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Once upon a time, in a land far, far away, | 0:00:02 | 0:00:03 | |
Danish author Hans Christian Andersen | 0:00:03 | 0:00:05 | |
wrote a fairy tale called The Most Incredible Thing. | 0:00:05 | 0:00:09 | |
More than 140 years later, it inspired electronic pop legends | 0:00:09 | 0:00:14 | |
The Pet Shop Boys to write a score for a brand new full-length dance work. | 0:00:14 | 0:00:17 | |
Renowned choreographer Javier De Frutos | 0:00:17 | 0:00:21 | |
was then tasked with bringing this magical story to life. | 0:00:21 | 0:00:24 | |
At the heart of this is a pop group - The Pet Shop Boys - | 0:00:24 | 0:00:28 | |
who want to do something more serious and that's a reflection | 0:00:28 | 0:00:31 | |
of how boundaries are breaking down between classical and pop and rock. | 0:00:31 | 0:00:35 | |
# When I look back upon my life... # | 0:00:35 | 0:00:38 | |
Since 1989, we've tried to do shows that have film and dancing | 0:00:38 | 0:00:43 | |
and this show, actually, is a very natural lineage | 0:00:43 | 0:00:46 | |
from the show we did with Derek Jarman in 1989. | 0:00:46 | 0:00:49 | |
# For everything I long to do... # | 0:00:49 | 0:00:52 | |
What's interesting is to take the elements of classical ballet - | 0:00:52 | 0:00:56 | |
the story telling - and do it in a different form of dance. | 0:00:56 | 0:01:00 | |
We've written the score so that it can meet the world | 0:01:00 | 0:01:05 | |
of contemporary dance and the fairy story brilliant world of Hans Christian Andersen. | 0:01:05 | 0:01:11 | |
Having developed the idea | 0:01:11 | 0:01:12 | |
with friend and former Royal Ballet star Ivan Putrov | 0:01:12 | 0:01:15 | |
the three took it to Saddler's Wells Theatre in London | 0:01:15 | 0:01:18 | |
where work began on transforming the original tale into 90 minutes of dance. | 0:01:18 | 0:01:24 | |
We realised it would be impossible to write just to the three pages | 0:01:24 | 0:01:27 | |
that Andersen had written, so we approached what's called a dramaturge. | 0:01:27 | 0:01:33 | |
Is anyone familiar with that word? Ha! Anyway... | 0:01:33 | 0:01:36 | |
Ooh, he's a right dramaturge! Dramaturge. | 0:01:36 | 0:01:39 | |
Neil said something quite interesting. | 0:01:39 | 0:01:41 | |
He said, "I want something that we can take to Vegas." | 0:01:41 | 0:01:45 | |
It was quite liberating for me. | 0:01:45 | 0:01:47 | |
I realised that I was writing into a very big canvas. | 0:01:47 | 0:01:50 | |
It is trying to do something new with a narrative ballet, no doubt. | 0:01:50 | 0:01:55 | |
And I think that's why Javier was interested in doing the project, | 0:01:55 | 0:02:00 | |
because this is his chance to work with his contemporaries. | 0:02:00 | 0:02:03 | |
I didn't want to treat it as a fairy tale. | 0:02:03 | 0:02:06 | |
I wanted to treat it as a very good story. | 0:02:06 | 0:02:09 | |
And therefore, what I felt was important was to really find | 0:02:09 | 0:02:13 | |
the right vocabulary. | 0:02:13 | 0:02:14 | |
It has a very classical structure, just painted in a different manner. | 0:02:16 | 0:02:20 | |
