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00:00This is not a game. This is a job interview from hell.
00:13From all corners of the country, 16 people have come to London.
00:19I don't care where you come from, whether you started in a council flat or born with a silver spoon in your mouth.
00:25All I'm looking for is somebody who is drop dead true.
00:30They're here to compete for a job worth £100,000, with a man famously hard to please.
00:40No one's going to make a fall out of me.
00:44Sir Alan Sugar has built a global business empire worth £800 million.
00:51Now, once again, he's on the hunt for an apprentice.
00:55I think this has been a bloody disaster.
00:57And I'll promise you, my friend, you will be out that door so quick, you wouldn't know what's hit you.
01:02To succeed, they're going to have to live...
01:05This is the life.
01:06...and work together.
01:08We are going to make some money.
01:10We really are.
01:11I am your boss.
01:12No, you're not my boss.
01:13I am your boss.
01:15You're nothing to me.
01:15It's the chance of a lifetime.
01:18You went out and lost me money.
01:20You're fired.
01:21You're fired.
01:22You are a total shambles.
01:23You're fired.
01:24Previously on The Apprentice...
01:35Now, it's not toys.
01:36It's actually sweets.
01:38The teams had to make confectionery to sell at London Zoo.
01:42But Ghazal's team didn't produce enough.
01:45We should have had massive hold-up.
01:46At the most in relief here, we would have made about 150.
01:50Ellen looks like a cow.
01:52They were forced to charge high prices.
01:55£2.50 each, so that's £5 altogether, please.
01:58Adam's team had plenty of stock, but he wasn't happy with their sales effort.
02:03I think you're really taking things the wrong way.
02:05No, I'm not taking the things the wrong way.
02:06You're quite hurt in your way.
02:08It's not done in a nice way.
02:10I think we come from two different schools of thought.
02:12One school that knows about selling and one that doesn't.
02:15Quantum physicist Sophie sold almost nothing.
02:18I really hate being approached myself, so I guess I'm not a born salesperson.
02:23Ghazal's team won by the narrowest of margins.
02:27You've won by £10.
02:29You've won by four lollipops.
02:31Natalie refused to take the blame.
02:34If I was so shit at selling, why didn't you put me in the line?
02:36So you're such a strong seller, why didn't you get out and do it?
02:39And Sophie committed boardroom suicide.
02:43I have a problem with selling something that I don't think is worth the money it's being sold for.
02:47This is the real world love, you know.
02:49This is not your scientific protons and neutrons here.
02:52That's what retailers do, you know.
02:54Sophie, you're fired.
02:56Sophie became the fifth casualty of the boardroom.
03:01Now 11 remain to fight for the chance to become the apprentice.
03:05This is Francis from Sir Alan's office.
03:19He wants you to meet him tomorrow morning in St. James's.
03:22The cars will be there at 6.30am sharp.
03:26Where are we?
03:27Next morning at 6, the candidates are up and ready to leave.
03:44Sir Alan wants to meet them at St. James's in Mayfair, one of London's wealthiest areas.
03:49It's home to Christie's, the world's biggest auctioneers of art.
04:02Last year, Christie's sold over £1.7 billion worth of fine art and collectibles.
04:08But for Sir Alan, selling art is just a business, like any other.
04:19Morning.
04:20Morning.
04:21OK, here we are.
04:22We're at Christie's.
04:24They say the business of art is the art of business.
04:28In this next task, I'm going to give you a chance to dabble in the art market.
04:32You are going to be selling photographs.
04:35And tomorrow, you will be putting on a photographic exhibition.
04:40Very simple.
04:41The team that takes the most amount of money in selling the photographs will win.
04:47And the team that doesn't will lose.
04:49They'll be back in the boardroom seeing me and one of you will get fired.
04:54Everything clear?
04:55Yes, sir.
04:56OK, off you go.
04:57Good luck.
04:5811 candidates are left.
05:05Hello.
05:08Did you see some of the art up in the Flipping Christie's?
05:10It made me sick.
05:12Yeah.
05:13There was a white plain canvas with a cello on one side and a lamp on the other side.
05:19And it was being sold for £300,000 when you could buy all three separately for about £60.
05:24Tomorrow night, each team must set up a private view and sell the work of two photographers.
05:31The team that makes the most money will win.
05:33There's a special type of salesmanship in this stuff.
05:36You can't talk someone into liking a piece of art.
05:40What you have to do is smell when you've got someone on the hook.
05:44Project manager for the Stealth team is Christina.
05:48I've got total faith in us to be able to really, really do well on this.
05:52She's clueless about photography, but her background in pharmaceuticals running sales teams might help.
05:59So I read back, crisis, negotiation, previous sales.
06:03Natalie is project manager for Eclipse.
06:06As a mum with a business master's degree, but no experience in the arts, she's keen to delegate.
06:13So guys, I'm going to leave it up to you two to question the photographer, answer the questions.
06:19I'm going to sit there and take stop, take note.
06:22Luckily, she's got Katie, a brand consultant who thinks she knows how to handle artists.
06:28But if we were to come in too heavy-handed on the, what's the price, how many can you do, what's the volume, they're going to go, hold on a minute, I'm a photographer.
06:36What about me, yeah.
06:37Yes, and there must be something about being true to your art, right?
06:41Hello.
06:41Is that Vanessa?
06:43Hello, yeah.
06:43Hi Vanessa, it's Simon and Adam from Team Eclipse.
06:46Hello, is that Linda?
06:48There are six photographers to choose from, so appointments must be booked.
06:52But in just five hours, the teams must declare to Nick and Margaret which two they have picked.
07:00Even when you're on the phone, it's important to smile, because the smile actually affects your timbre, your voice.
07:08If both teams want the same photographer, the photographer will decide which team to go with.
07:14So Natalie's got Katie on a charm offensive.
07:18Wow.
07:19First to be buttered up, fashion photographer, Elizabeth Hoff.
07:24We are passionate about making this work.
07:27Absolutely.
07:27And as a team, we are determined that we want to be there to completely support the artist that is happy to work with us.
07:35If you can just bring us into your world and let us understand how this happened, where have you come from, how you came about to this, and all of that stuff, it would be brilliant just to know you.
07:47For me, the lips are, you know, the sort of centre of communication, but they're all so sensual, they're all so sexual, and they're fascinating.
07:57And I found that by mixing...
07:58But car salesman Adam wants numbers.
08:00How many have you sold so far, then?
08:03I haven't sold any of these. This is the first time they're being offered for sale.
08:07Brilliant.
08:08How much would you want for each?
08:09£9.50 for the small.
08:11£9.50.
08:12£9.00.
08:12£9.00.
08:14Just joking.
08:15Adam, way off.
08:17We were learning about her, about her passion, about her life, understanding her as an artist, her integrity as an artist, and really wanted to respect and value that.
08:25He was asking, how much do you sell these for, and how many can you sell?
08:29This is not a car lot.
08:31Can we get people that can afford them in that space of time?
