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CHEERING AND APPLAUSE | 0:00:20 | 0:00:22 | |
Hello, I'm Frank Skinner, and welcome to Room 101 - | 0:00:32 | 0:00:36 | |
the show where three guests battle | 0:00:36 | 0:00:37 | |
to consign their pet peeves to the infamous vault. | 0:00:37 | 0:00:41 | |
They'll have to argue their case well, | 0:00:41 | 0:00:42 | |
because in each round, only one item can be chosen. | 0:00:42 | 0:00:45 | |
The final decision is mine. | 0:00:45 | 0:00:47 | |
Let's meet this week's guests - | 0:00:47 | 0:00:48 | |
joining me tonight are headlines, Sir Trevor McDonald, | 0:00:48 | 0:00:51 | |
punchlines, Aisling Bea, | 0:00:51 | 0:00:52 | |
and, learning his lines, David Tennant. | 0:00:52 | 0:00:55 | |
CHEERING AND APPLAUSE | 0:00:55 | 0:00:56 | |
So, let's see what's on the "whine" list. | 0:01:03 | 0:01:05 | |
So, what's David's choice? | 0:01:07 | 0:01:09 | |
It's sushi. | 0:01:12 | 0:01:13 | |
APPLAUSE | 0:01:13 | 0:01:15 | |
I don't like fish much at the best of times, | 0:01:18 | 0:01:21 | |
so the idea that you would serve it to me | 0:01:21 | 0:01:24 | |
without having the decency to cook the filthy stuff | 0:01:24 | 0:01:28 | |
just makes my stomach turn. | 0:01:28 | 0:01:30 | |
But it's not solely the snot-like texture - | 0:01:30 | 0:01:35 | |
although that should be enough - | 0:01:35 | 0:01:38 | |
it's the attitude that goes along with the people that like it | 0:01:38 | 0:01:42 | |
that I find... | 0:01:42 | 0:01:44 | |
disgusting. | 0:01:44 | 0:01:46 | |
There's a sort of snobbish, smug... | 0:01:48 | 0:01:51 | |
..kind of middle-class proselytising about it that goes on. | 0:01:53 | 0:01:57 | |
This idea that, "Because I like sushi, | 0:01:57 | 0:01:59 | |
"I'm sophisticated, I'm international, I'm exotic" - | 0:01:59 | 0:02:03 | |
for a plate of filthy raw fish. | 0:02:03 | 0:02:06 | |
Doesn't even come with chips. | 0:02:07 | 0:02:09 | |
APPLAUSE | 0:02:11 | 0:02:13 | |
There's, er... one of those viral videos - | 0:02:15 | 0:02:18 | |
I don't know if anyone's seen this - | 0:02:18 | 0:02:20 | |
of a plate of sashimi that someone filmed in a restaurant, | 0:02:20 | 0:02:23 | |
that starts to twitch... | 0:02:23 | 0:02:26 | |
AUDIENCE GROANS | 0:02:26 | 0:02:27 | |
..and then flips itself off the plate. | 0:02:27 | 0:02:30 | |
That's not dinner, that's a pet. | 0:02:30 | 0:02:33 | |
I LOVE sashimi, because I have an international sort of... | 0:02:34 | 0:02:37 | |
-Cos you're all exotic. -..mysterious, exotic presence. -Smug. | 0:02:37 | 0:02:41 | |
-I must confess, I'm with David on this. -Really?! -I understand... | 0:02:41 | 0:02:46 | |
APPLAUSE | 0:02:46 | 0:02:47 | |
I mean, I've never investigated it as closely as you have... | 0:02:51 | 0:02:55 | |
but it's the fact that people who do like it | 0:02:55 | 0:03:00 | |
-think that they are better than all of us. -Yes! | 0:03:00 | 0:03:02 | |
-But we ARE better than you. -That's the bit... -That's... | 0:03:02 | 0:03:05 | |
To be fair, David, | 0:03:05 | 0:03:06 | |
you come from a place where they won't even eat raw Mars bars. | 0:03:06 | 0:03:10 | |
APPLAUSE | 0:03:13 | 0:03:15 | |
That... That is exotic cuisine, right there. | 0:03:15 | 0:03:19 | |
So, here's some... Yeah, here's some sushi. | 0:03:19 | 0:03:22 | |
One of my favourite things about sushi is, er... | 0:03:22 | 0:03:25 | |
the sushi grass. | 0:03:25 | 0:03:27 | |
-What... What is that about? -What IS that about? | 0:03:30 | 0:03:33 | |
-I... -It's trying to dress it up, cos it's such filthy, vile stuff. | 0:03:33 | 0:03:38 | |
In the part of the world I come from, | 0:03:38 | 0:03:40 | |
when they talk about grass, they talk about something else. | 0:03:40 | 0:03:42 | |
No, but it doesn't come from a field, this stuff, | 0:03:44 | 0:03:47 | |
it comes from the sea. | 0:03:47 | 0:03:48 | |
It gives it a, sort of, surf and turf, kind of, a feel. | 0:03:48 | 0:03:51 | |
What I think - this was my own idea | 0:03:52 | 0:03:54 | |
and if there's anyone who runs a sushi restaurant, | 0:03:54 | 0:03:57 | |
I'm prepared to discuss this with them - | 0:03:57 | 0:03:59 | |
wouldn't this be more suitable? | 0:03:59 | 0:04:01 | |
You see that? You've got waves, and it just makes it more... | 0:04:04 | 0:04:07 | |
real. | 0:04:07 | 0:04:08 | |
Can I say, also, by the way, the sushi grass - | 0:04:08 | 0:04:11 | |
it's great at Christmas. | 0:04:11 | 0:04:13 | |
I think part of the pretension, too, | 0:04:17 | 0:04:19 | |
is the fact that it appears to be so enticingly laid out. | 0:04:19 | 0:04:24 | |
-You know? That's part of the thing. -Mm. | 0:04:24 | 0:04:26 | |
Have you ever heard of nyot...ai...mori? | 0:04:26 | 0:04:31 | |
Nyotaimori. | 0:04:31 | 0:04:34 | |
-Sure. -LAUGHTER | 0:04:34 | 0:04:36 | |
It's a very specialist sushi tradition in Japan. | 0:04:36 | 0:04:40 | |
Here is what it is. | 0:04:40 | 0:04:43 | |
ALL GASP | 0:04:43 | 0:04:45 | |
Yes, and the sushi is eaten off a naked body. | 0:04:45 | 0:04:49 | |
Usually female, I'll be honest with you. | 0:04:49 | 0:04:52 | |
You can imagine the complications of eating it off a male. | 0:04:52 | 0:04:56 | |
David just changed his mind about sushi. | 0:04:59 | 0:05:02 | |
LAUGHTER | 0:05:02 | 0:05:04 | |
I went to one of these places in Osaka and I said, "Look..." | 0:05:04 | 0:05:07 | |
I finished the meal, and I said, "I don't have any money, | 0:05:07 | 0:05:09 | |
"but I am prepared to do the washing up." | 0:05:09 | 0:05:11 | |
But they are not even looking at her. I mean... | 0:05:13 | 0:05:16 | |
He is, up the top, he's having the best night of his life. | 0:05:16 | 0:05:20 | |
This particular one, which is the salmon one - | 0:05:20 | 0:05:24 | |
I always feel a bit sorry, | 0:05:24 | 0:05:25 | |
because salmon doesn't seem quite exotic enough to be in sushi. | 0:05:25 | 0:05:29 | |
It's like when you see a British actor in an American TV show, | 0:05:29 | 0:05:32 | |
you think, "Aw, bless." | 0:05:32 | 0:05:34 | |
But that - when you look at that piece of sushi, | 0:05:37 | 0:05:41 | |
I think it looks like... | 0:05:41 | 0:05:43 | |
Ed Sheeran. | 0:05:43 | 0:05:44 | |
And if you can imagine... | 0:05:48 | 0:05:49 | |
Now, this one... | 0:05:49 | 0:05:51 | |
