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Coming up: Britain's best loved comedians reveal | 0:00:20 | 0:00:23 | |
who gets their chuckle muscles working overtime. | 0:00:23 | 0:00:27 | |
When I watched Dave Allen as a child, | 0:00:27 | 0:00:30 | |
I rolled around the floor, laughing at him, properly in pain laughing. | 0:00:30 | 0:00:34 | |
SCREAMS | 0:00:34 | 0:00:36 | |
There's no-one else like Steve Martin. | 0:00:36 | 0:00:39 | |
It's just stupid! | 0:00:39 | 0:00:41 | |
From stand-up routines to classic sketches, | 0:00:42 | 0:00:45 | |
they're letting us in on their all-time favourite jokes | 0:00:45 | 0:00:49 | |
and their love, envy and sheer admiration | 0:00:49 | 0:00:51 | |
for the star performers who told them. | 0:00:51 | 0:00:54 | |
Happy feet! | 0:00:54 | 0:00:55 | |
It felt so new, it was like seeing modern art for the first time. | 0:00:55 | 0:00:59 | |
You know, what she sells is madness! | 0:00:59 | 0:01:01 | |
Next. | 0:01:01 | 0:01:03 | |
You know, as a child, that was pure gold! | 0:01:03 | 0:01:05 | |
Why didn't I think of that? Why didn't I write that joke? | 0:01:07 | 0:01:10 | |
So, dust off your laughing gear, hold onto your armchairs | 0:01:10 | 0:01:14 | |
and buckle up for a raucous ride into the land of comedy! | 0:01:14 | 0:01:18 | |
I'm not stretching the point too far | 0:01:25 | 0:01:27 | |
to say that Steve Martin on Parkinson | 0:01:27 | 0:01:30 | |
is why I am sat in front of you today. | 0:01:30 | 0:01:32 | |
That is the one reason. | 0:01:32 | 0:01:34 | |
Ladies and gentlemen, Mr Steve Martin! | 0:01:34 | 0:01:36 | |
APPLAUSE | 0:01:36 | 0:01:39 | |
It was Steve Martin's first UK appearance, television appearance. | 0:01:39 | 0:01:43 | |
I was 17. | 0:01:43 | 0:01:44 | |
# Hey, I got music | 0:01:45 | 0:01:48 | |
# I got rhy-y-thm. # | 0:01:48 | 0:01:51 | |
LAUGHTER | 0:01:51 | 0:01:53 | |
I just was pissing myself laughing pretty much all the way through. | 0:01:53 | 0:01:58 | |
Just, the joy. I got tingles. | 0:01:58 | 0:02:01 | |
-APPLAUSE AND LAUGHTER -It's a funny gag. | 0:02:04 | 0:02:07 | |
Straight away, you're laughing. A guy in a pink suit with an arrow in his head. | 0:02:07 | 0:02:10 | |
Ha-ha-ha-ha! | 0:02:10 | 0:02:12 | |
And he does juggling. Steve Martin, that's the first guy | 0:02:12 | 0:02:15 | |
I saw do that funny thing with the third ball routine. | 0:02:15 | 0:02:19 | |
Now, three! | 0:02:20 | 0:02:23 | |
LAUGHTER AND APPLAUSE | 0:02:25 | 0:02:27 | |
HE PLAYS THE BANJO | 0:02:27 | 0:02:29 | |
And these were genuinely things I'd never seen someone ever do before. | 0:02:29 | 0:02:35 | |
# Well, I'm rambling, rambling round | 0:02:35 | 0:02:37 | |
# I'm rambling guy, oh, yes. # | 0:02:37 | 0:02:39 | |
HE WHISTLES | 0:02:39 | 0:02:42 | |
Fame travelled much slower across the pond back then. | 0:02:42 | 0:02:45 | |
A virtual unknown in the UK, | 0:02:45 | 0:02:47 | |
Steve Martin was a megastar in the States. | 0:02:47 | 0:02:51 | |
He became a rock'n'roll comedian. | 0:02:51 | 0:02:53 | |
He was so explosive and so fast and suddenly, | 0:02:55 | 0:02:58 | |
he was on the cover of magazines - Rolling Stone, | 0:02:58 | 0:03:00 | |
he's on Saturday Night Live, | 0:03:00 | 0:03:03 | |
he's filling giant arenas. | 0:03:03 | 0:03:05 | |
When you see people playing the O2 now, Steve Martin was the first one to do that. | 0:03:05 | 0:03:08 | |
Steve Martin's unique off-the-wall act was totally out of the ordinary, | 0:03:08 | 0:03:14 | |
creating mayhem and general bemusement all round. | 0:03:14 | 0:03:17 | |
Here you go. | 0:03:18 | 0:03:19 | |
And now, YOU are funny, too. | 0:03:19 | 0:03:22 | |
-LAUGHTER -'The audience over there got it' | 0:03:22 | 0:03:24 | |
but when he came here, | 0:03:24 | 0:03:25 | |
he looked like a guy playing the banjo and doing stupid stuff. | 0:03:25 | 0:03:28 | |
Yes. No. | 0:03:28 | 0:03:29 | |
-LAUGHTER -Yes... | 0:03:29 | 0:03:32 | |
'Parkinson and Clive James are watching him,' | 0:03:32 | 0:03:35 | |
going, "Hnhnh?" like Scooby Doo. They just don't get it. | 0:03:35 | 0:03:39 | |
And Steve is doing cat juggling and doing happy feet! | 0:03:39 | 0:03:43 | |
Oh, no, I'm getting...happy feet! | 0:03:43 | 0:03:46 | |
LAUGHTER AND APPLAUSE | 0:03:46 | 0:03:50 | |
When I saw it, I just roared with laughter. | 0:03:50 | 0:03:53 | |
# You better smile, smile, smile, smile, smile, smile... # | 0:03:53 | 0:03:58 | |
That kind of very, very silly comedy does appeal to your inner child. | 0:03:58 | 0:04:03 | |
