- 7 months ago
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00:01This is not a holiday camp.
00:03This is a business proposition from heaven.
00:08Lord Sugar is searching for a brand new business partner.
00:12We've got Brexit, but in this process,
00:14I'm the one who decides who's going to remain
00:17and who's going to leave.
00:20Competing for his cash.
00:24Millionaire moguls in the making.
00:27This is a bloody shambles.
00:28It was boring, boring, boring.
00:30There was no bloody strategy.
00:32Get out of the way! Get out of the way!
00:34It's a prize worth fighting for.
00:36No, I would like to finish my point because you are interrupting.
00:39I'm the one doing all the work. You're just both studying that.
00:41Stop it!
00:4218 candidates.
00:44Your behaviour is ridiculous.
00:46Please just keep positive.
00:48I feel like you are. Let's just move on.
00:50I'm not being argumentative.
00:5212 tough tasks.
00:54To infinity, Andrea!
00:56One life-changing investment.
00:59You're fired. You're fired.
01:01You didn't follow the money. You're fired.
01:11Previously...
01:13Your next task is to execute a tour of Bruges.
01:17Captain Sarah Jane struggled to steer the ship.
01:20OK, OK.
01:21We're fanning about.
01:22We don't need to.
01:23Let's just calm down.
01:24Lack of direction...
01:25We're lost.
01:26No, no, not at all.
01:27..gave her team that sinking feeling.
01:29Oh, no, we're back when we started.
01:31And Andrew pushed a booze cruise.
01:33We'll get some beer soon, guys. Don't worry.
01:36The other team oversold their segways.
01:38Can you tell us what the tour is, though?
01:40It's a very simple tour.
01:41On segways.
01:42Two? No.
01:43But Elizabeth led from the front.
01:45Guys, come on!
01:47Quick as we can now!
01:48James bagged a profit.
01:50So I'd rather take a bit more of a risk, spend a bit more.
01:53So in the boardroom...
01:54Leading to an overall profit of £803.
01:57Six pounds.
01:58Elizabeth held course for victory.
02:00You're in, Elizabeth.
02:02Thank you, Lord Sugar.
02:03Andrew sailed close to the wind.
02:05Last chance is an understatement.
02:08But it was Sarah Jane...
02:10I think you've been in a convenient place for the last six weeks.
02:13..who walked the plank.
02:15For that reason, you're fired.
02:17Now, 12 remain.
02:19To fight for the chance to become Lord Sugar's business partner.
02:235am.
02:32Morning.
02:33Lord Sugar would like you to meet him at the Dunton Technical Centre.
02:36The cars will be outside in 20 minutes.
02:39Wake up!
02:40I'm so tired.
02:42Dunton Technical Centre is next, you've got 20 minutes.
02:46If the task is right today, I want to put myself forward for PM.
02:49I don't know.
02:50I'm hoping there's something to do with something creative
02:51so I can go for it and put myself forward.
02:53James, will you step up to be a PM today?
02:55I definitely want to step up.
02:56It's about my time to.
02:57Charles, you and I, we've only won one task.
03:00It is obviously poor losing five of six minutes.
03:03I'm so tired.
03:04I'm so tired.
03:05I'm so tired.
03:06I'm so tired.
03:07I'm so tired.
03:08I'm so tired.
03:09I'm so tired.
03:10I'm so tired.
03:11I'm so tired.
03:12I'm so tired.
03:13I'm so tired.
03:14It is obviously poor losing five of six but we're both still here
03:17so clearly you've got to take the positives out of it.
03:19100% though, we've got to win this week
03:21because whoever goes in that bottom three, three could go quite easily
03:24so no one's safe.
03:26Essex.
03:27The Dunton Technical Centre.
03:32Research and development base.
03:34Oh.
03:35My.
03:36God.
03:37For one of the world's leading car manufacturers.
03:44Good morning.
03:45Good morning.
03:46Good morning.
03:47Now welcome to Ford's creative design hub.
03:56Now your task today is all about advertising.
04:00I'm giving each of the teams a brand new car out of the factory.
04:05And what you have to do is come up with a campaign to launch it.
04:09You'd need to create a TV advert and design digital advertising screens
04:14that will grab the attention of London underground passengers.
04:19Now tomorrow you'll pitch your campaign to top advertising executives
04:24and I ultimately will decide whose advertising campaign is the best.
04:30Now I'm going to even up the teams.
04:32So Sarah, would you move over to Vitality please?
04:38Now launching a new car is very, very tough.
04:41I'd really like you to think something great up for this task.
04:45Good luck.
04:46I'll see you back in the boardroom in a couple of days time.
04:49Two days to tap into one of advertising's most lucrative markets.
04:54Ooh.
04:55Pretty fresh.
04:58Teams must brand a car.
05:00Would it be a first car, do you think?
05:01Yeah.
05:02Or like a...
05:03It could be.
05:04And create an ad campaign.
05:05Maybe like for a family.
05:07I'm absolutely fine in this and I'm six foot.
05:09Before pitching both to a panel of experts.
05:13My knowledge of cars isn't amazing but I've got a creative background.
05:17Pushing for pole position, Anissa.
05:20I feel confident to lead this project and win.
05:22Yeah, I run a marketing company although I don't like design the adverts of anything.
05:25But I do love cars as well, so.
05:27I'd probably vote Michaela project manager.
05:29Michaela, I'd want you as PM as well.
05:30I'll happily stand by Michaela as well.
05:33Anissa does PR, branding on a daily basis.
05:36This should be her task.
05:38However, she got dismissed instantly by the rest of her team,
05:41which is worrying as she would have been perhaps a natural choice.
05:45Next door.
05:46I wouldn't say no loads of stuff but I like cars.
05:48I'm happy to lead it.
05:49Yeah, fine.
05:50Already in the driving seat, James.
05:53Right, cool, I'm PM then.
05:54Right, brilliant.
05:55When I was growing up, actually, I had a car washing business called Star Wash.
05:58I started it when I was 13.
06:00It was very successful in my local village.
06:02So, yes, maybe a bit of a blast from the past.
06:04First things first, we need to pick a market we're going to target.
06:07My initial reaction was that this is a car that, like, I would be drawn to
06:11and obviously I'm under 25.
06:13But can I just say, as a person who has a family, I always look for easy parking.
06:17Can I fit my kids in there?
06:19This kind of fits perfectly.
06:20You've got the panoramic room.
06:21Do you want your three children?
06:22100%.
06:23You'd use this as a family car, so I think it makes sense to go for families.
06:27Yeah.
06:28Cool, that's done.
06:29Perfect, let's go with that then.
06:30Good with that.
06:31I'd probably go to the television advert.
06:32Sergeant, I'd like you with the TV advert side.
06:34May I suggest that there's a woman on the TV advert side?
06:37Yeah.
06:38Yeah.
06:39So, I think I'm going to put Elizabeth on the TV ad.
06:42Now we need to decide my sub-team lead with the branding side.
06:45I'm creative anyway and I've shown creativity and other tasks.
06:48Do you feel happy doing it?
06:49Yeah, I feel happy doing it.
06:50Yeah, OK.
06:51Our target audience is going to be girls under 25.
06:55Focused on the female market...
06:57Anissa, you're going to be the sub-team leader doing the branding and digital.
07:00Priority for Michaela, pick her pit crew.
07:03I'd really like to get on board with the TV ad.
07:06I've got a few good ideas at the moment based on the target market we've got.
07:09I'll do the TV advert.
07:10Jade, if you can help me with the design aspects of the TV ad.
07:13And Andrew, obviously, you're super enthusiastic, so you can help me.
07:1710am.
07:18Guys, have a good day and I'll speak to you later on.
07:20Make sure we win.
07:22First job for the branding teams, pick a slogan.
07:26Different day, same reliable car.
07:28I think that's quite simple and it says exactly what you're looking to do.
07:31Then a name for their car.
07:33I have one major one and that would be expando.
07:36So the message of saying that you're expanding your family.
07:39How about plus?
07:40Where you can literally have plus and then a plus or something funky.
07:44Like if you're thinking about you're going to be adding on to your family.
