48 | 0:40:50 | |
'I really feel as though Cyndi listens to me -' | 0:40:50 | 0:40:53 | |
she has more respect for what I have to say. | 0:40:53 | 0:40:55 | |
I think I am ready. Cyn?! | 0:40:55 | 0:40:58 | |
Oh, my God. I think I need everything. | 0:40:59 | 0:41:02 | |
All right, let's get started, ladies. | 0:41:02 | 0:41:05 | |
I don't know if I'm allowed to buy all this, though. | 0:41:05 | 0:41:07 | |
I have to ask my partner. | 0:41:07 | 0:41:09 | |
This is our first little house together. | 0:41:09 | 0:41:11 | |
We have, actually, we have a guy involved, too. | 0:41:11 | 0:41:14 | |
'What in the world is going on?' | 0:41:14 | 0:41:17 | |
Cyndi Lauper is running amok at Bed Bath & Beyond. | 0:41:17 | 0:41:20 | |
'We had so many items, and we had little time left. | 0:41:20 | 0:41:23 | |
'So I basically had to pull the plug on Cyndi's mad adventure.' | 0:41:23 | 0:41:28 | |
Good morning, Bed Bath & Beyond. | 0:41:28 | 0:41:31 | |
Customers, I'm looking for a Cyndi Lauper. | 0:41:31 | 0:41:34 | |
Cyndi Lauper, are you up here? | 0:41:34 | 0:41:36 | |
Where is she? | 0:41:36 | 0:41:38 | |
Holly's looking for you. Cyn! | 0:41:38 | 0:41:40 | |
Holly! I'm here! I'm here! | 0:41:40 | 0:41:42 | |
Cyn! I was worried. | 0:41:42 | 0:41:44 | |
-So, let's check out. We got to go. -I know. | 0:41:44 | 0:41:46 | |
50, 70... | 0:41:46 | 0:41:48 | |
-And thank you very much. -Thank you. | 0:41:48 | 0:41:51 | |
Come on, you rat sidewinder. | 0:41:51 | 0:41:54 | |
Oh, my goodness! | 0:42:00 | 0:42:01 | |
OK, what can I start with, hon? | 0:42:01 | 0:42:03 | |
Do you want to start tarting up that blue bathroom? | 0:42:03 | 0:42:06 | |
OK. Yeah. | 0:42:06 | 0:42:08 | |
'When I walked in to the apartment, | 0:42:08 | 0:42:11 | |
'this place is still crazy, wild, stuff everywhere. | 0:42:11 | 0:42:15 | |
'Nothing's put away.' | 0:42:15 | 0:42:17 | |
We had so much to do! | 0:42:17 | 0:42:19 | |
It's looking good. | 0:42:19 | 0:42:20 | |
It's looking good. Thank you so much. | 0:42:20 | 0:42:23 | |
-Looks so much better, hey? -It does! -So much better. | 0:42:23 | 0:42:26 | |
-It's actually... I wish we'd done the whole room like that. -I know. | 0:42:26 | 0:42:29 | |
-It's good, isn't it? -Yeah. | 0:42:29 | 0:42:31 | |
'Sharon made the colours fun' | 0:42:31 | 0:42:32 | |
without pushing the envelope too far. | 0:42:32 | 0:42:34 | |
'She did a good job with it.' | 0:42:34 | 0:42:36 | |
This is gorgeous, gorgeous, gorgeous! | 0:42:36 | 0:42:40 | |
'I was very, very happy with the palette colour. | 0:42:40 | 0:42:43 | |
'It was very relaxing. It was a lot of air in there.' | 0:42:43 | 0:42:46 | |
And now it's furniture time. "Furniture time." | 0:42:46 | 0:42:49 | |
Guys, you're miracle workers, man. | 0:42:59 | 0:43:01 | |
Thank you. | 0:43:01 | 0:43:03 | |
Right here against the wall. | 0:43:03 | 0:43:05 | |
I got excited as I started to see it come together. | 0:43:05 | 0:43:07 | |
Closer to the wall, to the window. Perfect. | 0:43:07 | 0:43:10 | |
'We have a lot to do in the bedroom and certainly have a lot to do | 0:43:10 | 0:43:13 | |
'in Cyndi's red room. But I'll be OK.' | 0:43:13 | 0:43:16 | |
Something's gone. It was right here yesterday. | 0:43:16 | 0:43:20 | |
Listen, who was here watching all this stuff? | 0:43:20 | 0:43:23 | |
It was here and it's gone. | 0:43:23 | 0:43:25 | |
So should I just call Franc and say it was stolen? | 0:43:25 | 0:43:27 | |
-Because it's not here any more. -Let's keep unloading stuff | 0:43:27 | 0:43:30 | |
-and I bet we'll find it. -No, it was here, I put it right here. | 0:43:30 | 0:43:33 | |
I'm sure we'll find it, nobody stole it, Cyndi. | 0:43:33 | 0:43:35 | |
Relax, don't yell at people. | 0:43:35 | 0:43:37 | |
This ottoman that was this long, I signed... | 0:43:37 | 0:43:40 | |
-Personally he gave it to me. -Cyn! -It was taken. | 0:43:40 | 0:43:43 | |
-Don't yell at him. -Go easy, Cyndi. Take it easy. Don't yell. | 0:43:43 | 0:43:47 | |
And it was right across here and it's not here any more. | 0:43:47 | 0:43:50 | |
Tell her that we'll find it, tell her to relax. | 0:43:50 | 0:43:52 | |
-Cyndi. -What has typically happened, Bret, is that she turns people | 0:43:52 | 0:43:56 | |
-against us. -I get it. | 0:43:56 | 0:43:58 | |
We need these workers. | 0:43:58 | 0:43:59 | |
Cyndi can go from being the sweet, loving Cynd and just so sweet | 0:43:59 | 0:44:03 | |
and then at a moment's notice she'll turn and snap on you. | 0:44:03 | 0:44:05 | |
Hook this... Wait, wait. That's ugly. Stop! | 0:44:05 | 0:44:08 | |
No. Leave it on the floor. | 0:44:08 | 0:44:11 | |
-OK, Cyndi? -I'm sorry. -Please don't talk disrespectfully to these guys | 0:44:11 | 0:44:14 | |
-who are working their ass off for us, OK? Please. -All right. | 0:44:14 | 0:44:17 | |
Please. I'm trying to win this thing. | 0:44:17 | 0:44:20 | |
This was the first task that I felt really connected with Cyndi. | 0:44:20 | 0:44:23 | |
'But in the end, Cyndi can cost you. She's sort of a loose cannon | 0:44:23 | 0:44:27 | |
'and managing Cyndi takes energy and time.' | 0:44:27 | 0:44:30 | |
I now completely understand your world. | 0:44:30 | 0:44:34 | |
Remember that in the boardroom. | 0:44:34 | 0:44:36 | |
-THUD -Careful, please! | 0:44:43 | 0:44:45 | |
Be careful, please. | 0:44:45 | 0:44:47 | |
'We just had under an hour left to put the furniture together, | 0:44:47 | 0:44:50 | |
'to make the beds, without getting it covered in paint cos the walls' | 0:44:50 | 0:44:55 | |
were all still wet. It was literally a race against time. | 0:44:55 | 0:44:58 | |
This room is done. | 0:44:58 | 0:45:01 | |
This is the first room done, it's the guest cloakroom. | 0:45:01 | 0:45:04 | |
We just wanted to try and brighten it up a bit. The painting is not great | 0:45:04 | 0:45:10 | |
but it's just the effect. And then you have to close the door | 0:45:10 | 0:45:13 | |
cos I can't get it dirty! | 0:45:13 | 0:45:15 | |
-What do you think about taking these off? -I think we should. | 0:45:16 | 0:45:20 | |
'My focus was on the kitchen. My idea was to give ourself' | 0:45:20 | 0:45:23 | |
a bit more depth in terms of vision, so I took the doors off | 0:45:23 | 0:45:27 | |
'a couple of the cupboards, which of course is a risky thing to do. | 0:45:27 | 0:45:32 | |
'When you walk into a kitchen with all the most beautiful equipment in the world, | 0:45:32 | 0:45:35 | |
'if there's no food in it, it doesn't look like a real kitchen. | 0:45:35 | 0:45:39 | |
'You need to have some fresh fruit - some bred and some muffins. | 0:45:39 | 0:45:42 | |
'And we did that. I think the kitchen looked beautiful.' | 0:45:42 | 0:45:45 | |
I'd love to spend a day in that kitchen. | 0:45:45 | 0:45:47 | |
We're going to do it. We're going to do it. We're going to do it. | 0:45:47 | 0:45:52 | |
We're getting there. | 0:45:52 | 0:45:53 | |
30 minutes to go. | 0:45:56 | 0:45:58 | |
Can you put this guy right in the middle... | 0:45:58 | 0:46:00 | |
You don't want that between there for them to set their tea or whatever they would do? | 0:46:00 | 0:46:04 | |
That looks cool there. | 0:46:04 | 0:46:05 | |
Well, it would be right under your... Yeah, OK. | 0:46:05 | 0:46:08 | |
-That would work. -You see what I mean? | 0:46:08 | 0:46:10 | |
'I like living in a fantasy world. | 0:46:10 | 0:46:12 | |