This one, I always think, | 0:05:51 | 0:05:53 | |
it's ginger, but it's got a bit of white showing, | 0:05:53 | 0:05:55 | |
is more of a Chris Evans type. | 0:05:55 | 0:05:56 | |
And you can imagine them meeting at a bar and having a bit of a... | 0:05:57 | 0:06:01 | |
Actually, it'd be more like this, wouldn't it? | 0:06:01 | 0:06:03 | |
So, um, you have eaten sushi, I take it? | 0:06:07 | 0:06:10 | |
-Begrudgingly. -Yeah. -Well, people keep going on about it, you know? | 0:06:10 | 0:06:13 | |
-Yes, they do. -There must be something... | 0:06:13 | 0:06:14 | |
And then... But no, it just tastes like a pile of raw fish. | 0:06:14 | 0:06:17 | |
-It's a fair summary. -Yeah. | 0:06:17 | 0:06:19 | |
I remember the first time one of them come to Dublin | 0:06:19 | 0:06:22 | |
and I thought I was so glamorous to go to sushi to have lunch on my own, | 0:06:22 | 0:06:26 | |
and you know they have those conveyor belts | 0:06:26 | 0:06:28 | |
in those sushi restaurants that go round like this, | 0:06:28 | 0:06:31 | |
and the woman came to me, she was like, "Have you been here before? | 0:06:31 | 0:06:33 | |
"Do you need me to explain how it works?" | 0:06:33 | 0:06:35 | |
I was like, "Of course I know how it works!" | 0:06:35 | 0:06:38 | |
So, the conveyor belt would come along, I'd take off something, | 0:06:38 | 0:06:41 | |
have a little nibble, then go, "No, not for me," put it back on. | 0:06:41 | 0:06:45 | |
"Oh, nice," stick it back on. | 0:06:45 | 0:06:47 | |
I remember as a kid, I was at Dudley Zoo, which is the local zoo, | 0:06:47 | 0:06:51 | |
and I remember watching the sea lions being fed raw fish | 0:06:51 | 0:06:54 | |
and I remember thinking, | 0:06:54 | 0:06:56 | |
"They must love the taste of that, they're applauding." | 0:06:56 | 0:06:59 | |
OK, so, what's Sir Trevor's choice? | 0:07:00 | 0:07:03 | |
My choice is queuing. | 0:07:06 | 0:07:08 | |
CHEERING AND APPLAUSE | 0:07:08 | 0:07:11 | |
Thank you. | 0:07:11 | 0:07:12 | |
Thank you - although I should explain, | 0:07:14 | 0:07:16 | |
if you turn up at some airport in Naples or something, | 0:07:16 | 0:07:20 | |
and you're standing in line | 0:07:20 | 0:07:21 | |
and waiting to go to the ticket counter | 0:07:21 | 0:07:23 | |
and somebody barges in from the right or left side, you think, | 0:07:23 | 0:07:26 | |
"Oh, my goodness, | 0:07:26 | 0:07:27 | |
"how wonderful it is that this doesn't happen back in London." | 0:07:27 | 0:07:31 | |
You know? Where people get in an orderly queue | 0:07:31 | 0:07:34 | |
and they don't move... | 0:07:34 | 0:07:35 | |
But I get very worried when people become obsessed | 0:07:35 | 0:07:38 | |
-with just the idea of standing in line - we love lines. -Mm. | 0:07:38 | 0:07:41 | |
And you go to an underground station, | 0:07:41 | 0:07:43 | |
and there are three lanes which are empty, | 0:07:43 | 0:07:45 | |
and there's one where there are about 100 people | 0:07:45 | 0:07:48 | |
and everybody gets behind the line! | 0:07:48 | 0:07:50 | |
-Yeah! -And I just get out | 0:07:50 | 0:07:52 | |
and I go for the one where there's nobody standing next to it, | 0:07:52 | 0:07:55 | |
and I get my ticket and walk away, but - | 0:07:55 | 0:07:57 | |
it shouldn't, really - but it infuriates me. | 0:07:57 | 0:08:00 | |
I think my particular hate on this one is, | 0:08:02 | 0:08:05 | |
if you're queuing in a cafe - especially if you're on your own - | 0:08:05 | 0:08:08 | |
queuing in a cafe and a family come in, | 0:08:08 | 0:08:11 | |
and they all go and sit at the last table in the cafe, | 0:08:11 | 0:08:15 | |
and then join the end of the queue - | 0:08:15 | 0:08:17 | |
so, you're way ahead of them, but they got the table. | 0:08:17 | 0:08:21 | |
Now, that cannot be right. | 0:08:21 | 0:08:23 | |
And I know it's just a table, but you just know these are the people - | 0:08:23 | 0:08:26 | |
they'd do the same thing with a lifeboat. | 0:08:26 | 0:08:28 | |
That I don't like, but I have been in queues... I once queued | 0:08:31 | 0:08:36 | |
18 hours for Rolling Stones tickets and it rained all night | 0:08:36 | 0:08:41 | |
and we were just out on the street in Birmingham, | 0:08:41 | 0:08:44 | |
and at one point, I remember I started a stationary conga. | 0:08:44 | 0:08:48 | |
So, we did it, but we didn't move. | 0:08:49 | 0:08:51 | |
It was arguably the proudest moment of my life. | 0:08:51 | 0:08:53 | |
But you see that when people queue for tickets and so on, | 0:08:53 | 0:08:56 | |
for things, you know, | 0:08:56 | 0:08:57 | |
they do it to say, "Do you know, I queued all night to see this," | 0:08:57 | 0:09:02 | |
or, "I queued..." | 0:09:02 | 0:09:03 | |
And they do it now for sales in big stores. | 0:09:03 | 0:09:07 | |
Somebody forms a line... | 0:09:07 | 0:09:08 | |
Well, in fact, for sales, they don't - | 0:09:08 | 0:09:10 | |
-they kill each other, don't they? Sort of... -Yes. | 0:09:10 | 0:09:12 | |
I think you can get a community spirit from that kind of... | 0:09:12 | 0:09:15 | |
Oh, I'm sure there's a community spirit when you do, | 0:09:15 | 0:09:17 | |
but I mean, there's nothing else to do but have a community spirit, | 0:09:17 | 0:09:20 | |
if you're standing out there, or sitting out there all night. | 0:09:20 | 0:09:23 | |
Do you still have to queue, Sir Trevor? | 0:09:23 | 0:09:25 | |
Do you ever just go, "I am Sir Trevor of the news! | 0:09:25 | 0:09:27 | |
"Let me through!"? | 0:09:27 | 0:09:29 | |
No, no... Nobody ever does that. | 0:09:29 | 0:09:31 | |
They probably do it for you, but not for me. | 0:09:31 | 0:09:33 | |
-Oh... -I don't believe that - | 0:09:33 | 0:09:35 | |
I think the world parts like Moses and the Red Sea. | 0:09:35 | 0:09:38 | |
A queue that you see a lot in London | 0:09:40 | 0:09:42 | |
is young men queuing for training shoes. | 0:09:42 | 0:09:45 | |
A new edition of trainers comes out | 0:09:45 | 0:09:47 | |
and they, literally, queue overnight to get in there first - | 0:09:47 | 0:09:50 | |
and I find this a pretty remarkable phenomenon. | 0:09:50 | 0:09:53 | |
And I was in this car, and I was being driven - | 0:09:53 | 0:09:55 | |
I'd been talking to the driver, it was a woman driver, | 0:09:55 | 0:09:57 | |
