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I'm so pleased that the BBC have decided to institute | 0:00:03 | 0:00:06 | |
an annual lecture on the art of comedy, | 0:00:06 | 0:00:11 | |
and I think it's very fitting that they have decided | 0:00:11 | 0:00:14 | |
to name it in honour of my old friend and mentor, | 0:00:14 | 0:00:17 | |
the lovely, clever Ronnie Barker. | 0:00:17 | 0:00:20 | |
Not only was he a great comedy actor and performer, | 0:00:20 | 0:00:24 | |
but he was also a very skilful writer. | 0:00:24 | 0:00:26 | |
He would be absolutely pleased and delighted to know | 0:00:26 | 0:00:30 | |
that this lecture is being hosted | 0:00:30 | 0:00:33 | |
by a favourite of his and a favourite of mine - | 0:00:33 | 0:00:37 | |
Ben Elton. | 0:00:37 | 0:00:38 | |
APPLAUSE | 0:00:38 | 0:00:41 | |
WHOOPING | 0:00:41 | 0:00:43 | |
Thank you. | 0:00:51 | 0:00:52 | |
Thank you very much. | 0:00:53 | 0:00:55 | |
Ladies, gentlemen, fellow turns, welcome to... | 0:00:55 | 0:01:00 | |
..BBC Broadcasting House - | 0:01:01 | 0:01:03 | |
the epicentre of British popular culture since 1932. | 0:01:03 | 0:01:08 | |
And I'd like to make a very special welcome to Charlie Barker, | 0:01:08 | 0:01:11 | |
Ronnie's daughter, who's here with us tonight representing | 0:01:11 | 0:01:14 | |
Ronnie's family. And also, | 0:01:14 | 0:01:15 | |
I'm so pleased to say that there are quite a few members of | 0:01:15 | 0:01:19 | |
Ronnie Corbett's family here with us tonight as well, which is lovely. | 0:01:19 | 0:01:22 | |
So it's good evening to you and it's good evening to you. | 0:01:22 | 0:01:26 | |
It is obviously a huge honour to have been asked to give | 0:01:26 | 0:01:29 | |
this inaugural Ronnie Barker BBC comedy lecture | 0:01:29 | 0:01:32 | |
and tonight I'm going to use the opportunity | 0:01:32 | 0:01:35 | |
to offer some reflections on specific aspects of the sitcom, | 0:01:35 | 0:01:39 | |
a subject I'm certain would have been | 0:01:39 | 0:01:41 | |
of great interest to the great man himself. | 0:01:41 | 0:01:43 | |
I was lucky enough to get to know Ronnie quite well | 0:01:43 | 0:01:46 | |
towards the end of his life, | 0:01:46 | 0:01:47 | |
we became quite friendly, but I will admit | 0:01:47 | 0:01:50 | |
that our first meeting wasn't quite such a happy occasion. | 0:01:50 | 0:01:53 | |
I was at my favourite event of the whole year - | 0:01:53 | 0:01:56 | |
the BBC Light Entertainment Christmas party. | 0:01:56 | 0:02:01 | |
You can imagine how I felt. | 0:02:01 | 0:02:02 | |
I was young, it was Christmas and I was at the BBC, | 0:02:02 | 0:02:07 | |
and not just any part of the BBC, but the bit that WAS Christmas. | 0:02:07 | 0:02:10 | |
It was a black tie event. | 0:02:10 | 0:02:12 | |
Oh, yes, they did things properly in BBC Comedy in those days. | 0:02:12 | 0:02:15 | |
They insisted on dinner jackets, | 0:02:15 | 0:02:17 | |
even though the party was held in an office - | 0:02:17 | 0:02:19 | |
the famed sixth-floor Entertainment Suite at BBC Television Centre, | 0:02:19 | 0:02:24 | |
which was the same as all the other offices at Television Centre, | 0:02:24 | 0:02:27 | |
but with the partition walls taken out. | 0:02:27 | 0:02:30 | |
Same nylon carpet tiles, same low-flying ceiling, | 0:02:30 | 0:02:35 | |
same strip fluoro-lighting at a Christmas party. | 0:02:35 | 0:02:39 | |
It even made Bob Monkhouse look pasty. | 0:02:39 | 0:02:42 | |
There was no DJs, no chill-out room, | 0:02:44 | 0:02:48 | |
no scatter cushions, | 0:02:48 | 0:02:50 | |
no musk-scented indoor yurt. | 0:02:50 | 0:02:52 | |
Just a Woolies cassette of Christmas carols | 0:02:54 | 0:02:57 | |
and a sofa for the cast of Last Of The Summer Wine. | 0:02:57 | 0:02:59 | |
Some of my generation revolted against the black tie. | 0:03:01 | 0:03:04 | |
They didn't like it. They weren't going to wear dinner jackets to order. | 0:03:04 | 0:03:08 | |
They weren't going to kowtow to a hierarchical, autocratic BBC, | 0:03:08 | 0:03:13 | |
but I loved it. I loved it. | 0:03:13 | 0:03:14 | |
I thought it looked great. I was proud to wear it. | 0:03:14 | 0:03:17 | |
Probably where I started to get my reputation for political hypocrisy. | 0:03:17 | 0:03:21 | |
"Votes Labour, but prepared to wear a bow tie to a Christmas party. | 0:03:22 | 0:03:26 | |
"What a sell-out!" | 0:03:26 | 0:03:27 | |
But the Rons were there, | 0:03:29 | 0:03:30 | |
undisputedly the biggest stars in the room. | 0:03:30 | 0:03:33 | |
Everybody wanted to talk to the Ronnies. | 0:03:33 | 0:03:35 | |
It was marvellous, people used to cluster round. | 0:03:35 | 0:03:37 | |
There'd kind of be two Ronnie circles. | 0:03:37 | 0:03:39 | |
They didn't entertain together. | 0:03:39 | 0:03:40 | |
I mean, they were friends, but they weren't joined at the hip. | 0:03:40 | 0:03:43 | |
There'd be a Ronnie C circle and a Ronnie B circle. | 0:03:43 | 0:03:46 | |
Ronnie C's circle was very friendly, | 0:03:46 | 0:03:48 | |
very inclusive, he was always laughing. | 0:03:48 | 0:03:51 | |
I can remember him still stood there. | 0:03:51 | 0:03:52 | |
He always wore a velvet dinner jacket and tartan trews. | 0:03:52 | 0:03:56 | |
Never saw him in those any other time of the year. | 0:03:56 | 0:03:59 | |
He was a Scottish Nationalist once a year, and only from the waist down. | 0:03:59 | 0:04:03 | |
Ronnie B's circle - little bit more formal. | 0:04:03 | 0:04:07 | |
He sort of held court a little bit. | 0:04:07 | 0:04:08 | |
They used to call him The Governor and I think he liked that. | 0:04:08 | 0:04:12 | |
And always, you know, the sort of, | 0:04:12 | 0:04:14 | |
what they call the suits these days would gravitate towards Ronnie B. | 0:04:14 | 0:04:17 | |
The channel controllers would be listening earnestly to what Ronnie B | 0:04:17 | 0:04:20 | |
had to say and of course I was gravitating towards him, too, | 0:04:20 | 0:04:23 | |
