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00:00This is not a game. This is a 12-week job interview. Never, ever, ever underestimate me.
00:16Fourteen people came to London in search of a job.
00:20I don't like liars. I don't like cheats. I don't like bullshitters.
00:26I don't like schmoozers. I don't like arse lickers.
00:34They've come to battle it out for a job with Sir Alan Sugar.
00:38I would have told you to piss off.
00:40Tough and uncompromising, Sir Alan is at the top of his game with a global empire worth £700 million.
00:50He's offering one job with a six-figure salary.
00:53I'm gonna fucking win this night if it kills me.
00:56To get it, they'll have to work and live together and face a weekly business task.
01:02You can't fucking fire me.
01:04Do you feel the pressure is building?
01:05This is the ultimate job interview.
01:08You're fired. You're fired. You're fired.
01:10Last week on The Apprentice.
01:19Two masturbation shots and one...
01:21Buggery.
01:22Yeah, there was a lesbian orgy as well, don't forget.
01:25Sir Alan threw the candidates into the world of modern art.
01:28Each of you teams are gonna choose one of Britain's up and coming artists.
01:32What is the average price that you sell your paintings for?
01:35That is amazing.
01:36Split into two teams, they had to exhibit and sell their artists' work for as much as possible.
01:44Sebastian's team sold well, fitting into the world of the elite art buy.
01:48My name's James Max.
01:49I'm Oliver Rothschild.
01:50Hopefully you'll get to know this wonderful beaming face.
01:53They're doing business with you.
01:55Rachel's team sold a good number of lower priced paintings, but found the art world uncomfortable.
02:00I just felt a bit intimidated by them.
02:02I don't know.
02:03We obviously didn't fit their cultural fit. We didn't go to Goldsmiths College.
02:06They were divvied up beforehand.
02:08And they had to contend with Matthew's abrupt manner.
02:11Just go to the staff at the desk and apologise for the way you came into the store.
02:16In the boardroom, the results were announced.
02:1919,500.
02:20Sebastian's team won, making over three times as much money as Rachel's.
02:25What you got to say?
02:26Paul, you said you're a salesman. You sold only 140 quids with the gear.
02:30I can sell anything.
02:31I'm sorry to say, Paul, I don't agree with you.
02:33Four times I've been on the winning side. You came out with that statement.
02:36I'm not going to take responsibility for you.
02:38Sarah and Paul fell out, ending with an uneasy truce.
02:41You'll be fine. I'll see you later.
02:43Finally, Rachel chose Matthew and Paul to join her in the firing line.
02:48Paul, I had you down as a good salesman. A good salesman doesn't let a sale go away.
02:53I'm sorry you're sitting here, Paul.
02:54So am I.
02:55But Matthew, you are an awkward character. I'm sorry to say, my friend, you're fired.
03:02Matthew became the fifth casualty of the boardroom.
03:07Now nine remain to fight for the chance to become the apprentice.
03:13At the house, the rest of the candidates wait to see who has survived the boardroom.
03:25Now we have to go to.
03:27Number six.
03:28Number six.
03:30Yay!
03:31Boop, bea.
03:33Oh, Rosie the Bear!
03:35What was that?
03:36How about Rosie?
03:37Hello Rosie, hello Rosie.
03:39Hello Rosie, darling.
03:40What happened?
03:44What happened?
03:45How was the man?
03:46Come on, guys.
03:47You're going to tell us.
03:48You're going to tell us a lot.
03:49I felt sorry for him.
03:51for him yeah you know he should have either gone day one or never have shown up really but yes he
03:59was a he was a bloody awkward bloke but in a situation like that it's a it's a it's a horrible
04:05situation after the harrods we were on win number four and yeah okay you can get a little bit blase
04:11thinking not that you're going to win all the time but you get used to winning and thinking good you
04:14know our next task let's win that and so on and then all of a sudden you're picked before you
04:19you know before the head man and you think shit you know this is that you know i could be going
04:22home any second i could be going i think anybody who's got here and has lasted as long as we all
04:27have it's gonna it's gonna get tougher it's gonna get even tougher because everybody around this
04:32table we've all grown to like each other respect each other you know all that sort of good stuff
04:37it's gonna get tougher
04:49hello francis here from sir alan's office he'd like you to meet him this morning at the corner
04:54of st anne's road and olaf street he expects you to be there in 45 minutes okay thank you
05:03guys
05:19sir alan is not here but he's left them a message
05:30you might be wondering what you're doing on that bus but you've obviously seen the advert down the
05:40side of it now this task is all to do with advertising and what's even more daunting for
05:45you is that i'm going to give you one of my products that you've got to produce an advertising campaign
05:51for i want a press campaign i want a tv campaign as usual the team that comes up with the best
05:58advertising campaign is going to win the one that comes up with the worst one is going to lose and
06:03one of you is going to get fired next stop publicis one of britain's top advertising agencies
06:12with the help of the agency's experts the teams have just 36 hours to produce a 20-second tv commercial
06:23and the full page press ad first each team has to pick a project manager well done team project leader
06:33miriam volunteers to lead first forte i'm happy to do it if you don't mind
06:39paul steps up for impact
06:51both teams are about to enter the world of advertising welcome to publicis just a little
06:57bit about us i mean we're the fourth biggest advertising agency in britain
07:01and in fact the fourth biggest communications group in the world and basically everything here
07:05is at your disposal although obviously you have to remember that all the people who work here are
07:09busy doing things other than your project publicis has won countless awards for its stylish ads
07:16their inspiration got thierry henry to put the va va voom into rena
07:23the candidates task to promote this prototype a 10 cd changer still in development and intended for
07:30the u.s market for the purposes of the campaign the jb 1000 has a guide price of 99 pounds
07:40the first law of advertising meet the client
07:45simon sugar sir alan's eldest son is commercial director at amstrad he's the man developing the
07:52product the main function of the product
07:55um is the unique cd mechanism the reason why we have designed this in in this way is easy to use
