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And now on BBC Two, we have 60 minutes of laughter in store | 0:00:02 | 0:00:05 | |
as we take you inside the comedy vaults. | 0:00:05 | 0:00:08 | |
As part of the channel's 50th birthday celebrations, | 0:00:11 | 0:00:14 | |
we've been granted an access-all-areas pass | 0:00:14 | 0:00:17 | |
to trawl the archives and bring you some hilarious moments of BBC Two comedy. | 0:00:17 | 0:00:22 | |
But we're not going to be serving up the familiar classics. | 0:00:27 | 0:00:31 | |
In this show, we're digging deep into the vaults to bring you some comedy archive treasure | 0:00:31 | 0:00:35 | |
that's been hidden away for decades. | 0:00:35 | 0:00:38 | |
HE ROARS | 0:00:38 | 0:00:40 | |
We have a show packed with rare comedy gold... | 0:00:40 | 0:00:42 | |
Come on, you bitch! | 0:00:42 | 0:00:44 | |
..some previously thought lost for ever. | 0:00:44 | 0:00:47 | |
It's an epigrammatic way of saying, er, | 0:00:47 | 0:00:49 | |
"Knickers Off Ready When I Come Home." | 0:00:49 | 0:00:52 | |
-We'll be showing you pilot shows that have never been broadcast... -Boom! | 0:00:52 | 0:00:56 | |
..cult comedy that hasn't been shown for decades, | 0:00:56 | 0:00:58 | |
as well as rarely seen one-off performances from some | 0:00:58 | 0:01:01 | |
of the biggest names in comedy. | 0:01:01 | 0:01:04 | |
-You met Edith Piaf? -She said to me, "Je ne regrette rien." | 0:01:04 | 0:01:07 | |
I said, "Oh, come on, Edith, there must be something." | 0:01:07 | 0:01:10 | |
Tonight we're revelling in innovative | 0:01:10 | 0:01:12 | |
and ground-breaking comedy from BBC Two's 50-year history. | 0:01:12 | 0:01:17 | |
Comedy on BBC Two just had more latitude to be weirder. | 0:01:17 | 0:01:21 | |
THEY HOWL | 0:01:21 | 0:01:25 | |
Always was very risky. And it's remained fairly edgy and risky. | 0:01:25 | 0:01:28 | |
To be inside toilet | 0:01:28 | 0:01:32 | |
is very strange, but exciting. | 0:01:32 | 0:01:37 | |
BBC Two gets the stuff that's really, really going to be loved. | 0:01:37 | 0:01:41 | |
-No way! -Exactly. | 0:01:41 | 0:01:43 | |
BBC Two's output is really a back catalogue | 0:01:46 | 0:01:49 | |
of what has kept British comedy afloat. | 0:01:49 | 0:01:51 | |
What I say is bung it. | 0:01:51 | 0:01:53 | |
Lo and behold, Rudolph Valentino. | 0:01:53 | 0:01:57 | |
So sit back and enjoy as we explore BBC Two's comedy vaults. | 0:01:57 | 0:02:01 | |
It's all about the recovery, yeah? Look at that. | 0:02:05 | 0:02:08 | |
Our raid into the comedy archives | 0:02:09 | 0:02:12 | |
begins in the section marked "pilots". | 0:02:12 | 0:02:15 | |
Trial runs made for little money and not usually for public consumption. | 0:02:15 | 0:02:19 | |
The first pilot we're going to see | 0:02:21 | 0:02:22 | |
is from one of the channel's most popular comedy panel shows. | 0:02:22 | 0:02:26 | |
QI seems, doesn't it, as if it's been there for 40 years. | 0:02:27 | 0:02:30 | |
It feels so familiar. | 0:02:30 | 0:02:32 | |
Well, hello, and welcome to QI. | 0:02:32 | 0:02:36 | |
And that's designed, is meant to feel like a pipe and slippers. | 0:02:36 | 0:02:39 | |
You know, lovely, cuddly, friendly people. | 0:02:39 | 0:02:42 | |
It's meant to be friendly. | 0:02:42 | 0:02:44 | |
And while the letters QI are now synonymous with Stephen Fry, | 0:02:44 | 0:02:47 | |
it could have been very different. | 0:02:47 | 0:02:50 | |
Ladies and gentlemen, hello, and welcome to QI. | 0:02:50 | 0:02:54 | |
Stephen was meant to be the captain of the clever team | 0:02:54 | 0:02:57 | |
and Alan was meant to be captain of the team who never paid | 0:02:57 | 0:03:00 | |
attention at school, looked out the window | 0:03:00 | 0:03:02 | |
and Mike Palin was designed to be the host. | 0:03:02 | 0:03:04 | |
Mike didn't want to do it | 0:03:04 | 0:03:06 | |
and Stephen stepped in just for the pilot. | 0:03:06 | 0:03:08 | |
If you would get out your buzzers, contestants, please. | 0:03:08 | 0:03:10 | |
-Alan goes... -PARP! | 0:03:10 | 0:03:13 | |
-..Bill goes... -SQUEAK | 0:03:13 | 0:03:15 | |
-..Kit goes... -SQUEAK | 0:03:15 | 0:03:17 | |
-..and Eddie goes... -WHISTLE/RING | 0:03:17 | 0:03:19 | |
..and I go to Belgium, for which I profusely apologise. | 0:03:20 | 0:03:23 | |
It is the job he was made to do. I wish I'd thought of it. I didn't. | 0:03:23 | 0:03:28 | |
I thought of Michael Palin. | 0:03:28 | 0:03:30 | |
What is the sixth most popular name for a baby boy in Germany? | 0:03:30 | 0:03:35 | |
SQUEAK Klaus? | 0:03:35 | 0:03:37 | |
-No. -Adolf. -He said Adolf. | 0:03:37 | 0:03:40 | |
-No! -That's a -10 card. | 0:03:40 | 0:03:43 | |
That's got a PH. I didn't spell it like that when I said it. | 0:03:43 | 0:03:46 | |
That the research department. That's neither here nor there. | 0:03:46 | 0:03:49 | |
When you sit there for a bit and you think, | 0:03:49 | 0:03:51 | |
"Oh, Saturn has more moons than I thought previously. | 0:03:51 | 0:03:55 | |
"Well, that really is quite interesting, Stephen. | 0:03:55 | 0:03:58 | |
"And, really, there were no colours in the ancient world?" | 0:03:58 | 0:04:02 | |
And you do about three or four of them | 0:04:02 | 0:04:04 | |
and then you... "Oh, let's stick a knob gag in here." | 0:04:04 | 0:04:07 | |
What was rectal inflation... | 0:04:07 | 0:04:09 | |
-LAUGHTER -..in Victorian England? | 0:04:09 | 0:04:12 | |
This is where they decided that a trout was the best way | 0:04:12 | 0:04:18 | |
of curing constipation. | 0:04:18 | 0:04:21 | |
LAUGHTER | 0:04:21 | 0:04:23 | |
I think it's when arseholes went right up in price... | 0:04:23 | 0:04:28 | |
and spiralling out of control. | 0:04:28 | 0:04:30 | |
And then the price was brought down by a change in interest rates. | 0:04:30 | 0:04:33 | |
Did the bottom fall out of the market? | 0:04:33 | 0:04:35 | |
If only every pilot could lead to such long-running series as QI. | 0:04:37 | 0:04:41 | |
MUSIC: "Madness" by Madness | 0:04:42 | 0:04:45 | |
One dummy run which didn't make it out of the starters' blocks | 0:04:45 | 0:04:49 | |
was Madness - The Pilot. | 0:04:49 | 0:04:51 | |
Let's get down to business, then, shall we? | 0:04:51 | 0:04:53 | |
Prime Minister, I don't want to scare you, but BOO! | 0:04:53 | 0:04:57 | |
The plot of the Nutty Boys' pilot revolved around the premise | 0:04:57 | 0:05:01 | |
that Margaret Thatcher was an alien and had returned to Mars, | 0:05:01 | 0:05:05 | |
leaving lead singer Suggs as Prime Minister. | 0:05:05 | 0:05:08 | |
Thanks for voting Madness, the party that actually cares. | 0:05:08 | 0:05:11 | |
Never before seen on British TV, this was written by none other | 0:05:11 | 0:05:14 | |
than the creators of Blackadder, Ben Elton and Richard Curtis. | 0:05:14 | 0:05:18 | |
-I thought Lee was meant to be helping us with it. -He was. | 0:05:18 | 0:05:22 | |
That's typical of him. He's never around when there's any work to be done. | 0:05:22 | 0:05:25 | |
I resent that. | 0:05:25 | 0:05:29 | |
-What are you doing there? -You told me to come along in the case. | 0:05:29 | 0:05:31 | |
No, Lee, we told you to come along IN CASE. | 0:05:31 | 0:05:34 | |
In case we needed any help to carry the case. | 0:05:34 | 0:05:36 | |
You mean I've carried you | 0:05:36 | 0:05:37 | |
and your saxophone all the way from Kentish Town? | 0:05:37 | 0:05:40 | |
-You ought to be glad I don't play the piano. -Good point. | 0:05:40 | 0:05:43 | |
Another pilot in the vaults is Felix, starring the very talented and much missed Felix Dexter. | 0:05:46 | 0:05:53 | |
APPLAUSE | 0:05:53 | 0:05:56 | |
so, what's occurring with my appeal? | 0:05:56 | 0:05:59 | |
Well, the judge permitted some similar fact evidence, | 0:05:59 | 0:06:03 | |
so on both grounds, | 0:06:03 | 0:06:04 | |
you stand a very good chance of succeeding on your appeal. | 0:06:04 | 0:06:08 | |
-OK? -Sweet. | 0:06:08 | 0:06:10 | |
LAUGHTER | 0:06:10 | 0:06:11 | |
Oh! Beat it down! Go on! Wicked! | 0:06:14 | 0:06:18 | |
LAUGHTER | 0:06:18 | 0:06:20 | |
Mash it up! | 0:06:20 | 0:06:21 | |
Go on. Take a seat, boss. | 0:06:23 | 0:06:26 | |
So how can I help you? What you say? | 0:06:27 | 0:06:31 | |
-I went to this club... -Yes. | 0:06:31 | 0:06:32 | |
..and I left, got into my car | 0:06:32 | 0:06:34 | |
and drove down the road 60 yards. Literally. | 0:06:34 | 0:06:37 | |
-And my car was stopped and searched. -What sort of car you drive? | 0:06:37 | 0:06:42 | |
-It's a new series three BMW. -Well, there you see. | 0:06:42 | 0:06:46 | |
That's the problem. | 0:06:46 | 0:06:48 | |
Babylon don't like to see dread in dem car... | 0:06:49 | 0:06:52 | |
LAUGHTER AND APPLAUSE | 0:06:52 | 0:06:53 | |
I find Saab, on the other hand, has great BCF. | 0:06:56 | 0:07:02 | |
-BCF? -Yes. | 0:07:02 | 0:07:04 | |
Babylon confusion factor. | 0:07:04 | 0:07:06 | |
LAUGHTER | 0:07:06 | 0:07:07 | |
You see, black man, Swedish car, confusing. You see? | 0:07:09 | 0:07:15 | |
You could be a diplomat, an academic, friend of Desmond Tutu. | 0:07:15 | 0:07:19 | |
LAUGHTER | 0:07:19 | 0:07:20 | |
In 1973, Ronnie Barker made seven one-off pilots for BBC Two. | 0:07:20 | 0:07:26 | |
Called Seven of One, | 0:07:28 | 0:07:29 | |
it gave us two classic comedies in Open All Hours and Porridge, | 0:07:29 | 0:07:34 | |
originally called Prisoner And Escort. | 0:07:34 | 0:07:37 | |
Why are you so reluctant to let me go to the lavatory? | 0:07:38 | 0:07:41 | |
Oh. I see what you mean, yes. | 0:07:44 | 0:07:46 | |
You'd better let them go. | 0:07:46 | 0:07:49 | |
We can't stop in transit. | 0:07:49 | 0:07:51 | |
LAUGHTER | 0:07:56 | 0:07:58 | |
