:00:00. > :00:00.the teacher's family and the school and all the pupils to study there.
:00:00. > :00:07.the teacher's family and the school Welcome to South East Today, I'm Rob
:00:08. > :00:16.Smith. Tonight's top stories: UKIP Borchers
:00:17. > :00:20.hit European election manifesto as hit European election manifdsto as
:00:21. > :00:26.Nigel Farage says his party is a victim of a witchhunt.
:00:27. > :00:29.One in ten schools are having to toilet train pupils, a survey
:00:30. > :00:36.reveals, with some still in nappies as they go to secondary school.
:00:37. > :00:38.In primary school, children as old as 11 are still having issuds being
:00:39. > :00:41.clean and dry during the day and clean and dry during the dax and
:00:42. > :00:44.night. I am in Brighton marking the
:00:45. > :00:46.I am in Brighton marking thd centenary of World War I with a
:00:47. > :00:53.special programme about the 1969 special programme about the 196
:00:54. > :00:58.film, Oh, What A Lovely War. Richard Attenborough's directorial
:00:59. > :01:07.debut had a lasting legacy on the country. We are joined by the
:01:08. > :01:16.original cast and screw `` crew for a special screening.
:01:17. > :01:27.The south east MEP and UKIP leader Nigel Farage says his party is the
:01:28. > :01:30.victim of a "witch hunt" by the media. UKIP has come under further
:01:31. > :01:32.scrutiny this weekend, for comments made by a local councillor hn London
:01:33. > :01:35.made by a local councillor in London who said the comedian Lenny Henry
:01:36. > :01:38.should emigrate to a "black country", and compared Islal to the
:01:39. > :01:40.Third Reich. Mr Farage launched the party's manifesto in the south east,
:01:41. > :01:41.party's manifesto in the sotth east, ahead of the European elections.
:01:42. > :01:50.ahead of the European electhons Juliette Parkin reports. A simple
:01:51. > :01:57.photo call but this is a man who seems to court controversy. No one
:01:58. > :02:03.in Britain have I come across such an attitude, I find it astonishing.
:02:04. > :02:07.I have been kicked out of worst places. Embarrassingly typically
:02:08. > :02:11.unfazed, a latest poll putting UKIP ahead of Labour and the Torhes shows
:02:12. > :02:16.Nigel Farage has every reason to smile.
:02:17. > :02:20.I want to cause an earthquake in British politics by saying to
:02:21. > :02:25.people, join us against the establishment who are giving away
:02:26. > :02:31.our borders and country. I believe we have a sporting chance. On the
:02:32. > :02:33.campaign trail in Portsmouth, it is the UKIP crew who is rocking the
:02:34. > :02:39.boat. Donna Edmunds recently said boat. Donna Edmunds recently said
:02:40. > :02:44.that business owners should be able to refuse anyone, including women
:02:45. > :02:48.and gay people. I regret my comments were taken out of context. There is
:02:49. > :02:52.an element of the establishment an element of the establishment
:02:53. > :02:59.desperate to find a witchhunt on UKIP. His party may be full of
:03:00. > :03:04.colourful characters but the media circus is indicative of the interest
:03:05. > :03:08.that has grown, it is packed with journalists. What we are seeing
:03:09. > :03:11.that has grown, it is packed with journalists. What we are seding is a
:03:12. > :03:13.continuation of the expenses scandal which infuriated people and has put
:03:14. > :03:16.people off elected politici`ns. which infuriated people and has put
:03:17. > :03:18.people off elected politicians. UKIP people off elected politici`ns. UKIP
:03:19. > :03:24.has played well into this. On energy, Farage is pro`fracking. And
:03:25. > :03:29.energy, Farage is pro`frackhng. And of course he wants out of Europe.
:03:30. > :03:32.Exactly where his candidates hope to be heading.
