Browse content similar to 13/02/2017. Check below for episodes and series from the same categories and more!
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In the next half an hour, we're undercover at Britain's | 0:00:02 | 0:00:05 | |
biggest supermarket, Tesco, investigating the special | 0:00:05 | 0:00:07 | |
offers which don't go through at the checkout. | 0:00:07 | 0:00:11 | |
Hiya, I've just bought this bag full of shopping. | 0:00:11 | 0:00:14 | |
All those things are on offer, but none of it's come off? | 0:00:14 | 0:00:18 | |
We meet Cumbria's modern good samaritan who changed a life | 0:00:18 | 0:00:21 | |
with a simple act of kindness. | 0:00:21 | 0:00:28 | |
He doesn't need food, he doesn't need a drink, | 0:00:28 | 0:00:30 | |
he doesn't need a sleeping bag. | 0:00:30 | 0:00:32 | |
He needs someone to pick him up and take him somewhere where he's | 0:00:32 | 0:00:35 | |
going to be a lot safer than on the streets. | 0:00:35 | 0:00:40 | |
Never mind the Oscars. | 0:00:40 | 0:00:41 | |
We travel back in time to rediscover Tyneside's silver screen ambitions. | 0:00:41 | 0:00:46 | |
They looked at newsreel events, the opening of the Tyne Bridge, | 0:00:46 | 0:00:49 | |
and then they said, "Hey, why don't we get together | 0:00:49 | 0:00:55 | |
and make a story film? | 0:00:55 | 0:00:56 | |
Let's be a little Hollywood in Newcastle." | 0:00:56 | 0:01:00 | |
I'm Chris Jackson and this is Inside Out. | 0:01:00 | 0:01:10 | |
First tonight, when is a bargain not a bargain? | 0:01:16 | 0:01:18 | |
Jonathan Gibson's been investigating Tescos, | 0:01:18 | 0:01:20 | |
Britain's largest supermarket, where some special offers aren't | 0:01:20 | 0:01:23 | |
always so special after all. | 0:01:23 | 0:01:29 | |
Who's up for a good deal? | 0:01:29 | 0:01:31 | |
I am! | 0:01:31 | 0:01:33 | |
I'm a sucker for a special offer. | 0:01:33 | 0:01:36 | |
Most of us are. | 0:01:36 | 0:01:37 | |
And Tesco knows it, too. | 0:01:37 | 0:01:39 | |
That's why the shelves at Britain's biggest supermarket | 0:01:39 | 0:01:41 | |
are full of special offers. | 0:01:41 | 0:01:43 | |
Money off this, buy two for that. | 0:01:43 | 0:01:45 | |
You get the drift. | 0:01:45 | 0:01:48 | |
And we all take it for granted that the price we see on the shelf | 0:01:48 | 0:01:51 | |
is the price we'll pay at the till, right? | 0:01:51 | 0:01:54 | |
But what if things don't quite add up when you get home | 0:01:54 | 0:01:57 | |
and unpack your shopping? | 0:01:57 | 0:01:59 | |
I've just bought a few bits at Tesco and I'm sure these products | 0:01:59 | 0:02:02 | |
were on special offer. | 0:02:02 | 0:02:04 | |
That's why I've bought two of each. | 0:02:04 | 0:02:08 | |
But according to my receipt... | 0:02:08 | 0:02:10 | |
I've paid full price. | 0:02:10 | 0:02:13 | |
And that's the point! | 0:02:13 | 0:02:15 | |
I've paid 60% more than the deal on the shelf. | 0:02:15 | 0:02:18 | |
That's ?3.30 in hard cash. | 0:02:18 | 0:02:22 | |
At another Tesco store, I spot two for ?2 on ice cream. | 0:02:22 | 0:02:26 | |
But at the till, it's the full price as well. | 0:02:26 | 0:02:30 | |
So what's going on? | 0:02:30 | 0:02:33 | |
Ice cream, Martin? | 0:02:33 | 0:02:36 | |
Martin works for Trading Standards and says the law | 0:02:36 | 0:02:39 | |
on pricing is simple. | 0:02:39 | 0:02:42 | |
They must put a price on goods so you know what you're going to pay | 0:02:42 | 0:02:46 | |
and that price must be accurate so you don't get charged | 0:02:46 | 0:02:48 | |
more than you thought you were going to pay. | 0:02:48 | 0:02:53 | |
Sounds simple enough and with more than 3,500 stores nationwide, | 0:02:53 | 0:02:57 | |
Tesco should be getting it right. | 0:02:57 | 0:03:00 | |
But is it? | 0:03:00 | 0:03:03 | |
That's what I want to find out, so armed with my phone | 0:03:03 | 0:03:06 | |
and some secret cameras, I want to see how many offers | 0:03:06 | 0:03:09 | |
on the shelves don't go through at the till and at this | 0:03:09 | 0:03:12 | |
Tesco Metro store in Newcastle, I'm already finding problems. | 0:03:12 | 0:03:22 | |
And when I show his colleague the labels, I soon find out why. | 0:03:29 | 0:03:39 | |
But it's not the worst example. | 0:03:41 | 0:03:47 | |
That's three weeks ago and that's the problem. | 0:03:47 | 0:03:50 | |
