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If I asked you,
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"What is Britain's answer to
Hollywood?" - where would you think?
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Well, today the BBC Antiques
Roadshow has come to Elstree,
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and Elstree Studios,
just outside London,
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have produced some of the most
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memorable movies and TV programmes
over the past years.
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These rather nondescript buildings
have produced things like Star Wars,
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Indiana Jones, The Dam Busters,
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The Shining, and then on TV,
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The Muppet Show, The Avengers...
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Strictly is made here...
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..and Holby City.
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213, take five.
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Last year, we asked you to get in
touch with your stories connected to
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the world of entertainment,
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and not just TV and movies,
but also music and stage.
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So where would make the perfect
backdrop for such a programme?
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Where are we?
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EASTENDERS THEME MUSIC PLAYS
EastEnders, of course.
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We're privileged to have
Albert Square as our backdrop
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for this entertainment special.
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Yes, we'll hear from stars of
EastEnders
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over a tipple in the Queen Vic,
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meet unsung heroes behind
famous movies like Star Wars,
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come face-to-face with Basil the
rat, as well as meet fans of stage,
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screen and music legends.
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I think we can guarantee a nostalgic
feast as we turn the spotlight onto
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showbiz on tonight's
Antiques Roadshow.
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Well, I've got the privilege
of introducing
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one of the earliest heroes
of my life.
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So, without any further ado...
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PIANO PLAYS
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# We want Muffin, Muffin the Mule
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# Dear old Muffin, playing the fool
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# We want Muffin, everybody sing
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# We want Muffin the Mule. #
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Hello. So you're here at last.
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So, the star of the show,
and you are?
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Will McNally. And tell me, Will,
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what is your association
with this fabulous mule?
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Well, it was my grandparents
who owned and worked him,
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back in the '40s and '50s, and
through into the '60s, I suppose.
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I mean, was he always
called Muffin the Mule?
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Well, well no,
he was actually made in 1933,
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so, as a puppet, he's 84 years old
this year,
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and it was when my grandparents, who
were Ann Hogarth and Jan Bussell,
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and they were well-renowned
puppeteers of the Hogarth Puppets,
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and they were touring around the
country in a caravan
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that converted to a puppet theatre,
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and they were doing their shows
and they found that they
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were five, ten minutes short
in their length,
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so they needed something else.
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So, one night my grandfather
was there,
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and he decided on a kicking mule,
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and the kicking mule was to come on
at the end of the puppet circus
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and sort of shoo and chivvy
the clowns off the stage...
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Oh! ..chasing them around
this way and that,
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and it all went down very well and
the audiences loved it... Yes.
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..but, after a while, my
grandparents grew a little bit
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bored of it and they decided
to cut that part of the act
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out of the show.
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And so my grandfather was working
for the BBC as a producer and he
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met Annette Mills, and Annette
Mills wanted to do a programme for
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children, singing songs at a piano,
and she wanted something to go on
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the piano top, to help illustrate
the songs,
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so she approached
my grandfather and said,
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"Oh, Jan, would you make me
a puppet?" and he sort of said,
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"Why don't you come round to my
house and select one of my puppets?"
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Well, Annette fortunately thought
that was a great idea, and so
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she went round to their house
the very next day
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and selected the kicking mule,
and named him Muffin the Mule.
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Wonderful, wonderful.
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And as for Annette Mills, who by the
way was the sister of John Mills,
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Sir John Mills... Correct, yes.
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..we've got a photograph of her, way
back at the BBC, at her piano,
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with Muffin, in full flow, and you
can see your grandparents up there.
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That's right. Well, Annette was the
face that everyone knows, you know,
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because she was the one on TV,
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but it was my grandmother
who worked Muffin.
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My grandfather worked the others,
and he was the TV producer and
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director of the show
back in those days.
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This is a programme that lasted
until 1955, am I right to say?
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That's right, yes. So tell me,
where is he stabled these days?
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Oh, back home with me in Devon.
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But he's never out of retirement,
is he?
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No, we go around and we do a few
presentations here and there... OK.
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..and I'm hoping I might be able
to get him back on TV one day.
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Yeah. Well, you know, I've...
I've got to value this fella.
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I mean, how do you value a TV icon?
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Very difficult.
It's really, really difficult.
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Now, I should point out for the
benefit of the viewers that there
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are a lot of Muffin the Mules
out there which are
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made from a die-cast metal.
That's right.
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I mean, I mean they produced
thousands of them, and they do
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turn up with a certain amount of
regularity on the Roadshow.
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They certainly do, yeah. But what
we're looking at here
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is much larger in scale
and is the original.
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He is the original, he is the one
and only that was made in 1933.
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I will give you a modest,
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a modest guestimate
that he's worth at least £5,000...
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Oh, yeah. ..but I'm tempted to
opening the bidding to all these
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people here and see where we go,
but thank you so much.
LAUGHTER
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Oh, it's a pleasure. And...this
sounds a bit silly,
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but despite the years I...
I still want to kiss this fella.
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Do you mind if I...? Of course not.
Come here, come here,
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I've missed you too. Mwah!
LAUGHTER
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You can call me bonkers,
I don't care, I don't care.
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Ahh...
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Next, Roadshow viewer Geoff
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recounts his unusual brush
with fame to expert Jon Baddeley.
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So, Diana Dors, sometimes known
as the English Marilyn Monroe.
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Tell me the story
of when you met her.
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1977, I was driving up the M1,
one Sunday evening on my own,
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very little traffic. A large Lincoln
Continental flew past me at
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great speed, and I was going
very slowly in a wreck of a car, and
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a little further up the road, there
it was, stuck by the side of the
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road, with clouds of steam coming
out one end, and Diana Dors standing
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there with a T-shirt on, with her
own name across her chest
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and a picture of Paul Newman
on the back, thumbing a lift.
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So you were the knight in shining
armour...
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Apparently, yes.
..come to her rescue.
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Yes, yes, and then
she was quite happy
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to be taken to the
Queen's Hotel in Leeds.
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She was absolutely lovely.
She was very down to earth.
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She was one of the most,
sort of, normal,
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if you like, people I could talk to,
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and the one thing I really remember
her talking about
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with some amusement was,
was her affair with Elvis.
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That kind of stuck very much
in my mind.
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A year later or so, she was signing
this book,
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the first one she produced,
at Boots in Leeds.
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And when we got to
the front of the queue,
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a book was handed to her and I said
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to her, "Hello, Di, how's the car?"
And she... She looked at me,
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instant recognition. "Oh, hello,
how are you?"
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and told the manager
she was giving me the book.
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She signed it for me
and then she said,
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"You're in the book.
The story's in the book.
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"Can't remember which page it is,
but there you are,"
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and all the people around were
going, "Mavis, is he famous?
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"Should we get his autograph, too?
LAUGHTER
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And she dedicated the book?
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And she, yes, she said, you know,
"To Geoff, thanks for the lift."
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"Thanks for the lift! Diana Dors."
What a lovely memory.
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It is, yeah. Cos one sort of
thinks about Diana Dors as somebody
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who...all the scandal
that went around her, she had...
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She was notorious, wasn't she?
But she worked really hard.
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She was very active, not only as
a film star
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but also as a cabaret singer,
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and I think she was a very
popular guest on all the talk shows.
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And what's the book worth? Not a
huge amount.
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To anybody else, it's worth, I don't
know, £30 or £40.
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To you, it's worth thousands.
Yes, exactly.
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There's not another
one like it anywhere.
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Next, it's all about
outrageous outfits,
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flamboyant performances
and sheer excess.
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Surrounded here by all this
amazing stuff
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from the world famous Liberace -
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one of the greatest entertainers
of the 20th century.
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Mr Showmanship himself, yes.
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And unusually we've got
two collectors here today.
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Yes, and we've not met,
which is very exciting.
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And you've not met? Not till now.
So, how did your obsession start?
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You in the beautiful
purple shirt first.
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Thank you, yes,
in honour of Liberace himself.
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So I started about 20 years ago.
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I collected the first Christmas card
and I thought,
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"Oh, this is interesting,
maybe there's some others."
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And Liberace had over 200 fan clubs
around the world.
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He received something like
10,000 letters a week.
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I mean, there's actually
34 cards that were sent
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from 1953 to the year
just before he died in 1986.
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This is the 1953 card.
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What's interesting is that,
actually, even in these early cards,
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he slightly dyed his hair.
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He was told he didn't look quite
mature enough, so he actually dyed
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his hair, and actually, in the later
cards, he's got much darker hair.
CHUCKLING
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I love this one, this is so camp.
Look at that.
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Yeah, exactly,
with the mobile, yeah.
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I mean, just... I mean,
they're very difficult to find now.
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It's taken me, sort of, 20 years.
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Of the 34 cards, I'm just missing
six, so I've still got a little way
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to go, but I'll get there,
I'll get there.
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00:10:04,360 --> 00:10:07,320
And how did your obsession start?
Well, my grandfather Joe
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and my father John Bat both worked
in MGM Studios...
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00:10:09,600 --> 00:10:11,840
Oh, really? ..which was
just up the road from here
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in the '50s and '60s. Yeah.
So I've always
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been a little bit starstruck,
and of course, when Liberace passed
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away, they sold all his items
from his houses,
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and I just had to have something,
and obviously chandeliers and
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pianos would have cost far too
much, so I bought what I like,
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which is fishes, and I got 12 fishes
from his Malibu beach house.
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Did you go over there to buy?
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No, I rang up America
and put a bid in of 500.
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Oh, wow, yeah! And I got...
For everything? Yeah. Wow!
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That was a bargain. Yeah, it was.
Yeah, for those who never quite
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understood the thrill and the
excitement of Liberace, tell us what
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it is about him that appeals to you.
It's interesting. In 1956, Liberace
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came here and did a tour
round England, and then he
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00:10:53,640 --> 00:10:56,520
toured Ireland as well, and there's
a great review, actually.
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Liberace was wearing all his
fantastic costumes.
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He was a very, very,
very accomplished pianist -
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there was nothing he couldn't play -
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and by the end of the concert,
the reviewer said,
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"I wasn't a fan of Liberace.
I am now."
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And he influenced a lot of other
performers. Oh, absolutely, yes!
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00:11:11,360 --> 00:11:14,400
He... I think, you know, James Brown
was like a black version of him,
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with the cape and the
showmanship and...and Prince.
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But let's get down to value.
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Um, how many Christmas cards
do you have?
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About 75, probably just over. I'm
not 100% sure, but it's around 75.
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They've got to be worth...that's 75,
I would say times 100,
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and then you've got all the...
Yeah, the signed photographs...
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..signed photographs.
..are worth quite a lot, yes.
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How much, how many of those
have you got?
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At least, probably, five to ten.
Again I'm not 100% sure.
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So, say you've got ten of those...
Yeah. ..at about £300 each?
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Probably, yes. I would say your
whole collection altogether
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has got to be £20,000. Wow!
Well, he's worth every penny.
LAUGHTER
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You know, with all the things
you've told me you've got... Yeah.
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00:12:00,600 --> 00:12:03,680
And your glass things that actually
belonged to him... Yeah.
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..I think have to be worth
£2,000 today. Wow, wonderful!
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00:12:07,280 --> 00:12:09,960
Cos one still has the price tag on
the bottom. Oh, yes, look at that!
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12. One of the things
I love about Liberace
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is when he decorated his house,
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00:12:14,120 --> 00:12:17,360
he actually bought some fantastic
and priceless antiques,
227
00:12:17,360 --> 00:12:19,400
but next to it something
from a junk shop,
228
00:12:19,400 --> 00:12:22,160
and he valued both of them equally.
It was really beautiful.
229
00:12:22,160 --> 00:12:23,760
Well, if it was shiny, he liked it.