08:03very user friendly in terms of how you access your cds it's been made to sell at a recommended retail price
08:10of 99 pounds do you have a a way that you like to be portrayed to the mass market amstrad is always
08:16known for value for money um i keep going back to this user friendly um feature packed does that link
08:25in as well to a specific target market that you have the the market is in all amstrad products really
08:31is the mass market it's vital they get the message because it comes from the boss
08:39there's a tendency for advertising agencies to get carried away and forget about what the client wants
08:45and they're more concerned about themselves and about winning some award somewhere the problem with
08:51that type of advertising is is it doesn't sell any kit for the customer it's going to be interesting to
08:56see whether these two teams go down the route of some kind of arty farty stuff because if they do
09:02they will get a kick in the ass from me that's for sure i can almost feel the creativity it's uncanny
09:09tomorrow afternoon the teams have to present their work to the ad agency's directors
09:18first a pep talk from creative director keith courtney advertising is what you do when you can't
09:23go and see someone if i were here and talking to you about this hi-fi i'd probably convince you to
09:29buy it but i'm not here so that's the job that you have to do yeah the first thing i would do is
09:34i don't know anything about the hi-fi market to me it looks a bit cheap it's a bit tacky but i guess
09:39that's the sort of point you know it's not a banging olifson so the first thing i would do is try
09:44and absorb myself and what that market's doing and why they're spending 99 quid you know 10 cds versus
09:51six oh is that really i don't know who gives it to us i don't know maybe that is good um and that's
09:57the first thing i would do and out of that really you'll you're the creative strategy will grow
10:02i promise you are we looking at that as if we were a student if i was 22 years old at leeds metro would
10:08i buy you have to like i say you know i mean i don't own a renau cleo but i work on renau cleo and
10:13i have to imagine what it's like to drive a renau cleo and you know i have to absorb myself in
10:18thierry henry's coolness of otherness it so has rubbed off um it hasn't i want to see a strategy
10:26that excites you know and that's the thing about being a creative director it's it's it's almost like
10:31jesus i wish i had thought of that you know and i want them to deliver that and i hope i hope they
10:36do it's a really it's a tough tough tough category it's a very tough product um you know christ i don't
10:45know what i do 1pm the teams need to agree their strategies this part now is about being creative
10:56and getting the fact that we've identified because he said to us we are about mass
11:01market and i'm trying to understand what that mass market is you see sarah that is all right but we
11:08are already we are already forming a picture of how the advert is going to look
11:12no not at all we're forming a picture of who will represent our our group the group that
11:19are going to while paul and sarah try to agree on something miriam's team are already looking
11:24for a campaign strapline i think us talking about the advert and the practicalities of it everything
11:29else is all very well i think we must concentrate on finding the strapline okay but to find the
11:34something we need to know which direction we're taking james what strap strapline of the ones we've
11:39got here on the board do you like the most we're going to need to start making some decisions yeah
11:43i'm sorry to say because um there's my favorite three i think we work on this one the jukebox is back
11:50i think that works our strapline is the jukebox is back and then you have the two guys doing that
11:54that works okay the lasting message that you want to give with the clock ticking paul rejects theory to
12:01push on with his vision of the commercial because i i've seen in my mind kicking off with mom coming
12:07in from work okay straight into the kitchen we've got two stereos you see obviously the more we can
12:12flog the better it is rather than one i didn't know what the hell was going on and to be really honest
12:17with you i think that's the way paul operates turning it on starting singing to abba or whatever
12:23the sun comes down either from stairs or comes in from college or school or whatever he doesn't really
12:28sit down and have a lot of thinking time he goes straight in for it if you say something to him
12:33he is quite overbearing and he won't kind of listen always it's funny when the audio phone comes on
12:38the song's upstairs hears it starts laughing yeah and you just get that that shot and the sun laughing
12:44everyone is getting on it's probably no secret that myself and syrah got into a bit of a match the
12:49other day because she made some comments inside a board meeting with sir alan that i found very
12:54distasteful and unnecessary but anyway i put it behind me we shook hands and you know she was
13:00conscious that we this might have sparrowed out of control i think she understood that she did wrong
13:05but i wasn't prepared to bear a grudge knowing that we'd have to work with each other again so
13:09fortunately we've all been cohesive and we've all got on and it's been buzzing the planning's over time to
13:16move on they have the rest of the day to shoot their 20-second tv commercial and take the photos for their
13:23press ads miriam's team are about to audition their actors the objective of this meeting boys is to
13:34try and get a feel for people who can represent this product and have mathematical appeal could you say
13:39to us the duke box is back the jukebox is back brilliant thank you very much luke the jukebox is back
13:52okay okay the jukebox is back the jukebox is back
14:00paul divides his team in two and heads off to meet his film crew sending syrah and raj to buy props
14:14paul is just he's not really he's all over the place and it's making me feel all over the place
14:20that's what i said i said to everyone you know and guys i ain't got a clue what's going on you know i can
14:24normally keep up with stuff but there are four different people in there doing four different
14:27things i know that's why i just sat in the corner i just thought well guys listen as far as i'm
14:32concerned this is about the creativity and we've got to start thinking even if looking at the actors
14:38isn't the right thing you know you've got a marketplace how are you going to start breaking