'That's why I made that room as much of a fantasy as I could. | 0:46:12 | 0:46:15 | |
'I love odd things and interesting touches.' | 0:46:15 | 0:46:19 | |
And the room really did come alive with fun. | 0:46:19 | 0:46:22 | |
'And I thought it was fantastic.' | 0:46:22 | 0:46:25 | |
-Are they literally down the street? -'Yes.' | 0:46:25 | 0:46:28 | |
I'll be down at the front desk. | 0:46:28 | 0:46:29 | |
I got the call. Photos are downstairs. | 0:46:29 | 0:46:32 | |
I've got to get the photos, get them up on the wall. | 0:46:32 | 0:46:34 | |
Come on. Come on. | 0:46:34 | 0:46:35 | |
'I figure, what could possibly go wrong?' | 0:46:35 | 0:46:37 | |
Well, the elevator doesn't show up. | 0:46:37 | 0:46:39 | |
'But nothing was stopping me. | 0:46:44 | 0:46:46 | |
'I flew down 18 flights of steps to get these pictures.' | 0:46:46 | 0:46:50 | |
-You're the best, man. -My pleasure. | 0:46:54 | 0:46:56 | |
My brother, thank you. Thank you. | 0:46:56 | 0:46:58 | |
'So, I get the hand-off, | 0:46:58 | 0:46:59 | |
'and I have to run 18 flights of stairs back up. | 0:46:59 | 0:47:02 | |
'It was insane. I'm sweating profusely.' | 0:47:02 | 0:47:05 | |
So, here we go. Let's get this up. | 0:47:07 | 0:47:09 | |
Let's go. Here we go. | 0:47:09 | 0:47:11 | |
'This is the payoff, right?' | 0:47:11 | 0:47:13 | |
'I promised Holly I would get this done. | 0:47:13 | 0:47:15 | |
'And there it is - New York is on the wall.' | 0:47:15 | 0:47:18 | |
Our New York Zen den is complete. | 0:47:18 | 0:47:21 | |
Hold on. Wait for it. | 0:47:21 | 0:47:23 | |
Ah, Zen. | 0:47:23 | 0:47:25 | |
15 minutes! | 0:47:27 | 0:47:29 | |
Let's go! Let's go! | 0:47:29 | 0:47:30 | |
'I wanted to take all the garbage out, all the wrappings,' | 0:47:36 | 0:47:40 | |
so I was trying to find places to put it all. | 0:47:40 | 0:47:43 | |
-And then I'm like, -"BLEEP -it. Throw everything in the hallway." | 0:47:43 | 0:47:47 | |
Paint on the floor. | 0:47:47 | 0:47:49 | |
Got to get it off quick. | 0:47:49 | 0:47:50 | |
-Can you check your shoes? -Big boss. | 0:47:54 | 0:47:57 | |
Who's got a light? | 0:47:57 | 0:47:59 | |
Time's up! | 0:47:59 | 0:48:01 | |
-I think it looks -BLEEP -amazing! | 0:48:01 | 0:48:04 | |
'So the task was over, the place was pretty much finished.' | 0:48:06 | 0:48:10 | |
It could have been better. It always could be. | 0:48:10 | 0:48:13 | |
But I was pretty happy with it. | 0:48:13 | 0:48:14 | |
I sort of looked around, | 0:48:14 | 0:48:16 | |
I was like "I guess we've kind of made it." | 0:48:16 | 0:48:18 | |
THEY LAUGH | 0:48:18 | 0:48:22 | |
I love you after this! I love you guys! | 0:48:22 | 0:48:25 | |
'Curtis comes up and gives me the biggest hug ever and thanks me, | 0:48:25 | 0:48:28 | |
'so I was like, "You know what?' | 0:48:28 | 0:48:30 | |
"We all bring something different, and it worked so well together." | 0:48:30 | 0:48:34 | |
I think that this is corporate yet funky. | 0:48:34 | 0:48:37 | |
If this was my apartment, I'd be happy to have people over. | 0:48:37 | 0:48:40 | |
-You would? -Yeah. -Yeah. | 0:48:40 | 0:48:43 | |
No more fussing. Let's go, we're done. | 0:48:57 | 0:49:00 | |
I think we did a great job renovating the property. | 0:49:00 | 0:49:03 | |
Our concept is a Balinese-style Zen sanctuary. | 0:49:04 | 0:49:09 | |
When you walk in, the first thing you see | 0:49:09 | 0:49:11 | |
are really warm chestnuts and oranges and rusts | 0:49:11 | 0:49:15 | |
that evoke a real Zen feeling. | 0:49:15 | 0:49:19 | |
Then, as you go in to the bathroom, | 0:49:19 | 0:49:21 | |
we have cooler hues - the light blues. | 0:49:21 | 0:49:23 | |
The master bedroom was sea foam. | 0:49:23 | 0:49:25 | |
Green is really the colour of life, serenity, as well. | 0:49:25 | 0:49:30 | |
Cyndi's room is kind of wild and crazy, | 0:49:30 | 0:49:32 | |
so when you want to unleash your wild side, | 0:49:32 | 0:49:34 | |
you go to Cyndi's rock-'n'-roll Zen room. | 0:49:34 | 0:49:36 | |
KNOCK ON DOOR | 0:49:36 | 0:49:38 | |
Hello, everybody. How you doing? | 0:49:38 | 0:49:40 | |
-Hello. -I'm Bret. -Jonathan. How are you? | 0:49:40 | 0:49:42 | |
Of course, Jonathan. Come on in. | 0:49:42 | 0:49:44 | |
Hi. Good to see you guys again. How are you? | 0:49:44 | 0:49:46 | |
'Our judges, Jonathan Adler and Lee Curtis, came in.' | 0:49:46 | 0:49:50 | |
And we gave them a tour of our celebrity Zen retreat. | 0:49:50 | 0:49:53 | |
We're doing sort of a colour-therapy concept | 0:49:53 | 0:49:56 | |
where colour, obviously, invokes certain feelings. | 0:49:56 | 0:50:00 | |
And I think these warm tones and earth tones | 0:50:00 | 0:50:02 | |
make you feel warm like a giant hug when you walk in. | 0:50:02 | 0:50:06 | |
'Jonathan is tremendously talented. And he's a tough critic.' | 0:50:06 | 0:50:10 | |
But I felt like Jonathan | 0:50:10 | 0:50:12 | |
would definitely get the colour concept. | 0:50:12 | 0:50:14 | |
So this is our relaxing living-room area. | 0:50:14 | 0:50:17 | |
We like this area because it's very relaxing. | 0:50:17 | 0:50:20 | |
Definitely have our Mama Buddha here. | 0:50:20 | 0:50:23 | |
-Miss Buddha's fab. -Isn't she sweet? We like her. | 0:50:23 | 0:50:26 | |
Follow us in to our sea foam-green sanctuary. | 0:50:26 | 0:50:29 | |
-Sea foam-green. -I love this colour. | 0:50:29 | 0:50:31 | |
My mom has it all over her house, and I love it. | 0:50:31 | 0:50:33 | |
We decided to just keep it very minimal. | 0:50:33 | 0:50:36 | |
Make the colour on the wall the star. | 0:50:36 | 0:50:38 | |
-Do you want to look at our little Zen bathroom? -Oh, yeah. | 0:50:38 | 0:50:41 | |
I wanted to point out to you, Bret took these photographs. | 0:50:41 | 0:50:44 | |
-It's from the Bret Michaels Collection. -That's great. -Thanks. | 0:50:44 | 0:50:47 | |
-If the music thing doesn't work out... -I got a gig. | 0:50:47 | 0:50:50 | |
So, should we show you our final finale? | 0:50:50 | 0:50:53 | |
Cyndi, would you like to show them? | 0:50:53 | 0:50:55 | |
OK, you might want to come home from work | 0:50:55 | 0:50:57 | |
and really kick back in our rock-'n'-roll Zen den. | 0:50:57 | 0:51:03 | |
We felt like red brings out strong emotions, | 0:51:03 | 0:51:05 | |
and red is a very intense and rich colour. | 0:51:05 | 0:51:08 | |
And I thought Cyndi did a phenomenal job pimping it out. | 0:51:08 | 0:51:11 | |
-Good job. -Nice. With the patent leather. | 0:51:11 | 0:51:13 | |
Yes. Patent leather. | 0:51:13 | 0:51:15 | |
That resists a lot of the juices | 0:51:15 | 0:51:17 | |
that come out of a celebrity night. | 0:51:17 | 0:51:20 | |
'I really, really thought our theme was strong.' | 0:51:20 | 0:51:23 | |
I hope Mr Adler and Lee think the theme was strong as well. | 0:51:23 | 0:51:26 | |
All right, guys. Thanks. | 0:51:26 | 0:51:28 | |
-Thank you. -All right. See you later, bye. | 0:51:28 | 0:51:30 | |
I think that our apartment looked modern and clean. | 0:51:33 | 0:51:38 | |
It wasn't overloaded with tchotchkes, | 0:51:38 | 0:51:41 | |
and it wasn't offensive. | 0:51:41 | 0:51:44 | |
The celebrity room was a struggle. | 0:51:44 | 0:51:46 | |
It really was. It was the afterthought. | 0:51:46 | 0:51:49 | |
The one thing that I did want to do | 0:51:49 | 0:51:52 | |
was make it feel expensive | 0:51:52 | 0:51:54 | |
by putting in a few luxury items. | 0:51:54 | 0:51:57 | |
