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How or where and two out of the blue, with Graham Little and Joanne | :00:19. | :00:22. | |
Salley thought stop we are live from the of a summit us tonight, a | :00:22. | :00:26. | |
musical pedigree includes to let in at Gary Lightbody and supporting | :00:26. | :00:30. | |
David Gray. Now a latest album has topped the Irish charts, Lisa | :00:30. | :00:38. | |
Hannigan will be singing live for us. He has already buy it a big art | :00:38. | :00:42. | |
award in London this year. Tonight, he is moulding a masterpiece in 60 | :00:42. | :00:48. | |
minutes, sculptor Patrick Colhoun and. And he is about to make waves | :00:48. | :00:53. | |
in a major new TV series about the Titanic, it is actor Gerard | :00:53. | :01:03. | |
:01:03. | :01:07. | ||
McCarthy! Agreed to have here. Mick is a comfortable. In it is great to | :01:07. | :01:11. | |
be home. You have spent a lot of time in Dublin and London, do you | :01:11. | :01:15. | |
get home not much? And try to get home at least once a month, very | :01:15. | :01:19. | |
recently it has been about once a week. A do still bring you watching | :01:20. | :01:27. | |
them from your mum. See his like no. Do not start that! What do you miss | :01:27. | :01:33. | |
most about this place when you are away? We it has to be the sense of | :01:33. | :01:38. | |
humour. When you are home, the crack you have with your mates and | :01:38. | :01:41. | |
the crack you have with complete strangers, is very exclusive to | :01:41. | :01:45. | |
Northern Ireland, so that is heavily what I'm is the most. | :01:45. | :01:48. | |
men of the plane touches down, you can have banter with the taxi | :01:48. | :01:53. | |
driver. We will be speaking to Gerard about the great actors he | :01:53. | :01:57. | |
has worked with and then of course there is the cast of Hollyoaks. | :01:57. | :02:02. | |
First a, a big thanks to Davy Francis who sent this in. He | :02:02. | :02:08. | |
decided he wanted to commemorate the presenters of Out of the Blue. | :02:08. | :02:12. | |
Thank you very much. Good to see that we are inspiring some art of | :02:12. | :02:19. | |
our own! Grain, you look a bit old in that picture. Christmas for | :02:19. | :02:23. | |
theatres up and down the land means a ritual chorus of lamp rubbing and | :02:23. | :02:27. | |
the hauling out of course costumes. Panto is back and is apparently | :02:28. | :02:31. | |
timeless obsession with men laying on the lipstick and dressing up as | :02:31. | :02:35. | |
Danes. Mark Maclean it dared to share one famous cross-dresser's | :02:35. | :02:45. | |
:02:45. | :02:46. | ||
dressing room. This year, the grande dame of comedy, may make | :02:46. | :02:50. | |
that reach because there until it in the grand opera house. She takes | :02:50. | :02:54. | |
centre stage for the 22nd year running. My mummy and daddy love me. | :02:55. | :02:59. | |
My mummy wanted a weaker and, at my daddy wanted a wee boy, both of | :02:59. | :03:03. | |
them are delighted! They may not thank me for dragging it up, but | :03:03. | :03:08. | |
some of our finest male entertainers, Jimmy Young, the two | :03:08. | :03:12. | |
armies, Barry Humphries, or have a great reputation that bidding on | :03:12. | :03:18. | |
women's close to earn a living. What is it that makes a man want to | :03:18. | :03:24. | |
don-a-dress and UN whose idea was it in the first place? I have come | :03:24. | :03:33. | |
for a sneak peek been made but that is's dressing room. Come end! | :03:33. | :03:40. | |
or should I say John Lennon. I am almost there. Looking good. How | :03:40. | :03:45. | |
long have you been at this game, dressing up as a woman? About 40 | :03:45. | :03:52. | |
years. Actually, 25 years. How does putting it on a dress allow you to | :03:52. | :03:59. | |
get away with more? I think it is because I am another character. | :03:59. | :04:06. | |