230
00:12:23,760 --> 00:12:26,560
Exactly. If it was shiny, he liked
it, yeah. Exactly, that's Liberace.
231
00:12:26,560 --> 00:12:28,200
That's Liberace. That's right.
232
00:12:29,600 --> 00:12:32,640
From one sequined showman
to another...
233
00:12:33,720 --> 00:12:36,840
In the late 1970s,
Big Daddy was a wrestling legend
234
00:12:36,840 --> 00:12:40,480
and a regular fixture of Saturday
afternoon TV.
235
00:12:40,480 --> 00:12:44,560
Plonking themselves down in front
of a telly on a Saturday afternoon,
236
00:12:44,560 --> 00:12:47,840
no child of the late 1970s or 1980s
could have missed
237
00:12:47,840 --> 00:12:51,360
the monumental man-mountain
that was Big Daddy,
238
00:12:51,360 --> 00:12:54,600
and his colleagues,
or nemeses I suppose,
239
00:12:54,600 --> 00:12:58,520
Giant Haystacks and Gorgeous George
and Kendo Nagasaki.
240
00:12:58,520 --> 00:13:00,920
You must have been a big fan.
241
00:13:00,920 --> 00:13:02,280
Yeah, he was my hero.
242
00:13:02,280 --> 00:13:04,440
I used to watch every
Saturday afternoon,
243
00:13:04,440 --> 00:13:06,920
but sadly I wasn't lucky enough
ever to meet him,
244
00:13:06,920 --> 00:13:09,040
so I sort of went down the
road of life
245
00:13:09,040 --> 00:13:11,320
of trying to collect his
memorabilia.
246
00:13:11,320 --> 00:13:13,920
What does he mean to you?
Why is he your hero?
247
00:13:13,920 --> 00:13:16,080
He just was. He was everyone's hero,
wasn't he,
248
00:13:16,080 --> 00:13:17,480
back in the late '70s and '80s?
249
00:13:17,480 --> 00:13:19,440
Mums and dads, nans, grandads.
250
00:13:19,440 --> 00:13:21,880
The music of We Shall Not Be Moved
when he came out.
251
00:13:21,880 --> 00:13:24,120
"Easy! Easy! Easy!" Well, there's
the teddy bear.
252
00:13:24,120 --> 00:13:26,080
His teddy bear that he used to
come out with. Yes.
253
00:13:26,080 --> 00:13:28,320
Yeah, the whole package
with him, really.
254
00:13:28,320 --> 00:13:31,720
You know, he met all kids,
disabled kids, elderly people.
255
00:13:31,720 --> 00:13:34,920
He treated everyone with total
respect. Absolutely.
256
00:13:34,920 --> 00:13:37,000
I mean, growing up Shirley Crabtree,
257
00:13:37,000 --> 00:13:39,640
I think his father was a
professional wrester as well.
258
00:13:39,640 --> 00:13:42,040
Shirley Crabtree Junior,
who became Big Daddy,
259
00:13:42,040 --> 00:13:44,560
started in 1952,
professional wrestling,
260
00:13:44,560 --> 00:13:47,160
but it was really when he sort
of hit World Of Sport that his,
261
00:13:47,160 --> 00:13:49,560
his sort of... He began to get
bigger and bigger and bigger
262
00:13:49,560 --> 00:13:50,760
and more famous in Britain.
263
00:13:50,760 --> 00:13:53,520
Definitely, yeah. He wasn't a big
star till later on in his career,
264
00:13:53,520 --> 00:13:56,320
till they changed the name to him.
He used to be called The Guardsman,
265
00:13:56,320 --> 00:13:58,160
and then he went on
to be called Big Daddy,
266
00:13:58,160 --> 00:14:02,160
and that's when it went through
the roof, his celebrity status.
267
00:14:02,160 --> 00:14:03,640
But you're, sort of,
quite obsessive.
268
00:14:03,640 --> 00:14:05,880
I mean, what we got here?
We haven't just got the costumes.
269
00:14:05,880 --> 00:14:09,120
I mean, we all recognise
these oversized costumes,
270
00:14:09,120 --> 00:14:12,160
but you've got his watch,
you've got his driving licence.
271
00:14:12,160 --> 00:14:15,280
I mean...slightly obsessed?
Uh... Yes and no, really.
272
00:14:15,280 --> 00:14:18,320
It's just artefacts that have
appeared over the last
273
00:14:18,320 --> 00:14:19,840
20 years or so.
274
00:14:19,840 --> 00:14:22,760
His career, in 1987,
hit a sort of hurdle,
275
00:14:22,760 --> 00:14:24,400
with a fight with King Kong Kirk.
276
00:14:24,400 --> 00:14:28,240
King Kong Kirk died shortly after
and it was unconnected to the fight.
277
00:14:28,240 --> 00:14:30,000
He had a heart condition.
But his career
278
00:14:30,000 --> 00:14:32,880
never really recovered from that.
No, it didn't. He was meant to
279
00:14:32,880 --> 00:14:36,160
be on a television programme called
The Saturday Show, and he was going
280
00:14:36,160 --> 00:14:38,360
to present that, but it sort of...
281
00:14:38,360 --> 00:14:40,600
He done some more wrestling after
that, but he...
282
00:14:40,600 --> 00:14:43,320
He sort of faded away into
insignificance, really, which was
283
00:14:43,320 --> 00:14:46,760
so sad, cos a man of that magnitude
at that time, he'd be a...
284
00:14:46,760 --> 00:14:48,880
You know, an absolute superstar
nowadays.
285
00:14:48,880 --> 00:14:51,960
Well, I suppose, in many ways, he is
sort of the forerunner, I suppose,
286
00:14:51,960 --> 00:14:54,160
of many of, sort of, the wrestling
stars of today.
287
00:14:54,160 --> 00:14:56,360
He had that big personality,
that big frame,
288
00:14:56,360 --> 00:14:58,320
and that sort of big colour. really.
289
00:14:58,320 --> 00:15:01,960
Oh, absolutely. I mean, you know, in
this day and age, there's not many
290
00:15:01,960 --> 00:15:05,160
stars that everybody likes, you
know? No-one had a bad word for him.
291
00:15:05,160 --> 00:15:07,800
Yeah, he was a legend, wasn't he?
He was indeed. Absolutely,
292
00:15:07,800 --> 00:15:10,880
and I don't think there's anybody
out there who wouldn't recognise
293
00:15:10,880 --> 00:15:13,880
these pieces and feel similar love -
maybe not such deep love as you do
294
00:15:13,880 --> 00:15:17,080
for Big Daddy, but in terms of
financial value, I suppose,
295
00:15:17,080 --> 00:15:18,400
what are we looking at?
296
00:15:18,400 --> 00:15:22,200
The singlet might be worth maybe
£80 to £100 each. Full costume,
297
00:15:22,200 --> 00:15:25,880
maybe £200 or so, depending
on what you're looking at.
298
00:15:25,880 --> 00:15:28,880
These pieces, slightly harder to
value, because it's going to take,
299
00:15:28,880 --> 00:15:31,600
sort of quite a die-hard collector
like you to, sort of,
300
00:15:31,600 --> 00:15:33,160
want Big Daddy's driving licence,
301
00:15:33,160 --> 00:15:35,440
but there we go,
at least it's found a home.
302
00:15:35,440 --> 00:15:38,040
You couldn't pay me a million pounds
for it, it wouldn't matter.
303
00:15:38,040 --> 00:15:41,520
Well, I don't think anybody
would necessarily...
LAUGHTER
304
00:15:41,520 --> 00:15:43,800
..but we could be looking at,
sort of collectively,
305
00:15:43,800 --> 00:15:47,440
around £1,000 or so. Yeah, it means
more to me than money, so...
306
00:15:47,440 --> 00:15:49,560
A big heart for Big Daddy.
Absolutely.
307
00:15:49,560 --> 00:15:51,200
Thank you very much. No problem.
308
00:15:52,960 --> 00:15:56,320
Well, if there was ever an icon
of the entertainment industry,
309
00:15:56,320 --> 00:15:58,400
it has to be Mickey Mouse.
310
00:15:58,400 --> 00:16:01,760
In 2018, he's going to be 90.
He doesn't look it.
311
00:16:01,760 --> 00:16:07,960
But here we've got a wonderful,
scribbled, quick cartoon of Mickey,
312
00:16:07,960 --> 00:16:11,960
and it says here, "Hi, Mike." Now,
am I looking at Mike? Yes, you are.
313
00:16:11,960 --> 00:16:15,480
So, put the two together for me.
How did, how did it work?
314
00:16:15,480 --> 00:16:20,800
Well, in the 1970s, I was working
for my newspaper,
315
00:16:20,800 --> 00:16:25,720
a national newspaper, and I was
in Anaheim, the home of Disney,
316
00:16:25,720 --> 00:16:29,840
in California, working with
an actress called Daryl Hannah,
317
00:16:29,840 --> 00:16:32,240
she of the famous Splash film.
318
00:16:32,240 --> 00:16:37,760
And after photographing Daryl,
I was taken by the execs up to
319
00:16:37,760 --> 00:16:41,640
Club 300, which is one of the most
exclusive clubs in the world.
320
00:16:41,640 --> 00:16:43,760
I didn't know it at the time.
321
00:16:43,760 --> 00:16:48,040
While we were having lunch,
I'm sat opposite the Head of Studio
322
00:16:48,040 --> 00:16:53,920
and the PR,
and suddenly they both went...
PROLONGED GASP
323
00:16:53,920 --> 00:16:56,760
..and I thought, "Somebody's walked,
a film star has walked in,"
324
00:16:56,760 --> 00:17:00,760
so I looked around.
All I could see were four old men,
325
00:17:00,760 --> 00:17:06,000
sat at a table, and when I turned
round to see my hosts again,
326
00:17:06,000 --> 00:17:08,320
they were still going...
PROLONGED GASP
327
00:17:08,320 --> 00:17:09,720
And who were they? Who were they?!
328
00:17:09,720 --> 00:17:13,840
Well, they were the original
animators from the early days of
329
00:17:13,840 --> 00:17:15,200
Walt Disney Studios.
330
00:17:15,200 --> 00:17:18,960
So they were four
of the remaining nine old men...
331
00:17:18,960 --> 00:17:21,440
The nine old men,
the famous nine old men.
332
00:17:21,440 --> 00:17:24,240
You had Ollie Johnston,
Frank Thomas,
333
00:17:24,240 --> 00:17:28,000
Wolfgang Reitherman,
and, of course, Ward Kimball.
334
00:17:28,000 --> 00:17:31,880
And I wanted to meet them, so they
took me over and introduced me,
335
00:17:31,880 --> 00:17:34,600
and I had the most amazing couple
of hours with them.
336
00:17:34,600 --> 00:17:38,440
But Ward and I got on famously.
Well, let's just talk about Ward for
337
00:17:38,440 --> 00:17:42,840
a moment, because, yes, he joined
Disney as a proper animator in 1937,
338
00:17:42,840 --> 00:17:46,120
and he was tasked with doing
all kinds of things,
339
00:17:46,120 --> 00:17:48,600
including a kind
of makeover on Mickey.
340
00:17:48,600 --> 00:17:52,000
If we look back to Mickey's birth
in 1928
341
00:17:52,000 --> 00:17:54,800
he was a very different
kind of creature.
342
00:17:54,800 --> 00:17:58,120
He premiered in his first film
Steamboat Willie,
343
00:17:58,120 --> 00:18:01,000
and he was quite lanky,
344
00:18:01,000 --> 00:18:03,920
not very cuddly, a bit,
I have to say, rat-like.
345
00:18:03,920 --> 00:18:06,280
Yes, absolutely, yes.
Just between ourselves.