'Do you ever wonder...' | 0:04:03 | 0:04:06 | |
where all the farts go? | 0:04:06 | 0:04:09 | |
But his most stand-out moment was when Steve demonstrated | 0:04:10 | 0:04:12 | |
that he wasn't to be trusted with chat show hosts. | 0:04:12 | 0:04:16 | |
There's a moment where Parkinson goes, "What's the difference between British and American comedy?" | 0:04:16 | 0:04:22 | |
And Steve Martin is holding a pair a scissors. | 0:04:22 | 0:04:24 | |
Let's say you were going to cut someone's tie. | 0:04:24 | 0:04:26 | |
An American comedian I think, would give it... Oh, I'm not going to use mine! | 0:04:26 | 0:04:31 | |
-..would give it more of a shot... -This is a joke, is it? | 0:04:31 | 0:04:36 | |
Well, this is an example. | 0:04:36 | 0:04:38 | |
And he gets Parkinson's tie and he cuts tassels in it at the bottom. | 0:04:38 | 0:04:43 | |
LAUGHTER AND SCATTERED APPLAUSE | 0:04:43 | 0:04:45 | |
'That is English comedy. And then he talks about American comedy,' | 0:04:49 | 0:04:53 | |
and he cuts off... the tie at the neck. | 0:04:53 | 0:04:56 | |
Of course, an American would just use the more... | 0:04:56 | 0:05:00 | |
LAUGHTER AND APPLAUSE | 0:05:00 | 0:05:04 | |
Parkinson was almost as pissed off as when the emu attacked him. | 0:05:04 | 0:05:09 | |
LAUGHTER | 0:05:09 | 0:05:12 | |
-I think that's very funny. Don't you, Clive? -Are you sure you didn't have that ready? | 0:05:12 | 0:05:16 | |
No, indeed not. I'd have wore a different bloody tie if I'd known that! | 0:05:16 | 0:05:21 | |
Steve Martin may have left his host unamused | 0:05:21 | 0:05:23 | |
but he certainly made a huge impact on impressionable young minds. | 0:05:23 | 0:05:28 | |
There's no-one like Steve Martin. | 0:05:28 | 0:05:30 | |
He's just daft and he's the master at being just... | 0:05:30 | 0:05:34 | |
absurd and stupid but very, very, very funny. | 0:05:34 | 0:05:38 | |
LAUGHTER | 0:05:38 | 0:05:41 | |
'If you're going to do silly, you have to really believe in the silly.' | 0:05:41 | 0:05:45 | |
Otherwise, the audience spot it. | 0:05:45 | 0:05:47 | |
And he really believed in the silly. | 0:05:47 | 0:05:49 | |
It was a revelation. | 0:05:49 | 0:05:51 | |
It felt so new, it was like seeing | 0:05:51 | 0:05:53 | |
modern art for the first time if I can get pretentious. | 0:05:53 | 0:05:56 | |
It was like seeing something that touches you in some way | 0:05:56 | 0:05:58 | |
but not in the way that art previously had worked for you. | 0:05:58 | 0:06:01 | |
It was like someone saying, "Hold on, this is not comedy | 0:06:01 | 0:06:05 | |
"because it doesn't fit any of the guidelines for comedy that I've grown up expecting." | 0:06:05 | 0:06:09 | |
DNA molecule! | 0:06:09 | 0:06:12 | |
And yet, I'm laughing. And that's why I adore Steve Martin. | 0:06:12 | 0:06:16 | |
-Venereal disease. -LAUGHTER | 0:06:16 | 0:06:19 | |
Everyone has that kind of moment in their life where one moment changes how they see something | 0:06:19 | 0:06:24 | |
for the rest of their life. | 0:06:24 | 0:06:26 | |
'He was like the Sex Pistols were to music | 0:06:26 | 0:06:30 | |
'to my perception of comedy,' | 0:06:30 | 0:06:32 | |
and it was just, bam! | 0:06:32 | 0:06:34 | |
OK. Thank you very much. Good night! Well, see you again! | 0:06:34 | 0:06:38 | |
Dick Emery was a huge part of my Saturday night entertainment. | 0:06:47 | 0:06:50 | |
My whole generation loved watching him | 0:06:50 | 0:06:52 | |
and strangely now, he's very much forgotten about, really. | 0:06:52 | 0:06:56 | |
He had such a wide range of characters. | 0:06:58 | 0:07:00 | |
You were guaranteed a lot of laughs. I was open mouthed watching him. | 0:07:00 | 0:07:04 | |
I used to think, "This can't be the same man. This can't be him." | 0:07:04 | 0:07:08 | |
The Dick Emery Show | 0:07:08 | 0:07:10 | |
became a mainstay of the BBC schedules, | 0:07:10 | 0:07:13 | |
running for almost 20 years with king of the catchphrase Dick Emery | 0:07:13 | 0:07:16 | |
appearing in every single sketch. | 0:07:16 | 0:07:19 | |
'He could play gay men - he played this one character,' | 0:07:20 | 0:07:24 | |
"Hello, honky tonks", and it was so flamboyant. | 0:07:24 | 0:07:28 | |
Oh, olives, stuffed! Oh, that'll make a change! | 0:07:28 | 0:07:32 | |
'The women he played were believable. He played different sorts of women.' | 0:07:32 | 0:07:36 | |
