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This programme contains adult humour and some strong language. | 0:00:02 | 0:00:11 | |
Ladies and gentlemen, please will you welcome onto the stage... | 0:00:13 | 0:00:17 | |
Simon Amstell! | 0:00:17 | 0:00:19 | |
APPLAUSE AND CHEERING | 0:00:19 | 0:00:22 | |
Hello. | 0:00:57 | 0:00:59 | |
WOLF-WHISTLE | 0:00:59 | 0:01:02 | |
Thank you. How are you? Are you OK, you all right? | 0:01:02 | 0:01:07 | |
Well, this is fun, isn't it? This is sort of a fun thing to be doing. | 0:01:07 | 0:01:12 | |
This is fun, right? | 0:01:12 | 0:01:13 | |
I'm quite lonely - let's start with that. | 0:01:13 | 0:01:17 | |
Nothing can be done about it, people of Dublin. Nothing can be done. | 0:01:19 | 0:01:23 | |
I bought a new flat about two years ago. | 0:01:23 | 0:01:26 | |
In this flat, in the bathroom, there are two sinks. | 0:01:26 | 0:01:30 | |
I thought that would bring me some joy. | 0:01:30 | 0:01:34 | |
It is a constant reminder... | 0:01:35 | 0:01:38 | |
And so what I've had to do, this is what I'm doing now, I'm actually doing this. | 0:01:39 | 0:01:44 | |
I'm using both sinks. | 0:01:44 | 0:01:47 | |
I now, every day, brush my teeth in the left sink, | 0:01:47 | 0:01:51 | |
and, in the right one, mainly cry. | 0:01:51 | 0:01:53 | |
I think the problem comes from the inability to just be purely in the moment, without fear. | 0:01:57 | 0:02:02 | |
I think we're all stuck in the past, | 0:02:02 | 0:02:04 | |
looking to the future, and it's in the moment where true joy exists. | 0:02:04 | 0:02:08 | |
It's in the moment where love can occur, | 0:02:08 | 0:02:10 | |
It's only in the moment where you can be fully at one with the universe. | 0:02:10 | 0:02:13 | |
I was in Paris recently with a new group of people, | 0:02:13 | 0:02:16 | |
one of which was quite a sort of kooky, interesting girl. | 0:02:16 | 0:02:19 | |
Although, in hindsight, not that interesting. I always get fooled. | 0:02:19 | 0:02:24 | |
I think, "Oh, she seems fascinating." | 0:02:24 | 0:02:26 | |
Is she, Simon, or does she just have short hair? | 0:02:26 | 0:02:29 | |
I get fascinated and end up thinking, "I'll talk to her for the rest of my life." | 0:02:32 | 0:02:36 | |
Bored after ten minutes. "You should grow your hair and stop misleading people." | 0:02:36 | 0:02:40 | |
So she suggests, at about three in the morning, | 0:02:44 | 0:02:47 | |
that we all run up the Champs-Elysees to the Arc de Triomphe. | 0:02:47 | 0:02:51 | |
I guess telling you that now, it sounds exciting and fun, but at the time I just thought, | 0:02:51 | 0:02:55 | |
"Why would we do that, what's the point, | 0:02:55 | 0:02:58 | |
"and when we get there, what will we do with our lives?" | 0:02:58 | 0:03:01 | |
I'm analysing what the point of it is, and it seems a long way to go, | 0:03:01 | 0:03:04 | |
and everyone else is just not analysing, they're just running, | 0:03:04 | 0:03:07 | |
and I'm running as well because of the peer pressure, cos I'm fun. | 0:03:07 | 0:03:11 | |
And we're all running, and everyone else is just at one with the moment, | 0:03:11 | 0:03:14 | |
at one with joy, at one with the universe. | 0:03:14 | 0:03:17 | |
And I'm running, and thinking, | 0:03:17 | 0:03:19 | |
"Well, this will probably make a good memory." | 0:03:19 | 0:03:22 | |
Which is living in the future, discussing the past with someone | 0:03:26 | 0:03:29 | |
who, if they asked, "What did it feel like?" | 0:03:29 | 0:03:31 | |
"I don't know, I was thinking about what I'd say to you." | 0:03:31 | 0:03:34 | |
I think it comes from childhood. | 0:03:38 | 0:03:40 | |
When you're a child, you're free, you're in the moment, you're not worried. | 0:03:40 | 0:03:43 | |
It doesn't occur to you what other people might think of you. | 0:03:43 | 0:03:46 | |
You don't analyse every moment, you just live moment to moment, | 0:03:46 | 0:03:50 | |
and then something happens where you realise you have to think before you act. | 0:03:50 | 0:03:54 | |
We get taught we have to think before we act. | 0:03:54 | 0:03:57 | |
When I was 15 - and this happened when I was 15 - | 0:03:57 | 0:04:00 | |
but I think it's too odd a story if I was 15, so it's better if we say I was 11. | 0:04:00 | 0:04:04 | |
I was in my grandparents' house, and I used to have a good relationship with my grandma. | 0:04:06 | 0:04:10 | |
She used to really validate me in my life. | 0:04:10 | 0:04:13 | |
I used to do drawings and doodles, and she'd say, "That's nice!" I'd do another drawing, | 0:04:13 | 0:04:17 | |
"Oh, that's nice!" Another drawing, "Oh, that's nice!" And at one point, | 0:04:17 | 0:04:21 | |
I distrusted the consistency of her reviews. | 0:04:21 | 0:04:24 | |
So I did deliberately bad drawing to see what she would say. | 0:04:28 | 0:04:32 | |
She said, "Oh, that's nice." | 0:04:32 | 0:04:34 | |
And I thought, "I can't deal with this inauthentic sycophant." | 0:04:34 | 0:04:39 | |
So one day - and I know now that I did this because I wanted to do something | 0:04:42 | 0:04:46 | |
where she couldn't validate it, where she couldn't say, "Oh, that's nice!" | 0:04:46 | 0:04:50 | |
But when I did it, it was purely unconscious. It was in the moment. | 0:04:50 | 0:04:53 | |
One day I ran up to my grandma, | 0:04:53 | 0:04:56 | |
and I mooned my grandma. | 0:04:56 | 0:04:59 | |
But I was only 11, I'm just 11. | 0:05:02 | 0:05:05 | |
It wasn't even like a cheeky, playful little moon and run away - funny, funny. | 0:05:08 | 0:05:13 | |
It was a violent, bend over, "Here's my arsehole, Grandma," | 0:05:13 | 0:05:18 | |
and apparently a bit of balls as well. | 0:05:18 | 0:05:21 | |
She didn't say, "Oh, that's nice!" | 0:05:23 | 0:05:26 | |
Although I think she wanted to because she's generous and encouraging. | 0:05:26 | 0:05:30 | |
She just couldn't quite get there with my arsehole in her face. | 0:05:30 | 0:05:33 | |
She ended up saying, "Oh! OK." | 0:05:33 | 0:05:37 | |
It was still encouraging, still a sort of, "Oh, I see what you were going for." | 0:05:37 | 0:05:42 | |
So that's why I can't enjoy Paris. | 0:05:42 | 0:05:45 | |
I did fall in love about five years ago. | 0:05:49 | 0:05:52 | |
Fell in love five years ago, | 0:05:52 | 0:05:55 | |
but with somebody I invented, which isn't ideal. | 0:05:55 | 0:05:59 | |
And he was based on somebody who existed, | 0:06:00 | 0:06:03 | |
but because I had such low self-esteem, | 0:06:03 | 0:06:05 | |
I took every negative attribute I felt about myself, | 0:06:05 | 0:06:08 | |
converted those into positive attributes and projected those onto him. | 0:06:08 | 0:06:12 | |
Thus he would heal me and complete me in my life. | 0:06:12 | 0:06:16 | |
Initially I just liked him because he was really thin. I really like that. | 0:06:16 | 0:06:19 | |
Like, thinner than me - ill thin. | 0:06:19 | 0:06:22 | |
I don't know why I like that. | 0:06:22 | 0:06:25 | |
I just like the idea I could go on a date with someone, | 0:06:25 | 0:06:27 | |
and it could be their last date. | 0:06:27 | 0:06:29 | |
A lot of it is narcissism, really. | 0:06:34 | 0:06:37 | |
I realise my type is me, but better. | 0:06:37 | 0:06:41 | |
Which I think is OK. | 0:06:41 | 0:06:43 | |
I just need to find somebody who wants himself but much, much worse. | 0:06:43 | 0:06:48 | |
I went to see him in this play that he was in, | 0:06:52 | 0:06:54 | |
and he was really vulnerable on stage. | 0:06:54 | 0:06:57 | |
Vulnerability to me is quite sexually appealing. | 0:06:57 | 0:07:00 | |
You know there are people who are more like, "We know what we're doing, | 0:07:00 | 0:07:04 | |
"we've done it before, everything's fine." To me it's more sexy | 0:07:04 | 0:07:07 | |
if someone's a bit more, "Oh, I feel faint." You know? | 0:07:07 | 0:07:11 | |
It's hot, right? | 0:07:12 | 0:07:13 | |
I went to see this play on the press night, | 0:07:17 | 0:07:20 | |
so I could perhaps meet him afterwards. And weeks had been building up to this moment, | 0:07:20 | 0:07:25 | |
and all I could manage when I saw him at the party was a polite nod. | 0:07:25 | 0:07:29 | |
