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saturation of an Edinburgh summer. We are here at the world's greatest | :00:15. | :00:18. | |
arts Festival and I will bring you the finest comedy, cabaret and | :00:19. | :00:24. | |
musical performances. Behind me is the world's most frightening photo | :00:25. | :00:32. | |
bomb ever! APPLAUSE | :00:33. | :00:55. | |
A big thank to Te Waka Huia. He is from New Zealand. Frightened and | :00:56. | :02:11. | |
aroused! Coming up, the international flavour continues with | :02:12. | :02:15. | |
dancing from Brazil, music from South Africa and exotic comedy from | :02:16. | :02:21. | |
West Bromwich. Please welcome a raw unknown who we have discovered this | :02:22. | :02:24. | |
year and we are hoping for big things this year. Please welcome | :02:25. | :02:28. | |
Frank Skinner! APPLAUSE | :02:29. | :02:43. | |
Hello, darling. Budget cuts! They said you wanted a dry our! We have | :02:44. | :02:52. | |
taken you literally. Frank, I never thought this, but it has been seven | :02:53. | :02:57. | |
years since you were in Edinburgh. Yes, doing a solo show. Yes, | :02:58. | :03:03. | |
standing up there on my own, it has been seven years, so I am doing the | :03:04. | :03:08. | |
whole festival, three weeks, no nights off, and I am going to kill | :03:09. | :03:15. | |
myself! Surely this is the time to spend three weeks away from home. I | :03:16. | :03:20. | |
have brought my family with me. There are people staying there, | :03:21. | :03:28. | |
though! If only you had Haka staying there! They were extraordinary. I | :03:29. | :03:41. | |
was dancing to that. It was a good dance. I saw your groin and move! In | :03:42. | :03:48. | |
a very confined area. That was unexpected. Let's take a look at you | :03:49. | :03:57. | |
in 1991. This is one of your earlier forays. This might be the statue | :03:58. | :04:03. | |
they made of you. That is when I won at the Perrier music award. -- | :04:04. | :04:12. | |
comedy award. It was very, very exciting. In those days, it if you | :04:13. | :04:18. | |
won it, a flash mob would arrive at the gig on the night. The judges | :04:19. | :04:25. | |
would storm on stage with the award, flowers and champagne and there | :04:26. | :04:32. | |
would be a cavalcade! It was fantastic. It is now done at a | :04:33. | :04:38. | |
formal dinner. I was giving a man in the front row some terrible stick | :04:39. | :04:43. | |
that night. When I was presenting the champagne, I was a reformed | :04:44. | :04:47. | |
alcoholic so I thought it was inappropriate so I gave it to him in | :04:48. | :04:58. | |
the front row. You are still abusing members in the front row in your | :04:59. | :05:04. | |
show, Man In A Suit. I am gentle. There was a lot of emphasis on the | :05:05. | :05:09. | |
man's short trousers. There was a man with very, very short trousers | :05:10. | :05:13. | |
and was sitting like this for the whole thing. You know when you look | :05:14. | :05:19. | |
through the hole in the curtain to see the audience, that is all I | :05:20. | :05:22. | |
could see. I thought there was an alien in the front row! I referred | :05:23. | :05:31. | |
to it because it would upset me later in the evening. Over 20 years | :05:32. | :05:42. | |
on, what has changed for you about the Edinburgh experience? I have my | :05:43. | :05:47. | |
family with me. I used to get up at 4am, get up at 11am, and go and | :05:48. | :05:53. | |
season comedians who I could have seen in London. That is how the day | :05:54. | :05:58. | |
went. Now I go and see the amazing double man. Is that a euphemism? No, | :05:59. | :06:14. | |
no! I go to the museums. So, you see a bit of Edinburgh rather than just | :06:15. | :06:20. | |
the bar. I have never looked at the children's' fringe, there is lots of | :06:21. | :06:26. | |
weird stuff going on. Any recommendations for those with | :06:27. | :06:34. | |
children? Most of the shows for children over the age of three and | :06:35. | :06:40. | |
