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Star Wars is number one at the box office. | 0:00:05 | 0:00:07 | |
Star Wars breaks box office records yet again. | 0:00:07 | 0:00:10 | |
George Lucas's Star Wars is the must-see movie of the summer. | 0:00:10 | 0:00:13 | |
And it's all down to director, George Lucas. | 0:00:13 | 0:00:15 | |
-George Lucas. -George Lucas... | 0:00:15 | 0:00:17 | |
This way, Mr Lucas. This is your room. | 0:00:29 | 0:00:31 | |
Thank you. | 0:00:41 | 0:00:43 | |
Have a nice stay. | 0:00:43 | 0:00:44 | |
DOOR SHUTS | 0:00:44 | 0:00:46 | |
-You have eight new messages. -BEEP | 0:00:53 | 0:00:57 | |
Hi, George! It's Marcie calling from the production office. | 0:00:57 | 0:01:00 | |
I hope you had a pleasant flight, and have arrived safe and sound at | 0:01:00 | 0:01:04 | |
the, er, the Royal Tunisia Hotel. | 0:01:04 | 0:01:07 | |
You'll be there for the next two weeks, | 0:01:07 | 0:01:10 | |
then you're moving on to Elstree Studios in England. | 0:01:10 | 0:01:14 | |
Now, I did speak to the concierge at the Royal Tunisia - a lovely man, | 0:01:14 | 0:01:19 | |
Mustafa. Now, he says he knows that the room you're in at the moment is | 0:01:19 | 0:01:23 | |
a little on the small side, | 0:01:23 | 0:01:24 | |
however, he's looking to move you to a larger room. | 0:01:24 | 0:01:28 | |
The only trouble is that the larger room has a slight issue with the | 0:01:28 | 0:01:33 | |
drainage, so he's getting that fixed | 0:01:33 | 0:01:35 | |
and he'll get you moved as soon as possible. | 0:01:35 | 0:01:38 | |
PHONE RINGS Sorry, one moment. | 0:01:38 | 0:01:40 | |
-Do you want me to take it? -No, I'll take it. | 0:01:40 | 0:01:41 | |
-Hello, production office. -Oh, hi there. Do you have a few moments to | 0:01:41 | 0:01:44 | |
-talk about your laundry detergent? -Thank you - no, I'm not interested. | 0:01:44 | 0:01:47 | |
-Would there be a better time? -No, no - please do not call here again. | 0:01:47 | 0:01:50 | |
-If I could just ask you... -Thank you, no! -Would there... -Thank you! | 0:01:50 | 0:01:53 | |
Sorry about that, George. Right, where was I? | 0:01:53 | 0:01:56 | |
Oh, yes. OK, so most of the principal cast have arrived. | 0:01:56 | 0:02:01 | |
Harrison Ford, Mark Hamill - what a sweetheart he is - | 0:02:01 | 0:02:06 | |
and who's playing the trash can? | 0:02:06 | 0:02:07 | |
-Trash can? -You know, the little - who's playing the little... | 0:02:07 | 0:02:10 | |
-Kenny Baker. -Oh, Kenny Baker - that's it, sorry. | 0:02:10 | 0:02:12 | |
Now, Alec Guinness will be joining you, er, in the next couple of days. | 0:02:12 | 0:02:16 | |
However, his agent really wanted to talk to you regarding his deal, | 0:02:16 | 0:02:22 | |
and so he'll be giving you a call about that. | 0:02:22 | 0:02:25 | |
Now, the latest draft of the script has been distributed, | 0:02:25 | 0:02:29 | |
however, Harrison wanted to talk to you about a couple of the scenes. | 0:02:29 | 0:02:34 | |
He, ah, he, ah... BANGING AND SHOUTING | 0:02:34 | 0:02:37 | |
Yeah, he's not happy. But, you know, he never is, darling, | 0:02:37 | 0:02:40 | |
but that's why you cast him. PHONE RINGS | 0:02:40 | 0:02:41 | |
He's going to be a big star. Sorry, one moment. | 0:02:41 | 0:02:44 | |
-Do you want me to take it? -No, I'll take it. | 0:02:44 | 0:02:45 | |