Don't you be laughing at love, at least I can change. John can think | :04:06. | :04:15. | |
something, but why he is dressed as May, he can get away with it. I | :04:15. | :04:21. | |
have a... UK been aware of it, as long as you are dressed as May. You | :04:21. | :04:31. | |
:04:31. | :04:34. | ||
fancy me don't shoot. Any one there, looking at these Abri brought in! | :04:34. | :04:39. | |
One of John's cross-dressing predecessors, Jimmy Young knew no | :04:39. | :04:44. | |
boundaries. He was one of the first comics to confront the troubles. | :04:45. | :04:54. | |
How d'you know if you are a Catholic or a Protestant? He is | :04:54. | :04:58. | |
gags were loved by both sides of the sectarian divide. Nobody could | :04:59. | :05:04. | |
stand up and start sliding the other side of as he did with or | :05:04. | :05:09. | |
insular will. You could not stand up and do that as a guy, because | :05:09. | :05:17. | |
people would think that was what she believed. When you are dressed | :05:17. | :05:22. | |
up you will get away with it. Ironically, the Church encourage | :05:22. | :05:24. | |
performers to cross dress in Elizabethan times. The English | :05:24. | :05:29. | |
clergy because bridge laws that banished women from the stage, some | :05:29. | :05:33. | |
men had to take the lead female roles. The church was deeply | :05:33. | :05:37. | |
concerned that women did not know their place. In the theatre, that | :05:37. | :05:41. | |
meant that they would have been centre stage in the Elizabethan | :05:41. | :05:44. | |
society. Shakespeare was not the first to get his meal actors to | :05:45. | :05:50. | |
dress up in drag. The earliest origins of West End Theatre are in | :05:50. | :05:53. | |
ancient Greece and the greatest roles or all performed by men, | :05:54. | :05:59. | |
because women were prohibited from appearing in theatre and | :05:59. | :06:02. | |
participating in the do. They were almost like slaves, certainly | :06:02. | :06:06. | |
second class citizens, so it was effectively an all-male stage, | :06:06. | :06:10. | |
performing these great roles. more recent times, and the early | :06:10. | :06:15. | |
salad, Dame Edna and the Little Britain boys have all become a name | :06:15. | :06:18. | |
cross-dressers on British TV and Brendan O'Carroll's Head Mrs | :06:18. | :06:28. | |
Brown's boys show that so the audience had not tired of this. | :06:28. | :06:35. | |
is a man in a dress. I think a man wearing a dress is naturally funny. | :06:35. | :06:41. | |
I don't get it. A I think men who dress up as women will be hilarious. | :06:41. | :06:51. | |
:06:51. | :06:53. | ||
I don't get it., on Sun, Give Me Your arm. A relocate a? Go fancy a | :06:53. | :07:01. | |
drink? I think Ralph was OK until you walk down Victoria Street. | :07:01. | :07:06. | |
Regular listeners to his radio show may think that is how he presents | :07:06. | :07:13. | |
it every evening. It is not a first for you Gerard? My character in | :07:13. | :07:17. | |
Hollyoaks that I played for five years was a cross-dresser, and it | :07:17. | :07:23. | |
was not, be like that, he but it was any, never having met anyone | :07:23. | :07:28. | |
like that, it was quite weird to play someone who was very serious | :07:28. | :07:33. | |
about it and it was not played for gags. The only reference that I had | :07:33. | :07:38. | |
growing up was Boy George and it beard towards that side of the | :07:38. | :07:41. | |
whole new romantic thing. You're only supposed to be in Hollyoaks | :07:42. | :07:47. | |
for three months, but obviously you were there for years. Are you happy | :07:47. | :07:51. | |
enough that you stay that long? Was it fun? They brought me up because | :07:51. | :07:55. | |
they wanted to drive his character and the producer was adamant that | :07:55. | :07:59. | |
he wanted the character in the show and Channel 4 were not sure that | :07:59. | :08:04. | |