08:34Or not?
08:36If you sell me a story and you make it passionate and it's sexy and creative, you've got a great lady there who's got such a passionate story herself.
08:44We've got to have the money in the bank to buy them, so we've got to get the right people.
08:47Adam's coming across perhaps as a rather doer commercial man, but he is asking questions about price, has she sold any, and so on.
08:54Someone has to ask that.
08:56No, no, ladies first.
08:57Next address.
08:58People were really chatting too much about the arts and the concepts and not enough about who's going to buy it, why they're going to buy it, where we're going to get them from.
09:06And to me, there would have been factors that you'd involve in any business proposition.
09:11I don't know if she's targeting the right end of the market.
09:14I don't know, young bankers.
09:15It's very young and very vibrant.
09:17You'd be surprised, Adam, you'd be surprised what money people have in the city.
09:2410 a.m. Christina has split her team in two, and sales training helps her home in on a possible source of buyers.
09:39When you're seeing each of your appointments, okay, can you ask them for a list of contacts?
09:43Yeah, yeah.
09:44We're going to, we had that in mind anyway, Chrissy.
09:46If we don't get them through the door, we get no sales.
09:48I just want to be as commercially minded as possible, because at the end of the day, if we've got a load of stuff on the walls, which we like, and everyone else hates, we're going to look like a dick in front of Sir Alan.
09:59Exactly.
10:00Hi.
10:00How are you, Nigel?
10:01Gazelle, Trey and Paul are in Brixton to view the work of Nigel Grimmer.
10:08I've got this set on the wall that's called Very Cool Family Album.
10:12This one's my mum, the one on the poster is my dad, and this is my neighbour, and then we've got a few more down there as well.
10:24What kind of target audience would you have in mind for something like this?
10:27The ones that I've sold to are usually kind of young professionals, or I mean, it's been very different.
10:32The roadkill skier scared the life out of me.
10:34And I thought if I was going to go out with my family, I probably wouldn't make my mum lie on the road with the rat's mask on.
10:40If they actually were curators and came in and we had that kind of performance, then I wouldn't give them my work to show.
10:49Yeah, I really felt a bit squashed by the whole thing.
10:52That was just nonsense.
10:54I didn't even understand that.
10:55I don't think he knew what he was talking about.
10:56Because he contradicted himself so many times.
10:59It's Christina been still.
11:00Across town, project manager Christina and the rest of her team meet horse photographer Tim Flack.
11:06Can I just ask about your prices and what they go for?
11:10Yeah.
11:10Initial thoughts are that this is kind of a very creative, and you have to really kind of put your mind into a certain mindset to sort of interpret things.
11:19And I'm not, you know, I'm not kind of wishy-washy like that, and that's how I saw it.
11:23They've been most extensively seen in awards, both in America and Europe.
11:28What awards were they?
11:28The International Photographer of the Year.
11:32Brilliant.
11:33Who's your typical buyer?
11:35Do you have a big list of contacts?
11:37We put a list of over 100 names together.
11:39100 names.
11:41With Tim's client list of over 100 buyers, and the obvious sales potential of his horse photos, Christina wants a deal now.
11:49If it came to it that the other group were keen on you as well, could we have your commitment?
11:57I think that would be unfair.
12:01Right, okay.
12:02I thought I'd ask anyway, because we're so passionate about it.
12:05Now, I'll take that in consideration.
12:08Yeah, okay.
12:08Okay.
12:09Christina delivered what I took to be a real killer question, and that was, if we pick you, can we now have your commitment that you'll go with us, which I thought was superb.
12:20Took the photographer completely aback.
12:23Midday, for the other project manager, Natalie, the issue for tomorrow night isn't the photographs, but the canapes.
12:30They've got fruit kebabs drizzled with honey or chocolate. I thought that was quite nice.
12:35Does fruit count as finger buffet? I don't know.
12:37They have got a section, just finger buffet, and then it's under fruit, cheese, cake.
12:44I think catering is secondary to the picking of the art, the picking of the art before you get it right.
12:49See, I'm thinking more along the lines of the crisp side of things.
12:53For self-employed Simon, time is money, and he's worried.
12:57The team is still travelling in convoy, and it's taken well over three hours to make two visits.
13:03Here you've got the mini pizzas here.
13:05The decision, Natalie, you're going to have to make very quickly is whether you want to split up, because we're quickly running out of time.
13:1412.40. Still together, all five of Natalie's team arrive for the next appointment.
13:20What drove you to this? What was the inspiration, really? Who are you?
13:25The work is really the story of the ocean and the life within. Yes, that's it.
13:31I obviously don't want to offend you. Would you be unhappy if, say, fish restaurants brought your pictures for there?
13:38No, I think I wouldn't want it in a sort of street cafe, perhaps. I just feel that it would be lost.
13:47OK. No, it looks terrifying.
13:50Well, they were just quite scary, I thought. I mean, they were sexual, and I understand what she was trying to do.
13:55Natalie and I have got lobster claws in our wardrobe. Yeah, yeah.
13:58Do you? Most women deal. OK.
14:00It's like part of the kind of get-up, right? Yeah.
14:03The mermaid look. Dinner dance type thing.
14:05You know that people have a coffee fix in the morning?
14:07We'll have the lobster pinch my nipples.
14:09It makes me up.
14:12In Kensington, half Christina's team is sizing up the work of Lips photographer Elizabeth Hoff.
14:20Have you been visited by the other team yet?
14:22Yes, I have.
14:23OK.
14:24What kind of price are we looking at?
14:26Looking at £19.50 plus VAT for the large.
14:30And is there any room for negotiation at all at all?
14:32No.
14:33No?
14:34We haven't thought any of these yet. This is the first.
14:36This is a world premiere.
14:38Excellent.
14:40Say bye.
14:40Thank you. Bye.
14:42But even before they've left, the other team is on the phone.
14:46Hi, Elizabeth.
14:47Hello.
14:47We don't want you to promise anything to our opposition if it comes to that,
14:51because I think there might even be a battle for your work.
14:55And obviously, if it comes down to it, I hope you side with us.
14:59Hi, Elizabeth. It's Paul from Stafford.
15:02We've got warm fuzzies about you,
15:04and we'd love it if you could give us first refusal on choosing you.
15:0820 minutes to go.
15:10Natalie has finally split her team.
15:13Katie's gone north while she visits horse photographer Tim Flack.
15:18Hello there. My name's Natalie. Pleased to meet you, Tim.
15:20Thanks for your time today.
15:21Unfortunately, we've only got about 10 minutes.
15:23I'm going to take this phone for you if you guys want to...
15:30Excuse me.
15:33My name's Adam.
15:33Hiya.
15:36That one's amazing.
15:37That's an Arab as well, isn't it?
15:39You can see how I've wanted to integrate it with the landscape.
15:43You feel like my highlights.
15:47Tim, I'm bowled over with your way.
15:49It's absolutely breathtaking.
15:50Tim, I hate to cut in, but we must go.