Ooh, you are awful. | 0:07:36 | 0:07:38 | |
But I like you! | 0:07:38 | 0:07:40 | |
LAUGHTER | 0:07:40 | 0:07:42 | |
This wide range of characters from posh vicars to the bovver boy character. | 0:07:42 | 0:07:47 | |
LAUGHTER | 0:07:47 | 0:07:50 | |
Dad... | 0:07:50 | 0:07:51 | |
-I think I got it wrong again. -I think you got it wrong again. | 0:07:51 | 0:07:56 | |
In 1975, Dick Emery created five and half minutes of comedy gold | 0:07:56 | 0:08:00 | |
with a masterfully executed driving test sketch. | 0:08:00 | 0:08:04 | |
'Ere, Mr Bush, I've passed my test! I've passed it! | 0:08:04 | 0:08:08 | |
'Ere, you're a good driving instructor! | 0:08:08 | 0:08:10 | |
In that sketch, you see something new at the time - to put together all the characters. | 0:08:10 | 0:08:15 | |
Harry Enfield did it again but not often. | 0:08:15 | 0:08:17 | |
It's difficult to put all the characters into the same sketch. | 0:08:17 | 0:08:21 | |
That means I can drive any car I like. | 0:08:21 | 0:08:23 | |
-That's right. You'll have to get yourself a car. -That's right. | 0:08:23 | 0:08:27 | |
'Ere, I think I'll have this one. | 0:08:27 | 0:08:29 | |
LAUGHTER | 0:08:29 | 0:08:31 | |
The opening of that driving test sketch is extraordinary. | 0:08:31 | 0:08:34 | |
LAUGHTER | 0:08:36 | 0:08:39 | |
On its own, it's a brilliant sketch and it's got a great punchline. | 0:08:39 | 0:08:43 | |
But before that, there are four or five massive laughs in there. | 0:08:43 | 0:08:46 | |
-You seem to be in a bit of a nervous state. -A nervous state? | 0:08:46 | 0:08:49 | |
You should have seen me before I took my tranquilizers. | 0:08:49 | 0:08:53 | |
His nervousness, the way he is so petrified - brilliant, absolutely brilliant. | 0:08:53 | 0:08:57 | |
Oh, dear, it doesn't seem to be your day, does it? | 0:08:57 | 0:09:00 | |
If I were you, I'd just pack up and go home. | 0:09:00 | 0:09:02 | |
You're in no fit state to be on the road. | 0:09:02 | 0:09:04 | |
-Mr Charmers. -Yes, I'm here. | 0:09:08 | 0:09:10 | |
OK, he's all yours. Take him away. | 0:09:10 | 0:09:14 | |
LAUGHTER Mr Charmers.... | 0:09:14 | 0:09:18 | |
'When I was little, I would watch Dick Emery with my dad' | 0:09:18 | 0:09:21 | |
and just be sort of... I think ghastly is the word for Dick Emery. | 0:09:21 | 0:09:27 | |
He was prepared to be ghastly. | 0:09:27 | 0:09:28 | |
-I assume you've taken the necessary instruction to take the test? -All guidance come from on high. | 0:09:28 | 0:09:34 | |
'And his characters were all like people with big teeth | 0:09:34 | 0:09:37 | |
'and randy middle-aged women. And he was funny.' | 0:09:37 | 0:09:40 | |
I just really, really love Dick Emery. | 0:09:40 | 0:09:43 | |
Love Dick Emery. I liked all of the characters. | 0:09:43 | 0:09:47 | |
But, um, I personally liked it best when he was in drag. | 0:09:47 | 0:09:52 | |
"Hello, honky tonk." I mean, that gay man with the leather cap. | 0:09:52 | 0:09:56 | |
I mean, I should be offended by that but you can't be, | 0:09:56 | 0:09:59 | |
it's so camp - "Hello, honky tonk." | 0:09:59 | 0:10:02 | |
That licence is as good as in my pocket. | 0:10:02 | 0:10:05 | |
I should have another think, sweetheart. | 0:10:05 | 0:10:08 | |
You've got me for your examiner! Put those away. Come on, let's go. | 0:10:08 | 0:10:13 | |
You wouldn't have had any trouble, honky tonks. | 0:10:13 | 0:10:16 | |
I'd pass you sitting on that bench! | 0:10:16 | 0:10:19 | |
When he did the woman, "You are awful, but I like you", | 0:10:19 | 0:10:22 | |
and would push the man out the way, | 0:10:22 | 0:10:23 | |
you know, as a child, that was pure gold. | 0:10:23 | 0:10:26 | |
Very good. For an attractive young lady, you surprise me. | 0:10:27 | 0:10:31 | |
You drove like a man. | 0:10:31 | 0:10:32 | |
Oh, thank you. | 0:10:32 | 0:10:33 | |
Apart from your two big boobs. | 0:10:33 | 0:10:37 | |
Look how you reacted when that policeman suddenly put his hand up. | 0:10:37 | 0:10:40 | |
Ooh, you are awful. | 0:10:40 | 0:10:44 | |
But I like you. | 0:10:44 | 0:10:46 | |
LAUGHTER | 0:10:46 | 0:10:48 | |
Ooh, you are awful. | 0:10:49 | 0:10:52 | |
But I like you. | 0:10:52 | 0:10:54 | |
'And that sexually repressed woman!' | 0:10:54 | 0:10:56 | |
Excuse me. | 0:10:56 | 0:10:58 | |
Yes, madam. | 0:10:58 | 0:11:00 | |
'I think her name was Hetty,' | 0:11:00 | 0:11:01 | |
and she had these really '60s, '70s glasses on that went up like this | 0:11:01 | 0:11:05 | |