because this was Ronnie Barker and he wasn't on the telly, | 0:04:23 | 0:04:26 | |
he was actually there. And I was with Stephen Fry and Rowan Atkinson. | 0:04:26 | 0:04:30 | |
We were all young back then and we were sort of hovering on the edge | 0:04:30 | 0:04:34 | |
of Ronnie Barker's little group and he must've sensed we were there. | 0:04:34 | 0:04:37 | |
He didn't see us, but we were kind of at his shoulder, | 0:04:37 | 0:04:39 | |
and eventually he turned round and he looks us up and down | 0:04:39 | 0:04:43 | |
and finally he points at Rowan and he says, | 0:04:43 | 0:04:45 | |
"I like you." | 0:04:45 | 0:04:47 | |
And he points at Stephen and he says, "I quite like you." | 0:04:47 | 0:04:53 | |
Then he points at me... | 0:04:54 | 0:04:56 | |
"But I don't like you." | 0:04:56 | 0:04:58 | |
And then he turned, turned his back. | 0:05:00 | 0:05:02 | |
It was quite a moment. | 0:05:04 | 0:05:06 | |
Stephen tried to take him on a little bit, | 0:05:06 | 0:05:08 | |
but, I mean, it was very chilly. I felt ridiculous. | 0:05:08 | 0:05:11 | |
I was a fan and stood there in me rented tuxedo, but... | 0:05:11 | 0:05:15 | |
Now, I only tell this story because it's kind of relevant to the theme | 0:05:15 | 0:05:18 | |
of this evening. Something about me had made Ronnie angry. | 0:05:18 | 0:05:22 | |
Angry enough to be quite rude to me, | 0:05:22 | 0:05:24 | |
and I think that's true about comedy, isn't it? | 0:05:24 | 0:05:26 | |
It seems to make people angry. | 0:05:26 | 0:05:28 | |
If people don't like comedy, they get annoyed by it. | 0:05:28 | 0:05:31 | |
I mean, much more annoyed than you would get if you don't like | 0:05:31 | 0:05:34 | |
a picture or a poem or a nice serious play. | 0:05:34 | 0:05:37 | |
Comedy tends to wind people up. | 0:05:37 | 0:05:39 | |
And, look, I know we live in an age of anger where the internet has made | 0:05:39 | 0:05:43 | |
splenetic fury the new tolerance, but even in our age of outrage, | 0:05:43 | 0:05:49 | |
I'd say comedy is reserved for a special type of bile | 0:05:49 | 0:05:53 | |
and there's a certain type of comedy, interestingly, | 0:05:53 | 0:05:56 | |
which provokes the greatest level of fury of all. | 0:05:56 | 0:05:58 | |
The real venom is generally reserved for a certain style of comedy | 0:05:58 | 0:06:02 | |
which seems to make quite a large proportion of comedy critics | 0:06:02 | 0:06:06 | |
and commentators and some consumers very angry indeed. | 0:06:06 | 0:06:09 | |
I'm talking about the studio-based sitcom | 0:06:09 | 0:06:12 | |
recorded in front of a live audience. | 0:06:12 | 0:06:16 | |
Here's a clip from the BBC's | 0:06:16 | 0:06:18 | |
currently far-and-away most popular sitcom. | 0:06:18 | 0:06:22 | |
Oh, Winnie, I remember one night me and Reg were walking along the beach | 0:06:22 | 0:06:25 | |
in Portmarnock. | 0:06:25 | 0:06:27 | |
He started chasing me into the sand dunes, so I was there, you know, | 0:06:27 | 0:06:30 | |
pretending to run and he caught me and he threw me in the sand. | 0:06:30 | 0:06:35 | |
So I was lying there, I said, "What do you want?" | 0:06:35 | 0:06:38 | |
And he said, "I want your knickers round your ankles." | 0:06:40 | 0:06:43 | |
Oh, Jesus! | 0:06:43 | 0:06:45 | |
I had to get them out of me fecking handbag and put them on. | 0:06:45 | 0:06:48 | |
That's Mrs Brown's Boys, a huge hit. | 0:06:52 | 0:06:55 | |
It regularly gets 11 million viewers | 0:06:55 | 0:06:57 | |
in an age when three or four is considered a triumph. | 0:06:57 | 0:07:00 | |
It was recently voted by the Radio Times readers, no less, | 0:07:00 | 0:07:04 | |
favourite sitcom of the 21st century. | 0:07:04 | 0:07:07 | |
And here is a little selection of the sort of criticism | 0:07:07 | 0:07:10 | |
that is regularly thrown at it. | 0:07:10 | 0:07:12 | |
Now, I don't know what you think of Mrs Brown's Boys, | 0:07:44 | 0:07:47 | |
but I hope you'd agree that by commissioning it, | 0:07:47 | 0:07:50 | |
the BBC is doing its job. | 0:07:50 | 0:07:52 | |
Recognising that the whole country pays the licence fee | 0:07:52 | 0:07:55 | |
and quality comedy comes in many guises | 0:07:55 | 0:07:58 | |
because Mrs Brown's Boys is quality comedy. | 0:07:58 | 0:08:02 | |
It's not to everybody's taste, but then what work of art of any value | 0:08:02 | 0:08:05 | |
could possibly be to everybody's taste? | 0:08:05 | 0:08:07 | |
Mrs Brown's Boys is self-evidently an exuberant, superbly executed | 0:08:07 | 0:08:13 | |
celebration of what, for want of a better word, | 0:08:13 | 0:08:16 | |
we might call "big" comedy. | 0:08:16 | 0:08:18 | |
The comedy of the perfect theatrical double-take. | 0:08:18 | 0:08:22 | |
I have a huge penis. | 0:08:22 | 0:08:24 | |
RAUCOUS LAUGHTER | 0:08:24 | 0:08:25 | |
The shameless pratfall. | 0:08:39 | 0:08:41 | |
Cathy, for God's sake. | 0:08:41 | 0:08:44 | |
Hello? | 0:08:44 | 0:08:45 | |
I'm fine, I'm fine. | 0:08:51 | 0:08:52 | |
Really, I'm OK. | 0:08:52 | 0:08:54 | |
# You can't touch this... # | 0:08:54 | 0:08:56 | |
And, of course, the outrageous double-entendre. | 0:08:57 | 0:09:00 | |
What's the name of that count? | 0:09:00 | 0:09:02 | |
Count Basie. | 0:09:05 | 0:09:06 | |
A highly talented cast led by an inspired comic star, | 0:09:08 | 0:09:12 | |
giving an adoring audience a weekly object lesson | 0:09:12 | 0:09:15 | |
in big, broad, farcical nonsense. | 0:09:15 | 0:09:18 | |
What's not to respect? | 0:09:18 | 0:09:20 | |
And yet, as we have seen, it's afforded very, very little. | 0:09:20 | 0:09:25 | |
Studio sitcom rarely is. | 0:09:25 | 0:09:27 | |
So here's a couple of clips now from two other current or very recent | 0:09:27 | 0:09:31 | |
hugely-loved BBC comedy sitcoms. | 0:09:31 | 0:09:35 | |
No. I'm stuck. | 0:09:35 | 0:09:37 | |
My necklace... | 0:09:37 | 0:09:38 | |
