Browse content similar to When Julie Walters Met Willy Russell. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
At the age of 14... | 0:00:07 | 0:00:08 | |
..when me and the other kids in the D stream, | 0:00:10 | 0:00:13 | |
we were put on a bus and we were taken out to see the bottle factory. | 0:00:13 | 0:00:17 | |
Many of us would gain employment and stay there until we were 65 | 0:00:18 | 0:00:23 | |
and be given a gold watch and thank you very much, | 0:00:23 | 0:00:25 | |
if you lasted that long. | 0:00:25 | 0:00:27 | |
# Any father would be glad to know | 0:00:27 | 0:00:31 | |
# You went further than he'd dared to go | 0:00:33 | 0:00:38 | |
# He would forgive you that you dared to dream... # | 0:00:39 | 0:00:43 | |
I always would go into books for peace, | 0:00:44 | 0:00:48 | |
go to a different world, | 0:00:48 | 0:00:49 | |
where everything was all right. | 0:00:49 | 0:00:51 | |
# Don't say a word... # | 0:00:53 | 0:00:54 | |
I felt like a dickhead for even thinking I could be a writer. | 0:00:55 | 0:00:58 | |
This working-class kid from Liverpool, | 0:01:03 | 0:01:06 | |
who dropped out of school when he was 15, | 0:01:06 | 0:01:08 | |
would become a musician, songwriter, | 0:01:08 | 0:01:11 | |
and one of Britain's most beloved and successful playwrights. | 0:01:11 | 0:01:14 | |
His name is Willy Russell. | 0:01:15 | 0:01:17 | |
# Tell me it's not true... | 0:01:17 | 0:01:21 | |
He wrote the play and composed the songs for Blood Brothers, | 0:01:21 | 0:01:24 | |
one of the longest-running musicals in West End history. | 0:01:24 | 0:01:27 | |
And he has had the balls to write some of the most memorable | 0:01:29 | 0:01:32 | |
and insightful female characters in British theatre history... | 0:01:32 | 0:01:36 | |
Hiya, wall. | 0:01:37 | 0:01:39 | |
..including Shirley Valentine... | 0:01:39 | 0:01:41 | |
What's wrong with that? | 0:01:41 | 0:01:43 | |
..and a role I played in a film called Educating Rita. | 0:01:43 | 0:01:46 | |
For God's sake, come in. | 0:01:48 | 0:01:49 | |
I'm coming in, aren't I, it's that stupid bleeding handle on the door, | 0:01:51 | 0:01:54 | |
you want to get it fixed. | 0:01:54 | 0:01:56 | |
Willy and I go way back. | 0:01:57 | 0:01:59 | |
Willy will soon be turning 70. | 0:02:01 | 0:02:03 | |
It has been a long, long time since I've played this riff. | 0:02:03 | 0:02:06 | |
It's time for a fresh look at his creative legacy. | 0:02:06 | 0:02:10 | |
Liverpool Lime Street. | 0:02:22 | 0:02:23 | |
This is where I fell in love with Liverpool. | 0:02:24 | 0:02:27 | |
June 14th, | 0:02:27 | 0:02:29 | |
my first day of professional work. | 0:02:29 | 0:02:31 | |
Got off the train, | 0:02:31 | 0:02:33 | |
absolutely laden with bags, | 0:02:33 | 0:02:34 | |
and this woman came to me and said, "Come here, love, | 0:02:34 | 0:02:38 | |
"them bags are too heavy for you, let me carry them." | 0:02:38 | 0:02:40 | |
Fell in love. | 0:02:42 | 0:02:43 | |
My destination in Liverpool was a place called the Everyman Theatre. | 0:02:52 | 0:02:55 | |
It was where Willy and I first met, | 0:02:57 | 0:02:59 | |
and where our professional dreams would begin to come true. | 0:02:59 | 0:03:02 | |
Willy was a resident writer at the Everyman, | 0:03:03 | 0:03:06 | |
which was leading a theatrical revolution | 0:03:06 | 0:03:08 | |
that put working-class voices centre stage, | 0:03:08 | 0:03:11 | |
and overthrew the idea that theatre was the exclusive preserve | 0:03:11 | 0:03:15 | |
of the middle class. | 0:03:15 | 0:03:16 | |
The extraordinary ensemble of actors I was part of | 0:03:19 | 0:03:22 | |
included Jonathan Pryce, | 0:03:22 | 0:03:25 | |
Bill Nighy, | 0:03:25 | 0:03:26 | |
Pete Postlethwaite, and others. | 0:03:26 | 0:03:29 | |
My first thought upon meeting Willy was, what extraordinary hair! | 0:03:30 | 0:03:35 | |
Willy! Oh, my God. | 0:03:40 | 0:03:43 | |
LAUGHING: Stop! | 0:03:43 | 0:03:44 | |
THEY LAUGH | 0:03:46 | 0:03:48 | |
Hiya, sweetheart. | 0:03:48 | 0:03:50 | |
Awww! | 0:03:50 | 0:03:51 | |
-It's so lovely to see you. -And so lovely to see you. | 0:03:51 | 0:03:54 | |
Where's your lovely hair gone? | 0:03:54 | 0:03:56 | |
It's all gone, look. | 0:03:56 | 0:03:57 | |
-No... -Yeah, it's all gone. | 0:03:57 | 0:03:58 | |
-Ooh, it looks fab, actually. -Thank you, darling. | 0:03:58 | 0:04:00 | |
-Good colour. -I modelled it on yours. -Yes, of course. I see that. | 0:04:00 | 0:04:03 | |
Obviously inspired you. | 0:04:03 | 0:04:04 | |
-Look at this. -What's that? | 0:04:04 | 0:04:06 | |
There we go. | 0:04:06 | 0:04:07 | |
HE LAUGHS | 0:04:07 | 0:04:08 | |
# We may be mad, we may be sad | 0:04:11 | 0:04:14 | |
# But we'll keep it in the family... # | 0:04:14 | 0:04:18 | |
The grandeur of the Philharmonic pub | 0:04:19 | 0:04:21 | |