07:47I was more drawn to one that I came up with.
07:49I feel like expando sounds more like a car model.
07:54On the other team.
07:55I was thinking something along the lines of maybe Marbella.
07:59Also brainstorming brand names.
08:01If you have this car, then you could also head to these places.
08:04Project manager, Michaela.
08:06Ooh, what about Miami?
08:08Miami's a bit shorter as well, isn't it?
08:10All right, let's do Miami.
08:11Name agreed.
08:12Excuse how I do this, but I always have to close my eyes to imagine it.
08:16Next, cook up a concept for their car ad.
08:19So I imagine a girl in the car, potentially with a friend in,
08:23coming out of the house like, hello.
08:25Can I just give an idea of what I had in mind for this advert?
08:29So in a house would be a young boy with his parents
08:32and then this girl pulls up in the car.
08:34The parents are looking out the window like,
08:35thank God he's found someone who's so cool.
08:38I have been young once, and when I was,
08:40I wouldn't be interested in impressing my boyfriend's parents.
08:43Andrew has come up with some ideas,
08:45but obviously with me and Jade being the females in the group,
08:47I'm going to side with our opinions more
08:49because I was once the target audience
08:51and Jade is the target audience,
08:53so we know what we would look for in an advert.
08:55So girls in car driving up to your house?
08:56Yeah.
08:57Yeah.
08:58A mate jumps in.
08:59OK, and then?
09:00And they go, oh, this is amazing.
09:03I'm so excited.
09:05A little bit of dialogue.
09:06And then she can be like, oh, my God, this is your new car.
09:09Turn up the surveillance sound.
09:12You could even use assisted parking
09:14while she's putting on some lipstick or something like that.
09:17Across the hall...
09:18You have a photo booth business. I do.
09:20Would you be comfortable to direct him? Yeah.
09:22With Sargent at the wheel for the TV ad,
09:25some backseat driving...
09:27My thoughts go towards humour.
09:29Erm...
09:30From florist Elizabeth.
09:31I've got an idea. Picture it.
09:33Mum comes out of her house.
09:34She's got maybe one or two children in tow.
09:36She's got a million trillion things going on
09:37and her hair's not done properly.
09:39She kisses hubby goodbye.
09:40She's running to the car.
09:41All of a sudden, this goes here, that goes there.
09:43The boot goes down.
09:44Boom, boom, boom.
09:45Her life gets in order because she's in a good car.
09:47She puts the handbag on the roof of the car.
09:49As she drives off, her handbag flicks off the side,
09:51but she's on her way to work, ready for the day.
09:53It's funny.
09:54And if you want me to go into the advert,
09:58I kind of break some of the female moulds.
10:01I'm tall.
10:02I'm quirky.
10:03Are you happy with that?
10:04I don't want to ramrod it through.
10:06OK, good.
10:07Elizabeth is quite a dominant person.
10:09James fell into the trap of just listening to her
10:11and just taking on what she says.
10:13However, as director, I will be the one deciding the shots
10:16and I will let him know, you need to give me the free range
10:19to make sure that I execute this well.
10:22Next job.
10:23We're trying to get the family out of the house in the morning.
10:26We've got to be in a family home.
10:27Pick the perfect backdrop for their ad.
10:30We've got options.
10:31Do we want a new housing estate?
10:32Do we want suburbia?
10:33Do we want a Norman village?
10:35Now, I think that it could be good to come from an old village,
10:38like a Norman village, and you had the family living in an old place,
10:41but they're quite up-to-date with their technology.
10:43That's it.
10:44And then have yourself driving out in a brand-new car.
10:47If you do it in this Norman village,
10:49the idea of the car is the brand-new thing
10:51and it's coming out of something that's quite old.
10:53The team have gone for a family theme
10:54and they've picked the Norman village
10:56as the setting for their advert.
10:57They're talking about quaint little houses,
11:00but I'm not entirely sure they understand
11:02when the Norman era was.
11:04The Normans were around in medieval times.
11:06Brilliant, thanks, guys.
11:102pm.
11:12Outdoor advertising agency, Exterian Media.
11:16Base for half of each team.
11:19Their task, create digital posters for display on London Underground.
11:24That first panel has to say that this is a car for family.
11:28Joanna's job?
11:29We've got the blocks to say that it's children.
11:31Take pictures for their digital displays.
11:34We've got me and Harrison that would be parents
11:36and they're looking at various different cars
11:38and then we start going into the detail of the USPs of the cars
11:41and then the fourth panel will reveal the car and the brand.
11:44What do you think?
11:47Do you understand that?
11:49Silence.
11:50Harrison, you get that.
11:52What are we actually going to do with this?
11:53Just have a picture and plunk the next to it?
11:55It was clear in the, like, initial brainstorm
11:58that family wasn't what I was drawn to.
12:00All we're doing is trying to set the scene that this is a family.
12:03We can say they've got a pram,
12:05the pram actually would fit into the boot of the car.
12:08I'm confused, is there a child in it?
12:09We don't, no, it doesn't matter.
12:10The point is we haven't picked the image yet.
12:12I just want to make sure that we don't have images
12:15that don't make any sense.
12:17I think Bushra, she'll instantly say,
12:19oh, I don't understand, I don't understand,
12:21rather than actually come up with something else.
12:23She dragged it on and made me explain two or three times,
12:26I think just to ridicule whatever point I was making.
12:29Let's just get some pictures of you guys
12:30and then we can put that in afterwards.
12:32That's literally what I said,
12:33let's get as many photos as possible,
12:35throw loads of ideas in.
12:36OK.
12:37Smile.
12:38Yeah, I might even...
12:40On the other team...
12:42Move forward, move fast and move free.
12:45Mapping out a strapline.
12:47My only concern with the move fast
12:48is all the regulations and rules of the road.
12:50I think it works and we'll make it work.
12:52Correct.
12:53Still to pin down their car's name.
12:55Hi.
12:56Hi, love.
12:57Right, so quickly, our brand name is Miami.
13:01OK.
13:02So we're thinking of, like,
13:03escaping to your favourite destination,
13:05and that's what this car is going to bring you.
13:07We're going to sell them that dream.
13:08Does it have to be so literal with the name?
13:10Because couldn't you still be escaping
13:11but not call the car Miami?
13:13The car name is Miami.
13:14OK.
13:15I'm going to take what you've given me now,
13:17because I think you're quite set in your idea.
13:18All right, all right.
13:19See you later.
13:20Bye.
13:21Sure, yeah.
13:22Michaela's project management approach
13:23is a little bit aggressive for me.
13:25I think she's a bit of a control freak,
13:27and it was almost like,
13:28it's my way or the highway.
13:29But I think if you've set a team off to do branding,
13:31it's worth listening to them.
13:33Next, for Charles, Sarah and Anissa.
13:36The whole premise of the idea
13:38is about escaping reality.
13:40Market Miami.
13:41You just want to get people thinking and interacting.
13:43I think that's the main predominance of those boards.
13:45That's why I think by asking a question,
13:46you're engaging the consumer
13:48as they're coming down the escape.
13:49They've got nothing else to look at,
13:50and they're being posed a question.
13:51So, ultimately, it could be something like
13:53Escape with Daily Grind, Fancy Miami.
13:55If we're alluding to a holiday...
13:56I think it needs to smack a car and the brand.
13:59I think Anissa can be a little bit too PR for me,
14:02a bit of style over substance.
14:03But you could take a road trip every day.
14:05It's like you don't know it's a holiday,
14:06but then it is, do you know what I mean?
14:07It's a car.
14:08Storms can sometimes be a lot of waffle and babble,
14:11and I don't really get them.
14:12I was thinking the vintage bike, in a way, though,
14:14could be so random.
14:15How would you get away?
14:16You don't need that.
14:17You need this amazing car.
14:18It's going to take you places.
14:19It's a little bit different.
14:20Look out there.
14:21I think the risk will pay off for us.
14:22OK.
14:25Essex.
14:27Chosen location for James' TV advert...
14:32..a Norman village.
14:35James, I don't think this is an English village.
14:37I think this is a pretend village.