:03:33. > :03:36.There are currently ten MEPs who represent the south east, five
:03:37. > :03:42.Conservatives, two Liberal Democrats, and one MEP each from The
:03:43. > :03:46.Greens, the Labour Party and UKIP. But, could that all change `fter
:03:47. > :03:55.next months' vote? Simon Jones is in Dover now. Simon,
:03:56. > :03:58.we heard Nigel Farage say that our ports need to be made more secure,
:03:59. > :04:03.to clamp down on illegal immigration. Is his message
:04:04. > :04:07.resonating with voters. Illegal immigration and migration
:04:08. > :04:10.from Europe are certainly hot topics. UKIP is hoping to btild
:04:11. > :04:11.from Europe are certainly hot topics. UKIP is hoping to build on
:04:12. > :04:16.recent successes in areas lhke recent successes in areas like
:04:17. > :04:19.panicked but some voters we spoke to said beyond immigration and
:04:20. > :04:26.migration they are not sure what the party stands for. I believe in
:04:27. > :04:29.voting for the major political parties as opposed to minority
:04:30. > :04:32.parties, so, no, I would not vote for UKIP.
:04:33. > :04:36.I am a bit torn because I do agree with a lot of their policies. But
:04:37. > :04:39.then some of them are not so great. Some of them we don't.
:04:40. > :04:42.The Conservatives are doing nothing for us at all. Criticising Labour
:04:43. > :04:47.and other parliaments. They are doing nothing. UKIP will.
:04:48. > :04:50.No, I won't be voting for UKIP, I shall be sticking with the party I
:04:51. > :04:52.voted for before. I'm going to vote for UKIP, because
:04:53. > :04:55.I believe in traditional Brhtish I believe in traditional British
:04:56. > :04:57.values, and I have lost confidence in other parties.
:04:58. > :04:58.I voted Labour before, but I in other parties.
:04:59. > :05:02.I voted Labour before, but H will I voted Labour before, but H will
:05:03. > :05:05.consider voting for UKIP. There's a lot of jobs we're not
:05:06. > :05:09.getting, as British citizens, that are going to other kinds of people
:05:10. > :05:13.so I would vote the them 100%. He makes the hair stand up on the
:05:14. > :05:19.back of my neck, I can't stand the man.
:05:20. > :05:21.The results for UKIP in the south`east are said to be hugely
:05:22. > :05:23.south`east are said to be htgely significant. Nigel Farage has said
:05:24. > :05:26.significant. Nigel Farage h`s said he will stand as an MP with hot
:05:27. > :05:30.money being placed on Folkestone or Thanet.
:05:31. > :05:34.And, in the run`up to the Etropean elections which take place on the
:05:35. > :05:37.22nd of May, we'll be bringing you more details of the main parties in
:05:38. > :05:40.the south east, and their c`mpaigns, plus giving you information about
:05:41. > :05:48.all the other political parties asking for your vote.
:05:49. > :05:52.A Kent head teacher says chhldren as old as 11 are wearing nappies or
:05:53. > :05:53.pull`ups at her school. Annd`Marie pull`ups at her school. Anne`Marie
:05:54. > :05:56.Middleton, deputy head of W`rden Middleton, deputy head of Warden
:05:57. > :06:00.House Primary School in Deal, said she was aware of at least three
:06:01. > :06:02.children all aged 11 going to school in nappies, or pull`ups. The
:06:03. > :06:02.children all aged 11 going to school in nappies, or pull`ups. Thd news of
:06:03. > :06:04.in nappies, or pull`ups. The news of pupils wearing nappies comes as
:06:05. > :06:06.research released today revdaled research released today revealed
:06:07. > :06:08.almost one in ten head teachers reported a child aged betwedn
:06:09. > :06:08.almost one in ten head teachers reported a child aged between five
:06:09. > :06:14.reported a child aged betwedn five and seven wearing a nappy to school.