Other pilots in the series included Another Fine Mess, | 0:08:04 | 0:08:07 | |
based on a Laurel and Hardy tribute act, | 0:08:07 | 0:08:09 | |
and I'll Fly You For A Quid. | 0:08:09 | 0:08:12 | |
Written by Porridge creators Dick Clement and Ian le Frenais, | 0:08:12 | 0:08:15 | |
the story revolved around a family of compulsive | 0:08:15 | 0:08:18 | |
gamblers from the Welsh valleys. | 0:08:18 | 0:08:20 | |
It appealed to us to have a different kind of milieu. | 0:08:20 | 0:08:22 | |
A nice accent for Ron to get his teeth into. | 0:08:22 | 0:08:24 | |
When I get up to heaven, when I go with the angels, like, | 0:08:24 | 0:08:28 | |
will I have wings, like? | 0:08:28 | 0:08:32 | |
Yes, yes, I'm sure you will, Mr Llewellyn. | 0:08:32 | 0:08:35 | |
Well, when you get up there too, will you have wings and all? | 0:08:35 | 0:08:39 | |
Well, well, I hope so. | 0:08:39 | 0:08:41 | |
I'll fly you for a quid. | 0:08:41 | 0:08:43 | |
He's died. | 0:08:45 | 0:08:46 | |
They work out that this accumulator bet that he'd had had come off. | 0:08:46 | 0:08:51 | |
For once in his life, he'd made a massive profit on a bet. | 0:08:51 | 0:08:56 | |
-But they couldn't find the ticket. -It was clenched in his fist. | 0:08:56 | 0:08:59 | |
Inside the coffin. | 0:08:59 | 0:09:01 | |
Ronnie played both parts, played the grandfather and the father. | 0:09:01 | 0:09:06 | |
I can't believe that you really meant to hang on to that ticket, Dad. | 0:09:06 | 0:09:10 | |
If only I'd been with you. | 0:09:10 | 0:09:12 | |
I only just popped down to the Jolly Milkman to get you a nip of brandy. | 0:09:12 | 0:09:15 | |
I would have been straight back | 0:09:15 | 0:09:17 | |
if they hadn't needed a fourth for dominoes, see? | 0:09:17 | 0:09:21 | |
I just couldn't go wrong, Dad. | 0:09:21 | 0:09:23 | |
Lewis Edward was knocking every game. Sorry, sorry. | 0:09:23 | 0:09:26 | |
LAUGHTER | 0:09:26 | 0:09:27 | |
In Guess Who's Coming To Dinner, | 0:09:31 | 0:09:33 | |
presenter Anne Robinson would ask celebrities to tell us | 0:09:33 | 0:09:36 | |
who they would invite to their ultimate fantasy dinner party. | 0:09:36 | 0:09:40 | |
Ricky Gervais appeared in this never-before-broadcast pilot, | 0:09:40 | 0:09:43 | |
and, while at the time he wasn't the global comedy icon he is today, | 0:09:43 | 0:09:46 | |
he still wasn't prepared to be the weakest link in this show. | 0:09:46 | 0:09:49 | |
Don't do any of that fascist prostitute stuff on me... | 0:09:49 | 0:09:52 | |
LAUGHTER | 0:09:52 | 0:09:54 | |
..or I'm walking. Go on. | 0:09:54 | 0:09:57 | |
Don't you think you're a bit old to be called Ricky? | 0:09:59 | 0:10:01 | |
I've put me at one end, unless you want me next to you, do you? | 0:10:05 | 0:10:08 | |
-Yeah. -Sorry, you were hesitating. | 0:10:09 | 0:10:11 | |
Well, I don't remember inviting you, to be honest. | 0:10:11 | 0:10:14 | |
LAUGHTER AND APPLAUSE | 0:10:14 | 0:10:17 | |
When I was at finishing school in Paris... | 0:10:17 | 0:10:19 | |
HE GUFFAWS | 0:10:19 | 0:10:21 | |
-FRENCH ACCENT: -No, no, no, no. | 0:10:21 | 0:10:24 | |
ZIS is scary! | 0:10:24 | 0:10:26 | |
APPLAUSE | 0:10:26 | 0:10:27 | |
Before the multi-award-winning series Miranda | 0:10:30 | 0:10:33 | |
came the very funny pilot, Miranda Hart's Joke Shop. | 0:10:33 | 0:10:37 | |
And, as well as the title, | 0:10:37 | 0:10:38 | |
there were other differences to the - what I call a - pilot. | 0:10:38 | 0:10:41 | |
Miranda! | 0:10:41 | 0:10:42 | |
Hmm? | 0:10:42 | 0:10:44 | |
Oh, morning, Phoebe. | 0:10:44 | 0:10:46 | |
Afternoon. It's nearly lunchtime. | 0:10:46 | 0:10:48 | |
You are three hours late. | 0:10:48 | 0:10:49 | |
The trains were a nightmare. It was a hellish journey. | 0:10:49 | 0:10:52 | |
You live upstairs. | 0:10:52 | 0:10:54 | |
There were leaves on the carpet? | 0:10:54 | 0:10:57 | |
It doesn't work. | 0:10:58 | 0:11:00 | |
But while sidekick Stevie had a harder edge... | 0:11:00 | 0:11:03 | |
I will use this. Shock tactics for submission. | 0:11:03 | 0:11:06 | |
I learned it in my How To Be A Total Bitch In The Workplace seminar. | 0:11:06 | 0:11:09 | |
..the heart of the show was still 100% Miranda. | 0:11:09 | 0:11:12 | |
LAUGHTER | 0:11:14 | 0:11:17 | |
Say nothing! | 0:11:20 | 0:11:23 | |
Let's get on with the show. | 0:11:23 | 0:11:25 | |
The next section in our raid on the comedy vaults is Cult Characters. | 0:11:27 | 0:11:32 | |
And first up it's the roving reporter from Redditch, | 0:11:32 | 0:11:35 | |
Kevin Turvey. | 0:11:35 | 0:11:36 | |
A year before The Young Ones appeared on BBC Two, | 0:11:36 | 0:11:40 | |
Rik Mayall's comedy creation was given five-minute slots | 0:11:40 | 0:11:43 | |
on the satirical sketch show A Kick Up The Eighties. | 0:11:43 | 0:11:46 | |
I'll turn round when I'm ready, bogey-face! | 0:11:46 | 0:11:48 | |
LAUGHTER | 0:11:48 | 0:11:50 | |
Kevin Turvey was an investigative reporter | 0:11:50 | 0:11:53 | |
and he captured that slightly pompous notion | 0:11:53 | 0:11:57 | |
of the investigative reporter, who is generally just a nuisance. | 0:11:57 | 0:12:00 | |
I dreamt that I was flying upside down over Turkey drinking Pernod | 0:12:00 | 0:12:04 | |
and all the people were pointing at us and saying, | 0:12:04 | 0:12:06 | |
"Give us a banana, you bastard!" | 0:12:06 | 0:12:08 | |
LAUGHTER | 0:12:08 | 0:12:10 | |
I woke up with this stabbing pain in the front of my head, | 0:12:10 | 0:12:14 | |
and I thought, "I'm only drinking Pernod in halves from now on." | 0:12:14 | 0:12:17 | |
Then the pain started moving around in my head | 0:12:17 | 0:12:20 | |
and I opened my eyes and pulled the newspaper back and there was this | 0:12:20 | 0:12:23 | |
spike sticking out of my head with this park keeper on the end of it. | 0:12:23 | 0:12:27 | |
And he said, | 0:12:27 | 0:12:29 | |
"What are you doing going to sleep under the litter, you vagrant?" | 0:12:29 | 0:12:32 | |
I said, "I'm not a vagrant. I'm an investigative reporter!" | 0:12:32 | 0:12:35 | |
Kevin Turvey was given his own one-off special in 1982 | 0:12:35 | 0:12:39 | |
where he investigated his own life. | 0:12:39 | 0:12:43 | |
Most of my work's based in Redditch. | 0:12:43 | 0:12:45 | |
Sometimes the library. | 0:12:45 | 0:12:47 | |
Sometimes somewhere else | 0:12:47 | 0:12:50 | |
cos that's where I live, you see. | 0:12:50 | 0:12:52 | |
My mum's an executive receptionist at a hairdressers in town | 0:12:52 | 0:12:57 | |
and Mick, that's the lodger, he's currently in between jobs. | 0:12:57 | 0:13:02 | |
He left the army very recently, actually, | 0:13:02 | 0:13:06 | |
under secret circumstances. | 0:13:06 | 0:13:09 | |
He's not really allowed to talk about it but we do know it was very sudden. | 0:13:09 | 0:13:13 | |
It's such a big secret, actually, that even when the bloke from the | 0:13:13 | 0:13:16 | |
army comes round asking where he is, | 0:13:16 | 0:13:18 | |
we have to say that we've never heard of him. | 0:13:18 | 0:13:20 | |
I think it was the first thing that Robbie Coltrane had done | 0:13:20 | 0:13:24 | |
and it was just the musings | 0:13:24 | 0:13:27 | |
of a couple of idiots from Redditch. | 0:13:27 | 0:13:30 | |
I've got four pairs of shoes, right? | 0:13:30 | 0:13:32 | |
Now, one of them's brown and the rest are black. | 0:13:32 | 0:13:36 | |
Now, I lend him the brown ones, in fact, | 0:13:37 | 0:13:39 | |
I have done on a couple of occasions, but not the black ones. | 0:13:39 | 0:13:43 | |
I know it sounds odd, but it's just the way I like to live my life. | 0:13:43 | 0:13:46 | |
I can quote almost all of The Man Behind The Green Door. | 0:13:47 | 0:13:51 | |
There's a great scene where he's walking along a river bank | 0:13:51 | 0:13:54 | |
and he starts talking about fish that I like. | 0:13:54 | 0:13:57 | |
Cod, all green fish, green bottles and so forth. | 0:13:57 | 0:14:01 | |
Whales. That's the fish whales, not the place. | 0:14:01 | 0:14:04 | |
Fish that I like. | 0:14:04 | 0:14:07 | |
Cod. Whales. | 0:14:07 | 0:14:09 | |
That's the fish, right, not the place. | 0:14:09 | 0:14:12 | |
I mean, the area, not the plaice that's a fish. | 0:14:12 | 0:14:15 | |
Oh, I've put myself off now. | 0:14:15 | 0:14:17 | |
Er, oh, yeah, and mackerels. | 0:14:17 | 0:14:19 | |
Kevin Turvey was, I think, | 0:14:19 | 0:14:21 | |
a better character that Rik Mayall did than 'Rick' in a way. | 0:14:21 | 0:14:25 | |
There was more to him | 0:14:25 | 0:14:26 | |
and The Man Behind The Green Door was just sublime. | 0:14:26 | 0:14:28 | |
Kevin, you finished in the bathroom? | 0:14:28 | 0:14:31 | |
What does it look like? | 0:14:31 | 0:14:33 | |
Sort of pink with a bath in it. | 0:14:33 | 0:14:35 | |
No, I mean, does it look as if I'm in the bathroom or not? | 0:14:35 | 0:14:39 | |
-Anyway, as I was saying, mates... -No, it doesn't. | 0:14:39 | 0:14:42 | |
-What are you doing dressed up as my mother? -I told you. | 0:14:42 | 0:14:46 | |
-I don't wear pyjamas. -All right, mate. | 0:14:46 | 0:14:49 | |
I didn't really fancy Gordon. | 0:14:55 | 0:14:58 | |
I mean, when I look at him I don't fancy him. | 0:14:58 | 0:15:01 | |
But, um, I couldn't marry someone I didn't fancy at all, you know. | 0:15:01 | 0:15:06 | |
But if he's not here, just the idea of, um... | 0:15:06 | 0:15:11 | |
I've not been blessed by the god of beauty, | 0:15:11 | 0:15:13 | |
but I've got a sizeable personality. | 0:15:13 | 0:15:15 | |
Oh, a smashing personality. Really versatile. | 0:15:15 | 0:15:19 | |
Human Remains combined the unique writing | 0:15:21 | 0:15:24 | |
and acting talents of Rob Brydon and Julia Davies. | 0:15:24 | 0:15:28 | |