would work, so they agreed to bring the end for 12 episodes on a three- | :08:04. | :08:09. | |
month contract and my agent says if it works, brilliant, into Manns | :08:09. | :08:13. | |
people have forgotten about it. I ended up staying for five years. I | :08:13. | :08:16. | |
think because the character was so out there and we do have so much | :08:16. | :08:21. | |
fun with the story lines, then make up eccentric, it stopped me from | :08:21. | :08:25. | |
getting bored, which is why the five years when so quickly. | :08:25. | :08:30. | |
returned once, and the door is open, would you be tempted to go back? | :08:30. | :08:34. | |
Yeah. He if they want to me and I was available, I would definitely | :08:34. | :08:38. | |
go because I had such a great time. It was so much fun and I owe them | :08:38. | :08:42. | |
so much. It was my first job in front of a camera and to get that | :08:42. | :08:47. | |
experience of doing that every day for five years was prices. If they | :08:47. | :08:50. | |
asked me and I could do it, I definitely would. It must be hard | :08:50. | :08:55. | |
work? Are hard as part would be getting up at 6:30am to be in make- | :08:55. | :09:01. | |
up, but that was outweighed by the 35 stunning girls that you work | :09:01. | :09:06. | |
with every day! I you don't mind getting out of bed at 5:30am then. | :09:06. | :09:10. | |
You went from a West Belfast to the West End and it was Kenneth Branagh | :09:10. | :09:16. | |
that you have to find we are acting career? Kenneth Branagh set up the | :09:16. | :09:20. | |
Renaissance scholarship and it amaze me, at so many people do not | :09:20. | :09:24. | |
know Kenneth Branagh is from Belfast, but he set up his | :09:24. | :09:27. | |
scholarship that pays for Northern Irish guineas to go and train as an | :09:27. | :09:34. | |
actor, whether or not is in England or America and I applied for it in | :09:34. | :09:39. | |
2000 and was lucky enough to get awarded it. It's me it everything | :09:39. | :09:42. | |
at college at so much easier, living away from home for the first | :09:42. | :09:48. | |
time. I went to Epsom for two years to study musical theatre, graduated | :09:48. | :09:53. | |
and went into the Abba musical, Mamma Mia, within a couple of | :09:53. | :09:59. | |
months. I did that for a few years, Carousel, Saturday Night Fever, | :09:59. | :10:05. | |
directed by Arlene Phillips, so it was fun. That was it her. To come | :10:05. | :10:11. | |
all that way up of course. It has been a crazy journey. It proudly | :10:11. | :10:14. | |
took its name from an American president the who played his part | :10:14. | :10:17. | |
in the Northern Ireland peace process. The design of the Clinton | :10:17. | :10:21. | |
Centre in Enniskillen is something of a talking how -- point in the | :10:21. | :10:25. | |
town. So as part of our Love it or Loathe it series we asked locals of | :10:25. | :10:35. | |
:10:35. | :10:39. | ||
the see the building as a monument to appease or a monumental mistake. | :10:39. | :10:45. | |
I am Jeni McRae, the ex-president and Enniskillen and chamber of | :10:45. | :10:49. | |
Compton's and this is the centre. It was built on the bomb site and | :10:49. | :10:53. | |
I'm sure you remember the Remembrance Day bombing in | :10:53. | :10:56. | |
Enniskillen in 1987. The name was given to it from the former | :10:56. | :11:01. | |
President Bill Clinton and he dedicated the centre to peace and | :11:01. | :11:06. | |
prosperity in Ireland. This is a wonderful piece of modern art. It | :11:06. | :11:10. | |
was designed by a local architect from Enniskillen and you can see it | :11:10. | :11:17. | |
is very modern. I absolutely love it. I think it suits the town. It | :11:17. | :11:22. | |
is very attractive. It is very simplistic, it has straight lines | :11:22. | :11:27. | |
and is a very unusual shape and the Blue is to contrast with the water | :11:27. | :11:31. | |