-Production office. -Oh, hi there. | 0:02:45 | 0:02:47 | |
-Do have a moment to talk about... -I'm not interested, thank you! | 0:02:47 | 0:02:50 | |
Now, George, we do have a slight issue, er, regarding the Jawa scene. | 0:02:50 | 0:02:57 | |
-Is that right - Jawa? -It's Jawa. | 0:02:57 | 0:02:58 | |
Yeah, the Jawa scene. | 0:02:58 | 0:03:00 | |
I know I promised you 15 dwarf actors by Wednesday, | 0:03:00 | 0:03:03 | |
however it seems that Tunisia is suffering a dwarf actor shortage. | 0:03:03 | 0:03:08 | |
OK, George. Well, listen, I won't take up any more of your time. | 0:03:08 | 0:03:12 | |
Have a great shoot in Tunisia, | 0:03:12 | 0:03:15 | |
and I'll see you in Elstree Studios in a couple of weeks. | 0:03:15 | 0:03:17 | |
SHOUTING | 0:03:17 | 0:03:19 | |
Oh, and remember - it's only a movie, George! Toodles! | 0:03:19 | 0:03:21 | |
-Do you want me to take that? It's Anthony Daniels. -No, I'll take it. | 0:03:21 | 0:03:25 | |
Anthony, darling, how can I help? | 0:03:25 | 0:03:26 | |
Next new message. | 0:03:26 | 0:03:28 | |
George, hello, it's Jacques in hair and make-up. | 0:03:28 | 0:03:31 | |
I need to talk to you about... KNOCK ON DOOR | 0:03:31 | 0:03:33 | |
Come in? I really need to talk to you about... | 0:03:33 | 0:03:36 | |
KNOCK ON DOOR Come in! | 0:03:36 | 0:03:37 | |
I really need to talk about... | 0:03:37 | 0:03:39 | |
KNOCK ON DOOR Come in! | 0:03:39 | 0:03:42 | |
-I'm here for hair and make-up? -Yes, yes, fine. Take a seat over there. | 0:03:42 | 0:03:45 | |
-I'll be with you in a moment. -Sorry? | 0:03:45 | 0:03:46 | |
I said take a seat over there, I'll be with you in a moment! | 0:03:46 | 0:03:49 | |
Oh, right - thank you. | 0:03:49 | 0:03:50 | |
Sorry, George, my 2.30 has arrived. | 0:03:50 | 0:03:52 | |
-I'm going to have to call you back. -Sorry - where? | 0:03:52 | 0:03:54 | |
Next new message. | 0:03:54 | 0:03:55 | |
BEEP | 0:03:55 | 0:03:56 | |
Mr Lucas, hello there. | 0:03:56 | 0:03:58 | |
This is John Millins. | 0:03:58 | 0:04:00 | |
I represent Sir Alec Guinness, who is portraying the role of... | 0:04:00 | 0:04:05 | |
..Benjamin Kenobi in your production. | 0:04:05 | 0:04:08 | |
Now, the reason that I'm calling is I have spoken to Sir Alec at great | 0:04:08 | 0:04:12 | |
length regarding his deal, and we feel that... | 0:04:12 | 0:04:16 | |
PHONE BUZZES Sorry, one moment. | 0:04:16 | 0:04:18 | |
-Yes? -Anthony Daniels is on the phone. | 0:04:18 | 0:04:21 | |
-Who? -Anthony Daniels - you represent him. | 0:04:21 | 0:04:23 | |
Well, tell him I'll call him back. | 0:04:23 | 0:04:24 | |
Righto! | 0:04:24 | 0:04:26 | |
Sorry about that, Mr Lucas. | 0:04:27 | 0:04:29 | |
So as I was saying, after much deliberation with Sir Alec, | 0:04:29 | 0:04:32 | |
we feel that... | 0:04:32 | 0:04:34 | |
PHONE BUZZES Sorry, one moment. | 0:04:34 | 0:04:37 | |
-Yes? -It's Anthony Daniels - he really needs to speak to you. | 0:04:37 | 0:04:40 | |
-Well, what does he want? -He says his costume's so tight he can't | 0:04:40 | 0:04:43 | |
breathe and he's being bullied by a dwarf. | 0:04:43 | 0:04:45 | |
Tell him to take it up with the costume department, | 0:04:45 | 0:04:47 | |
-I haven't got time! -Righto! | 0:04:47 | 0:04:49 | |
Apologies. As I was saying, Mr Lucas, | 0:04:50 | 0:04:54 | |
after much deliberation with Sir Alec we feel that... | 0:04:54 | 0:04:57 | |