346
00:18:06,280 --> 00:18:10,000
But Ward then cosied him up.
347
00:18:10,000 --> 00:18:14,480
he gave him fatter cheeks,
he made him a little bit plumper,
348
00:18:14,480 --> 00:18:17,800
he made his eyes slightly more
endearing and...
349
00:18:17,800 --> 00:18:22,640
And I think the whole Mickey that
we know so well today, one has to,
350
00:18:22,640 --> 00:18:26,360
to a large extent, plump that
at Ward Kimball's makeover.
351
00:18:26,360 --> 00:18:30,160
Absolutely. What was fascinating,
I said to Ward...
352
00:18:31,800 --> 00:18:36,480
"I loved Mickey Mouse as a child.
How did it evolve?"
353
00:18:36,480 --> 00:18:40,920
And he said, "Get me a piece of
paper," and he started drawing.
354
00:18:40,920 --> 00:18:43,480
Oh, this is, this is the whole thing
happening!
355
00:18:43,480 --> 00:18:49,160
And this is Ward starting, and
suddenly Mickey is coming alive
356
00:18:49,160 --> 00:18:53,080
on the paper, and when
he'd finished it,
357
00:18:53,080 --> 00:18:57,920
he wrote, "Hi, Mike,
from Mickey and ol' Ward Kimball."
358
00:18:57,920 --> 00:19:01,520
Brilliant. And the head of the
studio said he'd never known him
359
00:19:01,520 --> 00:19:06,480
to do that for anybody, ever.
It's a fabulous object.
360
00:19:06,480 --> 00:19:11,160
We then have to deal with the tricky
issue of valuation.
361
00:19:11,160 --> 00:19:15,080
The thing is that it's not
from one of the films,
362
00:19:15,080 --> 00:19:18,040
so, you know, is that a bad thing?
But it is from Ward Kimball,
363
00:19:18,040 --> 00:19:19,520
so that's a good thing.
364
00:19:19,520 --> 00:19:22,480
It is to you. Is that a bad thing
or is it a good thing?
365
00:19:22,480 --> 00:19:25,840
So, at auction on the open market,
I'd say between
366
00:19:25,840 --> 00:19:30,120
about £500 and £800,
but it's almost priceless to you
367
00:19:30,120 --> 00:19:33,120
because it's your
very own Mickey Mouse.
368
00:19:33,120 --> 00:19:36,080
Thank you very much for bringing
it in. Thank you very much.
369
00:19:37,400 --> 00:19:39,640
Well, it's not all about the value.
370
00:19:39,640 --> 00:19:41,800
A few kind words
and a thoughtful gift
371
00:19:41,800 --> 00:19:45,880
from the creator of your childhood
hero can mean the world,
372
00:19:45,880 --> 00:19:48,280
as Judith Miller's
about to discover.
373
00:19:48,280 --> 00:19:50,320
So, Harry Potter - a magical name
374
00:19:50,320 --> 00:19:52,920
to millions of people
all over the world.
375
00:19:52,920 --> 00:19:56,400
But, Amy, you have a special
link to JK Rowling.
376
00:19:56,400 --> 00:19:57,960
Tell me about it.
377
00:19:57,960 --> 00:20:00,520
Yes. My story started 20 years ago,
378
00:20:00,520 --> 00:20:03,720
when I unfortunately lost my mum
to cervical cancer.
379
00:20:03,720 --> 00:20:07,520
She found out that she was 14 weeks
pregnant with my little sister,
380
00:20:07,520 --> 00:20:10,200
and she decided to go ahead with the
pregnancy,
381
00:20:10,200 --> 00:20:12,680
realising that she was probably
going to sacrifice her life.
382
00:20:12,680 --> 00:20:15,960
And then she lost her life.
She did lose her life, yes,
383
00:20:15,960 --> 00:20:19,400
unfortunately, in 1997.
And this is your mum?
384
00:20:19,400 --> 00:20:21,920
Yes, this is my mum here,
and this is myself,
385
00:20:21,920 --> 00:20:25,520
my little sister Hannah,
and this is my stepdad David.
386
00:20:25,520 --> 00:20:29,280
In 2003, my stepdad was approached
387
00:20:29,280 --> 00:20:31,920
by the researcher of Make A Wish
Foundation.
388
00:20:31,920 --> 00:20:35,040
I don't know if you remember,
they used to do Christmas
389
00:20:35,040 --> 00:20:39,920
television specials and I was
invited to go on the special.
390
00:20:39,920 --> 00:20:43,760
I declined, because it had been
quite a time since my mum had died.
391
00:20:43,760 --> 00:20:46,760
It had been in the past and I didn't
really want to rake it all up again.
392
00:20:46,760 --> 00:20:50,160
No. They did say, "We'd still like
to give you something."
393
00:20:50,160 --> 00:20:54,160
Unbeknown to me, a big package
arrived one day, and in that package
394
00:20:54,160 --> 00:21:00,040
was what you see here today. So,
the books here and also the photos
395
00:21:00,040 --> 00:21:03,760
from JK Rowling. So how did JK
Rowling know about your story, Amy?
396
00:21:03,760 --> 00:21:06,000
Well, from all of the newspaper
articles,
397
00:21:06,000 --> 00:21:08,880
my love of Harry Potter kind
of shone through there,
398
00:21:08,880 --> 00:21:11,360
and I think she kind of
got an inkling
399
00:21:11,360 --> 00:21:12,960
and wanted to get in contact.
400
00:21:12,960 --> 00:21:16,280
So you got a personal letter
from JK Rowling. I did, yes.
401
00:21:16,280 --> 00:21:19,680
What's in it, Amy? There's a few
funny little quips
402
00:21:19,680 --> 00:21:23,320
about how she doesn't normally
write to people.
403
00:21:23,320 --> 00:21:25,480
Little things about
Gilderoy Lockhart,
404
00:21:25,480 --> 00:21:27,880
one of the characters
from Harry Potter.
405
00:21:27,880 --> 00:21:31,040
Just... Just her admiration
for my story and my courage.
406
00:21:31,040 --> 00:21:34,800
It obviously really touched her,
this story. Yes, absolutely.
407
00:21:34,800 --> 00:21:37,080
That's lovely
and what a lovely gift.
408
00:21:37,080 --> 00:21:39,480
And what about the poster?
So, the poster...
409
00:21:39,480 --> 00:21:43,840
I was invited as a guest of hers
to go to the studios where
410
00:21:43,840 --> 00:21:45,680
The Goblet Of Fire was being filmed
411
00:21:45,680 --> 00:21:48,000
and I actually got to meet
some of the cast.
412
00:21:48,000 --> 00:21:50,600
Surreal experience, sitting on
Daniel Radcliffe's bed,
413
00:21:50,600 --> 00:21:53,840
playing PlayStation with him,
believe it or not.
LAUGHTER
414
00:21:53,840 --> 00:21:56,640
I was then taken into the make-up
department, and Maggie Smith
415
00:21:56,640 --> 00:21:58,600
was sat there,
having her make-up done.
416
00:21:58,600 --> 00:22:03,040
In walks Emma Watson. Big hello,
handshake, "Nice to meet you."
417
00:22:03,040 --> 00:22:05,760
Absolutely surreal experience for
such a Harry Potter fan
418
00:22:05,760 --> 00:22:06,880
that I am and still am.
419
00:22:06,880 --> 00:22:10,000
Well, it's just amazing...
Yeah, absolutely. ..that all this
420
00:22:10,000 --> 00:22:13,520
came about because JK Rowling
was really moved by your story.
421
00:22:13,520 --> 00:22:15,680
Yes, yeah, yeah, and it's something
that I won't...
422
00:22:15,680 --> 00:22:17,440
The experience and the items
themselves
423
00:22:17,440 --> 00:22:19,560
will be something
that I will treasure forever.
424
00:22:19,560 --> 00:22:22,040
I have a little girl, so they will
be passed down to her.
425
00:22:22,040 --> 00:22:24,040
Which is wonderful.
Yeah, absolutely.
426
00:22:24,040 --> 00:22:25,640
But obviously they have a value.
427
00:22:25,640 --> 00:22:28,920
Yes. Particularly, you know, with
all the collectors round the world
428
00:22:28,920 --> 00:22:31,840
and, I mean, all these Harry
Potters, you know...
429
00:22:31,840 --> 00:22:34,680
a first edition.
The others are not first edition,
430
00:22:34,680 --> 00:22:36,280
but this one is a first edition...
431
00:22:36,280 --> 00:22:40,760
Yeah, it is, yes. ..is going
to be £3,000, £4,000.
432
00:22:40,760 --> 00:22:44,800
The rest, maybe another £1,500...
Amazing. ..but probably
433
00:22:44,800 --> 00:22:47,640
about £5,000 to £8,000.
434
00:22:47,640 --> 00:22:50,720
I mean, for you, that's not
the important thing, I'm sure.
435
00:22:50,720 --> 00:22:54,280
It's isn't, no, it's the... It's
the memory behind it, absolutely.
436
00:22:54,280 --> 00:22:55,720
Marvellous. Thank you.
437
00:22:59,360 --> 00:23:01,360
Now, even the briefest of encounters
438
00:23:01,360 --> 00:23:03,480
can leave the longest
of impressions.
439
00:23:03,480 --> 00:23:06,760
Roadshow viewer Cheryl will never
forget her brush with fame.
440
00:23:06,760 --> 00:23:11,920
In 1963, I won a competition
to have tea with The Beatles.
441
00:23:11,920 --> 00:23:16,400
The tea never actually materialised,
but I did meet them,
442
00:23:16,400 --> 00:23:20,320
and Paul McCartney walked
across the studio floor,
443
00:23:20,320 --> 00:23:24,880
put his arm round my shoulder,
and I died and went to heaven.
444
00:23:25,920 --> 00:23:31,000
Later on, he signed
the back of my hand, there,
445
00:23:31,000 --> 00:23:36,760
and I was allowed to keep this
signature for about three weeks
446
00:23:36,760 --> 00:23:39,640
until it turned into
a filthy little black spot
447
00:23:39,640 --> 00:23:41,280
and my mother made me wash it.
448
00:23:42,680 --> 00:23:47,200
The great thing for me, really,
was I'd suddenly gone from a fairly
449
00:23:47,200 --> 00:23:50,400
quiet, insignificant
little schoolgirl,
450
00:23:50,400 --> 00:23:53,400
and suddenly everybody wanted
to know me,
451
00:23:53,400 --> 00:23:56,560
take me to the cinema,
dance with me.
452
00:23:56,560 --> 00:24:00,600
So, um, yes, it was very good
for the...for the ego.
453
00:24:00,600 --> 00:24:03,760
Very good for a young,
nervous 16-year-old.
454
00:24:06,720 --> 00:24:12,240
Time to pull up a bar stool and
meet two of our EastEnders hosts.
455
00:24:12,240 --> 00:24:14,440
Well, I'm delighted to say, here
we are in the Queen Vic
456
00:24:14,440 --> 00:24:17,560
with two of EastEnders'
longest-serving cast members.
457
00:24:17,560 --> 00:24:21,080
Letitia Dean, June Brown -
delighted to meet you here.
458
00:24:21,080 --> 00:24:23,440
And you're... You're fans of the
show, I gather,
459
00:24:23,440 --> 00:24:24,680
of Antiques Roadshow.
460
00:24:24,680 --> 00:24:27,560
Yes, I love old things,
including myself.
461
00:24:27,560 --> 00:24:30,040
LAUGHTER
462
00:24:30,040 --> 00:24:34,480
Yes, we need to get you valued,
June, don't you think?
463
00:24:34,480 --> 00:24:37,880
You've both been on the series
for decades.