14:42Yeah.
14:44Oh, my God.
14:46Oh, good God.
14:47It's a pretend Norman fort.
14:50It's not an English chocolate-pock village.
14:53That's what we thought it was, wasn't it?
14:56Let's get to the end of the creation place.
14:57We thought it was just a village.
14:58Yeah.
14:59We need to see what we're dealing with first.
15:01Oh, my God.
15:02Oh, my God.
15:03Oh, my God.
15:04Oh, my God.
15:08Wow.
15:11I don't mean to be funny, James, but we are scuppered.
15:13Yeah, yeah.
15:14And you've got to take a decision on this,
15:16because we're going to be so disjointed.
15:18We're dealing with something really, really old.
15:20I think I was thinking of more of a small village
15:23rather than a make-believe little town.
15:26We need to really speak to sub-team,
15:27because we need to make sure the brand is consistent
15:29with the theme that we're going with the advert.
15:32I think the strapline has to be something sort of related to this.
15:36William the Conqueror.
15:37Conquer your future.
15:38Or conquer your lifestyle.
15:40Conquer life.
15:41Conquer life.
15:42Conquer life.
15:43Conquer life.
15:44Okay.
15:46Hi, James.
15:47It's your honor.
15:48You okay?
15:49We're actually in, like, a medieval setting.
15:51With the what, sorry?
15:52Where?
15:53We hit chickens.
15:54It's basically a really old setting
15:56with a really modern car outside.
15:58There'd be medieval.
15:59We're going to be 2017.
16:00You need to know as well, James, what the brand name is, with Spando.
16:03Sounds like something out of a comic strip.
16:05Sounds very futuristic.
16:06I think we've got to go with it.
16:07So, we just need to speak to you around the strapline
16:09that you was going to go with,
16:10because we need to make sure it's in line with the advert that we've got.
16:13We're in a normal setting.
16:14So, we're thinking conquer your future.
16:16Or conquer.
16:17What?
16:18Like that grows of a tree?
16:19No, conquer the world.
16:20Like conquer the world.
16:21Conquerer.
16:22What we're doing is we're saying that you can have a different day every day.
16:25One day is going to be fine.
16:26One day is going to be crazy.
16:28Oh, days will be the same with the family.
16:30But the car stays the same.
16:31It's reliable.
16:32Different day, comma, same reliable car.
16:34Doesn't really fit into medieval theme, but...
16:36Right, we're going to have to go, because we've got a crack on.
16:38But you've got the idea of what we're doing.
16:40So, do with it as you please.
16:42Yeah.
16:43Bye.
16:44Bye.
16:45Gone medieval.
16:46They didn't even have cars then, did they?
16:47My main concern really would be that what we've done today
16:50doesn't at all marry up with what the other team's doing.
16:53Concerns with medieval times and chickens on the phone, new cars.
16:57That's my main concern at the moment, chickens, funnily enough.
17:02Setting for the Miami TV ad...
17:05Hi, guys.
17:06..an Essex housing estate.
17:08So, getting these houses in his back, but don't get that back fit in.
17:11Calling the shots, project manager Michaela.
17:14If you're going away somewhere nice to a festival or something,
17:16you're coming and picking your friend up.
17:18Andrew, you're going to be the passenger in it.
17:21Right, so all you want me to do this afternoon
17:23is just be a guy in a passenger seat.
17:25Yeah, you get in the car and we're going to do the first shot.
17:27And remember, you're going on holiday!
17:29Jade and Michaela are very, very big characters
17:31and getting a word at Edgeways is next to impossible, quite frankly.
17:35You won't hear me because of the sound, so just give it a beat,
17:37you know what to do.
17:38I can hear you, I can hear you, trust me.
17:39Come on, quick stick.
17:40Nice one.
17:41Action.
17:42They've just put me to the sideline,
17:44just because they've got these visions.
17:46Focus on the panoramic roof, which has been opened at this point,
17:49and then going up into the sky.
17:51Up into the sky.
17:52I'm just worried about the time a little bit.
17:55Yeah, I know, I know.
17:56I thought this was going to be Jason Statham kind of stuff,
17:58and it isn't.
17:59Just see if we go straight now, love.
18:01Straight.
18:02Whoa!
18:03I am very worried about this task at the moment,
18:05because we've not got many takes on anything.
18:07No, no, Mia, go back, sorry.
18:09Mia, Mia, Mia!
18:11No, sorry, go back.
18:12Tip the camera back.
18:13Tip the camera to the sky.
18:14Yeah!
18:15OK, all right, that'll do.
18:16I just think we've done then.
18:17I think we have enough footage to drag it out to 20 seconds.
18:20Yeah?
18:21Yeah.
18:22I agree.
18:23Buzzing.
18:24Back in the Norman village...
18:26Right, so, let me set the scene.
18:28I'm completely stressed, trying to get to work,
18:30I've got a business trip to go on,
18:31I'm trying to drag you lot along with me.
18:33Husband's inside thinking,
18:34God, what's she doing now?
18:36Directing his blockbuster...
18:38First we want this wide shot to just set the scene where we are.
18:41Event company owner, Sargent.
18:43We'll take a shot from here,
18:44then we'll take another shot from there.
18:46I really want this, but really on the ground floor.
18:48So the car comes, camera's here.
18:50Oh, here's a shot.
18:51Or should we do three different shots of this?
18:53The sun, the sun does look so good in it.
18:56I came up with a really good, coherent, quirky idea for our advert,
19:00and unfortunately Sargent's just winging it a bit.
19:02To the left a little bit more.
19:03Just a little bit.
19:04To the left.
19:05The mise-en scene is perfect.
19:07He was doing a little bit more cinematography and camera angles,
19:10and he's not actually directing people.
19:12You need to say action or I'm not coming!
19:14Action!
19:15That's just a shot of the environment.
19:16Right, you need to tell me what we're doing,
19:18because I'm not sure.
19:19Four scenes to be shot this morning.
19:21Four only.
19:22I think we've got 20 plus.
19:24Scene 26.
19:25Action!
19:26Quick, come on.
19:27We've got to go.
19:28I'm late, I'm late, I'm late, I'm late.
19:29Give hubby big love.
19:31We're going to do the same thing exactly.
19:33Take two.
19:34Oh!
19:35Get out of the way!
19:36Get out of the way!
19:37Get out of the way!
19:38Just get one more.
19:39This got to be the final shot.
19:40This is it.
19:41Cool.
19:42Great job.
19:43Thanks so much.
19:44I thought I had some great camera angles in there.
19:45Got lots of footage,
19:46and I've actually done a really good job.
19:476pm, London.
19:50We could go with the font that literally is an expanded font.
19:54It just looks like a video game.
19:56I think it's more brandable, guys.
19:58Bringing Xpando's digital posters to life.
20:01We need to show a story.
20:03They're looking for a car.
20:04Joanna.
20:05These are the key features of what we like about the car.
20:08Image number two, let's use one of the features of the car,
20:10and then the third one, let's go for a full image of the car.
20:13Designed for families, different days, same reliable car.
20:16Yeah.
20:17I'm happy with it anyway, and I'm proud.
20:18Yeah.
20:19Yeah.
20:20Good.
20:21Working on the Miami panels.
20:23The first slide is the bicycle with the rain.
20:26Yeah.
20:27Saying, looking to escape normality.
20:28Yeah.
20:29Anissa.
20:30And then the second slide, you've got the car there.
20:32It says, welcome to Miami.
20:33It's different, 100%.
20:35We're here because we're entrepreneurs that take risks.
20:37We're not here because we do the status quo, do you know what I mean?
20:39I do think it's a bit cool and a bit quirky, but I'm also worried tomorrow.
20:43They don't understand the messaging altogether.
20:46Tomorrow, if everything goes wrong, I'll be really upset because I don't want to end up in that boardroom again.
20:51I just really don't want to go through that process.
20:537am.
20:54You're going down the escape, you'll be like, oh, yeah, that's exactly how I feel today.
20:55I've had a really long day.
20:56Ah.
20:57It flashes.
20:58Welcome to Miami.