14:42it down how are you going to start representing it you do talk a lot don't you know my ears are
14:46killing me i think everyone talks a lot but most people talk bollocks at least i talk sense
14:50for their strapline the jukebox is back miriam's team needs a jukebox oh that thing's huge
15:04i see the size of it it's absolutely huge oh that'll go in this way that'll go in that way man
15:13that's all right you'll slide it in this way yeah that's all right that's fine yeah perfect
15:18miriam phones her film crew who are already on location let me just talk to you about what we're
15:25hoping to do and then you can maybe start thinking about how the room looks and your
15:28lights and stuff like that i don't know if that'd be helpful um only on the internet okay are you
15:35it's fucking small okay it's my language you know more than me and my two assistants and some lights
15:41in there at a time really right okay well maybe work that into our ad campaign the other boys are
15:48out getting a jukebox at the moment do you think we're going to get a jukebox up in the door or not
15:54yeah if you put that in the room you have to take a sofa out okay well we'll play with that when we
15:58get there but the idea then we can really play with is the fact that your classic jukebox is old
16:03and heavy and cumbersome whereas our product you know it's compact and all the rest of it so actually
16:07that could play to our advantage yeah okay yeah you're not convinced are you i'm convinced there's
16:11room to actually do the shoot that's what i'm not convinced about okay all right thanks jason bye
16:18well we've got one extremely unhappy camper then you're going to be shooting from here paul's
16:23located amorous kitchen this is where his team will film their tv commercial and shoot the photos
16:29for their full page press ad i just want to get a feel for the mood the scene to see if it needs
16:33spicing or and the sort of you know the interaction between mum and son they've chosen a middle-aged mum
16:40and a teenager to represent the mass market for the jb1000 it's showtime okay okay tom hi mom hi son
16:50that's mine you've got your own upstairs up
16:54i like that i think you're a tiny bit aggressive judith with him i think you you're smacking him as if
17:01he's really he's crashed your power or something are we ready judith by the way hi mom hi sam
17:14despite the limits of her location miriam starts the shoot for her press ad
17:19to underline the slogan the jukebox is back they're going for the young market with a young model that's
17:25fine just shoulders round to me a touch shoulders round round that's it
17:28that's it okay but outside her next problem has just arrived
17:38ready oh
17:42i think we may have to report
17:59Well, mate, I think we may have to report.
18:01Stories? Yep.
18:04We've got less words to do, and the storyboards are done.
18:07Taking a break from filming,
18:09Paul finally turns his attention to the campaign slogan.
18:12Put down everything that you think of, you know, loads of slogans.
18:15Rachel's come out with, you know, a few good ones.
18:17And then maybe even tonight, even, if you want,
18:19when we get back to the house, just for ten minutes,
18:21because I don't want to sleep till day, you know.
18:25Syrah's unhappy about being asked to leave the shoot.
18:28I feel a bit, kind of, I'm not really very involved.
18:31I'm not quite sure where we're going.
18:34I don't know what the strapline is.
18:36Now that I'm not here, I'm thinking, well,
18:39are we going to get, as a team, the final product as what we want,
18:44or is it just going to be the vision of two people?
18:46Because they're going to be so busy on the filming,
18:47I actually think we've got the opportunity to give it the vision that we want it to,
18:50because they won't have the time to think about it.
18:52Yeah.
18:54With their overweight jukebox stuck on the ground floor,
18:57Miriam's team turned their advert storyline upside down.
19:01He's come home, and he's got two seconds of a moment walking along the street,
19:04he sees his jukebox.
19:06My jukebox.
19:07Yeah.
19:07Looks upstairs.
19:08Looks upstairs.
19:09Rebecca.
19:10My grandma phone.
19:11Yeah.
19:11And then she's just throwing it out.
19:13And then it fades to black.
19:14Yeah.
19:14And then the next shot is inside the flat, drawing back.
19:18And then he goes, oh, the jukebox is back.
19:21And action.
19:22First rehearsal.
19:28Oh, no!
19:30No, my beloved jukebox!
19:33What have you done?
19:34What have you done?
19:36What have you done?
19:37Oh, no.
19:38I think that made it a bit too much.
19:39Too much.
19:40So there's a slight pause, and then it's a giggle.
19:43Paul's got the opposite problem.
19:44Not enough emotion.
19:46Not funny enough.
19:51He wants to be a giggle.
19:53You've got to put a bit of passion to it, a bit of anger.
19:55I know it's late.
19:56It's not really anger.
19:57I think it's just a giggle.
19:58It's a mischievous giggle.
20:01Like that.
20:02You're not finding anything funny.
20:04That's the only problem.
20:05Tell him my frigging joke, man.
20:06What's the point of you?
20:06Yeah.
20:08Aardvark walked into a pub, and the barman said, why the long face?
20:12I don't know.
20:13That's the joke.
20:14An aardvark that has a long face.
20:15Oh, man.
20:16That's the barman said, why the long face?
20:23He's still not fucking laughing, man.
20:25Not me going down.
20:29At the house, Syrah and Rachel struggle to come up with a slogan.
20:36Rachel, I've got some ideas here.
20:38I've thought this sounds quite funky, but it makes you think.
20:43Because I think our advent's quite obvious,
20:45but I think you need a strapline that makes people think,
20:47what the fuck's all that about?
20:48I've got JB1000 times MP3 equals Kylie and Def Leppard at your fingertips.
20:52Why don't you go to sleep?
20:53I don't think I can quite late, I think we need to wait for them to come back.
20:57Right, I was going to say, because you keep mentioning you're tired, but it's like, it sounds painful.
21:05The final day of the task.
21:17In just six hours, the teams have to pitch their campaigns.
21:22Miriam works with her Mac man, a computer graphics designer, to create her press ad.
21:26So basically what we want to do, the idea of this, is we're going to take out all the black,
21:33tell a white background.
21:34But she's in close contact with the rest of her team, who are editing the TV advert.
21:38Listen, every single time the word jukebox comes up on the screen, as in, the jukebox is back,
21:51you need to use the branded jukebox logo that we've just created.
21:56We're just about to do the voice-over, and then just finalise it all.
22:02I could do it in Borat style-y.