Stinky's on the floor. | 0:09:38 | 0:09:40 | |
My necklace! I'm stuck! | 0:09:40 | 0:09:42 | |
Actually, sorry. Sorry. | 0:09:42 | 0:09:45 | |
Just undo it at the back. | 0:09:46 | 0:09:48 | |
I can't! | 0:09:48 | 0:09:50 | |
If you must know, yes, I have been for a quick work-out. | 0:09:51 | 0:09:54 | |
Nothing major today. Just a few ab-dabs, resits, diddly squats, | 0:09:54 | 0:09:58 | |
some bi-curious and a triceratops. | 0:09:58 | 0:10:00 | |
I wish the ground could've swallowed me up. | 0:10:02 | 0:10:04 | |
That was, of course, the marvellous Miranda and the endlessly likeable, | 0:10:07 | 0:10:11 | |
wonderful Lee Mack in Not Going Out. | 0:10:11 | 0:10:14 | |
Here's again a fair representation of what was said about Miranda. | 0:10:14 | 0:10:19 | |
That was Miranda. Let's take a look at the sort of criticism | 0:10:28 | 0:10:31 | |
Not Going Out gets. | 0:10:31 | 0:10:33 | |
Nothing seems to wind a certain type of commentator up | 0:10:44 | 0:10:49 | |
like a studio sitcom, | 0:10:49 | 0:10:51 | |
and before we go any further, | 0:10:51 | 0:10:52 | |
I have to put my hand up and say I've been guilty of it myself. | 0:10:52 | 0:10:56 | |
Here's a clip from The Young Ones. | 0:10:56 | 0:10:58 | |
No, no, no, no! | 0:11:05 | 0:11:08 | |
We're not watching the bloody Good Life. | 0:11:08 | 0:11:10 | |
Bloody, bloody, bloody! | 0:11:10 | 0:11:13 | |
I hate it! | 0:11:13 | 0:11:15 | |
It's so bloody nice! | 0:11:15 | 0:11:17 | |
Felicity "Treacle" Kendal | 0:11:17 | 0:11:19 | |
and Richard "Sugar-flavoured Snob" Briers. | 0:11:19 | 0:11:23 | |
What do they do now? | 0:11:23 | 0:11:24 | |
Chocolate bloody button ads, that's what. | 0:11:24 | 0:11:27 | |
They're nothing but a couple of reactionary stereotypes | 0:11:27 | 0:11:31 | |
confirming the myth that everyone in Britain is a lovable, | 0:11:31 | 0:11:34 | |
middle-class eccentric and I hate them! | 0:11:34 | 0:11:38 | |
To be fair, I did hedge my bets on this one. | 0:11:41 | 0:11:44 | |
Well, you can just shut up, Vyvyan. | 0:11:44 | 0:11:46 | |
You can just about blooming well shut up | 0:11:46 | 0:11:48 | |
because if you've got anything horrid to say | 0:11:48 | 0:11:50 | |
about Felicity Kendal... | 0:11:50 | 0:11:53 | |
you can just about blooming well say it to me first, all right! | 0:11:53 | 0:11:57 | |
Rick, Rick, I just did. | 0:11:57 | 0:11:59 | |
Oh. Oh, you did, did you? | 0:11:59 | 0:12:02 | |
Well, I've got a good mind to give you a ruddy good punch on the bottom | 0:12:02 | 0:12:05 | |
for what you just said! You're talking about the woman I love! | 0:12:05 | 0:12:10 | |
If I'm honest, looking back on that, I sort of regret that riff. | 0:12:12 | 0:12:15 | |
I didn't hate The Good Life, I quite liked it, | 0:12:15 | 0:12:18 | |
but I suppose we were young, you know, | 0:12:18 | 0:12:19 | |
we were a bit punky and The Good Life was head and shoulders | 0:12:19 | 0:12:22 | |
the most successful sitcom of its day. | 0:12:22 | 0:12:24 | |
But as you get older, | 0:12:24 | 0:12:25 | |
you begin to realise that casual dismissal and sometimes anger | 0:12:25 | 0:12:30 | |
can be quite harmful, damage a lot of good work | 0:12:30 | 0:12:33 | |
and also very hurtful to the people whose work you're having a go at. | 0:12:33 | 0:12:37 | |
So at this point I have to declare a personal interest. | 0:12:37 | 0:12:40 | |
I'm not an independent witness. | 0:12:40 | 0:12:42 | |
This is a subjective talk. | 0:12:42 | 0:12:44 | |
It is not object, it is subject. | 0:12:44 | 0:12:46 | |
It is as subjective as a Donald Trump press conference | 0:12:46 | 0:12:50 | |
because I... | 0:12:50 | 0:12:51 | |
It may surprise you to know, I, too, | 0:12:51 | 0:12:53 | |
have had one or two bad reviews in my time. | 0:12:53 | 0:12:57 | |
Here's a clip from a sitcom I did three years ago, | 0:12:58 | 0:13:01 | |
starring the incomparable David Haig as a hapless, | 0:13:01 | 0:13:05 | |
overzealous local council health and safety officer. | 0:13:05 | 0:13:09 | |
Ours is a proud record. | 0:13:11 | 0:13:15 | |
This is the department that introduced the static seesaw. | 0:13:15 | 0:13:20 | |
The horizontal slide. | 0:13:23 | 0:13:25 | |
Babies must wear helmets when breast-feeding near the swings... | 0:13:27 | 0:13:33 | |
..because of us. | 0:13:34 | 0:13:36 | |
That was The Wright Way, | 0:13:36 | 0:13:37 | |
and here is a very small selection of the universal phalanx | 0:13:37 | 0:13:41 | |
of furious abuse that hit it immediately after | 0:13:41 | 0:13:44 | |
and indeed during its first broadcast. | 0:13:44 | 0:13:47 | |
Believe me, that was one of the better ones. | 0:13:50 | 0:13:53 | |
I'm not kidding you, it was furious and it was nasty. | 0:13:53 | 0:13:56 | |
Well, you know, maybe it was deserved, | 0:13:56 | 0:13:59 | |
but just to show you that a massive slagging doesn't necessarily mean | 0:13:59 | 0:14:03 | |
a show has no popular appeal, | 0:14:03 | 0:14:05 | |
I'd like to show you a clip from another show I did with David Haig | 0:14:05 | 0:14:08 | |
from the '90s. That one did very well indeed | 0:14:08 | 0:14:10 | |
and still shows on Gold to this day and even won a few awards. | 0:14:10 | 0:14:14 | |
The Thin Blue Line. | 0:14:14 | 0:14:16 | |
I'll have you know, Grim, that we in the uniform division | 0:14:16 | 0:14:18 | |
are also at the cutting edge of modern policing. | 0:14:18 | 0:14:21 | |
Oh, dear. | 0:14:21 | 0:14:23 | |
Well, have you tried putting a saucer of milk at the bottom of the tree? | 0:14:23 | 0:14:27 | |
I haven't got time, Raymond, I am involved in serious police work. | 0:14:33 | 0:14:38 | |
If you get in the way, I'm responsible. | 0:14:38 | 0:14:41 | |
Your cock-up, my arse. | 0:14:41 | 0:14:43 | |
And here is a small, but I promise you, | 0:14:47 | 0:14:50 | |
representative selection of the absolutely universal slagging | 0:14:50 | 0:14:54 | |