PHONE BUZZES One moment! | 0:04:57 | 0:05:00 | |
-Now, look here! -No, wait, I just... | 0:05:00 | 0:05:02 | |
You tell Anthony Daniels that if he'd taken his agent's advice in the | 0:05:02 | 0:05:06 | |
-first place... -I just... -Instead | 0:05:06 | 0:05:07 | |
of flying off to Tunisia for a silly little space film... | 0:05:07 | 0:05:10 | |
-I just wanted... -He could've been earning £75 a week... -But I... | 0:05:10 | 0:05:14 | |
..at Stratford-upon-Avon in repertory! | 0:05:14 | 0:05:16 | |
I just wanted to know if you wanted any lunch. | 0:05:16 | 0:05:19 | |
Oh. Well, I'll have a small pork pie, please. | 0:05:19 | 0:05:24 | |
Small pork pie. | 0:05:24 | 0:05:26 | |
-And a Vimto. -And a Vimto - righto! | 0:05:26 | 0:05:28 | |
As I was saying, after much deliberation with Sir Alec, | 0:05:31 | 0:05:35 | |
we have decided to accept your measly, pathetic, | 0:05:35 | 0:05:40 | |
paltry little offer of 1% of all profits from this production, | 0:05:40 | 0:05:45 | |
and any subsequent sequels, | 0:05:45 | 0:05:47 | |
televisual exploitations, merchandising, etc, | 0:05:47 | 0:05:51 | |
ad finitum - should it make a profit, of course, | 0:05:51 | 0:05:55 | |
although judging by the latest draft of the script, | 0:05:55 | 0:05:58 | |
I won't be holding my breath. | 0:05:58 | 0:06:01 | |
Have a good shoot, Mr Lucas, and, er, see you at the premiere... | 0:06:01 | 0:06:04 | |
..if there is one. Goodbye! | 0:06:04 | 0:06:07 | |
Next new message. | 0:06:07 | 0:06:10 | |
Mr Lucas, hello there. | 0:06:12 | 0:06:14 | |
This is Mustafa, concierge of the Royal Tunisia Hotel. | 0:06:14 | 0:06:17 | |
But the reason I wanted to give you a call is just to welcome you to the | 0:06:17 | 0:06:21 | |
Royal Tunisia Hotel, and also to say... | 0:06:21 | 0:06:23 | |
PHONE RINGS Sorry, one moment, please. | 0:06:23 | 0:06:25 | |
-Royal Tunisia Hotel. -Hi, this is Carrie Fisher - | 0:06:25 | 0:06:28 | |
can you tell me which room Mr Ford is in, please? | 0:06:28 | 0:06:30 | |
Mr Ford? Ah, yes. | 0:06:30 | 0:06:32 | |
-Gibril? -Yeah? -Which room Mr Ford in? | 0:06:32 | 0:06:34 | |
-216. -Mr Ford in room 216, Madame. | 0:06:34 | 0:06:38 | |
Would you like to leave a... | 0:06:38 | 0:06:39 | |
SHE HANGS UP | 0:06:39 | 0:06:41 | |
Sorry about that, Mr Lucas. | 0:06:41 | 0:06:44 | |
As I was saying, basically the room we have put you in at the moment, | 0:06:44 | 0:06:47 | |
er, what we are planning to do is to put you in a far superior room, | 0:06:47 | 0:06:51 | |
however, the far superior room we wish to move you to is... | 0:06:51 | 0:06:53 | |
PHONE RINGS Sorry - one moment, please. | 0:06:53 | 0:06:57 | |
Royal Tunisia Hotel. | 0:06:57 | 0:06:58 | |
Yeah, this is Carrie Fisher again. | 0:06:58 | 0:06:59 | |
-Are you sure he's in that room? -Yes, Mr Ford definitely in room 216. | 0:06:59 | 0:07:02 | |
-Well, no-one there. -You have knocked? -Yeah, I fucking knocked. | 0:07:02 | 0:07:05 | |
Madame, would you like to leave a... SHE HANGS UP | 0:07:05 | 0:07:07 | |
Sorry about that, Mr Lucas. As I was saying, | 0:07:07 | 0:07:10 | |
the room that we are planning to move you to, a very superior room, | 0:07:10 | 0:07:13 | |
however, the superior room we are planning to do put you in, | 0:07:13 | 0:07:16 | |
it has a slight issue with drainage, | 0:07:16 | 0:07:19 | |