And I don't know if he saw it, he didn't nod back, | 0:07:29 | 0:07:32 | |
and then I felt awkward about approaching him at all. | 0:07:32 | 0:07:35 | |
And an hour went past and I couldn't approach him, then I saw him leave, | 0:07:35 | 0:07:40 | |
I saw him leave the theatre, | 0:07:40 | 0:07:42 | |
his rucksack on his back, his little beanie hat on his head. | 0:07:42 | 0:07:45 | |
And as he got further away, | 0:07:45 | 0:07:47 | |
it became harder and harder to move, and he was gone. | 0:07:47 | 0:07:50 | |
Gone. | 0:07:50 | 0:07:52 | |
Three weeks go by of sadness, pain, regret. | 0:07:52 | 0:07:57 | |
I've turned him into the only person I can possibly be with in my life. | 0:07:57 | 0:08:02 | |
A lot of it was ego. | 0:08:02 | 0:08:03 | |
I just felt like he was going to become a great actor, | 0:08:03 | 0:08:06 | |
and he could make people cry, and I could become a great comedian, | 0:08:06 | 0:08:10 | |
and make people laugh. And if we were together... | 0:08:10 | 0:08:13 | |
..we could be like a two-man Robin Williams. | 0:08:15 | 0:08:18 | |
All the talent of Robin Williams, | 0:08:23 | 0:08:27 | |
but in two separate thin men. | 0:08:27 | 0:08:30 | |
I didn't know how I was going to meet him again. | 0:08:34 | 0:08:38 | |
And then, I was in a shop in Covent Garden that sells vintage clothing, | 0:08:38 | 0:08:42 | |
and he was there, in the shop. | 0:08:42 | 0:08:46 | |
I felt in that moment that God had brought us together. | 0:08:46 | 0:08:50 | |
I don't feel that now so much, | 0:08:50 | 0:08:52 | |
because it feels like the thought of a deluded moron. | 0:08:52 | 0:08:55 | |
And I don't want to attack religious people who may be here this evening. | 0:08:55 | 0:08:59 | |
It feels like an unkind thing to do, to attack religious people, | 0:08:59 | 0:09:03 | |
and it feels too easy, and the battle's already been won. | 0:09:03 | 0:09:07 | |
LAUGHTER | 0:09:07 | 0:09:09 | |
APPLAUSE | 0:09:09 | 0:09:10 | |
It just feels rude. If you're at a party, | 0:09:11 | 0:09:15 | |
and someone says, "I'm a Christian, I'm a Muslim, I'm a Jew," it's very rude to say, | 0:09:15 | 0:09:19 | |
"Oh, how ridiculous!" | 0:09:19 | 0:09:21 | |
I feel at this point we have to treat people with kindness | 0:09:23 | 0:09:26 | |
and love and respect, in the same way you treat a child running around a party, | 0:09:26 | 0:09:30 | |
saying, "I'm a helicopter!" | 0:09:30 | 0:09:32 | |
APPLAUSE | 0:09:35 | 0:09:37 | |
You say, "Good for you! We're all having fun! I'm a choo-choo train!" | 0:09:41 | 0:09:46 | |
I'm not an atheist. I'm a big fan of Jesus Christ - | 0:09:49 | 0:09:52 | |
there's nobody more thin or vulnerable than Jesus Christ. | 0:09:52 | 0:09:55 | |
And he's bleeding as well, it's very clever of them. | 0:10:03 | 0:10:07 | |
But I'm not an atheist for this reason. | 0:10:09 | 0:10:12 | |
This is the main reason I'm not an atheist. | 0:10:12 | 0:10:14 | |
I think I'm God a bit, and here's why. | 0:10:14 | 0:10:17 | |
That actor was in that shop at the same time as me. | 0:10:21 | 0:10:24 | |
I don't believe in coincidence. | 0:10:24 | 0:10:25 | |
I think coincidence is a word we invented for something we don't quite understand yet. | 0:10:25 | 0:10:30 | |
I read a book called Illusions: Adventures Of A Reluctant Messiah. | 0:10:30 | 0:10:33 | |
On the cover of this book is a blue feather | 0:10:33 | 0:10:36 | |
cos the character/author of this book believes in the philosophy | 0:10:36 | 0:10:39 | |
"thinking makes it so" - we create our own reality. | 0:10:39 | 0:10:43 | |
He tests this by visualising a blue feather in his fingers. | 0:10:43 | 0:10:47 | |
He believes, like Buddhists, that everything has already been achieved. | 0:10:47 | 0:10:51 | |
If he feels he has the blue feather already, it will come to him | 0:10:51 | 0:10:54 | |
because there's nothing opposing that idea. Later in the book, it appears. | 0:10:54 | 0:10:57 | |
I tested this myself with a white feather. | 0:10:57 | 0:11:00 | |
I felt I had the white feather in my fingers. | 0:11:00 | 0:11:02 | |
Not that I needed or desired the white feather, it had already been achieved. | 0:11:02 | 0:11:06 | |
Later I was at a picnic, I put my hand in a packet of crisps, | 0:11:06 | 0:11:09 | |
which is something I wouldn't normally do. | 0:11:09 | 0:11:13 | |
I pulled out a crisp, with a white feather on. | 0:11:13 | 0:11:16 | |
Which is disgusting. | 0:11:18 | 0:11:20 | |
But there he was, in the shop. | 0:11:26 | 0:11:28 | |
I don't know how you feel, maybe you think, | 0:11:28 | 0:11:30 | |
"He walked into the shop at the same time as you with his own legs." | 0:11:30 | 0:11:34 | |
No, I put him in that shop with my God mind. | 0:11:34 | 0:11:37 | |
Now, some people will say, if we do create our own reality, | 0:11:40 | 0:11:43 | |
what about the Holocaust, what about victims of child abuse - | 0:11:43 | 0:11:46 | |
did they create that in their world? And the thing you have to understand about that | 0:11:46 | 0:11:50 | |
is... Ssssh! | 0:11:50 | 0:11:51 | |
For whatever reason he was in that shop, I knew I had to approach him | 0:11:56 | 0:12:00 | |
because this was a moment, and I couldn't have any more regret, um... | 0:12:00 | 0:12:05 | |
I also knew I couldn't go up to him with my personality. | 0:12:05 | 0:12:09 | |
I don't know if you can tell fully from the tone of my voice, | 0:12:10 | 0:12:14 | |
this is not a voice that lends itself to getting sex or relationships. | 0:12:14 | 0:12:17 | |
What you need is a less anxious, a cooler voice. | 0:12:19 | 0:12:23 | |
I don't know why there's so much anxiety in my life. | 0:12:23 | 0:12:26 | |
The other day, a guy approached me | 0:12:26 | 0:12:28 | |
and I wasn't sure if I'd met him before, and in the panic of the moment | 0:12:28 | 0:12:32 | |
I just said, "I've got that jumper." | 0:12:32 | 0:12:34 | |
And I didn't. | 0:12:37 | 0:12:38 | |
I went out with someone for quite a while who wasn't that keen | 0:12:41 | 0:12:45 | |
on that aspect of my personality. | 0:12:45 | 0:12:47 | |
And we were in a supermarket together, | 0:12:49 | 0:12:51 | |
and a friend of his, who I hadn't met before, approached us, | 0:12:51 | 0:12:55 | |
and because I hadn't met this guy before, I got instantly nervous. | 0:12:55 | 0:12:58 | |
The friend says, "What are you up to?" And I say, "A bit of shopping. | 0:12:58 | 0:13:02 | |
"We've got a pineapple." | 0:13:02 | 0:13:04 | |
An hour passes, and the boyfriend says to me, "What's wrong with you? | 0:13:05 | 0:13:10 | |
"Why do you always have to try to be so funny all the time?" | 0:13:10 | 0:13:14 | |
I said, "It wasn't funny - it was factual! There WAS a pineapple." | 0:13:14 | 0:13:18 | |
He said, "You deliberately chose the most humorous object in the trolley." | 0:13:18 | 0:13:23 | |
Well, I'm gifted. | 0:13:26 | 0:13:28 | |
I'm so awkward all the time - a ridiculous way to be. | 0:13:33 | 0:13:36 | |
But even though I believe that we're all one, | 0:13:36 | 0:13:40 | |
I still feel like a constant detachment, even with people I'm close to. | 0:13:40 | 0:13:44 | |
My mum and I have a good relationship, | 0:13:44 | 0:13:46 | |
but there's an inauthenticity to every conversation. | 0:13:46 | 0:13:49 | |
I feel like I should be able to tell her anything, but there's an awkwardness to it. | 0:13:49 | 0:13:53 | |
And I think it's because I came out of her vagina. that's sort of always there. | 0:13:53 | 0:13:59 | |
"Have you done your council tax, Simon?" | 0:13:59 | 0:14:01 | |
"I came out of your vagina, let's not pretend that's a normal thing to have happened. | 0:14:01 | 0:14:05 | |
"I came out of your vagina, I sucked on your tits - you want to talk about tax?" | 0:14:05 | 0:14:10 | |
With my grandma as well, still an awkwardness. | 0:14:16 | 0:14:19 | |
It's cos my mum came out of her, I came out of my mum - there's a Russian doll awkwardness. | 0:14:19 | 0:14:24 | |
I didn't want to be that person any more. | 0:14:30 | 0:14:32 | |