it got the following morning. | 0:14:54 | 0:14:56 | |
I've got to say, if you do only write one line in a sitcom, | 0:15:16 | 0:15:20 | |
"My cock-up, your arse" isn't a bad one! | 0:15:20 | 0:15:23 | |
I'm really not complaining. We're all in the business, | 0:15:27 | 0:15:30 | |
you put your head up, you know you're going to get a kicking. | 0:15:30 | 0:15:32 | |
Everybody gets bad reviews. | 0:15:32 | 0:15:34 | |
Shakespeare got bad reviews. Well, the only... | 0:15:34 | 0:15:37 | |
only contemporary review of Shakespeare that comes down to us | 0:15:37 | 0:15:40 | |
from his own day was an absolute kicking. | 0:15:40 | 0:15:43 | |
They called him a plagiarist, they called him an "upstart crow". | 0:15:43 | 0:15:48 | |
Here's me imagining how he felt the morning he got that. | 0:15:48 | 0:15:52 | |
And getting a bad review is much worse than getting the plague, | 0:15:52 | 0:15:56 | |
because at least with the plague, the person that gave it to you died. | 0:15:56 | 0:16:00 | |
So... | 0:16:02 | 0:16:03 | |
APPLAUSE | 0:16:03 | 0:16:05 | |
Obviously I am a subjective witness, | 0:16:06 | 0:16:10 | |
but I'm making an objective point, | 0:16:10 | 0:16:12 | |
a point that I feel very strongly about, | 0:16:12 | 0:16:14 | |
because I contend that through a kind of lazy contempt, | 0:16:14 | 0:16:18 | |
we're in danger of losing something of real value in our culture, | 0:16:18 | 0:16:22 | |
and once the studio infrastructure and the talent base that supports it | 0:16:22 | 0:16:27 | |
are gone, they won't come again. | 0:16:27 | 0:16:30 | |
So what is it that defines this thing I'm so anxious to defend? | 0:16:30 | 0:16:34 | |
What is it that connects The Goodies to Terry And June, | 0:16:34 | 0:16:37 | |
The Young Ones to On The Buses? | 0:16:37 | 0:16:39 | |
Well, as I say, they're all recorded live in front of a studio audience, | 0:16:39 | 0:16:43 | |
an exercise in which laughter is clearly the desired aim. | 0:16:43 | 0:16:48 | |
Real vocalised laughter, recorded and broadcast along with the show. | 0:16:48 | 0:16:53 | |
So is that the problem? | 0:16:55 | 0:16:56 | |
Is it the laughter which offends in comedy? | 0:16:56 | 0:17:00 | |
Strangely, I think it is, | 0:17:00 | 0:17:03 | |
because laughter is evidence of making an effort. | 0:17:03 | 0:17:08 | |
The terrible British sin of going for laughs, | 0:17:08 | 0:17:11 | |
laughs which, incidentally, are routinely dismissed | 0:17:11 | 0:17:14 | |
as cheap and easy. | 0:17:14 | 0:17:16 | |
Laughs which are clear evidence of the greatest comic crime of all - | 0:17:16 | 0:17:20 | |
trying to be funny. | 0:17:20 | 0:17:22 | |
Can you imagine a more withering sneer or put-down to throw at a comedian? | 0:17:22 | 0:17:26 | |
"Oh, he was trying to be funny." | 0:17:26 | 0:17:29 | |
But is that really such a terrible crime? | 0:17:29 | 0:17:32 | |
Trying and failing, that's a shame, | 0:17:32 | 0:17:35 | |
but trying at all, is that so terrible? | 0:17:35 | 0:17:38 | |
Surely not, because without people trying to be funny, | 0:17:38 | 0:17:42 | |
we'd have had to get along without memories like these. | 0:17:42 | 0:17:45 | |
Who's this then? | 0:17:45 | 0:17:47 | |
HE SHOUTS IN GERMAN | 0:17:47 | 0:17:49 | |
I'll do the funny walk. | 0:17:50 | 0:17:52 | |
You see those flasks over there? I want you to fill one for me. | 0:17:59 | 0:18:02 | |
What, from 'ere? | 0:18:02 | 0:18:03 | |
Brace yourself, Rodney. | 0:18:22 | 0:18:24 | |
Even now, across the years, you can feel the joy, | 0:18:35 | 0:18:38 | |
the immediacy of those live studio comedies - | 0:18:38 | 0:18:42 | |
a single performance, one of a kind, captured in time. | 0:18:42 | 0:18:45 | |
And consider the extraordinary complexities involved | 0:18:45 | 0:18:48 | |
in producing those shows, | 0:18:48 | 0:18:50 | |
and the awe-inspiring collection of craft and skills that it required. | 0:18:50 | 0:18:54 | |
Each episode is recorded over the course of a single evening, | 0:18:54 | 0:18:58 | |
two and half hours in front of a large audience. | 0:18:58 | 0:19:00 | |
Five or six cameras all moving and recording simultaneously | 0:19:00 | 0:19:04 | |
capture the flow, the feel, the timing of a theatrical comedy event. | 0:19:04 | 0:19:09 | |
While, in a darkened vision suite, | 0:19:09 | 0:19:11 | |
all those six camera feeds are projected onto television screens | 0:19:11 | 0:19:14 | |
and the show is cut and mixed and edited live - in real time - | 0:19:14 | 0:19:19 | |
as the show is being performed. | 0:19:19 | 0:19:22 | |
And hovering above every scurrying actor is a microphone, | 0:19:22 | 0:19:25 | |
whizzing through the air, as players move about the set, | 0:19:25 | 0:19:28 | |
deftly controlled by boom operators, | 0:19:28 | 0:19:30 | |
sitting high above the throng on wheeled chariots, | 0:19:30 | 0:19:33 | |
extending and contracting their four metre-long booms, | 0:19:33 | 0:19:37 | |
like dinosaurs going fishing for gags, using microphones for bait. | 0:19:37 | 0:19:42 | |
And meanwhile, their colleagues also are hidden in a darkened room, | 0:19:42 | 0:19:45 | |
mixing the sound, balancing the four or five dialogue feeds, | 0:19:45 | 0:19:49 | |
the audience laughter, which could swell and dip at any moment, | 0:19:49 | 0:19:53 | |
and also, of course, they have to mix in the comedy sound effects, | 0:19:53 | 0:19:56 | |
which have to be dropped in with precision timing. | 0:19:56 | 0:19:59 | |
What?! | 0:20:01 | 0:20:02 | |
And while the cameras prowl and the camera assistants wrangle, | 0:20:15 | 0:20:19 | |
the great rubber spaghetti of hundreds of metres of cable | 0:20:19 | 0:20:22 | |
which covers the floor and can't be allowed for an instant | 0:20:22 | 0:20:25 | |
to impede the movement of a camera or a boom platform, | 0:20:25 | 0:20:28 | |