The series consisted of six individual stories | 0:15:28 | 0:15:31 | |
looking at the darker side of character comedy. | 0:15:31 | 0:15:34 | |
You've been late for work three days. Bit of role-play. | 0:15:34 | 0:15:37 | |
Human Remains was a difficult sell because, on paper, | 0:15:37 | 0:15:40 | |
Julia and myself were still pretty unknown. | 0:15:40 | 0:15:43 | |
She was working with really good people | 0:15:43 | 0:15:45 | |
and I was about to do Marion And Jeff, | 0:15:45 | 0:15:47 | |
but I was unknown. | 0:15:47 | 0:15:49 | |
During intercourse, the vaginal walls contract to the point | 0:15:50 | 0:15:55 | |
where penile accommodation is absolutely impossible. | 0:15:55 | 0:15:59 | |
Even a small penis feels like an aubergine. | 0:15:59 | 0:16:01 | |
Six different characters, so it's hard to build an audience with that | 0:16:01 | 0:16:04 | |
because people aren't coming back to anything they know. | 0:16:04 | 0:16:07 | |
You're asking them to start again each week | 0:16:07 | 0:16:10 | |
with two unknowns and quite dark stuff. | 0:16:10 | 0:16:14 | |
I says he should have a cot really | 0:16:14 | 0:16:17 | |
but Stephen says it's a waste of money and he'll be fine in a bed. | 0:16:17 | 0:16:20 | |
-Give him some freedom. -Start him off in a bed, I say. | 0:16:20 | 0:16:23 | |
Let him grow up a bit, you know. | 0:16:23 | 0:16:25 | |
Have him in with us to start with. | 0:16:25 | 0:16:28 | |
Um... | 0:16:28 | 0:16:30 | |
Going to give him an advantage in life. | 0:16:30 | 0:16:33 | |
We're going to call him Stephen, you know, regardless. | 0:16:33 | 0:16:36 | |
Not pregnant as such, but... | 0:16:36 | 0:16:39 | |
..you know, could happen at any time. | 0:16:40 | 0:16:44 | |
Whatever the version was at the time, | 0:16:44 | 0:16:47 | |
whether it was Trisha or Vanessa | 0:16:47 | 0:16:49 | |
or whatever these precursors to Jeremy Kyle were, | 0:16:49 | 0:16:54 | |
certainly informed some of Human Remains and some of the characters. | 0:16:54 | 0:16:57 | |
Oh, 'Chelle! | 0:16:59 | 0:17:01 | |
Hands up who's got wood! | 0:17:02 | 0:17:04 | |
Layt, hands up who's got wood. | 0:17:06 | 0:17:08 | |
Celebrity cult comedy characters now from the talented John Sessions | 0:17:13 | 0:17:17 | |
and Phil Cornwell, down on Stella Street. | 0:17:17 | 0:17:21 | |
Behind all these closed doors live some of the most famous | 0:17:24 | 0:17:26 | |
people from stage and screen from the last 40 years. | 0:17:26 | 0:17:29 | |
Jack Nicholson, Joe Pesci, Jimmy Hill. | 0:17:29 | 0:17:32 | |
-Al Pacino. -Get yourself down the shop! | 0:17:32 | 0:17:34 | |
And the Rolling Stones. | 0:17:34 | 0:17:36 | |
'Ere, what you done with all those tins of peaches? | 0:17:36 | 0:17:39 | |
The original idea I think we had was Mick and Keith running a corner shop | 0:17:39 | 0:17:43 | |
or a grocery store. | 0:17:43 | 0:17:45 | |
-What you done with them? -I don't know. I give up. Where are they? | 0:17:45 | 0:17:48 | |
-We did the same with the Beatles. -Oh, yeah, we carved them up. | 0:17:50 | 0:17:53 | |
We both wanted to play John, obviously, | 0:17:53 | 0:17:56 | |
but I could do a Paul, I could do a George. | 0:17:56 | 0:17:58 | |
AS JOHN LENNON: And I sort of decided to take John, you know. | 0:17:58 | 0:18:01 | |
-Let's do something, shall we? -OK. | 0:18:01 | 0:18:04 | |
A one, two, three, four. | 0:18:04 | 0:18:05 | |
# I should have put some butter on my toast today | 0:18:05 | 0:18:10 | |
# But the cornflakes have floated away. # | 0:18:10 | 0:18:13 | |
-Michael Caine himself was... -I think he got fed up of it. | 0:18:13 | 0:18:16 | |
-I think, after a couple of years. -He probably did. | 0:18:16 | 0:18:19 | |
Me dishwasher's broken. Do you know anyone who can fix it? | 0:18:19 | 0:18:22 | |
Ah, now, you need Dean at number 14. | 0:18:22 | 0:18:25 | |
He will fix it quicker than you can say Aladdin Sane. | 0:18:25 | 0:18:28 | |
Oh, blimey, that is quick! | 0:18:28 | 0:18:30 | |
Our next cult character is from Coogan's Run. | 0:18:32 | 0:18:36 | |
A series of six one-off stories | 0:18:36 | 0:18:37 | |
featuring larger than life characters | 0:18:37 | 0:18:39 | |
all played by Steve Coogan | 0:18:39 | 0:18:41 | |
including Paul and Pauline Calf, Mike Crystal | 0:18:41 | 0:18:44 | |
and from the episode Dearth Of A Salesman, Gareth Cheeseman. | 0:18:44 | 0:18:48 | |
My name is Gareth Cheeseman. It's an emergency. | 0:18:48 | 0:18:50 | |
There's been an awful accident. | 0:18:50 | 0:18:52 | |
The whole of the windscreen and the bonnet. I'll need towing. | 0:18:52 | 0:18:56 | |
And I suppose you'd better send an ambulance as well. | 0:18:56 | 0:18:58 | |
Steve Coogan comes out of voices cos he did Spitting Image. | 0:18:58 | 0:19:02 | |
You're the best. You're number one. | 0:19:02 | 0:19:05 | |
You're a TIGER! | 0:19:05 | 0:19:08 | |
RAAARRRR! | 0:19:08 | 0:19:09 | |
RAAARRRR! | 0:19:09 | 0:19:12 | |
He is a genuine great British comedian. | 0:19:12 | 0:19:14 | |
I'm looking at her right now. | 0:19:14 | 0:19:16 | |
Anti-lock brakes, alloy wheels, air con. | 0:19:16 | 0:19:21 | |
Hey, you! Yeah, you! Get away from that car! Go on, bugger off! | 0:19:21 | 0:19:24 | |
'He doesn't mean to hog the screen. He really doesn't.' | 0:19:24 | 0:19:26 | |
But there's something about him | 0:19:26 | 0:19:28 | |
that just draws the attention on the screen. | 0:19:28 | 0:19:30 | |
One big sale and I'm in the diamond club, yeah. | 0:19:30 | 0:19:33 | |
What? Yeah, yeah. No, we should get together. | 0:19:33 | 0:19:36 | |
Shoot a game of pool like the old days. | 0:19:36 | 0:19:39 | |
Yeah, listen, just you and me on the town. We'll get completely rat-arsed. | 0:19:39 | 0:19:45 | |
Yeah, all right. | 0:19:45 | 0:19:47 | |
OK, bye, Mum, bye. | 0:19:47 | 0:19:50 | |
Time now to load up some rare comedy archive. | 0:19:50 | 0:19:54 | |
Inside BBC Two's comedy vaults | 0:19:54 | 0:19:56 | |
there are shows that haven't been broadcast in decades | 0:19:56 | 0:20:00 | |
and we're going to start this section | 0:20:00 | 0:20:02 | |
with an Alan Bennett classic. | 0:20:02 | 0:20:04 | |
Yes, right, well, the telegram. | 0:20:04 | 0:20:09 | |
Right. No, no, 'right' isn't the telegram, no. | 0:20:09 | 0:20:13 | |
I think BBC Two should be prosecuted for crimes against humanity | 0:20:13 | 0:20:19 | |
because it wiped On The Margin, the brilliant Alan Bennett series. | 0:20:19 | 0:20:24 | |
Not all of On The Margin was wiped | 0:20:24 | 0:20:26 | |
and, as way of an apology, Mr Idle, here is a sketch recently uncovered. | 0:20:26 | 0:20:30 | |
I want to sign it Goody-Goody Gumdrops. | 0:20:30 | 0:20:34 | |
GG Gumdrops would be cheaper? | 0:20:36 | 0:20:38 | |
Yes, it sounds rather absurd, really, doesn't it? | 0:20:40 | 0:20:43 | |
I don't really want to save a shilling simply in order to | 0:20:43 | 0:20:46 | |
sound absurd. | 0:20:46 | 0:20:48 | |
No, Goody-Goody Gumdrops in full, yes, | 0:20:48 | 0:20:51 | |
and then I want to end up "Norwich". | 0:20:51 | 0:20:54 | |
Yes. | 0:20:54 | 0:20:56 | |
Well, it's an epigrammatic way of saying, | 0:20:56 | 0:21:00 | |
"Knickers Off Ready When I Come Home!" | 0:21:00 | 0:21:02 | |
LAUGHTER | 0:21:02 | 0:21:05 | |
Yes, well... It's... | 0:21:05 | 0:21:08 | |
It's the initial letters, you see, of each word, yes. | 0:21:12 | 0:21:15 | |
Um, I know knickers is spelt with a K. | 0:21:18 | 0:21:21 | |
LAUGHTER | 0:21:21 | 0:21:23 | |
I did go to Oxford. That was one of the first things they taught us. | 0:21:23 | 0:21:27 | |
Before The Goodies became one of comedy's most loved threesomes, | 0:21:35 | 0:21:38 | |
Graeme Garden and Tim Brooke-Taylor wrote and performed together | 0:21:38 | 0:21:41 | |
on a number of sketch shows, including Broaden Your Mind, | 0:21:41 | 0:21:45 | |
which hasn't been shown on British television for nearly 45 years. | 0:21:45 | 0:21:49 | |
Do you know why policemen were originally called peelers? | 0:21:49 | 0:21:53 | |
THEME FROM "THE STRIPPER" PLAYS | 0:21:55 | 0:21:58 | |
'Tim and Graeme has been doing a series called Broaden Your Mind' | 0:21:58 | 0:22:01 | |
which was quintessential BBC Two cos it was not only sketches | 0:22:01 | 0:22:05 | |
and bits and pieces with themes, it was very clever. | 0:22:05 | 0:22:08 | |
Tonight I wish to tell you about Turgonitis, a little-known | 0:22:08 | 0:22:13 | |
but very nasty disease. | 0:22:13 | 0:22:15 | |
I was the boffin, mainly because I wore glasses | 0:22:15 | 0:22:19 | |
and partly because I've got a background in medicine. | 0:22:19 | 0:22:23 | |
-He's a doctor. For heaven's sake, he's a doctor. -Yes. -Exactly. | 0:22:23 | 0:22:28 | |
-That doesn't make you a boffin. -It's more boffin-ish than us, isn't it? | 0:22:28 | 0:22:31 | |
I don't know. You've got a degree. | 0:22:31 | 0:22:33 | |
Let us take a look at the, how do you say in English, the symptoms? | 0:22:33 | 0:22:38 | |
First of all there is the little itch behind the ear. | 0:22:38 | 0:22:42 | |
The infuriating little itch and you have to scratch. | 0:22:42 | 0:22:46 | |
Then the itching starts to spread down the shoulders | 0:22:46 | 0:22:49 | |
and round the back. | 0:22:49 | 0:22:50 | |
Suddenly it stops and you feel fine. | 0:22:50 | 0:22:53 | |
It is at this moment that the left arm drops off. | 0:22:55 | 0:23:00 | |
Your chair collapses | 0:23:00 | 0:23:02 | |
and the standard lamp falls on your head. | 0:23:02 | 0:23:05 | |
Now you're thinking, is there no cure for this disease? | 0:23:05 | 0:23:10 | |
The answer is yes, | 0:23:10 | 0:23:12 | |
there is no cure. | 0:23:12 | 0:23:14 | |