:06:15. > :06:16.Fiona Irving reports. Nappies for toddlers, but some
:06:17. > :06:21.children are still in these when they go to school. It is a hidden
:06:22. > :06:26.issue parents are too embarrassed to address. At this primary School,
:06:27. > :06:28.three of their 11`year`olds are still wearing pull`ups. We are
:06:29. > :06:33.still wearing pull`ups. We `re seeing in primary school children as
:06:34. > :06:38.old as 11 are still having issues with being clean and dry. This is
:06:39. > :06:43.continuing into secondary education. We know 15`year`olds
:06:44. > :06:51.having similar problems. Once we are aware, it is about being a simple
:06:52. > :06:53.problem to solve. Figures rdveal aware, it is about being a simple
:06:54. > :06:53.problem to solve. Figures reveal 9% problem to solve. Figures reveal 9%
:06:54. > :06:55.of senior staff have reportdd problem to solve. Figures rdveal 9%
:06:56. > :07:02.of senior staff have reported a child aged between five and seven
:07:03. > :07:08.wearing a nappy. 4% of pupils aged 7`11, despite those children having
:07:09. > :07:12.no developmental reason to wear one. We have taken her out of pull`ups at
:07:13. > :07:19.night because she is going to school. It is a little bit wrong. I
:07:20. > :07:22.don't see why they need to have a nappy, they can go to the toilet.
:07:23. > :07:24.Each to their own, I supposd. nappy, they can go to the toilet.
:07:25. > :07:27.Each to their own, I suppose. My Each to their own, I supposd. My
:07:28. > :07:33.little boy has been out of nappies for years and he is in the section.
:07:34. > :07:35.Each child is different. A programme tackling the problem in Dover
:07:36. > :07:35.Each child is different. A programme tackling the problem in Dovdr and
:07:36. > :07:43.tackling the problem in Dover and deal is being extended across Kent.
:07:44. > :07:46.The Government has today plddged to stamp out the number of illegal
:07:47. > :07:52.stamp out the number of illdgal immigrants trying to get into
:07:53. > :07:55.Britain via Calais. It follows a recent investigation by BBC South
:07:56. > :07:58.East Today, which exposed the risks migrants are taking getting here.
:07:59. > :08:07.Our special correspondent Colin Campbell has this update.
:08:08. > :08:10.We exposed the desperate me`sures We exposed the desperate measures
:08:11. > :08:13.and extremists migrants in Calais are taking. Today, the MP for Dover
:08:14. > :08:15.said international action w`s needed to deal with the problems. Does the
:08:16. > :08:17.Home Office Minister consider Home Office Minister considdr
:08:18. > :08:19.supporting a joint initiative by Dover and Calais for the Frdnch
:08:20. > :08:22.Dover and Calais for the French police to clear these camps, and
:08:23. > :08:24.repatriate people or process their asylum claims, as the case lay be?
:08:25. > :08:25.asylum claims, as the case may be? Visiting the migrant camps three
:08:26. > :08:27.weeks ago, we took Charlie Elphicke weeks ago, we took Charlie Dlphicke
:08:28. > :08:32.to Calais. We introduced him to the to Calais. We introduced hil to the
:08:33. > :08:34.town's deputy mayor and showed him how migrants, mainly from Sxria
:08:35. > :08:38.Afghanistan and Eritrea, were able to make numerous attempts to board
:08:39. > :08:41.UK destined trucks. It is so brazen, they do it in plain sight. This was
:08:42. > :08:47.the government response. He makes an important point, many have come into
:08:48. > :08:51.the country willingly but illegally because they felt they were coming
:08:52. > :08:55.for a better life and they have been exploited. We need to stamp this
:08:56. > :08:57.out. The Home Office said today it works
:08:58. > :09:00.The Home Office said today ht works very closely with French police, and
:09:01. > :09:02.is looking to stamp out trafficking of illegal immigrants from Calais.