is just downstream from the Everyman. | 0:04:21 | 0:04:24 | |
So this was my local. | 0:04:25 | 0:04:27 | |
And sometimes after a show down the road it would be mob-handed in here. | 0:04:27 | 0:04:31 | |
The Everyman was at the centre of that revolution. | 0:04:33 | 0:04:35 | |
What were your goals, then? | 0:04:35 | 0:04:37 | |
I mean, did you want to entertain, | 0:04:37 | 0:04:39 | |
or did you want to change people's lives, | 0:04:39 | 0:04:42 | |
or cause a social revolution? | 0:04:42 | 0:04:43 | |
Or did you just want to pick up women? I don't know. | 0:04:43 | 0:04:45 | |
HE LAUGHS | 0:04:45 | 0:04:47 | |
Certainly the latter. No, I didn't, | 0:04:47 | 0:04:49 | |
-because I was with Annie at the time, anyway. -Yes, of course. | 0:04:49 | 0:04:52 | |
You wanted to do all that. | 0:04:52 | 0:04:55 | |
My initial thing was, thinking back, I mean, | 0:04:55 | 0:04:58 | |
I wanted to be world-famous, probably. | 0:04:58 | 0:05:00 | |
-As all young writers want to be, you know? -Yes. | 0:05:00 | 0:05:02 | |
Liverpool is a city often pushed to extremes. | 0:05:05 | 0:05:09 | |
In the 1970s and '80s, | 0:05:09 | 0:05:10 | |
its back was up against a wall of urban decay, | 0:05:10 | 0:05:13 | |
union-busting, and industrial turmoil. | 0:05:13 | 0:05:16 | |
Regional theatres were emboldened to challenge the deep despair | 0:05:17 | 0:05:21 | |
associated with Britain's class divide. | 0:05:21 | 0:05:23 | |
What do you think made that period, that Everyman period, unique? | 0:05:26 | 0:05:30 | |
Money was put into theatre. | 0:05:30 | 0:05:32 | |
-Yeah. -It meant that theatres like the Everyman | 0:05:32 | 0:05:36 | |
could have a company of 15, 18 actors. | 0:05:36 | 0:05:40 | |
Because the theatres were decently funded... | 0:05:40 | 0:05:42 | |
..the directors could take a chance! | 0:05:43 | 0:05:45 | |
Long before Willy dared dream of being a playwright, | 0:05:48 | 0:05:51 | |
in 1961, at the age of 14, | 0:05:51 | 0:05:54 | |
he had a musical encounter that changed his life. | 0:05:54 | 0:05:57 | |
I walked into the Cavern for the first time | 0:05:58 | 0:06:00 | |
and saw, you know, this incredible thing called the Beatles. | 0:06:00 | 0:06:04 | |
-Yeah. -You know? And people with accents writing songs. | 0:06:04 | 0:06:07 | |
And, oh, maybe it is possible, you know, for me to do something! | 0:06:07 | 0:06:11 | |
The Beatles would be the subject of Willy's first breakthrough musical | 0:06:13 | 0:06:16 | |
for the Everyman. | 0:06:16 | 0:06:17 | |
The first thing I saw when I walked in here, in June 1974, | 0:06:19 | 0:06:23 | |
was John, Paul, George, Ringo...& Bert. | 0:06:23 | 0:06:25 | |
It was brilliant. | 0:06:25 | 0:06:27 | |
The musical told the story of the rise and break-up of the Fab Four | 0:06:28 | 0:06:33 | |
from Liverpool. | 0:06:33 | 0:06:34 | |
And there were people in the audience here that first night | 0:06:37 | 0:06:40 | |
who thought it was the Beatles really getting together | 0:06:40 | 0:06:44 | |
-at the Everyman Theatre. -Oh, no! | 0:06:44 | 0:06:46 | |
I say don't be an idiot, man, we've got to stick together. | 0:06:46 | 0:06:49 | |
The money men are moving in. | 0:06:49 | 0:06:50 | |
Look, we could end up on the scrapheap after all. | 0:06:52 | 0:06:55 | |
It was titled in this very pub. | 0:06:55 | 0:06:57 | |
-Was it? -I was at the bar... -The Philharmonic! -..with Alan Dosser, | 0:06:57 | 0:07:01 | |
and we said... | 0:07:01 | 0:07:02 | |
I outlined my idea, | 0:07:02 | 0:07:04 | |
there'd be this other character in it, this narrator character. | 0:07:04 | 0:07:07 | |
The Beatles. | 0:07:07 | 0:07:09 | |
Remember them, do you? | 0:07:09 | 0:07:10 | |
They were a group from Liverpool. | 0:07:12 | 0:07:15 | |
Everybody knew them once. | 0:07:15 | 0:07:16 | |
The story of the Beatles is narrated by the character named Bert. | 0:07:16 | 0:07:20 | |
The Beatles had got caught up in the power game. | 0:07:20 | 0:07:23 | |
The money game. | 0:07:24 | 0:07:25 | |
The play opened at the Everyman, | 0:07:26 | 0:07:28 | |
and went on to become a smash West End hit... | 0:07:28 | 0:07:30 | |
..and launched Willy's career as a playwright. | 0:07:32 | 0:07:34 | |
So, Willy, what were the obstacles | 0:07:37 | 0:07:39 | |
between you and what you aspired to be when you were young? | 0:07:39 | 0:07:43 | |
I mean, as a kid, you know... | 0:07:44 | 0:07:46 | |
If you had gone in our house and said, I'm going to the theatre, | 0:07:46 | 0:07:49 | |
my dad would have gone, what, Noel bloody Coward and all that lot? | 0:07:49 | 0:07:52 | |
Don't be so daft! You know... | 0:07:52 | 0:07:53 | |