Next, Beyond A Joke - | 0:23:17 | 0:23:19 | |
a sketch show from the combined talents of John Bird, Barrie Ingham | 0:23:19 | 0:23:23 | |
and Eleanor Bron. | 0:23:23 | 0:23:25 | |
Oh, I think I preferred the first one I tried. | 0:23:27 | 0:23:32 | |
'There was a programme called Beyond A Joke, Eleanor Bron's series.' | 0:23:32 | 0:23:35 | |
The abiding memory I have of it is the signature tune which was | 0:23:35 | 0:23:38 | |
her basically sitting at a piano | 0:23:38 | 0:23:40 | |
attempting to play a piece of music badly. | 0:23:40 | 0:23:42 | |
# There's | 0:23:42 | 0:23:44 | |
# A | 0:23:44 | 0:23:47 | |
# Song | 0:23:47 | 0:23:50 | |
# In the... | 0:23:50 | 0:23:52 | |
# The air. # | 0:23:52 | 0:23:56 | |
It was a kind of revolutionary way of starting a show. | 0:23:56 | 0:23:59 | |
I particularly loved John Bird. I don't know why. | 0:23:59 | 0:24:03 | |
There was something so ordinary about him. | 0:24:03 | 0:24:05 | |
He had this colossal, wonderful comic imagination. | 0:24:05 | 0:24:08 | |
-Hello, Jean. -Geoffrey. -Another beautiful day. -Yes. | 0:24:08 | 0:24:11 | |
Heaven really looks at its best on a day like this, doesn't it? | 0:24:13 | 0:24:16 | |
Heaven always look as its best. | 0:24:16 | 0:24:18 | |
'He always loves coming to visit me in this beautiful building | 0:24:18 | 0:24:22 | |
'that I'm the head of, which is Small Catastrophes.' | 0:24:22 | 0:24:26 | |
Jean, this chap you're going to kill in Norfolk. | 0:24:26 | 0:24:30 | |
Ah, yes. Him. | 0:24:30 | 0:24:33 | |
You've got him down to be killed by an avalanche. | 0:24:33 | 0:24:37 | |
Dear Jean, if you so wish, of course, | 0:24:37 | 0:24:41 | |
but do you realise the cost of producing an avalanche | 0:24:41 | 0:24:45 | |
in Norfolk? | 0:24:45 | 0:24:46 | |
'It's beautifully conceived.' | 0:24:46 | 0:24:49 | |
It is a most near-perfect sketch, I would say. | 0:24:49 | 0:24:51 | |
My job down the road in Innocence Protection... | 0:24:51 | 0:24:55 | |
LAUGHTER | 0:24:55 | 0:24:56 | |
..is to protect the innocent. | 0:24:56 | 0:24:58 | |
And my job's to kill them. | 0:24:58 | 0:25:00 | |
LAUGHTER | 0:25:00 | 0:25:03 | |
There's a definite policy clash here. | 0:25:03 | 0:25:07 | |
Every method I come up with, tidal waves, giant hailstones, | 0:25:07 | 0:25:13 | |
earth tremors, you try and block it. | 0:25:13 | 0:25:16 | |
All I'm saying is does it have to be this particular chap in Norfolk? | 0:25:16 | 0:25:21 | |
Couldn't you bring the avalanche down on somebody | 0:25:21 | 0:25:24 | |
who lives at the foot of a mountain already? | 0:25:24 | 0:25:27 | |
But that would be banal! | 0:25:27 | 0:25:30 | |
The whole point of the operation is to enrich the texture of life, | 0:25:30 | 0:25:33 | |
to engender a sense of wonder at the possibilities of the world, | 0:25:33 | 0:25:37 | |
to keep alive a sense of awe. | 0:25:37 | 0:25:40 | |
You must expect to make a few sacrifices for that. | 0:25:40 | 0:25:43 | |
Well, Jean, I can't help feeling there's a lot to be said for | 0:25:43 | 0:25:47 | |
the good, old-fashioned, well-tried... | 0:25:47 | 0:25:50 | |
BOTH: Flash of lightning. | 0:25:50 | 0:25:52 | |
A rarely seen sketch show from the early '70s was Up Sunday. | 0:25:53 | 0:25:58 | |
A satirical look at the week's events, | 0:25:59 | 0:26:01 | |
it featured some of the biggest names in comedy | 0:26:01 | 0:26:04 | |
including Willie Rushton, Clive James | 0:26:04 | 0:26:06 | |
and a weekly spot for the young and innovative clown of comedy, | 0:26:06 | 0:26:10 | |
Kenny Everett. | 0:26:10 | 0:26:11 | |
The train now standing at platform five is the 5.43 to Dorking, | 0:26:11 | 0:26:15 | |
Haywards Heath, Horsham and Brighton. | 0:26:15 | 0:26:18 | |
PHONE RINGS | 0:26:18 | 0:26:19 | |
Hello? What? There's a go-slow? Oh, all right. | 0:26:19 | 0:26:22 | |
SPEAKS SLOWLY: The train now standing in... | 0:26:22 | 0:26:24 | |
PHONE RINGS | 0:26:24 | 0:26:25 | |
Hello? Not slow enough? My God, OK. | 0:26:25 | 0:26:29 | |
SPEAKS EVEN SLOWER: The...train... | 0:26:29 | 0:26:33 | |
Of course, this wouldn't happen if the whole thing was handed over | 0:26:33 | 0:26:35 | |
to a private, money-grabbing, commercial concern. | 0:26:35 | 0:26:38 | |
CAMP AMERICAN ACCENT: Hi, passengers! | 0:26:38 | 0:26:40 | |
# This is the station designed to remove your cares | 0:26:40 | 0:26:44 | |
# Yes, this is the railway The real way to get you there | 0:26:46 | 0:26:50 | |
# So simply get in and take a chair | 0:26:50 | 0:26:53 | |
# It's guaranteed to be | 0:26:53 | 0:26:56 | |
# Fun for you and me | 0:26:56 | 0:26:59 | |
# So, climb aboard and let us be on our way. # | 0:26:59 | 0:27:02 | |
Oh In Colour is a Spike Milligan series from 1970. | 0:27:07 | 0:27:12 | |
And, despite the title, | 0:27:12 | 0:27:13 | |
only black and white copies remain of this rare Milligan masterpiece. | 0:27:13 | 0:27:18 | |
Spike's show was called Oh In Colour which was a great title. | 0:27:18 | 0:27:22 | |
Spike is wonderfully bizarre and weird and odd | 0:27:22 | 0:27:25 | |
and he seemed to be more in search of the bizarre and weird and odd | 0:27:25 | 0:27:28 | |
than the big laughs. | 0:27:28 | 0:27:30 | |
# And the flickering shadows | 0:27:30 | 0:27:33 | |
# Softly come and go | 0:27:33 | 0:27:36 | |
# Though the heart beat... # | 0:27:36 | 0:27:38 | |
Right. | 0:27:38 | 0:27:40 | |
He's sacked. | 0:27:40 | 0:27:42 | |
And he had John Bluthal, who was a really funny performer. | 0:27:42 | 0:27:45 | |
And if that joke doesn't win me the Montreux Award, | 0:27:45 | 0:27:48 | |
my name isn't John Bluthal. Wait a minute, my name ISN'T John Bluthal! | 0:27:48 | 0:27:50 | |
Then I must be John Bluthal. | 0:27:50 | 0:27:53 | |
Who am I then? | 0:27:53 | 0:27:55 | |
He represents what happens | 0:27:55 | 0:27:56 | |
when you let a bone fide genius have free rein. | 0:27:56 | 0:28:01 | |
What effect will a new Conservative government have upon medicine? | 0:28:01 | 0:28:03 | |
Witness this battle between the Conservative and Socialist surgeon. | 0:28:03 | 0:28:09 | |
Sorry I'm a bit late. The buses were running a bit... | 0:28:09 | 0:28:11 | |
Spike Milligan, | 0:28:11 | 0:28:13 | |
just about the most surreal voice comedy has come up with | 0:28:13 | 0:28:16 | |
in living memory. | 0:28:16 | 0:28:18 | |
-Why don't you do a coalition operation? -Splendid idea! | 0:28:18 | 0:28:21 | |
THEY JABBER | 0:28:21 | 0:28:25 | |
Splendid! A coalition operation. | 0:28:27 | 0:28:30 | |
We will split 50/50 down the middle. | 0:28:30 | 0:28:32 | |
-50/50? It's half each or nothing at all. -Very good then. | 0:28:32 | 0:28:36 | |
I'll have half each and you'll have nothing at all. | 0:28:36 | 0:28:40 | |
I may look like an idiot, | 0:28:40 | 0:28:43 | |
but I am. | 0:28:43 | 0:28:46 | |
Believe me, I've got no confidence in this sketch. | 0:28:46 | 0:28:49 | |
Neither have I, but we ran out of rewrites. | 0:28:49 | 0:28:52 | |
You can imagine Spike Milligan working | 0:28:52 | 0:28:55 | |
really on BBC One, I don't think. | 0:28:55 | 0:28:56 | |
No, he absolutely needed that niche, | 0:28:56 | 0:28:59 | |
slightly weird freedom that you get from BBC Two. | 0:28:59 | 0:29:03 | |
-The patient is dead. -DEAD?! -Dead. -Dead? -Dead? -Dead. | 0:29:03 | 0:29:07 | |
-Well, follow that. -Which way did he go? -This way. | 0:29:07 | 0:29:10 | |
# Rum-pum-pum-pum. # | 0:29:10 | 0:29:13 | |
I've still got no confidence in this bloody sketch! | 0:29:17 | 0:29:20 | |
LAUGHTER | 0:29:20 | 0:29:22 | |
Next, Peter Cook and Dudley Moore. | 0:29:24 | 0:29:26 | |
This rare footage of their West End stage show, Behind The Fridge, | 0:29:29 | 0:29:32 | |
hasn't been shown since it was first broadcast in 1974 | 0:29:32 | 0:29:36 | |
and is the final public performance of one of the greatest double acts | 0:29:36 | 0:29:40 | |
in British comedy history. | 0:29:40 | 0:29:43 | |
I was reading quite an interesting article about the emancipation | 0:29:43 | 0:29:46 | |
of women by Miss Germaine Greer. | 0:29:46 | 0:29:48 | |
I think she's raised a number of interesting and salient points. | 0:29:48 | 0:29:52 | |
Yeah, she raised two on the cover that caught my attention. | 0:29:52 | 0:29:56 | |
I don't follow you there, Dud. There's nothing written on the cover. | 0:29:56 | 0:29:59 | |
No, Pete, the points I'm referring to are not of a literary nature. | 0:29:59 | 0:30:02 | |
'Pete and Dud is a bloke in a flat cap | 0:30:02 | 0:30:04 | |
'and another bloke in a flat cap just talking.' | 0:30:04 | 0:30:06 | |
And that feels very, very modern, that stripping down of comedy | 0:30:06 | 0:30:10 | |
to something purer. | 0:30:10 | 0:30:12 | |
I ask you, did we males force the females into their brassieres? | 0:30:12 | 0:30:16 | |
-At no time. -I've been trying for years to get them out of them! | 0:30:16 | 0:30:19 | |
LAUGHTER | 0:30:19 | 0:30:22 | |
And who was it who invented the brassiere? | 0:30:22 | 0:30:25 | |
'Well, they make each other laugh, don't they?' | 0:30:25 | 0:30:27 | |
Dudley Moore in particular is laughing. | 0:30:27 | 0:30:29 | |
For that matter, who was it that invented the artificial moustache? | 0:30:29 | 0:30:34 | |
Einstein. | 0:30:35 | 0:30:37 | |
-No, it won't stick on. -No? | 0:30:37 | 0:30:40 | |
No. What I say is bung it. | 0:30:40 | 0:30:43 | |
Lo and behold, Rudolph Valentino. | 0:30:45 | 0:30:47 | |
Peter Cook always insisted on creating a script | 0:30:47 | 0:30:50 | |
so there was always something to come back to, | 0:30:50 | 0:30:52 | |
but that he could vary it by taking flight. | 0:30:52 | 0:30:55 | |