which we have one of our most talented plumbers working on to fix | 0:07:19 | 0:07:22 | |
the situation, and we'll be giving you a call as soon as the problem is | 0:07:22 | 0:07:26 | |
-resolved. So I... -Hello? -Sorry - one moment, please. | 0:07:26 | 0:07:29 | |
-Hello? -Hello? -Hello? -Hello? -Hello. | 0:07:29 | 0:07:31 | |
-Hello! -Ah! Hello there, sir - sorry, I did not see you down there. | 0:07:31 | 0:07:34 | |
-How can I help? -Yeah, can you tell me where the toilet is, please? | 0:07:34 | 0:07:37 | |
Ah, toilets - yes, certainly. Down the corridor, second on the left. | 0:07:37 | 0:07:41 | |
-Thank you. -Second on the left? | 0:07:41 | 0:07:42 | |
-Yeah, second on the left. -Right. Does it have a step? | 0:07:42 | 0:07:44 | |
-Sorry about that, Mr Lucas. -Sorry, does it have a step? | 0:07:44 | 0:07:46 | |
-Yeah, anyway, I hope you have... -Hello! -..a wonderful stay with us... | 0:07:46 | 0:07:49 | |
-Hello? -..at the Royal Tunisia Hotel... | 0:07:49 | 0:07:51 | |
And very good luck with your Hollywood filming. | 0:07:51 | 0:07:53 | |
-Typical! -If you ever need a Tunisian actor, | 0:07:53 | 0:07:55 | |
then look no further than concierge Mustafa... | 0:07:55 | 0:07:59 | |
Are you looking with me, are you looking with me? | 0:07:59 | 0:08:01 | |
Yes, I am! Yeah. | 0:08:01 | 0:08:04 | |
Anyway. Lovely to speak to you, and see you soon, I hope. Bye-bye! | 0:08:04 | 0:08:08 | |
PHONE RINGS Royal Tunisia Hotel! | 0:08:08 | 0:08:10 | |
Next new message. | 0:08:10 | 0:08:12 | |
Do we have him? | 0:08:13 | 0:08:15 | |
Is he there? | 0:08:15 | 0:08:16 | |
-We have him? -OK, you're on. | 0:08:16 | 0:08:18 | |
Hey, George! | 0:08:18 | 0:08:19 | |
How's it going, buddy? | 0:08:19 | 0:08:21 | |
Mike Barillion here at the studio. | 0:08:21 | 0:08:23 | |
Hope you had a pleasant flight to, er... | 0:08:23 | 0:08:26 | |
-Where'd he fly to? -Tunisia. | 0:08:26 | 0:08:27 | |
Tunisia - awesome! And you're going to be there for, er... | 0:08:27 | 0:08:30 | |
-How long is he there for? -Two weeks. -Two weeks! | 0:08:30 | 0:08:33 | |
Wow. This is gonna rock! | 0:08:33 | 0:08:35 | |
So, dude, er, listen, I got a couple of people here with me - | 0:08:35 | 0:08:38 | |
they want to say hello. | 0:08:38 | 0:08:40 | |
Dave Lambert is here. | 0:08:40 | 0:08:42 | |
-Hi, George. -The wonderful Suzanne Maher is also joining us. | 0:08:42 | 0:08:45 | |
Hey, George, lovely to have you. | 0:08:45 | 0:08:47 | |
And, last but not least, Rudy Weinbag is here. | 0:08:47 | 0:08:50 | |
-Hi, George. -OK, George. | 0:08:50 | 0:08:53 | |
So, we've all read the latest draft of the script. | 0:08:53 | 0:08:56 | |
Great script. And we loved it - right? | 0:08:56 | 0:08:58 | |
-Loved it! -Right, right - am I right? | 0:08:58 | 0:09:00 | |
-Terrific. -Awesome. -Well done. -Really, incredible. | 0:09:00 | 0:09:02 | |
Just the way that you - oh! | 0:09:02 | 0:09:04 | |
It's just so... | 0:09:04 | 0:09:06 | |
-Spacey. -Yeah, and the scene... | 0:09:06 | 0:09:08 | |
-Love that space. -With the big dog... | 0:09:08 | 0:09:09 | |
-Love that dog. -Ah, hilarious. | 0:09:09 | 0:09:11 | |
-Genius! -Is he going to bark? I hope so. -He's gotta bark. | 0:09:11 | 0:09:13 | |
-This film is going to rock. -Absolutely. | 0:09:13 | 0:09:16 | |
Now, listen, OK, we wanted to talk soundtrack for the movie. | 0:09:16 | 0:09:20 | |