Multi-buy deals are being left on the shelves after the tills have | 0:03:50 | 0:03:53 | |
been told they've ended. | 0:03:53 | 0:03:55 | |
The same thing's happened at a Tesco Express store nearby. | 0:03:55 | 0:04:05 | |
At this shop, only the wine offer is out of date | 0:04:09 | 0:04:12 | |
but at another nearby store there are much bigger problems. | 0:04:12 | 0:04:21 | |
As the shop assistant double checks, another member of staff spots | 0:04:21 | 0:04:24 | |
more out of date offers. | 0:04:24 | 0:04:33 | |
I've started making a list of how many offers are out | 0:04:33 | 0:04:36 | |
of date in how many places. | 0:04:36 | 0:04:39 | |
But is what's happening here in Newcastle also | 0:04:39 | 0:04:41 | |
happening across the country? | 0:04:41 | 0:04:46 | |
Because if it is, it's not just a problem for Tesco, | 0:04:46 | 0:04:48 | |
it's a problem for Tesco customers. | 0:04:48 | 0:04:58 | |
At this Tesco in Liverpool, sauce marked a pound on the shelf | 0:04:58 | 0:05:00 | |
is almost double at the checkout. | 0:05:00 | 0:05:10 | |
And at another store nearby, I'm left completely confused | 0:05:15 | 0:05:16 | |
by the offers on the shelves and what I'm charged | 0:05:16 | 0:05:19 | |
at the checkout. | 0:05:19 | 0:05:21 | |
In fact, there's so much difference between the shelf price | 0:05:21 | 0:05:23 | |
and the receipt price, I'm not even going to bother | 0:05:23 | 0:05:25 | |
to go back and try to get what I'm owed returned. | 0:05:25 | 0:05:29 | |
Completely ridiculous. | 0:05:30 | 0:05:35 | |
If there are just too many offers changing too frequently, | 0:05:35 | 0:05:40 | |
so that store staff can't really be expected to understand them, | 0:05:40 | 0:05:45 | |
comply with all the change, then that is something that Tesco | 0:05:45 | 0:05:50 | |
head office needs to think about. | 0:05:50 | 0:05:54 | |
And there's plenty to think about at another store in Leeds. | 0:05:54 | 0:06:03 | |
Doing now what somebody should have done hours, days, weeks ago. | 0:06:12 | 0:06:18 | |
So it's a serious message, but is everyone taking it | 0:06:18 | 0:06:20 | |
seriously in Gateshead? | 0:06:20 | 0:06:30 | |
And as I head around the country, the same thing keeps happening | 0:06:40 | 0:06:43 | |
time and time again. | 0:06:43 | 0:06:53 | |
So what's going on? | 0:07:03 | 0:07:13 | |
I mean, it doesn't seem a terribly difficult or perhaps that long a job | 0:07:25 | 0:07:30 | |
just to walk around the store assuming everyone knows | 0:07:30 | 0:07:33 | |
what day it is, you know, to go round and tear off anything | 0:07:33 | 0:07:36 | |
that has had its day. | 0:07:36 | 0:07:40 | |
You'd think so, yeah. | 0:07:40 | 0:07:47 | |
Maybe not. | 0:07:47 | 0:07:49 | |
And it's not just shoppers left confused as old and new promotions | 0:07:49 | 0:07:52 | |
end up side by side. | 0:07:52 | 0:08:02 | |
The longer the offer has been wrong, the bigger the failure of diligence | 0:08:04 | 0:08:08 | |
and the more worried I am, frankly. | 0:08:08 | 0:08:11 | |
In that case, he's not going to like what's coming up next. | 0:08:11 | 0:08:16 | |
At this store, the cashier checks the out of date label, | 0:08:16 | 0:08:19 | |
but doesn't remove it. | 0:08:19 | 0:08:21 | |
And when I return the next day, neither does someone else. | 0:08:21 | 0:08:24 | |
So, a week later, I go back and it's still on display. | 0:08:24 | 0:08:28 | |
And when I return a month later, yep, still on the shelf. | 0:08:28 | 0:08:31 | |
The fourth worker finally removes it. | 0:08:31 | 0:08:34 | |
That is very bad. | 0:08:34 | 0:08:37 | |
It's pretty basic that if one customer has shown something wrong | 0:08:37 | 0:08:40 | |
then it's put right to stop other customers being misled. | 0:08:40 | 0:08:48 | |
But at 33 of the 50 stores I went to, the till price was higher | 0:08:48 | 0:08:51 | |
than the shelf price. | 0:08:51 | 0:08:53 | |
That s a whopping 66%. | 0:08:53 | 0:08:58 | |
If customer A has come back and complained and been refunded | 0:08:58 | 0:09:02 | |
that doesn't mean there weren't 20 other customers who didn t spot it | 0:09:02 | 0:09:05 | |
and didn't complain. | 0:09:05 | 0:09:07 | |
So alarm bells would be ringing? | 0:09:07 | 0:09:08 | |
Very much so. | 0:09:08 | 0:09:09 | |
Yes. | 0:09:09 | 0:09:11 | |
But what does Tesco say? | 0:09:11 | 0:09:15 | |
The company wouldn't provide anyone for interview, | 0:09:15 | 0:09:17 | |