and her eyes were so desperate behind them, you know. | 0:11:05 | 0:11:08 | |
This hair was perfectly done and this handbag clasped so tight. | 0:11:08 | 0:11:12 | |
I heard that one of your examiners won't pass a woman driver | 0:11:12 | 0:11:15 | |
unless she lets him have his way with her! | 0:11:15 | 0:11:17 | |
'But underneath it was this woman' | 0:11:17 | 0:11:19 | |
who was desperate for human contact and for male contact. | 0:11:19 | 0:11:22 | |
Point him out to me, I'll have him. | 0:11:22 | 0:11:24 | |
No, you point him out to me and I'LL have him! | 0:11:24 | 0:11:27 | |
LAUGHTER | 0:11:27 | 0:11:30 | |
A nice distinguished gentleman like you... | 0:11:30 | 0:11:32 | |
It's just so funny! | 0:11:35 | 0:11:37 | |
It's a guilty pleasure, really, | 0:11:37 | 0:11:40 | |
because probably, it's not that clever but it's hilarious! | 0:11:40 | 0:11:45 | |
CAR HORN TOOTS | 0:11:45 | 0:11:48 | |
CRASH! | 0:11:48 | 0:11:51 | |
LAUGHTER | 0:11:51 | 0:11:52 | |
Always at the back of my mind, Dick Emery has been there | 0:11:52 | 0:11:55 | |
as somebody who was really able to act well | 0:11:55 | 0:11:58 | |
'as well as be a good comic | 0:11:58 | 0:12:00 | |
'and that's always what I've wanted to do.' | 0:12:00 | 0:12:02 | |
He was inspirational. | 0:12:06 | 0:12:07 | |
There is a legend about a working housewife and a mother of five | 0:12:16 | 0:12:20 | |
who at the age of 37 suddenly decided she was funny, | 0:12:20 | 0:12:22 | |
so they say, she walked on stage and the audience told her that she was right. | 0:12:22 | 0:12:26 | |
Phyllis Diller was a tremendous groundbreaker for women comedians | 0:12:26 | 0:12:30 | |
because she bridged the gap | 0:12:30 | 0:12:32 | |
between when you had to be like zany and kooky and ugly | 0:12:32 | 0:12:35 | |
or you weren't considered funny. | 0:12:35 | 0:12:37 | |
Phyllis Diller! | 0:12:37 | 0:12:39 | |
APPLAUSE | 0:12:39 | 0:12:40 | |
'I remember the first time I saw her on television. | 0:12:40 | 0:12:43 | |
'She came on as a really wild character | 0:12:43 | 0:12:46 | |
'so you were able to feel at ease with her' | 0:12:46 | 0:12:49 | |
because you felt superior to her but the wit was so sharp. | 0:12:49 | 0:12:53 | |
If I have one more lift, it'll be Caesarean. | 0:12:53 | 0:12:57 | |
Her jokes are so simple | 0:12:57 | 0:13:01 | |
and so clean. | 0:13:01 | 0:13:02 | |
The hair on the top of my head is so thin | 0:13:02 | 0:13:04 | |
that part is on the roof of my mouth. | 0:13:04 | 0:13:07 | |
And I think I got this thing on upside down. | 0:13:08 | 0:13:11 | |
And I know the hanger is still in it! | 0:13:12 | 0:13:15 | |
In 1955, middle-aged housewife and mother Phyllis Diller | 0:13:17 | 0:13:21 | |
stormed her way into the male-dominated world of stand-up comedy. | 0:13:21 | 0:13:24 | |
I mean, it's an extraordinary story, Phyllis Diller, | 0:13:24 | 0:13:27 | |
she was out there doing it and brilliantly | 0:13:27 | 0:13:30 | |
in a nearly totally male domain. | 0:13:30 | 0:13:35 | |
Miss Phyllis Diller! | 0:13:35 | 0:13:37 | |
Diller's quickfire stand-up routines made her a huge star | 0:13:37 | 0:13:41 | |
and she was one of the only female comedians to share the stage | 0:13:41 | 0:13:45 | |
with comedy giants including Groucho Marx and Bob Hope. | 0:13:45 | 0:13:51 | |
Phyllis Diller, what she sells is madness. | 0:13:51 | 0:13:53 | |
Ha-ha-ha-ha-ha! | 0:13:53 | 0:13:55 | |
You know, she comes out with the hair, the kind of scarecrow body | 0:13:55 | 0:13:59 | |
and she's just a bit bonkers. | 0:13:59 | 0:14:03 | |
So, I said to the lady, I said, "I want to buy something very sexy to catch a man." | 0:14:03 | 0:14:08 | |
You ready? She sold me 20 feet of rope and a gun. | 0:14:08 | 0:14:11 | |
LAUGHTER | 0:14:11 | 0:14:12 | |
But it was a routine about her lazy dog that got Joan Rivers worked up. | 0:14:13 | 0:14:19 | |
You know when you know somebody's wonderful when you watch them | 0:14:19 | 0:14:22 | |
and you say, "Why didn't I think of that? | 0:14:22 | 0:14:24 | |
"Why didn't I write that joke?" | 0:14:24 | 0:14:26 | |
We have the world's dumbest dog! | 0:14:26 | 0:14:28 | |
Have you heard of an Alsatian who bites his nails? | 0:14:28 | 0:14:31 | |
Her dog routine with her dog was so lazy that he wouldn't stand up. | 0:14:33 | 0:14:37 | |
-'Brilliant!' -Ha-ha-ha-ha! | 0:14:37 | 0:14:39 | |