she was Latvian - and she said, "What is this queue?" | 0:09:57 | 0:10:00 | |
And I said, "It's... They're queuing for training shoes." | 0:10:00 | 0:10:02 | |
I said, "Can you believe it?" | 0:10:02 | 0:10:04 | |
There was a short pause and she said, | 0:10:04 | 0:10:06 | |
"I've queued for cheese." | 0:10:06 | 0:10:08 | |
But that's... I mean, you know, that's the thing, you know? | 0:10:11 | 0:10:13 | |
So, a new phone comes out and everybody queues. | 0:10:13 | 0:10:17 | |
Look, I'll tell you something - the guys who make those phones, | 0:10:17 | 0:10:20 | |
they're going to make enough to sell it to everybody. | 0:10:20 | 0:10:22 | |
You do not need to queue. | 0:10:22 | 0:10:24 | |
I'm telling you, honestly. | 0:10:24 | 0:10:26 | |
APPLAUSE | 0:10:26 | 0:10:27 | |
The one, I think, that needs quite a bit of intuition, | 0:10:31 | 0:10:34 | |
is when you're queuing at a urinal, | 0:10:34 | 0:10:37 | |
guessing who's going to finish first. | 0:10:37 | 0:10:39 | |
You're looking for any, sort of, sense of... | 0:10:39 | 0:10:42 | |
relaxation. | 0:10:42 | 0:10:44 | |
It's a, sort of, urinal Russian roulette. | 0:10:44 | 0:10:47 | |
Just trying to... | 0:10:47 | 0:10:48 | |
I once stood at a urinal behind the Red Arrows... | 0:10:48 | 0:10:52 | |
in full formation. | 0:10:52 | 0:10:55 | |
Amazing. How they did the red, white and blue thing, I'll never know. | 0:10:57 | 0:11:01 | |
I have here the most English book that was ever written. | 0:11:01 | 0:11:06 | |
This is the Wimbledon guide to queuing. | 0:11:06 | 0:11:10 | |
This is actually a brochure that you're given at Wimbledon | 0:11:11 | 0:11:16 | |
tennis club and it gives you advice on how to queue and my | 0:11:16 | 0:11:19 | |
favourite thing in here - this could only be queuing advice at Wimbledon. | 0:11:19 | 0:11:24 | |
It said, "Please do not bring or erect gazebos." | 0:11:24 | 0:11:28 | |
There's a, kind of, sport to it, at the supermarket, isn't there? | 0:11:31 | 0:11:34 | |
You know, which line are you going to choose? | 0:11:34 | 0:11:35 | |
-Yeah. -Which is moving fastest? -Yeah. | 0:11:35 | 0:11:37 | |
You can actually turn it into a competitive event, | 0:11:37 | 0:11:39 | |
with someone else - "You take that basket, I'll take that basket," | 0:11:39 | 0:11:42 | |
you can be edging it... That's quite fun. | 0:11:42 | 0:11:44 | |
I find in the supermarket, my real problem, | 0:11:46 | 0:11:48 | |
when you're queuing behind someone, | 0:11:48 | 0:11:50 | |
when you get to the actual conveyor belt | 0:11:50 | 0:11:54 | |
and they don't put the grocery divider... | 0:11:54 | 0:11:56 | |
MURMURS OF ASSENT | 0:11:56 | 0:11:58 | |
Now, that's their job! It's the leader's responsibility. | 0:11:58 | 0:12:01 | |
I can't put it on, they have to put it on. | 0:12:01 | 0:12:03 | |
So, what I start doing - | 0:12:03 | 0:12:04 | |
I start putting my stuff on quite close to theirs - | 0:12:04 | 0:12:08 | |
the most expensive stuff, | 0:12:08 | 0:12:10 | |
like, a little bit of truffle oil rolling over - | 0:12:10 | 0:12:12 | |
they start to panic, and down it goes. But, I mean, that's your job. | 0:12:12 | 0:12:16 | |
When you've finished, put the divider down. | 0:12:16 | 0:12:19 | |
Um, what about Aisling's choice? | 0:12:19 | 0:12:22 | |
Pigeons. | 0:12:25 | 0:12:27 | |
CHEERING AND APPLAUSE | 0:12:27 | 0:12:29 | |
Frankly, Frank, | 0:12:31 | 0:12:32 | |
I've had enough of these disease-riddled rats of the sky. | 0:12:32 | 0:12:36 | |
-AUDIENCE CHEERS -Yes, thank you. | 0:12:36 | 0:12:38 | |
Bit of solidarity, there. | 0:12:38 | 0:12:40 | |
We just let them roam around, owning the streets of our cities | 0:12:40 | 0:12:44 | |
for far too long and I don't know why. | 0:12:44 | 0:12:46 | |
What do they do? They're obsolete now - everyone sends text messages, | 0:12:46 | 0:12:49 | |
unlike the old days, | 0:12:49 | 0:12:51 | |
when you used to attach, you know, a bit of paper to their legs, | 0:12:51 | 0:12:54 | |
and I think that's why British people let them stay around | 0:12:54 | 0:12:58 | |
so long, is because of all the hard work they did during the war. | 0:12:58 | 0:13:01 | |
But, you know, you don't see other veterans going round | 0:13:01 | 0:13:03 | |
Trafalgar Square pooing on the monuments, | 0:13:03 | 0:13:07 | |
so I don't see why we should allow pigeons. | 0:13:07 | 0:13:09 | |
You know, there's an arrogance about them - | 0:13:09 | 0:13:12 | |
they're like the aggressive, sort of, man in the pub, | 0:13:12 | 0:13:14 | |
being like, "No, you move," you know? | 0:13:14 | 0:13:16 | |
They're like... Yeah, I just don't like them any more. | 0:13:16 | 0:13:19 | |
First of all, they are, I think, | 0:13:19 | 0:13:21 | |
an important source of exercise for toddlers. | 0:13:21 | 0:13:24 | |
I have a three-year-old. | 0:13:28 | 0:13:29 | |
He will chase a pigeon a mile and a half. | 0:13:29 | 0:13:32 | |
He'll run so far, he'll vomit, | 0:13:32 | 0:13:34 | |
and then, of course, the pigeon will sort that out. | 0:13:34 | 0:13:37 | |
And I think, in an age of infant obesity, | 0:13:39 | 0:13:42 | |
we need the pigeons more than we ever needed them before. | 0:13:42 | 0:13:45 | |
I thought we were supposed to love the wildlife. | 0:13:45 | 0:13:48 | |
No, they have more diseases - | 0:13:48 | 0:13:50 | |
they have, like, seven times more diseases than rats, | 0:13:50 | 0:13:53 | |
even in the wind, from their wings. | 0:13:53 | 0:13:55 | |
This might change your mind. We have a woman in Liverpool, | 0:13:55 | 0:13:58 | |
an artist called Kerry Morrison, | 0:13:58 | 0:14:01 | |
laid out a sheet of musical manuscript with empty staves on it. | 0:14:01 | 0:14:06 | |
There it is, look. | 0:14:06 | 0:14:07 | |
Ready for musical notes... | 0:14:07 | 0:14:09 | |
Ah! | 0:14:09 | 0:14:11 | |
..and then pigeons naturally put notes on the... | 0:14:11 | 0:14:15 | |
LAUGHTER | 0:14:15 | 0:14:16 | |
I'm not making this up - this was an artistic experiment. | 0:14:16 | 0:14:19 | |
And we've got a... Look. | 0:14:19 | 0:14:20 | |
-AUDIENCE: -Eurgh! | 0:14:20 | 0:14:22 | |
That's E. | 0:14:22 | 0:14:23 | |
She waited till it was covered, | 0:14:24 | 0:14:27 | |
and then Jon Hering, a composer, | 0:14:27 | 0:14:29 | |
he turned it into a full musical score | 0:14:29 | 0:14:31 | |