but after reviewing our evidence, told this programme: | 0:09:17 | 0:09:27 | |
But that's just the start. | 0:09:35 | 0:09:36 | |
As a result of our investigation, Britain's biggest supermarket says | 0:09:36 | 0:09:39 | |
it's now double checking the accuracy of every price in every | 0:09:39 | 0:09:42 | |
store ? that s more than 3,500 stores across Britain. | 0:09:42 | 0:09:50 | |
Well, every little helps! | 0:09:50 | 0:09:55 | |
How many times have you walked past a down and out in a doorway | 0:09:55 | 0:09:59 | |
without a second thought? | 0:09:59 | 0:10:00 | |
Phil Webb was that man. | 0:10:00 | 0:10:02 | |
Many people walked by, just one decided to help. | 0:10:02 | 0:10:06 | |
And as actor and director Chris Connel reports, | 0:10:06 | 0:10:09 | |
that act of kindness helped turn Phil's life around. | 0:10:09 | 0:10:13 | |
And now, thanks to Inside Out, he's been reunited | 0:10:13 | 0:10:15 | |
with his good samaritan. | 0:10:15 | 0:10:19 | |
And action! | 0:10:19 | 0:10:21 | |
This is my story and it's true. | 0:10:21 | 0:10:22 | |
Over a year ago, I was sleeping in a doorway. | 0:10:22 | 0:10:25 | |
Thanks to a fellow soldier and the legion, I've | 0:10:25 | 0:10:28 | |
a roof over my head... | 0:10:28 | 0:10:31 | |
Newcastle's Theatre Royal, last December. | 0:10:31 | 0:10:34 | |
Rehearsals of War Stores by Bravo 22 theatre company. | 0:10:34 | 0:10:39 | |
Rehearsals of War Stories by Bravo 22 theatre company. | 0:10:39 | 0:10:41 | |
It's run by the British Legion to help old soldiers | 0:10:41 | 0:10:44 | |
and their families. | 0:10:44 | 0:10:45 | |
That's me, Chris Connel, the director, and that's Phil Webb. | 0:10:45 | 0:10:49 | |
That's really coming along, that. | 0:10:49 | 0:10:51 | |
Phil's experience of being at rock bottom is a big part of the play. | 0:10:51 | 0:10:55 | |
After serving in the Forces, he married, had four kids | 0:10:55 | 0:10:58 | |
and taught sociology, but his marriage fell | 0:10:58 | 0:11:01 | |
apart and he lost his job and started drinking. | 0:11:01 | 0:11:06 | |
Phil came to Carlisle to live with an ex-army friend, | 0:11:06 | 0:11:09 | |
but that didn't work out, and by October 2015, | 0:11:09 | 0:11:11 | |
he was drunk and living on these streets. | 0:11:11 | 0:11:18 | |
It was raining, I remember. | 0:11:18 | 0:11:18 | |
It was cold. | 0:11:18 | 0:11:20 | |
I felt pathetic. | 0:11:20 | 0:11:21 | |
I was pathetic. | 0:11:21 | 0:11:22 | |
Went in the archway, started drinking and just sat | 0:11:22 | 0:11:27 | |
with my head down because I didn't want people to see me. | 0:11:27 | 0:11:30 | |
And I didn't want to see anybody else. | 0:11:30 | 0:11:33 | |
I didn't want to commit suicide, but if I wouldn't have woke up, | 0:11:33 | 0:11:37 | |
I wouldn't have been bothered. | 0:11:37 | 0:11:38 | |
So what was the turning point for Phil? | 0:11:38 | 0:11:41 | |
In the parable of the Good Samaritan, a stranger stops to help | 0:11:41 | 0:11:44 | |
an injured man he should consider to be his arch enemy. | 0:11:44 | 0:11:47 | |
In Phil's case, our stranger decided not to walk past a drunk, | 0:11:47 | 0:11:51 | |
but instead offer him a helping hand. | 0:11:51 | 0:11:55 | |
Fella tapped me on the shoulder and said, "Look, mate, | 0:11:55 | 0:11:57 | |
I don't usually homeless people. | 0:11:57 | 0:12:02 | |
I don't usually help homeless people. | 0:12:02 | 0:12:03 | |
But something's told me to help you." | 0:12:03 | 0:12:05 | |
He said, "Come with me. | 0:12:05 | 0:12:06 | |
I'll put you up for the night and talk in the morning." | 0:12:06 | 0:12:09 | |
After a night in a bed and breakfast, Phil's good samaritan | 0:12:09 | 0:12:12 | |
put him a touch with the British Legion. | 0:12:12 | 0:12:14 | |
It was the key to Phil's recovery. | 0:12:14 | 0:12:17 | |
With the help of the British Legion, he got a roof over his head, | 0:12:17 | 0:12:21 | |
got off the drink and got back on his feet. | 0:12:21 | 0:12:24 | |
It was a miracle cos I just thought, "This angel has come to help me." | 0:12:24 | 0:12:29 | |
So I owe it to him, but more so, I owe it | 0:12:29 | 0:12:32 | |
to myself, to stop drinking. | 0:12:32 | 0:12:37 | |
Roll up! Roll up! | 0:12:37 | 0:12:38 | |
Join the army! | 0:12:38 | 0:12:40 | |
And actually do some fighting! | 0:12:40 | 0:12:41 | |