I didn't want to be that guy in front of this actor. In my ideal world, | 0:14:32 | 0:14:36 | |
I would have been able to go up to him and just say, "Hey, | 0:14:36 | 0:14:41 | |
"How are you? I saw your play the other week. It was great." | 0:14:41 | 0:14:45 | |
"Oh, thank you. | 0:14:45 | 0:14:46 | |
"Oh, of course, I remember the nod." | 0:14:46 | 0:14:49 | |
"Why are you crying?" | 0:14:53 | 0:14:55 | |
"I've got too many sinks." | 0:15:02 | 0:15:03 | |
APPLAUSE | 0:15:07 | 0:15:09 | |
"I don't know why, but I feel I need to ask you | 0:15:13 | 0:15:16 | |
"if you'd like to get some coffee with me or a juice or something. | 0:15:16 | 0:15:21 | |
"I don't know, maybe if that works out, | 0:15:21 | 0:15:23 | |
"we could move to the country together?" | 0:15:23 | 0:15:26 | |
"OK, well, let me just purchase this effortlessly cool cardigan | 0:15:28 | 0:15:32 | |
"and we can talk to an estate agent." | 0:15:32 | 0:15:35 | |
Here's what actually happened, because of my personality. | 0:15:39 | 0:15:44 | |
I saw him there, he hadn't seen me. He was a metre away from me. There. That thin | 0:15:44 | 0:15:49 | |
And, for some reason, what I thought would be really cool and seductive, | 0:15:54 | 0:15:58 | |
would be to just stand in the middle of the shop | 0:15:58 | 0:16:02 | |
and shout his full name. | 0:16:02 | 0:16:04 | |
He turned round, alarmed. I could see the terror in his eyes. | 0:16:05 | 0:16:10 | |
But I'd started at a certain volume, so it'd be odd to get quieter. | 0:16:10 | 0:16:13 | |
I'm just shouting at him about the good reviews that his play has had. | 0:16:13 | 0:16:17 | |
He's going, "Oh, I don't really read reviews." | 0:16:17 | 0:16:20 | |
He's all timid and vulnerable, which is why I love him! | 0:16:20 | 0:16:22 | |
And I think the difference between us, | 0:16:24 | 0:16:27 | |
because I think we were both quite shy as children... | 0:16:27 | 0:16:29 | |
I say "I think", I did a lot of research on him. | 0:16:29 | 0:16:31 | |
But he retained that shyness that makes him beautiful and sensitive. | 0:16:35 | 0:16:38 | |
I decided shyness was something to be overcome. | 0:16:38 | 0:16:41 | |
I think it's in our training. | 0:16:41 | 0:16:42 | |
He went to a really good acting school in London, where he was taught | 0:16:42 | 0:16:45 | |
to nourish his sensitivities, nurture his vulnerability. | 0:16:45 | 0:16:48 | |
That makes him a great actor. | 0:16:48 | 0:16:50 | |
I went to a Saturday morning stage school in Essex, | 0:16:50 | 0:16:53 | |
Where we were taught that whether we were singing, dancing or acting, | 0:16:53 | 0:16:56 | |
just do it loud. | 0:16:56 | 0:16:58 | |
So I didn't become good at any of those things. | 0:17:00 | 0:17:03 | |
But when I danced, people heard. | 0:17:03 | 0:17:06 | |
So I'm there, still shouting at him. | 0:17:14 | 0:17:17 | |
I realise I've got to make some sort of lasting connection with him. | 0:17:18 | 0:17:22 | |
It occurs to me to ask, "You must be very busy at the moment. Do you have a night off?" | 0:17:22 | 0:17:26 | |
He says, "I have Monday nights off." | 0:17:26 | 0:17:28 | |
I know of a very cool club night that happens on Mondays. | 0:17:28 | 0:17:31 | |
It's very cool to me, because it is such a contrast | 0:17:31 | 0:17:34 | |
to the Essex nightclub I went to for three years in Romford. | 0:17:34 | 0:17:38 | |
Three years, between the ages of 18 and 21. | 0:17:38 | 0:17:42 | |
Three years, every Saturday night in Romford. | 0:17:42 | 0:17:46 | |
Three years, every Saturday night in Romford. | 0:17:46 | 0:17:49 | |
Three years! | 0:17:49 | 0:17:52 | |
Because nobody told me | 0:17:52 | 0:17:55 | |
that London was close. | 0:17:55 | 0:17:58 | |
You had to wear black trousers to get in, black shoes, | 0:18:03 | 0:18:07 | |
an untucked shirt. I don't like it when the dress code is basic dick. | 0:18:07 | 0:18:12 | |
I think it's...it's restricting. | 0:18:12 | 0:18:15 | |
One time - I don't know if I was being rebellious or that it'd be OK - | 0:18:15 | 0:18:18 | |
I wore black trainers. I thought that'd be all right. | 0:18:18 | 0:18:21 | |
The bouncer looked at me and said, | 0:18:21 | 0:18:23 | |
"You can't come in like that. You look like you've come from a gym." | 0:18:23 | 0:18:26 | |
Which gym do I look like I've come from?! | 0:18:26 | 0:18:29 | |
He's such a basic human being, | 0:18:29 | 0:18:30 | |
to him there's only two forms of dress - club and gym. | 0:18:30 | 0:18:34 | |
But now I was in London, talking to this actor. | 0:18:37 | 0:18:40 | |
I suggest this wonderful avant-garde club on a Monday night. | 0:18:40 | 0:18:43 | |
which he hadn't heard of, which meant that I could say, | 0:18:43 | 0:18:46 | |
"Well, I'll e-mail you the details." | 0:18:46 | 0:18:48 | |
That casual. He said, | 0:18:48 | 0:18:50 | |
"OK." I then had his e-mail address. He gave me his e-mail address. | 0:18:50 | 0:18:53 | |
I'd triumphed over this fear of rejection, of being in the moment. | 0:18:53 | 0:18:57 | |
I had his e-mail address. | 0:18:57 | 0:18:59 | |
And then this final moment, where we seemed to level out. | 0:18:59 | 0:19:03 | |
Up until now I'd been his crazed, desperate fan. | 0:19:03 | 0:19:05 | |
Just as I was leaving, he said, "Do I know you from something?" | 0:19:05 | 0:19:10 | |
I said, in as quiet and modest a way as possible, | 0:19:10 | 0:19:12 | |
"I sort of do this small pop show on Channel 4. | 0:19:12 | 0:19:15 | |
"It's on early in the morning you haven't seen it." | 0:19:15 | 0:19:17 | |
Thinking that he might say, "Of course! You're really funny! | 0:19:17 | 0:19:21 | |
Not, "Oh, OK." | 0:19:21 | 0:19:24 | |
In the same tone as my grandma when I showed her my arsehole. | 0:19:24 | 0:19:27 | |
But I had his e-mail address. I went home | 0:19:32 | 0:19:35 | |
and I composed the most beautiful, funny little e-mail. | 0:19:35 | 0:19:40 | |
Six friends confirmed it was a beautiful, funny e-mail. | 0:19:40 | 0:19:44 | |
I pressed send. And this is very much the end of this story. | 0:19:46 | 0:19:50 | |
He never e-mailed back. | 0:19:52 | 0:19:53 | |
AUDIENCE: Aw! | 0:19:53 | 0:19:55 | |
Thank you. | 0:19:55 | 0:19:57 | |
Ideally, in this situation, laughter is better than pity. | 0:19:57 | 0:20:00 | |
But you're quite right. It's not a funny ending, is it? It's not funny. | 0:20:00 | 0:20:04 | |
He didn't e-mail back even something negative | 0:20:04 | 0:20:08 | |
that I could do something with. Just indifferent. | 0:20:08 | 0:20:12 | |
Not funny, is it? It's not funny. | 0:20:13 | 0:20:16 | |
So, not only did he ruin my life for five years... | 0:20:17 | 0:20:21 | |
..he's ruined this. | 0:20:23 | 0:20:24 | |
APPLAUSE | 0:20:26 | 0:20:28 | |
SOME CHEERING | 0:20:28 | 0:20:30 | |
Fucking Martin Clunes! | 0:20:35 | 0:20:37 | |
CHEERING | 0:20:40 | 0:20:42 | |
It's my fault for chasing this fantasy of this quiet, mysterious actor type. | 0:20:48 | 0:20:54 | |
That's what I have always gone for. Some sort of... | 0:20:54 | 0:20:57 | |
And I didn't know what it was, I didn't know why | 0:20:57 | 0:20:59 | |
I kept going for the same sort of weird, vulnerable, quiet person. | 0:20:59 | 0:21:03 | |
And then I realised it comes directly from being about 15 years old | 0:21:03 | 0:21:08 | |
and watching the teen drama My So-Called Life, | 0:21:08 | 0:21:12 | |
starring Jared Leto as Jordan Catalano. | 0:21:12 | 0:21:15 | |
CHEERING | 0:21:15 | 0:21:17 | |
You may whoop and cheer, but that programme has left me damaged! | 0:21:19 | 0:21:23 | |
Everyone I've ever gone for has been some version of Jordan Catalano. | 0:21:23 | 0:21:28 | |
I watched the DVD to see what I was to do about this. | 0:21:30 | 0:21:33 | |
And, er, I wanted to watch the DVD to see what it was about this character. | 0:21:33 | 0:21:39 | |
I figured that it was these three things. | 0:21:39 | 0:21:42 | |
Number one, he has about four lines in every episode. | 0:21:42 | 0:21:47 | |
Number two, he has long hair that sometimes falls over an eye. | 0:21:47 | 0:21:53 | |
And he'll tuck it behind his ear. | 0:21:55 | 0:21:57 | |