a techie spaghetti constantly in danger | 0:20:28 | 0:20:31 | |
of overwhelming the gag bolognese. | 0:20:31 | 0:20:33 | |
The art department dress the set and place the props, and all live, | 0:20:33 | 0:20:37 | |
as the lighting department tweak and the costume departments | 0:20:37 | 0:20:40 | |
dab and dip and stitch, and in the midst of it all, | 0:20:40 | 0:20:43 | |
the actors struggle to maintain their characters' timing and commitment, | 0:20:43 | 0:20:48 | |
deprived of the glorious freedom of the stage, | 0:20:48 | 0:20:51 | |
but required nonetheless to conform to its disciplines - | 0:20:51 | 0:20:54 | |
live dialogue, live effects, live and collaborative timing. | 0:20:54 | 0:20:58 | |
And whatever is captured in those few short hours | 0:20:58 | 0:21:01 | |
is what gets broadcast, | 0:21:01 | 0:21:03 | |
which produces an atmosphere very different from the type of feel | 0:21:03 | 0:21:06 | |
produced when comedy is created filmically using a single camera. | 0:21:06 | 0:21:10 | |
Most people tend to think that the difference between | 0:21:10 | 0:21:12 | |
a single-camera sitcom and a multi-camera one | 0:21:12 | 0:21:14 | |
is just the absence of the audience. | 0:21:14 | 0:21:16 | |
But I would suggest that of equal importance | 0:21:16 | 0:21:18 | |
is that, in a single-camera shoot, | 0:21:18 | 0:21:21 | |
the dialogue, the scene, is recorded in pieces - | 0:21:21 | 0:21:24 | |
one character, then another. | 0:21:24 | 0:21:27 | |
The characters in a multi-camera shoot are all recorded at once. | 0:21:27 | 0:21:30 | |
Now I'm not making a value judgment here - | 0:21:30 | 0:21:32 | |
I love single-camera comedy, but there is a difference, | 0:21:32 | 0:21:36 | |
because when you see a multi-camera shoot sitcom, | 0:21:36 | 0:21:39 | |
what you're watching is the actors' real timing. | 0:21:39 | 0:21:42 | |
When you watch a single-camera shoot, | 0:21:42 | 0:21:44 | |
often on location but with single camera, | 0:21:44 | 0:21:46 | |
what you're seeing is the editor's interpretation of that timing. | 0:21:46 | 0:21:51 | |
It's just different, and it produces a different atmosphere. | 0:21:51 | 0:21:55 | |
And, oh, what a vast array of craft and skill and talent is required | 0:21:55 | 0:21:59 | |
to capture those fleeting moments. | 0:21:59 | 0:22:01 | |
Edgy and obscure can be done on-the-fly. | 0:22:01 | 0:22:04 | |
Ironic minimalism and wry mockumentary can be recorded | 0:22:04 | 0:22:08 | |
on an iPhone with a single person, | 0:22:08 | 0:22:10 | |
but it takes a village for Rik to destroy | 0:22:10 | 0:22:13 | |
The Young Ones staircase using his bollocks as a battering ram. | 0:22:13 | 0:22:16 | |
And, of course, all that makes these shows very expensive, | 0:22:18 | 0:22:21 | |
an expense that frankly is easier to duck | 0:22:21 | 0:22:24 | |
if you're just going to get slagged off for doing it anyway. | 0:22:24 | 0:22:27 | |
And so a great and original television art form is dying, | 0:22:27 | 0:22:31 | |
it really is. | 0:22:31 | 0:22:33 | |
And while there's nothing we can do | 0:22:33 | 0:22:34 | |
about shrinking budgets, fractured audiences | 0:22:34 | 0:22:37 | |
and TV companies turning their fabulous studio facilities | 0:22:37 | 0:22:41 | |
into prime real estate, | 0:22:41 | 0:22:43 | |
empty flats to be rented out as investment blocks, | 0:22:43 | 0:22:46 | |
it might help if commentator, critic and columnist alike | 0:22:46 | 0:22:50 | |
stop treating studio sitcom with such thoughtless contempt, | 0:22:50 | 0:22:54 | |
as if the only comic art of any real value | 0:22:54 | 0:22:56 | |
is the comedy that pretends it isn't trying to be funny. | 0:22:56 | 0:23:00 | |
Now, I think we all know the sea change occurred in the mid '90s. | 0:23:00 | 0:23:03 | |
That was when it suddenly became fashionable | 0:23:03 | 0:23:06 | |
to record sitcoms without an audience, | 0:23:06 | 0:23:08 | |
and some fantastic work was done and has been done ever since. | 0:23:08 | 0:23:11 | |
It sort of began with the sublime The Royle Family, | 0:23:11 | 0:23:14 | |
which was kind of a hybrid. | 0:23:14 | 0:23:15 | |
It was a crossover, because they still recorded that | 0:23:15 | 0:23:18 | |
in a studio on multi-camera, but they didn't have an audience. | 0:23:18 | 0:23:21 | |
The real watershed moment occurred with the wonderful, | 0:23:21 | 0:23:24 | |
ground-breaking The Office, | 0:23:24 | 0:23:26 | |
a brilliant piece of work, and that and many, many, many shows | 0:23:26 | 0:23:30 | |
in similar styles that have followed deserved every plaudit | 0:23:30 | 0:23:33 | |
they ever got. But, strangely, | 0:23:33 | 0:23:35 | |
what began as a fantastic and innovative and refreshing style, | 0:23:35 | 0:23:39 | |
quickly became a kind of comic orthodoxy, | 0:23:39 | 0:23:42 | |
and the inexplicable side-effect was that the studio sitcom | 0:23:42 | 0:23:46 | |
became overnight a byword for critical contempt, | 0:23:46 | 0:23:49 | |
and it was the laughter that was hugely irritating. | 0:23:49 | 0:23:51 | |
Apparently, people don't need canned laughter, | 0:23:51 | 0:23:54 | |
telling them if something's funny. | 0:23:54 | 0:23:56 | |
Well, I am here to lance the boil of probably the most corrosive myth | 0:23:56 | 0:24:02 | |
in television comedy, because that laughter is not blooming canned, | 0:24:02 | 0:24:07 | |
it's just recorded - live. | 0:24:07 | 0:24:09 | |
Studio nights are not cynical - | 0:24:09 | 0:24:12 | |
they're fun, they're exciting community events. | 0:24:12 | 0:24:15 | |
Is it a coincidence that they fell from grace | 0:24:15 | 0:24:18 | |
in the aftermath of the 1980s, | 0:24:18 | 0:24:20 | |
the decade in which the individual so firmly replaced the community | 0:24:20 | 0:24:25 | |
as the social and political focus of the nation? | 0:24:25 | 0:24:28 | |