15:53Please excuse me.
15:54We must shoot, guys.
15:56Thank you so much.
15:56Sorry.
15:57Fantastic to meet you.
15:58Thank you very much.
15:59It's fantastic.
16:00Thanks again.
16:01Sorry to be so rushed.
16:02I'll do a follow-up.
16:03Thanks a lot.
16:04Cheers.
16:04Three o'clock.
16:14Time to decide which photographers will make most money at the galleries tomorrow.
16:21The teams must choose two each.
16:25You wouldn't have to just be into horses to like it.
16:28Personally, for me, I really like the lip gloss.
16:30You don't need to sell five of those and you've made ten grand.
16:32I'm quite biased about this one, if you know what I mean, because I obviously love horses,
16:37but they were brilliant images.
16:39The girl, the lips that we told you about, the stuff that she's produced now is just pure eye candy.
16:44Who thinks that we can sell these photographs?
16:46Yeah, I don't think we can.
16:50Have you made your choices of photographers?
16:52We have.
16:53Okay, Clips, what are your two choices?
16:56We're going to go with Elizabeth and Tim.
16:58Elizabeth and Tim.
16:59And Stealth, who have you chosen?
17:00Elizabeth and Tim.
17:02Both teams go for Elizabeth Hoff's lips and Tim Flack's horses.
17:10Hello, this is Tim.
17:11Tim, it's Nick Hewer.
17:13We met this morning.
17:16Now the photographers will decide which teams will represent them.
17:20What decision have you come to and why?
17:22Right, we are going to go with the Stealth team.
17:29Well, I think they're very pleased about that.
17:31And tell me why.
17:32I was more convinced by the leadership of that team.
17:36Okay.
17:37Well, thank you very much for that.
17:39And we look forward to seeing you tomorrow.
17:41Okay.
17:42Thanks, bye.
17:43Hello, Elizabeth.
17:44Yes?
17:44Hi, it's Margaret Mountford here.
17:47Both teams have chosen you.
17:50So, well done.
17:51And which team have you chosen?
17:52I have chosen Eclipse.
18:01What tipped the scales in favour of Eclipse?
18:04I felt Eclipse were very unified as a team.
18:10It was nice to meet them all.
18:12They had really good energy.
18:14I felt they really got my work.
18:16So, I look forward to working with you.
18:18Well, thank you very much and good luck tomorrow.
18:21Thank you so much.
18:22Thanks.
18:24With one photographer each in the bag,
18:26the teams must now pick a second.
18:30Christina wants Linda Lieberman and her fish and flesh pictures.
18:34Trey.
18:35But Trey and Gazelle have yet to see them.
18:39All my work is motivated on ecology.
18:42I feel like a pebble and, you know,
18:44when you throw it in the water,
18:46the rings span out.
18:48And every action we do has another action.
18:51And I just feel that we need to be very much more aware.
18:55And art is very strong and very powerful.
18:58It can make us think.
19:00A big pair of white pants on a fishing line.
19:03It's like when she said you're hanging in the ocean.
19:05And it was like, it was like GCSE.
19:06It was like, we're hanging the ocean out to dry.
19:08And I'm not trying to be funny.
19:09Is that a joke?
19:10Was she being serious about that?
19:11You can't hang the ocean out to dry.
19:13That's why it's the ocean.
19:13Like when she said the ocean is the backbone of us.
19:16I think she's slightly lost.
19:18And I'm not completely convinced by the whole Darwin's theory of evolution
19:22that we came from fish either.
19:24She might have.
19:25I certainly haven't come from no fish.
19:339pm.
19:35At the house, Natalie calls a meeting.
19:38She's convinced success tomorrow will come from a soft sell.
19:42We've got to pull together on this and understand that it isn't...
19:45You've got to connect with the people and get them to connect with the...
19:48Absolutely.
19:49But you've got to direct them.
19:51I think Kate said a good thing.
19:52It could become a gallery.
19:54Do you know what I mean?
19:54They could just come to have a look and fuck off if we're not too careful.
19:57They will be selling like fucking crazy.
20:00There's a middle ground here.
20:00We've got to do the same.
20:02I heard you say, have you bought this sort of thing before?
20:04What do you buy it?
20:05And what sort of price would you buy it at?
20:06No, there are examples of questions.
20:07What kind of price would you buy it at?
20:08Is it too heavy-footed?
20:11We need to have little ballet shoes on and we need to dance with them.
20:15I'm very much with Katie on this, that art is something you cannot go in with a hard sell.
20:22If someone's standing there looking at a piece, to go in and say, what do you reckon, how much?
20:27You're all taking it the wrong way.
20:29I'm not saying it's a hard sell.
20:31No, I'm back off with him now.
20:31Are you trying to make out and say it's a hard sell?
20:34No, we're back off now.
20:35We're going to hear what he's saying.
20:36Yeah, that would go really well.
20:37I don't think it will buy it.
20:38It's as simple as that.
20:39But at the same time...
20:40I don't think it works.
20:41I think that's more with cars and things.
20:43I don't think it works.
20:43What if they like it?
20:44When did anybody mention cars?
20:46It's got to be very softy.
20:47So we're going to be funny around people, and if they want to buy one, they can buy one.
20:48Not necessarily funny around.
20:50And get steamrolled and get them back, then what, next door?
20:52Is that what you're saying?
20:52No, no, no, it's...
20:53Bollocks.
20:54Adam, as ever, is a complete catastrophe.
20:57He needs to be on a car sales lot and not anywhere near the art arena.
21:02He is driving me to absolute distraction,
21:05and I despair every further moment he stays with us in this house.
21:10And frankly, if Adam could just go back to the car sales lot and get run over,
21:14you know, my day would be absolutely perfect.
21:16The day of the sale.
21:22Christina has instructed ex-army officer Paul to invite buyers from the photographer's client lists.
21:30Can you ring Captain Richard Shuttleman, please?
21:33And you can go and do the army barmy stuff with him, OK?
21:35Oh, no, no, no.
21:38Hi, good morning.
21:39My name's Paul Callahan.
21:40And I'm calling up about an exhibition and ceremony.
21:44Both teams have galleries in Hoxton,
21:47a part of London famous for its lively art scene.
21:50Can you ring Clarissa, please?
21:53Clarissa 47.
21:57They've got till six this evening to hang their pictures and get buyers through the door.
22:02It's the Brick Lane Gallery.
22:07And the name of my company is Stealth.
22:12Stealth, as in Stealth Bomber.
22:15But Eclipse have received no client list from Elizabeth Hoff.
22:22With no leads, Natalie sends Simon and Katie off to the city in search of people with money to spend.
22:28Don't go for the people wearing cheap suits.
22:31Go for the people with expensive shoes and expensive suits that look a bit like me, preferably.
22:36Seriously, people not in nice shoes.
22:37I would never, ever buy anything from someone with shit shoes.
22:41Yes.
22:42Would you like to come to an exhibition tonight?