Which is amazing, isn't it? It's just amazing. | 0:21:59 | 0:22:02 | |
And the third thing is that his main character trait | 0:22:04 | 0:22:08 | |
is that he is dyslexic. | 0:22:08 | 0:22:10 | |
And that's all I've ever wanted. | 0:22:10 | 0:22:13 | |
A near mute, | 0:22:13 | 0:22:17 | |
with long hair | 0:22:17 | 0:22:19 | |
and learning difficulties. | 0:22:19 | 0:22:22 | |
CHEERING | 0:22:22 | 0:22:24 | |
There's nothing wrong with those things. I don't want to offend anyone. | 0:22:24 | 0:22:27 | |
If that describes you in any way, I'd like to meet you. | 0:22:27 | 0:22:31 | |
Recently, I went to see a play in which there was an actor that I fancied, | 0:22:33 | 0:22:38 | |
because if you don't seek some therapy, life repeats. | 0:22:38 | 0:22:42 | |
This time, I was slightly better connected, I knew the playwright. We went to eat after the play. | 0:22:43 | 0:22:49 | |
I was sat next to the actor I fancied, talking to him | 0:22:49 | 0:22:51 | |
about some of the things we're discussing tonight. | 0:22:51 | 0:22:54 | |
Thinking makes it so - we can create our own reality. | 0:22:54 | 0:22:56 | |
Even if you don't buy into that in a spiritual sense, you see we live in a culture | 0:22:56 | 0:23:00 | |
where you can order stuff online and it comes within the next day or two. We live like that now. | 0:23:00 | 0:23:05 | |
So it's frustrating to not be able to order a specific human being | 0:23:05 | 0:23:08 | |
and have them come towards you. He says, "Who do you want?" | 0:23:08 | 0:23:11 | |
I say, and I hadn't thought about this for a while, | 0:23:11 | 0:23:14 | |
I say, "I want Jared Leto!" | 0:23:14 | 0:23:17 | |
He then says, in that moment, "I just did a film with Jared Leto, | 0:23:17 | 0:23:21 | |
"where I played the younger version of his character." | 0:23:21 | 0:23:25 | |
I didn't know what to do with that. | 0:23:29 | 0:23:31 | |
I'd only just ordered him. | 0:23:31 | 0:23:34 | |
He then says, out of his mouth, | 0:23:40 | 0:23:43 | |
"Do you want to see a sex scene I did as the young Jared Leto?" | 0:23:43 | 0:23:48 | |
I say, "Yes." | 0:23:50 | 0:23:53 | |
He pulls out his iPhone, | 0:23:53 | 0:23:55 | |
shows me himself having sex as Jared Leto, | 0:23:55 | 0:23:59 | |
with long hair and naked, and I say, "Oh, that's nice." | 0:23:59 | 0:24:03 | |
It's so close to the fantasy, I don't know what to do. The root fantasy! | 0:24:06 | 0:24:09 | |
That's the young Jared Leto. It's even closer to the fantasy | 0:24:09 | 0:24:12 | |
than the actual Jared Leto in real life now, | 0:24:12 | 0:24:15 | |
who, oddly, I met about three years ago in Thailand at a full moon party. I didn't realise it was him. | 0:24:15 | 0:24:20 | |
I thought it was someone who looked like him, so I said to him, | 0:24:20 | 0:24:23 | |
"You look a lot like Jared Leto. Do you know who Jared Leto is?" | 0:24:23 | 0:24:26 | |
He said, "I am Jared Leto." I wasn't ready for that. | 0:24:26 | 0:24:29 | |
So, all I could manage to say was... | 0:24:33 | 0:24:37 | |
.."Your beauty in Requiem For A Dream detracted from the narrative." | 0:24:39 | 0:24:44 | |
He thanked me and walked away. | 0:24:52 | 0:24:54 | |
This was so close to the fantasy. | 0:24:58 | 0:25:00 | |
Also, there was the fear of rejection, as there always is. | 0:25:00 | 0:25:03 | |
I felt there was a flirty vibe between us, but wasn't sure. And I have to be sure. | 0:25:03 | 0:25:07 | |
Running up the Champs-Elysees with the people in Paris, | 0:25:07 | 0:25:09 | |
one asked if he could come back to my hotel room that night. | 0:25:09 | 0:25:12 | |
He said the Metro wouldn't get him back to his hotel. | 0:25:12 | 0:25:15 | |
I knew he was making that up, and liked me a bit, but I didn't know. | 0:25:15 | 0:25:18 | |
We were in my hotel room under the covers, half naked, I'm still going, | 0:25:18 | 0:25:22 | |
"My God, but what is this? I don't know what this is. | 0:25:22 | 0:25:24 | |
"What is this? My penis is in his mouth, but is he joking?" | 0:25:24 | 0:25:27 | |
It was too close to the fantasy. There was a fear of rejection, I didn't know what to do. | 0:25:34 | 0:25:38 | |
So I did what I always do - I ignored him completely, became friends with somebody he knows quite well | 0:25:38 | 0:25:44 | |
and now, every Sunday, she is teaching me piano. | 0:25:44 | 0:25:48 | |
It's too close to the fantasy, it was too much for me. | 0:25:50 | 0:25:53 | |
I should've remembered what my mum used to say about how you can be or do anything you want in this life, | 0:25:53 | 0:25:58 | |
because everyone you see on TV or on film, | 0:25:58 | 0:26:01 | |
they all shit! | 0:26:01 | 0:26:03 | |
She used to say that a lot. | 0:26:05 | 0:26:07 | |
She would point at the television and say... | 0:26:07 | 0:26:11 | |
"Shit comes out of them. | 0:26:11 | 0:26:12 | |
"You'll be a star." | 0:26:14 | 0:26:16 | |
I feel like we're all damaged, in a way. We're all sort of damaged. | 0:26:20 | 0:26:24 | |
You're damaged. We're all damaged. You look quite damaged. You damaged? | 0:26:24 | 0:26:28 | |
A little bit, yeah. | 0:26:28 | 0:26:31 | |
And I don't mind that so much. | 0:26:31 | 0:26:34 | |
I feel like that's where the good stuff comes from. | 0:26:34 | 0:26:37 | |
Comedy exists, because we have tragedy. | 0:26:37 | 0:26:40 | |
That's the way it works - tragedy, plus time, equals comedy, | 0:26:40 | 0:26:43 | |
although I realised what the formula really should be | 0:26:43 | 0:26:46 | |
is tragedy, plus time, plus joke. | 0:26:46 | 0:26:49 | |
You can't just be involved in an horrific tragedy | 0:26:51 | 0:26:55 | |
and wait. | 0:26:55 | 0:26:57 | |
And I feel special in some way, if I feel broken. | 0:27:01 | 0:27:05 | |
If I'm broken, there's a journey to be healed, a journey to be fixed. | 0:27:05 | 0:27:09 | |
I feel like I'm an interesting, unique human being. | 0:27:09 | 0:27:12 | |
In the meaningless of it all, I feel unique, I feel special. | 0:27:12 | 0:27:15 | |
I like that I've got an osteopath appointment once a month, | 0:27:15 | 0:27:18 | |
where I go because I've got bad posture. | 0:27:18 | 0:27:20 | |
Something happened in my past | 0:27:20 | 0:27:22 | |
and I guess this man is healing me each month, | 0:27:22 | 0:27:25 | |
bringing me to some sort of neutral state. Some pure, neutral state. | 0:27:25 | 0:27:29 | |
I asked him, because he's quite a sensitive, sweet man, "Why did I end up with bad posture? | 0:27:29 | 0:27:33 | |
"Is it because I was quite shy as kid and I ended up trying to make myself invisible from the other children? | 0:27:33 | 0:27:38 | |
"I ended up all hunched over and scared?" | 0:27:38 | 0:27:40 | |
Even though what I do now is extrovert, still, inside, | 0:27:40 | 0:27:44 | |
I'm the same scared, crying child. I said, | 0:27:44 | 0:27:46 | |
"What's wrong with me? Why did this happen to me? What is wrong with me?" | 0:27:46 | 0:27:50 | |
He said, "You have very tight hamstrings." | 0:27:50 | 0:27:53 | |
Yeah, but isn't it more that I'm a genius recluse? Isn't that the...? | 0:27:59 | 0:28:03 | |
"No, the tendons behind your knees are quite restricted." | 0:28:03 | 0:28:06 | |
"But isn't that the physical manifestation of a tortured soul?" | 0:28:06 | 0:28:10 | |
"No, it's your legs." | 0:28:10 | 0:28:11 | |
Similarly, I got ill few weeks ago, and this happened the day before. | 0:28:14 | 0:28:18 | |
I've got a cat. Obviously, I've got a cat. | 0:28:18 | 0:28:21 | |
I really thought the cat would end my loneliness. | 0:28:23 | 0:28:26 | |
It has only become a mascot for my loneliness. | 0:28:26 | 0:28:29 | |
So if anyone does come round, they go, "Oh, you've got a cat, are you quite lonely? | 0:28:29 | 0:28:33 | |
What's he called?" | 0:28:33 | 0:28:35 | |
"Solitude." | 0:28:35 | 0:28:36 | |
APPLAUSE | 0:28:37 | 0:28:41 | |
I woke up and the cat had peed on my bed. | 0:28:43 | 0:28:48 | |
Because I was still half asleep, | 0:28:48 | 0:28:49 | |
I ended up putting my hand in the cat's pee. | 0:28:49 | 0:28:53 | |
