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Hello and welcome to the best of Three at the Fringe. I am Scot | :00:22. | :00:27. | |
Mills and you are about to see 30 minutes of fantastic live comedy | :00:27. | :00:31. | |
from some of the biggest names and freshest and exciting new talent | :00:31. | :00:34. | |
performing at this year's Fringe. You can check out the website too | :00:34. | :00:39. | |
where you can access even more performances direct from the BBC's | :00:39. | :00:45. | |
Edinburgh venue as well as a host of other interactive comedy. Now to | :00:45. | :00:50. | |
meet your compere for the show, Charlie Baker. | :00:50. | :00:53. | |
Is everyone all right? Having a lovely time so far? APPLAUSE AND | :00:53. | :00:57. | |
CHEERING. Very good. Here is sa lovely licence fee here for you all | :00:57. | :01:02. | |
to see. Enjoying that? A couple of licence fees here to look at. | :01:02. | :01:05. | |
Everyone enjoying the Fringe? Yes, you are the hardest man alive. Nice | :01:05. | :01:13. | |
to see you. It's lovely to be here. I am waiting for Jack Black to die. | :01:13. | :01:16. | |
He looks like him, doesn't he? I was thinking he looks like someone | :01:17. | :01:22. | |
and then he said Jack Black, that's who he looks like. I said to you, | :01:22. | :01:27. | |
didn't I? I said he he looks like Jack Black. I have never made money | :01:27. | :01:31. | |
out of looking like him, I have been offered a few things, porn | :01:32. | :01:41. | |
:01:42. | :01:46. | ||
films, School of Cock, that was one. And Kung Fu Hand Job, that's the | :01:46. | :01:49. | |
one I did. Nice to have my co-star in, good to see you again. With | :01:49. | :01:56. | |
your mouth empty. Loves cock, ladies and gentlemen. | :01:56. | :02:02. | |
Really does. Good evening. How are you doing? | :02:02. | :02:09. | |
That's good. My name is Phil Wang and I am the answer to the question | :02:09. | :02:16. | |
what would I look like if Gok Wan got fat and less infuturating. | :02:16. | :02:20. | |
Don't get me wrong, I have nothing personally against him, it's just I | :02:20. | :02:27. | |
am a homophobe. I am the answer to the question what would I look like | :02:27. | :02:37. | |
:02:37. | :02:40. | ||
if Michael McIntyre had a child with Gok Wan. Do we have any | :02:40. | :02:44. | |
McIntyre fans? Good, some cheers there, the rest of you are correct. | :02:44. | :02:49. | |
No, no, he is fun. I like him. I have one issue with McIntyre, and | :02:49. | :02:53. | |
that is a while back in one of his shows he said that when he smiles | :02:53. | :03:03. | |
:03:03. | :03:10. | ||
he looks like a fat Chinese man. Now, following that logic, right, I, | :03:10. | :03:15. | |
you know... APPLAUSE you know, following that logic I | :03:15. | :03:25. | |
:03:25. | :03:27. | ||
think he is a massive prick. What a weasel. What a silly man. I never | :03:27. | :03:33. | |
actually wanted to be a comedian, my parents forced me into it. Very | :03:33. | :03:39. | |
pushy. I always wanted to be a dentist. Or a prostitute. But they | :03:39. | :03:45. | |
- apparently no money in that. You be comedian, boy - that's my dad, | :03:45. | :03:51. | |
be a comedian. I should explain he is oriental. Not a stroke victim. | :03:52. | :03:58. | |
As it may have sounded. Let's clear that up for you. My dad I guess was | :03:58. | :04:02. | |
a main culprit really for me growing up a little tough. We | :04:02. | :04:07. | |
butted heads on a lot of things. For example, he has rigid ideas | :04:07. | :04:11. | |
about how men and women should behave and I am a modern man, in | :04:11. | :04:18. | |
touch with my feminine side and also I have a bit of a monobrow | :04:18. | :04:22. | |
problem. It's no big deal. Any hairy women in the audience will | :04:22. | :04:27. | |
vouch for me, the way to deal with that get tweezers and pluck the | :04:27. | :04:34. | |
bastards out. Now I was doing that one day in my room, and right, | :04:34. | :04:39. | |
plucking in my room and my dad, right, he opens the door and he | :04:39. | :04:45. | |
sees me plucking and he looks at me like I have just kicked the family | :04:45. | :04:54. | |
cat into my mother's face on my sister's birthday again. And he | :04:54. | :04:58. | |
looks at me and says what are you doing? That's for girls. Now, you | :04:58. | :05:02. | |