:09:03. > :09:04.It seems there is a long wax to go It seems there is a long way to go
:09:05. > :09:08.before the problem is stampdd out. As part of our ongoing
:09:09. > :09:13.commemorations marking 100 years commemorations marking 100 xears
:09:14. > :09:16.since the start of the First World War, we're hosting a special event
:09:17. > :09:17.in Brighton this evening, a screening of the controvershal 968
:09:18. > :09:23.screening of the controversial 1968 film Oh, What A Lovely War. It was
:09:24. > :09:30.filmed in the city, and Polly is there now. Polly.
:09:31. > :09:35.Welcome to the historic Dukd Of York's Picture House in Brighton.
:09:36. > :09:36.Why historic? Well, this is the oldest cinema in the country
:09:37. > :09:41.Why historic? Well, this is the oldest cinema in the countrx that's
:09:42. > :09:44.been continuously in use. Tonight, it's the location for our special
:09:45. > :09:47.screening of Richard Attenborough's Oh, What A Lovely War. We're
:09:48. > :09:48.screening of Richard Attenborough's Oh, What A Lovely War. We'rd joined
:09:49. > :09:51.Oh, What A Lovely War. We're joined here, not just by stars of the film
:09:52. > :09:53.itself, but people who were crew, extras, or who just watched the film
:09:54. > :09:55.being shot just down the ro`d on extras, or who just watched the film
:09:56. > :09:57.being shot just down the road on the sea front. We will be talking to
:09:58. > :10:01.some of them in a moment. But, some of them in a moment. But,
:10:02. > :10:05.first, as we mark the passing of 100 years since the start of World War
:10:06. > :10:09.One, Robin Gibson has been uncovering the part Brighton played
:10:10. > :10:21.in this iconic movie. # When this lousy war is ovdr.
:10:22. > :10:25.No more soldiering for me. It had to be a film about World War
:10:26. > :10:27.One like no other that had gone before. Richard Attenborough, famous
:10:28. > :10:32.actor, wanted his first director's actor, wanted his first dirdctor's
:10:33. > :10:36.cut to be remembered. If one can find a method which has
:10:37. > :10:39.not been seen, then it will add a freshness, and a special impact, to
:10:40. > :10:42.the content. He hit on the idea of World War One
:10:43. > :10:47.as an end`of`the`pier show. Where better to come and film it? So we
:10:48. > :10:55.see Brighton station. The Stssex see Brighton station. The Sussex
:10:56. > :11:00.Downs. Even the waste disposal tip enlisted into service. Most
:11:01. > :11:10.memorable was what Brighton had in those days, two piers.
:11:11. > :11:13.On the pier, all the people recruited were persuaded to go to
:11:14. > :11:16.war going through the turnstiles, and into the war. We make the pier
:11:17. > :11:20.glittering and wonderful, so everybody wants to get onto the
:11:21. > :11:23.pier, into the war. That was my idea.
:11:24. > :11:27.It has its own atmosphere, Brighton. I think that came over in the film.
:11:28. > :11:31.Definitely. It is most unsatisfactory. Where are
:11:32. > :11:36.the Sherwood Foresters? This is the latest position. Whisky,
:11:37. > :11:39.sir? The worst pier was on its way to
:11:40. > :11:50.The worst pier was on its w`y to collapse. But you wouldn't have
:11:51. > :11:53.known. It's rather like a room with concrete disease behind the
:11:54. > :11:56.wallpaper, but the wallpaper was all right so you thought you were all
:11:57. > :11:59.right, standing on these boards. We've lost another day. But it's
:12:00. > :12:03.understandable, we had some bad weather.
:12:04. > :12:04.If the weather could be unpredictable, Brighton offered an
:12:05. > :12:12.unpredictable, Brighton offdred an army of willing film extras.
:12:13. > :12:16.Richard Attenborough contacted the university, and asked if he could
:12:17. > :12:24.use some of the students as film extras. I was a suffragette on the
:12:25. > :12:26.pier, with Vanessa Redgrave. I waved a banner over her head, sayhng, "Our
:12:27. > :12:30.a banner over her head, saying, "Our men are being sacrificed in vain".
:12:31. > :12:33.With a great big hat with ydllow sunflowers on, you can't miss me.