Willy was already writing and performing his own songs | 0:07:55 | 0:07:57 | |
with a folk group called the Movers. | 0:07:57 | 0:07:59 | |
To avoid working in a factory, | 0:08:00 | 0:08:02 | |
he took a day job as a women's hairdresser. | 0:08:02 | 0:08:05 | |
# Jimmy got married | 0:08:07 | 0:08:09 | |
# to Judy or Jean... # | 0:08:09 | 0:08:11 | |
A new girlfriend would turn him on to the theatre. | 0:08:12 | 0:08:16 | |
I started going out with this girl, | 0:08:17 | 0:08:20 | |
called Ann, Annie. | 0:08:20 | 0:08:23 | |
She'd say something like, I'm going to see such and such and such | 0:08:23 | 0:08:25 | |
at the Playhouse on Saturday. You know. I've got two tickets. | 0:08:25 | 0:08:28 | |
So, I mean, I was trying to get off with her, you know? | 0:08:28 | 0:08:31 | |
-Yeah! -I'll come to the theatre! | 0:08:31 | 0:08:33 | |
Was there a playwright or a play that you saw | 0:08:33 | 0:08:35 | |
that really sparked off some inspiration in those days? | 0:08:35 | 0:08:38 | |
Shortly afterwards, | 0:08:38 | 0:08:40 | |
Annie and I saw a John McGrath piece called Unruly Elements. | 0:08:40 | 0:08:45 | |
In the mansions, | 0:08:45 | 0:08:47 | |
in the mansions and rectors' well-ordered homes, | 0:08:47 | 0:08:50 | |
there've been unruly elements. | 0:08:50 | 0:08:52 | |
The whole thing was written in a scouse, | 0:08:52 | 0:08:55 | |
but a kind of heightened, surreal, Liverpudlian idiom... | 0:08:55 | 0:09:00 | |
Cook up a din-din, scoff for a trough, | 0:09:00 | 0:09:02 | |
hug him and fug him and drop a few piglets. | 0:09:02 | 0:09:05 | |
..revealing that ordinary, everyday vernacular | 0:09:05 | 0:09:11 | |
can be capable of carrying great big themes, | 0:09:11 | 0:09:14 | |
and that's what John McGrath was doing with Unruly Elements. | 0:09:14 | 0:09:17 | |
-Yes. -And that struck an absolutely massive chord for me. | 0:09:17 | 0:09:21 | |
And, well, led me, in fact, to start trying to write for the theatre. | 0:09:21 | 0:09:27 | |
In the Liverpool of the 1970s, | 0:09:28 | 0:09:30 | |
the political humour of John McGrath | 0:09:30 | 0:09:33 | |
was performed as one-act plays of theatrical subversion. | 0:09:33 | 0:09:35 | |
-Eh, Dad. -What? | 0:09:37 | 0:09:39 | |
They're knocking down the pie shop. | 0:09:39 | 0:09:41 | |
Yeah? | 0:09:41 | 0:09:42 | |
You don't seem very upset. | 0:09:43 | 0:09:44 | |
Oh, don't I? | 0:09:44 | 0:09:46 | |
I thought they were your favourites, Palicier's pies? | 0:09:46 | 0:09:49 | |
When I could afford them. | 0:09:49 | 0:09:51 | |
It's the relentless advance of monopoly capitalism. | 0:09:51 | 0:09:55 | |
SHE HUMS The Wedding March | 0:09:55 | 0:09:57 | |
Hey! Eh! Palicier's porkpie shop | 0:09:57 | 0:10:02 | |
had to be destroyed in accordance | 0:10:02 | 0:10:05 | |
with the growth of a larger and larger businesses, | 0:10:05 | 0:10:08 | |
as foreseen by Marx in the 1850s. | 0:10:08 | 0:10:11 | |
How much of your, you know, your finding your voice and everything, | 0:10:13 | 0:10:16 | |
when you started writing, | 0:10:16 | 0:10:18 | |
how much of that was fuelled by anger, do you think? | 0:10:18 | 0:10:21 | |
When I came to write Educating Rita, for example, | 0:10:21 | 0:10:23 | |
I was fantastically angry, | 0:10:23 | 0:10:26 | |
because when I tried to get back into education at the age of 21... | 0:10:26 | 0:10:32 | |
..I was told, categorically, | 0:10:33 | 0:10:35 | |
I remember being in the Council offices in Liverpool... | 0:10:35 | 0:10:38 | |
..asking for a grant to do O-levels and A-levels, | 0:10:39 | 0:10:42 | |
and getting, finally getting this interview with this guy. | 0:10:42 | 0:10:45 | |
He listened to my shtick, and he said to me... | 0:10:45 | 0:10:47 | |
"What gives you the right to think you've got a second chance?" | 0:10:49 | 0:10:52 | |
"You buggered up your years at school. | 0:10:53 | 0:10:55 | |
"There are no more chances, son." | 0:10:55 | 0:10:58 | |
-No! -Oh, yeah. | 0:10:58 | 0:10:59 | |
They wouldn't give me a grant. | 0:11:00 | 0:11:02 | |
I went and worked cleaning the girders in Fords, | 0:11:02 | 0:11:05 | |
during the shutdown. | 0:11:05 | 0:11:06 | |
35 feet above all this factory equipment with rickety old ladders. | 0:11:06 | 0:11:12 | |
And I had enough money after three weeks of this | 0:11:13 | 0:11:16 | |
-to pay my course fees for the rest of the year. -God! | 0:11:16 | 0:11:20 | |
Willie eventually got his levels, | 0:11:20 | 0:11:22 | |
gave up being a hairdresser, | 0:11:22 | 0:11:24 | |
and qualified to teach. | 0:11:24 | 0:11:25 | |
-You know I've always liked to write about kids. -Yeah. | 0:11:27 | 0:11:29 | |
And certainly write for kids, | 0:11:29 | 0:11:31 | |