The influences come thick and fast. | 0:02:20 | 0:02:23 | |
I'm very Tarantino-esque when it comes to the things I like. I like my references. | 0:02:23 | 0:02:27 | |
The creative team also referenced a lesser-known fact | 0:02:27 | 0:02:31 | |
about the Danish writer. That he made beautiful paper cuts which he unfolded | 0:02:31 | 0:02:36 | |
while telling his fantastic stories. | 0:02:36 | 0:02:38 | |
This element of the writer's story-telling inspired the design. | 0:02:38 | 0:02:42 | |
We developed a strong idea | 0:02:42 | 0:02:45 | |
of the paperiness of Hans Christian Andersen's work. | 0:02:45 | 0:02:50 | |
I didn't want anything too solid. | 0:02:50 | 0:02:52 | |
We wanted to tap into a fairytale aesthetic. | 0:02:52 | 0:02:55 | |
Another key contributor to the production was artist and film-maker Tal Rosner. | 0:02:55 | 0:03:00 | |
His specially-created films | 0:03:00 | 0:03:01 | |
and animations provide a further story-telling layer. | 0:03:01 | 0:03:05 | |
The biggest challenge is not interfering too much | 0:03:05 | 0:03:07 | |
with what's happening | 0:03:07 | 0:03:09 | |
and still have a voice that, you know, stands out. | 0:03:09 | 0:03:12 | |
It's very challenging but also really fun. | 0:03:12 | 0:03:16 | |
You're thinking about it as part of an ensemble. | 0:03:16 | 0:03:18 | |
It's part of an ensemble, you know, and that's what's fun about it. | 0:03:18 | 0:03:22 | |
The first six minutes tells you everything about the basis of the story. | 0:03:27 | 0:03:31 | |
It tells you there's a kingdom | 0:03:31 | 0:03:32 | |
and there's people working daily in a hard fashion, having to just get by, | 0:03:32 | 0:03:37 | |
and there's the announcement and everybody starts to try and create the most incredible things. | 0:03:37 | 0:03:42 | |
We start in Act One with Leonardo in the factory. He's a nobody. | 0:03:42 | 0:03:47 | |
He's an inventor. He loves getting back home to work on his creations. | 0:03:47 | 0:03:51 | |
I play the princess. She's about 16, I think. | 0:03:53 | 0:03:58 | |
She's incredibly head-strong. A free spirit. | 0:03:58 | 0:04:01 | |
A bit of a rebel. | 0:04:01 | 0:04:02 | |
She lives in a world that is incredibly strict | 0:04:02 | 0:04:06 | |
and people have been programmed to think the same way, | 0:04:06 | 0:04:10 | |
move the same way, work the same way, and she's not like that. | 0:04:10 | 0:04:15 | |
It is important to set up a fractured relationship between the father and the daughter. | 0:04:15 | 0:04:19 | |
To realise there are parental issues here because he's giving away half of the kingdom | 0:04:19 | 0:04:25 | |
and giving the kid to get married to whoever wins. | 0:04:25 | 0:04:28 | |
Good evening, ladies and gentlemen, | 0:04:28 | 0:04:30 | |
and welcome to the show The Most Incredible Thing. | 0:04:30 | 0:04:33 | |
Before, I had an obligation to present the futility | 0:04:33 | 0:04:38 | |
of a competition that is going to achieve nothing. | 0:04:38 | 0:04:41 | |
I think for Leo, | 0:04:43 | 0:04:44 | |