464
00:24:37,880 --> 00:24:40,920
I remember watching you when I was
more or less your age, when you
465
00:24:40,920 --> 00:24:43,720
came here as a child star.
Yeah, about 16.
466
00:24:43,720 --> 00:24:47,280
And this, the Queen Vic, has been
the scene of so, so many dramatic
467
00:24:47,280 --> 00:24:50,320
moments in EastEnders. I mean,
what about you, Letitia?
468
00:24:50,320 --> 00:24:52,240
I mean, big standout moments.
469
00:24:52,240 --> 00:24:55,360
I think, when I was quite young,
when I was about 17, 18,
470
00:24:55,360 --> 00:24:58,720
I remember when a character
called Lofty was in the show,
471
00:24:58,720 --> 00:25:01,960
and I had to crawl,
I couldn't get up there now,
472
00:25:01,960 --> 00:25:06,040
but I had to crawl along the bar,
literally trying to, sort of, go,
473
00:25:06,040 --> 00:25:09,000
"Do you fancy me, Lofty?
Do you want a kiss?"
474
00:25:09,000 --> 00:25:12,600
I mean, I know I'm probably
not your type, but which bit of me
475
00:25:12,600 --> 00:25:14,040
really turns you on, eh?
476
00:25:16,560 --> 00:25:20,240
Have I got the right legs for
a mini? Yeah, yeah, of course.
477
00:25:20,240 --> 00:25:21,600
Do you like tights?
478
00:25:21,600 --> 00:25:25,800
It was so embarrassing for me to do,
you know, it was really awkward.
JUNE CHUCKLES
479
00:25:25,800 --> 00:25:28,640
You know, it is at that age, isn't
it? Sure. And what about you, June?
480
00:25:28,640 --> 00:25:30,720
I mean, so many moments
to pick from.
481
00:25:30,720 --> 00:25:34,960
Well, I enjoyed practically
every scene with my son Nick.
482
00:25:34,960 --> 00:25:37,040
Yes. You know, I did love that.
483
00:25:37,040 --> 00:25:40,120
Great one for you was
your two-hander with Ethel.
484
00:25:40,120 --> 00:25:42,760
I was just about to say, and I had
one with Gretchen Franklin,
485
00:25:42,760 --> 00:25:46,240
who was Ethel. She was wonderful.
Which was absolutely lovely,
486
00:25:46,240 --> 00:25:51,640
and the only extra person we had
in was a baby in the pram, Vicky,
487
00:25:51,640 --> 00:25:55,520
Michelle's baby, wasn't it?
And we were looking after her.
488
00:25:55,520 --> 00:25:56,880
Oh, that was lovely.
489
00:25:56,880 --> 00:26:01,080
Sometimes I'm inclined to ramble
on a bit, take no notice.
490
00:26:01,080 --> 00:26:03,920
I never do. No, I don't mean
I always ramble,
491
00:26:03,920 --> 00:26:07,000
I mean, it's only sometimes.
Here, look at this.
492
00:26:07,000 --> 00:26:09,600
Who's that? Michelle as a baby.
493
00:26:09,600 --> 00:26:13,680
Oh, I say, isn't she like Pauline?
Yes.
494
00:26:13,680 --> 00:26:16,000
She's not like her mother, is she?
495
00:26:16,000 --> 00:26:18,800
Oh, I can see it. Oh.
496
00:26:20,520 --> 00:26:23,920
What's the time? Oh, not time yet.
497
00:26:26,200 --> 00:26:28,200
Well, thank you very much
for joining us on
498
00:26:28,200 --> 00:26:30,240
our Antiques Roadshow
40th anniversary year,
499
00:26:30,240 --> 00:26:33,000
and here in the Queen Vic of all
places. It's been a real thrill,
500
00:26:33,000 --> 00:26:36,040
thank you. Oh, we are so honoured
that you've come here for your 40th.
501
00:26:36,040 --> 00:26:37,400
Yes, it's lovely. We really are.
502
00:26:37,400 --> 00:26:40,280
Cos we're quite proud of
this place, aren't we, June?
503
00:26:40,280 --> 00:26:43,800
Before we hear from our next visitor
to EastEnders, I want to let you
504
00:26:43,800 --> 00:26:46,880
know about a special programme
we're planning for 2018.
505
00:26:46,880 --> 00:26:50,480
It will highlight the role of
pioneering women as we approach
506
00:26:50,480 --> 00:26:53,360
the centenary of women getting
the vote in Britain.
507
00:26:53,360 --> 00:26:56,560
If you've got an item and story
that relates to a woman who's been
508
00:26:56,560 --> 00:26:59,960
a pioneer, in any walk of life,
we'd like to hear from you at...
509
00:27:06,800 --> 00:27:08,880
Next up let's hear from
Roadshow viewer Lionel,
510
00:27:08,880 --> 00:27:11,960
who has a poignant memory
of meeting Jimi Hendrix.
511
00:27:11,960 --> 00:27:14,880
Back in the 1960s,
as a young teenager,
512
00:27:14,880 --> 00:27:18,840
I helped my parents out
in their cafe in the King's Road,
513
00:27:18,840 --> 00:27:21,480
and I often had my autograph book
there, because
514
00:27:21,480 --> 00:27:24,720
they would be getting The Stones
and The Beatles and people like
515
00:27:24,720 --> 00:27:27,920
that into the cafe,
and one day Jimi came in,
516
00:27:27,920 --> 00:27:30,880
and my father had his camera on him,
517
00:27:30,880 --> 00:27:34,640
took a photo of us altogether,
the family with Jimi,
518
00:27:34,640 --> 00:27:38,040
and I was thrilled
to get his autograph,
519
00:27:38,040 --> 00:27:41,040
which he kindly signed,
"stay sweet always",
520
00:27:41,040 --> 00:27:43,600
rather than just his name
in the book.
521
00:27:43,600 --> 00:27:48,240
Jumping forward a few years,
I was selling platform boots in
522
00:27:48,240 --> 00:27:52,840
Kensington Market, made to measure,
and my mother sent Jimi over
523
00:27:52,840 --> 00:27:56,160
to get a pair of purple
crocodile boots made,
524
00:27:56,160 --> 00:27:58,920
which I measured him
and took his deposit,
525
00:27:58,920 --> 00:28:02,200
and they were going to take a week
to make, and then the next morning
526
00:28:02,200 --> 00:28:06,720
I got the news that he'd died
that morning in his hotel,
527
00:28:06,720 --> 00:28:08,880
and we took the deposit and bought
some flowers,
528
00:28:08,880 --> 00:28:10,440
which went to the funeral.
529
00:28:14,320 --> 00:28:17,000
Another Roadshow viewer, Terri,
got in touch with us
530
00:28:17,000 --> 00:28:19,960
to tell us about the time she met
the New York artist
531
00:28:19,960 --> 00:28:24,440
who once said that, one day, we'll
each be famous for 15 minutes.
532
00:28:24,440 --> 00:28:27,560
Andy Warhol, probably the most
iconic artist, or one of them,
533
00:28:27,560 --> 00:28:32,160
of the 20th century. Amazing.
Signed camisole. What's the story?
534
00:28:32,160 --> 00:28:34,800
Well, I was very fortunate.
535
00:28:34,800 --> 00:28:38,720
I was invited to join Andy Warhol's
entourage for a day
536
00:28:38,720 --> 00:28:41,600
at the university in Colorado.
537
00:28:41,600 --> 00:28:45,320
I happened to be living there at the
time, and I knew Kimiko through...
538
00:28:45,320 --> 00:28:47,960
The subject of that poster?
..the subject of this poster,
539
00:28:47,960 --> 00:28:51,320
because I lived in the same house
as her stepson. Ah, right.
540
00:28:51,320 --> 00:28:53,880
John Powers and his father...
541
00:28:53,880 --> 00:28:58,040
John Powers. ..John Powers Senior
had one of the largest private art
542
00:28:58,040 --> 00:29:00,000
collections in the US
at the time. Yeah.
543
00:29:00,000 --> 00:29:04,080
So it was a wonderful connection,
and a wonderful day I got to spend
544
00:29:04,080 --> 00:29:07,640
with him. And that's a picture
of you, I take it? That is, yeah.
545
00:29:07,640 --> 00:29:11,400
Looking... Much younger. ..just
as beautiful then as you are now.
546
00:29:11,400 --> 00:29:15,760
Thank you. And he had
in his studio, The Factory,
547
00:29:15,760 --> 00:29:19,360
he was always inviting beautiful
people and celebrities.
548
00:29:19,360 --> 00:29:21,920
He created celebrity.
Yeah, he did.
549
00:29:21,920 --> 00:29:25,320
He really did, and he signed
your camisole...
550
00:29:25,320 --> 00:29:27,200
Yeah, he did. ..on that day.
551
00:29:27,200 --> 00:29:29,120
He'd like to have signed other
things as well.
552
00:29:29,120 --> 00:29:30,880
What do you...? What?
What do you mean?
553
00:29:30,880 --> 00:29:34,240
Well, he offered to sign everything,
but we went for my jeans,
554
00:29:34,240 --> 00:29:38,440
my silk jacket I had on,
which you see in the picture,
555
00:29:38,440 --> 00:29:42,080
and my camisole, and I settled
for the camisole. Ah, I see,
556
00:29:42,080 --> 00:29:45,400
and another iconic magazine,
Interview, he signed that.
557
00:29:45,400 --> 00:29:47,560
Yes, he gave that to me
later in the day.
558
00:29:47,560 --> 00:29:50,240
And in this picture he had one
of his silver wigs on.
559
00:29:50,240 --> 00:29:53,320
Yes, he did, and I remember
walking around with him, thinking,
560
00:29:53,320 --> 00:29:57,480
"Is that real or is that a wig?"
because it was quite a...
561
00:29:57,480 --> 00:30:01,600
At the time, it was quite an
unusual way to wear your hair.
562
00:30:01,600 --> 00:30:04,000
Yeah, he was
an interesting character.
563
00:30:04,000 --> 00:30:07,960
Well, interesting story,
amazing memory for you.
564
00:30:07,960 --> 00:30:10,760
Yeah, it was fabulous.
An amazing day, yeah, really.
565
00:30:10,760 --> 00:30:12,520
Down to value.
566
00:30:12,520 --> 00:30:16,880
Well, we've got this poster which is
fairly iconic, typical Andy Warhol.
567
00:30:16,880 --> 00:30:20,320
He did these things in silk screen
prints as an original
568
00:30:20,320 --> 00:30:23,400
but this is the poster
and the unsigned poster is just
569
00:30:23,400 --> 00:30:26,560
a poster for an exhibition,
£200 or £300.
570
00:30:26,560 --> 00:30:29,760
Right. With the Andy Warhol
signature, and I presume...
571
00:30:29,760 --> 00:30:33,600
This is Kimiko. ..the Kimiko Powers
signature in Japanese. That's right.
572
00:30:33,600 --> 00:30:35,240
Phwoar!
573
00:30:35,240 --> 00:30:37,080
£3,000 to £4,000.
574
00:30:37,080 --> 00:30:38,920
Really?
575
00:30:38,920 --> 00:30:40,040
Wow.
576
00:30:41,800 --> 00:30:45,760
The Interview magazine,
signed by Andy Warhol,
577
00:30:45,760 --> 00:30:48,240
I'd say £1,000.
578
00:30:49,800 --> 00:30:52,760
This photograph I'm sure is
by Lee Black Childers.
579
00:30:52,760 --> 00:30:55,200
He was a fascinating guy,
I think from Kansas originally,
580
00:30:55,200 --> 00:30:59,520
worked in a brothel. Great.
On the reception. It fits.
581
00:30:59,520 --> 00:31:02,800
It fits perfectly.
Crazy guy, I met him and I'm...