then I found one for children who are over two years of age. It said | :06:41. | :06:46. | |
it was about a dog who made an unlikely friendship with Death. It | :06:47. | :06:55. | |
is a personification of death. I am holding back on that! It seems a | :06:56. | :07:01. | |
little young to introduce people to the concept of mortality. I was | :07:02. | :07:07. | |
frightened about the write up myself! May be children are | :07:08. | :07:14. | |
different now. They love death! You talk about this in your show, but | :07:15. | :07:23. | |
how does your partner deal with it? My girlfriend is a comedy agent so | :07:24. | :07:27. | |
she is up here looking for fresh, good-looking talent. Not to replace | :07:28. | :07:38. | |
me at home! I do not think! That would be terrible! Going to | :07:39. | :07:42. | |
Edinburgh to look for a new partner! Yes, she told me about it and I paid | :07:43. | :07:51. | |
for her aeroplane fare. You often reference your relationship. Yes, | :07:52. | :07:55. | |
but I express my love for her as well as the conflict we find | :07:56. | :07:59. | |
ourselves embroiled in. I will leave you with that court. Will you stay | :08:00. | :08:09. | |
with us? Yes, it is a lovely sober. As the dehydration bites, take it | :08:10. | :08:17. | |
easy. -- sofa. We cannot squeeze everyone into the BBC tent, but we | :08:18. | :08:22. | |
have tried! The Green room is bursting at the seams. I have my | :08:23. | :08:31. | |
very own shoulder, at the comedy coalface, with people dressed as | :08:32. | :08:37. | |
medieval milkmaids or a giant parsnip. Here is Mark Watson looking | :08:38. | :08:41. | |
at the weird and wonderful world of the Fringe. Edinburgh is in full | :08:42. | :08:51. | |
swing with its chaotic and rambunctious glory! One thing that | :08:52. | :08:56. | |
emerges is that pretty much everybody here is here for the love | :08:57. | :09:03. | |
of it. Even if they can get carried away. One couple, David and Carol, | :09:04. | :09:09. | |
are so in love with comedy that they have committed to watch 300 shows | :09:10. | :09:15. | |
over 27 days. They want to break the record. This is them here. You | :09:16. | :09:23. | |
should get cracking! Hurry up! The city is busting with love all around | :09:24. | :09:27. | |
us. Onstage and off stage. There was a piece called Love, which Thomas is | :09:28. | :09:34. | |
to embrace the audience with the arms of the performers. -- which | :09:35. | :09:39. | |
promises to embrace. A comforting date of human contact | :09:40. | :10:00. | |
is what is needed after a hectic week. Other shows get up close and | :10:01. | :10:09. | |
personal in a more unsettling way. This comedian actress is doing one | :10:10. | :10:14. | |
of the smallest shows in the Fringe. It is in her own car. She is | :10:15. | :10:22. | |
desperate for the audiences affections. | :10:23. | :10:34. | |
So, that is a sign that love can very easily turn into something | :10:35. | :10:41. | |
intense and disturbing. I think I need to be somewhere else! And love | :10:42. | :10:53. | |
takes a darker turn in the Dark Room where the passion for video games is | :10:54. | :10:56. | |
turned into a black-hearted cult show. The audience chooses their own | :10:57. | :11:01. | |
adventure but then that leads them to bed doom. -- to their doom. You | :11:02. | :11:26. | |
die! In the The Generation of Z, they are scaring the audience in | :11:27. | :11:29. | |
their zombie world. There you go, in Edinburgh, even though shows that | :11:30. | :11:33. | |
delve into the macabre recesses of the human soul are done with such | :11:34. | :11:38. | |
excitement that they are a celebration, even in the midst of | :11:39. | :11:44. | |
death. There is still life and love. OK, Edinburgh is great, | :11:45. | :11:49. | |
goodbye! APPLAUSE | :11:50. | :12:01. | |
Well, fortunately, Mark was not killed by a zombie. He sustained a | :12:02. | :12:05. | |
flesh wound so he is fine. Apparently, according to management, | :12:06. | :12:10. | |
I have to keep 28 pages away from him as he joins us now. -- paces. | :12:11. | :12:20. | |