-Very important. -Now, look. I know you've had your heart set | 0:09:20 | 0:09:24 | |
-on John Williams. -Great guy. | 0:09:24 | 0:09:26 | |
We love John, don't we? | 0:09:26 | 0:09:27 | |
-Love him! -We love John, right? | 0:09:27 | 0:09:28 | |
-Oh, yeah. -John is awesome. -Awesome. -John is incredible. | 0:09:28 | 0:09:31 | |
-He's incredible. -The only thing about John is... | 0:09:31 | 0:09:33 | |
-He's not right. -He's a little too... | 0:09:33 | 0:09:34 | |
-He's not right. -He's kind of a bit more... | 0:09:34 | 0:09:36 | |
-He's not right. -You know... | 0:09:36 | 0:09:39 | |
-He's not right. -Disaster movie, killer-sharky type of guy. | 0:09:39 | 0:09:42 | |
-Too classical. -So what we were thinking - hear us out... | 0:09:42 | 0:09:46 | |
-Hear us out, George. -OK? Two words - ready? | 0:09:46 | 0:09:49 | |
Space funk. | 0:09:49 | 0:09:50 | |
-It's a winner. -Sure-fire hit. | 0:09:50 | 0:09:52 | |
Two weeks ago, I meet a guy at a party in Malibu, | 0:09:52 | 0:09:55 | |
he tells me he's a musician. | 0:09:55 | 0:09:57 | |
I say, "Oh, yeah, what kind of stuff?" | 0:09:57 | 0:09:59 | |
He says, "Blaxploitation movies." | 0:09:59 | 0:10:01 | |
I say, "Really? That's strange, cos I'm doing this movie set in space." | 0:10:01 | 0:10:05 | |
I gave him a copy of the script. | 0:10:05 | 0:10:07 | |
He gives me a call two days ago, says, "You got to hear this." | 0:10:07 | 0:10:11 | |
I said, "You got to hear what?" | 0:10:11 | 0:10:13 | |
Well, you got to hear this, George. | 0:10:13 | 0:10:15 | |
Are you ready? Are you ready? | 0:10:15 | 0:10:17 | |
OK. In your own time, guys. Hit it. | 0:10:17 | 0:10:19 | |
# In a galaxy far, far away | 0:10:22 | 0:10:25 | |
# There was a kid called Luke Skywalkay | 0:10:25 | 0:10:27 | |
# He met an Obi-Wan A Han Solay | 0:10:27 | 0:10:30 | |
# Darth Vader his warmth to betray | 0:10:30 | 0:10:32 | |
# The Star Wars | 0:10:32 | 0:10:34 | |
# This is the Star Wars | 0:10:34 | 0:10:35 | |
# Is that the Star Wars? | 0:10:37 | 0:10:38 | |
# This is the Star Wars | 0:10:38 | 0:10:40 | |
# Right | 0:10:40 | 0:10:41 | |
# Now from Tatooine is where Luke is came | 0:10:42 | 0:10:46 | |
# All aboard the Millenium Falkay | 0:10:46 | 0:10:48 | |
# Along with Obi-Wan | 0:10:48 | 0:10:50 | |
# A Princess Leia | 0:10:50 | 0:10:51 | |
# Forget the Dark Side use the Force in the day | 0:10:51 | 0:10:53 | |
# That's the Star Wars | 0:10:53 | 0:10:54 | |
# This is the Star Wars | 0:10:55 | 0:10:56 | |
# Is that the Star Wars? | 0:10:58 | 0:10:59 | |
# This is the Star Wars | 0:10:59 | 0:11:01 | |
# Right. # | 0:11:01 | 0:11:02 | |
Yes! | 0:11:07 | 0:11:09 | |
Yeah, whoo! | 0:11:09 | 0:11:11 | |
Awesome, dude! Great job, baby! | 0:11:11 | 0:11:13 | |
Great job! Was I right, George? Was I right? | 0:11:13 | 0:11:16 | |
This guy's going to rock your movie, man! | 0:11:16 | 0:11:18 | |
I got a good feeling about this, yeah! | 0:11:18 | 0:11:20 | |
Take it easy, buddy. | 0:11:20 | 0:11:21 | |
You guys do Bar Mitzvahs? | 0:11:23 | 0:11:24 | |
Next new message. | 0:11:24 | 0:11:26 | |
What an incredible hotel you've discovered. | 0:11:27 | 0:11:29 | |
Yeah, it's Harrison. I just got the latest draft of the script, George. | 0:11:29 | 0:11:33 | |
"She's the ship that made the Kessel Run in less than 12 parsecs"? | 0:11:33 | 0:11:37 | |