:12:34. > :12:35.Before I talk to you, I should sunflowers on, you can't miss me.
:12:36. > :12:40.Before I talk to you, I shotld like Before I talk to you, I shotld like
:12:41. > :12:41.to read a letter. Brighton looks like the perfect film
:12:42. > :12:48.location, but it wasn't alw`ys Brighton looks like the perfect film
:12:49. > :12:58.location, but it wasn't always easy. Take, for example, the moving final
:12:59. > :13:01.scene sweeping across the Downs We must have filmed that about 20
:13:02. > :13:06.times during the five months that we were there, and everyone had to get
:13:07. > :13:08.up at five in the morning. It had to be in the dawn as the sun w`s
:13:09. > :13:08.up at five in the morning. Ht had to be in the dawn as the sun was coming
:13:09. > :13:12.be in the dawn as the sun w`s coming in, with the light. We did get
:13:13. > :13:13.terribly wet and very cold. The price of perfection, the price
:13:14. > :13:14.The price of perfection, thd price of fame.
:13:15. > :13:16.Granny? Granny, what did Daddy do in the
:13:17. > :13:30.war? A number of the extras are with us
:13:31. > :13:32.in the auditorium. This is the original upstairs bar of the
:13:33. > :13:38.original upstairs bar of thd theatre. And, tonight, it's playing
:13:39. > :13:44.host to a VIP reception, including cast members and their families.
:13:45. > :13:48.Through here is the balcony where I am joined by actors Angela Thorne
:13:49. > :13:49.and Maurice Roeves who were in the original line`up. Angela, this was
:13:50. > :13:51.your first film. And here we are, original line`up. Angela, this was
:13:52. > :13:53.your first film. And here wd are, 45 your first film. And here we are, 45
:13:54. > :13:56.years later, still talking about it. Could you have possibly havd
:13:57. > :14:03.imagined that? Yes, I did, because I thought it was
:14:04. > :14:11.a wonderful film. It was just so special. Yes, I thought it had been
:14:12. > :14:18.very long life. What were your standout memories of Brighton?
:14:19. > :14:20.Endless. The very first shot was all of us in the theatre watching Maggie
:14:21. > :14:27.Smith doing her bit on Mond`y, of us in the theatre watching Maggie
:14:28. > :14:31.Smith doing her bit on Monday, go Smith doing her bit on Mond`y, go
:14:32. > :14:34.out with a sailor, you know. I was absolutely transfixed. Absolutely
:14:35. > :14:35.wonderful. Maurice was your co`star. Here you
:14:36. > :14:41.Maurice was your co`star. Hdre you are in the film, a very dapper young
:14:42. > :14:43.man. Thank you for joining us. What's your favourite memorx of that
:14:44. > :14:46.What's your favourite memory of that extraordinary time?