In just over a year, he's gone from being homeless | 0:12:41 | 0:12:44 | |
and drunk to performing in front of a live audience. | 0:12:44 | 0:12:46 | |
When we're under attack and throwing bricks, petrol bombs... | 0:12:46 | 0:12:51 | |
I'm doing a course, an IT course. | 0:12:51 | 0:12:53 | |
I'm also a voluntary worker, helping a men's group. | 0:12:53 | 0:12:57 | |
I'm also teaching social studies. | 0:12:57 | 0:12:59 | |
Life is absolutely brilliant. | 0:12:59 | 0:13:03 | |
So what about that passer-by with the big heart? | 0:13:03 | 0:13:07 | |
Phil's good samaritan gave him a piece of paper | 0:13:07 | 0:13:09 | |
and on it was a name and a number. | 0:13:09 | 0:13:11 | |
We decided to find Phil's helper. | 0:13:11 | 0:13:13 | |
But unfortunately, the number didn't work. | 0:13:13 | 0:13:16 | |
However, we did have a name. | 0:13:16 | 0:13:18 | |
Stephen Finlayson. | 0:13:18 | 0:13:19 | |
And, eventually, we tracked him down. | 0:13:19 | 0:13:25 | |
Keep going, keep going, keep going. | 0:13:25 | 0:13:27 | |
Time, well done. | 0:13:27 | 0:13:29 | |
And this is Stephen Finlayson - fitness trainer, former | 0:13:29 | 0:13:32 | |
soldier and good samaritan. | 0:13:32 | 0:13:36 | |
Nice to meet you, Chris. | 0:13:36 | 0:13:37 | |
Nice to meet you at last. | 0:13:37 | 0:13:39 | |
This looks like fun. | 0:13:39 | 0:13:40 | |
Yeah, I've heard a lot about you. | 0:13:40 | 0:13:42 | |
Have you? | 0:13:42 | 0:13:43 | |
OK. | 0:13:43 | 0:13:44 | |
Stephen remembers helping Phil like it was yesterday. | 0:13:44 | 0:13:46 | |
Went up and just asked him, I said, "Are you all right?" | 0:13:46 | 0:13:50 | |
He kind of just said, "Yeah, I'm all right." | 0:13:50 | 0:13:53 | |
Left it at that and maybe got, like, 20 metres down | 0:13:53 | 0:13:55 | |
the road and I just thought, "No, I can't just | 0:13:55 | 0:13:57 | |
leave him to lie there." | 0:13:57 | 0:13:59 | |
What made you think you had to do that? | 0:13:59 | 0:14:01 | |
I just think... | 0:14:01 | 0:14:03 | |
Just that look, that very look in his eye, | 0:14:03 | 0:14:05 | |
of just being totally... | 0:14:05 | 0:14:10 | |
scared. | 0:14:10 | 0:14:11 | |
I've seen that look before and that's when you know | 0:14:11 | 0:14:14 | |
someone's at rock bottom. | 0:14:14 | 0:14:18 | |
He doesn't need food, he doesn't need a drink, | 0:14:18 | 0:14:20 | |
he doesn't need a sleeping bag. | 0:14:20 | 0:14:21 | |
He needs someone to pick him up and take him somewhere where he's | 0:14:21 | 0:14:25 | |
going to be a lot safer than on the streets. | 0:14:25 | 0:14:29 | |
Stephen got Phil into the bed and breakfast | 0:14:29 | 0:14:31 | |
with the help of his mam. | 0:14:31 | 0:14:33 | |
Just came in and says, "Mam, Mam. | 0:14:33 | 0:14:35 | |
I've seen this man, he's on the street and he needs | 0:14:35 | 0:14:37 | |
help, he needs help. | 0:14:38 | 0:14:39 | |
He's just sitting there, he's cold, he's freezing." | 0:14:39 | 0:14:42 | |
Is that the kind of thing he would normally do? | 0:14:42 | 0:14:44 | |
Oh, yeah. | 0:14:44 | 0:14:45 | |
Yeah? | 0:14:45 | 0:14:47 | |
Yeah. | 0:14:47 | 0:14:49 | |
So, we drove round and he was still sat there, so we pulled the car up, | 0:14:49 | 0:14:53 | |
went over and spoke to him. | 0:14:53 | 0:14:55 | |
I liked him that much, I would have taken him | 0:14:55 | 0:14:58 | |
home, do you know that? | 0:14:58 | 0:14:58 | |
I would have taken him home. | 0:14:58 | 0:15:00 | |
He was such a nice man. | 0:15:00 | 0:15:01 | |
Like Phil, Stephen is also an old soldier. | 0:15:01 | 0:15:04 | |
He served as a sniper with the RAF regiment. | 0:15:04 | 0:15:07 | |
He's about to find out how important he was to Phil's recovery. | 0:15:07 | 0:15:13 | |
Do you ever wonder what happened to him? | 0:15:13 | 0:15:15 | |
I do. | 0:15:15 | 0:15:16 | |
I used to think about him quite a lot. | 0:15:16 | 0:15:18 | |
I can tell you that Phil sees that moment as the pivotal moment | 0:15:18 | 0:15:21 | |
of his life, where everything turned around and started heading | 0:15:21 | 0:15:24 | |
in the right direction. | 0:15:24 | 0:15:26 | |
Right. | 0:15:26 | 0:15:27 | |
Would you be surprised to find out that Phil | 0:15:27 | 0:15:29 | |
was in a play that I directed? | 0:15:29 | 0:15:33 | |
No way? | 0:15:33 | 0:15:35 | |
Literally, one year, I think it was, from that night that you met him. | 0:15:35 | 0:15:38 | |