so it was great for me to be able to do that. | 0:11:31 | 0:11:34 | |
Not far from his Liverpool neighbourhood, | 0:11:34 | 0:11:36 | |
known as the Dingle, in Toxteth, | 0:11:36 | 0:11:39 | |
Willie worked as a remedial teacher for several years. | 0:11:39 | 0:11:42 | |
Ah! Pigeons! | 0:11:44 | 0:11:46 | |
This local resident attended the school where Willie once taught. | 0:11:46 | 0:11:49 | |
-Flown on Saturday. -Oh, wow! | 0:11:49 | 0:11:52 | |
And then you fly up to, 500, 600, 700 miles, 1,000 miles, | 0:11:52 | 0:11:56 | |
up to Scotland, a thousand miles in a day. But these are only babies. | 0:11:56 | 0:12:00 | |
They stop off on the way, don't they? | 0:12:00 | 0:12:02 | |
Yeah. | 0:12:02 | 0:12:03 | |
On the way up to Scotland. | 0:12:03 | 0:12:05 | |
Did you see my film about the kids from Shorefields, | 0:12:05 | 0:12:09 | |
called Our Day Out? | 0:12:09 | 0:12:10 | |
It was about all the kids going out to Wales for a day. | 0:12:10 | 0:12:13 | |
They end up lifting the animals from Colwyn Bay zoo. | 0:12:13 | 0:12:16 | |
-Yeah. -Willie wrote that. -Did you write that? -Yeah. | 0:12:16 | 0:12:18 | |
-Loads of kids around this area were in that. -Very good. | 0:12:18 | 0:12:21 | |
Right, just stop there. | 0:12:24 | 0:12:26 | |
-Don't move. -Miss said we could get on. | 0:12:26 | 0:12:28 | |
-Oh, did she now? -ALL: Yeah. | 0:12:28 | 0:12:30 | |
Well, let me tell yous lads something now. | 0:12:30 | 0:12:33 | |
Miss isn't the driver of this coach. | 0:12:33 | 0:12:35 | |
I am. | 0:12:35 | 0:12:36 | |
Can we talk a bit, Willie, about Our Day Out? | 0:12:36 | 0:12:38 | |
I mean, I saw it again just recently, | 0:12:38 | 0:12:41 | |
and I have to say, it still totally stands up. | 0:12:41 | 0:12:44 | |
I love it as a film. | 0:12:44 | 0:12:46 | |
A lot of you wouldn't have been on a school visit before. | 0:12:46 | 0:12:49 | |
So you won't know how to enjoy yourselves. | 0:12:49 | 0:12:51 | |
So I'll tell you. | 0:12:51 | 0:12:53 | |
Listen, everybody. | 0:12:56 | 0:12:58 | |
As a sort of extra bonus, | 0:12:58 | 0:12:59 | |
we've decided to call in here and let you have an hour at the zoo. | 0:12:59 | 0:13:03 | |
CHEERING | 0:13:03 | 0:13:04 | |
Being a young teacher, | 0:13:04 | 0:13:06 | |
I'd been on a trip very similar to that with a woman, | 0:13:06 | 0:13:09 | |
a great teacher called Dorothy King, | 0:13:09 | 0:13:11 | |
who was the prototype for Mrs Kay, | 0:13:11 | 0:13:13 | |
and the same thing had happened. | 0:13:13 | 0:13:15 | |
They'd sent a deputy head along, to try and control things. | 0:13:15 | 0:13:18 | |
Have we forgotten something? | 0:13:23 | 0:13:25 | |
-Are you supposed to be in charge of this lot? -Why? What's the matter? | 0:13:25 | 0:13:27 | |
Children?! They're not bloody children, they're animals! | 0:13:27 | 0:13:30 | |
It's not the zoo out there, it's a bloody zoo in here. | 0:13:30 | 0:13:32 | |
Would you mind controlling your language | 0:13:32 | 0:13:34 | |
-and telling me what's going on? -Right. Come on, where are they? | 0:13:34 | 0:13:36 | |
-ALL: What? -Call yourselves teachers? | 0:13:36 | 0:13:38 | |
-You can't even control them. -Now, look, this has just gone far enough. | 0:13:38 | 0:13:41 | |
Will you tell me exactly what you want, please? | 0:13:41 | 0:13:43 | |
CLUCKING | 0:13:43 | 0:13:45 | |
Right. | 0:13:49 | 0:13:51 | |
And now I want the rest. | 0:13:51 | 0:13:52 | |
GROANS | 0:13:52 | 0:13:53 | |
QUIET CHIRPING AND SQUEAKING | 0:13:58 | 0:14:00 | |
BLEATING | 0:14:04 | 0:14:06 | |
BIRD CALLS | 0:14:06 | 0:14:07 | |
I wrote the whole thing in four and a half days. | 0:14:13 | 0:14:16 | |
We bring them to a crumbling pile of bricks and mortar, | 0:14:16 | 0:14:21 | |
and they think they're in the fields of heaven. | 0:14:21 | 0:14:23 | |
You are on their side, aren't you? | 0:14:23 | 0:14:25 | |
Absolutely, Mr Briggs, absolutely. | 0:14:25 | 0:14:28 | |
You won't educate them, because nobody wants them educating! | 0:14:30 | 0:14:33 | |
-Listen, Mrs Kay... -No, you listen, Mr Briggs! | 0:14:33 | 0:14:36 | |
If these kids and all the others like them had real learning, | 0:14:37 | 0:14:41 | |
the factories of England would empty overnight. | 0:14:41 | 0:14:44 | |
And don't you try and tell me that | 0:14:44 | 0:14:46 | |
there's kids that, given the choice, | 0:14:46 | 0:14:48 | |
would still stand on production lines and empty bins. | 0:14:48 | 0:14:50 | |
There would be more TV commissions... | 0:14:53 | 0:14:55 | |
..all of which were set in Liverpool, | 0:14:57 | 0:14:58 | |
with stories that centred around working-class families | 0:14:58 | 0:15:01 | |
and communities. | 0:15:01 | 0:15:02 | |
A recurring theme begins to emerge in Willie's work, | 0:15:04 | 0:15:07 | |