-Who was it who invented the brassiere for the benefit of ladies? -Who? | 0:30:55 | 0:31:00 | |
-A man. -Oh, you might have known. | 0:31:00 | 0:31:02 | |
The celebrated German, Otto Titsling. | 0:31:02 | 0:31:05 | |
LAUGHTER | 0:31:05 | 0:31:07 | |
And we're staying with Peter Cook | 0:31:09 | 0:31:11 | |
as we explore some of the comedy specials made for BBC Two. | 0:31:11 | 0:31:14 | |
Peter Cook's comedy creation, Sir Arthur Streeb-Greebling, | 0:31:17 | 0:31:20 | |
was given his own special in 1990 | 0:31:20 | 0:31:23 | |
where Sir Arthur was interviewed in depth | 0:31:23 | 0:31:25 | |
by the highly respected journalist and broadcaster, Ludovic Kennedy. | 0:31:25 | 0:31:29 | |
Streeb-Greebling, Sir Arthur, that's a very unusual name. | 0:31:29 | 0:31:33 | |
Yes, the Streebs originally hailed from Iceland, | 0:31:33 | 0:31:36 | |
or Norway as it was then, in what is now modern Denmark. | 0:31:36 | 0:31:40 | |
Streeb is in fact a corruption of the original Norsk name, Stroob. | 0:31:40 | 0:31:44 | |
Do you speak any Lapp yourself? | 0:31:44 | 0:31:46 | |
I have a smattering, or a smootering as they call it. | 0:31:46 | 0:31:49 | |
They don't in fact call it Lapp. They call it Loop. | 0:31:49 | 0:31:53 | |
Yes, I do have a smootering of Loop. | 0:31:53 | 0:31:56 | |
A few words, stroob, stoob, loob. | 0:31:56 | 0:31:59 | |
What about your mother? | 0:31:59 | 0:32:01 | |
Whenever I think of my dear mother I have an abiding image of a small, | 0:32:01 | 0:32:04 | |
kindly, plump, grey-haired lady pottering at the sink. | 0:32:04 | 0:32:08 | |
"Get away from the bloody sink!" my mother would yell at her, | 0:32:08 | 0:32:11 | |
"And get out of my kitchen, you awful plump little kindly woman!" | 0:32:11 | 0:32:15 | |
We never found out who she was. | 0:32:15 | 0:32:16 | |
Drove us all, and I mean absolutely all of us, stark raving mad. | 0:32:16 | 0:32:21 | |
Predating fly-on-the-wall mockumentaries like Spinal Tap | 0:32:24 | 0:32:27 | |
by over a decade, Black Safari spoofed British explorers | 0:32:27 | 0:32:31 | |
from the 19th century by taking a group of African and Caribbean | 0:32:31 | 0:32:34 | |
actors to chart the godless tribes of North West England. | 0:32:34 | 0:32:39 | |
'This was our gateway to the maze of watery channels | 0:32:40 | 0:32:44 | |
'on which the British tribes rely | 0:32:44 | 0:32:46 | |
'for all their communications. | 0:32:46 | 0:32:49 | |
'Four Africans alone in savage Lancashire.' | 0:32:49 | 0:32:53 | |
-Hello, are you Dougla? -It's Douglas, actually, sir. -Oh, Douglas. | 0:32:53 | 0:32:58 | |
-May I welcome you to these shores, sir? -Yes, yes, come aboard. | 0:32:58 | 0:33:00 | |
-Welcome aboard. -Can I jump on your deck? -Yes, please do. | 0:33:00 | 0:33:04 | |
'Our guide, Douglas, was a strong and sturdy tribesman, | 0:33:04 | 0:33:07 | |
'a fine figure in his typical regalia.' | 0:33:07 | 0:33:09 | |
-Hello, Douglas. -How do you do, ma'am? | 0:33:09 | 0:33:12 | |
-This is Douglas. -How do you do, sir? | 0:33:12 | 0:33:14 | |
-Call me Bwana. -Bwana, sir. Very good, sir. | 0:33:14 | 0:33:17 | |
'To help with the boat, Yemi engaged Gil, | 0:33:17 | 0:33:20 | |
'a picturesque fuzzy-wuzzy of the | 0:33:20 | 0:33:22 | |
'nomadic hippie tribe found all over Britain. | 0:33:22 | 0:33:25 | |
'So, the black expedition penetrated deeper into the British | 0:33:25 | 0:33:30 | |
'waterway system in search for the geographical centre of Britain.' | 0:33:30 | 0:33:35 | |
We'd like to ask you a few questions. | 0:33:35 | 0:33:37 | |
We're doing, er, an anthropological... | 0:33:37 | 0:33:39 | |
-I'm having me tea, love. -Oh, you are! | 0:33:39 | 0:33:41 | |
-What activity do you...? -Nothing. Just watch television. | 0:33:41 | 0:33:45 | |
-Mm, but do you enjoy that? -And knit. | 0:33:45 | 0:33:47 | |
Would you say that the patrilineal or agnatic kinship, | 0:33:47 | 0:33:50 | |
or the matrilineal or uterine kinship patterns are the norm? | 0:33:50 | 0:33:54 | |
Er, I think if you ask next door, eh? | 0:33:54 | 0:33:56 | |
Now, your witches, witchcraft and wizards here. | 0:33:56 | 0:34:02 | |
There's the Masons, we'll say, | 0:34:02 | 0:34:03 | |
-or the Oddfellows or... -Oh, yes. -..or things like this, | 0:34:03 | 0:34:07 | |
but we don't have any witchcraft or wizardry in the town. | 0:34:07 | 0:34:12 | |
'So far from home, we planted our tattered flag in the virgin ground | 0:34:12 | 0:34:17 | |
'and photographed ourselves for Africa and posterity. | 0:34:17 | 0:34:20 | |
'My God. | 0:34:24 | 0:34:25 | |
'This is an awful place.' | 0:34:25 | 0:34:28 | |
Clinton: His Struggle With Dirt | 0:34:30 | 0:34:32 | |
was a one-off from The Thick Of It creator Armando Iannucci. | 0:34:32 | 0:34:36 | |
Set in the future, it re-invented the past, | 0:34:36 | 0:34:39 | |
which at the time was the present. | 0:34:39 | 0:34:40 | |
Got it? | 0:34:40 | 0:34:42 | |
'In 1998, the post of President came close to being destroyed | 0:34:42 | 0:34:46 | |
'by the actions of one man and 11 or 12 women.' | 0:34:46 | 0:34:50 | |
At the height of the Monica Lewinsky scandal with Clinton | 0:34:50 | 0:34:52 | |
I did a one-off for BBC Two called, Clinton: His Struggle With Dirt. | 0:34:52 | 0:34:56 | |
'Recent evidence suggests that not only was he having an affair | 0:34:56 | 0:34:59 | |
'with Lewinsky at the time, | 0:34:59 | 0:35:01 | |
'but that she was actually carrying on the affair under him | 0:35:01 | 0:35:04 | |
'during this televised denial.' | 0:35:04 | 0:35:05 | |
-HIS VOICE CRACKS I -did not have SEXUAL relations | 0:35:05 | 0:35:08 | |
with that woman, Miss Lewinsky. | 0:35:08 | 0:35:12 | |
I never told anybody to lie. | 0:35:12 | 0:35:14 | |
Not a single time. Never! | 0:35:14 | 0:35:16 | |
These allegations are FALSE! | 0:35:16 | 0:35:19 | |
And we had, like, an 80-year-old Bill Clinton talking about the event. | 0:35:19 | 0:35:22 | |
-TRANSLATION: -I maintain to this day that I did not have sexual relations | 0:35:22 | 0:35:27 | |
inside Monica Lewinsky. | 0:35:27 | 0:35:28 | |
..She was FLANNEL, Monica Lewinsky! | 0:35:28 | 0:35:31 | |
And then, because it was meant to be, like, a fake history programme, | 0:35:31 | 0:35:34 | |
it had that manipulation of footage, news footage, | 0:35:34 | 0:35:37 | |
to make a new narrative. | 0:35:37 | 0:35:38 | |
'At one point, it clearly shows | 0:35:38 | 0:35:40 | |
'the President using a ladder on Monica Lewinsky.' | 0:35:40 | 0:35:43 | |
I burst the rumpy... | 0:35:43 | 0:35:44 | |
-TRANSLATION: -Though I didn't have sexual relations with Monica Lewinsky, | 0:35:44 | 0:35:47 | |
I did have sexual relations six feet away from her. | 0:35:47 | 0:35:50 | |
..six bounces from her skin. | 0:35:50 | 0:35:51 | |
'The footage showed a succession of playful, intimate moments | 0:35:51 | 0:35:55 | |
'between the two, as they embraced, exchanged gifts, went chair racing, | 0:35:55 | 0:35:59 | |
'took it up the arse, and played boinging games.' | 0:35:59 | 0:36:01 | |
Armando Iannucci then took the premise of | 0:36:03 | 0:36:05 | |
Clinton: His Struggle With Dirt | 0:36:05 | 0:36:07 | |
to be the basis for his cult TV series, Time Trumpet. | 0:36:07 | 0:36:11 | |
'In 2030, Time Trumpet catches up with older versions | 0:36:11 | 0:36:14 | |
'of celebrities who were famous then. | 0:36:14 | 0:36:16 | |
'Fashion guru David Beckham will be telling us about the time | 0:36:16 | 0:36:19 | |
'he had a woman's vagina sewn into his arm.' | 0:36:19 | 0:36:22 | |
Whose vagina was it? | 0:36:22 | 0:36:24 | |
I don't know. All I know was that she didn't want it any more. | 0:36:24 | 0:36:28 | |
Time Trumpet took that fake history idea and then married it to, | 0:36:28 | 0:36:32 | |
you know, those insane and inane programmes | 0:36:32 | 0:36:34 | |
where, you know, personalities sit in front of a camera | 0:36:34 | 0:36:38 | |
talking about TV shows of the past, you know those? Those shows. | 0:36:38 | 0:36:43 | |
'We'll also be talking to today's leading cultural commentators.' | 0:36:43 | 0:36:47 | |
Deal or no deal? | 0:36:47 | 0:36:48 | |
Deal. | 0:36:50 | 0:36:51 | |
Sorry, I've no idea what you said. I was trying to be punchy. | 0:36:51 | 0:36:54 | |
That format gave me the chance to project forward, so, erm... | 0:36:54 | 0:36:57 | |
Which allowed you to say things about people that hadn't happened, | 0:36:57 | 0:37:00 | |
so therefore you weren't being libellous. | 0:37:00 | 0:37:02 | |
'Richard Branson's cloned himself to stand at street corners | 0:37:02 | 0:37:05 | |
'hitting his groin with a hammer just because he could. | 0:37:05 | 0:37:08 | |
'And David Beckham's decided to turn himself into a centaur.' | 0:37:08 | 0:37:12 | |
..And then the body of an headless horse was grafted below my spine. | 0:37:12 | 0:37:16 | |
The same surgeon that did Victoria's boobs, actually. | 0:37:17 | 0:37:20 | |
Before Billy Connolly became the most famous stand-up in the country, | 0:37:22 | 0:37:26 | |
he gave this one-off performance for BBC Two. | 0:37:26 | 0:37:29 | |
Such was his reputation and talent, he was given a 40-minute special | 0:37:29 | 0:37:32 | |
despite being a newcomer to British audiences. | 0:37:32 | 0:37:35 | |
Everybody thinks that Scottish soldiers are brave, marching aboot, | 0:37:35 | 0:37:38 | |
which, of course, they are. | 0:37:38 | 0:37:39 | |
But see all that stuff, | 0:37:39 | 0:37:40 | |
all running aboot with bayonets in the First World War? | 0:37:40 | 0:37:43 | |
It's kind of deceiving because what really happened, | 0:37:43 | 0:37:45 | |
they told them there was a half bottle just beyond the Germans. | 0:37:45 | 0:37:48 | |