582
00:31:02,800 --> 00:31:05,880
And I'm sure I went to an exhibition
of his photographs recently
583
00:31:05,880 --> 00:31:09,040
and a photograph like that,
Andy Warhol in a wig,
584
00:31:09,040 --> 00:31:13,440
beautiful woman standing behind him,
I still think that's £500...
585
00:31:13,440 --> 00:31:16,120
Wow. Wow. ..to £1,000.
586
00:31:16,120 --> 00:31:20,440
This fits in with his idea
of what art was,
587
00:31:20,440 --> 00:31:23,960
that art could be anything, even if
it was commercial, the soup tins,
588
00:31:23,960 --> 00:31:26,360
the dollar bills, whatever,
589
00:31:26,360 --> 00:31:29,880
so I think this is really iconic
Andy Warhol,
590
00:31:29,880 --> 00:31:33,320
and I would value this,
with your story,
591
00:31:33,320 --> 00:31:36,560
and him wanting to sign everything
you were wearing,
592
00:31:36,560 --> 00:31:38,680
I'd put this at...
593
00:31:38,680 --> 00:31:40,960
£5,000. Oh, my God.
594
00:31:42,560 --> 00:31:44,240
I'm going to cry.
595
00:31:46,280 --> 00:31:49,720
Collective value, all told,
£10,000.
596
00:31:49,720 --> 00:31:51,000
Oh, God.
597
00:31:51,000 --> 00:31:52,720
Oh, my God.
598
00:31:52,720 --> 00:31:53,760
That's amazing.
599
00:31:55,920 --> 00:31:57,760
Amazing. Thank you.
600
00:32:00,800 --> 00:32:02,920
Time for a classic comedy moment,
601
00:32:02,920 --> 00:32:05,840
as we meet an unlikely
and somewhat furry star.
602
00:32:07,080 --> 00:32:10,480
Quite simply the most
famous rodent
603
00:32:10,480 --> 00:32:13,400
on British television. That's right.
604
00:32:13,400 --> 00:32:15,880
Shall we see him in action?
That'd be good.
605
00:32:15,880 --> 00:32:18,040
Uh, Polly, would you get
the biscuits please?
606
00:32:18,040 --> 00:32:19,400
Here they are, Fawlty.
607
00:32:19,400 --> 00:32:22,000
Ah! Uh, Cheddar, Danish blue, Edam?
608
00:32:22,000 --> 00:32:24,760
A little Danish blue please.
Certainly.
609
00:32:30,680 --> 00:32:32,400
Edam? No, thank you.
610
00:32:32,400 --> 00:32:33,520
Biscuits?
611
00:32:34,520 --> 00:32:35,800
Thank you.
612
00:32:35,800 --> 00:32:38,280
LAUGHTER
613
00:32:46,800 --> 00:32:49,520
What...? Would you,
would you care for a rat or...?
614
00:32:51,800 --> 00:32:54,240
Just, just the biscuits then,
please, Polly.
615
00:32:57,600 --> 00:33:00,720
Well, this little fellow
did rather well that day.
616
00:33:00,720 --> 00:33:02,640
How have you got him?
617
00:33:02,640 --> 00:33:06,640
My husband made puppets for various
children's TV programmes
618
00:33:06,640 --> 00:33:10,960
and then end... Somehow ended up
with the Visual Effects Department.
619
00:33:10,960 --> 00:33:15,120
And so he made fabulous
little Basil,
620
00:33:15,120 --> 00:33:17,520
and of course he thought
it was a hamster...
621
00:33:17,520 --> 00:33:19,840
That's right,
a Siberian hamster, yeah.
622
00:33:19,840 --> 00:33:24,240
Siberian hamster! And so Manuel
called him Basil. That's it.
623
00:33:24,240 --> 00:33:27,080
And this little chap was sitting
in the biscuit box. Yeah.
624
00:33:27,080 --> 00:33:31,200
And this little chap was actually
pulled across the floor.
625
00:33:31,200 --> 00:33:33,480
At great speed across
the floor, yes.
626
00:33:33,480 --> 00:33:37,600
With fantastic ingenuity of
drawing pins in the bottom
627
00:33:37,600 --> 00:33:40,160
to make him speed a little bit
faster. That, that's right, yes.
628
00:33:40,160 --> 00:33:44,440
I mean we're talking about in the
mid '70s but people remember Basil.
629
00:33:44,440 --> 00:33:46,400
Yeah, yeah, they do.
630
00:33:46,400 --> 00:33:49,480
So your husband's work, and
had he always made puppets? Yes,
631
00:33:49,480 --> 00:33:53,440
when he was about five years old
I think he started making puppets.
632
00:33:53,440 --> 00:33:57,000
Really? Yes, so we've got
a houseful of puppets.
633
00:33:57,000 --> 00:34:01,400
But was Basil the rat
his most famous?
634
00:34:01,400 --> 00:34:03,160
Uh, I think so, yes. Probably, yeah.
635
00:34:03,160 --> 00:34:07,000
So, we now have the two rats.
636
00:34:07,000 --> 00:34:09,040
Now, John Cleese got one, didn't he?
637
00:34:09,040 --> 00:34:12,120
He asked if he could keep one,
but unfortunately
638
00:34:12,120 --> 00:34:17,200
he's recently spoken about
losing it somewhere so...
639
00:34:17,200 --> 00:34:20,680
So the other Basil has gone?
Mmm, mm. Oh, no!
640
00:34:20,680 --> 00:34:26,640
Well, actually what that does is
make your Basils more desirable.
641
00:34:26,640 --> 00:34:29,400
Mm-hmm. So because everybody
642
00:34:29,400 --> 00:34:33,000
of a certain age in particular
knows about Basil.
643
00:34:33,000 --> 00:34:36,160
Yeah. And because that programme
will go on and on,
644
00:34:36,160 --> 00:34:38,680
I think these have...have value.
645
00:34:38,680 --> 00:34:41,920
Right. This little chap here
646
00:34:41,920 --> 00:34:45,200
with his little moving head
and his charming little arms,
647
00:34:45,200 --> 00:34:47,800
going up and down,
I mean, how cute is that?!
648
00:34:49,000 --> 00:34:53,000
I think...each one of them
649
00:34:53,000 --> 00:34:55,080
is 2,000.
650
00:34:55,080 --> 00:34:57,160
Really? Oh, my goodness.
651
00:34:57,160 --> 00:34:59,840
Possibly even 3,000.
652
00:34:59,840 --> 00:35:02,760
I mean... And, oh, my goodness.
653
00:35:02,760 --> 00:35:05,880
They are just so important
in the history of comedy.
654
00:35:05,880 --> 00:35:09,720
Oh, wow. He'll be absolutely
thrilled to hear that.
655
00:35:09,720 --> 00:35:10,760
Thank you.
656
00:35:10,760 --> 00:35:13,320
MUSIC: James Bond Theme
657
00:35:15,000 --> 00:35:19,560
Wow. From memorable comedy
to a famous movie franchise.
658
00:35:19,560 --> 00:35:23,200
When we put out our call for stories
we were delighted when we heard
659
00:35:23,200 --> 00:35:26,440
from the daughter of the man
who wrote this famous theme.
660
00:35:26,440 --> 00:35:30,920
Monty, you are responsible for
what I think is the most iconic
661
00:35:30,920 --> 00:35:34,920
theme tune of them all, which
is the James Bond theme tune.
662
00:35:34,920 --> 00:35:38,920
Thank you. And you wrote it
for a musical originally
663
00:35:38,920 --> 00:35:40,480
that never got made. Yes.
664
00:35:40,480 --> 00:35:44,040
So how did you come to use this
piece of music for the Bond movies?
665
00:35:44,040 --> 00:35:47,520
Because I'd worked several times
with Cubby Broccoli.
666
00:35:47,520 --> 00:35:50,160
The producer of the Bond movies.
The producer.
667
00:35:50,160 --> 00:35:54,480
And he'd just acquired the rights
of the James Bond novels
668
00:35:54,480 --> 00:35:59,120
from Ian Fleming. The first one
he was going to do would be Dr No
669
00:35:59,120 --> 00:36:01,600
and he wanted me
to write the music.
670
00:36:01,600 --> 00:36:05,040
And what was it about the theme tune
that you already had
671
00:36:05,040 --> 00:36:08,240
that you thought you could
adapt to the Bond movies?
672
00:36:08,240 --> 00:36:10,880
Well, what I did was I dug it out
673
00:36:10,880 --> 00:36:15,480
and I played it and sang it
to myself, and it went...
674
00:36:15,480 --> 00:36:18,800
# I was born
with this unlucky sneeze
675
00:36:18,800 --> 00:36:22,320
# And what is worse I came into... #
676
00:36:22,320 --> 00:36:25,320
And so on. Nothing like it!
677
00:36:25,320 --> 00:36:31,560
And I suddenly realised that the way
to do this is to split the notes,
678
00:36:31,560 --> 00:36:34,160
so instead of...
# Da-ee-a-da. #
679
00:36:34,160 --> 00:36:36,160
..it became...
# Dum-diddy-dum-dum
680
00:36:36,160 --> 00:36:38,320
# Dum dum dum
Dum-diddy-dum-dum... #
681
00:36:38,320 --> 00:36:41,720
Well, the moment I heard that,
I knew I was on to it.
682
00:36:41,720 --> 00:36:44,520
It had everything I wanted
for James Bond -
683
00:36:44,520 --> 00:36:48,920
it had the ruthlessness,
the sexiness and everything else.
684
00:36:48,920 --> 00:36:54,680
So looking at your manuscript here,
looking at the notes, this...
685
00:36:54,680 --> 00:36:58,440
I know all the James Bond movies,
I know your theme tune so well,
686
00:36:58,440 --> 00:36:59,960
so you've got the opening notes...
687
00:36:59,960 --> 00:37:02,720
# Da-nah-nah... #
..with a sharp note.
688
00:37:02,720 --> 00:37:04,720
And then it goes on. That's right.
Then you've got...
689
00:37:04,720 --> 00:37:06,880
# Da dah-dah dah dah
Da da da
690
00:37:06,880 --> 00:37:09,240
# Da dah-dah dah... #
Exactly. This is full...
691
00:37:09,240 --> 00:37:14,560
I've brought... I must have written
that, scribbled that down in 1961.
692
00:37:14,560 --> 00:37:18,680
And why do you think
your theme tune has lasted
693
00:37:18,680 --> 00:37:23,480
through all the different changes
in music style, music fashion?
694
00:37:23,480 --> 00:37:27,000
Well, I can't even answer that
but the, the point is
695
00:37:27,000 --> 00:37:32,520
that with any major theme, it's
the first four bars that matter,
696
00:37:32,520 --> 00:37:34,600
and with that one...
697
00:37:34,600 --> 00:37:37,640
# Dum da-da dum dum... #
..is all you need really,
698
00:37:37,640 --> 00:37:42,000
because, from that, I wrote
the whole thing organically.
699
00:37:43,080 --> 00:37:45,840
And you went to Jamaica
to be on the set of Dr No
700
00:37:45,840 --> 00:37:47,960
with Sean Connery
and Ursula Andress.
701
00:37:47,960 --> 00:37:51,520
We've got you here. Here you are.
And this chap is the, the director.
702
00:37:51,520 --> 00:37:54,400
That's Terence Young, yes.
And it must have been quite a thing.
703
00:37:54,400 --> 00:37:58,480
I mean did anyone have any sense,
either the director or Sean Connery,
704
00:37:58,480 --> 00:38:02,040
Ursula Andress, that they were
at the start of something that
705
00:38:02,040 --> 00:38:04,640
would last so long and become
so huge in the movie industry?
706
00:38:04,640 --> 00:38:06,880
None whatsoever.
It's not possible.