:14:47. > :14:49.I remember the theatre. I had backed I remember the theatre. I had backed
:14:50. > :14:53.a horse in the Grand Nation`l which a horse in the Grand National which
:14:54. > :14:58.was running that day. Richard had paused everything so we could get
:14:59. > :15:11.the result. I was the only one that had it, 20`1. Did you make a lot of
:15:12. > :15:15.money? Not a lot. I do 25`1 bets. What do you remember about Dickie
:15:16. > :15:21.directing? A rookie director but experienced in the cinema. He was
:15:22. > :15:23.wonderful, wasn't he? And wd experienced in the cinema. He was
:15:24. > :15:28.wonderful, wasn't he? And we were wonderful, wasn't he? And wd were
:15:29. > :15:33.very patient! He was an absolute darling to work with. Being an
:15:34. > :15:35.actor, he understood us. We were all very nervous to begin with. He
:15:36. > :15:37.completely puts us at our ease come completely puts us at our e`se come
:15:38. > :15:39.he was lovely. Did you sense completely puts us at our ease come
:15:40. > :15:39.he was lovely. Did you sensd he completely puts us at our e`se come
:15:40. > :15:45.he was lovely. Did you sense he was he was lovely. Did you sense he was
:15:46. > :15:51.nervous at all? No, did you? It is a man's thing! I was going through a
:15:52. > :15:53.divorce at the time, horrendous stuff. Richard and Sheila wdre
:15:54. > :15:55.divorce at the time, horrendous stuff. Richard and Sheila were very
:15:56. > :16:01.good, they gave me a good t`lking good, they gave me a good t`lking
:16:02. > :16:04.to. They were the most lovely people to work with. We couldn't whsh for
:16:05. > :16:10.to work with. We couldn't wish for more. When you watch the film, do
:16:11. > :16:15.you find it moving? Incredibly moving. Not only because of the
:16:16. > :16:20.past, having gone through the making of the film which took nearly five
:16:21. > :16:24.months to make. And all the memories I had. The film itself, the song at
:16:25. > :16:28.the end. Thank you both verx I had. The film itself, the song at
:16:29. > :16:31.the end. Thank you both very much. Earlier, I spoke to Michael
:16:32. > :16:35.Attenborough, Lord Attenborough's Attenborough, Lord Attenborough's
:16:36. > :16:39.son, and who is an acclaimed theatre director in his own right. He was 18
:16:40. > :16:42.at the time of the shoot, and he remembers it well. He began by
:16:43. > :16:45.telling me how his father's good friend, John Mills, brought the
:16:46. > :16:47.script to Richard in the first instance.
:16:48. > :16:52.His gut instinct knowing Dad very well, was it was a subject that
:16:53. > :16:54.would appeal to him. He picked up a phone, "Dick, I've been asked to do
:16:55. > :16:56.phone, "Dick, I've been askdd to do a film version of Oh, What A
:16:57. > :16:56.phone, "Dick, I've been asked to do a film version of Oh, What @ Lovely
:16:57. > :17:00.a film version of Oh, What A Lovely War, I can't. I think you would do
:17:01. > :17:04.it brilliantly. Dad said, I've never directed a film before, are you
:17:05. > :17:08.crazy? He said, look, just read the script and if you fall in love with
:17:09. > :17:11.it, I think you would do it beautifully. John walked down
:17:12. > :17:15.Richmond Hill with the script, gave it to him. Dad said, yes, I'm going
:17:16. > :17:21.to to do it, it is thrilling. BRASS BAND PLAYS.
:17:22. > :17:22.How did he sell such an avant`garde concept to the studio, to get
:17:23. > :17:25.concept to the studio, to gdt funding?
:17:26. > :17:26.He went to distributors, single`handedly performing all the
:17:27. > :17:32.single`handedly performing `ll the songs and dances. I'd love to have
:17:33. > :17:35.been there. And tried to persuade them it would be a hugely
:17:36. > :17:43.entertaining film. He sensed they were not convinced. He thought, I
:17:44. > :17:45.know, they are waiting to find out who is going to be in it. Hd reeled
:17:46. > :17:47.who is going to be in it. He reeled off this incredibly impresshve list
:17:48. > :17:52.of actors he said would be in the of actors he said would be in the
:17:53. > :17:59.film. That clearly won them over. As it happens, he hadn't got agreement
:18:00. > :18:03.from any of them. You've got Michael Redgrave, John
:18:04. > :18:07.Gielgud, Ralph Richardson. Huge names in English theatre and screen.
:18:08. > :18:09.Why did they do it? I think it was personal fridndship
:18:10. > :18:16.I think it was personal friendship as much as anything. Olivier,
:18:17. > :18:19.Gielgud, Richardson, John Mhlls Dirk Bogard, Susannah York, Ian
:18:20. > :18:26.Holme, they were all very good friends, they had worked with dad.
:18:27. > :18:28.# The Army and tje Navy need attention.
:18:29. > :18:34.The outlook isn't healthy you'll admit.