and they performed it at the Tate Liverpool art gallery. | 0:14:31 | 0:14:34 | |
Come off it. | 0:14:34 | 0:14:36 | |
I'm not making... This is absolutely serious. | 0:14:36 | 0:14:38 | |
We have the actual music here. | 0:14:38 | 0:14:40 | |
# I believe I can fly... # | 0:14:40 | 0:14:43 | |
APPLAUSE | 0:14:43 | 0:14:44 | |
# I believe I can touch the sky... # | 0:14:44 | 0:14:48 | |
I made that last bit up. | 0:14:50 | 0:14:52 | |
It's completely true. This is the real pigeon music. | 0:14:52 | 0:14:56 | |
This is taking the notes that were dropped onto the thing | 0:14:56 | 0:14:59 | |
and turning them into music. | 0:14:59 | 0:15:01 | |
SLOW ATONAL MUSIC | 0:15:01 | 0:15:04 | |
LAUGHTER | 0:15:17 | 0:15:19 | |
It's interesting that the medium that they use to write the music | 0:15:19 | 0:15:22 | |
-is reflected in the music. -Mm! | 0:15:22 | 0:15:25 | |
And they actually performed that at the Tate? | 0:15:27 | 0:15:30 | |
Yeah, the art gallery. | 0:15:30 | 0:15:31 | |
That is one of those things with art, where sometimes you're like, | 0:15:31 | 0:15:34 | |
"No, I don't believe there should be any cuts to art funding". | 0:15:34 | 0:15:36 | |
Then, every now and again, you're like, | 0:15:36 | 0:15:38 | |
"Ach, they could probably shave a pound or two off." | 0:15:38 | 0:15:42 | |
Erm, I don't think I can put pigeons in, Aisling. | 0:15:42 | 0:15:45 | |
What, why not? | 0:15:45 | 0:15:46 | |
Because they have this strange homing thing - we don't know, | 0:15:46 | 0:15:49 | |
we haven't finally found out how bright and intelligent... | 0:15:49 | 0:15:52 | |
what we can do with them. | 0:15:52 | 0:15:54 | |
They could save the world - | 0:15:54 | 0:15:55 | |
and they're a bit scruffy and smelly, but...hey. | 0:15:55 | 0:15:59 | |
I... | 0:15:59 | 0:16:01 | |
I must say, I like sushi. | 0:16:01 | 0:16:03 | |
-Ohh! -AUDIENCE MURMURS | 0:16:03 | 0:16:05 | |
I do like it, and I like the fact that we, as a nation, | 0:16:05 | 0:16:08 | |
who aren't the most experimental, | 0:16:08 | 0:16:10 | |
have actually embraced the whole raw fish thing. | 0:16:10 | 0:16:15 | |
David, don't look at me like that. | 0:16:15 | 0:16:17 | |
OK, I... | 0:16:17 | 0:16:18 | |
This is a real tough one, but I'm going to put queuing into Room 101. | 0:16:18 | 0:16:23 | |
-Oh... -Oh, thanks! | 0:16:23 | 0:16:24 | |
APPLAUSE | 0:16:24 | 0:16:27 | |
And so... | 0:16:34 | 0:16:36 | |
What's upsetting Sir Trevor? | 0:16:36 | 0:16:39 | |
Lateness. | 0:16:42 | 0:16:44 | |
CHEERING AND APPLAUSE | 0:16:44 | 0:16:46 | |
I thought we'd be done by now. | 0:16:48 | 0:16:51 | |
LAUGHTER | 0:16:51 | 0:16:52 | |
This is a problem which I realise is partly of my own creation. | 0:16:52 | 0:16:56 | |
If I arrange to meet somebody at six o'clock, | 0:16:57 | 0:17:01 | |
outside McDonald's - my, you know... | 0:17:01 | 0:17:04 | |
LAUGHTER | 0:17:04 | 0:17:06 | |
Do you mean your house? | 0:17:09 | 0:17:11 | |
APPLAUSE | 0:17:13 | 0:17:15 | |
-I was referring to the family firm. -Oh, OK! | 0:17:18 | 0:17:22 | |
..at six o'clock, if I say six o'clock, | 0:17:22 | 0:17:25 | |
at about five to six... | 0:17:25 | 0:17:27 | |
I'm there, of course, | 0:17:27 | 0:17:29 | |
and I think I've got the wrong place, | 0:17:29 | 0:17:32 | |
because the person hasn't turned up. | 0:17:32 | 0:17:35 | |
Now, I'm not into all this, sort of, quasi-philosophical nonsense | 0:17:35 | 0:17:39 | |
about punctuality being the prerogative of princes or kings, | 0:17:39 | 0:17:44 | |
or whatever - I don't believe any of that - | 0:17:44 | 0:17:46 | |
I just think that if you say you're going to be there at a certain time, | 0:17:46 | 0:17:51 | |
then you are there. | 0:17:51 | 0:17:52 | |
I make extreme efforts to make sure that I am on time. | 0:17:52 | 0:17:58 | |
I always take account of the fact that there might be traffic. | 0:17:58 | 0:18:02 | |
I mean, have you ever heard of the worst excuse in your life? | 0:18:02 | 0:18:05 | |
"There's traffic" - there's traffic everywhere. | 0:18:05 | 0:18:08 | |
There always is traffic. | 0:18:08 | 0:18:10 | |
Do you think it's cos it was a big deal in your job. | 0:18:10 | 0:18:12 | |
If, at ten o'clock, Britain turned on their television | 0:18:12 | 0:18:14 | |
and there was just a chair there... | 0:18:14 | 0:18:16 | |
-To be completely honest... -"I'm on my way, I'm on my way." | 0:18:18 | 0:18:21 | |
In a way, this is my own problem. | 0:18:21 | 0:18:23 | |
Yeah, you did have a job that started with Big Ben. | 0:18:23 | 0:18:27 | |
So, you, kind of, always knew what time it was. | 0:18:27 | 0:18:30 | |
Exactly. | 0:18:30 | 0:18:31 | |
The worst thing I ever... | 0:18:31 | 0:18:33 | |
I had a meeting with someone, and they turned up - I mean, | 0:18:33 | 0:18:36 | |
they were probably 15 minutes late, and they had a Starbucks cup... | 0:18:36 | 0:18:42 | |
And they said, "Oh, sorry I'm late," | 0:18:43 | 0:18:45 | |
and I said, "But hold on a minute - you had time to buy Starbucks..." | 0:18:45 | 0:18:50 | |
-I know! -..and they said, "Oh, well, I knew I was already late, | 0:18:50 | 0:18:54 | |
"so I couldn't make it any worse." | 0:18:54 | 0:18:56 | |
I said, "This is the serial killer argument, isn't it?" | 0:18:56 | 0:18:59 | |
"Well, I've already killed one person..." | 0:18:59 | 0:19:03 | |
My girlfriend has a very annoying habit, though. | 0:19:03 | 0:19:06 | |
So often I've fallen for this. | 0:19:06 | 0:19:07 | |
My girlfriend will say, "OK, let's go now." | 0:19:07 | 0:19:10 | |
I go to the front door thinking, | 0:19:10 | 0:19:13 | |
when she says, "Let's go now", that we're going to go now. | 0:19:13 | 0:19:17 | |
I have time to knit a cardigan... | 0:19:19 | 0:19:20 | |
..before we actually leave. | 0:19:22 | 0:19:25 | |
I have a, kind of, sneaking admiration for them, | 0:19:25 | 0:19:29 | |
because they'll never get heart attacks, | 0:19:29 | 0:19:31 | |
they'll never be too discombobulated about not being there on time, | 0:19:31 | 0:19:37 | |
they'll never worry excessively about, really, anything at all. | 0:19:37 | 0:19:41 | |
And as a worrier myself, I think... | 0:19:41 | 0:19:44 | |
maybe they have the secret of a good life, really. | 0:19:44 | 0:19:48 | |