20:59I like it.
21:00I think it's dead guard.
21:01I like the cold scheme as well.
21:02Today, the teams will unveil their digital panels.
21:03What we decided to do was obviously have the ABC blocks to just show children or family.
21:06OK, cool.
21:07Edit their TV advert and pitch their campaigns.
21:10Obviously, I'm going to have to pitch.
21:11I don't want to.
21:12I'm not slaps, but...
21:13I need to do it, so...
21:14Yeah, I'm just going to have to help.
21:15Although, I'm really, really nervous about doing the pitch.
21:17The last time I was in the boardroom, I didn't do the pitch, and I need to prove it.
21:20I need to do it, but it's a very long day.
21:22Ah.
21:23It flashes.
21:24Welcome to Miami.
21:25I like everything.
21:26I like the cold scheme as well.
21:27Today, the teams will unveil their digital panels.
21:29What we decided to do was obviously have the ABC blocks to just show children or family.
21:31OK, cool.
21:32Edit their TV advert and pitch their campaigns.
21:34I'm in the boardroom.
21:35I didn't do the pitch, and I need to prove that I can do that side of business.
21:38I'm just going to have to try and find some confidence from somewhere.
21:47Michaela expressed that she wasn't that comfortable about pitching at all.
21:50If she looks like she doesn't want to be there, it'll be a problem.
21:52As sub-team leader, you need to make a call on whether you want to say to her,
21:55does she want to do this pitch?
21:56And if she's not, then we need to talk about her not being there.
21:59I just don't know if it's a good idea.
22:01Well, Anissa, if you're not comfortable, I'll do it.
22:03I think I'm going to go for it.
22:04Good.
22:05And then, Sarah, will you join me?
22:06Yep.
22:08Bonjour.
22:09Hi.
22:10We just wanted to talk about who we think should pitch today.
22:13OK.
22:14Now, are you sure you want to pitch?
22:16We thought it would be...
22:18Do you want us to do more of the pitching and you take a bit of a backseat?
22:22Or if you don't want to pitch?
22:24No, I want to pitch.
22:25I'm the project manager.
22:26I think so far I'm doing a good job.
22:28I'd appreciate it.
22:29He was confident in me.
22:30OK, that's fine.
22:31We just wanted to clarify and make sure...
22:32Yeah.
22:33You're completely happy and I'm definitely 100% pitching.
22:35Yeah?
22:36All right.
22:37Bye, guys.
22:39Bye.
22:40OK.
22:41In central London...
22:45Hi.
22:46Hi.
22:47Hi.
22:48I'm Michaela.
22:49...Jade, Michaela and Andrew edit Miami the Movie.
22:52Definitely want a shot of her coming out of the house.
22:55We don't have a shot of her coming out of the house.
22:56There's not as much footage as what we would have wanted,
22:58but I do have some ideas.
23:00Andrew, I need you to get the ten key points written
23:02that we're going to be using in the voiceover.
23:04Yeah, I think ten's too much though for 20 seconds.
23:06Yeah, I'm going to tell you then which ones we want.
23:09Can we start it from there but not seeing the cul-de-sac
23:12and then stop?
23:13Can I just make one bit before you touch anything?
23:15Because you...
23:16That clip with the clouds, there's a lot of just...
23:19No, we're going to speed it up.
23:20So is it possible to cut that bit out?
23:23Let's just...
23:24OK.
23:25Let's just do them bits and see what time run.
23:27Start a little bit further on and then you can fast-forward it.
23:30That is exactly what I just said.
23:31Have you gone through and got the script written?
23:32I've got a starting basis.
23:34Make sure that we have more than a starting bit.
23:36Can you work on that while we just...
23:37Absolutely.
23:38Fine-tune this because we need to crack on with it.
23:40Sounds good.
23:41Yeah, Andrew is getting on my nerves a bit.
23:44He's just all over the show.
23:45A jack-of-all-trades and a master of none.
23:47He just wants to do everything
23:48but not actually do anything productive.
23:50Looking to escape reality?
23:52The all-new, technologically advanced, hot hatchback.
23:55Miami.
23:56Move forward, move fast, move free.
23:59Get back on the phone show!
24:03On the other team...
24:04We took over 26 shots.
24:06Sarjan sets out his vision.
24:08I do like this shot.
24:09It is a nice shot.
24:10Still backseat driving...
24:12You've got a leaving her old life behind.
24:14And at that point we're revealing the car's brand.
24:16Elizabeth.
24:17And then she's gone.
24:18She's into the real world.
24:19She's back in the 21st century.
24:21Action!
24:22Well, if you're going to get the humour aspect...
24:24Yes, I was going to say we can add the hen sound in there
24:26or chicken sound in there.
24:27Shall we have a little bit of the start in black and white?
24:29No.
24:30Because her real life is colour.
24:32She gets into that car and it zooms off.
24:34That fades away into black and white and she's in her colour car.
24:37I've got an idea with the music as well.
24:39I've got the key.
24:40I've got the secret.
24:41And then it goes...
24:43It goes like that.
24:45Listen.
24:46Stop.
24:49Cut it there and then just go to boom, boom, boom, boom, boom, boom, boom.
24:53And cut it straight into the boom, boom, boom, boom, boom, boom.
24:56Try it.
24:57Boom, boom, boom is what you go with.
24:58And then you could take that down and go expando.
25:02Being project manager means you have to be able to lead the team.
25:06Elizabeth is pushing for the music.
25:07She's pushing where she wants the edit.
25:09James is getting swayed in far too many different decisions
25:12and not actually taking ownership of anything himself.
25:15I think it's a bit of a mess at the moment.
25:17Xpando.
25:18Xpando.
25:19Xpando.
25:20Xpando.
25:21Xpando.
25:22Different day, same reliable car.
25:24Do you want me to do it as well and try between us?
25:26You're in it quite a lot.
25:27James, can you just make a call, please?
25:29I prefer the male voice.
25:31I will let it go, but I feel it's a mistake.
25:3711am.
25:39Waterloo Underground.
25:41Different day, same reliable car.
25:43You can see it.
25:44The digital campaign for Xpando goes live.
25:47I absolutely love it.
25:48It's not one of those adverts where you look at it and be like,
25:50what is that actually advertising?
25:51Yeah.
25:52Straight away, you can see that it's for a car.
25:54Yeah.
25:55A chance to drum up some feedback for the pitch.
25:58I was wondering if you noticed an advert on your way up?
26:00Not really, no.
26:01No.
26:02Did you notice them as you were coming up?
26:03I've never seen a car.
26:04OK.
26:05But nothing absolutely grabs me.
26:06Is there anything you did like about it?
26:08No.
26:09Really?
26:10Do you remember what the brand was called?
26:12Xpando.
26:13Xpando.
26:14Yeah.
26:15Yeah.
26:16So it's there.
26:17He says it in a usual name for a car.
26:18He knew that it was for cars.
26:19Yeah, he remembers.
26:20I'll take a lot of positives from that.
26:22He's not going to be blown away by an advert.
26:24I take that as positive.
26:25I would actually flip that on his head because it's about being constructive.
26:29It's about being constructive and critical.
26:32I didn't think it was constructive for you to say, well, you could flip it on its head.
26:35I think that I've seen before.
26:36Joanna.
26:37I'm just explaining to you.
26:38I'm not being argumentative.
26:39I feel like you are.
26:40Let's just move on.
26:41I'm not being argumentative for sure.
26:42I'm just saying we can't change it now.
26:43So all we can do is be positive.
26:44Don't you always have to be proud of your work?
26:47So that it's also a good thing to be constructive.
26:49Yeah?
26:50If we go in with a product that might be rubbish and keep calling it positive and don't take opinions,
26:54it just means we don't have all the information to hand.
26:56And that's all I was saying to her.
26:58I think she just gets her back up a little bit too much and gets a little bit aggressive.
27:03At London Bridge Station.
27:05Oh, my God!
27:07It's so good!
27:09Canvassing commuters on the Miami campaign.
27:12Do the key features of the car interest you?
27:14Did you manage to catch them?
27:15I didn't quite catch them.