The bottom line is, I'm Project Manager. | 0:51:57 | 0:52:00 | |
I did what I wanted to do in that apartment. | 0:52:00 | 0:52:03 | |
'So it's really do or die.' | 0:52:03 | 0:52:06 | |
-Hello. -Hello. This is Curtis. | 0:52:06 | 0:52:08 | |
-Pleasure to meet you. -How are you? -And this is Maria. -Hi. | 0:52:08 | 0:52:11 | |
'I think that we pulled off the task | 0:52:11 | 0:52:14 | |
'and we did it well and we did it on time.' | 0:52:14 | 0:52:16 | |
And it's like, "Yeah. Oh, yeah. Bring in the judges." | 0:52:16 | 0:52:21 | |
So, I'll talk about the kitchen, being the chef. | 0:52:21 | 0:52:23 | |
We thought we'd open up the space a little bit | 0:52:23 | 0:52:25 | |
and we took doors off a couple of cabinets to give a bit of a depth. | 0:52:25 | 0:52:29 | |
And we filled it with beautiful stuff. | 0:52:29 | 0:52:31 | |
You can move straight through to the dining, | 0:52:31 | 0:52:33 | |
and these days we quite often sit at the sofa and eat, as well. | 0:52:33 | 0:52:37 | |
This coffee table does open up. | 0:52:37 | 0:52:39 | |
-So this actually folds up like that, see? -So you have a tray. | 0:52:39 | 0:52:42 | |
-Fab. -We wanted to keep it clean lines. | 0:52:42 | 0:52:46 | |
And we didn't want to put too much furniture into this space. | 0:52:46 | 0:52:50 | |
-Wow. This is the celebrity room. -We just wanted some colour to pop. | 0:52:50 | 0:52:55 | |
This is kind of a media room. | 0:52:55 | 0:52:57 | |
-MARIA: -Got your popcorn maker in the corner, | 0:52:57 | 0:52:59 | |
your big-screen TV, and so it's functional, as well. | 0:52:59 | 0:53:02 | |
The guest cloakroom. | 0:53:02 | 0:53:04 | |
We thought to give it more shelf space | 0:53:04 | 0:53:06 | |
by getting that unit. | 0:53:06 | 0:53:08 | |
And this is what would be the master. | 0:53:08 | 0:53:12 | |
Clean lines. | 0:53:12 | 0:53:14 | |
-It's still stylish. -I don't see a dresser. | 0:53:14 | 0:53:17 | |
I just never use one. | 0:53:17 | 0:53:18 | |
I think they're old-fashioned looking. | 0:53:18 | 0:53:20 | |
'I don't think that Mr Curtis was impressed | 0:53:20 | 0:53:23 | |
'because I didn't have drawers.' | 0:53:23 | 0:53:26 | |
"Celebrities don't do that, Mr Curtis." | 0:53:26 | 0:53:30 | |
-All right, you guys. Thank you. -Thank you very much. | 0:53:31 | 0:53:34 | |
'When it comes to something like this, | 0:53:34 | 0:53:36 | |
'it's down to personal taste.' | 0:53:36 | 0:53:38 | |
Who knows? You know, it's in the hands of the gods. | 0:53:38 | 0:53:41 | |
Lee, Jonathan, what did you think? | 0:53:44 | 0:53:46 | |
It's unbelievable to do what they did in 24 hours. | 0:53:46 | 0:53:48 | |
-What did you think about Rocksolid? -I thought they were rock-solid. | 0:53:48 | 0:53:51 | |
When you walked in the door of the apartment, it looked expensive. | 0:53:51 | 0:53:54 | |
Curtis made the kitchen a very appealing kitchen. | 0:53:54 | 0:53:57 | |
They did a lot to make the rooms look bigger | 0:53:57 | 0:53:59 | |
by removing pieces but staying functional. | 0:53:59 | 0:54:02 | |
Yeah, the apartment felt huge. | 0:54:02 | 0:54:04 | |
But I got to say, their celebrity room fell short for me. | 0:54:04 | 0:54:07 | |
Like, there was nothing celebrity-roomish about it. | 0:54:07 | 0:54:09 | |
It was just another room. | 0:54:09 | 0:54:10 | |
That was supposed to be an important part of the challenge | 0:54:10 | 0:54:13 | |
and it seems like they just didn't really care about it. | 0:54:13 | 0:54:15 | |
One thing I did notice - they didn't have a dresser. | 0:54:15 | 0:54:17 | |
That was interesting for me cos a dresser's still, | 0:54:17 | 0:54:20 | |
you know, pretty much a common piece to have in a bedroom. | 0:54:20 | 0:54:22 | |
What about Tenacity? | 0:54:22 | 0:54:24 | |
With as much as they did and the colours they used, I think they shrunk the space. | 0:54:24 | 0:54:27 | |
I mean, there was so much going on that you felt a little constricted. | 0:54:27 | 0:54:31 | |
I guess they were trying to create a serene environment, | 0:54:31 | 0:54:34 | |
but it felt more cheap than Zen. | 0:54:34 | 0:54:36 | |
I think, on a colour level, where they fell down | 0:54:36 | 0:54:39 | |
was in that sea foam in the bedroom. | 0:54:39 | 0:54:40 | |
That was like, "W-What?" | 0:54:40 | 0:54:42 | |
Like, I don't know where they came up with that sea foam | 0:54:42 | 0:54:45 | |
and it was totally dissonant with the rest of the apartment. | 0:54:45 | 0:54:47 | |
But their celebrity room | 0:54:47 | 0:54:49 | |
was infinitely more celebrity-roomish. | 0:54:49 | 0:54:51 | |
So it was really nice to see personality and bold, bold gestures. | 0:54:51 | 0:54:55 | |
Interestingly, we found out halfway through the tour | 0:54:55 | 0:54:57 | |
that Bret had taken all those New York pictures. | 0:54:57 | 0:55:00 | |
-Oh, really? -Yeah, they were really, really good. | 0:55:00 | 0:55:02 | |
I would put those in my apartment, absolutely. | 0:55:02 | 0:55:05 | |
Overall, who do you think won? | 0:55:05 | 0:55:07 | |
Based upon all the criteria, I think we'd have to agree. | 0:55:07 | 0:55:10 | |
-Holly... -Yes. -How'd your team do? | 0:55:44 | 0:55:47 | |
Under the circumstances, I thought we did phenomenally. | 0:55:47 | 0:55:49 | |
-What were the circumstances? -Well, we lost one of our team members | 0:55:49 | 0:55:52 | |
cos he went off to do a concert | 0:55:52 | 0:55:54 | |
and he was so helpful, and I didn't want him to go. | 0:55:54 | 0:55:57 | |
What did you think of Cyndi's performance? | 0:55:57 | 0:56:00 | |
Oh, I thought Cyndi did a terrific job. | 0:56:00 | 0:56:02 | |
It was, um, a little difficult to focus her, | 0:56:02 | 0:56:06 | |
but I gave her one focus, which was our celebrity room. | 0:56:06 | 0:56:10 | |
And I could have used Bret | 0:56:10 | 0:56:11 | |
just to help me wrangle her a little bit more. | 0:56:11 | 0:56:13 | |
How did that come out, the celebrity room? | 0:56:13 | 0:56:16 | |
-How did it look? -I loved it. It was a Cyndi explosion. | 0:56:16 | 0:56:19 | |
But is it something that commercially would rent? | 0:56:19 | 0:56:22 | |
Uh...perhaps, yeah. Depends on the client. | 0:56:23 | 0:56:26 | |
What did you think of Holly as a Project Manager, Bret? | 0:56:26 | 0:56:29 | |
I got to be honest - when we started, | 0:56:29 | 0:56:31 | |
I may have jumped to a conclusion real quick | 0:56:31 | 0:56:33 | |
that Holly wanted to do it cos she knew Jonathan Adler's work. | 0:56:33 | 0:56:37 | |
And the end result, she was fantastic. | 0:56:37 | 0:56:39 | |
In the beginning, we had a little bit of a snafu, let's just say, | 0:56:39 | 0:56:43 | |
cos I think she felt really under a lot of pressure. | 0:56:43 | 0:56:45 | |
-I didn't want to be Project Manager. -She didn't. | 0:56:45 | 0:56:47 | |
-Who should have been Project Manager? -Cyndi. -And why wasn't she? -I don't know, | 0:56:47 | 0:56:51 | |
but I felt like it wasn't my at-bat. | 0:56:51 | 0:56:53 | |
Bret just came off a huge win. I came off a win before | 0:56:53 | 0:56:55 | |
I thought it was Cyndi's turn. And all we hear Cyndi say is, "Nobody cares about the gays. | 0:56:55 | 0:56:59 | |
"No-one's looking out for the gays." And I thought she needed to step up. | 0:56:59 | 0:57:02 | |
And I thought it was a great opportunity for her | 0:57:02 | 0:57:04 | |
-to make some money for... -What about that, Cyndi? | 0:57:04 | 0:57:07 | |