this is his X-Factor moment where he sees his life could be opened up. | 0:04:44 | 0:04:48 | |
It could change in an instant. | 0:04:48 | 0:04:50 | |
She's told by her father that she's the prize for the person | 0:04:50 | 0:04:54 | |
who can come up with the most incredible thing, | 0:04:54 | 0:04:57 | |
so she runs away and bumps into this man who, at first, | 0:04:57 | 0:05:01 | |
seems quite charming | 0:05:01 | 0:05:02 | |
and sort of smiles and she thinks, "There can be love," you know? | 0:05:02 | 0:05:08 | |
And quite quickly she realises that actually he's a bit of bad news. | 0:05:08 | 0:05:15 | |
Karl is the villain and the destroyer. Very strong character. | 0:05:17 | 0:05:22 | |
But Karl loses control of the world that he's in | 0:05:22 | 0:05:26 | |
and he wants to keep it together. | 0:05:26 | 0:05:29 | |
So anything that threatens it, he wants to destroy. | 0:05:29 | 0:05:33 | |
Later on, she then meets Leonardo | 0:05:33 | 0:05:36 | |
and suddenly she realises that there is a man that perhaps she's been | 0:05:36 | 0:05:40 | |
dreaming about in a romantic way. | 0:05:40 | 0:05:43 | |
There is actually that person who exists. | 0:05:43 | 0:05:45 | |
On one level it's a very traditional fairy story, in a kingdom | 0:05:48 | 0:05:52 | |
and a king and a princess | 0:05:52 | 0:05:53 | |
and you can imagine Tchaikovsky writing a ballet for it. | 0:05:53 | 0:05:57 | |
But also, it seemed to have more to it than just that | 0:05:57 | 0:06:00 | |
and there'd be depth to it. It wasn't just a story for children. | 0:06:00 | 0:06:03 | |
It was something that could appeal to people of all ages. | 0:06:03 | 0:06:06 | |
The greatest strength of the story is the message underneath | 0:06:08 | 0:06:12 | |
about the power of creativity. | 0:06:12 | 0:06:14 | |
And that it can't be squashed by physical force. | 0:06:14 | 0:06:18 | |
MUSIC BEGINS | 0:06:26 | 0:06:28 | |
SCISSORS SNIP | 0:08:06 | 0:08:07 | |
ELECTRONIC MUSIC | 0:08:12 | 0:08:14 | |
# Wasn't in when you called | 0:11:59 | 0:12:04 | |
# It's been so long since I heard from you | 0:12:04 | 0:12:07 | |
# Play the message you loved | 0:12:07 | 0:12:10 | |
# Sound fine about what to do | 0:12:10 | 0:12:14 | |
# And all the good times we had | 0:12:14 | 0:12:18 | |
# Why did they fade away? | 0:12:18 | 0:12:21 | |
# Babe, you hurt me so bad | 0:12:21 | 0:12:25 | |
# What have you got to say? | 0:12:25 | 0:12:28 | |
# You call me baby | 0:12:28 | 0:12:31 | |
# What do you want from me, baby? | 0:12:31 | 0:12:35 | |
# You call me baby What do you want from me, baby...? # | 0:12:35 | 0:12:41 | |
MUSIC STOPS ABRUPTLY | 0:12:41 | 0:12:42 | |
ELECTRONIC MUSIC | 0:12:42 | 0:12:45 | |
(Help me.) | 0:21:53 | 0:21:55 | |
ETHEREAL WHISPERING: (We'll sing the songs of creation.) | 0:22:06 | 0:22:11 | |
(Invention flows like water from us through you.) | 0:22:11 | 0:22:16 | |
(We're here to help you, Leo...) | 0:22:16 | 0:22:20 | |
(Your memory of all you've seen, make manifest, all. | 0:22:22 | 0:22:28 | |
(We'll aid your mind, genius.) | 0:22:28 | 0:22:32 | |
(We'll sing songs of time and memory...) | 0:22:32 | 0:22:37 | |