and can be found in the made-for-TV play, Terraces. | 0:15:07 | 0:15:11 | |
An individual refuses to conform to the pressures... | 0:15:11 | 0:15:13 | |
All right, Sue, love, can we have a word with Danny? | 0:15:13 | 0:15:15 | |
..or expectations of family or friends. | 0:15:15 | 0:15:18 | |
I mean, OK, you don't want to be bothered painting the house, | 0:15:19 | 0:15:23 | |
so what we've decided, Danny, | 0:15:23 | 0:15:24 | |
is a few of the lads and myself have agreed that we'll do it for you. | 0:15:24 | 0:15:27 | |
When neighbours decide to paint their homes yellow | 0:15:27 | 0:15:30 | |
to honour the colour of the local football team... | 0:15:30 | 0:15:32 | |
We'll get cracking, then. | 0:15:32 | 0:15:33 | |
One resident dares to refuse. | 0:15:33 | 0:15:36 | |
-Eddie. -What's that, Del? | 0:15:36 | 0:15:38 | |
You lay one hand, one finger on an inch of this brickwork, | 0:15:38 | 0:15:41 | |
and I'll have the coppers on you. | 0:15:41 | 0:15:42 | |
-Danny? -Danny, we're offering to do your favour. | 0:15:42 | 0:15:44 | |
We'll even paint it back to normal when the final's over. | 0:15:44 | 0:15:47 | |
-No, thanks. -I wouldn't push it too far, Danny. | 0:15:47 | 0:15:49 | |
I'm not pushing it at all. | 0:15:49 | 0:15:50 | |
Listen, mate. We came around here to make things OK between us. | 0:15:50 | 0:15:53 | |
If you want to start being unreasonable... | 0:15:53 | 0:15:55 | |
I'm warning you. | 0:15:56 | 0:15:57 | |
They won't play with me. | 0:15:57 | 0:15:59 | |
They said our house is a house for freaks. | 0:15:59 | 0:16:03 | |
CRYING | 0:16:03 | 0:16:05 | |
See?! | 0:16:07 | 0:16:08 | |
See what you and your stupid bloody ways have done? | 0:16:10 | 0:16:13 | |
He's a brilliant character. | 0:16:14 | 0:16:15 | |
But at the same time, you can see what a nightmare it is for his wife, | 0:16:15 | 0:16:19 | |
-can't you? -Oh, yes. | 0:16:19 | 0:16:20 | |
You can't blame his wife for what she does, and what the kids do, | 0:16:20 | 0:16:23 | |
-cos the kids go through hell because of him, you know? -Yeah. | 0:16:23 | 0:16:27 | |
No! | 0:16:27 | 0:16:28 | |
Me leg! | 0:16:39 | 0:16:40 | |
If you look at Terraces, | 0:16:40 | 0:16:42 | |
you could see it almost as a Western, a mini-Western, | 0:16:42 | 0:16:46 | |
-couldn't you? -Yes, yeah. -You know, | 0:16:46 | 0:16:48 | |
the single dude standing against the crowd for what he believes in. | 0:16:48 | 0:16:53 | |
I always thought there was something about you, now I know what it is. | 0:17:00 | 0:17:03 | |
You need treatment, you do, do you know that? | 0:17:03 | 0:17:05 | |
You're soft in the head, son. | 0:17:05 | 0:17:06 | |
I've never been blind to the fact, when we behave tribally, | 0:17:08 | 0:17:12 | |
that people can easily be turned, | 0:17:12 | 0:17:14 | |
especially en masse. | 0:17:14 | 0:17:16 | |
It has been a long, long time since I've played this riff. | 0:17:21 | 0:17:25 | |
# Tell my mama not to wait for me | 0:17:31 | 0:17:34 | |
# I got a job with the MSC | 0:17:34 | 0:17:37 | |
# As a shoe shine-y boy... # | 0:17:37 | 0:17:40 | |
# And I can shine those shoes | 0:17:42 | 0:17:43 | |
# So the shoes will shine | 0:17:43 | 0:17:45 | |
# Like the sunshine shining on the local line | 0:17:45 | 0:17:47 | |
# I'm a shoe shine-y boy... # | 0:17:47 | 0:17:49 | |
The film Dancing Through The Dark | 0:17:53 | 0:17:54 | |
was based on the play Stags And Hens, | 0:17:54 | 0:17:56 | |
written by Willie in 1978. | 0:17:56 | 0:17:58 | |
It also featured his talents as a songwriter, | 0:18:00 | 0:18:02 | |
and his uncanny skill at writing strong female characters. | 0:18:02 | 0:18:06 | |
I was fortunate enough to get my foot in the door at the Everyman, | 0:18:12 | 0:18:17 | |
and just as the Everyman was rife | 0:18:17 | 0:18:19 | |
with world, kind of, social politics, | 0:18:19 | 0:18:22 | |
it was the beginnings, for me, | 0:18:22 | 0:18:25 | |
of notions of feminism. | 0:18:25 | 0:18:27 | |
It was the first place I ever heard that notion discussed, you know? | 0:18:27 | 0:18:31 | |
Yes, yeah. | 0:18:31 | 0:18:33 | |
Somebody said of a very early play of mine, | 0:18:33 | 0:18:36 | |
it's a bit sexist, isn't it? | 0:18:36 | 0:18:38 | |
And I thought they meant sexy. | 0:18:38 | 0:18:39 | |
SHE LAUGHS | 0:18:39 | 0:18:41 | |
It's not sexy at all. | 0:18:41 | 0:18:42 | |
And I learnt very fast about all that. | 0:18:42 | 0:18:44 | |
So do you think you're a feminist? Or were you a feminist, then? | 0:18:44 | 0:18:47 | |
-Did you become one? -I think, naturally, | 0:18:47 | 0:18:49 | |
I was naturally inclined to be but I have some of those male... | 0:18:49 | 0:18:52 | |