Yes, I'm blaming Thatch. | 0:24:28 | 0:24:31 | |
LAUGHTER AND APPLAUSE | 0:24:31 | 0:24:32 | |
I'm mainly joking, but I am... | 0:24:38 | 0:24:41 | |
I am making the point that audiences' laughter is | 0:24:43 | 0:24:46 | |
a group activity, a collective act. | 0:24:46 | 0:24:48 | |
The shared joy that occurs in the recording of a live comedy is real, | 0:24:48 | 0:24:53 | |
and that joy somehow manages to make its way across the airwaves | 0:24:53 | 0:24:56 | |
and into people's living rooms. | 0:24:56 | 0:24:58 | |
The country's biggest popular hits | 0:24:58 | 0:25:00 | |
have always been accompanied by laughter. | 0:25:00 | 0:25:03 | |
They form an abiding and affectionate collective memory. | 0:25:03 | 0:25:07 | |
The part of what it means to be British, and yet, as I've shown, | 0:25:07 | 0:25:10 | |
the form is routinely dismissed and often despised. | 0:25:10 | 0:25:13 | |
It's a sort of snobbery, it really is, and I say that reluctantly, | 0:25:14 | 0:25:18 | |
fully aware that such a charge is unlikely to make me any friends | 0:25:18 | 0:25:22 | |
amongst media commentators. But I make the charge nonetheless, | 0:25:22 | 0:25:25 | |
because I think what we are discussing here is nothing less than | 0:25:25 | 0:25:29 | |
a prejudice against joy. | 0:25:29 | 0:25:31 | |
Corrosive, destructive and coloured, I'm afraid, | 0:25:31 | 0:25:35 | |
by that ancient British cultural cancer - class. | 0:25:35 | 0:25:39 | |
I look down on him because I am upper-class. | 0:25:43 | 0:25:46 | |
I looked up to him because he is upper-class, | 0:25:47 | 0:25:51 | |
but I look down on him because he is lower-class. | 0:25:51 | 0:25:55 | |
I am middle-class. | 0:25:55 | 0:25:56 | |
I know my place. | 0:25:56 | 0:25:58 | |
The British establishment has always been suspicious of popular success, | 0:26:00 | 0:26:04 | |
particularly success that comes from below, | 0:26:04 | 0:26:07 | |
through conspicuous effort and obvious ambition. | 0:26:07 | 0:26:10 | |
This prejudice has deep roots. | 0:26:10 | 0:26:12 | |
The founding fathers of the American economy created their wealth. | 0:26:12 | 0:26:16 | |
The original elite in Britain inherited theirs | 0:26:16 | 0:26:19 | |
and deeply resented those who tried to share in it, | 0:26:19 | 0:26:21 | |
establishing an underlying cultural resentment of hard-earned success | 0:26:21 | 0:26:25 | |
that, astonishingly, still seems to play its part | 0:26:25 | 0:26:28 | |
in shaping our national character today. | 0:26:28 | 0:26:31 | |
Because what is a laugh if it's not evidence of success? | 0:26:31 | 0:26:36 | |
If you go for a laugh, and you get it, you've succeeded. | 0:26:36 | 0:26:39 | |
In the US and most places in the world, | 0:26:39 | 0:26:41 | |
that's something to celebrate. | 0:26:41 | 0:26:43 | |
In America, if you do an interview on a chat show | 0:26:43 | 0:26:45 | |
and they ask you what you're up to, you tell them and people applaud. | 0:26:45 | 0:26:49 | |
In Britain, you have to pretend you don't want to say, you have to go, | 0:26:49 | 0:26:53 | |
"Ooh, shameless plug, sorry. | 0:26:53 | 0:26:54 | |
"I've written a book, but it's probably awful, don't buy it, please!" | 0:26:54 | 0:26:58 | |
It simply is not the done thing to be seen to want to succeed, | 0:27:00 | 0:27:05 | |
and studio sitcom cannot hide that ambition - it's needy. | 0:27:05 | 0:27:10 | |
It's saying, "Please like me!" And, as such, it must be despised. | 0:27:10 | 0:27:15 | |
Perhaps you think all I'm suggesting | 0:27:16 | 0:27:18 | |
is that simpler, less complex, less cerebral forms of comedy | 0:27:18 | 0:27:21 | |
deserve to be given a little more respect. | 0:27:21 | 0:27:24 | |
Well, it would be nice, but actually I'm also saying the opposite, | 0:27:24 | 0:27:29 | |
because, in fact, I suggest there's nothing simple | 0:27:29 | 0:27:32 | |
or lacking in complexity about the shows I'm discussing at all. | 0:27:32 | 0:27:35 | |
In fact, I humbly suggest that behind all that mindless laughter | 0:27:35 | 0:27:40 | |
often lies human truths as real and revelatory | 0:27:40 | 0:27:43 | |
as those explored in any acclaimed drama. | 0:27:43 | 0:27:47 | |
That's why they're so funny. | 0:27:47 | 0:27:49 | |
Consider the strange and unexplained fictional home life | 0:27:49 | 0:27:53 | |
of Eric and Ernie, which was a sort of mini-sitcom | 0:27:53 | 0:27:56 | |
set within their variety shows. | 0:27:56 | 0:27:58 | |
Here are Eric and Ernie passing the time together, | 0:27:58 | 0:28:02 | |
measuring out their lives not in TS Eliot's coffee spoons, | 0:28:02 | 0:28:05 | |
but in mugs of cocoa, | 0:28:05 | 0:28:07 | |
and wistful reflections on the hopes and dreams of lost youth. | 0:28:07 | 0:28:11 | |
For me, their circular efforts | 0:28:11 | 0:28:13 | |
to pass the time and to get along together | 0:28:13 | 0:28:15 | |
were every bit as inconsequentially bleak and deeply absurd | 0:28:15 | 0:28:19 | |
as Vladimir and Estragon's famous inertia in Waiting For Godot. | 0:28:19 | 0:28:23 | |
I honestly don't think that that wonderful writer Eddie Braben, | 0:28:23 | 0:28:26 | |
who wrote all the Morecambe and Wise scripts throughout the golden age | 0:28:26 | 0:28:30 | |
of the 1970s will ever be the subject of an A-level text. | 0:28:30 | 0:28:34 | |
My point is that big, apparently silly comedy does not preclude | 0:28:34 | 0:28:38 | |
big ideas or philosophical revelation - | 0:28:38 | 0:28:42 | |
you just don't notice them, which is why they can be funny. | 0:28:42 | 0:28:45 | |
Consider the forensic clarity of Johnny Speight's character | 0:28:45 | 0:28:50 | |
Alf Garnett, a searingly illuminating comic exploration | 0:28:50 | 0:28:54 | |
of the mind of the confused, ignorant, ill-informed bigot. | 0:28:54 | 0:28:59 | |
They've got nothing of their own, they ain't, them Labourites. | 0:28:59 | 0:29:02 | |