27:17That's okay.
27:18Anissa.
27:19Would this ad encourage you to buy the car if you're in the market to do so?
27:22No, because it comes across as a car rental for if you're in Miami.
27:26Oh!
27:27Did you like the digital panel?
27:28I did.
27:29Okay.
27:30But I got it confused with Miami in America.
27:32Okay.
27:33Was it a rent-a-car or buy a car?
27:34Buy a car.
27:35I got it confused with a rent-a-car.
27:36Okay, good to know.
27:39Scenery of Miami with a car on it makes it look like it is an advert for Miami and a car rental,
27:46which is really annoying because that's not what we wanted.
27:48I'm concerned about the pitch because it could be in trouble.
27:51On London's South Bank, see Container's House.
27:58Pitch location for both campaigns.
28:01With regards to the pitch, then I'm going to have myself introducing it.
28:04Yeah.
28:05Then Anissa's leading and we'll finish with you, Sarah.
28:08For Michaela's Miami team.
28:11Can you just run me through the main points of your market research from today?
28:14A final debrief.
28:15One of the Christmas was about, was it to buy a car or to hire a car?
28:20For me, the workaround is, if we had a little line that said, find more information at a local dealership or something like that.
28:25Yeah, so it's just weird, it's slightly different there.
28:28Across the hall...
28:29The pitch sides, obviously I'm going to be going in the pitch.
28:32I want Elizabeth to talk through the advert, the concept from your side.
28:36I want Bushra, you like this idea from the start.
28:39It would be better off me or Harrison being in the pitch.
28:41I'm just going to sort of interject then.
28:43You may feel like I've not contributed, I have.
28:45I didn't say that.
28:46Unfortunately, that's just how she feels, that's fine.
28:48You just go with your gut and whatever you think is going to work.
28:51Yeah, you love family from the start.
28:52I want Bushra, you've got a family of your own.
28:54Yeah.
28:55Next, time to pitch to a panel.
28:58Including a global car manufacturer, an industry journalist and top experts from digital signage and advertising.
29:11First to face the panel, James' team.
29:15So, Xpando is a car designed for the families.
29:19It has the features that a modern day family actually needs.
29:22Watching on, the rest of the team.
29:24So, behind me here are our four escalator panels.
29:29For us, it's paramount that we grasp the audience's attention while they're going up.
29:34The car is an extension of your home.
29:37These days, people even talk about, I don't really want to move house.
29:40People are doing loft extensions.
29:42Not about loft extensions.
29:43You're expanding on your capabilities from old to new, coming out of the dark ages.
29:48We have given it a beautiful font that brings it into the 21st century rather than taking it back,
29:54which kindly ties in, of course, with our advertisement and Elizabeth.
29:58We wanted to set the scene of the modern family with a little bit of humour.
30:03I got key, I got secret, I got key to one another way.
30:09Still!
30:10I got key, I got secret, I got key to one another way.
30:15Xpando, different day, same reliable car.
30:19Elizabeth was actually in the video herself and she's six foot two,
30:22so it just goes to show that there is a lot of space in the car
30:25and we'd be happy to answer some questions from you guys.
30:28I'd like to understand how you see the TV ad and the digital escalator panels.
30:34How are they all one campaign?
30:36I really want to see how they answer that question.
30:38How do both of these connect together?
30:40Yeah, because they don't, do they?
30:43Yeah, I think...
30:45It's more Bushra to answer this question.
30:48The two things tie, I suppose, together.
30:53Because you've got, on one aspect, a family,
30:56but they're a different kind of family,
30:58the point is that the car is reliable
31:01and it will give you that element,
31:03no matter what stage of family you are at, it can work for you.
31:07Everything that we came up with,
31:08Bushra basically disagreed with it all,
31:10which is why we can't get the best answers.
31:13You've got different day, same car.
31:15When you're positioning a new car,
31:17you're using the line, same car.
31:21Yeah.
31:22I think the idea of the word same is kind of played on a bit.
31:24Yes, it's the same car, but it's a good car.
31:27Expando sounds like some sort of form of elastication
31:30of garments or something.
31:31Ultimately, we thought expanding your kind of horizons,
31:34and when we teamed it together with the correct font,
31:36it actually came together really well.
31:38Thank you so much for taking the time.
31:39Thank you so much for taking the time.
31:40Thanks very much.
31:44Honest feedback, what did you think?
31:46The name Expando, you could see that they felt
31:51it was a bit of a joke of a name.
31:53Next up...
31:54Big smiles, let's do this.
31:56Leading the pitch for Miami.
31:59Good afternoon.
32:00We're Team Vitality.
32:02Project manager, Michaela.
32:04We are here today to show you our marketing campaign
32:20for a new car which we branded Miami.
32:25The target audience we chose to go for was females aged 17 to 25.
32:30It feels young, it's cool, it's vibrant.
32:33If it was to be a destination, then the destination would be Miami.
32:37She sounds really good.
32:38Yeah, she does.
32:39Looking to escape reality?
32:41The all-new, technologically advanced, hot hatchback.
32:45Miami.
32:46Move forward, move fast, move free.
32:53Hiya.
32:54So, coming onto our digital panel ads,
32:56we wanted to play into the idea of escapism,
32:58but in a clever way.
33:00Calm the hands.
33:01Yeah.
33:02I mean, I know I'm handsy, but that's handsy.
33:03Looks like a teddy bear up there, doesn't she?
33:05We have a bike.
33:07Yeah, it's not very clear on there, but there are raindrops all over it.
33:10So, we wanted to showcase the bike, saying that, yeah,
33:13this is not the way to get around, this isn't a way to live your life.
33:15Um, and basically, we wanted to deliver three key messages about the car.
33:21We've got the surround sound, and we've got the technology, the...
33:26Oh, sorry.
33:27The open panoramic roof as well.
33:30Oh, my God.
33:32So, now I can pass you over to Sarah.
33:35So, this morning, we launched our digital escalator panel campaign,
33:39and the strapline of move forward, move fast, move free.
33:41We wanted to target strong career women who are ambitious,
33:44have disposable income, and are going places in their life
33:46and with their career.
33:47We hope you like the presentation, and we're very open to any questions
33:50you might have.
33:51Thank you very much.
33:52On the strapline, you just can't use the word fast.
33:55In the car industry, it is just a no-no.
33:57We did think that, actually, with a move fast, it might be a concern.
34:00It would be.
34:01And we thought we got away with it.
34:03Moving forward, you're moving into the right direction with your life,
34:06you're moving towards your goals and your dreams for our target demographic.
34:09Stop talking! Stop talking!
34:12Was there any concern that people were misappropriating
34:14the escalator panels to do with holidays?
34:16Yeah.
34:17Car rental.
34:18Yes.
34:19No!
34:20Don't admit it!
34:21So glad you brought that one up.
34:22That was a bit of feedback we received today, and, yeah,
34:24it was a little bit unfortunate.
34:25No, Anissa!
34:27Stop it!
34:28Did anyone pick up and think it was an advert for a bicycle,
34:30you know, because you've got two modes of transport in that?
34:32Yeah, another...
34:33Yeah, exactly that.
34:34Stop!
34:35Anissa!
34:36Oh, my God, what is she doing?
34:37We had some feedback at the top saying,
34:39we don't understand why it was a car and then a bike.
34:41Just take her down, tackle her, just do something.
34:43I think that was only a small percentage.
34:45Yeah, it was one person.
34:46They realised it, you know, they'd read it the wrong way.
34:49Thank you so much for your time today.
34:51Bye-bye.
34:52Pitch is over.
35:00For Lord Sugar...
35:01Hello.
35:02..a rundown from the experts.
35:04Start with Team Vitality, first of all, yeah?
35:08You could have thought the ad was for a holiday
35:10or, you know, win a trip to Miami if you're not careful.
35:13Yeah.
35:14You can't associate fast with a car
35:16due to speeding and encouraging people to speed,
35:18and that has been a no-no for over 20, maybe even 30 years.
35:22Let's move on to Team Graphene.
35:24We were baffled by the name, Expando.