don't know but that's a really good impression of my dad, that sounds | :05:02. | :05:07. | |
just like him. I thought he was here, oh, no, it's just me. He said | :05:07. | :05:11. | |
what are you doing? That is for girls. I explained to him, I said | :05:11. | :05:15. | |
no, dad, society has changed and with it has the perception of | :05:15. | :05:21. | |
masculinity and male beauty. Plucking one's eyebrows is simply a | :05:21. | :05:25. | |
sign of cultivation, hygiene and a masculine care for one's personal | :05:25. | :05:35. | |
appearance. Right. Then he said well, at least take the dress off. | :05:35. | :05:45. | |
:05:45. | :05:45. | ||
So, you know, I was like whatever! You are living in the past, dad. | :05:45. | :05:55. | |
:05:55. | :06:03. | ||
You are living in the past. You old High heels there. A nice pair, here | :06:03. | :06:08. | |
you go, Madame. You have been lovely, guys. Have a good festival. | :06:08. | :06:18. | |
:06:18. | :06:19. | ||
I am Phil Wang. Good night. Hello. Are you well? Good! We don't | :06:19. | :06:23. | |
have long together so I will do what I wanted to do in bullet | :06:23. | :06:26. | |
points. I love bullet points, they really move things along. Sometimes | :06:26. | :06:32. | |
I read over my old teenager diary and think this could have been | :06:32. | :06:40. | |
passier. School. I am here with my baby so I am very tired. It's not | :06:40. | :06:43. | |
my first baby, I have another one in the car. It's an interesting | :06:43. | :06:47. | |
thing being pregnant because you learn lots of things, you expand, | :06:47. | :06:51. | |
not only physically, emotionally. I learned some things about myself | :06:51. | :06:55. | |
and I learned some new words. I learned some maths that I didn't | :06:55. | :06:58. | |
know before. Like the maths bit, everyone knows it takes | :06:58. | :07:03. | |
approximately nine months to cook a human. But when you do it I don't | :07:03. | :07:06. | |
know why, but you have to talk about it in weeks and that used to | :07:06. | :07:10. | |
bug me before I had kids. It's annoying when you say how pregnant | :07:10. | :07:14. | |
are you and they go I am 28 weeks and you think do I look like | :07:14. | :07:18. | |
Johnnie Ball, you round it up. That's what we invented months for. | :07:18. | :07:23. | |
To contain and label weeks. That's where we keep weeks. It doesn't | :07:23. | :07:27. | |
stop when the kid's born, then it's all about months and not years. You | :07:27. | :07:34. | |
are like how old is flim-tphrapl? They go well he is 19 months, well | :07:34. | :07:39. | |
he is about one and a half, this isn't a test. I am not that hung up | :07:39. | :07:45. | |
on age accuracy. I don't go around saying I am 427 months old, round | :07:45. | :07:50. | |
it up. It has been lovely. I have enjoyed having baby. Babies are | :07:50. | :07:54. | |
lovely, they're magical and bewildering as well. Like why do | :07:54. | :07:59. | |
baby clothes have pockets? Where are they going? That creates images | :07:59. | :08:09. | |
:08:09. | :08:10. | ||
of a ten-week-old baby going wallet, keys, phone. Let's go, mum. So, I | :08:10. | :08:14. | |
am a bit nervous about when they get older, people say small | :08:14. | :08:17. | |
children, small problems and then they get older and there's more | :08:17. | :08:21. | |
parenting to go, I hear. You know, that could be tricky. When they | :08:21. | :08:25. | |
start asking awkward questions like mummy, what is dogging? You have to | :08:25. | :08:34. | |
have an answer ready. OK, darling, well, dogging is when three or four | :08:34. | :08:43. | |
people that love each other very much go to a car park - go and ask | :08:43. | :08:51. | |
your dad. It will be fine. I will wing it. I prepped for parenting by | :08:51. | :08:53. | |
watching SuperNanny, I thought that would be preparation. I thought I | :08:54. | :08:58. | |
am not going to end up one of those middle-class mothers. Megan, you | :08:58. | :09:02. | |
are really upsetting mummy, don't cut, mummy. No, not the face, | :09:02. | :09:10. | |
Megan! Classic episode there with Megan. It was like Cape Fear, I do | :09:10. | :09:15. | |
exaggerate a lot in my show. I confess to that. I think all | :09:15. | :09:21. | |
comedians exaggerate a little bit. Women are very good at it. We are | :09:21. | :09:25. | |