-What's a parsec? -I think it's a unit of distance. | 0:11:37 | 0:11:39 | |
Shut up. Listen, George, I respect you, OK? | 0:11:39 | 0:11:43 | |
So don't take this the wrong way. | 0:11:43 | 0:11:45 | |
You can type this shit, George, you can't say it. | 0:11:45 | 0:11:48 | |
-I love you. -I know. | 0:11:48 | 0:11:50 | |
-Next new message. -Mr Lucas, hello there. This is Mike O'Malley. | 0:11:51 | 0:11:57 | |
I'm chief set builder at Elstree Film Studios. | 0:11:57 | 0:11:59 | |
BANGING AND HAMMERING | 0:11:59 | 0:12:01 | |
I've been asked to give you a little tinkle by your lovely production | 0:12:01 | 0:12:04 | |
manager just to give you an update on the... | 0:12:04 | 0:12:07 | |
Do you mind keeping it down for a second?! | 0:12:07 | 0:12:10 | |
I'm on the blower! | 0:12:10 | 0:12:11 | |
-Huh? -I said, I'm on the blower, do you mind keeping it down?! | 0:12:11 | 0:12:14 | |
-Oh, right, sorry. -It's all right, thanks. | 0:12:14 | 0:12:17 | |
Huh? | 0:12:17 | 0:12:18 | |
I said, thanks! | 0:12:18 | 0:12:19 | |
Sorry about that, Mr Lucas. | 0:12:21 | 0:12:23 | |
So, anyway, yeah, I've been asked to give you an update on the state of | 0:12:23 | 0:12:26 | |
the sets being built at present. | 0:12:26 | 0:12:28 | |
We're currently about to finish building on the Minnel... | 0:12:28 | 0:12:31 | |
The Minnel... The Minnely... | 0:12:31 | 0:12:34 | |
..the spaceship. | 0:12:34 | 0:12:35 | |
And to be honest, it's looking absolutely fantastic. | 0:12:35 | 0:12:39 | |
We're just putting the finishing touches to the cockpit. | 0:12:39 | 0:12:41 | |
You've got your blinky lights in there, | 0:12:41 | 0:12:43 | |
-you've got your flashy lights... -Fancy a cup of tea, darling? | 0:12:43 | 0:12:46 | |
I'd love one. Milk, three sugars, please. | 0:12:46 | 0:12:47 | |
-Milk, three sugars coming up. -How are you, darling? | 0:12:47 | 0:12:49 | |
You all right? I'll have an apricot tart as well. | 0:12:49 | 0:12:51 | |
-Oh, I bet you will, darling. -And a Mint Club. -And a Mint Club. | 0:12:51 | 0:12:54 | |
Sorry about that, Mr Lucas. | 0:12:54 | 0:12:55 | |
So, anyway, the cockpit's looking fantastic. The only thing | 0:12:55 | 0:12:59 | |
I would say is... DRILLING | 0:12:59 | 0:13:01 | |
Do you mind keeping it down for a second?! I'm on | 0:13:01 | 0:13:03 | |
-the blower! -Oh, right, sorry! -Thank you! | 0:13:03 | 0:13:06 | |
-Three sugars, darling. -Thanks very much. | 0:13:06 | 0:13:09 | |
The only thing I would say, Mr Lucas, regarding the cockpit, | 0:13:09 | 0:13:12 | |
is that when you're stood inside the cockpit of the Minnel... | 0:13:12 | 0:13:17 | |
The Minnel... The spaceship, it's looking a little blue. | 0:13:17 | 0:13:22 | |
-What are you doing?! -I hope you don't mind. | 0:13:22 | 0:13:24 | |
I got one of the boys to give it a nice lick of black paint for you. | 0:13:24 | 0:13:27 | |
That should give it that outer space look you're going for. | 0:13:27 | 0:13:31 | |
OK, Mr Lucas, I've got to get back to it, my tea's getting cold. | 0:13:31 | 0:13:35 | |
SHOUTING IN BACKGROUND Have a lovely shoot in Tunisia | 0:13:35 | 0:13:38 | |
and I'll see you when you get to Elstree. | 0:13:38 | 0:13:40 | |
I said a Mint Club! This is orange! | 0:13:40 | 0:13:42 | |
MAN SCREAMS | 0:13:42 | 0:13:43 | |
THUD! | 0:13:43 | 0:13:45 | |