Mark Watson, everybody! Sorry, it is like a health and safety being. It | :12:21. | :12:24. | |
is a bit demeaning. I would be so cosy on the settee. Yes, but there | :12:25. | :12:33. | |
is no water. There is no excuse now. It is not contagious. You survived | :12:34. | :12:39. | |
your first week. Yes, but it was strange. I have had mixed feelings. | :12:40. | :12:44. | |
On one hand, I was chased by zombies but I was also hoped by those cool | :12:45. | :12:51. | |
people. I do not know what I preferred. When we filmed that | :12:52. | :12:54. | |
thing, this local bloke came up and said, is this real? | :12:55. | :12:58. | |
thing, this local bloke came up and said, is Yes, we are in the midst of | :12:59. | :13:04. | |
a zombie apocalypse! How the anxiety levels going into the second week? I | :13:05. | :13:10. | |
am struggling a little bit. It is quite easy to get over anxious | :13:11. | :13:14. | |
during the Fringe, and you lapse into these habits. Last year, I had | :13:15. | :13:20. | |
anxieties and I was drinking before the show. I was like a shopaholic | :13:21. | :13:36. | |
but with alcoholic! Get the hugs and zone out the zombies. It is not as | :13:37. | :13:43. | |
everywhere you go in Edinburgh, there are people foaming at the | :13:44. | :13:48. | |
mouth for you! There are no zombies here. I should hope not. It says | :13:49. | :13:54. | |
something about and read that you can be pursued by monks, people | :13:55. | :13:57. | |
dressed as Hitler, basically anything! OK, it is time for me to | :13:58. | :14:04. | |
go. They are coming from a! They like the taste of you, I think. | :14:05. | :14:18. | |
APPLAUSE Mark left to soon, it was only Nancy who arrived a little too | :14:19. | :14:23. | |
early for her own show! Mark will be back next week and you can catch in | :14:24. | :14:29. | |
at the Pleasance with his stand-up show, Flaws. I next guest is an | :14:30. | :14:36. | |
actress, comedian, clinical psychologist and now, following an | :14:37. | :14:39. | |
appearance on Strictly Come Dancing, she's written and produced | :14:40. | :14:45. | |
a spectacular dance show. Please welcome Pamela Stephenson Connerly! | :14:46. | :14:59. | |
Incredible CV I've just listed. Who would have thought you would get the | :15:00. | :15:08. | |
dancing bug? I really just wanted to be an air hostess! There's still | :15:09. | :15:14. | |
time! You took the skills you learned in Strictly Come Dancing and | :15:15. | :15:18. | |
you've created this extraordinary new show. It was so nice because I | :15:19. | :15:23. | |
rediscovered my love of dancing and found my way to a wonderful | :15:24. | :15:32. | |
Brazilian dance. Found your way! Turned left at the library. It's | :15:33. | :15:39. | |
called Brazuca. Arlene Phillips directed it. You've seen it, did you | :15:40. | :15:44. | |
like it? I loved it and so did the people there. It really is fun, | :15:45. | :15:51. | |
wonderful dancing, great story. I'm very proud of the cast, who have | :15:52. | :15:57. | |
come from social towns all over Brazil and the world and they are | :15:58. | :16:03. | |
brilliant. You can tell just from Frank's body language how much he | :16:04. | :16:08. | |
loved stance! I've never interfered with dance. You had to use that | :16:09. | :16:17. | |
word. I associate it with rejection and embarrassment. This is the dance | :16:18. | :16:28. | |
the U. - for you. I can walk up to other men and invite them to dance | :16:29. | :16:33. | |
and he will say yes. No more hanging out by the walls of this goes. Not | :16:34. | :16:40. | |
that discos exist any, kids! When I'm at the discotheque, I'm often | :16:41. | :16:46. | |
against the wall. Don't hurt me. You can be at a club and now in Brasilia | :16:47. | :16:54. | |
can just go up to somebody and not feel rejected. In some dances, some | :16:55. | :17:00. | |
social dances, you feel like a wallflower. This way, women have a | :17:01. | :17:05. | |
lot more control over the situation. For example, Frank, would | :17:06. | :17:11. | |