22:03Hello, the new top-loading 10 CD dukebox from Amstrad is really very good.
22:10Cheers, cheers, thank you.
22:11Okay, gang, take two, the new top-loading, fuck it.
22:16When she first came in, she was sort of bopping, that sort of ABBA-type music.
22:23Here, we're more classical, slow classical.
22:26Still in the director's chair, Paul is in his element.
22:30But he's left the press ad and the planning for the pitch to Syrah and Rachel.
22:35All I'm saying to you, Rachel, is I understand where you're coming from.
22:39Good.
22:39You haven't really asked me, so what are you going to talk there?
22:42No.
22:42And I'm not being silly, but one minute for me to come up and do a presentation, I'm not happy with number one.
22:48No, no, no, no, no.
22:49But let me just tell you, because I feel that what I'm doing here is part of the rationale
22:55of how we've come up with all of this.
22:59Fine.
22:59If that's the rationale, I have no...
23:02Because it's the product?
23:03Yeah.
23:03I have no problem with you doing the rationale.
23:06I just want there to be a rationale.
23:07I'm not saying I must do it.
23:08I don't care about that.
23:09I'm just saying it feels to me that we need to have one.
23:12That's all somewhere in the presentation.
23:14And I'm not necessarily saying I write it, I say it, I do it.
23:17I'm just saying that at the moment, I don't feel that we've covered it.
23:19No, we are happy.
23:20Really happy.
23:21Absolutely fantastic work with what you've done in this time.
23:23Miriam's team have completed their TV commercial.
23:27Come on, guys, we need to run.
23:28OK, then.
23:28Cheers, Governor.
23:29Thanks very much.
23:30Thank you very much.
23:31Brilliant.
23:32We'll get out of your way now.
23:33Stop shouting in your ear.
23:35Thanks very much.
23:37See what happens there.
23:38They're not aligned anymore.
23:39Having supervised her Mac man all morning, her press ad is taking shape too.
23:43At least we have a concept here which we can present,
23:47which is the most important thing at the end of the day.
23:50Unable to agree, Rachel and Syrah split up.
23:53Rachel decides to make a collage,
23:56showing the moods the JB1000 can evoke.
24:00Syrah turns her attention to the press advert.
24:04Pushed for time, she enlists the help of the agency's staff.
24:07There was one other set here.
24:08Yeah.
24:09Can we flip it around?
24:10Yeah.
24:11I think it's quite nice.
24:12That's nice.
24:13You like that?
24:14He's got her eyes open.
24:15She looks quite dreamlike.
24:16She looks great.
24:17Maybe get rid of some of this baggage.
24:19Let's see what's in the rest of the images.
24:20It's amazing.
24:22Yeah, we don't want her looking, you know, too haggard.
24:24If you're really happy with that,
24:26now you have to find a stereo that's in focus and you're lit.
24:28Right, we'll take that image.
24:29OK, so we'll keep that one.
24:31You sure about that?
24:31Do you think you don't want to get the consensus of the rest of the team,
24:33or is it your...
24:34I think we haven't got time.
24:35The rest of the team aren't here.
24:36So we're happy with that.
24:37Yeah.
24:38Let's get to work on it.
24:40I think so.
24:40So I'm going to leave you to it now.
24:42Brilliant.
24:42So in terms of the advert,
24:44Yep.
24:45You've got everything, the headlines, subheadings, everything.
24:47Everything I need is here now.
24:48And we will not disturb you.
24:49All right.
24:50The only thing that I would say...
24:51Leaving the Mac man unsupervised,
24:53Sarah devotes her talent to rearranging chairs.
24:56He said we could borrow all the funky chairs, which is fantastic.
25:12Thank you very much, boys.
25:13You are absolute stars.
25:16With his TV commercial complete, Paul is back and wants an update.
25:21The room, when they come in, has got to look at exactly how we want it.
25:24All the rubbish to one side, everything cleared up and everything immaculate.
25:28Right.
25:28Because we will be judged on the environment as soon as they walk in.
25:33So that's why we've been...
25:34It's taken us a long time to kind of get this and that done.
25:37So that's what we're doing.
25:38Is this for the pitch?
25:39Yes.
25:39What about the full-page advert?
25:41It's not been done yet.
25:43It's still in the process of being done.
25:46Who's it in the hands with?
25:47No, but can I just suggest something?
25:49I've been dealing with him, so I'm in control of it.
25:52Right, OK.
25:52But it'll be done for 25 more minutes?
25:54I think so, yeah.
25:56Sarah is difficult to manage, definitely.
25:59I actually said to her a couple of days earlier
26:02that I didn't think she was a team player.
26:04She's a person that really wants to do her own thing
26:06and to shine herself and point the finger of blame elsewhere.
26:08but not take any sort of flack herself.
26:11Well, at 2 o'clock, it should be finished.
26:13He's doing it for us?
26:14Yeah.
26:14We've had it...
26:15Good, OK.
26:15Let me be very clear.
26:16So you've laid it out or whatever?
26:17Yeah, well, it has not been an easy process.
26:19It's been very time-consuming.
26:20Right, no, I appreciate it.
26:21But he's finishing it off?
26:23Yes, he is.
26:24Right.
26:25Could you save that to the printed file, please?
26:27That's great.
26:27That looks really good.
26:28Wonderful, amazing, yes.
26:30Do you like that?
26:31You're phenomenal.
26:32As the deadline looms,
26:34Miriam's press campaign is given its finishing touches.
26:38It might look slightly nice for the mark.
26:41Paul's advert still isn't ready.
26:45I'm not convinced by the font on get your own and the colour and things.
26:47You're right.
26:48To be honest, I think it's more important to get that right
26:51than it is to get the detailed text right.
26:53No, I don't.
26:54Do you not?