beside it. It was the same old traditional building, it would not | :11:31. | :11:41. | |
:11:41. | :11:45. | ||
have the same effect. It is a new building for new beginnings I have | :11:45. | :11:49. | |
been a resident of them has gone for 45 years. As a lover of all | :11:49. | :11:53. | |
buildings I have loved living in Enniskillen, in its history, its | :11:53. | :11:58. | |
character and its buildings are all beautiful. Until this are right | :11:58. | :12:04. | |
behind me. There is no character. It is not in keeping with the town. | :12:04. | :12:10. | |
Two this site, we had the war memorial. It is now dwarfed by this | :12:11. | :12:15. | |
monster! When you come up his street, your first impression it is | :12:15. | :12:20. | |
a has Enniskillen got a present. It is in a brown malt looking at you. | :12:20. | :12:25. | |
It is meant to mean peace, there is nothing of these will about Pat or | :12:25. | :12:32. | |
brown. Be only locals who use it are the local water rats, who are | :12:32. | :12:42. | |
:12:42. | :12:43. | ||
busily colour blind. Ms Gillan the with this is losing its own culture. | :12:43. | :12:48. | |
He had heard the arguments for and against, can you come forward and | :12:48. | :12:58. | |
:12:58. | :13:01. | ||
vote with your feet? As a victim of the Enniskillen bombing, where my | :13:01. | :13:06. | |
father was murdered, I think this building is disgusting. It is an | :13:06. | :13:11. | |
eyesore. A I've been is building it there is a great assets and a | :13:11. | :13:17. | |
contrast really with the older buildings they lit stir tea. | :13:17. | :13:23. | |
looks unfinished. It symbolises that the town is changing. It is | :13:23. | :13:33. | |
:13:33. | :13:39. | ||
Making the homesick! You have gone from Hollyoaks to Shakespeare, that | :13:39. | :13:44. | |
is a very different challenge? was a random phone call because I | :13:44. | :13:48. | |
was coming to the end of my Hollyoaks contract and my agent | :13:48. | :13:52. | |
said, what do you want to do? I definitely wanted to get back and | :13:52. | :13:57. | |
do some kind of play. I said I wanted to do something far removed | :13:57. | :14:02. | |
from Hollyoaks. The last time I had done Shakespeare was at drama | :14:02. | :14:12. | |
school. I got the phone call whilst I was still filming, do you want | :14:12. | :14:18. | |
this role at the Globe? Shakespeare? At the Globe? The | :14:18. | :14:23. | |
first time I have done it. I would be mad to do it and mad to not do | :14:23. | :14:28. | |
it. I took the job and two weeks after I finished Hollyoaks, and was | :14:28. | :14:33. | |
on stage. Still on screen at the same time. Then Los Angeles and | :14:33. | :14:39. | |
newer? Merry Wives of Windsor, it was a massive hit. Be transferred | :14:39. | :14:46. | |
to Los Angeles, then a New York. This part, I thought it was going | :14:46. | :14:52. | |
to be three months, it was seven months. It just ran. Was there a | :14:52. | :14:57. | |
difference with American audiences? Yes. The thing about performing at | :14:57. | :15:03. | |
the Globe is its massive, it has been reconstructed in exactly the | :15:03. | :15:08. | |
same way as it was. It is performed without lights or set. You don't | :15:08. | :15:15. | |
have anything that was not around in the time of Shakespeare. You | :15:15. | :15:20. | |
adapt to that and then in America, we cannot see the audience and we | :15:20. | :15:26. | |
had lights and the set was moving. The American audience got a very | :15:26. | :15:32. | |
different sense of humour. When in Los Angeles on the press doubt, Tom | :15:32. | :15:36. | |
Hanks was there and he has this distinctive laugh and he was | :15:36. | :15:39. | |
laughing and I was thinking in character, that is Woody from Toy | :15:39. | :15:45. | |
Story! The only time in history when a Shakespearean character has | :15:45. | :15:50. | |
thought that! The best experience ever but the scariest thing because | :15:50. | :15:55. | |