707
00:38:06,880 --> 00:38:10,320
So when you go to the cinema now,
and you watch a James Bond movie,
708
00:38:10,320 --> 00:38:13,480
and you hear your music all these
decades on,
709
00:38:13,480 --> 00:38:15,800
what do you think, are you proud?
710
00:38:15,800 --> 00:38:17,440
I'm very proud.
711
00:38:17,440 --> 00:38:22,240
Nobody could have been sure
that it was going to last this long,
712
00:38:22,240 --> 00:38:24,600
and I certainly wasn't,
713
00:38:24,600 --> 00:38:27,600
and I didn't even think
I'd be here to find out!
714
00:38:27,600 --> 00:38:31,880
Well, you're being very modest.
It's a great piece of music,
715
00:38:31,880 --> 00:38:35,120
and it's been lovely to talk to you.
Thank you.
716
00:38:40,320 --> 00:38:43,880
Now, I understand that you're a sort
of amateur archivist for the
717
00:38:43,880 --> 00:38:48,040
Elstree Studios. Well, yes, I act
as a historian for Elstree Studios.
718
00:38:48,040 --> 00:38:50,960
I first went there in 1960 as a lad.
719
00:38:50,960 --> 00:38:53,320
My late father worked
in the industry
720
00:38:53,320 --> 00:38:57,800
and I've been involved really
for the studios for 57 years now.
721
00:38:57,800 --> 00:39:01,240
Wow, fantastic. And you've brought
along two of these story reports
722
00:39:01,240 --> 00:39:04,040
of I think a collection of up to 20.
723
00:39:04,040 --> 00:39:08,160
Yes, there's about 20 volumes. I
saved them from going into the skip
724
00:39:08,160 --> 00:39:11,160
when part of Elstree Studios was
sold off and we were dumping
725
00:39:11,160 --> 00:39:14,480
material and I said I'd rather
keep these because
726
00:39:14,480 --> 00:39:17,920
they're a unique legacy.
They were compiled by
727
00:39:17,920 --> 00:39:21,000
the Reader's Department
at Elstree Studios.
728
00:39:21,000 --> 00:39:24,840
In those days, studios had readers
who would look at scripts submitted,
729
00:39:24,840 --> 00:39:28,080
new novels published, stage plays,
730
00:39:28,080 --> 00:39:30,400
anything that could give them
an idea for a film,
731
00:39:30,400 --> 00:39:33,640
and they would have to compile
a report, a synopsis of the story,
732
00:39:33,640 --> 00:39:37,120
and their comments as
to whether the film was
733
00:39:37,120 --> 00:39:39,480
a possibility or not and
submit it to management.
734
00:39:39,480 --> 00:39:41,880
And there is the challenge.
They've turned down films like
735
00:39:41,880 --> 00:39:45,200
The Great Escape,
Dr No, Passage To India,
736
00:39:45,200 --> 00:39:48,560
all sorts of films
over the years because
737
00:39:48,560 --> 00:39:51,360
people trying to second guess
what the market was for that,
738
00:39:51,360 --> 00:39:55,400
and these, in a sense,
reflect a moment in time.
739
00:39:55,400 --> 00:39:58,720
So quite, quite an important
historical document in many ways.
740
00:39:58,720 --> 00:40:02,280
I think so because I don't believe
any other studios kept them.
741
00:40:02,280 --> 00:40:05,200
Let's delve into this one here
and if I can just open this.
742
00:40:05,200 --> 00:40:07,960
It's really heavy. Open it up...
743
00:40:09,120 --> 00:40:13,240
..and this is, well,
"Title Of Subject: Thunderball."
744
00:40:13,240 --> 00:40:15,120
Yes. "Author: Ian Fleming.
745
00:40:15,120 --> 00:40:17,400
"Type Of Material: Thriller."
746
00:40:17,400 --> 00:40:20,560
And this is 25th of the 11th, 1960.
747
00:40:20,560 --> 00:40:23,720
This is before Dr No was shot,
so this is... Before Dr No.
748
00:40:23,720 --> 00:40:27,400
We just go on a few pages
and we go to the report,
749
00:40:27,400 --> 00:40:29,280
and it says, "Reader's Comment:
750
00:40:29,280 --> 00:40:32,880
"Pretty much the mixture as before,
plus a few modern props.
751
00:40:34,800 --> 00:40:38,160
"This time a typical James Bond
adventure gets off to a good start,
752
00:40:38,160 --> 00:40:40,120
"but fails to build up tension."
753
00:40:40,120 --> 00:40:43,040
So pretty damning really.
Very damning actually, yes,
754
00:40:43,040 --> 00:40:45,720
cos it goes on to say that,
"All through the main story
755
00:40:45,720 --> 00:40:48,400
"this excessive use of
modern gadgetry..."
756
00:40:48,400 --> 00:40:50,640
Which is the Bond staple, wasn't it?
757
00:40:50,640 --> 00:40:54,600
Yes! "..proves to be a substitute
for character and intervention.
758
00:40:54,600 --> 00:40:56,240
"These defects would be certain
759
00:40:56,240 --> 00:40:58,440
"to show up more disastrously
on the screen.
760
00:40:58,440 --> 00:41:01,520
"I feel the story would
not promote a successful film."
761
00:41:01,520 --> 00:41:04,080
"No..."
LAUGHTER
762
00:41:04,080 --> 00:41:06,120
"No recommendation."
No recommendation.
763
00:41:06,120 --> 00:41:10,880
So a big mistake. Big mistake, yes.
Let's move on to the one nearer you.
764
00:41:10,880 --> 00:41:13,880
Well, this one goes back to 1951,
765
00:41:13,880 --> 00:41:17,600
and this was for an idea of a film
called The Dam Busters.
766
00:41:18,640 --> 00:41:22,400
Now, did the public want a film
about the dam busters,
767
00:41:22,400 --> 00:41:25,560
because it was only seven
or eight years earlier?
768
00:41:25,560 --> 00:41:28,080
And here we see
the reader's report.
769
00:41:28,080 --> 00:41:31,720
"There is everything here
for a truly memorial war film.
770
00:41:31,720 --> 00:41:34,240
"The almost unbearable excitement,
771
00:41:34,240 --> 00:41:37,760
"the humour behind the scenes
and even a love interest.
772
00:41:37,760 --> 00:41:41,240
"The whole thing would
inevitably raise our prestige
773
00:41:41,240 --> 00:41:44,520
"and the film could be launched
in a splash of publicity
774
00:41:44,520 --> 00:41:47,320
"as well as raising the morale
of the nation at a time when
775
00:41:47,320 --> 00:41:50,920
"the lion's roar is more like
a bleat from a Pekinese pup."
776
00:41:50,920 --> 00:41:52,560
LAUGHTER
777
00:41:52,560 --> 00:41:55,680
And the film was green lighted
for production at Elstree,
778
00:41:55,680 --> 00:41:59,040
but it took two years preparing it,
so it wasn't released
779
00:41:59,040 --> 00:42:02,240
for, you know, a few years
after that. Um...
780
00:42:02,240 --> 00:42:05,600
It's very difficult to value an
archive like... Without doubt,
781
00:42:05,600 --> 00:42:09,000
it's an important document in the
history of British film-making
782
00:42:09,000 --> 00:42:12,320
and you've got 20 of those so,
you know,
783
00:42:12,320 --> 00:42:14,840
even if you put it
as little as £500 on each,
784
00:42:14,840 --> 00:42:17,840
that's 10,000 to 15,000,
maybe more, for insurance,
785
00:42:17,840 --> 00:42:20,640
so, you know,
it is an important archive.
786
00:42:20,640 --> 00:42:23,800
You saved it and I think
we all owe you a great,
787
00:42:23,800 --> 00:42:27,280
well, appreciation, because without
you, these would be long gone.
788
00:42:27,280 --> 00:42:29,240
Thank you. Thank you.
789
00:42:33,400 --> 00:42:37,640
The role of studio workers, such
as story reviewers, was invaluable,
790
00:42:37,640 --> 00:42:39,560
as was the humble tea lady.
791
00:42:40,760 --> 00:42:43,280
Thanks to a viewer getting in touch,
we heard about Ruby,
792
00:42:43,280 --> 00:42:47,520
who met a galaxy of stars while
working at MGM Studios in Elstree.
793
00:42:48,800 --> 00:42:52,640
I've been told that you and I have
got something in common. We have?
794
00:42:52,640 --> 00:42:55,400
Yeah, I used to be a hairdresser
to the stars,
795
00:42:55,400 --> 00:42:57,880
and I was told that you were
a tea lady to the stars.
796
00:42:57,880 --> 00:43:01,920
Yes, I was, up at MGM in 1949.
797
00:43:01,920 --> 00:43:05,880
'49? Yep. Wow, before I was born.
798
00:43:05,880 --> 00:43:08,760
Oh, stop bragging!
LAUGHTER
799
00:43:08,760 --> 00:43:10,560
So who are these two guys?
800
00:43:10,560 --> 00:43:14,560
He is here because I used
to serve him on the trolley.
801
00:43:14,560 --> 00:43:17,720
Stewart Grainger? Stewart Grainger,
and he used to come in specially
802
00:43:17,720 --> 00:43:20,920
cos I used to do him
bread and dripping. Oh, really?
803
00:43:20,920 --> 00:43:22,600
He loved bread and dripping,
804
00:43:22,600 --> 00:43:24,840
and I used to do that
specially for him,
805
00:43:24,840 --> 00:43:29,280
and I'll tell you a little thing
about it, we used to bet.
806
00:43:29,280 --> 00:43:31,760
He used to throw a coin,
807
00:43:31,760 --> 00:43:35,960
and if I won, he paid for his
bread and dripping,
808
00:43:35,960 --> 00:43:39,880
but if he won
I paid for his bread and dripping.
809
00:43:39,880 --> 00:43:42,040
Really? Yeah. How amazing!
810
00:43:42,040 --> 00:43:47,720
Yeah, but every time I won he used
to say to me, "See my man."
811
00:43:47,720 --> 00:43:51,920
I said, "Who the heck is your man?"
I said, "You owe me money!"
812
00:43:51,920 --> 00:43:54,840
That was, was when he was working on
Beau Brummel.
813
00:43:54,840 --> 00:43:58,760
Oh, right. Victor Mature and
he was my heart-throb by the way.
814
00:43:58,760 --> 00:44:03,040
Oh, really? I was asked to go
to the cabin, with a tray,
815
00:44:03,040 --> 00:44:06,640
and when I went in,
Victor Mature was there.
816
00:44:06,640 --> 00:44:10,360
I nearly fainted,
I was so pleased to see him.
817
00:44:10,360 --> 00:44:13,680
I got the shock of my life
cos when I took in the tray
818
00:44:13,680 --> 00:44:17,240
and put it down in front of him
I turned round and asked him,
819
00:44:17,240 --> 00:44:19,680
did he want me to pour
his tea for him,
820
00:44:19,680 --> 00:44:21,920
and he said, "Oh, no, thank you,"
821
00:44:21,920 --> 00:44:26,280
and when he turned around he had
a head full of pipe cleaners.
822
00:44:26,280 --> 00:44:28,800
What, for curling his hair?
Curling his hair,
823
00:44:28,800 --> 00:44:32,840
and I thought that was natural,
cos that's what I fell in love with.
824
00:44:32,840 --> 00:44:36,000
Oh, my God. He had a mass
of curly hair.
825
00:44:36,000 --> 00:44:37,680
What was your impression
826
00:44:37,680 --> 00:44:41,160
of the studios and the
people that passed through it?
827
00:44:41,160 --> 00:44:43,080
Oh, I mean, you just imagine!
828
00:44:43,080 --> 00:44:45,560
I mean, I'm a pitman's daughter
829
00:44:45,560 --> 00:44:49,840
and coming into this great MGM
with lights and...