(Time...) | 0:22:37 | 0:22:39 | |
(We're here to help you, Leo...) | 0:22:39 | 0:22:45 | |
ELECTRONIC MUSIC | 0:22:45 | 0:22:48 | |
Good evening, ladies and gentlemen, | 0:32:28 | 0:32:30 | |
and welcome to the show The Most Incredible Thing. | 0:32:30 | 0:32:33 | |
You look like an incredible audience this evening, | 0:32:33 | 0:32:36 | |
which is no coincidence because this is an incredible show. | 0:32:36 | 0:32:41 | |
Incredible set, incredible contestants, incredible orchestra. | 0:32:41 | 0:32:44 | |
Looking jolly good down there, chaps. | 0:32:44 | 0:32:47 | |
Somebody else incredible out there this evening is our king. | 0:32:47 | 0:32:51 | |
CHEERING | 0:32:51 | 0:32:52 | |
How are you this evening, your majesty? | 0:32:52 | 0:32:55 | |
A big thank you to our sponsors, Makarov Vodka. | 0:32:55 | 0:32:58 | |
Remember - Makarov Vodka is A-OK! | 0:32:58 | 0:33:01 | |
Introducing our judges - Babushka, | 0:33:01 | 0:33:04 | |
Batya, | 0:33:04 | 0:33:06 | |
Maneesh. | 0:33:06 | 0:33:08 | |
Good evening, judges. | 0:33:08 | 0:33:09 | |
Tonight we're going to change one contestant's life with this big prize. | 0:33:09 | 0:33:14 | |
So, without further ado, I introduce to you Tina and Sparkle. | 0:33:14 | 0:33:19 | |
CHEERING | 0:33:19 | 0:33:21 | |
Spiffing! | 0:33:41 | 0:33:42 | |
Judges? | 0:33:42 | 0:33:44 | |
Congratulations, you're in with a chance. | 0:33:44 | 0:33:47 | |
Moving on to contestant number 27, it's Dimitri. | 0:33:47 | 0:33:53 | |
How are you this evening, Dimitri? He's nervous. | 0:33:53 | 0:33:56 | |
And what do you have for us? A dog? | 0:33:56 | 0:34:00 | |
Ladies and gentlemen, this is our fourth dog this evening. | 0:34:00 | 0:34:03 | |
Let's hope this one's incredible. | 0:34:03 | 0:34:05 | |
Chop, chop, Dimitri. | 0:34:07 | 0:34:09 | |
Incredible... Judges? | 0:34:14 | 0:34:16 | |
Better luck next time, Dimitri. | 0:34:16 | 0:34:19 | |
I have just heard that the fire-eater has been extinguished | 0:34:19 | 0:34:23 | |
and is OK, which is incredible. | 0:34:23 | 0:34:26 | |
Moving on to the next contestant, | 0:34:26 | 0:34:28 | |
it's Monkey Elliott. | 0:34:28 | 0:34:31 | |
Jolly good. How do you feel. Oh, steady on. Judges? | 0:34:42 | 0:34:46 | |
Not incredible. | 0:34:48 | 0:34:50 | |
Next, ladies and gentlemen, I introduce you to Pavlov. | 0:34:51 | 0:34:55 | |
Hello, Pavlov, what are you going to do for us? | 0:34:55 | 0:34:58 | |
He's going to turn a towel into a swan. Fascinating. | 0:35:00 | 0:35:04 | |
Do you know what this reminds me of, ladies and gentlemen? | 0:35:06 | 0:35:10 | |
How Jesus turned water into wine. | 0:35:10 | 0:35:12 | |
How Christ walked on water and Lazarus rising from the dead. | 0:35:12 | 0:35:17 | |
We've got our very own miracle right here in this theatre. | 0:35:17 | 0:35:20 | |
Let's take a look, shall we? | 0:35:20 | 0:35:22 | |
Yes, but it's still a towel, isn't it, Pavlov? | 0:35:24 | 0:35:27 | |
Moving on to contestant 599, | 0:35:27 | 0:35:31 | |
it's Rocky Man. | 0:35:31 | 0:35:33 | |