Bye. | 0:13:45 | 0:13:46 | |
Next new message. | 0:13:46 | 0:13:48 | |
Mr Lucas, hello there. This is the hotel handyman. Listen, I'm just in | 0:13:48 | 0:13:53 | |
your new suite at the moment, but it's not looking too pretty, | 0:13:53 | 0:13:58 | |
to be honest. Just give it a one flush, please. | 0:13:58 | 0:14:02 | |
PLUMBING GROANS LIKE A WOOKIEE | 0:14:02 | 0:14:04 | |
I try the sink tap. GROANING CONTINUES | 0:14:04 | 0:14:07 | |
It's not sounding too pretty. So I would suggest perhaps that you | 0:14:07 | 0:14:13 | |
stay in the room that you have for the time being. Most apologies | 0:14:13 | 0:14:16 | |
and we'll try and get this fixed first thing tomorrow. | 0:14:16 | 0:14:18 | |
OK, Mr Lucas. | 0:14:18 | 0:14:20 | |
Next new message. | 0:14:20 | 0:14:22 | |
Hello there. | 0:14:23 | 0:14:25 | |
This is a message for Mr Lucas. | 0:14:25 | 0:14:27 | |
Um, hello there, Mr Lucas, this is Colin, | 0:14:27 | 0:14:30 | |
head of security at Elstree Film Studios. | 0:14:30 | 0:14:33 | |
How are you today, sir? I'm very fine, thanks for asking! | 0:14:33 | 0:14:36 | |
You're not really asking cos I'm talking to a... | 0:14:36 | 0:14:38 | |
Yeah, anyway, never mind. | 0:14:38 | 0:14:40 | |
According to the timetable here, sir, yeah, | 0:14:40 | 0:14:44 | |
your production will be starting with us in two weeks today in fact. | 0:14:44 | 0:14:50 | |
Oh, that's 14 days. | 0:14:50 | 0:14:51 | |
14 days till our next production, Norman. | 0:14:51 | 0:14:54 | |
Norman? Yeah, never mind. | 0:14:54 | 0:14:56 | |
Yeah, so the reason that I'm calling, sir, is... | 0:14:56 | 0:14:58 | |
PHONE BUZZES Sorry, one second. | 0:14:58 | 0:15:00 | |
Elstree Studios security, hi, how can I help? | 0:15:03 | 0:15:05 | |
-Say something. -You say something. | 0:15:06 | 0:15:09 | |
Elstree Studios? | 0:15:09 | 0:15:11 | |
You say something. | 0:15:11 | 0:15:12 | |
Ah... | 0:15:12 | 0:15:13 | |
Sorry about that, Mr Lucas. | 0:15:15 | 0:15:17 | |
As I'm sure you know, we do have a number of very high-profile | 0:15:17 | 0:15:21 | |
celebrity guests working with us | 0:15:21 | 0:15:23 | |
here at Elstree International Film Studios, | 0:15:23 | 0:15:26 | |
and that is why, sir, we value security very highly indeed. | 0:15:26 | 0:15:30 | |
You don't get more vigilant in this business than Norman and myself, | 0:15:30 | 0:15:34 | |
especially, you know, in the current climate, where every Tom, | 0:15:34 | 0:15:38 | |
Dick and Paddy is... | 0:15:38 | 0:15:39 | |
PHONE BUZZES Sorry, two seconds. | 0:15:39 | 0:15:41 | |
Elstree Studios security here. | 0:15:43 | 0:15:45 | |
-IRISH ACCENT: -Aye, it's Bruce Forsyth here. | 0:15:45 | 0:15:47 | |
Mr Forsyth, sir, how are you today, sir? | 0:15:47 | 0:15:48 | |
Good game, good game. Listen, yous wouldn't happen to have | 0:15:48 | 0:15:51 | |
-a parking space for me van? -Parking space, absolutely, sir. | 0:15:51 | 0:15:54 | |
-Norman, what parking space do we have for Mr Forsyth today? -12. | 0:15:54 | 0:15:58 | |
Parking space number 12 for you, sir. | 0:15:58 | 0:16:00 | |
-Didn't you do well? Thanks very much. -My pleasure, sir, absolutely. | 0:16:00 | 0:16:04 | |
Have a lovely day, and nice to see you, to see you nice. | 0:16:04 | 0:16:06 | |
Yeah, good one, mate. | 0:16:06 | 0:16:08 | |
TYRES SCREECH | 0:16:08 | 0:16:10 | |