You're kidding? | 0:15:38 | 0:15:39 | |
Totally turned his life around. | 0:15:39 | 0:15:41 | |
How does that make you feel? | 0:15:41 | 0:15:43 | |
Yeah. | 0:15:43 | 0:15:44 | |
I can't really... | 0:15:44 | 0:15:45 | |
Yeah. | 0:15:45 | 0:15:47 | |
I can tell you that you made a huge difference to that man. | 0:15:47 | 0:15:50 | |
Absolutely. | 0:15:50 | 0:15:52 | |
If I was able to get Phil here, would you like to | 0:15:52 | 0:15:57 | |
meet him at some point? | 0:15:57 | 0:16:00 | |
Yeah? | 0:16:00 | 0:16:01 | |
Think of anything you'd like to say to him? | 0:16:01 | 0:16:11 | |
Yeah, I'd love to hear from him and meet him. | 0:16:13 | 0:16:16 | |
Yeah. | 0:16:16 | 0:16:19 | |
24 hours later, Phil is about to meet his good samaritan. | 0:16:19 | 0:16:24 | |
But first, he has a special date. | 0:16:24 | 0:16:28 | |
Flipping heck! | 0:16:28 | 0:16:29 | |
This is Phil. | 0:16:29 | 0:16:31 | |
Hello, nice to see you. | 0:16:31 | 0:16:32 | |
Hiya, love. | 0:16:32 | 0:16:34 | |
I'm glad you made it back. | 0:16:34 | 0:16:35 | |
I did make it. | 0:16:35 | 0:16:36 | |
I did make it, yeah. | 0:16:36 | 0:16:37 | |
I didn't think I was going to make it until Stephen came along, like, | 0:16:37 | 0:16:41 | |
you know what I mean? | 0:16:41 | 0:16:43 | |
Fantastic. | 0:16:43 | 0:16:44 | |
Marvellous. | 0:16:44 | 0:16:45 | |
A lovely son you've got. | 0:16:45 | 0:16:46 | |
He's a wonderful boy. | 0:16:46 | 0:16:47 | |
I'm doing plays and got myself a job, teaching again, | 0:16:47 | 0:16:51 | |
doing what I love to do. | 0:16:51 | 0:16:53 | |
Got on my feet. | 0:16:53 | 0:16:55 | |
I don't think I'd have done it without Stephen. | 0:16:55 | 0:17:01 | |
At last, after meeting Stephen's mum, Phil finally gets | 0:17:01 | 0:17:06 | |
to see his good samaritan. | 0:17:06 | 0:17:08 | |
Stephen, Phil. | 0:17:08 | 0:17:09 | |
Good to see you. | 0:17:09 | 0:17:14 | |
And you, mate. | 0:17:14 | 0:17:15 | |
You're looking well, man. | 0:17:15 | 0:17:17 | |
Doing well. | 0:17:17 | 0:17:18 | |
Look at you! | 0:17:18 | 0:17:19 | |
I just want to tell you what you've done for me. | 0:17:19 | 0:17:22 | |
You've done everything for me. | 0:17:22 | 0:17:27 | |
I was in that doorway, thinking I didn't want to go on anymore. | 0:17:27 | 0:17:30 | |
Were you driving past? | 0:17:30 | 0:17:31 | |
No, I walked. | 0:17:31 | 0:17:32 | |
I walked past you. | 0:17:32 | 0:17:33 | |
Right. | 0:17:33 | 0:17:35 | |
Yeah. | 0:17:35 | 0:17:36 | |
Go on, then. | 0:17:36 | 0:17:37 | |
I asked how you were. | 0:17:37 | 0:17:40 | |
Go on. | 0:17:40 | 0:17:43 | |
I just thought I couldn't get any lower. | 0:17:43 | 0:17:45 | |
I didn't really have any friends. | 0:17:45 | 0:17:47 | |
The loneliness and despair I was feeling. | 0:17:47 | 0:17:52 | |
And then you came along. | 0:17:52 | 0:17:55 | |
And how do you remember it? | 0:17:55 | 0:17:56 | |
I got to the stage where I was talking to myself and arguing | 0:17:56 | 0:18:00 | |
with myself and hating myself. | 0:18:00 | 0:18:04 | |
So I'd have these conversations saying, "You've really done | 0:18:04 | 0:18:06 | |
it this time, Phil." | 0:18:06 | 0:18:07 | |
How bad can you get? | 0:18:07 | 0:18:09 | |
Do you remember coming in here? | 0:18:09 | 0:18:10 | |
No. | 0:18:10 | 0:18:11 | |
This is all new to me. | 0:18:11 | 0:18:13 | |
We sat on that table and chair behind you and sat and had a coffee. | 0:18:13 | 0:18:17 | |
Right. | 0:18:17 | 0:18:18 | |
That's when you told me that you used to serve in the artillery. | 0:18:18 | 0:18:22 | |
Thank you. | 0:18:22 | 0:18:23 | |
I can't thank you enough. | 0:18:23 | 0:18:24 | |
I really, I can't. | 0:18:24 | 0:18:26 | |
You've just changed my life. | 0:18:26 | 0:18:28 | |
I just needed that somebody. | 0:18:28 | 0:18:30 | |
My mother used to have a little plaque in the hallway and it says - | 0:18:30 | 0:18:34 | |
"There's no such thing as strangers. | 0:18:34 | 0:18:35 | |
Only friends we've never met." | 0:18:35 | 0:18:38 | |
And you were my friend that night, you really was. | 0:18:38 | 0:18:43 | |
There you have it. | 0:18:44 | 0:18:44 | |
A helping hand from a complete stranger who has totally transformed | 0:18:44 | 0:18:47 | |
this old soldier's life. | 0:18:47 | 0:18:49 | |
It's amazing what a difference a little bit of kindness can make. | 0:18:49 | 0:18:52 | |