LAUGHTER | 0:37:48 | 0:37:49 | |
"Right, lads, over the top and get intae these people! | 0:37:49 | 0:37:53 | |
"No prisoners!" And away they went. | 0:37:53 | 0:37:57 | |
HE IMPERSONATES BAGPIPES # Deedle-dah-de-deedle-diddle-dee | 0:37:57 | 0:37:59 | |
# Diddle-ee-dun-dah diddle-ee-dun-dah | 0:37:59 | 0:38:01 | |
# Doodle-oo-dee-diddle-diddle-ee... # | 0:38:01 | 0:38:03 | |
HE IMPERSONATES GUNFIRE Boom! Crash! Di-di-di-di-di! Boom! | 0:38:03 | 0:38:06 | |
Ten of them left. | 0:38:06 | 0:38:07 | |
# Deedle daddle dee, dee deedle-da-da | 0:38:07 | 0:38:09 | |
# Deedle-deedle-dee... # | 0:38:09 | 0:38:11 | |
Boom! Rat-a-tat! Boof! Four of them. | 0:38:11 | 0:38:13 | |
# Deedle-ah-dah, deedle dah! Dee-deedle-ee-dee | 0:38:13 | 0:38:16 | |
# Deedle-eedle-dee, deedle-dee... # | 0:38:16 | 0:38:18 | |
Boom! Boom! Boom! | 0:38:18 | 0:38:20 | |
# Deedle-ah-da... # | 0:38:20 | 0:38:22 | |
One of them left. He's going along beside the piper, | 0:38:22 | 0:38:25 | |
and he says, "Hey, Jimmy!" "Wh..? What is it?" | 0:38:25 | 0:38:27 | |
"Can you no' play something they like?" | 0:38:27 | 0:38:30 | |
LAUGHTER AND APPLAUSE | 0:38:30 | 0:38:32 | |
And now a chance to look at the cream of American comedians | 0:38:36 | 0:38:39 | |
who have appeared on BBC Two, kicking off with Bill Hicks | 0:38:39 | 0:38:42 | |
and his first performance on the channel in 1992. | 0:38:42 | 0:38:46 | |
This whole anti-drug campaign going on I think stinks. | 0:38:46 | 0:38:50 | |
You know why? Cos drugs have done good things for us, | 0:38:50 | 0:38:53 | |
and if you don't believe they have, do me a favour, would you? | 0:38:53 | 0:38:56 | |
Go home and take all your albums, your tapes and your CDs... | 0:38:56 | 0:39:00 | |
and burn 'em. You know why? | 0:39:00 | 0:39:02 | |
The musicians who made that music | 0:39:02 | 0:39:04 | |
that's enhanced your lives throughout the years? | 0:39:04 | 0:39:06 | |
R-r-real high on drugs, OK? | 0:39:06 | 0:39:09 | |
OK. | 0:39:09 | 0:39:11 | |
Man, the Beatles were so high they let Ringo sing a couple of tunes. | 0:39:11 | 0:39:14 | |
LAUGHTER AND APPLAUSE | 0:39:14 | 0:39:16 | |
Tell me they weren't partying! | 0:39:20 | 0:39:22 | |
# We all live in a yellow submarine. # | 0:39:22 | 0:39:26 | |
"We all live in a yellow..." | 0:39:26 | 0:39:28 | |
You know how high they were when they wrote that? | 0:39:28 | 0:39:32 | |
They had to pull Ringo off the ceiling with a rake | 0:39:32 | 0:39:34 | |
to sing that song. | 0:39:34 | 0:39:36 | |
"John, get Ringo. He's in the corner. | 0:39:36 | 0:39:40 | |
"Wow, look at him scoot, grab him! | 0:39:40 | 0:39:41 | |
"John, he has a song he wants to sing us, | 0:39:43 | 0:39:45 | |
"something about living in a yellow tambourine or something. | 0:39:45 | 0:39:49 | |
"Ringo, come down! Yoko's gone, we can party again!" | 0:39:49 | 0:39:52 | |
Next in our trawl through BBC Two's comedy vaults is | 0:39:57 | 0:40:00 | |
one of the most unique comedians America has ever produced. | 0:40:00 | 0:40:04 | |
In his first performance on British TV, it's Steven Wright. | 0:40:04 | 0:40:07 | |
One time right in the middle of a job interview | 0:40:10 | 0:40:13 | |
I took out a book and I started reading. | 0:40:13 | 0:40:15 | |
The guy said, "What the hell are you doing?" | 0:40:15 | 0:40:17 | |
I said, "Let me ask you one question. If you were in a vehicle | 0:40:17 | 0:40:20 | |
"and you were travelling at the speed of light, | 0:40:20 | 0:40:22 | |
"and then you turned your lights on, would they do anything?" | 0:40:22 | 0:40:27 | |
LAUGHTER | 0:40:27 | 0:40:29 | |
He said, "I don't know." | 0:40:30 | 0:40:31 | |
I said, "Forget it, then, I don't want to work for you." | 0:40:31 | 0:40:34 | |
LAUGHTER AND APPLAUSE | 0:40:34 | 0:40:37 | |
I got food poisoning today. | 0:40:37 | 0:40:39 | |
I don't know when I'm going to use it. | 0:40:39 | 0:40:41 | |
LAUGHTER | 0:40:41 | 0:40:43 | |
I was travelling with my friend George. | 0:40:46 | 0:40:48 | |
Some people think George is weird | 0:40:48 | 0:40:50 | |
because he has sideburns behind his ears. | 0:40:50 | 0:40:53 | |
LAUGHTER | 0:40:53 | 0:40:55 | |
I think he's weird cos he has false teeth but he has braces on them. | 0:40:56 | 0:41:00 | |
LAUGHTER | 0:41:00 | 0:41:02 | |
Are there any questions? | 0:41:07 | 0:41:08 | |
LAUGHTER | 0:41:08 | 0:41:10 | |
I got up the other day and everything in my apartment had been stolen | 0:41:13 | 0:41:16 | |
and replaced with an exact replica. | 0:41:16 | 0:41:19 | |
LAUGHTER | 0:41:19 | 0:41:21 | |
I couldn't believe it, I called my roommate in, I said, | 0:41:25 | 0:41:28 | |
"Come here, look at this stuff, | 0:41:28 | 0:41:30 | |
"it's all an exact replica. What do you think?" | 0:41:30 | 0:41:32 | |
He said, "Do I know you?" | 0:41:32 | 0:41:34 | |
LAUGHTER AND APPLAUSE | 0:41:34 | 0:41:36 | |
Jon Stewart is now one of the most famous comedians | 0:41:44 | 0:41:46 | |
and satirists in America. | 0:41:46 | 0:41:48 | |
But long before he became the star of The Daily Show, | 0:41:48 | 0:41:51 | |
here he is doing stand-up on BBC Two. | 0:41:51 | 0:41:54 | |
I'm a Jew, you know. Not that I got to choose it. | 0:41:54 | 0:41:56 | |
You never get to choose your religion. | 0:41:56 | 0:41:58 | |
It just chooses you, you know? | 0:41:58 | 0:41:59 | |
Now I've got to follow all these rules of the Jewish faith | 0:41:59 | 0:42:02 | |
that don't even make sense to me. | 0:42:02 | 0:42:03 | |
Here are the rules of the Jewish religion as far as I can tell. | 0:42:03 | 0:42:06 | |
See if you can follow the logic. | 0:42:06 | 0:42:07 | |
"Thou shalt not kill. | 0:42:07 | 0:42:09 | |
"Thou shalt not commit adultery. | 0:42:09 | 0:42:12 | |
"Don't eat pork." | 0:42:12 | 0:42:13 | |
LAUGHTER | 0:42:13 | 0:42:15 | |
"I'm sorry, what was that last one?" | 0:42:17 | 0:42:20 | |
"Don't eat pork, God has spoken." | 0:42:20 | 0:42:22 | |
Is that the word of God or is that just | 0:42:22 | 0:42:24 | |
pigs trying to outsmart everybody? What does God care? | 0:42:24 | 0:42:27 | |
Does he have a beef business in Nebraska we're ruining? | 0:42:27 | 0:42:29 | |
You know, every religion's got these bizarre rules. | 0:42:29 | 0:42:31 | |
Catholics? You guys have terrible rules. | 0:42:31 | 0:42:34 | |
"Don't masturbate!" | 0:42:34 | 0:42:35 | |
"How'd you find out about that?" | 0:42:38 | 0:42:40 | |
"I'm God, I'm everywhere, don't masturbate!" | 0:42:40 | 0:42:43 | |
"Damn!" | 0:42:43 | 0:42:44 | |
"What about pork?" "Yeah, go ahead, have a sandwich. What do I care?" | 0:42:45 | 0:42:48 | |
Catholics, they can eat the pork, | 0:42:48 | 0:42:50 | |
they just can't play with it. See, they draw the line. | 0:42:50 | 0:42:52 | |
Now a Hollywood star, Denis Leary started his career as a stand-up. | 0:42:55 | 0:42:59 | |
And his first appearance on BBC Two was in 1992 on London Underground. | 0:42:59 | 0:43:05 | |
I saw Keith Richards do an ad in the United States on MTV | 0:43:05 | 0:43:09 | |
telling kids not to do drugs. | 0:43:09 | 0:43:11 | |
Keith Richards came on television one night doing an ad saying, | 0:43:11 | 0:43:14 | |
"Kids, don't do drugs." | 0:43:14 | 0:43:16 | |
Keith, we can't do any more drugs cos you already did 'em all! | 0:43:16 | 0:43:19 | |
LAUGHTER | 0:43:19 | 0:43:20 | |
There's none left! | 0:43:20 | 0:43:21 | |
We have to wait until you die and then smoke your ashes, OK? | 0:43:21 | 0:43:25 | |
Every time I read about some famous guy overdosing on drugs, | 0:43:26 | 0:43:28 | |
it's always some really talented guy. | 0:43:28 | 0:43:30 | |
It's always like Janis Joplin or Jimi Hendrix or John Belushi. | 0:43:30 | 0:43:33 | |
The people you want to overdose on drugs never would. | 0:43:33 | 0:43:36 | |
The New Kids On The Block would never overdose, man! | 0:43:36 | 0:43:38 | |
You could put them in a room with two tons of crack, | 0:43:38 | 0:43:41 | |
they'd come out half an hour later, "Rock on, man, yeah!" | 0:43:41 | 0:43:44 | |
"Oh, my God, they're still alive!" | 0:43:44 | 0:43:46 | |
Our last withdrawal from the Comedy Vaults | 0:43:48 | 0:43:50 | |
is our section First On Two, as we look at the shows | 0:43:50 | 0:43:54 | |
which gave some of the biggest names in the business their big break. | 0:43:54 | 0:43:58 | |
The first ever TV appearance of French and Saunders | 0:43:58 | 0:44:01 | |
was their very brief guest spot on the live chat show | 0:44:01 | 0:44:05 | |
Friday Night, Saturday Morning. | 0:44:05 | 0:44:06 | |
-I'm home! -Yeah, yeah. | 0:44:06 | 0:44:08 | |
-Woo! Polly and... -Della... | 0:44:08 | 0:44:09 | |
BOTH: Farton! Yoo! Woo! Woo! | 0:44:09 | 0:44:12 | |
-Ah-ha-ha-ha! -Thank you! -Thank you! -We're home! We're home! | 0:44:13 | 0:44:17 | |
Cos I'd like to tell you, | 0:44:17 | 0:44:19 | |
while we was born and raised right here in West Plains, Delaware... | 0:44:19 | 0:44:22 | |
-Virginia. -Tennessee. -Ohio. -Ohio. | 0:44:22 | 0:44:25 | |
I saw them first | 0:44:25 | 0:44:27 | |
playing to at least 40 people doing characters, which... | 0:44:27 | 0:44:33 | |
And it's amazing how quickly they then moved onto television. | 0:44:33 | 0:44:37 | |
They did Friday Night, Saturday Morning | 0:44:37 | 0:44:39 | |
with two of the characters they were doing then. | 0:44:39 | 0:44:42 | |
We're singing you a new song tonight, | 0:44:42 | 0:44:44 | |
and this song is from our movie, Kentucky Fried Daughters. | 0:44:44 | 0:44:47 | |
-That's right, we did that movie with, er, Jane Fondue. -Yeah. | 0:44:47 | 0:44:51 | |
-And it's a simple song. -Yeah, it's for folk like you. | 0:44:51 | 0:44:54 | |