:18:35. > :18:40.I have a perfect dream of a new recruiting scheme which I think is
:18:41. > :18:43.absolutely it. What is the legacy of the film in
:18:44. > :18:46.What is the legacy of the fhlm in terms of the way it shaped public
:18:47. > :18:49.opinion, and the reaction it had? The phrase, shaped public opinion,
:18:50. > :19:02.is an accurate one. That's how he felt. It was telling an important
:19:03. > :19:05.story. And, although there `re astonishing acts of bravery, there
:19:06. > :19:09.was very little that was heroic about mass slaughter. That's the
:19:10. > :19:14.story he wanted to tell. To say there's very little glorious about
:19:15. > :19:17.war, hence the irony of the title. Michael Attenborough watched the
:19:18. > :19:20.film being made. He even met his first wife, Jane Seymour, on set.
:19:21. > :19:23.But his sister, Charlotte Attenborough, was actually in the
:19:24. > :19:27.film, and is here with us now! You say the famous final line, "What did
:19:28. > :19:30.Daddy do in the war?" How exciting an experience was it for a
:19:31. > :19:36.nine`year`old girl? I didn't really start in it, I was
:19:37. > :19:40.in at the end. A little girl called Kathleen played Emma throughout the
:19:41. > :19:43.film. But at the end of the film, that little girl had grown tp.
:19:44. > :19:43.film. But at the end of the film, that little girl had grown up. I
:19:44. > :19:46.that little girl had grown tp. I remember daddy asking me if I would
:19:47. > :19:53.like to play her at the end and I felt very honoured to be part. It
:19:54. > :19:58.was an epic scene when the camera draws back over the South Downs
:19:59. > :20:02.Brighton was a recurring backdrop to your father's life. He starred in
:20:03. > :20:03.Brighton Rock in the '40s. He became Chancellor of the Universitx of
:20:04. > :20:08.Chancellor of the University of Sussex.
:20:09. > :20:11.Both my brothers also went to Sussex University. I broke the pattern and
:20:12. > :20:18.went to Bristol. But I did a drama went to Bristol. But I did a drama
:20:19. > :20:20.course there. Your brother is in South Africa to
:20:21. > :20:27.accept an award for one of xour accept an award for one of xour
:20:28. > :20:37.fathers's film Majak Daw, Cry Freedom set in South Africa. ``
:20:38. > :20:45.father's films. Daddy always chose films he was
:20:46. > :20:52.passionate about. The pacifhst philosophy of Gandhi. He was
:20:53. > :20:55.passionate about trying to make his own little mark to fight ap`rtheid
:20:56. > :21:01.own little mark to fight apartheid in South Africa.
:21:02. > :21:08.We are also joined by Haylex Mills. Thank you for joining us. Your
:21:09. > :21:14.father Sir John, was a good friend of Dickie's. Your father took the
:21:15. > :21:15.script to Richard Attenborotgh. He did indeed.
:21:16. > :21:20.He had been working on it with Len He had been working on it with Len
:21:21. > :21:29.Deighton who wrote the script. He was considering at one point he
:21:30. > :21:33.might direct it. And then, he got an offer for a very lucrative
:21:34. > :21:40.television series in Hollywood. And he decided that he should do that,
:21:41. > :21:46.and that was more familiar ground. So he handed it over to Richard.
:21:47. > :21:48.Thank you for talking to us. Let's go through to the audhtorium.
:21:49. > :21:55.Let's go through to the auditorium. We have here the last artef`cts from
:21:56. > :21:58.the film. The original puppdts who feature in one special scene.
:21:59. > :22:01.Watching the film tonight in the auditorium, we have lots of people
:22:02. > :22:03.who were involved in the film. The production manager, the lady who
:22:04. > :22:06.production manager, the ladx who doubled as Angela Thorne. Even a
:22:07. > :22:14.lady who served the Attenborough family in her parents' deli.