I then went to grab the cat to put its head in its pee. | 0:28:53 | 0:28:55 | |
Not as an act of revenge. My mum had just told me | 0:28:55 | 0:28:58 | |
that's how you teach it not to do it again. | 0:28:58 | 0:29:00 | |
It doesn't work. It doesn't remember the great moral lesson of Tuesday. | 0:29:00 | 0:29:05 | |
It just ends up with a head covered in its own pee, | 0:29:05 | 0:29:07 | |
wandering around, wondering how that could have happened. | 0:29:07 | 0:29:11 | |
In the process of grabbing the cat, the cat scratched my hand. | 0:29:12 | 0:29:15 | |
The same hand where the pee was. | 0:29:15 | 0:29:17 | |
There was then some blood coming out of my hand, | 0:29:17 | 0:29:19 | |
and maybe some pee getting into my bloodstream. And I thought, | 0:29:19 | 0:29:24 | |
"I've got cat AIDS." | 0:29:24 | 0:29:25 | |
I tried not to think that cos I believe that thinking makes it so. | 0:29:30 | 0:29:34 | |
I woke up the next morning | 0:29:37 | 0:29:38 | |
and I couldn't stop vomiting into my toilet. | 0:29:38 | 0:29:41 | |
So violent was the vomit, it was going into my toilet, | 0:29:41 | 0:29:43 | |
it was all around the toilet as well, splattering all over the floor. | 0:29:43 | 0:29:47 | |
My cat came and put my head in the vomit. | 0:29:47 | 0:29:50 | |
I felt so weak and thin and pale. | 0:29:54 | 0:29:57 | |
I saw myself in the mirror, I thought, | 0:29:57 | 0:29:59 | |
"He's hot." | 0:29:59 | 0:30:01 | |
APPLAUSE | 0:30:02 | 0:30:06 | |
On the way to the doctor, I wondered, | 0:30:06 | 0:30:08 | |
"Should I mention what happened with the cat?" | 0:30:08 | 0:30:12 | |
I felt a bit embarrassed about it, but I thought it could be relevant, | 0:30:12 | 0:30:16 | |
it could be relevant to what happened this morning. | 0:30:16 | 0:30:19 | |
I told her about the vomiting and I said, | 0:30:19 | 0:30:21 | |
"I don't know if this is anything but my cat yesterday peed on my bed. | 0:30:21 | 0:30:24 | |
"Some got on my hand and there was blood. I don't know... | 0:30:24 | 0:30:27 | |
"I've heard about cat AIDS." | 0:30:27 | 0:30:30 | |
She looked at me... | 0:30:37 | 0:30:39 | |
in a way that I thought doctors were trained not to look at patients. | 0:30:39 | 0:30:44 | |
"No, there's no way you could have cat AIDS. | 0:30:49 | 0:30:54 | |
"You're not a cat." | 0:30:59 | 0:31:01 | |
The problem is that we feel like were living into the future. | 0:31:04 | 0:31:07 | |
Really what we're doing is living into the past. | 0:31:07 | 0:31:10 | |
We're constantly repeating moments from the past, hoping for better endings. | 0:31:10 | 0:31:14 | |
When I'm with my family I feel like if I can just heal the past, | 0:31:14 | 0:31:17 | |
maybe then I can live in possibility, then the future can be a blank page | 0:31:17 | 0:31:21 | |
where anything could happen. Until that point, | 0:31:21 | 0:31:24 | |
I'm going to repeat moments from the past. | 0:31:24 | 0:31:26 | |
It was recently my grandpa's birthday party, his 70th, | 0:31:26 | 0:31:29 | |
at this restaurant in Essex. Everyone was there, | 0:31:29 | 0:31:32 | |
apart from my brother's girlfriend, who he's been with for four years. | 0:31:32 | 0:31:36 | |
She was not there on account of a couple of the family members | 0:31:36 | 0:31:40 | |
having a problem with her not being a Jew. | 0:31:40 | 0:31:43 | |
We mustn't judge them for this. | 0:31:43 | 0:31:45 | |
This is just because they, personally, | 0:31:45 | 0:31:49 | |
have a very strong belief in racism. | 0:31:49 | 0:31:52 | |
And that's their belief. What can you do? Nothing. | 0:31:56 | 0:31:59 | |
You're very lucky in Ireland, I don't suppose you've ever had | 0:31:59 | 0:32:02 | |
any sort of religious conflict or anything. | 0:32:02 | 0:32:05 | |
It's a nightmare, it's a nightmare. | 0:32:05 | 0:32:08 | |
You can't imagine, you can't imagine, Dublin... | 0:32:08 | 0:32:11 | |
That's their belief. | 0:32:16 | 0:32:18 | |
And we mustn't judge them because they live in Essex, | 0:32:18 | 0:32:21 | |
where there's not much to do. So there's a lot more time for racism. | 0:32:21 | 0:32:24 | |
I live in London now. God, if I had the time. | 0:32:24 | 0:32:27 | |
But every day, I'm walking through Oxford Street, | 0:32:27 | 0:32:30 | |
I see people from ethnic minorities, I think, "I should do something," but I'm so busy. | 0:32:30 | 0:32:34 | |
And you know, it's unfair for me just to be on the stage attacking them. | 0:32:36 | 0:32:40 | |
They have their perspective. | 0:32:40 | 0:32:41 | |
They were just trying to protect their children. | 0:32:41 | 0:32:44 | |
As they saw it, it was a bad example to their children. | 0:32:44 | 0:32:47 | |
They could end up marrying gentiles, and their kids wouldn't be Jewish. | 0:32:47 | 0:32:50 | |
Then they wouldn't be able to go to a Jewish school and then where would they learn paranoia? | 0:32:50 | 0:32:56 | |
And nobody's ever caused a drama about this in the family. | 0:32:56 | 0:32:59 | |
We just sort of try to keep the peace, | 0:32:59 | 0:33:01 | |
we try not to say anything about it | 0:33:01 | 0:33:03 | |
because it's genuinely believed in this family | 0:33:03 | 0:33:05 | |
that when my mum got divorced, which was quite a drama, it was the direct reason | 0:33:05 | 0:33:09 | |
for my grandpa becoming diabetic, so no-one's allowed to say anything. | 0:33:09 | 0:33:13 | |
So they say these offensive things and I'm sat there going, | 0:33:13 | 0:33:17 | |
"If this was being televised, people would boo you." | 0:33:17 | 0:33:20 | |
And then, near the end of the dinner, | 0:33:22 | 0:33:25 | |
because I've been on a few courses to try and make my life happier, | 0:33:25 | 0:33:29 | |
I say to these members of my family, in a sort of sweet and polite | 0:33:29 | 0:33:35 | |
a way as possible, "Isn't it a shame that my brother | 0:33:35 | 0:33:38 | |
"couldn't bring his girlfriend tonight? Isn't it sort of a shame?" | 0:33:38 | 0:33:42 | |
So they get quite defensive, and say, | 0:33:42 | 0:33:44 | |
"We thought she would be here. Why isn't she here?" | 0:33:44 | 0:33:46 | |
And I say, "Oh, isn't it because of that time | 0:33:46 | 0:33:50 | |
"that you said, 'She can't be here?' " | 0:33:50 | 0:33:53 | |
And I ask, "Just explain to me, | 0:33:56 | 0:34:01 | |
"why is the belief more important than the feelings of a human being?" | 0:34:01 | 0:34:05 | |
And it's so sad cos she's a brunette. She could pass. | 0:34:05 | 0:34:09 | |
And then my brother comes over and just start swearing at them | 0:34:12 | 0:34:15 | |
and it becomes a bit intense and I say, "No, it's all right, | 0:34:15 | 0:34:19 | |
"Calm down, I've been on a course." | 0:34:19 | 0:34:22 | |
And this is at the point when the cake is supposed to come, | 0:34:22 | 0:34:25 | |
we should be singing Happy birthday, and now my grandpa is crying, | 0:34:25 | 0:34:28 | |
partly because of the drama I created | 0:34:28 | 0:34:30 | |
and partly because he can't eat the cake. | 0:34:30 | 0:34:33 | |
And it's a tricky business, the whole thing's the tricky business. | 0:34:38 | 0:34:41 | |
It's then suggested that we go back to my mum's house | 0:34:41 | 0:34:44 | |
and resolve this and I feel very awkward about the whole thing | 0:34:44 | 0:34:47 | |
because we don't have drama in this family and now I've created one | 0:34:47 | 0:34:50 | |
and I've got to resolve it. We've got to debate about who's right or wrong, | 0:34:50 | 0:34:54 | |
and as a child, I was quite into debate and opinions, | 0:34:54 | 0:34:58 | |
and now I just feel like debate and politics is the opposite of truth, | 0:34:58 | 0:35:01 | |
the opposite of beauty, the opposite of joy. | 0:35:01 | 0:35:04 | |
What I was younger, I went to see the Vanessa Feltz talk show being filmed. | 0:35:04 | 0:35:08 | |
There's nothing we can do. It happened, it happened. | 0:35:09 | 0:35:13 | |
The subject up for debate that day was, "Should I murder my husband?" | 0:35:13 | 0:35:17 | |
At the beginning of the show, the floor manager told us, | 0:35:20 | 0:35:23 | |
"The best opinion today will win a bottle of champagne." | 0:35:23 | 0:35:26 | |