22:44Oh, it's very kind.
22:45I can't.
22:45I've got to get out of London tonight.
22:46Oh, what a shame.
22:47OK, not to worry.
22:49Hi there.
22:50So, do you like art at all?
22:52Sorry?
22:52Do you like art?
22:53Do you follow art?
22:54Yes.
22:54We're putting on an art exhibition tonight.
22:56I wonder if you could possibly come down.
22:57You can't, I'm afraid, but at the Draper's Hall for dinner.
23:00Oh, you are.
23:00OK.
23:01Thanks very much.
23:03I can tell an art buyer, Marlowe.
23:06Sir, may I give you one of these?
23:07It's frightfully lovely.
23:09OK, thank you.
23:11I think you've just got to pick your moment, young lady.
23:14Hi there.
23:15Do you like modern art at all?
23:16Signature pieces more into the gallery.
23:21Back at the gallery, Natalie's given Adam a list of art societies to call from the Yellow
23:27Pages.
23:27Elizabeth Hoff, I don't know if you're aware of Elizabeth as well.
23:30Natalie has decided that she and Loet are going to be responsible for the hanging, and
23:35Adam has been left sort of hanging about a bit like a spare part.
23:38I get the feeling that although she's trying to be nice to him, she doesn't really know
23:41what to do with him, and he obviously doesn't feel terribly comfortable in this world.
23:46Elizabeth Hoff, and that's more kind of pop art, sort of, quite sensual images, quite an
23:54exciting array of features on that one as well.
23:58How's Adam getting on?
24:00Has he been quite aggressive?
24:01He's got 12.
24:02He's got 12 at the moment, but he's finding it quite difficult sitting down there minute
24:06after minute after minute, so he pops up every now and again, but I've got to shove
24:09him down again a minute.
24:10Can you make some more phone calls for me, please?
24:13Yeah, because then it's like, that's the Moroccan section, that's the Colombians.
24:18What do you think of this, right?
24:19I was thinking...
24:20Is that all right?
24:23Yeah, no worries.
24:23I'll have a break with you.
24:25Just do another 10.
24:26What are you after, pen?
24:27Is that it?
24:27Phone?
24:27Phone, sorry.
24:28Do another 10, come back up, and we'll have a chat again.
24:31Thanks, Ads.
24:32My main concern is Adam.
24:34He's just negative.
24:37I'm just struggling, and I think the whole team is struggling with Adam.
24:39Not on a really serious scale, but on the basis that he is our weakest link at the moment.
24:46At her gallery, Christina is directing the display of the horse pictures.
24:51While downstairs, Linda Lieberman's fish photos are Trey's responsibility.
24:56She's the first one that opens up.
24:59Nipples and fish, what a combination.
25:04She calls it hanging the ocean out to dry.
25:06I call it bras and fish.
25:08When I asked her to give me an explanation about nudity, the only thing she said is she wanted an abstract background.
25:15There's loads of abstract backgrounds you could have potentially used.
25:17It didn't have to be nipples.
25:18Trey was put in the basement for a reason, and that's because it's not that he's tricky to manage.
25:28I find him easy to manage.
25:30He doesn't cause me any direct problems whatsoever, but he causes friction within the group.
25:36What can you do?
25:37If I have to put them up, then I'm not going to be selling them.
25:41It's as simple as that.
25:43I'm going to sell ten, which are the non-titty ones.
25:50Stupid titties and fish.
25:53Christina's appointed Trey to look after Linda Lieberman shots.
25:56An error because Trey has a moral issue with the naked bodies and the nudity aspects of those shots.
26:04To such an extent that three shots, he's actually turned face to the wall because he says he feels very uncomfortable about selling those.
26:16All of her paintings have got parts of the body, and you're excluding them because there are tits on them.
26:21Yeah, but how do tits fit into it?
26:23The whole part of the body is to show the entwinement.
26:26Yeah, but Naomi, I'll put them up for you, but then I'm not going to sell them.
26:30Those ones don't come across.
26:31They come across that something belongs in a fetish gallery.
26:33I think your personal feelings are coming into this, and that you're censoring her art.
26:40Limited intelligence, unfortunately, has a way of flapping its mouth, unfortunately.
26:47Hi, how's it going?
26:494.40.
26:51Vanessa Warren, Natalie's second choice, is here to take a look.
26:55Her speciality, pictures of Morocco and Colombia.
26:58Hello, good show.
27:00Yeah?
27:01Fantastic.
27:02But star photographer Elizabeth Hoff is less impressed.
27:08First stop, the price labels.
27:11Is that all right?
27:12No.
27:13Okay.
27:13I think they're badly printed, and I think blue tack is tacky.
27:19Okay.
27:20No, you can't do that.
27:21I don't think that really works.
27:23She has to get what she wants, and that's absolutely fine with us.
27:26And I don't see this as a diva fit.
27:28I see it as all part of her presentation.
27:30Exactly.
27:30The way I'd hung it and labelled it, that was it.
27:33Exactly.
27:33And if it had changed, I think I should have been told yesterday, and then we could have
27:37maybe discussed how to do labels properly.
27:40There's no point with the excuse, or any excuse, because the point is they're not good enough,
27:43so we're not having them, and if you can have yours, it's great.
27:46Well, we'll see.
27:46Exactly.
27:47Can I have some water?
27:48Of course.
27:49Do you want it cold?
27:49We've got some colds in.
27:50I actually prefer room temperature.
27:52Okay.
27:54Her next target, the walls.
27:56Yeah.
27:57If you've got a rubber, you might be able to rub out the pencil line.
28:00I'm thinking even tip it.
28:0130 minutes away from opening.
28:05There's several holes in the walls where the previous artwork was hung, and I just think
28:11they should really be filled and sanded down and painted.
28:18Blue tank.
28:20Poor man's polyfiller.
28:23You're so good at advising, Simon.
28:27That's so much better.
28:29Can we do the next one?
28:30Yeah.
28:30I'll get the paint.
28:32You get the thing.
28:38Five minutes to go, and Elizabeth's husband, Hugh, chips in.
28:44It's very important not to be giving the hard sell.
28:49Absolutely.
28:50It's veiled as a soft sell.
28:52It's a bit like when you walk into a clothes shop, and if somebody immediately grabs hold
28:55of you and says, do you want to look at these shirts and ties?
28:57It's pretty annoying.
28:59The thing about giving people space when they come in to take in what's going on, rather
29:05than immediately having a conversation and flowing them with information.
29:09We greet them, and we greet them, and we say, welcome, and then say, let's get you a drink.
29:14So there was nothing in the sales at first.
29:16I think that's very good.
29:17It was just, it was very informal.
29:19A private view is a party.
29:21It's welcoming somebody in.
29:22Glad you could make it.
29:24Have a drink.
29:24Enjoy yourself.
29:25Sure.
29:25So you're pouring out that amount of white wine.
29:28Isn't that just going to go warm and really gross?
29:31We have some ice.