OK. Gloves off. | 0:57:07 | 0:57:10 | |
I thought that Holly... | 0:57:10 | 0:57:12 | |
Holly said she knew of the designer | 0:57:12 | 0:57:15 | |
that was going to come and judge. I don't. | 0:57:15 | 0:57:17 | |
And when I went with her, I tried to get her | 0:57:17 | 0:57:21 | |
to go with statues and things that were imaginative. | 0:57:21 | 0:57:25 | |
-Didn't you do that? -I certainly did. | 0:57:25 | 0:57:27 | |
So it wasn't like she had to focus me. | 0:57:27 | 0:57:28 | |
What does this have to do with gays? Holly, what does this have to do... | 0:57:28 | 0:57:32 | |
I'm trying to figure that out myself! | 0:57:32 | 0:57:35 | |
Cyndi's charity's very important to her | 0:57:35 | 0:57:36 | |
and I thought, since I had come off a really big win | 0:57:36 | 0:57:38 | |
and he had won 140 for his charity, she had only won 20,000... | 0:57:38 | 0:57:41 | |
I think part of the reason of being here is to win for your charity. | 0:57:41 | 0:57:44 | |
Holly, did you get along with Cyndi on this task? | 0:57:44 | 0:57:48 | |
Uh, actually, I kind of fell in love with Cyndi on this task. | 0:57:48 | 0:57:51 | |
-We got along really well. -I got her to laugh. | 0:57:51 | 0:57:54 | |
-We laughed. -Why, is she not a laugher? | 0:57:54 | 0:57:56 | |
Really? I don't see you as that serious a person, Holly. | 0:57:59 | 0:58:02 | |
When it comes to this competition, and autism, I'm very serious. | 0:58:02 | 0:58:05 | |
-It's business. OK. I think that's good. -Mm-hmm. | 0:58:05 | 0:58:09 | |
OK. | 0:58:09 | 0:58:11 | |
-Sharon. -Yessie? | 0:58:11 | 0:58:12 | |
-How'd your team do? -Fantastic! | 0:58:12 | 0:58:14 | |
Amazing! | 0:58:14 | 0:58:16 | |
And how are you getting along with Curtis? | 0:58:16 | 0:58:18 | |
-Much better. -We love Curtis. | 0:58:18 | 0:58:20 | |
Oh! | 0:58:20 | 0:58:21 | |
Now I'm getting jealous. Now... | 0:58:21 | 0:58:23 | |
He brought it. He brought his "A" Game. | 0:58:23 | 0:58:25 | |
So you really... You think he's... | 0:58:25 | 0:58:27 | |
-You think he's a good guy now. -He is. He is a good guy. | 0:58:27 | 0:58:30 | |
He's going to marry one of my daughters. | 0:58:30 | 0:58:32 | |
He's going to cook for me at Christmas. We love him. | 0:58:32 | 0:58:35 | |
-Sharon, you didn't like Curtis very much at one point. -Oh, no. -No, no. | 0:58:35 | 0:58:39 | |
Initially. And Maria certainly didn't like him. | 0:58:39 | 0:58:42 | |
And now you really like him a lot. | 0:58:42 | 0:58:44 | |
Yeah, because I'm a big-mouth old bat who's... | 0:58:44 | 0:58:47 | |
You're not old. | 0:58:47 | 0:58:48 | |
-"Ish." -We're getting up there, but not yet. | 0:58:48 | 0:58:51 | |
And I just, you know - no tolerance, no tolerance. | 0:58:51 | 0:58:54 | |
And I open my mouth all the time. | 0:58:54 | 0:58:56 | |
And then I have to apologise for my bad behaviour | 0:58:56 | 0:58:59 | |
and realise he's fabulous. | 0:58:59 | 0:59:01 | |
How did you like working with them, Curtis? | 0:59:01 | 0:59:03 | |
I loved working with them. I had a lot of fun with Sharon. | 0:59:03 | 0:59:05 | |
-We went shopping. -Who was better, Maria or Sharon? | 0:59:05 | 0:59:08 | |
Oh, they both really brought it in their own ways. | 0:59:08 | 0:59:11 | |
Maria worked super hard. Sharon, very resourceful. | 0:59:11 | 0:59:14 | |
She was on the phone as much as we were pegging it on the streets. | 0:59:14 | 0:59:18 | |
Both really stood out. | 0:59:18 | 0:59:19 | |
OK. Good. | 0:59:19 | 0:59:22 | |
-Mr LeFrak, my good friend. -Yes, sir? | 0:59:22 | 0:59:25 | |
My good friend and for many years my good friend, | 0:59:25 | 0:59:27 | |
what did Jonathan Adler and Lee Curtis from BridgeStreeet | 0:59:27 | 0:59:30 | |
think of Rocksolid? | 0:59:30 | 0:59:32 | |
Well, they thought they did a rock-solid job. | 0:59:32 | 0:59:35 | |
-They did an excellent job. -Yes! | 0:59:35 | 0:59:37 | |
Curtis did a great job putting the kitchen together. | 0:59:37 | 0:59:40 | |
They thought Sharon and he did a super job | 0:59:40 | 0:59:44 | |
in leverageing their celebrity status | 0:59:44 | 0:59:46 | |
to get about 100-some-odd-thousand dollars' worth | 0:59:46 | 0:59:50 | |
of free furnishings for the apartment. | 0:59:50 | 0:59:52 | |
And, you know, that was a very clever and effective way | 0:59:52 | 0:59:55 | |
to get a good job done, with one exception. | 0:59:55 | 0:59:58 | |
And that was that they thought the celebrity room | 0:59:58 | 1:00:01 | |
-fell a little short of what they had to do. -Ah. | 1:00:01 | 1:00:05 | |
-Why, Richard? -Missed the "wow" factor | 1:00:05 | 1:00:07 | |
that you would expect in a celebrity room. | 1:00:07 | 1:00:09 | |
It looked a little bit too much like an ordinary media room. | 1:00:09 | 1:00:12 | |
OK. | 1:00:12 | 1:00:14 | |
So, Don, let me ask you, how did Tenacity do? | 1:00:15 | 1:00:17 | |
Well, the executives that I met with, | 1:00:17 | 1:00:20 | |
you know, they really actually... | 1:00:20 | 1:00:21 | |
Jonathan Adler loved your photos, Bret. | 1:00:21 | 1:00:23 | |
-Tell him thank you. -He thought you were a professional photographer. | 1:00:23 | 1:00:27 | |
I knew he'd love you! | 1:00:27 | 1:00:29 | |
-Mm-hmm! -Big boy! | 1:00:29 | 1:00:31 | |
-He liked the room separator. -Thank you. | 1:00:31 | 1:00:33 | |
They thought that was a nice touch. | 1:00:33 | 1:00:35 | |
They thought the Buddha was placed perfectly, | 1:00:35 | 1:00:37 | |
that Cyndi's celebrity room was fun, bold and original. | 1:00:37 | 1:00:40 | |
They wish they'd seen more of that out of Rocksolid. | 1:00:40 | 1:00:44 | |
The cons were that there was a bit too much going on. | 1:00:44 | 1:00:46 | |
The suite looked much more cheap than Zen. | 1:00:46 | 1:00:50 | |
-And they really didn't like the sea foam green. -Oh, they didn't? | 1:00:50 | 1:00:54 | |
It was pretty aggressive for a green. | 1:00:54 | 1:00:56 | |
OK, so it's the moment of truth. | 1:00:58 | 1:01:00 | |
The fact is that | 1:01:02 | 1:01:05 | |
the executives felt very, very strongly | 1:01:05 | 1:01:08 | |
about one of the apartments. They thought it was brilliant. | 1:01:08 | 1:01:12 | |
They thought it was really amazing | 1:01:12 | 1:01:15 | |
that you did so much in a short period of time. | 1:01:15 | 1:01:18 | |
And they felt... | 1:01:18 | 1:01:20 | |
solidly... | 1:01:20 | 1:01:22 | |
...behind Rocksolid. | 1:01:25 | 1:01:27 | |
They just thought you were great. | 1:01:27 | 1:01:30 | |
They thought yours was OK, Holly, but not spectacular. | 1:01:30 | 1:01:34 | |
They thought Rocksolid was fantastic. | 1:01:34 | 1:01:36 | |
-Oh, dear! -Whoa! | 1:01:36 | 1:01:39 | |
Big turnaround in a week, Mr Trump. | 1:01:39 | 1:01:41 | |
By the way, Donald, | 1:01:43 | 1:01:45 | |
I've decided to double the prize this week. | 1:01:45 | 1:01:48 | |
-I think we'll make it 40,000. -That's very nice. -Awesome. | 1:01:48 | 1:01:52 | |
-DON JR: -That's great. | 1:01:52 | 1:01:53 | |
Thank you so much. Thank you. | 1:01:53 | 1:01:55 | |
-Happy to do it. -Thank you. | 1:01:55 | 1:01:56 | |
So, Sharon, thanks to Richard | 1:01:56 | 1:01:58 | |
you're going to get 40,000 for your charity. What is it? | 1:01:58 | 1:02:01 | |
My charity is Cedars-Sinai Hospital, | 1:02:01 | 1:02:04 | |
Sharon Osbourne Colon Cancer Programme. | 1:02:04 | 1:02:07 | |