They've obviously got a lot of catching up to do, | 0:18:52 | 0:18:55 | |
so I'm going to leave them to it. | 0:18:55 | 0:19:03 | |
Wouldn't it be great to have a time machine so we could back and see how | 0:19:03 | 0:19:07 | |
the places we love once looked? | 0:19:07 | 0:19:09 | |
Well, thanks to a remarkable group of men and women on Tyneside, | 0:19:09 | 0:19:12 | |
we can do just that. | 0:19:12 | 0:19:14 | |
Newcastle was in at the very start of amateur filmmaking | 0:19:14 | 0:19:18 | |
and it's rare archive is now being preserved for posterity. | 0:19:18 | 0:19:25 | |
It's like a history book with pages you can turn backwards. | 0:19:25 | 0:19:30 | |
I mean, we've got shots of horse drawn trams | 0:19:30 | 0:19:33 | |
going across the high level bridge. | 0:19:33 | 0:19:37 | |
The whole city now has changed but we still have on record how | 0:19:37 | 0:19:40 | |
it looked in the 30s, 40s and 50s. | 0:19:40 | 0:19:43 | |
We learn about how we grew up, how we went to work, | 0:19:43 | 0:19:46 | |
how we spent our leisure time. | 0:19:46 | 0:19:48 | |
It really is a window on to the past. | 0:19:48 | 0:19:51 | |
The first 16mm was only produced in 1923 and Newcastle | 0:19:51 | 0:19:57 | |
was founded in 1927, which makes us 90 years old, | 0:19:57 | 0:20:02 | |
and we think, the oldest club in the country, possibly the world. | 0:20:02 | 0:20:06 | |
Today I've got the easy job. | 0:20:06 | 0:20:07 | |
I'm using the clapperboard so I just have to stand about. | 0:20:07 | 0:20:12 | |
The Newcastle and District Amateur Cinematographers Association | 0:20:12 | 0:20:15 | |
is still making movies. | 0:20:15 | 0:20:17 | |
Take 25. | 0:20:17 | 0:20:19 | |
And having fun. | 0:20:19 | 0:20:21 | |
Listen, I've got a proper storyboard, mate. | 0:20:21 | 0:20:24 | |
Rolling, action. | 0:20:24 | 0:20:29 | |
Things have changed a lot since the old days. | 0:20:29 | 0:20:31 | |
There's the wonderful stage building. | 0:20:31 | 0:20:32 | |
Don't forget about the famous Tynebridge, the old Tynebridge. | 0:20:32 | 0:20:38 | |
-- Tyne Bridge. | 0:20:38 | 0:20:39 | |
Yes, things have changed. | 0:20:39 | 0:20:41 | |
They certainly have. | 0:20:41 | 0:20:43 | |
And these days, I can put it straight on the internet. | 0:20:43 | 0:20:46 | |
The technology has certainly changed for these filmmakers down the years. | 0:20:46 | 0:20:49 | |
But Walter and Sylvia's on-screen chemistry has never wavered. | 0:20:49 | 0:20:54 | |
I can't believe we've been doing this since the swinging sixties. | 0:20:54 | 0:21:00 | |
This dynamic duo starred in a comedy about their hapless attempts | 0:21:00 | 0:21:04 | |
to record everyday sound effects. | 0:21:04 | 0:21:13 | |
INAUDIBLE | 0:21:13 | 0:21:15 | |
No, no, Terry. | 0:21:15 | 0:21:16 | |
This is a private recording you have just ruined. | 0:21:16 | 0:21:18 | |
With time, it's become a piece of social history that has found | 0:21:18 | 0:21:21 | |
a place in the North East Film Archive. | 0:21:21 | 0:21:24 | |
We have got more than 190 films from the Newcastle ACA Cine Club. | 0:21:24 | 0:21:28 | |
Absolutely wonderful films. | 0:21:28 | 0:21:34 | |
They are kept at around ten degrees centigrade with 37 degree humidity | 0:21:34 | 0:21:40 | |
and these films could stay here for the next 100 | 0:21:40 | 0:21:43 | |
years, quite safely. | 0:21:43 | 0:21:46 | |
But when the films first arrive at the archive, | 0:21:46 | 0:21:49 | |
they have to be painstakingly inspected frame by frame | 0:21:49 | 0:21:51 | |
to repair any damage. | 0:21:51 | 0:21:55 | |
Here, we've found a perforation that is completely ripped off | 0:21:55 | 0:21:58 | |
in this sequence of film. | 0:21:58 | 0:22:02 | |
The more that you run the film through a projector, | 0:22:02 | 0:22:05 | |
the more damage happens. | 0:22:05 | 0:22:08 | |
So to repair this, we would go back to the trusty splicer and we can | 0:22:08 | 0:22:11 | |
repair this in much the same way as attaching leader. | 0:22:11 | 0:22:20 | |
Newcastle's early amateur filmmakers captured momentous events, | 0:22:20 | 0:22:24 | |
like the city's enthusiastic celebration of George | 0:22:24 | 0:22:26 | |
VI's coronation. | 0:22:26 | 0:22:34 | |
Cameras were expensive and only the rich could take up | 0:22:34 | 0:22:36 | |
the hobby back then. | 0:22:36 | 0:22:37 | |