good at exaggerating, we are much better than blokes. We are about 14 | :09:25. | :09:28. | |
billion times better than most blokes. Women are very good at | :09:28. | :09:31. | |
slightly overreacting to arguably trivial things, that's something we | :09:31. | :09:34. | |
have the edge on. When a woman puts her hand in her bag to find her | :09:35. | :09:39. | |
purse, but doesn't immediately find her purse, she is like oh my God, I | :09:39. | :09:45. | |
have lost my purse! Hang on, I found it, sorry. Just overreacted, | :09:46. | :09:50. | |
sorry. Or if we park the car in a car park and we don't find it | :09:50. | :09:54. | |
straightaway, we are like, someone's nicked the car! Call the | :09:54. | :10:01. | |
police now! Oh, it's there, sorry. Someone must have moved it. We make | :10:01. | :10:07. | |
that noise quite a lot, argh! I make that noise in the car with my | :10:07. | :10:12. | |
husband and he is driving. He goes what? I said I have forgotten my | :10:12. | :10:16. | |
lipstick. He said I thought I killed a bloody child! It's such a | :10:16. | :10:23. | |
good noise, argh! Let's get a pizza. One thing women don't exaggerate | :10:23. | :10:29. | |
about ever, ever, is a bargain. We are very excited about bargains. If | :10:29. | :10:32. | |
you compliment a women on something she's wearing she will tell you how | :10:32. | :10:38. | |
much it cost down to the penny. I like your top, yeah, �10.99, Top | :10:38. | :10:43. | |
Shop. You don't want to know but you get told. I like your trousers, | :10:43. | :10:49. | |
yeah, �24.99, I framed the receipt, it's above the fireplace, I only | :10:49. | :10:53. | |
paid �4 for that. Everybody knows if you have paid next to nothing | :10:53. | :10:57. | |
for a high street garment it is probably someone might have | :10:57. | :11:01. | |
suffered somewhere along the line. But no one gives a shit when | :11:01. | :11:07. | |
they're boosting about a bargain. Oh, I love your balltkpwaupb, yeah, | :11:07. | :11:15. | |
a child sewed on every sequin. Can't beat a bargain. You have been | :11:15. | :11:25. | |
:11:25. | :12:02. | ||
# # My love there's only you in my life | :12:02. | :12:10. | |
# The only thing that's bright #. # My first love | :12:10. | :12:20. | |
:12:20. | :12:21. | ||
# You're every breath that I take # You're every step I make | :12:21. | :12:31. | |
:12:31. | :12:35. | ||
#. # And I want to share all my love with you | :12:35. | :12:45. | |
:12:45. | :12:48. | ||
# No one else will do # And your eyes, they tell me how | :12:48. | :12:58. | |
:12:58. | :13:00. | ||
much you care # Oh, yes you will always be my | :13:00. | :13:10. | |
:13:10. | :13:10. | ||
Apology for the loss of subtitles for 70 seconds | :13:10. | :14:21. | |
endless love # Hey baby | :14:21. | :14:31. | |
:14:31. | :14:31. | ||
Apology for the loss of subtitles for 70 seconds | :14:31. | :15:14. | |
# Tonight, tonight I'M DANIEL DAY LEWIS, TWO TIME | :15:14. | :15:21. | |
OSCAR WINNER AND THREE TIMES AS LOUD AS ANYTHING ON THE PLANET. | :15:21. | :15:27. | |
My career is in at theers. So much so, that I've started using young | :15:27. | :15:33. | |
boys as armchairs! I have not won a major award in | :15:33. | :15:38. | |
over four minutes. Apparently I lack rage, which is ridiculous. As | :15:38. | :15:42. | |
everyone knows the only way to test an actor's range is to pick him up | :15:42. | :15:47. | |
and throw him. So that's what we're going to do today. You, you and you, | :15:47. | :15:52. | |
join me on stage. Come on! APPLAUSE | :15:52. | :15:56. | |
Come on up here. Line up in a line for me, you fine fellows. Line up | :15:56. | :16:01. | |
in a line and I want you to throw me as far as you can into the | :16:01. | :16:06. | |
audience. OK? If you manage to hit these first couple of tables it | :16:06. | :16:11. | |
probably means I could play a back ward king with a stutter. If I hit | :16:11. | :16:17. | |
the red seats it means I could play a very loud Gandhi. If you manage | :16:17. | :16:24. | |
to puncture the tent and send me out into the street, well you | :16:24. | :16:33. | |
belong in a cage! So, let's have some Daniel Day Fun - shall we? | :16:33. | :16:37. | |
Pick me up and throw me into the audience. Take a leg each, gents. | :16:37. | :16:46. | |
This is not the ending of Brave Heart. On the count of three - lift | :16:46. | :16:56. | |