-That's a great group. -Thank you. -Congratulations. -Thank you so much. | 1:02:07 | 1:02:11 | |
-And thank you, Mr LeFrak. -You're more than welcome. | 1:02:11 | 1:02:14 | |
-It means a lot. -OK, go ahead. Thank you. | 1:02:14 | 1:02:16 | |
-Thank you. -Thank you. | 1:02:16 | 1:02:18 | |
Good job, guys. | 1:02:18 | 1:02:19 | |
-Great job. -Thank you. | 1:02:19 | 1:02:21 | |
Well done, guys. | 1:02:21 | 1:02:22 | |
That's 40,000 free screenings for people. | 1:02:24 | 1:02:27 | |
-That's amazing. -40,000 people. -Wow. | 1:02:27 | 1:02:30 | |
OK, Tenacity... | 1:02:30 | 1:02:32 | |
Unfortunately, somebody's going to be fired. | 1:02:32 | 1:02:35 | |
Congratulations. | 1:02:43 | 1:02:45 | |
Thank you, thank you, thank you! | 1:02:45 | 1:02:48 | |
'I'm playing for the Sharon Osbourne Colon Cancer Programme,' | 1:02:48 | 1:02:52 | |
associated with Cedars-Sinai Hospital in Los Angeles. | 1:02:52 | 1:02:56 | |
'And it's so important for me personally' | 1:02:56 | 1:02:58 | |
because this hospital saved my life. | 1:02:58 | 1:03:00 | |
So, 40,000, and it means 40,000 colon-cancer screenings. | 1:03:00 | 1:03:04 | |
Yeah. | 1:03:04 | 1:03:05 | |
'I just want to make people aware' | 1:03:05 | 1:03:07 | |
and be able to help people get checked out. | 1:03:07 | 1:03:11 | |
You know, you've got to be checked. | 1:03:11 | 1:03:13 | |
-Cheers. -Here's to your charity, honey. Well done. | 1:03:13 | 1:03:16 | |
Cheers. Thank you so much. | 1:03:16 | 1:03:18 | |
Here we go. | 1:03:18 | 1:03:19 | |
Holly, are you nervous? You seem to really want to win. Are you nervous? | 1:03:19 | 1:03:23 | |
I always want to win. That's why I came here. | 1:03:23 | 1:03:25 | |
-Are you nervous? -Right now? No, not particularly. | 1:03:25 | 1:03:27 | |
-What about you, Cyndi? -Maybe last week. | 1:03:30 | 1:03:33 | |
I feel anxious | 1:03:33 | 1:03:34 | |
and a little upset about everything. | 1:03:34 | 1:03:38 | |
The executives felt strongly, their apartment was better. | 1:03:38 | 1:03:42 | |
So you're not upset about being here wrongfully, are you? | 1:03:42 | 1:03:45 | |
-No, I was upset about something else. -Tell me. -No, I... | 1:03:45 | 1:03:49 | |
-You have to fight for yourself now because you could be a candidate. -Good. I will. Fine. | 1:03:49 | 1:03:53 | |
Throughout this whole thing, | 1:03:53 | 1:03:55 | |
I was the one given all the shlep work, | 1:03:55 | 1:03:59 | |
and I was there carrying, humping, pulling the bags, | 1:03:59 | 1:04:03 | |
carrying the furniture in with the guys, | 1:04:03 | 1:04:05 | |
you know, doing all the grunt work. | 1:04:05 | 1:04:08 | |
But, Cyndi, why didn't you step up as Project Manager? | 1:04:08 | 1:04:10 | |
-Everybody says you should have. -Because I don't have... | 1:04:10 | 1:04:13 | |
I do not furnish houses. | 1:04:13 | 1:04:16 | |
-Neither do I. -I always work. | 1:04:16 | 1:04:17 | |
-You do so. -None of us by trade are decorators or contractors. | 1:04:17 | 1:04:21 | |
Just cos I knew who Jonathan Adler was | 1:04:21 | 1:04:23 | |
doesn't mean I am Jonathan Adler. | 1:04:23 | 1:04:25 | |
I have not designed or decorated houses. | 1:04:25 | 1:04:27 | |
Yes, if someone shows me a fabulous Balinese bench, | 1:04:27 | 1:04:30 | |
I'll say, "Yes, I like that." | 1:04:30 | 1:04:31 | |
But that doesn't make me a designer by trade. I'm not. | 1:04:31 | 1:04:34 | |
Cyndi, the executives really like your work. They like your taste. | 1:04:34 | 1:04:37 | |
I don't know if you have good taste, but they loved your red room. | 1:04:37 | 1:04:41 | |
You've been a fashion icon in your own right for decades. | 1:04:41 | 1:04:44 | |
-But I've never furnished houses. -Don't you think... But it translates across to design. | 1:04:44 | 1:04:48 | |
It's all a sense of style, right? | 1:04:48 | 1:04:50 | |
Especially if that sense of style has to do with celebrity. | 1:04:50 | 1:04:53 | |
Well, Holly, you're the Project Manager. | 1:04:53 | 1:04:55 | |
Why shouldn't I fire you? You lost. It wasn't really close. | 1:04:55 | 1:04:59 | |
You can blame Cyndi. You can blame Bret. | 1:04:59 | 1:05:01 | |
I'm not going to blame anybody. I'm just going to say that, yes... | 1:05:01 | 1:05:04 | |
But why shouldn't I fire you? | 1:05:04 | 1:05:05 | |
Because I came here to win. | 1:05:05 | 1:05:07 | |
I know, but they came here to win, too. | 1:05:07 | 1:05:09 | |
-Did you come to lose, Bret? -Hell no. -Did you come to lose, Cyndi? | 1:05:09 | 1:05:13 | |
-You say you came to win, that's just words. -But you have opportunities. -Holly, it's words. | 1:05:13 | 1:05:17 | |
You came to win, they all came to win. | 1:05:17 | 1:05:18 | |
Goldberg came to win and he got his ass kicked. | 1:05:18 | 1:05:20 | |
At the same time, I have to say, you are a fighter. | 1:05:20 | 1:05:23 | |
-I am. -Would we say she's a fighter, Cyndi? | 1:05:23 | 1:05:25 | |
Yeah, but she's also a pain in the butt sometimes | 1:05:25 | 1:05:28 | |
because she's right, she's the boss and she does everything. | 1:05:28 | 1:05:31 | |
Wait a second. When Cyndi was Project Manager, | 1:05:31 | 1:05:33 | |
no-one could get a word out edgewise. | 1:05:33 | 1:05:35 | |
-Hon... -She was more than bossy. | 1:05:35 | 1:05:37 | |
She was disrespectful to people. | 1:05:37 | 1:05:39 | |
-Holly... -That was your project. | 1:05:39 | 1:05:40 | |
You had three people that said that. | 1:05:40 | 1:05:42 | |
-That's not true. -This task, we got along fine, | 1:05:42 | 1:05:45 | |
but there were moments where I had to stop down | 1:05:45 | 1:05:47 | |
-and sort of babysit Cyndi. -No, you didn't. | 1:05:47 | 1:05:49 | |
Bret saw that. I don't know if you want to say anything | 1:05:49 | 1:05:52 | |
-or you're just playing it cool... -I'm just letting you talk. I've got plenty to say. | 1:05:52 | 1:05:55 | |
-But please finish. -Bret, I'd like to hear what you have to say. | 1:05:55 | 1:05:58 | |
You've sort of been under the radar for this, | 1:05:58 | 1:06:00 | |
-and you missed a part of it. -Right. | 1:06:00 | 1:06:02 | |
Who should I fire, Bret? | 1:06:02 | 1:06:04 | |
Um, well, let me state the situation first. | 1:06:07 | 1:06:10 | |
No. I want an answer, Bret, or I'm going to fire you. | 1:06:10 | 1:06:12 | |
-I'm going to give you one. -If you don't give me an answer, I'm going to fire you. | 1:06:12 | 1:06:16 | |
I've... Cyndi's room was the best room in the house, | 1:06:16 | 1:06:21 | |
but Cyndi also... I knew what they meant, | 1:06:21 | 1:06:24 | |
and this is what her rose and her thorn is. | 1:06:24 | 1:06:26 | |
She talks a lot. I had very little time. | 1:06:26 | 1:06:29 | |
Who'd I talk to? | 1:06:29 | 1:06:31 | |
-Cos you got mad at the guys. -I... | 1:06:31 | 1:06:33 | |
-You were firing at the guys. -You were flat-out rude to them. | 1:06:33 | 1:06:36 | |
-You can be rude to people, Holly. -Not when you need them | 1:06:36 | 1:06:39 | |
to get through with what you have to do. | 1:06:39 | 1:06:41 | |
Cyndi's best blessing in life is she is an absolute star. | 1:06:41 | 1:06:44 | |
You're funny, your stories, I love them. | 1:06:44 | 1:06:46 | |
I don't tell no stories. I don't even talk any more! | 1:06:46 | 1:06:49 | |
I'm not throwing you under the bus. But in the situation we're in, | 1:06:49 | 1:06:52 | |
-I could hang with you every day - it's fantastic. -No, you can't. | 1:06:52 | 1:06:55 | |