29:32Yeah.
29:33In, like, five minutes?
29:51Let me introduce myself.
29:52I'm Christina.
29:53Hi.
29:53Five past six.
29:56Christina's guests start to arrive.
29:57So you know Tim, I come back.
29:58I just heard you say, where's Tim?
30:00Where is my steps on to?
30:01Oh, is he?
30:01Oh, super.
30:04Downstairs, Trey has censored Linda's fish photos.
30:07The image is making sense.
30:10And put his own spin on what the less raunchy ones mean.
30:14As with every story, you begin with the title, A Fish's Tale.
30:17And then you walk from there, and then you go straight into the significance of the art,
30:20in terms of the callous disregard for the ocean.
30:23And now the woman has the ability to give birth, and the ocean has the ability to give birth,
30:27how we essentially crucify ourselves by crucifying the ocean.
30:30And if we kind of took those vows on the next level and leaped them together in the form of ecology,
30:35we could make the world a much better place.
30:37But much like a piranha, it's a small bite that ends in total annihilation,
30:41and essentially the decapitation of mankind from the ocean.
30:44Fantastic.
30:45How was that for you, good man?
30:46That was great.
30:46He didn't even take a breath.
30:48That's fine.
30:48That's fine.
30:50Trey's a very intelligent guy, but portraying yourself as an expert on Linda's art is maybe a little bit far-fetched.
30:57And there are some people giggling at his explanations, but there are other people lapping it up, so we will see.
31:05Upstairs, Christina has told her team to sell hard.
31:09A few bits of skin, are you?
31:13Personally, yes.
31:14I'm doing the hard sell here, too.
31:16Are you guys here to buy this evening, or are you browsing?
31:20We're browsing.
31:21Give me a figure.
31:22What's your limiting factor?
31:23It's like, I'd hate for you to have come all this way and not take something home.
31:26Are you here to browse today, or are you here to purchase?
31:29Take something home for you, for me to say.
31:31A small one in that, and then a small one, it's the eye.
31:35Project manager Christina is more determined than anyone to close a deal.
31:40Yeah.
31:41I like that for two.
31:43Two, yeah.
31:43Three, very fine.
31:45There you go.
31:45I've never, I've never been, I've never been accosted in quite such a direct selling kind
31:55of a way in a gallery before, have you?
31:58Yeah, I thought I was in an estate agency.
32:00Really?
32:01Yeah.
32:03How's that?
32:04Right.
32:04It was clear they didn't quite know what they were talking about.
32:07Yes, one guy told us.
32:08Especially the guy downstairs.
32:08One guy told us that the fish photographs were about the destructing of the sea,
32:15and then Rick said, well, which sea is it?
32:18Where were they taken?
32:19He said, I don't know.
32:19I can't tell you.
32:23Down the road, Natalie's team are taking the softly, softly approach.
32:27I like these three here.
32:29I think, for me, it's those metallic colours, and there's such a contrast with the sensuous
32:34nature of the lips.
32:35I don't think you have to jump on everybody that comes in the door.
32:38You've got to watch and look from afar, rather than, it's not a hard sound, what we're doing
32:44here.
32:44It's quite gentle and subtle, really.
32:46Okay.
32:47Where would you place this?
32:48Would it be in your home, or...?
32:49Um...
32:50On my wall.
32:51It's at my bed, actually.
32:52Oh, okay.
32:53Okay.
32:54So, yeah, very personal position, so to speak.
32:57Very risque.
32:58Yeah.
33:01The less expensive work of Vanessa Warren has been given to Adam to sell.
33:05Prepare people to make decisions for me.
33:07In that case, go over there.
33:09You can have it in two weeks.
33:11Perfect.
33:12I'll just give a few minutes to work, but I think...
33:14I can definitely pitch to it.
33:15I'll leave you to your thoughts, and I'll leave you to plan where you're going to put
33:18it when you get it home.
33:19I'll place it in my mind.
33:20Fantastic.
33:21I'll see you in a few minutes.
33:22Okay.
33:23Okay.
33:24I am that close.
33:26To what?
33:27One of these?
33:28Yes.
33:30Katie and Lohit got, and Natalie as well, to be fair, got a little bit caught up in just
33:35talking to people and entertaining people as party hosts that have been absolutely fantastic,
33:40but kind of lost the focus of actually selling them.
33:43But then she could see all these images in her hair, and then she managed to...
33:46At nearly £2,000 a print, Elizabeth Hoff's lips are easily the most expensive pictures
33:51in either gallery, and Katie's determined to be the one to sell them.
33:56I'm not comfortable at all that the team understand the work they're selling.
33:59I think in Vanessa's area, most of the team are rather better suited, because most people
34:04can talk to a degree about some photos of Colombia or Morocco or a wedding.
34:10I am not confident at all that they should be ambling into Elizabeth's area.
34:14I think Lohit can nail it beautifully, but I think her work requires a vocabulary and
34:19mental agility that probably isn't demonstrated by some members of our team.
34:24Enjoy the work of Linda. If you have any questions, you can ask me.
34:27OK.
34:28Back at Christina's gallery, so far Trey's elaborate stories aren't clocking up many sales.
34:33There's a lot of viewers and their buyers. People who appreciate art, who are arty-farty
34:39hires, but don't really have the depths of the pockets. They've got the depths of soul,
34:45so they can interpret it and appreciate it. But depths of soul with shallow pockets means
34:50no sale for Trey.
34:51That's very erotic.
34:53Well, it's actually got very strong understands in terms of the ocean has the same power to
34:58destruct.
34:59He's a good chatter, but he's only closed one sale in three hours. Listen, there's no
35:05shortage of people here, and Linda Lieberman's work is right for this area, and I think right
35:12for this audience.
35:14Upstairs, by selling more aggressively, Paul and Christina are pulling in buyers.
35:19Hello?
35:20Do it, yeah, do it!
35:21See, what's your best deal?
35:22Well, OK, you've gone below what you're supposed to get, but I spoke to the artist himself,
35:23and I spoke to my boss, and the best we can do, I know you wanted 300, you can't
35:24do that, but you can't do 300, fine.
35:25Yeah?
35:26Thank you very much.
35:27Well done!
35:28Yay!
35:29So you decided I'd...
35:30Yeah?
35:31Yeah.
35:32At the other gallery, Adam's upfront selling catches
35:36Natalie's team its first customer.
35:37Do you want to put the orange dots on the wall?
35:38No, you put the orange dots on the wall.
35:39You sure?
35:40Is it your sale?
35:41Yeah.
35:42Excuse me, I'll just pop this on here.
35:43They're all very, you know, David Lasher, kind of comic book-like, lots of glass.
35:44All I know is that she's really pushed the boundaries of where she's at with this stuff, yeah.
35:56Katie has been softly bluffing for over an hour, but still hasn't sold any lips.
36:14It's so soft that I'm wondering if it's too soft, but I just don't know how to make
36:20it harder, and I'm concerned that if you really move it too hard, it'll just turn people
36:25off, so it's going to have to be still a learning process.