ignorances, you know... | 0:18:52 | 0:18:53 | |
Again, we're talking about the late '60s, early '70s. | 0:18:54 | 0:18:57 | |
Stags And Hens was written before Educating Rita... | 0:18:57 | 0:19:00 | |
Right, girls. | 0:19:00 | 0:19:01 | |
..but also has a Rita-like character named Linda. | 0:19:01 | 0:19:04 | |
Right, here we go. | 0:19:05 | 0:19:07 | |
One for you. | 0:19:07 | 0:19:09 | |
One for you. | 0:19:09 | 0:19:11 | |
None for you. | 0:19:11 | 0:19:12 | |
Oh, hey, why don't I get one? | 0:19:12 | 0:19:13 | |
Bride-to-be. | 0:19:13 | 0:19:15 | |
At her hen party... | 0:19:15 | 0:19:16 | |
You can have mine, Linda... | 0:19:16 | 0:19:18 | |
..deep doubts about her wedding plans, | 0:19:18 | 0:19:20 | |
and the life of a housewife which awaits her begin to take hold. | 0:19:20 | 0:19:24 | |
LAUGHTER | 0:19:24 | 0:19:25 | |
So that's what you call a blow job! | 0:19:28 | 0:19:30 | |
LAUGHTER | 0:19:30 | 0:19:31 | |
I love being out with you lot. | 0:19:33 | 0:19:34 | |
Sometimes you don't half bring me down. | 0:19:35 | 0:19:38 | |
You just never do what you want to do, any of you. | 0:19:38 | 0:19:41 | |
You just do what you're told to do. | 0:19:41 | 0:19:43 | |
I think that was the only play I ever wrote | 0:19:43 | 0:19:45 | |
which came from an idea for a set... | 0:19:45 | 0:19:48 | |
-Oh, right, really? -..which was the ladies and gents. | 0:19:49 | 0:19:51 | |
There was an immediate theatrical audacity to it. | 0:19:54 | 0:19:57 | |
His hobby, is it? Looking down bogs? | 0:19:59 | 0:20:02 | |
He was drinking Lambrusco. | 0:20:08 | 0:20:10 | |
And Southern Comfort before that. | 0:20:10 | 0:20:11 | |
To focus it in the ladies and gents | 0:20:12 | 0:20:14 | |
meant that it was dramatically viable. | 0:20:14 | 0:20:16 | |
A lot of drama goes on there. | 0:20:16 | 0:20:17 | |
A lot of drama, the real truth gets told, doesn't it, | 0:20:17 | 0:20:20 | |
between what's happening on the main floor. | 0:20:20 | 0:20:23 | |
And don't you go telling no-one you're not getting married to Dave, | 0:20:23 | 0:20:26 | |
because you are. | 0:20:26 | 0:20:27 | |
Tomorrow. | 0:20:28 | 0:20:29 | |
Piss off, little man. | 0:20:31 | 0:20:33 | |
-Oh! -Da, da, da, da! | 0:20:44 | 0:20:47 | |
-Oh, my God, it's amazing, Willie. -Hey? | 0:20:47 | 0:20:50 | |
So, Willie, | 0:20:51 | 0:20:52 | |
was it this fantastic toilet that inspired you to write | 0:20:52 | 0:20:57 | |
Stags And Hens/Dancing Through The Dark in the toilet? | 0:20:57 | 0:21:01 | |
This has always been a legendary loo. | 0:21:01 | 0:21:02 | |
I've always been aware of it and so I think this may well have fed into | 0:21:02 | 0:21:05 | |
the idea. It gave me the idea that you could set a play | 0:21:05 | 0:21:10 | |
in the ladies and gents. | 0:21:10 | 0:21:12 | |
HE LAUGHS | 0:21:14 | 0:21:15 | |
You're used to doing this, aren't you? | 0:21:20 | 0:21:21 | |
That's better, yeah. That's it. | 0:21:21 | 0:21:23 | |
Yeah, there's something you don't know about me, Willie. | 0:21:23 | 0:21:26 | |
LAUGHTER | 0:21:26 | 0:21:27 | |
Hiya, wall. | 0:21:29 | 0:21:30 | |
What's wrong with that? | 0:21:32 | 0:21:34 | |
There's a woman three doors down talks to her microwave. | 0:21:35 | 0:21:38 | |
The film Shirley Valentine, | 0:21:38 | 0:21:39 | |
starring Pauline Collins, | 0:21:39 | 0:21:41 | |
was an international hit written by Willie. | 0:21:41 | 0:21:43 | |
It's a story about a 42-year-old woman | 0:21:44 | 0:21:47 | |
in the grip of a deep midlife crisis. | 0:21:47 | 0:21:49 | |
I like a glass of wine when I'm doing the cooking. | 0:21:52 | 0:21:54 | |
Don't I, wall? | 0:21:54 | 0:21:56 | |
Don't I like a glass of wine when I'm preparing the evening meal? | 0:21:56 | 0:22:00 | |
Chips and egg. | 0:22:01 | 0:22:02 | |
Shirley Valentine began as a play at the Everyman, | 0:22:02 | 0:22:06 | |
starring Noreen Kershaw. | 0:22:06 | 0:22:08 | |
But her unexpected illness forced Willie to step into the breach. | 0:22:08 | 0:22:13 | |
It would be somewhere down in that, kind of, | 0:22:13 | 0:22:15 | |
very spot down there that I walked on and said to these poor people | 0:22:15 | 0:22:20 | |
who thought they were going to see | 0:22:20 | 0:22:21 | |
a great performance by a great actress, | 0:22:21 | 0:22:23 | |
"Do me a favour, just pretend I am 42-year-old woman." | 0:22:23 | 0:22:26 | |
And they did. | 0:22:26 | 0:22:28 | |
-AS SHIRLEY: -You know, if I said to my fella, | 0:22:28 | 0:22:31 | |
we're off to Greece for a fortnight, just me and Jane, | 0:22:31 | 0:22:33 | |
he'd think it was for the sex! | 0:22:33 | 0:22:35 | |
Wouldn't he, wall? | 0:22:35 | 0:22:37 | |
Well, two women, on their own, going to Greece... | 0:22:37 | 0:22:40 | |