The leading lights used their upper class connections. | 0:22:37 | 0:22:39 | |
So whilst Pathe news recorded the opening of the Tyne Bridge | 0:22:39 | 0:22:42 | |
from a polite distance, Newcastle ACA had access all areas | 0:22:42 | 0:22:44 | |
to be at the heart of the action. | 0:22:44 | 0:22:49 | |
Then they looked at newsreel events - the opening of the Tyne Bridge - | 0:22:49 | 0:22:53 | |
and then they also said, "Hey, why don't we get | 0:22:53 | 0:22:55 | |
together and make a story? | 0:22:55 | 0:22:56 | |
Let's be a little Hollywood in Newcastle." | 0:22:56 | 0:22:59 | |
And we suddenly find them doing classic dramas, | 0:22:59 | 0:23:02 | |
some of which did extremely well. | 0:23:02 | 0:23:05 | |
In this espionage drama, they once again used their high | 0:23:05 | 0:23:08 | |
society connections to purloin a plane for the female spy's escape. | 0:23:08 | 0:23:13 | |
The BBC caught up with the villainess some 50 years later. | 0:23:13 | 0:23:19 | |
Doris, you starred in a number of films. | 0:23:19 | 0:23:21 | |
In fact, you became quite a filmstar in a small way, | 0:23:21 | 0:23:24 | |
is that why you joined? | 0:23:24 | 0:23:25 | |
Yes! | 0:23:25 | 0:23:26 | |
I was always interested in acting, amateur acting, | 0:23:26 | 0:23:28 | |
so when I got the chance, I quite enjoyed it. | 0:23:28 | 0:23:30 | |
But I'm afraid I was not the romantic type at all. | 0:23:30 | 0:23:38 | |
Health and safety might not have been a concern for the Newcastle | 0:23:38 | 0:23:40 | |
ACA but equality was. | 0:23:40 | 0:23:43 | |
The ladies in your club play quite an active part. | 0:23:43 | 0:23:45 | |
Oh, yes, an equal part, quite an equal part. | 0:23:45 | 0:23:49 | |
We did camera work, we produced and we acted just | 0:23:49 | 0:23:53 | |
the same as the men. | 0:23:53 | 0:23:56 | |
In Bonadventure, we had a lady cameraman. | 0:23:56 | 0:24:00 | |
As cameras became more affordable, the club membership expanded | 0:24:00 | 0:24:02 | |
and by the 60s, they made a multi-camera epic to document | 0:24:02 | 0:24:05 | |
the centenary of the Blaydon races. | 0:24:05 | 0:24:09 | |
We put out, it was something like 8 x 16mm camera units to cover every | 0:24:09 | 0:24:13 | |
aspect of the celebrations, which ran for over a week | 0:24:13 | 0:24:18 | |
and there was everything going - motor rallies, races, the lot. | 0:24:18 | 0:24:21 | |
It was a really superb set up. | 0:24:21 | 0:24:26 | |
NEWSREEL: This is the chain bridge. | 0:24:26 | 0:24:29 | |
It was once suspended from chains and once over | 0:24:29 | 0:24:31 | |
here they are on the last lap, with Blaydon close ahead. | 0:24:31 | 0:24:35 | |
We were shooting in colour - 16mm Kodachrome colour - | 0:24:35 | 0:24:39 | |
whereas BBC and ITV locally were still in black and white. | 0:24:39 | 0:24:43 | |
So when eventually the two channels transferred to colour, | 0:24:43 | 0:24:45 | |
all of a sudden all the material we had shot was in big demand | 0:24:45 | 0:24:49 | |
and it was a nice little earner. | 0:24:49 | 0:24:54 | |
These amateurs were ahead of the professionals. | 0:24:54 | 0:24:57 | |
We have over 30,000 films in our vaults, but this | 0:24:57 | 0:24:59 | |
collection stands out as an amateur collection. | 0:24:59 | 0:25:03 | |
People have this perception that if it's amateur, it's not very good | 0:25:03 | 0:25:06 | |
not very professional. | 0:25:06 | 0:25:07 | |
Actually, if you think | 0:25:07 | 0:25:08 | |
about the original meaning of the word amateur - | 0:25:08 | 0:25:10 | |
a love or passion for - what these filmmakers had is a love | 0:25:10 | 0:25:13 | |
of the medium of film and a love and passion | 0:25:13 | 0:25:16 | |
for their local community, and the world around them. | 0:25:16 | 0:25:18 | |
To digitise one film can be anything from ?500 to ?1,000, | 0:25:18 | 0:25:21 | |
so there is a huge investment in this collection, | 0:25:21 | 0:25:23 | |
both in time and money. | 0:25:23 | 0:25:26 | |
The beauty of this film is nice colour in the middle of the war, | 0:25:26 | 0:25:29 | |
which was very strange, nobody could buy any film in 1944. | 0:25:29 | 0:25:37 | |
So it's brilliant. | 0:25:37 | 0:25:40 | |
Some research and local knowledge means we can trace this Red Cross | 0:25:40 | 0:25:43 | |
training camp back to the exact field above Rothbury | 0:25:43 | 0:25:45 | |