They ain't got no private fortunes, not like us Tories have. | 0:29:02 | 0:29:06 | |
Oooh! | 0:29:06 | 0:29:08 | |
'Ere, I've never seen any of it. | 0:29:08 | 0:29:10 | |
If Galton and Simpson's sublime Steptoe And Son hadn't been | 0:29:10 | 0:29:13 | |
such high comedy, it would have been recognised as high tragedy, | 0:29:13 | 0:29:17 | |
for was there ever a more perfect evocation of a mutually destructive, | 0:29:17 | 0:29:21 | |
emotional interdependency, | 0:29:21 | 0:29:23 | |
than the relationship between Harold and Albert Steptoe? | 0:29:23 | 0:29:26 | |
Ugh, you dirty old man! | 0:29:38 | 0:29:41 | |
What are you doing?! | 0:29:41 | 0:29:43 | |
Richie and Eddie, in Ade Edmondson and Rik Mayall's '90s sitcom Bottom, | 0:29:43 | 0:29:47 | |
negotiate the pointless nihilism of life with every bit as much | 0:29:47 | 0:29:51 | |
seedy detail and dark purpose as the characters in any Pinter play. | 0:29:51 | 0:29:56 | |
But with laughs. | 0:29:56 | 0:29:57 | |
Let's do it properly or not at all. | 0:29:57 | 0:30:00 | |
All right, then! Not at all! | 0:30:00 | 0:30:02 | |
God, I hate crosswords. | 0:30:04 | 0:30:06 | |
We can't go on like this. | 0:30:08 | 0:30:10 | |
Why did they take the telly away? | 0:30:10 | 0:30:13 | |
And consider the depth of perception that Jennifer Saunders brought | 0:30:15 | 0:30:18 | |
to the generational battles in which baby boomers struggle to hang on | 0:30:18 | 0:30:22 | |
to an eternal adolescence while their children, | 0:30:22 | 0:30:25 | |
born into much less generous times, fear for their future as adults. | 0:30:25 | 0:30:30 | |
This isn't a rave, it's a happening! | 0:30:30 | 0:30:33 | |
Don't force me to take it, Pat. I promised Saffy I wouldn't die. | 0:30:33 | 0:30:38 | |
But she'll never find out. Anyway, she doesn't scare me. | 0:30:38 | 0:30:41 | |
Mum! | 0:30:44 | 0:30:45 | |
Keep the noise down! | 0:30:47 | 0:30:49 | |
In real comedy, proper funny comedy, of any style, truth is a given. | 0:30:51 | 0:30:57 | |
You don't notice it, which is why it's funny. | 0:30:57 | 0:31:00 | |
The depth of human understanding lies behind and within the comedy. | 0:31:00 | 0:31:04 | |
The intellectual value of the work is rightly and properly masked | 0:31:04 | 0:31:08 | |
by the primal, organic, gut-driven instinct to laugh. | 0:31:08 | 0:31:12 | |
Yet, as we've established, | 0:31:12 | 0:31:14 | |
it's laughter which so offends those who seek to analyse comedy, | 0:31:14 | 0:31:17 | |
be they amateur or professional. | 0:31:17 | 0:31:19 | |
Because laughter leaves the critic out of the loop. | 0:31:19 | 0:31:22 | |
Laughter defies argument. | 0:31:22 | 0:31:24 | |
The conclusion has already been drawn, the horse bolted. | 0:31:24 | 0:31:28 | |
You may hate Mrs Brown's Boys, | 0:31:28 | 0:31:30 | |
but the presence of genuine spontaneous laughter means | 0:31:30 | 0:31:33 | |
your hatred is not an objective truth, | 0:31:33 | 0:31:36 | |
something which we all secretly believe | 0:31:36 | 0:31:39 | |
our own personal prejudices to be. | 0:31:39 | 0:31:42 | |
No, it's a subjective opinion. | 0:31:42 | 0:31:46 | |
And what critic, be they professional or amateur, | 0:31:46 | 0:31:49 | |
wants to acknowledge that? | 0:31:49 | 0:31:51 | |
And so, they dismiss laughter as cheap and easy. | 0:31:51 | 0:31:56 | |
What madness. If art is about exposing and exploring our souls, | 0:31:56 | 0:32:00 | |
the essential pettiness, vanity, snobbery, desperation, selfishness, | 0:32:00 | 0:32:06 | |
generosity, occasional greatness and quiet heroism, | 0:32:06 | 0:32:11 | |
inherent in every human heart, | 0:32:11 | 0:32:13 | |
then we may find it brilliantly and sympathetically betrayed | 0:32:13 | 0:32:16 | |
in a single look from Captain Mainwaring. | 0:32:16 | 0:32:19 | |
You stupid boy. | 0:32:22 | 0:32:23 | |
A long morning with Victor Meldrew. | 0:32:25 | 0:32:27 | |
I don't believe it! | 0:32:29 | 0:32:32 | |
And as for quiet heroism, | 0:32:33 | 0:32:35 | |
pretty much any moment spent in the company of | 0:32:35 | 0:32:38 | |
the sublime Frank and Betty Spencer. | 0:32:38 | 0:32:40 | |
-Oh! -It's rocking! | 0:32:40 | 0:32:43 | |
-Oh! -Right! -Oh! | 0:32:43 | 0:32:45 | |
It's all right, Frank. | 0:32:47 | 0:32:48 | |
Careful! | 0:32:48 | 0:32:50 | |
Frank! | 0:32:53 | 0:32:54 | |
Frank! | 0:32:56 | 0:32:58 | |
Oh, what did I do?! | 0:33:01 | 0:33:03 | |
-Betty! -Yes? | 0:33:03 | 0:33:05 | |
The car... | 0:33:06 | 0:33:07 | |
I... | 0:33:08 | 0:33:10 | |
I... | 0:33:10 | 0:33:11 | |
Oh, where are you? | 0:33:13 | 0:33:15 | |
It's all right, Betty! | 0:33:15 | 0:33:17 | |
Frank! | 0:33:17 | 0:33:19 | |
I might need a bit of help though! | 0:33:19 | 0:33:21 | |
So what conclusions can be drawn as I come to the end | 0:33:23 | 0:33:27 | |
of this first BBC Ronnie Barker Lecture? | 0:33:27 | 0:33:30 | |
Well, I certainly... I'd like to make the plea | 0:33:30 | 0:33:32 | |
that when we write about comedy, be it in a newspaper or in a tweet, | 0:33:32 | 0:33:36 | |
we shouldn't leap to judgment. | 0:33:36 | 0:33:38 | |
I don't think any comedy should be judged on its first outing, | 0:33:38 | 0:33:41 | |
particularly a sitcom which, by its very nature, | 0:33:41 | 0:33:43 | |
needs to establish its credentials and then bed in for the long haul. | 0:33:43 | 0:33:48 | |
I honestly don't think The Young Ones would survive | 0:33:48 | 0:33:50 | |
in today's critical environment. It was big and it was brash, | 0:33:50 | 0:33:54 | |
and confrontative and very rough around the edges with, | 0:33:54 | 0:33:57 | |
I have to tell you, as many or more misses than hits in its gag count. | 0:33:57 | 0:34:01 | |
Had Rick, Vyvyan, Neil and Mike arrived in a world | 0:34:01 | 0:34:04 | |
of instant opinions, formed and tweeted | 0:34:04 | 0:34:07 | |