It's obvious, isn't it? | 0:22:40 | 0:22:41 | |
I wouldn't mind. | 0:22:41 | 0:22:43 | |
I'm not even particularly fond of it, sex. | 0:22:43 | 0:22:45 | |
I think sex is like Sainsbury's, you know. | 0:22:46 | 0:22:49 | |
Overrated. | 0:22:49 | 0:22:50 | |
Course, it would have been different if I'd been born into | 0:22:50 | 0:22:53 | |
the next generation, | 0:22:53 | 0:22:54 | |
our Melandra's generation. | 0:22:54 | 0:22:56 | |
They discovered it, you see. | 0:22:56 | 0:22:57 | |
The clitoris. | 0:22:57 | 0:22:59 | |
The clitoris kids, I call them. | 0:22:59 | 0:23:00 | |
And good luck to them. Don't begrudge them a thing. | 0:23:00 | 0:23:03 | |
Mind you, it was different in my day. | 0:23:04 | 0:23:07 | |
LAUGHTER | 0:23:07 | 0:23:08 | |
Do you know, when I was a girl, we'd never even heard of the clitoris. | 0:23:10 | 0:23:14 | |
No-one had! In those days everyone thought it was just a case of | 0:23:14 | 0:23:17 | |
in, out, in, out, shake it all about. | 0:23:17 | 0:23:19 | |
Stars would light up the sky, and the earth would tremble. | 0:23:19 | 0:23:22 | |
The only thing that trembled for me was the headboard on the bed. | 0:23:22 | 0:23:25 | |
At the end of that year, in the awards, | 0:23:26 | 0:23:29 | |
Noreen won the award for Best actress, | 0:23:29 | 0:23:32 | |
and I won the award for Best Supporting Actress! | 0:23:32 | 0:23:35 | |
SHE LAUGHS I love it! | 0:23:35 | 0:23:36 | |
So did I! | 0:23:36 | 0:23:37 | |
You have written some amazing parts for women, | 0:23:39 | 0:23:41 | |
I mean, it can't be argued. | 0:23:41 | 0:23:43 | |
I mean, you know, Rita, obviously, and Shirley Valentine, | 0:23:44 | 0:23:47 | |
and Stags And Hens, Dancing Through The Dark. | 0:23:47 | 0:23:49 | |
I mean, just fabulous, but where does that come from? | 0:23:49 | 0:23:52 | |
Where does... I mean, did you ever doubt that you could do it? | 0:23:52 | 0:23:56 | |
They are so genuine and authentic, those voices. | 0:23:56 | 0:23:59 | |
It's the one question that's been put to me... | 0:23:59 | 0:24:03 | |
more than any. And I've never, ever... | 0:24:04 | 0:24:06 | |
THEY CHUCKLE | 0:24:06 | 0:24:07 | |
..and I'm trying hard now, Julie. | 0:24:07 | 0:24:09 | |
I've never been able to come up with, | 0:24:09 | 0:24:12 | |
I think, a satisfactory, you know... | 0:24:12 | 0:24:15 | |
..pithy answer to that. | 0:24:16 | 0:24:18 | |
All I'm doing is getting an education, that's all. | 0:24:18 | 0:24:21 | |
Just trying to learn. | 0:24:21 | 0:24:22 | |
And I love it, it's not easy. | 0:24:22 | 0:24:25 | |
I get it wrong most of the time, I'm laughed at half the time, | 0:24:25 | 0:24:28 | |
but I love it because it makes me feel as though | 0:24:28 | 0:24:30 | |
I'm in the land of the living. | 0:24:30 | 0:24:31 | |
And all you try and do | 0:24:32 | 0:24:33 | |
is put a rope around me neck | 0:24:33 | 0:24:34 | |
and tie me to the ground. | 0:24:34 | 0:24:35 | |
Are you going to pack it in? | 0:24:37 | 0:24:38 | |
The frustration at the battle that Rita has on her hands | 0:24:47 | 0:24:52 | |
is one that I felt in everything, as a man. | 0:24:52 | 0:24:55 | |
Shirley I wrote when I was coming up to my 40th birthday, | 0:24:58 | 0:25:02 | |
so every doubt that she has and every bit of questioning... | 0:25:02 | 0:25:06 | |
You know, I was feeling that as a male, | 0:25:06 | 0:25:08 | |
coming, approaching kind of middle age and stuff like that. | 0:25:08 | 0:25:12 | |
I've led such a little life. | 0:25:14 | 0:25:16 | |
Why do we get all this life if we don't ever use it? | 0:25:17 | 0:25:20 | |
Why do we get all these... | 0:25:22 | 0:25:24 | |
..feelings... | 0:25:26 | 0:25:28 | |
..and dreams, and hopes... | 0:25:30 | 0:25:32 | |
..if we don't ever use them? | 0:25:35 | 0:25:36 | |
When I write, it has to come out of a process of imagination. | 0:25:38 | 0:25:42 | |
But once it is out... | 0:25:42 | 0:25:43 | |
..usually when the production's up and running, | 0:25:45 | 0:25:48 | |
I start to sit back and, "Oh, my... | 0:25:48 | 0:25:50 | |
"Oh, my, that's so... that's so much about me." | 0:25:50 | 0:25:53 | |
-So you discover that later? -You discover it later. | 0:25:53 | 0:25:56 | |
As you can imagine, I've seen Educating Rita and Shirley Valentine | 0:25:56 | 0:25:59 | |
a few times in my life. | 0:25:59 | 0:26:01 | |
It's not by accident that my character, Rita, was a hairdresser. | 0:26:01 | 0:26:05 | |
I'm just giving her a blue tint, | 0:26:06 | 0:26:08 | |
that's what we used to do when I worked in a hairdressers. | 0:26:08 | 0:26:11 | |
I was the world's worst hairdresser. | 0:26:11 | 0:26:12 | |
Women wept with joy in the streets when I gave up hairdressing. | 0:26:14 | 0:26:19 | |