So there's everything to play for. | 0:35:26 | 0:35:28 | |
Should she or shouldn't she murder her husband? | 0:35:28 | 0:35:31 | |
20 minutes go by and people say some very interesting things. | 0:35:31 | 0:35:34 | |
And I, at about 14 years old, stand up and say, | 0:35:34 | 0:35:38 | |
"I think you shouldn't murder your husband | 0:35:38 | 0:35:41 | |
"cos you could go to prison." | 0:35:41 | 0:35:43 | |
And I won a bottle of champagne. | 0:35:43 | 0:35:46 | |
APPLAUSE | 0:35:46 | 0:35:49 | |
And whether it's a lowbrow, stupid, | 0:35:51 | 0:35:53 | |
daytime TV show debate like that or a highbrow, Question Time | 0:35:53 | 0:35:57 | |
political debate, it's the same inane, | 0:35:57 | 0:36:00 | |
nonsensical, cyclical, boring topics. And we go round and round in circles | 0:36:00 | 0:36:05 | |
debating the same things over and over again. | 0:36:05 | 0:36:07 | |
Somehow we take out logic and prior knowledge from our collective minds. | 0:36:07 | 0:36:11 | |
I think it's quite similar to what happened to me | 0:36:11 | 0:36:14 | |
when I did magic mushrooms a few years ago. | 0:36:14 | 0:36:17 | |
Somehow I was able to say to my friend, on mushrooms, | 0:36:17 | 0:36:21 | |
and I think it's the sort of conversation we all have constantly, | 0:36:21 | 0:36:24 | |
that stops us from progressing at the speed that we could. | 0:36:24 | 0:36:27 | |
"Isn't it odd how when you say to someone, | 0:36:27 | 0:36:29 | |
" 'Oh, do you want to meet up for some dinner next Thursday?,' | 0:36:29 | 0:36:32 | |
"the dinner is a lie? What you're really saying is, | 0:36:32 | 0:36:34 | |
" 'It'd be nice to meet up. I haven't seen you for ages.' Why do we have this dinner cover? | 0:36:34 | 0:36:39 | |
"How do you know how hungry you'll be on Thursday? | 0:36:39 | 0:36:41 | |
"Why can't we say, 'It'd be nice to meet up'? There should be a place to meet, | 0:36:41 | 0:36:45 | |
"the meeting place, an indoor place, you walk in, sit down, | 0:36:45 | 0:36:48 | |
"there's just chairs, you sit down and you look at each other and you meet | 0:36:48 | 0:36:52 | |
"and it's truthful, it's authentic, it's beautiful." | 0:36:52 | 0:36:55 | |
And then I thought, "After about half an hour there, | 0:36:55 | 0:36:58 | |
"you could get a bit hungry." | 0:36:58 | 0:37:00 | |
And I invented the restaurant. | 0:37:03 | 0:37:05 | |
APPLAUSE | 0:37:05 | 0:37:08 | |
So I didn't want have this debate with my family, | 0:37:09 | 0:37:12 | |
who was right or wrong. It's a very difficult thing. | 0:37:12 | 0:37:15 | |
We continue to debate because there's no truth, just perspective. | 0:37:15 | 0:37:18 | |
Their prospective was that it was a misunderstanding | 0:37:18 | 0:37:21 | |
and the one time they met her, she hadn't said hello to THEM, | 0:37:21 | 0:37:25 | |
and I had to explain that she was the shy new guest | 0:37:25 | 0:37:27 | |
coming into this family. We are hosting HER, | 0:37:27 | 0:37:30 | |
WE have to say hello first. That's how it works. | 0:37:30 | 0:37:33 | |
I don't know if I only know that from presenting TV shows, | 0:37:33 | 0:37:35 | |
where you start with "Hello and welcome to the show", | 0:37:35 | 0:37:38 | |
you don't stare at the audience. | 0:37:38 | 0:37:41 | |
I had to explain it to them like they were children. | 0:37:46 | 0:37:48 | |
I said, why can't we learn from Lumiere, the candlestick holder from Beauty and the Beast, | 0:37:48 | 0:37:53 | |
who sang Be Our Guest, Be Our Guest, not Is She A Jew? | 0:37:53 | 0:37:58 | |
APPLAUSE | 0:37:58 | 0:38:01 | |
But this is unfair because I realised in everything I was saying, | 0:38:02 | 0:38:05 | |
what was underneath my words was essentially, | 0:38:05 | 0:38:08 | |
"Why can't you just be less judgmental and more like me?" | 0:38:08 | 0:38:11 | |
which is judgmental. | 0:38:11 | 0:38:13 | |
And arrogant to try and change someone's perspective | 0:38:14 | 0:38:17 | |
just so that the world can seem better for you. | 0:38:17 | 0:38:20 | |
It's important that we have these contrasts. | 0:38:20 | 0:38:22 | |
Nothing gets created from things being the same. | 0:38:22 | 0:38:25 | |
It's from life's contrasts that anything happens. | 0:38:25 | 0:38:28 | |
I realised in the end that I couldn't change them, | 0:38:28 | 0:38:30 | |
all I could do was change my perspective on them | 0:38:30 | 0:38:33 | |
and then move on with my life. All you can really do in your life | 0:38:33 | 0:38:36 | |
is change yourself and that's hard enough. | 0:38:36 | 0:38:38 | |
I really wanted to change myself a lot last year | 0:38:38 | 0:38:40 | |
cos I felt I wasn't getting enough sex. | 0:38:40 | 0:38:43 | |
And that's a fun thing to do. Is a shame not to have more of it. | 0:38:43 | 0:38:46 | |
And the reason I wasn't achieving the getting of more sex | 0:38:46 | 0:38:51 | |
was because I would see somebody at a party I really liked | 0:38:51 | 0:38:54 | |
and I'd think, "Gosh, well, he seems just about perfect. | 0:38:54 | 0:38:58 | |
"Who knows what could happen? I could end up spending my life with him." | 0:38:58 | 0:39:02 | |
And what I would do every time to woo him, to pursue him, | 0:39:02 | 0:39:05 | |
to make him see that I was the one for him, | 0:39:05 | 0:39:07 | |
is I would go home and hope that I saw him again. | 0:39:07 | 0:39:11 | |
Because, for me, to go up to someone and say, "Hello, what's your name?" | 0:39:13 | 0:39:18 | |
a perfectly lovely question, nothing wrong with that question. | 0:39:18 | 0:39:21 | |
It's a delightful, curious question, | 0:39:21 | 0:39:23 | |
but to me it would definitely come out like | 0:39:23 | 0:39:25 | |
CREEPY VOICE: "Hello, what's your name?" | 0:39:25 | 0:39:27 | |
So I couldn't talk to people. I couldn't talk to people. | 0:39:31 | 0:39:35 | |
And then I saw the film Waking Life. | 0:39:35 | 0:39:37 | |
I don't know if you've seen it but one line stood out for me. | 0:39:37 | 0:39:40 | |
"Actual self-awareness is the knowledge | 0:39:40 | 0:39:43 | |
"that you're a character in someone else's dream." | 0:39:43 | 0:39:47 | |
I love this idea that it could all be a dream, somebody else's dream. | 0:39:47 | 0:39:52 | |
It makes everything so silly. | 0:39:52 | 0:39:54 | |
There's no need to fear anything, no need to feel anxious about anything. | 0:39:54 | 0:39:58 | |
It's all a dream and if you're playing a character that isn't serving you, | 0:39:58 | 0:40:02 | |
that shy, anxious character who can't talk to people, | 0:40:02 | 0:40:05 | |
let go of the character. Become a different character. | 0:40:05 | 0:40:08 | |
I was out with a friend, walking through the streets of North London | 0:40:08 | 0:40:11 | |
on a Sunday afternoon. In the time that we were together, | 0:40:11 | 0:40:15 | |
he got the phone numbers of about four different girls. | 0:40:15 | 0:40:18 | |
His thing is he's able to go to girls and say "Hello, what's your name?" | 0:40:18 | 0:40:21 | |
They exchanged phone numbers and then later, they have sex. | 0:40:21 | 0:40:25 | |
That's a better system than mine. | 0:40:25 | 0:40:28 | |
I said, "You've got to do this for me." | 0:40:28 | 0:40:30 | |
He then spots this guy that I've been looking at | 0:40:30 | 0:40:33 | |
and before I can run away scared of what might occur, | 0:40:33 | 0:40:35 | |
he just saunters up to this guy and says "Hello, young man. | 0:40:35 | 0:40:40 | |
"You look like a fun chap. What are you up to today in your life?" | 0:40:40 | 0:40:44 | |
And this young student guy says, "I'm meeting some friends in the park." | 0:40:44 | 0:40:49 | |
And my friend says, "Well, we must join you." | 0:40:49 | 0:40:52 | |
And for some reason, this guy doesn't say... | 0:40:57 | 0:41:00 | |
"Why?" | 0:41:00 | 0:41:01 | |
I think it's cos my friend said, "We must." | 0:41:03 | 0:41:06 | |
And so he went, "Oh, well, if you're in charge of the world, OK." | 0:41:06 | 0:41:09 | |
Cos that's what my friend's putting out, | 0:41:10 | 0:41:12 | |
that his character can grab someone from the universe, | 0:41:12 | 0:41:15 | |