830
00:44:49,840 --> 00:44:54,000
There's studios all around, you
know, it was... It was just awesome.
831
00:44:54,000 --> 00:44:57,680
I mean, it was the most
wonderful experience of my life.
832
00:44:57,680 --> 00:45:00,400
So happy. Yeah. Well, it's been
incredible to meet you.
833
00:45:00,400 --> 00:45:02,840
And you. Wonderful to hear some
of your stories. Yes.
834
00:45:02,840 --> 00:45:06,680
I mean, I'm going on to 92
so my memories are still good.
835
00:45:06,680 --> 00:45:09,760
That is, that's incredible.
Yeah. You look amazing.
836
00:45:09,760 --> 00:45:11,240
Thank you. I really mean it.
837
00:45:11,240 --> 00:45:13,560
Coming from you, thank you.
Mwah. Thank you so much.
838
00:45:18,160 --> 00:45:21,280
I regard myself as being a bit of
musician so I know a little bit
839
00:45:21,280 --> 00:45:24,040
about guitars, and although I'm
a bass player, I know exactly what
840
00:45:24,040 --> 00:45:27,520
that is. That's a Telecaster,
that's a Fender Telecaster.
841
00:45:27,520 --> 00:45:29,640
But what's the history behind it?
842
00:45:29,640 --> 00:45:32,920
Well, this was the guitar that
Mike Oldfield used to record
843
00:45:32,920 --> 00:45:35,520
the electric guitar parts
on Tubular Bells.
844
00:45:35,520 --> 00:45:38,880
Right, so hence our copy
of Tubular Bells here.
845
00:45:38,880 --> 00:45:43,840
I was nine years old
when Tubular Bells came out.
846
00:45:43,840 --> 00:45:46,760
It was one of those albums that
kind of, in a way, changed my life
847
00:45:46,760 --> 00:45:49,240
as a boy, I just thought
it was just incredible.
848
00:45:49,240 --> 00:45:52,560
So, what's that?
1973 the album came out. Yeah,
849
00:45:52,560 --> 00:45:55,360
Oldfield was 19 years old
when he did that album as well.
850
00:45:55,360 --> 00:45:56,880
It's staggering, isn't it?
851
00:45:56,880 --> 00:45:58,800
I hate him!
LAUGHTER
852
00:45:58,800 --> 00:46:01,440
Oldfield was a non-reader,
wasn't he? He couldn't read music.
853
00:46:01,440 --> 00:46:03,160
That's right, he made up
coloured charts
854
00:46:03,160 --> 00:46:05,600
to annotate when different
instruments were coming in.
855
00:46:05,600 --> 00:46:06,720
Well, listen, you know,
856
00:46:06,720 --> 00:46:09,120
I'm going to have to ask you,
how did you acquire it?
857
00:46:09,120 --> 00:46:12,560
Well, Mike put it up for auction
for charity in 2009...
858
00:46:12,560 --> 00:46:14,880
Right. ..and it failed to sell.
Right.
859
00:46:14,880 --> 00:46:18,000
But what I did was I got
an old copy of the catalogue
860
00:46:18,000 --> 00:46:20,360
and then contacted
the charity direct. Right, OK.
861
00:46:20,360 --> 00:46:21,720
And made them an offer
862
00:46:21,720 --> 00:46:24,320
and they thought about it for
a few days and accepted it.
863
00:46:24,320 --> 00:46:28,160
The other interesting thing was
that Mike got it from Marc Bolan.
864
00:46:28,160 --> 00:46:29,800
Ah, one of my heroes. Yeah.
865
00:46:29,800 --> 00:46:33,320
So it's had two
very famous players own it.
866
00:46:33,320 --> 00:46:36,160
I'd love to have a go on this guitar
but I think it's more appropriate
867
00:46:36,160 --> 00:46:39,040
if you could strum a tune for us.
Would you mind doing that?
868
00:46:39,040 --> 00:46:41,840
OK, I can do that, for a small fee.
Lovely, OK, go ahead.
869
00:46:41,840 --> 00:46:44,720
I think that's incredible also about
this guitar is that, you know,
870
00:46:44,720 --> 00:46:47,000
as you've just described,
it was Marc Bolan's before.
871
00:46:47,000 --> 00:46:50,200
I mean that, that's a sort of a
double whammy on a guitar like this
872
00:46:50,200 --> 00:46:52,320
really, isn't it? It's got history.
873
00:46:52,320 --> 00:46:54,720
Why did he pass it on?
874
00:46:54,720 --> 00:46:57,320
They were both signed
to the NEMS agency -
875
00:46:57,320 --> 00:47:02,120
you know, run by Brian Epstein...
Right. And they were both involved
876
00:47:02,120 --> 00:47:06,080
with a chap called Roy Guest, and
Marc didn't get on with the guitar,
877
00:47:06,080 --> 00:47:08,960
so when Roy heard that Mike
was looking for one
878
00:47:08,960 --> 00:47:12,400
to record Tubular Bells, he got
the guitar from Marc for him.
879
00:47:12,400 --> 00:47:14,200
Are you ready?
880
00:47:26,440 --> 00:47:27,880
Brilliant.
881
00:47:29,840 --> 00:47:32,040
I don't think I'm going
to embarrass myself
882
00:47:32,040 --> 00:47:33,920
and try and keep up with that.
883
00:47:33,920 --> 00:47:36,600
It's very good.
I mean, it is, you know,
884
00:47:36,600 --> 00:47:39,840
it's a good enough guitar in its own
right to be worth a lot of money
885
00:47:39,840 --> 00:47:43,000
anyway, as an original
'60s Fender Telecaster,
886
00:47:43,000 --> 00:47:46,440
so if we're starting to kind of work
it up and talk about its history
887
00:47:46,440 --> 00:47:48,720
and think about what
it's really, really worth,
888
00:47:48,720 --> 00:47:51,200
you know it was
Marc Bolan's to start off with.
889
00:47:51,200 --> 00:47:53,280
Yeah. Absolutely incredible.
890
00:47:53,280 --> 00:47:56,720
It then went on to be
Mike Oldfield's, perhaps one of
891
00:47:56,720 --> 00:47:59,240
the biggest selling artists
of all time,
892
00:47:59,240 --> 00:48:01,400
and here he is,
picture of him in his studio,
893
00:48:01,400 --> 00:48:04,480
with that Fender propped up
next to him in the studio,
894
00:48:04,480 --> 00:48:06,880
you know, 100% certain of that,
895
00:48:06,880 --> 00:48:09,800
and how do we put a price on it?
It's really, really difficult.
896
00:48:09,800 --> 00:48:11,760
Do you mind me asking
what you paid for it?
897
00:48:11,760 --> 00:48:14,160
Uh, under 10,000.
Under 10,000. Yeah.
898
00:48:14,160 --> 00:48:16,520
Well, you know, it was a
lot of money, wasn't it? Yeah.
899
00:48:16,520 --> 00:48:18,600
But I still think it's worth
a lot more than that,
900
00:48:18,600 --> 00:48:21,600
and, quite frankly, I think
if it were to come up for auction,
901
00:48:21,600 --> 00:48:24,640
I would put £20,000 to £30,000
on that guitar.
902
00:48:24,640 --> 00:48:28,200
It's a guitar with great history
and I hope you enjoy playing it.
903
00:48:28,200 --> 00:48:29,880
Thank you. My pleasure.
904
00:48:29,880 --> 00:48:32,080
DOCTOR WHO THEME TUNE
905
00:48:32,080 --> 00:48:35,400
From music royalty
to television history,
906
00:48:35,400 --> 00:48:38,600
so let's travel back in time
for a unique memento
907
00:48:38,600 --> 00:48:40,160
of TV's favourite Time Lord.
908
00:48:41,520 --> 00:48:45,120
When I stepped onto
Albert Square this morning,
909
00:48:45,120 --> 00:48:47,000
the first thing that struck me
was the amount
910
00:48:47,000 --> 00:48:50,280
of television history that's here.
We've got the square itself,
911
00:48:50,280 --> 00:48:52,360
of course the Queen Vic behind me,
912
00:48:52,360 --> 00:48:55,880
and from one iconic TV series,
I suppose straight to another,
913
00:48:55,880 --> 00:48:59,160
and the days of
black and white television,
914
00:48:59,160 --> 00:49:01,720
Doctor Who and The Tribe Of Gum,
915
00:49:01,720 --> 00:49:03,480
a television script,
916
00:49:03,480 --> 00:49:05,880
quite a rare thing,
how did you get it?
917
00:49:05,880 --> 00:49:08,080
Well, it was given to me
by my grandfather.
918
00:49:08,080 --> 00:49:09,600
I suppose I was about eight,
919
00:49:09,600 --> 00:49:12,880
went down to see him in the summer,
as we always did.
920
00:49:12,880 --> 00:49:15,200
Grandad worked for
a building company.
921
00:49:15,200 --> 00:49:18,520
William Hartnell had just moved
out of his cottage in Mayfield
922
00:49:18,520 --> 00:49:21,320
in East Sussex,
I think to somewhere in Kent,
923
00:49:21,320 --> 00:49:24,960
and this was in the detritus
that was being thrown out
924
00:49:24,960 --> 00:49:27,800
during the refurbishment
of the cottage,
925
00:49:27,800 --> 00:49:31,320
and Grandad gave it to me
cos I was an avid, and still am,
926
00:49:31,320 --> 00:49:33,320
Doctor Who viewer. Wow.
So did you...
927
00:49:33,320 --> 00:49:36,160
Did you understand what it was,
that it was a script for Doctor Who?
928
00:49:36,160 --> 00:49:39,400
Well, I suppose at that age, yeah, I
knew it was a script for Doctor Who,
929
00:49:39,400 --> 00:49:41,920
I read it, yeah, cos there's
technical stuff in there
930
00:49:41,920 --> 00:49:44,600
and I thought, um, don't really
understand some of it, at that age,
931
00:49:44,600 --> 00:49:47,320
and it sort of just stayed with me
when I moved round the country
932
00:49:47,320 --> 00:49:48,840
and grew up, and it's something
933
00:49:48,840 --> 00:49:51,400
I've always sort of wanted
to know a little bit more about.
934
00:49:51,400 --> 00:49:54,880
Well, fantastic. So the script
has actually got this blue pencil
935
00:49:54,880 --> 00:49:57,600
which shows the lines
that the Doctor speaks,
936
00:49:57,600 --> 00:50:00,840
and it makes you just wonder
when William Hartnell,
937
00:50:00,840 --> 00:50:03,840
the first Doctor Who, was going
through this with his pencil,
938
00:50:03,840 --> 00:50:06,600
probably sitting at home with his
wife and working on his script,
939
00:50:06,600 --> 00:50:08,880
what he was thinking,
it's a new programme, it's...
940
00:50:08,880 --> 00:50:10,720
No-one's seen this sort
of thing before,
941
00:50:10,720 --> 00:50:13,840
no-one's really done
science fiction on the BBC before,
942
00:50:13,840 --> 00:50:15,440
let alone at tea time on a Saturday,
943
00:50:15,440 --> 00:50:18,880
but it's just lovely to see it
and, for me, a real privilege,
944
00:50:18,880 --> 00:50:20,440
it really, really is.
945
00:50:20,440 --> 00:50:23,720
One thing that maybe
you hadn't realised
946
00:50:23,720 --> 00:50:26,520
this it isn't any old
Doctor Who story.
947
00:50:26,520 --> 00:50:32,600
This is a script for the very first
Doctor Who story, 1963. No.