Is that a book you're reading? | 0:26:19 | 0:26:20 | |
Yeah, yeah. | 0:26:20 | 0:26:22 | |
Willy could connect to being a hairdresser | 0:26:22 | 0:26:24 | |
from first-hand experience. | 0:26:24 | 0:26:26 | |
It's what he did for several years, | 0:26:26 | 0:26:28 | |
before he was motivated to return to school, and become a writer. | 0:26:28 | 0:26:32 | |
Bondage books. | 0:26:32 | 0:26:34 | |
So many people now, it's a given that they go to university. | 0:26:34 | 0:26:37 | |
-Yeah. -And the idea that learning and education | 0:26:37 | 0:26:41 | |
could give you a route to a different place, | 0:26:41 | 0:26:44 | |
a place you might, like me, want to go to, | 0:26:44 | 0:26:46 | |
-like Rita wanted to go to. -Yes. | 0:26:46 | 0:26:48 | |
That's gone! | 0:26:48 | 0:26:49 | |
People don't see education in terms of social mobility any longer. | 0:26:49 | 0:26:53 | |
So does that mean that Rita has now become a historical play? | 0:26:53 | 0:26:55 | |
I think Rita is a history play, yeah. | 0:26:55 | 0:26:57 | |
Now, fortunately it has, at its centre, | 0:26:57 | 0:27:01 | |
the universality of one human being trying to achieve something. | 0:27:01 | 0:27:05 | |
And that's, you know, that is contemporary. | 0:27:05 | 0:27:08 | |
"The thought that life could be better is woven indelibly | 0:27:08 | 0:27:11 | |
"into our hearts and our bones." Paul Simon. | 0:27:11 | 0:27:13 | |
Had you any inkling that it would take off | 0:27:14 | 0:27:20 | |
the way in which it would? | 0:27:20 | 0:27:23 | |
No, none whatsoever. | 0:27:23 | 0:27:25 | |
I thought we were going to do a nice little run at the Donmar. | 0:27:25 | 0:27:28 | |
-Yeah. -And then, suddenly, ooh! | 0:27:28 | 0:27:30 | |
I remember on the first night, I was terrible, | 0:27:30 | 0:27:32 | |
I just didn't think I'd got it. | 0:27:32 | 0:27:34 | |
No confidence at all. | 0:27:34 | 0:27:36 | |
And Mark and I holding hands backstage, | 0:27:36 | 0:27:39 | |
going, "Here we go, then." | 0:27:39 | 0:27:40 | |
And he had some Valium! | 0:27:40 | 0:27:41 | |
I shouldn't be telling you this, viewers... | 0:27:41 | 0:27:43 | |
LAUGHTER | 0:27:43 | 0:27:45 | |
And so we had a quarter of a Valium each before we went on | 0:27:45 | 0:27:49 | |
and I think that's what did it, everybody. | 0:27:49 | 0:27:51 | |
I think I'd had a quarter bottle of whisky, | 0:27:51 | 0:27:53 | |
and Mike Ockrent had done the same, and Mike didn't drink! | 0:27:53 | 0:27:55 | |
And then after the play were some legendary uncles | 0:27:57 | 0:28:00 | |
at the Philharmonic pub. | 0:28:00 | 0:28:01 | |
I remember being here one night with a raucous group of rugby players. | 0:28:03 | 0:28:09 | |
A young actress leapt up onto a table | 0:28:10 | 0:28:13 | |
and proceeded to out-sing them in absolute filth. | 0:28:13 | 0:28:17 | |
And now, would you like to reprise that moment, Julie Walters? | 0:28:17 | 0:28:22 | |
THEY LAUGH | 0:28:22 | 0:28:24 | |
I'm not getting up on the table. | 0:28:24 | 0:28:25 | |
No, you're not! | 0:28:25 | 0:28:26 | |
-Do I remember it? -No! | 0:28:27 | 0:28:28 | |
HE LAUGHS | 0:28:28 | 0:28:30 | |
Oh, yes, I remember how it starts, anyway. It's... | 0:28:30 | 0:28:32 | |
# A trace of lipstick on an old French letter | 0:28:34 | 0:28:38 | |
# A dose of syphilis that won't get better | 0:28:39 | 0:28:43 | |
# And when you piss, it stings | 0:28:44 | 0:28:47 | |
# These foolish things remind me of you. # | 0:28:47 | 0:28:52 | |
So, Willy, where does that determination, | 0:28:55 | 0:28:58 | |
Rita's determination, where does that come from? | 0:28:58 | 0:29:00 | |
That determination to break out and to not conform. | 0:29:00 | 0:29:05 | |
Do you know, I don't think I know the answer to that question. | 0:29:05 | 0:29:07 | |
Well... | 0:29:07 | 0:29:08 | |
What are we doing? | 0:29:09 | 0:29:10 | |
We'll go on to the next one, Willie. | 0:29:12 | 0:29:13 | |
'Well, actually, I think the answer is obvious.' | 0:29:15 | 0:29:18 | |
The steely determination to succeed comes from Willy Russell. | 0:29:19 | 0:29:23 | |
It's all right, oh, little heart. | 0:29:24 | 0:29:25 | |
It's OK. No, I'm not your dad. | 0:29:26 | 0:29:28 | |
I'm not your mum, either. | 0:29:29 | 0:29:31 | |
You're very beautiful. | 0:29:31 | 0:29:32 | |
Look, very photogenic. | 0:29:32 | 0:29:34 | |
I'm thinking of going into this, actually, pigeon fancying. | 0:29:34 | 0:29:36 | |
-It's going to go. -He won't go, it's all right. | 0:29:36 | 0:29:39 | |
If he goes, he'll just go back to my loft. | 0:29:39 | 0:29:40 | |
LAUGHTER | 0:29:41 | 0:29:43 | |
-Hasn't shit on you, has he? -It's good luck! I've heard. | 0:29:43 | 0:29:46 | |
That's good luck, Tommy, there. | 0:29:46 | 0:29:48 |