you like to dance? There's an answer. He's going to dance with me. | :17:12. | :17:26. | |
Where did you spring from? The great thing is, you dance with one and | :17:27. | :17:36. | |
another guy comes. The lovely thing is they will do anything for | :17:37. | :17:41. | |
attention. They get very dejected if you leave them. | :17:42. | :17:50. | |
What's going on? Is this OK with health and safety? And getting | :17:51. | :18:02. | |
involved with an audience member. Don't break her! Anything for | :18:03. | :18:10. | |
attention. Stop it! Magnificent! Please tell us... My | :18:11. | :18:49. | |
boys! I thought they were just members of the audience. My husband | :18:50. | :18:55. | |
Billy calls them Brylcreem luff REO 's. I call them every single night! | :18:56. | :19:09. | |
There are hundreds of comics currently... I will be trying it | :19:10. | :19:19. | |
later. She can dance, she can tell me when I'm doing my job wrong and | :19:20. | :19:24. | |
she can make me feel better for doing my job wrong! There are | :19:25. | :19:31. | |
hundreds of comics in Edinburgh for a month of 12 hour days. One hour | :19:32. | :19:36. | |
onstage, 11 hours wandering around drug telling anyone who will listen | :19:37. | :19:42. | |
about that one hour onstage. Where do you go to escape the reviewers, | :19:43. | :19:47. | |
the hecklers, the determined comedy groupies? Tony Law can show us. | :19:48. | :19:58. | |
I'm Tony Law and I'm here at the end of broth fringe first of all and I | :19:59. | :20:03. | |
laughed about a nickel gardens. I do. - I laugh the botanical Gardens. | :20:04. | :20:13. | |
I'm in Edinburgh to do is show with my wife and director and our two | :20:14. | :20:16. | |
trolls. There he goes. She sees art in what I do. My God, | :20:17. | :20:44. | |
that's a big plant! Really massive. The sort of stuff feeds you, can you | :20:45. | :20:57. | |
smell it? It's a bit prickly. I am genuinely looking forward to just | :20:58. | :21:00. | |
connecting to people who want to come to my stupid, crazy show. | :21:01. | :21:10. | |
Actually, it's quite sweet, but surreal and crazy at the same time. | :21:11. | :21:22. | |
I crave his hair. I'm worried I'm going to get his beard. You can | :21:23. | :21:28. | |
delve deeper into the strange mind of the Tone Zone at the stand. My | :21:29. | :21:34. | |
final guest is proof that marrying Michael Douglas or Harrison Ford is | :21:35. | :21:39. | |
a bad idea. She starred opposite them in Patriot games and Fatal | :21:40. | :21:43. | |
Attraction, which earned her an Academy Awards nomination. Now she | :21:44. | :21:50. | |
has taken to the stage in a play called The Trial of Jane Fonda. | :21:51. | :21:53. | |
Ladies and gentlemen, please welcome Anne Archer! | :21:54. | :22:00. | |
Nice to see you, take a seat. A starlet is amongst us! Yes! We | :22:01. | :22:19. | |
referenced a few of your films. Presumably the sort of rough cobbles | :22:20. | :22:23. | |
and the tiny cramped spaces of Edinburgh, you aren't used that, | :22:24. | :22:29. | |
coming from Hollywood. I think it's fabulous here, so beautiful. I'm | :22:30. | :22:34. | |
sharing dressing rooms and having a whole new experience. It is strange, | :22:35. | :22:41. | |
yeah. Codeword for I've seen a stranger's general tools up close! - | :22:42. | :22:50. | |
genitals. What is the show that happens straight before yours? It's | :22:51. | :22:59. | |
the show that comes after me. I'm sharing a dressing room with | :23:00. | :23:04. | |
Michael, who is a friend. I miss the show before, I don't know who's | :23:05. | :23:07. | |
there, but I know about the show afterwards. Do you get the odour of | :23:08. | :23:14. | |
them? Oh yes. All the food and everything. The Trial of Jane Fonda | :23:15. | :23:23. | |
is spectacular. It tells of it - very interesting story, and meeting | :23:24. | :23:26. | |
between Hanoi Jane, as she was known, and some ex-Marines that | :23:27. | :23:32. | |
served in Vietnam and the clash of opinions that happen in this church | :23:33. | :23:37. | |