it's also the thing were you think, if I forget my lines, I cannot make | :15:55. | :16:00. | |
it up. In any other production, you just improvise, you get around. | :16:00. | :16:05. | |
That's not the kind of stuff that you can forget and make-up. We will | :16:05. | :16:08. | |
do some more name-dropping because you have worked with Neve Campbell, | :16:08. | :16:17. | |
Derek Jacobi, how did you find that? Amazing. The luckiest thing | :16:17. | :16:23. | |
about my career is that no matter where I have worked, it is all this | :16:23. | :16:29. | |
with people that I have learnt so much from. And that amazing set of | :16:29. | :16:36. | |
actors included. They are working on Titanic with me. You watch them | :16:36. | :16:39. | |
working and it then becomes fairly evident how their careers have | :16:39. | :16:46. | |
panned out the way that they have and how they have got here. Derek | :16:46. | :16:51. | |
Jacobi, in his 70s, and I watched him on set, never forgetting any | :16:51. | :16:55. | |
lines for never having to do anything twice. And then you | :16:55. | :17:02. | |
remember that the reason why he is so well regarded is because he is | :17:02. | :17:06. | |
one of the best theatre actors we have. And he isn't used to getting | :17:06. | :17:13. | |
a second chance. You watch him and think, you are incredible. Those | :17:13. | :17:19. | |
kind of people, you just soak it all in. Thank you very much for | :17:19. | :17:26. | |
joining us. Best of luck with the Titanic serious. Our next story is | :17:26. | :17:30. | |
of an extraordinary woman who could not have done more to encourage | :17:30. | :17:33. | |
talent in Northern Ireland. She survived the Nazi camps of the | :17:33. | :17:37. | |
Holocaust before making it to Belfast, where she became an award- | :17:37. | :17:43. | |
winning choreographer of modern dance. Helen Lewis was barely 5 ft | :17:43. | :17:47. | |
tall but her impact was massive. Not even frostbitten feet would | :17:47. | :17:57. | |
:17:57. | :18:00. | ||
stop her from dancing. From the age of six, Helen Lewis de there was on | :18:00. | :18:06. | |
the one thing she wanted to do. Dance. Born in 1916 into a cultured | :18:06. | :18:11. | |
Jewish family living in what was then Czechoslovakia, at age 22 she | :18:11. | :18:15. | |
found herself in Prague, freshly graduated from the celebrated | :18:15. | :18:21. | |
School of Dance and married to her new husband, Paul. It seemed to be | :18:21. | :18:26. | |
going well but for a girl with her background it was simply a case of | :18:26. | :18:31. | |
wrong place, wrong time. By summer of 1939, all of Czechoslovakia was | :18:31. | :18:37. | |
under Nazi occupation. Helen had just finished her dance training | :18:38. | :18:42. | |
and she was ready to take on the major roles in the company she was | :18:42. | :18:46. | |
wet but at that stage, she could not because she was Jewish and she | :18:46. | :18:53. | |
was not even allowed to teach. In time, she was deported. When she | :18:53. | :18:58. | |
was in Auschwitz, she survived two selections to the gas chambers. The | :18:58. | :19:04. | |
first one, she had Clones over one arm. And for some miraculous reason, | :19:04. | :19:09. | |
she switched her clothes to the other, thus hiding the scars on her | :19:09. | :19:14. | |
tummy and she was allowed through. She had survived one, how could she | :19:14. | :19:22. | |
survive another? On this occasion, there was a queue going towards the | :19:22. | :19:25. | |
panel of people making the selection and acute coming away | :19:25. | :19:33. | |
from them, out past. And she waited for her moment. And whenever she | :19:33. | :19:37. | |
saw them looking away, she stepped in to the queue that was coming | :19:37. | :19:44. | |
away. Helen's next destination was this concentration camp. At one | :19:44. | :19:48. | |
stage she was asked to dance and she said she was starting with | :19:48. | :19:53. | |