:16:56. | :17:00. | ||
up and, one, two, and three. APPLAUSE | :17:00. | :17:08. | |
Oh, my God, you actually threw me! I'm worth like half a trillion | :17:09. | :17:14. | |
dollars. I'm the most famous actor to appear in nobody's favourite | :17:14. | :17:21. | |
film. Sit down, you plucky, sons of guns, all but you! | :17:21. | :17:24. | |
The ringleader, if I'm not mistaken! You're going to learn a | :17:25. | :17:29. | |
valuable lesson up here with me today, sony Jim. You are going to | :17:30. | :17:38. | |
learn about acting a smoke machine, or smac ting. It is where I tie a | :17:38. | :17:42. | |
smoke machine to a skateboard and shout until I pass out. I invented | :17:42. | :17:51. | |
it on the set of the Last of the Mohicans. I used it as an excuse as | :17:51. | :17:58. | |
to why I crashed my car. In future all actors will wear one of these | :17:58. | :18:04. | |
and die of consumption at 30. Have you ever smacked it before? Give it | :18:04. | :18:12. | |
a stroke. How's that? Beautiful! That's for fans of underwhelming | :18:12. | :18:17. | |
comedy prop moments was a lesson learnt. So, stand there my friend, | :18:17. | :18:23. | |
stand like an actor might. Now that's good. That's very good. | :18:23. | :18:29. | |
I'm not sure of the hand gesture! We'll go with that. That's good. | :18:29. | :18:38. | |
Fix a point, up in the stars there. Have you got a point? In your best | :18:38. | :18:42. | |
Daniel Day-Lewis impression say my most famous line of "Stay where you | :18:42. | :18:48. | |
are. I will find you." Wait! Stay where you are. I will find you. | :18:48. | :18:53. | |
That's a good start. That's a good start. If I may be a little bit | :18:53. | :18:57. | |
picky, it lacked a little bit of focus and motivation for me. An | :18:57. | :18:59. | |
audience needs to understand where a character is coming from, in | :18:59. | :19:04. | |
order to join it on its journey. For example, as the greatest screen | :19:04. | :19:09. | |
actor of anyone's generation I need freedom to travel anywhere I wish | :19:09. | :19:15. | |
with my performance. It is why on most film sets I am known as the | :19:15. | :19:25. | |
Oyster card. Why? Because before each and every take I do this.... | :19:25. | :19:30. | |
You are not at that level yet. You need a co-star. I want you to look | :19:30. | :19:34. | |
out into this sea of beautiful people here. In your opinion, pick | :19:34. | :19:39. | |
me out the most beautiful, attractive female in your opinion. | :19:39. | :19:44. | |
How old are you to be using that kind of language? Where else do you | :19:44. | :19:49. | |
get to pick a woman. Pick one. Who do you like. She's not looking at | :19:49. | :19:53. | |
you at all! They are always the people I picked. When I grabbed you, | :19:53. | :20:01. | |
you were looking at the floor. Who would you like? Who's the most | :20:01. | :20:11. | |
:20:11. | :20:12. | ||
attractive woman in here. Bom-boom - that's both his testicles | :20:12. | :20:17. | |
dropping. That fine young lady there. The what's wrong with the | :20:17. | :20:23. | |
one here in red? Just kidding. I know exactly what's wrong with her! | :20:23. | :20:27. | |
Come up here for me, my darling. You have it really eds here today. | :20:27. | :20:33. | |
Come up here. That's very easy. A good choice. A good choice. Come on | :20:33. | :20:39. | |
up. You have it easy. You have to stand there, to the side and look | :20:39. | :20:49. | |
:20:49. | :20:49. | ||
raidant for me. -- ray diant for me. Do you have a girlfriend? No. | :20:49. | :20:55. | |
you have a boyfriend? Is he here tonight. Come on! This is it. Aim | :20:55. | :20:59. | |
your performance right at her. Give her the pose. | :20:59. | :21:03. | |
That's it! Now give her the look right down the barrel of her eyes N | :21:03. | :21:09. | |
the best me impression, do the line. "Stay where you are. I will find | :21:09. | :21:14. | |
you." Stay where you are. I will find you. How is that heart | :21:14. | :21:21. | |
beating? Tell me. I can tell you my thumb is very rogue at the moment! | :21:21. | :21:26. | |
This has nothing to do with what we're doing up here either! I'm | :21:26. | :21:33. | |
just been a Daniel Day-Pervert. You have graduated. So the final part | :21:33. | :21:37. | |