35:26Let's forget the name for a second,
35:27but the way in which the logo was presented was clean
35:30and felt like it might appeal to a younger audience.
35:32What did you think of their TV ad there?
35:34That car is a really young, funky car
35:37and we're there in an ancient rural setting.
35:39It's very, very confusing.
35:41Yeah.
35:42Thanks a lot.
35:43It's a pleasure. Cheers, thank you.
35:46Steers on car campaigns delivered.
35:49Tomorrow in the boardroom, collision.
36:01You can go to the boardroom now.
36:03Good morning.
36:20Good morning, Lord Sugar.
36:22Well, this is one of my favourite tasks
36:25and I've spent a lot of money on TV adverts.
36:27I became a bit of an expert at them in the end.
36:30In fact, I could write a book, but I did.
36:32I wrote a lot of checkbooks, paying for them.
36:34Now, I'm going to start with Team Vitality.
36:38Michaela, you're a project manager.
36:40Yeah, there's myself and Anissa put ourselves forward.
36:43Anissa, you wanted to do it?
36:45I did, yeah.
36:46Yeah.
36:47Your business is PR, isn't it?
36:48Yeah, it is.
36:49And Michaela, your business is...?
36:51It's a construction magazine.
36:53We sell advertising in it.
36:54I think just generally the group decided
36:56that I might make the best one.
36:58Right.
36:59What names did you come up with?
37:00Both me and Andrew came up with Miami.
37:02It's like a popular destination with young girls.
37:04It's warm, sunny and it fits in with a theme of escapism.
37:07With our target audience.
37:08And you chose...?
37:09A female under 25.
37:11So, we're going to Miami, I suppose,
37:14because Bolton was too glamorous, yeah?
37:16And the TV team is yourself, Jade and Andrew.
37:20Jade had experience in PR, though I put her with myself
37:24on the TV outside of things.
37:26Yeah, so I just imagined the girls getting into the car,
37:29as me and my friends would do at the weekend,
37:31escaping off somewhere, going on a girls weekend away.
37:34We then decided later to bring Andrew in,
37:36so it wasn't just ruling out the male audience as well.
37:39He was assigned to be what?
37:41Somebody that goes in the car?
37:43Yep, and for Luke Pritt, he did a good job at it.
37:45Right.
37:46I think it's time that we have a look at your creation, yeah?
37:51Looking to escape reality?
37:53The all-new, technologically advanced, hot hatchback.
37:57With advanced parking assist, panoramic roof,
38:00convenient keyless technology, high-quality surround sound.
38:04Miami.
38:05Move forward, move fast, move free.
38:07We're riding down the boulevard.
38:10I think the use of the drone was quite good.
38:13What was your strapline?
38:15Move forward, move fast, move free.
38:17Sounds like you're escaping from prison.
38:19LAUGHTER
38:20What would you say like that?
38:21Yeah.
38:22Let me have a look at the escalator advertising.
38:26Bicycles.
38:28So you're coming up the escalator, you see the bicycles,
38:31and then you come into Miami.
38:33Welcome to Miami.
38:34Do you not think that your panel ads could be confused for holidays
38:37or car rentals or something like that?
38:39Yes, we did get that a little bit and, you know,
38:41having some pricing would make it very clear it was a purchase
38:44rather than a car hire.
38:45OK, so tell me, what did you do about the pitching?
38:48Because I heard, Michaela, that your team-mates didn't think
38:51you were the right one to do it.
38:53Yeah, cos I get...
38:55I suffer with my nerves a bit and, obviously, my voice is broad as well.
38:59So I was a bit nervous. I noticed that.
39:02But I thought I needed to do it, so I chose myself from my team
39:07and Sarah and Anissa from the sub-team.
39:10And the rest of you, you were watching it on the TV screen, right?
39:12Yeah.
39:13This is where Andrew's shouting out,
39:15Anissa, shout out.
39:16She was answering questions and almost going with what they were saying
39:20and agreeing with them.
39:21The three of us sat there and we were a bit like,
39:23oh, you just need to stop talking.
39:25So, Michaela, tell me, was you happy with your pitch?
39:29Er...
39:30Yeah, I don't really remember it, if I'm honest.
39:32Everybody said it was all right, so...
39:34They did a great job.
39:35I'll go with, yeah.
39:36I'm very proud of Michaela facing the demons.
39:38OK, well, let's move on to Graphene.
39:41James, you're sitting in the project manager's position.
39:44I had an interest in cars
39:45and I knew the people that I had in my team were quite creative.
39:49What did you choose for your target market?
39:51Let's try to look at the car.
39:52She's got three children.
39:53She said that she'd use the car,
39:55so we went with families in the end.
39:56Right.
39:57How did you split the teams?
39:59So, the TV advert team was myself, Elizabeth and Sargent.
40:03One of my businesses is a photo business,
40:05so I do know a little bit about cameras
40:08and I'm also a creative individual,
40:10so I was happy to sort of help James out on the director's side.
40:12Ah, you did 26 shots.
40:14We tried to use the best space that we could
40:16to maximise, to show the car looks good,
40:19the speed they can do, interior and exterior.
40:21We selected a village, which we thought was a Norman village,
40:24which we thought was a village location.
40:26We thought this was a village,
40:27so it would be like a house in a village estate
40:29and that would be fine.
40:30We found out it was something entirely different on arrival.
40:33What was it?
40:34It was a reenactment of a Norman settlement
40:36from the Norman conquest period.
40:38I see.
40:39It didn't have cars there?
40:40It did at North Sugar.
40:41What was you going there for? A joust?
40:42Something like that.
40:43We had turkeys and chickens
40:45and the peacock was particularly interested in the car.
40:48You stuck with your idea, didn't you?
40:50Yeah, yeah, yeah.
40:51We saw it through.
40:52Yeah, we just had to work with it.
40:54What was the name in the end?
40:55Expando.
40:56Expando.
40:57We were thinking of the growing family
40:59and expanding on your capabilities.
41:01Right.
41:02I think it's time to look at your TV advert.
41:05Quick, quick, quick, quick.
41:06I can't eat, I can't see where
41:12I can't eat to run another way
41:15Still!
41:16I can't eat, I can't see where
41:20I can't eat to run another way
41:22Expando.
41:23Different day, same reliable car.
41:25You didn't kill any wildlife there, did you?
41:27No, not at all on Sugar.
41:29Let's have a look at the billboards.
41:31So, the first one's trying to get across the target market
41:34which is family, so that's myself and Joanna
41:37and I think the blocks are supposed to represent
41:39potentially a baby.
41:40I'm trying to work out the correlation
41:42between that and your television advert.
41:44So, there isn't any correlation
41:46but in the strapline we're saying
41:49different days, same reliable car.
41:50It's not the same car, you're trying to flog a new car
41:52to somebody, aren't you?
41:53Well, no, it's in the sense that every day is different,
41:55you want to rely on the same reliable car.
41:56When we were actually coming up with the brand
41:59a lot of the things that we actually ended up with
42:01Bushra thought the opposite.
42:02Sorry, Joanna, it's not being opposite,
42:04it's just constructive criticism.
42:06I had to fight to get that font on there.
42:08You didn't have to fight to get on there.
42:09You said, should we do?
42:10I said, yeah.
42:11I know, but it was literally,
42:12if I hadn't have pushed it enough
42:13then you guys would have gone for something.
42:14It wasn't, it wasn't afraid.
42:15I just felt like I was being blocked out
42:17and it was being opposing.
42:18Mmm, yeah.
42:20I think I've got a good picture here.
42:22I am the client, as I told you before,
42:25and I took advice from the experts.
42:28It wasn't a difficult decision, to be perfectly frank.
42:35Vitality, the escalator, not that great.
42:42But at least your advert had some cohesion
42:45to the digital signage.
42:50I've got to tell you, Vitality, that yours was the best.
42:53Yes!
42:54Yeah, clearly the best.
42:57Right, well, you're probably on cloud nine
43:02after winning your task,
43:03so I'm going to send you down the world's tallest tunnel slide
43:07at the orbit at the Olympic Park.
43:10So I'll see you on the next task, OK?