36:29Well, they just seem really peaceful and serene.
36:32I'm not sure they are.
36:34No?
36:35What do you see?
36:36Some of them may be spending too long talking to certain individuals, rather than realising
36:42earlier that they're not intending to buy, and moving on politely to someone else.
36:47In that respect, selling art is the same as selling a car. If someone isn't going to
36:52buy, you have to move on.
36:53Perhaps that's why Adam has been the only one so far to be successful.
36:58With sales stagnant and time running out, Simon gets pushy and shifts his first picture.
37:04Do you know your pin number?
37:05Yeah.
37:06Okay, so you can go to the bank to take money?
37:09Yeah.
37:13With ten minutes left, he lands a big one. An Elizabeth Hoff lip photo.
37:17We'll do that.
37:18We'll do that. We need to go to Cash Point Dam or something.
37:20All right, let's go.
37:21Let's go, please.
37:24Cash Point Dam.
37:29Yeah, there's a box, there's a paying one, if you don't mind paying me £1.75.
37:34Katie's sold nothing, but at the eleventh hour, Simon and Adam have turned round the team's fortunes.
37:43Brilliant, man. Thank you very much again.
37:45And at Christina's gallery, Trey's technique has finally paid off.
37:50I've always said I can bullshit with the best of them.
37:54In just four hours, the two teams have sold over £7,000 worth of pictures.
37:59I'd like your receipts and your takings, please.
38:06Receipts in there, thank you.
38:08And takings.
38:09I'll take the lot.
38:11Well done.
38:12And we'll see how we do tomorrow, huh?
38:13Yeah, fingers crossed.
38:14That's the first task that I felt has challenged me, but I found out that I'm good at just another thing, really.
38:31Another thing to add to my list of things I can do particularly well.
38:36We've got a few people in the group that think quite alike, and unfortunately I think quite differently to a number of them.
38:43I harboured grave concerns about Adam's selling style, and I still do.
38:48I hold my hands up to the fact that he made a sale and I didn't.
38:51However, I don't believe he is appropriate or fit for purpose.
39:00The day of the boardroom.
39:03Time to face ceramic.
39:04The candidates are about to find out which team has made most money.
39:26You can go through to the boardroom now.
39:28Afternoon.
39:29Afternoon.
39:30Afternoon.
39:31So, Christina, tell me about your team.
39:49What did you get up to?
39:50We chose Tim, which is the horses.
39:54Oh, horses.
39:55Yeah.
39:56You like horses, don't you?
39:57I love horses.
39:58Is that anything to do with why you chose it?
40:01No.
40:02I mean, he was a very established photographer, and I did.
40:04I mean, if anything, I would have probably gone against him because of that.
40:07No, no, I'm just making the point that sometimes in business, you choose something that you like.
40:12It doesn't necessarily mean that you're in the right place at the right time to show something that you like.
40:16No.
40:17But it was just a coincidence then, was it?
40:18It was a coincidence.
40:19I was very passionate about his work.
40:21How did the people work then?
40:23Who were your champions?
40:24Trey, Paul and Naomi really stood out.
40:28And me, of course.
40:30Natalie.
40:31Good task?
40:32Yes.
40:33Okay.
40:34So, how was the team leader then?
40:35Organised?
40:37Don't rush?
40:38Katie, you're a great fan of Natalie anyway.
40:41I'm not a fan.
40:42I just think she's great.
40:43She's a great salesperson.
40:44Yeah, exactly.
40:45She can sell.
40:46She didn't sell anything at this time, right?
40:47She did, but she worked her socks off.
40:48She could have nearly got one, but she just didn't.
40:49Nearly, yeah, yeah.
40:50Well, I nearly once bought a load of Microsoft shares when they first started.
40:54And we once nearly scored a goal against Manchester United.
40:57And we would have nearly been at the top of the league.
41:00When we didn't get Tim, it made a difference.
41:02Who did the selling?
41:03Who sold?
41:04I'd sold two of Vanessa's, which was the culture, Columbia, Morocco.
41:08Simon sold one of Vanessa's and one of Elizabeth's.
41:11And no one else sold anything?
41:12No.
41:13Okay, let's do some money, shall we now?
41:18Eclipse sold four photographs and made a profit of £1,599.78.
41:26All right.
41:27Stealth, led by Christina, brought home a total profit of £4,702, having sold 14 pieces.
41:40All right.
41:42Very well done.
41:43Now, your treat is going off to a fantastic health resort where you're going to be pampered.
41:49It's been visited in the past by people like the Beckhams and Naomi Campbell.
41:54So, it's made for you kind of stars, okay?
41:57So, go and enjoy yourself.
41:58Have a great time.
41:59And I'll see you when it's time to set the next task.
42:02Off you go.
42:03Oh, nothing like a good facial, is there?
42:16No.
42:17Never knock for all of us ever again.
42:18We've seen it.
42:19Oh, never knock for all of us ever again.
42:24Natalie, your team lost.
42:26By a significant margin.
42:29You go off.
42:30You have a little chat amongst yourself.
42:32You'll be coming back here, discussing it with me.
42:35We'll be going through it in greater detail.
42:37As you know, one of you will be fired.
42:39Off you go.
42:56We were blasted.
43:01At the end of the day, we didn't make enough sales.
43:04We only need to sell three of those small prints of Elizabeth to have drawn all one.
43:09So, why didn't we then?
43:12I've really worked my guts out.
43:14I've tried to deal with the Elizabeth and Hugh situation.
43:17I've tried to cover Natalie's arse when she hadn't learnt their stuff.
43:20I've tried to keep the gallery going.
43:22I've got up on a stepladder and done the painting,
43:24even though the two of them were sat there all day.
43:26I've just carried on grafting to make this thing come together.
43:31I was asked to sell.
43:32I sold.
43:33I was asked to make appointments for people to come down.
43:35I did that.
43:36So, everything that I've been asked to do that I've done,
43:38and I feel I did a damn good job.
43:41Just the people we got through, didn't we qualify them enough?
43:45I'm going to fight.
43:47I can fight my own case why I should be here,
43:50but I've got to say I'm a little bit at a loss as to...
43:53definitively where it went wrong.
44:03For the winning team, it's time to get pampered.
44:06Being PM, I'm going to choose one for myself, first of all,
44:09if nobody's got any objections.
44:12So I really, really want the collagen facial, OK?
44:15But even off-duty, project manager Christina is still calling the shots.
44:20The final one, which I know, Trey, you're absolutely dying for,
44:24is the back sack and crack of the back sack.
44:28Sorted.
44:30We worked so hard, and we absolutely crucified the other team,
44:47so we definitely deserve this.
44:50I mean, although you spoke a lot of crap down the stairs.
44:56Bollocks, was it?
44:57They laid out really well.
44:58But then I am the master of bullshit.
45:00Well, the grand master of bullshit.
45:01You are.