You know, why worry? Five minutes, no problem, you know? | 0:19:48 | 0:19:51 | |
I like the way you're losing confidence in this... | 0:19:51 | 0:19:54 | |
LAUGHTER | 0:19:54 | 0:19:55 | |
-No, but I see the downsides of it... -Mm. | 0:19:55 | 0:19:58 | |
..but what I'm saying is, it's still a source of great irritability. | 0:19:58 | 0:20:02 | |
It does feel like disrespect, that's the problem. | 0:20:02 | 0:20:04 | |
And when you're at an airport and they start... | 0:20:04 | 0:20:07 | |
You know, everything's late, all the flights are late... | 0:20:07 | 0:20:09 | |
This, I think, is probably the best excuse I've ever seen | 0:20:09 | 0:20:13 | |
for a flight being late. | 0:20:13 | 0:20:15 | |
Yeah, very good! | 0:20:20 | 0:20:22 | |
I'll tell you, one of the oddities, too, | 0:20:22 | 0:20:24 | |
is when people tell you you are late - | 0:20:24 | 0:20:27 | |
and in the journalistic world, it happens like this... | 0:20:27 | 0:20:30 | |
There is a war, and you can't get to it in time, | 0:20:30 | 0:20:34 | |
and you turn up, and the guy says, "Where are you heading to?" | 0:20:34 | 0:20:36 | |
You say, "I'm going to Bucharest, | 0:20:36 | 0:20:38 | |
"because the Romanian dictator has just been..." | 0:20:38 | 0:20:42 | |
And he said, "But that happened two days ago." | 0:20:42 | 0:20:45 | |
I said, "Yes, it's taken me two days to get here!" | 0:20:45 | 0:20:47 | |
So, people tell YOU you are late. | 0:20:47 | 0:20:50 | |
I don't know anyone else who's ever told me an anecdote | 0:20:50 | 0:20:53 | |
about being late for a war! | 0:20:53 | 0:20:55 | |
Well, let's see what David has chosen. | 0:20:57 | 0:21:00 | |
My South African accent. | 0:21:03 | 0:21:05 | |
LAUGHTER | 0:21:05 | 0:21:07 | |
APPLAUSE | 0:21:07 | 0:21:09 | |
As part of my day job, which is pretending to be other people, | 0:21:09 | 0:21:13 | |
I do occasionally have to assume another accent... | 0:21:13 | 0:21:18 | |
and, usually, with a bit of practice and a bit of time, | 0:21:18 | 0:21:21 | |
I can make a decent fist of most of them... | 0:21:21 | 0:21:25 | |
but my Becher's Brook, my Waterloo... | 0:21:25 | 0:21:29 | |
LAUGHTER | 0:21:29 | 0:21:30 | |
..is the South African accent. | 0:21:30 | 0:21:32 | |
I don't know why it should be, I don't know what it is about it | 0:21:32 | 0:21:36 | |
that is elusive to my ear, but I've tried, and I've struggled, and... | 0:21:36 | 0:21:41 | |
-SOUTH AFRICAN ACCENT: -I can start off all right | 0:21:41 | 0:21:43 | |
and it's not too bad... | 0:21:43 | 0:21:44 | |
but it doesn't take very long, and... | 0:21:44 | 0:21:46 | |
-BLACK COUNTRY ACCENT: -..suddenly I'm from Dudley. | 0:21:46 | 0:21:48 | |
LAUGHTER | 0:21:48 | 0:21:50 | |
APPLAUSE | 0:21:50 | 0:21:52 | |
-SOUTH AFRICAN ACCENT: -So, I have to concentrate | 0:21:55 | 0:21:57 | |
and try and wrestle back, but... | 0:21:57 | 0:21:59 | |
-BLACK COUNTRY ACCENT: -..I can't hold on to it for very long, | 0:21:59 | 0:22:01 | |
I just can't do it. | 0:22:01 | 0:22:03 | |
-NATURAL ACCENT: -I just don't know what it is. | 0:22:03 | 0:22:05 | |
It defeats me every single time. | 0:22:05 | 0:22:07 | |
Well, we have... | 0:22:07 | 0:22:08 | |
LAUGHTER | 0:22:08 | 0:22:10 | |
We have a recording, a radio recording, of you... | 0:22:10 | 0:22:13 | |
-I don't think it's a South African accent... -Oh, I hope not. | 0:22:13 | 0:22:16 | |
This is from an audio play called The Rotters' Club. | 0:22:16 | 0:22:20 | |
Oh...no. | 0:22:20 | 0:22:22 | |
This is set in Birmingham. | 0:22:23 | 0:22:25 | |
Yeah... | 0:22:25 | 0:22:27 | |
I didn't know you remembered this. | 0:22:28 | 0:22:30 | |
No, exactly. Let's hear this. | 0:22:30 | 0:22:32 | |
'Look, Bill, | 0:22:32 | 0:22:34 | |
'a vote for Wilson is just going to let the socialists back in.' | 0:22:34 | 0:22:36 | |
'Oh, I've bad news for you, Sam. I AM a socialist.' | 0:22:36 | 0:22:39 | |
'You might as well just give the miners | 0:22:39 | 0:22:41 | |
'the keys to the ruddy country | 0:22:41 | 0:22:42 | |
-'and let 'em get on with it.' -'Mm, not a bad idea. | 0:22:42 | 0:22:45 | |
'I might propose it at the next TUC Conference.' | 0:22:45 | 0:22:47 | |
LAUGHTER AND APPLAUSE | 0:22:47 | 0:22:49 | |
I don't think that was too bad! | 0:22:50 | 0:22:52 | |
-That was David and I, in case you hadn't worked that out. -Yeah. | 0:22:52 | 0:22:55 | |
Must be... Oh, must be, like, 15 years ago, now. | 0:22:55 | 0:22:58 | |
I tell you what - I'll tell you something about that show. | 0:22:58 | 0:23:00 | |
We did this show together, but, as you say, a long time ago, | 0:23:00 | 0:23:04 | |
-and there was a guy called David Troughton in it... -Yeah. | 0:23:04 | 0:23:07 | |
..who was the son of a former Doctor Who... | 0:23:07 | 0:23:09 | |
AISLING GASPS | 0:23:09 | 0:23:10 | |
..and I was so excited that it was the SON of a former Doctor Who. | 0:23:10 | 0:23:14 | |
And David was there | 0:23:14 | 0:23:15 | |
and I thought, "Why does this Scottish bloke keep bothering me? | 0:23:15 | 0:23:18 | |
"I want to talk to the son of the former..." | 0:23:18 | 0:23:20 | |
Little did I know! | 0:23:20 | 0:23:22 | |
And the moral of this is, | 0:23:22 | 0:23:23 | |
don't meet your heroes BEFORE they're your heroes. | 0:23:23 | 0:23:26 | |
APPLAUSE | 0:23:28 | 0:23:30 | |
I went up for a part. It was an American thing, and I thought, | 0:23:33 | 0:23:37 | |
"Well, if they've asked me, | 0:23:37 | 0:23:38 | |
"there must be, like, an English guy in it." | 0:23:38 | 0:23:40 | |
So, I turned up, and they said, | 0:23:40 | 0:23:42 | |
"No, no, we need you to do it in an American accent." | 0:23:42 | 0:23:45 | |
Now, I only have one American accent and it's quite distinctive. | 0:23:45 | 0:23:50 | |
I remember one of the lines - | 0:23:50 | 0:23:52 | |
it was, "You're a pretty girl, Susan..." | 0:23:52 | 0:23:54 | |
This woman is coming on to me, I say, "You're a pretty girl, Susan, | 0:23:54 | 0:23:58 | |
"but I thought you knew, I'm gay." | 0:23:58 | 0:24:01 | |
That was the line. | 0:24:01 | 0:24:02 | |
And they said, "We need to do it American." | 0:24:02 | 0:24:04 | |
And the only American accent I have is Wild West old-timer. | 0:24:04 | 0:24:08 | |
So, I said... | 0:24:10 | 0:24:12 | |