throw them in his hot tub and fuck them. | 0:41:15 | 0:41:18 | |
We're now sat in this park with these people | 0:41:20 | 0:41:23 | |
and everyone's acting nonchalant, like it's a normal thing to have happened. | 0:41:23 | 0:41:26 | |
But at least in my head, I'm screaming, | 0:41:26 | 0:41:29 | |
"But we're all strangers!" | 0:41:29 | 0:41:30 | |
I try to chat up the one that I like. I say... | 0:41:34 | 0:41:38 | |
"You look like the cool one in the group." | 0:41:38 | 0:41:41 | |
Because I don't know how to talk to humans. | 0:41:46 | 0:41:49 | |
So my friend then rescues me and says, | 0:41:51 | 0:41:53 | |
"Why don't you two exchange phone numbers now? | 0:41:53 | 0:41:56 | |
"We must move on with our lives." | 0:41:56 | 0:41:58 | |
So we do exchange phone numbers because he's told us to. | 0:41:58 | 0:42:02 | |
We walk away and I acknowledge | 0:42:02 | 0:42:04 | |
that what's happened has been quite special. | 0:42:04 | 0:42:07 | |
Generally in life, we feel we're in control | 0:42:07 | 0:42:10 | |
but we're just ants wandering around, | 0:42:10 | 0:42:12 | |
hoping to avoid bumping into each other, as humans, | 0:42:12 | 0:42:15 | |
hoping to avoid doing anything that might embarrass us, | 0:42:15 | 0:42:18 | |
and this was a moment of grabbing a moment from the universe | 0:42:18 | 0:42:21 | |
without any fear. We're not in control of our lives, | 0:42:21 | 0:42:24 | |
you're not in control of your lives. | 0:42:24 | 0:42:26 | |
I aware half of the people in here are only here because the person next to you likes me. | 0:42:26 | 0:42:31 | |
WHOOPS AND APPLAUSE | 0:42:31 | 0:42:35 | |
Maybe more than half, maybe... | 0:42:37 | 0:42:40 | |
And I'm not in control of my life. Even being here tonight, | 0:42:44 | 0:42:48 | |
it's just that something happened in my childhood, a moment of fear, | 0:42:48 | 0:42:51 | |
I responded with something funny and that worked. | 0:42:51 | 0:42:54 | |
So I carried on and now I'm here talking to you, | 0:42:54 | 0:42:56 | |
into a microphone... QUIET: ..which I don't need. | 0:42:56 | 0:42:59 | |
Just cos it gives the impression I'm definitely a stand-up comedian. | 0:42:59 | 0:43:03 | |
Otherwise... | 0:43:03 | 0:43:04 | |
QUIET: I'm just a man standing. | 0:43:04 | 0:43:07 | |
APPLAUSE | 0:43:07 | 0:43:10 | |
And unless you grab these moments, | 0:43:14 | 0:43:17 | |
life just is cyclical and repetitive. | 0:43:17 | 0:43:19 | |
Do you know what I was thinking about | 0:43:19 | 0:43:21 | |
when I was in the toilet the other morning? | 0:43:21 | 0:43:24 | |
"Again?! It's always the same, isn't it?" | 0:43:24 | 0:43:27 | |
Once, about six years ago, I had a green shit. | 0:43:27 | 0:43:29 | |
Once. | 0:43:29 | 0:43:30 | |
And it looked at me as if to say, | 0:43:32 | 0:43:35 | |
"Perhaps everything will be different now". | 0:43:35 | 0:43:37 | |
It wasn't. It wasn't. | 0:43:39 | 0:43:41 | |
Goatee beard, huh? | 0:43:42 | 0:43:44 | |
Do you think that's going to help? | 0:43:45 | 0:43:48 | |
I don't know, you think, you shave that bit and that bit, | 0:43:48 | 0:43:51 | |
and we're all still going to die. | 0:43:51 | 0:43:53 | |
So I asked my friend, "What do you want me to do now? | 0:43:57 | 0:44:00 | |
"Text him next week and see what he's up to?" | 0:44:00 | 0:44:02 | |
He said, "No! Just text him now and see what he's doing tonight." | 0:44:02 | 0:44:07 | |
I said, "This is a bit keen. Shouldn't I play hard to get a bit?" | 0:44:07 | 0:44:10 | |
He said, "You don't play hard to get. You just picked someone up in a park!" | 0:44:10 | 0:44:14 | |
And he was right. This stupid game based on fear, this hard-to-get game. | 0:44:16 | 0:44:20 | |
We don't play it in any other area of our lives. | 0:44:20 | 0:44:22 | |
In a supermarket, if you think, "I fancy potatoes," | 0:44:22 | 0:44:25 | |
you don't go, "Oh, best to avoid eye contact." | 0:44:25 | 0:44:27 | |
You grab the potato, bloody eat it. | 0:44:29 | 0:44:31 | |
The only difference between a potato and a person is a fear of rejection. | 0:44:31 | 0:44:34 | |
That's not the only difference. | 0:44:34 | 0:44:36 | |
Everything's a choice between fear and love. | 0:44:39 | 0:44:41 | |
We may as well choose love, because death is coming. | 0:44:41 | 0:44:44 | |
Death is coming. | 0:44:44 | 0:44:47 | |
Death is coming. | 0:44:47 | 0:44:48 | |
So I texted him there and then, because death... | 0:44:49 | 0:44:54 | |
is coming. | 0:44:54 | 0:44:55 | |
And he was free that night. He was free that night. | 0:44:57 | 0:45:01 | |
We were going on a date that night. | 0:45:01 | 0:45:02 | |
We'd met that day, we were going on this date that night. | 0:45:02 | 0:45:06 | |
I feel alive, I feel like I'm living some sort of dreamlike existence. | 0:45:06 | 0:45:11 | |
My friend then gives me tips on how to have sex with him that evening, | 0:45:11 | 0:45:15 | |
because that is what this is about, grabbing this moment from the universe | 0:45:15 | 0:45:19 | |
without judgment or fear. | 0:45:19 | 0:45:20 | |
We still judge ourselves on sex, and we add so much meaning to it, | 0:45:20 | 0:45:24 | |
as we add meaning to everything. | 0:45:24 | 0:45:25 | |
Sex can just be fun. It can just be fun. | 0:45:25 | 0:45:28 | |
It can just be fun. | 0:45:28 | 0:45:31 | |
No-one ever says, "Oh, you're playing all that tennis. Where's it leading?" | 0:45:31 | 0:45:35 | |
"Did you enjoy your tennis game?" | 0:45:41 | 0:45:42 | |
"Well, it was just meaningless, wasn't it?" | 0:45:42 | 0:45:45 | |
It's joyful. | 0:45:52 | 0:45:54 | |
His tips were... | 0:45:54 | 0:45:56 | |
don't talk about the past, don't discuss the future. | 0:45:56 | 0:45:59 | |
This is just about this moment. | 0:45:59 | 0:46:01 | |
Just keep saying the words "spontaneous" and "adventure". | 0:46:01 | 0:46:05 | |
Spontaneous. Adventure. | 0:46:05 | 0:46:09 | |
"Aren't we spontaneous? What an adventure we've been on today. | 0:46:09 | 0:46:12 | |
"We met today and we spontaneously decided to be here right now. | 0:46:12 | 0:46:16 | |
"What an adventure it has been. What an adventure it could continue to be. | 0:46:16 | 0:46:20 | |
"Aren't we spontaneous? When was the last time you were spontaneous?" | 0:46:20 | 0:46:24 | |
It worked. | 0:46:24 | 0:46:26 | |
He taught me two things that day. | 0:46:26 | 0:46:28 | |
One, some confidence - cos why be timid? | 0:46:28 | 0:46:30 | |
Death is coming. | 0:46:30 | 0:46:31 | |
And two... | 0:46:31 | 0:46:33 | |
hypnosis. | 0:46:33 | 0:46:34 | |
We can just have anything we want in our lives, and the only thing to fear is death, | 0:46:38 | 0:46:42 | |
and that's happening anyway. | 0:46:42 | 0:46:44 | |
The real problem, I find, is that we're getting older, | 0:46:44 | 0:46:48 | |
and we have to be here for that. | 0:46:48 | 0:46:49 | |
I turned 30 last year, | 0:46:49 | 0:46:51 | |
and it was a bit of a crisis leading up to it, culminating in this. | 0:46:51 | 0:46:55 | |
I was at the theatre, and I saw somebody who turned out to be 18. OK? | 0:46:55 | 0:47:00 | |
So he was 18. All right? | 0:47:00 | 0:47:01 | |
But he was so thin! | 0:47:01 | 0:47:03 | |
And he was with a woman who turned out to be | 0:47:07 | 0:47:10 | |
his mother, but she, it turned out, was a fan of mine, so that's good. | 0:47:10 | 0:47:14 | |
She likes my work, I like her son. Great. | 0:47:14 | 0:47:16 | |
Also, I've worked hard since the age of 14 to get to wherever the hell I am today, | 0:47:17 | 0:47:21 | |
so if she's taken enjoyment from my work, I think I've earned her child. | 0:47:21 | 0:47:25 | |
APPLAUSE | 0:47:27 | 0:47:31 | |
We get talking, and they're uber-middle class. | 0:47:33 | 0:47:35 | |
I'm from Essex, and this feels like I've arrived. | 0:47:35 | 0:47:38 | |
We're talking about the play, poetry, having a wonderful time. | 0:47:38 | 0:47:41 | |
I don't like to caricature, cos it feels crude and untrue. | 0:47:41 | 0:47:44 | |
I wouldn't say this if it wasn't the case. | 0:47:44 | 0:47:47 | |
He is speaking in that stereotypical way we imagine posh people speak, | 0:47:47 | 0:47:51 | |