26:54No, the colour.
26:55Well, we can easily edit that.
26:57Yes.
26:58Yeah.
26:58Let him finish because it's a stressful job.
27:00Yeah, let's just get the content in.
27:02Sarah and I fundamentally disagreed about what should be on the press ad
27:05and she wasn't giving way.
27:07So, at some point, I just had to distance myself from it
27:10and let her take ownership because I wasn't going to get through.
27:13I fundamentally felt that what she was putting on a piece of paper
27:16was boring, bland, brochureware sales copy
27:21that you'd get in an Argos catalogue.
27:23But with the deadline up, it's as good as it's going to get.
27:29We haven't got the fucking £99 on there.
27:39Noel?
27:40Yeah.
27:41And get your own.
27:43And at the bottom here, can you write only £99?
27:47We'll quickly run it off on A3.
27:53That is...
27:55I'm not being horrible, but that is shit.
27:57That just shows, like, it's been plonked there.
28:01We've picked up the words.
28:02There's no point in saying that now.
28:03It's gone to a clock.
28:04We have to get into that.
28:05We have to really focus on it.
28:06Don't you worry.
28:07I'm a professional.
28:08I can get into it.
28:09I'm an actress.
28:09But I'm telling you now, that's not going to win you a prize.
28:14That will not win you a prize.
28:18The full-page ad isn't very good.
28:23But having said that, what does worry me is that the team are very easily deflated.
28:31And it shouldn't be like that, really.
28:34You know, when you're doing your best, you've got to keep positive.
28:40You know, in anything in life.
28:42You get a knockback, you've just got to stand up and work with it.
28:45Everybody.
28:46Right.
28:46There is no point in being respondent.
28:48Okay?
28:49There is no point.
28:50You'll come across.
28:51You know what?
28:51And they'll see it.
28:52Right, let me finish.
28:52Let me finish.
28:53Let me finish.
28:54Right.
28:54Right.
28:55Right.
28:56You know, I come in here and there's just lots of glum faces.
28:59We cannot be glum.
29:00There's no glum faces.
29:00Yesterday, yesterday, believe me, in the last ten minutes, there was a glum face.
29:05We have to be a beat.
29:07Paul, don't have to tell us how to be professional.
29:09Saira, please listen.
29:11I am listening.
29:12Okay?
29:12Paul, you're winding us up.
29:14You're winding us up.
29:15We know, listen, I know that's cut.
29:17I'm going to present it with passion.
29:19Don't worry about it.
29:20You can't control everything, Paul.
29:22I'm not trying to control everything.
29:23I'm just trying to let people remember the fact that we have worked very hard in 48 hours
29:29to do an awful lot.
29:30Let's try and be upbeat, please.
29:32Okay?
29:33It's not absolutely brilliant.
29:34It doesn't matter.
29:35It says what it says and it will do the job.
29:37My biggest worry now is the pitch and that if that positivity does not come through in
29:42the pitch, we've lost.
29:44And it's already time for the pitch.
29:47The three experts from Publicis will judge the work and pass on their thoughts to Sir
29:51Alan.
29:53I first of all wanted to ask you how you feel when you come in this room.
29:56What do you feel about this room?
29:58I think the idea to go informal is a good one.
30:02How do you feel yourself, though?
30:04I mean, regardless of informal, do you feel comfortable, relaxed?
30:09Excited.
30:10Excited?
30:10I'm liking the sound of excited.
30:13I'm liking the sound of anticipation.
30:15That's right.
30:18How are we feeling now?
30:20Well, I think.
30:22It's one of those kind of moments.
30:23You know, music can do incredible things.
30:37How does that music make you feel?
30:40Like I'm sitting watching a 1970s sitcom.
30:44That's absolutely right.
30:46It makes you feel upbeat and happy.
30:50Sir and Rachel aren't strong.
30:51Nope.
30:53What were the bits you didn't like?
30:55All of it.
30:56I'm going to talk you through.
30:56We've had some fun with some drawings.
30:59What music represents is an escape from real life.
31:05You can put something on that instantly transforms you.
31:08You can be somewhere on a beach just because it reminds you of that time.
31:12And it really paints that sort of...
31:14You can almost smell, you know, that place that it takes you to.
31:18I'm going to hand over to Sarah now.
31:20And she's going to talk about the press ad and where that's going and where that's come from.
31:25OK.
31:25The basic format for our press article will be as follows.
31:31We would like to highlight the Amstrad and the title of this product, the Amstrad JB1000.
31:38That needs to be a headline.
31:40We're not quite sure exactly where we would place it, but it needs to be in there.
31:44I just don't think that they're coming across very well.
31:46And if I was buying that product, if I was the CEO of this company, I would leave there...
31:51The only smile I would have would be generated from the TV commercial.
31:55What do you think?
32:15I mean, I can see different people reacting in different ways.
32:19But is there any sort of initial thoughts or comments that you'd like to feed back?
32:22There's an old cliche in the Amstrad business,
32:24which is if you throw three balls at someone, they're liable to drop them all.
32:28If you throw them one, they might catch it.
32:30They might not, but they might.
32:31And I think you've thrown them quite a lot of balls.
32:38Next, Miriam's team and a more formal presentation.
32:42The first idea we had was about fun, which is represented here.
32:45And we had the strap at the top, which was, we all want to have fun, but not at any price.
32:51What we've also done is we've come up with a single strap line,
32:55which then applies to the whole of our thinking.
32:59The dukebox is back.
33:03Tim, if I can ask you to dim the lights and roll VT.
33:06There were two or three occasions where I was deeply unhappy.
33:27The best example of that was with the TV commercial.
33:29At that point, we had the strap line, which I thought was good, but not exceptional.
33:35And we had a strategy for the whole campaign, which I thought was reasonable and credible,
33:41but again, not exceptional.