"You're a pretty girl, Susan..." | 0:24:12 | 0:24:14 | |
LAUGHTER | 0:24:14 | 0:24:15 | |
"..but, here, I thought you knew - I'm gay." | 0:24:15 | 0:24:21 | |
I, er... | 0:24:21 | 0:24:22 | |
I didn't get the part. | 0:24:22 | 0:24:23 | |
But you are doing the tour of Brokeback Mountain, so that's nice. | 0:24:26 | 0:24:29 | |
But, I mean, Doctor Who... | 0:24:31 | 0:24:33 | |
You decided that you were going to be a sort of south-east person. | 0:24:33 | 0:24:37 | |
Yeah, well, it was, sort of, decided for me. | 0:24:37 | 0:24:39 | |
But, yeah, I was happy to go along with it, yeah. | 0:24:39 | 0:24:41 | |
Cos there was a scene in Doctor Who, | 0:24:41 | 0:24:43 | |
which I was very impressed by, at the time. | 0:24:43 | 0:24:46 | |
Looking back now, it's such a complete cheat. | 0:24:46 | 0:24:49 | |
And here it is. | 0:24:49 | 0:24:51 | |
GUNS COCK | 0:24:51 | 0:24:52 | |
1879. Same difference. | 0:24:54 | 0:24:57 | |
You will explain your presence and the nakedness of this girl. | 0:24:57 | 0:25:01 | |
-SCOTTISH ACCENT: -Are we in Scotland? | 0:25:01 | 0:25:02 | |
How can you be ignorant of that? | 0:25:02 | 0:25:04 | |
Oh, I'm dazed and confused. | 0:25:04 | 0:25:06 | |
I've been chasing this wee naked child over hill and over dale. | 0:25:06 | 0:25:10 | |
Isn't that right, ya...timorous beastie? | 0:25:10 | 0:25:13 | |
CHEERING AND APPLAUSE | 0:25:14 | 0:25:18 | |
And the whole of England thinking, | 0:25:18 | 0:25:20 | |
"That's a pretty good Scottish accent!" | 0:25:20 | 0:25:23 | |
So have you made any attempt...? | 0:25:23 | 0:25:25 | |
Because there is coaching and things, that one can do. | 0:25:25 | 0:25:28 | |
I, sort of, live in fear of the part of the lifetime coming up | 0:25:28 | 0:25:32 | |
in some wonderful movie set in Johannesburg. I don't know... | 0:25:32 | 0:25:37 | |
-I think Mandela has already been made. -Yes, thankfully. Yeah. | 0:25:37 | 0:25:41 | |
I've played Ireland a few times, Aisling, | 0:25:41 | 0:25:43 | |
and I've noticed that the audience laugh with an accent. | 0:25:43 | 0:25:46 | |
Have you ever noticed this? | 0:25:46 | 0:25:47 | |
-Maybe because you're from there, you don't notice it. -Yeah? | 0:25:47 | 0:25:49 | |
So when you play the South of Ireland, there's a sort of... | 0:25:49 | 0:25:53 | |
SING-SONG: "Ha-ha-ha-ha-ha! Ah-ha-ha-ha! Ha-Ha! | 0:25:53 | 0:25:56 | |
And then when you play the North, you get... | 0:25:56 | 0:25:58 | |
"HA! HA! HA! HA! HA!" | 0:25:58 | 0:26:00 | |
-You can actually hear it. -Yeah. I mean, when people try to do... | 0:26:00 | 0:26:04 | |
It's funny, because when people try to do an Irish accent | 0:26:04 | 0:26:06 | |
in general, they either end up doing a Caribbean accent, | 0:26:06 | 0:26:09 | |
or when they try to do a Caribbean accent, they end up doing... | 0:26:09 | 0:26:11 | |
Like, when they come up to me and go, | 0:26:11 | 0:26:13 | |
"Oh, just back in Ireland, were you? | 0:26:13 | 0:26:14 | |
-CARIBBEAN ACCENT: -"How are tings in da old country?" | 0:26:14 | 0:26:17 | |
And you're like, "That's not... That is not my accent." | 0:26:17 | 0:26:20 | |
Anyway, we thought we might want to help you with this, David... | 0:26:20 | 0:26:23 | |
-Right. -..so, we contacted a man called Paul Meier. | 0:26:23 | 0:26:27 | |
He runs a thing | 0:26:27 | 0:26:28 | |
called the International Dialects of English Archive, | 0:26:28 | 0:26:31 | |
and he thinks that he can teach - well, you and I to do South African. | 0:26:31 | 0:26:37 | |
-Would you like to give it a try? -I'd love to, yeah! | 0:26:37 | 0:26:39 | |
It's written phonetically, | 0:26:39 | 0:26:41 | |
and what he's done is, he's taken that scene from The Rotters' Club | 0:26:41 | 0:26:45 | |
that we did in regional Midlands accents... | 0:26:45 | 0:26:47 | |
-Very good! -..and he's made it South African. | 0:26:47 | 0:26:49 | |
So, if you'd like to join me on your... You can see your mark. | 0:26:49 | 0:26:53 | |
I can. | 0:26:53 | 0:26:54 | |
Good on ya. | 0:26:54 | 0:26:56 | |
OK, so, you've got to imagine, now, instead of being | 0:26:56 | 0:26:58 | |
-set in the West Midlands, that suddenly we're in Jo'burg. -OK. | 0:26:58 | 0:27:03 | |
-And it's written... -I don't know why I'm doing it as Nelson, but... | 0:27:03 | 0:27:07 | |
I... | 0:27:07 | 0:27:08 | |
So, yeah, so, it's phonetic. | 0:27:08 | 0:27:10 | |
OK, let's go for it. | 0:27:10 | 0:27:12 | |
HE READS PHONETIC TRANSCRIPTION | 0:27:12 | 0:27:15 | |
LAUGHTER | 0:27:21 | 0:27:22 | |
LAUGHTER AND APPLAUSE | 0:27:38 | 0:27:40 | |
-I think you've got... -Yeah. | 0:27:42 | 0:27:44 | |
HE READS PHONETIC TRANSCRIPTION | 0:27:44 | 0:27:46 | |
I have a feeling that if you played this backwards, | 0:28:01 | 0:28:04 | |
it would sound absolutely fine. | 0:28:04 | 0:28:06 | |
David Tennant, the South African accent. | 0:28:06 | 0:28:08 | |
APPLAUSE | 0:28:08 | 0:28:10 | |
And...finally... | 0:28:16 | 0:28:18 | |
..to Aisling's choice. | 0:28:19 | 0:28:21 | |
Scooters. | 0:28:25 | 0:28:26 | |
-Yep. -APPLAUSE | 0:28:26 | 0:28:28 | |
Yep, thank you. | 0:28:28 | 0:28:29 | |
Yep. | 0:28:29 | 0:28:30 | |
I think we've one here, so I can show you what I mean. | 0:28:30 | 0:28:32 | |
Where's the one...? Do we have a scooter? | 0:28:32 | 0:28:34 | |
-We do - there's one here. Are you going to...? -Yeah. | 0:28:34 | 0:28:36 | |
-Yeah, this is my problem with it. -Please be careful. | 0:28:36 | 0:28:39 | |
-Yeah. Oh, I will. -There it is, under there. | 0:28:39 | 0:28:40 | |
So, I just feel like we don't know the risks of them yet, for children, | 0:28:40 | 0:28:44 | |
and - you know, like with mobile phones, | 0:28:44 | 0:28:46 | |
there's been no science done yet - | 0:28:46 | 0:28:47 | |
and children who are just using one leg all the time to get around, | 0:28:47 | 0:28:52 | |
and what's going to happen is, all the muscles will go | 0:28:52 | 0:28:54 | |
in their other leg, and then they'll only have one good leg to use. | 0:28:54 | 0:28:58 | |
And I think, like, in 20 years' time, | 0:28:58 | 0:29:00 | |
they're going to have to, like, develop new trousers, | 0:29:00 | 0:29:03 | |
having, like, one good leg, and then one... You know. | 0:29:03 | 0:29:06 | |
And there'll be adults who can just walk around in one circle... | 0:29:06 | 0:29:10 | |