And he's easy to find because he never moves, he just lays there. | 0:14:39 | 0:14:42 | |
One day, I laid down alongside the couch to see what the hell he would look like standing up. | 0:14:42 | 0:14:49 | |
The one stupid joke about her dog is so lazy, | 0:14:49 | 0:14:52 | |
she wants to see what he looks like standing up, she has to lie down next to him. | 0:14:52 | 0:14:56 | |
And that to me is one of my favourite jokes of hers. | 0:14:56 | 0:14:59 | |
You say, "Attack!" and he has one. | 0:14:59 | 0:15:02 | |
LAUGHTER | 0:15:02 | 0:15:04 | |
And it's not even the greatest of her jokes. | 0:15:04 | 0:15:06 | |
But every time I look at my slug of a dog, I think, Phyllis's joke. "Why didn't I think of that?" | 0:15:06 | 0:15:12 | |
He's up for the Nobel piss prize! | 0:15:12 | 0:15:15 | |
Phyllis Diller is a trail blazer. | 0:15:16 | 0:15:19 | |
I watch her now and send a little thank you | 0:15:19 | 0:15:22 | |
because I think she made it a lot easier for women in this job | 0:15:22 | 0:15:25 | |
without some of us even realising. | 0:15:25 | 0:15:27 | |
She was just funny! | 0:15:27 | 0:15:30 | |
Oh, heavens, the last time I was in court, the magistrate said, | 0:15:30 | 0:15:34 | |
he said it was the worst case of hit and run he'd ever seen in his life! | 0:15:34 | 0:15:38 | |
He thought I was the victim! | 0:15:38 | 0:15:39 | |
Phyllis influenced me in a very negative way | 0:15:41 | 0:15:44 | |
because I said I'm not going to dress like that and I'm not going to be the class clown. | 0:15:44 | 0:15:49 | |
I am going to come out and be a college graduate | 0:15:49 | 0:15:52 | |
and be smart and either you come with me or I don't care. | 0:15:52 | 0:15:55 | |
Dave Allen was one of those people who was very different from other comics. | 0:16:04 | 0:16:09 | |
Just to see a man sitting at a seat, telling stories | 0:16:09 | 0:16:15 | |
was already different. | 0:16:15 | 0:16:16 | |
In a career spanning four decades, | 0:16:16 | 0:16:18 | |
Dave Allen both charmed and entertained the nation with his rueful style of sit-down comedy. | 0:16:18 | 0:16:25 | |
He was so engaging on the bar stool with the glass of whisky and the cigarette. | 0:16:25 | 0:16:30 | |
It was like walking into a pub with my dad and suddenly, | 0:16:30 | 0:16:34 | |
there was this bloke at the bar who was the best of your dad's mates | 0:16:34 | 0:16:37 | |
and the funniest. | 0:16:37 | 0:16:39 | |
'He had something about him' | 0:16:39 | 0:16:40 | |
that was that great gift of being able to tell a story | 0:16:40 | 0:16:45 | |
and spin the yarn so that everything was seen through his sense of logic | 0:16:45 | 0:16:50 | |
and that's where the laughter and the fun of it came in. | 0:16:50 | 0:16:54 | |
And as a practising atheist, there are certain things... | 0:16:54 | 0:16:58 | |
I travel around the world and no matter where I go, | 0:16:58 | 0:17:00 | |
somebody called Gideon leaves me this book to read. | 0:17:00 | 0:17:04 | |
Dave Allen was notorious for his long but perfect monologues. | 0:17:04 | 0:17:07 | |
Delivered with the precise timing of a comedy assassin, | 0:17:07 | 0:17:11 | |
his material on religion made him Ireland's most controversial export. | 0:17:11 | 0:17:15 | |
When I saw that sort of stuff, you know, in the '70s, | 0:17:15 | 0:17:19 | |
I thought, this man is brave, he's really funny. | 0:17:19 | 0:17:22 | |
Anyone can come out and go, "Anyone who's into religion is bonkers," | 0:17:22 | 0:17:27 | |
but when he breaks things down, and says, "Do you understand what's going on here?" | 0:17:27 | 0:17:31 | |
There are certain things when I read the Bible, | 0:17:31 | 0:17:33 | |
and I do read the Bible, that I find difficult to understand. | 0:17:33 | 0:17:37 | |
If God has been there forever, what was he doing before he got to us? | 0:17:37 | 0:17:40 | |
I mean, what was he out there doing? Was he sitting there, going, "Bub-bub-bub"? | 0:17:40 | 0:17:45 | |
"Bored today. What will I do?" | 0:17:45 | 0:17:47 | |
Suddenly from nowhere, he decided to create a world. "I'll make a world, that's what I'll do!" | 0:17:47 | 0:17:52 | |
His stuff on religion is probably his greatest legacy. | 0:17:52 | 0:17:56 | |
The routine that most encapsulates this is the Adam and Eve routine | 0:17:56 | 0:18:00 | |
because that routine does what any great stand-up does - point out the ridiculousness of something. | 0:18:00 | 0:18:05 | |
Rivers, seas, mountains. | 0:18:05 | 0:18:08 | |