How are you this evening, Rocky Man? | 0:35:35 | 0:35:37 | |
And what are you doing here? | 0:35:37 | 0:35:39 | |
Yes, he's balancing a rock on his head. | 0:35:39 | 0:35:41 | |
How long have you been doing it for? | 0:35:41 | 0:35:44 | |
For 25 years, apparently. And for heaven's sake, why? | 0:35:44 | 0:35:48 | |
Oh, Rocky Man... | 0:35:50 | 0:35:51 | |
Oh! | 0:35:51 | 0:35:52 | |
Oh, dear. Ghastly. Dimitri, you're back. | 0:35:52 | 0:35:56 | |
What do you have for us now? | 0:35:56 | 0:35:58 | |
Fleas? From your dog, I suppose? Where are they? | 0:35:59 | 0:36:02 | |
Oh, Dimitri. | 0:36:04 | 0:36:06 | |
Moving on to contestant 1,999, it's Kristov. Let's hope he's good. | 0:36:08 | 0:36:16 | |
Oh, I say, old chap? Are you all right? What's going on? | 0:36:22 | 0:36:26 | |
Erm... What do I do now? | 0:36:26 | 0:36:28 | |
Excuse me? | 0:36:28 | 0:36:30 | |
Where's my cue card? | 0:36:33 | 0:36:35 | |
Your Majesty? | 0:36:35 | 0:36:37 | |
Oh, this is just ghastly... | 0:36:38 | 0:36:41 | |
Are you all right? | 0:36:43 | 0:36:44 | |
I've been here for three days and none of the acts are any good. Oh. | 0:36:46 | 0:36:50 | |
It's all just rubbish. | 0:36:50 | 0:36:53 | |
Tick-tock, tick-tock, | 0:40:39 | 0:40:43 | |
tick-tock, tick... | 0:40:43 | 0:40:47 | |
APPLAUSE | 0:40:49 | 0:40:52 | |
Act Two, we've got Leo with what he's created as the most incredible thing. | 0:40:55 | 0:41:00 | |
The idea is the clock is taking over Leonardo. | 0:41:00 | 0:41:04 | |
He becomes the clock, almost. | 0:41:04 | 0:41:07 | |
Then we open up to him revealing the clock to the whole audience. | 0:41:07 | 0:41:11 | |
How do you create the most incredible thing? | 0:41:12 | 0:41:15 | |
It's just like an impossible task, and terrifying, really. | 0:41:15 | 0:41:19 | |
It felt wrong to try and create it as a solid object. | 0:41:21 | 0:41:24 | |
It had to be elusive. It had to engage people's imaginations. | 0:41:24 | 0:41:28 | |
He has invented something that no-one in that kingdom had seen before. | 0:41:28 | 0:41:33 | |
What they hadn't seen before was the power of imagination, | 0:41:33 | 0:41:37 | |
as they had been a very repressed society. That clock doesn't tell the time. | 0:41:37 | 0:41:41 | |
He tells you the extraordinary things that have happened throughout time. | 0:41:41 | 0:41:46 | |
One is Adam, two is Eve, three's the sun, the moon and the stars, | 0:41:46 | 0:41:49 | |
four's the four season, ten is the Ten Commandments. | 0:41:49 | 0:41:52 | |
11, my favourite, is Apollo 11. | 0:41:52 | 0:41:54 | |
I sort of made equal the discovery of the most incredible thing | 0:41:57 | 0:42:01 | |
with an emotional state. | 0:42:01 | 0:42:02 | |
It's kind of, "Where were you when...?" | 0:42:02 | 0:42:05 | |
So, for me, where were you when? I remember that very clearly. | 0:42:05 | 0:42:09 | |
Watch the launch of Apollo 11 and then watch the walk on the moon. | 0:42:09 | 0:42:13 | |
All the things that make you feel emotions in such a great way | 0:42:13 | 0:42:17 | |
have to be the most incredible thing. | 0:42:17 | 0:42:19 | |