33:44And the TV commercial was appalling.
33:48Not that he's letting that show.
33:50But what we wanted to replicate in those 20 seconds was the messages of the press campaign.
33:56We wanted to have a light style, but we wanted to say that it's got mass market appeal across ages,
34:01but also that it's simple to operate, and also that it's £99.
34:06So, hopefully, ladies and gentlemen, the dukebox is back.
34:12Time for the admin to call Sir Alan.
34:17Is that Sir Alan?
34:19Speaking.
34:20Hello, it's Tim Lindsay from Publicis here.
34:22Hello, Tim.
34:24As always, Sir Alan will reach his own judgement when he's heard the candidate's explanation about what's been going on.
34:34Very soon, someone is going to get fired.
34:38You can go through to the boardroom now.
35:23now advertising one of my favorite favorite things I've written books on
35:32advertising checkbooks all I can say to you like is I hope that one day that you
35:39run a business that has got a turnover the size of the amount of money I've
35:42pissed up the wall over the years on advertising now each team is going to
35:49present to me their advertising campaign now I don't hear about all these
35:54demographics bollocks so I'm not interested in all that nonsense okay I
35:58want to hear about the adverts what they're supposed to do and what they're
36:01supposed to deliver I've got your videos loaded we'll display them on this plasma
36:07screen when we're ready impact you're gonna start over to you I'm all ears can
36:18we run the commercial now please if you wish yep
36:23that's mine you've got your own upstairs go
36:31with the TV commercial we were trying to not depict the product as the center of
36:48attention but rather how the product works within a family situation within
36:53family life being that it's only 99 pounds we're trying to show that it doesn't
36:57have to be something that you save up for mum can have one child can have one and
37:01then with the hit of the product at the end how much it is in the caption get
37:04your own we'll leave it in the mind of the viewer okay the press advert
37:09yeah sorry it's a bit ripped but obviously somebody sell it take it
37:13together we do want to emphasize this is not the finished article but our basic
37:17thought process you got 30 seconds I just wanted to talk you through when we
37:21first looked at the product the things that sort of came front of mind what what
37:25music can do and what this machine can do is make the mundane the everyday fun
37:30because the music changes the situation that you're in and because we thought of
37:34this as a second hi-fi or a third hi-fi rather than the principal one it's
37:37therefore you might be doing boring things in your kitchen or in your bedroom or in
37:41your study and that music can take you away from that sort of mundanity well good
37:45okay first forte
37:50who wants it
37:52so our two press ads are these two and the first one the jukebox is back is back in the
38:01strap plan we all want to have fun but not at any price and then the second billboard in the
38:07series if big is supposed to be better then why is everyone looking at me picking up on the size of
38:12the hi-fi the fact that it's a micro hi-fi we're in competition with a lot of you know big bulky cd
38:16changes and this does highlight that in the product so that's our press campaign and we'd like to run
38:22our video okay we'll run the video ad now oh no my jukebox my jukebox is back the new 10 cd top loading jukebox
38:37from amstrad
38:41you're you're you're an astute man who won
38:58um i i would assume that they've won because there's no i didn't ask you to assume you're
39:06sitting here who won i would say they've won spot on well done thank you thank you good campaign
39:15impact you're going to have to come back into the boardroom you know what's going to happen
39:21one of you is going to get fired
39:28off you go
39:32all right that's because this is a no-brainer was it really don't know then i don't have to be an
39:45advertising executive to work that one out my god it's it's not evident yeah it was that clear you
39:51know there was no contest here but um we just have to um find out what went wrong with this lot again
39:58out of the three people two of them definitely let me down one absolutely let me down
40:08the sire is just a pain really she's just not a team player um at every opportunity at every
40:18opportunity she would point the finger of the project manager if anything went wrong
40:21i fundamentally believe that it was paul's fault i think he did not prioritize his time he did not
40:27look at the brief carefully she was basically responsible for the print campaign and it was
40:35rubbish i think my teammates will back me up in saying that they feel exactly the same way that he lost
40:43the plot
40:50to celebrate miriam's win sir alan sends them off to get kitted out with some bespoke tailoring
40:58the
41:01hello boys hello boys indeed stunning definitely the winner so far stunning yeah does it bite
41:10this is the creme de la creme totally exclusive to tumblr so there's no one else in the uk
41:23this is the way you have this actually 16 and a half full front that'd be six
41:31thank you very much it's been a pleasure thanks very much for your time
41:45paul's team returns to the boardroom to face the final judgment
41:53uh
42:01hi francis um could you um turn to come in now please
42:13well paul
42:24can i ask you sir alan before we start why you chose their commercial you asked me yeah just as
42:32project manager i'd like to know why it was that we didn't win that did you ask raj why he chose
42:37them over yours raj isn't going to potentially fire me today it was so blatantly obvious that
42:43he that i asked raj it's as simple as that an onlooker what looking at that advert wouldn't know
42:48what the bloody hell it was all about but your product was in the advert from beginning to end
42:51no no no no no no sorry somebody watching your commercial would have seen the lady that's what they
42:56would have seen and they would have said to me what my wife says to me half the blooming time when
43:00she sees these arty farty adverts on television what was that about mum's lounging about drinking
43:05and this that and the other where's the product not there then you pack shot the guy in the corner
43:09up there playing around the music where's the product not there it is this around yeah if you've got
43:14a microscope if you put your head right up in front of the television you ask the question i've
43:18given you the answer not enough for the product in that advert you're too close to it i'm afraid much
43:23too close you're not looking at it from an eyes of a consumer but what is disappointing me more than
43:29anything else is not so much the television advert is this thing here and this bloody load of nonsense
43:36here that's what's annoying me more than anything else so who's responsible for all this stuff ultimately
43:42as a project leader i'm responsible for everything this is pathetic
43:48i will agree that this is not the stronger part of our overall campaign can we have hear from someone