43:12Thank you very much.
43:13OK, thank you very much.
43:14OK.
43:18Oh, God.
43:22Well, I've got to tell you, that is a terrible TV advert.
43:25At least one of you is going to be leaving the process today.
43:28You go off, come back here later,
43:31and we'll have a more deeper discussion, OK?
43:41Oh, my God, that's amazing!
43:43Delighted that I've won the task as project manager.
43:46I think I really needed to, after the catastrophe
43:49of the last time, start buzzing.
43:51I feel a bit nervous.
43:52Push it!
43:53Oh!
43:54Yeah, go, Jade!
43:55Ah!
43:56God!
43:57Ah!
43:58Ah!
43:59Do this!
44:00Lord Sugar told me a new one last week in the boardroom.
44:02This week, I've done more than enough to make him aware
44:04that I am professional when I want to be,
44:06and I am capable of what he wants from me.
44:09Andrew was all over the show.
44:11It was hell to try and manage him.
44:13He needs to understand he's not professional
44:15and he's never going to be Lord Sugar's business partner.
44:17Yeah!
44:18Ha-ha!
44:19That's sick!
44:24Have you seen an advert like that before?
44:26It was kind of medieval-themed.
44:28It wasn't medieval-themed.
44:30The location was a problem.
44:32Elizabeth dominates quite a lot of the things
44:34that happen in her task.
44:35James' poor decision-making is another fault.
44:37When you did get there, you should have just thought,
44:39let's just focus completely on the car,
44:41not, like, running around with chickens.
44:43We couldn't escape it, basically.
44:44We had to go with what we had.
44:46I can smell Elizabeth all over this.
44:48The failure of the task clearly was the video,
44:50and if she took on every single role of that,
44:52then clearly she's responsible.
44:54Same reliable car sounds like a re-engineering of an old model.
44:57Well, it just didn't scream out, like, new car.
45:00If you think that the failure of his task is down to a strap line,
45:03then you're completely wrong.
45:04Ultimately, when you're next on the line,
45:06you've got to make tough decisions.
45:08James didn't do that.
45:09Sometimes you've got to put your foot down and get it done.
45:19Yes, Lord Sugar?
45:20Could you send the team in, please?
45:22Well, I've got two teams here virtually in front of me,
45:38one posters and one TV adverts, and they're both rubbish.
45:41There was certainly no coordination between the two.
45:44James, why did you allow all this to happen?
45:47I'm not good at sort of the creative side,
45:49but I knew I had a creative team,
45:51so I put them in the positions that I thought they were best assigned to.
45:54I gave them the chance to shine on the things that they were good at.
45:56Where's the failure of this task lay?
45:58Joanna was sub-team.
45:59She made some critical decisions, such as the name,
46:01which was criticised.
46:02Expando.
46:03You might want to sell that to Marks and Spencers
46:05for the next range of pants.
46:07I did say to you, let's go with Plus,
46:08but you were adamant that you wanted Expando.
46:10Well, actually...
46:11That you were more like, I'm going to go with what I want to do,
46:13everything that she says I'm going to discount
46:15because maybe I don't want her to get credit for anything.
46:17Let me go with what I feel like,
46:19and if it doesn't work, it doesn't work, and it didn't.
46:21It wasn't about me just making a decision because it was mine.
46:23The strapline, obviously, was Harrison,
46:25and some of the other stuff as well.
46:26The name was you.
46:27The name was me, yes.
46:28The strapline was a suggestion.
46:30I'm not from a creative background in work,
46:32but I was pitching throughout.
46:33Well, this process is all about what you can do.
46:36Yeah, definitely.
46:37So you're telling me you can't do this?
46:38Well, no, no, I'm saying I'm not from a creative background in work,
46:40but I didn't step back.
46:41Not to be funny, if no-one liked it,
46:43then they should have pitched in and not come with my idea.
46:45The experts said it was baffling.
46:47The four posters didn't work.
46:48The billboard had nothing to do with the advert.
46:51You don't have to be an expert to work that out.
46:53Sergeant, you were supposed to be the director.
46:55That's correct.
46:56OK?
46:57God knows what that was supposed to be.
46:59Can I just say, Lord Sugar,
47:00I have shown that I'm a creative person.
47:02You let it go off the rouse.
47:03No, we...
47:04I didn't see the story in your direction.
47:06We did try our best to show the story and the setting,
47:09but we also had to make sure that the camera angles
47:11were focusing on the car.
47:12Camera angles?
47:13You're making it up as you go along here.
47:15I must say that when we got to the location,
47:17it was very difficult as a location,
47:18and we've actually got more car shots
47:20rather than the actual environment,
47:22because we actually felt that the environment
47:24wasn't suited to where we were.
47:26I think the video itself, the advert, the ending,
47:29we tried to just have the car going off,
47:31but it was everything before that that it just didn't add up.
47:34The chickens, you looked like you were running them over.
47:36Reminds me of why did the chicken cross the road?
47:38They're lucky they didn't come in your way there.
47:40Erm, you know, it wasn't ideal.
47:42We tried to work with what best we could,
47:43but compared to the other, it was embarrassing.
47:46Elizabeth, you came up with the conceptual idea.
47:50Yeah.
47:51Then you acted as the lead actress,
47:53then you got involved with the editing,
47:55and you even wanted to do the voiceover.
47:57And then you picked the music also.
47:59I think the thing with Elizabeth,
48:00if it doesn't quite go her way, she won't drop it.
48:04It wasn't the Elizabeth show, Lord Sugar.
48:06It sounds like it was.
48:07Elizabeth, I think you would agree
48:09that you did come in really strong on that day.
48:11I was strong.
48:12If I was too strong, I'll rein it back.
48:14I was close to it because it was my idea to begin with,
48:16but I did my best to try and help the process forward.
48:19Erm, and that's all I'll ever do my best.
48:22James, your management technique is very similar
48:26to someone sitting in the back of a cab,
48:28watching, knowing the cab driver was going the wrong way.
48:31Who are you bringing back into this boardroom?
48:36Bringing back in Joanna and Sargent.
48:38Right.
48:39Yeah.
48:42Elizabeth, the failure of this task had a lot to do with you.
48:46You two go back to the house. Go on.
48:55I'll tell you what.
48:56All four of you step outside.
48:58I'll bring you back in shortly, OK?
49:00OK.
49:01James chose two people, but I thought Elizabeth had a lot to answer to also.
49:13She thinks the louder she shouts something, the more she's going to get listened to.
49:17Hmm.
49:18James, I don't know if he's very, very clever or if he's stupid.
49:22He's got easily persuaded into some very poor decisions.
49:25Elizabeth is a very strong character and maybe he just couldn't cope with that.
49:29Well, Joanna is full of excuses.
49:32She has a difficulty in accepting she's done something wrong.
49:37And Sargent, he's been telling us for the past few weeks, I'm very creative.
49:42I'm very, very creative.
49:44If he was truly creative, he would have been able to adapt that storyline to his setting,
49:49but he didn't.
49:50PHONE RINGS
49:52Yes, Lord Jagger.
49:53Can you send the four of them in, please?
49:55You can go to the boardroom now.
49:56PHONE RINGS
50:10James, you brought Sargent and Joanna back in.
50:14I asked Elizabeth to stay because you're a very domineering person.
50:18I have been a key member of the team in every single task that we have won.
50:23I did not overpower anybody in any of those circumstances.
50:26Well, actually, Elizabeth, you've overpowered me a couple of times.
50:28I felt Lord Sugar.
50:29It's as if everybody else that's underneath you or that's working amongst you is not capable.
50:33That's not the case, Joanna.
50:34So it's like if this had gone well, then it's the Elizabeth show again,
50:37and it would have been Elizabeth comes and saves the day.
50:39Are you a control freak?
50:40No.
50:41Yes.
50:42I'm not.
50:43I'm not a control freak.
50:44You overpowered James.
50:45You weren't in that class.
50:46OK, but the general consensus is that decisions that were made on your side were made by you
50:49because you overpowered James.
50:50No, not at all.
50:51Which is incorrect anyway.