Well, if you're asking me... | 1:06:55 | 1:06:56 | |
-Not any more he can't, right, Cyndi? -No. | 1:06:56 | 1:06:59 | |
All right, let's leave Bret out of it for a second. | 1:07:00 | 1:07:03 | |
-You still haven't given me an answer. -He didn't answer! -I got you. | 1:07:03 | 1:07:07 | |
I'm going to ask you in a second. | 1:07:07 | 1:07:09 | |
Cyndi, if you were me, who would you fire? | 1:07:09 | 1:07:12 | |
Holly. | 1:07:12 | 1:07:13 | |
Why? | 1:07:13 | 1:07:15 | |
Because she's difficult. And because she's very negative. | 1:07:15 | 1:07:19 | |
But don't you find her very talented? | 1:07:19 | 1:07:21 | |
I think she's awesome. She dots all her dots. | 1:07:21 | 1:07:24 | |
But she's tough to work with. | 1:07:24 | 1:07:26 | |
-She's always doing all of it. -That's hilarious. | 1:07:26 | 1:07:28 | |
-Hilarious. -And so I think, I think... | 1:07:28 | 1:07:31 | |
And I did everything I... There's no pleasing her. | 1:07:31 | 1:07:34 | |
Holly, I assume you're not going to say Bret - | 1:07:36 | 1:07:38 | |
I assume you're going to say Cyndi. | 1:07:38 | 1:07:40 | |
Why would you fire Cyndi over yourself as Project Manager? | 1:07:40 | 1:07:43 | |
Because Cyndi is, like, | 1:07:43 | 1:07:46 | |
so difficult to direct and redirect. | 1:07:46 | 1:07:49 | |
She's got this unbelievable creative mind, | 1:07:49 | 1:07:52 | |
but it's just, it's all over the place. | 1:07:52 | 1:07:54 | |
And it's very hard to direct her. | 1:07:54 | 1:07:56 | |
When Summer was here, Summer was my Cyndi whisperer. | 1:07:56 | 1:07:59 | |
She was the one that was able to say things to her when Maria and I couldn't | 1:07:59 | 1:08:03 | |
because it was difficult to connect with her. When Sharon was here, | 1:08:03 | 1:08:06 | |
-Sharon would just say, "Shut the -BLEEP -up," | 1:08:06 | 1:08:08 | |
and then that'd be it, you know? Cyndi would listen to her. | 1:08:08 | 1:08:10 | |
-She'd tell you to shut the -BLEEP -up, too, missus. | 1:08:10 | 1:08:12 | |
OK, which... No, she's never said that to me, but that's OK. | 1:08:12 | 1:08:15 | |
So, she would do that. And Bret was here. | 1:08:15 | 1:08:17 | |
I thought, "Bret and Cyndi, both rockers. They're able to connect with each other. | 1:08:17 | 1:08:21 | |
"He'll be the one able to redirect her | 1:08:21 | 1:08:23 | |
"and get her to be focused on what we're doing." | 1:08:23 | 1:08:25 | |
-"Redirect" me? -And even he... | 1:08:25 | 1:08:27 | |
Even he at one point just walked up and said, "I can't." | 1:08:27 | 1:08:31 | |
And yet she did the best room. | 1:08:31 | 1:08:32 | |
She did a room that I allowed her to do | 1:08:32 | 1:08:34 | |
-and that I... -There we go! | 1:08:34 | 1:08:36 | |
I did! Well, I charged you with that. | 1:08:36 | 1:08:38 | |
"Allowed"! That's how it's always been! | 1:08:38 | 1:08:40 | |
That's what Project Managers do, honey. | 1:08:40 | 1:08:42 | |
Even when I was the Project Manager, you sent me out! | 1:08:42 | 1:08:44 | |
We're talking about this. Since you went through this whole mea culpa | 1:08:44 | 1:08:48 | |
-that you don't understand interior decor. -I lost my temper, I'm sorry. | 1:08:48 | 1:08:52 | |
And yet she came up with the best room of everybody. | 1:08:52 | 1:08:54 | |
-I gave her... -No, she said, "Paint the room red." | 1:08:54 | 1:08:56 | |
-I delegated... -She came up with the best room. | 1:08:56 | 1:08:58 | |
You're saying that she said to paint it red? | 1:08:58 | 1:09:01 | |
-She said she wanted a red room. -Yes. | 1:09:01 | 1:09:02 | |
So are you giving Holly credit for the room? | 1:09:02 | 1:09:05 | |
She said she wanted a red room. | 1:09:05 | 1:09:06 | |
I said, "I want a red room, and I want you to do it, Cyndi. | 1:09:06 | 1:09:09 | |
"This is where you shine." And that's where I put her in. | 1:09:09 | 1:09:12 | |
Cyndi, it doesn't seem, tactically, that was a smart thing to say - | 1:09:12 | 1:09:15 | |
everyone gave you credit for the room | 1:09:15 | 1:09:17 | |
and that was the best thing of the entire apartment. | 1:09:17 | 1:09:19 | |
I was with her the whole time at the prop house and she ran everything by me. | 1:09:19 | 1:09:23 | |
The thing that Holly's trying to say is | 1:09:23 | 1:09:25 | |
that, yes, Cyndi's room was great, | 1:09:25 | 1:09:28 | |
but Cyndi's not a good team player. | 1:09:28 | 1:09:30 | |
But she inspires so much. | 1:09:30 | 1:09:33 | |
Cyndi, why would you have said that | 1:09:34 | 1:09:36 | |
-the red was her idea? -Cos I'm honest. | 1:09:36 | 1:09:38 | |
-Cos I'm honest. -You are honest. Maybe too honest, in a certain way. | 1:09:38 | 1:09:41 | |
Here you are getting all this credit. | 1:09:41 | 1:09:43 | |
Bret, wouldn't she have been better off just not saying anything? | 1:09:43 | 1:09:46 | |
What, lying? | 1:09:46 | 1:09:47 | |
You're not lying if you don't say anything. | 1:09:47 | 1:09:50 | |
I would have probably kept my mouth shut in that situation. | 1:09:52 | 1:09:55 | |
But what I want to say in Holly's defence for one second, | 1:09:55 | 1:09:59 | |
I must state that Holly having to deal with | 1:09:59 | 1:10:01 | |
both of us of creative minds, | 1:10:01 | 1:10:04 | |
I'm hard to direct when I was on that team. | 1:10:04 | 1:10:05 | |
-You're hard to direct, apparently. -You're not hard to direct. | 1:10:05 | 1:10:08 | |
-You were very effective. -Thank you. | 1:10:08 | 1:10:10 | |
But you had your hands full, no matter what. | 1:10:10 | 1:10:12 | |
And then in the morning, you were wishing it wasn't you. | 1:10:12 | 1:10:16 | |
You had your hands full. | 1:10:16 | 1:10:17 | |
Once I took it on, I took it on. | 1:10:17 | 1:10:19 | |
-You got it on. -I was just shocked that she didn't step up. | 1:10:19 | 1:10:22 | |
But once I took it on, I did. | 1:10:22 | 1:10:23 | |
I think she did step up, though, in all fairness. | 1:10:23 | 1:10:26 | |
She did a room that everybody loved. | 1:10:26 | 1:10:28 | |
She did a room that was fantastic by every standard. | 1:10:28 | 1:10:30 | |
You may have picked the paint, but... | 1:10:30 | 1:10:32 | |
I didn't just pick the paint. | 1:10:32 | 1:10:33 | |
She ran everything by me, asked me about everything. | 1:10:33 | 1:10:36 | |
-Because you're the Project Manager. -That's right. | 1:10:36 | 1:10:38 | |
And I had five other rooms to think about. | 1:10:38 | 1:10:40 | |
-OK, I'll ask you this. -I was helping you with those five other rooms, missus. | 1:10:40 | 1:10:44 | |
-Mmm. -Oh, bull -BLEEP, -I certainly was! | 1:10:44 | 1:10:46 | |
-You undid stuff, but as far as vision... -No, I didn't undo stuff. | 1:10:46 | 1:10:48 | |
I went and said, "This Buddha, Holly. | 1:10:48 | 1:10:51 | |
"Look at this chair. Put some colour in." | 1:10:51 | 1:10:53 | |
Yeah, but it just... | 1:10:53 | 1:10:55 | |
The way you work, it's like it takes twice as long | 1:10:55 | 1:10:58 | |
to get you on task as anyone else. | 1:10:58 | 1:11:01 | |
-Oh, brother! -I'm going to ask you to step out just for a minute, please. | 1:11:01 | 1:11:04 | |
Just step out. I want to speak to Richard and Don. | 1:11:04 | 1:11:07 | |
Tough decision. Not easy. | 1:11:08 | 1:11:10 | |
No, it never is. | 1:11:10 | 1:11:12 | |
It's tough. | 1:11:18 | 1:11:19 | |
I'll tell you one thing. All three of us want to stay here. | 1:11:22 | 1:11:24 | |
-Cyndi's a fighter, you're a fighter. -We wouldn't be here up to this point | 1:11:24 | 1:11:28 | |