Puh, puh, puh. Pu-coh! | 0:18:08 | 0:18:11 | |
Vroom, everything's there! | 0:18:11 | 0:18:14 | |
I want a garden. | 0:18:14 | 0:18:15 | |
I'd like a nice garden. | 0:18:15 | 0:18:18 | |
Whack! Garden of Eden. | 0:18:18 | 0:18:20 | |
I hate gardening. | 0:18:20 | 0:18:23 | |
I need a gardener! | 0:18:23 | 0:18:25 | |
Ah, gardener. Spit and dust. Adam! Boom! | 0:18:25 | 0:18:29 | |
And he, Adam, never once says, | 0:18:29 | 0:18:32 | |
"Where in the name of God did I come from?" | 0:18:32 | 0:18:35 | |
I mean, he's 40 years of age, he has no childhood, he has no recall, | 0:18:35 | 0:18:39 | |
he doesn't say, "How did I get here?" | 0:18:39 | 0:18:42 | |
But he's quite happy, he just kind of trundles round the garden, working away. | 0:18:42 | 0:18:46 | |
And God is looking at him, | 0:18:46 | 0:18:48 | |
and he sees that Adam is happy. | 0:18:48 | 0:18:50 | |
LAUGHTER | 0:18:52 | 0:19:00 | |
I didn't put him there to be happy. | 0:19:01 | 0:19:03 | |
LAUGHTER | 0:19:03 | 0:19:05 | |
I'll put a stop to that! | 0:19:05 | 0:19:07 | |
'He takes the story of Adam and Eve,' | 0:19:07 | 0:19:10 | |
but what's brilliant to watch, as a comic, | 0:19:10 | 0:19:12 | |
is watch the escalation of it. | 0:19:12 | 0:19:14 | |
Just watch the beats as he makes it bigger and bigger | 0:19:14 | 0:19:16 | |
and more and more stupid. | 0:19:16 | 0:19:18 | |
And from his rib, he makes Woman. | 0:19:18 | 0:19:21 | |
And Adam wakes up in the morning, he's a real thickie! | 0:19:21 | 0:19:25 | |
He's lying there and there's somebody else, | 0:19:25 | 0:19:28 | |
and he doesn't say, "Where did you come from? | 0:19:28 | 0:19:30 | |
"How the hell did you get here? | 0:19:30 | 0:19:32 | |
"Where did you get those lumps?" | 0:19:32 | 0:19:35 | |
LAUGHTER | 0:19:35 | 0:19:38 | |
LAUGHTER | 0:19:40 | 0:19:42 | |
APPLAUSE | 0:19:42 | 0:19:46 | |
It was more the intelligence of it, the unwavering intelligence of it, | 0:19:46 | 0:19:50 | |
just the fact that he would forensically, laser like hone in on something and dissect it. | 0:19:50 | 0:19:55 | |
And God comes down and has a conversation with Eve, | 0:19:55 | 0:19:58 | |
and tells her that she can eat of any fruit on the tree... | 0:19:58 | 0:20:02 | |
..in the whole garden, | 0:20:03 | 0:20:05 | |
with the exception of one fruit tree. | 0:20:05 | 0:20:08 | |
He's talking to a woman! | 0:20:08 | 0:20:10 | |
LAUGHTER | 0:20:10 | 0:20:14 | |
He actually tells her not to eat of the fruit | 0:20:14 | 0:20:17 | |
and when she says, "Which tree?", he says, "That one over there." | 0:20:17 | 0:20:20 | |
He points it out to her! | 0:20:20 | 0:20:22 | |
LAUGHTER | 0:20:22 | 0:20:25 | |
That's worse than President Regan and Iran! | 0:20:25 | 0:20:28 | |
LAUGHTER | 0:20:28 | 0:20:30 | |
And when he goes and hides, and she sneaks up to the tree, | 0:20:30 | 0:20:35 | |
and a snake comes down and has a conversation. | 0:20:35 | 0:20:39 | |
A snake! | 0:20:39 | 0:20:40 | |
Now, if I see a snake, I'll back off! | 0:20:40 | 0:20:44 | |
If one starts talking, I'll crap myself! | 0:20:44 | 0:20:46 | |
LAUGHTER | 0:20:46 | 0:20:51 | |
APPLAUSE | 0:20:51 | 0:20:56 | |
And the snake actually convinces her to eat the apple | 0:20:56 | 0:20:59 | |
and she eats the apple and when she eats the apple, she learns shame. | 0:20:59 | 0:21:02 | |
That's what happens when you eat apples. | 0:21:02 | 0:21:05 | |
She's not ashamed that she's disobeyed God or that she's eaten the apple, | 0:21:05 | 0:21:09 | |
she's ashamed of here, one part of her body, | 0:21:09 | 0:21:12 | |
that's all. | 0:21:12 | 0:21:14 | |
She becomes ashamed of that area of the body. | 0:21:14 | 0:21:16 | |
And why that area? | 0:21:16 | 0:21:18 | |
Why not her elbow? | 0:21:18 | 0:21:19 | |
-LAUGHTER -'A cracker routine.' | 0:21:19 | 0:21:22 | |
We dream of a punchline which is like a whip crack, | 0:21:22 | 0:21:24 | |
which goes, "Doof!" at the end. | 0:21:24 | 0:21:26 | |
And this is just perfect. Escalate, escalate, escalate, | 0:21:26 | 0:21:29 | |
and then bang at the end. | 0:21:29 | 0:21:31 | |
Do you realise that if Eve had been ashamed of her nose, | 0:21:31 | 0:21:35 | |
every woman in the world now would be ashamed of your noses. | 0:21:35 | 0:21:38 | |
You'd all be sitting here tonight with little nose knickers on! | 0:21:38 | 0:21:42 | |
LAUGHTER | 0:21:42 | 0:21:46 | |
Men would be in nightclubs watching naked ladies with G-strings on their noses! | 0:21:46 | 0:21:50 | |