hall. Were you aware of the story before the play? Yes, I remember | :23:38. | :23:44. | |
when she was meeting with them. She is known as an anti-war activist. | :23:45. | :23:50. | |
Many vets hated her because she went to Hanoi and they took photographs | :23:51. | :23:55. | |
of her in North Vietnam sitting on an anti-aircraft gun. There are a | :23:56. | :23:59. | |
lot of reasons it happened and my husband did a lot of research and | :24:00. | :24:04. | |
retraced her steps and found out the true story. A lot of lies have been | :24:05. | :24:10. | |
told. We did a play that tells both sides of the story. The point of | :24:11. | :24:15. | |
view of the vets and the anti-war movement, Jane being the leader of | :24:16. | :24:22. | |
that anti-war movement. It's a pretty provocative, | :24:23. | :24:26. | |
thought-provoking play. For America, it sets the record straight. America | :24:27. | :24:32. | |
needs that. It feels like an untold story. Is it strange for you to play | :24:33. | :24:37. | |
somebody who is still living and very much still in the public | :24:38. | :24:42. | |
consciousness? It's hard. Usually they are gone. You can do whatever | :24:43. | :24:49. | |
you like! She is very much in the public eye. She doesn't have any | :24:50. | :24:54. | |
peculiarities or eccentricities in her mannerisms or her voice. You | :24:55. | :24:59. | |
have to try and capture her being and her viewpoint and own it within | :25:00. | :25:04. | |
yourself. I think it's working quite well. You didn't feel the need to do | :25:05. | :25:10. | |
an impersonation as such? Pretty impossible. I don't think you could | :25:11. | :25:18. | |
do that unless you were a mimic. I think I've captured her intonation | :25:19. | :25:23. | |
and her voice patterns to a great extent. People are aware of your | :25:24. | :25:28. | |
work. What they might not know it is you were involved in a pilot of a | :25:29. | :25:31. | |
cooking show, very extreme cooking show, we have a clip. It didn't make | :25:32. | :25:34. | |
it to air. Really? Everybody knows you should roast it | :25:35. | :26:01. | |
first. The question I want to ask you about that particular film... | :26:02. | :26:07. | |
I've heard there were two endings that were shot. Yes. We shot it with | :26:08. | :26:13. | |
a very realistic ending. Probably most of you have seen it. Where he | :26:14. | :26:18. | |
gets taken away, he is arrested for the murder of Alex. The audience | :26:19. | :26:24. | |
wasn't satisfied because they felt my character should get her | :26:25. | :26:29. | |
comeuppance against this woman who has destroyed our marriage. We went | :26:30. | :26:35. | |
back several months later. The shoot had finished? Yeah. She has to get | :26:36. | :26:45. | |
back in the bath? That was never in there! There was no bath in the | :26:46. | :26:50. | |
original ending. Probably almost a year later because it had already | :26:51. | :26:54. | |
been edited and screened and tested. They deseeded - decided they needed | :26:55. | :27:02. | |
another ending. I was upset because I had some amazing stuff in the | :27:03. | :27:06. | |
first ending. As it turned out it was such a huge hit, I thought, how | :27:07. | :27:12. | |
can you be so upset? They are just filming a new version and they need | :27:13. | :27:17. | |
you back. They are doing a Disney style version with a lot of show | :27:18. | :27:23. | |
tunes! Round of applause for Anne Archer! Pamela Stephenson and Frank | :27:24. | :27:30. | |
Skinner! We'll be back next week at the same time on BBC Two. The fund | :27:31. | :27:35. | |
carries on in the tent right now and you can stay with us by pressing red | :27:36. | :27:41. | |
at the end of the show. You can see more on BBC Four on Sunday and | :27:42. | :27:45. | |
there's a new performance everyday online. Playing us out tonight, the | :27:46. | :27:50. | |
magnificent Ladysmith Black Mambazo, who are performing at the | :27:51. | :27:52. | |
international Festival. Good night. | :27:53. | :27:56. |