50:52You let Elizabeth basically project manage the team for you.
50:55No, he did not.
50:56So the thing is, everything that we did, the message was not consistent.
50:59It was making my job harder as a director.
51:02And Lord Sugar, yes, I've said I'm good at being creative, and actually I did it.
51:06Yeah, but you can't just say it because you fancy saying it.
51:09Of course.
51:10I could say I'm good at brain surgery, but I'm not.
51:12No.
51:13You've been here seven weeks.
51:14Tell me what you've done that's creative.
51:16At the end of the day, this role that I was given as a director, I was being creative.
51:20Yes, I have a photo booth business, and I understand the camera side.
51:23You've got a what?
51:24A photo booth business.
51:25And I did my very best.
51:26A photo booth business is people just sit in there and you do mug shots.
51:28Really?
51:29You've got creativity in that.
51:30It is.
51:31You put your money in and that's it.
51:32It is different, Lord Sugar's creative.
51:33And I've tried my very best in this particular task to actually try to be creative, but when
51:38you have someone that's disruptive and...
51:39I wasn't disruptive.
51:40I wasn't disruptive.
51:41I was forceful and forcing some strong opinions when I felt things were going south.
51:44James, you're the project manager.
51:46Yeah.
51:47And you're here to try and get a £250,000 investment from me.
51:51Mm-hm.
51:52Okay?
51:53It looked like you couldn't even run a bath.
51:54Yes, I've lost today, but I did take a risk today, stand up to be a creative person.
51:58I put everyone here in a position where they could be inspired to actually do something
52:02which was creative and I was leading it.
52:04You already were listening to her and didn't want to take anyone else's idea on board.
52:07I will say one thing.
52:08Can I just say, how did you guys expect our advert to have any...
52:11How is Lord Sugar meant to listen to both of you when you talk at the same time?
52:15Would you like to speak or would you like me to?
52:17I'll go.
52:18Erm, how do you guys expect any type of synergy with my team when you kept changing your mind
52:24like the wind?
52:25Joanna, you're one of those people that likes to take credit when you win
52:29and then when you don't win, you like to pass the buck to someone else.
52:33I've taken responsibility for everything that I've done.
52:35The name obviously wasn't well received compared to people like, for example, Sergeant.
52:40You know, if you see something going wrong, if you see she's being overpowering,
52:43you should be able to say something.
52:44You know what you say here, Joanna considers her greatest personal qualities as being a great talker.
52:50Wow, that is, that actually is true.
52:54Lord Sugar.
52:55You can talk.
52:56I've also done a lot of doing.
52:58I've always put myself forward.
53:00Hmm.
53:01James.
53:02Yeah.
53:03An amazing CV and lots of claims here.
53:05Yeah.
53:06You come, you come in here telling me that I'm a nice guy, do nice guys earn 200 grand a year?
53:12Yeah.
53:13Yeah.
53:14So did you earn 200 grand a year?
53:15I did earn 200 grand a year.
53:16So what do you need my 250 for?
53:17I think that we'd have a good team together.
53:19I think that I'm an IT recruiter.
53:21Is it all true, all this stuff here?
53:22Lord Sugar, there's nothing in there that I've lied about.
53:24I was earning £100,000 a year my first year of earning.
53:27I was doing that in Birmingham.
53:28I was earning more than anyone who was in the whole London office.
53:31Right.
53:32Sergeant.
53:33Yes, Lord Sugar.
53:34Why should you remain in this process?
53:36Lord Sugar, by the age...
53:37Don't tell me it's because you're great creativity.
53:39Definitely not.
53:40I promise you, Lord Sugar.
53:41And all that stuff.
53:42I'm definitely not the finished article.
53:44And the biggest errors have been on the creative side.
53:46Yes, I've learned from that now and I'll probably reign in my creativity.
53:49It's not school.
53:50It's not school here.
53:51It's not school.
53:52Lord Sugar, I've got a long way to go, but I've got the passion and hard work that will make you money and make myself money.
53:57I am your business partner and I will work very, very hard for you.
54:01Lord Sugar, can I say one thing, please?
54:03Yeah.
54:04This was a creative task, but what I will say to you is I am a numbers guy.
54:07I am someone who knows how to make money.
54:09So, if that's what you're looking for, that's exactly what I can do.
54:12I'm not looking...
54:13Listen, mate.
54:14I'm not looking.
54:15I'm looking to get into business with somebody who's going to do the work.
54:18Yeah.
54:19I can't tell you what to do.
54:20I can tell you what not to do.
54:21Yeah.
54:22And that's why that lot that you saw seven weeks ago are doing so very well.
54:26I work my apps...
54:27I am the youngest person in the hall of the 18 candidates and every single week I've showed up and showed out.
54:32I know that I've made some mistakes around the way, but every single task I've been able to demonstrate it.
54:36All right.
54:37OK.
54:38I don't want to hear any more from anybody now because I'm going to summarise.
54:43Elizabeth, I worry that your control freak mannerisms are not going to work with me.
54:53And Sargent, the creative, I can't see any standout moments so far.
54:59I don't think you're that creative.
55:03Joanna, you are argumentative, confrontational, and that worries me if we're going to build a business together.
55:12But I'll tell you what worries me the most, James, is that you let them walk all over you.
55:18Weak leadership, persuaded easily by Elizabeth.
55:23And for that reason, you put me in an awkward position.
55:29But having said all that, Sargent, in this task, I have not seen anything from you.
55:35And so, Sargent, you're fired.
55:39Appreciate the opportunity.
55:41Thanks so much.
55:42All the West guys.
55:48You know, if you're good with numbers, you would know that I have got a certain amount of people left,
56:00and only five tasks left to execute.
56:05Elizabeth, I am going to give you the benefit of the doubt, OK?
56:10But I'm telling you now, any repetition of what we evidence in this particular task,
56:16you won't even need to come in this boardroom, you'd be gone.
56:19Understood.
56:20You know what I'm going to do? I'm going to say this.
56:23I can't give you any more warnings, OK?
56:27Or go back to the house.
56:29I'm definitely not the person I should be going today.
56:48There's people in this process that I've literally floated through without working hard.
56:52Disappointed to leave the process.
56:54Absolutely gutted.
56:55Just makes no sense.
56:56More than one person has to go.
57:00Personally, I think James will definitely come back.
57:02I don't know, because I feel like Lord Sugar had it in for James today.
57:05I did not expect that.
57:07There you go. There's one.
57:09Oh!
57:10Told you.
57:11There you go. There's one.
57:12Oh!
57:13Oh!
57:14Oh!
57:15Oh, my goodness.
57:16Oh, my God!
57:17Oh!
57:18Oh, my God!
57:19Free back.
57:20I did not expect that.
57:21It looked like any of us could have gone at one point, and there's Saji,
57:24and he really picked up on the creative side, and he was like,
57:26tell me one thing that you've done that's creative.
57:28He basically couldn't give anything.
57:29There's, like, only a few weeks left, and there's still a lot of us.
57:32It's going to be hard work.
57:34It's going to be hard work.
57:35It's going to be hard work.
57:38Now, eleven candidates remain.
57:41Lord Sugar's search for his next business partner continues.
57:48Next time...
57:50I need you to take over a doggy daycare centre.
57:55Pooch pampering...
57:57I've done his bottom.
57:58Oh!
57:59Andrew, call a couple of our leads...
58:01No, we're not able to do it.
58:02...turns to canine chaos.
58:04This one's perfect.
58:06They're blurry.
58:07Who needs you to pick up poo?
58:08It just went into the grass.
58:10Pooch!
58:11And in the boardroom...
58:12You want my honest opinion?
58:13Lord Sugar cuts the crap.
58:16I can't see you as my business partner.
58:18You're fired.
58:19If you think you've got what it takes to be the next apprentice,
58:25go to the BBC website and apply for that now.
58:29And Lord Sugar joins Gabby tomorrow night at ten
58:32over on BBC Two for Match of the Day, the Premier League show.
58:36And if you still can't get enough, you can switch over to BBC Two now
58:39for The Apprentice.
58:40You're fired.
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