in Northumberland. | 0:25:45 | 0:25:47 | |
Other films tell you everything you need to know. | 0:25:47 | 0:25:57 | |
Any resident of Whitely Bay will sit and be gobsmacked | 0:25:58 | 0:26:01 | |
and say "I haven't seen | 0:26:01 | 0:26:02 | |
that view since my childhood." | 0:26:02 | 0:26:10 | |
An audience, 50 years later, they may go, "Wow! | 0:26:10 | 0:26:12 | |
Is that what rollercoasters look like then?" | 0:26:12 | 0:26:14 | |
And they will be looking at it as a historical document. | 0:26:14 | 0:26:16 | |
Dating it, I just think it's late 50s. | 0:26:16 | 0:26:19 | |
I was just looking at the cars. | 0:26:19 | 0:26:21 | |
Oh, right! | 0:26:21 | 0:26:23 | |
That's what went on anywhere when you went to the seaside. | 0:26:23 | 0:26:26 | |
There was always fellas who were in suits on the beach. | 0:26:26 | 0:26:33 | |
There's something satisfying about being sat in Whitley Bays | 0:26:33 | 0:26:36 | |
community cinema - the Jam Jar - watching scenes | 0:26:36 | 0:26:38 | |
of just outside the front door from a bygone age. | 0:26:38 | 0:26:44 | |
And digitising the club's archive has made it possible. | 0:26:44 | 0:26:47 | |
They've been packed out just in ordinary church halls | 0:26:47 | 0:26:48 | |
or minsters or what have you. | 0:26:49 | 0:26:50 | |
Audiences of 200, 300 and they've had to repeat the shows just | 0:26:50 | 0:26:53 | |
because it is their local town. | 0:26:53 | 0:26:56 | |
And it's great. | 0:26:56 | 0:26:58 | |
And club members aren't averse to indulging | 0:26:58 | 0:27:03 | |
in their own bit nostalgia. | 0:27:03 | 0:27:04 | |
This was my last ever film camera. | 0:27:04 | 0:27:05 | |
At first glance, you would look at this camera and say, | 0:27:05 | 0:27:08 | |
"That's a lady's camera." | 0:27:08 | 0:27:10 | |
This is the Swiss made Bolex 816. | 0:27:10 | 0:27:13 | |
This was my firstt videocamera. | 0:27:13 | 0:27:14 | |
Beautiful little camera. | 0:27:14 | 0:27:17 | |
Goes in your pocket. I don't have a handbag. | 0:27:17 | 0:27:27 | |
But they're not stuck in the past and embrace | 0:27:27 | 0:27:29 | |
new technology and styles. | 0:27:29 | 0:27:32 | |
But is the club still relevant to today's smartphone generation? | 0:27:32 | 0:27:37 | |
We've had trouble getting members and I think we've got to recognise | 0:27:37 | 0:27:40 | |
this and things will change within the club. | 0:27:40 | 0:27:44 | |
We won't go on as we have done for the past 90 years | 0:27:44 | 0:27:47 | |
in the next 90 years. | 0:27:47 | 0:27:49 | |
The club won't fold but it will be different. | 0:27:49 | 0:27:52 | |
One thing never changes - whatever you shoot today, | 0:27:52 | 0:27:55 | |
it won't take long for it to look like yesteryear. | 0:27:55 | 0:28:04 | |
If you want some information on where you can see some of those | 0:28:26 | 0:28:29 | |
amazing archive films online, I'll be posting details | 0:28:29 | 0:28:31 | |
on Twitter and Facebook. | 0:28:31 | 0:28:34 | |
That's it for tonight and we're not here next Monday, | 0:28:34 | 0:28:36 | |
but we are back the following week. | 0:28:36 | 0:28:42 | |
When we'll hear why a groundbreaking Cumbrian copper has | 0:28:42 | 0:28:45 | |
brought Sir Lenny to town. | 0:28:45 | 0:28:51 | |
We'll see you then, but for now from Whitley Bay, goodnight. | 0:28:51 | 0:28:56 | |
Hello, I'm Alex Bushill with your 90 second update. | 0:29:05 | 0:29:08 | |
Drug abuse, violence and faulty alarms. | 0:29:08 | 0:29:09 | |
Just some of the major security failings | 0:29:09 | 0:29:11 | |
a BBC investigation has uncovered at a Northumberland prison. | 0:29:11 | 0:29:14 | |
Stay tuned for Panorama after Eastenders. | 0:29:14 | 0:29:17 | |
Work pays, right? | 0:29:17 | 0:29:19 | |
Well, new research shows pensioner households are, on average, | 0:29:19 | 0:29:22 | |
?20 a week better off than those of working age. | 0:29:22 | 0:29:25 | |
They say more older people are homeowners | 0:29:25 | 0:29:27 | |
with generous private pensions. | 0:29:27 | 0:29:30 | |
Almost 200,000 people living near America's tallest dam | 0:29:30 | 0:29:32 | |
have been told to flee. | 0:29:32 | 0:29:34 | |
Engineers are working to stop part of the Oroville | 0:29:34 | 0:29:36 | |
in California collapsing. | 0:29:36 | 0:29:38 | |
Heavy rain damaged it. | 0:29:38 | 0:29:40 | |
It seems plastic's not so fantastic. | 0:29:40 | 0:29:42 |