hunger, really cold. She did not think she had any energy, she could | :19:53. | :19:57. | |
not think of dancing because with all of those injuries, all of the | :19:57. | :20:02. | |
operations whilst in the camp, she had been told she could not dance | :20:02. | :20:07. | |
again but she did and she thought, were did she get that energy? She | :20:07. | :20:11. | |
could never understand. Helen survived the final death march by | :20:11. | :20:15. | |
lying in a ditch. But both her young husband and her beloved | :20:15. | :20:22. | |
mother died in the camp. returned to Prague and there was | :20:22. | :20:26. | |
absolutely nobody. But fate intervened. Harry Lewis, a former | :20:26. | :20:31. | |
friend from Prague who had fled to Belfast before the war, spotted her | :20:31. | :20:37. | |
published by the Red Cross. How retract Helen down, they fell in | :20:37. | :20:43. | |
love and married in proud in 1947. He brought his new bride back to | :20:43. | :20:46. | |
Belfast, as she described it, a faraway city in a foreign land. And | :20:46. | :20:52. | |
once again, dancing shipped your life. In 19 to P6, Grosvenor High | :20:53. | :20:55. | |
School after to choreograph a school production of the bartered | :20:55. | :21:02. | |
Bride. It was a very first time modern dance was seen in Northern | :21:02. | :21:10. | |
Ireland. Nick Bryson is a former pupil. I just imagine this huge | :21:10. | :21:14. | |
impact, whenever she arrived and she brought dance to Northern | :21:14. | :21:24. | |
:21:24. | :21:26. | ||
Ireland as an art form. I Always remember Helen telling me, where is | :21:26. | :21:29. | |
where in the performance space and what is what part of the body and | :21:29. | :21:34. | |
high is what movement quality you move that body part with. I think | :21:34. | :21:39. | |
Helen brought to us from overseas, from Europe, and give them context | :21:39. | :21:44. | |
in Northern Ireland. Helen went on to choreograph for the Lyric | :21:44. | :21:49. | |
Theatre as well as many operas. In 1969 she formed the Belfast modern | :21:49. | :21:54. | |
Danske, which launched the careers of many professional dancers. | :21:54. | :21:58. | |
Passionate about her art, in 2001 she was appointed an MBE for | :21:58. | :22:02. | |
services to contemporary dance. Testament to the impact she had | :22:02. | :22:10. | |
made in Northern Ireland. nurtured and love of dance in me. | :22:10. | :22:20. | |
Go against the music quickly... And an ability to dance and teach. | :22:20. | :22:23. | |
was a huge inspiration, she gave me belief that I could go into | :22:23. | :22:31. | |
professional dancing. Helen passed away in 2009 at the age of 93. Even | :22:31. | :22:35. | |
through the darkest days, she remained committed and passionate | :22:35. | :22:39. | |
about what she loved most. And her legacy lives on in the country she | :22:39. | :22:45. | |
came to call her own. What an inspirational woman. He has just | :22:45. | :22:47. | |
had 60 minutes to make a contemporary sculpture out of clay. | :22:47. | :22:53. | |
How did you get on? The form has been made and I still have work to | :22:53. | :22:57. | |
do. It has to be dried out and refined. It has to be glazed and | :22:57. | :23:05. | |
fired again. But the form is there. We will have a look. This is what | :23:05. | :23:09. | |
it will look like. It is the top of your head? Partial self-portrait. | :23:10. | :23:14. | |
All that work, you will not do tomorrow because you are very busy? | :23:14. | :23:19. | |
It's a big day, and installing my biggest ever piece of work into the | :23:19. | :23:26. | |
FA McWilliams Gallery, 25 heads. And to be associated with this man, | :23:26. | :23:33. | |
this great sculpture, is magnificent. And I am part of a | :23:33. | :23:38. | |
contemporary exhibition along with artists from the States, Poland, | :23:38. | :23:44. | |