LAUGHTER | 0:21:50 | 0:21:54 | |
Take 'em off! Oh, I saw a nose! Oh! | 0:21:54 | 0:21:56 | |
LAUGHTER | 0:21:56 | 0:21:59 | |
And this is the book, this is the book that you go into court | 0:21:59 | 0:22:03 | |
and place your hand upon,... | 0:22:03 | 0:22:04 | |
LAUGHTER | 0:22:04 | 0:22:07 | |
..and swear to tell the truth, the whole truth, | 0:22:07 | 0:22:10 | |
and nothing but the truth! LAUGHTER AND APPLAUSE | 0:22:10 | 0:22:13 | |
I thought he was absolutely magic. | 0:22:15 | 0:22:18 | |
I really miss his influence now, nowadays. | 0:22:18 | 0:22:22 | |
And as much as I enjoy a lot of new comedy, | 0:22:22 | 0:22:25 | |
I also wish we could have some of that elegance about it, as well. | 0:22:25 | 0:22:30 | |
What's so cool about Dave Allen is he wasn't afraid of tackling big issues, you know, religion, | 0:22:30 | 0:22:36 | |
the Troubles, you know, politics, | 0:22:36 | 0:22:38 | |
but in such a charming, fun Saturday night way | 0:22:38 | 0:22:40 | |
which I can't think has been done properly since, really. | 0:22:40 | 0:22:46 | |
I'd loved to have met him. I'd loved to have sat down with him. I was on a plane to Dublin once, | 0:22:46 | 0:22:51 | |
and some guy came up to me and introduced himself and said, | 0:22:51 | 0:22:54 | |
"I was a friend of Dave Allen and he really liked your stuff," | 0:22:54 | 0:22:57 | |
and I don't know if he was just being polite, but yeah, I was thrilled, I punched the air. | 0:22:57 | 0:23:03 | |
Very happy. I'd have been thrilled had he seen me. | 0:23:03 | 0:23:07 | |
I'd loved to have met him, loved to. | 0:23:07 | 0:23:09 | |
Victoria Wood is my comedy hero. | 0:23:18 | 0:23:21 | |
I've been a huge fan. Even with my stand-up, | 0:23:21 | 0:23:23 | |
I often go back to her, just the word play that she uses. | 0:23:23 | 0:23:28 | |
Everything she touches turns to gold. | 0:23:28 | 0:23:30 | |
# Let's do it! Let's do it! | 0:23:30 | 0:23:32 | |
# Do it while the mood is right! | 0:23:32 | 0:23:35 | |
# I'm feeling appealing... # | 0:23:35 | 0:23:37 | |
Multi-talented comedian, actor, musician and writer Victoria Wood | 0:23:37 | 0:23:41 | |
has been entertaining us for almost 40 years | 0:23:41 | 0:23:43 | |
and has a stack of awards on her mantelpiece to prove it. | 0:23:43 | 0:23:48 | |
# ..I can't do it! I can't do it! | 0:23:48 | 0:23:50 | |
# I don't believe in too much sex! # | 0:23:50 | 0:23:52 | |
'Victoria Wood is a genius.' | 0:23:52 | 0:23:54 | |
I don't want to bandy that word around too much because people | 0:23:54 | 0:23:57 | |
say that about lots of people but Vic is. "I will sit down, | 0:23:57 | 0:24:01 | |
"I will write a sketch about this and it'll be good." | 0:24:01 | 0:24:04 | |
In the mid-'80s, Victoria Wood penned the classic Acorn Antiques sketches | 0:24:07 | 0:24:12 | |
which quickly achieved cult status. | 0:24:12 | 0:24:15 | |
Acorn Antiques was just a little part of Victoria Wood, As Seen On TV. | 0:24:15 | 0:24:19 | |
Me and me mum use to watch it and I was just in pieces. | 0:24:19 | 0:24:24 | |
It's just so, so funny! | 0:24:24 | 0:24:26 | |
I know it's only a quarter to | 0:24:26 | 0:24:28 | |
but I've just this minute got me coconut buns out of the microwave. | 0:24:28 | 0:24:33 | |
Well, you know me and coconut! | 0:24:33 | 0:24:36 | |
LAUGHTER | 0:24:34 | 0:24:36 | |
'It was a bit of homage to Crossroads, I think.' | 0:24:36 | 0:24:40 | |
It's like a soap set in Manchesterford, | 0:24:40 | 0:24:43 | |
and it was... It's so badly made and badly acted. | 0:24:43 | 0:24:49 | |
-Shall I go? -No, stay! | 0:24:49 | 0:24:50 | |
And please come back, Mrs O. | 0:24:52 | 0:24:54 | |
What I have to say concerns everybody. | 0:24:56 | 0:24:59 | |
It's just stupid! | 0:25:01 | 0:25:04 | |
Wood famously plays the eccentric antique shop owner Miss Berta | 0:25:06 | 0:25:10 | |
assisted by her elderly tea lady Mrs Overall | 0:25:10 | 0:25:14 | |
played by Julie Walters. | 0:25:14 | 0:25:16 | |
'I adore Acorn Antiques because it's based on Crossroads' | 0:25:16 | 0:25:20 | |
which I loved when I was a school child | 0:25:20 | 0:25:24 | |
and was actually like that. | 0:25:24 | 0:25:26 | |
There were constantly mics in shot and elongated silences | 0:25:26 | 0:25:29 | |
where people looked at each other like rabbits under the headlights. | 0:25:29 | 0:25:33 | |
There's people missing their cues, | 0:25:33 | 0:25:35 | |