45:02For the losers, it's back to the boardroom.
45:18Okay, could you send them in please, thank you.
45:41Sir Alan, we'll see you now.
45:58Okay, I just want to remind you that there's only one job going here.
46:02Now, I don't mind, you know, camaraderie and all that type of stuff
46:06and everybody loving each other and it'll all be lovey-dovey,
46:09but lovey-dovey can backfire on you, okay?
46:14Katie, the point is this.
46:15Yes.
46:16I'm being told by people that observe the situation, right?
46:19Yes.
46:20Is that you, I think you went into a kind of,
46:23I'm an artist mode here on this particular task.
46:26You wanted to get in with the art mob and all that type of stuff
46:30and forgetting about the killer point of selling stuff, really.
46:33This Elizabeth of yours, I hear you were in awe of her, to be perfectly fair.
46:37Caroline, I was not in awe of her.
46:40You were dominated by her.
46:42I don't believe we were dominated by her.
46:45Did she give you a list of people to phone?
46:47No, she didn't want us to have it.
46:50Why not?
46:52Personal, confidential.
46:53She was completely in control.
46:55Was it not the job of the teams to take the database
46:58and to start phoning people up and saying,
47:00come along to my exhibition?
47:01Yes.
47:02Right, so why didn't you do that?
47:03I did with Vanessa.
47:04I was given Vanessa to look after as a client
47:06and I got her database and rang all the clients.
47:09Was you or were you being pushed to keep ringing people?
47:12This is the thing I'm struggling with.
47:13I did what I was asked to do though.
47:14No, I don't think you did, Ed.
47:16And what were you doing?
47:17We had to get the printing, we had to sort the labels out.
47:19You had a problem with labels, didn't you?
47:22Mm-hmm.
47:23Elizabeth didn't like the ones you'd made.
47:26What was wrong?
47:27Run me through the labels?
47:28The problem is that they were done on a PC
47:30and they looked a bit crap.
47:31That's the problem.
47:32Who'd done them?
47:33I didn't do them.
47:34Who did them?
47:35I did the labels.
47:36They didn't look professional.
47:38Simon, you were out there trying to bring people in
47:40from the streets, right?
47:41Yeah, I was.
47:42Did you succeed in anything?
47:43Yeah, some people came in.
47:44They came in with a flyer.
47:45So you did a good job selling then?
47:46Yeah, I think I did fantastic.
47:48A lot of people said, I'll come back tomorrow.
47:49We didn't make it clear enough to people with effort.
47:51One night only, we had to make the sales that night.
47:53Is that because you were over-influenced by Elizabeth
47:55in a softly, softly sales approach?
47:56I can't, I don't know the reason.
47:58Some of you weren't even trying to sell.
47:59See, I'll tell you what I think about Elizabeth's work, personally.
48:02I don't know what you're all raving about it for.
48:04Her prices, with all due respect to the lady and her husband,
48:08£950 range into £1,950.
48:11Then they ring bloody bells with you.
48:13Presented with six artists, a good business person says,
48:17I haven't got a bloody clue about photography.
48:20We know much about photography as we do flying to the bloody moon.
48:23So what we're going to do is to hedge our bets.
48:26I ain't going to go and pick one artist who's got one show.
48:29She's got one bloody show.
48:31Lips.
48:32I would have liked to have walked into a gallery and seen a whole array of products,
48:37and a whole array of prices, and then you've placed a good bet.
48:41You didn't place a good bet here.
48:43Yeah, you're betting that you found some nutter that came in and said,
48:47I love the lips.
48:48I'm going to have them.
48:49I'm going to have a whole wall of lips.
48:50I'm buying the lot.
48:51Then you'd be sitting there, you'd be down at Champneys now,
48:54saying what a great hero you are.
48:56Half of your potential went straight away the minute you selected that woman.
49:00Never mind letting her take over and running the bloody show.
49:03I'm struggling here to work out as to whose responsibility it is.
49:08You all loved her.
49:09You didn't love her now.
49:11You're saying you never loved her.
49:12Margaret, I'm sure you remember the choices that I made.
49:14You come out of there, right?
49:15You voted for her.
49:16She was your third choice.
49:17I said it was nice, but I would probably quite like the arts.
49:20I think you're beginning to lie quite a bit.
49:22She was your third choice, Adam.
49:23She was my third choice.
49:24You're saying he's lying?
49:25Yeah, I am actually.
49:26She was my third choice.
49:27I'm sure Margaret can remember it.
49:28You bounded out of there, absolutely loving her.
49:31And saying it was too expensive.
49:32And I don't know if you want to go around the table and ask.
49:34I liked it.
49:35But you did.
49:36I liked it.
49:37I personally liked the art.
49:38You bounded out of there like a puppy.
49:39I didn't like it as a commercial entity.
49:41Right.
49:42That's it.
49:43Natalie, which two people are you bringing back into this boardroom?
49:46Adam and Lohip.
49:48Adam and Lohip.
49:49Mm-hmm.
49:50Simon and Katie, back to the house.
49:53You other three, wait outside.
49:55I'll call you back in shortly.
50:01They picked those lips.
50:15I can't get over those lips.
50:16I really can't.
50:17But I think Adam is the one who was least in favour of those.
50:20He had them much further down his list.
50:22But they were all...
50:23She says he's lying.
50:24Well, I don't think he is lying in that.
50:27All right.
50:28Okay.
50:29Well, we'll call them back in and we'll sort this out.
50:32Sir Ian is ready for you now.
50:45Natalie, why did you bring Lohip in here?
50:48To be honest, that seat was a very difficult one to fill.
50:52And it's literally based around the labels.
50:54That's it.
50:55What, just because he printed duff labels?
51:00That's it?
51:01Mm-hmm.
51:02That's it?
51:03Yep.
51:04That seat was a very difficult one to fill.
51:05Well, all the others were so great that his crime was just printing labels.
51:11Yeah, I think that it was a tough decision to make.
51:13And that's literally it.
51:14What's he doing here?
51:15I just don't think he was punchy enough.
51:17Punchy enough?
51:18He sold.
51:19He sold two of the items.
51:20You didn't sell anything.
51:21No, I didn't.
51:22No, and I...
51:23He sold the last item with three minutes to go.
51:26But, Sir Adam, this was difficult.
51:28It was difficult to bring anybody in.
51:30I have to bring two people in.
51:32My main concern with Adam is, again, it's the negativity.
51:36It's the down.
51:37It's just not up.
51:38What negativity and what down?
51:40I would love for you to have sat down there and just tick, tick, tick, tick, tick.
51:44Are you coming?
51:45What do you think I was doing downstairs for most of the day on me own?
51:48No, you weren't.
51:49While you guys were flouncing about putting pictures up.
51:51That's not fair.
51:52That was a major, major issue that Lohi did.
51:54It was a major issue.
51:55No, but you were saying that I didn't work hard enough.
51:56I was sat there all morning ringing people, all afternoon ringing people.