But it's complicated, you know, it's complicated. | 0:44:54 | 0:44:57 | |
-Yeah, I guess you could say it's a simply complicated song. -Mm. -Yeah. | 0:44:57 | 0:45:01 | |
They were always a funny act, | 0:45:01 | 0:45:03 | |
and I think I may just about dare say and still work with them, | 0:45:03 | 0:45:08 | |
that this was a period when, er, | 0:45:08 | 0:45:11 | |
Jennifer Saunders was slightly larger than Dawn French. | 0:45:11 | 0:45:14 | |
See if you can spot the difference, viewers. | 0:45:14 | 0:45:16 | |
# And we're just country girls | 0:45:16 | 0:45:21 | |
# At heart | 0:45:21 | 0:45:23 | |
# Hea-a-art | 0:45:23 | 0:45:25 | |
# Hea-a-art | 0:45:25 | 0:45:27 | |
# Har-har-heart! # | 0:45:27 | 0:45:29 | |
-Woo! Thank you! -Woo! | 0:45:29 | 0:45:32 | |
APPLAUSE | 0:45:32 | 0:45:34 | |
Harry Hill's first ever TV appearance was on BBC Two in 1994 | 0:45:39 | 0:45:44 | |
in his mini-series Harry Hill's Fruit Fancies. | 0:45:44 | 0:45:48 | |
Each episode was 10 ten minutes long, in black and white, | 0:45:48 | 0:45:50 | |
and with no dialogue. | 0:45:50 | 0:45:52 | |
Back then he even had hair. | 0:45:52 | 0:45:55 | |
The one that was Punch & Judy, I was Judy and Harry was Punch. | 0:45:55 | 0:45:58 | |
It's actually funny to see Harry's emerging style, really, | 0:46:02 | 0:46:06 | |
cos it's all so silly. | 0:46:06 | 0:46:07 | |
When you see, like, a dummy being thrown up in the air. | 0:46:07 | 0:46:10 | |
And there's no attempt at all to make it look real. | 0:46:12 | 0:46:16 | |
And I think the joke's in the fact that something is clearly not real. | 0:46:17 | 0:46:21 | |
Next up, a sketch show | 0:46:26 | 0:46:27 | |
which not only nurtured the early careers of Mitchell and Webb, | 0:46:27 | 0:46:30 | |
but which also gave a number of young comedians and comedy actors | 0:46:30 | 0:46:34 | |
their first break, | 0:46:34 | 0:46:35 | |
including Matt Holness... | 0:46:35 | 0:46:37 | |
Know why I do amateur gymnastics? Cos it's pussy on a stick. | 0:46:37 | 0:46:41 | |
..Olivia Colman and Martin Freeman. | 0:46:41 | 0:46:43 | |
-Gary, you're definitely not gay. -Yes, I am. | 0:46:43 | 0:46:46 | |
All right, if you're so gay, | 0:46:46 | 0:46:48 | |
why have you still got that Pirelli calendar with all them birds on it? | 0:46:48 | 0:46:51 | |
Well, look, I mean, it's... | 0:46:51 | 0:46:52 | |
I've only been gay since last Tuesday. | 0:46:52 | 0:46:54 | |
I'm not going to go off tits completely, like, all of a sudden. | 0:46:54 | 0:46:57 | |
It's a slow process. I have obviously gone off yours. | 0:46:57 | 0:47:00 | |
-What's wrong with my tits? -Nothing's wrong with 'em, Samantha, | 0:47:00 | 0:47:03 | |
I'm just saying that I'm slowly coming to terms with being a homo, | 0:47:03 | 0:47:06 | |
and now I'd probably prefer to look at some bloke's cute arse. | 0:47:06 | 0:47:08 | |
I'm sorry, Gary, I just don't believe you. | 0:47:08 | 0:47:10 | |
-Can I have my beads back, please? -No, I like 'em. | 0:47:10 | 0:47:13 | |
People have to start somewhere. | 0:47:13 | 0:47:14 | |
I suspect if you looked at the viewing figures they were tiny, | 0:47:14 | 0:47:18 | |
but it was a lot of people who kind of went on to do good things. | 0:47:18 | 0:47:23 | |
-I've ordered 20 MC-2000s for the office. -Fantastic. | 0:47:23 | 0:47:26 | |
-They're Disk Magazine's top tip. -Bollocks! | 0:47:26 | 0:47:28 | |
I beg your pardon? | 0:47:28 | 0:47:30 | |
MC-2000s are total jism, | 0:47:30 | 0:47:32 | |
and I'm the poor gonad who's going to have to sod about with them. | 0:47:32 | 0:47:35 | |
-What's wrong with them? -They're wank, they'll shag your hardware. | 0:47:35 | 0:47:38 | |
Disk Magazine says they're superb. | 0:47:38 | 0:47:40 | |
Disk Magazine's for knobheads. | 0:47:40 | 0:47:42 | |
That was on, you know, solidly before midnight, so I knew | 0:47:42 | 0:47:46 | |
I'd made it, cos that's prime time, isn't it, before midnight? | 0:47:46 | 0:47:49 | |
-Those machines are offensively arse. -I've ordered them now. | 0:47:49 | 0:47:52 | |
-Well, you're a tit. Un-order them. -I don't think I can. | 0:47:52 | 0:47:55 | |
-Then you're shafted. -They can't be that bad, can they? | 0:47:55 | 0:47:59 | |
Erm, basically, your problem's the hardware. | 0:47:59 | 0:48:01 | |
I mean, I could bodge it with some motherboards | 0:48:01 | 0:48:03 | |
but it's going to be shagged for a week. It's toss. | 0:48:03 | 0:48:06 | |
Bruiser was filmed in 1999 and transmitted in 2000. | 0:48:06 | 0:48:10 | |
We're still waiting to hear about Series Two. | 0:48:10 | 0:48:12 | |
And now please give a big cheer to Pussy On A Stick! | 0:48:12 | 0:48:16 | |
CHEERING | 0:48:16 | 0:48:18 | |
Introducing Roger Green! | 0:48:18 | 0:48:19 | |
CHEERING CONTINUES | 0:48:19 | 0:48:21 | |
John Cassels! | 0:48:21 | 0:48:22 | |
CHEERING CONTINUES | 0:48:22 | 0:48:23 | |
Jimmy Da Rue! | 0:48:23 | 0:48:25 | |
SUDDEN SILENCE | 0:48:25 | 0:48:26 | |
And Richard Drake! | 0:48:26 | 0:48:27 | |
CHEERING RESUMES | 0:48:27 | 0:48:29 | |
I think the first time I appeared on BBC Two would probably have been | 0:48:38 | 0:48:41 | |
on a show called The Oxford Roadshow. | 0:48:41 | 0:48:44 | |
We basically did our radio show on television. | 0:48:44 | 0:48:46 | |
# Radio Active! # | 0:48:46 | 0:48:48 | |
Broadcasting to you locally wherever you are in the nation, | 0:48:48 | 0:48:51 | |
this is Britain's first national local radio station. | 0:48:51 | 0:48:54 | |
The get-up-and-go station, the station that puts action first. | 0:48:54 | 0:48:57 | |
It's Radio Active. | 0:48:57 | 0:48:58 | |
I wrote it with a guy who's no longer with us sadly | 0:48:58 | 0:49:01 | |
called Geoffrey Perkins. | 0:49:01 | 0:49:02 | |
-Hi, Mike! -Well, how's tricks? -Oh, she's fine! | 0:49:02 | 0:49:05 | |
-Super. -Great, yes. | 0:49:06 | 0:49:08 | |
And, er, what have you got on for us tonight, Mike? | 0:49:08 | 0:49:10 | |
Oh, just the usual pair of jeans. | 0:49:10 | 0:49:12 | |
Terrific. | 0:49:14 | 0:49:15 | |
'There was Mike Fenton Stevens, Philip Pope,' | 0:49:15 | 0:49:19 | |
and Helen Atkinson-Wood. | 0:49:19 | 0:49:20 | |
Well, Mike, have we got some bargains for you? | 0:49:20 | 0:49:22 | |
Sorry? | 0:49:23 | 0:49:25 | |
-SHE LAUGHS -Have we got some bargains for YOU! | 0:49:25 | 0:49:28 | |
LAUGHTER | 0:49:28 | 0:49:29 | |
'It was so successful that we then waited about another nine years | 0:49:29 | 0:49:33 | |
'before eventually getting it on regular BBC Two, | 0:49:33 | 0:49:37 | |
'and it became KYTV.' | 0:49:37 | 0:49:39 | |
The same characters, roughly the same jokes, slightly different order, | 0:49:42 | 0:49:47 | |
and it was a TV station rather than a radio station. | 0:49:47 | 0:49:49 | |
Death, is it a bad thing? | 0:49:49 | 0:49:51 | |
I think, for the person dying, I would have to say yes. | 0:49:51 | 0:49:54 | |
Chris, mass murder - a fair means to an end? | 0:49:55 | 0:49:58 | |
Well, as you know, I'm an expert... | 0:49:58 | 0:50:00 | |
Oh, good lord, no! | 0:50:00 | 0:50:02 | |
-General? -I'm so sorry, I was listening to the Test Match. | 0:50:02 | 0:50:05 | |
LAUGHTER | 0:50:05 | 0:50:06 | |
So it sort of started out as parodying Sky News, | 0:50:06 | 0:50:10 | |
I suppose, or Sky TV. | 0:50:10 | 0:50:11 | |
Yes, I've come outside our studios now to show you the glorious view | 0:50:11 | 0:50:15 | |
from our balcony which overlooks St Paul's here in the heart of London. | 0:50:15 | 0:50:20 | |
It wasn't an immediate success, it wasn't like overnight stardom. | 0:50:20 | 0:50:25 | |
Opposite, in fact. | 0:50:25 | 0:50:26 | |
-General, discussion. -What? | 0:50:26 | 0:50:28 | |
Oh, I'm sorry, I was looking at my notes. | 0:50:28 | 0:50:31 | |
General discussion. | 0:50:31 | 0:50:33 | |
And it ran for three series, I think. And then what happened? I don't know. | 0:50:33 | 0:50:38 | |
Never got the call. | 0:50:38 | 0:50:39 | |
And now, Stephen Fry and Hugh Laurie's | 0:50:45 | 0:50:47 | |
first ever TV appearance together. | 0:50:47 | 0:50:49 | |
As part of the Cambridge Footlights Revue, | 0:50:50 | 0:50:53 | |
the 24-year-old Fry guides the 22-year-old Laurie | 0:50:53 | 0:50:56 | |
in a Shakespearean Actor's Masterclass. | 0:50:56 | 0:50:59 | |
We're very lucky to have with us in the studio this evening Hugh. | 0:51:01 | 0:51:04 | |
-Hello, Hugh. -Hi. -Hi! Erm... | 0:51:04 | 0:51:06 | |
LAUGHTER | 0:51:06 | 0:51:08 | |
What have you prepared for us this evening, Hugh? | 0:51:08 | 0:51:11 | |
Er, I have a speech from Troilus, 3-3. | 0:51:11 | 0:51:14 | |
Er, it's the Ulysses speech. | 0:51:14 | 0:51:16 | |
The Ulysses speech, T&C, 3-3. | 0:51:16 | 0:51:19 | |
That's on page 66 in your Cambridge editions | 0:51:19 | 0:51:22 | |
if you'd like to follow at home. | 0:51:22 | 0:51:23 | |
'Fry and Laurie were absolutely brilliant. | 0:51:23 | 0:51:25 | |
'They came out of the Footlights, of course, | 0:51:25 | 0:51:27 | |
'and they were very experimental.' | 0:51:27 | 0:51:29 | |
They were the brightest and the best. | 0:51:29 | 0:51:30 | |
-Hugh? -Yes? | 0:51:33 | 0:51:35 | |
Why are you squatting? | 0:51:35 | 0:51:37 | |
-Oh, sorry, I... -I don't think we're ready for that yet, are we? -No. | 0:51:37 | 0:51:40 | |
They did sketches that more mainstream comics | 0:51:40 | 0:51:43 | |
probably couldn't because... | 0:51:43 | 0:51:44 | |
I think probably because they were Cambridgey and a bit clever | 0:51:44 | 0:51:47 | |
and nobody... And they... | 0:51:47 | 0:51:50 | |
In the '80s, that was almost a good thing. That was still a good thing. | 0:51:50 | 0:51:54 | |