43:53else yeah who was sitting with the mac man when this was going on i i i that that is um was my task
44:01to do that did you sit with him or did you just say to him hello mac man get on with it and walk away
44:05no sir alan i did not do that because that's not in my professional capacity to do that what i did with
44:10the mac person was he is a specialist i gave him specific instruction you left the layout to him
44:17i'm just going to come to that sir alan if you let me finish so basically that's what we did and i
44:21asked him i said could you go away please and come back and then will i have time to proof it and he said
44:27yes yes that will that will happen so that's what happened and i think in my professional capacity in the
44:33time i had that was the right thing to do that was the absolutely wrong thing to do and you should
44:39have been sitting next to him and as the things came on the screen you should have been saying do
44:43leave off not that get that out the way make the picture bigger get rid of the woman do something else
44:49look at this over look at this over here look at it sir alan i absolutely agree with what you're
44:54saying i'm not going to sit here and say that well don't try and justify to me that you know you're
45:00professional and you use your professionalism because you should have sat right next to that
45:04bloke you should have sat next to him and you should have stuck to him like glue the reason that advert
45:10came out like that and the reason that i did not sit next to him was because we did not create enough
45:16time for the advert again that comes down to the project project managers what to what he thinks is
45:20important was the last thing on the agenda and we did not leave enough time why would this have
45:25why would this have been any better the reason why would it been any artistically any better sir alan
45:30the reason why would it have been more because because we have had the time and you know and the
45:35strategy and the concept to go to the and we had all of saturday morning raj while we were editing
45:41two people half of the team had all of saturday from nine till two to do that right five yeah from
45:47nine to two nine till two they had to do this sit in front with the mac man they had all that time
45:52between nine that was not all we had to focus on let me examine this a little bit more can you can
45:58can we go into a bit of detail here at what time of the day did you brief this man i was directed by
46:04my project manager to focus on the press advert in the morning sarah sarah sarah please answer a simple
46:11question what time of the day did you first meet this mac man and give him your brief roughly half
46:19ten we probably met him first about half ten but we didn't half ten and didn't have a final brief to
46:23give him at that stage when did you have the final brief when did he know what you wanted to do
46:29about 12 12 12 okay so and you had a two o'clock deadline is that what you're saying so between
46:3612 and two what did you do i then gave him the basic ideas of a layout that on there sarah you're
46:43not answering me i'm on to know what you did between 12 and two between 12 and two you i'm talking about
46:50what you we were getting you and rachel did between 12 and two after you'd finished briefing this fellow
46:55from 12 to 2 we got together the pitch and we had to run through that we also started to make our room
47:02look more creative and that was important to me because i didn't feel confident that's the error
47:07that's the error because between 12 and two you should have been stuck to that bloke like
47:11to a blanket this is the thing that would have impressed them in the end none of the other
47:16that you were getting up to was going to impress them you left him on his own and that was the fatal error
47:21and that's the fatal error in your campaign that is the fatal error in your cat in my opinion paul
47:34you're gonna have to pick two of your colleagues here who you think let you down on the project
47:38because one of the three of you is going to get fired as you know who do you want with you
47:44i'll take in syrah and rachel raj rest easy for today
48:00you three i think you should also go out there and i'll give you a call and i'll call you back in
48:06okay yeah
48:14so
48:23paul became so engrossed in this television advertisement he wasn't in contact with these
48:29two at all he was not running a team going back to the original cvs one one of the claims to fame
48:37out of this three is rachel who says she's been in advertising done some advertising and all that
48:43stuff yeah and what she was doing prancing around downstairs making the storyboard presentation
48:48for the advertising agency i just don't know
48:51he's ready for you now
48:58thank you
49:06so
49:08Paul, tell me why you've brought these two ladies in here.
49:16When we had finished, Raj and I, by and large,
49:19the TV commercial on the Friday,
49:21I was pretty upbeat because I thought
49:23Sarah and Rachel have from 9 o'clock Saturday morning
49:27till 4 o'clock in the afternoon to do that advert.
49:31And the fact that we have finished with this,
49:35I can't blame Raj and I can't blame myself.
49:38Nothing to do with you having a little altercation on the last task then.
49:42As I walked out, I shook hands with Sarah
49:44to make sure that the next day we were going to be OK to work together.
49:48That's an absolute lie. We did not shake hands after...
49:52We shook hands out there as we walked out.
49:53We did not shake hands, Paul. You did not shake hands with me.
49:57I left very upset because I felt attacked after the last time.
50:03So I can't remember shaking hands.
50:05I am a Roman Catholic and as God is my witness, I shook her hand outside.
50:09Well, I'm Jewish and I couldn't get less.
50:11At the end of the day, you're saying to me that you've brought them in here
50:14because there's nothing personal about this.
50:17It's all to do with you don't think they perform well on this task.
50:20Is that what you're saying to me?
50:21It is.
50:22OK. And, Rachel, what do you say about that?
50:24We hadn't actually been delegated in some ways between me and Sarah
50:28who was going to, if you like, lead on this particular project.
50:32And in the morning, we basically didn't really agree
50:36on the direction that this advert should take.
50:40And we weren't going to agree.
50:41I think the two options either were that we carried on disagreeing
50:45with each other all morning and produced a blank piece of paper
50:47or someone sort of stepped back and allowed it to progress.
50:51Did you bulldoze her into that decision, Sarah?
50:54No, I didn't bulldoze her, Sarah, because we had two tasks to do.
50:58Rachel was quite happy to carry on with her mood board
51:00because she knew more about it.
51:02It was more her idea.
51:04I wanted to go on with the advert.
51:05And I think what I have produced in terms of a layout,
51:09as a basic layout, demonstrates a basic understanding of advertising.