Sorry about that, Mr Lucas. | 0:16:10 | 0:16:11 | |
As I was saying, very much looking forward to seeing you | 0:16:11 | 0:16:13 | |
in a couple of weeks, and in the meantime, | 0:16:13 | 0:16:15 | |
if you do need any help with directing tips, | 0:16:15 | 0:16:19 | |
then look no further than Colin, innit? | 0:16:19 | 0:16:21 | |
Action, cut. | 0:16:21 | 0:16:22 | |
Do it again, but do it a bit faster. | 0:16:22 | 0:16:24 | |
I'm sure you're more sophisticated than that. | 0:16:26 | 0:16:28 | |
Anyway, have a nice shoot and I'll see you in a couple of weeks. | 0:16:28 | 0:16:31 | |
Bye-bye! | 0:16:31 | 0:16:32 | |
Next new message. | 0:16:32 | 0:16:33 | |
George, how are you today? | 0:16:35 | 0:16:36 | |
It's Jack again calling from hair and make-up. | 0:16:36 | 0:16:38 | |
Listen, I'm really sorry, but I need to talk to you | 0:16:38 | 0:16:40 | |
about Carrie Fisher's haircut for the film. | 0:16:40 | 0:16:42 | |
-You see... Eyes forward, thank you. -Sorry. -I said to Carrie, | 0:16:42 | 0:16:44 | |
"How do you want your hair for the film?" She says, "I don't know." | 0:16:44 | 0:16:47 | |
I say, "Up? I put it up." She says, "I don't like it." | 0:16:47 | 0:16:49 | |
Put it down, she don't like it. I say, "Round the ears?" | 0:16:49 | 0:16:51 | |
-Eyes forward, thank you. -Sorry. -I say, "Around the ears." She says, | 0:16:51 | 0:16:54 | |
"I'll think about it." I say, "Think about it? You're filming next week." | 0:16:54 | 0:16:57 | |
Eyes forward, please, thank you! | 0:16:57 | 0:16:59 | |
-Sorry. -I'm very stressed. You're going to have to call me back. | 0:16:59 | 0:17:02 | |
Next new message. | 0:17:02 | 0:17:03 | |
Mr Lucas, how you doing, man! | 0:17:04 | 0:17:07 | |
It's myself, myself! Now listen, Mr Lucas, | 0:17:07 | 0:17:11 | |
a little birdie tells me that you're in Tunisia making a Hollywood film | 0:17:11 | 0:17:16 | |
and somebody needs little peoples! | 0:17:16 | 0:17:19 | |
Listen, Mr Lucas, why you no come to myself before, huh? | 0:17:19 | 0:17:24 | |
I always make the little people for the Hollywood film. | 0:17:24 | 0:17:27 | |
I do the Oompa Loompas, I do the Knicknacks. | 0:17:27 | 0:17:30 | |
Hey, hey. I also do the little person in the red coats... | 0:17:30 | 0:17:34 | |
Hey, hey. More champagne here, please! | 0:17:34 | 0:17:37 | |
Listen, when you come down here, | 0:17:37 | 0:17:39 | |
I'm going to bring you to the nightclub, | 0:17:39 | 0:17:42 | |
I'm going to show you a hot time in Tunisia. | 0:17:42 | 0:17:45 | |
You ever met my friend Sidney? | 0:17:45 | 0:17:48 | |
He's a real high cat! | 0:17:48 | 0:17:50 | |
Yeah, that's right! | 0:17:50 | 0:17:51 | |
Argh! | 0:17:51 | 0:17:53 | |
Aargh... | 0:17:53 | 0:17:55 | |
I'll get you back! | 0:17:55 | 0:17:58 | |
You have no more messages. | 0:17:58 | 0:18:01 | |
Goodbye. | 0:18:01 | 0:18:03 | |
# Now from Tatooine is where Luke is came | 0:18:05 | 0:18:08 | |
# All aboard the Millenium Falkay | 0:18:08 | 0:18:10 | |
# Along with Obi-Wan A Princess Leia | 0:18:10 | 0:18:13 | |
# Forget the Dark Side use the Force in the day | 0:18:13 | 0:18:15 | |
# That's the Star Wars | 0:18:15 | 0:18:17 | |
# This is the Star Wars | 0:18:17 | 0:18:19 | |
# Is that the Star Wars? | 0:18:19 | 0:18:21 | |
# This is the Star Wars | 0:18:21 | 0:18:23 | |
# Right. # | 0:18:23 | 0:18:24 |