and then you see - my least favourite thing is the children, | 0:29:10 | 0:29:14 | |
like, lazy children, who have annoyed their parents | 0:29:14 | 0:29:16 | |
so much that they've given up, | 0:29:16 | 0:29:18 | |
and they just stand there... David, come here for a second. | 0:29:18 | 0:29:21 | |
-So, I'm the child... -Yeah. -..and you just... | 0:29:21 | 0:29:23 | |
I've given up, so you just you'll me along at this stage. | 0:29:23 | 0:29:25 | |
-Oh, I do this, regularly. -Yeah. | 0:29:25 | 0:29:26 | |
Come on! | 0:29:26 | 0:29:28 | |
LAUGHTER AND APPLAUSE | 0:29:29 | 0:29:30 | |
-That drives me nuts. -Yeah. -You know? | 0:29:30 | 0:29:33 | |
And you see these...just sad dads walking with two scooters... | 0:29:35 | 0:29:40 | |
They're awful. And, yeah, the worst is adults - adults on those things. | 0:29:41 | 0:29:46 | |
Just get a bike! | 0:29:46 | 0:29:48 | |
Well, I had a scooter for much of my childhood... | 0:29:48 | 0:29:52 | |
-One of those? -Well, it was a thing called a Tri-ang scooter - | 0:29:52 | 0:29:55 | |
big white wheels on it, and changed my life, | 0:29:55 | 0:29:59 | |
because I still, to this day, can't ride a bike. | 0:29:59 | 0:30:02 | |
I find them a bit too high. | 0:30:02 | 0:30:04 | |
And I hadn't quite got the self-belief - | 0:30:05 | 0:30:08 | |
but this thing was sufficiently low to the ground | 0:30:08 | 0:30:11 | |
that I felt confident on a scooter. | 0:30:11 | 0:30:13 | |
This was the '70s - I had shoes that were higher than the scooter. | 0:30:13 | 0:30:17 | |
Can you ride a bike now? | 0:30:17 | 0:30:18 | |
No. AISLING GASPS | 0:30:18 | 0:30:19 | |
See? They held you back. | 0:30:19 | 0:30:20 | |
They stopped you from achieving what is a very simple childhood task. | 0:30:20 | 0:30:23 | |
It made you lazy. | 0:30:23 | 0:30:25 | |
But why do I need to ride a bike, if I can ride a scooter? | 0:30:27 | 0:30:29 | |
Because when the Apocalypse comes, all the cars are going to go | 0:30:29 | 0:30:32 | |
and you're going to need a bike, Frank. | 0:30:32 | 0:30:35 | |
There's something about an adult on one of those scooters that - | 0:30:35 | 0:30:39 | |
and I'm not trying to be dramatic - | 0:30:39 | 0:30:40 | |
but it feels the same to me as still getting breast-fed at 40. | 0:30:40 | 0:30:45 | |
Does it not bother you that lots and lots of children | 0:30:45 | 0:30:48 | |
really, really love these scooters? | 0:30:48 | 0:30:50 | |
Yes - because I feel like | 0:30:50 | 0:30:52 | |
we're creating, like, a generation of crazy children | 0:30:52 | 0:30:56 | |
who just don't know to, like, walk places, or cycle bikes - | 0:30:56 | 0:31:00 | |
they could end up becoming stand-up comedians and not get a real job. | 0:31:00 | 0:31:04 | |
-So, look, I have one last try at winning you over to the scooter. -Mm. | 0:31:04 | 0:31:10 | |
This man is the current world scooter champion, | 0:31:10 | 0:31:13 | |
and the first-ever British world scooter champion, | 0:31:13 | 0:31:17 | |
so please welcome, Jordan Clark. | 0:31:17 | 0:31:20 | |
APPLAUSE | 0:31:20 | 0:31:22 | |
-AUDIENCE: -Ooh! | 0:31:29 | 0:31:31 | |
Whoo! | 0:31:34 | 0:31:35 | |
Whoo! | 0:31:39 | 0:31:40 | |
Whoo! | 0:31:44 | 0:31:45 | |
APPLAUSE | 0:31:45 | 0:31:46 | |
Amazing. And for the people in the front - | 0:31:52 | 0:31:54 | |
trust me, that was great. | 0:31:54 | 0:31:55 | |
I'm glad he scooted off, | 0:31:57 | 0:31:58 | |
-cos I thought that was rubbish. -LAUGHTER | 0:31:58 | 0:32:00 | |
I thought that was... | 0:32:00 | 0:32:02 | |
He'd just go up and down, and bounced a bit, | 0:32:02 | 0:32:04 | |
like on a skateboard - | 0:32:04 | 0:32:05 | |
he could have at least had the dignity to jump up onto the stage, | 0:32:05 | 0:32:08 | |
scoot on along that, do along the edge, and - | 0:32:08 | 0:32:11 | |
you know, something like that. | 0:32:11 | 0:32:12 | |
-That was just... -You know he's absolutely in bits, now, backstage. | 0:32:12 | 0:32:15 | |
Oh, I'm sorry, Jordan! | 0:32:15 | 0:32:17 | |
Well, it's... You know. | 0:32:17 | 0:32:19 | |
His severed head, now, will roll on, on a scooter. | 0:32:19 | 0:32:22 | |
So... | 0:32:23 | 0:32:24 | |
I'm not going to put scooters in. | 0:32:24 | 0:32:26 | |
How am I going to get my son to school? | 0:32:26 | 0:32:29 | |
Walking! On his legs! | 0:32:29 | 0:32:30 | |
He HATES that. | 0:32:30 | 0:32:32 | |
And lateness. You know what? | 0:32:33 | 0:32:34 | |
You really won me over with lateness, | 0:32:34 | 0:32:36 | |
-but then, I think you started change your mind. -I know - well, | 0:32:36 | 0:32:39 | |
I started to think it was probably more my problem than others, really. | 0:32:39 | 0:32:42 | |
Yeah - yeah, but I have it, as well, and you're right, | 0:32:42 | 0:32:45 | |
it might do us good to just loosen up and not worry about these things. | 0:32:45 | 0:32:48 | |
Yeah. And all those guys, those late guys, | 0:32:48 | 0:32:50 | |
they're going to live for a very long time. | 0:32:50 | 0:32:53 | |
-They're even going to be late dying. -Yeah. | 0:32:53 | 0:32:55 | |
Exactly. | 0:32:55 | 0:32:56 | |
But I so feel your pain, that you're trying to capture the voice | 0:32:56 | 0:33:02 | |
of this wondrous, wild and beautiful country, | 0:33:02 | 0:33:05 | |
and you keep ending up in the West Midlands. | 0:33:05 | 0:33:07 | |
Yeah. | 0:33:07 | 0:33:09 | |
I am going to put David's South African accent into Room 101. | 0:33:09 | 0:33:12 | |
-Thank you. -APPLAUSE | 0:33:12 | 0:33:14 | |
Well, we've just got time to hear a bonus choice. | 0:33:21 | 0:33:23 | |
So, let's see what David goes for. | 0:33:23 | 0:33:27 | |
Flossing. | 0:33:30 | 0:33:31 | |
CHEERING AND APPLAUSE | 0:33:31 | 0:33:34 | |
I feel duped by flossing. | 0:33:37 | 0:33:39 | |
Growing up in the '70s and the '80s... | 0:33:39 | 0:33:42 | |
it didn't exist! It wasn't a thing. | 0:33:42 | 0:33:45 | |
Nobody ever talked about it. | 0:33:45 | 0:33:46 | |
Maybe it was just the West of Scotland, but I don't think... | 0:33:46 | 0:33:49 | |
I've asked around, and it just didn't... | 0:33:49 | 0:33:51 | |
It just wasn't something that people talked about. | 0:33:51 | 0:33:53 | |
Suddenly, around about 1990, it seems to appear, fully-formed, | 0:33:53 | 0:33:59 | |