51:13It is not the completed article.
51:15There's a lot of work needed to do on it.
51:17Well, I think that's the basic layout for the dandy or the beano,
51:19if you ask me, not for any ruse paper I read.
51:22Sir Alan, I'm not disagreeing with you on any of those points.
51:25Should she be with you with this Mac man?
51:27That's the point I'm making.
51:28And why wasn't she with you with the Mac man?
51:30Because the reason she wasn't with me with the Mac man
51:33was because Rachel was doing her board.
51:35Why did you let her go off and waste her time
51:37making this bloody thing here?
51:38With respect to Rachel,
51:40Rachel was very, very strong on her creative point.
51:44I was not strong...
51:45Where?
51:46I'm coming up with a board and the moods and all of that kind of thing.
51:49But the board is a total waste of space.
51:51The only reason that I started working on that,
51:54fundamentally, was because we couldn't agree
51:55on the direction of the advert
51:56and I thought too many cooks will spoil the broth.
51:58Why didn't you ring me?
51:59If you've just said now for the first time
52:01that you couldn't agree you and Sarah
52:02on the direction of the advert,
52:03why at that point did you not ring me?
52:05I said that if you need to get hold of me, ring me.
52:07Now that is pretty fundamental if you can't agree,
52:10but you didn't ring me.
52:11So when I heard a silent phone,
52:12I thought everything is going to plan.
52:14Paul, don't you think that you took a bit of a risk
52:17when you said, well, get on with...
52:18I mean, there was always two elements to this task,
52:21wasn't there?
52:21The press and the TV.
52:23We all knew what was happening with the TV commercial.
52:26We all knew what product we were selling.
52:28We knew that it was get your own, the slogan.
52:30So maybe I gave them too big a scope
52:32and maybe I put too much faith in them.
52:35You know, I suppose.
52:38So, good team leader or not?
52:40I'm afraid not.
52:41Good team leader or not?
52:42No.
52:43Who should be fired then?
52:45I think it should be Paul.
52:46And who do you think should be fired?
52:47I agree.
52:48Do you think you're a good team leader?
52:49Not on this one.
52:55Out of the two, who should go?
52:57I don't want to say.
52:58You've heard what we did.
52:59It's up to you to fire someone.
53:00You've chosen.
53:01You must have chosen them for a reason.
53:03I said the reason beforehand.
53:05I just think that from nine till four,
53:07they could have come up with something better than that.
53:08You know, I'm having problems on this press advert all the time.
53:21I'm also having problems on your lack of understanding
53:23of where you should have put your attention,
53:26on which thing you should have fired your enthusiasm towards
53:29and kept your eye on.
53:31You know, at the end of the day, Paul,
53:32you were the team manager, as you say.
53:35Your opening gambit here today was I'm responsible.
53:38You started doing most of the talking.
53:40I think your emphasis on where you spend your time
53:44and what you spend it on was wrong.
53:48Syrah, I don't know why you left yourself on your own with this.
53:51I don't know why you wasted that two hours.
53:54Rachel, I haven't got a bloody clue
53:56what you were up to downstairs with this thing there.
53:59Not a clue, because who cares?
54:01Pitching to the advertising agent.
54:03When it comes to bullshit,
54:05they have forgotten what you haven't even learnt yet
54:07about all this crap.
54:09You wasted your time.
54:10And because you wasted your time
54:12and because you say and claim
54:14to be an expert in advertising and your own CV,
54:17it brings me to the conclusion that,
54:20Rachel,
54:21I'm sorry, you're fired.
54:23You two, I better stop bickering.
54:46I haven't got problems with people
54:48that don't get on with each other in companies.
54:50I've had it in my companies.
54:51I normally get them apart.
54:53It's not a reason for me to get rid of people
54:55who don't like each other.
54:57I like her.
54:58Really?
54:59I see.
55:00But sometimes, possibly because we are similar in some fields,
55:04we hit a bit head-on.
55:05Yeah.
55:05You're both quite talented people in your own fields.
55:10I gave you the benefit of the doubt.
55:12Do you understand me about not bringing personalities into this?
55:15Sarah, you're a good talker.
55:17You're a great talker.
55:18You never convinced me about this.
55:20Perhaps you learnt a lesson here.
55:22If it make you happy or happier...
55:25She doesn't want it.
55:26And take it as a memento.
55:28I'll see you later, folks.
55:47Don't worry, Slice.
55:48Thank you, Dave.
55:49I'll see you later.
56:19Fundamentally, Paul's project management did cause us tremendous problems.
56:28And my feeling is more that I haven't been fired,
56:32particularly because of my performance on this task,
56:34but because Sir Alan likes Paul's pugnaciousness
56:37and he likes Sarah's pugnaciousness,
56:38perhaps I just didn't stand up for myself loudly enough.
56:45One job, now eight candidates.
56:48Sir Alan's search for his apprentice continues.
56:55Next week, the candidates enter the world of show business for the first time.
56:59I've lined up ten celebrities.
57:02You're going to have to use your negotiating powers
57:04to get something good out of them that we're going to auction.
57:08I'm just going to read through the names,
57:09and there are some real A-listers in here.
57:11There are people starving.
57:13There are people dying.
57:14You didn't ask for enough.
57:16I can't see Michael Cairn bidding to be interviewed by me.
57:19Who wants to get up 5.30 in the bloody morning,
57:22standing in the studio?
57:23Do you have a motorbike?
57:25How do you know that?
57:26What about if we could pry something like that off you?
57:28Waste of time. Waste of time.
57:30Take a waste of time.
57:31As the two teams cash in on their celebrity loss,
57:34who will be the next to go?
57:36Go once, go twice.
57:38Fight magic!
57:40Yes, guys!
57:41You're fine.
58:08Go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once, go once
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