52:00So you heard four hours.
52:02What were you doing?
52:03And all you really done was confirm Vanessa's list.
52:05Adam, I think you've been in the final three twice, right?
52:09Yeah.
52:10This is the second time.
52:11Now, you know, is there kind of a message coming from other people there?
52:15No, not really.
52:16You seem to alienate people.
52:17Tell me why I shouldn't fire you.
52:18The reason that I don't think I should be fired is because I actually did every single task I was given.
52:23And I did them all well.
52:24I was giving Vanessa to look after.
52:26She was absolutely over the moon.
52:27She said several times at the end of the night.
52:29I was asked to ring those customers.
52:30I rang them, got them down.
52:31Two of them bought something.
52:32Off me.
52:33I was asked to help out with the display.
52:35Vanessa was absolutely over the moon with the display as well.
52:37No, that was Lohit for me, Ed.
52:39I was helping Lohit.
52:40Adam, with respect.
52:42You helped me.
52:43You asked me too.
52:44No, but with respect.
52:45No, I did not.
52:46You said, take a break from making phone calls and give Lohit an hand for a bit.
52:49He helped me for five minutes.
52:52Who do you think is responsible?
52:54Of course I'm the project manager and I have to take accountability for a lot.
52:57But I do believe that we didn't get the right people through the door.
53:01Enough people through the door.
53:02Well, Natalie, you better start talking to me now also about why you should be staying here.
53:06I believe what I bring to the table is all roundness.
53:10I've got the MBA.
53:11I can do the finance.
53:12I deal well logistically.
53:14I'm a team player and I'm absolutely dedicated to the task.
53:18With all due respect, and I've read people's CVs, as you can imagine, it seems to me that you've been more of a kind of an administrator, a personal assistant, you know, a kind of a personal secretary to directors and all that type of stuff.
53:31Do you think you've reached your pinnacle?
53:32No, because the MBA proves that I have got that and I've got that ambition.
53:35Natalie, no disrespect.
53:36Listen, absolutely admire anybody like you have done, a mother, under the circumstances which you've done your Open University stuff, got your MBA and this, that and the other.
53:47Love it, okay?
53:48Me, it don't mean jack shit, quite frankly.
53:50I'm not interested in these titles.
53:52No, but it does prove that you can apply.
53:54It proves that you learn.
53:55It proves that you can learn.
53:56And that's what I'm here for.
53:57Yeah, and that's it.
53:58Okay, fair enough.
53:59You've learned, you've done something, you've achieved something.
54:00I'm sure you're an achiever.
54:02Right.
54:03It's time for me to make a decision now and here's how it is.
54:08Lohir, you've been in the losing team three times.
54:10Correct, correct.
54:11Okay.
54:12And I'll be thinking to myself, you know what?
54:14This fella, in my view, is looking to me like a bit of a waste of space.
54:18Can he work for me?
54:19Natalie, I really do admire the fact that you've got this MBA.
54:23of yours under difficult circumstances.
54:26And I don't dispute you're a team player.
54:28Don't dispute your heart's in the right place.
54:30I just feel that maybe you are out of your depth.
54:34Adam, you're forever in dispute.
54:39I, again, I don't know whether I can employ somebody.
54:42I'm not always in dispute because when I'm asked to do something.
54:44Well, you seem to be in dispute, you know, all the time.
54:46You know, you seem to be in dispute with your team leaders.
54:49And I'm wondering whether I can put up with people
54:52in my organisation that are going to be in dispute.
54:54All I'll say about that is when I'm asked to do a job,
54:56I do do it and I work very hard.
54:58And if you ask me...
54:59Yeah, but at the expense of winding everybody else up,
55:01it's no good for me.
55:02I rarely wind people up, I mean...
55:04You know, at the expense of winding...
55:05No, listen, listen to me.
55:07Don't interrupt me.
55:08At the expense of winding people up, it's no good for me.
55:11But Natalie, I get the distinct feeling that you are out of your depth here.
55:19Natalie, with regret, you're fired.
55:23Thanks for the opportunity.
55:24You're welcome.
55:25I've enjoyed it.
55:26You're welcome.
55:27Well, that Adam does argue all the time, doesn't he?
55:29He does.
55:30But he's a good salesman and he sticks out for his corner.
55:31But I think on this one on today, she was gone really, she resigned to it.
55:46And she's been honest, she's saying she puts her hands up for this and puts her hands up for that.
55:53So what else can you do, you've got no alternative.
55:56and she puts her hands up for this and puts her hands up for that.
55:59So what else can you do? You've got no alternative.
56:01So what else can you do?
56:31I think she was good because she's stuck apart from the corner and she took responsibility for it.
56:36Was Adam laying for her?
56:37Adam tried to twist the truth beyond the realms of truth, honestly.
56:42I kind of hope that Adam won't come back.
56:44I do not want to open the door. As long as it's not Adam, I'm delighted to see.
56:48Here we go.
56:57Welcome back, guys.
56:59How's Natalie? What happened?
57:02He felt that she was out of her depth a little bit.
57:05She said she appreciates what she's done in her life, appreciates she's got a master's degree at all the university and had kids.
57:10But she'd basically been a team player rather than a leader.
57:14When I came out last time, I was like, jeez, that was hard.
57:18This time I come out feeling like I'd just been in a boxing ring and I'd won.
57:21I was just like, yes.
57:23I feel I've done the best I could do and I was possibly too soft, too nicey-nicey, so to speak.
57:38I think it's fair to say that I'm not as aggressive as some of the people in there.
57:43I'm so happy to be going home. I've got such a loving family to go back to.
57:49That's, you know, you can't come out of him and feel negative.
57:54I'm going back to the life I've got, and I love that.
58:01One job, now only ten candidates.
58:04Sir Alan's search for his apprentice continues.
58:09Next week on The Apprentice...
58:11You're gonna take the best of British and you're gonna go and sell it to the French.
58:15I was just quite sort of tempted to buy a bulk load of reasonable cheese.
58:20They're the French are cheese connoisseurs and we're gonna go and sell them something from Macro.
58:24Oh, there's so much attitude in this fucking place.
58:27Come on, Simon, please leave me alone.
58:29I don't know, maybe it's the time of the month, I don't know.
58:32But across the channel, who will sink and who will swim?
58:36Try something.
58:37C'est absolument tout ça.
58:39Am I jongle?
58:41No.
58:42Dunkirk all over again, your back's to the wall.
58:44You know, get the fishing boats out and try and rescue yourself.
58:47You are a total shambles.
58:49You're fired.
58:54Well now, Natalie's been shown the door.
58:56She tells us what it was really like to be in Sir Alan's firing line in The Apprentice.
59:00You're fired on BBC Two now.
59:02And for exclusive video content and free downloads including The ApprentiCast,
59:07log on to bbc.co.uk slash apprentice.
59:11Well later on BBC One, can canine companions help tame out-of-control teenagers?
59:16We're in the doghouse at 10.45 tonight.
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