as a brand-new thing to make you feel bad about yourself. | 0:33:59 | 0:34:02 | |
Something else to feel guilty that you're not doing. Out of nowhere. | 0:34:02 | 0:34:06 | |
So now, instead of being introduced as, kind of, | 0:34:06 | 0:34:09 | |
"Oh, we've got a brand-new thing. | 0:34:09 | 0:34:10 | |
"Someone's gone out into the world and found this lovely new thing, | 0:34:10 | 0:34:13 | |
"let's try it." No, they go out, they find it - | 0:34:13 | 0:34:15 | |
I suspect in America... | 0:34:15 | 0:34:16 | |
-Absolutely sure of it. -..and then we'd all expected to do this. | 0:34:19 | 0:34:22 | |
And if you're not doing it for an hour, three times a day, | 0:34:22 | 0:34:26 | |
you're a disgusting human being, whose breath stinks | 0:34:26 | 0:34:29 | |
and who has teeth like Shane McGowan. And it's... | 0:34:29 | 0:34:33 | |
I-I don't understand where it came from, | 0:34:33 | 0:34:36 | |
and where the, kind of, tyranny of it materialised. | 0:34:36 | 0:34:39 | |
And I don't like it. | 0:34:39 | 0:34:41 | |
I don't like the sensation, | 0:34:41 | 0:34:43 | |
as that little bit of wire gets forced through a tiny little gap. | 0:34:43 | 0:34:47 | |
And I hate that thing, as something pings out | 0:34:47 | 0:34:51 | |
from under your gum line... | 0:34:51 | 0:34:52 | |
..half-digested from several years back... | 0:34:54 | 0:34:56 | |
..and fills your mouth with this taste like decaying corpse. | 0:34:58 | 0:35:02 | |
Yeah? | 0:35:02 | 0:35:04 | |
I just don't want that in my life. | 0:35:04 | 0:35:06 | |
-I can't even do it properly. -No! It's so hard to do! | 0:35:08 | 0:35:12 | |
I end up just, sort of, bedding it all down. It's like... | 0:35:12 | 0:35:15 | |
It goes down to the bottom of the gum, | 0:35:15 | 0:35:17 | |
and I think, "I can feel it on the gum, | 0:35:17 | 0:35:19 | |
"it's got to bring the food out," | 0:35:19 | 0:35:21 | |
and then it comes out without the... | 0:35:21 | 0:35:22 | |
It's like the food's using it as a skipping rope. | 0:35:22 | 0:35:26 | |
The way you have to contort your wrists to get right at the back, | 0:35:26 | 0:35:30 | |
like that hurts. | 0:35:30 | 0:35:31 | |
It defies physics, what you have to try and achieve. It's impossible. | 0:35:31 | 0:35:34 | |
Did you ever use these things? | 0:35:34 | 0:35:36 | |
Have you ever seen these in vending machines? | 0:35:36 | 0:35:39 | |
They're little, um... | 0:35:39 | 0:35:40 | |
-An Irish person invented those. -Is that right? -Yeah, yeah, pretty sure. | 0:35:40 | 0:35:44 | |
Yeah, they are called the Fuzzy Brush. | 0:35:44 | 0:35:47 | |
And it's got the toothpaste and everything on, | 0:35:47 | 0:35:49 | |
it's got a, sort of, spiky thing, and you... | 0:35:49 | 0:35:52 | |
Say if you meet someone at a club, and you might want to go back, | 0:35:52 | 0:35:56 | |
you know, you want to freshen your breath, you have a chew. | 0:35:56 | 0:35:59 | |
It's quite...quite spiky, but it does do the job. | 0:35:59 | 0:36:03 | |
I saw Janet Street Porter do this with a hedgehog. | 0:36:04 | 0:36:07 | |
My problem is, as I got older, my teeth have basically separated. | 0:36:09 | 0:36:14 | |
So, the gaps are so big now, I really need Pac-Man. | 0:36:14 | 0:36:18 | |
Do you ever floss when you're driving? | 0:36:19 | 0:36:22 | |
You'll be impressed by... This is... I do this quite a bit. | 0:36:23 | 0:36:26 | |
APPLAUSE | 0:36:34 | 0:36:36 | |
Ideally, you need a Yorkshire terrier on the back seat, | 0:36:38 | 0:36:40 | |
so you can flick the bits of... | 0:36:40 | 0:36:42 | |
AUDIENCE GROANS | 0:36:42 | 0:36:43 | |
I saw Janet Street Porter do it with a Ferris wheel. | 0:36:45 | 0:36:48 | |
So, do you do it or is it something that you have...? | 0:36:49 | 0:36:52 | |
I do, but begrudgingly. Only because I'm guilted into it by... | 0:36:52 | 0:36:56 | |
by dentists. | 0:36:56 | 0:36:58 | |
I feel I should be applauded for getting to the dentist, at all, | 0:36:58 | 0:37:01 | |
but I get there and I get a guilt trip laid on me. | 0:37:01 | 0:37:04 | |
As a former Doctor, I thought you'd like, you know... | 0:37:04 | 0:37:08 | |
respect what they say. | 0:37:08 | 0:37:09 | |
APPLAUSE | 0:37:09 | 0:37:12 | |
With my teeth now, again, as you get older, if I have a ham sandwich, | 0:37:15 | 0:37:19 | |
I would say a third of it remains in my teeth. | 0:37:19 | 0:37:22 | |
I end up with a, sort of, natural gumshield. | 0:37:23 | 0:37:27 | |
I could go, say, three rounds with a reasonable amateur boxer | 0:37:27 | 0:37:30 | |
and be fine, because... | 0:37:30 | 0:37:32 | |
So I have to, I'm always picking and having a go. | 0:37:32 | 0:37:35 | |
It's fear of the hygienist that makes me do it. | 0:37:35 | 0:37:37 | |
Because, if you don't do it yourself, | 0:37:37 | 0:37:39 | |
she comes at you with a bit of actual metal wire! | 0:37:39 | 0:37:43 | |
What is that?! That shouldn't... | 0:37:43 | 0:37:44 | |
There should be a European convention against that! | 0:37:44 | 0:37:47 | |
So, this is an alternative method, | 0:37:47 | 0:37:50 | |
which you might find preferable to flossing. | 0:37:50 | 0:37:54 | |
Come here. | 0:37:54 | 0:37:55 | |
-AISLING: -Eurgh! | 0:37:56 | 0:37:57 | |
AUDIENCE GROANS | 0:37:57 | 0:38:00 | |
Oh, my God! | 0:38:00 | 0:38:01 | |
Good job, good job. | 0:38:12 | 0:38:13 | |
Tastier than sushi! | 0:38:15 | 0:38:17 | |
APPLAUSE | 0:38:17 | 0:38:19 | |
I've seen Janet Street Porter do it with a kestrel. | 0:38:22 | 0:38:25 | |
Well, doesn't matter what I think, David, it's your bonus choice. | 0:38:25 | 0:38:28 | |
-It's going into Room 101. -Thank you, Frank. | 0:38:28 | 0:38:30 | |
CHEERING AND APPLAUSE | 0:38:30 | 0:38:34 | |
And that brings us to the end of the show - well done, David, | 0:38:39 | 0:38:42 | |
you were the most persuasive guest, so you are this week's winner. | 0:38:42 | 0:38:45 | |
Thank you. | 0:38:45 | 0:38:46 | |
APPLAUSE | 0:38:46 | 0:38:48 | |
In no way helped by the fact that you were Doctor Who. | 0:38:51 | 0:38:54 | |
Can I point that out? | 0:38:54 | 0:38:56 | |
Thanks very much, David Tennant, Sir Trevor McDonald and Aisling Bea. | 0:38:56 | 0:38:59 | |
And thank you. Good night! | 0:38:59 | 0:39:01 | |
APPLAUSE | 0:39:01 | 0:39:04 |