Hugh, what I want you to do now is see how great the strides we've made | 0:51:54 | 0:51:58 | |
have been by reading the rest of the speech as well | 0:51:58 | 0:52:00 | |
-using what we've learnt. -OK. -All right. -Right. | 0:52:00 | 0:52:02 | |
"TIME hath, my lord, a wallet at his back, | 0:52:04 | 0:52:06 | |
"where he put alms for oblivion, | 0:52:06 | 0:52:08 | |
"a great sized monster of ingratitude." | 0:52:08 | 0:52:10 | |
Well, as you can see, still a very long way to go there. | 0:52:13 | 0:52:16 | |
Designed for the under-25s, | 0:52:18 | 0:52:20 | |
The Sunday Show was broadcast live from Manchester on Sunday lunchtime. | 0:52:20 | 0:52:24 | |
It featured a number of young comedians | 0:52:24 | 0:52:26 | |
and was the first time this man bounced onto our screens. | 0:52:26 | 0:52:30 | |
Yes, folks, it's Christmas, | 0:52:30 | 0:52:32 | |
and it's your very own That's Entertainment doll. | 0:52:32 | 0:52:35 | |
Cute, isn't he? | 0:52:35 | 0:52:36 | |
Your very own walking, talking, living doll. | 0:52:37 | 0:52:40 | |
He not only walks like me but he also talks like me, listen. | 0:52:40 | 0:52:43 | |
-SQUEAKY VOICE -If it's entertaining, | 0:52:43 | 0:52:45 | |
then it must be entertainment! | 0:52:45 | 0:52:47 | |
The Sunday Show was also the first time we saw Paul Kaye's creation | 0:52:49 | 0:52:52 | |
Dennis Pennis, the scourge of the celebrity. | 0:52:52 | 0:52:55 | |
You know the one good thing about all your problems at the moment? | 0:52:57 | 0:53:00 | |
You haven't got time to worry about your weight. | 0:53:00 | 0:53:03 | |
Jeffrey, can I just say, | 0:53:03 | 0:53:05 | |
over the years you've been accused of speaking quite a lot of crap. | 0:53:05 | 0:53:08 | |
I just wondered if you had any comment. | 0:53:08 | 0:53:10 | |
LAUGHTER | 0:53:10 | 0:53:12 | |
Dennis Pennis was Paul Kaye's first outing. | 0:53:12 | 0:53:16 | |
Why did the model stare at the orange juice? | 0:53:16 | 0:53:19 | |
I don't understand what you're saying. I'm a model, I'm stupid. | 0:53:20 | 0:53:23 | |
Yeah, but why was she staring at the orange juice? | 0:53:23 | 0:53:27 | |
Because we like C vitamins. | 0:53:27 | 0:53:28 | |
No, because it said concentrate on the carton. | 0:53:28 | 0:53:31 | |
See ya. | 0:53:32 | 0:53:33 | |
Concentrate on the what? | 0:53:34 | 0:53:36 | |
Carton. | 0:53:37 | 0:53:39 | |
I didn't get it, but, er, I guess I wasn't supposed to. | 0:53:39 | 0:53:42 | |
You certainly weren't! | 0:53:42 | 0:53:44 | |
His idea was this sort of ambush TV, er, that then, you know, | 0:53:44 | 0:53:48 | |
Chris Morris and Sacha Baron Cohen picked up the baton and ran with. | 0:53:48 | 0:53:52 | |
-Hi. -Oh, -BLEEP -off! | 0:53:52 | 0:53:54 | |
He did it to me, and obviously I didn't know who he was. | 0:53:54 | 0:53:57 | |
I don't know you very well. | 0:53:57 | 0:53:58 | |
In fact, we very recently met. | 0:53:58 | 0:54:00 | |
-But, erm... -About 30 seconds ago, yeah. -30 seconds ago, | 0:54:00 | 0:54:02 | |
and it might seem a bit upfront to ask you something like this, | 0:54:02 | 0:54:05 | |
but is there any chance you might be able to pick up my grandmother | 0:54:05 | 0:54:08 | |
tomorrow afternoon? I'm running really late, I got a very busy day, | 0:54:08 | 0:54:11 | |
she's a really nice woman, she's very easy to get on with... | 0:54:11 | 0:54:14 | |
I thought, "This is a slightly strange interview." I thought | 0:54:14 | 0:54:18 | |
I was going to be promoting my latest project, erm, so I thought, | 0:54:18 | 0:54:22 | |
"Ah, we're in the middle of a sketch here," so just kind of ran with it. | 0:54:22 | 0:54:27 | |
-Er, and it's just for an hour. -Mm. | 0:54:27 | 0:54:28 | |
And if she likes you maybe you'll make it a regular thing every week. | 0:54:28 | 0:54:32 | |
-Well, ordinarily I'd say no. -Right. | 0:54:32 | 0:54:34 | |
-Er, so, no. -Great! | 0:54:34 | 0:54:36 | |
-Listen, you're very popular in the UK, you know. -Yes. | 0:54:36 | 0:54:39 | |
They even named a cushion after you! | 0:54:39 | 0:54:41 | |
And please don't adjust your sets, | 0:54:45 | 0:54:47 | |
it's just a little paranormal activity coming now on BBC Two, | 0:54:47 | 0:54:51 | |
as Mulder and Scully decipher the latest mysterious events | 0:54:51 | 0:54:55 | |
in a new series of Thex Fillets! | 0:54:55 | 0:54:58 | |
Comedy Nation was one of the BBC's attempts to try | 0:54:59 | 0:55:04 | |
and sort of capture the lively, | 0:55:04 | 0:55:07 | |
thrusting young comedy people who were around | 0:55:07 | 0:55:11 | |
by doing something for next to no budget as late at night as possible. | 0:55:11 | 0:55:16 | |
HE SCREAMS | 0:55:16 | 0:55:18 | |
The show was full of young, up-and-coming comedians | 0:55:18 | 0:55:20 | |
who were allowed to stay up late, | 0:55:20 | 0:55:22 | |
including Fiona Allen and Phill Jupitus... | 0:55:22 | 0:55:25 | |
Doing a video diary. | 0:55:25 | 0:55:26 | |
What time's dinner? | 0:55:26 | 0:55:28 | |
..Peter Serafinowicz... | 0:55:28 | 0:55:29 | |
Hi, I'm Brian May. | 0:55:29 | 0:55:31 | |
..and Julia Davis. | 0:55:31 | 0:55:32 | |
BRISTOL ACCENT I'm tripping, brother. | 0:55:32 | 0:55:35 | |
I'm ripping other... | 0:55:35 | 0:55:36 | |
things off of my body. | 0:55:36 | 0:55:38 | |
I've got a face like Noddy! | 0:55:38 | 0:55:40 | |
My first break in television was on BBC Two in Comedy Nation, | 0:55:40 | 0:55:45 | |
and it was an extremely cheap programme. | 0:55:45 | 0:55:48 | |
-Jarvis, wake up, you lazy bastard! -Don't leave me! | 0:55:48 | 0:55:51 | |
Oh, sorry, sir. I must have fallen asleep. | 0:55:51 | 0:55:54 | |
Jarvis, do you begin every morning | 0:55:54 | 0:55:56 | |
with such a brilliant piece of deduction(?) | 0:55:56 | 0:55:58 | |
You were paid 15p and you turned up with your own costume, | 0:55:58 | 0:56:00 | |
so, you know, don't write a sketch about Superman. | 0:56:00 | 0:56:03 | |
I am now completely addicted to opium, and as a result, | 0:56:03 | 0:56:07 | |
in order to sustain my habit, I've decided to halve your wages. | 0:56:07 | 0:56:10 | |
Thank you very much, sir. | 0:56:10 | 0:56:11 | |
We did a couple of painfully derivative, er, | 0:56:11 | 0:56:14 | |
"we wish we were Fry and Laurie" sketches. | 0:56:14 | 0:56:17 | |
-What does it take to get a rise out of you? -I'm sorry, sir? | 0:56:17 | 0:56:19 | |
It's an Americanism, Jarvis, from America. | 0:56:19 | 0:56:21 | |
You know, lots of charming people, lots of bright ideas about equality | 0:56:21 | 0:56:25 | |
and enterprise and earning your liberty. | 0:56:25 | 0:56:27 | |
Unlike you, Jarvis. You're never going to earn your liberty, | 0:56:27 | 0:56:30 | |
and from tomorrow, you're not going to earn anything at all. | 0:56:30 | 0:56:33 | |
-I'm happy with my station, sir. -Oh, piss off! | 0:56:33 | 0:56:35 | |
BBC Two have always offered that next stepping stone from... | 0:56:35 | 0:56:39 | |
well, in our case, Edinburgh, or from Radio Four or... | 0:56:39 | 0:56:41 | |
It's the next thing you try and do. | 0:56:41 | 0:56:45 | |
Hello! Are you come to party? | 0:56:45 | 0:56:47 | |
Comedy Nation was also responsible | 0:56:48 | 0:56:50 | |
for the network debut of this foreign correspondent. | 0:56:50 | 0:56:54 | |
Though back then he was travelling under a different passport. | 0:56:54 | 0:56:57 | |
Dzien dobry. | 0:56:57 | 0:56:58 | |
I am here from Albania televiskja. | 0:56:58 | 0:57:01 | |
We go to visit Mrs Claire, she is match maker. | 0:57:01 | 0:57:05 | |
She introduce men to women for them to fall in love. | 0:57:05 | 0:57:10 | |
-Be careful. -Why? -Because you can hurt the... | 0:57:10 | 0:57:15 | |
Exactly! That's why I'm doing it, Christo, because he likes it. | 0:57:15 | 0:57:20 | |
-There we are, you see, stirrups. -Yes. | 0:57:20 | 0:57:22 | |
So there is, sometimes you have a horse in here, sometimes...? | 0:57:22 | 0:57:26 | |
Sometimes I have a man pretending to be a horse. | 0:57:26 | 0:57:29 | |
The one I remember particularly was Sacha Baron Cohen, | 0:57:29 | 0:57:31 | |
and I remember him partly because just previously to this | 0:57:31 | 0:57:35 | |
he had come into my office and said, "I think I should have a series." | 0:57:35 | 0:57:41 | |
And, I mean, obviously I should have said yes, with hindsight. | 0:57:41 | 0:57:45 | |
-Would you like to take off your jacket? -Yes, for gold shower. | 0:57:45 | 0:57:48 | |
For gold shower, yes. | 0:57:48 | 0:57:50 | |
It's very strange, crazy feeling to be in gold shower, | 0:57:50 | 0:57:56 | |
to be inside toilet is very strange. | 0:57:56 | 0:58:02 | |
But exciting. | 0:58:02 | 0:58:04 | |
Well, that's the climax of our show. | 0:58:06 | 0:58:08 | |
And what a way to go out. | 0:58:08 | 0:58:10 | |
# Ah, goodbye, goodbye... # | 0:58:15 | 0:58:17 | |
We hope you've enjoyed our special tour of the rare, wonderful | 0:58:17 | 0:58:19 | |
and weird we have inside the comedy vaults. | 0:58:19 | 0:58:23 | |
So let's do it all again in 2064. | 0:58:23 | 0:58:26 | |
Good night. | 0:58:26 | 0:58:27 | |
# Goodbye | 0:58:27 | 0:58:29 | |
# We wish a fond goodbye Fa-da-da-da-da | 0:58:29 | 0:58:31 | |
# Goodbye, goodbye | 0:58:31 | 0:58:33 | |
# We're leaving you, skiddly-da | 0:58:33 | 0:58:35 | |
# Goodbye | 0:58:35 | 0:58:37 | |
# We wish you fond goodbye Fa-ta-ta-ta, fa-ta-la-ta | 0:58:37 | 0:58:40 | |
# Ah, goodbye, goodbye | 0:58:40 | 0:58:41 | |
# We're leaving you, skiddly-da | 0:58:41 | 0:58:43 | |
# Goodbye | 0:58:43 | 0:58:45 | |
# We wish a fond goodbye Fa-da-da-da-da | 0:58:45 | 0:58:48 | |
# Goodbye | 0:58:48 | 0:58:51 | |
# We wish a fond goodbye! # | 0:58:51 | 0:58:57 | |
APPLAUSE | 0:58:57 | 0:58:59 |