like that sort of "Fwoh-fwoh-fwoh", like that. | 0:47:51 | 0:47:54 | |
He's actually speaking like that, | 0:47:54 | 0:47:56 | |
like there's no need for him to be able to speak, | 0:47:56 | 0:47:59 | |
like his mouth is full of pound coins. | 0:47:59 | 0:48:01 | |
I don't know what it is. | 0:48:01 | 0:48:03 | |
But I'm having a lovely time with both of them, | 0:48:03 | 0:48:05 | |
and then after the play I meet up with just him outside the theatre. We're sat on the steps. | 0:48:05 | 0:48:09 | |
It's about 11:30 in the evening. | 0:48:09 | 0:48:12 | |
There's a frisson between us, romance in the air. | 0:48:12 | 0:48:15 | |
His mother comes round the corner, and I feel awkward. | 0:48:15 | 0:48:18 | |
I think, "The mother must love him and is protective of him." | 0:48:18 | 0:48:21 | |
And she just says to him, "OK, goodbye, darling. See you later." | 0:48:21 | 0:48:25 | |
Leaves me with her son. So I thought, | 0:48:25 | 0:48:28 | |
"Well, she's given him to me." | 0:48:28 | 0:48:31 | |
So I took him. | 0:48:36 | 0:48:38 | |
He took me to this restaurant that he knew. | 0:48:40 | 0:48:43 | |
We went to this restaurant and spoke for two hours. | 0:48:43 | 0:48:45 | |
And he was actually much more mature and intelligent than you'd imagine for 18, | 0:48:45 | 0:48:50 | |
and all those other things that people like me say. | 0:48:50 | 0:48:53 | |
We started meeting up for these kind-of-dates. | 0:48:56 | 0:49:00 | |
They weren't defined as such, but they were dates. | 0:49:00 | 0:49:02 | |
Eventually, I invited him back to my flat. | 0:49:02 | 0:49:05 | |
I felt strange and torn about inviting him. | 0:49:05 | 0:49:08 | |
I wasn't sure if it'd be a bit too much for him. | 0:49:08 | 0:49:10 | |
I'm not good at making the first move, like in terms of the first kiss. | 0:49:10 | 0:49:14 | |
And I thought I would have to, cos I'm the responsible adult here. | 0:49:14 | 0:49:17 | |
And then we were sat for, like, three hours on my sofa, just talking, | 0:49:20 | 0:49:24 | |
and I couldn't make the move. I felt awkward about it. | 0:49:24 | 0:49:27 | |
And it was hard for him as well, cos he's straight, so it's difficult. | 0:49:27 | 0:49:31 | |
APPLAUSE | 0:49:31 | 0:49:33 | |
But everything is seemingly leading towards this kiss. | 0:49:38 | 0:49:41 | |
We're edging close to each other on the sofa. | 0:49:41 | 0:49:43 | |
And I realised I had to kiss him, | 0:49:43 | 0:49:45 | |
because I found myself fiddling with his hair. | 0:49:45 | 0:49:47 | |
And I thought, "I've got to do the kiss now, because that's a precursor to a kiss." | 0:49:47 | 0:49:51 | |
If you don't then do the kiss, you're just a weirdo who likes hair. | 0:49:51 | 0:49:55 | |
"Oh, it's been lovely touching your hair this evening. | 0:49:57 | 0:50:00 | |
"Let yourself out." | 0:50:02 | 0:50:04 | |
APPLAUSE | 0:50:06 | 0:50:09 | |
So I leaned in, and I kissed him on the lips and said, | 0:50:12 | 0:50:18 | |
"I've just kissed you on the lips. | 0:50:18 | 0:50:20 | |
"Is that OK?" And he said, | 0:50:20 | 0:50:22 | |
POSH VOICE: "Oh, yah, that's fine, that's fine." | 0:50:22 | 0:50:25 | |
And in that moment, I won £7. | 0:50:27 | 0:50:30 | |
I leaned in again, I kissed him again. | 0:50:35 | 0:50:38 | |
I said, "I've just kissed you on the lips again," | 0:50:38 | 0:50:41 | |
because kids love repetition. | 0:50:41 | 0:50:43 | |
But we were having a laugh about it. | 0:50:47 | 0:50:49 | |
I tried to make it fun, and I was making him laugh. | 0:50:49 | 0:50:51 | |
He really liked that I kept doing, | 0:50:51 | 0:50:53 | |
"Who is it? It's me." | 0:50:53 | 0:50:55 | |
He loved that. | 0:50:55 | 0:50:56 | |
Loved it. | 0:50:56 | 0:50:57 | |
APPLAUSE | 0:50:57 | 0:51:00 | |
And it was a really lovely experience for both of us. | 0:51:04 | 0:51:07 | |
Don't regret any of it. It was a wonderful, beautiful, sensual evening, | 0:51:07 | 0:51:11 | |
and I don't feel any shame or regret about it. | 0:51:11 | 0:51:14 | |
There's one thing that makes me feel slightly odd about it, | 0:51:14 | 0:51:17 | |
and it is that he did describe what we had done afterwards | 0:51:17 | 0:51:22 | |
as "rumbly-tumbly". | 0:51:22 | 0:51:25 | |
"A bit nervous at first, but, in the end, lovely bit of rumbly-tumbly." | 0:51:29 | 0:51:33 | |
Now, look, it's not ideal being with an 18-year-old. | 0:51:39 | 0:51:42 | |
Nothing we could do about the fact | 0:51:42 | 0:51:44 | |
if I'd met him five weeks before that, he would have been 17. | 0:51:44 | 0:51:47 | |
Nothing we can do, nothing the police can do. No-one can do anything! | 0:51:47 | 0:51:51 | |
I realise now that as well as being a worry about getting older, | 0:51:57 | 0:52:00 | |
it was also an attempt to heal the past. | 0:52:00 | 0:52:02 | |
When I was 18, it seemed impossible | 0:52:02 | 0:52:04 | |
to be with another 18-year-old, | 0:52:04 | 0:52:06 | |
so this was a moment of trying to heal | 0:52:06 | 0:52:08 | |
that broken moment from the past. | 0:52:08 | 0:52:10 | |
The great lesson in all of this came a few months ago. | 0:52:10 | 0:52:14 | |
I had received a big bill to do with my flat. | 0:52:14 | 0:52:16 | |
It was frustrating, it felt like an injustice. | 0:52:16 | 0:52:19 | |
It was just this stupid, boring bill. Nothing I could do about it. | 0:52:19 | 0:52:22 | |
And I was really annoyed by it, | 0:52:22 | 0:52:25 | |
and I got in this minicab | 0:52:25 | 0:52:27 | |
and I started telling the cab driver about it. | 0:52:27 | 0:52:30 | |
He said to me, | 0:52:30 | 0:52:31 | |
"Is there anything you can do about this bill?" | 0:52:31 | 0:52:33 | |
And I said, "No, there's nothing I can do. It's a real injustice." | 0:52:33 | 0:52:37 | |
And he said, | 0:52:37 | 0:52:38 | |
"Acceptance." | 0:52:38 | 0:52:39 | |
"What do you mean, whispering, wise cab driver?" | 0:52:42 | 0:52:46 | |
And he explained so absurdly simply | 0:52:49 | 0:52:52 | |
that if there's nothing you can do about something, then you do nothing. | 0:52:52 | 0:52:56 | |
In that moment, the feeling of injustice, of frustration, | 0:52:56 | 0:52:59 | |
it was lifted, it was gone. There was nothing to do. | 0:52:59 | 0:53:02 | |
I realised I'd made it up that it was an injustice, | 0:53:02 | 0:53:05 | |
I'd made up the frustration. It was all a story. | 0:53:05 | 0:53:08 | |
And it's the same with the past. You can't change the past. | 0:53:08 | 0:53:11 | |
There's no need to heal it. It's a story you've created. | 0:53:11 | 0:53:14 | |
All you can do is let go of the story. | 0:53:14 | 0:53:16 | |
You can't change yourself. All you can do is let go of the story of who you are, | 0:53:16 | 0:53:20 | |
let go of the character you've created from fear. | 0:53:20 | 0:53:22 | |
You can't change other people. | 0:53:22 | 0:53:24 | |
All you can do is let go of your limited perspective of them. | 0:53:24 | 0:53:27 | |
I really tried hard with my family | 0:53:27 | 0:53:30 | |
on that stupid debate about my brother and his girlfriend. | 0:53:30 | 0:53:33 | |
And they stuck with their perception, as they have a right to do. | 0:53:33 | 0:53:37 | |
They said, "It's not our fault, it's your mother. | 0:53:37 | 0:53:39 | |
"She would rather that he was with a Jewish girl." | 0:53:39 | 0:53:42 | |
And my mum said, "No, what I've said is in an ideal world | 0:53:42 | 0:53:45 | |
"he would be, but I'm happy that he's happy." | 0:53:45 | 0:53:48 | |
It sounds positive, but she's creating another world | 0:53:48 | 0:53:50 | |
where he's with someone else. | 0:53:50 | 0:53:52 | |
So I said, "We've got to let go of this idea of an ideal world. | 0:53:52 | 0:53:56 | |
"The world is how you perceive it. It's ideal if you want it to be. | 0:53:56 | 0:53:59 | |
"And they're in love. Surely love is the ideal." | 0:53:59 | 0:54:03 | |
And I won a bottle of champagne. | 0:54:03 | 0:54:04 | |
Thank you very much for coming. CHEERING AND APPLAUSE | 0:54:06 | 0:54:11 | |
Subtitles by Red Bee Media Ltd | 0:55:41 | 0:55:44 | |
E-mail [email protected] | 0:55:44 | 0:55:47 |