I quite like the seven deadly sins now, actually. | 0:42:19 | 0:42:23 | |
We just got so stuck on that. We didn't know what to do for ages. | 0:42:23 | 0:42:29 | |
Ten, which is the Ten Commandments, | 0:42:29 | 0:42:31 | |
which is a fantastic marriage between the live dancers on stage | 0:42:31 | 0:42:34 | |
and their top shot in a Busby Berkeley style of what they're doing. | 0:42:34 | 0:42:38 | |
12 is my favourite. I think it's a bit of a work of art in itself. | 0:42:39 | 0:42:44 | |
Number 12 is actually a list of over 300 artists that we compiled | 0:42:50 | 0:42:55 | |
among ourselves, in hoping to create and already start the debate of, | 0:42:55 | 0:42:58 | |
"Oh, I didn't see so and so," | 0:42:58 | 0:43:00 | |
and "That person should have been there." | 0:43:00 | 0:43:03 | |
And you start compiling your own, in a subliminal way, | 0:43:03 | 0:43:06 | |
you start compiling your own incredible peoples list. | 0:43:06 | 0:43:09 | |
The one that always springs out is Banksy. | 0:43:09 | 0:43:12 | |
The Eagles, when I was young. | 0:43:12 | 0:43:14 | |
Sergei Diaghilev. | 0:43:14 | 0:43:15 | |
Robert Lepage. | 0:43:15 | 0:43:17 | |
Definitely Pina Bausch. | 0:43:17 | 0:43:20 | |
-Liza Minnelli. -David Bowie. -David Bowie probably is in there. | 0:43:20 | 0:43:23 | |
He's not. | 0:43:23 | 0:43:25 | |
I'd say my family. | 0:43:25 | 0:43:27 | |
Harry Worth. | 0:43:27 | 0:43:29 | |
The whole creative team should be in cos they have been incredible. | 0:43:29 | 0:43:32 | |
-We're not in it, are we? -I was worried in case... | 0:43:35 | 0:43:38 | |
The last name is Hans Christian Andersen. | 0:43:38 | 0:43:40 | |
It's a list that can never be finished, I believe. | 0:43:40 | 0:43:44 | |
One... | 1:00:37 | 1:00:40 | |
two... | 1:00:40 | 1:00:41 | |
three... | 1:00:41 | 1:00:43 | |
four... | 1:00:43 | 1:00:45 | |
five... | 1:00:45 | 1:00:46 | |
six... | 1:00:46 | 1:00:48 | |
..seven... | 1:00:49 | 1:00:50 | |
..eight... | 1:00:51 | 1:00:52 | |
nine... | 1:00:52 | 1:00:54 | |
ten... | 1:00:54 | 1:00:56 | |
Ten, | 1:01:13 | 1:01:14 | |
nine, | 1:01:14 | 1:01:15 | |
eight, | 1:01:15 | 1:01:16 | |
seven, | 1:01:16 | 1:01:17 | |
six, five, | 1:01:17 | 1:01:19 | |
four, three, two, | 1:01:19 | 1:01:22 | |
one. | 1:01:22 | 1:01:23 | |
You shall not covet thy neighbour's husband or wife. | 1:01:23 | 1:01:27 | |
You shall not bear false witness against your neighbour. | 1:01:30 | 1:01:34 | |
You shall not steal. | 1:01:38 | 1:01:40 | |
You shall not commit adultery. | 1:01:46 | 1:01:48 | |
You shall not murder. | 1:01:54 | 1:01:56 | |
Respect your mother and father. | 1:02:02 | 1:02:04 | |
Remember the Sabbath. | 1:02:10 | 1:02:11 | |
You shall not blaspheme. | 1:02:16 | 1:02:19 | |
You shall not worship false idols. | 1:02:24 | 1:02:26 | |
I am the Lord, your God. | 1:02:34 | 1:02:36 | |
Ten, nine, eight - ignition sequence - seven, six... | 1:02:36 | 1:02:42 | |
five, four, three, two, one. | 1:02:42 | 1:02:47 | |
Zero. Lift-off! | 1:02:47 | 1:02:50 | |
We have a lift-off! 32 minutes past the hour. | 1:02:50 | 1:02:53 | |
Lift-off of Apollo 11. | 1:02:53 | 1:02:56 | |