-if we didn't want to stay. -Right. | 1:11:28 | 1:11:29 | |
Or we would have just sat in there and not said anything. | 1:11:29 | 1:11:32 | |
I'm going to give you my two cents. They've been too easy on me in there. | 1:11:43 | 1:11:47 | |
They're never easy on me. Something is too off. | 1:11:47 | 1:11:50 | |
Like, I love it better when I get my balls busted. | 1:11:50 | 1:11:53 | |
I feel more at home. | 1:11:53 | 1:11:55 | |
They haven't busted my balls at all in there. | 1:11:55 | 1:11:57 | |
Something stinks for me. I haven't put my finger on it yet. | 1:11:57 | 1:12:00 | |
Richard, what do you think? | 1:12:02 | 1:12:03 | |
In my opinion, Bret took off. I'd fire Bret. | 1:12:03 | 1:12:06 | |
-Don, what would you do? -You know, I was going to say Holly | 1:12:06 | 1:12:09 | |
until Cyndi said, "Holly was the person | 1:12:09 | 1:12:11 | |
"who gave me the inspiration for everything that was great about my part of the project." | 1:12:11 | 1:12:15 | |
I think that was just an incredible tactical error. | 1:12:15 | 1:12:17 | |
-I don't know how you can keep her after that. -Very interesting. Amanda, let them in. | 1:12:17 | 1:12:21 | |
Yes, sir. | 1:12:21 | 1:12:22 | |
Let me get the door for you all. | 1:12:25 | 1:12:27 | |
Sit down, please. | 1:12:34 | 1:12:36 | |
All right, let me ask you this. Should I fire Bret... | 1:12:39 | 1:12:42 | |
Should I fire Cyndi, or should I fire you, Holly? | 1:12:42 | 1:12:46 | |
I think you got to fire Cyndi. | 1:12:46 | 1:12:48 | |
-I think he got to fire you. -I'm way more focused. | 1:12:48 | 1:12:51 | |
I'm more focused. | 1:12:51 | 1:12:52 | |
I'm easy to direct. It's hard to redirect her. | 1:12:52 | 1:12:55 | |
She has snapped at and been so rude | 1:12:55 | 1:12:57 | |
to so many people that we needed in task, | 1:12:57 | 1:12:59 | |
including these lovely, gorgeous guys | 1:12:59 | 1:13:02 | |
that were there to help us. | 1:13:02 | 1:13:03 | |
I literally said to you, "Please do not yell at them." | 1:13:03 | 1:13:05 | |
Because when the chips are down, when situations are hard, | 1:13:05 | 1:13:08 | |
you got to be able to understand and be nice | 1:13:08 | 1:13:10 | |
-to the people that you're delegating work to. -Bret, was Cyndi rude? | 1:13:10 | 1:13:13 | |
There was a couple times where she, in passion... | 1:13:13 | 1:13:16 | |
Was she rude or was she just a leader, | 1:13:16 | 1:13:18 | |
like, you know, "I want this done"? | 1:13:18 | 1:13:20 | |
There's a difference between being tough and smart | 1:13:20 | 1:13:23 | |
and being rude and stupid, right? Was she rude? | 1:13:23 | 1:13:26 | |
I wouldn't say rude, | 1:13:26 | 1:13:27 | |
but I'd say she was pretty aggressive with them | 1:13:27 | 1:13:29 | |
and more than we needed them to be. | 1:13:29 | 1:13:31 | |
She needs a little more honey in her than vinegar. | 1:13:31 | 1:13:33 | |
She alienates people that are just there to work for us. | 1:13:33 | 1:13:36 | |
But, Holly, she did the best room. | 1:13:36 | 1:13:39 | |
But I gave her the idea for the room. | 1:13:39 | 1:13:41 | |
-Oh, bull -BLEEP, -you said red! -And I dele... | 1:13:41 | 1:13:43 | |
Cyndi, you told us that that was her idea. | 1:13:43 | 1:13:46 | |
-She said red! She said red! -Correct. -As the Project Manager... | 1:13:46 | 1:13:49 | |
No, and then I said, "I'm done up to here with the safe stuff," | 1:13:49 | 1:13:53 | |
and I finally went in and said, "Let's have some freakin' fun | 1:13:53 | 1:13:56 | |
-"and bring the -BLEEP -damn patent-leather furniture in." -Right. | 1:13:56 | 1:14:00 | |
-"And make it fun." -And I was right there the whole time. | 1:14:00 | 1:14:02 | |
Saying, "Yes, let's do that." But they're talking about this room, | 1:14:02 | 1:14:06 | |
which was the best room in the house. | 1:14:06 | 1:14:08 | |
And I was right to put you in charge of that room - | 1:14:08 | 1:14:10 | |
-that was something they liked. -You're taking credit for my work now. | 1:14:10 | 1:14:13 | |
-And I should be fired? -I have to take credit for everything | 1:14:13 | 1:14:16 | |
-because I'm Project Manager. -So you should be fired. | 1:14:16 | 1:14:19 | |
You should be, because it's very difficult... | 1:14:19 | 1:14:21 | |
-Cyndi, should you be fired? -No. | 1:14:21 | 1:14:23 | |
In all fairness, Holly, whether you like Cyndi or not - | 1:14:23 | 1:14:26 | |
you obviously don't like her much... | 1:14:26 | 1:14:28 | |
-No, I do like her. It's just hard to work with her. -She's got a great... | 1:14:28 | 1:14:31 | |
Yeah, but, you know, all genius are... | 1:14:31 | 1:14:33 | |
Did you ever hear that - Broadway shows - | 1:14:33 | 1:14:34 | |
He's not easy to work for, either. | 1:14:34 | 1:14:36 | |
The most brilliant actors and actresses on Broadway, | 1:14:36 | 1:14:40 | |
they say, are the most difficult, OK? | 1:14:40 | 1:14:42 | |
I mean, people are difficult | 1:14:42 | 1:14:44 | |
-if they have a certain intelligence. -Yeah. | 1:14:44 | 1:14:46 | |
When you disenfranchise people, they don't work for you | 1:14:46 | 1:14:49 | |
and that makes it more difficult for you to achieve the task. | 1:14:49 | 1:14:51 | |
That's what I had to work with. And Bret got a taste of it and he's being all cool now, | 1:14:51 | 1:14:55 | |
but, ooh, yesterday was a whole other story. | 1:14:55 | 1:14:57 | |
-I think that... -I'm just letting you talk. | 1:14:57 | 1:14:59 | |
-I know you are, Bret. -I'm listening. | 1:14:59 | 1:15:00 | |
-You got to be able to... -I don't think you're that easy, Holly. -I've said my peace. | 1:15:00 | 1:15:04 | |
I've said my peace. | 1:15:04 | 1:15:05 | |
Holly, can Bret keep up with you two? | 1:15:05 | 1:15:07 | |
Well, he was doing a better job in the apartment. | 1:15:07 | 1:15:10 | |
-In the room, he's being diplomatic. -I'm not knocking it, Bret, | 1:15:10 | 1:15:12 | |
but I'm watching these two go at it and you're sort of sitting | 1:15:12 | 1:15:15 | |
and Mr LeFrak said, "Why not fire Bret?" | 1:15:15 | 1:15:19 | |
-Let me start by this. I... -And I wouldn't have thought of it, frankly, but he's right. | 1:15:19 | 1:15:22 | |
I'm watching these two go at it. They have unbelievable spirit. | 1:15:22 | 1:15:26 | |
-Right. -You weren't here but in all fairness, | 1:15:26 | 1:15:28 | |
-you had our permission, so I can't do it on that. -Right. | 1:15:28 | 1:15:31 | |
But I wonder, can you really keep up with them? | 1:15:31 | 1:15:34 | |
Unfortunately, I'm overly passionate about what I feel. | 1:15:34 | 1:15:37 | |
I keep my temper down because when it blows, it's awful. | 1:15:37 | 1:15:40 | |
And so what I'm saying is | 1:15:40 | 1:15:42 | |
that I focus my energy and my passion. | 1:15:42 | 1:15:45 | |
I had to run 18 flights of stairs... | 1:15:45 | 1:15:47 | |
Yeah, but you don't have the same energy or passion | 1:15:47 | 1:15:49 | |
-as Cyndi or Holly right now. -I do have the same. | 1:15:49 | 1:15:52 | |
-I'm being respectful. -I don't think so. I don't know. | 1:15:52 | 1:15:55 | |
Temperature's getting pretty warm at the other side of the table. | 1:15:55 | 1:15:58 | |
I-I feel I gave 1,000%. | 1:16:00 | 1:16:02 | |
In 48 hours, I slept two hours to get back here. | 1:16:02 | 1:16:05 | |
But, Bret, I love what I see from these two in terms of passion. | 1:16:05 | 1:16:08 | |