Canada, South Korea, Italy and other places. I have seen white and | :23:44. | :23:49. | |
red clay, but use black clay. love how it builds. I build | :23:49. | :23:55. | |
everything by hand. It sits what I do. And also the mood of the work, | :23:55. | :24:00. | |
it's quite dark and earthy. Quite brooding. Where do you get your | :24:00. | :24:05. | |
ideas from? It is a desire to be different, there are great people | :24:05. | :24:10. | |
working in ceramics but I want to do this my own way. I used spikes | :24:10. | :24:15. | |
and Pierce sings and in some cases, or other materials like latex. Just | :24:15. | :24:24. | |
to be different. It sure does and I wish you all the best. If some of | :24:24. | :24:30. | |
this art work has already been auctioned off, but if you still | :24:30. | :24:34. | |
want to get your hands on a piece, remaining pieces will be auctioned | :24:34. | :24:39. | |
in the year with proceeds going to Children in Need. Keep an eye on | :24:39. | :24:49. | |
:24:49. | :24:49. | ||
Children in Need website... Our music guest this week is the | :24:49. | :24:53. | |
Mercury nominated Lisa Hannigan. Good to see you. It is a fairly | :24:53. | :24:57. | |
hectic time for you, promoting her second album. It's going really | :24:57. | :25:04. | |
well, it's great. She and my next day off his Christmas Eve. It will | :25:04. | :25:10. | |
be a lean Christmas at home. Your second album, that difficult second | :25:10. | :25:15. | |
album, was that your experience? Not really, I felt with the first | :25:15. | :25:21. | |
one I learnt so much and there was so much to learn that I never had | :25:21. | :25:25. | |
recorded in a studio before managed a band were arranged songs. There | :25:25. | :25:33. | |
was a lot to learn. With this one, yes, I felt like I knew enough to | :25:33. | :25:37. | |
enjoy it and really focus on the music. And when it came to putting | :25:37. | :25:41. | |
the tracks down, it took one week? Yes, and the first one was two | :25:41. | :25:46. | |
weeks. That's a pretty good trajectory. You really immerse | :25:46. | :25:50. | |
yourself in all aspects of the business, you design the covers, | :25:50. | :25:56. | |
you are involved in the video and they're usually quite bizarre? | :25:56. | :26:01. | |
I try to make them interesting. I like the old one take videos as | :26:01. | :26:08. | |
much as possible. It saves on editing. And shooting time. We did | :26:08. | :26:14. | |
one with myself in a white dress against a white background and all | :26:14. | :26:19. | |
of the boys off screen were playing instruments with the medium of paid. | :26:19. | :26:24. | |
I start off lovely and clean and by the end, I looked like this crazy | :26:24. | :26:29. | |
swamp monster! You look great tonight. We look forward to hearing | :26:29. | :26:33. | |
you. You can catch place on tour at the Mandela Hall in Belfast next | :26:33. | :26:37. | |
Tuesday. That's it - if you want more information about any of the | :26:38. | :26:44. | |
stories from tonight, check out our website... We're back next year and | :26:44. | :26:52. | |
if you have a story we should cover, please get in touch... For now, we | :26:52. | :27:02. | |
:27:02. | :27:14. | ||
and Little Bird... Have a good # Your heart sings like a kettle. | :27:14. | :27:20. | |
# And your words, they boil away like steam. | :27:20. | :27:27. | |
# And a lie burns long while the truth bites quick. | :27:27. | :27:32. | |
# A heart is built for both, it seems. | :27:32. | :27:42. | |
:27:42. | :27:43. | ||
# You are lonely as a church. # Despite the queuing out your door. | :27:43. | :27:53. | |
:27:53. | :28:01. | ||
# I am empty as a promise no more. # When the time comes. | :28:01. | :28:11. | |
# And rights have been read. # I think of you often. | :28:11. | :28:21. | |
:28:21. | :28:36. | ||
# I was salted by your hunger. # Now you've gone and lost your | :28:36. | :28:46. | |
:28:46. | :28:47. |