CROWD SHOUTS: Three, two, one... | 1:05:18 | 1:05:21 | |
BELL RINGS | 1:05:21 | 1:05:23 | |
Golly. Gosh, that really was a rather unexpected turn of events, wasn't it? | 1:06:30 | 1:06:36 | |
But, audience, you're still looking incredible. | 1:06:36 | 1:06:40 | |
Chaps in the orchestra are still looking incredibly dashing. | 1:06:40 | 1:06:44 | |
And our sponsors, who are still hanging in there. | 1:06:44 | 1:06:48 | |
Remember, Makarov Vodka is A-OK. | 1:06:48 | 1:06:52 | |
Let's go to our judges one final time | 1:06:52 | 1:06:54 | |
because I am sure we've found our winner. | 1:06:54 | 1:06:57 | |
Judges? | 1:06:57 | 1:06:58 | |
Congratulations, Leonardo! | 1:07:02 | 1:07:05 | |
Leonardo, how are you feeling? | 1:07:05 | 1:07:08 | |
He's speechless! | 1:07:08 | 1:07:10 | |
And how do you feel that you've won half of the kingdom and the princess' hand in marriage? | 1:07:10 | 1:07:15 | |
He's totally lost for words! | 1:07:15 | 1:07:18 | |
Is that the clock? Fascinating. | 1:07:18 | 1:07:20 | |
Moving on with procedure, | 1:07:20 | 1:07:23 | |
Your Majesty, if you would like to come to the stage | 1:07:23 | 1:07:26 | |
to present your prize. | 1:07:26 | 1:07:27 | |
APPLAUSE | 1:07:30 | 1:07:33 | |
Are you happy with the outcome, Your Majesty? | 1:07:33 | 1:07:36 | |
This is an historic moment, ladies and gentlemen, | 1:07:39 | 1:07:42 | |
rather like the coronation of our good and kind king. | 1:07:42 | 1:07:45 | |
So, Your Majesty, what will be happening now? | 1:07:47 | 1:07:52 | |
THEY MIME | 1:07:52 | 1:07:56 | |
Yes, thank you. | 1:07:56 | 1:07:57 | |
And there they go. | 1:07:57 | 1:08:01 | |
Ah, it's just come in from the PR department | 1:08:01 | 1:08:04 | |
that the king has declared a public holiday, | 1:08:04 | 1:08:08 | |
which will be called Leonardo Day. | 1:08:08 | 1:08:09 | |
And the royal factory has just gone into production | 1:08:09 | 1:08:13 | |
with royal wedding memorabilia, | 1:08:13 | 1:08:15 | |
such as caps, cups, mugs, T-shirts, | 1:08:15 | 1:08:18 | |
tea towels and napkins, | 1:08:18 | 1:08:20 | |
all available from the royal factory. | 1:08:20 | 1:08:22 | |
So, ladies and gentlemen, that's the end of this incredible event. | 1:08:22 | 1:08:26 | |
And for our viewers across the globe, | 1:08:26 | 1:08:28 | |
arrivederci, dasvidaniya, | 1:08:28 | 1:08:31 | |
a bientot, | 1:08:31 | 1:08:33 | |
cheerio. | 1:08:33 | 1:08:34 | |
SHE CRIES OUT | 1:10:33 | 1:10:35 | |
APPLAUSE AND CHEERING | 1:12:48 | 1:12:52 | |
Act Three brings us back to the beginning, but worse, | 1:12:54 | 1:12:57 | |
because those people had a glimpse of happiness. | 1:12:57 | 1:13:01 | |
At one point, they saw the possibility of a country changing in the hands of a dreamer, | 1:13:01 | 1:13:05 | |
and that's now not going to happen. | 1:13:05 | 1:13:09 | |
We've kind of opened up the space, it's much starker, | 1:13:09 | 1:13:13 | |
much more about the people and the kind of rhythm of their movement. | 1:13:13 | 1:13:17 | |
The kingdom itself is split | 1:13:17 | 1:13:19 | |