while a show is still on air, | 0:34:07 | 0:34:09 | |
I don't think they'd have been given the grace to grow | 0:34:09 | 0:34:12 | |
as they were back in the day. | 0:34:12 | 0:34:14 | |
Imagine if they'd had Twitter on the first night of Hamlet. | 0:34:14 | 0:34:17 | |
Act one, scene one, "bored already". | 0:34:18 | 0:34:21 | |
"Get over yourself, you grumpy Danish bastard." | 0:34:22 | 0:34:25 | |
"Oh, there's a ghost! Marlowe did ghosts in The Jew Of Malta. | 0:34:25 | 0:34:28 | |
"Get your own ideas, Shakespeare!" | 0:34:28 | 0:34:30 | |
So let's not be so hard on people trying to be funny. | 0:34:31 | 0:34:35 | |
Even if we think they've failed. | 0:34:35 | 0:34:37 | |
Because if nobody's allowed to fail, | 0:34:37 | 0:34:39 | |
then no-one will think it's worth trying, | 0:34:39 | 0:34:41 | |
and the BBC and other companies won't feel it's worth commissioning. | 0:34:41 | 0:34:44 | |
And without people trying to be funny, really, really trying, | 0:34:44 | 0:34:49 | |
we would never have had this. | 0:34:49 | 0:34:51 | |
I've just taken a sample to test. | 0:34:51 | 0:34:53 | |
A sample? How much do you want then? | 0:34:53 | 0:34:55 | |
-Well, a pint of course. -A pint?! Have you gone raving mad? | 0:34:55 | 0:34:58 | |
That's very nearly an armful. | 0:34:58 | 0:35:00 | |
I think we're on a winner here, Trig. | 0:35:01 | 0:35:04 | |
All right? Play it nice and cool, son. | 0:35:04 | 0:35:06 | |
Nice and cool, you know what I mean? | 0:35:06 | 0:35:08 | |
Your name will also go on the list! | 0:35:10 | 0:35:13 | |
-What is it? -Don't tell him, Pike! | 0:35:14 | 0:35:17 | |
Pike, thank you. | 0:35:17 | 0:35:18 | |
I have a cunning plan, sir. | 0:35:26 | 0:35:29 | |
PHONE RINGS | 0:35:29 | 0:35:32 | |
4291? | 0:35:32 | 0:35:34 | |
Oh, it looks great! | 0:35:34 | 0:35:37 | |
Funny has nothing to do with fashion. | 0:35:42 | 0:35:45 | |
Funny is just funny. | 0:35:45 | 0:35:47 | |
Self-conscious minimalism and underplayed naturalism can be hilarious, | 0:35:47 | 0:35:51 | |
and I love so much of what is going on in modern comedy. | 0:35:51 | 0:35:55 | |
But it's not the only way to be funny, | 0:35:55 | 0:35:57 | |
and no comedy practitioner would ever claim it was. | 0:35:57 | 0:36:00 | |
And that's why, tonight, I'm doing a big shout out | 0:36:00 | 0:36:03 | |
for live, studio-based, laughter-filled sitcom. | 0:36:03 | 0:36:07 | |
I certainly think Ronnie Barker would have approved | 0:36:07 | 0:36:10 | |
that the first lecture in his name makes that point. | 0:36:10 | 0:36:12 | |
Because it's not a tired and cheesy format at all. | 0:36:12 | 0:36:15 | |
It's a great, popular art form. | 0:36:15 | 0:36:18 | |
An original television art form. | 0:36:18 | 0:36:21 | |
A form which I suggest has created a community of audience, | 0:36:21 | 0:36:25 | |
a collective affection and a store of shared memories, | 0:36:25 | 0:36:29 | |
which is unparalleled in our culture. | 0:36:29 | 0:36:32 | |
Well, that's my piece and I've said it. | 0:36:33 | 0:36:36 | |
The Ronnie B story I started with, it's got a happy ending. | 0:36:36 | 0:36:39 | |
As I say, I got to know him quite well towards the end, | 0:36:39 | 0:36:41 | |
and we were quite friendly. | 0:36:41 | 0:36:42 | |
My wife and I got to know Ronnie and Anne Corbett quite well | 0:36:42 | 0:36:46 | |
when Ronnie amazingly agreed to revive | 0:36:46 | 0:36:49 | |
his wonderful chair monologues for a stand-up show I did in the '90s. | 0:36:49 | 0:36:53 | |
Then, I guess, Ronnie C must have told Ronnie B that I was all right, | 0:36:53 | 0:36:57 | |
because Ronnie B and his wonderful wife Joy started inviting me | 0:36:57 | 0:37:02 | |
to their annual parties at the Mill. | 0:37:02 | 0:37:04 | |
They were wonderful, wonderful occasions - magical summer events, | 0:37:04 | 0:37:08 | |
held at the Barkers' country millhouse, | 0:37:08 | 0:37:10 | |
with lots of food and wine, | 0:37:10 | 0:37:12 | |
an old-style jazz band that was always there | 0:37:12 | 0:37:14 | |
with striped waistcoats and straw boater hats. | 0:37:14 | 0:37:17 | |
Proper old showbiz parties. | 0:37:17 | 0:37:20 | |
I got to talk to David Jason all afternoon, | 0:37:20 | 0:37:23 | |
so you could imagine how thrilled I was. | 0:37:23 | 0:37:25 | |
And I got to know Ronnie and we talked quite a bit. | 0:37:25 | 0:37:28 | |
And, you know, he did mention our first meeting, | 0:37:28 | 0:37:31 | |
and he laughed about it and I laughed about it. | 0:37:31 | 0:37:33 | |
I didn't care, I was just basking in the company of the great man. | 0:37:33 | 0:37:36 | |
Still a fan. | 0:37:36 | 0:37:37 | |
Well, Ronnie B's gone now, as has Joy. | 0:37:37 | 0:37:41 | |
So there's going to be no more parties at the Mill. | 0:37:41 | 0:37:44 | |
But I'll leave you with a moment | 0:37:44 | 0:37:46 | |
from one of Ronnie B's own studio sitcoms, recorded over 40 years ago. | 0:37:46 | 0:37:51 | |
So, most of the people you'll hear laughing are, | 0:37:51 | 0:37:54 | |
like Ronnie B, long gone. | 0:37:54 | 0:37:57 | |
But the genuine happy laughter that they gave us is caught in time, | 0:37:57 | 0:38:02 | |
and it still rings down to us, across the years. | 0:38:02 | 0:38:06 | |
So here's Dick Clement and Ian La Frenais' incomparable Porridge. | 0:38:06 | 0:38:11 | |
What became of the soil that was excavated from the tunnel? | 0:38:11 | 0:38:15 | |
-Christmas present. -Christmas present? | 0:38:15 | 0:38:17 | |
You want to know how they disposed of the soil? | 0:38:21 | 0:38:23 | |
-Simple as that. -I'll tell you. -I thought you might. | 0:38:23 | 0:38:26 | |
They dug another tunnel and put the earth down there. | 0:38:26 | 0:38:29 | |
Thank you, Ronnie Barker, | 0:38:37 | 0:38:39 | |
and thank you to the BBC. | 0:38:39 | 0:38:41 | |
My name's Ben Elton. Goodnight. | 0:38:41 | 0:38:43 | |
CHEERING AND APPLAUSE | 0:38:43 | 0:38:46 |