948
00:50:34,080 --> 00:50:37,520
He was in 30 stories, he could have
left 30 scripts in that house,
949
00:50:37,520 --> 00:50:42,400
it just so happens that he left
the script for the very first story,
950
00:50:42,400 --> 00:50:45,880
and that's what we've got.
This is the DNA of Doctor Who,
951
00:50:45,880 --> 00:50:47,680
it's the Genesis of the programme.
952
00:50:48,960 --> 00:50:51,040
So a very, very important thing.
953
00:50:51,040 --> 00:50:52,920
Doctor Who, as we all know,
954
00:50:52,920 --> 00:50:56,720
has an enormous fan following,
it really does, and there are
955
00:50:56,720 --> 00:51:00,480
fans who would give their eye teeth
for something like that.
956
00:51:01,760 --> 00:51:05,320
I don't see any reason for anyone
wanting to fake this, it looks...
957
00:51:05,320 --> 00:51:09,440
You've given a cast iron provenance
and it's showing signs of age.
958
00:51:09,440 --> 00:51:13,000
I think in terms of value
we need to be looking at
959
00:51:13,000 --> 00:51:16,120
between £5,000 and £7,000.
960
00:51:16,120 --> 00:51:17,400
What?!
961
00:51:19,240 --> 00:51:20,720
Oh, my!
962
00:51:20,720 --> 00:51:22,160
Oh, dear!
963
00:51:23,880 --> 00:51:26,840
It's not going back
and sitting in a file.
964
00:51:26,840 --> 00:51:29,360
You will never see another one.
965
00:51:29,360 --> 00:51:31,760
Oh, wow. Thanks, Grandad!
966
00:51:33,440 --> 00:51:34,800
Thanks.
967
00:51:42,960 --> 00:51:46,040
When we put out the notice that we
were doing a Roadshow special
968
00:51:46,040 --> 00:51:49,360
on entertainment we hoped
beyond hope that we would get
969
00:51:49,360 --> 00:51:51,280
some wonderful film props,
970
00:51:51,280 --> 00:51:54,760
and you have delivered because
you've got three props here
971
00:51:54,760 --> 00:51:58,520
for some of the greatest films
ever made here in these studios,
972
00:51:58,520 --> 00:52:01,320
but what's important about
film props is the history
973
00:52:01,320 --> 00:52:04,920
and the provenance. So what was
your job here in the studio?
974
00:52:04,920 --> 00:52:07,760
My job in the studio
was scenic painter.
975
00:52:07,760 --> 00:52:12,200
I painted anything that
needed painting - a scene,
976
00:52:12,200 --> 00:52:14,680
a set on the stage,
977
00:52:14,680 --> 00:52:18,000
a prop - it was, "Ron, paint this."
978
00:52:18,000 --> 00:52:20,760
Sometimes I didn't know what it was.
979
00:52:20,760 --> 00:52:25,440
I wouldn't know what colour
to paint it but I would paint it
980
00:52:25,440 --> 00:52:28,560
and I then I would get an OK
from an art director,
981
00:52:28,560 --> 00:52:30,600
"Oh, yes, that's what we wanted."
982
00:52:30,600 --> 00:52:34,040
So here we have the iconic mask,
Darth Vader's mask.
983
00:52:34,040 --> 00:52:35,760
Which series was this one from?
984
00:52:35,760 --> 00:52:39,320
This was the first Star Wars in '76.
985
00:52:39,320 --> 00:52:43,800
I started in January
and this came to me
986
00:52:43,800 --> 00:52:46,560
a fortnight after I started work,
987
00:52:46,560 --> 00:52:48,360
and they said, "Spray this one."
988
00:52:48,360 --> 00:52:51,160
They showed me a drawing
and I painted it.
989
00:52:51,160 --> 00:52:54,640
So we move from Star Wars
on to Raiders Of The Lost Ark,
990
00:52:54,640 --> 00:52:57,840
and here, again,
a really important prop
991
00:52:57,840 --> 00:53:01,000
because it was the one on the Staff
Of Ra. I think it is, isn't it?
992
00:53:01,000 --> 00:53:04,560
Yeah, the Staff Of Ra. And it's how
they discovered the right location.
993
00:53:04,560 --> 00:53:07,600
This was brought to me.
994
00:53:07,600 --> 00:53:11,480
I did five of them for different
scenes throughout the film
995
00:53:11,480 --> 00:53:14,560
and they would come to me,
collect one at a time,
996
00:53:14,560 --> 00:53:16,520
because they were quite fragile.
997
00:53:16,520 --> 00:53:21,360
I painted the actual Ark itself,
the big gold Ark.
998
00:53:21,360 --> 00:53:24,760
The actual Ark itself?
So that's the same, same process
999
00:53:24,760 --> 00:53:26,960
that I used for the Ark.
1000
00:53:26,960 --> 00:53:29,520
And the Ark I think is now
in a private collection.
1001
00:53:29,520 --> 00:53:33,720
It's in George Lucas's shed
in the garden. I think it is.
1002
00:53:35,240 --> 00:53:37,200
But again, film-used.
1003
00:53:37,200 --> 00:53:39,080
Yeah, film-used, yes.
1004
00:53:39,080 --> 00:53:42,960
And finally the axe.
Yeah, the axe. This came to me...
1005
00:53:42,960 --> 00:53:46,120
I did 14 months on The Shining
1006
00:53:46,120 --> 00:53:49,000
and this came to me towards
the end of the film.
1007
00:53:49,000 --> 00:53:52,080
So this was the axe actually
used to batter down,
1008
00:53:52,080 --> 00:53:54,280
Jack Nicholson battered
down the door.
1009
00:53:54,280 --> 00:53:58,680
It went right through the door
and got caught on the other side
1010
00:53:58,680 --> 00:54:03,720
and when they pulled it out,
it damaged the edge there,
1011
00:54:03,720 --> 00:54:07,480
it cracked and it became loose,
so it couldn't be used again.
1012
00:54:07,480 --> 00:54:11,600
I was going to make
a fibreglass one to copy
1013
00:54:11,600 --> 00:54:13,680
so they could use it safely.
1014
00:54:13,680 --> 00:54:16,600
So basically this is the original
one that battered down the door.
1015
00:54:16,600 --> 00:54:19,440
That is the... ..and the fibreglass
one that they could carry around.
1016
00:54:19,440 --> 00:54:21,240
Yeah, they could carry around.
1017
00:54:21,240 --> 00:54:23,800
So how did you come to keep
such iconic pieces?
1018
00:54:23,800 --> 00:54:26,440
Well, this came back to me
to be refurbished,
1019
00:54:26,440 --> 00:54:30,800
but I was waiting for the helmet,
which is missing,
1020
00:54:30,800 --> 00:54:37,200
so I just put this to one side
and the film eventually wound up,
1021
00:54:37,200 --> 00:54:40,960
cleared up, and everything
was being thrown in the skip.
1022
00:54:40,960 --> 00:54:42,760
AUDIENCE: Oooh!
1023
00:54:42,760 --> 00:54:44,840
In the skip. So you saved it?
1024
00:54:44,840 --> 00:54:47,040
So I said, I'll save that.
1025
00:54:47,040 --> 00:54:48,600
The same with that.
1026
00:54:48,600 --> 00:54:51,320
It came back to me after the film,
1027
00:54:51,320 --> 00:54:55,480
and they said, "Here Ron, look
after that," so I looked after it.
1028
00:54:55,480 --> 00:54:58,400
LAUGHTER
1029
00:54:58,400 --> 00:55:00,200
The same with this.
1030
00:55:00,200 --> 00:55:03,240
This is no good any more,
cos it's broken.
1031
00:55:03,240 --> 00:55:05,240
We're not going to use it,
1032
00:55:05,240 --> 00:55:08,400
so it stayed in my workshop for...
1033
00:55:08,400 --> 00:55:12,760
..nearly five years, and then
when I was clearing out,
1034
00:55:12,760 --> 00:55:15,640
I cleared this out with it.
So you saved these for the nation.
1035
00:55:15,640 --> 00:55:17,880
I saved them. And it could
all have gone in a skip.
1036
00:55:17,880 --> 00:55:20,120
It could have all gone in a skip.
Fantastic.
1037
00:55:20,120 --> 00:55:23,880
So we have to talk about values,
and prop prices have gone up
1038
00:55:23,880 --> 00:55:28,160
radically in the last few years, so
there are many, many collectors out
1039
00:55:28,160 --> 00:55:31,320
there internationally, and these
are truly international films,
1040
00:55:31,320 --> 00:55:33,280
and these are iconic pieces.
1041
00:55:33,280 --> 00:55:36,440
So what I'm trying to say, it ticks
all these boxes. All the boxes.
1042
00:55:36,440 --> 00:55:39,000
Now, let's think about it if
it went to auction.
1043
00:55:39,000 --> 00:55:42,600
The axe, if it went to sale,
I certainly would see that making...
1044
00:55:42,600 --> 00:55:45,680
What shall I say?
..sort of £40,000 to £60,000.
1045
00:55:45,680 --> 00:55:47,000
CROWD GASP
1046
00:55:47,000 --> 00:55:50,560
The medallion, I would
certainly think between
1047
00:55:50,560 --> 00:55:53,680
£60,000 and £100,000.
1048
00:55:53,680 --> 00:56:00,440
And, well, the most evilest iconic
evil monster ever, ever produced -
1049
00:56:00,440 --> 00:56:02,960
arguably - Darth Vader,
1050
00:56:02,960 --> 00:56:06,640
known worldwide,
so what's that worth?
1051
00:56:06,640 --> 00:56:08,760
If it should come to auction,
1052
00:56:08,760 --> 00:56:11,240
£150,000 to £200,000.
1053
00:56:14,040 --> 00:56:16,040
LAUGHTER
Quite nice.
1054
00:56:16,040 --> 00:56:18,000
Quite nice.
1055
00:56:18,000 --> 00:56:21,600
So what does that make?
Quarter of a million, is that?
1056
00:56:21,600 --> 00:56:24,600
Low estimate. 350, top end.
1057
00:56:24,600 --> 00:56:27,720
Yeah. The best props
I have ever seen.
1058
00:56:27,720 --> 00:56:29,600
Yeah. And where do they go next?
1059
00:56:29,600 --> 00:56:32,520
To my son, grandson.
To your grandson.
1060
00:56:32,520 --> 00:56:33,800
What a wonderful thing.
1061
00:56:42,120 --> 00:56:44,160
What a stellar collection!
1062
00:56:44,160 --> 00:56:47,920
Our thanks to Ron and to all those
who've joined us to share their
1063
00:56:47,920 --> 00:56:51,760
stories and reveal their mementoes
from the world of entertainment.
1064
00:56:54,640 --> 00:56:58,440
Well, that is an incredible
bequest from your grandfather.
1065
00:56:58,440 --> 00:57:01,200
Yes, yes. Did you know
he was suddenly going to hand it
1066
00:57:01,200 --> 00:57:03,160
over to you?
Not, not to me. I assumed
1067
00:57:03,160 --> 00:57:06,680
they would stay in the family,
but not, say directly to myself.
1068
00:57:06,680 --> 00:57:08,600
So what do you think? That's great.
1069
00:57:08,600 --> 00:57:12,520
I mean I'm into my films
and I do a bit of work
1070
00:57:12,520 --> 00:57:14,480
in that sort of industry myself.
1071
00:57:14,480 --> 00:57:17,280
It's not everyday you come across
these sort of items though,
1072
00:57:17,280 --> 00:57:21,480
so it's a nice surprise.
I'll say! Well, congratulations.
1073
00:57:21,480 --> 00:57:23,040
Thank you very much.
1074
00:57:23,040 --> 00:57:26,040
From the EastEnders set
and the Antiques Roadshow team,
1075
00:57:26,040 --> 00:57:29,120
and of course Darth Vader,
bye-bye.