and we've also got the paper-cutting hands | 1:13:19 | 1:13:22 | |
and they're all plastered and bloody. | 1:13:22 | 1:13:26 | |
Visual signals that kind of say that things have shifted. | 1:13:26 | 1:13:29 | |
I use a lot of red | 1:13:29 | 1:13:34 | |
which is to symbolise that there's death and destruction | 1:13:34 | 1:13:37 | |
and blood and kind of the horror of the world. | 1:13:37 | 1:13:42 | |
You see the townspeople mourning for the fact that they've lost the inspiration | 1:13:42 | 1:13:47 | |
that might have come from the most incredible thing. | 1:13:47 | 1:13:50 | |
We see the black wedding, | 1:13:50 | 1:13:51 | |
when the princess is just about to get married to Karl. | 1:13:51 | 1:13:54 | |
Doom, gloom and depression. | 1:13:55 | 1:13:58 | |
You know, for her, life's over. | 1:13:58 | 1:14:01 | |
The black wedding ends with her being taken off | 1:14:01 | 1:14:03 | |
and supposedly being prepared for the first night of marriage. | 1:14:03 | 1:14:08 | |
At the end of that wedding, when they try to taunt Leonardo | 1:14:11 | 1:14:15 | |
who was been sent to jail, | 1:14:15 | 1:14:16 | |
the reappearance of the clock | 1:14:16 | 1:14:19 | |
which has actively reformed. | 1:14:19 | 1:14:21 | |
All the pieces that were broken and destroyed | 1:14:23 | 1:14:25 | |
have reformed in a new formation | 1:14:25 | 1:14:27 | |
and it literally eats Karl alive | 1:14:27 | 1:14:30 | |
with the help of the three muses. | 1:14:30 | 1:14:33 | |
The death is metaphorical. | 1:14:33 | 1:14:35 | |
His biggest punishment - | 1:14:35 | 1:14:38 | |
he's now part of the hour that he hated so much. | 1:14:38 | 1:14:41 | |
The muses kind of come back and they release me from prison | 1:14:46 | 1:14:51 | |
and they basically lead me back to the princess, in her room. | 1:14:51 | 1:14:54 | |
She comes on expecting Karl to walk into the room | 1:14:56 | 1:15:00 | |
and, erm...she gets a surprise tap on the shoulder | 1:15:00 | 1:15:04 | |
and it's Leonardo. | 1:15:04 | 1:15:05 | |
In that incredible moment, she actually gets on her knees | 1:15:09 | 1:15:13 | |
and asks him to marry her. | 1:15:13 | 1:15:16 | |
The 21st-century feminist has arrived. | 1:15:17 | 1:15:20 | |
The king announces the wedding almost with tears in his eyes. | 1:15:22 | 1:15:27 | |
You discover that he has repented, he has regretted | 1:15:27 | 1:15:30 | |
and is an incredibly proud father. | 1:15:30 | 1:15:32 | |
The daughter has taught him to relax more | 1:15:32 | 1:15:34 | |
and the kingdom will heal itself. | 1:15:34 | 1:15:37 | |
Five. | 1:26:29 | 1:26:30 | |
Eight. | 1:26:32 | 1:26:34 | |
Two. | 1:26:37 | 1:26:38 | |
One. | 1:26:41 | 1:26:42 | |
Ten. | 1:26:45 | 1:26:46 | |
Six. | 1:26:49 | 1:26:50 | |
Three. | 1:26:53 | 1:26:54 | |
Nine. | 1:26:57 | 1:26:58 | |
Four. | 1:27:01 | 1:27:03 | |
Seven. | 1:27:05 | 1:27:06 | |
GONG SOUNDS | 1:27:13 | 1:27:16 | |
APPLAUSE | 1:32:49 | 1:32:50 | |
BELLS RING | 1:33:23 | 1:33:25 | |
CUCKOO CLOCK CHIMES | 1:35:45 | 1:35:48 | |
CHEERING AND APPLAUSE | 1:36:04 | 1:36:06 | |
Subtitles by Red Bee Media Ltd | 1:37:02 | 1:37:04 |