there's people knocking the furniture, | 0:25:35 | 0:25:37 | |
scenery moves, people get their names wrong! | 0:25:37 | 0:25:39 | |
'Everything that can go wrong goes wrong.' | 0:25:43 | 0:25:45 | |
Basically, if that was in any way reality, | 0:25:45 | 0:25:47 | |
somebody would be shouting "Cut!" every three seconds. | 0:25:47 | 0:25:50 | |
It should be "Cut, cut, cut, cut!" | 0:25:50 | 0:25:52 | |
But they don't, there is nobody shouting cut | 0:25:52 | 0:25:54 | |
so they plough on through the mistakes. | 0:25:54 | 0:25:56 | |
Hello, Derek, Mrs O. | 0:25:56 | 0:26:00 | |
I don't see how we can get this wedding ready in a week! | 0:26:00 | 0:26:03 | |
Trixie hasn't even chosen her dress yet! | 0:26:03 | 0:26:06 | |
Victoria Wood wrote a total of 12 Acorn Antique sketches | 0:26:06 | 0:26:10 | |
but the wedding dress episode has to be the all-time classic. | 0:26:10 | 0:26:15 | |
If it's for any Acorn Antiques wedding, Miss Babs, | 0:26:15 | 0:26:18 | |
I'll put it up, even if it kills me! | 0:26:18 | 0:26:21 | |
One of my favourite scenes is the wedding dress scene where Trixie | 0:26:21 | 0:26:25 | |
complains that the triplets have put jam all up the front of her wedding dress. | 0:26:25 | 0:26:30 | |
Now, obviously, she realises that there is no jam | 0:26:30 | 0:26:33 | |
and then she tries to cover it up by saying, "On the front, round the back." | 0:26:33 | 0:26:37 | |
Honestly, I could kill those triplets! | 0:26:37 | 0:26:40 | |
Calm down, Trixie. Whatever's the matter? | 0:26:40 | 0:26:42 | |
They've put jammy fingerprints all over the front... | 0:26:42 | 0:26:45 | |
all over at the back! | 0:26:45 | 0:26:46 | |
We'll get Mrs O to sponge it off. | 0:26:46 | 0:26:48 | |
'Mrs Overall comes in,' | 0:26:48 | 0:26:50 | |
you can see her hovering in the background, comes in, | 0:26:50 | 0:26:53 | |
"Ooh, Trixie you've got jam up the front", | 0:26:53 | 0:26:56 | |
cos she can't veer away from the script. | 0:26:56 | 0:27:00 | |
Julie Walters is absolutely unable to improvise | 0:27:00 | 0:27:02 | |
or even work around that fact or even go off her lines at all. | 0:27:02 | 0:27:06 | |
Mrs O! Whatever's wrong with the front of your frock? | 0:27:06 | 0:27:09 | |
It looks like jam! | 0:27:09 | 0:27:11 | |
-Yes. -What? | 0:27:11 | 0:27:15 | |
There's jam at the back. | 0:27:15 | 0:27:16 | |
The triplets didn't put any on at the front. | 0:27:16 | 0:27:18 | |
There's two opportunities for her to bail out there. She comes in, | 0:27:18 | 0:27:22 | |
there's nothing on the front, she can bail out there, but if you then say, | 0:27:22 | 0:27:25 | |
"What's that on the front of your dress?", she's got another opportunity to go, | 0:27:25 | 0:27:29 | |
"Oh, it's nothing", you know, to bail out again but, no. | 0:27:29 | 0:27:32 | |
Unable to pull out, she has to plough on and go, "It looks like jam." | 0:27:32 | 0:27:37 | |
It looks like jam! | 0:27:37 | 0:27:38 | |
-LAUGHING: -It looks like jam! | 0:27:38 | 0:27:42 | |
Shall I come along with you? | 0:27:43 | 0:27:45 | |
And you'll find something to sponge it off with. | 0:27:45 | 0:27:48 | |
Come along with me and I'll find something to sponge it off with. | 0:27:48 | 0:27:52 | |
'I have also always loved Victoria Wood | 0:27:52 | 0:27:55 | |
'because she doesn't actually care what she looks like.' | 0:27:55 | 0:27:58 | |
One of my favourite bits in it is where she's sitting with her legs open | 0:27:58 | 0:28:02 | |
and you can see her pants and there's a bit of a gusset shot. | 0:28:02 | 0:28:06 | |
I don't know any Trixies! Or anyone! I live in a world of strangers! | 0:28:06 | 0:28:10 | |
And you can see right up her gusset and everything. | 0:28:10 | 0:28:14 | |
It's just hilarious. And her make-up is so over the top. | 0:28:14 | 0:28:17 | |
I thought I made my feelings quite clear in the British Home Stores. | 0:28:17 | 0:28:20 | |
But I'm here to see Berta. | 0:28:20 | 0:28:22 | |
Berta? Berta? | 0:28:22 | 0:28:25 | |
Love Victoria Wood and I just think that Acorn Antiques is the icing on the cake for me. | 0:28:25 | 0:28:30 | |
It was her finest moment. | 0:28:30 | 0:28:31 | |
'She's witty, clever, a brilliant musician.' | 0:28:31 | 0:28:36 | |
Yeah, in Victoria Wood, | 0:28:36 | 0:28:39 | |
we really have a lovely, lovely lady jester. | 0:28:39 | 0:28:43 | |
A jest... A jester-ess! | 0:28:43 | 0:28:45 | |
Subtitles by Red Bee Media Ltd | 0:29:08 | 0:29:12 |