She won in terms of the room. | 1:16:08 | 1:16:10 | |
You did nice photographs, but photographs are photographs. | 1:16:10 | 1:16:13 | |
You didn't do it to the same extent. | 1:16:13 | 1:16:14 | |
But she really did do a good job with that room. | 1:16:14 | 1:16:17 | |
-Don't you agree? -Great job. But I was painting the wall and taking pictures out the window | 1:16:17 | 1:16:21 | |
while I'm doing this. I'm time managing, | 1:16:21 | 1:16:23 | |
running 18 flights of stairs, taking photos. I don't know what more I could done. | 1:16:23 | 1:16:26 | |
Could you see Bret being fired, Holly? | 1:16:26 | 1:16:29 | |
You know what I'm saying. | 1:16:29 | 1:16:31 | |
Whether you like Cyndi or not, and you don't like her much, | 1:16:31 | 1:16:35 | |
but you know what, she's got a great artistry, | 1:16:35 | 1:16:37 | |
-a great uniqueness. -She does, but I'd never hire her to work for me. | 1:16:37 | 1:16:40 | |
I wouldn't hire you either, Miss Thing. | 1:16:40 | 1:16:42 | |
We're talking about for this particular task. | 1:16:42 | 1:16:44 | |
For this task, I loved what she did and I gave her the rope to do it. | 1:16:44 | 1:16:48 | |
And Bret, I just... | 1:16:48 | 1:16:50 | |
I want Bret just to be... Look. Bret's going to be who Bret is. | 1:16:50 | 1:16:53 | |
But I want Bret to be as strong about what he felt... | 1:16:53 | 1:16:56 | |
Is Bret as strong as Cyndi? | 1:16:56 | 1:16:59 | |
I thought he was effective during the task, | 1:16:59 | 1:17:01 | |
-but now he's just... -Not very effective now. | 1:17:01 | 1:17:04 | |
What have I not said, Holly? | 1:17:04 | 1:17:06 | |
I don't know, it just seems to me that you're not very effective. | 1:17:06 | 1:17:10 | |
-I just want you to be... -I disagree 1,000%. | 1:17:10 | 1:17:12 | |
What I'm saying is, Holly came out of the box not wanting to do it. | 1:17:12 | 1:17:15 | |
When she accepted the task, she did a fantastic job. | 1:17:15 | 1:17:18 | |
I did everything I could do, everything you could do, | 1:17:18 | 1:17:21 | |
and then let me say the one key element we're all missing. | 1:17:21 | 1:17:23 | |
She did one room. We did five or six. | 1:17:23 | 1:17:25 | |
-BLEEP! -I helped her with every freakin' room! | 1:17:25 | 1:17:28 | |
I walked through courts with her! | 1:17:28 | 1:17:29 | |
-But I didn't see that part. -I walked through the prop house with her. | 1:17:29 | 1:17:33 | |
We spent two or three hours in that prop house | 1:17:33 | 1:17:36 | |
focusing on your one room, which in the end paid off, | 1:17:36 | 1:17:39 | |
but I sat there and allowed that. | 1:17:39 | 1:17:41 | |
I made sure that, as Project Manager, | 1:17:41 | 1:17:42 | |
I helped direct you with that. | 1:17:42 | 1:17:44 | |
Look, I just felt like it was a very difficult task | 1:17:44 | 1:17:48 | |
in the time we had, and I did the best I could. | 1:17:48 | 1:17:50 | |
Bret, let me ask you this. | 1:17:50 | 1:17:52 | |
Do you have the same energy that these two have? | 1:17:52 | 1:17:54 | |
Both of them have a lot of energy. I feel I have just as much energy. | 1:17:54 | 1:17:57 | |
I feel that my place sometimes when they're having this discussion | 1:17:57 | 1:18:00 | |
-is not for me to butt in. -But it is. When I ask a question, "Who should I fire?" | 1:18:00 | 1:18:06 | |
and you say, "Oh, I love Holly so much. I love Cyndi so much. | 1:18:06 | 1:18:09 | |
"They're so great and wonderful," it's like... | 1:18:09 | 1:18:12 | |
-No, I was just trying... -Who should I fire? | 1:18:12 | 1:18:15 | |
Cyndi. | 1:18:19 | 1:18:21 | |
-Why? -Because her time-management | 1:18:22 | 1:18:24 | |
and my time-management skills are not great, | 1:18:24 | 1:18:27 | |
and I think I'm bad and I think that she's worse. | 1:18:27 | 1:18:29 | |
But she's very creative. | 1:18:29 | 1:18:31 | |
And I think that Holly did a better job of managing our time. | 1:18:31 | 1:18:34 | |
Holly, do you think I should fire Bret? | 1:18:34 | 1:18:36 | |
No. I really don't. | 1:18:37 | 1:18:39 | |
And I didn't think | 1:18:39 | 1:18:41 | |
that you could even factor in the fact that he wasn't there. | 1:18:41 | 1:18:43 | |
But as I've been Project Manager three times, | 1:18:43 | 1:18:46 | |
there have been people who haven't been there. | 1:18:46 | 1:18:48 | |
So that's been an issue in trying to pick up the slack. | 1:18:48 | 1:18:51 | |
But I just was surprised with how well Bret came through. | 1:18:51 | 1:18:54 | |
And on the other hand, I think Cyndi | 1:18:54 | 1:18:56 | |
is very difficult to deal with. | 1:18:56 | 1:18:57 | |
In all fairness, Cyndi, | 1:19:02 | 1:19:03 | |
this is not the first time that this has come up. | 1:19:03 | 1:19:06 | |
And the thing I didn't like | 1:19:06 | 1:19:08 | |
was that I thought you did the room. | 1:19:08 | 1:19:10 | |
I thought it was your conception, your everything, including the colours and all. | 1:19:10 | 1:19:14 | |
But why did you tell me that it was Holly's idea to make the room red? | 1:19:14 | 1:19:18 | |
-She... -And that was - excuse me. | 1:19:18 | 1:19:20 | |
That was one of the things that the executives liked so much. | 1:19:20 | 1:19:23 | |
And you know what? We all want to be truthful. | 1:19:23 | 1:19:25 | |
-Why? Cos I was truthful. -You were very truthful. | 1:19:25 | 1:19:28 | |
I wouldn't throw her under the bus - | 1:19:28 | 1:19:30 | |
-I found her very difficult. -I respect your truthfulness. | 1:19:30 | 1:19:32 | |
You didn't have to bring it up - that wouldn't be untruthful. | 1:19:32 | 1:19:35 | |
They liked Bret's pictures and the red room. | 1:19:35 | 1:19:37 | |
And the fact that you gave up, that you gave up the fact | 1:19:37 | 1:19:40 | |
-that Holly's idea was the red room... -No! | 1:19:40 | 1:19:42 | |
Cyndi, I'm a big fan of yours. I love your music. | 1:19:42 | 1:19:44 | |
I love you. I think you're an amazing woman. | 1:19:44 | 1:19:46 | |
But why did you bring up the fact that it was Holly's idea? | 1:19:46 | 1:19:50 | |
Because it was true! | 1:19:50 | 1:19:52 | |
OK. Cyndi, you're fired. | 1:19:52 | 1:19:54 | |
-All right. -Thank you. Thank you. | 1:19:59 | 1:20:01 | |
Get out. Thank you. | 1:20:02 | 1:20:05 | |
-Bye-bye. -Bye, Cyn. | 1:20:17 | 1:20:19 | |
Cyndi, I don't want to leave like this. | 1:20:19 | 1:20:22 | |
-I'm leaving. -I know. -It's like high school, Bret. | 1:20:22 | 1:20:24 | |
-It's like -BLEEP -high school. -It's not personal. | 1:20:24 | 1:20:27 | |
-What I found personal was time management, and that was bull -BLEEP | 1:20:27 | 1:20:30 | |
-and I found it really difficult... -My time management sucks. | 1:20:30 | 1:20:32 | |
That's all right. It's fine. I'll see you. | 1:20:32 | 1:20:36 | |
All right. | 1:20:36 | 1:20:38 | |
-That wasn't easy. -No. That was a tough choice. | 1:20:44 | 1:20:47 | |
Definitely tough, but you can't make tactical errors like that and make it through to the end. | 1:20:47 | 1:20:52 | |
I do not think Donald made the right decision. | 1:21:23 | 1:21:26 | |
It was Holly's apartment they didn't like, not my room. | 1:21:26 | 1:21:29 | |
I think Holly talks out of both sides of her mouth. | 1:21:29 | 1:21:33 | |
She can flatter people | 1:21:33 | 1:21:34 | |
but behind their backs, she can "Chh!" | 1:21:34 | 1:21:37 | |
Now that I'm not there, let's see how it goes without me. | 1:21:37 | 1:21:40 |