:22:15. > :22:16.Peter Vaughan, you were in the film, you were an extra. How did you come
:22:17. > :22:24.you were an extra. How did xou come to be involved? I was driving on the
:22:25. > :22:29.seafront and I saw a crowd on the Esplanade. I saw them filming the
:22:30. > :22:35.sea. I saw Richard Attenborough and I asked for a job. He said, go and
:22:36. > :22:39.see that guy over there. It happened to be the union wrap. I was sent a
:22:40. > :22:41.telegram the following day and to be the union wrap. I was sent a
:22:42. > :22:47.telegram the following day `nd the rest is history. That was bold as
:22:48. > :22:50.brass. Being a taxi driver, I was flexible with time. And you add a
:22:51. > :22:59.bit of money. What did you dnd up bit of money. What did you dnd up
:23:00. > :23:06.doing in the film? `` earned. The only uniform I could fit in, when we
:23:07. > :23:12.were assembled, they asked hf anyone had military experience and I put my
:23:13. > :23:16.hand up. He got me out front to drill the people and get them into
:23:17. > :23:20.drill the people and get thdm into order. I dismiss the parade, Richard
:23:21. > :23:26.said, this is your chance. I order. I dismiss the parade, Richard
:23:27. > :23:30.said, this is your chance. H had a speaking part, a shouting part
:23:31. > :23:33.really, to dismiss the parade at the end of the film. Where you nervous?
:23:34. > :23:36.No, by that time, it was grdat fun. No, by that time, it was grdat fun.
:23:37. > :23:39.After a couple of weeks of that, No, by that time, it was great fun.
:23:40. > :23:47.After a couple of weeks of that, it came naturally. All the nerves had
:23:48. > :23:49.gone. Thanks you for talking to us. It is nice and cosy in here. But
:23:50. > :23:57.bright and sunny outside. Time now for the weather, with
:23:58. > :24:08.Rachel. It has been glorious today with lots
:24:09. > :24:13.of sunshine. Earlier, we had one or two showers, plenty of sunshine.
:24:14. > :24:17.With the risk of showers into tonight. Temperatures should stay
:24:18. > :24:24.mild. There were showers further west. Tonight, there is the risk of
:24:25. > :24:27.a shower but mostly staying dry. a shower but mostly staying dry
:24:28. > :24:32.Plenty of cloud, temperatures down Plenty of cloud, temperaturds down
:24:33. > :24:36.to eight degrees. An overcast start to tomorrow. Very light winds from
:24:37. > :24:40.the north east. A chilly field. By the north east. A chilly fidld. By
:24:41. > :24:45.afternoon, 13 degrees. `` feel. the north east. A chilly field. By
:24:46. > :24:52.afternoon, 13 degrees. `` fdel. One or two brighter spells. Tomorrow
:24:53. > :25:00.night, similar to tonight, eight degrees, rain by Thursday.
:25:01. > :25:06.The evening is getting under way in the auditorium. We'll leave you now
:25:07. > :25:09.with the choir from Brighton's British Institute Of Modern Music.
:25:10. > :25:11.And a First World War song sung by troops at the time, and featured in
:25:12. > :25:42.the film. Goodnight. # When I get my civvy clothes on.
:25:43. > :25:47.Oh, how happy I shall be. No more church parades on Sunday.
:25:48. > :25:55.No more putting in for leavd. No more putting in for leavd.
:25:56. > :26:23.I shall kiss the sergeant major. Europe. A community of nations
:26:24. > :26:28.which can do no wrong. A perfect brotherhood
:26:29. > :26:31.in which we all share. the benefits are obvious to
:26:32. > :26:36.being in... Hampering a British recovery
:26:37. > :26:43.and harping on about climate change. It's time to get out,
:26:44. > :26:46.it's time to get... It's almost 20 years
:26:47. > :26:50.since we won Eurovision, We need to hang out with Europe,
:26:51. > :26:55.share a coffee, The EU are getting honest
:26:56. > :27:01.British bangers to move aside Europe is holding us back,
:27:02. > :27:07.making us pay... ..vastly reasonable prices for
:27:08. > :27:12.all the much better goods