of your education here today - the smoke machine. You are about to | :21:37. | :21:41. | |
embark on an epic journey and experience the epic exsilration | :21:41. | :21:48. | |
that only two people have found in the world, that is me, Daniel Day- | :21:48. | :21:53. | |
Lewis. Take the remote on coal. On my mark, look her in the eye, give | :21:53. | :21:58. | |
her the pose, give her the line and pump that smoke machine and stride | :21:58. | :22:03. | |
on over to her and kiss her in a way in which she would never wish | :22:03. | :22:08. | |
to be kissed. OK? That's the bit I'm going to be watching very | :22:08. | :22:15. | |
closely! Stay where you are. I will find you. You got it? He can do it, | :22:15. | :22:20. | |
right? Come on Daniel, this is how we do it. So are you ready? Three, | :22:20. | :22:27. | |
two, one. Smacked. Stay where you are. I will find you. Pump it. Now | :22:27. | :22:32. | |
the kiss. Go on. Keep pumping. Go for the kiss. | :22:32. | :22:42. | |
:22:42. | :22:43. | ||
Go for the kiss. APPLAUSE | :22:43. | :22:49. | |
What the hell was that meant to be? I spent �45 on that! This is how | :22:49. | :22:55. | |
you do it. Stand here. Stand here. You have a close look. | :22:55. | :23:01. | |
This is how you do it, my friend. You ned to get close. Closer. Good. | :23:01. | :23:06. | |
Give her the look. Give her the pose and hit her with the pose | :23:06. | :23:11. | |
"Stay where you are. I will find her." Stride over and.... | :23:11. | :23:21. | |
:23:21. | :23:28. | ||
Laughter. Oh, yeah. You can sit down now. | :23:28. | :23:34. | |
We're done with you. Oh, yes, my friend! I gave you the | :23:34. | :23:42. | |
Daniel Day-tongue there a little bit. Good for you! You've become | :23:42. | :23:46. | |
Daniel Day-Lewis. So, you and you, let's pick him up and see how far | :23:46. | :23:53. | |
we can throw him. Give him a round of applause. Stay where you are. I | :23:53. | :24:03. | |
:24:03. | :24:07. | ||
will find you! We are frisky and Mannish. We are | :24:07. | :24:11. | |
pop educators and looking at the hidden alternatives in pop songs | :24:11. | :24:15. | |
for you. Clarifying them. Actually, we thought you were the sort of | :24:15. | :24:20. | |
audience that might find that silly. We thought we would take it back a | :24:20. | :24:26. | |
notch and maybe sing something the way it was meant to be sung. | :24:26. | :24:33. | |
Close your eyes # Give me your hand, darling | :24:33. | :24:41. | |
# Do you feel my heart beating # Do you understand | :24:41. | :24:50. | |
# Do you feel the same # Am I only dreaming | :24:50. | :25:00. | |
:25:00. | :25:05. | ||
# Is this burning an eternal flame # I believe we're meant to be, | :25:05. | :25:11. | |
darling # I watch you when you are sleeping | :25:11. | :25:18. | |
# You belong to me # Do you feel the same? | :25:18. | :25:28. | |
:25:28. | :25:29. | ||
# Am I only dreaming? # Or is this burning an eternal | :25:29. | :25:33. | |
flame? # Say my name! | :25:33. | :25:37. | |
# Sunshine to the rain # My whole life | :25:37. | :25:43. | |
# So lonely # It couldn't ease the pain | :25:43. | :25:53. | |
:25:53. | :26:00. | ||
# I don't want to lose this feeling # You're just too good to be true | :26:00. | :26:08. | |
# Can't take my eyes off of you # You've been like heaven to touch | :26:08. | :26:15. | |
# I love you so much # At long last love has arrived | :26:15. | :26:20. | |
# Oh, my God, I'm alive # You're just too good to be true | :26:20. | :26:30. | |
:26:30. | :26:43. | ||
So sorry! # I've never had a dream come true | :26:43. | :26:50. | |
# Till the day that I found you # Even though I pretend that I've | :26:50. | :26:53. | |
moved on # You'll always be my baby | :26:54. | :26:59. | |
# Never found the words to say # You're the one I think about each | :26:59. | :27:05. | |
# And I know no matter where love takes me to | :27:05. | :27:15. | |
:27:15. | :27:15. | ||
# A part of me will always be # With you | :27:15. | :27:23. | |
# I just called to say HEAVY BREATHING | :27:23. | :27:29. | |
# # I JUST CALLED TO SAY HOW MUCH I.... | :27:29. | :27:39. | |
:27:39. | :27:44. | ||
# I JUST CALLED TO SAY # And I mean it from the bottom of my heart | :27:44. | :27:54. | |
:27:54. | :27:58. | ||
# You must love me # You must love me # | :27:58. | :28:01. | |
APPLAUSE We are back next week with more | :28:01. | :28:05. |